Chapter 6

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Dan's POV

I cannot mess up this time.

Phil and I are hanging out at my place, so it might actually be easier for me to off him. We're alone, there's no one else here, and I've got a closet full of weapons in the next room. That's just it though, isn't it? Phil's death has to look like an accident. I'm starting to see why, seeing as he's got people in his life like Louise and PJ and Chris, and his mother obviously - who I strangely did not meet the other day when I was at Phil's house. 

I'm still a bit confused though. My other assassination targets had friends, family members, peers and loved ones. Yet it was never too stressed for their deaths to look like accidents. So why is it so crucial that Phil Lester being killed looks like an accident? It must be something with the Eden agency...That's really the only explanation. There is someone out there who Eden does not want knowing it's us that's killing Phil. 

But who?

Phil witnessed an Eden agent assassinating someone; that's why Eden wants him dead. Who was it that we assassinated? Were they a big deal? Was it someone important? It had to have been if we're being bothered with going after a bloody witness who has no idea what he's seen was an assassination performed by a top secret agency that no one actually knows exists. Did that particular target work for someone? And would that someone be after Eden if they were to find out that the Eden agency was responsible for Phil Lester's death? That must be it. Usually, Eden doesn't necessarily mind getting blood on their hands, but this must be a particular circumstance where Eden's assassinating is meant to be kept secret to everyone.

But trying to make this whole thing look like an accident is just going to make it so much harder! There are plenty of ways to do it, sure, but I have to be absolutely certain that this death looks like an accident. Eden will have my head if I do any of this wrong.

It's funny, for someone who's witnessed what he believes to be a murder, Phil seems pretty normal. You would think that for someone not in my shoes, witnessing a murder would make that someone go absolutely mental. You would think that Phil would be this jittery, anxious, jumpy mess of a person. However, he seems to me like he's quite the opposite. He seems very happy, always talking about something - he talks with his hands, I've noticed - and he's clearly optimistic. I mean, I suppose he probably doesn't want the guy he met only a few days ago knowing that he's witnessed a murder just yet, but maybe I can get it out of him somehow. I really do want to know what it is that the Eden agency is so afraid of...If I study him a bit longer, maybe I can find out.

No, no, me killing him is more important than trying to uncover Eden's dirty little secrets. I'm sure there's loads of things about the Eden agency that I and some of the other agents don't know about. That's what makes it a secret agency. I know that I'm doing the right thing by working for them though. I know that I'm doing good. We kill the bad guys. Phil is the bad guy, here. I need to kill the bad guy. I need to kill Phil. 

But how to make it look like an accident?

I think I may know.

Phil witnessed someone being killed, whether he'll admit it or not. That would be traumatizing to any normal person, so I'm sure that whether or not he's showing it on the outside, on the inside he's probably a little bit fucked up. I could probably make it look like he did it to himself. Actually, I know I could. I know, I know, the doctors can tell by the angle of a gun if someone killed themselves or not, I know. Luckily, I'm not stupid enough to try and use a gun seeing as they're illegal in the UK - well, to civilians at least; assassins are a bit of a different story. However, there are other ways to make it look like a person has killed themselves. I could strangle him, then set him up to make it look like he hung himself. I could cut deep into his wrists and then set him into a bathtub. I could force some pills down his throat and make it look like he swallowed them on purpose.

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