Too Late To Say Goodbye , livre ebook

4 Horsemen Publications, Inc. - Mark Atley

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

152 pages

English

Vous pourrez modifier la taille du texte de cet ouvrage

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

A propos
Informations
Extrait

Description

Grief is a bitch

When Tony Mora’s partner Clyde dies saving his life during a botched DEA operation, the loss throws him in a tailspin. Not that things were going so well before that. Between the married (albeit unhappily) co-worker carrying his baby and his dead partner's widow putting the moves on him, Tony's romantic relationships are a complete disaster.

Truth is, mid-level boss Franklin Hayes didn’t intend to shoot Tony’s partner. Business meetings can be tense, but they don’t have to end in a bloodbath. Unless that was the plan. With Tony on his trail, Franklin discovers he's merely a pawn in the unraveling Siriano criminal organization, but he may be stuck in a power struggle well beyond his control.

Brimming with action, the alternating POVs in “Too Late to Say Goodbye” explore the depths of friendship and ambition. The novel answers the question: How far are people really willing to go for revenge?

Sujets

Policier & Thriller

Thriller

Policier

Fiction

Suspense

Crime

Mystery

Deceit

Organized crime

Detective

Police procedural

Cozy

Old Flame

Third Wheel

Cozy mystery

Informations

Publié par	4 Horsemen Publications, Inc.
Date de parution	07 mars 2022
Nombre de lectures	0
EAN13	9781644504604
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,0350€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Table O f Contents
D edication:
Ackno wledgment:
Ch apter One:
Tony Mora
Ch apter Two:
El iza Cortez
Chapt er Three:
Iris King
Chap ter Four:
Gene Orr
Chap ter Five:
Re naldo Luna
Cha pter Six:
Gene Orr
Chap ter Seven:
Fran klin Hayes
Chapt er Eight:
Re naldo Luna
Chap ter Nine:
Gene Orr
Cha pter Ten:
Tony Mora
Chapte r Eleven:
Iris King
Chapte r Twelve:
El iza Cortez
Chapter Thirteen:
Fran klin Hayes
Chapter Fourteen:
Tony Mora
Chapter Fifteen:
Iris King
Chapter Sixteen:
Tony Mora
Chapter S eventeen:
Re naldo Luna
Chapter Eighteen:
Fran klin Hayes
Chapter Nineteen:
Iris King
Chapte r Twenty:
El iza Cortez
Chapter Tw enty-One:
Tony Mora
Chapter Tw enty-Two:
El iza Cortez
Chapter Twen ty-Three:
Gene Orr
Chapter Twe nty-Four:
Fran klin Hayes
Chapter Twe nty-Five:
Re naldo Luna
Chapter Tw enty-Six:
Tony Mora
Chapter Twen ty-Seven:
Gene Orr
Chapter Twen ty-Eight:
Iris King
Chapter Twe nty-Nine:
El iza Cortez
Chapte r Thirty:
Re naldo Luna
Chapter Th irty-One:
Tony Mora
Chapter Th irty-Two:
El iza Cortez
Bio:

Too Late to Say Goodbye
Tulsa Underworld Trilog y Book 1
Copyright © 2022 Mark Atley. All rights re served.

4 Horsemen Publicatio ns, Inc.
1497 Main St. S uite 169
Dunedin, FL 34698
4horsemenpublicat ions.com
info@4horsemenpublicat ions.com
Cove r by 4HP
Typesetting by Michel le Cline
Editor La ura Mita
All rights to the work within are reserved to the author and publisher. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 International Copyright Act, without prior written permission except in brief quotations embodied in critical articles and reviews. Please contact either the Publisher or Author to gain per mission.
This is book is meant as a reference guide. All characters, organizations, and events portrayed in this novel are either products of the author’s imagination or are used fictitiously. All brands, quotes, and cited work respectfully belongs to the original rights holders and bear no affiliation to the authors or pu blisher.
Library of Congress Control Number: 20 21951207
Print ISBN: 978-1-644 50-461-1
Audio ISBN: 978-1-644 50-459-8
E-Book ISBN: 978-1-644 50-460-4

D edication:
T HIS BOOK IS DEDICATED TO MY WIFE AND family and to the real Gene Orr, who is nothing like my character, but whose death inspired this book. I will forever remember my evening on watch. I’m glad you were my friend.

Ackno wledgment:
I WANT TO THANK THE FOLKS ( GIRLS) AT 4 Horsemen for taking a chance on me, and I hope to make it very worth their while. I want to thank those of you who follow me on Twitter and offer encouragement, including Martine, Craig, Gareth, J. Todd Scott, J.B., Stephen, Eric (Beetner—Long live Writer Types), Max, Neil, Alec, and many more who I’ve interacted with over the years. To my coworkers and family who have put up with me during many story breakdown sessions. A very special thanks to my wife—for putting u p with me.
And always, thank you to each and every one who reads this novel. Without you, this would not be possible.

CH APTER ONE:
TONY MORA
D EA AGENT ANTONIO “TONY” MORA crouches through the open door into the backseat of a tan 2004 Buick Regal belonging to a guy known as Stevie Gragg to complete a drug deal. It is two o’clock in the afternoon and twenty degree s outside.
The sedan is in a McDonald’s parking lot in a suburb north of Tulsa, backed into the parking space, running with the heat on full blast. The McDonald’s is quiet. The lunch rush has come and gone; they are far removed from the hectic morning breakfast crowd. Through the windows, a mom and a child walk back toward the restrooms, a couple of people stand at the counter ordering, and an employee mops the floor; otherwise, the place is like most McDonald’s off a highway in the mid-afternoon in winter, a sparse parking lot with some light traffic in the d rive thru.
The two men in the vehicle have been waiting for Tony, so neither of them pays much attention to him as he slips into the car. The guy in the passenger seat tells the driver who’s smoking a cigarillo, about his shoes. He lifts his foot and rests it on the dashboard to display the sneakers. “They’re genuine Air Jordan’s, never worn, my size, white like a polar bear’s ass—” Tony slams the car door shut, and both men check him out; the passenger glances at Tony, mid-sentence, “a sw eet find.”
The passenger is Franklin Hayes, a black man, bald, fit, with no distinguishing features except for a wicked scar running across the left side of his face, horizontal from his lips to his ear. Franklin wears a cheap gray suit with a crisp white collar and apparently genuine Air Jordan’s. Tony knows from surveillance Franklin bought them from a pawnshop that specializes in knock-off footwear. Franklin’s a salesman.
Stevie, the driver, scans Tony from the rearview mirror. He’s a white man, large—some would say fat—with a full beard. Stevie wears a tan work jacket, a Carhartt, and a stocking cap. He says, “I always liked LeBron better,” in response to Franklin’s comment about the shoes.
Franklin, Tony knows a lot about, but Stevie, Tony knows very little, other than the guy buys Black & Milds by the boatload and his brother’s a killer who goes by the name Leon.
Stevie ashes out the cracked driver’s side window, which lets cool air into the cabin, and after a moment blows smoke through the crack as Tony settles into the backseat. He’s eyeing the old man inside the McDonald’s who is reading a newspaper, flipping pages slowly as he reads, drinking coffee. Tony puts his hands up to his face, blows warm air into his gloveless hands, and studies his surroundings. This spot works, but it could be better. His partner, Clyde, is parked a couple of spaces down, nose in a parking spot with Clyde low in the driver’s seat so that he’s harder to see. Not that Tony can see him. Just they’ve done this a hundred times, and that’s how they operate. Clyde’s his partner, so Clyde’s the closest guy. He’s the oh-shit guy. His closest support if things take a turn for the worse.
Besides Clyde, there are others. Across the street, there’s a car with two agents. Lawrence Johnson and Nader Kahn, both fuckups, but enjoyable to work with. They’re watching the Regal through binoculars. Then, there’s another vehicle two businesses down. Eliza Cortez, competent, tough, and very pregnant. And one street over, the arrest team’s set up and ready to go should things go sideways, which consists of Tony and Clyde’s boss Marque Boykin and five others. Today, Boykin plays host to Assistant United States District Attorney Eli Buchanan, who’s pretending to be junior field man, so he has a better understanding of how things are done.
This morning, at the mission briefing, Eli Buchanan, Bucky to most, bull-nosed his way into Clyde’s briefing and explained how knowing how they worked will help him explain things better in the courtroom. On the way over to the meet, Clyde told Tony that’s bullshit. Bucky just wants a story to brag about so he can get laid.
All of them are waiting for Tony ’s signal.
Or lack of signal.
Because today’s deal is supposed to go forward with no problems. Tony is just supposed to set the deal and confirm the drugs, nothing else. No hang-ups. Flash the cash so to speak, except he doesn’t have the cash. Bucky wouldn’t let them withdraw what they needed, partly because Franklin kept changing the meeting location, three times with no explanation, which is what Clyde calls “doper-time,” and partly because Bucky didn’t want to release the money until they saw the product. When Tony protested showing up to a drug-deal without the funds to purchase the drugs, Bucky told him to be creative. He didn’t trust the deal, or rather, didn’t trust Franklin. So Tony’s supposed to record the interaction and set another meeting for an other day.
Today, Tony wears black over black, black leather jacket older than him over black jeans, with an off-white t-shirt underneath because he’s still the good guy, wearing what Eliza calls his millennial greaser look. He chose black on black for working with criminals. Easy to clean and easy to blend in. Doesn’t stand out too much, goes with his dark hair and olive skin, hints of his Cuban heritage, and doesn’t distract from his average height, average build, and green eyes. Tony can be nobody and anybody. He’s an ethnic jack-of-a ll-trades.
Franklin slips his foot from the dashboard and rotates, placing his hand on Stevie’s seat to turn his body, to get a look at Tony. “You paying attention?” Franklin looks back at Tony, but Tony’s not paying attention; he’s watching the old man inside, letting Franklin’s voice wash over him.
Tony drops his hands from his mouth. “It’s cold outside,” he says and transfers his attention from the old man with the paper to Franklin, dropping his eyes, but doing it slowly to show he’s not going to be push ed around.
Franklin asks again, “I said, did you bring t he money?”
Tony repeats, “It’s cold outside.” Then adds, “I’ve not been in the car two seconds, and you’re already coming at me like this. Let me warm up a bit before we get do wn to it.”
Franklin throws his hands up. “Hey what can I say,