"A car was waiting outside the conference hall. A chauffeur drove us. It was the end of the conference. There were no further engagements. When we arrived at the villa she rang the bell, presented me to a secretary and removed herself. After a short wait I was admitted to a large room, occupied only by Dimitri. 'Sasha,' he says to me, 'I am a man of great and illicit wealth, I am an artist of the unobserved life, also your devoted disciple. I have a mission of immense importance to offer you, but if the knowledge is too great for you to bear alone, kindly inform me immediately and leave.' I asked him: Is the mission legitimate? He replied, It is more than legitimate, it is essential to the benefit of all mankind. I then made him a vow of secrecy. In return, over several hours, he described to me the nature of his vision."

"Which was--?"

Sasha the great double agent has disappeared. In his place sits the credulous and impassioned dreamer of the Berlin attic.

"It was a vision for which I personally and my savior and friend Ted Mundy are perfectly equipped in all respects. It was a vision that could have been deliberately crafted to accommodate our every need."

"And that's all you're telling me."

"The rest you must hear from Dimitri himself. In Vienna, he asked me whether, after all that I had endured, I still had faith in life."

"And you of course said yes."

"With conviction. And now that I have heard him describe his vision, with passion."

Mundy has risen from the table and with his back to Sasha is standing at a wide window. Far below him glow the last embers of the fair. The lake is black and still, the mountains beyond it shadows on a clouded sky.

"When did you last see him?"

"In Paris."

"In another villa?"

"An apartment. It was so big I wished for a bicycle to go to the bathroom."

"And before that?"

"Only Vienna."

"So how do you communicate? Leave each other notes under rocks?" Sasha declines to reply to such a facetious question, so Mundy asks another. "Does he know we worked together?"

"He knows that in Berlin you were a radical who was beaten by fascists as he too in his time has been beaten by fascists. He knows you sacrificed yourself for a comrade."

"How about you?"

"Please?"

"Does he know you did a little of this and that for Mr. Arnold?"

"He is aware that all my life I have fought the tyranny wherever I have found it, with whatever weapons were available to me. _Teddy!__"

Now it is Sasha's turn to be exasperated. Leaping to his feet he has hobbled down the room to join Mundy at the window, and is staring up at him, holding out his hands in angry supplication. "_Fuck__ this, actually, Teddy! Do you not understand how I have spoken for you? When Dimitri asked me whether I knew of other good men or women from my past, people of integrity, of like mind, courage and sound sense--who did I first think of, but Teddy? When he described to me, in glowing words, how together we may help to change the world--it was you, it was nobody but you, that I saw marching at my side!" He pulls back, lets his hands flop and waits for Mundy to speak, but Mundy is still staring at the black lake and the shadows of the mountains behind it. "We are indivisible, Teddy. That is my conviction. We have endured together. Now we can triumph together. Dimitri is offering us everything you need: money, a purpose, a fulfillment of your life. What have you to lose by hearing him?"

Oh, nothing much, thinks Mundy. Zara, Mustafa, my happiness, my debts.

"Go back to Munich, Teddy," Sasha suggests scathingly. "Better to be afraid of the unknown and do nothing. Then you will be safe."

"What happens if I listen to him and say no?"

"I have assured him that, like myself, you are an honorable man, capable of keeping a secret. He will have offered you a kingdom. You will have declined it, but will not speak of it."

Only the detail matters, Mundy is reflecting. Sasha does the grand thoughts, I do the little ones. That's how we get along. So let's think of getting Zara's teeth fixed, and buying Mustafa the computer he's pining for. He might even teach me to send e-mails to Jake.

"Snake oil," he says suddenly in English, and breaks out laughing, only to find Sasha scowling at him. "Snake oil," he repeats, now in German. "It's what confidence tricksters sell to gullible people. It's what I sold to the Professor, come to think of it."

"So?"

"So maybe it's time I bought a little. Who's driving?"

Not daring to reply, Sasha takes a breath, squeezes his eyes shut, opens them and hobbles eagerly back across the room. At the telephone, tapping out a number from memory, he pulls back his shoulders, Party-style, as a prelude to addressing authority.

"At the lodge in one hour!" he reports, and rings off.

"Will I pass like this?" Mundy inquires facetiously, indicating his workaday clothes.

A stranger to irony as so often, Sasha gives Mundy a quick up-and-down. His eye settles on the velcro Union Jack stuck to the handkerchief pocket of his elderly sports coat. Mundy tears it off and shoves it in his pocket.

Driving a car takes up all Sasha's attention. He is an eager schoolchild, straining upward, eyes just making it over the steering wheel as he hammers his horn or flashes his lights at whatever offends him.

He also knows the way, which is fortunate because within minutes of leaving the lay-by Mundy the topographical cretin has as usual lost all sense of direction. At first he reckons they are heading south, but soon they are following a skimpy, twisting path at the foot of great mountains. The moon that had earlier deserted them is back at full strength, lighting meadows and making white rivers of the roads. They enter forest and bump down a pitted alley of fir trees. Deer stare into their headlights, zigzag ahead of them into the blackness of the trees. An owl with a snow-white underbelly glides over the hood.

They make a right turn, start to climb and after ten minutes reach a clearing stacked with felled logs. Mundy remembers the forest clearing outside Prague on the day Sasha told him about his father the Stasi spy. They mount a concrete ramp and enter a barn big enough to house a zeppelin. Half a dozen smart cars, German and Austrian, are parked in an orderly row as if for sale. Set apart from them stands a black Jeep. Sasha pulls up beside it.

It's a new Jeep, a big American one with a lot of chrome and lights. A scrawny, middle-aged woman in a headscarf sits motionless in the driving seat. It crosses Mundy's mind that she could be the same woman in the Sherpa coat who was fumbling for her door key when he climbed the spiral staircase three hours ago, but for Sasha's sake he dismisses the idea. There is no greeting. Sasha clambers out of the Audi and beckons to Mundy to do the same. The woman continues to glower ahead of her through the windshield of the Jeep. Mundy calls good evening to her but she ignores him.

"Where are we going?" he asks.

"We have another short journey to make, Teddy. Our friend prefers the hospitality of Austria. It is irrelevant."

"I haven't got my passport."

"A passport will not be necessary. The border here is anyway a technicality."

_I am an artist of the unobserved life.__ Sasha hauls himself into the Jeep. Mundy climbs after him. Without putting on her lights, the woman drives out of the barn and down the ramp. She is wearing leather gloves. So was the woman on the staircase. She switches off the engine, listens for something, doesn't hear it, apparently. Then with headlights blazing she plunges the Jeep into the blackness of the mountain and at a giddy speed begins the climb.

The wooded hill is a wall of death and she is mad to attempt it. Mundy clutches the grab handle in front of him. The trees are too close together. She can't possibly squeeze the Jeep between them. The path is too steep, she's going too _fast!__ Nobody can hold this speed, but she can. She can do all of it. The Edinburgh academicians would be proud of her. Her gloved hand whips the lever through the low gears and the Jeep doesn't falter.

They have scaled the wall. By the half-moon Mundy sees four valleys stretched below him like the spokes of a white wheel. She weaves the Jeep between rocks strewn over a wide grass plateau. They are on tarmac, descending a gentle slope towards a large converted farmhouse surrounded by barns and cottages. Smoke is coming out of the chimney of the main house. There are geraniums in the window boxes. The woman hauls on the hand brake, slams her door open and strides off. Two fit young men in anoraks step forward to receive them.

In Estelle Road, thinks Mundy, I opened the door to a couple of kids like these, and they turned out to be Mormon missionaries from Missouri wanting to save my soul. Well, I didn't believe them then, and I don't believe them now.

The room where they are made to wait is long and timbered and smells of resin and honey. It has flowered sofas and a coffee table strewn with brand-new art magazines. Mundy sits and tries to interest himself in an article on the postmodernists in architecture while Sasha prowls. It's like taking Mustafa to the nice Turkish doctor, he thinks, watching him: in a minute he's going to tell me he feels all right now, and he'd like to go home.

"Been here before, Sasha?" Mundy asks conversationally.

Sasha puts his hands over his ears. _"No,"__ he hisses.

"Just Vienna and Paris then?"

"Teddy, please. It is not appropriate."

Mundy is reminded of a truth he has learned about people constantly at war with authority: they're also in love with it. An aseptic blonde in a business suit is standing in the doorway.

"Mr. Mundy?"

"The same," he agrees cheerfully, clambering to his feet because he's in the presence of a lady.

"Richard would like to speak with you, please. Will you come this way?"

"Richard? Who's Richard?"

"Richard handles the paperwork, Mr. Mundy."

"What paperwork's that?" He wants to hear her more, place her voice.

"It's no big deal, sir. Richard will explain it to you, I'm sure."

Vassar with a German accent, he decides. Air hostess courtesy. One more question, sir, I'll break your fucking neck. He glances at Sasha in case he's proposing to come along too, but he has his back to both of them and is examining a print of peasants in Tyrolean dress. The Vassar blonde leads him down a corridor lined with antlers and up a narrow back staircase. On the walls, muskets and racks of pewter plates. An old pine door stands ajar. She knocks, pushes it open and steps aside for Mundy to brush past her. I'm in a movie, he's thinking, as their hips graze each other: James Bond visits the ogre's castle. In a minute she's going to inject me with a truth drug.

"And _your__ name?" he asks.

"Janet, sir."

"I'm Ted."

Richard is blond too, and just as clean. His hair is cropped short. He has body-built shoulders, wears a blue blazer and an airline steward's blue tie. He sits in a square wooden room scarcely larger than a sauna, at a small red desk. His handshake is practiced and wholesome and he is an athlete of some kind. Perhaps the girl is too. There is no telephone on the desk, no computer or other temptation. There is one buff file and it is closed. Nobody has written FILE on it. Richard sets his fingertips either side of it as if he is about to levitate.

"May I call you Ted, please? Some Brits, they are so formal!"

"Not this one, I assure you, Richard!" He has placed Richard's accent too: Scandinavian declamatory, every sentence a complaint.

"Ted. It is Mr. Dimitri's policy to pay an appearance fee to all his potential employees, whether or not the interview has a successful outcome. The fee is one thousand dollars cash, payable on signature of a contract of service for one day. Is this acceptable to you, Ted?"

Confused as always when he is offered money, Mundy lets out one of his embarrassed barks and shoves his wrist against his mouth. "I suppose I might force myself," he concedes. And barks again.

"The contract is short, Ted. The key element here is _confidentiality,__" says Richard, who has clearly learned his lines to perfection. "Under its terms, you are forbidden to disclose the content of your discussion with Mr. Dimitri and his staff. That means also the fact that such discussions took place at all. Okay? You can go along with this condition? Take a good look, please. Don't sign till you have read. In life, we say, this is an axiom."

Do we really? Well, well. In _life,__ no less. Plain, high-quality paper, no address, the date. Three paragraphs of electronic type. Something called the New Planet Foundation is about to own Ted Mundy for a day. In exchange Mundy will undertake not to talk, write, or by any means describe, relate, impart, disclose or otherwise divulge--and any other stupid verb that lawyers who are always arseholes can think of to turn an honest sentiment into an unintelligible piece of junk--whatever may or may not have passed between them in the ogre's castle.

Mundy signs, they shake hands again. Richard's is dry and hard. When he has shaken Mundy's hand for long enough, he reaches inside his blazer and produces a yellow envelope, sealed. Not from a drawer, note well, not from a safe, not from a cash box but from his pocket, next to his heart. And he doesn't even want a receipt for it.

Richard opens the door, they shake hands once more for the cameras, except that, as far as Mundy knows, there aren't any. Two more anoraks are waiting in the corridor. White faces, black anoraks, dead faces. Offcuts of the Mormon guards.

"Sir, Mr. Dimitri will see you now," says one of them.

Two blazers guard a pair of richly carved doors, but these blazers, unlike Richard's, are green. Somebody's _really__ thought about wardrobe, Mundy thinks. One pats him down while the other fills a shallow basket with the prisoner's embarrassing possessions: a battered pewter hip flask, a velcro Union Jack, a dog-eared copy of the _Suddeutsche,__ a mildewed cellphone, a pocketful of collection money in assorted currencies taken at the Linderhof departure door, a bunch of keys to his apartment, a thousand-dollar envelope.

The carved doors fly open, Mundy steps forward and waits for his first sight of the billionaire philosopher, philanthropist, recluse and genius who has pledged his life and fortune to Sasha and the Arms Race for Truth. But all he sees is a roly-poly fellow in a baggy tracksuit and trainers, wading down the room at him while two men in suits look on from the sidelines.

"Mr. Mundy, sir, I have had it said to me that your views on recent events in the world coincide remarkably with Sasha's and my own." If Mundy is expected to answer, he needn't worry: Dimitri gives him no time. He has grabbed him by the left biceps and is wheeling him from point to point around the room.

"This is Sven, this is Angelo," he declares, dismissing the suits rather than introducing them. "They pick the flyshit out of the pepper for me. Detail bores me these days, Mr. Mundy. Like Sasha I'm a man of the broad brush. That war on Iraq was illegitimate, Mr. Mundy. It was a criminal and immoral conspiracy. No provocation, no link with Al Qaeda, no weapons of Armageddon. Tales of complicity between Saddam and Osama were self-serving bullshit. It was an old colonial oil war dressed up as a crusade for Western life and liberty, and it was launched by a clique of war-hungry Judeo-Christian geopolitical fantasists who hijacked the media and exploited America's post-9/11 psychopathy."

Mundy again wonders whether he is supposed to add anything to this, and again Dimitri relieves him of the choice. His voice is as violent as his gestures: a rasping, pounding mongrel of a voice even in repose. In Mundy's imagination it is sired in the Levant, trained in the Balkans and finished off in the Bronx. Or so he tells himself as he strives to keep his mental distance from it--now Greek, now Arab, now American-Jewish, now all of them thrown together in a pilfered, semiliterate English cocktail that has never mixed. Does Dimitri have a mother tongue? Mundy doubts it. There is a fellow orphan in Dimitri, Mundy can feel it: a docklands kid, a knife child, an inventor of his own rules.

"All it takes for a war like that to start, Sasha tells me, is for a few good men to do nothing. Well, they _did__ nothing. Whether they're good men, that's another thing. The Democratic opposition did fuck-all. Stay home, sing patriotic songs till it's safe to come out, was their policy. Jesus Christ, what kind of opposition is that? What kind of moral courage? Do I go too fast for you, Mr. Mundy? People tell me I give them no time to think. You want time to think?"

"Oh, I can manage, thanks."

"I believe you can. You have an intelligent head, a good eye, I like you. Iran is next in line, Syria, Korea, take your pick. Forgive me, I am failing as a host. I was forgetting the vital role played by your British prime minister, without whom there might have been no war." A quick turn as they pursue their Palais Glide. "Mr. Mundy will take tea, Angelo. He's married to a Turk, he should drink apple tea or coffee, but he takes a strong Indian tea with cow's milk in it and a bowl of brown cane sugar on the side. The Turks had an honorable role in this war, Mr. Mundy. You should be proud of your lady, as you surely are."

"Thank you."

Turn again.

"My pleasure. Turkey's Islamist government refused to assist the American aggressor, and their military for once restrained their customary impulse to beat the shit out of the Kurds." A half step, and thank God we're moving towards the sofa because Mundy's head is swimming, he has the sensation of taking part in three conversations at once, yet he's scarcely uttered a word. "A man has to inform himself, Mr. Mundy. And I do that, as you will notice. The world is knee-deep in lies. Time the lambs ate the lion. Sit down, please, sir. Here on my right side. I have a bad left ear. Some arsehole put a meat hook in it a while back, and all it gives me is the sound of the sea. Well, I don't like the fucking sea. I sailed it seven years, then I bought the ship and went ashore and bought some more ships, and I never went to sea again."

In sideways glances, Mundy has managed to assemble an image of his host to go with the voice. He is seventy if a day. He has a wide, rolling body and a bald, liver-spotted head with crisscross lines on it and deep creases between the cushions of his face. He has a child's sweet blue eyes, very liquid, and the quicker he talks the quicker they move. Mustafa has a windup toy that does the same and perhaps that's why Mundy is finding it hard to take Dimitri seriously. He has the feeling of sitting too close to the stage, and seeing the cracks in Dimitri's makeup, and the pins in his wig, and the wires when he spreads his wings.

Angelo has brought Mundy's tea, and for Dimitri a glass of soy milk. Mundy and Dimitri are turned sidesaddle to one another on the long sofa, like a television host and his guest. Sven roosts on a tall-backed leather chair outside their line of sight. On his lap he clutches a notebook to take minutes. The notebook is brand-new. The pen is a streamlined black-and-gold affair, pride of the executive classes. Like Angelo, who prefers the fringes, Sven is gaunt and severe. Dimitri likes men about him who are thin.

"So who are you, Mr. Mundy?" Dimitri demands.

He is leaning back in the cushions, his stubby hands linked over his stomach. His sneakers are turned inward to avoid giving unintentional offense. Perhaps, like Mundy, he has learned his manners in the East. "You're a Pakistani-English-born gentleman who played student anarchist in Berlin," he is intoning. "You're a lover of the German soul who sold Shakespeare for the Queen and you're shacked up with a Turkish Muslim. So who the fuck are you?--Bakunin, Gandhi, King Richard or Saladin?"

"Ted Mundy, tour guide," Mundy replies, and laughs. Dimitri laughs with him, and claps him on the shoulder then kneads it, which Mundy could do without, but never mind, they're such good pals.

"Every war is worse than the last one, Mr. Mundy. But this war is the worst I ever saw if we're talking about lies, which I am. Lies happen to be something of a speciality of mine. Maybe because I told so many in my time, they piss me off. Makes no difference the Cold War's over. Makes no difference we're globalized, multinational or what the hell. Soon as the tom-toms sound and the politicians roll out their lies, it's bows and arrows and the flag and round-the-clock television for all loyal citizens. It's three cheers for the big bangs and who gives a fuck about casualties as long as they're the other guy's?"

He seems not to need to breathe between sentences.

"And don't give me that horseshit about Old Europe," he warns, though Mundy has not opened his mouth. "We're looking at the oldest America in the book. Puritan zealots butchering savages in the name of the Lord--how do you get older than that? It was genocide then, it's genocide today, but whoever owns the truth owns the game."

Mundy considers speaking up for the largest antiwar demonstrations the world has ever seen, but it is clear by now that interrupting Dimitri is not part of the interview. Dimitri's voice, whatever his peaceful intentions, rules by force. It neither rises nor falls. It could advise you of the Second Coming or the imminent extinction of the human race, and you would question it at your peril.

"March, you get sore feet. Protest, you get a bad throat and a policeman's boot in your teeth. Anybody who nails the lies is a radical malcontent. Or he's an Islamist anti-Semite. Or he's both. And if you're worried about the future, please don't be, because there's a new war just around the corner, and you won't have to bother about a thing, just switch on the TV and enjoy another virtual war brought to your screens courtesy of your favourite feel-good junta and its corporate parasites." There is no pause, but one thick hand opens and offers the question: "So what the fuck do we _do,__ Mr. Mundy? How do we make it impossible for your country, or America, or any damn country, to take the world to war on the strength of a bunch of cooked-up lies that in the cold light of day look about as plausible as the pixies in your fucking garden? How do we get to protect your children and my grandchildren from being suckered into war? I am speaking, Mr. Mundy, of the corporate state and its monopoly of information. I am speaking of its armlock on the objective truth. And I am wondering how the fuck we turn back the tide. Would you be at all interested in that? Of course you would"--answering before Mundy can--"and so would I. And so would every sane citizen of the world. I ask you again: What the _fuck__ do we do to bring sanity and reason back into the political arena, if it was ever there in the first place?"

Mundy is whisked fleetingly to the Republican Club, where similar discussions raged nightly, and with similar epithets. Now, as then, no easy answer springs to mind. But that is not entirely because he is bereft of words. It is more because he feels he has landed in the middle of a play where everybody knows the plot except himself.

"Do we need a new electorate? The fuck we do. It's not the people's fault they can't see straight. Nobody gives them a chance. 'Look _this__ way, don't look _that__ way. Look _that__ way, and you're an uncitizen, an antipatriot, a schmuck.' Do we need new politicians? Sure we do, but it's the electorate that has to find them. You and me, we can't do that. And how the hell can the electorate do its job when the politicians refuse to step up to the discussion? The electorate is screwed before it gets into the polling booths. If it ever does."

For a moment Dimitri allows it to seem that he is as short of solutions as Mundy is. But it is quickly apparent he is only making a dramatic pause before ascending to a higher plane. In theater, we call it a beat. To herald it, Dimitri has pointed a stubby finger at Mundy's face, and is looking straight down its sights into Mundy's eyes.

"I am speaking, Mr. Mundy--I am speaking of something even more important to the development of Western society than the ballot box. I am speaking of the deliberate corruption of young minds at their most formative stage. Of the lies that are forced on them from the cradle onwards by corporate or state manipulation, if there's a difference anymore between the two, which I begin to doubt. I am speaking of the encroachment of corporate power on every university campus in the first, second and third worlds. I am speaking of educational colonization by means of corporate investment at faculty level, conditional upon the observation of untrue nostrums that are advantageous to the corporate investor, and deleterious for the poor fuck of a student."

You're great, Mundy wants to tell him. You get the part. Now put your finger back in its holster.

"I am speaking of the deliberate curtailment of free thought in our society, Mr. Mundy, and how we may address it. I am an urchin, Mr. Mundy. Born one, stayed one. My intellectual processes are untutored. Scholars would laugh at me. Nevertheless I have acquired many books on this subject." So Sasha said, Mundy is thinking. "I have in mind such thinkers as the Canadian Naomi Klein, India's Arundhati Roy, who pleads for a different way of seeing, your British George Monbiot and Mark Curtis, Australia's John Pilger, America's Noam Chomsky, the American Nobel Prize winner Joseph Stiglitz, and the Franco-American Susan George of World Social Forum at Porto Alegre. You have read all of these fine writers, Mr. Mundy?"