mirror.
The man was standing behind the screen. She could see his face above it, and in the second of calm recognition before terror she realized it was a perfect killer’s face: devoid of emotion, pale, and quite unremarkable. It was the kind of face that blends easily into crowds, and you do not remember a moment after seeing.
She opened her mouth to call for Michael.
3
There was a polite cough, and a peacock’s eye winked fire. The bullet hit Margritta in the back of the skull, precisely where the assassin had aimed. Her blood, bone, and brains splattered onto the glass, and her head thunked down amid the vials of beauty.
He came out, snake-quick, dressed in tight-fitting black, the small pistol with its silencer gripped in a black-gloved hand. He glanced at the little rubber-coated grapple hook that clung to the terrace’s railing; the rope trailed down to the courtyard. She was dead and the job was done, but he knew that a British agent was here as well. He looked at his wristwatch. Almost ten minutes before the car would meet him beyond the gate. Time enough to send the swine to hell.
He cocked the pistol and started through the closet. And there was the bitch’s bedroom, a low candle flickering, a shape in the sheets. He aimed the pistol at its head and steadied his wrist with his other arm: a gunman’s pose. The silencer coughed-once, then again. The shape jumped with the force of the bullets.
And then, like a good artist who must see the results of his craft, he pulled the sheets away from the corpse.
Except it was not a corpse.
It was a dress dummy, with two bullet holes in its blank white forehead.
A movement, to his right. Someone fast. The killer panicked and twisted to get off a shot, but a chair slammed against his back and ribs and he lost the gun before his finger could squeeze. It went into the folds of the sheet and out of sight.
He was a big man, six-three and two hundred and thirty pounds, all beef-bred muscle; the breath left his mouth with the roar of a locomotive bursting from a tunnel, and the chair’s swing staggered him but didn’t put him down. The killer tore the chair out of his combatant’s grip before it could be used again, and kicked out, his boot hitting the man’s stomach. The kick drew a satisfying grunt of pain, and the British agent, a man in a brown robe, crashed back against the wall holding his gut.
The assassin flung the chair. Michael saw it coming in the flex of the man’s hands, and as he dodged, the chair broke to pieces against the wall. Then the man was on him, fingers clenching around his throat, digging savagely into his windpipe. Black motes spun across Michael’s vision; in his nostrils was the iron odor of blood and brains-the scent of Margritta’s death he’d smelled a second after he’d heard the silencer’s deadly whisper.
This man was a professional, Michael knew. It was man against man, and only one would be alive in a matter of minutes.
So be it.
Michael quickly brought his hands up, breaking the killer’s grip, and smashed the palm of his right hand into the man’s nose. He intended to drive the bones into the brain, but the killer was fast and turned his head to deflect the strike. Still, the nose crumpled and exploded and the man’s eyes were wet with pain. He staggered back two steps, and Michael hit him in the jaw with a quick left and right. The killer’s lower lip split open, but he grasped the collar of Michael’s robe, lifted him off his feet, and hurled him through the bedroom door.
Michael crashed into the hallway and into one of the suits of armor. It fell off its stand in a clatter. The Nazi assassin came through the door, his mouth streaming blood, and as Michael tried to scramble up, a kick caught him in the shoulder and flung him another eight feet along the hall.
The killer looked around, his eyes glinting at the sight of armor and weapons; for an instant his face had a shine of reverence, as if he had stumbled