more the blade is forced to drift. A very wide set causes successive teeth to drift so much that material is actually left in the midline of the kerf. Bone islands. Lumps.?
?So they tell you the teeth were angled.?
?Actually, they tell more than that. Since each directional change of a tooth is caused by the introduction of a new tooth, the distance between these directional changes can tell the distance between teeth. Since islands represent the widest points of bone drift, the distance from island to island is equal to the distance between two teeth. Let me show you something else.?
I withdrew the radius and inserted the ulna so that the cut surface at its wrist end was illuminated, then I stepped back from the microscope.
?Can you see those wavy lines on the cut surface??
?Yeah. Looks kind of like a washboard, only curvy.?
?That?s called harmonics. Blade drift leaves those peaks and valleys on the wall of the cut just as it leaves bone islands on the floor. The peaks and islands correspond to the wide points in drift; the valleys and narrow aspects of the floor correspond to the points in drift when the blade is closest to the midline.?
?So you can measure these peaks and valleys like you do the islands??
?Exactly.?
?How come I don?t see anything farther down in the kerf??
?Drift occurs mostly at the beginning or end of a cut, when the blade is free, not embedded in bone.?
?Makes sense.? He looked up. The goggles were back.
?Can you tell anything about direction??
?Of blade stroke or blade progress??
?What?s the difference??
?Direction of stroke has to do with whether the blade is cutting on the push or the pull. Most Western saws are designed to cut on the push. Some Japanese saws cut on the pull. Some can cut on both. Progress has to do with the direction the blade moves through the bone.?
?Can you determine that??
?Yup.?
?So what do you have?? he asked, rubbing his eyes and trying to look at me at the same time.
I took my time answering, kneading the small of my back, then reaching for my clipboard. I flipped through my notes, selecting relevant points.
?Isabelle Gagnon?s bones have quite a few false starts. The kerfs measure about .05 inches in width and have floors that, in most cases, have some dip to them. Harmonics are present, and there are bone islands. Both are measurable.? I flipped a page. ?There?s some exit chipping.?
He waited for me to go on. When I didn?t, he said, ?What does all that mean??
?I think we?re dealing with a handsaw with alternating set teeth, probably a TPI of 10.?
?TPI??
?Teeth per inch. In other words, tooth distance is about a tenth of an inch. The teeth are chisel type, and the saw cuts on the push stroke.?
?I see.?
?The blade drift is extreme and there?s a lot of exit chipping, but the blade seems to cut efficiently by chiseling the material clear. I think it?s probably a saw designed like a very large hacksaw. The islands mean the set has to be pretty wide, to avoid binding.?
?That narrows it to what??
I was pretty sure I knew what had made the cuts, but wasn?t ready to share my thoughts.
?There?s someone else I want to talk to before I reach a conclusion.?
?Anything else??
I flipped to the first page of my notes, and summarized the observations I?d made.
?The false starts are on the anterior surfaces of the long bones. Where there are breakaway spurs, they?re on the posterior aspects. That means the body was probably lying on its back when it was cut up. The arms were detached at the shoulders, and the hands were cut off. The legs were removed at the hips and the knee joints were severed. The head was removed at the level of the fifth cervical vertebrae. The thorax was opened with a vertical slash that penetrated all the way to the vertebral column.?
He shook his head. ?Guy was a real whiz with a saw.?
?It?s more complicated than that.?
?
?He also used a knife.?
I adjusted the ulna and refocused. ?Take another look.?
He bent over the scope, and I couldn?t help noticing his nice, tight butt. Jesus, Brennan . . .
?You don?t have to press quite so hard against the eyepieces.?
His shoulders relaxed somewhat, and he shifted his weight.
?See the kerfs we?ve been talking about??
?Uh-huh.?
?Now, look to the left. See the narrow slash??
He was silent for a moment as he adjusted the focus. ?Looks more like a wedge. Not square. It?s not as wide.?
?Right. That?s made by a knife.?
He stood up. Goggles.
?The knife marks have a definite pattern. A lot of them parallel the saw false starts, some even cross them. Also, they?re the only kind I see in the hip joint and on the vertebrae.?
?Meaning??
?Some of the knife marks overlie saw marks and some are underneath, so the cutting probably came before and after the sawing. I think he cut the flesh with the knife, separated the joints with the saw, then finished with the knife, maybe disconnecting any muscles or tendons that still held the bones together. Except for the wrists, he went right into the joints. For some reason he just sawed the hands off above the wrists, going right through the lower arm bones.?
He nodded.
?He decapitated Isabelle Gagnon and opened her chest using just the knife. There are no saw marks on any of the vertebrae.?
We were both silent for a few moments thinking about that. I wanted all this to sink in before I dropped the bombshell.
?I also examined Trottier.?
The brilliant blue eyes met mine. His gaunt face looked tense, stretched, as he prepared it to receive what I was about to say.
?It?s identical.?
He swallowed and took a deep breath. Then he spoke very quietly. ?This guy must run Freon through his veins.?
Ryan pushed off from the counter just as a janitor poked his head through the door. We both turned to look at him, and, seeing our somber expressions, the man left quickly. Ryan?s eyes reengaged mine. His jaw muscles flexed.
?Run this by Claudel. You?re getting there.?
?I?ve got a couple of other things I want to check out first. Then I?ll approach Capitaine Congenial.?
He departed without saying good-bye, and I finished repacking the bones. I left the boxes on the table and locked the lab behind me. As I passed through the main reception area, I noted the clock above the elevators: 6:30 P.M. Once again it was me and the cleaning crew. I knew it was too late to accomplish either of the last two things I?d planned to do, but decided to try anyway.
I walked past my own office and down the corridor to the last door on the right. A small plaque said, INFORMATIQUE, with the name LUCIE DUMONT printed neatly below.
It had been long in arriving, but the LML and LSJ were finally coming on-line. Complete computerization had been achieved in the fall of ?93, and data were continually being fed into the system. Current cases could now be
