Richard Montanari: Kiss Of Evil

Elton, like the others, is a music-industry executive, specifically, an entertainment lawyer. He had wanted to go to a motel, even though his wife-whom he freely admitted existed, whom he freely confessed understood him not-was out of town. But Tina had insisted that they go to his house. By the time they were in the elevator, heading to the nightclub’s parking lot, and Tina had managed to unzip Elton’s fly and slip her hand inside for a quick pas de deux, Elton was convinced.

But now, in his well-appointed rec room, at just after midnight, Elton Merryweather is baby-naked, save for his knee-high executive black hose, and snoring like a Louisiana sawmill.

Tina steps over to the couch, slips out of her dress. She reaches behind her, unsnaps her bra, sits down on the couch next to Elton, crosses her legs. She puts Elton’s fleshy pink arm around her, looks away from the lens. Ten seconds go by. Twenty. Thirty. Elton stirs, Tina’s muscles go rigid. She is sure he has ingested enough of the drug to topple a moose. He raises his arm for a moment, as if to make a point, then drops it, his wrist brushing her right breast. Despite herself, her nipple stiffens. She looks at the top of his head and, in this light, sees the seam. It is a rug. Then she looks at the camera.

Come on, come on.

She is just about to get up when the flash pops. The burst of light rousts Elton, but before he can move, Tina slips out from under his arm, sets the timer again-this time for twenty seconds-and sits back down.

Whoosh goes the flash, and Tina’s work is done.

Within moments she has her dress on. She checks the LCD screen on the camera. Perfect. In both photographs you can clearly see Elton’s naked body, his face. Her face is turned away from the lens, of course, but her breasts and legs are visible. As is the glass crack pipe she placed in Elton’s hand. She is tempted to turn on the lights over the bar and see how good her body really does look, but she resists.

God she was vain.

It would be her downfall yet.

She checks her bag, making sure she has everything. The Rolex and the ring, along with the pair of diamond tennis bracelets she found in the upstairs bedroom. Expensive little baubles she is certain Elton is going to have a devil of a time replacing by the time Tiffany or Ashley or Courtney or whatever the hell her name is gets back.

Tina retrieves her champagne glass, dropping it in her bag, along with the crack pipe.

Number thirteen.

Done… yes?

She reaches into her shoulder bag, removes her small Pentax portable printer, prints off a copy of one of the photos. Handling it by the edges, she places the picture on Elton Merryweather’s lap, then makes another quick scan of the room.

Number thirteen. Yes.

Done.

It is just after midnight and I am standing in the shadows of a vacant lot on the west side of East Fortieth Street, my heart jackhammering in my chest. There are no streetlights for three blocks in each direction. There is no traffic, no commerce. Across from me sits the Reginald Building, a slanty, clapboard hovel that once housed Weeza’s Corner Cafe, a rib-and-shoulder-sandwich joint. Before that, the Shante House of Style.

Now it is long-forsaken, save for the woman standing in the deep violet darkness of the doorway, a little girl punished, her feet spread slightly apart, her shoulders hunched against the chill. In the moonlight that slices through the tortured trees along East Fortieth Street I can see the ivory glow of her calves, her thighs.

I am dressed in a black suede duster, black jeans, no shirt, boots.

I cross the street, silently, and step up behind her.

She is wearing a leather motorcycle jacket, studded and zippered, a short white cheerleader skirt with accordion pleats, high white heels. She is thirty, blond, petite, fit. Within moments I am fully erect again.

I pull down my zipper and free myself as I lift the back of her skirt and tuck it into her waistband. She is violently trembling with anticipation, softly crying with the deep degradation of this moment. But despite her penitence, despite the chill in the air, I can see the glistening rivulet of fluid trickling down her leg. Without a word I trace my finger up her inner thigh, taste her brine. I then take a fistful of her hair in my right hand and slip my left hand around her waist, under the front of her skirt, to the warm oasis of her abdomen. I step closer, and enter her slowly.

She bites her hand as I fill her, the tears flowing freely now. My face is inches away from hers. I can see her in profile: a child’s nose, a small cleft in her chin, long lashes.

She pushes against me, hard, increasing the rhythm, allowing me ever deeper, her descent now complete. I pull her jacket off roughly and put my full weight against her, pressing her smooth white breasts against the filth of decades of grime.

In my hand now: a single-edged razor blade. Without warning, I scratch a very shallow inch-long cut between her shoulders-quickly, sparing her any undue suffering. Her body becomes rigid for a moment as the tip of the razor slides across her flesh. But I can smell the alcohol on her vaporous breath and know that she has medicated herself against all manner of fear. She will accept this level of pain, it seems.

And so I continue, my much-practiced hand engaged, for the first time, in marking a human being.

I drop the blade, pull her close, blotting her blood with my chest. I bury myself deep inside her and, within moments, I feel the electricity building, and know that she is coming.

A soft snow begins to whisper down as she embraces the throes of her orgasm, submitting to the dirtiest realities of her darkest fantasy fulfilled. She plants her hands firmly on the door and pushes back into me with all her strength.

I reach over my left shoulder and remove the much bigger blade from the scabbard strapped to my back as the woman comes in a long steady flow, spiraling her warmth around her legs onto the frozen ground, shedding her final tears.

The machete flutters above us: a saber-sharp wing in the moonlight.

Then, like a sleek silver peregrine, it descends.

It is four days until Christmas, and Public Square is sparkling with displays, robust with early-morning commuters. This year, the city-center quadrant is decked with strands of silver garland, dotted with white and gold lights. The streetlamps have been refitted to look like gas lamps. This season’s theme: A Dickens Christmas in Cleveland.

Yet homicide detective John Salvatore Paris knows that there is no amount of candlepower that can begin to illuminate the dark corners of his heart, the lightless chambers of his memory. It is the third Christmas since his divorce, the third time he has shopped alone, celebrated alone, wrapped his daughter’s gifts alone-absolutely certain he had purchased the queerest, goofiest, hokiest presents an eleven-year-old girl could imagine. Sure, the therapist said that the average healing time for these things is two years or so, but it was common knowledge that therapists don’t know what the fuck they’re talking about. It was three full years and still his heart sank with every carol, every clang of the Salvation Army bell, every rum-pum-pum-pum.

How had it all slipped away? Hadn’t he been certain that all his Christmases and birthdays and Thanksgiving dinners, for the rest of his life, were guaranteed to be joyous?

As the light turns green at Euclid Avenue and East Fourth Street, Jack Paris edges forward, realizing the answer to that question is a heart-clamping no. Then, as always, the other realizations begin to scrimmage in his mind: he is on the Centrum Silver side of forty, he lives with a Jack Russell terrier named Manfred in a crumbling walk-up on Carnegie, and he cannot remember the last time he walked down the street without his 9 mm, without looking over his shoulder every ten seconds.