Right off the bat, we can tell in “Nighthawks” that the main character we follow – Bosch – is obsessed with this woman that writes at the museum. He details her daily schedule, he knows where she does or doesn’t look, how she interacts with other museum goers around her, etc. It doesn’t seem like that he missed anything about this mysterious woman. That is until he was caught off guard by her when she initiated a conversation, and called him out on following her. This was the first thing that caught me off guard in terms of Bosch’s reaction, as I was expecting him to deny it completely and leave the museum – instead, he stayed and talked with her, about her work, and why she came to the museum to stare at the painting Nighthawks, which she used to help focus her work.
The second surprising response from Bosch was when the setting changed to Reginald Griffin, a producer of several, award winning films. Griffin had hired Bosch to find the woman, his daughter, who we learn is named Angela. For unknown reasons (though it is implied that Griffin did something horrible when drunk in Maui), Angela ran away from her father and is essentially on the run. Bosch, during his debrief, lies to Griffin’s face, stating that he did not find the man’s daughter. He even gives him a hair sample from his own daughter to prove that the Woman in the Museum was not Griffin’s own daughter.
The finally unexpected response, however, was when he called Angela with a burner phone. Their conversation shed more light on the situation at hand, as well as adding implications to stories not fully explained. This, in and of itself, was not inherently surprising. What was, however, was Bosch saying he was going to keep the burner phone he used to call Angela. This came to a bit of a shock, since he barely knows the woman, and only had one written interaction with her. But both Bosch and Angela seemed to have left a mark on one another to stay in contact after this tense situation in both of their lives.