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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"I don't know. Maybe." Then he shook his head and offered a sad smile. "I guess not. Mary Beth's pretty and smart and a bunch older than me. She'll end up with somebody who's handsome and smart. But maybe we could be friends, her and me. But even if not, all I really care about is she's okay. She'll stay with me till it's safe. Or you and your friend, that man in the wheelchair everybody was talking about, you can help her go someplace where she'd be safe." He looked out the window and fell silent.

"Safe from the man in the overalls?" she asked.

He didn't answer for a moment then nodded. "Yeah. That's right."

"I'm going to get some of that water," Sachs said.

"Wait," he said. He tore some dry leaves off a small branch resting on the kitchen counter, told her to rub her bare arms and neck and cheeks with it. It gave off a strong herbal smell. "Citronella plant," he explained. "Keeps the mosquitoes away. You won't have to swat 'em anymore."

Sachs picked up the cup. She went outside, looked at the rainwater barrel. It was covered with a fine screen. Lifted it, filled the cup and drank. The water seemed sweet. She listened to the creaks and zips of the insects.

Or you and your friend, that man in the wheelchair everybody was talking about, you can help her go someplace where she'd be safe.

The phrase echoed in her head: The man in the wheelchair, the man in the wheelchair.

She returned to the trailer. Set down the cup. Looked around the tiny living room. "Garrett, would you do me a favor?"

"I guess."

"You trust me?"

"I guess."

"Go sit over there."

He looked at her for a moment then stood and walked to the old armchair she was nodding at. Sachs walked across the tiny room and picked up one of the rattan chairs in the corner. She carried it to where the boy sat and placed it on the floor, facing him.

"Garrett, you remember what Dr. Penny was telling you to do in jail? About the empty chair?"

"Talk to the chair?" he asked, eyeing it uncertainly. He nodded. "That game."

"That's right. I want you to do it again. Will you?"

He hesitated, wiped his hands on the legs of his pants. Stared at the chair for a moment. Finally he said, "I guess."

31

Amelia Sachs was thinking back to the interrogation room and the session with the psychologist. From her vantage point Sachs had watched the boy closely through the one-way mirror. She remembered how the doctor had tried to get him to imagine that Mary Beth was in the chair but that, while Garrett hadn't wanted to say anything to her, he did want to talk to somebody . She'd seen a look in his face, a longing, disappointment – and anger too, she believed – when the doctor turned him away from where he wanted to go.

Oh, Rhyme, I understand that you like hard, cold evidence. That we can't depend on those "soft" things – on words and expressions and tears and the look in someone's eyes as we sit across from them and listen to their stories… But that doesn't mean those stories are always false. I believe there's more to Garrett Hanlon than the evidence tells us.

"Look at the chair," she said. "Who do you want to imagine sitting there?"

He shook his head. "I don't know."

She pushed the chair closer. Smiled to encourage him. "Tell me. It's okay. A girl? Somebody at school?"

He shook his head once more.

"Tell me."

"Well, I don't know. Maybe…" After a pause he blurted: "Maybe my father."

Sachs remembered, with irritation, the cold eyes and crude manners of Hal Babbage. She supposed that Garrett would have a lot to say to him.

"Just your father? Or both him and Mrs. Babbage?"

"No, no, not him. I mean, my real father."

"Your real father?"

Garrett nodded. He was agitated, nervous. Clicking his nails frequently.

Insects' antennas show their moods…

Looking at his troubled face, Sachs realized with concern that she had no idea what she was doing. There were surely all sorts of things psychologists did to draw patients out, to guide them, to protect them when they practiced any type of therapy. Was there a chance that she would make Garrett worse? Push him over a line so that he actually would do something violent and hurt himself or someone else? Nonetheless, she was going to try it. Sachs' nickname in the New York City Police Department was P.D. – for "the portable's daughter," the child of a beat patrolman – and she definitely took after her old man: his love of cars, love of police work, impatience with bullshit and especially his talent for street-cop psychology. Lincoln Rhyme disparaged her being a "people cop" and warned that it would be her downfall. He extolled her talent as a criminalist and, though she was a talented forensic scientist, in her heart she was just like her father; for Amelia Sachs the best type of evidence was that found in the human heart.

Garrett's eyes strayed to the window, where bugs thumped suicidally against the rusty screen.

"What was your father's name?" Sachs asked.

"Stuart. Stu."

"What did you call him?"

"'Dad' mostly. 'Sir' sometimes." Garrett smiled sadly. "If I'd done something wrong and thought I better be, like, on good behavior."

"You two got along?"

"Better'n most of my friends and their dads. They got whipped some and their dads were always yelling at them. You know: 'Why'd you miss that goal?' 'Why's your room so messy?' 'Why didn't you get your homework done?' But Dad was okay to me. Until…" His voice bled out.

"Go on."

"I don't know." Another shrug.

Sachs persisted. "Until what, Garrett?"

Silence.

"Say it."

"I don't want to tell you. It's stupid."

"Well, don't tell me . Tell him , your dad." She nodded toward the chair. "There's your father right there in front of you. Imagine it." The boy edged forward, staring at the chair, almost fearfully. "There's Stu Hanlon sitting there. Talk to him."

For an instant there was such a look of longing in the boy's eyes that Sachs wanted to cry. She knew they were close to something important and she was afraid he'd balk. "Tell me about him," she said, changing tack slightly. "Tell me what he looked like. What he wore."

After a pause the boy said, "He was tall and pretty thin. He had dark hair and it stuck up right after he'd get his hair cut. He had to put this stuff on that smelled good to keep it down for a couple days afterward. He always wore pretty nice clothes. He didn't even have a pair of jeans, I don't think. He always wore shirts with, you know, collars on them. And pants with cuffs." Sachs recalled noting when she searched his room that he had no jeans, only cuffed slacks. A faint smile bloomed on Garrett's face. "He used to drop a quarter down the side of his pants and try and catch it in his cuff and if he did then my sister or me could have it. It was, like, this game we played. On Christmas he'd bring home silver dollars for us and he'd keep sliding them down his pants until we got them."

The silver dollars in the wasp jar, Sachs recalled.

"Did he have any hobbies? Sports?"

"He liked to read. He'd take us to bookstores a lot and he read to us. A lot of history and travel books. And stuff about nature. Oh, and he fished. Almost every weekend."

"Well, imagine that he's sitting there in the empty chair and he's wearing his nice slacks and a shirt with a collar. And he's reading a book. Okay?"

"I guess."

"He puts the book down -"

"No, first he'd, like, mark the place he was reading. He had a ton of bookmarks. He sort of collected them. My sister and me got him one the Christmas before the accident."

"Okay, he marks his place and puts the book down. He's looking at you. Now you've got a chance to say something to him. What would you say?"

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