 
Copyright © Evelyn Weiss 2018

### Murder and Revolution

"I am confident that the whole history of the human race contains no other episode as horrible as this."

Henry Morgenthau Sr.,

United States Ambassador

Contents

List of fictional characters

  1. The Greek gift

  2. Three princesses

  3. An unexpected accident

  4. The Tsarina's list

  5. The butterfly collector

  6. Rasputin's proposal

  7. At the Neva Bath House

  8. A very large prison

  9. Whispers of the stars

  10. The lowered rifle

  11. To the Finland Station

  12. Revolution in October

  13. The wrong sort of communist

  14. At the Hotel Metropole

  15. Footsteps in Red Square

  16. Brave new world

  17. On the Trans-Siberian Express

  18. Xanadu

  19. A reluctant secret agent

  20. The House of Special Purpose

  21. The little prince

  22. Gunfire and smoke

  23. Out of the frying pan

  24. At the Stone Gates

  25. Faith in Comrade Lenin

  26. The Astrakhan Host

  27. Texas, Russia

  28. Letters of passage

  29. Death in September

  30. The memory of bones

  31. Through the trapdoor

  32. East of Ararat

  33. The valley of the shadow

  34. The Persian Road

  35. A quiet Ulysses

  36. The Happy Isles

Author's statement
**List of principal fictional characters**

Professor Felix Axelson, Swedish: a celebrated hypnotist and private detective

Agnes Frocester, American: the professor's companion and assistant

Vasily Bukin, Russian: the professor's host and guide in Russia

General Evgeny Aristarkhov, Russian: a senior military commander

Captain Yuri Sirko, Russian: a cavalry officer

Lord Buttermere, British: leader of British Intelligence

Emily Neale, American: a freethinker and journalist

Andrei Sokolov, Russian: manager of the Yermak Estate, a place of exile for Russian dissidents

Rufus du Pavey, British: a former pilot and writer

Mariam Sarafian, Armenian: an orphan

Commander Kılıç Pasha, Turkish: a senior military officer of the Ottoman Empire

1 The Greek gift

"'Beware of Greeks bearing gifts.' That is an English saying, is it not?"

"It is, Professor, but I think it comes from the story of the Trojan Wars."

Professor Axelson and I are sitting by an open window in the professor's home, a beautiful apartment on Gamla Stan, the island at the centre of Stockholm. A warm breeze blows in off the harbor, which is crowded with ships. The rippling white sails of a four-masted barque are reflected in glittering waters. It's late summer, 1916, and I'm here on a holiday. Half the world is at war, but in neutral Sweden, there is peace.

"Miss Agnes, I am like the Trojans. I have received a gift – but I suspect that, like the Trojan Horse, it may contain something hidden and unwelcome."

He shows me a letter. I notice the crest, the royal insignia. I scan it quickly, but I don't understand Swedish. The professor explains.

"It is a personal letter from the king of Sweden, Gustaf V. He wishes to make me a Commander of the Royal Order of the Polar Star. The Swedish equivalent of a knighthood. He says he wants to confer the honor 'for your services to police investigation, and your pioneering use of hypnosis to solve crime.'"

"That's marvellous!"

"The Trojan Horse probably looked marvellous, Miss Agnes. It would indeed be gratifying to be honored in this way. But the final line of the letter may be a sting in the tail. It says 'Professor, I would be delighted to welcome you, and a companion of your choice, as guests at my home at Drottningholm Palace, before the award is conferred formally at the Sveriges Kungahus. There is a delicate matter on which I would like your advice.'"

"That sounds fine. He's only asking for advice."

"I have tangled with royalty before, Miss Agnes. My experiences in Germany..."

"But Gustaf V is hardly the Kaiser."

A small, elegant ship is anchored by the quayside of Gamla Stan. It's the royal launch. The professor and I walk down the gangway. A few minutes later, we are watching the buildings of the city slip by as we sail up the narrow waters of the Riddarfjärden into Lake Mälaren. Stockholm is a city built on a hundred islands, and soon we see the green, wooded island of Lovön and the Drottningholm pleasure grounds. A few minutes later, the palace itself comes into view. It's a dignified, cream-colored edifice, fronted by gardens that slope gently down to a low parapet on the waterside.

The launch anchors alongside the parapet. I notice a genteel figure in late middle age, wearing a frock coat, at the centre of a group of courtiers. He's noticeably taller than any of his companions. As Professor Axelson steps from the gangway, the man comes forward and shakes his hand. The professor bows low; the man smiles in return. Under a high forehead, the king's keen eyes are framed by thin gold-rimmed glasses, and he wears a carefully-trimmed mustache. His figure is broad-shouldered, but slim and athletic, and I recall that, not so many years ago, he ranked among the world's top tennis players.

"Welcome, Professor Axelson; welcome, Miss Frocester. The professor and I will speak in English, so as to fully include you in our conversation. Although I gather you are something of a linguist – like the professor, you speak Russian, I believe?"

I try my best at a curtsey. "I don't speak Swedish, your Majesty, but yes – I have picked up a little Russian. In my hometown in the United States, I worked weekends for a Russian tailor."

"You hometown is?..."

"Putnam, Connecticut. My father runs the town drugstore. But I came to Europe soon after the war started. I've been working as a nursing assistant for the British Red Cross."

The king nods. "That's very admirable. I'm glad you have the opportunity of a holiday in Sweden. You are seeing Stockholm at its best, in this fine summer weather. Our Swedish winters are quite a different matter."

"I'm sure they are, your Majesty." The little exchange of small talk has put me at ease, as the king continues.

"We're quite informal here at Drottningholm. I thought that the three of us could walk, enjoy the grounds. We can wander towards the Chinese Pavilion."

The palace gardens are a blaze of color. Vivid red and yellow beds of August flowers form geometric patterns. But they soon give way to a park of open lawns and patches of woodland. As we stroll along in the sunshine, the king and the professor both surprise me: they quickly move to a business-like conversation.

"Thank you for responding to my invitation, Professor Axelson. Loyal subjects like you are precious to me – especially in these difficult times. So I will come straight to the point. What are your thoughts on the murder of Svea Håkansson?"

"I wish I knew more about it, your Majesty. I have read only the press reports of her death in Russia. There seem to be very few established facts. The newspaper articles are padded out with vague speculation."

"As you will know, Professor, Miss Håkansson was the eldest daughter of the oldest noble family in Sweden. What you may not know is that she was a key diplomat in our difficult relations with Russia."

"No, your Majesty. I was not aware of that."

"It is a mark of Svea Håkansson's skill in diplomacy that her name is not more widely known. The most effective power is wielded behind the scenes."

"Indeed."

"But what you will be well aware of, Professor, is that the situation in Russia is on a knife-edge. In the war with Germany, they have suffered catastrophic defeats. They have conceded great swathes of territory, and worst of all, their casualties are on an astronomic scale. A whole generation of young Russian men are being slaughtered like cattle. That is on top of Russia's many other problems – poverty, industrial backwardness, and the threat of violent revolution."

I look across the green lawns to the graceful outline of the Chinese Pavilion. In our idyllic setting, the king's words of doom seem hardly real. But he carries on.

"Alongside this catalog of disasters, the monk Rasputin casts a spell over the Tsarina. We know he is trying to persuade her and her husband to beg the Kaiser for peace."

I look at the king. "Your Majesty – peace would be a good thing, wouldn't it?"

"Rasputin wants the Tsar to buy a cease-fire with Germany, by handing over to them lands that are currently part of the Russian Empire – Poland, Finland, Belarus, Latvia, Lithuania and Estonia. Germany would completely dominate the Baltic region. That would be disastrous for Sweden.

Now, I must speak very frankly to both of you. Rasputin pretends to be a man of religion. In fact, he is quite the opposite. His name is a byword for sexual adventuring, drinking and bribery. In fact, it has become commonplace in Russia to say: if you want anything done, pay Rasputin – he will make it happen for you. The man has a controlling and corrupting influence on everyone around him."

The professor is listening carefully. "Your Majesty, I had heard such rumors myself. If they are true, why do the Tsar and Tsarina have such faith in him?"

"The Tsarina believes Rasputin to be a genuine mystic, a kind of faith-healer for her young son Alexei. The boy suffers, as you may know, from the blood disease hemophilia. She and her husband seem blind to Rasputin's vices.

However, Svea Håkansson had found conclusive evidence against him. I don't know the details – but she assured me it was sufficient to topple Rasputin from power.

In late July, Miss Håkansson visited the Tsarina at the imperial palace at Ivangorod, on the Gulf of Finland. On July 29th, at two o'clock in the afternoon, a servant found Miss Håkansson's body. She had been shot in the side of the head. Apart from confirming that she died instantly, we have received no other information from Russia about the details of the murder.

The Russian police concluded, for reasons known only to them, that the murderer is a member of one of Russia's revolutionary factions. Revolutionary violence in Russia is increasing at an alarming rate, and the police see this as just one more example."

The professor wrinkles his brow. "But your Majesty, surely the Russian authorities must suspect certain individuals?"

"No, Professor. The police are content to put the responsibility collectively on the revolutionaries. You see, they have no concrete evidence, and it suits them politically to lay blame in this way. They have already closed their investigation."

Axelson frowns. Is it to shade his eyes in the sunshine, or a mark of concentration? There's a silence before he responds.

"Your Majesty. You asked me to come to Drottningholm Palace to give you my advice. But is it really _advice_ that you seek?"

"You are indeed a gifted psychologist, Professor. You see straight through me. You, and I, already know what would be the most useful action in this situation."

"You mean, your Majesty, that you would like me to investigate this murder?"

"As you have mentioned the idea, Professor, I will indeed be so bold as to ask for your assistance. You are to become a Commander of the Royal Order of the Polar Star – but some Swedes may ask why you should receive such an honor. You have a most impressive string of achievements – in America, England and France. Some may say: 'What has Felix Axelson done for Sweden?' But of course, the choice whether you take on the case is entirely yours."

"There is an obstacle, your Majesty. The Russian police are hardly going to permit foreign interference."

"I have something to show you, Professor." The king holds out a letter; it flutters in the gentle breeze. The professor and I hold it still, and we read.

"Dear Gustaf

I write to express my most sincere condolences for the death of Svea Håkansson. Please accept my deepest sympathy.

As you will know, the Russian police have already concluded their investigation, and have found no culprit. I am aware that this is not a satisfactory conclusion. It must be frustrating for you, and for the whole nation of Sweden, to know that justice has not yet been done.

In view of the strange circumstances of Miss Håkansson's death, I can understand that you might wish to send your own representatives to investigate the case. If you do decide to send agents from Sweden, I would personally ensure that they receive the fullest support from all the relevant authorities in Russia.

Her Imperial Majesty Alexandra Feodorovna

Tsarina, Empress of All The Russias."

Axelson nods to himself as he reads the letter. Then he looks at the king. "I know why she has sent this. She has her own purpose: she wants to quell rumors. You will be aware, your Majesty, that the Swedish newspapers are full of speculation about the Håkansson case. They say that no-one has been arrested for the crime, because the murderer is in fact Rasputin himself."

We've reached a grove of oak trees, and we walk through patches of light and shade under the green canopy, as Gustaf V replies.

"Yes, Professor. I am aware of what the papers are saying. They say that Rasputin was in Ivangorod, visiting the Tsarina, at the time of Miss Håkansson's death."

"Indeed, your Majesty. If Svea had evidence that would bring about Rasputin's fall from power, that would give him a strong motive for murder. But the Russian police haven't arrested him. Perhaps they have evidence against Rasputin, but they dare not put him on trial, because he is too powerful?"

The king absent-mindedly pulls down an acorn from a low-hanging branch. It's tiny: the first sign of the coming fall. He rolls it between his fingers as he looks at Axelson.

"Rasputin is a spider that weaves many webs. Naively, the Tsarina believes that he could not possibly be behind this murder. She thinks a Swedish investigation will clear his name. But I am not so sure that it will. So if you do decide to go to Russia, Professor – tread carefully. Tread very carefully indeed."

2 Thre e princesses

A large Swedish flag, showing our neutrality, flaps lazily above the professor and me as we lean on the rail of a small passenger steamer. Smooth ripples stretch out from the prow of the moving ship. The Baltic, under a warm early-morning summer sky, is like a dream. I've seen no sea like it: the calm water is still, like blue glass. But on both sides I notice that the horizon, which an hour ago was empty, is now lined with dark pines.

"We are entering the Gulf of Finland, Miss Agnes. On either hand we have provinces of the Russian Empire: Estonia to the south, Finland to the north."

"How long until we arrive, Professor?"

"Just a few hours. By noon, we should be sailing up the Narva River to Ivangorod."

As the sun climbs in the sky, the shoreline grows nearer. I see fishing boats on the water, and little villages among the trees, but my mind drifts off into thought. I recall the words of that conversation with Gustaf V. The feeling that I had in Stockholm comes back to me: that the king lured Axelson into this mission. The professor and I are pawns, who do not understand the game being played around us.

It's now midday. Just as the professor said, we are approaching our destination. The Narva River is a wide, calm inlet of the sea, narrowing as we sail along. Ahead of us, like a pair of bookends, two ancient castles stand on either bank of the river. The professor says that Narva Castle is on the right, Ivangorod on the left. Our ship pulls towards the left-hand bank.

Below the towering walls of the fortress, Ivangorod harbor is a mass of movement; ships are docking, men hailing, throwing ropes to the arriving vessels. Other men trundle bales and boxes along the quayside in handcarts. Horses pull wagons; I see no motor vehicles anywhere. As we descend the gangway, a round-faced man with a pince-nez extends his hand to the professor, and bows low to me.

"Miss Frocester, Professor Axelson! Welcome to Russia! I am Vasily Bukin, your companion for your visit to our land."

His friendliness has an old-fashioned air; he smiles broadly at the professor, but lowers his eyes respectfully at me. He's dressed in a sober suit that would be twenty years out of fashion in the States or Europe. His age is maybe early forties, or even late thirties, but his formal air makes him seem much older. His words of greeting and well-wishing go on for several minutes.

Finally, he shows us a boat. It's a kind of low-hulled sailing yacht, pulled up against the quayside behind our steamer. The single member of the boat's crew stands in the shadow of the sails, waiting for us. Mr Bukin bids us to get on board.

"Here. This is our transport to Tri Tsarevny."

The professor returns Bukin's smile as we step onto the yacht. "I believe, Mr Bukin, that the imperial estate of Tri Tsarevny is the scene of the murder of Svea Håkansson?"

"Indeed. A terrible terrorist outrage – that such a thing should happen to a Swedish woman of noble blood, on one of the Tsar's private estates! I will show you the scene of the evil deed. We are hoping that your detective skills will track down the revolutionaries."

"Maybe. Or there could be explanations other than revolutionaries."

Bukin doesn't respond, pretending to be distracted by the movement of the boat. The yacht sways in the water, its sails rippling, as the silent sailor steers us through the shipping, away from the busy harbor. Ahead of us, a narrow creek leads between tall trees. Axelson is considering his words.

"The murder took place three weeks ago, Mr Bukin?"

"Yes, in the early afternoon. On such a beautiful sunny day, too... it was an appalling shock for the imperial family."

"I understand that Tri Tsarevny is not the usual summer retreat of the Romanov family?"

"Indeed. They normally holiday in warmer climates – usually at Yalta, on the Black Sea. But there is unrest across Russia. It was thought safer for them to come here, close to St Petersburg."

"Were the whole Romanov family here?"

"No: in fact, most of the family did not visit at all. The Tsar was with the Army at the front line: as Commander-in-Chief, his principal duties were there. And his four daughters were all busy too, working as nurses at the Tsarskoye Selo Palace. Like the Winter Palace in St Petersburg, it has become a military hospital."

"So the holiday party was actually very small?"

"You are correct: only part of the family visited. But it was a great honour to have the Tsarina and her son Alexei Nikolaevich, the heir to the Russian throne, in Ivangorod, although no-one in the town saw them. Their stay at Tri Tsarevny was sadly short. After the attack on Miss Håkansson, they returned immediately to St Petersburg."

The creek is lined on both banks with woods. Below the trees, a tangle of thick undergrowth extends to the water's edge. After a few minutes, the boat pulls up at a stone quay in the shadow of towering pines. The only noise is the gently lapping waters, and the little quay has an air of being rarely used. But like a pair of wooden toys, two elaborately uniformed guards stand, one at each end of the quay. Bukin nods at them, then turns ceremoniously to us.

"Please step ashore. We must follow this stone staircase. It leads to the Dacha, the main house of Tri Tsarevny."

The professor looks at Bukin. "Main house – you mean, there are several houses?"

"Of course. I will show you." Bukin leads us past the guards, and we start to climb moss-covered slabs. They lead up into the gloom of dense woodland. It's a warm day, but among the trees we are in cool shade. Bukin speaks between breaths as he puffs up the steps.

"There are other houses at Tri Tsarevny – hence its name, the Three Princesses. The Tri Tsarevny estate was acquired by Tsar Alexander II in 1860. Before that it belonged to the Gorchakov family, one of Russia's oldest. Everything you will see here was built, and named, by Kniaz Pyotr Gorchakov. He was a great lord – but also a scholar of Slavic history and legend. He wanted to create a place that told the story of Russia itself."

The trees suddenly open out. A house stands before us on a little grassy hill-top: a mass of gables, onion-domes and carved wood. Bukin opens the door and steps over the threshold, beckoning us to follow.

The room is deserted. I expected to see at least a few servants, some inhabitants of the house. But despite the rich colours of the carpets, the shot-silk drapes and the gilded ornaments everywhere, the room feels like a mausoleum. The air smells stale.

The professor looks closely at Bukin. "Where is everyone?"

"All are gone. When she left, the Tsarina sent them all away."

"But – the servants, the members of this household – they are our witnesses. How on earth can we investigate Svea Håkansson's murder, without witnesses to interview?"

"The servants at Tri Tsarevny do not raise their eyes from their duties. None of them actually observed Miss Håkansson's death. They would be able to tell you nothing."

"But –"

"We have great faith in your detective talent, Professor Axelson. You do not need human witnesses. There will be hidden clues that only you have the eyes to see."

For a few moments the professor is at a loss for words. I look around the room. There is finery everywhere. A golden samovar stands on a plinth in the middle of the floor, like a centrepiece. But my eyes are drawn to a huge painting, hanging above the fireplace. Bukin follows my gaze.

"That picture, Miss Frocester, is Ivan the Fool."

The painted face Bukin points to is alert, strong and handsome. His eyes fix on a far horizon. He kneels, dressed in a woolen Russian coat, and his arms steady himself against the wind and the movement, holding on tight. Because the figure of Ivan the Fool sits on a magic carpet, swaying and rippling as it flies high in the sky above an open landscape of forests, farms and villages.

The professor's voice interrupts my reverie.

"Very well, Mr Bukin. Miss Frocester and I will make a careful inspection of Tri Tsarevny for clues. But I will need a list of the witnesses – and their addresses. I hope they are all resident in the Ivangorod area?"

"Naturally."

The professor stands, looking into the mirror of what appears to be an ornate dressing-table. I can see the annoyance in his reflected face. "In the meantime, let's do what we can. Please, Mr Bukin – show us the exact scene of the murder."

For answer, Bukin leads us to a large, many-paned window on the far side of the room. Below us, gardens slope down the hill to a wide lake, shining like a silver plate in the afternoon sunshine. On the water are a line of small islands, like stepping stones. The islands are crowned with trees, and among the branches I see one wooden house on each island.

Bukin turns to us. "You have not yet asked about the name of this place – Tri Tsarevny, the Three Princesses. The people of the Ivangorod area believe that this lake is the scene of one of Russia's oldest stories. That is why Kniaz Pyotr Gorchakov built the houses you see here."

The professor peers down at the view. "So – was the lake itself the murder scene?"

"In a manner of speaking, it was. I will show you." Bukin leads us through a door onto a verandah, then down towards the lake. The gardens around us are bright with late-summer flowers, though many are now fading. Weeds poke out everywhere among the blooms. Bukin peers through his pince-nez, and smiles at us.

"I am failing in my duties as your guide if I do not tell you the story of this place. You see, long ago in old Russia, there were three lazy brothers. The story says that they were grown men, but they still lived with their mother."

Axelson looks at him. "This sounds like an old wives' tale, Mr Bukin."

Bukin responds with a polite smile, but continues his story as we walk through the flowers.

"The mother wanted her sons to find homes of their own. She told each of them in turn to go and find a wife. The first went into the village, but all the girls laughed at him. Feeling foolish, he ran out of the village into the fields. Then, when he was all alone, a dragon appeared. To his surprise, the dragon spoke politely to him. 'Don't worry. I won't use my burning breath to cook you, or my gaping jaws to eat you. Instead, I will tell you your fortune, young sir. You are a lucky man. Because, if you can lift that stone, you will marry a princess.'"

Axelson suppresses a snort at this nonsense.

"The brother pulled and strained his utmost at the rock, but he could not lift it. When he went home and told his mother, she sent the middle brother, but he couldn't lift the stone either. Finally in despair she sent the youngest brother, Ivan, although she thought he was useless and simple-minded.

Ivan wandered through the village and out into the fields. Idly, he kicked a stone lying in his path. Where the stone had been, the ground opened into a deep chasm. Ivan fell into the chasm, right down to the bottom of the earth. There he found three princesses, held captive in the underworld. Each princess was dressed in the finest ornaments – one in copper, one in silver and the last one dressed head to foot in gold. Ivan freed the princesses and helped them climb out of the chasm – but he himself was betrayed, and he got lost underground. After many dangerous adventures in the underworld, a magic carpet carried him through the sky back to Mother Russia, where he found that the chasm had filled with water, creating this lake. People still believe that this lake is bottomless. But Ivan – he married the Golden Princess. They and the other two princesses all lived happily ever after, on islands in this lake."

"And did the other two brothers marry the other princesses?" The professor can't keep an edge of sarcasm out of his voice.

"No. Because – ah, here we are! We must cross the causeway."

We've reached the water's edge, and a low wooden jetty stretches out, just inches above the waterline. It leads alongside the little chain of islands, with a branching causeway to each of them. Bukin gestures at the scene.

"The houses on each island are named after the princesses in the story – although everyone just calls them the First Princess, Second Princess and Third Princess. Please, come with me."

We walk along the causeway. The first island we pass is mostly woodland, with a house peeping from among the trees. "That one is only used for storage." Bukin gestures to it briefly, then points forward. "Now, ahead of us. You can see the House of the First Princess there, on the next island."

I see a copper-coloured house amid the trees on the second island, but we continue along the jetty past it, until yet another island is in sight. Bukin turns and smiles. "Here we are at last. This is the House of the Second Princess. This is the place where they found Miss Håkansson."

The house is a mass of ornately carved wood, crowned with a silver-painted dome. But I notice that the paint is thickly smeared over cracked planks, to disguise its poor repair. The house is also quite small, more like a large summer-house than a real home. A door opens into the dark interior of the main room, and we look right through the house to a set of French windows. Through them, sunlight glitters brightly on the lake beyond. The professor looks at Bukin.

"Where was the body found?"

Bukin leads us into the house, then opens the French windows onto a porch. We all step out of the far side of the house, into the sunshine.

"Here." Bukin points to a wicker armchair on the porch. The yellow wickerwork is blotted with a large stain. In the sunlight I can see that the dark shape is coloured dull red.

"This – it is blood?"

"Indeed, Professor. A week ago, I found a servant trying to clean the stain off. I told her to stop, because this may be a vital clue for you."

"Thank you."

For the next half-hour, we search the little house and the island. Apart from the main room, the house has only a kitchen, a bedroom and a bathroom. But they're stripped clean: there are a few sticks of furniture and little else. I step out through the French windows again, lean on the rail of the porch, and look around me. The island itself is small, carrying only a few birch trees. A low wind ripples through the branches, and the white bark of the trees gleams like silver. Dappled sunlight shines on the grass among the trees, and the water laps the shore. It's an idyllic spot, a strange contrast to the inexplicable event that happened here.

The professor comes out of the house and leans on the rail beside me. He looks left, then right. The little islands are lined up, like four toy boats in the water, separated by channels only a few yards wide. We can see the porches of the First and Third Princesses either side of us, and, among the trees, their little onion-dome roofs; one painted a copper color, the other brassy gold. Axelson peers thoughtfully at the two porches either side of us, and calls out.

"Mr Bukin! The report says that Miss Håkansson was shot in the _side_ of the head? Is that correct?"

Bukin calls back from inside the house. "Indeed, Professor Axelson. As you say, the side of the head. It is marvellous, how you know every detail of the mystery."

"But – which side? Which side of the head did the bullet enter?"

"That will be covered in the police report, Professor. It is confidential, of course. You won't be allowed to see it. No-one can."

Axelson shakes his head, and whispers to me. "Despite what Mr Bukin assumes, this murder was unlikely to be a revolutionary attack. The woods surrounding this lake were patrolled by thirty of the Tsar's personal guards. Only a truly skilled intruder could reach this place. No: I think that Svea Håkansson's killer walked to these islands – along the causeway, in plain sight, exactly as we did."

We wander back through the dark interior of the little house. Again I cast my eyes around for any clue, but there's nothing. Through a window, movement catches my eye. A tall, heavily-built man is striding along the causeway. He's in late middle age, and his hair is white, but he has an erect, bold bearing that matches his military uniform. He must be a senior Army officer of some kind. Within moments, the stranger steps onto our island. Now that he's closer, I see that the lines of the man's face are hardened, his blue eyes are sharp and watchful, and the hands below his finely-woven cuffs are strong and muscular, like a prize-fighter.

Bukin signals to us to be quiet, and to stand still. He goes to the door. Through the gap in the door, I see the man speaking gruffly through a thick, snowy-white mustache.

"Bukin! Do you have a middle-aged gentleman with you, and a woman – thin and pale, with dark hair?"

"Yes, sir. They are Professor Axelson, the investigator sent by King Gustaf of Sweden, and his assistant, an American –"

"Their visit is terminated, with immediate effect."

Despite this news, Bukin doesn't hesitate in his response. "Of course, General Aristarkhov."

The professor whispers to me. "This whole business was a farce anyway. At least I can go back and tell King Gustaf that we tried to investigate."

I force a smile. "That man seems to take a curious interest in my appearance."

"Some snoop noticed us at the harbor in Ivangorod, Miss Agnes, and reported it to this busybody general. Ridiculous."

Outside, the general talks quietly to Bukin for a few minutes, then strides back along the causeway. Bukin comes back into the house, apologizing profusely. Moments later he is leading us along the jetty and up through the gardens. We don't even re-enter the house; we follow him into the woods, down the steps and onto the quay. Then the three of us step onto the waiting yacht, and the two guards raise their hands in a brief farewell. Our visit is over, as if it had never happened.

3 An unexpected accident

Our yacht is tying up at the quay in Ivangorod again. I look up at the two castles, then across the river at the buildings of Old Narva on the opposite bank. They have a Scandinavian look: the baroque houses and tall church spires remind me of Stockholm. I feel as if we've already left Russia; our adventure is over before it even began. The professor looks along the harbor wall – and suddenly, sharply, calls to Bukin.

"Our steamer to Sweden – it's disappeared!"

"The Narva River is tidal, Professor. The steamer has had to move from Ivangorod harbor, because of the tide."

"That's nonsense, Mr Bukin! Look at these other ships – they are still here. And I know that the tidal range in this part of the Baltic is practically zero. What on earth is going on?"

"Nothing is wrong... I tell you with the greatest respect, Professor Axelson, that your ship has had to move, simply because of the tide. You will be able to board your vessel in St Petersburg."

The professor's face is blank with disbelief, as Bukin carries on. "Tomorrow morning, a train will take you to the city. It is not far – eighty miles or so. Tonight, to ensure your comfort in Ivangorod, a house has been made available for you. I will accompany you to your accommodation. And, for your convenience and protection, I have assigned an officer. He will visit you tomorrow morning, bringing first-class rail tickets for both of you. He will also travel with you on your train journey, to prevent any unexpected accidents. So you can put your minds at rest. By tomorrow afternoon, you will be aboard your ship."

The horse-drawn carriage that waits for us on the quayside is a simple affair, almost a country cart. The driver tugs the reins, and the horse plods along through the streets of the town. We're a long way from the front line here, but I notice a large group of soldiers in the town square, rows of shiny buttons on their uniforms. They're sitting at trestle tables, eating. Behind them is a long, low building. Bukin explains. "One of Russia's many new hospitals. Most patients are war casualties. Those men are convalescents; they will soon be returning to service on the battlefield."

Our carriage trundles on into narrower streets, then an area of wooden dwellings. After half an hour, fields and patches of woodland appear. I whisper to the professor.

"Where are they taking us? We seem to be going out into the countryside. Surely there must be a hotel in Ivangorod."

"Miss Agnes, they do things differently in Russia. We are no doubt being taken to some grand country house, so that we can be accommodated in style. I think Mr Bukin merely intends to show us Russian hospitality. But the business of our steamer and the tide – that is odd, very odd."

The carriage stops at a cleared area in a dense pine forest. In the clearing is a single-storey cottage, made of rough wooden planks. But it's a delightful place, surrounded by a colorful vegetable garden. We step past pumpkins and zucchini to the door of the house, where a young man greets us with a broad smile. Bukin introduces him, and bids us enter the house.

"This is Kaspar – a very good cook. He will make a meal for you, and then leave you for the evening. There are two bedrooms in the house, with beds freshly made for you.

Tomorrow morning, my officer will call here at the cottage, with a carriage to take you to the station. Everything has been taken care of. So now, I will thank you both for the pleasure of your company this afternoon, and take my leave of you. I wish you a very fond farewell."

Bukin bows low, then steps up into the carriage, and he's gone.

I feel ill. My stomach groans; our evening meal was a plentiful mess of stringy meat. I've been sick once already: I made my excuses and sneaked to the bathroom immediately after eating. Kaspar left the cottage soon after, whistling to himself as he strode away down the lane.

It must be around midnight. I try not to think of my meal, and turn over in bed. The light of a full moon shines through thin drapes. Then my stomach complains again. I have to get up and go to the bathroom. I step across the room to my door, hearing the floorboards creaking under my feet. I put my hand out in the dark, reaching for the handle of my bedroom door.

It's locked.

I rattle the handle. Then I call out "Professor!" But there's no reply. The professor's room is opposite mine, on the other side of the corridor, and the wooden walls are thin. The professor must be sleeping very deeply. But something makes me put my eye to a tiny crack in the planks.

I see a faint, yellowy light, flickering in the corridor. It shines on the walls opposite, and the door of the professor's room. Someone is holding a small lamp aloft. I hear another faint creak of floorboards. A person is standing in the corridor. I think about the isolation of this cottage, far from other houses.

"It must be Kaspar – he's come back because he's forgotten something." But even as I say this to myself, I know it's not true.

Slowly, as if moving methodically, the stranger is stepping along the corridor, getting nearer to my door. I peer through the crack, and a man's chest and arms slide into my sight. I can't see his face, but I can tell that he is wearing what may be a Russian military uniform; a jacket of dark blue serge. Above the jacket collar, I see something shining: a thin silver chain around the man's neck. Then I look lower, and see arms cradling a mass of white objects. They are pieces of screwed-up newspaper, and one by one they are dropping from the intruder's hands.

Then I smell something. Kerosene.

I shout, and hammer at the door. But nothing happens, except that the smell gets stronger. The intruder is going quietly about his work, not caring that I'm shouting. He knows I'm locked in my room, and that there are no other houses nearby, no people to hear me.

There's no time for thought. I run to my window. I can see the catch clearly in the strong moonlight. I pull the catch, and swing the window to open it. It moves three inches, then hits something hard.

I pull back the drapes widely, and now I can see. The window should open outwards – but two large planks have been nailed diagonally in an X-shape across the outer frame.

I look over my shoulder, at the door of my room. I see a red flash at the foot of the door, and hear the roar of flames in the corridor.

I push at the window with all my strength, but the planks holding it in are immovable. I cough; smoke is already seeping into my room. Glancing back, I see that every crack and gap in the interior wall of my room is beginning to glow like a furnace.

Can I swing the window inwards, instead of outwards? I tug at it and, resisting, it gradually bends inwards into the room. Then my arms slip, as I'm racked by another cough.

My eyes are blinking with the smoke. I look at the X-shape of the planks against the moonlit sky. The window is maybe three feet wide. I pull myself into the triangle of space below the cross of the planks. My nightdress catches on the windowsill, but I'm moving forward, writhing like a worm through the narrow gap. My hips grind on the wood, but I keep pulling. Moments later, I breathe fresh air, and my face hits the soil.

I struggle to my feet and run round to what must be the professor's window. I hear the crackle of the fire, but all is dark on this side of the house. In the gloom I see another X-shape of planks, nailed across the window.

"Professor!" I'm screaming at the top of my lungs. Is he already dead? Then, in the twilight, I notice something. Whoever nailed up our windows isn't very clever. Sitting on the windowsill is a claw hammer.

The planks are deeply nailed. I strain my utmost at the hammer to lever the nail from the wood. Suddenly the nail pops out. With its lower end now free, the plank swings down. I turn my attention to the other plank. A few seconds later, that plank too swings free.

The window catch is closed from the inside. My eyes cast around wildly, seeing nothing I can use to prize it open. The roaring of the blaze is now loud in my ears. Smoke begins to sting my nostrils.

I'm still holding the claw hammer. I hit the edge of the window sill with the claw, and the wood splinters. I pull free a long, thin splinter from the sill. I'm lucky; it slips through the gap between the window and the frame. I slide it upwards to the window catch, lifting, trying to be slow and careful. The catch pushes up, and moments later, I pull the window open. A wall of smoke billows at me.

I yell for help. But the surrounding forest is empty and silent. I turn and pull myself up through the smoke, over the window sill, into the professor's room.

I can barely see in the dense smoke, but I can make out his figure, lying still as death on his bed. It's like an oven in this room, but there are no flames yet. I slap the professor's face. His eyes remain closed, but he frowns, as if in a bad dream. He's still alive – but totally unconscious.

I must get him out of the window. Axelson is middle height, but I'm small and slight. I push him with every fiber of my being. Slowly, he slides off the bed, clattering onto the wooden floor. Even that doesn't wake him.

His body is like a slab of dead meat; I try to push him along the carpet. Then I find it's easier to roll him. Bit by bit, I roll him across the floor, until he's underneath the window. Now comes the part I haven't yet had time to think about. Somehow, I have to lift this weight bodily four feet off the floor.

Without warning, the door of the professor's room falls inwards, as if hit with a battering ram. A great gout of flame bursts towards us.

Options run through my head. And there's only one that gives me any chance. I stand at the window and scream, as if the fires of hell are burning me.

I see a figure in the moonlight, out there near the road at the edge of the forest. Is he moving towards the house, or away from it? Yes. I've caught his attention. He breaks into a run. In seconds, he's at the window. I choke at him through the smoke.

"A man – in here. Help me."

And he does. In a moment he's over the windowsill. Flames are now all around us. We pull at the professor's insensate figure. Together, spluttering in the smoke, we lift the body vertical. Then the stranger grips Axelson's waist and lifts it bodily, level with the window. The head flops forward, banging on the window frame, but then it falls outside the window. The man's voice is urgent.

"Push the feet upwards!"

I do. The man lifts the Axelson's hips higher, I push the feet, and like a huge snail, the professor's body slides slowly over the windowsill. The man bundles the legs through the window.

"You next, Miss!"

He lifts me. I'm like a feather in his arms; one second passes, and he throws me through the window. I'm rolling among the vegetables of the cottage garden. The air is still choking me, but I stagger to my feet. The man has jumped through the window like an athlete, and he and I grab the professor under the arms, and drag the body through a patch of pumpkins to the cottage gate.

I look back, and all I see is fire. The garden is now burning; every plant is sprouting flames. I hear the man's voice.

"We must get this body across the road, away from the fire."

I pull at the professor's arms, but I slip. The man simply picks me up again, and deposits me at the far side of the road. Then he runs back to the blazing fence. Thirty seconds later, I see him striding back towards me, carrying the professor's body over his shoulder. Against the glare, the man's silhouette is tall and strong. The red glow illuminates the outline of his leather boots, the edges of his woolen jacket. It's a military uniform. Just like the jacket I saw a few minutes ago, inside the corridor of the cottage.

4 The Tsarina's list

The man speaks quickly to me. "There's nobody else in the house?"

"No."

His eyes swivel away from me. "Hello! Can you help?"

Who is he speaking to? My head swoons: everything seems dim around me, and I cough up a mouthful of saliva, black with soot. But I see, looking into my eyes, the face of a peasant woman, and she answers the man.

"We heard a woman screaming. Then we saw a light, through the trees. We own that old cottage –" she points to the mass of flames "– but we have not been using it this year. Our farm is on the other side of the forest. This is my son."

She nudges the young man by her side, and he steps forward out of the shadows. I recognise him: it's Kaspar. Then the woman looks at me. "You, Miss, must come and rest for the night with us. And my daughter can lend you some day clothes."

The uniformed man towers over the two peasants. "In the meantime, I will take this unconscious man straight to the hospital in Ivangorod. Do you have a cart at your farm that I could use?"

"Yes. Kaspar, take the horse and cart. Put the man's body in the back, and go along with this soldier."

Kaspar's mother is a better cook than he is. It's a hour after dawn, and I'm finishing a hearty breakfast, but I feel sick with anxiety for the professor. Then Kaspar appears at the farmhouse door.

"Your friend will live. He is still unconscious, but the doctors think he will come round, maybe quite soon."

"Thank you so much."

"The unconsciousness – it is nothing to do with the smoke, Miss. They think he has been drugged in some way. That would also explain why he seemed to have fallen asleep in his room while fully dressed."

I look at him. "That meal you prepared for us, Kaspar..."

"Oh, that! A gentleman called at our farm yesterday afternoon. He said that two distinguished foreigners would like to stay in the old cottage overnight. An odd request, but he offered us good money. Anyway, he said he would provide the food, if I could cook it. He brought us a piece of steak – very expensive, he told me. I have no experience of cooking such things, but he asked me to do my best."

"Who was this person?"

"He said there was no need to know his name. My family – we are Estonians, not Russians. So when someone like that man talks to me, I don't ask questions. If I did, then trouble would come to me and my family."

"What kind of trouble?"

Kaspar shrugs. "Just the usual things they do to Estonian families. The man was a military person, in uniform. I thought that both of you were his friends. I'm sorry, but I assumed you were Okhrana."

I know that word – but I ask anyway. Kaspar responds, in a matter of fact voice.

"Yes, Okhrana. The secret police."

Professor Axelson's head is propped on a pillow, and his sleeping face peeps above a white sheet. It's now nine o'clock in the morning, and we're in a private hospital room next to a large ward of injured soldiers. A doctor is standing with me, holding the professor's case notes in his hand.

"He inhaled a little smoke, but his breathing is fine now. There are no other ill effects of the fire. As I told the young man who brought him in, he appears to be unconscious because he has been drugged. A powerful sleeping draught. I have no idea when it will wear off."

"Two men brought him here, Doctor. Did the other man give his name?"

"No. Just one man, a Mr Kaspar Sepp, brought him in. By the way, we have dressed your friend in a hospital gown: do you mind taking his clothes? We have put them in this bag."

I sit by the bedside. I can't help reaching under the sheets, and taking the professor's hand. I hold it, gripping the passive fingers.

"Professor. Can you hear me? It's Agnes here. Please, please wake up."

The professor lies unmoving. I sit for a long time, thinking. It's now been eighteen months since I was home with Ma and Pa. Winter's a busy season for drugstore owners, and I was needed at home to help Pa dispense pills and potions to the folks of Putnam until February 1915, when I got the opportunity I wanted. I sailed to Europe and joined the Red Cross on the battlegrounds of Flanders. Apart from a couple of days as a tourist in Geneva, my trip to Stockholm was my first holiday from nursing the wounded of the Great War. Many soldiers I treated had no injuries to the body; their wounds were to the mind. Nervy, stammering and sometimes completely dumb, they were living husks of the young men they had once been.

Despite that, I enjoy my work: I'm looking forward to getting back to it – as soon as the professor and I can get out of this odd interlude in Russia, I think. The clock on the wall ticks away. It's now eleven o'clock, and the professor hasn't moved.

A shadow distracts me. The door has a glass panel, and my eyes are drawn to a large shape looming beyond it. The door opens, and it's the figure that I recognise, not the face. It's the man who rescued us.

"You are Miss Frocester, I understand? And the patient is Professor Axelson? I'm Captain Yuri Sirko."

"Thank you –"

The man smiles. In his woolen uniform, his tall, broad-shouldered figure reminds me of a bear. He's maybe thirty. A thatch of brown hair crowns a strong face with high cheekbones. Dark eyes look down at the professor.

"Still unconscious?"

"Yes. But it's not caused by the smoke. He's been drugged. I think it was the meal we had. We can't thank you enough."

"I was just doing my job. I'm a kind of odd-job man for Mr Bukin. Yesterday he told me he had two important guests – a Swede and an American. He asked me to accompany your journey to St Petersburg. He also gave me the errand of going to the railway station and buying three first-class train tickets for us – which I have done. Mr Bukin also gave me directions to that cottage in the woods, and he told me to call on you there this morning. Something... I don't know what it was, really. A sense of unease. So on my way home last night, I took a detour past the cottage, just to check all was well."

"What are you going to do now?"

"I plan to do the bodyguard job that Bukin gave me. Which means – I wait here, with you." He smiles again, and I see a twinkle of humor in his eyes. "Compared to most of my duties, Miss Frocester, this is easy work. The lap of luxury. You never know, the nurses might even bring me a cup of tea."

"That sounds very English."

"The English are not real tea drinkers, Miss Frocester! Nor are you Americans – with your Boston Tea Party. You threw it all in the harbor, didn't you? Oh no – no-one drinks tea like us Russians do. Anyway, I'll ask. Shall I order a cup for you, too?"

He steps out of the door. The professor sleeps on, and a few minutes go by. To pass the time, I open the bag that the doctor gave me. The professor's clothes are stuffed clumsily inside. I take them out and fold them neatly, then put them back in the bag. Then I go over to the window. It's a ground-floor room, looking out onto the street; there is little to see. I go back to my chair.

As I sit, I notice a scrap of paper on the floor. It wasn't there before.

I bend and pick it up. It's a single sheet, but folded several times into a tiny packet. It feels like velvet in my fingers: the highest quality paper. I've felt paper like this only once before, in the gardens of Drottningholm Palace.

I open my own handbag. Gustaf V suggested we bring the Tsarina's letter with us to Russia, in case we encountered any unhelpful officials. I find the letter in my bag, and take it out of its envelope. Then I unfold the scrap I've just found, and put the two papers side by side. The type of paper, and the handwriting, is identical.

But this new piece of paper is not a letter. It's some kind of list. I also realise where it's come from. When I was looking at the painting of Ivan the Fool at Tri Tsarevny, Professor Axelson was examining what I thought was a mirrored dressing-table. But it must have really been a writing-desk; he must have found this paper there. He put it in his pocket, and it fell out when I folded his clothes...

My eyes run down the Tsarina's list. The list is divided by underlined words, like sub-headings. Main Dacha, Servants' Quarters, First Princess, Second Princess, Third Princess.

Under each heading is a list of names. They are all the names that Professor Axelson wanted from Mr Bukin. The Tsarina has listed everyone staying at Tri Tsarevny, according to their room. The Tsarina and her young son Alexei Nikolaevich are in the main Dacha, as expected, plus one other name 'Nestor'. There are about twenty names under Servants' Quarters. Then I look at the other headings. Under Second Princess, the name of Svea Håkansson jumps out at me. Listed against the Third Princess is another name I recognise: Grigor Rasputin. But I breathe in sharply, when I read the name listed under First Princess.

Captain Yuri Sirko.

Finally, I read the last heading on the page. It says 'Day Guest'. Underneath it is a curious phrase. 'The butterfly collector'.

"My mission is successful!" Sirko reappears with a tray. Shall I mention to him what I have just read? No; I'll wait, and see what else he tells me about himself.

There's no table in the room: he puts the tray on the broad window sill. There are two chipped cups and two teapots, one large, one small. He smiles broadly at me.

"Do you drink your tea naked?"

My mouth drops open, but no words come out.

"We Russians, we never drink tea naked, if we can find a cake or snack for it to wear. But it's wartime; the hospital only has these wretched oatmeal biscuits."

"Thank you. Yes, please, I'll have one."

He proffers a plate of broken cookies to me. "Now – the zavarka will be brewed." He lifts the smaller pot and pours about an inch of thick fluid into each cup, then tops them up with hot water from the other pot. As he passes my cup to me, he says "Call me Yuri, by the way."

"I'm Agnes."

"Lemon juice with your tea? Or sugar?"

"Neither, thanks."

"I'll have the sugar." He takes a sugar lump from the tray, and holds it between his teeth. Then he drinks. He says nothing about himself, and he doesn't ask me anything. He just sits, in a companionable silence. I don't think he's being secretive. I sense that this is Russian politeness: he's simply respecting my privacy.

Can I trust him? I look at his uniform. His military collar is buttoned; there's no trace of a neck chain. But on the edge of my mind is the intruder's jacket I saw in the cottage. There was something odd about that jacket: something out of place, or missing.

But if this Captain Sirko was the person who tried to kill Axelson and me, why did he risk his life to save us? I decide to trust him. It will be safe to leave the professor alone with him.

"Yuri – I need to leave the room, for a few minutes."

His brown eyes look into mine. "My job is to guard both of you. But I can't be in two places at once; I must stay with the professor. I can't stop you going out of the room, but – take care. Watch around you and behind you. Even here in the hospital there may be intruders."

I don't tell him that I'm not planning to stay in the hospital. I go to the front entrance and step outside. It's a bright day, but there's a sharp breeze: I'm glad that Mrs Sepp's daughter has lent me her coat. Across the road from the hospital is a two-storey building with large windows. I noticed the sign above its door when I arrived this morning, although then I paid little attention to it. But now, there's a tiny chance that it might be useful. "I'm looking for a needle in a haystack" I say to myself, as I step across the street and up the steps to the doorway. The sign above says "Museum of Natural History".

In the museum foyer, an elderly man sits at a dusty desk. Even his gray hair looks as if it's collecting dust. There's no one else about. I'm surprised that, in wartime, they even bother to open this place. I go over to the man and smile at him.

"I have an odd request, sir. First, I must ask you: do you have a butterfly collection here at the Museum?"

"Yes, we do, Madam. On the upper floor. You go up the staircase, there."

"I'm wondering – did you have a visitor, maybe three weeks ago, who asked about the butterfly collection here?"

"How odd you should ask that. How very, very, odd." The man coughs, putting his fist to his mouth. Then he looks at me, smiling. I ask him again.

"So – a butterfly collector did visit?"

"He came here three weeks ago. We have a very fine collection: specimens of all the species that live in the Baltic Region, even the rare Clouded Apollo. The visitor was very keen to view them all."

There's something more. The old man grins, as if he's enjoying a private joke. I look at him, and he tells me.

"What's funny is you asking about that man, right now. You see, the butterfly collector has come back. I saw him walk in through the doorway – about half an hour ago, and go up the stairs. And I've not seen him come back down. So he's still up there."

**5 The butterfly collector**

I hurry up the stairs. But there's no need to rush, I tell myself. The butterfly collector must be on the upper floor: if he comes down the steps, I'll see him. There's no one else about, no-one at all. Apart from the old man at his desk, the museum seems entirely deserted.

I reach the top of the stairs and follow a corridor. Opening off it are a succession of large rooms. The first is full of rocks and fossils, the second contains stuffed birds. In the third room a moth-eaten bear stares with glass eyes, and a wolf bares yellow fangs. At the end of the corridor, the final door is labelled 'Lepidoptera'. I turn the handle, and step inside.

Tall wooden cabinets fill the room. There are two rows, side by side, leaving a way down the centre, like an aisle.

The fronts of the cabinets, which face me, are glass; the sides and backs are made of panelled wood. The cabinets are wide; each stretches nearly all the way to the windows which line both sides of the room. Sunlight slants through the windows on one side, so that each cabinet casts a shadow across my path as I walk down the central aisle.

He must be in here. I call out "Sir! Are you here?"

There's no reply. I take another step forward, deliberately treading noisily. Perhaps he is absorbed in studying the butterflies. I look into one of the cabinets.

There are a host of butterflies, like rows of jewels catching the sunshine. Every one is skewered with a pin onto a card labelled with its name. I realise that there is not one specimen of each species, but hundreds. This cabinet happens to be full of Clouded Apollos, like the aftermath of some insect massacre. "No wonder it's rare" I say to myself.

I look along the rows of impaled creatures. At the far edge of the cabinet, something juts out, silhouetted against the light of the window.

It's a revolver barrel. Pointing straight at me.

Is it a trick of the light? I see the black circle of the muzzle, the dull gleam of the sun along the barrel. It's no illusion.

I step back, behind the cabinet. My mouth is open, inhaling; my eyes dart around the room. There's a dead silence.

I can feel my heart beating. I glance along the aisle down the middle of the room. As before, the cabinets cast their shadows on the floor. But the angle of the light also shows, in the nearest sunlit patch, the shadow of a man's head and shoulders.

The shadow takes a step forward, along the front of the cabinet that I'm hiding behind. So I move right round behind the cabinet, pressing myself up against the wood panelling. But of course, my pursuer knows where I am. I can see his shadow on the sunlit patch of the aisle, and in the same way, he can see the shadow of my head and shoulders, pushed close up against the back of the cabinet. My hands are cold with fear.

The man and I stand in silence: both of us watch each other's shadows, considering what to do. I breathe, and try to think.

I notice a nail, sticking out of the back of the cabinet. Inch by inch, all the time watching the shadow of my head and shoulders, I slip my coat off my shoulders. My shadow hardly alters.

I concentrate on one thing, and one thing only – my fingers, to keep them from shaking. I slowly lift the coat, and hook the collar over the nail. All the time I watch my shadow on the aisle: it remains unchanged.

Gingerly, I take one step back, gradually lowering my heel, then my toe, so as to make no noise on the floorboards. The shadow of the coat hanging on the nail is cast across the floor of the aisle, looking for all the world like the head and shoulders of a woman, pressed up against the back of the cabinet.

I take another step.

The man shouts. "Who are you? Come out!"

Can he see that I've moved? I want to answer him: to communicate, to try to make peace with this person. But I resist the temptation; I must keep silent. I step back again, but the man doesn't move. The shadow of my coat has fooled him. I reach the window.

He shouts again; a bark that makes me jump. "Give yourself up! Now!"

Keeping alongside the windows, I step as silently as I can along the room, away from him.

Another shout. "Put your hands in the air! I will step round the cabinet, now!"

I reach the far corner of the room, and I see another door. Its sign says "Staff only".

I try the handle with shaking fingers. I push it down a little, and thankfully, it doesn't squeak. I breathe: slow, quiet and shallow.

I turn the handle more, and as I do, I hear the man's footsteps. He's walking round the cabinet. I expect a roar of rage when he finds the coat – but there's silence. Whoever he is, this man is deadly calm.

I push the door open. I hear movement among the cabinets; the man has realised where I've gone. I slam the door behind me and clatter down a narrow staircase to ground level. A corridor stretches in front of me, ending in another door. It's got a key. I shut the door behind me, fumble the key into the lock and turn it.

I breathe in relief, and look round. I'm back in the foyer where I met the old man. But he's not there; the foyer is deserted.

It doesn't matter. I rush over to the front door of the museum. It's made of glass: I can see the hospital across the road. I turn the handle – but the door is locked. A cardboard hand-written sign hangs from the handle: "Gone for lunch, back soon".

I pull and pull at the handle of the door. It rattles, but won't open.

I hear a sound, and it makes sweat crawl down my face. A key is turning, in the door that I came through a minute ago. My pursuer must have found another key. Then, I hear that door swinging open. I don't look back. I tug helplessly at the museum door. A man's voice rings out.

"Stop! Turn and face me now!"

I make a final desperate pull at the door. But it's immovable. The unseen stranger barks again.

"Who are you, and why are you interested in Professor Axelson?"

It's the strangest thing: the voice is familiar to me. Although it's speaking Russian, I've heard that exact intonation before, long ago and far away. The voice continues.

"Of course, it would be preferable to sort this matter out with a civilized conversation. I dislike unnecessary violence."

I turn and face the speaker. A face emerges from the shadows; a face I know all too well. A small face, for a man. Sharp, intelligent eyes, an aquiline nose, and elegantly coiffured gray hair. I answer my pursuer, in English.

"Lord Buttermere."

"Miss Frocester! Well, this is indeed a surprise. Please – accept my apologies for frightening you. I had no idea that you were here in Russia with Professor Axelson."

He steps forward into the sunlit foyer, and explains. "I didn't see your face, or hear your voice, so I didn't realise it was you. In fact I have to admit, I was a little afraid myself."

"So was I."

"Please accept my apologies for the revolver. I thought it best to have any conversation with my pursuer with a gun in my hand, even though I knew she was female. There are many ruthless people about – even of the fairer sex. I'm sorry."

He reaches out and shakes my hand, and I smile. My heart still thumps, but relief is slowly flooding through me. But my mind is whirling: I'm trying to make sense of this situation.

"So – Lord Buttermere... _you_ are the butterfly collector?"

"Oh, you know about that, do you? My own title suggested the idea to me – Buttermere, butterfly. A flight of fancy. I was pretending to be an eccentric, rather ridiculous English gentleman. A foolish man obsessed with butterflies, even in the midst of a world at war."

I'm starting to breathe a little easier now. Lord Buttermere's refined face crinkles in a quiet, wry laugh.

"It's not a brilliant disguise, I admit. You've unmasked me. Hardly my finest hour as the Head of British Intelligence. But, Miss Frocester, you are one of the few people in the world with the talent to find me out."

"Thank you. But why are you here?"

"I pretended to be a butterfly collector to cover my visit to Tri Tsarevny. I came to this museum first, before my visit there, so that I could appear to have some knowledge of Baltic butterflies when I visited the Tsarina. But I came back to the museum today for a different reason. The view from the butterfly room – come with me, and see." He points towards the staircase, and raises an eyebrow. "It will also, of course, give you an opportunity to collect your coat."

"It's not my coat. But that's another story."

We climb the stairs and go back into the cabinet-lined room. The windows look out across the street at the hospital. We can see through a ground-floor window into the professor's room. The tea-tray is still sitting on the window sill. Axelson's sleeping face lies back on his pillow; Yuri slouches in his chair, looking bored.

"So you came up to this room to keep an eye on the professor?"

"Yes, Miss Frocester. I heard that he was in hospital because someone tried to kill him. This window is the perfect observation spot. I waited and watched... I could see a female figure in the professor's room. Then, twenty minutes ago, I saw the same figure, dressed in a Russian coat, crossing the road to the museum."

"Why don't we both simply go and keep watch over Professor Axelson in his room?"

"Because there may be people watching _me_. I'm worried that our enemies have already found me out – hence my gun. I don't want to increase the professor's danger by drawing attention to him. It's safer for him if I don't visit him. It's also inadvisable for you and I to meet again. But it's lucky that we have met now. It gives me a chance to explain – and most of all, to warn you. You see, what happened to you at the cottage in the woods is only the start."

"Could you begin at the beginning? Why on earth did you come to Russia, Lord Buttermere?"

"As you've been working with Axelson, you'll be aware that Svea Håkansson had damning evidence about Rasputin."

"Yes."

"Miss Håkansson went to Tri Tsarevny to tell Rasputin to step down from power. If he refused, she would reveal her information to the Tsar and Tsarina.

Before going to Tri Tsarevny, she contacted British Intelligence, and told me about her mission. She was afraid, you see. She knew that if she met Rasputin alone, she would be in serious danger."

"But Sweden isn't even an ally of Britain. Why did British Intelligence decide to get involved?"

"Miss Håkansson found that Rasputin is within an ace of getting a cease-fire between Russia and Germany. If that happens, Germany will rule the Baltic. They would control all Swedish trade, making Sweden an economic pawn in Germany's game.

But Britain too desperately needs to stop Rasputin. Because a cease-fire with Russia would allow Germany to transfer millions of troops to the Western Front to fight against us.

So although I had never met Svea Håkansson, she and I had a single purpose – Rasputin must be stopped. Given the high stakes involved, I decided to come to Russia myself, and help her. She and I were to meet on the afternoon of July 29th, to plan how we would confront Rasputin – together. But by the time I got to Tri Tsarevny, she was beyond help. I arrived half an hour after she died."

I glance across the road into the professor's room. He's still sleeping like a baby. I think back to yesterday, and those lonely little islands on the lake. Lord Buttermere continues his story.

"My own cover story for my mission was simple. I obtained a letter signed by King George of England – who is of course the Tsar's cousin – to say that I was a friend of his, and a butterfly collector. The letter asked the Tsar and Tsarina if I could visit Tri Tsarevny for the day, to study the insect life of the area. The letter stated that although I was not visiting on official business, my connections to all the noble families of England 'would help strengthen Britain's support for Russia'. The Tsarina wrote back to say that I would be most welcome to visit."

"Lord Buttermere – do you think Svea might have met Rasputin by herself, before you arrived?"

"Miss Håkansson was horribly aware of the risks of meeting him alone. But I don't know for sure that she didn't meet him."

"Professor Axelson and I went to Tri Tsarevny. There was no-one there, and our guide, who was called Mr Bukin, told us nothing."

"I'll tell you what I know – which isn't much. When I visited the place, a small boat from Ivangorod took me along a remote creek to a quay, where I was met by two guards. They said they had been told to expect my visit. I was surprised that they didn't even check my papers. Then one of them suggested that I stroll around the gardens until someone was free to meet me. He even took the time to tell me about the old legends – the three princesses, the islands and so on – as if he was some sort of tourist guide. His lax attitude gave me serious doubts about the security of the place."

"Professor Axelson thought the same. So what did you do then?"

As the guard suggested, I went up the steps into the garden, but I could see no-one around the main house; it seemed deserted. In hindsight, I realise that they were all down at the lake, looking at the murder scene. But at the time I had no idea what was happening. I simply waited in the gardens for someone to appear.

Finally, I saw a man coming up from the lakeside. He seemed to be some kind of butler. He told me that a 'foreign lady' had 'had an accident'. Then he showed me into a room in the main house, and the Tsarina came in to see me. I remember her face: white as death. She was the one who first used the word 'murder'. She apologized for the circumstances – and asked me to leave immediately. She said she was particularly keen that her young son Alexei, who is a delicate boy, should not be disturbed, or even become aware of what had happened. Of course, I had no option. If I had asked to stay on there –"

"I understand. They would have suspected your disguise. You had to play the eccentric English butterfly collector."

"Sadly, yes. Never have I been more frustrated. Miss Håkansson's death is a disaster for all the Allies in this war; her plan to unseat Rasputin was, as it were, our last throw of the dice in our attempts to help Russia. And since then, I've been able to discover nothing about the murder. I've found Ohkrana impossible to work with."

"Why is that? I thought they existed to support the Tsar. The imperial family want the Håkansson murder solved."

Buttermere shrugs. "Look out of the window – not at the hospital, but over there, along the main road."

"There's nothing – except a line of telegraph poles."

"Something happened here in Ivangorod last year, Miss Frocester." I feel an odd chill, like a premonition that Lord Buttermere's story will end grimly.

"It began when our agents in Germany sent intelligence to me in London. Their message told me about a secret naval mission that the Kaiserlicht Marine were planning, using a U-boat. The German submarine was to travel to the Baltic coast near Ivangorod. At a lonely spot on the shore, the U-boat would drop a supply of explosives, which would be picked up by anti-Tsarist revolutionaries. They would then use the explosives to destroy railways supplying the Russian front line.

So I contacted my liaison officer in this area. By strange coincidence, he is an old friend of yours."

"Really?"

"Yes – but don't raise your eyebrows at me like that, Miss Frocester. I'm not going to tell you my agent's name! Anyway, I sent him my information, and he passed it on to his Russian contacts.

Immediately, Okhrana rounded up fifteen workers at the cotton mills on the Narva River. Those men were known to be members of the Communist Party. But there was no actual evidence – nothing to suggest they had been in touch with the Germans, or that they were planning any sort of terrorism or sabotage.

Okhrana made no investigation of any kind. The men were all taken to the old castle in Ivangorod. And the next morning, they were led out to that road, and hung from those telegraph poles."

I shudder. Lord Buttermere continues. "Russia is governed like this: if you are in power, you find a few people who might or might not be your opponents. Punish them very publicly, and hope that everyone else will be terrified into submission. Ivan the Terrible and Peter the Great ruled like that, and nothing has really changed."

"That's horrible. But even though you may not be able to collaborate effectively with Okhrana, what about the imperial family itself? The professor and I were given a letter from the Tsarina; she wants Svea Håkansson's killer found."

"I have had no help from the imperial court. They are obsessed with secrecy. The Tsarina and her retinue, and Rasputin too, have a passion for secret communications – cyphers, codes, even schoolboy nonsense like secret phrases and invisible ink..." He carries on, as if musing to himself. "Ironically, the only person assassinated at their private palace was a neutral foreigner."

"And now, someone is trying to kill Professor Axelson and me. Lord Buttermere – I'm scared. And I don't trust anyone."

"I think you can trust your bodyguard, Captain Sirko."

"Do you think so? He's told me nothing about himself. But I found his name listed among those who were at Tri Tsarevny."

"That's in his favor. If he was there, then the Tsarina trusts him. Sirko has probably told you nothing, because _he_ doesn't yet trust _you_."

"Thank you, Lord Buttermere. That's a positive thought. Because I'm so unsure..."

"I have great faith in your abilities, Miss Frocester. You and the professor have given me invaluable help in the past. But this time, you should simply focus on your own safety. This situation in Russia is beyond control."

"You mean, we should do exactly as they tell us, and leave the country?"

"Most definitely. Travel as soon as you can to St Petersburg, and board the ship for Sweden. Would the professor's condition allow that?"

"It might. He seems to be merely in a deep sleep. I'm sure they could make up a simple bed on the train."

"Then get out, while you can. Over the past few years the allied powers, and influential neutral nations such as Sweden, have all tried our best to put right the situation in Russia. But now, we realise the truth. It is too late to save this country."

Lord Buttermere seems to muse again, gazing out of the window. Then he looks sharply at me. "Russia is like an express train, speeding on tracks towards a tunnel, and no-one can divert or brake it. Over the tunnel is written one word – 'Hell'."

6 Rasputin's proposal

I gaze out of the train window. Forests and farmland flash by. I look across our compartment at the professor, and he smiles back at me.

"It was a great surprise, Miss Agnes, to wake up in a hospital bed. The last thing I remember was the meal at the cottage in the woods."

"I'm glad you'd woken by the time I got back to the hospital. It meant we were just in time to catch this afternoon train. The next one would have been tomorrow."

Our companion also looks relieved. Yuri points out of the window at the scenery; we are passing lawns, formal ponds and statues. We see the outline of a colossal, ornate building, and the parkland goes on and on, as Yuri says "This is Prioratsky Park, part of the grounds of the great imperial palace at Gatchina."

I laugh. "Yet another palace! How many palaces do the Romanovs have?"

"More than they can ever use, I think! Until the war, when they were converted to hospitals, most of the imperial palaces stood empty and unvisited for years. But Gatchina is a useful landmark on our journey. It shows that we're now only about twenty miles from St Petersburg."

The train slows and pulls into a station. I look out of the window onto a small, empty platform. The professor dozes a little; the drug is still wearing off. After a few minutes I hear him snore.

We wait, and time passes, but no-one comes to explain what is happening. Axelson suddenly wakes again, and looks around, slightly dazed. Yuri pulls out a newspaper, sighs, and begins to read. An hour goes by, then he looks at the professor and me.

"You have both travelled widely. There is a saying, is there not, that the character of a country is reflected in its railroad system? American trains are huge and powerful. Swiss trains run perfectly on time, like clockwork. The Italians make amends for their inefficiency with friendliness and charm: German railways follow absurdly strict rules. What would be said about Russia?"

The professor doesn't want to offend. "I'm sure there is a good reason for the delay."

"Maybe. You know, don't you, that every railroad built in Russia has to be approved personally by the Tsar? In Siberia there is a hundred-mile stretch of dead straight track, interrupted by two sharp, unnecessary bends. Nicholas II, they say, took a ruler and drew the line of that track on a map. Two of his fingers overlapped the edge of the ruler, so there were two kinks in the line. No-one challenged him. The railroad was built precisely along the line he drew."

The professor and I smile politely, but Yuri puts his head out of the window, craning his neck to see. Then he stands, shaking his head. "I'm going to find a member of staff and ask him what is happening. If we are stuck here overnight – which can happen, believe me – then I will have to sort out a safe hotel in Gatchina for us. Don't open the compartment door to anyone. I'll be back in five minutes."

Earlier in the journey, a tea tray was delivered to our compartment. The empty pot and cups sit on a little table, along with a bowl of sugar lumps and a small jug of lemon juice. Something Lord Buttermere said stirs in my mind.

"Professor, do you have a match or a lighter?"

"Yes. Here it is. Why?"

I take out the Tsarina's list and unfold it. I flick the lighter and hold the flame below the paper.

"Miss Agnes! Are you burning that paper?"

"I'm not burning it, Professor. I'm heating it."

And magic happens. Alongside the dark ink of the Tsarina's writing, faint yellow-brown shapes begin to appear on the white paper.

"Miss Agnes – you have found invisible ink!"

"Yes. A secret message written in lemon juice, like schoolkids do for fun. Lord Buttermere said that the Tsarina likes this kind of thing. So I thought it was worth a try."

The professor stares at the emerging letters. Two names are appearing under the heading of First Princess, alongside the already visible name of Captain Yuri Sirko. I know both names. Mr Vasily Bukin, and General Evgeny Aristarkhov.

I hold the lighter a little longer. Something else is appearing. There's a bracket around all three names, and one word written next to the bracket. A word I'm now very much aware of: Okhrana.

There's a knock at the compartment door. "Hello! It's me, Yuri. And I have a visitor for you."

The door opens. I just have time to fold the list and slip it into my dress pocket. Alongside Yuri stands the familiar dark-suited figure of Mr Bukin. He smiles his usual smile.

"Professor Axelson and Miss Frocester – thank you both for your patience. The delay to your journey is my fault. The train had to be held up, in order that I might board it. Unfortunately, I was over an hour late in my journey by motor-car to Gatchina Station. Please accept my apologies."

"Of course."

"I'm also very sorry, Professor and Miss Frocester, to hear of the accident at the cottage in the forest. Kaspar Sepp is a foolish young man; he no doubt left the stove on. The only consolation is that neither of you was hurt."

Yuri towers behind Bukin, gazing at us. It's impossible to read the expression on his face. The professor looks sharply at Bukin.

"It depends what you mean by 'hurt', Mr Bukin. I was in hospital for several hours. Are we now proceeding straight to St Petersburg?"

"Of course. This is a direct train, with no more stops."

Yuri and Bukin both sit. The professor glances at me. We are in a train compartment, alone and vulnerable, with two members of the Russian secret police. We can only breathe easily again when we reach St Petersburg. But for the moment, there is nothing we can do, except trust these men.

The train starts up, and clouds of steam blow past the window. The four of us sit in silence as the train rattles on.

The faces around me are the same: Bukin smiles blandly, Sirko is expressionless, Axelson watchful and wary. But we're no longer in a train compartment; we're in a horse-drawn carriage, trotting along cobbled streets. Outside Vitebsky station in St Petersburg, I was relieved to hear Bukin asking the carriage driver to take us straight to the harbor, and we got into this cab. As we rattle along, the professor tries to be polite.

"Thank you for organising this, Mr Bukin. We do appreciate it, even if we might appear impatient at times. But, I have one last question before we go. I ask simply out of sheer curiosity."

"Do ask, please! I will tell you anything I can."

"We have heard a name – 'Nestor'. To me, that is the name of an ancient Greek king, renowned for his wise words. But could it also be a Russian name?"

I notice a slight pause in Bukin's manner.

"It is an Estonian surname..."

"But it means something more to you, doesn't it? Does that name have any connection to Tri Tsarevny?"

Bukin seems to consider his words. "I may as well tell you, Professor, since you are leaving Russia anyway. Nestor was a private tutor for Prince Alexei, during the holiday at Tri Tsarevny. But I never met the tutor, who stayed up at the main Dacha, preparing lessons and teaching."

"But you must know something about him?..."

"The Tsarina personally vouched for Nestor's credentials. So it would have been imappropriate for me to make my own checks about the tutor. But I do know one fact. After the Tsarina and Alexei returned to St Petersburg, I heard that Nestor had been dismissed. I don't know why: only the Tsarina could tell you. And that is all I know." As he finishes speaking, Bukin raps with his fist on the roof of the carriage.

"Driver! Can you make a slight detour? I need to call in at my office, very briefly. It's off to the left – just here."

I feel the carriage swerve, then pull to a halt. Bukin gets out, and looks at Yuri. "You too, Sirko. Come with me for a moment. New orders may have arrived at the office for us from our commanders. It makes sense for us both to call in, when we are passing so close."

As soon as the carriage door shuts, I ask the professor. "What is going on now? Both of them belong to the secret police..."

"This stop is yet another annoying delay. But although Bukin and Sirko are assigned to Okhrana, that is not necessarily sinister. The Tsarina, who after all invited us to Russia, trusted both these men enough to have them staying at Tri Tsarevny, to ensure security."

"I'd hardly call it 'security'. One person got murdered there, and look at what's happened to us."

"Well, just a few minutes more, Miss Agnes, and we can board our ship and forget it all. By the way, have you still got that list, with the invisible ink? An excellent piece of detective work. Where did you find that piece of paper?"

"You discovered it, Professor. It was in the bag with your clothes, at the hospital. I thought you'd picked it up at Tri Tsarevny."

Axelson looks at me, bemused. I repeat to him. "I didn't find that list. You found it."

"No I didn't, Miss Agnes. I never saw that paper, until you took it out of your handbag, on the train just now. I didn't find it – you did."

"No, Professor –"

"You are both wrong."

Our heads turn at the sound of a deep voice at the door of the carriage. It's Yuri. He's alone.

"Neither of you found that list. _I_ found it, and I threw it on the floor in the hospital room so that you would spot it, Agnes."

We both look at Yuri in surprise.

"I found the paper at Tri Tsarevny. In the Tsarina's bedroom, in fact. She left it behind, when they all abandoned the place after the murder."

The professor stares. "What in the world?..."

"Mr Bukin will not be back for several minutes. He likes to spend a lot of time in that office, bowing and scraping to his superior officers. So I have time to explain – by telling you a story. In Russia, you know, we are fond of telling stories."

He climbs up into the carriage, and continues, smiling at us. "I must begin my tale with an apology. I have deceived you, Agnes. When we had tea at the hospital, I let you believe I was a regular Russian cavalry officer. Now, I must tell you the truth."

Is he about to admit he's a secret agent? I stare at him.

"Look at my uniform. You've seen Russian soldiers. All those bright shiny buttons. My uniform doesn't have them."

I realise: that's what was odd about the uniform I saw through the crack in the wall at the cottage. It had no buttons. Just a plain, practical front of blue-grey serge. Exactly like the one that Yuri is wearing now.

Axelson is grinning, like a schoolboy who has solved a puzzle. "Captain Sirko. You are a military man – and I think you have been drafted in to help Ohkrana. Which shows you are highly trusted. Yet you operate independently from the regular Russian Army."

Yuri nods as the professor continues. "I can deduce only one conclusion. Captain Sirko. You are a Cossack."

"Well done, Professor! You are exactly right. I am Captain Yuri Sirko of the Astrakhan Cossack Host. Since the beginning of the war, I and my regiment have been working alongside the main Russian Army."

I interrupt. "Forgive my ignorance. I know the word Cossack – and I have a picture in my mind of what a Cossack should look like. But –"

Yuri laughs. "Outside Russia, hardly anyone knows what Cossack means – even though you all have these same pictures in your heads! It's like this. In America, you have your western states – frontier lands. Hundreds of years ago in Russia, it was the same. People moved from different parts of the Tsar's empire to settle the southern border lands. They formed into groups based on areas. Each group is a Host, and although they owe allegiance and military service to the Tsar, the Hosts govern themselves. They elect a leader – an Ataman. But on any decision, the Ataman can be outvoted by the members of the Host."

The professor looks from me to Yuri. "Cossack men all serve in the Tsar's army for many years. As you have, Captain Sirko?"

"Indeed – since long before the war started. I was stationed in several places across the Empire, and I enjoyed it. But two years ago, when the war came, everything changed. We fought in the Battle of Tannenberg. The Germans overwhelmed us with better equipment and better tactics. I learnt the literal meaning of the word 'bloodbath'. Cossacks do not readily surrender, but thousands of my kinsmen did, to avoid certain death. Since then, I have seen ceaseless fighting. Battle after battle, and every single one has ended in defeat for us.

One month ago, I was stationed on the Daugava River near Riga. The German Army was dug in on the opposite bank of the river, and spent their time firing shells at us. We didn't fire back, because we had no ammunition, which is typical. Then I received orders that I did not understand. That too is typical, in the Russian Army. But this was most odd. I was told to travel to St Petersburg, alone, and report to a Mr Bukin, at that very office there." He points out of the carriage window.

"Meeting Mr Bukin was also odd. He was not a military man. In fact, when I met him I thought he was some kind of petty bureaucrat. Which he is. Except that his bureaucracy's work is to protect the imperial household from plots and terrorism. His job is to keep the Tsar's family safe. My job is to run errands for him.

I like my new work. On the front line I've been shelled, attacked with chlorine gas and shot at with machine guns. Not for days or weeks, but constantly, for years. Do you know the most useful piece of kit for a Russian soldier?"

I shake my head; Sirko smiles ruefully at us. "A shovel. A big shovel, for burying one's fallen comrades. I have helped bury more than one hundred men.

So working for Bukin is a holiday. But then – I found another dead body. It was me, you see, who found Miss Håkansson. She had been a beautiful woman, but she was sitting there on the porch on that island with a hole in her head. Her eyes were still looking out at the scenery.

Of course, that fusspot Bukin told me not to say anything. He even told one of the servant girls to say that she had found the body, not me. I remember the look of panic in his face when he heard that some insane butterfly collector from England had arrived and was waiting up near the main Dacha. 'I'll go up and meet the Englishman, and make sure he finds out nothing' Bukin said."

I think back to what Lord Buttermere said about his arrival at Tri Tsarevny, and the 'some kind of butler' who met him. But Professor Axelson is peering through the carriage window

"Is that Mr Bukin at the office door? He's coming back to the carriage."

Yuri glances towards the office. "There's just time to finish my story. You'll have guessed by now that Bukin and his Okhrana taskmasters don't care about finding the murderer. They want to sweep it all under the carpet."

Axelson nods. "Yes. I had that impression too."

"It's more than an impression: it's totally definite. I overheard Bukin say to the police detectives 'Close the file. Put out a public statement that unknown revolutionaries killed Miss Håkansson.'" Yuri shakes his head wearily. "I'm a loyal man – I do what I'm told. So I can't investigate this myself. But someone must get justice for Miss Håkansson... then, you two arrive in Russia, to look into the case."

"But now, we are returning to Sweden."

"I know. But Professor, you are reporting to King Gustaf himself, aren't you? Show him that piece of paper – the Tsarina's list. One name on that list must be the killer."

"Yes – I had concluded that too."

"Get King Gustaf to write to the Tsarina, to say he has new evidence, and the case should be reopened. A fresh police enquiry –"

Bukin's face appears at the door of our carriage. He looks at Yuri, but I don't think he overheard us. I say innocently "Captain Sirko was just telling us about Astrakhan."

"Ah yes... the beautiful city on the Volga River, where it flows into the Caspian Sea – and, home of the famous Astrakhan wool! Do you know why the wool is so expensive, Miss Frocester?"

The professor interjects. "Our ship, Mr Bukin..."

"I will first respond briefly to Miss Frocester's interest in astrakhan wool – so desirable, so fashionable! Its high price reflects the effort of obtaining it. It is the wool of an unborn lamb in the ewe's womb. The mother is killed and cut open –"

Yuri interrupts. "Not every citizen of Astrakhan spends his time slaughtering sheep for a living, Mr Bukin. I think our visitors are more keen to hear about their travel arrangements."

"Of course, of course! Miss Frocester, Professor Axelson – there has been a change of plan. An improvement."

"The best improvement, Mr Bukin, would be for myself and Miss Agnes to be aboard a Swedish ship, within the hour."

"Ah. Your steamer – it has already sailed, I'm afraid. But in any event, given the news I have for you, you would wish to stay on in St Petersburg."

The professor stares at Bukin with angry disbelief in his eyes. But I'm not surprised at this turn of events. I had a feeling, like something under my skin, that this would happen.

Bukin carries on. "Professor Axelson, you are highly honored. Our esteemed Mr Rasputin has heard that you are in Russia. He knows of your marvellous talents as a mesmerist, Professor. He is even aware of your Hypnotic-Forensic Method, and how it guarantees that the hypnotized person must tell the truth."

"Not necessarily. We must be clear about the limits of my technique, Mr Bukin. My method can only ensure the truth if the hypnotized patient is willing to fully enter a hypnotic state."

"Indeed – we appreciate that, Professor. Now, I must tell you a little about Grigor Rasputin. He is a kind of living saint: his mind communes with God. A heavy burden for a man to bear.

But in recent weeks there have been wicked rumors that connect him with Miss Håkansson's death. That has added to the strain on Rasputin's mind. He wants the truth to be told: that he had nothing to do with the murder.

In short, Professor, I have a proposition from Rasputin. He generously proposes to pay for you to stay in one of St Petersburg's finest hotels, so that you may meet him tomorrow. Mr Rasputin has requested that you hypnotize him."

7 At the Neva Bath House

The 'finest hotel' isn't very nice. After Mr Bukin took his leave of us, I lay exhausted on the bed in my room, but I couldn't ignore the rattling, scuttling sounds from behind the skirting-boards. Rats. So I went down to the reception desk and asked to be moved to another room, but the blank-eyed concierge simply shrugged. "Miss, you may not know that this entire city was built on the orders of Tsar Peter the Great, by an army of slaves. Thousands died, and their graves are under every building. What you hear is not rats; it is ghosts."

I had no idea how to respond to that, so I gave up, went back to my room, and slept surprisingly well for twelve hours. This morning, I couldn't face the hotel's breakfast, but round the corner I found a nice Jewish bakery. Munching on a bagel reminded me of my visits to New York. Then I saw a sign opposite the bakery: "English Shop". Inside, it was like a draper's store in London. I felt as if I was in some sort of sanctuary. I spent an hour there, and bought new clothes, imagining myself travelling back to Sweden in them. And now, I can post the other clothes back to the Sepp family.

I've washed and changed, hoping to feel fresher. But the bathroom of my room is grimy, and dark blooms of mold cover the ceiling and walls. Even the water seems gritty. I go back to the hotel's reading room, a wood-panelled cavern, murky with cigarette smoke. It's full of serious-faced middle-aged men. Some are in small groups, talking in low voices; others sit alone and stare glumly into space.

I recognise the professor from the way he holds a large newspaper in front of his face. He folds it, sighing.

"The foreign news in this paper is hopelessly out of date: some of these articles I read back in Stockholm, months ago. The paper tells that me that the Mexican Pancho Villa has attacked Columbus, New Mexico, which I recall happened last March."

"When is the meeting with Rasputin?"

"At seven this evening. A carriage will call for me at six and take me to a place called the Neva Bath House. There will be no Mr Bukin, and no Captain Sirko, to accompany me. Mr Bukin said that security is unnecessary now we are in St Petersburg. He also advised against you attending this interview, Miss Agnes – he muttered something about 'reputation'."

"Obviously, I'm coming with you."

It's a warm, sultry evening. Our carriage looks more like a pony and trap; the professor and I perch on a narrow bench. Every face in the street turns to watch us pass; I feel like we're being paraded through the streets shoulder-high, like a religious icon.

We turn a corner into the main thoroughfare, the Nevsky Prospect. It's a current of moving people; entering it feels like being pulled into a huge river. The Prospect is a deep channel, lined on either side with ornate stucco facades. It's filled with a surging stream; crowds on foot, carriages and trams. Our carriage shifts along with the multitude, passing the endless colonnades of the Kazan Cathedral. But then we turn off into a side street, also full of people.

Skeletal beggars stand everywhere like statues, each with a string round his neck holding a cardboard tray on his chest. Some trays hold a few pennies; others nothing. The headscarves of women weave their way through the beggars, going briskly about their daily business. There are boys and girls, too: they also have trays, carrying sunflower seeds, pastry triangles and pancakes for sale. All of them are shouting their wares: the professor leans to my ear to speak.

"The pastries are called chebureki; they are a savoury snack, originally from the Crimea. The pancakes are blini: they can be savoury, or there are sweet jam and honey ones too. I'll treat you to some, before we leave Russia."

"Have you visited Russia before, Professor?"

"The Saint Petersburg Imperial University offered me an honorary degree in 1905, on condition that I gave some lectures for them. So I travelled here, but it was a frustrating experience. The entire university was closed, due to violent student protests against the Tsar."

The carriage stops beside a heavy oak doorway, flanked by two oversized statues of naked, muscular men. The door is opened for us, and a young man in an embroidered Russian waistcoat ushers us inside. I notice his closed eyes, and the professor presses a coin into his hand. I see a little basket at the man's feet, labelled "I am a brave defender of Mother Russia. I was blinded at the Battle of Masurian Lakes. I have a wife and three children." I put all the money I can spare in the basket, and look around me.

It's almost like a church. Marble pillars support a high, domed cupola, and gilded scrollwork is everywhere. But the paintings that adorn the walls are not religious icons; instead, they are oil paintings in mock-classical style, and show nude people cavorting in lush countryside. Directly ahead of us a sour-faced man sits at a desk; we pay him our entrance fees. Tonelessly, he says "Mr Rasputin is unexpectedly busy. He will be exactly one hour late for the interview. Wait in the changing room."

The next room is low-ceilinged and lined with salt-glazed yellow tiles. In the centre of the room are wooden benches, and on the right and left-hand walls are cubicles for the bathers to change in. A woman comes out of one of them. She's swaddled in towels, and she wears a felt hat that makes her look like an elf. She walks through a door marked "Ladies".

The professor whispers to me. "The hats are to protect the head from the high temperatures in the steam rooms. Fortunately, we can wait in this changing room for Rasputin, so we don't have to go into the baths themselves. I tried a place like this once in Stockholm; the heat gave me a headache."

"We have an hour to wait, Professor, and we've paid. I'm going to try it." I step over to a cubicle. As I undress, I say to myself "So far, Agnes, you've shied away from Russia. All you think about is getting away. Let's try this: you'll never get the chance again."

I pass through the door; instantly the steam room blankets me in white mist. Women's voices are chattering and laughing. I can make out a cluster of vague pink shapes filling a large alcove, so I sit in the opposite corner, swathed in my towels and wearing the absurd hat. There's another burst of giggling.

"So? What would _you_ say, Elizaveta, if the mad monk asked you?"

"He won't ask me. I'm too fat. He likes them young and thin."

"Wait until winter, when there's no bread in the shops. You'll get skinny enough for him then."

Through the steam I see the shapes of faces, turning to look towards me. "Hello! Come here, sit with us!"

"Thank you. I'm a visitor to Russia..."

"Every woman in here is a friend. Come, sit!" I go over, and a naked woman pats the wooden seat next to her. "Take your towel off and sit on it. The wooden bench will be too hot for your bare bottom."

I hesitate: then I let the towel drop onto bench, and sit on it. I'm surrounded by a circle of smiling women's faces. They are all around thirty years old.

"You are English?"

"I'm American."

Several voices speak at once. "My sister, she lives in America!" "New York, are you from New York?"

I explain that I'm called Agnes, and that I'm from Putnam, Connecticut, a tiny town they won't have heard of. But they still want to know all about me, like excited children. Then one of them grabs both my hands.

"Vodka! Agnes, you must drink vodka with us. We will drink a toast to our new friend Agnes, from Putnam, America."

"I've never tried it. I've drunk brandy –"

"Ha! You will never touch brandy again, once you have tried the true spirit of Russia."

Through the mist, a bottle appears, and glasses. We all toast together, and I tip the glass to my lips. A fiery warmth hits the back of my throat, and I cough.

"Come, Agnes! We are to be massaged. You come with us..." Wrapping our towels around us, we step into another room.

It's like a scene of ancient Rome. A rectangular pool, tiled in azure blue, is surrounded by a colonnade of pillars. In the dim spaces among the pillars, naked women lie face down on benches, while other towel-clad women massage them, or – strangest of all – beat them with twigs and dry leaves. But a bigger surprise is in store.

Another door, labelled "Private Room" opens. A young woman appears, wearing a towel that barely covers her long legs. She's giggling girlishly, but when she sees us, she goes silent, and avoids our gaze. Then behind her, wrapped only in a small towel like a loincloth, we see the chest and limbs of a man. He steps forward. A long, dark beard and a swirled mass of hair surround a gnarled face. His eyes glow like hot coals. I pull my towel tightly around me, and the other women do the same.

The man struts along the other side of the colonnade, as if he owns the place. He doen't look across to us. But he's aware that every female eye is following him. The women's gaze is wary and tinged with fear. Yet I sense suppressed excitement among them, like a forbidden thrill. Then the girl and the man disappear through another door. I look at the women, and they answer my unsaid question.

"Of course, these rooms are strictly for ladies only. But that man goes wherever he likes."

"I'm sorry – it's time for me to leave. But thank you for making me feel so welcome. It means a lot to me."

I feel like a boiled lobster: I take a cold shower before returning to my cubicle. I dress, then open the cubicle door to see the professor sitting with Rasputin, who is now wearing in a long white robe. The dark hair flows over his shoulders, and the deep-set eyes burn at me. But the professor's voice is business-like.

"Mr Rasputin. This is Miss Agnes Frocester, who assists me during Hypnotic-Forensic sessions. Where would you like me to conduct the hypnosis? I suggest somewhere private, where we won't be disturbed."

"The staff office here is available to me, any time I wish to use it."

The voice is a heavy monotone, but all the time, those eyes are fixed on me. Axelson replies. "May we go to the office now?"

Rasputin smiles slowly, as if humoring a child's request. "Yes. I'm happy to do that." But he waits thirty seconds before standing. His presence fills the room; his tall figure stands over the professor, and he continues to gaze at me. Then he raises his hand above the professor's head. "Let us go, then." For all the world he looks like a puppet-master, lifting the strings to move us, like marionettes.

Rasputin leads us back into the foyer, then into a small side chamber. After the splendor of the public areas, this room is cramped and dingy. The only furniture is a desk, a chair and a bench. We sit, and Rasputin suddenly begins to talk. His voice sounds loud in the tiny space.

"Your Swedish newspapers. They are full of lies about me. They insinuate that I am a murderer."

"Only one thing can combat lies, Mr Rasputin: the truth. I am here to find the truth about what happened to Miss Håkansson."

"But it is wrong to slander an innocent man. I am the most innocent man to walk this earth since the Bible was written. But then, all the Prophets were slandered, and John the Baptist, and Jesus himself. Every hand was raised against the Savior, but he was innocent of sin. If you hypnotize me, then you can go back to Sweden, and tell everyone what I tell you – the absolute truth. I am innocent of that woman's blood."

"Do you think you are innocent of all sin, Mr Rasputin?"

"No-one is free of all sin. You know that, don't you, Miss Frocester?"

He raises one eyebrow at me. I can tell: he recognises me. Somehow, he noticed me in the massage room. But then he looks away, as if I am of no interest to him, and holds Axelson in his gaze.

"Professor, there are many kinds of sin. Pride is the worst sin of all. The Tsarina is the great mother of Mother Russia – but she is a humble woman. Yet the fine ladies of St Petersburg – pride riddles them. They pretend they are virtuous and pure. I liberate women from their pride."

The professor looks quizzically at the monk, who carries on. "When I touch a woman, she cannot resist the urges of the flesh. Her body sins with burning lust for me. But her soul is humbled, and redeemed."

Rasputin has been speaking only to the professor, but he shoots another glance at me, as if suddenly remembering I'm here. This time his staring eyes are deathly cold; I almost shiver. "It's all just an act" I say to myself, and try to return his gaze. The professor, though, asks an odd question.

"Have you used the ladies' bathing pool here at Neva Bath House?"

"I use whatever I like. Nowhere, nothing and no-one is forbidden to me. I have true freedom. Whereas you, Professor Axelson, are not free, not at all. You are held in Russia against your will. You dream every night of escape, of a ship to take you back to your beloved Sweden."

Rasputin fixes the professor in an unblinking stare. One of the rumors I heard is that he can dilate his pupils at will: I look into his eyes to see if it will happen. Moments pass in a strange, suspended silence. I watch the two men. I'm not sure who is the hypnotist, who the hypnotized.

After a few minutes, Axelson speaks, his voice slow and measured. "So, you have used the bathing pool. What do you see, when you are in the pool?"

"Women. Among the pillars, all around the walls of the room."

"Are you swimming, or just standing in the water?"

"I'm swimming. Swimming is better."

"Swimming is better, yes. Could there be any true son of Russia who cannot swim? Russia is a land of rivers."

Rasputin is nodding, as if in time to the cadences of the professor's voice.

"Your own name: Ras-putin. It means the place where two rivers meet; where waters mingle. But tell me, Rasputin, about the water in the ladies' pool, here at the Neva Bath House. How does it feel on your skin?"

"Warm."

Rasputin's voice has softened. His eyes, too, look more gentle; they are still wide open, but look dreamily into an unseen distance. And strangely, the lines in his face look less prominent; he appears younger. The professor's voice continues.

"Warm water. As a boy, growing up in a village by a river, did you ever swim? Did you ever dream of swimming in warm water?"

"That would be heaven. To feel, all over my body, water that is warm. Like I had fallen, not into a river, but into Paradise."

"You are looking down, at deep water. It's the river near your village. And someone is holding your hand, aren't they?"

"Yes. My mother holds my hand, tightly. We are standing on the river bank in the village, looking down into the cold, swirling waters."

"Is she saying anything? What is she telling you?"

""She is saying that I am not a lonely, only child – that I do have brothers and sisters, but that God took them away. She tells me about two of them – Dmitri and Maria. I have never known them, my brother and sister, yet I can see them now. A little boy and a little girl. Their faces – they are looking up at us, from the water. Dmitri and Maria are in the river... and the current, cold as ice, carries them away from us.

My mother holds my hand, she says Grigor, Grigor, hold on tight. Your brother and sister are gone, into the river. You must hold onto me, stay with me. You are all I have left."

The professor's voice takes up Rasputin's story. "The river, and your village, are beautiful. The woods, stretching right across Siberia. The hills and valleys of the Ural Mountains. Yet you dream of going far away when you grow up. You are a boy who is full of restless dreams."

"Yes."

"You dream of going all the way to Yekatarinburg, the big town. Or even further, to Moscow or St Petersburg. You dream of riding into Moscow, on a horse. You will look so splendid, riding the horse. Crowds of people will look at you."

Rasputin nods. His wide eyes have a boyish eagerness; his cheeks and forehead look fresher and more youthful. Axelson's voice goes on.

"There is a very special horse in your village, isn't there? You would love to ride him. He is so beautiful and strong... every day, you see him and admire him."

"Yes. Misha the horse. I saved him."

"How did you save Misha?"

"I have seen Cossacks in the woods. They are camping near our village. Cossacks love horses. And Misha is gone... stolen.

There is a very rich man in our village. But he is a greedy miser, no-one likes him. Everyone calls him 'tight-fisted Shishkin'. Shishkin says the Cossacks stole Misha."

"What did you do, Grigor?"

"I spoke up. I said 'Let's look in that barn'. And Misha was in the barn – which belonged to Shishkin.

Once Misha was discovered, Shishkin gave the horse back to his owner. But we all knew why Misha was in that barn. Everyone in the village realised that Shishkin had seen his chance to steal Misha. He had taken Misha, and hidden him in his own barn, ready to sell him secretly for a high price to the Cossacks."

"How did you know Misha was in Shishkin's barn?"

"God showed me. He came to me in a vision. He showed me a picture of a little boy, just like myself, who felt hot and feverish one summer night, and could not sleep.

The boy sat up in bed, and looked out of his window. He saw a man and a horse going through the village in the moonlight, like shadows. They went into the barn. The boy in my vision had seen Shishkin leading Misha into the barn."

"Who was that little boy in your vision?"

"It wasn't me. God showed me the boy in the vision, but I don't know the boy's name. Perhaps it was Dmitri, my brother who lives with God."

"What happened after Misha was found in the barn?"

"I told everyone that God had shown me where Misha was hidden. All the village elders smiled at me, and some said I had a gift from God."

"How did you feel, years later, when you became friendly with Praskovya Dubrovina?"

"She was a beautiful girl. From the beginning, I wanted to marry her. When our children were born, I was so happy... I named the first Dmitri, the second Maria. I told myself that they were my brother and sister, sent back to Earth by God, so they could live with me again."

"But were you truly happy? What can you remember of that time, Rasputin?"

"We heard rumors, tales of faraway troubles in the cities, but life in my village was good. But I wanted to feel again how I felt when I found Misha, and the village elders smiled at me."

"Can you still see the river, Rasputin? The river that took away Dmitri and Maria?"

"Yes."

"Look down into the water. It's calm now, the rushing current has gone. The sun is shining, the air is warm. You are on a little island, like a stepping-stone, in a lake. Green grass and silver birch trees line the shore. Tell me about what you see. Tell me about Tri Tsarevny."

"There is a woman there. Tall and slim, with long dark hair; a strong, resolute face. She is a noblewoman of Sweden. But under her fine white dress, I will find out that she is a woman like every other."

"Have you talked to her?"

"I spoke to her. I said 'Your house, on your little island in the lake. It is close to mine. I can come to you, along the causeway, at night.' But she told me she would not meet me until a man, an English friend of hers, came to Tri Tsarevny. She did not want to meet me alone."

"It is a warm, sunny afternoon, Rasputin. The woman is in her house on the island, the little house with the silver dome that they call the Second Princess. Where are you?"

"I am in my house – the Third Princess, with its golden dome. I look across to the other islands. I see the woman: she is sitting on the porch, in a wicker chair. I feel the blood running through my body. I look out across the lake, and I ask God for guidance. God speaks to me, as He always does. He says 'Go to the woman. She dreams of you, Rasputin. She longs for your touch, your embrace.'"

There's a noise: the door swings open. Rasputin's eyes swivel in their sockets; his blank gaze is replaced by a shocked stare, as if he has suddenly woken. We all turn to look at our visitor, who peers at us through his pince-nez.

"Esteemed Mr Rasputin – please, excuse me. Professor Axelson, Miss Frocester; I am so sorry to intrude, but I'm afraid that I need to see you both in my office – immediately."

8 A very large prison

Our little carriage stands on the street outside the Neva Bath House. Bukin gets into a different carriage. It's as if he doesn't want any conversation with Axelson and me, until he is in the security of his office. A few minutes later our carriage pulls up outside the familiar neoclassical façade, and an man appears at the door and ushers us into a small, empty wood-panelled room. Then the official leaves us, saying hastily "Mr Bukin will join you a few moments."

We look around the room. On a table are a bundle of papers and a large book, like a ledger. The professor opens it; it's full of handwritten entries, with dates and amounts of money. He mutters to me. "This is a record of bribes, paid by Okhrana to their network of informers. With their usual efficiency, they've left it lying on a table in full view."

The other papers on the table draw my attention. There's a stack of long, brown manilla envelopes, and two piles of leaflets. I can see a piece of paper jutting out of one of envelopes, and part of a heading "Incriminating evidence against Mr –".

But it's the leaflets that catch my eye. Some are in a neat stack. They show two bearded men, their chests covered in medals, standing defiantly and facing two other figures: a slouching German soldier in a spiked helmet, and a man in a flat hat carrying a cartoon-style bomb with a burning fuse. The heading is "Tsar Nicholas and King George – the best of cousins! Standing proud against German tyranny, traitors and revolutionaries." I pick one of the leaflets up, and notice tiny print at the foot of the page "Published by the Anglo-Russian Bureau, Department of Information, London."

But I can't help my eyes being drawn by the shockingly crude picture on the other pile. There are only a few of these leaflets, and they are crumpled and torn, as if they have been gathered off the streets. The drawing shows two people: I recognise the face of one from photographs, and the other from real life. They are Tsarina Alexandra and Rasputin. They are both stark naked, and Rasputin's fingers cup Alexandra's bare breasts.

The door opens, and Bukin comes in. He's about to speak, but the professor buts in.

"Mr Bukin. Every time I see you, you tell me another piece of bad news. I am beginning to get weary of meeting you. Or do you have something good to tell us this time?"

Bukin ignores the remark, and starts speaking, as if reading from a script.

"Are either of you aware of Shipping Regulation 15A?"

"No."

"It's a wartime requirement. Any foreign national who wishes to embark on any ship at St Petersburg must hold, in addition to their passport, a boarding permit issued by the harbor authorities. I regret to inform you that my office has written to the St Petersburg harbormaster to request that boarding permits should not be granted to either of you, Professor Axelson and Miss Frocester."

"'Your office' has written? You mean, _you_ have written! In God's name, why?" The professor's face is purple.

"It was not my personal decision. My superior, General Aristarkhov, oversees all decisions here. You are refused permits to leave Russia because intelligence has been received."

The professor points at the book on the table and replies, a harsh emphasis in every syllable.

"I've seen what's written in this ledger of yours, Bukin. The ink is still wet on this entry – 'Twenty roubles monthly war pension bonus for family allowance and maintenance, paid to Boris Mikhailov, war veteran and doorman at Neva Bath House, for information received by Okhrana Security Service. August 21, 1916: Mr Rasputin arrived at the bath house at 5.00pm; two foreign visitors, a man and a woman, arrived to visit him at 6.50pm.'"

The professor stares at Bukin, then carries on. "I do not blame a poor blind man for supporting his family. After all, it is easy money for him. He is paid for recognising Rasputin's voice at the door, and reporting dates and times back to you. Your informers follow Rasputin everywhere they can. But they are not allowed, of course, to follow him into the ladies' rooms at the bath house, which is very frustrating for you. So Mikhailov's reports of Rasputin's comings and goings are most useful for your dossier."

Bukin's manner has changed from our previous meeting with him. He seems to have thrown off a veil of politeness; his voice is clear and sharp-edged.

"I advised you, Professor, that Miss Frocester should not visit the bath house. Under Shipping Regulation 15A, boarding permits may not be granted to suspected criminals. That includes people guilty of indecent activity. One interpretation of you both visiting the bath house is that you went there to offer Rasputin – or someone – sexual services. I would not be so impolite as to say it – but some might say, Professor, that you acted like a pimp, and you, Miss Frocester, like a whore."

Bukin's final word feels like a punch in my face. I'm so shocked that I can't defend my own actions. But I think of the other women at the bath house.

"There are many respectable women at the bath house, Mr Bukin! They go there to meet each other, to chat and relax. Going to the bath house is not wrong."

Weirdly, Bukin returns to his usual fawning manner. "Of course, Miss Frocester! Despite what Westerners believe, Okhrana are not secret police. Our job is to solve problems, not create them."

I speak between clenched teeth. "What exactly does that mean?"

"Miss Frocester, our trained officers will look very carefully into the whole matter. Quite soon, they will probably inform you that you are both cleared of all suspicion. But while they are carrying out their investigation, neither of you may board any ship. And, may I suggest that you both behave with decorum from now on, while you are in this city? After all – you are an older unmarried man and a young unmarried woman, travelling together. You can see how irregular it looks."

Another night has passed; morning dawns over St Petersburg. I go to the Jewish bakery again. While sitting with my bagel, I open the novel I've brought with me: Dostoevsky's Brothers Karamazov. I hope it will give me some insights into this country. I think of Rasputin, and words jump off the page at me.

"A holy man is one who takes your soul, your will, into his soul and will. When you choose a holy man, you renounce your own will and yield it to him, in complete submission."

I close the book, and just like yesterday, I go back to the hotel's reading room. The professor is not there. I go up to his room and knock on the door.

"Come in."

The professor sits in a corner, gazing out of the window.

"I am surprised that you have come to see me, Miss Agnes. My bad mood means I am not pleasant company for you at present. But also, Mr Bukin may have paid the hotel porters to spy on you. They will write a report for Okhrana, to say that you are visiting a man's hotel room, like a common prostitute." He smiles at his bleak little joke, then shakes his head and speaks bitterly.

"Bukin's claptrap about boarding permits... it is like he has thrown us into prison, Miss Agnes. Russia is our prison."

I joke in my turn. "It's a very large prison."

The professor manages a thin smile. I change the subject. "Bukin interrupted your hypnosis of Rasputin half way through, Professor."

"On the contrary. I was just finishing the session. I was about to bring Rasputin out of the Hypnotic-Forensic state of consciousness."

"Really? But... he was about to tell us what had happened between him and Svea Håkansson."

"Oh, that! Nothing, of course."

I look at the professor in surprise. He carries on, for a moment forgetful of our troubles. "Nothing. Nothing at all happened between Rasputin and Miss Håkansson. They hardly even spoke to each other."

"But he was watching her, and –"

"I have a slightly embarrassing confession, Miss Frocester. But it may help me explain to you what took place between Rasputin and Svea at Tri Tsarevny.

When I was around fifteen years old, I developed a silly fancy – a 'crush' on a lady in Stockholm; she lived in the apartment opposite us. Felicia Nilsson... I could think of nothing but her. But of course, she was twice my age." He smiles in reminiscence. "It is funny that perhaps I have never married, Miss Agnes, because when I see women's faces, I am always, somehow, looking for Felicia Nilsson.

Anyway, it was summer in Stockholm. A hot night. I looked out of my window – and there she was, the drapes of her room open, standing in the lamplight. She was completely unaware of me. She started to undress."

I look at the professor. I have known him for years, but I'm surprised at his frankness. He smiles wistfully. "I pulled my drapes closed. I didn't watch, like some Peeping Tom, as you would say in English. But I sensed what it would have felt like – to watch an object of desire, from a distance. That is exactly how Rasputin felt, seeing Svea on her island across the lake."

"He can have his pick of women –"

"Can he? Let me ask you a personal question, Miss Agnes. You are an unattached young woman. Would you be interested in meeting Rasputin... privately?"

"Of course not!"

"Exactly. Your own answer proves that Rasputin does not have 'his pick of women' as you put it. He can have only those who are vulnerable and gullible enough to be taken in by him. He is idolised by needy women. But he is needy too: his emotional life is like a bottomless pit. Human worship is poured into it, but it remains empty and unsatisfied."

The professor pauses, then goes on, as if giving a lecture in psychology. "The root of Mr Rasputin's character is this. Think of a little boy who tells tall stories – lies, really. His stories get people's attention, and he enjoys that. As he grows up, he becomes addicted to seeking attention. But he also has a childlike searching soul, a desire for what is real and true – like an artist, an explorer or a scientist. How does a peasant boy from Siberia deal with all that in his head? I don't blame him. He simply started to believe his own lies."

"So did he kill Svea Håkansson?"

"Of course not! He's not capable of murder. Like I said, in his heart Rasputin is still a little boy who tells lies. Then he discovers that gullible people – and needy but occasionally attractive women – hang on his every word. He comes to St Petersburg, and finds that even the imperial family are desperate enough to believe his lies..." The professor sighs. "In fact, I feel sorry for Rasputin. Far from being the plotting spider that King Gustaf spoke of, Rasputin is a simple, boyish man. A man who has swum into deep waters, far beyond his depth – and is terrified of drowning."

"So who did kill Svea then?"

"We need to go back to your – or Captain Sirko's – piece of paper. You and I saw the islands on the lake. According to the Tsarina's list, Sirko, Aristarkhov and Bukin were in the First Princess house. The islands, and the porches of the three houses, line up; a shot fired from the First Princess could have hit Miss Håkansson in the side of the head as she sat on her porch, looking out at the lake."

"You mean Okhrana killed her? And then they tried to kill us, when we investigated?"

"Okhrana have no scruples about killing inconvenient people – even foreign citizens. So, what you suggest would be the obvious explanation. But there is something else in this matter... a deeper, hidden pattern we can't yet see. A question keeps nagging me, and won't go away. That question is: if Okhrana killed Svea, what was their motive for murder?"

"To protect Rasputin from her allegations?"

"Oh no. You saw the ledger Bukin keeps, containing details of the informers he pays. Okhrana are suspicious of Rasputin's influence over the Tsarina. So they watch Rasputin, everywhere he goes. They say they are protecting him. But their real purpose is to gather incriminating information on him. Just like Svea Håkansson did."

"So if neither Rasputin or Okhrana killed her, was she murdered by revolutionaries, like Mr Bukin said?"

"I don't know. But I have a strange feeling, Miss Agnes. Although you and I have faced great challenges together, this is the hardest, and darkest, riddle that we have encountered. Somehow, the very soul of Russia seems bound up in this mystery." He smiles. "But I am starting to sound like Mr Bukin, with his fairy stories of dragons and flying carpets. On a more practical note – I feel that getting out of St Petersburg will not be quick or easy for you and me."

"On that subject, Professor – tonight is the last night that we have rooms paid for by Rasputin at this hotel."

"This hotel is uncomfortable and unfriendly. It is also furiously expensive: I went down to the desk and looked at their rates."

"So we need to find somewhere else to stay. How much money do you have, Professor?"

"King Gustaf gave me generous expenses – for a visit of a week or so. But if we are here longer, then we will run out of money."

"Perhaps you ought to follow Mr Bukin's suggestion, and put me to work in St Petersburg's red-light district."

The professor guffaws – but then, his brow furrows with worry. Neither of us have any idea what the future holds.

It's a warm afternoon. Wispy clouds, floating high in a deep-blue sky, are reflected in the Neva River. Swallows and swifts fly low above the water, swooping under the arches of the unfinished Palace Bridge. In a few days, they'll be flying south.

The professor is sunk in thought, so I've left him in his room for a few hours. I turn and walk briskly along the river embankment, overlooked by endless ranks of statues topping the Winter Palace. A single guard, looking like a toy soldier against the vast frontage of the building, waves cheerily to me. I step through an archway, and enter the palace.

Inside the door, I almost trip over a huge pile of empty stretchers. Groups of nurses come and go briskly. A white-coated doctor stands in one corner, engaged in earnest discussion with two juniors. I see a clerk sitting at a desk, below a notice "Hospital Admissions". I get out my passport, and unfold a piece of paper that I keep in it: my certificate of service in France and Belgium with the British Red Cross. I put the certificate on the desk, and look at the clerk.

"I want to work here."

9 Whispers of the stars

I wake in the night. Ghostly light shines upwards through huge windows, shifting and playing across the ceiling. It illuminates vast arches, rococo curves and the entwined, dancing figures of goddesses, satyrs and nymphs. The light is moonlight, reflected upwards off the wide swathes of ice that now cover most of the Neva River.

Nearly four months have passed since I started working in the Winter Palace Hospital as a nurses' auxiliary – making beds, changing patients' bandages, bathing and feeding them. My pay is pin-money, because my meals and accommodation are provided. I and twenty other nursing auxiliaries sleep on camp beds in one of the former imperial bedrooms.

Professor Axelson followed my example: after spending one last fruitless day arguing with Mr Bukin, he came here to the hospital and offered his services. Now he gives psychological therapy to shell-shocked soldiers. His patients are living ghosts, just like the traumatized men that I helped treat back in France. The war itself has gone from bad to worse: the German Army's advance into Russia has stalled, but the number of injured men arriving at the hospital continues to climb.

I watch the strange cold light on the ceiling for a while, then turn in bed, pull the blankets around me, and try to sleep.

When I wake again, it's morning. But this morning, I don't put on my hospital uniform. Instead I pack it into a little suitcase, put on my black dress and a thick Russian travelling-coat, and walk down the steps onto the icy embankment. Half an hour later, I'm shivering as I walk across the Petrovsky Bridge, a long wooden structure leading to the quay from where a boat for Ivangorod harbor will depart. The Ivangorod hospital is desperately short of auxiliary staff, so I'm being sent there to help out.

I think of the professor, lying unconscious in the bed at that hospital last summer. My visit to Ivangorod is for two months, over the Christmas and winter period; in February I will return to the Winter Palace Hospital. But for the next few weeks I'll miss my work here, my colleagues who have become good friends, and this city where I've begun to feel oddly at home.

It's a bitter, colorless morning: my view from the bridge is of white mist across the snow and the slushy ice-floes of the river, where it flows into the open, gray Baltic. A drear wind blows in from the sea.

There are figures standing on the river bank; their hands grip ropes. They are pulling something from among the lumps of floating ice. Then I hear one of them call out to the others.

"It's him! It's Rasputin's body! Looks like someone shot him and dumped him in here."

So the river got you after all, I think.

Ivangorod is gripped by winter: there is no snow here, but it is brutally cold, and our boat carefully negotiates the river ice to reach the harbor. The hospital is just as I remember it, except now it is full to overflowing. At the Winter Palace, most patients were long-term injuries and illnesses, but Ivangorod treats new casualties from the endless fighting around Riga. Their wounds are packed on the battlefield with salt and iodine, then bandaged tight before they are sent here. Taking the bandages off a man is like torturing him. Then the compacted salt has to be dug out of the wound. I've been here several days now, but I can't get used to the shrieks of agony that echo, all the time, round every ward.

Today is Christmas Day. For the last week I've been working eighteen-hour days; this morning, the matron woke me and said they had enough staff to allow me to take one day off. Gratefully, I accept. I'm tempted to pull the covers around me and get some more sleep, but no – I might be five thousand miles from home, but it's still Christmas. Of course in the States, they celebrated Christmas several days ago. But today is my one free day to get out of the hospital, find a quiet place to sit for a few hours, and dream of Ma, Pa and my brother Abe. His Christmas holiday will already be over: he'll be back at West Point by now.

Hugging my coat around me, I walk the short distance to Ivangorod town square in search of a café. There's still been no snowfall, but the deathly cold has deepened every day since I arrived. Today, it takes my breath away.

"Coffee, Miss?" The waitress can tell I'm a foreigner.

"A tray of traditional Russian tea, please."

"So – I seduced you after all." A deep, strong voice is speaking. "Since you tasted it at the hospital, you realise that Russian tea is the best."

I look across to the next table. Yuri Sirko is smiling at me.

"Yuri! How on earth?..."

"Off duty. It is Christmas, after all. But I could hardly get all the way back to my mother's home in Astrakhan... So I came to Ivangorod, for a brief visit: tomorrow I travel back to St Petersburg, although my duties are changing."

"Changing – in what way?"

"Mr Bukin has had enough of me. He's releasing me from his services, and I'm returning to my regiment, who are now based in the St Petersburg Garrison. But tell me about yourself, Agnes – why on earth are you back in this town?"

I'm getting over my surprise. I look at his smiling face. Despite the cold outside, it's warm in this café; the collar of his serge jacket is open. Silly doubts still run occasionally through my mind about Yuri, and I can't help glancing at his neck. There's no silver necklace. I answer him.

"I've been at the Winter Palace Hospital, working as a nursing auxiliary. They sent me here to cover a staff shortage. Professor Axelson works at the Winter Palace too, although every time I see him, he can talk of nothing but Mr Bukin's injustice, keeping us in Russia against our will."

"And have you discovered anything else about Miss Håkansson's death?"

I tell Yuri about Rasputin, ending with what I saw from the Petrovsky Bridge. He shakes his head sadly. "You are right. Rasputin didn't deserve to die like that. He was no killer: just a con-man with powerful friends – and a thousand enemies. Anyway... would you mind waiting here for me, for a few minutes?"

"Of course."

He pulls on an enormous fleece-lined coat, its collar decorated with odd triangles of coloured silk; he sees me staring at it.

"My own coat – much better than standard Russian Army issue! This is my most prized possession. It comes all the way from the Aral Sea; I bought it from a caravan of Uzbek traders in Astrakhan. So I will be warm enough for a little adventure outdoors. But will you?"

"I'll be absolutely fine."

In five minutes he's back, his military haversack over his shoulder. "I have a suggestion, Agnes, as to how you and I might usefully spend Christmas Day. I came to Ivangorod in order to go on a little adventure, alone. But it would be much more pleasant to go together. So – would you like to see Tri Tsarevny again?"

Although there is no snow, white frost glistens on every surface. A rimed, rutted road winds its way out of the town into the countryside. It may be Christmas, but Russians are still working. An old woman walks along, bent under a bundle of firewood, and a man carries over his shoulder the bundle of dead rabbits he's trapped. The scene looks like a painting by Pieter Bruegel: I feel I've travelled back in time to the Middle Ages.

On one side the road is bounded by a high brick wall, clad in icicles and extending as far as the eye can see. Yuri points to a low arched doorway in the wall.

"We are now on the far side of the Tri Tsarevny estate from the main Dacha. That door is the servants' entrance to the estate."

"It will be locked, won't it?"

"And I have a key. Bukin gave me one last summer, so he could send me on errands into Ivangorod."

We step through the doorway in the wall into a silent world. The oak and ash trees that surround us, and the carpet of long-fallen leaves, sparkle with glittering ice crystals. There are no footprints anywhere on the frosty ground, but the line of the servants' path is clear; it's the only open space in these woods.

"Why has no-one been along the path, Yuri?"

"Because Tri Tsarevny is completely deserted. Petrov, who hires out horses in Ivangorod, told me that all his horses were requisitioned in September, to help transport stuff out of the place. Every item of value was taken, so as to deter thieves from coming here. Petrov also told me that now the winter has come, the man they pay to patrol the estate doesn't bother to do his duties; he prefers to sit by a warm fire. No-one at all has been here, for a month or more."

"So what might we find?" My voice sounds oddly muffled, as if the crystallized trees around us absorb all sound.

"Nothing, I expect. Miss Håkansson's murder will probably remain an unsolved mystery. But at least you and I can tell ourselves that we tried."

The path through the trees opens out. We're standing on the frost-crusted shore of a frozen lake. Satin-smooth ice, gleaming in the pale sunshine, stretches maybe half a mile across to the line of little islands. I can even see the tiny coloured domes of the three Princesses. Beyond them, a dumpy hill is crowned by the many-gabled Dacha, jutting into the turquoise winter sky.

"If you prefer, we can walk around the shore of the lake; it's about two miles. But I was planning to get there another way, Agnes."

Yuri opens his haversack, and takes out four battered ice-skates. "I hired a pair in the town. Then when I bumped into you at the café, I went back and hired an extra pair for you. I hope? –"

"Yes. I love skating."

"Then let's go."

I push off, one foot then another, then the momentum carries me forward. The glassy ice glides under my feet. Yuri sails along beside me: our breath fills the air in little puffs, like steam trains. He laughs.

"You're not much of a detective, Agnes! Not like that famous Mr Sherlock Holmes. I have read some of those stories."

"I'm not like Sherlock Holmes in any way! But why do you say that?"

"Because you should be interrogating me! After all, I'm a murder witness. The first duty of a detective is to interview witnesses. But you've not even asked me what _I_ was doing on the day of Svea Håkansson's death – that is, before I found the body."

"All right. What were you doing that day?"

"Just after lunch, I'd gone over to the Third Princess; Rasputin had called for me. He told me he was worried about security."

"In what way, worried?"

"I think he had a fevered imagination. But he told me that at night he liked to commune with God, by walking along the jetty in the dark."

"Walking past the Second Princess island, by any chance?" I think of what Rasputin said about Svea. Ahead, the Princess islands are approaching us fast across the ice; I can now make out the low gray line of the causeway, on the far side of the islands.

"Yes – Rasputin said that was exactly where he'd been standing, the previous night. He told me that, when he was standing there, he had seen what looked like a human figure, going along the causeway in the dark. Rasputin said that the figure came from the garden below the main Dacha, and it went onto that little island with the storeroom on it. 'You must take a look in that old store, Captain Sirko' he said. 'No-one ever goes in there. An intruder could have a hideout inside it, and never be spotted.' Then he looked at me with those eyes... and at that exact moment, we heard a shot.

Rasputin and I were inside his house, near the porch. He was very alarmed, and said 'Go and see what's happening. I'm not coming out: someone might try to shoot at me.' I went out onto the porch and looked around. I shouted to him that I could see nothing. After a few minutes he joined me on the porch, still looking terrified. He was staring anxiously here and there, but neither of us could see anything out of the ordinary. So I told him to stay inside, then I ran out of Rasputin's house, along the causeway to the next island – and found the body."

We're skating fast; getting close to the Three Princesses. The birch trees that grow on the little islands look like clumps of white feathers, shining with frost. The only colour is the domes – gold, silver and copper – reflected on the lake-ice. We slow to a halt, and Yuri smiles at me.

"If the legends are true, we have accomplished a great feat, Agnes. We have skated over the top of a bottomless chasm."

"Well it's obviously not bottomless!" The ice under our skates is a foot thick, but crystal clear. Below it we can see the bottom of the lake, like looking through glass into an aquarium. Perhaps twenty feet below us is a carpet of even, brown gravel, as if on a carriage-drive. Torpid fish rest on the bottom. Nothing moves: I gaze at a hidden world in suspended animation.

"What's _that_?"

I point down between my feet. The shape I can see lying among the gravel is a familiar one, yet utterly unexpected. Perhaps six inches long, black, and almost the shape of a letter L. Yuri looks at it, then at me. He gives a low whistle.

"No-one could ever see that, when the lake is not frozen. That gun might have lain there a hundred years without being discovered."

"The murder weapon."

"A lawyer might say: have you got proof of that? But fortunately neither you nor I are lawyers. We both know we are looking at the gun used to kill Svea Håkansson. Someone shot her – then they threw the gun into the lake."

"We must get it."

"Seeing the gun down there under the ice is one thing, Agnes; pulling it up off the lake bottom is another. We need some equipment to get down to it. But nearby is the storeroom that Rasputin was so concerned about. Let's take a look in there. We might find something useful."

We go to the door of the storeroom. It's not locked, but it's jammed with frost. As Yuri pulls it, not just the door but part of the frame comes away: the wood is soft and rotten. "This place is practically falling down" he grins, as we step into the dark interior.

It's a junk room. Pots of paint, brushes and ladders are stacked in disarray. The oars of a boat lean against a wall, and I nearly trip over a table-umbrella for shading summer picnics. There's even a pile of rusty ice-skates. But Yuri picks up an object leaning against a wall, just inside the door. It's a long stick of bamboo, with a metal ring and a net on the end; he holds it out, and I look at it.

"A child's fishing-net!"

"A summer toy for the Tsar's children. Ideal for lifting the gun, Agnes – but the handle is far too short. Now, if we can find a long stick to lash it to..." He lifts something else from the floor; a wooden boating pole. Moments later he has found some string and is lashing the fishing-net to the pole, while muttering to himself. "What we need now is – ah, here's one! An ice-saw."

I look around the dark interior of the store room. One tiny area of floor is clear of the piled junk, as if someone has used it as a place to stand. I step over to it, and notice a small drape, drawn as if covering a window. Did someone stand here, looking out of the hut? I draw back the drape.

There's no window behind it; just the wooden wall of the hut and a shelf. On the shelf is a large metal box with dials, levers and a wire aerial. Yuri stares at it.

"That's a Russian Army field wireless."

"Why would it be here, Yuri?"

"I have no idea. It's the strangest thing yet..." He steps over, turns a dial. "Dead, of course. The battery has been sitting here in sub-zero temperatures for ages."

He peers at it for a minute, then looks up and says briskly "Oh well. It's not going to speak to us and tell us what it's doing here... We'd better get back out on the ice. It's already mid-afternoon, and you know how short midwinter days are at this latitude. As the light fades, it will get harder to see that gun down there."

We go back onto the lake, and Yuri saws a circle in the ice. We look down the hole into the freezing water.

"Here we go." Yuri lowers the net. The light is dying on the western horizon, and the sky above us is now like deep blue velvet. The first star glimmers. Not much light is filtering down into the water, but I can just make out the fishing-net far below me, swishing about a few feet above the black shape of the gun. Yuri shakes his head. "I need to go a bit deeper." He lies flat on the ice and reaches over the hole, his fingers nearly touching the water. I shout excitedly.

"It's in the net!"

Moments later, Yuri tips the gun out onto the ice, and I dry it with a cloth I found in the storeroom. I can feel the moisture in the cloth freezing and stiffening, even as I finish drying the gun. I hold it up, and Yuri peers at it.

"It's not a standard Russian Army gun, that's for sure. A specialist pistol – and not Russian manufacture. We don't have any gunsmiths making pieces as high-quality as this one. It was made in western Europe, or the United States, and then imported – for sale to a private individual, not for military use. And there's a serial number – look. But it means nothing to me."

The figures DCE5654 are stamped in almost microscopic print on the barrel. The rest of the gun is without marks. I hold it in my hand: a black enigma. Then I pass it to Yuri with a shiver. As he stows it in the haversack, he says "You must take this gun with you, Agnes, when we get back to Ivangorod. You can add it to the other information you and Professor Axelson are gathering."

"Thank you. The professor may know how to trace where it's from."

Yuri looks up at the stars which are now appearing one-by-one in the darkening sky. "We needed that daylight for the fishing. We don't need it for searching the three Princesses. I have a flashlight."

We go to each island, and look around each house in turn. None are locked, and all are completely empty, just darkened shells. Even the few pieces of furniture I saw on my other visit have been taken. The last one we enter is the First Princess, and Yuri laughs as we step over the threshold. "This big room, and the one bedroom, were both for General Aristarkhov's exclusive use. Bukin and I slept on a moth-eaten mattress on the kitchen floor. But look, they even took that mattress away when they cleared the place out." He's right: as in the other two houses, there is nothing to see.

We step out of the house; the lake-ice stretches into a dark distance. I think out loud. "Should we be getting back now?" But I hear something; a scattered sound out across the lake, as if music is echoing off the faraway trees.

"Yuri, are you sure we're here alone? For a moment I thought I heard... a kind of shimmering sound. Like sleigh bells."

"You still believe in Santa Claus?" Yuri laughs, and I do too. And I hear the sound again.

"That noise –"

He holds a hand up to his ear. "Well, well. It must be cold indeed..." We sit on the frozen grass at the edge of the lake, putting on our skates. "Before the war, Agnes, I was stationed in the far north. The Siberian people – reindeer herders – told me what causes that noise. It's the moisture in our own breath, turning instantly to ice crystals in the air. The sound is close, but it seems to come from far away. The Siberians called it 'whispers of the stars'. Even most Russians have not heard that sound."

"Do we need to get back quickly?"

"There's plenty of starlight to light our way." We push off from the shore, skating out onto the silky ice. The stars are reflected in its shimmering surface.

"Do you waltz, Agnes?"

"A little..."

"Come here."

I feel his hands take mine, gripping my gloves. My eyes are level with his shoulders. The next moment I'm sliding backwards; it feels like falling, but his arm is around my waist. I look up and see the stars, shooting past Yuri's face. We're gliding and spinning across the frozen surface; the dancing stars like lamps above us, the sparkling ice below. The moment goes on, and I don't want it to end.

**10 The lowered rifle**

The air feels like spring. It's late February, but the sunshine is warm through the windows of my train as it pulls into St Petersburg and stops in Vitebsky Station. The carriage door is opened for me by Professor Axelson; he takes my suitcase as I step down onto the platform.

"Miss Agnes! You have arrived in St Petersburg in the middle of a parade."

I look at the professor. "I heard something about a march, for International Women's Day..."

"That was a couple of days ago. You'll see, soon enough, what is going on now."

As I look around me, I remember how imposing this railway station is, a symbol of the Tsar's power. We walk from the platform, down the grand marble staircase into the huge, lavishly decorated ticket hall. The are the usual crowds of well-dressed people, but I hear a hubbub of gossip, an excitement in every voice. The professor explains.

"Two weeks ago, all workers at the Putilov factory, who supply the Russian Army with armaments and vehicles, went on strike. Then thousands of other factory workers followed suit. It's understandable; the cost of food has quadrupled since the war began, but wages are the same now as they were in 1914."

"So how has the strike turned into a 'parade'?"

"Lots of women turned out for the International Women's Day celebrations, and the strikers joined them. They started by marching, very peaceably, chanting for better wages and working conditions. Then the next day there were even more demonstrators, but this time it was 'Down with bread rationing'. The day after, the chants changed to 'Down with the war'. And now the chants say 'Down with the Tsar'."

"So how have the authorities responded?"

"All this time, Miss Agnes, no-one from the government has come out to talk to the demonstrators. The Tsar and his Duma Parliament are ostriches, as you would say in English. They stick their heads in the sand, and say they can see no problems."

Outside the station, there are a number of horse-drawn carriages, and some motor taxis. None of them are moving, and all the drivers are deep in conversation with would-be passengers. The professor glances at them, then at me.

"The taxi drivers don't want to enter the city centre. I walked here from the Winter Palace, and we might as well walk back too; it will be simpler and probably quicker. All main routes around the city are jammed, because the Nevsky Prospect and other major streets are blocked by the parades. Let's walk along the quieter roads: Gorokhovaya Street, then the Moyka Embankment. That route will take us to Palace Square, but will avoid the crowds."

As we leave the noise of the station behind, the streets become quiet; much quieter than I remember them from December. Gorokhovaya Street is entirely deserted. Here and there we have to walk around huge piles of swept snow, now turning to slush. The recent mild weather means that the streets are well cleared, and we get along quickly. Soon we reach the bridge where a sidewalk leads down onto the Moyka Embankment. It's a quaint place: they call the Moyka a river, but it looks more like a canal. The bridges and fine facades of the buildings remind me of pictures of Venice. But now, a wooden barrier and a group of soldiers block our path along the embankment. The professor steps up to one of the soldiers, who all look rather bored with their duties.

"Can we get through? I and my colleague are medical staff at the Winter Palace Hospital. We need to get there urgently, to treat battle casualties."

The soldier looks sheepish. "I'm sorry. No-one's allowed along the Moyka Embankment, in any circumstances. We have to do our job, I'm afraid, sir." I notice, behind us, a policeman watching the soldiers. The professor and I leave the soldiers, and carry on walking along Gorokhovaya Street. He sighs.

"Miss Agnes, that is a typical example of what is now going on in St Petersburg. The Tsar has commanded that soldiers of the St Petersburg Garrison are stationed on street corners, all around the city centre. But the Tsar is not quite sure that all the soldiers of the Garrison are loyal to him... so, to make sure the soldiers follow orders, the police watch them. Regular police – but also every available officer in Okhrana, who are in fact running the show. The soldiers have been told that any man who disobeys Ohkrana's orders will be sent to the Butyrka Prison in Moscow. No-one who goes there ever returns." He points to a corner ahead. "Aha – this might be a way through. Let's try this side street."

A narrow, deeply-shadowed street leads off to the right. At its far end I can see the buildings round Palace Square, lit by the afternoon sunshine. There's no barricade across this street, no soldiers, and no other people. We're one minute's walk from the hospital.

A towering figure on horseback appears silhouetted at the far end of the street. He wears a tall Cossack hat, and I see the outline of a curved military sabre. He reins the horse in, trots towards us, and calls out. Yuri Sirko is looking down at us.

"Agnes! And Professor Axelson, too! I'll escort you through here. You will need to cross the top end of the Nevsky Prospect, to get to the Winter Palace."

"Yuri! Thank you!...

"No need to thank me – after all, I'm just doing my duty. All Cossacks and other soldiers of the St Petersburg Garrison have been told to keep the city under control. The housewives of St Petersburg are daring to ask for bread! Dangerous revolutionary activity, don't you think?" He rolls his eyes to show what he thinks of his orders.

As we walk towards the crossing-point of the Nevsky Prospect, we start to hear the chants, a rhythmic throbbing that deepens and strengthens with every step we take. The refrain is simple "We need bread!"

I ask Yuri "Is the city really in danger of starvation? That's what everyone on my train was saying."

"I've seen the grain stores. In fact, until two days ago, I was guarding them. They are ample for at least two months. And with the milder weather, the trains are moving again, so supplies can be brought in from the countryside too."

Professor Axelson looks surprised. "So why the protests?"

"You'll have heard the Tsar's decree that bread rationing will start in two weeks' time. The portions are to be reasonable: no-one will starve. So in theory there is no reason for the protests. The rationing is simply a sensible and forward-thinking measure. The problem is that the Russian government has never done anything sensible or forward-thinking before. So people assume that rationing means the grain supplies have already run out. They think there will be no more bread."

Yuri pulls the reins gently as the horse trots; we're closer now to the noise. He resumes. "The bread rationing news is the final straw. Ordinary Russian people have had decades of shortages and deprivation, and then the war came along on top of that. There are few families who haven't lost a son or husband. After two and a half years of fighting, no-one even knows why we started this war. Or, if it will ever end."

The professor and I can hear the noise of the protests more clearly now. I notice the slight anxiety in my own voice as I speak.

"Listen. The chants have changed."

We are now only a few steps from the junction with the Nevsky Prospect. Individual voices in the crowd can be heard; people calling out against the war, against the Tsar, and against Okhrana. Many of the voices are female. Then I hear a man's voice: low and sharp.

"Captain Sirko!" It's a voice I've heard before – but only once. General Aristarkhov stands at the corner of the Nevsky Prospect, surrounded by several Cossacks on horseback. Beyond him, a barricade manned by regular soldiers, most of them very young, stretches across to the far side of the Prospect. Beyond the barricade are the massed faces of demonstrators below an array of flags and banners. The largest banner reads "Bread for the children! Their fathers are fighting to defend Mother Russia!"

Sirko speaks quietly and quickly to us. "Immediate orders from the general, I'm afraid. I'll have to leave you, and go over there and listen to Aristarkhov. Stay well back here, in the shadows."

Sirko rides over to join the group of Cossacks, and we see them all dismounting. The noise of the crowd is now deafening: I can't hear what Aristarkhov is saying to the men. But then I see each Cossack standing to attention, saluting, then shouldering a rifle, and walking out to stand with the regular soldiers. I also see Sirko glance back at us. He casts his eyes skyward, as if warning us. I look up.

On the parapets of each building overlooking the Nevsky Prospect, I see sandbags, with the caps and faces of soldiers and police peering over them. Among the sandbags are the black muzzles of machine guns.

We stand at the corner, hesitant, watching. For some reason, the noise is dying away: the crowd becomes silent. A Cossack officer is putting some kind of box out in the road, just behind the barricade. It's a large tea-chest. Then the Cossack helps Aristarkhov climb up and stand on top of it. The general shouts out.

"All of you! Strikers, protesters! You have no business to be here. I have here a personal order from Tsar Nicholas." He holds up a tiny white scrap of paper: a telegram. "It states that these demonstrations are illegal. The Tsar has authorised the St Petersburg Garrison to clear this parade off the streets, by armed force if necessary."

Several voices shout. I can make out only one question clearly. "We all know that the bread has run out. Are we supposed to quietly go home and starve?"

There are murmurs of agreement from the whole crowd. Aristarkhov answers, his voice shrill with tension.

"The bread rationing is a precaution, that is all. The stories about bread running out – they are lies, put about by revolutionary factions and other troublemakers. Now clear the streets. You have two minutes to start dispersing."

Another voice, a woman, calls out. "What about the Duma? The Duma is our parliament. We were told it was going to hold a session today to debate our concerns."

"The Tsar has suspended the Duma indefinitely. He is ruling directly. His personal orders have the full force of law. Any demonstrators who do not disperse will be regarded as rioters. The Tsar has authorised the use of weapons."

I hear another woman's voice.

"The Tsar's orders – they prove that he can close the Duma whenever he likes. So the Duma has no power; it doesn't matter. Parliament, government – they are all just a pretence, to keep us quiet."

All eyes are now on the woman who spoke. She stands opposite the centre of the thin line of young soldiers, looking into their faces. Her white face under dark hair is steely and determined. Her voice rings out, clear as a bell.

"If that telegram is true, then Tsar Nicholas has given the order to shoot us, unless we go home quietly. He is not a leader; he is just a bully. A tyrant, like Ivan the Terrible. If that's how he behaves, why should we respect him?"

Five seconds pass. Will Aristarkhov answer the woman's question? No: the opportunity is gone. She's speaking again.

"We all know that the Tsar gave orders to shoot demonstrators in the protests twelve years ago. 'Bloody Nicholas' – that's what they called him in 1905."

The general looks silently at the women's resolute faces; the barrels of the rifles also point at the women. Several of the women start shouting at once.

"Bloody Nicholas! Bloody Nicholas!"

Aristarkhov glances along the line of his soldiers. Really, they are just boys in uniforms. Their faces are pale with fear; even from here I can see tears in their eyes. Behind the soldiers stand a few, just a few, policemen. Some of them, in plain clothes, must be senior members of the Okhrana hierarchy. If the soldiers disobey their orders, they face the horror of the notorious Okhrana prisons.

I hear the general's voice once more. "All protesters! Move back. _Now_."

Some faces in the crowd are glancing upwards, and they fill with alarm. They've seen the machine gun emplacements. One or two people try to take a step back, but behind them, the huge crowd is a solid, immovable mass. And the small knot of women at the front don't move at all.

"Men, ready your rifles!" The soldiers grip their guns with sweaty, trembling hands. But Aristarkhov is looking up to the rooftops. The machine gun muzzles point down into the centre of the crowd.

With a strange, theatrical air, Aristarkhov holds the Tsar's telegram high, for everyone to see. It's a tiny, fluttering white shape. Then, as a signal, his fingers release it. For a moment it doesn't move, as if the gentle breeze is holding it aloft. Then it drops.

The air is filled with the stutter of the machine guns; the crowd is a screaming mass of bodies. Some fall; I can't tell whether they've been shot, or if they are trying to take cover. But the crowd is so dense that no-one can move to escape the gunfire.

After only five seconds, the noise of the guns stops, as abruptly as it started. I see three men's bodies lying still as death in the road. Then one woman, standing alone on the sidewalk on our side of the street, falls flat to the ground just a few yards from me. Her head is a ragged mess of red.

The group of women facing the soldiers hasn't moved. Aristarkhov is looking at them, and appears to have lost his voice. I hear the dark-haired woman speak.

"You've done your worst, and we've not moved. What are you going to do now? Kill more Russian citizens, just because we stand on our own streets and ask reasonable questions?"

Although the machine guns above us were firing, I've not heard a single rifle discharge. The young soldiers at the barricade are still levelling their guns at the crowd, but none of them has fired, and they are all shaking with shock. Each of them gazes at the unmoving bodies lying in the street, and I see the horror in their eyes. The soldier nearest us, a boy of perhaps eighteen, can do nothing except stare at the blood pooling around the dead woman's head. Then he bends double and vomits on his boots.

Aristarkhov looks along the line of soldiers. Then he steps over to the boy. "Stand up. Be a man." He hits the young soldier in the ribs.

"Look! He's even attacking his own men now!" The women all start shouting at Aristarkhov. But the black-haired woman doesn't shout. Instead, she takes a single step forward. She stretches out her hand, and slowly, so slowly, touches the rifle that points into her face. She grips the metal, gently. The soldier holding the gun is another mere boy. He looks at Aristarkhov, then at the woman. The woman pushes the barrel down, and the soldier co-operates with her. He lowers his rifle until it points at his own feet. There is now a dead silence.

From the far side of the street, Yuri appears. He runs over, mouthing his words quietly to Aristarkhov so the crowd don't hear. But I can make out what he's saying.

"Sir, I won't carry out your orders. I will not order my troops to kill unarmed people. Instead, you need to talk to this crowd, sir. You must get a grip on this situation. Or I could speak to the protesters, if you will permit that."

Several woman are now reaching out towards the soldiers. All along the line, the troops are lowering their rifles. But, as Aristarkhov and Yuri argue, I see one of the plain-clothes Okhrana officers step forward towards the general. Aristarkhov turns his face from Yuri, deliberately ignoring him. Instead, he's listening to the Okhrana officer. I catch only fragments of the words the man is saying. "Sedition... mutiny... treason." Aristarkhov nods in agreement.

Some of the soldiers hear the man's words, too. They are turning to look at him, rage in their eyes. The boy who was sick is now standing again. His face is as white as a skull, and he stares wild-eyed at the general. Suddenly, louder than ever, the crowd shouts again. "Bloody Nicholas! Down with the war, down with the Tsar!"

The boy lifts his rifle to his shoulder, and pulls the trigger. The plain-clothes Okhrana official falls, and lies in a crumpled pile at Aristarkhov's feet. And I hear a new chorus of voices – young men's voices, loud and strong, chanting "Bloody Nicholas!". It's the soldiers. The soldiers themselves are pulling the barricades aside, and the group of women step forward into the gap, followed by others. There are hundreds now, and the soldiers are mingling with the surging crowd. Many of them throw down their military caps, but every one still holds his rifle. Every gun is now pointing the other way.

I look at the professor. "Let's run. Back the way we came."

We're about a hundred yards down the street: I risk a glance back. I see that not just the regular soldiers but many Cossacks, too, are now joining the protesters. The Ohkrana officials are running away in terror. General Aristarkhov, and Yuri, are nowhere to be seen.

11 To the Finland Station

"Riot and revolution, and the Tsar has abdicated, but nothing's changed. The war goes on, and the Germans keep on slaughtering us like lambs. This week, we've had more admissions to the hospital than ever." Sister Kusnetsova, who is in charge of our ward, speaks softly; many of the patients are taking a midday nap.

"Things may be changing for me, though, Sister. A few days ago, the United States entered the war. Until last week, I was a neutral person in Russia; now I'm your ally."

"And Okhrana, who kept you prisoner in Russia, has vanished like smoke! Do you think you'll be able to travel home to America? Or you could nurse American soldiers, on the Western Front?..."

"I hope so. I think the professor and I can now sail back to Sweden without obstacles. I told you about Mr Bukin, and how he stopped us travelling. Well, I went to his office yesterday, to ask about leaving Russia. I found the place closed down, and there was one of those guards there – the ones with the red sashes. He told me that everyone working in the office had been arrested. I said 'By whom?' and he said 'By the people'. So then, I went over to the harbormaster's office and asked them about Shipping Regulation 15A: they said they'd never heard of it!"

"So you're free to go."

"I'm not planning to quit immediately, Sister. Professor Axelson and I will travel back to Sweden together, before I go on to France or the States. But the professor gave a promise to visit the Lapinlahti psychiatric hospital in Helsinki for a month or so, to examine and treat their shell-shock victims. He'll honor that promise, before we leave. So it will be a few weeks before we leave Russia."

"Has he gone to Helsinki yet?"

"He's catching his train today. Would you allow me, Sister, to take the afternoon off, and go with the professor to the Finland Station, to see him off on his journey?"

As Professor Axelson and I walk down the steps of the hospital onto the Palace Embankment, we see an odd sight. Scores of middle-aged men, dressed in fine suits, are surrounded by a cordon of armed soldiers. The whole group is coming up the steps from the Embankment towards us. The lieutenant leading the soldiers gives me a cheeky smile; I go over to him.

"Excuse me, officer... I'm just curious. What is happening here?"

"Nice to meet you, Miss! Me and my men are escorting members of the Provisional Government, who have taken over running the country, now that the Tsar has stepped down. They are setting up office in the Winter Palace. Half the building will remain as a hospital; the other half will become the seat of Russia's new government."

Compared with the ornate Vitebsky terminal, the Finland Station is a small building; its roof is not much higher than the tops of the double-decker trams that pass in front of it. An archway below a large clock leads to the platforms, which to my surprise are crowded with people. An announcement rings out. "The Grand Duchy Express to Vyborg and Helsinki is standing on Platform One, but departure is delayed due to a fault with the engine."

It's no surprise: the professor smiles thinly.

"Yet another opportunity, Miss Agnes, to practise a useful but rare virtue: patience."

"That's very philosophical of you, Professor."

"I am not naturally a patient man. But we all need to be patient – especially here in Russia. Now the United States has joined the Allies, Germany is on the brink of defeat. Russia could still emerge victorious from this war, and rebuild – with a democratic government at the helm. It will be terribly hard, but better than any alternative."

"You think so?"

"Yes, I do. Starting this war was the stupidest mistake in the whole of human history. But if Russia begs for a cease-fire now, it will be another mistake. The Kaiser's peace terms will be utterly crippling. He will rule all the lands from the Baltic to the Black Sea. Some say he will even insist on the Provisional Government gifting St Petersburg to him. But if Russia can hold on, then by next year, the Germans will be defeated."

"Most people seem to want the Provisional Government to make peace as soon as possible, at any price."

"Right now, the people of Russia just want the war to be over. They can't see beyond that, because they are exhausted by misery and suffering. Patience, as I mentioned, has become a rare thing."

For some reason I recall Lord Buttermere's words that likened Russia to an express train, speeding to its doom. Since the February revolution, I've seen shops being looted, and gangs of men openly carrying guns and knives. There are hardly any policemen about: most were associated with Okhrana, and have been dismissed. Whenever I go out of the hospital, I've taken to carrying the gun that Yuri and I found at Tri Tsarevny. It doesn't work, of course; but it might frighten an attacker off.

"It's cold on this platform, Miss Agnes. Nor do I want to board a train that may not depart for several hours. Instead, let's wait in there. After all, it is no longer reserved for royalty."

The professor points across the platform to a large, ornate doorway, out of proportion with the rest of the station. Above it, a carved double-headed eagle has been vandalized; its heads have been broken off, as has the orb and sceptre that it used to hold in its talons. Axelson smiles at me. "It used to be the Tsar's private waiting-room. It's now a café, for all to use."

We walk towards the broken symbol of imperial authority, and the professor explains.

"Nicholas II had his own personal waiting-room at this station, even though he never bothered to visit Finland. He simply sent his deputies to try to bully the Finn people."

I see a poster that someone has hastily pasted up on the wall: a print that shows a nymph-like girl with flaxen hair, holding a banner saying "Freedom for Finland". The professor follows my gaze.

"You would like the Finnish nation, Miss Agnes. Like you, they are keen on fairness and equality. Back in 1906 they declared suffrage for all, including women. Then of course, the Tsar's government stamped on their plans. Now, their hopes for independence from Russia are rising fast."

Among the masses of people on the platform, I notice a woman standing close by, nodding to herself in agreement at the professor's remarks. Then I look at her face again. I have no doubt; her features are etched on my mind. It's the woman who spoke out against the Tsar and faced down the soldiers. I can't help myself.

"Excuse me – I'm Agnes Frocester; this is Professor Axelson. And we saw what you did two months ago, in the demonstrations on the Nevsky Prospect. I admire your courage."

The woman is maybe in her late thirties. There'a a wry smile in the fine-boned face, framed by dark locks.

"Well, well! I travel six thousand miles from home, stand on a railway platform, and a Yankee steps up and starts talking to me."

It's rude, but my mouth drops open in surprise. The woman carries on. "I'm a Southerner, you see. New Orleans is my hometown. My name's Emily Neale. Good to meet you both."

I'm taken aback. "I thought you were Russian..."

"I first joined those protest marches on International Women's Day, and I took part each day after that. I didn't do it as a Russian, but as a woman and as a citizen of the world. It started as a march to protest about bread rations – but it became something much bigger than that. Let me buy you some tea, now that we're allowed to use Nicky the Despot's private waiting-room."

As we step into the café, the professor looks into my face, then at the woman. "Miss Emily – you look alike! You could almost be Miss Agnes' older sister."

"Older? I never admit to being over twenty-one, Professor Axelson! But seriously – yes, I'm unusual, for a Louisiana-born girl. There's nothing Creole about me. My family's roots are in Ireland; we sailed to New Orleans in the 1700s." She looks at me. "Have you heard of the Irish Channel neighborhood?"

"I have to confess, I've never been south of New York."

The café is even more crowded than the platform; it's small, but there must be a hundred or more people in here. But two men among the crowd draw my attention, because both of them are looking at us.

One is well-dressed, a commanding presence; he stands at the centre of a group of men, and they are listening to him. The other is very different. A much bigger man, almost a giant, he sits alone in a corner. He seems uncomfortable; not just with the situation, but with his suit and tie, as if he's ill-accustomed to them. He wears a fixed smile, and steals a furtive glance at us.

In contrast, the well-dressed man comes over to greet us. "Good to see you, Comrade Neale!"

Emily smiles. "May I introduce Nikolay Chkheidze? He is Chairman of the St Petersburg Soviet – the council of workers' representatives."

The man grins. "I overheard Comrade Neale telling you of her southern roots. I'm proud to be a southerner too. I grew up in Georgia. But not Georgia, USA." We all laugh at his little joke, but he carries on. "I insist on buying tea, for all of us. Because this is a day of hope." He looks at the professor and me. "Are you also here to greet Comrade Lenin?"

I answer. "Sorry – who?"

Chkheidze smiles at me and Axelson. "I see that you are foreigners here, you may not know what is happening. All these people here at the Finland Station – we are not waiting to catch a train. We are here to see the turning of Russia's destiny."

I hear the noise of a whistle: a train is arriving. There's an expectant hubbub of noise both in the café and on the platform. But the professor speaks quietly in my ear. "Russia's destiny may indeed be arriving today at this railroad station. But what kind of destiny?"

"Professor, what do you know about this? I've never even heard of Lenin."

"Lenin was exiled from Russia to Switzerland years ago, because of his extreme revolutionary ideas. But now, Kaiser Wilhelm has supported Lenin's return, permitting him to travel from his exile in Zürich, through Germany, so he could reach Finland, and now Russia. Lenin travelled through the length of Germany in a sealed railway carriage. No-one got on, or off, that train."

"It sounds a strange business!"

"Wilhelm did not want Lenin stepping onto German soil. He knew that Lenin would take any opportunity to preach revolution and rebellion to German citizens, and the Kaiser doesn't want that! Instead, Wilhelm wants Lenin to incite revolution _here_."

"But we've had a revolution already."

"We had street protests. Now we have a Provisional Government of well-to-do, well-meaning gentlemen. That's not what Lenin would call revolution."

The cheering is now tumultuous; too loud for the professor to speak further. A gap in the crowd reveals a man stepping down from the train; he lifts his bowler hat to greet everyone. His eyes are steely, but otherwise he looks like an ordinary, middle aged man. Yet the excitement in the crowd is like electricity. Indeed, I find myself feeling a tremor inside, a little unexpected thrill. The quiet-looking man on the platform seems like the awaited savior, a messiah returning at last to his people. Every face in the crowd is open-mouthed and wide-eyed.

On cue, a woman steps up to Lenin with a bouquet of flowers, and a brass band is playing the Marseilleise. He is smiling warmly, waving to everyone. But after taking the flowers, he steps briskly towards our café.

The door is thrown open wide for him. He walks in, and Chkheidze steps forward, shakes Lenin's hand, and looks around the expectant faces in every corner of the café. There's suddenly a perfect silence: I can hear the deep breaths of every person in the room. The air of the café is alive with anticipation. Chkheidze clears his throat, and makes a speech of welcome.

"Comrade Lenin, in the name of the St Petersburg Soviet, we welcome you to Russia. We hope that you will join us in defending our revolutionary democracy."

Lenin doesn't immediately reply. I see him looking evenly around the room, catching every person's eyes, one by one. He looks utterly confident. His eyes are hard and intense, but his face is relaxed, and he seems happy to take a few moments of quiet, before responding to Chkheidze's welcome.

The silence goes on. Lenin glances casually up at the ornate ceiling, decorated with the Tsar's double-headed eagles, and then he calmly rearranges the flowers in his bouquet. He's showing everyone that he will answer Chkheidze's greeting in his own time. And I feel that he knows exactly what to say.

"My train was late." He looks around the crowded café; laughter breaks out.

"Of course, every train in Russia is always late. But my dear comrades, we all know that a railway cannot be fixed in a day. The so-called Provisional Government, who claim to have taken over authority from Tsar Nicholas, say they will mend not only the trains, but everything else that is wrong with Russia."

There's a murmur of agreement around the room, and Lenin smiles.

"Those rich gentlemen of the Government, who have just moved into the Tsar's Winter Palace, enjoy their vodka, their caviar and their cigars. But they say that once they have finished smoking their cigars, they will get round to fixing the annoying problems that the rest of us face. Little problems, like war and starvation."

Every head in the room is nodding; Lenin's words are tailored exactly to match the feelings of his audience. I watch his determined, calculating eyes, looking round and assessing the mood of the room, before he continues.

"Maybe you all believe the Provisional Government's promises. But I know that they are trying to deceive you and the whole Russian people.

The real answers are simple, my friends. Our troops are being massacred: the people need peace. Workers and their families go hungry: the people need bread."

As he pauses briefly, people start to applaud. But he has more to say: his voice is clear as a bell, and rises to a crescendo of emotion.

"We must challenge the Provisional Government – until ordinary Russians have everything they need. Victory to the working people! Peace and bread!"

The café erupts in rapturous applause and shouting. Emily cheers and yells. Chkheidze applauds too – but then leans over to Lenin.

"Comrade Lenin, when you have a moment, I would like your view on a matter of extreme urgency. Since the disbanding of Okhrana, the St Petersburg Soviet has formed volunteer units, to act as police and keep peace on the streets – the Red Guards. They are struggling to cope. There is an epidemic of looting and violence in St Petersburg."

The background noise is deafening: a rhythm of chanting breaks out. "Le-nin! – peace and bread! Le-nin! – peace and bread!" In the tiny space of the café, it makes my head hurt. The professor and I, and Chkeidze and Lenin, are the only ones not chanting.

Lenin doesn't answer Chkeidze's question. He seems distracted – but not by the noise. His eyes are scanning the room, looking for someone in the crowd, someone he's not spotted yet.

Axelson says something to me, but I can't hear him. The deafening chants go on, but I notice a clatter at the back of the room. The huge man who was sitting alone, the man who was watching the professor and me, is rising from his chair. Lenin speaks quietly to Chkeidze, who leads him over to the man. In a brief lull in the noise, I catch Chkeidze's words.

"Comrade Lenin, may I introduce the newest member of the St Petersburg Soviet – Ivan Horobets."

I see the curve of a smile in Lenin's face. Chkeidze, Lenin and Horobets form a little knot at the back of the room, speaking together, their conversation unheard amid the excited hubbub of the room. I try to catch their words, but I can hear nothing. But as I look at the three men I see, above the neckline of Horobets' ill-fitting shirt and tie, the links of a silver necklace.

12 Revolution in October

The appearance of Doctor Jansons in my ward surprises us all. One of our best doctors, a hematologist who specialises in treating casualties with blood infections, he's normally far too busy to visit us.

"Ladies!" he shouts, in his usual jokey style. "I have news for you all. I suppose you've all enjoyed the glorious summer of 1917, relaxing and sunning yourselves on the banks of the Neva? Or spending your time flirting with these Red Guards, who seem to be everywhere these days?"

There are smiles from the nurses. Doctor Jansons is good-looking and charming; he can get away with saying anything. He continues.

"But now summer's over. September is going to be our busiest month ever. I have to tell you that thousands of casualties are right now in trains, bound for St Petersburg. Several hundred of them will be brought to the Winter Palace Hospital. The reason for this increase in numbers is that we have suffered a major defeat. The Germans have crossed the Daugava River and captured Riga. Russia has lost the pearl of the Baltic."

He speaks clearly and calmly, but I notice the glint of tears on his cheeks as he turns briskly and leaves the ward: I hear his feet clattering down the corridor. Sister Kusnetsova and I are making up new beds: she whispers to me. "Only Jansons could put such a brave face on such news. You know, don't you?"

"Yes, I know. Doctor Jansons is Latvian. All his family are in Riga."

"Such a distinguished man! Before the war, he was the most sought-after private hematology consultant in Russia; all his patients were aristocrats. But he volunteered to work here, the first day the Winter Palace Hospital was opened." She carries on praising his virtues, as we spread sheets and prepare bed after bed for new occupants.

As Doctor Jansons predicted, the next few weeks were horribly busy. It is now the last week in October, and our ward is full of injured Latvian Riflemen; their regiment stayed by the river to protect the retreat of the main Russian Army from Riga. The Germans threw everything at the Latvians; several patients are bandaged head-to-foot, like mummies. They are burned victims of a new German terror-weapon; the flamethrower.

But this afternoon, it's quiet on the ward; most patients are sleeping. I have the opportunity to read a letter from Professor Axelson, who continues to be busy in Helsinki; so far away, I think. But even Helsinki is close, compared to home. I think of Ma, Pa and Abe. In my mind, I see the New England woods, copper and gold with the fall colours. Only now, with this pause in my work, do I realise how I feel. I look down at the professor's letter: it's soaked with my tears.

"Now don't cry! Cheer up, Auxiliary Frocester! I have some good news for you. Between you and me, I think you have an admirer – a man who is very keen to see you."

It's Doctor Jansons' voice, warm and positive, and I find that I feel just a little bit better. But I'm surprised by his words.

"Who?"

"A Cossack cavalry captain has been brought in; he's on one of the ground-floor wards. Don't worry; he's not seriously injured. A broken arm – but the bone pierced the skin, and he developed a blood infection at the field hospital in Latvia. He's healing well now. I took a blood sample from him, but the only question he asked me was 'Does Agnes Frocester still work here?'"

Yuri is sitting up in bed, his left arm in a plaster cast; he greets me with a smile. "Last time you and I were in a hospital, it was your Swedish professor who was in the bed. This time, you must bring the tea, for me. I think you would call this role-reversal?"

"What happened to you?"

"As you know, Agnes, I like telling stories. I'll pick up my tale where I left you: back in February, at the demonstration on the Nevsky Prospect. Me and my men continued to try to impose order – but without shooting civilians, like that idiot Aristarkhov wanted us to. By the way, he disappeared that same day: people say he's in hiding. He's a senior general, an important figure – but all the same, there is no respect for former authority now. Several military men connected with Okhrana have been lynched by the crowds."

"And you?..."

"As you know, the demonstrations stopped when the Tsar abdicated. The city calmed down. So I got sent back to my regiment in Latvia, on the good old Daugava River. Then last month, the Germans crossed the river in boats: then they set up pontoon bridges, and soon there were thousands of them across the river, all equipped with the most up-to-date weapons: armored cars, machine guns. We were with our horses – Cossack cavalry armed with hunting rifles and sabres! The Germans attacked us with airplanes, dropping bombs. Embarrassing to say, my own horse panicked and threw me to the ground. And then he stamped on my arm. So that's how I got my glorious war wound."

"A wound is a wound."

"I agree. There are no heroes and no cowards in this war. Just millions of exhausted, scared men, who are wasting years of their lives far from their homes and families."

"I agree. That's what I saw in France, and now it's true of all the patients I see here in Russia."

"Us Cossacks are traditional people, Agnes. When the war came, I was happy to respect the Tsar's authority, and even the orders of men like Aristarkhov. But now, all I want is to go home. I want to be back in Astrakhan; to see the sun rising over the steppes, the warm southern summers, the boats on the Volga, the blue Caspian Sea. I suppose you want to go home, too?"

I can't help it. His question touches a raw nerve: my tears start again, more than ever. I feel his right arm around me, and the moments pass in silence.

Four days have now passed since Yuri arrived. It's late in the evening, and Sister Kusnetsova and I are taking tea to the patients before lights-out. As we wheel along the trolley carrying the familiar samovar, questions ring out at us. "What is happening across the city?" Sister Kusnetsova stands in the middle of the room and answers them all.

"We don't know for sure. But we've heard that the Red Guards have taken over many government buildings throughout St Petersburg."

There's a chorus from the patients. "That's good! The Red Guards are the ones who've brought law and order back to the city. Unlike those useless bureaucrats in the Provisional Government –"

The voices are cut off by a blast like thunder. The air is alive: filled with flying, shattering glass. All around the ward, windows explode. I shut my eyes, cover my face, and feel shards of glass hitting my hands.

The blast stops, as suddenly as it started. I drop my hands from my face; amazingly, I'm not bleeding. But I look around the room: our patients are showered in broken fragments from the windows. I see trails of blood from hands, faces and eyes.

One or two patients, the ones who suffer from bad nerves, start screaming. But strangely, there's no other noise. Whatever destroyed the windows has now stopped. I look at Sister Kusnetsova; her face is covered in blood, but she speaks calmly.

"We are – under fire, it seems. Patients, please keep calm. We'll move your beds away from the windows. Then, we'll come round to look at each of you, and see who is hurt."

All patients who can walk get up from their beds and help us push beds into the middle of the room. As she and I bend our backs to push a bed, Sister Kusnetsova dabs her face. "See – not so bad. Just a cut above my eyelid, that's all."

Soon, all the beds are clustered in the centre of the room. But the odd quiet goes on. I go to one of the broken windows and look out. I can see nothing, except the Neva River glittering in the sharp moonlight. The city is dark and silent. Across the river, the Peter and Paul Fortress is a squat, grim shape. The moon glints on the guns that line the parapets of its walls. I know that the soldiers garrisoned there now support Lenin and his Bolshevik party; many of them have joined the Red Guards. But would they actually open fire on a hospital? Time goes on, and no-one comes to the ward to tell us what is happening. In the tense, waiting silence, Sister Kusnetsova and I treat the wounds from the broken glass. Fortunately, no-one is seriously hurt: all the injuries are shallow cuts. We go round each patient in turn, dabbing the cuts with antiseptic. Then she speaks under her breath to me.

"Why has no-one come to explain what's going on?"

"I have no idea, Sister. Shall I go to find someone?"

"Yes. Just get hold of anyone who can tell us what to do. After all, we might need to evacuate the hospital."

I leave the ward and descend the stairs. The ground floor corridor is in darkness. My fingers find a light-switch, but it doesn't work. The gunfire, if that is what it was, must have affected the ground floor electricity supply.

I walk along the corridor, hands outstretched, feeling my way in the dark. My fumbling hands touch the frame of a door. I realise that it leads into the ward where Yuri is, and I step inside.

It's silent as the grave. There appear to be no staff in here, and it's unlit, with just a faint light coming through draped windows. In the gloom I can make out the rows of beds, and the mounded shapes of resting patients. I remember that Yuri's bed was the fifth on the left. I go over to him, and whisper.

"Yuri! Did you hear that gunfire?"

"I did, Agnes. I'm glad you've arrived: you can be my excuse to go and find out what on earth is going on."

Other patients start calling out. Yuri answers "Don't worry, and no-one try to move. I will go and find out what is happening." His eyes look at me in the dim light. "Despite my arm, Agnes, I've already managed to change into my uniform. I decided that in this situation, it might be useful to look like a Cossack."

We leave the ward, and return to the blackness of the corridor. We start walking: the passageway seems to go on for ever. Neither of us speak; we're listening, and watching in the gloom for any hospital staff who might know what is happening. But everywhere is entirely deserted.

Finally, I hear Yuri's quiet voice. "Here." He pushes open a door, and we enter. I feel like a mouse, creeping silently into a giant's chamber.

It must be one of the biggest state rooms of the Winter Palace. The room is unlit, but its undraped windows are so vast that the moon shines in like day. I see colossal curves and silhouettes of rococo decoration, and gigantic crystal chandeliers glitter in the moonlight. But oddly, I smell stale sweat, cigarette smoke and alcohol. I whisper.

"What's that awful smell?"

"I think this room is occupied, Agnes."

On the marble floor are rows of mattresses and blankets. On some of the mattresses, people are lying, smoking: I see the tiny red glows of their cigarette-butts. In the middle of the room is a ornately carved table, and on it are some half-eaten loaves of bread, and dozens of empty wine bottles.

A voice cries out. "Who goes there?"

Yuri answers gently. "You are an alert cadet! None of your comrades even noticed us."

A pale-faced young man steps forward into a patch of moonlight: he reminds me of the young soldiers I saw on the Nevsky Prospect. Yuri is looking around the room, sizing up the situation. Then he turns again to the boy.

"What's all this?" Yuri points to the window sills, where I see, in the moonlight, piled sandbags and the glinting barrels of machine guns.

"Ah – sir. We were told to defend the Winter Palace, sir."

"Defend it against what?"

"I wasn't told that, sir."

"The rest of your platoon seems to have been helping itself to the Tsar's wine-cellars rather than defending the Palace. I think you are the only sober cadet in this room – well done, young man. But what was that gunfire we heard? All the windows are shattered in one of the hospital wards."

"Something is happening over there in the Provisional Government offices, sir. I tried to wake my commander, but..."

"I see. Your commander has fallen a victim to Moët and Bollinger. Don't worry. This nurse and I will go and find out what is happening. You stay here with your troop. What other units are stationed in the Winter Palace to guard the Provisional Government?"

"There were some Cossacks, Sir, but they left this afternoon. And there is a women's home defence battalion. And us cadets. That's all."

Yuri listens and nods; the boy carries on. "The Provisional Government ministers are in one of the upstairs state rooms, sir. But Mr Kerensky, their leader, has left. He came into this room this afternoon, and asked me to get some gasoline for his car. I brought a can for him. Then later, I saw him driving away with three armed guards."

"Well done, young man. That's very useful information." Yuri and I leave the cadet, and walk across the cavernous space of the room into yet another corridor, where vast gilt-framed paintings of battle scenes alternate with equally huge windows.

"Look!" Yuri points out into the courtyard. The far side is in deep shadow, but I can dimly make out many figures, moving silently in the gloom. Yuri watches them for a moment, then turns to me.

"They're Red Guards, Agnes. They are taking over the palace for Lenin and his Bolsheviks. This is the end of the Provisional Government."

"My concern isn't the government, it's the hospital. Let's go back to the wards and let everyone know."

We go back to the door we came through; I reach out and take the handle.

"Yuri! The door's been locked."

He shouts fiercely through the door. "Unlock this, will you! We need to get back to the hospital! And by the way, there are about a hundred men of the Red Guards approaching across the palace courtyard. You may be under attack."

A drunken voice answers. "I'm the commander of this cadet unit. Are you Red Guards?"

"No! The Red Guards are out there in the courtyard. Let us in!"

"You're lying to me. Cadets – the Bolsheviks are breaking in! Prepare to shoot if anyone smashes down that door!"

"All right, all right. I can see that you won't let us in. But I advise you against shooting anyone. Don't inflame the situation. If anyone comes into the building, talk to them, rather than trying to use your guns."

Yuri turns to me. "Thankfully, I noticed that those machine guns the cadets had in the windows aren't loaded anyway. They may have some rifles though, and there's a risk that one of those drunken boys might imagine he's a hero and take pot-shots. But there's nothing we can do about that. Let's try to find the hospital staff, and warn them about what is happening."

We run back along the passageway. Glancing through the windows, I see that the figures in the courtyard are closer: the moon illuminates caps, jackets and faces. The crimson color of their sashes glows in the gloom, and the moonlight glints on the metal of hundreds of rifles and bayonets. The figures are approaching steadily, like a tide; there's nothing we or anyone can do to stop them.

Yuri runs much faster than me, and I'm hampered by my nurse's uniform, but he doesn't leave me behind. "Come on, Agnes! There's not much time left to warn anyone."

We race along the passage in the darkness, without knowing where we are going. Finally we reach the end of the corridor. A marble staircase leads upwards, and we climb it hastily. Above us, I see light: the upper floors still have electricity.

At the top of the stairs is a wide landing, carpeted in scarlet and lit by huge chandeliers. After the darkness I'm almost blinded by the glittering glare. In front of us is a door that appears to be made of pure gold. It's ajar, and I hear voices inside. Yuri pushes it open.

I have an impression of overpowering magnificence: amid a forest of gold scrollwork are Corinthian columns that appear to be made of green jewels. But I hardly look at the room, because I see that we've walked into the middle of a meeting. A dozen faces turn to stare at us. The group of soberly-dressed elderly and middle-aged men sit around a huge table made of the same green crystal. Each man has a pile of papers in front of him. They all look at Yuri as if they've been expecting him.

"Are the cars here, officer?"

"I know nothing about cars. I'm here to warn you that a hundred or so Red Guards are trying to enter the palace. They are heavily armed. And there may be many more of them, that we didn't see."

I see expressions of dismay, although I also hear sighs, as if some of the men are resigned to the situation. Yuri continues.

"I've talked to the cadets defending the palace, and advised them not to resist the attack. Fighting back will only lead to unnecessary bloodshed. The Red Guards are superior in both numbers and weapons."

The men don't reply to Yuri: they look at each other. It's as if they have already forgotten our presence. Several of them speak at once, all looking at a man with glasses and a stand-up collar.

"Vice-president Konovalov, this is what we've been expecting."

The man pushes his seat back, stands and looks at them all. Despite his old-fashioned looks, he is brisk and direct. "Indeed. This is the end of the Provisional Government. Let's go into the private dining room and discuss what we should do."

All the men push back their chairs, get up and go through another door into an ante-room. Yuri shakes his head. "I think we've done all we can here. Let's see if we can find some other way back through the palace to the hospital wing."

He and I go back through the door onto the landing. A corridor leads along this upper floor, but it goes in the opposite direction from the hospital wing. We go back down the stairs, out of the glare of the chandeliers into the gloom of the ground-floor corridor. As we reach the bottom, I see a shaft of moonlight illuminating a doorway that I didn't notice before.

"Is there a way through there?"

We take two steps towards the doorway. Then I see, under its arched frame, a man's face, lit by the moon.

"Look, Yuri! Is that another government minister standing there?"

Yuri answers briefly. "I don't know if he has become a minister or not. But, I do know him." He calls out.

"General Aristarkhov! It's me, Captain Sirko!"

I recognise the strong, white-haired figure who steps silently out from the shadows. Yuri explains quickly to him.

"General – the Red Guards are trying to enter the building. I think their intention is to depose the Provisional Government, so that Lenin's Bolsheviks can take control of Russia. The only defenders of the Winter Palace appear to be a group of young cadets and a women's battalion."

"So do you recommend talking to the Red Guards, Captain Sirko, like you did back in February with the demonstrators on the Nevsky Prospect? Or do you think that the Winter Palace can be defended against an armed attack?"

"No; the attackers are too many, and they are well-equipped. The Provisional Government is finished."

Aristarkhov nods sagely, but Yuri carries on.

"The palace also houses a hospital, sir. The patients and staff need to be protected from violence. So I think that representatives of each side should meet and discuss what is to be done, for the safety of all. We must speak to the doctors in charge of the hospital wing, and agree who should go out to parley with the attackers. Would you, sir, be happy to be one of our representatives?"

Aristarkhov looks sharply at Yuri, who continues to explain.

"So our priority, General, is to get back to the wards. Does this doorway lead to the hospital wing?"

"No, Captain. It leads directly outside, onto the Palace Embankment. The view from that doorway would alarm you: there are hundreds of Red Guards and other Bolshevik supporters all along the Embankment, just outside the palace walls."

"So we are surrounded."

"More than that. Across the river, the Peter and Paul Fortress is flying a new red flag to declare that all soldiers of the St Petersburg Garrison support Lenin. And the battle cruiser Aurora, manned by Bolshevik sailors, has sailed up the Neva and is anchored near the Embankment. All its heavy guns are trained on the Winter Palace. It could demolish this place with a few shots."

Yuri's face is set: he knows the situation is hopeless. The general, too, is stern-faced; he shakes his head grimly, and turns towards the doorway. Yuri grips his arm.

"Don't go out there, sir! The Red Guards will get you."

Only now, as the moonlight catches it, do I notice Aristarkhov's uniform. He wears the plain outfit of an ordinary soldier, distinguished only by a crimson arm-band. Scrawled on it are the words "Comrade Aristarkhov."

The general smiles. "The Red Guards won't get me, Captain Sirko. They got me months ago."

13 The wrong sort of communist

Behind Aristarkhov I now seen others; Red Guards with rifles and fixed bayonets. He raises an arm to halt them, then gives his orders.

"Comrades, the reports I've received say that the ministers of the Provisional Government are meeting in the Malachite Room. Go up that staircase and through the gold door: arrest them all. Avoid violence if you can, but make sure you get every single one of them. I will follow you with Captain Sirko and this nurse."

The troop of men stamp noisily up the stairs. Aristarkhov, meanwhile, points Sirko and me to the stairs too. Oddly, he even makes a little courteous bow to me. "After you, Miss." I start to climb. Behind me, I hear the general speaking to Yuri.

"You're a good officer, and I need loyal men. Why don't you join us? The Bolsheviks are the future of Russia, Sirko."

"I have no political views, General."

"That's irrelevant."

"I'm sorry, General." Sirko runs his uninjured arm down the plain serge of his jacket. "I am a Cossack cavalry officer, and my people are the Astrakhan Cossack Host. They are a traditional people. Like them, I am perhaps not very forward-thinking."

"But if you join us now, you might find yourself in the inner circle of the party."

"I'm not the sort of man who joins one side, just because it appears to be winning. But I can promise you this, General: I will keep an open mind. If one day I come to believe that Bolshevism is truly the best way forward for Russia, then at that point I will ask to become a member of the party."

"Have it your own way. But by taking more time to make up your mind, you are throwing away an opportunity right now. You may not have such a chance again. Above all, Captain Sirko, remember that it is not wise to be known as an opponent of the Bolsheviks."

We reach the top of the stairs. Round a corner comes another group of Red Guards who I've not seen before. Their leader looks striking: his prominent chin and cheekbones are framed by a sweep of thick hair covering his ears. He has the air of an actor or an artist, not a soldier. He looks at Aristarkhov and asks a question.

"Have you carried out my orders?"

"I have, Comrade Antonov. Everything is in hand. My men are arresting the members of the Provisional Government right now."

"Good. Send those bourgeois parasites down to me: I will be in the Throne Room. It's marked as St George's Hall on our map of the palace."

"What's the situation in the rest of the Winter Palace?"

"Better than you and I could ever have hoped, Aristarkhov. The Provisional Government relied on women and children protecting them! We found a group of cadets, young boys barely out of school. They had been in the wine cellar, and were much the worse for wear. And there was a women's battalion, too. Both groups surrendered peaceably, and we've taken all their weapons."

"What shall we do with them?"

"I've already dealt with them. None of them had any loyalty to the Provisional Government: they all said they were only here because they were following orders. I told them they were free to go, and they've already left the palace. They are going to catch a train this morning to return to their barracks near Vyborg. All they want is to get out of St Petersburg, and have no involvement in this business."

"So our opponents have melted away?"

"Exactly. There is no other opposition to the Bolshevik Revolution anywhere in the Winter Palace, or across the city. And whoever controls St Petersburg controls all of Russia."

Aristarkhov nods in satisfaction, and salutes. The man and his group of guards descend the stairs. In front of us, the gold door stands wide open. Inside the room, Aristarkhov's men, pointing glinting bayonets, surround the members of the Provisional Government. The guards are grim-faced; the ministers are silent with dismay. No-one moves or speaks. Under the bright light of the chandeliers, the scene looks like a waxwork tableau.

Aristarkhov shouts through the door. "Take the Provisional Government ministers to Comrade Antonov. He's in St George's Hall, which is marked on the plan you have." He looks at one of his men. "Except for you – standing there! You stay in this corridor, and guard Captain Sirko. Keep him here, until I call for you."

The man steps towards Yuri. Meanwhile, Aristarkhov calls to another of the guards: a short, thickset man with small eyes, his face a mass of black stubble.

"Now – Comrade Lebedev. I need your help."

"Of course, sir!" The man salutes like a machine.

"I need you to stay with me, Lebedev, and help me conduct the interrogation of this nurse, who has strayed over here from the Winter Palace hospital wing. We can use the Malachite Room for our interview."

Lebedev sneers nastily at me. But the general explains further.

"She is not under arrest, Lebedev. We simply need an amicable discussion with her. And she is a foreign national, from the United States. So she must be treated with respect. But I suspect she has some important information, which she would be wise to share with us."

Aristarkhov's troop, waving their bayonets with more bravado than skill, push the ministers of the Provisional Government towards the door. We wait on the landing for them all to pass. My attention is drawn along the landing, to a corridor lined with Roman pillars. The scene is brightly lit by the chandeliers: under them, I see a gang of ill-dressed men, and they are all arguing.

"Put that back, Comrade!"

"I found it; why can't I take it away?" One of the men is carrying a large bronze clock on his shoulder.

The reply is an angry shout. "You idiot! Don't you understand that we have stormed the Winter Palace on behalf of the people? All property in here belongs to the workers of Russia! Put the clock down, now! And you – you there, too! Put that down!"

I notice that others in the group, too, are carrying a bizarre assortment of objects; statuettes, vases, paintings and rolled-up rugs. They look like a motley group of removal men. Despite the gun pointing at his chest, I notice that Yuri can't resist smiling to himself at the chaotic scene.

Aristarkhov and Lebedev usher me into the Provisional Government's former meeting-chamber. This, I presume, is the Malachite Room. Only on this second visit to the room can I take in the opulence around me. It's an extraordinary place, filled with over-vivid colours like some tropical coral cave. Everything that isn't covered with gold is made of the bright green mineral; the pillars, the fireplace, the enormous urns and statues which adorn the room. The room is huge, but the excessive finery makes it claustrophobic. I look around, as Aristarkhov and Lebedev, standing behind me, whisper together. I have no idea what Aristarkhov wants with me, or why he has involved this gruff, grim-faced guard in my interview. I feel sick in the pit of my stomach, but I try to look calm.

We sit around the table that had been occupied by the Provisional Government ministers. Their papers are still scattered across its shiny green surface. Lebedev is opposite me; Aristarkhov sits at the far end of the table, appearing almost detached from us. His blue eyes gaze idly around the room. But I can tell that he's listening intently.

Under sullen brows, Lebedev's eyes are like little beads, staring at me. "What is your name?"

"Agnes Frocester, American citizen."

"I only needed your name. I already know your nationality. Just answer the questions that are asked. Now – do you work here at the Winter Palace hospital?"

"Ah – yes." I can't resist a slight smile, looking down at my nursing uniform. Lebedev's face is humorless, as he considers for a moment. Then his little eyes stare closely at me.

"Tell me, Nurse Frocester, do you know this man?"

As if from nowhere, he produces a brown manilla file and holds it in front of my face. It looks just like the files I saw over a year ago, in Mr Bukin's office. There's a photograph pinned to it, and under the photograph is a name: Dr Māris Jansons.

"Yes. I know him. We both work here at the hospital. And I can assure you: Dr Jansons has no interest in politics. His only concern is the welfare of his patients."

Lebedev looks unimpressed. "Did you and Dr Jansons have a discussion concerning Captain Yuri Sirko?"

"No."

Lebedev pauses. I notice the reflection of his grizzled face, in the polished surface of the table. His words come slowly, like a measured threat.

"Lying to us is not intelligent, Nurse Frocester. We already have statements from a patient and a hospital orderly. They say that you and Dr Jansons were having a discussion about Captain Sirko, four days ago. Dr Jansons visited your ward, and he told you that Captain Sirko was here at the Winter Palace."

"Dr Jansons did tell me that, yes. But it was hardly a 'discussion'." He just mentioned it in passing."

Lebedev is touching his face, rubbing the coarse stubble as if he's nervous. But his expression remains impassive as he asks his next question.

"Now, Nurse Frocester, this is important. Are you an associate of members of the Provisional Government? Is that why you and Captain Sirko were seen, a few minutes ago, coming down the staircase from this very room, where the Government ministers were meeting?"

"No. I don't know a single one of them."

"Then how do you explain this?" He throws a photograph down onto the table. The picture shows the steps of the Winter Palace. A group of soldiers and the members of the Provisional Government are walking up the steps, and I'm talking to one of the soldiers.

"That was the day the Provisional Government ministers were setting up their offices here. Before that, the Winter Palace was just a hospital. Then suddenly, all these government people appeared. So I asked that soldier what was going on."

Lebedev shrugs cynically, but Aristarkhov leans across the table towards him and speaks quietly. "That's enough questions on that subject." He passes Lebedev one of the pieces of paper left on the table by the government ministers. I see that the general has scribbled something on the back of the paper.

Lebedev reads what Aristarkhov has written. Then he looks at me and asks another question.

"Have you ever been to Ivangorod? – to a palace called Tri Tsarevny?"

I'm too taken aback to think: I just blurt out. "Yes."

Lebedev glances at the paper in from of him, like an actor using a script. "Have you ever met a Swedish woman called Svea Håk-ansson?" He stumbles over the name: it must be the first time he's ever come across it.

I answer truthfully. "No."

Aristarkhov has been leaning back in his chair, staring at the ceiling as if bored. But now, his face is suddenly alert, and he touches Lebedev's elbow.

"Comrade Lebedev – our other interviewee has arrived."

The gold door opens wide. Two soldiers are struggling to push a woman into the room. She's protesting angrily.

"What the heck are you doing? I'm going to complain to the St Petersburg Soviet. This is one goddamned big mistake."

I'm completely taken aback. The woman's black hair is tousled and wild, as if she's been dragged out of bed. Her face is white with fury, and her eyes flash daggers at Lebedev. It's Emily Neale.

Lebedev grunts at her. "Sit down next to the nurse. We need a discussion with you. You are not under arrest, but there are good reasons for you being here."

"I should damned well hope so."

"I am Comrade Lebedev: this is Comrade Aristarkhov. You've been brought here to tell us the answers to a few simple questions."

"In the middle of the night? Are your questions that urgent?"

He ignores her protests. "We need to establish some basic facts. We know that you are Miss Emily Neale. And don't start telling me how you're an American citizen. Just tell me a little background about yourself, please."

"What do you need to know?"

"Just basic information about you."

"I was born in New Orleans, Louisiana. I studied at Bryn Mawr –"

"What is that?"

"A ladies' college in Pennsylvania. I gained a doctorate there –"

"You are a doctor?"

"No. I did high-level academic study. If you must know, I studied Russian writers. Tolstoy, Gorky, Dostoyevsky..."

"I get the idea, Miss Neale. What did you do then?"

"I became a travelling writer, and a journalist, but I ended up doing most of my writing for a trade union organisation, called Industrial Workers of the World. I wrote articles and pamphlets."

Aristarkhov catches Emily's eye, and he nods at her in recognition.

"I know who you mean, Miss Neale. The Industrial Workers of the World are more familiarly known as the 'Wobblies'."

"Yes. Anyway, then I came to Russia. I was invited, by the St Petersburg Soviet."

Lebedev's eyes are like glistening pin heads, staring at Emily. He takes up the questioning again.

"Now this is important, Miss Neale. Exactly when did you enter Russia?"

"Early 1916 – March, or maybe the beginning of April. You can check the precise date in my passport, which your friends no doubt found when they arrested me and searched my flat."

"As I explained, Miss Neale, you are not under arrest." Lebedev turns his gaze to me. "Now you, Nurse Frocester – when did you enter Russia?"

"August nineteenth, 1916."

He shakes his head, grinning. "Well, well. One or both of you is lying to us." Then he looks pointedly at me.

"Do you know this woman sitting here, this woman who calls herself Emily Neale? And do you know Nikolay Chkheidze, former Chairman of the St Petersburg Soviet?"

"I've met both of them only once."

"Nonsense. You two women are admirers of Chkheidze, members of his little coterie. The three of you were seen at the Finland Station, discussing politics together!"

Emily stares back at Lebedev boldly. But he is spitting words at both of us. "You know, don't you, that Chkheidze, a lily-livered liberal and compromiser, is no longer Chair of the St Petersburg Soviet? Comrade Lenin sent him away, back to Georgia, and has replaced him with a more politically correct Chairman – Leon Trotsky."

Emily looks at Lebedev in surprise.

"I met Leon Trotsky years ago, in New York. He told me he was a close friend of Chkheidze. But clearly, Mr Trotsky hasn't got much loyalty to his friends."

"Comrade Trotsky, like Lenin, has only one loyalty – to the revolution. But what are your loyalties, Miss Neale?"

Emily can't contain herself any longer; she pushes her chair back from the table and stands up, her eyes blazing as she looks down on the two men.

"Why have you brought me here? Why are you treating me like this? I supported the revolution! And, I recognise _you_." She points at Aristarkhov. "You led the Tsar's troops on the Nevsky Prospect!"

Lebedev snarls at her. "Shut up. You understand nothing, nothing at all." But Aristarkhov darts a hard glance at Lebedev, who is suddenly silenced. There's a pause, as if no-one quite knows what to say. Then the general looks at Emily, and answers her.

"Miss Neale, the incident on the Nevsky Prospect was a long time ago. I was carrying out legitimate military duties, following the orders I'd been given. Much has happened since then, and things are different now. From today, Russia will be governed by the workers, represented by Comrade Lenin, Comrade Trotsky and the St Petersburg Soviet – and the Red Guards, of whom I am one."

"You mean, you switched sides."

"I had no 'side' before February, Miss Neale. I was simply a military commander. When Comrade Lenin returned to Russia, I understood his vision for our nation. At that point, I joined the Red Guards, and I serve them loyally. You, on the other hand, have supported Chkheidze, who has been collaborating with the Provisional Government."

Aristarkhov's speech has not calmed Emily at all. She snaps back at him. "So what if I worked with Chkheidze! I support the revolution. Hell's teeth, I'm a communist!"

"It is possible to be the wrong sort of communist, Miss Neale. There are people who call themselves communists, but who have a misplaced faith. They believe in democratic government representing all parts of society – even the bourgeoisie and the capitalists. But real revolution means handing all power over to the workers."

Emily and I look at Aristarkhov; his Red Guard uniform, his hardened but aristocratic face. He glances briefly again at us, then speaks once more, quietly, as if to himself.

"I'm tired, Lebedev; it must be nearly morning. A new dawn for Russia. You and your men have done well tonight. But I still have much work to do. So please, take these two women away."

14 At the Hotel Metropole

Lebedev stands and gestures towards the door, signalling us to move. But before we can get up, we hear a knock.

"Come in."

It's the guard who's been standing outside the room. "Sir, I still have Captain Sirko here. What am I to do with him?"

Aristarkhov and Lebedev both go over to Yuri. They stand in the doorway, questioning him. They are asking him whether he knows Emily or Dr Jansons.

I glance at Emily, and put a finger to my lips. Neither Aristarkhov or Lebedev is looking at us. The manilla envelope that Lebedev had is still lying on the table. I reach inside. There's only a single sheet of paper in it: quickly, I fold it and stuff it in the pocket of my nursing uniform.

One moment later, Lebedev is standing over us, and within seconds Emily, Yuri and I are being marched by four Red Guards down the stairs, through an archway, and out of the Winter Palace into the dim light of early dawn. Emily is the only one who protests.

"Where are you taking us?"

"It's for your own protection. You will be aware that there is fighting in this city. It's not safe."

Yuri holds up his plaster-clad arm. "I'm wounded, but I'm still a soldier. I don't need protecting."

"We have our orders, sir. All three of you must stay together. Now walk with us, please."

From the Palace Embankment, we look out across the river. It's a cold daybreak over the dark waters of the Neva. The ironclad battle cruiser Aurora looks colossal, sitting in the middle of the river. A red flag flies from its masthead, and the grinning muzzles of its guns are outlined against a pale, ice-blue sky. Our breath makes gray-white clouds in the chill air. Our guards march us along the Embankment, then we turn the corner to walk along the Nevsky Prospect. The great wide street is completely deserted. Except, at every street corner, I see the guards, wearing their red sashes, and watching us with suspicious eyes.

I notice each group of Red Guards, as we walk down the street. They are a motley collection of men. Most are young, although one or two are quite elderly. Some wear a variety of old Army uniforms, and their faces seem hardened by the long years of warfare. Others are in civilian clothes, with only the red sash to show their status. I can tell by their dress that some of the men are members of St Petersburg's large Muslim population. I can understand their motivation: the Tsar was no friend to Islam. Other guards have blond hair and pale skin. They might be from any of the nations that the Tsar ruled over – Finland, Poland or Ukraine. But every man wears the same expression –alert, determined and purposeful. And every one carries a rifle.

We walk for over a mile, without any idea where we are being taken. All along the Nevsky Prospect, every store window displays the same banner "We support Comrade Lenin. This shop is protected from crime by the Red Guards. Looters will be punished with utmost severity." And, on each wall that I see, I read the same poster, again and again, printed in bright red ink.

"On behalf of Russia's workers, the Bolsheviks Party has, without bloodshed, deposed the treacherous Provisional Government. We did this for peace, for bread, and for the power of the people!"

Finally, a railway station comes into view: one that I've never seen before. Emily immediately blurts out. "You're sending us away! Where the heck to?"

The guards say nothing. Throughout our walk, Yuri has been grimly silent. But now he whispers to me.

"That, Agnes, is the Moskovsky Station."

"I need to go to the bathroom."

As our express speeds through the Russian countryside, I look at the one guard who has boarded the train with us. Emily, Yuri and I are in a first-class compartment along with this young man, who looks rather like the sober cadet in that state room at the Winter Palace. Except that this youth's Army uniform includes the obligatory red sash, and I sense arrogance in his eyes and his mouth. Even while seated, he keeps his rifle over his shoulder: he seems to be taking his duties very seriously.

I repeat my words. "I need the bathroom."

The soldier's reply is surly. "You must all stay together so I can guard you. I can't allow one person to leave the group and wander freely about the train."

Yuri smiles at him. "I once had the same problem. You have to use your judgement, young man."

The guard is silent: he's thinking what to do. Outside our window, forests and lakes fly by. Yuri has told us that we are now travelling through the Valdai Hills, half-way between St Petersburg and Moscow. He said that these hills are the heart of the Russian Empire, the source of three great river systems. From here, the Daugava flows west to Riga and the Baltic, the Dnieper runs south through Ukraine to the Black Sea, and the mighty Volga flows through Russia to the Caspian. But to me, I just feel that western Europe, already far away when I was in St Petersburg, is becoming like a distant, half-forgotten memory.

After a moment's thought, the soldier looks at us all. "Very well. We will all have a bathroom break together. All of you will walk with me, along the carriage corridor, and go into the bathroom one by one."

Yuri grins broadly. "I'm glad to hear you say 'one by one'. Four of us in a bathroom would be a squeeze."

The guard doesn't smile. Instead he says "By now, telegrams will have been received in Moscow. They will know that the government of St Petersburg and of all Russia is in the hands of Comrade Lenin and the St Petersburg Soviet. So in the same way, the Moscow Soviet of People's Deputies will take charge of the city of Moscow. I am looking forward to handing you over to them at Nikolayevsky Station. But for now, get up, all of you, and come with me along the carriage."

As we file into the carriage corridor, Yuri continues his banter with our guard. "You seem very sure of the state of affairs in Moscow! What if the city council doesn't want to hand over its power to the Moscow Soviet? Just because the Bolsheviks have grabbed St Petersburg, Moscow needn't follow suit."

Yuri says this with a disarming smile. But the soldier is determined to show us he's in charge.

"Where St Petersburg leads, Moscow will follow. Besides, there are rumors that Lenin will move the capital to Moscow. The city will welcome him with open arms."

We come to a door labelled "Bathroom". The soldier states the obvious. "Here we are." Then he looks at me. "You go first, Miss."

Inside the bathroom, I have only one thought. Despite the uncertainty of our own situation, I've been burning with curiosity. I reach into the pocket of my nursing uniform, take out the document I took from the envelope at the Winter Palace and, as the train rumbles on, I unfold it.

It's a large sheet of paper, covered on both sides with handwriting. There are even a couple of small pen-and-ink drawings. I peer closely at the first drawing, a little cartoon-like sketch. It's of Dr Jansons himself, and in a few brief strokes of the pen, it's captured him rather well.

What on earth can this paper be? I scan briefly up and down, then I begin to read it. But after a few seconds I pause, my hands trembling, as I realise what the paper is.

It's a letter written by a child.

"Hurry up in there!"

I hear Yuri's voice outside. "Young man, is Bolshevism not compatible with good manners? You're speaking to a lady."

I decide to wait to read the letter. I want to talk it over with Yuri – and Emily too, who I feel I can trust. I wash my hands and open the bathroom door. To my surprise, the young soldier decides he's next in the queue, and steps past me into the bathroom. Yuri guffaws.

"He's been bursting for hours! That's why he frog-marched us all here –"

I interrupt. "I've found something. I've just had a look at it, in the bathroom."

Emily frowns at me. "By 'something' do you mean that document you stole from the envelope in the Malachite Room? I only hope that by taking it, you don't get your friend Dr Jansons into any trouble."

"He won't be in trouble. I've seen those long brown manilla envelopes before, Emily. They were used by Okhrana, and they contain evidence they used to incriminate people."

Emily narrows her eyes at me. "So if it's evidence that belonged to Okhrana, how come the Bolsheviks now have it?"

Yuri looks at her. "For a while, Emily, I used to work for an Okhrana official. I've not seen inside their files, but I know what the envelopes look like, and Agnes's description sounds right. It's an old Okhrana file."

The train rattles around a bend, and we sway with the moving floor as Yuri continues. "But you are right too, Emily. Okhrana would have made every effort to stop those files falling into the hands of the revolutionaries. I have no idea how the Red Guards could have got hold of it."

The train is noisy, but I keep my voice down so that it can't be heard inside the bathroom. I try to explain.

"Taking that paper can't harm Dr Jansons, Emily. It might even help him, by getting rid of evidence that the Bolsheviks might have used against him. But actually, I don't think the Bolsheviks are interested in Dr Jansons at all. The letter that in the envelope is of purely personal interest, to General Aristarkhov."

Emily starts to speak, but at that moment the soldier comes out of the bathroom, and we fall silent. I whisper to her in English "I'll explain later."

The guard barks at me. "Quiet! None of your American words, telling each other secrets! When any of us speak, we use Russian only, so I know what you are talking about."

"I'm enjoying this journey" says Yuri. "It's so convivial."

"Ladies and gentleman – I'm sorry to interrupt your perusal of our hotel menu. I've come to inform you that all your personal belongings from your accommodation in St Petersburg have now arrived safely at this hotel. They have all been taken up to your rooms. But in addition, the Bolshevik Party has provided each of you with a personal allowance for new clothing, any souvenirs you may wish to buy, and so on. Your funds may be collected from the reception desk. And, let me know if I can do anything else to increase the comfort of your stay in Moscow; it would be a pleasure to assist. Now I will leave you, so that you may look at this evening's menu at your leisure."

The maître d'hôtel bows to us. Emily, Yuri and I sit around a table at the centre of the sumptuous dining-room of Moscow's attempt to be like New York and London: its very own Hotel Metropole. After the cold vastness of the Winter Palace, the hotel is modern and well-appointed. But there's an air of imperial splendor in the vivid colors of the stained-glass ceiling, like a huge church window suspended horizontally above us. The walls are decorated with the sinuous curves of Art Nouveau designs, lit by the glow of ornate, elaborate lamps.

I'm glad we're staying here. It show that the Bolsheviks recognise the status of Emily and me as foreign nationals, and are sparing no expense to keep us comfortable. Yuri, his arm in a sling, glances up at the glass ceiling, then across the room at the scores of elegantly-dressed diners, all of them chattering about the events in St Petersburg. Some voices sound excited: others have an edge of fear. We hear the name "Lenin" recurring in every conversation. Yuri opens his menu.

"I grew up on the banks of the Volga – but I've never eaten in a restaurant with Volga caviar on the menu! I'm going to try it – even if I have to offend etiquette by eating one-handed. Travelling with you two ladies is giving me a taste of luxury. I think I will write a note to myself, to remind me to spend as much time as I can with American women."

Laughing, I add "The best thing of all is that we have no Bolshevik guard watching our every movement. We seem to be totally free here, as long as we sign in at the hotel desk once a day."

Emily and Yuri nod. After our journey, this freedom is a welcome relief, and the three of us are now dining without any kind of chaperone. I carry on.

"So, I can now read to you the letter that I took from Dr Jansons' file. But first I'll explain about Dr Jansons. As well as working at the Winter Palace Hospital, he had a private practice as a hematology specialist. One of the illnesses he treated was the blood-clotting disorder hemophilia. This is a personal letter to him, from a young patient."

I unfold the sheet of paper. Again, the little sketch catches my eye. I read the letter out loud.

"Dear Doctor Jansons

Thank you for all your care, treatments and medicines! I am feeling quite well, although tired. I do hope you will come and see me again soon. Mother says you are the best blood doctor in all of Russia. And I miss the funny stories you tell.

I hope all is well at the Winter Palace Hospital, and that you are helping all the soldiers to get better.

Mother and I arrived at Tri Tsarevny today. It is a funny old house by a lake. It was amusing, the servants here all bowed one after another to me, and each one said 'Welcome, Prince Tsarevitch Alexei, to the Three Princesses!'

It made me laugh, because of course I have four sisters who are princesses. But my sisters are busy working in hospitals, and they are not coming on our holiday at Tri Tsarevny. I miss them so much. It can be very lonely at times.

I am in an upstairs bedroom. I am feeling very tired and Mother has said I am not allowed to go outside to play for a few days. There is a small schoolroom for me, where my new tutor who is called Nestor will teach me, but not many lessons each day, because I am so tired.

_July 26_ th – I have decided to keep a Diary of my holiday. So this letter is my Diary. Mother is being very strict about my health today. I have to spend most of my time in bed. But Nestor has brought books for me to read while I lie here – 'Uncle Tom's Cabin', and also 'The Time Machine' by the Englishman Mr H. G. Wells, and some poems too, about the fighters who defended the Roman Republic in the old days – 'Horatius' and 'The Battle of Lake Regillus'.

I read a little in the morning, but I was not feeling very well in the afternoon, so I slept.

_July 27_ th – A much better day! Nestor has given me Binoculars, saying that if I sit up in bed, I can watch the grounds of Tri Tsarevny. I can see the lake and the little islands, and the Princess Houses on each island. A very beautiful lady lives in the middle Princess House. I can often see her sitting out on her porch, looking at the lake. And Rasputin has come to visit us. He is going to stay in the furthest of the Princess Houses.

_July 28_ th – A very good day. The beautiful lady asked to meet me! She came up to my room. Her name is Svea and she is from Sweden. I showed her my book and she really liked it.

_July 29_ th _– 11.00am –_ Last night I could not sleep, so I looked out of my window. It was bright moonlight so I could use the Binoculars and see clearly. I could see two people on the causeway to the islands. One person was far away, near the middle Princess, and wore a long white robe. I think it was Rasputin. The other was closer to the shore, and they walked along the causeway onto the island with the old storeroom. I could not tell who it was.

_July 29_ th _– 4.00pm_ – This afternoon, there has been such excitement! It is a warm day, my window has been open, so I can hear all noises from outside. At about two o'clock I heard a shot!

As soon as I heard it, I looked out of the window with the Binoculars. I could see, on the porch of the third Princess House, the Cossack captain peering around, looking at the lake and the houses. It looked as if he was trying to see who fired the shot. I could not see anyone else.

One second later, a man opened my bedroom door. I had not seen him before. He was an Army General, and he seemed very alarmed. He said 'I heard a shot. Are you all right, Tsarevitch Alexei?'

I said 'Of course. But I heard the shot too.' He told me not to lie down, to not worry, and most of all not to look out of the window.

A few minutes later, exactly the same thing happened again! There was no shot, but a different man came into my room to check if I was all right. But this one wasn't in the Army. He looked like one of the servants, but I've never seen him before. He was shaking and seemed very nervous. After a while, he went away.

_July 30_ th – I can tell from what the grown-ups are all saying to each other that someone was shot yesterday. No-one will talk to me about it. I haven't seen Nestor, who is the one grown-up who would tell me truthfully what has happened.

But I know the truth already. The person who was shot is Svea, and she is dead.

Mother has said we are leaving today and going back to St Petersburg. I asked about Nestor. But Mother said 'Tutor Nestor doesn't work for us anymore.' I asked and asked, but that is all she would say.

We are getting on the Imperial Train now, so I will finish up my Diary here and send it to you.

Always yours

Alexei"

Below the prince's signature is another sketch, this time of a woman standing by the shore of a lake. Emily points to it.

"So that's Alexei's impression of Svea Håkansson... are there any clues in that drawing about her?"

We all look carefully at the sketch, but there's nothing remarkable in the figure, the clothes or the setting. After a minute, Yuri looks up. "If this little picture has secrets, it is not revealing them to us. Better to think about the content of the letter."

I read it out again, and Yuri sighs. "It doesn't tell us anything we don't know. But well done for finding it, Agnes –"

"I disagree, Yuri. On the contrary, Alexei's letter tells us something extremely important."

Yuri and Emily look at me in surprise. I carry on.

"Alexei wrote one of his July 29 entries at four o'clock, when the events of the afternoon will have been very clear in his mind. He says that a man, who must be Aristarkhov, came into his room only seconds after he heard the gun. So Aristarkhov can't have been down on the lake, or in any position where he could have fired a shot at Svea. This letter – it is Aristarkhov's alibi."

Emily nods, looking from me to Yuri. "And, the letter also describes where you were when the shot was fired. It says you were in Rasputin's house on the lake. So the letter is your alibi too, Yuri."

15 Footsteps in Red Square

Emily and I are browsing the markets of Moscow's Red Square, just like regular tourists. There's nothing else we can do this afternoon. This morning, she and I went to the American consulate to inform them that we're in the city, and tell them what has happened to us. Emily also told them about how she was taken by the Bolsheviks from her flat in the middle of the night. She explained that her belongings have been sent to her at the Metropole, but her passport is missing.

The staff at the consulate took detailed notes, and advised us to co-operate with the authorities' inquiries. At that point Emily started arguing: how could we co-operate with the Bolsheviks, if they've not told us what their inquiry is about?

The man at the desk must have already seen other American citizens in the same position as us. He explained patiently that our situation isn't unusual, and that in all likelihood in a day or two there will be profuse apologies, we'll be told we are free, and that we can choose to either return to St Petersburg or travel back to the States.

Either choice would certainly be an easy option in terms of cost. I gasped when I went to the desk last night and found out what my 'allowance' is – a small fortune. The Bolsheviks are clearly afraid of upsetting Emily and me, or the consulate, and are throwing money at us.

"This is nice, Agnes. Do you think would suit me?" Emily is standing in front of one of the market stalls; she holds up a beautiful silk scarf. It must have been shipped from some exotic part of the Russian Empire, thousands of miles to the east.

"Emily, why are you a communist?"

"Good question!" She puts the scarf down, and looks at me.

"I must admit, when I was young, I just took things for granted. I never wondered about how unequal society is. Across the tracks, there was a whole town of black people, but it was somewhere I never went."

"I grew up in a small New England town, Emily. So I never saw that kind of thing. It made me sad, when I started to get older and realised how unfair life is for most people. But it never occurred to me that a revolution was the way to solve things."

"I think part of what made me a rebel, Emily, comes from deep inside. From my upbringing. My childhood wasn't happy. My father was a successful attorney – and a drunkard. When I got older, I was glad to get out, to get away as far as I could. I was thrilled, the day I caught that train and went away to college. Ma came to the station with me, and I could see in her face, she was wishing me a better life than she had had. But Pa never even bothered to come to the station."

"I'm sorry to hear that. I'm still close to my Ma and Pa; I write to them often."

"Happy families, eh?" Emily poses, holding the scarf against her neck, then passes it to the man behind the stall. "How much?"

"Five roubles."

"I'll give you three... Then, Agnes, at college I was involved in putting on a Russian play. Maxim Gorky's 'Lower Depths'. I played a character called Natasha who is surrounded by drunks and no-hopers. I realised that there was only one difference between my own family and the down-and-outs in the play. We had money: they didn't.

It made me wake up to my own privilege – and the injustice of society all around me. So I began to correspond with socialist writers and thinkers. Which led to me writing pieces for left-wing newspapers. After completing my studies, I published my doctorate paper on Russian writers, and since then I've written a string of scholarly books and articles. Over the last few years, I've become a respected academic. But all the time, I also carried on writing about socialism and communism.

A newspaper called Red Dawn funded me on a reporting mission. Of course, I used a pseudonym for my writings – to protect me, and all the men I interviewed. I spent two years travelling around Colorado, Utah and Nevada, talking to miners about their working conditions, sometimes even going into the places they worked in. They faced – they still face – appalling danger and hardship. Meanwhile, all the profits go to shareholders in New York who've never seen a mine in their lives."

She turns to the stallholder. "Okay, four roubles. My final offer." He nods; she carries on talking to me.

"Through my work with the miners, I got involved with the Wobblies. They are fighting for something much bigger: worldwide socialism, and equality for all. All workers of the world should unite and rise up against the capitalists. Businesses should be owned by the workers, not by the bosses, Agnes. Injustice and poverty must end. I've even written lyrics about it, for the Wobblies' Little Red Songbook."

"You say 'unite and rise up', Emily. But do you mean take over by force? That's what Lenin has done, and so far it seems like a nasty business to me."

Emily doesn't answer. She hands over the money to the man without looking at him; her eyes are fixed on the scarf. Then she turns to me.

"Is Yuri coming to the market to meet us?"

"No. He said he'd be in St Basil's Cathedral, lighting a candle and praying for his fellow soldiers who are still out at the front. I said we would join him there. If he didn't see us in there, he would join us later on, in the Upper Trading Rows shopping mall."

She pulls a face; I ask her. "Shall we go to the cathedral now, and find him?" The bizarre brightly-patterned onion domes of the cathedral dominate Red Square; they look unreal, like they've been tipped out from a gigantic box of coloured sweets.

Emily peers in the direction of the cathedral, as if she expects to see Yuri coming towards us. "You go and fetch him, and come back here. You'll find me easily. I'll still be browsing around these stalls."

"Don't you want to see inside the cathedral? I do. I think it looks astonishing."

"No thanks. Churches give me the creeps. All those people bowing and scraping to a non-existent God. If you were an atheist like me, Agnes, you'd understand."

"I don't understand – but you and I will just have to disagree on that, Emily. I'll come back here with Yuri, in half an hour or so."

I leave her, and weave my way through the traders and shoppers. At the edge of the market, a tram sails right across my path, then it's gone. Ahead of me, beyond the tram lines, there are no more stalls. Red Square, hemmed in all along one side by the colossal wall of the Kremlin, is a sprawling, empty space. My feet clack on the cobbles as I walk towards the cathedral.

As I step up to the entrance, I'm hit by a heady waft of incense. "Emily would call it the opium of the people" I say to myself, as I enter the darkened interior.

It's like walking through a magic door into a different world. Vividly-coloured pictures of saints and Bible scenes are painted on every surface; they loom at me, glistening in flickering candlelight. The smell of wax and the light of the candles is everywhere, like a scatter of stars all around me.

It's hard to move. Dozens of children sit cross-legged, smiling and playing quietly with marbles and spinning tops on every part of the floor. Ahead of me is a wall of people's backs; bareheaded men, women in scarves and shawls. The parents of all these children are praying. I can't see Yuri anywhere.

"Bless you, Miss. And –" A young man in the robes of a monk stands beside me. His eyes signal politely towards my head. I realise that my small button hat is not an adequate cover for my hair. The monk proffers me a white cotton shawl.

"Thank you. And bless you, too."

We're speaking in hushed whispers. After a moment he says "You are a stranger to Moscow?"

"Yes, you've guessed right."

"This is the mother church of all Russia. Look, I will show you."

He points above the heads of the congregation. "See, that is the iconostasis: a great screen, a wall of icons showing the Savior, the Virgin Mary, and the angels and archangels, the saints and apostles. Behind the iconostatis is a hidden space. That is where the altar is, where God himself sits on his holy throne."

I look at the gilded wall of faces and halos, glowing in the light of a hundred candles. The scent of incense fills my nostrils. I shudder inside: I feel awe-struck.

A voice begins to sing. I can't see the singer, the priest, through the mass of people. The sound echoes from every painted surface: deep, sonorous and haunting. As well as hearing it, I sense it resonating through my body. I feel a shiver in my bones, and I'm almost choking: there's a lump in my throat.

Someone touches my hand. I feel, for just one second, cold fingers stroking my palm.

I look beside me, but the monk has gone. I'm now surrounded by tall men, soldiers in uniform, who've come up silently and unnoticed around me. Every one of them has his eyes closed: absorbed in prayer, and in the chanting voice of the priest.

Which one of them touched me? The unearthly singing goes on, the men stand around me, my mind is whirling. I feel my knees buckle; I'm about to faint. I have to get outside, into the fresh air.

Through the cathedral door, Red Square stretches out towards the tram-line. Beyond it I see the stalls of the market. I begin to cross the cobbles, walking unsteadily, trying not to fall.

The square is beginning to look blurry: my head swims. I can hear my feet on the cobbles, but I hear other footsteps too, following me. My ears are telling me there is someone close behind me, but when I look round, there is no-one. All around me the vast square is empty, except for one solitary, rag-clad beggar, going his own way across the cobbles. I'm in a waking dream, not knowing what is real. There is still no sign of Yuri: I need to get to Emily.

The clanging of another tram hurts my head; it passes me in a blur, and is gone. I see Emily, standing on the other side of the tracks. For some reason, all I really notice is that she's now wearing the scarf.

"Agnes – you nearly got knocked down by that tram! And you look white as a ghost. Let's get you to a café and get some sugar in your blood."

We're sitting at a table near the window of an establishment that calls itself "Viennese Patisserie". Sweet pastries in the styles of Paris, Vienna and Copenhagen form a spectacular window display. Beyond the pastries, I see through the window well-dressed ladies and gentlemen, sauntering among the shops of an enormous mall – Moscow's Upper Trading Rows. I think: Lenin's revolution has not reached this place – yet.

"This is delicious." I munch a mille-feuille pastry filled with confectioner's custard.

"Glad to see that pastries and coffee are helping, Agnes." Emily grins at me. "I told you that going to church was bad for you."

"Someone touched my hand, they really did."

"Perhaps holding hands is something they do in Russian churches."

"No, it wasn't like that at all. No-one else was holding hands, or touching people in any way." I carry on, trying to put my feelings into words. "It felt – really uncanny. Like a ghost was touching me."

She rolls her eyes. "You told me that you were surrounded by soldiers at the time. One of them must have fancied you, Agnes! Or maybe your Yankee sex appeal tempted that monk to forget his vows for a moment?"

I laugh, but I can't quite forget that touch on my palm: chill, clammy fingers that felt uncomfortably intimate.

Among the ceaseless movement of people outside, two men are noticeable, because they're standing still. They're dressed in gold-braided uniforms, their hands behind their backs. One of them looks sixteen or seventeen years old; the other is over seventy. They're obviously the mall's security guards.

"Grandfather and son?" I point them out to Emily.

"Most men are away in the Army. It's like all these Red Guards everywhere: most of them are boys."

The two men take a step forward into the middle of the mall. Even through the glass of the café window, I hear them shouting.

"You're not allowed in here! Get out, now!"

I can't see who they're shouting at. Emily glances at them, then back at me. "They're just throwing some hobo out of the mall."

"As a good communist, you ought to go out and stop them, Emily."

"Very funny."

We can now see the beggar. He's arguing with the two men: I catch what he's saying. "I need to see someone – in here. They came in here."

"We don't want to touch your stinking clothes. But if we have to, we'll pick you up and throw you out bodily."

"Just give me a few moments – please?"

"No." It's the older guard who is more aggressive; he glares at the beggar, then takes a step forward. The beggar doesn't move. The older guard nods to the younger, who suddenly kicks out; his polished boot strikes the beggar's knee. The man drops to the ground like a felled tree.

Emily stands up. "Maybe you weren't joking, Agnes. I'll go and talk to them. You stay there, though, and eat your pastry. Blood sugar, remember?"

Despite her words, I get up. We both go to the doorway of the café. It's a horrible sight; both guards are now savagely kicking the fallen form of the beggar and shouting abuse. "Crawl out of here, scum! And don't dream of ever coming back!" Ladies and gentlemen pass by, chatting politely and not even turning their heads to look at the unpleasant scuffle. I suppose it's probably an everyday occurrence.

"Stop!"

Emily's voice cuts like a knife through the busy hubbub of the mall. The guards' eyes swivel in their heads towards her, as she continues.

"Let that poor man get to his feet. He'll walk out of here – if you give him a chance."

Like boys scolded by a schoolteacher, the two men stop their attack. They stare at us, first in anger, then in apologetic embarrassment. They say nothing. But I hear a muffled voice from the floor, emerging from the ragged coat and stained hat of the beggar. "Thank you." Slowly and awkwardly, the man stumbles to his feet, then turns towards us. For the first time, I see his face.

His cheekbones and chin stick out gauntly through skin covered with coarse gray stubble. But I can tell that this haggard face was once round, like an owl's. There's glass in only one lens of the pince-nez that is perched, absurdly, on his nose.

It's Mr Bukin.

16 Brave new world

Yuri appeared in the mall moments later. He took charge of his former employer, leading him away. When Emily and I got back to the Metropole, we found that Yuri had spoken to the hotel staff, taken Mr Bukin to his own room, and allowed him to have a bath. Meanwhile, Yuri went and used some of his own 'allowance' to buy a new set of clothes for Bukin. The four of us are now sitting in the hotel's tea room, enjoying the now-familiar ritual of Russian tea. Yuri starts the conversation.

"What happened to you, sir?"

"I was at my office, on the day after the worst of the February revolutionary riots. I was very busy, in fact. Urgent orders had come through to me from General Aristarkhov: I had to pack up all the Okhrana files of suspects, and send them to him.

I finished the final set, and sent them off just before midday. Then, I was eating my lunch at my desk, when a gang of men with pistols and knives walked straight into the office, as bold as brass, and told me I was under arrest."

"What did they do to you?"

"At first, it wasn't too bad. I was taken to the Peter and Paul Fortress, along with many other employees of the imperial family, and we were handed over to the troops of the garrison. The soldiers treated us well. I was properly fed, and they even passed on to me a letter from my brother, who emigrated to France, and is my only living relative. I explained to the soldiers that although I had been employed by Okhrana, my main job had been security for the imperial family. Some of them even said that it was just a matter of time, I would soon be released.

Then one day, two men I'd never seen before – great hulking brutes – came to my cell and told me I was to be put on trial, and I'd better confess to them. I said I had nothing to confess, I have only ever done my work, which was to protect and serve the Tsar and his family. Then one of them hit me in the face. I remember other blows, there was just pain everywhere, then I blacked out.

The next day, I was taken for my trial. Some men put me in a cart. It looked like one of the tumbrils used for people about to guillotined in the French Revolution. The cart was driving along the Nevsky Prospect, and some kind of scuffle broke out ahead of us. There were lots of people fighting, I have no idea what was happening. The men who were supposed to be guarding me were shouting and jeering. Then they jumped down from the cart and joined the fight. So I got out of the cart and slipped away.

I knew I had to get out of St Petersburg. I was still wearing my suit, and in an inside pocket I had enough money for a train fare. The only trains running were to Moscow, so I caught the first one. When I got here, I went to the bank and asked if I could withdraw some money from my account. The bank clerk went away to check, then he came back and said my account didn't exist any more.

It was March; there was lots of snow around. I was out on the streets; no hotel would accept me on credit, and I had no identity papers. The first night, I thought I would freeze to death, but then I found a blanket in an alley. Then a man came along and said it was his blanket. He called me a 'stuck up toff' and then he started hitting me. It was just the same as the previous beating; after a while I passed out. All I remember was waking, lying in the snow.

Since then, I've been begging, just going from street to street. There are countless beggars in Moscow – drifters from all over Russia, but also thousands of former policemen and civil servants, and wounded soldiers who are given no pensions. I saw one man who I used to know: Viktor Andropov. Before last February, he had been a senior official in the Tsar's finance ministry. He said to me 'This is the so-called brave new world of revolutionary Russia. Everyone who worked for the Tsar's government is cast out, like rubbish.' I never saw Andropov again, but a few weeks later I heard that he'd been beaten to death by a mob of other beggars, because he had a one-ruble note."

Emily frowns. "You talk about revolutionary Russia. I understand your problems, Mr Bukin – but the Provisional Government was committed to trying to tackle homelessness."

Mr Bukin laughs, like a deathly cough. "On the streets of Moscow, the Provisional Government didn't exist! From the very start, the Red Guards were the ones who were really in charge, because they had the guns. They used to threaten me, calling me a looter and a thief. I've heard rumors that they shoot beggars now and then, just to keep all the rest of us scared. I try to keep out of trouble. I'm glad if I can beg a few kopeks a day from passers-by. But so far, it has been summertime. I dread the coming winter: I know that I will freeze, if I don't starve to death first.

But then today, Captain Sirko, I saw you going into St Basil's Cathedral. I went in and looked for you, but it was so busy in there, I couldn't find you.

And then I saw you in the cathedral, Miss Frocester. I touched your hand, to try to get your attention." He looks around at us, his eyes bleak and desperate. "I hope you can help me."

"We will." Yuri is clear and decisive. "I have rather a lot of money, which the Bolsheviks have given me for no apparent reason. I'll use it to get some accommodation for you. I have enough to pay for a room for you until next summer, at least. So you won't freeze this winter."

"I'm so grateful. Truly, you have saved my life, Captain Sirko."

Bukin shakes Yuri's hand: intense relief is visible in his face. Then he looks at me. "There is also one thing you might do for me, Miss Frocester, because you are an impartial foreigner. You see, begging letters are common in Russia; every person of importance receives them and ignores them. But if you, an American, were to write to General Aristarkhov, who I understand is now quite a senior person in the new government?..."

I look at his anxious, eager face. "I don't want to give you false hope, Mr Bukin. It was General Aristarkhov who decided to send Miss Neale, Captain Sirko and me away from St Petersburg. I don't know why, but he seems suspicious about all three of us. I don't think he would pay any attention to a letter from me."

"I'm not asking for money from the general, Miss Frocester. All I am asking is that he remember a loyal servant of the imperial family – from a time when he too was such a loyal servant. You see, I am a reasonably wealthy man, if only I can get access to my money. If you could ask General Aristarkhov to drop a word to the right people, regarding my bank account, then I'd be eternally in your debt."

I remember long ago, standing in Mr Bukin's office, and the nasty word he used about me. But I smile at him.

"Of course I will do that. I will write to General Aristarkhov. But please don't raise your hopes too much. And, there is something you can do for me, in return."

"I'm not in a position to help anyone, I'm afraid. But once I have access to my money –"

I but in gently. "It's not money or favors I need, Mr Bukin. It's information. You were there, weren't you? You were at Tri Tsarevny, on the day Svea Håkansson was murdered. Can you tell us your own account of that day?"

Yuri grins at me. "'Your own account of that day' – that's the sort of thing real detectives ask, Agnes. Now you are being a proper Sherlock."

Mr Bukin begins, slowly. "Yes, you are correct, Miss Frocester. I was at Tri Tsarevny on the day of the murder. When we first met, I didn't mention that fact to you and Professor Axelson."

"Because General Aristarkhov told you not to?"

"No – in fact, at first the general wasn't even aware of your presence in Russia. You and Professor Axelson only came to his attention while you were actually at Tri Tsarevny. You were spotted by an Okhrana informer when you arrived at Ivangorod. The informer saw that two strangers were being taken by boat to Tri Tsarevny, and he passed that information and your descriptions to the general. You will recall that General Aristarkhov was not pleased to find out about your visit."

"I remember it very well. But why, Mr Bukin, did you avoid telling us that you were there, on the day of the murder?"

"Discretion, Miss Frocester. In my work – my former work – it is always best to tell everyone as little as possible. It becomes a habit, a way of life. But now, of course, I can tell you all about what happened to me on the day of the murder. It is quite a simple story.

It started as a normal, uneventful day. I remember it was beautifully sunny, and I even had half an hour to myself, for a walk, early in the morning. Everything was very peaceful: the lake was like a mirror, and there was a kind of stillness in the air. Almost like a magic spell was cast on the place. I walked along the causeway, and in the gardens, and I thought to myself about the old story of the princesses and Ivan the Fool, and the bottomless lake. Then I had some paperwork to do, which occupied me for the rest of the morning.

Just after lunch, the Tsarina sent me a message, asking to speak to me in private, in the main Dacha library. I was surprised, as my orders normally came through General Aristarkhov. I lived down at the First Princess house, and hardly ever went up to the main Dacha. Even my meals were brought to the First Princess, by servants."

Yuri nods. "I remember the system well. It was as if we were unworthy to be allowed into the main Dacha. Even Aristarkhov spent almost all his time in the First Princess. Only occasionally would he go up to the main Dacha to receive the Tsarina's instructions. Then he would come back, with orders for us."

Bukin nods. "Yes – that's exactly how it was." Yuri smiles; he can't help adding some details.

"The instructions Aristarkhov gave us, following his chats with the Tsarina, were often absurd. For example, there were many guards patrolling the woods around the lake. One day the general ordered me to go and find every one of them, and inspect all their kit, even though they had a perfectly capable sergeant in charge of them. I was also told to go and inspect those two guards down at the stone quay. Hardly anyone came to Tri Tsarevny: those two men were bored out of their minds. They passed their time making tea for each other, and telling stories."

I look at Bukin, who himself seems to have drifted off into a trance while Yuri was speaking. Gently, I say to him "So, Mr Bukin, that's what you did on the morning of that day. But what happened in the afternoon?"

Bukin smiles slowly at me, as if waking from a dream, and resumes. "As I say, the Tsarina summoned me up to the main Dacha. So at two o'clock, the Tsarina and I were in the library of the Dacha – alone.

She said that she did not want to spread alarm among the servants, but she was worried. Rasputin had seen prowlers, at night. She asked me to order additional guards, for increased security. I told her I would do so, but that it was unlikely that any new guards would be able to arrive until the next day. She seemed worried by that and she told me to ask you, Captain Sirko, to patrol the grounds yourself that night. Of course, I never got round to asking you, because by that evening, the damage was done.

While the Tsarina and I were talking, we heard a faint noise, like a single knock on the door of a distant room. The window of the library was closed, but the noise seemed to come from outside. So we opened the window, and we both looked out. We could see the garden, the lake and the islands. But we could see nothing out of place or suspicious.

A few minutes later, General Aristarkhov came into the library. He looked alarmed. He had heard the noise, and thought it sounded like a gun firing. He said he was upstairs in the main Dacha when he heard the sound, so he had immediately checked Prince Alexei's room, and the boy was safe and well. I recall the Tsarina's anxious question.

'General, did Alexei himself hear the shot? Was he frightened?'

The general's reply was reassuring, but despite that, the Tsarina sent me to check on Prince Alexei. So I went up to his bedroom. The prince seemed perfectly fine – but by that time, a commotion among the servants had made it clear to the Tsarina, the general and me that something serious had indeed happened out on the lake –"

A waiter is standing over us, coughing politely to interrupt our conversation. We all look up at him.

"Is one of you Captain Yuri Sirko?"

"That's me."

"You are requested to go to the hotel reception desk, sir. It's important."

Yuri gets up and leaves us. In two minutes, he returns – and I recoil in shock as I see that he's flanked by four policemen. They wear the uniforms of regular police, but they all have red arm bands on their sleeves. One of them links arms with Yuri's plaster cast. Then my mouth drops open, as I see that another of the policemen is holding a gun to Yuri's side.

The police say nothing, but Yuri speaks quickly and firmly.

"Mr Bukin. Pass me my coat – but before you hand it to me, take the wallet out of my pocket. The money the Bolshevik Party gave me is in there: take it all, please. Buy yourself some accommodation and food."

He pauses a moment, then looks significantly at me. "Agnes, and Emily – I have to go. But if you ever need friends in Russia, seek out the Astrakhan Cossack Host."

Despite the policemen, he manages to bow to us. With his free arm, he takes my hand, and kisses it. I stare at him.

"What is happening, Yuri?"

Another of the policeman now grips Yuri's free arm. And another, who appears to be in charge, starts to speak in a monotone.

"Captain Yuri Sirko. You are under arrest for the murder of Svea Håkansson. We will now take you to the Butyrka Prison for interrogation. We advise you for your own sake to co-operate fully with us, because we are authorised to use force at the prison, in order to obtain a full confession. You will be questioned until you give us the information we need."

**17** On the Trans-Siberian Express

Yuri's face is calm, his breathing controlled. I stand up; so does Emily. Tears start in my eyes, but I shout out.

"You can't do this!"

The policemen ignore me. Yuri looks steadily into my face.

"Don't fight it, Agnes. Either I go to prison alone, or we all end up in jail."

I can't help stepping forward, and I stare at the policemen in horror. "But we have evidence! The testimonies – Rasputin, Prince Alexei! We found the murder weapon, for God's sake!"

Yuri speaks; his voice is commanding and brooks no argument.

"Don't argue with these police. If you do, it will end badly. Now Agnes, when you next see Professor Axelson, discuss with him all the evidence that you've found. Sweden wants the true killer of Miss Håkansson to be found. So the Swedish ambassador may make representations to the authorities at my trial. That is the best way you can use the evidence you have."

One of the policemen returns my stare with an emotionless gaze. "Are you Emily Neale and Agnes Frocester, American citizens?"

"Yes."

"There is a message for both of you at the hotel reception, from a General Aristarkhov."

This time it's Emily who steps forward. "So the general is behind this crazy arrest, is he?"

The policeman's reply is immediate and assured. "Not at all, Madam. Captain Sirko's arrest is the result of an impartial police investigation. The message for you and Miss Frocester is unconnected to that, and relates purely to your status as foreign guests of the St Petersburg Soviet and the Bolshevik Party of Russia."

Five minutes later, Emily and I stand at the reception desk, still taking in what has happened. Yuri went away with the policemen, without a backward glance. We've left Mr Bukin at our table.

The desk clerk hands Emily an envelope. She tears it open and reads it out to me.

Dear Miss Emily Neale and Miss Agnes Frocester

I am pleased to inform you that more secure and comfortable lodgings have now been arranged for you, and for your associate Professor Axelson, who will join you shortly.

This final stay as guests of the Bolshevik Party of Russia will be of short duration, prior to your repatriation to Sweden and, should you wish, onwards to the United States. All your travel, accommodation and other expenses will be funded by the St Petersburg Soviet.

Please co-operate with our endeavors to ensure your safety, while our investigations involving you are progressing. Your assistance will ensure the swiftest possible conclusion to our inquiry.

Please await the visit of a Mr Sokolov to the Hotel Metropole. He will contact you, and accompany you to your new accommodation. He is empowered to do everything for your personal comfort."

Yours sincerely

General Evgeny Aristarkhov"

We return, shocked and silent, to our table. But Mr Bukin has gone.

Emily looks at me and sighs. "I sometimes think that Russia consists entirely of endless train journeys."

Our new companion, Mr Sokolov, leans across our compartment and interrupts eagerly, speaking over the rattle of the train. "Now that the working men of the nation are in charge of our railway network, it will become a powerhouse! Our Russia is so huge, she contains every natural resource. Even if the rest of the world does not embrace communism, we have no need to import anything. Our railways can move everything for us, and we can be self-sufficient for ever. Look through the window – the land is becoming hilly. We are approaching the Ural Mountains – the richest mines in the world!"

Emily snaps back at him irritably. "I know a whole bunch of Colorado miners who would dispute that claim, Mr Sokolov."

"Please, as I said, Miss Emily – do call me Andrei."

Emily is already tired of Mr Sokolov. We first met him two days ago, at the Hotel Metropole. He arrived exactly as the general's letter said he would, and joined us for dinner at the hotel. At dawn the next day, we boarded the Trans-Siberian Express with him. As we did when we travelled from St Petersburg, we are travelling first class. Luckily for us, all the talk of abolishing first class travel has not yet happened. We've now been aboard this train nearly thirty hours, subjected to Mr Sokolov's cheerful patter.

"Not far now, ladies."

Emily's face is tired and a little sulky. "Mr Sokolov, I've found that Russia redefines the meaning of 'not far'. It feels like a lifetime even since we left that last place – what was it – Vyatka?"

"Indeed, our country is on a big scale. As I mentioned, there are eighteen major cities, each of them hundreds of miles apart, along this railway line which ends at Vladivostok on the Sea of Japan. We are only going as far as the fourth city, Perm, which is the regional centre for southern Siberia and the Ural Mountains. In Perm, we will change trains for a local journey to the Yermak Estate."

Emily mutters under her breath. "The English used get rid of troublemakers by sending them in ships to Australia. In Russia, all you have to do is put them on a train."

The endless succession of fields and forests goes on outside the window. But I hardly notice it. All I can think of is the exchange of telegrams that happened after Yuri was taken away.

Of course, I wired Professor Axelson in Helsinki immediately to tell him what had happened to Yuri, and set out all the evidence I had gathered about the murder. The professor wired me back within minutes, to say he would do everything he could, and that he would contact King Gustaf directly.

Both the professor and King Gustaf acted swiftly. I had only two anxious hours waiting at the Hotel Metropole, then I received another telegram, this time from the Swedish Foreign Office. I'm truly grateful to them. They need not have wired this to me – but they sent it to reassure me.

"A telegram was wired with urgency from us in the Swedish Government to the new Russian Bolshevik Government Stop Our telegram stated that Sweden has received new evidence via our appointed investigator Professor Axelson about the murder of Miss Håkansson Stop The evidence we have in Sweden casts strong doubt on Yuri Sirko's guilt Stop We have now received this reply from the Russian Government to our telegram Stop"

The reply from Russia was attached to the telegram.

"We the new Government of Russia have indeed arrested Captain Yuri Sirko Stop He will be treated fairly and kept in comfortable conditions while objective evidence is assembled by our police forces Stop Russia is keen to show the Swedish Government that we will find Miss Håkansson's murderer and also that the new Bolshevik Government of Russia is committed to fairness and the humane treatment of prisoners Stop"

I try to feel happy about this news. It's the best I could possibly have hoped for – but despite that, all I can think of are the dire rumors I've heard about the Butyrka Prison.

Emily, on the other hand, is thinking about our own situation. After a few minutes, she looks again at Mr Sokolov.

"I thought you said lunch had been arranged for us? You told us that food would be brought to our compartment at half-past twelve. It's now past one o'clock."

"Of course, ladies! I will go to check that lunch is on its way." He bows to us as he leaves the compartment. As he shuts the door, Emily can't wait to speak.

"Thank God for that! We have five minutes to ourselves, without that odious man."

"I think, Emily, you dislike him because when he first met us at the Hotel Metropole he asked if we were mother and daughter."

"Well, what a stupid thing to think! Anyway, now he's gone, I want to know about what you said when they arrested Yuri. Did you say you've got other evidence about the Håkansson murder, apart from Prince Alexei's letter? Can it prove Yuri's innocence?"

"The evidence would definitely prove that he is innocent – if he could get a fair trial." I explain about the exchange of telegrams, and my hopes that Yuri won't be mistreated.

"So what you're saying, Agnes, is that if you put together all the evidence – the prince's letter, the gun you found, and the testimonies of Rasputin and Bukin, it proves that Yuri must be innocent. In fact, we now know quite a lot about Håkansson's murder. We know Yuri didn't kill her, Rasputin didn't, and Bukin and Aristarkhov have alibis."

"But if Aristarkhov had an accomplice, then he could have given himself an alibi, while the accomplice carries out the murder. And what better way to give yourself an alibi than by entering Prince Alexei's room immediately after the shot is fired?"

She looks at me. "That's a darned good point. And now, Aristarkhov plans to avoid any blame himself, by putting Captain Sirko on trial for the crime! You've got this all worked out, Agnes. Aristarkhov arranged the murder of Svea Håkansson. That son-of-a-bitch is behind everything that's going on."

"I'm not totally sure of that. But what I do know is that we need to find out more, somehow."

"I tell you what you need to find, Agnes. You need to find Aristarkhov's accomplice. Someone does the general's dirty work for him."

"I think I know who that is. The man at the Finland Station – the one who kept watching us, and whom Lenin was so keen to meet. I overheard his name: Ivan Horobets. I'm sure he was the man who tried to burn down a cottage that Professor Axelson and I were staying in when we first came to Russia. I wouldn't be surprised if he worked for Aristarkhov. In fact, I feel certain of it."

The compartment door opens. A trolley appears in the doorway: behind it is a tired-looking waitress.

"Ladies? This was ordered for you? Andrei said..."

Emily buts in. "Yes. Thank you..." She looks at the waitress. "You called him Andrei. Do you know Mr Sokolov?"

Despite the dark circles under her eyes, her face lights up, and the waitress shows us a lovely smile.

"Oh yes! Every month or so, Andrei comes on this train. Always, he goes all the way to Moscow alone, then returns to Perm with guests." She lifts silver covers off the trays. "The main course is beef stroganoff, made with fresh mushrooms and smetana – sour cream. It is Andrei's favourite. I hope you enjoy it!"

As soon as she's gone, I look at Emily. "That was a good question you asked! So Sokolov does this journey regularly. I wonder who his 'guests' are?"

"More to the point, Agnes, I've been thinking about what you were saying about Aristarkhov and his accomplice. Try this idea for size. You say this Horobets guy works for Aristarkhov. Suppose Horobets was there, at the Finland Station, as Aristarkhov's representative?"

"What do you mean?"

"Look at it like this. After the February revolution, Aristarkhov was in hiding, the revolutionaries were after his blood."

"Yes..."

"So, what if Aristarkhov told Horobets to pretend to have Bolshevik beliefs, and to apply to join the St Petersburg Soviet?"

I look at her pale, intense face. "I'm not sure I follow?..."

"If Horobets joined the Bolsheviks, he could meet Lenin – and ask him if Aristarkhov can be taken into the Bolshevik fold."

I think about what she's saying. "So that was how Aristarkhov switched sides... yes, it makes perfect sense, Emily – from Aristarkhov's point of view. But I don't understand why Lenin would be interested in such a deal."

Emily ponders for a moment, while I try to picture exactly what we saw at the station. I think aloud.

"Do you remember how Lenin behaved, when he arrived at the Finland Station? He wasn't interested in talking to Chkheidze. But he seemed very keen to meet Horobets."

Emily nods slowly. I can see that she's thinking it all through.

"Yes. I think I know why Lenin would be interested in having Aristarkhov on his side. Since that day at the Finland Station, I've realised how the Bolsheviks work. Lenin is actually a lot like the Tsar: his regime doesn't tolerate dissent. I predict that Lenin will create a new secret police, a new Okhrana. If so, who better to lead it than an experienced man like Aristarkhov?"

"That's a very good point, Emily. A deal between Lenin and Aristarkhov would explain why the Bolsheviks now possess Okhrana's old files."

"Yes – of course! I hadn't thought of that angle – but that's the reason Bukin was told to gather up the Okhrana files and send them to Aristarkhov. The general knew that if he held all the Okhrana files, he had a strong bargaining tool. Information is power."

"I agree, Emily. Lenin stepped off that train at the Finland Station – and Horobets was the person he wanted to meet first. That was because Lenin wanted to do a deal with Aristarkhov. The deal was good for both of them: Lenin got Aristarkhov's skills and experience, and all the Okhrana files; Aristarkhov got a powerful position in Lenin's government."

I'm just telling Emily the story of finding the gun under the ice at Tri Tsarevny, when Mr Sokolov reappears.

"Your food is here! Ah, I see they have made you the beef stroganoff, with proper Russian smetana! Enjoy it – but we must eat quickly. In one hour we will cross the Kama Bridge, and arrive at Perm Station."

18 Xanadu

Emily and I have been living in this strange community for a month. The Yermak Estate is a beautiful place on the banks of the Sylva River, deep in southern Siberia: when we arrived, its wooded parklands were a blaze of red and yellow fall colors. Even now, after all the leaves have fallen, it still looks charming: manicured lawns and a gravelled drive surround the neoclassical, white-painted mansion. Its pillared exterior and wide porches give it the air of an antebellum house in Georgia or the Carolinas.

On our arrival at Yermak, Mr Sokolov introduced us to "the residents". The first to greet us was a Mr Avdeyev, a flamboyantly-dressed man who told us he was a playwright – "My works have been been performed on Broadway, you know." Then we were taken to see a florid-faced gentleman with a single name: Vova. Mr Sokolov whispered to us when we met "A great artist, a Socialist-Futurist". Vova insisted on showing us his studio, a large dingy room full of semi-abstract monochrome canvases depicting industrial workers, factories and railway engines.

After we left Vova to his paintings, Mr Sokolov took us along to the main sitting room, where we met a gaunt, nervous-looking youth. Mr Sokolov introduced him as Fyodor Rokossovsky – "a promising young anarchist poet". Our conversation was interrupted by the discordant thumping of a piano overhead. "That will be Mr Trifonov, an avant-garde composer" Sokolov explained. "He will not wish to come down to greet you: he cannot stand being disturbed. A lover of solitude, a kind of genius." We finally met Mr Trifonov at dinner, where he talked, with his mouth full, the whole time.

There are several others living here, too, although Emily and I are the only women, apart from the cooks and cleaners. The other "residents" introduced themselves over the next few days after our arrival. There's a French travel writer, who told us that his stories of the hardships of peasant life in Russia, published as a serial by a leading Paris magazine, had angered the Tsar. He was denied a permit to travel onwards along the railway through Siberia, or back to Moscow, so he is stuck here. There are also two Russian journalists who were told last year by Okhrana that they must either stay at Yermak, or face prison. And finally, there's Dr Günther, a German geologist who had been exploring the Ural Mountains in the summer of 1914. When the war broke out, he was arrested. He now lives here, surrounded by his fossil samples and seemingly very happy. All these people are accommodated at Yermak, with free board and lodging and an ample supply of books and newspapers. Philippe Dubois, the travel writer, summed it up to me one morning at breakfast.

"It is very beautiful here at Yermak, a gilded cage. The real world is far away. For many years, the Tsar used this house as a place of exile for dissident intellectuals. If we were working-class troublemakers, we'd be in a forced-labor camp – or executed. But because we are all well-connected people, they feel obliged to treat us decently."

I ask him "What will happen – now that the Bolsheviks are in charge of Russia?"

He looks out of the window, across the lawns, before answering me. "Maybe they will set us all free. But I don't hold my breath for that happening."

"Really?"

"I suspect that I may be kept here for some time – or moved, to somewhere worse. I used to read Lenin's publications, when he was in exile in Switzerland. To be honest, his ideas scare me. Nor do I trust Sokolov: he used to work for the Tsar, but now he works equally happily for the Bolsheviks."

Mr Sokolov acts as a kind of host, and an entertainments manager. He is genuinely enthusiastic about literature: some evenings he reads aloud to us – chapters from Pushkin and Turgenev, and poetry by Longfellow and Wordsworth. One afternoon he arranged for a choir of local schoolchildren to perform for us, and another evening he invited a chamber orchestra from the nearby town of Kungur. Another night, we even had a performance from singers from Perm, performing arias from Mozart, Rossini and Verdi. Mr Trifonov boycotted all these events, declaring the music to be "unlistenable bourgeois decadence." All the residents, except Dr Günther, hold strong political views, and there are often heated debates, in which Emily is as involved as the rest of them. I hardly speak: I just listen to the discussions, and wonder to myself whether any of their elaborate political theories could possibly work in practice.

Although all the residents despise him, I think Mr Sokolov actually does a good job of keeping us all physically and culturally nourished. Every Saturday there is an "excursion". The first was into Kungur town, a pleasant, traditional small Russian city with a bustling market. We were each given an allowance of money, to stock up on warm clothes for the coming winter. On our second trip we visited a breathtakingly beautiful monastery called Belagorsky, its tall white towers topped with golden domes that glittered in the pale November sunshine. And, letters are coming through to me – from Ma and Pa, from Abe, and from Professor Axelson. I have no idea when I will escape this strange exile – but in the meantime, I see no point in complaining.

It's a Friday evening in late November. I'm in the main sitting room with the other residents, writing a letter to Yuri, to be sent via the Moscow police. Mr Sokolov says that all my letters are forwarded to Yuri, but we have not been told where he is imprisoned, or anything about the progress of his trial. As I write, and try to describe to Yuri my visit to the monastery, I can hear the usual political arguments raging around the room. Mr Sokolov puts his head round the door.

"Miss Agnes, Miss Emily! Might you both be free for a chat with me?"

We accompany him to his office, a tiny place like a broom-cupboard with a desk and a bookshelf in it.

"Firstly, I have some good news for you. Your associate Professor Axelson is now in Moscow, preparing for his rail journey into Siberia. He will join us very shortly."

I don't know whether to be pleased that I will soon see the professor again, or sad that he, too, has not yet escaped the control of the Bolsheviks.

"And my second piece of news concerns the weekly Yermak residents' excursion, which is of course due to take place tomorrow." Mr Sokolov pulls a slim volume from his bookshelf, and reads to us.

"In Xanadu did Kubla Khan

A stately pleasure-dome decree:

It was a miracle of rare device,

A sunny pleasure-dome with caves of ice!"

He looks up at us, smiling. "That poem is by a famous English poet, a Mr Samuel Coleridge. But Kubla Khan was a real person, the Emperor of China and all Asia. Perm, Kungur and all these lands, from Siberia and the Urals to the Caspian Sea, were part of Kubla Khan's empire – the realm of the Golden Horde of Tartary. And here, not far from Yermak itself, is where Kubla Khan had his caves of ice!"

Despite his over-enthusiasm, I'm intrigued. Emily looks less impressed.

"So why are you telling just us two about this? What about the others?"

"The other residents have lived at Yermak longer. They have all been on an excursion to the ice caves already. But you American ladies have not, so I have arranged a private trip for you. The caves are some distance away, in the deep river valley beyond Kungur, so an early start will be needed tomorrow."

Day is dawning; the early light through the drapes is oddly luminous. I get up and draw them back, looking out of the window onto a different world.

"Emily!" I look over to the other twin bed in the room. "Wake up! We have snow. An awful lot of snow."

The rising sun illuminates a land of icing-sugar: the first snowfall of the Siberian winter. But it's the window itself that holds my attention: the sudden intense cold has created extraordinary ice-patterns, like giant crystallized ferns growing across the glass.

We go downstairs for the early breakfast Mr Sokolov has arranged for us. I expect him to tell us that the trip is cancelled due to the weather. But he appears at the door of the dining room, as eager as ever.

"Today, you will see the caves of Xanadu!"

Emily looks less excited. "What about all this snow?"

He laughs, trying not to appear sarcastic. "Here in the Urals, snow is as natural as sunshine! The sleigh has already been prepared ready for your journey. You will enjoy it – Yermak has the use of a troika."

Emily nods, but it's not a word I know; I look at Mr Sokolov in puzzlement. He explains.

"The troika – no visit to Russia is complete without a troika ride, Miss Agnes! A fast sleigh, pulled by three horses. Now, enjoy your breakfast."

There's another mild surprise inside the dining room. The long table where we eat breakfast every day is completely covered in stones, except for our two set places at the far end.

Emily glances at them. "Fossils. Dr Günther must have been sorting out some of his specimens last night."

Each rock, I notice, has a little paper label glued to it. Looking closer, I see the fossils embedded in the rocks. I pick one up; it's a tiny, perfectly preserved fern. I think: millions of years later, the very same pattern can be found in the ice formations on my bedroom window.

I can't help looking at the carefully-written labels stuck on each fossil, detailed the location Dr Günther found it in. He clearly travelled a lot before his capture: Perm, Yekaterinburg, Omsk, Tobolsk. One specimen catches my eye "From Kungur Ice Cave: purchased Kungur Town, October 1917." I feel surprised that Dr Günther bought this fossil: I wonder why he didn't collect his own specimens when he and the residents visited the cave.

The troika, waiting for us in the courtyard of the house, is a beautiful sight. Three noble-looking white horses, their cold breath like clouds of steam, stand in front of the sleigh. As well as a collar harness, the middle horse has a carved wooden arch over its mane, with tiny silver bells hanging from it. Mr Sokolov points it out. "That is the shaft bow; it's attached to those two long poles which connect to the sleigh. The driver drives the middle horse, a stallion called Sasha. He trots at a fast rate, and pulls the sleigh along. The side horses are mares – Masha and Dunya. They canter, not trot. But of course, all three can can gallop too. At full speed, they can travel over thirty miles an hour."

"They're gorgeous horses."

They are the Orlov breed – Russia's finest horses! Although the ancestor of all the Orlovs came originally from Turkey..." Mr Sokolov is about to tell us the history of the breed, but Emily buts in.

"It's cold out here. Are we ready to leave now?"

Sokolov calls out loudly, and a man in a tall woolen hat appears. He steps up onto the driving bench of the troika, and gestures to Emily and me to take the padded seats in the rear of the sleigh. A boy follows the man out, carrying blankets; as soon as we are seated, he lays them over our knees, then stands back from the sleigh. The man shakes the reins, and we set off.

The ride is smoother and faster than any horse-drawn carriage: in fact, it's faster than almost any motor car I've been in. I'm astonished how rapidly the familiar surroundings of Yermak vanish, and how quickly the little town of Kungur, built on low rocky bluffs above the Sylva River, comes into view. Beyond it, we see higher, thickly wooded hills surrounding the deep valley of the river, where Mr Sokolov said the caves are.

As we approach Kungur, the snow is several feet deep across our road and the surrounding fields; the fences between the fields are buried in the drifts and almost invisible. The trotting stallion ahead of us gives a thrumming rhythm to our ride, counterpointed by the cantering of the mares either side, and the jangly melody of the silver bells. We pass through the houses of Kungur without slowing. Nor does the pace slacken when, on the far side of the town, our sleigh leaves the road and branches off onto a narrow track, a snowy trail leading into a deep forest.

The bare branches of every tree are thickly coated with snow; as we speed along, the morning sun flashes between the trunks. In the undergrowth of the woodland, a fairyland has appeared; domes, castles, ramparts and bridges of frosted white. A deer leaps across our path, but with a flick of the reins, the driver and horses swerve to avoid it. Our track begins to descend through the trees, and the speed of the troika and the sparkling sunshine make my head reel. The descent is long and winding. But finally, the driver pulls the horses to an abrupt stop.

We are at the bottom of the deep valley of the Sylva River, surrounded by high forested slopes topped with sheer crags. To our right and just below us, the river runs swiftly between snowy banks. But the driver gestures to our left. We see a small grove of pines at the foot of a snow-plastered rocky bluff. Among the pine branches, I see a hidden, dark space.

I glance at Emily. "Did Mr Sokolov say there would be a guide to show us round these caves?"

"Someone's been here already today, Agnes – look. Maybe they are our cave guide." She points out a single line of prints in the snow, heading towards the grove of trees. But the driver shakes his head.

"There used to be a guide, years ago, when the caves had many visitors. But that was before the war. Now, hardly anyone comes here. So you must guide yourself. Here is a map of the caves. Whatever you do, keep to the marked route. If you get lost down there, you have no hope of rescue." He hands us a sheet of paper, and two flashlights. Then he sits back on the sleigh, wraps himself in the blankets, and closes his eyes.

We follow the footsteps through the snow, into the shade under the trees. The mouth of the cave is a flat dark shape among the rocks ahead of us, as if cut out of black cardboard. We switch on our flashlights.

It feels like stepping into a little stone-lined room, with a constructed floor of wooden planks. The space is tiny: I can reach and touch the rock walls either side. Ahead of us, a bare stony crevice burrows into the earth for a few yards or so, narrowing to a tiny, dry slit. There is no ice anywhere.

"Is this the cave? It looks very unimpressive."

"It's there." Emily shines her flashlight on a hatch in the floor. "According to the map, we have to climb down there. When we reach the bottom, there is a paved trail to follow." The hatch has no fastening; we lift it, and see a ladder descending into utter blackness. Emily looks at me.

"Are you okay with this? I'm used to mines that go deep underground, but how about you?"

"Of course. I'm fine."

The steady descent, rung after rung, seems to go on for ever. But finally we reach a stony floor. "It was only fifty feet or so of descent" Emily says. I sense a vast unseen space around us, and Emily shines her flashlight ahead of us into the gloom. Rough slabs of stone are laid in a trail along the ground, leading us into the interior of the cave.

We walk forward. Almost immediately, I see what I hadn't expected: water in front of my feet. Our flashlight beams illuminate the dark, cold expanse of an underground lake.

"Look!" Emily's flashlight is waving in the blackness, picking out the far shore of the lake. What we see is astonishing. Above the waterline, a wall of enormous ice-crystals, patterned hexagonally like gigantic snowflakes, runs the whole length of the lake. The lake, as still as a mirror, reflects the lit area of the ice-wall in perfect symmetry. It looks like a giant honeycomb of glittering ice. Then, Emily's rising beam picks out the ceiling. It is entirely covered with fantastically shaped crystalline ice-stalactites, like a host of jewelled chandeliers. Here and there the crystals glow with an unearthly light – some of them green, some blue, as if they were fluorescent emeralds and sapphires. Emily speaks in a hushed tone, as if we're in a church.

"Those unreal colors – there must be mineral ores in the rocks up there, filtering into the water that flows down into this place. Azurite for sure, and maybe cobalt ores, but there are rarer minerals too. And the whole place is so – _huge_." Emily is right: the scale is baffling, and we both stand, awe-struck. The wandering beams of our flashlights pick out marvel after marvel in the colossal cavern around us.

I hear a noise, as if a pebble has dropped into the black water.

"What's that, Emily?"

"Probably a piece of ice melting and falling."

"It can't be. Everything in here is frozen hard as iron."

"But the lake itself isn't frozen, Agnes. So it can't be really cold in this cave. Mr Sokolov said it remains at a constant temperature, even when it's Arctic outside. Let's explore... look, the path is paved with stone slabs here, along this side of the lake. Another relic of the days when this place used to have tourists."

We follow the path, which winds along the very edge of the lake; in places the slabs form stepping-stones across the water. Some of the stones are only a few inches wide, and a few of them are covered with a thin film of ice. We step gingerly to avoid slipping into the lake. After ten careful minutes, we reach a narrow cleft between icy walls. We bend and squeeze through it.

Beyond the cleft, the cave widens again into a different kind of wonderland. Our flashlights reveal thousands of pencil-thin glassy fingers of ice stalactites. They hang from a wide, low ceiling, and reach down within inches of our heads. One either side of us, as far as our flashlight beams can penetrate, stumpy ice stalagmites, one below every stalactite, cover the floor, like a thick forest of tree-stumps. Most of them are about a foot thick, and the height of my waist. A narrow trail winds among the stalagmites, like a pathway among flower beds.

Out footsteps on the stone floor echo oddly through the stalagmite garden. It sounds like there are more than just two of us walking here in the dark; at times I hear the distinct sound of other feet.

"Emily, can you hear –"

A blast hits my ears. Stalactites shatter, the splinters of ice falling on our heads like hail. Instantly, unmistakeably, I recognise the sound.

It's a gunshot.

"Down, Emily. Get down!"

I see her shocked eyes as I pull her down to the floor. A second passes. Then another shot rings out. I whisper.

"Put out your flashlight."

We switch off our lights: the cave is plunged into total blackness. Our enemy has nothing to aim at, and we crawl, as silently as we can, into the furthest corner of the stalagmite forest. I can hear my own breathing: to me, it sounds as loud as an express train.

Neither of us dare speak. But in the stunned silence and darkness, we both know what will happen now. Our attacker will come along the pathway toward us.

I can hear his tread, heavy like a giant. As there is no light from us any more, he switches on his own flashlight. I see the beam, glaring, vanishing and glaring again as it swings methodically between the icy columns, probing every crevice. In a few seconds, he will find us.

My hand closes on cold, broken fragments of a fallen ice stalactite. They are rounded, like tiny pellets.

As gently as if I'm touching a baby, I silently swish my hand, flinging the ice out into the pathway, like a scatter of ball bearings. One second later, the flashlight beam swings wildly up to the ceiling: we hear a heavy crash and brutal cursing as our pursuer slips and falls.

"Go _now_ , Emily!" I switch on my flashlight. Putting on the light is horribly risky, but it's the only way to see our way out of here. Even with the flashlight, we blunder and slither among the slimy stalagmites. But behind us, the cave is pitch-dark; our assailant has lost his flashlight in his fall, and must be groping for it among the ice.

Slipping and sliding, we half-trip, half-clamber through the stalagmite stumps towards a black slit. It's the thin cleft that leads back to the lake. As we squeeze through it, I look behind me: I can see nothing. Ahead, our flashlights illuminate each stone slab of the path back to the ladder.

I hold Emily's hand to slow her pace, as we step hastily along the slabs of the lakeside path. The stones are treacherously icy, and we have to be careful: we can't afford a trip here. Every footstep must be precisely placed, despite the deathly thumping of my heart.

At last, we reach the foot of the ladder. But glancing back, I see a flicker of light. It's taken us several agonizing minutes to get along the lake shore, but in fact our pursuer, now squeezing through the cleft and stepping out onto the shore of the lake, looks only a hundred yards away or so. His beam comes closer with every breath I take.

Emily is above me: I climb, rung after rung, my fingers gripping for dear life, my feet pushing up and up. I risk another look back, and see that the man is holding a heavy black revolver, readying himself for another shot. But them he thinks again, and runs forward. He's now at the foot of the ladder, and his arms straighten, gripping the gun: I can see right down the barrel. The man has a clear, vertical line of sight straight up to my swishing skirts on the ladder. He can't miss me.

I take one half-second to aim. I drop my flashlight, with the beam shining down at him. Then I grip the final rungs, one after another, another and another...

I clamber out. The falling flashlight spoilt his aim.

"Agnes, help me pull the ladder up!"

We tug at the top rung, but it's a long, heavy ladder. It doesn't move.

"Can't do it, Agnes – push it over, instead!"

"It's tied. Look there."

"Not a problem." Emily opens her handbag; inside I'm surprised to see a six-inch butcher's knife. She mutters to me "It's for protection. I stole it from the kitchen at Yermak, and I carry it everywhere". I see her thin, white hands, sawing at the rope that secures the ladder.

The ladder begins to shake, with the impact of heavy feet: our attacker is on the bottom rungs. But Emily cuts the rope: we push the ladder; it shifts and wobbles – and tips over. We see its falling shape, sihouetted palely against the black hole below, before it vanishes into the darkness.

"Shut the hatch, Agnes! That man will have the ladder back in place within the minute." She looks around wildly. "Can you see anything heavy, to put on top of the hatch and hold it down?"

"No. And there's no time to look for anything. Let's get back to the troika."

In moments we're out of the grove of trees, blinking stupidly in the searing white light of sun and snow. Ahead of us we see the horses and our sleigh. But I gasp in dismay. Our driver is nowhere to be seen.

"Get in the back, Agnes."

Emily is already up on the driver's bench. She grins grimly. "Two years travelling round alone in the Rockies means that I spent a lot of time driving a wagon. This can't be that different. I know a lot about driving horses, and I couldn't help notice the way our driver handled these three beauties."

She shakes the reins, and the stallion begins his usual rapid trot. But the sleigh is facing away from our route of escape. Emily has to turn us around towards the track through the woods. A pull on one rein seems to do the trick; the right-hand mare quickens her pace to a canter, and we start to slew round, turning back onto the tracks in the snow that the sleigh made when we arrived. Emily is skilled and confident; the troika slides easily, quickly along, like a waltzing skater. We're going to get away from here.

As our pace starts to quicken, I can't help looking behind me. Near the cave entrance, I see a huge man emerge from the shadows and coming out of the little grove of pines. The gun is still in his hand. But our sleigh is now moving fast along the track, up and away into the snowy depths of the forest.

Emily gasps with relief. "Thank God. Even if he could see us among the trees, we're out of shooting range... I think we're safe now."

From the back of the sleigh, I reply. "Thank you, Emily: you've saved both our lives. But – are we safe now? That cave is miles from anywhere. We got there by sleigh; in this deep snow, walking to it would have been impossible."

She gives the reins another shake before replying. "Your point is?..."

"How did _he_ get to the cave?"

This time, we both glance back. Far away through the tree-trunks, we see something moving swiftly and silently. It's a sled, pulled by a powerful, galloping horse.

19 A reluctant secret agent

Emily has seen the other sleigh too. Her face is pale with fear, but her voice is clear.

"Agnes, I have to drive fast: I can't look back. So I need you to tell me some things. Is that horse much bigger than these?"

"Yes."

"What's the sleigh like?"

"Small and light, just a little sled really."

"Okay. Although we have three horses, in terms of speed, that sled will outrun us on the flat. Our only hope is an uphill track. One horse pulling a sled uphill will tire quicker than three horses sharing the load."

As she speaks, she jerks the reins and we turn right, so suddenly that I'm flung sideways. We've turned off the track we came here on. We're now on a narrow trail, only just wide enough for our three horses. It climbs steeply up through the trees like a white staircase.

The snow on this track is different: formed into huge lumps and dips, like an array of giant pillows. Our horses are struggling, plunging deep into the drifts – but, when I look back, the single-horse sled is struggling more than us. Their huge black horse is swimming in a sea of white. But I also see, with a shock, that the sled has two men aboard. One is the huge man we saw in the cave, but he has a companion. The giant drives: the other man holds a gun. Both sleighs are dipping and bouncing, half-submerged at times, in the snow. Thankfully, there is no way the gunman can try a shot at us.

The drifts are now so deep we seem to be swimming: there's snow in my mouth and eyes, and I see the sweat-flecked heads of our horses above an engulfing sea of white. I turn my neck but can no longer see the sled behind us. Emily shouts.

"This deep snow's in our favor. If it carries on, we just might lose them." I see her head and shoulders through a spray of powder – then suddenly, we are clear of snow. We've reached the top of the slope: our horses gallop out onto a smooth white track that might have been designed for racing.

The flat area stretches out, straight ahead of us, lined on our left by a wall of dark conifers. To our right, lumps and hollows of snow descend unevenly; it's the start of the bluffs and slopes dropping into the valley. After that climb, we must be several hundred feet above the river.

"Are they following us – or was that last snowdrift too much for them?" Emily gasps: the effort of urging the horses up that steep slope has taken her breath. I stare behind us, praying for our pursuers' sled not to appear.

My wish is granted, for a few seconds. But then, a horse's head appears, a tiny dark shape. It strains desperately: then with a final lunge, it pulls free from the snow.

"Yes, they're behind us, Emily. A long way back, but they're moving."

"Then it's all about speed now. We'll just have to hope that that steep climb has exhausted their horse."

We're galloping out across a wide white space. Our horses are strong and fast. But, freed from the deep snow, the other horse is gaining on us. Its hooves thunder, its eyes stare blankly ahead and its nostrils flare wide. Sweat like froth covers its black flanks, as the driver shouts and cracks his whip. Every second, the other sled gets closer. On this flat ground, there is no shaking or movement; just speed. All the horses are racing like the wind.

The sled is a few yards behind us now. The driver shouts to the man on the back, who stands, gripping the revolver with both hands. We're on a dead-flat stretch of snow, as smooth as silk. The man's stance is braced, his grasp of the gun is steady, his view totally clear. Even with the speed, he can't miss.

He fires. The bullet flies harmlessly past me. But the next shot will kill one of us.

With a sharp pull, Emily steers us to the right, down into the hummocks of snow. The sleigh plunges into a deep drift; I'm blind with snow, then we emerge onto a steepening downward slope. Ahead are jagged rocks: the top of the bluffs overlooking the river.

I look behind: the other sled appears, plowing through the drifts. It's now just feet behind us: I can see the driver's florid face, his eyes focused hard on his horse. Below his chin, I see what I knew I would see: the silver chain around his neck.

We're seconds from the edge of the cliff. Emily wrenches her shoulder to pull the reins left. It's just in time; our horses swerve their course, on the very crest of the bluffs. Our sleight spins out into the air, the outer runner grazing along the edge of the rocks. I see the river like a blue ribbon far below me. We bounce along the rim of the cliff, holding our line along the edge, until we hit a huge frozen wave of snow. Our horses rear and plunge, as if in deep water, and we slow to a stop.

But I'm looking behind us, to see what has happened to our enemies.

The great horse is pulling powerfully towards us, but the last-minute swerve is too much for the sled. Momentum pulls it, swinging out over the top of the cliff, teetering along the brink. The sled slides further and further outwards; the centrifugal force of the swerve is pushing it over the edge. Each moment is frozen in time, as its outer runner slides off the edge of the bluff. The sled is slipping out, further and further into empty space: dropping, tumbling and crashing.

The horse is strong: it tries to keep its footing at the top of the cliffs, straining desperately. Soaked with sweat, eyes staring wildly, it treads a line towards us, then stops, arresting the sled's fall in a tangle of reins and harnesses. The sled hangs over the precipice, still attached to the horse.

Emily and I step down from our sleigh and run across the snow. The sled is dangling in the air; its occupants are nowhere to be seen. Emily has the knife.

"I'll cut this poor beast free, before the weight of the sled pulls him over the cliff."

The horse strains and lunges in mad alarm: Emily watches its savagely kicking hind legs, as she saws at the leather. "Stay back, Agnes. I know what I'm doing."

I stand, looking around the oddly calm landscape: the vertical bluffs dropping down to the river, the wide sweep of the valley. On the slope above us, lumpy drifts and bulges of snow are outlined in the sun. One of the drifts moves and lifts. Its snowy crust breaks open, like a hatching egg, to reveal the rising figure of a man, huge and strong.

Horobets stands, silhouetted; then he steps heavily towards us, his boots crunching through the snow. Within seconds, he's standing only a few yards from us, and I see that he still has his revolver.

He doesn't bother speaking. Both arms stretch out, gripping the gun and pointing it straight at me.

I hear the last strap of the harness rip, as Emily cuts the horse loose. Freed, the panicked creature plunges straight ahead, blundering up the slope in a frenzied terror.

It runs straight into Horobets. There's a whirl of trampling hooves amid a cloud of snow. I hear the crumpling sound of his body falling onto the snow, and a choked, gurgling scream. Then the sound cuts off instantly, and everything is quiet.

Behind us, I realise the sled hasn't fallen. Although free from the horse, the cut harness is still tangled in the rocks, the leather stretched and strained to the limit.

I see a hand.

Gripping the edge of the sled, a man is pulling himself up. I see an elbow, a shoulder, a face. A face that I recognise.

Emily and I run forward. This man was shooting at us – but it's sheer instinct to save him. I grasp an extended hand; Emily takes the other, and we pull him up from the sled onto the safety of the snow. He collapses in a shivering heap: a big man, although small compared to Horobets. He's too exhausted to speak, but all the same he is trying to mouth something. A minute passes, then I hear a gasp, a few distinct words.

"I wasn't trying to shoot you. I was aiming to miss. After all, I'm English you know. I would never shoot a lady."

Emily looks at me. "Who on earth is this man?"

I reply with a smile. "I can answer that, Emily. His name is Rufus du Pavey. Long ago, when I knew him, he was an airplane pilot."

"Mr Sokolov. You are colluding with murderers!"

The startled man stands in his little office, speechless with shock as Emily's pent-up rage explodes at him. Ten seconds pass, and he fumbles with a piece of paper on his desk. Then he mutters "Excuse me" and stumbles away.

"I'll get an answer out of him, if I have to –"

I point gently to the paper. "Could this be an answer?" I turn it round to show her. It's a telegram.

"St Petersburg Soviet – Bolshevik Party to Mr Andrei Sokolov, Yermak Estate, Kungur, near Perm

Please arrange a visit for two of your residents Emily Neale and Agnes Frocester to the Kungur Ice Caves Stop Tell them it is a tourist day excusion Stop Do not inform any other residents of Yermak about Miss Neale and Miss Frocester's excursion Stop Our representative will meet Miss Neale and Miss Frocester at the caves and will accompany them directly from there on a journey to St Petersburg en route to the United States Stop"

I go in search of Mr Sokolov. He's taken refuge in the kitchen. His face is white; his hands shake. I stand in front of him and look into his wavering eyes.

"We've read your telegram."

"Residents are not supposed to read the communications, Miss Frocester... But I left the telegram on the desk, so you would see it and understand. Whatever happened on your trip today, it is nothing to do with me. I had no idea that anything sinister was planned."

"I understand that now. You told us the other residents were not coming with us today because they had already been to the ice caves – but they never did, did they? If they'd visited the caves, Dr Günther would no doubt have collected some fossil samples there."

"It wasn't a very good lie. I didn't want to deceive you. But I had to follow the orders I was given."

"Come back and make it up with Emily. She flies into rages; it's her personality. But also – we have a visitor for you to meet."

It's taken me a while, but I've warmed to Emily. We've been thrown into each other's company, and many people have assumed wrongly that she and I are alike. That annoyed me, I must admit. Also, she struck me as quick to judge others, and opinionated in her communist beliefs. I saw her bravery in the February Revolution, but since then I've spent a lot of time listening to her strongly-expressed views. But she came through for us today, that's for sure.

She, Rufus and I are in the sitting room. A farmer who spotted the straying horse kindly brought us back to Yermak. Throughout the journey, Rufus shivered with shock and cold, and could hardly speak. Now, he sits wrapped in Mr Sokolov's dressing-gown, which is rather too small for his well-built frame. He's been told that he can stay at Yermak as another of our motley crew oresidents, which he seemed delighted to hear. He grasps a mug of hot cocoa – a rare luxury – in both hands, and sips it, savouring the taste. Like long ago, his manner reminds me of a wilful and rather spoilt schoolboy.

"How did you get here, Rufus? And on a sled – with Ivan Horobets? It makes no sense at all."

"Actually, it's less of a coincidence than you might think. The reason why I'm here, of course, is Lord Buttermere. And because of you too, Agnes."

He smiles at me under his brown handlebar mustache, which is now fringed with drops of cocoa.

"I'll start my story at the very beginning. Back in 1913, as you know, I was at the top of my career: a celebrated pilot, on the brink of founding his own passenger air-line. That was my idea, you remember? For a few months, I was a household name on both sides of the Atlantic."

Emily grins. "Even I'd heard of you – so you must have been famous."

"It was the high life, you know. But it spiralled in the wrong direction. I was partying every night, drinking far too much. I hadn't actually piloted an airplane in months. But worst of all, I was receiving letters – demands for money."

"Blackmail?" I think back to what I learned about Rufus' private life.

"Yes. I'd been watched, over a period of months, in London. I'd been seen with one particular gentleman friend – he and I had been spotted about town, if you know what I mean. There are people who are black-hearted enough to try to use that kind of information to their advantage. I thought I might have to quit England forever. In fact, ladies, I was at rock-bottom."

Emily looks at me, an eyebrow raised. She's realised what I already know about Rufus. I think about the way that, like Oscar Wilde, he would be an easy target for slanderers and extortioners. He sighs, and carries on.

"Lord Buttermere, of course, knows everything that goes on in English society. So I wasn't surprised when, early in 1914, he contacted me and said that he knew all about the blackmail. But I was surprised – very pleasantly surprised – when he said he wanted to offer me an escape route.

I'd written several articles and such-like about my flying exploits; they'd been widely published. Lord Buttermere said they were well written, indeed inspiring. He said I had as much talent for writing as I had for flying."

Rufus pauses. Looking at him, I think how easy it would have been for Lord Buttermere to manipulate him with a little well-directed flattery. He sips his cocoa again.

"Lord Buttermere suggested that I would be the ideal person to fill a newly-created post of Writer-in-Chief at the Anglo-Russian Bureau."

Emily snorts. "Did you speak Russian?"

"I was put on a crash course to learn the language. It was hard work, I can tell you. Not my sort of thing at all.

I sailed to St Petersburg in May 1914. In Lord Buttermere's view, war was imminent. German-produced leaflets were already circulating in St Petersburg, to tell ordinary people that the Tsar is a war-monger, that the Germans were their friends, and so on. There were also other leaflets, being produced by Communists and others in Russia. They were less subtle than the German leaflets. They simply aimed to incite anger against the Tsar's regime."

I nod. "I saw leaflets like that. They were horrible."

Rufus can't resist a snigger. "Mmm – you mean the naughty picture, showing Rasputin and Alexandra having sex! In fact, those leaflets did exactly what they were trying to achieve. They stirred people up against the imperial family."

Emily buts in. "The leaflets were effective all right – because they showed what a lot of ordinary Russians were already thinking."

I look from her to him. "I don't quite understand. What had all that to do with you, Rufus?"

"The purpose of my new job was propaganda. I was to write materials to counter the effect of the German and Communist leaflets. The 'hearts and minds war', Lord Buttermere called it. The Anglo-Russian Bureau would publish the leaflets, and Okhrana would ensure their distribution.

It went passably well for a year or so. I enjoyed the work. And St Petersburg, as you may be aware, is a beautiful city, and the bath-houses are an especially civilized place of relaxation: London has no equivalent.

However, there was another side to my job. Once the war started, I began to receive messages from British Intelligence. It was my job to pass all that information on to Okhrana. For a while I was based in Ivangorod, and I saw there how Okhrana used that information. They executed a group of men as war traitors and saboteurs, on the flimsiest of evidence. It was sickening."

He closes his eyes and shakes his head as he recalls the events. Then he then looks directly at me and Emily, his blue eyes wide again, as he carries on.

"There were other issues, too. Russia had taken me away from the blackmailers – but it hadn't, I'm afraid, taken me away from my other problems."

"You mean, alcohol."

"Yes. I'm ashamed to admit it, but after those executions in Ivangorod, I just fell apart with guilt and horror. I sought oblivion in bottles of vodka. I still do."

I reach out and touch his hand. "I'm sorry to hear that. Lord Buttermere told me about what happened in Ivangorod. He was crystal clear that those deaths were nothing to do with your actions. They are simply an example of the way Okhrana used to work."

"Well – I took that business in Ivangorod very hard. Months passed in a haze of drink, trying to forget what had happened. But I had to keep on going with my work. My next instructions came from Lord Buttermere as a result of him meeting you, Agnes."

"Really?"

"He met me in person in Ivangorod, in September 1916. He said that you and Professor Axelson were tangled in a web surrounding the murder of Svea Håkansson, and that someone had tried to kill you both. His intelligence suggested that your attacker was called Ivan Horobets. Horobets was, he said, a former Cossack soldier who worked as personal operative for a General Aristarkhov – a senior military man with strong connections to Okhrana."

Emily's interest is sparked now. "So? What did you do?"

"Lord Buttermere told me to try to get close to Aristarkhov, or Horobets, or both. I had no luck at all with Aristarkhov. But I found that Horobets frequented a bath-house in St Petersburg. It was not, however, one that I knew. The Kukolka Bath and Massage House was actually a brothel, and Horobets was its most regular customer.

I went to the place, avoiding conversation with the women and generally feeling ill at ease. After a couple of visits, I saw Horobets, and managed to fall into conversation with him. That was the start of it. During last summer, all through the time that the Bolsheviks were increasing their power, I saw Horobets regularly, firstly at the bath house, then in bars, and then at his home. I managed to convince him that I held Bolshevik beliefs, and that he could rely on me to help him.

Then, Horobets started to receive instructions from unnamed people. Following those instructions, I accompanied him on visits to the homes of a variety of people. Most of them were moderates and liberal democrats, people such as Nikolay Chkheidze.

The 'visits' were all most unpleasant. Horobets would make a speech about loyalty, and say that total support had to be given to Lenin. Anyone who didn't, he said, would be putting their lives and their families at risk."

Emily snorts. "A protection racket. Except about politics instead of money."

Rufus nods in agreement. "Then, a few days ago, Horobets and I were sent here. He told me nothing about our mission until we got off the train at Perm. That was where he told me that his task was to 'disappear' two American women who posed a threat to senior members of the Bolshevik Party – and I was to assist him. He told me I had to act as a guard outside a cave, while he ambushed the women inside. He planned to hide the bodies underground so that they would never be found. It would look as if the women had got lost in the cave; an unfortunate accident. That would avoid any awkward questions from the American consulate.

Of course, I could never kill anyone. But to preserve my cover, I had to go through the motions of working with Horobets. So that's how I ended up on that sled, pretending to shoot at you."

"So you couldn't kill us, but you were quite happy to stand out in the snow while Horobets came into the cave to do his dirty work." Emily spits the words out.

"Please. I'm not proud of a single thing I've done. I never wanted any of this..." He slumps over his cocoa, his eyes closed, his brows corrugated with guilt.

20  The House of Special Purpose

Birds are singing in the trees outside the sitting room window. It's a perfect summer's day. Over seven months have passed since our visit to the ice caves: it's July 1918.

The door opens, and Professor Axelson enters.

"Professor! You got here at last! Are you joining us here at Yermak?"

"I'm afraid, Miss Agnes, that my stay in this delightful place will be of very short duration. I am to leave again in an hour or so."

"What is going on?"

"I have no idea. After I returned from the hospital in Helsinki, I was forced to spend the winter and spring in Moscow. I was accommodated for free, at a luxury hotel. But it was no consolation for my frustration and boredom. Finally, a few days ago, I received a letter – would you believe it, from Lenin himself! I have the letter here."

He flashes a piece of paper with a red crest on it. "The letter requests that I carry out an important piece of work – but it does not explain what that work is. It also said that two Red Guards would meet me at my hotel in Moscow. They would accompany me on the train to Perm. So now, I am here. But the guards have said that this is a brief stop, then we will travel on to a new destination. I have no idea where, or why."

Two men follow him into the room. Their Red Guard uniforms are less makeshift that those I remember from St Petersburg: properly sewn red collars and cuffs have replaced the armbands and sashes. They look around the room. All the usual residents are here, including Rufus. One of the guards speaks to all of us.

"We are sorry, but we have to break up this pleasant party. Yermak is too small for all the residents. Some of you have new accommodation, in Yekaterinburg."

We've all been here so long that the news of change is greeted with startled expressions around the room. The soldier begins to read out names.

"Two residents must accompany us to Yekaterinburg. Their names are Agnes Frocester and Rufus du Pavey. They will travel with this gentleman, Professor Felix Axelson."

I look at the soldier. "What about Emily Neale? She and I came here together."

"I have news, too, for Miss Neale. But my message for her is private. Where is she?"

"I'm here! The only other woman in the room, if you hadn't noticed."

The guard steps over to Emily, and quietly asks her to leave the room with him. After five minutes, he reappears without her, and tells Rufus, the professor and me to get ready to leave. I say goodbye to the other residents, then I go up to the room I share with Emily, and pack my suitcase. But she's not there.

Half an hour later, the professor, Rufus and I get into a motor car, but I've seen nothing of Emily. I'm going away without even saying goodbye.

Rather than going to the railway station at Kungur, the car drove us all the way to Perm, arriving at dusk. Just like months before, we boarded the Trans-Siberian Express, and the guards showed us into a sleeper carriage. Then, unexpectedly, they took their leave of us, and got off the train; moments later, we were sliding out of the station. I can hardly believe that the Red Guards are allowing the three of us to travel unaccompanied – but it's true. I slept surprisingly well, and when we awoke, a waiter came to tell us that a table was laid for us in the dining car.

As we eat breakfast, the train winds along on its journey through a rocky valley among high, forested hills. The professor looks out at the view over the rim of his teacup.

"This is the Ural watershed. We are now leaving the continent of Europe, and entering Asia."

"Bloody Russia. It all looks the damned same to me." I'm sad to see that, after months of sobriety at Yermak, Rufus' eyes are bloodshot, and his breath smells of vodka.

The professor answers him. "This continental divide is odd, I agree. For myself, I felt I was leaving Europe when I departed St Petersburg. And our destination, Yekaterinburg, is closer to China than to any place we would think of as European."

Rufus's face changes: an idea has occurred to him.

"We have no guards with us. Could we bribe the railway staff to let us stay on the train after Yekaterinburg? This train goes all the way to the Sea of Japan, doesn't it? We could escape from Russia."

Axelson smiles at the naivety of Rufus's idea.

"I would wager a million rubles, Mr du Pavey, that armed Red Guards will board this train at Yekaterinburg and make sure that the three of us get off."

"But we are unguarded now! What's to stop us pulling the emergency cord, and when the train halts, simply escaping?"

This time, the professor guffaws loudly. "The Bolsheviks know there is no need to guard us! Have you looked out of the windows at this landscape? If we got off this train, where would we escape to?"

The endless trees whiz past the window, and Rufus nods ruefully. "Yes. I see."

"Indeed, Mr du Pavey. There is nothing, nothing at all, except uninhabited forest. It extends around us for hundreds of miles in every direction. Our captors know that they need not bother to guard us on this train journey. Because if we escape into this wilderness, we will surely die."

The train carries on, and the woods continue relentlessly without any sign of human habitation. It's late morning by the time the trees finally thin out and give way to cultivated fields. Then, a scatter of wooden houses are followed by the usual signs of a Russian town: the spires and onion domes of churches and monasteries. The train slows to a halt alongside a deserted platform.

As the professor predicted, two guards with barely-concealed pistols open the door of our carriage, and bid us to disembark. As we step out of our carriage, we find ourselves in railway station that looks like a scene from Alice in Wonderland. The sharply sloping roofs are patterned with bright red and white diamond-shaped tiles like a chessboard, topped here and there with fanciful pointed towers. Our guards gesture to us, and we walk out through an archway.

We step into the dazzling sunlight of a large town square. The wide paved space, with here and there statues and beds of flowers, is dappled light and dark, with sunshine and cloud-shadows. There are only a few people about. We walk out into the middle of the square, uncertain of what is to happen.

I look up. We stand under a immense sky of puffed clouds. They are like balls of cotton wool, hundreds of them, receding in the blue towards a far, unseen horizon. I hear again the professor's words – "if we escape into this wilderness, we will surely die." I sense the endless wastes of Siberia surrounding this lonely city. We might as well be on an island in an ocean.

I suddenly notice a solitary man in uniform, standing like one of the statues. Our guards signal to him, and he steps towards us. They salute him, then turn to us. "We are now handing you over to Commandant Yakov Yurovsky of the Ural Soviet Executive Committee."

In the July sunlight, the man's eyes are like gray flints. An untidy goatee beard and mustache merge together, hiding his mouth. He hardly speaks as he greets us, shaking the professor's hand, then Rufus's; he bows to me. Then as he straightens up, he says "I am Commandant of the Ipatiev House."

Axelson asks the question that's in all our minds. "Is this Ipatiev House where we are to stay?"

Yurovsky seems oddly cagey as he answers the simple question. "No, you will not stay there. Have you not been told why you have been brought to Yekaterinburg?"

The professor can't hide a little impatience. "I was sent a letter, by Mr Lenin himself. But I have been told absolutely nothing about why I am here in this city. Neither have Miss Frocester or Mr du Pavey. So, Commandant, you will have to explain everything to us."

"I need not explain, because I will show you. Come with me."

We follow our new companion away from the square and the main buildings of the town. After two blocks, he points to a down-at-heel detached wooden house. Its paint is peeling, and there are cracks in some of the windows. But it's surrounded by a wide garden of mature trees, and it looks quaintly attractive. Above the door someone has nailed a crudely lettered sign "People's Hotel". Yurovsky points to it. "That is your accommodation. Your luggage will have already been taken there by the Red Guards."

His face is expressionless, but I smile at him. "May we go to our rooms now, Commandant Yurovsky?"

"No. There is other business first."

We carry on following him. If it were not for Yurovsky's somber presence, it would be a pleasant stroll. We are among wide, quiet, leafy streets. Behind white-painted picket fences are the flower-filled gardens of well-to-do town houses. Carved wooden porches look out on well-tended lawns, and birds are singing in the gardens. I feel I've passed through a magic veil, and stepped out into the suburbs of some prosperous Connecticut town. I tell myself "This isn't real, Agnes. Home is six thousand miles away."

One of the big houses doesn't fit the pattern. It's a white-painted mansion with arched upper windows, but the lower parts are invisible. Unlike the low fences and tidy green hedges of all the other houses, a crude palisade of wooden stakes, six feet high, surrounds and hides it. The palisade looks like a miniature of some frontier fort in the Wild West. We walk towards it.

Yurovsky leads us to a gate in the fence, and calls out to a guard inside. Bolts are drawn, and I hear the click of a padlock opening. Moments later, a guard with a rifle pulls the gate open, and we step into a small courtyard in the shadow of the palisade. From here, a wide, green garden slopes down, so steeply that there is an extra lower floor on the far side of the house, at the level of the garden. I can see that the fence completely surrounds the garden. The outside world is invisible.

Yurovsky talks quietly to the guard who opened the gate, then turns to us.

"I will leave you for a moment with Comrade Medvedev. I have some business indoors."

The guard's face is blank, his eyes hard and dull. He shows no interest in us; he is peering round the garden, as if he is looking out for intruders. Rufus can't keep quiet any longer: he speaks in English.

"Professor, what the bloody hell is going on?"

The guard turns like an automaton, staring at Rufus. I see his fingers straying to the trigger of the rifle. The professor smiles gently.

"I apologise for my friend. He is a little, ah – nervous. Of course, our party will all speak in Russian, because we have absolutely nothing to hide. We will wait, quietly, for Commandant Yurovsky to return."

The man grunts, and we stand and wait in silence. It's a warm day, but it's cool in the shadow of the high fence. I feel a little shiver. Time passes; I look at the fence, and at the gardens, which are bright and cheerful in the summer sunshine. High in the sky above us, there must be a strong wind: the puffy clouds roll through the blue, shifting and changing every moment. Now and then, I steal a glance at our grim-faced guard.

I feel there is something strange about this house. Then I notice that the glass in every single window is covered in white paint.

Yurovsky reappears. As before, his eyes are like stones as he speaks to us. "Come in here." He leads through a door into the house, and we enter a small, dingy room that must be his office. His desk is piled with a chaotic disarray of papers. He takes a telegram from among them, and hands it to the professor. Rufus and I stand behind Axelson's shoulders, and we all read.

To Commandant Yurovksy

Ural Soviet Executive Committee

Professor Axelson and his assistants will shortly be transferred to Yekaterinburg as per our previous communication and you must meet them at the station Stop

Axelson is to conduct the hypnotic interview of Alexandra Feodorovna Romanov at the Ipatiev House of Special Purpose at the earliest possible opportunity Stop Aim of hypnosis is to establish her orders to shoot unarmed protesters in St Petersburg in February 1917 Stop Long live the Revolution Stop

Axelson takes a deep breath, then looks at Yurovsky in disbelief.

"You want me to conduct a hypnotic interview of the Tsarina?"

"There is no Tsarina any more. You are asked to interview Mrs Alexandra Romanov, who formerly called herself the Tsarina of Russia."

"And this House of Special Purpose – is that here, this Ipatiev House? When will she be arriving?"

"She isn't arriving. She is already here. Every member of the former imperial family is living here, at this house."

Two days have passed. Rufus and I have been given strict instructions by Yurovsky not to step outside our accommodation at the "People's Hotel", and not to talk to anyone except the hotel staff. But there seem to be no other guests staying at the hotel anyway. Of course, I've tried talking to the maids, the waiter and the chef. They are cheerful and helpful when I ask questions about our rooms and our food. But when I try to broaden the conversation, every one of them becomes silent, watchful and anxious.

On the first day, Rufus and I sat where I'm sitting now, on chairs at a small table in the garden. I spent the day reading, and now and then trying to chat to him, but he was unusually silent. Today, Rufus has taken to his bed: at midday, I called through the door of his room, and suggested he have lunch with me, but he didn't reply. So I knocked on his door and, hearing no answer, I turned the handle and looked in on him. He was snoring, under a blanket, and the room stank of alcohol.

It's now late afternoon, and I'm sitting in the hotel garden, listening to the birds and awaiting the professor's return. I can see the guard who is always there, standing at the little gate that leads onto the street.

Axelson has been away from the hotel throughout daylight hours on both days. Despite the "earliest possible opportunity" mentioned in the telegram, he told us last night that he was immersed in long discussions with Yurovsky – who in his turn has had long discussions with the Tsarina.

I look up, and the professor appears at the garden gate. He seems tired; his eyes are heavy and lined with anxiety. He comes over to me and sits in the other chair.

"This absurd assignment – I am so very uneasy about it..."

He glances around. No-one appears to be in earshot.

"I think I have established, Miss Agnes, what is behind the Bolsheviks' proposal that I hypnotize the Tsarina."

He pauses, and frowns again, before resuming. "The Ipatiev House, although large, is not of course on anything like the scale of accommodation that the imperial family is accustomed to. Even compared to their previous exile home in Tobolsk, it is small and lacking in luxury. The Tsarina has complained repeatedly about the facilities at the new house. She seems to forget that she and her family are entirely at the mercy of their captors."

"I guess she is used to having the best of everything. Old habits die hard."

"Whatever is in the Tsarina's mind, the Bolsheviks have spotted it, and hope to use it as an opportunity to trap her. They have proposed a hypnotic session with her, in exchange for improvements in living conditions at the house."

"How is that a trap?"

"Ideally, the Bolsheviks would like to put the Tsarina and her husband on trial, for crimes against the Russian people. A 'show trial', that would prove them guilty of citizens' blood."

"Why both of them? Wasn't it Nicholas's orders to shoot at the crowd?"

"Nicholas was away with the Army at the front line when the rioting occurred, although he was in touch with news from St Petersburg. The Tsarina, on the other hand, was effectively acting as a regent. Because she is German by birth, people like to blame her for all Russia's troubles.

But unfortunately for the Bolsheviks, there is a lack of evidence about both the Tsar and Tsarina. Many decisions, such as exactly how much force to use in suppressing the demonstrations, were delegated to subordinates. Even the Tsarina's direct orders were passed through long chains of command. For example, consider the machine guns that you and I saw above the Nevsky Prospect. It seems that they were placed there by order of military commanders, and the Tsar and Tsarina knew nothing about them. In fact, my own suspicion is that it was General Aristarkhov who decided to deploy the machine guns."

"So there's no evidence to prove that either the Tsar or Tsarina ordered the shooting of protesters?"

"That's right. So the Bolsheviks would struggle to put them on trial. But, Yurovsky confided to me that Lenin and some of the other leading Bolsheviks put great faith in hypnosis. And they have heard of my successes with the shell-shock patients at St Petersburg and Helsinki – even though, of course, that is a completely different technique.

Lenin's belief in my Hypnotic-Forensic Method has led the Bolsheviks to the hare-brained idea of me obtaining, through hypnosis, some kind of 'confession' to the St Petersburg shootings, from either the Tsar or his wife."

"Professor, you can't do that!"

"I understand what you are saying, Miss Agnes. But the three of us have all been brought to Yekaterinburg so that I can conduct this hypnotic session. If I do as the Bolsheviks wish, then you, I and Mr du Pavey may finally be allowed to leave Russia. But equally, I know in my heart that if I refuse, it will mean captivity for us all – or worse. So, I am going to undertake a Hypnotic-Forensic session, if the Tsarina agrees."

"It's morally wrong, Professor. You'll be complicit in trying to trap her."

"No. I'm only willing to conduct the hypnosis because I don't think she will confess as they hope she will. She won't admit to authorizing any violence against the crowds, because she didn't authorize it. I think she simply left all the details of how to deal with the February Revolution protests to her advisers. Commanders like Aristarkhov took all the key decisions. I feel sure that's what she'll tell me, under hypnosis."

"If you think so, Professor. But it's a risky game."

"I know, Miss Agnes. I'm aware of the pitfalls. But please believe me when I tell you this: we have no other choice."

21 The little prince

It's our second visit to the Ipatiev House. For some reason, Rufus is not allowed to accompany the professor, but I am. My suspicion is that our hotel staff have informed Yurovsky of Rufus's drunken habits.

After we've passed through the palisade and the courtyard, Yurovsky meets us and leads us into the interior of the house. We enter a dark, stuffy room where guards are billeted. Although it's midday, several lie on their bunks, looking bored: they stare blankly at us, without seeming to care who we are. Then we reach the foot of a narrow staircase.

"The former imperial family live on the upper storey. I have spoken to Mrs Romanov about the hypnotic session. She has agreed to the hypnosis – on condition that neither I nor any of my men are present."

Axelson looks at the stairs. "So we go up there without you?"

"Exactly. Call out, once your session is finished. One of the guards will hear you and will bring me to the foot of these stairs to meet you. And, as we agreed, you will keep full notes, won't you?"

"Miss Agnes will act as my note-taker. I have complete trust in her abilities." The professor turns to me, gesturing me to climb the stairs. "You go first, Miss Agnes."

I notice each creak of the uncarpeted wooden stairs. Then I reach the top, and a pretty blonde girl smiles at me.

"Hello. I'm Anastasia."

"Your Highness..."

"Don't bother with any of that nonsense! My sisters call me Shvibzik – the imp. Because I'm cheeky."

The professor smiles, like a father. "You seem in good spirits. This accommodation – it is not what you are used to."

"When we were little, we slept on hard beds. Cold baths every morning! Mother and Father had the idea it would help us to grow up into better people. So we don't need luxury. This house is fine, although I wish they hadn't painted over the windows."

She glances around in the gloomy light. "They did that the other day, because I was looking out of the windows. That man Yurovsky said I was looking out for people who are coming to rescue us. But I don't want to be rescued, and be a Grand Duchess again. I'd rather go to America. I could be in the movies!"

Axelson nods gently in response; I sense his compassion for this innocent, trapped girl. But she is all smiles.

"Come and meet my sisters!"

We look along the landing: three other young women are coming out of a doorway. They are all about my age, and they smile warmly at me and introduce themselves: Olga, Tatiana, Maria.

I realise that I had some imaginary picture of stuck-up haughtiness, and I was completely wrong. They are ordinary, friendly young women. They all welcome Axelson too. All are dressed in simple white cotton blouses and long dark skirts. Olga, the eldest, with chestnut hair and a broad, open face, smiles expectantly at the professor.

"So you're the famous hypnotist! We are hoping you can help poor Alexei."

"I hope I can help you all." Axelson seems a little bemused by their remark. "May I be introduced to your mother?"

"Of course." Indeed, a door is already opening. The gaunt, lined face and tired eyes of the woman who had ruled the Russian Empire appears.

"Professor Axelson." Alexandra speaks slowly, and her gestures are deliberate and theatrical. She holds the back of her hand out, her wrist angled downwards for the professor to kiss it. He kneels, and I curtsey. The girls smile, and Anastasia laughs.

"Mother, when we leave Russia, we will have to forget all this bowing and scraping. We're not royal, not any more."

I look at them all. "Where will you go?"

Tatiana answers me. "As soon as the Bolsheviks permit it, we will sail from St Petersburg to Sweden. Then to England, to Father's cousin, King George. They say we can live on the Isle of Wight, which we once sailed to on our yacht."

Olga buts in. "But then, we will go to Switzerland. It's better that we live there, because they are neutral."

"Or America" Anastasia adds.

Alexandra looks at Axelson. "So, Professor, you are here under the instructions of these ridiculous Bolsheviks. I believe they want you to hypnotize me."

"Yes – if your Majesty will permit."

"I do not permit. In fact my husband said, at first, that we should not even allow you into the house. He doesn't want to meet you, and has declared the whole thing a tiresome business. But I agreed to your visit, even though I have no intention of being hypnotized."

The professor doesn't quite know what to say. I remain quiet too, and smile, a little nervously, at the four girls. Tatiana looks from our faces to Alexandra's.

"Mother, don't keep these poor people waiting! Explain – about Alexei."

"Professor Axelson, I have permitted you and your assistant to visit my family for one purpose only – a purpose which that jumped-up little man Yurovsky must not know about. So, I command you to tell him nothing. Now, I will explain. My son Alexei is not in good health."

"Your Majesty, I am aware of his medical condition. While my Hypnotic-Forensic Method is a powerful tool, it applies only to the mind. It cannot cure diseases of the body. Also, I understood that the imperial family doctor is here in Yekaterinburg with you?"

"Yes – Dr Botkin is here with us, as well as our most faithful domestic servants. But when I say Alexei is unwell, I mean that, as well as his illness of the blood, he is in poor spirits. He does has lively patches now and then. He is very happy sometimes, when Leonid, the kitchen boy, is here; they are good friends and play all sorts of games. But he also has times when he is quiet and subdued. Not at all how a boy of his age should be."

"There have been drastic changes in your circumstances, your Majesty. A child may pick up on these things, he may express his disquiet in a number of ways..."

"I'd like you to look into Alexei's mind, his inner feelings, Professor. This will be your reward for your first session."

She holds out a glittering ruby. It catches the light, glimmering like red wine in a crystal glass.

"Please, your Majesty. There is no need to offer me any reward. Keep your jewels: you may need them when you travel out of Russia. I am most happy to conduct a Hypnotic-Forensic session with young Alexei, if he himself is comfortable with it."

"Then we are at your disposal, Professor Axelson. Where will you conduct the hypnosis?"

"Wherever Alexei feels most at home. May I meet him?"

I notice a figure at the doorway that Alexandra came out of. The boy is taller than I expected; his face is handsome and finely featured. His auburn hair glints with copper, and his eyes, gray-blue like his mother's, seem to look through me, to my soul. I feel I am looking not at a prince, but at a young artist or poet.

He smiles at us, and the faces of the whole family light up. The four girls go over to him. "Alexei, look who is here! This is Professor Axelson, and this is Agnes Frocester. They are here to talk to you."

Alexandra bends down and speaks to him, whispering in his ear. He shakes his head; she speaks some more, then he nods. She stands and turns to us.

"This is the room my husband and I have, and Alexei sleeps here with us. But he says he would prefer to talk to you, Professor, in the bedroom of the Grand Duchesses."

Maria laughs. "You mean our room, Mother! Come in here, and we will sort things out."

We go into a room where four cheap, iron-framed beds are arrayed along the walls. The carpet is frayed and threadbare, the pretty floral wallpaper is faded. A sewing machine stands on a table in the middle of the room, directly under a naked electric light bulb hanging on a thin cord. Despite the paint covering the windows, I can sense the daylight and the bright summer colors outside. I say to myself "Like a caged bird, waiting to fly."

"What was that?" Tatiana smiles at me.

"Oh, nothing. But I truly hope you are allowed to travel soon."

"Oh yes, we'll be leaving here, probably within a few days." She nods confidentially at me. "Most of us cannot bring ourselves to chit-chat with the guards, but Maria is better at tolerating them: I think she is a saint! She has chatted to one or two of them, and found out some interesting information. Apparently, the Czechoslovak Legion, who are loyal to Father and Mother, have defeated an army of Red Guards, and captured territory near Yekaterinburg. So, the Bolsheviks will move us away from the battle zone."

"Do you think the Red Guards will be defeated?"

"I don't care who wins! All I know is that me and my family are a nuisance to Lenin and his friends. The sooner they can get us out of the country, the better – for them and for us. After the February Revolution, Mr Lloyd George, the Prime Minster of Britain, proposed that we should go and live in England, and the Provisional Government was arranging it. But then there was some last minute difficulty – probably it was dangerous to travel, because of the war. But now the war is nearly over! Do you know any news?"

"No. I've been staying at another house in Siberia for months. We got newspapers delivered, but they were always out of date."

"I know, Agnes, that Russia and Germany have signed a cease fire. And I know that the Germans will surrender soon to the British and the Americans. I will thank God with all my heart, when the world is at peace and everyone stops hating and killing each other. And, our family can travel! I think in a few days they'll send us to St Petersburg, and put us on a ship."

Maria pulls out the wooden chair which stands next to the sewing machine. She looks at her brother. "It's a hard chair, Alexei. Do you want the cushion I made?" The boy nods, and she gets a cushion of sewn patchwork squares for him. So far, he has not spoken, but his eyes are taking it all in. I think: he's a listener, not a talker; he understands more about life than most boys his age.

Maria smiles. "A chair for you, Professor?"

"Yes – but don't exert yourself, your Highness."

"No, Professor, I'll move the chair. The worst of this Ipatiev House is that we get too little exercise! And I like to be useful. Now, where shall I put it?"

"Thank you. I will sit here – not directly opposite Alexei, but a little to one side." He lowers his voice. "So that he feels he can look away from me, if he wishes."

Alexandra sits on the one remaining chair. The four girls and I sit on the beds. The mattresses are thin, and the springs squeak.

We wait, but Axelson says nothing, simply smiling at the boy. The dim light comes in through the painted windows, time goes by, and I hear my breathing, and that of the five other women in the room. All of us steal glances at the little prince.

Axelson takes out his pocket watch. Despite the lack of direct sunlight, the gold glows like a fire. The white face of the watch shines, and we all hear the soft ticking. Axelson smiles to himself, looking at the watch as if checking the time. Then he takes out a pocket-handkerchief and begins to polish the gold and glass.

Alexei watches, fascinated. Axelson continues to polish the watch, turning it this way and that. Then he holds it up by its chain. He looks at Alexei as if he's only just noticed the boy.

"Do you like my watch?"

"Yes. May I hold it?"

"Of course. Here it is: have a good look at it."

Axelson's hand extends, and he puts the round, shiny object into the boy's delicate hand. Alexei turns it over and over, then he puts it to his ear, to hear the ticking better.

"That's a piece of fine Swedish watchmaking, young man. Look at how the hands go round."

Alexei holds the watch, looking at the face. As he looks, the professor begins to speak in a low slow cadence.

"That watch, it belonged to my father. He gave it to me when I was about your age, I should think. How old are you, Alexei?"

"Thirteen."

"Yes. In only one month, in fact, you will be fourteen... however, there's no number thirteen, or fourteen, on a watch, is there? But you can count the rest of your age... Look, the second hand goes round, pointing at one.... now at two... it's like you are growing up, one year at a time, as the hands go round."

Alexei's sea-gray eyes track the watch hands circling.

"Ten... Eleven... twelve. Two summers ago, you were eleven years old, coming up towards your twelfth birthday."

"Yes."

"Do you remember that summer? You were eleven years old, and you went away on a holiday."

A cloud seems to pass across Alexei's face, but then he smiles. "Yes. The strange house by the lake."

"Had you ever seen that house before, Alexei?"

"No, never. We go on holiday every summer, but usually to Yalta, on the Black Sea."

"Who is with you at this new holiday house?"

"Mother is here. She says I am unwell, that I am not to exert myself. I must lie in bed all day. I want to explore the lake and the little islands. Each island has a funny little house on it. It's like a place in an adventure story."

The boy is now breathing slowly and evenly, and his eyes seem focused far away. It's as if he is looking across hundreds of miles, and back through time, and he can see Tri Tsarevny again.

"Is there anyone else on your holiday with you, Alexei?"

"My sisters, and Father are not here. Only Mother. But I like Tutor Nestor, who has come here to give me lessons, and lends me books. And Rasputin is visiting. But best of all is the beautiful lady."

"Who is she?"

"She lives in one of the houses on the lake. Nestor has given me binoculars: I can look through them, and see the lady. Sometimes she just sits in a chair on the porch of her house, reading. Other times she stands and leans on the porch rail, looking out at the lake. She seems to be thinking."

"Do you like her?"

"Oh yes. I've met her. She asked if she could meet me, and she came up to my room. She said she was sorry to see that I was stuck in my room. She told me that fresh air is good for me – but Mother is concerned about me getting a chill, so my window is closed, most days."

"What is her name?"

"Svea. It's Swedish. Like a magic name in a fairy tale. But best of all, Svea said that one day soon, when Mother allows me to leave of my room, I can go along to her little house on the lake, and she will give me some lemonade and cake. We can have our own picnic, out there on the island."

"So you like her – and she likes you."

"Yes, I like her very much. And she loves my book."

"What is your book?"

"My book of drawings. I do little drawings, of all the people I meet. She says she could sit there on the porch of her island with me, after our picnic, and I could do a drawing of her. A portrait."

Again, Alexei's face changes; a shadowed frown passes across it. And as before, the shadow disappears, and he smiles.

"Svea asked if we could look through my whole book together, and she sat down by my bed and opened it. My first drawing was of Father, she asked about it, then there was one of our car, the special one with the caterpillar tracks for going along in the snow, and I explained about that. And then there was the picture I drew of me and my sisters building a snowman."

"And then?"

"And then... the door opened, it was Mother. She said I was tired, that Svea's visit to my room had gone on long enough, and she must go. So I said to Svea 'You can borrow my book to look through it, if you like. There are lots of other pictures'. And she said 'I would like that very much'. And she took the book."

"What happened then, Alexei?"

"My bedroom door was shut, but I heard Mother and Svea talking outside in the corridor. Svea was saying that sunshine and fresh air would be good for me, but Mother said I am too ill. But I thought to myself 'Svea is right, and Mother is wrong'. I wanted to get up, go out into the garden – but I knew I would not be allowed."

"Did you have any lessons with Tutor Nestor that day?"

"No. Mother told the servants to draw my drapes, so my room was all dark, and I was supposed to sleep. But I couldn't. All afternoon, all evening, until it went dark outside, I lay there. Then I pulled the drapes back and looked out into the night."

Alexei's voice trembles slightly; he pauses.

"The next day was lovely and sunny. I wished I could go outside, and visit Svea on her island."

Axelson's eyes narrow in frustration: Alexei has skipped over the events of that night, and what he saw out on the causeway in the dark. But the professor's voice remains calm and quiet.

"So that day, you were still in your room, as usual?"

"Yes – but then in the afternoon, I heard a gun firing! I dashed to the window and looked out with the binoculars.

I could see the islands and the houses. I could see the Cossack captain, who is one of our guards, on the porch of one house, looking all around. Then, after a few minutes, Rasputin came out onto the porch with him. They were both peering around, and talking to each other. Rasputin looked – scared."

"Could you see anyone else?"

"No, just the captain and Rasputin. But then, my bedroom door opened, and a man came in. He was wearing Army uniform, and he looked worried. He told me not to look out of the window."

"What happened then?"

"The Army man went away, I heard the door closing, his boots going along the corridor... and then he was gone."

"So you were alone?"

"I got up, and I dressed. I opened my door and crept along the corridor, then down the stairs. I could hear Mother's voice coming from the library, but there was no-one else about. So I went out of the house and down to the lake."

Alexandra gasps: we all lean forward, listening.

"I wanted to go to Svea's island. In my head, I pictured her and me together, investigating the shot I'd heard, as if she and I were detectives, working together."

"Where did you go?"

"I went down onto the long wooden bridge that goes out to the islands. I went along, past the store room, and then past the first house, the copper one. Then I saw the silver house, on Svea's island. I went to the door; it was open. I could see right through the house, and I could see the lake beyond, and the outline of Svea, sitting there in her wicker chair. I called out."

I glance at the faces around the room; the bated breath of the silence, the intent listening. There's a long pause, as if the boy has drifted off into sleep. Moments pass. Then I hear Alexei's voice again, and I feel a tremor in my pulse.

"I stepped into the house, and the floorboards creaked, but I heard nothing else. Then I went out of the French windows, onto the porch, and I looked at her sitting there. I said 'Hello, Svea!'.

She didn't reply, I thought she was asleep. And I touched her shoulder. Her head was on one shoulder, and her eyes were open, but she was totally quiet."

Alexei is still holding the watch, gazing at the hands as they turn. Its tick is the only sound we can hear.

"Then I walked round to the front of her chair, and I looked at her head, it was just resting on her shoulder, not moving. And on the side of her head was a big red hole."

The watch ticks on. Alexandra whimpers to herself.

"And – Svea was sitting on my book. I could see my book on the wicker chair, sticking out underneath her bottom. And I pulled at my book, and it came out from underneath her, and I took it, and I ran and ran, all the way back to my room. And no-one noticed me."

The professor nods at Alexandra. She rises and goes over to the boy: her arms go around him. Axelson whispers.

"This session is finished. Please, your Majesty, comfort your son."

22 Gunfire and smoke

Silently, Axelson and I leave the room. Tatiana comes onto the landing with us; the professor bows his head in apology.

"I'm so sorry, your High – I mean, Tatiana. I didn't realise..."

"It's all right, Professor Axelson! Honestly, you have done no harm. What happened – what Alexei saw – that was there, in his head anyway. He has had to live all alone with it – until now."

"In the long term, speaking about what happened may help..."

"I think it will help a lot. He is such a quiet boy, and he's been carrying this burden all this time. What can we do for him?"

"I will come and see him again – if your mother permits it. I have dealt with soldiers sufferng from the shocks of battle. There are some similarities. Talking about it, and sharing it with all of you, can only help him."

She looks at him gratefully. "I agree, Professor. After all, I was a nurse myself."

Unthinking, I reach out and touch her hand. "I did nursing too – in Flanders. It opens your eyes, doesn't it?"

Her smile broadens, but there's a faraway look in her eyes. "Working in the hospital – that was the happiest time of my life. Every night, when I pray, I ask God that I can soon start to live again, to do things. I prefer being active and useful."

I nod in sympathy. Tatiana doesn't let go of my hand, and carries on speaking, as if a dam has burst inside her, and her feelings are pouring out.

"Before I went to the hospital, I didn't know if I could do it. A Russian princess – doing real work! But as soon I started working there, I found that I liked to be busy, and most of all, I liked nursing the patients. It was a chance for me to give something back – to all the brave men who have suffered so much. I wanted to treat wounds, to tackle blood and pain head-on. I even enjoyed making beds and sterilising bandages!"

She laughs, but then looks more serious. "I want to be a real person, working to heal men from what this insane war has done to them. I don't want to be treated like a toy porcelain doll. And now... Russia says it doesn't want the dolls any more."

The professor meets her eyes. "You are a courageous young woman, Tatiana. I understand your frustration. But you can still be useful – even here and now. Do what you can for your brother. Does your family take walks in the Ipatiev House garden?"

"'Walks' is an overstatement. The garden is very small. But yes, we all go out, twice a day, to get some fresh air and sunlight."

"Then ask your mother to allow Alexei out with you. Let him run and play in the sunshine, as much as he can."

"Thank you – both of you."

I look at her. "The professor has helped Alexei... I've not done much! But, I do have one question."

Axelson looks at me quizzically. Tatiana replies "Of course – ask me anything."

"Have you or your sisters ever been to Tri Tsarevny? I mean, did you maybe go there as children, long ago, before Alexei was born?"

"No, never. We'd never even heard of the place, until I got a letter from Alexei saying that he and Mother were staying there."

Five days have passed; five days of total inactivity and frustrated boredom at our hotel. Professor Axelson is the only one who has been out: he has visited the Ipatiev House on two further occasions.

After the first of those visits, he came back with a puzzled, disturbed air. "I went to see Yurovsky. I told him a pack of lies, of course. I said the hypnosis of the Tsarina had gone well, but it had been merely an initial session. I asked him if I might be permitted additonal visits and hypnotic sessions with the imperial family."

"Did he agree?"

"He didn't even answer my question. Nor did he ask to see the notes of the first hypnotic session, which surprised me greatly. Instead, he looked at me and simply said 'I'm too busy to see you, Professor'. That was it. And then, instead of asking me to leave his office, he stared into space, as if in a trance."

"What did you do?"

"As a psychologist, I found it an interesting phenomenon. I sat and watched him. After about twenty minutes, he noticed I was still sitting there. Only then did he ask that I leave the Ipatiev House."

"So what is going on?"

"I watched Yurovsky, in his trance-like state. He was actually fully conscious the whole time. The only way I can describe how he looked was this: he looked like a condemned prisoner in his cell. He looked indifferent to anything around him, including me and my requests. As if a death sentence had been passed on him."

"I don't understand."

"Neither do I. You, I and Mr du Pavey were brought to Yekaterinburg because the Bolshevik leaders, Lenin included, decided that this hypnosis was of the utmost importance. Yurovsky himself, of course, is still under the impression that it was the Tsarina, not Alexei, that I hypnotized. He expects that in due course I will produce a report for him, which the Bolsheviks hope to use as evidence against her. But now, Yurovsky is acting as if my report on the Tsarina is not even worth talking about. Something else, something unwelcome, is occupying his thoughts entirely."

Like what?"

"I think his orders have changed. For some reason, the Bolsheviks think it is no longer important to get a confession from the Tsarina. They have some new plan. But I have no idea what it is."

That happened two days ago. Yesterday, the professor went back to the Ipatiev House, but this time the guards would not let him enter. We are in limbo, and none of us know what to do. Today has just been the usual frustrating routine of breakfast, a day sitting in the garden, and dinner. Like every other day, the hotel staff watch us at all times.

In the evening, I go up to my bedroom. But in the upstairs corridor, I see Axelson going to his room. There's no one else about.

"Professor – these staff are everywhere in the hotel, observing what we do and say. But I think they are all downstairs now. You and I haven't yet had a chance to talk openly about what Alexei said under your hypnosis."

"It's terrible for him, Miss Agnes. To have made such a grim discovery, aged only eleven. But now, if he can talk about it with his family..."

"I agree, of course. But do you think it sheds any light on the Håkansson case?"

"You showed me Alexei's letter to Dr Jansons. In terms of actual evidence, his hypnotized account of events on the day of the murder seems to add little to that letter... except, I have a feeling of something, nagging away at me. But I don't know what it is, Miss Agnes."

"Alexer never mentioned Mr Bukin while he was hypnotized."

"Yes – but on the question of whether Bukin had opportunity to kill Svea, neither Alexei's letter nor his hypnotized testimony help us. After finding Svea's body, Alexei ran back to the main Dacha. The boy was probably away from his room for no more than ten minutes. His letter fits with that. It says that Bukin came up to his room several minutes after the gun was heard."

"When we saw Mr Bukin in Moscow, he said he was with the Tsarina when the shot was fired."

"Bukin claims to have an alibi, involving the Tsarina. But I haven't yet had opportunity to hear that account of events from her, because I've not seen her again. I would very much like to talk to the Tsarina again, if I was given the chance. Which brings us back to Yurovsky."

"Yes, I suppose so... maybe the hypnosis hasn't helped the case, Professor."

"As I say, I feel there is some clue, hidden deeply in the words that Alexei spoke during the session. But whatever it is, we can't see it – yet."

I say goodnight and go into my room, but I can't sleep. I toss and turn, then I look at the clock: it's just gone midnight. I hear a knock at my door.

I open it, and Rufus steps in.

"I recall you coming to my hotel room once before, long ago, Rufus."

He smiles ruefully. His eyes, I notice, are less bloodshot, and the smell of alcohol has gone.

"I remember that too, Agnes – with great embarrassment. But now, I'm here to show you something. Look out of the window."

My window looks down on the garden. I peer outside, then ask him.

"So? It all looks the same as usual to me."

"No, no, don't you see? Look at the gate."

I'm not sure what I'm supposed to be looking for. I look out again, but Rufus has to tell me.

" _He's not there_. Our guard has gone."

We go straight to Axelson's room and tell him. Rufus is emphatic. "This is our chance. If we can creep out of the hotel without being seen, we're free."

"We are not free at all, Mr du Pavey. Even if we were to go and catch the first train from Yekaterinburg station – which probably won't depart until morning – then it would be easy for the Red Guards to find us. The train would simply be stopped at Perm, and we'll be arrested."

"What do you suggest, then, Prof?"

"I think that we should take this opportunity to go and speak again to Yurovsky."

"Why on earth?..."

"Because things may have changed. Guarding us is no longer a priority for Yurovsky; nor are the hypnosis sessions. That may mean we can leave. But it's better to have that properly authorized, rather than sneaking off in the night."

"And what if Yurovsky won't see us again? He's snubbed you already."

"If that happens, we can consider options. For example, we could ask the guards at the Ipatiev House for a note, to the effect that Yurovsky is unwilling to see us. Then if we did board a train in the morning, and were later stopped, we could at least show them the note. It would make our behaviour look more reasonable."

"Nothing's reasonable any more."

But Rufus agrees to Axelson's plan. The three of us leave the hotel, and walk through the quiet streets.

I'm surprised when we approach the Ipatiev House. It's two o'clock in the morning, but although partly blocked by the painted windows, light is shining out from every upstairs room. A large, industrial-looking lorry is parked just outside the gate: an odd sight for this suburban neighborhood. I whisper "What's going on?" but the professor simply shakes his head and puts his finger to his lips.

"Leave this to me, Miss Agnes."

He goes to the gate and knocks. We're taken aback when it opens immediately. I'm surprised too: I recognise the man who, until an hour ago, was guarding our hotel gate. He stares at us open-mouthed, but he doesn't speak. Then I hear a voice calling from the courtyard: it's Yurovsky.

"What the hell is going on out there? Deal with it quickly, man!"

The guard stares at us blankly. I realise that he is pointing a rifle straight at me. The professor speaks to him, calmly but firmly.

"We are pleased that you no longer feel the need to guard our hotel. And the hypnotic sessions are finished. So, we consider that we are free to leave Yekaterinburg. Could you obtain a note from your Commandant to that effect? We can wait here at the gate while you get the note."

The man stutters at us. "No. No waiting is allowed. Not tonight."

Axelson sighs in annoyance. "The lights are all on in the house: clearly, everyone is awake. You have a lorry parked here, for some reason. And I've just heard Commandant Yurovsky's voice. All I need is the note –"

Along the street, I see a light switching on in one of the upper windows of a nearby house, and figures appear at the window. People are looking out to see what's happening. The guard notices the onlookers, and his face turns white, as if with panic. After a few moments of hesitation, he clicks the catch of his gun, and manages a few words.

"All of you – come inside."

Staring at the rifle, we obey. The man leads us through the yard and into the house, and then through into the guards' sleeping quarters that we saw before. He points at a door.

"In there, all of you!"

We all go inside. The door shuts, and I hear a key turn in the lock. It's a tiny storeroom. It is on the side of the house against the road, so it is practically underground: a cell with just one iron-barred window, which opens onto a narrow sunken trench a few feet square, bounded by a brick wall rising to the level of the road. Above that, we can make out, in the dark, the foot of the palisade fence.

We have no idea what is happening. But Rufus is alert: he puts his finger to his lips and speaks quietly.

"Listen."

We can hear a hum of voices. Most of them are female. Axelson nods at Rufus, looking perplexed.

"It's the imperial family – all of them. It sounds as if they are in another of these ground-floor rooms, all together."

Then Yurovsky's voice cuts through the silence. "All members of the Romanov family, and servants! Your transport will be here shortly. Please wait a few minutes more."

I hear Alexandra's voice. "Could you get a chair for Alexei? We've been standing and waiting for nearly half an hour. He's not been feeling well today, and he's very tired."

"Very well." Then I hear someone just outside our door: the clunk of wood. It's Yurovsky, and he's clumsily picking up a chair. I hear him speaking to one of the guards.

"You – do something useful. Take that chair into the cellar. If the boy wants to sit in a chair, then let's give him a chair to sit in, while we shoot him."

I look at our locked door; a blank rectangle of solid wood. I'm pushing at it; Axelson holds me back.

The noise of gunshots shatters the night. It echoes into our room, again and again. Hot tears run down my cheeks, and the professor's hand is over my mouth, to stop me screaming. Repeatedly, I hear the banging of guns, mixed with shouts and squeals of agony.

Then Yurovsky shouts. "Out of the room! There's too much gunsmoke, we can't see a thing!"

There's a clatter outside our door. But the screams from the other cellar go on. One word is called out again and again. "Mother!"

Yurovsky and his men have come out of the cellar: I can hear them, right outside our door. His voice is husky, as if choked with smoke.

"Nicholas and Alexandra are dead. But all the children are still alive! Hell, men, that was useless."

There's a one-second pause: it feels like my whole lifetime.

A thickset voice speaks, as if talking between its teeth. "God, that was hard work! And now we'll have to kill that professor and the others too, the three we locked in the store-room."

A slurred voice, like that of a drunk in a bar, bursts out. "For Christ's sake, don't complain! I enjoyed shooting those parasites –"

Yurovsky's voice silences the others. "You're a useless drunkard, Ermakov! And, you missed with every single shot. But as to those prisoners in the storeroom – as it happens, orders came through anyway, a few minutes ago, to dispose of them. So those three have made our work easier, by coming to the Ipatiev House tonight."

I heard the slurred voice laughing. "Ha ha, those fools! They've come here to be killed!"

But Yurovsky interrupts. "Shut up. We need to get back in the cellar now, and do the children."

One shaken voice replies. "Sir, we can't see to aim the guns in that cellar. The smoke..."

"We'll all go back in – now. Don't shoot, it will just make more smoke. Use the bayonets."

I hear the sound of boots again. The screams are still going on, but there are also girls' voices. I can hear the words of their prayers.

A different voice speaks.

"I may be a bit of a waster at times. But while you two are listening to those horrors, I've done this."

The professor and I look round. Rufus is standing, holding the whole metal frame of our window in front of him. He's wrenched it out of its concrete surround.

"It was totally rusted. Come on."

I squeeze through the window, followed by the professor, then finally Rufus maneuvers his large shoulders through the gap. It's a tight fit, but in a moment he's standing beside us. We're in the narrow trench between the cellar window and ground level. Rufus links his hands, holding them out in front of me like a stirrup.

"Step on my hands, then onto my shoulder, and you should be able to climb up."

In seconds, all three of us stand on a narrow strip of grass between the house and the palisade. In front of us is a gap in the fence: the gate we came in by. It's wide open. We don't wonder why: we just run out into the street. A few moments later, the palisade is just a black wall behind us in the gloom. Above it, the white, fully-lit house rises like a sepulchre.

"Quick!" Rufus's hands grip my shoulders, and he pulls me behind the shadow of a tree trunk. The silhouetted figures of guards are coming out of the gate of the house.

The figures form an odd H-shape. So far, my stunned mind hasn't actually processed what we heard inside the house. But now, I can see what's going on. The uprights of the H are two guards. Slung between them is the pathetic body of a little boy. The men fling their burden into the back of the lorry. Then I hear a voice from the garden.

"I've got all the clothes off one of the girls. She's got jewels sewn into her underwear."

The drunken voice we heard before interrupts the speaker. "You selfish bastard, Medvedev. Let me look. I want to see all these bitches naked."

Yurovsky barks at them. "Ermakov, you idiot, back off! And Medvedev – don't undress any of the bodies here. We'll strip them all at the disposal site. Then we can search them for any valuables. But for now, just get them all into the lorry, quickly and quietly."

I feel the professor's hand, holding mine tight to try to give me comfort, and I hear his low voice. "There's nothing we can do, nothing at all, Miss Agnes."

Rufus whispers. "So – they were planning to kill us as well."

"The Bolsheviks want there to be no witnesses to the last days of the Romanov family. But as yet, those guards don't know we've escaped."

Rufus points. "Look – they are all going into the house again, to get another body. Now's our chance. _Run_."

23 Out of the frying pan

There is light in the sky: dawn must be only an hour away. There's no-one in the street behind us, and we hear no voices, no footsteps. But we know Yurovsky's men will discover our escape within minutes. I gasp out loud.

"Perhaps we can hide, professor? Will anyone let us into their house?"

"I doubt it, Miss Agnes." The professor puffs his words as we run. "Everyone in this city is terrified of the Red Guards, and anyone who sheltered us would be shot along with us. But anyway, there are no houses along this street."

It's true. We're now two blocks away from the Ipatiev House, and we are no longer among homes and gardens: this street is walled with brick-built warehouses. All we can do is run, straight ahead, hoping for a few more minutes of life.

The street opens out, and I see the last thing I expected. In front of us is a city park, scattered with trees. Ahead, beyond a stone balustrade, a wide lake reflects the moonlight.

"Look!" Rufus utters a hoarse whisper.

To our left, there's a promenade along the side of the lake, and buildings among the trees of the park. One is a café, another a tobacconist's kiosk, all shuttered for the night. They look so quiet, so benignly innocent and civilized, after what we've just witnessed.

And in the distance there's another, larger building, jutting out over the waters of the lake. It's a boathouse.

" _Yes_." Axelson nods decisively.

We climb down the side of the boathouse. It's built on top of the struts and joists of a wooden jetty standing in the water. The moonlight helps: we clamber among the wooden frame, underneath the floor of the boathouse, which grazes out heads. There's maybe three feet of clearance: the water is touching our feet. We wedge ourselves among the struts, and wait.

One minute later, I hear voices, and the glow of lanterns. "Where in God's name are they? Are you sure they came this way?"

"Ah – I'm not totally sure, sir. I thought they did, but –"

"Search the boathouse, then we will have to get back. The clean-up at the house will take hours."

I see the boots of a man descending: he places his feet on the wooden beam next to my head. His knees start to bend: he's trying to crouch down to look underneath the boathouse.

"Kabanov! Get back here, quickly. Obviously, they didn't come this way."

"Yes, sir."

The boots disappear, but the talking continues. The voices are hoarse with anxiety: they know that witnesses to their crime have escaped.

"Yurovsky's going to kill us for letting those three get away."

"We're damned anyway. Did you hear those girls praying, asking God to take their souls to heaven? The Almighty will kill us and send us to hell for what we did tonight."

"There is no God, you fool."

Another minute passes: the voices and the footsteps die away, and I breathe.

The professor looks warily around. "So far, so good, as you would say in English. But the problem remains of how we escape from Yekaterinburg. Even if we were to get out of the city, there is a thousand miles of wilderness in every direction. The only option is the train."

As light dawns, the hopelessness of our position becomes all too clear. We peer out from our hiding-place and look across the lake in the early morning light. We can see several guards patrolling on the far side of the water. And now and then, we hear the voices of others above us. At one point in the morning, they even come inside the upper part of the boathouse: the planks creak above our heads, and we hear them talking.

"How far away are the Czechoslovak Legion, Ivan?"

"Some say the Czechs are just a day or two's journey away from us. They are one of the most feared regiments of the White Army. Everyone says they are better armed than us – and better trained. Perhaps the city will be bombarded by artillery."

Their conversation continues gloomily. It's clear that Yekaterinburg is about to become a battleground.

The day passes with agonising slowness. I'm shocked numb by the events of last night, but my mind can't face up to those thoughts. Instead, what I feel is the physical discomfort of our position among the wooden struts. I end up taking my shoes off and sitting with my feet in the water, because it is slightly less painful.

We alternate attempts to rest in our cramped postures with whispered conversations, all of which involve how we might get to the railway station and onto a train without being detected. But we all know that guards will be looking out for us at the station, checking anyone boarding a train. All our ideas of escape are completely futile. Tonight, we will have to do something, but we have no idea what.

In the middle of the afternoon, Rufus shifts about restlessly. He groans out loud. "I'm sure you two are more comfortable than I am."

"Shut up!" hisses Axelson.

Rufus ignores him, and clambers across the beams to try to find a better spot. After a minute of so in his new position, he calls softly to us.

"Come here, and look."

He points down. Under the middle of the boathouse, and covered in a tarpaulin, is a small, low boat. It's barely more than a large canoe. The professor peers down at it.

"It must have been a pleasure-boat, for use on the lake."

Rufus whispers. "We can escape in it."

"The professor shakes his head. "No. You two have been confined at the hotel, but I have had my visits to see Yurovsky. So I took the opportunity to find out about the layout of this city. This lake is in fact part of the Iset River – and, the railway station is located upstream from here. The water looks smooth, but the current is actually very strong. There is no way we could row up the river to the station."

"I'm not suggesting we row, Prof. I'm suggesting we get in the boat, untie it, and let the current carry us."

"That's a thought! – but a very improbable one. This lake is created by a dam, the Plotinka, that was built to power the industries in Yekaterinburg. The lake water flows out of the lake through arched tunnels in the top of the dam, and then down a high weir. A boat like that wouldn't survive a fall down the weir. And if by a miracle we were to escape, then I have no idea where this river goes."

I look at Rufus, then at the professor, and say the first thing that comes into my head. "None of us have any better ideas."

Rufus continues. "If we waited until midnight – we might not be noticed."

The professor sighs. "If we're not spotted and shot, then the likeliest outcome is that we will drown. And if by a miracle we survive the weir and the river, we will starve to death in the Siberian forests."

"The alternative is to be shot – with total certainty."

The weather is our friend. It's a moonless night. We feel our way in the gloom, down through the beams and joists to the boat. We reach out and gingerly peel away the tarpaulin. The boat sways under my feet as I step down, so slowly, avoiding any noise of my shoes on the floor of the hull. I feel long poles, laid along the line of the keel: they must be oars.

The professor is a shadowy silhouette against the gloom: he's untying the boat. Then Rufus and the professor pull the tarpaulin back into place to the cover the top of the boat, to hide us. We start to slide out into the lake, away from the boathouse. We all peer out from under the edge of the tarpaulin.

Ahead, I see the outline of a huge church, towering against the inky sky. Below it, I can make out a slight glint of ruffled water. I must be looking through the arches of the tunnels, out onto the crest of the weir beyond. But I barely glance ahead, because we are all looking intently into the darkness of the lake shore. The willows and alder trees of the park sweep down to the water, and we can make out nothing, really: but we are alert for any sign of movement, any clue that guards or soldiers are in the park, looking for us.

All is still and quiet. We slide smoothly through the water in near-total blackness.

The boat's hull shudders, just slightly. We're being pulled into the stronger current in the middle of the lake. Ahead of us now the arches of the Plotinka are growing closer, the water is faster, the suction can be felt, accelerating us moment by moment in the dark stream. We can see nothing except the outline of the tunnels, but the sensation of speed and movement increases every second.

Suddenly, I'm struck blind: pitch-darkness means we're under an arch of the dam. The tunnel causes turbulence: the boat sways and slithers across the stream: I hear roaring, rising to a crescendo in my ears. Then a odd, floating sensation. We shoot like a bullet out over the weir.

The boat tumbles in space, landing with a crash in a chaos of waves: water sprays everywhere, the hull swings over as if to capsize. Then we're jolted back the other way, and for a moment the boat levels, then sways again. We're like a fragment of wood thrown in the torrent, flung this way and that. My head bangs the side of the boat, then I'm thrown up in the air, bouncing back downwards off the tarpaulin like an inverted trampoline. Someone kicks me savagely in the stomach: I can't tell who. All three of us are flung about like tossed chaff. There's no food in my stomach, but bile fills my mouth. But the next jolt is, thankfully, less violent.

"By Jove, we've survived!"

"It seems so, Mr du Pavey. I'm feeling around the hull of the boat: it is good news. Very little water has got in, and the planking seems intact. The boat isn't seriously damaged. I was wrong, and you were right."

Thankfully, the turmoil of the river is lessening every second. A minute passes, and each of us feels for the side of the boat; we can look out again from under the tarpaulin. We see around us that the Iset River is still fast-flowing, but the cataracts are behind us. We're passing the foundries and factories that line the banks below the weir. I can see no guards, none at all. Have we escaped?

Ahead of us, in the darkness on the bank of the river, is a single light. We're still travelling at speed, and after a few moments I see what the light is: a lamp above the door of a late-night bar. Four figures are coming slowly and unsteadily out of the doorway; they've clearly had a lot to drink. Two of them are Red Guards; each has the slender figure of a woman draped around him. Rufus whispers to me.

"They won't see us; they've got something far better on their minds."

But one of the women is looking in our direction. She's saying something to the man she's with; he glances reluctantly towards us, while his hand slides down her back. She's talking to him, and pointing at us. Now he's listening and nodding, and she starts speaking to the other couple. Suddenly, all four figures are staring at us. The tarpaulin-covered boat, coasting along in the river like a toy yacht, must make an odd sight, especially at this time of night. But then one of the men seems to lose interest; he bends his head and kisses the woman he's holding. They all stop watching us.

"Thank God that sex is more interesting than boats!"

The professor remains serious. "Mr du Pavey, we can't assume they won't report what they've seen."

"The four of them have more urgent business first... And by the morning, they'll have forgotten what they saw."

At last, the river is calmer: still fast-flowing but smooth. It's hurrying us away from Yekaterinburg: away, at last, from those sounds that I heard in the cellars of the Ipatiev House. Sounds I will never forget. I have the worst headache of my life: the random bumps against the woodwork of the boat, I suppose.

But despite all that has happened, the image in my mind is those two couples outside the bar. I've never even kissed a man... what on earth would it be like? And I think about those girls, their journey through life cut short, like a brutal joke. Olga, Tatiana, Maria, Anastasia. Royalty with jewels and palaces – but with young women's hopes, fears and dreams, just like me. All cut off in a frenzy of terror and agony, by callous men, performing methodical butchery with guns and bayonets.

My mind drifts, as if delirious. Two unknown women outside a seedy bar are alive, experiencing being alive, being wanted, if only for one evening. And those four girls at the Ipatiev House are not. Were Olga, Tatiana, Maria or Anastasia ever kissed, did they ever feel the excitement of romance, before their lives were taken away from them?

But through all these random pictures in my bruised brain, I keep coming back to a single image that seems carved in my mind. Something that might have ended in a kiss, but didn't. A skating waltz under the stars, dancing in the protective arms of a strong, kind man.

24 At the Stone Gates

We've been drifting along through the night. After we saw the two couples at the bar, the last buildings of Yekaterinburg quickly gave way to a thick cloak of trees on both sides of the river. At that point we stopped watching, and we rested, enjoying the chance to lie down after our cramped day underneath the boathouse. The hull isn't comfortable, but it feels like a feather bed after the boathouse.

I hear the professor's voice. "It's getting light. I feel sure the Red Guards will know of our escape from the city, and will be looking for this boat. One of us, at least, must watch out for people on the river banks." The professor's hand lifts the tarpaulin, and I see his anxious face, silhouetted under its edge: his eyes scan the river and the shore.

Rufus' voice comes from the bottom of the boat. "There's nothing but trees out there. Besides, what would we do if we did see anyone on the shore?"

"If we see someone, we will know by their behavior whether our escape has been detected."

"A good point. But what's our plan, anyway?"

"This boat was your idea, Mr du Pavey. I could say: what is _your_ plan?"

"Stop bickering, both of you."

They're both silenced, and I carry on. "Professor – I think Rufus is simply wondering what we are going to do when this boat goes aground. And Rufus, please – we need to work together."

"Well what do you think, then, Agnes? What on earth should we do?"

"I agree with the professor, we need to watch the shore. But what happens next – I haven't a clue."

Axelson's voice has calmed. "My suggestion is this. These forests are certain death: they are so huge, we will doubtless starve if we try to track our way through them. So if the boat goes aground at any point, we push it off again into the river."

"Fair point, but..."

The professor continues; I can tell that his ponderous explanation is annoying Rufus. "This river is flowing east, so it must be part of the Ob-Irtysh basin that drains much of central Asia – Siberia and parts of China and Mongolia. Ultimately, the Ob River flows into the Arctic Ocean."

"Bloody hell."

"Now, at some time – and it may be several days – we will come across a town. Siberia is not entirely uninhabited; there are mining towns, and trading posts for timber and fur trappers. Those towns tend to be on the major rivers. Once we reach a town, we should try to get ashore. Then, there are three possibilities."

The boat rocks gently, the endless trees continue, as the professor explains further.

"We know that the Czechoslovak Legion, and other Tsarist supporters – what the Red Guards are calling the 'White Army' – are not far from this area. So it is possible that the first town we arrive at along this river may be occupied by military forces friendly to us. Or, the second possibility, which is quite likely: that a town in these remote areas may have no connection to either side. In that case too, the local people may be willing to help us."

Rufus looks narrowly at Axelson. "And what's the third possibility?"

"The third possibility is that the next town along this river is held by the Bolsheviks. If that is so, then I feel sure that they will have had information about us, and will be watching for our boat. I have no idea what we should do if that is the case. We will simply have to deal with the situation that arises."

Rufus is quiet. The professor has described the situation comprehensively: there is nothing to argue about.

The sun is low in the sky behind us, an orange ball above the trees. The day has been uneventful. At three o'clock, according to the professor's watch, we saw a solitary fisherman's camp in a small clearing. He saw our boat, but appeared uninterested. "A good sign" Axelson said. But the wilderness continues: it seems infinite. I'm resigned to another night on this boat. The hull rocks, echoing the growling of hunger in my stomach.

It rocks again, stronger this time. I hear Axelson's voice.

"Rapids!"

We all look out. But there is nothing to see. The river is wide at this point; over a hundred yards across. The water is like glass, with only tiny gentle ripples here and there. I look at Axelson.

"Really? It looks as smooth as a millpond."

"I've seen this sort of thing before, Miss Agnes, on similar rivers in Canada. These undulations on the surface appear smooth, but they mean that rough water is coming."

We drift along exactly as before. I peer ahead at the eastern horizon, the endless treetops lit by the low beams of the setting sun far to the west behind us. The ground to our east is rising to a high, hilly plateau. Like everywhere else, the plateau is cloaked in trees, but directly ahead of us there is a darkened slot, as if someone has taken a knife and cut a sharp line through the woods. The boat starts to tremble, pulled by unseen currents; I can sense the speed.

I see a boulder the size of a church, splitting the river in two; we coast round the side of it, swaying and bobbing. The ground on either side of us is rising now: low rocky bluffs give way to sheer cliffs, with towers and spires of rock carved into bizarre shapes. Ahead of us, the river is narrowing, forced through the deep slot of a canyon. Axelson shouts.

"Get the oars out! Not for paddling – for pushing us away from rocks!"

Rufus and I pull the oars out from the bottom of the boat, and push back the tarpaulin. We're in foaming white water; the boat bounces along on top of the froth. The canyon walls tower above us, rising vertically from the waves; here and there the water swirls into the mouths of caves.

And then, it eases. The bouncing is less, the waves are smaller. Soon, the river is calm, but the trench-like rock walls continue. We float peacefully round a bend, and we see ahead of us huge, sharp edges of rock sloping diagonally down into the water. One enormous ridge, crested with rocky spikes like the spiny back of a dinosaur, seems to block our way entirely. Then we see that a massive natural arch cuts right through the ridge. The river flows smoothly through the arch, the calm water reflecting the scene like a mirror.

"Like the flying buttress of a great cathedral." Professor Axelson, his worries forgotten for a moment, is admiring the strange rock formation.

The boat drifts quietly under the arch. The last rays of the setting sun feel warm on our backs, and illuminate a small beach on the shoreline in front of us. We bob gently towards the sand, running aground almost imperceptibly. For the moment, our journey is over. I have no idea what lies ahead.

We were too exhausted to push the boat back into the river current last night, and decided to rest. Using the tarpaulin as a blanket, we slept on the little beach, its fine pale sand reminding me of the distant sea.

I wake suddenly: it's a cold dawn, and I feel faint with hunger. I look out from the tarpaulin, and see the professor standing on the beach.

"I have seen two things of interest, Miss Agnes."

I go over to him. He is pointing down onto the sand; the object in front of us is the last thing in the whole world that I expected to see. It's a small leaflet, and I've seen copies of it before. It shows the Tsar and King George of England standing bravely together, facing a German soldier and a bomb-wielding Communist.

"How odd, Professor! Those leaflets are Tsarist propaganda. Do you remember, there was a stack of them in Mr Bukin's office? They were produced by the Anglo-Russian Bureau. Rufus was involved in writing them. Did he bring that leaflet with us in the boat?"

"No, Miss Agnes. There are other, identical copies of the leaflet around. I have spotted two more, up there." He points, and I see small white dots on the wooded slope above us. But the professor continues.

"The other thing I have seen is of far more practical importance."

He looks up: I follow his gaze. Across the empty, pale blue sky is a trail of sooty smoke.

"It is too big and too dark, Miss Agnes, to be woodsmoke from a village. That smoke is from some kind of factory. I think our journey on the river is at an end."

I nod at him silently; he carries on.

"For good or ill, we are near a town, situated on the plateau above this canyon. It is probably a mining or industrial centre. We should go up this slope – and see what our luck has in store for us."

We wake Rufus, and, as fast as our starved bodies will permit, we start the laborious ascent through the sloping woods. It's steep, and we all stop for breath every few feet. Midges and flies buzz around us.

The leaflets are an odd accompaniment to our climb; I've seen three more scattered around under the trees. Rufus laughs heartily when he sees them. "This design was one of my ideas! It's rather good, don't you think?"

I nod politely as Rufus carries on. "I was told, Agnes, that these leaflets were to be widely distributed across Russia. Well, this shows that they were."

It's mid-morning by the time we reach the top of the slope. I'm on the very last reserves of my strength, and the professor is not much better. We are still among the dense woodland, but at last the ground is flat. Ahead of us, we see something new. A tall wire fence marks the edge of the forest, and we look through it. Beyond it is a wide clearing; a flat, grassy field. In the distance is a dark line of conifers, but the open field must be half a mile across. There is no-one at all about.

The fence is ten feet tall, and topped with curls of barbed wire. We're too exhausted to even think of trying to climb it. So we follow it, all the while looking out across the field for signs of life. We have no idea whether this place is in the possession of friends, enemies, or no-one.

At one point a tree has fallen: it lies across the fence, which is flattened to the ground. Wordlessly, we step over the wire. There is nothing to discuss, no decisions to be made. We know we have to find food soon, or faint from hunger. But then Rufus speaks.

"What's that?"

We look, hoping to see a building of some kind. But he's pointing only a few feet away, at a small, blackened pile alongside the fence. We go over to it.

The remains of a bonfire are surrounded by more leaflets. All are the same as the ones we've seen; many are half-burnt. The fire itself is long cold; a stack of charred papers. Axelson nods gravely.

"This is bad news. Someone is trying to destroy all these leaflets: the copies we saw in the woods must have been part of the bonfire, but they were carried up from the flames by drafts of air. Someone has been burning large quantities of White Army propaganda. So, it seems likely that this place belongs to the Bolsheviks."

Rufus adds "But – if the Bolsheviks are burning Tsarist papers – it shows that White forces were here? – perhaps not long ago."

"You have a point there, Mr du Pavey; well done. I think this fire was made yesterday. Friendly troops may be close by. But if there is a battle line, we are on the wrong side of it."

"So if we got back in the boat, and travelled a bit further along the river?..."

The professor looks at Rufus's heavy physique. "Miss Agnes and I are finished. We have no strength left: we must have food." He adds pointedly "We have not got the reserves of fat that you have."

We decide to rest for an hour. There's nothing else we can do. I lie flat on the ground: I feel I've not an ounce of strength left. But after a short while, Rufus gets up and says he is going for a walk. In a few minutes he reappears.

"I've seen something. Come with me."

We follow him along the edge of the field, keeping to the line of the fence. After a minute, we see a collection of sheds in the far corner of the field. There is still no-one at all about. We're too tired and hungry for caution; we walk straight to the nearest shed. It's fronted with wide windows looking out over the field. Rufus is carrying a grin of satisfaction under his mustache. The professor stares around us.

"What is this place?"

Rufus's blue eyes twinkle, like a glimpse of his old charm.

"I must admit, Prof, I have an advantage over you and Agnes. When we first got to the fence and looked across the field, I recognised this set up. I've seen this kind of place often, but neither of you will have. It's an airfield."

The professor's face beams in a heartfelt smile. "Well done, Mr du Pavey!"

Rufus continues. "What's more, it appears to be deserted. But whoever was here may have left food behind. I suggest we try the office first." We go over to the glass-fronted shed; the door isn't locked. Inside there's nothing much to see, just a desk and some chairs. A door leads into another room; we go through. This room is a kitchen, with a pantry. We fling the pantry door open and see bread, butter and some cured meats. We fall on them, gobbling greedily.

Rufus continues exploring, opening doors and going into other rooms. He calls to us. "There's a plan of the airfield here. Its name is Kamensk Stone Gates. I guess the 'Stone Gates' refers to the canyon we came through yesterday."

Axelson adds "And Kamensk must be the nearby town." But Rufus interrupts.

"There's another pantry here – with several loaves in it! Enough food for many days."

Axelson, however, is peering out of the window. He points towards a roughly-hewn wooden post. A tattered red blanket is nailed to the top of it, and it flaps in the breeze, covering and uncovering the crudely-drawn outlines of a hammer and a sickle.

"That must be an emblem the Bolsheviks have adopted. The hammer, I suppose, represents industrial workers; the sickle, the peasants. The Red Guards are definitely in control of this place – but the makeshift flag shows, perhaps, that they have only just taken it over. And luckily for us, they are not here now."

"What shall we do?"

"I suggest we take all the food we can and go back inside the forest. We need to rest and recover our strength. Tomorrow, we could go to the outskirts of Kamensk town and see who is in control there. Or we might be able to find the White Army forces in the woods..."

Rufus, however, is pointing across the field. At the far side, several figures are approaching. Even at this distance we can see the red sashes and collars. All are armed with rifles.

We grab every loaf of bread we can, and go out through the back door of the kitchen. This side of the office is hidden from the approaching guards. But the airfield is a huge open space. If we try to get back across the field to the fence, we'll be seen. I point towards another door in a much larger shed.

"Let's hide in there."

It's dark inside the big shed: we can see nothing, but there is a strong smell, like kerosene. For a moment I'm reminded of the burning cottage at Ivangorod. But a dim light is filtering through cracks in the planks of the walls, and my eyes become accustomed to the light.

"Well, well." Rufus's voice is oddly warm. "This _is_ a surprise."

25 Faith in Comrade Lenin

An enormous, angular shape fills the gloomy space above and around us. It juts above our heads, and extends off into the furthest areas of the shed. But we have no time to look at it. Axelson whispers and points to a corner. "Those stacks of paper – let's hide behind them."

We're only just in time. Behind us, the door is opening. We hear voices: it's obvious they are unaware of us.

"So, we are now in control of this airfield. Is the White Army airplane completely unpacked now?"

"Yes. It was stuffed full of Tsarist war propaganda. It looks like the Whites were flying on a circuit through Siberia, landing at the principal townships and delivering batches of leaflets. A quick way to distribute it, more efficient than sending it by rail. The stacks of leaflets are in that corner. Of course, we will ensure they are all burnt."

"What about the airplane itself?"

"It's in working order, fully refuelled and ready to go. I have sent a telegram, and a small plane will fly out here to Kamensk, with a pilot who can fly it back to our base. He's arriving tomorrow."

"Good work. Guard the plane carefully overnight. The White Army seem to have retreated far into the forest. We've seen nothing of them for several days. But they may still have scouts and spies around here. If they can't recapture their airplane, they might try to destroy it."

"One of our men saw a boat, sir, down in the canyon."

"Where exactly?"

"It's beached on the river bank, by the Stone Gates. It looks abandoned, sir."

"So the boat may well have been used by White Army scouts – and they might be in the forest nearby. Keep a good look-out – all guards must be alert for any sign of them."

"We will, of course, sir."

The voices die down, and the door slams. Immediately, the professor hisses.

"We must keep our voices low."

"Of course, Prof –"

"It's your voice I'm worried about, Mr du Pavey. Because I know what you are going to suggest – with your usual enthusiasm."

What little light there is catches in Rufus'eyes, as he stares wide-eyed at the enormous shape above us.

"It's a Handley Page Type O/100. I've had dreams about this airplane."

I can't help smiling to myself: Rufus's boyish eagerness is infectious. He can't keep quiet. "Before the war, I was good friends with Jack Alcock: I've heard he's piloting O/100s now, based in Greece. He's been bombing German battleships in Istanbul harbor. Meanwhile, I've been stuck behind a desk in St Petersburg, writing garbage."

Axelson can't resist laughing at Rufus. "You played the part you were asked to play in the war effort, Mr du Pavey! After all, is there not an English saying that the pen is mightier than the sword? Now let's be quiet – until darkness falls."

It's the professor who wakes us, whispering in my ear. But his first words are to Rufus.

"Now, we can make our plans. It's getting dark outside. So while you were resting, I took a look around. With great caution, I peered out of the hangar to see what the Red Guards are doing. It appears that they are not very interested in standing guard for hours. Instead, they are all sitting on the grass outside the office, drinking vodka. Except for two of them, who are burning more leaflets."

Rufus grins. "So we're going to try it?"

"Of course. And you are the pilot, Mr du Pavey, so Miss Agnes and I are reliant on your expertise. Should we make preparations to fly at first light tomorrow? Or, could you take off and fly by night?

"Night. We should go at seven hours before dawn. Even in the dark, I will be able to see enough to clear the trees at the far end of the airstrip. After that, day or night makes no difference. It will be navigation by compass. But I will need a map, of course."

"Why seven hours?" I ask.

"The guards said the airplane is fully refuelled. Its range is about seven hundred miles, or in terms of time, about eight hours. I said we should take off at seven hours before dawn, because I'll need an hour of daylight to spot our landing place and touch down. It was Jack Alcock, actually, who once summed up being a pilot – 'Flying's easy; any fool can do it. It's coming down again that can be tricky.'"

We smile, but Rufus's face is serious. "The question is, of course, where can I fly the airplane _to_? I need to look at maps."

The door rattles and opens. A guard comes straight in. Rufus's voice... was it too loud? My heart's in my mouth as the man walks towards the stacks of papers that conceal us. But then, he seems to have second thoughts. He walks away again, towards the airplane. Does he suspect we are here – is he trying to catch us out?

The figure climbs up a rope ladder into the cockpit. I see him saluting to imaginary comrades, looking forward, reaching for the joystick. He's pretending to fly the plane. Like so many of these men, he's just a boy, playing at wars. Then he climbs down from the plane and comes over to the stacks. I shrink down behind the papers, and hold my breath. But the guard just grabs an armful of leaflets and leaves the hangar, banging the door carelessly behind him.

I breathe, then say "We need to find a better hiding place in here."

We find space behind some heavy packing cases, and, through a narrow gap between them, we watch a succession of men taking piles of papers out to be burnt. Every few minutes, the stack of papers diminishes, marking the passage of time.

Finally, it's completely quiet. No guards have come into the hangar for an hour. The professor whispers.

"Miss Agnes. I would never wish to propose anything which would put you in danger, but we are all –"

"I agree. I was going to suggest it myself, because I'll be quieter than either of you men. I'll go and look, and try to see what's happening out there."

My task is easy. After five minutes I return to the airplane hangar.

"They are all inside the office now, lying in a circle around empty vodka bottles. Every one of them is sleeping like a baby."

Rufus goes over to the cockpit of the airplane. I rummage around the hangar, and find a flashlight, which I pass up to him.

"Thanks Agnes. I've found flying goggles for us all. And there is a map in the cockpit, but it's no use to us. It shows only the local area."

"Could I look at it, please, Mr du Pavey?"

Rufus passes the map down to the professor, who peers at it in the light of the flashlight. "That explains the smoke I saw from the river bank. There's an iron foundry in the town. Kamensk looks quite a large settlement, which would explain why they wanted to deliver a batch of leaflets here."

Rufus is still looking in the cockpit. "Ah! Here's the bigger map, and the flight log! The plane has come from a place called Orenburg. It's five hundred miles away, and it's got an airfield and fuel supplies. I'll fly us there."

Axelson looks grave. "To the best of my knowledge, Orenburg is south-west of here. Those areas are, I believe, mostly controlled by the Bolsheviks. What if Orenburg is the Bolshevik base those men were talking about?"

"But the plane, which belonged to the White Army, came from Orenburg. So unless the Reds have taken it over recently, Orenburg airfield will be fine." I can sense the frustration in Rufus's voice at Axelson's doubts. But the professor carries on.

"I'm not so sure. I think it would be safer to fly south-east, towards China."

"We've got no maps of that area! And, it's almost uninhabited. It will be nothing but forests, deserts and mountains for a thousand miles. We'll end up with nowhere to refuel, or even to land."

"Yes – you have a point. Without a map and a known refuelling place, it may not be wise to head for China. But we are asking for trouble if we fly to Orenburg. If the Bolsheviks are in control there, they will have received reports of the stolen plane."

"Will they have received a report? Think of the chain of command, Prof. First, one of the guards at this airfield has to wake up. Okay, the noise of the plane taking off will probably wake them. But then, they have to see that the airplane is gone, then send a telegram. And then someone in Orenburg has to pick up the telegram, then alert the airfield... all in the middle of the night. So if we get to Orenburg at dawn, we'll be ahead of news of the plane being stolen. We simply refuel and go on our way."

Axelson is still pondering. "You make it sound easy, Mr du Pavey."

I look at the professor. "We have a map showing Orenburg. And we know it's within range of the airplane's fuel."

Rufus points at the plane's fuselage. "Look. Our Bolshevik friends at this airfield have given us a helping hand. If they do happen to be in control of Orenburg, and if this aircraft lands and ask for fuel, they will give it to us. Look at that."

He shines the flashlight along the side of the plane, and we see fresh paint. The guards have decorated it with the crude emblems of the hammer and sickle.

Axelson nods in agreement. It's a makeshift plan, but we all know it's the best we can do. Rufus climbs up into the cockpit, and the professor and I go over to the hangar doors; they are not locked. Each door is on wheels, but even so, they are huge. Every muscle in my body aches as I slowly push the right-hand door open, and the professor is equally slow with the left-hand door. But in the end we manage it. We go back to the airplane, and Axelson up looks anxiously at Rufus.

"Opening those doors was hard work for us. How on earth will Miss Agnes and I push this plane out of the hangar?"

Rufus's confidence is growing. "No need to push it, Prof! I'll fire up the engines now, and each of you give the propellers a turn. Be careful: as soon as you feel them moving, step right away from them. Then climb up the rope ladder into your seat. I'll taxi the plane out of the hangar, onto the airfield and take off. Just leave it all to me. If I do ask you to do anything during the flight, I'll shout loud and clear. This is going to be noisy."

I look up at his goggled face in the cockpit, and remember my last flight, also with Rufus. But this airplane is a giant by comparison: two massive engines sit either side of the fuselage, and rather than the flimsy bench I sat on then, recesses in the fuselage hold five seats; one at the front for the pilot, then behind it, two pairs of two side-by-side seats. I remember Rufus' idea of an 'air-line'. He was right, I realise. With an airplane like this, you could carry passengers across the globe, as long as you have places to refuel en route.

Rufus fires up the engines, and the professor and I each take hold of a blade of one of the propellers. We swing them with all our strength.

There's a roar. The propeller blade pulls viciously from my grasp, and I step away from it: I can feel the suction of the air into the scything blades. I look across: Axelson's propeller is turning too.

The professor and I are at the rope ladder; he gestures to me. "Ladies first!" I climb the few rungs and clamber down into the pit-like seat behind Rufus, sliding over to make room beside me for the professor.

Rufus turns his head to us, and grins.

"Here we go."

As I strap the goggles around my head, I feel the forward movement, and I see the dim light of the night sky. We are slowly lumbering out of the hanger; the plane is crawling, inch by inch, like a snail. The noise is deafening: surely it must wake the guards?

But within seconds, the plane is rumbling along on the lumpy grass of the airfield, and I begin to sense the acceleration in my stomach. I glance over to the office; it's dark. Our escape is very loud, but so far, it is going unnoticed.

Ahead, the darkened airfield stretches for maybe a mile to a dim line of trees. I can feel the surging power of the engines. We are already pulling away from the ground, angling upwards into the sky. I feel the lift of the wings: we're airborne.

The wind rushes past us as we climb; ahead, a pale moon shines fitfully behind clouds. Below us, it illuminates a dark cloak of forest spreading in all directions. The thin black line of the Stone Gates canyon, and the smoke rising from the Kamensk foundry chimney, are tiny landmarks in the endless space of Siberia.

The dawn is coming up behind us. We're flying into a strong headwind that buffets my goggles, but I can see tiny lights on the ground far ahead of us. The rising sun's rays are being reflected from spots on the vast dark plain; they look like droplets of liquid gold. Axelson shouts.

"Those must be the golden domes of the church in Orenburg! Where's the airfield?"

Rufus yells back. "Don't worry. I've got it all perfectly under control. Look there!"

We see a long green shape, a cleared grassy area among woodland. In minutes, the field looms ahead of us, and we feel a massive bump.

"We're down!" Rufus is ecstatic, turning to grin at us. The plane shakes and bounces along the field, but I'm amazed how quickly we slow to a halt, the propellers lazily rotating and stopping. Rufus looks around, then speaks quietly.

"Now for the tricky part."

Four figures are coming out of an office at the side of the airfield. In the low-angled early morning light, their shadows are like long black fingers on the grass. The light illuminates their uniforms; we can see that their collars and cuffs are crimson. They walk over to the airplane, and look up at us.

"Greetings, Comrades!" Rufus waves down at them, then flings down the ladder, climbs down and shakes their hands as he begins his explanation. "We're en route to Moscow, but it's a long way. We need to refuel."

The men all stare at him, without speaking. Then one of them says "All of you, please. Climb down from the airplane."

One by one, we descend the rope ladder. It's only when all three of us are standing on the ground that one of the men begins to talk.

"This airplane is the one that was reported stolen. We've had a telegram from the Red Guards in Kamensk, to say that someone took it away in the night."

Rufus tries a nervous smile at the man. "Yes, this is that plane. But we've not stolen it. There must be a misunderstanding. What did the telegram say?"

The professor and I are silent: anything we say could make things worse. Two of the men are now standing behind Rufus. They are not holding him – but they could grab him at any moment.

Rufus asks again. "Could we see the telegram, please?"

A few seconds later, all seven of us are marching towards the office. We enter, and I shudder as the last man to come through the office door turns a key in the lock.

One of the men holds up a piece of paper: we all look at it.

Orenburg Airfield

The captured White Army propaganda aircraft disappeared overnight Stop It may have been stolen by hostile forces Stop

Red Guards 5th division

Kamensk Stone Gates Airfield

Rufus tries a smile. "Well, that's clear."

The men look at him; one steps forward. "It's crystal clear. The plane was stolen: now you've turned up with it. So there is only one explanation –"

"No, no." Rufus continues smiling, almost laughing. "You have it all wrong. I arrived at Kamensk last night, ready to fly this airplane to Moscow, via a refuelling stop in Orenburg. The Red Guards at Kamensk were all asleep –"

"Nonsense. A pilot is going to fly today, in a small plane, from here to Kamensk. He will then fly the big airplane back here."

"That was the old plan; things have changed. I am covering this mission now. Can we have our fuel, please? We need to get on."

The men are silent. Rufus speaks again, but this time I hear an edge in his voice. His fear is beginning to show.

"If we were working for the White Army, and we stole that airplane, we'd hardly fly to Orenburg, would we? Everyone knows this is a Bolshevik base."

Again, the four men don't answer him. They are looking at the professor and me.

"Who are you?"

Axelson steps forward. His normally serious face is transformed into a charming smile.

"My companion and I are on our way to Moscow, and this gentleman is taking us there. Which is why we need to refuel, urgently."

The men look even more suspiciously at the three of us. But the professor continues, his voice genial. "You see, we have an urgent appointment with Comrade Lenin."

There's a scornful reply. "You know Lenin?"

"Of course I do." The professor's voice is silky. "Look at this." He reaches into his waistcoat pocket, and takes out his letter from Lenin, flashing it briefly before their eyes. The crest of the St Petersburg Soviet, the Bolshevik Party stamp and Lenin's signature are clearly visible.

They eye him suspiciously. "If that letter is genuine – what does it say? Let us read it."

"I can't possibly let you do that! You appear to be Bolsheviks – but you could be anyone, dressed up!"

"We're not."

The professor looks at each of the men's faces in turn. His voice is quiet but firm. "If we are to trust you, then by the same token, you must trust us. Have faith in Comrade Lenin. There is a good reason for the change of plan with the aircraft. Now, our pilot here needs to take us on our onward journey."

Three of the men nod, but one sticks to his guns. "What about the telegram? The message reported the theft of this airplane. Are the guards at Kamensk joking?"

Axelson's air is that of a patient man dealing with a mild annoyance. "Our pilot tried to explain to you what happened at Kamensk. We arrived at the Kamensk airfield at dusk yesterday. But we found the guards very much the worse for wear, after too much vodka. They were all in a drunken stupor. Seeing that the aircraft had enough fuel to get to Orenburg, we simply took off. Even if we had roused those men, they would have been in no state to help us prepare for take-off, so we did everything ourselves."

The professor pauses, then adds, with emphasis "Look at it from the Kamensk guards' point of view. Left to themselves, they decide to drink instead of guarding the airplane. Then they wake to find it gone. So they panic, and send that telegram."

This time, we see four nods. One of the men begins a long apology. An hour later, we are climbing into the sky above Orenburg.

26 The Astrakhan Host

"So where do we go now?" I'm shouting over the wind and the engines.

Rufus turns and yells back. "Well obviously not Moscow! But just so you know, Moscow is around seven hundred miles due west from here."

I hear Axelson's voice. "Have you got maps of anywhere south of here?"

"Yes."

"We should aim for Iran, Mr du Pavey. The Persian Empire is officially neutral in the war, but in fact they are friendly to the British. We will be safe there. How far away is it?"

"About a thousand miles. We won't manage it without refuelling."

"Are all the airfields marked on your map?"

"Yes. But there are none due south of here... Ah. Here's one to the south-west. It's around five hundred miles from here. We should be able to get there – although flying into this headwind will cost us heavily in fuel." He holds up a portion of the map, gripping it in the furious wind, and points. I see the name "Astrakhan".

It's early afternoon: the sun has moved round, and is shining into our eyes. Ahead, the horizon is a hazy blur, but it's the ground we're flying over that I've noticed. The forests are left far behind; huge featureless steppes sprawl below us, brown and arid in the summer sun. Here and there are strips of yellow. The professor points. "That must be the start of the Ryn Desert."

I've never heard of such a place. But desert it clearly is: lines of long dunes, all running east to west as if aligned by the wind, stretch out below us. But far ahead in the haze is a long green strip. I point at it.

"Where's that?"

Axelson answers me. "The valley of the Volga, Miss Agnes! And look, that faint blue colour away to our left is the Caspian Sea. So Astrakhan's not far – maybe twenty miles, across this desert."

Rufus turns in his seat. Under his goggles, I can't see the expression on his face. But he shouts, loud and clear.

"We're not going to make it to Astrakhan. Can you both look down on the ground, for a landing place?

"What?"

"A flat area – preferably not too sandy! Because we won't get as far as the Astrakhan airfield."

I see the professor's alarmed eyes behind his goggles. Rufus yells an explanation.

"It's this strong headwind: the aircraft is guzzling fuel. The gauge is nearly on zero. I could try to reach Astrakhan... but if I do, we face the risk of running out of fuel, with nowhere to land. Better to look for a place below – the first spot we can safety touch down."

"And what then?"

"I don't know. But it will be better than crashing."

We're lower now, flying parallel to the rippled ridges. I see the sand, spilling down into deep hollows, then rising again to the crests of the dunes. It's like flying above huge waves in a yellow ocean. There's no landing place anywhere.

"What's that?" The professor is shouting and pointing ahead.

Rufus steers the plane towards a glimpse of white, like a patch of snow in the desert. It gets closer, bigger. The plane swoops low, and our wheels almost graze the crumbling crest of a sandbank. Seconds later, we're flying through a deep trench between two tall dunes. On both sides, they rise high above our wingtips.

On the floor of the trench, perhaps a mile ahead, is the white area: a blank, pancake-flat patch. In a few seconds, we're above it; the plane's shadow is a black shape, coasting along underneath us, getting closer every second...

We hit the ground, juddering and skidding; the airplane slides and skitters uncontrollably across a crust of ice-like whiteness. Then the wheels dig into layers of crystals, turning and gripping. We plow forwards through the white deposits, slowing to an unexpectedly gently halt.

Rufus cuts the engines and turns to us.

"Well spotted, Prof. A salt pan."

"Yes, we are safe for now. But our situation is rather desperate, I fear."

I throw down the ladder and climb down it. As I step from the last rung onto the strange white surface, I feel something I'd almost forgotten. Heat.

The sun, reflected from the salt crystals, is like fire. My shoes touch the ground, and I let go of the rope ladder. I turn and try to look around me, my eyes scrunched up in the blazing light. I see the bleached white of the salt pan, surrounded on all sides by livid yellow dunes that tower into a burning sky. Everything is lifeless: there is no water and no vegetation anywhere in sight. But I don't really notice the scenery much, because I see something I never expected to see.

Three faces.

They are men in late middle age, their faces wrinkled and sunburnt. They wear pale cotton shirts and trousers, but cloaks to keep off the sand and the sun. One of them steps forward, eying our airplane cautiously.

"A fine landing! I must congratulate your pilot. But first, we need to know who you are – and, which side you are on." He points to the hammer and sickle painted on the side of the fuselage.

I try to think quickly: should I tell the truth? I look up at the professor, who is climbing down the ladder behind me. But his face gives me no clue; we're at a loss what to tell them. I have to say something: I begin to speak.

"We are foreigners in Russia – American, Swedish and British."

The man looks warily at me, but there's a hint of something in his demeanor, as if encouraging me to continue. Without thinking, I ask a question.

"Do you know the Cossacks of Astrakhan?"

His curving mouth shows uneven teeth, gleaming white in his tanned face as he replies to me.

"If you are trying to find the Astrakhan Host, then your choice of landing place was indeed perfect."

As I try to make sense of the man's reply, he does the oddest thing. He begins to laugh. I have no idea how to respond. Rufus and the professor are now standing with me; I glance at them, but they look as confused as I am.

The man looks at me with kindly eyes, and explains.

"If you seek Cossacks, then you are looking at them! Me and my brothers are members of the Astrakhan Host; we are Cossacks of the Volga. I am Bogdan Kovalenko; these are my brothers Dmitri and Anatoly. And we'd be happy to help you – unless you are supporters of the cursed Bolsheviks."

I start to tell our story. "The Red Guards are pursuing us. We stole this airplane from them, and we are trying to escape from Bolshevik-controlled territory. We were told that if we came to Astrakhan, we might get help from the Cossack Host."

All three Cossacks are now looking at me intently. Bogdan asks me "Who suggested that you come to Astrakhan?"

"Do you know a Captain Sirko?"

Bogdan's eyes widen. "Of course we do! Yuri is like a son to us. How do you know him?"

I'm about to explain, but all three men extend their arms, shaking our hands and smiling warmly. Very simply, Bogdan says "You are our friends."

We smile too, but the blazing sun on our heads is physically painful. We all move to the shade of the plane's wing, and Bogdan looks around us at the hostile landscape.

"You three – you are so lucky, to find this landing place! This salt pan was created long ago, a dried-up lake, and then it was hidden by shifting dunes. The sand moved and exposed it recently; me and my brothers were the first to see it."

The professor stares at the salt pan. "It's utterly desolate here. Why are you in the desert?"

"We were on our way through the sands to the salt lake at Inderbor, far out in the lands of the Kazakh people. Then by accident we spotted this pan. So we are digging salt from here; it's much less far to travel than Inderbor. The salt trade doesn't pay well – but in these hard times, everyone must make money however they can. And we own camels – so we may as well make use of them. We are taking the salt to Astrakhan to sell it."

Dmitri adds to Bogdan's explanation. "Well, we did trade in salt – until now." He brandishes a piece of paper. "Read this, if you want to find out how the Bolsheviks think they can treat us."

I take the letter, and hold it where the professor and Rufus can see it too.

"Mssrs Kovalenko

It has come to the notice of Party officials that you are mining and trading in salt. As you know, private enterprise of any kind is an anti-Communist, bourgeois activity. It is theft from the Russian people.

Unless you desist immediately from entrepreneurial and profiteering activity, forcible measures will be taken against you.

Astrakhan Soviet Committee

Long live the Revolution!"

He looks at me. "Their words are longwinded, but their actions are very direct. The Bolsheviks have already imprisoned several shopkeepers in Astrakhan for refusing to hand over all their stock 'for the benefit of the people'".

I re-read the letter, trying to make sense of it. "But if this is true, it will affect every shop and business in Russia..."

"Indeed. Every business, however small, will be taken from its owners and run by the Bolsheviks 'for the benefit of the people'. And worse, all farms too." He carries on grimly. "Hundreds of years ago, the Cossacks settled the Volga valley, and defended it for the Tsar, against the attacks of the Turkish Empire. Most Cossacks in this area now own small farms. We've heard many stories of lands and farmhouses being taken away from the farmers at gunpoint. So they are all joining the Volunteer Army – part of the White Army, who are right now encamped up-river on the Volga, ready to attack the Red Guards. We hear they are greatly outnumbered by the Reds, but they are all brave fighters."

Bogdan interrupts. "Let's not stand about here. Even in the shade of this wing, it is too hot. Now, if your airplane can fly no further, then come with us to Astrakhan."

Rufus answers eagerly. "That would be marvellous – thank you! We were heading for the airfield at Astrakhan, to refuel. But we ran out of fuel and made a forced landing here."

"The airfield is full of Red Guards, as is the Kremlin – the fortress of Astrakhan. In the current situation, you may have found your best chance of refuelling your plane by meeting us."

The professor looks at them, puzzled, but Bogdan goes on. "Despite the Bolsheviks' edicts, the markets are busy in Astrakhan – including goods stolen from the Bolsheviks, which are to be sent on secretly to the White Army. You are welcome to take any aviation fuel we can find in the city."

"Don't, on our account, take any risks –"

"Nonsense! It is a gift to you, and will be our pleasure. Leave it to us. We'll get your fuel for you – and bring it back out here to your airplane. Now let's get on." Bogdan looks at the three of us, in our Western clothes. "Ahem. An American, a Swede, and an Englishman... I suppose none of you has ever ridden a camel before?"

The camels, two-humped Bactrians, are gentle, patient beasts; mine looks at me from under extraordinarily long eyelashes, chewing quietly to itself as if to pass the time. There's a leather saddle between the animal's two humps, and with help from Bogdan and Rufus, I finally manage to climb up, and we're ready to go. Rufus looks round.

"Will the airplane be safe, here by itself?"

"Look at this place." Bogdan gestures towards the tall crests of the dunes, rising above us like mountain peaks. "This salt pan is totally hidden by the sandbanks. You could pass within a hundred yards of the airplane, and never know it was here."

We set off, casting a final look back at the plane. The Cossacks have helped Rufus tie sheets over the engine-housings, to prevent sand getting in. The machine looks oddly forlorn, sitting there on the salt flats. Then we pass round the edge of a dune, and it disappears.

The camel has a swaying rhythm as it pads over the sand. My hips ache with the side-to-side movement as we gradually climb towards the top of a dune, then down slipping slopes of sand into a deeply shadowed trench. Then up over another dune... I tell myself "I must get used to this: it will be a long journey over this desert."

But I'm wrong. We reach the crest of a high dune that stands up against the western sky. As before, sand spills steeply down the far side of the dune – but abruptly, it stops. The slope turns to thin, sun-bleached grass. Only a few hundred yards beyond, there are scattered trees among the rich grass of meadows. As we get closer, I realise that the trees are willows. After the endless Siberian forests, and the stark desert, the lushness and beauty of this green place are like a physical shock.

We plod along, passing a wide, deep pool that mirrors the sky; the trailing branches of the willows droop into it, like green waterfalls. Then the trees thin out, and the trail becomes a sandy track fringed by tall bulrushes. Swifts and swallows are flying everywhere, swooping around my ears. The camels lope along lazily, then slow gently to a halt. Bogdan says "Welcome to the valley of the Volga. This is the Buzan River, one of the many streams of the Volga Delta. These are the lotus beds." We look out across an astonishing sight.

As far as the eye can see, huge pink flowers and glistening leaves float on glass-clear water. Bogdan leads our camels down to rafts moored at the riverside, and gives some coins to four men who stand beside them, holding long poles. I get down from the camel, and Bogdan, my camel and I step onto the first raft, which sways gently in the water. The professor, who has got down awkwardly from his camel, joins us, while Rufus waits to board a second raft. The men on our raft push on their poles. A few moments later, we are floating out among the heady scent of the lotus flowers.

Far below through the water, I see the sandy bed of the river. I'm reminded of when I saw the gun at Tri Tsarevny, but this time there are large dark patches on the pale sand; shadows in the shape of fish. Then I see the fish themselves, huge creatures floating idly among the lotus roots. Bogdan points at them.

"Sturgeons. The origin of Volga caviar."

The sturgeons move lazily below the flowers in a suspended world. Our raft drifts forward across the blue stream, gently pushing aside the lotus clumps. Now I can see, beyond the sea of pink blooms, the line of the further shore.

Bogdan signals ahead, saying "The island of Astrakhan." I see red towers, white walls and a cluster of tall, turquoise onion-domes against the blue sky, all reflected in the glassy river. He hums a melody to himself; after a little, he begins to sing, a quiet, low refrain.

"From beyond the wooded island

To the river wide and free

Proudly sail the arrow-breasted

Ships of Cossack yeomanry."

Axelson speaks quietly to me, in English.

"Enjoy this moment, Miss Agnes. After what we heard and saw in Yekaterinburg, this beauty can act, just a little, like a medicine, to help heal."

"I'll never forget –"

"Of course! It would be wrong to forget. But such horrors as we have witnessed can fester in the heart. And on that subject... these men, they indeed appear to be our friends. All the same, Miss Agnes, I would tread carefully. Watch what you say."

Bogdan ignores our conversation: he is singing to himself, as if remembering all the Cossack ways of life that are, I guess, under threat from the Bolsheviks. I reply to the professor in a near-whisper. "What do you mean?"

"Bogdan's song, Miss Agnes – it celebrates Stenka Razin, a Cossack rebel against Tsarist rule. But ironically, today's Cossacks are fiercely loyal to tradition – and especially, to the Tsar. I advise against saying anything about what we witnessed in Yekaterinburg."

"Why?"

"If people in Astrakhan find out about the murder of the imperial family, there will be no limit to their anger. We could, literally, create a local civil war in the city."

I look at him doubtfully.

"The truth must come out –"

"Don't misunderstand me, Miss Agnes. I sincerely hope the Bolsheviks fall from power. And of course, the world must know about their appalling crime. But not right now – unless you want to cause more deaths, in Astrakhan."

Not long after crossing the river, we see ahead of us the outskirts of the city. In the fields around us are a scatter of circular tents; outside them are red-robed men among flocks of sheep. "These tents are yurts" says Bodgan. "They are the dwellings of the Kalmyk – nomadic sheep herders; they are Buddhists." Soon our camels are walking among low, straw-roofed houses, and then we come into a narrow street lined with market stalls. There are rolled Persian carpets, piled high as if they were stacks of logs, and sheepskin rugs hanging on wooden racks. My waddling camel seems bound to sway and crash into one of the stalls, but somehow we weave our way along. I look down from the saddle onto piles of rich fabrics. Bogdan explains.

"These are the markets of the Astrakhan caravanserai; each group of stalls carries different products from different places on the Silk Road; Samarkand, Afghanistan, India and China. But let me show you something else – for your eyes only."

He calls to Dmitri and Anatoly, who rein in their camels. All of us stop in the very centre of the market. Among bustling crowds, we get down from the camels, and Bogdan shakes hands with a trader among hanging veils of colored silk. All of us follow the trader through into a dark back room.

We've walked into an armory. A grim array of revolvers, rifles, knives and bayonets hangs on every wall. Bogdan smiles. "Every stall-holder in Astrakhan trades in weapons – and sells them on to the White Army."

The professor frowns. "This is risky business..."

Bogdan laughs. "According to the Bolsheviks, this whole marketplace is illegal! Selling a scarf is a crime, the same as selling a gun. So we may as well deal in fighting as well as fashion." He gestures at the weapon-covered walls. "If the Red Guards come to arrest the merchants of Astrakhan, they will find more resistance than they bargain for."

We go back out into the market and walk along, leading the camels among clouds of drifting, changing scents; I smell bergamot and attar of roses. Bogdan continues explaining. "This is the perfume bazaar. But even the perfume traders deal in guns these days. Now, here we are – the commodities market, including the traders who buy our salt." Bogdan hails another stallholder, and a long conversation ensues. Finally, he comes back to us.

"He's given us a good price for our salt – including accommodation for you all for the night. The best beds in the caravanserai, and at a knock-down price! And in the morning, we will get your aircraft fuel."

"We can't thank you enough..."

"Don't even think about it. And you, Mr du Pavey – I must thank you for the news you told my brothers, about the massacre of the Tsar's family. It is the greatest tragedy in Russia's history! Trust me, their blood will be avenged."

The professor looks at me and rolls his eyes in dismay. But Bogdan is still speaking.

Now, Mr du Pavey! And you too, Professor! Would you join me and my brothers in a nearby bar, to drink a traditional Cossack toast?"

To my surprise, the professor nods eagerly. "Thank you! It will be an honor."

"And you?" Bogdan looks again at Rufus.

"Thank you so much. But I've been flying for so many hours..."

"Of course, of course. Get some sleep – you need it."

27 Texas, Russia

The caravanserai is a small courtyard, surrounded by accommodation for travellers. I have one room; Rufus and the professor share another. I sleep, and it's like heaven.

At breakfast, we tuck eagerly into porridge, honey and bread that's hot from the oven. Axelson speaks over his spoonful of porridge.

"I had a quiet evening with Bogdan and his brothers. We drank only a single solemn toast: to the memory of the Romanov family. As it happens, the bar we were in had a photograph of the imperial family on the wall. People started bringing in candles, putting them on the sideboard below the picture. Soon everyone in the bar wasn't drinking: they were praying."

Rufus nods. "It may have been a sober evening, Professor. But I'm sorry – there is no way I could have joined you. I know only one thing about Cossacks: when you drink a toast with them, you are obliged to drink vodka. I don't drink."

Rufus's last sentence doesn't sound like a boast, or a claim, or even a promise. It sounds like a simple statement of fact. Axelson and I look at him in surprise, and I blurt out.

"That's news to me, Rufus!"

He stirs some honey into his porridge, looking intently at the glistening golden trail as if mesmerised by it. Then he speaks. He still doesn't look up at us; but his voice has a depth I've never heard from him before.

"I know that I'll never drink again. Not after Yekaterinburg. Hearing those cries – and, those guards' voices in the night."

"Of course."

"All those men's voices were horrible. But for some reason, one voice in particular sticks in my mind."

I reach out and touch his hand. "I know, Rufus. I know the voice you mean."

We are interrupted: Bogdan walks in. He greets us all, but then speaks to Rufus.

"Dmitri knows all the best contacts in the market, so he is getting your aircraft fuel today. Could you go with him to help sort it out, Mr du Pavey?"

Rufus nods eagerly, but Bodgan quickly continues. "As for me, I am at liberty! So I can take both of you to visit the Ataman – the elected leader of the Astrakhan Host."

Bogdan, the professor and I walk out of the market into the shadow of the towering blue-green domes of the cathedral. Beyond, we enter an area of wide streets lined with tall, regular terraces; large town houses. Their stucco frontages gleam white in the sunshine. The professor looks around.

"We might be in any fine city in Europe..."

Bogdan nods. "These are some of the best houses in Astrakhan. And – here we are."

He knocks on a shiny, black-painted door that could be that of a well-to-do house in London. A pretty young woman in a mob cap and servant's apron opens the door; Bogdan speaks to her.

"Elena! I have brought some friends to visit Mrs Sirko."

We step into a quiet, genteel hallway, carpeted with a thick Persian rug. The only noise is the ticking of a grandfather clock. A woman in late middle age appears from a doorway. Even I am taller than her: she's under five feet in height. But below her white hair, I recognise the shape of her face. I look at her strong cheekbones and the curve of her brows, above those brown, intelligent eyes.

"Come into the drawing room, Bogdan! Please, introduce your friends."

"Miss Agnes Frocester, Professor Felix Axelson – this is Viktoriya Sirko, widow of Pavel Sirko, former Ataman. And, of course, mother of your friend Yuri. And, she is the acting Ataman of the Astrakhan Host."

I'm doubly taken aback. It feels so odd to meet Yuri's mother like this. But also, I simply assumed the Ataman would be a man. In my head I'd had a picture of a woolen hat, a large mustache and a sling of bullets.

Mrs Sirko shakes my hand. "As Bogdan says, I am merely 'acting' as Ataman. Our true leader, like all other younger male Cossacks of Astrakhan, has joined the White Army. Most men were in military service anyway. Our Host has lost many fine men in the war with Germany: now it looks like we will lose more, in a war with our own people."

Bogdan nods. "Now that so many men are away, a poll among the remaining Cossacks felt that Mrs Sirko should lead the Astrakhan Host. But I didn't vote for you, Viktoriya."

"You cheeky wretch, Bogdan! But I too was surprised at that meeting of the Host, when almost every hand in the room was raised in favor of me, and there were voices shouting 'It pleases us for Viktoriya Sirko to act as our Ataman!'"

Bogdan grins. "They all wanted someone to boss us about..."

She pretends to ignore him. "Now – we must have tea!" She calls into the kitchen "Elena, bring the samovar into the drawing room."

The drawing-room is large, but cluttered with ornaments and mementos; on the walls, Cossack sabres are hung alongside paintings and etchings, all showing scenes of Cossack life; riding, hunting, and military service. I think of Yuri, growing up in this house.

Mrs Sirko sees me looking at the pictures. My attention is taken by a framed photograph of a uniformed man who looks like Yuri. She comes over, and we stand side by side looking at it.

"My husband; a fine man. Clever, too: he loved his books of science and history. It is the greatest sadness of my life that I married him when I was too young to really understand him. Soon after our wedding, he entered military service, then he was here at home only for one week or so in each passing year. Then one day I got a letter to say that he had been killed, in a battle with the Japanese near Vladivostok."

Despite her sad tale, she smiles brightly, and points out a different picture: a painting of a woman with plaited yellow-blonde hair, wearing a Cossack tunic and riding a horse. The woman carries a long, shining spear.

"That's Alena Arzamasskaia; she was a commander of six thousand men in Stenka Razin's war. So you see, I have my precedents as an Ataman. And then there is this! – as an American, you would like to see it."

She shows me a newspaper article about a business delegation to Astrakhan from Massachusetts that took place in 1913. I explain to her that I'm from near Boston, and I read the article. The article is accompanied by a photo, showing Mrs Sirko shaking the hand of one of the visitors. A tall, broad-shouldered young man stands behind her and towers over her. Of course, I recognise him.

Over tea we tell her our story. There is no point in secrecy any more: I see tears in her eyes as we relate the murder of the imperial family, and she curses softly under her breath. Then she looks round at us.

"I have no words for the actions of these Bolsheviks, or the punishments that God will vent on their souls. They are sons of devils! And the Tsar and his family – they are martyrs, saints! We must organise a meeting of all the lieutenants of the Host remaining in Astrakhan. The city is under Bolshevik control – but every citizen hates them, and us Cossacks hate them most of all."

The professor buts in. "As an outsider, madam, I would advise caution..."

"As an outsider, Professor Axelson, you are entitled to your opinion. But us Cossacks will make our own decisions, as we have always done. Now, onto more pleasant business. You see, I have a letter – from Yuri."

I hear a noise behind me: Rufus is coming into the house. He enters the room and bows low to Mrs Sirko before turning to the professor and me.

"I have good news and bad news. The good news is that we have some fuel. Dmitri has managed to acquire three large drums."

"Excellent!" Axelson's eyes light up. But Rufus goes on.

"My bad news is that the amount of fuel may not be quite enough to get us right across the Caspian Sea to Iran. You saw what happened in the desert – we can't risk running out of fuel above the water! So we have two options. We can wait here for more fuel to become available, but Dmitri thinks that might take several days. Or we could make one more refuelling stop, somewhere further south on the shore of the Caspian."

Mrs Sirko has put on her reading glasses: she looks at Rufus over the top of them, with raised eyebrows.

"Before you start planning your escape from Russia, young man, I think that Miss Frocester, at least, would like to hear my son's letter. Sit, please, and have some patience."

She picks up the letter, and begins to read.

"Dearest Mother

I hope you are well. You will be pleased to hear that I am in good health, my arm has healed entirely, and I am being well treated here in the prison at Baku.

Please do not worry on my account. I am sure that the mistake of my arrest will soon be corrected, and I will be released. And of course, the war with Germany is now over, and that means the end of my active military service. So when I am set free, I will be able to return home to you.

When I was brought here, I had a few glimpses of the sea. It was wonderful to see the Caspian again, even though Baku is a far cry from Astrakhan. But the distance is not in fact that great. So, once I am free, my journey to rejoin you will be a short one.

Unfortunately, this letter must be brief. Please give my love and best wishes to all the family, and all members of the Host, and assure them that I am being well treated. And, I have a request.

A young American lady, Miss Agnes Frocester, is investigating the Svea Håkansson murder, and has gathered important evidence, which she will share, if she can, with the Swedish government. They may make representations on my behalf, because they will wish to see the correct person brought to justice for the crime.

I would be grateful if you could write a letter to the Swedish government, to submit one piece of information to be added to that evidence. This is my testimony.

When we were in Moscow, we met my former colleague, Mr Bukin, who gave us his account of events on the day of the Håkansson murder. Mr Bukin told us that he was in the library of the main Dacha at the imperial estate of Tri Tsarevny, talking with the Tsarina, when he heard the shot that killed Miss Håkansson.

As Mr Bukin was telling his story, I recalled something I did not get a chance to mention, because I was arrested immediately afterwards.

When we heard the shot fired at Tri Tsarevny, I was in the 'Third Princess' house on the lake with Mr Grigor Rasputin. I went to the porch of Rasputin's house, and looked out to see what was happening.

I looked all around. When I looked up at the main Dacha, I saw a window being opened. Then, two figures appeared in it. Although they were far away, I am certain that I recognised the Tsarina, dressed in white, and Mr Bukin, standing next to her at the window. He was much too far away to shoot at Miss Håkansson.

Therefore, this is a solid alibi for Mr Bukin, and corroborates his own account of events.

If for any reason the Tsarina is unavailable as a witness, then this information may be useful. It does not of course help my own case, but I would not be at all surprised if the random finger of accusation was suddenly pointed at Mr Bukin instead of me. If that happens, my testimony may help to establish his innocence.

Your Faithful Son

Yuri"

For the second time this morning, I see tears in Mrs Sirko's eyes. I hear a single sob, then she bursts out. "You see! That is so like Yuri! – to spend most of his precious letter trying to help that Mr Bukin."

The professor mutters quietly. "If the Tsarina is unavailable... prophetic words indeed."

But I can't help myself: my question comes straight out. "So – Yuri is in Baku. Where is that?"

Mrs Sirko looks sadly at me. "Far away to the south, beyond any of the Cossack lands. I know no-one who has ever been there."

But Rufus smiles. "It's not really that far, by air. What's more, it's covered on our map. There are oilfields there; Baku is the Texas of Russia. And where there's oil, there's airplane fuel."

The wind is in my face. Thousands of feet below our aircraft, fishing boats bob on the surface of the Caspian Sea. The water stretches out below us, like a vast blue canvas. But a few minutes ago, a long coastline came into sight on the horizon. Now we can see it growing closer every moment. Beyond the thin line of a yellow beach, the land is covered with a dense, dark forest. The professor shouts to Rufus.

"Where's the airfield?"

"My map shows it next to the oil wells."

We're flying lower now, and suddenly I realise: the forest is man-made. The derricks of oil wells stand up like clusters of trees; they are shaped like tall, thin pyramids. Within minutes, we're above them, and ahead we can see an expanse of smooth baked earth; our landing place. The wheels bump and rumble along, and we slow to a halt.

It's not like Orenburg: no-on appears, and the airfield seems deserted. We get down from the airplane and walk towards a shed that, perhaps, functions as an office. It's completely empty. Rufus looks at us with raised eyebrows.

"An airfield with no ground crew! We'll have to go and search for some sign of life."

Beyond the shed, we walk towards the towering derricks. They are all covered with wooden clapboards, I guess to protect them from the weather. From here on the ground, they look like tapering, four-sided wooden chimneys. The derricks are packed literally side by side, like a chessboard with twice the proper number of chessmen.

We follow a path which threads its way through the derricks: it turns into a narrow, raised causeway of wooden planks. I can see why the walkway is raised above the ground: in the few places where there is bare earth, it is mixed with spilt oil into a slimy sludge. The soil is a victim of the greedy rush to extract every drop of 'black gold' from this land. The noise of the pumping grows with every step we take, as does the thick, heavy smell.

Ahead of us on the causeway we see a figure. It's a familiar sight: a man on guard. It is no surprise at all to see a rifle in his hands. He wears the usual red sash of the Red Guards. Rufus smiles and extends a hand.

"We're in an aircraft: we've just landed, and we need to refuel."

"Come with me." The man isn't unfriendly: he beckons to us, and we follow him deeper into the oilfield, among even more densely packed derricks. The clanging and banging of the pumping is a crazy cacophony. Finally we come to a small office, its walls and windows black with oily soot.

"Wait in there, please."

"Will you get someone who is authorized to provide us with the fuel? We can pay."

As we step into the office, Rufus shows the man his wallet, which is stuffed with notes. It's half the remnant of the money the Bolsheviks provided me in Moscow. The other half I'm keeping back, in case anything goes wrong and we still need money.

It's horribly hot and stuffy in the office. The clanking of the oil pumps is just as loud in here. We stand with sweat running down our faces as the man looks silently at the money. His mouth hardly moves, but I can tell by his eyes that he's impressed. After a few seconds he says "There will be no problems for you. Wait here – I will sort it out."

As the man disappears, Rufus beams with joy at us, but the professor looks more wary. "There is a English phrase, is there not, about counting your chickens before they are hatched? I will not relax until we touch down on Iranian soil."

Five minutes pass in the stifling heat of the office. Now and then, Rufus rubs his hands together expectantly. Axelson taps his foot nervously on the wooden floor; the vibration seems to be in rhythm with the noise outside. For some reason, it sets my teeth on edge.

I look out through a grime-covered window, and see the guard who met us, coming back along the walkway towards the office. His face under the shadow of his cap is smiling, as if amused by some private joke. Then, a few paces behind him, I see another man. Something in the way the second man is striding along the wooden causeway stirs a memory in me, a sense that I've seen the same thing before...

The door opens. The second man is General Aristarkhov.

"Miss Frocester, Professor Axelson – and Mr Rufus du Pavey. I should say I'm surprised to see you. But I'm not. Because, we've been expecting you."

My skin goes cold as the general explains.

"Of course, you may all be wondering why I am here in Baku. After I led a detachment of the Red Guards in the capture of the Winter Palace, I was rewarded by being appointed in charge of security and intelligence for the Baku Soviet Committee. There are many opponents of the Revolution in this city. I am here in order to investigate traitors and spies.

A few hours ago, one of my intelligence officers brought me a report from the Red Guards at Astrakhan airfield. They had spotted a large flying aircraft in the distance, heading towards the Caspian Sea. The aircraft matched a description of one reported stolen from Kamensk near Yekaterinburg, and another description too, given by staff at Orenburg airfield. The staff at Orenburg also described all three of you, in detail. And of course, I have been in touch with Commandant Yurovsky at Yekaterinburg. He explained to me about your unauthorized disappearance from Yekaterinburg. All the evidence added up."

I look at him open-mouthed. He shrugs.

"Russia is big, but we are able, contrary to what you Westerners think, to communicate across the miles."

The general's voice is filled with satisfaction. He pauses, as if to savor the moment, before continuing. "It goes without saying, of course, that you are all under arrest."

None of us respond. Because another voice speaks. It's the guard who first met us on the oilfield causeway.

"No, General Aristarkhov. It is you who are under arrest."

Looking Aristarkhov straight in the eye, the guard pulls off his own red sash. Then he flings it on the floor with a gesture of contempt. Aristarkhov is struck dumb with shock.

I see several armed men running along the causeway. The first of them throws open the office door. He points a rifle right between the general's eyes. Now, Aristarkhov finds his voice.

"What in the name of God is going on?"

One of the men laughs out loud. "General Aristarkhov, I thought you didn't believe in God! You're an atheist and a communist – so you believe in the power of the people, don't you?"

Aristarkhov stares down the barrel of the rifle, as the man continues.

"The power of the people! Well, the people of Baku have chosen. They want no Bolsheviks, no Baku Soviet Committee, no Red Guards. And they don't want _you_ , General Aristarkhov."

28 Letters of passage

I look out of my hotel window. My room is high up, and I can see the skyline of the city of Baku; the domes and minarets of mosques, the round towers and spires of the Armenian churches, the squat office blocks of the oil companies. It's a familiar view: we have been stranded here for seven weeks.

As Rufus would say, our arrival in Baku brought good news and bad news. The good news was, of course, that the Bolsheviks have indeed been toppled from power in this city. But the bad news is threefold. First, the airplane was requisitioned 'for the defence of Baku'. Without it, we have no means of escape.

Secondly, despite spending all my time making enquiries, I have not found Yuri. All we have discovered is that he was transferred from Moscow to imprisonment in Baku on Aristarkhov's orders. I was told by one indiscreet official the reason why Yuri was moved here.

"When the Bolsheviks ruled this city, General Aristarkhov's word was law. He insisted that Captain Sirko was transferred from Moscow to Baku, because the captain is accused of murdering a foreign lady, and there are delicate issues of diplomacy and politics. So, the general himself wanted to preside at Captain Sirko's trial."

The third bad thing is less easy to put into words. There is something undefined, uneasy, in the air here in this city. It's almost tangible. No-one in the streets of Baku looks at us; nor do they look at each other. Even the street markets are conducted in silence. Food, it's true, is in short supply. But that's not the source of the atmosphere that I sense. Right now, I look down from my hotel room window onto the street below me, and I see dark-robed figures of women and children flitting furtively from doorway to doorway, as if they are afraid to be outside their homes. Rarely, I glimpse people's faces; when I do, every pair of eyes is somehow the same. As if they are watching and waiting, for something that they dread.

When we first came to this hotel, my chambermaid mentioned to me that there had been trouble in the city a few months ago. Although she and I were alone in the room, she told me in a whisper.

"The Bolsheviks, and that man Aristarkhov, had arrested many people in Baku. All the men he arrested were Azeri people, who are Muslims. So, a few months ago, the Azeris marched through the streets, protesting against the Bolsheviks. Then Red Guards with guns came out to put down the protests, and they were joined by Armenians.

A lot of the Armenians carried weapons too – knives and so on. Some people said that the weapons were to protect themselves from the Azeris, but I don't know whether that was true. It is hard to know, in this city, what is the truth and what is a story. I grew up in Moscow, so I do not understand either side. But I know there are old hatreds in Baku between the Armenians and the Azeris."

"What happened to the demonstration?"

"The Red Guards started shooting at the crowds. After that, I was afraid, and I stayed inside this hotel. I saw nothing more."

But since then, over the course of many evenings in the hotel, we have found out more about what happened. Most people staying here are staff of oil companies; many of them in fact are Americans. All of them are desperate to leave, and every one tells us that they saw horrible things. They tell us their stories – but there is always a point where their voice becomes hushed, and then they say "I can't go into details."

From the stories, we have pieced together what happened. The Azeri men who took part in the protests were not the only victims. After the shooting broke out, the whole Azeri population tried to flee from the city centre, but they were chased by mobs armed with guns and knives. Azeri women, children and the elderly were slaughtered indiscriminately.

The Azeris who survived sent messages of appeal to their traditional allies, the Turks. After years of war, there is peace between Bolshevik Russia and Ottoman Turkey. So the Bolshevik leaders of Baku were confident that the Turks would not attack.

But now, things are different. Baku has deposed the Bolsheviks and declared itself separate from Russia. Its former leaders, including General Aristarkhov, are in prison. The newly independent Baku – the 'Central Caspian Dictatorship' as it calls itself – has no treaty with the Ottoman Empire. And of course, the city now has no protection from the Red Army. Soon after we arrived, we heard news that the Turks had agreed to support the local Azeri people.

A Turkish army has approached the city and is camped on the hills a few miles inland. Some days ago, we heard gunfire, but then it stopped, replaced by this strange silence. But everyone says the same thing: the Ottomans will attack soon. They will avenge the massacre of the Azeris. 'An eye for an eye, a tooth for a tooth' is the phrase I hear every day. No quarter will be shown to men, women or children.

There's a knock at the door. I don't call out in response, because I'm afraid. Instead, I go and get the gun I found in the lake at Tri Tsarevny. Every day we hear of incidents of violence, fights between Azeris and Armenians, that quickly result in weapons being drawn.

The professor and Rufus are not in the hotel right now. They went out a few minutes ago to buy food, and I don't expect them back for an hour or more. I still have much of the money that I received in Moscow: it is cheap to stay at this hotel, but food is expensive. So every day we buy bread, and eat it openly in the hotel restaurant. None of the staff care.

The knock comes again, accompanied by the timid voice of a hotel porter.

"Apologies for disturbing you, Miss, but there is a gentleman waiting to see you in the bar."

I put the gun in my handbag and go down to the hotel bar, a shabby place that's almost always deserted. Rows of bottles of vodka, whiskey and even champagne from the oil-rich days of the past gather dust on the shelves.

A tall man wearing a khaki British Army uniform stands at the bar. His crinkled brows and lined face are those of a man in his fifties, but he stands upright, and his eyes sparkle with the spirit and energy of youth. His hand extends to mine.

"Lovely to meet you, Miss Frocester. I hope your stay here is not too uncomfortable? I'm Lionel Dunsterville – General Lionel Dunsterville. But I insist you call me Lionel. I'm here because I have some important news for you. May I buy you a drink?"

"Thank you. I'll have a small brandy. I'm sorry: my companions are out – looking for food."

He turns the barman. "A brandy and a Scotch whisky, please." Then he looks at me. "The food prices are absurd. I buy food for my army; I pay twenty rubles for a water melon, four rubles for a bottle of mineral water and three rubles for an egg. They say an army marches on its stomach." He looks at me with a wry smile. "But, I'm not here in a military capacity. I'm here, in fact, to deliver a letter to you."

"Sorry, ah – Lionel. Could I stop you there? You have an _army_?"

"An extremely small army; we drove here in a few Ford cars. The British command decided to give my troops the ridiculous name of Dunsterforce. But everyone calls it the Hush-Hush Army. Officially, we don't exist."

I look at him, trying to take in what he's saying. "It sounds very odd. I suppose it's all top secret? How much can you tell me?"

"There's not much to tell, Miss Frocester. We've been sent here from British bases in Iran, in a desperate attempt to protect the people of Baku from the Turks. We're camped up there on the hills, so that we stand between the Ottoman Army and the city. But there's a only a handful of us. We can't save Baku."

"So the rumors about the strength of the Turkish Army are true then?" I look around the deserted bar.

"The situation is probably worse than any of the rumors. The Turks, along with mercenaries and Azeri irregular troops – which means boys with guns – outnumber us fifty to one. Of course, we have the support of local Baku troops, mostly Armenian, but they are completely untrained. They don't have a clue. Last night at sunset, for example, I inspected the front line. In one place where there should have been a whole Armenian battalion, there were seventy men. Then I went on to the most dangerous point of the line, where a Turkish attack is most likely. We should have had two machine guns and hundreds of men at that point, but there was no-one – no-one at all! Then I came down into Baku and found all the missing troops here, loafing about at the harbor."

"Can nothing at all be done?"

"I've spent days arguing with the governors of Baku – the self-styled 'Caspian Dictators'. Most of them are only a few years out of school. They are idealistic fools, who are very pleased with themselves for kicking out the Bolsheviks. They spout a lot of nonsense about bravery and heroism, but they have not even been up onto the hills to take a look at our defences." He looks wearily out of the window. When he turns back to me, there's a haunted look in those blue eyes.

"I have told the Dictators, Miss Frocester, that there is only one thing we can do – and we must do it quickly. We must send a flag of truce to the Ottoman Army commander, and tell him that we need to evacuate all women and children from Baku. If the Turks will allow safe passage for those civilians, we will surrender the town and all the oilfields intact. But we must also tell the Turks that if they refuse, we will destroy everything we can in the oilfields, including the machinery that pumps the oil through the pipelines to the tankers in the harbor, and to Batumi on the Black Sea. That's the only reason the Ottoman Army is here."

"I thought the Turkish Army is here to support the Azeri people?"

"No, Miss Frocester. They are here for only one thing – the oil. Now that the Red Army is no longer here to defend Baku, the Turks have spotted their chance to grab the oilfields for the Ottoman Empire."

"You mean the Turks are just using what happened to the Azeris as an excuse to attack Baku?"

"Exactly. But all the same, when the Ottomans capture Baku, I fear desperately that there will indeed be another massacre like the one in March. The Azeris will take their opportunity for full revenge on the Armenians."

I see something shining in his eyes: it's tears. But he smiles at me.

"Anyway, chin up, as they say! Now, to my business. I have some correspondence for you, from an acquaintance of yours – Lord Buttermere. When he heard that the Hush-Hush Army was setting off from Iran, he wired me with every detail, and it's all set down in here."

He hands me a bulky envelope. I take out a sheaf of letters, and read.

"Dear Miss Frocester

It has come to the attention of British Intelligence that you, Professor Axelson and our former agent Rufus du Pavey are stranded in the city of Baku.

As the bearer of this letter will explain, we are making all efforts to defend Baku against attack by the Ottoman Empire. But we are virtually certain that the small British force we can deploy will, at best, only be able to slow the Turkish advance, not prevent it.

Therefore, I enclose, with this letter, three letters of safe passage; one for each of you. Each letter is written in Russian, Turkish and Persian. Please hand the letters to the new governing authorities in Baku.

The letters are addressed from the British Crown, and request Mr Lemlin, Mr Sadovsky and the other Caspian Dictators to provide you with safe passage out of Baku, by use of a boat which can sail the short distance to neighbouring Iran.

The Dictators are very likely to agree to this request. They are keen to have British support: they depend on the forces commanded by General Dunsterville for their survival.

As soon as you arrive in Iran, please present yourselves to the British consulate at Bandar-e Anzali, who will organise your travel to Tehran and your repatriation onwards from there.

I will close this letter by stressing the importance of you of using the letters of safe passage immediately. We are very close to defeating the Kaiser and all his allies; Western Europe is finally about to become a place of safety and peace. Baku, by contrast, has become the most dangerous place in the world.

Yours sincerely

Clarence, Lord Buttermere"

While I've been reading, the general has been sipping his Scotch, his face thoughtful. He says quietly "I don't need to tell you to heed the contents of that letter: you're an intelligent young woman. In fact, you remind me of my wife, when she was young."

"Were you thinking of her, just now, when I was reading the letter?"

"Yes. Very much. Daisie is in Mumbai, waiting for me. I was daydreaming about her. If you must know, I was wondering if I will ever seen her again. Right now, it seems highly unlikely."

He stands, bows, and takes his leave of me. I watch him walk away, through the hotel lobby – and I see the professor and Rufus arriving, with rueful looks on their faces. They come over to me. "Nothing in the market, we're afraid, except these two flatbreads."

I explain about the letters of passage, and the professor nods sagely. "Let's take the letters to the city governors. Right now."

Warily, we step out of the hotel into the silent streets. It's only a five-minute walk to the governors' office. I show the letters of passage to the clerk at the desk, and add "And, you have in captivity a Captain Yuri Sirko. He must be released, and accompany us when we depart for Iran."

The clerk says nothing, and he looks down, avoiding our gaze. He disappears with the letters. Rufus looks at me. "We may get out of here, but they are hardly likely to release your friend."

We wait: minutes seem like hours. But then the clerk returns.

"Your requests for safe passage will be granted. A steamer, the Circassia, is sailing to Bandar-e Anzali in Iran in three days' time, to collect further military supplies for the defence of Baku.

At a point in time before its departure, we will send an authorized person to accompany you to the Circassia and ensure you are safely aboard. You may then spend the remainder of your time in Baku aboard the ship in the harbor, until it is able to depart. That will be safer for you. At the end of your voyage to Iran, you may disembark in Bandar-e Anzali, and we will arrange for members of the British Consulate to meet you there."

The professor and Rufus can't contain their smiles. The clerk continues. "The Caspian Dictators will discuss the release of Captain Sirko. But in the meantime, you may visit him. I am not at liberty to say where he is imprisoned. But the authorized person, before taking you to the Circassia, will come to your hotel and accompany you to see the captain."

"When?"

"When an official is available, Miss. As you can see, our staff are stretched rather thin here in Baku. But when he is available, the authorized person will call at your hotel and take you see Captain Sirko, and then on to your ship."

29 Death in September

Last night, I didn't sleep. Soon after midnight, the strange silence ended. The air erupted with the high-pitched whistling of shells, the heavy blasts of explosions.

The Ottomans are attacking at last: they have captured the slopes above Baku, and are now firing directly down into the harbor. The sun is rising in a cloudless sky; between the shrieking shells passing overhead, I hear birds singing in the old garden of our hotel. But the hotel itself is deserted, except for the professor, Rufus and me. At dawn, I came down to the lobby and found no-one here; the professor's guess is that all the staff, being Armenian, have fled to the harbor in fear of their lives, to try to find a ship out of Baku.

For the last two hours, the three of us have been waiting here in the lobby for the promised official who will take us to visit Yuri, and then to our ship. We've decided to wait just one hour more. Once that hour has passed, we, like the hotel staff, will simply have to make our own desperate efforts to find an escape.

The shadow of a man appears in the hotel doorway, then he steps forward. He's a fresh-faced youth, virtually a boy, dressed in the dark suit typical of the Baku government officials. He speaks nervously.

"Three passengers for the Circassia?"

I answer him. "Yes. But we also need to visit a Captain Sirko, who is in jail somewhere in this city. We were told that you would be able to take us to him. And we hope he can be released, and accompany us out of Baku."

"Of course. I have a warrant for the captain's release, signed by the Caspian Dictators."

I can hardly believe it. But I don't have time to take in the good news; the professor's voice is brisk. "Well then – let's go immediately."

We hasten down the hotel steps into the bright morning air. For a moment, the noise of the Turkish shelling has ceased. The sunlight casts sharp shadows across the street. On the lowest step of the hotel, the man turns to speak to us.

But no words come out. He looks at me, his eyes wide open; an empty, expressionless stare above his open mouth. Then he falls, clutching his chest. Blood squirts out between his fingers, spattering my dress.

"Sniper!" Axelson drags me around the corner of the hotel. "The devil was hiding in the shadows across the street."

We crouch in a shallow alcove in a wall, scanning everywhere for danger. I stare at the professor. "Where's Rufus?"

But as I look up, Rufus appears, panting for breath.

"That was a close one! I've had a quick look at that poor fellow; he's a goner, I'm afraid. Bullet right through the heart. But I went through his pockets. I took our boarding passes for the Circassia; here they are."

"Well done!" Axelson breathes his words: we're all in stunned shock. Rufus is trembling, but he carries on explaining.

"I also found a note in the man's pocket. It says where Captain Sirko is imprisoned: in the police cells on the upper floor of the Baku Courthouse. And there's this, too."

Rufus holds up the warrant for Yuri's release, with the names and signatures of the Caspian Dictators at the bottom.

We inch our way along the hotel wall, looking around all the time for snipers. We can see no-one, but we know that any shadow might hide a gun. Eventually we reach the end of the block, and, peering warily in all directions, cross a deserted street. Axelson holds his hand to his ear.

"Listen!"

Rufus eyes him. "I can't hear anything."

"Exactly. The noise of shelling has stopped."

"What does that mean?"

"I have no idea. How far is it to the courthouse, Miss Agnes?"

"Four blocks. And from there, two more to the harbor."

We pick our way along the street. It is so empty that we might be the last humans on Earth. But I hear a new noise, like the buzzing of bees.

I point, although there is nothing to see. "That strange sound – it's ahead of us."

We continue moving along, still watching warily for snipers. My heart pounds with every step. The buzzing sound increases, a murmuration that seems to reverberate along the street. I can hear distinct sounds among it now, like a high edge to its guttural rumbling.

Then I realise. The mixed sounds include human screams.

A man steps out from a doorway, right in front of us. He's dressed in a ragged robe, and holds an ancient rifle, pointing it at my chest. It touches the material of my dress. He speaks in broken Russian.

"Is this girl Jewish?"

The professor and Rufus stand either side of me; none of us has any idea what is going on. Then Axelson tries his best at a smile, and asks the man. "Why do you need to know?"

The gun swerves away from me. It now jabs into the professor's face.

"So – she belongs to you, old man! I've been told I can have ones like her – unless she's Jewish. We had an order from the commander that we must not touch the Jewish women."

The muzzle of the gun is alongside the professor's nose, pointing straight into his right eye. The man's finger strokes the trigger.

"Well?"

Axelson replies, choosing every word. "We are all three of us Jews, from overseas. We are a diplomatic mission to the Turkish government."

"I know nothing about the Turks, except they have paid me and others to help them capture Baku. Now that we are victorious, the Turkish Army is allowing mercenaries like me to plunder the city first, as is traditional in the Ottoman Empire. We've been told we may do anything we like to the women – except Jewish ones."

He lowers his gun, sliding it down the professor's cheek, then pointing it away from us. There is almost a concerned look in his eyes, as if he is giving us advice. "You three Jews – take care, above all things, that you are not mistaken for Armenians."

Then he steps away from us, and waves us cordially on our way.

We walk on. None of us say anything: we are all stunned by the encounter. I feel chilled to the bone by the man's words. The air is now strangely quiet: the buzzing sound has gone. The street is empty. We're now just one block from the courthouse. We turn a corner, and I step immediately into a deep pool.

Blood covers my shoes.

I lift my head, my eyes look in front of me, like an automaton. My skin is like ice: I feel blood drain from my face, my arms and legs. I have no control of my body: there's warmth running down the inside of my thighs, as my bladder opens involuntarily.

The street is completely covered with naked bodies. All of them are children.

"Come this way." The professor is pulling me back from the scene: he's noticed an alley leading away from the horror. On one side the alley is closed in by a long wall; on the other, buildings tower above it, and scores of windows look down on us. There could be armed men at any window. But we just walk, without speaking. I don't even look up at the windows for snipers. I'm almost unaware of my surroundings; I put one foot in front of the other, and after two minutes the open door of the courthouse appears in front of us.

Wordlessly, we go in. There is no-one at all inside. The marble floor, the ornate pillars, and the classical-style statue of blindfolded Justice, a nude woman holding a sword and scales, all seem like an obscene joke. I see the rooms and corridors of the courthouse passing before my eyes, as if in a dream. We come to a door marked "Cells", and push it open. Then we follow a flight of steps upwards.

At the top of the stairs, a passageway is lined with heavy wooden doors. Each has a small window in it, and at the first window, I see a face.

"Agnes!"

The face I see, the voice I hear, is Yuri's. But the sound seems to come to me across a great empty distance.

The slaughtered children fill my sight; I don't know what is real anymore. I must be dreaming, because one of the murdered victims is right in front of me, in the cell-lined corridor, standing and speaking as if still alive.

The little girl is talking to me, talking to Rufus, and to the professor. In my crazy dream, she is speaking in English, with an American accent. She's about twelve years old. Brown hair frames an oval, olive-skinned face, and she wears a simple white smock. The dead child is holding out a bunch of keys and pointing to the cell doors, Axelson is taking the keys from her, speaking to her, this flesh-and-blood ghost...

"You fainted for a moment there, Miss Agnes."

Professor Axelson is speaking. I open my eyes. I'm sitting on a wood-slatted bed in Yuri's cell. Four faces surround me; the professor, Yuri, Rufus – and the girl. I speak.

"Was it real – what we saw, out there on the street?"

The professor nods gravely. "Baku, I'm afraid, has become a human slaughterhouse. We can only hope that our ship is in the harbor – and that it hasn't been sunk by the bombardment. Perhaps we can still get there. This young girl is Armenian: she came up here to the prison cells to hide. We must take her with us: to leave her in Baku would be the cruellest form of murder."

I look at the girl, my eyes staring and blinking stupidly. Get a grip, Agnes. I try to speak sensibly. "Do we have keys for the other cells? Are there other prisoners in here?"

Yuri looks at me. I hear the voice I've missed for so long.

"I'm glad to see the color coming back to your cheeks, Agnes. And to answer your question – yes, there is one other prisoner in these cells, someone you know. I couldn't believe it when I saw him brought in here! But let's forget old grudges. I'm going to try the other keys, one by one, in his cell door, and release General Aristarkhov. Then all of us must get to the harbor."

Yuri stands up, holding the bunch of keys. But he gets no further. Our eyes all swivel to the open door of the cell. It's filled by the figure of a tall, powerful man. Behind his shoulders stand two soldiers, brandishing guns with saw-edged bayonets.

The man's uniform is pale brown, like sand: his chest is covered with medals, and a gold chain extends from his shoulder to his waist. He wears a tall fez, below which I see a startlingly handsome face, like that of a Mediterranean god. My gaze takes in his perfect olive skin, his strong classical nose, and eyes like deep, limpid pools. Judging by his uniform, he's a very senior officer, but his physique beneath the uniform is athletic and youthful. His full lips part in a smile, as he speaks in perfect Russian.

"Don't think about trying to escape. Baku is now part of the Ottoman Empire, and you are all my prisoners."

30 The memory of bones

There's a moment's silence, then the man stares at Yuri.

"Give me those keys."

Yuri looks at the light glinting on the soldiers' bayonets. He drops the bunch of keys into the man's outstretched hand. The man looks at us all with those clear, deep-brown eyes, and speaks again.

"Now, all of you – hand over that Armenian child. She is not part of your group. She is booty for the mercenaries and irregular soldiers."

Yuri is still standing in the middle of our cell. He holds the intruder in his gaze; his voice is low and polite, but seems to echo off the walls.

"Who are you, sir?"

The man's face hardens. "I'm Commander Kılıç Pasha, of the Ottoman Army of the Caucasus."

"Kılıç Pasha, I am Captain Yuri Sirko of the Tsar's Astrakhan Cossack Host. The Armenian girl is under my personal protection."

The man glances back at his two soldiers; he speaks contemptuously. "Take the girl away."

The soldiers step forward. One of them angles the point of his bayonet towards Yuri's neck. But Yuri looks unblinking into Kılıç Pasha's eyes, and speaks again in that soft but compelling voice.

"I have some knowledge of Turkish soldiery. You have a strong code of honor."

"You are right: we are men of honor, who abide by our promises. We pledged not to harm any Jews in the taking of Baku, and we are honoring that promise. But our pledge does not extend to Armenians, or to any legitimate prizes, including the female population of any city that resists our Empire. So, my decision about the girl is final."

Yuri simply continues talking.

"I speak as one soldier to another, Kılıç Pasha. Like you Turks, we Cossacks also have our honor. A Cossack will keep any promise that he makes."

"So?"

"I made a promise to defend this little girl. I will do that with my life. So you and your men can expect to die, if you take another step toward her."

"We are the ones with the guns."

Yuri says nothing. He simply stands and looks: the cell seems filled with his presence. Kılıç Pasha stares at him. Then he makes a movement with his head, and the soldiers step back.

"Very well. Leave the girl – for the moment. Bring the other prisoner, the older man in the cell at the end of the corridor, into this cell. We will keep all the prisoners together."

The two soldiers leave the cell; within a minute, they reappear. Between them, they hold General Aristarkhov. Like Yuri, he's been allowed to wear his uniform in the jail. He looks none the worse for his imprisonment; in fact, he has his usual bold, noble bearing. He looks at each of our faces in turn, as if viewing a range of pictures in a gallery. Then he turns to Kılıç Pasha.

"Unlike the rest of these prisoners, I represent the Bolshevik Russians, who until recently were the rulers of Baku."

Kılıç shrugs. "What is that to me?"

"It is of the utmost importance. Under the treaty of Brest-Litovsk, which was signed by your own ruler Talaat Pasha, Russia retained sovereignty over Baku. By invading the city – and by taking me prisoner – you have put yourself in breach of that treaty."

Yuri interrupts the conversation. He looks straight into Kılıç Pasha's handsome face.

"I'm not a supporter of General Aristarkhov. But what he says about the treaty is true. Do you want a resumption of the war with Russia? Or to put it more precisely – do you want Talaat Pasha and the Turkish government to blame you, Kılıç Pasha, for reopening hostilities with Russia?"

Kılıç pauses, and Yuri presses home his argument.

"If war does break out with Russia, I'm sure Talaat Pasha will forgive you. He is such a compassionate man."

Axelson can't help it: he bursts into a loud guffaw. Aristarkhov seizes his opportunity.

"As I have a high position within the Russian government, I would be very happy to agree a mutually satisfactory settlement for the future of Baku with you, Kılıç Pasha. I can make an agreement with you that will not violate the terms of the Brest-Litovsk Treaty – but that will secure for the Ottoman Empire the oil supplies that it so desperately needs."

The professor stands, and steps forward. "Gentlemen. Such an agreement must include the safe passage out of Baku for all these persons here in this cell. Kılıç Pasha – as a man of honor – can you include that in your agreement with General Aristarkhov?"

Kılıç is thinking. He looks at each of our faces; the professor's wise demeanor, lined with exhaustion; Yuri's calm, almost smiling face; Rufus and the young girl, both wide-eyed and anxious, and Aristarkhov's proud, unbowed bearing. Finally, Kılıç comes to a decision.

"I will speak to you first, General Aristarkhov – alone. Then, maybe, I will talk to others in your group. For the present, none of you will be harmed. You will all be kept here in this cell. Do not try to cause any trouble."

There's no electric light, but a tiny grille looks out onto a small courtyard, level with our cell. The courtyard is surrounded by high, blank walls, but a little daylight filters down from the blue square of sky high above. I go over to the girl and sit next to her, a silent effort to give some comfort. At one point we hear a scream from outside: a piercing, squealing sound. The girl looks into the distance, as if we're not surrounded by stone walls, and says one word.

"Sara."

There's silence outside now. The girl is looking straight ahead; each of us glances at her, hardly daring to breathe. But after a few moments the professor shakes his head fatefully. He speaks to the girl.

"Who is Sara?"

She replies in English, with that strange American twang. "Sara was my sister. I want to be with her."

"Where is she?"

"In heaven."

The professor pauses. In all the years I've known him, I've never seen him so tentative, so uncertain. After a few minutes, he echoes her statement. "You say you want to see Sara in heaven?"

"And all my family. They live in heaven now. I don't want to be here on earth anymore. I want to be with them, to fly away, so I don't have to see the bones again."

Axelson speaks gently and slowly. He doesn't bother with the usual tones and cadences of his hypnotic voice. He simply asks.

"Tell me your story."

For a brief moment, light slants through the grille; the beams touch specks of dust in the air, illuminating them like tiny stars. The girl begins to speak.

"I am Mariam. I don't remember my mother: she died when Sara was born, when I was two years old. We grew up with my Father and Grandma. Father was kind and gentle, but he could not be with us during the day, because he worked in a bank in our city, Tarsus. He worked hard, but his work paid for a beautiful house. My Grandma looked after our house, and we had two servants too.

One day, about three years ago, the soldiers came to our street. It was a Sunday, and we had just got home after church. I looked out of the upstairs window and I saw the men in their Turkish Army uniforms, standing outside Mr Gulbenkian's house. Then a few moments later, Grandma said 'There are soldiers at our door, too.' And Father said 'I will go and talk to them'.

He was there at the door talking to them for a long time. The soldiers were showing Father a piece of paper, they said it was an order from the government. The order said that Father must go away with them. The soldiers were explaining to him 'It is wartime – men like you must work for the Ottoman Empire'. Father held me and Sara very close, he kissed us and said goodbye to us. Then he was gone.

A few days later, I was walking home from school when I saw lots of furniture and carpets in the middle of the road, and a man was shouting out prices. I went over and looked, and I recognised the furniture. I said to the man 'This is Mrs Poghossian's rug!' He laughed at me and told me there was a new law. Nothing could belong to Mrs Poghossian, or to any Armenian, any more. Everything we owned belonged to the Turkish people now. I didn't understand, so I went home.

Grandma was out on the street in front of our house, and all our furniture was there, and Sara was there, crying, and there were men carrying out our carpets. They said we had to leave our home, because there were new homes for all Armenians, in a place called Syria.

I said to one of the men 'How will we get to Syria?' and he said 'These soldiers will get you to Syria.' The soldiers were standing there, holding guns. They stood around all the children from my school, and their mothers, and all the old men who lived on our street. All the younger men had gone already, of course.

I thought Syria would not be far, but I was so sad we were leaving, and scared, because I did not understand. I wished Father was there. The soldiers said we had to march. We marched right out of Tarsus into the countryside, and did not stop until it was dark; we were glad it was summer, because the night was not too cold. But when I woke in the morning, I heard wailing and crying. 'Anoush has gone!' An older girl, Anoush, had disappeared. And then we realised others had gone too – many of the young women; they had been taken away in the night. And I felt very afraid, but the soldiers said we had to move on.

After that I can't remember well; the road was hot and stony, Sara and Grandma struggled to get along. The road went on for ever."

Mariam pauses. We all sit quietly in the gloomy cell, waiting for her to resume. A hundred things are going through my mind. It's silly of me, but her American accent gives me the feeling that she's not talking about some faraway place in Turkey. It's like the illusion I had on the streets of Yekaterinburg: I see the houses and people of my hometown.

The little beam of light has gone now. I glance out through the grille into the courtyard. It's just a blank space, a few yards square. There are tall brick walls on every side, and a concrete floor. In the centre of the floor is an iron hatch. Perhaps it's a place of execution; a place where a gallows could be erected, and the hatch could function as a trapdoor below a noose.

I hear Mariam's voice again.

"At last, the long walk came to an end. We came to a town, and the soldiers said 'This is Osmaniye, it has a train station. You will wait in a nearby camp for the train to Syria.'

They put us into a village of tents. I was so scared, because the tents were surrounded by iron spiked fences: it was like being in a cage. And Grandma was shouting, many of the women were shouting, asking for food and water, but there was none.

There were so many of us in our tent, several families. Nothing happened for two days, then someone handed out water but no food. Grandma became very weak, she could do nothing but lie on the ground under the tent.

And then bread was handed out. They gave some to me but not to Sara, so I shared mine with her and Grandma. But Grandma couldn't eat.

We were so crowded, and itchy; our clothes began to be full of insects. 'Fleas and lice' said Grandma, but she was too weak to do anything; she just lay there with the insects biting her. I tried to pick them off. And she said 'Don't bother, Mariam. Let them bite.'

I don't know how long we were in the tents, but I had a headache – so, so terrible. I also had a fever, like I was on fire, and I could not look at the light, I had to keep my eyes closed. My whole body ached. Then one day, I found I could look around again, and the headache was less. But I felt so tired, like I wanted to lie down forever.

The next day, Grandma started to get ill, just like me. The fever was so bad, she said she was in a fire from Hell. And she was coughing and covered in sores, not just from the insect bites but from the illness. And then she seemed to come awake again. She could not sit up, but she looked at me and Sara, and told us she had a dream. In her dream, the soldiers – the ones who took Father away – got out guns, and killed him.

Sara started shouting 'They killed my Father! The soldiers killed my Father!' It was the middle of the night, and two soldiers came into our tent, they told her to shut up, but she kept on shouting. And then they dragged her away, and other soldiers held me down while they took her away. I could hear her screaming, it went on and on. And then suddenly it stopped.

Grandma did not wake up the next morning; her eyes were open and her skin was cold: I knew she was dead. Grandma and Sara had both left me, and gone away to heaven. I didn't know what to do, I just cried and cried, but then other men came, and they pulled me out of the tent, and made me stand up. They were not soldiers, but they had guns, and they pushed me and everyone else at the camp with the guns, to make us move to the train. The train was a line of many wooden trucks, like boxes. All of us who were still alive were pushed up steps into the trucks. There were about a hundred people with me inside the truck. Then the men slammed the door and bolted it.

But the train didn't move. It got very hot in the truck. So many people had the fever; we lay piled on each other on the floor of the truck. And then the train started moving, for hours. Finally, it stopped.

The doors of the truck opened. Those of us who could move sat up, and looked out. Someone said 'Is this Syria?' and there was a soldier there, a big tall man with a whip, and he said 'For you, this is Syria.'

Then the big man hit a woman with the whip, she was screaming and couldn't stop, but his shouting was louder, telling us again and again to get out of the truck. There were no steps; we just fell down by the tracks. He was whipping people until we were all out of the truck, and other men were doing the same in each of the other trucks. And then the train started moving again, and it went off into the distance, leaving us all lying beside the tracks.

I had little strength left, but I looked around. It was a flat, stony white plain, and so hot, as if the air was on fire. And I looked out, and among the white stones, I could see bones. There were bones everywhere. A few had rags of clothing, and I could tell by the style of the clothes that all these bones had been Armenian people.

None of us moved. We were weak, we had no food or water, and everyone had the fever. All we could do was lie in the hot sun, like meat on a burning griddle.

When I awoke, I could hear strange voices. Then a man came over, and then a woman. I was lying in a bed, in a cool, white room.

Later, I learned that the man and his wife were missionaries. They were called Karl and Paula Clements, and they were from America. They had been travelling from Damascus to Tehran, in Iran. They had found me alongside the railway line; I was the only person still alive. They had taken me along with them, and we were in a hospital in Tehran when I woke up.

From Tehran they brought me here to Baku, to the orphanage that they were in charge of. They taught me to speak English, and I had many other lessons too, and on Sundays we all went to the Armenian church in Baku. I hurt so much, inside, with the bad memories. But I loved Karl and Paula. I was at the orphanage for two years. Then, Karl and Paula were taken away by the Red Guards."

There's a sound, and Mariam looks up: we all do. The door is flung open: a soldier stands there in a scruffy, torn uniform, and barks at us. "Interrogation will be conducted now! I need Agnes Frocester."

31 Through the trapdoor

The soldier leads me down the stairs, back to the lobby with the statue of blind Justice, and opens a door into an office. As I'm led through the door, I glance back across the lobby. General Aristarkhov is there, sitting on a bench against the far wall. A soldier with a gun sits on another bench, guarding him. Then the office door closes behind me. Kılıç Pasha and I are alone.

He sits in a padded leather chair, behind a wide desk covered with lists and maps; heavy books hold down the curled corners of the largest map. His hand goes to the pocket of his trousers; he pulls out a packet of cigarettes.

"Smoke?"

"I don't, thank you."

"Very well – Agnes." He smiles. "Your Western names, they can be quite attractive."

Kılıç lights his own cigarette, all the while looking at me with those huge deep eyes. His teeth are white and regular; his hair is immaculately groomed. I realise that he's very aware of his striking good looks, and their impact on others, especially women. He smiles again.

"A drink? You look like you could use one. It would help you relax a little, loosen up, you know? These Russians have left a bottle of vodka here. Judging by the label, it's the finest quality."

I refuse politely as he gets out a bottle labelled "Smirnov" and puts it on the table. He smiles again as I watch him pour a large measure into a glass.

"You want to say something, don't you, Agnes? Speak your mind, please."

"I – didn't realise that Muslims drank."

He sips his drink before replying. "I was right – it's very good vodka! And your question, Agnes – it's exactly the one I expected you to ask. But you may be surprised by my answer. I'm not a Muslim."

"Oh."

"The Qu'ran, just like the Bible, talks about a merciful and compassionate Deity. But I believe in your Mr Darwin, and the survival of the fittest. Mercy and compassion are for the weak."

I don't answer him. He puts down his glass, and then he takes the cigarette and stabs the glowing butt into the finely-veneered table. A burnt stain radiates from it: he watches the little black pattern for a few seconds, as if fascinated by it. Then he looks straight into my eyes.

"I have faith in strength, in power. I am a member of the Young Turk movement, and I believe in the destiny of a wider, pan-Asiatic Turkey. My inspiration is the power wielded by the ancestors of the Turks: Asian heroes such as Attila the Hun and Genghis Khan. The power of the Turkish race – before it was softened and weakened by religion. Power without mercy."

He pauses to put the glass to his lips again. After drinking, he holds it out to me. "Try it."

"No thank you."

"What if your friends were to be shot by my men, if you refused? I could order that, quite easily. Now drink the vodka, Agnes. Finish the glass. I want to see you lick your lips."

I take little sips, listening as his voice goes on. "Long ago, my ancestors were the world's most feared warriors. Modern Turks can harness the genes of our ancient ethnic origins."

I say nothing; I just hope this meeting will soon be over. Under his watchful eyes, sip by sip, I finish the vodka. I taste the burning sensation in my throat. But strangely, my mind is miles away. I'm remembering the slogans of the Bolsheviks, their talk about creating a better world for the workers. Those ideas led to the hideous slaughter I heard in the cellar at Yekaterinburg. But this man's notions about race and power seem even more repulsive.

Suddenly, Kılıç looks bored with his own monologue. He ask me a question, sharply.

"You saw that man, who was in the other cell, and who is now sitting in the lobby?"

"Yes."

"What is his full name?"

"General Evgeny Aristarkhov. He's a commander in the Bolshevik Army."

"Was he involved in the Bolsheviks' capture of the Tsar's Winter Palace in St Petersburg? Did you see him there?"

"Yes, I did. He was commanding a group of the Red Guards."

Kılıç nods, and I sense satisfaction in his face. Despite the simplicity of his questions, I have a feeling they are leading me into a trap.

"Before that, did you see General Aristarkhov at a place called Tri Tsarevny?"

"I did. He ordered me and Professor Axelson to leave."

He nods again, and sit back in the leather chair. He lights another cigarette, blowing through pursed lips, idly watching the swirls of smoke rising. I glance at the map, its edges curled and torn, and the other papers scattered across the desk.

"I have only one more thing to ask you, Agnes. Did the general have an assistant called Vasily Bukin?"

"Yes, he did."

"And this Mr Bukin – what were his responsibilities?"

"He told me he took care of the personal security of the Tsar's family."

I can't help thinking back, again, to what happened to that family – and, indeed, the sad story of Mr Bukin himself. But Kılıç himself stands, and calls out.

"Take this woman back to the cell."

The soldier reappears; again I notice his ragged, stained uniform. I go back into the lobby with him. I don't bother to glance at Aristarkhov, because now I know why he is waiting there. Instead, I say to the soldier "I need the bathroom."

"I'm taking you to the cells."

"I need the bathroom. Only for one minute. Please. I can give you this."

I hold up a ten ruble note. The man looks at it, and immediately says "Twenty." I pull out another ten, and press both notes into his hand. He opens a door I'd noticed before, next to Kılıç's office, and hisses "Be quick!"

Inside the bathroom, I press my ear to the wall, and push my finger into my other ear. I can hear the blood pumping in my head. Then, I hear Kılıç's door opening and closing.

"Welcome back. I've now checked some key facts about you. Among the prisoners, I chose to question the woman. She has confirmed that you are indeed General Aristarkhov, as you claim."

"I saw her, going into your office."

"I chose to interrogate the woman, because I have a lot of experience of women. I know they lack the intelligence to construct effective lies. If what that woman said about you had been untrue, I would have easily spotted her attempt to deceive me."

"And – what did she say?"

"What she said, General, matches your own account perfectly."

"Good. So, Kılıç Pasha, do you accept that I have the seniority within the Bolshevik government to agree terms with you, for a binding treaty for Baku?"

"Yes. You and I can do business. I will also personally ensure your safe passage back to Russia, after you have signed the treaty. And of course, General, you will not be returned to the cells now. We will arrange the best temporary accommodation we can in Baku for you."

"Thank you. That is all very satisfactory. I need only one more thing. The prisoner Captain Yuri Sirko must accompany me to Russia. He must stand trial, for the murder of a Swedish person of importance."

"Why is that necessary?"

"You will understand, Kılıç Pasha, that our Bolshevik regime has many opponents, especially the United States and Great Britain. They are providing supplies – armaments, ammunition and food – for the counter-revolutionary White Army.

Sweden could easily allow the Allied Powers to supply the White Army via Swedish territory. That would be disastrous for Bolshevik Russia. Fortunately for us, the Swedes have declared strict neutrality – for the moment."

There's a pause. Through the wall, I can picture Aristarkhov explaining, Kılıç listening and nodding. I hear the general's voice again.

"Therefore, we needs to ensure that we are on excellent terms with the Swedish government. We cannot afford to annoy them in any way."

"I don't follow you, General."

"We need to show the Swedes that the Russian government properly investigated the murder of their citizen. Sirko will hang –"

Kılıç laughs. "We Ottomans can carry out the hanging, General! After all, we are going to dispose of all those persons in that cell."

Aristarkhov interrupts. "No. Do what you like with the others. But Sirko must accompany me to Russia, as a prisoner. If I don't have him, you don't get my signature on that treaty."

"I still don't understand the importance –"

"If we take Sirko to Moscow, we can then obtain a confession from him – or write one in his name, if he is unco-operative. But either way, the Swedes will see that we treated the murder of their countrywoman very seriously, and that we put a Russian citizen on trial for the crime. Sirko's execution will help us keep good relations with Sweden."

"Very well, General. You want to run a show trial of the Cossack; I understand that. But it does amuse me – how you Bolsheviks are so keen to appease other countries. The true secret of strength in a nation is within, wouldn't you agree?"

"I have no opinion on that, Kılıç Pasha. I'm a soldier, not a philosopher."

"Just as a man's power is within him, so is a nation's, General. That stupid Cossack in the cells knows nothing, nothing at all! Yet the fool joked about my relationship with Talaat Pasha."

"So you are close to Talaat, then?"

"Talaat and I are of one mind: we have worked hand-in-hand to cleanse Turkey of inferior races. Our Special Organisation took all Armenian men from their homes, under the pretext that they were needed to help with the war effort. But instead, we took them to remote places and shot them in secret. Then we destroyed the women and children through forced marches and transportation into the desert. We knew that hunger and disease would dispose of them all. Typhus, especially, was our friend and helper: it did most of our work for us. We have eliminated over one million Armenians, and many Assyrians and Greeks – leeches who were sucking the lifeblood from our Empire."

There's a pause, but Aristarkhov is silent. I hear Kılıç's voice again, as if he's giving a speech.

"Now we are beginning the second phase of cleansing. Today we are liquidating the Armenians of Baku. We will soon do the same to the remaining Armenian villages in the rest of our Empire."

Aristarkhov can't resist a reply. "I heard that your Empire was close to collapse, Kılıç Pasha. I also heard that a few Armenian partisans armed only with rifles defeated the Ottoman Army three times, and that they've carved out their own homeland and delared independence."

Kılıç has a tremor, a brittle edge, in his voice. "Those battles were merely temporary setbacks. Our troops have, as an interim measure, backed off from the so-called Republic of Armenia, so that we can concentrate our resources on Baku. What has happened today in Baku will soon be repeated all over this region.

So don't listen to rumors, General. Instead, look around you. Take note of how we have dealt with the vermin of this city. You Russian Slavs could learn some lessons from our Turkish race and the way we have cleaned our ethnic purity –"

There's a knock on the bathroom door, and I hear the soldier's rasped whisper. "Finish up in there, quick!"

"All right, all right, I'm coming..."

Back in the cell, I look at Mariam, and whisper. "Is she asleep?"

The professor, Yuri and Rufus all nod.

"Then I'll explain. Kılıç and Aristarkhov have done a deal." I tell them the details; Yuri's face is impassive as he hears what Aristarkhov is planning for him. Then I tell them that Kılıç intends to kill us all. Axelson strokes his chin in thought.

"Sadly, this may actually be the end for us. Perhaps we should resign ourselves to death. I can't see how we can possibly escape. Even if we could get out of this building, Baku is full of Kılıç's men, who literally have an open mandate to murder."

I touch the professor's arm. "Let's think about facts. I learnt something else, too, in Kılıç's room. I saw, on his desk, a map, and some lists. The map was torn, and so curled by rolling that Kılıç had put books on each corner to stop it rolling up again. So he's been using that map while travelling, on his army's campaign, and now he's brought it to Baku with him. It's a military map."

"What was on the map, Miss Agnes?"

"I can't read Turkish script, of course. But, Professor – when we came through the streets this morning, what were those words daubed on so many of the doors?"

"The graffiti said 'Armenian swine'."

"Well, the same word – that script, meaning 'Armenian' – was written on that map, six times, in a cluster. Putting that information together with what Kılıç said to Aristarkhov, I think he is planning another operation like the one which killed Mariam's family."

I explain to them more of what I heard Kılıç say to the general about 'ethnic cleaning'. The professor looks grave; his face becomes ashen. He speaks slowly, as if each word is hard for him to say.

"Five years ago, I read an article written by a Swedish explorer. The writer subsequently committed suicide, haunted by what he had seen."

We wait for Axelson's next words.

"The explorer was travelling through the most arid part of the Namib Desert in Africa. He came to a dried-up waterhole. It was surrounded by thousands of human skeletons. He found out that, in 1904, the German rulers of Namibia had driven all the local people out into the desert to die of hunger and thirst. It was a concerted plan to kill an entire race. Down all the centuries, not even the cruellest tyrants had killed on such a scale, so systematically. Until, that is, we reach the twentieth century. It was a new sort of crime."

We're all silent, listening. The professor's voice has an edge of despair. "Sometimes, I wonder if the human race is in fact going backwards."

He puts his head in his hands for a while, then looks at each of us in turn, glancing to check that Mariam is still sleeping, before going on.

"Clearly, the Ottomans are copying the German tactics in Namibia. Talaat, Kılıç and their cronies have orchestrated the extermination of entire races."

Rufus interrupts. "It's terrible, I agree – but we can do nothing to save Kılıç's victims. It will be a miracle if we can save our own lives."

But the professor and Yuri look thoughtful. After a few minutes, Axelson breaks the silence.

"There was nothing else you could read on Kılıç's map, Miss Agnes? Nothing to give you a clue as to the locations of the Armenian settlements it showed? Even if we ourselves are to be executed, we could get a final message to the British, or the Iranians, somehow? Or to the American embassy in Istanbul?..."

I try to picture the desk and the map. "The cluster of writing was in the bottom right hand corner – looking from Kılıç's side of the desk. So that might be the south-east corner of the region it showed. The only other thing I could see was lots of contour lines, in the top left-hand corner of the map."

"Contour lines... a deep valley, perhaps? Could you see any rivers marked?"

"No, it didn't look like that at all. The contours were in a circle – like concentric rings."

"A mountain?"

There's a faint edge of life again in Axelson's voice, and a tiny spark of light in his eyes. He's thinking aloud. "Most mountains are in long chains. Circular, concentric contours, on the other hand, mean a solitary conical peak. A volcano."

Rufus snorts. "Bloody hell, Prof! This isn't a geology lesson! We're locked in a cell, at the mercy of a murdering maniac. Look at that little girl." He points at Mariam's sleeping form. "Let's concentrate on saving ourselves – and her."

I see the scared whites of Rufus's eyes, but his voice calms a little. "I'm sorry. The truth is, I'm not coping well with this. Agnes..."

Rufus's words trail away, his voice shaking, dwindling to an unheard whisper. Axelson looks around at the heavy door, the cell walls and the tiny grille of the window onto the courtyard, as if checking for a final time that there really is no escape for us. Then he grins grimly at Rufus.

"It's quite all right, Mr du Pavey. None of us are coping well with this. Now, were you about to ask Miss Agnes something?

"I'm clutching at straws. But did you learn anything else, anything at all, when you were with Kılıç, Agnes? Anything that might help us?"

"I found out one more thing, Rufus. Not about Kılıç, but about that soldier who's guarding us. He's open to bribery."

Mariam is snuggled up to Rufus's large form; his arm is around her. They are both asleep. She stirs: then she wakes and looks around the cell, her eyes like saucers. It's nearly dark now. She looks at the shadowed face of the professor, then at Yuri, then at me. Her lip trembles, but she doesn't cry out. Axelson goes gently over, and sits beside her and the unconscious Rufus. For five minutes, the professor just looks quietly at her: then, he speaks.

"Mariam, do you know of a big mountain – maybe near your home, when you were a little girl?"

"There is only one really big mountain. I've never seen it, but of course I know about it, because it's in the Bible." She seems suddenly troubled, and looks at each of us in turn. "You are all Christians like me, aren't you? You know the Bible stories?"

It's Yuri who answers her. "Yes, of course."

She almost smiles. "Then you will know about the big mountain. When God sent the flood, it was the only land sticking up above the sea. The place where Noah landed his Ark, and all the animals were saved. The mountain was called Ararat."

Yuri's voice is soft. "You must sleep again now, Mariam. We'll wake you, when we need to go. Because tonight, we're getting out of this place."

Mariam is sleeping again. Yuri looks around at the rest of us; somehow, I feel just a tiny bit better. He starts to speak; his voice is low, but distinct and strong.

"You know, when they first brought me here, my Bolshevik prison guards were actually kind and helpful. I gave them a little flattery, of course, about how famous their city is, the 'Texas of Russia'. They liked hearing that. Then I said I was bored in my cell, could they bring me reading material, maybe something about Baku? And they did. A map would have been best; they didn't give me one, but I found out what I needed to know about the layout of the city and its surroundings from the books and magazines they gave me.

I already knew that there had been trouble in Baku, back in 1905. But I didn't know the details. So I read up carefully on the incident. It was a revolt against the Tsar. The revolutionaries tried terrorist tactics, including setting fire to some of the oil wells, and damaging the all-important pipelines. The revolt was suppressed, and then the Russian government built new, well-protected pipelines. Did you see a long, walled alley near the courthouse, Professor?"

"We did. We walked through that alley, to get here."

"That wall along one side of the alley was built after the 1905 revolt, to protect the new pipeline running from the oilfields down to the harbor, for loading oil tankers."

Axelson nods. "Yes. I thought that long, straight, blank wall looked odd."

Yuri carries on. "Between that wall and the harbor, the pipe has to run a steady, level line. So parts of the old courthouse were demolished to make way for it. That's why these cells are here, on the upper floor. They replace the old cells on the ground floor, which were knocked down to make room for the pipeline.

The pipeline runs right through the middle of the court buildings, on the ground floor. Look out there." Yuri points out through the grille into the courtyard. "The courtyard is an artificial floor. The pipe is, in fact, directly below that courtyard. Do you see that iron trapdoor? It's an inspection hatch, so that engineers can get inside the pipeline to check it."

Rufus looks at him. "You're not suggesting we go into the pipe! It'll be full of oil!"

"It might be. On the other hand, it might be empty. Agnes, you told me something that General Dunsterville said, about the oil pumps?"

"Yes. Dunsterville said that the governors of Baku wouldn't listen to his idea. He proposed that the pumps should be destroyed, to stop them falling into the Turks' hands. Then the oil supply would be cut off."

Yuri looks around the room. "That's what I'm hoping. You told me, Agnes, that Dunsterville was a leader and a fighter. I believe he and his men took matters into their own hands, and destroyed the pumps."

Rufus can't suppress a laugh. "A wild guess, Sirko!"

"I'm open to better ideas, if you can offer them."

The professor, meanwhile, has been musing to himself, staring into empty space. But now, I realise what he's doing. He's looking out through the grille at the trapdoor.

"I agree with Captain Sirko's idea. It is our only chance. I have only one question: if we get through the pipeline to the harbor, how will we escape from there? It will be full of Ottoman troops."

Yuri replies with a smile. "We're not going to the harbor, Professor."

It's half an hour later, and night has fallen. I stand at our cell door, and call softly through the hatch. After a few moments, I see the face of our guard.

"Yes?"

"Look, I know you have your job to do. But could you move me to another cell for the night? I can pay you, like I did before when you let me go to the bathroom."

He hisses in reply. "I can't change your cell! I have strict orders. Kılıç is a truly harsh commander: no-one has ever dared disobey him."

"I could offer you a hundred rubles."

"How much do you have?"

"I have – quite a lot of money." I pull several hundred-ruble notes out of my pocket. The man peers through the hatch, his eyes bulging greedily at the sight of the money. Then he glances around the cell at the sleeping shapes of my companions. I smile pleadingly at him.

"Two hundred rubles? That's my top price. These men, they all snore, and I really do need to get away from the noise and get some sleep."

He takes a final glance at the money in my hand. Then I hear the key turn in the lock, and he ushers me out into the corridor. Suddenly, my face is pushed against the stone wall.

"Now, you bitch. Give me all your money –"

His voice is cut short. I turn, and see Yuri's arm around the man's throat. Behind Yuri, Rufus holds the man's rifle, and levels it at his face. Yuri glances at Axelson.

"Take off his jacket; use it to tie him. And, Professor, do you have that handkerchief? I'll gag him so he can't make a sound."

We look out into the darkened corridor. To our right are the steps leading down to the lobby; we can see light down there, and hear the noise of talking: it sounds as if more of Kılıç's troops have come into the courthouse. I dread to think of what they have been doing today... or of what they might do to us.

But Yuri points silently along the passage to our left, and whispers. "I'm not using the flashlight yet. We must be like cats in the night."

He leads us along the corridor. I'm just behind him, holding Mariam's hand. We go a few paces, then Yuri pushes open a door on our left, and I feel air on my face. I can't see it, but we're looking out on the courtyard.

There's no moon, but a few scattered stars mark the shape of the sky above the surround of blank walls. Yuri puts his hand on my shoulder, to signal to me to wait. He steps out alone into the courtyard without a sound. We can't see what he's doing, but then I feel his hand again on my elbow; a gentle tug forward. It's a signal for us all to step into the courtyard. I go forward ten paces, then I hear the faintest whisper from Yuri.

"We're at the hatch, and I've opened it. Now, I will drop down into it, holding the edges of the hole with my hands so I can pull myself out again if it's full of oil. But if I'm able to get right down inside the pipe, I'll put on the flashlight."

I hear the tiniest sound, his feet grazing on the brickwork, as he lowers himself. Then I see dim, blood-red light below me. Yuri has cupped his hand over the end of the flashlight, so no light shows up here in the courtyard. He signals to me to lower Mariam to him. Moments later, I dangle my own feet over the edge: Yuri grips my calves, and I slide down; then he holds my waist. "Take great care to keep standing, Agnes. Now, can you hold the flashlight while I help the others down? Keep your hand over the end of it."

Within a minute we're all inside the pipe, and Yuri pulls the hatch down on us. I take my hand off the lamp of the flashlight, and we look around.

It's horribly claustrophobic. The pipe is four feet or so in diameter; I'm bent over, but Yuri and Rufus have to crouch. The smell of oil is overwhelming, and the whole interior of the tunnel is coated in sticky, shiny black, like tar. The oil is pooled on the floor of the tunnel; my shoes are covered.

I see the professor's face in the flashlight, looking intently at us all. "Listen carefully. There are dangers down here. Perhaps not as bad as Kılıç and his murdering mob – but we could still die down here.

Firstly, after a few minutes, the oil will begin to irritate your skin where it touches: your feet will start to feel they are burning. Secondly, crude oil gives off noxious gases such as toluene: we will all have bad headaches, and start to feel dizzy. Those feelings will get worse as we go along. And of course, take great care not to slip over and get covered with oil."

Yuri leads us forward, shining the flashlight down the pipeline. The glistening circles of the oil-coated walls recede endlessly before us, dimming into faraway blackness. We inch our way forward, time goes by, but nothing changes; my view is always the same. I feel the tunnel is hypnotizing me. Step, step. Under my feet, it's like walking in maple syrup: the suction of the oil pulling at my shoes, as I move my feet forwards.

The fumes are affecting me, earlier than I expected. My head feels stuffed with cotton wool, and, like a dream, I see the tunnel ahead as the barrel of a gun, the rifling spiralling us along into a dark distance. I have an illusion I'm sliding forward, powerlessly pushed along by an invisible current: my head swims. My eyes are stinging, like vinegar on my eyeballs. I keep blinking, and try to focus on stepping carefully. "Follow Yuri, hold on to Mariam" I say to myself, over and over, like a mantra. But even my inner voice seems caught up into the current, moving me towards the blackness like a twig carried by a stream.

Behind Mariam, Axelson speaks again.

"The gases are affecting me, and probably all of us. We're at risk of hallucinations, or even unconsciousness. Captain Sirko, is there an inspection hatch soon where we could get some air?"

"There's one right here." Yuri pushes at a dark space in the ceiling, I hear a hatch grinding as it rises, and suddenly there's air in my nostrils. I feel like my head is being cleaned of dirty fuzz. We take it in turns to stand directly underneath the hatch. After a few minutes of recovery, we carry on along the pipe. Then after another ten minutes, Yuri lifts another hatch, and then we carry on; repeating and repeating. Soon, I feel like I'm walking on smoking coals, and my eyes burn in my head, but all any of us can do is keep walking to the next hatch: breathe deeply, then walk on again.

After an eternity, I hear the professor's voice. "How long have we been going, Captain Sirko?"

"About two hours. At this pace, that's maybe a mile."

"How far to go?"

"Don't ask."

I try not to think about what is ahead. The oilfields will be guarded, I feel sure, by Ottoman soldiers. It's possible there may be fighting there, and fires: indeed, the place might well be an inferno.

If we can get through that, our hope is to find a way out beyond the oil wells and down to a quieter part of the coast. In studying the local area, Yuri found out about several fishing hamlets within a few miles of the oilfields. If we can get to the shore before dawn, we may be able to find a fisherman's boat and steal it. Then, it's about a hundred miles along the coast to the border with Iran. But if escaping the oilfields takes longer, then we'll have to lie low all day tomorrow. And all of us are half-covered in oil. I realise that, for us to survive, several things have to all go exactly right for us. Then I try to stop that thought, and just concentrate on stepping –

"Look!"

Yuri is holding up another hatch. But this time, instead of blackness through the gap, we see a red sky. Fire.

Yuri pulls himself up through the hatch, and hisses down at us. "We're next to an oil derrick; the top of it is burning. We'd better get out of the pipe."

I lift Mariam; Yuri takes her from my grasp, then lifts me too; the professor and Rufus follow me. We look around us. In the glow of the fire, I see Yuri smile grimly.

"When they draw pictures of Hell, it looks like this."

He's right. The livid light around us is blood-red. Here and there in the night sky, flames blaze at the top of derricks, crackling and leaping like demons. The air is roasting hot, and clouds of black soot billow past us. Yuri points his finger into the gloom.

"I think that is the way out of here." A rough track leads forward among the forest of derricks.

"What's that?" Despite the stinging soot, Mariam's eyes are alert and watchful. She is pointing to something far ahead of us, something big. It's standing on flat ground a hundred yards beyond the last of the derricks. And then, I hear the most welcome sound I can imagine.

Rufus is swearing.

In the lurid glow, we see a familiar shape. I suppose no-one, not the defenders or the attackers of Baku, knew how to fly it. Miraculously, it appears intact, exactly as we left it, sitting there on the runway.

"This is the damnedest luck ever! And the burning derricks – they light the airfield, like bloody broad daylight! Taking off will be easy. They've even left the rope ladder in place. But – I'll still need to refuel, before I can fly her."

We head over to the shed that we saw, all those weeks ago, when we landed. Sitting behind it are two large drums.

"Sirko, Prof – can you give me a hand to lift these and pour the fuel in?"

I look at Rufus. "We'll all help. The more people lift the drums, the quicker we can refuel the aircraft. We need to move fast: there are probably Ottoman soldiers in the oilfields."

Panting and puffing, we roll the fuel drums over the baked clay of the airfield to the plane. Even for five of us, the drums are heavy to lift, but we manage to hoist them up next to the airplane's fuel intake. We hear the comforting glugging sound of pouring fuel. It's a messy job: fuel spills over my arms, splashes my face and chest, but I don't care. Now the second drum... and now, it's nearly empty. The final gallons splash into our airplane's fuel tank.

Like a punch, the drum is knocked from our hands. The clang in my ears is a bullet hitting metal.

"Leave it! _Get in the plane!_ " Yuri's shouting at us, and I hear the sliding bolt of the rifle that he took from the guard in the courthouse. He lifts the gun to his shoulder, and fires.

Rufus has climbed the rope ladder already; he's clambering into the cockpit. I lift Mariam to him, and he bundles her into the space behind his pilot's seat. I look up at the two of them. Their faces are oddly alike; pale in the night, edged with red light from the fires. I look into Mariam's wondering eyes, her open mouth. I can't tear my eyes away from her, and something snaps in my mind.

I see the dead children again.

My whole body feels awash with horror, and I feel my flesh surging with a hot, raw feeling that I've never known before. Rage against the murderers. I want to hurt them, kill them. I can feel my blood pumping, a brutal rhythm banging in my brain.

I still have the gun from the lake at Tri Tsarevny. I pull it out and hold it in front of me. It's a mere useless decoy, of course. But in the light of the burning oilfields, I stand, pointing it in the direction of our unseen attackers. It's like I'm watching myself; this mad woman who doesn't care if she dies, who is making herself a target to distract our attackers, so the plane and its occupants can escape.

Holding the gun out in front of me, I start to walk across the open space of the airfield, in the direction of the gunfire.

Yuri fires again. He must be able to see the men who are shooting at us, because I hear a scream from the darkness below the derricks. He's hit one of them. But now, I hear Yuri's voice, yelling at me. I can almost feel the sound.

"Agnes, don't be a fool! Get into the plane now! I'll hold the soldiers off."

The voice cuts through my trance; I come back to my senses. I just obey Yuri; I run back to the airplane, and grab the rope ladder. As I climb, Rufus clutches my elbows and drags me up into the seat beside Mariam. As he does, he hisses at me. "If you want to help, Agnes, then look after Mariam. She's terrified."

Yuri is still standing on the ground, rifle pointed out into the darkness. He holds the gun in one hand and with the other he reaches behind him, grasps one of the propellers and pushes it. I realise that the professor is standing on the other side of the plane, turning the other propeller. Then a bullet hole appears in the side of the cockpit.

"Oh my God!" It's Rufus: the bullet has grazed his lower leg; he curses as he pulls out the throttle. But there's a roar from the engines: we're starting to move.

Another bullet whistles past my head. I see Axelson running, gripping the front edge of the wing, pulling himself up. Then I hear Yuri's rifle barking again, and I hear him yelling abuse at our attackers. He's doing it deliberately, I realise, to draw their fire. The airplane is huge, but it's now a moving target; Yuri is a stationary one.

We're rumbling along the airfield now. I feel the wheels juddering on cracks in the dry clay surface, the pull of air on the wings. Another bullet rips through the wings: I can see the reddened sky above the oilfields through the wide tear. Then another hits the glass windscreen of the cockpit: glass flies everywhere. We bounce along the runway, gathering speed.

A hand grabs my shoulder. It's Yuri; with a single movement he pulls himself up into the seat behind me, next to the professor. More bullets are flying past us, but we're moving fast now, towards a wall of smoke that billows from a blazing oil derrick. The clatter of the engines is matched by the savage juddering of the plane on the cracked runway. The jolts come faster and faster, like hammer blows. Every part of the airplane is rattling: I feel it's going to shake into a thousand pieces.

The smoke from the derrick envelops us like a black blanket. I choke with soot: I can't breathe. I close my eyes, but I'm too late: soot covers my eyeballs. A stinging, fiery blackness fills my vision. I feel like the inside of my head is burning.

Something makes me blink. And, like a miracle, I can see clearly. The smoke blows away harmlessly, and my lungs fill with fresh, clear air. I feel the wind in my hair and on my face, like a cooling balm, washing away the blackness of the oilfields.

I can see again. Looking down from the airplane, one hundred, two hundred feet below us, I see a gloomy expanse, lit here and there by the flaming derricks. As we climb higher, they look like a hundred red candles burning on a dark table. Beyond the darkness of the oilfields is a wide sweeping expanse, gray in the night: the shores of the Caspian Sea. Above us, I see a skyful of stars. We're leaving Baku. For the last few hours, I've focused every second on survival. Now, relief floods through every nerve in my body. But, like the soot that I still feel in my nostrils, I'm not free of what I saw in this place. I'll never be free of it.

Rufus is shouting. "South-east, to Iran? A couple of hours, and we'll be there."

I can't speak. But I hear Yuri and the professor like a chorus, loud and clear. "No. South-west. Aim for Mount Ararat."

32 East of Ararat

We're deep into the night. Far below our aircraft, I see a shadowed plain. Rufus points downwards "Look – there's dim lights down there in the valley. That must be Yeravan. Capital of the new, free Republic of Armenia."

But none of us look. Our eyes are drawn, as if by magnetism, straight in front of us. The dawning sun must be coming up behind the aircraft: crimson rays slice past us, and far ahead, they strike the biggest thing any of us have ever seen.

The mountain appears not part of this earth. It looms in the western sky, a detached, perfect pyramid of fuchsia-pink snow. It looks as if the light of daybreak has conjured it down from Heaven. Beyond it are serried banks of grey-blue clouds, like waves. The mountain's shadow in the sunrise stretches out away from us, across the clouds: a tapering, purple finger pointing away from the peak, far into the distant West.

Almost comically, a second, smaller cone stands by the mountain's side, aping its bigger neighbour. Rufus turns to us. "That small one is on my map too, it's called Little Ararat. Prof, you were right, you know – both peaks are extinct volcanoes. And down there – that tall tower directly below us is marked as an ancient Christian monastery, Khor Virap."

We're flying above a river; a glittering ribbon of gold in the growing daylight. Axelson shouts.

"That's the Aras River below; it's the border of the Republic of Armenia. Now we are crossing into the territory of the Ottoman Empire. Beyond the river, the land rises straight up towards Ararat."

The mountain is looming closer, looking bigger every moment. Rufus jokes. "We must all keep a sharp look-out now. Watch out for a boat."

"For what?" The professor doesn't quite understand Rufus's remark.

"Noah's Ark, of course! It must still be up there somewhere... oh God."

He's staring, and pointing to our right. His voice has an odd, dead sound.

"Engine on fire."

We all look. But there's nothing dramatic to see. Between the ventilation grills of the right-hand engine casing, there are a few fluttering sparks. A fine thread of black smoke trails behind in the air.

Yuri shouts out. "Was it hit by the shots at Baku?"

"Probably not, Sirko. More likely is that sitting for two months on a runway next to a load of oil rigs has choked the engine with soot. I think it's that soot that we can see, burning in there, rather than the engine itself. I've got my fingers crossed that the fire will burn itself out without damaging the engine."

Rufus is aiming left of the mountain, between Ararat and its little brother. The mountain's colossal sides, plastered with snow, slope dizzyingly downwards. Peering straight down, I see the lowest point of the saddle between the two peaks. I also see, ahead and far below, the shadow of our airplane.

There's a spluttering sound from the right engine... a strange, feathery whirring. Rufus turns his head and stares at the engine. The propeller slows, flapping to a standstill.

He grins grimly. "Not to worry. We can still make a safe landing – I hope. But the air's thin up here: it gives less lift. And this side wind doesn't help."

We seem to be drifting to the right, getting closer to the slopes of the bigger Ararat peak. Its snowy flanks look close now: they are horribly steep, plunging thousands of feet down to the icy snouts of glaciers. Below the glaciers, I see naked rocky walls, ribs and ridges, sliced by scores of deep-cut gullies.

"All of you! I'm looking for a landing place. Can any of you see anywhere suitable?"

I look, but all I can see is the steep chaos of ice and rock. Time is oddly suspended; I have a sense of the tiny speck of our airplane in the vastness of the air and the mountain. I feel we're gliding, not flying; like a feather in the breeze. No-one says anything: our lives are in Rufus' hands. He shouts again.

"It's hardly good, but the best place is over there. Lava flow: it looks quite flat." He points to a blackened patch, like spilt dried ink, far below the snow line. It looks an awful long way to it. Rufus adds "We might not get there, of course. Brace yourselves: we may be doing some tobogganing."

The snowfields are now whizzing past us, close alongside and below us. Gusts of wind, whirling around the mountain, buffet the plane like a boxer's punches; we start to bounce and sway in the tumbling air. A swirl of rising snow, caught in the wind, blows into our faces and we're blind. Everything is a world of solid white. Then just as quickly, I see again.

A bone-white glacier is just below us, cracked and fractured by crevasses. Ahead and far below us, the smooth black lava flow looks no nearer than it did before.

Another jolt from the wind; the airplane feels like it's bouncing over invisible rocks. My jaws bang together; then, there's a bigger blow.

"We hit some snow. Bloody wheels have come off! Hold tight, it might get a bit bumpy."

We're skimming the surface now; the snow is all peaks and troughs, like a whipped meringue; we're bobbing over the lumps. A white spike the size of a house catches one wing and spins us round like a gramophone record; my heart's in my mouth, my head bangs the side of the fuselage, everything turns over and over. We're tumbling down the slope; hopelessly out of control.

There's a crushing impact: a heart-stopping stillness.

I must be upside down, because I gaze downwards, but I see an endless blue sky. I can hear the wooden frame of the aircraft creaking and groaning.

"Everyone – keep still. I'm working out what we must do." Rufus's voice is loud and clear, cutting through my jumbled mind. I grip the side of the fuselage next to my seat; he shouts again.

"No-one must move an inch. There's a crevasse below us."

I look again. The blue I can see isn't sky. It's smooth, ultramarine walls of ice. I'm not upside down; I'm looking not up but down, into endless, invisible depths. The plane is hanging in the jaws of a crevasse. On either side, the wingtips rest on snow, but the fuselage hangs above empty space.

Rufus turns in his seat and directs us. "Sirko! The aircraft is under strain; every pound of weight is pulling it down. You're the heaviest: get off first. Then you can help the rest of us get to safety."

Yuri nods. Rufus shouts at him again. "Now, follow my instructions. Climb out of your seat, over the edge of the fuselage, down onto the left-hand wing. Then lie flat, to spread your weight, and crawl along. Prof, you're next. But wait until Sirko's onto the snow. We must go one by one, so as not to put too much weight on that wing."

Yuri clambers down onto the wing as gently as he can, but it bounces under the first impact of his feet. Its wooden frame shudders and squeals, like an animal whimpering in pain. He bends his knees to soften the impact, then lies down flat on the wing. I see him shuffling along, writhing his way underneath the engine casing, then along the outer wing to the tip. It seems an eternity before he finally steps onto the snow.

Axelson is next. He's more awkward and slower than Yuri, but bit by bit he inches towards safety. As he steps off the wing onto the ice, a gust of wind catches the airplane and shifts it. I glance in the opposite direction, across to the end of the right-hand wing. My mouth drops open in mute shock, as I see that the wing has moved. Only a few inches of its furthest tip is now resting on the snow.

Rufus has seen the wing slide too. "Agnes, Mariam – both of you go at once. Quickly."

I lift Mariam out of her seat and onto the left-hand wing. She knows exactly what to do: she lies down as I'm climbing out onto the wing behind her. She's crawling along, just ahead of me; Yuri and Axelson reach for her arms. But the wing is moving, like a living creature, below us. The wind is catching it again and it shakes, moves and lifts under my elbows and knees, as I try to slide along. I glance over the edge of the wing into the indigo depths of the crevasse, and shudder. I don't look down again, and concentrate on trying to lever myself forward.

Yuri plucks Mariam off the wing: I feel the professor's hands gripping mine. There's a pull on my arms. My feet plant down solidly into the snow.

I look back at Rufus.

He's climbing out of the cockpit, but I hear wood snapping. The plane is starting to break up. Rufus's feet bump down onto the wing, and it shakes like a leaf. Freezing gusts of wind howl in our ears.

Rufus slides himself along the wing, shuffling below the engine casing; it looks like he's moving in slow motion. Yuri's about to shout to him, but suddenly all sound is lost in a furious blast of wind. The airplane shifts once more. The far wingtip slides over the lip of the crevasse.

We see the falling wing grazing and scraping down the wall of ice. Rufus is standing up, next to the engine casing, looking at us. He's like a sprinter out from the blocks; he's running along the wing towards us as it tilts, steepening faster and faster into the depths.

There's a hideous tearing, cracking sound; the plane is breaking as it falls. The wings fold together, like some great insect. The falling fuselage strikes a huge blue spike of ice in the crevasse, and crumples as if made of paper. The whole airplane is a mashed ball of debris, dropping into blue-black nothingness. We look down: it's completely vanished.

"Well, that was a close shave." Rufus stands beside me. He looks rather pleased with himself.

I've never felt so tired in my life. For the last ten hours we've been descending. At first we were in a world of white, threading our way through the crevasses that yawned like open blue mouths among the snowfields. Then, very gingerly, we inched step-by-step down the steeply sloping snout of a glacier into a wet mess of gravel and mud. After that, we clambered onto the smooth slabby surface of a lava flow, and below that we came onto endless slopes of boulders and rubble. Now we're on yet another lava flow, and it's late afternoon. This morning my teeth were chattering with cold: now, sweat drips into my eyes from the broiling rays of the sun. Hot light bounces off every bone-dry surface.

"Is that a cave? We could rest in there." I point towards a strange circular mouth in a wall of rock.

The professor glances at the hole. "It's a lava tube, Miss Agnes. We should not go into it: we have no idea where it leads. Tubes like that are formed when lava flows down the flanks of a volcano, like a river of syrup. The surface of the lava river cools and solidifies, turning to solid rock. But inside, the lava stays hot and liquid and flows away, leaving an empty tube. At the Lava Beds in northern California, there is a whole network of tubes that you can walk through."

Rufus sniggers. "You're a mine of useless information, Prof!"

"I agree, Mr du Pavey. My knowledge is extensive, but none of it can help us in this present situation."

Yuri looks round. He's carrying Mariam on his shoulders. "I think we ought to try to get lower before we stop. Without food or water, stopping to rest is just delay."

"Is that a sheep?" I hear Mariam's voice from above Yuri's shoulders. She is pointing straight ahead.

There's a whitish dot on the slope far below us. As we stumble and slip our way down the sloping natural pavements of the lava flow, we see there's several white dots. They're in a line, stretched out ahead of us. Beyond and below them, the slopes of the mountain turn green.

The professor looks at Rufus. "Can you guess our altitude?"

"We landed – well, crashed – at around fourteen thousand feet. We're now at around eight thousand. Look across there to the left; we're level with the saddle between the two Ararat peaks."

"What altitude are the villages?"

"Around six thousand."

Mariam shouts out. "They are sheep! And I can see a shepherd!"

Rufus is suddenly animated. "Well done, Mariam! You're right!"

We wave, and the man waves back. We make our weary way down the hillside towards him. Fifteen minutes later we hear a shout "Barheev!"

Mariam shouts back; in a few moments we're shaking hands, and Mariam's talking, explaining.

"He's called Arman. He says we were lucky to see him; he was just about to go back down the hillside to the village. There's a wedding on today."

Soon, we see below us a huge bowl-shaped valley, two or three miles across. The late afternoon sun glows on golden stubble in recently harvested fields. The farmland is patched like a checkerboard; the crops alternate with lush grazing pastures for sheep and cows, the green lines of vineyards, and squares of deeper green; orchards. I can even see the red glints of September apples among the leaves of the orchard trees. But beyond the fields, the land suddenly drops away into unseen, deep-shadowed depths, like a great canyon. The fertile farmland hangs on a shelf on the side of the volcano, high above the main valley.

Among the greenery are groups of stone-built houses, spread across the width of the cultivated land. There are six large villages, linked by a dirt road that threads its way through the fields and orchards. A round church tower, crowned with a conical roof and a crucifix, rises above the largest of the villages. I recall the cluster of six names 'Armenian' on the map in Kılıç Pasha's office. Yes, this is the place.

33 The valley of the shadow

It's early evening when we stagger into the nearest of the villages, the one with the church tower. Mariam smiles. "Arman says he's not missed the wedding. The qavor – that's the priest – was delayed, because there is only one road leading up to these villages from the valley. It is a difficult journey, even in daylight. So, he has only just arrived."

We can hear music; we step into the village street, and turn a corner. I see a crowd of people. In the centre, at the door of the church, a priest in long, dark robes stands between a man and a woman. Over the groom's robe-like coat, green and red sashes are draped. "Green for love: red for sacrifice" Mariam says.

We all stand quietly, watching. I feel like I've walked past a wedding in Putnam, and stopped for a moment to look. But this ceremony is more colorful. The groom's long coat shimmers; it must be pure silk. The bride wears a white chemise and a little blue jacket. She takes off her lace veil and a turret-like hat, decorated with silver disks. The priest puts a thin metal circlet, crowned with a cross, on each bared head. Then he stands between them, holding a tall golden crucifix above them.

We're silent. Even our news must wait. The priest holds out a metal cup; I see a glint of dark wine in it. The man and woman drink, and Mariam explains to us. "It reminds us of Jesus at the Last Supper, and how he shared the wine in the Holy Grail. From now on, this couple will share Jesus in their marriage."

The solemn, silent moment lasts only a few seconds. Suddenly, the man and the woman are laughing; tears of happiness shine in their eyes. Then they turn to the congregation, bowing with hands held in an attitude of prayer, and repeat a single phrase "tsavt tanem". Mariam repeats it too, then looks at me. "It is like your English 'thank you' but much, much stronger. Literally, it means 'I will take your pain on myself'."

The couple, and the priest, can see us now: their eyes widen in surprise. Other people too are pointing, at these strangers who have arrived from nowhere. The priest steps over quickly towards us. In moments a crowd is gathered around us. Mariam acts as translator: Yuri speaks to her.

"Ottoman soldiers are coming this way. They will kill everyone, if they can. No Armenian living anywhere south or east of Ararat is safe now. Everyone must leave."

Mariam turns to the crowd, and relays the grim news. I see faces changing as they hear her message. Then the priest starts speaking, addressing the crowd so that everyone understands. Various voices are calling out, some quavering with shock and fear. But the priest bends down and talks quietly to Mariam. Finally, she turns back to us, and translates.

"They had heard of violence, of massacres of Armenians – but in places far away. They were wondering about leaving, and trying to get across the river to the Republic of Armenia. They knew they would be safe there from the Ottomans. But they had decided to stay, because they did not expect the shadow to fall on this valley. These villages are remote and far from any of the troubles, and there has always been good friendship in this area between Turks and Armenians. And, it is harvest time. It is hard to leave villages your families have lived in for hundreds of years."

Yuri and the professor nod at her as she continues.

"The priest says that messages will be sent to all the villages to tell everyone to pack up and leave. This is one of six villages, all close together, in this valley below Ararat."

Yuri and Rufus look at each other. On the descent, they'd had a long discussion about escape routes. Yuri speaks to Mariam.

"The best way of escape is over the saddle between the two Ararat peaks. Beyond that, the land slopes down northwards, to the Aras River. Aim for the tower of the monastery of Khor Virap, on the far bank. Once you cross the river, you will be in the Republic of Armenia."

She relays Yuri's message to the priest, and the process of communicating it to everyone is repeated. Then she translates the response back to us. "Yes, that's exactly the way they planned to go. They have plenty of horses and donkeys to carry those who cannot walk. They will pack overnight, and leave just before dawn. They know the way as far as the saddle between the two Ararat peaks. But no-one knows the slope on the other side, between the saddle and the river."

Yuri looks at Rufus, then speaks to Mariam. "Tell them that this man is called Rufus. He will go with you; he is an airplane pilot, and this morning he flew above those slopes. He saw the Aras River with his own eyes this morning."

"Will there be Ottoman patrols?"

"We think not. All the Turkish forces have moved away to fight in Baku. But take any guns you have with you. And you can have this rifle that I brought from Baku. Rufus has a gun, too." Yuri doesn't mention that Rufus's gun doesn't work; it's the gun I found in the lake, which I've given to him.

Mariam repeats Yuri's words to the priest, then turns to us and translates again. "Everyone says thank you. They only have a couple of hunting rifles themselves. Soldiers came at the beginning of the war and took most of their weapons from them. But, they want to know, how will they cross the river?"

"There will be Armenian soldiers guarding the far bank. Signal to them; they will help you."

Several voices are speaking to Mariam at once. Then she turns again to us.

"Everyone says: 'We have bread and salt among us'. Which means, we all welcome you, as if you were our own family. Now, you must eat. We must all eat. We have a wedding feast here..."

It's four in the morning. Last night, we sat with the villagers, amid the bustle of packing, and we ate a feast of lamb and a rich, meaty soup. We politely refused endless offers of wine; Mariam relayed Rufus's words to them. "Your wine is marvellous. But we have an early start, and we need clear heads in the morning." So instead, we ended up drinking an awful lot of pomegranate juice.

Now we are waking in the light of lanterns, on soft bedding, under a low roof of wooden beams. Around us is a bustle of people, and I hear the snorts of several donkeys outside the door. I look, and see they are laden with huge packs, and that bronze pots and pans and colorful carpets are fastened everywhere to the poor beasts. Everyone is ready to leave.

The villagers assured us that we could afford to take a few hours to rest and recover from our journey, without risk of the Ottoman troops arriving. There is only the one narrow mountain road up from the valley to these remote villages. No-one, the villagers say, would try to drive it at night.

Now we too are ready to go; we have a plan. While Rufus and Mariam go uphill with the villagers, Yuri, the professor and I will walk down the road towards the main valley. By dawn, we should reach a small wooden bridge. It carries the road across a deep ravine cut into the side of the valley.

I've insisted on going with them to help them, despite both of them saying I should accompany Rufus. But on the rough road descending the hillside, Yuri strides briskly, and to my surprise Axelson keeps pace with him. I fall far behind.

Finally, I round a corner and, a few yards ahead of me, I see the bridge, lit by the first rays of the rising sun. As the villagers told us, it's a simple wooden structure, only about ten yards long, carrying the road over a narrow ravine. I hear Yuri speaking to Axelson.

"The villagers were right. If we cut this bridge, we'll stop all vehicles getting to the villages. So even if they arrive today, the Ottomans will never catch the villagers. Let's use the two axes."

I see them both walk over to the far side of the bridge, and begin chopping.

Yuri sees me and calls back to me. "Sit and rest for a while! Then, come and take over from the professor for a few minutes, to give him a break when he gets tired."

I lie flat on a boulder for five minutes, resting as much as I can. Then I cross the bridge to the far side, where they are working. Yuri looks at me between strokes of his ax.

"See what we are doing here. Agnes. The bridge is made of wooden planks nailed on top of two long beams laid across the ravine. The beams are too big and thick for us to cut. But we can render the bridge unusable, by getting rid of all the planks.

So we are chopping here, at the edge of each plank. Once the blade of the ax is well under the plank, pull the handle to lever it up until the plank comes away from the beams. Then throw the plank down into the ravine."

"After a few planks are gone –"

"Yes, you're right. Then, we step back and do the next section. We work backwards, taking up planks as we go. And being careful not to fall." Yuri points down into the gully, where a foaming mountain stream rushes among steep rocks.

I chop; Axelson rests, lying on the ground in exhaustion. Then he takes over from me. Soon, four planks are gone, then six. It's backbreaking work. The sun feels hot, and it is climbing high in the sky by the time we've taken up all the planks. I look down into the ravine, where the planks lie piled in a pit-like rocky slot a hundred feet below us. Yuri is smiling.

"Good work. They can't cross that bridge with vehicles, or on horseback. And even if they arrive here soon, and climb across the ravine on foot, they won't catch the Armenians. Let's rest for a few minutes. Then we'll set off for the Ararat saddle and the route to the Aras River."

We all lie utterly still; I feel my breathing, like gentle waves on a beach, gradually relaxing. Levering those planks reminded me of when I first met Yuri, when I got through the planks that were nailed across the windows of that cottage in the woods. But then, I was in terror, and my nostrils were full of smoke. Now I'm surrounded by fresh mountain air, under a sky like a blue jewel, and I smell the scents of wild flowers. The snowy cone of Ararat towers over the peaceful scene.

I hear the rumble of a truck. My heart seems to stop.

"There's no cover on the road leading back up to the village. If we go now, they'll see us." Yuri hisses at us as he picks up the two axes. "We'll have to hide behind those rocks, there. Leave no trace that we've been here."

He points upstream, along the edge of the ravine, to a pile of huge boulders. The rumble grows closer. We scamper over to the cover of the rocks.

Through a gap between two boulders, we watch the soldiers arrive. First, a strange car appears, its engine snorting. It's covered with iron plates, like a kind of metal tortoise. A heavy gun is mounted above the driver. A soldier stands and holds the gun, his legs braced to keep steady as the car jolts along. The car pulls to a halt on the far side of the ravine.

Then a truck arrives, and parks alongside the car. Its front looks like a large car, but its body is like a covered wagon in the Old West, with a canvas covering stretched over high hoops. A group of soldiers emerges from it; every one of them has a rifle. Moments later, they are all fixing the familiar saw-toothed bayonets to the muzzles.

An officer in a tall fez steps out of the armored car, walks over to the edge of the ravine, and peers at the remains of the bridge. He shakes his head angrily in frustration, then goes back to his men and begins to shout orders.

One by one, the soldiers start to descend the rocky slopes of the ravine. The gully is deeply cut, but not impossible to scramble down into. After a few minutes, soldiers' heads appear above the near edge of the ravine. After half an hour all of them, including the officer, are gathered on the road just a few yards from us. Thankfully, they seem to have no suspicion that we are nearby. The officer gives more orders: the soldiers form into a column and begin to march up the road, bayonets shining in the midday sun. I watch them recede, the fading sound of their marching, and I breathe.

Yuri gets up; he stands, looking down into the gully as if tracing the lines of the rocks with his eyes.

"We're lucky: they have left no-one behind to guard this area. The ravine looks quite easy to cross, if we're careful."

I don't understand him. "Why should we cross the stream? We need to go back up the road towards the villages, as soon as the soldiers have gone. Surely that's the quickest way to Armenia?"

"We don't know how long the soldiers will be searching for people in this valley. I'd guess a day at least, but quite possibly more. Then, when the troops give up and leave, we have a fifteen-mile walk to the Armenian border, including a three-thousand foot climb up to the saddle, over very rough hillsides."

"So?"

Yuri smiles. "Professor – do you have any idea how far it is to Iran?"

"A day's walk to the border, I would think, if we went down this road. Just below here, the road will descend into a deep canyon. Then it should lead into the main valley, and join the Persian Road from Istanbul to Tehran. Tabriz, an important city of Iran, is on that road, beyond the border."

"One day's walk to Iran. Or, a couple of hours' drive."

Yuri points across the ravine, at the armor-plated car.

34 The Persian Road

We all look at the squat iron vehicle. Yuri continues. "It's worth scrambling across this stream, to see if we can get the car started. If it won't start, all we've lost is a few minutes."

We cross the ravine; it's not too difficult, even in my long dress. But we can't get the armored car to start.

"What about the truck?" I suggest.

Axelson nods thoughtfully. "The truck will be slow and difficult to drive on this mountain road. But once we get into the valley, and onto the main road, it should be all right. Let's try it."

There's room for the three of us to sit side by side in the cab. Yuri sits in the driver's seat and turns a key; the professor turns the starting-handle. The engine fires up immediately, and the truck lumbers forward.

The road twists around corners, edging its way above yawning drops. Even though the sun is high, the canyon below us is deeply shadowed. We pass more ravines cut into the slope, and cross more rickety wooden bridges. The road itself is made of piled rocks, and we bump and bounce over them. Yuri's eyes scan for boulders and potholes. He smiles as the professor and I shake in our seats. "It feels worse than it is. This thing has solid tyres and very primitive suspension. But look ahead; there's the main road."

Sooner than we expected, we are out of the shadowed jaws of the canyon into a wide main valley. Our dirt road joins a highway, made of smooth, sun-baked clay. Yuri turns the wheel to the left, and the truck eases out into the road. He puts his foot on the gas pedal, pressing it to the floor; I can feel the movement in my stomach. The professor peers around for any sign of Ottoman guards.

"Have we got enough gasoline, Captain Sirko?"

"The gauge says we've got plenty."

We're on the valley floor, speeding alongside flat, tilled fields. Mount Ararat has disappeared. Above and behind, all I can see are the brown-grey bluffs edging the canyon we descended. Even they now look small and far behind us. The clay road runs straight ahead, towards a distant jumble of buildings. I see roofs and gables, and the tall minaret and dome of a mosque. The professor points. "That must be Doğubayazıt; I noticed it on Rufus's map. The last Turkish settlement before the border of Iran."

Yuri slows the truck as we approach the first houses of the town. I see faces in the doorways, and children playing by the roadside. They stand up excitedly, shouting and waving to us. We wave back. Soon we're at the centre of the little town, and Yuri slows the truck to a walking pace as we weave through busy crowds. Everyone's heads turn to look: in this remote settlement, a military truck must be a rare sight. In our Western dress, the three of us are clearly visible inside the cab. People look surprised, but not alarmed. Everyone smiles, and street sellers shout to us, offering flatbreads, pomegranates and oranges.

Finally, we get to the end of the maze of narrow streets, and the bustle of the town lessens. Soon we are beyond the last houses, and Yuri increases the speed again; we're racing along, and the road starts to rise. We enter a barren zone of stones and rubble. Ahead of us, the valley is enclosed by a high but flat skyline: it's totally level, as if drawn by a ruler. The professor gazes at it.

"Another lava flow. The road into Iran must cross it, somehow. I think we have less than a mile to go."

The sides of the road are littered with black, blocky boulders. The road itself becomes a ribbon of dark gravel, and soon if starts to bend and weave among rocky outcrops, snaking its way upwards. Yuri grips the wheel and glances at us.

"The wagon's engine is struggling with these gradients. And all these little stones are like ball bearings; the tyres keep slipping."

I look back. In this open, treeless valley I can see a long way. A mile or so behind us on the road is a square, dark shape. It's moving very fast.

"They're after us."

It's agonizing. I can see that it is the armored car we saw at the bridge. It's speeding towards us, while our truck struggles to climb the gravel road. Yuri turns the wheel left, then right, then hard left, over and over again, and changes gear constantly. "The main thing is to keep moving, however slowly. We can't afford to lose momentum; we'll stop or even slip back."

Ahead of us is a hairpin switchback. Yuri takes it at speed, spraying stones behind us; the wagon lurches horribly to one side as we career round the bend. But ahead, now, the road is less steep. Soon, it's level, and we're moving fast again. And then, the road simply ends, on a pancake-flat plain of lava. A smooth, dead-level black expanse stretches before us: we can drive anywhere we like. Yuri pushes his foot to the floor; the engine roars as we rush faster and faster towards the safety of the unseen border.

But the armored car is behind us. Its angular shape grows with frightening speed. I see a soldier standing, his hands on the gun. The first shot is fired.

A hole appears in the cab, just behind my head. I've no time to think, but Axelson shouts. "Their shooting is very accurate –"

A second bullet has holed the engine. Oil and water spray out onto the windshield.

Yuri swings the wheel violently to the right; we're thrown across the cab, as I hear his voice "There's no cover out here at all. A fairground shooting gallery."

Axelson manages an answer. "So you're trying to dodge them?..."

"No."

The whole truck bounces and rattles as if a giant is shaking it. I can barely see ahead through the oil-spattered windshield. There are a few more bumps and bangs, then everything around us goes dark.

"Headlamps still work!" shouts Yuri.

The professor peers out. "A lava tube!"

"Yes. I don't know how far we'll get, but it's better than being a sitting target out on the lava flow."

In the light of the headlamps, a tunnel of black rock stretches ahead of us, smooth-walled and flat-floored. Axelson shouts. "Be ready to brake, Captain. The lava tube may come to a dead end at any moment."

Our engine roar reverberates through the tube, but we're not the only ones. There's the higher, sharper note of the armored car's engine; and we're lit by the beams of their headlamps. Yuri glances back. "Their vehicle will handle this place better than ours. But the twists of the tunnel make it harder for them to shoot at us."

The car's closer now; we're lit starkly in the beams of its lamps. The tunnel starts to dip, then runs downwards; gravity's pulling us. We hurtle along as if on a rollercoaster. But despite the slope, the tunnel is now dead straight. I take one last glance behind us. The soldier is hunched, ready to shoot. He fires.

The rear of our truck erupts in crackling flames: a wave of heat hits me. I can smell my hair scorching.

"Yuri – the gasoline tank?"

"We'd be dead if it was. It's just the canvas covering on fire. But it may ignite the gasoline –"

My head lurches forward, striking the windshield like a hammer with the momentum of a sudden stop.

Yuri is down from the cab already, pulling me out of my seat, dragging me away from the flames just as he did long ago... the professor clambers down. We're running down the tunnel into blackness. Behind us there's a massive blast of fire. Exploding fragments of the truck fly at us; my back, my legs are hit by debris, like bullets.

But Yuri's grinning.

"I braked. We stopped so suddenly that the armored car will have crashed into the back of the truck."

We stagger along down the tube, away from the blazing wreckage. Ahead, I can see a tiny disk of light in the dark. After a few more stumbles in the blackness, the tube levels out and becomes wider. Shafts of sunlight descend, like a white veil, across the mouth of the tunnel. Suddenly, we're standing in a gaping opening, as if under the arched door of a church.

Ahead of us, beyond a tumble of black stones, is a small stream. Axelson breathes heavily. It's the biggest sigh of relief I've ever heard.

"That stream is the border."

We pick our way through the rocks to the water. A few yards before we reach the stream, I look down at my feet. I'm walking on lush green grass. Along the water's edge, there are shrubs and bushes, and the grass is spangled here and there with flowers. I step into the water, not bothering to keep my oil-stained shoes dry; the water is deliciously cooling, and crystal clear. My feet are on rippled sand, just a few inches below the surface. But here and there I see deep, rocky pools. Fish move lazily in the depths.

We all stand on the sand in the stream, looking back to the lava tube. From here it appears nothing more than a black hole in a wall of rock. But I smell burning, drifting out from the cavern. Yuri too sniffs the air.

"They won't be coming after us. We may as well rest for a few moments, and drink some water. Filtered through lava beds for purity: you could probably bottle this and sell it."

I drink, and never has anything in my life tasted so good. Then I splash my face, again and again. Upstream, I hear the leaves of the bush rustling; it's a bird, hopping from branch to branch. It begins to sing.

The far side of the stream is steep and rocky, a kind of low cliff, like a wall defending the border of Iran. We wander, our minds blank with the knowledge of our escape, up the bed of the stream. Then Yuri points.

"Look. It's like stairs."

Above a deep pool in the stream, someone has laid flat stones, a series of steps going up the far bank, almost as if a fisherman has built his own private staircase up from the pool. But for us, it allows us to easily climb the far bank, onto Iranian soil. As we ascend the staircase of slabs, we see the Persian Road again; the steps join onto it.

As if to reassure us that our escape is actually real, a large boulder stands at the side of the road. It's chiselled with carved, curved lettering. Axelson laughs with joy.

"It's Persian script. I think it says 'Welcome to Iran.'"

A hundred yards ahead of us along the road, I see the first building since Doğubayazıt; a wooden shed, with the same welcoming script painted on its walls. Outside the shed is a bizarre sight. Sitting on bright green grass are three gaily striped deck chairs, such as might be found on the sea front of an English holiday resort. Two of the chairs are occupied by uniformed sentries, sitting idly. One of them appears to be asleep, but the other one sees us, stands up, and comes forward to greet us. He shouts in broken English.

"We are border guards: you are entering Iran!"

We wave back at him. His fellow sentry has woken now, and he's standing up. The first guard calls to us. "Come and sit down for a few minutes! Rest after your journey! Where have you come from?"

He gestures us, with old-fashioned courtesy, towards the deck chairs. We all flop down into them. Waves of relief flood through me. The men offer us water, but we say we've had plenty. Both the sentries smile genially at us.

One of them repeats his question.

"Where have you come from?"

"Back there – Turkey."

This time, the guard's voice is slightly sharper. "The Persian Road? Doğubayazıt?"

Neither the professor nor Yuri reply. I look at my two friends. They are sitting, open-mouthed. Both have guns pointing into their faces.

The professor regains some of his composure, and starts to explain."You misunderstand! We're not from the Ottoman Empire, you know."

The sentry looks closely at each of us in turn before replying to the professor. "I believe you. You three are not Ottoman citizens."

The professor nods. "Exactly. We're not Turkish."

The guard replies. "I agree – you're not Turkish." He smiles slowly, then speaks again.

"But I am."

We stare at him in dismay. He carries on. "For security, military forces of the Ottoman Empire are currently occupying all Iranian border posts. We have many problems to deal with. For example, I had a report today that one of our trucks was stolen."

35 A quiet Ulysses

The professor tells me that we're half a mile from Europe. Across a narrow strip of water, I can see the finger of land they call Gallipoli, where so many young men, many of them from faraway Australia and New Zealand, died in the disastrous battles of 1915. The terrible losses were senselessly futile: the land is now reoccupied by the Ottoman Empire.

We're imprisoned in the Sultan's Fortress at Canakkale. I look out through a little iron-barred window at the Dardanelles Straits, that divide Asia from Europe. In the water I can see rusty wreckage and broken masts: the pathetic remains of the Allied battleships sunk in the shallow waters of the Straits in the Gallipoli attack. The bodies of hundreds of British and French sailors lie in those iron graves.

Our journey to Canakkale, in handcuffs and railway trucks across Turkey, took two weeks. Since then, the professor, Yuri and I have been in this prison another two weeks. It's now nearly the end of October, but even though summer is over, during the day our cell gets horribly hot and airless. There is no privacy at all. Every day, I feel grateful that the professor and Yuri are considerate and sensitive men.

Rumors abound; every day we hear a new, improbable story from our guards – the Kaiser has surrendered, Talaat Pasha has killed himself, Lawrence of Arabia and a band of Arabs have captured Istanbul. The guards also tell us that our letters of appeal to our nations' ambassadors have been sent on to them. And I've received letters: one from Emily, who is now living in Moscow; another from Rufus. He, Mariam and all the Ararat villagers got across the Aras River, with the help of Armenian border guards. They are all now safely in Yeravan.

As I gaze out through the tiny window towards Gallipoli, I think: our guards don't take their work seriously at all. It doesn't help that none of them even have uniforms; they wear threadbare civilian clothes. I think they are given a little food, and no pay, to guard us. I'm sure they'd release us, if we had any Turkish cash to offer them.

In the last few days, the guards have spent much of their time joking with us through the little hatch in the door of our cell. We converse in a mixture of broken English and the few Turkish phrases we've managed to pick up. Despite their lack of discipline, they are in good spirits: they say that in a few days the war will be over, and we can all go home. One of them is calling to me now, through the hatch.

"Hey lady, are you looking forward to getting out of this hole? I am, for sure. I want to get back home, see my brothers, back in Tarsus. I've been here at the Sultan's Fortress for four years."

I nod. "I know a little girl who came from Tarsus."

"I've heard about your Bible. Saint Paul, he was from Tarsus, you know? 'I am a citizen of no mean city' – that's what Saint Paul said."

"My friend was Armenian."

"There's some good shops run by the Armenians in Tarsus. Nice stuff, you know – clothes, carpets, furniture."

I don't tell him that all those shops will be gone now, but I smile at him. As I do, I hear a different voice; sharply edged.

"What are you saying to that prisoner, guard?"

The man salutes nervously. "Sir – ah..."

"Get back to your duties, or you'll find yourself in a cell."

Our cell door opens, and Kılıç Pasha walks in.

Yuri and the professor were both snoozing: now all three of us are shocked awake, staring at our visitor. His shoes gleam like quicksilver, his uniform is freshly pressed; he looks immaculate.

"I heard about your recapture. I also heard that you caused the deaths of two Turkish soldiers in an armored car. But you also did something far worse. You disrupted the Ottoman Empire's solution to the Armenian problem."

Professor Axelson returns Kılıç's stare, replying boldly.

"You do realise, Kılıç Pasha, that me and my friends are nationals of three different countries – and that not one of those countries is actually at war with Turkey? Our appeals for release have been sent through to our own nations' ambassadors."

"Sabotage is a crime, no matter who commits it." Kılıç looks into my eyes. "And on the subject of ambassadors – we used to have a United States ambassador in Istanbul. He was a thorn in our side. In fact he was a bit like you, Agnes – he constantly tried to interfere in the Armenian issue. Now we have expelled him, and severed all diplomatic ties with the United States. We will not listen to any appeals for mercy from America. And as for Russia, Captain Sirko – we have heard nothing at all from them in respect of your case."

He pauses: I see the contempt in his eyes as he goes on. "So – neither of you will be released, not even if the war ends tomorrow. You have committed capital crimes, and will be dealt with accordingly."

His gaze turns back to Axelson. "However, in your case, your letter was passed on to the Swedish ambassador, and we have received an initial response." He calls to a guard. "Get this man out of the cell. Bring him to me: I need to interrogate him at length."

It's night. Through the barred window, I see stars: the Milky Way's glittering trail across a sky of blue velvet.

"Yuri?"

"Yes, Agnes?"

"Hold me."

There's a noise in the corridor. Voices are shouting. Our cell door bursts open.

"Both prisoners are to come with us."

I recognise all the guards in this prison. But I don't know these three men who stand in the doorway of our cell. They shine a flashlight that glares in our eyes: the light glistens on the barrels of rifles. We stand, quickly – but despite that, one of them pushes the muzzle of his gun right into Yuri's stomach. I hear the catch click, and I stare, frozen in shock.

"Move!"

I attempt to talk. "Please –"

A hand slaps my face, so hard that I see stars. Then I feel my hands being pulled behind me, and a rope is twisted around them. But someone is shouting at the soldier. "Tighter!"

I feel burning: the rope is tearing the skin off my wrists. My face is up against the wall, but I hear blows behind me. They are hitting and kicking Yuri.

I feel the cold metal of a gun barrel on the back of my neck. "This time, you'll move." I walk, pushed along by the rifle. With every step I feel the muzzle poke into the base of my skull.

Yuri and I are forced along a stone corridor, out into the courtyard of the fortress. Above, the vast bowl of stars is still shining down, glimmering on the cobbles below our feet. In the gloom, I hear a familiar voice.

"Miss Agnes! Captain Sirko!"

"Shut up. Now all three of you, get in the truck."

There's enough light for me to see that the professor's hands, like ours, are tied tightly. All three of us are bundled into the back of a small open-topped military wagon. The three men, who I now see are indeed in Turkish Army uniform, come into the back of the wagon with us. Each points his rifle at one of us, close up against our skin.

I hear the engine start, and the truck begins to rumble across the courtyard. We pass under the gateway of the fortress, and streets and houses whiz past us in the night: we're being taken away from Canakkale.

Despite my pain and fear, I'm aware of the fresh night air as we drive along. There's a cool breeze, whispering through the twisted branches of Mediterranean pines. I smell the heady scent of oleander. We are leaving the town, and heading out along the coast. Here and there I see the distant silvery glimmer of the sea.

My face still smarts from the slap, my tied wrists are on fire and, as the truck bumps along, the muzzle of the rifle jabs at the arteries in my neck. But I feel alive in this moment; my senses are awake, as if drinking in the sights and scents of the Mediterranean night. We drive through an olive grove, the dark trees laden down with the burden of their fruit. Then we pass among lemon trees, and I smell the sweet freshness of the lemon blossom. The stars shine down on us all: us three captives and our three guards, as the truck rattles along the road in the night.

After about ten miles, there are no more farms or houses. I hear an owl hooting as we turn off the road onto a track. The truck's wheels brush against undergrowth: the track is overgrown with weeds and grass. Few people must pass this way.

The rifle stabs into my neck again and again, as the truck rumbles along, jolting and bouncing on stones, scraping through bushes. There now seems to be no track at all. Finally, as if the driver is giving up, the wagon stops. There's no point in waiting for another slap: I start to get up from my seat.

We all stumble out of the wagon onto a patch of threadbare grass. There's some light from the truck's headlamps: enough to see we are in a strange, desolate landscape of tumbled, hilly knolls and odd square boulders. A grove of cypress trees stand up tall against the sky, which has changed from black to deep royal blue: dawn is not far away. I hear the hooting again, and Axelson says, as if to himself, "The owl of Athena."

No-one else says anything. Again the guns poke into our skin, and we're pushed along, past stone blocks. In the starlight, some of the piles of stones seem to form pillars and walls, as if set there by human hands.

We come to a slope; the grass is thin and sparse, growing here and there among tilted slabs, like a ramp. The soldiers push us up the ramp. At its top, on either side, are two columns of stone, like portals. A gnarled tree grows next to one of them.

The rifle is at his throat, but Axelson speaks.

"The Scaean Gate and the oak-tree."

Out of the darkness, I hear Kılıç's voice. He must have been waiting for us, at the top of the ramp.

"Well done, Professor. So, you know this place I've brought you to."

Axelson replies quietly.

"Everyone knows it."

"Everyone has heard of it – but you actually recognise it, in the dark."

I can hear the satisfaction in Kılıç's voice as he continues. "I'm glad that you, Professor Axelson, understand why I've chosen this place. The age-old battle of West against East, the peoples of Europe wrestling against the peoples of Asia. Always, in your stories, the West wins."

He pauses, then looks at Axelson. "As you are so clever, Professor, tell us all what happened here, at the Scaean Gate. The gate of ancient Troy."

Axelson speaks, his voice flat and dull.

"Hector, the great hero of the Trojans, was met here at the Scaean Gate by his wife Andromache, with their child Astynax. Andromache begged Hector not to go out to battle, but he went out bravely, and was killed by the Greek warrior Achilles, just outside the city walls."

Kılıç nods, and gestures to the soldiers. They push us forward, deeper into the ruins. I hear Kılıç speaking, as if he is a tourist guide.

"This is the palace of King Priam. When Troy was sacked, some say Priam was beaten to death here by Achilles' son, who used the dead body of Astynax, Priam's grandson, as a club. That antagonism, that hatred, is how things were, and how things will always be, between Europe and Asia, West and East. But this time, the East wins."

In the middle of the maze of crumbling walls and pillars, I see an open, grassy space. Three wooden stakes stand in a row.

Yuri looks at Kılıç. "I'm a Russian and a Cossack. Your talk of East and West means nothing to me. But it seems to me, Kılıç Pasha, that you are angry. Anger does not come from real strength of character. It comes from a lack of power; from resentment and fear."

Kılıç snorts scornfully, but Yuri carries on as the soldiers start to drag him towards a stake. "Are you resentful of what you call the West? – of their money, their science and industry? You told me, Kılıç, that you had a soldier's honor. Where I come from, a strong man, a Cossack warrior, might kill his enemies. But he would never harm a woman. He would show his strength and generosity by letting her go free and unharmed."

Kılıç stares at me. Is Yuri's attempt to save me having an effect? The soldiers continue to shove Yuri along; they are struggling with their task. Suddenly Kılıç pulls out a revolver.

"Captain Sirko, stop resisting. Walk over to the stake, now. Or, I will shoot Agnes in the stomach, and let her die here on the ground, slowly."

Minutes pass, as first Yuri, then the professor and finally I am tied. We face forwards. The soldiers level their rifles. Beside them, Kılıç stands, ready to give the order. Behind his head, the sky is turning pink above an outline of moldering walls and the silhouettes of the cypress trees.

I see, in the furthest distance, a figure appear at the top of one wall. Kılıç glances over his shoulder at the stranger, and his eyes narrow. He lifts his hand to halt the soldiers. Then he looks sharply at them.

"Who is this, coming into Troy? I told all of you! – what we are doing tonight is secret. None of you were to breathe a word to anyone, not even the governor of the Canakkale prison. One of you must have told someone!"

The three men shake their heads. Muttering to himself, Kılıç leaves us, and walks toward the approaching silhouette. In the dim half-light, I can't even tell if the unknown figure is a man or a woman. Perhaps a woman: she looks much shorter and slighter than Kılıç, as I see the two of them outlined against the brightening sky. For five minutes, the two figures speak together quietly.

The professor laughs bitterly. "This pompous fool Kılıç wants to play-act at an ancient legend. Now he wonders who this mysterious person is, coming secretly into Troy. Perhaps it is Ulysses?"

But Kılıç is already striding back towards us. There's an urgency in his step. Before he reaches us, he calls, his voice shrill.

"Await my command before you fire – but, get your rifles ready. We need to shoot them quickly."

I see beads of sweat on Yuri's forehead. He's murmuring: I realise that he is praying.

The professor speaks again. "I think the stranger has brought news that the war has ended. Kılıç will kill us now, and later he will claim that we were shot while the war was still on."

Kılıç is with the soldiers now, whispering furtively to them. They glance around, peering anxiously at the walls and shadows that surround us. There's fear in the three men's eyes. But Kılıç, I can see, is coldly determined to kill us. Suddenly, I hear his voice, loud and harsh.

"Shoot them all in the head. You need to kill your target with one shot... when I give the word."

The men put the rifles to their shoulders. Like Yuri, I'm praying. Oddest of all, I hear the professor's voice again. He isn't praying; he's speaking. Clear and bold, he says the words of a poem.

"The lights begin to twinkle from the rocks:

The long day wanes: the slow moon climbs: the deep

Moans round with many voices. Come, my friends,

'Tis not too late to seek a newer world."

Kılıç glances one last time at us, his lip curled, his eyes like stones. I hear the click of the rifles' catches. Axelson's voice carries on.

"For my purpose holds

To sail beyond the sunset, and the baths

Of all the western stars, until I die.

It may be that the gulfs will wash us down:

It may be we shall touch the Happy Isles."

Kılıç shouts. "Now!"

The guns fire.

36 The Happy Isles

It's a deep, blissful blue; a color I'd never imagined: alive, sparkling and warm. The color of happiness. I'm looking out at the deep sapphire shades of the Aegean Sea, under a cloudless azure sky.

I'm leaning on the rail of the British battleship HMS Agamemnon. Professor Axelson was wrong: the war had not ended – quite. Talaat Pasha and his cronies have fled Istanbul, and the new government of Turkey has sent its representatives to beg the British for peace. The Turkish ambassadors are aboard this battleship. We are steaming towards the Greek island of Lemnos, where the ship will anchor and, this afternoon, the treaty will be formalized. Tomorrow, there will be peace between the Allies and Turkey, and the thousand-year rule of the Ottoman Empire will come to an end.

I hear footsteps on the deck beside me. Someone else is joining me to admire the scenery. Lord Buttermere looks out at the glittering waves. On one side of us, Lemnos rises from the water like a dream-island. I smell, above the waves, the scents of oleander and lavender carried to us from the island, which grows closer every minute. On the other side, I see the open sea, bounded by the shoreline of Turkey and the crumbling remains of ancient Troy. Below the ruins is the long yellow line of the beach where, long ago, the Greek ships landed.

Lord Buttermere taps the handrail. "It's funny, Miss Frocester – a British battleship named after the victorious Greek leader in the Trojan War. I don't think Kılıç Pasha will appreciate the irony, though."

"I agree – although I remember Agamemnon himself came to a sticky end. But what will happen to Kılıç now?"

"We'll put him on trial, for the murders committed by his troops during the Battle of Baku. But he would prefer that, instead of being handed over to a mob in Istanbul. The people of Turkey have finally found out about Talaat's atrocities. Unless he and his henchmen manage to escape from Turkish territory, they will all be executed – or lynched."

"Thank you for last night."

"That's quite all right. I just wish I'd been able to prevent Kılıç's final nasty stunt."

After the shots were fired, I opened my eyes. Everything was still the same: Yuri and Axelson tied to the stakes beside me, facing the three soldiers with their guns, and Kılıç standing by them. I saw the ancient ruins all around us, looming through that strange, dim light that comes just before daybreak. A growing chorus of birdsong rang out in the scented dawn air.

Then the soldiers threw down their rifles, and Kılıç dropped his revolver. Here and there, human figures appeared above the ramparts of Troy. I heard Lord Buttermere's voice.

"Kılıç Pasha, I told you a few moments ago to untie these prisoners and release them unharmed.

You have not kept your side of the bargain. I heard you whispering your instructions to your men – before you shouted your apparent order to fire. A mock execution by firing over the heads of your captives! – a stupid, theatrical act of cruelty.

But since your three prisoners are still alive, I will keep my side of our deal. Here are the two warrants for your arrest that I told you about a few minutes ago."

Lord Buttermere held up two sheets of paper, white squares in the growing dawn light.

"The first warrant, as I explained to you, Kılıç Pasha, was issued in Istanbul by the new government of Turkey. It accuses you of murder and treason. It authorises your capture and summary trial – and execution, if found guilty.

The other warrant is issued by the British government. It requests that you help us with our enquiries about events in Baku in September. General Dunsterville, who managed to survive the fighting, has submitted his report of events. But we do want to give you a fair hearing, and listen to your side of the story. And I'm very grateful that you have spared the lives of your prisoners. So, I will disregard the Istanbul warrant of arrest."

Buttermere took one of the sheets and tore it in two, before continuing.

"If you look around, you will see that the ruins of Troy are now surrounded by armed sailors of the Royal Navy. They will take you and your men aboard our ship. The prison cell on HMS Agamemnon is not comfortable, but you will be glad of it. For you, it is much safer than any place on Turkish soil."

Yuri and the professor join us on the deck, smiling broadly. Lord Buttermere greets them, but then, hands behind his back, he saunters away. He's giving the three of us time to talk.

The professor is the first to speak.

"Yesterday in the Sultan's Fortress, I was taken away from you two. So I never got a chance to tell you my good news. You received a letter recently, didn't you, Miss Agnes, from Mr du Pavey?"

"I did. Have you had a letter from him too?"

"Mine is more recent than yours." The professor grins. "Rufus has fresh news for us. He is leaving Yeravan, and travelling to England. Mariam Sarafian will accompany him. As you know, Mr du Pavey is unlikely ever to marry. But he states the firm intention of legally adopting Mariam as his daughter. He also plans to travel as soon as he can to the United States with her, to visit the missionaries Mr and Mrs Clements in Flagstaff, Arizona. They returned there after the Bolsheviks expelled them from Russia."

Yuri laughs. "What will Rufus's aristocratic English family think, Professor?"

"I can imagine some raised eyebrows from his father and brother at Breckland Court. But as the second son of the du Pavey family, he will not inherit the estate. And, with a daughter, he is perhaps less of an embarrassment to his family than as a forever single 'confirmed bachelor', as they euphemistically say in England."

The professor smiles to himself. But he too, like Lord Buttermere, now wanders off along the deck, leaving Yuri and I together.

"So, Agnes, will you return to the States?"

"The war is over here, and it will be over in Europe too, in a few days. So, yes – I will go home. But what about you, Yuri?"

"Well – " I feel him take my hand. "I'm rather hoping the United States Immigration Department may look favourably on a man who can ride horses and drive trucks. I just hope they will not suspect me as a Bolshevik spy, when I tell them I must write regular letters to my mother in Astrakhan. I think my skills would be useful in the western States – cattle ranching, perhaps?"

I realise that my face is beaming with joy, as he carries on.

"But if I am given my own free choice of where to live, Agnes, there is a particular place I have in mind. A small town, with a thriving, well-run corner drugstore, in rural Connecticut."

I look up into Yuri's face. The sky behind his tousled hair is dizzyingly blue, like a dream of Heaven. But I hear a polite cough – and the voice of Lord Buttermere, back from his walk around the deck.

"Yesterday, you were prisoners. Today, we are all on holiday. I suggest a picnic."

"On the battleship?"

"The battleship will be anchoring in the harbor in a few minutes. We have permission to use one of the ship's boats. So we can row out to the shore of the island of Lemnos. We even have a hamper of food for our picnic. A dinner was held on board last night for the ambassadors of Britain and Turkey. There are quite a lot of leftovers."

An hour later, Yuri and Lord Buttermere row our boat ashore, amid gently rippling waves. This place is called Fanari. Between rocky headlands crowned with cypresses and olive groves, a perfect curve of sand is dazzlingly white. The water is crystal clear, pale where it shelves onto the beach, deepening to a cobalt-blue horizon. We unpack the wicker picnic hamper, and Lord Buttermere opens a bottle of champagne. We clink our glasses together, and call a toast "To Peace!" As Axelson sips his drink, he looks at Buttermere's slim, slight figure.

"I did not think of you as a rower, Lord Buttermere!"

"When I was a student, I was cox of the Cambridge boat. We had three victories over Oxford; happy days. So I don't usually row, but I know a little of the technique..."

I see another small boat among the waves, rowing towards us. It appears to have come, like us, from HMS Agamemnon, which I can see anchored in the distance.

The boat pulls up on the sand next to ours. Four men hold oars; I recognise the all-too familiar uniforms of Red Guards. But they remain seated. Out of the boat get three other people. I recognize the first straight away: it's General Aristarkhov. Following him closely, and once again smartly dressed, is Mr Bukin.

But it's the third figure to emerge from the boat that surprises me. It's Emily.

I greet her warmly, and open my arms to give her a hug. She responds with a cool handshake and a thin smile. But I can't help grinning at her.

"I'm so pleased to see you, Emily! Why on earth are you in Greece?"

There are introductions all round. But none of our party have any idea why these three people are here. Despite the warmth of the Aristarkhov's and Bukin's smiles, there's an atmosphere, a kind of frost of suspicion, between our two groups. But when General Aristarkhov proffers his hand to me, I shake it politely. He explains Emily's presence.

"Miss Neale is here as my personal assistant, as is Mr Bukin."

"I'm surprised."

"As you will recall, Miss Frocester, at the end of your stay at the Yermak Estate, Miss Neale was called aside, in private. She was given a letter from me, which asked her to explain her actions. For example, you yourself witnessed her causing the death of a man called Horobets – a former sergeant of the Siberian Cossack Host, who I knew to be an unstable and treacherous man.

Miss Neale travelled to St Petersburg to meet me. She explained to me all her actions and motives during the events of 1917. Her explanations were entirely satisfactory – so much so that I appointed her to work for me."

I stare at her. "Emily, is this true? You're a supporter of the Bolsheviks? Of Lenin?"

"Yes I am, Agnes. I have realized that there is only one way forward for Russia, and Lenin is the architect of our destiny. I admit that I was confused, groping for answers, when the revolution first happened –"

"Emily, you were one of the people who made the revolution happen!"

"I was involved in some street protests in February 1917. But those demonstrations weren't organized or authorized by the Bolshevik Party. So they weren't the true revolution. Only when the Bolsheviks swept away the so-called Provisional Government at the Winter Palace was there a real revolution."

"I can't believe you're saying this..."

"History proves, Agnes, that the revolution, the triumph of communism predicted by Marx, has come to fruition under Lenin's leadership. It just took me a little time before I could see it that way. That was my own fault. Now, I've learned from my mistakes, and I'm here to help General Aristarkhov. He has an important mission here in Greece."

Mr Bukin is standing by, waiting politely to shake my hand. "Miss Frocester! I am so grateful to you. I thank you with all my heart for the letter you wrote for me in Moscow, to the general. It took some time – but two weeks ago, he contacted me, saying he remembered my loyal and unquestioning service to him before the Revolution. He has now appointed me to be clerk of his new office in Moscow."

"So why are you all here in Greece, Mr Bukin?"

"I don't know. The general said it was important... Ah – Captain Sirko!"

Mr Bukin is thanking Yuri profusely for the money he gave him in Moscow. But I'm listening to another conversation. I overhear Aristarkhov talking to Lord Buttermere and the professor, both of whom reply to him, with one voice.

"That's completely impossible! We cannot agree to your request."

I look over at them. Lord Buttermere goes on. "We have no problem with Captain Sirko returning to Russia, if he wishes to. But as your prisoner, on a charge of murder!..."

I step over to them in a instant. "What on earth is going on?"

Aristarkhov looks at me. With an air of annoyance, he explains again.

"Our leader, Comrade Lenin, wants friendship between Russia and our near neighbour Sweden. He also wants to investigate and punish crime – even crimes that were committed before the Bolshevik government came to power. For both those reasons, I have come to arrest Captain Sirko, for the murder of Svea Håkansson in July 1916."

I'm stunned. But Aristarkov continues. "Miss Frocester, I have already spoken to the captain of HMS Agamemnon, and to the senior British officials aboard the battleship. They are all rather busy today. They told me that if I needed to arrest a Russian citizen, for a crime that was committed in Russia, I should simply go ahead."

I look at Aristarkhov, then at Bukin, then at Emily. My words come slowly.

"You want to investigate and punish crime, you say. So you need to find the murderer of Svea Håkansson. Captain Sirko is innocent. I can prove it, beyond any possible doubt."

The General gives a short, low laugh. "How can you prove it?"

"Because I know who the real murderer is. And I have conclusive, irrefutable evidence."

I look at the general, then at Emily, before carrying on. "The first piece of information I should share with you is one that you have both seen. It was there on the table inside a manilla file, General, when you interviewed me and Emily at the Winter Palace. It's a letter written by Prince Alexei, in the form of a diary."

Emily looks at me. "Alexei's letter doesn't say who killed Svea."

"No. But it does go into very exact detail about something Alexei was given, while he was staying at Tri Tsarevny."

Aristarkhov shrugs. "You mean the binoculars?"

"No. The books. Alexei was given books by his tutor, Nestor. One was the Time Machine. It's a popular book of science fiction, written by the socialist H. G. Wells. It's about a future world, in which human society has divided into two species: underground-dwelling workers and dreamy, idle aristocrats. Then there were two poems by Thomas Macauley, both about the struggles of the young Republic of Rome to defend itself against the claims of tyrant kings. The last book Alexei mentioned in his letter struck a particular chord with me, because the author was born in Litchfield and settled in Hartford – both in Connecticut, my home state. Uncle Tom's Cabin is one of my favorite books."

Aristarkhov sneers. "This is hardly relevant – and rather tedious, Miss Frocester." But I carry on.

"Can we conclude anything about the type of person who might give such books to an impressionable young boy? I could only guess, of course. But then I came across something more definite. Mr Bukin – you told me that Nestor is an Estonian surname."

"Yes, it is."

"And Professor, you thought that it might be a name from classical Greece. But when I was in Astrakhan, I met Yuri's mother, Mrs Viktoriya Sirko. At her house I saw a newspaper clipping of a civic visit to Astrakhan from Boston, Massachusetts. As you may know, Boston is famous for its Irish population. One of the visitors was a Boston businessman named Patrick Casey Nestor."

I look at Emily. "When the General sent you and I to Moscow, you told the American consulate that you'd lost your passport. But the truth is that you did still have your passport – but you didn't want to get it out in front of me, in case I saw the surname that was written in it. And today, you got the General Aristarkhov to introduce you as Emily Neale. But that's a lie, isn't it? Your name is actually Emily Nestor, of Irish descent, born in New Orleans. When I saw that newspaper article in Astrakhan, I realised, for the first time, that Nestor is an Irish surname."

Emily says nothing.

"You have a brilliant academic record, Emily. You are one of the world's most distinguished scholars of Russian literature. On that basis you secured a job as a private tutor to Alexei. I think his mother favored a female tutor for her delicate boy. And, the Tsarina's extreme secretiveness meant that, although you were at Tri Tsarevny, you remained in the main Dacha every day. Only your name was known to you, General, and you, Mr Bukin. You never actually met Nestor, did you?"

The two Russians nod silently as I continue.

"But I think that one of you – probably you, General – had seen the distant figure of Tutor Nestor up at the main Dacha, from your own house down on the lake."

"Good God! How did you know that?" Aristarkhov glares at me.

"Another of my guesses. What you saw – from a distance – was a black-haired, pale-skinned, thin woman, conservatively dressed in dark clothes. The weather was sunny, those few days at Tri Tsarevny in July 1916. In bright sunlight, you often don't see people's features. And if Emily was standing against the light, all you'd have seen was a silhouette, General. Look at me, now, against the sunlight –"

Aristarkhov looks at my shaded face and my figure, standing on the beach. My sharp shadow on the sand points at his feet. I go on.

"Three weeks later at Ivangorod, General, you were told that a person matching that description, an American woman, was at the harbor, getting into a boat to Tri Tsarevny. It was me, of course.

At the time, General, you were a loyal servant of the Tsar, and a senior member of Okhrana. You knew that the one person at Tri Tsarevny who had managed to remain a mystery to you was the dark-haired American woman, Tutor Nestor. So you suspected her – who was in fact me – of being the murderer of Svea Håkansson, and a threat generally to security and to the Tsar's family.

In typically ruthless Okhrana manner, you asked the Cossack Ivan Horobets to dispose of me. You knew that Horobets was a brutal, unscrupulous man. That's why you employed him to carry out Ohkrana's nastier jobs. It was you who gave Kaspar Sepp a piece of drugged meat, and it was Horobets who set fire to the cottage."

"You're accusing me of attempted murder, Miss Frocester."

I turn away from the general, and look at Emily.

"First, let's finish your story, Emily. You took the position of tutor to Prince Alexei because you are a revolutionary socialist. You saw it as an opportunity to spy on the imperial family. You believed that would help the revolutionary movement in Russia. I think that you were in touch with Nikolay Chkheidze and other would-be revolutionaries before you even arrived in Russia. Once you were at Tri Tsarevny, you took the opportunity to send Chkheidze and his friends messages from a wireless that the revolutionaries gave you. You concealed it in the old storeroom, the house that was never used, on the island down on the lake. You were good at your little piece of espionage. You were spotted only once, by Rasputin, on one of his late-night forays along the causeway.

And finally, Emily, Alexei left one other clue that you are in fact Tutor Nestor. He drew a picture of you, at the end of his letter to Dr Jansens. I remember, at the Hotel Metropol in Moscow, that you were very quick to say that the drawing was of Svea."

Emily shrugs at me. "Why couldn't the drawing have been Svea?"

"I think that Alexei couldn't draw Svea. He didn't want to go to that place in his mind. Whenever he thought of Svea, all he could think of was the horror he'd stumbled across on the porch of the Second Princess. No: that drawing is of you."

Emily's lower lip sticks out, like a little girl's, as she looks at me.

"You've connected up a series of guesses – but you're right, Agnes. I was tutor to Prince Alexei. I'm not ashamed of sending wireless messages to Chkheidze, or of trying to influence Alexei with those books. I was trying to educate him, to give him a new way of thinking. The Romanovs were tyrants."

"And Lenin isn't?"

She's about to answer me, but I turn to Aristarkhov.

"General, you said I accused you of attempted murder. I'm not backing down on what I said. You did order Horobets to kill the professor and me in that cottage at Ivangorod. But then, when you saw Emily and I together at the Winter Palace, you realised how alike we looked, and that either of us might have been Tutor Nestor. You questioned us to try and find out the truth, but you couldn't.

So you had us exiled to Siberia, and later you again instructed Horobets to eliminate us, at the Kungur ice caves. As with the burning of the cottage, you and Horobets took pains to make the intended deaths look like an accident."

Aristarkhov snorts. "You can't prove anything about me. Nor can you prove Captain Sirko innocent!" He turns on his heel, and signals to the four guards in the boat. They step down into the waves, and begin to walk across the sand towards us.

But I carry on talking. "You weren't worried, General, about two American women disappearing in an apparent accident in an underground cave, because that would hardly draw the attention of the United States government. But when it came to actually putting someone on public trial for the murder of Svea Håkansson, you wanted to avoid any international effects.

You needed a Russian to take the blame. I think gangsters in New York use the phrase 'fall guy'. An old-fashioned Cossack, loyal to the Tsarist regime, was ideal. But what made Yuri the perfect fall guy was that he actually was at Tri Tsarevny when the murder happened, and he knew how to handle guns."

The four Russian guards are standing with us now, awaiting Aristarkhov's signal. I see that all of them are armed with pistols. Yuri looks at the circle of faces. "I hope for my sake you can prove this, Agnes! But are you saying that it was Emily that killed Svea? Or, General, did you murder her yourself?"

I reach for Yuri's hand. "Please be patient. I need to take a break now. General Aristarkhov – will you give me just five minutes, before you take Yuri away?"

The general grunts. Axelson looks at me. "Miss Agnes! Why are you keeping us waiting? We need to know how you have solved this case!"

"There's something I have to do first. I need to talk to someone I trust."

Both Yuri and the professor glance at me. But I answer their looks with a grin. "I don't mean either of you, on this occasion! What I mean is, that I need to talk to Lord Buttermere."

Without any words, Lord Buttermere and I walk away from the group, along the edge of the waves. Gradually the sound of their voices dims and fades. All we can hear is the soft sound of the sea, as it washes across the sand with each incoming wave.

I pick up a stone, as if to throw it in the water. But instead I throw it behind me; it makes a little sound as it scuffs the sand.

"You know, Lord Buttermere, why I want to talk this business over with you? The politics around this case are very –"

"Delicate."

"Yes. You're an expert in all that political delicacy. But also – you know, don't you? You know that when I stood in front of General Aristarkhov a minute ago, silhouetted in the sunshine, I wasn't really talking about Emily."

"Yes. I understand that."

"Then I can tell you everything I know, Lord Buttermere. It started when I was in that room at Tri Tsarevny, in the main Dacha, where there was a picture on the wall of the fairytale Russian character, Ivan the Fool. The place wasn't like a home, not even a rarely-used holiday home. There was nothing homely about it. It felt like a mausoleum, an empty shell.

I don't think it had that atmosphere because the Romanovs had already departed. I think it felt like that before they ever arrived for their holiday. It always felt like that – because it had _never_ been used, not even for their holidays. The strange dead air of that house has been going round and round in my head, for the last two years.

But I realised how Svea's murder had actually been committed because of something else. In St Petersburg, when Axelson talked to Mr Bukin about Alexei's tutor, he said 'he'. He made an assumption about gender. He was probably misled by the name, picturing Nestor as a wise silver-haired Greek king. It's a bit like the ladies' bath-house in St Petersburg...."

Lord Buttermere looks quizzically at me, and I explain. "To be honest, Lord Buttermere, I'm a bit of a shrinking violet sometimes. But when I went into a room at the bath house labelled 'Ladies' I gaily stripped all my clothes off. Because I never expected to see a man in there."

Lord Buttermere laughs, and I add "Sometimes, we see what we expect to see. Expectations can mislead us."

"Indeed."

"When you visited Tri Tsarevny, Lord Buttermere, the guards on the old stone quay, who were very bored with their duties, told you all the legends about the place. They told you the story of Ivan the Fool and the three princesses, and how the little islands and their houses are always referred to as the First, Second and Third Princess. You asked the guards about things of more immediate interest to you – about Svea Håkansson, who you had come to meet, and about Rasputin, whose plans for a cease fire between Russia and Germany would be a disaster for both Britain and Sweden. The guards at the quay told you that Svea was in the Second Princess, and Rasputin in the Third Princess.

You went up to the main Dacha. No-one was about. You looked down at the lake, and saw the islands. You went down there, and walked along the causeway, past one island with a little house, then another.

At the third island, you saw the house that you thought was the Third Princess. You looked into the house, expecting to see Rasputin. As I said, people see what they expect to see. But when I stood up on the beach with the others, a few minutes ago, I showed how little can really be seen of a person, when they have a bright light behind them.

It was the same on the sunny afternoon that I was there, in August 1916, three weeks after the murder. The professor and I were standing at the door of the Princess house. We looked right through it, and through the French windows, at the glare of the sun sparkling on the lake. The conditions on the day you were there must have been very similar. The brightness of the sun and the lake would silhouette any person standing on the porch, when seen from that doorway.

So you saw the outline of a tall figure, standing with their back to you. The person was completely unaware of you. They had flowing dark hair, and they were wearing a long white robe, like that of a monk. The figure was leaning on the rail of the porch and looking away from you, out at the lake. And you knew that, one way or another, Rasputin had to be stopped.

You are a planner and a plotter, not a trigger-happy chancer, Lord Buttermere. But you showed me, in the butterfly gallery at the Ivangorod Museum, that you are quite ready to use a gun, if you think it is necessary."

Buttermere nods.

"A few moments ago, I tossed a stone onto the beach behind us. You heard the sound, and being right handed, you glanced over your right shoulder, to see what the noise was. The figure you saw on the porch of the Princess house did the same, when they heard you at the door. That person was standing, facing the lake, with their head beginning to turn over their right shoulder.

You stood at the door, looking at the silhouetted figure, and you had your gun in your hand. As the figure turned their head, you fired. The bullet entered the right temple, and came out the left side of the skull, where it shattered the bones. Svea fell, into the wicker chair, her head still turned over her right shoulder. Later, that position, and that damage, was what Prince Alexei saw."

The waves are still shining on the white sand, and the slim, elegant gentleman beside me shakes his head silently.

"Shall we turn round now, Lord Buttermere, and walk back to the others? As I said, Svea Håkansson wasn't sitting, when she was shot. She was standing, then she fell into the chair, onto Alexei's book, which he later pulled out from beneath her body.

I'm sure it was an awful moment for you, in that little house, when you realized what you'd done. But it was after you had flung the gun into the lake, and when you were hurrying back along the causeway, that you saw _why_ you had been misled. There are in fact four islands, and four houses, but the first was only a storeroom. What you had thought was the Third Princess was in fact only the Second. It was Svea's house, not Rasputin's.

That little storeroom on its island has a lot to answer for. It misled you as to which Princess was which. But it also betrayed you in another way, when I went back there with Yuri in December 1916.

As you told me, when you went to Tri Tsarevny, you were disguised as an eccentric butterfly collector. The most obvious attribute of a butterfly collector is, of course, his butterfly net. You shot Svea, then in dismay, you went over to look at her corpse. At that point, I guess, you noticed that you'd got blood on your butterfly net.

Unlike the gun, a net would hardly sink in the lake. So throwing it into the water was not an option. But as you ran along the causeway, you decided you had to get rid of that butterfly net somehow. You hid it inside the neglected old storeroom. Months later, Yuri and I went into the storeroom, found the net, and used it to get the gun off the bottom of the lake. We assumed it was a fishing net, for children.

But Alexei wasn't allowed down by the lake, and it couldn't have been left over from an earlier visit, because Tatiana Romanov assured me that they had never had a family holiday at Tri Tsarevny. As I said, the place was like a mausoleum: no children had ever holidayed there. So I began to wonder about the net, and whether it really did belong to a child."

I glance at my companion's profile; his straight nose and fine, delicate features. As always, his face is calm and assured, except for a shine in his eye that might be the beginning of a tear. The distant voices are getting closer again now. General Aristarkhov is speaking to the others, but I can't make out the words. I finish my story.

"So, Lord Buttermere, I realised that the net might, instead, belong to a butterfly collector. That was what made me suspect you. But my proof is the gun. Yuri and I found it in the lake. Then, later on, Rufus took it with him to Armenia. Before he left us, I asked him to use his contacts in British Intelligence to check out the serial number of the gun – DCE5654. Rufus wrote back to me from Yeravan. His letter said that British Intelligence had telegraphed him with confirmation that a gun with that number was issued to you, Lord Buttermere, before you left England for Russia. Rufus's letter reached me at the Sultan's Fortress in Canakkale, a few days ago."

The others are now only a few paces away. Suddenly, Aristarkhov loses patience. He shouts, and two guards step over to Yuri and grip his arms, just like the policemen did in Moscow. Another guard stands in front of Professor Axelson, ready to hold him back if he tries to interfere. I look at Lord Buttermere.

"I owe you my life."

"Last night? I was just doing my job. I came to arrest Kılıç Pasha. When I got into the ruins of Troy, I naturally stopped him and his men committing further crimes, just as anyone would have done." There's a hint of a laugh in his voice as he adds "As you know, Miss Frocester, I dislike unnecessary violence."

"You know what you have to do now?"

"Of course."

Lord Buttermere calls across the beach; his voice is clear as a bell. "Aristarkhov! Call your men off! I have some news for you."

He walks the last few paces across the sand to the general, and speaks quietly to him. Aristarkhov signals to the guards, and they let Yuri go. Professor Axelson and I stand, listening intently: we're trying to hear what Buttermere and Aristarkhov are saying, as they talk together in low voices. Five minutes pass. Then Aristarkhov speaks, decisively.

"Very well. Have it your way."

Aristarkhov turns to us; his blue eyes are hard and clear, but he speaks through clenched teeth. "It seems that we have a confession to the murder of Svea Håkansson. Lord Buttermere, in the light of what he has just told me, will be accompanying my party to Russia, to stand trial."

Two of the guards are standing either side of Lord Buttermere now. But Aristarkhov hasn't quite finished.

"Of course, Lord Buttermere, we will have to tell a little fiction about how this happened. It will be our word against yours." He looks at the professor and me. "I will say that the English lord's arrest on the beach in Lemnos was not quite as dignified and co-operative as it actually has been. We will say that there was an unseemly scuffle... and a gun went off, quite accidentally."

He signals to the other two guards. They draw their pistols, and the general's voice barks.

"Shoot Sirko!"

For answer, the guards look blankly at Aristarkhov.

"Where is he, sir?"

Aristarkhov's eyes, and those of the guards, scan the beach. I see a shape in the faraway waves. The professor laughs out loud.

"I always said it! Russians are strong swimmers, eh?"

Aristarkhov stares at the distant figure, which is now almost invisible in the blue waters. "Damn you, men! You were supposed to be watching him!"

"Shall we go after him, sir?"

The general glares at the guards. Through all this, Emily and Bukin have stood by silently. But now Mr Bukin speaks, in a quiet, firm voice.

"General – you have Lord Buttermere under arrest. So you have captured your murder suspect. That's what we came here to do, sir. It seems that Captain Sirko has not done anything wrong."

Muttering angrily, Aristarkhov leads the way to the boat. I see them moving, a little procession on the sand; Bukin, Emily, the general, the guards, and the unbowed figure of their prisoner.

"Will they execute him, Professor?"

"Anything can happen, Miss Agnes. Lord Buttermere's fate will depend on political machinations. Not on the rights and wrongs of the case."

I'm hearing the professor's words, but they seem to come from far away. I'm hoping against all hope, looking intently among the waves as they rise and fall, but Yuri is nowhere to be seen.

The Russian party's boat is pushing off from the shore now. Aristarkhov directs, and the guards follow his orders, taking the oars. Lord Buttermere sits calmly and quietly, his bright eyes gazing out at the sea. I can't see the faces of Emily or Bukin, or guess at what they are thinking and feeling.

The oars move, and the boat rows away from us. As it recedes among the waves, it begins to look blurred through my tears. Soon it's just a tiny smudge, sitting on the water alongside the silent gray battleship in the distance. In every other direction, the empty sea stretches to a blue horizon. The professor and I are left alone on the beach with the debris of our picnic. Our little boat sits on the edge of the water, rocking gently to and fro, as the waves lap quietly on the sand.

The End
Author's statement

This book is copyright © by Evelyn Weiss. I assert all my legal rights as the author of this book Murder and Revolution, including my right under the Copyright, Designs and Patents Act 1988 to be identified as the book's author. I reserve all legal rights to myself. No part of this book Murder and Revolution may be reproduced, stored in a retrieval system or distributed or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission.

Russia is a land of stories. This is a work of fiction.

So, I use conventions that are easy for the reader. Place names are in their modern form. For example, St Petersburg was actually renamed Petrograd on the outbreak of war in 1914, in order to sound less Germanic: but I have stuck with the more familiar St Petersburg. Dates of major events, on the other hand, keep with the Russian calendar of the time. In this book, the October Revolution happened in October, not November.

Two of my sources may be of interest to readers who would like to see the backdrops to this story. The paintings of Zinaida Serebriakova and the color photographs of Sergey Prokudin-Gorsky (and indeed, their own life stories) are windows onto a lost world, on the eve of its destruction.

Our present-day society is still learning to hear the voices of victims of abuse and violence. One hundred years ago, Aurora Mardiganian was an extraordinary pioneer of victims' voices – see, for example, https://auroraprize.com/en/aurora/detail/13250/

2018-aurora-prize-awarded-to-kyaw-hla-aung. Aurora's story, and others like hers, resonate in the fictional events in the later chapters of the book. But no part of the book purports to be history. All the fictional characters in the book are invented; they bear no resemblance to anyone living or dead, and exist only to entertain the reader. As Marina Beadleston, whose great-uncle was Tsar Nicholas II, said, in the New York Times:

"A total fantasy is fine, so long as somewhere a history book and parents correct it to explain what really happened."

407

