Likened to a "young Muhammad Ali," Alex Cross, the Porsche-driving profiler, doctor, detective and father of two has seen his fair share of vicious killers. From a bloodthirsty butcher who came after his family (Cat and Mouse) to a devilish duo working cross-country (Kiss the Girls), Cross has managed to out-manoeuvre all of his enemies. Until he meets the Weasel. A series of killings in the forgotten, crime-infested ghettos of Southeastern D.C. has sent Cross and his 6' 9" 250-pound-partner, John Sampson in search of the "Jane Doe" killer. However, their racist, tyrannical boss George Pitman orders them to stay out of the Southeast and investigate the high-profile murder of a wealthy white man. Cross already has suspicions that the murders are linked, but when Sampson's ex turns up in an abandoned Southeast warehouse kicked to death, the two detectives carry on with their original investigation. Meanwhile, Cross's longtime love, Christine, (Cat and Mouse) has taken prominence in his life and it looks as if the two will finally get hitched--with one hitch: Cross leaves the force. Although Cross's instinct tells him to quit--to not put everything he loves in jeopardy again--he's compelled to catch the Weasel. Akin to a slick, Hollywood action flick, Pop Goes the Weasel doesn't have time for meaningful character development and thoughtful moral analysis. And it doesn't need to. Its winning formula is based in short scenes (chapters average about three pages), addictive plot progression and mean dialogue: "Sampson sighed and said, 'I think her tongue is stapled inside the other girl. I'm pretty sure that's it, Alex. The Weasel stapled them together.' I looked at two girls and shook my head. 'I don't think so. A staple, even a surgical one, would come apart on the tongue's surface … Crazy glue would work." --Rebekah Warren