Body of Evidence. Patricia D Cornwell

With what seemed unflappable reserve, I watched the anarchy that broke out between my mother and my younger sister, Dorothy, who had been consummately narcissistic and irresponsible since the day she was born.

I silently removed myself from the screaming matches and arguments while inwardly I ran for my life. AWOL from the wars within my house, I spent increasing lengths of time engaging the tutelage of the Gray Nuns after class or ensconcing myself in the library, where I began to realize the precocity of my mind and the rewards it would bring to me. I excelled in science and was intrigued by human biology. I was poring over Gray’s Anatomy by the time I was fifteen, and it became the sine qua non of my self-education, the vessel of my epiphany. I was going to leave Miami for college. In an era when women were teachers, secretaries, and housewives, I was going to be a physician.

In high school I made all A’s and played tennis and read during the holidays and summers while my family struggled on like wounded Confederate veterans in a world long since won by the North. I had little interest in dating and had few friends. Graduating at the top of my class, I went off to Cornell on a full scholarship,- then it was Johns Hopkins for medical school, law school at Georgetown after that, then back to Hopkins for my pathology residency. I was only vaguely aware of what I was doing. The career I had embarked upon would forever return me to the scene of the terrible crime of my father’s death. I would take death apart and put it back together again a thousand times. I would master its codes and take it to court. I would understand the nuts and bolts of it. But none of it brought my father back to life, and the child inside me never stopped grieving.

Embers shifted on the hearth, and I dozed in fits and starts.

Hours later the details of my prison began to materialize in the chilled blue of dawn. Pain shot through my back and legs as I stiffly got to my feet and went to the window. The sun was a pale egg over the slate-gray river, tree trunks black against the white snow. The fire was cold, and two questions were tapping at the back of my feverish brain. Would Miss Harper have died had I not been here? How convenient for her to die while I was inside her house. Why did she come down to

the library? I imagined her making her way down the stairs, stoking the fire and settling on the sofa.

While she stared into the flames, her heart simply stopped. Or was it the portrait she had been looking at in the end?

I switched on every lamp. Pulling a chair close to the hearth, I climbed up and lifted the unwieldy painting free of its hooks. The portrait did not seem so unsettling up close, the total effect disintegrating into subtle shades of color and delicate brush strokes in heavy oil paint. Dust floated free of the canvas as I climbed down and laid the painting on the floor. There was no signature or date, nor was the portrait nearly as old as I had assumed. The colors had been deliberately muted to look old, and there wasn’t the slightest bit of cracking evident in the paint.

Turning it over, I examined the brown paper backing. Centered on it was a gold seal embossed with the name of a Williamsburg picture-framing shop. I made note of it and climbed back up on the chair, returning the painting to its hooks. Then I squatted before the fireplace and delicately probed the debris with a pencil I had gotten out of my bag. On top of the charred chunks of wood was a peculiar layer of filmy white ash that wafted like cobwebs at the slightest stirring. Beneath this was a lump of what looked like melted plastic.

“No offense, Doc,” Marino said, backing his car out of the lot, “but you look like hell.”

“Thanks a lot,” I muttered.

“Like I said, no offense. Guess you didn’t get much sleep.”

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