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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"Mason, the boy's not doing anything."

They saw Lucy Kerr and Jesse Corn walk into the clearing, joining the redhead, their guns also pointed at the boy. Nathan continued, "Everybody's got him covered and it's only a knife he's got. A little pissant knife. It looks like he's going to give up."

"He's not going to give up," spat out Mason Germain, who shifted his slight weight from one foot to the other in impatience. "I told you – he's faking. He's gonna kill one of 'em as soon as their guard's down. It don't mean anything to you that Ed Schaeffer's dead?" Steve Farr had called with this sad news a half-hour ago.

"Come on, Mason. I'm as tore up about that as anybody. That doesn't have a thing to do with the rules of engagement. Besides, look, will you? Lucy and Jesse're six feet away from him."

"You worried about hitting them! Fuck, you could hit a dime at this range, Nathan. Nobody shoots better'n you. Take it. Take your shot."

"I -"

Mason was watching the curious little play going on in the clearing. The redhead lowered her gun and took a step forward. Garrett was still holding the knife. Head swiveling back and forth.

The woman took another step toward him.

Oh, that's helpful , bitch.

"She in your line of fire?"

"No. But, I mean," Nathan said, "we're not even supposed to be here."

"That's not the issue," Mason muttered. "We are here. I authorized backup to protect the search party and I'm ordering you to take a shot. Your safety off?"

"Yeah, it's off."

"Then shoot."

Peering through the 'scope.

Mason watched the gun barrel of the Ruger freeze, as Nathan grew into his weapon. Mason had seen this before – when he hunted with friends who were far better sportsmen than he was. It was an eerie thing that he didn't quite understand. Your weapon becomes part of you just before the gun fires, almost by itself.

Mason waited for the booming report of the long gun.

Not a breath of wind. A clean target. A clear backdrop.

Shoot, shoot, shoot! was Mason's silent message.

But instead of the crack of a rifle shot he heard a sigh. Nathan lowered his head. "I can't."

"Gimme the fucking gun."

"No, Mason. Come on."

But the expression in the senior deputy's eyes silenced the marksman and he handed over the rifle and rolled aside.

"How many in the clip?" Mason snapped.

"I -"

"How many rounds in the clip?" Mason said as he dropped to his belly and took up a position identical to his colleague's a moment before.

"Five. But nothing personal, Mason, you ain't the best rifle shot in the world and there're three innocents in the field of target and if you…" But his voice faded. There was only one place for this sentence to go and Nathan didn't want to accompany it there.

True, Mason knew, he wasn't the best shot in the world. But he'd killed a hundred deer. And he'd fired high scores on the state police range in Raleigh. Besides, good shot or bad, Mason knew that the Insect Boy had to die and had to die now.

He too breathed steadily, curled his finger around the ribbed trigger. And found that Nathan had been lying; he'd never unsafetied the rifle. Mason now angrily pushed the button and started controlling his breathing once more.

In, out.

He rested the crosshairs on the boy's face.

The redhead moved closer to Garrett and for a moment her shoulder was in the line of fire.

Jesus my Lord, you are making it difficult, lady. She swayed back out of view. Then her neck appeared in the center of the 'scope. She swayed to the left but remained close to the center of the crosshairs.

Breathe, breathe.

Mason, ignoring the fact that his hands were shaking far more than they ought to, concentrated on the blotchy face of his target.

Lowered the crosshairs to Garrett's chest.

The redhead cop swayed once more into the line of fire. Then she eased out again.

He knew he should squeeze the trigger gently. But, as so often in his life, anger took over and made the decision for him. He pulled the sliver of metal with a jerk.

16

Behind Garrett a plug of dirt shot into the air and he slapped his hand to his ear, where he, like Sachs, had felt the zip of a bullet streak past.

An instant later the booming sound of the gun filled the clearing.

Sachs spun around. From the delay between the sound of the bullet itself and the muzzle report she knew the shot hadn't come from Lucy or Jesse but from a hundred yards or so behind them. The deputies too were looking back, guns raised, trying to spot the shooter.

Crouching, Sachs glanced at Garrett's face and she saw his eyes – the terror and confusion in them. For a moment, only an instant, he wasn't a killer who'd crushed a boy's skull or a rapist who'd bloodied Mary Beth McConnell and invaded her body. He was a scared little boy, whimpering, "No, no!"

"Who is it?" Lucy Kerr called. "Culbeau?" They took cover in some bushes.

"Get down, Amelia," Jesse called. "We don't know who they're shooting at. Might be a friend of Garrett's, aiming for us."

But Sachs didn't think so. The bullet was meant for Garrett. She scanned the hilltops nearby, looking for signs of the sniper.

Another shot snapped past. This one was a wider miss.

"Holy Mary," Jesse Corn said, swallowing the apparently unaccustomed blasphemy. "Look, up there – it's Mason! And Nathan Groomer. On that rise."

"It's Germain? " Lucy asked bitterly, squinting. She furiously pressed the transmit button on her Handi-talkie and shouted, "Mason, what the hell're you doing? Are you there? Are you receiving?… Central. Come in, Central. Goddamn, I can't get reception."

Sachs pulled out her cell phone and called Rhyme. He answered a moment later. She heard his voice, hollow, through the speakerphone. "Sachs, have you -?"

"We've got him, Rhyme. But that deputy, Mason Germain, he's on a hill nearby, firing at the boy. We can't get him on the radio."

"No, no, no, Sachs! He can't kill him. I checked the degradation of the blood on the tissue – Mary Beth was alive as of last night! If Garrett dies we'll never find her."

She shouted this to Lucy but the deputy still couldn't raise Mason on the radio.

Another shot. A rock shattered, spraying them with dust.

"Stop it!" Garrett sobbed. "No, no… I'm scared. Make him stop!"

Sachs said to Rhyme, "Ask Bell if Mason's got a cell phone and have him call, tell him to stop the shooting."

"Okay, Sachs…"

Rhyme hung up.

If Garrett dies we'll never find her…

Amelia Sachs made a fast decision and tossed her gun on the ground behind her then stepped forward, facing Garrett, a foot from him, directly in between Mason's gun and the boy. Thinking: In the time it took to do this Mason might've pulled the trigger, and the bullet, preceding the sound wave of the gunshot, might be headed directly toward my back.

She stopped breathing. Imagining she could feel the slug streaking at her.

A moment passed. There was no shot.

"Garrett, you've got to put the knife down."

"You tried to kill me! You tricked me!"

She wondered if he'd stab her – in anger or panic. "No. We didn't have anything to do with it. Look, I'm in front of you. I'm protecting you. He won't shoot again."

Garrett studied her face carefully with his twitchy eyes.

She wondered if Mason was waiting for her to move aside just enough so that he could sight on Garrett. He was obviously a bad shot and she imagined a bullet shattering her spine.

Ah, Rhyme , she thought, you're here for your operation to try to be more like me; maybe today I'll become more like you…

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