The Death Sculptor

Seventy

Outside the sun was baking people and cars alike. Garcia reached for his sunglasses in his shirt pocket, and ran his hand around the back of his neck. It came back soaking wet. Standing by the driver’s door, he looked at Hunter over the roof of his Honda Civic.

‘Well, if Sands was the one who got to Tito, then it doesn’t look like he’s our killer, does it?’

Hunter stared back at him. ‘And why is that?’

‘Completely different MO, for starters. OK, he ripped the victim’s tongue out, but compared to the savagery of the amputations in our last two crime scenes, what happened up there looks like a holiday camp. And we’ve got no sculpture and no shadow puppets.’

Hunter placed his elbows on the car’s roof and interlaced his fingers. At that specific moment in time he was inclined to agree with Garcia, but there were still too many loose ends and something was telling him that discarding Ken Sands as a suspect right now was a big mistake. ‘From what we gathered so far, don’t you think that Sands is intelligent enough to change his MO on an unrelated crime?’

‘Unrelated?’ Garcia deactivated the central-locking system and got into his car.

Hunter followed.

Garcia unlocked the engine and switched on the A/C unit. ‘What do you mean, unrelated?’

Hunter leaned against the passenger’s door. ‘OK, for a moment let’s assume that we’ve been right in everything so far, and that Ken Sands really is our killer.’

‘OK.’

‘One of our assumptions is that Sands is going after his victims for revenge, not only for himself, but for his childhood friend as well, Alfredo Ortega, right?’

Garcia nodded. ‘Yep.’

‘OK, so where does Tito fit into his revenge plan?’

Garcia looked pensive for an instant.

‘Remember, Tito said that they never even talked while inside. So there was no bad blood between them from their time in Lancaster.’

Garcia pinched his bottom lip. ‘He doesn’t fit.’

‘No, he doesn’t. If Sands is our man and he came after Tito, it wasn’t because Tito was part of his original plan. It was probably because Tito went asking about him the wrong way, or to the wrong person.’

‘But killers don’t usually change their MO, unless they’re escalating.’ He pointed to the building. ‘That’s exactly the opposite. He’s gone from absurdly grotesque to . . .’ he tried to think of a word, ‘. . . plain nasty, I’d say.’

‘And again, it goes back to the fact that Tito wasn’t part of his original plan. Think about it, Carlos. To our killer, his MO is extremely important – the way he dismembers his victims, the way he carefully puts their body parts back together, constructing a sculpture to cast a different shadow onto the wall each time. To him, all that is mandatory, not a choice, not something he’s doing for fun. It’s as important as the killing act itself, and the choice of victim. It’s part of his revenge. And I have no doubt there’s a direct relation between the sculpture, the shadow, and each specific victim. There’s a reason why he chose a coyote and a raven for Nicholson, and a devil-like image looking down at four other figures for Nashorn.’

‘And Tito wasn’t part of that at all,’ Garcia said.

Hunter agreed in silence.

‘But we’re still not sure what the real meaning behind those shadow images is,’ Garcia went on. ‘And if you’re right, and each image has a direct link to each specific victim, then there’s something that isn’t making any sense in my mind.’

‘And what’s that?’

‘In the first shadow image, the killer paid very close attention to detail, specifically carving the victim’s body parts so as to not leave us a lot of doubt. You said so yourself, the curved, chunky beak on the bird image ruled out a lot of possibilities, leaving us with just a few alternatives. And the same was done to the coyote image. But for the second shadow image, the attention to detail wasn’t nearly so careful. It’s hard to tell properly if we have a human face with horns, a devil, a God, or some sort of animal. The two standing figures, together with the ones on the ground could be people or not. Why would the killer do that? Be so specific with the first shadow image, but not with the second?’

Hunter rubbed his face with both hands. ‘I can only see one reason – relevance.’

Garcia pulled a face and turned both of his palms up. ‘Relevance?’

‘I think the reason why our killer paid so much attention to detail on the first shadow image, is because it mattered. He didn’t want us to make a mistake in identifying what it was. He didn’t want us to think that he gave us a dog and a dove, or a fox and an owl.’

Garcia thought about it for a heartbeat. ‘But it didn’t matter as much on the second one.’

‘Not as much,’ Hunter said. ‘The details of the second image are less important to its meaning. It probably doesn’t matter if the face with horns is human or not. That’s not what the killer wants us to see.’

‘So what does he want us to see?’

‘I don’t know . . . yet.’ Hunter looked out the window at all the police cars parked in front of Tito’s project building. ‘But I do think Ken Sands is smart enough to change his MO just to throw us off his scent.’