Play a song for me…
Musicians are being murdered in New Orleans. But Arnie Watson apparently died by his own hand. When Tyler Anderson plays the saxophone he inherited from Arnie, a soldier and musician who died soon after his return, he believes he sees visions of his friend’s life—and death. He becomes convinced Arnie was murdered and that the instrument had something to do with whatever happened, and with whatever’s happening all over the city…
Tyler knows his theory sounds crazy to the police, so he approaches Danni Cafferty, hoping she and Michael Quinn will find out what the cops couldn’t. Or wouldn’t. After all, Cafferty and Quinn have become famous for solving unusual crimes.
They’re partners in their personal lives, too. Quinn’s a private investigator and Danni works with him. When they look into the case, they discover a secret lover of Arnie’s and a history of jealousies and old hatreds that leads them back to the band Arnie once played with—and Tyler plays with now.
They discover that sometimes, for some people, the line between passion and obsession is hard to draw. Only in uncovering the truth can they hope to save others—and themselves—from the deadly hands of a killer.
Also by HEATHER GRAHAM
THE BETRAYED
THE HEXED
THE CURSED
WAKING THE DEAD
THE NIGHT IS FOREVER
THE NIGHT IS ALIVE
THE NIGHT IS WATCHING
LET THE DEAD SLEEP
THE UNINVITED
THE UNSPOKEN
THE UNHOLY
THE UNSEEN
AN ANGEL FOR CHRISTMAS
THE EVIL INSIDE
SACRED EVIL
HEART OF EVIL
PHANTOM EVIL
NIGHT OF THE VAMPIRES
THE KEEPERS
GHOST MOON
GHOST NIGHT
GHOST SHADOW
THE KILLING EDGE
NIGHT OF THE WOLVES
HOME IN TIME FOR CHRISTMAS
UNHALLOWED GROUND
DUST TO DUST
NIGHTWALKER
DEADLY GIFT
DEADLY HARVEST
DEADLY NIGHT
THE DEATH DEALER
THE LAST NOEL
THE SÉANCE
BLOOD RED
THE DEAD ROOM
KISS OF DARKNESS
THE VISION
THE ISLAND
GHOST WALK
KILLING KELLY
THE PRESENCE
DEAD ON THE DANCE FLOOR
PICTURE ME DEAD
HAUNTED
HURRICANE BAY
A SEASON OF MIRACLES
NIGHT OF THE BLACKBIRD
NEVER SLEEP WITH STRANGERS
EYES OF FIRE
SLOW BURN
NIGHT HEAT
* * * * *
Look for Heather Graham’s next novel
THE SILENCED
available soon from MIRA Books
THE
DEAD
PLAY ON
Heather Graham
Dedicated to our men and women in the military, past and present.
And to the USO and International Thriller Writers—especially Sloan D Gibson and John Hanson of the USO, Tom Davin and Chris Schneider of 5.11 Tactical and Kim Howe of ITW.
To those who work at Walter Reed, the hospitals and bases in Kuwait, Ramstadt and Mildenhall.
And to Kathleen Antrim, Harlan Coben, Phil Margulies and F. Paul Wilson—with whom I shared one of the most amazing experiences of my life, a USO tour to visit our servicemen and women.
We can never thank those who serve—who risk everything—enough.
Contents
Prologue
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Epilogue
Excerpt
Prologue
TYLER ANDERSON KNEW the band’s set list; hell, he’d been playing with the B-Street Bombers for years. They could change things up when they wanted, but it was a Wednesday night, and most Wednesday nights they just kept to the list. They played hard, and they played well, but the weekends tended to be way crazier, with bachelor parties, conventions and the crowds—mainly tourists—that thronged the French Quarter. Wednesdays they did their most popular songs, cover songs by Journey, the Beatles, the Killers and other older songs, along with some newer hits that had made the Top 40 list.
And then something happened.
He picked up his sax—his beloved saxophone, his one precious memento from his friend Arnie Watson.
Arnie was dead and buried now. He’d survived three tours in Afghanistan, only to come home and die of a drug overdose. Arnie’s brokenhearted mother had insisted that Tyler take his saxophone. After all, they’d learned to play together on the sometimes mean streets of New Orleans, working their way up over the years from dollars tossed in their instrument cases to playing scheduled dates in real clubs.
And so Tyler had decided that he could keep his friend close by playing the sax.
But when he picked it up that night, something—he didn’t know what—happened.
They were supposed to go into Lady Gaga’s “Edge of Glory,” but he didn’t give anyone a chance to begin. He was suddenly playing—and he didn’t know why. He wasn’t even sure he knew what he was playing.
And then he did.
Out of nowhere, he realized, he’d started playing The Call’s “I Still Believe,” which had enjoyed a moment of glory in the vampire film The Lost Boys. It was a good song—a great song for a sax player, with a challenging arrangement. Arnie had loved to play it.
But he had never played the song himself. Didn’t know it.
But he did now. It was as if the damned sax was playing itself.
And as he played, Tyler felt as if the room was drifting away in a strange fog. And suddenly he was seeing things that Arnie might have seen. Sand and mountains and withered shrubs. He heard explosions and men shouting. There was blood.
But...
Arnie had returned from Afghanistan. He’d gone “down range” from his base in Kuwait three times, but he’d come back.
Then the sounds of the explosions dimmed and he saw a New Orleans street.
Rampart Street.
Where Arnie had died.
They’d estimated his time of death at about 5:00 a.m. There should still have been a few people about. Rampart was the edge of the Quarter; Treme was across the street, and while not the best part of town, it had been all right since the summer of storms and the television series. Yeah, there should have been plenty of people around. While a certain song might claim that New York was the city that never slept, everyone knew that title really belonged to New Orleans.
In the wake of his vision, Tyler felt as if he were being physically assaulted, and he found himself gripping the sax as he played as if it were his lifeline. And as he played, the club began to fade again.
He felt as if he were with his old childhood friend, wa
lking down Rampart. They knew it well, having grown up in the Treme area. Not far from St. Louis #1. And churches! Hell, there were churches everywhere around here.
But Arnie was scared, and Tyler could feel it.
Arnie started to run.
It was the oddest damned thing. Tyler could vaguely see reality—the crowd in the Bourbon Street bar. And he could see somewhere else deep in his mind, where Arnie was. It was almost as if he were Arnie.
Beneath the sound of the music he heard a rumble...and a whisper.
“You’re dead, buddy. You’re dead.”
Cold. Cold filled him. Cold like...death.
Then, suddenly, he wasn’t playing anymore. The night was alive with the sound of applause. He blinked—and he was back at La Porte Rouge. His fellow band members were staring at him as if he’d turned pink.
The room was full, and people were pushing one another, trying to get a better look at what was going on. Jessica Tate, one of the waitresses and a good friend, was staring at him as if he’d just changed water into wine, and Eric Lyons, the head bartender, was clapping loudly and—most important—looking pleased, because happy people tended to tip better. His performance had been good for business, Tyler realized.
He lowered his head, lifted the sax and waved to the crowd. And then, with his bandmates Gus, Blake and Shamus looking on, he turned and left the stage—ran from the stage. He had to get out. He had to get the hell out of there.
He ran down Bourbon to the first crossroad and headed toward Rampart. He made a right and came to the place where they’d found Arnie.
The needle still in his arm.
He fell against the wall of an appliance store and sank down, tears in his eyes.
Arnie hadn’t been a junkie. Arnie hadn’t even smoked weed. He’d been doing some heavy drinking since he’d come home, but that was all. His kneecap still pained him from the shrapnel he’d taken on his third tour.
Arnie’s death had been hard—so hard—on everyone. The cops had been sorry, but Tyler had seen the look in their eyes when they’d talked to Arnie’s mother. They’d seen it before when vets came home. They survived bullets and bombs and land mines, but then, away from the war zone, they were unable to adjust. Maybe they lived with too many nightmares. Whatever the reason, the result was that their bodies might have returned, but their minds had been permanently damaged and never came home from the war. They had all tried to assure his mother that Arnie had been a good man. That he hadn’t really been a junkie but had only used the heroin to enter a dream world where he could forget his pain—and then the dream had taken him on to eternal peace.
Tyler sat against the wall, the tears still glistening in his eyes. He slammed his fist against the ground. He cried out loud, sobbing for long minutes. He looked at the sax he was still holding.
And then he knew—somehow, he just knew.
Arnie hadn’t ridden any dream into eternal peace.
He’d been murdered. And whatever the hell it took to prove it, Tyler was going to see that his friend got justice.
Chapter 1
MICHAEL QUINN PARKED his car on the street in the Irish Channel section of the city of New Orleans.
There were several police cars already parked in front of the 1920s-era duplex to which he’d been summoned.
He headed up a flight of steep steps. The door to “A” stood open; an officer in uniform waited just outside on the porch.
“Quinn?” the man asked.
Quinn nodded. He didn’t know the young officer, but the officer seemed to know him. He had to admit, being recognized was kind of nice.
“He’s been waiting for you, but he wants gloves and booties on everyone who goes in. There’s a set over there.” He pointed.
“Thanks,” Quinn said. He looked in the direction the officer indicated and saw a comfortable-looking but slightly rusted porch chair on the far side of the door. He slid on the protective gloves and paper booties.
“You’re good to go,” the officer said.
Quinn thanked him again then entered a pleasant living area that stretched back to an open kitchen. The duplex had been built along the lines of a “shotgun”-style house. It was essentially a railroad apartment; the right side of the room was a hallway that stretched all the way to the back door, with rooms opening off it on the left. He’d never been inside this particular building, but he’d seen enough similar houses to assume the second half of the duplex would be a mirror image, hallway on the left, rooms opening off to the right.
Crime scene markers already littered the floor, and several members of the crime scene unit were at work, carefully moving around the body.
Quinn noticed that one marker denoted the position of a beer can. Another, the contents of a spilled ashtray.
A third indicated a curious splotch of blood.
In the midst of everything, in a plump armchair with padded wooden arms and a pool of dried blood underneath it, was the reason for Quinn’s presence. Dr. Ron Hubert, the medical examiner, was down on one knee in front of the chair, his black medical bag at his side, performing the preliminary work on the victim.
The remnants of what had once been a man sagged against the cushions. His throat had—at the end of the killer’s torture spree—been slit ear to ear. A gag—created from a belt and what had probably been the man’s own socks—remained strapped around the mouth. A drapery cord bound his left wrist, while the right had been tied to the chair with a lamp cord.
Both of the victim’s arms had been burned—with lit cigarettes, Quinn thought. The man’s face had been so bashed in, it wasn’t possible to determine much about what he had looked like in life.
He had been struck savagely, making it look like a rage killing. But a rage killing was usually personal. The addition of torture suggested that the killer was mentally deranged, someone who reveled in what he was doing—and had probably done it before.
And torture wasn’t carried out in a red haze of fury.
“Come around and stick close to the wall, Quinn,” Detective Jake Larue said. He was standing behind the couch, his ever-present notepad in hand, slowly looking around the room as the crime scene techs carefully went through it and the ME examined the corpse. Quinn was surprised at Larue’s directive; the detective knew damned well that Quinn was aware he needed to avoid contaminating the scene.
But this kind of scene unnerved everyone—even a jaded pro like Larue. Most cops agreed that when crime scenes stopped bothering you, it was time to seek new work.
Quinn looked at the walls as he walked around to Larue’s position. He noted a number of photographs of musicians on display. He thought he recognized some of the people in them, although he would have to take some time to remember just who they were.
“What the hell took you so long?” Larue asked.
Quinn could have told him that he’d made it to the house in less than ten minutes once Larue had called him, but it wouldn’t have meant anything at the moment. Frankly, after quickly scanning just the living area, he was wondering why he’d been called. The place was equipped with a large-screen television and a state-of-the-art sound system, so presumably the dead man had had money. There was drug paraphernalia on the coffee table to the side of the couch. A bag of what he presumed to be weed lay out in the open. Glancing toward the kitchen counter, he saw an impressive array of alcohol.
People didn’t tend to get stoned on grass and suddenly turn violent, but they were known to become killer agitated after enough bourbon or absinthe. Was this the result of escalating tensions between associates in the drug trade? There was a wad of twenties lying on the table by the bag of weed—which, he saw on closer inspection, looked to have been tossed carelessly on top of a spill of white powder that he didn’t think would prove to be baking soda or talc.
Drug deal gone bad? Someone holding
out on someone?
“Were you first on scene?” Quinn asked, reaching Larue’s side. The detective stood still. Quinn knew he was taking in the room—everything about it.
Larue was a good-looking man with short-cropped hair. His face was a character study—the lines drawn into his features clearly portrayed the complexity of his work and the seriousness with which he faced it. He’d been a damned good partner when they’d worked together, and now that Quinn had been out of the force for several years and worked in the private sector as a PI, they got along just as well together when Larue called him in as a consultant. Even when they’d been partners, Larue had never really wanted to know how Quinn came up with his theories and conclusions. What he didn’t know meant he couldn’t question Quinn’s credibility or his methods.
Larue gave him a questioning glance. “First on the scene were two patrol officers. Since it was pretty evident this man was dead and most likely Lawrence Barrett, who’s lived at this address for several years, they steered clear of him and did their best to check the premises for the killer without touching anything. Then I arrived. Damned ugly, right? And no sign of a clear motive. It looks like drugs were involved, but you and I both know looks can be deceiving. It’s about as ugly as anything I’ve ever seen, though.”
It was possible to learn a lot about murder—and murderers. But no amount of profiling killers, studying the human mind—or even learning from those who had committed horrendous crimes and been caught—could fully prepare anyone, even those in law enforcement, for the next killer he or she might encounter.
“Ugly and brutal,” Quinn agreed.
“What do you see?” Larue asked him.
“A dead man and a hell of a lot of liquor and drugs—not to mention a fat wad of money,” Quinn said. “Doesn’t look like the motive was robbery—or not a typical robbery, anyway. You have a tortured dead man. Hard to discern, given the extent of the damage, but he appears to be in his late twenties to early thirties. Caucasian, say six-foot even and two hundred pounds. From the bleeding, looks like death came from a slit throat, with the facial beating coming post-mortem. Not a lot of blood spray—blood soaked into his clothing and pooled at his feet, but there is that spot on the floor near the entrance. There’s no sign of forced entry, so it’s my best guess he answered the door and let his killer in—which suggests that he knew his attacker or at least expected him. I doubt it was a drug buy, since so many drugs are still here. He lets whoever in. Whatever social discourse they engage in takes place there—four or five feet in. The attacker most likely disables his victim with a blow to the head, maybe even knocks him out. Dr. Hubert will have to determine what occurred, because the face and head are so swollen, I can’t tell. When the victim is knocked out or too hurt to put up a fight, the killer drags him into the chair and ties him to it. What seems odd to me is that the attacker did all this—but apparently came unprepared. Everything he used on the victim he seems to have found right here, in the house. And what happened wasn’t just violent, it was overkill.”
-->
The Dead Play On Page 1