Gemini. Mark Burnell
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smacked Alexei in the face. She knew they were both cut. His grip slackened and she wriggled free as he staggered to one side, dazed and bloody. Petra grabbed the inhaler from her breast pocket, pressed the cartridge, felt the second seal rupture and fired the CS gas into his eyes.
Jarni was on his feet now, the gun in his right hand rising towards her. With a stride she was beside him, both hands clamping his right wrist. Unbalanced, he wobbled. She drove his hand down and nudged the trigger finger. The gun fired again, the bullet splitting his left kneecap.
Gasping, Alexei was on his knees, his face buried in his hands, blood dribbling between his fingers. Jarni started to scream. And Mostovoi was exactly where he’d been a few moments before. On the sofa, not moving, the complacency of the voyeur usurped by the paralysis of fear.
There were shouts in the courtyard and footsteps on the stairs. She picked up Jarni’s Bernardelli and aimed at Mostovoi’s eyes.
Resigned to the bullet, he matched her stare.
‘Why?’
As good a last word as any, Petra supposed. She pulled the trigger.
Nothing.
Mostovoi blinked, not comprehending. She tried again. Still nothing. The weapon was jammed. And now the footsteps were at the top of the stairs and approaching the door.
She dropped the gun and took the open window, an action that owed more to reflex than decision. She shattered the fragile wooden shutters and fell. The canopy offered no resistance, folding instantly. Her fall was broken by the bodies and baskets beneath. From above, she heard a door smacking a wall, a rumble of shoes, shouts.
Instantly she was on her feet, accelerating across the courtyard towards the arch. Behind her, shots rang out. Puffs of pulverized brick danced out of the wall to her right. From another door in the courtyard two armed men emerged in pursuit. Then she was in the gloom of the arch, safe from the guns behind, but not from the threat ahead.
Even as her eyes adjusted to the shade she saw the merchant reacting to her, bending down to pick up something from behind a stack of wooden boxes. With her left hand Petra reached for her throat and tugged the cross. The leather cord gave way easily. The merchant was rising, silhouetted against the sunlight flooding the street. Her right hand grasped the bottom of the cross, pulling away the polished mahogany scabbard to reveal a three-inch serrated steel spike.
The merchant raised his revolver. Petra dived, clattering into him before he could fire. They spilled across sacks of paprika and saffron. In clouds of scarlet and gold she aimed for his neck but missed, instead ramming the spike through the soft flesh behind the jawbone up into the tongue. He went into spasm as she grabbed his revolver, clambered over him, spun round and waited for the first of the chasing pair to appear. Four shots later they were both down, and Petra Reuter was on the run again.
The Hotel Sahara was between Rue Zitoune el-Qedim and Rue de Bab Agnaou, the room itself overlooking the street. Petra closed the door behind her. Deep blue wooden shutters excluded most of the daylight. It was cool in the darkness.
There was a small chest of drawers by one wall. Petra opened the top right drawer. She’d already removed the back panel so that it could be pulled clear. She dropped to a crouch, reached inside and found the plastic pouch taped to the underside. The pouch contained an old Walther P38K, an adaptation of the standard P38, the barrel cut to seven centimetres to make it easier to conceal. She placed the gun on top of the chest of drawers.
Her pulse was still speeding and she was soaked – mostly sweat, some blood – the dust and dirt of the Mellah caking her skin.
There was a loud bang. She reached for the Walther. The bang was followed by the drone of an engine. A moped, its feeble diesel spluttering beneath her window. A backfire, not a shot, prompting a half-hearted smile.
Across town they would be waiting for her at the Hotel Mirage; Maria Gilardini’s clothes were still in her room, her toothbrush by the sink, her air ticket wedged between the pages of a paperback on the bedside table.
Petra opened the shutters a little, dust motes floating in the slice of sunlight. In the corner of the room was a rucksack secured by a padlock. She opened it, rummaged through the contents for the first-aid wallet, which she unfolded on the bed. Then she stripped to her underwear and examined herself in the mirror over the basin. Her ribs were beginning to bruise. Among the grazes were cuts containing splinters of glass.
Mostovoi had known there was no deal; not at first – he’d agreed to meet her, after all – but eventually. The more she considered it, the more convinced of it she became. He hadn’t asked enough questions about Klim to be so sure of his doubt. The fact that he’d allowed himself to be met proved that he was interested – with so much money at stake, that was inevitable – and yet he’d known. Or suspected, at least.
She used tweezers to extract the shards of glass, then dressed the worst cuts. Next she took the scissors to her hair, losing six inches to the shoulder. Not a new look, just an alteration. She put in a pair of blue contact lenses to match those in the photograph of the passport: Mary Reid, visiting from London, born in Leeds, aged twenty-seven, aromatherapist. Rather than Petra Reuter, visiting from anywhere in the world, born in Hamburg, aged thirty-five, assassin.
The hair and the contacts were useful, but Petra knew there were more significant factors in changing an identity; deportment and dress. When Mary Reid moved, she shuffled. When she sat, she slouched. The way she carried herself would allow her to vanish in a crowd. So would the clothes she wore, and since Mary Reid was on holiday they were appropriate: creased cream linen three-quarter-length trousers, leather sandals from a local market, a faded lilac T-shirt from Phuket, a triple string of coral beads around her throat.
She abandoned the rucksack and the Walther P38K, taking only a small knapsack with a few things: some crumpled clothes, a wash-bag, a battered Walkman, four CDs, a Kodak disposable camera and a book. Even though her room was pre-paid, she told no one she was leaving. She caught a bus to the airport and a Royal Air Maroc flight to Paris. At Charles de Gaulle she checked in for a British Airways connection and then made a call to a London number.
Flight BA329 from Paris touched down a few minutes early at ten to ten. By ten past, having only hand-luggage, she was clear of Customs. The courier met her in the Arrivals hall. He was pushing a trolley with a large leather holdall on it. She placed the knapsack next to the holdall and they headed for the exit.
‘Good flight?’
‘Fine.’
‘Debriefing tomorrow morning. Eleven.’
At the exit Petra picked up the leather holdall and the man disappeared through the doors with her knapsack. She turned back and made for the Underground. As the train rattled towards west London she opened the holdall. Her mobile phone was in a side pocket. She switched it on and made a call. When she got no answer she tried another number.
She knew it was unprofessional, but she didn’t care. She was tired, she was hurt, what she needed was rest. But what she wanted was something to take away the bitter taste.
After the call she went through the holdall: dirty clothes rolled into a ball – her dirty clothes – and another wash-bag, again hers. In another side pocket she found credit cards, her passport and some cash: a mixture of euros, sterling and a few thousand Uzbek sum. There was a Visa card receipt for the Hotel Tashkent and an Uzbekistan Airways ticket stub: Amsterdam-Tashkent-Amsterdam. In the main section of the holdall there was a plastic bag from Amsterdam’s Schiphol Airport, a bottle of Veuve Cliquot inside, complete with euro receipt.
Much as it hurt her to admit it, she admired their craft. If nothing else, they were thorough.
At the bottom of the bag was a digital voice recorder with twenty-one used files in two folders. Also a Tamrac camera bag containing six used rolls of Centuria Super Konica film, a Nikon F80, a Sekonic light meter, three lenses and a digital Canon. She knew what was on the Canon and the rolls of film: details from the Fergana valley, home to an extremist Uzbek Islamic militia.
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