Cry Wolf

by Tami Hoag

  “Sharp dialogue and an unusual plot make this a highly engaging outing for Hoag.” —Chicago Tribune

  “Practice must make perfect after all because Tami Hoag . . . just keeps getting better. . . . Hoag not only develops her characters, she also thickens the plot with every chapter, until there is no alternative but to keep turning those pages.”

  —The Orlando Sentinel

  “As a master of complex plots, Hoag is adept at faking readers into thinking they've figured out what's happened, only to shatter their theories. Dust to Dust continues the tradition.” —Fort Worth Star-Telegram

  “In this well-crafted thriller, Hoag sets a complex plot in motion and gives it a powerful, emotional center.” —Minneapolis Star-Tribune

  ASHES TO ASHES

  “Hoag has more or less taken over the serial killer genre all by herself.” —Chicago Tribune

  “You'll want to lock the doors while you're reading. . . . Hoag does her homework and gets the details right in this creepy story. . . . Powerful.” —Minneapolis Star Tribune

  “An up-all-night read.” —The Detroit News

  “[A] detail-packed thriller . . . The Silence of the Lambs comes to mind more than once.” —Entertainment Weekly

  “[A] compelling . . . startling story.” —Chicago Sun-Times

  “Hoag has a way of sneaking up on the reader in superior thriller tradition. . . . She neatly side- steps the graphic crudeness of some of her competitors, while still providing enough surprise twists and stomach-turning carnage to satisfy any heebie-jeebie enthusiast.”

  —Publishers Weekly (starred review)

  “Absorbing . . . always interesting . . . Once again, Hoag doesn't disappoint.” —New York Post

  “Promises to keep readers up reading into the night. . . . A lot of bang for the buck.” —Alfred Hitchcock Mystery Magazine

  “Chilling . . . Patricia Cornwell wrote thrillers that had readers turning the pages until 3 a.m. Now Hoag is keeping readers up all hours.” —Sun-Sentinel (Fort Lauderdale, FL)

  “If ‘page turner' is a term too easily used, Ms. Hoag has restored its legitimacy. Her stories shock us, shake us, take us to the darkest edges of criminal conduct.” —The Cincinnati Enquirer

  “We who know a little about Tami Hoag's novels lock the doors, grab a bowl of popcorn, and settle down for an often unsettling read. With Ashes, we need to look over our shoulders every chapter or so because the evil therein gathers momentum with every move a serial killer makes.”

  —The Detroit News

  “This is a winning psychological thriller that will attract fans of Thomas Harris.” —Booklist

  A THIN DARK LINE

  “A Thin Dark Line is chilling, it's atmospheric, it's even romantic; but the novel's best achievement is its making readers constantly interrogate their ideas about justice and revenge, their own presumptions of guilt and innocence.”

  —US magazine

  “This mystery defies you to put it down, and when you're done you're damn glad you didn't.” —Detroit News & Free Press

  “Hoag deftly demonstrates that the search for truth is rarely straightforward. Important clues are cunningly buried, and the book's tension is as sustained as it is palpable.”

  —Chicago Tribune

  “With a flair for dialect and regional atmosphere, Hoag captures the essence of the Cajun family and working relationships while injecting suspense and heart-pounding terror into a violent tangle of justice, innocence, treachery, and public opinion. A thoroughly engrossing read.” —Booklist

  “Hoag has evolved into a fine thriller writer. [She] displays a firm grasp on locale [and] there's plenty of suspense in waiting to see how it will all resolve. Psychopathic villains are common enough, but Hoag has managed to endow hers with a scarred entourage that provides a tragic note.” —Publishers Weekly

  “Hoag is always a good gritty read.” —Kirkus Reviews

  “Hoag writes big, full stories with complex characters and situations. She doesn't shrink from the raw side of crime and the dark side of human nature.” —The Cincinnati Post

  Look for

  TAMI HOAG'S

  exciting novels of suspense

  DARK HORSE

  available in June 2004

  in paperback

  and

  KILL THE

  MESSENGER

  available in July 2004

  in hardcover

  Read on for previews.

  DARK HORSE

  by TAMI HOAG

  On sale June 2004

  LIFE CAN CHANGE in a heartbeat.

  I've always known that. I've lived the truth of that statement literally from the day I was born. I sometimes see those moments coming, sense them, anticipate them, as if they have an aura that precedes their arrival. I see one coming now. Adrenaline runs through my bloodstream like rocket fuel. My heart pounds like a piston. I'm ready to launch.

  I've been told to stay put, to wait, but I know that's not the right decision. If I go in first, if I go in now, I've got the Golam brothers dead-bang. They think they know me. Their guard will be down. I've worked this case three months. I know what I'm doing. I know that I'm right. I know the Golam brothers are already twitching. I know I want this bust and deserve it. I know Lieutenant Sikes is here for the show, to put a feather in his cap when the news vans arrive and to make the public think they should vote for him in the next election for sheriff.

  He stuck me on the side of the trailer and told me to wait. He doesn't know his ass. He doesn't even know the side door is the door the brothers use most. While Sikes and Ramirez are watching the front, the brothers are dumping their money into duffel bags and getting ready to bolt out the side. Billy Golam's four-by-four is parked ten feet away, covered in mud. If they run, they'll take the truck, not the Corvette parked in front. The truck can go off-road.

  Sikes is wasting precious time. The Golam brothers have two girls in the trailer with them. This could easily turn into a hostage situation. But if I go in now, while their guard is down . . .

  Screw Sikes. I'm going in before these twitches freak.

  It's my case. I know what I'm doing.

  I key my radio. “This is stupid. They're going to break for the truck. I'm going in.”

  “Goddammit, Estes—” Sikes.

  I click the radio off and drop it into the weeds growing beside the trailer. It's my case. It's my bust. I know what I'm doing.

  I go to the side door and knock the way all the Golam brothers' customers knock: two knocks, one knock, two knocks. “Hey, Billy, it's Elle. I need some.”

  Billy Golam jerks open the door, wild-eyed, high on his own home cooking—crystal meth. He's breathing hard. He's got a gun in his hand.

  Shit.

  The front door explodes inward.

  One of the girls screams.

  Buddy Golam shouts: “Cops!”

  Billy Golam swings the .357 up in my face. I suck in my last breath.

  And then I opened my eyes and felt sick at the knowledge that I was still alive.

  This was the way I had greeted every day for the past two years. I had relived that memory so many times, it was like replaying a movie over and over and over. No part of it changed, not a word, not an image. I wouldn't allow it.

  I lay in the bed and thought about slitting my wrists. Not in an abstract way. Specifically. I looked at my wrists in the soft lamplight—delicate, as fine-boned as the wing of a bird, skin as thin as tissue, blue-lined with veins—and thought about how I would do it. I looked at those thin blue lines and thought of them as lines of demarcation. Guidelines. Cut here.

  I pictured the needle-nose point of a boning knife. The lamplight would catch on the blade. Blood would rise to the surface in its wake as the blade skated along the vein. Red. My favorite color.

  The image didn't frighten me. That truth frightened me most of all.

  I looked at the clock: 4:38 A.M. I'd had my usual fitful four and a half hours of sleep. Trying fo
r more was an exercise in futility.

  Trembling, I forced my legs over the edge of the bed and got up, pulling a deep blue chenille throw around my shoulders. The fabric was soft, luxurious, warm. I made special note of the sensations. You're always more intensely alive the closer you come to looking death in the face.

  I wondered if Hector Ramirez had realized that the split second before he died.

  I wondered that every day.

  I dropped the throw and went into the bathroom.

  “Good morning, Elena. You look like shit.”

  Too thin. Hair a wild black tangle. Eyes too large, too dark, as if there was nothing within to shine outward. The crux of my problem: lack of substance. There was—is—a vague asymmetry to my face, like a porcelain vase that has been broken, then painstakingly restored. The same vase it was before, yet not the same. The same face I was born with, yet not the same. Slightly skewed and strangely expressionless.

  I was beautiful once.

  I reached for a comb on the counter, knocked it to the floor, grabbed a brush instead. Start at the bottom, work upward. Like combing a horse's tail. Work the knots out gently. But I had already tired of looking at myself. Anger and resentment bubbled up through me, and I tore the brush through my hair, shoving the snarls together and tangling the brush in the midst of the mess.

  I tried maybe forty-five seconds to extricate the thing, yanking at the brush, tearing at the hair above the snarl, not caring that I was pulling hair out of my head by the roots. I swore aloud, swatted at my image in the mirror, swept the tumbler and soap dish off the counter in a tantrum, and they smashed on the tile floor. Then I jerked open a drawer in the vanity and pulled out a scissors.

  Furious, shaking, breathing hard, I cut the brush free. It dropped to the floor with a mass of black hair wrapped around it. The pressure in my chest eased. Numbness trickled down through me like rain. Calm.

  Without emotion, I proceeded to hack away at the rest of my mane, cutting it boy-short in ten minutes. The result was ragged with a finger-in-the-light-socket quality. Still, I'd seen worse in Vogue.

  I swept up the mess—the discarded hair, the broken glass—tossed it in the trash, and walked out of the room.

  I'd worn my hair long all my life.

  THE MORNING WAS cool, shrouded in a thick, ground-hugging fog, the air ripe with the damp scents of south Florida: green plants and the murky canal that ran behind the property; mud and manure and horses. I stood on the patio of the little guest house I lived in and breathed deeply.

  I had come to this farm a refugee. Jobless, homeless, a pariah in my chosen profession. Unwanted, unloved, abandoned. All of it deserved. I had been off the job two years, most of that time spent in and out of hospitals as doctors repaired the damage done to my body that day at the Golam brothers' trailer. Piecing together shattered bone, patching torn flesh, putting the left side of my face together like a three-dimensional puzzle. They had been less successful with my psyche.

  Needing something to do until I could make up my mind about reaching for that boning knife, I had answered an ad in Sidelines, a locally based, biweekly magazine for the horse industry: GROOM WANTED.

  Life is strange. I don't wnat to believe anything is preordained. To believe that, one would have to accept the existence of a viciously cruel higher power in order to explain things like child abuse and rapists and AIDS and good men being shot dead in the line of duty. But the occasional twist of fate always makes me wonder.

  The phone number in the ad belonged to Sean Avadon. I'd known Sean a hundred years ago in my riding days, when I was a spoiled, sulky, Palm Beach teenager and he was a spoiled, outrageous twenty-something spending his trust fund on horses and mad flings with pretty young men from Sweden and Germany. We had been friends, Sean always telling me I needed him to be my surrogate sense of humor and fashion.

  Our families lived a couple of mansions down from one another on the Lake Worth side of the narrow island, Sean's father a real estate magnate, mine an attorney to the wealthiest crooks in south Florida. The slumlord and the shyster, each of them sire to ungrateful offspring. Sean and I had bonded in parental disdain and our love for horses. Wild child times two.

  All that had seemed so long ago as to be a dream I could barely remember. So much had happened since. I had left Palm Beach, left that world. I had metaphorically lived and died in another life. Then I answered that ad: GROOM WANTED.

  I didn't get the job. As bad a shape as I was in, even I could see the pity in his eyes when we met for drinks at The Players. I was a dark shadow of the girl Sean had known twenty years past, so pathetic I didn't have the pride to fake mental health. I guess that might have been rock bottom. I might have gone home that night to the apartment I was renting and tried to find that boning knife.

  Instead, Sean took me in like a stray cat—a recurring theme in my life. He put me in his guest house and asked that I work a couple of his horses for the winter season. He claimed he needed the help. His ex-trainer/ex-lover had run off to Holland with his groom and left him in the lurch. He made it sound like he was giving me a job. What he was giving me was a stay of execution.

  Three months had passed. I was still fantasizing about suicide, and every evening I took a bottle of Vicodin out of my nightstand, emptied out the pills, and looked at them and counted them and thought how one pill would ease the physical pain that had been with me every day since “the incident,” as my attorney called it. (How sterile and neat that sounded. A small segment of unpleasantness that could be snipped from the fabric of life and isolated. How in contrast to my memories.) One pill could ease the pain. Thirty could end it. I had a stockpile of three hundred and sixty pills.

  Every evening I looked at those pills, then put them back in the bottle and put the bottle away. I had never taken one. My evening ritual.

  My daily ritual for the past three months was the routine of Sean's barn and time spent with his horses. I found both rituals comforting, but for very different reasons. The pills were a connection to death, and every night I didn't take them was a victory. The horses were a connection to life, and every hour spent with them was a reprieve.

  Early on in my life I came to the conclusion that my spirituality was something uniquely and privately my own, something I could find only deep within a small quiet space in the very center of my being. Some people find that place through meditation or yoga or prayer. I find that place within me when I am on a horse. My Zen religion: the equestrian art of dressage.

  Dressage is a discipline born on the battlefield in ancient times. Warhorses were trained in precision movements to aid their masters in battle, not only to evade enemies, but to attack them. Over the centuries the training went from the battlefield to the showring, and dressage evolved into something like equine ballet.

  To the untrained eye it appears graceful and elegant and effortless. A skilled rider seems to be so quiet, so motionless as to virtually blend into the background. In reality, the sport is physically and mentally demanding on both horse and rider. Complex and complicated. The rider must be attuned to the horse's every football, to the balance of every inch of the horse's body. The slightest shift of the rider's weight, the smallest movement of a hand, the lightest tensing of a calf muscle will affect the quality of the performance. Focus must be absolute. Everything else becomes insignificant.

  Riding was my refuge as a teenager, when I felt I had little control over any other aspect of my life. It was my stress release when I had a career. It had become my salvation when I had nothing else. On the back of a horse I felt whole, complete, connected to that vital place in the very center of me that had otherwise closed itself off, and the chaos within me found balance.

  D'Artagnon and I moved across the sand arena through the last wisps of the morning ground fog, the horse's muscles bulging and rolling, his hooves striking the ground in perfect metronome rhythm. I massaged the left rein, sat into his back, tightened my calves around him. The energy moved from his hindquart
ers, over his back; his neck rounded and his knees came up into the stylized, slow-motion trot called passage. He seemed almost to float beneath me, to bounce like a huge, soft ball. I felt he might take wing if only I knew the one secret word to whisper to him.

  We halted in the center of the ring at the place known as X. In that moment I felt joy and peace.

  I dropped the reins on his neck and patted him. He lowered his head and started to walk forward, then stopped and came to attention.

  A girl sat on the white board fence that ran along the road. She watched me with a sense of expectation about her. Even though I hadn't noticed her, I could tell she'd been there, waiting. I judged her to be about twelve. Her hair was long and brown, perfectly straight, and neatly held back from her face with a barrette on each side. She wore little round black-rimmed glasses that made her look very serious. I rode toward her with a vague feeling of apprehension that made no sense at the time.

  “Can I help you?” I asked. D'Ar blew through his nostrils at her, ready to bolt and save us from the intruder. I should have let him.

  “I'm here to see Ms. Estes,” she said properly, as if she'd come on business.

  “Elena Estes?”

  “Yes.”

  “And you are . . . ?”

  “Molly Seabright.”

  “Well, Molly Seabright, Ms. Estes isn't here at the moment.”

  “You're Ms. Estes,” she declared. “I recognize your horse. His name is D'Artagnon, like in the Three Musketeers.” She narrowed her eyes. “You cut your hair.” Disapproval.