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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Now, Will didn't have a choice in the matter. He had to know what was being said about the case, what details were in the public domain. Routinely, the police held back certain pieces of information that only the killer would know. Because so many Atlanta cops had been on the crime scene, there had been the inevitable leaks. Emma's hiding in the closet. The rope and duct tape in the car. The broken cell phone, crushed under Kayla Alexander's back. Of course, the big story was that the Atlanta Police Department had screwed it all up. The press, an organization known for routinely getting facts wrong, was not so forgiving where the police were concerned.

As Will held his finger under each word, trying to isolate it so he could understand the meaning, he was keenly aware that whoever had taken Emma Campano was probably reading the same story right now. Maybe the killer was getting a charge out of having his crimes on the front page of the Atlanta Journal . Maybe he was sweating over each word as much as Will, trying to see if there were any clues he had left behind.

Or maybe the man was so arrogant that he knew there was no way to link him to the crimes. Maybe he was out right now, trolling for his next victim even as Emma Campano's body rotted in a shallow grave.

There was a tap on the glass. Faith Mitchell was standing on the passenger's side of the car. She had his jacket in one hand and a cup of coffee in the other. Will reached over and unlocked the door for her.

"Can you believe that?" She angrily indicated the newspaper.

"What?" he asked, folding up the paper. "I just started reading it."

She shut the car door to keep in the air-conditioning. "A ‘highly placed Atlanta police officer' is quoted as saying that we botched the investigation and the GBI had to be called in." She seemed to realize who she was talking to and said, "I know we fucked up, but you don't talk about that sort of thing to the press. It doesn't exactly engender respect from the taxpayers."

"No," he agreed, though he thought it was curious she believed the source was from the APD. Will had actually made it that far into the story and assumed that the source was in the GBI and went by the name of Amanda Wagner.

"It would have been nice if they'd left out how wealthy the parents are, but I suppose you could figure that out from the name. Those car commercials are the most annoying thing on TV right now." She stared at him as if she was waiting for him to say something.

He said, "Yeah, they're pretty annoying. The commercials."

"Whatever." She held up his jacket. "You left this on my car."

He found his digital recorder, relieved to have it back. "These are great," he told Faith, knowing she had probably found it curious. "You wouldn't believe how bad my handwriting is."

She just stared at him again, and he felt the hair on the back of his neck stand up as he tucked the recorder into his pocket. Had she figured it out? If she listened to the recorder, all she would hear is Will's voice cataloguing information about the case so he could later dictate it into his computer and generate a report. Angie had said to watch out for Faith Mitchell. Had he already given himself away?

Faith's lips pressed together in a tight line. "I need to ask you something. You don't have to answer it, but I wish you would."

Will stared straight ahead. He could see teachers going into the main building with large thermoses of coffee and stacks of papers in their hands. "Sure."

"Do you think she's dead?"

His mouth opened, but more from relief than anything else. "Honestly, I don't know." He took his time putting his jacket on the backseat with the newspaper, trying to get some of his composure back. "I take it you didn't find anything earth-shattering last night in the dorm?" He had told her to call him if there were any leads.

She hesitated, as if she had to switch gears, then answered, "Not really. Nothing of interest in Adam's things except the pot, which I think we can agree is not very interesting?" Will nodded, and she continued, "We talked to every student in both halls. No one really knew Adam except for Gabe Cohen and Tommy Albertson, and considering the positive impression I made on both of them, they were reluctant to give any more information. I sent Ivan Sambor to talk to them-you know who he is?" Will shook his head. "Big Polish guy, doesn't take shit from anybody. Frankly, he scares the bejeezus out of me. He got the same story I got: they barely knew Adam, Gabe was crashing at his place because Tommy is an asshole. Even Tommy agreed with this, by the way."

She took out her spiral-bound notebook and flipped through the pages. "Most of the freshmen in Adam's dorm are in the same classes, but we can always go to each class and look for new faces. I reached all of his teachers but one, and all of them said the same thing: first week of class/nobody knows anybody/sorry he's dead/I don't even remember what he looks like. The one I couldn't get in touch with-Jerry Favre-is supposed to call me back today."

She flipped to another page. "Nuts and bolts: The security camera shows Adam leaving the dorm around seven forty-five yesterday morning. He's got an eight-o'clock class; the teacher verified he was there. Adam gave some kind of report the whole period, so there was no sneaking out. The card reader, which doesn't mean jack, by the way-you're not the only genius who figured out the handicap door trick-has him returning to the dorm at ten-eighteen a.m., which jibes with his class ending at ten. We have what's probably the back of his head on the camera. He changed clothes, then left again at exactly ten thirty-two. That's the last we have of him, unless you're holding something back."

Will felt surprise register on his face. "What would I hold back?"

"I don't know, Will. The last time I saw you, you were rushing to the copy center to go over Kayla Alexander's Prius. That's a pretty key piece of evidence, but we've been talking for almost ten minutes about everything but the weather and you haven't told me one damn thing."

"I'm sorry," Will answered, knowing that wasn't much of a consolation. "You're right. I should have told you. I'm not used to-"

"Working with a partner," she finished, her tone telling him that the excuse was getting old.

He could not blame her for being annoyed. She was working just as hard on this case as he was, and leaving her out was unfair. In as much detail as he could muster, Will told her about the Copy Right's security camera footage, the rope and duct tape Charlie had found. "According to the video, the dark car showed up at the parking garage at exactly eleven-fifteen yesterday morning. Two passengers got out-Adam and a stranger. Kayla Alexander's Prius drove up at twelve twenty-one. We can assume Emma was taken out of the trunk and transferred to the dark car. He was gone a little over a minute later." He summed up, "So, the last time we know Adam's whereabouts is eleven-fifteen a.m. in the parking deck of the Copy Right building."

Faith had been writing the times down in her notebook, but she stopped on this last point, looking up at Will. "Why there?"

"It's cheap, it's convenient to the house. There's no full-time attendant."

Faith provided, "The nosey neighbor told on them last year when they parked in the driveway. Using the garage was a good way to get around her."

"That was my guess," Will agreed. "We're doing background checks on all the Copy Right employees. The two girls came in for the evening shift while we were there-Frieda and Sandy. They really don't go into the garage. It's dark and they don't think it's particularly safe, which is probably true, especially considering the lack of any real security."

"What about the construction workers?"

"Amanda is going to spend today tracking them down. It's not just a matter of calling up the city and asking them for a list. Apparently, the workers just show up in the morning and they're told which fire to put out first. There are all kinds of subcontractors who use subcontractors, and before you know it, you've got day laborers and undocumented workers…it's a mess."

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