Alistair MacLean - Puppet on a Chain

That's my girl,' I said approvingly. 'Worrying about her boss. On to me? Well, if they're not they have half the staff at the Hotel Rembrandt keeping tabs on the wrong man. Even the side entrances are watched: I was tailed when I left tonight.'

'He didn't follow you far.' Maggie's loyalty could be positively embarrassing.

'He was incompetent and obvious. So are the others there. People operating on the fringes of junky-land frequently are. On the other hand they may be deliberately trying to provoke a reaction. If that's their intention, they're going to be wildly successful.'

'Provocation?' Maggie sounded sad and resigned. Maggie knew me.

'Endless. Walk, run, or stumble into everything. With both eyes tightly shut.*

This doesn't seem a very clever or scientific way of investigation to me,' Belinda said doubtfully. Her contrition was waning fast.

'Jimmy Duclos was clever. The cleverest we had. And scientific. He's in the city mortuary.'

Belinda looked at me oddly. 'You will put your neck under the block?'

'On the block, dear,' Maggie said absently. 'And don't go on telling your new boss what he can and can't do.' But her heart wasn't in her words for the worry was in her eyes.

'It's suicide,' Belinda persisted.

'So? Crossing the streets in Amsterdam is suicide — or looks like it. Tens of thousands of people do it every day.' I didn't tell them that I had reason to believe that my early demise did not head the list of the ungodly priorities, not because I wished to improve my heroic image, but because it would only lead to the making of more explanations which I did not at the moment wish to make.

'You didn't bring us here for nothing,' Maggie said.

That's so. But any toe-tramping is my job. You keep out of sight. Tonight, you're free. Also tomorrow, except that I want Belinda to take a walk with me tomorrow evening. After that, if you're both good girls, I'll take you to a naughty night-club.'

'I come all the way from Paris to go to a naughty night-club?' Belinda was back at being amused again. 'Why?'

'I'll tell you why. I'll tell you some things about nightclubs you don't know. I'll tell you why we're here. In fact,' I said expansively, 'I'll tell you everything.' By 'everything' I meant everything I thought they needed to know, not everything there was to tell: the differences were considerable. Belinda looked at me with anticipation. Maggie with a wearily affectionate scepticism, but then Maggie knew me. 'But first, some Scotch.'

'We have no Scotch, Major.' Maggie had a very puritanical side to her at times.

'Not even au fait with the basic principles of intelligence. You must learn to read the right books.' I nodded to Belinda. The phone. Get some. Even the managerial classes must relax occasionally.'

Belinda stood up, smoothing down her dark dress and looking at me with a sort of puzzled disfavour. She said slowly: 'When you spoke about your friend in the mortuary I watched and you showed nothing. He's still there and now you are — what is the word — flippant. Relaxing, you say. How can you do this?'

'Practice. And a siphon of soda.'

It was classical night that night at the Hotel Rembrandt with the barrel-organ giving forth a rendition of an excerpt from Beethoven's Fifth that would have had the old composer down on his knees giving eternal thanks for his almost total deafness. Even at fifty yards, the distance from which I was prudently observing through the now gently drizzling rain, the effect was appalling: it was an extraordinary tribute to the tolerance of the people of Amsterdam, city of music-lovers and home of the world-famous Concertgebouw, that they didn't lure the elderly operator into a convenient tavern and, in his absence, trundle his organ into the nearest canal. The ancient was still rattling his can at the end of his stick, a purely reflex action for there was no one about that night, not even the doorman, who had either been driven inside by the rain or was a music-lover.

I turned down the side-street by the bar entrance. There was no figure lurking about adjacent doorways or in the entrance to the bar itself, nor had I expected to find any. I made my way round to the alley and the fire-escape, climbed up to the roof, crossed it and located the stretch of coaming that directly overhung my own balcony.

I peered over the edge. I could see nothing, but I could smell something. Cigarette smoke, but not emanating from a cigarette made by one of the more reputable tobacco companies, who don't include reefers among their marketable products. I leaned further out to almost the point of imbalance and then I could see things, not much, but enough: two pointed toe-caps and, for a moment, the arcing, glowing tip of a cigarette, obviously on the downswing of an arm.

I withdrew in caution and with silence, rose, re-crossed to the fire-escape, descended to the sixth-floor, let myself through the fire-escape door, locked it again, walked quietly along to the door of Room 616 and listened. Nothing. I opened the door quietly with the skeleton I'd tried earlier and went inside, closing the door as quickly as I could: otherwise indetectable draughts can eddy cigarette smoke in a way to attract the attention of the alert smoker. Not that junkies are renowned for their alertness.

This one was no exception. Predictably enough, it was the floor-waiter. He was sitting comfortably in an armchair, feet propped up on the balcony sill, smoking a cigarette in his left hand: his right lay loosely on his knee and cradled a gun.

Normally, it is very difficult to approach anyone, no matter how soundlessly, from behind without some form of sixth sense giving them warning of your approach: but many drugs have a depressive influence on this instinct and what the floor-waiter was smoking was one of them.

I was behind him with my gun at his right ear and he still didn't know I was there. I touched him on the right shoulder. He swung round with a convulsive jerk of his body and cried out in pain as his movement gouged the barrel of my gun into his right eye. He lifted both hands to his momentarily injured eye and I took the gun from him without resistance, pocketed it, reached for his shoulder and jerked hard. The waiter catapulted over backwards, completing a somersault, and landing very heavily on his back and the back of his head. For maybe ten seconds he lay there, quite dazed, then propped himself up on one arm. He was making a curious hissing sound, his bloodless lips had vanished to reveal tobacco-stained teeth set in a vulpine snarl and his eyes were dark with hate. I didn't see much chance of our having a friendly get-together.

'We do play rough, don't we?' he whispered. Junkies are great patronizers of the violent cinema and their dialogue is faultless.

'Rough?' I was surprised. 'Oh, dear me, no. Later we play rough. If you don't talk.' Maybe I went to the same cinema as he did. I picked up the cigarette that lay smouldering on the carpet, sniffed at it in disgust and squashed it out in an ashtray. The waiter rose unsteadily, still shaken and unsteady on his feet, and I didn't believe any of it. When he spoke again, the snarl had gone from his face and voice. He had decided to play it cool, the calm before the storm, an old and worn-out script, maybe we should both start attending the opera instead.

'What would you like to talk about?' he asked.

'About what you're doing in my room for a start. And who sent you here.'

He smiled wearily. The law has already tried to make me tell things. I know the law. You can't make me talk. I've got my rights. The law says so.'

'The law stops right outside my front door here. This side of that door we're both beyond the law. You know that. In one of the great civilized cities of the world you and I are living in our own little jungle. But there's a law there too. Kill or be killed.'