Product Description

#1 New York Times bestselling author Jonathan Kellerman writes unforgettable tales of crime and detection that expose the shadowy side of glittering Los Angeles. And in Evidence, readers are once again in the dexterous grip of a master storyteller and stylist equally skilled at teasing your brain and taking your breath away.

In the half-built skeleton of a monstrously vulgar mansion in one of L.A.’s toniest neighborhoods, a watchman stumbles on the bodies of a young couple–murdered in flagrante and left in a gruesome postmortem embrace. Though he’s cracked some of the city’s worst slayings, veteran homicide cop Milo Sturgis is still shocked at the grisly sight: a twisted crime that only Milo’s killer instincts–and psychologist Alex Delaware’s keen insights–can hope to solve.

While the female victim’s identity remains a question mark, her companion is ID’d as eco-friendly architect Desmond Backer, who disdains the sort of grandiose superstructure he’s found dead in. And the late Mr. Backer, it’s revealed was also notorious for his power to seduce women.

The rare exception is his ex-boss, Helga Gemein, who’s as indifferent to Desmond’s death as she apparently was to his advances. Though Milo and Alex place her on their short list of suspects, the deeper they dig for clues the longer the list grows. An elusive prince who appears to harbor decidedly American appetites, an eccentric blueblood with an ax to grind, one of Desmond’s restless ex-lovers and her cuckolded husband–all are in the homicidal mix spiced with eco-terrorism, arson, blackmail, conspiracy, and a vendetta that runs deep. But when the investigation veers suddenly in a startling direction, it’s the investigators who may wind up on the wrong end of a cornered predator’s final fury.

Product Details

• Amazon Sales Rank: #690 in Books
• Published on: 2009-10-06
• Released on: 2009-10-06
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 368 pages

Features

• ISBN13: 9780345495150
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From Publishers Weekly
L.A. police lieutenant Milo Sturgis investigates a double homicide at the site of an unfinished, obscenely large mansion in bestseller Kellerman's nerve-tingling 24th Alex Delaware novel (after Bones). Construction halted on the house two years earlier, and ownership can be traced only to a defunct holding company in Washington, D.C. The male victim is easily identified—Desmond Backer, who worked for an odd little architectural firm—but the female victim's identity isn't immediately apparent. Alex serves as a sounding board while Milo pursues assorted rumors and false leads: the site owners are Arabs, Asians, Muslims; the killings were vengeance; the victims were eco-terrorists; the deaths are linked to the disappearance of a Swedish or Swiss woman years before. Without magic, just steady, inspired police work, including horse-trading with the FBI and skillful interrogations, Milo uncovers the unsavory truth. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author
Jonathan Kellerman is one of the world’s most popular authors. He has brought his expertise as a clinical psychologist to more than thirty bestselling crime novels, including the Alex Delaware series, The Butcher’s Theater, Billy Straight, The Conspiracy Club, Twisted, and True Detectives. With his wife, the novelist Faye Kellerman, he co-authored the bestsellers Double Homicide and Capital Crimes. He is the author of numerous essays, short stories, scientific articles, two children’s books, and three volumes of psychology, including Savage Spawn: Reflections on Violent Children, as well as the lavishly illustrated With Strings Attached: The Art and Beauty of Vintage Guitars. He has won the Goldwyn, Edgar, and Anthony awards and has been nominated for a Shamus Award.

Jonathan and Faye Kellerman live in California and New Mexico. Their four children include the novelist Jesse Kellerman.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter One



I tell the truth. They lie.
I'm strong. They're weak.
I'm good.
They're bad.


This was a zero job but Doyle was getting paid.

Why anyone would shell out fifteen bucks an hour, three hours a day, five times a week, to check out the empty shell of a rich-idiot monster-house was something he'd never get.

The look-see took fifteen minutes. If he walked slow. Rest of the time, Doyle sat around, ate his lunch, listened to Cheap Trick on his Walkman.

Thinking about being a real cop if his knee hadn't screwed up.

The company said go there, he went.

Disability all run out, he swallowed part-time, no benefits. Paying to launder his own uniform.

One time he heard a couple of the other guys talking behind his back.

Gimp's lucky to get anything.

Like it was his fault. His blood level had been .05, which wasn't even close to illegal. That tree had jumped out of nowhere.

Gimp made Doyle go all hot in the face and the chest but he kept his mouth shut like he always did. One day . . .

He parked the Taurus on the patch of dirt just outside the chainlink, tucked his shirt tighter.

Seven a.m., quiet except for the stupid crows squawking.

Rich-idiot neighborhood but the sky was a crappy milky gray just like in Burbank where Doyle's apartment was.

Nothing moving on Borodi Lane. As usual. The few times Doyle saw anyone it was maids and gardeners. Rich idiots paying to live here but never living here, one monster-mansion after another, blocked by big trees and high gates. No sidewalks, either. What was that all about?

Every once in a while, some tucked-tight blonde in Rodeo Drive sweats would come jogging down the middle of the road looking miserable. Never before ten, that type slept late, had breakfast in bed, massages, whatever. Laying around in satin sheets, getting waited on by maids and butlers before building up the energy to shake those skinny butts and long legs.

Bouncing along in the middle of the road, some Rolls-Royce comes speeding down and kaboom. Wouldn't that be something?

Doyle collected his camouflage-patterned lunch box from the trunk, made his way toward the three-story plywood shell. The third being that idiot castle thing-the turret. Unfinished skeleton of a house that would've been as big as a . . . as a . . . Disneyland castle.

Fantasyland. Doyle had done some pacing, figured twenty thousand square feet, minimum. Two-acre lot, maybe two and a half.

Framed up and skinned with plywood, for some reason, he could never find out why, everything stopped and now the heap was all gray, warping, striped with rusty nail-drips.

Crappy gray sky leaking in through rotting rafters. On hot days, Doyle tucked himself into a corner for shade.

Out behind in the bulldozed brown dirt was an old Andy Gump accidentally left behind, chemicals still in the john. The door didn't close good and sometimes Doyle found coyote scat inside, sometimes mouse droppings.

When he felt like it, he just whizzed into the dirt.

Someone paying all that money to build Fantasyland, then just stopping. Go figure.

He'd brought a good lunch today, roast beef sandwich from Arby's, too bad there was nothing to heat the gravy with. Opening the box, he sniffed. Not bad. He moved toward the chain-link swing gate . . . what the-

Stupid thing was pulled as wide as the chain allowed, which was about two, two and a half feet. Easy for anyone but a fat idiot to squeeze through.

The chain had always been too long to really draw the gate tight, making the lock useless, but Doyle was careful to twist it up, make it look secure when he left each day.

Some idiot had monkeyed with it.

He'd told the company about the chain, got ignored. What was the point of hiring a professional when you didn't listen to his advice?

Sidling through the gap, he rearranged the chain nice and tight. Leaving his lunch box atop raw-concrete steps, he began his routine. Standing in the middle of the first floor, saying, "Hel-lo," and listening to his voice echo. He'd done that first day on the job, liked the echo, kinda like honking in a tunnel. Now it was a habit.

Didn't take long to see everything was okay on the first floor. Space was huge, big as a . . . as a . . . some rooms framed up but mostly pretty open so you had clear views everywhere. Like peeking through the skeleton bones of some dinosaur. In the middle of what would've been the entry hall was a humongous, swooping, double staircase. Just plywood, no railings, Doyle had to be careful, all he needed was a fall, screw up some other body part.

Here we go, pain with every step. Stairs creaked like a mother but felt structurally okay. You could just could imagine what it would be like with marble on it. Like a . . . big castle staircase.

Nineteen steps, each one killed.

The second floor was just as empty as the first, big surprise. Stopping to rub his knee and take in the western treetop view, he continued toward the rear, stopped again, kneaded some more but it didn't do much good. Continuing to the back, he reached the smaller staircase, thirteen steps but real curvy, a killer, tucked behind a narrow wall, you had to know where to find it.

Whoever had paid for all this was some rich idiot who didn't appreciate what he had. If Doyle had a hundredth-a two-hundredth of something like this, he'd thank God every day.

He'd asked the company who the owner was. They said, "Don't pry."

Climbing the curvy staircase, every step crunching his knee,

the pain riding up to his hip, he began counting out the thirteen stairs like he always did, trying to take his mind off the burning in his leg.

When he called out "Nine," he saw it.

Oh Jesus.

Heart thumping, mouth suddenly dry as tissue paper, he backed down two steps, reached along the right side of his gear belt.

Touching air.

Now he was the idiot, there'd been no gun for a long time, not since he stopped guarding jewelry stores downtown.

Company gave him a flashlight, period, and it was in the trunk of the Taurus.

He forced himself to look.

Two of them.

No one else, one good thing about the turret, it was round, mostly open to the sky, nowhere to hide.

Doyle kept looking, felt his guts heave.

The way they were lying, him on top of her, her legs up, one hooked around his back, it was pretty clear what they'd been doing.

Before . . .

Doyle felt short of breath, like someone was choking him. Struggling to regain his air, he finally succeeded. Reached for his phone.

Right in his pocket. At least something was going okay.

Customer Reviews

"Evidence" of the change in Kellerman's style

Over the years, Kellerman's style has changed, and this Delaware book is a far cry from the early entries - such as "When the Bough Breaks" - that cemented his place at the top of the psychological thriller genre.

First, though labeled as "An Alex Delaware Novel", buddy Milo Sturgis is really the central character of this book. Delaware is along for the ride, and is primarily merely an observer, adding almost nothing to the actual advancement of the story. Don't get me wrong, I enjoy Milo as a character and have liked the couple of books in which he was intended as the lead. But the Delaware character seems to have been subsumed by Sturgis.

Kellerman's style has become very terse and brief, lacking the descriptive elements and insights into Delaware's thoughts and emotions that characterized earlier works. In some ways this stylistic evolution is interesting, as there's a crispness that was lacking in earlier works, but it also seems to me to dehumanize the stories to some extent, and certainly turns Alex into a shadow presence in the story.

This book is, at its essence, much more of a strict police procedural - like an Ed McBain novel - than a psychological thriller. Looked at in that light, it's a pretty good book. But let's be honest: is that what the long-time Delaware fans are really looking for?

Caveat emptor.

The evidence points to another good thriller from Kellerman
The last few books in the Alex Delaware-Milo Sturgis series just haven't done it for me. On a whim I picked this up this morning at a local bookstore and started to read it shortly there after...and continued to read. Had popcorn for lunch while I read. A candy bar for dinner while I read. And finished it a couple of hours ago.

This is one of Kellerman's best. The book opens with a couple found dead by a night watchman in a compromising, artfully arranged position in one of the better neighborhoods in Los Angeles. At first glance they appear to be lovers caught in a tryst, but to Delaware and Sturgis the evidence suggests something darker and more sinister.

As Alex and Milo follow the evidence they experience twists and turns, but what is unique about this book is the focus on Milo rather than Alex. We get to watch him solve the crime and Alex becomes more of a background character. There are a lot of suspects from the dead man's boss to the home's owner, an Arabian prince. As Milo and Alex work their way through the suspects and the evidence, the story remains credible and exciting. Sturgis has some wonderful scenes from battling the FBI to interrogating a suspect.

This book goes a long way to revitalizing the series! Will be looking forward to book #25.

The Architecture Of Murder
Desmond Backer was a popular, eco-friendly L.A. architect. He was also a relentless womanizer. Whatever he was, he's now dead--found in a half-constructed house, in a compromising position with a young woman. His employer doesn't seem to care much, but several other people had strong opinions about the dead man. And just who is the mysterious woman found dead with him? L.A. cop Milo Sturgis is determined to solve the mystery with the help of his friend, Alex Delaware.

EVIDENCE is the 23rd Jonathan Kellerman mystery to feature the wonderful child psychologist/amateur detective, Alex Delaware, and his stalwart cop friend, Milo. Ever since the Edgar-winning first book in the series, When the Bough Breaks (Alex Delaware), these two have been an unbeatable team. Over the years, this series has lost none of its freshness and attention to the details of psychological profiling and police investigation, and the mystery plots themselves are always solid and surprising. EVIDENCE is perfect (forgive me) evidence of Kellerman's long-lasting mastery of his craft. Highly recommended.