Karin Slaughter - Skin Privilege

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It's no simple case of murder. Lena Adams has spent her life struggling to escape her past. She has only unhappy memories of Reece, the small town which nearly destroyed her. She's made a new life for herself as a police detective in Heartsdale, a hundred miles away – but nothing could prepare her for the violence which explodes when she is forced to return. A vicious murder leaves a young woman incinerated beyond recognition. And Lena is the only suspect. When Heartsdale police chief Jeffrey Tolliver, Lena's boss, receives word that his detective has been arrested, he has no choice but to go to Lena's aid – taking with him his wife, medical examiner Sara Linton. But soon after their arrival, a second victim is found. The town closes ranks. And both Jeffrey and Sara find themselves entangled in a horrifying underground world of bigotry and rage – a violent world which shocks even them. A world which puts their own lives in jeopardy. Only Jeffrey and Sara can free Lena from the web of lies, betrayal and brutality that has trapped her. But can they discover the truth before the killer strikes again?
***
'No one does American small-town evil more chillingly… Slaughter tells a dark story that grips and doesn't let go' The Times
'This is without doubt an accomplished, compelling and complex tale, with page-turning power aplenty' Daily Express
'Beautifully paced, appropriately grisly, and terrifyingly plausible' Time Out
'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
'An explosive thriller with plenty of twists – this is criminally spectacular!' OK!
'A great read… This is crime fiction at its finest' Michael Connelly 'Slaughter's plotting is relentless, piling on surprises and twists… A good read that should come with a psychological health warning' Guardian
'Another brilliantly chilling tale from Slaughter' beat A fast-paced and unsettling story… A compelling and fluid read' Daily Telegraph
'Structured and paced brilliantly; the tension is unceasing throughout. Slaughter's shock tactics don't allow the reader to relax for a single moment' The Times
'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
'Don't read this alone. Don't read this after dark. But do read it' Daily Mirror
'A salutary reminder that Slaughter is one of the most riveting writers in the field today' Sunday Express
'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
'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
'Slaughter's narrative is superb, a game of show and tell that constantly exhilarates as the next unexpected piece of the jigsaw fits into place' Birmingham Post
'Gripping, gruesome and definitely not for the faint-hearted' Woman Home
'Karin Slaughter is a fearless writer. She takes us to the deep, dark places other novelists don't dare to go. Kisscut will cement her reputation as one of the boldest thriller writers working today' Tess Gerritsen
'Unsparing, exciting, genuinely alarming… excellent handling of densely woven plot, rich in interactions, well characterised and as subtle as it is shrewd' Literary Review
'This gripping debut novel, filled with unremittingly graphic forensic details, is likely to have Patricia Cornwell and Kathy Reichs glancing nervously in their rearview mirrors because rookie Karin Slaughter is off the starting grid as quickly as Michael Schumacher and is closing on them fast' Irish Independent
'Brutal and chilling' Daily Mirror '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
'A tension-filled narrative with plenty of plot twists… This is just the ticket for readers who like their crime fiction on the dark side' Booklist
'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
'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… hits the bull's eye' New York 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
'Taut and tight and tinged with terror' Houston Chronicle 'A story that roars its way through the final pages, Slaughter's thriller is scary, shocking and perfectly suspenseful' BookPage.com
'The undertone of violence is pervasive, even at quiet moments, amplifying Slaughter's equation of intimacy with menace and placing her squarely in the ranks of Cornwell and Reichs' Publishers Weekly
'Slaughter's gift for building multi-layered tension while deconstructing damaged personalities gives this thriller a nerve-wracking finish' USA Today
'A page turner… has more twists than a Slinky Factory' People
'A debut novel that blows your socks off. Karin Slaughter has immediately jumped to the front of the line of first-rate thriller writers…' Rocky Mountain News

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And now, it was almost like she was disappearing before his eyes.

Sara came out of the post office, and Jeffrey found himself looking at the map again instead of watching her walk toward him.

'They were very nice,' Sara told him as she got into the car. She was holding a postal form where she'd written down some directions. 'They said he's about three miles west of here.'

'Why don't we just go to Florida?'

Jeffrey heard his words fill the empty space in the car, knew they had come out of his own mouth, but had no idea where the question had come from.

Sara smiled, shaking her head. Still, she suggested, 'Drink margaritas on the beach?'

He felt himself smiling back. 'Rub suntan oil all over your body.'

'Then aloe when the sun burns off the top layer of my skin.' Sara turned to him, still smiling. 'You need to go left on Main Street.'

'I'm serious about Florida.'

T'm serious about taking a left.'

He reached out to her, tracing his fingers along her lips. 'You're beautiful. Do you know that?'

She kissed his fingers, then put his hand back on the steering wheel. 'Left,' she repeated. 'Then take a right onto a road called Kate's Way.'

Jeffrey backed out of the space and turned onto Main Street. He slowed as they came to a gravel road, trying to read the handmade street sign. He did this at three roads before finding Kate's Way, a bumpy, one-lane path that looked as if it was seldom used. The scenery changed abruptly the farther they traveled. This part of Georgia was flat marshland, huge, big-bottomed cypress trees growing straight out of the tea-colored water. Spanish moss draped over the branches like lace and there was a constant sound of crickets, birds, frogs, and the occasional gator bellow that they could hear even with the car windows rolled up tight.

The curves in the road suggested they were following a creek that hadn't made it onto Nick's map. Jeffrey slowed the car to a meandering pace, careful not to speed lest he meet a car coming from the opposite direction. He imagined it would be a truck, and that the truck would contain a local who didn't cotton to someone being on his road, public right-of-way or not.

He didn't meet any such truck, and when Sara told him to take the next right turn onto yet another deserted-looking gravel road, Jeffrey made a joke about leaving breadcrumbs.

Two miles down, there was a large, rusted mailbox beside a dilapidated lane, and Jeffrey pulled over to check the number. The sign was so faded that neither one of them could read anything, but a quick scan of Sara's notes told them they were in the right place.

Jeffrey turned down the driveway, slowing to a stop to let a rabbit jump across the path. He went a few more feet, then slowed again for a couple of chickens. After the birds had taken their own sweet time moseying to the other side, Jeffrey accelerated, kicking up dust in his wake. He hadn't meant to draw so much attention to himself, but maybe it was wise to announce your presence to a man who had been firebombed out of his own home.

'Well,' Sara said, surprised when she saw the house.

Jeffrey shared the feeling. Pfeiffer's spread was a little more grand than what Jeffrey would have imagined if he'd let himself sit down and think about it. The house was on a rise, thick green grass carpeting the lawn, a stone path leading down to the creek. Built in a mini-plantation style, two large white columns held up a second-floor balcony. Large floor-to-ceiling windows let in the afternoon sun and opened for a crosswind on more temperate days. On the bottom floor, a wraparound porch completed the picture.

Jeffrey parked his car on the pad in front of the mansion.

'Nice digs,' Sara commented.

'Why don't you stay in the car?' Jeffrey suggested. 'I'll go make sure this is the right place.'

She opened her mouth to say something, then changed her mind and gave him a nod instead.

As Jeffrey got out of the car, he could hear the buzz of an air-conditioning unit coming from the side of the house, its insistent whirring blocking out the crickets and birds, though the rushing white waters of the creek managed to compete with the fan. He glanced around, looking for power lines, guessing they were buried in the ground. That would've set Pfeiffer back a wad of cash. It was three times more expensive to bury lines than it was to string them across the sky. Jeffrey assumed the man had laid a phone line in the process and wondered how he'd managed to have a phone number that Nick Shelton couldn't trace. Maybe he had put it in his wife's name, or a family member's. Obviously, Al Pfeiffer had gone to some trouble to make sure he couldn't be contacted.

Jeffrey put his hand in his pocket, trying to use the casual gesture to hide his trepidation. He felt the keyfob and realized he'd left Sara without any air-conditioning and no way to roll down the windows. He glanced back at the BMW. Sara waved and he nodded back.

He continued up the path. The closer he got to the house, the more he could see that there was something too new about the place, a crisp whiteness to the vinyl siding, a too-clean look to the porch stairs, that gave lie to its plantation roots. Climbing the cement stairs, Jeffrey figured that the house had probably been constructed by a local builder who specialized in slinging up little Taras. This far out in the middle of nowhere, it couldn't have come cheap.

Between the sheriff's pension, disability for his injuries, and whatever he had socked away, Al Pfeiffer was obviously living comfortably. This was certainly not the kind of place Jeffrey would choose for his retirement, but the isolation had its benefits, especially when you were the type of person to open your front door with a shotgun in your hand.

'What do you want?'

Jeffrey's hand had been raised to knock when the front door was flung open. The shotgun was pointed squarely in his face, about two inches from his nose. Now that Jeffrey thought about it, he'd heard the quick cha-chunk of the pump being jerked, a shell being loaded into the chamber, as he'd lifted his hand in the air. He had been just a few seconds off from registering the sound, though, and those few seconds could have meant life and death if the man behind the gun hadn't been more careful. Or maybe the man was just terrified. His eyes kept darting over Jeffrey's shoulder, checking to see if he was alone.

Jeffrey still had his hand in his pocket. He found the keyfob and pressed the lock button, hoping to God the BMW was within reach of the signal.

'You got to the count of three before I blow off your head and ask questions later.'

'Are you Al Pfeiffer?'

'Who the fuck else would I be?'

'I've got my-' Jeffrey slid his hand out of his pocket so he could reach for his badge. He stopped when the man moved closer, firmly pressing the barrel of the Remington under Jeffrey's right eye.

Saliva spit from Pfeiffer's mouth when he demanded, 'You think I'm stupid, boy?'

Slowly, Jeffrey put both of his hands in the air. He wanted to look over his shoulder. Where was Sara? Was she safe? His heart was beating so hard in his chest that he could barely hear his own voice when he told the man, 'I'm a cop.'

The weapon held steady, but the fear in the man's eyes was unmistakable. 'I know what you are.'

'My wife is in the car. I don't want her to get hurt.'

He glanced over Jeffrey's shoulder. 'I don't give a fuck who's in that car. She gets out, that's the last thing you'll ever hear.'

Jeffrey looked down the barrel of the shotgun at Al Pfeiffer, saw the way he struggled to keep the tremor out of his hands. He also saw the damage from the firebomb. Mottled skin slackened one side of his face, his left eye nearly closed from scarring. He was wearing a short-sleeved dress shirt, white and finely starched, the grotesque scarring on his arms showing where the flesh had been burned off the bone. There were tears in his eyes, but Jeffrey did not know if this was from pain or fear. This close up, it looked like a combination of both.

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