His coffee unfinished but resentful that he had been disturbed, Strike heaved himself back to his feet and left. Spots of rain hit him as he walked back along Whitechapel Road, smoking again and no longer bothering to resist the tidal wave of memory now carrying him along…

Whittaker had had an almost pathological need for attention. He resented Leda’s focus being diverted from him at any time and for any reason—her job, her children, her friends—and he would turn his flashes of mesmeric charm on other women whenever he deemed her inattentive. Even Strike, who hated him like a disease, had to acknowledge that Whittaker possessed a powerful sex appeal which worked on nearly every woman who passed through the squat.

Thrown out of his most recent band, Whittaker continued to dream of stardom. He knew three guitar chords and covered every bit of paper not hidden from him with lyrics that drew heavily on the Satanic Bible, which Strike remembered lying, its black cover emblazoned with a pentagram and goat-head combined, on the mattress where Leda and Whittaker slept. Whittaker had an extensive knowledge of the life and career of the American cult leader Charles Manson. The scratchy sound of an old vinyl copy of Manson’s album LIE: The Love and Terror Cult formed the soundtrack to Strike’s GCSE year.

Whittaker had been familiar with Leda’s legend when he met her, and liked to hear about the parties she had been at, the men she had slept with. Through her, he became connected to the famous, and as Strike got to know him better he came to conclude that Whittaker craved celebrity above almost anything else. He made no moral distinction between his beloved Manson and the likes of Jonny Rokeby, rock star. Both had fixed themselves permanently in the popular consciousness. If anything, Manson had achieved it more successfully, because his myth would not fluctuate with fashion: evil was always fascinating.

However, Leda’s fame was not all that attracted Whittaker. His lover had borne children to two wealthy rock stars who provided child support. Whittaker had entered the squat under the clear impression that it was part of Leda’s style to dwell in impoverished bohemia, but that somewhere nearby was a vast pool of money into which Strike and Lucy’s fathers—Jonny Rokeby and Rick Fantoni respectively—were pouring money. He did not seem to understand or believe the truth: that years of Leda’s financial mismanagement and profligacy had led both men to tie up the money in such a way that Leda could not fritter it away. Gradually, over the months, Whittaker’s spiteful asides and jibes on the subject of Leda’s reluctance to spend money on him had become more frequent. There were grotesque tantrums when Leda would not fork out for the Fender Stratocaster on which he had set his heart, would not buy him the Jean Paul Gaultier velvet jacket for which, stinking and shabby though he was, he suddenly had a yen.

He increased the pressure, telling outrageous and easily disprovable lies: that he needed urgent medical treatment, that he was ten thousand pounds in debt to a man threatening to break his legs. Leda was alternately amused and upset.