Murder in the Madhouse
Abr 2014 · The Bill Crane Mysteries Aklat 1 · Open Road Media
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To catch a thief, a detective has himself committed to a high-class asylum
The orderlies do not need a straitjacket for Bill Crane. He is not violent, although he does have a bad habit of making embarrassing deductions about the doctors. This sarcastic, hard-drinking man has deluded himself into thinking he is Edgar Allan Poe's great detective, C. Auguste Dupin. For this, he has been put away in a stately mental hospital on the Hudson. But Crane is not as delusional as he appears. Though he may not be Dupin, he certainly is a detective—one of the greatest, and occasionally drunkest, of them all.
Sent undercover to investigate the theft of an inmate's fortune, Crane finds the institution not as comfortable as he had hoped. When his fellow patients start dying, he must solve the murders, or risk losing his sanity after all.
The orderlies do not need a straitjacket for Bill Crane. He is not violent, although he does have a bad habit of making embarrassing deductions about the doctors. This sarcastic, hard-drinking man has deluded himself into thinking he is Edgar Allan Poe's great detective, C. Auguste Dupin. For this, he has been put away in a stately mental hospital on the Hudson. But Crane is not as delusional as he appears. Though he may not be Dupin, he certainly is a detective—one of the greatest, and occasionally drunkest, of them all.
Sent undercover to investigate the theft of an inmate's fortune, Crane finds the institution not as comfortable as he had hoped. When his fellow patients start dying, he must solve the murders, or risk losing his sanity after all.
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Jonathan Latimer (1906–1983) was a bestselling author and screenwriter. Born in Chicago, he began his career as a crime reporter for the Herald Examiner, working there until 1935, when he set out on a twisting road to Hollywood, which included stints as a dude rancher, a stunt man, and a publicist. In the late 1930s he began writing screenplays for MGM, producing the scripts for several classic noir films, including The Big Clock (1948) and the adaptation of Dashiell Hammett's The Glass Key (1942), which starred Alan Ladd.
All the while, Latimer was writing fast-paced mystery novels such as The Lady in the Morgue (1936) and The Dead Don't Care (1938). After fighting in World War II, he returned to Hollywood, where he continued writing novels and became a staff writer for the Perry Mason show.
All the while, Latimer was writing fast-paced mystery novels such as The Lady in the Morgue (1936) and The Dead Don't Care (1938). After fighting in World War II, he returned to Hollywood, where he continued writing novels and became a staff writer for the Perry Mason show.
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