Paris Noir - Aurelien Masson [77]
Mattéo took out his wallet and unfolded the scrap of paper found on the corpse.
“This kind of information?”
The banker pinched it between his fingertips to read the message:
Tom Cruise was seen last Monday on rue de la Paix in thesecond arrondissement of Paris in the company of the wifeof a candidate in the French presidential election, while rumorsof the American star’s separation from Katie Holmesare making headlines in the celebrity magazines.
“Our role is limited to making sure that all transactions are legal and managing the flow of money in the best interest of both the bank and its clients. We would never intervene in our clients’ activities in any way. All I can tell you is that Monsieur Carvel got his income from selling information on the web. Nothing more. I am putting these lists at the disposal of the examining magistrate.”
“We’ll wait.”
When he got outside, a gathering had formed on rue Notre-Dame-des-Victoires. A rainbow-colored banner attached to the iron fence around the stock exchange proclaimed the construction of the Marker of Evil. Mattéo mingled with the onlookers to watch the inauguration of some kind of monument in the form of a coffin with the names of all of today’s dictators and warmongers printed on it. He walked away when he heard the police sirens.
His steps carried him toward the garment district. As he walked up rue Beauregard, he saw the mustached owner of the Mauvoisin polishing his coffee machine in the shadowy light of his café, then he retraced the last path of Flavien Carvel up to the fourteen steps of rue des Degrés. The sanitation workers had erased all traces of the murder. All that remained was a memory of the bloodied body rubbing against the wall under the peeling billboard for Artex. The lieutenant pressed himself up against the wall, into the exact spot where the victim had been found. He raised his eyes and then noticed a few drops of blood a foot or so above his head. He stood on tiptoe and saw that there were some more drops a bit higher, at the edge of the plaque where it said, ARTEX distributes CHAL-DÉEcreations, manufacturer. He slipped a fingertip under the inside right corner, which was slightly raised, and wiggled it around. A small object, freed from behind the metal, fell to his feet. He bent down to pick up the small flash drive that Flavien had managed to hide before he died.
Ten minutes later, Mattéo was loading the contents of the drive onto his office computer. Two icons indicating videos popped up in the middle of a dozen other files. The first was titled 09-11-01, the other one Tom-Cécilia. He double-clicked on the second one. The scientologist actor and the flighty wife were walking near the Opéra de Paris and laughing as they stepped into Café de la Paix arm in arm. Insignificant pictures that only a tendentious commentary managed to turn into a secret idyll. The content of the second sequence, also a minute long, was totally different. It was clearly filmed from a surveillance camera with a zoom lens at the top of a building with a roof terrace; Mattéo could make out a corner of the façade when the camera swept around. He began to recognize the massive architecture of the Pentagon, with gardens, parking lots, and entrances sprinkled with sentry boxes at checkpoints. After about fifteen seconds of the webcam’s slow scanning, a white object came into its field of vision, from the right, and smashed into one of the sections of the large concrete wall, sinking into it with a huge burst of flame. A digital clock gave the date and time of the crash: 09-11-01, 9:43 a.m. The slow motion that followed allowed Mattéo to recognize the fuselage of a Boeing 757 with the colors of American Airlines. It was as obvious—and as horrifying—as the newsreels showing the two planes moments before slamming into the Twin Towers. Mattéo could not recall seeing a film as precise as this about the attack on the Pentagon. Everything the Bush administration had made public to refute the conspiracy theories