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Louie Cogburn had spent three days holed up in his apartment, staring at his computer screen. His pounding headache was unbearable - like spikes drilling into his brain. And it was getting worse. Finally, when someone knocked at his door, Louie picked up a baseball bat, opened the door, and started swinging...
The first cop on the scene fired his stunner twice and Louie died instantly. Detective Eve Dallas has taken over the investigation, but there's nothing to explain the man's sudden rage or death. The only clue is a bizarre message left on his computer screen: Absolute Purity Achieved.
And when a second man dies under nearly identical circumstances, Dallas starts racking her brain for answers and for courage to face the impossible...that this might be a computer virus able to spread from machine to man...
"A sick computer can and does infect other computers, but not its operator," claims Roarke, dreamboat husband of New York's hotshot futuristic cop, Lieutenant Eve Dallas, in the 15th installment in Robb's `Death' series (after Reunion in Death). Roarke's theory is put to the test when pedophiles and drug dealers begin dying from a computer-generated virus that literally blows the mind of its victims. It doesn't take long for Eve to figure out that a vigilante terrorist organization with superior tech knowledge is meting out its own form of justice the group even leaves the message "absolute purity achieved" on victims' computer screens. Pinpointing the group is more of a challenge. Suspects could be anyone from members of the justice system to formerly abused children, the latter of which strikes a personal and painful nerve in Eve, who was abused as a child. Readers familiar with Eve's history and the sea of characters brought over from her previous books will be more comfortable than first- timers attempting to wade through this sluggish installment. Despite Robb's smooth-as-glass prose, her latest isn't likely to win new converts to the series. Copyright 2002 Cahners Business Information.
More Reviews and RecommendationsOne of the most prolific and popular writers in the world, Nora Roberts (who also writes as her edgier alter-ego J. D. Robb) publishes multiple books a year. Not that it’s enough for her fans, who tear through her unconventional romances. With her trademark mix of fantasy, mystery, and romance, Roberts has created her own genre -- and romance fans are grateful for it!
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July 24, 2009: The book's plot was so very different but very engrossing. Always enjoy reading about Roark and Eve and this was no different. Very enjoyable read.
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May 04, 2009: I love all the in death books the characters are funny, emotional and compelling.
Name:
Nora Roberts
Also Known As:
J. D. Robb; Sarah Hardesty; Jill March; Eleanor Marie Robertson (birth name)
Current Home:
Keedysville, Maryland
Date of Birth:
1950
Place of Birth:
Silver Spring, Maryland
Awards:
Romance Writers of America Hall of Fame, 1986; Romantic Times Career Achievement Award, 1991; Romance Writers of America Centennial Award, 1997; Romance Writers of America Golden Medallion Award (seven times); Quill Award for Blue Smoke, 2006
Not only has Nora Roberts written more bestsellers than anyone else in the world (according to Publishers Weekly), she’s also created a hybrid genre of her own: the futuristic detective romance. And that’s on top of mastering every subgenre in the romance pie: the family saga, the historical, the suspense novel. But this most prolific and versatile of authors might never have tapped into her native talent if it hadn't been for one fateful snowstorm.
As her fans well know, in 1979 a blizzard trapped Roberts at home for a week with two bored little kids and a dwindling supply of chocolate. To maintain her sanity, Roberts started scribbling a story -- a romance novel like the Harlequin paperbacks she'd recently begun reading. The resulting manuscript was rejected by Harlequin, but that didn't matter to Roberts. She was hooked on writing. Several rejected manuscripts later, her first book was accepted for publication by Silhouette.
For several years, Roberts wrote category romances for Silhouette -- short books written to the publisher's specifications for length, subject matter and style, and marketed as part of a series of similar books. Roberts has said she never found the form restrictive. "If you write in category, you write knowing there's a framework, there are reader expectations," she explained. "If this doesn't suit you, you shouldn't write it. I don't believe for one moment you can write well what you wouldn't read for pleasure."
Roberts never violated the reader's expectations, but she did show a gift for bringing something fresh to the romance formula. Her first book, Irish Thoroughbred (1981), had as its heroine a strong-willed horse groom, in contrast to the fluttering young nurses and secretaries who populated most romances at the time. But Roberts's books didn't make significant waves until 1985, when she published Playing the Odds, which introduced the MacGregor clan. It was the first bestseller of many.
Roberts soon made a name for herself as a writer of spellbinding multigenerational sagas, creating families like the Scottish MacGregors, the Irish Donovans and the Ukrainian Stanislaskis. She also began working on romantic suspense novels, in which the love story unfolds beneath a looming threat of violence or disaster. She grew so prolific that she outstripped her publishers' ability to print and market Nora Roberts books, so she created an alter ego, J.D. Robb. Under the pseudonym, she began writing romantic detective novels set in the future. By then, millions of readers had discovered what Publishers Weekly called her "immeasurable diversity and talent."
Although the style and substance of her books has grown, Roberts remains loyal to the genre that launched her career. As she says, "The romance novel at its core celebrates that rush of emotions you have when you are falling in love, and it's a lovely thing to relive those feelings through a book."
Roberts still lives in the same Maryland house she occupied when she first started writing -- though her carpenter husband has built on some additions. She and her husband also own Turn the Page Bookstore Café in Boonsboro, Maryland. When Roberts isn't busy writing, she likes to drop by the store, which specializes in Civil War titles as well as autographed copies of her own books.
Roberts sued fellow writer Janet Dailey in 1997, accusing her of plagiarizing numerous passages of her work over a period of years. Dailey paid a settlement and publicly apologized, blaming stress and a psychological disorder for her misconduct.
One afternoon when Nora Roberts was four, her two oldest brothers broke into a violent argument while they were baby-sitting her. "I peeked out of the bedroom, and they're beating the hell out of each other," Roberts says. Then her mother walked in, with a grocery bag in each hand. "One bag goes here, one bag goes there, she steps right in the middle of these two six-foot guys and she goes, boom, bam. Two backhands. And both of them go, 'Maaaaaawwwmm.' I thought right then, There's the power. She's the power."
Elly, as her family still calls her, the youngest of five and the only girl, was a quick study. "She bossed her brothers around," says her mother, Eleanor; today, "her brothers have got her on a throne." Roberts reigns over more than her family, which now includes her husband and two sons. Since her writing debut in 1981, she has helped lead American romance away from its clichés of simpering heroines and heroic rapists toward more complex characters and contemporary, multifaceted plots. Of course, sex -- passionate, tender, delayed, avoided, forced, in castles, in fields, in treetops -- continues to be a central hook. And often, the prose remains purple; Roberts herself has a propensity for phrases like "she rocked them both toward madness." But the genre with which her name is synonymous is one -- the only one -- that always puts women at the center of the universe.
***
Two Mercedes -- a Kompressor convertible and an M-Class SUV -- and a Chrysler PT Cruiser are parked outside the rural Keedysville, Maryland, home Roberts shares with her husband. Inside, several gauzy photographs of nude models hang above the bed in the ground-floor master bedroom, and a rendition of the Casablanca movie poster -- with the couple painted in as Ilsa and Rick -- is prominent above the fireplace. Three ebullient dogs and one gnarled old mutt track in dirt and litter the house with deer bones that they've found outside.
Since moving here twenty-nine years ago, Roberts has divorced her first husband, raised their two sons (Dan, now twenty-nine, lives with his wife down the lane; Jason, twenty-six, is just over an hour away) and remarried. She has also added on a few rooms and an indoor pool; a few years ago, she bought twenty adjoining acres so she could continue to shoo deer out of the garden in her underwear without worrying about neighbors. She and her husband own a tiny bookshop in nearby Boonsboro, but Roberts spends most of her time in an upstairs office where she types, smokes and drinks diet colas eight hours a day, five days a week. It's a routine that's produced an average of seven books a year since 1981, many of them bestsellers.
Roberts knows that her work is commercial fiction and doesn't lose any sleep waiting for National Book Award nominations. The high-art literary tradition isn't what's gotten her to where she is; what has is her "real talent for storytelling," as author Jennifer Crusie (Fast Women; Welcome to Temptation) says, and a commensurate skill with plot and pacing. Readers are pulled into her story lines (which often bounce from one continent to the next) and her well-drawn characters. Fans especially admire Roberts' tough, independent heroines. "When they fit with your own circumstances," says Elizabeth Mayfield, a database administrator from Norwalk, Connecticut, "you think, Gee, there's hope for me." Roberts, however, contends that she's not writing to provide role models for anyone. "I'm gonna tell a good, entertaining story," she says. "I'm not looking to change the world."
Roberts was born Eleanor Marie Robertson, and she grew up in Silver Spring, Maryland, about an hour from where she lives now. Her father worked as a projectionist at the local movie theater and as a stagehand until 1964, when he started a lighting company -- which is where most of the Robertson family still works. Her mother ran the family. "Mom was a very strict disciplinarian," says Roberts' brother Buzz, who is now the president of his dad's company, "but as long as you followed the rules and were polite, you didn't have a problem." He says Nora had it a little easier than her brothers. "Us boys, we knew we were low men on the totem pole. Mom was tickled pink when she had Nora."
"Her daddy worked two jobs all his life, and during the Depression, I took in roomers," says Eleanor Robertson, who at eighty-five still lives in Silver Spring and is now secretary-treasurer of the company her husband started (Bernie Robertson died in 2000). "She knows how hard we worked to give them an education and a nice home." Roberts went to Catholic schools as a child and credits much of her success to the nuns who taught her -- the discipline and guilt in her formative years did her a lot of good.
In her sophomore year of high school, Roberts transferred to public school, where she met Ronald Aufdem-Brinke; she married him at seventeen, in 1968, right after graduation. The young couple moved to Keedysville and had a small house built in the woods. While Aufdem-Brinke worked at his father's sheet-metal business and later the Robertson lighting company, Roberts took care of their two children and the house. "Oh God, I had craft addictions," Roberts says, taking a drag on a cigarette. (She runs through a pack of Winstons at a pace that doesn't quite catch up to chain-smoking but runs several steps beyond casual.) "You name it, I made it. I macraméd two hammocks once. I did ceramics, I sewed the kids' clothes. I even put flies into overalls -- that is sick. I was a sick woman. I baked bread once a week. I canned jellies and made my own spaghetti sauce using my own tomatoes."
Sometime during the next decade (she calls the period her "Earth Mother" years), Roberts started to read Harlequin novels -- the short books were easy for her to finish while the kids were napping. During a blizzard in 1979, trapped inside with little more than her three- and six-year-old sons and a game of Candy Land, Roberts sat down with a pencil and wrote a manuscript of her own, a romance that she's since described as "very bad." In the next year and a half, while her kids were napping or at T-ball practice, she wrote at least six manuscripts in longhand. She submitted some of them to Harlequin, which at the time was using mainly British writers. Roberts didn't hear back, but her enthusiasm wasn't subdued. "I became a writing junkie," she says. Although she was rejected several times, she continued to write -- but started filing her manuscripts in a back drawer rather than submitting them.
Roberts then heard that a new romance publisher, Silhouette, was looking specifically for American writers, so she sent in her work. In 1980 she got a call from Nancy Jackson, a Silhouette editor, saying she had plucked one of Roberts' manuscripts -- Irish Thoroughbred, a slender love story about an Irish stable hand and her boss -- out of the slush pile. Jackson told Roberts she wanted to publish it. Eleanor Aufdem-Brinke changed her name to Nora Roberts because she says she assumed all romance authors used a nom de plume. The book "didn't make waves when it first came out," says Isabel Swift, her current editor, but it sold well in reprint. Roberts was hooked on the process, though, and published five more books the following year, eight the following and ten the year after that.
Roberts hit it big in 1985 when she wrote the first of her MacGregor family series, Playing the Odds. The book, which focuses on a matchmaking Scottish patriarch and his brood, became an immediate bestseller. Romance readers began associating the name Nora Roberts with multigenerational sagas: In addition to the MacGregors, she has written about the Donovans, a modern family of Irish magicians; the Calhouns, a family of pigheaded sisters in Maine; and the Stanislaskis, tempestuous Ukrainian immigrants.
***
From the beginning, Roberts' heroines were not content to wear aprons or take dictation. In Irish Thoroughbred, though Roberts' heroine was young (early twenties) and virginal (well, she was a virgin), she was a horse groomer with an independent streak. Roberts wasn't alone in giving her female characters more authority in the workforce; other American romance authors -- like Jayne Ann Krentz, Sandra Brown and Elizabeth Lowell -- were doing the same. "I think one of the great things the American writer has brought to the romance novel," Krentz says, "is a modern interpretation of women's roles and women's values." Author Janet Evanovich adds, "The genre reflects the increased power and opportunity afforded today's women. We see more variety in the genre in terms of heroine age and occupation. And today's heroine is stronger, more self-reliant. Of course, Nora was always ahead of the pack. Her heroines were always strong."
Rebecca Sullivan, a heroine in Roberts' latest romantic suspense, Three Fates, is a quintessential Nora Roberts lead: She runs the family business (giving boat tours off the western coast of Ireland) and engineers the search for the family's lost treasure. Rebecca's a smart, capable lady with a sense of humor. In the course of the story, she falls in love with a computer expert who eventually marries her -- the book ends in Ireland with the assumption that the husband will help her with the business. "I'm not interested in telling stories about weak women," Roberts says. "Or if they're weak, I want to show how they grow and how they become strong. I'm not writing about Cinderella sitting waiting for her prince to come and take her away. She'll get out of it herself. The prince is a bonus, a completion, another element -- but it's not the answer to all of her problems."
***
Perched on a stool next to her kitchen counter, Roberts doesn't look like a purveyor of dreams. She could be any of a million women, taking a break from a million jobs, looking toward the end of a million days. Right now, her husband is outside, working in the yard before heading to town. Later on, he'll pick up groceries, and Nora will cook dinner; favorites are pasta with red sauce or Cajun chicken. Around 7:30, the two will retire for the evening, probably settling down for a while in front of the television -- it's Thursday, so they'll probably tune in for some of Friends or ER. And that's a typical end to a typical day for the world's most popular romance author. "I always wonder if they asked Agatha Christie if she was homicidal," Roberts says with a laugh. "I don't have a romantic lifestyle."
Still, she says, it's romance books she turns to when she wants to escape reality, so maybe the queen of the realm is, finally, one of its true citizens as well. Roberts, after all, spends her days holed up in her office, writing, researching and investigating the backgrounds for her books. She loves it, she says, but it's work. And when she's done, she's done. "When I read for pleasure," she says, "give me a story."
If today's romance is escapism, millions of its readers would argue that it is also girl-power between pastel covers: adventures that belong to characters who are at their strongest -- and sexiest -- because they are women. So Roberts essentially shrugs off the contempt reserved for romance novels as sexist and ignorant. Still, she recognizes that the genre carries a lot of baggage -- even she finds herself sneaking reads when she's out in public. A lot of the embarrassment, she says, has to do with the way the books look. "It's mostly hard for me when she's falling out of her dress, and he has his mouth on her tit," Roberts says, describing what she calls "nursing mother" covers. She taps her lighter against the counter and rolls her eyes. "To sit on an airplane and read that?"
The Barnes & Noble Review
Nora Roberts (writing as J. D. Robb) delivers the 15th installment in her continuing In Death series, featuring no-nonsense homicide detective Eve Dallas. As with each of these novels, Purity in Death offers a story line that is fresh and compelling but never loses touch with the core components that have made the series such a success: love, loyalty, and justice.
Purity in Death finds our heroine on an assignment that leaves her even more tormented by the past. When a deadly computer virus is unleashed on society's undesirables (namely, child abusers), it's up to Eve -- along with her astonishingly handsome husband, Roarke; her feisty aide, Peabody; e-geek McNab; and her mentor, Captain Feeny -- to discover the origins of the virus and shut down the clandestine vigilante group that created it before the next target is marked for execution.
Eve's task is complicated further as she grapples with her demons (as a child-abuse victim, it was a matter of survival that led Eve to kill her father) and squares off with Roarke, who does not regard the group's intentions as inherently bad. Once again, she must muddle through those gray areas of right and wrong as she seeks to "stand for the dead," and answer the question of whether the group is justified in its actions, or whether they simply represent a new breed of terrorist.
A quick, thrilling, and captivating read, this novel will leave fans pining with anticipation for No. 16. Tanya Chesterfield
Louie Cogburn had spent three days holed up in his apartment, staring at his computer screen. His pounding headache was unbearable - like spikes drilling into his brain. And it was getting worse. Finally, when someone knocked at his door, Louie picked up a baseball bat, opened the door, and started swinging...
The first cop on the scene fired his stunner twice and Louie died instantly. Detective Eve Dallas has taken over the investigation, but there's nothing to explain the man's sudden rage or death. The only clue is a bizarre message left on his computer screen: Absolute Purity Achieved.
And when a second man dies under nearly identical circumstances, Dallas starts racking her brain for answers and for courage to face the impossible...that this might be a computer virus able to spread from machine to man...
"A sick computer can and does infect other computers, but not its operator," claims Roarke, dreamboat husband of New York's hotshot futuristic cop, Lieutenant Eve Dallas, in the 15th installment in Robb's `Death' series (after Reunion in Death). Roarke's theory is put to the test when pedophiles and drug dealers begin dying from a computer-generated virus that literally blows the mind of its victims. It doesn't take long for Eve to figure out that a vigilante terrorist organization with superior tech knowledge is meting out its own form of justice the group even leaves the message "absolute purity achieved" on victims' computer screens. Pinpointing the group is more of a challenge. Suspects could be anyone from members of the justice system to formerly abused children, the latter of which strikes a personal and painful nerve in Eve, who was abused as a child. Readers familiar with Eve's history and the sea of characters brought over from her previous books will be more comfortable than first- timers attempting to wade through this sluggish installment. Despite Robb's smooth-as-glass prose, her latest isn't likely to win new converts to the series. Copyright 2002 Cahners Business Information.
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Copyright © 2004 J. D. Robb
All right reserved.
ISBN: 9781593351229
The heat was murder. July flexed her sweaty muscles, eyed the goal, and drop-kicked New York into the sweltering steambath of summer. Some managed to escape, fleeing to their shore homes where they could sip cold drinks and bask in ocean breezes while they did their business via telelink. Some loaded up on supplies and hunkered down inside their air-cooled homes like tribes under siege.
But most just had to live through it.
With humatures into the triple digits, and no end in sight, moods turned surly, deodorants failed, and petty annoyances elbowed even the mildest of souls toward violence.
Emergency medical centers were jammed with the wounded soldiers of summer, 2059. Many who, under normal conditions, wouldn't so much as jaywalk saw the inside of police stations and holding tanks, forced to call lawyers to explain why they had attempted to throttle a co-worker, or shove a complete stranger under the wheels of a Rapid Cab.
Usually, once cooled off, they didn't know why but sat or stood, blank-faced and baffled, like someone coming out of a trance.
But Louie K. Cogburn knew just what he was doing, why he did it, and how he intended to keep right on doing it. He was a small-time illegals dealer who primarily hawked Zoner and Jazz. To increase his profit margin, Louie cut the Zoner with dried grassscored from city parks, and the jazz with baking powder he bought in warehouse-sized bins. His target clientele were middle-class kids between the ages of ten and twelve in the three school districts closest to his Lower East Side apartment.
This cut down on travel time and expense.
He preferred straight middle-class as the poor generally had their own suppliers within the family ranks, and the rich copped to the grass and baking powder too quickly. The target age group fit Louie's brand of logic. He liked to say if you hooked 'em young, you had a client for life.
So far this credo hadn't proved out for him as Louie had yet to maintain a business relationship with a client through high school graduation.
Still, Louie took his business seriously. Every evening when his potential clients were doing their homework, he did his. He was proud of his bookkeeping, and would certainly have earned more per annum as a number cruncher for any mid-level firm then he did dealing. But he was a man who felt real men worked for themselves.
Just lately if there's been a wash of dissatisfaction, a touch of irritability, a jagged edge of despair after he spent an hour running his business programs on his third-hand desktop, he put it off to the heat.
And the headache. The vicious bastard of a headache no does of his own products could ease.
He lost three days of work because the pain had become the focus of his world. He holed up in his studio flop, stewing in the heat, blasting his music to cover up the raging storm in his head.
Somebody was going to pay for it, that's all he knew. Somebody.
Goddamn lazy-assed super hadn't fixed the climate control. He thought this, with growing anger while his beady, reddened eyes scanned numbers. He sat in his underwear, by the single open window of his one-room apartment. No breeze came through it, but the street noise was horrendous. Shouts, horns, squealing tires on pavement.
He turned up the trash rock he played out of his ancient entertainment unit to drown out the noise. To beat at the pain.
Blood trickled out of his nose, but he didn't notice.
Louie K. rubbed a luke-warm bottle of home-brew over his forehead. He wished he had a blaster. If he had a goddamn blaster he'd lean out the goddamn window and take out a goddamn city block.
His most violent act to date had been to kick a delinquent client off his airboard, but the image of death and destruction fueled him now as he sweated ver his books and madness bloomed in his brain like black roses.
His face was pale as wax, rivulets of sweat pouring down from his matter brown hair, streaming down his narrow cheeks. His ears rang and what felt like an ocean of grease swayed in his belly. Heat was making him sick, he thought. He got sick, he lost money. Ought to take it out of the super's hide. Ought to.
His hands trembled as he stared at the screen. Stared at the screen. Couldn't take his eyes from the screen.
He had an image of himself going to the window, climbing out on the ledge, beating his fists at that hot wall of air, at the noise, at the people below. A blaster in his hands, doling out death and destruction as he screamed a t them. Screamed and screamed as he leaped.
He'd land on his feet, and then-
The pounding on his door had him spinning around. With his teeth bared he climbed back in the window.
"Louie K., you asshole! Turn that fucking music down in there!"
"Go to hell," he muttered as he hefted the ball bat he often took to recreation areas to insinuate himself with potential clients. "Go to hell, go to hell. Let's all go to hell."
"You hear me? Goddamn it!"
"Yeah, I hear you." There were spikes, big iron spikes drilling into his brain. He had to get them out. On a thin scream, he dropped the bat to tear at his own hair. But the pounding wouldn't stop.
"Suze is calling the cops. You hear me, Louie? You don't turn that shit down Suze is calling the cops." Each word was punctuated with a fist against the door.
With the music, the pounding, the shouts, the spikes all hammering in his head, the sweat drowning him, Louie picked up the bat again.
He opened the door, and started swinging.
Chapter One
Lieutenant Eve Dallas loitered at her desk. She was stalling, and she wasn't proud of it. The idea of changing into a fancy dress, driving uptown to meet her husband and a group of strangers for a business dinner thinly disguised as a social gathering had all the appeal of climbing in the nearest recycler and turning on Shred.
Right now Cop Central was very appealing.
She'd caught and closed a case that afternoon, so there was paperwork. It wasn't all stalling. But as the bevy of witnesses had all agreed that the guy who'd taken a header off a six-story people glide had been the one who'd started the pushy-shovey match with the two tourists from Toledo, it wasn't much of a time sucker.
For the past several days, every case she'd caught had been a variation on the same theme. Domestics where spouses had battled to the death, street brawls turned lethal, even a deadly combat at a corner glide-cart over ice cones.
Heat made people stupid and mean, she thought, and the combination spilled blood.
She was feeling a little mean herself at the idea of dressing up and spending several hours in some snooty restaurant making small talk with people she didn't know.
That's what you got, she thought in disgust, when you marry a guy who had enough money to buy a couple of continents.
Roarke actually liked evenings like this. The fact that he did never failed to baffle her. He was every bit at home in a five-star restaurant-one he likely owned anyway-nibbling on caviar as he was sitting at home chowing down on a burger.
And she supposed as their marriage was approaching its second year, she'd better stop crabbing about it. Resigned, she pushed back from the desk.
"You're still here." Her aide, Peabody, stopped in the doorway of her office. "I thought you had some fancy dinner deal uptown."
"I got time." A glance at her wrist unit brought on a little tug of guilt. Okay, she was going to be late. But not very. "I just finished up on the glide diver."
Peabody, whose summer blues defied all natural order and managed to stay crisp in the wilting heat, kept her dark eyes sober. "You wouldn't be stalling, would you, Lieutenant?"
"One of the residents of our city, who I am sworn to serve and protect, ended up squished like a bug on Fifth Avenue. I think he deserves an extra thirty minutes of my time."
"It must be really rough, forced to put on a beautiful dress, stick some diamonds or whatever all over you and choke down champagne and lobster croquettes beside the most beautiful man ever born, on or off planet. I don't know how you get through the day with that weight on your shoulders, Dallas."
"Shut up."
"And here I am, free to squeeze into the local pizza place with McNab where we will split the pie and the check." Peabody shook her head slowly. The dark bowl of hair under her cap swayed in concert. "I can't tell you how guilty I feel knowing that."
"You looking for trouble, Peabody?"
"No, sir." Peabody did her best to look pious. "Just offering my support and sympathy at this difficult time."
"Kiss ass." Torn between annoyance and amusement, Eve started to shove by. Her desk 'link beeped.
"Shall I get that for you, sir, and tell them you've gone for the day?"
"Didn't I tell you to shut up?" Eve turned back to the desk, took the transmission. "Homicide. Dallas."
"Sir. Lieutenant."
She recognized Officer Troy Trueheart's face as it popped on-screen, though she'd never seen its young, All-American features so strained. "Trueheart."
"Lieutenant," he repeated after an audible swallow. "I have an incident. In response to-oh gosh, I killed him."
"Officer." She pulled his location on-screen as she spoke. "Are you on duty?"
"No, sir. Yes, sir. I don't know, exactly."
"Pull yourself together, Trueheart." She slapped out the order, watched his head jerk as if he'd felt it physically.
"Report."
"Sir. I had just clocked off shift and was on my way home on foot when a female civilian shouted for assistance from a window. I responded. On the fourth floor of the building in question an individual armed with a bat was assaulting the female. Another individual, male, was unconscious or dead in the hallway, bleeding from the head. I entered the apartment where the assault was taking place, and-Lieutenant, I tried to stop him. He was killing her. He turned on me, ignored all warnings and orders to desist. I managed to draw my weapon, to stun. I swear I intended to stun, but he's dead."
"Trueheart, look at me. Listen to me. Secure the building, call in the incident through Dispatch and inform them that you've reported to me and I'm on my way. I'll call for medical assistance. You hold the scene, Trueheart. Hold it by the book. Do you understand?"
"Yes, sir. I should've called Dispatch first. I should've-"
"You stand, Trueheart. I'm on the way. Peabody," Eve commanded as she strode out the door.
"Yes, sir. I'm with you."
There were two black-and-whites, nose-to-nose, and a medi-van humped between them at the curb when Eve pulled up. The neighborhood was the type where people scattered rather than gathered when cops showed up, and as a result there was no more than a smattering of gawkers on the sidewalk who had to be told to stay back.
The two uniforms who flanked the entrance eyed her, then exchanged a look. She was brass, and the one who could well put one of their own rank's balls in the blender.
She could feel the chill as she approached.
"Cop shouldn't get hassled by cops for doing the job," one of them muttered.
Eve paused in mid-stride and stared him down.
He saw rank in the form of a long, leanly built woman with eyes of gilded brown that were as flat and expressionless as a snake's as they met his. Her hair, short and choppy, was nearly the same color and framed a narrow face offset by a wide mouth that was now firmed into one thin line. There was a shallow dent in a chin that looked like it could hold its own against a fist.
Under her stare he felt himself shrink.
"Cop shouldn't slap at a cop for doing hers," she said coldly. "You got a problem with me, Officer, wait until I do that job. Then mouth off."
She moved into the shoe box lobby, punched a finger on the Up button of the single elevator. She was already steaming, but it had little to do with the oppressive heat. "What is it with some uniforms that they want to bite your throat when you're rank?"
"It's just nerves, Dallas," Peabody replied as they stepped onto the elevator. "Most of the uniforms out of Central know Trueheart, and you gotta like him. A uniform terminates on his own like this, Testing's going to be brutal."
"Testing's brutal anyway. The best we can do for him is to keep this clean and ordered. He's already screwed up by tagging me before he called it in."
"Is he going to take heat for that? You're the one who pulled him out of the sidewalk scooper detail and into Central last winter. Internal ought to understand-"
"IAB isn't big on understanding. So let's hope it doesn't go there." She stepped off the elevator. Studied the scene.
He'd been smart enough, cop enough, she noted with some relief, not to disturb the bodies. Two men lay sprawled in the corridor, one of them facedown in a pool of congealing blood.
The other was face up, staring with some surprise at the ceiling. Through an open doorway beside the bodies she could hear the sounds of weeping and groaning.
The door across was also open. She noted several fresh holes and dents in the hallway walls, splinters of wallboard, splatters of blood. And what had once been a baseball bat was now a broken club, covered with blood and brain matter.
Straight as a soldier, pale as a ghost, Trueheart stood at the doorway. His eyes still held the glassy edge of shock.
"Lieutenant."
"Hold it together, Trueheart. Record on, Peabody." Eve crouched down to examine the two bodies. The bloodied one was big and beefy, the kind of mixed fat and muscle build that could usually plow through walls if annoyed enough. The back of his skull looked like an egg that had been cracked with a brick.
The second body wore only a pair of grayed Jockey shorts. His thin, bony frame showed no wounds, no bruising, no damage. Thin trickles of blood had seeped out of his ears, his nostrils.
"Officer Trueheart, do we have identification on these individuals?"
"Sir. The, um, initial victim has been identified as Ralph Wooster, who resided in apartment 42E. The man I-" He broke off as Eve's head whipped up, as her eyes drilled into his.
"And the second individual?"
Trueheart wet his lips. "The second individual is identified as Louis K. Cogburn of apartment 43F."
"And who is currently wailing inside apartment 42E?"
"Suzanne Cohen, cohabitation partner of Ralph Wooster. She called for aid out the window of said apartment. Louis Cogburn was assaulting her with what appeared to be a club or bat when I arrived on-scene. At that time-"
He broke off again when Eve held up a finger. "Preliminary examination of victims indicates a mixed-race male-mid-thirties, approximately two hundred and thirty pounds, approximately six foot one-has suffered severe trauma to head, face, and body. A bat, apparently wooden, and marked with blood and brain matter would appear to be the assault weapon.
Continues...
Excerpted from Purity in Death by J. D. Robb Copyright © 2004 by J. D. Robb. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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