“You always want to err on the side of caution.”
Ever the scientist.
Prudence and scientific accuracy await me in the future. But at this point, as we prepare to leave Danville, I’m still in theory-riffing mode. I continue to rattle off other clues that the EAR might wear a mask of normalcy. Most of the murder victims were white-collar professionals who lived in upper-class neighborhoods. He must have presented as though he belonged there. He must have had some type of regular employment. He had ways and means.
“We know he had a vehicle,” I say.
Holes nods, his face shadowed. He seems to be turning something over in his mind, debating internally the wisdom of sharing a thought.
“We know he had a vehicle,” he says. What he says next he says very slowly: “I think he may have had more than that.”
I’m momentarily unable to imagine what that could be.
Holes tells me: “I think he may have had a plane.”
I stumble over the first and only word that comes to mind.
“Really!?”
He smiles an enigmatic smile. I’d misread him. He wasn’t disapproving of my speculative questions. He was considering when to add his own narrative line.
“I’ll elaborate at lunch,” he promises.
First, we need to make one last stop in Contra Costa County: Walnut Creek.
WALNUT CREEK
The Frank Lloyd Wright–designed Sidney Bazett house on Reservoir Road in Hillsborough, outside San Francisco, is located at the end of a winding, tree-cloaked driveway and not visible from the street. Its extraordinariness is murmured about but rarely seen. One afternoon in 1949 the owner’s mother-in-law, who was there alone, was surprised by a knock at the front door. The visitor was a middle-aged businessman in thick-lensed glasses. A half-dozen men in professional attire with serious expressions stood behind him. The man explained that his name was Joseph Eichler. He and his family had rented the house for three years, from 1942 until 1945, when the present owners bought it. The Bazett house, with its redwood built-ins and glass walls, where daylight filtered in from so many directions and changed the mood of each room throughout the day, was a work of art that stirred Eichler. He’d never forgotten the house, he explained. In fact, living in it had changed his life. Now a merchant builder, he’d brought along his colleagues to show them the source of his inspiration. The group was invited inside. Crossing the threshold, Eichler, who got his start on Wall Street and was a notoriously tough businessman, began to cry.
By the mid-1950s, Joseph Eichler was one of the Bay Area’s most successful developers of single-family homes in the California Modern style—post-and-beam construction, flat or low-sloping A-frame roofs, open floor plans, glass walls, atria. His ambition grew with his business. He wanted the rapidly expanding postwar middle class to enjoy clean geometric lines; he wanted to bring the Modernist aesthetic to the masses. Eichler began scouting central Contra Costa County for land to build a subdivision. He needed several hundred acres. More than that, he needed the right feeling. It should be an area on the cusp, unspoiled by urban sprawl but with budding infrastructure. In 1954 Eichler visited Walnut Creek. The town was essentially horse country. Ygnacio Valley Road, now a major thoroughfare, comprised two lanes occupied not infrequently by cows. But the area’s first shopping center had recently opened. There was a new hospital. Plans for a freeway were in the works.
In a walnut orchard in the northeast part of town, across from Heather Farm Park, Eichler’s search came to an end. Mount Diablo shimmered in the distance. Here was the perfect place, he thought, for a community of creative professionals, progressive types who appreciated modern art and design, people who were tired of living in cookie-cutter houses where you could find your way around blindfolded. The subdivision of 563 houses, 375 Eichler homes, the rest standard tract, was completed in 1958. A brochure shows a beautiful woman in a flowing dress gazing out a wall of glass into her tidy backyard. The roof is post and beam; the chairs, Eames. Eichler named his new community Rancho San Miguel.
The neighborhood had its detractors. Some thought the Eichler design, with its blank wall to the street and orientation toward the backyard, was antisocial. Waving from the front window at neighbors was no longer possible. Others thought the houses were ugly and resembled garages. Nevertheless, Eichlers, as people call them, have developed a devoted cult following, and Rancho San Miguel, with its parks and good schools, has remained a consistently coveted place to live. But the unusual homes, with rear glass walls, sliding doors, and high fences sealing off individual backyards, have also attracted another kind of following, not forward-thinking but darkly motivated, a fact that isn’t mentioned publicly but has been puzzled over privately for years.
Holes and I pull up to the site of the first Walnut Creek EAR attack, an Eichler in Rancho San Miguel.
“I call this the Bermuda Triangle of Contra Costa County,” says Holes. “We’ve had other serial killers attack in this same neighborhood. A missing girl. A known serial-killer attack. A housewife in 1966 that was strangled and her panties torn off. The two EAR attacks. And it’s like, why?”
In the spring of 1979 a seventeen-year-old girl who lived in Rancho San Miguel in Walnut Creek began to receive a series of anonymous calls. What was especially unsettling was that the calls followed her to homes where she was babysitting. The parents would leave, the kids put to bed. A ring would knife through the quiet. “Hello?” The familiar blankness was always followed by a click, the only sign there was a human being with intent on the other line.
The girl sat regularly for two families who lived in Eichlers across from each other on El Divisadero. In early May, a nightgown and telephone directory went missing from her own house; even so, she didn’t feel the hot breath of a threat moving in close. The thing about Eichlers is, they draw your attention to the outside. Walls of glass display occupants like rare museum objects. At night the play of light against dark means your view is limited to your reflection. The opaqueness fires the queasy imagination.
In five months, the movie When a Stranger Calls would be released. Based on a well-known urban legend, the story involves a teenage babysitter who’s tormented by a series of increasingly sinister calls. “Have you checked the children?” an unidentified man asks. The off-white rotary phone sits menacingly in the living room like a time bomb. The drip of fear spikes at the end of the opening scene, when the detective trying to help the babysitter calls her back with an urgent message.
“We’ve traced the call. It’s coming from inside the house.”
Animal fear writ modern.
When a Stranger Calls hadn’t come out yet on June 2, 1979. No anonymous calls came for the babysitter in Walnut Creek that Saturday night; there was no sense that a silent phone meant that an alternate approach was being considered and planned.
She was sitting at the kitchen table when she heard footsteps or a man’s voice; she couldn’t remember which came first, only that he shot up suddenly, as if spring-loaded from the dark hallway and into her terrified heart.
He said little and repeated what little he said. He communicated with jerky, unpredictable bursts of violence. He shoved her head down. He tied her wrists tightly with plastic cable ties. He bit her left nipple. Criminalists are required to take photographs of victims at the scene. No one looks happy, but everyone looks into the camera. Not the babysitter. Her gaze is averted, eyes anchored low. They seem unlikely to ever come up.