Tommy Carmellini 02 - The Traitor (20 page)

"Yep. Imagine my surprise at seeing you. I guess it's truly a small world, after all."

She moved away from the car and the chauffeur closed the door. She nodded at him; he got back behind the wheel and drove away.

As he did so, I looked around at the building we were standing in front of and said, "You live here? Cool neighborhood."

She was looking me over, apparently trying to figure out what I wanted.

"It's nice seeing you again," I said. "May I call you sometime? Perhaps take you out for a drink?"

"No." She bit her lip and glanced toward the park. "What are you doing in Paris, Tommy Carmellini?"

"My name is—"

"You left fingerprints. You're Tommy Carmellini, an officer in the CIA. What are you doing in Paris?"

"Standing on a Paris sidewalk in front of God and everybody chatting up a beautiful woman. And you?"

She grabbed my arm. "Come inside for a moment."

I went willingly.

"What should I do?" Callie Grafton asked her husband. She was standing in Heger's office talking to Jake on her cell phone. She had told him everything, including the fact that Heger died without saying a word.

"Does he have a telephone on his desk?" Yes.

"Call the police. Wait for them. You've left fingerprints, so we don't want to send them off on a wild goose chase or get you in trou-

ble. Don't tell them about Qasim. Tell them you met the professor yesterday and wanted to talk with him again."

"Okay."

"Are you all right?" Jake asked, although he knew the answer.

"Yes," she said.

"Call me later. I love you."

"I love you, too, Jake," she replied, and closed the telephone.

She and her husband made a point of saying "I love you" at the end of every telephone conversation. Life is short, random chance happens to us all—she glanced again at Professor Heger's body— and there is evil.

Evil exists. Filthy, obscene, virulent, evil is out there, ready to sear us all.

I love you, ]ake,
she whispered again, and picked up the telephone on Heger's desk.

Marisa Petrou unlocked the street door of her apartment building on the Place des Vosges. The door opened into a stairwell. There was no elevator, so we had to hike up two flights. She used a key on the only door on the third floor.

"Wow," I said when I was inside. The rooms were spacious, with ten-foot ceilings. The joint certainly didn't look like this in the Renaissance when the maids were emptying chamber pots out the windows. Someone, I assumed Henri Rodet, had spent serious euros remodeling and improving. Huge, original oil paintings hung on the walls, the ornate baseboards and moldings were gilded, thick drapes framed each window and antique chairs that looked as if they had welcomed Napoleon's bottom were scattered here and there. Modern sculptures sat in corners, illuminated by tiny spotlights. The place reminded me of a museum. It was something to see, if you like that sort of thing. I didn't particularly care for it, but I made polite noises.

Marisa marched through the place, checking every room, as I trailed along behind. She found the maid in the kitchen and asked

her to run an errand, a trip to the market. She gave the maid money and sent her off.

Then we were alone.

She zeroed in on me. "What are you doing in Paris?" she asked again.

"Huh-uh. You first."

"I live here."

"In this place?" I looked around. "Nice work if you can get it."

Her mouth formed a straight line. Just then the telephone rang. She reached for it. I headed for the living room. From the window I could see the guard in the park. He was on his cell phone—probably checking with Marisa.

I could just hear the murmur of her voice. I was staring at a modern painting, trying to figure out what it was, when she came into the room.

She sat on the couch. "Sit, Tommy Carmellini." She patted the seat. I sat down beside her and left a few inches between us. "Let's start with the easy questions first. Why did you make a play for me in Washington?"

My eyes widened. "I seem to recall that you picked me up, not vice versa."

"So you knocked me out, had sex with me, then left me in a drugged stupor."

"If that's a question, I'm not going to dignify it with an answer."

She looked around the room, thinking.

"You could answer a question for me, you know."

"I'll be as honest with you as you were with me," she said.

"You had my fingerprints checked by someone, so you're not just the socialite daughter of a diplomat. Do you work for French intelli-gencer

She kept her gaze on my eyes and didn't reply. The thought occurred to me that she was a knockout. Oh, well—that's the way my luck goes.

"If I show up for a visit with Henri Rodet and tell him my name is Terry Shannon, are you going to rat me out?"

"Rat...?"

"Spill the beans. Tell him I'm not Terry Shannon."

"I don't know you."

"That's the spirit. I saw character in your face the first time I laid eyes on you."

Now it was her turn. "Are you going to tell Monsieur Rodet that we've met before?"

"A grand jury couldn't drag it out of me."

"Grand jury . . . ?"

"That's a political joke. I won't tell if you won't."

The phone rang again. Marisa made a face and went to answer it in the kitchen.

I was standing, closely inspecting a two-foot-high sculpture of a voluptuous, armless nude, when she returned.

"I am curious," I said. "There is a man sitting in the park that I would like to point out to you. I wonder if you know him."

She followed me reluctantly. "There's a DGSE man in the park. He saw you come in. I told him we had a mutual acquaintance."

"Who?"

"I didn't name her."

"Okay."

The older man wearing sunglasses was still sitting in the same place. I pointed him out to Marisa. "Do you know him?"

She took a good look, perhaps fifteen seconds' worth. That pause convinced me she was a professional; if she ever saw him again, she would remember. "No," she said.

She led me to the door and opened it. "Good-bye, Tommy."

"Terry." I didn't want to leave. "So how is your father?" I asked.

A look of surprise crossed her face, then disappeared. "He died," she said.

"Oh. Sorry to hear it. He looked pretty healthy when I saw him."

"An automobile accident, in the Alps. Two months ago. A truck on the wrong side of the road." 1 m sorry.

"Yes. Good-bye, Terry." She gently touched my elbow.

Hell, I can take a hint. I motored off and she closed the door behind me.

I had a lot to think about as I descended the stairs. I ignored the men in the park. Didn't look for or at them. I walked down the block and went through the arch under the buildings, which took me out of the square.

I called Rich on my cell as I walked. "Hey, it's me."

"Hey."

"Where is the watcher who was in the park?"

"He's still there."

"How many telephone calls did he make?" One.

"There's another one, an older guy in sunglasses, ratty pants and a sweater, Semitic features. Get a shot of him and ask Washington to come up with some ID, if they can."

"I see him," Rich said.

"I'm going home. Turn on the equipment, see what you can get out of those bugs. Make sure they work, then turn them off."

"What rooms did you put them in?"

"Living room, hallway and kitchen."

"Nice job," he said, and hung up.

I stretched my legs and marched.

I really didn't care if Marisa told her guy Henri that I was Tommy Carmellini—I just threw that in to see what she would say. Was she DGSE? If she already knew that the DGSE knew one CIA type named Carmellini was in town, she hid it well. She had seemed genuinely surprised to see me—and not pleasantly surprised.

If she wasn't a DGSE officer, then whom was she working for?

V

Jake Grafton leaned over Sarah Houston's shoulder so that he could see her computer screen and asked, "What do you have?"

"They used the computer at the chateau this morning after the power came back on."

"And ..."

"I'm still sorting through what I have."

Grafton dropped into the folding chair beside Houston's small desk. "I want everything you can get off that hard drive, and the hard drive at his apartment in town."

Sarah Houston eyed him without warmth. "I know you don't believe in telling anyone anything, but until you tell me what I'm looking for, you can classify my efforts as recreational digging."

Grafton seemed to accept that with good grace. With him you never knew, Houston thought. The truth was he intimidated her a little, although she would never admit it.

"I've told you what I'm after. I want to know how Rodet and his spy communicate. And, obviously, what they say to each other."

Houston played with her keys a bit before she answered. "If you don't know how they communicate or what they say to one another, how do you know there really is a spy?"

"I don't," Grafton said with a smile. "All I have is a theory. Prove me wrong, if you can." He picked up Carmellini's file on Rodet's chateau and opened it.

"They may not use e-mail. Or if they do, they may use a public computer, such as one in a library or Starbucks, something like that."

"The agent might, but I can't see the director of the DGSE pounding a keyboard at a library."

"Why shouldn't the agent use a dead drop?" "Too risky. This person is in a murderous conspiracy, surrounded by religious fanatics who are convinced that they are warriors of

God, fighting God's battles. The least suspicion would cost him his life. So he doesn't go for walks alone, doesn't visit post offices, doesn't mail letters to foreign cities . .. none of that."

"A mailman?" This was a person who carried messages between the spy and his controller.

"Same objection."

"You have me searching for a needle in a haystack," Sarah Houston groused, "one that might not even be there."

"That kind is the hardest to find," Grafton admitted.

She frowned at her boss. He didn't seem to notice. He dug into the file, held up each satellite photo and examined it closely.

Jake Grafton looked amused as he listened to me tell of my success in getting bugs into Rodet's Paris flat. When I ran out of air he sat in silence looking around with unfocused eyes, lost in thought. There in the SCIF the only sounds were the hum of the air-conditioning and faintly, almost too faint to discern, the sound of background music. The speakers for the Musak were inside the walls, floors and ceilings, to foil listening devices.

Finally he looked at me and blinked, almost as if seeing me for the first time. "That was a bold stroke," he said, "and regardless of what she does or whom she tells—in the French government—I can't see how we're compromised."

"In the French government?"

"She could be MI-6, BND, Russian, Polish, Italian, Israeli—even an agent of a terrorist cell."

"Okay, okay. Maybe I should have talked it over with you first."

Grafton sighed. "Perhaps. Perhaps not. You used your best judgment and acted on the information you had, which is the only way we're going to get through this." He smiled at me. "I spent my adult life in an outfit that operates that way and it's probably too late for me to change now. However it works out is how it works out."

"How do we know that she's anyone's agent? I thought that her father was the spy who—"

Grafton made a face. "Really, Tommy!"

I tried to explain. "Rodet thinks she's just a hot French tootsie. Maybe he's right."

Grafton rolled his eyes. "She's a beautiful, young, wealthy daughter of the establishment who is driven wild by the prospect of jumping in bed with a rich, powerful man old enough to be her father? Do you believe that?"

"No, but I know a few men who—"

"I doubt if Rodet believes it either," Grafton said. He picked up the photos we had taken of Rodet's apartment and began looking at them, one by one.

After a bit he put his feet up on the desk, leaned back and looked at each photo again. He must have looked at each of them three times when he handed the stack to me. "What kind of television does Rodet have?" he asked. He picked up the cell phone lying on the desk and fingered it.

"You mean what brand ?"

"Brand, size?"

"I don't remember the brand. The one I saw at the apartment wasn't large. It was just a normal television. Floor thing, in a cabinet, kind of old-fashioned. Why?"

Grafton passed me a photo. "He has a satellite dish on the roof of the house. I would have thought he'd have a big Japanese flat screen, maybe a home movie studio, something like that."