He glanced across the street at his apartment building. The landmarked building had always been an emblem of all that he thought the Bell family represented: strength, tradition, security. Ever since he had learned about the Society, however, and all that it stood for, it had seemed false. Would anything ever seem real again, or would it all seem as flimsy as those Society rituals, cheap theatrical tricks designed to scare people?

His grandfather's legacy, too, felt false. Palmer had built up a dubious empire, respected by so many, and yet, what was it? Was it anything more than lying, conspiracy, thievery?

Nick walked across the street, carefully taking the crosswalk. As he approached the building, his brother Benjamin stepped out of a black town car. Nick hadn't realized that he was in town.

"Ben!" he called. "I thought you were in Florida." He was supposed to be on spring break with some of his college friends.

"I had some business I needed to attend to," Ben said. This was unlike his brother. His main business in life seemed to be partying with his friends.

"Did you hear about what happened?" Nick figured he could talk about it to his brother. What could they possibly do to him?

"I did, Nick." He seemed downcast, but not in the odd, selfishly disappointed way that the mentors had. This look was different, a genuine sadness.

"What's wrong?"

Ben looked at him. "There's something Palmer always used to say, and now Dad says it as well. It's a Latin phrase: Alea jacta est. Alea jacta est. 'The die is cast.'" 'The die is cast.'"

"What do you mean by that?"

Ben glanced anxiously at the building's doors, as if to make sure that no one could overhear.

"Nick, you may think you're out of the Society, but you never really will be."

His brother opened the back door of the town car and got in, shutting it behind him. Nick stood on the sidewalk, speechless, as the car pulled away from the building and merged into the river of traffic going down Fifth Avenue.

Acknowledgments.

I am extremely grateful to my friends, colleagues, and mentors for their support during this novel's creation.

To my agent, Kate Lee, and her a.s.sistant, Larissa Silva, at ICM.

To my editor, Sarah Shumway, and my publisher, Katherine Tegen.

To the entire HarperTeen publicity, marketing, design, and sales team.

To my a.s.sistant, Susanne Filkins.

To my friend and fellow novelist, Melissa de la Cruz.

And of course, to my husband, Drew Frist, who was there for the entire ride.

I also had the privilege, during the research for this novel, of experiencing two tours that would impress even the most jaded Egyptologist. The first was with Dr. Catharine Roehrig, curator in the Department of Egyptian Art at the Metropolitan Museum in New York, who answered all my questions about the museum's collection. The second was with Dr. Renee Dreyfus, curator of Ancient Art at the de Young Museum in San Francisco, who guided me through its Tutankhamun and the Golden Age of the Pharoahs Tutankhamun and the Golden Age of the Pharoahs exhibit. Both were invaluable in helping me learn more about Egyptian culture, which provided a rich background for the mythology of the Society. Any flights of fancy or inaccuracies relating to Egyptian art in this novel are entirely my own. exhibit. Both were invaluable in helping me learn more about Egyptian culture, which provided a rich background for the mythology of the Society. Any flights of fancy or inaccuracies relating to Egyptian art in this novel are entirely my own.

Finally, I am grateful for the following works of nonfiction, which helped inform this story: The Metropolitan Museum of Art Bulletin: The Temple of Dendur The Metropolitan Museum of Art Bulletin: The Temple of Dendur, by Cyril Aldred; Rogues' Gallery: The Secret History of the Moguls and the Money That Made the Metropolitan Museum Rogues' Gallery: The Secret History of the Moguls and the Money That Made the Metropolitan Museum, by Michael Gross; The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft, by Ulrich Boser; Confessions of a Master Jewel Thief Confessions of a Master Jewel Thief, by Bill Mason with Lee Gruenfeld; and Egyptian Revival Jewelry & Design Egyptian Revival Jewelry & Design, by Dale Reeves Nicholls with Sh.e.l.ly Foote and Robin Allison.