"There it is . . ."
Thick walls washed white under a roof of red pantiles. Windows kept small to protect the inside from winter winds. Protecting the glass were oak shutters, their wood stripped bare by winter frost and summer heat. A hunting lodge really, built by a wine shipper from Cahors. It could have been lifted wholesale from the Lot valley and set down amid the pines and oaks of Ifriqiya's rugged north coast.
Its original owner was long dead. His marble tomb was decaying in a colonial churchyard where a pubescent angel stood guard over his final resting place, her downcast eyes at odds with the plumpness of her body and the thinness of her robes. Now she waited, rendered wingless by vandals, an atrocity victim waiting for eternity.
Claude Bouteloup began his life as a peasant farmer and ended it a baron, gold having dug deep enough to discover a previously overlooked family title. The walls of his old home remained lined with heads taken from the boar he'd shot in the Northern Tell. An implausible spread of horns over the main door stood memory to his plan to reintroduce aurochs, a few of which still roamed the hills, but fewer by the year.
All this Hani read out to Murad and Raf as her uncle yanked the Bugatti's fourteen-foot wheelbase round a tight bend in the dirt road while trying to ignore a drop that fell away to a white, storm-fed river far below.
"Put the book down," Raf told her. "Before you make yourself feel sick."
"Too late," said Hani. She flicked backwards for a few pages, then flicked forward. "This guide doesn't say who owns it now," she complained, skim-reading the entry again.
"It wouldn't," said Raf.
The first clue that this wasn't just another hunting lodge came at the gates. These looked normal until Raf got close enough to see otherwise. Tiny cameras tracked his arrival, watching from stone gateposts where they were bolted discreetly between the open claws of granite eagles.
Micromesh, fine enough to be virtually invisible, lined the far side of the gate's flowing wrought iron. Its heavy, old-fashioned lock was electronic. Cracking paint covered hinges that Raf was willing to bet conformed to some exacting military standard he didn't even know existed.
"You step out of the car," said Murad. "And then someone opens the gates if they like the look of you . . . I've been here before," he added, without glancing up from his toy Ninja Nizam. Hani and he had spent from Tunis to Bizerte arguing about whether or not action figures were childish.
Hani kept on saying they were. Until finally Murad announced that as Hani did nothing but play with a stupid cat, her opinion didn't count.
"Ifritah's not a toy."
"Did I say she was?"
After that came blessed silence, from Bizerte to just past Cap Serrat, where Raf turned the Bugatti off the crumbling blacktop onto something that barely qualified as track. The Ettore-Bugatti-built coupé Napoleon had been a present from the Prince Imperial in Paris to the Emir's grandfather and, until Raf claimed it, had been garaged in a mews at the back of the Bardo Palace.
No one had dared to stop Raf from commandeering the 275bhp, 12.8-litre monster. But then, from the chamberlain who ran the nearly empty palace to the uniformed sailor who first saw a blond notable in shades and black Armani suit striding towards its main door, no one had known how to treat Ashraf al-Mansur at all.
Finding a new suit had been as easy as kicking in the window of a boutique opposite Ibn Khaldoun's statue in Place de la Victoire, about three hundred paces from Bab el Bahar. By then, dawn's call to prayer had come and gone and only isolated trucks still circled the medina like flies disappointed by the quality of their meal. The boutique was very elegant, with a wide range of supposedly embargoed Western goods, but it should have spent more on security.
On his way out Raf met a handful of other looters on their way in. They liked his suit too. In fact they liked it so much he went back to point out the appropriate rack. And it was only after he left the second time that he put on the shades he'd taken to match, casually ditching his cheap contacts into a storm drain.
An hour's walk from Ibn Khaldoun's statue had taken him to the edge of the Bardo. A complex of original buildings with rambling faux al Andalus additions, the Bardo featured palaces built on palaces, the bedrooms of one situated over the reception rooms of another until the different parts ran together into one impossible mess.
No one had ever cataloged its contents. Records even differed as to the number of rooms. And each attempt at rationalization made matters worse. Although it was widely agreed among architectural historians that the rebuilding of 1882, during which medieval mashrabiyas were replaced with sash windows along one whole side, was undoubtedly a low point.
All the same, the Bardo complex still counted as the most recognized façade in North Africa. One result of an old etching featuring in the opening credits of A Thousand Flowers, a long-running, widely syndicated Turkish soap based in the nineteenth-century harem of Ahmed Bey, where a thousand concubines languished under the guard of five eunuchs, played by bald Sudanese women.
No men were ever seen. And although some flower would occasionally be plucked from her languid divan and sent through the Door, she would return an episode later, usually in a state of unspecified bliss, distraught or just more worldly-wise.
Gossip, treachery and friendship, the plot ran regular as celestial tram lines. Its avid following the by-product of the originator's desire to draw her cast from a dozen nationalities, as Ifriqiya's beys had filled their harems with a variety of Egyptians, Turks and Southern Europeans, mostly captured slaves.
Various bearded Jesuits were sent, both in reality and in the soap. And indeed, in reality one such missionary spent three years camped in a wing of the Bardo Palace waiting for an audience that never actually came; despite an invitation from a bey devoted to the memory of his nasrani mother.
Now the Bardo was home to the world's largest collection of Carthaginian mosaics, an unquantifiable number of bad Victorian paintings and Kashif Pasha, his retinue and his mother. (With only Kashif's direct appeal to the Emir ensuring that Lady Maryam and he were allocated different sections of the crumbling complex.)
No flag flew from the mast over the main gate when Raf arrived, which meant no adult member of the al-Mansur family was currently at home.
"We're closed." The young sailor guarding the gate held his rifle slung across his chest, the way those on guard always did. His face was set. And only his eyes revealed uncertainty.
Raf halted, smiled . . . Made a minute adjustment to his maroon Versace tie. "Good morning," he said. "I'd like to see your commander."
Sailor and notable stared at one another. Although all the sailor saw was himself reflected in the blankness of Raf's new shades.
"Now," Raf added, his voice polite but firm. He'd once watched his school doctor use just that mixture of courtesy and menace on Raf's Swiss headmaster.
"I don't have a commander."
Raf sighed. "Then get whoever you do have," he suggested.
Leaving his post, the boy vanished through a small door cut into one of two double doors behind him. Endless heavy nails had been hammered into both to form repetitive patterns which, to Raf's eye, looked out of place against the delicacy of the pink marble columns supporting the arch into which the doors were set.
With a shrug, Raf stepped through the arch after him and found himself in a courtyard.
"You left the door open," Raf pointed out, when the returning guard opened his mouth to complain. Behind the boy Raf saw a grey-haired man in blue uniform raise his eyes to heaven.