PRIMAL FEAR

Hotshot attorney defends a man accused of brutal murder of a Price of the Church. 

Hotshot attorney Martin Vail must defend a young man accused of brutally murdering Archbishop Rushman, known as the "Saint of Lakeview Drive." This case looks impossible until his psychologist makes a discovery.

"Spine-tingling...Mr. Diehl can sustain suspense."


--THE NEW YORK TIMES

Ringing dazzling changes on the suspense format he worked so successfully in Sharkey's Machine and four other thrillers, Diehl here focuses on the maneuvers of Chicago defense attorney Martin Vail, a prosecutor's worst nightmare. Vail has vexed the political machine by winning a multimillion-dollar brutality judgment against the city, county and state police, but the powers that be think they see a way to pay him back. After discovering the mutilated body of Archbishop Richard Rushman in the rectory of his church, police find Aaron Stampler cowering in a confessional, blood-soaked and gripping the murder weapon. It seems like an ironclad case--psycho slasher carves up ``the Saint of Lakeview Drive''--and a hostile judge appoints Vail as pro bono defense attorney, hoping to publicly humble him. Vail is impressed by Stampler, a runaway from the bishop's haven, Savior House, and builds a maverick defense team to butt heads with vengeful prosecutor Jane Venable. PI Tommy Goodman digs up some nasty news about the bishop not what the reader expects and uncovers a childhood of abuse and mysterious deaths in Stampler's Kentucky hometown. Psychiatrist Molly Arrington blows the case wide open by unearthing a terrifying secret that Vail springs in court. Diehl builds delicious tension, keeping the reader off balance right up to the gavel-pounding finale. 50,000 first printing; major ad/promo; movie rights to Paramount; Literary Guild special featured selection. 

--Publishers Weekly


Martin Vail, the brilliant "bad-boy" lawyer every prosecutor and politician loves to hate, is defending Aaron Stampler, a man found holding a bloody butcher's knife near a murdered archbishop. Vail is certain to lose, but Vail uses his unorthodox ways to good advantage when choosing his legal team--a tight group of men and women who must uncover the extraordinary truth behind the archbishop's slaughter. They do, in a heart-stopping climax unparalleled for the surprise it springs on the reader.

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles.


--Jeff Shannon