Michael Capuzzo - The Murder Room - The Heirs of Sherlock Holmes Gather to Solve the World’s Most Perplexing Cold Cases

The king, the knight, the wizard.

We tell these stories to survive. The story swirls in smoke, fabric, and music; spins in the winds of the gods and the vortex of DNA. Harvard University biologist E. O. Wilson calls such stories “The Voice of the Species”-the essential stories formed by the “epigenetic rules of human nature…the inborn rules of mental development.”

This tale, the most enduring in the west outside the Holy Bible, was first written down more than eight hundred years ago. Between the years 1129 and 1151 a Benedictine monk who taught at Oxford translated into Latin, at his bishop’s request, a series of ancient Celtic prophecies, Prophetiae Merlini (Prophecies of Merlin). The monk then wrote Historia Regum Britanniae (History of the Kings of Britain), pieces of which were handed down to him from the oldest written Welsh sources, the Red Book of Hergest and the White Book of Rhydderch. In these texts can be found fragments of the first historical record of King Arthur and the Knights of the Round Table.

The story, as told numberless times across the centuries, begins with the world in ruins. Crops wither, even the trees are dead, “tortured bones of a perished race, of monsters no mortal knows,” the poet cries. The wounded king ails in his castle, powerless. The king cannot act without help; he needs two other men to embark on a journey, men of great and unique talents to complement his own.

Why we ceaselessly tell this story is a mystery. Scientists cannot explain why Homo sapiens must take in oxygen and release certain stories to live.

Philosophers say the ultimate source of the story is the eternal human need to find, in the words of Joseph Campbell, “the promise enshrined in the Mysteries since the beginning of the world.” The prophets say it is our pathway through trials to the grace of God. A man of action might say the relevant point of more than a million years of human trial, error, and wisdom embedded in the story is entirely practical:

When the world breaks and needs fixing, the thing to do is find the right three men.

The great hall was filled with the lingering aroma of pork and mallard duck sausage as black-vested waiters appeared, shouldering cups of vanilla bean blancmange. Connoisseurs sat at tables between the hearths under glittering eighteenth-century chandeliers, chatting amiably in several languages. When the coffee arrived, a fine Colombian supremo steaming in its pots, the image of the corpse of a young man of uncommon beauty, lying on his back, materialized in the center of the room.

A gray winter light slanted into the hall, as the midday sun had sailed beyond the city, and the image on the large screen was crisp. The young man’s blond locks were matted in a corona of dried blood, his sculpted cheekbones reduced to a pulp. The police photograph had been taken at night in a restaurant alley, and the surrounding scene was obscured in darkness. Yet the strobe light had thrown the young man’s face into sharp relief. Out of the shadows of a distant southern night, the stark, wide-open eyes loomed over the room.

It was shortly before one o’clock in the afternoon, and the fifth and final course had been served to the connoisseurs of the Vidocq Society.

“My goodness,” said a short-haired young woman in a red dress. Patting her mouth with a napkin, she excused herself from the table and, a hand over her mouth, hurried to the door. William Fleisher, a big man in a magnificent blue suit, WLF embroidered on his custom shirt, sadly shook his large, bearded head. “We need to do a better job screening guests,” he said. Richard Walter, his gaunt cheekbones sunken in the wan light, glared at the departing figure. Frank Bender-clad in a tight black T-shirt and jeans, the only man in the hall not wearing a suit-whispered to the detective next to him, “Nice legs.”

Fleisher shook his head in wonderment at the two eccentric, moody geniuses with whom he had thrown in his lot. His partners were criminologists without peer or precedent in his thirty years with the feds.

Forensic psychologist Richard Walter was the coolest eye on murder in the world. Tall and acerbic, he spoke with a clipped propriety that had earned him the moniker the Englishman from certain criminal elements. Walter had spent twenty years treating the most violent psychopaths in the state of Michigan at the largest walled penitentiary in the world, in Jackson, and at one of the toughest, the old Romanesque castle in Marquette on Lake Superior. His habit of peering over the top of his owlish black glasses and boring into the souls of inmates was known as the “ Marquette stare,” and it was a look to be avoided at all costs. He employed it to crack the façade of psychopaths. Walter was unsurpassed in his understanding of the darkest regions of the heart. In his spare time, moonlighting as a consulting detective, he was one of the small group of American criminologists who invented modern criminal profiling in the 1970s and ’80s to battle serial killers.

At Scotland Yard, which used him on the most extreme murder cases, he was known as the “Living Sherlock Holmes”-an epithet that horrified him.

“Richard looks like Basil Rathbone in The Hound of the Baskervilles,” Fleisher said. “He talks like him, he thinks like him.”

“Whenever someone says that,” Walter said, “I look away and wait for the moment to pass, as if someone has just farted.”

Frank Bender was the most celebrated forensic artist working at that time, perhaps in history. The wiry ex-boxer was muscled and balding, with a Van Dyke beard and piercing hazel eyes. For the occasion, he wore long sleeves that concealed his Navy tattoos. Bender, who grew up in tough North Philadelphia with bullets hitting the row house wall, was high school-educated, blunt-spoken, happily sex-addicted, and a psychic-a gift he was shy about in the roomful of cops. But cops were awed by his ability to keep six or seven girlfriends happy as well as his wife, and to catch Most Wanted mass murderers with a sketchpad and scalpel.

“Frank,” Walter liked to tease him. “You would have been burned at the stake in the seventeenth century. Now you’ll just get shot in the back.”

The tall, melancholy, deductive Walter and the manic, intuitive Bender were blood brothers and partners on major cases. A detective duo without precedent, the psychologist and artist were capable of penetrating secrets of the living and the dead. When they could stand each other.

Bender saw dead people; Walter was contemptuous of spiritualism. The artist counted his sexual conquests in the hundreds; the psychologist, divorced, shrank from the touch of man, woman, child, dog, and cat. Walter was the most orderly mind on a murder, Bender the most chaotic.

William Lynn Fleisher was the glue that held the three together-the one, friends said, “with a sail attached to the mast.” The sartorial big man was the number two in charge of United States Customs law enforcement in three states, a world-class polygraph examiner and interrogator, a former FBI special agent, and an ex-Philadelphia beat cop. Fleisher was obsessed with the truth, had made himself a scholar of the history of truth-finding and an expert at distinguishing the truth from a lie. He used the polygraph to try to peer into the hearts of men to judge them, but really what he wanted to do was redeem them-both the criminals whose psychophysiological signs spiked with guilt, and their tragic victims whose suffering society forgot. The big man, it was said by his special agents, had gained a hundred pounds to make room for his heart.

Bender and Walter were the most astonishing investigative team Fleisher had ever seen, equal parts reason and revelation, when they turned their combustible gifts on a killer and not on each other, like a man trying to extinguish his own shadow. The stout federal agent was the administrator who allowed them to take shape and function in the world.