Page 23 of The Eagle (Spy Girl 2)
"Help her and try to search her house for clues, Ari. I'll go after the assassin."
Ari drops his newspaper and rushes into the street. Clarice has been mortally wounded and is quickly bleeding out.
"Your sister was killed because of her plan for Montrovia. Don't let them get away with killing you, too. What do you know?"
"Money," Clarice whisp
ers. "Ophelia money."
He knows police procedure says he shouldn't move her, but he does anyway, pulling her out of the street and into the doorway she came out of.
Ari knows Clarice is dying, but he takes his jacket off and holds it against the wounds on her chest, trying to stop the bleeding. There's nothing he can do. He's studied what happens when you get shot in the chest. From front to back, the bullet obliterates all the tissue near it. Even if the heart weren't struck directly, it would have ruptured, leading to catastrophic hemorrhaging. In military school, he watched videos of men dying in battle and although tragic, it's honorable. This is not an honorable death.
He cradles her head in his lap. "It will be okay," he lies, as her reflexive breathing efforts continue. She's not only bleeding from her wounds but also from her nose and mouth. She coughs, gurgles, and tries to get oxygen from her pierced lungs.
Her breathing slows, and her eyes become fixed upon him as her fight is over.
He checks her pulse, confirms her death, and closes her eyes. Then he slides gloves over his hands and does a quick search of her house, looking for any possible clues.
"Watch for the police," Ari says out loud, knowing Terrance can hear him. "And tell me if you see anything I miss."
In the first bedroom, which he assumes is Clarice's based on the pink and purple paisley wallpaper, lace bedspread, and hippie looking clothing tossed about, he finds a notebook with a ribbon tied around it full of clippings. He doesn't have time to go through it, just stuffs it in his backpack. He finds a laptop on the desk, turns it on, inserts a flash drive, and copies its contents, hoping any monetary transactions would be in its files. Could her sister have been paid to take over Montrovia? Had someone already given her payment for the Strait and wants it back?
He leaves Clarice's room and searches the kitchen, finding a stack of cash in the freezer and taking it. Maybe this is the money she was referring to. They can trace the cash and have it analyzed for fingerprints. Finding nothing else of interest, he moves to the living room. The model of the envisioned Montrovia is not there, just a photo of Clarice and Ophelia, the two girls arm in arm.
He goes across the hall and finds a closed door. Cautiously opening it, he discovers Ophelia's room.
It is the complete opposite of her sister's.
Pale grey walls, pristine white bedding. Everything neat and orderly.
There are a few photos of her and Viktor together. Viktor has money, he thinks.
He checks his watch. He's been searching the house for two minutes. Although he managed to get Clarice out of the street quickly, someone will have called the police.
He needs to call them too.
He takes out his phone, makes a frantic call, and knows he doesn't have much time left.
He wonders why Black X didn't have them continue their mission. Why didn't they investigate Ophelia and Clarice? Was there more to it? Did they believe killing Lorenzo was simply fueled by her hatred for her father? That's it, her father, his death started it all. Who killed him and why? Or did they believe it stopped with her? Is Lorenzo still in danger? If there is a bigger plot, he most definitely could be.
He looks under the bed, under the mattress, and through the organized bookshelves. No books on money, mostly French history, poetry, and art. Notably not a single book about anything Montrovian.
The sounds of sirens are getting closer. He checks the bookcase and the desk for hidden panels, and then moves to the closet. It is almost completely bare, not even a stray hanger. All that is there is a shoebox sitting on a shelf. He flips the lid, hoping to find something, but instead he finds it empty.
Which is odd. Why would it be here?
Afraid it could be important, he shoves it in his backpack, then returns to the computer and pulls out the flash drive.
He runs back to the entry where Clarice's body still lies--blood pooling under her. He digs in her jacket for her phone, finding it and scrolling through the recent call list.
"Are you getting all this?" he asks Terrance, holding the phone up so the camera can record this for later.
Then he sees that she has messages from her boyfriend, urging her to see him. Sixteen of them actually, since the death of her sister.
"Bring the phone with you," Terrance instructs. "The police are close."
Ari rushes out of the home, noting the siren does sound much closer. He quickly throws his backpack in the car and then rushes back to the dead body.
"You can't be calm when the police arrive," Terrance yells in his ear, but he knows this and is already mentally working himself up.
When the police arrive, they are greeted with the sorrowful scene of a handsome man cradling a beautiful girl's lifeless body, smoothing her hair, and telling her repeatedly that help is coming and to just hang on.
The man is obviously in shock.
And the girl is quite dead.
They question the man, and upon discovering that the woman is former royalty and a friend of his, they take down Ari Von Allister's passport number, pat him on the back in condolence, drive him to a hotel, and request he stay in town overnight.
I see the muzzle flash from the corner of my eye and quickly determine which building it came from--four stories over a restaurant.
But if the assassin is as good as they say, I know he will simply walk out the front door. The restaurant will remember a business man with a briefcase who had brunch, tipped well, but spent a few moments longer than he should have in the public loo, probably indigestion from his busy life. Or he could have been carrying a shopping bag, pretending to be a tourist. He'd have a map and a guidebook of walking tours through Paris. He'd tell the story of how he got off the trail and stumbled upon the quaint restaurant, which is clearly a hidden gem.
In a perfect operation, I would send Ari to the back, just as a precaution, but I'm on my own now. Therefore, I'll have to go with my gut.
I'm going through the motions of putting my helmet on and sliding my leg around the motorbike when I spot him.
Businessman, shiny briefcase a bit larger than normal--possibly a sniper's case. The man stops and looks down the street. Seeing Ari pull a bleeding Clarice out of the street doesn't give him pause.
And I know for sure I have my man. Anyone else would be startled by the scene. He's not, because it's exactly what he expected to see.
I look downward as I start the bike, knowing the noise will cause the assassin to glance in my direction. Once it's running, I pull my phone out, pretending to call someone, as the assassin stops a taxi and gets in.
I recite the license plate for Terrance, in case my looking down caused him to miss it.
Then I take off in the opposite direction of the taxi. It's important the assassin doesn't think he's being followed.
"Don't you lose that cab, Terrance," I say.
"Don't worry. I've got it."
Above the cab is the surveillance drone, one that probably has the Von Allister stamp on it. The drone is virtually soundless, and if the assassin did happen to look up, he'd think it was a bird. It was smart we sent the drone up earlier.
"Turn left now," Terrance says. "You'll be on the street parallel to the taxi. It looks like he's headed for the train station." He gives me further directions then I park the bike and go into the station.
"Where is he?" I ask.
"I can't take the drone inside, so we're having to rely on the station's security cameras. Give us a minute."
"We don't have a minute," I say as I purchase a ticket then move to the center of the station where I spot the assassin among a group of people staring up at the arrival boards.
"I've got him," I say softly. "I'm going silent."
The assassin, along with others who are all carrying suitcases, make their way to the airport express train.
Following an assassin by myself is going to be tricky, even with a backpack full of disguises.
Right now, I'm goth girl--tatted sleeves that are really just flesh-colored hos
iery with tattoos printed on them, but which look like the real thing. I have numerous fake piercings. My contact-lens-green eyes are heavily made up, but the eyeliner and heavy shadow is a sticker, expertly placed but easily removed. I choose the seat directly across from the assassin and slip my tongue out, revealing a fake piercing that is painfully clamped into place.
My gesture has the desired effect. The assassin gives me a smirk.
Truth, the assassin is quite handsome. Dark hair, stubble on his cheeks, and the kind of olive skin that both tans beautifully and makes it difficult to determine his ethnicity, but his eyes are dark and calculating in a way that defies the easy-going smirk.
Although his face is far different than I remember--most likely the work of a skilled plastic surgeon--his eyes are the same, even though he's attempting to hide them behind glasses with a heavy frame.
I could take him out right now. All I'd have to do is slip my hand inside the backpack and pull out the gun.
Bang.
My retribution would be complete.
But it wouldn't be very satisfying.
And I wouldn't properly complete my mission. I need to get him somewhere alone so that I can interrogate him before I kill him.
I take earbuds out of my backpack and put them in, cuing up a playlist of death metal and playing it so loudly I'm sure that he can hear it. I'm also worried my ears may start bleeding.
When he looks out the window, I bend down to retie my combat boot and stick a teeny piece of film onto his briefcase. Most assassins would ditch the gun right away. The fact that he didn't either shows stupidity or extreme confidence, and I'm betting it's the latter. On the other hand, it could just be a prop.
As we come to a stop at the airport, he picks up his briefcase and stands. I blow him a kiss then grab my backpack off the floor and depart, as well. While he heads toward ticketing, I follow the route that employees of the airport take.
"I put a tracker on his bag," I say to Terrance. "Figure out where he's going. I need to change." I step into a restroom, go into a stall, and strip off the leather jacket, hanging it and the backpack on the hook.
I change into a microfiber business suit, pull off the eye makeup stickers, and quickly twist my hair into a severe bun. Then I stuff what's left in the backpack into a French designer tote, minus the gun and the disguise--dropping them into a trash receptacle on the way out. When I emerge from the restroom, I look completely different.
