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  Alias

  A car lies crashed below a Welsh mountain road. One of the young women inside it is dead, the other badly injured, with no memory of who she is or what just happened. All she has is a bus pass showing her photograph and a name she doesn’t recognise.

  As she struggles to recover from her injuries, a startling revelation shatters everything she thought she knew, forcing her into an uneasy alliance with Detective Bronwen Pryce. With danger closing in from all sides, the two women must work together to uncover the truth—even if it kills them.

  Praise for Cari Hunter

  Snowbound

  Snowbound “grabbed me from the first page and kept me on the edge of my seat until nearly the end. I love the British feel of it and enjoyed the writer’s style tremendously. So if you’re looking for a very well written, fast paced, lesbian romance—heavy on the action and blood and light on the romance—this is one for your ereader or bookshelf.”—C-Spot Reviews

  Desolation Point

  Desolation Point “is the second of Cari Hunter’s novels and is another great example of a romance action adventure. A real page turner from beginning to end. Ms. Hunter is a master at an adventure plot and comes up with more twists and turns than the mountain trails they are hiking. Well written, edited and crafted, this is an excellent book and I can’t wait to read the sequel.”—Lesbian Reading Room

  “Cari Hunter provides thrills galore in her adventure/romance Desolation Point. In the hands of a lesser writer and scenarist, this could be pretty rote and by-the-book, but Cari Hunter breathes a great deal of life into the characters and the situation. Her descriptions of the scenery are sumptuous, and she has a keen sense of pacing. The action sequences never drag, and she takes full advantage of the valleys between the peaks by deepening her characters, working their relationship, and setting up the next hurdle.”—Out In Print

  Tumbledown

  “Once again Ms. Hunter outdoes herself in the tension and pace of the plot. We literally know from the first two pages that the evil is hunting them, but we are held on the edge of our seats for the whole book to see what will unfold, how they will cope, whether they will survive—and at what cost this time. I literally couldn’t put it down. Tumbledown is a wonderful read.”—Lesbian Reading Room

  “Even though this is a continuation of the Desolation Point plot, this is an entirely different sort of thriller with elements of a police procedural. Other thriller authors (yes, I’m looking at you, Patterson and Grisham) could take lessons from Hunter when it comes to writing these babies. Twists and turns and forgotten or unconventional weaponry along with pluck and spirit keep me breathless and reading way past my bedtime.”—Out In Print

  Reviewers Love The Dark Peak Series

  No Good Reason

  “Truly terrible things, as well as truly lovely things, abound in the mystery-thriller No Good Reason. The plot takes off immediately as a captive woman makes her bloody escape and the— Well, this is not a romance, dear reader, so brace yourself…After visiting America for her last two books, Desolation Point and Tumbledown, Hunter returns to the land of hot tea and the bacon butty in her latest novel. Our heroines are Detective Sanne Jensen and Dr. Meg Fielding, best mates forever and sometimes something more. Their relationship is indefinable and complicated, but not in a hot mess of drama way. Rather, they share unspoken depths, comfortably silly moments, rock-solid friendship, and an intimacy that will make your heart ache just a wee bit.”—C-Spot Reviews

  “Cari Hunter is a master of crime suspense stories. No Good Reason brings tension and drama to strong medical and police procedural knowledge. The plot keeps us on the edge of our metaphorical seat, turning the pages long into the night. The setting of the English Peak District adds ambiance and a drama of its own without excluding anybody. And through it all a glimmer of humour and a large dose of humanity keep us engaged and enthralled.”—Curve Magazine

  “This novel is dark and brooding and brilliantly written. Hunter transports you right into the world she creates and keeps you firmly in the grip of the icy weather, craggy rocks and oppressive atmosphere.”—The Lesbian Review

  Cold to the Touch

  “Right from the beginning I was hooked. Hunter never gives the reader a chance to get bored. This book is intelligently written, and gives you an action packed adventure, with great characters.”—The Romantic Reader Blog

  “Cari Hunter writes decidedly good stories. She combines excellent plot lines, which twist and turn, with crime drama and just the right amount of thriller to keep us on the edge of our seats. Each book feels distinctive, enjoyably new and refreshingly different to standard crime dramas. Cold to the Touch is a sequel to the excellent No Good Reason, and fans of Sanne and Meg will love where she takes them this time. Cold to the Touch is more than strong enough to stand alone, but why miss an excellent series?”—Lesbian Reading Room

  “The mystery was well told and the gradual build-up of tension was ideal. Interweaving it with Meg’s story was a brilliant touch. I felt scared for her and hoped Sanne would be able to help before it was too late.The romantic side story was subtle but just right. The murder case took precedence as it should in a police procedural.”—Inked Rainbow Reads

  A Quiet Death

  “This cracking good mystery also has a thorough respect for the various ethnic subcultures it explores. I learned things, which is never bad for a reader. Moreover, it has a distinctly British flavour, not pandering to American tastes. Of the three of Hunter’s books I’ve read and reviewed for this blog, this has got to be my favorite. Interesting plot, great characters, muscular prose—I’m more than chuffed. I’m potty about it. And that’s no bollocks.”—Out in Print

  “Cari Hunter is my go-to author for lesbian fiction’s mystery/thriller category. Each and every one of her books is engaging, fast-paced, well thought out, and well written. A Quiet Death, the third in the Dark Peak series, is no different. Hunter has not only a talent for bringing her characters to life and dropping the reader into the scene but also for balancing dark, deadly serious story lines with levity and humor so the reader doesn’t get lost in despair over the heartbreaking cases.”—C-Spot Reviews

  Alias

  Brought to you by

  eBooks from Bold Strokes Books, Inc.

  http://www.boldstrokesbooks.com

  eBooks are not transferable. They cannot be sold, shared or given away as it is an infringement on the copyright of this work.

  Please respect the rights of the author and do not file share.

  Alias

  © 2018 By Cari Hunter. All Rights Reserved.

  ISBN 13:978-1-63555-222-5

  This Electronic Book is published by

  Bold Strokes Books, Inc.

  P.O. Box 249

  Valley Falls, NY 12185

  First Edition: June 2018

  This is a work of fiction. Names, characters, places, and incidents are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.

  This book, or parts thereof, may not be reproduced in any form without permission.

  Credits

  Editor: Cindy Cresap

  Production Design: Stacia Seaman

  Cover Design by Sheri ([email protected])

  By the Author

  Snowbound

  Desolation Point

  Tumbledown

  Alias

  The Dark Peak Series:

  No Good Reason

  Cold to the Touch

  A Quiet Death

  Acknowledgments

  Thanks and a Raspberry Ruffle bar to the BSB gang, especially Sandy for dealing with all the behind the scenes stuff, and my editor, Cindy, for her
feedback, support, and cookery discussions in the margins. To Sheri for getting the cover absolutely spot-on. To Kel and Col for fielding last minute police procedural enquiries at stupid o’clock. To all the folks who read my books, send feedback, write reviews, and happily chat about daft stuff online. To the wonderful Nicki Vincent for giving my characters not just a voice but a heart and a soul on audio. And to Cat, for the hours she spends unwinding my sleep-deprived prose, but mostly for making me feel so loved.

  For Cat

  Always

  Chapter One

  I know she’s dead. I know it without feeling for a pulse, but I go through the motions anyway, pressing on her cold wrist and counting silently to ten. When I let go, her arm hangs limp, its blood-sticky fingers grazing my cheek every time the wind rocks the car. She was breathing at first, three or four desperate gurgles a minute, her staved-in chest moving all to shit and her head bobbing with the effort, but she gave in before I was able to get my hand free, before I could try to help her or touch her or let her know she wasn’t on her own. Before I could remember her name. Her seat belt is stopping her from falling onto me, her body contorted around it like a puppet with its strings cut. And I still can’t remember her name.

  I can’t actually remember a fucking thing, but I realise after a few seconds of blind panic that I’m going to die here too unless I move.

  Moving hurts. It hurts so much I start whimpering, the sound fading in and out along with the scream of the storm and the ballistic rattle of rain on the passenger side. Details come to me in fragments, logical pieces of information disrupted by the pain and the sheer terror of being stuck in the dark with a woman I probably killed. I must have been driving, because my legs are folded beneath the steering wheel, and at some point my left arm has snapped. I can’t see much, but I can feel the grind of broken bones, and there’s an open wound where they’ve poked through the skin. Blinking blood from my eyes, I unfasten my seat belt with the hand that still works. Gravity immediately kicks in, and I slip sideways in the seat, smacking the grounded window hard enough to force a yelp from me. I spend an untold amount of time struggling to stay conscious, blackness creeping over my vision and then relenting to provide another glimpse of the ghost-white arm dangling above me.

  A flash of lightning shows that the car is tucked on its side between two tall trees, as if I’d meant to park it there. Branches creak and bow, firing down the occasional pinecone, and the unpredictable bangs on the bodywork fuck up my nerves as I shift onto my knees.

  “Phone,” I mumble through thick lips and a couple of chipped teeth. I’m sure I have a mobile, but I don’t know where I usually keep it. My pocket? A bag? Or chucked in the glove compartment, out of reach in front of the dead woman? I pat my jeans and coat, finding nothing but a wallet. A stabbing sensation beneath my breast tells me I have broken ribs, and with no warning whatsoever, I retch and vomit onto my lap.

  “Fucking hell.”

  The car seems to spin, and my chin hits my chest as my head lolls. I cough through a mouthful of bile and blood, grimacing; the taste is foul enough to jerk me awake like smelling salts. There’s a half-empty bottle of water jammed by the handbrake, and I use it to swill my mouth out. With the bitterness and some of the fog cleared, I restart the search for my mobile, managing to drag my legs free until I’m curled in an uncomfortable ball on the driver’s door. I spot my phone wedged in the crack of the seat, still connected to its in-car charging lead, and I tug it loose, my fingers clumsy and slow. A spider’s web of splintered glass covers its screen, but it comes to life when I tap it, displaying a factory-set wallpaper and a signal strength that reads “Emergency Calls Only.” I dial 999, my hand shaking so hard as I put the phone to my ear that I’m scared I’ll lose my hold on it. I hear a faint tone, then nothing.

  “Hello?” No one answers, and terror pitches my voice up a notch. “Hello? Is anyone there?”

  Again I catch the slightest whisper of sound, but it vanishes at once, buried in a buzz that overwhelms everything. The solution is so simple it almost eludes me. I switch the phone to my other ear, the one that’s not leaking fluid down my cheek, and interrupt a woman asking which service I require.

  “Ambulance,” I say and then clear my throat and repeat myself with more conviction. “Ambulance and police.” I peer out the cracked windscreen as if all the answers lie beyond it. “But I don’t know where I am.”

  “It’s all right, just stay on the line. Can you tell me what’s happened?”

  I nod, calmed by her assurance. “The car crashed. It’s rolled, and I can’t see the road.”

  “Are you injured?”

  “Yes.”

  “Are you trapped in the vehicle?”

  I have two ways out: the windscreen, or up and over the dead woman.

  “No, I’m not trapped,” I say, although the thought of climbing over the body or shoving through the glass drenches me in cold sweat.

  She asks me about my breathing and chest pains, and warns me against moving. It’s probably good advice, but I doubt anyone will find me unless I get back to the road.

  “Are you on your own?” she asks after a pause to let me pant through a spasm ripping across my ribs.

  “No, but she’s dead.” A sob chokes me. I can’t tell whether it’s grief or self-pity, and I wipe snot from my nose while the woman holds an urgent conference with a third party. She’s all business when she comes back on the line.

  “The police are attempting to trace your mobile signal, so you need to leave your phone switched on. It’ll take longer than it does on the telly, but they should be able to narrow your location down to a few hundred yards. Is your phone fully charged?”

  I check the screen, straining to read the figure by the battery signal. “It’s at forty-one percent.”

  “That’s not too bad.” She sounds as if she wants to come out here herself to wrap me in blankets and ply me with hot chocolate. “It might be a while before they get to you, so I’d better not keep you on the line, but I’ll call you every fifteen minutes to see how you are. Is that all right?”

  “Yes, thank you,” I lie instinctively, loath to upset her. I don’t want her to go. I don’t want her to leave me with the corpse and the horror film soundtrack outside the car. I’m so scared. I’m struggling to pull enough air into my battered lungs, and she must hear some of my hysterics, because she starts up a soothing recitation of words that I can’t really distinguish but that stop me hyperventilating.

  “What’s your name?” she asks, as I steady myself by leaning against the steering wheel.

  The question bewilders me. I haven’t got a fucking clue. I trap the phone between my ear and shoulder while I fumble the wallet from my pocket. According to a bus pass marked “GMPTE,” my name is Rebecca Elliott, but nothing about it feels familiar, and I stutter when I read it out to her.

  “I’m Margy,” she tells me. “Margy Lloyd. Are you okay for me to hang up now?”

  “Yes, that’s okay,” I say, and Margy tells me to sit tight an instant before the line goes dead.

  I can’t sit tight. I’m calmer, but it’s getting harder for me to breathe, and the right side of my chest doesn’t seem to be moving properly. I can’t manage the climb one-handed, so I wait for the moon to peek out between the dispersing storm clouds, and then I eye the windscreen, spotting a bulls-eyed section that might give if I put the boot in. And I am wearing boots: sensible hiking-type boots that don’t appear to have seen much action.

  Getting into a position where I can set my feet against the glass leaves me lightheaded and limp as a wrung-out dishcloth. I almost miss Margy’s first check-in call, dropping the phone when it starts to ring and then able only to grunt at intervals during her overly cheerful but noncommittal “They’re making good progress” update. I gasp an acknowledgement and—before common sense can intervene—aim a kick at the windscreen as soon as she hangs up. The glass doesn’t break, but a good-sized portion peels forward, encouraging me to inch
over the dashboard. There’s nothing to hold on to as I push outside. The crash has torn the car bonnet into jagged pieces, and I slide across them, my clothing protecting me from the worst of the sharp edges, though it does nothing to soften my landing. My knees buckle as my feet hit pine needles and rocks, and I pitch forward, sobbing through the agony while sleet soaks my face and hair, and the smell of damp earth gradually overpowers that of blood.

  Margy phones me again as I lie there, her voice animated and far too loud, telling me that the police and an ambulance have been dispatched and that they should be close by in no more than thirty minutes.

  “Where am I?” I ask her.

  “You’re just off the A5. Not far from Capel Curig.” She speaks slowly, sounding out the syllables.

  “Capel Curig,” I repeat, and she must detect my incomprehension because she tries to clarify.

  “The Snowdonia National Park, near the Glyders mountains.” She pauses and then pares things down to the absolute basics. “You’re in Wales, love.”

  “Right.” The information means nothing to me. My head aches, and I start shivering as she disconnects. The temptation to stay on the ground and hope someone finds me is almost overwhelming. Instead I use a tree for leverage to haul myself upright.