The Black Box (Harry Bosch Series #18) [NOOK Book]

Overview

In a case that spans 20 years, Harry Bosch links the bullet from a recent crime to a file from 1992, the killing of a young female photographer during the L.A. riots. Harry originally investigated the murder, but it was then handed off to the Riot Crimes Task Force and never solved.

Now Bosch's ballistics match indicates that her death was not random violence, but something more personal, and connected to a deeper intrigue. Like an ...
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The Black Box (Harry Bosch Series #18)

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Overview

In a case that spans 20 years, Harry Bosch links the bullet from a recent crime to a file from 1992, the killing of a young female photographer during the L.A. riots. Harry originally investigated the murder, but it was then handed off to the Riot Crimes Task Force and never solved.

Now Bosch's ballistics match indicates that her death was not random violence, but something more personal, and connected to a deeper intrigue. Like an investigator combing through the wreckage after a plane crash, Bosch searches for the "black box," the one piece of evidence that will pull the case together.

Riveting and relentlessly paced, THE BLACK BOX leads Harry Bosch, "one of the greats of crime fiction" (New York Daily News), into one of his most fraught and perilous cases.
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Editorial Reviews

From Barnes & Noble

A young female photographer was murdered during the Los Angeles riots of 1992 and for two decades, that cold case has haunted Harry Bosch. When new ballistics test results point to new clues, he pursues the still unknown culprit with renewed determination. Topflight crime writing and nifty plot twists and turns; now in mass-market paperback and NOOK Book.

The Washington Post
I decided several years ago that this is the finest crime series written by an American, and nothing in [this] book changes my mind…As always, Bosch's painstaking investigation reflects Connelly's unsurpassed grasp of police work.
—Patrick Anderson
Publishers Weekly
Bestseller Connelly’s excellent 18th Harry Bosch novel (after 2011’s The Drop) opens in 1992, a few days after the acquittal of the cops who beat up Rodney King incited an eruption of violence in Los Angeles (“Flames from a thousand fires reflected like the devil dancing in the dark sky”). In a South-Central alley, Bosch and his partner, Jerry Edgar, briefly examine the body of a Danish photojournalist, Anneke Jespersen, who’s been shot dead. There’s not enough time or police will power to enable Bosch to pursue the case—though he does retrieve a single spent 9mm brass shell casing. Twenty years later, while working cold cases in the LAPD’s Open-Unsolved Unit, Bosch gets a second chance to answer for Jespersen. Contemporary forensic technology connects the shell casing to a gun and to the first Iraq war. The tenacious detective finds himself caught in a maelstrom of departmental politics and personal danger as he searches for the “black box” of the title (“a piece of evidence, a person, a positioning of fact that brought a certain understanding and helped explain what happened and why”). Connelly draws on all his resources—his thorough knowledge of police work, his ability to fashion a complex tapestry of plot, and his ever deepening characterization of Bosch—to craft a mystery thriller sure to enthrall fans and newcomers alike. Agent: Philip Spitzer, Philip G. Spitzer Literary. (Nov.)
The Washington Post
"I decided several years ago that this is the finest crime series written by an American, and nothing in the new book changes my mind."
Chicago Sun-Times
"Continues [Connelly's] streak of telling stellar crime stories . . . one of the top detectives in crime fiction."
USA Today
"Four stars! Crime writer Michael Connelly is a reliably good storyteller and his novels' endings invariably pack a satisfying punch. Though I've said it before about some of his other novels, THE BLACK BOX [could] be the best yet . . . portrays Harry at his dogged, ingenious best."
Huffington Post
"How can Michael Connelly get better at his craft of writing! Just when you think he has reached the pinnacle of his career with a certain novel he comes along with a new one that is even better. Such is the case with THE BLACK BOX, a crime thriller that is pretty near perfection . . . Michael Connelly just keeps getting it right . . . He is at the top of the mountain . . . none exceed his abilities."
Los Angeles Times
"Few crime writers are as prolific or as successful as Michael Connelly . . . Connelly has always excelled at building suspense while paying careful attention to police procedural detail . . . will tantalize fans of the series."
Toronto Globe and Mail
"Oh well, just another superb, ambitious murder mystery from one of the best writers in the business, featuring perhaps the best fictional detective in crime fiction. It has been 20 years since Michael Connelly published his first novel, The Black Echo, and in all that time he hasn't put a foot wrong. THE BLACK BOX keeps his streak alive."
New York Daily News
"[Bosch] is as formidable as he ever was . . . we see how far he has come and get a glimpse of the intriguing direction the series may take."
New York Times Book Review
"Bosch employs highly unorthodox but extremely entertaining methods for getting results, making sneaky end-runs around the sclerotic bureaucracy of the LAPD . . . It's fun to watch an old war horse like Bosch navigating the new technology (or, more often than not, getting younger officers to do it for him)."
San Jose Mercury News
"Connelly has added one more to the apparently inexhaustible supply of cases that challenge Detective Harry Bosch of the Los Angeles Police Department. This one is a tightly knit tale . . . It's classic Connelly, who has a gift for narrating criminal investigations from the inside and bringing them to life."
Janet Maslin - New York Times
"Starts with a bang and stays strong all the way through."
Art Taylor - Washington Post
"Connelly's lean, just-the-facts style makes for crisp dialogue and a brisk, info-driven plot....A haunted quality has always been one of the chief attractions of Connelly's series and of Bosch's character."
From the Publisher
PRAISE FOR THE DROP:

"Connelly inherits the mantle of Raymond Chandler.... Their books share a kind of ambitious artistry that strains to reach beyond genre fiction."—Chuck Leddy, Boston Globe

"Connelly is superb at building suspense."—Tom Nolan, Wall Street Journal

"Bosch is one of the best detectives in crime fiction, and Connelly continues to amaze with his latest effort."—Jeff Ayers, Associated Press

Chuck Leddy - Boston Globe
PRAISE FOR THE DROP:

"Connelly inherits the mantle of Raymond Chandler.... Their books share a kind of ambitious artistry that strains to reach beyond genre fiction."

Tom Nolan - Wall Street Journal
"Connelly is superb at building suspense."
Jeff Ayers - Associated Press Staff
"Bosch is one of the best detectives in crime fiction, and Connelly continues to amaze with his latest effort."
Janet Maslin
Starts with a bang and stays strong all the way through.
New York Times
Library Journal
LAPD Det. Harry Bosch is back, smart enough to connect a current murder with the 1992 killing of a young female photographer during riots in Los Angeles. That killing, never solved by the Riot Crimes Task Force, now seems a whole lot more personal than anyone ever thought. Look for special promotions this year for Connelly, who's releasing his 25th book in 20 years of publishing.
Kirkus Reviews
Harry Bosch (The Drop, 2011, etc.) returns to yet another cold case--one that was taken out of his hand 20 years ago when it was still red hot. Assigned to an emergency rotation in South-Central LA during the Rodney King riots, Harry's sent out to an alley off Crenshaw Boulevard, where National Guard troops have found a body. The victim turns out to be Copenhagen journalist Anneke Jespersen, executed by a bullet to the head. With the city in the throes of a violent crisis, there's no time to work this case or any other, and the death gets tossed into the deep freeze till it's defrosted 20 years later by the LAPD's Open-Unsolved Unit. Now, however, some remarkable developments are waiting to be discovered. The Beretta handgun used in the crime has been traced to long-imprisoned gangbanger Rufus Coleman, whose brief off-the-record statement allows Harry to link the gun to at least two other murders in the intervening years. If the search for information about the weapon, mostly carried out by Harry's long-suffering partner David Chu, seems almost too easy, the questions that stymied Harry back in 1992--what brought a Danish reporter to America, to riot-torn LA and to the alley where she met her death, and why was she killed?--prove just as hard to answer, especially since Harry's new boss, Lt. Cliff O'Toole, makes it clear that on the 20th anniversary of the LAPD's darkest hour, he doesn't want the only case from that sorry chapter cleared to be the one that involved a white woman. Harry naturally meets O'Toole's opposition by raising the stakes. The resulting tension lifts this sturdy but uninspired procedural above most of its competition, though nowhere close to the top of Connelly's own storied output.
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Product Details

  • ISBN-13: 9780316069441
  • Publisher: Little, Brown and Company
  • Publication date: 11/26/2012
  • Series: Harry Bosch Series , #18
  • Sold by: Hachette Digital, Inc.
  • Format: eBook
  • Pages: 416
  • Sales rank: 3,327
  • File size: 2 MB

Meet the Author

Michael  Connelly
Michael Connelly is the author of the recent #1 New York Times bestsellers The Drop, The Fifth Witness, The Reversal, The Scarecrow, The Brass Verdict, and The Lincoln Lawyer, as well as the bestselling Harry Bosch series of novels. He is a former newspaper reporter who has won numerous awards for his journalism and his novels. He spends his time in California and Florida

Biography

Best known for his dark police procedurals featuring the tough, complex and emotionally scarred LAPD detective, Hieronymous "Harry" Bosch, Michael Connelly has been called "infernally ingenious" (The New York Times), "one of those masters...who can keep driving the story forward in runaway locomotive style" (USA Today) and "the top rank of a new generation of crime writers" (The Los Angeles Times).

Consistently exquisite prose and engrossing storylines play an integral role in his swelling success. However, Connelly believes that solid character development is the most important key. As he explained to MagnaCumMurder.com, "I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true."

A native of Philadelphia, Pennsylvania, Connelly attended the University of Florida; there he discovered the works of Raymond Chandler -- author of many classic Los Angeles-based noir dramas such as The Big Sleep, The Long Goodbye, and Farewell, My Lovely. The cases of Philip Marlowe inspired Connelly to be a crime novelist -- and by studying journalism, he put himself in the perfect position. "I went into journalism to learn the craft of writing and to get close to the world I wanted to write about -- police and criminals, the criminal justice system," he told MagnaCumMurder.com.

After graduation, Connelly worked the crime beat for two Florida newspapers. When a story he and a colleague wrote about the disastrous 1985 crash of Delta Flight 191 was short-listed for the Pulitzer, Connelly landed a gig in Marlowe's backyard, covering crime for one of the nation's largest newspapers -- The Los Angeles Times. Three years later, Harry Bosch was introduced in The Black Echo, which earned Connelly the Edgar Award for Best First Novel. Connelly has since won every major mystery honor, including the Anthony (The Poet, Blood Work) and the Macavity Award (Blood Work).

While Connelly has written stand-alone novels that don't feature his tragic protagonist Harry Bosch, he is best identified by his rigid, contentious and fiery -- but also immensely skilled and compassionate -- detective. According to The Boston Globe, the Bosch series "raises the hard-boiled detective novel to a new level...adding substance and depth to modern crime fiction."

Called "one of the most compelling, complex protagonists in recent crime fiction" (Newsweek) and "a terrific...wonderful, old-fashioned hero who isn't afraid to walk through the flames -- and suffer the pain for the rest of us" (The New York Times Book Review), Bosch faces unforgettable horrors every day -- either on the street or in his own mind. "Bosch is making up for wrongs done to him when he rights wrongs as a homicide detective," Connelly explained in an interview with his publisher. "In a way, he is an avenging angel."

Bosch is clearly a product of his deadly, unforgiving environment. "The philosopher Friedrich Nietzsche once wrote that when you look into the darkness of the abyss the abyss looks into you. Probably no other line or thought more inspires or informs my work," said Connelly in the same interview. With each passing novel, Bosch looks deeper and deeper into the abyss; and readers continue to return to see just how far he will gaze.

Good To Know

  • Michael Connelly received a huge career boost in 1994 when then President Bill Clinton was photographed walking out of a Washington bookstore with a copy of The Concrete Blonde under his arm. Connelly remarked to USA Today, "In the six years I've been writing books, that is the biggest thrill I've had."

  • Real events have always inspired Connelly's plots. His novel Blood Work was inspired by a friend who underwent transplant surgery and was coping with survivor's guilt, knowing someone had died in order for him to live. The book was later developed into a feature film starring Clint Eastwood, Angelica Huston, and Jeff Daniels.

  • One of Connelly's writing professors at the University of Florida was cult novelist Harry Crews.

  • Connelly named his most famous character after the 15th Century Dutch painter, Hieronymous Bosch. As he told Bookends UK in an interview, Bosch "created richly detailed landscapes of debauchery and violence and human defilement. There is a ‘world gone mad' feel to many of his works, including one called ‘Hell' -- of which a print hangs on the wall over the computer where I write." Some interesting outtakes from our interview with Connelly:

    "I wrote a mystery story as a class paper in high school. It was called The Perfect Murder. The protagonist's named was McEvoy, a name I later used for the protagonist in The Poet. Being a witness to a crime when I was 16 was what made me interested in crime novels and mystery stories."

    "I wrote my first real murder story as a journalist for the Daytona Beach News Journal in 1980. It was about a body found in the woods. Later, the murder was linked to a serial killer who was later caught and executed for his crimes."

    "Everything I want people to know about me is in my books."

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      1. Hometown:
        Sarasota, Florida
      1. Date of Birth:
        July 21, 1956
      2. Place of Birth:
        Philadelphia, Pennsylvania
      1. Education:
        B.A. in Journalism, University of Florida, 1980
      2. Website:

    Read an Excerpt

    The Black Box


    By Michael Connelly

    Little, Brown and Company

    Copyright © 2012 Michael Connelly
    All right reserved.

    ISBN: 9780316069434

    Snow White

    1992


     

    By the third night the death count was rising so high and so quickly that many of the divisional homicide teams were pulled off the front lines of riot control and put into emergency rotations in South Central. Detective Harry Bosch and his partner, Jerry Edgar, were pulled from Hollywood Division and assigned to a roving B Watch team that also included two shotgunners from patrol for protection. They were dispatched to any place they were needed—wherever a body turned up. The four-man team moved in a black-and-white patrol car, jumping from crime scene to crime scene and never staying still for long. It wasn’t the proper way to carry out homicide work, not even close, but it was the best that could be done under the surreal circumstances of a city that had come apart at the seams.

    South Central was a war zone. Fires burned everywhere. Looters moved in packs from storefront to storefront, all semblance of dignity and moral code gone in the smoke that rose over the city. The gangs of South L.A. stepped up to control the darkness, even calling for a truce to their internecine battles to create a united front against the police.

    More than fifty people had died already. Store owners had shot looters, National Guardsmen had shot looters, looters had shot looters, and then there were the others—killers who used the camouflage of chaos and civil unrest to settle long-held scores that had nothing to do with the frustrations of the moment and the emotions displayed in the streets.

    Two days before, the racial, social, and economic fractures that ran under the city broke the surface with seismic intensity. The trial of four LAPD officers accused of excessively beating a black motorist at the end of a high-speed chase had resulted in the delivery of not-guilty verdicts. The reading of the jury’s decision in a suburban courtroom forty-five miles away had an almost immediate impact on South Los Angeles. Small crowds of angry people gathered on street corners to decry the injustice. And soon things turned violent. The ever-vigilant media went high and live from the air, broadcasting the images into every home in the city, and then to the world.

    The department was caught flat-footed. The chief of police was out of Parker Center and making a political appearance when the verdict came in. Other members of the command staff were out of position as well. No one immediately took charge and, more important, no one went to the rescue. The whole department retreated and the images of unchecked violence spread like wildfire across every television screen in the city. Soon the city was out of control and in flames.

    Two nights later, the acrid smell of burning rubber and smoldering dreams was still everywhere. Flames from a thousand fires reflected like the devil dancing in the dark sky. Gunshots and shouts of anger echoed nonstop in the wake of the patrol car. But the four men in 6-King-16 did not stop for any of these. They stopped only for murder.

    It was Friday, May 1. B Watch was the emergency mobilization designation for night watch, a 6 p.m. to 6 a.m. shift. Bosch and Edgar had the backseat, while Officers Robleto and Delwyn had the front. Delwyn, in the passenger seat, held his shotgun across his lap and angled up, its muzzle poking through the open window.

    They were rolling to a dead body found in an alley off Crenshaw Boulevard. The call had been relayed to the emergency communications center by the California National Guard, which had been deployed in the city during the state of emergency. It was only 10:30 and the calls were stacking up. King-16 had already handled a homicide call since coming on shift—a looter shot dead in the doorway of a discount shoe store. The shooter had been the store’s owner.

    That crime scene was contained within the premises of the business, which had allowed Bosch and Edgar to work with relative safety, Robleto and Delwyn posted with shotguns and full riot gear on the sidewalk out front. And that also gave the detectives time to collect evidence, sketch the crime scene, and take their own photos. They recorded the statement of the store owner and watched the videotape from the business’s surveillance camera. It showed the looter using an aluminum softball bat to smash through the glass door of the store. The man then ducked in through the jagged opening he had created and was promptly shot twice by the store owner, who was hiding behind the cash counter and waiting.

    Because the coroner’s office was overrun with more death calls than it could handle, the body was removed from the store by paramedics and transported to County-USC Medical Center. It would be held there until things calmed down—if they ever did—and the coroner caught up with the work.

    As far as the shooter went, Bosch and Edgar made no arrest. Whether it was self-defense or murder while lying in wait, the DA’s Office would make the call later.

    It was not the right way to proceed but it would have to do. In the chaos of the moment, the mission was simple: preserve the evidence, document the scene as well and as fast as possible, and collect the dead.

    Get in and get out. And do it safely. The real investigation would come later. Maybe.

    As they drove south on Crenshaw, they passed occasional crowds of people, mostly young men, gathered on corners or roving in packs. At Crenshaw and Slauson a group flying Crips colors jeered as the patrol car moved by at high speed without siren or flashing lights. Bottles and rocks were thrown but the car moved too fast and the missiles fell harmlessly behind it.

    “We’ll be back, muthafuckers! Don’t you worry.”

    It was Robleto who had called out and Bosch had to assume he was speaking metaphorically. The young patrolman’s threat was as hollow as the department’s response had been once the verdicts were read on live TV Wednesday afternoon.

    Robleto, behind the wheel, only began to slow as they approached a blockade of National Guard vehicles and soldiers. The strategy drawn up the day before with the arrival of the Guard was to take back control of the major intersections in South L.A. and then move outward, eventually containing all trouble spots. They were less than a mile from one of those key intersections, Crenshaw and Florence, and the Guard troops and vehicles were already spread up and down Crenshaw for blocks. As he pulled up to the barricade at 62nd Street, Robleto lowered his window.

    A guardsman with sergeant stripes came to the door and leaned down to look at the car’s occupants.

    “Sergeant Burstin, San Luis Obispo. What can I do for you fellows?”

    “Homicide,” Robleto said. He hooked a thumb toward Bosch and Edgar in the back.

    Burstin straightened up and made an arm motion so that a path could be cleared and they could be let through.

    “Okay,” he said. “She’s in the alley on the east side between Sixty-sixth Place and Sixty-seventh Street. Go on through and my guys will show you. We’ll form a tight perimeter and watch the rooflines. We’ve had unconfirmed reports of sniper fire in the neighborhood.”

    Robleto put his window back up as he drove through.

    “‘My guys,’” he said, mimicking Burstin’s voice. “That guy’s probably a schoolteacher or something back in the real world. I heard that none of these guys they brought in are even from L.A. From all around the state but not L.A. Probably couldn’t find Leimert Park with a map.”

    “Two years ago, neither could you, dude,” Delwyn said.

    “Whatever. The guy doesn’t know shit about this place and now he’s all like take charge? Fucking weekend warrior. All I’m saying is we didn’t need these guys. Makes us look bad. Like we couldn’t handle it and had to bring in the pros from San Luis O-fucking-bispo.”

    Edgar cleared his throat and spoke from the backseat.

    “I got news for you,” he said. “We couldn’t handle it and we couldn’t look any worse than we already did Wednesday night. We sat back and let the city burn, man. You see all that shit on TV? The thing you didn’t see was any of us on the ground kicking ass. So don’t be blaming the schoolteachers from ’Bispo. It’s on us, man.”

    “Whatever,” Robleto said.

    “Says ‘Protect and Serve’ on the side a the car,” Edgar added. “We didn’t do much of either.”

    Bosch remained silent. Not that he disagreed with his partner. The department had embarrassed itself with its feeble response to the initial breakout of violence. But Harry wasn’t thinking about that. He had been struck by what the sergeant had said about the victim being a she. It was the first mention of that, and as far as Bosch knew, there hadn’t been any female murder victims so far. This wasn’t to say that women weren’t involved in the violence that had raked the city. Looting and burning were equal-opportunity endeavors. Bosch had seen women engaged in both. The night before, he’d been on riot control on Hollywood Boulevard and had witnessed the looting of Frederick’s, the famous lingerie store. Half the looters had been women.

    But the sergeant’s report had given him pause nonetheless. A woman had been out here in the chaos and it had cost her her life.

    Robleto drove through the opening in the barricade and continued south. Four blocks ahead a soldier was waving a flashlight, swinging its beam toward an opening between two of the retail shops that lined the east side of the street.

    Aside from soldiers posted every twenty-five yards, Crenshaw was abandoned. There was an eerie and dark stillness. All of the businesses on both sides of the streets were dark. Several had been hit by looters and arsonists. Others had miraculously been left untouched. On still others, boarded-up fronts announced with spray paint that they were “Black Owned,” a meager defense against the mob.

    The alley opening was between a looted wheel-and-tire shop called Dream Rims and a completely burned-out appliance store called Used, Not Abused. The burned building was wrapped with yellow tape and had been red-tagged by city inspectors as uninhabitable. Bosch guessed that this area had been hit early in the riots. They were only twenty blocks or so from the spot where the violence had initially sparked at the intersection of Florence and Normandie, the place where people were pulled from cars and trucks and beaten while the world watched from above.

    The guardsman with the flashlight started walking ahead of 6-K-16, leading the car into the alley. Thirty feet in, the guardsman stopped and held up his hand in a fist, as if they were on recon behind enemy lines. It was time to get out. Edgar hit Bosch on the arm with the back of his hand.

    “Remember, Harry, keep your distance. A nice six-foot separation at all times.”

    It was a joke meant to lighten the situation. Of the four men in the car, only Bosch was white. He’d be the likely first target of a sniper. Of any shooter, for that matter.

    “Got it,” Bosch said.

    Edgar punched his arm again.

    “And put your hat on.”

    Bosch reached down to the floorboard and grabbed the white riot helmet he had been issued at roll call. The order was to wear it at all times while on duty. He thought the shiny white plastic, more than anything else, made them targets.

    He and Edgar had to wait until Robleto and Delwyn got out and opened the rear doors of the cruiser for them. Bosch then finally stepped out into the night. He reluctantly put the helmet on but didn’t snap the chinstrap. He wanted to smoke a cigarette but time was of the essence, and he was down to a final smoke in the pack he carried in the left pocket of his uniform shirt. He had to conserve that one, as he had no idea when or where he would get the chance to replenish.

    Bosch looked around. He didn’t see a body. The alley was clotted with debris old and new. Old appliances, apparently not worthy of resale, had been stacked against the side wall of Used, Not Abused. Trash was everywhere, and part of the eave had collapsed to the ground during the fire.

    “Where is she?” he asked.

    “Over here,” the guardsman said. “Against the wall.”

    The alley was lit only by the patrol car’s lights and the guardsman’s flashlight. The appliances and other debris threw shadows against the wall and the ground. Bosch turned on his MagLite and aimed its beam in the direction the guardsman had pointed. The wall of the appliance shop was covered with gang graffiti. Names, RIPs, threats—the wall was a message board for the local Crips set, the Rolling 60s.

    He walked three steps behind the guardsman and soon he saw her. A small woman lying on her side at the bottom of the wall. She had been obscured by the shadow cast by a rusting-out washing machine.

    Before approaching any farther, Bosch played his light across the ground. At one point in time the alley was paved but now it was broken concrete, gravel, and dirt. He saw no footprints or evidence of blood. He slowly moved forward and squatted down. He rested the heavy barrel of the six-cell flashlight on his shoulder as he moved its beam over the body. From his long experience looking at dead people, he guessed she had been deceased at least twelve to twenty-four hours. The legs were bent sharply at the knees and he knew that could be the result of rigor mortis or an indication that she had been on her knees in the moments before her death. The skin that was visible on the arms and neck was ashen and dark where blood had coagulated. Her hands were almost black and the odor of putrefaction was beginning to permeate the air.

    The woman’s face was largely obscured by the long blond hair that had fallen across it. Dried blood was visible in the hair at the back of the head and was matted in the thick wave that obscured her face. Bosch moved the light up the wall above the body and saw a blood spatter-and-drip pattern that indicated she had been killed here, not just dumped.

    Bosch took a pen out of his pocket and reached forward, using it to lift the hair back from the victim’s face. There was gunshot stippling around the right eye socket and a penetration wound that had exploded the eyeball. She had been shot from only inches away. Front to back, point-blank range. He put the pen back in his pocket and leaned in farther, pointing the light down behind her head. The exit wound, large and jagged, was visible. Death had no doubt been instantaneous.

    “Holy shit, is she white?”

    It was Edgar. He had come up behind Bosch and was looking over his shoulder like an umpire hovering over a baseball catcher.

    “Looks like it,” Bosch said.

    He moved the light over the victim’s body now.

    “What the hell’s a white girl doing down here?”

    Bosch didn’t answer. He had noticed something hidden under the right arm. He put his light down so he could pull on a set of gloves.

    “Put your light on her chest,” he instructed Edgar.

    Gloves on, Bosch leaned back in toward the body. The victim was on her left side, her right arm extending across her chest and hiding something that was on a cord around her neck. Bosch gently pulled it free.

    It was a bright orange LAPD press pass. Bosch had seen many of them over the years. This one looked new. Its lamination sleeve was still clear and unscratched. It had a mug shot–style photo of a woman with blond hair on it. Beneath it was her name and the media entity she worked for.

    Anneke Jespersen

    Berlingske Tidende

    “She’s foreign press,” Bosch said. “Anneke Jespersen.”

    “From where?” Edgar asked.

    “I don’t know. Germany, maybe. It says Berlin…Berlin-something. I can’t pronounce it.”

    “Why would they send somebody all the way over from Germany for this? Can’t they mind their own business over there?”

    “I don’t know for sure if she’s from Germany. I can’t tell.”

    Bosch tuned out Edgar’s chatter and studied the photograph on the press pass. The woman depicted was attractive even in a mug shot. No smile, no makeup, all business, her hair hooked behind her ears, her skin so pale as to be almost translucent. Her eyes had distance in them. Like the cops and soldiers Bosch had known who had seen too much too soon.

    Bosch turned the press pass over. It looked legit to him. He knew press passes were updated yearly and a validation sticker was needed for any member of the media to enter department news briefings or pass through media checkpoints at crime scenes. This pass had a 1992 sticker on it. It meant that the victim received it sometime in the last 120 days, but noting the pristine condition of the pass, Bosch believed it had been recently.

    Harry went back to studying the body. The victim was wearing blue jeans and a vest over a white shirt. It was an equipment vest with bulging pockets. This told Bosch that it was likely that the woman had been a photographer. But there were no cameras on her body or nearby. They had been taken, and possibly had even been the motive for the murder. Most news photographers he had seen carried multiple high-quality cameras and related equipment.

    Harry reached to the vest and opened one of the breast pockets. Normally this would be something he would ask a coroner’s investigator to do, as jurisdiction of the body belonged to the County Medical Examiner’s Office. But Bosch had no idea if a coroner’s crew would even show at the crime scene, and he wasn’t going to wait to find out.

    The pocket held four black film canisters. He didn’t know if this was film that had been shot or was unused. He rebuttoned the pocket and in doing so felt a hard surface beneath it. He knew rigor mortis comes and goes in a day, leaving the body soft and movable. He pulled back the equipment vest and knocked a fist on the chest. It was a hard surface and the sound confirmed this. The victim was wearing a bulletproof vest.

    “Hey, check out the hit list,” Edgar said.

    Bosch looked up from the body. Edgar’s flashlight was now aimed at the wall above. The graffiti directly over the victim was a 187 count, or hit list, with the names of several bangers who had gone down in street battles. Ken Dog, G-Dog, OG Nasty, Neckbone, and so on. The crime scene was in the Rolling 60s territory. The 60s were a subset of the massive Crips gang. They were at endless war with the nearby 7-Treys, another Crips subset.

    The general public was for the most part under the impression that the gang wars that gripped most of South L.A. and claimed victims every night of the week came down to a Bloods versus Crips battle for supremacy and control of the streets. But the reality was that the rivalries between subsets of the same gang were some of the most violent in the city and largely responsible for the weekly body counts. The Rolling 60s and 7-Treys were at the top of that list. Both Crips sets operated under kill-on-sight protocols and the score was routinely noted in the neighborhood graffiti. A RIP list was used to memorialize homies lost in the endless battle, while a lineup of names under a 187 heading was a hit list, a record of kills.

    “Looks like what we’ve got here is Snow White and the Seven-Trey Crips,” Edgar added.

    Bosch shook his head, annoyed. The city had come off its hinges, and here in front of them was the result—a woman put up against a wall and executed—and his partner didn’t seem to be able to take it seriously.

    Edgar must have read Bosch’s body language.

    “It’s just a joke, Harry,” he said quickly. “Lighten up. We need some gallows humor around here.”

    “Okay,” Bosch said. “I’ll lighten up while you go get on the radio. Tell them what we’ve got here, make sure they know it’s a member of the out-of-town media and see if they’ll give us a full team. If not that, at least a photographer and some lights. Tell them we could really use some time and some help on this one.”

    “Why? ’Cause she’s white?”

    Bosch took a moment before responding. It was a careless thing for Edgar to have said. He was hitting back because Bosch had not responded well to the Snow White quip.

    “No, not because she’s white,” Bosch said evenly. “Because she’s not a looter and she’s not a gangbanger and because they better believe that the media is going to jump all over a case involving one of their own. Okay? Is that good enough?”

    “Got it.”

    “Good.”

    Edgar went back to the car to use the radio and Bosch returned to his crime scene. The first thing he did was delineate the perimeter. He backed several of the guardsmen down the alley so he could create a zone that extended twenty feet on either side of the body. The third and fourth sides of the box were the wall of the appliance shop on one side and the wall of the rims store on the other.

    As he marked it off, Bosch noted that the alley cut through a residential block that was directly behind the row of retail businesses that fronted Crenshaw. There was no uniformity in the containment of the backyards that lined the alley. Some of the homes had concrete walls, while others had wood-slat or chain-link fences.

    Bosch knew that in a perfect world he would search all those yards and knock on all those doors, but that would have to come later, if at all. His attention at the moment had to be focused on the immediate crime scene. If he got the chance to canvas the neighborhood, he would consider himself lucky.

    Bosch noticed that Robleto and Delwyn had taken positions with their shotguns at the mouth of the alley. They were standing next to each other and talking, probably sharing a complaint about something. Back in Bosch’s Vietnam days, that would have been called a sniper’s two-for-one sale.

    There were eight guardsmen posted inside the alley on the interior perimeter. Bosch noticed that a group of people were beginning to congregate and watch from the far end. He waved over the guardsman who had led them into the alley.

    “What’s your name, soldier?”

    “Drummond, but everyone calls me Drummer.”

    “Okay, Drummer, I’m Detective Bosch. Tell me who found her.”

    “The body? That was Dowler. He came back here to take a leak and he found her. He said he could smell her first. He knew the smell.”

    “Where’s Dowler now?”

    “I think he’s on post at the southern barricade.”

    “I need to talk to him. Will you get him for me?”

    “Yes, sir.”

    Drummond started to move toward the entrance of the alley.

    “Hold on, Drummer, I’m not done.”

    Drummond turned around.

    “When did you deploy to this location?”

    “We’ve been here since eighteen hundred yesterday, sir.”

    “So you’ve had control of this area since then? This alley?”

    “Not exactly, sir. We started at Crenshaw and Florence last night and we’ve worked east on Florence and north on Crenshaw. It’s been block by block.”

    “So when did you get to this alley?”

    “I’m not sure. I think we had it covered by dawn today.”

    “And all the looting and burning in this immediate area, that was already over?”

    “Yes, sir, happened first night, from what I’ve been told.”

    “Okay, Drummer, one last thing. We need more light. Can you bring back here one of those trucks you have with all the lights on top?”

    “It’s called a Humvee, sir.”

    “Yeah, well, bring one back here from that end of the alley. Come in past those people and point the lights right at my crime scene. You got it?”

    “Got it, sir.”

    Bosch pointed to the end opposite the patrol car.

    “Good. I want to create a cross-hatching of light here, okay? It’s probably going to be the best we can do.”

    “Yes, sir.”

    He started to trot away.

    “Hey, Drummer.”

    Drummond turned around once more and came back.

    “Yes, sir.”

    Bosch whispered now.

    “All your guys are watching me. Shouldn’t they be turned around, eyes out?”

    Drummond stepped back and twirled his finger over his head.

    “Hey! Turn it around, eyes out. We’ve got a job here. Keep the watch.”

    He pointed down the alley toward the gathering of onlookers.

    “And make sure we keep those people back.”

    The guardsmen did as they were told and Drummond headed out of the alley to radio Dowler and get the light truck.

    Bosch’s pager buzzed on his hip. He reached to his belt and snapped the device out of its holder. The number on the screen was the command post, and he knew he and Edgar were about to be given another call. They hadn’t even started here and they were going to be yanked. He didn’t want that. He put the pager back on his belt.

    Bosch walked over to the first fence that started from the back corner of the appliance shop. It was a wood-slat barrier that was too tall for him to look over. But he noticed it had been freshly painted. There was no graffiti, not even on the alley side of it. He noted this because it indicated that there was a homeowner on the other side who cared enough to whitewash the graffiti. Maybe it was the kind of person who kept their own watch and might have heard or even seen something.

    From there he crossed the alley and dropped to a squatting position at the far corner of the crime scene. Like a fighter in his corner, waiting to come out. He started playing the beam of his flashlight across the broken concrete-and-dirt surface of the alley. At the oblique angle, the light refracted off the myriad surface planes, giving him a unique view. Soon enough he saw the glint of something shiny and held the beam on it. He moved in on the spot and found a brass bullet casing lying in the gravel.

    He got down on his hands and knees so he could look closely at the casing without moving it. He moved the light in close and saw that it was a 9mm brass casing with the familiar Remington brand mark stamped on the flat base. There was an indentation from the firing pin on the primer. Bosch also noted that the casing was lying on top of the gravel bed. It had not been stepped on or run over in what he assumed was a busy alleyway. That told him that the casing had not been there long.

    Bosch was looking around for something to mark the casing’s location with when Edgar stepped back into the crime scene. He was carrying a toolbox and that told Bosch that they weren’t going to get any help.

    “Harry, what’d you find?”

    “Nine-millimeter Remington. Looks fresh.”

    “Well, at least we found something useful.”

    “Maybe. You get the CP?”

    Edgar put down the toolbox. It was heavy. It contained the equipment they had quickly gathered in the kit room at Hollywood Station once they heard they could not count on any forensic backup in the field.

    “Yeah, I got through but it’s no-can-do from the command post. Everybody’s otherwise engaged. We’re on our own out here, brother.”

    “No coroner, either?”

    “No coroner. The National Guard’s coming with a truck for her. A troop transporter.”

    “You gotta be kidding me. They’re going to move her in a fucking flatbed?”

    “Not only that, we got our next call already. A crispy critter. Fire Department found him in a burned-out taco shop on MLK.”

    “Goddamnit, we just got here.”

    “Yeah, well, we’re up again and we’re closest to MLK. So they want us to clear and steer.”

    “Yeah, well, we’re not done here. Not by a long shot.”

    “Nothing we can do about it, Harry.”

    Bosch was obstinate.

    “I’m not leaving yet. There’s too much to do here and if we leave it till next week or whenever, then we’ve lost the crime scene. We can’t do that.”

    “We don’t have a choice, partner. We don’t make the rules.”

    “Bullshit.”

    “Okay, tell you what. We give it fifteen minutes. We take a few pictures, bag the casing, put the body on the truck, and then we shuffle on down the road. Come Monday, or whenever this is over, it isn’t even going to be our case anymore. We go back to Hollywood after everything calms down and this thing stays right here. Somebody else’s case then. This is Seventy-seventh’s turf. It’ll be their problem.”

    It didn’t matter to Bosch what came later, whether the case went to detectives at 77th Street Division or not. What mattered was what was in front of him. A woman named Anneke from someplace far away lay dead and he wanted to know who did it and why.

    “Doesn’t matter that it’s not going to be our case,” he said. “That’s not the point.”

    “Harry, there is no point,” Edgar said. “Not now, not with complete chaos all around us. Nothing matters right now, man. The city is out of control. You can’t expect—”

    The sudden rip of automatic gunfire split the air. Edgar dove to the ground and Bosch instinctively threw himself toward the wall of the appliance shop. His helmet went flying off. Bursts of gunfire from several of the guardsmen followed until finally the shooting was quelled by shouting.

    “Hold your fire! Hold your fire! Hold your fire!”

    The gunshots ended and Burstin, the sergeant from the barricade, came running up the alley. Bosch saw Edgar slowly getting up. He appeared to be unharmed but he was looking at Bosch with an odd expression.

    “Who opened first?” the sergeant yelled. “Who fired?”

    “Me,” said one of the men in the alley. “I thought I saw a weapon on the roofline.”

    “Where, soldier? What roofline? Where was the sniper?”

    “Over there.”

    The shooter pointed to the roofline of the rims store.

    “Goddamnit!” the sergeant yelled. “Hold your fucking fire. We cleared that roof. There’s nobody up there but us! Our people!”

    “Sorry, sir. I saw the—”

    “Son, I don’t give a flying fuck what you saw. You get any of my people killed and I will personally frag your ass myself.”

    “Yes, sir. Sorry, sir.”

    Bosch stood up. His ears were ringing and his nerves jangling. The sudden spit of automatic fire wasn’t new to him. But it had been almost twenty-five years since it was a routine part of his life. He went over and picked up his helmet and put it back on.

    Sergeant Burstin walked up to him.

    “Continue your work, Detectives. If you need me I’ll be on the north perimeter. We have a truck coming in for the remains. I understand that we are to provide a team to escort your car to another location and another body.”

    He then charged out of the alley.

    “Jesus Christ, you believe that?” Edgar asked. “Like Desert Storm or something. Vietnam. What the hell are we doing here, man?”

    “Let’s just go to work,” Bosch said. “You draw the crime scene, I’ll work the body, take pictures. Let’s move.”

    Bosch squatted down and opened the toolbox. He wanted to get a photograph of the bullet casing in place before he bagged it as evidence. Edgar kept talking. The adrenaline rush from the shooting was not dissipating. He talked a lot when he was hyper. Sometimes too much.

    “Harry, did you see what you did when that yahoo opened up with the gun?”

    “Yeah, I ducked like everybody else.”

    “No, Harry, you covered the body. I saw it. You shielded Snow White over there like she was still alive or something.”

    Bosch didn’t respond. He lifted the top tray out of the toolbox and reached in for the Polaroid camera. He noted that they only had two packs of film left. Sixteen shots plus whatever was left in the camera. Maybe twenty shots total, and they had this scene and the one waiting on MLK. It was not enough. His frustration was peaking.

    “What was that about, Harry?” Edgar persisted.

    Bosch finally lost it and barked at his partner.

    “I don’t know! Okay? I don’t know. So let’s just go to work now and try to do something for her, so maybe, just maybe, somebody sometime will be able to make a case.”

    His outburst had drawn the attention of most of the guardsmen in the alley. The soldier who had started the shooting earlier stared hard at him, happy to pass the mantle of unwanted attention.

    “Okay, Harry,” Edgar said quietly. “Let’s go to work. We do what we can. Fifteen minutes and then we’re on to the next one.”

    Bosch nodded as he looked down at the dead woman. Fifteen minutes, he thought. He was resigned. He knew the case was lost before it had even started.

    “I’m sorry,” he whispered.

    Part One

    The Gun Walk

    2012

    1

    They made him wait. The explanation was that Coleman was at chow and pulling him out would create a problem because after the interview they would have to reinsert him into the second meal block, where he might have enemies unknown to the guard staff. Someone could make a move against him and the guards wouldn’t see it coming. They didn’t want that, so they told Bosch to hang loose for forty minutes while Coleman finished his Salisbury steak and green beans, sitting at a picnic table in D yard in the comfort and safety of numbers. All the Rolling 60s at San Quentin shared the same food and rec blocks.

    Bosch passed the time by studying his props and rehearsing his play. It was all on him. No help from a partner. He was by himself. Cutbacks in the department’s travel budget had turned almost all prison visits into solo missions.

    Bosch had taken the first flight up that morning and hadn’t thought about the timing of his arrival. The delay wouldn’t matter in the long run. He wasn’t flying back till 6 p.m. and the interview with Rufus Coleman probably wouldn’t take long. Coleman would either go for the offer or not. Either way, Bosch wouldn’t be long with him.

    The interview room was a steel cubicle with a built-in table dividing it. Bosch sat on one side, a door directly behind him. Across the table from him was an equal-size space with a matching door. They would bring Coleman through there, he knew.

    Bosch was working the twenty-year-old murder of Anneke Jespersen, a photographer and journalist shot to death during the 1992 riots. Harry had worked the case and the crime scene for less than an hour back then before being pulled away to work other murders in a crazy night of violence that had him moving from case to case.

    After the riots ended, the department formed the Riot Crimes Task Force, and the investigation of the Jespersen murder was taken over by that unit. It was never solved and after ten years of being classified as open and active, the investigation and what little evidence had been gathered was quietly boxed up and placed in archives. It wasn’t until the twentieth anniversary of the riots was approaching that the media-savvy chief of police sent a directive to the lieutenant in charge of the Open-Unsolved Unit ordering a fresh look at all unsolved murders that occurred during the unrest in 1992. The chief wanted to be ready when the media started their inquiries in regard to their twenty-years-later stories. The department might have been caught flat-footed back in ’92, but it wouldn’t be in 2012. The chief wanted to be able to say that all unsolved murders from the riots were still under active investigation.

    Bosch specifically asked for the Anneke Jespersen case and after twenty years returned to it. Not without misgivings. He knew that most cases were solved within the first forty-eight hours and after that the chances of clearance dropped markedly. This case had barely been worked for even one of those forty-eight hours. It had been neglected because of circumstances, and Bosch had always felt guilty about it, as though he had abandoned Anneke Jespersen. No homicide detective likes leaving a case behind unsolved, but in this situation Bosch was given no choice. The case was taken from him. He could easily blame the investigators that followed him on it, but Bosch had to count himself among those responsible. The investigation started with him at the crime scene. He couldn’t help but feel that no matter how short a time he was there, he must have missed something.

    Now, twenty years later, he got another shot at it. And it was a very long shot at that. He believed that every case had a black box. A piece of evidence, a person, a positioning of facts that brought a certain understanding and helped explain what had happened and why. But with Anneke Jespersen, there was no black box. Just a pair of musty cardboard boxes retrieved from archives that gave Bosch little direction or hope. The boxes included the victim’s clothing and bulletproof vest, her passport, and other personal items, as well as a backpack and the photographic equipment retrieved from her hotel room after the riots. There was also the single 9mm shell casing found at the crime scene, and the thin investigative file put together by the Riot Crimes Task Force. The so-called murder book.

    The murder book was largely a record of inactivity on the case on the part of the RCTF. The task force had operated for a year and had had hundreds of crimes, including dozens of murders, to investigate. It was almost as overwhelmed as investigators like Bosch had been during the actual riots.

    The RCTF had put up billboards in South L.A. that advertised a telephone tip line and rewards for information leading to arrests and convictions for riot-related crimes. Different billboards carried different photos of suspects or crime scenes or victims. Three of them carried a photo of Anneke Jespersen and asked for any information on her movements and murder.

    The unit largely worked off what came in from the billboards and other public outreach programs and pursued cases where there was solid information. But nothing of value ever came in on Jespersen and so nothing ever came of the investigation. The case was a dead end. Even the one piece of evidence from the crime scene—the bullet casing—wasn’t of value without a gun to match it to.

    In his survey of the archived records and case effects, Bosch found that the most noteworthy information gathered from the first investigation was about the victim. Jespersen was thirty-two years old and from Denmark, not Germany as Bosch had thought for twenty years. She worked for a Copenhagen newspaper called Berlingske Tidende, where she was a photojournalist in the truest sense of the word. She wrote stories and shot film. She had been a war correspondent who documented the world’s skirmishes with both words and pictures.

    She had arrived in Los Angeles the morning after the riots had started. And she was dead by the next morning. In the following weeks, the Los Angeles Times ran short profiles of all those killed during the violence. The story on Jespersen quoted her editor and her brother back in Copenhagen and depicted the journalist as a risk taker who was always quick to volunteer for assignments in the world’s danger zones. In the four years prior to her death, she had covered conflicts in Iraq, Kuwait, Lebanon, Senegal, and El Salvador.

    The unrest in Los Angeles was hardly on the level of war or some of the other armed conflicts she had photographed and reported on, but according to the Times, she happened to be traveling across the United States on vacation when rioting in the City of Angels broke out. She promptly called the photo desk at the BT, as the newspaper in Copenhagen was more commonly known, and left a message with her editor saying that she was heading to L.A. from San Francisco. But she was dead before she had filed any photos or a story with the newspaper. Her editor had never spoken to her after getting the message.

    After the RCTF was disbanded, the unsolved Jespersen case was assigned to the homicide squad at 77th Street Division, the geographical policing area where the murder occurred. Given to new detectives with their own backup of open cases, the investigation was shelved. The notations in the investigative chronology were few and far between and largely just a record of the outside interest in the case. The LAPD wasn’t working the case with anything approaching fervor, but her family and those who knew Jespersen in the international journalism community did not give up hope. The chronology included records of their frequent inquiries about the case. These marked the record right up until the case files and effects were sent to archives. After that, those who inquired about Anneke Jespersen were most likely ignored, as was the case they were calling about.

    Curiously, the victim’s personal belongings were never returned to her family. The archive boxes contained the backpack and property that was turned over to the police several days after the murder, when the manager of the Travelodge on Santa Monica Boulevard matched the name on a riot victim list printed in the Times to the guest registry. It had been thought that Anneke Jespersen had skipped out on her room. The belongings she had left behind were put in a locked storage closet at the motel. Once the manager determined that Jespersen wasn’t coming back because she was dead, the backpack containing her property was delivered to the RCTF, which was working out of temporary offices at Central Division in downtown.

    The backpack was in one of the archive boxes that Bosch had retrieved from case storage. It contained two pairs of jeans, four white cotton shirts, and assorted underwear and socks. Jespersen obviously traveled light, packing like a war correspondent even for a vacation. This was probably because she was heading straight back to war following her vacation in the United States. Her editor had told the Times that the newspaper was sending Jespersen directly from the States to Sarajevo in the former Yugoslavia, where war had broken out just a few weeks earlier. Reports of mass rapes and ethnic cleansing were breaking in the media, and Jespersen was heading to the center of the war, due to leave the Monday after the riots erupted in Los Angeles. She probably considered the quick stop by L.A. to snap shots of rioters just a warm-up for what awaited in Bosnia.

    Also in the pockets of the backpack were Jespersen’s Danish passport along with several packages of unused 35mm film.

    Jespersen’s passport showed an INS entry stamp at John F. Kennedy International Airport in New York six days before her death. According to the investigative records and the newspaper accounts, she had been traveling by herself and had made it to San Francisco when the verdicts came down in Los Angeles and the violence began.

    None of the records or news stories accounted for where in the United States Jespersen had been during the five days leading up to the riots. It apparently wasn’t seen as germane to the investigation of her death.

    What did seem clear was that the breakout of violence in Los Angeles was a strong pull to Jespersen and she immediately diverted, apparently driving through the night to Los Angeles in a rental car she had picked at San Francisco International. On Thursday morning, April 30, she presented her passport and Danish press credentials at the LAPD media office in order to get a press pass.

    Bosch had spent most of 1969 and 1970 in Vietnam. He had encountered many journalists and photographers in the base camps and out in fire zones as well. In all of them, he had seen a unique form of fearlessness. Not a warrior’s fearlessness but almost a naive belief in one’s ultimate survival. It was as though they believed that their cameras and press passes were shields that would save them, no matter the circumstance.

    He had known one photographer particularly well. His name was Hank Zinn and he worked for the Associated Press. He had once followed Bosch into a tunnel in Cu Chi. Zinn was the kind of guy who never turned down an opportunity to go out into Indian country and get what he called “the real thing.” He died in early 1970 when a Huey he had jumped on for transport to the front was shot down. One of his cameras was recovered intact in the debris field and somebody at base developed the film. It turned out Zinn was shooting frames the whole time the chopper was taking fire and then going down. Whether he was valiantly documenting his own death or thinking he was going to have great shots to file when he got back to base camp could never be known. But knowing Zinn, Bosch believed he thought he was invincible and the chopper crash would not be the end of the line.

    As Bosch took up the Jespersen case after so many years, he wondered if Anneke Jespersen had been like Zinn. Sure of her invincibility, sure that her camera and press pass would lead her through the fire. There was no doubt that she had put herself in harm’s way. He wondered what her last thought was when her killer pointed the gun at her eye. Was she like Zinn? Had she taken his picture?

    According to a list provided by her editor in Copenhagen and contained in the RCTF investigation file, Jespersen carried a pair of Nikon 4s and a variety of lenses. Of course, her field equipment was taken and never recovered. Whatever filmed clues might have been in her cameras were long gone.

    The RCTF investigators developed the canisters of film found in the pockets of her vest. Some of these black-and-white 8 x 10 prints, along with four proof sheets showing miniatures of all ninety-six shots, were in the murder book, but they offered very little in the way of evidence or investigative leads. They were simply shots of the California National Guard mustering at the Coliseum after being called into the fray in Los Angeles. Other shots were of guardsmen manning barricades at intersections in the riot zone. There were no shots of violence or burning and looting, though there were several of guardsmen on post outside businesses that had been looted or burned. The photos were apparently taken on the day of her arrival, after she had gotten her press pass from the LAPD.

    Beyond their historic value as documentation of the riots, the photos were deemed useless to the murder investigation in 1992, and Bosch couldn’t disagree with that assessment twenty years later.

    The RCTF file also contained a property report dated May 11, 1992, and detailing the recovery of the Avis rental car that Jespersen had picked up at San Francisco International. The car had been found abandoned on Crenshaw Boulevard seven blocks from the alley where her body was found. In the ten days it had been sitting there, it had been broken into and its interior stripped. The report stated that the car and its contents, or lack thereof, had no investigative value.

    What it came down to was that the one piece of evidence found by Bosch within the first hour of the investigation remained the most important hope for a resolution. The bullet casing. Over the past twenty years, law enforcement technologies had grown at light speed. Things not even dreamed about then were routine now. The advent of technological applications to evidence and crime solving had led to reassessments of old unsolved crimes everywhere on the planet. Every major metropolitan police department had teams assigned to cold case investigations. Using new technologies on old cases sometimes came down to shooting fish in a barrel: DNA matches, fingerprint matches, and ballistics matches often led to slam-bang cases against culprits who had long believed they had gotten away with murder.

    But sometimes it was more complicated.

    One of the first moves Bosch made upon reopening case number 9212-00346 was to take the bullet casing to the Firearms Unit for analysis and profiling. Because of the workload backup and the nonpriority status of cold case requests coming from the Open-Unsolved Unit, three months went by before Bosch got a return. The response wasn’t a panacea, an answer that would immediately solve the case, but it gave Bosch a pathway. After twenty years of no justice for Anneke Jespersen, that wasn’t bad at all.

    The firearms report gave Bosch the name Rufus Coleman, forty-one years old and a hard-core member of the Rolling 60s Crips gang. He was currently incarcerated for murder in the California State Penitentiary at San Quentin.

    2

    It was almost noon by the time the door opened and Coleman was led in by two prison guards. He was locked with his arms behind his back into the seat across the table from Bosch. The guards warned him that they would be watching and then left the two of them staring at each other across the table.

    “You a cop, right?” Coleman said. “You know what puttin’ me in a room with a cop could do to me, if one a these hacks put word ’round?”

    Bosch didn’t answer. He studied the man across from him. He had seen mug shots but they only framed Coleman’s face. He knew Coleman was big—he was a known Rolling 60s enforcer—but not this big. He had a heavily muscled and sculpted physique, a neck wider than his head—including his ears. Sixteen years of pushups and sit ups and whatever exercises he could manage in his cell had given him a chest that easily extended beyond his chin, and biceps-triceps vises that looked like they could crush walnuts to powder. In the mug shots, his hair had always had a stylized fade. Now his head was clean-shaven and he had used his dome as a canvas for the Lord. On either side he had blue prison-ink crosses wrapped in barbed wire. Bosch wondered if that was part of the lobbying effort with the parole board. I’m saved. It says so right here on my cranium.

    “Yes, I’m a cop,” Bosch finally said. “Up from L.A.”

    “Sher’ff’s or PD?”

    “LAPD. My name’s Bosch. And Rufus, this is going to be the single luckiest or unluckiest day of your life. The cool thing is you’re going to get to pick which one of those days it is. Most of us, we never get the chance to choose between good luck and bad luck. One or the other of them just sort of happens. It’s fate. But this time you do, Rufus. You get to choose. Right now.”

    “Yeah, how’s that? You the man with all the luck in your pockets?”

    Bosch nodded.

    “Today I am.”

    Bosch had placed a file folder on the table before Coleman was brought in. He now opened it and lifted out two letters. He left the envelope, which was addressed and already stamped, in the file, just far enough away that Coleman wouldn’t be able to read it.

    “So, next month you’re taking your second shot at parole, I hear,” Bosch said.

    “That’s right,” Coleman said, a slight tone of curiosity and concern in his voice.

    “Well, I don’t know if you know how it works but the same two board members who heard your first hearing two years ago come back for your second. So you got two guys coming who already turned you down once. That means you’re going to need help, Rufus.”

    “I already got the Lord on my side.”

    He leaned forward and turned his head from side to side so Bosch could get a good look at the tattooed crosses. They reminded Harry of the team logo on the side of a football helmet.

    “I think you’re going to need more than a couple tattoos, you ask me.”

    “I’m not asking you dick, Five-oh. I don’t need your help. I got my letters all sorted and the D-block chaplain and my good record. I even got a forgiveness letter from the Regis family.”

    Walter Regis was the name of the man Coleman had murdered in cold blood.

    “Yeah, how much you pay for that?”

    “I didn’t pay. I prayed and the Lord provided. The family knows me and what I’m about now. They forgive my sins, as does the Lord.”

    Bosch nodded and looked down at the letters in front of him for a long moment before continuing.

    “All right, so you got it all set. You got the letter and you’ve got the Lord. You may not need me working for you, Rufus, but you sure don’t want me working against you. That’s the thing. You don’t want that.”

    “So get to it. What’s your fucking play?”

    Bosch nodded. Now they were down to it. He lifted the envelope.

    “You see this envelope? It’s addressed to the parole board in Sacramento and it’s got your inmate number down here in the corner and it’s got a stamp on it all ready to go.”

    He put the envelope down and picked up the letters, one in each hand, holding them out side by side for Coleman to look at and read.

    “I’m going to put one of these two letters in that envelope and drop it in a mailbox as soon as I get out of here today. You’re going to decide which one.”

    Coleman leaned forward and Bosch heard the shackles click against the back of his metal chair. He was so big it looked like he was wearing a linebacker’s shoulder pads under his gray prison jumpsuit.

    “What are you talking about, Five-oh? I can’t read that shit.”

    Bosch leaned back and turned the letters so he could read them.

    “Well, they are letters addressed to the parole board. One speaks very favorably of you. It says you are remorseful about the crimes you have committed and have been cooperating with me in seeking the resolution of a long unsolved murder. It ends—”

    “I ain’t cooperating with you on shit, man. You can’t put a snitch jacket on me. You watch your fucking mouth on that shit.”

    “It ends with me recommending that you be granted parole.”

    Bosch put the letter down and turned his attention to the other.

    “Now, this second one is not so good for you. This one says nothing about remorse. It says that you have refused to cooperate in a murder investigation in which you have important information. And lastly it says that the LAPD’s Gang Intelligence Unit has gathered intel that suggests that the Rolling Sixties are awaiting your return to freedom so they can once again utilize your skills as a hit man for the—”

    “That’s some bullshit right there! That’s a lie! You can’t send that shit!”

    Bosch calmly put the letter down on the table and started folding it for the envelope. He looked at Coleman deadpan.

    “You’re going to sit there and tell me what I can do and can’t do? Uh-uh, that’s not how this works, Rufus. You give me what I want and I give you what you want. That’s how it works.”

    Bosch ran his finger along the creases of the letter and then started sliding it into the envelope.

    “What murder you talking about?”

    Bosch looked up at him. There was the first give. Bosch reached into the inside pocket of his jacket and pulled out the photo of Jespersen he’d had made from her press pass. He held it up for Coleman to see.

    “A white girl? I don’t know nothin’ about no murdered white girl.”

    “I didn’t say you did.”

    “Then, what the fuck we doin’ here? When did she get her ass killed?”

    “May first, nineteen ninety-two.”

    Coleman did the date math, shook his head, and smiled like he was dealing with a dummy.

    “You got the wrong guy. ’Ninety-two I was in Corcoran on a five spot. Eat that shit, Dee-tective.”

    “I know exactly where you were in ’ninety-two. You think I’d come all the way up here if I didn’t know everything about you?”

    “All I know is that I was nowhere near some white girl’s murder.”

    Bosch shook his head as if to say he wasn’t arguing that point.

    “Let me explain it to you, Rufus, because I’ve got somebody else I want to see in here and then a plane to catch. You listening now?”

    “I’m listening. Let’s hear your shit.”

    Bosch held the photo up again.

    “So we’re talking twenty years ago. The night of April thirtieth going into May first, nineteen ninety-two. The second night of the L.A. riots. Anneke Jespersen from Copenhagen is down on Crenshaw with her cameras. She’s taking pictures for the newspaper back in Denmark.”

    “The fuck she doin’ down there? She shouldn’t a been down there.”

    “I won’t argue that, Rufus. But she was there. And somebody stood her up against a wall in an alley and popped her right in the eye.”

    “Wadn’t me and I don’t know a thing about it.”

    “I know it wasn’t you. You’ve got the perfect alibi. You were in prison. Can I continue?”

    “Yeah, man, tell your story.”

    “Whoever killed Anneke Jespersen used a Beretta. We recovered the shell at the scene. The shell showed the distinctive markings of a Beretta model ninety-two.”

    Bosch studied Coleman to see if he was seeing where this was going.

    “You following me now, Rufus?”

    “I’m following but I don’t know what the fuck you’re talking about.”

    “The gun that killed Anneke Jespersen was never recovered, the case was never solved. Then four years later, you come along fresh out of Corcoran and get arrested and charged with the murder of a rival gang member named Walter Regis, age nineteen. You shot him in the face while he was sitting in a booth at a club on Florence. The supposed motivation was that he was seen selling crack on one of the Sixties’ corners. You were convicted of that crime based on multiple eyewitness testimony and your own statements to police. But the one piece of evidence they didn’t have was the gun you used, a Beretta model ninety-two. The gun was never recovered. You see where I’m going with this?”

    “Not yet.”

    Coleman was starting to dummy up. But that was okay with Bosch. Coleman wanted one thing: to get out of prison. He would eventually understand that Bosch could either help or hurt his chances.

    “Well, let me keep telling the story and you try to follow along. I’ll try to make it easy for you.”

    He paused. Coleman didn’t object.

    “So now we’re up to nineteen ninety-six and you get convicted and get fifteen to life and go off to prison like the good Rolling Sixties soldier that you were. Another seven years go by and now it’s two thousand three and there’s another murder. A street dealer in the Grape Street Crips named Eddie Vaughn gets whacked and robbed while he’s sitting in his car with a forty and a blunt. Somebody reaches in from the passenger side and puts two in his head and two in the torso. But reaching in like that was bad form. The shells were ejected and they bounced all around inside the car. No time to grab them all. The shooter gets two of them and just runs off.”

    “What’s it got to do with me, man? I was up here by then.”

    Bosch nodded emphatically.

    “You’re right, Rufus, you were up here. But you see, by two thousand three they had this thing called the National Integrated Ballistic Information Network. It’s a computer data bank run by the ATF, and it keeps track of bullets and casings collected from crime scenes and murder victims.”

    “That’s fucking fantastic.”

    “Ballistics, Rufus, it’s practically like having fingerprints now. They matched those shells from Eddie Vaughn’s car to the gun you used seven years earlier to wipe out Walter Regis. Same gun used in both killings by two different killers.”

    “That’s some cool shit there, Dee-tective.”

    “It sure is but it’s not really news to you. I know they came up here to talk to you about the Vaughn case. The investigators on that one, they wanted to know who you gave the gun to after you hit Regis. They wanted to know who the Rolling Sixties shot caller that you did the hit for was. Because they were thinking the same guy might’ve called the shot on Vaughn.”

    “I think I might remember that. It was a long time ago. I didn’t tell them shit then and I ain’t telling you shit now.”

    “Yeah, I pulled the report. You told them to fuck themselves and go on back home. See, back then you were still a soldier, brave and strong. But that was nine years ago and you had nothing to lose then. The thought of making parole in ten years was pie-in-the-sky stuff to you. But now it’s a different story. And now we’re talking about three murders with the same gun. Earlier this year I took the shell we picked up at the Jespersen scene in ’ninety-two and had it run through the ATF data bank. It matched up to Regis and Vaughn. Three killings tied to one gun—a Beretta model ninety-two.”

    Bosch sat back in his chair and waited for a reaction. He knew that Coleman knew what he wanted.

    “I can’t help you, man,” Coleman said. “You can call the hacks back in for me.”

    “You sure? Because I can help you.”

    He lifted the envelope.

    “Or I could hurt you.”

    He waited.

    “I could make sure you put in another ten years here before they even look at you again for parole. Is that how you want to play it?”

    Coleman shook his head.

    “And how long you think I’d last out there if I helped you, man?”

    “Not long at all. I’ll give you that. But nobody has to know about this, Rufus. I’m not asking you to testify in court or give a written statement.”

    At least not yet, Bosch thought.

    “All I want is a name. Between you and me right here and that’s it. I want the guy who called the hit. The guy who gave you the gun and told you to take out Regis. The guy you gave the gun back to after you did the job.”

    Coleman cast his eyes to the table as he thought. Bosch knew he was weighing the years. Even the strongest of soldiers has a limit.

    “It’s not like that,” he finally said. “The shot caller never talks to the gunner. There are buffers, man.”

    Bosch had been briefed by Gang Intelligence before making the journey. He had been told that the hierarchies of the longtime South Central gangs were usually set up like paramilitary organizations. It was a pyramid and a bottom-level enforcer like Coleman wouldn’t even know who had called the hit on Regis. So Bosch had used the question as a test. If Coleman named the shot caller, he would know Coleman was lying.

    “All right,” Bosch said. “I get that. So then let’s keep it simple. Keep it on the gun. Who gave it to you the night you hit Regis and who’d you give it back to after?”

    Coleman nodded and kept his eyes down. He remained silent and Bosch waited. This was the play. This was what he had come for.

    “I can’t do this no more,” Coleman whispered.

    Bosch said nothing and tried to keep his breathing normal. Coleman was going to break.

    “I got a kid,” he said. “She’s practically a grown woman and I never seen her anywhere but this place. I seen her in prison, that’s all.”

    Bosch nodded.

    “That shouldn’t be,” he said. “I’ve got a daughter myself and I went through a lot of years without her.”

    Bosch now saw a wet shine in Coleman’s eyes. The gang soldier was worn by years of incarceration and guilt and fear. Sixteen years of watching his own back. The layers of muscle were simply the disguise of a broken man.

    “Give me the name, Rufus,” he urged. “And I send the letter. Done deal. You don’t give me what I want and you know you’ll never get out of here alive. And there’ll always be glass between you and your girl.”

    With his arms cuffed behind him, Coleman could do nothing about the tear that dripped down his left cheek. He bowed his head.

    “True story,” Bosch heard him say.

    Bosch waited. Coleman said nothing else.

    “Tell it,” Bosch finally said.

    “Tell what?” Coleman asked.

    “The true story. Tell it.”

    Coleman shook his head.

    “No, man, that’s the name. Trumont Story. They call him Tru, like T-R-U. He gave me the gun to do the job and I gave it back after.”

    Bosch nodded. He had gotten what he’d come for.

    “One thing, though,” Coleman said.

    “What’s that?”

    “Tru Story’s dead, man. Least that’s what I heard up here.”

    Bosch had prepared himself on the way up. In the past two decades, the gang body count in South L.A. was in the thousands. He knew that there was a better-than-good chance he was looking for a dead man. But he also knew that the trail didn’t necessarily stop with Tru Story.

    “You still going to send in that letter?” Coleman asked.

    Bosch stood up. He was done. The brutish man in front of him was a stone-cold killer and was in the place he deserved to be. But Bosch had made a deal with him.

    “You’ve probably thought about it a million times,” he said. “What do you do after you get out and hug your daughter?”

    Coleman answered without missing a beat.

    “I find a corner.”

    He waited, knowing Bosch would jump to the wrong conclusion.

    “And I start to preach. I tell everybody what I’ve learned. What I know. Society won’t have no problem with me. I’ll be a soldier still. But I’ll be a soldier for Christ.”

    Bosch nodded. He knew that many who left here had the same plan. To go with God. Few of them made it. It was a system that relied on repeat customers. In his gut he knew Coleman was probably one of them.

    “Then I’ll send the letter,” he said.

    3

    In the morning, Bosch went to the South Bureau on Broadway to meet with Detective Jordy Gant in the Gang Enforcement Detail. Gant was at his desk and on a phone call when Bosch arrived but it didn’t sound important and he quickly got off.

    “How’d it go up there with Rufus?” he said.

    He smiled as a way of showing understanding if Bosch said, as expected, that the trip to San Quentin was a bust.

    “Well, he gave me a name but he also told me the guy was dead, so the whole thing could have been him playing me while I was playing him.”

    “What’s the name?”

    “Trumont Story. Heard of him?”

    Gant just nodded and turned to a short stack of files on the side of his desk. Next to it was a small black box labeled “Rolling 60s—1991–1994.” Bosch recognized it as a box that was used in the old days for holding field interview cards. That was before the department started using computers to store intelligence data.

    “Imagine that,” Gant said. “And I just happen to have Tru Story’s file right here.”

    “Yeah, imagine that,” Bosch said, taking the file.

    He opened it directly to an 8 x 10 shot of a man lying dead on a sidewalk. There was a contact entry wound on his left temple. His right eye had been replaced with a large exit wound. A small amount of blood had oozed onto the concrete and coagulated by the time the photo had been shot.

    “Nice,” Bosch said. “Looks like he let somebody get a little too close. This still an open case?”

    “That’s right.”

    Harry flipped past the photo and checked the date on the incident report. Trumont Story had been dead almost three years. He closed the file and looked at Gant sitting smugly in his desk chair.

    “Tru Story’s been dead since ’oh-nine and you just happen to have his file on your desk?”

    “Nope, I pulled it for you. Pulled two others as well and thought you might even want to look at our shake cards from back in ’ninety-two. Never know, a name in there might mean something to you.”

    “Maybe so. Why’d you pull the files?”

    “Well, after we talked about your case and the ATF matches to the other two—you know, three cases, one gun, three different shooters—I started to—”

    “Actually, it’s a long shot, but it could be just two shooters. The same guy who kills my victim in ’ninety-two comes back around and hits Vaughn in ’oh-three.”

    Gant shook his head.

    “Could be but I’m thinking no. Too long a shot. So I was thinking for the sake of argument, three victims, three different shooters, one gun. So I went through our Rolling Sixties cases. That is, cases they were involved in on either side of the violence. As killers or the killed. I pulled cases that might be related to this gun and I got three where there were gunshot killings in which no ballistics evidence was recovered. Two were hits on Seven-Treys, and one—you guessed it—was Tru Story.”

    Bosch was still standing. Now he pulled up a chair and sat down.

    “Can I take a quick look at the other two?”

    Gant handed the files across the desk and Bosch started a quick survey. These weren’t murder books. They were gang files and therefore abbreviated accounts and reports on the killings. The full murder books would be in the hands of the homicide investigators assigned to the cases. If he wanted more, Bosch would have to requisition them, or drop by the lead detective’s desk to borrow a look.

    “Typical stuff,” Gant said as Bosch read. “You sell on the wrong corner or visit a girl in the wrong neighborhood and you’re marked for death. The reason I threw Tru Story in there was that he was shot elsewhere and dumped.”

    Bosch looked over the files at Gant.

    “And why’s that significant?”

    “Because it might mean it was an inside job. His own crew. It’s unusual to see a body dump in a gang killing. You know, with the drive-bys and straight-up assassinations. Nobody takes the time to pop a guy and then move the body unless there’s a reason. One might be to disguise that it was internal housekeeping. He was dumped on Seven-Trey turf, so the thinking was he was probably hit on his own turf and then dumped in enemy territory to make it look like he strayed across the line.”

    Bosch registered all of this. Gant shrugged his shoulders.

    “Just a working guess,” he said. “The case is still open.”

    “It’s gotta be more than a working guess,” Bosch said. “What do you know that leads you to make a guess like that? Are you working this?”

    “I’m not homicide, I’m intel. I was called in to consult. But that was back then—three years ago. All I know now is that the case is still open.”

    The Gang Enforcement Detail was the overarching street gang branch of the LAPD. It had homicide squads, detective squads, intelligence units, and community outreach programs.



    Continues...

    Excerpted from The Black Box by Michael Connelly Copyright © 2012 by Michael Connelly. Excerpted by permission.
    All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
    Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

    Read More Show Less

    Interviews & Essays

    An Essay for Barnes & Noble by Michael Connelly

    As my latest novel, The Black Box, is about to roll out I'm finding this one is sticking with me for a lot of reasons. Keep in mind that I finished it back in June and have already started the next one. But BB—I call it that for short—is perhaps more special to me than other books have been, and so I have high hopes that Harry Bosch readers will particularly embrace it. I guess it's because the book has special meaning for me on multiple levels. First of all, it's my twenty-fifth novel, and I don't think any writer starting out can ever see the day when they will be publishing their twenty-fifth novel. I know I certainly didn't. When I started out, my hope was to get one book published and maybe follow it up with another. There was no thought at all about quitting my day job. So twenty-five for me was a pie in the sky sort of thing. So was twenty years. Yes, this will be my twenty-fifth novel in twenty years of publishing. Hard to believe. When that first novel came out in 1992, I didn't even have an e-mail account or a cell phone, there were no book blogs or e-books, and the first George Bush was president. As Jerry Garcia (who was alive then) would say, "What a long, strange trip it's been."

    But I think what makes this book so special to me is something much more than literary anniversaries and book numbers. It's the subject matter. Harry Bosch reopens the unsolved case of a journalist murdered during the riots that took place in Los Angeles in 1992. This is a subject that has always been important to me, and it's the twentieth anniversary of this event that really inspired the book and makes it so special to me.

    In 1992, I had not yet quit my day job. The year opened with The Black Echo being published in January and my literary career kicking off with some pretty good reviews. I took a couple of weeks off to promote the book and then I was back to work as a reporter for the Los Angeles Times covering the crime beat. Cops and crime all came together horribly at the end of April, when riots broke out following not-guilty verdicts in the trial of four officers accused of police brutality in the beating of Rodney King. I lived in and loved Los Angeles. I was writing fiction by night about a detective who loved his city and worked to make it better. When those verdicts came down, the city completely lost it. From a few disparate flash points a mob mentality took over, and America's postmodern city was torn apart. I saw the best and worst in people, images I can't forget and that I still work out in my fiction all the time.

    On the first night of the riots I was posted at the spot where Rodney King had been pulled over by police and beaten while more than a dozen officers surrounded him. There was now a crowd there gathered to hear the verdicts and to rejoice in justice prevailing. But they didn't hear what they had expected to hear. Nobody did—even the seasoned journalists. And the crowd grew frustrated and angry. There were other reporters there and TV trucks with video screens showing violence breaking out in other parts of the city. Soon I was surrounded by angry people. They were pushing and yelling, angry with the messenger: the reporters bearing the bad news. In fourteen years as a journalist it was the only time I ever felt that I was truly in danger. But I was surrounded, and there was nowhere to go. I had put my notebook away and was simply holding my hands up, palms out in front of me, showing that I was not a threat, that I was not the bad guy here. Then suddenly the crowd was parted by one man. A black man, a total stranger to me, wearing a T-shirt that I will always remember said LOVE on it. He pushed through to me and raised his hand. I braced for what was coming, and what came was his hand on my arm. He said, "I've got to get you out of here."

    And he did. He pushed back through the crowd, pulling me with him. Something about him having hold of my arm made people step back and give me passage. Was it the T-shirt? Did his act of kindness and bravery make them realize what they were doing? I don't know. All I know is that he got me to my car and stood by it while I got in and got away from there. I was safe and could finally breathe again. As I was driving away, I realized I would never know who that man was and that I had not even said thank you.

    The rest of that night and the following night I moved around the city and called in reports on widespread looting and arson. I watched them pull a school bus up in front of the doors to the LAPD's Foothill Station to help repel the angry crowd that descended on the place where the officers who beat Rodney King had been assigned. I walked down Hollywood Boulevard, watching groups of mindless looters descend en masse on Frederick's of Hollywood, a lingerie store. Nothing made sense in what I was seeing. Los Angeles became a place I didn't recognize.

    It is no wonder to me that the riots have come up often in the fiction I have written since then. At least four of my books drew partial plot lines from them. And now with The Black Box I go back to 1992 and begin with Harry Bosch attempting to do his job in those harrowing circumstances. I think that with what I have written I have finally said what I needed to say about that time. I've gotten it out of my system. I can't say for certain that 1992 won't come up again in the next twenty-five novels I hope to write. But I think I'm finished with it. The Black Box is dedicated to all of the readers who have sustained Harry Bosch for all these years, and to the unknown man in the T-shirt who parted the crowd that day.

    Read More Show Less

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    See All Sort by: Showing 1 – 20 of 316 Customer Reviews
    • Posted November 27, 2012

      more from this reviewer

      This newest book by Michael Connelly in the Detective Harry Bosc

      This newest book by Michael Connelly in the Detective Harry Bosch series opens in 1992, when LA was in the throes of the civil unrest resulting in over 50 murders that followed the Rodney King police beating trial. Harry is called to the scene of a murder in the heart of South –Central LA, 45 miles from the suburban courtroom where the all-white jury had acquitted four LAPD officers accused of excessively beating a black motorist. The victim was a white woman, a 32-year-old blond photojournalist from Denmark. He was able to work the crime scene for less than an hour before being called out to other murders in the ongoing insanity.

      Twenty years later, Harry is now working in the cold case squad. Now that “the 20th anniversary of the riots was approaching, the media savvy Chief of Police sent a directive to the lieutenant in charge of the Open-Unsolved Unit ordering a fresh look at all unsolved murders that occurred during the unrest in 1992 . . . The chief wanted to be able to say that all unsold ed murders from the riots were still under active investigation.” His old case has been pulled from the archives is now his to pick up again, and solve if he can.

      The case was dubbed “the Snow White murder,” unwittingly putting a racial spin on an horrific act of brutality. Now, years later, the thought that of all the racial tension and countless acts of arson, looting, and murder that had taken place, the one cold case that might actually be solved from those days would be that of a young white woman, does not go over well. To Harry, it is simply a matter of justice, to a victim over whose body he whispered an apology twenty years before, despite the fact that his relentless pursuit of that justice puts his career in jeopardy.

      The “black box” of the title has more than one meaning here, but its primary meaning is a reference to the one crucial piece of evidence, analogous to the one thing looked for after a plane mishap, “the one thing that makes it all make sense.“ Slowly but surely, and despite the intervening decades, new leads start to emerge, and Bosch becomes reinvigorated, as does the reader. The book is not a page-turner in the usual sense, i.e., with suspense-driven tension and breath held, but ‘simply’ a terrific story, wonderfully well-told, that grips the reader and keeps him/her anxious to find out what will happen next as the story unfolds. And just when the reader thinks all the pieces of the puzzle are there, the author has one more surprise in store. This is a police procedural in the best sense of the term, and of the genre, and it is highly recommended.

      25 out of 31 people found this review helpful.

      Was this review helpful? Yes  No   Report this review
    • Anonymous

      Posted December 1, 2012

      Another Hit

      Well another Bosch story and again Im sad its over. Finished it in a couple of days because I couldnt put it down. Bosch is my favorite character to read and I was happy to be following him along again.
      The conflict of the system against him was a bit tiring again, but thats the point again, isnt it? If Im tired of it imagine how Harry must feel.
      Overall, a good read. Ive read many series and eventually get tired of the repitition. Patterson, Sanford, Kellerman and even Burke. There is a time when finishing the story is a task. Never with Connelly.

      15 out of 16 people found this review helpful.

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    • Anonymous

      Posted November 29, 2012

      Least captivating book by connelly harry bosch seems tired

      I am having a hard time staying interested have read every michael connelly book this is the first one i may regret purchasing drags and harry bosch has lost his edginess and the character traits i enjoyed

      8 out of 13 people found this review helpful.

      Was this review helpful? Yes  No   Report this review
    • Anonymous

      Posted April 18, 2013

      I Also Recommend:

      So dangerous love it

      So dangerous love it

      7 out of 9 people found this review helpful.

      Was this review helpful? Yes  No   Report this review
    • Anonymous

      Posted November 29, 2012

      Mediocre at best

      I just finished the book and realized that this entire story has a shallow feeling to it. The standard battle with authority hasnt any credible logic behind it and the twists and turns of the story feel incredibly contrived.

      $14.99 for this book cannot be justified plus the e-copy has some page glitches that are quite annoying.

      6 out of 10 people found this review helpful.

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    • Anonymous

      Posted December 20, 2012

      Not the best...

      Probably my most disappointed Harry Bosch read. Good buildup and background to the murder, but what a dud at the end. Improbable end. I also don't get or like Harry's love interest, and his daughter's character is quite interesting and probable, but where it that relationship going? I hope she's not taking over for Harry one day in Connelly's books.

      5 out of 5 people found this review helpful.

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    • Anonymous

      Posted December 8, 2012

      Could not put it down!

      Connelly did it again! Could not put it down.can't wait for his next novel!

      4 out of 4 people found this review helpful.

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    • Posted December 4, 2012

      more from this reviewer

      Harry is still working on closed cases and he decides to re-open

      Harry is still working on closed cases and he decides to re-open the "Snow White" case. When he was an officer during the 1992 LA riots he came upon a murdered Danish reporter Anneke Jespersen, who was found dead by a National Guardsman. Harry was never able to solve that mystery and it basically went dormant for 20 years. The fact that he never found Jesperson's killer had always gnawed at him and the 20th anniversary sets him to dive back into it.

      In the meantime he has annoyed his new group leader (O'Toole) and pretty soon the PSB (formally Internal Affairs) is investigating Harry for improprieties when he visited his girlfriend"s (Hannah)brother in prison. Harry is no longer a regular detective as he is in his four year DROP period and he could be let go for the merest infraction.

      As Harry starts to investigate the Jesperson case, he gets more blowback from O'Toole making him think that those that sit on the 10th floor are against him and are behind the PSB investigation. This makes Harry more determined to work on the case. Harry learns that a call was made to the police from Modesto, CA on the 10th anniversary of the murder and when Harry looks into that call, it is the clue he needs to really start the case going. His partner Chu had told Harry that every case has a "Black Box" which is the one clue that can break the case wide open.

      Harry has to work the case solo and let Chu work in the background because he is afraid that O'Toole will come after Chu too. Harry is relentless at persuing all clues in his usuall direct manner. The story gets hot and heavy as Harry must quickly solve the case before he is ousted from his job and must go after the bad guys without a partner for backup.

      This book held me from start to finish and Connelly's writing is crisp. The only things that were negative about the book is he does go overboard talking about jazz songs as I am not a jazz aficianado. Also, his daughter Maddy is virtually a non-entity and after his last book, I thought she would have a hand in helping him solve the case. None of these issues prevent me from giving the book a full five stars!

      4 out of 7 people found this review helpful.

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    • Anonymous

      Posted December 2, 2012

      Skip It

      I have read every book by Michael Connelly. I always loved his books, read them all a few times over. I was so disappointed in Black Box. Can't decide if his writing seemed sub par compared to Lee Child who I had been reading prior to this book. I always loved Harry Bosch, this time he was a bore. Maybe Reacher is just more interesting a charachter? I hope this was just a fluke and the real Harry will be back in the next book. If you skip this one you will be fine. Nothing happens.

      4 out of 6 people found this review helpful.

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    • Posted November 30, 2012

      Don't Miss this one! I have read every Harry Bosch novel since T

      Don't Miss this one! I have read every Harry Bosch novel since The Black Echo in 1992. The writing, the characters, the plot all make for good reading. The Black Box pulls you into the story from the opening pages, bringing back memories of 1992 and the riots in LA, the writing so descriptive you feel you are there. Solid police work keeps you right there working with Harry. Tense moments leading to the ending. Michael Connolly is such a good writer and always a pleasure to read. Can't wait for the next one!


      3 out of 3 people found this review helpful.

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    • Posted January 19, 2013

      Not quite as good as some of his past works, but still better th

      Not quite as good as some of his past works, but still better than most crime fiction out there. A little contrived at times, and not as emotionally engaging as previous Bosch stories. Very readable.

      2 out of 2 people found this review helpful.

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    • Posted January 18, 2013

      I'm Tired.....

      The Harry Bosch series is always good, but Harry is getting tired. I wish he would get a young "sidekick" that would infuse a bit more action into the stories. Harry would always be there to share his expertise. That way we would still have him with us for a long time.

      2 out of 2 people found this review helpful.

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    • Posted January 11, 2013

      Enjoyed tremendously!

      Always like Harry Bosch but thought this one was very good.

      2 out of 2 people found this review helpful.

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    • Posted January 11, 2013

      Highly recommend this book

      I absolutely loved this book. I couldn't put it down. I am reading the next one in the series, and again can't put it down.

      2 out of 3 people found this review helpful.

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    • Anonymous

      Posted December 29, 2012

      Recommend

      Excellent Michael Connelly thriller, though a little anticipated outcome with unlikely scenerios.

      2 out of 2 people found this review helpful.

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    • Posted December 12, 2012

      I love everything Michael writes and this is no exception. But t

      I love everything Michael writes and this is no exception. But this one may me feel as though I knew Harry better. Like I was a friend who understood him. He is relentless and driven to finding the answer and does so briliantly. Sad now that I have to wait for more from Michael, and I have no doubt there will be more

      2 out of 3 people found this review helpful.

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    • Anonymous

      Posted December 2, 2012

      Another excellent Harry Bosch novel!

      I can't pinpoint which I like more...Michael Connelly or Harry Bosch! If I were a writer, I'd like to pattern myself after Connelly. If I were a homicide detrctive, I'd pattern myself after Bosch. His career has been spent walking a fine line between cop and an avenger for the his victims. Sometimes he crosses ever so slightly over that line, but his motives are always pure and his sense of justice and right and wrong are always spot on. If you like crime/detective novels, I guarantee you'll enjoy this effort by Connelly and Bosch!

      2 out of 2 people found this review helpful.

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    • Anonymous

      Posted January 2, 2013

      Not his best work

      I love Harry Bosch but this was cranked out aft
      er Connely ran out of ideas just to get a nother book on shelf. The first three fourths of the book could be skipped because the only action comes at the end. Borring !

      1 out of 2 people found this review helpful.

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    • Posted December 6, 2012

      As you would expect, I've read all of Michael Connelly's books..

      As you would expect, I've read all of Michael Connelly's books...except Black Box!! Grin! Read the reviews and found either 5 stars or bad reviews....duh! I mean, reviews that were bad, useless, uneducated, pointless and obviously to me from readers that don't understand a great read and/or have not read his other books. Or were having a very bad day. Too bad for them! I KNOW it will be good. I love Harry...I have enjoyed every book Connelly has written...keep writing, Michael!!! Keep Bosch going as long as you are able!

      1 out of 2 people found this review helpful.

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    • Anonymous

      Posted January 18, 2014

      The black Box

      This book is one of the best Harry Bosch novels I liked it very much

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