Devil's Waltz Part 67

A COLD HEART.

Available in hardcover

from Ballantine Books

CHAPTER 1.

The witness remembers it like this: Shortly after two A.M., Baby Boy Lee exits The Snake Pit through the rear alley fire door. The light fixture above the door is set up for two bulbs, but one is missing, and the illumination that trickles down onto the garbage-flecked asphalt is feeble and oblique, casting a grimy mustard-colored disc, perhaps three feet in diameter. Whether or not the missing bulb is intentional will remain conjecture.

It is Baby Boy's second and final break of the evening. His contract with the club calls for a pair of one-hour sets. Lee and the band have run over their first set by twenty-two minutes because of Baby Boy's extended guitar and harmonica solos. The audience, a nearly full house of 124, is thrilled. The Pit is a far cry from the venues Baby Boy played in his heyday, but he appears to be happy, too.

It has been a while since Baby Boy has taken the stage anywhere and played coherent blues. Audience members questioned later are unanimous: Never has the big man sounded better.

Baby Boy is said to have finally broken free of a host of addictions, but one habit remains: nicotine. He smokes three packs of Kools a day, taking deep-in-the-lung drags while on stage, and his guitars are notable for the black, lozenge-shaped burn marks that scar their lacquered wood finishes.

Tonight, though, Baby Boy has been uncommonly focused, rarely removing lit cigarettes from where he customarily jams them: just above the nut of his '62 Telecaster, wedged under the three highest strings.

So it is probably a tobacco itch that causes the singer to leap offstage the moment he plays his final note, flinging his bulk out the back door without a word to his band or anyone else. The bolt clicks behind him, but it is doubtful he notices.

The fiftieth Kool of the day is lit before Baby Boy reaches the alley. He is sucking in mentholated smoke as he steps in and out of the disc of dirty light.

The witness, such that he is, is certain that he caught a glimpse of Baby Boy's face in the light and that the big man was sweating. If that's true, perhaps the perspiration had nothing to do with anxiety but resulted from Baby Boy's obesity and the calories expended on his music: For eighty-three minutes he has been jumping and howling and swooning, caressing his guitar, bringing the crowd to a frenzy at set's end with a fiery, throat-ripping rendition of his signature song, a basic blues setup in the key of B-flat that witnesses the progression of Baby Boy's voice from an inaudible mumble to an anguished wail.

There's women that'll mess you

There's those that treat you nice

But I got me a woman with

A heart as cold as ice.

A cold heart,

A cold, cold heart

My baby's hot but she is cold

A cold heart,

A cold, cold heart

My baby's murdering my soul . . .

At this point, the details are unreliable. The witness is a hepat.i.tis-stricken, homeless man by the name of Linus Leopold Brophy, aged thirty-nine but looking sixty, who has no interest in the blues or any other type of music and who happens to be in the alley because he has been drinking Red Phoenix fortified wine all night and the Dumpster five yards east of the Snake Pit's back door provides shelter for him to sleep off his delerium tremens. Later, Brophy will consent to a blood alcohol test and will come up .24, three times the legal limit for driving, but according to Brophy "barely buzzed."

Brophy claims to have been drowsy but awake when the sound of the back door opening rouses him, and he sees a big man step out into the light and then fade to darkness. Brophy claims to recall the lit end of the man's cigarette glowing "like Halloween, you know-orange, s.h.i.+ny, real bright, know what I mean?" and admits that he seizes upon the idea of panhandling money from the smoker. ("Because the guy is fat, so I figure he had enough to eat, that's for sure, maybe he'll come across, know what I mean?") Linus Brophy struggles to his feet and approaches the big man.

Seconds later, someone else approaches the big man, arriving from the opposite direction-the mouth of the alley, at Lodi Place. Linus Brophy stops in his tracks, retreats into darkness, sits down next to the Dumpster.

The new arrival, a man, also good-sized, according to Brophy, though not as tall as Baby Boy Lee and maybe half of Baby Boy's width, walks right up to the singer and says something that sounds "friendly." Questioned about this characterization extensively, Brophy denies hearing any conversation but refuses to budge from his judgement of amiability. ("Like they were friends, you know? Standing there, friendly.") The orange glow of Baby Boy's cigarette lowers from mouth to waist level as he listens to the new arrival.

The new arrival says something else to Baby Boy and Baby Boy says something back.

The new arrival moves closer to Baby Boy. Now, the two men appear to be hugging.

The new arrival steps back, looks around, turns heel and leaves the alley the way he came.

Baby Boy Lee stands there alone.

His hand drops. The orange glow of the cigarette hits the ground, setting off sparks.

Baby Boy sways. Falls.

Linus Brophy stares, finally builds up the courage to approach the big man. Kneeling, he says, "Hey, man," receives no answer, reaches out and touches the convexity of Baby Boy's abdomen. He feels moisture on his hand and is repelled.

As a younger man, Brophy had a temper. He has spent half of his life in various county jails and state penitentiaries, saw things, did things. He knows the feel and the smell of fresh blood.

Stumbling to his feet, he lurches to the back door of the Snake Pit and tries to pull it open, but the door is locked. He knocks, no one answers.

The shortest way out of the alley means retracing the steps of the newcomer: walk out to Lodi Place, hook north to Fountain and find someone who'll listen.

Brophy has already wet his pants twice tonight-first while sleeping drunk and now, upon touching Baby Boy Lee's blood. Fear grips him and he heads the other way, tripping through the long block that takes him to the other end of the alley. Finding no one on the street at this hour, he makes his way to an all-night liquor store on the corner of Fountain and El Centro.

Once inside the store, Brophy shouts at the Lebanese clerk who sits reading behind a Plexigla.s.s window, the same man who one hour ago sold him three bottles of Red Phoenix. Brophy waves his arms, tries to get across what he has just seen. The clerk regards Brophy as exactly what he is-a babbling wino-and orders him to leave.

When Brophy begins pounding on the Plexigla.s.s, the clerk considers reaching for the nail-studded baseball bat he keeps beneath the counter. Sleepy and weary of confrontation, he dials 911.

Brophy leaves the liquor store and walks agitatedly up and down Fountain Avenue. When a squad car from Hollywood Division arrives, Officers Keith Montez and Cathy Ruggles a.s.sume Brophy is their problem and handcuff him immediately.

Somehow he manages to communicate with the Hollywood Blues and they drive their black and white to the mouth of the alley. High-intensity LAPD-issue flashlights bathe Baby Boy Lee's corpse in a heartless, white glare.

The big man's mouth gapes and his eyes are rolled back. His banana-yellow Stevie Ray Vaughan t-s.h.i.+rt is dyed crimson and a red pool has seeped beneath his corpse. Later, it will be ascertained that the killer gutted the big man with a cla.s.sic street-fighter's move: long-bladed knife thrust under the sternum followed by a single upward motion that slices through intestine and diaphragm and nicks the right ventricle of Baby Boy's already seriously enlarged heart.

Baby Boy is long past help and the cops don't even attempt it.

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The Murder Book

L.A. psychologist-detective Alex Delaware has received a strange, anonymous package in the mail. Inside is an alb.u.m filled with gruesome crime-scene photos. When his old friend and colleague, homicide detective Milo Sturgis, views the compendium of death, he is immediately shaken by one of the images: a young woman tortured, strangled, and dumped near a freeway ramp. The murder was one of Milo's first cases as a rookie homicide cop: a vicious killing that he failed to solve-and has haunted him ever since. Now, two decades later, someone has chosen to stir up the past. As Alex and Milo set out to uncover what really happened twenty years ago, their relentless investigation reaches deep into L.A.'s nerve centers of power and wealth-past and present. While peeling back layer after layer of ugly secrets, they discover that the murder of one forgotten girl has chilling ramifications that extend far beyond the tragic loss of a single life.

Flesh and Blood Lauren Teague is a beautiful, defiant, borderline delinquent teenager when her parents bring her to Dr. Alex Delaware's office. Lauren angrily resists Alex's help-and the psychologist is forced to chalk Lauren up as one of the inevitable failures of his profession. Years later, when Alex and Lauren come face-to-face in a shocking encounter, both doctor and patient are stricken with shame. But the ultimate horror takes place when, soon after, Lauren's brutalized corpse is found dumped in an alley. Alex disregards the advice of his trusted friend, LAPD detective Milo Sturgis, and jeopardizes his relations.h.i.+p with his longtime lover, Robin Castagna, in order to pursue Lauren's killer. As he investigates his young patient's troubled past, Alex enters the shadowy worlds of fringe psychological experimentation and the s.e.x industry-and then into mortal danger, when l.u.s.t and big money collide in an unforgiving Los Angeles.

Dr. Death A brutalized corpse discovered in a remote region of the Hollywood Hills plunges psychologist-detective Alex Delaware into a landscape of rage and madness as he struggles to solve this most baffling of homicides.

To some, Eldon Mate was evil personified. Others saw the former physician as a saint. But one thing was clear: Dr. Death had snuffed out the lives of dozens of human beings and now someone had turned him into a victim. When Mate is found mutilated in a rented van, harnessed to his own killing machine, Delaware is asked to aid his old friend, homicide cop Milo Sturgis, in the hunt for the death doctor's executioner. But Alex harbors secrets of his own that threaten to derail the partners' friends.h.i.+p as well as the increasingly complex investigation. With page-turning suspense and vivid portraits of L.A.'s darkest side, perennial bestseller Jonathan Kellerman's latest tale of psychopathology taken to the extreme delivers an unforgettable journey into the most sinister corners of the human mind.

Monster A second-rate actor is found mutilated in a car trunk. Then a psychologist at a Los Angeles hospital for the criminally insane is murdered in a similar grisly fas.h.i.+on. Suddenly the incoherent ramblings of an inmate at the presumably secure inst.i.tution begin to make chilling sense-they are, in fact, horrifying predictions. Yet how can a barely functional psychotic locked behind asylum walls possibly know such vivid details of crimes committed in the outside world? Drawn into a labyrinth of secrets, revenge, s.e.x, and manipulation, Dr. Alex Delaware and Detective Milo Sturgis set out to unlock this enigma and put an end to the brutal killings-before the madman predicts their own demise. . . .

Billy Straight A resourceful runaway alone in the wilds of Los Angeles, twelve-year-old Billy Straight suddenly witnesses a brutal stabbing in Griffith Park. Fleeing into the night, Billy cannot shake the horrific memory of the savage violence, nor the pursuit of a cold-blooded killer. For wherever Billy turns-from Hollywood Boulevard to the boardwalks of Venice-he is haunted by the chuck chuck sound of a knife sinking into flesh. As LAPD homicide detective Petra Connor desperately searches for the murderer, as the media swarms mercilessly around the story, the vicious madman stalks closer to his prey. Only Petra can save Billy. But it will take all her cunning to uncover a child lost in a fierce urban labyrinth-where a killer seems right at home. . . .

Devil's Waltz The daughter of a diplomat disappears on a school field trip-lured into the Santa Monica mountains and killed in cold blood. Her father denies the possibility of a political motive. There are no signs of struggle, no evidence of s.e.xual a.s.sault, leaving psychologist Alex Delaware and his friend LAPD homicide detective Milo Sturgis to pose the disturbing question: Why?

Working together with Daniel Sharavi, a brilliant Israeli police inspector, Delaware and Sturgis soon find themselves ensnared in one of the darkest, most menacing cases of their careers. And when death strikes again, it is Alex who must go undercover, alone, to expose an unthinkable conspiracy of self-righteous brutality and total contempt for human life.

The Clinic Professor Hope Devane's male-bas.h.i.+ng pop-psych bestseller created a storm of controversy on the talk-show circuit. Now she is dead, brutally slashed on a quiet street in one of L.A.'s safest neighborhoods. The LAPD's investigation has gone cold, and homicide detective Milo Sturgis turns to his friend Dr. Alex Delaware for a psychological profile of the victim-and a portrait of a killer.

Hope Devane had very different public and private faces. The killer could be any one of the millions who read her book, or someone from the personal life she kept so carefully separate. As Alex and Milo dig deeper into her shadowy past, they will set an elaborate trap for her killer . . . and reveal the unspeakable act that triggered a dark chain of violence.

The Web Psychologist-detective Dr. Alex Delaware finds terror in the heart of paradise in this relentlessly sinister novel by America's premier writer of psychological suspense. Three months in paradise, all expenses paid. It's an invitation Alex Delaware can't refuse. Dr. Woodrow Wilson Moreland, a revered scientist and philanthropist on the tiny Pacific island of Aruk, has invited Alex to his home to help him organize his papers for publication-a light workload leaving Alex plenty of time to enjoy a romantic interlude with Robin Castagna.

Quickly, however, secretive houseguests, frightening nocturnal visitors, and the elusive Dr. Moreland himself dim the pleasures of deep blue water and white sand.

The cases Moreland chooses to share-a patient driven to madness by a cruel, unspeakable act; a man who succ.u.mbed forty years ago to radiation poisoning after a nuclear blast; a young woman, brutally murdered, whose mutilated body was found on the beach just six months before-seem unconnected. And yet Alex can't help wondering what the good doctor is trying to tell him . . . and what Moreland's real reason for inviting him to Aruk is.

As Alex probes-with a little long-distance help from his friend LAPD detective Milo Sturgis-he comes to believe the answer lies hidden somewhere on Moreland's vast estate. Yet when he finally discovers the truth, the revelation will be more shocking than he could have imagined. And it will come too late to stem the tide of violence that threatens guilty and innocent alike on the lovely lost island of Aruk.

Once again, with his brilliant characterizations and rapid-fire pace, Jonathan Kellerman has redefined the boundaries of suspense, probing real-life horrors and innermost fears in a novel that transfixes from first page to last.

Self-Defense Dr. Alex Delaware doesn't see many private patients anymore, but the young woman called Lucy is an exception. So is her dream. Lucy Lowell is referred to Alex by Los Angeles police detective Milo Sturgis. A juror at the agonizing trial of a serial killer, Lucy survived the trauma only to be tormented by a recurring nightmare: a young child in the forest at night, watching a strange and furtive act.

Now Lucy's dream is starting to disrupt her waking life, and Alex is concerned. The power of the dream, its grip on Lucy's emotions, suggests to him that it may be more than a nightmare. It may be the repressed childhood memory of something very real. Something like murder.

Bad Love It came in a plain brown wrapper, no return address-an audioca.s.sette recording of a horrifying, soul-lacerating scream, followed by the sound of a childlike voice chanting: "Bad love. Bad love. Don't give me the bad love." For Alex Delaware the tape is the first intimation that he is about to enter a living nightmare. Others soon follow: disquieting laughter echoing over a phone line that suddenly goes dead, a chilling act of trespa.s.s and vandalism. He has become the target of a carefully orchestrated campaign of vague threats and intimidation rapidly building to a crescendo as hara.s.sment turns to terror, mischief to madness.

With the help of his friend LAPD detective Milo Sturgis, Alex uncovers a series of violent deaths that may follow a diabolical pattern. And if he fails to decipher the twisted logic of the stalker's mind games, Alex will be the next to die.

The Devil's Waltz The doctors call it Munchausen by proxy, the terrifying disease that causes parents to induce illness in their own children. Now, in his most frightening case, Dr. Alex Delaware may have to prove that a child's own mother or father is making her sick.

Twenty-one-month-old Ca.s.sie Jones is bright, energetic, the picture of health. Yet her parents rush her to the emergency room night after night with medical symptoms no doctor can explain. Ca.s.sie's parents seem sympathetic and deeply concerned. Her favorite nurse is a model of devotion. Yet when child psychologist Alex Delaware is called in to investigate, instinct tells him that one of them may be a monster.

Then a physician at the hospital is brutally murdered. A shadowy death is revealed. And Alex and his friend LAPD detective Milo Sturgis have only hours to uncover the link between these shocking events and the fate of an innocent child.

Private Eyes The voice belongs to a woman, but Dr. Alex Delaware remembers a little girl. It is eleven years since seven-year-old Melissa d.i.c.kinson dialed the hospital help line for comfort-and found it in therapy with Alex Delaware. Now the lovely young heiress is desperately calling for the psychologist's help once more. Only this time it looks like Melissa's deepest childhood nightmare is really coming true.

Twenty years ago, Gina d.i.c.kinson, Melissa's mother, suffered a grisly a.s.sault that left the budding actress irreparably scarred and emotionally crippled. Now her acid-wielding a.s.sailant is out of prison and back in L.A.-and Melissa is terrified that the monster has returned to hurt Gina again. But before Alex Delaware can even begin to soothe his former patient's fears, Gina, a recluse for twenty years, disappears. And now, unless Delaware turns crack detective to uncover the truth, Gina d.i.c.kinson will be just one more victim of a cold fury that has already sp.a.w.ned madness . . . and murder.

Time Bomb By the time psychologist Dr. Alex Delaware reached the school the damage was done: A sniper had opened fire on a crowded playground, but was gunned down before any children were hurt.

While the TV news crews feasted on the scene and Alex began his therapy sessions with the traumatized children, he couldn't escape the image of a slight teenager clutching an oversized rifle. What was the ident.i.ty behind the name and face: a would-be a.s.sa.s.sin, or just another victim beneath an indifferent California sky? Intrigued by a request from the sniper's father to conduct a "psychological autopsy" of his child, Alex begins to uncover a strange pattern-it is a trail of blood. In the dead sniper's past was a dark and vicious plot. And in Alex Delaware's future is the stuff of grown-up nightmares: the face of real human evil.

Silent Partner At a party for a controversial Los Angeles s.e.x therapist, Alex encounters a face from his own past-Sharon Ramson, an exquisite, alluring lover who left him abruptly more that a decade earlier. Sharon now hints that she desperately needs help, but Alex evades her. The next day she is dead, an apparent suicide.