By Lynda La Plante
The first instalment within the much-loved Anna Travis sequence, from the number 1 bestselling mistress of suspense
Young Anna Travis has been assigned to her first homicide case - a sequence of killings that has stunned even the main hardened of detectives. They begun 8 years in the past - now the physique count number is as much as six. the tactic of killing is the same, the backgrounds of the women exact - all drug-users and prostitutes. Then a 7th physique is located. The modus operandi is similar - however the sufferer is a tender pupil with the 'face of an angel'. The profile of the assassin has replaced dramatically.
Determined to earn the distinction of her male colleagues, Anna stumbles on an important piece of data which hyperlinks one guy to the killings, a much-loved actor close to overseas stardom. His arrest might create a media frenzy. but when he have been came upon blameless, his wouldn't be the single profession over - Anna's not easy fought for attractiveness will be destroyed as soon as and for all …
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Additional resources for Above Suspicion (Anna Travis, Book 1)
In the series finale, “Fall Out,” the mysterious Number 1 turns out to be, to all appearances, himself! The prisoner’s role in his own narrative of imprisonment is thus rendered far more ambiguous, to say the least. 24 Steven M. Sanders Having ended in narrative chaos, the final episode supports, and perhaps even requires, a variety of interpretations. Given the heavy emphasis in film noir on the need for redemption, a noir interpretation of “Fall Out” might take a theological form: Number 1 is God, and Number 6’s discovery of His identity is a discovery of that aspect of Him in himself.
As in the neo-realist film, the emphasis is less on a compelling narrative (even though a conventional story provides the structure for each episode) and more on the representation of the rarely viewed world of criminal investigation. Webb had no interest in creating suspenseful action; those who tuned in could depend not only on Friday and his cohorts solving every case (and emerging unscathed) but also on the judicial system never failing to convict and sentence the felons appropriately. Dragnet, instead, engaged viewers with what seemed to be the accurate, objective depiction of the “truth” of police work through the reenactment of the investigation of what is ostensibly (and usually is truly) an actual case.
1 As critics remarked at the time, what made Dragnet distinctive, and popular, was its deep commitment to a form of realism that Webb borrowed, if in a substantially modified form, from the cinema, where, as a young actor, he had begun to make a name for himself in such hard-edged films as Fred Zinnemann’s The Men (1950), Billy Wilder’s Sunset Boulevard (1950), and 33 34 R. Barton Palmer Lewis Allen’s Appointment with Danger (1951). Albert Werker’s He Walked by Night (1949), in which Webb played a small role as a detective, exerted an especially powerful influence on his developing conception of a police procedural series, which would derive its name from the initial response to a bloody murder detailed in the film, the dragnet that brings dubious characters and the usual suspects into temporary custody for questioning.
Above Suspicion (Anna Travis, Book 1) by Lynda La Plante