He took possession of the parcel, which was surprisingly large and heavy and crisscrossed with an intimidating pattern of Sellotape, and was slowly borne downwards to the basement which gave access to the firm's small car park and his waiting Jaguar.

Once free of the knotted tentacles of the eastern suburbs, Dalgliesh made good time and by three he was driving through Lydsett village. Here a right turn took him off the coastal road on to what was little more than a smoothly macadamed track bordered by water-filled ditches and fringed by a golden haze of reeds, their lumbered heads straining in the wind. And now, for the first time, he thought that he could smell the North Sea, that potent but half-illusory tang evoking nostalgic memories of childhood holidays, of solitary adolescent walks as he struggled with his first poems, of his aunt's tall figure at his side, binoculars round her neck, striding towards the haunts of her beloved birds. And here, barring the road, was the familiar old farm gate still in place. Its continued presence always surprised him since it served no purpose that he could see except symbolically to cut off the headland and to give travellers pause to consider whether they really wanted to continue. It swung open at his touch but closing it, as always, was more difficult and he lugged and half lifted it into place and slipped the circle of wire over the gatepost with a familiar sensation of having turned his back on the workaday world and entered country which, no matter how frequent his visits, would always be alien territory.

He was driving now across the open headland towards the fringe of pine trees which bordered the North Sea. The only house to his left was the old Victorian rectory, a square, red-brick building, incongruous behind its struggling hedge of rhododendron and laurel. To his right the ground rose gently towards the southern cliffs and he could see the dark mouth of a concrete pillbox, undemolished since the war, and as seemingly indestructible as the great hulks of wave-battered concrete, remnants of the old fortifications which lay half-submerged in the sand along part of the beach. To the north the broken arches and stumps of the ruined Benedictine abbey gleamed golden in the afternoon sun against the crinkled blue of the sea and, breasting a small ridge, he glimpsed for the first time the topsail of Larksoken Mill and beyond it, against the skyline, the great grey bulk of Larksoken Nuclear Power Station. The road he was on, veering left, would lead eventually to the station but was, he knew, seldom used since normal traffic and all heavy vehicles used the new access road to the north. The headland was empty and almost bare, the few straggling trees, distorted by the wind, struggled to keep their precarious hold in the uncompromising soil. And now he was passing a second and more dilapidated pillbox and it struck him that the whole headland had the desolate look of an old battlefield, the corpses long since carted away but the air vibrating still with the gunfire of long-lost batdes, while the power station loomed over it like a grandiose modern monument to the unknown dead.

On his previous visits to Larksoken he had seen Martyr's Cottage spread out beneath him when he and his aunt had stood surveying the headland from the small top room under the cone of the mill. But he had never been closer to it than the road and now, driving up to it, it struck him again that the description 'cottage' was hardly appropriate. It was a substantial, two-storey, L-shaped house standing to the east of the track with walls partly flint and partly rendered, enclosing at the rear a courtyard of York stone which gave an uninterrupted view over fifty yards of scrub to the grassy dunes and the sea. No one appeared as he drew up and, before lifting his hand to the bell, he paused to read the words of a stone plaque embedded in the flints to the right of the door.

In a cottage on this site lived Agnes Foley, Protestant martyr, burned at Ipswich, 15th August 1557, aged32years. Ecclesiastes chapter 3, verse 75.

The plaque was unadorned, the letters deeply carved in an elegant script reminiscent of Eric Gill, and Dalgliesh remembered his aunt telling him that it had been placed there by previous owners in the late twenties, when the cottage was originally extended. One of the advantages of a religious education is the ability to identify at least the better-known texts of scripture and this was one which it needed no effort of memory to recall. As a delinquent nine-year-old at his prep school, he had once been required by the headmaster to write out in his best handwriting the whole of the third chapter of Ecclesiastes, old Gumboil, economical in this as in all matters, believing that writing lines should combine punishment with literary and religious education. The words, in that round childish script, had remained with him. It was, he thought, an interesting choice of text.

That which hath been is now; and that which is to be hath already been; and God requireth that which is past.

He rang and there was only a short delay before Alice Mair opened the door. He saw a tall, handsome woman dressed with careful and expensive informality in a black cashmere sweater with a silk scarf at the throat and fawn trousers. He would have recognized her from her strong resemblance to her brother, although she looked the elder by some years. She took it for granted that each knew who the other was, and standing aside to motion him in she said: 'It's good of you to be so accommodating, Mr Dalgliesh. I'm afraid Nora Gurney is implacable. Once she knew you were on your way to Norfolk you were a predestined victim. Perhaps you would bring the proofs through to the kitchen.'

It was a distinguished face with the deep-set, widely spaced eyes beneath straight brows, a well-shaped, rather secretive mouth and strong greying hair swept upwards and curled into a chignon. In her publicity photographs she could, he recalled, look beautiful in a somewhat intimidating, intellectual and very English mould. But seen face to face, even in the informality of her own house, the absence of a spark of sexuality and, he sensed, a deep-seated reserve, made her seem less feminine and more formidable than he had expected, and she held herself stiffly as if repelling invaders of her personal space. The handshake with which she had greeted him had been cool and firm and her brief smile was surprisingly attractive. He knew that he was oversensitive to the timbre of the human voice and hers, although not jarring or unpleasant, sounded a little forced as if she were deliberately speaking at an unnatural pitch.

He followed her down the hall to the kitchen at the back of the house. It was, he judged, almost twenty feet long and obviously served the triple purpose of sitting room, working place and office. The right-hand half of the room was a well-equipped kitchen with a large gas stove and an Aga, a butcher's chopping block, a dresser to the right of the door holding an assortment of gleaming pots, and a long working surface with a wooden triangle sheathing her assortment of knives. In the centre of the room was a large wooden table holding a stoneware jar of dried flowers. On the left-hand wall was a working fireplace, the two recesses fitted with wall-to-ceiling bookshelves. To each side of the hearth was a high-backed wicker armchair in an intricate closely woven design fitted with patchwork cushions. There was an open roll-top desk facing one of the wide windows and, to its right, a stable door, the top half open, gave a view of the paved courtyard. Dalgliesh could glimpse what was obviously her herb garden planted in elegant terracotta pots carefully disposed to catch the sun. The room, which contained nothing superfluous, nothing pretentious, was both pleasing and extraordinarily comforting and, for a moment, he wondered why. Was it the faint smell of herbs and newly baked dough, the soft ticking of the wall-mounted clock which seemed both to mark the passing seconds and yet to hold time in thrall, the rhythmic moaning of the sea through the half-open door, the sense of well-fed ease conveyed by the two cushioned armchairs, the open hearth? Or was it that the kitchen reminded Dalgliesh of that rectory kitchen where the lonely only child had found warmth and undemanding, uncensorious companionship, been given hot dripping toast and small forbidden treats?