was guilty of the same during all the years he had ignored the case that he knew was there waiting for him. He was making up for that now, and so was McKittrick by talking to him. But both of them knew it might be too little too late.
Bosch wasn't sure what he would do next when he got back to Los Angeles. It seemed to him that his only move was to confront Conklin. He was reluctant to do this because he knew he would go into such a confrontation soft, with only his suspicions and no hard evidence. Conklin would have the upper hand.
A wave of desperation came over him. He did not want the case to come to this. Conklin hadn't flinched in almost
thirty-five years. He wouldn't with Bosch in his face now. Harry knew he needed something else. But he had nothing.
He started the car but left it in Park. He turned the air conditioner on high and added what McKittrick had told him into the stew of what he already knew. He began formulating a theory. For Bosch, this was one of the most important components of homicide investigation. Take the facts and shake them down into hypothesis. The key was not to become beholden to any one theory. Theories changed and you had to change with them.
It seemed clear from McKittrick's information that Fox had a hold on Conklin. What was it? Well, Bosch thought, Fox dealt in women. The theory that emerged was that Fox had gotten a hook into Conklin through a woman, or women. The news clips at the time reported Conklin was a bachelor. The morals of the time would have dictated then as now that as a public servant and soon-to-be candidate for top prosecutor, Conklin needed not necessarily to be celibate but, at least, not to have succumbed privately to the very vices he was publicly attacking. If he had done that and was exposed, he could kiss his political career good-bye, let alone his position as commander of the DA commandos. So, Bosch concluded, if this was Conklin's flaw and it was through Fox that such dalliances were arranged, then Fox would hold an almost unbeatable hand when it came to having juice with Conklin. It would explain the unusual circumstances of the interview McKittrick and Eno conducted with Fox.
The same theory, Bosch knew, would work to an even greater degree if Conklin had done more than succumb to the vice of sex but had gone further: if he had killed a woman Fox had sent to him, Marjorie Lowe. For one thing, it would explain how Conklin knew for sure that Fox was in the clear on the murder — because he was the
killer himself. For another, it would explain how Fox got Conklin to run interference for him and why he was later hired as a Conklin campaign worker. The bottom line was, if Conklin was the killer, Fox's hook would be set even deeper and it would be set for good. Conklin would be like that wahoo at the end of the line, a pretty fish unable to get away.
Unless, Bosch knew, the man at the other end of the line and holding the rod were to go away somehow. He thought about Fox's death and saw how it fit. Conklin let some time separate one death from the other. He played like a hooked fish, even agreeing to Fox's demand for a straight job with the campaign, and then, when all seemed clear, Fox was run down in the street. Maybe a payoff to a reporter kept the victim's background quiet — if the reporter even knew it, and a few months later Conklin was crowned district attorney.
Bosch considered where Mittel would fit into the theory. He felt it was unlikely that all of this had transpired in a vacuum. It was Bosch's guess that Mittel, as Conklin's right-hand man and enforcer, would know what Conklin knew.
Bosch liked his theory but it angered him, largely because that was all it was, theory. He shook his head as he realized he was back to ground zero. All talk, no evidence of anything.
He grew weary thinking about it and decided to put the thoughts aside for a while. He turned the air down because it was too cool against his sunburned skin and put the car in gear. As he slowly cruised through Pelican Cove toward the gatehouse, his thoughts drifted to the woman who was trying to sell her dead father's condo. She had signed the name Jazz on the self-portrait. He liked that.
He turned the car around and drove toward her unit. It was still daylight and no lights shone from behind the
building's windows when he got there. He couldn't tell if she was there or not. Bosch parked nearby and watched for a few minutes, debating what he should do, if anything at all.
Fifteen minutes later, when it seemed that indecisiveness had paralyzed him, she stepped out the front door. He was parked nearly twenty yards away, between two other cars. His paralytic affliction eased enough for him to slide down in his seat to avoid detection. She walked out into the parking lot and behind the row of cars which included Bosch's rental. He didn't move or turn to follow her movement. He listened. He waited for the sound of a car starting. Then what, he wondered. Follow her? What are you doing?
He jerked upright at the sound of sharp rapping on the window next to him. It was her. Bosch was flustered but managed to turn the key so he could lower the window.
'Yes?'
'Mr Bosch, what are you doing?'
'What do you mean?'
'You've been sitting out here. I saw you.'
'I...'
He was too humiliated to finish.
'I don't know whether to call security or not.'
'No, don't do that. I, uh, I was just — I was going to go to your door. To apologize.'
'Apologize? Apologize for what?'
'For today. For earlier, when I was inside. I — you were right, I wasn't looking to buy anything.'
'Then what were you doing?'
Bosch opened the car door and stepped out. He felt disadvantaged with her looking down at him in the car.
'I'm a cop,' he said. 'I needed to get in here to see someone. I used you and I'm sorry. I am. I didn't know about your father and all of that.'
She smiled and shook her head.
'That's the dumbest story I've ever heard. What about LA, was that part of the story?'
'No. I'm from LA. I'm a cop there.'
'I don't know if I'd go around admitting that if I were you. You guys've got some bad PR problems.'
'Yeah, I know. So ...' He felt his courage rising. He told himself he was flying out in the morning and it didn't matter what happened because he'd never see her or this state again. 'You said something before about lemonade but I never got any. I was thinking, maybe I could tell you the story, apologize and have some lemonade or something.'
He looked over toward the door of the condo.
'You LA cops are pushy,' she said but she was smiling. 'One glass and the story better be good. After that, we both gotta go. I'm driving up to Tampa tonight.'
They started walking toward the door and Bosch realized he had a smile on his face.
'What's in Tampa?'
'It's where I live and I miss it. I've been down here more than up there since I put the condo on the market. I want to spend a Sunday at my own place and in my own studio.'
'That's right, a painter.'
'I try to be.'
She opened the door for him and allowed him in first.
'Well, that's okay by me. I have to get to Tampa sometime tonight. I fly out in the morning.'
While nursing a tall glass of lemonade, Bosch explained his scam of using her to get into the complex to see another resident and she didn't seem upset. In fact, he could tell she admired the ingenuity of it. Bosch didn't tell her how it had backfired anyway when McKittrick had pulled a gun on him. He gave her a vague outline of the
case, never mentioning its personal connection to himself and she seemed intrigued by the whole idea of solving a murder that happened thirty-three years earlier.
The one glass of lemonade turned into four and the last two were spiked nicely with vodka. They took care of what was left of Bosch's headache and put a nice bloom on everything. Between the third and the fourth she asked if he would mind if she smoked and he lit cigarettes for both of them. And as the sky darkened over the
