Keller finishes his drink.
Two hours later Keller looks at the image of Iván Esparza on the big screen of the briefing room. Esparza wears a striped norteño shirt, jeans, and shades, and stands in front of a private jet.
“Iván Archivaldo Esparza,” Blair says. “Age thirty. Born in Culiacán, Sinaloa. Eldest son of the late Ignacio ‘Nacho’ Esparza, one of the three principal partners in the Sinaloa cartel. Iván has two younger brothers, Oviedo and Alfredo, in order of seniority, all in the family business.”
The picture changes to a bare-chested Iván standing on a boat with other motor yachts in the background.
“Iván is a classic example of the group that has come to be known as Los Hijos,” Blair says. “‘The Sons.’ Replete with norteño-cowboy wardrobe, oversize jewelry, gold chains, backward baseball caps, exotic boots and multiple cars—Maseratis, Ferraris, Lamborghinis. He even has the diamond-encrusted handguns. And he posts photos of all this on social media.”
Blair shows some images from Iván’s blog:
A gold-plated AK-47 on the console of a Maserati convertible.
Stacks of twenty-dollar bills.
Iván posing with two bikini-clad young women.
Another chica sitting in the front seat of a car with the name Esparza tattooed on her long left leg.
Sports cars, boats, jet skis, more guns.
Keller’s favorite photos are of Iván in a hooded jacket bending over a fully grown lion stretched out in front of a Ferrari, and then one with two lion cubs in the front seat. The scar on Iván’s face is barely visible, but the cheekbone is still a little flattened.
“Now that Barrera is confirmed dead,” Blair says, “Iván is next in line to take over. Not only is he Nacho’s son, he’s Adán’s brother-in-law. The Esparza wing of the cartel has billions of dollars, hundreds of soldiers and heavy political influence. But there are other candidates.”
A picture of an elegant woman comes on the screen.
“Elena Sánchez Barrera,” Blair says, “Adán’s sister, once ran his Baja plaza but retired years ago, yielding the territory to Iván. She has two sons: Rudolfo, who did time here in the US for cocaine trafficking, and Luis. Elena is reputed to be out of the drug business now, as are her two sons. Most of the family money is now invested in legitimate businesses, but both Rudolfo and Luis occasionally run with Los Hijos, and as Adán’s blood nephews, they have to be considered potential heirs to the throne.”
A photo of Ricardo Núñez comes up.
“Núñez has the wealth and the power to take over the cartel,” Blair says, “but he’s a natural born number two, born to stand behind the throne, not to sit in it. He’s a lawyer at heart, a cautious, persnickety legalist without the taste or tolerance for blood that a move for the top demands.”
Another picture of a young man goes up on the screen.
Keller recognizes Ric Núñez.
“Núñez has a son,” Blair says, “also Ricardo, twenty-five, with the ridiculous sobriquet of ‘Mini-Ric.’ He’s only on the list because he’s Barrera’s godson.”
More pictures go up of Mini-Ric.
Drinking beer.
Driving a Porsche.
Holding a monogrammed pistol.
Pulling a cheetah on a leash.
“Ric lacks his father’s seriousness,” Blair says. “He’s another Hijo, a playboy burning through money he never earned through his own sweat or blood. When he isn’t high, he’s drunk. He can’t control himself, never mind the cartel.”
Keller sees a photo of Ric and Iván drinking together, raising glasses in a toast to the camera. Their free hands are tossed over each other’s shoulders.
“Iván Esparza and Ric Núñez are best friends,” Blair says. “Iván is probably closer to Ric than to his own brothers. But Ric is a beta wolf in the pack that Iván leads. Iván is ambitious, Ric is almost antiambitious.”
Keller already knows all this, but he asked Blair to give a briefing to the DEA and Justice personnel in the wake of the discovery of Adán’s body. Denton Howard is in the front row—finally educating himself, Keller thinks.
“There are a few other Hijos,” Blair says. “Rubén Ascensión’s father, Tito, was Nacho Esparza’s bodyguard, but now has his own organization, the Jalisco cartel, which primarily makes its money from methamphetamine.
“This kid—”
He shows another picture of a young man—short black hair, black shirt, staring angrily into the camera.
“—Damien Tapia,” Blair says, “aka ‘The Young Wolf.’ Age twenty-two, son of the late Diego Tapia, another one of Adán’s former partners. Was a member of Los Hijos until his dad ran afoul of Barrera back in 2007, touching off a major civil war in the cartel, which Barrera won. Used to be very tight with Ric and Iván, but Damien doesn’t hang with them anymore, as he blames their fathers for his father’s killing.”
Los Hijos, Keller thinks, are sort of the Brat Pack of the Mexican drug trade, the third generation of traffickers. The first was Miguel Ángel Barrera—“M-1”—and his associates; the second was Adán Barrera, Nacho Esparza, Diego Tapia, and their various rivals and enemies—Heriberto Ochoa, Hugo Garza, Rafael Caro.
Now it’s Los Hijos.
But unlike the previous generation, Los Hijos never worked the poppy fields, never got their hands dirty in the soil or bloody in the wars that their fathers and uncles fought. They talk a good game, they wave around gold-plated pistols and AKs, but they’ve never walked the walk. Spoiled, entitled and vacuous, they think they’re just owed the money and the power. They have no idea what comes with it.
Iván Esparza’s assumption of power is at least ten years premature. He doesn’t have the maturity or experience required to run this thing. If he’s smart, he’ll use Ricardo Núñez as a sort of consigliere, but the word on Iván is that he’s not smart—he’s arrogant, short-tempered and showy, qualities that his buttoned-down father had only contempt for.
But the son is not the father.
“It’s a new day,” Keller says. “Barrera’s death didn’t slow down the flow for even a week. There’s more coming in now than ever. So there’s a continuity and stability there. The cartel is a corporation that lost its CEO. It still has a board of directors that will eventually appoint a new chief executive. Let’s make sure we’re privy to that conversation.”
He’s the image of his old man.
When Hugo Hidalgo walks through the door, it takes Keller back almost thirty years.
To СКАЧАТЬ