“How will I get together with Ramos down there?”
“He’ll come to you. Where’re you staying?”
“I don’t know.”
“Stay at the De Anza, in Calexico. It’s safer on our side of the border. Water’s better for you, too.”
“Okay. I’ll be there.”
“Another thing is, you can’t take a weapon across. I mean, it’s easy enough to do. You flash your badge at the crossing and nobody’s going to check your trunk. But if something happens down there, the first thing that will be checked is whether you checked your gun in at the police station in Calexico.”
He nodded meaningfully at Bosch.
“They have a gun locker at Calexico PD where they check weapons for crossing cops. They keep a log, you get a receipt. Professional courtesy. So check a weapon. Don’t take it across and then think you can say you left it up here at home. Check it in down there. Get it on the log. Then you don’t have a problem. Comprende? It’s like having an alibi for your gun in case something happens.”
Bosch nodded. He knew what Corvo was telling him.
Corvo took out his wallet and gave Bosch a business card.
“Call anytime and if I’m not in the office they will locate me. Just tell the operator it’s you. I’ll leave your name and word that you are to be put through.”
Corvo’s speech pattern had changed. He was talking faster. Bosch guessed this was because he was excited about the EnviroBreed tip. The DEA agent was anxious to get on it. Harry studied him in the mirror. The scar on his cheek seemed darker now, as if it had changed color with his mood. Corvo looked at him in the mirror.
“Knife fight,” he said, fingering the scar. “Zihuatenajo. I was under, working a case. Carrying my piece in my boot. Guy got me here before I could get to the boot. Down there they don’t have hospitals for shit. They did a bad job on it and I ended up with this. I couldn’t go under anymore. Too recognizable.”
Bosch could tell he liked telling the story. He was stoked with bravado as he told it. It was probably the one time he had come close to his own end. Bosch knew what Corvo was waiting for him to ask. He asked anyway.
“And the guy who did it? What did he get?”
“A state burial. I put him down once I got to my piece.”
Corvo had found a way to make killing a man who brought a knife to a gunfight sound heroic. At least to his own ears. He probably told the story a lot, every time he caught someone new looking at the scar. Bosch nodded respectfully and slipped off his stool and put money on the bar.
“Remember our deal. You don’t move on Zorrillo without me. Make sure you tell Ramos.”
“Oh, we’ve got a deal,” Corvo said. “But I’m not guaranteeing it will happen when you’re down there. We aren’t going to rush anything. Besides, we’ve lost Zorrillo. Temporarily, I’m sure.”
“What are you talking about, you’ve lost him?”
“I mean we haven’t had a bona fide sighting in about ten days or so. We think he’s there on the ranch, though. He’s just laying low, changing his routine.”
“Routine?”
“The pope is a man who likes to be seen. He likes to taunt us. Usually, he rides the ranch in a Jeep, hunting coyotes, shooting his Uzi, admiring his bulls. There is one bull in particular, a champion that once killed a matador. El Temblar, he is called. Zorrillo often goes out to watch this bull. It’s like him, I guess. Very proud.
“Anyway, Zorrillo has not been seen on the ranch or the Plaza de Toros, which was his Sunday custom. He hasn’t been seen cruising the barrios, reminding himself of where he came from. He’s a well-known figure in them all. He gets off on this pope of Mexicali shit.”
Bosch tried to imagine Zorrillo’s life. A celebrity in a town that celebrated nothing. He lit a cigarette. He wanted to get out of there.
“So when was the last bona fide?”
“If he is still there, he hasn’t come out of the compound since December fifteenth. That was a Sunday. He was at the plaza watching his bulls. That’s the last bona fide. After that, we have some informants who move that up to the eighteenth. They say they saw him at the compound, dicking around outside. But that’s it. He’s either split or he is laying low, like I said.”
“Maybe because he ordered a cop blown away.”
Corvo nodded.
Bosch left alone after that. Corvo said he was going to use the pay phone. Harry stepped out of the bar, felt the brisk night air and took the last drag on his cigarette. He saw movement in the darkness of the park across the street. Then one of the crazies moved into the cone of light beneath a streetlight. It was a black man, high-stepping and making jerking movements with his arms. He made a crisp turn and began moving back into the darkness. He was a trombone player in a marching band in a world somewhere else.
18
The apartment building where Cal Moore had lived was a three-story affair that stuck out on Franklin about the same way cabs do at the airport. It was one of the many stuccoed, post–World War II jobs that lined the streets in that area. It was called The Fountains but they had been filled in with dirt and made into planters. It was about a block from the mansion that was headquarters for the Church of Scientology and the complex’s white neon sign threw an eerie glow down to where Bosch was standing on the curb. It was near ten o’clock, so he wasn’t worried about anyone offering him a personality test. He stood there smoking and studying the apartment building for a half hour before finally deciding to go ahead with the break-in.
It was a security building but it really wasn’t. Bosch slipped the lock on the front gate with a butter knife he kept with his picks in the glove compartment of the Caprice. The next door, the one leading to the lobby, he didn’t have to worry about. It needed to be oiled and showed this by not snapping all the way closed. Bosch went through the door, checked a listing of tenants and found Moore’s name listed next to number seven, on the third floor.
Moore’s place was at the end of a hallway that split the center of the floor. At the door, Harry saw the police evidence sticker had been placed across the jamb. He cut it with the small pen knife attached to his key chain and then knelt down to look at the lock. There were two other apartments on the hallway. He heard no TV sound or talking coming from either. The lighting in the hall was good, so he didn’t need the flashlight. Moore had a standard pin tumbler dead bolt on the door. Using a curved tension hook and saw-tooth comb, he turned the lock in less than two minutes.
With his handkerchief-wrapped hand on the knob ready to open the door, he wondered again how prudent he was in coming here. If Irving or Pounds found out, he’d be back on the street in blue before the first of the year. He looked down the hall behind him once more and opened the door. He had to go in. Nobody else seemed to care what had happened to Cal Moore and that was fine. But Bosch did care for some reason. He thought maybe he would find that reason here.
Once inside the apartment, he closed and relocked the door. He stood there, a couple of feet inside, letting his eyes adjust. The place smelled musty and was dark, except for the bluish-white glow of the Scientology light that leaked through the sheer curtains over the living room window. Bosch walked into the room and switched on the lamp on an end table next to an old misshapen sofa. The light revealed that the place had come furnished in the same decor it had maybe twenty years ago. The navy blue carpet was worn flat as Astroturf in pathways from the couch to the kitchen and to the hallway that went off to the right.
He moved farther in and took quick glances in the kitchen and the bedroom and the bathroom. He was struck by the emptiness of the place. There was nothing personal here. No pictures on the walls, no notes on the refrigerator; no jacket hung over the back of a chair. There wasn’t even a dish in the sink. Moore had lived here but it was almost as if he hadn’t existed.
He didn’t know what he was looking for, so he started in the kitchen. He opened cabinets and drawers. He found a box of cereal, a can of coffee and a three-quarters-em
pty bottle of Early Times. In another cabinet he found an unopened bottle of sweet rum with a Mexican label. Inside the bottle was a stalk of sugar cane. There was some silverware and cooking tools in the drawers, several books of matches from Hollywood area bars like Ports and the Bullet.
The freezer was empty, except for two trays of ice. On the top shelf in the refrigerator section below there was a jar of mustard, a half-finished package of now-rancid bologna and a lone can of Budweiser, its plastic six-pack collar still choking it. On the lower shelf on the door was a two-pound bag of Domino sugar.
Harry studied the sugar. It was unopened. Then he thought, What the hell, I’ve come this far. He took it out and opened it and slowly poured it into the sink. It looked like sugar to him. It tasted like sugar to him. There was nothing else in the bag. He turned on the hot water and watched as the white mound was washed down the drain.
He left the bag on the counter and went into the bathroom. There was a toothbrush in the holder, shaving equipment behind the mirror. Nothing else.
In the bedroom Bosch first went into the walk-in closet. An assortment of clothes was on hangers and more filled a plastic laundry basket on the floor. On the shelf there was a green plaid suitcase and a white box with the word “Snakes” printed on it. Bosch first dumped the basket over and checked the pockets of the dirty shirts and pants. They were empty. He picked through the hanging clothes until he reached the back of the closet and found Moore’s dress uniform wrapped in plastic. Once you left patrol, there was really only one reason to save it. To be buried in. Bosch thought saving it was a bad omen, a lack of confidence. As required by the department, he kept one uniform, to be worn in time of civil crisis such as a major earthquake or riot. But he had dumped his dress blues ten years ago.
He brought down the suitcase; it was empty and smelled musty. It had not been used for some time. He pulled down the boot box but could tell it was empty before he opened it. There was some tissue paper inside it.
Bosch put it back up on the shelf, remembering how he had seen Moore’s one boot standing upright on the tile in the bathroom at the Hideaway. He wondered if Moore’s killer had had difficulty pulling it off to complete the suicide scene. Or had he ordered Moore to take it off first? Probably not. The blow to the back of the head that Teresa found meant Moore probably hadn’t known what hit him. Bosch envisioned the killer, his identity cloaked in shadow, coming up from behind and swinging the stock of the shotgun against the back of Moore’s head. Moore goes down. The killer pulls off the boot, drags him into his bathroom, props him against the tub and pulls both triggers. Wipe off the triggers, press the dead man’s thumb against the stock and rub his hands on the barrels to make convincing smears. Then set the boot upright on the tile. Add the splinter from the stock and the scene was set. Suicide.
The queen-sized bed was unmade. On the night table was a couple of dollars in change and a small framed photograph of Moore and his wife. Bosch bent over and studied it without touching it. Sylvia was smiling and appeared to be sitting in a restaurant, or perhaps at a banquet table at a wedding. She was beautiful in the picture and her husband was looking at her as if he knew it.
“You fucked up, Cal,” Harry said to no one.
He moved to the bureau, which was so old and scarred by cigarettes and knife-cut initials that the Salvation Army might even reject it. In the top drawer were a comb and a cherrywood picture frame lying face down. Bosch picked up the frame and saw that it was empty. He considered this for a few moments. The frame had a floral design carved into it. It would have been expensive and obviously did not come with the apartment. Moore had brought it with him. Why was it empty? He would have liked to be able to ask Sheehan if he or anybody else had taken a photograph from the apartment as part of the investigation. But he couldn’t without revealing he had been here.
The next drawer contained underwear and socks and a stack of folded T-shirts, nothing else. There were more clothes in the third drawer, all having been neatly folded at a laundry. Beneath a stack of shirts was a skin magazine which announced on the cover that nude photos of a leading Hollywood actress were provided inside. Bosch leafed through the magazine, more out of curiosity than belief there would be a clue inside. He was sure the magazine had been pawed over by every dick and blue suit who had been in the apartment during the investigation into Moore’s disappearance.
He put the magazine back after seeing that the photos of the actress were dark, grainy shots in which it could just barely be determined that she was barebreasted. He assumed they were from an early movie, made before she had enough clout to control the exploitation of her body. He imagined the disappointment of the men who bought the magazine only to discover those shots were the payoff on the cover’s lurid promise. He imagined the actress’s anger and embarrassment. And he wondered what they did for Cal Moore. A vision of Sylvia Moore flashed in his head. He shoved the magazine under the shirts and closed the drawer.
The last drawer of the bureau contained two things, a folded pair of faded blue jeans and a white paper bag that was crumpled and soft with age and contained a thick stack of photographs. It was what he had come for. Bosch instinctively knew this when he picked the bag up. He took it out of the bedroom, hitting the switch turning off the ceiling light as he went through the door.
Sitting on the couch next to the light, he lit a cigarette and pulled the stack of photos from the bag. Immediately he recognized that most of them were faded and old. These photographs somehow seemed more private and invasive than even those in the skin mag. They were pictures that documented Cal Moore’s unhappy history.
The photos seemed to be in some kind of chronological order. Bosch could tell this because they moved from faded black and white to color. Other benchmarks, like clothing and cars, also seemed to prove this.
The first photo was a black-and-white shot of a young Latina in what looked like a white nurse’s uniform. She was dark and lovely and wore a girlish smile and a look of mild surprise as she stood next to a swimming pool, her arms behind her back. Bosch saw the edge of a round object behind her and then realized she was holding a servant tray behind her back. She had not wanted to be photographed with the tray. She wasn’t a nurse. She was a maid. A servant.
There were other photographs of her in the stack, extending over several years. Age was kind to her but it still exacted its toll. She retained an exotic beauty but worry lines formed and her eyes lost some of their warmth. In some of the photographs Bosch leafed through, she held a baby, then she posed with a little boy. Bosch looked closely and even with the print being black and white he could see that the boy with dark hair and complexion had light-colored eyes. Green eyes, Bosch thought. It was Calexico Moore and his mother.
In one of the photos the woman and the small boy stood in front of a large white house with a Spanish-tile roof. It looked like a Mediterranean villa. Rising behind the mother and boy, but unclear because of the focus, was a tower. Two darkly blurred windows, like empty eyes, were near the top. Bosch thought about what Moore had said to his wife about growing up in a castle. This was it.
In another of the photos the boy stood rigidly next to a man, an Anglo with blond hair and darkly tanned skin. They stood next to the sleek form of a late-fifties Thunderbird. The man held one hand on the hood and one on the boy’s head. They were his possessions, the photo seemed to say. The man squinted into the camera.
But Bosch could see his eyes. They were the same green eyes of his son. The man’s hair was thinning on top and by comparing photos of the boy with his mother taken at about the same time, Bosch guessed that Moore’s father had been at least fifteen years older than his mother. The photo of the father and son was worn around the edges from handling. Much more worn than any of the others in the stack.
The next grouping of photos changed the venue. They were pictures from what was probably Mexicali. There were fewer photos to document a longer period of time. The boy was growing by leaps and the backgrounds of the photo
s had a third-world quality to them. They were shot in the barrio. More often than not there were crowds of people in the background, all Mexicans, all having that slight look of desperation and hope Bosch had seen in the ghettos of L.A.
And now there was another boy. He was the same age or slightly older. He seemed stronger, tougher. He was in many of the same frames with Cal. A brother maybe, Bosch thought.
It was in this grouping of photos that the mother began to show clearly the advance of age. The girl who hid the servant’s tray was gone. A mother used to the harshness of life had replaced her. The photos now took on a haunting quality. It bothered Harry to study them because he believed that he understood the hold the pictures had on Moore.
The last black-and-white photo showed the two boys, shirtless and sitting back to back on a picnic table, laughing at a joke preserved forever in time. Calexico was a young teenager with a guileless smile on his face. The other boy, maybe a year or two older, looked like trouble. He had a hard, sullen look in his eyes. In the picture Cal had his right arm cocked and was making a muscle for the photographer. Bosch saw the tattoo was already there. The devil with a halo. Saints and Sinners.