Two Women by Brian Freemantle

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An accountant’s attempt to rectify the books of his father-in-law’s company sends him headlong into war with the New York mafia

John Carver is too good an accountant not to see the irregularity in his father-in-law’s files: three companies, all off shore, with balance sheets that don’t match the ones in the official records. Three companies that represent substantial investment by organized crime. When John confronts his father-in-law, George W. Northcote, the old man insists he has control of the situation, and that the firm is about to be extricated from its criminal association. A few days later, George is dead. His father-in-law’s creative accounting draws John into a knock-down, drag-out battle with the heads of the Five Families of the New York mafia. The battle moves quickly off the balance sheets and into the realm of flesh, blood, and death, and soon everyone John loves—including his wife and mistress—find themselves in the mob’s vengeful crosshairs. This ebook features an illustrated biography of Brian Freemantle including rare photos from the author’s personal collection.

About Brian Freemantle

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Brian Freemantle was born in Southampton, England on June 10, 1936. He became a journalist and worked for four national newspapers. While the foreign editor of the Daily Mail in 1975, he organized the rescue mission to airlift 100 orphans from Saigon days before it fell to the communist north. Soon afterward, he left journalism to become a full-time author. He has written over 80 books including the Charlie Muffin series, the Cowley and Danilov Thriller series, and 5 non-fiction books. He has also written under the pen names of John Maxwell, Jonathan Evans, Jack Winchester and Harry Asher.
Published September 13, 2011 by Open Road Media. 528 pages
Genres: Mystery, Thriller & Suspense, War, Literature & Fiction, Crime. Fiction

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Publishers Weekly

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In telling the story of New York accounting firm executive John Carver's battle with the ruling families of American crime, Freemantle creates scenes that feel oddly askew—almost akin to those black-and-white movies about American criminals that British studios produced in the 1950s.

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