He hit her again.
She didn’t have to.
The following is an excerpt of SHAKEN by J.A. Konrath, the 7th Jack Daniels novel, published in 2010 by Encore.
1989, June 23
This guy isn’t a killer, Dalton thinks. He’s a butcher.
Dalton isn’t repulsed by the spectacle, or even slightly disturbed. He stays detached and professional, even as he snaps a picture of Brotsky tearing at the prostitute’s body with some kind of three-pronged garden tool.
There’s a lot of blood.
Dalton wonders if he should have brought color film. But there’s something classic, something pure, about shooting in black and white. It makes real life even more realistic.
Dalton opens the f-stop on the lens, adjusting for the setting sun. He’s standing in the backyard of Brotsky’s house, and his subject has been gracious enough to leave the blinds open. From his spot on the lawn, Dalton has a clear view into Brotsky’s living room, where the carnage is taking place. Though Brotsky has a high fence and plenty of foliage on his property, he’s still taking a big risk. There are neighbors on either side, and the back gate leading to the alley is unlocked. Anyone could walk by.
It’s not a smart way to conduct a murder.
Dalton has watched Brotsky kill two hookers in this fashion, and surely there have been others. Yet the Chicago Police Department hasn’t come knocking on Brotsky’s door yet. Brotsky has been incredibly lucky so far.
But luck runs out.
At least Brotsky has the sense to put a tarp down, Dalton thinks.
He snaps another photo. Brotsky’s naked barrel chest is slick with gore, and the look on his unshaven face is somewhere between frenzy and ecstasy as he works the garden tool. He’s not a tall man, but he’s thick, with big muscles under a layer of hard fat. Brotsky sweats a lot, and his bald head gives off a glare which Dalton offsets by using a filter on his lens.
Brotsky sets down the garden tool, and picks up a cleaver.
Yeah, this guy is nuts.
Truth told, Dalton has done worse to people, at least as far as suffering goes. If the price is right, Dalton will drag someone’s death out for hours, or even days. But Dalton gets no pleasure from the task. Killing is simply his business.
Brotsky is killing to meet baser needs. Sex. Power. Blood lust. Hunger, Dalton muses, taking a shot of Brotsky with his mouth full of something moist.
If Brotsky sticks to his MO, he’ll dismember the girl, wrap up her parts in plastic bags, and then take her severed head into the shower with him. When Brotsky returns, he’ll be squeaky clean, and the head will be gone. Then he’ll load the bags into his car and haul them to the dump site.
Dalton guesses it will be another eleven minutes. He waits patiently, taking occasional snapshots, musing about what Brotsky does with the heads. Dalton isn’t bothered by the heat or the humidity, even though it’s close to ninety degrees and he’s wearing a suit and tie. Unlike Brotsky, Dalton doesn’t sweat. Dalton has pores. He just never feels the need to use them.
Exactly eleven minutes and nine seconds later, Brotsky walks out his back door, dressed in shorts, sandals, and a wrinkled blue Hawaiian shirt. He’s lugging several black plastic garbage bags. The man is painfully unaware, and doesn’t even bother looking around. He walks right past Dalton, who is hiding behind the girth of an ancient oak tree, gun in hand.
The hitman falls into step behind the butcher, his soft-soled shoes silent on the walkway. He trails Brotsky, close as a shadow, for several steps and then jams the Ruger against the fat man’s back. Brotsky stops cold.
“This is a gun, Victor Brotsky. Try to run and I’ll fire. The bullet will blow your heart out the front of your chest. Neither of us want that to happen. Do you understand?”
“Yes,” Brotsky says. “Can I put down these bags? They’re heavy.”
Brotsky doesn’t seem frightened, or even surprised. Dalton is impressed. Perhaps the man is more of a pro than Dalton guessed.
“No. We’re going to walk, slowly, out to the alley. My car is parked there. You’re going to put the pieces of the hooker in the trunk.”
Brotsky does as he’s told. Dalton’s black 1989 El Dorado Roadster is parked alongside Brotsky’s garage. The car isn’t as anonymous as Dalton would prefer, but he needs to keep up appearances. The wiseguys he works for like Caddys, and driving the latest model somewhat compensates for the fact that Dalton isn’t Italian.
“Trunk is open. Put the bags inside, and take out the red folder.”
Brotsky hefts the bags into the trunk, and they land with a solid thump. The alley smells like garbage, and the summer heat makes the odor cling. Dalton moves the gun from the man’s back to his neck.
“Take the folder,” Dalton says.
The light from the trunk is enough. Brotsky opens the folder, begins to page through several 8x10 photos of his two previous victims. He lingers on one where he’s grinning, holding up a severed leg. It’s Dalton’s personal favorite. Black and white really is the only way to go.
“I’m a teacher,” Brotsky says. He has the barest trace of a Russian accent. “I don’t have much money.”
Dalton allows himself a small grin. He likes how Brotsky thinks. Maybe this will work out after all.
“I don’t want to blackmail you,” Dalton says. “My employer is a very important Chicago businessman.”
Brotsky sighs. “Let me guess. I slaughtered one of his whores, and now you’re going to teach me a lesson.”
“Wrong again, Victor Brotsky. See the lunch box in the corner of the trunk? Open it up.”
Brotsky follows instructions. The box is filled with several stacks of twenty dollar bills. Three thousand dollars total.
“What is this?” Brotsky asks.
“Consider it a retainer,” Dalton says. “My employer wants to hire you.”
“Hire me for what?”
“To do what you’re doing for free.” Dalton leans forward, whispers in Brotsky’s plump, hairy ear. “He wants you to kill some prostitutes.”
Brotsky turns around slowly, and his lips part in a smile. His breath is meaty, and he has a tiny bit of hooker caught in his teeth.
“This employer of yours,” Brotsky says. “I think I’m going to like working for him.”
2010, August 10
The rope secured my wrists behind my back and snaked a figure eight pattern through my arms up to my elbows. Houdini with a hacksaw wouldn’t have been able to get free. The best I could do was flex and wiggle my fingers to keep my circulation going.
My legs were similarly secured, the braided nylon line cris-crossing from my ankles to my knees, pinching my skin so tight I wished I’d worn pantyhose. And I hate pantyhose.
I was lying on my side, the concrete floor cool against my cheek and ear, the only light a sliver that came through a crack at the bottom of the far wall. A hard rubber ball had been crammed into my mouth. I was unable to dislodge it—a strap around my head held it in place. I probed the curved surface and winced when my tongue met with little indentations. Teeth marks. This ball gag had been used many times before.
My sense of time was sketchy, but I guessed I’d been awake for about fifteen minutes. The first few were spent struggling against the ropes, trying to scream for help around the gag. The bindings were escape-proof, and my ankle rope secured me to a large concrete block, making it impossible for me to roll away. The ball gag didn’t allow for more than a low moan, and after a minute or two I began to choke on my own saliva, my jaw wedged open too wide for me to swallow. I had to adjust my head so the spit ran out the corner of my mouth.