and they kissed. She held him and pressed herself against him in a way that revealed her need. He saw her eyes were closed now and at that moment Bosch realized she was his reflection in a mirror of hunger and loneliness.
They made love on her husband's unmade bed, neither of them paying mind to where they were or what this would mean the next day or week or year. Bosch kept his eyes closed, wanting to concentrate on other senses—her smell and taste and touch.
Afterward, he pulled himself back, so that his head lay on her chest between her freckled breasts. She had her hands in his hair and was drawing her fingers through the curls. He could hear her heart beating in rhythm with his.
Nineteen
IT WAS AFTER ONE A.M. BY THE TIME BOSCH turned the Caprice onto Woodrow Wilson and began he long, winding ascent to his house. He saw the spotlights tracing eights on the low-lying clouds over Universal City. On the road he had to navigate his way around cars double-parked outside holiday parties and a discarded Christmas tree, a few strands of lonely tinsel still clinging to its branches, that had blown into his path. On the seat next to him were the lone Budweiser from Cal Moore's refrigerator and Lucius Porter's gun.
All his life he believed he was slumming toward something good. That there was meaning. In the youth shelter, the foster homes, the Army and Vietnam, and now the department, he always carried the feeling that he was struggling toward some kind of resolution and knowledge of purpose. That there was something good in him or about him. It was the waiting that was so hard. The waiting often left a hollow feeling in his soul. And he believed people could see this, that they knew when they looked at him that he was empty. He had learned to fill that hollowness with isolation and work. Sometimes drink and the sound of the jazz saxophone. But never people. He never let anyone in all the way.
And now he thought he had seen Sylvia Moore's eyes. Her true eyes, and he had to wonder if she was the one who could fill him.
"I want to see you," he had said when they separated outside The Fountains.
"Yes" was all she said. She touched his cheek with her hand and got into her car.
Now Bosch thought about what that one word and the accompanying touch could mean. He was happy. And that was something new.
As he rounded the last curve, slowing for a car with its brights on to pass, he thought of the way she had looked at the picture frame for so long before saying she did not recognize it. Had she lied? What were the chances that Cal Moore would have bought such an expensive frame after moving into a dump like that? Not good, was the answer.
By the time he pulled the Caprice into the carport, he was full of confusing feelings. What had been in the picture? What difference did it make that she had held that back? If she did. Still sitting in the car, he opened the beer and drank it down quickly, some of it spilling onto his neck. He would sleep tonight, he knew.
Inside, he went to the kitchen, put Porter's gun in a cabinet and checked the phone machine. There were no messages. No call from Porter saying why he had run. No call from Pounds asking how it was going. No call from Irving saying he knew what Bosch was up to.
After two nights with little sleep, Bosch looked forward to his bed as he did on few other nights. It was most often this way, part of a routine he kept. Nights of fleeting rest or nightmares followed by a single night when exhaustion finally drove him down hard into a dark sleep.
As he gathered the covers and pillows about him, he noticed there was still the trace of Teresa Corazón's powdery perfume on them. He closed his eyes and thought about her for a moment. But soon her image was pushed out of his mind by Sylvia Moore's face. Not the photo from the bag or the night stand, but the real face. Weary but strong, her eyes focused on Bosch's own.
The dream was like others Harry had had. He was in the dark place. A cavernous blackness enveloped him and his breath echoed in the dark. He sensed, or rather, he knew