I separate from the Shin Bet as we get closer to the warehouse. I want to make the first approach on my own.
"Mr. Fisher?" It's the captain's voice in my ear. "Do you read me?"
"Loud and clear," I say, pressing the implant.
"There are three cars parked in the back of the warehouse, under a tarp. A Ferrari, a Jaguar, and a Chevy Cavalier."
"Then there's probably not too many men inside."
"That's what I'm thinking, too."
I can now see the warehouse, but I'm well hidden behind some rocks, fifty feet away. I know the Shin Bet have surrounded the building, but I see no signs of them. These guys are good.
The building looks as if it hasn't seen a human being in thirty years. It consists of a large space that takes up most of the structure. From Carly's blueprints I understand there's a second floor with a window. This second floor is more of a "loft" that hangs over a third of the first floor space with a stand-alone staircase connecting the two. Along two sides of the building are corridors with rooms--old offices, I imagine.
"How do you want to handle it?" the captain asks.
"I'm going to find a way in, probably from the second floor. Stand down until I give the order. Then storm the place with everything you've got. Until I find Sarah and make sure she's all right, I don't want them to have any indication that you're out here."
"Understood," he replies.
I emerge from my hiding place but stick to the shadows. There are no lights on around the building so that's a plus. The first thing I do is a quick recon around the warehouse. The front door is a rusty steel job with faded paint and lettering. The few windows are painted over. In the back I find the three cars covered by a tarp and another steel door. Up high I see another window, one that's not painted over. That's my target.
I take my cigar holder and rope and fashion a grappling hook. I sling the thing around and toss it, catching it onto the roof on the first try. I give it a tug and then climb up the side of the building. When I reach the window I peer inside.
I see the loft; it's full of junk and extends maybe thirty feet. A lone lantern burns on the floor next to an empty bedroll. I can't discern anything beyond the edge of the loft, mainly because of the junk piles. The main thing is that no one is there. Good. I wrap the rope around my waist so I can use both hands as I hang by the window. I draw my Five-seveN, flip on the T.A.K. laser microphone with my thumb, and point the barrel at the glass. The square in the center of the camera screen doesn't turn red--it's not picking up any sound. Excellent. I switch off the T.A.K. and holster the pistol, then try to raise the window. It doesn't budge. The decades-old paint has hardened, but the window itself doesn't appear to be locked. I draw my combat knife and chisel away on the window edges, finally getting to where I can stick the blade through the slits. I sheath the knife and try the window again. This time it moves a little. I rearrange myself so I can put my weight into the very center of the top windowsill and push it up with a forceful thrust. The window gives way and slides open, a bit too noisily for my comfort. But it's enough for me to snake through. I unwrap the rope from my waist and go through the window, feet first.
Once I'm inside, I carefully move to the edge of the loft and look down. It's a wide-open, empty warehouse except for a lot of junk stacked along the sides of the room--mostly old appliances like refrigerators and stoves. I see a couple of doors leading to other parts of the building.
There's no one around.
A set of unsupported wooden stairs leads down from the loft. I start to take them, but they creak loudly. Instead I leap off the steps and land on all fours with a quiet thud. One single noise is better than a series of horrible creaks.
I focus on the door I know leads to a series of rooms in a corridor. Once again I take the Five-seveN and flip on the T.A.K. I aim it at the door and this time the screen turns red. Somebody is talking behind the door. I creep to the wall, flatten myself, and listen.
The voices are muffled, but they're speaking in Russian, that much I can tell. I consider storming through the door and blasting the hell out of them, but before I can act, I hear footsteps approaching.
The door swings open, hiding me behind it. Two men emerge and walk toward the middle of the warehouse. They've got AK-47s around their shoulders.
"Turn on the lights, Yuri," one says in Russian. "I can't see a fucking thing."
The one called Yuri walks toward the front of the building. Shit. They're going to hit the lights and here I am standing behind the door. So what do I do? I slip around the door without being seen and go into the corridor, just as the lights come on.
The corridor is well lit, but there's no one else here. I see three rooms. The doors to two rooms are open, probably the Russians' quarters--I see cots and signs of day-today living. One door is closed. I flip on the thermal vision in my goggles and see an indication that there's a warm body lying horizontally inside the room. Could it be Sarah? I decide to give it a try.
The door is locked, of course. With one ear trained to the open door at the end of the corridor--I can hear the Russians talking in the warehouse--I carefully take my lock picks and try them. After three attempts, I have it open.
Sarah is inside, lying on a cot.
40
" SARAH!" I whisper. She looks up, startled. Her eyes widen when she sees me. Of course, I look like an alien from outer space in my uniform and goggles. I raise the goggles so she can see my face.
"It's me," I say.
"Dad!" She lunges and grabs hold of me as if I'm the last man on earth.
"Shhh!" I whisper. "You've got to be quiet. I'm gonna get you out of here."
"Oh, Dad, I knew you'd come!" She starts to cry and I stroke her dark hair.
"Are you all right? Did they hurt you?"
"A little. I'm . . . I'm a little weak."
"Can you walk?"
"I'll try."
She gets to her feet, but I can see she's very unsteady. I'll have to carry her. I let her lean against the wall as I peer out the door to the corridor. It's still clear.
"Honey, wait here, I'll be back for you," I say.
"Don't leave me!" She almost panics.
"Sarah, the bad guys are right in there. I have to take care of them first. I promise I'll be back for you."
She takes a deep breath and wipes her face. "Okay."
"That's my girl. Don't make a sound."
I leave and close the door behind me, unlocked. I take the Five-seveN, attach the suppressor, and shoot out the two overhead lights in the corridor. I'm plunged into darkness, so I lower my goggles and turn on the night vision.
I peer through the door to the warehouse and see that the two Russians have stepped outside through the front. The place is empty. I quickly enter the space, drop to one knee, and aim the Five-seveN at the work lights. I shoot out all six of them. Now the only illumination in the place comes from the open front door, and it's not much.
I run and find the steps leading to the loft. I quickly ascend the stairs and make it to the second floor just as the two men return. I quietly swing the SC-20K off my shoulder and ready it.
"Hey, did you turn off the lights?" one of them asks the other.
"No." I see the one called Yuri go back to the light switches and flick them. "What the hell?"