Kirchner was in his mid-fifties, tall, broadshouldered, with a waistline only slightly softer than it might have been ten years before. His hair was a clean gray, parted on the side and trimmed short around his ears. His smile was pleasant, creating concentric creases on either side of his mouth. He wore glasses with large lenses and thin metal frames. The corners of his eyes drooped slightly, somehow creating an expression of immense sympathy. His suit was close-fitting, well pressed, and the dress shirt he wore looked freshly starched. His tie was conservative, but not somber. Altogether, he presented an air of comforting competence. There was something solid about him; a man who, by nature, looked like he could absorb all the sorrow, confusion, and rage generated by death.

I followed him down a long corridor and into his office, which had served as the dining room when the house was first built. The carpet was pale, the wood floors pickled to the color of milk-washed pine. The drapes were beige, silk or shantung, some fabric with a touch of sheen. The mortuary decor leaned to wainscoting, topped with wallpaper murals showing soft mountain landscapes, forests of ever-greens with paths meandering through the woods. This was a watercolor world; pastel skies piled with clouds, the faintest suggestion of a breeze touching the tips of the wallpaper trees. On either side of the corridor at intervals, wide sliding doors had been pushed back to reveal the slumber rooms, empty of inhabitants, bare except for the ranks of gray metal folding chairs and a few potted ferns. The air was cool, underheated, spiced with the scent of carnations though none were in view. Perhaps it was some weird form of mortuary air freshener wafting through the vents. The entire environment seemed geared to somnambulistic calm.

The office we entered seemed designed for the public, not a book, a file, or a piece of paper in sight. I suspected somewhere in the building Trey Kirchner had an office where the real work was done. Somewhere out of sight, too, was the autopsy paraphernalia: cameras, X-ray equipment, stainless steel table, Stryker saw, scalpels, hanging scale. The room where we sat was as bland as a pudding-no smell of formalin, no murky Mason Jars filled with snippets of organs-giving no indication of the mechanics of the body's preparation for cremation or burial.

"Have a seat," he said, indicating two matching upholstered chairs arranged on either side of a small side table. His manner was relaxed, pleasant, friendly, curiously impersonal. "I take it you're here about Tom's death." He reached over and opened the drawer, pulling out a flat manila folder containing a five-page report. "I ran a copy of the autopsy report in case you're interested."

I took the folder. "Thanks. I thought I might have to talk you into this."

He smiled. "It's public record. I could have popped it in the mail and saved you a trip if Selma'd asked for it sooner."