Thomas Kinkade Bridge of Hope painting

Thomas Kinkade Bridge of Hope paintingEdward Hopper Summertime paintingEdward Hopper Night Windows painting
that were not apparent and that were, therefore, suspicious.In any big city, especially in one as dysfunctional as current-day Los Angeles, bodies often arrived at the morgue faster than the medical examiner’s overworked staff could deal with them. Priority was given to victims of violence, to possible victims of medical [165] malpractice, and to those among the castaways were served last.A telephone hung on the wall to the right of the door, as though considerately provided to enable the deceased to order pizza.Most lines permitted only in-facility communication, functioning as intercom links. The last of six lines allowed outgoing calls.Corky keyed in Roman Castevet’s cell-phone number.Roman, a pathologist on the medical examiner’s staff, had just come on deceased who had families waiting to receive their remains for burial.Vagrants without families, often without identification, whose bodies had been discovered in alleyways, in parks, under bridges, who might have succumbed from drug overdoses or from exposure to the elements, or from simple liver failure, were parked here for a few days, for a week, maybe even longer, until the medical examiner’s staff had time to conduct at least cursory