The Last Policeman Part 13

She looks down at her hands, then back up at me, and that's it, our business is concluded. We sit there in easy morning silence, two human beings framed by the single window of a small white kitchen, the sun struggling to make itself known outside through the dampening gray of the low-hanging clouds. I've got a pretty decent view out here, especially first thing in the morning: a nice little copse of winter pine, the farmland beyond, deer tracks dancing across the snow.

"You'll make a great detective one day, Officer McConnell."

"Oh, I know," she says, flash of a smile, drains her coffee. "I know I will."

Turning on the phone I am greeted by a home-screen picture of Kyle Littlejohn, Peter Zell's nephew, in action on the ice, giant hockey mask covering his face, elbows jutted out to either side.

Kid must be terrified, I think, and I close my eyes to the thought, blink it away. Stay on target. Stay focused.

My first observation is that, within the three-month period covered by the list of "recent calls," there have been two calls placed to the number listed as Sophia Littlejohn's. One was last Sunday at 9:45 a.m., and it was twelve seconds long: just long enough for him to have gotten her voicemail or, say, for her to have answered, recognized his voice, and hung up. The second call, thirteen seconds, was on Monday, the day of his death, at 11:30 a.m.

I've got my blue book out and I'm writing down these observations and reflections, the pencil scritching rapidly, in the background the burbling of my second pot of coffee.

My second observation is that there have been seven conversations within that same three-month period, with the contact listed as "JTT." Most were on Mondays, in the afternoon, perhaps making arrangements to go see that night's Distant Pale Glimmers. The final call, incoming, lasting a minute and forty seconds, this past Monday at 1:15.

Interesting-interesting-very interesting. Thank you again, Officer McConnell.

It's my third observation that really gets my heart pumping, that's got me sitting here at the table with the phone in my hand, ignoring the eager beeping of the coffeemaker, staring at the screen, my mind rolling and gunning. Because there's a number with no name a.s.signed to it, to which Peter Zell had placed a twenty-two-second telephone call at ten o'clock on the night of his death.

And a forty-two-second call at exactly ten o'clock the night before that.

I scroll through the list again, my fingers dancing across the screen, faster and faster. Every night, the same number. Ten o'clock. Outgoing call. Call less than a minute long. Every single night.

Peter Zell's phone is getting service in my house, two bars, the same as me. I call the mystery number and it is picked up after two rings.

"h.e.l.lo?"

The voice answers as if from within a haze, whispering, confused-which is totally understandable. You don't get calls every day from a dead man's cell phone.

But I recognize her right away.

"Ms. Eddes? It's Detective Henry Palace, from the Concord Police Department. I'm afraid we're going to need to chat again."

She's early, but I'm even earlier, and Ms. Eddes sees me waiting and comes right over. I half rise, the ghost of my father in the small ritual gesture of politeness, and she slides into her side of the booth. And then, before I am fully back in my seat, I tell her I appreciate her coming, and she's got to tell me everything she knows about Peter Zell and the circ.u.mstances surrounding his death.

"My goodness, Detective," she says mildly, lifting up the thick glossy menu. "You don't mess around."

"No, ma'am."

And I give it to her again, my whole tough-guy deadpan speech about how she's got to tell me everything she knows. She lied to me before, left things out, and I'm trying to make it clear that such omissions will not be tolerated. Naomi Eddes looks back at me with raised eyebrows. She's wearing dark red lipstick, her eyes are dark and wide. The white curve of her scalp.

"And what if I don't?" she says, looking down at her menu, untroubled. "If I don't tell you everything, I mean."

"The thing is, you're a material witness, Ms. Eddes." I practiced this speech several times this morning, hoping I wouldn't have to deliver it. "Given the information I now have, I mean the fact that your number is all over the victim's phone ..."

I should have practiced more; this sort of tough-as-nails posturing is a lot easier with Victor France. "And given that you chose, last time we spoke, to keep that information to yourself. The fact is, I have cause to take you in."

"Take me in?"

"Have you held. Under state statutes. Federal, also. Revised New Hampshire criminal code, section-" I pluck a sugar packet from the caddy in the center of the table. "I'd have to look up the section."

"Okay." She nods solemnly. "Understood." She smiles, and I exhale, but she's not done. "Held for how long?"

"For the ..." I look down, look away. I give the bad news to the sugar packet. "Held for the rest of it."

"So, in other words, if I don't start spilling everything right this second," she says, "then you'll throw me in a deep, dark dungeon and leave me there until Maia makes landfall and all the world is consumed in darkness. Is that it, Detective Palace?"

I nod without speaking, look up and find her smiling still.

"Well, Detective, I do not think you would do that."

"Why not?"

"Because I think you have a little bit of a crush on me."

I don't know what to say to that, I really don't, but my hands are really doing a number on the crimped paper border of this sugar packet. Ruth-Ann comes over, fills my coffee, and takes Ms. Eddes's order for an unsweetened iced tea. Ruth-Ann scowls at the little mound of sugar I've left on her table and heads back to the kitchen.

"Ms. Eddes, on Monday morning you told me you weren't that close to Peter Zell. It turns out this is not true."

She purses her lips, exhales.

"Can we start with something else, please?" she says. "Aren't you wondering why I'm bald?"

"No." I turn a page in my blue book and begin to recite. " 'Detective Palace: You're Mr. Gompers's executive a.s.sistant?' 'Ms. Eddes: Please. Secretary.' "

"You wrote all that down?" She's unwrapping her cutlery bundle, idly playing with her fork.

" 'Detective Palace: Did you know the victim well?' 'Ms. Eddes: To be totally honest, I'm not sure I would have noticed him not being here. Like I said, we weren't that close.' "

I set down my book and lean forward across the table, lift the cutlery from her hands like a gentle parent. "If you weren't that close, why did he call you every night, Ms. Eddes?"

She takes her fork back. "Why don't you need to ask me why I'm bald? Do you think I have cancer?"

"No, ma'am." I scratch my mustache. "I think, based on the length and curve of your eyelashes, that you have very long, thick hair. I think you decided that, with the world ending, it was no longer worth the time and trouble to deal with it. Style it and comb it and all that woman-type stuff."

She looks at me, rubs a palm across her scalp. "That's very clever, Detective Palace."

"Thanks." I nod. "Tell me about Peter Zell."

"Let's order first."

"Ms. Eddes."

She raises her hands, palms up, imploring. "Please?"

"All right. We'll order first."

Because I know, now, that she's going to talk. Whatever she's holding back, she's going to give it to me, I can feel it, it's only a matter of time, and I'm starting to get this kind of powerful nervousness, a sweet humming antic.i.p.ation against my ribs, like when you're on a date and you know that there will be a goodnight kiss-maybe more than a kiss-and it's just a matter of time.

Eddes orders the BLT, and Ruth-Ann says, "Good choice, dear." I get the three-egg omelet with whole wheat toast, and Ruth-Ann notes dryly that there are other kinds of food besides eggs.

"So," I say. "We've ordered."

"One more minute. Let's talk about you. Who's your favorite singer?"

"Bob Dylan."

"Favorite book?"

I take a sip of coffee. "Right now I'm reading Gibbon. The Decline and Fall of the Roman Empire."

"Yeah," says Eddes. "But what's your favorite?"

"The Watchmen. It's a graphic novel, from the eighties."

"I know what it is."

"Why did Peter Zell call you every night at exactly ten p.m.?"

"To make sure his watch was working."

"Ms. Eddes."

"He was a morphine addict."

"What?"

I'm staring at the side of her face, she's turned to look out the window, and I'm flabbergasted. It's like she just said that Peter Zell was an Indian chief or a general in the Soviet army.

"A morphine addict?"

"Yeah. I think morphine. Some kind of opiate, for sure. But not now-not anymore-I mean, obviously, he's dead now-but I mean-" She pauses, her fluency has deserted her, and she shakes her head, slows down. "For a period, last year, he was addicted to something, and then he quit."

She keeps talking, and I keep listening, writing down every word she says, even as some hungry part of my mind flies off into a corner, huddles with this new information-a morphine addict, some kind of opiate, for a period-and begins to chew on it, taste its marrow, decide how it might be digested. Decide if it's true.

"Zell was not inclined to outsize living, as you may have discovered," says Eddes. "No booze. No dope. No cigarettes, even. Nothing."

"Right."

Peter played Dungeons & Dragons. Peter alphabetized his breakfast cereal. He arranged actuarial data into tables, a.n.a.lyzed it.

"And then, last summer, with everything, I guess he felt like making a change." She smiles grimly. "A new lifestyle choice. He's telling me all this later, by the way. I wasn't privy to his decision-making process when he started."

I write down last summer and lifestyle choice. Questions are bubbling up on my lips, but I force myself to stay silent, sit still, let her keep talking, now that at last she's begun.

"So, you know, apparently this dalliance in illicit substances, it didn't go that well for him. Or, it went really well at first, and then really poorly. As it happens, you know?"

I nod like I do know, but everything I know is from law-enforcement training materials and cop movies. Personally, I'm like Peter: a beer now and again, maybe. No pot, no smokes, no booze. My whole life. The skinny policeman-to-be at sixteen waiting in the restaurant with a paperback copy of Ender's Game, his friends in the parking lot pulling hits off a purple ceramic head-shop bong and then sliding, giggling, back into the booth-this very booth. Not sure why. Just never been all that interested.

Our food comes, and Eddes pauses to deconstruct her sandwich, making three small piles on her plate: vegetables over here, bread over there, bacon at the farthest edge of the plate. Inside I'm quivering, thinking about these new pieces of the puzzle that are falling from the sky, trying to grasp them and slide each falling brick into the place where it fits, like in that old video game.

The asteroid. The s...o...b..x.

Morphine.

J. T. Toussaint.

12.375. Twelve point three seven five what?

Pay attention, Henry, I tell myself. Listen. Follow where it goes. "Sometime in October, Peter stopped using." Eddes is talking with her big eyes shut, her head tilted back.

"Why?"

"I don't know."

"Okay."

"But he was suffering."

"Withdrawing."

"Yeah. And trying to cover it up. And failing."

I'm writing, trying to piece together the timeline on all this. Old Gompers, his voice soaked in gin and stentorian malaise, explaining how Peter had flipped out at work, screamed at the girl. The asteroid costume. Halloween night.

Eddes keeps talking. "Kicking morphine is not easy, is nearly impossible, in fact. So I volunteered to help the guy out. Told him he had to go home for a little bit, and I would help him."

"Okay ..."

A week? Gompers had said. Two weeks? I thought he was gone, but then he turned up again, no explanation, and he's been the same as ever.

"All I did was, I checked in with him on my way to work each day. Lunch, sometimes. Make sure he had everything he needed, bring him a fresh blanket, soup, whatever. He didn't have any family. No friends."

By the week before Thanksgiving, she says, Peter was up and around, shaky on his feet but ready to go back to work, to insurance data.

"And the phone calls every night?"

"Well, nighttime's the hard part, and he was alone. Each night he would call me to check in. So I knew he was okay, and so he knew there was someone waiting to hear his voice."

"Every night?"

"I used to have a dog," she says. "That was a lot more burdensome."

I'm thinking this over, wishing it rang entirely true.