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Michael Connelly: The Black Echo

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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 was wearing a blue jumpsuit over his rumpled suit. His sweat had stained through the underarms and back of both layers of clothing. His hair was damp and his mustache drooped. He had been inside the pipe. He could feel the slight, warm tickle of a Santa Ana wind drying the sweat on the back of his neck. They had come early this year.

Harry was not a big man. He stood a few inches short of six feet and was built lean. The newspapers, when they described him, called him wiry. Beneath the jumpsuit his muscles were like nylon cords, strength concealed by economy of size. The gray that flecked his hair was more partial to the left side. His eyes were brown-black and seldom betrayed emotion or intention.

The pipe was located above ground and ran for fifty yards alongside the reservoir’s access road. It was rusted inside and out, and was empty and unused except by those who sought its interior as a shelter or its exterior as a canvas for spray paint. Bosch had had no clue to its purpose until the reservoir caretaker had volunteered the information. The pipe was a mud break. Heavy rain, the caretaker said, could loosen earth and send mud sliding off the hillsides and into the reservoir. The three-foot-wide pipe, left over from some unknown district project or boondoggle, had been placed in a predicted slide area as the reservoir’s first and only defense. The pipe was held in place by half-inch-thick iron rebar that looped over it and was embedded in concrete below.

Bosch had put on the jumpsuit before going into the pipe. The letters LAPD were printed in white across the back. After taking it out of the trunk of his car and stepping into it, he realized it was probably cleaner than the suit he was trying to protect. But he wore it anyway, because he had always worn it. He was a methodical, traditional, superstitious detective.

As he had crawled with flashlight in hand into the damp-smelling, claustrophobic cylinder, he felt his throat tighten and his heartbeat quicken. A familiar emptiness in his gut gripped him. Fear. But he snapped on the light and the darkness receded along with the uneasy feelings, and he set about his work.

Now he stood on the dam and smoked and thought about things. Crowley, the watch sergeant, had been right, the man in the pipe was certainly dead. But he had also been wrong. This would not be an easy one. Harry would not be home in time for an afternoon nap or to listen to the Dodgers on KABC. Things were wrong here. Harry wasn’t ten feet inside the pipe before he knew that.

There were no tracks in the pipe. Or rather, there were no tracks that were of use. The bottom of the pipe was dusty with dried orange mud and cluttered with paper bags, empty wine bottles, cotton balls, used syringes, newspaper bedding-the debris of the homeless and addicted. Bosch had studied it all in the beam of the flashlight as he slowly made his way toward the body. And he had found no clear trail left by the dead man, who lay headfirst into the pipe. This was not right. If the dead man had crawled in of his own accord, there would be some indication of this. If he had been dragged in, there would be some sign of that, too. But there was nothing, and this deficiency was only the first of the things that troubled Bosch.

When he reached the body, he found the dead man’s shirt-a black, open-collar crew shirt-pulled up over his head with his arms tangled inside. Bosch had seen enough dead people to know that literally nothing was impossible during the last breaths. He had worked a suicide in which a man who had shot himself in the head had then changed pants before dying, apparently because he did not want his body to be discovered soaked in human waste. But the shirt and the arms on the dead man in the pipe did not seem acceptable to Harry. It looked to Bosch as if the body had been dragged into the pipe by someone who had pulled the dead man by the collar.

Bosch had not disturbed the body or pulled the shirt away from the face. He noted that it was a white male. He detected no immediate indication of the fatal injury. After finishing his survey of the body, Bosch carefully moved over the corpse, his face coming within a half foot of it, and then continued through the pipe’s remaining forty yards. He found no tracks and nothing else of evidentiary value. In twenty minutes he was back in the sunlight. He then sent a crime scene tech named Donovan in to chart the location of debris in the pipe and video the body in place. Donovan’s face had betrayed his surprise at having to go into the pipe on a case he’d already written off as an OD. He had tickets to the Dodgers, Bosch figured.

After leaving the pipe to Donovan, Bosch had lit a cigarette and walked to the dam’s railing to look down on the fouled city and brood.

At the railing he could hear the sound of traffic filtering up from the Hollywood Freeway. It almost sounded gentle from such a distance. Like a calm ocean. Down through the cleft of the canyon he saw blue swimming pools and Spanish tile roofs.

A woman in a white tank top and lime-green jogging shorts ran by him on the dam. A compact radio was clipped to her waistband, and a thin yellow wire carried sound to the earphones clamped to her head. She seemed to be in her own world, unaware of the grouping of police ahead of her until she reached the yellow crime scene tape stretched across the end of the dam. It told her to stop in two languages. She jogged in place for a few moments, her long blond hair clinging to sweat on her shoulders, and watched the police, who were mostly watching her. Then she turned and headed back past Bosch. His eyes followed her, and he noticed that when she went by the pump house she deviated her course to avoid something. He walked over and found glass on the pavement. He looked up and saw the broken bulb in the socket above the pump house door. He made a mental note to ask the caretaker if the bulb had been checked lately.

When Bosch returned to his spot at the railing a blur of movement from below drew his attention. He looked down and saw a coyote sniffing among the pine needles and trash that covered the earth below the trees in front of the dam. The animal was small and its coat was scruffy and completely missing some patches of hair. There were only a few of them left in the city’s protected areas, left to scavenge among the debris of the human scavengers.

“They’re pulling it out now,” a voice said from behind.

Bosch turned and saw one of the uniforms that had been assigned to the crime scene. He nodded and followed him off the dam, under the yellow tape, and back to the pipe.

***

A cacophony of grunts and heavy gasps echoed from the mouth of the graffiti-scarred pipe. A shirtless man, with his heavily muscled back scratched and dirty, emerged backward, towing a sheet of heavy black plastic on top of which lay the body. The dead man was still face up with his head and arms mostly obscured in the wrapping of the black shirt. Bosch looked around for Donovan and saw him stowing a video recorder in the back of the blue crime scene van. Harry walked over.

“Now I’m going to need you to go back in. All the debris in there, newspapers, cans, bags, I saw some hypos, cotton, bottles, I need it all bagged.”

“You got it,” Donovan said. He waited a beat and added, “I’m not saying anything, but, Harry, I mean, you really think this is the real thing? Is it worth busting our balls on?”

“I guess we won’t know until after the cut.”

He started to walk away but stopped.

“Look, Donnie, I know it’s Sunday and, uh, thanks for going back in.”

“No problem. It’s straight OT for me.”

The shirtless man and a coroner’s technician were sitting on their haunches, huddled over the body. They both wore white rubber gloves. The technician was Larry Sakai, a guy Bosch had known for years but had never liked. He had a plastic fishing-tackle box open on the ground next to him. He took a scalpel from the box and made a one-inch-long cut into the side of the body, just above the left hip. No blood came from the slice. From the box he then removed a thermometer and attached it to the end of a curved probe. He stuck it into the incision, expertly though roughly turning it and driving it up into the liver.

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