Dead Air at the Miradouro

Vee Marchand prefers problems that are elegant, impossible, and well paid. Lisbon gives her one that can make the dead speak. Lisbon, 1934. The trams sing above moonlit streets, the cafés glow after midnight, and wireless has made the whole city feel thrillingly modern. It has also given a killer a new way to turn voices into weapons. A celebrated singer hears her private words broadcast in her own unmistakable voice. A murdered announcer continues speaking after death. For Vee, it is the rare sort of case that is impossible, dangerous, and too elegant to resist. Her most appealing complication is André Ferraz, an acoustic engineer with precise hands, a dry smile, and no appetite for promises after breakfast. He understands sound. Vee understands people. Neither is quite prepared for what happens when professional admiration becomes something warmer. Seductive, clever, and alive with radio-age glamour, Dead Air at the Miradouro offers a fair-play impossible crime, an independent heroine, and a warm romance that knows better than to promise forever. Dead Air at the Miradouro is a complete Vee Marchand mystery. The case closes in Lisbon; Vee's secrets travel with her.