Catherine lit a cigarette, her hands still trembling. More than anything else, she was angry at herself. For years, she had gone to extraordinary lengths to make certain she was not being watched by the other side. Then, when it finally happened, she had missed it. She said, "How in the world are we going to get out of London?"
"We have a couple of things we can use to our advantage. Number one, this." Neumann tapped his pocket containing the film. "I could be wrong, but I don't think I've ever been followed. Vogel trained me well, and I'm very careful. I don't think they know how I deliver the film to the Portuguese: where it's done, whether there's a patter or any other recognition signal. Also, I'm certain I've not been followed to Hampton Sands. The village is so small I'd know if I was under surveillance. They don't know where I'm staying or whether I'm working with any other agents. Standard procedure is to find out all the components of a network and then roll it up all at once. That's how the Gestapo deals with the Resistance in France, and that's how MI-Five would do it in London."
"That all sounds logical. What are you suggesting?"
"Are you seeing Jordan tonight?"
"Yes."
"What time?"
"I'm meeting him at seven o'clock for dinner."
"Perfect," Neumann said. "Here's what I want you to do."
Neumann spent the next five minutes explaining in detail his plan for their escape. Catherine listened carefully, never taking her eyes off him, resisting all temptation to look at the watchers waiting outside the cafe. When Neumann finished he said, "Whatever you do, you must do nothing out of the ordinary. Nothing that would make them suspect that you know you're under surveillance. Stay on the move until it's time. Shop, go to a cinema, stay in the open. As long as I don't drop this film, you'll be safe. When it's time, go to your flat and get your radio. I'll be there at five o'clock--exactly five o'clock--and I'll come through the rear entrance. Do you understand?"
Catherine nodded.
"There's just one problem. Do you have any idea where I can lay my hands on a car and some extra petrol?"
Catherine laughed in spite of herself. "Actually, I know just the place. But I wouldn't suggest using my name."
Neumann left the cafe first. He drifted in Mayfair for half an hour, followed by at least two men--the oilskin coat and the mackintosh.
The rain fell harder, the wind picked up. He was cold, soaked to the skin, and tired. He needed to go somewhere to rest, someplace where he could be warm for a while, get off his feet, and keep an eye on his friends Mackintosh and Oilskin. He walked toward Portman Square. He felt bad about involving her, but when it was over they would question her and determine she knew nothing.
He stopped outside the bookshop and peered through the glass. Sarah was on her ladder, dark hair pulled back severely. He rapped gently on the glass so as not to startle her. She turned, and her face brightened into an instant smile. She set down her books and waved enthusiastically for him to come inside. She took one look at him and said, "My God, you look terrible. What happened to you?"
Neumann hesitated; he realized he had no explanation for the bandage across his cheekbone. He mumbled something about taking a fall in the blackout, and she seemed to accept his story. She helped him off with his coat and hung it over the radiator to dry. He stayed with her for two hours, keeping her company, helping her put new books on the shelves, taking tea with her at the cafe next door when her break came. He noticed the old watchers leaving and new ones taking their place. He noticed a black van parked at the corner and assumed the men in the front seat were from the other side.
At four thirty, when the last light was gone and the blackout had taken hold, he took his coat from the radiator and pulled it on. She made a playful sad face, then took him by the hand and led him into the stockroom. There, she leaned against the wall, pulled his body to hers, and kissed him. "I don't know the first thing about you, James Porter, but I like you very much. You're sad about something. I like that."