Kit frowns at him as she unscrews the cap from a bottle of Permount. "Picking pepper out of mashed potatoes? You sent Post-its to Dr. Marcus?"

When Eise gets impassioned, he says exactly what he thinks. He isn't always aware, and probably doesn't really care, that what is inside his head is also escaping from his lips and audible to all. "My point," he says, "is when Marcus or whoever checked the inside of that little girl's mouth, he swabbed it thoroughly with those cotton-tip swabs. Now, he didn't need to do that with the tongue. He cut the tongue out, now didn't he? Had it lying right there on the cutting board and could plainly see there's some sort of residue on it. He could have used a tape lift, but he kept on with the Q-tips, and all I do these days is pick our cotton fibers."

Once a person, particularly a child, has been reduced to a tongue on a cutting board, he becomes nameless. That's the way it goes, without exception. You don't say, we worked our hands into Gilly Paulsson's throat and reflected back tissue with a scalpel and finally removed the organs of Gilly s throat and Gilly's tongue, pulled them right out of that little girl's mouth, or we stuck a needle in little Timmy's left eye and drew vitreous fluid for toxicological testing, or we sawed off the top of Mrs. Jones's skull, removed her brain and discovered a ruptured Berry aneurysm, or it took two doctors to sever the mastoid muscles in Mr. Ford's jaws because he was fully rigorous, very muscular, and we couldn't pry open his mouth.

This is one of those moments of awareness that passes over Eise's thoughts like the shadow of the Dark Bird. That's what he calls it. If he looks up, nothing is there, just an awareness. He won't go any further with truths of this sort because when people's lives become pieces and parts and eventually end up on his slides, it's best not to look too hard for the Dark Bird. The bird's shadow is awful enough.

"I thought Dr. Marcus was too busy and too important to do autopsies," Kit says. "In fact, I can count on one hand the number of times I've even laid eyes on him since he was hired."

"Doesn't matter. He's in charge and makes the policies. He's the one who authorizes all those orders for Q-tips or their generic and cheap equivalent. As far as I'm concerned, everything's his fault."

"Well, I don't think he did the autopsy on the girl. Not on the tractor driver who got killed at the old building either," Kit replies. "No way he would do either one. He'd rather be in charge and boss everybody around."

"How you doing for 'Else Picks'?" Eise asks her, his slender hand agile and steady with the tungsten needle.

He's been known to go through obsessive-compulsive spells of handcrafting his tungsten needles, which somewhat magically appear on the desks of his colleagues.

"I can always use another Eise Pick," Kit dubiously replies, as if she really doesn't want one, but in his fantasies, she is reticent because she doesn't want to inconvenience him. "You know what? I'm not going to permanently mount this hair." She screws the cap back on the bottle of Permount.

"How many you got from the sick girl?"

"Three," Kit replies. "It'll be just my luck DNA will decide to do something with the hairs, although they didn't seem interested last week. So I'm not going to permanently mount this one or the others. Everybody's acting weird these days. Jessie was in a scraping room when I got here. They've got all the linens in there. Apparently DNA's looking for something they must not have found the first time, and Jessie about bit my head off and all I did was ask what was going on. Something strange is going on. They already had those linens in the scraping room more than a week ago, as you and I both know. Where do you think I got these hairs from? Strange. Maybe it's the holidays. I haven't even thought about Christmas shopping."

She dips needle-tipped forceps into a small transparent plastic evidence bag and gently lifts out another hair. It looks five or six inches long and black and curly from where Eise sits, and he watches Kit drape it over a slide and add a drop of xylene and a cover slip, mounting a weightless, barely visible piece of evidence that was recovered from the bed linens of the same dead girl who had paint chips and strange brown-gray particles of dust in her mouth.

"Well, Dr. Marcus certainly isn't Dr. Scarpetta," Kit then says.

"Only took you Haifa decade to realize they aren't one and the same? Let me see. You thought Dr. Scarpetta had a complete makeover and turned into that squirrelly little old maid Chief Bozo down there in the corner office, and now you've had an aha moment and realize they're two totally different people. And you figured it out without DNA, God bless you, girl. Why, you're so smart you should star in your own TV show."

"You're a crazy man," Kit says, laughing so hard she leans back from the microscope, worried her evidence will blow away on gusts of her breath}' guffaws.

"loo many years of sniffing xylene, girl. I got cancer of the personality."

"Oh God," she says, taking a deep breath. "My point is, you wouldn't be picking cotton fibers off your slides if Dr. Scarpetta had done the case, any of the cases. She's here, you know. She was brought in because of the sick girl, the Paulsson girl. That's the buzz."

"You're fooling me." Eise can't believe it.

"If you didn't always leave before everybody else and weren't so antisocial, maybe you would be in on a few secrets," she says.

"Ho Ho Ho and a bottle of rum, girl." While it is true that Eise is not one to linger in the lab beyond five P.M., he is also the first scientist to arrive in the morning, rarely later than 6:15. "I would think Dr. Big Shot would be the last person called in for any reason," he says.

"Dr. Big Shot? Where'd that come from?"

"Peanut Gallery."

"You must not know her. People who do don't call her that." Kit places the slide on the microscope's stage. "Me? I'd call her in a heartbeat. And I wouldn't wait two weeks or even two minutes. This hair's dyed black as pitch, just like the other two. Shoot. Forget my doing anything with it. Can't see the pigment granules and might have some surface anti-frizz type product on it, too. Bet they're going to decide on mitochondrial. Suddenly, DNA's going to send off my three precious hairs to the Almighty Bode Lab. You wait. Strange, strange. Maybe Dr. Scarpetta's figured out that poor little girl was murdered. Maybe that's what's going on."

"Don't mount the hairs," Rise says, and in the old days, DNA was just forensic science. Now DNA is the silver bullet, the platinum record, the superstar, and gets all the money and all the glory. Eise never offers his "Eise Picks" to anyone in DNA.

"Don't worry, I'm not mounting anything," Kit says, peering into her microscope. "No line of demarcation, now that's interesting. A little weird for a dyed hair. Means it didn't grow out any after it was dyed. Not even a micron."

She moves the slide around under the objective lens as Eise looks on, somewhat interested. "No root? Fall out or been pulled, broken, buckled, damaged by a curling iron, singed, tapered, or split distal tip? Or cut, squared, or angled? Come on girl, wake me up," he says.

"Definitely clean as a whistle, no root. Distal tip is cut at an angle. All three hairs are dyed black, no root, and that's weird. Both ends are cut in all three of them. Not just one hair but all three of them. Not pulled, broken, or pulled out by the root. The hairs didn't just fall out. They were cut. Now tell me why hair would be cut on both ends?"

"Maybe the person just came from the hairdresser and maybe some of the stray cut hair was on this person's clothing or still in his hair or had been on the rug or wherever for a while."

Kit is frowning. "If Dr. Scarpetta's in the building, I'd like to see her. Just say hi. I hated when she left. In my opinion, it was the second time this damn city lost the War. That damn fool Dr. Marcus. You know what? I'm not feeling too good. I woke up with a headache and my joints hurt."