Jeffery Deaver - The burning wire

He was approaching the stop and happened to look past the people waiting to get on board, his eyes taking in the old brown building behind the stop. An early twentieth-century structure, it had several gridded windows but was always dark inside; he'd never seen anybody going in or out. A spooky place, like a prison. On the front was a flaking sign in white paint on a blue background.

He rarely paid attention to the place but today something had caught his eye, something, he believed, out of the ordinary. Dangling from the window, about ten feet off the ground, was a wire, about a half inch in diameter. It was covered with dark insulation up to the end. There, the plastic or rubber was stripped away, revealing silvery metal strands bolted to a fitting of some kind, a flat piece of brass. Damn big hunk of wire, he thought.

And just hanging out the window. Was that safe?

He braked the bus to a complete stop and hit the door release. The kneeling mechanism engaged and the big vehicle dipped toward the sidewalk, the bottom metal stair inches from the ground.

The driver turned his broad, ruddy face toward the door, which eased open with a satisfying hydraulic hiss. The folks began to climb on board. "Morning," the driver said cheerfully.

A woman in her eighties, clutching an old shabby Henri Bendel shopping bag, nodded back and, using a cane, staggered to the rear, ignoring the empty seats in the front reserved for the elderly and disabled.

How could you not just love New Yorkers?

Then sudden motion in the rearview mirror. Flashing yellow lights. A truck was speeding up behind him. Algonquin Consolidated. Three workers stepped out and stood in a close group, talking among themselves. They held boxes of tools and thick gloves and jackets. They didn't seem happy as they walked slowly toward the building, staring at it, heads close together as they debated something. One of those heads was shaking ominously.

Then the driver turned to the last passenger about to board, a young Latino clutching his MetroCard and pausing outside the bus. He was gazing at the substation. Frowning. The driver noticed his head was raised, as if he was sniffing the air.

An acrid scent. Something was burning. The smell reminded him of the time that an electric motor in the wife's washing machine had shorted out and the insulation burned. Nauseating. A wisp of smoke was coming from the doorway of the substation.

So that's what the Algonquin people were doing here.

That'd be a mess. The driver wondered if it would mean a power outage and the stoplights would go out. That'd be it for him. The crosstown trip, normally twenty minutes, would be hours. Well, in any event, he'd better clear the area for the fire department. He gestured the passenger on board. "Hey, mister, I gotta go. Come on. Get on-"

As the passenger, still frowning at the smell, turned around and stepped onto the bus, the driver heard what sounded like pops coming from inside the substation. Sharp, almost like gunshots. Then a flash of light like a dozen suns filled the entire sidewalk between the bus and the cable dangling from the window.

The passenger simply disappeared into a cloud of white fire.

The driver's vision collapsed to gray afterimages. The sound was like a ripping crackle and shotgun blast at the same time, stunning his ears. Though belted into his seat, his upper body was slammed backward against the side window.

Through numb ears, he heard the echoes of his passengers' screams.

Through half-blinded eyes, he saw flames.

As he began to pass out, the driver wondered if he himself might very well be the source of the fire.

"I HAVE TO tell you. He got out of the airport. He was spotted an hour ago in downtown Mexico City."

"No," Lincoln Rhyme said with a sigh, closing his eyes briefly. "No…"

Amelia Sachs, sitting beside Rhyme's candy apple red Storm Arrow wheelchair, leaned forward and spoke into the black box of the speakerphone. "What happened?" She tugged at her long red hair and twined the strands into a severe ponytail.

"By the time we got the flight information from London, the plane had landed." The woman's voice blossomed crisply from the speakerphone. "Seems he hid on a supply truck, snuck out through a service entrance. I'll show you the security tape we got from the Mexican police. I've got a link. Hold on a minute." Her voice faded as she spoke to her associate, giving him instructions about the video.

The time was just past noon and Rhyme and Sachs were in the ground-floor parlor turned forensic laboratory of his townhouse on Central Park West, what had been a gothic Victorian structure in which had possibly resided-Rhyme liked to think-some very unquaint Victorians. Tough businessmen, dodgy politicians, high-class crooks. Maybe an incorruptible police commissioner who liked to bang heads. Rhyme had written a classic book on old-time crime in New York and had used his sources to try to track the genealogy of his building. But he could find no pedigree.

The woman they were speaking with was in a more modern structure, Rhyme had to assume, three thousand miles away: the Monterey office of the California Bureau of Investigation. CBI Agent Kathryn Dance had worked with Rhyme and Sachs several years ago, on a case involving the very man they were now closing in on. Richard Logan was, they believed, his real name. Though Lincoln Rhyme thought of him mostly by his nickname: the Watchmaker.

He was a professional criminal, one who planned his crimes with the precision he devoted to his hobby and passion-constructing timepieces. Rhyme and the killer had clashed several times; Rhyme had foiled one of his plans but failed to stop another. Still, Lincoln Rhyme considered the overall score a loss for himself since the Watchmaker wasn't in custody.

Rhyme leaned his head back in his wheelchair, picturing Logan. He'd seen the man in person, up close. Body lean, hair a dark boyish mop, eyes gently amused at being questioned by the police, never revealing a clue to the mass murder he was planning. His serenity seemed to be innate, and it was what Rhyme found to be perhaps the most disturbing quality of the man. Emotion breeds mistake and carelessness, and no one could ever accuse Richard Logan of being emotional.

He could be hired for larceny or illegal arms or any other scheme that needed elaborate planning and ruthless execution, but was generally hired for murder-killing witnesses or whistleblowers or political or corporate figures. Recent intelligence revealed he'd taken a murder assignment in Mexico somewhere. Rhyme had called Dance, who had many contacts south of the border-and who had herself nearly been killed by the Watchmaker's associate a few years earlier. Given that connection, Dance was representing the Americans in the operation to arrest and extradite him, working with a senior investigator of the Ministerial Federal Police, a young, hardworking officer named Arturo Diaz.

Early that morning they'd learned the Watchmaker would be landing in Mexico City. Dance had called Diaz, who scrambled to put extra officers in place to intercept Logan. But, from Dance's latest communication, they hadn't been in time.

"You ready for the video?" Dance asked.

"Go ahead." Rhyme shifted one of his few working fingers-the index finger of his right hand-and moved the electric wheelchair closer to the screen. He was a C4 quadriplegic, largely paralyzed from the shoulders down.

On one of the several flat-screen monitors in the lab came a grainy night-vision image of an airport. Trash and discarded cartons, cans and drums littered the ground on both sides of the fence in the foreground. A private cargo jet taxied into view and just as it stopped a rear hatch opened and a man dropped out.