McCaleb opened a file on his desk and referred to it before speaking. “First of all, are you familiar with our VICAP program- Violent Criminal Apprehension?”

“I know what it is. This is the first time I ever submitted a case.”

“Yes, you’re a rarity in the LAPD. Most of you guys don’t want or trust the help. But a few more guys like you and maybe I can get a bigger office.”

I nodded. I wasn’t going to tell him that it was institutional distrust and suspicion that stopped most LAPD detectives from seeking the help of the bureau. It was an unspoken dictate that came from the police chief himself. It was said that the chief could be heard cursing loudly in his office every time news of an FBI arrest within city limits was reported. It was well known in the department that the bank robbery squad routinely monitored the radio transmissions of the bureau’s bank squad and often moved in on suspects before the feds got the chance.

“Yeah, well, I just want to clear the case,” I said. “I don’t really care if you’re a psychic or Santa Claus; if you’ve got something that will help me I’ll listen.”

“Well, I think maybe I do.”

He turned the page in the file and picked up a stack of crime scene photographs. These were not the photos I had sent him. These were 8x10 blowups of the original crime scene photos. He had made these on his own. It told me that McCaleb had certainly spent some time with the case. It made me think that maybe it had hooked him the way it had hooked me. A woman with no name left dead on the hillside. A woman no one had come forward to claim. A woman no one cared about. The dangerous kind. In my secret heart I cared and I had claimed her. And now maybe McCaleb had, too.

“Let me just start with my overview of what I think you’ve got here,” McCaleb said.

He shuffled through the photos for a moment, ending with a still that had been made off of the news video. It showed an aerial shot of the naked body, arms and legs stretched wide on the hillside. I took out my cigarettes and shook one out of the pack.

“You may have already arrived at these same conclusions. If so, I apologize. I don’t want to waste your time. By the way, you can’t smoke in here.”

“Don’t worry about it,” I said, putting the smokes away. “What have you got?”

“The crime scene is very important in that it gives us an avenue to the killer’s thinking. What I see here suggests the work of what we call an exhibition killer. In other words, this is a killer who wanted his crime to be seen-to be very public-and by virtue of this to instill horror and fear in the general population. From this reaction by the public he draws his gratification. He is somebody who reads the newspapers and watches the news for any information or update on the investigation. It is a way of keeping score. So when we find him, I think we will find newspaper clippings and maybe even videos containing television reports on the case. These will probably be in his bedroom because they would be useful to him in carrying out masturbatory fantasies.”

I noticed he had said “we” in reference to the case investigators but I didn’t react. McCaleb went on as if he was talking to himself and there was no one else in the office.

“A component of the exhibition killer’s fantasy is the duel. Exhibiting his crime to the public includes exhibiting it to the police. In effect, he is throwing down a challenge. He is saying, ‘I am better than you, smarter and more clever. Prove me wrong, if you can. Catch me, if you can.’ You see? He is dueling with you in the public media arena.”

“With me?”

“Yes, you. In this case in particular you appear to be the media front man. It is your name in the newspaper stories included in the file.”

“I’m lead on the case. I’ve been the one talking to the reporters.”

McCaleb nodded.

“Okay,” I said. “All this is good in terms of understanding what a nut job this guy is. But what do you have that will help point us to the right guy?”

McCaleb nodded.

“You know how the Realtors say, location, location, location? It’s the same with me. The place he chose to leave her is significant in that it plays into his exhibitionistic tendencies. You have the Hollywood Hills here. You have Mulholland Drive and the view of the city. This victim was not dropped here randomly. This place was chosen, perhaps just as carefully as she was chosen as a victim. The conclusion is that the drop site is a place our killer may be familiar with because of the routines of his life, but nonetheless was not chosen because of reasons of convenience. He chose this spot, he wanted this spot, because it was the best spot to announce his work to the world. It was part of the canvas. It means he could have come from a long distance to leave her there. He could have come a few blocks.”

I noticed the use of “our” as in our killer. I knew if Frankie had come with me he would’ve blown a gasket by now. I let it go.

“Did you look at the list I gave you of the names?”

“Yes, I looked at everything. And I think your instincts are good. The two potential suspects you highlighted both fit into the profile I constructed for this killing. Late twenties with a history of crimes of escalating nature.”

“The Woodland Hills janitor has routine access to industrial cleaners-we could match something to the cleaning agent used on the body. He’s the one we like best.”

McCaleb nodded but didn’t say anything. He seemed to be studying the photographs, which were now spread across the desk.

“You like the other guy, don’t you? The stage builder from Burbank.”

McCaleb looked up at me.

“Yes, I like him better. His crimes, though minor, fall more into line with the sexual predator maturation models we have seen. I think when we talk to him we have to make sure we do it in his home. We’ll get a better feel for him. We’ll know.”

“We?”

“Yes. And we need to do it soon.”

He nodded to the photos covering his desk.

“This wasn’t a one shot deal. Whoever he is, he’s going to do it again… if he hasn’t already.”

I had been responsible for many men going to San Quentin but I had never been there myself before. At the gate I showed ID and was given a printout with instructions that directed me to a fenced lot for law enforcement vehicles. At a nearby door marked law enforcement personnel only I was ushered through the great wall of the prison and my weapon was taken and locked in a gun vault. I was given a red plastic chit with the number 7 printed on it.

After my name was put into the computer and the pre-arranged clearances were noted, a guard who didn’t bother introducing himself walked me through an empty recreation yard to a brick building that had darkened over time to a fireplace black. It was the death house, the place where Seguin would get the juice in one week’s time.

We moved through a man trap and a metal detector and I was passed off to a new guard. He opened a solid steel door and pointed me down a hall.

“Last one on the right,” he said. “When you want out wave at one of the cameras. We’ll be watching.”

He left me there, closing the steel door with a thunderous bang that seemed to reverberate through my marrow.

Frankie Sheehan wasn’t happy about it but I was the lead and I made the call. I allowed McCaleb to come with us on the interviews. We started with Victor Seguin. He was first on McCaleb’s list, second on mine. But there was something about the intensity in McCaleb’s eyes and words that made me defer and go with Seguin first.

Seguin was a stage builder who lived on Screenland Drive in Burbank. It was a small house with a lot of woodwork you might expect to find in a carpenter’s house. It looked as though when Seguin wasn’t finding movie work he was home building handsome window boxes and planters for the house.