Unmaking Marchant (Page 25)

“Marchant Radcliffe?”

I nod.

“I’m Officer Dirk Eilhert with the county police. I’m not sure where you’re headed off to, but I’m gonna ask that you stay put. We need you to—”

“No!” I shake my head. “I need to make sure everyone’s okay.”

“We’ve been working with the EMTs and we’re told no one is trapped inside.”

“Are you sure? When did they tell you that?”

“Just now.”

“Who’d they get that info from?”

“Manager. I believe the name was Rachel.”

Rachelle. My shoulders loosen. “Good.”

“Do you have any idea how the fire—”

“Hell yeah I do.” I point to the body by a burning chunk of house. “Jesus Cientos did this. Mexican drug lord motherfucker.”

“I know who he is, sir. How did he go down?”

I look from the body to the cop. “I shot him.”

His eyes widen even more, and I wonder if I should be saying these things. He writes something on his clip board, and says, “I need you to wait until we can take you down to the station for your statement—”

“No.” I shake my head. “I’m not leaving. I’ll do it here.”

It takes forever for the right person to arrive, and I forget what I tell him the moment the words leave my mouth, but they work, because he leaves me with his card.

I talk to Rachelle, to Hunter and to Libby. I help people into their cars and thank the firefighters as they start coming down from their ladders. I don’t see Suri Dalton.

Smoke is pouring off the building. It’s black. Nothing but a stone shell.

I wander around it a few times, aware that other people are here, but not sure who they are or what they’re doing. It’s so dark. It doesn’t matter.

Someone comes and wants to talk about insurance, but I tell him to come back later. “It was arson,” I say. “Just ask the cops.”

I drift toward the pool and stand there, looking in the direction of the gardens, of my cottage, where my guns are. I pull a .38 out of my pocket, suddenly surprised that I have it.

I don’t want that thing. I don’t like guns. I throw it into some bushes, beside a fountain, and walk toward the pool.

My skin hurts. I’m hot. I need to get in the water.

I walk in with my eyes on the blackened shell before me. I’m choking on the smoke, but I don’t care. I’m not leaving.

The water’s cold—surprisingly so—and for a second my whole body freezes up. I know I should probably get out—I’m gonna send myself into some kind of shock, going from hot to cold like this—but the sensation is mind-numbing. I take a few more steps into the water, deep enough now so it laps at my chin.

I look up at the sky, an army of stars blotted by writhing smoke. An army of stars, looking down on the ruin all around me. I sink in to my nose, and as the water seeps into my ears, I remember something I heard a long time ago. Something I read somewhere I can’t even begin to remember, but for this sentence: “For death is no more than a turning of us over from time to eternity.”

I look up at the stars again. Then I open my mouth and inhale water.

*

SURI

The cops are still here, so I’m not alone. There are a few firefighters, too, asking me to stay away from the building as I walk around it, looking in the charred grass for my grandmother’s emerald ring. I know I won’t find it, but I have to look.

As I search the dark grass with a flashlight app on my phone, I remember how blistered Meredith’s skin looked when they loaded her into the ambulance, and how lost Cross looked beside her. That was the first moment I’ve felt at peace about Adam’s and my breakup. At peace about Cross and his choices, and about what happened between the two of us. Before the ambulance doors shut, Cross hugged me, and it felt like we were friends again. After the ambulance doors shut, I thought about the look on Cross’s face—one of total devastation—and I knew Adam wouldn’t have looked that way about me. He would have been upset and unhappy, sure, but never devastated. Honestly, I can’t say I would have been devastated if that had been Adam in the ambulance.

I glance up at what remains of the building. Made to look like an English manor house, the “main house” was made of stone and wood. It’s situated between two smaller replicas; one of which got burned some, the other of which did not. The main house, of course, is all but gone.

I wonder how hot the fire must have been to crumple the stone. The building is still pouring smoke, emitting enough heat to make me sweat from thirty feet away. In some places, you can see down to the charred twigs of the house’s foundation. In one spot, I can see what’s left of a large bed-frame.

It’s hard to believe that a few hours ago this place was fully operational and now it’s just…decimated. Gone, the beauty of the rugs and bookshelves. Gone, my luggage and clothes. Gone, the open bar, the plush beds, soft rugs.

Less than three hours ago, I was consoling Lizzy about her pregnancy. How did that night turn into this? How could anyone be so filled with hate and evil that they chase a victimized woman into another country and try to kill her?

It makes me feel ill.

I look up when I see the darting blue-green light coming from the pool. A light breeze ripples the water’s surface, casting shadows through the glowing water. It’s so pretty, compared to the devastation around it, that for a second I just stare. And that’s when I notice: There’s something big and dark at the bottom.

I walk slowly forward, because the firefighters have said to be cautious, and the pool is right behind the charred remains of the house. My eyes are trained on the object at the bottom of the water—something about it tugs at my attention, but I have no idea what it is. A chunk of the roof? A piece of the window Cross and Merri jumped out of?

I step onto the pool’s cement deck, and all the air goes out of my lungs.

Holy shit, that’s a person!

I hesitate for a moment—long enough to ask myself if this person might still be alive—before realizing I’m wasting precious time. I kick my shoes off and dive into the deep end of the heart-shaped pool.

The water is breathtakingly cold. I open my eyes and kick toward the bottom, stretching my arms to reach for this person.

It’s dark at the bottom of the pool, so it isn’t until I’ve grabbed the person’s large shoulders that I see the outline of his face.