The McCone Files (16 page)

Because of those mistakes, I continued watching Gottschalk, straining my eyes as the mist grew heavier, hoping Vanessa would show up or that he'd eventually lead me to her. The ranger appeared to be nervous: he got up a couple of times and turned on a TV, flipped through the channels, and turned it off again. For about ten minutes, he paced back and forth. Finally, around twelve-thirty, he checked his watch again, then got up and drew the draperies shut. The lights went out behind them.

I tensed, staring through the blowing mist at the door of the apartment building. Somehow Gottschalk hadn't looked like a man who was going to bed. And my impression was correct: in a few minutes he came through the door onto the sidewalk carrying a suitcase—pale leather like the one of Vanessa's Sylvia had described to me—and got into a dark-colored Mustang parked on his side of the street. The car started up and he made a U-turn, then went right on Twenty-fifth Avenue. I followed. After a few minutes, it became apparent he was heading for Fort Point.

When Gottschalk turned into the road to the fort, I kept going until I could pull over on the shoulder. The brake lights of the Mustang flared, and then Gottschalk got out and unlocked the low iron bar that blocked the road from sunset to sunrise; after he'd driven through he closed it again, and the car's lights disappeared down the road.

Had Vanessa been hiding at drafty, cold Fort Point? It seemed a strange choice of place, since she could have used a motel or Gottschalk's apartment. But perhaps she'd been afraid someone would recognize her in a public place, or connect her with Gottschalk and come looking, as I had. And while the fort would be a miserable place to hide during the hours it was open to the public—she'd have had to keep to one of the off-limits areas, such as the west side—at night she could probably avail herself of the heated employees' lounge.

Now I could reconstruct most of the ongoing scenario: Vanessa meets Lee; they talk about his work; she decides he's the person to help her fake her suicide. Maybe there's a romantic entanglement, maybe not; but for whatever reason, he agrees to go along with the plan. She leaves her car at Vista Point, walks across the bridge, and later he drives over there and picks up the suitcase….

But then why hadn't he delivered it to her at the fort? And to go after the suitcase after she'd abandoned the car was too much of a risk; he might have been seen, or the people at the fort might have noticed him leaving for too long a break. Also, if she'd walked across the bridge, surely at least one of the people I'd talked with would have seen her—the maintenance crew near the north tower, for instance.

There was no point in speculation on it now, I decided. The thing to do was follow Gottschalk down there and confront Vanessa before she disappeared again. For a moment I debated taking my gun out of the glove-box, but then decided against it. I don't like to carry it unless I'm going into a dangerous situation, and neither Gottschalk nor Vanessa posed any particular threat to me. I was merely here to deliver a message from Vanessa's parents asking her to come home. If she didn't care to respond to it, that was not my business--or my problem.

I got out of my car and locked it, then hurried across the road and down the narrow lane to the gate, ducking under it and continuing along toward the ranger station. On either side of me were tall, thick groves of eucalyptus; I could smell their acrid fragrance and hear the fog-laden wind rustle their brittle leaves. Their shadows turned the lane into a black winding alley, and the only sound besides distant traffic noises was my tennis shoes slapping on the broken pavement. The ranger station was dark, but ahead I could see Gottschalk's car parked next to the fort. The area was illuminated only by small security lights set at intervals on the walls of the structure. Above it the bridge arched, washed in fog-muted yellowish light; as I drew closer I became aware of the grumble and clank of traffic up there.

I ran across the parking area and checked Gottschalk's car. It was empty, but the suitcase rested on the passenger seat. I turned and started toward the sally port, noticing that its heavily studded door stood open a few inches. The low tunnel was completely dark. I felt my way along it toward the courtyard, one hand on its icy stone wall.

The doors to the courtyard also stood open. I peered through them into the gloom beyond. What light there was came from the bridge and more security beacons high up on the wooden watchtowers; I could barely make out the shapes of the construction equipment that stood near the west side. The clanking from the bridge was oppressive and eerie in the still night.

As I was about to step into the courtyard, there was a movement to my right. I drew back into the sally port as Lee Gottschalk came out of one of the ground-floor doorways. My first impulse was to confront him, but then I decided against it. He might shout, warn Vanessa, and she might escape before I could deliver her parents' message.

After a few seconds I looked out again, meaning to follow Gottschalk, but he was nowhere in sight. A faint shaft of light fell through the door from which he had emerged and rippled over the cobblestone floor. I went that way, through the door and along a narrow corridor to where an archway was illuminated. Then, realizing the archway led to the unrestored cell of the jail I'd seen earlier, I paused. Surely Vanessa wasn't hiding there….

I crept forward and looked through the arch. The light came from a heavy-duty flashlight that sat on the floor. It threw macabre shadows on the water-stained walls, showing their streaked paint and graffiti. My gaze followed its beams upward and then down, to where the grating of the cistern lay out of place on the floor beside the hole. Then I moved over to the railing, leaned across it, and trained the flashlight down into the well.

I saw, with a rush of shock and horror, the dark hair and once-handsome features of Vanessa DiCesare.

She had been hacked to death. Stabbed and slashed as if in a frenzy. Her clothing was ripped, there were gashes on her face and hands, she was covered with dark smears of blood. Her eyes were open, staring with that horrible flatness of death.

I came back on my heels, clutching the railing for support. A wave of dizziness swept over me, followed by an icy coldness. I thought: he killed her. And then I pictured Gottschalk in his Union Army uniform, the saber hanging from his belt, and I knew what the weapon had been.

“God!” I said aloud.

Why
had he murdered her? I had no way of knowing yet. But the answer to why he'd thrown her into the cistern, instead of just putting her into the bay, was clear: she was supposed to have committed suicide; and while bodies that fall from the Golden Gate Bridge sustain a great many injuries, slash and stab wounds aren't among them. Gottschalk could not count on the body being swept out to sea on the current; if she washed up somewhere along the coast, it would be obvious she had been murdered—and eventually an investigation might have led back to him. To him and his soldier's saber.

It also seemed clear that he'd come to the fort tonight to move the body. But why not last night, why leave her in the cistern all day? Probably he'd needed to plan, to secure keys to the gate and fort, to check the schedule of the night patrols for the best time to remove her. Whatever his reason, I realized now that I'd walked into a very dangerous situation. Walked right in without bringing my gun. I turned quickly to get out of there….

And came face-to-face with Lee Gottschalk.

His eyes were wide, his mouth drawn back in a snarl of surprise. In one hand he held a bundle of heavy canvas. “You!” he said. “What the hell are you doing here?”

I jerked back from him, bumped into the railing, and dropped the flashlight. It clattered on the floor and began rolling toward the mouth of the cistern. Gottschalk lunged toward me, and as I dodged, the light fell into the hole and the cell went dark. I managed to push past him and ran down the hallway to the courtyard.

Stumbling on the cobblestones, I ran blindly for the sally port. Its doors were shut now—he'd probably taken that precaution when he'd returned from getting the tarp to wrap her body in. I grabbed the iron hasp and tugged, but couldn't get it open. Gottschalk's footsteps were coming through the courtyard after me now. I let go of the hasp and ran again. When I came to the enclosed staircase at the other end of the court, I started up. The steps were wide at the outside wall, narrow at the inside. My toes banged into the risers; a couple of times I teetered and almost fell backwards. At the first tier I paused, then kept going. Gottschalk had said something about unrestored rooms on the second tier; they'd be a better place to hide than in the museum.

Down below I could hear him climbing after me. The sound of his feet—clattering and stumbling—echoed in the closed space. I could hear him grunt and mumble: low, ugly sounds that I knew were curses.

I had absolutely no doubt that if he caught me, he would kill me. Maybe do to me what he had done to Vanessa….

I rounded the spiral once again and came out on the top floor gallery, my heart beating wildly, my breath coming in pants. To my left were archways, black outlines filled with dark-gray sky. To my right was blackness. I went that way, hands out, feeling my way.

My hands touched the rough wood of a door. I pushed, and it opened. As I passed through it, my shoulder bag caught on something; I yanked it loose and kept going. Beyond the door I heard Gottschalk curse loudly, the sound filled with surprise and pain; he must have fallen on the stairway. And that gave me a little more time.

The tug at my shoulder bag had reminded me of the small flashlight I keep there. Flattening myself against the wall next to the door, I rummaged through the bag and brought out the flash. Its beam showed high walls and arching ceilings, plaster and lathe pulled away to expose dark bricks. I saw cubicles and cubbyholes opening into dead ends, but to my right was an arch. I made a small involuntary sound of relief, then thought,
Quiet
! Gottschalk's footsteps started up the stairway again as I moved through the archway.

The crumbling plaster walls beyond the archway were set at odd angles—an interlocking funhouse maze connected by small doors. I slipped through one and found an irregularly shaped room heaped with debris. There didn't seem to be an exit, so I ducked back into the first room and moved toward the outside wall, where gray outlines indicated small high-placed windows. I couldn't hear Gottschalk any more—couldn't hear anything but the roar and clank form the bridge directly overhead.

The front wall was brick and stone, and the windows had wide waist-high stills. I leaned across one, looked through the salt-caked glass, and saw the open sea. I was at the front of the fort, the part that faced beyond the Golden Gate; to my immediate right would be the unrestored portion. If I could slip over into that area, I might be able to hide until the other rangers came to work in the morning.

But Gottschalk could be anywhere. I couldn't hear his footsteps above the infernal noise from the bridge. He could be right here in the room with me, pinpointing me by the beam of my flashlight….

Fighting down panic, I switched the light off and continued along the wall, my hands recoiling from its clammy stone surface. It was icy cold in the vast, echoing space, but my own flesh felt colder still. The air had a salt tang, underlaid by odors of rot and mildew. For a couple of minutes the darkness was unalleviated, but then I saw a lighter rectangular shape ahead of me.

When I reached it I found it was some sort of embrasure, about four feet tall, but only a little over a foot wide. Beyond it I could see the edge of the gallery where it curved and stopped at the chain link fence that barred entrance to the other side of the fort. The fence wasn't very high—only five feet or so. If I could get through this narrow opening, I could climb it and find refuge….

The sudden noise behind me was like a firecracker popping. I whirled and saw a tall figure silhouetted against one of the seaward windows. He lurched forward, tripping over whatever he'd stepped on. Forcing back a cry, I hoisted myself up and began squeezing through the embrasure.

Its sides were rough brick. They scraped my flesh clear through my clothing. Behind me I heard the slap of Gottschalk's shoes on the wooden floor.

My hips wouldn't fit through the opening. I gasped, grunted, pulling with my arms on the outside walls. Then I turned on my side, sucking in my stomach. My bag caught again, and I let go of the wall long enough to rip its strap off my elbow. As my hips squeezed through the embrasure, I felt Gottschalk grab at my feet. I kicked out frantically, breaking his hold, and fell off the sill to the floor of the gallery.

Fighting for breath, I pushed off the floor, threw myself at the fence, and began climbing. The metal bit into my fingers, rattled and clashed with my weight. At the top, the leg of my jeans got hung up on the spiked wire. I tore it loose and jumped down the other side.

The door to the gallery burst open and Gottschalk came through it. I got up from a crouch and ran into the darkness ahead of me. The fence began to rattle as he started up it. I raced, half-stumbling, along the gallery, the open archways to my right. To my left was probably a warren of rooms similar to those on the east side. I could lose him in there….

Only I couldn't. The door I tried was locked. I ran to the next one and hurled my body against its wooden panels. It didn't give. I heard myself moan in fear and frustration.

Gottschalk was over the fence now, coming toward me, limping. His breath came in erratic gasps, loud enough to hear over the noise from the bridge. I twisted around, looking for shelter, and saw a pile of lumber lying across one of the open archways.

I dashed toward it and slipped behind, wedged between it and the pillar of the arch. The courtyard lay two dizzying stories below me. I grasped the end of the top two-by-four. It moved easily, as if on a fulcrum.

Gottschalk had seen me. He came on steadily, his right leg dragging behind him. When he reached the pile of lumber and started over it towards me, I yanked on the two-by-four. The other end moved and struck him on the knee.