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“Well, well,” he said. “So that’s where he is.”
He opened his attaché case and produced a series of files, selecting one. The photograph on the first page of the dossier had been taken a few years earlier, with a long lens, apparently through an aperture in a curtain. But the man was the same as the man in the new photograph on his desk.
“Want to know who he is?” he asked Whittaker. It was an unnecessary question. The British reporter compared the two photographs and nodded.
“Okay, let’s start at the beginning,” said Milton, and he read out the contents of the file—not all of them, just enough. Whittaker took notes furiously.
The DEA man was thorough. There were details of a business career, meetings held, bank accounts opened, operations run, aliases used, cargoes delivered, profits laundered. When he had finished, Whittaker sat back.
“Phew,” he said. “Can I source this on you?”
“I wouldn’t specify Mr. Milton,” said the American. “Highly placed sources within the DEA—that would do.”
He escorted Whittaker back to the main entrance. On the steps he suggested, “Why don’t you go down to Kingston police headquarters with the rest of the pictures? You may find you are expected.”
At the police building, the bemused Whittaker was shown up to the office of Commissioner Foster, who sat along in his big air-conditioned room overlooking downtown Kingston. After greeting Whittaker, the Commissioner pressed his intercom and asked Commander Gray to step in. The head of the Criminal Investigation Division joined them a few minutes later. He brought a sheaf of files.
The two Jamaicans studied Whittaker’s pictures of the eight bodyguards in bright beach shirts. Despite the wraparound dark glasses, Commander Gray did not hesitate. Opening a series of files, he identified the men one after the other. Whittaker noted everything.
“May I cite you two gentlemen as the source?” he asked.
“Certainly,” said the Commissioner. “All have long criminal records. Three are wanted here as of now. You may quote me. We have nothing to hide. This meeting is on the record.”
By midday, Whittaker had his story. He transmitted his pictures and text down the usual London link, took a long phone call from the news editor in London, and was assured of a good spread the following day. His expenses would not be queried—not for this one.
In Miami, Sabrina Tennant had checked into the Sonesta Beach Hotel, as she had been advised the previous evening, and took a call just before eight on Saturday morning. The appointment was set for an office building in central Miami. It was not the headquarters of the CIA in Miami, but it was a safe building.
She was shown to an office and met a man who led her to a TV screening room, where three of her videotapes were screened in front of two other men who sat in half darkness. They declined to introduce themselves and said nothing.
After the screening, she was led back to the first office, served coffee, and left alone for a while. When the first officer rejoined her, he suggested she call him Bill, and he asked her for the still photographs that had been taken at the dockside political rally of the previous day.
On the videos, the cameraman had not concentrated on the bodyguards of Horatio Livingstone, so they appeared only as peripheral figures. But in the stills they were in full-face shot. Bill opened a series of files and showed her other pictures of the same men.
“This one,” he said, “the one by the van. What was he calling himself?”
“Mr. Brown,” she said.
Bill laughed. “Do you know the Spanish word for ‘brown?’ ” he asked.
“No.”
“It’s moreno—in this case, Hernan Moreno.”
“Television is a visual medium,” she said. “Pictures tell a better story than words. Can I have these photos of yours for comparison with my own?”
“I’ll have copies made for you,” said Bill, “and we’ll keep copies of yours.”
Her cameraman had had to remain outside in the taxi. Covertly, he took a few pictures of the office building. It did not matter. He thought he was photographing CIA headquarters. He was not.
When they got back to the Sonesta Beach, Sabrina Tennant spread the photos—hers and those unusually provided from secret CIA files—on a large table in the borrowed banquet room, while the cameraman shot moving film of them all. She did a stand-up piece against a backdrop of the banquet room wall and a picture of President Bush, borrowed from the manager. It would suffice to give the impression of an inner CIA sanctum.
Later that morning, the pair found a deserted cove down a lane off U.S. Highway One and she did another piece, this time backed by white sand, waving palms, and a blue sea, a facsimile for a beach on Sunshine.
At midday she set up her satellite link with London and beamed all her material to the BSB in London. She had a long talk with her news editor as the cutting-room staff began to put the feature together. When they had finished it was a fifteen-minute news story that looked as if Sabrina Tennant had gone to the Caribbean with only one idea in mind—the exposé.
The editor rejigged the running order of the Sunday lunch-time edition of Countdown and called her back in Florida.
“It’s a bloody cracker,” he said. “Well done, love.”
