The Tin Collectors (Shane Scully Series #1)by Stephen J. Cannell, Robert Lawrence
The best-selling novelist and award-winning Hollywood producer weaves a high-tension novel of suspense around a chilling conspiracy of corruption within the LAPD.
Inside the department, they're called Tin Collectors: Internal Affairs Agents, the police of the police. If they catch you breaking rules, they'll come after your badge. If they want it badly enough,… See more details below
The best-selling novelist and award-winning Hollywood producer weaves a high-tension novel of suspense around a chilling conspiracy of corruption within the LAPD.
Inside the department, they're called Tin Collectors: Internal Affairs Agents, the police of the police. If they catch you breaking rules, they'll come after your badge. If they want it badly enough, (chances are) they'll get it.
But who polices them?
When LAPD Sergeant Shane Scully rushes to the aid of his ex-partner's battered wife, he doesn't expect he'll need to employ lethal force. But when the ensuing altercation turns ugly, Scully finds himself with no time to think and no option save the unthinkable.
Now, with one cop dead at his hands, Shane becomes prey for the Tin Collectors. After they move him to another assignment, Shane realizes they want him out of the picture altogether. And when Internal Affairs agents try to make him the fall guy for a web of corruption that extends to the highest levels of the LAPD, Shane Scully has no choice but to fight back.
About the Author:In his 35-year career, the Emmy award-winning writer Stephen J. Cannell has created such TV hits as The Rockford Files, The Greatest American Hero, The A-Team, 21 Jump Street, Wiseguy and The Commish. He has also penned the bestsellers The Plan, Final Victim, and King Con. He lives in Los Angeles with his wife and children.
Mr. Cannell's brand of thriller is served straight up...and he knows how to cut to the chase."The New York Times
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The Tin Collectors
By Stephen J. Cannell
St. Martin's PressCopyright © 2001 Stephen J. Cannell
All rights reserved.
Use of Force
Shane was in deep REM black. Way down there, but still he heard the telephone's electronic urgency. The sound hung over him, a vague shimmer, way above, up on the surface. Slowly he made his way to it, breaking consciousness, washed in confusion and anger. His bedroom was dark. The digital clock stung his eyeballs with a neon greeting: 2:16 A.M. He found the receiver and pressed it against his ear.
"Yeah," he said, his voice a croak and a whisper.
"Shane, he's trying to kill me," a woman hissed urgently.
"What ... who is this?"
"It's Barbara." She was whispering, but he could also hear a loud banging coming over the receiver on her end, as if somebody was trying to break down a door.
"He's trying to kill you?" he repeated, buying time so his mind could focus.
Barbara Molar. He hadn't seen her in over two months, and then just for a moment at a police department ceremony, last year's Medal of Valor Awards. Her husband, Ray, had been one of three recipients.
A crash, then: "Jesus, get over here, Shane. Please. He'll listen to you. He's nuts, worse than ever."
Shane heard another crash. Barbara started screaming. He couldn't make out her next words, then: "Don't, please ..." She was whimpering, the phone was dropped on a hard floor, clattering, bouncing, getting kicked in some desperate struggle.
"Barbara? Barbara?" She didn't answer. He heard a distant, guttural grunting like a man sometimes makes during sex, or a fight.
Shane got out of bed and started gathering up clothes. He slipped into his pants and grabbed his faded LAPD sweatshirt. He snapped up his ankle gun, hesitated for a moment, then pulled it out, chambered it, and strapped it on. He ran out of his bedroom toward the garage without even looking for his shoes. He was already behind the wheel when he realized he had forgotten that Chooch Sandoval was asleep in the other bedroom. He wasn't used to having fifteen-year-old houseguests. He knew he shouldn't leave Chooch alone. The garage door was going up as he backed out his black Acura. Grabbing for his cell phone, he dialed a number from memory. He streaked down the back alley away from his Venice, California, canal house, as cold beach air slipstreamed past the side window onto his face.
Brian "Longboard" Kelly, his boned-out next-door neighbor, picked up the phone. "Whoever this is, fuck you" was the way he came on the line.
"Sorry, Brian, it's Shane. I got called out, and Chooch is still asleep in the guest bedroom."
"Chooch? Who the hell ..."
"The kid I told you I was taking for the month. Sandy's kid. He came yesterday."
"Ohhh, man ..."
"Look, Brian, just go over and sleep on my couch. The key is in the pot by the back door."
"Good place, dickbrain. Who would ever think to look there?"
"Just do it, will ya? I'll owe ya."
"Fuckin' A." Longboard slammed the phone down in Shane's ear.
Shane was now at Washington Boulevard. He hung a left and headed the short distance to the Molar house. When they'd still been partners, he'd made this trip at least once a day to pick up Ray, heading across Washington to South Venice Boulevard, through Gangbang Circle, where, once it got dark, the V-Thirteens and Shoreside Crips staged their useless, life-ending street actions, occasionally killing or wounding a tourist from Minnesota by mistake.
He shot across Abbot Kinney Boulevard and turned right onto California, finally coming to Shell Avenue. All the way there, he wondered why Barbara would call him. Why not dial 911? Of course, the answer was sort of obvious after he thought about it. Even though she was scared spitless, she still didn't want another domestic-violence beef in Ray's LAPD Internal Affairs jacket. He was a thirty-year veteran with a big pension, which another DV complaint would jeopardize. That pension was an asset that was half hers.
Still, Shane Scully was the last guy Ray Molar would want to see coming through his door, quoting departmental spousal-abuse regulations at two A.M. So why Shane? Why not Ray's current partner? He guessed he knew that answer, too. She called him because she thought she could control him, use him for protection, then keep him from talking. Also he was handy, only five miles away. ... Just like before, he had turned up as the double zero on her slow-turning roulette wheel.
When he got to Ray's small, wood-sided house, he pulled into the driveway behind Ray's car and jumped out. The hood was warm on the dark blue Cadillac Brougham; the lights were on in the house. Then he heard muffled screaming.
"Shit, I hate this," he mumbled softly, feeling the cold grass on his bare feet. He moved toward the house, tried the front door and, to his surprise, found it was open. Reluctantly, he stepped into his ex-partner's living room.
Ray's house always seemed delicate and overdecorated. Too much French fleur-de-lis upholstery, too many knickknacks and hanging lamps. It was Barbara's doing and definitely didn't seem like the lair of a street monster like Ray Molar. Ray should live in a cave, cooking over an open fire, throwing the gnawed bones over his shoulder.
Shane could hear Barbara's screams coming from the back of the house, so he moved in that direction. He came through the bedroom door just in time to see Ray Molar hit his slender, blond wife in the solar plexus with the butt end of his black metal street baton. Then, as she doubled over, he expertly swung the nightstick sideways, catching her in the side of the head with a "two from the ring" combat move ... a baton-fighting tactic taught to every recruit at the Police Academy. Shane stood frozen, as Barbara, her head bleeding badly, slumped to the floor, almost unconscious.
"Ray ..." Shane's voice, a raspy whisper, cut the temporary silence like a sickle slashing dry wheat. "What's the story here, buddy?"
Ray Molar swung around. He was at least six-four and weighed over two-forty, with huge shoulders and long arms. He had bristly blond hair and a corded, muscled neck. Adding to these Blutoesque dimensions was a huge jutting jaw and almost total lack of a forehead. "Get the fuck outta here, Scully. We don't need the Boy Scouts," Molar growled, his pupils round points of focused hatred.
Shane had seen that look in the street many times before and had come to fear it. "Let's just back off, slow down, and give it a rest, Ray." Shane was moving slowly toward him, not wanting any part of the fury and craziness he saw on his ex-partner, but feeling compelled to get close enough to protect Barbara if he swung on her again. When Ray lost control, he could turn instantly murderous. He spewed white rage without thought, violence without reason.
"You got anything to eat?" Shane said, trying to refocus the energy in the room. "I'm starved. Missed dinner. How 'bout I get us a beer and a sandwich, something. ... We chill out a little ... Cool out ... Talk it down ... Get solid ..."
"You wanna eat somethin'? Eat shit, Scully!" He was halfway between Shane and Barbara, still brandishing the black metal police baton.
"Ray, I don't want trouble, but you can't go hitting Barbara with the nightstick, man. You're gonna fuck her up bad."
Then Ray started toward Shane, swinging the metal stick in a lose arc in front of him. "Yeah? Who's gonna stop me, dickwad?"
"Come on, let's stay frosty here, Ray. Let's ... let's —" And he stopped talking because he had to duck.
Ray swung the nightstick. It zipped through the air an inch from Shane's ear. As he was coming back up, Ray swung a fist, hitting him with a left hook that landed on Shane's right temple, exploding like a pipe bomb, sending him to the floor, ears ringing. Then Ray yanked a small-caliber snubby out of his waistband. It looked to Shane like an off-brand piece, a European handgun of some kind, maybe a Titan Tiger or an Arminus .38, definitely not standard police issue. Ray always kept a "throw-down gun" on him to drop by a body if some street character got funky and had to take a seat on the sky bus.
"Put it away, Ray."
"You fucking this bitch, too? You fucking her? 'Cause if you ain't, you should get in line — everybody else is."
"Come on, Ray, that's crazy. I never touched your wife; nobody's messin' with Barb, and you know it. Why're you doin' this?"
"She's been getting snaked by half the fuckin' department." He turned back and glowered at her. "Am I right, baby? Tell him 'bout all the wall jobs you been doin' in the division garage."
Barbara groaned. Ray, turning now, aimed the gun at Shane, pulling the hammer back. Shane watched the cylinder begin to rotate on the center post as Ray applied pressure on the trigger. He was strangely mesmerized by the hole in the barrel; a dark eye of damnation, freezing his stomach, dulling his reactions. He was seconds from death. ... Almost without realizing it, his right hand slipped down to his ankle, fingers encircling the wood-checked grip of his 9mm automatic. He slid the weapon free.
Shane dove sideways just as Ray fired. The bullet thunked into the wooden doorframe behind him. Shane was operating on instinct now, with no control over what happened next, going with it, not questioning, rolling, coming up prone, his Beretta Mini-Cougar gripped in both hands.
As Ray turned to fire again, Shane squeezed the trigger. The bullet hit Ray Molar in the middle of his simian brow.
Huge head jerking back violently.
Brainpan exploding, catching the 9mm slug.
Then Ray looked directly at Shane as the gun slipped from his meaty paw and thumped onto the carpet. Ray's pig eyes, bright in that instant, registered hatred and surprise, or maybe Shane was just looking for something human in all that animal ferocity.
Ray Molar took one uncertain step backward and sat on the edge of the bed. Even though his heart was probably still beating, Shane knew that his ex-partner was already dead. But the street monster sat down anyway, almost as if he needed a moment to consider what he should do next or where he should go, momentum and gravity making the decision for him, toppling him forward, thudding him hard, face first, onto the carpet.
Shane looked over at Barbara, who was staring at her dead husband, her mouth agape, her puffed lip split and bleeding.
"Whatta we do now, Shane?" she finally asked.
In the seconds after the shots were fired, the bedroom seemed so quiet that he could almost hear dust settle. Then the sharp smell of cordite, mixed with the coppery smell of blood, began to fill his nostrils. Barbara was still on the floor not ten feet from Ray's body. Shane moved first. He stood slowly, feeling his knees shake as he rose. He stumbled to the dresser and leaned on it heavily, propping himself up for support. They were both trying to digest it, understand what had just happened and comprehend how it would alter, in a ghastly way, events stretching before them. Then, from the floor, Ray Molar farted. Shit ran into his pants as his bowels let loose. The perfect punctuation mark for the past few minutes.
"We need to get a story, Barbara," Shane said. "This isn't going to go down smooth. You know how they all feel about Ray."
"I don't know ... I don't know ... He just ..."
Her eyes were darting around the room in a desperate escape dance. Her face was also beginning to swell where Ray had hit her on the right side, distorting her natural beauty.
"Tell me," he prodded softly, "what set him off?"
Somewhere in the distance they could hear the faint wail of a police car.
"Already?" she said, referring to the sirens.
"You were screaming, shots were fired, you've got neighbors. Nine-one-one response time is supposed to be less than five minutes. If something more is going on here, I need to know, Babs. You and I, we're not completely clean, if you know what I mean."
"I know." She pulled herself up on the bed and sat. He could see that her hands were shaking as she brought the back of her wrist up to wipe the blood oozing from the corner of her mouth. Her hand came away with an ugly red streak on the back. "He ... he just ... I don't know."
"He just what? Let's go, there isn't much time. What set him off?"
"I got a call yesterday from a woman. She asked me if I'd seen the videotape yet."
"I don't know. That's the whole point. I haven't got any tape, and I told her. She sounded like she was crying. Then she said it was coming in the mail, and it will show me what a cheating bastard Ray was."
"Who was she?"
"Didn't say. I didn't recognize the voice. She just hung up."
The sirens were now less than a block away as Barbara Molar looked at Shane in desperation. "What're they gonna do?"
"They're gonna separate us. Take statements. This is our only chance to coordinate. We need the same story. Stay with me here, Babs. Keep goin'. What happened next?"
"Ray hasn't been home much since he got his new assignment. He's been away days at a time, so when he got home tonight, I asked him where he was all the time. I told him what the woman said and he ... he just ... went nuts. You know his temper, how he gets. You worked patrol with him. He accused me of sleeping with his friends. He called me a whore. He started beating me. I can't take any more beatings. I can't. I told him I was going to leave him, and then he chased me into the bathroom. I locked the door and called you. Then he just —"
The sirens growled to the curb outside, and Shane quickly looked around the bedroom, taking mental pictures of the crime scene, filing them in his memory for later. Oddly enough, it was Ray who had schooled him in this technique, quizzing him at "end of watch" on what he remembered. They'd sit in some bar at EOW, betting drinks on the answers. Ray would ask questions: What was on the dresser? How many windows in the kitchen? Were there screens? Ray was violent and unpredictable, but he sure knew how to police a crime scene.
"They're gonna take me downtown," Shane said. "They'll take your statement here, then probably transport you to the ER. Just say exactly what happened. He would have killed you, Barbara. He fired first. This was self-defense. Just leave out you and me. Whatever you do, stay tight on that."
They could hear cops coming into the house through the open front door.
"We're back here, LAPD!" Shane yelled. Then, as an afterthought, he whispered to Barbara, "Call the phone company and see if you can get an AT&T printout of calls to your phone so we can try and find out who that woman is."
Barbara nodded just as a uniformed South Bureau "dog and cat" team came through the door, guns drawn. Shane had his hands in the air and his Beretta Mini-Cougar hanging down, dangling uselessly from his right thumb. "LAPD," he said again.
The cops didn't know him, and not seeing a badge, the male officer rushed him, disarmed him, and threw him down onto the floor right next to a puddle of Ray's blood. The female kept her Smith & Wesson trained on him until her partner had Shane cuffed. Then they both roughly yanked him up.
"Where's your shield?" the lady cop said. Her nameplate read S. RILEY.
"On my dresser, at home. I was asleep. She called for help. I live four miles from here. I'm Sergeant Shane Scully, Southwest RHD. My serial number is 50867."
They looked down at Shane's now-bloody bare feet, then at Ray. The male cop was a policeman III; his nameplate read P. APPLEGATE. He knelt down and looked closely at the body. "Shit. This is Steeltooth. You shot Lieutenant Molar."
Shane stood quietly as Applegate fingered his shoulder mike. "This is X-ray Twelve. We're Code Six at 2387 Shell Avenue. We have a police officer down. We need a sergeant on the scene and the coroner. Notify South Bureau Detectives we have the shooter in custody. He claims to be Southwest Robbery/Homicide Sergeant Shane Scully." Then he turned to Shane. "Gimme that serial number again."
"It's 50867," Shane said into the officer's open shoulder mike.
"You get that?" Applegate asked. The female radio-transmission officer answered quickly.
"Roger, X-ray Twelve. That's 50867. You're Code Six Adam at Shell Avenue, requesting a supervisor and a Homicide unit. Stand by." There was static, and in less than thirty seconds, the RTO came back on. "X-ray Twelve, on your suspect ident: that badge number is confirmed to Southwest RHD Sergeant Shane Scully, 143 East Channel Road, Venice, California."
"Roger. We're locking down this crime scene for Homicide and moving outside." The officer then turned to Shane. "Who's your direct supervisor?"
"Captain Bud Halley, Southwest Division Robbery/Homicide."
"You got his call-out number?"
"Just call the squad. I can do it myself if you take these cuffs off."
"Hey, Scully, you done enough already. You just croaked the best fucking cop on the force." Then he unlocked the handcuffs. "Shannon, take Mrs. Molar into the kitchen. I'll hold Sergeant Scully in the living room." They left Raymond Molar in an expanding pool of his own blood to wait for the Homicide team and lab techs.
Excerpted from The Tin Collectors by Stephen J. Cannell. Copyright © 2001 Stephen J. Cannell. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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