Jeffery Deaver - A Maiden's Grave

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From Publishers Weekly
It's said that great minds think alike; apparently great thriller writers do too. Here's the second outstanding novel in as many months to see a busload of schoolchildren kidnapped by maniacs. The first was Mary Willis Walker's Under the Beetle's Cellar (Forecasts, June 12); Deaver's is equally gripping, with the added twist that these kids are deaf. In rural Kansas, an act of kindness launches a nightmare when Mrs. Harstrawn, along with hearing-impaired apprentice teacher Melanie Charrol, stops her busload of deaf schoolgirls at a car wreck, only to be taken hostage by Lou Handy and two other stone-cold killers who've just escaped from prison. Pursued by a state trooper, the captors race with their prey to an abandoned slaughterhouse. There, Arthur Potter, the FBI's foremost hostage negotiator, sets up a command post?but the nightmare intensifies when Handy releases one girl, then shoots her in the back just as she reaches the agent. After further brutalities, Melanie decides to rescue her students herself, tricking the killers with sign language games to convey her plan to her charges. Meanwhile, pressure mounts on Potter as the media get pushy, the local FBI stonewalls, Kansas State hostage rescue units try an end run to grab the glory and an assistant attorney general butts in. Deaver (Praying for Sleep) brilliantly conveys the tensions and deceit of hostage negotiations; he also proves a champion of the deaf, offering poetic insight into their world. Throughout, heartbreakingly real characters keep the wildly swerving plot from going off-track, even during the multiple-whammy twists that bring the novel, Deaver's best to date, to its spectacular finish. 200,000 first printing; $200,000 ad/promo; Literary Guild featured alternate; film rights to Interscope Communications; simultaneous Penguin Audiobook; author tour.
From Library Journal
A bus carrying eight deaf children and their teachers stops in the middle of the Kansas countryside, a car wreck directly ahead. Soon, three escaped killers rise out of the nearby cornfields and take children and teachers hostage. Pursued by the police, the convicts are forced to hole up in an abandoned slaughterhouse. There they threaten to shoot a child every hour until their demands are met. A 12-hour war of wits begins between FBI hostage expert Arthur Potter and the escapees' leader, Louis Jeremiah Handy. "I aim to get outta here…If it means I gotta shoot 'em dead as posts then that's the way it's gonna be," Handy boasts. Potter finds himself "in the middle of the week's media big bang," battling publicity-hungry politicians, trigger-happy cops, and the press as well as the unpredictable killers. This book by the best-selling author of Praying for Sleep (Viking, 1994) starts with a bang, and the tension never lets up. A topnotch thriller with an unexpected kicker at the end.

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"Soon."

The agent and the trooper wandered down into a grove of trees out of the line of fire. Potter called in and told Tobe where he was, asked for any calls from Handy to be patched through immediately.

"Say, Charlie, where'd that attorney general get himself to?"

Budd looked around. "I think he went back to the hotel."

Potter shook his head. "Marks wants Handy to get his helicopter. The governor told me he wants Handy dead. The Bureau director'll probably be on the horn in the next half-hour – and there've been times when I've gotten a call from the president himself. Oh, and mark my words, Charlie, somebody's writing the script right at this moment and making me out to be the villain."

"You?" Budd asked, with inexplicable glumness. "You'll be the hero."

"Oh, not by a long shot. No, sir. Guns sell advertising, words don't."

"What's this about imaginary cigarettes?"

"When my wife got cancer I quit."

"Lung cancer? My uncle had that."

"No. Pancreas."

Unfortunately the party with whom Potter had been negotiating for his wife's recovery had reneged on the deal. Even so, Potter never took up smoking again.

"So you, what, imagine yourself smoking?"

Potter nodded. "And when I can't sleep I imagine myself taking a sleeping pill."

"When you're, you know, depressed you imagine yourself happy?"

That, Arthur Potter had found, didn't work.

Budd, who'd perhaps asked the question because of the funk he'd been in for the last hour, forgot his dolor momentarily and asked, "What brand aren't you smoking?"

"Camels. Without the filter."

"Hey, why not?" His face slipped and he seemed sad again. "I never smoked. Maybe I'll have me an imaginary Jack Daniel's."

"Have a double while you're at it." Arthur Potter drew hard on his fake cigarette. They stood among flowering catalpa and Osage orange and Potter was looking down at what appeared to be the deep tracks of wagon wheels. He asked Budd about them.

"Those? The real thing. The Santa Fe Trail itself."

"Those're the original tracks?" Potter was astonished.

"They call ' em swales. Headed west right through here."

Potter, genealogist that he was, kicked at the deep, rocklike tread mark cut into the dirt, and wondered if Marian's great-great-grandfather Ebb Schneider, who had traveled with his widowed mother from Ohio to Nevada in 1868, had been an infant asleep in the wagon that had made this very track.

Budd nodded toward the slaughterhouse. "The reason that was built was because of the Chisholm Trail. It went south to north right through here too, from San Antonio to Abilene – that's our Abilene, in Kansas. They'd drive the longhorns along here, sell off and slaughter some for the Wichita market."

"Got another question," Potter said after a moment.

"I'm not much of a state historian. That's 'bout all I know."

"Mostly, Charlie, I'm wondering why you're looking so damn uneasy."

Budd lost interest in the swales at his feet. "Well, I guess I wonder what exactly you wanted to talk to me about."

"In about forty minutes I've got to go talk Handy out of killing another of the girls. I don't have a lot of ideas. I'd like to get your opinion. What do you think of him?"

"Me?"

"Sure."

"Oh, I don't know."

"We never know in this business. Give me an educated guess. You've heard his profile. You've talked to Angie – She's quite a lady, isn't she?"

"Say, 'bout that, Arthur… the thing is, I'm a married man. She's been chatting me up an awful lot. I mentioned Meg must've been a dozen times and she doesn't seem to pay any attention to it."

"Consider it flattery, Charlie. You're in control of the situation."

"Sorta in control." He looked back at the van but didn't see the dark-haired agent anywhere.

Potter laughed. "So now, give me some thoughts."

Budd fidgeted with his fingers, maybe thinking he should actually be pretending to hold his glass of whisky. Potter smoked as he had come to do so much else in recent years – not actually doing it, not pantomiming, only imagining. It was for him a type of meditation.

"I guess what I'm thinking," Budd said slowly, "is that Handy's got a plan of some kind."

"Why?"

"Partly it's what Angie was saying. Everything he does has a purpose. He's not a crazed kick killer."

"What sort of plan were you thinking of?"

"Don't know exactly. Something he thinks is gonna outsmart us."

Budd's hands slipped into his rear pockets again. The man's nervous as a fifteen-year-old at his first school dance, Potter reflected.

"Why do you say that?"

"I'm not sure exactly. Just an impression. Maybe because he's got this holier-than-thou attitude. He doesn't respect us. Every time he talks to us what I hear is, you know, contempt. Like he knows it all and we don't know anything."

This was true. Potter had noticed it himself. Not a shred of desperation, no supplication, no nervous banter, no tin defiance; all the things you usually heard from hostage takers were noticeably absent here.

Along with the flattest VSA line Potter had ever seen.

"A breakout," Budd continued. "That's what I'd guess. Maybe setting fire to the place." The captain laughed. "Maybe he's got fireman outfits in there – in those bags he brought in with him. And he'll sneak out in all the confusion."

Potter nodded. "That's happened before."

"Has it?" Budd asked, incredulous that he'd thought of this strategy and, accordingly, very pleased with himself.

"Medical-worker outfits one time. And police uniforms another. But I'd given all the containment officers handouts, like what I distributed earlier, so the HTs were spotted right away. Here, though, I don't know. It doesn't seem to be his style. But you're right on about his attitude. That's the key. It's saying something to us. I just wish I knew what."

Again Budd was fiddling nervously with his pockets.

"Those tools," Potter mused, "might have something to do with it. Maybe they'll set a fire, hide in a piece of machinery or even under the floor. Then climb out when the rescue workers are there. We should make sure that everybody, not just the troopers, has a copy of the profile flyers."

"I'll take care of it." Budd laughed nervously again. "I'll delegate it."

Potter had calmed considerably. He thought of Marian. The infrequent evenings he was home they used to sit together by the radio listening to NPR and share one cigarette and a glass of sherry. Occasionally, once a week, perhaps twice, the cigarette would be stubbed out and they would climb the stairs to their ornate bed and forgo the musical programming for that evening.

"This negotiation stuff," Budd said. "It's pretty confusing to me."

"How so?"

"Well, you don't seem to talk to him about what I'd talk to him about – you know, the stuff he wants and the hostages and everything. Business. Mostly, it seems that you just chat."

"You ever been in therapy, Charlie?"

The young officer seemed to snicker. He shook his head. Maybe analysis was something Kansans didn't go in for.

Potter said, "I was. After my wife died."

"I was going to say, I'm sorry to hear that happened."

"You know what I talked to the therapist about? Genealogy."

"What?"

"It's my hobby. Family trees, you know."

"You were paying good money to a doctor to talk about hobbies?"

"And it was the best money I ever spent. I started to feel what the therapist was feeling and vice versa. We moved closer to each other. What I'm doing here – with Handy – is the same. You don't click a switch and make Handy give up the girls. Just like the doctor doesn't click a switch and make everything better. The point is to create a relationship between him and me. He's got to know me, and I've got to know him."

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