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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Culbeau persisted, "If the boy's in the cabin you might need some help getting him out. What can we do?"

"This is police business, Rich. The three of you, clear on outa here. Now. Trey!" she called to the black deputy. "Get 'em out."

The third deputy, Ned, walked toward Lucy and Culbeau. "Rich," he called, "there's no reward anymore. Forget about it and -"

The shot from Culbeau's powerful rifle poked a hole in the front of Ned's chest and the impact flung him several feet onto his back. Trey stared at Harris Tomel, only ten feet away. Each man looked about as shocked as the other and neither moved for a moment.

Then there was a whoop like a hyena's cry from Sean O'Sarian, who lifted his soldier gun and shot Trey three times in the back. Cackling with laughter, he vanished into the field.

"No!" Lucy screamed and lifted her pistol toward Culbeau, but by the time she fired, the men had gone for cover in the tall grass surrounding the cabin.

37

Rhyme felt the instinctive urge to drop to the ground but, of course, remained upright in the Storm Arrow wheelchair. More bullets slammed into the van where Sachs and Lucy, now facedown on the grass, had been standing a moment before. Thom was on his knees, trying to work the heavy wheelchair out of the depression of soft earth where it was lodged.

" Lincoln!" Sachs cried.

"I'm okay. Move! Get to the other side of the van. Under cover."

Lucy said, "But Garrett can target us from there."

Sachs snapped back, "But he's not the one who's goddamn shooting!"

Another shotgun blast missed them by a foot and the pellets rattled along the porch. Thom put the wheelchair in neutral and muscled it toward the cabin side of the van. "Stay low," Rhyme said to the aide, who ignored a shot that zipped past them and shattered a side window of the vehicle.

Lucy and Sachs followed the two men to the shadowy area between the cabin and the van.

"Why the hell're they doing this?" Lucy cried. She fired several shots, sending O'Sarian and Tomel scrabbling for cover. Rhyme couldn't see Culbeau but knew that the big man was directly in front of them somewhere. The rifle that he'd been carrying was high-powered and fitted with a large telescopic sight.

"Take the cuffs off and give me the gun," Sachs shouted.

"Give it to her," Rhyme said. "She's a better shot than you."

"No goddamn way!" The deputy shook her head, her expression one of astonishment at this suggestion. More bullets slapped the metal of the van, dug out chunks of wood from the porch.

"They've got fucking rifles!" Sachs raged. "You're no match for them. Give me the gun!"

Lucy rested her head against the side of the van and stared in shock at the slain deputies lying in the grass. "What's going on?" she muttered, crying. "What's happening?"

Their cover – the van – wasn't going to last much longer. It protected them from Culbeau and his rifle but the other two were flanking them. In a few minutes they'd set up a crossfire.

Lucy fired twice more – into the grass where a shotgun blast had erupted a moment before.

"Don't waste your ammunition," Sachs ordered. "Wait till you have a clear shot. Otherwise – "

"Shut the hell up," Lucy raged. She patted her pockets. "Lost the goddamn phone."

" Lincoln," Thom said, "I'm taking you out of the chair. You're too much of a target."

Rhyme nodded. The aide undid the harness, got his arms around Rhyme's chest and pulled him out, laid him on the ground. Rhyme tried to lift his head to see what was going on but a contracture – a merciless cramp – gripped his neck muscles and he had to lower his head to the grass until the pain passed. He'd never felt as stabbed by his helplessness as at this moment.

More shots. Closer. And more insane laughter from O'Sarian. "Hey, knife lady, where are you?"

Lucy muttered, "They're almost in position."

"Ammo?" Sachs asked.

"I've got three left in the chamber, one Speedloader."

"Loaded six?"

"Yeah."

A shot slammed into the back of the Storm Arrow and knocked it on its side. A cloud of dust rose up around it.

Lucy fired at O'Sarian but his giggling and the staccato response from the Colt told them that she'd missed.

The rifle fire also told them that in only a minute or two they'd be completely flanked.

They'd die here, shot to death, trapped in this dim valley between the shattered van and the cabin. Rhyme wondered what he would feel when the bullets tore into his body. No pain, of course, not even any pressure in his numb flesh. He glanced at Sachs, who was looking at him with a hopeless expression on her face.

You and me, Sachs…

Then he glanced at the front of the cabin.

"Look," he called.

Lucy and Sachs followed his eyes.

Garrett had opened the front door.

Sachs said, "Let's get inside."

"Are you crazy?" Lucy called. "Garrett's with them. They're all together."

"No," Rhyme said. "He's had a chance to shoot from the window. He didn't."

Two more shots, very close. The bushes rustled nearby. Lucy lifted the pistol.

"Don't waste it!" Sachs called. But Lucy rose and fired two fast shots at the sound. The rock one of the men had thrown to shake the bushes and trick her into presenting a target rolled into view. Lucy jumped aside just as Tomel's shotgun blast, meant for her back, streaked past, puncturing the side of the van.

"Shit," the deputy cried. Ejecting the empty cartridges and reloading with the Speedloader.

"Inside," Rhyme said. "Now."

Lucy nodded. "Okay."

Rhyme said, "Fireman's carry." This was a bad position to carry a quad in – it put stress on parts of the body that weren't used to stress, but it was faster and would expose Thom to the gunshots for the least amount of time. Rhyme was also thinking that his own body would protect Thom's.

"No," Thom said.

"Do it, Thom. No argument."

Lucy said, "I'll cover you. The three of you go together. Ready?"

Sachs nodded. Thom lifted Rhyme, cradling him like a child in his strong arms.

"Thom -" Rhyme protested.

"Quiet, Lincoln," the aide snapped. "We're doing this my way."

"Go," Lucy called.

Rhyme's hearing was stunned by several loud gunshots. Everything blurred as they ran up the few stairs into the cabin.

Another several bullets cracked into the wood of the cabin as they pushed inside. A moment later Lucy rolled into the room after them and slammed the door shut. Thom set Rhyme gently on a couch.

Rhyme had a glimpse of a terrified young woman sitting in a chair, staring at him. Mary Beth McConnell.

Garrett Hanlon, with his red, blotched face, eyes wide with fear, sat manically clicking the fingernails of one hand and holding a pistol awkwardly in the other, as Lucy aimed the gun right in his face.

"Give me the weapon!" she cried. "Now, now!"

He blinked and immediately handed the gun to her. She put it in her belt and called out something. Rhyme didn't hear what; he was staring at the boy's bewildered and frightened eyes, a child's eyes. And he thought: I understand why you had to do it, Sachs. Why you believed him. Why you had to save him.

I understand…

He said, "Everybody okay?"

"Fine," Sachs said.

Lucy nodded.

"Actually," Thom said, almost apologetically. "Not really."

He lifted his hand away from his trim belly, revealing the bloody exit wound. Then the aide went down on his knees, hard, ripping the slacks that he'd ironed with such care just that morning.

38

Search the wound for severe hemorrhage, stop the bleeding. If possible, check the patient for shock.

Amelia Sachs, trained in the basic NYPD first-aid course for patrol officers, bent over Thom, examining the wound.

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