Cover image for Dark horse
Title:
Dark horse
Author:
Hoag, Tami.
Personal Author:
Edition:
Abridged.
Publication Information:
New York, N.Y. : Random House Audio, [2002]

â„—2002
Physical Description:
5 audio discs (5 hr.) : digital ; 4 3/4 in.
General Note:
Title from disc surface.

Books on CD.
Language:
English
Geographic Term:
Added Author:
ISBN:
9780553528237
Format :
Audiobook on CD

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Summary

Summary

In her latest thriller, New York Times bestselling author Hoag takes readers on a suspense-filled ride of shocks and twists leading to an explosive finish. It is the story of an ex-cop, a missing girl, and a killer locked in a race where there can be only one winner--and the losers die trying.Abridged. 5 CDs.


Author Notes

Tami Hoag was born on January 20, 1959, in Cresco, Iowa. Her first novel, The Trouble with J. J., was published in 1988. Her other works include Night Sins, Guilty as Sin, The Alibi Man, Prior Bad Acts, Dark Horse, Kill the Messenger, Deeper Than the Dead, Secrets to the Grave, Down the Darkest Road, Cold Cold Heart, and the Bitter Season. She is a past recipient of the Career Achievement Award from the Romantic Times.

(Bowker Author Biography) Tami Hoag's thrilling novels are eagerly awaited, and she has been a mainstay of national bestseller lists since the publication of her first book in 1988. She now lives in Virginia.

(Publisher Provided)


Reviews 3

Booklist Review

Welcome to the dark psyche of Elena Estes, a woman who had everything that society has to offer but gave it away to become a cop, and now even that life is lost. She made a mistake during a drug bust, an officer died, and she was badly hurt. Now she's a pariah in the Palm Beach sheriff's office. She retreats to the farm of an old friend, and returns to her childhood love of horse, while she recovers physically if not emotionally. Twelve-year-old Molly Seabright brings Elena back to the world of the living by asking her to find her missing 18-year-old sister, Erin, who works as a groom. Neither the police nor her parents believe anything is wrong, but Molly is persistent. Elena agrees to investigate and soon lands knee-deep in the muck of the horse world, where she finds horses murdered for insurance money, sleazy dealers, debauched playboys, charismatic trainers, and one infuriating cop. A tangled web of deceit and double-dealing makes for a fascinating look into the wealthy world of horses juxtaposed with the realistic introspection of one very troubled ex-cop. A definite winner for Hoag. --Patty Engelmann


Publisher's Weekly Review

The professional horse world, as seen through Hoag's eyes, is full of intrigue, glitter and skullduggery. Elena Estes is a former cop whose bravado on the force resulted in a colleague's death; it also cost her her job and her self-esteem, not to mention the psychological and physical fallout from nearly being shot. She's been keeping a low profile at a friend's Florida ranch, but her world is disrupted when 12-year-old Molly Seabright, wise beyond her years, attempts to hire Elena to find her older sister, Erin, who has been missing for two days. As Elena digs deeper into Erin's disappearance, the dark side of the horse-show set is revealed. Hoag (Night Sins; Dust to Dust), herself an experienced equestrian, shows off her dressage-to-showing knowledge of the sport as she weaves behind-the-scenes tidbits about the training, competitions, horse brokers and grooms into a plot that gallops along. Though she is a master of suspense, the story falters when a major secret about the kidnapping is exposed. There are too many bad guys who may be in on the scheme, and readers will feel cheated by the improbable 11th-hour revelation. It's too bad Hoag felt the need to undercut her plot with schemes and counterschemes, since she finds plenty of tension in the equestrian world she examines here and doesn't need the contrivance. Nonetheless, she has enough skill and drawing power to propel this, her 10th book, onto bestseller lists. Major ad/promo. (Aug. 27) (c) Copyright PWxyz, LLC. All rights reserved


Library Journal Review

Elaina Estes, dark horse, ex-cop, loose cannon, and refugee from the high society of South Florida, hovers on the brink of suicide, waiting for a reason to live. That reason appears in the guise of Molly Seebright, a very adult 12-year-old whose older sister Erin is missing. Elaina is drawn into the case in spite of herself and despite the lack of interest from Molly's parents and the local sheriff's office. Elaina uncovers a snake pit of treachery, greed, and murder involving the Palm Beach horse set and the people who serve them. By immersing herself in the case and risking her life for Molly, Elaina redeems herself in her own eyes and begins to think about her future. With a reading by Beth McDonald, Hoag's story is complex and dark, full of counterplots and red herrings. Her depiction of depravity and evil as human norms is disturbing, allowing small hope that the dark horse, the underdog representing goodness and sanity, can prevail. Recommended.-Joanna M. Burk-hardt, Coll. of Continuing Education Lib., Univ. of Rhode Island, Providence (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

THE DIRECTOR ACT ONE [FADE IN: EXTERIOR: PALM BEACH EQUESTRIAN CENTER--SUNSET] Flat, open fields of scrub stretching to the west. A dirt road running north onto equestrian center property and south toward small horse farms some distance away. No one around.The fields are empty. No people, no horses. Sunday night: everyone has gone home. ERIN stands at the back gate. She's waiting for someone. She's nervous. She thinks she's here for a secret purpose. She thinks her life will change tonight. It will. She looks at her watch. Impatient. Afraid he won't show. She's not aware of the camera filming her. She thinks she's alone. She's thinking: maybe he won't come, maybe she's wrong about him. A rusted white van approaches from the south. She watches it come toward her. She looks annoyed. No one uses this back road this time of day.The gate to the show grounds has already been chained shut for the night. The van stops.The side door opens. A masked ASSAILANT leapsout. ERIN No! She starts to run toward the gate.He catches her arm from behind and spins her around. She kicks him. He backhands her across the face, knocking her sideways. She wrenches free of his grasp as she stumbles, and she tries to run again but can't get her feet under her.The assailant knocks her down from behind, coming down on top of her, his knee in her back. ASSAILANT Stupid cunt! He pulls a hypodermic needle from the pocket of his jacket and rams the needle into her arm. She makes a sound of pain and starts to cry. He pulls her to her feet and shoves her into the van.The door slams shut.The van turns around and drives away. Life changes in a heartbeat. [FADE OUT] Chapter 1 ELENA 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. 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 Sikes is here for the show, to put a feather in his cap when the news vans arrive and 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 4 X 4 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 hit the button on my radio. "This is stupid. They're going to break for the truck. I'm going in." "Goddamnit, 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 El. 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. He turns abruptly and fires. The sound is deafening and yet I hear someone shout:"Officer down!" Billy Golam knocks me aside, bolts down the stairs and runs forthe truck. I scramble to get my feet under me. I pull my weapon. I try to run before I'm upright, stumble and hit the ground with one knee. Gunfire pops at the front of the trailer.The truck engine roars to life. "Billy!" I scream, running for the truck, my only thought that I can't let him get away. The truck lurches forward. I leap at it, grabbing the side mirror with my free hand. One foot hits the running board and skids out from under me. Golam hits the gas hard. He's shooting out the passenger window, screaming:"Fuck! Fuck! Fuck!" I try to bring my gun up as the truck hits the pavement and makes a hard left. I'm like a rag doll clinging to the door. Billy Golam screams like a madman. He looks right at me, mouth wide open, eyes bugging from his head. He cranks the wheel hard left again and kicks the door open as the truck squeals into a U-turn. Horns are honking, tires screeching. I'm hanging in space. I can't hold on. I hit the pavement and darkness sweeps over me in the form of a three-quarter-ton truck. Life can change in a heartbeat. In a heartbeat I'm dead. 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. Rise and whine. I'd had my usual fitful four and a half hours of sleep. Trying for 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 I got him killed. 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, and 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 the 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 hairs 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 end 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 as long as I could remember. From the Hardcover edition. Excerpted from Dark Horse by Tami Hoag All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.