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Vertical Coffin: A Shane Scully Novel

Vertical Coffin: A Shane Scully Novel

3.8 17
by Stephen J. Cannell

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A nightmarish series of events sweeps LAPD's Sergeant Shane Scully and his wife (and boss), Alexa, into the vortex of an enormous, jurisdictional firestorm.

First, a sheriff's deputy, a friend of Shane's, is gunned down while serving a routine search warrant. His fellow deputies blame the incident on the Bureau of Alcohol, Tobacco and Firearms, whom they


A nightmarish series of events sweeps LAPD's Sergeant Shane Scully and his wife (and boss), Alexa, into the vortex of an enormous, jurisdictional firestorm.

First, a sheriff's deputy, a friend of Shane's, is gunned down while serving a routine search warrant. His fellow deputies blame the incident on the Bureau of Alcohol, Tobacco and Firearms, whom they angrily accuse of having failed to warn them that the suspect had a huge arsenal of illegal weapons in his house.

Soon thereafter, a member of the ATF Situation Response Team is shot to death, followed by the sniper murder of the Sheriff's Special Enforcement Bureau. At the request of the Mayor, LAPD, as an uninvolved and unbiased agency, assigns Shane Scully to investigate.

He is given an impossible deadline to find a solution before these two elite and deadly SWAT Teams kill each other off amid a hurricane of horrible publicity. Shane pursues his investigation in a direction that neither his chief nor his wife agrees with, and succeeds in putting himself, his loved ones, and his career in terrible jeopardy before he finally discovers the shocking and deadly truth.

Editorial Reviews

Publishers Weekly
The title of the latest entry in Cannell's Shane Scully LAPD series (Hollywood Tough; The Tin Collectors; The Viking Funeral) is police jargon for any doorway, which is where cops are most vulnerable when clearing a house. As the novel begins, Shane stumbles into a full-scale barricade shootout between gunman Vincent Smiley and surrounding police. After one of two competing SWAT teams at the scene burns down the barricaded house with Smiley in it, a fight over who is to blame begins to smolder. Several subsequent cop shootings (with all victims caught in the aforementioned vertical coffins) fan the SWAT team turf tussle into a conflagration that Shane and wife Alexa, the acting head of the LAPD Detective Services Group, are assigned to investigate. Shane, an old school detective, insists on starting from zero and looking into shooter Smiley's past. Everyone else wants him to forget the gumshoe routine and come up with an instant solution. The pleasure of Cannell's work isn't in the writing ("Bullets whined and ricocheted in a deadly concert of tortured metal"), but lies more often in the interesting procedural elements ("It's very hard to protect a crime scene, so I always start at the far edges first, and work in toward the body"). Shane's still a little rough around the edges, but despite too many pop psychology musings, he's a dependable and satisfying character. Readers will enjoy watching him puzzle out the twists and turns of the plot and watch breathlessly as he undertakes a climactic high-speed chase in a souped-up dune buggy on a military shooting range. (Jan.) Forecast: It's no surprise that Cannell's novels have a cinematic bent as he's the creator or co-creator of 38 television shows and author of more than 350 scripts for these shows. Solid publisher backing and a built-in fan base should push this one onto some bestseller lists. Copyright 2004 Reed Business Information.
Library Journal
Cannell's fictional LAPD cop, Shane Scully, is one tough S.O.B. In this latest outing, he finds himself in the middle of a law enforcement territorial war when he begins to investigate the murder of one of his friends from the Los Angeles County Sheriff's Department. It seems as if both the sheriff and the feds arrived at the scene of the crime even though neither of their communications systems were compatible with the LAPD frequency. Shane is teamed with a female sheriff, and together they find themselves without friends in any law enforcement agencies. Scott Brick is brilliant at capturing the authentic language that the author brings to his works; Cannell is, quite simply, one of the best police procedural writers today. This will definitely be a popular item in all audio collections.-Joseph L. Carlson, Allan Hancock Coll., Lompoc, CA Copyright 2004 Reed Business Information.
Kirkus Reviews
Internecine warfare between feebies and sheriff's guys with the LAPD as peacemakers-could you believe-in this rousing bang-banger. Emo Rojas, sheriff's deputy, is gunned down by a trigger-happy sociopath named Vincent Smiley, who is subsequently gunned down by the cops. There's an aspect to this that enrages Rojas's colleagues. Evidence suggests that an AFT team callously let the deputy stumble into a trap. Later, an AFT agent is murdered, and the feds are convinced they're looking at payback. A powder-keg situation if ever there was one: law-enforcement folks drawing down on each other instead of the creeps, with the LA media having a field day. Powder-keg foretells a command performance by series hero Sergeant Shane Scully (Hollywood Tough, 2003, etc.). Charged by the mayor, the police chief, and by his lieutenant wife Alexa-acting head of the Detective Services Group-with peacekeeping through lickety-split case-cracking, Shane upsets one and all with a seemingly tangential approach. Sort out the feds and the deputies, never mind the sociopath, the brass insists. But Shane senses that short cuts are illusory here, that the only way to restore order to potential chaos is to cut to the why. Suicide-by-cop: a deliberate attempt to have the police do for him what he lacked the courage to do? That's the way conventional wisdom sees Smiley's demise. Too easy, thinks Shane. Sick, yes. Filled to the brim with self-loathing, that as well. But Vincent Smiley was much too bent on his own special brand of vengeance to be suicidal, Shane feels, and of course he's right, though by the time the smoke clears-and the cost is counted-he wishes he hadn't been. Action's been a reliable staple in the Scullyseries, but here Cannell gets the people right, too. A likable, believable cast makes this the best yet by the Rockford man. $300,000 ad/promo; author tour. Agent: Robert Gottlieb/Trident Media Group

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St. Martin's Press
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Shane Scully Series , #4
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Vertical Coffin

By Stephen J. Cannell

St. Martin's Press

Copyright © 2004 Stephen J. Cannell
All rights reserved.
ISBN: 978-1-4299-0262-5


Vertical Coffin

It was mid-September, hot and dry, the kind of hot that makes you think of frosty cans of Coors and long swims in the ocean. I was standing in a small, burned-out shack ten miles east of Palmdale in the high desert. There wasn't much left — a rock chimney and some blackened footings. My shoes were already covered with soot from kicking at scorched rocks and the remnants of charred furniture. It was ten on a Tuesday morning and the lizards had already abandoned their flat rocks to slither into the shady crevices between granite outcroppings.

This had been a Palmdale P.D. crime scene a month ago. Now it was mine. I'd driven out here in a primered Ford Bronco along with Sonny Lopez. The truck was his privately owned vehicle, known in police circles as a POV. Sonny was a sheriff's deputy working L.A. Impact, a multijurisdictional law-enforcement task force located in Los Angeles County, in Lancaster. The TF was a bad pork stew made up of LAPD and state cops, LASD, and a smattering of feds from the FBI, Customs, and ATF. All of them pretending to be a kick-ass unit, while at the same time trying to get past their deep jurisdictional prejudices.

Sonny Lopez was in his mid-thirties, tall, and movie-star handsome. He was working meth labs for L.A. Impact. This one had exploded and burned to the ground. At first it was thought to be a gas leak, but the county fire teams had learned to call the cops if they saw chemistry glassware in the ashes. When they were raking the debris cold, too many test tubes came up in the furrows. Since crystal kitchens tended to explode more frequently than Palestinian suicide bombers, the Palmdale P.D. did tests on the soil and found high quantities of methamphetamine. In fact, the dirt was so laced with amp, the site started to get nightly visits from local crankheads. They hauled away the soil, taking it home to mine it for meth. A dirt lab is what we called it. L.A. Impact did a lot of meth investigations, so they were called in.

I came from a far more depressing direction.

Two kids had starved to death in a house in Fullerton; fourteen-month-old Cindy and her four-month-old brother, Ben. Their mother, Paula Beck, was a crystal addict with half a dozen meth-cooking busts in her package. Paula was currently in the Sybil Brand Institute facing two involuntary manslaughter charges. The D.A. wanted to boot it up to murder two and had asked Special Crimes at LAPD to look for extenuating circumstances. Since my partner, Zack Farrell, was on a temporary leave of absence to be with his ill mother in Florida, and since it was mostly a background check, which required no partner, I got to work on that grisly little double homicide. The D.A. thought if he could file the bigger charge against Paula he could get her to roll on her ex- boyfriend, Paco Martinez, a high-profile drug dealer. Paula had been banging him until a month ago, when she'd finally gotten so tweaked and crankster-thin he kicked her out.

Once Deputy Lopez determined that this burned out hacienda had been Paula Beck's pad, the sheriff's and LAPD crime computers played "Let's Make a Deal" and that's how we ended up in Palmdale together. Because Paco Martinez was such a major player, I'd been expecting to find a big crystal plant. But now that I was here, I knew I'd wasted the trip. This was just a user lab, a Beavis and Butt-head kitchen where poor, strung-out Paula Beck cooked her own personal bag of crystal, then fried her brains. I wondered if little Cindy had crawled in the dirt out front while Ben lay screaming in soaking diapers watching his mommy shoot the moon. I wondered if she'd gotten so tweaked in Fullerton that she just forgot she had left her two babies locked in their room till they starved to death.

So now Sonny and I were standing in Paula's kitchen, both silently wondering, if somebody had taken notice sooner could this whole terrible tragedy have been avoided?

But crystal is the oxymoron of narcotics. Technically, methamphetamine is the artificially synthesized version of the body's natural adrenal hormone. Cook up a good batch and it makes you feel beautiful, sexy, attractive, and alert. The problem is that it also takes away whatever it was that you wanted from it. If you use it for sex, you can't have an orgasm. Take it for work, you become totally inefficient. And very quickly it goes negative. You start to get so drowsy you need to load up just to keep your eyes open. It's a nightmare drug. I've seen recovered heroin users, but not one recovered meth addict. They all check off the ride at the first possible stop.

Cindy and Ben had paid Paula's trip ticket and now I was out here trying to cash her in for a D.A. who really only wanted her boyfriend. It was part of an endless cycle of death and destruction.

More and more I was finding it difficult to do this job. All I saw was human wreckage. Even when I succeeded in doing something that felt right, more often than not, I'd been cursed for it. People didn't want cops around. Even my victories produced confusion. I had been fighting these feelings by not thinking about them, pushing them aside like bad food, knowing that if I ate much more it would soon make me sick. But you can't run from moral dilemmas, and I knew my days in law enforcement were numbered unless I found an answer.

"This lab burned a month ago?" I asked, jerking my ruminations out of this deep rut and back onto Paula's cratered family.

"Yep." Sonny looked around the flat, dry desert, his dark good looks clouded by his own elusive thoughts.

A hawk wheeled high overhead, a black shadow against the cobalt sky. The bird called softly to me. A mournful sound: too late ... too late ... too late.

"You gonna write any of this up?" Sonny asked. "I got the PFD reports. I can burn you a copy if that'd help, but there's nothing much here. It's been baked and raked. Whatta ya say we head back?"

"She's out here cooking up a batch, gets so amped out, she burns her own place. It's a wonder those kids lasted as long as they did."

Sonny nodded and looked up at the sun. "Man, it's hot. How did my ancestors put up with this heat?" He wiped his face with a handkerchief, anxious to get moving.

"Let's roll," I said.

We trudged back to the Bronco. Sonny cranked the air up, but it blew hot for almost three minutes before things got better. We took the Grapevine over the hill and in less than an hour dropped back into the Valley. My car was at the Agoura sheriff's substation where we'd met. We rode in silence most of the way.

Finally, somewhere near Sunland, Sonny looked over and shook his head angrily. "How do you get so wired you forget your own kids?" he grumbled. "It's bummin' me out."

"We both should a gone into retail," I replied.

When we arrived at the substation all hell was breaking loose. Sonny almost hit a black-and-white Suburban that was careening out of the parking garage. I could see the wide-eyed, adrenaline-charged face of the uniformed driver as he bounced the vehicle out of the lot and squealed away up the street.

"That's our technical command vehicle," Sonny said. "The area commander uses it to roll on hot calls." Seconds later, ten sheriff's deputies ran out of the station carrying shotguns and Kevlar, trying to buckle into their Tac vests as they ran.

"This don't look good," Sonny said. He squealed into a parking spot, jumped out, and ran toward the substation.

I was LAPD and this was an L.A. Sheriff's Department rollout. As I picked up my briefcase and headed toward my black Acura, I told myself, leave it be, I've got enough action on my own beat.

The joke in LAPD is that the sheriffs are just rent-a-cops on steroids. The reason is that LASD sells their services to any unincorporated city in L.A. County that needs them. They contract out, just like the square badges who work the malls. The rip is they wear stars not badges, and that star is just rats spelled backwards. Of course, that's just a sleazy, jurisdictional cheap shot. The LAPD, gods that we are, are paid by the almighty taxpayers, giving us superior placement in the jurisdictional universe. All of which is worth about what you paid for it. Nothing.

I was unlocking the Acura when Sonny Lopez ran back into the lot with four deputies and a lieutenant. The "LT" was cradling a Tactical Operation Tango 51, which I'd read was their new Remington 700 Action sniper rifle. It was an extremely accurate long gun that fired a 168-grain Boattail .308 hollow point. Huge stopping power. Something big was definitely going down. The deputies and their watch commander piled into a new sheriff's Suburban with a Mars Bar, hit the cherries, and squealed out fast. Sonny never even glanced back at me. He was that pumped.

I reached into my car and switched to the Impact channel on my police radio. The LAPD and LASD work on completely different radio frequencies, but since I had worked with L.A. Impact twice before on overlapping cases, I had put their TAC frequency on my scanner. This was a major scramble and I figured some of the Impact crew was undoubtedly rolling on it. If so, I'd be able to crib their transmissions. They used Tactical Frequency 4. I switched it on and immediately heard somebody screaming:

"... Deputy down! Thirty-Mary-Four is down! He's layin' up on the porch right in the door. Every time we try and get to him, the sonofabitch inside starts pourin' lead out at us." You could hear the adrenaline in his voice.

Somebody else came back yelling an order. "Forget Emo! We can't get him out of there — not yet. Set up your fire lines. Cover the back. Get a secure perimeter and somebody run over and tell those fucking SRT SWAT guys not to canister the place with hot gas. I don't have their frequency. Tell 'em we can't take a fire. This neighborhood is too dense and the brush is too dry."

Emo? I thought. Emo Rojas?

I pulled out of the substation parking lot as I triggered my mike. "This is LAPD Sergeant Scully. What's your location?"

"Get the fuck off this channel," somebody barked.

"Where is this?" I yelled. "What's the Twenty?"

"Hidden Ranch Road," someone else answered.

I don't ride that much in the county and had no idea where that was, so I pulled over and programmed the street and city into my Acura's GPS. A map appeared on the LCD screen. It was the main road in a housing development called Hidden Ranch. The street dead-ended at a cul-de-sac in the foothills of Agoura two miles behind me. I swung a U, put the hammer down, and made it there in two minutes, with my on-line bitch goddess screaming directions. In two hundred feet turn right, she ordered.

You could hear the gunfire from almost half a mile away. Not the flat popping sound of 9 mm handguns, or the hard crack of an Ithaca pump, but the BLAPBLAPBLAPBLAP of an AK-47, or some heavy-ordnance machine rifle on full auto.

When I reached Hidden Ranch Road I saw a residential area full of two-story builder houses in the mid-to-expensive range tucked up against the dry San Gabriel foothills. Fifteen LASD's cars were already on the scene. At least twenty-five deputies were fanned out hiding behind garden walls and parked squad cars. Some were pouring 9 mm rounds into a house at the end of the cul-de-sac.

Just then a shooter appeared in one of the downstairs windows and let loose with an AK-47. The weapon tore holes right through the sheriff's van parked in the center of the street. Then the gunman ducked back out of sight. Two sheriff's air units and a TV news chopper added to the wall of noise as they circled relentlessly overhead. I rolled out low from the Acura, hung my badge case open on my jacket pocket, grabbed my Beretta and ran toward the sheriff's vans and the Suburban TCV parked in a semicircle in the middle of the cul-de-sac.

The shooter's house was a phony Georgian with fake trim and Doric columns. Sprawled across the threshold of the front door was a uniformed deputy. He wasn't moving. But I recognized those shoulders, that short black hair. It was Emo Rojas. Flat on his face, lying in the vertical coffin.


Barricaded Suspect

As I approached I heard a uniformed sheriff's captain screaming into his cell phone.

"The shit just jumped off! We got an active shooter and a deputy down. I need an incident commander and a Special Enforcement Bureau team on site now! There's an SRT unit here, but they're pinned down across the street. They're not on our frequency, so I can't communicate with them."

Just then, a four-vehicle sheriff's SEB convoy rolled in, sirens wailing, flashers on. The SWAT van squealed to a stop near the three sheriff's vehicles already parked in the center of the cul-de-sac. Two deputy cars and an armored rescue vehicle, an ARV, followed. I had done some cross-training with the LASD at their facility in Spring Ranch, so I knew how they were set up. Special Weapons Teams were comprised of a team leader, usually a sergeant, the second in command was a scout, who did the onsite tactical operation plan. A back-up scout assisted him. The fourth man stayed at the truck to gather intelligence. The fifth and sixth men were responsible for equipment. There were two snipers, called long guns. The weapon of choice for the long guns was a Tango 51 or its predecessor, the 40-X. Both rifles fired armor-piercing .308s. Each long gun had a spotter with him to help isolate targets and to give him tactical support and cover.

The team leader unlocked the SWAT van and the long guns swarmed inside to grab their weapons while the backup scout started passing out flash-bang grenades.

The fourth man opened the office on the side of the truck where the incident board and the weapons team roster hung. He pulled out a graphed Lucite desktop, grabbed a piece of paper, and started to diagram the house and the cul-de-sac, eyeballing it from where he stood, doing a rough but reasonably accurate layout, including all the vehicles parked on the street.

"Get in touch with the city planning office and see if you can get somebody to fax us the plans of this house," the fourth man said to the fifth.

Just then the barricaded suspect popped up again in an upstairs window, firing his AK-47. From where I was hiding, it looked like the weapon held a hundred-round drum mag. The slugs started tearing up the police cars out front and blowing holes in the brick walls where deputies were proned out trying to take cover.

The team leader grabbed his shoulder mike. "All deputies on this channel, get back! You aren't safe. This guy's using lead core rounds. You can't hide behind walls or car doors. Get behind a house, or at least find an engine block."

He opened an ammo box and started handing out .308 mags. His two long rifles and spotters jammed the clips home, then deployed quickly, running low, looking for a good place to set up shop. I ran up to the SWAT van, took cover, then glanced at the team roster clipped to the door. This was the Gray team. The team leader, Sergeant Scott Cook; scout, Rick Manos; first long gun, Gary Nightingale; and spotter, Michael Nightingale. Brothers? As I was reading the board the fourth man spun me roughly around.

"Who the fuck are you, Chester?"

"Scully. LAPD."

"Get lost. This ain't your rodeo."

I held up my Beretta. "This guy's in Kevlar. My nines are useless. Can I borrow some Teflon rounds?"

"Shit," he said, but turned, grabbed a box, and tossed it to me. "Stay behind something dense. Those lead cores he's using are brutal."


I moved away and ducked down behind the engine compartment of a sheriff's car. The deputies pinned behind the brick wall were trying to retreat, but every thirty seconds or so the shooter would appear in another window of his house and start firing. His twenty-round bursts tore up everything they hit. I knelt and thumbed the useless, standard 9 mm Winchesters out of my clip, then started feeding in the Teflon mag rounds. Once I had all thirteen loaded, I slammed the clip home, chambered the gun, then peeked up over the hood of the car. Emo was still up on the porch. It didn't look like he'd moved at all. Nobody had the stones to try and go up there. If you made a run and timed it wrong, it was pretty much suicide. You were gonna get chopped in half by that AK.

I told myself that even though Emo wasn't moving, it didn't mean he was dead.


Excerpted from Vertical Coffin by Stephen J. Cannell. Copyright © 2004 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.

Meet the Author

In his thirty-five-year-career, Emmy Award-winning writer STEPHEN J. CANNELL created more than forty TV series. Among his hits were The Rockford Files, Silk Stalkings, The A-Team, 21 Jump Street, Hunter, Renegade, Wiseguy, and The Commish. St. Martin's Press is proud to have been his publisher for nearly a decade.

Stephen J. Cannell (1941-2010) was the author of the bestselling Shane Scully books, including The Prostitute's Ball, The Pallbearers, and Three Shirt Deal. He was also an Emmy Award winning television writer and producer, and in his thirty-five-year-career, he created or co-created more than forty TV series. Among his hits were The Rockford Files, Silk Stalkings, The A-Team, 21 Jump Street, Hunter, Renegade, Wiseguy, and The Commish. He received numerous awards, including the Saturn Award - Life Career Award (2004), The Marlow Lifetime Achievement Award from Mystery Writers of America (2005), and the WGA Paddy Chayefsky Laurel Award for Television Writing Achievement (2006). Having overcome severe dyslexia, Cannell was an avid spokesperson on the condition and an advocate for children and adults with learning disabilities. He was a third-generation Californian and resided in the Pasadena area with his wife, Marcia, and their children.

Brief Biography

Pasadena, California
Date of Birth:
February 5, 1941
Place of Birth:
Los Angeles, California
B.S., University of Oregon

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Vertical Coffin (Shane Scully Series #4) 3.9 out of 5 based on 0 ratings. 17 reviews.
Guest More than 1 year ago
Los Angeles Deputy Sheriff Emo Rojas is handing out a routine warrant when Vincent Smiley kills him. Cops kill Vincent, but that is not the end of the story. The Sheriff¿s Department is outraged not because one of them was gunned down. With the amount of ammo stored inside Smiley¿s abode, they believe that the Bureau of Alcohol, Firearms, and Tobacco knew what their deceased comrade was walking into, but provided no warning.

Not long afterward, AFT Special Reaction Team member Billy Greenridge lies in a coffin with his compatriots convinced that this was payback for Emo¿s death. The only major neutral law enforcement group in Southern California is LAPD. The brass assigns Sergeant Shane Scully to keep the peace between the hostile armies by solving the second homicide. Shane alienates not only both bellicose sides but his wife and other superiors as he defies everyone by investigating Smiley, but not as a ¿suicide by cop¿ victim as his superiors including his wife believe.

The latest Scully tale is the best to date as the key players from both armed camps, several criminal elements, LAPD especially the hero¿s wife, his temporary Internal Affairs partner, and Shane seem so real. The tempers flaring make Shane¿s endeavor that much more difficult, but as a consequence that is more fun for the audience. Stephen J. Cannell is at the top of his game with this powerful police procedural that has the Blue Knights ready to war with one another unless Shane can prove in a rapid response that Greenridge¿s death was caused by a third party.

Harriet Klausner

Guest More than 1 year ago
Veteran voice performer Scott Brick gives an energetic and exciting reading to both the abridged and unabridged versions of Stephen J. Cannell's latest thriller. In an estimable professional career writer Cannell has created over 40 TV series, including The Rockford files, The A-Team, and The Commish. Such a background serves him well as he effortless segued into novel form introducing LAPD Investigator Shane Scully who is often aided and abetted by his wife, Alexa, also with the LAPD. Vertical Coffin, the fourth Scully novel, places Scully in a terrifying role - caught between what are apparently two battling agencies - the Sheriff's Department and the ATF. Trouble began when a psycho with a store of weapons was trapped and evidently killed in his burning house. Shortly thereafter officials of both agencies are shot at and murdered in vertical coffins. With the LAPD the only uninvolved entity Scully enters the case. But before he can untangle the interlocking layers of deceit he finds his hold on life becoming more tenuous with each day. Scott Brick has provided a riveting listening experience.
Guest More than 1 year ago
Just finished reading Vertical Coffin and it ranks up there with Cannell's other excellent Shane Scully novels like Hollywood Tough , Viking Funeral and Tin Collectors! Cannell weaves a page turning crime mystery for Scully to crack before all out war between Fed and Sheriff SWAT teams happens.
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vette01 More than 1 year ago
I have just discovered this series of books by Mr. Cannell and have enjoyed the characters he writes. The Shane Scully character is well written and an absorbing person.
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Guest More than 1 year ago
Oh, wow! This novel was so good! I could not put it down once I started it. If you are a reader like me and enjoys getting lost in a terrifc book that keeps you on pins and needles throughout the entire read then this is the book for you. GREAT BOOK!
Tivakhalim More than 1 year ago
I would have really enjoyed the 2 books I bought in this series - had it not been for the continual spelling errors. I'm talking errors worse than an OCR program would make. To me, having to constantly decipher what a word was supposed to be really distracted from the storyline. I was extremely disappointed at the lack of quality of these books - I expect much, much more from such a prolific writer. I'm sorry that I spent the money on them.