As Kleist and Madame d’Ortolan approach, it becomes clear that the Lady Bisquitine has been collecting insects, snails and little lumps of soil from the flower beds, and eating some of them. The rest she deposits in a drawstring posy purse hanging from her waist. Her pretty little face, surrounded by a nimbus of bouncily blonde curls and kept clean and minimally made-up by her forever fussing lady-in-waiting, sports brown streaks at the corners of her mouth until the lady-in-waiting – a thin, black-dressed figure who moves like a stalking bird – wets a handkerchief with her mouth and, tutting, cleans the lips of her charge.

Bisquitine stands still, staring at Madame d’Ortolan open-mouthed. Her face looks provisionally blank, as though she is a young child confronted with something new and surprising and is trying to decide whether to put back her head and laugh, or burst out crying. Two of her attendants, robust young men in a special uniform of dark grey and maroon, armed with automatic pistols and electric shock guns, touch their caps to acknowledge the approach of the older and more senior woman. The other two are more slight in comparison, informally dressed, and look bored. Both nod, all the same. The lady-in-waiting curtsies.

“Bisquitine, my dear,” Madame d’Ortolan says, stopping a couple of metres away and smiling at her. She never knows quite what to do with her hands when she meets Bisquitine. To touch her, of course, could be dangerous. “How are you? You look well!”

The Lady Bisquitine continues to stare at Madame d’Ortolan. Then she looks absolutely delighted, her already pretty face splits in a guileless smile and in a clear, bell-like, childish voice she sings:

“Ugby Dugby bought a new ball, Ugby Dugby played not at all. Ugby Dugby went for a spin, Ugby Dugby couldn’t get in!” She nods proudly, once, for emphasis and then sits down where she stands, the skirts of her white brocade gown pooling around her like spilled milk. With her tongue out of the side of her mouth, she takes a beetle out of her posy bag and starts to pull its wing casings open, letting them click back while the protesting insect buzzes and jerks in her chubby, grubby fingers.

One of the bored, skinny attendants looks at Madame d’Ortolan and sighs. “Sorry, ma’am. Bit worse than usual recently.” He shrugs, gazes down at Bisquitine, who has pulled one of the wing casings off entirely and is studying the wing inside, cross-eyed with concentration. The young man smiles uncertainly at Madame d’Ortolan. He appears to be vicariously embarrassed.

“But still,” Madame d’Ortolan says, “potent, yes? Proficient. Capable.”

The other skinny young man blows out his cheeks and shakes his head. “Oh, be under no illusions, ma’am,” he says, “the lady’s skills remain undiminished, oh yes.” He is squinting in the sunlight, rather as Mr Kleist is doing.

The first young man rolls his eyes. “We’ve had to stop her flitting half a dozen times since breakfast, ma’am.” He shakes his head.

Bisquitine pulls the beetle’s other wing casing off and puts it between her teeth, tasting it. She makes a sour face and spits the wing casing out onto the path, then leans over to let some spit dribble from her hanging-open lips. She wipes her mouth with her sleeve, grunting.

Madame d’Ortolan looks measuredly at the lady-in-waiting. “Mrs Siankung, isn’t it?”

“Ma’am.” She curtsies again.

“We have need of the Lady Bisquitine’s services and unique talents.”

Mrs Siankung swallows. “Now, ma’am?”

“Now.”

“This is… more training, evaluation, yes?”

“No, it is profoundly not.”

“I see, ma’am.”

The lady-in-waiting, Kleist thinks, looks surprised. One might even say startled. And possibly also more than a little afraid.

The beetle is vibrating its wings noisily in a vain attempt to escape. Its large hornlike mouth parts, spasming in frantic pincering movements, connect with one of Bisquitine’s fingers and nip. Bisquitine winces, frowns severely at the creature and then pops it whole into her mouth and starts to eat, grimacing only a little. There are crunching noises.

Something very fucking weird happens as I sit there in the main kitchen of the Palazzo Chirezzia, the spoonful of peas poised in front of my mouth. I get the most transitory glimpse of something like a vast explosion – it looks frozen at first, then I plunge into it or it whirls out to meet me and I can see its surface is a boiling mass – then I’m like some particle in a cloud chamber battered by Brownian motion, trilling down through an infinitude of worlds all riffling past too fast to see properly or count and then wham, I’m here, except I seem to have bounced part-way back out of where I really am, because I swear I can see myself sitting there in the kitchen.

And I can see the whole palace. In three dimensions. It’s like the entire building is made of glass: roof tiles, stones, beams and floorboards, carpets, wall coverings, furniture and even the piles that the whole place rests on – ancient warped tree trunks, densely packed, twisted into the mud metres and metres beneath. I’m aware that all the components are there and I can still tell what colour each is and see the patterns on things like the Persian rugs scattered through the building, but at the same time I can see through everything. I can see the immediate surroundings, too: the buildings flanking the palazzo, also facing the Grand Canal, the small canal to one side, the calles on the two other sides, plus I have a vague impression of the rest of the city, but the fabric of the palace itself is patently where all my attention is focused.

Who the fuck is doing this? Am I doing this? It looked like I zoomed in from the outside of the whole meta-reality there, pinpointing in to this world, this city, this building right here and now, all in under a second. I’ve talked to the top brain boys and girls at the Transitionary Theory department in the Speditionary Faculty and what I saw looked like what they imagine in their heads all the time but have great difficulty explaining. But it honestly felt like I was seeing it properly, truly, for real.

I inspect my newly revealed panorama and discover that I am not alone in the palace. There are some people entering from a boat moored at the private jetty and what looks like another team bursting in through the front doors. I can even see the air movements: the draught I felt a moment ago came from the canal-jetty doors. Then that detail disappears. Two teams, six people each. They each have a team member capable of damping down the capacity to transition anywhere near them. I’m already within both volumes of affect. More personnel: there are another four people guarding the ways out of the palace, and two more in a second launch holding station in the Grand Canal just off the palace.

How did-?

I was out for nearly two hours after I performed my odd, inadvertent flit from the room with the chair and the quietly spoken man and his sticky tape. Two hours; I had no idea I had been out so long. I also have no idea how I know this so certainly now, but I do. Anyway, the point is that they’ve had plenty of time to prepare.

I wonder if my call to Ade, in London, pinpointed me. The thought has barely formed in my mind when I know that it didn’t; using the phone from the supposedly deserted palace only confirmed what they already knew.

Both teams are splitting up, four members of each jogging and running through the palace in a clearly predetermined pattern, heading for every part of it. Two people in each team stay together, near where they entered. They’re communicating by some form of digital radio, encrypted. The transition-damping fields – in both cases coming from one of the two people in each team who stayed near their point of entry, I can see now – stop them using any techniques exclusive to us. The comms equipment will be local, just below the latest military spec in this world, to reduce the awkward-questions factor if they encounter any local officialdom.