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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No, not at me

Then the shadow fell over her.

She gasped as Brutus took her by the shoulders and spun her around.

"You think… a fucking hero, do you? Why, I've shot people for a lot less'n what you did."

She thought for a terrible moment that Brutus could actually read her mind, had an animal's sixth sense, and knew what she was planning with the gas can. But then she understood he was talking about her pitching Kielle out the door. Maybe being pistol-whipped wasn't enough punishment. He pulled his gun and rested it against her head.

Filled with a burst of rage that shocked her, she pushed the gun aside, stood, and walked into the main room of the plant, feeling the vibrations of his shouts on her back. She ignored him and continued to the oil drum that served as a table. Bear rose and stepped toward her but she ignored him too. She picked up the pen and paper and returned to the killing room.

She wrote: You work real hard to prove you're a bad guy, don't you ? Thrust it in his face.

Brutus laughed. He ripped the pad from her hands, tossed it on the floor. He studied her for a long, long moment, then, eerily calm, he said, "… you and me chew the fat. I don't talk much… not many people I can talk to. But you I can. Why's that?… you can't talk back, I guess. It's good when a woman don't talk back. Pris, she's got a mind of her own… I approve of that. But sometimes she's off someplace else, you know?… I just don't get what she's saying. You, I look into your face and I can understand you. You seem like a little mouse, but maybe there's more to you. There is, ain't there?"

Melanie was horrified to find, somewhere in her heart, a splinter of pleasure. This terrible, terrible man was approving of her. He killed Susan, he killed Susan, he killed Susan, she told herself. He'd kill me in an instant if he wanted to. These things she knew but all she sensed at this moment was his approval.

He put the gun away and fiddled with his shoelaces. "You think I'm bad for… to your friend. Well, by your thinkin' I am bad. I ain't… smart and I don't have no particular talents. But the one thing I am is bad. I'm not saying I don't have a heart or that I haven't cried in my day. I cried for a week when somebody shot my brother. Yes, I did." Brutus paused, his pointy teeth rising from his thin lips, "Now, that sonofabitch out there…" He nodded toward the phone.

De l'Epée? Does he mean De l'Epée?

"Him and me, we're in a battle right now. And he's going to lose – Why? Because bad is simple and good is complicated. And the simple always wins. That's what everything comes down to in the end. Simple always wins. That's just nature and you know what kind of trouble people get into ignoring nature. Look at you, all you deaf people. You'll die out before people like me. I need something, I can say, 'Give it to me.' I open my mouth and somebody does what I want. But you, you have to do funny things with your hands. You have to write it down. That's complicated. You're a freak… you'll die and I'll live. It's nature.

"Me, I'm taking that girl over there, that flower-dress one, and shooting her in about ten minutes if… helicopter don't get here. Which I don't think it will. To me, that's no worse'n scratching an itch or buying a soda pop when you're thirsty."

He looked at Emily, his mouth curling into that faint smile of his. And in his glance, Melanie suddenly saw much more than a look of a captor toward his victim. She saw all the taunts of her classmates, the grinding frustrations of trying to understand what can be understood only by the miracle of hearing. She saw an empty life without a lover. She saw the cover of a piece of sheet music entitled "Amazing Grace" and inside, merely blank pages. God's will … Brutus's glance…

And so it made sense that she went for his eyes. Melanie leapt forward, her perfect fingernails clawing at his face. He gave a gasp of surprise and stumbled backwards, groping for his gun. He pulled it from his belt and she lunged for it. The pistol flew from his grip and slid across the floor. She was out of control, crazed, driven by a consuming anger unlike any she'd ever experienced. An anger that poured from her too quickly, ripping her open, hurting the way the fever had burned her skin when she was eight and took away the simple and made her life so terribly complicated.

Her long fingers, muscular from years of signing, tipped with pearl nails, ripped into his cheek; she slapped his nose, she dug for his eyes. As he fell onto his back she leapt upon his chest, her knee crunching into his solar plexus. He gasped as the breath was forced from his lungs. He struck her once in the chest and she recoiled from him but he had no leverage and his blow was painless.

"Jesus Christ…!" His wiry hands reached for her throat but she punched them aside and got a grip on his windpipe, her strong arms fending off his; he couldn't quite reach her. Where was this strength coming from? she wondered, as she banged his head into the concrete and watched his face turn blue.

Perhaps Stoat and Bear were running toward her, perhaps they were aiming their guns at her. Or maybe because Brutus had no air in his lungs he was silent, maybe he was too proud to call for help. She didn't know – or care. Nothing existed for her but this man and his evilness – not the other girls, not Mrs. Harstrawn, not the soul of Susan Phillips, who agnostic Melanie believed floated above them at this moment, a beautiful seraph.

She was going to kill him.

Then suddenly he went limp as a towel. His tongue protruded from his pale lips. And she thought, My God, I've done it! Exultant and terrified, she sat back, looking at the twins, sobbing Emily, gasping Bev.

When his knee rose fast she had no time to deflect it and it caught her between the legs, crashing into her with a raging pain. She inhaled fiercely and cradled her groin as Brutus's fist drove into her chest just below the breastbone. Melanie doubled over, breathless.

He rose easily and she saw that, aside from the scratches on his cheek, he wasn't hurt at all. He'd been playing with her. Roughhousing.

Then he had her by the hair and was dragging her into the front room.

She dug her nails into his hand and he slapped her face hard. Her vision exploded with light and her arms went limp. The next thing she knew she was in the window of the slaughterhouse, staring out at the windy field and the brilliant lights trained on the building.

Her face was against the glass and she thought it might break and slice through her eyes. No, no, not that kind of darkness. Permanent darkness. No, please…

Stoat stepped forward but Brutus waved him off. He pulled his pistol out. He spun her around so she could see him speak. "If you could talk like a normal person, maybe you could say something to save yourself. But you can't. No, no. You're a freak of nature and if they don't come through with that chopper you're going to be even more of a freak. Shep, how much time…?"

Stoat seemed to hesitate and said something she didn't understand.

"How much fucking time ?" Brutus's bloody face was distorted with rage.

He received the answer and lifted the gun to her cheek. Then slowly his hand entwined in her hair and turned her around so that she was facing into the blinding white lights once again.

Melanie. Potter saw her face through his thick field glasses. Melanie was the next victim.

Budd, LeBow, and Frances stared out the window. Stillwell came on the radio and said, "One of my snipers reports that Handy's bleeding. Doesn't seem serious but his face is cut."

"Twelve minutes to deadline," Tobe said. "Downlink coming in."

The phone rang and Potter answered at once. "Lou, what -?"

"I've got a new one, Art," Handy's voice raged. "She's got some spirit. I was gonna forgive her after she gave you that little troublemaker. But the slut got it into her mind she wanted to have a little fun. Go for a roll in the hay with me."

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