Tom Cain - No survivors

Koolhaas stubbed out the cigarette.

"Possibly, yes."

The following day, Vermulen transferred the first installment of Koolhaas's payment to an account in the Dutch Antilles. Natalia Morley had accompanied him to the bank, where he made the transfer.

He took her arm as they walked away.

She didn't seem to mind. Maybe he was making progress.

Another three days had passed, and they were taking their places in the magnificent white-and-gold horseshoe of boxes that rings the auditorium of the State Opera House, Vienna. The performance that night was Mozart's Don Giovanni. Vermulen, however, hadn't come for the music.

Vienna was the city where Pavel Novak conducted his business, trading people, weapons, and information. It was no coincidence at all that Vermulen and Alix happened to bump into Novak and his wife, Ludmilla, in the bar before the performance. After introductions had been made, while the ladies were complimenting each other on their dresses, Novak stepped close to Vermulen and spoke into his ear, the way you do when you're middle-aged and it's getting harder to make out what someone's saying over a background roar of conversation. Or when you're passing on secrets about weapons of mass destruction.

"The sale of documents has been confirmed. The vendor is a Georgian, Bagrat Baladze. He is paranoid, out of his depth. He refuses to put his goods in a bank, insists on having them in his possession at all times. He is also terrified that another, bigger gangster will find out what he has and take it from him. So I have arranged for him to go into hiding at a series of locations while the sale is arranged. In four weeks' time, he will arrive at a converted farmhouse in the South of France. That will be your best opportunity. I will give you exact details nearer the time…"

Novak glanced back at the ladies with a smile on his face and a twinkle in his eye.

"You are a lucky man, Kurt. I love my Ludmilla, of course. But to have a woman like that in my bed, well… I envy you."

Vermulen shook his head.

"No need-she's not in my bed."

"You're joking!"

"Kid you not…"

He gave Novak a hearty pat on the back.

"But believe me, pal, I'm working on it."

In the first interval, Alix walked to the nearest ladies' room. A line had already formed. In front of Alix stood a silver-haired Viennese matron, plumped up by a lifetime of chocolate cakes and whipped cream. Alix gave her a polite smile, then took up her position, idly looking around at the operagoers in their dinner jackets and evening gowns.

She was wearing a simple, floor-length column of pearl-colored satin, with a matching sequined evening purse in her hand. Suddenly, something or someone caught her eye. Her eyes lit up and she turned to wave, lifting the hand that held the purse, just at the exact moment that a slender brunette in her early forties, her cheeks hollow with dieting and nervous energy, arrived in the line behind her. Alix's arm swept into the woman, whose own bag, a silver metallic-leather clutch, was knocked to the floor. It was a total accident, but Alix was overwhelmed by embarrassment. As the other woman hissed with irritation, she dropped to the red carpet, picked up the clutch, which had fallen open, and, having snapped it shut, returned it to its infuriated owner.

"I'm so sorry," Alix said, her eyes pleading for forgiveness. "I really didn't mean to-"

She was met by a volley of incomprehensible German insults that had the portly matron, her ears burning, barely suppressing a squeal of delighted horror: Here was a story to tell her companions when she got back to her seat! Then the brunette turned on her stiletto heel and stalked off in search of a more civilized place to pee.

But Maria Rostova, whose diplomatic accreditation listed her as a first secretary in the trade and investment section of the Russian Federation Embassy, Vienna, did not stop when she came to the next facility. Instead, she went down the stairs and out through the magnificent arched loggia to the Opernring outside. A car pulled up as she reached the side of the road. Rostova got in and, as the car moved away, opened her bag. She rummaged around inside it and removed a small tube of rolled-up paper, about the size of a cigarette, stuck in place by a small square of adhesive tape. She prized open the tape and unrolled the tube, which revealed a page torn from a onetime code pad, covered in rows of numbers written in three-digit groups.

Rostova put the paper back in her bag, then took out a mobile phone and dialed a Moscow number. When she got through she simply said, "I have this week's delivery."

It was shortly before five-thirty in the afternoon and Clement Marchand was about to leave his office at the Montagny-Dumas Clinic when he received a call from a man with a Russian accent. Marchand was informed that his wife was being held hostage. By way of confirmation, the receiver was held up to her face just long enough for him to be certain that the few sobbed words he heard had come from his Marianne.

"Please, don't hurt her," he stammered. And then, "What do you want?"

Marchand was given a very simple set of instructions. First, he was assured that this was not a conventional kidnapping. His wife's captors did not want any money. As a consequence, they had no incentive to keep her alive. If he refused to do as they told him, at exactly the specified time, or made any attempt to contact the authorities, they would kill her.

"Anything!" he pleaded. "Just tell me what I must do."

"Work late," said the voice on the other end of the line. "Invent an excuse. At precisely half past eleven tonight, you will call the duty nurse on the third floor of your clinic. You will tell her that you need to see her. If she protests, you will insist. Say that you have uncovered an irregularity in the records of drugs administered to patients. Say anything you like. All that matters is this: The nurse must be in your office, in your presence, away from her station, between eleven-thirty and eleven forty-five. After that time, she can return to her post. At midnight, you may leave the clinic and drive home. If all goes well, your wife will be waiting for you, unharmed."

"Thank you, thank you." Marchand was almost weeping with relief.

"Do not thank us until you have completed your task," said the voice. "And one more thing. If you should ever decide to tell anyone about this conversation, or what has happened to your wife, we will know. And you will both be killed."

Marchand put down the phone, wiped the sweat off his brow, and told his secretary he would be working late. She, however, was free to go home at the normal hour.

Carver's recovery had not gone unnoticed in Moscow, nor its possible consequences. Deputy Director Olga Zhukovskaya had made it plain to her staff that she wanted the matter dealt with at once. Now they were obeying her orders.

Carver awoke and found to his surprise that he had not been asleep for half the night, as he'd imagined. The clock by his bedside read 23:35-he'd been out for less than an hour. He rubbed his eyes and then frowned. Something was wrong, something out of place, but he couldn't work out what it was.

Then it struck him. He couldn't hear the TV. The night nurse on duty this week was a kid called Sandrine, and she always had a late-night movie on in the staff room when she thought the patients were asleep. So why would tonight be any different?

Carver got out of bed and, keeping the light off, padded across his room to the door. He opened it a fraction and paused, listening for any unusual sounds outside. He thought he could hear footsteps down at the far end of the floor. Very slowly, he eased the door open another few degrees, just enough for him to lean around and catch a glimpse down the corridor. He saw the shape of a man, bending over the nurses' reception desk, running his finger down the top sheet on a clipboard. He was checking the list of rooms and their occupants.