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Its four stories towered over the frosted trees of Central Park. It was one of the old buildings, close to two hundred years old, built of actual stone... There was lots of glass, and lights burning gold behind the windows. There was also a security gate, behind which evergreen shrubs and elegant trees were artistically arranged. --Naked in Death

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Roarke's MansionEdit

  • First Mentioned in Naked in Death: 222 Central Park West[1]
  • Roarke has audio and video security in every corner of the mansion.[2]
  • Eve consideres circling the house equivalent to hiking four cross-town blocks.[3]
  • There are autocarts at Roarke's Mansion; Roarke sent one to pick up Morris when he arrived at their gate on foot.[4]

Overall ImpressionsEdit

  • He'd bought this property eight years before, had had it remodeled and rehabbed to his specifications. ... It was in a very real sense his first home, the place he'd chosen to settle after too many years of wandering.[5]
    • He’d used the trees, the lavish roll of lawn, the flowers and that stone to build a place. His place. A spot of beauty and comfort in a world that held too much pain. He’d used it, he knew, to prove to himself that the slums and miseries of Dublin were far behind him.[6]
    • He'd built the house, not just for the status, the elegance, the privilege ... but because he’d needed, very much needed, to make a home.[7]
    • Roarke said, "When I built this house, this place, I wanted a home, and I wanted important. Secure, of course. But I think it wasn't until you I put secure in the same bed as safe. Safe wasn't a particular priority. I liked the edge. When you love, safe becomes paramount. And still with what we are, what we do, there's the edge. We know it. Maybe we need it."[8]
  • To Roarke, Eve said: "This place ... may be big enough to hold a small city itself, but it’s ... got style and life. It reflects you."[9]
    • “It belonged on a cliff somewhere ... with the sea boiling and pounding below,” Eve thought. She thought of it as an oasis behind the tall gates, built by Roarke out of canniness, ruthlessness, sheer will and the driving need to bury the miseries of his childhood.[10]
    • Eve calls the mansion “a fucking fort”.[11]
    • Eve thinks of it as a "castle-manor estate".[12]
  • According to Peabody, no place is safer in the city – probably on the planet – than Roarke's Mansion.[13]
    • Peabody said: "I'll never get used to this place. It’s like something out of an old video."[14]
    • "Take Roarke's place," Peabody continued. "It's grand and elegant and intimidating, but it's also sexy and mysterious."[15]
  • Mira: Such a place was built for peace and power.[16]
  • Pepper Franklin said that the mansion is the most incredible house she’s ever seen. Wonderful style, full of colour and surprises, just like Roarke himself.[17]


Employees at Roarke's MansionEdit

  • It was rare to see any sort of servant, human or droid, in the house other than Summerset. But then ... people who held great wealth, great power, could easily command silent and nearly invisible armies to handle the pesky details of life.[18]
  • Lawrence Summerset
  • In Naked in Death, a woman in a black suit served Eve and Roarke appetizers ... the same silent servant cleared the salads ....[19]
  • In Glory in Death, Eve told Summerset to send a car and driver to pick Mavis up; she also told him to inform the cook that there would be two for dinner.[20]
    • Roarke's kitchen was staffed with artists.[21]
  • In Immortal in Death, Summerset told Mavis the cook baked a triple chocolate fudge cake.[22]
  • For a list of the non-human help at the Mansion, please see Droids at Roarke's Mansion


ExteriorEdit

Gates and WallsEdit

  • High stone walls, iron gates, and a rigid security system kept the city outside.[23]
  • High iron gates guarded the towering fortress, the expansive lawns, the personal world that Roarke had built.[24]
  • A stone pillar near the iron gates held a security panel. The gates were fitted with security sensors.[25]
  • The wall was eight feet high, three feet thick and wired to deliver a discouraging electric shock to anything over 20 pounds. Security cameras and lights were set every twelve feet.[26]
  • Other mentions.[27]


Drive and GroundsEdit

  • A curving drive through the well-tended lawns and flowering trees[28] led past gorgeous trees and musical fountains.[29]
  • The trees were blooming. White blossoms flowed along with pink, accented by deep, rich reds and blues, all carpeted by a long sweep of emerald grass.[30]
  • His grounds were like a well-tended park, quiet and lush, with the foliage of a rich man's trees in the dazzling flame of fall. The scents were of spicy flowers, the faintly smoky fragrance of October in the country. ... On the north side of the house was a arbour of thin, somehow fluid iron. The vines twisting and tumbling over it were smothered with flowers wildly red. Eve had married him there ...[31]
  • White and pink blossoms shimmered on the trees, glowing like chains of pastel jewels against the twilight. Cheerful heads of daffodils danced with the more elegant cups of tulips in cheerfully elaborate sweeps.[32]
  • Stone paths[33]; green shadows from grand and leafy trees threw patterns on velvet grass and slid softly over rivers of flowers that were bright and bold by day[34]; dramatic here with tall, spikey things with brilliant and exotic blooms, charming there with tangled rows of simple blossoms; an arboured tunnel where hundreds of roses climbed and dripped onto green, shady ground[35].
  • There were flowering trees and shrubs that spread over the lawn, speared into the sky.[36] He’d decorated his grounds with flowers, with trees that would outlive both of them, with shrubs that spread and fountained.[37] Flowers, banks of them, flowed out of beds in soft blurry blues and shimmering whites.[38]
  • The arching branches of weeping trees became visible as she rounded the first curve toward the house.[39]
  • With the rolling sea of green grass surrounding it, the splashes and pools of colour from the gardens, the lush shade spilling along the ground from the trees, it was a miracle of privacy and comfort in the middle of the urban landscape.[40]
  • There were flowers and pools, arbours and paths.[41] A small fountain gurgled above a riot of lilies.[42]
  • Perfect summer flowers in deep summer colours, with shimmering green grass seemed t stretch for miles, and the tall leafy trees that spread cool shade.[43]
  • As the gates opened, the lights bloomed on to illuminate the curving drive that wound through the grounds toward the house.[44]
  • The great, grand lawn flowed, acres of peace and beauty in the centre of the chaos of the city.[45]
  • Elusive, private, perfect. The long sweeping drive, which curved through the snow-covered grounds ... led the way to the big stone house with its many windows.[46]
  • The winding drive, through the big iron gates, led to the stunner of a house, lording over sky and city, windows blazing.[47]
  • It was another world. Roarke’s world, with its graceful iron gates, its green lawns, shady trees, with its huge, castle-like, stone house.[48]
  • Spring exploded here – white and pink blossoms shimmered on the trees, glowing like chains of pastels jewels against the twilight.[49]
  • Lawn lights illuminated the trees, the shrubs, the gardens so that they glimmered in the moonlight.[50]
  • Roarke’s taste and scope shone in the strong and graceful lines of home, the towers and turrets adding a little fancy, the streams and rivers of flowers, the warmth and colour.[51]
  • A long, curving drive led to the house from the iron gates.[52]There was a fountain where water bubbled over the petals and stems of copper and brass water lilies. Well across the rolling lawn and sheltered by tall trees stood the big stone house.[53]
  • It was spectacular with a roll of lawn, huge leafy trees and lovely flowering shrubs.[54]
  • The long curving drive was flanked by lovely trees and bushes.[55]
  • Through the gates and up the gracious sweep of private road stood the stunning house of stone and glass.[56]
  • The strange and perfect space behind stone walls and iron gates was its own country.[57]
  • The green lawns, flowering trees, and fountains. [58]
  • Eve looked over the gardens, through the ornamental and shade trees, past arbors and fountains to the thick stone walls.[59]
  • Rich summer green grass spread, a luxuriant carpet for leafy trees, sumptuous blankets of flowers, and madly blooming shrub. Through the banquet of color, of green, of cooling shade the drive wound through to Roarke’s elegant jewel.[60]
  • ”They wandered into a small orchard, perhaps a dozen trees, branches heavy with peaches. ... They paused a moment at the young cherry tree she’d helped him plant in memory of his mother. ... It smelled of summer, of ripe fruit and flowers, and green, green grass. ... Roarke gestured to sparkling roll of green.”[61]
  • Here the grass was rich summer green, the trees and flowers plentiful."[62]
  • behind the gate evergreen shrubs and elegant trees were artistically arranged.[63]
  • Perfect summer flowers in deep summer colours, with shimmering green grass seemed t stretch for miles, and the tall leafy trees that spread cool shade.[64]
  • The sprawling lawns and trees showcased the glorious stone and glass structure...[65]
  • The house looked its best in summer.[66]
  • The huge stone palace was draped in trees and flowers, surrounded by the stuff of fantasy.[67]
    • Mira said, “It’s a magnificent space. Carefully planned, lovingly tended.[68]


Mansion Exterior DetailsEdit

  • Its four stories towered over the frosted trees of Central Park,[69] up into the deepening sky.[70]
  • It was one of the old buildings, close to two hundred years old;[71] a testament to an earlier century,[72] that had been polished by Roarke into a stone and glass palace.[73]
  • From the gates, Eve could see the stunning house,[74] and the long sweep of the main floor.[75]
  • It is a huge stone edifice,[76] a stone palace,[77] built with actual stone,[78] rich,[79] grand and grey.[80]
    • The stones gleamed[81] and sparkled;[82] the rambling elegance of the stone showed itself off against the summer blue sky.[83]
    • Granite steps led up to the main door.[84]
  • There was a lot of glass[85] - acres of glass.[86] The dazzling expanses of glass[87] sparkled in,[88] and were set aflame by,[89] the sun.
    • Lights beamed[90] in the multitude of windows,[91] all big and generous,[92] tall and arched in the towers and turrets.[93]
    • Countless windows glowed welcomingly, [94] burned gold,[95] like a beacon in the night.[96]
  • The mansion rose and spread, jutted and spiked, its stones dignified against the sky.[97]
    • Its towers and turrets speared up into the sky, its terraces and strong lines jutted out,[98] like a fantasy in the dark.[99]
    • The house was all juts and turrets,[100] peaks [101] and towers;[102] a sweep of terraces and balconies.[103]
  • It went beyond the category of mansion into that of fortress, or maybe even castle.[104] The house was part fortress, part castle,[105] part fantasy.[106]
  • It looked like an urban fortress,[107] an elegant fortress,[108] with its size and fierce beauty.[109]
  • The great house rose like the powerful focal point of a winter painting.[110]
    • It seemed as if some happy artist had dabbed and stroked and twirled all his joy across this one secluded slice of the city, spilling it out here so the grand house could rise through it.[111]

GarageEdit

  • The garage attachment melded with the main structure. The massive doors were wood with thick brass fittings. The windows arched and majestic were sunscreened, the temperature inside would be kept, year round, at a comfortable seventy-two degrees. Vehicles were housed in individual bays on two levels.[112]
  • The pristine and warm garage housed two levels of cars, bikes, sky-scooters, and a two-passenger minicopter.[113]

Lower LevelsEdit

  • The Lower Level is home to "the lush pool with an overlight that could simulate starlight, sunshine, or moonbeams at the flick of a switch; the holoroom where hundreds of games could be accessed to while away a slow night; a Turkish bath; an isolation tank; the target range; a small theatre; and a meditation lounge.”[115]
    • According to Eve: ”There was a whole world down here ... Another of Roarke’s worlds.”[116]

Gym and Pool House - Lower LevelEdit

  • Located on the lower level. Throughout the series, various characters have gone down to the gym and/or the pool from the main door,[117] the foyer,[118] or the parlour on Level 1[119]
  • The pool area was lush with plants,[120] palms and flowering vines;[121] bright flowers bloomed in the tropical gardens. [122]
  • There was a “jungle of plants” off the shallow end of the pool.[123]
  • Tropical blooms scented the warm, moist air;[124]it smelled of hot flowers and cool water.[125]
  • There was the musical sound of a fountain, spraying and tumbling.[126] Music came from the sparkling waterfall flowing down the wall.[127]
  • The sun was staining the curved glass at the end of the enclosure a pale gold;[128] windows let the light stream in.[129]
  • The pool was a black-bottomed lagoon,[130] sided with smooth stones. [131] Stone steps led down to the cool, dark water,[132] the sparkling blue water.[133]
  • A touch to the controls situated in a fluid curve made the water churn and steam.[134]
  • A curved grotto contained the hot tub.[135]
  • Eve moved through the indoor pool and garden area, and into the gym.[136]
  • The gym was stocked with old-fashioned free weights,[137] incline benches, a virtual reality system, a gravity bench, an aqua track and a resistance centre.[138]
  • It was fully equipped with sparring droids, machines that did all the work and holomachines.[139]
  • There was a changing area[140] and a steam room.[141]
  • Other mentions.[142]


Target Room - Lower LevelEdit

  • Located on the lower level.[143]
  • The room was spartan and efficient, with high ceilings and plain, sand coloured walls; a long, glossy black console;[144] a bank of simple high-backed chairs and tables. The cabinet under the console held ammunition and safety accessories.[145]
  • A palm-activated identiscreen was used to programme the target range[146] and the holograms.[147]


Recreation/Game Room - Lower LevelEdit

  • First mentioned in Glory in Death.[148]
  • Located on the lower level, past the gym, the dressing area and a small greenhouse.[149]
  • There were two pool tables, three multiperson VR tubes, a variety of screens designed for transmissions or games, a small holodeck, and a forest of brightly coloured, noisy game stations,[150] including some pinball machines, one with a Cops and Robbers theme. A wall screen on one side.[151]
  • The beeps and bells of machines could be heard.[152]
  • Other mentions.[153]
    • Eve thinks it's a twelve-year-old's wet dream.[154]

Level 1Edit

Interior (Ground floor/Entry level) - Level 1 Edit

  • The house was huge, a labyrinth of rooms[155] - a ridiculous number of rooms[156] - some practical, some elegant, some fun. All beautiful, all reflecting Roarke’s vision.[157]
    • It was an amazing warren of rooms and treasures[158] and surprises;[159] myriad rooms filled with style and function.[160]
    • There were too many rooms to count;[161] Eve wasn’t sure she’d been in all the rooms.[162]
    • There were enough rooms in the house to billet a military battalion.[163]
  • The home was a world apart,[164] furnished with staggering antiques,[165] art from other countries and centuries[166] - art that museums would have wept for[167] - and treasures Roarke had collected over the years.[168]
  • There were acres of old[169] polished wood,[170] sparkling crystal[171] and glass,[172] thick carpets[173] and ancient rugs lovingly preserved,[174] and the scent of candles and hothouse flowers.[175]
  • It had every pleasure and convenience a man could make for himself,[176]including the simple pleasures of soft fabrics, plush cushions.[177]
  • Inside was welcome, stability and continuity,[178] warmth, beauty and all the style money could buy and power could maintain.[179]
  • It was a private paradise of wealth (the kind of wealth that fantasies were made of.[180]), of privilege, of indulgence;[181] a monument to taste, wealth, and elegant comfort.[182]
    • "It's like a museum in here," Jamie said. "I mean, in a good way."[183]


Foyer - Level 1Edit

  • The wide, towering hallway looked more like the entrance to a museum than a home.[184]
  • A boldly patterned rug in shades of red and teal graced a glossy wood floor. There were paintings on the wall from the French Impressionist era and the Revisited Period.[185]
  • A stairway curved away[186] to the left with a carved griffin for its newel post.[187]
  • There is an in-home scanner in the foyer,[188] near the front door.[189]
  • A chandelier of star-shaped glass[190] glittered in the foyer.[191]
    • Eve pulled open grand front door and stepped into glamorous light of the entrance foyer;[192] it was warm, lit up, and fragrant.[193]
  • A small foyer elevator.[194]
  • The stairs going down - to the Lower Level - were hidden behind a faux panel in the hallway.[195]
  • Powder room off foyer.[196]


Main Salon - Level 1Edit

  • Located on Level 1 – just down the hall from the main door.[197]
  • It was was filled with treasures Roarke had collected from around the known universe.[198]


Main Parlour - Level 1Edit

  • Located on Level 1[199] - also called the ground floor parlour[200] and the front parlour.[201]
    • The parlour is just off the foyer;[202] just across the foyer.[203]
  • There were several rich-toned, high-backed,[204] plush, antique chairs in the parlour.[205]
  • Silky cushions[206] sat on the antique[207] twin sofas with curved backs and lush upholstery that echoed the jewel tones of the room in sapphire.[208]
  • There was a window seat,[209] a priceless coffee table,[210] and two lamps that burned with light like coloured gems.[211]
  • The main parlour was lush and elegant,[212] splendid and antique.[213]
  • Rich fabrics gleamed,[214] lovingly tended, antique wood glowed;[215] there were rich colors and gleaming antiques, stunning art and the glint of crystal.[216]
  • A fire out of real, applewood[217] logs burnt in a hearth carved from lapis and malachite.[218]
    • Hearth with its snapping fire in the parlour;[219] the fire simmered in the parlour, red and gold.[220]
  • There is a wall sensor (in-house scanner).[221]
  • A mini AutoChef was hidden behind a wall panel in the parlour[222] while a painted cabinet held a bar.[223]
  • A garden terrace just off the parlour.[224]
  • Other mentions.[225]

Living Room - Level 1Edit

  • Located on Level 1.[226]
  • Spacious, with its glossy antiques, gleaming glass, Oriental carpet,[227] and a Chippendale coffee table.[228]


Dining Room - Level 1Edit

  • Located on Level 1.[229]
  • The dining room boasted a big, gleaming table,[230] stunning art, glints of silver,[231] more crystal, and more warm, glowing wood.[232]
  • A fire simmered[233] or roared,[234] in the dining room, cupped in rose-veined marble.[235]
  • The scent of food and candles in the air.[236]
    • In Naked in Death, Eve muses that "the room, the light, the food, was all more than fine. It was like sitting in another world, in another time."[237]

Kitchen - Level 1Edit

  • Located on on level 1.[238]
    • Eve had to walk through the stretch of the house to get to the kitchen.[239]
  • The kitchen was huge, equipped with a compu-range and a subzero refrigerator.[240]
  • In a huge, sunny atrium off the kitchen[241] was a breakfast nook - a cozy sitting area tucked under a window[242] - with comfortable padded benches.[243]

Summerset's Quarters - Level 1Edit

  • Located on Level 1,[244] just off the kitchen.[245]
  • Consisted of a lovely living area in soft, blending tones of blue and green, pretty trinkets on tables of honey-hued wood, generous giving cushions and an air of welcome. There was a recessed house monitor on the south wall. Four rooms spread out from the living area like ribs of a fan. The first was an office and control centre. Opposite was a kitchen. Two bedrooms faced each other.[246]
  • The bed was big, with an elaborate pewter headboard that twisted into vines and silvery leaves. Numerous paintings were arranged in groupings on the walls.[247]
  • A stone terrace seems to be immediately beyond his living room.[248]
  • Summerset has access via elevator and stair to the rest of the house.[249]

Level 2Edit

Master Bedroom - Level 2Edit

  • Located on Level 2.
    • [From the bedroom] ... she tugged him toward the faux panel that concealed the elevator ... she filled him in on the basics as they traveled up. By the time he'd coded them in to the private room, she was wide awake and revved.[250] When they finished, she was asleep before the elevator finished its descent.[251]
    • Since Roarke's private room is on Level 3, and the bedroom isn't on Level 1, we believe the master bedroom is on Level 2.
  • The bedroom is on a floor between the ground floor and whatever level Eve’s office is on.[252] (Needed?)
  • Wide windows, mirrors, muted colours, flowers and carpet.[253] Sitting area.[254]
  • Sky window over the bed;[255] sitting area below the raised platform where the bed stood.[256] A panel on the far wall opened to reveal a ten-foot video screen.[257]
  • A dressing room with a sofa just off the master bedroom.[258] The sitting area;[259] recessed AutoChef;[260] private elevator.[261]
  • The bed was huge, a lake of midnight blue cupped between high carved wood. It stood on a platform beneath a domed sky window. Across from it was a fireplace of pale green stone.[262]
  • Bedroom sitting area has a sofa, a mini-unit and a wall screen.[263]
  • She jogged up the stairs to the bedroom.[264] Wide bed.[265] Sitting area with a table[266] and a couch.[267] A wall panel concealed a bar.[268]
  • In the sitting area of their bedroom, Roarke scanned the stock reports on the wall screen.[269]
  • Bedroom sitting area[270] with its unit.[271] A panel in the wall hid a wide, recessed bar.[272]
  • Sitting area.[273] AutoChef[274] and a panel that opens to a wine rack.[275] Stairs led to the platform on which the big bed was placed.[276] The window over the bed.[277]
  • The wide bed, with sheets as soft as rose petals, stood on a platform with steps leading up to it.[278] Sitting area.[279]
  • A platform held their bed.[280] The sitting area[281] with a viewing screen,[282] a liquor cabinet[283]
  • Bedroom sitting area[284]
  • A platform held the lake-sized bed and a fire burned in the hearth.[285]
  • The sitting area of the bedroom;[286] the skylight over the bed;[287] from their bedroom windows, Roarke watches her leave – front facing?[288]
  • The platform on which the bed stood;[289] a fire simmered in the hearth; she stared up at the ceiling (skylight?) from the bed;[290]
  • A wall panel hid the bar.[291] the sitting area;[292] fireplace;[293]
  • The bedroom was bigger than her old apartment.[294]
  • The lake-sized bed on the platform.[295] House monitor.[296]
  • Cushy sofas in the sitting room.[297]
  • There was a sky window above the big bed and an in-house ‘link inside a wall panel.[298]
  • Sky window.[299] A deeply recessed window on the far side of the raised platform that held their bed.[300]
  • The sitting area of the bedroom.[301] A platform held the bed; sky window over it.[302]
  • The wide platform where the bed stood.[303] A panel opened to reveal in minifridge behind it.[304] Sky window[305] and sitting area.[306]
  • The big bed wasn’t centered under the sky window.[307]
  • The huge beautiful room with its big bed on the platform.[308]
  • Wall screen, tabletop unit and low table in the bedroom sitting area.[309] The tall windows looked out at the gardens.[310]
  • Ceiling height? The bedroom Christmas tree was ten feet tall. Living room tree was twice as tall - 20 ft high ceiling? (Holiday - reference needed)
  • Spacious bedroom[311] with sky window[312]
  • Sitting area with sofa; the sea of a bed on the platform.[313]
  • The sitting area of the bedroom.[314] The soft gray light slid through the sky window above their bed.[315]
  • She sat on the arm of the sofa in the bedroom.
  • "Roarke asked from where he sat (in their bedroom), scanning the morning financials on the bedroom screen." [316]
  • She stepped onto the platform and sat on the side of the lake-sized bed. ... Roarke found her there...staring out the window." [317]
  • "She stepped toward the seating area, released her weapon harness, and shrugged it off. She was sitting on the arm of the sofa taking off her boots when Roarke came in."[318]


Master BathroomEdit

  • Oversized marble tub,[319] automated bar built into the tiles.[320]
  • A tub the size of a small lake and a recessed screen in the wall.[321] The shower is a glass enclosed tube and has a ‘link recessed in a panel.[322]
  • Crisscrossing jets, tiled walls in the shower.[323]
  • Long glass-walled,[324] and tiled[325] shower.
  • Wavy glass of the shower wall, a screen recessed in the tiles,[326] and criss-crossing sprays.[327]
  • Glass enclosed the multiple jets in the generous shower.[328]

Library - Level 2Edit

  • Located on the second level,[329] the walls were lined with books so that the two-level room positively reeked with them.[330]
  • There’s a desk in the library.[331]
  • The walls of the two level room were lined with books – glossy leather spines marched along the dark mahogany shelves. There were two generous seating areas, more leather in the wood-trimmed deep burgundy sofas and chairs, jewels of colours on glass lamp shades, the sheen of brass, the shine of old wood in cabinets deeply carved by craftsmen from another century. A wide window seat was dressed with thick pillows in tones that picked up the multihues of the lamps. Enormous and ancient rugs with intricate patterns over a red-wine background stretched over the polished chestnut floor. A full-range multitask computer system was hidden behind an antique cabinet, that had doors rich with inlays of lapis and malachite. Everything in view in the room spoke of age and wealth and a taste for both.[332]
  • Faded roses on the antique rug in the library; tall, arched windows that looked out over the vast blooming estate, walls of books that dominated the two-level room.[333]


Drawing Room - Level 2Edit

  • Located on level 2.[334]
  • Mavis' baby shower was held here. It was larger than the downstairs parlour, and boasted double fireplaces with malachite surroundings. Sofas, chairs and pillows were arranged elegantly.[335]


Video Room - Level 2Edit

  • Located on level 2, the fourth door on the right.[336]
  • The room had long, luxurious sofas, enormous wall screens, and a complex control centre. There was a charmingly old-fashioned bar, gleaming cherry with stools of leather and brass. A carved cabinet with a rounded door held countless discs. The polished floor was layered with richly patterned rugs. A blazing fire filled the hearth of black marble. The scent of crackling wood merged with the spice of the fresh flowers spearing out of a copper urn nearly as tall as she and the fragrance of the candles glowing gold on the gleaming mantle.[337]


Lounging Room - Level 2Edit

  • Located on the second level.[338]
  • Furnished with sinfully soft cushions on a mile-long sofa and a huge wall screen.[339]


Guest Rooms - Level 2Edit

  • The guest room on the second floor – one of countless – in which Mick stayed[340] was furnished with a valuable Chippendale bureau and an antique bed covered with an antique Irish lace on silk bed linen.[341]


Level 3Edit

Eve's Office - Level 3Edit

  • Not on Level 1.[342]
    • From her bedroom, Eve thinks about going up to her office.[343] Eve “turned, intending to go her upstairs office” (from the bedroom)[344] Roarke’s office (and hence Eve's) is upstairs from the Master Bedroom.[345]
    • Note: The master bedroom is located on Level 2. If Level 4 is the roof terrace/conservatory, the offices must be on Level 3. (This isn't certain - no reference)
      • On a floor below the bedroom.[346] (YANNI)
  • The floors were wood and smooth, and there was a carpet in slate blue and mossy green. Her battered desk held all her equipment. A frosted glass wall separated a small kitchen area that led to a terrace.[347]
  • A communication board that would allow her to call up any room in the house; an entertainment centre; a hologram screen; a sleep chair; the window overlooked a small, indoor garden.[348]
  • Roarke’s office connected to this office through a west panel.[349]
  • Her office’s design was similar to her old apartment. It had a fully operational kitchen and a view wall on the wall opposite her desk.[350] A light over the door connecting it to Roarke’s office blinked green when he was watching her.
  • Her office suite ... relaxation chair, AutoChef ... adjoining bath ... recessed cabinet for wine.[351]
  • There is a door between her office and Roarke’s and a light over it indicated that he was still in there.[352] Case board in her office.[353] The kitchen off the office[354], with its terrace.[355]
  • A door joined her workspace to his.[356] Wall screen.[357] The light over it blinked red to indicate a locked door.[358]
  • There are a couple of tables and a lamp in the office (that break when Roarke and Webster fight).[359] The office kitchen.[360]
    • According to Webster, Eve’s office is more like her (than the house) – streamlined and practical.[361]
  • Eve’s office is up from level one.[362] It has an adjoining kitchen[363] and a wall screen.[364]
  • Eve’s office – adjoining kitchen.[365] An elevator opens directly into it.[366]
  • The kitchen at the back of her office.[367] Multiple wall screens.[368] Roarke’s adjoining office.[369] A recessed door hid a bar.[370] It was modeled to resemble Eve's old apartment - a trick Roarke had used to lure Eve into moving in.[371]
  • Eve’s sleep chair in her office,[372] the adjoining kitchen,[373] a murder board,[374] Roarke’s adjoining office,[375] wall screens,[376] an office ‘link,[377] an auxiliary unit[378]
  • Eve has an elevator[379] and an auxiliary comp in her office.[380]
  • Roarke’s office adjoined her;[381] the kitchen of her work space;[382] her sleep chair;[383] A wall panel hid a bar.[384]
  • A door connected Eve and Roarke’s offices.[385] Eve’s sleep chair;[386] multiple wall screens;[387] murder board;[388]
  • Connecting offices;[389] attached kitchen;[390]
  • Roarke’s office was connected to Eve’s[391] - a red light over the door indicated that it was locked.[392] The kitchen at the back.[393] Some panels open to a storage closet.[394]
  • Her office has a kitchen, a sleep chair,[395] and a bar behind a wall panel.[396] Adjoining door.[397] Multiple wall screens.[398]
  • His office intersected with hers[399] and the red light above the door indicated that he’d gone into private mode.[400] Her sleep chair.[401]
  • The suite of rooms was connected to Roarke’s office.[402] A dome-topped cabinet held a bar.[403]
  • The sleep chair[404] and kitchen[405] in her home office. From the window, her view was of the long sweep of lawn enclosed by the high stone wall.[406] A little table – where they eat – near her desk.[407]
  • Eve’s office had an adjoining kitchen[408] and opened to Roarke’s office through a connecting door.[409]
  • Eve’s home office sleep chair and kitchen.[410]
  • Roarke’s adjoining office.[411]
  • A door connected their personal offices,[412] another led to her kitchen.[413]
  • A doorway connected their home offices.[414]
  • Inside the kitchen off her office, there is a utility closet where Eve hides her cookies.[415] The door that connected her office with Roarke’s.[416]
  • Contains her sleep chair, a chest with blankets(?) and leads to a kitchen alcove.[417] A mechanism opens the windows.[418] The shades open to a view of New York’s skyline behind the park.[419] The panel between Eve & Roarke’s office slides open.[420]
  • A door joined her office with Roarke’s.[421] Adjoining kitchen.[422]
  • The door that joined her office with Roarke’s.[423] They sat at a table by the window to eat.[424] An auxiliary comp in her office.[425]
  • "Roarke rose to follow her into the kitchen attached to her office."[426] He chose a wine from the rack behind the wall panel.[427]
  • The door to Roarke’s office stood open.[428]
  • "He (Roarke, in Eve's home office) walked over, opened a wall panel and got out the brandy." [429]
  • "He (Roarke) touched the wall panel, and chose a bottle of wine from inside." [430]
  • "It was barely dawn when the door between her office and Roarke's opened."[431]
  • Roarke kept a case with little blue pills in the top drawer of Eve's desk. [432]
    • ”It only took one quick glimpse for her to realize it was hers.”[433]

Roarke's Office - Level 3Edit

  • Located on Level 3, Roarke's office is connected to Eve's. See note above for details on location.
  • Roarke’s office (and hence Eve's) is upstairs from the Master Bedroom.[434] – desk, desklink.[435]
  • The door slid open, revealing an antique desk of gleaming wood and a slick console, floors covered with gorgeous old rugs Roarke had acquired on his travels.[436]
  • Roarke’s office – wide, glossy console, polished floors.[437]
  • Roarke’s office has a side unit.[438] He watches her come home from an office window.[439]
  • During Silent Running, titanium shields lowered on all the windows and doors. The lights took on a red cast. (Relevant?)[440]
  • A section of the wall opened to reveal a small room, hardly bigger than a closet. It held what looked like a high-end drying tube, with clear, rounded sides and a door with no apparent lock. There were no visible controls.[441]
  • Roarke’s home office suited him. The sleek console with colourful controls and lights was an excellent frame for him when he slid in the deep U to work. In addition to the jazzy technology, the faxes and communications, the holo options and screens, there was an elegance to the room. The gorgeous tiles of the floor, the expansive windows clear-treated for privacy, the scattering of art and artifact, the streamlined machines and cabinets that would offer exclusive food or drink at a command.[442]
  • Long black console, several sleek units, wine rack behind office bar.[443] An in-house communication panel in his office.[444]
  • Roarke’s office is equipped with multiple (more than 3, at least) wall screens and a laser fax.[445] The painting of their wedding day that Eve had given him on their anniverary hung on a wall. (p?) A spare bed came out of a panel.[446]
  • An open door joined their offices. Music played through the speakers of his entertainment unit.[447]
  • She turned to the house monitor in Roarke’s office.[448] She went to his AutoChef for coffee.[449]

Weapon room - Level 3Edit

  • Located on the third level,[450] it was a museum of weapons that included guns, knives, swords, and crossbows. Armour was displayed, from medieval ages to the thin, impenetrable vests that were current military issue. Chrome and steel and jeweled handles winked behind glass, shimmered on the walls.[451]
  • A security console and door hidden in a painting of a forest. The door opened to an elevator.[452]
  • The weapon room – a museum of combat. From ancient sharpened points, to silver swords with jeweled hilts, from crude and clumsy muskets that used power and ball to rip steel into flesh, to the sleek, balanced automatics that could wage a storm of steel with a twitch of the finger. Lances, maces that looked like iron balls studded with dragon’s teeth, the long-ranged blasters of the Urban Wars, the razor-thin stiletto and the two-headed axe all held in display cases.[453]
  • Eve had to use the palm plate and key in her code to access the room.[454]
  • Through the tall double doors, was Roarke's private museum of war. Weapons of violence through the ages were displayed, somehow, elegantly. Encased in glass, showcased in beautiful cabinets, gleaming on the walls were guns, knives, lasers, swords, pikes, maces.[455] An elevator was hidden behind a wall panel.[456]
  • It was a room that echoed with violence and the tools men devised to wield against men. Pikes and lances, muskets, the Colts they’d called Peacemakers, and the auto-blasters from the Urban Wars. The tasteful setting with its soaring ceiling and sparkling glass didn’t disguise the grim purpose of each display. Palm print and a code are required to unlock the glass cases.[457]

Roarke's unregistered room - Level 3Edit

  • Located in the east wing, on the third level.[458] (YANNI)
    • However, in Naked in Death, in spite of mentioning that the room is above the library (which is on Level 2[459]), Roarke is said to unlock a door “on the second floor”.[460] (YANNI)
  • Spartan, designed rigidly for work. A wide U-shaped console was unrelievedly black, studded with controls, sliced with slots and screens[461].
  • The long wall facing the console was taken up by six large monitor screens. A second station held a sleek little tele-link, a second laser fax, a hologram send-receive unit and several other pieces of software. The trio of comp stations boasted personal monitors with attached ‘links.[462]
  • The floor was glazed tile, the diamond pattern in muted colours that bled together. The single window looked over the city.[463] (YANNI)
    • A long curve of windows, shielded against sun and flybys, kept the room in shadows.[464] (YANNI)
  • A bed slid out of a panel in the side wall.[465]
  • Roarke’s private room was kept locked.[466]
  • Single, wide window; glassed black tile. Wide U-shaped console in sleek black that commanded all the research, retrieval, communication and data systems. There were comp stations with monitors, a holo unit, a smaller auxiliary station, which now boasted its own mini-holo.[467]
  • Wall panel with a bed.[468] Elevator.[469]
  • In the sealed room of Roarke’s private office, the equipment was state of the art, expensive and unregistered. It had generous privacy-screened windows and a floor of beautiful tile, and a glossy U-shaped console.[470] It has a subunit and wall screens.[471]
  • He’d had the unregistered room built, had added all the security precautions personally,[472] with its privacy screened windows, secured door[473] and glossy U-shaped console.[474] The red light above it blinked to indicate a locked door.[475]
  • Roarke’s private office has a tiled floor and U-shaped console.[476]
  • Roarke’s private office was streamlined and spacious, with a dazzling view of the city through privacy screens. The wide U-shaped console commanded sophisticated and extensive equipment.[477] The controls shimmered or flashed like jewels.[478]
  • In Roarke’s secured office, the privacy screened windows opened to the lights of the city. The slick U-shaped console held the sharpest of cutting-edge equipment. The console flashed on, a sea of jeweled lights and controls. The room also held an AutoChef and an auxiliary computer.[479]
  • The communications room was both expansive and illegal, the equipment accessed from the deep U-shaped sleek black control centre was unregistered.[480] An auxiliary unit was equipped with a jazzy laser fax and hologram unit.[481] A bed slid out of the wall.[482]
  • The room was large, the floor a fancy marble, the walls accented with art – but for one, which was dominated by several screens. A slick U-shaped console held the unregistered computer.[483]
  • A mechanism on the wall brought out a bed.[484]
  • The wide wall of windows was screened against prying walls, but let in the view of New York. The black U-shaped console was slick, and studded with dozens of controls. A fully stocked bar was hidden behind a wall panel.[485]
  • Voice and palm prints needed to be verified before the locks disengaged. The door relocked behind him. Only three people had entry to this room. The room was blocked from the outside by the secured privacy screens on the bank of windows. The slick black control panel formed a wide U.[486]
  • The door to the unregistered room locked automatically and could only be opened with the palm and voice prints of those authorized.[487] A mechanism had a bed sliding out of the wall.[488]
  • Identification through the handplate was required for access to the elaborate, unlicensed and illegal equipment on the U-shaped console. Wall screens across the room.[489]
  • Roarke’s private office “was full of light, the wide windows uncovered. ... No surveillance device could penetrate the privacy screens on them.” The wide black U of the control console looked a bit futuristic to her, just as the man who piloted it could remind her of a pirate at the helm of a spaceship. Lights flashed on that glossy black like jewels.[490] Eve worked on one of the substations.[491]
  • "She (Eve) made her way to Roarke's private office, used the palm pad and voice recognition to enter. He (Roarke) sat behind the U-shaped console with the jewel-tone buttons and controls winking over the slick black surface. The privacy screens shielded the windows and let the evening sunlight filter into the room in a pale gold wash. A small table stood by those windows, set with silver domed plates, an open bottle of wine, the sparkle of crystal. ... (Roarke) commanded keyboard and touch screens with rapid movements."[492] "Using an auxiliary computer, Eve initiated her own search..."[493] "He (Roarke) circled her (Eve), reaching out to press a control on his console. The bed slid out of the panel in the wall."[494]
    • It reminded Eve of some sort of futuristic spacecraft.[495]


Meeting Room - Level 3Edit

  • Located on Level 3.[496]
  • Roarke used this room for holo conferences when they were too big to fit into his office. There was a glossy conference table in the centre of the room, with two seating areas on either end. A long gleaming bar rode one wall, backed with sparkling mirrors. On its opposite was a data and communication centre.[497]
  • Behind the mirrors was an adjoining observation room from where complete audio and video surveillance was possible. The spacious sitting room was all muted colours and relaxation, with glass doors that opened onto one of the many terraces, and an entertainment screen that spread out on the connecting wall.[498]



Lounging Room Four - Level 3Edit

  • Located on level 3, in the south wing, it's where Eve sets up the surprise dinner for Roarke.[499]
  • Wide curved window;[500] a glass-domed observation balcony;[501] a panel on the side wall opened to reveal a bed heaped with pillows, a small, carved table beside it.[502]


Miscellaneous - Level 3Edit

  • Peabody’s temporary office down the hall from Eve’s was a small and elegant sitting room off a sweeping guest bedroom. It was equipped with a tidy little communication and information centre and a mini AutoChef, had original pen-and-ink drawings on the walls, a hand-knotted rug and deep silver cushions spread over an S-shaped settee.[503]
  • Guest room on the third floor where Sam and Phoebe Peabody were staying.[504]
  • Summerset puts Mavis and Leonardo in the blue guest room on the third floor.[505] Li Morris stays in the blue suite on the third floor.[506]
  • A sitting room near Eve's office.[507]
  • The bedroom Nixie stayed in is on the same floor as Eve’s office, down the corridor, after a turn. It “was washed by soft light. The bed was a four-poster with a mountain of pillows and a lacy white spread. Someone- Summerset, she imagined-had placed yellow flowers, cheerful and bright, on a table by the window.” An elevator on the far wall opened into the room and a mini-Autochef sat behind a wall panel.[508] A house scanner.[509]


Roof and TerracesEdit

  • A terrace – at ground level – just off the lawns.[510] (Possibly the one leading from the parlour?)
  • The back patio – butterflies with wings of bold orange and black massed like a fanciful army on the purple spires of a bush that fountained just beyond the west corner of the stone patio. Tables were laid out in the space.[511]
  • The rear patio just off the kitchen.[512]
  • "The wide stone terrace held tables already loaded with food and shaded by umbrellas, and the gardens exploded with color and scent. The monster grill Roarke had conquered – mostly - looked formidable.."[513]
  • They sat at a white-draped table, with candles flickering prettily against the late summer evening[514] on the terrace on the main level, rear, section two,[515]
  • Garden terrace off the parlour (Level 1) – constructed of stones of various shapes, sizes and tones. There were two glass and iron tables set among pots where flowers flooded or dwarf trees speared. The evening sun spilled through a trellis wild with vines and vivid blue blossoms.[516]
  • Side terrace through the parlour.[517]
  • West terrace, first level.[518]
  • The roof terrace[519] where Mavis' party was held was just “down the wide corridor from the library”,[520] and on a floor below Eve’s office.[521] It has a roof that can be opened if the weather is right[522] and wide double doors.[523]
  • The domed roof garden was decorated with dwarf trees, lush blooms that speared and spilled out of pots, a fountain that gurgled in a pool where exotic fish flashed like wet jewels. The wall that circled this section of the roof was carved with winged fairies.[524] A long padded chaise[525] and table/chairs.[526] (Same as above?)
  • The rooftop terrace with its little pool and sweeping view of the city.[527] (Same as the two above?)
  • The elevator opened on roof terrace with its glass dome, stone rail and padded chaise.[528]

Solarium/ConservatoryEdit

  • The solarium at the top of the house with its potted trees, musical fountain, and glass wall that looked out at New York.[529]
  • The conservatory was at the top of the house - the lights of the city twinkled and and gleamed beyond black glass, and a cheerful fire crackled away.[530]
    • The solarium was on a lower level[531] (than her bedroom - not definitely on the lower level). [532] (YANNI?)
  • The solarium with its exotic plants and trees, the sparkling waterfalls, and chattering birds; a curved glass wall that looked out at New York.[533] There was a lush indoor lagoon just off the solarium, with a stone seat[534] and jets that made the water bubble and spew[535].
  • The lagoon – dark water walled in genuine stone - was framed with fragrant flowers.[536] Under an arbour of wildly blooming wisteria was a long padded bench.[537]


UnknownEdit

The locations of these rooms are, as yet, undetermined; either because there have been too few details provided to accurately determine their locations, the pertinent details have not been recorded, or because the rooms seem to appear on more than one floor in the series. Once a determination has been reached, these rooms will move to their correct location.



Holo-RoomEdit

  • The Holoroom was a large, empty room, with stark black mirrored walls.[538]
  • Holo-room.[539]
  • The holo-room was a large clean space of mirrored black.[540]
  • The holo-room was a large, empty space.[541]
  • The blank square of the holo-room.[542]


E-lab/Computer RoomEdit

  • The e-lab – the floor was a steel gray tile. The walls were a pale green and covered with screens. The light came from half a dozen sky windows, all tinted to cut the glare and heat. There were a full dozen data and communication centers, three VR stations, a sim tube, a holo unit, a global and interstellar search-and-scan navigator, and a full-sized cooler.[543] Adjoining room from where the room could be monitored.
  • The computer lab was equipped with several computer units and wall screens.[544] (I really want to say the comp lab is on a floor below the bedroom – “We rode up in the elevator like this”[545] - but I think that might be too nitpicky. Sadly. It is, however, on the way from the bedroom to her office – not that that clears anything up.)
  • Computer lab was equipped with several workstations, work counters and computers.[546]
  • The computer lab was furnished with several units.[547]
  • The e-lab was equipped with multiple units and wall screens.[548]
  • Several units and chairs with wheels in the computer room.[549]


Naked in DeathEdit

  • The music rooms in the next wing from the weapon room.[550]


Glory in DeathEdit

  • The music room;[551] a dome-ceilinged reception room with glossy floors, mirrored walls, sparkling lights and an adjoining terrace.[552]
  • The suite Mavis stayed over in had a lapis lazuli fireplace, a domed ceiling she could look through, a ten-foot video screen hidden behind a wall panel, and a lake-sized bed with silver air cushions and a padded headboard that held buttons to control various features of the room (drawing a bath, opening the screen panel).[553]


Ceremony in DeathEdit

  • Small (lesser, according to Summerset) parlour where Jamie was kept – statutory, sofa.[554]


Vengeance in DeathEdit

  • She took the stairs [to his office, from the bedroom] winding her way through the wide halls in the big, beautiful house.[555]


Holiday in DeathEdit

  • The ballroom upstairs (from their offices)[556] has floor-to-ceiling windows.[557]


Judgment in DeathEdit

  • The bedroom that Peabody and McNab bunked in has a gel bed.[558]
  • Lounging room – soft colours; gracious lines of furniture in wood and glass; a Monet;[559] a wide band of windows that looked out on the gardens[560]


Seduction in DeathEdit

  • The den - there was a pool table, an old-fashioned bar, view screens on opposing walls, and deep leather sofas and chairs the colour of good red wine. The art on the remaining walls were nudes, classy nudes – long, streamlined female bodies that looked somehow foreign and refined. There were acres of wood, the smell of leather and tobacco.[561]
    • ”It was, McNab thought, a real guy room.”[562]



Reunion in DeathEdit

  • There’s a greenhouse.[563]


Purity in DeathEdit

  • Room Baxter is using as a office.[564]
  • The bedroom Jamie is bunking in.[565]
  • The bedroom McNab and Peabody stay in.[566]


Imitation in DeathEdit

  • The family media room was up from the foyer and to the east. It was intimate – deep colours, cushy seats. Two screens – one for vids, one for games. And the complex and complicated sound system that could play anything from the old-fashioned clunky vinyl records Roarke liked to fiddle with on occasion to the minute sound sticks.[567]
  • The main media room was for parties and events. It could fit more than a hundred people in plush chairs and offered a wall screen as wide as a theater's.[568]


Visions in DeathEdit

  • Peabody bunked in her favorite guest room[569] - don’t know if that’s the one with the gel bed, though.


Memory in DeathEdit


Strangers in DeathEdit

  • A quiet and beautiful sitting room – above level 1.[572] A banquet of blooming plants charmed a trio of windows. A pair of curved settees in muted stripes faced each other across a slim, glossy table. A panel opened to reveal a wine fridge.[573]


Promises in DeathEdit

  • The little nursery, built for Belle when she visits.[574]


Kindred in DeathEdit


ReferencesEdit

  1. Naked in Death (ISBN 0-425-14829-7), p. 19
  2. Naked in Death (ISBN 0-425-14829-7), p. 142
  3. Origin in Death (ISBN 0-7499-3589-9), p. 177
  4. Promises in Death (ISBN 978-0-399-15548-2), p. 216
  5. Ceremony in Death (ISBN 0-7499-3412-3), p. 109
  6. Betrayal in Death (ISBN 0-425-17857-9), p. 307
  7. Innocent in Death (ISBN 0-7499-3741-6), p. 105
  8. Kindred in Death (ISBN 978-0-399-15595-6), p. 92
  9. Origin in Death (ISBN 0-7499-3589-9), p. 63
  10. Witness in Death (ISBN 0-425-17363-1), p. 68
  11. Survivor in Death (ISBN 0-7499-3552-9), p. 42
  12. Kindred in Death (ISBN 978-0-7499-2899-5), p. 11
  13. Survivor in Death (ISBN 0-425-20418-9), p. 16
  14. Rapture in Death (ISBN 0-74993411-5), p. 94
  15. Ceremony in Death (ISBN 0-7499-3412-3), p. 145
  16. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 151
  17. Imitation in Death (ISBN 0-7499-3443-3), p. 190
  18. Seduction in Death (ISBN 0-425-18146-4), p. 54
  19. Naked in Death (ISBN 0-425-14829-7), pp. 71, 73
  20. Glory in Death (ISBN 0-425-15098-4), p. 155
  21. Glory in Death (ISBN 0-425-15098-4), p. 24
  22. Immortal in Death (ISBN 0-425-15378-9), p. 83
  23. Judgment in Death (ISBN 978-0-7499-3437-8), p. 36
  24. >Naked in Death (ISBN 978-0-7499-3406-4), p. 67; Rapture in Death (ISBN 0-74993411-5), p. 41; Portrait in Death (ISBN 978-0-7499-3442-2), p. 7; Remember When (ISBN 978-0-7499-3452-1), p. 250
  25. Seduction in Death (ISBN 0-425-18146-4), p. 119
  26. Ceremony in Death (ISBN 0-7499-3412-3), p. 109
  27. Treachery in Death (ISBN 978-0-7499-5385-0), p. 233
  28. Rapture in Death (ISBN 0-74993411-5), p. 41
  29. Rapture in Death (ISBN 0-74993411-5), p. 89
  30. Glory in Death (ISBN 0-7499-3407-7), p. 16
  31. Ceremony in Death (ISBN 0-7499-3412-3), p. 82
  32. Promises in Death (ISBN 978-0-399-15548-2), p. 65
  33. Purity in Death (ISBN 978-0-7531-8299-7), p. 101
  34. Purity in Death (ISBN 978-0-7531-8299-7), p. 23
  35. Purity in Death (ISBN 978-0-7531-8299-7), p. 102
  36. Judgment in Death (ISBN 978-0-7499-3437-8), p. 35
  37. Judgment in Death (ISBN 978-0-7499-3437-8), p. 36
  38. Judgment in Death (ISBN 978-0-7499-3437-8), p. 39
  39. Reunion in Death (ISBN 978-0-7499-3440-8), p. 173
  40. Portrait in Death (ISBN 978-0-7499-3442-2), p. 50
  41. Portrait in Death (ISBN 978-0-7499-3442-2), p. 195
  42. Portrait in Death (ISBN 978-0-7499-3442-2), pp. 197, 198
  43. Visions in Death (ISBN 978-0-7499-3499-6), p. 68
  44. Origin in Death (ISBN 0-7499-3589-9), p. 56
  45. Memory in Death (ISBN 0-7499-3685-1), p. 19
  46. Innocent in Death (ISBN 0-7499-3741-6), p. 105
  47. Strangers in Death (ISBN 978-0-7499-3883-3), p. 54
  48. Salvation in Death (ISBN 978-0-7499-0890-4), p. 42
  49. Promises in Death (ISBN 978-0-7499-2896-4), p. 65
  50. Kindred in Death (ISBN 978-0-7499-2899-5), p. 92
  51. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 95
  52. Vengeance in Death (ISBN 978-0-7499-3413-2), p. 98
  53. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 151
  54. Remember When (ISBN 978-0-7499-3452-1), p. 251
  55. Divided in Death (ISBN 978-0-7499-3506-1), p. 206
  56. Conspiracy in Death (ISBN 0-425-16813-1), p. 49
  57. Seduction in Death (ISBN 0-425-18146-4), p. 52
  58. Immortal in Death (ISBN 0-7499-3408-5), p. 197
  59. Survivor in Death (ISBN 0-7499-3552-9), p. 153
  60. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 80
  61. Treachery in Death (ISBN 978-0-7499-5385-0), p. 212
  62. Possession in Death (ISBN 978-0-515-14867-1), p. 6
  63. Naked in Death (ISBN 978-0-7499-3406-4), p. 67
  64. Visions in Death (ISBN 978-0-7499-3499-6), p. 68
  65. Witness in Death (ISBN 0-425-17363-1), p. 68
  66. Portrait in Death (ISBN 978-0-7499-3442-2), p. 50
  67. Imitation in Death (ISBN 0-7499-3443-3), p. 42
  68. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 152
  69. Naked in Death (ISBN 978-0-7499-3406-4), p. 67
  70. Glory in Death (ISBN 0-7499-3407-7), p. 16
  71. Naked in Death (ISBN 978-0-7499-3406-4), p. 67
  72. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 98; Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  73. Rapture in Death (ISBN 0-74993411-5), p. 41; Vengeance in Death(ISBN 978-0-7499-3413-2), p. 98
  74. Innocent in Death (ISBN 0-7499-3741-6), p. 105
  75. Holiday in Death (ISBN 978-0-7499-3416-3), p. 27
  76. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15
  77. Imitation in Death (ISBN 0-7499-3443-3), p. 42
  78. Naked in Death (ISBN 978-0-7499-3406-4), p. 67; Innocent in Death (ISBN 0-7499-3741-6), p. 105
  79. Promises in Death (ISBN 978-0-399-15548-2), p. 65
  80. Glory in Death (ISBN 0-7499-3407-7), p. 16
  81. Survivor in Death (ISBN 0-7499-3584-7), p. 22
  82. Immortal in Death (ISBN 0-7499-3408-5), p. 197; Promises in Death (ISBN 978-0-399-15548-2), p. 65
  83. Portrait in Death (ISBN 978-0-7499-3442-2), p. 50
  84. Glory in Death (ISBN 0-7499-3407-7), p. 17; Seduction in Death (ISBN 0-425-18146-4), p. 53
  85. Naked in Death (ISBN 978-0-7499-3406-4), p. 67
  86. Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  87. Judgment in Death (ISBN 978-0-7499-3437-8), pp. 35, 36
  88. Glory in Death (ISBN 0-7499-3407-7), p. 16
  89. Remember When (ISBN 978-0-7499-3452-1), p. 250
  90. Naked in Death (ISBN 978-0-7499-3406-4), p. 67; Holiday in Death (ISBN 978-0-7499-3416-3), p. 27; Origin in Death (ISBN 0-7499-3589-9), p. 56; Memory in Death (ISBN 0-7499-3685-1), p. 152; Creation in Death (ISBN 978-0-7499-3844-4), p. 77; Treachery in Death (ISBN 978-0-7499-5385-0), p. 25
  91. Innocent in Death (ISBN 0-7499-3741-6), p. 105; Treachery in Death (ISBN 978-0-7499-5385-0), p. 25
  92. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 80
  93. Holiday in Death (ISBN 978-0-7499-3416-3), p. 27
  94. Promises in Death (ISBN 978-0-399-15548-2), p. 65
  95. Naked in Death (ISBN 978-0-7499-3406-4), p. 67
  96. Purity in Death (ISBN 978-0-7531-8299-7), p. 23
  97. Remember When (ISBN 978-0-7499-3452-1), p. 250; Creation in Death (ISBN 978-0-7499-3844-4), p. 77
  98. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 98; Innocent in Death (ISBN 0-7499-3741-6), p. 105; Promises in Death (ISBN 978-0-399-15548-2), p. 65
  99. Innocent in Death (ISBN 0-7499-3741-6), p. 105
  100. Judgment in Death (ISBN 978-0-7499-3437-8), pp. 35, 36; Survivor in Death (ISBN 0-7499-3584-7), p. 22; Origin in Death (ISBN 0-7499-3589-9), p. 56; Born in Death (ISBN 0-7499-3680-0), p. 10
  101. Origin in Death (ISBN 0-7499-3589-9), p. 56
  102. Immortal in Death (ISBN 0-7499-3408-5), p. 197; Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15; Indulgence in Death (ISBN 978-0-7499-5268-6), p. 80; Treachery in Death (ISBN 978-0-7499-5385-0), p. 25
  103. Witness in Death (ISBN 0-425-17363-1), p. 68; Indulgence in Death (ISBN 978-0-7499-5268-6), p. 80
  104. Immortal in Death (ISBN 0-7499-3408-5), p. 197; Survivor in Death (ISBN 0-7499-3584-7), p. 22
  105. Remember When (ISBN 978-0-7499-3452-1), p. 250; Origin in Death (ISBN 0-7499-3589-9), p. 56
  106. Origin in Death (ISBN 0-7499-3589-9), p. 56
  107. Purity in Death (ISBN 978-0-7531-8299-7), p. 23
  108. Midnight in Death (ISBN 978-0-425-21971-3), p. 128; Memory in Death (ISBN 0-7499-3685-1), p. 20
  109. Memory in Death (ISBN 0-7499-3685-1), p. 20
  110. Memory in Death (ISBN 0-7499-3685-1), p. 152; Creation in Death (ISBN 978-0-7499-3844-4), p. 240]
  111. Promises in Death (ISBN 978-0-7499-2896-4), p. 65
  112. Vengeance in Death (ISBN 978-0-7499-3413-2), pp. 258, 259
  113. Holiday in Death (ISBN 978-0-7499-3416-3), p. 6
  114. Purity in Death (ISBN 978-0-7531-8299-7), p. 100
  115. Immortal in Death (ISBN 0-7499-3408-5), p. 141
  116. Immortal in Death (ISBN 0-7499-3408-5), p. 141
  117. Judgment in Death (ISBN 978-0-7499-3437-8), p. 227
  118. Salvation in Death (ISBN 978-0-7499-0890-4), p. 98
  119. Memory in Death (ISBN 0-7499-3685-1), p. 53; Innocent in Death (ISBN 0-7499-3741-6), p. 245
  120. Holiday in Death (ISBN 978-0-7499-3416-3), p. 209; Origin in Death (ISBN 0-7499-3589-9), p. 180; Creation in Death (ISBN 978-0-7499-3844-4), p. 96; Strangers in Death (ISBN 978-0-7499-3883-3), p. 194
  121. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 20
  122. Immortal in Death (ISBN 0-7499-3408-5), p. 142; Origin in Death (ISBN 0-7499-3589-9), p. 180; Strangers in Death (ISBN 978-0-7499-3883-3), p. 194
  123. Reunion in Death (ISBN 978-0-7499-3440-8), p. 62
  124. Creation in Death (ISBN 978-0-7499-3844-4), p. 96
  125. Betrayal in Death (ISBN 0-425-17857-9), p. 304
  126. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 20; Betrayal in Death (ISBN 0-425-17857-9), p. 304
  127. Strangers in Death (ISBN 978-0-7499-3883-3), p. 194
  128. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 22
  129. Reunion in Death (ISBN 978-0-7499-3440-8), p. 62
  130. Immortal in Death (ISBN 0-7499-3408-5), p. 141; Vengeance in Death(ISBN 978-0-7499-3413-2), p. 20
  131. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 20
  132. Vengeance in Death(ISBN 978-0-7499-3413-2), pp. 20, 22
  133. Creation in Death (ISBN 978-0-7499-3844-4), p. 96
  134. Conspiracy in Death (ISBN 0-425-16813-1), p. 179
  135. Salvation in Death (ISBN 978-0-7499-0890-4), p. 99
  136. Ceremony in Death (ISBN 0-7499-3412-3), p. 185; Vengeance in Death(ISBN 978-0-7499-3413-2), p. 18
  137. Immortal in Death (ISBN 0-7499-3408-5), p. 141; Vengeance in Death(ISBN 978-0-7499-3413-2), p. 19
  138. Immortal in Death (ISBN 0-7499-3408-5), pp. 141, 142
  139. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 19; Memory in Death (ISBN 0-7499-3685-1), p. 53
  140. Immortal in Death (ISBN 0-7499-3408-5), p. 149
  141. Origin in Death (ISBN 0-7499-3589-9), p. 179
  142. Origin in Death (ISBN 0-7499-3589-9), pp. 69, 179
  143. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 57
  144. Naked in Death (ISBN 978-0-7499-3406-4), p. 142; Loyalty in Death (ISBN 978-0-7499-3418-7), p. 57
  145. Naked in Death (ISBN 978-0-7499-3406-4), p. 142
  146. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 57
  147. Naked in Death (ISBN 978-0-7499-3406-4), p. 142
  148. Glory in Death (ISBN 0-7499-3407-7), p. 165
  149. Witness in Death (ISBN 0-425-17363-1), p. 69
  150. Witness in Death (ISBN 0-425-17363-1), p. 69
  151. Survivor in Death (ISBN 0-7499-3552-9), p. 157
  152. Survivor in Death (ISBN 0-7499-3552-9), p. 157
  153. Memory in Death (ISBN 0-7499-3685-1), p. 254
  154. Witness in Death (ISBN 0-425-17363-1), p. 69
  155. Ceremony in Death (ISBN 0-7499-3412-3), p. 7; Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15
  156. Strangers in Death (ISBN 978-0-7499-3883-3), p. 54
  157. Innocent in Death (ISBN 0-7499-3741-6), p. 105
  158. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15; Seduction in Death (ISBN 0-425-18146-4), p. 53
  159. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15
  160. Possession in Death (ISBN 978-0-515-14867-1), p. 6
  161. Judgment in Death (ISBN 978-0-7499-3437-8), p. 36
  162. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 80
  163. Survivor in Death (ISBN 0-7499-3552-9), p. 337
  164. Conspiracy in Death (ISBN 0-425-16813-1), p. 6
  165. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 98
  166. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15; Judgment in Death (ISBN 978-0-7499-3437-8), p. 36
  167. Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  168. Conspiracy in Death (ISBN 0-425-16813-1), p. 111
  169. Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  170. Conspiracy in Death (ISBN 0-425-16813-1), p. 6; Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15
  171. Conspiracy in Death (ISBN 0-425-16813-1), p. 6; Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  172. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15
  173. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 98
  174. Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  175. Conspiracy in Death (ISBN 0-425-16813-1), p. 6
  176. Judgment in Death (ISBN 978-0-7499-3437-8), p. 36
  177. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 15
  178. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 80
  179. Witness in Death (ISBN 0-425-17363-1), p. 68
  180. Midnight in Death (ISBN 978-0-425-21971-3), p. 128
  181. Purity in Death (ISBN 978-0-7531-8299-7), p. 23
  182. Judgment in Death (ISBN 978-0-7499-3437-8), pp. 35, 36
  183. Ceremony in Death (ISBN 0-7499-3412-3), p. 118
  184. Naked in Death (ISBN 978-0-7499-3406-4), p. 68
  185. Naked in Death (ISBN 978-0-7499-3406-4), p. 68
  186. Naked in Death (ISBN 978-0-7499-3406-4), p. 68; Portrait in Death (ISBN 978-0-7499-3442-2), p. 175
  187. Naked in Death (ISBN 978-0-7499-3406-4), p. 68
  188. Conspiracy in Death (ISBN 0-425-16813-1), pp. 111, 163
  189. Holiday in Death (ISBN 978-0-7499-3416-3), p. 55
  190. Naked in Death (ISBN 978-0-7499-3406-4), p. 68
  191. Naked in Death (ISBN 978-0-7499-3406-4), p. 68; Vengeance in Death (ISBN 978-0-7499-3413-2), p. 14
  192. Seduction in Death (ISBN 0-425-18146-4), p. 53
  193. Origin in Death (ISBN 0-7499-3589-9), p. 57
  194. Survivor in Death (ISBN 0-7499-3552-9), p. 138; Origin in Death (ISBN 0-7499-3589-9), p. 252
  195. Immortal in Death (ISBN 0-7499-3408-5), p. 141
  196. Imitation in Death (ISBN 0-7499-3443-3), p. 192
  197. Rapture in Death (ISBN 0-74993411-5), p. 41
  198. Rapture in Death (ISBN 0-74993411-5), p. 42
  199. Reunion in Death (ISBN 978-0-7499-3440-8), p. 126
  200. Judgment in Death (ISBN 978-0-7499-3437-8), p. 317
  201. Rapture in Death (ISBN 0-74993411-5), p. 140
  202. Immortal in Death (ISBN 0-7499-3408-5), p. 141
  203. Promises in Death (ISBN 978-0-7499-2896-4), p. 66
  204. Promises in Death (ISBN 978-0-7499-2896-4), p. 66; Origin in Death (ISBN 0-7499-3589-9), p. 300
  205. Witness in Death (ISBN 0-425-17363-1), p. 145; Portrait in Death (ISBN 978-0-7499-3442-2), p. 50
  206. Betrayal in Death (ISBN 0-425-17857-9), p. 77
  207. Remember When (ISBN 978-0-7499-3452-1), p. 251
  208. Naked in Death (ISBN 978-0-7499-3406-4), p. 69
  209. Origin in Death (ISBN 0-7499-3589-9), p. 300
  210. Remember When (ISBN 978-0-7499-3452-1), p. 251
  211. Naked in Death (ISBN 978-0-7499-3406-4), p. 69
  212. Origin in Death (ISBN 0-7499-3589-9), pp. 104, 178
  213. Witness in Death (ISBN 0-425-17363-1), p. 145
  214. Innocent in Death (ISBN 0-7499-3741-6), p. 107
  215. Seduction in Death (ISBN 0-425-18146-4), p. 332; Innocent in Death (ISBN 0-7499-3741-6), p. 107
  216. Naked in Death (ISBN 978-0-7499-3406-4), p. 69; Seduction in Death (ISBN 0-425-18146-4), p. 332 Treachery in Death (ISBN 978-0-7499-5385-0), p. 39
  217. Vengeance in Death(ISBN 978-0-7499-3413-2), pp. 15, 16
  218. Naked in Death (ISBN 978-0-7499-3406-4), p. 69
  219. Midnight in Death (ISBN 978-0-425-21971-3), p. 129; Betrayal in Death (ISBN 0-425-17857-9), p. 78; Origin in Death (ISBN 0-7499-3589-9), p. 300; Memory in Death (ISBN 0-7499-3685-1), pp. 50, 243; Promises in Death (ISBN 978-0-7499-2896-4), p. 218
  220. Innocent in Death (ISBN 0-7499-3741-6), p. 107
  221. Immortal in Death (ISBN 0-7499-3408-5), p. 141
  222. Survivor in Death (ISBN 0-7499-3584-7), p. 41
  223. Innocent in Death (ISBN 0-7499-3741-6), p. 107
  224. Purity in Death (ISBN 978-0-7531-8299-7), p. 224
  225. Midnight in Death (ISBN 978-0-425-21971-3), p. 129
  226. Reunion in Death (ISBN 978-0-7499-3440-8), p. 29
  227. Reunion in Death (ISBN 978-0-7499-3440-8), p. 25
  228. Reunion in Death (ISBN 978-0-7499-3440-8), p. 29
  229. Naked in Death (ISBN 978-0-7499-3406-4), p. 74
  230. Survivor in Death (ISBN 0-7499-3552-9), p. 82; Origin in Death (ISBN 0-7499-3589-9), p. 110
  231. Origin in Death (ISBN 0-7499-3589-9), p. 110
  232. Naked in Death (ISBN 978-0-7499-3406-4), p. 71; Origin in Death (ISBN 0-7499-3589-9), p. 110
  233. Survivor in Death (ISBN 0-7499-3552-9), p. 82
  234. Origin in Death (ISBN 0-7499-3589-9), p.109; Creation in Death (ISBN 978-0-7499-3844-4), p. 165
  235. Naked in Death (ISBN 978-0-7499-3406-4), p. 71
  236. Survivor in Death (ISBN 0-7499-3552-9), p. 82
  237. Naked in Death (ISBN 978-0-7499-3406-4), p. 73
  238. Conspiracy in Death (ISBN 0-425-16813-1), p. 54
  239. Imitation in Death (ISBN 0-7499-3443-3), p. 162
  240. Ceremony in Death (ISBN 0-7499-3412-3), pp. 118, 119
  241. Immortal in Death (ISBN 0-7499-3408-5), p. 104
  242. Conspiracy in Death (ISBN 0-425-16813-1), p. 54
  243. Immortal in Death (ISBN 0-7499-3408-5), p. 104; Ceremony in Death (ISBN 0-7499-3412-3), pp. 118, 119
  244. Portrait in Death (ISBN 978-0-7499-3442-2), p. 91
  245. Portrait in Death (ISBN 978-0-7499-3442-2), p. 86
  246. Vengeance in Death (ISBN 978-0-7499-3413-2), p. 308
  247. Vengeance in Death (ISBN 978-0-7499-3413-2), p. 309
  248. Portrait in Death (ISBN 978-0-7499-3442-2), p. 195
  249. Portrait in Death (ISBN 978-0-7499-3442-2), p. 86
  250. Immortal in Death (ISBN 0-425-15378-9), p. 37
  251. Immortal in Death (ISBN 0-425-15378-9), p. 41
  252. Born in Death (ISBN 0-7499-3680-0), p. 52
  253. Naked in Death (ISBN 978-0-7499-3406-4), p. 154
  254. Naked in Death (ISBN 978-0-7499-3406-4), p. 162
  255. Glory in Death (ISBN 0-7499-3407-7), p. 23
  256. Glory in Death (ISBN 0-7499-3407-7), p. 25
  257. Glory in Death (ISBN 0-7499-3407-7), p. 166
  258. Rapture in Death (ISBN 0-74993411-5), p. 126
  259. Rapture in Death (ISBN 0-74993411-5), p. 148
  260. Rapture in Death (ISBN 0-74993411-5), p. 175
  261. Rapture in Death (ISBN 0-74993411-5), p. 180
  262. Naked in Death (ISBN 978-0-7499-3406-4), p. 154
  263. Purity in Death (ISBN 978-0-7531-8299-7), p. 414
  264. Judgment in Death (ISBN 978-0-7499-3437-8), p. 92
  265. Judgment in Death (ISBN 978-0-7499-3437-8), p. 46
  266. Judgment in Death (ISBN 978-0-7499-3437-8), p. 50
  267. Judgment in Death (ISBN 978-0-7499-3437-8), p. 96
  268. Judgment in Death (ISBN 978-0-7499-3437-8), p. 98
  269. Reunion in Death (ISBN 978-0-7499-3440-8), p. 3
  270. Portrait in Death (ISBN 978-0-7499-3442-2), pp. 4, 60
  271. Portrait in Death (ISBN 978-0-7499-3442-2), p. 191
  272. Portrait in Death (ISBN 978-0-7499-3442-2), p. 182
  273. Visions in Death (ISBN 978-0-7499-3499-6), pp. 23, 25, 69
  274. Visions in Death (ISBN 978-0-7499-3499-6), pp. 24, 74
  275. Visions in Death (ISBN 978-0-7499-3499-6), p. 77
  276. Visions in Death (ISBN 978-0-7499-3499-6), p. 69
  277. Visions in Death (ISBN 978-0-7499-3499-6), p. 76
  278. Origin in Death (ISBN 0-7499-3589-9), pp. 59, 280
  279. Origin in Death (ISBN 0-7499-3589-9), p. 71
  280. Memory in Death (ISBN 0-7499-3685-1), p. 21
  281. Memory in Death (ISBN 0-7499-3685-1), pp. 20, 174
  282. Memory in Death (ISBN 0-7499-3685-1), p. 174
  283. Memory in Death (ISBN 0-7499-3685-1), p. 156
  284. Born in Death (ISBN 0-7499-3680-0), pp. 59, 106
  285. Strangers in Death (ISBN 978-0-7499-3883-3), p. 68
  286. Innocent in Death (ISBN 0-7499-3741-6), p. 121
  287. Innocent in Death (ISBN 0-7499-3741-6), p. 186
  288. Innocent in Death (ISBN 0-7499-3741-6), p. 195
  289. Creation in Death (ISBN 978-0-7499-3844-4), p. 78
  290. Creation in Death (ISBN 978-0-7499-3844-4), p. 80
  291. Salvation in Death (ISBN 978-0-7499-0890-4), p. 99
  292. Salvation in Death (ISBN 978-0-7499-0890-4), p. 105
  293. Salvation in Death (ISBN 978-0-7499-0890-4), p. 224
  294. Kindred in Death (ISBN 978-0-7499-2899-5), p. 4
  295. Kindred in Death (ISBN 978-0-7499-2899-5), p. 3
  296. Kindred in Death (ISBN 978-0-7499-2899-5), p. 113
  297. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 209
  298. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 18
  299. Holiday in Death (ISBN 978-0-7499-3416-3), p. 32
  300. Holiday in Death (ISBN 978-0-7499-3416-3), p. 101
  301. Remember When (ISBN 978-0-7499-3452-1), p. 327
  302. Remember When (ISBN 978-0-7499-3452-1), p. 374
  303. Divided in Death (ISBN 978-0-7499-3506-1), p. 7
  304. Divided in Death (ISBN 978-0-7499-3506-1), p. 188
  305. Divided in Death (ISBN 978-0-7499-3506-1), p. 287
  306. Divided in Death (ISBN 978-0-7499-3506-1), p. 291
  307. Conspiracy in Death (ISBN 0-425-16813-1), p. 179
  308. Seduction in Death (ISBN 0-425-18146-4), pp. 3-4
  309. Betrayal in Death (ISBN 0-425-17857-9), pp. 85, 147
  310. Betrayal in Death (ISBN 0-425-17857-9), p. 145
  311. Immortal in Death (ISBN 0-7499-3408-5), p. 2
  312. Immortal in Death (ISBN 0-7499-3408-5), pp. 21, 235
  313. Survivor in Death (ISBN 0-7499-3552-9), p. 92
  314. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 84
  315. Indulgence in Death (ISBN 978-0-7499-5268-6), pp. 198, 199
  316. Eternity in Death (ISBN 978-0-515-14367-6), p. 25
  317. Possession in Death (ISBN 978-0-515-14867-1), p. 7
  318. Midnight in Death (ISBN 978-0-425-21971-3), p. 157
  319. Glory in Death (ISBN 0-7499-3407-7), p. 17
  320. Glory in Death (ISBN 0-7499-3407-7), p. 18
  321. Rapture in Death (ISBN 0-74993411-5), p. 144
  322. Rapture in Death (ISBN 0-74993411-5), p. 192
  323. Purity in Death (ISBN 978-0-7531-8299-7), p. 136
  324. Judgment in Death (ISBN 978-0-7499-3437-8), p. 94
  325. Judgment in Death (ISBN 978-0-7499-3437-8), p. 117
  326. Reunion in Death (ISBN 978-0-7499-3440-8), pp. 59, 91
  327. Reunion in Death (ISBN 978-0-7499-3440-8), p. 92
  328. Creation in Death (ISBN 978-0-7499-3844-4), p. 81
  329. Naked in Death (ISBN 978-0-7499-3406-4), p. 232
  330. Naked in Death (ISBN 978-0-7499-3406-4), p. 233
  331. Glory in Death (ISBN 0-7499-3407-7), p. 298
  332. Holiday in Death (ISBN 978-0-7499-3416-3), pp. 97, 98
  333. Seduction in Death (ISBN 0-425-18146-4), pp. 131, 132
  334. Born in Death (ISBN 0-7499-3680-0), p. 127
  335. Born in Death (ISBN 0-7499-3680-0), p. 136
  336. Loyalty in Death (ISBN 978-0-7499-3418-7), pp. 15, 16
  337. Loyalty in Death (ISBN 978-0-7499-3418-7), pp. 15, 16
  338. Witness in Death (ISBN 0-425-17363-1), p. 152
  339. Witness in Death (ISBN 0-425-17363-1), p. 152
  340. Betrayal in Death (ISBN 0-425-17857-9), p. 65
  341. Betrayal in Death (ISBN 978-0-7944-3438-5), p. 303
  342. Judgment in Death (ISBN 978-0-7499-3437-8), p. 297
  343. Seduction in Death (ISBN 0-425-18146-4), p. 54
  344. Immortal in Death (ISBN 0-7499-3408-5), p. 40
  345. Judgment in Death (ISBN 978-0-7499-3437-8), p. 94
  346. Glory in Death (ISBN 0-7499-3407-7), p. 151
  347. Glory in Death (ISBN 0-7499-3407-7), p. 151
  348. Glory in Death (ISBN 0-7499-3407-7), p. 152
  349. Glory in Death (ISBN 0-7499-3407-7), p. 152
  350. Rapture in Death (ISBN 0-74993411-5), p. 93
  351. Ceremony in Death (ISBN 0-7499-3412-3), pp. 9-12
  352. Purity in Death (ISBN 978-0-7531-8299-7), p. 123
  353. Purity in Death (ISBN 978-0-7531-8299-7), p. 317
  354. Purity in Death (ISBN 978-0-7531-8299-7), p. 137
  355. Purity in Death (ISBN 978-0-7531-8299-7), p. 212
  356. Judgment in Death (ISBN 978-0-7499-3437-8), p. 40
  357. Judgment in Death (ISBN 978-0-7499-3437-8), p. 42
  358. Judgment in Death (ISBN 978-0-7499-3437-8), p. 123
  359. Judgment in Death (ISBN 978-0-7499-3437-8), p. 160
  360. Judgment in Death (ISBN 978-0-7499-3437-8), p. 183
  361. Judgment in Death (ISBN 978-0-7499-3437-8), p. 153
  362. Visions in Death (ISBN 978-0-7499-3499-6), p. 138
  363. Visions in Death (ISBN 978-0-7499-3499-6), p. 141
  364. Visions in Death (ISBN 978-0-7499-3499-6), p. 143
  365. Reunion in Death (ISBN 978-0-7499-3440-8), pp. 66, 320
  366. Reunion in Death (ISBN 978-0-7499-3440-8), p. 257
  367. Origin in Death (ISBN 0-7499-3589-9), pp. 61, 141
  368. Origin in Death (ISBN 0-7499-3589-9), p.63
  369. Origin in Death (ISBN 0-7499-3589-9), pp. 65, 134, 143
  370. Origin in Death (ISBN 0-7499-3589-9), p. 135
  371. Origin in Death (ISBN 0-7499-3589-9), p. 305
  372. Memory in Death (ISBN 0-7499-3685-1), p. 54
  373. Memory in Death (ISBN 0-7499-3685-1), pp. 217
  374. Memory in Death (ISBN 0-7499-3685-1), p. 98
  375. Memory in Death (ISBN 0-7499-3685-1), pp. 100, 264
  376. Memory in Death (ISBN 0-7499-3685-1), p. 101
  377. Memory in Death (ISBN 0-7499-3685-1), p. 108
  378. Memory in Death (ISBN 0-7499-3685-1), p. 217
  379. Born in Death (ISBN 0-7499-3680-0), p. 174
  380. Born in Death (ISBN 0-7499-3680-0), pp. 191, 225
  381. Innocent in Death (ISBN 0-7499-3741-6), pp. 51, 58, 262
  382. Innocent in Death (ISBN 0-7499-3741-6), pp. 52, 297
  383. Innocent in Death (ISBN 0-7499-3741-6), p. 53
  384. Innocent in Death (ISBN 0-7499-3741-6), p. 117
  385. Strangers in Death (ISBN 978-0-7499-3883-3), pp. 59, 73, 207
  386. Strangers in Death (ISBN 978-0-7499-3883-3), pp. 71, 277
  387. Strangers in Death (ISBN 978-0-7499-3883-3), p. 204
  388. Strangers in Death (ISBN 978-0-7499-3883-3), p. 220
  389. Salvation in Death (ISBN 978-0-7499-0890-4), pp. 48, 50
  390. Salvation in Death (ISBN 978-0-7499-0890-4), p. 150
  391. Promises in Death (ISBN 978-0-7499-2896-4), p. 76
  392. Promises in Death (ISBN 978-0-7499-2896-4), p. 238
  393. Promises in Death (ISBN 978-0-7499-2896-4), p. 238
  394. Promises in Death (ISBN 978-0-7499-2896-4), p. 239
  395. Kindred in Death (ISBN 978-0-7499-2899-5), p. 87
  396. Kindred in Death (ISBN 978-0-7499-2899-5), p. 90
  397. Kindred in Death (ISBN 978-0-7499-2899-5), p. 115
  398. Kindred in Death (ISBN 978-0-7499-2899-5), p. 240
  399. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 97
  400. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 103
  401. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 98
  402. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 62
  403. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 104
  404. Holiday in Death (ISBN 978-0-7499-3416-3), pp. 2, 110
  405. Holiday in Death (ISBN 978-0-7499-3416-3), p. 3
  406. Holiday in Death (ISBN 978-0-7499-3416-3), p. 3
  407. Holiday in Death (ISBN 978-0-7499-3416-3), p. 111
  408. Remember When (ISBN 978-0-7499-3452-1), pp. 259, 312, 376
  409. Remember When (ISBN 978-0-7499-3452-1), pp. 261, 383
  410. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 76
  411. Divided in Death (ISBN 978-0-7499-3506-1), p. 77
  412. Witness in Death (ISBN 0-425-17363-1), p. 35
  413. Witness in Death (ISBN 0-425-17363-1), pp. 37, 163, 227
  414. Seduction in Death (ISBN 0-425-18146-4), pp. 72, 214
  415. Imitation in Death (ISBN 0-7499-3443-3), p. 173
  416. Imitation in Death (ISBN 0-7499-3443-3), p. 188
  417. Immortal in Death (ISBN 0-7499-3408-5), pp. 182, 183
  418. Immortal in Death (ISBN 0-7499-3408-5), p. 189
  419. Immortal in Death (ISBN 0-7499-3408-5), p. 196
  420. Immortal in Death (ISBN 0-7499-3408-5), pp. 201, 303
  421. Survivor in Death (ISBN 0-7499-3584-7), p. 57
  422. Survivor in Death (ISBN 0-7499-3552-9), p. 302
  423. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 86
  424. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 184
  425. Indulgence in Death (ISBN 978-0-7499-5268-6), p. 255
  426. Haunted in Death (ISBN 0-515-14117-8), p. 49
  427. Haunted in Death (ISBN 0-515-14117-8), p. 50
  428. Treachery in Death (ISBN 978-0-7499-5385-0), pp. 137, 271, 273
  429. Eternity in Death (ISBN 978-0-515-14367-6), p. 25
  430. Missing in Death (ISBN 978-0-515-14718-6), p.94
  431. Midnight in Death (ISBN 978-0-425-21971-3), p. 163
  432. Innocent in Death (ISBN 978-0-7499-380709), p. 111
  433. Glory in Death (ISBN 0-7499-3407-7), p. 151
  434. Judgment in Death (ISBN 978-0-7499-3437-8), p. 94
  435. Judgment in Death (ISBN 978-0-7499-3437-8), p. 42
  436. Vengeance in Death (ISBN 978-0-7499-3413-2), p. 26
  437. Holiday in Death (ISBN 978-0-7499-3416-3), p. 56
  438. Reunion in Death (ISBN 978-0-7499-3440-8), p. 56
  439. Reunion in Death (ISBN 978-0-7499-3440-8), p. 173
  440. Divided in Death (ISBN 978-0-7499-3506-1), p. 118
  441. Divided in Death (ISBN 978-0-7499-3506-1), p. 119
  442. Conspiracy in Death (ISBN 0-425-16813-1), p. 57
  443. Seduction in Death (ISBN 0-425-18146-4), p. 96
  444. Seduction in Death (ISBN 0-425-18146-4), p. 123
  445. Survivor in Death (ISBN 0-7499-3552-9), p. 49
  446. Survivor in Death (ISBN 0-7499-3552-9), p. 193
  447. Haunted in Death (ISBN 0-515-14117-8), p. 49
  448. Treachery in Death (ISBN 978-0-7499-5385-0), p. 25
  449. Treachery in Death (ISBN 978-0-7499-5385-0), p. 272
  450. Naked in Death (ISBN 978-0-7499-3406-4), p. 141
  451. Naked in Death (ISBN 978-0-7499-3406-4), p. 75
  452. Naked in Death (ISBN 978-0-7499-3406-4), p. 141
  453. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 192
  454. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 192
  455. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 55
  456. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 57
  457. Betrayal in Death (ISBN 0-425-17857-9), pp. 82-83
  458. Rapture in Death (ISBN 0-74993411-5), p. 180
  459. Naked in Death (ISBN 978-0-7499-3406-4), p. 232
  460. Naked in Death (ISBN 978-0-7499-3406-4), p. 235
  461. Naked in Death (ISBN 978-0-7499-3406-4), p. 237
  462. Naked in Death (ISBN 978-0-7499-3406-4), p. 237
  463. Naked in Death (ISBN 978-0-7499-3406-4), p. 237
  464. Rapture in Death (ISBN 0-74993411-5), p. 120
  465. Naked in Death (ISBN 978-0-7499-3406-4), p. 244
  466. Rapture in Death (ISBN 0-74993411-5), p. 120
  467. Purity in Death (ISBN 978-0-7531-8299-7), p. 243
  468. Purity in Death (ISBN 978-0-7531-8299-7), p. 253
  469. Purity in Death (ISBN 978-0-7531-8299-7), p. 256
  470. Judgment in Death (ISBN 978-0-7499-3437-8), p. 236
  471. Judgment in Death (ISBN 978-0-7499-3437-8), p. 239
  472. Portrait in Death (ISBN 978-0-7499-3442-2), p. 134
  473. Portrait in Death (ISBN 978-0-7499-3442-2), p. 134
  474. Portrait in Death (ISBN 978-0-7499-3442-2), p. 135
  475. Portrait in Death (ISBN 978-0-7499-3442-2), p. 139
  476. Memory in Death (ISBN 0-7499-3685-1), p. 26
  477. Creation in Death (ISBN 978-0-7499-3844-4), p. 90
  478. Creation in Death (ISBN 978-0-7499-3844-4), p. 91
  479. Promises in Death (ISBN 978-0-7499-2896-4), p. 82
  480. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 28
  481. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 112
  482. Vengeance in Death(ISBN 978-0-7499-3413-2), p. 170
  483. Holiday in Death (ISBN 978-0-7499-3416-3), p. 181
  484. Loyalty in Death (ISBN 978-0-7499-3418-7), p. 186
  485. Divided in Death (ISBN 978-0-7499-3506-1), p. 83
  486. Witness in Death (ISBN 0-425-17363-1), p. 235
  487. Conspiracy in Death (ISBN 0-425-16813-1), p. 233
  488. Conspiracy in Death (ISBN 0-425-16813-1), p. 291
  489. Immortal in Death (ISBN 0-7499-3408-5), pp. 41, 42
  490. Survivor in Death (ISBN 0-7499-3552-9), p. 141
  491. Survivor in Death (ISBN 0-7499-3552-9), p. 278
  492. Missing in Death (ISBN 978-0-515-14718-6), pp. 47, 48
  493. Missing in Death (ISBN 978-0-515-14718-6), p. 55
  494. Missing in Death (ISBN 978-0-515-14718-6), p. 59
  495. Divided in Death (ISBN 978-0-7499-3506-1), p. 83
  496. Origin in Death (ISBN 0-7499-3589-9), p. 252
  497. Origin in Death (ISBN 0-7499-3589-9), p. 252
  498. Origin in Death (ISBN 0-7499-3589-9), p. 252
  499. Witness in Death (ISBN 0-425-17363-1), p. 210
  500. Witness in Death (ISBN 0-425-17363-1), p. 212
  501. Witness in Death (ISBN 0-425-17363-1), p. 208
  502. Witness in Death (ISBN 0-425-17363-1), pp. 215, 216
  503. Vengeance in Death (ISBN 978-0-7499-3413-2), p. 172
  504. Reunion in Death (ISBN 978-0-7499-3440-8), p. 59
  505. Born in Death (ISBN 978-0-425-21568-5), p. 273
  506. Promises in Death (ISBN 978-0-7499-2896-4), p. 220
  507. Born in Death (ISBN 0-7499-3680-0), p. 222
  508. Survivor in Death (ISBN 0-7499-3552-9), pp. 89, 90
  509. Survivor in Death (ISBN 0-7499-3552-9), p. 187
  510. Kindred in Death (ISBN 978-0-7499-2899-5), p. 92
  511. Divided in Death (ISBN 978-0-7499-3506-1), p. 169
  512. Imitation in Death (ISBN 0-7499-3443-3), p. 162
  513. Possession in Death (ISBN 978-0-515-14867-1), p.10
  514. Treachery in Death (ISBN 978-0-7499-5385-0), p. 26
  515. Treachery in Death (ISBN 978-0-7499-5385-0), p. 25
  516. Purity in Death (ISBN 978-0-7531-8299-7), p. 224
  517. Survivor in Death (ISBN 0-7499-3552-9), p. 152
  518. Visions in Death (ISBN 978-0-7499-3499-6), p. 132
  519. Rapture in Death (ISBN 0-74993411-5), p. 193
  520. Rapture in Death (ISBN 0-74993411-5), p. 194
  521. Rapture in Death (ISBN 0-74993411-5), p. 212
  522. Rapture in Death (ISBN 0-74993411-5), p. 197
  523. Rapture in Death (ISBN 0-74993411-5), p. 199
  524. Seduction in Death (ISBN 0-425-18146-4), p. 54
  525. Seduction in Death (ISBN 0-425-18146-4), p. 58
  526. Seduction in Death (ISBN 0-425-18146-4), p. 60
  527. Treachery in Death (ISBN 978-0-7499-5385-0), p. 25
  528. Salvation in Death (ISBN 978-0-7499-0890-4), pp. 53, 54
  529. Memory in Death (ISBN 0-7499-3685-1), p. 256
  530. Born in Death (ISBN 0-7499-3680-0), p. 53
  531. Rapture in Death (ISBN 0-74993411-5), p. 247
  532. Rapture in Death (ISBN 0-74993411-5), p. 247
  533. Glory in Death (ISBN 0-7499-3407-7), p. 165
  534. Glory in Death (ISBN 0-7499-3407-7), p. 171
  535. Glory in Death (ISBN 0-7499-3407-7), p. 173
  536. Rapture in Death (ISBN 0-74993411-5), p. 247
  537. Rapture in Death (ISBN 0-74993411-5), p. 250
  538. Holiday in Death (ISBN 978-0-7499-3416-3), p. 102
  539. Judgment in Death (ISBN 978-0-7499-3437-8), p. 300
  540. Reunion in Death (ISBN 978-0-7499-3440-8), p. 347
  541. Fantasy in Death (ISBN 978-0-7499-4078-2), p. 105
  542. Survivor in Death (ISBN 0-7499-3552-9), p. 278
  543. Purity in Death (ISBN 978-0-7531-8299-7), p. 162
  544. Remember When (ISBN 978-0-7499-3452-1), p. 370
  545. Remember When (ISBN 978-0-7499-3452-1), p. 373
  546. Divided in Death (ISBN 978-0-7499-3506-1), p. 294
  547. Memory in Death (ISBN 0-7499-3685-1), pp. 259, 260
  548. Kindred in Death (ISBN 978-0-7499-2899-5), p. 212
  549. Survivor in Death (ISBN 0-7499-3552-9), p. 335
  550. Naked in Death (ISBN 978-0-7499-3406-4), p. 77
  551. Glory in Death (ISBN 0-7499-3407-7), p. 165
  552. Glory in Death (ISBN 0-7499-3407-7), p. 293
  553. Glory in Death (ISBN 0-7499-3407-7), p. 165
  554. Ceremony in Death (ISBN 0-7499-3412-3), p. 117
  555. Vengeance in Death (ISBN 978-0-7499-3413-2), p. 26
  556. Holiday in Death (ISBN 978-0-7499-3416-3), pp. 58, 252
  557. Holiday in Death (ISBN 978-0-7499-3416-3), p. 242
  558. Judgment in Death (ISBN 978-0-7499-3437-8), p. 117
  559. Judgment in Death (ISBN 978-0-7499-3437-8), pp. 175, 176
  560. Judgment in Death (ISBN 978-0-7499-3437-8), p. 178
  561. Seduction in Death (ISBN 0-425-18146-4), p. 150
  562. Seduction in Death (ISBN 0-425-18146-4), p. 150
  563. Reunion in Death (ISBN 978-0-7499-3440-8), p. 94
  564. Purity in Death (ISBN 978-0-7531-8299-7), p. 230
  565. Purity in Death (ISBN 978-0-7531-8299-7), p. 237
  566. Purity in Death (ISBN 978-0-7531-8299-7), p. 258
  567. Imitation in Death (ISBN 0-7499-3443-3), p. 104
  568. Imitation in Death (ISBN 0-7499-3443-3), p. 104
  569. Visions in Death (ISBN 978-0-7499-3499-6), p. 23
  570. Memory in Death (ISBN 0-7499-3685-1), p. 57
  571. Memory in Death (ISBN 0-7499-3685-1), p. 61
  572. Strangers in Death (ISBN 978-0-7499-3883-3), p. 270
  573. Strangers in Death (ISBN 978-0-7499-3883-3), p. 271
  574. Promises in Death (ISBN 978-0-7499-2896-4), p. 254
  575. Kindred in Death (ISBN 978-0-7499-2899-5), pp. 123, 124

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