Lynn gripped the sides of the armchair, trying to put aside her own inner terror. ‘I can’t believe I’m thinking this, Ross. I’m not a violent person, even before Caitlin’s influence, I never even liked killing flies in my kitchen. Now I’m sitting here actually willing some stranger to die.’
The body of a teenager dredged from the seabed off the coast of Sussex is found to be missing its vital organs. Soon two more young bodies are found.
Caitlin Beckett, a fifteen-year-old in Brighton, will die if she does not receive an urgent liver transplant. When the health system threatens to let her down, Lynn, her mother, turns in panic to the internet and discovers a broker who can provide her with a black-market organ – but at a price.
As Superintendent Roy Grace investigates the recovered bodies, he unearths the trail of a gang of child traffickers operating from Eastern Europe. Soon Grace and his team will find themselves in a race against time to save the life of a young street kid, while a desperate mother will stop at nothing to save her daughter's life . .
‘One of the most fiendishly clever crime fiction plotters.’ Daily Mail
"synopsis" may belong to another edition of this title.
A teenager's body is recovered from the sea off the cost of Sussex, with vital organs excised. Two equally grim subsequent discoveries follow. At the same time, another teenager, Caitlinn Beckett, lies in a Brighton hospital; she will die if she is not the recipient of a liver transplant. The National Health Service cannot help, and Lynn, Catlinn's mothers, turns in desperation to clandestine sources. DS Roy Grace, on the trail of the killers of the dead teenagers, discovers a sinister cadre of Eastern European child traffickers. And here Peter James dispatches his usual peerless orchestration of suspense as two elements coalesce: can Roy Grace prevent another child death – and how far will the distraught Lynn Beckett go to save the life of her daughter?
Dead Simple, the first book in the Roy Grace series, immediately demonstrated that James was not content to simply reheat the clichés of the genre, and Looking Good Dead showed a similar willingness to reinvigorate the genre. Dead Tomorrow, the fifth entry, keeps up the momentum (with the usual vivid evocation of Roy Grace’s – and Peter James' – Brighton). Of course, if the police procedural field does nothing for you, there's nothing to say. But aficionados will be in seventh heaven. --Barry Forshaw
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