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Summary
Summary
Police Lieutenant Phoebe MacNamara found her calling at an early age when an unstable man broke into her family's home, trapping and terrorizing them for hours. Now she's Savannah's top hostage negotiator, defusing powderkeg situations with a talent for knowing when to give in-and when to jump in and take action. It's satisfying work-and sometimes those skills come in handy at home dealing with her agoraphobic mother, still traumatized by the break-in after all these years, and her precocious seven-year-old, Carly. It's exactly that heady combination of steely courage and sensitivity that first attracts Duncan Swift to Phoebe. After observing her coax one of his employees down from a roof ledge, he is committed to keeping this intriguing, take-charge woman in his life. She's used to working solo, but Phoebe's discovering that no amount of negotiation can keep Duncan at arm's length. And when she's grabbed by a man who throws a hood over her head and brutally assaults her-in her own precinct house-Phoebe can't help but be deeply shaken. Then threatening messages show up on her doorstep, and she's not just alarmed but frustrated. How do you go face-to-face with an opponent who refuses to look you in the eye? Now, with Duncan backing her up every step of the way, she must establish contact with the faceless tormentor who is determined to make her a hostage to fear . . . before she becomes the final showdown.
Author Notes
Nora Roberts was born in Silver Spring, Maryland on October 10, 1950. Her first book, Irish Thoroughbred, was published in 1981. Since then, she has written more than 200 novels. She writes romances under her own name including Montana Sky, Blue Smoke, Carolina Moon, The Search, Chasing Fire, The Witness, The Perfect Hope, Inner Harbor, Dark Witch, Shadow Spell, The Collector, The Villa, The Liar, The Obsession, and Shelter in Place. She writes crime novels under the pseudonym of J. D. Robb including the In Death series. She has been given the Romance Writers of America Lifetime Achievement Award and has been inducted into their Hall of Fame.
(Bowker Author Biography)
Reviews (4)
Publisher's Weekly Review
At the start of this scintillating slice of romantic suspense from prolific bestseller Roberts (Sweet Revenge), Lt. Phoebe MacNamara, the chief hostage negotiator for the Savannah, Ga., PD, meets Duncan Swift, a sports bar owner, as they both try to prevent a suicidal bartender Duncan fired from jumping off a roof on St. Patrick's Day. In the aftermath, a romance develops between Phoebe and Duncan, though in typical Roberts style the enigmatic Phoebe's devotion to career and family, who include a young daughter and an agoraphobic mother, creates tension in their relationship. After Phoebe survives a vicious attack within her own precinct house by an unknown assailant, it becomes clear that someone is intent on harming Phoebe and those close to her. A courageous protagonist, deft plotting and the sultry Savannah backdrop all add up to another winner for consummate storyteller Roberts. (July) (c) Copyright PWxyz, LLC. All rights reserved
Booklist Review
Savannah-Chatham police lieutenant Phoebe MacNamara is one of the best hostage negotiators in the business, and her latest mission involves talking down a suicidal jumper from a building owned by Duncan Smith. Impressed by her cool, courageous actions and intrigued by the sexy woman herself, Duncan charms Phoebe into meeting him for a drink. As a single mother with family demands and a career woman working in a testosterone-dominated field, Phoebe doesn't think there is any time in her busy schedule for romance, but all of her famed negotiating skills can't convince Duncan to give up on a chance for a future with her. When Phoebe becomes the target of a psychopathic killer out to destroy her professionally and personally, Duncan turns out to be just the person Phoebe wants by her side. The always reliable Roberts continues to find new and clever ways to flawlessly fuse thrilling suspense and sexy romance into captivating stories. High Noon will enthrall readers with its irresistible combination of superbly crafted characters and a danger-rich plot.--Charles, John Copyright 2007 Booklist
Kirkus Review
Murder mixes with anguish in steamy Savannah. FBI-trained hostage negotiator Phoebe MacNamara is a lieutenant in the Savannah police department. Ever since Phoebe and her family were held hostage when she was 12, her mother has been agoraphobic, and Phoebe and her brother Carter still bear the psychological scars, but Phoebe's used the memory to hone her skills. While talking a suicidal bartender off a ledge, she meets his boss, Duncan Swift. The charming millionaire coaxes her into meeting for a drink, and their relationship slowly deepens. But life takes a turn for the worse when a misogynist cop botches a hostage situation. Suspended, he blames Phoebe and retaliates by viciously attacking her in the precinct house stairwell. He loses his job, but his father's connections keep him out of jail. Phoebe is physically and mentally injured, but her family and her blossoming relationship with Duncan help her cope until a dangerous pattern develops: A strange man keeps crossing her path. Dead animals begin appearing on her doorstep. A hostage taker is shot after she talks him into surrendering. Her ex-husband is brutally murdered by the mystery man, who phones her with sadistic threats. Is it the spiteful disgraced cop or someone from her past? Phoebe must identify the killer before he can carry out his final outrage. Nerve-wracking suspense leavened with romance and spiced with sex: another hit for the prolific Roberts (Blue Smoke, 2005, etc.). Copyright ©Kirkus Reviews, used with permission.
Library Journal Review
Police hostage negotiator Phoebe MacNamara meets Duncan Swift when she persuades the employee Duncan had just fired not to kill himself. Their growing relationship is soon complicated by family issues and threatened by a stalker who is close to destroying everything Phoebe values. In typical Roberts fashion, suspense and romance are mixed without shortchanging either, and she manages to work in some fascinating details about the art of hostage negotiation while keeping the reader wondering about the villain's identity. As always, Roberts has created some wonderful and memorable secondary characters. One of her strengths is her portrayal of family (the Quinns of her "Chesapeake Bay" quartet come immediately to mind), and the family members we meet here are people we believe in and care about. Like the author's Blue Smoke, this fast-paced and thoroughly entertaining novel delivers everything fans have come to expect from one of the best writers of romantic suspense out there. Highly recommended for all public libraries. [See Prepub Alert, LJ 3/1/07.]-Elizabeth Mellett, Brookline P.L., MA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
1 Jumping to your death was a crappy way to spend St. Patrick's Day. Being called in on your day off to talk someone out of jumping to his death on St. Patrick's Day wasn't exactly green beer and bagpipes. Phoebe weaved and dodged her way through the crowds of Savannahians and tourists thronging streets and sidewalks in celebration. Captain David McVee thought ahead, she noted. Even with a badge, it would've taken precious time and miserable effort to get through the barricades and mobs of people in her car. But a couple blocks east of Jones, the revelry thinned, and the booming music was only a throb and echo. The uniformed officer waited as ordered. His gaze skimmed over her face, down to the badge she'd hooked on the pocket of her khakis. Cropped pants, sandals, shamrock- green T-shirt under a linen jacket, Phoebe thought. Not the professional look she worked to foster on the job. But what could you do? She was supposed to be standing on the terrace of MacNamara House, with her family, drinking lemonade and watching the parade. "Lieutenant MacNamara?" "That's right. Let's move." She slid in, flipping out her phone with one hand, dragging the seat belt on with the other. "Captain, I'm en route. Fill me in." The siren screamed as the driver punched the gas. Phoebe yanked out her notebook, taking cursory notes. Joseph (Joe) Ryder, suicidal. Jumper with gun. Twenty- seven, white, married/separated. Bartender/fired. No known religious affiliation. No family on scene. WHY? Wife left, fired from job (sports bar), gambling debts. No criminal, no previous suicide attempt on record. Subject alternately weepy/belligerent. No shots fired. "Okay." Phoebe let out a breath. She'd get to know Joe much better very soon. "Who's talking to him?" "He's got his cell phone on him. The first on scene wasn't able to engage. Guy just kept clicking off. We've got his employer here-former employer, who's also his landlord. The subject's been talking to him off and on, but there's no progress." "You?" "I'd barely gotten here when I pulled you in. I didn't want to throw too many people at him." "All right. My ETA's five minutes." She glanced at the driver, got a nod of affirmation. "Keep him alive for me." Inside Joe Ryder's fourth-floor apartment, sweat rolled down Duncan Swift's back. A guy he knew, a guy he'd had beers with, joked with, had pissed with, for God's sake, in adjoining urinals, was sitting on the ledge of the roof overhead with a gun in his hand. Because I fired him, Duncan thought. Because I gave him thirty days to get out of the apartment. Because I didn't pay attention. Now, it was a very strong possibility that Joe was going to put a bullet in his own ear or take a header off the roof. Maybe both. Not exactly the kind of entertainment the crowds expected on St. Patrick's Day. Not that it was keeping them away. The cops had barricaded the block, but from the window Duncan could see people pressed against the barriers, faces turned up. He wondered if Joe was wearing green. "Come on, Joe, we'll work it out." How many times, Duncan asked himself, would he have to repeat that same phrase the cop kept circling in his notebook. "Just put the gun down and come inside." "You fucking fired me!" "Yeah, yeah, I know. I'm sorry, Joe, I was pissed off." You stole from me, you stupid dick, Duncan thought. You screwed up, stole from me. You took a damn swing at me. "I didn't realize how upset you were, or what was going on. You come inside and we'll work it out." "You know Lori left me." "I..." No, not I, Duncan remembered. His head was pulsing with the mother of all headaches, but he struggled to remember the instructions Captain McVee had given him. "You must've been feeling upset." Joe's answer was to start sobbing again. "Just keep him talking," Dave murmured. Duncan listened to Joe's sobbing complaints, tried to repeat key phrases as he'd been directed. The redhead shot into the room like a sleek bullet. She shrugged out of a light jacket while she talked to the captain, then shrugged into a bulletproof vest. All her movements lightning quick. Duncan couldn't hear what they were saying. And he couldn't take his eyes off her. Purpose was the first term that came to his mind. Then energy. Then sexy, though the third was mixed into the first two in equal portions. She shook her head, looked toward Duncan-long, cool stare with cat-green eyes. "It's got to be face-to-face, Captain. You knew that when you pulled me in." "You can try to bring him in via the phone first." "Been tried." She studied the man currently making soothing noises over the subject's weeping. Former employer and landlord, she deduced. Young for it, she mused. Very cute guy who looked as if he was trying hard not to panic. "He needs a face. He needs personal contact. Is that the employer?" "Duncan Swift, owns the bar street level of the building. He called the nine-one-one after the subject contacted him and said he was going off the roof. He's-Swift's-been on scene since." "All right. You're the commander on this one, but I'm the negotiator. I need to go up. Let's see how the subject feels about that." She walked over to Duncan, gestured for him to pass her the phone. "Joe? This is Phoebe. I'm with the police department. How you doing out there, Joe?" "Why?" "I want to make sure you're okay. You hot out there, Joe? Sun's pretty strong today. I'm going to ask Duncan to get us a couple bottles of cold water. I'd like to bring them up, talk to you up there." "I've got a gun!" "I hear that. If I come up with a cold drink for you, are you going to shoot me, Joe?" "No," he said after a long moment. "No, shit. Why would I do that? I don't even know you." "I'll bring you out a bottle of water. Just me, Joe. I want you to promise you won't jump or fire that gun now. Will you promise to let me come on out, bring you a bottle of water?" "Rather have a beer." The wistful tone in his voice gave her a little edge. "What kind of beer would you like?" "Got Harp in the bottle in the fridge." "One cold beer coming up." She walked to the refrigerator, found there was little else but beer. Even as she took one out, Duncan moved beside her to open it. She nodded, pulled out the single Coke, popped the top. "I'm coming on up with the beer, all right?" "Yeah, a beer'd be good." "Joe?" Her voice was as cool as the bottles in her hand as one of the cops fitted her with a wire, removed her weapon. "Are you going to commit suicide?" "That's the plan." "Well now, if that's your plan, I don't know as it's a good one." She followed one of the uniforms out of the apartment, then up the stairs to the roof. "Got nothing better to do." "Nothing better? You sound like you're feeling pretty low. I'm at the roof door now, Joe. Is it all right if I come on out?" "Yeah, yeah, I said so, didn't I?" She'd been right about the sun. It was strong enough to bounce off the roof like a hot red ball. She looked to her immediate left, and saw him. He was wearing nothing but what looked like black boxers. Sandy-haired guy with fair skin-and that skin had already turned a painfully bright pink. He squinted at her out of eyes swollen from crying. "I guess I should've brought out some sunscreen along with the beer." She held the bottle up so he could see it. "You're getting toasted out here, Joe." "Don't matter." "I'd sure appreciate it if you'd put that gun down, Joe, so I could bring you your beer." He shook his head. "You might try something." "I promise not to try anything if you put the gun down while I bring you the beer. All I want to do is talk, Joe, you and me. Talking's thirsty work out here in the sun." With his feet dangling over the roof ledge, he lowered the gun, laid it in his lap. "Just put it down there, then step back." "All right." She kept her eyes on his as she walked over. She could smell him, sweat and despair; she could see the misery in his bloodshot brown eyes. She set the bottle down carefully on the ledge, stepped back. "Okay?" "You try anything, I'm going off." "I understand. What happened to make you feel so low?" He picked up the beer and, closing his hand over the gun again, took a long pull. "Why'd they send you out here?" "They didn't send me, I came. It's what I do." "What? You a shrink or something?" He snorted on the idea, drank again. "Not exactly. I talk to people, especially people in trouble, or who think they are. What happened to make you think you're in trouble, Joe?" "I'm a fuck-up, that's all." "What makes you think you're a fuck-up?" "Wife walked out on me. We hadn't even been married six months and she walks. She told me she would, over and over. If I started betting again, she was out the door. I didn't listen; I didn't believe her." "It sounds like that makes you feel awful sad." "Best thing in my life, and I screw it up. I thought I could score-just a couple of good scores and that would be it. Didn't work out." He shrugged. "Never does." "It's not enough to die for, Joe. It's hard, and it's painful when someone you love walks away. But dying means you can't ever make it right. What's your wife's name?" "Lori," he mumbled as tears filled his eyes again. "I don't think you want to hurt Lori. How do you think she'll feel if you do this?" "Why should she care?" "She cared enough to marry you. Do you mind if I sit here?" She tapped the ledge a few feet away from him. When he shrugged, she eased a hip onto it, sipped her drink. "I think we can figure this out, Joe. Figure out how to get you help, how to get you and Lori help. You sound like you want to find a way to fix things." "Lost my job." "That's hard. What kind of work did you do?" "Tending bar. Sports bar down below. Lori, she didn't want me to work in a sports bar, but I told her I could handle it. But I didn't. Couldn't. Started making bets on the side. And when I started losing, I shorted the till so Lori wouldn't find out. Bet more, lose more, steal more. Got caught, got fired. Behind on the rent, too." He picked up the gun, turned it in his hand. Phoebe braced, and fought back the instinct to duck and cover. "What's the point? I got nothing." "I understand how you might feel that way right now. But the fact is, Joe, there are plenty of chances left. Everybody deserves more than one of them. If you kill yourself, it's just done. It's just over all the way. No coming back, no making it up to Lori, or to yourself. How would you make it up to her if you got the chance?" "I don't know." He looked out over the city. "I can hear music. Must be from the parade." "There's something to live for. What kind of music do you like?" Inside the apartment, Duncan turned to Dave. "Music? What kind of music does he like? What the hell is she doing?" "Keeping him talking. She's talking him down. He's telling her." Dave nodded toward the speaker. "As long as he's talking about Coldplay he's not going off the roof." Duncan listened as they talked music for the next ten minutes, a conversation he might've heard in any bar or restaurant in the city. When he pictured Joe on the roof, it seemed surreal. When he pictured the redhead with her cat eyes and tight little body holding what smacked of small talk with a mostly naked, armed, suicidal bartender, it seemed impossible. "Do you think I should call Lori?" Joe asked wistfully. "Is that what you want to do?" She already knew they'd tried to reach Joe's estranged wife, without success. "I want to tell her I'm sorry." "That's good, telling her you're sorry. But you know what works better with women-and I know as I am one. Showing her. We believe it when you show us. You can show me right now if you give me the gun." "I figured on shooting myself before I jumped. Or maybe on the way down." "Look at me, Joe." When he turned his head, she kept her eyes straight on his. "Is that how you're going to show her you're sorry? By making it so she has to bury you, so she has to grieve? Are you punishing her?" "No!" His face, his voice, registered shock at the idea. "It's my fault. It's all my fault." "All your fault? I never believe anything is all one person's fault. But let's fix it. Let's find the way you can make it up to her." "Phoebe, I owe almost five thousand gambling." "Five thousand's hard. It sounds like it scares you to owe that much. I understand what it is to have money problems hanging over your head. Do you want Lori to have to pay your debt?" "No. If I'm dead, nobody pays." "Nobody? But she's your wife. She's your legal wife." Phoebe doubted there was any legal liability, but she could see the idea of it strike Joe. "She could be responsible for your debts." "God. Oh God." "I think I know how to help you with this, Joe. Joe? You know your boss is inside. He's inside there because he's worried about you." "He's okay. Dunc's a good guy. I screwed him. Stole from him. I don't blame him for firing me." "I hear you say that, and know you understand you're responsible for your mistakes. You're a responsible person, and you want to fix those mistakes. Dunc's a good guy, you tell me, then I'm going to believe he understands that, too. I'll talk to him for you if you want. I'm good at talking. If he'll give you an extension on paying back the money, that would help, wouldn't it?" "I...I don't know." "I'll talk to him for you." "He's a nice guy. I stole from him." "You were feeling desperate and scared, and you made a mistake. I sense you're sorry for that." Excerpted from High Noon by Nora Roberts All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
