businessman is wearing what looks to be a very nice suit—and black tactical boots.
“Mierda.”
“What is it?”
“Hand me your rifle.”
Sarah does it without asking. Jago shoulders it, aims, pulls the secondary trigger that fires the undermounted dart gun.
The projectile puffs out of the chamber with a low whoosh and pop. The man is too far away and doesn’t hear it. The overhead digital sign several feet past him announces that a new Edgware Road–bound train will arrive in one minute. The man steps back at the last split second, and the dart just misses his neck, clanking into an advertising panel.
The man drops his paper and sets his feet wide, looks left and right. Holds a hand to his ear and says something. Jago pulls back from the top of the steps.
“No good. Gotta go back.”
“Someone see you?”
“Don’t think so.”
“Christ, Jago. You don’t think so?”
Maybe he’s getting sloppy too. Too much forgetting, too much Burger King, too much sex.
Sarah stands and looks, and there he is. Already 20 paces closer. The businessman sprinting, his hat fallen off, a pistol in his hand.
Jago brings the rifle up and without sighting pulls the secondary trigger again. Another dart. It hits the man in the cheek, just below his eye. He recoils and falls, slides along the concrete only 47 feet away. He comes to a stop. He rolls. Paws at his face, the bushy-tailed dart hanging out of it. He fights for consciousness, but it’s no use. He passes out.
The young mother screams.
The Players turn and run. The light from the station recedes. Sarah flicks on her headlamp. She’s several feet in front of Jago when they feel the air change, the light coming for them.
The Edgware Road train.
Sarah kicks it into high gear. She slams into the safety of one of the cutouts as the train comes into view, her shoulder crunching into the concrete wall.
But Jago’s not there. He couldn’t run as fast. He’s only 13 feet away, but it might as well be a mile. He looks at her. She can see his eyes, wide and white.
Sarah screams, “Down!” as the train barrels by, cutting off her view of Jago.
The train’s horn sounds. It doesn’t slow. A loud smack and sparks and a small explosion. The rifle being impacted by the front of the train. All she hears after that is the machine churning in front of her, the movable storm of wind, the Doppler effect of the blaring horn.
Again, Sarah looks into the blurred interior passing just in front of her, this time through glassy eyes. And this time there are no people on it. None. Until the last car, which is full of men dressed in all black.
Men with lots and lots of weapons.
The train didn’t slow because they saw him. They saw him and they wanted him dead.
The train finally brakes as it disappears around the corner and pulls into the station. She has maybe one minute to get to the other tunnel. She glances into the well between the tracks. Doesn’t see any sign of him. Squints. Raises her eyes. There, in the darkness, a piece of cloth floating through the air and settling on the rail.
A piece of cloth that matches Jago’s shirt.
She takes a step forward to see what else she might find, but freezes when she hears voices in the distance. Men, frantic and yelling.
No time.
She shakes with fear. No time to see what’s left of Jago Tlaloc.
Fear.
She rubs her sleeve over her eyes and vaults onto the tracks and runs away.
Runs away from another death.
Another death of someone she loved.
Aisling has been sitting in the room for one hour and three minutes. No one has come to see her, no one has brought her water or a bag of chips, no one has spoken to her over an intercom. The room is empty except for a table and a chair and a steel ring in the floor and a bank of fluorescent lights in the ceiling. The table and chair are both metal with rounded edges and welded joints. Both are secured to plates that are set in the concrete floor. The walls are blank, painted white with a yellow tint. There are no pictures, no shelves, no vents. There isn’t even a two-way mirror.
But Aisling is being watched. There’s no doubt about that. Somewhere in this room are a camera and a microphone. Probably several. Because there are no dangerous items in the room, the men who brought her here didn’t even handcuff her. They just put her in the chair and left. She has not moved from the chair. She has been meditating since the door closed and the bolts inside the door slid into the locked position. Three of them. They were whisper quiet, but she still heard them.
One, two, three.
Shut in. This, she thinks, is worse than the Italian cave.
She lets the things that come to her mind arrive and pass. Or tries to, anyway. Just because she’s a Player doesn’t mean she’s an expert at everything. Shooting, fighting, tracking, climbing, surviving. Solving puzzles. Languages. Those are what she’s really good at. Centering herself, opening her mind, all that om om om bullshit, not so much.
Although all that shooting practice couldn’t help her take down that fucking float plane when it mattered most.
When it might have saved the world.
Let it pass. Let it pass.
Breathe.
Let it pass.
She does. The images and feelings come and go. Memories. The rain lashing her face as she sits on the northeastern gargoyle’s head on top of the Chrysler Building. The taste of wild mushrooms scavenged from the Hudson Valley. Her heaving lungs pushing out water when she nearly drowned in Lough Owel, Ireland. The creeping fear that she can’t win, or doesn’t deserve to win, or shouldn’t win, the doubt that every Player who isn’t a sociopath must confront. The bright blue of her father’s eyes. The spooky voice of kepler 22b. The escape from the Great White Pyramid. The regret that her crossbow bolt didn’t skewer the Olmec in the attic of the Big Wild Goose Pagoda. The anger over what the cave paintings showed her in Italy. The anger that the Players are being played by the keplers. The anger that it’s not fair. The anger from knowing that Endgame is a bunch of bullshit. The anger.
