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Chapters (92)
  1. Cover
  2. Also by Jeffery Deaver
  3. THE SKIN COLLECTOR
  4. Dedication
  5. Epigraph
  6. ITHE OUT-OF-PRINT BOOK
  7. CHAPTER 1
  8. CHAPTER 2
  9. CHAPTER 3
  10. CHAPTER 4
  11. CHAPTER 5
  12. CHAPTER 6
  13. CHAPTER 7
  14. CHAPTER 8
  15. CHAPTER 9
  16. CHAPTER 10
  17. CHAPTER 11
  18. CHAPTER 12
  19. CHAPTER 13
  20. CHAPTER 14
  21. CHAPTER 15
  22. CHAPTER 16
  23. IITHE UNDERGROUND MAN
  24. CHAPTER 17
  25. CHAPTER 18
  26. CHAPTER 19
  27. CHAPTER 20
  28. CHAPTER 21
  29. CHAPTER 22
  30. CHAPTER 23
  31. CHAPTER 24
  32. CHAPTER 25
  33. CHAPTER 26
  34. CHAPTER 27
  35. CHAPTER 28
  36. CHAPTER 29
  37. CHAPTER 30
  38. CHAPTER 31
  39. IIITHE RED CENTIPEDE
  40. CHAPTER 32
  41. CHAPTER 33
  42. CHAPTER 34
  43. CHAPTER 35
  44. CHAPTER 36
  45. CHAPTER 37
  46. CHAPTER 38
  47. CHAPTER 39
  48. CHAPTER 40
  49. CHAPTER 41
  50. CHAPTER 42
  51. CHAPTER 43
  52. CHAPTER 44
  53. CHAPTER 45
  54. CHAPTER 46
  55. CHAPTER 47
  56. CHAPTER 48
  57. CHAPTER 49
  58. CHAPTER 50
  59. IVTHE UNDERGROUND WOMAN
  60. CHAPTER 51
  61. CHAPTER 52
  62. CHAPTER 53
  63. CHAPTER 54
  64. CHAPTER 55
  65. CHAPTER 56
  66. CHAPTER 57
  67. CHAPTER 58
  68. CHAPTER 59
  69. CHAPTER 60
  70. CHAPTER 61
  71. CHAPTER 62
  72. CHAPTER 63
  73. CHAPTER 64
  74. CHAPTER 65
  75. CHAPTER 66
  76. CHAPTER 67
  77. CHAPTER 68
  78. CHAPTER 69
  79. CHAPTER 70
  80. CHAPTER 71
  81. CHAPTER 72
  82. CHAPTER 73
  83. CHAPTER 74
  84. VREUNION
  85. CHAPTER 75
  86. CHAPTER 76
  87. CHAPTER 77
  88. CHAPTER 78
  89. VISKIN AND BONE
  90. CHAPTER 79
  91. Acknowledgments
  92. About the Author

He noticed Billy’s attention and slowed, then stopped, nodded. ‘Hey.’ Just stood there, smiling. Maybe he sensed that Billy was appreciating the scarification. Which he was.

Billy stopped too. ‘You’ve got some righteous marking.’

‘Yo. Thanks.’

In sub-Saharan African tradition this form of modification was done by cutting flaps in the skin and packing in irritating plant juices to raise welts, which hardened into permanent designs. Keloids serve several purposes: They identify the bearers as members of a particular family or tribe, they indicate fixed social or political positions, they mark milestones in life’s transit, like puberty and readiness for marriage. In some African cultures, scarification indicates sexual prowess and appetite – and the scars themselves can become erogenous zones. The more extensive a woman’s scarring, the more appealing she is as a partner because it implies she’s better able to withstand the pain of childbirth and produce many offspring.

Billy had always appreciated keloids; he’d never done any. The ones on the young man’s face were impressive, linked chains and vines. African skin art is largely geometric; rarely are animals, plants or people depicted. Never words. Billy was nearly overcome by an urge to touch the pattern. With effort, he resisted.

The local, in turn, regarded Billy with an odd gaze that embraced both curiosity and camaraderie. Finally he looked around and seemed to come to a decision. A whisper: ‘Yo, you want brown? Moonrock? Sugar? Whatchu want?’

‘I …’

‘How much you got to spend? I hook you up.’

Drugs.

Disgusting.

In an instant the admiration of the scarification turned to hatred. It felt like the young man had betrayed him. The skin art was ruined. Billy wanted to stick his neck with a needle, get him into an alley and ink a message on his gut with snakeroot or hemlock.

But then Billy realized this was just another incident that proved the Rule of Skin true. No surprise here. He could be no more upset at this than a law of physics.

He gave a disappointed smile, walked around the man and kept moving.

‘Yo, I hook you up!’