Winter Prey (Lucas Davenport Series #5)

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In four short years, John Sandford's rise has been meteoric. Critics and readers everywhere have hailed his "cracklingly authentic" (Los Angeles Times), "trimmed-to-the-bone" (Chicago Tribune) thrillers, and more than three and a half million copies of his four bestselling novels are in print. Few writers have explored the human dark side with as much insight and unpredictability - and now, in his fifth Lucas Davenport novel, he has created his most spellbinding story of all. It is winter in the remote, dark ...
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New York, NY 1994 Mass-market paperback New. Mass market (rack) paperback. Glued binding. 352 p. Lucas Davenport Mysteries (Paperback). Audience: General/trade. As new, read ... once. Lucas Davenport thriller. Read more Show Less

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New York, NY 1994 Mass-market paperback New. Mass market (rack) paperback. Glued binding. 352 p. Lucas Davenport Mysteries (Paperback). Audience: General/trade. As new, read ... once. Lucas Davenport thriller. Read more Show Less

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New York, NY 1994 Mass-market paperback New. Mass market (rack) paperback. Glued binding. 352 p. Lucas Davenport Mysteries (Paperback). Audience: General/trade. As new, read ... once. Lucas Davenport thriller. Read more Show Less

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New York, NY 1994 Mass-market paperback New. Mass market (rack) paperback. Glued binding. 352 p. Lucas Davenport Mysteries (Paperback). Audience: General/trade. As new, read ... once. Lucas Davenport thriller. Read more Show Less

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Winter Prey (Lucas Davenport Series #5)

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Overview

In four short years, John Sandford's rise has been meteoric. Critics and readers everywhere have hailed his "cracklingly authentic" (Los Angeles Times), "trimmed-to-the-bone" (Chicago Tribune) thrillers, and more than three and a half million copies of his four bestselling novels are in print. Few writers have explored the human dark side with as much insight and unpredictability - and now, in his fifth Lucas Davenport novel, he has created his most spellbinding story of all. It is winter in the remote, dark Wisconsin woods, but the chill in the local sheriff's bones has nothing to do with the weather. The extravagance of the crime is new to him: the murdered man, woman and child; the machete-like knife through the man's head; the ashes of the fire-consumed house spread over the ice and snow. In desperation, the sheriff turns for help to the reclusive lawman he'd heard had a cabin up here, and with reluctance Davenport agrees, but it is a decision he will soon have reason to regret. For this is a kind of criminal new to him, too. As he sifts through the ashes of the case itself, other crimes, shocking to his carefully hardened shell, emerge, and it becomes clear that there is an evil in these woods, an evil at once alien to him and closer than he can imagine ... and against which even his skills may not prevail. Sandford's previous novels have displayed a brilliance of characterization and pace that have made them instant favorites. But this one is his masterpiece. Rich, complex and full of extraordinary people, it is a breathtaking work of suspense.

The shattering New York Times bestseller by the author of Rules of Prey and Silent Prey. Lucas Davenport has tracked murderers in cities all across America, but he has never hunted a criminal as sinister as the Iceman of Wisconsin.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
The author of four previous mystery thrillers starring Lucas Davenport ( Rules of Prey , etc.) evokes with precision and clarity two disparate, but equally unsettling types of harshness: the raw power of nature and the pitilessness of certain human beings. In a rural area of northern Wisconsin, a family of three is savagely wiped out by the Iceman, who then torches their house. In pursuit of a damaging photograph--a snapshot of him in a sexual situation with a local boy--this fiend puts no value on human life. Enter Davenport, the laconic, slightly cynical ex-cop from Minneapolis, who uncovers several disturbing truths before determining the Iceman's identity. The wintry climate is practically palpable here; numbing cold and blizzards prove as threatening as the Iceman's malevolence. Despite its chilling moments (literally and figuratively), this forceful narrative is tempered with an unexpected humanity, as evidenced primarily in the mature, slowly blossoming romance between Davenport and a local doctor. The moments of tenderness and humor shared by the rugged detective and this worldlywise Mother Earth figure stand in vigorous counterpoint to the surrounding events. Sandford casts a keen eye, too, on small-town life: he knows that everyone's peccadillos are grist for the rumor mill, and that secrets can quickly sour. A compelling vitality suffuses this novel, arguably the finest in a sterling quintet. (Mar.)
Kirkus Reviews
Vastly entertaining fifth entry in Sandford's popular Prey series (Silent Prey, 1992, etc.). This time, ex-cop and master- gamesman Lucas Davenport takes on a crazed killer ravaging a small Wisconsin town. The killer, who calls himself "the Iceman" for his sang- froid, debuts in the creepy opening pages by stalking an isolated house, gunning down the woman inside, chopping up her husband, and torturing their daughter—all in a failed attempt to retrieve an incriminating photo that's fallen into the victims' hands. It's a gruesome start, but Sandford splatters the gore mostly off-page, relying on suspense—and there's plenty of it—to jangle readers' nerves. When the bodies are found, the local sheriff calls in Davenport to help. Arriving in town, Davenport, who's at loose ends in his life, finds himself facing two enemies: the Iceman, but also record cold and snow that's frozen the town into a death-trap. His investigation—which hinges on retrieving the photo before the Iceman does—stalls in the face of challenging puzzles centering on time-of-death and a seemingly reluctant witness, but it also butts him up against some marvelous characters, including a female M.D. with whom he falls eagerly in love. Meanwhile, the Iceman slays anyone who might know about the photo—which, it turns out, shows him having sex with a local boy, his first victim: The Iceman heads a child-porn ring. When Davenport—who's been revitalized by the case—at last recovers the photo, the Iceman's surprising identity is revealed, leading to a furious climactic chase on snowmobiles through dark woods and howling wind—and to Davenport and the Iceman each having atˆte-…-tˆte with death. Crackling action, a clever mystery, and characters who breathe make this great fun: one of the best Preys yet and a must for thriller fans.
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Product Details

  • ISBN-13: 9780425141236
  • Publisher: Penguin Group (USA) Incorporated
  • Publication date: 7/10/2001
  • Series: Lucas Davenport Series , #5
  • Edition description: Reprint
  • Pages: 400
  • Product dimensions: 4.32 (w) x 7.58 (h) x 1.09 (d)

Meet the Author

John Sandford is the author of twenty-two Prey novels, most recently Stolen Prey; the Virgil Flowers novels, most recently Shock Wave; and six other books. He lives in Minnesota.

Biography

John Camp (better known to readers as thrillmeister John Sandford) began his career as a journalist -- first as a crime reporter for The Miami Herald, then as a general reporter, columnist, and features writer for the Saint Paul Pioneer Press & Dispatch. In 1986, he won the Pulitzer Prize for "Life on the Land: An American Farm Family," a five-part series examining the farm crisis in southwest Minnesota.

Camp's interests turned to fiction in the mid-1980s, and he took time off to write two novels which were ultimately accepted for publication: The Fool's Run, a techno-thriller featuring a complex con man known as Kidd, and Rules of Prey, a police procedural starring maverick Minneapolis detective Lucas Davenport. When both books were scheduled (by different publishers) to be released three months apart in 1989, Camp was persuaded to adopt a pseudonym for one. He chose his paternal grandmother's maiden name, "Sandford" for Rules of Prey, and the nom de plume has remained attached to all the books in the series.

Less Dick Tracy than Dirty Harry, hard-boiled, iconoclastic Lucas Davenport is a composite of the cops Camp met while working the crime beat as a reporter. Intelligent and street smart, Davenport is also manipulative and not above bending the rules to get results. And although he has mellowed over time (something of a skirt chaser in his youth, he is now married with children), he remains one of the edgiest and most popular protagonists in detective fiction. Fans keep returning to the Prey books for their intelligently hatched plots, high-octane pacing, and deft, fully human characterizations.

From time to time, Camp strays from his bestselling series for standalone thrillers (The Night Crew, Dead Watch), and in 2007 he introduced a new series hero, Virgil Flowers of the Minnesota Bureau of Criminal Apprehension, who debuted in Dark of the Moon. Although he is no longer a full-time journalist, Camp contributes occasional articles and book reviews to various publications. He is also a passionate archaeologist and has worked at a number of digs, mainly in Israel.

Good To Know

Don't confuse John Sandford with John Sanford -- it's one of Sandford's pet peeves. Sanford (without the "d") is a Christian philosophy writer.

The Sandford pseudonym has caused a few problems for Camp in the past. At an airport once, his ticket was reserved under Sandford, while all of his identification, of course, had the name Camp. Luckily, he had one of his novels with him, and thanks to the book jacket photo, he was able to convince airport security to let him on the plane.

The books in Camp's less successful Kidd series (The Fool's Run, The Empress File, The Devil's Code, and The Hanged Man's Song) have been re-released under the Sandford pseudonym.

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    1. Also Known As:
      John Roswell Camp
    2. Hometown:
      St. Paul, Minnesota
    1. Date of Birth:
      February 23, 1944
    2. Place of Birth:
      Cedar Rapids, Iowa
    1. Education:
      State University of Iowa, Iowa City: B.A., American History; M.A., Journalism
    2. Website:

Read an Excerpt

1

The wind whistled down the frozen run of Shasta Creek, between the blacker-than-black walls of pine. The thin naked swamp alders and slight new birches bent before it. Needle-point ice crystals rode it, like sandpaper grit, carving arabesque whorls in the drifting snow.

The Iceman followed the creek down to the lake, navigating as much by feel, and by time, as by sight. At six minutes on the luminous dial of his dive watch, he began to look for the dead pine. Twenty seconds later, its weather-bleached trunk appeared in the snowmobile headlights, hung there for a moment, then slipped away like a hitchhiking ghost.

Now. Six hundred yards, compass bearing 270 degrees . . .

Time time time . . .

He almost hit the lake’s west bank as it came down from the house, white-on-white, rising in front of him. He swerved, slowed, followed it. The artificial blue of a yard light burrowed through the falling snow, and he eased the sled up onto the bank and cut the engine.

The Iceman pushed his faceplate up, sat and listened. He heard nothing but the pat of the snow off his suit and helmet, the ticking of the cooling engine, his own breathing, and the wind. He was wearing a full-face woolen ski mask with holes for his eyes and mouth. The snow caught on the soft wool, and after a moment, meltwater began trickling from the eye holes down his face beside his nose. He was dressed for the weather and the ride: the snowmobile suit was windproof and insulated, the legs fitting into his heavyweight pac boots, the wrists overlapped by expedition ski mitts. A heavyweight polypropylene turtleneck overlapped the face mask, and the collar of the suit snapped directly to the black helmet. He was virtually encapsulated in nylon and wool, and still the cold pried at the cracks and thinner spots, took away his breath . . .

A set of Bearpaw snowshoes was strapped behind the seat, on the sled’s carry-rack, along with a corn-knife wrapped in newspaper. He swiveled to a sidesaddle position, keeping his weight on the machine, fumbled a miniature milled-aluminum flashlight out of his parka pocket, and pointed it at the carry-rack. His mittens were too thick to work with, and he pulled them off, letting them dangle from his cuff-clips.

The wind was an ice pick, hacking at his exposed fingers as he pulled the snowshoes free. He dropped them onto the snow, stepped into the quick-release bindings, snapped the bindings and thrust his hands back into the mittens. They’d been exposed for less than a minute, and already felt stiff.

With his mittens on, he stood up, testing the snow. The latest fall was soft, but the bitter cold had solidified the layers beneath it. He sank no more than two or three inches. Good.

The chimes sounded in his mind again: Time.

He paused, calmed himself. The whole intricate clockwork of his existence was in danger. He’d killed once already, but that had been almost accidental. He’d had to improvise a suicide scene around the corpse.

And it had almost worked.

Had worked well enough to eliminate any chance that they might catch him. That experience changed him, gave him a taste of blood, a taste of real power.

The Iceman tipped his head back like a dog testing for scent. The house was a hundred feet farther along the lake shore. He couldn’t see it; except for the distant glow of the yard light, he was in a bowl of darkness. He pulled the corn knife free of the carry-rack and started up the slope. The corn-knife was a simple instrument, but perfect for an ambush on a snowy night, if the chance should present itself.

In a storm, and especially at night, Claudia LaCourt’s house seemed to slide out to the edge of the world. As the snow grew heavier, the lights across the frozen lake slowly faded and then, one by one, blinked out.

At the same time, the forest pressed in: the pine and spruce tiptoed closer, to bend over the house with an unbearable weight. The arbor vitae would paw at the windows, the bare birch branches would scratch at the eaves. All together they sounded like the maundering approach of something wicked, a beast with claws and fangs that rattled on the clapboard siding, searching for a grip. A beast that might pry the house apart.

When she was home alone, or alone with Lisa, Claudia played her old Tammy Wynette albums or listened to the television game shows. But the storm would always come through, with a thump or a screech. Or a line would go down somewhere: the lights would stutter and go out, the music would stop, everybody would hold their breath . . . and the storm would be there, clawing. Candlelight made it worse; hurricane lanterns didn’t help much. For the kinds of wickedness created by the imagination during a nighttime blizzard, only modern science could fight: satellite-dish television, radio, compact disks, telephones, computer games. Power drills. Things that made machine noise. Things that banished the dark-age claws that pried at the house.

Claudia stood at the sink, rinsing coffee cups and stacking them to dry. Her image was reflected in the window over the sink, as in a mirror, but darker in the eyes, darker in the lines that framed her face, like an old daguerreotype.

From outside, she’d be a madonna in a painting, the only sign of light and life in the blizzard; but she never thought of herself as a madonna. She was a Mom with a still-shapely butt and hair done with a red rinse, an easy sense of humor, and a taste for beer. She could run a fishing boat and swing a softball bat and once or twice a winter, with Lisa staying over at a friend’s, she and Frank would drive into Grant and check into the Holiday Inn. The rooms had floor-to-ceiling mirrors on the closet doors next to the bed. She did like to sit on his hips and watch herself fuck, her head thrown back and her breasts a burning pink.

Claudia scraped the last of the burnt crust from the cupcake tin, rinsed it and dumped it in the dish rack to air-dry.

A branch scraped against the window. She looked out, but without the chill: she was humming to herself, something old, something high school. Tonight, at least, she and Lisa weren’t alone. Frank was here. In fact, he was on the stairs, coming up, and he was humming to himself. They did that frequently, the same things at the same time.

“Um,” he said, and she turned. His thinning black hair fell over his dark eyes. He looked like a cowboy, she thought, with his high cheekbones and the battered Tony Lamas poking out of his boot-cut jeans. He was wearing a tattered denim shop apron over a T-shirt and held a paintbrush slashed with blood-red lacquer.

“Um, what?” Claudia asked. This was the second marriage for each of them. They were both a little beat-up and they liked each other a lot.

“I just got started on the bookcase and I remembered that I let the woodstove go,” he said ruefully. He waggled the paintbrush at her. “It’s gonna take me another hour to finish the bookcase. I really can’t stop with this lacquer.”

“Goddammit, Frank . . .” She rolled her eyes.

“I’m sorry.” Moderately penitent, in a charming cowboy way.

“How about the sheriff?” she asked. New topic. “Are you still gonna do it?”

“I’ll see him tomorrow,” he said. He turned his head, refusing to meet her eyes.

“It’s nothing but trouble,” she said. The argument had been simmering between them. She stepped away from the sink and bent backwards, to look down the hall toward Lisa’s room. The girl’s door was closed and the faint sounds of Guns ’N Roses leaked out around the edges. Claudia’s voice grew sharper, worried. “If you’d just shut up . . . It’s not your responsibility, Frank. You told Harper about it. Jim was his boy. If it’s Jim.”

“It’s Jim, all right. And I told you how Harper acted.” Frank’s mouth closed in a narrow, tight line. Claudia recognized the expression, knew he wouldn’t change his mind. Like what’s-his-name, in High Noon. Gary Cooper.

“I wish I’d never seen the picture,” she said, dropping her head. Her right hand went to her temple, rubbing it. Lisa had taken her back to her bedroom to give it to her. Didn’t want Frank to see it.

“We can’t just let it lay,” Frank insisted. “I told Harper that.”

“There’ll be trouble, Frank,” Claudia said.

“And the law can handle it. It don’t have nothing to do with us,” he said. After a moment he asked, “Will you get the stove?”

“Yeah, yeah. I’ll get the stove.”

Claudia looked out the window toward the mercury-vapor yard light down by the garage. The snow seemed to come from a point just below the light, as though it were being poured through a funnel, straight into the window, straight into her eyes. Small pellets, like birdshot. “It looks like it might be slowing down.”

“Wasn’t supposed to snow at all,” Frank said. “Assholes.”

He meant television weathermen. The weathermen said it would be clear and cold in Ojibway County, and here they were, snowing to beat the band.

“Think about letting it go.” She was pleading now. “Just think about it.”

“I’ll think about it,” he said, and he turned and went back down to the basement.

He might think about it, but he wouldn’t change his mind. Claudia, turning the picture in her mind, put on a sweatshirt and walked out to the mudroom. Frank had gotten his driving gloves wet and had draped them over the furnace vent; the room smelled of heat-dried wool. She pulled on her parka and a stocking cap, picked up her gloves, turned on the porch lights from the switch inside the mudroom and stepped out into the storm.

The picture. The people might have been anybody, from Los Angeles or Miami, where they did these things. They weren’t.

They were from Lincoln County. The printing was bad and the paper was so cheap it almost crumbled in your fingers. But it was the Harper boy, all right. If you looked close, you could see the stub of the finger on the left hand, the one he’d caught in a log splitter; and you could see the loop earring. He was naked on a bed, his hips toward the camera, a dulled, wondering look on his face. He had the thickening face of an adolescent, but she could still see the shadow of a little boy she’d known, working at his father’s gas station.

In the foreground of the picture was the torso of an adult man, hairy-chested, gross. The image came too quickly to Claudia’s mind; she was familiar enough with men and their physical mechanisms, but there was something about this, something so bad . . . the boy’s eyes, caught in a flash, were black points. When she’d looked closely, it seemed that somebody at the magazine had put the pupils in with a felt-tipped pen.

She shivered, not from the cold, and hurried down the snow-blown trench that led out to the garage and woodshed. There were four inches of new snow in the trench: she’d have to blow it out again in the morning.

The trench ended at the garage door. She shoved the door open, stepped inside, snapped on the lights and stomped her feet without thinking. The garage was insulated and heated with a woodstove. Four good chunks of oak would burn slowly enough, and throw off enough heat, to keep the inside temperature above the freezing point on even the coldest nights. Warm enough to start the cars, anyway. Out here, in the Chequamegon, getting the cars to start could be a matter of life and death.

The stove was still hot. Down to coals, but Frank had cleaned it out the night before—she wouldn’t have to do that, anyway. She looked back toward the door, at the woodpile. Enough for the night, but no more. She tossed a few wrist-thin splits of sap-heavy pine onto the fire, to get some flame going, then four solid chunks of oak. That would do it.

She looked at the space where the woodpile should have been, sighed, and decided she might as well bring in a few chunks now—give it a chance to thaw before morning. She went back outside, pulling the door shut, but not latched, walked along the side of the garage to the lean-to that covered the woodpile. She picked up four more chunks of oak, staggered back to the garage door, pushed the door open with her foot and dropped the oak next to the stove. One more trip, she thought; Frank could do his share tomorrow.

She went back out to the side of the garage, into the dark of the woodshed, picked up two more pieces of oak.

And felt the short hairs rise on the back of her neck.

Somebody was here with her . . .

Claudia dropped the oak splits, one gloved hand going to her throat. The woodlot was dark beyond the back of the garage. She could feel it, but not see it, could hear her heart pounding in her ears, and the snow hitting her hood with a delicate pit-put-pit. Nothing else: but still . . .

She backed away. Nothing but the snow and the blue circle of the yard light. At the snow-blown trench, she paused, straining into the dark . . . and ran. Up to the house, still with the sense of someone behind her, his hand almost there, reaching for her. She pawed at the door handle, smashed it down, hit the door with the heel of her hand, followed it into the heat and light of the mudroom.

“Claudia?”

She screamed. Frank stood there, with a paint rag, eyes wide, startled. “What?”

“My God,” she said. She pulled down the zip on the snowmobile suit, struggled with the hood snaps, her mouth working, nothing coming out until: “My God, Frank, there’s somebody out there by the garage.”

“What?” He frowned and went to the kitchen window, looked out. “Did you see him?”

“No, but I swear to God, Frank, there’s somebody out there. I could feel him,” she said, catching his arm, looking past him through the window. “Call nine-one-one.”

“I don’t see anything,” Frank said. He went through the kitchen, bent over the sink, looked out toward the yard light.

“You can’t see anything,” Claudia said. She flipped the lock on the door, then stepped into the kitchen. “Frank, I swear to God there’s somebody . . .”

“All right,” he said. He took her seriously: “I’ll go look.”

“Why don’t we call . . .? ”

“I’ll take a look,” he said again. Then: “They wouldn’t send a cop out here, in this storm. Not if you didn’t even see anybody.”

He was right. Claudia followed him into the mudroom, heard herself babbling: “I loaded up the stove, then I went around to the side to bring some wood in for tomorrow morning . . .” and she thought, I’m not like this.

Frank sat on the mudroom bench and pulled off the Tony Lamas, stepped into his snowmobile suit, sat down, pulled on his pacs, laced them, then zipped the suit and picked up his gloves. “Back in a minute,” he said. He sounded exasperated; but he knew her. She wasn’t one to panic.

“I’ll come,” she blurted.

“Nah, you wait,” he said.

“Frank: take the gun.” She hurried over to the service island, jerked open the drawer. Way at the back, a fully loaded Smith and Wesson .357 Magnum snuggled behind a divider. “Maybe it’s Harper. Maybe . . .”

“Jesus,” he said, shaking his head. He grinned at her ruefully, and he was out the door, pulling on his ski gloves.

On the stoop, the snow pecked his face, mean little hard pellets. He half-turned against it. As long as he wasn’t looking directly into the wind, the snowmobile suit kept him comfortable. But he couldn’t see much, or hear anything but the sound of the wind whistling over the nylon hood. With his head averted, he walked down the steps onto the snow-blown path to the garage.

The Iceman was there, next to the woodpile, his shoulder just at the corner of the shed, his back to the wind. He’d been in the woodlot when Claudia came out. He’d tried to get to her, but he hadn’t dared use the flashlight and, in the dark, had gotten tangled in brush and had to stop. When she ran back inside, he’d almost turned away, headed back to the snowmobile. The opportunity was lost, he thought. Somehow, she’d been warned. And time was pressing. He looked at his watch. He had a half hour, no more.

But after a moment of thought, he’d methodically untangled his snowshoes and continued toward the dark hulk of the garage. He had to catch the LaCourts together, in the kitchen, where he could take care of both of them at once. They’d have guns, so he’d have to be quick.

The Iceman carried a Colt Anaconda under his arm. He’d stolen it from a man who never knew it was stolen. He’d done that a lot, in the old days. Got a lot of good stuff. The Anaconda was a treasure, every curve and notch with a function.

The corn-knife, on the other hand, was almost elegant in its crudeness. Homemade, with a rough wooden handle, it looked something like a machete, but with a thinner blade and a squared end. In the old days it had been used to chop cornstalks. The blade had been covered with a patina of surface rust, but he’d put the edge on a shop grinder and the new edge was silvery and fine and sharp enough to shave with.

The corn-knife might kill, but that wasn’t why he’d brought it. The corn-knife was simply horrifying: If he needed a threat to get the picture, if he needed to hurt the girl bad but not kill her, then the corn-knife was exactly right.

Standing atop the snow, the Iceman felt like a giant, his head reaching nearly to the eaves of the garage as he worked his way down its length. He saw Frank come to the window and peer out, and he stopped. Had Claudia seen him after all? Impossible. She’d turned away, and she’d run, but he could hardly see her, even with the garage and yard lights on her. He’d been back in the dark, wearing black. Impossible.

The Iceman was sweating from the short climb up the bank, and the struggle with the brush. He snapped the releases and pulled the bindings loose, but stayed balanced on the shoes. He’d have to be careful climbing down into the trench. He glanced at his watch. Time time time . . .

He unzipped his parka, pulled his glove and reached inside to touch the wooden stock of the Anaconda. Ready. He was turning to step into the trench when the back door opened and a shaft of light played out across the porch. The Iceman rocked back, dragging the snowshoes with his boots, into the darkness beside the woodshed, his back to the corrugated metal garage wall.

Frank was a dark silhouette in the light of the open door, then a three-dimensional figure shuffling down the snow trench out toward the garage. He had a flashlight in one hand, and played it off the side of the garage. The Iceman eased back as the light crossed the side wall of the garage, gave Frank a few seconds to get farther down the path, then peeked around the corner. Frank had gotten to the garage door, opened it. The Iceman shuffled up to the corner of the garage, the gun in his left hand, the corn-knife in his right, the cold burning his bare hands.

Frank snapped on the garage lights, stepped inside. A moment later, the lights went out again. Frank stepped out, pulled it tight behind him, rattled the knob. Stepped up the path. Shone the flashlight across the yard at the propane tank.

Took another step.

The Iceman was there. The corn-knife whipped down, chunked. Frank saw it coming, just soon enough to flinch, not soon enough to avoid it. The knife chocked through Frank’s parka and into his skull, the shock jolted through the Iceman’s arm. A familiar shock, as though he’d chopped the blade into a fence post.

The blade popped free as Frank pitched over. He was dead as he fell, but his body made a sound like a stepped-on snake, a tight exhalation, a ccccuuuhhhhh, and blood ran into the snow.

For just a second then, the wind stopped, as though nature were holding her breath. The snow seemed to pause with the wind, and something flicked across the edge of the woods, at the corner of the Iceman’s vision. Something out there . . . he was touched by an uneasiness. He watched, but there was no further movement, and the wind and snow were back as quickly as they’d gone.

The Iceman stepped down into the trench, started toward the house. Claudia’s face appeared in the window, floating out there in the storm. He stopped, sure he’d been seen: but she pressed her face closer to the window, peering out, and he realized that he was still invisible. After a moment, her face moved back away from the window. The Iceman started for the house again, climbed the porch as quietly as he could, turned the knob, pushed the door open.

“Frank?” Claudia was there, in the doorway to the kitchen. Her hand popped out of her sleeve and the Iceman saw the flash of chrome, knew the flash, reacted, brought up the big .44 Mag.

“Frank?” Claudia screamed. The .357 hung in her hand, by her side, unready, unthought-of, a worthless icon of self-defense. Then the V of the back sight and the i of the front sight crossed the plane of her head and the .44 bucked in the Iceman’s hand. He’d spent hours in the quarry doing this, swinging on targets, and he knew he had her, felt the accuracy in his bones, one with the target.

The slug hit Claudia in the forehead and the world stopped. No more Lisa, no more Frank, no more nights in the Holiday Inn with the mirrors, no memories, no regrets. Nothing. She didn’t fly back, like in the movies. She wasn’t hammered down. She simply dropped, her mouth open. The Iceman, bringing the Colt back to bear, felt a thin sense of disappointment. The big gun should batter them down, blow them up; the big gun was a Universal Force.

From the back room, then, in the silence after the shot, a young girl’s voice, not yet afraid: “Mom? Mom? What was that?”

The Iceman grabbed Claudia’s parka hood, dragged her into the kitchen and dropped her. She lay on the floor like a puppet with the strings cut. Her eyes were open, sightless. He ignored her. He was focused now on the back room. He needed the picture. He hefted the corn-knife and started back.

The girl’s voice again. A little fear this time: “Mom?”

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Customer Reviews

Average Rating 4
( 94 )
Rating Distribution

5 Star

(46)

4 Star

(33)

3 Star

(8)

2 Star

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See All Sort by: Showing 1 – 20 of 95 Customer Reviews
  • Posted October 4, 2009

    more from this reviewer

    Sandford does it again

    I actually re-purchased "Winter Prey" because I couldn't find it in my library- which holds every other John Sandford novel.
    Sandford's development of Lucas Davenport's character, along with exceptional dialogue and crisp detail of the surroundings of Minnesota combine with efficient plots to create excellent reads. I have read his books more than once and have enjoyed them each time.
    Fast moving, witty and with enough twists to keep me coming back for more.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 10, 2002

    great!!!

    The book was great, I never wanted to put it down. An A-plus for me

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 10, 2000

    Lights on!

    This is absolutely the scariest book I have ever read. I left every light in the house on the night I read this book...all in one sitting, of course! It was GREAT!

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted April 5, 2014

    I began at the beginning of the list and just completed this one

    I began at the beginning of the list and just completed this one: title number five. Thus far, this one is undoubtedly my favorite. I do love spending time with Lucas Davenport.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 23, 2014

    Hhi j

    U j. "Guys. Y tjughbhiiv n'huj' u
    tm n I, u. HbGiightj n byi ' umnukyunk. BY'u

    0 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted September 13, 2013

    good read

    good read

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 9, 2013

    Auumnclan border

    Autumnclan border

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 3, 2013

    This book was okay at times but often frustrating. I have never

    This book was okay at times but often frustrating. I have never seen an author taking up an entire page just to describe a man's shirt. The book is much over packed and can easily be shorter. While reading, you can tell very early in the book what is going to happen at the end. In my opinion, Lucas Davenport seems like a very weird man but he at least knows how to put some humor in a book.

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted September 11, 2012

    more from this reviewer

    Cold & captivating thriller!

    John Sandford does such a great job of making horrifying antagonists and believable protagonists without ruining the mystery of the book. Here he crafts a mystery In a small town that Lucas Davenport is well suited to help. Of course there’s a love interest and it goes predictably up to a point. The book took a ton of twists and characters reacted to events as one would think real people might in these extraordinary circumstances. Overall, a heart stopping book! I loved it!

    Was this review helpful? Yes  No   Report this review
  • Posted June 29, 2012

    Very Good Plot, as usual!

    Enjoyed this story right up the the last punctuation mark!!

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 19, 2011

    another Lucas Davenport winner

    Sandford knows what he's doing in creating well written and tight crime thrillers. This one was no exception.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 9, 2009

    I Also Recommend:

    Great Davenport Novel!

    Another great story in the Prey Series.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 26, 2008

    Good book

    This book was very well written. Story was pretty solid and the characters fit and felt good to me. Davenport is a guy who everyone can relate to I think. I guess that makes him a good character. Sandford for whatever reason writes books that seem a little short to me, the story seems to go in one direction only - always. That is a disappointment after reading some great authors you hope the same from him but its never there. I have read 9 of his Lucas Davenports books and while they are all really good, the writing is just simple I guess is a good word. Straightforward with no thought required, it can get boring but with strong characters it can be done well enough. If you are looking for a good series with some grit this is for you, if you like guys who are intricate like Deaver for instance this book will dissapoint you terribly.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 11, 2003

    Couldn't put it down

    Very suspenseful thriller with great diaologue, plot and well developed characters. Lucas Davenport has a pretty twisted yet good sense of humor.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 18, 2003

    Selling Books....

    I read the book however I fail to see why I should write a review to help Barnes and Noble sell more books. Are they really doing the public a service or are they just out for themselves and wanting good reviews so as to make a bigger profit from such reviews?

    0 out of 10 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 25, 2001

    A great read

    As usual Sandford writes another thrilling addition in the life of Lucas Davenport. I like the way he developes all of the characters as well as the story itself. Sandford really has a gift for telling a story and an unlimited knowledge about a lot of things.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 6, 2011

    No text was provided for this review.

  • Anonymous

    Posted September 28, 2010

    No text was provided for this review.

  • Anonymous

    Posted December 30, 2010

    No text was provided for this review.

  • Anonymous

    Posted January 8, 2010

    No text was provided for this review.

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