I walk back to the. place where I can approach the kitchen door from an angle so I'm not visible to either of them. The visibility has started to deteriorate. The black soil beneath the roses is hard as a rock. The birdbath is swathed in a big snowdrift.

I walk along the wall of the house, and it occurs to me that although I have so often felt persecuted, I actually might not have had anything to complain about until now.

Moritz is alone in the living room; I can see him through the window. He's sitting in the low oak chair, his hands gripping the armrests. I continue around the house, past the main entrance, along the back to where the bay window juts out. There's a light on in the pantry. That's where I see Benja. She's pouring a glass of cold milk. Refreshing on a night like this, when you have to stand guard and wait. I take the fire escape. It leads up to the balcony outside what was once my room. I go inside and feel my way forward. They've delivered the box; it's on the floor.

The door to the hallway is open. Downstairs in the foyer Benja is seeing the Toenail out.

I can see him walking across the gravel, like a dark shadow. Over to the garage and in through the little door.

They're parked in the garage, of course. Moritz moved his car a little so there was room for them. Citizens must assist the police in every way possible.

I tiptoe down the stairway. I know it well, so I don't make any noise. I reach the foyer, go past the coat closet and into the small parlor. There is Benja. She doesn't see me. She's standing there looking out across Øresund. Toward the lights at Tuborg Harbor, toward Sweden and Flakfort. She's humming. Not particularly cheerful or relaxed. But intent. Tonight, she's thinking, tonight they'll nab Smilla. The fake Greenlander.

"Benja," I say.

She twirls around in a flash, like when she's dancing. But then she freezes.

I don't say a word, just motion with my hand, and with bowed head she precedes me into the living room.

I remain standing in the doorway, where the long drapes prevent me from being seen from the road. Moritz raises his head and sees me. His expression doesn't change. But his face becomes flatter, more careworn.

"It was me." Benja has gone over to stand next to him. He is hers.

"I was the one who called," she says.

He rubs his hand across the stubble on his chin. He hasn't shaved tonight. The stubble is black with flecks of gray. His voice is low and resigned.

"I never said I was perfect, Smilla."

He's said that thousands of times, but I don't have the heart to remind him. For the first time ever, I see that he is old. That someday, maybe not so far in the future, he's going to die. For a moment I fight it, then I give up and am filled with sympathy. At this pathetic moment.

"They're waiting for you outside," says Benja. "They're going to take you away. You don't belong here."

I can't help admiring her. You find some of this same madness in female polar bears defending their cubs. Moritz doesn't seem to hear her. His voice is still low, introspective. As if he's talking mainly to himself. "I wanted peace and quiet so badly. I wanted to have my family around me. But I never achieved that. It never worked out. Things got out of control for me. When I saw that box they delivered this afternoon, I realized that you were leaving again. Like all the times you ran away. I'm too old to bring you back home again. Maybe it was wrong to do it in the past."

His eyes are bloodshot when he looks at me. "I don't want to let you go, Smilla."

Every life contains within it a potential for clarification. He has lost that chance. The conflicts that are now pressing him down in his chair are the same ones he had in his thirties, when I got to know him, when he became my father. The only thing age has done is to whittle away his ability to confront them.

Benja licks her lips.

"Will you go out to them yourself," she says, "or should I go get them?"

For as long as I can remember, I have been trying to escape this house, this country. Each time, life has used him as its unresisting instrument to call me back. At this moment it becomes more obvious than it has been since I was a child that freedom of choice is an illusion, that life leads us through a series of bitter, involuntarily comical, and repetitive confrontations with the problems that we haven't resolved. At some other time I might have smiled at this. Right now I'm too tired. So I bow my head and prepare to give up.

Then Moritz stands up. "Benja," he says. "Stay here." She gives him a startled look. "Smilla," he says, "what can I do?"

We measure each other with narrowed eyes. Something has slipped inside him.

"Your car," I say. "Drive your car up to the back door. As close as possible, so you can put the box in it without them seeing you. And so I can get in and lie on the floor in back."

When he leaves the room, Benja sits down in his chair. Her face is expressionless and remote. We hear him start up the car and drive it out; we hear the crunching of the tires in the gravel in front of the door. The sound of the door. Moritz's cautious, burdened steps as he carries the box out.

When he returns, he's wearing rubber boots, an oilskin coat and cap. He simply stands in the doorway for a moment. Then he turns around and leaves.

When I get up, Benja slowly follows me. I go into the little parlor where the telephone is and dial a number. It's instantly answered.

"I'm coming," I say. Then I hang up.

When I turn around, Benja is standing behind me. "After you drive off, I'll go out and send them after you." I step closer to her. With my thumb and forefinger, through her leotard, I grab her crotch and squeeze. When she opens her mouth, I put my other hand around her throat and cut off her windpipe. Her eyes grow big and terrified. She falls to her knees and I go with her, so we are both kneeling across from each other on the floor. She is taller and heavier than I am, but her level of energy and treachery are of a different kind. At the Royal Theater they don't learn to express their anger physically.

"Benja," I whisper. "Leave me alone."

I pinch harder. There are drops of sweat on her upper lip.

Then I let her go. She doesn't utter a sound. Her face is empty with fear.

The door to the foyer is open. The car is waiting right outside. I crawl in the back on the floor. My box is on the back seat. A blanket is pulled over me. Moritz gets into the front seat.

Outside the garage the car stops. The window is rolled down.

"Thank you so much for your help," says the Toenail. Then we drive off.

Skovshoved Water Ski Club has a wide wooden ramp that slopes down into the water from a high dock. That's where Lander is waiting. He's wearing a one-piece, waterproof sailing outfit tucked into his boots. It's black.

The tarpaulin on the roof of his car is black, too. It's not the Jaguar but a Land Rover with the body high off the ground.

The rubber boat tied on under the tarp is black, too. A Zodiac made of heavy rubberized canvas with a wooden bottom. Moritz wants to help but doesn't move fast enough. With a swift jerk the small man tips the boat off the car, catches it on his head, and shoves it down the ramp with one fluid movement.

He takes an outboard motor out of the back of the car, lands it in the boat, and fastens it to the stern.

All three of us lift the boat to get it into the water. In my box I find rubber boots, a balaclava hood, thermal gloves, and a sou'wester that I pull on over my sweater.

Moritz does not go out on the ramp with us but stays at the railing. "Can I do anything for you, Smilla?"

It's Lander who answers. "You can get out of here fast."

Then he pushes off and starts up the motor. An invisible hand takes hold of the boat from below and pulls us away from land. The snow is falling heavily. After a few seconds Moritz's figure disappears. Just as he turns around and goes back to the car.