“I only mention it because I understand she had some issues with the NYPD,” says Sulzman.
“The only ‘issue’ she had is she’s an honest cop,” Langdon snaps. “Truth is, the day she arrived, she was the best cop on our force. She’s as smart as they come, and she’s tough and honest, and she wouldn’t put up with corruption she found in Manhattan. She wouldn’t go along with dirty cops, and she wouldn’t look the other way.”
Sulzman nods and purses his lips.
“It’s not her case, John,” says the chief.
Sulzman appraises the chief, looking him up and down, then square in the eye. “I just care about the result,” he says. “Make it happen. Make sure Noah Walker goes into a very deep hole. Or there will be … consequences.”
“Noah Walker is going into a hole because—”
“Because he’s guilty,” says Sulzman. “Yes, I know. I know, Lang. Just … don’t forget this conversation. You want me as a friend, not an enemy.”
With that, John Sulzman makes his exit, joining some acquaintances under the shade of the tent. Chief Langdon James watches him leave, then decides he’s had enough of this party.
5
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 comforting and a little creepy at the same time.
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. 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. This could cost you your badge, girl.
I start up the hill toward the front door.
6