Among the villains Alex Cross has faced—Gary Soneji, Casanova, Kyle Craig, The Wolf—one psychopath tops them all. Alex knows him as his wife's killer.
#1 bestselling author James Patterson returns with the pinnacle of all Alex Cross thrillers.
Alex Cross was a rising star in the Washington, DC, Police Department when an unknown shooter gunned down his wife, Maria, in front of him. Alex's need for vengeance was placed on hold as he faced another huge challenge-raising his children without their mother.
THE MOST TERRIFYING CROSS EVER.
Years later Alex is making a bold move in his life. He has left the FBI and set up practice as a psychologist once again. His life with Nana Mama, Damon, Jannie, and little Alex finally feels like it's in order. He even has a chance at a new love.
Then Cross's former partner, John Sampson, calls in a favor. He is tracking a serial rapist in Georgetown, one whose brutal modus operandi includes threatening his victims with terrifying photos. Cross and Sampson need the testimonies of these women to stop the predator, but the rape victims refuse to reveal anything about their attacker.
THE MOST EMOTIONAL CROSS EVER.
When the case triggers a connection to Maria's death, Alex may have a chance to catch his wife's murderer after all these years. Is this a chance for justice at long last? Or the culminating scene in his own deadly obsession?
From the man USA Today has called the "master of the genre," Cross is the high-velocity thriller James Patterson and Alex Cross's fans have waited years to read.
MARIANNE WAS THINKING THAT she didn’t really want to resist this cute guy from New York City. Besides, she was safe inside the bar on M Street. What could go wrong in here? What could anybody try to pull? Play a New Kids on the Block tune on the jukebox?
“I don’t much like the spotlight,” he was saying, leading her toward the back of the bar.
“You think you’re another Tom Cruise, don’t you? Does that big smile of yours always work? Get you what you want?” she asked.
She was smiling too, though, daring him to bring his best moves.
“I don’t know, M.M. Sometimes it works okay, I guess.”
Then he kissed her in the semidarkened hallway at the back of the bar, and the kiss was as good as Marianne could have hoped, kind of sweet actually. Definitely more on the romantic side than she’d expected. He didn’t try to cop a feel along with the kiss, which might have been all right with her, but this was better.
“Whooo.” She exhaled and waved a hand in front of her face like a fan. It was a joke, only not totally a joke.
“It is a little hot in here, isn’t it?” Sullivan said, and the coed’s smile blossomed again. “A little close, don’t you think?”
“Sorry—I’m not leaving with you. This isn’t even a date.”
“I understand,” he said. “Never thought you would leave with me. Never crossed my mind.”
“Of course not. You’re too much of a gentleman.”
He kissed her again, and the kiss was deeper. Marianne liked that he didn’t give up too easily. It didn’t matter, though—she wasn’t going anywhere with him. She didn’t do that, not ever—well, not so far anyway.
“You are a pretty good kisser,” she said. “I’ll give you that.”
“You’re holding up your end,” he said. “You’re a great kisser actually. That was the best kiss of my life,” he kidded.
Sullivan pushed his weight against a door—and suddenly they were stumbling inside the men’s room. Then Jimmy Hats stepped up to watch the door from the outside. He always had the Butcher’s back.
“No, no, no,” Marianne said, but she couldn’t keep from laughing at what had just happened. The men’s room? This was pretty funny. Crazy funny—but funny. The kind of stuff college kids did.
“You really think you can get away with anything, don’t you?” she asked him.
“The answer is yes. I pretty much do what I want, Marianne.”
And suddenly he had a scalpel out, the gleaming razor-sharp blade not far from her throat, and everything changed in a heartbeat. “And you’re right, this isn’t a date. Now don’t say a word, Marianne, or it will be your last on this earth, I swear on my mother’s eyes.”
Copyright © 2006 by James Patterson
Peter Jay Fernandez is a New York based actor and narrator. He has appeared on Broadway in Jelly's Last Jam and The Merchant of Venice, and has performed in numerous off-Broadway plays and musicals. His extensive television credits include Funny Valentines, The Prosecuters, Law & Order, and Cosby. He currently lives in Harlem with his wife Denise and read London Bridges, also by James Patterson, for Hachette Audio.
Jay O. Sanders attended the acting conservatory at The State University of New York at Purchase. He began his career off-Broadway in Shakespearean roles in Henry V, Measure for Measure, and Twelfth Night. Jay has narrated more than fifty audiobooks and has appeared in several films including Half Nelson and The Day After Tomorrow.