The Harry Bosch Novels Vol I Part 5

"Yes, he told me so, but I got curious about it. I love a good mystery, Harry. What made you think this was hinky, as you detectives say?"

We don't say it anymore, Bosch thought. Once it's said in the movies and people like Salazar pick it up, it's ancient.

"Just some things didn't fit at the time," Bosch said. "There are more things now. From my end, it looks like a murder. No mystery."

"What things?"

Bosch got out his notebook and started flipping through the pages as he talked. He listed the things he had noticed wrong at the death scene: the broken finger, the lack of distinct tracks in the pipe, the shirt pulled over the head.

"He had a hype kit in his pocket and we found a stove in the pipe, but it doesn't look right. Looks like a plant to me. Looks to me like the pop that killed him is in the arm there. Those other scars on his arms are old. He hasn't been using his arms in years."

"You're right about that. Aside from the one recent puncture in the arm, the groin area is the only area where punctures are fresh. The inside thighs. An area usually used by people going to great lengths to hide their addiction. But then again, this could have just been his first time back on the arms. What else you got, Harry?"

"He smoked, I'm pretty sure. There was no pack of cigarettes with the body."

"Couldn't somebody have taken them off the body? Before it was discovered. A scavenger?"

"True. But why take the smokes and not the kit? There's also his apartment. Somebody searched the place."

"Could have been someone who knew him. Someone looking for his stash."

"True again." Bosch flipped through a few more pages in the notebook. "The kit on the body had whitish-brown crystals in the cotton. I've seen enough tar heroin to know it turns the straining cotton dark brown, sometimes black. So it looks like it was some fine stuff, probably overseas, that was put in his arm. That doesn't go with the way he was living. That's uptown stuff."

Salazar thought a moment before saying, "It's all a lot of supposition, Harry."

"The last thing, though, is - and I am just starting to work on this - he was involved in some kind of caper."

Bosch gave him a brief synopsis of what he knew about the bracelet, its theft from the bank vault and then from the p.a.w.nshop. Salazar's domain was the forensic detail of the case. But Bosch had always trusted Sally and found that it sometimes helped to bounce other details of a case off him. The two had met in 1974, when Bosch was a patrolman and Sally was a new a.s.sistant coroner. Bosch was a.s.signed guard duty and crowd control on East Fifty-fourth in South-Central where a firefight with the Symbionese Liberation Army had left a house burned to the ground and five bodies in the smoking rubble. Sally was a.s.signed to see if there was a sixth - Patty Hearst - somewhere in the char. The two of them spent three days there, and when Sally finally gave up, Bosch had won a bet that she was still alive. Somewhere.

When Bosch was finished with the story about the bracelet, it seemed to have mollified Sally's worries about the death of Billy Meadows not being a mystery. He seemed energized. He turned to a cart on which his cutting tools were piled and rolled it next to the autopsy table. He switched on a sound-activated tape recorder and picked up a scalpel and a pair of regular gardening shears. He said, "Well, let's get to work."

Bosch moved back a few steps to avoid any spatter and leaned against a counter on which there was a tray full of knives and saws and scalpels. He noticed that a sign taped to the side of the tray said: To Be Sharpened.

Salazar looked down at the body of Billy Meadows and began: "The body is that of a well-developed Caucasian male measuring sixty-nine inches in length, weighing one hundred sixty-five pounds and appearing generally consistent with the stated age of forty years. The body is cold and unembalmed with full rigor and posterior dependent fixed lividity."

Bosch watched him start but then noticed the plastic bag containing Mead-ows's clothes on the counter next to the tool pan. He pulled it over and opened it up. The smell of urine immediately a.s.saulted his nostrils, and he thought for a moment of the living room at Meadows's apartment. He pulled on a pair of rubber gloves as Salazar continued to describe the body.

"The left index finger shows a palpable fracture without laceration or petechial contusion or hemorrhage."

Bosch glanced over his shoulder and saw that Salazar was wiggling the broken digit with the blunt end of the scalpel as he spoke to the tape recorder. He concluded his external description of the body by mentioning the skin punctures.

"There are hemorrhagic puncture wounds, hypodermic type, on the upper inside thighs and interior side of the left arm. The arm puncture exudes a b.l.o.o.d.y fluid and appears to be most recent. No scabbing. There is another puncture, in the upper left chest, which exudes a small amount of b.l.o.o.d.y fluid and appears to be slightly larger than that caused by hypodermic puncture."

Salazar put his hand over the tape recorder's mike and said to Bosch, "I'm having Sakai get slides of this chest puncture. It looks very interesting."

Bosch nodded and turned back to the counter and began spreading out Meadows's clothes. Behind him he heard Salazar using the shears to open up the dead man's chest.

The detective pulled each pocket out and looked at the lint. He turned the socks inside out and checked the inside lining of the pants and shirt. Nothing. He took a scalpel out of the To Be Sharpened pan and cut the st.i.tches out of Meadows's leather belt and pulled it apart. Again nothing. Over his shoulder he heard Salazar saying, "The spleen weighs one hundred ninety grams. The capsule is intact and slightly wrinkled, and the parenchyma is pale purple and trabecular."

Bosch had heard it all hundreds of times before. Most of what a patholo-gist said into his tape recorder meant nothing to the detective who stood by. It was the bottom line the detective waited for. What killed the person on the cold steel table? How? Who?

"The gallbladder is thin walled," Salazar was saying. "It contains a few cc's of greenish bile with no stones."

Bosch shoved the clothes back into the plastic bag and sealed it. Then he dumped the leather work shoes Meadows had been wearing out of a second plastic bag. He noticed reddish-orange dust fall from inside the shoes. Another indication the body had been dragged into the pipe. The heels had sc.r.a.ped on the dried mud at the bottom of the pipe, drawing the dust inside the shoes.

Salazar said, "The bladder mucosa is intact, and there are only two ounces of pale yellow urine. The external genitalia and v.a.g.i.n.a are unremarkable."

Bosch turned around. Salazar had his hand on the tape recorder speaker. He said, "Coroner's humor. Just wanted to see if you were listening, Harry. You might have to testify to this one day. To back me up."

"I doubt it," Bosch said. "They don't like boring juries to death."

Salazar started the small circular saw that was used to open the skull. It sounded like a dentist's drill. Bosch turned back to the shoes. They were well oiled and cared for. The rubber soles showed only modest wear. Stuck in one of the deep grooves of the tread of the right shoe was a white stone. Bosch pried it out with the scalpel. It was a small chunk of cement. He thought of the white dust in the rug in Meadows's closet. He wondered if the dust or the chunk from the shoe tread could be matched to the concrete that had guarded the WestLand Bank's vault. But if the shoes were so well cared for, could the chunk have been in the tread for nine months since the vault break-in? It seemed unlikely. Perhaps it was from his work on the subway project. If he actually had such a job. Bosch slipped the chunk of cement into a small plastic envelope and put it in his pocket with the others he had collected throughout the day.

Salazar said, "Examination of the head and cranial contents reveals no trauma or underlying pathological disease conditions or congenital anomalies. Harry, I'm going to do the finger now."

Bosch put the shoes back in their plastic bag and returned to the autopsy table as Salazar placed an X ray of Meadows's left hand on a light window on the wall.

"See here, these fragments?" he said as he traced small, sharp white spots on the negative. There were three of them near the fractured joint. "If this was an old break, these would, over time, have moved into the joint. There is no scarring discernible on the X ray but I am going to take a look."

He went to the body and used a scalpel to make a T-incision in the skin on the top of the finger joint. He then folded the skin back and dug around with the scalpel in the pink meat, saying, "No ...no...nothing. This was post, Harry. You think it could have been one of my people?"

"I don't know," Bosch said. "Doesn't look like it. Sakai said he and his sidekick were careful. I know I didn't do it. How come there's no damage to the skin?"

"That is an interesting point. I don't know. Somehow the finger was broken without the exterior being damaged. I can't answer that one. But it shouldn't have been too hard to do. Just grab the finger and yank down. Provided you have the stomach for it. Like so."

Salazar went around the table. He lifted Meadows's right hand and yanked the finger backward. He couldn't get the leverage needed and couldn't break the joint.

"Harder than I thought," he said. "Perhaps the digit was struck with a blunt object of some kind. One that did not blemish the skin."

When Sakai came in with the slides fifteen minutes later, the autopsy was completed and Salazar was sewing Meadows's chest closed with thick, waxed twine. He then used an overhead hose to spray debris off the body and wet down the hair. Sakai bound the legs together and the arms to the body with rope, to prevent them from moving during the different stages of rigor. Bosch noticed that the rope cut across the tattoo on Meadows's arm, across the rat's neck.

Using his thumb and forefinger, Salazar closed Meadows's eyes.

"Take him to the box," he said to Sakai. Then to Bosch, "Let's take a look at these slides. This seemed odd to me because the hole was bigger than your normal scag spike and its location, in the chest, was unusual.

"The puncture is clearly antemortem, possibly perimortem - there was only slight hemorrhaging. But the wound is not scabbed over. So we're talking shortly before, or even during death. Maybe the cause of death, Harry."

Salazar took the slides to a microscope that was on the counter at the back of the room. He chose one of the slides and put it on the viewing plate. He bent over to look and after half a minute finally said, "Interesting."

He then looked briefly at the other slides. When he was done, he put the first slide back on the viewing plate.

"Okay, basically, I removed a one-inch-square section of the chest where this puncture was located. I went into the chest about one and a half inches deep with the cut. The slide is a vertical dissection of the sample, showing the track of the perforation. Do you follow me?"

Bosch nodded.

"Good. It's kind of like slicing an apple open to expose the track of a worm. The slide traces the path of the perforation and any immediate impact or damage. Take a look."

Bosch bent to the eyepiece of the microscope. The slide showed a straight perforation about one inch deep, through the skin and into the muscle, tapering in width like a spike. The muscle's pink color changed to a dark brownish color around the deepest point of the penetration.

"What does it mean?" he asked.

"It means," said Salazar, "that the puncture was through the skin, through the fascia - that's the fibrous fat layer - and then directly into the pectoral muscle. You notice the deepening color of the muscle around the penetration?"

"Yes, I notice."

"Harry, that's because the muscle is burned there."

Bosch looked away from the microscope to Salazar. He thought he could make out the line of a thin smile beneath the pathologist's breathing mask.

"Burned?"

"A stun gun," the pathologist said. "Look for one that fires its electrode dart deep into the skin tissue. About three to four centimeters deep. Though in this case, it is likely the electrode was manually pressed deeper into the chest."

Bosch thought a moment. A stun gun would be virtually impossible to trace. Sakai came back into the room and leaned on the counter by the door, watching. Salazar collected three gla.s.s vials of blood and two containing yellowish liquid from the tool cart. There was also a small steel pan containing a brown lump of material that Bosch recognized from experience in this room as liver.

"Larry, here are the tox samples," Salazar said. Sakai took them and disappeared from the room again.

"You're talking about torture, electric shock," Bosch said.

"I would say it looks so," Salazar said. "Not enough to kill him, the trauma is too small. But possibly enough to get information from him. An electric charge can be very persuasive. I think there is ample history on that. With the electrode positioned in the subject's chest, he could probably feel the juice going right into his heart. He would have been paralyzed. He'd tell them what they wanted and then could only watch while they put a fatal dosage of heroin into his arm."

"Can we prove any of this?"

Salazar looked down at the tile floor and put his finger on his mask, and scratched his lip beneath it. Bosch was dying for a cigarette. He had been in the autopsy room nearly two hours.

"Prove any of it?" Salazar said. "Not medically. Tox tests will be done in a week. For the sake of argument, say they come back heroin overdose. How do we prove that someone else put it in his arm, not himself? Medically, we can't. But we can show that at the time of death or shortly before, there was a traumatic a.s.sault on the body in the form of electric shock. He was being tortured. After death there is the unexplained damage to the first digit of the left hand."

He rubbed the finger over his mask again and then concluded, "I could testify that this was a homicide. The totality of the medical evidence indicates death at the hands of others. But, for the moment, there is no cause. We wait for the tox studies to be completed and then we'll put our heads together again."

Bosch wrote a paraphrase of what Salazar had just said into his notebook. He would have to type it into his own reports.

"Of course," Salazar said, "proving any of this beyond a reasonable doubt to a jury is another matter. I would guess that, Harry, you have to find that bracelet and find out why it was worth torturing and killing a man for."

Bosch closed his notebook and started to pull off the paper gown.

The setting sun burned the sky pink and orange in the same bright hues as surfers' bathing suits. It was beautiful deception, Bosch thought, as he drove north on the Hollywood Freeway to home. Sunsets did that here. Made you forget it was the smog that made their colors so brilliant, that behind every pretty picture there could be an ugly story.

The sun hung like a ball of copper in the driver's-side window. He had the car radio tuned to a jazz station and Coltrane was playing "Soul Eyes." On the seat next to him was a file containing the newspaper clippings from Bremmer. The file was weighted down by a six-pack of Henry's. Bosch got off at Barham and then took Woodrow Wilson up into the hills above Studio City. His home was a wood-framed, one-bedroom cantilever not much bigger than a Beverly Hills garage. It hung out over the edge of the hill and was supported by three steel pylons at its midpoint. It was a scary place to be during earthquakes, daring Mother Nature to tw.a.n.g those beams and send the house down the hill like a sled. But the view was the trade-off. From the back porch Bosch could look northeast across Burbank and Glendale. He could see the purple-hued mountains past Pasadena and Altadena. Sometimes he could see the smoky loom-up and orange blaze of brush fires in the hills. At night the sound of the freeway below softened and the searchlights at Universal City swept the sky. Looking out on the Valley never failed to give Bosch a sense of power which he could not explain to himself. But he did know that it was one reason - the main reason - he bought the place and would never want to leave it.

Bosch had bought it eight years earlier, before the real estate boom got seriously endemic, with a down payment of $50,000. That left a mortgage of $1,400 a month, which he could easily afford because the only things he spent money on were food, booze and jazz.

The down payment money had come from a studio that gave it to him for the rights to use his name in a TV miniseries based on a string of murders of beauty shop owners in Los Angeles. Bosch and his partner during the investigation were portrayed by two midlevel TV actors. His partner took his fifty grand and his pension and moved to Ensenada. Bosch put his down on a house he wasn't sure could survive the next earthquake but that made him feel as though he were prince of the city.

Despite Bosch's resolve never to move, Jerry Edgar, his current partner and part-time real estate man, told him the house was now worth three times what he had paid for it. Whenever the subject of real estate came up, which was often, Edgar counseled Bosch to sell and trade up. Edgar wanted the listing. Bosch just wanted to stay where he was.

It was dark by the time he reached the hill house. He drank the first beer standing on the back porch, looking out at the blanket of lights below. He had a second bottle while sitting in his watch chair, the file closed on his lap. He hadn't eaten all day and the beer hit him quickly. He felt lethargic and yet jumpy, his body telling him it needed food. He got up and went to the kitchen and made a pressed turkey sandwich that he brought back to the chair with another beer.

When he was finished eating he brushed the sandwich crumbs off the file and opened it up. There had been four Times Times stories on the WestLand bank caper. He read them in the order of publication. The first was just a brief that had run on page 3 of the Metro section. The information had apparently been gathered on the Tuesday the break-in was discovered. At the time, the LAPD and the FBI weren't that interested in talking to the press or letting the public know what had happened. stories on the WestLand bank caper. He read them in the order of publication. The first was just a brief that had run on page 3 of the Metro section. The information had apparently been gathered on the Tuesday the break-in was discovered. At the time, the LAPD and the FBI weren't that interested in talking to the press or letting the public know what had happened.

AUTHORITIES PROBE BANK BREAK-IN

An undisclosed amount of property was stolen from the WestLand National Bank in downtown during the three-day holiday weekend, authorities said Tuesday.

The burglary, being investigated by the FBI and the Los Angeles Police Department, was discovered when managers of the bank located at the corner of Hill Street and Sixth Avenue arrived Tuesday and found the safe-deposit vault had been looted, FBI Special Agent John Rourke said.

Rourke said an estimate on the loss of property had not been made. But sources close to the investigation said more than $1 million worth of jewels and other valuables stored in the vault by customers of the bank was taken.

Rourke also declined to say how the burglars entered the vault but did say that the alarm system was not working properly. He declined to elaborate.

A spokesman for WestLand declined Tuesday to discuss the burglary. Authorities said there were no arrests or suspects.

Bosch wrote the name John Rourke in his notebook and went on to the next newspaper story, which was much longer. It had been published the day after the first and had been bannered across the top of the front page of the Metro section. It had a two-deck headline and was accompanied by a photograph of a man and woman standing in the safe-deposit vault looking down at a manhole-sized opening in the floor. Behind them was a pile of deposit boxes. Most of the small doors on the back wall were open. Bremmer's byline was on the story.

AT LEAST $2 MILLION TAKEN IN BANK TUNNEL JOB; BANDITS HAD HOLIDAY WEEKEND TO DIG INTO VAULT The article expanded on the first story, filling in the detail that the perpetrators had tunneled into the bank, digging an approximately 150-yard line from a city storm main that ran under Hill Street. The story said an explosive device had been used to make the final break through the floor of the vault. According to the FBI, the burglars probably were in the vault through most of the holiday weekend, drilling open the individual safe-deposit boxes. The entry tunnel from the stormwater main to the vault was believed to have been dug during seven to eight weeks before the heist.

Bosch made a note to ask the FBI how the tunnel had been dug. If heavy equipment was used, most banks' alarms, which measured sound as well as earth vibrations, would have picked up the ground movement and sounded. Also, he wondered, why hadn't the explosive device set off alarms?

He looked then at the third article, published the day after the second. This one wasn't written by Bremmer, though it still had been played on the front of Metro. It was a feature on the dozens of people lining up at the bank to see if their safe-deposit boxes were among those pried open and emptied. The FBI was escorting them into the vault and then taking their statements. Bosch scanned the story but saw the same thing over and over again: people angry or upset or both because they had lost items that they had placed in the vault because they believed it was safer than their homes. Near the bottom of the story Harriet Beecham was mentioned. She had been interviewed as she came out of the bank, and she told the reporter she had lost a lifetime's collection of valuables bought while traveling the world with her late husband, Harry. The story said Beecham was dabbing at her eyes with a lace handkerchief.

"I lost the rings he bought me in France, a bracelet of gold and jade from Mexico," Beecham said. "Whoever they were that did this, they took my memories."

Very melodramatic. Bosch wondered if the last quote had been made up by the reporter.

The fourth story in the file had been published a week later. By Bremmer, it was short and had been buried in the back of Metro, behind where they stuffed the Valley news. Bremmer reported that the WestLand investigation was being handled exclusively by the FBI. The LAPD provided initial backup, but as leads dried up, the case was left in the bureau's hands. Special Agent Rourke was quoted again in this story. He said agents were still on the case full-time but no progress had been made or suspects identified. None of the property taken from the vault, he said, had turned up.

Bosch closed the file. The case was too big for the bureau to slough off like a bank stickup. He wondered if Rourke had been telling the truth about the lack of suspects. He wondered if Meadows's name had ever come up. Two decades earlier Meadows had fought and sometimes lived in the tunnels beneath the villages of South Vietnam. Like all the tunnel fighters, he knew demolition work. But that was for bringing a tunnel down. Implosion. Could he have learned how to blow through the concrete-and-steel floor of a bank vault? Then Bosch realized that Meadows would not necessarily have needed to know how. He was sure the WestLand job had taken more than one person.

He got up and got another beer from the refrigerator. But before going back to the watch chair he detoured into the bedroom, where he pulled an old sc.r.a.pbook out of the bottom drawer of the bureau. Back in the chair he drank down half the beer, then opened the book. There were bunches of photographs loose between the pages. He had meant to mount them but had never gotten around to it. He rarely even opened the book. The pages were yellowed and had gone to brown at the edges. They were brittle, much like the memories the photos evoked. He picked up each snapshot and examined it, at some point realizing that he had never mounted them on the pages because he liked the idea of holding each picture in his hands, feeling it.

The photographs were all taken in Vietnam. Like the picture found in Meadows's apartment, these were mostly in black and white. It was cheaper back then, getting black-and-white film developed in Saigon. Bosch was in some of the shots, but most were photos that he had taken with an old Leica his foster father had given him before he left. It was a peace gesture from the old man. He hadn't wanted Harry to go, and they had fought about it. So the camera was given. And accepted. But Bosch was not one to tell stories when he returned, and the snapshots were left spread through the pages of the sc.r.a.pbook, never to be mounted, rarely to be looked at.

If there was a recurring theme of the photographs it was the smiling faces and the tunnels. In almost every shot, there were soldiers standing in defiant poses at the mouth of a hole they had probably just been in and conquered. To the outsider, the photos would appear strange, maybe fascinating. But to Bosch they were scary, like newspaper photos he had seen of people trapped in wrecked cars, waiting to be cut out by the firemen. The photos were of the smiling faces of young men who had dropped down into h.e.l.l and come back to smile into the camera. Out of the blue and into the black is what they called going into a tunnel. Each one was a black echo. Nothing but death in there. But, still, they went.

Bosch turned a cracked page of the alb.u.m and found Billy Meadows staring up at him. The photo had undoubtedly been taken a few minutes after the one Bosch had found at Meadows's apartment. The same group of soldiers. The same trench and tunnel. Echo Sector, Cu Chi District. But Bosch wasn't in this portrait because he had left the frame to snap the photo. His Leica had caught Meadows's vacant stare and stoned smile - his pale skin looked waxy but taut. He had captured the real Meadows, Bosch thought. He put the photo back in the page and turned to the next one. This one was of himself, no one else in the frame. He clearly remembered setting the camera down on a wooden table in a hootch and setting the timer. Then he moved into the frame. The camera had snapped as he was shirtless, the tattoo on his deeply tanned shoulder catching the falling sun through the window. Behind him, but out of focus, was the dark entrance to a tunnel lying uncovered on the straw floor of the hootch. The tunnel was blurred, forbidding darkness, like the ghastly mouth in Edvard Munch's painting The Scream. The Scream.

It was a tunnel in the village they called Timbuk2, Bosch knew as he stared at the photo. His last tunnel. He was not smiling in the picture. His eyes were set in dark sockets. And neither was he smiling as he looked at it now. He held the photo in two hands, absentmindedly rubbing his thumbs up and down the borders. He stared at the photograph until fatigue and alcohol pulled him down into sleepy thought. Almost dreamlike. He remembered that last tunnel and he remembered Billy Meadows.

Three of them went in. Two of them came out.