"It's a matter of time…"
That's what Denslow had said. With his last words as a matter of  fact. And Justin Smythe knew that Denslow had chosen those words carefully.  
Smythe grabbed a handful of the broad, yellow plastic tape that  stretched across Denslow's front door and tore it away, letting it fall around  his feet. A sign driven into the lawn on a single hefty post behind him declared  that this house was condemned. 
That his home had been condemned so swiftly after Denslow's  death made the already flimsy legal pretexts even more suspect. It was clear to  Smythe that whoever it was who was behind Denslow's death, and those of four  members of Parliament in the last two weeks, was making another move in their  shadowy game.
Smythe retrieved the key to the front door from his pocket.  Denslow had given it to him two weeks ago, just before the first assassination.  It was shiny new brass, never used. Before he opened the door, Agent Smythe  checked that his Walther PPK was loaded, the safety on, and the silencer  tightened to the short barrel. The key scraped in the lock and he stepped  inside. 
He stepped over a pile of mail that had accumulated in the hall  underneath the drop slot. His mentor hadn't been home for some time, it seemed.  He moved through the darkened hallways, not wanting to turn on a light for fear  of attracting attention to what was supposed to be an empty house. It was his nose that led Smythe on. He smelled pipe tobacco; the sweet,  pungent scent he immediately associated with his mentor. Denslow always had a  gently smoking pipe clenched between his teeth. The smell permeated his office  at headquarters, smoking regulations be damned.
Denslow's study at home was reminiscent of his office in London.  Small room on the second floor, with old books weighing down deep bookshelves,  framed portraits hanging from the walls, and an antique globe perched at the  corner of the desk. Smythe fought down nostalgia and renewed grief at the loss  of a man who had been a second father to him. The anger that welled up against  the unseen people who had orchestrated his death was more useful.  
Smythe rooted through the office, riffling through papers and  files, opening drawers almost at random, letting his instincts guide him. He  looked at a slowly revolving carriage clock on one of the bookshelves and  thought again of Denslow's last words. "It's a matter of  time…"
Of course! He covered the distance to the bookshelf in two  strides and scooped up the clock. He set it down on the desk and pulled the  short chain on the shaded reading lamp, making sure it was tilted low, so there  was no chance it might shine out the darkened window. 
Urgently, the agent disassembled the clock, looking for anything  out of place, any clue of what Denslow had been investigating that had bought  him a death sentence. But after sifting the intricate pieces of the clock,  Smythe hadn't found anything to bring him closer to understanding.  
The agent blew out a long breath, fighting frustration. It would  only make it harder to think. He leaned back in the office chair, feeling the  way the old leather had conformed to the ample shape of his mentor. Where would  Denslow hide something that important? He was unlikely to let it get far from  his superbly trained eye. On consideration, the aging spy probably wouldn't have  even left it in his home. Assuming it was small enough, he would have kept it on  his person…
Again, Smythe stood, casting his own eyes around the room in the  way Denslow had trained him. There! A tweed jacket, fragrant with tobacco  smoke, hung from an old coat stand behind the office door. In the left-hand  pocket, Smythe found an old gold pocket watch. 
The watch clicked open softly and nestled inside, laying atop  the clock face, was a carefully folded scrap of paper. Smythe moved to lift it  out, but was interrupted by a noise. Most people would have assumed the slight  creak was a sound natural to an old house like this, but Denslow had taught  Smythe to be better than that. More aware. Someone else was in the house, and  they were trying to be quiet. 
The agent snapped the pocket watch closed as quietly as he  could, dropping it into his pocket even as he drew his pistol. He crouched and  pulled the desk lamp's plug from the wall, sinking the dim study into complete  darkness once more. Outside the door, Smythe saw four people  dressed in black moving silently down the hall. At each door or hallway, the  figure in front would point and one of the intruders would silently slip  away.
Smythe ducked back into the office and waited, listening as the  quieted footsteps grew nearer. They would pass the study, and one of them was  sure to enter to search. Anyone looking to get something of Denslow's would come  to this room. He crouched behind the door, taking what  concealment and cover it provided, waiting. A man slipped into the room, a  pistol held out before him, tracking across every shadow with his eyes and the  muzzle of his weapon. Smythe didn't wait long, he would be spotted here in  seconds. Crouched by the outlet, he plugged the desk lamp back  in.
The intruder stiffened as the dim light flickered on, his pistol  whipping towards the pool or light over the desk. Smythe stood and neatly shot  him in the back of the head. As the man collapsed, Smythe  wrapped his arm around his waist, keeping him from falling in a way that might  make noise. He dragged the man to the desk and propped him in the chair. He  stepped into the hallway, weapon raised.
The other three were in the hallway, speaking quietly. Their  search of the other rooms at that end of the hall had ended quickly, implying  that they had some idea of what they were looking for. As Smythe stepped out,  they spotted him, each of them leveling their own pistols.
Lead filled the old hallway, ripping into yellowed wallpaper and  raising a cloud of plaster dust. A vase shattered, throwing porcelain shrapnel.  A priceless painting was riddled with scorched holes. Smythe threw himself  across the corridor, returning fire. His shoulder slammed into the door opposite  the study and stumbled into a small bathroom.
Knowing he had only moments, Smythe ripped the towel rack off of  the wall and slammed his foot into the drywall. In three hard shots of his foot,  he kicked through the plaster. His assailants were close behind him, but  cautious. He had just enough time to tear away enough of the wall to climb  through, and then dive into the bathtub.
The black-clad intruders rounded the door ready for him. Bullets  sang through the air, shattering the tiles above the tub, but quickly one of  them slipped into the room and saw the hole. He leaned close to it and peered  through, and Smythe shot him in the back from the cover of the tub. The last of the intruders pulled back, a small woman with dark hair, the  one who had been assigning the others to search the house. They both fired,  bullets ricocheting from the lip of the tub, and whizzing through the air once  occupied by the fleeing attacker. 
Smythe leapt out of the tub and ran after her. She obviously  knew something and if she got away a piece of this puzzle might be lost. She  ran, firing behind her, and Smythe chased her down the corridor, firing after  her. Contrary to what was seen in American  movies, firing a weapon while moving is extrememly  difficult and inaccurate and when your target is also moving, it's almost  impossible to hit something. 
The woman was lighter on her feet than Smythe, and faster. She  was at the bottom of the stairs already by the time he reached the top, sliding  a fresh clip into his Walther. Smythe elected not to use the stairs and instead  threw himself belly-first onto the banister. He squeezed the trigger as fast as  he could as he slid, knowing he would probably not hit her, but hoping to force  her to take cover and stop her flight. 
Smythe rolled off of the banister at the bottom of the stairs  and had to take a moment to orient himself. The front door was open and from  outside he could hear an engine chugging to life. As he scrambled out onto the  front porch, he saw the huge construction wrecking machine roll forward on its  oversized tires. He backpedaled into the house, his eyes fixed on the face of  the woman behind the controls. He saw he reach for a lever, shake her head when  it would not move, then select another. The long arm of the construction machine  swung to the side, the dangling wrecking ball swinging beneath it like a  pendulum. 
The agent only just managed to throw himself into the house as  the arm swung around, bringing the ball into the front wall like a medieval  flail. Glass and wood exploded. Smythe pushed himself to his feet and threw off  the half of a couch that had landed on his back; his pistol was gone, lost  somewhere under the debris. The wrecking ball's arm was swinging back towards  the house.
Glancing at what remained of the front of house and the entry  stair, Smythe calculated his chances. As the machine began to bring the ball  around again, he sprinted forward and dove underneath it. It smashed into the  house again, the ball penetrating into the kitchen, the chain cutting into the  roof behind it. He pushed himself to his feet, unmindful of  the numerous cuts and abrasions sustained by flying debris and scattered glass  on the floor. He raced for the stairs. The woman at the controls must have been  getting the hang of them, for the ball was swinging into action much faster this  time. It swept the stairs nearly out from under Smythe. The floor buckled and  heaved, throwing him headlong into the bullet-scarred hallway where they had  met.
Smythe heard the creaking of the great chain and knew she would  be pulling it back for another swing, to bring the whole house down on top him.  He rolled to his feet and lunged at the chain.
He had to admit that he enjoyed the look of surprise on the  woman's face as the ball swung back out of the house, the agent standing on top  of it, clutching the chain. He leapt from the ball as it passed the wrecking  ball's cabin.
Even as he landed Smythe was lashing out with one foot, catching  the surprised woman across the jaw. But he had to give her credit, she rolled  with the blow and crawled out of the cab, jabbing and kicking. And now it was  time for Smythe to be surprised. The way this woman fought…she'd been trained in  the same ways as he had. She was MI6 as well.
People within his own organization were working against them.  
She was good, and she used every trick they taught in MI6 combat training. But Justin Smythe had been taught personally by Arthur Denslow, and he knew tricks that weren't taught in the classes. A nerve-pinch weakened her left arm and Smythe landed a stunning blow to her neck and a kick that shattered her knee. Smythe roughly grabbed her by the collar and pulled her upright.
"Who are you?" he demanded. When her hand moved he was ready for  danger, but his eyes widened at the sight of the grenade she clutched. She jerked out  the pin with her numbed hand and tried to throw herself onto  Smythe.
The agent thrust her away, but a foot's space was no safety from  a grenade. Climbing out of the wrecking ball's cabin, Smythe kicked out at one  of the long levers and the wrecking ball's arm began to swing. He leapt and  grabbed the chain as it passed, riding it away from the cabin, the explosion  ripping at his clothes as he sped from it.
Tumbling from the massive ball, Smythe tucked into a roll and kept his head down until the last of the debris finished raining down. When it was over, the agent pulled himself to his feet. His hand crept down to his pocket and felt the lump made by the pocket watch. It was time to find some answers.
 

4 comments:
Well done, Aron.
My favorite paragraph: The one that starts "That his home had been condemned so swiftly..." I like it because it piques my interest.
"He crouched behind the door, taking what concealment and cover it provided..." I argued with myself but ultimately determined cover and concealment are not necessarily intrinsic to each other. So while I might consider it redundant to list both, it's only a personal preference.
This paragraph: "Lead filled the old hallway, ripping into yellowed wallpaper and raising a cloud of plaster dust. A vase shattered..." This seemed in my mind to be every archetypal shooting-in-house scene from Hollywood. I admit I lost interest in the action here. Then he put his foot through the wall and jumped through, which really lost me. I can't picture someone actually in three kicks removing enough of the wall to jump through. But I'm not too inspired by action in the first place; a reader who has an appreciation for the genre might give better advice or praise on this section.
I definitely heard Indiana Jones music play when Smythe jumped onto the wrecking ball.
"The agent thrust her away..." Once the readers learn the woman is MI6-trained, 'the agent' fails to be specific enough a noun to avoid confusion. I think "he" would have done the job better.
All through the piece I identified with Smythe because of his loyalty to his mentor. It reminded me much of my own previous mentor.
I was looking forward to seeing what clue was on the paper he fought so hard to get, and what it might reveal about Denslow. But when the story came to the end I finally realized the point wasn't the plot; it was the action.
Hehe, wrecking ball. I think I ripped you off, love.
I liked it. It moved along well and had good momentum. We got just enough background to make it all make sense but not enough to bog the story down.
I also liked that we never found out what the info was; that's not important to the story. I enjoyed that it took a few stabs to figure out the pocket watch. It's pretty common in stories for the hero to be right the first time. Our hero here was half right, and then had to think out the rest to get to 100%.
Like I said, this one was pure comfort zone - an action scene. I came up with a background to justify the running around and shooting and it turned out to be better than I thought it would, I enjoyed writing that portion of it, but didn't put in enough time or thought to flesh it out and expand on it. But that's wasn't what I was looking for here, I wanted something easy after my very stilted Dulcina writing.
As for kicking through the wall, it's just plaster, but Smythe didn't jump through it. He leapt into the tub, but the idea was to make his pursuers think he'd gone through the wall. It wasn't a very well-explained bit of misdirection.
I had a very hard time with repition, having only two names in the whole story. I got really tired of saying "Smythe" and "the agent" but didn't really have a whole lot else to use, and it got worse once un-named characters entered the story. A good reason to kill them off quickly.
well the end of the story makes me want to read the other if there was one, you certainly have a way to catch someone's interest and make them wanting more. It was like a James Bond movie, I first thought of that, and when you mentioned MI6 I laughed.
great action sequence, I could picture it in my head really well. And it would be pretty awesome to see in a movie too.
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