A detective faces a horrifying choice between love and duty in this hair-raising debut.
Reminiscent of the best in today's suspense-from Jeffery Deaver's roller-coaster twists to James Patterson's cinematic pacing-Run the Risk introduces a blazing new talent in Scott Frost. As one of the writers behind Twin Peaks, he knows something about creating eerie and atmospheric tension. In this brilliant novel, he gives us a heroine who faces a challenge no one can ever be completely prepared for and a story as urgently and viscerally told as any in recent memory.
Los Angeles homicide detective Alex Delillo works a case that chills her from the start: one with too much ambiguity and far too many surprises. None of the evidence-and yet all of it-seems relevant. A small-time shopkeeper is shot to death. Then a rare, untraceable explosive ignites in a bungalow, hurling the front door across the yard. Finally, a teenaged girl goes missing, her car window smashed, her keys still in the ignition. Even before they tell her, Detective Delillo knows that this girl is her daughter.
Delillo tracks her quarry on a trail of escalating terror toward a fiery showdown that will test her wisdom, her will, and her every skill.
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by Scott Frost
by Mark Frost
by Helen Frost
by Karolyn Smardz Frost
by Scott McClanahan
by Scott Duffy
by Scott Bennett
by Scott Thornley
by Scott O'Dell
by Scott Hahn
by Scott Mariani
by Bronwyn Scott
"Written for people who like their books fast-paced, frightening, and without any respite, this novel is a puzzle with razor-sharp edges. As the stakes escalate, the villain is not only ahead of the police, he's just as far ahead of the reader. Shelly Frasier performs with aplomb, whether she's Alex Delillo, a Pasadena Homicide Detective; Delillo's 17-year-old-daughter, who reveals her commitment to eco-terrorism during a beauty contest; or the psychopath about to orchestrate the most watched murder in history: Delillo carrying a bomb into the Pasadena Rose Parade. Even during the most intimate acts of violence Frasier successfully articulates the internal monologue that keeps Delillo from being a victim. K.A.T. (c) AudioFile 2005, Portland, Maine"
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