Blowback

THIRTY-TWO

While Jillian kept an eye on the street, Harvath used the noise of the Métro to cover the three full swings of the hammer it took for the heavy wooden door, with its thick metal lock, to splinter and give way. The door to the apartment upstairs proved much easier to get through.

As Harvath set up his gear, he explained to Jillian that on their first trip to Sotheby’s today, he noticed that this building had the same danse macabre under the eaves as the one across the street. It reminded him of a story he had once read about what the French did with the bodies from the Holy Innocents cemetery when it got too full and they needed to make room for new arrivals.

Originally, they placed them in charnel houses adjacent to the church, but they didn’t have enough space to keep up with demand. So they started quietly buying up buildings in the neighborhood to use as undisclosed charnel houses. Sometimes they’d wall the bodies up and rent out the apartments to help recoup some of their costs. Sometimes they’d place the bodies on the top two floors and rent the floors beneath. Everything was going just fine until the walls and floors began rotting away and dead bodies started falling into people’s living rooms.

Even building to building, corpses were falling through the walls. At this point, Paris caught a break. They had pretty much stopped mining stone under the Right Bank because they were afraid that all of the tunnels had weakened it close to the point of collapse. It was the perfect place to transfer the contents of the charnel houses. They hauled the dead out in the dark of night by the wagonload, stacked their skulls and bones throughout the tunnels, and voilà, the Paris catacombs were born.

Seeing the murals earlier that day had gotten him thinking. He tracked down the club where the DJ who lived in the apartment worked and learned that the man would be working a rave in Calais for the next two days. After that, he did a little research at the Bibliothèque Nationale and learned that all of the buildings on this block were at least several centuries old. The wall that separated the apartment from what they wanted in Molly Davidson’s office next door was constructed in exactly the same way as buildings over five hundred years ago — stone and mortar.

“I hope you’ve got a bigger sledgehammer if you’re planning what I think you’re planning,” said Jillian as Harvath unlocked the lid of the larger Storm case and flipped it open.

Along with another weapon, Ozan Kalachka had come through for him yet again. Inside the case was a device called a Rapid Cutter of Concrete, or RAPTOR for short. It looked like a large fire extinguisher with a long muzzle attached to it. It was a helium-driven gas gun that could fire steel nails at 5000 feet per second, five times the speed of sound, cracking concrete over six inches thick.

“What the hell is that?” she asked.

“Our ticket in,” replied Harvath as he removed a long black silencer tube from the Storm case and screwed it onto the end of the RAPTOR. “There’s one other thing we need.”

Harvath walked over to a stack of milk crates stuffed with record albums. As he began sorting through them he said, “First, we have to remove the coating of plaster on this side of the wall with the sledgehammers and then we’ll use the RAPTOR to help us get through the wall itself. But even with the silencer, we’re still going to make a good amount of noise. I don’t want to have to depend on intermittent Métro trains coming and going all night to help cover us. Besides, I like to whistle to something while I work. Don’t you?”

“That depends what we’re whistling to,” she replied.

Harvath held up George Clinton’s Greatest Funkin’ Hits and said, “How about the Master?”