Book of the Dead

him above the rim of her coffee mug—“you have killed people before. So you shouldn’t make threats.” She leans against the countertop and takes a deep breath.

“I told you. It ain’t no threat.”

“You sure you’re all right?” Scarpetta asks Rose. “Maybe you’re getting more than a little cold. You shouldn’t have come in.”

“I had a little chat with Lucy,” Rose says. To Marino, “I don’t want Dr. Scarpetta alone with Mr. Grant. Not even for a second.”

“Did she mention he passed his background check?” Scarpetta says.

“You hear me, Marino? Not for one second do you leave Dr. Scarpetta alone with that man. I don’t give a hoot about his background check. He’s bigger than you are,” says the ever-protective Rose, probably upon the ever-protective Lucy’s instructions.

Rose has been Scarpetta’s secretary for almost twenty years, following her from pillar to post, in Rose’s words, and through thick and thin. At seventy-three, she’s an attractive, imposing figure, erect and keen, daily drifting in and out of the morgue armed with phone messages, reports that must be signed right this minute, any matter of business she decides can’t wait, or simply a reminder — no, an order — that Scarpetta hasn’t eaten all day and take-out food — healthy, of course — awaits her upstairs and she will go eat it now and she won’t have another cup of coffee because she drinks too much coffee.

“He’s been in what appears to be a knife fight.” Rose continues to worry.

“It’s in his background check. He was the victim,” Scarpetta says.

“He looks very violent and dangerous, and is the size of a freighter. It concerns me greatly that he wanted to come here on a Sunday afternoon, perhaps hoping he’d find you alone,” she says to Scarpetta. “How do you know he isn’t the one who killed that child?”

“Let’s just hear what he has to say.”

“In the old days, we wouldn’t do it like this. There would be a police presence,” Rose insists.

“This isn’t the old days,” Scarpetta replies, trying not to lecture. “This is a private practice, and we have more flexibility in some ways and less in others. But in fact, part of our job has always been to meet with anyone who might have useful information, police presence or not.”

“Just be careful,” Rose says to Marino. “Whoever did this to that poor little boy knows darn well his body’s here and Dr. Scarpetta’s working on it, and usually when she works on something, she figures it out. He could be stalking her, for all we know.”

Usually Rose doesn’t get this overwrought.

“You’ve been smoking,” Rose then says to Marino.

He takes another big gulp of Diet Pepsi. “Should’ve seen me last night. Had ten cigarettes in my mouth and two in my ass while I was playing the harmonica and getting it on with my new woman.”

“Another edifying evening at that biker bar with some woman whose IQ is the same as my refrigerator. Sub- Zero. Please don’t smoke. I don’t want you to die.” Rose looks troubled as she walks over to the coffeemaker and starts filling the pot with water to make a fresh pot. “Mr. Grant would like coffee,” she says. “And no, Dr. Scarpetta, you can’t have any.”

Chapter 6

Bulrush Ulysses S. Grant has always been called Bull. Without any prompting, he begins the conversation by explaining the origin of his name.

“I ’spect you’re wondering about the S part of my name. That’s it. Just an S and a period,” he says from a chair near Scarpetta’s shut office door. “My mama knows the S in General Grant’s name is for Simpson. But she was afraid if she stuck Simpson in there, it would be a lot for me to write out. So she left it at S. Explaining it takes longer than writing it out, you ask me.”

He’s neat and clean in freshly pressed gray work clothes, and his sneakers look as if they just came out of the washing machine. A frayed yellow baseball cap with a fish on it is in his lap, his big hands politely folded on top of it. The rest of his appearance is frightening, his face, neck, and scalp savagely slashed with a crisscross of long, pink gashes. If he ever saw a plastic surgeon, it wasn’t a good one. He will be badly disfigured for life, a patchwork of keloid scars that make Scarpetta think of Queequeg in Moby-Dick.

“I know you just moved here not all that long ago,” Bull says, to her surprise. “In that old carriage house that backs up to the alley between Meeting and King.”

“How the hell do you know where she supposedly lives, and what business is it of yours?” Marino aggressively interrupts him.

“I used to work for one of your neighbors.” Bull directs this to Scarpetta. “She passed on a long time back. I guess it would be more accurate to say I worked for her maybe fifteen years, then ’bout four years ago her husband passed. After that, she got rid of most of her help, I think had money anxiousness, and I had to find me something else. Then she passed, too. What I’m telling you is I know the area where you live like the back of my hand.”

She looks at the pink scars on the backs of his hands.

“I know your house….” he adds.

“Like I said…” Marino starts in again.

“Let him finish,” Scarpetta says.

“I know your garden real good ’cause I dug the pond and poured the cement, and took care of the angel statue looking over it, kept her nice and clean. I built the white fence with finials on one side. But not the brick columns and wrought iron on the other. That was before my time and probably so overgrowed with wax myrtle and bamboo when you bought the place, you didn’t know it was there. I planted roses, Europa, California poppies, and Chinese jasmine, and I fixed things around the house.”

Scarpetta is stunned.

“Anyhow,” Bull says, “I been doing things for half the people up and down your alleyway and on King Street, Meeting Street, Church Street, all over. Since I was a boy. You wouldn’t know it because I keep to my own business. That’s a good thing if you don’t want folks around here to take offense to you.”

She says, “Like they do to me?”

Marino shoots her a disdainful look. She’s being too friendly.

“Yes, ma’am. They sure can be like that around here,” Bull says. “Then you put all them spiderweb decals on all the windows, and that don’t help, ’specially because of what you do for a living. One of your neighbors, if I’m honest, calls you Dr. Halloween.”

“Let me guess. That would be Mrs. Grimball.”

“I wouldn’t take no seriousness to it,” Bull says. “She calls me Ole. ’Cause of me being called Bull.”

“The decals are so birds don’t fly into the glass.”

“Uh-huh. Never have figured out how we know exactly what birds see. Like do they see what’s s’posed to be a spiderweb and head the other way even though I never have seen a bird caught up in a spiderweb like it’s a bug or something. It’s like saying dogs is color-blind or got no sense of time. How do we know?”

“What business is it of yours to be anywhere near her house?” Marino says.

“Looking for work. When I was a boy, I helped out Mrs. Whaley, too,” Bull says to Scarpetta. “Now, I’m sure you’ve heard of Mrs. Whaley’s garden, the most famous one here in Charleston, down there on Church Street.” He smiles proudly, pointing in the general direction, wounds on his hand flashing pink.

He has them on his palms, too. Defensive injuries, Scarpetta thinks.

“That was a real privilege working for Mrs. Whaley. She was real good to me. She wrote a book, you know. They keep copies of it right there in the window of that bookstore at the Charleston Hotel. She signed a copy for me once. I still got it.”

“What the shit’s going on here?” Marino says. “You come to the morgue to talk to us about that dead little boy, or is this a damn job interview and stroll through memory lane?”

“Sometimes things fit together in mysterious ways,” Bull says. “My mama always says that. Maybe something good come out of the bad. Maybe something good could come out of what happened. And what happened is bad, all right. Like a movie in my head playing all the time, seeing that little boy dead in the mud. Crabs and flies crawling