"You want me to tip the gaff, huh?"

"Tip the—?"

"Gaff," Kara said, then explained: "See, all magic tricks're made up of an effect and a method. The effect is what the audience sees. You know: the girl levitating, the coins falling through a solid tabletop. The method is the mechanism of how the magician does it—wires holding up the girl, palming the coins then dropping identical ones from a rig under the table."

Effect and method, Rhyme reflected. Kind of like what I do: the effect is catching a perp when it seems impossible. The method is the science and logic that let us do it.

Kara continued, "Tipping the gaff means giving away the method of a trick. Like I just did—explaining how the Vanished Man worked. It's a sensitive thing—Mr. Balzac, my mentor, he's always hounding magicians who tip the gaff in public and give away other people's methods."

Thom carted a tray into the room. He poured coffee for those who wanted some.

Kara dumped sugar into hers and sipped it fast, even though to Rhyme it seemed scalding-hot. He glanced at the Macallan eighteen-year-old single malt on a bookcase across the room. Thom noticed his eyes and said, "It's mid-morning. Don't even think about it."

Sellitto gave a similarly lustful gaze toward the bagels. He allowed himself only half. Without cream cheese. He looked pained with every bite.

They went over each item of evidence with Kara, who studied it carefully and delivered the discouraging news that there were hundreds of sources for most of the items. The rope was a color-changing rope trick, sold in F.A.O. Schwarz as well as magic stores throughout the country. The knot was one Houdini used in his routines when he planned to cut the cord to escape; it was virtually impossible for a bound performer to untie.

"Even without the cuffs," Kara said softly, "that girl never had a chance of getting away."

"Is that rare? The knot?"

She explained that, no, anyone with a basic knowledge of Houdini's routines would know it. The castor oil in the makeup, Kara continued, meant that he was using very realistic and durable theatrical cosmetics, and the latex was, as Rhyme had suspected, probably from the fake finger cups, which were also popular magician's tools. The alginate, Kara suggested, wouldn't be from dental work but was used to make molds for latex casting, probably for the finger cups or the bald cap he'd worn in his janitor disguise. The disappearing ink was more of a novelty, though some illusionists occasionally used it in their shows.

Only a few things were unique, she explained: the circuit board (which was a "gimmick," she said, a prop the audience can't see), for instance. But he'd made that himself. The Darby handcuffs were rare. Rhyme ordered someone to check out the escapology museum in New Orleans that Kara had mentioned. Sachs suggested they take the responding officers, Franciscovich and Ausonio, up on their offer to help. This was the sort of assignment that'd be perfect for a couple of eager young officers. Rhyme agreed and Sellitto arranged it through the head of the Patrol Services Division.