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\html_css_as_file 0 \html_be_strict false \end_header \begin_body \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash frontmatter \end_layout \begin_layout Plain Layout \backslash pagestyle{empty} \end_layout \end_inset \end_layout \begin_layout Standard \paragraph_spacing other 2 \noindent \align right \size huge Tears in the Rain \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout % \backslash cleardoubleevenemptypage \end_layout \begin_layout Plain Layout % \backslash thispagestyle {empty} \end_layout \begin_layout Plain Layout % \backslash includegraphics [bb = -105 400 500 200, keepaspectratio] {wwlogo} \end_layout \begin_layout Plain Layout % \backslash chapter {Chapter Headline}, \end_layout \begin_layout Plain Layout \backslash cleardoubleoddemptypage \end_layout \begin_layout Plain Layout \backslash thispagestyle {empty} \end_layout \begin_layout Plain Layout %This adds a clear left page to force chapter starts on a right-hand page and adds an %image to the interleaf page. \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset Graphics filename Ben Francis Signature.eps \end_inset \end_layout \begin_layout Standard \begin_inset VSpace 0.5in* \end_inset \end_layout \begin_layout Standard \align right \size giant Tears in the Rain \end_layout \begin_layout Standard \align center \begin_inset VSpace vfill* \end_inset \end_layout \begin_layout Standard \align center \size large Wishing Well Publishers, United Kingdom \end_layout \begin_layout Standard \align center \begin_inset ERT status open \begin_layout Plain Layout \backslash cleardoubleevenemptypage \end_layout \begin_layout Plain Layout \backslash thispagestyle {empty} \end_layout \begin_layout Plain Layout % \backslash includegraphics [bb = -105 400 500 200, keepaspectratio] {wwlogo} \end_layout \begin_layout Plain Layout % \backslash chapter {Chapter Headline}, \end_layout \begin_layout Plain Layout % \backslash cleardoubleoddemptypage \end_layout \begin_layout Plain Layout % \backslash thispagestyle {empty} \end_layout \end_inset \end_layout \begin_layout Standard \align center \size scriptsize First published in 2013 \end_layout \begin_layout Standard \align center \size scriptsize by Wishing Well Publishers \end_layout \begin_layout Standard \align center \size scriptsize Address \end_layout \begin_layout Standard \align center \size scriptsize \emph on This paperback edition first published in 2013 \end_layout \begin_layout Standard \align center \size scriptsize The right of Ben Francis to be identified as the author of this work has been asserted to him in accordance with the Copyright, Designs and Patents Act 1988. \end_layout \begin_layout Standard \align center \size scriptsize Copyright © 2012 Ben Francis All rights reserved. \end_layout \begin_layout Standard \align left \size scriptsize No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means; mechanical, electrical, photocopyi ng, scanning, recording or otherwise, without prior written consent from the publishers. Every effort has been made to contact all copyright holders. The author and publisher will gladly rectify any omissions. \end_layout \begin_layout Standard \align left \size scriptsize This book is a work of fiction. Names, characters, places and incidents are either a product of the author's imagination or are used fictitiously. Any resemblance to actual people living or dead, events or locales is entirely coincidental. \end_layout \begin_layout Standard \align center \size scriptsize ISBN- \end_layout \begin_layout Standard \align center \size scriptsize A CIP Record for this book is available from the British Library \end_layout \begin_layout Standard \align center \size scriptsize Cover design: Ben Francis \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash cleardoubleevenemptypage \end_layout \begin_layout Plain Layout \backslash thispagestyle {empty} \end_layout \begin_layout Plain Layout % \backslash includegraphics [bb = -105 400 500 200, keepaspectratio] {wwlogo} %Placeholder %image to test code \end_layout \begin_layout Plain Layout % \backslash chapter {Chapter Headline}, \end_layout \begin_layout Plain Layout \backslash cleardoubleoddemptypage \end_layout \begin_layout Plain Layout \backslash thispagestyle {empty} \end_layout \end_inset \begin_inset VSpace vfill* \end_inset \end_layout \begin_layout Standard \align right \size giant Tears in the Rain \end_layout \begin_layout Standard \begin_inset VSpace vfill* \end_inset \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash sloppy \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash addtocontents{toc}{ \backslash protect \backslash thispagestyle{empty}} %removes page numbers from toc \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset CommandInset toc LatexCommand tableofcontents \end_inset \end_layout \begin_layout Chapter Preface \end_layout \begin_layout Standard \lang english \begin_inset ERT status open \begin_layout Plain Layout \backslash pagestyle{fancy} \end_layout \begin_layout Plain Layout \backslash fancyhead[LE,RO]{ \backslash tiny \backslash slshape \backslash leftmark} \end_layout \begin_layout Plain Layout \backslash fancyhead[LO,RE]{ \backslash tiny \backslash slshape Ben Francis} \end_layout \begin_layout Plain Layout \backslash fancyhead[C]{} \end_layout \begin_layout Plain Layout \backslash fancyfoot[C]{ \backslash small \backslash slshape \backslash thepage \backslash hspace{3mm} The Trip} \end_layout \begin_layout Plain Layout \backslash fancyfoot[RO]{ \backslash small \backslash slshape The Trip} \end_layout \begin_layout Plain Layout \backslash fancyfoot[LE]{ \backslash small \backslash slshape The Trip} \end_layout \begin_layout Plain Layout \backslash fancyfoot[C]{ \backslash thepage} \end_layout \begin_layout Plain Layout \backslash renewcommand{ \backslash footrulewidth}{0.25pt} \end_layout \begin_layout Plain Layout \backslash setcounter{page}{1} \end_layout \begin_layout Plain Layout \backslash lettrine [lraise=0.1]{W}{hen} \end_layout \end_inset I came to set this second book in the spy trilogy \emph on \begin_inset Quotes els \end_inset Hippies, spies and me \begin_inset Quotes ers \end_inset \emph default in Wales in the mid-1970s, I struggled with some detail. It \begin_inset Quotes ers \end_inset s rare to see a spy story in which the principal character is a pensioner. I had the heroine, Connie Grainger, as a hippie founder-member of a women \begin_inset Quotes ers \end_inset s peace camp. But how likely was that? When did peace camps become commonplace? Would it be realistic to suppose a pensioner would be a hippie? Dredging through my memory of the 1970s I recalled the peace camps of the day. They began in the 1920s and then became world famous in 1982 due to the tremendous worldwide publicity generated by the Greenham Common Women \begin_inset Quotes ers \end_inset s Peace Camp. In the United Kingdom, people came to live outside military bases at protest camps in order to witness their opposition to, and nonviolently protest against, the presence of Cold War nuclear weapons in Europe that were directed against the then Soviet Union by the United States, calling for nuclear disarmament. There were memories too of some wonderful people of a certain age who, embraced hippie ideology as enthusiastically and equally as vociferously as younger people of the day. In fact, it is worth recalling that some of the leading figures in the hippie revolution led the protests on university campuses, in factories and, in daily life. \end_layout \begin_layout Standard \lang english Domestically in Britain, the 1970s was a decade of industrial decline, economic mismanagement, union bullying, strikes, power blackouts, a debilitating north-south divide, a 50mph speed limit, decrepit public services, escalating prices, falling wages, IRA bombs and troop casualties in Northern Ireland worse than those in present-day Afghanistan. Britain felt and looked like a downwardly-mobile developing country. \end_layout \begin_layout Standard \lang english Internationally, there was much going on at that time. It was still the Cold War, that prolonged confrontation whose shadow was so pervasive that it is almost impossible for later generations to appreciate how deeply it shaded everything. We were told to expect an imminent Russian-led incursion into Europe. For both sides nuclear Armageddon was more than a theoretical possibility. The war in Vietnam raged on during the first half of the decade and only came to an uneasy end in 1975, leaving a country devastated and a population hungry for change, when the Americans were forced out by global resistance to their continued presence there. South Africa was in the grip of suppression of the vast majority of its population through the imposition of its barbaric laws of apartheid. The struggles of the South African masses became a global issue after the uprising at Soweto, and a global call for the release of Nelson Mandela and an end to apartheid, rang out. Throughout the 1970s decade revolution was in the air and economic decline, social fragmentation, and political decline was the order of the day in many of western countries. \end_layout \begin_layout Standard \lang english To counter this, people demanded change. There was an upsurge in discontent which often manifested itself in vociferous, enthusiastic but uncoordinated, action. People wanted change and, change came about through the development and rise of the hippie revolution. A new ideology drawing to a large extent on interpretations of older philosophi es that were based on non-violent protest gathered momentum and, protest against war, and in support of human rights, took place first in America then, swiftly followed suit in western European countries. \end_layout \begin_layout Standard \lang english The rise in demands for change across the country, the hippie revolution, was perceived by some as a threat to social and political stability and economic growth. Hippie ideology then, based on demands for peace, love and freedom, were perceived as a risk to national security and steps were taken to countermand its rise to thwart its spread both domestically and globally. \end_layout \begin_layout Standard \lang english It must be remembered in reality there were many at the time who saw at best only naivety in the hippie alternative culture, and at worst, a threat to national security. \end_layout \begin_layout Standard \lang english To countermand this perceived threat to national security the fictional MX9 department in \begin_inset Quotes els \end_inset The Trip \begin_inset Quotes ers \end_inset was born. Its somewhat nebulous raison d \begin_inset Quotes ers \end_inset être, to protect Britain, presumably against an equally nebulous enemy, was certainly resonant with Establishment paranoia of the era. \end_layout \begin_layout Standard \lang english The world of spies and counter-spies was much more under wraps then than now, visible only when a scandal broke. \end_layout \begin_layout Standard \lang english Behind the opaque glass wall, however, the Establishment was fighting a war on two fronts. The piranhas of the Cold War were ceaselessly active and equally, on the home front the Establishment was penetrating the trade unions and sabotaging student unions, and freedom-loving activist groups and individuals across the country found themselves under surveillance. The aim was clearly the suppression of hippie ideology and the curtailment of alternative culture activities. \end_layout \begin_layout Standard \lang english Politically, the atmosphere was febrile, with the government being embroiled in a long-standing dispute against the working class and, the nebulous but, effective hippie alternative communities across the country. The two opposing groups found themselves at opposite ends of the spectrum and were quickly immersed in an atmosphere characterised by conspiracy and counter-conspiracy, by distrust and paranoia. \end_layout \begin_layout Standard \lang english The streets were alive with noisy demonstrations, against the war in Vietnam, and in support of issues ranging from civil rights to human rights around the world. Connie Grainger witnessed picket lines and protests and sometimes joined them. When she turned her skills to reporting, her stunning ability to capture pivotal moments and revealing human interactions gave readers an unparalleled you-are-there view of tensions and events, and drew word pictures of personalit ies that made memorable headlines. \end_layout \begin_layout Standard \lang english It is against this background that Connie Grainger finds herself embroiled once again in a dangerous game of cat and mouse with the \begin_inset Quotes els \end_inset enemy within \begin_inset Quotes ers \end_inset . \end_layout \begin_layout Standard \lang english \begin_inset Quotes els \end_inset Tears in the Rain \begin_inset Quotes ers \end_inset is a story of a retired secret services operative, Connie Grainger, who is asked to come out of retirement to return to MX9. Connie is now living with the women at a peace camp at Gilfawr Naval Base on the west coast of Wales, an enterprise she was largely responsible for setting up a few years previously. \end_layout \begin_layout Standard \lang english Reluctantly returning to MX9 following what she believes has been a murder at the peace camp, she is soon at variance with orders from the Head of MX9. Ordered to root out a potential Russian spy believed to be operating from within the camp, \begin_inset space \space{} \end_inset she is soon embroiled in her own investigation into the murder which results in unexpected personal dimensions for her. \end_layout \begin_layout Standard \lang english I had written about Grainger before in \begin_inset Quotes els \end_inset Murder in Saigon \begin_inset Quotes ers \end_inset , the first novel in this trilogy, about a group of volunteer nurses who take off for South Vietnam. In \begin_inset Quotes els \end_inset Murder in Saigon \begin_inset Quotes ers \end_inset I use her to show a small part of the reality of Cold War espionage. I wanted to get away from what we have come to expect of spy fiction - tales of male derring-do. I wanted to show that spying involves morals and talking to people rather than killing them, and it should be not only the preserve of the Establishment. In other words, spying could be both relevant and necessary on both sides of the war: the Establishment and from within the Hippie subculture. In short, it is not always criminal or wrong to spy. There can be times when spying is characterised by loyalty rather than betrayal, that humour can prevail, and that there can also be sometimes personal costs to bear. Human traits that our principal character Connie Grainger has already discovere d in \begin_inset Quotes els \end_inset Murder in Saigon \begin_inset Quotes ers \end_inset . \end_layout \begin_layout Standard \lang english However, in \begin_inset Quotes els \end_inset Tears in the Rain \begin_inset Quotes ers \end_inset , following the death of a young activist in what appears to be a freak road accident, Connie \begin_inset Quotes ers \end_inset s belief in the role of MX9 is severely shaken. In the meantime, the Russian agent continues to pass information about developments inside the naval base. Connie is ordered to identify the spy operating from inside the women \begin_inset Quotes ers \end_inset s peace camp at Gilfawr. \end_layout \begin_layout Standard \lang english Gilfawr Naval Base is a Cold War secret research establishment. Inside, \begin_inset space \space{} \end_inset scientists are building and testing a new navigation system for firing ballistic weapons from submarines. Secret plans that could turn the tide in the Cold War has reached Russian hands. \end_layout \begin_layout Standard \lang english Inside Gilfawr peace camp forces and eddies churn beneath the surface that suggest malcontent. Has the Establishment set a mole amongst the peace camp dwellers to spread discontent and disharmony. Will they be successful in forcing the peace camp to close, and the protestors dishonoured? \end_layout \begin_layout Standard \lang english Connie takes on the mission to save the peace camp and find the murderer. As her investigations with Ben proceed, they discover a link between the two as they are forced to trawl the murky waters of Cold War paranoia. \end_layout \begin_layout Standard \lang english Disillusioned, Connie realises that MX9 is embroiled in destroying hippie culture, and worse, Ben is not all that he seems. She is faced with one final dilemma that needs to be resolved. The solution she chooses proves to be her nemesis and, the women \begin_inset Quotes ers \end_inset s peace camp, a touchstone that will have far-reaching consequences for the women of the peace camp. \end_layout \begin_layout Standard \lang english This is the second book in the trilogy by the same author, \begin_inset Quotes els \end_inset Hippies, spies, and me \begin_inset Quotes ers \end_inset . \end_layout \begin_layout Standard \lang english \begin_inset VSpace smallskip* \end_inset \end_layout \begin_layout Standard \begin_inset Float figure placement H wide false sideways false status open \begin_layout Plain Layout \begin_inset Graphics filename Signature.jpg lyxscale 10 scale 55 \end_inset \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset VSpace smallskip* \end_inset \end_layout \begin_layout Standard Liverpool, 2013 \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash KOMAoptions{open=any} \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash mainmatter \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset ERT status open \begin_layout Plain Layout \backslash fancyhead[LE,RO]{ \backslash tiny \backslash slshape \backslash leftmark} \end_layout \begin_layout Plain Layout \backslash fancyhead[LO,RE]{ \backslash tiny \backslash slshape Ben Francis} \end_layout \begin_layout Plain Layout \backslash fancyhead[C]{} \end_layout \begin_layout Plain Layout \backslash fancyfoot[C]{ \backslash small \backslash slshape \backslash thepage \backslash hspace{3mm} The Trip} \end_layout \begin_layout Plain Layout \backslash fancyfoot[RO]{ \backslash small \backslash slshape The Trip} \end_layout \begin_layout Plain Layout \backslash fancyfoot[LE]{ \backslash small \backslash slshape The Trip} \end_layout \begin_layout Plain Layout \backslash fancyfoot[C]{ \backslash thepage} \end_layout \begin_layout Plain Layout \backslash renewcommand{ \backslash footrulewidth}{0.25pt} \end_layout \begin_layout Plain Layout %%% \end_layout \begin_layout Plain Layout % \backslash backgroundsetup{ \end_layout \begin_layout Plain Layout %scale=1, \end_layout \begin_layout Plain Layout %color=black, \end_layout \begin_layout Plain Layout %opacity=1, \end_layout \begin_layout Plain Layout %angle=0, \end_layout \begin_layout Plain Layout %position=current page.south, \end_layout \begin_layout Plain Layout %vshift=40pt, \end_layout \begin_layout Plain Layout %contents={% \end_layout \begin_layout Plain Layout % \backslash small \backslash sffamily% \end_layout \begin_layout Plain Layout % \backslash begin{minipage}{.8 \backslash textwidth} \end_layout \begin_layout Plain Layout % \backslash parbox[b]{.6 \backslash textwidth}{% \end_layout \begin_layout Plain Layout % \backslash small Page \backslash thepage \backslash of \backslash pageref{LastPage}} \end_layout \begin_layout Plain Layout % \backslash hfill \end_layout \begin_layout Plain Layout % \backslash parbox[b]{.4 \backslash textwidth}{% \end_layout \begin_layout Plain Layout % \backslash small The Trip \backslash \backslash } \backslash \backslash \end_layout \begin_layout Plain Layout % \backslash textcolor{black}{ \backslash rule{ \backslash textwidth}{1pt}} \backslash \backslash \end_layout \begin_layout Plain Layout % \backslash url{www.mycompany.com} \end_layout \begin_layout Plain Layout % \backslash end{minipage} \backslash hspace{.02 \backslash textwidth}% \end_layout \begin_layout Plain Layout % \backslash begin{minipage}{.10 \backslash textwidth} % \backslash includegraphics[width=130pt,height=50pt,keepaspectratio]{lion} % \backslash end{minipage}% \end_layout \begin_layout Plain Layout %} \end_layout \begin_layout Plain Layout %} \end_layout \begin_layout Plain Layout %%% \end_layout \begin_layout Plain Layout \backslash pagestyle{fancy} \end_layout \end_inset \end_layout \begin_layout Standard \begin_inset CommandInset include LatexCommand include filename "/Users/mike/Desktop/tryout.lyx" \end_inset \end_layout \begin_layout Standard \begin_inset CommandInset include LatexCommand include filename "/Users/mike/Desktop/test2.lyx" \end_inset \end_layout \begin_layout Standard \begin_inset CommandInset include LatexCommand include filename "/Users/mike/Desktop/test3.lyx" \end_inset \end_layout \begin_layout Standard \begin_inset CommandInset include LatexCommand include filename "/Users/mike/Documents/Books in Production/trip_lyx21_prodcop/Chapter 1/C1.lyx" \end_inset \end_layout \end_body \end_document
