FINN RETURNS HOME that afternoon after his lunch with Adrian. He goes to his apartment in Camden Town, which he’d bought back in the early 1980s and which is now a decaying reminder of the area before it bloomed into its current, wealthy incarnation. For the neighbours, Finn’s apartment is the irritating reminder of where the neighbourhood has come from.
He goes to bed as soon as he gets home. The drinking at lunchtime, coupled with his lowered defences, overcomes him and he falls into a deep sleep.
He doesn’t expand on his mood in the days, weeks and months ahead. This period, until the spring of 2001, he deals with in a few paragraphs.
It is unusual to see Finn disheartened. It is as if for the first, and last, time he is daunted by the odds against him. Adrian has been cunning in telling him the Cardonus story. It is a searing demonstration of pure malevolent power, and that demonstration has come from Finn’s own people.
He says he communicates with Frank in Luxembourg, who sends him details of the Exodi microfiches from Westbank and their authenticity. And he communicates with Dieter in these dead winter months, and the German adds information to that already supplied by Frank.
One winter afternoon, sitting at his kitchen table by the window that looks out over a school playground, Finn begins to make notes and this is the turning point. On this nondescript day, when London is reduced to a small grey room, he begins to rise above the contemplation of Adrian’s threats that have shadowed him since their lunch.
The notes he makes are simple and clear: there is a Plan, conceived by the KGB and nurtured through the ‘dark’ years of democracy in post-Soviet Russia; Putin is the guardian of this Plan and Mikhail its nemesis; the Plan codifies an attack on the West, but one which could not have occurred in the days of Soviet Communism; Exodi, one instrument of this Plan, is a nest of companies into which billions of dollars of laundered money are secreted to the West; the Russians’ agents in the West provide the financial know-how for the Plan; one of the world’s biggest banks illegally allows Exodi to open secret accounts; at least one political figure at the centre of power in Europe protects Exodi. But for what reason does Exodi exist? What are the billions of dollars for? What kind of attack is contemplated?
I read some of Finn’s coded messages to Dieter, which he has casually left tucked into a book. There are the exotic fungi denoting the different page numbers in the Sasha and Misha stories. The names of these fungi, ‘Emerald Deceiver’, ‘Wolf’s Milk Slime’, ‘Witches’ Butter’, seem to indicate an almost comforting enjoyment in him, a retreat into the safety of fantasy. It is hard not to conclude that Finn enjoys writing these coded communications.
He stays at his apartment until just before Christmas, without communicating with the outside world.
He doesn’t say whether he went for Adrian’s weekend to Wiltshire, but he spends Christmas in Cambridge with his uncle and aunt.
Quietly he begins to work on his own plan as a result of Adrian’s warning. He needs to be more careful now he’s seen the great deceit of Adrian, and the threat behind it.
He mulls over offers of specialised jobs in the commercial world that suit his talents. There are offers from ex-colleagues who have left the Service in the eleven years since the Wall came down: people who have now set up in private business in smart offices in London’s old clubland around Boodles and White’s and Pratt’s and other obscure gentlemen’s clubs that are scattered through St James’s. These companies are enjoying a rush of profitability from running commercial investigations for large and multinational companies who need privileged information on the ground, wherever they operate in the world. It is an ideal opportunity for a new career for an old spy. And for Finn, a job with one of these companies is cover for what he really means to pursue.
And so in the New Year of 2001, after talking with various ex-colleagues who have set up these private commercial security companies, Finn finally accepts a job as the Russian expert at a small firm in Mayfair, off Shepherd Market, advising British companies who they are safe to do business with and where. He comes at the invitation of an old Service colleague who’s worked at headquarters in Vauxhall until the middle of the 1990s, and then left dismayed by the lack of attention given to Russian affairs. And as this old colleague points out to Finn, he is now earning five times as much as the Government paid him.
But Finn is under no illusion that the Service will forget about him or stop keeping an eye on his activities in this new job. In fact, this is the reason for taking the job in the first place; the Service will know where he is, and Adrian will receive reassuring messages about Finn’s new course in life.
He knows he’s safer if he doesn’t walk off into obscurity, avoid contact, and become a figure in need of special attention. As long as his name is mentioned favourably in the London clubs and at weekend parties in the British countryside, the heat will burn less fiercely.
And so, after six months’ diligent work in London, with some sanctioned trips abroad for the company-all above board and noted-in the high summer of 2001, he decides to take a holiday.
But he goes by devious routes and to a part of his life that is secret from everybody- his friends, his uncle and aunt, his former and current employers; anyone, in fact, who has ever known him as Finn.
In the unlikely event that anyone is watching him, they lose him somewhere near Bishop’s Stortford when his car ‘breaks down’ on the M11, to be towed later to a garage near Stansted airport. Finn walks across open fields, where the harvest is starting to come in, to a lock-up in the Essex town. From the lock-up he takes an old Ducati motorbike and sets off for the Helford River in Cornwall, where nobody knows him as Finn.
In a quiet creek that slides off to the side of the river, he keeps an ancient, semi-restored wooden pilot cutter that lies in the mud at low tide. The cash hole in his bank statement that represented the purchase of this boat ten years before appeared in his annual accounts back then as ‘gambling debts’, and he was summoned by the Office at the time to receive a warning about it.
The boat holds some kind of magic for Finn, a man who believes in magic without troubling to enquire too deeply, relying only on some instinct, some sense of its benevolence. But the magic is also more prosaic than Finn cares to admit. He has managed to keep the boat’s existence a secret from his employers, and that is the real magic for him. As his reputation at the Service for recklessness and loose talk grew, Finn was, quite naturally, considered verbally incontinent. How could he have any secrets from them?
‘If you choose a mask,’ he once told me, ‘choose one which is demeaning to you, like drunkenness. No one believed Kim Philby was a traitor, because how could a drunk be a successful traitor? What they should have asked was, how could a traitor be a successful drunk? They should have looked at his drunkenness and asked how real it was.
‘So if you choose a mask, for whatever reason, choose one which is unflattering, unprofessional, foolish even. Then no one will believe that you’ve chosen it, and no one, therefore, will believe it is a mask.’
‘And how do you know’, I asked him, ‘when your mask, your pretence, possesses you and becomes who you are?’
But I was thinking more about myself than Finn.
‘That’s the hardest bit of all,’ he said.
But thanks to the deliberate foolishness of his mask, Finn’s employers missed the boat, as it were.
For three days, Finn stays on his boat. It is called Bride of the Wind and named after a painting he loved by Oskar Kokoschka. He rows ashore in the day for supplies from a farm shop situated above the woods along the riverbank and he occasionally visits the chandlery on the other side of the river. The boat is a totem for him, a symbol of freedom, an escape from his other life, from all his other lives.
I have seen Bride of the Wind, sailed in her. She is tall-masted, long-planked and with a cutaway stern called a lute; her beautiful lines a poem of craftsmanship. In the saloon below decks was a framed, salt-faded print of a poem composed by Oskar Kokoschka’s friend, George Trakl:
Over blackish cliffs
Falls drunk with death
The glowing bride of the wind
The blue wave of the glacier.
During these days, Finn paints and varnishes where neglect and weather damage demand. He mends a broken pulley block, replaces some worn-out halyards and services the engine. Fuelled and watered, he leaves the river on a spring tide under the nearly full moon and sails to France, to a little fishing port on the Brittany coast where they love old working boats and where, if you sail in one, nobody bothers to ask for your passport.
He spends the evening with an old aquaintance, a red-headed Breton boat builder, in a tiny, black-tarred fisherman’s bar up the hill from the harbour. After two o’clock in the morning there are just three of them, Finn, the redhead and the moustached patron with a fat belly, who is a grumpy old misanthrope, but who warms up slowly after midnight like a rusty night storage heater. It is into the patron’s spare room that Finn collapses into bed sometime in the early hours.
The next day he catches a series of trains that take him by late evening to the Côte d’Azur.
In August along the coast from La Napoule to Monte Carlo, wealthy Russians, both exiles and those close and loyal to the Putin regime, are displaying their riches and their women in the hotels and casinos, and in the private châteaux and yachts they have bought for themselves in the previous ten years.
But Finn isn’t going south for a summer holiday. He writes just three words on this journey. Building A Network.