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Detective Cardilini #2
The Final Cut
Back after suspension, Detective Sergeant Robert Cardilini just wants to get on with the job. But his bosses have other ideas and partner him with an eager, young detective named Lorraine Spencer. To make matters worse, the pair are tasked with solving domestic violence cases. Cardilini thinks it’s a waste of time: without the support of the courts, the police are hamstrung. Spencer knows better.
When they find a young woman bleeding and tied to a chair in a suburban kitchen, they chalk it up as another hopeless case. But as they start investigating, they realise the woman is a willing participant in a sinister game of exploitation run by the highest echelons of business and government.
Desperate to unravel the mystery and shake up the system, Spencer goes out on a limb. But will her partner support her, or will she be thrown to the wolves?
A dark and compulsive crime thriller for fans of Ian Rankin, Michael Robotham, Jane Harper and A.J. Finn.
When they find a young woman bleeding and tied to a chair in a suburban kitchen, they chalk it up as another hopeless case. But as they start investigating, they realise the woman is a willing participant in a sinister game of exploitation run by the highest echelons of business and government.
Desperate to unravel the mystery and shake up the system, Spencer goes out on a limb. But will her partner support her, or will she be thrown to the wolves?
A dark and compulsive crime thriller for fans of Ian Rankin, Michael Robotham, Jane Harper and A.J. Finn.
356 pages, Paperback
Published August 31, 2021
2 people are currently reading
34 people want to read
About the author
Robert Jeffreys
3 books13 followersRobert Jeffreys has worked as an actor, teacher, builder, labourer, cleaner, real estate agent, personal security agent and playwright of the professionally produced stage plays Cox Four, Covert, The Simple Truth, and The Messenger. ABC Radio National featured his radio plays, Covert, which received an AWGIE award, and Bodily Harm. He has also published a poetry anthology, Frame of Mind. Robert's debut novel, Man at the Window, is the first in the Detective Cardilini series, set in 1960s Western Australia.
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Displaying 1 - 6 of 6 reviews
August 31, 2021
The Final Cut is the second book in the Detective Cardilini series by Australian actor, teacher, playwright, poet and author, Robert Jeffreys. The final edit was completed by his wife Rosalba after his death in 2019. Returning from suspension to find himself partnered with DC Lorraine Spencer on the Deputy Commissioner’s latest pet project, focussing on Domestic Violence, DS Robert Cardilini is more than dismayed.
Cardilini has no objection to working with Spencer, but he wants to be solving crimes, like the recent murder of ex-DS Hardy, not acting as umpire for lovers’ tiffs. Domestics “were sticky, bloody quagmires where pleading eyes raked at his intestines.” With a mindset like this prevalent amongst her colleagues, Spencer, a law graduate, certainly faces an unenviable challenge that will require every ounce of her determination.
This is the mid-sixties and, too often, the victims are frightened of the repercussions of testifying, or ignorant of their (admittedly meagre) rights, or indoctrinated into believing that submission is their role as a wife. Some of the force’s attitude is likely a product of the prevailing legal system: rape and assault within marriage is often not considered a crime; officers of the court routinely discourage a wife from testifying against her husband; and victim blaming is common practice.
On their condolence visit to the Hardy house, Spencer notes the widow’s atypical grieving behaviour, possible bruising under her make-up and a bare kitchen reeking of bleach.
On their first routine call-out for a domestic, they find a very unusual situation: Melody Cooper is tied to a kitchen chair and has cuts to her body both fresh and healed. Her husband Archie is arrested, Melody hospitalised. But the scene is indicative of a performance for voyeurs and Melody is unwilling to press charges.
The cuts on Melody’s body trigger a vague recall of an earlier case; an efficient filing clerk locates a number of unsolved murder cases of unidentified victims; a morgue attendant contributes some horrific wartime recollections to the mix. Soon, Spencer and Cardilini are convinced of a pattern, and when Melody is reported missing, there is real concern for her safety.
Meanwhile, the detectives working on Hardy’s murder are at an impasse, and Spencer and Cardilini remark on the many discrepancies between the physical evidence and the facts surrounding their main suspect, a prostitute who seems to have information pertaining to the mutilation cases.
Jeffreys easily captures the era: dialogue, social attitudes, meals, transport and leisure activities, and readers of a certain vintage will find much they recognise. He heads each chapter with a clear time and date, and occasionally intersperses Cardilini’s narrative with Spencer’s, or one from the perspective of Melody Cooper, following her path from innocent pre-teen to naïve young woman aspiring to stardom.
Cardilini can be quite arrogant and abrasive, and when he opens his mouth before considering the effect of his words (but often also, quite intentionally), readers may find themselves laughing out loud. His exchanges with his superintendent and especially with Spencer are often entertaining, as are Spencer’s attempts to educate him out of his sometimes-sexist outlook.
He’s a complex character, intelligent and resourceful, and his ongoing battle to maintain sobriety in this instalment sees him drinking enough tea to drown an elephant. This follow-up is a gripping read with twists and turns that will keep the reader guessing right up to the nail-biting climax, and it’s a pity there will be no more of this cast of characters. Excellent Australian historical crime fiction.
This unbiased review is from a copy provided by Echo Publishing.
Cardilini has no objection to working with Spencer, but he wants to be solving crimes, like the recent murder of ex-DS Hardy, not acting as umpire for lovers’ tiffs. Domestics “were sticky, bloody quagmires where pleading eyes raked at his intestines.” With a mindset like this prevalent amongst her colleagues, Spencer, a law graduate, certainly faces an unenviable challenge that will require every ounce of her determination.
This is the mid-sixties and, too often, the victims are frightened of the repercussions of testifying, or ignorant of their (admittedly meagre) rights, or indoctrinated into believing that submission is their role as a wife. Some of the force’s attitude is likely a product of the prevailing legal system: rape and assault within marriage is often not considered a crime; officers of the court routinely discourage a wife from testifying against her husband; and victim blaming is common practice.
On their condolence visit to the Hardy house, Spencer notes the widow’s atypical grieving behaviour, possible bruising under her make-up and a bare kitchen reeking of bleach.
On their first routine call-out for a domestic, they find a very unusual situation: Melody Cooper is tied to a kitchen chair and has cuts to her body both fresh and healed. Her husband Archie is arrested, Melody hospitalised. But the scene is indicative of a performance for voyeurs and Melody is unwilling to press charges.
The cuts on Melody’s body trigger a vague recall of an earlier case; an efficient filing clerk locates a number of unsolved murder cases of unidentified victims; a morgue attendant contributes some horrific wartime recollections to the mix. Soon, Spencer and Cardilini are convinced of a pattern, and when Melody is reported missing, there is real concern for her safety.
Meanwhile, the detectives working on Hardy’s murder are at an impasse, and Spencer and Cardilini remark on the many discrepancies between the physical evidence and the facts surrounding their main suspect, a prostitute who seems to have information pertaining to the mutilation cases.
Jeffreys easily captures the era: dialogue, social attitudes, meals, transport and leisure activities, and readers of a certain vintage will find much they recognise. He heads each chapter with a clear time and date, and occasionally intersperses Cardilini’s narrative with Spencer’s, or one from the perspective of Melody Cooper, following her path from innocent pre-teen to naïve young woman aspiring to stardom.
Cardilini can be quite arrogant and abrasive, and when he opens his mouth before considering the effect of his words (but often also, quite intentionally), readers may find themselves laughing out loud. His exchanges with his superintendent and especially with Spencer are often entertaining, as are Spencer’s attempts to educate him out of his sometimes-sexist outlook.
He’s a complex character, intelligent and resourceful, and his ongoing battle to maintain sobriety in this instalment sees him drinking enough tea to drown an elephant. This follow-up is a gripping read with twists and turns that will keep the reader guessing right up to the nail-biting climax, and it’s a pity there will be no more of this cast of characters. Excellent Australian historical crime fiction.
This unbiased review is from a copy provided by Echo Publishing.
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December 1, 2021Abandoned audio at 10% due to narrator.
The Final Cut is the second book in the Detective Cardilini series by Australian actor, teacher, playwright, poet and author, Robert Jeffreys. The final edit was completed by his wife Rosalba after his death in 2019. The audio is narrated by David Muscat. Returning from suspension to find himself partnered with DC Lorraine Spencer on the Deputy Commissioner’s latest pet project, focussing on Domestic Violence, DS Robert Cardilini is more than dismayed.
Cardilini has no objection to working with Spencer, but he wants to be solving crimes, like the recent murder of ex-DS Hardy, not acting as umpire for lovers’ tiffs. Domestics “were sticky, bloody quagmires where pleading eyes raked at his intestines.” With a mindset like this prevalent amongst her colleagues, Spencer, a law graduate, certainly faces an unenviable challenge that will require every ounce of her determination.
This is the mid-sixties and, too often, the victims are frightened of the repercussions of testifying, or ignorant of their (admittedly meagre) rights, or indoctrinated into believing that submission is their role as a wife. Some of the force’s attitude is likely a product of the prevailing legal system: rape and assault within marriage is often not considered a crime; officers of the court routinely discourage a wife from testifying against her husband; and victim blaming is common practice.
On their condolence visit to the Hardy house, Spencer notes the widow’s atypical grieving behaviour, possible bruising under her make-up and a bare kitchen reeking of bleach.
On their first routine call-out for a domestic, they find a very unusual situation: Melody Cooper is tied to a kitchen chair and has cuts to her body both fresh and healed. Her husband Archie is arrested, Melody hospitalised. But the scene is indicative of a performance for voyeurs and Melody is unwilling to press charges.
The cuts on Melody’s body trigger a vague recall of an earlier case; an efficient filing clerk locates a number of unsolved murder cases of unidentified victims; a morgue attendant contributes some horrific wartime recollections to the mix. Soon, Spencer and Cardilini are convinced of a pattern, and when Melody is reported missing, there is real concern for her safety.
Meanwhile, the detectives working on Hardy’s murder are at an impasse, and Spencer and Cardilini remark on the many discrepancies between the physical evidence and the facts surrounding their main suspect, a prostitute who seems to have information pertaining to the mutilation cases.
Jeffreys easily captures the era: dialogue, social attitudes, meals, transport and leisure activities, and readers of a certain vintage will find much they recognise. He heads each chapter with a clear time and date, and occasionally intersperses Cardilini’s narrative with Spencer’s, or one from the perspective of Melody Cooper, following her path from innocent pre-teen to naïve young woman aspiring to stardom.
Cardilini can be quite arrogant and abrasive, and when he opens his mouth before considering the effect of his words (but often also, quite intentionally), readers may find themselves laughing out loud. His exchanges with his superintendent and especially with Spencer are often entertaining, as are Spencer’s attempts to educate him out of his sometimes-sexist outlook.
He’s a complex character, intelligent and resourceful, and his ongoing battle to maintain sobriety in this instalment sees him drinking enough tea to drown an elephant. This follow-up is a gripping read with twists and turns that will keep the reader guessing right up to the nail-biting climax, and it’s a pity there will be no more of this cast of characters. Excellent Australian historical crime fiction.
The Final Cut is the second book in the Detective Cardilini series by Australian actor, teacher, playwright, poet and author, Robert Jeffreys. The final edit was completed by his wife Rosalba after his death in 2019. The audio is narrated by David Muscat. Returning from suspension to find himself partnered with DC Lorraine Spencer on the Deputy Commissioner’s latest pet project, focussing on Domestic Violence, DS Robert Cardilini is more than dismayed.
Cardilini has no objection to working with Spencer, but he wants to be solving crimes, like the recent murder of ex-DS Hardy, not acting as umpire for lovers’ tiffs. Domestics “were sticky, bloody quagmires where pleading eyes raked at his intestines.” With a mindset like this prevalent amongst her colleagues, Spencer, a law graduate, certainly faces an unenviable challenge that will require every ounce of her determination.
This is the mid-sixties and, too often, the victims are frightened of the repercussions of testifying, or ignorant of their (admittedly meagre) rights, or indoctrinated into believing that submission is their role as a wife. Some of the force’s attitude is likely a product of the prevailing legal system: rape and assault within marriage is often not considered a crime; officers of the court routinely discourage a wife from testifying against her husband; and victim blaming is common practice.
On their condolence visit to the Hardy house, Spencer notes the widow’s atypical grieving behaviour, possible bruising under her make-up and a bare kitchen reeking of bleach.
On their first routine call-out for a domestic, they find a very unusual situation: Melody Cooper is tied to a kitchen chair and has cuts to her body both fresh and healed. Her husband Archie is arrested, Melody hospitalised. But the scene is indicative of a performance for voyeurs and Melody is unwilling to press charges.
The cuts on Melody’s body trigger a vague recall of an earlier case; an efficient filing clerk locates a number of unsolved murder cases of unidentified victims; a morgue attendant contributes some horrific wartime recollections to the mix. Soon, Spencer and Cardilini are convinced of a pattern, and when Melody is reported missing, there is real concern for her safety.
Meanwhile, the detectives working on Hardy’s murder are at an impasse, and Spencer and Cardilini remark on the many discrepancies between the physical evidence and the facts surrounding their main suspect, a prostitute who seems to have information pertaining to the mutilation cases.
Jeffreys easily captures the era: dialogue, social attitudes, meals, transport and leisure activities, and readers of a certain vintage will find much they recognise. He heads each chapter with a clear time and date, and occasionally intersperses Cardilini’s narrative with Spencer’s, or one from the perspective of Melody Cooper, following her path from innocent pre-teen to naïve young woman aspiring to stardom.
Cardilini can be quite arrogant and abrasive, and when he opens his mouth before considering the effect of his words (but often also, quite intentionally), readers may find themselves laughing out loud. His exchanges with his superintendent and especially with Spencer are often entertaining, as are Spencer’s attempts to educate him out of his sometimes-sexist outlook.
He’s a complex character, intelligent and resourceful, and his ongoing battle to maintain sobriety in this instalment sees him drinking enough tea to drown an elephant. This follow-up is a gripping read with twists and turns that will keep the reader guessing right up to the nail-biting climax, and it’s a pity there will be no more of this cast of characters. Excellent Australian historical crime fiction.
November 6, 2021
Thank you so much Beauty and Lace and Echo Publishing for the opportunity to review Robert Jeffreys ‘The final cut’ the second and final novel in the Cardilini series. Debut novel ‘Man at the Window’ was also set in Perth in the early 60’s, where we were first introduced to the main protagonist Detective Sergeant Robert Cardilini.
The Final Cut continues the story of Detective Sergeant Robert Cardilini, now partnered in the newly formed ‘domestics team’ with Lorraine Spencer, who highly intelligent, and way ahead of her time, initially lacking confidence in her role, is highly respectful of Cardilini.
I appreciated the amount of research Robert would have undertaken into Police procedure and the way Police operated in the early 1960’s. I felt Robert’s laconic writing style was very well suited to the central character of Cardilini, I also thought the way the chapters were chronologically dated and timed and the way the two stories intertwined and were linked was unique and pertinent to the evolving story.
I loved the Audrey Hepburn references scattered throughout even down to Audrey’s signature fragrance L’Interdit. The story had a very homely, comfortable feel as the reader travelled along the familiar streets of Perth, and I could almost savour the taste when the humble ole ‘lamington’ gets a mention from the obligatory country bakery visit on Spencer and Cardilini’s trip to the Goldfields.
This book is an enlightening read with ample twists and turns as the sinister plot is slowly revealed, sadly there won’t be a third book in the series as the final edit was cleverly crafted by Robert’s wife Rosalba after his passing.
The Final Cut continues the story of Detective Sergeant Robert Cardilini, now partnered in the newly formed ‘domestics team’ with Lorraine Spencer, who highly intelligent, and way ahead of her time, initially lacking confidence in her role, is highly respectful of Cardilini.
I appreciated the amount of research Robert would have undertaken into Police procedure and the way Police operated in the early 1960’s. I felt Robert’s laconic writing style was very well suited to the central character of Cardilini, I also thought the way the chapters were chronologically dated and timed and the way the two stories intertwined and were linked was unique and pertinent to the evolving story.
I loved the Audrey Hepburn references scattered throughout even down to Audrey’s signature fragrance L’Interdit. The story had a very homely, comfortable feel as the reader travelled along the familiar streets of Perth, and I could almost savour the taste when the humble ole ‘lamington’ gets a mention from the obligatory country bakery visit on Spencer and Cardilini’s trip to the Goldfields.
This book is an enlightening read with ample twists and turns as the sinister plot is slowly revealed, sadly there won’t be a third book in the series as the final edit was cleverly crafted by Robert’s wife Rosalba after his passing.
October 20, 2021
A bit gruesome for me…if you can look past that part, the methods Cardinilli used were a bit confusing to me…didn’t like they way he kept Spenser in the dark, bushes had a lot of contacts and used them to work the case…
April 4, 2023
First time reading this author. It felt a little drawn out, but that could be because it took me several days to finish it. I enjoyed the ending. The subject matter was difficult, but that's how it was in the 60s. I would probably read another book by this author.
July 11, 2022
Really enjoyed this last novel about Detective Cardilini - evocative scenes of policing in the 1960s in my hometown.
Displaying 1 - 6 of 6 reviews