John Barron, the newest and youngest member of the elite LAPD unit, learns quickly that the 5-2 has their own deadly system of justice, and that even the slightest protest will result in his suffering the same swift fate. Thus begins a dark, explosive struggle between good and evil--pitting Barron's squad against an exceedingly imaginative and brutal killer.Suddenly the game widens when John flees to London with his sister, Rebecca, and they are thrown into a race against time. Pursuing them is a baroness, beautiful and cruel, who will stop at nothing to protect her family, her fortune, and her global ambitions. Her secret--spanning oceans, continents, the collapse of the USSR, even the death of the Tsars--is a stunning revelation that could catapult her to the pinnacle of world power.

    Can they survive a brutal ambush?

    The American ambassador is held prisoner. And the US President faces the choice: get him out ... or kill him. In as rat-infested room ambassador Peabody faces a brilliant, ruthless young protege of Fidel Castro, Jorge Calderon, who is determined to extract the truth behind a secret CIA operation against Cuba. Meanwhile, back in Washington, the President is caught between CIA strategists who want to eliminate Peabody before he can reveal the CIA's plans, and Colonel Silas Slocum, the one man who believes he can rescue the ambassador in an awesome and daring rescue...

    Like the first two, this new thriller combines gripping contemporary suspense with a high-concept mystery rooted in history, philosophy, religion, and science. And like those novels, it is bound for bestseller lists nationwide. In Antarctica, a scientific expedition drops anchor for a live news feed. As the CNN journalist begins her report, a massive, shimmering sphere of light suddenly appears in the sky, enveloping the ship in luminous white light before disappearing as mysteriously as it arrived, the entire event witnessed by an incredulous world audience.Meanwhile in a dusty bar in Egypt, a dozen men are lazily discussing the state of the world when the brilliant, glowing symbol on the television stops them cold. One man breaks out in a sweat, crosses himself repeatedly, and rushes out of the bar muttering the same phrase over and over again: It can't be.Across the Internet and around the globe, a stunning controversy threatens to consume the world: Has God finally decided to reveal himself? Or is something more sinister at hand? Raymond Khoury/Steve Berry interview STEVE BERRY: Your new thriller, THE SIGN. I'm gonna come right out and say it: I think it's your best one yet. What do you think?RAMOND KHOURY: Tough call. It's my new baby, and much as I adore its elder siblings, it does have that newborn magic to it.STEVE: Trust me, it is. It's also a bit of a departure from your first two books, in that it doesn't have the past-and-present storylines. Knowing how stories kind of take on a life of their own, that wasn't a conscious decision from the get-go, was it?RAYMOND KHOURY: No, it wasn't premeditated. It's just the way the story came out. The whole story happens in the present. It takes place over a few manic days, I think you're familiar with that pacing, right? And it deals with the present, it's about a what if situation that's very today and now, there's a mystery, something to figure out, but there's no throwback to the past, no long lost secret to uncover.STEVE BERRY: It's also very topical. Your editors must be pleased.RAYMOND: I guess it happened that way because the story came out of some very strong feelings I had, feelings about what was going on around the world, in the US and abroad.STEVE: Tell me about that process. Where the story came from.RAYMOND: It's where they all come from, isn't it? That kernel, that one thought or one observation you have that just sticks and triggers a book, the one that bugs you late at night and that you can't shake. This one came to me while watching the news one day, and every item, one after another, it was all bad news. Not just bad, but it was like a lot of people were behaving so insanely in so many places around the world, and, sadly, a lot of it was fuelled by the manipulation or distortion of religious faith.STEVE: By intolerance?RAYMOND: Exactly. Intolerance and closed minds. And it got me thinking. About how divided we are, about how so many people all over the world believe in the absolute infallibility of their faith and how it rules every aspect of their lives, you know what I mean, we're right, everyone else is wrong, that medieval mindset and wondering if anything could ever unite the planet under a single faith.STEVE: One global religion. RAYMOND: Well, imagine if something did happen that convinced everyone that what we had until now, all these different religions that have grown over the last few thousand years, what if something new came along that was so overwhelming that it was impossible to ignore? Would we listen? Would we drop our previous faiths and embrace it?STEVE: But your book's about much more than that. Without wanting to give too much away, it's really a political thriller, isn't it?RAYMOND: It's always so hard to talk about a book without giving too much away.STEVE: It's the fine line we walk.RAYMOND: True. But yes, you're right, it's really about the absolute power something like that would bring, and how it could be abused. Cause above all else, it's a thriller. There's got to be a brilliantly dastardly scheme, right?STEVE: Always. And this one certainly is dastardly. One thing I've noticed, though, in all three of your books so far, they're all, essentially, about the big questions that face us: why we believe, whether or not we have to die. Religion, longevity, life and death, science vs. faith ... Big questions. And in this one, you revisit, though in a completely different way, the power of religion, the good it can bring as well as the bad, something that was also central to The Last Templar. Will this always be your signature genre, books that have a big, central theme at their core?RAYMOND: You asked me earlier about where the story came from. For me, in order to get excited about a book, it has to have a big central theme about how we live at its heart, something I'm interested in exploring. It's got to be about something I care about deeply. That's what drives the story and the characters forward for me. That's what I hope makes the books stand out. That they're not just page-turners, which ain't easy in itself, but that they're also about something. I see it in your books too. A point of view about things, a passion for laying out interesting information about a topic that interests you. Michael Crichton used to do that very successfully. Dan Brown, of course, does it brilliantly. That's what makes the books worth writing, I think.STEVE: And in reading the book, it's clear you still had tons of research to do, even though there isn't a historic mystery to unravel?RAYMOND: Absolutely. Some of it was about history, the monasteries in Egypt, for one. Again, part of the story, organically. Had to be done, and we do love our history, don't we?STEVE: Guilty as charged.RAYMOND: But for this book, I didn't need to do that much of it's nothing like what you did for THE CHARLEMAGNE PURSUIT, for instance. Which I loved, by the way. Particularly since you beat me to using the Voynich Manuscript in a story!STEVE: We do seem to be spookily in sync with our writing as further evidenced by THE SIGN's opening in Antarctica?RAYMOND: I know!STEVE: So tell me, Matt and Gracie. Are we going to see them again?RAYMOND: I don't know. On the one hand, I envy your situation with Cotton Malone, you've got a solid anchor for your books, you're building this great world around him, his son and Stephanie and Henrik and Cassiopeia, who I hope we see again real soon, and it's meaty and it's epic and like the rest of your readers, I'm hooked and I want to know what they do next. You've got that, Lee Child has had it since day one with Reacher, Harlan Coben with Myron Bolitar, the list goes on. Great characters. I'd love to do that one day, but it has to feel right. I wasn't in that frame of mind in my first two books, certainly the world after the end of THE SANCTUARY would be a very different place from the world Mia started out in at the beginning of that book. Tess and Reilly, I could maybe bring back. A lot of fans have asked for that. But with THE SIGN, Iinitely think Matt and Gracie are characters that I could bring back. I'd like to put them through another wringer, and it feels like it would come naturally. But before I do that, I'm writing the next book which introduces a new lead character, so they'll be getting a bit of a breather.STEVE: They sure can use it. Good luck with the book.RAYMOND: Thank you.

    He took murder out of the Venetian vase and dropped it into the alley. He was spare, frugal, hard-boiled, but he did over and over again what only the best writers can ever do at all. He wrote scenes that seemed never to have been written before - Raymond ChandlerNot just the first of a tough school of crime-writing but the best... Hammett had seen the rotten underbelly of his country and wanted others to see it - The TimesHammett's is the America of Prohibition days and over all is the stink of corruption and cordite and hard liquor - Oxford TimesNobody else ever did it quite like this, and no one has ever done it since - The Times Literary SupplementCover illustration by Nancy Slomins

    He had to fake his own death. So when his former boss calls in an old favor that will bring Storm out of early retirement and back to Washington to investigate a high-profile kidnapping, he knows there must be more at stake than the life of a Senator's son. Working alongside, but not exactly with, bombshell FBI investigator April Showers, Storm must make sense of a confusing flurry of ransom notes and a complicated web of personal relationships and international politics. He'll get to the bottom of the kidnapping, but the storm is still brewing.

    including the President of the United States?

    Almost all the stories are specially written for the collection and the cases are presented in the order in which Holmes solved them. The result is a life of Sherlock Holmes, with a continuous narrative alongside the stories which identities the gaps in the canon and places the new and hitherto unrecorded cases in their correct sequence - plus there is an invaluable, complete Holmes chronology.(back cover)

    But he sure loves her movie theater. It's a modest establishment in a beat-down town--but Joe has the run of the place, and inside its walls, he's king. Without the theater, he'd be sunk. Without his leadership, the theater would close in a heartbeat. If it isn't the life Joe imagined for himself, at the very least, it's livable.Everything changes when Joe falls for the housemaid Carol, and the two can't keep it a secret from Elizabeth. Elizabeth won't leave Joe the theater unless he provides for her...but he's put all his money into the show house.Carol and Joe's only hope is the life insurance policies they've taken out on each other. If one of them were to be presumed dead, they'd have more than enough money to solve all their problems...No one knows murder better than Jim Thompson and in this incisive foray into the dark dealings of the mid-20th century movie industry, he doesn't disappoint, in the riveting story of a love triangle gone horribly wrong, and just how far one man will go to hold on to a desperate dream.

    But her work brings her to the attention of an infinitely dangerous man.Claude Malloche is brilliant, remorseless—a terrorist without regard for human life. He is also ill with a brain tumor considered to be inoperable. Nothing can stop Malloche from getting to the woman he believes can cure him. For those caught in his path, the nightmare has just begun...and no one is more aware of the stakes than Jessie Copeland.In brain surgery there are no guarantees—but that’s exactly what Malloche demands. With disaster just one cut away, Jessie faces the most harrowing case of her life—and the price of failure may be thousands of lives....

    Anyone who tries to get up, or even moves, will be shot. There will be no further warning. If you move you will be killed…” Four men, armed with submachine guns, have seized a New York City subway train, holding all seventeen passengers—and the entire city—hostage. The identities of the hijackers are unknown. Their demands seem impossible. Their threats are real. Their escape seems inconceivable.Only one thing is certain: they aren’t stopping for anything.

    It is April 1964 and one week before Hitler's 75th birthday. Xavier March, a detective of the Kriminalpolizei, is called out to investigate the discovery of a dead body in a lake near Berlin's most prestigious suburb. As March discovers the identity of the body, he uncovers signs of a conspiracy that could go to the very top of the German Reich. And, with the Gestapo just one step behind, March, together with an American journalist, is caught up in a race to discover and reveal the truth - a truth that has already killed, a truth that could topple governments, a truth that will change history.

    In this now-classic political thriller, he and fellow author J. Frederick George tell a savagely witty, chillingly topical tale set in the tense moments of the Gulf War. When a foreign exchange student is found murdered at an Iowa University, Deputy Sheriff Clyde Banks finds that his investigation extends far beyond the small college town--all the way to the Middle East. Shady events at the school reveal that a powerful department is using federal grant money for highly dubious research. And what it's producing is a very nasty bug.Navigating a plot that leads from his own backyard to Washington, D.C., to the Gulf, where his Army Reservist wife has been called to duty, Banks realizes he may be the only person who can stop the wholesale slaughtering of thousands of Americans. It's a lesson in foreign policy he'll never forget.

    Written by Childers—who served in the Royal Navy during World War I—as a wake-up call to the British government to attend to its North Sea defenses, The Riddle of the Sands accomplished that task and has been considered a classic of espionage literature ever since, praised as much for its nautical action as for its suspenseful spycraft.

    At 18, the reserved Benedict is asked by his father to enter into a pact: Neither of the two will do anything that could somehow hinder or destroy George's blossoming political career. Young Benedict, who has no stronger ambition than to ride steeplechase as an amateur jockey, agrees to the pact, without possibly knowing what lies ahead. Twelve years pass, and Ben has since abandoned his dream of making a career on the racetrack. Like his father, Ben enters the political arena, becoming George Juliard's closest ally and most trusted confidant as he makes his move to become prime minister. However, Ben suddenly finds himself the target of a fierce attack brought on by his father's brutally ambitious enemies. Through his son, George Juliard is discredited and destroyed just as he makes his drive for the prime ministership, leading Ben into an existence of treachery and lies. As these events unfold, Ben quickly realizes that it is his responsibility to protect his father's career as well as his own, but more important, he must protect their lives. Like past Francis books, 10 LB. Penalty is a masterfully plotted mystery that also examines the power of family and the bond between father and son.