Chapter 10
Long ago, in a context now forgotten, casually my father mentioned that, over the years, Uncle Leo became very adept at breaking into the Saki Industries building.
Right now, I find myself hoping it is a family trait.
Karai and I wait on the building rooftop, armed only with a Geiger counter and a katana each. On the opposite side of the roof, hunched over a laptop and working to take out the Saki security grid, are Dr. Chaplin and April, equipped with guns and a second Geiger counter. As soon as they give the word, then we move inside. It should not take long. Though I had suggested that I stay with them to help crack security—something I am far more qualified to do than Chaplin, who is decades out of touch with Saki's systems—April had insisted I go with Karai instead.
To keep watch. To keep guard.
Perspective is fascinating. When I think of the woman beside me, I cannot help but see the mysterious and defeated captive imprisoned for so long in my father's hidden cell. Yet I know when April looks at her, she can only see the murderer who took away her friends, the uncles I have never known. I wonder if it is because I never met those she killed that I do not hate Karai as my father and April so obviously do.
Glancing over at my new associate, I catch her regarding me with a frankly inquisitive expression. She looks so peculiar that I nearly laugh—like the rest of us, she is clad in a radiation suit, colored a bright orange that is anathema to anyone trained to embrace the shadows. Never breaking eye contact, even though she is fiddling with her headset in annoyance, she asks, "Do you regret any of it, Hiroko?"
"I might very well ask you the same thing."
Thoughtfully she frowns. "I regret that we are both without our fathers."
I accept her conclusion with a small nod. There is nothing more to say—and even had there been, we would leave it unsaid. We are ninja. We did what we had to do, and regardless, it cannot now be undone. Instead of further discussion, we slide noiselessly across the rooftop, ducking under security cameras, flipping over hidden laser beams. The bulky radiation suits only hinder us slightly, and it takes mere seconds to reach our goal: the main ventilation shaft. Once there, we wait to receive the go-ahead.
Seconds turn to minutes. Glowering, Karai fidgets with the headset.
"We have a problem." April's voice, sudden and unexpected, echoes loudly in my ears.
Karai's eyes narrow dangerously, and she turns to glare in April's direction. "What problem?"
"Dr. Stockman's good," Chaplin says by way of reply, the admiration in his voice unmistakable. "He's managed to completely change up Saki Industries' computer systems. We can't find overrides for his new security encryptions."
"I'm too old for this," mutters Karai, shaking her head.
I bite my lip to keep from sighing. I should have known better. Nothing ever goes easily for a Hamato. In my ears I hear the ghost of my father's voice, low in imitation of an uncle I never knew, growling, "Good old Turtle luck, true to form." I find myself sympathizing very much with Uncle Raphael at the present moment.
Thinking it over, I tentatively suggest, "Are there any other computer systems besides the security that you can access?"
Sounding agitated, April snaps back, "Already looking."
Karai and I exchange a look. The older woman smirks, ever so slightly.
"Hmm. Okay, now," says Chaplin. He pauses. "Looks like we can get into the temperature control and fire safety systems."
April chuckles. "How about we set off all the sprinkles? Will that be a good enough distraction?"
"That shall suffice," Karai says, reaching into a pocket. "Inform us when you have done so." From her pocket she pulls out a small tool and looks up at me. "Glass-cutter," she explains succinctly.
I nod. Further clarification is unnecessary. We both know that, without shutting down the security, to venture into the ventilation shafts would be certain death. The many booby traps ensure that. Quite clearly, an alternative entrance is required. I reach for my belt and take the coil of rope that hangs there.
"Are the laboratories still on the east side of the building?" Karai asks impassively.
I shake my head. "No. My father moved them two years ago. They are now in the north wing."
Karai pauses, takes in this new information. Then she motions for us to head to the other side of the roof.
By the time we've securely tied the rope, Chaplin gives us the go-ahead over our headsets. I notice April stand up and remove the rope from her own belt, as Chaplin puts away the laptop. April looks in my direction, locking eyes with me. She nods, and I nod in return. Then I turn away. Quickly, stealthily, Karai and I rappel down the north side of the Saki building. I stop at the floor where the labs are located. Karai takes the glass-cutter and, within seconds that somehow feel like minutes, we're inside.
The laboratory is empty. No one's around, and nothing but gleaming white walls and long black counters greet our entrance. Turning my face upwards towards the overhead sprinklers, I briefly enjoy the feel of the cool water falling on my face. Out in the hallway I can hear shouting, commotion, and the blaring of the fire alarms. I smile, just a little. April and Chaplin have done well. Then I pull out the Geiger counter and begin scanning the large room.
April and I had guessed that Director Stockman would likely keep the nuclear device in one of the Saki labs, and luckily it appears we were correct. As I near the left side of the room, the radiation levels spike on my scanner.
Frowning, I notice a large metal box on a far table. I glance over to Karai.
She motions me towards the table, and I go. Meanwhile, Karai begins a slow circuit of the room, with her sword drawn and at the ready. She is a warrior. I, like my father, am both warrior and scientist. It only makes sense for I to approach the bomb while she checks for guards. And yet I feel unmistakably uneasy, as I stare down at the innocuous-appearing box that can potentially destroy millions of lives and as Karai slowly circles the laboratory like a katana-wielding vulture.
Using meticulous care, I approach the device. My Geiger counter is now clicking quite loudly. I softly place it on the table, beside the box, and reach for the miniature toolkit that hangs on my belt.
A loud, sudden blast causes me to freeze.
Laser-fire.
Karai's head whirls to face the lab doors, but the doors remain closed. "If they harm one hair on Chaplin's head," she mutters darkly, once it's clear no one is coming, "I will finish what my father began." Her knuckles turn white as she tightens the grip on her weapon. "What little is left of Stockman … I will tear to ribbons."
Holding back a snicker, musing over the odd and deadly ways that ninja show affection, I turn back to the box. I take a breath to calm my nerves. A steady hand is of paramount importance now.
Gently I slide open the casing panel on the box. Inside lies a tangle of wires, lights, and circuit boards. Fascinating … fascinating and terrifying. I arm myself with a pair of wire-cutters and a mini-flashlight from my toolkit. At first I simply use the tool to carefully pull and prod the wires to one side, then the next, while directing my flashlight's narrow light beam around the box's interior. The further I explore, however, the greater grows my confusion. I have little experience with nuclear devices, quite true, but still there should be—
I swallow a growl. Shaking my head in realization, I click on my headset. "April? I am in Lab Two with Karai. We've found a decoy."
After a moment of static, I hear in reply, "Damn. Chaplin and I are heading for Lab One." A pause. "Why don't you check out Don's office next?"
"Agreed." I click off the headset. Quickly, and a bit crossly, I begin to put away my tools again.
"Hiroko."
I pause when I hear Karai's voice, low but urgent, from across the room.
"Hiroko, I have found him. I have found Donatello."
Though I should be ecstatic at hearing these words, Karai's tone gives me pause. There is reluctance there. A touch of regret. I stand perfectly still, my hands splayed out on the polished black table in front of me, and refuse to turn around. The beating of my heart fills my ears. I feel suddenly dizzy. The last time I felt like this was when I crouched next to an unconscious April O'Neil in a blood-spattered hallway a mere few floors below where I am now, and instantly I recognize the emotion—I am afraid. I am quite afraid.
---
Author's Notes: Two more chapters to go.