THE LOST

A faux kidnapping unleashes a cascade of all-too-real felonies for Chicago dog trainer Mason “Mace” Reid; his girlfriend, Detective Kippy Gimm; and his canine charges.

Financier Kenneth J. Druckman’s reputed to be one of the wealthiest residents of tony Glencoe. When Belgian investor Audrick Verlinden confronts him with evidence that he’s been running a Ponzi scheme and demands recompense, however, Druckman faces ruin. Desperate, he stages the abduction of Eleanor, his 5-year-old daughter, so that he can explain his sudden losses by paying himself a stratospheric ransom. Things immediately go wrong, leaving Druckman’s wife, former supermodel Calley Kurtz Druckman, bashed to death and Vira, Mace’s golden retriever, making a beeline from the place where her body was dumped back to Druckman’s house. That’s as good as a signed confession for Mace and Kippy. But their certainty that Druckman killed his wife and arranged his daughter’s kidnapping takes them only as far as the moneyman’s own corpse, for he’s soon executed by a recently imported Russian assassin. Now that their presumptive suspect is dead, Mace and Kippy can concentrate on the other people who are interested in getting possession of Eleanor Druckman—and that’s an awful lot of people. Burton litters his opening movement with so many glimpses into the scheme’s not particularly complicated backstory that the biggest mystery is what day of the week it is. Once he commits his tale to the present tense, things move along much more smartly until the mind-bogglingly gratuitous final outrage.

Next time: fewer bad actors, fewer flashbacks, more dogs.