"Yes," he said. "I want you to die."
The gun coughed once. A round red hole appeared in Renaud's forehead. He fell forward onto his desk, his smile frozen on his face.
The big man picked up the directory, tucked it in his pocket and without looking back at the lifeless body slumped over the desk, left the office as silently as he had entered.
THE ANTIQUE PLANE high above Austin's head danced in a graceful sky ballet in seeming defiance of the laws of gravity and physics. He watched in amazement from the edge of the grassy airfield south of Paris as the plane did an aerial spiral, then a half upward loop and half roll, reversing direction in a perfectly executed Immelmann.
Austin tensed as the plane dove and swooped in low over the field. The plane was going too fast for a safe landing. It was coming in like a guided missile. Seconds later, the aircraft's bicycle-style landing gear hit the ground and the plane bounced a yard or two in the air, but then it touched down again and taxied up to the hangar with a guttural roar of its engine.
As the two-blade wooden propeller spun to a stop, a middle-aged man climbed out of the cramped cockpit, removed his goggles and strode over to Austin, who was standing near the hangar. He was grinning from ear to ear. If he had been a puppy, he would have been wagging his tail with joy.
"Sorry the plane has only one seat, Monsieur Austin. It would be a pleasure to take you up for a ride."
Austin eyed the tiny airplane, taking in the bullet-shaped engine cover, the wood-and-fabric fuselage and the triangular fin and rudder with the skull and crossbones painted on it. Metal stringers that supported the stubby wings ran in parasol fashion from an A-shaped strut just forward of the cockpit.
"With all due respect, Monsieur Grosset, your airplane hardly looks big enough for one person."
Laugh lines crinkled the Frenchman's weathered face. "I don't blame you for being skeptical, Monsieur Austin. The Morane-Saulnier N looks as if a schoolboy put it together in his basement. Only twenty-two feet long, with a wingspan of twenty-seven feet. But this little mosquito was one of the deadliest planes of its day. It was fast over one hundred miles an hour and amazingly maneuverable. In the hands of a skilled pilot, it was an extremely efficient killing machine."
Austin walked to the plane and ran his hand over the fuselage. "I was surprised at the streamlined fuselage and the single-wing design. When it comes to World War One, I usually picture blunt-nosed biplanes."
"And with very good reason. Most planes used in the war had two wings. The French were ahead of the other countries in developing the monoplane. This model was, for a time, the most aerodynamically advanced aircraft of the war. Its main advantage over the biplane was its ability to climb more quickly, although this shortcoming was overcome later with the Sopwith and the Nieuport." "Your Immelmann was beautifully done."
"Merci," Grosset said with a bow. "Sometimes it is not as easy as it appears. This little plane weighs less than a thousand pounds fully loaded, but it is powered by the 116-horsepower I Rhone engine. It
is tricky to handle and a delicate hand is needed on the controls." He grinned. "One pilot said that the major danger in flying the N was not combat but landing. You may have noticed that my approach speed was high."
Austin chuckled. "You have a talent for understatement, Monsieur Grosset. I thought you were going to drill a hole in the ground." "I would not be the first to do so," Grosset said, with an easy laugh. "My task was a simple one compared to the old pilots. Picture yourself coming in with your wings full of bullet holes and the fabric in tatters. Maybe you have been wounded so you're weak from loss of blood. Now, there is a challenge."
Austin detected a hint of nostalgic envy in Grosset's tone. With his fine features and thin mustache, the Frenchman was the epitome of the dashing escadrille daredevils who buzzed German trenches in defiance of antiaircraft fire. Austin had called Grosset, the director of the air museum, after speaking to Ian MacDougal, and asked him to look at the pictures of the lake plane. Grosset said he would be glad to help out if he could. True to his word, he'd called back with a tentative ID shortly after receiving the digital photos over the Internet. "Your plane is in many pieces," he'd said, "but I agree with Monsieur Ian that it is a World War One-era aircraft called a Morane-Saulnier N."
"I'm afraid my knowledge of early aircraft is on the sketchy side," Austin had replied. "Can you tell me more about it?"
"I can do better," Grosset had said. "I can show you one. We have an N in our air museum."
Earlier that day, after checking into his Paris hotel, Austin had caught a high-speed train that had taken him to the museum faster than if he had flown in Grosset's plane. The museum was situated in a hangar complex at the edge of the airfield less than fifty miles south of Paris.
After the demonstration of his plane's capabilities, Grosset invited Austin to his office for a glass of wine. The office was tucked into a corner of the hangar, which was filled with vintage airplanes. They walked past a Spad, a Corsair and a Fokker into a small room whose walls were festooned with dozens of airplane pictures.
Grosset poured a couple of glasses of Bordeaux and toasted the^ Wright Brothers. Austin suggested that they raise their glasses as well to Alberto Santos-Dumont, an early Brazilian air pioneer who had lived in France for many years and was considered French by many.
Printouts of the photos Austin had sent Grosset were spread out on top of an old wooden desk. Austin picked up a picture of the wrecked plane, studied the broken framework and shook his head in wonderment.
"I'm amazed that you were able to identify the plane from this mess."
Grosset set his glass aside and fanned out the photos until he came to one he wanted.
"I wasn't sure at first. I had my suspicions, but as you say, this is a mess. I recognized the machine gun here as a Hotchkiss, but they were commonly used by the early warplanes. And the distinctive conical engine housing was a strong clue. Then I noticed something quite interesting." He shoved the photo across the desk and handed Austin a magnifying glass. "Take a close look at this."
Austin examined the rounded wood shape. "It looks like a propeller blade."
"Correct. But not just any propeller blade. See here, there is a metal plate fastened to the propeller. Raymond Saulnier devised a true synchronizing gear early in 1914, which allowed him to fire a Hotchkiss machine gun through a spinning propeller. Ammunition would sometimes hang fire, so he fitted crude metal deflectors to the propeller blades."
"I've heard of that. A low-tech solution to a complex problem." "After a few test pilots were killed by ricocheting bullets, the idea
was temporarily abandoned. Then came the war and with it the impetus to come up with new ways to kill your enemy. A French ace named Roland Garros met with Saulnier, and they fitted his plane with steel deflector plates that worked as designed. He had several kills before his plane fell behind enemy lines. The Germans used his system to develop the Fokker synchronizing gear."
Austin picked up another photo and pointed to a small light-colored rectangle in the cockpit. "What do you make of this? It looks like a metal plaque."