Jeffery Deaver - The Empty Chair

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The Barnes Noble Review
May 2000
The Empty Chair is the third – or, if you count a guest appearance in the millennial thriller The Devil's Teardrop, the fourth – novel to feature Lincoln Rhyme, the irascible forensic genius who became a quadriplegic when a cave-in at a crime scene damaged his spinal cord beyond repair. The series began in 1997 with The Bone Collector, which was recently made into a so-so film starring Denzel Washington. Every Rhyme novel to date has been characterized by authentic forensic detail and wild, even extravagant plotting, and the latest entry is no exception. The Empty Chair may, in fact, be the single trickiest suspense novel published so far this year.
Unlike earlier volumes, The Empty Chair takes place outside of New York City in the bucolic but sinister environs of Paquenoke County, North Carolina. Rhyme – accompanied by his long-suffering physical therapist, Thom, and his beloved forensic assistant, Amelia Sachs – has just been accepted as a patient at the Medical Center of the University of North Carolina, where he is scheduled to undergo an experimental procedure that might increase the range of his mobility but might, on the other hand, result in his death. Shortly after his arrival, Lincoln 's plans are disrupted by an unforeseen emergency. Jim Bell, Paquenoke County sheriff, has trouble on his hands and needs Lincoln 's expertise.
According to Bell, a disturbed teenager – known, for reasons that become graphically clear, as the Insect Boy – has murdered a local football hero and abductedtwoyoung women. Convinced that the women have only hours to live, Bell asks Lincoln to examine the trace evidence found at the abduction site in the faint hope of pinpointing the kidnapper's location. Though he knows nothing about the physical composition of the surrounding area – he and Sachs, as he repeatedly comments, are "fish out of water" in the American South – Rhyme agrees to help. Once again using Amelia Sachs as his eyes and legs, he sets up an ad hoc forensic lab in a borrowed corner of the local Sheriff's office and goes to work.
This sort of scenario – a crazed killer, a race against time, a scattered handful of clues – offers more than enough drama to fuel any number of traditional suspense novels. In The Empty Chair, however, this same scenario is merely the first level of a complex, multitiered mystery that constantly confounds our most fundamental expectations. The first indication that The Empty Chair contains unexpected depths comes when Lincoln, flawlessly interpreting his disparate bits of evidence, locates both the Insect Boy (Garrett Hanlon) and his most recent victim (an oncology nurse named Lydia Johannsen) within the first 150 pages. At that point, Deaver throws away the rulebook.
After talking with Garrett Hanlon in the Paquenoke County jail, Amelia develops the instinctive sense that Garrett might, as he continually claims, be a victim, and that another unidentified killer might still be at large. In a moment of intuitive – and reckless – empathy, Amelia abandons her professional principles and escapes with Garrett, determined both to prove the boy's innocence and rescue the remaining victim, a local history student named Mary Beth McConnell. From this point forward, almost nothing that happens in The Empty Chair is even remotely predictable.
It would spoil too many of the carefully constructed surprises to reveal the plot in any more detail. Suffice it to say that the narrative – which seems, at first, a simple but effective chase story – broadens and deepens to become something stranger and infinitely more complex. Throwing a varied assortment of people and elements into the mix – a trio of Deliverance-style rednecks, an emotionally scarred cancer survivor, a revisionist account of the Lost Colony of Roanoke, an apparently deranged deputy sheriff, a pair of incipient rapists, the hidden motivations of a wealthy industrialist, and the tragic history of Tanner's Corner, a "town without children" – Deaver constructs an artful, entertaining melodrama that has much to say about the destructive consequences of uncontrolled greed.
If The Empty Chair has a besetting weakness, it is Deaver's relentless determination to dazzle the reader with his narrative sleight of hand, piling on an endless, constantly escalating series of shocks, surprises, and unexpected twists that might, in a lesser writer's hands, have become just a bit too much. But Deaver, as usual, is a consummate professional, and he holds it all together with the ease and assurance of a natural storyteller. Readers familiar with the earlier adventures of Lincoln Rhyme will be lining up for this one, which seems likely to attract a substantial number of new readers, as well. The Empty Chair is Jeffery Deaver at his best and most devious and is recommended, without reservation, to anyone in search of intelligent, high-adrenaline entertainment.
– Bill Sheehan

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This cabin would be her coffin. And no one -

What was that? Looking out the front window, she thought she saw motion just inside the edge of the forest in the distance. Through the brush and leaves she believed it might be a man. Because his clothes and broad-brimmed hat seemed dark and there was something confident about his posture and gait she thought: He looks like a missionary in the wilderness.

But wait… Was someone really there? Or was it just the light on the trees? She couldn't tell.

"Here!" she cried. But the window was nailed shut and even if it had been open she doubted he could hear her scream, feeble from her dry throat, from this distance.

She grabbed her backpack, hoping she still had the whistle that her paranoid mother had bought her for protection. Mary Beth had laughed at the idea – a rape whistle in Tanner's Corner? – but she now searched desperately for it.

But the whistle was gone. Maybe Garrett had found it and taken it when she'd been passed out on the bloody mattress. Well, she'd scream for help anyway – scream as loudly as she could, despite her parched throat. Mary Beth grabbed one of the insect jars, intending to smash it through the window. She drew it back like a pitcher about to let fly the last ball of a no-hitter. Then her hand lowered. No! The Missionary was gone. Where he'd been was just a dark willow trunk, grass and a bay tree, swaying in the hot wind.

Maybe that was all she'd seen.

Maybe he hadn't been there at all.

To Mary Beth McConnell – hot, scared, racked with thirst – truth and fiction now blended together and all the legends she'd studied about this eerie North Carolina countryside seemed to become real. Maybe the Missionary was just another in the cast of imaginary characters, like the Lady of Drummond Lake.

Like the other ghosts of the Great Dismal Swamp.

Like the White Doe in the Indian legend – a tale that was becoming alarmingly like her own.

Head throbbing, dizzy in the heat, Mary Beth lay on the musty couch and closed her eyes, watching the wasps hover close, then enter the gray nest, the flag of her captor's victory.

• • •

Lydia felt the bottom of the stream beneath her feet and kicked to the surface.

Choking, spitting water, she found herself in a swampy pool about fifty feet downstream from the mill. Hands still taped behind her back, she kicked hard to right herself, wincing in pain. She'd either sprained or broken her ankle on the wooden paddle of the waterwheel as she'd leapt into the sluice. But the water here was six or seven feet deep and if she didn't kick she'd drown.

The pain in her ankle was astonishing but Lydia forced her way to the surface. She found that by filling her lungs and rolling on her back she could float and keep her face above water as she kicked with her good foot toward the shore.

She'd gone five feet when she felt a cold slithering on the back of her neck, curling around her head and ear, heading for her face. Snake! she realized in panic. Flashing back to a case in the emergency room last month – a man brought in with a water moccasin bite, his arm swollen nearly double; he'd been hysterical with pain. She now spun around and the muscular snake slithered across her mouth. She screamed. But with empty lungs and no buoyancy she sank beneath the surface and began to choke. She lost sight of the snake. Where is it, where? she thought furiously. A bite on the face could blind her. On the jugular or the carotid, she'd die.

Where? Was it above her? About to strike?

Please, please, help me , she thought to the guardian angel.

And maybe the angel heard. Because when she bobbed once again to the surface there was no sign of the creature. She finally touched the muck of the stream bottom with her stockinged feet – she'd lost her shoes in the dive. She paused, catching her breath, trying to calm down. Slowly she struggled toward the shore, up a steep incline of mud and slick sticks and decaying leaves that eased her back a foot for every two that she managed to stagger forward. Watch the Carolina clay , she reminded herself; it'll hold you like quicksand.

Just as she staggered out of the water a gunshot, very close, split the air.

Jesus, Garrett has a gun! He's shooting!

She dropped back into the water and sank beneath the surface. She stayed for as long as she could but finally had to surface. Gasping for breath, she broke from the water just as the beaver slapped its tail once more, making a second loud crack. The animal vanished toward its dam – a big one, two hundred feet long. She felt a hysterical laugh rise up in her from the false alarm but managed to control the urge.

Then Lydia stumbled into the sedge and mud and lay on her side, gasping, spitting water. After five minutes she'd caught her breath. She rolled into a sitting position and looked around her.

No sign of Garrett. She struggled to her feet. Tried to pull her hands apart but the duct tape held tight, despite the soaking. She could see the burnt chimney of the mill from here. She oriented herself and decided which direction to go in to find the path that would take her back south of the Paquo, back home. She wasn't that far from it; her swim in the creek hadn't taken her downstream much from the mill.

But Lydia couldn't will herself to move.

She felt paralyzed from the fear, from the hopelessness.

Then she thought of her favorite TV show – Touched by an Angel – and when she thought of the program she had another memory, of the last time she'd watched the show. Just as it was over and a commercial came on, the door to her town house swung open and there was her boyfriend with a six-pack. He hardly ever dropped by for surprise visits and she'd been ecstatic. They'd spent a glorious two hours together. She decided that her angel had given her this memory just now as a sign that there was hope when you least expected it.

Clutching this thought firmly in her mind, Lydia rolled awkwardly to her feet and started through the sedge and swamp grass. From nearby she heard a guttural sound. A faint growling. She knew there were bobcats here, north of the river. Bears too and wild boars. But even though she was limping painfully, Lydia moved as confidently toward the path as if she were making the rounds at work, dispensing pills and gossip and cheering up the patients under her care.

• • •

Jesse Corn found a bag.

"Here! Look here. I've got something. A crocus sack." Sachs started down a rocky incline along the edge of the quarry to where the deputy stood, pointing at something on a ledge of limestone that had been blasted flat. She could see the grooves from where the drills had tapped into the dull stone to pack with dynamite. No wonder Rhyme had found so much nitrate; this place was one big demolition field.

She walked up to Jesse. He was standing in front of an old cloth bag. "Rhyme, can you hear me?" Sachs called into her phone.

"Go ahead. There's a lot of static but I can just hear you."

"We've got a bag here," she told him. Then asked Jesse, "What'd you call it?"

"Crocus sack. What they call a burlap bag down here."

She said to Rhyme, "It's an old burlap bag. Looks like there's something in it."

Rhyme asked, "Garrett leave it?"

She looked at the ground. Where the stone floor met the walls. "It's definitely Garrett's and Lydia 's footprints. They lead up an incline to the rim of the quarry."

"Let's get after them," Jesse said.

"Not yet," Sachs said. "We need to examine the bag."

"Describe it," the criminalist ordered.

"Burlap. Old. About twenty-four by thirty-six inches. Not much inside. It's closed up. Not tied, just twisted."

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