by John Lutz
That afternoon Carver met Desoto for lunch in Orlando. The lieutenant was pleased but somber. He’d asked Carver to turn over a rock, and under it they’d found something nastier than either of them had expected. They were glad the rock was lifted and light was shining where there’d been darkness. Still, they’d seen what had been there, and that black knowledge saddened and somehow diminished them.
The restaurant was a tourist attraction that served fruit juice with everything, a noisy place. But Carver and Desoto had a booth in back, away from the sunburned travelers with their squabbling, impatient kids. Over coffee, Carver told Desoto the details of what had happened, as opposed to some of the information in the media.
Desoto moved his spoon in his coffee lazily, staring at the brown whirlpool in the cup.
“So she killed five men,” he said softly.
“The psychologists say only one,” Carver said. “Her father. Over and over again.”
“Psychologists would say that. It’s the way they think.”
“Yeah, more or less.”
“Raffy Ortiz. He’d find somebody like her. Use her. Makes you sick, eh, amigo?”
Carver said, “Seen the autopsy report on Sam Cusanelli?”
Desoto looked up, dark eyes vivid with interest. He didn’t have to say McGregor hadn’t phoned him. McGregor was a busy and important man these days and probably hadn’t had time.
“Your Uncle Sam died of a cerebral hemorrhage,” Carver said. “No sign of foul play. A natural death. His time.”
“His time . . .” Desoto repeated.
He sipped his coffee thoughtfully. Then he put down the cup and smiled, adjusted his cuffs.
Carver could see he felt better.
39
CARVER WENT TO VISIT Birdie at the old city jail on Magellan Avenue before her trial.
He’d been waiting fifteen minutes in a small, pale green room containing only a scarred oak table and three plain, straight-backed wooden chairs. There were no outside windows; the light came from frosted plastic panels in the drop ceiling. It was warm in the room, and lingering desperation was palpable. It was where prisoners usually met with their attorneys, where hope was nurtured or crushed.
The door opened and a matron led Birdie into the room.
Birdie was wearing a Day-Glo orange jumpsuit that was too large for her. Her red hair was skinned back in a ponytail held by a gray ribbon in a tight bow. She wasn’t wearing makeup and she might have passed for twelve years old. She smiled at Carver, glad to see him but not surprised. As if he were visiting her at summer camp, maybe brought her some cookies, and a flashlight so she could read under the covers at night. He planted his cane firmly and remained standing. Neither of them sat down at the table.
The matron, a buxom, middle-aged woman with a sad, kind face, ambled outside and stood at a thick glass window in the door, watching without seeming to stare. Quite a knack.
Carver looked at Birdie and wondered if she’d still have freckles when she was the age of the matron. Her guileless blue eyes had gotten years older in the past few weeks, but not at all wiser.
He plucked at her sleeve and said, “Some outfit for a princess.”
She looked puzzled. Probably didn’t recall what she’d said to him in Melanie Star’s bedroom.
Then she said, “Oh, I know what you mean. I been reading the papers. All about me.” She seemed perversely pleased by her publicity. Something in common with McGregor. It was more attention than she’d ever dreamed of receiving.
“They treating you all right in here?” Carver asked.
She shrugged her child’s narrow shoulders in the orange jumpsuit that was supposed to provide a good target if she escaped. “Yeah, I gotta say so.” She looked away, at a blank green wall, and then back. “There’s something I never told nobody.”
“Before you tell me or anyone else,” Carver cautioned her, “you better talk to your lawyer. You’re in deep trouble, Birdie.”
“No, it won’t matter if I tell you. And I want to, though I ain’t sure why.”
She waited, as if needing his assent.
He nodded.
“When they was dead I bent over and kissed them on the lips. Kinda to wish them peace wherever it was they were going. Know how come? ’Cause kisses go with death. Death is forever, and so’s a kiss, Mr. Carver.”
“I guess it is,” Carver said, “in a lot of ways.”
She stared at him. “You understand what I’m saying?”
“Part of it. That’s the best I can do.”
Birdie said, “Well, that’s all I can ask and more’n I got a right to expect. Listen, will you tell Linda Redmond I’m sorry I let her down? And like thank her for thinking about me, and tell her I’m thinking about her?”
“I’ll tell her,” Carver said.
“Thanks. It was unfinished business. Sometimes I think that’s the trouble with the world, too much unfinished business that can never really be worked out.” Something infinitely sad crossed her features. “It ain’t easy, is it, Mr. Carver?”
Carver said, “Hardly ever. For anyone.”
There she stood, victim and killer, child and adult, testimony to the complexity of life and the simplicity of death. Smiling brightly up at him now. Her blue eyes burned and there was a sheen of perspiration on her pale, smooth forehead.
Good Christ, what would they do to her? What would become of her?
Carver propped himself against the edge of the table and held both her small, cold hands in his. He bent down and gently placed his lips just below her hairline. She’d recently showered with the prison’s cheap perfumed soap and shampoo. Her hair smelled like lilacs.
He kissed her good-bye.
A Biography of John Lutz
John Lutz is one of the foremost voices in contemporary hard-boiled fiction.
First published in Alfred Hitchcock’s Mystery Magazine in 1966, Lutz has written dozens of novels and over 250 short stories in the last four decades. His earliest success came with the Alo Nudger series, set in his hometown of St. Louis. A meek private detective, Nudger swills antacid instead of whiskey, and his greatest nemesis is his run-down Volkswagen. In his offices, permeated by the smell of the downstairs donut shop, he spends his time clipping coupons and studying baseball trivia. Though not a tough guy, he gets results. Lutz continued the series through eleven novels and over a dozen short stories, one of which—“Ride the Lightning”—won an Edgar Award for best story in 1986.
Lutz’s next big success also came in 1986, when he published Tropical Heat, the first Fred Carver mystery. The ensuing series took Lutz into darker territory, as he invented an Orlando cop forced to retire by a bullet that permanently disabled his left knee. Hobbled by injury and cynicism, he begins a career as a private detective, following low-lifes and beautiful women all over sunny, deadly Florida. In ten years Lutz wrote ten Carver novels, among them Scorcher (1987), Bloodfire (1991), and Lightning (1996), and as a whole they form a gut-wrenching depiction of the underbelly of the Sunshine State. Meanwhile, he also wrote Dancing with the Dead (1992), in which a serial killer targets ballroom dancers.
In 1992 his novel SWF Seeks Same was adapted for the screen as Single White Female, starring Bridget Fonda and Jennifer Jason Leigh. His novel The Ex was made into an HBO film for which Lutz co-wrote the screenplay. In 2001 his book The Night Caller inaugurated a new series of novels about ex-NYPD cops who hunt serial killers on the streets of New York City, and with Darker Than Night (2004) he introduced Frank Quinn, whose own series has yielded five books, the most recent being Mister X (2010).
Lutz is a former president of the Mystery Writers of America, and his many awards include Shamus Awards for Kiss and “Ride the Lightning,” and lifetime achievement awards from the Short Mystery Fiction Society and the Private Eye Writers of America. He lives in St. Louis.
A two-year old Lutz, photographed in 1941. The photograph was taken by Lutz’s father, Jack Lutz, who was a local photographer out of downtown St. Louis.
> A young Lutz with his little brother, Jim, and sisters, Jacqui and Janie.
Lutz at ten years old, with his mother, Jane, grandmother, Kate, and brother, Jim. Lutz grew up in a sturdy brick city house that sat at an incline, halfway down a hill; according to Lutz, this made for optimal sledding during Missouri’s cold winters.
Lutz in his very first suit, purchased for his grade school graduation.
Lutz’s graduation photo from Southwest High School.
Lutz sitting on the front porch of the first house he and his wife, Barbara, ever owned. According to Lutz, the square footage rendered the house smaller than his last apartment; nevertheless it was an important milestone and tremendous relief—there was no one upstairs to abuse their stereos or bang on the floor (or to complain when they did the same).
On January 6, 1966, Lutz officially became a “professional writer” with his first story sale to Alfred Hitchcock’s Mystery Magazine. After the publication of his first story, Lutz quickly became a regular contributor to the magazine. Lutz has said that he enjoys writing, “as much as when I began. It’s a process that lives and grows.”
Lutz in St. Louis with his daughter Wendy.
Lutz in his home office in the early eighties. When asked about his discipline and writing practice, Lutz has said that “being a writer is like being a cop; you’re always on, even off duty.” In the late sixties and early seventies, he published four books and many celebrated short stories.
Lutz in the mid-eighties, crafting the first twists and turns in the Fred Carver series. Lutz published a Fred Carver novel nearly every year from 1986 to 1996, steadily building a cult following for the series. In his younger days, he wrote all of his fiction on an IBM Selectric typewriter nestled next to his most prized possession: a 1904 roll top desk.
A photo of Lutz’s Edgar Award, won in 1986 for his short story “Ride the Lightning.” This year was also the publication of Tropical Heat, the first novel in the Fred Carver series.
Lutz with his wife, Barbara, at a family celebration in 1990.
A photo of Lutz’s Lifetime Achievement Award, received from the Private Eye Writers of America (PWA) in 1995 for his inimitable stories and masterful contribution to the genre.
A photograph of Lutz celebrating his honorary degree with his wife, Barbara. In 2007, he was awarded a Doctor of Arts and Letters degree by the University of Missouri - St. Louis. In reflecting on the degree, Lutz said, in his characteristic wry humor, that it “establishes my bona fides as an absent-minded professor. It’s OK now to lose the car.”
Lutz enjoying a bright, warm day in Sarasota, Florida, where he and Barbara take respite from the cold, harsh winters of St. Louis.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook onscreen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.
This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.
copyright © 1988 by John Lutz
cover design by Kris Tobiassen
978-1-4532-1900-3
This edition published in 2011 by Open Road Integrated Media
180 Varick Street
New York, NY 10014
www.openroadmedia.com
Table of Contents
Cover
Title Page
Contents
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
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
A Biography of John Lutz
Copyright