If most people were asked to choose between God or money, the choice would be simple. Or would it?

Nearly every one of John Grisham’s characters ponder this question in “The Testament.”

When billionaire Troy Phelan jumps to his death, he leaves behind more than a dozen greedy ex-wives and heirs and an extremely controversial will.

The tricky Phelan pretends to sign his last will and testament shortly before leaping to his own demise, but really scrawls the name Mickey Mouse. His true will leave his 11 billion dollar fortune to a sole heir, whom no one knew existed.

In one last act of revenge, Phelan leaves his ungrateful and greedy family hanging for a week, knowing that they will prematurely spend the money which they are sure is theirs.

When the will is finally read, the news leaves the family in shock and very much in debt. And more importantly, it opens up a huge mystery. The heir to the Phelan estate is a humble missionary living deep in the jungles of Brazil named Rachel Lane. Unknown to the rest of the family, the illegitimate Lane needs to be found, and quickly.

As if the story isn’t complicated enough, a drunk, fresh out of rehab, is sent to find the God-fearing missionary. Nate O’Riley is a disgraced, six-time loser who is divorced twice and soon to be out of a job.

O’Riley, a corporate attorney, is sent away from the hungry heirs in D.C. and into the snake-infested jungle to find a woman who has no interest in anyone’s money and probably wouldn’t know what to do with it if she took it.

After searching for weeks, with death always right around the river bend, O’Riley finally finds the reluctant heir surrounded by naked natives and loyal to only one Father. He is told to go home, but fate, or God, has more in store for Lane and O’Riley than either could ever have imagined.

What was meant to be the final assignment of a washed-up lawyer turns into a life changing experience for two of the most unlikely friends, a missionary and a drunk.

Grisham is an obvious master of the legal thriller. He practically defines the term. The opening sequences of Grisham’s latest capture readers’ interest and refuse to let go until they’re floating down the Brazilian river with O’Riley.

Although “The Testament” is not anywhere close to his best work, Grisham seems to be back to doing what he always did best — keeping readers on the edge of their seats. With his last few novels Grisham began experiencing with his form, but now the author seems to have adopted a new credo — stick with what works.

3 1/2 Stars