NEW YORK TIMES BESTSELLER • “The combination of Alex Delaware [and] Detective Milo Sturgis . . . makes for the most original whodunit duo since Watson and Holmes.”— Forbes In an upscale L.A. neighborhood, a backyard renovation unearths an infant’s body, buried sixty years ago. Soon thereafter, in a nearby park, another disturbingly bizarre discovery is made not far from the body of a young woman shot in the head. Helping LAPD homicide detective Milo Sturgis to link these eerie incidents is brilliant psychologist Alex Delaware. But even the good doctor’s vast experience with matters both clinical and criminal might not be enough to cut down to the bone of this chilling case. Backtracking six decades into the past stirs up tales of a beautiful nurse with a mystery lover, a handsome, wealthy doctor who seems too good to be true, and a hospital with a notorious reputation—all of them long gone, along with any records of a newborn, and destined for anonymity. But the specter of fame rears its head when the case unexpectedly twists in the direction of the highest echelons of celebrity privilege. Entering this sheltered world, Alex little imagines the macabre layer just below the surface—a decadent quagmire of unholy rituals and grisly sacrifice.   Don’t miss the excerpt of Jonathan Kellerman’s Killer in the back of the book! Praise for Jonathan Kellerman and Guilt   “A solid, poignant tale of violence against the innocent . . . cool, brisk and polished.” — The Washington Post   “Action-packed . . . Kellerman proves he can keep readers entertained and engrossed in a story that keeps them on the edge of their seats to the final page.” —Wichita Falls Times Record News “Certainly one of [Kellerman’s] best offerings to date . . . Do not miss this one.”—Bookreporter   “Jonathan Kellerman’s psychology skills and dark imagination are a potent literary mix.” — Los Angeles Times “Jonathan Kellerman’s novels are an obsession; once started it is hard to quit.” — Orlando Sentinel   “Kellerman doesn’t just write psychological thrillers—he owns the genre.” — Detroit Free Press