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“Looks like he slept in it first.”
Isaac likes that. “Seriously, Murphy. You’re looking for suspects? With all you know about this case, which is diddly-squat, you don’t like Noah Walker for the murders?”
“I’m not saying that,” I answer.
“You’re not denying it, either.”
I consider that. He’s right, of course. What the hell do I know about Noah Walker or the evidence against him? He may not have jumped out at me as someone who’d just committed a brutal double murder, but when do public faces ever match private misdeeds? I once busted a second-grade schoolteacher who was selling heroin to the high school kids. And a candy striper who was boning the corpses in the basement of the hospital. You never know people. And I’d known Noah Walker for all of thirty minutes.
“Go home,” says Isaac. “Go work out—”
Already did this morning.
“—or see the ocean—”
I’ve seen it already. It’s a really big body of water.
“—or have a drink.”
Yeah, a glass of wine might be in my future. But first, I’m going to take a quick detour. A detour that could probably get me in a lot of trouble.
AS THE FUNERAL for Melanie Phillips ends, I say good-bye to my partner, Detective Isaac Marks, without telling him where I’m going. He doesn’t need to know, and I don’t know if he’d keep the information to himself. I’m not yet sure where his loyalties lie, and I’m not going to make the same mistake I made with the NYPD.
I decide to walk, heading south from the cemetery toward the Atlantic. I always underestimate the distance to the ocean, but it’s a nice day for a walk, even if a little steamy. And I enjoy the houses just south of Main Street along this road, the white-trimmed Cape Cods with cedar shingles whose colors have grown richer with age from all the precipitation that comes with proximity to the ocean. Some are bigger, some are newer, but these houses generally look the same, which I find both comforting and a little creepy.
As I get closer to the ocean, the plots of land get wider, the houses get bigger, and the privacy shrubs flanking them get taller. I stop when I reach shrubbery that’s a good ten feet high. I know I’ve found the place because the majestic wrought-iron gates at the end of the driveway, which are slightly parted, are adorned with black-and-yellow tape that says CRIME SCENE DO NOT CROSS.
I slide between the gates without breaking the seal. I start up the driveway, but it curves off to some kind of carriage house up a hill, which once upon a time probably served as a stable for the horses and possibly the servants’ quarters. So I take the stone path that will eventually lead me to the front door.
In the center of the wide expanse of grass, just before it slopes dramatically upward, there is a small stone fountain, with a monument jutting up that bears a crest and an inscription. I lean over the fountain to take a closer look. The small tablet of stone features a bird in the center, with a hooked beak and a long tail feather, encircled by little symbols, each of which appears to be the letter X, but which upon closer inspection is a series of crisscrossing daggers.
And then, ka-boom.
It hits me, the rush, the pressure in my chest, the stranglehold to my throat, I can’t breathe, I can’t see, I’m weightless. Help me, somebody please help me—
I stagger backward, almost losing my balance, and suck in a deep, delicious breath of air.
“Wow,” I say into the warm breeze. Easy, girl. Take it easy. I wipe greasy sweat from my forehead and inhale and exhale a few more times to slow my pulse.
Beneath the monument’s crest, carved into the stone in a thick Gothic font, are these words:
Cecilia, O Cecilia
Life was death disguised
Okay, that’s pretty creepy. I take a photo of the monument with my smartphone. Now front and center before the house, I take my first good look.
The mansion peering down at me from atop the hill is a Gothic structure of faded multicolored limestone. It has a Victorian look to it, with multiple rooflines, all of them steeply pitched, fancy turrets, chimneys grouped at each end. There are elaborate medieval-style accents on the facade. Every peak is topped with an ornament that ends in a sharp point, like spears aimed at the gods. The windows are long and narrow, clover-shaped, with stained glass. The house is like one gigantic, imperious frown.
I’ve heard some things about this house, read some things, even passed by it many times, but seeing it up close like this sends a chill through me.
It is part cathedral and part castle. It is a scowling, menacing, imposing structure, both regal and haunting, almost romantic in its gloom.
All it’s missing is a drawbridge and a moat filled with crocodiles.
This is 7 Ocean Drive. This is what they call the Murder House.
This isn’t your case, I remind myself. This isn’t your problem.
