"That's right."
"Okay. I guess it's okay."
Sellitto asked, "You used to work for a man named Erick Weir, didn't you?" Silence for a moment. Then the man launched into a staccato reply. "Mr. Weir? Well, uh-huh. I did. Why?" The voice was edgy and high. He sounded as if he'd just had a dozen cups of coffee.
"Do you happen to know where he might be?"
"I mean, why are you asking me about him?"
'We'd like to talk to him as part of a criminal investigation."
"Oh, my God.... About what? What do you want to talk to him about?" 'We just have some general questions," Sellitto said. "Have you had any contact with him lately?"
There was a pause. This was the part where the nervous man would ei
ther spill all or run for the hills, Rhyme knew.
"Sir?" Sellitto asked.
"That's funny, okay. You asking me, I mean about him." The words clat
tered like marbles on metal. "Here it is. I'll tell you. I hadn't heard from Mr. Weir for years. I thought he was dead. There was this fire in Ohio, the last job we were working. He got burned. Real bad. He disappeared and we all thought he was dead. But then maybe six or seven weeks ago he called."
"From where?" Rhyme asked.
"I don't know. He didn't say. I didn't ask. It doesn't occur to anyone to ask where somebody's calling from. Not the first thing. You just don't think about that. Do you ever ask that?"
Rhyme asked, "What did he want?"
"Okay, okay. He wanted to know if I still kept up with anybody at the circus where the fire happened. The Hasbro circus. But that was Ohio. It was three years ago. And Hasbro's not even in business anymore. After the fire the owner folded it and it became a different show. Why would I keep up with anybody there? Here I am in Reno. I said I didn't. And he got all ippity, you know."
Rhyme frowned again.
Sachs tried, "Angry?"
"Oh, hell-ooooh. Yeah, I'll say."
"Go on," Rhyme said, struggling against impatience. "Tell us what else he said:' "That was it. That was all. What I just told you. I mean, there were little things. Oh, he got his digs in like he always did. The claws. Just like old times.... You know what he did when he called?"
'What was that?" Rhyme encouraged.
"All he said was, 'It's Erick: Not 'Hello: Not 'Oh, John, how are you?
Remember me?' No. 'It's Erick: I hadn't talked to him since the fire. And what does he say? 'It's Erick.' All these years since I got away from him, working so hard to get away... and then it's like I haven't gotten away at all. I know I hadn't done anything wrong. And here he's making it sound like something's all my fault. It's like you take an order from a customer and then when you bring the food they claim it's not what they ordered. But everybody knows what happened-they changed their mind and they're
making it sound like you got it wrong. like it's your fault and you're the one who gets in trouble."
Sachs continued, "Can you tell us anything about him in general? Other friends, places he liked to go, hobbies."
"Sure," came the snappy voice. "All of the above: illusion."
'What?" Rhyme asked.
"That was his friends, places he liked to go to, hobbies. You get what I'm
saying? There was nothing else. He was like totally absorbed in the profession."
Sachs tried again. 'Well, what about his attitude toward people? His outlook? How he thought about things?"
A long pause. "Fifty minutes, twice a week for three years I've been trying to figure him out and I can't. For three years. And he still hurts me. I-" Keating broke into a harsh, eerie laugh. "You catch that? I said 'hurts.' I meant to say 'haunts.' He still haunts me. How's that for Freudian? I'll have something to share next Monday at nine A.M., won't I? He still haunts me and I don't have a clue what his fucking outlook is."
Rhyme could see everyone on the team was growing frustrated with the man's rambling. He said, 'We heard his wife was killed in the fire. Do you know anything about her family?"
"Marie? No, they'd only gotten married a week or two before the fire. They were really in love. We thought she'd calm him down. Make him haunt us less. We were hoping that. But we never got to know her."
"Can you give us the names of anybody who might know something
about him?" "Art Loesser was first assistant. I was second. We were his boys. They
called us 'Erick's boys.' Everybody did."
Rhyme said, 'We have a call in to Loesser. Anyone else?"
"The only one I can think of is the manager of the Hasbro circus at the
time. Edward Kadesky's his name. He's a producer in Chicago now, I think" Sellitto got the spelling of the man's name. Then asked, "Did Weir ever
call back?"
"No. But he didn't need to. Five minutes and he got the claws in. Hurt
ing and haunting."
It's Erick...
"Look, I should go. I have to iron my uniform. I'm working the Sunday
morning shift. It's a busy one."
After they hung up, Sachs walked to the speakerphone to hit the disconnect button. "Brother," she muttered.
"Needs more meds," Sellitto observed.
'Well, at least we've got a lead," Rhyme said. "Track down that Kadesky." Mel Cooper disappeared for a few minutes and when he returned he had a printout of a database of theatrical companies. Kadesky Productions had its office on South Wells Street in the Windy City. Sellitto placed a call and, not surprisingly, being late Saturday night, got the answering service. He left a message.
Sellitto said, "Okay-Weir's messed up his assistant's life. He's unstable. He's injured people in the audience and now he's a pattern doer. But what's making him tick?"
Sachs looked up at this. "Let's give Terry a call."
Terry Dobyns was an NYPD psychologist. There were several on the
force but Dobyns was the sole behavioral profiler, a skill he'd learned and honed at the FBI in Quantico, Virginia. Thanks to the press and popular fiction the public hears a lot about psychological profiling and it can be valuable-but only, Rhyme felt, in a limited type of crime. Generally there's nothing mysterious about the workings of a perp's mind. But in cases were the motive is a mystery and his next target is hard to anticipate, profiling can be valuable. It helps investigators find informants or individuals who might know the suspect, anticipate his next move, set up decoys in appropriate neighborhoods, run stakeouts and look for similar crimes in the past.
Sellitto thumbed through an NYPD directory of phone numbers and
placed a call to Dobyns at home.
"Terry."
"Lon. You've got speakerphone echo. Let me deduce that Lincoln's
there too." "Yep," Rhyme confirmed. He had a fondness for Dobyns, the first person he saw when he awakened after his spinal cord accident. Rhyme recalled that the man loved touch football, opera and the mysteries of the human mind in roughly the same degrees-and all passionately.
"Sorry it's late," Sellitto offered, not sounding sorry at all. "But we need
some help with a multiple doer. We've got a name but not much else." "This the one in the news? Killed the music student this morning? And
that patrol officer too?" "Right. He also killed a makeup artist and tried to kill a horseback rider.
Because of what they and the student quote represented. Two straight women, one gay man. No sexual activities. We're at a loss. And he's told Lincoln that he's going to start up again tomorrow afternoon."
"He told Lincoln? Over the phone? A letter?"
"In person," Rhyme said.
"Hmm. That must've been quite a conversation."
"You don't know the half of it."
Sellitto and Rhyme gave the man a rundown on Weir's crimes and what they'd learned about him. Dobyns asked a number of questions. Then he fell silent for a moment and finally said, "I see two forces at work in him. But they reinforce each other and lead to the same result.... Is he still performing?" "No," Kara said. "He hasn't performed since the fire. Not that anybody's
heard." "Public performing," Dobyns said, "is such an intense experience, it's so compelling, that when it's denied someone who was successful the loss is profound. Actors and musicians-magicians too, I'd guess-tend to define themselves in terms of their careers. So the result is that the fire basically eradicated the man he had been."
The Vanished Man, Rhyme reflected.
"That in turn means he's now motivated not by ambition to succeed or
to please his audience or a devotion to his craft but by anger. And that's aggravated by the second force: the fire deformed him and damaged his lungs. So as a public person he'd be particularly self-conscious of the deformities. They'd multiply the anger logarithmically. We could call it the Phantom of the Opera syndrome, I suppose. He'd see himself as a freak."
"So he wants to get even?"
"Yes, but not necessarily in a literal sense: fire quote murdered him-his
old persona-and by murdering someone else he feels better; it reduces the anxiety that the anger builds up in him."
'Why these victims?"
"No way of knowing. 'What they represented.' What did they do again?" "Music student, makeup stylist and a lawyer though he referred to her as an equestrian."
"There's something about them that's tapped into his anger. I don't know what it could be-not yet, not without more data. The textbook answer is that each one of them devoted their lives to what Weir would consider 'crucible moments.' Important, life-changing times. Maybe his wife was a mu
sician or they met at a concert. The makeup stylist-that could be a mother issue. For instance, the only happy times he might've had with her were as a young boy sitting in the bathroom and watching her put on makeup. The horses? Who knows? Maybe he and his father went horseback riding once and he enjoyed it. The happiness of moments like that was taken away from him by the fire and he's targeting people who remind him of those times. Or it could be the opposite; he has bad associations with what the victims represent. You say his wife died during a rehearsal. Maybe there was music playing at the time."
"He'd go to all this trouble, staking them out, making these elaborate plans to find them and kill them?" Rhyme asked. "This must've taken months."
"The mind has to scratch its itches," Dobyns said.
"One other thing, Terry. He also seemed to be talking to an imaginary
audience.... Wait, I thought it was 'respected' audience. But I just remembered-it was 'revered.' Talking to them like they were really there. 'Now, Revered Audience, we're going to do this or that.'"
"'Revered,'" the psychologist said. "That's important. After his career and his loved one were taken away from him he shifted his reverence, his love, to an audience-an impersonal mass. People who prefer groups or crowds can be abusive, even dangerous, to individual human beings. Not only strangers but their partners, wives, children, family members too."
John Keating, Rhyme reflected, in fact sounded like a child who'd been abused by his father.
Dobyns continued, "And in Weir's case this frame of mind is even more dangerous because he's not talking to real audiences, only his imaginary one. This suggests to me that actual people have no value to him at all. He won't have any problem killing even in large numbers. This guy's going to be a tough one."
"Thanks, Terry."
"You get him in jar, let me know. I'd like to spend some time with him." After they hung up Sellitto began, "Maybe we could-"
"Go to bed," Thom said.
"Huh?" the detective asked.
"And it's not a question of 'could.' It's a question of 'are.' You're going to
bed, Lincoln. And everybody else is leaving. You look pale and tired. No cardiovascular or neuro events on my watch. If you'll recall, I wanted you to go to bed hours ago."
"All right, all right," Rhyme conceded. In fact, he was tired. And, though
he wouldn't admit it to anyone, the fire had scared him badly. The team departed for their respective homes. Kara found her jacket
and as she put it on Rhyme observed that she was clearly upset.
"You okay?" Sachs asked her.
A dismissing shrug. "I had to tell Mr. Balzac why I needed to ask him
about Weir. He's totally pissed off. I've got to go pay penance."
'We'll write him a note," Sachs joked gently, "excusing you from class." The girl smiled wanly.
