He left the suite and went back down in the elevator, stood outside the building for a while. Nina had been taken off in the cab, and they were due to meet late the next morning. She'd already called the Bureau's Westwood branch from the plane, and previously from Pimonta, but presumably she had to show her face in the office once in a while. Something made him wait a moment, however, watching the cars parked along the street. He wouldn't put it past Nina to have gone round the block, then come back to watch what he did. Not because he was any kind of expert. Just so she knew. Nina liked knowing things.
After five minutes he walked along to the corner, hung a right onto Arizona, and walked the couple of blocks to 3rd Street Promenade. Arizona Avenue was the street on which Michael Becker had dropped his daughter the night she had disappeared.
He turned left and walked up the west side of the Promenade, heading up to the end where Sarah Becker had last been seen. It was coming up for eleven, much later than the time the girl had been abducted. Virtually all of the stores were shut. The street performers and musicians had long packed up for the night, even the Frank Sinatra impersonator who put in longer hours than most. That didn't matter. Without the presence of the abductor and the victim, the circumstances are irreproducible.
He kept half an eye on the other people walking up and down. Killers often come back, especially those for whom murder is something more than a momentary expedience. They revisit and rewind so they can watch the memory one more time. He didn't expect to notice anyone in particular, but he kept watch anyway. When he passed the side street Nina had mentioned in her description, the place where a car had been seen parked illegally, he stood and looked down it for a while. Not trying to see anything. Just being there.
'Waiting for someone?'
Zandt turned to see a young man, slim and pretty. Mid-teens, eighteen at the most. 'No,' he said.
The boy smiled. 'You sure? I think you are. I wonder if you're waiting for me.'
'I'm not,' Zandt said. 'But someone will be. Not tonight, not here, but somewhere along the line.'
The smile faded. 'You a cop?'
'No. Just telling you the way it is. Go find yourself a date someplace light.'
He went into Starbucks and bought a coffee. He got it to go and went back out to sit on the bench from which Sarah had been abducted. The boy had gone.
You might think that such an event would leave a resonance. It doesn't. The human mind is organized to recognize faces. Its understanding of space is more tenuous. With appearance, it's simple: the more people who know your face, the more famous you are. We don't have to search for credentials. You're not a stranger, but instead part of our extended family: strong brothers and pretty sisters, kind parents, fake relatives to help us forget that our social groups have contracted down to nothing. With places, it's a case of knowing what events this space has played a stage to. But when that's stripped aside, when you've sat for long enough, you don't feel anything at all. You go back to the place as it was before anything happened there, to the way it was on that night. This is as near as you can come to going back in time, to before, to being able to hold a knife as it was when it came from the kitchen drawer, before it had been slicked with blood; when potential was all it had.
He sat on the bench until it was just any place, and then he sat there some more.
In his time as a homicide detective, Zandt had dealt with an unusual number of serial killers. As a rule such matters are handled by the FBI. They have the Behavioral Science lab in Quantico, their Profiling Procedures, the Jodie Fosters and David Duchovnys with the suits and neat haircuts. Like the killers themselves, the Feds seem a cut above the usual. But in eight years Zandt, a lowly mortal, a homicide cop, had found himself involved in several sets of killings that had eventually turned out to be the handiwork of someone who might be termed a serial killer. Two of those men had been apprehended, and Zandt had played a significant role in both cases. He had a feel for it, and this was recognized. The first case concerned a man from Venice Beach responsible for the murder of four elderly women, and Zandt's involvement had been accidental. On the second investigation he was working from the start with the FBI, which is how he had met Nina Baynam.
Over the summer of 1995 the remains of four young black boys were found half-buried in different areas of the city. The method of dismemberment, along with the leaving of a videotape with each victim, was enough to declare the killings the work of the same person. Each of the victims had been abducted from junk zips, and three were already acquainted with drugs and street prostitution. The first two deaths were largely ignored by the general population, dismissed as part of society's tidal culling of the underclass. It was only with repetition that the murders began to fight their way up out of random noise into story. The videotapes left with the bodies contained between one and two hours of roughly edited camcorder footage that made it clear how unpleasant the victims' last days had been. Each tape had a cover that featured a picture of the boy, his name, and the word 'Showreel'.
The papers dubbed the killer 'The Casting Agent', which everyone agreed was very droll. Everyone apart from the parents, that is, but as their grief was embarrassing evidence of the underlying reality of these theatrical events, it was ignored except when required to hype public interest. The relatives were merely the audience to these deeds, not actors, and it's the actor we like best. Someone we can get to know, a face back-lit through the papers and television. We want a personality. A star.
Zandt worked the case of the first boy, and after the second victim the FBI became involved. Nina was a young agent with experience, having worked a long bad case in Texas and Louisiana the year before. Between them, through a combination of Zandt's intuition and legwork, Nina's analysis of the placings of the bodies, and a break relating to the fact that the perpetrator had registered the camcorder used to make the videos, the killer was found. He was a thirty-one-year-old white male, employed as a graphic designer on the fringes of the music video industry, previously a child extra in long-forgotten movies. In a series of interviews with Zandt he admitted the crimes, providing corollary information and revealing the whereabouts of his talismans, the right hand of each of the victims — which had been squeezed into jars previously holding the product of a prominent instant coffee manufacturer. He eventually led the police to the bodies of two earlier victims, experiments in killing during which he had developed his technique. He placed the blame for his behaviour on having been molested on set as a child, an allegation which fit nicely with the public's desire for a beginning and a middle for every tale. The truth of the claim proved impossible to establish, and the end of the story was provided when the killer was sliced across the throat with a sharpened spoon by another inmate while awaiting trial. The food chain has victims at both ends: even rapists and murderers need someone to look down on, and kid killers will do nicely. Ultimately The Casting Agent's story became immortal and endless, celebrated in one moderately successful hack book and innumerable Web sites. A piece of buggy video editing shareware called CastingAgent enjoyed a brief notoriety, as did a store in Atlanta that offered a couch, in a deep splotchy red, which it called The Casting Couch.