Sinners and Shrouds
04/2014 · Open Road Media
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A reporter becomes his own story when he wakes up next to a corpse
Sam Clay wakes with a dry mouth, a hammering headache, and only the faintest memory of what he did the night before. He remembers dancing, jazz, taxi rides, and a brandy-fueled ride on a roller coaster, but he has no idea how he got home, and he is lost as to the identity of the straw-haired beauty beside him. He is just about to introduce himself when he notices the blood on the sheets, the wounds on her chest, and the ice-cold pallor of her skin. His bedmate is dead.
Clay is a newspaperman, and sharp enough to know that he is being framed. But by whom? Clay will have to stay two steps ahead of the cops to track down this story, which will lead him either to the scoop of a lifetime or to a long nap in a cold grave.
Sam Clay wakes with a dry mouth, a hammering headache, and only the faintest memory of what he did the night before. He remembers dancing, jazz, taxi rides, and a brandy-fueled ride on a roller coaster, but he has no idea how he got home, and he is lost as to the identity of the straw-haired beauty beside him. He is just about to introduce himself when he notices the blood on the sheets, the wounds on her chest, and the ice-cold pallor of her skin. His bedmate is dead.
Clay is a newspaperman, and sharp enough to know that he is being framed. But by whom? Clay will have to stay two steps ahead of the cops to track down this story, which will lead him either to the scoop of a lifetime or to a long nap in a cold grave.
Acerca do autor
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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