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The Midnight Lock Excerpt

PART ONE

CYLINDRICAL KEY

[MAY 26, 8 A.M.]

1

Something wasn’t right.          

Annabelle Talese, though, couldn’t quite figure out what that might be.

One aspect of this concern, or disorientation, or mystery, could be explained by the presence of a hangover, though a minor one. She called them “hangunders”—maybe one and a half glasses of sauvignon blanc too many. She’d been out with Trish and Gab at Tito’s, which had to be one of the strangest of all restaurants on the Upper West Side of Manhattan: a fusion of Serbian and Tex‑Mex. Fried cheese with beans and salsa was a specialty.

Big wine pours too.

As she lay on her side, she brushed the tickling, thick blond hair away from her eyes and wondered:  What’s wrong with this picture?

Well, for one thing, the window was open a few inches; a May breeze, thick with the gassy‑asphalt scent of Manhattan, eased in. She rarely opened it. Why had she done so last night?

The twenty‑seven‑year‑old, who had dabbled at modeling and was now content behind the scenes of the fashion world, rolled upright and tugged her Hamilton T‑shirt down, twisted it straight. Adjusted her silk boxers. Finger‑combed her curls.

She swung her feet over the edge of the bed, feeling for her slippers.

They weren’t where she’d kicked them off last night before climbing under the blankets.

All right.  What’s going on?

Talese had no phobias or OCD issues, except one: New York City streets.  She couldn’t help but picture  the carpet of germs and other unmentionable critters that populated the city’s asphalt—and which got tracked into her apartment, even when, as she did every day, she stowed her shoes in a carton by the door (and insisted her friends do the same).

She never went barefoot in the apartment.

Instead of the slippers, though, the dress she’d worn yesterday, a frilly, floral number, lay spread out beneath her dangling feet.

The front hem was drawn up, almost to the décolletage, as if the garment were flashing her.

Wait a minute . . . Talese had a memory—more hazy than distinct—of tossing the garment into the hamper before her night‑time routine.

Talese qualified her narrative now. The slippers weren’t where she thought she’d left them. The dress wasn’t in the hamper where she thought she’d tossed it.

Maybe Draco, the bartender, always a flirt, had been a little more generous than usual.

Was the drink count, possibly, 2.5 on the scale? Careful, girl. You need to watch that.

As always, upon waking, the phone.

She turned toward the bedside table.

It wasn’t there.

No landline for her, her mobile was her only link at night.  She always kept it near and charged.  The umbilical, attached to the wall plug, was present, but no phone.

Jesus . . . What’s going on?

Then she saw the slippers. The pink fuzzy things were across the room, each on either side of, and facing, a small wooden chair. It had been scooted closer to the bed than she normally kept it. The slippers were facing the chair in a way that was almost eerily obscene— as if they’d been worn by somebody whose legs were spread and who was sitting on a lap.

“No,” Talese gasped, now spotting what was on the floor beside the chair: a plate with a half‑eaten cookie on it.

Her heart thrummed fast; her breath grew shallow. Somebody’d been in the apartment last night!  They’d rearranged her clothes, eaten the cookie.

Not six feet away from her!

The phone, the phone . . . where’s the goddamn phone? Talese reached for the dress on the floor.

Then froze.  Don’t!  He—she figured the intruder would have been male—had touched it.

My God . . . She ran to her closet and pulled on jeans and an NYU sweatshirt, then stepped into the first pair of sneakers she found.

Out! Get out now! The neighbors, the police . . .

Fighting back tears from fright, she started out of the bedroom, then noticed that one of her dresser drawers was partially open.  It was where she kept her underwear. She’d noted something boldly colorful inside.

She approached slowly, pulled it fully open and looked down. She gasped and finally the tears broke free.

On top of her panties was a page from a newspaper.  It wasn’t one she read, so he would have brought it with him.  Written on it, in lipstick—the shade that she favored, Fierce Pink—were three words:

Reckoning.
—The Locksmith

Annabelle Talese turned to sprint to the front door.  She got about ten feet before she stopped fast.

She’d noticed three things:

One was that the butcher block knife holder, sitting on the island in the small kitchen, had a blank slot, the upper right‑hand corner, where the largest blade had rested.

The second was that the closet in the hallway that led to the front door was open. Talese always kept it closed. There was an automated switch in the frame so that when you opened the door, the bulb inside went on. The closet now, however, was dark. She would have to walk past it to get to the front door.

The third thing was that the two deadbolts on the door were turned to the locked position.

Which meant—since the man who’d broken inside had no keys—he was still here.

2

The defense attorney, approaching the empty witness stand, beside which Lincoln Rhyme sat in his motorized wheelchair, said: “Mr. Rhyme, I’ll remind you that you’re still under oath.”

Rhyme frowned and looked over the solidly built, black‑haired lawyer, whose last name was Coughlin. Rhyme affected a pensive expression. “I wasn’t aware that something might have happened to damage the oath.”

Did the judge offer a faint smile? Rhyme couldn’t see clearly. He was on the main floor of the courtroom, and the judge was considerably above and largely behind him.

The testimonial oath in court had always struck Rhyme as an unnecessary mouthful, even with the “so help you God” snipped off.

Do you solemnly swear to tell the truth, the whole truth and nothing but the truth?

Why did swearing have to be solemn? And once one affirmed the first “truth,” was there any point to the overkill? How about: “Do you swear you won’t lie? If you do, we’ll arrest you.”

More efficient.

He now relented. “I acknowledge that I’m under oath.”

The trial was being conducted in New York Supreme Court— which, despite the name, was in fact a lower‑level court in the state. The room was wood paneled and scuffed, the walls hung with pictures of jurists from over the years, going back, it seemed, to the days of Reconstruction. The proceeding itself, however, was pure twenty‑first century.  On the prosecution and defense tables were computers and tablets—the judge had a slim high‑def monitor too. There was not a single law book in the room.

Present were thirty or so spectators, most here to see the infamous defendant, though perhaps a few hoping to see Rhyme.

Coughlin, whose age Rhyme figured to be about fifty, said, “I’ll get to the substance of my cross‑examination.” He flipped through notes.  Maybe there were no books, but Rhyme noted easily a hundred pounds of foolscap between the defense and the prosecution tables.

“Thank you, sir,” said the judge.

Being a criminalist, a forensic scientist aiding in criminal investigation, is only partly about the laboratory; the other aspect of the job is performing. The prosecutor needs an expert witness to present findings in an articulate way and to parry the defense counsel’s assault patiently and effectively on your conclusions. On redirect, a good prosecutor can sometimes rehabilitate a witness battered by the defense, but it’s best not to get into hard straits in the first place. Lincoln Rhyme was reclusive by nature, and loved his time in a laboratory above all, but he was not entirely introverted. Who doesn’t enjoy a little grandstanding before the jury, and sparring with the defendant’s attorney?

“You testified on direct that no fingerprints of my client were left at the crime scene where Leon Murphy was murdered, correct?”

“No, I did not.”

Coughlin frowned, looking at a yellow pad that might have contained perceptive notes or might have contained doodles or a recipe for beef brisket. Rhyme happened to be hungry.  It was ten a.m. and he’d missed breakfast.

Coughlin glanced at his client. Viktor Antony Buryak, fifty‑two. Dark‑haired like his mouthpiece but bulkier, with Slavic features and pale skin. He wore a tailored charcoal gray suit and a burgundy vest. Buryak’s face was oddly unthreatening. Rhyme could picture him serving up pancakes at a church basement fundraiser and remembering every parent by name and giving the kids an extra splash of syrup.

“Do you want me to read you back your testimony?” Coughlin, who’d been hovering close to Rhyme, like a shark near chum, lifted a palm.

“No need. I remember it. I stated—under oath, I’ll just reassure you—that of the fingerprints collected at the scene of Leon Murphy’s murder, none could be identified as your client’s.”

“What exactly is the difference?”

“You said I testified that your client left no fingerprints at the scene. He might very well have left a million of them. The evidence collection team simply didn’t recover any.”

Coughlin rolled his eyes. “Move to strike.”

Judge Williams told the jury, “You’ll disregard Mr. Rhyme’s response. But try again, Mr. Coughlin.”

Looking put out, Coughlin said, “Mr. Rhyme, no fingerprints of my client were discovered at the crime scene where the convicted felon Leon Murphy was shot, correct?”

“I can’t answer because I can’t speak to whether the victim was a convicted felon or not.”

Coughlin sighed.

The judge stirred.

Rhyme said, “I agree with your ‘were discovered’ part of that sentence.”

Coughlin and Buryak shared a look. The client was taking this better than his attorney. The lawyer returned to his table and glanced down.

Rhyme regarded the jury and found more than a few looking his way. They’d be curious about his condition. Some defense attorneys, he’d heard, privately complained about his presence, given that he was a quadriplegic, testifying from a wheelchair—which, they believed, generated sympathy for the prosecution.

But what could he do? Wheelchair bound he was. Criminalist he was.

Rhyme’s eyes circled to the defendant. Buryak was a unique figure in the history of organized crime in the region.  He owned a number of businesses in the city, but that wasn’t how he made most of his money.  He offered a unique service in the underworld, one that had probably cost more lives than any other organized crime outfit in New York’s exceedingly criminal history.

The People of the State of New York v. Viktor Buryak, however, had nothing to do with that.  This was about a single incident, a single crime, a single murder.

Leon Murphy had been shot to death a week or so after a meeting with the manager of a warehouse that Buryak owned. Murphy was a psychotic wannabe gangbanger who fancied himself a descendant of the Westies, the brutal Irish gang that had once ruled Hell’s Kitchen in Manhattan. Murphy had made a sales pitch offering protection to the warehouse manager.

A very bad business idea, selling that product to that consumer.

Coughlin asked, “Did you find footprints near Leon Murphy’s body? Or near where the bullet casing was found?”

“Near the body, the field was grassy, no footprints could be ascertained. Near the bullet casing, the evidence collection technicians found footprints but because of a recent rain it was impossible to determine the type of shoe.”

“So, you can’t testify that my client’s footprints were found at the scene of the crime?”

“Don’t you think that can be inferred from my prior comment?” Rhyme asked acerbically. He’d learned that nobody cares about badgering attorneys. That’s what they’re paid for.

“Mr. Rhyme, does the NYPD forensics unit routinely collect DNA at crime scenes?”

“Yes.”

“And did you discover any of my client’s DNA at the scene where Leon Murphy was killed?”

“No.”

“Mr. Rhyme, you analyzed the bullet that killed Mr. Murphy, correct?  That is, the lead slug?”

“Yes.”

“And you analyzed the shell casing too?”

“That’s correct.”

“And, once more, what caliber was that?”

“Nine‑millimeter parabellum.”

“And you testified that the lands and grooves, that is the rifling of the barrel, suggest that the gun was a Glock seventeen.”

“A Glock definitely, a model seventeen most likely.”

“Mr. Rhyme, did you or any investigators you were working with check firearms records in any state or federal databases with regard to my client?”

“Yes.”

“And does or did he own a Glock, specifically a model seventeen?”

“I have no idea.”

“Explain, Mr. Rhyme.”

“He might own a dozen.”

“Your Honor,” said Coughlin. He sounded slightly wounded that Rhyme was treating him so unfairly.

Was Viktor Buryak on the verge of smiling?

“Mr. Rhyme.” The judge was growing weary.

“He asked if he owned a Glock, and I testified that I have no idea. Which I don’t. I can testify that the record shows that, in New York State, he owns no legally registered Glocks.”

ADA Sellars said, “Your Honor, the defense is straying from Captain Rhyme’s contribution to the case, which is not firearms purchase records. It relates solely to his expertise in physical evidence.”

Coughlin said, “Let me lay this foundation, Your Honor. It will be clear in a moment where I’m going.”

Rhyme looked at his keen eyes and wondered what that destination might be.

“Proceed . . . for the moment.”

“Mr.  Rhyme, to recap, could you confirm that my client’s DNA was not found at either the site of the body or site of the shell casing?”

“Correct.”

“Or on the body or shell casing.”

“That’s true.”

“And his footprints and fingerprints were not found at either place?”

“Correct.”

“And no fibers or hairs that could be traced to him were found there?”

“Correct.”

“And state and federal records do not indicate that he owns or owned a Glock semiautomatic pistol?”

“Correct.”

“In fact, the only forensic connection between the murder of Leon Murphy and my client is a few grains of sand on the ground where the victim was found.”

“Six,” Rhyme countered. “More than a few.”

Coughlin smiled—it was directed at the jury.  “Six grains of sand.”

“Please explain again how that sand connects my client to the murder.”

“The sand was unusual in composition. It was made up of calcium sulfate dihydrate, with silicon dioxide, along with the presence of another substance, C12H24, about three quarters saturated hydrocarbons and one quarter aromatic hydrocarbons.”

“About that other substance, as you call it. Could you translate for us, please?”

“It’s a particular grade of diesel fuel.”

“But why does this connect my client to the scene?”

“Because samples were taken from the street in front of his driveway in Forest Hills, Queens, and similar sand was found there. Control samples taken from where the body was found revealed no such sand.”

“Did the sand taken from my client’s home match that at the scene where Leon Murphy was murdered?”

Rhyme hesitated. “The word ‘match’ in forensic science means identical. Fingerprints match. DNA matches. There are some chemical mixtures that are so complex that they could be said to match. In forensics, barring those situations, we use the word ‘associated.’ You could also say very, very similar to.”

Coughlin repeated, “‘Very, very . . .” I see. So, then you can’t testify that the grains of sand at my client’s home matched the grains of sand at the crime scene.”

“I just said—”

The attorney snapped, “Can you say the grains of sand from my client’s house matched the six grains of sand discovered at the crime scene?”

After a long moment, Rhyme said, “No, I cannot.”

Coughlin brushed a hand through his sturdy hair. “Almost done, Mr.  Rhyme. But before you leave, I’d like to ask you just a few more questions.”  A fast look to the jury, then back. “And these are about you.”

_ _

The Final Twist Reviews

“Jeffery Deaver’s The Final Twist lives up to its name admirably, even delivering said twist on the very last page of the book.”
– BookPage (Starred Review)

“…[THE FINAL TWIST] is clearly the best of the series so far.”
Booklist

“Enough surprises, complications, and deceptions for three novels and half a dozen short stories.”
– Kirkus Reviews

“Jeffery Deaver’s action-packed ‘The Final Twist’ a nail-biter… [it] begs for another visit with Colter.”
– Oline Cogdill, South Florida Sun Sentinel

“Love Grisham, Coben, Gilstrap, early Lee Child? Can’t resist the puzzle solving of Dan Brown or the emotional prices portrayed by Louise Penny? The Final Twist will keep you entertained and committed . . .”
– New York Journal of Books

“Another solid novel in the series. Colter is a great character to read and author Jeffery Deaver throws in lots of twists and turns to keep the story going when you think it’s over.”
– Red Carpet Crash

The Final Twist Excerpt

The Steelworks

Colter Shaw draws his gun. He starts silently down the stairs, descending into the old building’s massive, pungent basement, redolent of mold and heating oil.


Basement, he reflects. Recalling the last time he was in one. And what had happened to him there.


Above him, music pounds, feet dance. The bass is a runner’s heartbeat. But up there and down here are separate universes.


At the foot of the stairs he studies where he is. Orientation . . . Always, orientation. The basement is half built out. To the right of the stairs is a large empty space. To the left are rooms off a long corridor—fifty feet or so in length.


Scanning the empty space to the right, he sees no threat nor anything that would help him. He turns left and navigates toward the corridor past the boilers and stores of supplies: large packs of toilet paper, cans of Hormel chili, plastic water bottles, paper towels, Dixie paper plates, plastic utensils. A brick of nine-millimeter ammunition.


Shaw moves slowly into the corridor. The first room on the right, the door open, is illuminated by cold overhead light and warmer flickering light. Remaining in shadows, he peers in quickly. An office. File cabinets, computers, a printer.


Two bulky men sit at a table, watching a baseball game on a monitor. One leans back and takes the last beer from the six-pack sitting on a third chair. Shaw knows they’re armed because he knows their profession, and such men are always armed.


Shaw is not invisible but the basement is dark, no overheads, and he’s in a black jacket, jeans and—since he’s been motorcycling—boots. They’re not as quiet as the Eccos he usually wears but the beat bleeding from the dance floor overhead dampens his footsteps. He supposes it would even drown out gunshots.


The men watch the game and talk and joke. There are five empty bottles. This might be helpful: the alcohol consumed. The reaction-time issue. The accuracy issue.


If it comes to that.


He thinks: Disarm them now?


No. It could go bad. Seventy-five percent chance of success, at best.


He hears his father’s voice:
Never be blunt when subtle will do.

Besides, he isn’t sure what he’ll find here. If nothing, he’ll slip out the way he came, with them none the wiser.


He eases past the doorway, unseen, then pauses to give his eyes, momentarily dulled by the office lights, a chance to acclimate to the darkness.


Then he moves on, checking each room. Most of the doors are open; most of the rooms are dark.


The music, the pounding of the dancing feet are a two-edged sword. No one can hear him approach, but he’s just as deaf. Someone could be in the empty room, having spotted him, waiting with a weapon.


Thirty feet, forty.


Empty room, empty room. He’s approaching the end, where a second hallway jogs right. There’ll be other rooms to search. How many more?


The last room. This door is closed. Locked.


He withdraws his locking-blade knife and uses the edge near the tip to ease the deadbolt back into the tumbler. He pulls on the door to keep the bolt from snapping back into place as he gets a new grip with the blade. After repeating a dozen times, the door is free. Knife away, gun drawn and raised, finger off the trigger.


Inside.


The woman is Black, in her early twenties, hair in a complicated braid. She wears jeans and a dusty gray sweatshirt. She sees the gun and inhales to scream. He holds up a hand and instantly holsters the weapon. “It’s okay. You’re going to be okay. I’m getting you out of here. What’s your name?”


She doesn’t speak for a moment. Then: “Nita.”


“I’m John. You’ll be all right.”


The place is filthy. Uneaten chili sits in a flat pool on a paper plate. A bottle of water is half drunk. There’s a bucket for a toilet. She’s not bound but she is restrained: a bicycle cable is looped around a water or sewage pipe and her ankle is zip-tied to the cable. Shaw shuts the light off. There’s enough illumination to see by.


Shaw looks back into the corridor. The flicker from the screen continues as the ball game continues. What inning is it? Would be important to know.


“Are you hurt?”


She shakes her head.


He takes his knife out and opens it with a click. He saws through the plastic tie and helps her to her feet. She’s unsteady.


“Can you walk?”


A nod. She’s shivering and crying. “I want to go home.”


Shaw recalls thinking of the game Rock, Paper, Scissors just ten minutes ago. He wishes he’d played harder, much harder.


They step into the corridor. And just then, Shaw thinks:


The third chair.


Oh, hell.


The six-pack didn’t need its own seat. Someone else was in the office watching the game.


And at that moment the third man comes down the stairs with another pack of Budweiser. Just as he sets foot on the concrete floor he glances up the corridor and sees Shaw and Nita. The six-pack drops to the ground. At least one bottle shatters. He calls, “Hey!” And reaches for his hip.


In the baseball room, the flickering stops.


Part One
June 24
The Mission

TIME UNTIL THE FAMILY DIES: FIFTY-TWO HOURS.

Chapter One


The safe house.

At last.

Colter Shaw’s journey to this cornflower-blue Victorian on scruffy Alvarez Street in the Mission District of San Francisco had taken him weeks. From Silicon Valley to the Sierra Nevadas in eastern California to Washington State. Or, as he sat on his Yamaha motorcycle, looking up at the structure, he reflected: in a way, it had taken him most of his life.

As often is the case when one arrives at a long-anticipated destination, the structure seemed modest, ordinary, unimposing. Though if it contained what Shaw hoped, it would prove to be just the opposite: a mine of information that could save hundreds, perhaps thousands, of lives.

But as the son of a survivalist, Shaw had a preliminary question: Just how safe a safe house was it?

From this angle, it appeared deserted, dark. He dropped the transmission in gear and drove to the alley that ran behind the house, where he paused again, in front of an overgrown garden, encircled by a gothic wrought-iron fence. From here, still no lights, no signs of habitation, no motion. He gunned the engine and returned to the front. He skidded to a stop and low-gear muscled the bike onto the sidewalk.

He snagged his heavy backpack, chained up the bike and helmet, then pushed through the three-foot-deep planting bed that bordered the front. Behind a boxwood he found the circuit breakers for the main line. If there were an unlikely bomb inside it would probably be hardwired; whether it was phones or computers or improvised explosive devices, it was always tricky to depend on batteries.

Using the keys he’d been bequeathed, he unlocked and pushed open the door, hand near his weapon. He was greeted only with white noise and the scent of lavender air freshener.

Before he searched for the documents he hoped his father had left, he needed to clear the place.

No evidence of threat isn’t synonymous with no threat.

He scanned the ground floor. Beyond the living room was a parlor, from which a stairway led upstairs. Past that room was a dining room and, in the back, a kitchen, whose door, reinforced and windowless, led onto the alleyway. Another door in the kitchen led to the cellar, an unusual feature in much of California. The few pieces of furniture were functional and mismatched. The walls were the color of old bone, curtains sun-bleached to inadvertent tie-dye patterns.

He took his time examining every room on this floor and on the second and third stories. No sign of current residents, but he did find bed linens neatly folded on a mattress on the second floor.

Last, the basement.

He clicked on his tactical halogen flashlight, with its piercing beam, to descend and see that the room was largely empty. A few old cans of paint, a broken table. At the far end was a coal bin, in which a small pile of glistening black lumps sat. Shaw smiled to himself.

Ever the survivalist, weren’t you, Ashton?

As he stared into the murk, he noted three wires dangling from the rafters. One, near the stairs, ended in a fixture and a small bulb. The wires in the middle and far end had been cut and the ends were wrapped with electrician’s tape.

Shaw knew why the two had been operated on: to keep someone from getting a good view of the end of the cellar.

Shining the beam over the back wall, he stepped close.

Got it, Ash.

As with the rest of the basement, this wall was constructed of four-by-eight plywood sheets nailed to studs, floor to ceiling, painted flat black. But an examination of the seams of one panel revealed a difference. It was a hidden door, opening onto a secure room. He took the locking-blade knife from his pocket and flicked it open. After scanning the surface a moment longer, he located a slit near the bottom. He pushed the blade inside and heard a click. The door sprung outward an inch. Replacing the knife and drawing his gun, he crouched, shining the beam inside, holding the flashlight high and to the left to draw fire, if an enemy were present and armed.

He reached inside and felt for trip wires. None.

He slowly drew the door toward him with his foot.

It had moved no more than eighteen inches when the bomb exploded with a searing flash and a stunning roar and a piece of shrapnel took him in the chest.

_


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