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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'Does Clint work for you?' Lena asked, trying to distract him.

Valentine scooted up onto the counter, wincing as the cut in his side pulled. 'Lots of people work for me.'

Harley, Lena thought. Nobody worked for Harley. When she had confronted Clint at the warehouse this morning, the photos of Harley were the ones that sent him over the edge. All of the color had drained from his face, and his hand had shook as he picked up the phone, dialed the number. His voice had gone quiet as he'd explained to whoever was on the other end of the line that Lena was willing to trade the pictures and the logs for their lives. That was all she wanted – not money, not drugs, not anything but their lives. She would hold the originals for safekeeping and the swastika boys could go on their merry way.

Clint hadn't said much on the phone. Mostly, he'd nodded, his eyes locked on Lena 's, his fear palpable in the empty warehouse. He'd hung up the phone and told Lena to turn herself in, that the judge was on their payroll and would let her go with a slap on the wrists. Lena had assumed that Clint had called Harley. Had he talked to Jake Valentine instead? Had the sheriff actually been pulling the strings this entire time?

'Hell, I need some aspirin.' Valentine slid down from the counter and started opening the cabinets around him.

Lena knew there were all kinds of painkillers in the first-aid kit, but she wasn't about to clue him in. He had his back to them both, and out of the corner of her eye, Lena saw Sara put her hand on the metal box, move it closer.

Lena asked, 'What did you mean on the phone -something to take the edge off?'

He checked the last cabinet. 'You'll find out soon enough, darlin'.'

Sara seemed to have the box where she wanted it. She told Valentine, 'Your bandage is coming off.'

He looked at her handiwork, sighed. 'Fix it,' he demanded, walking over to her. She lifted her hands but he stopped her, pressing the gun to her head. Til hold this right here so you don't feel the need to grab that metal box and hit me upside the head.'

Sara taped the bandage back into place. 'Jeffrey will kill you.' She said the words matter-of-factly, as if it was a foregone conclusion rather than a threat.

Valentine waited until Sara was finished, then took the box, pushed open the swinging door with his foot, and tossed it into the hallway.

He leaned against the counter, asking Lena, 'How'd you guess it? How'd you know about the tattoo?' She finally realized with this one question that Ethan was not involved in anything that had happened – Hank was back on dope for his own dark reasons. Charlotte and Deacon were casualties from another war. What was happening in this house right now was all about Jake Valentine and the millions of dollars worth of methamphetamine rolling through his county.

For Sara's benefit, Lena explained, 'Hitler's Waffen SS had their blood types tattooed in the same spot. It means Jake is high up the ranks.'

'As high as you can get,' he bragged.

'It's rare to just see one,' Lena commented. 'Usually, they mark themselves up with swastikas and anything else they can think of.' She turned to the woman, willing her to go along. 'Have you ever seen a skinhead – I mean, really seen one, studied their tattoos?'

Sara's eyes locked onto hers. They both knew she had examined Ethan. 'No.'

Lena asked the sheriff, 'Why do you have just one tattoo?'

He chuckled. 'You kidding me? Myra would kill me if I came home painted up like some freak out of a carnival.' He tapped his chest. 'What matters is what's in here.'

'Your wife knows?' Sara asked, her voice going up in surprise.

Valentine leveled her with a gaze, but he didn't answer. Instead, he addressed his words to Lena. 'You were this close to getting away. You know that? And then you had to go and screw up everything. You got the wrong people mad at you, little darlin'. You should've just kept yourself to yourself.'

Lena fought the urge to spit in his face. 'Why did Charlotte have to die?'

'To let you know what happens to people who talk.'

'She didn't say anything.'

'In my experience, addicts tend to be unreliable.'

'She wasn't an addict.'

'Then what was she doing toking up in a meth den with your uncle last weekend?'

Lena lowered her head down so Valentine couldn't see her expression. Charlotte… poor Charlotte.

Sara asked, 'What does Hank have to do with any of this?'

'He looked out his window when he shouldn't have,' Valentine admitted. 'Some associates and I were transacting a little business at the motel. Him and that stupid bartender of his started asking questions, thought they could ride in on their white horses and clean up this town.' He shrugged. 'Guess it runs in the family, not being able to take a warning.'

'Al Pfeiffer,' Sara continued. 'Is that why he left town? Did you throw that firebomb through his window?'

Valentine just shrugged. 'Things happen.'

Lena asked, 'Is Cook in on this, too?'

'Don?' he snorted. 'Don doesn't know jack. He's just holding down that desk until his retirement kicks in.'

Sara asked, 'Is that why he ran for sheriff?'

Valentine smirked. 'Wouldn't do for me to run unopposed, would it?' He grinned. 'Poor old Cookie let it go to his head – actually thought he could win.' There was a knock at the back door. Valentine called, 'Who is it?'

'Me,' a voice called back.

Valentine pushed away from the counter and opened the door, all the while keeping his gun trained on Sara and Lena. Clint stood at the door holding a large cardboard box.

He saw Lena and shook his head. 'You're worse than your fucking uncle, you know that? Can't keep your goddamn nose out of anything.'

'We had a deal.'

'Yeah,' Clint agreed, reaching into the cardboard box. There was a FedEx pack on top. He tossed it toward Lena. She saw her own handwriting, Frank Wallace's address at the Grant County police station. She had sent the packet to Frank from Kinko's the night before, thinking that if things went bad, Frank would have enough evidence to take down the operation. The original photos and logs were tucked up under the front seat of Hank's Mercedes. Her insurance was gone.

Clint told her, 'We've been following you since you got into town. You think it's just coincidence we happened to have Charlotte with us the night we ran your car off the road?'

Lena felt her mouth open, but nothing would come out.

'You could've gone peacefully a couple of weeks from now. Needle in your arm, suicide note talking about how sad you were that your uncle was dead.' He glanced at Sara, shook his head, sad. 'You almost made it, too.'

Valentine snapped, 'Stop wasting time and get started.'

Clint put the box on the counter and walked over to the stove. He pushed Hank's pamphlets off the burners and tried the knobs. None of the burners would come on, probably because Hank hadn't used the stove in twenty years. Still, Clint didn't give up. He turned one of the knobs and leaned down, sniffing for gas. Satisfied, he took out a box of matches and struck one. The flame whooshed as the gas caught. He turned off the burner and tried each one in turn. Two lighted as easily as the first, but he had to take off the grate and use his thumbnail to clean the fourth before enough gas came out of the valve to catch flame.

Sara asked Valentine, 'What are you doing?'

He didn't answer as he took various items out of the box Clint had brought and lined them up on the counter. Acetone, rubbing alcohol, ammonia, lye.

'Shit,' Lena hissed. 'Meth. They're going to cook meth.'

'Don't worry,' Valentine told her, opening and closing cabinets until he found Hank's coffee mugs. They were old, handmade in Mexico – so fragile that Hank only used them on special occasions. He held up one of the cups, smiled. 'It won't cook for very long.'

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