KIDNAPPED HEARTS Tess Smith was bolder than the broncs Virgil Connor tamed as a boy at the Double B Ranch, where he'd been sent for breaking the law one too many times. Heck, the FBI agent still couldn't believe the sassy tabloid reporter had kidnapped him at gunpoint. She claimed she was protecting runaway child witness, Joey Begand, who swore someone in the Bureau wanted him dead. And when two goons posing as agents tried to mow them down, Connor had to admit they might be right. He knew there was only one place where they could buy time so he could sort out this mess -- the Double B. But first he had to earn his captor's trust, even if it meant seducing Tess into submission...and losing his desperado heart forever.

The Women's Murder Club returns in a shockingly suspenseful thriller. Plunging into a burning town house, Detective Lindsay Boxer discovers three dead bodies...and a mysterious message at the scene. When more corpses turn up, Lindsay asks her friends Claire Washburn of the medical examiner's office, Assistant D.A. Jill Bernhardt, and San Francisco Chronicle reporter Cindy Thomas to help her find a murderer who vows to kill every three days. Even more terrifying, he has targeted one of the four friends. Which one will it be?From Publishers WeeklyFrom the start, Patterson's Women's Murder Club series (1st to Die; Second Chance) has felt like high-concept TV with a smart edge, featuring an appealing and reliable cast of four female crime busters (a cop, a prosecutor, a medical examiner, a reporter) who race along byzantine plot lines humming with blood and sex, romance and heartbreak. But Patterson is an author who will detonate readers' presumptions for the sake of story, and in the series' third installment, the prolific author, working with frequent collaborator Gross (The Jester, etc.), defies expectations in a shocking way. Readers will love him for it. San Francisco Homicide lieutenant Lindsay Boxer, who narrates most of the action, is jogging with assistant DA Jill Barnhardt when Lindsay notices two things: first, bruises on Jill's shoulder; then the explosion of a nearby townhouse, into which Lindsay rushes to save a child. With the juxtaposition of these two plotlines, Patterson jumpstarts this enjoyably convoluted tale. The townhouse, home to a greedy CEO and his family, was destroyed by members of a terrorist group calling itself "August Spies"; Lindsay's chase after the group, which commits further killings, brings her into close proximity to what promises to be a new series regular, Joe Molinari, deputy director of the Office of Homeland Security. Love blooms for Lindsay but, meanwhile, love has curdled at Jill's house, where Jill's husband is abusing her. Then comes the big surprise, and the story's remainder plays out at high emotion and warp speed. There's a calculated feel to all that happens, but clever manipulation of an audience serves Patterson as well as it served Hitchcock: his fans will only clamor for more. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Review'Patterson knows where our deepest fears are buried... There's no stopping his imagination.' -- New York Times Book Review

After years on the run, Burke is desperate to return to his native New York, the only way he can reconnect with his outlaw "family." But to survive in their part of the City, where reputation is everything, Burke must take major risks to reestablish his presence. So when a Mafia man contacts him about the murder-as-message of his sixteen-year-old daughter - the offspring of what he calls an "outside the tribe" affair that he must keep secret at all costs - Burke's depleted bankroll persuades him to step out of the shadows and do something he hasn't done in years...actually investigate a crime.Burke needs cover to penetrate the teenage subculture of the Long Island town where the girl lived and died, so he puts together a crew of gifted role-players, including a pair of lesbian "power exchangers" who market their special brand of sex on the Internet. When Burke himself surfaces as a casting director, seeking tomorrow's stars for a movie to be shot on location, the investigation quickly spins off into uncharted depths. What he discovers is a new kind of filmmaking, a new kind of violence, and a predator unlike any he's ever known. When they meet head-on over a brutal work of cinema verite, only one of them will survive the final cut.

I met Angelica by accident, but as soon as I saw her I knew I was in love. And that was before I realized how much of a freaky babe she was. But I was soon to find out. Shortly after we were alone, she laid out the ground rules. If I wanted to spend another night with her, I had to survive the first one. And she was going to do to me whatever she wanted. Adults only. 18+

Clint has worked hard to let go of his past but it's about to come back to bite him. Emily has been through hell. She's gaining confidence and is ready to pursue Clint. Can she convince him to rise above when his old pack comes for him?

This trilogy tells the story of Robert the Bruce and how, tutored and encouraged by the heroic William Wallace, he determined to continue the fight for an independent Scotland, sustained by a passionate love for his land. Bannockburn was far from the end, for Robert Bruce and Scotland. There remained fourteen years of struggle, savagery, heroism and treachery before the English could be brought to sit at a peace-table with their proclaimed rebels, and so to acknowledge Bruce as a sovereign king. In these years of stress and fulfilment, Bruce’s character burgeoned to its splendid flowering. The hero-king, moulded by sorrow, remorse and a grievous sickness, equally with triumph, became the foremost prince of Christendom despite continuing Papal excommunication. That the fighting now was done mainly deep in England, over the sea in Ireland, and in the hearts of men, was none the less taxing for a sick man with the seeds of grim fate in his body, and the sin of murder on his conscience. But Elizabeth de Burgh was at his side again, after the long years of imprisonment, and a great love sustained them both. Love, indeed, is the key to Robert the Bruce his passionate love for his land and people, for his friends, his forgiveness for his enemies, and the love he engendered in others; for surely never did a king arouse such love and devotion in those around him, in his lieutenants, as did he.

Pygmalion and Three Other Plays , by George Bernard Shaw , is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics : All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences — biographical, historical, and literary — to enrich each reader's understanding of these enduring works. Hailed as “a Tolstoy with jokes” by one critic, George Bernard Shaw was the most significant British playwright since the seventeenth century. Pygmalion persists as his best-loved play, one made into both a classic film — which won Shaw an Academy Award for best screenplay — and the perennially popular musical My Fair Lady . Pygmalion follows the adventures of phonetics professor Henry Higgins as he attempts to transform cockney flower girl Eliza Doolittle into a refined lady. The scene in which Eliza appears in high society with the correct accent but no notion of polite conversation is considered one of the funniest in English drama. Like most of Shaw’s work, Pygmalion wins over audiences with wit, a taut morality, and an innate understanding of human relationships. This volume also includes Major Barbara , which attacks both capitalism and charitable organizations, The Doctor’s Dilemma , a keen-eyed examination of medical morals and malpractice, and Heartbreak House , which exposes the spiritual bankruptcy of the generation responsible for the bloodshed of World War I. John A. Bertolini is Ellis Professor of the Liberal Arts at Middlebury College, where he teaches dramatic literature, Shakespeare, and film. He has written The Playwrighting Self of Bernard Shaw and articles on Hitchcock, and British and American dramatists. Bertolini also wrote the introduction and notes to the Barnes & Noble Classics edition of Shaw’s Man and Superman and Three Other Plays .