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Until now, his work had been defensive. The most he had been able to do was fortify key installations against the Resistance by beefing up security. The occasional prisoner had yielded little information. But having several prisoners, all from one large and evidently well-organized circuit, was a different matter. This might be his chance of going on the attack, he thought eagerly.

He shouted at a sergeant, "You-get a doctor for these prisoners. I want to interrogate them. Don't let any die."

Although Dieter was not in uniform, the sergeant assumed from his manner that he was a superior officer, and said, "Very good, sir."

Dieter took Stephanie up the steps and through the stately doorway into the wide hall. It was a breathtaking sight: a pink marble floor, tall windows with elaborate curtains, walls with Etniscan motifs in plaster picked out in dusty shades of pink and green, and a ceiling painted with fading cherubs. Once, Dieter assumed, the room had been filled with gorgeous furniture: pier tables under high mirrors, sideboards encrusted with ormolu, dainty chairs with gilded legs, oil paintings, huge vases, little marble statuettes. All that was gone now, of course. Instead there were rows of switchboards, each with its chair, and a snake's nest of cables on the floor.

The telephone operators seemed to have fled into the grounds at the rear but, now that the shooting had stopped, a few of them were standing at the glazed doors, still wearing their headsets and breast microphones, wondering if it was safe to come back inside. Dieter sat Stephanie at one of the switchboards, then beckoned a middle-aged woman telephonist. "Madame," he said in a polite but commanding voice. He spoke French. "Please bring a cup of hot coffee for this lady."

The woman came forward, shooting a look of hatred at Stephanie. "Very good, monsieur."

"And some cognac. She's had a shock."

"We have no cognac."

They had cognac, but she did not want to give it to the mistress of a German. Dieter did not argue the point. "Just coffee, then, but be quick, or there will be trouble."

He patted Stephanie's shoulder and left her. He passed through double doors into the east wing. The chfteau was laid out as a series of reception rooms, one leading into the next on the Versailles pattern, he found. The rooms were full of switchboards, but these had a more permanent look, the cables bundled into neatly made wooden trunking that disappeared through the floor into the cellar beneath. Dieter guessed the hail looked messy only because it had been brought into service as an emergency measure after the west wing had been bombed. Some of the windows were permanently blacked out, no doubt as an air-raid precaution, but others had heavy curtains drawn open, and Dieter supposed the women did not like to work in permanent night.

At the end of the east wing was a stairwell. Dieter went down. At the foot of the staircase he passed through a steel door. A small desk and a chair stood just inside, and Dieter assumed a guard normally sat there. The man on duty had presumably left his post to join in the fighting. Dieter entered unchallenged and made a mental note of a security breach.

This was a different environment from that of the grand principal floors. Designed as kitchens, storage, and accommodation for the dozens of staff who would have serviced this house three hundred years ago, it had low ceilings, bare walls, and floors of stone, or even, in some rooms, beaten earth. Dieter walked along a broad corridor. Every door was clearly labeled in neat German signwriting, but Dieter looked inside anyway. On his left, at the front of the building, was the complex equipment of a major telephone exchange: a generator, enormous batteries, and rooms full of tangled cables. On his right, toward the back of the house, were the Gestapo's facilities: a photo lab, a large wireless listening room for eavesdropping on the Resistance, and prison cells with peepholes in the doors. The basement had been bombproofed: all windows were blocked, the walls were sandbagged, and the ceilings had been reinforced with steel girders and poured concrete. Obviously that was to prevent Allied bombers from putting the phone system out of action.

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Захар Прилепин — прозаик, публицист, музыкант, обладатель премий «Большая книга», «Национальный бестселлер» и «Ясная Поляна». Автор романов «Обитель», «Санькя», «Патологии», «Чёрная обезьяна», сборников рассказов «Восьмёрка», «Грех», «Ботинки, полные горячей водкой» и «Семь жизней», сборников публицистики «К нам едет Пересвет», «Летучие бурлаки», «Не чужая смута», «Всё, что должно разрешиться. Письма с Донбасса», «Взвод».«И мысли не было сочинять эту книжку.Сорок раз себе пообещал: пусть всё отстоится, отлежится — что запомнится и не потеряется, то и будет самым главным.Сам себя обманул.Книжка сама рассказалась, едва перо обмакнул в чернильницу.Известны случаи, когда врачи, не теряя сознания, руководили сложными операциями, которые им делали. Или записывали свои ощущения в момент укуса ядовитого гада, получения травмы.Здесь, прости господи, жанр в чём-то схожий.…Куда делась из меня моя жизнь, моя вера, моя радость?У поэта ещё точнее: "Как страшно, ведь душа проходит, как молодость и как любовь"».Захар Прилепин

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