Cathedral (6 page)

Father Murphy turned away from the windows and peered down at the worshipers. A dozen people were widely scattered over the length and breadth of this massive-columned house, none of them with any companion but God. He lifted his eyes toward the great choir loft over the front portals.

The large pipe organ rose up like a miniature cathedral, its thousands of brass pipes soaring like spires against the diffused light of the massive rose window above them.

From his pocket Father Murphy drew his typed sermon and laid it over the open pages of the lectionary, then adjusted the microphone upward. He checked his watch. Sixforty. Twenty minutes until Mass.

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Satisfied with these small details, he looked up again and noticed a tall priest standing beside the altar of St. Brigid. He didn't recognize the man, but St. Patrick's would be filled with visiting priests on this day; in fact, the priest appeared to be sightseeing, taking in the wide expanses of the Cathedral. A country bumpkin, thought Murphy, just as he himself had been years before. Yet there was something self-assured about the man's bearing. He seemed to be not awed but critical, as though he were considering buying the place but was unhappy with some of the appointments.

Father Murphy came down from the pulpit. He studied the bouquets of green-dyed carnations, then snapped one off and stuck it in the lapel of his coat as he descended the steps of the altar sanctuary and walked down the center aisle. In the large vestibule under the bell tower he came within a dozen feet of the tall priest, that area of space within which greeting had to be made. He paused, then smiled, "Good morning, Father."

The tall priest stared. "Morning."

Father Murphy considered extending his hand, but the other priest had his right hand deep in his overcoat pocket and held a gift-wrapped box under his other arm. Murphy passed by the priest and crossed the cold stone vestibule to the front door. He drew the floor bolt, then pushed the door open and stepped out to the front steps of the Cathedral. His clear blue eyes drifted across Fifth Avenue and upward to the top of the International Building in Rockefeller Center. A glint of sunlight reflected from the bronze work of the building. It was going to be a sunny day for the Irish, a great day for the Irish.

He looked to his right. Approaching from the north was a vehicle with flashing yellow lights. Hissing noises emanated from it as it drew opposite the Cathedral. Murphy saw the stream of Kelly-green paint coming from the rear of the machine, drawing a line down the middle of Fifth Avenue and covering the white traffic line.

His eyes focused on the huge bronze statue of Atlas-53

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facing him from across the street in front of the International Building-holding up the world in a classic pose, heroic but pagan. He had never liked that statue-it mocked his church. Rockefeller Center itself mocked his church, its gray masonry buildings a colossal monument to the ego of one man, soaring above the marble spires of the Cathedral.

He stared at the naked physique of the god opposite him and was reminded of the tall priest in the Cathedral.

Brian Flynn moved to an arched oak door in a wall of the vestibule below the bell tower, opened it, and stepped into a small elevator. He pushed the only button on the panel, and the elevator rose. Flynn stepped out into the choir practice room, walked through it into the choir loft, and stood at the parapet rail.

Flynn looked beyond the sea of wooden pews toward the raised altar, its bronze work bathed in soft illumination and its marble gleaming from unseen light sources. White statuary reflected the ambient lighting and seemed-as it was supposed to seem-ethereal and animated. The statue of St. Patrick opposite the pulpit appeared to be looking up at him. Behind the carnation-decked altar was the rounded apse that held the Lady Chapel, the tall, slender, stainedglass windows alight with the rising sun. The fifteen altars that stood on the periphery of the Cathedral were aglow with votive candles.

If the intention was to awe, to mystify, to diminish man in the face of God, then this Gothic structure accomplished its purpose very well. What masters of suspense and mystery these Catholics were, Flynn thought, what incredible manipulators of physical reality and, hence, inner reality.

Bread and wine into flesh and blood, indeed. Yet inside this Cathedral the years of childhood programming had their effect, and his thinking was involved with too many forgotten emotions. Outside the Church was a world that didn't diminish him or play tricks with his mind and eyes. He gave the Cathedral a last look, then made his way to a small door off the choir loft and opened it.

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A rush of cold air hit him, and he shivered as he stepped into the bell tower. When his eyes had adjusted to the darkness he moved forward and found a spiral staircase with handrails in the center of the tower and began to climb, steadying himself with one hand and holding the parcel with the other.

The tower was dark, but translucent glass let in a grayish light. Flynn could see his breath as he climbed. The stairs gave way to ladders, and the ladders became shakier at each succeeding landing. He wondered if anyone ever came up here; he couldn't imagine why they would. He stopped to catch his breath on a landing below what he believed to be the first bell room.

He saw some movement to his right and drew his pistol. He walked in a crouch toward the movement, but it was only the straps of the bells hanging down the wall in a sinister fashion, swaying in the drafts as they passed through a hole in the landing.

He looked around. The place was eerie. The diffused light added to the effect, and the sounds of the surrounding city were changed into odd noises that seemed to come from the tower itself. The draft was eerie also because he couldn't quite tell from which direction it came. It seemed to come from some hidden respiratory organ belonging to the Cathedral itself-in a way, the secret breath of St. Patrick's--or St. Patrick himself. Yet he felt somehow that this breath was not sanctified and that there was an evil about the place. He had felt that in Whitehom Abbey, and afterward realized that what the faithful took to be the presence of the Holy Spirit was something quite different for the faithless.

He tried to light a cigarette, but the matches would not stay lit. The brief light illuminated the small, polygonshaped chamber of the tower, and again his thoughts were drawn back to the subbasement of Whitehorn's chapter house. He rubbed his hand over the large ring that he still wore.

He thought of Maureen and pictured her as he had last seen her in that basement: frightened, sick, saddened

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at their parting. He wondered what her first words to him would be after these four years.

He looked at his watch. In ten minutes the bells would ring the Angelus, and if he were near them he would be deafened. He mounted the ladder and ascended. He had an impulse to shout a blasphemy up into the dark tower to rouse those spirits in their aerie, to tell them that Finn MacCumail was approaching and to make way.

The ladder reached into the first bell room, which held three of the Cathedral's nineteen cast-bronze bells hanging from a crossbeam. Flynn checked his watch again. Eight minutes to seven. Setting a flashlight on a crossbeam, he worked swiftly to unwrap the package, exposing a black metal box. He found the electrical wire that led to the utility work light fixed on the beam and cut the wire, connecting each end to terminals in the metal box. He set an electrical timer on the box to 5:00

P.m., then pulled the chain of the utility light. The bell room was partially illuminated, revealing the accumulated dust and cobwebs of a century, and the timer began ticking loudly in the still room.

He touched one of the bronze bells and felt its coldness, thinking that today might be the last day New York would hear it.

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Maureen Malone stood naked in front of the full-length door mirror, cold water clinging to her face and shoulders and glistening in the harsh bathroom light. Her hand moved to her right breast, and she felt the cold, jagged flesh along the side of it. She stared at the purple gash. God, the damage a tiny bullet could do. She had once considered plastic surgery, but the wound went down into her soul where no surgeon's hands could reach it.

She took a hotel bath towel, wrapped herself in it, and stepped into the bedroom. She walked slowly across the thick carpet, parted the heavy drapery, and looked out into the city from the forty-second floor of the Waldorf's north tower.

She tried to focus on the lights a few at a time. Strings of highway and bridge lamps cut across the waterways and flatlands around the island, and the island itself was jammed with incredibly huge buildings. She scanned the buildings closest to her and saw the Cathedral laid out in the shape of a cross, bathed in a cold blue light. The apse faced her, and the entrance was on a wide avenue. It's twin spires rose gracefully amid the rectangular hulks around it, and she could see traffic moving on many of the city's streets, an incredible thing at that hour, she thought.

The lights of the city blurred in her eyes, and her mind wandered back to the dinner in the Empire Room downstairs where she had been a speaker.

What had she told those ladies and gentlemen of Amnesty International?

That she was there for the living and dead of Ireland. What was her mission? they asked. To convince the British to release 57

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the men and women interned in Northern Ireland under the Special Powers Act. After that, and only after that, would her former comrades-in-arms talk peace.

The newspapers had said that her appearance on the steps of St. Patrick's Cathedral on the saint's feast day, with Sir Harold Baxter, the British Consul General in New York, would be a historical precedent Never bad a Cardinal allowed anyone remotely political to stand with him on the steps on this day. The political types mounted the steps, she was told, saluted the Prince of the Church and his entourage, then rejoined the parade and marched to the reviewing stands fourteen blocks farther north. But Maureen Malone, ex-IRA terrorist, had been invited. Hadn't Jesus forgiven Mary Magdalene? the Cardinal had asked her. Wasn't this what Christ's message was all about? She didn't know if she liked the comparison with that famous whore, but the Cardinal had seemed so sincere.

Sir Harold Baxter, she knew, was as uncomfortable with the arrangement as she was, but he could not have accepted without the approval of his Foreign Office, so that at least was a breakthrough. Peace initiatives, unlike war initiatives, always had such small, meek, tentative beginnings.

She felt a sudden chill by the window and shivered. Her eyes went back to the blue-lit Cathedral. She tried to envision how the day would end but couldn't, and this frightened her. Another chill, a different kind, ran down her spine. Once in, never out.

Somehow she knew Brian Flynn was close, and she knew he would not let her get away with this.

Terri O'Neal woke to the sound of early morning traffic coming through the second-story window. She sat up slowly in the bed. A streetlight outside the window partially illuminated the room. The man next to her-Dan, yes, Danturned his head and stared at her. She could see that his eyes were clear, unclouded by either drink or sleep. She suspected that he had been awake for some time, and this 58

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made her uneasy, but she didn't know why. "Maybe I should get going. Work today."

He sat up and held her arm. "No work today. You7re going to the parade.

Remember?"

I-Es voice, a light brogue, was not husky with sleep. He had been awake and how did he know she wasn't going to work to~day? She never told her pickups anything more than they had to know-in case it didn't go well. "Are you going to work today?"

"I am at work." He laughed as he took a cigarette from the night table.

She forced a smile, swung her legs out of bed, and stood. She felt his eyes taking in her figure as she walked to the big bay window and knelt in the window bench facing the street. She looked out. A lovely street.

Sixty-somethingoff Fifth, a street of brownstone and granite town houses.

She looked westward. A big police van was parked on the comer of Fifth, and across the street from it was a television truck. On the far side of the Avenue were the reviewing stands that had been assembled in front of the park.

She looked directly below her. A long line of police scooters were angle-parked on the street. Dozens of helmeted police officers were milling about, blowing into their hands or drinking coffee. Their proximity made her feel better.

She turned and sat facing the bed. She noticed that he had put on his jeans, but he was still sitting on the bed. She became apprehensive again, and her voice came out low and tremulous. "Who-who are you?"

He got off the bed and walked to her. "I'm your lover of last evening, Mrs.

O'Neal." He stood directly in front of her, and she had to crane her neck to look up into his face.

Terri O'Neal was frightened. This man did not act, look, or talk like a crazy-yet he was going to do something to her that she was not going to like. She was sure of that. She pulled free of his stare and turned her eyes slightly toward the side panel of the bay window. A loud scream would do it. She hoped to God it would do it.

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Dan Morgan didn't follow her eyes, but he knew what was out there. "Not a peep, lass. Not a peep . . ."

Reluctantly she swung her head back toward him and found herself staring into a big, black silencer at the end of a bigger black pistol. Her mouth went dry.

". . . or I'll put a bullet through your pretty, dimpled kneecap."

It was several seconds before she could form a thought or a word, then she said softly, "What do you want?"

"Just your company for a while."

"Company?" Her brain wasn't taking in any of this.

"You're kidnapped, darlin'. Kidnapped."