With her fingertip, she moves the paper until the piece of Scotch tape is in the field of view. Nothing, she thinks. Not even a smudge. She could try rosaniline chloride or crystal violet, but now is not the time for that. Maybe later. Sitting down at the desk, she stares at the drawing of the eye. That's all it is, just an eye, the pencil outline of an eye, iris and pupil, fringed in long lashes. A woman's eye, she thinks, drawn with what looks like a number-two pencil. Mounting a digital camera to a coupler, she takes photographs of magnified areas of the drawing, then makes photocopies.
She hears the garage door go up and turns off the UV lamp and the scope and places the drawing back inside the plastic bag. A video screen on the desk shows Rudy backing the Ferrari into the garage. Lucy tries to decide what to do about him as she shuts the library door and quickly skips down the stone steps. She imagines him walking out the door and never coming back and has no idea what would become of her and the secret empire she has created. First there would be the blow, then numbness, then pain, and then she would get over it. This is what she tells herself when she opens the door off the kitchen and he is there, holding up her car keys as if he is holding up a dead mouse by the tail.
"I guess we should go ahead and call die police," she says, taking the keys from him. "Since technically this is an emergency."
"I guess you didn't find prints or anything else important," Rudy says.
"Not with the scope. I'll do the chemicals if the police don't take the drawing. I'd rather they didn't take it. Actually, we won't let them take it. But we should call. See anybody while you were out?" She walks across the kitchen and picks up the phone. "Anybody besides all the women who ran off the road when they saw you coming?" She looks at the key pad and enters 9-1-1.
"No prints so far, Rudy says. "Well, it ain't over til it's over. What about indented writing?"
She shakes her head and says, "I want to report a prowler."
"Is the person on the property now, ma'am?" the operator asks in her calm, capable voice.
"Doesn't appear to be," Lucy said. "But I think this might be related to a B-and-E your department already knows about."
The operator verifies the address and asks the complainant's name because the name of the resident showing up on her video screen is whatever limited liability corporate name Lucy happened to have selected for this particular property. She can't remember what it is. She owns a number of properties and all of them are in different LLC names.
"My name's Tina Franks." Lucy uses the same alias she used last time she called the police, the morning Henri was attacked and Lucy panicked and made the mistake of dialing 911. She tells the operator her address, or more specifically, Tina Franks's address.
"Ma'am, I'm dispatching a unit to your home right now," the operator says.
Good. You happen to know if CSI John Dalessio is on duty?" Lucy talks to the operator easily and with no fear. "He might want to know about this. He responded to my house the other time, so he's familiar." She picks out two apples from a bowl of fruit in the kitchen's center island.
Rudy rolls his eyes and indicates that he can get hold of CSI Dalessio a lot more quickly than the 911 operator can. Lucy smiles at the joke and shines an apple on her jeans and tosses it to him. She buffs the other apple and bites into it as if she's on the phone with a take-out restaurant or the dry cleaner or Home Depot and not the Broward County Sheriff's Department.
"Do you know which detective worked your breaking and entering, originally?" the 911 operator asks. "Normally, we don't contact the crime scene investigator, just the detective."
"All I know is I dealt with CSI Dalessio," Lucy replies. "The don't think a detective ever came to the house, just to the hospital, I guess. When my house guest went to the hospital."
"He's marked off, ma'am, but I can get him a message," the 911 operator says, and she sounds a bit uncertain, and she should be uncertain since CSI John Dalessio is someone the operator has never talked to or ever met or heard on the air. In Lucy's world, a CSI is a Cyber Space Investigator who exists only in whatever computer Lucy or those who work for her hacked into, which in this case is the Broward County Sheriff's Department computer.
"I've got his card. I'll call him. Thanks for your help," Lucy says, disconnecting the line.
She and Rudy stand in the kitchen, eating their apples, looking at each other.
"Kind of a funny thing when you think about it," she says, hoping Rudy will start seeing the situation with the local cops as funny. "We call the police as a formality. Or worse, because it entertains us."
He shrugs his muscular shoulders, crunching into the apple and wiping juice off his mouth with the back of a hand. "Always good to include the local cops. In a limited way, of course. You never know when we might need them for something." Now he's turning the local cops into a game, his favorite game. "You asked for Dalessio, so it's on record. Not our fault he's hard to track down. They'll spend the rest of their careers trying to figure out who the hell Dalessio is and did he quit or get fired or what? Did anyone ever meet him? He'll become a legend, give them something to talk about."
"Him and Tina Franks," Lucy says, chewing a piece of apple.
"Fact is," he replies, "you'd have a hell of a lot harder time proving you're Lucy Farinelli than Tina Franks or whoever else you decide to be on any given day. We've got birth certificates and all the other paper shit for our fake IDs. Hell, I can't tell you where my real birth certificate is."
"I'm not sure I know who I am anymore," she says, handing him a paper towel.
"Me, either." He takes another big bite out of the apple.
"I'm not sure I know who you are, now that you mention it. So you'll answer the door when the cop shows up and have him call CSI Dalessio to pick up the drawing."
"That's the plan." Rudy smiles. "Worked like a charm last time."
Lucy and Rudy keep jump-out bags and crime scene kits at strategic locations, such as residences and vehicles, and it is amazing what they manage to get away with by virtue of ankle-high black leather boots, black polo shirts, black cargo pants, dark windbreakers with forensics on the back in bold yellow letters, the usual camera and other basic equipment, and most important of all, body language and attitude. The simple plan is usually the best one, and after Lucy found Henri and panicked and called 911 for an ambulance, she called Rudy. He changed his clothes and simply walked in her front door after the police had been there a few minutes, and he said he was new with the crime scene unit and the officers didn't have to hang around while he processed the house, and that was fine with them, because to hang around with the crime scene technicians amounts to babysitting in the eyes of cops.
Lucy, or Tina Franks, as she identified herself on that terrible day, offered her own lies to the police that morning. Henri, also given a false name, was a guest visiting from out of town, and while Lucy was in the shower, Henri, who was sleeping off a hangover, heard the intruder and fainted, and because she tends to get hysterical and hyperventilate and may very well have been attacked, Lucy called for an ambulance. No, Lucy never saw the intruder. No, nothing was taken as far as Lucy could tell. No, she doesn't think Henri was sexually assaulted but she ought to be checked at the hospital because that's what people do, right? That's what they do on all those cops shows on television, right?
"Wonder how long it will take them to figure out that CSI Dalessio never seems to show up anywhere except your house," Rudy says, amused. "Damn good thing their department's taken over most of Broward. It's as huge as Lexas and they don't know who the hell is corning or going."