Robbie McNeil’s Hit List.

A characteristic that makes mysteries such a popular genre is that the concept of right and wrong is so often very clear. Not so much here. Robbie, our heroine, and Dee, her queerplatonic partner in a gay karaoke bar in a nothing Indiana town, are both successful contract killers. Their jobs are done quickly, cleanly, and without emotion, except for Robbie’s latest one. The information on the local target is sketchy and the target himself suddenly disappears. She can’t afford to return the deposit because she and Robbie have sunk all their money into a theatrical venture, and besides, it feels all wrong. Instead of ignoring who the target is, she works hard to find out the exact opposite. We have local politicians, Robbie’s musical ambitions, and the lively karaoke scene all tangled up with a client who just won’t quit in his effort to have this target done away with. Heath provides a fun story with a great deal of gender and identity fluidity. There is a happy ending of sorts, but is it right?