Jeffery Deaver - Lincoln Rhyme 05 The Vanished Man

TITLE: The Vanished Man

AUTHOR: Jeffery Deaver

Jeffery Deaver

The Vanished Man

(A Lincoln Rhyme Novel)

"A conjuring trick is generally regarded by magicians as consisting of an effect and a method. The effect is what the spectator sees.... The method is the secret behind the effect and allows the effect to take place."

Peter Lament and Richard Wiseman, Magic in Theory

EFFECT

SATURDAY, APRIL 20

"The expert magician seeks to deceive the mind, rather than the eye."

Marvin Kaye, The Creative Magician's Handbook

Greetings, Revered Audience. Welcome.

Welcome to our show.

We have a number of thrills in store for you over the next two days as our illusionists, our magicians, our sleight-of-hand artists weave their spells to delight and captivate you.

Our first routine is from the repertoire of a performer everyone's heard of: Harry Houdini, the greatest escape artist in America, if not the world, a man who performed before crowned heads of state and U.S. presidents. Some of his escapes are so difficult no one has dared attempt them, all these years after his untimely death.

Today we'll re-create an escape in which he risked suffocation in a routine known as the Lazy Hangman.

In this trick, our performer lies prone on the belly, hands bound behind the back with classic Darby handcuffs. The ankles are tied together and another length of rope is wound around the neck, like a noose, and tied to the ankles. The tendency of the legs to straighten pulls the noose taut and begins the terrible process of suffocation.

Why is it called the "Lazy" Hangman? Because the condemned executes himself.

In many of Mr. Houdini's more dangerous routines, assistants were present with knives and keys to release him in the event that he was unable to escape. Often a doctor was on hand.

Today there'll be none of these precautions. If there's no escape within four minutes, the performer will die.

We begin in a moment but first a word of advice:

Never forget that by entertaining our show you're abandoning reality.

What you're absolutely convinced you might see might not exist at all. What you know has to be an illusion may turn out to be God's harsh truth.

Your companion at our show might turn out to be a total stranger. A man or woman in the audience you don't recognize may know you far too well.

What seems to be safe may be deadly. And the dangers you guard against may be nothing more than distractions to lure you to greater danger.

In our show what can you believe? Whom can you trust?

Well, Revered Audience, the answer is that you should believe nothing.

And you should trust no one. No one at all.

Now the curtain rises, the lights dim, the music fades, leaving only the sublime sound of hearts beating in anticipation.

And our show begins.

The building looked as if itd seen its share of ghosts.

Gothic, sooty, dar. Sandwiched between two high-rises on the Upper West Side, capped with a widow's walk and many shuttered windows. The building dated from the Victorian era and had been a boarding school at one point and later a sanatorium, where the criminally insane lived out their frazzled lives.

The Manhattan School of Music and Performing Arts could have been home to dozens of spirits.

But none so immediate as the one who might be hovering here now, above the warm body of the young woman lying, stomach down, in the dim lobby outside a small recital hall. Her eyes were still and wide but not yet glassy, the blood on her cheeks was not yet brown.

Her face was dark as plum from the constriction of the taut rope connecting her neck to her ankles.

Scattered around her were a flute case, sheet music and a spilled grande cup from Starbucks, the coffee staining her jeans and green Izod shirt and leaving a comma of dark liquid on the marble floor.

Also present was the man who'd killed her, bending down and examining her carefully. He was taking his time and felt no urge to rush. Today was Saturday, the hour early. There were no classes in the school on the weekends, he'd learned. Students did use the practice rooms but they were in a different wing of the building. He leaned closer to the woman, squinting, wondering if he could see some essence, some spirit rising from her body. He didn't.

He straightened up, considering what else he might do to the still form in front of him.

Youre sure it was screaming?

"Yeah.No," the security guard said. "Maybe not screaming, you know. Shouting. Upset. For just a second or two. Then it stopped."

Officer Diane Franciscovich, a portable working out of the Twentieth Precinct, continued, "Anybody else hear anything?"

The heavy guard, breathing hard, glanced at the tall, brunette policewoman, shook his head and flexed and opened his huge hands. He wiped his dark palms on his blue slacks.

"Call for backup?" asked Nancy Ausonio, another young patrol officer, shorter than her partner, blonde.

Franciscovich didn't think so, though she wasn't sure. Portables walking the beat in this part of the Upper West Side dealt mostly with traffic accidents, shoplifting and car theft (as well as holding the hands of distraught muggees). This was a first for them the two women officers, on their Saturday morning watch, had been spotted on the sidewalk and motioned urgently inside by the guard to help check out the screaming. Well, upset shouting.

"Lets hold off," the calm Franciscovich said. "See whats going on."

The guard said, "Sounded like it was comin' from 'round her somewhere. Dunno."

"Spooky place," Ausonio offered, oddly uneasy; she was the partner most likely to leap into the middle of a dispute, even if it involved combatants twice her size.

"The sounds, you know. Hard to tell. You know what Im sayin'? Where theyre coming from."

Franciscovich was focusing on what her partner had said. Damn spooky place, she added silently.

Seeming miles of dim corridors later, finding nothing out of the ordinary, the security guard paused.

Franciscovich nodded to a doorway in front of them. "What's through here?"

"Be no reason for students t'be there. It's only "

Franciscovich pushed the door open.

Inside was a small lobby that led to a door labeled Recital Hall A. And near that door was the body of a young woman, trussed up, rope around her neck, hands in cuffs. Eyes open in death. A brown-haired, bearded man in his early fifties crouched over her. He looked up, surprised at their entry.

"No!" Ausonio cried.

"Oh, Christ," the guard gasped.

The officers drew their weapons and Franciscovich sighted down on the man with what she thought was a surprisingly steady hand. "You, don't move! Stand up slow, move away from her and put your hands in the air." Her voice was much less firm than the fingers gripping the Glock pistol.

The man did as he was told.

"Lie facedown on floor. Keep your hands in sight!"

Ausonio started forward to the girl.

It was then Franciscovich noticed that the man's right hand, over his head, was closed in a fist.

"Open your "

Pop ...

She went blind as a flash of searing light filled the room. It seemed to come directly from the suspect's hand and hovered for a moment before going out.

Ausonio froze and Franciscovich went into a crouch, scrabbling backward and squinting, swinging the gun back and forth. Panicked, she knew the killer had kept his eyes shut when the flash went off and would be aiming his own weapon at them or charging forward with a knife.