The Empty Chair (Lincoln Rhyme Series #3)

by Jeffery Deaver Narrated by Richard Turner Perry

Overview

From the bestselling author of The Bone Collector and Devil's Teardrop comes this spine-chilling new thriller that pits renowned criminalist Lincoln Rhyme against the ultimate opponent -- Amelia Sachs, his own brilliant protege.

A quadriplegic since a beam crushed his spinal cord years ago, Rhyme is desperate to improve his condition and goes to the University of North Carolina Medical Center for high-risk experimental surgery. In a twenty-four hour period, the sleepy Southern outpost of Tanner's Corner has seen a local teen murdered and two young women abducted. And Ryhme and Sachs are the best chance to find the girls alive.

The prime suspect is a teenaged truant known as the Insect Boy, so nicknamed for his disturbing obsession with bugs. Rhyme agrees to find the boy while awaiting his operation. Rhyme's unsurpassed analytical skills and stellar forensic experience, combined with Sachs's exceptional detective legwork, soon snare the perp.

But Sachs disagrees with Rhyme's crime analysis and so ensues a battle of wits and forensics between Rhyme and Sachs, his best friend and soul mate.

Editorial Reviews

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

Bill Sheehan reviews horror, suspense, and science fiction for Cemetery Dance, The New York Review of Science Fiction, and other publications. His book-length critical study of the fiction of Peter Straub, At the Foot of the Story Tree, will be published by Subterranean Press (www.subterraneanpress.com) in the spring of 2000.

Barnes & Noble Guide to New Fiction

Renowned quadriplegic criminalist Lincoln Rhyme is back in a "fast-paced, surprising" thriller that pits him against the ultimate opponent - Amelia Sachs, his brilliant protegee. "Suspense thriller fans will enjoy this." "An exciting read, with some very good plot twists late in the game."

Library Journal

Lincoln Rhyme (The Bone Collector) is back in Deaver's outstanding new thriller. Lincoln and his partner, Amelia Sachs, are in North Carolina to visit a hospital where a new experimental surgery technique might allow the paralyzed Lincoln partial use of his body. But something is going on in this town, and the authorities ask for his expertise. Two local girls have been kidnapped, and while the police know the culprit, they have no idea where the kidnapper has taken them. Lincoln is a fish out of water here, and it will take his complete forensic knowledge to find the two girls. As the case progresses, he will be forced to match wits with Amelia, severely testing their relationship. Although the novel takes a little longer than usual to get going compared with Deaver's previous books, when the suspense starts, the pages fly. Deaver does a wonderful job of strengthening the characters of Lincoln and especially Amelia, who is the heart of this novel. While not as good as the other Lincoln Rhyme novels, this is still terrific, and people should be grabbing it off the shelves. [Previewed in Prepub Alert, LJ 1/00.]--Jeff Ayers, Seattle P.L. Copyright 2000 Cahners Business Information.\

School Library Journal

YA-The author combines wonderful examples of the powers of forensic detection along with plenty of bad guys and girls, plot twists, murder, mayhem, and environmental crime. Rhyme, who may be known to those who saw the movie The Bone Collector, based on Deaver's book (Viking, 1997), travels to North Carolina for an experimental surgical treatment with his aid Thom and prot g e/soul-mate Amelia Sachs. Soon after their arrival, the sheriff from a nearby town calls upon him. It happens that he is desperate to locate two kidnapped young women. The kidnapper is believed to be a 16-year-old orphan who is suspected of involvement in three deaths, two through attacks by stinging insects. Through chemical analysis of the dirt from the scene, Rhyme is able to learn much about the kidnapper and his travels. However, there are other sinister signs here-like the absence of children among the town's populace. The book is fast moving with lots of surprises. The story offers an additional inducement to recommend it-that of a candid look at a quadriplegic's life. The foray into environmental poisoning by a profit-driven company is timely, and the surprise ending will leave readers impatient to read the next installment of Rhyme's adventures.-Carol DeAngelo, Kings Park Library, Burke, VA Copyright 2000 Cahners Business Information.

Bill Sheehan

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 abducted two young 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

Bill Sheehan reviews horror, suspense, and science fiction for Cemetery Dance, The New York Review of Science Fiction, and other publications. His book-length critical study of the fiction of Peter Straub, At the Foot of the Story Tree, will be published by Subterranean Press (www.subterraneanpress.com) in the spring of 2000.

Mary Cannon

Deaver's skill as a writer convinces us not only that Rhyme and the odd characters who people his eccentric world exist, but that they also live in such breathtakingly suspenseful times. This one's a winner.
—Alfred Hitchcock's Mystery Magazine

From the Publisher

New York Post Masterful....[Lincoln Rhyme] is the most brilliant and most vulnerable of crime fiction's heroes.

The New York Times Book Review A twisted thriller...[of] scientific smarts and psychological cunning.

The New York Times Book Review A pulse-racing chase.

Product Details

BN ID:	2940170801992
Publisher:	Simon & Schuster
Publication date:	02/21/2012
Series:	Lincoln Rhyme Series , #3
Edition description:	Unabridged

Read an Excerpt

Chapter 1

She came here to lay flowers at the place where the boy died and the girl was kidnapped.

She came here because she was a heavy girl and had a pocked face and not many friends.

She came because she was expected to.

She came because she wanted to.

Ungainly and sweating, twenty-six-year-old Lydia Johansson walked along the dirt shoulder of Route 112, where she'd parked her Honda Accord, then stepped carefully down the hill to the muddy bank where Blackwater Canal met the opaque Paquenoke River.

She came here because she thought it was the right thing to do.

She came even though she was afraid.

It wasn't long after dawn but this August had been the hottest in years in North Carolina and Lydia was already sweating through her nurse's whites by the time she started toward the clearing on the riverbank, surrounded by willows and tupelo gum and broad-leafed bay trees. She easily found the place she was looking for; the yellow police tape was very evident through the haze.

Early morning sounds. Loons, an animal foraging in the thick brush nearby, hot wind through sedge and swamp grass.

Lord, I'm scared, she thought. Flashing back vividly on the most gruesome scenes from the Stephen King and Dean Koontz novels she read late at night with her companion, a pint of Ben & Jerry's.

More noises in the brush. She hesitated, looked around. Then continued on. "Hey," a man's voice said. Very near.

Lydia gasped and spun around. Nearly dropped the flowers. "Jesse, you scared me."

"Sorry." Jesse Corn stood on the other side of a weeping willow, near the clearing that was roped off. Lydia noticed that their eyes were fixed on the same thing: a glistening white outline on the ground where the boy's body'd been found. Surrounding the line indicating Billy's head was a dark stain that, as a nurse, she recognized immediately as old blood.

"So that's where it happened," she whispered.

"It is, yep." Jesse wiped his forehead and rearranged the floppy hook of blond hair. His uniform -- the beige outfit of the Paquenoke County Sheriff's Department -- was wrinkled and dusty. Dark stains of sweat blossomed under his arms. He was thirty and boyishly cute. "How long you been here?" she asked.

"I don't know. Since five maybe."

"I saw another car," she said. "Up the road. Is that Jim?"

"Nope. Ed Schaeffer. He's on the other side of the river." Jesse nodded at the flowers. "Those're pretty."

After a moment Lydia looked down at the daisies in her hand. "Two forty-nine. At Food Lion. Got 'em last night. I knew nothing'd be open this early. Well, Dell's is but they don't sell flowers." She wondered why she was rambling. She looked around again. "No idea where Mary Beth is?"

Jesse shook his head. "Not hide nor hair."

"Him neither, I guess that means."

"Him neither." Jesse looked at his watch. Then out over the dark water, dense reeds and concealing grass, the rotting pier.

Lydia didn't like it that a county deputy, sporting a large pistol, seemed as nervous as she was. Jesse started up the grassy hill to the highway. He paused, glanced at the flowers. "Only two ninety-nine?"

"Forty-nine. Food Lion."

"That's a bargain," the young cop said, squinting toward a thick sea of grass. He turned back to the hill. "I'll be up by the patrol car."

Lydia Johansson walked closer to the crime scene. She pictured Jesus, she pictured angels and she prayed for a few minutes. She prayed for the soul of Billy Stail, which had been released from his bloody body on this very spot just yesterday morning. She prayed that the sorrow visiting Tanner's Corner would soon be over.

She prayed for herself too.

More noise in the brush. Snapping, rustling.

The day was lighter now but the sun didn't do much to brighten up Blackwater Landing. The river was deep here and fringed with messy black willows and thick trunks of cedar and cypress -- some living, some not, and all choked with moss and viny kudzu. To the northeast, not far, was the Great Dismal Swamp, and Lydia Johansson, like every Girl Scout past and present in Paquenoke County, knew all the legends about that place: the Lady of the Lake, the Headless Trainman....But it wasn't those apparitions that bothered her; Blackwater Landing had its own ghost -- the boy who'd kidnapped Mary Beth McConnell.

Lydia opened her purse and lit a cigarette with shaking hands. Felt a bit calmer. She strolled along the shore. Stopped beside a stand of tall grass and cattails, which bent in the scorching breeze.

On top of the hill she heard a car engine start. Jesse wasn't leaving, was he? Lydia looked toward it, alarmed. But she saw the car hadn't moved. Just getting the air-conditioning going, she supposed. When she looked back toward the water she noticed the sedge and cattails and wild rice plants were still bending, waving, rustling.

As if someone was there, moving closer to the yellow tape, staying low to the ground.

But no, no, of course that wasn't the case. It's just the wind, she told herself. And she reverently set the flowers in the crook of a gnarly black willow not far from the eerie outline of the sprawled body, spattered with blood dark as the river water. She began praying once more.

Across the Paquenoke River from the crime scene, Deputy Ed Schaeffer leaned against an oak tree and ignored the early morning mosquitoes fluttering near his arms in his short-sleeved uniform shirt. He shrank down to a crouch and scanned the floor of the woods again for signs of the boy.

He had to steady himself against a branch; he was dizzy from exhaustion. Like most of the deputies in the county sheriff's department he'd been awake for nearly twenty-four hours, searching for Mary Beth McConnell and the boy who'd kidnapped her. But while, one by one, the others had gone home to shower and eat and get a few hours' sleep Ed had stayed with the search. He was the oldest deputy on the force and the biggest (fifty-one years old and two hundred sixty-four pounds of mostly unuseful weight) but fatigue, hunger and stiff joints weren't going to stop him from continuing to look for the girl.

The deputy examined the ground again.

He pushed the transmit button of his radio. "Jesse, it's me. You there?"

"Go ahead."

He whispered, "I got footprints here. They're fresh. An hour old, tops."

"Him, you think?"

"Who else'd it be? This time of morning, this side of the Paquo?"

"You were right, looks like," Jesse Corn said. "I didn't believe it at first but you hit this one on the head."

It had been Ed's theory that the boy would come back here. Not because of the cliché -- about returning to the scene of the crime -- but because Blackwater Landing had always been his stalking ground and whatever kind of trouble he'd gotten himself into over the years he always came back here.

Ed looked around, fear now replacing exhaustion and discomfort as he gazed at the infinite tangle of leaves and branches surrounding him. Jesus, the deputy thought, the boy's here someplace. He said into his radio, "The tracks look to be moving toward you but I can't tell for sure. He was walking mostly on leaves. You keep an eye out. I'm going to see where he was coming from."

Knees creaking, Ed rose to his feet and, as quietly as a big man could, followed the boy's footsteps back in the direction they'd come -- farther into the woods, away from the river.

He followed the boy's trail about a hundred feet and saw it led to an old hunting blind -- a gray shack big enough for three or four hunters. The gun slots were dark and the place seemed to be deserted. Okay, he thought. Okay...He's probably not in there. But still...

Breathing hard, Ed Schaeffer did something he hadn't done in nearly a year and a half: unholstered his weapon. He gripped the revolver in a sweaty hand and started forward, eyes flipping back and forth dizzily between the blind and the ground, deciding where best to step to keep his approach silent.

Did the boy have a gun? he wondered, realizing that he was as exposed as a soldier landing on a bald beachhead. He imagined a rifle barrel appearing fast in one of the slots, aiming down on him. Ed felt an ill flush of panic and he sprinted, in a crouch, the last ten feet to the side of the shack. He pressed against the weathered wood as he caught his breath and listened carefully. He heard nothing inside but the faint buzzing of insects.

Okay, he told himself. Take a look. Fast.

Before his courage broke, Ed rose and looked through a gun slot.

No one.

Then he squinted at the floor. His face broke into a smile at what he saw. "Jesse," he called into his radio excitedly.

"Go ahead."

"I'm at a blind maybe a quarter mile north of the river. I think the kid spent the night here. There's some empty food wrappers and water bottles. A roll of duct tape too. And guess what? I see a map."

"A map?"

"Yeah. Looks to be of the area. Might show us where he's got Mary Beth. What do you think about that?"

But Ed Schaeffer never found out his fellow deputy's reaction to this good piece of police work; the woman's screaming filled the woods and Jesse Corn's radio went silent.

Lydia Johansson stumbled backward and screamed again as the boy leapt from the tall sedge and grabbed her arms with his pinching fingers.

"Oh, Jesus Lord, please don't hurt me!" she begged.

"Shut up," he raged in a whisper, looking around, jerking movements, malice in his eyes. He was tall and skinny, like most sixteen-year-olds in small Carolina towns, and very strong. His skin was red and welty -- from a run-in with poison oak, it looked like -- and he had a sloppy crew cut that looked like he'd done it himself.

"I just brought flowers...that's all! I didn't -- "

"Shhhh," he muttered.

But his long, dirty nails dug into her skin painfully and Lydia gave another scream. Angrily he clamped a hand over her mouth. She felt him press against her body, smelled his sour, unwashed odor.

She twisted her head away. "You're hurting me!" she said in a wail.

"Just shut up!" His voice snapped like ice-coated branches tapping and flecks of spit dotted her face. He shook her furiously as if she were a disobedient dog. One of his sneakers slipped off in the struggle but he paid no attention to the loss and pressed his hand over her mouth again until she stopped fighting.

From the top of the hill Jesse Corn called, "Lydia? Where are you?"

"Shhhhh," the boy warned again, eyes wide and crazy. "You scream and you'll get hurt bad. You understand? Do you understand?" He reached into his pocket and showed her a knife.

She nodded.

He pulled her toward the river.

Oh, not there. Please, no, she thought to her guardian angel. Don't let him take me there.

North of the Paquo...

Lydia glanced back and saw Jesse Corn standing by the roadside 100 yards away, hand shading his eyes from the low sun, surveying the landscape. "Lydia?" he called.

The boy pulled her faster. "Jesus Christ, come on!"

"Hey!" Jesse cried, seeing them at last. He started down the hill.

But they were already at the riverbank, where the boy'd hidden a small skiff under some reeds and grass. He shoved Lydia into the boat and pushed off, rowing hard to the far side of the river. He beached the boat and yanked her out. Then dragged her into the woods.

"Where're we going?" she whispered.

"To see Mary Beth. You're going to be with her."

"Why?" Lydia whispered, sobbing now. "Why me?"

But he said nothing more, just clicked his nails together absently and pulled her after him.

. . .

"Ed," came Jesse Corn's urgent transmission. "Oh, it's a mess. He's got Lydia. I lost him."

"He's what?" Gasping from exertion, Ed Schaeffer stopped. He'd started jogging toward the river when he'd heard the scream.

"Lydia Johansson. He's got her too."

"Shit," muttered the heavy deputy, who cursed about as frequently as he drew his sidearm. "Why'd he do that?"

"He's crazy," Jesse said. "That's why. He's over the river and'll be headed your way."

"Okay." Ed thought for a moment. "He'll probably be coming back here to get the stuff in the blind. I'll hide inside, get him when he comes in. He have a gun?"

"I couldn't see."

Ed sighed. "Okay, well....Get over here as soon as you can. Call Jim too."

"Already did."

Ed released the red transmit button and looked through the brush toward the river. There was no sign of the boy and his new victim. Panting, Ed ran back to the blind and found the door. He kicked it open. It swung inward with a crash and Ed stepped inside fast, crouching in front of the gun slot.

He was so high on fear and excitement, concentrating so hard on what he was going to do when the boy got here, that he didn't at first pay any attention to the two or three little black-and-yellow dots that zipped in front of his face. Or to the tickle that began at his neck and worked down his spine.

But then the tickling became detonations of fiery pain on his shoulders then along his arms and under them. "Oh, God," he cried, gasping, leaping up and staring in shock at the dozens of hornets -- vicious yellow jackets -- clustering on his skin. He brushed at them in a panic and the gesture infuriated the insects even more. They stung his wrist, his palm, his fingertips. He screamed. The pain was worse than any he'd felt -- worse than the broken leg, worse than the time he'd picked up the cast-iron skillet not knowing Jean had left the burner on.

Then the inside of the blind grew dim as the cloud of hornets streamed out of the huge gray nest in the corner -- which had been crushed by the swinging door when he kicked it in. Easily hundreds of the creatures were attacking him. They zipped into his hair, seated themselves on his arms, in his ears, crawled into his shirt and up his pant legs, as if they knew that stinging on cloth was futile and sought his skin. He raced for the door, ripping his shirt off, and saw with horror masses of the glossy crescents clinging to his huge belly and chest. He gave up trying to brush them off and simply ran mindlessly into the woods...

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