The Concrete Blonde Part 2

Bosch didn't answer that one either. He walked slowly back underneath the tarp. It looked like the others still hadn't figured out what to do about removing the concrete the body had been found in. Edgar was standing around trying not to get dirty. Bosch signaled to him and Pounds and they gathered together at a spot to the left of the trench, where they could talk without being overheard.

"Well?" Pounds asked. "What've we got?"

"It looks like Church's work," Bosch said.

"s.h.i.+t," Edgar said.

"How can you be sure?" Pounds asked.

"From what I can see, it matches every detail followed by the Dollmaker. Including the signature. It's there."

"The signature?" Edgar asked.

"The white cross on the toe. We held that back during the investigation, cut deals with all the reporters not to put it out."

"What about a copycat?" Edgar offered hopefully.

"Could be. The white cross was never made public until after we closed the case. After that, Bremmer over at the Times Times wrote that book about the case. It was mentioned." wrote that book about the case. It was mentioned."

"So we have a copycat," Pounds p.r.o.nounced.

"It all depends on when she died," Bosch said. "His book came out a year after Church was dead. If she got killed after that, you probably got a copycat. If she got put in that concrete before, then I don't know ..."

"s.h.i.+t," said Edgar.

Bosch thought a moment before speaking again.

"We could be dealing with one of a lot of different things. There's the copycat. Or maybe Church had a partner and we never saw it. Or maybe ... I popped the wrong guy. Maybe whoever wrote this note we got is telling the truth."

That hung out there in the momentary silence like dog-s.h.i.+t on the sidewalk. Everybody walks carefully around it without looking too closely at it.

"Where's the note?" Bosch finally said to Pounds.

"In my car. I'll get it. What do you mean, he may have had a partner?"

"I mean, say Church did do this, then where'd the note come from, since he is dead? It would obviously have to be someone who knew he did it and where he had hidden the body. If that's the case, who is this second person? A partner? Did Church have a killing partner we never knew about?"

"Remember the Hillside Strangler?" Edgar asked. "Turned out it was stranglers. Plural. Two cousins with the same taste for killing young women."

Pounds took a step back and shook his head as if to ward off a potentially career-threatening case.

"What about Chandler, the lawyer?" Pounds said. "Say Church's wife knows where he buried bodies, literally. She tells Chandler and Chandler hatches this scheme. She writes a note like the Dollmaker and drops it off at the station. It's guaranteed to f.u.c.k up your case."

Bosch replayed that one in his mind. It seemed to work, then he saw the fault lines. He saw that they ran through all the scenarios.

"But why would Church bury some bodies and not others? The shrink who advised the task force back then said there was a purpose to his displaying of the victims. He was an exhibitionist. Toward the end, after the seventh victim, he started dropping the notes to us and the newspaper. It doesn't make sense that he'd leave some of the bodies to be found and some buried in concrete."

"True," Pounds said.

"I like the copycat," Edgar said.

"But why copy someone's whole profile, right down to the signature, and then bury the body?" Bosch asked.

He wasn't really asking them. It was a question he'd have to answer himself. They stood there in silence for a long moment, each man beginning to see that the most plausible possibility might be that the Dollmaker was still alive.

"Whoever did it, why the note?" Pounds said. He seemed very agitated. "Why would he drop us the note? He'd gotten away."

"Because he wants attention," Bosch said. "Like the Dollmaker got. Like this trial is going to get."

The silence came back then for a long moment.

"The key," Bosch finally said, "is ID'ing her, finding out how long she's been in the concrete. We'll know then what we've got."

"So what do we do?" Edgar said.

"I'll tell you what we do," Pounds said. "We don't say a d.a.m.ned thing about this to anyone. Not yet. Not until we are absolutely sure of what we've got. We wait on the autopsy and the ID. We find out how long this girl's been dead and what she was doing when she disappeared. We'll make-I'll make a call on which way we go after that.

"Meantime, say nothing. If this is misconstrued, it could be very damaging to the department. I see some of the media is already here, so I'll handle them. No one else is to talk. We clear?"

Bosch and Edgar nodded and Pounds went off, slowly moving through the debris toward a knot of reporters and cameramen who stood behind the yellow tape the uniforms had put up.

Bosch and Edgar stood silent for a few moments, watching him go.

"I hope he knows what the h.e.l.l he is saying," Edgar said.

"Does inspire a lot of confidence, doesn't he?" Bosch replied.

"Oh, yeah."

Bosch walked back over to the trench and Edgar followed.

"What are you going to do about the impression she left in the concrete?"

"The jackhammers don't think it's movable. They said whoever mixed the concrete she was put in didn't follow the directions too well. Used too much water and small-grain sand. It's like plaster of paris. We try to lift the whole thing out in one piece it will crumble under its own weight."

"So?"

"Donovan's mixing plaster. He's going to make a mold of the face. On the hand-we only got the left, the right side crumbled when we dug in. Donovan's going to try using rubber silicone. He says it's the best chance of pulling out a mold with prints."

Bosch nodded. For a few moments he watched Pounds talking to the reporters and saw the first thing worth smiling about all day. Pounds was on camera but apparently none of the reporters had told him about the dirt smeared across his forehead. He lit a cigarette and turned his attention back to Edgar.

"So, this area here was all storage rooms for rent?" he asked.

"That's right. The owner of the property was here a little while ago. Said that all this area back in here was part.i.tioned storage. Individual rooms. The Dollmaker-er, the killer, whoever the f.u.c.k it was-could've had one of the rooms and had his privacy to do what he wanted. The only problem would be the noise he made breaking up the original flooring. But it could've been night work. Owner said most people didn't come back into the storage area at night. People who rented the rooms got a key to an exterior door off the alley. The perp could've come in and done the whole job in one night."

The next question was obvious, so Edgar answered before Bosch asked.

"The owner can't give us the name of the renter. Not for sure, at least. The records went up in the fire. His insurance company made settlements with most people that filed claims and we'll get those names. But he said there were a few who never made a claim after the riots. He just never heard from them again. He can't remember all the names, but if one was our guy then it was probably an alias anyway. Leastwise, if I was going to rent a room and dig through the floor to bury a body, you wouldn't find me giving no real name."

Bosch nodded and looked at his watch. He had to get going soon. He realized that he was hungry but probably wouldn't get the chance to eat. Bosch looked down at the excavation and noticed the delineation of color between the old and newer concrete. The old slab was almost white. The concrete the woman had been encased in was a dark gray. He noticed a small piece of red paper protruding from a gray chunk at the bottom of the trench. He dropped down into the excavation and picked the chunk up. It was about the size of a softball. He pounded it on the old slab until it broke apart in his hand. The paper was part of a crumpled and empty Marlboro cigarette package. Edgar pulled a plastic evidence bag from his suit pocket and held it open for Bosch to drop the discovery in.

"It's got to've been put in with the body," he said. "Good catch."

Bosch climbed out of the trench and looked at his watch again. It was time to go.

"Let me know if you get the ID," he said to Edgar.

He dumped his jumpsuit back in the trunk and lit a fresh cigarette. He stood next to his Caprice and watched Pounds, who was wrapping up his skillfully planned impromptu press conference. Harry could tell by the cameras and the expensive clothes that most of the reporters were from TV. He saw Bremmer, the Times Times guy, standing at the edge of the pack. Bosch hadn't seen him in a while and noticed he had put on weight and a beard. Bosch knew that Bremmer was standing on the periphery of the circle waiting for the TV questions to end so he could hit Pounds with something solid that would take some thought to answer. guy, standing at the edge of the pack. Bosch hadn't seen him in a while and noticed he had put on weight and a beard. Bosch knew that Bremmer was standing on the periphery of the circle waiting for the TV questions to end so he could hit Pounds with something solid that would take some thought to answer.

Bosch smoked and waited for five minutes before Pounds was done. He was risking being late for court but he wanted to see the note. When Pounds was finally done with the reporters he signaled Bosch to follow him to his car. Bosch got in the pa.s.senger side and Pounds handed him a photocopy.

Harry studied the note for a long time. It was written in the recognizable printed scrawl. The a.n.a.lyst in Suspicious Doc.u.ments had called the printing Philadelphia block style and had concluded that its right-to-left slant was the result of its being the work of an untrained hand; possibly a left-handed person printing with his right hand.

Newspaper says the trial's just begunA verdict to return on the Dollmaker's runA bullet from Bosch fired straight and trueBut the dolls should know me work's not throughOn Western is the spot where my heart doth singsWhen I think o the dolly laid beneath at Bing'sToo bad, good Bosch, a bullet of bad aimYears gone past, and I'm still in the game

Bosch knew style could be copied but something about the poem ground into him. It was like the others. The same bad schoolboy rhymes, the same semiliterate attempt at high-flown language. He felt confusion and a tugging in his chest.

It's him, he thought. It's him.

3.

"Ladies and gentlemen," U.S. District Judge Alva Keyes intoned as he eyed the jury, "we begin the trial with what we call opening statements by the attorneys. Mind you, these are not to be construed by you as evidence. These are more or less blueprints-road maps, if you will, of the route each attorney wants to take with his or her case. You do not consider them evidence. They may make some highfalutin allegations, but just because they say it doesn't make it true. After all, they're lawyers."

This brought a polite t.i.tter of laughter from the jury and the rest of courtroom 4. With his southern accent, it sounded as if the judge had said lie-yers, which added to the glee. Even Money Chandler smiled. Bosch looked around from his seat at the defense table and saw that the public seats in the huge wood-paneled courtroom with twenty-foot ceilings were about half full. In the front row on the plaintiff's side were eight people who were Norman Church's family members and friends, not counting his widow, who sat up at the plaintiff's table with Chandler.

There were also about a half dozen courthouse hangers-on, old men with nothing better to do but watch the drama in other people's lives. Plus an a.s.sortment of law clerks and students who probably wanted to watch the great Honey Chandler do her thing, and a group of reporters with their pens poised over their pads. Openers always made a story-because, as the judge had said, the lawyers could say anything they wanted. After today, Bosch knew, the reporters would drop in from time to time but there probably wouldn't be many other stories until closing statements and a verdict.

Unless something unusual happened.

Bosch looked directly behind him. There was n.o.body in the benches back there. He knew Sylvia Moore would not be there. They had agreed on that before. He didn't want her seeing this. He had told her it was just a formality, part of the cop's burden to be sued for doing his job. He knew the real reason he didn't want her here was because he had no control over this situation. He had to sit there at the defense table and let people take their best shots. Anything could come up and probably would. He didn't want her watching that.

He wondered now if the jury would see the empty seats behind him in the spectators gallery and think that maybe he was guilty because no one had come to show support.

When the murmur of laughter died down he looked back at the judge. Judge Keyes was impressive up there on the bench. He was a big man who wore the black robe well, his thick forearms and big hands folded in front of his barrel chest, giving a sense of reserved power. His balding and sun-reddened head was large and seemed perfectly round, trimmed around the edges with gray hair and suggesting the organized storage of a ma.s.sive amount of legal knowledge and perspective. He was a transplanted southerner who had specialized in civil rights cases as a lawyer and had made a name for himself by suing the LAPD for its disproportionate number of cases in which black citizens died after being put in chokeholds by officers. He had been appointed to the federal bench by President Jimmy Carter, right before he was sent back to Georgia. Judge Keyes had been ruling the roost in courtroom 4 ever since.

Bosch's lawyer, deputy city attorney Rod Belk, had fought like h.e.l.l during pretrial stages to have the judge disqualified on procedural ground and to get another judge a.s.signed to the case. Preferably a judge without a background as a guardian of civil rights. But he had failed.

However, Bosch was not as upset by this as Belk. He realized that Judge Keyes was cut from the same legal cloth as plaintiff's attorney Honey Chandler-suspicious of police, even hateful at times-but Bosch sensed that beyond that he was ultimately a fair man. And that's all Bosch thought he needed to come out okay. A fair shot at the system. After all, he knew in his heart his actions at the apartment in Silverlake were correct. He had done the right thing.

"It will be up to you," the judge was saying to the jury, "to decide if what the lawyers say is proven during trial. Remember that. Now, Ms. Chandler, you go first."

Honey Chandler nodded at him and stood up. She moved to the lectern that stood between the plaintiff's and the defense tables. Judge Keyes had set the strict guidelines earlier. In his courtroom, there was no moving about, no approaching the witness stand or jury box by lawyers. Anything said out loud by a lawyer was said from the lectern between the tables. Knowing the judge's strict demand for compliance to his guidelines, Chandler even asked his permission before turning the heavy mahogany altar at an angle so she would face the jury while speaking. The judge sternly nodded his approval.

"Good afternoon," she began. "The judge is quite right when he tells you that this statement is nothing more than a road map."

Good strategy, Bosch thought from the cellar of cynicism from which he viewed this whole case. Pander to the judge with your first sentence. He watched Chandler as she referred to the yellow legal pad she had put down on the lectern. Bosch noticed that over the top b.u.t.ton of her blouse was a large pin with a round black onyx stone set in it. It was flat and as dead as a shark's eye. She had her hair pulled severely back and braided in a no-nonsense style behind her head. But one tress of hair had come loose and it helped affect the image of a woman not preoccupied with her looks but totally focused on the law, on the case, on the heinous miscarriage of justice perpetrated by the defendant. Bosch believed she probably pulled the hair loose on purpose.

As he watched her start, Bosch remembered the thud he had felt in his chest when he heard she was the lawyer for Church's wife. To him, it was far more disturbing than learning Judge Keyes had been a.s.signed the trial. She was that good. That was why they called her Money.

"I would like to take you down the road a piece," Chandler said and Bosch wondered if she was even developing a southern accent now. "I just want to highlight what our case is about and what we believe the evidence will prove. It is a civil rights case. It involves the fatal shooting of a man named Norman Church at the hands of the police."

She paused here. Not to look at her yellow pad but for effect, to gather all attention to what she would say next. Bosch looked over at the jury. Five women and seven men. Three blacks, three Latinos, one Asian and five whites. They were looking at Chandler with rapt attention.

"This case," Chandler said, "is about a police officer who wasn't satisfied with his job and the vast powers it gave him. This officer also wanted your job. And he wanted Judge Keyes's job. And he wanted the state's job of administering the verdicts and sentences set down by judges and juries. He wanted it all. This case is about Detective Harry Bosch, who you see sitting at the defendant's table."

She pointed at Bosch while drawing out the word dee-fend-ant. Belk immediately stood up and objected.

"Miss Chandler does not need to point my client out to the jury or make sarcastic vocalizations. Yes, we are at the defense table. That's because this is a civil case and in this country anybody can sue anybody, even the family of a-"

"Objection, Your Honor," Chandler shouted. "He is using his objection to further try to destroy the reputation of Mr. Church, who was never convicted of anything because-"

"Enough!" Judge Keyes thundered. "Objection sustained. Ms. Chandler, we don't need to point. We all know who we are. We also do not need inflammatory accent being placed on any words. Words are beautiful and ugly, all on their own. Let them stand for themselves. As for Mr. Belk, I find it acutely annoying when opposing counsel interrupts opening statements or closing arguments. You will have your turn, sir. I would suggest that you not object during Ms. Chandler's statement unless an egregious trespa.s.s on your client has occurred. I do not consider pointing at him worth the objection."

"Thank you, Your Honor," Belk and Chandler said in unison.

"Proceed, Ms. Chandler. As I said in chambers this morning, I want opening statements done by the end of the day and I have another matter at four."

"Thank you, Your Honor," she said again. Then, turning back to the jury, she said, "Ladies and gentlemen, we all need our police. We all look up to our police. Most of them-the vast majority of them-do a thankless job and do it well. The police department is an indispensable part of our society. What would we do if we could not count on police officers to serve and protect us? But that is not what this trial is about. I want you to remember that as the trial progresses. This is about what we would do if one member of that police force broke away from the rules and regulations, the policies that govern that police force. What we are talking about is called a rogue cop. And the evidence will show that Harry Bosch is a rogue cop, a man who one night four years ago decided to be judge, jury and executioner. He shot a man that he thought was a killer. A heinous serial killer, yes, but at the moment the defendant chose to pull out his gun and fire on Mr. Norman Church there was no legal evidence of that.

"Now, you are going to hear from the defense all manner of supposed evidence that police said they found that connected Mr. Church to these killings, but remember during the trial where this evidence came from-the police themselves-and when it was found-after Mr. Church had been executed. I think we will show that this supposed evidence is questionable at best. Tainted, at best. And, in effect, you will have to decide if Mr. Church, a married man with two young children and a well-paying job at an aircraft factory, was indeed this killer, the so-called Dollmaker, or simply was made the fall guy, the scapegoat, by a police department covering up the sin of one of its own. The brutal, unwarranted and unnecessary execution of an unarmed man."

She continued on, speaking at length about the code of silence known to exist in the department, the force's long history of brutality, the Rodney King beating and the riots. Somehow, according to Honey Chandler, these were all black flowers on a plant grown from a seed that was Harry Bosch's killing of Norman Church. Bosch heard her go on but wasn't really listening anymore. He kept his eyes open and occasionally made eye contact with a juror, but he was off on his own. This was his own defense. The lawyers, the jurors and the judge were going to take a week, maybe longer, to dissect what he had thought and done in less than five seconds. To be able to sit in the courtroom for this he was going to have to be able to go off on his own.

In his private reverie he thought of Church's face. At the end, in the apartment over the garage on Hyperion Street. They had locked eyes. The eyes Bosch had seen were killer's eyes, as dark as the stone at Chandler's throat.

"... even if he was reaching for a gun, would that matter?" Chandler was saying. "A man had kicked the door open. A man with a gun. Who could blame someone for reaching, according to police, for a weapon for protection. The fact that he was reaching for something seemingly as laughable as a hairpiece makes this episode all the more repugnant. He was killed in cold blood. Our society cannot accept that."

Bosch tuned her out again and thought of the new victim, entombed for what was likely years in a concrete floor. He wondered if a missing-person report was ever taken, if there was a mother or father or husband or child wondering all this time about her. After returning from the scene he had started to tell Belk about the discovery. He asked the lawyer to ask Judge Keyes for a continuance, to delay the trial until the new death could be sorted out. But Belk had cut him off, telling him that the less he knew the better. Belk seemed so frightened of the implications of the new discovery that he determined that the best tack was to do the opposite of what Bosch suggested. He wanted to hurry the trial through before news of the discovery and its possible connection to the Dollmaker became public.

Chandler was now near the end of the one-hour allotment for her opener. She had gone on at length about the police department's shooting policy and Bosch thought she might have lost the grip she had on the jury in the beginning. For a while she had even lost Belk, who sat next to Bosch paging through his own yellow pad and rehearsing his opener in his head.

Belk was a large man-almost eighty pounds overweight, Bosch guessed-and p.r.o.ne to sweating, even in the overly cooled courtroom. Bosch had often wondered during the jury selection if the sweating was Belk's response to the burden of weight he carried or the burden of trying a case against Chandler and before Judge Keyes. Belk couldn't be over thirty, Bosch guessed. Maybe five years max out of a middle-range law school and in over his head going up against Chandler.

The word "justice" brought Bosch's attention back. He knew that Chandler had turned it up a notch and was coming down the backstretch when she started using the word in almost every sentence. In civil court, justice and money were interchangeable because they meant the same thing.

"Justice for Norman Church was fleeting. It lasted all of a few seconds. Justice was the time it took Detective Bosch to kick open the door, point his satin-finished 9mm Smith & Wesson and pull the trigger. Justice was one shot. The bullet Detective Bosch chose to execute Mr. Church with was called an XTP. That is short for extreme terminal performance. It's a bullet that expands to 1.5 times its width on impact and takes out huge portions of tissue and organ in its path. It took out Mr. Church's heart. That was justice."

Bosch noticed that many of the jurors were not looking at Chandler but at the plaintiff's table. By leaning forward slightly he could see past the lectern and saw that the widow, Deborah Church, was dabbing at tears on her cheeks with a tissue. She was a bell-shaped woman with short dark hair and small pale blue eyes. She had been the epitome of the suburban housewife and mother until the morning Bosch killed her husband and the cops showed up at her house with their search warrant and the reporters showed up with their questions. Bosch had actually felt sorry for her, even counted her as a victim, until she hired Money Chandler and started calling him a murderer.