Fifteen minutes later, after a short drive south on Twelfth Avenue, Heat and Rook pulled up through the chain-link gate and passed a half dozen paparazzi lurking outside, some leaning on their motorcycles. Nikki flashed her shield at the security rent-a-cop and drove into the parking lot of the USS Intrepid at Pier 86. On the way there, Rook had asked if Heat was afraid Allie might call and tip off Soleil they were coming. "That would surprise me. I cautioned her not to and told her that this was going to be a felony arrest. I made it clear that if Soleil got tipped off by someone, that person could face charges as an accessory. Allie said not to worry, that she was going to head out for a long lunch and leave her cell phone at her desk. Turned off. She sounded like she'd even cancel her cellular contract."
Heat had caravanned with the Roach Coach behind her and, behind them, a van carrying a half dozen uniforms in case crowd control became an issue. Nikki had learned early on when she worked the organized crime unit that few planned arrests were routine and that it always paid off to take a quiet moment to stop and visualize what you were walking into and not just posse up and ride. On the outside chance there were any Soleil fans hanging out at this event, the last thing she wanted was to try to stuff a handcuffed double-platinum Grammy nominee into the backseat of her Crown Vic while warding off a swarm of zealous disciples.
They all parked nose-out, poised for a rapid exit. When they got out of their vehicles, each and every one, including Nikki, did the same thing: tilted his or her head far back to look up at the retired navy aircraft carrier looming over them. "Makes you feel small," said Raley.
Ochoa, still craning up at the floating museum, asked, "How tall is that thing, anyway?"
"About six stories," said Rook. "And that's just from the wharf height we're on. From the waterline, add another story or two."
"What's it going to be," said Heat, "tour or arrest?"
They filed past the temporary base camp cordoned off for crew parking, portable dressing rooms, and meals. A caterer cooked split chickens on a huge grill, and the autumn air was filled with a mix of generator exhaust and grill smoke. At the top of the main gangway they were greeted by a young woman in a T-shirt and cargo pants, whose laminated ID said she was an assistant director. When Heat identified herself and asked where the shoot was, the AD pointed up toward the flight deck. She raised her walkie-talkie and said, "I'll tell them you're on your way."
"Don't," said Heat. She left a uniform behind just to make sure and to watch the exit.
After they ascended in the elevator, Heat and Rook stepped out onto the flight deck and were met by the playback track of "Navy Brats" carrying on the breeze from the stern of the flattop. The two of them walked toward the music, and as they came around an A-12 Blackbird, a Cold War spook plane and one of the thirty or so aircraft parked there, they found themselves behind a small army of video crew and its ordnance of props, lighting, miles of cable, and three HD cameras: one on a pedestal; a Steadicam harnessed onto a muscleman with ballet skills; and a boom for getting sweeping overhead shots.
They got there in the middle of a take, and Soleil Gray danced the steps Heat and Rook had seen her rehearse once in Chelsea and again at Later On. In her white sequined leotard, she cartwheeled across the set between an F-14 Tomcat and a Chickasaw helicopter, only this time something was different. There was a show intensity to her performance, a crispness and excitement that she had been saving for the cameras, and she unleashed it with abandon as the Steadicam operator backpedaled to track beside her and she flipped end-over-end the width of the deck, until she landed perfectly in the waiting arms of the sailor-suited male dancers.
Rook whispered to Nikki, "I predict one helluva prison talent show up in Taconic."
The director, who had been viewing it all on split screen at a hooded monitor, shouted for a cut, looked to his camera ops, and when he got nods in return, called a reset.
When the fill lights dimmed and the grips started hauling pieces of the set to the next mark, Heat made her move. With Rook following, she strode toward the canvas director chair where, in spite of the brisk fifty-degree air, Soleil Gray dabbed perspiration off her face. Ten feet from reaching her, a jumbo guy with a shaved head and wearing a yellow security windbreaker blocked the path. "Sorry, folks, this is a closed set. Tours resume tomorrow." He wasn't unpleasant, just a guy fulfilling the job description on the back of his jacket.
Nikki kept her voice low, showed her badge, and smiled. "Official police business."
But the singer, alert to everything happening on her set-or perhaps on the alert for something like this-lowered the towel from her face and stared at Nikki with wide eyes. Her makeup artist stepped in to repair the damage from the towel, but Soleil waved her off, keeping her attention on the visitors as she slid out of her chair.
Heat cleared the security man and, on her way to her, said, "Soleil Gray, NYPD. I have a warrant for your-"
And then Soleil turned and ran. Slightly behind her, to the port side of the ship, sat a small changing tent for the extras and, beyond it, a passage leading to a flight of metal stairs. Halfway there, Raley and Ochoa came around from behind the changing tent, followed by three uniformed officers. Soleil turned to make a break the opposite way, toward the hatch where Heat and Rook had come on deck, but another pair of officers was posted at that door. Rook ran into her path and she turned sharply again. Distracted by his move, she didn't notice that Nikki was a half step away. Heat made a lunge for her, but Soleil heard her footfall and spun clear. Heat's momentum carried her into a wardrobe rack, and in the instant it took her to regain her balance, her suspect was bolting across the almost football field-wide deck to the starboard side of the aircraft carrier. Soleil's shooting company-grips, electricians, dancers, the director-all looked on in a stunned zone of inertia and disbelief.
Her training kicked in and Heat drew her gun. A gasp rose from the crew, sharp enough and full of sufficient horror to let Soleil guess what had just happened behind her back. She slowed to a stop at the edge of the flight deck and turned to see Heat approaching, gun up, aimed at her. And then, without hesitation, Soleil Gray turned, and leaped over the edge.
Amid a clamor behind her from the frozen onlookers, Nikki rushed toward the side where the woman had gone over, trying to recall what lay six stories directly below her jump. Parking lot? Pier? The Hudson? And in those quick seconds, she also wondered, could someone survive a fall from that height even into water?
But when she got to the edge and peered over the side, Nikki saw something completely unexpected: Soleil Gray tucking and rolling her way out of a safety net suspended from the deck below. "Soleil, stop!" she called, and took aim again. But it was all for show. Heat certainly wasn't going to open fire on her under these circumstances, and the singer bet on that. Nikki reholstered about the same time she saw two men, stunt coordinators she would learn later, reaching for her suspect and pulling her out of sight onto the deck below, oblivious to what had just taken place above and unwittingly helping her escape.
Heat calculated options, thought of all the places to hide on a ship built to carry over 2,500 sailors, including all the mazes belowdecks. Then she thought of how slow the elevator or the stairs would be. "Roach," she said, "call down and have them seal the exit."
And then Detective Heat holstered her Sig and jumped over the side. The pair of stunt coordinators helped her out of the net but then tried to subdue her. "What are you doing? I'm a cop."