Parker

Between Parker’s 1961 debut and his return in the late 1990s, the world of crime changed considerably. Now fake IDs and credit cards had to be purchased from specialists; increasingly sophisticated policing made escape and evasion tougher; and, worst of all, money had gone digital - the days of cash-stuffed payroll trucks were long gone. Firebreak takes Parker to a palatial Montana "hunting lodge" where a dot-com millionaire hides a gallery of stolen old masters - which will fetch Parker a pretty penny if his team can just get it past the mansion’s tight security.

For Parker, the amoral super-thief extraordinaire, it will be an excellent haul. The fact that the lead came from his old partners in crime, Elkins and Wiss, is no impediment to his joining their team and going for the score. The goods are a bunch of paintings by Old Masters kept out of sight in a dot-com billionaire's Montana lodge for his personal delight.

Racing through the backwoods of Massachusetts and on the verge of being taken down for one of the biggest and most disastrous bank heists the state has ever seen, Parker runs right into the barrel of a gun pointed from the wrong side of the law. A quiet and angry recluse with only a silent parrot for company in his seclusion, Tom Lindahl saves Parker from the police dogs, but enmeshes him in yet another in a long line of dubious, highly dangerous, but seriously profitable jobs.

Master criminal Parker takes another turn for the worse as he tries to recover loot from a heist gone terribly wrong. Parker and two cohorts stole the assets of a bank in transit, but the police heat was so great they could only escape if they left the money behind. Now Parker and his associates plot to reclaim the loot, which they hid in the choir loft of an unused country church.