“Are any of these your dog?” Hunter asked. He was standing looking at the picture of Misha that hung above the couch.

“No,” I said.

“How come you don’t have any pictures of your dog?” he asked, and I wondered how he knew I had had a dog and what else he knew.

“He didn’t like having his picture taken.”

He folded up the readout, stuck it in his pocket, and turned around to look at the photo of Perdita again. “He looks like he was a real nice little dog,” he said.

The uniform was waiting on the front step, obviously finished with whatever he had done to the car.

“We’ll let you know if we find out who’s responsible,” Hunter said, and they left. On the way out to the street the uniform tried to tell him what he’d found, but Hunter cut him off. The suspect has a house full of photographs of dogs, therefore he didn’t run over a poor facsimile of one on Van Buren this morning. Case closed. I went back over to the developer and fed the eisenstadt film in. “Positives, one two three order, five seconds,” I said, and watched as the pictures came up on the developer’s screen. Ramirez had said the eisenstadt automatically turned on whenever it was set upright on a level surface. She was right. It had taken a half-dozen shots on the way out to Tempe. Two shots of the Hitori it must have taken when I set it down to load the car, open door of same with prickly pear in the foreground, a blurred shot of palm trees and buildings with a minuscule, sharp-focused glimpse of the traffic on the expressway. Vehicles and people. There was a great shot of the red tanker that had cupped the jackal and ten or so of the yucca I had parked next to at the foot of the hill.

It had gotten two nice shots of my forearm as I set it down on the kitchen counter of the Winnebago and some beautifully composed still lifes of Melmac with Spoons. Vehicles and people. The rest of the pictures were dead losses: my back, the open bathroom door, Jake’s back, and Mrs. Ambler’s public face.