He stopped next to the makeshift bed. Something glinted above it. He called to her, 'Look at this,' and raised the light to the wall. Stalin's sombre face gazed down at them from an old poster. There were a dozen more pictures of the General Secretary, torn from magazines. Stalin looking thoughtful behind a desk. Stalin in a fur hat. Stalin shaking hands with a general. Stalin, dead, lying in state.
'And who's this? This is you?'
It was a photograph of Zinaida, aged about twelve, in school uniform. She stepped closer to it, surprised.
'Who'd have thought it?' She laughed uneasily. 'Me up there with Stalin.'
She stared at it a while longer.
'Let's find this thing,' she said, turning away. 'I want to get out of here.'
Kelso was prodding one of the floorboards with his foot. It rested loosely on a wooden frame set into the earth. This was it, he thought. This had to be the place.
They worked together, watched by Stalin, stacking the short planks against the wall, uncovering a mechanic's pit. It was deep. In the weak light it looked like a grave. He held the lamp over it. The floor was sand, stamped smooth and hard, stained black with oil. The sides were shored up with old timber, into which Rapava had let alcoves for tools. He gave her the lamp and wiped his palms on his coat. Why was he so damned nervous? He sat on the edge for a moment, legs dangling, before cautiously lowering himself. He knelt on the floor of the pit, his bones cracking, and felt around in the damp gloom. His hands touched sacking.
He called up to her, 'Shine the light here.'
The rough cloth pulled away easily. Next came something solid, wrapped in newspaper. He passed it up to Zinaida. She set down the lamp and unwrapped a gun. She was surprisingly deft with it, he noticed, sliding out the clip of ammunition, checking it - eight rounds loaded - sliding it back again, pushing the safety catch down then up.
'You know how it works?'
'Of course. It's his. A Makarov. When we were little, he taught us how to strip it, clean it, fire it. He always kept it by him. He said he'd kill if he had to.'
'That's a nice memory.' He thought he heard a sound outside. 'Did you hear that?'
But she shook her head, preoccupied with the gun.
He sank back down to his knees.
And here, jammed into the aperture, was the square end of a metal box, flaking with rust and dried mud. If you didn't know what you were looking for, you would never have bothered with it. Rapava had hidden well. He put his hands on either side of it and tugged. Well, something was heavy. Either the box or what was in
it. The handles had rusted flat. It was hard to get a grip. He dragged it into the centre of the pit and hoisted it up to the edge. His cheek was close to it. He could taste the smell of rusted steel, like blood in his mouth. Zinaida bent to help. And this was peculiar: for an instant he thought that the box was exuding an unearthly, blue-grey light. There was a rush of cold air. But then he saw that the garage door was open and that framed in it was the silhouette of a man, watching them.
AFTERWARDS, Kelso was to recognise this as the decisive moment: as the point at which he lost control of events. If he didn't see it at the time it was because his main concern was simply to stop her blowing a hole in R. J. O'Brian's chest.
The reporter stood against the garage wall, his hands above his head. Kelso could tell he didn't quite believe she would shoot. But a gun was a gun. They could go off accidentally. And this one was old.
'Professor, do me a favour, would you, and tell her to put that thing down?'
But Zinaida jabbed it again towards his chest and O'Brian, groaning, raised his hands still further.
Okay, okay, he said. He was sorry. He had followed them from the airport. It hadn't been hard, for Christ's sake. He was only doing his job. Sorry.
His eyes flickered to the toolbox. 'Is that it?'
Kelso's immediate reaction on seeing the American had been relief: thank God it was only O'Brian who had followed them from Sheremetevo and not Mamantov. But Zinaida had grabbed the gun and had backed him against the wall.
She said, 'Shut up.
'Look, professor, I've seen these suckers go off. And I have to tell you: they really make a mess.
Kelso said to her, in Russian, 'Put it away, Zinaida.' It was the first time he had used her name. 'Put it away and let's sort this out.'
'I don't trust him.'
'Neither do I. But what can we do? Put it away.
'Zinaida? Who is she? Don't I know her from someplace?'
'She goes to the Robotnik.' Kelso spoke through his teeth. 'Will you let me handle this?'
'Does she, by God?' O'Brian passed his tongue across his thick lips. In the yellow lamplight his broad and well-fed face looked like a Hallowe'en pumpkin. 'That's right. Of course she does. She's the babe you were with last night. I thought I knew her.'
'Shut up,' she said again.
O'Brian grinned. 'Listen, Zinaida, we don't have to be in competition. We can share, can't we? Split this three ways? I just want a story. Tell her, Fluke. Tell her I can keep her name out of it. She knows me. She'll understand. She's a businessminded kind of a girl, aren't you, darlin'?'
'What's he saying?'
He told her.
'Nyet,' she said. And then, in English, to O'Brian, 'No way.
'You two,' said O'Brian. 'You make me laugh. The historian and the whore. Okay, tell her this. Tell her she can either deal with me or we can stand around like this for an hour or two and you'll have half the Moscow press pack on your back. And the militia. And maybe the guys who killed the old man. Tell her that.'
But Kelso didn't need to translate. She understood.
She stood there for another quarter of a minute, frowning, then clicked on the safety catch and slowly lowered the gun. O'Brian let out a breath.
'What's she doing in all this anyway?'
'She's Papu Rapava's daughter.'
'Ah.' O'Brian nodded. Now he got the picture.
THE toolbox lay on the earth floor. O'Brian wouldn't let them open it, not right away. He wanted to capture the great moment, he said - 'for posterity and the evening news'. He went off to get his camera.
Once he'd gone, Kelso shook a cigarette out of his half-empty pack and offered it to Zinaida. She took it and leaned towards him, looking at him steadily as he lit it for her, the flame reflected in her dark eyes. He thought: less than twelve hours ago you were going to go to bed with me for $200 -who the hell are you?
She said, 'What's on your mind?'
'Nothing. Are you all right?'
'I don't trust him,' she repeated. She threw back her head and blew smoke at the roof. 'What's he doing?'
'I'll tell him to hurry up.
Outside, O'Brian was sitting in the front seat of a four wheel drive Toyota Land Cruiser, snapping a new battery on to the back of a tiny video camera. At the sight of the Toyota, Kelso felt a fresh sweat of anxiety.
'You don’t drive a BMW?'
'A BMW? I'm not a businessman. Why should I?'
The field was deserted. The old man who had been digging had gone.
'Zinaida thought we were followed from the airport by a BMW Seven series.'
'Seven series? That's a mafia car.' O'Brian got out of the Toyota and put the camera to his eye. 'I wouldn't pay any attention to Zinaida. She's crazy.' The pig emerged from its sty and trotted over for a look at them, hopeful of some food. 'Here, piggy piggy.' He began filming it. 'Remember what the man said? 'A dog looks up to you, a cat looks down on you, but a pig looks you straight in the eye"?' He swung round and pointed the camera at Kelso's face. 'Smile, professor. I'm going to make you famous.'
Kelso put his hand over the lens. 'Listen, Mr O'Brian -'
'And what does that stand for?'
'Everybody calls me R. J.'
'All right, R. J. I'm going to do this. I'll let you film me. If you insist. But on three conditions.~
'Which are?'
'One, you stop calling me bloody professor. Two, you keep her name out of it. And three, none of this is shown - not a second, you hear? - until this notebook, or whatever it is, has been forensically verified.'