Robert Sawyer - Frameshift

They continued creeping across the roof, wind slapping them like invisible hands. Finally, gathering all his strength, Pierre jumped forward.

It wasn’t much of a jump, but he did succeed in slamming into Marchenko’s chest, and the old man tumbled backward onto the hard concrete. Pierre straddled Marchenko. The hand with the keys lashed out, and Pierre felt them biting into his cheek. He arched his back and tried a roundhouse punch aimed at Marchenko’s face. It connected, and there was a cracking sound. Marchenko’s mouth opened to yowl in pain, and Pierre saw that his top teeth were all off-kilter — Pierre’s punch had knocked his upper denture loose.

Pierre tried to swing again, but this time he missed and the movement threw him off-balance, allowing Marchenko to push him off and struggle to his feet. Pierre could see that the back of Marchenko’s bald head was scraped raw from where it had hit the concrete.

Marchenko hobbled to the toolshed. It had a padlock on its door, but one of the now bloody keys in his hand unlocked it. Pierre, lying on his back, fought to catch his breath and struggled to bring his legs, which were dancing wildly, under control. Marchenko ducked into the shed and emerged a moment later holding a long black crowbar, presumably used to open crates shipped by helicopter. He came over to stand above Pierre.

“Before you die,” said Marchenko, as he raised the crowbar above his head, “I have to know. Are you a Jew?”

Pierre shook his head slightly.

Marchenko sounded sad. “Too bad. It would have made this perfect.”

He swung the crowbar down. Pierre rolled aside just in time, the crowbar’s splayed end taking a divot out of the roof.

The sound of the helicopter was now quite clear above the wind. Pierre glanced at it. It wasn’t the same yellow-and-black chopper he’d seen all those months ago. No, this seemed to be a private, civilian bird, all silver and white. Marchenko had probably called for one of his Millennial Reich cronies to come rescue him.

The old man swung the crowbar again. Pierre rolled to the right; the crowbar sparked against the concrete. Pierre rolled onto his back again, and, praying he could maintain a steady grip, lifted his cane high. But Marchenko parried with the crowbar, and the wooden stick split in two, one part pinwheeling high into the sky.

Marchenko brought the crowbar down in a gillooly on Pierre’s knees. He screamed as his left kneecap shattered. Marchenko lifted the crowbar again, this time trying to bring it down on Pierre’s head. Pierre squirmed on the ground. His arm reached out, undulating like a snake, and locked onto Marchenko’s ankle, yanking the old man down, the crowbar landing with a cracking of brittle ribs on Marchenko’s side.

Pierre looked up. The copter was now hovering over the scene, preparing to land, its rotor kicking up grit and debris on the rooftop. The man in the right seat, flying the helicopter — Christ, he was even wearing the same aviator’s jacket and mirrored shades as on Hard Copy . Felix Sousa. The fucking guy wasn’t just a Nazi in his thinking; he was an actual card-carrying member of Ivan Marchenko’s Millennial Reich.

The copter was descending now, the wind from its rotor slicing into them. Pierre hoped its downward force would keep Marchenko pinned to the ground, but the old man was soon scrabbling to his feet. The copter touched down.

Pierre glanced back. Another helicopter was approaching. It was hard to see anything in all this wind, but — way to go, Avi! The new copter was clearly marked SFPD — San Francisco Police Department.

Marchenko loomed over Pierre, clearly wanting to finish him off, but Sousa was gesturing frantically for him to hurry up and get aboard his copter; the police helicopter would be there within minutes. Marchenko’s round head split in a horrible, lopsided grin, his denture still askew, and he spit a contemptuous bloody gob onto Pierre’s face. He then hobbled, holding his cracked ribs, toward the copter, bending low to clear its rotor, which was still revolving counterclockwise at a reduced speed.

Suddenly Avi Meyer appeared at the top of the stairs. He was panting horribly and red as a beet after climbing forty stories. He reached into his jacket, pulled out a gun, and tried to shoot at Sousa’s copter. But Marchenko was already aboard, pulling the curving door shut, and the copter was lifting up off the roof.

The SFPD helicopter had closed the distance, though, and was now trying to force Marchenko and Sousa to land by flying directly above them, the downward wind sending grit flying everywhere. Sousa pulled his copter to the north, and it moved sideways a few meters above the rooftop, its body tilted to the side, its rotor barely clearing the lip around the edge of the roof. The police helicopter followed.

Pierre squinted, trying to watch but also trying to shield his eyes. Avi moved out of the stairwell entrance, and two of his men appeared behind him, also gulping for breath. One was holding his side and grimacing in agony. After a moment, Avi staggered to the south edge of the roof, as far from the noise of the helicopters as possible, and pulled out his cellular.

Pierre, meanwhile, picked up the crowbar and, using it as a short cane, keeping all weight off his destroyed left knee, hobbled over to the north edge, the pain almost unbearable, fighting nausea and dizziness with every step. When he got to the meter-high lip around the roof, he collapsed against it and brought both hands to his knee. He could hear the pounding of the helicopter blades, out of sight below him, next to the building.

“This is the police,” said a female voice from a bullhorn on the second copter; the voice was all but lost in the noise from the dueling rotors. “You are ordered to land.”

Pierre forced himself to his feet, using the lip to support himself. He almost blacked out from the pain; his body shook with agony and chorea.

Looking down was dizzying: forty stories of sheer glass, leading straight to the asphalt parking lot. Five SFPD squad cars were pulling up outside the building, sirens blaring. A few meters to Pierre’s right, and about ten meters below, was the silver copter with Marchenko and Sousa in it.

Marchenko could probably see directly into Craig Bullen’s office, with its redwood paneling and priceless paintings.

The cockpit was only a short distance away from the side of the tower.

The SFPD copter had moved alongside it now, as if trying to get a bead for a shoot-out. Pierre could clearly see the female pilot and her male companion, both uniformed, in the bubblelike cockpit. They seemed to be arguing with each other, and then the police copter started moving away, whichever one of them who felt flying this close to the building was dangerous having won the fight.

The rotor on Sousa’s copter was a circular blur below Pierre. The noise was deafening, but it would be only a matter of seconds before Sousa would head away from the building. He could make a beeline out into the Pacific, out over international waters, beyond the SFPD’s — or even the DOJ’s — jurisdiction, perhaps landing on a boat and sailing down to Mexico or beyond; surely there was more to Marchenko’s escape plan than just the helicopter.

Pierre hefted the crowbar, gauging its weight. It probably wouldn’t work — probably would just be deflected away. But he wasn’t about to stand by and do nothing —

Pierre closed his eyes, summoning all the control and all the strength he had left. And then he threw the crowbar as hard as he could, spinning it vertically end over end, down into the helicopter’s twirling blades, aiming for the outer edge of the rotor disk.

He was prepared to stagger back, in case the crowbar was sent flying up toward him.