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“The flat was large and airy, sparsely furnished with sleek, modern pieces; no walls separated living spaces, except the bedroom. Vintage posters advertising the 24 Hours of Le Mans and the Grand Prix de Monaco decorated the walls. There was a picture of Steve McQueen, leaning against his famous Ford Mustang, and another of Carroll Shelby, the legendary American automaker going face-to-face with Enzo Ferrari, his even more legendary Italian counterpart.”
Christopher Reich, The Take
“He sat alone at a table in the center of the main dining room of the Restaurant Kronenhalle. White tablecloth, heavy silver cutlery, black leather banquette. Thorpe was in his element. And of course, there was the art. The Restaurant Kronenhalle was as famous for the paintings hanging on its walls as its impeccable cuisine. Where else could one savor the beauties of a Miró sunset while sipping a fine Haut-Brion and enjoying a veal steak with morels? The server proffered”
Christopher Reich, Matterhorn
“The secret to keep from losing his mind was activity.”
Christopher Reich, Matterhorn
“Reminiscing is verboten.”
Christopher Reich, Matterhorn
“Ava disappeared down the hall. Mac rose and got himself a glass of water. He needed something stronger, but it wasn’t the time. He returned to the living room as Ava emerged from the hall. She held out a black velvet pouch. “What is it?” he asked. “Take a look.” Mac untied the strings and looked inside. “Really?” “Really.” She kissed his cheek. Mac removed a battered wristwatch. His old Casio G-Shock. He knew that she must have claimed it before he—or whoever it was that had taken his place—had been buried. “Classy as ever,” said Ava. “I’m a field guy, remember.” “My field guy,” she said, then sternly: “Remember.” Mac studied the watch. It had been through a lot. He slipped it onto his left wrist, gave a shake. He liked the feel of it. Mac Dekker was back.”
Christopher Reich, Matterhorn
“His face was cast from a serious mold,”
Christopher Reich, Numbered Account: A Novel
“be a bigger success than anyone could have imagined. Since then, the men had met once”
Christopher Reich, The Prince of Risk
“veneris.”
Christopher Reich, Crown Jewel
“All men, forty-ish, dressed in dark suits, clean shaven—stubble against regulation, a firing offense.”
Christopher Reich, Once a Thief
“And the beard—the ever-present two-day stubble, the badge of hipness of every male under forty—it was gone.”
Christopher Reich, The Tourists
“reticulated”
Christopher Reich, Numbered Account: A Novel
“vertiginously”
Christopher Reich, Matterhorn
“Big Brother is watching” was no longer a chilling slogan. It was an undisputable, ubiquitous, and unchallenged fact.”
Christopher Reich, Matterhorn
“Work was the disease and the cure.”
Christopher Reich, The Prince of Risk
“Dekker had always been first among equals: “Primus inter pares,” as they said at Yale Law.”
Christopher Reich, Matterhorn
“organigram. Nothing that might shed any real light on his day-to-day tasks.”
Christopher Reich, Numbered Account: A Novel
“Those who listen at closed doors rarely hear good of themselves,” his mother had warned him as an adolescent.”
Christopher Reich, Rules of Deception
“Listen to me. We’ve been had.” “By whom? How?” “Toby Stonewood. He’s played us from the start.” “Toby? The Duke of Suffolk?” “One and the same.” Simon couldn’t stand how the English never wanted to believe the worst of their landed gentry. Even the most casual perusal of English history showed them to be venal, dishonest, and without scruples. And those were the good ones.”
Christopher Reich, Crown Jewel
“The sad fact was that once an individual elected to own a smartphone, he or she was as easy to find as the nose on your face…whether the person was using the phone or not. Word on the street was that the Yanks had a more robust version of the same technology and were tracking, recording, and storing away the location of their citizens…every one of them…just in case.”
Christopher Reich, Crown Jewel
“Not superstitious. Experienced.”
Christopher Reich, Matterhorn
“complete.”
Christopher Reich, The Take

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