Michael Connelly

The idea behind the Bosch and Ballard relationship is to have one outsider and one insider working together, bouncing each’s unique skills and world view off of each other – sometimes to good results,
sometimes not.

I write fiction but I write in real world terms. As the days and years go by in real life, so too with my characters. In other words, they age in real time. They evolve as the world does. This is all well and good but then I got very, very lucky. Harry Bosch stuck around. The character stayed with me and seemed to stay with the readers as well. I wanted to write more, explore more about him and the feeling was that readers would come along for the ride. The only remote issue with that is that I started him off in 1992 at age forty-two and I have been stuck with that ever since. Harry ages and as he has aged it became increasingly clear that I was bending the reality – the verisimilitude – that I cherished. So, to steer back onto course, I at first had him retire and work private investigations and volunteer work for a small police department. That was all good. But the character persisted in my creative mind. I was not through with him. I still had to do something to lengthen my time with him.

Enter Renée Ballard. Much younger, thankfully, but with the same sense of mission as Harry Bosch. I introduced her in her own book, The Late Show, knowing full well that she was the one Bosch would
eventually pass the baton to. After that introduction came the meeting of the minds in Dark Sacred Night and the continuation in The Night Fire. They worked together – realistically, I hope – on cases and fed off
each other’s differences at the same time their shared mission in life kept them together. To me, these two books are about the passing of that baton. And in The Dark Hours we see Ballard move to the front. It is clearly her book. Bosch is there, of course, but he is a step back now. He, in a way, is support staff. He is the professor realizing his student knows the lesson. The parent pushing the baby out of the nest. All of
these things came to mind as I wrote this latest novel. Ballard still needs Bosch. Not to be the teacher but to be the one who understands their joint mission and to be there when the ‘darkness follows her’. And Bosch needs Ballard to stay relevant to himself and to help him complete the mission.
– Michael Connelly

The audiobook is read by Christine Lakin and Titus Welliver.

*AudioFile Magazine Earphones Award Winner

Michael Connelly introduces The Dark Hours.

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THE DARK HOURS book trailer from Little, Brown and Company.

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Michael Connelly Presents THE DARK HOURS Location Tour

“This is a masterpiece.”
– Publishers Weekly Starred Review

“The fourth Renée Ballard and Harry Bosch novel is the best yet, both because Ballard has evolved into one of crime fiction’s richest, most complex characters and because Connelly takes an unflinching look at policing in the post–George Floyd era.”
– Booklist Starred Review

“Again and again, Michael Connelly amazes with his penetrating look inside the machinery of the LAPD, all while keeping the human hearts inside the machine front and center. The Dark Hours is another perfect example”
– Amazon Editors’ Picks – Amazon Books Editors Top 10 Books Of November

“Sharp observations of characters, from victims to perpetrators, make this entry a standout.”
– Tom Nolan, Wall Street Journal, Top Crime Novels Of 2021

“in this stellar series… …no one who follows Ballard and Bosch to the end will be disappointed. A bracing test of the maxim that “the department always comes first. The department always wins.””
– Kirkus Reviews

“This is a compelling listen with a gritty portrayal of the current social environment.”
– AudioFile Magazine Earphones Award Winner

“Few writers have ever managed to grab and hold readers’ attention the way Michael Connelly has the last three decades, and The Dark Hours is yet another reminder that we’re witnessing one of the all-time greats . . . who’s shown absolutely no signs of slowing down anytime soon.”
– The Real Book Spy

“It’s a masterclass.”
– Simon McDonald

“outstanding…We’ve said before that Connelly is the most consistently superior living crime fiction author. “The Dark Hours’ just reinforces that.”
– Oline Cogdill, Sun- Sentinel, The Best Mystery Books Of 2021

“The Dark Hours is an authentic, topical and terrifying thriller: one of Michael Connelly’s very best.”
– Mark Sanderson, The Times (UK)

“Ballard and Bosch are a great combination as they work in and around a police force that Ballard believes too often aims to “protect and serve the image instead of the citizens.””
– Richard Lipez, The Washington Post‘s Best Thrillers & Mysteries Of November

“In Michael Connelly’s ‘The Dark Hours,’ Ballard and Bosch just get better…He’s one of the best in the business at writing about investigations and creating intense suspense, but the relationship between Ballard and Bosch — a professional friendship that grows out of two brilliant minds dedicated to the same difficult but important work — is the cherry on top.”
– Colette Bancroft, Tampa Bay Times

“a veteran crime writer returns with a thrill-packed yet incisive look at present-day America.”
– Readers Digest

“Connelly is sharp as ever and his stories always manage to explore another piece of the city’s soul.”
– CrimeReads

“It’s Connelly’s thirty-sixth novel and, like the other thirty-five, it is frighteningly good.”
– Mike Ripley, Shots Crime & Thriller eZine

“THE DARK HOURS is a top 3 Connelly book. 29 years in and he’s still bringing his fastball. Amazing. Preorder this book!”
– Sean Cameron, The Crew Reviews

“The consistently excellent Connelly’s latest thriller faces up to the challenges of contemporary policing”
– The Mail On Sunday (UK)

“The Dark Hours is yet another superb thriller from a writer at the top of his game and will delight the millions of fans of the Bosch books and the accompanying TV drama starring Titus Welliver.”
– The Sunday Express (UK)

“A topical thriller, sensitively handled by a real crime pro.”
– The Scottish Sun (UK)

“The Dark Hours is the most riveting of Connelly’s Renée Ballard novels, and a hopeful signpost for the future of the police procedural.”
– Paula Woods, Alta Journal

“The Dark Hours is a book of our times – I urge you to read it.’
– Crime Fiction Lover

1

It was supposed to rain for real and that would have put a damper on the annual rain of lead. But the forecast was wrong. The sky was blue-black and clear. And Ballard braced for the onslaught, positioning herself on the north side of the division under the shelter of the Cahuenga overpass. She would have preferred being alone but was riding with a partner, and a reluctant partner at that. Detective Lisa Moore of the Hollywood Division Sexual Assault Unit was a day-shift veteran who just wanted to be home with her boyfriend. But it was always all hands on deck on New Year’s Eve. Tactical alert: everyone in the department in uniform and working twelves. Ballard and Moore had been working since six p.m. and it had been quiet. But it was now about to strike midnight on the last day of the year and the trouble would begin. Added to that, the Midnight Men were out there somewhere. Ballard and her reluctant partner needed to be ready to move quickly when the call came in.

“Do we have to stay here?” Moore asked. “I mean, look at these people. How can they live like this?”

Ballard surveyed the makeshift shelters made of discarded tarps and construction debris that lined both sides of the underpass. She saw a couple of Sterno cook fires and people milling about at their meager encampments. It was so crowded that some shanties were even pressed up against the mobile toilets the city had put on the sidewalks to preserve some semblance of dignity and sanitation in the area. North of the overpass was a residential zone of apartments fronting the hillside area known as the Dell. After multiple reports of people defecating in the streets and yards of the neighborhood, the city came through with the portable toilets. A “humanitarian effort,” it was called.

“You ask that like you think they all want to be living under an overpass,” Ballard said. “Like they have a lot of choices. Where are they going to go? The government gives them toilets. It takes their shit away but not much else.”

“Whatever,” Moore said. “It’s such a blight—every overpass in the fucking city. It’s so third world. People are going to start leaving the city because of this.”

“They already have,” Ballard said. “Anyway, we’re staying here. I’ve spent the last four New Year’s Eves under here and it’s the safest place to be when the shooting starts.”

They were quiet for a few moments after that. Ballard had thought about leaving herself, maybe going back to Hawaii. It wasn’t because of the intractable problem of homelessness that gripped Los Angeles. It was everything. The city, the job, the life. It had been a bad year with the pandemic and social unrest and violence. The police department had been vilified, and she along with it. She’d been spat on, figuratively and literally, by the people she thought she stood for and protected. It was a hard lesson, and a sense of futility had set upon her and was deep in the marrow now. She needed some kind of a break. Maybe to go track down her mother in the mountains of Maui and try to reconnect after so many years.

She took one of her hands off the wheel and held her sleeve to her nose. It was her first time back in uniform since the protests. She could make out the smell of tear gas. She had dry-cleaned the uniform twice but the odor was baked in, permanent. It was a strong reminder of the year that had been.

The pandemic and protests had changed everything. The department went from being proactive to reactive. And the change had somehow cast Ballard adrift. She had found herself more than once thinking about quitting. That is, until the Midnight Men came along. They had given her purpose.

Moore checked her watch again. Ballard noticed and glanced at the dashboard clock. It was off by an hour, but doing the math told her it was two minutes till midnight.

“Oh, here we go,” Moore said. “Look at this guy.”

She was looking out her window at a man approaching the car. It was below 60 degrees but he wore no shirt and was holding his dirt-caked pants up with his hand. He wore no mask either. Moore had her window cracked but now hit the button and closed and sealed the car.

The homeless man knocked on her window. They could hear him through the glass.

“Hey, officers, I got a problem here.”

They were in Ballard’s unmarked car but she had engaged the flashing grille lights when they parked in the median under the overpass. Plus they were in full uniform.

“Sir, I can’t talk to you without a mask,” Moore said loudly. “Go get a mask.”

“But I been ripped off,” the man said. “That sumbitch o’er there took my shit when I was sleepin’.”

“Sir, I can’t help you until you get a mask,” Moore said.

“I don’t have no fucking mask,” he said.

“Then I’m sorry, sir,” she said. “No mask, no ask.”

The man punched the window, his fist hitting the glass in front of Moore’s face. She jerked back even though it had not been a punch intended to break the glass.

“Sir, step back from the car,” Moore commanded.

“Fuck you,” he said.

“Sir, if I have to get out, you’re going to County,” Moore said. “If you don’t have corona now, you’ll get it there. You want that?”

The man started to walk away.

“Fuck you,” he said again. “Fuck the police.”

“Like I never heard that before,” Moore said.

She checked her watch again and Ballard looked back at the dash clock. It was now the final minute of 2020, and for Moore and most people in the city and the world, the year couldn’t end soon enough.

“Jesus Christ, can we move to another spot?” Moore complained.

“Too late,” Ballard said. “I told you, we’re safe under here.”

“Not from these people,” Moore said.

2

It was like a bag of popcorn cooking in a microwave. A few pops during the final countdown of the year and then the barrage as the frequency of gunfire made it impossible to separate it into individual discharges. A gunshot symphony. For a solid five minutes, there was an unbroken onslaught as revelers of the new year fired their weapons into the sky, following a Los Angeles tradition of decades.

It didn’t matter that what goes up must come down. Every new year in the City of Angels began with risk.

The gunfire of course was joined by legitimate fireworks and firecrackers, creating a sound unique to the city and as reliable through the years as the changing of the calendar. The over/under at roll call was eighteen in terms of calls related to the rain of lead. Windshields mostly would be the victims, though the year before, Ballard caught a report of a bullet falling through a skylight and hitting a stripper on the shoulder who was dancing on a stage below. The falling bullet didn’t even break the skin. But a jagged piece of falling skylight glass did give a customer sitting close to the stage a new part in his hair. He chose not to make a police report, because it would reveal that where he was didn’t match where he had told his family he would be.

Whatever the number of calls, patrol would handle most of them unless a detective was warranted. Ballard and Moore were mostly waiting for one call. The Midnight Men. It was a painful reality that sometimes you needed predators to strike again in hopes of a mistake or a new piece of evidence that could lead to a solve.

The Midnight Men was the unofficial moniker Ballard had bestowed on the tag team rapists who had assaulted two women in a five-week span. Both assaults had occurred on holiday nights—Thanksgiving night and Christmas Eve. The cases were linked by modus operandi, not DNA, because the Midnight Men were careful not to leave DNA behind. Each attack started shortly after midnight and lasted as long as four hours while the predators took turns assaulting women in their own beds, ending the torture by cutting off a large hank of each victim’s hair with the knife that had been held to her throat during the ordeal. Other humiliations were included in the attacks and helped link the cases beyond the rarity of a two-man rape team.

Ballard, as the third watch detective, had been the responding detective on both cases. She had then called in day-watch detectives from the Hollywood Division Sexual Assault Unit. Lisa Moore was a member of that three-detective unit. Since Ballard worked the shift when the attacks had occurred, she was informally added to the team.

In past years, a pair of serial rapists would have immediately drawn the attention of the Sex Crimes Unit that worked out of the Police Administration Building downtown as part of the elite Robbery-Homicide Division. But City Hall cutbacks in police funding had seen the unit disbanded, and sex assault cases were now handled by the divisional detective squads. It was an example of how protesters demanding the defunding of the police department had achieved their goal in an indirect way. The move to defund was turned away by the city’s politicians, but the police department had burned through its budget in dealing with the protests that followed the death of George Floyd at the hands of police in Minneapolis. After weeks of tactical alert and associated costs, the department was out of money and the result was freezes on hiring, the disbanding of units, and the end of several programs. In effect, the department had been defunded in several key areas.

Lisa Moore was a perfect example of how all of this led to a downgrade in service to the community. Rather than the Midnight Men investigation going to a specialized unit with many resources as well as detectives who had extra training and experience in serial investigations, it had gone to the overworked and understaffed Hollywood Division sex crime team, which was responsible for investigating every rape, attempted rape, assault, groping, indecent exposure, and claim of pedophilia in a vast geographic and population-dense area. And Moore was like many in the department since the protests, looking to do as little as possible between now and her retirement four years from now. She was looking at the Midnight Men case as a time suck taking her away from her normal eight-to-four existence, where she dutifully filed paperwork the first half of the day and conducted minimal investigative work after that, leaving the station only if there was no way the work could be done by phone and computer. She had greeted her assignment to work the midnight shift with Ballard over the New Year’s holiday as a major insult and inconvenience. Ballard, on the other side of that coin, had seen it as a chance to get closer to taking down two predators who were out there hurting women.

“What do you hear about the vax?” Moore asked.

Ballard shook her head.

“Probably the same as you hear,” she said. “Next month—maybe.”

Now Moore shook her head.

“Assholes,” she said. “We’re first-fucking-responders and should get it with the fire department. Instead we’re with the grocery workers.”

“The fire guys are considered health-care providers,” Ballard said. “We’re not.”

“I know, but it’s the principle of it. Our union is shit.”

“It’s not the union. It’s the governor, the health department, a lot of things.”

“Fuckin’ politicians…”

Ballard let it go. It was a complaint heard often at roll calls and in police cars across the city. Like many in the department, Ballard had already contracted COVID-19. She had been knocked down for three weeks in November and now just hoped she had enough antibodies to see her through to the vaccine’s arrival.

During the brooding silence that followed, a patrol car pulled up next to them on Moore’s side, in one of the two southbound lanes.

“You know these guys?” Moore asked as she reached for the window button.

“Unfortunately,” Ballard said. “Pull your mask up.”

It was a team of P2s named Smallwood and Vitello, who always had too much testosterone running in their blood. They also thought they were “too healthy” to contract the virus and eschewed the department-mandated mask requirement.

Moore lowered the window after pulling her mask up.

“How’s things in the tuna boat?” Smallwood said, a wide smile on his face.

Ballard pulled up her department-issued mask. It was navy blue with LAPD embossed in silver along the jaw line.

“You’re blocking traffic there, Smallwood,” Ballard said.

Moore looked back at Ballard.

“Really?” she whispered. “Small wood?”

Ballard nodded.

Vitello hit the switch for the light bar on the patrol car’s roof. Flashing blue lit up the graffiti on the concrete walls above the tents and shanties on both sides of the overpass. Various versions of “Fuck the Police” and “Fuck Trump” had been whitewashed by city crews but the messages came through under the penetrating blue light.

“How’s that?” Vitello asked.

“Hey, there’s a guy over there, wants to report a theft of property,” Ballard responded. “Why don’t you two go take a report?”

“Fuck that,” Smallwood said.

“Sounds like detective work to me,” Vitello added.

The conversation, if it could be called that, was interrupted by the voice of a com center dispatcher coming up on the radio in both cars, asking for any 6-William unit, “6” being the designation for Hollywood, and “William” for detective.

“That’s you, Ballard,” Smallwood said.

Ballard pulled the radio out of its charger in the center console and responded.

“Six-William-twenty-six. Go ahead.”

The dispatcher asked her to respond to a shooting with injury on Gower.

“The Gulch,” Vitello called over. “Need backup down there, ladies?”

Hollywood Division was broken into seven different patrol zones called Basic Car Areas. Smallwood and Vitello were assigned to the area that included the Hollywood Hills, where crime was low and most of the residents they encountered were white. This was a move designed to keep them out of trouble and away from confrontational enforcement with minorities. However, it had not always worked. Ballard had heard about them roughing up teenagers in cars parked illegally on Mulholland Drive, where there were spectacular views of the city at night.

“I think we can handle it,” Ballard called across. “You boys can go back up to Mulholland and watch for kids throwing their condoms out the window. Make it safe up there, guys.”

She dropped the car into drive and hit the gas before either Smallwood or Vitello could manage a comeback.

“Poor guy,” Moore said without sympathy in her voice. “Officer Smallwood.”

“Yeah,” Ballard said. “And he tries to make up for it every night on patrol.”

Moore laughed as they sped south on Cahuenga.

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• Waterstones – Best Books of 2020
• Amazon – Best Mysteries and Thrillers of 2020
• The Times – Book Of The Month
• Audiofile Magazine’s Best Audiobooks Of 2020

“A virtuoso performance even by Connelly’s high standards.”
– Kirkus * Starred Review *

“Connelly’s novels have long been distinguished by his mastery of the complexities of the justice system including an ability to get police and courtroom procedures exactly right. Combine this with a cast of well-drawn characters, writing as precise as a Patek Philippe watch, and a propulsive plot, and the result is one of the finest legal thrillers of the last decade.”
– Bruce DeSilva, Associated Press

“In The Law of Innocence, Michael Connelly brilliantly captures the desperation of a lawyer-turned-defendant facing a long stretch in a prison full of people with scores to settle. Narration in the first person, showing a canny legal mind working furiously to hit on the right legal play, calibrates the suspense to an unbearable, read-in-one-sitting level.”
—Amazon Book Review, An Amazon Best Book of November 2020

“If you’re not already addicted to Mickey, his ex-wives and his brilliant half brother, investigator Harry Bosch, this perfectly constructed legal thriller will get you there.”
– People Magazine, Book of the Week

“another pulsating legal thriller from a master of hard-boiled crime fiction.”
– Waterstones, Best Books of 2020

“Connelly’s latest novel demonstrates why I say he’s the GOAT (“Greatest of All Time”) of police and legal procedural thrillers.
-BookTrib

“in another dazzling courtroom performance.”
– Janet Maslin, New York Times

“As always, Connelly does a splendid job with both the courtroom drama and the suspenseful, often dangerous process behind it.”
– Colette Bancroft, Tampa Bay Times

“electrifying legal thriller”
– Crime Monthly Magazine

“Intelligently plotted, “The Law of Innocence” again proves Connelly is a master storyteller.”
– Oline Cogdill, South Florida Sun Sentinel

“This is a supremely intelligent, well-paced courtroom thriller by a modern master.”
– Publishers Weekly * Starred Review *

“grabs you on the very first page and doesn’t let go until the final, last-minute, twist. Bravo maestro!”
– The Times UK, Book Of The Month

“In his Haller novels, Connelly has always displayed great ability to write courtroom scenes, combining thrust-and-parry exchanges between defense and prosecution with a look at the personal motives driving all the players (including the judge). He does all that here, too, but the extended focus on the pretrial discovery process, with Bosch and investigator Cisco Wojciechowski doing the legwork while Haller sits in jail, gives the novel a double-barreled appeal. This is a fine legal thriller and a revealing character study, as we watch Haller lose a little bluster at the prospect of life behind bars”
– Bill Ott, * Booklist Starred Review *

“The arguments are brilliantly plotted, and the action is wholly compelling. For those who love courtroom thrillers, The Law of Innocence delivers!”
– MysteryandSuspense.com

“Nobody writing today has more range than Michael Connelly, who is in top form here, delivering not only the best legal thriller of the year, but perhaps the best legal thriller to hit bookstores in the last decade. …Connelly treats readers to a deliciously suspenseful, twisting, unputdownable thriller that begs to be read in a single sitting. …Masterfully plotted and impossible to put down, Law of Innocence is everything readers have come to expect from Michael Connelly, a once-in-a-lifetime talent who continues to show why he’s one of the greatest writers the genre has ever known.”
– The Real Book Spy

“a tightly crafted thriller, with some nice crossover flair to boot.”
– CrimeReads, Most Anticipated Books For Fall

“Michael Connelly, the unequivocal master of the police procedural, again proves himself the master of the legal thriller, too. Grisham and Turow might do it more often — but nobody does it better.”
– Simon McDonald, Potts Point Bookshop