Still crouched on the floor, her heart pounding its way out of her chest, and trying to keep as still as she could even though something inside was screaming at her to run, Tess saw that two of the other horsemen were now also brandishing automatic weapons like the one their murderous consort was carrying. Bullets ricocheted off the museum walls, adding to the noise and to the panic. One of the horses reared suddenly and its rider's hands flailed, the gun in one of them sending a fusillade of bullets up one wall and onto the ceiling, shattering ornate plaster moldings that came showering down onto the heads of the crouching, screaming guests.
Risking a glance from behind her cabinet, Tess's mind raced as she evaluated routes of escape.
Seeing a doorway to another gallery three rows of exhibits beyond to her right, Tess willed her legs forward and scurried toward it.
She had just reached the second row when she spotted the fourth knight headed straight toward her.
She ducked, darting quick glances as she watched him weave his mount among the rows of still undamaged cabinets, apparently uninvolved and unconcerned with the mayhem his three companions were wreaking.
She could almost feel die breath venting from his snorting horse as the knight suddenly reined to a stop, barely six feet away from her. Tess crouched low, hugging the display for dear life, urging her beating heart to quieten. Her eyes drifted up and she spotted the knight, reflected in the glass displays around her, imperious in his chain mail and his white mantle, staring down at one cabinet in particular.
It was the one Tess had been looking at when Clive Edmondson had approached her.
Tess watched in quiet terror as the knight drew his sword, swung it up, and brought it thundering down onto the cabinet, smashing it to bits and sending shards of glass spewing onto the floor around her. Then, sliding his sword back into its scabbard, he reached down from the saddle and lifted out the strange box, the contraption of buttons, gears, and levers, and held it up for a moment.
Tess could barely breathe and yet, against all rational survival instincts she believed she possessed, she desperately needed to see what was happening. Unable to resist, she leaned out from behind the display case, one eye barely clearing the edge of the cabinet.
The man stared at the device, reverently it seemed, for a moment before mouthing a few words, almost to himself.
"Veritas vos libera—"
Tess stared, entranced by this seemingly most private of rituals, when another burst of gunfire snapped both her and the knight out of their reverie.
He wheeled his horse around and for an instant, his eyes, though shadowed beneath the visor of his helmet, met Tess's. Her heart stopped as she crouched there, utterly and helplessly frozen. Then the horse was coming her way, straight at her—before brushing past and, as it did so, she heard the man yelling to the other three horsemen, "Let's go!"
Tess rose to see that the big horseman who had started the shooting was herding a small group into a corner by the main staircase. She recognized the archbishop of New York, as well as the mayor and his wife. The leader of the knights nodded his head and the big man forced his mount through the knot of distraught guests, grabbed the struggling woman, and lifted her up onto his horse. He jammed his gun into the side of her head and she went still, her mouth open in a silent scream.
Helpless, angry, and afraid, Tess watched as the four horsemen moved toward the doorway. The lead knight, the only one without a gun, she noticed, was also the only one without a bulging sack tied to his pommel. And as the horsemen charged away through the galleries of the museum, Tess stood up and rushed through the debris to find her mother and her young daughter.
***
The knights stormed out through the doors of the museum and into the glare of the television floodlights. Despite the sobbing of the frightened and the moaning of the injured, it was suddenly a lot quieter and around them came shouts; men's voices, police mostiy, with random words identifiable here and there: ". . . hold your fire!" ". . . hostage!" ". . . don't shoot!"
And then the four horsemen were charging down the steps and up the avenue, the knight with the hostage protectively bringing up the rear. Their movements were brisk but not urgent, contemptuous of the approaching police sirens sawing at the night, and in moments they had disappeared back into the marled darkness of Central Park.
Chapter 4
A t the edge of the museum's steps, Sean Reilly stood carefully outside the yellow and black crime scene tape. He ran a hand over his short brown hair as he looked down at the outline where the headless body had lain. He let his eyes drift down lower, following the trail of blood splatters to where a basketball-sized mark noted the position of the head.
Nick Aparo walked over and peered around his partner's shoulder. Round-faced, balding, and ten years older than Reilly's thirty-eight, he was average height, average build, average looking. You could forget what he looked like while you were still talking to him, a useful quality for an agent and one he had exploited very successfully during the years Reilly had known him. Like Reilly, he wore a loose-fitting, dark-blue Windbreaker over his charcoal suit with big white letters, FBI, printed on the back. Right now, his mouth was twisted in distaste.
"I don't think the coroner's gonna have too much trouble figuring that one out," he observed.
Reilly nodded. He couldn't take his eyes off the markings of where the head had lain, the pool of blood leading down from it now dark. Why was it, he wondered, that being shot or stabbed to death didn't seem quite as bad as having your head chopped off? It occurred to him that official execution by beheading was standard procedure in some parts of the world. Parts of the world that had spawned many of the terrorists whose intentions had the country gripped by heightened alert levels; terrorists whose trails consumed all of his days and more than a few of his nights.
He turned to Aparo. "What's the word on the mayor's wife?" He knew she had been dumped unceremoniously in the middle of the park, along with the horses.
"She's just shaken," Aparo answered. "She's got more bruises to her ego than to her butt."
"Good thing there's an election coming. It'd be a shame to see a good bruising go to waste." Reilly looked around, his mind still coming to terms with the shock of what had taken place right where he was standing. "Still nothing from the roadblocks?"
Roadblocks had been set up at a ten-block radius and at all bridges and tunnels leading into and out of Manhattan.
"Nope. These guys knew what they were doing. They weren't waiting around for a cab."
Reilly nodded. Professionals. Well organized.
Great.
As if amateurs couldn't do as much damage these days. All it took was a couple of flying lessons or a truckload of fertilizer, along with a suicidal, psychotic disposition—none of which were exacdy in short supply.
He surveyed the ravaged scene in silence. As he did, he felt an up-welling of utter frustration and anger. The randomness of these deadly acts of madness, and their infuriating propensity to catch everyone off guard, never ceased to amaze him. Still, something about this particular crime scene seemed odd—even distracting. He realized he felt a strange detachment, standing there. It was all somehow too outlandish to take in, after the grim and potentially disastrous scenarios he and his colleagues had been trying to second-guess for the last few years. He felt as if he were stuck outside the big tent, distracted away from the main event by some freakish sideshow. And yet in a disturbing way, and much to his annoyance, he felt somewhat grateful for it.