Brighton Mysteries

Elizabeth II's coronation is looming, but the murder of their wartime commander, Colonel Cartwright, spoils the happy mood for DI Edgar Stephens and magician Max Mephisto. A playbill featuring another deceased comrade is found in Colonel Cartwright's possession, and a playing card, the ace of hearts: the blood card. The wartime connection and the suggestion of magic are enough for him to put Stephens and Mephisto on the case. Edgar's investigation into the death of Brighton fortune-teller Madame Zabini is put on hold. Max is busy rehearsing for a spectacular Coronation Day variety show-and his television debut-so it's Edgar who is sent to New York, a land of plenty worlds away from still-rationed England. He's on the trail of a small-town mesmerist who may provide the key, but someone else silences him first. It's Sergeant Emma Holmes who finds the clue, buried in the files of the Zabini case, that leads them to an anarchist group intent on providing an explosive finale to Coronation Day. Now it's up to Edgar, Max and Emma to foil the plot, and find out who it is who's been dealing the cards.

In a nail-biting hunt for a missing loved one, DI Edgar Stephens and the magician Max Mephisto discover once again that the line between art, life, and death is all too easily blurred. It's the holiday season and Max Mephisto and his daughter Ruby have landed a headlining gig at the Brighton Hippodrome, the biggest theater in the city, an achievement only slightly marred by the less-than-savory supporting act: a tableau show of naked "living statues." But when one of the girls goes missing and turns up dead not long after, Max and Ruby realize there's something far more sinister than obscenity afoot in the theater. DI Edgar Stephens is on the case. As he searches for the killer, he begins to suspect that her fatal vanishing act may very well be related to another case, the death of a quiet local florist. But just as he's narrowing in on the missing link, Ruby goes missing, and he and Max must team up once again to find her.

The fifth book in the Magic Men series, Now You See Them is a wild mystery with detective Edgar Stephens and the magician Max Mephisto, as they investigate a string of presumed kidnappings in the swinging 1960s. The new decade is going well for Edgar Stephens and his good friend the magician Max Mephisto. Edgar is happily married, with children, and promoted to Superintendent. Max has found fame and stardom in America, though is now back in England for a funeral, and a prospective movie job. Edgar's new wife, though - former detective Emma - is restless and frustrated at home, knowing she was the best detective on the team. But when an investigation into a string of disappearing girls begins, Emma sees her chance to get back in the action. She begins her own hunt, determined to prove, once and for all that she's better than the boys. Though she's not the only one working toward that goal - there's a new woman on the force, and she's determined to make detective. When two more girls go missing, both with ties to the group, the stakes climb ever higher, and Max finds himself drawn into his own search. Who will find the girls first? And will they get there in time?

The Brighton police force is on the hunt for another killer, but this time they have some competition - a newly formed all-women's private eye firm, led by none other than the police chief's wife. Newly minted PI Emma Holmes and her partner Sam Collins are just settling into their business when they're chosen for a high-profile case: retired music-hall star Verity Malone hires them to find out who poisoned her husband, a theater impresario. Verity herself has been accused of the crime. The only hitch - the Brighton police are already on the case, putting Emma in direct competition with her husband, police superintendent Edgar Stephens. Soon Emma realizes that Verity's life intersects closely with her own - most notably in their mutual connection, Max Mephisto, who has returned to England from America with his children and famous wife, Hollywood star Lydia Lamont. Lydia, desperately bored in the countryside, catches wind of what Emma and Sam are up to and offers her services. What secret does Lydia know about Verity's past? The team of female PIs circle closer to the killer, with the Brighton police hot on their tail. The clues suggest they're looking for a criminal targeting the old music-hall crew. How long will it be before that trail leads straight back to Max?

In the first installment of a compelling new series by Elly Griffiths featuring Detective Inspector Edgar Stephens and the magnificent Max Mephisto, a band of magicians who served together in World War II track a killer who's performing their deadly tricks. Brighton, 1950. The body of a girl is found cut into three pieces. Detective Inspector Edgar Stephens is convinced the killer is mimicking a famous magic trick-the Zig Zag Girl. The inventor of the trick, Max Mephisto, is an old war friend of Edgar's. They served together in a shadowy unit called the Magic Men, a special ops troop that used stage tricks to confound the enemy. Max is on the traveling show circuit, touring seaside towns with ventriloquists, sword-swallowers and dancing girls. He's reluctant to leave this world to help Edgar investigate but advises him to identify the victim quickly-it takes a special sidekick to do the Zig Zag Girl. Those words come back to haunt Max when the dead girl turns out to be Ethel, one of his best assistants to date. He's soon at Edgar's side, hunting for Ethel's killer. Another death, another magic trick: Edgar and Max are sure the answer to the murders lies in their army days. And when Edgar receives a letter warning of another "trick" on the way-the Wolf Trap-he knows they're all in the killer's sights.

It's Christmastime in Brighton, and the city is abuzz about magician Max Mephisto's star turn in Aladdin. But the holiday cheer is lost on DI Edgar Stephens. He's investigating the murder of two children, Annie and Mark, who were found in the woods alongside a trail of candy-a horrifying scene eerily reminiscent of "Hansel and Gretel." Edgar has plenty of leads. Annie, a dark child, wrote gruesome plays based on the Grimms' fairy tales. Does the key to the case lie in her final script? Or does the macabre staging of the bodies point to the theater and the capricious cast of Aladdin? Edgar enlists Max's help in penetrating the shadowy world of the theater. But is this all just classic misdirection?