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The Vanished Man
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THE VANISHED MAN (Simon & Schuster)
by Jeffery Deaver

     The hand is quicker that the eye—or is it? The world of magic and illusion draws investigators Lincoln Rhyme and Amelia Sachs into its web in the latest novel by the writer People magazine calls the “master of ticking-bomb suspense.” When a young music student is murdered and her attacker fades into the shadows—literally—Rhyme and Sachs must move beyond the smoke and mirrors to prevent a terrifying crime of vengeance that could become the greatest vanishing act of all. “Deaver . . . fills every keystroke with suspense.”—People


Excerpt from Select Editions’ The Vanished Man

     Sellitto received a phone call. He listened for a moment, then, looking bewildered, said, “Impossible. . . . You’re sure? . . . Yeah, okay. Thanks.” Hanging up, the detective glanced at Rhyme. “That was the administrator of the music school. There is no janitor. The cleaning staff doesn’t work on Saturday. And none of ’em look like the guy the respondings saw. He—”

     “Oh, damn,” Rhyme snapped. “It was him! The janitor looked completely different from the perp, right?”

     Sellitto consulted his notebook. “He was in his sixties, bald, no beard, wearing gray coveralls.”

     “Gray coveralls!” Rhyme shouted. “That’s the silk fiber we found.”

     “What’re you talking about?” Cooper asked.

     “Our unsub killed the student. When he was surprised by the respondings, he blinded them with the flash and ran into the performance space, set up the fuses and the digital recorder to make them think he was still inside, changed into the janitor outfit, and ran out the second door.”

     “How the hell could he’ve done it?” Sellitto asked. “He was out of sight for, what, sixty seconds? There’s no way.”

     “No way?” Rhyme mused cynically as he wheeled himself closer to the whiteboard on which were taped the digital photos Amelia Sachs had taken of the footprints. “Then how ’bout some evidence?” He examined the perp’s footprints and then the ones that she’d lifted in the corridor near where the janitor had been.

     “Shoes,” he announced.

     “They’re the same?” Sellitto asked.

     “Yep,” Amelia Sachs said, walking to the board. “Ecco, size ten.”

     Rhyme asked, “Okay, what do we have? A perp in his early fifties, medium build, medium height, beardless, two deformed fingers, and that’s all.” Then he frowned. “No,” he muttered darkly, “that’s not all we know. He had a change of clothes with him, murder weapons. . . . He’s an organized offender.” He glanced at Sellitto and added, “He’s going to do this again.”

     Sachs nodded her grim agreement.

     Rhyme gazed at the evidence whiteboards and wondered, What ties this all together?

     The black silk, the makeup, the costume change, the disguises, the flashes, and the pyrotechnics. The disappearing ink.

     Rhyme said, “Our boy’s got some magic training.”

     Sellitto nodded. “Okay. But whatta we do now?”

     “Seems obvious to me,” Rhyme said. “Find our own.”

     “Our own what?” Sellitto asked.

     “Magician, of course.”



ABOUT THE AUTHOR
Jeffery Deaver Jeffery Deaver

     The idea for The Vanished Man came to Jeffery Deaver while he was attending a performance of the Big Apple Circus with the son of his business partner. “We were blown away by the quick-change act,” Deaver says, “and I thought, What a scary thing if a criminal could change appearance and become a whole different person in a matter of seconds.” Soon thereafter, the author put aside another novel in order to work on The Vanished Man.

     In the course of his research, Deaver discovered that he particularly enjoyed the artistry of illusionists Arturo Brachetti, Ricky Jay, and the Amazing Randi. Their work inspired him to seed The Vanished Man with even more of his typical plot turns than usual. Says Deaver, “I’ve tried to make this one my ‘twistiest’ book yet.” And every magic trick in these pages, he assures us, comes from the repertoire of real performers working today.

     Deaver thinks of his villain, the Conjurer, as a cross between David Copperfield and Hannibal Lecter. “Villains are very important in suspense fiction,” Deaver says, “not only for the evil element they add but because they bring out the hero’s character.” And how does the Conjurer stack up? “He has a troubled past, a brilliant mind, and an amoral nature, and he’s a master of his trade. . . . Once you read this book, you will probably never talk to strangers again.”


Exclusive interview with Jeffery Deaver




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