Innocent Graves: A Novel of Suspense

by Peter Robinson Narrated by James Langton

Overview

The worst that can possibly happen...has.



A beautiful child is dead-defiled and murdered in a lonely graveyard on a fog-shrouded evening. It is the sort of horrific crime Chief Inspector Alan Banks fled the city to escape. But the slaying of a bright and lovely teenager from a wealthy, respected family is not the end of a nightmare. Lies, dark secrets, unholy accusations, and hints of sexual depravity swirl around this abomination like leaves in an autumn wind, leading to a shattering travesty of justice that will brutally divide a devastated community with suspicion and hatred. But Banks must remain vigilant in his hunt-because when the devil is left free to pursue his terrible calling, more blood will surely flow.

Editorial Reviews

Publishers Weekly - Publisher's Weekly

Moving his ever dependable Yorkshire-based copper, Alan Banks (Final Account, 1995, etc.), to the periphery of this work, the equally dependable Robinson focuses instead on the tragic plight of a possibly innocent man charged with murder. In the process, Robinson adds another level of nuance to his already fully dimensioned fiction and takes a quantum leap as a writer. A schoolgirl is murdered on church ground. Her school bag is left open, and her clothes are disturbed. The local vicar is already embroiled in a sex scandal, and his adulterous wife is wandering drunkenly through the grounds when the body is found. Without a decent motive, but with a plethora of damning evidence, Banks is led to one Owen Pierce, a moody young schoolteacher. Pierce is revealed as a man with enough minor aberrations in his life to fashion a believable criminal. His smutty tastes in literature, photography and teenage women invite easy condemnation, and he is further burdened with a past lover who nurses a deep grievance against him. If Banks has occasionally appeared a shade too decent and placid in past works, this eighth appearance finds him with a new, sharper edge. Banks is still a kindly enough soul, but he knowingly occupies a world that has suddenly become more richly treacherous. (Aug.)

Kirkus Reviews

Yorkshire Chief Inspector Alan Banks's eighth case (Final Account, 1995, etc.) is a particularly sad affair: the strangling of Deborah Harrison, a choirgirl who liked chess and horses, in St. Mary's cemetery. There's not far to look for suspects: Daniel Charters, the vicar of St. Mary's, is reeling under the accusations of sexual advances by the Croatian sexton he dismissed; the sexton himself acts furtive and defensive; and Deborah's ex-boyfriend, John Spinks, is a lowlife who seems to have a problem with rules of any sort. But under the gun of the new Chief Constable, an old friend of Deborah's titled father, Banks and his men zero in on English teacher Owen Pierce, and Pierce—whose flamboyant liaison with adventurous model Michelle Chappel seems to have been an undress rehearsal for the role of crazed sex killer—endures the agonies of interrogation, arrest, arraignment, and trial before a jury narrowly frees him to return to his shattered life, his lynch- minded neighbors, and suspicion of having committed a second murder with all the earmarks of the first. The whole plot would seem deeply old-fashioned if the characters, from go-getting Inspector Barry Stott to the vicar's embattled wife, didn't keep pulsing and seething with startling life.

A standout performance from one of the last and finest masters of the understated British procedural, with plenty of passion to understate.

Product Details

BN ID:	2940170543625
Publisher:	Tantor Audio
Publication date:	03/16/2011
Series:	Inspector Alan Banks Series , #8
Edition description:	Unabridged

Read an Excerpt

Innocent Graves

Chapter One

The night it all began, a thick fog rolled down the dale and enfolded the town of Eastvale in its shroud. Fog in the market square, creeping in the cracks between the cobbles; fog muffling the sound of laughter from the Queen's Arms and muting the light through its red and amber panes; fog rubbing and licking against cool glass in curtained windows and insinuating its way through tiny gaps under doors.

And the fog seemed at its thickest in the graveyard of St. Mary's Church, where a beautiful woman with long auburn hair wandered barefoot and drunk, a wineglass full of Pinot Noir held precariously in her hand.

She weaved her way between the squat, gnarled yews and lichen-stained stones. Sometimes she thought she saw ghosts, gray, translucent shapes flitting among the tombs ahead, but they didn't frighten her.

And she came to the Inchcliffe Mausoleum.

It loomed ahead out of the fog, massive and magnificent: classical lines formed in marble, steps overgrown with weeds leading down to the heavy oak door.

But it was the angel she had come to see. She liked the angel. Its eyes were fixed on heaven, as if nothing earthly mattered, and its hands were clasped together in prayer. Though it was solid marble, she often fancied it was so insubstantial she could pass her hand right through it.

She swayed slightly, raised her glass to the angel and drained half the wine at one gulp. She could feel the cold, damp earth and grass under her feet.

"Hello, Gabriel," she said, voice a little slurred. "I'm sorry but I've sinned again." She hiccupped and put her hand to her mouth. " 'Scuse me, but I just can't seem to -- "

Then she saw something, a black-and-white shape, sticking out from behind the mausoleum. Curious, she squinted and stumbled towards it. Only when she was about a yard away did she realize it was a black shoe and a white sock. With a foot still in it.

She tottered back, hand to her mouth, then circled around the back of the tomb. All she could make out were the pale legs, the fair hair, the open satchel and the maroon uniform of St. Mary's School for Girls.

She screamed and dropped her glass. It shattered on a stone. Then Rebecca Charters, wife of the vicar of St. Mary's, fell to her knees on the broken glass and started to vomit.

II

The fog tasted of ashes, thought Detective Chief Inspector Alan Banks, as he pulled up his raincoat collar and hurried down the tarmac path towards the faint, gauzy light. Or perhaps he was being fanciful. Even though he hadn't seen the body yet, he felt that familiar clenching in his stomach that murder always brought.

When he reached the scene, just off a narrow gravel path past the shrubbery, he saw the blurred silhouette of Dr. Glendenning through the canvas screen, bent over a vague shape lying on the ground, like a dumb-show in a Jacobean drama.

Fog had played havoc with the usual order of arrival. Banks himself had been at a senior officers' meeting in Northallerton when he got the call, and he was consequently almost the last person to arrive. Peter Darby, crime-scene photographer, was there already, and so was Detective Inspector Barry Stott, who, for reasons clear to anyone who saw him, was more commonly known as "Jug-ears." Stott, who had recently been transferred from Salford upon his promotion from detective sergeant, was a temporary replacement for DS Philip Richmond, who had gone to Scotland Yard to join a special computer unit.

Banks took a deep breath and walked behind the screen. Dr. Glendenning looked up, cigarette dangling from his mouth, its smoke indistinguishable from the fog that surrounded them.

"Ah, Banks ... " he said in his lilting Edinburgh accent, then he shook his head slowly.

Banks looked down at the body. In all his years in Eastvale, he hadn't had to deal with a crime like this. He had seen worse in London, of course, which was part of the reason he had left the Met and transferred up north. But you clearly couldn't hide from it any more now. Not anywhere. George Orwell was right about the decline of the English murder, and this was exactly the kind of thing it had declined into.

The girl, about fifteen or sixteen by the look of her, lay on her back in the long grass behind a huge Victorian sepulchre, upon which stood a marble statue of an angel. The angel had its back turned to her, and through the fog Banks could make out the chipped feathers of its wings.

Her eyes stared into the fog, her long blonde hair lay fanned out around her head like a halo, and her face had a reddish-purple hue. There was a little cut by her left eye and some discoloration around her neck. A trickle of blood the shape of a large teardrop ran out of her left nostril.

Her maroon school blazer lay bunched up on the ground beside her, and her white blouse had been ripped open at the front; her bra had then been removed -- roughly, by the looks of it.

Banks felt the urge to cover her. In his job, he had already seen far more than a man should, and it was little things like this that sometimes affected him more than the blood and guts. The girl looked so vulnerable, so callously violated. He could imagine her shame at being exposed this way, how she would blush and hurry to cover herself if she were alive. But she was beyond shame now.

Below her waist, someone had pulled her skirt up to reveal her thighs and pubic region. Her long legs lay open at a forty-five-degree angle. Her white socks were down around her ankles. She wore shiny black shoes with buckles fastened at the sides.

Innocent Graves. Copyright © by Peter Robinson. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

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