Lawrence Block - Hope to Die

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Hope to Die: краткое содержание, описание и аннотация

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Unlicensed PI Matthew Scudder returns after a three-year absence to investigate the murder of a wealthy couple savagely slain in their Manhattan townhouse. Matt's now 62, and his age shows in this relatively sedate outing. There's less violence than in many cases past, and the urban melancholy that pervaded his earlier tales has dissipated, replaced by a mature reckoning with the unending cycle of life and death. The mystery elements are strong. To the cops, the case is open-and-shut: the perps have been found dead, murder/suicide, in Brooklyn, with loot from the townhouse in their possession. Matt enters the scene when his assistant, TJ, introduces him to the cousin of the dead couple's daughter; the cousin suspects the daughter of having engineered the killings for the inheritance. At loose ends, Matt digs in, quickly rejecting the daughter as a suspect but uncovering evidence pointing to a mastermind behind the murders. Block sounds numerous obligatory notes from Scudder tales past the AA meetings, the tithing of Matt's income, cameo appearances by Matt's love interest, Elaine, and his friend, Irish mobster Mick Ballou and he adds texture with some familial drama involving Matt's sons and ex-wife. His prose is as smooth as aged whiskey, as always, and the story flows across its pages. It lacks the visceral edge and heightened emotion of many previous Scudders, however, and the ending seems patly aimed at a sequel. This is a solid mystery, a fine Block, but less than exceptional. (Nov.)Forecast: All Blocks sell and Scudder's return will do particularly well, especially with the attendant major ad/promo, including a 17-city author tour.

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You'd think he'd be in a hurry to get out of there, but you'd be wrong. He's pleased with himself, exhilarated by how well it went with Bierman. First thing he does is put on Bierman's shirt and pants. It might be messy later on, in fact he'll want to make sure it's messy later on, and wearing Bierman's clothes serves a double purpose, keeping his own clothes clean and providing some solid physical evidence for the cops. He leaves his own clothes in Bierman's closet, where they'll be handy later on.

If Bierman's body is discovered before he can get back to the apartment, well, that'll be inconvenient, but nobody's going to look twice at his clothes in Bierman's closet. They'll look twice, or even three times, at the body in the corner, an obvious suicide, you'd think, but what happened to the gun? Maybe they'd decide it wasn't suicide, maybe they'd figure someone else wandered in, found Bierman dead, and walked off with the gun.

But the odds are nobody's going to find the body. He'll be back in a matter of hours, and then he'll be ready to return the gun to Bierman's hand.

Until then, though, he has a use for it.

But first he has that bolt he bought earlier, and a drill or an awl to make holes for the screws, and a screwdriver. It doesn't take him long to mount the bolt, and when he's finished he takes his tools with him and walks out the door, leaving the bolt unfastened and locking the door with the key- he's got Bierman's keys now, and he's wearing Bierman's shirt and jeans, and no neighbor's going to give him a second glance.

Then, as arranged, he goes to meet Ivanko.

Ivanko has never met Bierman, doesn't know Bierman exists. Ivanko knows he and his friend are going to pull a job, and there's money in it, and an opportunity to have some fun.

The friend, the third man, drives. He has a car, although he may tell Ivanko it's stolen. He drives, and finds a place to park.

He has a key to the house on West Seventy-fourth Street. As soon as he's inside he opens the closet door, where he keys in the code to deactivate the burglar alarm. They go through the house, and he guides Ivanko, tells him where to look, what to take. Meanwhile he holds the pillowcases so Ivanko can drop in the loot. That way he's not touching anything, not leaving his prints anywhere. He encourages Ivanko to be messy, dumping drawers, pawing through their contents, because he doesn't mind if Ivanko leaves prints here and there. But Ivanko's not entirely unprofessional, and may even be wearing surgical gloves. That's annoying, he'd like a print or two left behind, but for the time being it can't be helped.

Then they're done, and waiting for the Hollanders to return. Now he has to keep Ivanko eager to stick around for the last part. They've got two sacks of money and valuables, and Ivanko would have to feel the natural impulse to get out while the getting's good, to take the money (and jewelry and silver) and run.

She's pretty and she's hot-looking, he tells Ivanko, and you can have her and do anything you want to her. Anything you want, anything at all.

Knows what to tell him, knows how to keep him right at the end of his leash.

Then the Hollanders come home…

And it's really not that difficult. He killed earlier that day, killed Bierman, and that went just as smooth as silk. He didn't mind doing it again. Sort of looked forward to it, actually, had been looking forward to it all along. Nothing tricky this time, no gun in the mouth, no hand clamped over Hollander's hand, because this is supposed to look like what it is, a murder committed by burglars. And so he shoots Byrne Hollander twice in the chest. For insurance (and perhaps because he likes it, pulling the trigger, feeling the little gun buck in his hand) he fires a third round into Hollander's temple.

Smooth as silk, easy as pie.

And it's time to let Ivanko off his leash. Take the gloves off, he tells him. You want to feel everything, don't you? Wearing gloves, be as stupid as wearing a rubber. You don't think you're going to catch AIDS from her, do you? Nice respectable married lady?

Except Ivanko still doesn't leave prints, he's ripping cloth and grabbing skin, nothing that will take a print. Oh, he'll leave his DNA, but a set of prints would be so handy. If they knew who it was before they found the bodies…

Don't forget the best part, he says, and hands Ivanko the fireplace poker. Imagine it's burning hot, he says. Go ahead, he says, you know what you want to do.

And Ivanko takes the poker. It's metal, it ought to take a print.

And how'll he finish up? Shoot her? He'd reloaded after killing Bierman earlier, had a full clip when the Hollanders walked in, but he's used three bullets on Hollander and he'll need more when they get back to Brooklyn. He has a spare clip in the car, he could always reload, but how would that look?

Besides, Hollander hadn't bled much, and it would be good to have some blood now. Blood on him, blood on Ivanko.

He'd brought the knife from the kitchen, just in case. Wicked-looking thing. Let Ivanko do her? He'd probably enjoy it, the pervert. On the other hand, he'd probably fuck it up. You wanted something done right, you did it yourself. And he didn't mind doing it himself, might find it interesting, might even get, oh, not a thrill, but a certain sort of satisfaction out of it…

Done.

He'd had the presence of mind to pick up the three ejected cartridge cases while Ivanko was thrusting into the woman. Picked up Ivanko's gloves, too. Now what? Reset the burglar alarm? No, that made no sense. Just walk out the front door and pull it shut after you. Stroll off without a care in the world, two roommates looking for a coin laundry. Young men on the way up, putting in long hours, stuck with doing their wash in the middle of the night.

He drives to Brooklyn, while the woman's blood dries on his shirt and pants. He's careful not to get any on the upholstery, and hopes Ivanko exercises similar care.

Maybe he should have shot Ivanko and left him at the scene. Would have been easy, the way he was grunting and straining like an animal. He never would have seen it coming, could have died in the act. Wasn't that how men were always saying they wanted to go?

Shoot him and leave him and what message are you leaving? Bierman got disgusted and killed his partner? And then went all the way home and got depressed enough to kill himself? And, if you shoot Ivanko in the act, what do you do with the woman? Shoot her? Cut her throat? You were so disgusted with Bierman that you killed him to keep him from raping the woman, and then you were so disgusted with her that you cut her throat?

Better the way he'd done it, with the two of them driving to Brooklyn, where Ivanko knows there's a kindly old Jew waiting to pay them top dollar for the jewelry and sterling.

He gets there, he parks the car, he unlocks the door and ushers Ivanko inside. Does Ivanko wonder how come he has keys? No, because this is a friend's apartment, one he uses sometimes, and a handy place to sort their loot and divvy up the cash before they go to the fence's place, which is only a few blocks away.

They're inside, and he points Ivanko toward the bedroom. "Open a window," he says, steering him toward it, moving up behind him. Does Ivanko see Bierman's body out of the corner of his eye? Before he can turn, before he can do anything, there's a gun pressed against his back and two bullets fired into him.

And one more in his temple. How's that for symmetry?

The ejected cartridge casings roll around on the floor. They can stay wherever they wind up. No prints on them anyway. Should he press a finger of Bierman's to one of them? No, not worth the bother. He returns the gun to Bierman's hand, poses the stiffening Bierman just as he wants him.

Then, quickly, he returns to the kitchen, fastens the bolt he installed earlier. Strips off his shirt- Bierman's shirt, originally, and now Bierman's once more- and tosses it on the floor. Unbuttons Bierman's jeans, steps out of them, leaves them. The clothes smell of Bierman, the animal stink of his crotch and armpits, so they're probably swarming with his DNA, and wet with her blood. Perfect. Just perfect, nails the lid on tight.

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