Homicide Is My Business

I’ve listened to my share of true crime, but *Homicide Is My Business* caught me off guard—not because of its violence, but because of its *accounting*. This is a book that treats murder like a small business expense report, and that’s what makes it so chilling. Schmetterer, writing from his perspective as the prosecutor who eventually put Luigi away, doesn’t waste time on dramatic flourishes. Instead, he lays out Luigi’s career with the precision of a forensic auditor: the jobs taken, the fees negotiated, the mistakes that nearly got him caught. It’s fascinating in the way a well-researched case study can be, but with the added frisson that the subject matter is *people getting killed for money*. Stephen Bel Davies’ performance is a masterclass in restraint. His voice has a gravelly, world-weary quality that suits the material—like a detective who’s seen too much but still has to file the paperwork. The pacing is deliberate, almost plodding at times, which mirrors Luigi’s own methodical approach to his work. My only critique? The audio production occasionally suffers from uneven volume levels in a few chapters, forcing me to adjust my headphones more than I’d like. And while the book’s clinical tone is intentional, there are moments where I wished Schmetterer had dug deeper into Luigi’s psychology beyond the “just another job” veneer. Still, this is a standout in the true crime genre precisely because it *isn’t* trying to be *Mindhunter* or *The Sopranos*. It’s the story of a man who clocked in, did his work, and—when the law finally caught up—shrugged like it was just another Tuesday.