"Oh, there's plenty of accusing to go around, and there will probably be more," Scarpetta says, moving closer to the bed and with a gloved hand pulling back the covers. "It doesn't look like you changed the linens. That's good. See the blood spots on this sheet right here? How much do you want to bet that comes back as Marino's blood. Not yours." She gives her a long look. "He's bleeding and you aren't. Now that's curious. I believe there's a bloody towel around here somewhere too." She looks around. "Maybe you've washed it, but it doesn't matter. We can still get what we need from something that's been washed."

"I have this happen to me and you're worse than he is," Mrs. Paulsson says, but her expression has changed. "I would think another woman would have at least a little compassion."

"For someone who mauls another person and then accuses him of assault? I don't believe you'll find a decent woman on this planet who would have compassion for that, Mrs. Paulsson." Scarpetta starts pulling the cover off the bed.

"What are you doing? You can't do that."

"I'm going to do that and more. Just watch." She strips off the sheets and rolls them and the pillows into the quilt.

"You can't do that. You're not a cop."

"Oh, I'm worse than any cop. Trust me." Scarpetta picks up the bundle of linens and places it on top of the bare mattress. "What next?" She looks around. "You may not have noticed when you ran into Marino at the medical examiner's office this morning, but he had on the same pants that he had on last night. And the same underwear. All day, as a matter of fact. You probably know that when a man has sex he is likely to leave at least a little something in his underwear and possibly even in his pants. But he didn't. He didn't leave a trace of anything in his underwear or pants, except blood from where you hurt him. You also may not know that people can see through your curtains, see if you're with someone, if you're fighting or having a romantic encounter, assuming you're still on your feet. No telling what the neighbors across the street have seen when your lights are on or you've got a fire going."

"Maybe it started out all right between the two of us and got out of hand," Mrs. Paulsson says, and she seems to have made a decision. "It was innocent enough, just a man and a woman enjoying each other. Maybe I got a little carried away because he frustrated me. Got me all dressed up with no place to go. He couldn't do it. A big man like him, and he couldn't do it."

"I guess not when you kept filling his glass with bourbon," Scarpetta says, and she is pretty sure Marino didn't do it. She doesn't see how he could. The problem is, he still worries that he did it and he worries that he couldn't, so there isn't much room for discussion with him.

Scarpetta squats inside the closet and retrieves the boots. She places them on the bed, and they look very sinister and large against the bare mattress.

"Those are Frank's boots," Mrs. Paulsson tells her.

"If you've worn them, your DNA will be inside them."

"They're way too big for me."

"You heard what I said. DNA will tell us a lot." She walks into the bathroom and picks up the camouflage t-shirt. "I suppose this is Frank's, as well."

Mrs. Paulsson has nothing to say.

"We can go into the kitchen now if you want," Scarpetta says. "Something warm to drink would be nice. Maybe some coffee. What kind of bourbon were you drinking last night? You shouldn't feel very good right now either, unless you spent more time filling his glass than your own. Marino's in pretty bad shape today. Pretty bad. He required medical treatment." All this as Scarpetta walks briskly toward the back of the house, toward the kitchen.

"What do you mean?"

"I mean he needed a doctor."

"He went to the doctor?"

"He was examined and photographed. Every inch of him. He's not in good shape," Scarpetta says, walking into the kitchen and spotting the coffeemaker near the sink, very close to where the bottle of cough syrup was the other day. The bottle isn't there now. It is nowhere in sight. She takes off her cotton gloves and tucks them in her suit pocket.

"He ought to be after what he did."

"You can stop that story now," Scarpetta says, filling the glass coffeepot with tap water. "That story is a lie and you may as well give it up. If you have injuries, let's see them."

"If I show them to anybody, it will be the police."

"Where do you keep the coffee?"

"I don't know what you're thinking, but it isn't the truth," Mrs. Paulsson says, opening the freezer and setting a bag of coffee by the pot. She opens a cupboard and finds a box of filters, letting Scarpetta help herself.

"Truth seems hard to find these days," Scarpetta replies, opening the coffee and placing a filter in the coffeemaker, then measuring coffee with a small scoop she found in the bag. "I wonder why that is. We can't seem to find the truth about what happened to Gilly. Now the truth about what happened last night seems to elude us. I'd like to hear what you have to say about truth, Mrs. Paulsson. That's why I decided to drop by tonight."

"I wasn't going to say anything about Pete," she says bitterly. "If I was going to, don't you think I would have? Truth is, I thought he had a good time."

"A good time?" Scarpetta leans against the counter and crosses her arms at her waist. Coffee drips and the aroma of it seeps around the edges of the kitchen. "If you looked like he does today, I'm wondering if you'd think you had a good time."

"You don't know what I look like."

"I can tell by the way you move that he didn't hurt you. In fact, he didn't do much of anything, not after all that bourbon. You just told me that yourself."

"You got something with him? Is that why you're here?" She looks slyly at Scarpetta, and interest glints in her eyes.

"I have something with him. But it isn't something you're likely to understand. Did I mention to you that I'm also a lawyer? Would you like to hear what happens to people who falsely accuse someone of assault or rape? Have you ever been to jail?"

"You're jealous. I see what this is about." She smiles smugly.

"Think what you want. But think about jail, Mrs. Paulsson. Think about crying rape and the evidence proving you to be a liar."

"I won't be crying rape, don't you worry," she says, her face turning harder. "Nobody rapes me anyway. Let them try. What a big baby. That's what I have to say about him. A baby. I thought he would be fun. Well, I thought wrong. You can have him, Miss Doctor or Lawyer or whatever you are."

The coffee is ready and Scarpetta asks about cups, and Mrs. Paulsson finds two in a cupboard and then two spoons. They sip coffee standing up, and then Mrs. Paulsson begins to cry. She bites her lower lip and tears spill out and stream down her face and she starts shaking her head.

"I'm not going to jail," she says.

"That would be what I prefer. I'd rather you didn't go to jail," Scarpetta says, sipping her coffee. "Why did you do it?"

"It's personal what people do with each other." She won't look at her.

"When you draw blood and bruise someone, it's not personal. It's a crime. Is rough sex a habit of yours?"

"You must be some kind of Puritan," she says, wandering to the table and sitting down. "I guess there must be a lot you've never heard of."

"You might be right. Tell me about the game."

"Get him to."

"I know what Marino has to say about your game, at least the one you played last night." Scarpetta sips her coffee. "You've played your games for a while, haven't you? Did they start with your ex-husband, with Frank?"

"I don't have to talk to you," she says from the table. "I don't see why I should."

"The rose we found in Gilly's dresser. You said Frank might know something about it. What did you mean?"

She will not answer, and she looks angry and full of hate as she sits at the table and cradles the coffee cup in both hands.

"Mrs. Paulsson, do you think Frank might have done something to Gilly?"

"I don't know who left the rose," she says, staring at the same spot on the wall she stared at when Scarpetta was here yesterday. "I know I didn't. I know it wasn't there before, not out in her room, not where I could see it. And I'd been in her drawers. I went in them the day before, putting away laundry and things. Gilly was bad about putting things away. I was always picking up after her. I never saw anything like it. She couldn't put something back to save her." She catches herself and falls silent, staring at the wall.

Scarpetta waits to see if she will say more. What must be a minute passes, and the silence is heavy.

"The worst thing was the kitchen," Mrs. Paulsson finally says. "Taking out food and just leaving it on the counter. Even ice cream. Can't tell you how much food I threw out." Her face collapses into grief. "And milk. Always pouring milk down the sink because she left it out half the day." Her voice rises and falls and shakes. "Do you know what it's like to pick up after somebody all the damn time?"

"Yes," Scarpetta says. "That's one reason I'm divorced."

"Well, he's not much better," she says, staring off. "Between the two of them that's all I did, pick up."

"If Frank did something to Gilly, what do you think it might have been?" Scarpetta asks, and she is careful not to ask questions that can be answered with a simple yes or no.

Mrs. Paulsson stares at the wall, not blinking. "In his own way he did something."

"I'm talking physically. Gilly is dead."

Her eyes fill with tears and she roughly wipes them with a hand as she stares at the wall. "He wasn't here when it happened. Not in this house, not that I know of."

"When what happened?"

"While I was gone to the drugstore. Whatever it was happened then." She wipes her eyes again. "The window was open when I came home. It wasn't when I left. I don't know if she opened it. I'm not saying Frank did it. I'm saying he has something to do with it. Everything he got near died or was ruined. Kind of funny to think that about someone who's a doctor. You should know."

"I'm going to go now, Mrs. Paulsson. I know this hasn't been an easy conversation, none of it has. You've got my cell phone number. If you think of anything that is important, I want you to call me."

She nods, staring and crying.

"Maybe someone's been in this house before whom we ought to know about. Someone besides Frank. Maybe someone Frank had over, someone he knew. Maybe someone who played the game."

She doesn't get up from her chair as Scarpetta moves to the doorway.

"Anyone at all who might come to your mind," Scarpetta says. "Gilly didn't die of the flu," she repeats. "We need to know what happened, exactly what happened to her. We will know. Sooner or later. I believe you'd rather have it sooner, wouldn't you?"

She just stares at the wall.

"You can call me anytime," Scarpetta says. "I'm going to go now. If you need something, you can call me. I could use a couple of large trash bags if you have them."

"Under the sink. If they're for what I think, you don't need them," she mutters.

Scarpetta opens the cupboard under the sink and pulls four large plastic trash bags out of a box. "I'll take them anyway," she replies. "Hopefully I won't need them."

She stops by the bedroom and collects the balled-up linens, the boots, and the t-shirt, and places them inside the plastic bags. In the living room she puts on her coat and steps back out into the rain, carrying four bags, two heavy with linens, the other two having nothing in them but a t-shirt and a pair of boots. Puddles on the brick walk splash over her shoes and cold water soaks her feet, and the rain is half frozen as it slaps down all around her.

Chapter 32.

Inside the Other Way Lounge it is very dark, and the women who work here have stopped giving Edgar Allan Pogue sidelong looks that at first were curious, then disdainful, and finally indifferent before stopping altogether. He picks at the stem of a maraschino cherry and takes his time tying it in a knot.

He drinks Bleeding Sunsets in the Other Way, a specialty of the house that is a mixture of vodka and Other Stuff, as he thinks of it, Other Stuff that is orange and red and drifts unevenly to the bottom of the glass. A Bleeding Sunset looks like a sunset until a few tilts of the glass mix the liquids and syrups and Other Stuff together, and then the drink is simply orangish. When the ice melts, whatever is left in his glass looks like those orange drinks he used to get as a kid. They were in plastic oranges and he drank them out of green straws that were supposed to look like stems, and the orange drink was diluted and boring, but the plastic orange it came in always promised that the drink would be fresh and delicious. He would beg his mother to buy him one of the plastic oranges every time they came to South Florida, and every time he got disappointed again.

People are like those plastic oranges and what's in them. People are one thing to look at and another thing to taste. He lifts his glass and swirls the orangish swill that is left in the bottom. He thinks about ordering another Bleeding Sunset as he calculates how much cash he has left and also takes into account his sobriety. He isn't a drunk. He has never been drunk in his life. He worries excessively about being drunk and can't drink a Bleeding Sunset or any other concoction without analyzing every ounce he swallows, worrying about the effect. He also worries about being fat, and alcohol is fattening. His mother was fat. She got fatter in time, and it was a shame because she had been pretty once. It runs in the family, she used to say. You keep eating like that and you'll see what I mean, she used to say. That's the way it starts, right around the middle, she used to say.

"I'll have one more," Edgar Allan Pogue says to whoever might be listening.

The Other Way is like a very small clubroom scattered with wooden tables covered with black cloths. There are candles on the tables, but they have never been lit when he's here. In a corner is a pool table, but no one has played pool when he's here, and he suspects that the clients here are not interested in pool and the scarred table with its red felt cloth might be left over from an earlier incarnation. Quite likely the Other Way was something else once. Everything was something else once.

"I believe I'll have one more," he says.

The women who work here are hostesses, not waitresses, and they expect to be treated like hostesses. Gentlemen drift in and out of the Other Way and do not snap their fingers at the ladies because they are hostesses and demand respect, so much respect that Pogue feels they are doing him a favor to let him come in and spend his money on their runny, bloody Bleeding Sunsets. His eyes move in the dark and he sees the redhead. She wears a skimpy, short black jumper that should have a blouse under it but doesn't. The jumper barely covers what she needs to cover, and he has never seen her bend over unless it is for reasons other than brushing off a tablecloth or setting down a drink. She bends over to give special men something to see, those special men who tip well and know how to talk the talk. The jumper has a bib that is nothing more than a square of black cloth smaller than a sheet of typing paper and held up by two black straps. The bib is loose. When she leans into a conversation or to pick up an empty glass, she jiggles inside the bib and may even spill out of it, but it is dark, very dark, and she has not bent over his table and probably won't and he cannot see well from where he sits.

He gets up from his table near the door because he has no desire to yell out that he wants another Bleeding Sunset, and he's no longer sure he wants one. He keeps thinking of the bright plastic orange with the green straw, and the more he sees it and remembers his disappointment, the more unfair it is. He stands by the table and reaches into a pocket and pulls out a twenty. Money in the Other Way is what it takes, like steak to a dog, he thinks. The redhead clicks over in her little stilt-high pointed shoes, jiggling inside her bib, pumping inside her tight little skirt. Up close, she is old. She is fifty-seven or fifty-eight, maybe sixty.

"You heading out, hon?" She plucks the twenty off the table and doesn't look at him.

There is a mole on her right cheek and it is drawn on, probably with eyeliner. He could have done a much better job. "I wanted another one," he says.

"Don't we all, hon." Her laughter reminds him of a cat in pain. "Hold the phone and I'll bring ya one."

"It's too late," he says.

"Bessie girl, where's my whisky?" a quiet man asks from a nearby table.

Pogue saw him earlier, saw him drive up in a big new Cadillac, a silver one. He is very old, at least eighty or eighty-one or eighty-two, and dressed in a pale blue seersucker suit and pale blue tie. Bessie shakes and bounces over to him and suddenly Pogue is gone even though he hasn't left yet. So he leaves. He may as well leave since he is already gone. He walks out the heavy dark door, out into the gravel parking lot, out into the dark, out to the black olive trees and palms along the sidewalk. He stands in the dense shadows of the trees and looks at the Shell station across North 26th Avenue, at the big seashell lit up bright yellow in the night, and he feels the warm breeze and is content to just stand for a few minutes, looking.

The lit-up shell makes him think of the plastic oranges again. He doesn't know why, unless his mother used to buy the drinks for him at gas stations, and maybe she did. That would make sense if she bought them now and then, probably for a dime apiece when they were driving from Virginia to Florida, to Vero Beach every summer to visit her mother, who had money, a lot of it. He and his mother always stayed in a place called the Driftwood Inn, and he doesn't remember much about it except it looked like it was built of driftwood and at night he slept on the same inflated plastic raft that he floated on during the day.

The raft was not very big and his arms and legs hung off it the same way they did when he was paddling around in the waves, and that was what he slept on in the living room while his mother stayed inside the bedroom with the door locked, the only air conditioner rattling from the window inside her closed-up and locked bedroom. He remembers how hot and sweaty he got, how his sunburned skin stuck to the plastic raft and every time he moved it felt like a Band-Aid being ripped off, all night long, all week long. That was their vacation. It was the only one they took each year, in the summer, always in August.

Pogue watches headlights coming and taillights going, bright white and red eyes flying by in the night, and he looks up ahead to his left and waits for the traffic light to change. When it does, the traffic slows, and then he trots across the clear lane of eastbound traffic and darts between cars in the westbound lane. At the Shell station, he looks up at the bright yellow shell floating high above him in the dark and he watches an old man in baggy shorts pumping gas at one pump and another old man in a rumpled suit pumping gas at a different pump. Pogue stays in the shadows and moves silently to the glass door and a bell jingles as he walks inside and heads straight back to the drink machines. The lady at the counter is ringing up a bag of chips, a six-pack of beer, and gas, and doesn't look at him.

Near the coffee machine is the soda machine, and he takes five of the biggest plastic cups and lids and walks up to the counter with them. The cups are bright with cartoon designs and the lids he picks out are white with a little spout for drinking. He sets the cups and lids on the counter.

"Do you have any plastic oranges with green straws? Orange drinks?" he asks the lady behind the counter.

"What?" She frowns and picks up one of the cups. "There's nothing in these. You buying Big Slurps or not?"

"Not," he says. "I just want the cups and the lids."

"We don't sell just cups."

"That's all I want," he says.

She peers over her glasses to look at his face, and he wonders what she sees when she looks at his face like that. "We don't sell just the cups, I'm telling you."

"I'd rather buy the orange drinks if you've got them," he replies.

"What orange drinks?" Her impatience flares. "See that big cooler back there? What's in there is what we got."

"They're in plastic oranges that look just like oranges and come with a green straw."