. From quick-change janitor's
outfit.
. Unsub is possibly wearing brown wig.
. Red pignut hickory and Parmelia conspersa lichen, both found primarily in Central Park.
. Dirt impregnated with unusual mineral oil. Sent to FBI for analysis.
. Black silk, 72 x 48". Used as camouflage. Not traceable.
. Illusionists use this
frequently.
. Wears caps to cover up prints.. Magician's finger cups.
. Traces of latex, castor oil, makeup.
. Theatrical makeup.
. Traces of alginate.. Used in molding latex
"appliances."
. Murder weapon: white silk-knit rope with black silk core.
. Rope is a magic trick. Color
changing. Not traceable.
. Unusual knot.. Sent to FBI and Maritime
Museum-no information.
. Knots are from Houdini
routines, virtually
impossible to untie.
. Used disappearing ink on signin register.
East Village Crime Scene
. Victim Two: Tony Calvert.. Makeup artist, theater
company.
. No known enemies.
. No apparent connection
with first victim.. No apparent motive.. Cause of death:. Blunt-object trauma to head followed by postmortem dismemberment with crosscut saw.
. Perp escaped portraying woman in her 70S. Checking vicinity for discarded costume and other evidence.
. Nothing recovered.
. Watch smashed at 12:00 exactly.
. Pattern? Next victim
presumably at 4:00 P.M.
. Perp hid behind mirror. Not
traceable. Fingerprints sent to
FBI.
. No matches.
. Used cat toy ("feke") to lure
victim into alley. Toy is
untraceable.
. Additional mineral oil found,
same as at first scene.
Awaiting FBI report.
. Additional latex and makeup from finger cups.
. Additional alginate.
. Ecco shoes left behind.
. Dog hairs found in shoes, from three different breeds of dog. Manure too.
ProfIle as illusionist
. Perp will use misdirection against victims and in eluding police.
. Physical misdirection (for distraction).
. Psychological (to eliminate suspicion).
. Escape at music school was
similar to Vanished Man illusion routine. Too common to trace.
. Perp is primarily an illusionist.. Talented at sleight of hand.
. Also knows protean (quick change) magic. Will use breakaway clothes, nylon and silk, bald cap, finger cups and other latex appliances. Could be any age, gender or race.. Calvert's death - Selbit's Cutting a Woman in Half routine.
. Proficient at lock picking (possibly lock "scrubbing").
Chapter Thirteen
In 1900 Manhattan's horse population was over 100,000 and, space being at a premium on the island even in those days, many animals were housed in high-rises-at least that's what their second- and third-story quarters would have been considered at the time.
One such elevated stable can still be found in the borough, the wellknown Hammerstead Riding Academy on the Upper West Side. Still in its original structure, built in 1885, the academy features hundreds of stalls above the ground-level arena, which is the site for both private riding lessons and shows. A large, busy stable like this seems an anomaly in a city like Manhattan in the twenty-first century until you consider that Central Park's six miles of well-tended bridle paths are only a few blocks away.
Ninety horses reside in the academy, some privately owned and some for rent, and one of these latter variety was now being led down a steep ramp from his stall by a groom, a redheaded teenage girl, to a waiting rider. Cheryl Marston felt the same thrill she did every Saturday at this time of day when she saw the tall, feisty horse with the mottled rump of an Appaloosa.
"Hey, Donny Boy," she called, her pet name for the animal, whose real name was Don Juan di Middleburg. A ladies' man, she often said. A joke but true enough: under a male rider the animal would shy and whinny and resist from the git-go. But with Marston he was putty.
"See you in an hour," she told the groom, swinging up onto Donny Boy, gripping the supple reins, feeling his astonishing muscles beneath her.
A touch to the ribs and they were on their way. Out onto Eighty-sixth Street, moving east slowly toward Central Park, the shod feet clopping loudly on the asphalt, drawing everyone's attention, as they examined both the gorgeous animal and, high atop him, the thin-faced, serious woman dressed in jodhpurs, a red jacket and black velvet helmet, out of which dangled a long blonde French braid.
Crossing into Central Park itself, Marston glanced south and saw in the distance the office building in Midtown where she spent fifty hours a week practicing corporate law. There were a thousand thoughts that might have overwhelmed her now about the job, projects that were "front-burnered," as one of her partners said with irritating frequency. But none of these thoughts intruded at the moment. Nothing could. She was invulnerable to everything when she sat here, on one of God's most magnificent creations, feeling the sun-warmed, loam-scented air on her face as Donny Boy trotted along the dark path, surrounded by early jonquils and forsythia and lilacs.
The first beautiful day this spring.
For a half hour she circled the reservoir slowly, lost in the rapture of that
unique connection between two different, complementary animals, each powerful and smart in its own way. She enjoyed a brief canter and then slowed to post in a trot as they came to the sharper turns in the deserted northern part of the park, near Harlem.
Completely at peace. Until the worst happened.
She wasn't sure exactly how it occurred. She'd slowed to make the turn through a narrow gap between two stands of bushes when a pigeon flew directly into Donny Boy's face. Whinnying, he skidded to a stop so fast that Marston was nearly thrown off. Then he reared and she almost went backward over his rump.
She grabbed his mane and the front edge of the saddle to keep from falling eight feet to the rocky ground. 'Whoa, Donny," she cried, trying to pat his neck. "Donny Boy-it's all right. Whoa!"
Still, he kept rearing, crazed. Had the collision with the bird hurt his
eyes? Her concern for the horse, though, was mixed with her own fear. Sharp rocks jutted from the ground on either side of them. If Donny Boy kept rearing he could lose his balance on the uneven ground and go down
hard-possibly with her under him. Nearly all of the serious injuries among her fellow riders weren't from tumbling off a horse but were from being caught between the animal and the ground when it fell.
"Donny!" she called breathlessly. But he reared again and held the posi
tion, dancing in panic on his hind legs and edging toward the rocks.
"Jesus," Marston gasped. "No, no..."
She knew then she was going to lose him. His feet were clattering on the stones and she felt the huge muscles quivering in his own panic as he sensed his balance go. He whinnied loudly. Knowing she'd crush her leg in a dozen places. Maybe her chest too. Almost tasting the pain. Feeling his pain too.
"Dh, Donny..."
Then, from nowhere, a man in a jogging suit stepped from the bushes.
Wide-eyed, he looked at the horse. He jumped forward, grabbing bit and bridle.
"No, get back!" Marston shouted. "He's out of control!"
He'd get kicked in the head!
"Get out of the..."
But... what was happening?
The man was looking not at her but directly into the brown eyes of the
horse. Speaking words she couldn't hear. Miraculously the Appaloosa was calming. The rearing stopped. Donny Boy dropped forward onto all four hooves. He was fidgety and he still trembled-just like her own heart-but the worst seemed to be over. The man pulled the horse's head down, close to his and he said a few more words.
Finally he stepped back, gave the horse an approving once-over and
then glanced up at her. "Are you all right?" he asked. "1 think so." Marston inhaled deeply, touching her chest. "1 just... It
was all so fast."
"What happened?"
"A bird spooked him. Flew into his face. It might've hit him in the eyes." A close examination. "Looks okay to me. You might want to have a vet look at him. But 1 don't see any cuts."
'What'd you do?" she asked. "Are you... ?"
"A horse whisperer?" he replied, laughing, glancing away from her shyly.
He seemed more comfortable looking into the horse's eyes. "Not hardly. But 1 ride a lot. 1 have this calming effect, 1 guess."
"I thought he was going down,"
He gave her a tentative smile. 'Wish 1 could think of something to say that'd calm you down." 'What's good for my horse is good for me. 1 don't know how to thank
you." Another rider approached and the bearded man led Donny Boy off the
path to let the chestnut by.
He was examining the horse closely. 'What's his name?"
"Don Juan."
"You rent from Hammerstead? Or is he yours?"
"Hammerstead. But 1 feel like he's mine. 1 ride him every week"
"I rent there too sometimes. What a beautiful animal."
Calm now, Marston examined him more closely. He was a handsome man in his early fifties. He had a trim beard and thick eyebrows that met above the bridge of his nose. On his neck-and chest too-she could see what looked like bad scarring and his left hand was deformed. Though none of that mattered to her, considering his most important trait: he liked horses. Cheryl Marston, divorced for the last four of her thirty-eight years, realized that they were both sizing each other up.
He gave a faint laugh and looked away. "I was..." His voice faded and
he filled the silence by patting Donny Boy's rippled shoulder.
Marston lifted an eyebrow. 'What's that?" she encouraged.
'Well, since you're about to ride off into the sunset and 1 may never see
you again.. ," He tromped on the shyness and continued boldly, "I was just wondering if it'd be out of line to ask if you want to get some coffee," "Not out of line at all," she responded, pleased by his straightforward attitude. But she added, to let him know something about her, 'Tm going to finish my hour. I've got about twenty minutes left.... Got to get back up on the horse, so to speak How's that fit with your schedule?"
"Twenty minutes is perfect. I'll meet you at the stable."
"Good," Cheryl said. "Oh, 1 never asked: You ride English or Western?" "Bareback mostly. 1 used to be a pro."
"Really? Where?"
"Believe it or not," he answered shyly, "I rode in the circus."
Chapter Fourteen
A faint ding resounded from Cooper's computer, indicating he'd received an email.
"A note from our friends on Ninth and Pennsylvania." He proceeded to decrypt the message from the FBI lab and a moment later he said, "The results from the oil. It's commercially available. Brand name Tack-Pure. Used to condition saddles, reins, leather feeding bags, equestrian-related products."
Horses...
Rhyme spun his Storm Arrow around and looked at the evidence board. "No, no, no..."
'What's the matter?" Sachs asked. "The manure on the Conjurer's shoes." 'What about it?"
"It's not from dogs. It's from horses! Look at the vegetation. What the hell was I thinking of? Dogs're carnivores. They don't eat grass and hay.... All right, let's think. The dirt and the mold and the other evidence placed him in Central Park. And the hairs... You know that area, the dog knoll? That's in the park too."
"It's right across the street," Sellitto pointed out. 'Where everybody
walks their dogs." "Kara," he snapped, "does the Cirque Fantastique have horses?"
"No," she said. "No animal acts at all."
"Okay, that lets the circus out.... What else could he be up to? The dog
