Showing posts with label gay fiction. Show all posts
Showing posts with label gay fiction. Show all posts

Friday, July 9, 2021

πŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜: Ice Blues by Richard Stevenson



Summary:

Someone's left a man's body in Donald Strachey's car -- the grandson of Albany's most connected political fixer. A letter from the deceased asks Strachey to dismantle his grandfather's party machine. Like a chess master, Strachey moves ten suitcases, an army of colorful pawns (all of whom think they're king), and $2.5 million across the continent and around Albany. One of the funniest in the series.





Chapter One
The attendant at Faxon Towing and Storage looked surprised to see me back so soon, and a little wary.

"You all set?"

"I need to use your phone."

"There's a pay phone over to the station."

"I haven't got a dime."

"It's a quarter now.

"I haven't got a quarter, and the Albany police department doesn't accept collect calls from people they don't want to hear from. I know, I've tried it."

He had a broad fatigued face with heavily bagged eyes, one blue and white, one blue and red, not the result of patriotism but of a burst blood vessel in the corner of the right one. He smelled of grease and cold sweat, and this mixed with the stench of the kerosene heater and the Mr. Coffee machine, whose crud-stained pot contained two cups of a substance the EPA probably had on a list somewhere. Wet snow was starting to thud sloppily against the windowpane.

"You want the cops? Somethin' wrong with your car?"

"Somebody left something in it," I said.

"Oh yeah? Well, you could leave it here, case somebody calls."

"That wouldn't work. It's too hot in here."

He looked at me as if I might be one of the deinstitutionalized, a new social class that merchants and tradesmen feel compelled to gingerly indulge up to a point.

Shrugging, he said, "Phone's yours. Just make it quick. I got calls coming in." He lifted the filthy apparatus--no Trimline--off a pile of oil-smudged documents and set it on the counter. I dialed.

"Detective Lieutenant Bowman, please. This is Donald Strachey."

"Hang on, I think he's still here."

The snow was pounding down hard now in the last light of the January afternoon. I said, "This entiresection of the North American continent should be declared unfit for human habitation."

"Huh?"

"It's snowing again."

The attendant shook his head. "That's Albany for ya. Winter gets some people down. Me, I don't mind."

"You must be half penguin.

"English, Irish, German, Norwegian--yeah, there might be some penguin in there somewhere."

There were squawking and banging sounds at the other end of the line, then a voice: "This is Bowman. Who's this?"

"Don Strachey. I'm calling about a police matter.

"Hey, it's my least favorite fruitcake--the wimp of Washington Park, the Georgie Boy of Crow Street. I was heading out the door, but I'm always happy to wait around and accept a call from the only man I know who went to Kentucky for an artificial-wrist transplant." He chortled inanely.

I said, "This is not a social call, it's police business. I'm at Faxon Towing. My car was hauled out here last night, and now there's a problem. You should drive out."

"What the hell are you talking about, Strachey? This is the homicide division, and you got a beef with traffic. You won't get me involved, oh no, I'll not act as an impediment to those officers. Anyway, it was plainly announced on the medias which streets were gonna get plowed last night, and if you're too dumb or too contrary to move your car out of the way, I've got no sympathy. The snow removal crews have a job to do, and--"

I cut him off. "There's a man in it. He's dead."

"There's what? In what? What's there a dead man in?"

"In the back seat of my car. Timothy Callahan--you know Timmy--he drove me out here to pick up my car. Timmy dropped me off, I paid the extortionate towing fee, and I located my car. When I opened the door it caught my notice that the rear backrest had been lowered, and a man was curled up back there. His eyes were open wide, but he didn't say 'Cold enough for ya?' or 'What do you think of all this snow?' or Ciao, baby' or anything else at all."

"What man? This man was dead, you say?"

"Under the dome light I could make out little icicles of blood extending down from his mouth and nose and ears. I did not check his vital signs, but when the human body temperature falls below thirty-two degrees Fahrenheit, death ensues. He's gone. I thought you ought to know."

"Is this some stunt of yours?"

"No."

"It better not be. I'm driving out there."

"No rush. I shut the heater off. But I'll need my car, or a ride downtown.

"Don't you touch anything 'til I get out there, you got that?"

I hung up and handed the phone back to the attendant, whose blue-and-red eye was twitching.

'You shittin' me? There's a dead guy in your car?"

"Yep. Did you put him in there?"

'No! Holy Christ, no!"

"When was my car brought in?"

With a jittery hand he leafed through a stack of forms, leaving a black thumbprint on each one. "This here one's yours, ain't it?"

I examined the form, in the boxed spaces of which were handwritten my license number, the make and model of my car, and the notation that it had arrived at Faxon's at 3:20 a.m. and had been checked in by "Fert" or "Pert."

"This is it. Who's Fert, the truck operator? Or is there somebody here who checks them in?"

"That'd be Ferd. He was driving last night, I know."

"What's Ferd's last name?"

"Plumber. Frederick Plumber's his right name. Hey, you're not the cops. Maybe I shouldn't be telling you this. Are the cops really on their way out?"

The door opened and a woman wearing a coat crafted from six endangered species strode in brushing snow from two of them. Atop the grimy counter she dropped a receipt from the traffic division showing that she had paid her fine, along with two fifties. In a voice as icy as the evening, she said, "I--want--my--car."

"No problem," the attendant said, and started messing with some papers.

As I went out the door, the woman said to the attendant, "Don't you ever wash your hands?" If there was a reply, it was not immediate.

Maybe he'd placate her by offering her some coffee.

I walked back to the car through the gobs of blowing snow. With a gloved hand I lifted the hatch where it had been jimmied. The body was frozen in a fetal position, and I reached up under its peacoat and pulled a wallet out of the back pocket of the man's faded Levi's. The driver's license belonged to John C. Lenihan, Swan Street, Albany. The other two cards showed that Lenihan had been a member of the Albany Public Library and was eligible for discounted admissions to the Third Street Cinema in Rensselaer. Otherwise he had not been a joiner. The portion of Lenihan's estate left in his wallet amounted to six one-dollar bills.

The wallet contained one photograph of a middle-aged woman. Also stuffed in a small slot in the wallet were three scraps of paper with names and phone numbers, each in a different script, presumably but not necessarily that of the person whose name, appeared. The names were those of men prominent in Albany community affairs.

I got out my notebook and copied all this down and replaced the wallet in the pocket of the cold Levi's. I had thought the man's face looked familiar, and the name was one I'd heard before too, but I couldn't connect either of them to a time or place. I checked the front pocket of the man's Levi's and found some small change but no keys. Nor were there keys hung from his belt.

From the glove compartment I took out the flashlight, banged it against my palm, and shined the half-watt beam around John C. Lenihan's face and head. He had been a more-or-less young man--thirty-six, according to his driver's license--but prematurely bald, and the downy brown hair at the back of his head was caked with frozen black blood where the blows had been struck, repeatedly and with force. His face was unmarked except for the red-and-black stalactites and the wide-eyed grimace. There were two tiny mild abrasions on either side of the upper bridge of his nose. He'd worn glasses, but I didn't see them anywhere.

Back inside the office shed I asked to use the telephone again.

"Ain't the cops here yet?"

A CB radio on a shelf crackled and a voice came out of it. "What'd you say, Roy? Guy's got body damage? I was outta the truck and couldn't make out what you said."

Roy ignored this, and I said, "They're not here yet, but I have to get in touch with a friend."

"A lawyer?"

Crackle, crackle. "Hey, Roy, you in there yankin' yer wanger, or what? Roy, you there?"

"He's a lawyer, but kind of a cute one. Not a criminal lawyer. I won't need that."

"Cute?"

"The phone, please. If there's a charge for the call, Lieutenant Bowman will take care of it."

"You work with the cops?" he said, and hoisted the reeking appliance onto the counter.

Snap, crackle. "Hey, Roy, I'm comin' in after I get this Caddy out to Conklin's. There's Pat, up to Route Seven? Roy? Hey, Roy?"

"No, I don't work with the cops. I don't work against them either, except a couple of times a year, but you don't want to hear about that."

He backed off, and I dialed.

"It's me. I'll be late."

"I just got home. The roads are a freezing mess again. Where are you?"

"Still out at Faxon's. There's a dead man in my car."

"Right. I'm heating up some chili and I picked up some George's bread at Lemme's. How long will you be?"

"I don't know. Ned Bowman's on his way out here now. He'll want to fling some insults, twirl his truncheon around, maybe ask a few pertinent questions. Forty-five minutes to an hour, I'd guess."

"How did a dead man get into your car?"

Flashing blue lights appeared through the volleys of blowing snow. Beneath them a blue Dodge materialized and halted outside the shed's window, on whose surface a finger had written city hall sucks in the steam that came up from a pot of water on the kerosene heater.

"I don't know yet how he got there. I assume he was placed there by whoever killed him--he died violently, I think. Though he might have crawled in there on his own because the evidence suggests that he drew his last breath while curled up in the back of the car. If he did that though, first he would have had to jimmy the hatch lock and disengage and lower the backrest, and the man's wounds look as if he was in no condition to manage that. So far, it's all speculation on my part."

A pause. "Are you making this up? I wouldn't put it past you on a night like this. Or any night."

Roy the attendant had gone outside to meet Bowman, and I could see Roy shrugging and shaking his head through the C in sucks.

"Bowman's here and I should go. It's his problem now, not mine. My only pressing problems are cabin fever alternating with cold feet. I'm sick of this snow. Let's get out of here--fly to Puerto Rico or the Dutch Antilles. Tonight."

"You've been whining about winter since the first leaf dropped on Labor Day. But you'll have to suffer ignobly for another month. You know I can't leave now. The people of the State of New York need me."

"We can take out a second mortgage on the house and lease a beach cottage at Luquillo for a month. Just you and me and a houseboy named Fernando who's lackadaisical but has fifty-eight great teeth and the immune system of a steam locomotive."

A familiar silence--he was the only man I knew who could roll his eyes over the telephone. "You're at the Watering Hole, aren't you? Happy hour at Gloomy Gulch. Should I put on my WCTU sweatshirt and walk over and rescue you?"

Bowman was moving toward the door, followed by Roy and a uniformed cop.

"Gotta go now. Who's John C. Lenihan?"

"You mean Jack Lenihan? You know Jack Lenihan. He's Warren Slonski's lover--a friend of Herb's. They were at Herb's pool party last Summer. Is he over there with you? I haven't seen Jack since--"

"Gotta go."

I hung up as Bowman shoved at the hinged side of the glass door. He remarked on this error in his terse, unequivocal way, then pushed at the unhinged side, which yielded him up into the stinking hut. Bowman was unchanged since I'd last seen him except that he was suffering from what appeared to be a severe case of athlete's foot of the nose.

"Ned, what's wrong with your face? I don't think you've been drying thoroughly between the folds and interstices."

He looked as if he would have liked to beat me severely about the face and head, and snapped, "Where's your car? You lead the way. Now. I was just on my way home for supper."

I led the way. The phone rang and Roy stayed behind. Flapping sheets of snow swooshed around under the floodlights as we moved up the rows of cars. We came to mine and I lifted the hatch.

"Do you know him?" Bowman said.

"No."

"Probably a wino or mental case. Crawled in to sleep one off, and died. Poor slob."

"Look closer, at his head."

The uniformed cop shined his Rayovac at the dead man's face and head.

"Jimminy Christmas!"

"I'd say a lead pipe or maybe a tire iron did that."

"That will be up to the medical examiner to decide, not you or I. Holy Mother! So, where's your tire iron, Strachey?"

"Unless it was removed by the killer, it's under the rug beneath the body, with my spare."

"Well, I intend to have it examined and retained as possible evidence. You know I have to do that."

"What am I supposed to do if I have a flat, use my teeth?"

"It wouldn't be the first time you put something filthy in your mouth. In fact, I'm confiscating your entire car. You'll get it back when I say so. Now I have to make a couple of calls and get a crew out here to ID this guy, and then I'm going to interrogate you. I think you're in trouble, Strachey. Real bad trouble."

"No, you don't. But you'd like to think so."

"Well, you've got one hell of a lot of explaining .to do, that's for damn sure."

"Let's make it quick. I've had enough of winter in this godforsaken outpost, and I'm leaving tonight for the Dutch Antilles."

"No, you're not. You're staying right here in Albany, Strachey. You're not going anywhere at all until I say you can."

"People I'm fond of keep telling me that."


Gay detective Donald Strachey is asked by his partner Tim to investigate a mysterious donation to a youth center. Donald gets caught up in a whirlwind of deceit and danger.

Release Date: September 5, 2008(on Here! TV)
Release Time: 98 minutes

Director: Ron Oliver

Cast:
Chad Allen as Donald Strachey
Sebastian Spence as Timmy Callahan
Nelson Wong as Kenny Kwon
Daryl Shuttleworth as Detective "Bub" Bailey
Brittney Wilson as Lilah / Amy
Spencer Maybee as Eric Lenigan
Myron Natwick as Brian Lenigan
Sebastien Roberts as Frank Zaillian
Jason Poulsen as Jake Lenigan
Ulla Friis as Kelly
Sherry Miller as Joan Lenigan
Adrian Holmes as Somerville
P. Lynn Johnson as Senator Lauren Platt
Taras Kostyuk as Darwin
Christian Tessier as Skopes







Author Bio:
Richard Stevenson is the pseudonym of Richard Lipez, the author of nine books, including the Don Strachey private eye series. The Strachey books are being filmed by here!, the first gay television network. Lipez also co-wrote Grand Scam with Peter Stein, and contributed to Crimes of the Scene: A Mystery Novel Guide for the International Traveler. He is a mystery columnist for The Washington Post and a former editorial writer at The Berkshire Eagle. His reporting, reviews and fiction have appeared in The Boston Globe, Newsday, The Progressive, The Atlantic Monthly, Harper's and many other publications. He grew up and went to college in Pennsylvania and served in the Peace Corps in Ethiopia from 1962-64. Lipez lives in Becket, Massachusetts and is married to sculptor Joe Wheaton.


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Monday, August 31, 2020

Monday's Mysterious Mayhem: A Glimpse of Heaven by Olivier Bosman


Summary:
The year is 1895.

A disgruntled detective is looking for meaning in his life.

A psychotic young man wants to make his darkest fantasies come true.

A secretive society searches for hidden wisdom in ancient manuscripts.

When these three meet, a series of events is set in motion which leads to a horrific crime.

A Glimpse of Heaven is a thrilling, page-turning mystery about spiritualism, the occult... and the quest for magic. 


Once again we return to Victorian England but this time DS Billings is just John Billings, private investigator.  This is such a great series and so full of suspense, tension, and all around mayhem.  What I love best about this series is the mystery is truly the main focus but that doesn't mean we don't get to see inside the mind of the detective, John Billings.  Despite the time frame being wrong for noir, there is still something very reminiscent of the genre within the pages of this Victorian world.

As I said the mystery is the main bulk of the story but we get to see a little more of Billings' mind toward accepting who he is, his sexuality is brought in a little more each time.  Personally I think he explored that side of himself more in the last entry of the DS Billings Victorian Mystery series, Anarchy, and yet we see him accept himself a bit more in A Glimpse of Heaven.  With his new employee, intern, partner, whichever term you like, Trotter is just as enjoyable as Billings himself.  I can't wait to watch Trotter grow just as we have seen Billings do throughout his journey.  The potential to be a Victorian-non-superhero Batman and Robin is definitely there and I look forward to their working/friendship evolve.

John's friendship with his former partner, Sergeant Clarkson, is carried over into this spin-off series, which I loved.  If you've been reading Billings' exploits from the beginning you know where his feelings tend to go when Clarkson is involved and now we get to see Clarkson's thoughts on Billings' inclinations.  I won't go into more detail there because I feel like I've already said too much for those who have yet to start these stories but it's a wonderful and realistic progression.

As for the mystery itself, there is so many interesting and intriguing moments that I don't want to touch on because it truly is something you have to experience for yourself and as so often, every little detail is another twisted corner you have to wrap your mind around. Trust me, it will keep you on the edge of your seat from beginning to end.

I don't know if the author thinks of John Billings Mystery as a "spin-off" of the DS Billings Victorian Mysteries or just the next leg in the main character's journey but I call it a spin-off as it's just simplerπŸ˜‰. Do you need to read DS Billings first? Probably not but I know I wouldn't want to start with A Glimpse of Heaven, I'd want to see how and where John's story began and grew.  I have a feeling that John Billings Mystery is more of an ongoing series than DS Billings, those mysteries all have a beginning and end but again I recommend reading from the beginning, if for no other reason than to see his evolution towards accepting himself as well as the friendship with Clarkson.  However you read it, they are brilliant tales of murder, menace, and mayhem.

RATING:


The four books in the D.S Billings Victorian Mysteries
are a prequel to A Glimpse of Heaven,
depicting the life and adventures of John Billings
when he was still a Scotland Yard detective.

Saturday's Series Spotlight
Part 1  /  Part 2  /  Part 3

Monday Mysterious Mayhem: Anarchy



Author Bio:
Born to Dutch parents and raised in Colombia and England, I am a rootless wanderer with itchy feet. I've spent the last few years living and working in The Netherlands, Czech Republic, Sudan and Bulgaria, but I have every confidence that I will now finally be able to settle down among the olive groves of Andalucia.

I'm an avid reader and film fan and I have an MA in creative writing for film and television.


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A Glimpse of Heaven

DS Billings Victorian Mystery Series

Friday, June 19, 2020

πŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜: Gods & Monsters by Christopher Bram


Summary:
Previously titled Father of Frankenstein, this acclaimed novel was the basis for the 1998 film starring Sir Ian McKellen, Lynn Redgrave, and Brendan Fraser. It journeys back to 1957 Los Angeles, where James Whale, the once-famous director of such classics as Frankenstein and Bride of Frankenstein, is living in retirement, haunted by his past. Rescuing him from his too-vivid imagination is his gardener, a handsome ex-marine. The friendship between these two very different men is sometimes tentative, sometimes touching, often dangerous—and always captivating.

This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.


Chapter One
Night. Rain. A whistling seethe of wind. Specters of air swirl around a scaly roof and dark Gothic steeples. A bright solitary window stares out like a caged eye.

Lightning splits the sky, a jagged mile-high spark that leaps to the earth with the boom of an iron door slamming shut. In the hard white flash, the twisted vines around the window's casement flare into view, as sharply rendered as an engraving in an old anatomy book.

The landscape of churned darkness stretches all around -- mud and stumps and pools. A single shattered oak stands above the desolation. Lightning crashes again. There's a glimpse of movement, a shape like a man stumbling past wiry coils of brier before he gutters out in darkness. The wind grows louder. The horizon thuds and flickers with distant lightning, a great short-circuiting of the world.

Another crashing blink, and the human silhouette reappears, upside down now, reflected in a grainy, rain-pricked puddle. The top of his head is flat, his arms long and heavy, his boots weighted with mud. Lost again in blackness, he is no longer out by the puddle but continues to move, shifting farther off in the dark, or coming closer, very close.

And suddenly: everything changes back.

The gale fades, as quickly as the dying spin of a backstage wind machine. The lightning abruptly stops, as if someone threw a switch, and birds begin to sing, real birds, martins and nightingales, as light creeps into the scene, and color: the dark green steeples of cypress trees, the soft red and ocher of brick trim, the clamshell white of clapboard. The grass is fogged with no more than a light dew as the sun rises from behind the next ridge.

A two-story Colonial-style house stands above a shaggy, grassy slope bordered with privet and boxwood. It's the rear of the house and there's a swimming pool at the foot of the hill -- seen from the air, both sides of the little valley are blue-eyed with swimming pools. The rectangle of still water mirrors a cloudless sky that pales into woolly brightness as the sun dissolves in milky haze. Off in the distance to the right, a triangle of ocean tucked in the valley's mouth loses its horizon and melts into white sky. A water sprinkler suddenly blooms on the lawn next door, a hissing, twirling corkscrew full of rainbows. We're in Los Angeles, in Santa Monica Canyon, on a spring morning in 1957.

One bird sings louder than the others, a catbird who has no song of its own but sings fragments and snatches of other songs, in rapid, scrambled succession.

On the patchily tarred road at the foot of the hill, a pickup truck appears, rusty and in need of paint. It turns and bounces up the bumpy dirt drive behind the swimming pool, springs squeaking like tin flutes. It comes to a halt behind the gray-shingled studio beside the pool. The radio in the cab is turned up loud and the morning is broken by Elvis Presley furiously grumbling "Hound Dog." A young man gets out, tall with broad shoulders and a flattop haircut. He lowers the tailgate and wheels a lawn mower across the truck bed, a red power mower with a spiral of blades up front and large spoked wheels in the rear. The machine is heavy, but he lifts it, back muscles tensing beneath his T-shirt, thighs and buttocks flexing in his fatigue pants; his knees bend and he lowers the machine to the ground.

He doesn't notice the white shadow in the house's bay window fifty yards up the hill. The shadow watches as the young man props a foot against the engine and jerks at the starter cord, once, then again, and the machine catches, its roar drowning out the birds. He braces himself behind the handles and begins to mow. The shadow continues to watch.

The shadow is a man, of course. He stands on the pegged oak floor of his living room, a living man in a white dress shirt and seersucker jacket. A folded handkerchief droops like a lily from the jacket's pocket. There's a cold fireplace behind him with two ceramic spaniels on the mantel, and walls hung with paintings that appear valuable -- Velazquez, Rembrandt, and Titian -- but are in fact copies the man has painted for his own amusement. He is English, with a lean, rectangular face, blue eyes, and heavy lips. Pale wrists peek from his coat sleeves. His dove white hair is precisely parted on the right and thinning at the temples.

His name is James Whale. He returned home recently after two months in the hospital, where he was treated for a series of strokes. He was once a movie director, under contract at Universal. He is retired now, sixty-seven years old, although the world thinks he's only sixty. It's one of several facts he's reinvented about himself. The eight-line' obituary printed next month in Variety will be full of errors.

"I'd have more peace of mind if the live-in nurse were still here."

"She was nothing but bother. I not like her, Mr. Jimmy not like her. Stuck-up and bossy. We do better alone."

In the dining room, visible through open double doors, a man sitting at the table speaks softly with the housekeeper, a short, round-faced Mexican woman dressed in black, her hair cinched in a hard bun. The man is slight and bald, with a pinched face and the tiny eyes of a mouse. He wears a pin-striped suit that suggests he's on his way to something important.

"You'll contact me if there's an emergency?"

"Certainly, Mr. David. I call you at this number."

Whale cannot hear them but knows that he is the topic of conversation. He hates how illness has reduced him to a problem whispered about by others, a difficult child, an embarrassment.

"Mr. Jimmy?" the housekeeper calls out. "More coffee?"


An extrapolation from real events in the life of James Whale, who directed the Universal Pictures horror classics "Frankenstein" and "The Bride of Frankenstein," and died in an apparent suicide in a Hollywood pool in 1957.

Release Date: November 4, 1998
Release Time: 105 minutes

Cast:
Ian McKellen as James Whale
Brandon Kleyla as young James
Kent George as 25-year-old James
Brendan Fraser as Clayton Boone
Lynn Redgrave as Hanna
Lolita Davidovich as Betty
Jack Plotnick as Edmund Kay
Matt McKenzie as Colin Clive
David Dukes as David Lewis
Rosalind Ayres as Elsa Lanchester
Jack Betts as Boris Karloff
Martin Ferrero as George Cukor
Marlon Braccia as Elizabeth Taylor
Amir Aboulela as The Monster
Cornelia Hayes O'Herlihy as Princess Margaret
Jesse James as Michael Boone
Arthur Dignam as Ernest Thesiger

Awards:
71st Academy Awards
Best Adapted Screenplay - Bill Condon - Won
Best Actor - Ian McKellen - Nominated
Best Supporting Actress - Lynn Redgrave - Nominated

52nd BAFTAs
Best Supporting Actress - Lynn Redgrave - Nominated

56th Golden Globe Awards
Best Motion Picture–Drama - Nominated
Best Actor–Motion Picture Drama - Ian McKellen - Nominated
Best Supporting Actress - Lynn Redgrave - Won


Trailer

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Author Bio:
Christopher Bram is the author of nine novels, including Father of Frankenstein, which was made into the Academy Award-winning movie Gods and Monsters, starring Ian McKellen. Bram grew up outside of Norfolk, Virginia, where he was a paperboy and an Eagle Scout. He graduated from the College of William and Mary in 1974 and moved to New York City in 1978. In addition to Father of Frankenstein, he has written numerous articles and essays. His most recent book, Eminent Outlaws: The Gay Writers Who Changed America, is a literary history. Bram was a Guggenheim Fellow in 2001, and in 2003, he received Publishing Triangle's Bill Whitehead Award for Lifetime Achievement. He lives in Greenwich Village and teaches at New York University.


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Friday, June 5, 2020

πŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜: On the Other Hand, Death by Richard Stevenson


Summary:
When the giant Millpond Company finds its plans for a mega-shopping mall stymied by the refusal of an elderly lesbian couple to sell their home, the ladies are subjected to ugly vandalism and frightening death threats. The powerful director of Millpond in turn hires Don Strachey, Albany's only gay detective, to protect the ladies, find the culprits, and clear the corporate name. Strachey accepts with misgivings that deepen rapidly as kidnapping, extortion, and murder darken the lives of Albany's gay community. Fast-paced, deftly plotted, and superbly written, this is one of the best Strachey novels yet.


Trefusis was going on about a case of "Mandelstam" or "Handel-schism," which made no sense.

"Hang on a minute," I yelled into the mouthpiece. "I can't make out what you're saying."

"I'll hold, of course, Mr. Strachey."

I set the sweat-slick receiver on my desk, reached around, and whacked the top of the clanking and gurgling air conditioner with a slat from the wooden swivel chair that had collapsed back in January. The only effect was a slight shift by the machine in its rotten moorings. The 200-pound Airtemp now threatened to plummet out the window onto Central Avenue two stories below, crushing the shins of the winos who lounged in my entryway. I reached down and yanked out the plug. A distant thunk was followed by a diminishing whine, a sputtering sound, and then hot, wet silence.

"Sorry," I said into the phone again, "but I couldn't hear you over the racket my pilot was making up on the helipad. You were saying..."

"What I've got for you," Crane Trefusis went on, holding no interest in self-deprecating humor, "is a case of vandalism. Now before you tune out, Mr. Strachey, I'd like you to hear my pitch, because, believe me, this is not your usual run-of-the-mill type of vandalism. It will interest you. I don't want to go into it over the phone, so I'd appreciate your stopping by the office, if you don't mind, where I can lay it all out for you." A little pause. "Under certain conditions our fee could go as high as ten."

Ten. Ten hundred? No, Trefusis would call that a thousand. Or one.

I hedged anyway. "I've never handled a case of vandalism," I told him. "But with the scale your outfit operates on, I'd expect you to use the term to describe the firebombing of Dresden. Are you sure you wouldn't be better off using an agency with more resources than I've got? Helicopter jokes aside, Mr. Trefusis, I'm just me and a couple of friends who help me out once in a while whenever they haven't got something better to do, like reading Proust in Tagalog or sponsoring disco benefits for the Eritrean Liberation Front. You might want to shop around."

Trefusis was unfazed by either false modesty or fact. "I'm told you're a very solid type," he said, "and the word that comes back to me is that you are definitely the man for this job, Mr. Strachey. I feel strongly that this situation is ratherΓ―¿½well, special. And when you hear about it I'm confident you'll agree. Can you drop by around four? I can fit you in then."

I hesitated. I'd never met Trefusis, but I'd read a lot in the Times Union about both him and his company, and I wasn't overwhelmed with warmth for either. The origins of Millpond Plaza's capital were reported to be murky and its operating methods, under Trefusis, harsh. I was curious, though, about what made a vandalism case "special" for me, and of course there was the "ten." On the one hand this, on the other hand that.

I said, "I doubt that this is a job for me, Mr. Trefusis, but I'll drive out there and you can fill me in. I'm not promising that I'll want to handle it, though. Just so you understand that."

"That's a fair enough arrangement, Mr. Strachey. I'll look forward to seeing you at four."

Arrangement? What arrangement?

I phoned Timmy at his office and said, "It's hot."

"Say, look, I've got important business to transact for the people of the State of New York. If you want to report heat, call the weather bureau. Is this a crank call?"

"I'm cranky and this is a call, so describe it however you want. Anyway, this is a semi-official crank call. What do you know about Crane Trefusis? Anything good?"

"No."

"Bad, then."

"When the Millpond Company wants to build a shopping mall, it gets built. Cows, chickens, ducks, geese, grass, people Γ―¿½ theyΓ―¿½d all better scurry. Millpond is slick, fast, fat, and vicious. Crane Trefusis is their point man. He makes it happen. Something's holding him up on the new project Millpond's planning for west Albany, but I'd guess not for long."

"I've read all that in the papers. Any problems with the law?"

"Probably, but not with the people who enforce the law. Millpond makes friends, one way or another, in the places where friends count. Why are you asking me these easy questions?"

"Trefusis has a job for me, he says. A case of vandalism."

"To solve it or initiate it?"

"I'll find out in a couple of hours when I meet him. I doubt whether we'll find a way to do business, so it shouldn't take long. See you at the apartment around six?"

"Sure. Or six-thirty. Oh - seven, better make it seven. Yeah, seven or so."

What was this? "Or how about eight? Or nine? Or eleven-thirty-five? Aren't you going to the center to meet Fenton McWhirter? The reception's at seven. What's up?"

"Guess who's in Albany that I'm having a drink with?"

"Happy Rockefeller."

"Uhn-uhn."

"Averell Harriman?"

"Not even close." I could tell he was grinning. "It's Boyd. Boyd's in town."

So. "Oh-ho! Boyd-boy. The return of the native."

"Yep."

"He just called you up and said let's have a drink? Just like that? No intermediaries making preliminary inquiries to find out if you carried a pistol?"

"Ten years is a long time, Don. Wounds heal. He said he was a little worried that I might hang up on him. But he took a chance, and he was right. I felt nothing. It might as well have been my Uncle Fergus calling."

"Yeah, well, my regards to Aunt Nell. And to Boyd-boy, even though I've never had the pleasure. So I'll see you later Γ―¿½ where? Up the avenue?"

"No, no, I'll meet you at the center for the McWhirter thing. I mean, for chrissakes, Don, weΓ―¿½re just having a drink."

He said drink as if I had moronically failed to understand that the word really stood for bran muffin. I said, "I'm just giving you a hard time because my brain is melting like frogurt in this heat. In fact, I wish you and Boyd a moderately happy reunion. See you later, lover."

"Moderately happy sounds about right, with the emphasis on the first part. See you at the center. Watch your step with Crane Trefusis, unless you're planning on getting heavily into S and M."

"No chance. You can take the boy out of the presbytery, but you can't take the Presbyterian out of the boy.

"you'd know about that."

He laughed and hung up.

So. Boyd-boy was back. So? So nothing. Maybe. On the one hand this, on the other hand that.

Droplets of sweat dribbled off my chin onto the copy of Memoirs of Hadrian I'd been reading since midmorning. I stripped off my sodden T-shirt, used it to wipe up the lunch hour sub bun crumbs from my desk, and flung the reeking shmateh into the wastebasket.

I checked my watch. Still time for two or three more chapters of Hadrian before I stopped by the apartment for a quick shower and drove out to Trefusis's office. I opened the book and looked at a page, which contained a picture of Boyd Γ―¿½ or, more precisely, a picture of what I imagined the famously azure-eyed diving coach looked like. I refocused and he was gone. I laughed, restrainedly, then reached down and jammed the balky air conditioner's plug back into the wall socket. Something popped. A plume of smoke erupted, and the lights went out from Ontario Street to Northern Boulevard.

I drove home.


When a lesbian couple refuses to sell their home for a mega-shopping mall, Donald Strachey's attempts to protect them are complicated by extortion, kidnapping and murder.

Release Date: May 1, 2008(on Here! TV)
Release Time: 86 minutes

Cast:
Chad Allen as Donald Strachey
Sebastian Spence as Timmy Callahan
Nelson Wong as Kenny Kwon
Daryl Shuttleworth as Detective "Bub" Bailey
Margot Kidder as Dorothy Fisher
Damon Runyan as Andrew McWhirter
Lori Ann Triolo as Gina Santer
Gabrielle Rose as Edith Strong/Laura Whitaker
David Orth as Peter Garrity
Kerry James as Joey Deems
Barclay Hope as Carl Deems
William MacDonald as Jonas Baskin
Ralph Alderman as Sheriff Reg Howard
Keegan Macintosh as Derek Baskin
Sean Allen as Crane Sturgis
Lisa Bunting as School Board Member
Cali Boyle as Sturgis Receptionist






Author Bio:
Richard Stevenson is the pseudonym of Richard Lipez, the author of nine books, including the Don Strachey private eye series. The Strachey books are being filmed by here!, the first gay television network. Lipez also co-wrote Grand Scam with Peter Stein, and contributed to Crimes of the Scene: A Mystery Novel Guide for the International Traveler. He is a mystery columnist for The Washington Post and a former editorial writer at The Berkshire Eagle. His reporting, reviews and fiction have appeared in The Boston Globe, Newsday, The Progressive, The Atlantic Monthly, Harper's and many other publications. He grew up and went to college in Pennsylvania and served in the Peace Corps in Ethiopia from 1962-64. Lipez lives in Becket, Massachusetts and is married to sculptor Joe Wheaton.


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