The Pallbearers (Shane Scully Series #9) [NOOK Book]


From the perennial New York Times bestseller comes a powerful new novel in which Detective Shane Scully, who grew up as an orphan, must revisit his painful childhood to find out who murdered the kind and charismatic man who became a father to him

Abandoned by his parents as an infant, Scully was reared in an orphanage, Huntington House. The only positive thing in his young life was the attention of the Home’s director, Walter “Pop” Dix. Pop, an avid surfer, would take a small ...

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The Pallbearers (Shane Scully Series #9)

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From the perennial New York Times bestseller comes a powerful new novel in which Detective Shane Scully, who grew up as an orphan, must revisit his painful childhood to find out who murdered the kind and charismatic man who became a father to him

Abandoned by his parents as an infant, Scully was reared in an orphanage, Huntington House. The only positive thing in his young life was the attention of the Home’s director, Walter “Pop” Dix. Pop, an avid surfer, would take a small group of kids for early morning surfing. He was the father none of them had ever had.

That was thirty years ago. Now, Shane is forced to revisit these memories when Pop is found dead, the victim of an apparently self-inflicted shotgun blast. He leaves a message asking six specific people, all of whom attended Huntington House, to be his pallbearers, and Shane is one of the chosen. He and his fellow pallbearers don’t believe it was a suicide. That leaves murder. But why, and by whom?

Together, the pallbearers embark on a dangerous odyssey in pursuit of justice for Pop, and for retribution against those responsible for his death. Their journey takes them up against an unforeseen adversary whose power and influence far exceed anything they could have imagined.

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  • The Pallbearers
    The Pallbearers  

Editorial Reviews

Publishers Weekly
Shane Scully revisits his troubled past as a foster child in bestseller Cannell's slightly more plausible than usual ninth novel to feature the LAPD detective (after On the Grind). Scully and his attractive wife, Alexa, the acting commander of the LAPD's detective division, are looking forward to a two-week vacation in Hawaii. Then Scully hears the shocking news that Walter Dix, the head of Huntington House Group Home, where the policeman spent time in his youth, has blown his head off with a shotgun. Since Scully hadn't kept in touch with his former mentor, he's surprised to learn Dix left a note designating him a pallbearer. The other pallbearers at Dix's funeral, fellow alums of Huntington House, also doubt the official suicide verdict and join Scully in an effort to find the truth. Cannell telegraphs a lot of his plot developments and could've done a better job to make his hero distinctive, but series fans should be satisfied. 7-city author tour. (Mar.)
From the Publisher
"THE PALLBEARERS grabbed me within its first few pages.... It takes a superior talent to do this, and Cannell, creator of some of television’s best-loved series of the late 20th century, is up to the challenge.... THE PALLBEARERS is not to be missed."



“Cover to cover, [On the Grind] never lets you up for air. Read it!”—Michael Connelly, bestselling author of The Brass Verdict

“A hard-boiled cop and really scuzzy bad guys... Cannell is the gold in crime fiction.” —Stephen Coonts, bestselling author of The Assassin


 “Cannell’s brand of thriller is served straight-up…and he knows how to cut to the chase.”

The New York Times

“The white-knuckle climax is one of the most exciting ever.”—


“A very satisfying thriller written by a born entertainer.”—New York Post

“A strong piece of fiction that leads readers…through the harrowing underbelly of L.A. ”—Daily News

“A terrific read.”—New York Sun

“Cannell dishes out the action in forklift-sized servings.”—Publishers Weekly


“As the case spirals outward from local crime to international espionage dating back to the 1980s, the action rarely lets up. When it does, we’re reintroduced to the back story that is one of the pleasures of reading the Scully series.”—Los Angeles Times

“The action rarely lets up.”—The Chicago Tribune

“A thriller, a procedural, and an indictment of the Patriot Act in the wrong hands. Scully, the plots, and the characters get better with each book.”—The Sunday Oklahoman

“If you are hungry for a great police procedural, look no further. Cannell knows what he’s doing…this mystery works on every level.”—Tulsa World

“An intriguing, torn-from-today’s-headlines premise on his fifth Shane Scully outing.”—News Press (Fort Myers, FL)


“Readers will enjoy watching [Scully] puzzle out the twists and turns of the plot and watch breathlessly as he undertakes a climactic high-speed chase.”—Publishers Weekly

“Cannell certainly knows how to tell a story…You’ll probably read the entire book with a smile on your face.” —Cleveland Plain Dealer


“Cannell, creator of such TV shows as The A-Team, clearly knows the ins and outs of the entertainment industry, and the detective story, with its wry, subtle humor, doubles as Hollywood satire…the cops-and-robbers sequences hit the mark as well. Well-drawn characters and keen observations on the similarities between Hollywood and the mafia make this a winner.” —Publishers Weekly

“Scully has ample opportunity to prove how “Hollywood tough” he is...veteran writer/TV producer Cannell has concocted his special brand of reader candy.” —Kirkus Reviews

RUNAWAY HEART“A cop thriller with a futuristic, sci-fi twist…Cannell has a genius for creating memorable characters and quirky, gripping plots…this is a fun read.”—Publishers Weekly  THE VIKING FUNERAL

“Stephen J. Cannell is an accomplished novelist.” —New York Daily News

“Stephen J. Cannell’s The Viking Funeral is the sort of fast and furious read you might expect from one of television’s most successful and inventive writer-producers.”—Los Angeles Times

“Solid plotting with nail-biting suspense and multiple surprises keep the reader guessing and sweating right up to the cinematic ending...Cannell has a knack for characterization and a bent for drama that will satisfy even the most jaded thrill lover.”—Publishers Weekly


“I’ve been a Stephen Cannell fan since his remarkable King Con, and he keeps getting better. The Tin Collectors is an LAPD story that possesses both heart and soul; a fresh and different look at the men and women who, even more than the NYPD, are the most media covered police force in the world. Stephen Cannell has the screenwriter’s fine ear for dialogue and great sense of timing and pacing as well as the novelist’s gift of substance and subtlety. Cannell likes to write, and it shows.”—Nelson DeMille

“Cannell turns out another winding, suspenseful thriller.”—New York Daily News

“Readers who enjoy cop novels by Robert Daley or William Caunitz will find Cannell right up their dark, dangerous alley.”—Booklist

“Cannell has created a reputation for top-rate suspense in four novels…his latest,  The Tin Collectors, is his best…Cannell…knows how to tell a good story.”—Wisconsin State Journal

“Cannell conjures up images of McBain, Wambaugh, and Heller; only tougher, grittier, more underhanded, with plenty of street-smart savvy, and a frightening and wholly believable plot and characters…crackles with high energy and suspense…Cannell is in top form.”—Charleston Post & Courier

“Compelling, frightening, and…very moving. Don’t miss it. Cannell is a first rate storyteller and The Tin Collectors never stops.”—Janet Evanovich

“Stephen Cannell has a chilling thought: What if the guys who police the police went bad? As in crooked? Then what? Then chaos, a message that comes through with decibels to spare in The Tin Collectors. This is classic Cannel: fast, full of action.”—The Cincinnati Enquirer

“In Shane Scully, Cannell brings the reader a dynamic new hero with promise of new adventures in the field of law and order.”—Abilene-Reporter News

“A sure winner…Cannell keeps the tension and pace at high levels.”—St. Paul Star Tribune

“Cannell is a great storyteller…a fresh and edgy story.”—Buffalo News

“Exciting…a fast-action tale that continues to build up momentum until the story line exceeds the speed of light.”—The Midwest Book Review

“Cannell’s…best novel…begins with a bang and closes with one…a fast-paced well-told story.”—The Osceola Magnifier

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Product Details

  • ISBN-13: 9781429991087
  • Publisher: St. Martin's Press
  • Publication date: 3/16/2010
  • Series: Shane Scully Series , #9
  • Sold by: Macmillan
  • Format: eBook
  • Pages: 320
  • Sales rank: 38,879
  • File size: 577 KB

Meet the Author

Stephen J. Cannell

Stephen J. Cannell (1941-2010) was the author of the bestselling Shane Scully books, including The Prostitute’s Ball and Three Shirt Deal. He was also an Emmy Award winning television writer and producer, and in his thirty-five-year-career, he created or co-created more than forty TV series. Among his hits were The Rockford Files, Silk Stalkings, The A-Team, 21 Jump Street, Hunter, Renegade, Wiseguy, and The Commish. He received numerous awards, including the Saturn Award - Life Career Award (2004), The Marlow Lifetime Achievement Award from Mystery Writers of America (2005), and the WGA Paddy Chayefsky Laurel Award for Television Writing Achievement (2006). Having overcome severe dyslexia, Cannell was an avid spokesperson on the condition and an advocate for children and adults with learning disabilities.  He was a third-generation Californian and resided in the Pasadena area with his wife, Marcia, and their children.


An Emmy Award-winning writer and producer of some of television's best-known pop cop dramas, including The Rockford Files, The A-Team, 21 Jump Street, The Commish, and Wiseguy, Stephen J. Cannell has spent more than 35 years of writing for the big and small screens.

However, in one of crime fiction's most successful second acts, Cannell's career as a bestselling novelist began over two decades after he left his prints on the television world.

His debut novel, a political thriller called The Plan, burst onto the crime fiction beat in 1995. Said the New York Times Book Review of his first literary outing: "The thrust of the novel is unassailable." Cannell's follow-up, Final Victim, was a serial killer tale in the popular Silence of the Lambs vein. "Relentless.... Mesmerizing... Stephen J. Cannell is a great entertainer. The man can write," said The Washington Post Book World of Cannell's sophomore smash. Feature film rights to his third outing, a rollicking mob tale entitled King Con, were sold to MGM for $1 million, with Cannell writing the screenplay for the film and John Travolta slated to star.

Two other stand-alone thrillers, Riding the Snake (1998) and The Devil's Workshop (1999), were also well received, both critically and commercially. But Cannell would truly hit paydirt with the introduction of Shane Scully, a renegade LAPD sergeant who would come to star in a string of bestsellers beginning with 2001's The Tin Collectors. Named for those Internal Affairs officers who "police the police" -- and take the badges of cops who don't play by the rules -- the new turn displayed Cannell's "knack for character and a bent for drama that will satisfy even the most jaded thrill lover," according to Publishers Weekly.

Cannell's most recent books -- The Viking Funeral (2001) and Hollywood Tough (2002) -- continue to find Scully getting into all manner of dicey situations. but Cannell will always be there to bail him out for another adventure.

Good To Know

Cannell has severe dyslexia, a learning disability that forced him to be held back three grades before graduation from high school. Says Cannell in our interview, "I made one up, but I was certainly thought Least Likely to Succeed. This condition has helped to motivate me and has allowed me to enjoy my unexpected success as a writer for 35 years."

He has never had writer's block, which Cannell says he thinks "is usually caused by the desire to be perfect. The idea that I would be perfect at anything was knocked out of me by third grade. I write to entertain myself."

On his approach to writing, Cannell tells us, "I always try to write something I have never written before. This is why I have created such diverse TV series, ranging from the cartoonish A-Team to dark, cerebral dramas like Wiseguy."

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    1. Hometown:
      Pasadena, California
    1. Date of Birth:
      February 5, 1941
    2. Place of Birth:
      Los Angeles, California
    1. Education:
      B.S., University of Oregon
    2. Website:

Read an Excerpt


IN 1976 AMERICA WAS JUST coming out of a protracted depression called the Vietnam War, but back then I was still deep in the middle of mine. I was twelve years old, and, boy, was I pissed.

It was early in May on that particular spring morning and I was huddled with some other children on Seal Beach around 9th Street. We were staring out through a predawn mist at the gray Pacific Ocean while consulting Walter Dix’s old surf watch to time the AWP—which is what Walt called the Average Wave Period between the incoming swells. Walt called swells the steeps.

The beach we were on was about fifteen miles from the Huntington House Group Home, which was in a run-down neighborhood in Harbor City, a few minutes southeast of Carson. There were four of us gathered around Walt, all wearing beavertail wet suits with the sixties-style long flap that wrapped around under your crotch and left your legs uncovered. We were his lifers. The yo-yos. The kids who kept getting thrown back. All of us knew we would probably never get another chance at a foster family or adoption because we were too ugly or too flawed or we had lousy county packages, having already been placed too many times and then returned with bad write-ups.

But there were other reasons we didn’t make it. We were an angry group. I held the Huntington House catch-and-release record, having just been sent back for the fifth time. My last foster family had called me in-corrigible, unmanageable, and a liar. Probably all pretty accurate classifications.

The four of us had been specifically chosen for different reasons by Walter “Pop” Dix for that morning’s sunrise surf patrol. Of course we had all desperately wanted to be picked, but it wasn’t lost on any of us that we’d earned the privilege because of a variety of recent setbacks. Pop understood that even though we’d failed, it didn’t mean we were failures. He also understood our anger, even if nobody else did. Pop was the executive director of Huntington House and was the closest thing to a father I’d ever known.

“Okay, cowabungas. Big rhinos out der. We gonna bus’ ’em out big time,” he said, glancing up from the watch to the incoming sets, speaking in that strange-sounding Hawaiian pidgin that he sometimes used when we were surfing. “We pack large dis morning. Catch us one big homaliah wave, stay out of de tumbler and it be all tits and gravy, bruddah.”

He grinned, kneeling in the sand wearing his Katin trunks, displaying the surfer knots on the tops of his feet and knees—little calcium deposits caused by a life-time of paddling to catch up to what Pop called the wall of glass.

Pop was a tall, stringy, blue-eyed guy with long blond hair just beginning to streak with gray. He was about forty then, but he seemed much younger.

There was an Igloo cooler with juice and rolls in the sand before us, packed by Walter’s wife, Elizabeth, for after surfing. We’d take our clean-up set at around seven thirty, come in and shower by the lifeguard station, eat, and change clothes in the van. Then we would pack up and Walt would drop us at school by eight thirty.

Pop had been born on the North Shore of Hawaii, which he said made him “kamaaina to da max.” His parents had taught school there and he’d ended up in L.A. after the army. That was pretty much all I knew about him. I was too caught up with my own problems to worry about much else.

Because he’d been raised on the North Shore and taught to surf by the old-timers there, Pop was a throw-back surfer, what the Hawaiians called a logger. His stick was a nine-foot-long board with no fins and a square tail—very old school. On the nose, he had painted his own crescent symbol, an inch-high breaking curl with the words “Tap the Source” in script underneath. Pop said the source was that place in the center of the ocean where Kahuna, the god of the waves, made “da big poundahs”—double overhead haymakers with sphincter factor.

Other than a couple of Hawaiians and one or two Aussies, Pop was one of the few surfers left who rode a cigar-box surfboard, a 1930s Catalina Hollow made by Tom Blake. Once it had water inside from too many rides, it got heavy in the nose and was a bitch to stay up on. The rest of us had new polyurethane shorties with a dolphin-fin skeg for speed. The boards and wet suits belonged to the Huntington House Group Home and were only used for special occasions like this.

We were sad children whose dark records were clinically defined in the terse cold files kept by Child Protective Ser vices. But our nicknames were much crueler than our histories because we bestowed them on each other.

Nine-year-old Theresa Rodriguez knelt beside me, holding her short board. She had been set on fire by her mother shortly after birth but had miraculously survived. Terry was damaged goods, with an ugly, scarred face that looked like melted wax. Everyone knew Theresa was a lifer from the time County Welfare had first put her in Huntington House at the age of five. She was chosen for this morning’s field trip because she had no friends and never got much of anything, except from Pop. We called her Scary Terry.

Also kneeling in the sand that morning was Leroy Corlet. Black, age eleven. Leroy’s dad was in prison, his mother was dead of a heroin overdose. He had been sexually molested by the uncle he’d been sent to live with until a neighbor called Child Protective Ser vices and they took him away. We called him Boy Toy behind his back, but never to his face because Leroy wasn’t right in the head anymore. He was a violent nutcase who held grudges, and if you pissed him off, he’d sneak into your room in the middle of the night while you slept and beat you in the face with his shoe. He couldn’t stand to be touched.

Pop had picked him that morning because he had just failed a special evaluation test at elementary school and was being held back for the second time in four years. He’d been sulking in his room for the last two days. No foster family wanted him either.

Next to Leroy was fifteen-year-old Khan Kashadarian. Half-Armenian, half-Arab or Lebanese. He’d been abandoned at age ten and was living in an alley in West Hollywood when he was picked up and shoved into the welfare system. Khan was fat, and a bully. We had given him two nicknames: Sand Nigger and Five Finger Khan, because he stole anything you didn’t keep locked up. I didn’t know why Pop picked him to be with us. As far as I was concerned, we’d have all been better off if he was dead. Even though he was three years older and a hundred pounds heavier, I’d had six or seven violent fights with Khan. I lost them all.

I was small back then, but I didn’t take any shit. I was willing to step off with anybody at the slightest hint of insult. I got along with no one and had convinced myself that my five ex– foster families were a bunch of welfare crooks who were milking the system.

“No floatwalling,” Pop said, his blue eyes twinkling. Floatwalling was paddling out beyond the surf but never going for a wave, not to be confused with backwalling, which was acceptable behavior because you were treading water, waiting for the big one.

Then the sun peeked above the horizon, the sign that it was time for us to paddle out.

“Let’s go rhino chasing, bruddahs!” Pop said.

We picked up our boards and started down toward the early-morning break. I was fuming inside. I couldn’t believe nobody wanted me, even though I insisted I didn’t want or need anybody. Before we got to the water, Pop put out a hand and turned me toward him, as the others moved ahead. He lowered his voice and dropped the Hawaiian pidgin.

“Get your chin up, guy. There’s a place for you, Shane,” he said softly. “Sometimes we have to wait to find out where we belong. Be patient.”

I nodded, but said nothing.

“Until you get picked again, you’ve always got a place with me.” Then he flashed his big, warm grin and switched back to pidgin, trying to get me to smile. “I always want you, bruddah. What’s a matta you? Your face go all jam up. You no laugh no more, haole boy?”

I glanced down at the sand, shuffled my feet. But I didn’t smile. I was too miserable.

“Come on then.” Pop put a hand on my shoulder and walked with me to the water.

I was Shane Scully, a name picked for me by strangers. No mom, no dad. No chance. I had nobody, but nobody messed with me either. My nickname around the group home was Duncan because I was the ultimate yo-yo.

All any of us had was Pop Dix. He was the only one who cared, the only one who ever noticed what we were going through and tried to make it better.

And yet we were all so self-involved and angry that, to the best of my knowledge, none of us had ever bothered to say thank you.

Excerpted from The Pallbearers by Stephen J. Cannell.

Copyright © 2010 by Stephen J. Cannell.

Published in 2010 by St. Martin's Paperbacks.

All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.

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Customer Reviews

Average Rating 4.5
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See All Sort by: Showing 1 – 20 of 30 Customer Reviews
  • Posted March 5, 2010

    more from this reviewer

    fun Scully investigative thriller

    Huntington House Group Home director Walter Dix commits suicide; he apparently shot himself in the head with a shotgun. Those who were raised by Pop, as his wards called him, are stunned as he was considered a father by many of his kids.

    His will selects six of his former boys to be the Pallbearers. This includes Police Detective Shane Scully, whose parents abandoned him three decades ago as an infant. Scully has issues with the suicide denouement as he cannot accept the charismatic surfing Pop killing himself although the cop recognizes his affection and adulation of Pop and his remorse for losing contact could distort his view. The other five pallbearers also have difficulty with the official verdict. Putting off his Hawaii vacation with his wife, LAPD Detective Division acting commander Alexa, Shane leads the other Pallbearers on a quest for the truth.

    The latest Scully investigative thriller (see On the Grind and White Sister) is refreshed by taking the detective and readers back into his past as an "orphan"; thus enabling the audience to better understand the demons that eat at his soul. The investigation is fun to follow as the police officially close the case while Scully leads the other pallbearers on investigating what each assumes is a homicide. Although the clues to what happen is too obvious for readers which detracts from the investigation's primary issue as to whether Pop considered "to be or not to be" that is the first question of the inquiry. Still Stephen J. Cannell provides his fans with a deep look at the hero's childhood through his adult eyes looking back to the time that shaped the man he is.

    Harriet Klausner

    2 out of 4 people found this review helpful.

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  • Posted May 6, 2010

    Liked This Book

    I liked this book. Great quick read and the characters were likable. I've lived in Arizona and California so the location of the story worked for me.

    1 out of 1 people found this review helpful.

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  • Posted April 29, 2010

    more from this reviewer

    The Pallbearers

    The Pallbearers are six individuals who were troubled youth who were mentored by one Water Dix. Dix has committed suicide and so it is thought. Since one of the pallbearers is Shane Scully, a L.A. cop, the others pressure him to investigate. An interesting plot and group of characters, and Stephen J. Cannell knows how to write, but it lacked something. I enjoyed the book but could take it or leave it.

    1 out of 2 people found this review helpful.

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