Kelly forced a smile. "I'm trying to win a bet." "Oh." Crazy damn passengers.

  As the light changed from green to yellow, Kelly said, "Now!" The taxi made a fast left turn as the light turned red. Behind them, the oncoming traffic was stopped by the policeman. The men in the limousine turned to each other, frustrated.

  When the taxi had gone a block, Kelly said, "Oh, I forgot something. I've got to get out here." The driver pulled over to the curb and Kelly got out of the cab and handed him some money. "Here." He watched Kelly hurry into the entrance to a medical building. I hope she's seeing a psychiatrist.

  At the corner, the moment the light turned green, the limousine made a left turn. The taxi was two blocks ahead, and they raced after it.

  Five minutes later, Kelly was hailing another cab.

  * * *

  IN DIANE STEVENS's apartment, Detective Greenburg was saying,

  "Mrs. Stevens, did you get a look at the person who took a shot at you?

  Diane shook her head. "No, it happened so fast…" "Whoever it was, was serious. Ballistics dug the bullets out of the wall. They were forty-five calibers, capable of piercing body armor. You were lucky." He hesitated. "We think that whoever it was, he was sent by Tony Altieri." Diane swallowed. I'm just going to take it easy for a while, clear up a few old debts.

  "We're checking that out."

  Diane nodded.

  Greenburg studied her a moment. "About the briefcase that's missing, do you have any idea what was in it?" "I'm not sure. Richard usually took it to the laboratory with him most mornings and brought it home at night. I saw some of the papers once and they were very technical." Greenburg picked up the wedding ring that was on the table. "And you said that your husband never took off his wedding ring?" "That's-that's right." "In the days before his death, did your husband act differently than usual, as though he might be under some kind of pressure, or be worried about something?

  Do you remember anything that he said or did on the last night you saw him?" It was early morning. They were in bed, naked. Richard gently stroked her thighs and said, "I'm going to be working late tonight, but save an hour or two for me, when I get home, honey." She touched him where he liked being touched and said, "Braggart." "Mrs. Stevens-" Diane was jolted back to reality. "No. There was nothing unusual." "I'll see that you have protection," Greenburg said. "And if-" The doorbell rang.

  "Were you expecting anyone?"

  "No."

  Greenburg nodded. "I'll get it." He walked over to the door and opened it. Kelly Harris stormed in and brushed by him.

  Kelly marched up to Diane. "We need to talk." Diane looked at her in surprise. "I thought you were on your way to Paris?" "I took a detour." Greenburg had joined them. "This is Detective Earl Greenburg. Kelly Harris." Kelly turned to Greenburg. "Someone just tried to break into my hotel room, Detective." "Did you report it to hotel security?" "Yes. The men were gone. A guard escorted me out." "Do you have any idea who they were?" "No." "When you say someone tried to break in, you mean they tried to force the door?" "No, they-they just stood out in the hall. They pretended they were from room service." "Had you ordered room service?" "Yes." Diane said, "Then you're probably imagining things because of what happened this morning, and-" Kelly snapped at her. "Listen, I told you, I don't want any part of this or of you. I'm going to pack and fly back to Paris this afternoon. You tell your Mafia friends to leave me alone." They watched Kelly turn and leave.

  "What was that all about?" Greenburg asked.

  "Her husband was-was killed. He worked for the same company Richard worked for, Kingsley International Group."

  * * *

  WHEN KELLY RETURNED to the lobby of her hotel, she walked over to the desk. "I'm checking out," she said. "Would you please get me a reservation on the next plane to Paris?" "Certainly, Mrs. Harris. Any particular airline?" "Just get me out of here." Kelly crossed the hotel lobby, stepped into an elevator, and pressed the button for the fourth floor. As the elevator door started to close, two men pushed it open and got in. Kelly studied them an instant, then quickly backed out into the lobby. She waited until the elevator door closed, then headed for the stairs and started to walk up. No use taking any chances, Kelly thought.

  As she reached the fourth-floor landing, a huge man was blocking the way.

  "Excuse me," Kelly said. She started to move past him.

  "Shh!" He was pointing a gun with a silencer at her.

  Kelly turned pale. "What are you-?" "Shut up. I bet you got exactly the right number of holes, lady. Unless you want an extra one, be quiet. I mean-very quiet. You and I are going downstairs." The man was smiling, but as Kelly looked closer, she saw that a knife crease on his upper lip had pulled his mouth up into a fixed grin. He had the coldest eyes Kelly had ever seen. Let s go.

  No! I'm not going to die because of that bitch. "Wait a minute. You have the wrong-" She felt the gun smash so hard into her ribs that she wanted to scream.

  "I told you to shut up! We'll walk down." He was holding Kelly's arm in a painful viselike grip, the gun concealed in his hand behind her back.

  Kelly was fighting hysteria. "Please," she said softly, "I'm not the-" The pain as he stabbed the muzzle of the gun against her back was excruciating. He was squeezing her arm so hard that she could feel the blood draining out.

  They started down the stairs. They reached the lobby. It was crowded, and as Kelly was debating whether to call for help, the man said, "Don't even think about it." And they were outside. There was an SUV waiting at the curb. Two cars ahead, a policeman was writing a parking ticket. Kelly's captor led her to the back door of the SUV.

  "Get in," he ordered.

  Kelly glanced ahead at the policeman. "All right," Kelly said in a loud, angry voice, "I'll get in, but I want to tell you something. What you want me to do to you will cost an extra hundred dollars. I think it's disgusting." The policeman had turned to watch.

  The burly man was staring at Kelly. "What the hell are you-?" "If you won't pay it, then forget it, you cheap bastard." Kelly started rapidly walking toward the policeman. The man looked after her.

  His lips were smiling, but his eyes were deadly.

  Kelly pointed to him. "That pervert has been bothering me." She glanced back to see the policeman moving toward the thug. Kelly stepped into a waiting taxi.

  As the burly man started to get into the SUV, the policeman said, "Just a minute, mister. It's against the law in this state to solicit prostitutes." "I wasn't-" "Let me see some identification. What's your name?" "Harry Flint." Flint watched as Kelly's taxi sped away. That whore! I'll kill her. Slowly.

  CHAPTER 22

  KELLY ALIGHTED FROM a taxi in front of Diane's apartment building, stormed up to the front door, and pressed the bell hard.

  The door was opened by Detective Greenburg. "Can I-?" Kelly saw Diane in the living room and moved past the detective.

  "What's going on?" Diane asked. "You said you-" "You tell me what's going on. I told you to tell your Mafia friends to leave me alone. They tried to grab me again. Why are your Mafia buddies trying to kill me?" "I-I have no idea. They wouldn't-maybe they saw us together and thought we were friends and-" "Well we're not friends, Mrs. Stevens. Get me out of this." "What are you talking about? How can I-?" "The same way you got me into it. I want you to tell your buddy, Altieri, that you and I just met, and you don't know me. I'm not going to let someone murder me because of some stupid thing you did." Diane said, "I can't-" "Oh, yes, you can. You're going to talk to Altieri and you're going to talk to him now. I'm not leaving here until you do." Diane said, "What you're asking is impossible. I'm sorry if I got you involved in this, but…" She was thoughtful for a long moment, then turned to Greenburg. "Do you think if I talked to Altieri he might leave us both alone?" Greenburg said, "That's an interesting question. He might-especially if he thinks we're watching him. Would you like to talk to him personally?" Diane said, "No, I-" Kelly interrupted. "She means yes."

  * * *

  ANTHONY ALTIERI'S HOME was a classic stone and frame colonial-style house, in Hunterdon County, New Jersey. The enormous house was at the end of a cul-de-sac, on fifteen acres of land, surrounded by a huge, high, iron fence. On the grounds were tall shade trees, ponds, and a colorful garden.

  A guard sat in a booth inside the front gate. As the car with Greenburg, Kelly, and Diane drove up, the guard walked out to meet it.

  He recognized Greenburg. "Afternoon, Lieutenant." "Hello, Caesar. We want to see Mr. Altieri." "Do you have a warrant?" "It's not that kind of visit. This is a social call." The guard glanced at the two women. "Wait here." He walked inside, to the booth.

  A few minutes later he came out and opened the gate. "You can go in." "Thanks." Greenburg drove up to the front of the house.

  As the three of them got out of the car, a second guard appeared. "Follow me." He led them inside. The large living room was an eclectic combination of antiques and modern and French furniture. In spite of the fact that the day was warm, there was a roaring fire in the huge stone fireplace. The trio followed the guard through the living room into a large darkened bedroom. Anthony Altieri was in bed, attached to a respirator. He was pale and gaunt and seemed to have aged greatly since the short time he had appeared in court. A priest and a nurse were at his side.

  Altieri looked at Diane, Kelly, and Greenburg, then turned back to Diane. When he spoke, his voice was hoarse and raspy. "What the hell do you want?" Diane said, "Mr. Altieri, I want you to leave Mrs. Harris and me alone. Call off your men. It's enough that you killed my husband and-" Altieri cut in. "What are you talking about? I never even heard of your husband.

  I read about that bullshit note found on his body." He sneered. "'He'll swim with the fishes' Somebody's seen The Sopranos too many times. I'll tell you something for free, lady. No Italian wrote that. I'm not after you. I don't give a damn whether you live or die. I'm not after anybody. I-" He winced in pain.

  "I'm busy making my peace with God. I-" He began to choke.

  The priest turned to Diane. "I think it would be better if you left now." Detective Greenburg asked, "What is it?" The priest said, "Cancer." Diane looked at the man on the bed. I'm not after you. I don't give a damn whether you live or die… I'm busy making my peace with God. He was telling the truth.

  And Diane was filled with a sudden, blinding panic.

  * * *

  ON THE DRIVE back from Altieri's, Detective Greenburg looked worried. "I have to tell you, I think Altieri meant what he said." Kelly reluctantly nodded. "So do I. The man is dying." "Do you know of any reason why someone would try to kill the two of you?" "No," Diane said. "If it isn't Altieri-" She shook her head. "I have no idea." Kelly swallowed. "Neither have I."

  * * *

  DETECTIVE GREENBURG ESCORTED Diane and Kelly back into Diane's apartment. "I'm going to get to work on this now," he said, "but you'll be safe here. In fifteen minutes there will be a police cruiser outside your apartment building for the next twenty-four hours, and we'll see what we can find out by then. If you need me, call." And he was gone.

  * * *

  DlANE AND KELLY stared at each other. There was an awkward silence.

  "Would you like some tea?" Diane asked.

  Kelly said perversely, "Coffee." Diane looked at her a moment, irritated, and sighed. "Right." Diane walked into the kitchen to start the coffee. Kelly wandered around the living room, looking at the paintings on the walls.

  When Diane came out of the kitchen, Kelly was studying one of Diane's paintings.

  "Stevens." She turned to Diane. "Did you paint this?" Diane nodded. "Yes." Kelly said in a dismissive tone of voice, "Pretty." Diane's lips tightened. "Oh? Do you know a lot about art?" "Not much, Mrs. Stevens." "Who do you like? Grandma Moses, I suppose." one's interesting.

  "And what other primitive painters touch your heart?" Kelly turned to face Diane. "To be honest, I prefer the curvilinear, nonrepresentational form. There are exceptions, of course. For instance, in Titian's Venus of Robin, the diagonal sweep of her form is breathtaking, and-" From the kitchen, they could hear the coffee percolating.

  Diane said curtly, "The coffee is ready."

  * * *

  THEY WERE SEATED across from each other in the dining room, taciturn, letting their coffee get cold.

  Diane broke the silence. "Can you think of any reason why someone would try to kill us?" "No." Kelly was silent for a moment. "The only connection you and I have is that both our husbands worked at KIG. Maybe they were involved in some top secret project. And whoever killed them thinks they might have told us about it." Diane paled. "Yes…" They looked at each other in dismay.

  * * *

  IN HIS OFFICE, Tanner was watching the scene taking place in Diane's apartment, on one of the wall television sets. His chief security guard stood next to him.

  "No. The only connection you and I have is that both our husbands worked at KIG.

  Maybe they were involved in some top secret project. And whoever killed them thinks they might have told us about it." "Yes…"

  * * *

  THE STEVENS APARTMENT had been wired with state-of-the-art television and sound.

  Just as Tanner had told his partner, the house was filled with cutting-edge technology.

  There were concealed video systems in every room of the apartment, with a Web-based camera the size of a button resting among the books, bent fiber-optic wires under the doors, and a wireless picture frame camera. In the attic, a video server the size of a laptop computer had been installed to service six cameras. Attached to the server was a wireless modem that allowed the equipment to function through cellular technology.

  * * *

  AS TANNER LEANED forward, watching the screen intently, Diane said, "We have to find out what our husbands were working on." "Right. But we're going to need help. How do we do that?" "We'll call Tanner Kingsley. He's the only one who can help us, and he's trying to find out who's behind all this." "Let's do it."

  * * *

  DIANE SAID, "YOU can spend the night here. Well be safe. There's a police car stationed outside." She walked over to the window and pulled the curtain back. There was no car.

  She stared for a long moment and felt a sudden chill. "That's strange," Diane said. "There was supposed to be a patrol car here. Let me make a phone call." Diane took Detective Greenberg's card from her purse, went to the telephone, and called a number. "Detective Greenburg, please." She listened a moment. "Are you sure?… I see. Then could I speak to Detective Praegitzer?" There was another moment of silence. "Yes, thank you." Diane slowly replaced the receiver.

  Kelly looked at Diane. "What is it?" Diane said, "Detectives Greenburg and Praegitzer have been transferred to another precinct." Kelly swallowed. "That's a real coincidence, isn't it?" Diane said, "And I just remembered something." "What?" "Detective Greenburg asked me if Richard had done or said anything out of his usual routine lately.

  There was one thing I forgot to mention. Richard was going to Washington to see somebody.

  Sometimes I travel with him, but this time he insisted it would be better if he went alone." Kelly was watching her with a surprised expression. "That's strange. Mark told me he had to go to Washington, and had to go alone." "We have to find out why." Kelly walked over to the window and pulled back the drapes. "There's still no car." She turned to Diane. "Let's get out of here." "Right," Diane said. "I know a little out-of-the-way hotel in Chinatown called the Mandarin. No one will ever think of looking for us there. We'll call Mr. Kingsley from the room."

  * * *

  "I KNOW A little out-of-the-way hotel in Chinatown called the Mandarin. No one will ever think of looking for us there. We'll call Mr. Kingsley from the room." Tanner turned to his chief security officer, Harry Flint, with the perpetual half smile. "Kill them."

  CHAPTER 23

  HARRY FLINT WILL take good care of the women, Tanner thought with satisfaction.

  Flint had never failed him.

  It amused Tanner to think about how Flint had come into his life. Years ago his brother, Andrew, poster boy for the bleeding hearts of the world, had started a halfway house for newly released prisoners, to help them adjust to civilian life. Then he would find jobs for them.

  Tanner had a more useful plan for ex-felons, because he believed that there was no such thing as an ex-felon. Through his private sources, he would get inside information on the backgrounds of recently released prisoners, and if they had the qualifications that Tanner needed, they went from the halfway house to working for Tanner directly, doing what he called "delicate private tasks." He had arranged for an ex-felon named Vince Carballo to come to work for KIG.

  Carballo was a huge man with a scraggly beard and blue eyes that were like daggers. He had a long prison record. He had been on trial for murder. The evidence against him was overwhelming, but a member of the jury stubbornly held out for acquittal, and it ended up in a hung jury. Only a few people knew that the juror's little daughter had disappeared and a note was left behind: If you keep quiet about this, your daughter's fate will be determined by the jury's verdict.

  Carballo was the kind of man Tanner Kingsley admired.

  * * *

  TANNER HAD ALSO heard about an ex-felon named Harry Flint. He had investigated Flint's life thoroughly and decided he was perfect for his needs.

  Harry Flint had been born in Detroit, into a middle-class family. His father was a bitter, failed salesman who spent his time sitting around the house complaining. He was a sadistic martinet, and at his son's slightest infraction, he enjoyed whipping him, using a ruler, a belt, or anything else that was handy, as though he wanted to beat success into his son to make up for his own inadequacy.