Now he bangs out honky-tonk for drunks in a dive in Philadelphia. But then two people walk into Eddie's life--the first promising Eddie a future, the other dragging him back into a treacherous past.Shoot the Piano Player is a bittersweet and nerve-racking exploration of different kinds of loyalty: the kind a man owes his family, no matter how bad that family is; the kind a man owes a woman; and, ultimately, the loyalty he owes himself. The result is a moody thriller that, like the best hard-boiled fiction, carries a moral depth charge.

    Almost all the stories are specially written for the collection and the cases are presented in the order in which Holmes solved them. The result is a life of Sherlock Holmes, with a continuous narrative alongside the stories which identities the gaps in the canon and places the new and hitherto unrecorded cases in their correct sequence - plus there is an invaluable, complete Holmes chronology.(back cover)

    No one knew why Aprile, the last great American Don, had adopted Astorre Viola many years before in Sicily; no one suspected how he had carefully trained him ... and how, while the Don's children claimed respectable careers in America, Astorre Viola waited for his time to come.Now his time has arrived. The Don is dead, his murder one bloody act in a drama of ambition and deceit --- from the deadly compromises made by an FBI agent to the greed of two crooked NYPD detectives and the frightening plans of a South American Mob kingpin. In a collision of enemies and lovers, betrayers and loyal soldiers, Astorre Viola will claim his destiny. Because after all these years, this moment is in his blood ...

    That’s why mystery fans and critics alike rank the historical thriller True Detective at the top of their lists —and why the book swept up a Shamus Award for best novel from the Private Eye Writers of America. Now, author Max Allan Collins (Road to Perdition) reissues the contemporary classic that introduces the inscrutable, wise-cracking Nathan Heller in all his guts and glory. Mayor Cermak aims to scrub up Chicago’s rancid reputation for the World’s Fair, and that daunting task comes down to the youngest plainclothes cop in town, Nathan Heller of the pickpocket detail. When the Mayor’s “Hoodlum Squad” brings Heller along on a raid with no instructions but to keep his mouth shut and his gun handy, he finds himself an unwitting, unwilling part of an assassination attempt on Al Capone’s successor, Frank Nitti. Soon, he’s smack in the middle of a power struggle between the mob and the mayor, and it’s up to the young detective to upend a potentially nation-shaking political assassination in Miami Beach. In Collins’ eruptive and evocative large-landscape historical thriller, readers consort with the likes of “Dutch” Reagan, George Raft, and FDR himself, as the author weaves the intricate history of the Chicago’s Century of Progress with a classic noir mystery. Rich in riveting plot turns, including a beautiful female client and a heartbreaking romance, True Detective is one of the most highly entertaining and unlikely coming-of-age stories ever written.

    all  culminating in shocking twists of fate.   Within these pages live a wealth of  characters you will not soon forget... people  whose lives become irrevocably trapped in a world of  no comebacks, beyond the point of no return--from  the manipulators and the manipulated to the  ultra-rich capable of buying and selling human lives, to the everyday man maneuvered by circumstances into performing deadly acts of violence.

    LuEllen is his lover, and his favorite partner in crime. Their playing field in on the cutting edge of high-tech corporate warfare. This time they've been hired by a defense industry corporation to destroy its business rival through computer sabotage. If Kidd and LuEllen can pull it off, they'll reap millions. It's the sting of a lifetime. One false move and it's a lifetime sentence. As the takedown unfolds, everything goes according to plan. But their string of successes turns into a noose when the ultimate con artists find themselves on the wrong end of the ultimate con...

    Like the first two, this new thriller combines gripping contemporary suspense with a high-concept mystery rooted in history, philosophy, religion, and science. And like those novels, it is bound for bestseller lists nationwide. In Antarctica, a scientific expedition drops anchor for a live news feed. As the CNN journalist begins her report, a massive, shimmering sphere of light suddenly appears in the sky, enveloping the ship in luminous white light before disappearing as mysteriously as it arrived, the entire event witnessed by an incredulous world audience.Meanwhile in a dusty bar in Egypt, a dozen men are lazily discussing the state of the world when the brilliant, glowing symbol on the television stops them cold. One man breaks out in a sweat, crosses himself repeatedly, and rushes out of the bar muttering the same phrase over and over again: It can't be.Across the Internet and around the globe, a stunning controversy threatens to consume the world: Has God finally decided to reveal himself? Or is something more sinister at hand? Raymond Khoury/Steve Berry interview STEVE BERRY: Your new thriller, THE SIGN. I'm gonna come right out and say it: I think it's your best one yet. What do you think?RAMOND KHOURY: Tough call. It's my new baby, and much as I adore its elder siblings, it does have that newborn magic to it.STEVE: Trust me, it is. It's also a bit of a departure from your first two books, in that it doesn't have the past-and-present storylines. Knowing how stories kind of take on a life of their own, that wasn't a conscious decision from the get-go, was it?RAYMOND KHOURY: No, it wasn't premeditated. It's just the way the story came out. The whole story happens in the present. It takes place over a few manic days, I think you're familiar with that pacing, right? And it deals with the present, it's about a what if situation that's very today and now, there's a mystery, something to figure out, but there's no throwback to the past, no long lost secret to uncover.STEVE BERRY: It's also very topical. Your editors must be pleased.RAYMOND: I guess it happened that way because the story came out of some very strong feelings I had, feelings about what was going on around the world, in the US and abroad.STEVE: Tell me about that process. Where the story came from.RAYMOND: It's where they all come from, isn't it? That kernel, that one thought or one observation you have that just sticks and triggers a book, the one that bugs you late at night and that you can't shake. This one came to me while watching the news one day, and every item, one after another, it was all bad news. Not just bad, but it was like a lot of people were behaving so insanely in so many places around the world, and, sadly, a lot of it was fuelled by the manipulation or distortion of religious faith.STEVE: By intolerance?RAYMOND: Exactly. Intolerance and closed minds. And it got me thinking. About how divided we are, about how so many people all over the world believe in the absolute infallibility of their faith and how it rules every aspect of their lives, you know what I mean, we're right, everyone else is wrong, that medieval mindset and wondering if anything could ever unite the planet under a single faith.STEVE: One global religion. RAYMOND: Well, imagine if something did happen that convinced everyone that what we had until now, all these different religions that have grown over the last few thousand years, what if something new came along that was so overwhelming that it was impossible to ignore? Would we listen? Would we drop our previous faiths and embrace it?STEVE: But your book's about much more than that. Without wanting to give too much away, it's really a political thriller, isn't it?RAYMOND: It's always so hard to talk about a book without giving too much away.STEVE: It's the fine line we walk.RAYMOND: True. But yes, you're right, it's really about the absolute power something like that would bring, and how it could be abused. Cause above all else, it's a thriller. There's got to be a brilliantly dastardly scheme, right?STEVE: Always. And this one certainly is dastardly. One thing I've noticed, though, in all three of your books so far, they're all, essentially, about the big questions that face us: why we believe, whether or not we have to die. Religion, longevity, life and death, science vs. faith ... Big questions. And in this one, you revisit, though in a completely different way, the power of religion, the good it can bring as well as the bad, something that was also central to The Last Templar. Will this always be your signature genre, books that have a big, central theme at their core?RAYMOND: You asked me earlier about where the story came from. For me, in order to get excited about a book, it has to have a big central theme about how we live at its heart, something I'm interested in exploring. It's got to be about something I care about deeply. That's what drives the story and the characters forward for me. That's what I hope makes the books stand out. That they're not just page-turners, which ain't easy in itself, but that they're also about something. I see it in your books too. A point of view about things, a passion for laying out interesting information about a topic that interests you. Michael Crichton used to do that very successfully. Dan Brown, of course, does it brilliantly. That's what makes the books worth writing, I think.STEVE: And in reading the book, it's clear you still had tons of research to do, even though there isn't a historic mystery to unravel?RAYMOND: Absolutely. Some of it was about history, the monasteries in Egypt, for one. Again, part of the story, organically. Had to be done, and we do love our history, don't we?STEVE: Guilty as charged.RAYMOND: But for this book, I didn't need to do that much of it's nothing like what you did for THE CHARLEMAGNE PURSUIT, for instance. Which I loved, by the way. Particularly since you beat me to using the Voynich Manuscript in a story!STEVE: We do seem to be spookily in sync with our writing as further evidenced by THE SIGN's opening in Antarctica?RAYMOND: I know!STEVE: So tell me, Matt and Gracie. Are we going to see them again?RAYMOND: I don't know. On the one hand, I envy your situation with Cotton Malone, you've got a solid anchor for your books, you're building this great world around him, his son and Stephanie and Henrik and Cassiopeia, who I hope we see again real soon, and it's meaty and it's epic and like the rest of your readers, I'm hooked and I want to know what they do next. You've got that, Lee Child has had it since day one with Reacher, Harlan Coben with Myron Bolitar, the list goes on. Great characters. I'd love to do that one day, but it has to feel right. I wasn't in that frame of mind in my first two books, certainly the world after the end of THE SANCTUARY would be a very different place from the world Mia started out in at the beginning of that book. Tess and Reilly, I could maybe bring back. A lot of fans have asked for that. But with THE SIGN, Iinitely think Matt and Gracie are characters that I could bring back. I'd like to put them through another wringer, and it feels like it would come naturally. But before I do that, I'm writing the next book which introduces a new lead character, so they'll be getting a bit of a breather.STEVE: They sure can use it. Good luck with the book.RAYMOND: Thank you.

    We know that his late partner, Miles Archer, was a son of a bitch; that Spade is sleeping with Archer’s wife, Iva; that his tomboyish secretary, Effie Perine, is the only innocent in his life. What we don’t know is how Spade became who he is. Spade & Archer completes the picture.1921: Spade sets up his own agency in San Francisco and clients quickly start coming through the door. The next seven years will see him dealing with booze runners, waterfront thugs, stowaways, banking swindlers, gold smugglers, bumbling cops, and the illegitimate daughter of Sun Yat-sen; with murder, other men’s mistresses, and long-missing money. He’ll bring in Archer as a partner, though it was Archer who stole his girl while he was fighting in World War I. He’ll tangle with a villain who never loses his desire to make Spade pay big for ruining what should’ve been the perfect crime. And he’ll fall in love—though it won’t turn out for the best. It never does with dames . . .Spade & Archer is a gritty, pitch-perfect, hard-boiled novel—the work of a master mystery writer—destined to become a classic in its own right.

    In the midst of a savage heat wave and an infamous murder spree, a blackout awakens the dark side of the city that never sleeps—and a young Jack Reacher takes action as only he can. Don’t miss the exciting preview of Lee Child’s highly anticipated Jack Reacher novel, Never Go Back!  July 1977. Jack Reacher is almost seventeen, and he stops in New York City on the way to visit his brother at West Point. The summer heat is suffocating, the city is bankrupt, and the mad gunman known as Son of Sam is still on the loose. Reacher meets a woman with a problem, and agrees to help her . . . but then the power grid fails and the lights go out, plunging the lawless city into chaos. What does a visiting teenager do in the dark? If that visiting teenager is Jack Reacher, the answer is plenty.

    But when Jonah crosses the line and murders one of his own, Chase goes solo, stealing cars and pulling scores across the country….And then he meets Lila, a strong-willed deputy sheriff with a beguiling smile who shows him what love can be. Chase is on the straight and narrow for the first time in his life—until tragedy hits, and he must reenter the dark world of grifters and crooks. Now Chase is out for revenge—and he’ll have to turn to the one man he hates most in the world. Only Jonah can teach Chase how to become a stone-cold killer. But even as the two men work together, Chase knows that their unresolved past will eventually lead them to a showdown of their own.

    Francis Hotel: girls, jazz, bootleg hooch . . . and a dead actress named Virginia Rappe. The D.A. says it was Arbuckle who killed her ? crushing her under his weight ? and brings him up on manslaughter charges. William Randolph Hearst's newspapers stir up the public and demand a guilty verdict. But what really happened? Why do so many people at the party seem to have stories that conflict? Why is the prosecution hiding witnesses? Why are there body parts missing from the autopsied corpse? Why is Hearst so determined to see Arbuckle convicted? In desperation, Arbuckle's defense team hires a Pinkerton agent to do an investigation of his own and, they hope, discover the truth. The agent's name is Dashiell Hammett, the book's narrator. What he discovers will change American legal history ? and his own life ? forever.

    So how could she have murdered not just one, but two of her husbands?Will Shephard was Maggie's second husband.A magnificent athlete and film star, he was just as famous. But Will had dark, dangerous secrets that none of his fans could have imagined... that his own wife could never dreamed of.

    Within hours Lang is butting heads with a Buddha statue, matching wits with evil billionaires, and putting his life (among other things) in the hands of a bevy of femmes fatales, whilst trying to save a beautiful lady ...and prevent an international bloodbath to boot.

    The dead ones. They were dead, but they had lights. Why do the dead need light?Three hundred years ago, the settlers on the small Maine island of Sanctuary were betrayed to their enemies and slaughtered. Since then, the island has known peace. Until now. A gang of four men are descending on Sanctuary, intent on committing a brutal and relentless massacre. All that stands in their way are rookie police officer Sharon Macie and the strange, troubled officer Joe Dupree.But Joe is no ordinary policeman. He knows the island has been steeped in blood once and that it will never again tolerate the shedding of innocent blood. The band of killers who are set to desecrate Sanctuary will unleash the fury of its ghosts upon themselves and all who stand by them. On Sanctuary, all hell is about to break loose ...

    Now updated with new material that brings the killer's picture into clearer focus.In the fall of 1888, all of London was held in the grip of unspeakable terror.  An elusive madman calling himself Jack the Ripper was brutally butchering women in the slums of London’s East End.  Police seemed powerless to stop the killer, who delighted in taunting them and whose crimes were clearly escalating in violence from victim to victim.  And then the Ripper’s violent spree seemingly ended as abruptly as it had begun.  He had struck out of nowhere and then vanished from the scene.  Decades passed, then fifty years, then a hundred, and the Ripper’s bloody sexual crimes became anemic and impotent fodder for puzzles, mystery weekends, crime conventions, and so-called “Ripper Walks” that end with pints of ale in the pubs of Whitechapel.  But to number-one New York Times bestselling novelist Patricia Cornwell, the Ripper murders are not cute little mysteries to be transformed into parlor games or movies but rather a series of terrible crimes that no one should get away with, even after death.  Now Cornwell applies her trademark skills for meticulous research and scientific expertise to dig deeper into the Ripper case than any detective before her—and reveal the true identity of this fabled Victorian killer.In Portrait of a Killer: Jack the Ripper, Case Closed, Cornwell combines the rigorous discipline of twenty-first century police investigation with forensic techniques undreamed of during the late Victorian era to solve one of the most infamous and difficult serial murder cases in history.  Drawing on unparalleled access to original Ripper evidence, documents, and records, as well as archival, academic, and law-enforcement resources, FBI profilers, and top forensic scientists, Cornwell reveals that Jack the Ripper was none other than a respected painter of his day, an artist now collected by some of the world’s finest museums: Walter Richard Sickert.It has been said of Cornwell that no one depicts the human capability for evil better than she.   Adding layer after layer of circumstantial evidence to the physical evidence discovered by modern forensic science and expert minds, Cornwell shows that Sickert, who died peacefully in his bed in 1942, at the age of 81, was not only one of Great Britain’s greatest painters but also a serial killer, a damaged diabolical man driven by megalomania and hate.  She exposes Sickert as the author of the infamous Ripper letters that were written to the Metropolitan Police and the press.  Her detailed analysis of his paintings shows that his art continually depicted his horrific mutilation of his victims, and her examination of this man’s birth defects, the consequent genital surgical interventions, and their effects on his upbringing present a casebook example of how a psychopathic killer is created.New information and startling revelations detailed in Portrait of a Killer include:- How a year-long battery of more than 100 DNA tests—on samples drawn by Cornwell’s forensics team in September 2001 from original Ripper letters and Sickert documents—yielded the first shadows of the 75- to 114 year-old genetic evid...