Blow Fly (Kay Scarpetta #12)(82)
He keeps his hair shorn close to his scalp, and although he appears quite capable of rough sex and beating his woman, one wouldn't be likely to suspect that his preference is abducting young girls, torturing them to death and committing acts of necrophilia on their dead bodies, in some instances returning to the shallow graves where he buried them and digging them up for further acts of perversion until they are too decomposed for even him to stand it.
Beast is called Beast not because he looks like a beast, but because he digs up carrion like a beast and is rumored to have cannibalized some of his victims, too. Necrophilia, cannibalism and pedophilia are transgressions that are repugnant to the typical violent offender on death row, who might have raped, strangled, slashed, dismembered or chained his victims in a basement (to mention but a few examples), but violating children or dead bodies and eating people are serious enough offenses that a number of the inmates on Beast's cell block would like nothing better than to kill him.
Jean-Baptiste doesn't bide his time imagining creative ways to smash Beast's bones or crush his windpipe-idle fantasies for those who can't get closer than ten feet to Beast. The necessity of keeping inmates separated is obvious. When people are sentenced to die, they obviously have nothing to lose by killing again, although in Jean-Baptiste's way of thinking, he has never had anything to lose, and with nothing to lose, there is nothing to gain, and life does not exist. References to those damned at birth are descriptive and dehumanizing and, in Jean-Baptiste's case, trace back as far as his earliest memories.
Let's see.
He thinks from his magnetizing metal toilet seat. He remembers being three. He remembers his mother roughly ushering him into the bathroom, where he could see the Seine from the window, and inevitably at a very young age connecting the river to bathing. He remembers his mother lathering his frail body with perfumed soap and ordering him to sit as still as a stone while she scraped baby-fine hair from his face, arms, neck, back, legs, feet and on and on with his father's sterling silver-handled straight razor.
Sometimes she would scream at Jean-Baptiste if she accidentally nicked his finger or, occasionally, several fingers, as if her clumsiness was his fault. Knuckles, in particular, are very difficult. Madame Chandonnes tremors and drunken rages put an end to shaving her ugly son when she almost sliced off Jean-Baptiste's left nipple, and his father had to summon the family physician, Monsieur Raynaud, who coaxed Jean-Baptiste to be un grand gar?on as the little boy shrieked each time the needle flashed in and out of bloody flesh, reattaching the pale nipple, which dangled by a thread of tissue from Jean-Baptiste's downy breast.
His drunken mother wept and wrung her hands and blamed le petit monstre vilain for not sitting still. A servant mopped up the little monster's blood while the little monster's father smoked French cigarettes and complained about the burden of having a son who was born wearing un costume de singe-a monkey suit.
Monsieur Chandonne could talk, joke and complain freely with Monsieur Raynaud, the only physician allowed contact with Jean-Baptiste when he, the little monster, une esp?ce d'imbecile, born in a monkey suit, lived in the family hotel particulier, where his bedroom was in the basement. No medical records, including a birth certificate, exist. Monsieur Raynaud made sure of this and ministered to Jean-Baptiste only in emergencies, which did not include the usual illnesses or injuries, such as severe earaches, high fevers, burns, sprained ankles or wrists, a stepped-on nail and other medical misfortunes that send most children to the family doctor. Now Monsieur Raynaud is an old man. He will not dare speak of Jean-Baptiste, even if the press will pay large fees for secrets about his notorious former patient.
81
SHAME AND FEAR overwhelm Lucy. She has told Berger in detail what happened in room 511 at the Radisson Hotel, but not who actually shot Rocco.
"Who pulled the trigger, Lucy?" Berger insists on knowing.
"It doesn't matter."
"Since you won't answer the question, I'll assume you did!"
Lucy says nothing.
Berger doesn't move as she looks out at dazzling city lights that give way to the darkness of the Hudson and become the flickering bright urban plains of New Jersey. The space between her and Lucy could not seem more impossible, as if Berger is on the other side of the expansive glass.
Lucy quietly steps closer, wanting to touch the curve of Berger's shoulder, terrified that should she dare, Berger might fall from reach forever, as if she is supported by nothing but air forty-five floors above the streets.
"Marino can't know. Not ever," Lucy says. "My aunt can't know. Not ever."
"I should hate you," Berger says.
She smells faintly of perfume, a strong scent, lightly applied, and it touches Lucy's thoughts that Berger didn't weat perfume for her husband. He isn't here.
"Call it what you want," Berger continues. "You and Rudy committed murder."
"Words," Lucy replies. "The casualties of war. Self-defense. Judicial homicide. Home protection. We have words, legal excuses for committing acts that should be inexcusable, Jaime. I promise you, there was no joy in it, no delicious flavor of revenge. He was a pitiful coward, blubbering and sorry about only one thing in his entire cruel, worthless life: that it was his turn to pay the price. How could Marino have a son like that? What markers in the human genome came together to spew out Rocco?"
"Who else knows?"