Karin Slaughter - Fractured

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‘No one does American small-town evil more chillingly… Slaughter tells a dark story that grips and doesn't let go' – The Times
‘Without doubt an accomplished, compelling and complex tale, with page-turning power aplenty' – Daily Express
‘Slaughter deftly turns all assumptions on their head… Her ability to make you buy into one reality, then another, means that the surprises – and the violent scenes – keep coming' – Time Out
‘A great read… crime fiction at its finest' – MICHAEL CONNELLY
‘A fast-paced and unsettling story… A compelling and fluid read' – Daily Telegraph
‘Criminally spectacular' – OK!
‘Slaughter knows exactly when to ratchet up the menace, and when to loiter on the more personal and emotional aspects of the victims. Thoroughly gripping, yet thoroughly gruesome stuff' – Daily Mirror
‘Slaughter's plotting is relentless, piling on surprises and twists… A good read that should come with a psychological health warning' – Guardian
‘The writing is lean and mean, and the climax will blow you away' – Independent
‘Karin Slaughter is a fearless writer. She takes us to the deep, dark places other novelists don't dare to go… one of the boldest thriller writers working today' – Tess Gerritsen
‘Confirms her at the summit of the school of writers specialising in forensic medicine and terror… Slaughter's characters talk in believable dialogue. She's excellent at portraying the undertones and claustrophobia of communities where everyone knows everyone else's business, and even better at creating an atmosphere of lurking evil' – The Times
‘Brilliantly chilling' – heat
‘A salutary reminder that Slaughter is one of the most riveting writers in the field today' – Sunday Express
‘Don't read this alone. Don't read this after dark. But do read it' – Daily Mirror
‘With Blindsighted, Karin Slaughter left a great many mystery writers looking anxiously over their shoulders. With Kisscut, she leaves most of them behind' – JOHN CONNOLLY
‘Brilliant plotting and subtle characterisation make for a gruesomely gripping read' – Woman Home
‘Unsparing, exciting, genuinely alarming… excellent handling of densely woven plot, rich in interactions, well characterised and as subtle as it is shrewd' – Literary Review
‘Energetic, suspenseful writing from Slaughter, who spares no detail in this bloody account of violent sexual crime but also brings compassion and righteous anger to it' – Manchester Evening News
‘It's not easy to transcend a model like Patricia Cornwell, but Slaughter does so in a thriller whose breakneck plotting and not-for-the-squeamish forensics provide grim manifestations of a deeper evil her mystery trumpets without ever quite containing' – Kirkus Reviews
‘Slaughter has created a ferociously taut and terrifying story which is, at the same time, compassionate and real. I defy anyone to read it in more than three sittings' – DENISE MINA
‘Wildly readable… [Slaughter] has been compared to Thomas Harris and Patricia Cornwell, and for once the hype is justified…deftly crafted, damnably suspenseful and, in the end, deadly serious. Slaughter's plotting is brilliant, her suspense relentless' – Washington Post
‘Taut, mean, nasty and bloody well written. She conveys a sense of time and place with clarity and definite menace – the finely tuned juxtaposition of sleepy Southern town and urgent, gut-wrenching terror' – STELLA DUFFY

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He snorted.

"Answer a question for me: if you didn't have your key card, how would you get into the building?"

"Press the handicap button."

Faith shook her head at the situation. So much for tracking people who'd been in and out of the dorm. "So, do you need pizza money or your laundry done or are you just making sure I don't come up there and embarrass you in front of your friends?"

"I heard about that kid," he said. "It's all over the dorm."

"What are they saying?"

"Not a lot," Jeremy admitted. "Nobody really knew him, you know? He was just some guy you passed in the hall on the way to the toilet."

She heard the sympathy in his voice, and Faith felt a tinge of pride that her son showed such humanity. She had met the alternative and it wasn't pretty.

He asked, "Do you think you'll find that girl?"

"I hope so."

"I can keep my ear to the ground."

"No, you will not," she countered. "You're going to school to learn how to be an engineer, not a cop."

"There's nothing wrong with being a cop."

Faith could think of several things, but she didn't want him to know. "I should go, honey. I'm going to be here late."

He didn't hang up. "If you wanted to do some laundry…"

She smiled. "I'll call you before I leave."

"Hey, Mom?"

"Yeah?"

He was silent, and she wondered if he was going to tell her that he loved her. That was how they trapped you, after all. You walked the floor with them and cleaned up after them and took all the grief and the noise and the swarthy Latin men who looked at you as if you had horns, and then they hooked you back in with those three simple words.

Not this time, though. Jeremy asked, "Who was that guy you were with? He didn't look like a cop."

Her son was right about that. She picked up Will Trent's jacket to lock it back in the car. "Nobody. Just a guy who works for your aunt Amanda."

CHAPTER FOUR

THE COPY RIGHT COPY CENTER was on the streetlevel floor of an ancient - фото 8

THE COPY RIGHT COPY CENTER was on the street-level floor of an ancient three-story building. It was one of the few structures on Peachtree Street yet to be torn down and replaced by a skyscraper, and the entire building had an air of resignation, as if at any moment it expected to be razed. The high-volume copy machines, made visible through the plate-glass windows by harsh, fluorescent lights, gave the place a dystopic, science fiction feel. Blade Runner meets Kinko's.

"Shit," Amanda hissed as the uneven road scraped against the bottom of her car. The asphalt was patched with heavy metal plates that overlapped like thick Band-Aids. Pylons and signs blocked off an entire lane on Peachtree, but the construction workers were long gone.

She sat up, gripping the wheel as the car bounced onto the ramp leading to the parking deck. Amanda pulled up behind a crime-scene van and put the car in park.

"Seven hours," she said. That was how long Emma had been missing.

Will got out of the car, adjusting his vest, wishing that he had his jacket even though the promise of night had done nothing to alleviate the sweltering heat. One of the employees of the CopyRight had seen the abduction alert on television. He had spotted the car while taking a cigarette break and made the call.

Will followed Amanda down the gently sloping ramp that led to the parking garage behind the building. The space was small by Atlanta standards, maybe fifty feet wide and just as deep. Overhead, the ceiling was low, the concrete beams hanging down less than a foot from the top of Will's head. The second-story ramp was blocked off with concrete barriers that looked as if they had been there a while. A service road ran off the back, and he saw that it was connected to the adjacent buildings. Three cars were in a blocked-off area, he assumed for employee parking. The floodlights were yellow to help keep mosquitoes at bay. Will put his hand to his face, feeling the scar there, then made himself stop the nervous habit.

There was no gate for the parking lot, no booth with an attendant. Whoever owned the lot relied on the honesty of strangers. The honor box by the entrance had numbers corresponding to the spaces. Visitors were expected to fold four single dollar bills into a tight wad and shove them through tiny slits by way of payment. A slim, sharp piece of metal hung on a wire to help people cram in the money.

Amanda's heels clicked across the concrete as they walked toward Kayla Alexander's white Prius. A team had already surrounded the car. Cameras flashed, evidence was sifted, plastic bags were filled. The techs were all suited up, sweating from the unrelenting heat. The humidity made Will feel like he was breathing through a wet piece of cotton.

Amanda looked up, surveying the area. Will followed her gaze. There was one lone security camera up on the wall. The angle was more for catching people going into the building than watching cars parked in the lot.

"What have we got?" Amanda asked.

She spoke softly, but this was her team and they had all been waiting for her to ask the question.

Charlie Reed stepped forward, two plastic evidence bags in his hands. "Rope and duct tape," he explained, indicating each. "We found these in the trunk."

Will took the bag of rope, which appeared to be unused clothesline; there was a plastic tie around the neatly folded line. One side was faintly red where the fibers had wicked up blood. "Was it coiled up like this when you found it?"

Charlie gave him a look that asked if Will really thought he was that stupid. "Just like that," he said. "No fingerprints on either one."

Amanda surmised, "He came prepared."

Will handed back the rope and Charlie continued, "There was a patch of blood in the trunk that matched Emma Campano's blood type. We'll have to check with a doc, but the injury doesn't seem life threatening." He pointed to a semicircle of dark blood in the trunk. Will guessed it was about the same size as a seventeen-year-old girl's head. "Based on the volume of blood, I'd say it was a nasty cut. The head bleeds a lot. Oh-" He directed this toward Will. "We found microscopic sprays of blood in Emma Campano's closet above the urine you found. My guess is she was either kicked or punched in the head, causing the spray. We cut out the Sheetrock, but I'm not sure there's enough to test." He added, "Maybe that's why he didn't need to use the rope and tape. He knocked her out before removing her from the closet."

Amanda apparently already assumed this. "Next."

Charlie walked around the car, pointing to different spots. "The steering wheel, door panels and trunk latch show faint streaks of the same blood we found in the trunk. This is classic glove transfer." He meant the abductor had been wearing latex gloves. "As for the trash, we're assuming it came from the owner."

Will looked inside the car. The keys dangled from the ignition slot just beside what looked like a toggle knob that served as the gearshift. There were go-cups and empty fast food bags and school-books and papers and melted makeup and sticky spots of spilled soda and other items that indicated Kayla Alexander had been too lazy to find a trashcan, but nothing else that stuck out.

Charlie continued, "We got a positive on body fluids in the seats. Could be blood, urine, sperm, sweat, sputum. The seat material is dark and there's not much, but it's something. I'm going to cut out the patches and see if we can soak something out of them back at the lab."

Will asked him, "The blood on the outside of the car was Emma's only?"

"That's right."

"So he would've changed his gloves from the time he was in the Campano house?"

Charlie considered his answer. "That would make sense. If he was using the same gloves, then Adam and Kayla's blood would also be on the car."

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