A killer silently watches as first a ranger, then the uniformed police, and finally Detective Ramesh Ryan and Detective Zoe Yang arrive to examine a body discovered in a hut in the forest.
All Or None
Returning to Sydney, Detective Ramesh Ryan is promoted to the Homicide Squad. Zoe Yang joins him there. Now a detective herself, she is assigned as his junior partner. Straight up, the cops are off and running—investigating the discovery of a murdered company director. Following the clues, Detective Ryan finds that this and a second murder may be linked to past events.
As the pressure mounts for a quick solution to the case, the detective finds that he too, is in the killer’s crosshairs. But Ryan is distracted from the investigation by a romantic encounter with an old university friend. He also worries about his mother, Mumta, and her new obsessive desire for grandchildren from her only son. Could this be linked to her recent medical tests? And there’s another pressing problem—the plague of rats in his apartment block.
Detective Ryan’s hands are well and truly full.
Purchase Links
USA – www.amazon.com/dp/B0FJZJP3GV
UK – https://www.amazon.co.uk/dp/B0FJZJP3GV
About the Author
Clive Fleury is an award-winning writer of novels and screenplays, including most recently the murder mystery Off Season, which was the first in the Detective Ryan Mystery series. He is also a TV/Film writer, director, and producer who has worked for major broadcasters and studios on a wide variety of successful drama and documentary projects, in the US, the UK, Europe, Australia and the Middle East. He has written and directed four feature films, one of which, “Big City Blues,” starred Giancarlo Esposito, the late Burt Reynolds, and Balthazar Getty. His most recent film, “Sons of Summer,” is a surfing movie set on the Gold Coast of Australia and stars Temuera Morrison and Isabel Lucas. Clive currently spends his time between Miami, Florida and Sydney, Australia.
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The man watched it unfold while stretched out in the park’s dense undergrowth. It started when the ranger arrived. She jumped out of her car, strode up the steps, checked the open lockbox, and, finding nothing, rapped hard on the hut’s wooden door. There was no reply.
After waiting a few more moments, the woman turned the handle and tentatively pushed open the door.
“Hello?” she shouted. Nothing. She entered the hut. Moments later, he heard her piercing screams.
The ranger ran out, almost tripping down the stairs. Running back to her SUV, she locked herself in the vehicle.
Then the cops arrived. The fat one was first, his marked car skidding to a halt beside the ranger’s car. He had a swagger about him, that one. A small-town cop who thought he had seen it all. But he knew nothing.
The cop spoke to the ranger before hurrying up the stairs and into the hut. There were no screams this time, but when the policeman came out, the color had drained from his chubby face.
The man lay back, relaxing for a few minutes, listening to the rustle of the leaves, the creaking of the branches, the birds singing, the insects humming—the forest sounds he knew so well. Then, he returned to watching the scene below.
The fat policeman was unfurling blue and white tape, marking off the crime scene as the others arrived … another police car with two young, uniformed cops, then a Ford SUV and two white vans. The trucks had the words Crime Scene Services stenciled in large black letters across their sides.
Next came a rusty Holden sedan. It parked across from the crime scene vehicles, and the medical officer got out. He began suiting up while two forensic assistants, already in protective clothing—blue coveralls, gloves, and masks—unloaded equipment from the open back doors of the CSS trucks. Two other assistants, wearing blue coveralls and carrying steel boxes, climbed up the stairs and entered the hut.
But the man hadn’t been waiting for any of these arrivals. They were the monkeys. He wanted to see the organ grinders … the ones in charge… and it looked like they were arriving.
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