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Victims: An Alex Delaware Novel Kindle Edition
Acid-tongued Vita Berlin hadn’t a friend in the world, but whom did she cross so badly as to end up meticulously arranged in such a gruesome murder scene? One look prompts LAPD detective Milo Sturgis to summon his expert in homicidal maniacs, Alex Delaware. But even Alex is stymied when more slayings occur in the same ghastly fashion—with no apparent connection among the victims. And the only clue left behind—a blank page bearing a question mark—seems to be both a menacing taunt and a chilling cry for help from a tortured, savage soul. To end the bloody spree and prevent citywide panic, Alex navigates the secretive world of mental health treatment, from the sleek office of a Beverly Hills therapist to a shuttered mental institution where he once learned his craft. As each jagged piece of the puzzle fits into place, a portrait emerges of a sinister mind at its most unimaginable—and an evil soul at its most unspeakable.
BONUS: This edition includes an excerpt from Jonathan Kellerman's Guilt.
“Expertly crafted, judiciously paced and echoing with larger social concerns.”—The Star-Ledger
“The combination of Alex Delaware [and] Detective Milo Sturgis . . . makes for the most original whodunit duo since Watson and Holmes.”—Forbes
Includes an excerpt of Jonathan Kellerman’s Guilt.
- LanguageEnglish
- PublisherBallantine Books
- Publication dateFebruary 28, 2012
- File size1013 KB
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Excerpt. © Reprinted by permission. All rights reserved.
This one was different.
The first hint was Milo's tight-voiced eight a.m. message, stripped of details.
Something I need you to see, Alex. Here's the address.
An hour later, I was showing I.D. to the uniform guarding the tape. He winced. "Up there, Doctor." Pointing to the second story of a sky-blue duplex trimmed in chocolate-brown, he dropped a hand to his Sam Browne belt, as if ready for self-defense.
Nice older building, the classic Cal-Spanish architecture, but the color was wrong. So was the silence of the street, sawhorsed at both ends. Three squad cars and a liver-colored LTD were parked haphazardly across the asphalt. No crime lab vans or coroner's vehicles had arrived, yet.
I said, "Bad?"
The uniform said, "There's probably a better word for it but that works."
u
Milo stood on the landing outside the door doing nothing.
No cigar-smoking or jotting in his pad or grumbling orders. Feet planted, arms at his sides, he stared at some faraway galaxy.
His blue nylon windbreaker bounced sunlight at strange angles. His black hair was limp, his pitted face the color and texture of cottage cheese past its prime. A white shirt had wrinkled to crepe. Wheat- colored cords had slipped beneath his paunch. His tie was a sad shred of poly.
He looked as if he'd dressed wearing a blindfold.
As I climbed the stairs, he didn't acknowledge me.
When I was six steps away, he said, "You made good time."
"Easy traffic."
"Sorry," he said.
"For what?"
"Including you." He handed me gloves and paper booties.
I held the door for him. He stayed outside.
The woman was at the rear of the apartment's front room, flat on her back. The kitchen behind her was empty, counters bare, an old avocado- colored fridge free of photos or magnets or mementos.
Two doors to the left were shut and yellow-taped. I took that as a Keep Out. Drapes were drawn over every window. Fluorescent lighting in the kitchen supplied a nasty pseudo-dawn.
The woman's head was twisted sharply to the right. A swollen tongue hung between slack, bloated lips.
Limp neck. A grotesque position some coroner might label "incompatible with life."
Big woman, broad at the shoulders and the hips. Late fifties to early sixties, with an aggressive chin and short, coarse gray hair. Brown sweatpants covered her below the waist. Her feet were bare. Unpolished toenails were clipped short. Grubby soles said bare feet at home was the default.
Above the waistband of the sweats was what remained of a bare torso. Her abdomen had been sliced horizontally below the navel in a crude approximation of a C-section. A vertical slit crossed the lateral incision at the center, creating a star-shaped wound.
The damage brought to mind one of those hard-rubber change purses that relies on surface tension to protect the goodies. Squeeze to create a stellate opening, then reach in and scoop.
The yield from this receptacle was a necklace of intestines placed below the woman's neckline and arranged like a fashionista's puffy scarf. One end terminated at her right clavicle. Bilious streaks ran down her right breast and onto her rib cage. The rest of her viscera had been pulled down into a heap and left near her left hip.
The pile rested atop a once-white towel folded double. Below that was a larger maroon towel spread neatly. Four other expanses of terry cloth formed a makeshift tarp that shielded beige wall-to-wall carpeting from biochemical insult. The towels had been arranged precisely, edges overlapping evenly for about an inch. Near the woman's right hip was a pale blue T shirt, also folded. Spotless.
Doubling the white towel had succeeded in soaking up a good deal of body fluid, but some had leaked into the maroon under-layer. The smell would've been bad enough without the initial stages of decomp.
One of the towels beneath the body bore lettering. Silver bath sheet embroidered Vita in white.
Latin or Italian for "life." Some monster's notion of irony?
The intestines were green-brown splotched pink in spots, black in others. Matte finish to the casing, some puckering that said they'd been drying for a while. The apartment was cool, a good ten degrees below the pleasant spring weather outside. The rattle of a wheezy A.C. unit in one of the living room windows was inescapable once I noticed it. Noisy apparatus, rusty at the bolts, but efficient enough to leach moisture from the air and slow down the rot.
But rot is inevitable and the woman's color wasn't anything you'd see outside a morgue.
Incompatible with life.
I bent to inspect the wounds. Both slashes were confident swoops unmarred by obvious hesitation marks, shearing smoothly through layers of skin, subcutaneous fat, diaphragmatic muscle.
No abrasions around the genital area and surprisingly little blood for so much brutality. No spatter or spurt or castoff or evidence of a struggle. All those towels; horribly compulsive.
Guesses filled my head with bad pictures.
Extremely sharp blade, probably not serrated. The neck-twist had killed her quickly and she'd been dead during the surgery, the ultimate anesthesia. The killer had stalked her with enough thoroughness to know he'd have her to himself for a while. Once attaining total control, he'd gone about choreographing: laying out the towels, tucking and aligning, achieving a pleasing symmetry. Then he'd laid her down, removed her T shirt, careful to keep it clean.
Standing back, he'd inspected his prep work. Time for the blade.
Then the real fun: anatomical exploration.
Despite the butchery and the hideous set of her neck, she looked peaceful. For some reason, that made what had been done to her worse.
I scanned the rest of the room. No damage to the front door or any other sign of forced entry. Bare beige walls backed cheap upholstered furniture covered in a puckered ocher fabric that aped brocade but fell short. White ceramic beehive lamps looked as if they'd shatter under a finger-snap.
The dining area was set up with a card table and two folding chairs. A brown cardboard take-out pizza box sat on the table. Someone-probably Milo-had placed a yellow plastic evidence marker nearby. That made me take a closer look.
No brand name on the box, just PIZZA! in exuberant red cursive above the caricature of a portly mustachioed chef. Curls of smaller lettering swarmed around the chef's fleshy grin.
Fresh pizza!
Lotta taste!
Ooh la la!
Yum yum!
Bon appétit!
The box was pristine, not a speck of grease or finger-smudge. I bent down to sniff, picked up no pizza aroma. But the decomp had filled my nose; it would be a while before I'd be smelling anything but death.
If this was another type of crime scene, some detective might be making ghoulish jokes about free lunch.
The detective in charge of this scene was a lieutenant who'd seen hundreds of murders, maybe thousands, yet chose to stay outside for a while.
I let loose more mental pictures. Some fiend in a geeky delivery hat ringing the doorbell then managing to talk himself inside.
Watching as the prey went for her purse? Waiting for precisely the right moment before coming up behind her and clamping both his hands on the sides of her head.
Quick blitz of rotation. The spinal cord would separate and that would be it.
Doing it correctly required strength and confidence.
That and the lack of obvious transfer evidence-not even a shoe impression-screamed experience. If there'd been a similar murder in L.A., I hadn't heard about it.
Despite all that meticulousness, the hair around the woman's temples might be a good place to look for transfer DNA. Psychopaths don't sweat much, but you never know.
I examined the room again.
Speaking of purses, hers was nowhere in sight.
Robbery as an afterthought? More likely souvenir-taking was part of the plan.
Edging away from the body, I wondered if the woman's last thoughts had been of crusty dough, mozzarella, a comfy barefoot dinner.
The doorbell ring the last music she'd ever hear.
I stayed in the apartment awhile longer, straining for insight.
The terrible competence of the neck-twist made me wonder about someone with martial arts training.
The embroidered towel bothered me.
Vita. Life.
Had he brought that one but taken the rest from her linen closet?
Yum. Bon appétit. To life.
The decomp reek intensified and my eyes watered and blurred and the necklace of guts morphed into a snake.
Drab constrictor, fat and languid after a big meal.
I could stand around and pretend that this was anything comprehensible, or hurry outside and try to suppress the tide of nausea rising in my own guts.
Not a tough choice.
CHAPTER
2
M
ilo hadn't moved from his position on the landing. His eyes were back on Planet Earth, watching the street below. Five uniforms were moving from door to door. From the quick pace of the canvass, plenty of no- one-home.
The street was in a working-class neighborhood in the southeastern corner of West L.A. Division. Three blocks east would've made it someone else's problem. Mixed zoning allowed single-family dwellings and duplexes like the one where the woman had been degraded.
Psychopaths are stodgy creatures of routine and I wondered if the killer's comfort zone was so narrow that he lived within the sawhorses.
I caught my breath and worked at settling my stomach while Milo pretended not to notice.
"Yeah, I know," he finally said. He was apologizing for the second time when a coroner's van drove up and a dark-haired woman in comfortable clothes got out and hurried up the stairs. "Morning, Milo."
"Morning, Gloria. All yours."
"Oh, boy," she said. "We talking freaky-bad?"
"I could say I've seen worse, kid, but I'd be lying."
"Coming from you t...
Product details
- ASIN : B00564GOM8
- Publisher : Ballantine Books (February 28, 2012)
- Publication date : February 28, 2012
- Language : English
- File size : 1013 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 386 pages
- Best Sellers Rank: #130,505 in Kindle Store (See Top 100 in Kindle Store)
- #2,173 in Serial Killer Thrillers
- #3,154 in Murder Thrillers
- #6,184 in Suspense (Kindle Store)
- Customer Reviews:
About the author

Jonathan Kellerman is the #1 New York Times bestselling author of more than three dozen bestselling crime novels, including the Alex Delaware series, The Butcher’s Theater, Billy Straight, The Conspiracy Club, Twisted, True Detectives, and The Murderer’s Daughter. With his wife, bestselling novelist Faye Kellerman, he co-authored Double Homicide and Capital Crimes. With his son, bestselling novelist Jesse Kellerman, he co-authored The Golem of Hollywood and The Golem of Paris. He is also the author of two children’s books and numerous nonfiction works, including Savage Spawn: Reflections on Violent Children and With Strings Attached: The Art and Beauty of Vintage Guitars. He has won the Goldwyn, Edgar, and Anthony awards and has been nominated for a Shamus Award. Jonathan and Faye Kellerman live in California, New Mexico, and New York.
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After finishing it, I immediately started nosing around to find another Kellerman we might like and found Aaron Brown's 5 star review of "Victims." We discovered that Mr. Brown had also followed Kellerman's work from its inception; had observed a decline in its quality and was apparently as relieved and delighted as we that Kellerman's writing was no longer a turn off. (He puzzled briefly as to "Why" this was the case but offered no answers.) He encouraged readers to buy "Victims" so we did.
I wanted to title my own review of "Victims" "A Magnum Opus" because that's how it felt. "Victims" was a great achievement and the author had pulled out all the stops to make it so. Kellerman's intricate and logically constructed plot had obviously devolved from the important milestones of his own personal professional career from his early student days to his final roles as a psychological consultant to law enforcement, the juvenile justice system and pediatric medicine. I had the sense that he wanted to leave nothing out and that these memories were still fresh and important enough to ensure that using them as plot devices in the story would make them interesting to the reader. (Other reviewers will tell you more about the story itself.)
Overall, this is a good, compelling, police procedural written by an expert in the field. I encourage you to buy it. As Aaron Brown says in his Amazon Review, "Welcome back Alex Delaware."
But an interesting and dark psychopathology is at work here and as more bodies, are slain and in similar ways, but with no apparent connection, Delaware and Sturgis realise they have a very sick serial killer on their hands. The only way to discover the identity of the murderer is to uncover a link between the victims. At first, this seems an impossible task, but as more people are found and connections are made, not only do Delaware and Sturgis start to hone in on the killer, they start to realise he’s closer than they think…
A fast-paced, oft-times scary book, it delves into the capacity of humans for both cruelty and revenge and the sickness that resides inside. Dark, but laced with humour and really well-rounded characters, I couldn’t put it down, despite the fact I found the descriptions of the murders both brutal and graphic. I think because they didn’t feel gratuitous but built a profile of the killer, I was able to stomach it, to see it through Delaware’s eyes and thus be drawn into the narrative.
Other appealing qualities of Kellerman's series are Delaware's sense of humor and his descriptions of people and places, particularly Sturgis, who cares little -- if at all -- about his appearance. Early in the book Alex, from whose perspective "Victims" is written, describes his friend's apparel, then comments, "He looked as if he'd dressed wearing a blindfold."
Worthy of note (and of reading) are sections of the novel that describe insurance company "screeners", or company employees who take the initial contact calls from customers seeking approval of medical services and determine what they can do next, mental/psychiatric hospitals, and general attitudes towards people who are ill ("Restaurants are for eating, hospitals are for sick people, disease is unappetizing, stay away. It's a common feeling. Most people are a lot more subtle but you'd be surprised how often sick people get stigmatized.")
The plot has been described by other reviewers, so I'll just add that it isn't necessary to have read the previous books in the series to enjoy "Victims" -- but they are almost all really good and worth it. I love this series.
A five star Kellerman.
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