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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"What is it?"

"It's to a trailer made by the McPherson Deluxe Mobile Home Company. The trailers were manufactured from 1946 through the early '70s. Company's out of business but according to the guide, the serial number on the key you've got fits a trailer that was made in '69."

"Any description?"

"No pictures in the guide."

"Hell. Tell me, does one live in these things in a trailer park? Or drive 'em around like a Winnebago?"

"Live in them, I'd guess. They measure eight by twenty. Not the sort of thing you'd cruise around in. Anyway, they're not motorized. You have to tow it."

"Thanks, Mel. Get some sleep."

Rhyme shut the phone off. "What do you think, Jim? Any trailer parks around here?"

The sheriff seemed doubtful. "There're a couple along Route 17 and 158. But they aren't even close to where Garrett and Amelia were headed. And they're crowded. Hard to hide out in a place like that. Should I send somebody to check them out?"

"How far?"

"Seventy, eighty miles."

"No. Garrett probably found a trailer abandoned someplace in the woods and took it over." Rhyme glanced at the map. Thinking: And it's parked somewhere in a hundred square miles of wilderness.

Wondering too: Had the boy gotten out of the handcuffs? Did he have Sachs' gun? Was she falling asleep just now, her guard down, Garrett waiting for the moment when she slipped into unconsciousness. He'd rise, crawl closer to her with a rock or a hornets' nest…

The anxiety racing through him, he stretched his head back, heard a bone pop. He froze, worried about the excruciating contractures that occasionally racked the muscles that were still connected to extant nerves. It seemed completely unfair that the same trauma that made most of your body numb also subjected the sensate part to agonizing tremors.

There was no pain this time but Thom noticed the alarm on his boss's face.

The aide said, " Lincoln, that's it… I'm taking your blood pressure and you're going to bed. No argument."

"All right, Thom, all right. Only we have to make one phone call first."

"Look at what time it is… Who's awake now?"

"It's not a matter of who's awake now," Rhyme said wearily. "It's a matter of who's about to be awake."

• • •

Midnight, in the swamp.

The sounds of insects. The fast shadows of bats. An owl or two. The icy light of the moon.

Lucy and the other deputies hiked four miles over to Route 30, where a camper awaited. Bell had pulled strings and "requisitioned" the vehicle from Fred Fisher Winnebagos. Steve Farr had driven it over here to meet the search party and give them a place to stay for the night.

They stepped inside the cramped quarters. Jesse, Trey and Ned hungrily ate the roast beef sandwiches that Farr had brought. Lucy drank a bottle of water, passed on the food. Farr and Bell – bless their hearts – had also dug up clean uniforms for the searchers.

She called in and told Jim Bell that they'd tracked the pair to an A-frame vacation house, which had been broken into. "Looked like they'd been watching TV, you can believe that ."

But it had been too dark to follow the trail and they'd decided to wait until dawn to resume the search.

Lucy picked up the clean clothes and stepped inside the bathroom. In the tiny shower stall she let the weak stream of water course over her body. Her hands started with her hair and face and neck and then, as always, tentatively washed her flat chest, feeling the ridges of scar, then grew more certain as they moved to her belly and thighs.

She wondered again why she had such an aversion to silicone or the reconstructive surgery that, the doctor explained, took fat from her thighs or butt and remade the breasts. Even nipples could be reconstructed – or tattooed on.

Because, she told herself, it was fake. Because it wasn't real.

And, so, why bother?

But then, Lucy thought, look at that Lincoln Rhyme. He was only a partial man. His legs and arms were fake – a wheelchair and an aide. But thinking about him reminded her of Amelia Sachs and anger seared her again. She pushed those thoughts aside, dried herself and pulled on a T-shirt, thinking absently about the drawer of bras in the dresser in the guest room of her house – and recalled that she'd been meaning to throw them out for two years. But, for some reason, never had. Then she put on her uniform blouse and slacks. She stepped out of the bathroom. Jesse was hanging up the phone.

"Anything?"

"No," he said. "They're still working on the evidence, Jim and Mr. Rhyme."

Lucy shook her head at the food Jesse offered her then sat down at the table, pulled her service revolver out of its holster. "Steve?" she asked Farr.

The crew-cut young man looked up from the newspaper he was reading, lifted an eyebrow.

"You bring what I asked for?"

"Oh, yeah." He dug in the glove compartment and handed her a yellow-and-green box of Remington bullets. She ejected the round-point cartridges from her pistol and Speedloaders and replaced them with the new bullets – hollow points, which have more stopping power and cause much more damage to soft tissue when they hit a human being.

Jesse Corn watched her closely but it was a moment before he spoke, as she knew he'd do. "Amelia's not dangerous," he said, in a low voice, the words meant for her only.

Lucy set the gun down and looked into his eyes. "Jesse, everybody said Mary Beth was at the ocean but turns out she's in the opposite direction. Everybody said Garrett was just a stupid kid but he's smart as a snake and's conned us a half-dozen times. We don't know anything anymore. Maybe Garrett's got a store of weapons someplace and has some plan or another to take us out when we walk into his trap."

"But Amelia's with him. She wouldn't let that happen."

"Amelia's a damn traitor and we can't trust her an inch. Listen, Jesse, I saw that look on your face when you saw she wasn't under the boat. You were relieved. I know you think you like her and you're hoping she likes you… No, no, let me finish. But she busted a killer outa jail. And if you'd been the one out there in the river instead of Ned, Amelia'd have shot at you just as fast."

He began to protest but the chill look in her eyes kept him quiet.

"It's easy to get infatuated with somebody like that," Lucy continued. "She's pretty and she's from someplace else, someplace exotic… But she doesn't understand life down here. And she doesn't understand Garrett. You know him – that's one sick boy and it's just a fluke that he's not doing life right now."

"I know Garrett's dangerous. I'm not arguing there. It's Amelia I'm thinking of."

"Well, it's us that I'm thinking of and everybody else in Blackwater Landing that boy could be planning on killing tomorrow or next week or next year if he gets away from us. Which he might just do, thanks to her. Now, I need to know if I can count on you. If not, you can go on home and we'll have Jim send somebody else in your place."

Jesse glanced at the box of shells. Then back to her. "You can, Lucy. You can count on me."

"Good. You better mean that. 'Cause at first light I'm tracking them down and bringing 'em both back. I hope alive but, I tell you, that's become optional."

• • •

Mary Beth McConnell sat alone in the cabin, exhausted but afraid to sleep.

Hearing noises everywhere.

She'd given up on the couch. She was afraid that if she remained there she'd stretch out and fall asleep then wake to find the Missionary and Tom gazing at her through the window, about to break in. So she was perched at a dining-room chair, which was about as comfortable as brick.

Noises…

On the roof, on the porch, in the woods.

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