On their second case, Qigiq and Kandy are loaned to the Traffic Division to investigate an early morning accident. Hit and run. By a motorcycle. The victim is an elderly Asian woman. A young witness in a nearby dry cleaner and a truck driver suggest all “accidents” aren’t created equal. Then the Captain drops a new assignment on their desk: an affluent Bay Area lawyer is missing. The man’s wife stomps into their office screaming about a contract she found hidden in the backups of their home computer. A contract with a seven-figure payout, and an incriminating Exhibit A.

Following the trail of both the motorcycle rider and the lawyer with Kandy complaining, “We’re homicide detectives, there should be a body,” leads to a vintage motorcycle club called the Ton Up where lips are sealed, a yacht harbor on the coast where riddles run deep, and a midnight roadside confrontation that ends with a splash. As the trails twist they soon find that these people and places have one thing in common:

A violist named Mylin. Who plays in an all-female orchestra called The Girls of the Orient. And, unbeknownst to her, is the subject of a fine-art photographer’s latest collection.

From San Francisco to Mexico, the treacherous cliffs of the Pacific coast to the desolation of Nevada’s high desert, Tune Up moves like Kandy’s turbocharged Mini through a foggy landscape of false identities, fake romance, and frenzied chases, as Qigiq realizes one picture really can reveal more than 1,000 words.

Murder, revenge, the desperation of a parent trying to save their family, and the effect of death on us all. Death Knell ties these all together in a tightly woven tale sure to keep you guessing.

The daughter of a famous scientist is found strangled in Central Park. A drug dealer is brutally murdered in his apartment. These two seemingly diverse cases have a link not visible on the surface. One is considered a tragedy, the other an occupational hazard.

NYPD Detective John Keegan is drawn to the first case but instead is assigned the second. He didn’t choose Homicide to avenge drug dealers. He figures whoever killed Konstantin ‘K-Drugs’ Volkyv did the city a favor. Still, all justice needs to be served. Keegan reluctantly goes about his job with an eye on the Central Park murder.

As more criminals end up dead, it appears a vigilante is running loose in New York, determined to end the lives of an underground crime syndicate. While Keegan secretly applauds the killer’s work he knows he must stop them. It will take more than he is willing to give to do so.

Keegan works the case with his occasional partner, Rick Calhill, a man rebounding from personal tragedy. Throughout the investigation more questions arise than answers and Keegan must resort to trusting the untrustworthy. Two sudden deaths strike close to him, distracting him from the case and making him question his very place in life.

Death Knell flips the death relationship by having a Homicide detective suffer personal loss on a grand scale. How can someone desensitized to death truly experience the death-related grief? Keegan will test the nature of his relationships while attempting to develop a new one during his time of tragedy.

At the same time, a killer runs through the bowels of New York City, tempting Keegan to come for an adventure he may not survive.