Fatal Error by J. A. Jance

By J. A. Jance

An net lothario is murdered in chilly blood. Police instantly concentration their research at the sufferers whose damaged hearts he left in his digital wake. Can Ali Reynolds turn out a former colleague’s innocence prior to a remorseless killer makes a decision it’s time to tug the plug . . . on her?

Ali Reynolds starts off the summer time pondering her so much tricky problem may be surviving a six-week-long direction on the Arizona Police Academy. Then an acquaintance from her outdated information broadcasting days in California indicates up with an alcohol challenge and an not going tale a few lacking fiancé. Ali reluctantly is of the same opinion to aid.

The guy posing as former anchorwoman Brenda Riley’s husband-to-be is published to be a cyber-sociopath. whilst he turns up lifeless, Brenda turns into the best suspect, having vanished and not using a hint after breaking into his domestic days previous. trying to transparent her friend’s identify, Ali is instantly drawn right into a internet of on-line intrigue that threatens to guide to a real-world fatal error.

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Porfirio, “No Way Out,” 83–86. 18. Hazel E. Barnes, The Literature of Possibility: A Study in Humanistic Existentialism (Lincoln: University of Nebraska Press, 1959). 28 Steven M. Sanders 19. Albert Camus, The Myth of Sisyphus, trans. Justin O’Brien (New York: Vintage Books, 1955), 90. 20. Thomas Nagel, “The Absurd” (1971), reprinted in Nagel’s Mortal Questions (Cambridge: Cambridge University Press, 1979), 23. 21. See the entry on Red Light by Bob Porfirio in Silver and Ward, Film Noir, 241. 22.

13. Quoted in Hayde, My Name’s Friday, 43. 14. Hallam and Marshment, Realism and Popular Cinema, 194. Naked City : The Relativist Turn in TV Noir Robert E. Fitzgibbons Film noir’s evolution from the silver screen to the television screen was untidy at best; and this is nowhere more evident than in the transition from the feature-length movie The Naked City (Jules Dassin, 1948) to the TV show of the same title some ten years later. Although the movie was not the best of the noir genre, it was good and had many of the unmistakable classic noir markings: high-contrast black-and-white photography, stark images, severe camera angles, brutality, (a bit of) suggested sexual promiscuity, mystery, a major touch of evil, and moral absolutes.

In his new incarnation, Martin terrorizes the city with a series of daring liquor store robberies. The man’s intimate knowledge of how the police work suggests that he is a rogue cop. His cunning duplicity revealed by police lab work (bullets fired from the cop killer’s gun are shown to match one fired from the robber’s), the killer is eventually, in a striking sequence, given a face by police artists, who assemble the robbery victims to construct a group portrait. The patient and time-consuming check of leads provides yet another breakthrough.

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