“I would love to show you the property,” she said. “It’s actually a really nice old building. I should warn you, it’s kind of a mess right now, though. But it’s nice, you’ll see it. It’s had a lot of lives. In the fifties it was even a soda shop for a while.”
About the soda shop I already knew. I hadn’t been able to find many stories about it online, but small scraps I’d managed to dig up—postings in local listservs, scanned pictures on people’s still-standing Angelfire sites—all mentioned what a nice place it had been, once upon a time. It was called the Sunliner Grill back then. The building itself had origins dating a full century back, but there are no records of its function prior to the Ford Motor Company’s announcement, in 1954, of intentions to open their Central California plant in Milpitas the following year. Few locals remember the soda shop now; the population wasn’t yet young enough to support one, and there were two well-liked restaurants just down the road on Main Street, one of which had a license to serve alcohol. The Sunliner Grill did not survive the decade.
The building’s timeline gets murky after that. I’ve been told once or twice that someone ran a hardware store out of it, but I haven’t found any proof. Briefly, in the early seventies, someone seems to have had the bright idea to turn it into some kind of theater: a clipping from The Mercury News about regional growth makes note of an anomalous little cinder-block building near the freeway, referring to “the short-lived, unlamented Nite People Cinema,” but the article offers no further details. A single-screen movie house in a building so small in the shadow of the freeway feels almost unfathomably optimistic.
Sometime after 1974, when completion of Interstate 680 seemed to guarantee future traffic through town, somebody took out a lease on the building and began operating a newsstand out of it. The newsstand became a porn store, and then a sort of house in which a crime took place, about which I knew mainly what Ashton had told me over the phone—some teenagers holed up in a dark porn store, the specter of devil worship and arcane private ceremonies culminating in at least two deaths. Few details, plenty of innuendo: this was how I had come to be talking to Whitney Burnett about making the drive south despite a nagging hunch that, if there were really more to know, I was a person who’d already know about it.
“I’d love to see it,” I said. I felt a little weird putting on the mask of the reluctant client, since I meant to buy it no matter what condition it was in. If it looked uninhabitable, I would still make a way. There was even a sort of grim appeal in the possibility of finding the place a total wreck. “I’m in San Francisco, but I can be there next week, or even earlier, if you think there’s any hurry.”
I imagined I could hear her smiling patiently as she answered. “I wouldn’t say there’s a rush,” she said. “It’s actually really nice, as I said, but this is still a developing neighborhood.”
* * *
THERE ARE PLENTY OF TOWNS everywhere, I guess, whose reputations beyond their borders, if they have any at all, reside in single instances of popular misrepresentation or outright caricature. I try to be sensitive to this dynamic—The Music Man is all that millions of people will ever know about Iowa. Each instance of this effect further distorts our overall field of view, our sense of who we really are. Still, I couldn’t help but feel some weirdly mystical twinge in the moment when I pulled in off the freeway, knowing that the town just over there on the other side of the windshield would be my home for the next year or two: a place that would be a totally blank slate if not for a single murder case that had made the national news some years back, and another that had managed to evade the radar.
Everything about the spot looked temporary, dreamlike. I could safely attribute some of this to finding myself a little off my bearings; I’d been at the wheel for forty-five minutes just getting out of the city, and the hour it ought to have taken after that had been stretched by traffic. It was a small freestanding building, a relic of a transitional age; there was a placard reading NEW VISIONS, LLC on the near side of some Persian blinds in its windows. The shadow of the freeway in which it stood was permanent; had it been even a quarter mile down the street, the bulldozer would have come for it ages ago. The town had been growing up and outward all around it, consigning it to a disappearing past. It was waiting for its turn.
I stood before it and took a few measured breaths. My mother always taught me to take stock of the moment you’re in, to not miss the big transitions. “If you miss one, you don’t get the chance to see it again,” she said. When I was a kid, I thought this was just her way of trying to pry me away from the little Mattel handheld football game to which I’d become addicted like everybody else in my class. But after I started writing about murder investigations, I realized Mom was right: any given moment is loaded. You have to look hard at all the details of a scene before it changes on you. There may come a day when all you’ve got left are the notes you took: maybe a photograph or two, if you’re lucky.