Solo - Jack Higgins [1]
Already, his description, obtained from the maid by the crew of the first police car on the scene, was being transmitted over the radio. Not that it mattered. A couple of hundred yards and he would be lost in the greenness of Regent's Park. Straight across to the underground station on the other side, change at Oxford Circus.
He started to cross the road, there was a squeal of brakes. A voice called, 'Hey, you!'
It was a police car, one quick glance told him that, and then he dodged into the nearest side street and started to run. His luck, as always, was good for as he ran along the line of parked cars, he saw a man up ahead getting into one. The door slammed, the engine started.
The Cretan wrenched the door open, dragged the driver out head first and jumped behind the wheel. He gunned the motor, swinging the wheel, crumpling the nearside wing on the car parked in front, and drove away quickly as the police car roared up the street after him.
*
He cut across Vale Road into Paddington. He didn't have long if he was to lose them, he knew that, because in seconds every police car in that part of London would be converging on the area, sealing it up tight.
There was a road works sign, an arrow pointing to the right which didn't give him much choice. A one-way street between warehouses, narrow and dark, leading down to Paddington Goods Station.
The police car was close now - too close. He increased speed and saw that he was entering a long narrow tunnel under the railway line, then he noticed a figure up ahead.
It was a girl on a bicycle. A young girl, in a brown duffel coat, a striped scarf around her neck. He was conscious of her white frightened face as she glanced over her shoulder. The machine wobbled.
He swung the wheel, scraping the nearside wing against the tunnel wall so that sparks flew. It was no good. There just wasn't the room. There was a dull thud, no more than that and then she bounced to one side off the bonnet of the car.
The police car braked to a halt sharply. The Cretan kept on going, straight out of the end of the tunnel into Bishops Bridge Road.
Five minutes later he dumped the car in a side street in Bayswater, crossed the Bayswater Road and walked briskly through the trees across Kensington Gardens, emerging at Queen's Gate.
There was quite a crowd when he crossed to the Albert Hall and a queue up the steps to the box office, for there was an important concert that night. The Vienna Philharmonic doing the St Anthony Chorale by Brahms with John Mikali playing Rachmaninov's Concerto No. 2 in C minor.
21 July 1972. The Cretan lit a cigarette and examined the picture of Mikali on the poster, the famous one with the dark, curly hair, the pale face, the eyes like clear black glass.
He walked round to the rear of the building. One of the doors had an illuminated sign over it which said Artists. He entered. A doorkeeper, in his booth, glanced up from his sports paper and smiled.
'Evening, sir, cold tonight.'
'I've known worse,' the Cretan said.
He descended to the corridor leading to the back of the stage. There was a door marked Green Room. He opened it and switched on the light. It was surprisingly spacious as dressing-rooms went and reasonably furnished. The only thing which had visibly seen better days was the practice piano against the wall, an old upright Chappell which looked in imminent danger of collapse.
He took the Mauser from his pocket, opened a dressing case, removed the base panel and stuffed the Mauser inside out of sight. Then he took off his anorak, tossed it into the corner and sat down in front of the dressing mirror.
There was a knock on the door and the stage manager looked in. 'You've got forty-five minutes, Mr. Mikali. Can I get them to bring you some coffee?'
'No, thank you,' John Mikali said. 'Coffee and I don't agree. Some chemical thing, my doctor tells me. But if you could manage a pot of tea, I'd be most grateful.'
'Certainly, sir.' The stage manager, on his way out again, paused. 'By the way, if you're interested, there's just been a newsflash on the