The Coffin Dancer Read Online Free PDF Page B

suddenly and stepped into the doorway of the building opposite the Wife’s town house. Stephen pushed open the front door and looked out at the large glass windows in front, partially obscured by a flowering dogwood tree. He put on a pair of expensive yellow-tinted shooting glasses and the glare from the window vanished. He could see figures moving around inside. One cop . . . no, two cops. A man with his back to the window. Maybe the Friend, the other witness he’d been hired to kill. And . . . yes! There was the Wife. Short. Homely. Boyish. She was wearing a white blouse. It made a good target.
    She stepped out of view.
    Stephen bent down and unzipped his backpack.

 . . . Chapter Four
    A sitting transfer into the Storm Arrow wheelchair.
    Then Rhyme took over, gripping the plastic straw of the sip-and-puff controller in his mouth, and he drove into the tiny elevator, formerly a closet, that carried him unceremoniously down to the first floor of his town house.
    In the 1890s, when the place had been built, the room into which Lincoln Rhyme now wheeled had been a parlor off the dining room. Plaster-and-lath construction, fleur-de-lis crown molding, domed icon recesses, and solid oak floorboards joined as tight as welded steel. An architect, though, would have been horrified to see that Rhyme had had the wall separating the two rooms demolished and large holes dug into the remaining walls to run additionalelectrical lines. The combined rooms were now a messy space filled not with Tiffany’s stained glass or moody landscapes by George Inness but with very different objets d’art: density-gradient tubes, computers, compound microscopes, comparison ’scopes, a gas chromatograph/mass spectrometer, a PoliLight alternative light source, fuming frames for raising friction ridge prints. A very expensive scanning electron microscope hooked to an energy dispersive X-ray unit sat prominently in the corner. Here too were the mundane tools of the criminalist’s trade: goggles, latex and cut-resistant gloves, beakers, screwdrivers and pliers, postmortem finger spoons, tongs, scalpels, tongue depressors, cotton swabs, jars, plastic bags, examining trays, probes. A dozen pairs of chopsticks (Rhyme ordered his assistants to lift evidence the way they picked up dim sum at Ming Wa’s).
    Rhyme steered the sleek, candy-apple red Storm Arrow into position beside the worktable. Thom placed the microphone over his head and booted up the computer.
    A moment later Sellitto and Banks appeared in the doorway, joined by another man who’d just arrived. He was tall and rangy, with skin as dark as tires. He was wearing a green suit and an unearthly yellow shirt.
    “Hello, Fred.”
    “Lincoln.”
    “Hey.” Sachs nodded to Fred Dellray as she entered the room. She’d forgiven him for arresting her not long ago—an interagency squabble—and they now had a curious affinity, this tall, beautiful cop andthe tall, quirky agent. They were both, Rhyme had decisively concluded, people cops (he himself being an evidence cop). Dellray trusted forensics as little as Rhyme trusted the testimony of witnesses. As for former beat cop Sachs, well, there was nothing Rhyme could do about her natural proclivities but he was determined that she push those talents aside and become the best criminalist in New York, if not the country. A goal that was easily within her grasp, even if she herself didn’t know it.
    Dellray loped across the room, stationed himself beside the window, crossed his lanky arms. No one—Rhyme included—could peg the agent exactly. He lived alone in a small apartment in Brooklyn, loved to read literature and philosophy, and loved even more to play pool in tawdry bars. Once the jewel in the crown of the FBI’s undercover agents, Fred Dellray was still referred to occasionally by the nickname he’d had when he was in the field: “The Chameleon”—a tribute to his uncanny skill at being whoever his undercover role required he be.