Detective Vincent Ruiz comes to as he is pulled from the Thames; he has a bullet in his thigh and no memory of his activities in recent days. But from the clues that surface, he soon believes he had been trying to recover a child whose presumed murder he had investigated three years earlier. Ray Lonnen's delivery is full of a snap that reflects both Ruiz's regrets as husband, father, and police officer, and his contempt for his superiors' anger when he raises doubts over a case they would prefer remain closed. Those who relish earthy accents from London's most hardscrabble sections will find plenty of entertainment in Lonnen's performance. M.O. © AudioFile 2006, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to an alternate kindle_edition edition. From Publishers Weekly
Det. Insp. Vincent Ruiz (a supporting character in Robotham's debut, Suspect) is hauled out of the Thames with a bullet wound in his leg and no memory of a shooting, let alone how he wound up in the water in Robotham's fine, moody second thriller. Keebal, a nasty cop from internal affairs, hounds Ruiz from the start, and everyone seems to know something Ruiz doesn't. When psychologist Joe O'Loughlin (the protagonist of Suspect) shows Ruiz a picture of young Mickey Carlyle—a seven-year-old girl kidnapped three years earlier whom everyone but Ruiz thinks is dead—he figures there must be some connection between her case and his shooting. Despite his injuries, Ruiz retraces this investigation with the help of his partner, a young Sikh woman named Ali. The past returns in dribs and drabs and none too gently. Mickey is the daughter of a Russian-born crime lord, Aleksei Kuznet; a cache of diamonds and a man known as a "grooming paedophile" also figure prominently in the splintered plot. The warm relationship between Ruiz and Joe, who suffers from Parkinson's, counterpoints the main story line's grit. Robotham works some good wrinkles into Ruiz's relationship with Ali and an empathetic nurse, too. The result is a thoughtful and subtle thriller, with convincing, three-dimensional characters. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
About the Author
MICHAEL ROBOTHAM is a former journalist and the coauthor of a dozen bestselling autobiographies published in the United Kingdom. He lives in Sydney, Australia.
--This text refers to an out of print or unavailable edition of this title. In Suspect (2005), Robotham introduced Joe O'Loughlin, a psychologist out to prove he's innocent of murder. This strong sophomore effort focuses on Vincent Ruiz, the London homicide detective who dogged O'Loughlin last time around. Ruiz is suspected of foul play after waking up in a hospital badly injured and suffering from amnesia. He had apparently reopened the closed case of a long-missing girl, presumed dead, and ended up with nearly 1,000 loose diamonds her mobster father provided for ransom. With internal affairs breathing down his neck, and his boss angry with him for giving a convicted child killer grounds for appeal, Ruiz relies on O'Loughlin and a young colleague to help him regain his memory and pick up the girl's cold trail. In addition to delivering top-notch pacing, plot, and characters--the son of a Gypsy woman raped by German soldiers during World War II, Ruiz remains haunted by the childhood drowning death of his half brother but has lost contact with his own kids--Robotham also understands that some quests are worth any sacrifice no matter how long the odds of success may be. Frank Sennett
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.
Review
Praise for Suspect:
“A dramatic well-written debut novel.” —New York Times
“A lightning-paced debut.” —Entertainment Weekly
“A gripping first novel — taut and fast-moving.” —Washington Post
“British journalist/ghostwriter Robotham’s first novel is a masterful riff on I Confess with a psychologist substituting for the embattled priest. . . . Readers will forget their own jobs, meals, and families while they race to find out which one of his targets the killer actually hits before he’s brought down.” — Kirkus (starred review)
Robotham shows real promise, putting a fresh spin o the familiar crime fiction trope of the falsely accused man.”—Publishers Weekly
“Suspect may do for psychological thrillers what Scott Turow’s Presumed Innocent did for the legal variety.” — Booklist
This fast-paced thriller, with twists and turns reminiscent of The Fugitive, makes for a quick and satisfying read.”—Library Journal.
--This text refers to an out of print or unavailable edition of this title. From School Library Journal
Adult/High School Robotham's second mystery features some of the cast from Suspect (Doubleday, 2005), including Detective Inspector Vincent Ruiz and clinical psychologist Joseph O'Loughlin. The fast-paced action opens with a half-dead Ruiz being fished out of the Thames. When he awakens from his coma, he has no memory of why he was in the river, almost dead from a bullet wound to his leg, nor can he remember anything from the week leading up to his injury. With the help of O'Loughlin, Ruiz begins piecing together details that show he was following up on the disappearance of eight-year-old Mickey Carlyle. The only problem? Mickey disappeared three years earlier, and a sexual predator has been convicted of her murder. As Ruiz retraces his steps, he relives several incidents from his past that are linked to his need to investigate a closed case. This is a fast-paced thriller with plenty of adventure; Ruiz's hunt for answers takes him deep into the sewers below London and into the cold waters of the Thames. The characters are complex; Ruiz, the son of a Gypsy woman raped by German soldiers in World War II, is haunted by the childhood drowning of his half-brother, even though he's estranged from his own children. Robotham understands that some quests are worth any sacrifice no matter how long the odds of success might be. This is a subtle and taut thriller with convincing characters and strong psychological components. Erin Dennington, Chantilly Regional Library, Fairfax County, VA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
Excerpt. © Reprinted by permission. All rights reserved.
1
The Thames, London
I remember someone once telling me that you know it's cold when you see a lawyer with his hands in his own pockets. It's colder than that now. My mouth is numb and every breath is like slivers of ice in my lungs.
People are shouting and shining flashlights in my eyes. In the meantime, I'm hugging this big yellow buoy like it's Marilyn Monroe. A very fat Marilyn Monroe, after she took all the pills and went to seed.
My favorite Monroe film is Some Like It Hot with Jack Lemmon and Tony Curtis. I don't know why I should think of that now, although how anyone could mistake Jack Lemmon for a woman is beyond me.
A guy with a really thick mustache and pizza breath is panting in my ear. He's wearing a life vest and trying to peel my fingers away from the buoy. I'm too cold to move. He wraps his arms around my chest and pulls me backward through the water. More people, silhouetted against the lights, take hold of my arms, lifting me onto the deck.
"Jesus, look at his leg!" someone says.
"He's been shot!"
Who are they talking about?
People are shouting all over again, yelling for bandages and plasma. A black guy with a gold earring slides a needle into my arm and puts a bag over my face.
"Someone get some blankets. Let's keep this guy warm."
"He's palping at one-twenty."
"One-twenty?"
"Palping at one-twenty."
"Any head injuries?"
"That's negative."
The engine roars and we're moving. I can't feel my legs. I can't feel anything--not even the cold anymore. The lights are also disappearing. Darkness has seeped into my eyes.
"Ready?"
"Yeah."
"One, two, three."
"Watch the IV lines. Watch the IV lines."
"I got it."
"Bag a couple of times."
"OK."
The guy with pizza breath is puffing really hard now, running alongside the gurney. His fist is in front of my face, pressing a bag to force air into my lungs. They lift again and square lights pass overhead. I can still see.
A siren wails in my head. Every time we slow down it gets louder and closer. Someone is talking on a radio. "We've pumped two liters of fluid. He's on his fourth unit of blood. He's bleeding out. Systolic pressure dropping."
"He needs volume."
"Squeeze in another bag of fluid."
"He's seizing!"
"He's seizing. See that?"
One of the machines has gone into a prolonged cry. Why don't they turn it off?
Pizza breath rips open my shirt and slaps two pads on my chest.
"CLEAR!" he yells.
The pain almost blows the top of my skull clean off.
He does that again and I'll break his arms.
"CLEAR!"
I swear to God I'm going to remember you, pizza breath. I'm going to remember exactly who you are. And when I get out of here I'm coming looking for you. I was happier in the river. Take me back to Marilyn Monroe.
I am awake now. My eyelids flutter as if fighting gravity. Squeezing them shut, I try again, blinking into the darkness.
Turning my head, I can make out orange dials on a machine near the bed and a green blip of light sliding across a liquid crystal display window like one of those stereo systems with bouncing waves of colored light.
Where am I?
Beside my head is a chrome stand that catches stars on its curves. Suspended from a hook is a plastic satchel bulging with a clear fluid. The liquid trails down a pliable plastic tube and disappears under a wide strip of surgical tape wrapped around my left forearm.
I'm in a hospital room. There is a pad on the bedside table. Reaching toward it, I suddenly notice my left hand--not so much my hand as a finger. It's missing. Instead of a digit and a wedding ring I have a lump of gauze dressing. I stare at it idiotically, as though this is some sort of magic trick.
When the twins were youngsters, we had a game where I pulled off my thumb and if they sneezed it would come back again. Michael used to laugh so hard he almost wet his pants.
Fumbling for the pad, I read the letterhead: St. Mary's Hospital, Paddington, London. There is nothing in the drawer except a Bible and a copy of the Koran.
I spy a clipboard hanging at the end of the bed. Reaching down, I feel a sudden pain that explodes from my right leg and shoots out of the top of my head. Christ! Do not, under any circumstances, do that again.
Curled up in a ball, I wait for the pain to go away. Closing my eyes, I take a deep breath. If I concentrate very hard on a particular point just under my jawbone, I actually feel the blood sliding back and forth beneath my skin, squeezing into smaller and smaller channels, circulating oxygen.
My estranged wife, Miranda, is such a lousy sleeper that she said my heart kept her awake because it beat too loudly. I didn't snore or wake with the night terrors, but my heart pumped up a riot. This has been listed among Miranda's grounds for divorce. I'm exaggerating, of course. She doesn't need extra justification.
I open my eyes again. The world is still here.
Taking a deep breath, I grip the bedclothes and raise them a few inches. I still have two legs. I count them. One. Two. The right leg is bandaged in layers of gauze taped down at the edges. Something has been written in a felt-tip pen down the side of my thigh but I can't read what it says.
Farther down I can see my toes. They wave hello to me. "Hello toes," I whisper.
Tentatively, I reach down and cup my genitals, rolling my testicles between my fingers.
A nurse slips silently through the curtains. Her voice startles me. "Is this a very private moment?"
"I was . . . I was . . . just checking."
"Well, I think you should consider buying that thing dinner first."
Her accent is Irish and her eyes are as green as mown grass. She presses the call button above my head. "Thank goodness you're finally awake. We were very worried about you." She taps the bag of fluid and checks the flow control. Then she straightens my pillows.
"What happened? How did I get here?"
"You were shot."
"Who shot me?"
She laughs. "Oh, don't ask me. Nobody ever tells me things like that."
"But I can't remember anything. My leg . . . my finger . . . "
"The doctor should be here soon."
She doesn't seem to be listening. I reach out and grab her arm. She tries to pull away, suddenly frightened of me.
"You don't understand--I can't remember! I don't know how I got here."
She glances at the emergency button. "They found you floating in the river. That's what I heard them say. The police have been waiting for you to wake up."
"How long have I been here?"
"Eight days . . . you were in a coma. I thought you might be coming out yesterday. You were talking to yourself."
"What did I say?"
"You kept asking about a girl--saying you had to find her."
"Who?"
"You didn't say. Please let go of my arm. You're hurting me."
My fingers open and she steps well away, rubbing her forearm. She won't come close again.
My heart won't slow down. It is pounding away, getting faster and faster like Chinese drums. How can I have been here eight days?
"What day is it today?"
"October the third."
"Did you give me drugs? What have you done to me?"
She stammers, "You're on morphine for the pain."
"What else? What else have you given me?"
"Nothing." She glances again at the emergency button. "The doctor is coming. Try to stay calm or he'll have to sedate you."
She's out of the door and won't come back. As it swings closed I notice a uniformed policeman sitting on a chair outside the door, with his legs stretched out like he's been there for a while.
I slump back in bed, smelling bandages and dried blood. Holding up my hand I look at the gauze bandage, trying to wiggle the missing finger. How can I not remember?
For me there has never been such a thing as forgetting, nothing is hazy or vague or frayed at the edges. I hoard memories like a miser counts his gold. Every scrap of a moment is kept as long as it has some value.
I don't see things photographically. Instead I make connections, spinning them together like a spider weaving a web, threading one strand into the next. That's why I can reach back and pluck details of criminal cases from five, ten, fifteen years ago and remember them as if they happened only yesterday. Names, dates, places, witnesses, perpetrators, victims--I can conjure them up and walk through the same streets, have the same conversations, hear the same lies.
Now for the first time I've forgotten something truly important. I can't remember what happened and how I finished up here. There is a black hole in my mind like a dark shadow on a chest X-ray. I've seen those shadows. I lost my first wife to cancer. Black holes suck everything into them. Not even light can escape.
Twenty minutes go by and then Dr. Bennett sweeps through the curtains. He's wearing jeans and a bow tie under his white coat.
"Detective Inspector Ruiz, welcome back to the land of the living and high taxation." He sounds very public school and has one of those foppish Hugh Grant fringe haircuts that falls across his forehead like a dinner napkin on a thigh.
Shining a penlight in my eyes, he asks, "Can you wiggle your toes?"
"Yes."
"Any pins and needles?"
"No."
He pulls back the bedclothes and scrapes a key along the sole of my right foot. ... --This text refers to an out of print or unavailable edition of this title.
![Lost (Joe O'Loughlin Book 2) by [Michael Robotham]](https://m.media-amazon.com/images/I/51ynDwMVh0L._SY346_.jpg)
