The mystery only deepens when she travels to Montana: what she learns suggests that perhaps Amadeo didn't commit suicide after all. Still, she can't understand what would have been the killer's motivation, nor why it would be worth additional deaths in the present. The novel culminates with a series of investigative revelations, tense confrontations, and a courtroom scene (a necessity in most courtroom dramas, of course). What truly sells the story, though, isn't so much the trappings of the traditional thriller, but rather the characters and the history involved. It seems that the novel had its genesis in Scottoline's discovery of her own grandparents' alien registration cards, and she brings that sense of discovery to this story. I had never really thought of (nor really heard of) the internment of Italian-Americans, and Scottoline managed to explore that topic quite well, with a deft yet poignant touch. In Mary DiNuzio she creates a caring and capable protagonist, someone who grows through the course of her adventures. And she recreates the sounds and sense of South Philly in a way that truly places the reader in those locations.

There were moments when I questioned the storyline, or where I wondered at the believability of certain revelations. But Scottoline's deft touch deflects much of any criticism I might raise in that regard; it also masks any nagging concerns I felt regarding the somewhat deux ex machina qualities of the finale. I understand the desire to keep certain information quiet until the end (so as to draw out the suspense), but it did seem a bit providential that crucial information appeared just as it was needed. That said, Scottoline also kept me guessing for most of the novel: guessing as to what, if any, crime had been committed, as well as who did it and why. In the context of a thriller, that is more than half the battle, because far too frequently the end is in sight even as the book opens.

What truly impressed me, having recently read a number of thrillers marked by graphic violence and language, was that Scottoline told her story without much of either. Don't get me wrong: it's a taut thriller with lots of twists, turns, and some violent encounters, but much like Mary DiNuzio herself, this is story with a bit of an older soul. It spends the time to develop the characters and allows the story to unfold at its own pace, rather than simply catapulting the characters from one unpleasant situation to another. As someone who believes you can tell a good story without resorting to gore or graphic language, I'm always pleased to see a story that validates that premise. Killer Smile shows that what a good thriller needs is heart and soul, both of which Scottoline provides - in spades. If you like well-plotted crime fiction with a capable protagonist and a writer who doesn't bow to convention (despite a number of blind dates, Mary doesn't end up romantically entangled with anyone!), Scottoline's Killer Smile would make an excellent - and highly recommended - selection.