Just saying it made Bosch hungry for it. That and a vodka martini.

“Nah, Harry, I gotta go over the hill to the Sportsmen’s Lodge for Sheree Riley’s retirement gig. That’s why I was killing time here. I was just waiting out the traffic.”

Sheree Riley was a sex crimes investigator. Bosch had worked with her on occasion but they had never been close. When sex and murder entwined, the cases were usually so brutal and difficult there wasn’t much room for anything but the work. Bosch didn’t know she was retiring.

“Maybe we can get that steak some other time,” Edgar said. “That cool?”

“Everything’s cool, Jerry. Have a good time up there and tell her I said hello and good luck. And thanks for the pictures. They’ll be on your desk.”

Bosch headed back toward the hallway but heard Edgar curse. He turned around and saw his old partner standing and looking into his cubicle with his arms wide.

“Where’d my damn pencil go?”

Bosch scanned the floor and didn’t see it. Eventually his eyes rose and he saw the pencil stuck into the sound-absorption tiles in the ceiling above Edgar’s head.

“Jerry, sometimes what goes up doesn’t come down.”

Edgar looked up and saw his pencil. It took him two jumps to grab it.

The door to the vice unit on the second floor was locked but this was not unusual. Bosch knocked and it was quickly answered by an undercover officer Bosch didn’t recognize.

“Is Vicki here? She’s expecting me.”

“Then come on in.”

The officer stepped back and let Bosch enter. He saw that this room had not been changed dramatically during the retrofitting. It was a long room with work counters running down both sides. Above each vice officer’s space was a framed movie poster. In Hollywood Division, only posters from movies actually filmed in the division were allowed to grace the walls. He found Vicki Landreth at a workspace under a poster from Blue Neon Night, a film Bosch had not seen. She and the other officer were the only ones in the office. Bosch guessed everybody else was already out on the streets for the night shift.

“Hey, Bosch,” Landreth said.

“Hey, Vic. You still have time to do this?”

“For you, honey, I will always make time.”

Landreth was a former Hollywood makeup artist. One day twenty years earlier she was talked into taking a ride-along with one of the off-duty officers working security on the set. The guy was just trying to make time with her, hoping maybe she’d catch a thrill on the ride-along and it would lead to something else. What it led to was Landreth’s enrollment in the police academy and her becoming a reserve officer, working two shifts a month on patrol, filling in where needed. Then someone in vice found out about her daytime job and asked her to work her two shifts in vice, where she could be used to make undercover officers look more like prostitutes and pimps and drug users and street people. Soon Vicki found the cop work more interesting than the movie work. She quit the industry and became a full-time cop. Her makeup skills were highly coveted and her niche in Hollywood Division was secure.

Bosch showed her the photos of Michael Allen Smith’s tattoos and she studied them for a few moments.

“Nice guy, huh?” she finally said.

“One of the best.”

“And you want all of this done tonight?”

“No. I was thinking about the lightning bolts on the neck. And maybe the bicep, if you could do it.”

“It’s all jailhouse. No real art to it. One color. I can do it. Sit down over here and take off your shirt.”

She led him to a makeup station, where he sat on a stool next to a rack of various body paints and powders. On an upper shelf there were mannequin heads with wigs and beards on them. Below these someone had taped the names of various supervisors in the division.

Bosch took off his shirt and tie. He was wearing a T-shirt underneath.

“I want these to be seen but I don’t want to be too obvious about it,” he said. “I was thinking that you could work it so if I had on a T-shirt like this you would sort of see parts of the tats sticking out. Enough to know what they are and what they mean.”

“Not a problem. Hold still.”

She used a piece of chalk to mark the lines on his skin where the shirt’s sleeve and neck reached.

“These will be the visibility lines,” she explained. “You just tell me how much you want to go above and below them.”

“Got it.”

“Now take it all off, Harry.”

She said it with undisguised sensuality in her voice. Bosch pulled his shirt over his head and tossed it over a chair with his other shirt and the tie. He turned back to her and Landreth was studying his chest and shoulders. She reached over and touched the scar on his left shoulder.

“That’s new,” she said.

“That’s old.”

“Well, it has been a long time since I saw you naked, Harry.”

“Yeah, I guess so.”

“Back when you were a boy in blue and could talk me into anything, even joining the cops.”

“I talked you into my car, not the department. Blame yourself for that.”

Bosch felt embarrassed and felt his skin blush. Their liaison twenty years earlier had flickered out for no reason other than that neither was looking for any sort of commitment to or from anybody. They went their separate ways but always remained easy friends, especially when Bosch was transferred to the Hollywood Division homicide squad and they were working out of the same building.

“Look at you blushing,” Landreth said. “After all these years.”

“Well, you know…”

He said nothing further. Landreth rolled her stool closer to Bosch. She reached up and rubbed her thumb over the tunnel rat tattoo at the top of his right arm.

“I do remember this one,” she said. “It’s not holding up so well, is it?”

She was right. That tattoo he had gotten in Vietnam had lost its lines over time and the colors had blurred. The character of the rat with a gun emerging from a tunnel was not recognizable. That tattoo looked like a painful bruise.

“I’m not holding up so well myself, Vicki,” Bosch said.

She ignored his complaint and got down to work. She first used an eyeliner pencil to sketch out the tattoos on his body. Michael Allen Smith had what he had called a Gestapo collar tattooed on his neck. On each side of his neck was the twin lightning bolt insignia of the SS. This symbolized the emblems attached to the collar points of the uniforms worn by Hitler’s elite force. Landreth etched these onto Bosch’s skin easily and quickly. It tickled and he had a hard time holding still. Then it was time for the bicep piece.

“Which arm?” she asked.

“I think the left.”

He was thinking of the play with Mackey. He thought the chances were better that he would end up sitting on Mackey’s right as opposed to his left. That meant his left arm would be in Mackey’s line of sight.

Landreth asked him to hold the photo of Smith’s arm up next to his own so she could copy it. Tattooed on Smith’s bicep was a skull with a swastika inside a circle on the crown. While Smith had never admitted to the murders he was charged with, he had always been quite open about his racist beliefs and the origins of his many body markings. The bicep skull, he said, had been copied from a World War II propaganda poster.

Shifting the sketch work from his neck to his arm allowed Bosch to breathe easier and Landreth to engage him in conversation.

“So what’s new with you?” she asked.

“Not a lot.”

“Retirement was boring?”

“You could say that.”

“What did you do with yourself, Harry?”

“I worked a couple old cases, but mostly I spent time in Las Vegas trying to get to know my daughter.”

She leaned back away from her work and looked up at Bosch with surprise in her eyes.

“Yeah, I was surprised too when I found out,” he said.

“How old?”

“Almost six.”