The Late Show introduces a new Michael Connelly
character, Detective Renee Ballard who works the night shift in Hollywood, aka
the Late Show. Although a new character,
Ballard immediately shows allegiance to the familiar Harry Bosch credo,
everybody counts or nobody counts, as she commits herself to three cases that
are likely to fall through the cracks if she drops them at the end of her
shift. And so, she doesn’t, putting her
at odds with police policy and perhaps more importantly, department politics.
Ballard
is well developed as the driven detective, bending the rules when they will and
breaking them when she feels she must.
I’m not a big fan of either perfect protagonists who never fail or the
heroes who are so flawed that it’s hard to know whether they succeeded or their
demons did. Ballard is perhaps a bit
closer to the latter than I would prefer, as her dedication to the underdog
approaches reckless obsession in places.
But I have to say, that made for excellent pacing as the plot moves from
looks into her unusual and disquieting past to scenes of tense action, gut-wrenching
in places.
There
seem to be a few scenes where things occur somewhat conveniently – developing
the initial lead on the case involving the assault on the prostitute is an
example. And in places, Ballard seems to
be moving faster than teams of detectives working the same issue. But overall, Connelly continues as the master
of the police procedural. The book is
filled with the jargon and terminology of the field, giving the book a strong
feel of authenticity, of being in the moment.
And,
without giving a spoiler, all I can say is that the end is a gem.