The Concrete Blonde Part 38

Meaning back inside the boundaries of Los Angeles.

"One, what's your twenty?" Bosch asked.

"Still Santa Monica, going east. Past La Brea-no, he's northbound now on La Brea. He might be going home."

Bosch slid low in his seat in case Mora came down the street. He listened as Sheehan reported that the vice cop was now eastbound on Sunset.

"Just pa.s.sed Sierra Linda."

Mora was staying out. Bosch sat back up. He listened to five minutes of silence.

"He's going to the Dome," Sheehan finally said.

"The Dome?" Bosch responded.

"Movie theater on Sunset just past Wilc.o.x. He's parked. He's paying for a ticket and is going in. Musta just been driving around till showtime."

Bosch tried to picture the area in his mind. The huge geodesic dome was one of Hollywood's landmark theaters.

"Team One, this is Team Leader. I want to split you up here. One of you goes in with the subject, one stays on the car, out."

"Roger that. Team One, out."

The Dome was ten minutes away from Sierra Linda. Bosch figured that meant that at maximum he had an hour and a half inside the house unless Mora left the movie early.

He quickly got out of the car again, crossed the street and moved up the block to Mora's house. The wide porch completely cloaked the front door in shadows. Bosch knocked on it and while he waited he turned to look at the house across the street. There were lights on downstairs and he could see the bluish glow of a TV on the curtains behind one of the upstairs rooms.

n.o.body answered. He stepped back and appraised the front windows. He saw no warnings about security systems, no alarm tape on the gla.s.s. He looked between the bars and through the gla.s.s into what he believed was the living room. He looked up into the corners of the ceiling, searching for the dull glow of a motion detector. As he expected, there was nothing. Every cop knew the best defense was a good lock or a mean dog. Or both.

He went back to the door, opened the pouch and took out the penlight. There was black electrical tape over the end so that when he switched it on only a narrow beam of light was emitted. He knelt down and looked at the locks on the door. Mora had a dead bolt and a common key-entry k.n.o.b. Bosch put the penlight in his mouth and aimed the beam at the dead bolt. With two picks, a tension wrench and a hook, he began working. It was a good lock with twelve teeth, not a Medeco but a cheaper knockoff. It took Bosch ten minutes to turn it. By then sweat had come down out of his hair and was stinging his eyes.

He pulled his s.h.i.+rt out of his pants and wiped his face. He also wiped the picks, which had become slippery with sweat, and took a quick look at the house across the street. Nothing seemed changed, nothing seemed amiss. The TV was still on upstairs. He turned back and put the beam on the k.n.o.b. Then he heard a car coming. He cut the light and crawled behind the porch riser until it had pa.s.sed.

Back at the door he palmed the k.n.o.b and was working the hook in when he realized there was no pressure on the k.n.o.b. He turned it and the door opened. The k.n.o.b hadn't been locked. It made sense, Bosch knew. The dead bolt was the deterrent. If a burglar got by that, the k.n.o.b lock was a gimme. Why bother locking it?

He stood in the darkness of the entrance without moving, letting his eyes adjust. When he was in Vietnam he could drop into one of Charlie's tunnels and he would have night eyes in fifteen seconds. Now it took him longer. Out of practice, he guessed. Or getting old. He stood in the entry for nearly a minute. When the shapes and shadows filled in, he called out, "Hey, Ray? You here? You left your door unlocked. h.e.l.lo?"

There was no answer. He knew Mora wouldn't have a dog, not living alone and working a cop's hours.

Bosch took a few steps farther into the house and looked at the dark shapes of the furniture in the living room. He had creeped places before, even a cop's house, but the feeling always seemed new, that feeling of exhilaration, jagged fear and panic, all in one. It felt as though his center of gravity had dropped into his b.a.l.l.s. He felt a strange power that he knew he could never describe to anyone.

For a brief moment the panic rose and threatened the delicate balance of his thoughts and feelings. The headline flashed in his mind-COP ON TRIAL CAUGHT IN BREAK-IN-but he quickly dismissed it. To think about failure was to invite failure. He saw the stairs and immediately moved toward them. His thought was that Mora would keep his trophies either in his bedroom or near a TV, which also could mean both. Rather than work his way toward the bedroom, he would start there.

The second floor was divided into two bedrooms with a bathroom in between them. The bedroom to the right had been converted to a carpeted gym. There was an a.s.sortment of chrome-plated equipment, a rowing machine, a stationary bike and a contraption Bosch didn't recognize. There was a rack of free weights and a bench press with a chest bar across it. On one wall of the room was a floor-to-ceiling mirror. It was spidered by a shatter point about face high in the center. For a moment Bosch looked at himself and studied his shattered reflection. He thought of Mora studying his own face there.

Bosch looked at his watch. It had already been thirty minutes since Mora had gone into the theater. He took out the radio.

"One, how's he doin'?"

"He's still inside. How're you doing?"

"Just hanging around. Call if you need me."

"Anything interesting on TV?"

"Not yet."

Then Rollenberger's voice came up.

"Teams One and Six, let's drop the banter and use the radio for pertinent transmissions only. Team Leader, out."

Neither Bosch nor Sheehan acknowledged him.

Bosch moved across the hallway into the other bedroom. This was where Mora slept. The bed was unmade and clothing was draped over a chair by the window. Bosch peeled some of the tape off his light to give him a wider swath of vision.

On the wall over the bed he saw a portrait of Jesus, his eyes cast downward, his sacred heart visible in his chest. Bosch moved to the bed table and held the light briefly on a framed photo that stood next to the alarm clock. It was a young blonde woman and Mora. His ex-wife, he a.s.sumed. Her hair was bleached and Bosch recognized that she fit into the physical archetype of the victims. Was Mora killing his ex-wife over and over? he wondered again. That would be one for Locke and the other headshrinkers to decide. On the table behind the photo was a religious holy card. Bosch picked it up and put the light on it. It was a picture of the Infant of Prague, a golden halo shooting up from behind the little king's head.

The night table's drawer contained mostly innocuous junk: playing cards, aspirin bottles, reading gla.s.ses, condoms-not the brand favored by the Dollmaker-and a small telephone book. Bosch sat on the bed and leafed through the phone book. There were several women listed by first names but he was not surprised to find none of the names of the women a.s.sociated with the Follower or Dollmaker cases listed.

He closed the drawer and put the light on the shelf beneath it. There he found a foot-high stack of explicit p.o.r.nography magazines. Bosch guessed there were more than fifty, their covers featuring glossy photos of couplings of all equations: male-female, male-male, female-female, male-female-male, and so on. He flipped through a handful of them and saw a check mark made with a Magic Marker on the top right corner of each cover, as he had seen Mora do with the magazines at his office. Mora was taking his work home. Or had he brought the magazines here for another reason?

Looking at the magazines, Bosch felt a tightening in his crotch and some strange feeling of guilt descended on him. What about me? he wondered. Am I doing more than my job here? Am I the voyeur? He put the stack back in place. He knew there were too many magazines for him to go through to try to find victims of the Follower. And if he found any, what would that prove?

There was a tall oak armoire against the wall opposite the bed. Bosch opened its doors and found a television and videoca.s.sette recorder inside. There were three videotape ca.s.settes stacked on top of the TV. They were 120-minute tapes. He opened the two drawers in the cabinet and found one more ca.s.sette in the top drawer. The bottom drawer contained a collection of store-bought p.o.r.no tapes. He slid a couple of these tapes out, but again there were too many of them and not enough time. His attention was drawn to the four tapes used for home recording.

He turned on the TV and VCR and checked to see if there was another tape already inserted. There wasn't. He put in one of the tapes that had been stacked on top of the TV. It only showed static. He hit the fast-forward play b.u.t.ton and watched as the static continued until the end of the tape. It took him fifteen minutes to run through the three tapes that had been on top of the television. Each was blank.

A curious thing, Bosch thought. He had to a.s.sume that the tapes had been used at one time because they were no longer in the cardboard jackets and plastic wrap they came from the store in. Though he did not own a VCR, he was familiar with them and it occurred to him that people usually did not erase their home tapes. They just taped new programs over the old ones. Why had Mora taken the time to erase what had been on these tapes? He was tempted to take one of the blank tapes to have it a.n.a.lyzed but decided it would be too risky. It would probably be missed by Mora.

The last home tape, the one from the top drawer, wasn't blank. It contained scenes of an interior of a house. A child was playing with a stuffed animal on the floor. Through the window behind the girl Bosch could see a snow-covered yard. Then a man entered the video frame and hugged the girl. At first Bosch thought it was Mora. Then the man said, "Gabrielle, show Uncle Ray how much you like the horsie."

The girl hugged the stuffed horse and yelled, "Fankoo Uggle Way."

Bosch turned the tape off, returned it to the armoire's top drawer once again and then pulled both drawers out and looked below them. Nothing else. He stepped up onto the bed so he could see on top of the armoire and there was nothing there, either. He turned the equipment off and returned the armoire to the condition it was in when he opened it. He looked at his watch. Nearly an hour had gone by now.

The walk-in closet was neatly lined on both sides with clothes on hangers. The floor had eight pairs of shoes parked toe-in against the back wall. He found nothing else of interest and retreated into the bedroom. He took a quick look under the bed and through the drawers of the bureau but found nothing of interest. He moved back down the stairs and quickly looked into the living room but there was no TV. There was none in the kitchen or dining room either.

Bosch followed a hallway off the kitchen into the back of the house. There were three doors off the hallway and this area appeared to be either a converted garage or an addition that was constructed in recent years. There were air-conditioning vents in the ceiling of the hallway and the white pine flooring was much newer than the scarred and browned oak floors throughout the rest of the first floor.

The first door opened into a laundry room. Bosch quickly opened the cabinets above the washer and dryer and found nothing of interest. The next door was to a bathroom with newer fixtures than those he had seen in the bathroom upstairs.

The last door opened into a bedroom with a four-poster bed as its centerpiece. The coverlet was pink and it had the feel of a woman's room. It was the perfume, Bosch realized. But, still, the room did not have a lived-in feeling. It seemed more like a room waiting for its occupant's return. Bosch wondered if Mora might have a daughter away at college, or was this the room his ex-wife used before she finally ended the marriage and left?

There was a TV and VCR on a cart in the corner. He went to it and opened the video storage drawer below the VCR but it was empty except for a round metal object the size of a hockey puck. Bosch picked it up and looked at it but could not tell what it was. He thought it might be from the weight set upstairs. He put it back and closed the drawer.

He opened the drawers of the white dresser but found nothing but women's underwear in the top drawer. The second drawer held a box containing a palette of varying colors of eye makeup and several brushes. There was also a round plastic container of beige facial powder. The makeup containers were for home use, too large to carry in a purse and therefore could not have come from any of the Follower's victims. They belonged to whoever used this room.

There was nothing at all in the bottom three drawers. He looked at himself in the mirror above the bureau and saw he was sweating again. He knew he was using too much time. He looked at his watch; sixty minutes had gone by now.

Bosch opened the closet door and immediately launched himself backward as a jolt of fear punched into his chest. He took cover to the side of the door while drawing his gun.

"Ray! That you?"

No one answered. He realized he was leaning against the light switch for the deep, walk-in closet. He flicked it on and swung into the doorway in a low crouch, his gun pointing at the man he had seen when he opened the door.

He quickly reached outside the door and killed the light. On the shelf above the clothes bar was a round Styro-foam ball on which sat a wig of long black hair. Bosch caught his breath and stepped all the way into the closet. He studied the wig without touching it. How does this fit? he wondered. He turned to his right and found more pieces of women's sheer lingerie and a few thin silk dresses on hangers. On the floor beneath them, parked toe-in to the wall, was a pair of red shoes with stiletto heels.

On the other side of the closet, behind some clothes in dry-cleaner bags, stood a camera tripod. Bosch's adrenaline began flowing again at a quicker pace. He quickly raised his eyes and began looking among the boxes on the shelves above the clothing bar. One box was marked with j.a.panese writing and he carefully pulled it down, finding it surprisingly heavy. Opening it, he found a video camera and ca.s.sette recorder.

The camera was large and he recognized that it was not a department store-bought piece of equipment. It was more like the kind of camera Bosch had seen used by TV news crews. It had a detachable industrial battery and a strobe. It was connected by an eight-foot coaxial cable to the recorder. The recorder had a playback screen and editing controls.

He thought that Mora's having such obviously expensive equipment was curious but he did not know what to make of it. He wondered if the vice cop had seized it from a p.o.r.no producer and never turned it in to the evidence lockup. He pressed a b.u.t.ton that opened the ca.s.sette housing on the recorder but it was empty. He repacked the equipment in the box and replaced it on the shelf, all the while wondering why a man with such a camera would have only blank tapes. He realized, as he took another quick look around the closet, that the tapes he had found so far might have recently been erased. He knew if that was the case, Mora might have tumbled to the surveillance.

He looked at his watch. Seventy minutes. He was pus.h.i.+ng the envelope.

As he closed the closet door and turned around, he caught his own image in the mirror over the bureau. He quickly turned to the door to go. That was when he saw the rack of lights on a track running high on the wall above the bedroom door. There were five lights and he did not need to turn them on to be able to tell they focused on the bed.

He focused on the bed himself for a moment as he began to put it together. He took another glance at his watch, though he already knew it was time to go, and headed for the door.

As he crossed the room he looked at the TV and VCR again and realized that he had forgotten something. He quickly dropped to his knees in front of the machines and turned the VCR on. He hit the eject b.u.t.ton and a videocas-sette popped out. He pushed it back in and hit the rewind b.u.t.ton. He turned the TV on and pulled out the rover.

"One, how we doing?"

"Movie's getting out now. I'm watching for him."

That wasn't right, Bosch knew. No general release movie was that short. And he knew the Dome was a single theater. One movie shown at a time. So Mora had gone into the theater after the movie had started. If he had really gone in. An adrenaline-charged alert swept over him.

"You sure it's over, One? He's barely been in there an hour."

"We're going in!"

There was panic in Sheehan's voice. Then Bosch understood. We're going in. Opelt had not followed Mora into the theater. They had clicked off on Rollenberger's order to split up but they hadn't followed the order. They couldn't. Mora had seen Sheehan and Opelt the day before at the burrito stand by Central Division. There was no way one of them could go into a dark theater looking for Mora and risk being seen by the vice cop first. If that happened, Mora would instantly tumble to the setup. He would know. Sheehan had rogered the order from Rollen-berger because the alternative was to tell the lieutenant that they had f.u.c.ked up the day before.

The VCR rewind clicked off. Bosch sat there motionless, his finger poised in front of the VCR. He knew they had been made. Mora was a cop. He had made the tail. The theater stop had been a scam.

He hit the play b.u.t.ton.

This tape had not been erased. The quality of the image on it was better than Bosch had seen in the video booth at X Marks the Spot four nights earlier. The tape had all the production values of a feature-length p.o.r.no tape. Framed in the TV picture was the four-poster bed on which two men were engaged in s.e.x with a woman. Bosch watched for a moment and hit the fast forward b.u.t.ton while the picture was still on the screen. The players in the video began a quick jerking motion that was almost comedic. Bosch watched as they changed couplings over and over. Every conceivable coupling in fast speed. Finally, he returned it to normal speed and studied the players.

The woman did not fit the Follower's mold. She wore the black wig. She was also rail-thin and young. In fact, she wasn't a woman-legally, at least. Bosch doubted she was more than sixteen years old. One of her partners was young, too, perhaps he was her age or less. Bosch couldn't be sure. He was sure, however, that the third partic.i.p.ant was Ray Mora. His face was turned away from the camera but Bosch could tell. And he could see the gold medal, the Holy Spirit, bouncing on his chest. He turned the tape off.

"I forgot about that tape, didn't I?"

Still on his knees in front of the television, Bosch turned. Ray Mora was standing there with a gun pointed at his face.

"Hey, Ray."

"Thanks for reminding me."

"Don't worry about it. Look, Ray, why don't you put-"

"Don't look at me."

"What?"

"I don't want you to look at me! Turn around, look at the screen."

Bosch obediently looked at the blank screen.

"You're a leftie, right? With your right hand take out your gun and slide it across the floor this way."

Bosch carefully followed the orders. He thought he heard Mora pick the gun up off the floor.

"You f.u.c.ks think I'm the Follower."

"Look, I'm not going to lie to you, Ray, we were checking you out, that's all... . I know now, I know we're wrong. You-"

"The kosher burrito boys. Somebody ought to teach them how to follow a f.u.c.king suspect. They don't know s.h.i.+t ... took me a while but I figured something was going down after I saw them."

"So we're wrong about you, right, Ray?"

"You have to ask, Bosch? After what you just saw? The answer is, yeah, you got your head up your a.s.s. Whose idea was it to check me out? Eyman? Leiby?"

Eyman and Leiby were the co-commanders of Administrative Vice.

"No. It came from me. It was my call."

A long moment of silence followed this confession.

"Then maybe I ought to just blow your head off right here. Be within my rights, wouldn't it?"

"Look, Ray-"

"Don't!"

Bosch stopped from turning all the way and looked back at the television.

"You do that, Ray, and your life unalterably changes. You know that."

"It did that as soon as you broke in, Bosch. Why shouldn't I just take it to the logical conclusion? Cap you and just disappear."

"'Cause you're a cop, Ray."

"Am I? Am I still going to be a cop if I let you go? You going to kneel there and tell me you'll make it right for me?"

"Ray, I don't know what to tell you. Those kids on the video are underage. But I only know that because of an illegal search. You end this now and put away the gun, we can work something out."

"Yeah, Harry? Can everything go back to the way it was? The badge is all I've got. I can't give-"