Top Hook
From the acclaimed author of Night Trap, the third exhilarating tale of modern espionage and military adventure featuring US Navy intelligence officer Alan Craik – sure to appeal to the many fans of Tom Clancy and Dale Brown.The Alan Craik novels – NIGHT TRAP and PEACEMAKER – have earned Gordon Kent electrifying praise for their pace, authenticity and raw emotion, as well as for some of the most remarkable heroes – and villains – in fiction today. Now US Navy Intelligence officer Alan Craik is back in action, all because one man, fuelled by anger, ambition and pain, has ignited an explosive chain of events that threatens not only two careers, but world peace itself…Alan Craik and his wife Rose are flying high. She’s heading for astronaut training; he’s off to espionage school. But they come crashing down to earth when Rose is falsely accused of spying. As Alan risks everything to clear her name, a series of stunning escalations take his high-tech airborne attachment – and the world – to the brink of war. Suddenly, Craik finds himself hurtling through forbidden airspace to find “Top Hook”, the spy whose act of betrayal is more complex – and chilling – than anyone can imagine.
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Top Hook
Gordon Kent
To those who drive the ships
Table of Contents
Venice.
The streets were a river of color in the dark, sequins and silks swirling around bare flesh. Masks and cloaks fought the assault of the rain and the splashes of the sea underfoot. Costumes flowed toward San Marco, just as the tide of the Adriatic ebbed away, leaving salt puddles to reflect the glare of carnival.
The pounding music from the palazzi and the manic orchestration of voices, Italian and foreign, stunned Anna’s senses as she ran. Her masculine costume had saved her in the seconds when the meeting had gone bad, and now it freed her to move, thrusting through the tangle of the crowd. The sword at her side caught at passersby until she took the sheath in her left hand and lifted the hilt off her hip.
She stopped with her back against a medieval shop at the base of a bridge. Music pulsed through the stone at her back, and her lungs burned as she peered around the corner at the arch of the footbridge. Two lovers embraced against the stone railing; a reveler in a black cloak and white Pantalone mask strode past her toward the bridge. At the top of the arch stood another of the Serbs who had tried to kill her, talking into a cellphone, his head moving like an owl’s. None of the Serbs had bothered to wear masks or costumes; all had leather jackets and mustaches. High on adrenaline, she drew the sword and shrugged off her cloak in one unconsciously dramatic motion. She gathered the cloak in her left hand and risked one glance back into the thick of the crowd. Then she drew herself up and flung herself around the corner at the bridge.
Because the Serb was talking, he was slow. She rushed past the Venetian in the white mask, his dignified walk and cloak screening her for an extra second. She threw her own cloak with both hands, and the Serb shot at it on instinct. His second shot buzzed in her ear as she took a last step and leaped, lunging forward, her whole weight driving the point of the smallsword through his neck. The blade grated against the vertebrae and she rolled her wrist and used the speed of her rush to tear the blade free. Momentum carried her past her victim, and she stumbled, caught herself on the railing, and leaped to the parapet of the bridge.
The reveler’s white mask turned to the movement, black eye sockets locked on her. One of the lovers had been hit by a shot, and the Serb’s open throat pumped red blood on the gray stones. A second’s balance on the parapet as her mind recorded the copper scent and the sheen of blood, and she dove into the canal. The unwounded lover screamed.
The shock of the water cut off the screams, and she swam, eyes and mouth shut tight. She stayed down, lungs bursting from the run and the adrenaline, until her hands found the opening and she thrust herself through and up into the tiny space of a partly submerged chapel, lightless, silent. For an entire minute, she could do nothing but breathe, supporting herself on a stone that had been the base of the altar.
She snapped on a tiny flashlight whose glow reflected off gold leaf and mosaic.
Anna rolled into her waiting canoe, half filling it with water, and sat up. Her right hand still clutched the sword, and she pushed it under the bag in the front of the boat and played the tiny beam of light around her. The chapel had been a military one, eight hundred years ago; she hadn’t noticed it when she had entered at low tide. Now, she watched the ceiling as the tide ebbed and her escape route cleared. A Byzantine Saint Michael held aloft a sword of light and threatened Satan; a figure in armor at the far end looked to her like Saint Maurice—or was it Saint George?
She shivered. She had never killed before. She didn’t like it.
She pulled a travel book from her pack and opened it to the last page. She had written four names there in Arabic script, in an old Persian language that was better than a code. She studied them in the flashlight’s inch-wide beam.
Her lips thinned and she shook her head at the first name—George Shreed.
Suburban Virginia.
Sitting in his house alone, George Shreed stared at a dead computer screen and listened to the absence of his wife. She was dying in a hospice, and the house was dying with her, devoid now of her voice, of the smells of her cooking, of her off-tune singing. Thirty years of marriage create a lot of sound, and now it had all drained away, and he was alone.
He booted up one of his computers. Three monitors sat on tables in the small “study.” He could communicate directly with his duty officer at the Central Intelligence Agency, or with several distant mainframes on which he kept coded and secret files, or with the vast world of electronic magic that a few years before had hardly existed.
