"You cannot touch a dead body," said one of her men.

"The dead of India are my children," she said. "They cannot make me unclean. Only the ones who murdered them are made filthy. I will explain this to the people who see the vid."

The vidman started, but then Virlomi noticed the shadows of the watching soldiers in the frame and made him start over. "It must be a continuous take," she said. "No one will believe it if it is not smooth and continuous."

The vidman started again. Slowly he panned. When he had focused on the children for a solid twenty seconds, Virlomi stepped into the frame and knelt before the body of the oldest child. She reached up and touched the lips with her fingers.

The men could not help it. They gasped.

Well, let them, thought Virlomi. So would the people of India. So would the people of the whole world.

She stood and took the child in her arms, raising him up. With no tension on the shirt, it came away easily from the nail. She carried him across the room and laid him in the arms of the young father.

"O Father of India," she said, loudly enough for the camera, "I lay your child, the hope of your heart, in your arms."

She got up and walked slowly back to the children. She knew better than to look to see if the camera was with her. She had to act as if she didn't know the camera was there. Not that anyone would be fooled. But looking toward the camera reminded people that there were other observers. As long as she seemed oblivious of the camera, the viewers would forget that there must be a vidman and would feel as if only they and she and the dead were in this place.

She knelt before each child in turn, then rose and freed them from the cruel nails on which they once hung shawls or school bags. When she laid the second child, a girl, beside the young mother, she said, "O Mother of the Indian house, here is the daughter who cooked and cleaned beside you. Now your home is permanently washed in the pure blood of the innocent."

When she laid the third child, a little girl, across the bodies of the middle-aged couple, she said, "O history of India, have you room for one more small body in your memory? Or are you full of our grief at last? Is this one body at last too many to bear?"

When she took the two-year-old boy from his hook, she could not walk with him. She stumbled and fell to her knees and wept and kissed his distorted, blackened face. When she could speak again, she said, "Oh, my child, my child, why did my womb labor to bring you forth, only to hear your silence instead of your laughter?"

She did not stand again. It would have been too clumsy and mechanical. Instead, she moved forward on her knees across the rough floor, a slow, stately procession, so that each dip and lurch became part of a dance. She propped the little body on the corpse of the old woman.

"Great grandmother!" cried Virlomi. "Great grandmother, can't you save me? Can't you help me? Great grandmother, you are looking at me but you do nothing! I can't breathe, Great grandmother! You are the old one! It is your place to die before me, Great grandmother! It is my place to walk around your body and anoint you with ghi and water of the holy Ganges. In my little hands there should have been a fistful of straw to do pranam for you, for my grandparents, for my mother, for my father!"

Thus she gave voice to the child.

Then she put her arm around the shoulder of the old woman and partly raised her body, so the camera could see her face.

"O little one, now you are in the arms of God, as I am. Now the sun will stream upon your face to warm it. Now the Ganges will wash your body. Now fire will purify, and the ashes will flow out into the sea. Just as your soul goes home to await another turn of the wheel."

Virlomi turned to face the camera, then gestured at all the dead. "Here is how I purify myself. In the blood of the martyrs I wash myself. In the stink of death do I find my perfume. I love them beyond the grave, and they love me, and make me whole."

Then she reached out toward the camera.

"Caliph Alai, we knew you out among the stars and planets. You were one of the noble ones then. You were one of the great heroes, who acted for the good of all humankind. They must have killed you, Alai! You must be dead, before you would let such things happen in your name!"

She beckoned, and the vidman zoomed in. She knew from experience with this vidman that only her face would be visible. She held herself almost expressionless, for at this distance any kind of expression would look histrionic.

"Once you spoke to me in the corridors of that sterile place. You said only one word. Salaam, you said. Peace, you said. It filled my heart with joy."

She shook her head once, slowly.

"Come forth from your hiding place, O Caliph Alai, and own your work. Or if it is not your work, then repudiate it. Join me in grieving for the innocent."

Because her hand could not be seen, she flicked with her fingers to tell the vidman to zoom away and include the whole scene again.

Now she let her emotions run free. She wept on her knees, then wailed, then threw herself across the bodies and howled and sobbed. She let it go on for a full minute. The version for western eyes would have captions over this part, but for Hindus, the whole shocking scene would be allowed to linger, uninterrupted. Virlomi defiling herself upon the bodies of the unwashed dead; but no, no, Virlomi purified by their martyrdom. The people would not be able to look away.

Nor would the Muslims who saw it. Some would gloat. But others would be horrified. Mothers would see themselves in her grief. Fathers would see themselves in the corpses of the men who had been unable to save their children.

What none of them would hear was the thing she had not said: Not a single threat, not a single curse. Only grief, and a plea to Caliph Alai.

To the world at large, the video would excite pity and horror.

The Muslim world would be divided, but the portion that rejoiced at this video would be smaller each time it was shown.

And to Alai, it would be a personal challenge. She was laying responsibility for this at his door. He would have to come out of Damascus and take command himself. No more hiding indoors. She had forced his hand. Now to see what he would do.

The video swept around the world, first on the nets, then picked up by broadcast media—high-resolution files were conveniently provided for download. Of course there were charges that the whole thing was faked, or that Hindus had committed the atrocities. But no one really believed that. It fit too well with the record that Muslims had created for themselves during the Islamic wars that raged in the century and a half before the Buggers came. And it was unbelievable to imagine Hindus defiling the dead as these had been defiled.

Such atrocities were meant to strike terror in the hearts of the enemy. But Virlomi had taken this one and turned it into something else. Grief. Love. Resolve. And, finally, a plea for peace.

Never mind that she could have peace whenever she wanted, merely by submitting to Muslim rule. The world would understand that complete submission to Islam would not be peace, but the death of India and its replacement by a land of puppets. She had made this so clear in earlier vids that it did not need to be repeated.

They tried to keep the vid from Alai, but he refused to let them block what he saw on his own computer. He watched it over and over again.

"Wait until we can investigate and see if it's true," said Ivan Lankowski, the half-Kazakh aide he trusted to be closest to him, to see him when he was not acting the part of Caliph.

"I know that it's true," said Alai.

"Because you know this Virlomi?"