Michael Connelly - The Black Echo

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From Kirkus Reviews
Second tense, tightly wound tangle of a case for Hieronymous Bosch (The Black Echo, 1991). This time out, the LAPD homicide cop, who's been exiled to Hollywood Division for his bumptious behavior, sniffs out the bloody trail of the designer drug ``black ice.'' Connelly (who covers crime for the Los Angeles Times) again flexes his knowledge of cop ways-and of cop-novel clich‚s. Cast from the hoary mold of the maverick cop, Bosch pushes his way onto the story's core case-the apparent suicide of a narc-despite warnings by top brass to lay off. Meanwhile, Bosch's boss, a prototypical pencil-pushing bureaucrat hoping to close out a majority of Hollywood 's murder cases by New Year's Day, a week hence, assigns the detective a pile of open cases belonging to a useless drunk, Lou Porter. One of the cases, the slaying of an unidentified Hispanic, seems to tie in to the death of the narc, which Bosch begins to read as murder stemming from the narc's dirty involvement in black ice. When Porter is murdered shortly after Bosch speaks to him, and then the detective's love affair with an ambitious pathologist crashes, Bosch decides to head for Mexico, where clues to all three murders point. There, the well-oiled, ten- gear narrative really picks up speed as Bosch duels with corrupt cops; attends the bullfights; breaks into a fly-breeding lab that's the distribution center for Mexico's black-ice kingpin; and takes part in a raid on the kingpin's ranch that concludes with Bosch waving his jacket like a matador's cape at a killer bull on the rampage. But the kingpin escapes, leading to a not wholly unexpected twist-and to a touching assignation with the dead narc's widow. Expertly told, and involving enough-but lacking the sheer artistry and heart-clutching thrills of, say, David Lindsay's comparable Stuart Haydon series (Body of Evidence, etc.).

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Bosch nodded.

“Good. It’s kind of like slicing an apple open to expose the track of a worm. The slide traces the path of the perforation and any immediate impact or damage. Take a look.”

Bosch bent to the eyepiece of the microscope. The slide showed a straight perforation about one inch deep, through the skin and into the muscle, tapering in width like a spike. The muscle’s pink color changed to a dark brownish color around the deepest point of the penetration.

“What does it mean?” he asked.

“It means,” said Salazar, “that the puncture was through the skin, through the fascia-that’s the fibrous fat layer-and then directly into the pectoral muscle. You notice the deepening color of the muscle around the penetration?”

“Yes, I notice.”

“Harry, that’s because the muscle is burned there.”

Bosch looked away from the microscope to Salazar. He thought he could make out the line of a thin smile beneath the pathologist’s breathing mask.

“Burned?”

“A stun gun,” the pathologist said. “Look for one that fires its electrode dart deep into the skin tissue. About three to four centimeters deep. Though in this case, it is likely the electrode was manually pressed deeper into the chest.”

Bosch thought a moment. A stun gun would be virtually impossible to trace. Sakai came back into the room and leaned on the counter by the door, watching. Salazar collected three glass vials of blood and two containing yellowish liquid from the tool cart. There was also a small steel pan containing a brown lump of material that Bosch recognized from experience in this room as liver.

“Larry, here are the tox samples,” Salazar said. Sakai took them and disappeared from the room again.

“You’re talking about torture, electric shock,” Bosch said.

“I would say it looks so,” Salazar said. “Not enough to kill him, the trauma is too small. But possibly enough to get information from him. An electric charge can be very persuasive. I think there is ample history on that. With the electrode positioned in the subject’s chest, he could probably feel the juice going right into his heart. He would have been paralyzed. He’d tell them what they wanted and then could only watch while they put a fatal dosage of heroin into his arm.”

“Can we prove any of this?”

Salazar looked down at the tile floor and put his finger on his mask, and scratched his lip beneath it. Bosch was dying for a cigarette. He had been in the autopsy room nearly two hours.

“Prove any of it?” Salazar said. “Not medically. Tox tests will be done in a week. For the sake of argument, say they come back heroin overdose. How do we prove that someone else put it in his arm, not himself? Medically, we can’t. But we can show that at the time of death or shortly before, there was a traumatic assault on the body in the form of electric shock. He was being tortured. After death there is the unexplained damage to the first digit of the left hand.”

He rubbed the finger over his mask again and then concluded, “I could testify that this was a homicide. The totality of the medical evidence indicates death at the hands of others. But, for the moment, there is no cause. We wait for the tox studies to be completed and then we’ll put our heads together again.”

Bosch wrote a paraphrase of what Salazar had just said into his notebook. He would have to type it into his own reports.

“Of course,” Salazar said, “proving any of this beyond a reasonable doubt to a jury is another matter. I would guess that, Harry, you have to find that bracelet and find out why it was worth torturing and killing a man for.”

Bosch closed his notebook and started to pull off the paper gown.

***

The setting sun burned the sky pink and orange in the same bright hues as surfers’ bathing suits. It was beautiful deception, Bosch thought, as he drove north on the Hollywood Freeway to home. Sunsets did that here. Made you forget it was the smog that made their colors so brilliant, that behind every pretty picture there could be an ugly story.

The sun hung like a ball of copper in the driver’s-side window. He had the car radio tuned to a jazz station and Coltrane was playing “Soul Eyes.” On the seat next to him was a file containing the newspaper clippings from Bremmer. The file was weighted down by a six-pack of Henry’s. Bosch got off at Barham and then took Woodrow Wilson up into the hills above Studio City. His home was a wood-framed, one-bedroom cantilever not much bigger than a Beverly Hills garage. It hung out over the edge of the hill and was supported by three steel pylons at its midpoint. It was a scary place to be during earthquakes, daring Mother Nature to twang those beams and send the house down the hill like a sled. But the view was the trade-off. From the back porch Bosch could look northeast across Burbank and Glendale. He could see the purple-hued mountains past Pasadena and Altadena. Sometimes he could see the smoky loom-up and orange blaze of brush fires in the hills. At night the sound of the freeway below softened and the searchlights at Universal City swept the sky. Looking out on the Valley never failed to give Bosch a sense of power which he could not explain to himself. But he did know that it was one reason-the main reason-he bought the place and would never want to leave it.

Bosch had bought it eight years earlier, before the real estate boom got seriously endemic, with a down payment of $50,000. That left a mortgage of $1,400 a month, which he could easily afford because the only things he spent money on were food, booze and jazz.

The down payment money had come from a studio that gave it to him for the rights to use his name in a TV miniseries based on a string of murders of beauty shop owners in Los Angeles. Bosch and his partner during the investigation were portrayed by two midlevel TV actors. His partner took his fifty grand and his pension and moved to Ensenada. Bosch put his down on a house he wasn’t sure could survive the next earthquake but that made him feel as though he were prince of the city.

Despite Bosch’s resolve never to move, Jerry Edgar, his current partner and part-time real estate man, told him the house was now worth three times what he had paid for it. Whenever the subject of real estate came up, which was often, Edgar counseled Bosch to sell and trade up. Edgar wanted the listing. Bosch just wanted to stay where he was.

It was dark by the time he reached the hill house. He drank the first beer standing on the back porch, looking out at the blanket of lights below. He had a second bottle while sitting in his watch chair, the file closed on his lap. He hadn’t eaten all day and the beer hit him quickly. He felt lethargic and yet jumpy, his body telling him it needed food. He got up and went to the kitchen and made a pressed turkey sandwich that he brought back to the chair with another beer.

When he was finished eating he brushed the sandwich crumbs off the file and opened it up. There had been four Times stories on the WestLand bank caper. He read them in the order of publication. The first was just a brief that had run on page 3 of the Metro section. The information had apparently been gathered on the Tuesday the break-in was discovered. At the time, the LAPD and the FBI weren’t that interested in talking to the press or letting the public know what had happened.

AUTHORITIES PROBE BANK BREAK-IN

An undisclosed amount of property was stolen from the WestLand National Bank in downtown during the three-day holiday weekend, authorities said Tuesday. The burglary, being investigated by the FBI and the Los Angeles Police Department, was discovered when managers of the bank located at the corner of Hill Street and Sixth Avenue arrived Tuesday and found the safe-deposit vault had been looted, FBI Special Agent John Rourke said. Rourke said an estimate on the loss of property had not been made. But sources close to the investigation said more than $1 million worth of jewels and other valuables stored in the vault by customers of the bank was taken. Rourke also declined to say how the burglars entered the vault but did say that the alarm system was not working properly. He declined to elaborate. A spokesman for WestLand declined Tuesday to discuss the burglary. Authorities said there were no arrests or suspects.

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