Sue Grafton - B Is For Burglar

Marty was wheezing. "You shot me, you fool." Her voice was hoarse.

Leonard's gaze shifted to her with dumb amazement.

I stepped back. The slug had caught her in the side; not a fatal wound but one that had taught her a little respect. She was on her knees, clutching at herself. She hurt and she made little mews of outrage and pain.

I was winded, still heaving for air, but I felt the strange exhilaration of victory. I had almost killed her. I'd been seconds away from converting her live body to a quite corpselike state. Leonard couldn't shoot straight, so he'd felled her himself, thus spoiling the fun, but the battle had been mine. I wanted to laugh, until I caught the look on his face.

The craziness that had consumed me for the last few minutes drained away, and I realized my troubles were starting all over again. I was dead on my feet. Somehow, I'd taken a. blow right across the mouth and I was tasting blood. I felt gingerly to see if a tooth was broken, but everything seemed to be intact. It was a dumb time to worry about the possibility of a cap, but that's what I did.

I was trying to pay attention, but it was very hard. I had this weird desire to grovel around on the floor with Marty, the two of us snuffling like wounded animals looking for a way to crawl off and hide. I would have to go after Leonard soon. Already too much time had passed, and I knew I was losing ground.

He was staring at me without expression. I didn't know how to read him anyway.

"Come on, Leonard. Let's pack it in."

He said nothing. I tried to keep my tone conversational, as if I spent part of every day talking guys out of shooting me dead.

"I'm tired and it's late. Let's go home. She needs help."

Wrong move. Marty seemed to rouse herself, focusing on him. She didn't represent any kind of threat at this point, but he was teetering on the brink, maybe testing, as I had, the odd new sensation that death-dealing brought.

"Shoot the bitch," she gasped at him. "Shoot!"

I used every last ounce of strength I had, pulling myself together. He fired at me as I moved forward, but by then I was carried along by my own momentum. I yelled, "No!" and kicked him in the kneecap so hard I heard it crack. He dropped, warbling with pain like some kind of weird songbird. The gun skittered off across the floor. I thought Marty would try for it, but she only stared, making no move at all as I bent to retrieve it. I released the cylinder and popped it out. There were four more live rounds in the chamber. I snapped it back and made sure the safety was off, turning so that I could keep them both in my line of fire. Leonard was sitting up now, rocking back and forth. He looked at me with momentary venom.

I extended the gun, aiming at his face. "I'll kill your ass if you move, Leonard. I've had a lot of practice of late and I'll drill you right between the eyes."

Marty started to cry. It was an odd sound, like an infant with colic. Leonard leaned over and put his arm around her protectively.

In that moment, I wished there was someone to comfort me. My left arm was hanging like a piece of wood with a loose connecting pin. I glanced down and saw blood spreading out across my sleeve from a rip the size of a pea. The sucker shot me, I thought with astonishment. I steadied the gun in my good hand and started yelling for help. It was May Snyder who finally heard me and called the cops.

I've been in the hospital now for two days with my left arm in a cast. There's an orthopedist coming in this afternoon to assess the X rays and figure out what kind of rehabilitation I'll need once I get out of here. I've talked to Julia Ochsner by phone and she's invited me to recuperate at her place down in Florida. She promises sunshine and rest, but I suspect she sees it as a chance to set me up as a fourth for bridge. My final bill came to $1,987.35 but she says she won't pay me until I arrive on her doorstep. You gotta watch out for little old ladies-they're tough-which is more than I can say for myself. I hurt just about every place there is. I look in the mirror and I see someone else's face: puffy mouth, bruised cheeks, the bridge of my nose looking flat. I'm feeling some other kind of pain as well and I don't know quite what that's made of. I'm closing the file, but the story's not* over yet. We'll have to wait and see what the courts do now, and I've learned to be cautious about that. In the meantime, I stare out the window at the palms and wonder how many times I'll dance with death before the orchestra packs it in for the night.

– Respectfully submitted, Kinsey Millhone

SUE GRAFTON has written novels, articles, short fiction, a screenplay, and numerous teleplays. She has also lectured on writing at colleges and conferences in Southern California and the Midwest. Her first mystery, 'A' IS FOR ALIBI, won an award from the Cloak and Clue Society of Wisconsin. 'B' IS FOR BURGLAR won both the Anthony and the Shamus awards for best novel of 1985, and 'C' IS FOR CORPSE won the Anthony Award for Best Novel in 1986. "The Parker Shotgun" won a Macavity Award from the Mystery Readers of America and an Anthony for Best Short Story of 1986. Grafton, who was born in Louisville, Kentucky, now lives in Southern California with her husband, Steven Humphrey.