“That doesn’t sound like my kind of work.”
“You’ll take the homicide table, then?”
“Soon as I pass the physical.”
He had another visitor the next day. This one was expected. She was a prosecutor from the U.S. attorney’s office. Her name was Chavez and she wanted to know about the night Sharkey was killed. Eleanor Wish had come in, Bosch knew then.
“What’s going to happen to her?” Bosch asked.
“I can’t discuss that, Detective.”
“Off the record?”
Bosch nodded and Chavez was gone.
Harry, too, was gone the next day, sent home for six weeks’ recuperative leave before reporting back to the station on Wilcox. When he arrived at the house on Woodrow Wilson he found a yellow slip of paper in his mailbox. He took it to the post office and exchanged it for a wide, flat package in brown paper. He didn’t open it until he was home. It was from Eleanor Wish, though it did not say so: it was just something he knew. After tearing away the paper and bubbled plastic liner, he found a framed print of Hopper’s Nighthawks. It was the piece he had seen above her couch that first night he was with her.
Bosch hung the print in the hallway near his front door, and from time to time he would stop and study it when he came in, particularly from a weary day or night on the job. The painting never failed to fascinate him, or to evoke memories of Eleanor Wish. The darkness. The stark loneliness. The man sitting alone, his face turned to the shadows. I am that man, Harry Bosch would think each time he looked.