Harry Bosch 01 - The Black Echo

by Michael Connelly

"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 glass 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 assault 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 twang 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 mini-series 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 be brushed the sandwich crumbs off the file and opened it up. There had been four 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.

  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.

  T
he 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 scrapbook 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 scrapbook, 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 hell 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 album 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.

  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.

  The tunnel had been discovered during a routine sweep at a small village in E Sector. The village had no name on the recon maps, so the soldiers called it Timbuk2. The tunnels were turning up eve
rywhere, so there weren't enough rats to go around. When the tunnel mouth was found under a rice basket in a hootch, the top sergeant didn't want to have to wait for a dust-off to land with fresh rats. He wanted to press on, but he knew he had to check the tunnel out. So the top made a decision like so many others in the war. He sent three of his own men in. Three virgins, scared as shit, maybe six weeks in country among them. The top told them not to go far, just set charges and come out. Do it fast, and cover each other's ass. The three green soldiers dutifully went down into the hole. Except a half-hour later, only two came out.

  The two who made it out said that the three of them had separated. The tunnel branched into several directions and they split up. They were telling the top this when there was a rumble, and a huge cough of noise and smoke and dust belched from the tunnel mouth. The C-4 charges had detonated. The company loot came in then and said they wouldn't leave the zone without the missing man. The whole company waited a day for the smoke and dust to settle in the tunnel and then two tunnel rats were dropped during a dust-off—Harry Bosch and Billy Meadows. He didn't care if the missing soldier was dead, the lieutenant told them. Get him out. He wasn't going to leave one of his boys in that hole. "Go get 'im and bring 'im out here so we can get 'im a decent burial," the lieutenant said.

  Meadows said, "We wouldn't leave any of our own in there, either."

  Bosch and Meadows went down the hole then and found that the main entry led to a junction room where baskets of rice were stored and three other passageways began. Two of these had collapsed in the C-4 explosions. The third was still open. It was the one the missing soldier had taken. And that was the way they went.

  They crawled through the darkness, Meadows in front, using their lights sparingly, until they reached a dead end. Meadows poked around the tunnel's dirt floor until he found the concealed door. He pried it open and they dropped down into another level of the labyrinth. Without saying a word, Meadows pointed one way and crawled off. Bosch knew he would go the other way. Each would be alone now, unless the VC were waiting ahead. Bosch's way was a winding passage that was as warm as a steam bath. The tunnel smelled damp and faintly like a latrine. He smelled the missing soldier before he saw him. He was dead, his body putrifying but sitting in the middle of the tunnel with his legs straight out and spread, the toes of his boots pointed upward. His body was propped against a stake planted in the floor of the tunnel. A piece of wire that cut an inch into his neck was wrapped around the stake and held him in place. Afraid of a booby trap, Bosch didn't touch him. He played the beam of his flashlight over the neck wound and followed the trail of dried blood down the front of the body. The dead man wore a green T-shirt with his name stenciled in white on the front. Al Crofton, it said beneath the blood. There were flies mired in the crusted blood on his chest, and for a moment Bosch wondered how they found their way so far down. He dipped the light to the dead soldier's crotch and saw that it, too, was black with dried blood. The pants were torn open and Crofton looked as though he had been mauled by a wild animal. Sweat began to sting Bosch's eyes and his breathing became louder, more hurried than he wanted it to be. He was immediately aware of this but was also aware that he could do nothing to stop it. Crofton's left hand was palm up on the ground next to his thigh. Bosch put the light on it and saw the bloody set of testicles. He stifled the urge to vomit but could not prevent himself from hyperventilating.