Drowned Hopes by Donald E. Westlake (Mysterious Press 1990)

 

Dortmunder said, “How long were you in, Tom, all in all?”

“All in all?” Tom made that sound again. “All my life, all in all. Twenty-three years, this last time. It was supposed to be for good, you know. I’m habitual.”

“I remember that about you,” Dortmunder said.

“Well, the answer is,” Tom said, “while I been eating regular meals and getting regular exercise and a good night’s sleep all these years on the inside, the world’s managed to get worse without me. Maybe I’m not the one they should of been protecting society from all along.”

“How do you mean, Tom?”

“The reason I’m out,” Tom said. “Inflation, plus budget cuts, plus the rising inmate population. All on its own, Al, without any help from yours truly, society has raised up a generation of inmates. Sloppy ones, too, Al, fourth-rates you and me wouldn’t use to hold the door open.”

“There is a lot of that around,” Dortmunder agreed.

“These are people,” Tom went on, “that don’t know a blueprint from a candy wrapper. And to pull a job with a plan? When these bozos take a step forward with the right foot, they have no really clear idea what they figure to do with the left.”

“They’re out there, all right,” Dortmunder said, nodding. “I see them sometimes, asleep on fire escapes, with their head on a television set. They do kinda muddy the water for the rest of us.”

“They take all the fun outta prison, I can tell you that,” Tom said. “And the worst of it is, their motivation’s no damn good. Now, Al, you and me know, if a man goes into a bank with a gun in his hand and says gimme the money and a five-minute start, there’s only two good reasons for it. Either his family’s poor and sick and needs an operation and shoes and schoolbooks and meat for dinner more than once a week, or the fella wants to take a lady friend to Miami and party. One or the other. Am I right?”

“That’s the usual way,” Dortmunder agreed. “Except it’s mostly Las Vegas now.”

“Well, these clowns can’t even get that much right,” Tom said. “The fact is, what they steal for is to feed their veins, and they go right on feeding their veins inside, they buy it off guards and trusties and visitors and each other and probly even the chaplain, but if you ask them why they ignored the career counselor and took up this life of crime for which they are so shit-poor fitted, they’ll tell you it’s political. They’ll tell you they’re the victims.”

Dortmunder nodded. “I’ve heard that one,” he said. “It’s useful in the sentencing sometimes, I think. And in the parole.”

“It’s a crock, Al,” Tom insisted.

Gently, Dortmunder said, “Tom, you and I’ve told the authorities a couple fibs in our time, too.”

“Okay,” Tom said. “Granted. Anyway, the result is, inflation makes it cost more to feed and house a fella in the pen in the manner to which we’ve all become accustomed, and budget cuts—Did you know, Al,” he interrupted himself, “that health-wise, long-term cons are the healthiest people in America?”

“I didn’t know that,” Dortmunder admitted.

“Well, it’s the truth,” Tom said. “It’s the regularity of the life, the lack of stress, the sameness of the food intake, the handiness of the free medical care, and the organized exercise program. Your lifers are the longest-lived people in the society. Any insurance company will tell you so.”

“Well,” Dortmunder said; “that must be some kind of consolation, I guess.”

The Hot Rock (1972)

 

The Hot Rock by Donald E. Westlake ( Simon and Schuster 1970)

 

Dortmunder blew his nose. “Warden,” he said, “you don’t know how much I appreciate the personal attention you been paying me.” There wasn’t anything for him to do with the Kleenex, so he just held it balled up in his fist.

Warden Outes gave him a brisk smile, got up from behind his desk, walked around to Dortmunder’s side, patted him on the arm, and said, “It’s the ones I can save that give me the most pleasure.” He was a latter–day Civil Service type — college–trained, athletic, energetic, reformistic, idealistic, and chummy. Dortmunder hated him.

The warden said, “I’ll walk you to the gate, Dortmunder.”

“You don’t have to do that, Warden,” Dortmunder said. The Kleenex was cold and gooey against his palm.

Good Behavior by Donald E. Westlake (Mysterious Press 1985)

 

That produced the comfortable laugh of the professional thinking about amateurs, which Pickens ended, in his carefully paced presentation, by balling up the Guerreran flag, hurling it offstage in the same direction as the rifle, and showing another assault rifle lying on the card table. He picked this one up, held it out in front of him, and said, “Gentlemen, the Valmet.”

“That’s that Finnish fucker!” cried a voice.

“Very good,” Pickens told him, grinning as though he didn’t at all mind having his surprise spoiled. “That’s just what this is, the Finnish M-60 Valmet. Essentially, this is the design of the AK-47 adapted to the needs of Finland. It’s like an AK-47, but it isn’t an AK-47, so it isn’t as familiar as you might think, and if you don’t keep the differences in mind, the head you blow off may be your own.”

He had their attention now. Weapons, travel and money were the only things these fellows cared about, probably in that order. Holding the Valmet out, pointing to its features, Pickens said, “In the first place, you’ll notice it’s all metal, much of it plastic-coated, it doesn’t have the AK’s wooden stock or handguard. That’s fine in a cold country like Finland, but we’re going to a hot country, so keep this thing in the shade. The other thing, you’ll notice it doesn’t have any trigger guard, just this little piece of metal out in front here and nothing down under the trigger at all. The later model, the M-62, they added a skimpy little guard on the bottom, and some of you’ll have those, but mostly we’ve got the original, the M-60. And you see also there’s almost no curve to the trigger itself. Now, the reason for all that is, the Finnish troops have to be able to fire this thing with big heavy mittens on, because of the cold you got up there in Finland. And what it means to you is, you don’t have that guard there where you’re used to it, to protect you if your mind wanders. And your finger wanders.”

A voice from the auditorium called out, “Why the fuck are we taking some fucking North Pole fucking weapon to the fucking tropics?”  A lot of other voices growled agreement with the sentiment.

“Well, now, that’s The People Upstairs,” Pickens said. “They make the decisions, I just implement them. They didn’t want to use Warsaw Bloc weaponry because they don’t want anybody saying the revolution’s Cuban supplied. And they didn’t want to use NATO weapons because they don’t want anybody saying we’re fronting the CIA. And maybe they got a price on these Valmets, I don’t know.”

“It’s always the same fucking thing,” cried a disgusted voice. “They want us to fight the wrong fucking war with the wrong fucking weapons on the wrong fucking terrain at the wrong fucking time of the year.”

“You’re goddamn right!” several voices cried, with variants. More and more of them got into the thing, some rising in their places to make their points, shaking their fists, yelling out their professional opinions.

It was becoming bedlam out there. Pickens hunched his head down into his shoulders, and waited for the storm to subside.

It wasn’t easy, dealing with homicidal maniacs.

Why Me? by Donald E. Westlake (Mysterious Press 1983)

 

The back room at the O.J. looked like one of those paintings from the Russian Revolution—the storming of the Winter Palace—or, perhaps more appropriately, from the Revolution of the French: a Jacobin trial during the Terror. The place had never been so crowded, so smoky, so hot, so full of strife and contention. Tiny Bulcher and three assistant judges sat together on one side of the round card table, facing the door, with several other tough guys ranged behind them, on their feet, leaning against the stacked liquor cartons. A few more savage-looking types lurked to both sides. A couple of chairs had been left empty near the door, facing Tiny and the rest across the green felt table. Harsh illumination from the single hanging bare bulb with its tin reflector in the middle of the room washed out all subtlety of color, reducing the scene to the work of a genre painter with a poor palette, or perhaps a German silent film about Chicago gangsters. Menace and pitiless self-interest glinted on the planes of every face, the slouch of every shoulder, the bend of every knee, the sharpness of every eye, the slant of every smoldering cigarette. Everybody smoked, everybody  breathed, and—because it was hot in here—everybody sweated. Also, when there was no one being interviewed everybody talked at once, except when Tiny Bulcher wanted to make a general point, at which time he would thump the table with fist and forearm, bellow, “Shadap!” and insert a sentence into the resulting silence.

Nobody’s Perfect by Donald E. Westlake (Mysterious Press 1977)

 

Tiny said to him, “You the driver?”

“The best,” Murch said, matter-of-factly.

“It was a driver got me sent up my last stretch,” Tiny said. “Took back roads around a roadblock, made a wrong turn, come up behind the roadblock, thought he was still in front of it. We blasted our way through, back into the search area.”

Murch looked sympathetic. “That’s tough,” he said.

“Fella named Sigmond. You know him?”

“I don’t believe so,” Murch said.

“Looked a little like you,” Tiny said.

“Is that right?”

“Before we got outa the car, when the cops surrounded us, I broke his neck. We all said it was whiplash from the sudden stop.”

Another little silence fell. Stan Murch sipped thoughtfully at his beer. Dortmunder took a mouthful of bourbon. Tiny Bulcher slugged down the rest of his vodka-and-red-wine. Then Murch nodded, slowly, as though coming to a conclusion about something. “Whiplash,” he commented. “Yeah, whiplash. That can be pretty mean.”

“So can I,” said Tiny, and the door opened again . . .

Jimmy the Kid by Donald E. Westlake (Mysterious Press 1974)

A luminous afternoon in the black-and-white forest. The monster, played by Boris Karloff, pauses as he hears the sweet notes of a violin. His face lights, he lumbers through the woods, following the sound. He comes to a cosy cottage amid the trees, very gingerbread. Inside, the violin is being played by a blind hermit, who is being played by O. P. Heggie. The monster approaches, and pounds on the door.

Someone pounded on the door.

“Eee!” Murch’s Mom said, and jumped straight up out of her folding chair. Which folded, and fell over with a slap.

They had all been sitting around the battery-operated small television set they’d brought out to follow the kidnapping news. There’s been no kidnapping news—apparently the cops were keeping a news blackout on—so now they were watching the late movie. The three kerosene lamps, the hibachi in the fireplace, and the flickering television screen, all gave some light and less heat.

Someone pounded at the door again. On the TV screen, the blind hermit opened his door to the monster. The others had all scrambled to their feet too by now, though without knocking over their chairs. Harshly Kelp whispered, “What do we do?”

“They know we’re here,” Dortmunder said. “Let me do the talking.” He glanced upstairs, and said, “May, if the kid acts up, say something about him having nightmares and go up there and keep him quiet.”

May nodded. The pounding sounded at the door for a third time. Murch’s Mom said, “I’ll go.”

They all waited. Dortmunder’s hand was near the pocket with his revolver. Murch’s Mom opened the door and said, “Well, for God—”

And the kid walked in.

“Holy Toledo!” Murch said.

Kelp, slapping his hands to his face, yelled, “Masks!" “Masks! Don’t let him see your faces!”

Dortmunder didn’t believe it. He stared at the kid, looking as wet and muddy and ragged as a drowned kitten, and then he looked upstairs. And then he ran upstairs. He didn’t know what he thought, maybe that the kid was twins or something, but he just didn’t believe he wasn’t in that room.

Bank Shot by Donald E. Westlake (Mysterious Press 1972)

 

The lieutenant looked out the side window, though without any hope. They were climbing a hill, and just ahead was the sign for McKay’s Diner. The lieutenant remembered the free cheeseburger he’d been promised, and smiled. He was about to turn his head toward the captain and suggest they stop for a snack when he saw the diner was gone again. ‘Well, I’ll be darned,’ he said.

‘What?’

‘That diner, sir,’ the lieutenant said as they drove by. ‘They went out of business already.’

‘Is that right.’ The captain didn’t sound interested.

‘Even faster than I thought,’ the lieutenant said, looking back at the space where the diner had been.

‘We’re looking for a bank, Lieutenant, not a diner.’

‘Yes, sir.’ The lieutenant faced front, began again to scan the countryside. ‘I knew they wouldn’t make it,’ he said.