Read Online Jordan's Stormy Banks: A Body Farm Novella by Jefferson Bass - Free Book Online Page B
Authors: Jefferson Bass
Tags: Suspense, Literature & Fiction, Contemporary, Thrillers, Mystery; Thriller & Suspense, Contemporary Fiction
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sheriff.
“Sometimes more than that, even,” I said. “An FBI profiler I worked with a few years back told me about a California killer who spent a lot of time hanging out in a cop bar, making friends, talking about cases. Ed Kemper—‘Big Ed’—was the guy’s name. When Big Ed finally confessed to a string of murders and dismemberments, his cop buddies thought he was joking.”
Meffert shrugged. “This Rochelle guy seemed okay,” he said. “He’s got a high-level security clearance, for whatever that’s worth. But like you say, you never know.”
Fifty yards ahead, I saw yellow-and-black crime-scene tape draped around an oval of scrubby foliage and rugged shale. “Did somebody actually stay out here overnight to secure the scene?” I asked.
Cotterell made a guttural, grunting sound, which I gradually realized was a laugh. “ Secure the scene? Secure it from who, Doc?”
M effert was right about the fossils. Just outside the uneven perimeter of crime-scene tape lay a flagstone-sized slab of black shale, imprinted with a lacelike tracery of ancient leaves. Beside it, angling through the rubble, was a stone rod the length of a baseball bat. Its shape and symmetry made it stand out against the random raggedness of the other rocks, and I stooped for a closer look. Diamond-shaped dimples, thousands of them, dotted the entire surface of the shaft. “I’ll be damned,” I said to Tyler. “Look at that. A lepidodendron.”
“A what?” Tyler set down the bin and squatted beside me. “Butterfly fossil?”
I nudged it with my toe, and it shifted slightly. “Close, but no cigar. Your Latin’s rusty.”
He laughed. “My Latin’s nonexistent.”
“Butterflies are Lepidoptera—‘scaly wings.’ This is a lepidodendron—‘scaly tree’—a stalk from a giant tree fern. Ferns a hundred feet tall. Carboniferous period. That plant is three hundred million years old if it’s a day.”
Tyler grasped the exposed end of the fossil and gently tugged and twisted, extricating it in a succession of rasping clinks. He sighted along its length, studying the intricate geometry of the diamond-shaped pattern. “You sure this is a scaly stem? Not a scaly snake?”
“Those scales are leaf scars,” I said. “Also called leaf cushions. But they do look like reptile scales, for sure. Actually, circus sideshows used to exhibit these as fossilized snakes. You’re a born huckster, Tyler.” I stood up, scanning the ground ahead and catching a telltale flash of grayish white: weathered bone. “But enough with the paleo lesson. We’ve got work to do. Let’s start with pictures.” Tyler laid the fossil aside and opened the equipment bin.
A few years before—when I’d first started working with the police on murder cases—a detective at the Kansas Bureau of Investigation had taught me a crucial forensic lesson: You can never have too many crime-scene photos, because working a crime scene requires dismantling it; destroying it. The KBI agent’s approach to crime-scene photography sounded like something straight from Bonnie and Clyde’s bank-robbery playbook: “Shoot your way in, and shoot your way out”—start with wide shots, then get closer and closer, eventually reversing the process as you’re finishing up and leaving the scene. Tyler had been quick to master the technique, and even before we stepped across the tape at the strip mine, he had the camera up and the shutter clicking. It wasn’t unusual for Tyler or me—sometimes both of us—to come home with a hundred 35-millimeter slides from a death scene, ranging from curbside shots of a house to frame-filling close-ups of a .45-caliber exit wound.
As Tyler shot his way in, so did I, though I was shooting with my eyes and my brain rather than a camera. The pelvis: female, I could tell at a glance; subadult; probably adolescent. The size: small—five feet, plus or minus. As I zoomed in on the skull, I reached out to pluck a seedling that was growing
“Sometimes more than that, even,” I said. “An FBI profiler I worked with a few years back told me about a California killer who spent a lot of time hanging out in a cop bar, making friends, talking about cases. Ed Kemper—‘Big Ed’—was the guy’s name. When Big Ed finally confessed to a string of murders and dismemberments, his cop buddies thought he was joking.”
Meffert shrugged. “This Rochelle guy seemed okay,” he said. “He’s got a high-level security clearance, for whatever that’s worth. But like you say, you never know.”
Fifty yards ahead, I saw yellow-and-black crime-scene tape draped around an oval of scrubby foliage and rugged shale. “Did somebody actually stay out here overnight to secure the scene?” I asked.
Cotterell made a guttural, grunting sound, which I gradually realized was a laugh. “ Secure the scene? Secure it from who, Doc?”
M effert was right about the fossils. Just outside the uneven perimeter of crime-scene tape lay a flagstone-sized slab of black shale, imprinted with a lacelike tracery of ancient leaves. Beside it, angling through the rubble, was a stone rod the length of a baseball bat. Its shape and symmetry made it stand out against the random raggedness of the other rocks, and I stooped for a closer look. Diamond-shaped dimples, thousands of them, dotted the entire surface of the shaft. “I’ll be damned,” I said to Tyler. “Look at that. A lepidodendron.”
“A what?” Tyler set down the bin and squatted beside me. “Butterfly fossil?”
I nudged it with my toe, and it shifted slightly. “Close, but no cigar. Your Latin’s rusty.”
He laughed. “My Latin’s nonexistent.”
“Butterflies are Lepidoptera—‘scaly wings.’ This is a lepidodendron—‘scaly tree’—a stalk from a giant tree fern. Ferns a hundred feet tall. Carboniferous period. That plant is three hundred million years old if it’s a day.”
Tyler grasped the exposed end of the fossil and gently tugged and twisted, extricating it in a succession of rasping clinks. He sighted along its length, studying the intricate geometry of the diamond-shaped pattern. “You sure this is a scaly stem? Not a scaly snake?”
“Those scales are leaf scars,” I said. “Also called leaf cushions. But they do look like reptile scales, for sure. Actually, circus sideshows used to exhibit these as fossilized snakes. You’re a born huckster, Tyler.” I stood up, scanning the ground ahead and catching a telltale flash of grayish white: weathered bone. “But enough with the paleo lesson. We’ve got work to do. Let’s start with pictures.” Tyler laid the fossil aside and opened the equipment bin.
A few years before—when I’d first started working with the police on murder cases—a detective at the Kansas Bureau of Investigation had taught me a crucial forensic lesson: You can never have too many crime-scene photos, because working a crime scene requires dismantling it; destroying it. The KBI agent’s approach to crime-scene photography sounded like something straight from Bonnie and Clyde’s bank-robbery playbook: “Shoot your way in, and shoot your way out”—start with wide shots, then get closer and closer, eventually reversing the process as you’re finishing up and leaving the scene. Tyler had been quick to master the technique, and even before we stepped across the tape at the strip mine, he had the camera up and the shutter clicking. It wasn’t unusual for Tyler or me—sometimes both of us—to come home with a hundred 35-millimeter slides from a death scene, ranging from curbside shots of a house to frame-filling close-ups of a .45-caliber exit wound.
As Tyler shot his way in, so did I, though I was shooting with my eyes and my brain rather than a camera. The pelvis: female, I could tell at a glance; subadult; probably adolescent. The size: small—five feet, plus or minus. As I zoomed in on the skull, I reached out to pluck a seedling that was growing
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