A Darkness More Than Night (2000) Page 12

  There was no physical evidence found with the body. Aside from being left without her clothes or any identifying property, the victim had apparently been washed with an industrial-strength cleaner before being dumped late at night off Mulholland.

  There was only one clue with the body. An impression in the skin of the left hip. Postmortem lividity indicated the blood in the body had settled on the left half, meaning the body had been lying on its left side in the time between the stilling of the heart and the dropping of the body down the hillside where it came to rest face down on a pile of empty beer cans and tequila bottles. The evidence indicated that during the time that the blood settled, the body had been lying on top of the object that left the impression on the hip.

  The impression consisted of the number 1, the letter J and part of a third letter that could have been the upper left stem of an H, a K or an L. It was a partial reading of a license plate.

  Bosch formed the theory that whoever had killed the girl with no name had hidden the body in the trunk of a car until it was time to dump it. After carefully cleaning the body the killer had put it into the trunk of his car, mistakenly putting it down on part of a license plate that had been taken off the car and also placed in the trunk. Bosch’s theory was that the license plate had been removed and possibly replaced with a stolen plate as one more safety measure that would help the killer avoid detection if his car happened to be spotted by a suspicious passerby at the Mulholland overlook.

  Though the skin impression gave no indication of what state issued the license plate, Bosch went with the percentages. From the state Department of Motor Vehicles he obtained a list of every car registered in Los Angeles County that carried a plate beginning 1JH, 1JK and 1JL. The list contained over three thousand names of car owners. He and his partner cut forty percent of it by discounting the female owners. The remaining names were slowly fed into the National Crime Index computer and the detectives came up with a list of forty-six men with criminal records ranging from minor to the extreme.

  It was at this point that Bosch came to McCaleb. He wanted a profile of the killer. He wanted to know if he and Sheehan were on the right track in suspecting that the killer had a criminal history, and he wanted to know how to approach and evaluate the forty-six men on the list.

  McCaleb considered the case for nearly a week. He looked at each of the crime scene photos twice a day — first thing in the morning and last thing before going to sleep — and studied the reports often. He finally told Bosch that he believed they were on the right course. Using data accumulated from hundreds of similar crimes and analyzed in the bureau’s VICAP program, he was able to provide a profile of a man in his late twenties with a history of having committed crimes of an escalating nature and likely including offenses of a sexual nature. The crime scene suggested the work of an exhibitionist — a killer who wanted his crime to be public and to instill horror and fear in the general population. Therefore, the location of the body dump site would have been chosen for these reasons as opposed to reasons of convenience.

  In comparing the profile to the list of forty-six names, Bosch narrowed the possibilities to two suspects: a Woodland Hills office building custodian who had a record of arson and public indecency and a stage builder who worked for a studio in Burbank and had been arrested for the attempted rape of a neighbor when he was a teenager. Both men were in their late twenties.

  Bosch and Sheehan leaned toward the custodian because of his access to industrial cleaners, like the one that had been used to wash the victim’s body. However, McCaleb liked the stage builder as a suspect because the attempted rape of the neighbor in his youth indicated an impulsive action that was more in tune with the profile of the current crime’s perpetrator.

  Bosch and Sheehan decided to informally interview both men and invited McCaleb along. The FBI agent stressed that the men should be interviewed in their own homes so that he would have the opportunity to study them in their own environment as well as look for clues in their belongings.

  The stage builder was first. His name was Victor Seguin. He seemed shell-shocked by seeing the three men at his door and the explanation Bosch gave for their visit. Nevertheless he invited them in. As Bosch and Sheehan calmly asked questions McCaleb sat on a couch and studied the clean and neat furnishings of the apartment. Within five minutes he knew they had the right man and nodded to Bosch — their prearranged signal.

  Victor Seguin was informed of his rights and arrested. He was placed in the detectives’ car and his small home under the landing zone of Burbank Airport was sealed until a search warrant could be obtained. Two hours later, when they reentered with the search warrant, they found a sixteen-year-old girl bound and gagged but alive in a soundproof coffin-like crawl space constructed by the stage builder beneath a trap door hidden under his bed.

  Only after the excitement and adrenaline high of having broken a case and saved a life began to subside did Bosch finally ask McCaleb how he knew they had their man. McCaleb walked the detective over to the living room bookcase, where he pointed out a well-worn copy of a book called The Collector, a novel about a man who abducts several women.

  Seguin was charged with the unidentified girl’s murder and the kidnapping and rape of the young woman the investigators rescued. He denied any guilt in the murder and pressed for a deal by which he would plead guilty to the kidnapping and rape of the survivor only. The DA’s office declined any deal and proceeded to trial with what they had — the survivor’s gut-wrenching testimony and the license plate impression on the dead girl’s hip.

  The jury convicted on all counts after less than four hours’ deliberation. The DA’s office then floated a possible deal to Seguin; a promise not to go for the death penalty during the second phase of the trial if the killer agreed to tell investigators who his first victim was and from where he had abducted her. To take the deal Seguin would have to drop his pose of innocence. He passed. The DA went for the death penalty and got it. Bosch never learned who the dead girl was and McCaleb knew it haunted him that no one apparently cared enough to come forward.

  It haunted McCaleb, too. On the day he came to the penalty phase of the trial to testify, he had lunch with Bosch and noticed that a name had been written on the tabs of his files on the case.

  “What’s that?” McCaleb asked excitedly. “You ID’d her?”

  Bosch looked down and saw the name on the tabs and turned the files over.

  “No, no ID yet.”

  “Well, what’s that?”

  “Just a name. I sort of gave her a name, I guess.”

  Bosch looked embarrassed. McCaleb reached over and turned the files back over to read the name.

  “Cielo Azul?”

  “Yeah, she was Spanish, I gave her a Spanish name.”

  “It means blue sky, right?”

  “Yeah, blue sky. I, uh . . .”

  McCaleb waited. Nothing.

  “What?”

  “Well . . . , I’m not that religious, you know what I mean?”

  “Yes.”

  “But I sort of figured if nobody down here wanted to claim her, then hopefully . . . maybe there’s somebody up there that will.”

  Bosch shrugged his shoulders and looked away. McCaleb could see his face turning red in the upper cheeks.

  “It’s hard to find God’s hand in what we do. What we see.”

  Bosch just nodded and they didn’t speak about the name again.

  • • •

  McCaleb lifted the last page of the file marked Cielo Azul and looked at the inside rear flap of the manila folder. It had become his habit over time at the bureau to jot notes on the back flap, where they would not readily be seen because of the attached file pages. These were notes he made about the investigators who submitted the cases for profiling. McCaleb had come to realize that insights about the investigator were sometimes as important as the information in the case file. For it was through the investigator’s eyes that McCaleb first viewed many aspects of th
e crime.

  His case with Bosch had come up more than ten years earlier, before he began his more extensive profiling of the investigators as well as the cases. On this file he had written Bosch’s name and just four words beneath it.

  Thorough — Smart — M. M. — A. A.

  He looked at the last two notations now. It had been part of his routine to use abbreviations and shorthand when making notes that needed to be kept confidential. The last two notations were his reading on what motivated Bosch. He had come to believe that homicide detectives, a breed of cop unto themselves, called upon deep inner emotions and motivations to accept and carry out the always difficult task of their job. They were usually of two kinds, those who saw their jobs as a skill or a craft, and those who saw it as a mission in life. Ten years ago he had put Bosch into the latter class. He was a man on a mission.

  This motivation in detectives could then be broken down even further as to what gave them this sense of purpose or mission. To some the job was seen as almost a game; they had some inner deficit that caused them to need to prove they were better, smarter and more cunning than their quarry. Their lives were a constant cycle of validating themselves by, in effect, invalidating the killers they sought by putting them behind bars. Others, while carrying a degree of that same inner deficit, also saw themselves with the additional dimension of being speakers for the dead. There was a sacred bond cast between victim and cop that formed at the crime scene and could not be severed. It was what ultimately pushed them into the chase and enabled them to overcome all obstacles in their path. McCaleb classified these cops as avenging angels. It had been his experience that these cop/angels were the best investigators he ever worked with. He also came to believe that they traveled closest to that unseen edge beneath which lies the abyss.

  Ten years before, he had classified Harry Bosch as an avenging angel. He now had to consider whether the detective had stepped too close to that edge. He had to consider that Bosch might have gone over.

  He closed the file and pulled the two art books out of his bag. Both were simply titled Bosch. The larger one, with full-color reproductions of the paintings, was by R. H. Marijnissen and P. Ruyffelaere. The second book, which appeared to carry more analysis of the paintings than the other, was written by Erik Larsen.

  McCaleb started with the smaller book and began scanning through the pages of analysis. He quickly learned that, as Penelope Fitzgerald had said, there were many different and even competing views of Hieronymus Bosch. The Larsen book cited scholars who called Bosch a humanist and even one who believed him to be part of a heretical group that believed the earth was a literal hell ruled over by Satan. There were disputes among the scholars about the intended meanings of some of the paintings, about whether some paintings could actually be attributed to Bosch, about whether the painter had ever traveled to Italy and viewed the work of his Renaissance contemporaries.

  Finally, McCaleb closed the book when he realized that, at least for his purposes, the words about Hieronymus Bosch might not be important. If the painter’s work was subject to multiple interpretations, then the only interpretation that mattered would be that of the person who killed Edward Gunn. What mattered was what that person saw and took from the paintings of Hieronymus Bosch.

  He opened the larger book and began to slowly study the reproductions. His viewing of reproduction plates of the paintings at the Getty had been hurried and encumbered by his not being alone.

  He put his notebook on the arm of the couch with the plan to keep a tabulation of the number of owls he saw in the paintings as well as descriptions of each bird. He quickly realized that the paintings were so minutely detailed in the smaller-scale reproductions that he might be missing things of significance. He went down to the forward cabin to find the magnifying glass he had always kept in his desk at the bureau for use while examining crime scene photos.

  As he was bent over a box full of office supplies he had cleared out of his desk five years before, McCaleb felt a slight bump against the boat and straightened up. He had tied the Zodiac up on the fantail, so it could not have been his own skiff. He was considering this when he felt the unmistakable up-and-down movement of the boat indicating that someone had just stepped aboard. His mind focused on the salon door. He was sure he had left it unlocked.

  He looked down into the box he had just been sorting through and grabbed the letter opener.

  As he came up the steps into the galley McCaleb surveyed the salon and saw no one and nothing amiss. It was difficult seeing past the interior reflection on the sliding door but outside in the cockpit, silhouetted by the streetlights on Crescent Street, there was a man. He stood with his back to the salon as if admiring the lights of the town going up the hill.

  McCaleb moved quickly to the slider and pulled it open. He held the letter opener at his side but with the point of the blade up. The man standing in the cockpit turned around.

  McCaleb lowered his weapon as the man stared at it with wide eyes.

  “Mr. McCaleb, I —”

  “It’s all right, Charlie, I just didn’t know who it was.”

  Charlie was the night man in the harbor office. McCaleb didn’t know his last name. But he knew that he often visited Buddy Lockridge on nights Buddy stayed over. McCaleb guessed that Buddy was a soft touch for a quick beer every now and then on the long nights. That was probably why Charlie had rowed his skiff over from the pier.

  “I saw the lights and thought maybe Buddy was here,” he said. “I was just paying a visit.”

  “No, Buddy’s overtown tonight. He probably won’t be back till Friday.”

  “Okay, then. I’ll just be going. Everything all right with you? The missus isn’t making you sleep on the boat, is she?”

  “No, Charlie, everything’s fine. Just doing a little work.”

  He held up the letter opener as if that explained what he was doing.

  “All right then, I’ll be heading back.”

  “Good night, Charlie. Thanks for checking on me.”

  He went back inside and down to the office. He found the magnifying glass, with a light attachment, at the bottom of the box of office supplies.

  For the next two hours he went through the paintings. The eerie landscapes of phantasmic demons surrounding human prey enthralled him once again. As he studied each work he marked particular findings such as the owls with yellow Post-its so that he could easily return to them.

  McCaleb amassed a list of sixteen direct depictions of owls in the paintings and another dozen portrayals of owl-like creatures or structures. The owls were darkly painted and lurking in all the paintings like sentinels of judgment and doom. He looked at them and couldn’t help but think of the analogy of the owl as detective. Both creatures of the night, both watchers and hunters — firsthand observers of the evil and pain humans and animals inflict upon each other.

  The single most significant finding McCaleb made during his study of the paintings was not an owl. Rather, it was the human form. He made the discovery as he used the lighted glass to examine the center panel of a painting called The Last Judgment. Outside the depiction of hell’s oven, where sinners were thrown, there were several bound victims waiting to be dismembered and burned. Among this grouping McCaleb found the image of a nude man bound with his arms and legs behind him. The sinner’s extremities had been stretched into a painful reverse fetal position. The image closely reflected what he had seen at center focus in the crime scene videotape and photos of Edward Gunn.

  McCaleb marked the finding with a Post-it and closed the book. When the cell phone on the couch next to him chirped just then, he bolted upright with a start. He checked his watch before answering and saw it was exactly midnight.

  The caller was Graciela.

  “I thought you were coming back tonight.”

  “I am. I just finished and I’m on my way.”

  “You took the cart down, right?”

  “Yeah. So I’ll be fine.”

  “Okay, see yo
u soon.”

  “Yes, you will.”

  McCaleb decided to leave everything on the boat, thinking that he needed to clear his mind before the next day. Carrying the files and the heavy books would only remind him of the heavy thoughts he carried within. He locked the boat and took the Zodiac to the skiff dock. At the end of the pier he climbed into the golf cart. He rode through the deserted business district and up the hill toward home. Despite his efforts to deflect them, his thoughts were of the abyss. A place where creatures with sharp beaks and claws and knives tormented the fallen in perpetuity. He knew one thing for sure at this point. The painter Bosch would have made a good profiler. He knew his stuff. He had a handle on the nightmares that rattle around inside most people’s minds. As well as those that sometimes get out.