“Was it heroin?”
She’s surprised. “How did you know?”
“It’s just a guess. I saw some things in her house. There were needle caps all over her living room.”
“Well, you guessed right,” Briggs says. “You don’t hear about older people using hard drugs, but the Philly hospitals see them every week. It’s more common than you think. Maybe her visitor was a dealer. Maybe they got in an argument. We’re still piecing it together.” She offers me another business card but I tell her I still have the first one. “If you think of anything else, give me a call, okay?”
After Briggs leaves, Teddy opens the door to the shower stall, squeaky clean and dressed in his fire truck pajamas. I give him a hug and tell him I’ll see him in the morning, to say my goodbyes. Then I walk him over to the patio and send him inside the house.
I manage to keep my composure until I’m back inside my cottage and I’ve locked my door. Then I fall forward onto my bed and bury my face in my pillow. There have been so many bombshell revelations in the last thirty minutes, I can’t begin to process them all. It’s too overwhelming. The pieces of the puzzle seem more scattered than ever.
But there’s one thing I know for sure:
The Maxwells have been lying to me.
26
I wait until dark, until I’m sure Teddy is asleep in bed, before going into the house to speak with Ted and Caroline. They’re sitting in the den, at opposite ends of the sofa, surrounded by all my crazy sketches of dark forests, lost children, and winged angels. In one corner of the room, there’s a drop cloth and some painting supplies—rollers, drywall compound, two gallons of Benjamin Moore Atrium White. Like they’re planning to paint in the morning, after Russell takes me away.
Caroline is sipping a glass of wine and there’s a bottle of Kendall-Jackson merlot within reach. Ted is holding a mug of hot tea, he’s carefully blowing across its surface, and they’re listening to some yacht rock radio station on their Alexa speaker. They look happy to see me.
“We were hoping you’d come by,” Caroline says. “Are you all packed?”
“Just about.”
Ted holds out his mug, encouraging me to smell it. “I just boiled some water. For ginkgo biloba tea. Can I pour you some?”
“No, that’s all right.”
“I think you’d like it, Mallory. It’s good for inflammation. After a long workout. Let me get you some.” It’s not really a choice anymore. He darts into the kitchen and I swear I see a flicker of annoyance in Caroline’s eyes.
But all she says is, “I hope you enjoyed the dinner?”
“Yes. It was really nice. Thank you.”
“I’m glad we could give you a proper sendoff. And I think it was good for Teddy. To give him a sense of closure. It’s important for children.”
There’s an awkward pause. I know the questions I need to ask, but I want to wait until Ted is back, so I can see both of their reactions. I allow my eyes to drift around the room and my gaze lands on two drawings that I’d somehow overlooked—small and fairly close to the floor. It’s no wonder Adrian and I missed them. The pictures are near an electrical outlet—in fact, one drawing is composed around the outlet, as if the electricity was surging out of the socket and into the picture. The angel is wielding some kind of magic wand, pressing it to Anya’s chest—surrounding her in a field of energy, paralyzing her.
“Is that a Vipertek stun gun?”
Caroline smiles over her glass of wine. “I’m sorry?”
“In these drawings. I didn’t notice them on Friday. Doesn’t her wand look just like your Viper?”
Caroline reaches for the wine bottle and tops off her glass. “If we try to interpret all the symbols in these pictures, it’s going to be a long night.”
But I know these pictures aren’t symbols. They’re part of the sequence, they’re the missing pieces. Adrian was right about the cryptic black scribbles. Anya’s telling us she’s finished, he’d said. There are no more drawings. We already have everything we need.
Ted is back in less than a minute with a steaming mug of gray liquid. It looks like dirty mop water and smells like a pet store. I reach for a coaster and set it down on the coffee table. “It doesn’t need to steep,” Ted says. “You can drink whenever it’s cool enough.”
Then he sits next to his wife and fidgets with his laptop, changing Marvin Gaye to Joni Mitchell, that song about rows and flows of angel hair, and ice cream castles in the air.