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Kitabı oxu: «The Nightmare»

Şrift:

THE NIGHTMARE
LARS KEPLER
Translated from the Swedish by Neil Smith


This is entirely a work of fiction. Any references to real people, living or dead, real events, businesses, organizations and localities are intended only to give the fiction a sense of reality and authenticity. All names, characters and incidents are either the product of the author’s imagination or are used fictitiously, and their resemblance, if any, to real-life counterparts is entirely coincidental.

HarperCollinsPublishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by HarperCollinsPublishers 2012

1

Copyright © Lars Kepler 2010

Translation copyright © Neil Smith 2018

All rights reserved

Originally published in 2010 by Albert Bonniers Förlag, Sweden, as Paganinikontraktet

Lars Kepler asserts the moral right to be identified as the author of this work

Cover design by Claire Ward © HarperCollinsPublishers Ltd 2018

Cover photography © Jill Battaglia/Trevillion Images

Grateful acknowledgement is made for permission to reprint excerpts from the following previously published material: ‘Starman,’ ‘Life on Mars,’ and ‘Ziggy Stardust,’ written by David Bowie, reprinted by permission of Hal Leonard Corporation and Tintoretto Music admin. By RZO Music, Inc.; Pablo Neruda, ‘Soneto XLV,’ Cien sonetos de amor, © Fundación Pablo Neruda, 2012

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books

HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication

Ebook Edition © APRIL 2018 ISBN: 9780007488087

SOURCE ISBN: 9780008241827

Version: 2019-03-04

International Praise for Lars Kepler:

‘A terrifying and original read’ Sun

‘A rollercoaster ride of a thriller full of striking twists’ Mail on Sunday

‘Sensational’ Lee Child

‘An international book written for an international audience’ Huffington Post

‘Ferocious, visceral storytelling that wraps you in a cloak of darkness. It’s stunning’ Daily Mail

‘One of the best – if not the best – Scandinavian crime thrillers I’ve read’ Sam Baker, Red

‘A creepy and compulsive crime thriller’ Mo Hayder

‘Intelligent, original and chilling’ Simon Beckett

‘Mesmerizing … a bad dream that takes hold and won’t let go’ Wall Street Journal

‘One of the most hair-raising crime novels published this year’ Sunday Times

‘Grips you round the throat until the final twist’ Woman & Home

‘A serious, disturbing, highly readable novel that is finally a meditation on evil’ Washington Post

‘A genuine chiller … deeply scarifying stuff’ Independent

‘Far above your average thriller … you’ll be terrified’ Evening Standard

‘A pulse-pounding debut that is already a native smash’ Financial Times

‘The cracking pace and absorbing story mean it cannot be missed’ Courier Mail

‘Utterly outstanding’ Morgenavisen Jyllands-Posten, Denmark

‘Disturbing, dark and twisted’ Easy Living

‘Creepy and addictive’ She

‘Brilliant, well written and very satisfying. A superb thriller’ De Telegraaf, Netherlands

Table of Contents

Cover

Title Page

Copyright

International Praise for Lars Kepler:

Preface

Chapter 1: A premonition

Chapter 2: The pursuer

Chapter 3: A boat is left adrift in Jungfrufjärden

Chapter 4: The floating man

Chapter 5: National Homicide Commission

Chapter 6: How death came

Chapter 7: Helpful people

Chapter 8: Nils Åhlén

Chapter 9: About close combat

Chapter 10: Drowned

Chapter 11: In the front cabin

Chapter 12: Unusual death

Chapter 13: Reconstruction

Chapter 14: A late-night party

Chapter 15: Identification

Chapter 16: The mistake

Chapter 17: A very dangerous man

Chapter 18: The fire

Chapter 19: An undulating landscape of ash

Chapter 20: The house

Chapter 21: The Security Police

Chapter 22: Incomprehensible

Chapter 23: Forensics

Chapter 24: The object

Chapter 25: The child on the stairs

Chapter 26: The palm of a hand

Chapter 27: Extremists

Chapter 28: The Brigade

Chapter 29: The SWAT team

Chapter 30: Pain

Chapter 31: The message

Chapter 32: Proper police work

Chapter 33: The search

Chapter 34: Dreambow

Chapter 35: Erased material

Chapter 36: The connection

Chapter 37: Collaboration

Chapter 38: Saga Bauer

Chapter 39: Further away

Chapter 40: The successor

Chapter 41: No sleep

Chapter 42: The Inspectorate for Strategic Products

Chapter 43: A cloned computer

Chapter 44: The emails

Chapter 45: The motorway

Chapter 46: The photograph

Chapter 47: The fourth person

Chapter 48: The bridal crown

Chapter 49: The indistinct face

Chapter 50: The hiding place

Chapter 51: Winner takes all

Chapter 52: The courier

Chapter 53: The signature

Chapter 54: The competition

Chapter 55: The police

Chapter 56: The helicopter

Chapter 57: The police

Chapter 58: The beneficiary

Chapter 59: When life gets new meaning

Chapter 60: A little more time

Chapter 61: What he always thinks

Chapter 62: Sweet sleep

Chapter 63: The Johan Fredrik Berwald Contest

Chapter 64: The lift down

Chapter 65: What these eyes have seen

Chapter 66: Without Penelope

Chapter 67: Where the money goes

Chapter 68: Something to celebrate

Chapter 69: The string quartet

Chapter 70: A feeling

Chapter 71: Seven million choices

Chapter 72: The riddle

Chapter 73: One last question

Chapter 74: A perfect plan

Chapter 75: Bait

Chapter 76: The secure apartment

Chapter 77: The operation

Chapter 78: The market-hall

Chapter 79: When it happens

Chapter 80: The pressure wave

Chapter 81: The German Embassy

Chapter 82: The face

Chapter 83: The perpetrator

Chapter 84: The fire

Chapter 85: Hunt of the hunted

Chapter 86: The white trunk of the birch

Chapter 87: The dead end

Chapter 88: The visitor

Chapter 89: The meeting

Chapter 90: The photographer

Chapter 91: A final way out

Chapter 92: Exposed

Chapter 93: Greta’s death

Chapter 94: White, rustling plastic

Chapter 95: Missing

Chapter 96: Raphael Guidi

Chapter 97: Escape

Chapter 98: The prosecutor

Chapter 99: Missing

Chapter 100: Pontus Salman

Chapter 101: The girl with dandelions

Chapter 102: The other side of the picture

Chapter 103: Closer

Chapter 104: The nightmare

Chapter 105: The witness

Chapter 106: The father

Chapter 107: The empty room

Chapter 108: Loyalty

Chapter 109: The contract

Chapter 110: On board

Chapter 111: Traitor

Chapter 112: Automatic fire

Chapter 113: The knife-blade

Chapter 114: The final struggle

Chapter 115: Conclusion

Axel Riessen

Beverly Andersson

Penelope Fernandez

Saga Bauer and Anja Larsson

Disa Helenius

Joona Linna

Epilogue

Read on for an exclusive extract from the next Joona Linna thriller, The Fire Witness:

KEEP READING…

About the Author

Also by Lars Kepler

About the Publisher

Preface

There’s no wind when the large leisure cruiser is found drifting in Jungfrufjärden in the southern part of the Stockholm archipelago one light evening. The water is a sleepy bluish-grey colour, and is moving as gently as fog.

The old man in a rowing boat calls out a couple of times even though he has a feeling he’s not going to get any answer. He’s been watching the boat from shore for almost an hour as it’s been drifting slowly backwards on the offshore current.

The man angles his rowing boat so that the side butts up against the motor cruiser. He pulls the oars in, ties the rowing boat to the swimming platform, climbs up the metal steps and over the railing. In the middle of the aft-deck is a pink sun-lounger. When he can’t hear anything he opens the glass door and goes down a few steps into the saloon. The large windows are casting a grey light across the polished teak interior and dark-blue upholstery of the sofa. He carries on down the steep wooden steps, past the dark galley and bathroom and into the large cabin. Pale light is filtering through the narrow windows up by the ceiling, illuminating the arrow-shaped double bed. Towards the top of the bed a young woman in a denim jacket is sitting against the wall in a limp, slumped posture with her legs wide apart and one hand resting on a pink cushion. She’s looking the old man straight in the eye with a bemused, anxious smile on her face.

It takes a moment for the man to realise that the woman is dead.

In her long, dark hair there’s a clasp in the shape of a dove, a peace dove.

When the old man goes over and touches her cheek, her head topples forward and a thin stream of water trickles out of her mouth and down her chin.

The word ‘music’ actually refers to the artistry of the muses, and comes from the Greek myth of the nine muses. All nine were the daughters of the great god Zeus and the titan Mnemosyne, goddess of memory. The muse of music itself, Euterpe, is usually depicted with a double-flute between her lips, and her name means ‘bringer of joy’.

The talent known as musicality has no generally accepted definition. There are people who lack the ability to discern shifting frequencies of notes, and there are people who are born with an extensive musical memory and the sort of perfectly attuned hearing that enables them to identify any given note without any points of reference whatsoever.

Through the ages a number of exceptionally talented musical geniuses have emerged, some of whom have become extremely famous, such as Wolfgang Amadeus Mozart, who toured the courts of Europe from the age of six, and Ludwig van Beethoven, who composed many of his greatest works after he had become totally deaf.

The legendary Nicolò Paganini was born in 1782 in the Italian city of Genoa. He was a self-taught violinist and composer. To this day there have been very few violinists capable of playing Paganini’s fast, complicated compositions. Up to his death Paganini was pursued by rumours that he had only acquired his unique talent by signing a contract with the devil.

1
A premonition

A shiver runs down Penelope Fernandez’s spine. Her heart suddenly starts to beat faster and she glances quickly over her shoulder. Perhaps at that moment she has a premonition of what is going to happen to her later that same day.

In spite of the heat in the studio Penelope’s face feels cool. It’s a lingering after-effect from the make-up room, where the cool cream-powder sponge was pressed to her skin, the clasp with the dove removed from her hair as the mousse was rubbed in to gather her hair into twining locks.

Penelope Fernandez is chairperson of the Swedish Peace and Arbitration Society. She is now being ushered silently into the news studio, and sits down in the spotlight opposite Pontus Salman, who is the managing director of Silencia Defence Ltd, an arms manufacturer.

The news anchor, Stefanie von Sydow, moves on to a new item, looks into the camera and starts to talk about the redundancies that have followed the purchase of the Swedish company Bofors by British defence manufacturer BAE Systems Ltd, then she turns to Penelope:

‘Penelope Fernandez, in a number of debates now you have been highly critical of Swedish arms exports. Recently you drew a comparison with the Angolagate scandal in France, in which senior politicians and businessmen were accused of bribery and weapons smuggling, and have now been given long prison sentences. We haven’t seen anything like that in Sweden, though, surely?’

‘There are two ways of looking at that,’ Penelope Fernandez replies. ‘Either our politicians work differently, or our judicial system does.’

‘As you’re well aware,’ Pontus Salman says, ‘we have a long tradition of …’

‘According to Swedish law,’ Penelope interrupts. ‘According to Swedish law, all manufacture and export of military equipment is illegal.’

‘You’re wrong, of course,’ Salman says.

‘Paragraphs 3 and 6 in the Military Equipment Act, 1992,’ Penelope specifies.

‘But Silencia Defence has been given positive advance notification,’ he smiles.

‘Yes, because otherwise we’d be talking about large-scale weapons offences, and …’

‘Like I said, we have a permit,’ he interrupts.

‘Don’t forget what military equipment is …’

‘Hold on a moment, Penelope,’ news anchor Stefanie von Sydow says, nodding to Pontus Salman who has raised a hand to indicate that he hasn’t finished.

‘Naturally, every deal is examined beforehand,’ he explains. ‘Either directly by the government, or by the Inspectorate for Strategic Products, if you’re aware of them?’

‘France has an equivalent body,’ Penelope replies. ‘Even so, military equipment worth eight billion kronor was able to reach Angola in spite of the UN arms embargo, and in spite of an absolutely binding ban on …’

‘We’re talking about Sweden now.’

‘I understand that people don’t want to lose their jobs, but I’d still be interested to hear how you can justify the export of huge quantities of ammunition to Kenya? A country which …’

‘You haven’t got anything,’ he interrupts. ‘Nothing, not a single instance of wrongdoing, have you?’

‘Unfortunately I’m not in a position to …’

‘Do you have any concrete evidence?’ Stefanie von Sydow interrupts.

‘No,’ Penelope Fernandez replies, and lowers her gaze. ‘But I …’

‘In which case I think an apology is in order,’ Pontus Salman says.

Penelope looks him in the eye, feels anger and frustration bubbling up inside her, but forces herself to stay quiet. Pontus Salman gives her a disappointed smile and then goes on to talk about their factory in Trollhättan. Two hundred jobs were created when Silencia Defence was given permission to start manufacture. He explains what positive advance notification means, and how far they have got with production. He slowly expands on his point to the extent that there’s no time left for his co-interviewee.

Penelope listens and tries to suppress the pride in her heart. Instead she thinks about the fact that she and Björn will soon be setting off on his boat. They’ll make up the arrow-shaped bed in the fore, fill the fridge and little freezer. In her mind’s eye she can see the sparkle of the frosted vodka glasses when they’re eating pickled herring, potatoes, boiled eggs and crispbread. They’ll lay the table on the aft-deck, drop anchor by a small island in the archipelago and sit and eat for hours in the evening sun.

Penelope Fernandez leaves Swedish Television’s studios and starts to walk towards Valhallavägen. She spent almost two hours waiting for a follow-up interview on a different programme before the producer said they were going to have to drop her to make room for five easy tips for a flat stomach this summer.

Over on the grassy expanse of Gärdet she can see the colourful tents of the Circus Maximum. One of the keepers is washing two elephants with a hose. One of them reaches into the air with its trunk to catch the hard jet of water in its mouth.

Penelope is only twenty-four, and she has dark, curly hair that reaches just past her shoulders. She has a short silver chain around her neck with a small crucifix from when she was confirmed. Her skin is a silky golden colour, like virgin olive oil or honey, as one boy wrote when they had to describe each other in a high-school exercise. Her eyes are large and serious. More than once she has been told that she bears a striking resemblance to film star Sophia Loren.

Penelope takes out her phone and calls Björn to say she’s on her way, and is about to catch the underground from Karlaplan.

‘Penny? Has something happened?’ he asks, sounding stressed.

‘No – why?’

‘Everything’s ready, I left you a message. You’re the only thing missing.’

‘There’s no desperate rush, is there?’

As Penelope is standing on the long, steep escalator down to the underground platform her heart starts to beat faster with vague unease, and she closes her eyes. The escalator grows steeper and narrower, the air cooler and cooler.

Penelope Fernandez comes from La Libertad, which is one of the largest regions of El Salvador. Penelope’s mother Claudia Fernandez was imprisoned during the civil war and Penelope was born in a cell where fifteen other interned women did their best to help. Claudia was a doctor, and had been active in the campaign to educate the population. The reason she ended up in one of the regime’s notorious prisons was because she continued to campaign for the right of the indigenous people to form trades unions.

Penelope only opens her eyes when she reaches the bottom of the escalator. The feeling of being shut in vanishes. She thinks once more about Björn, waiting at the marina on Långholmen. She loves swimming naked from his boat, diving into the water and not being able to see anything but sea and sky.

The underground train shakes as it rushes through the tunnel, then sunlight streams through the windows when it reaches Gamla stan station.

Penelope Fernandez hates war and violence and military might. It’s a burning conviction which led her to study for a master’s degree at Uppsala University in Peace and Conflict Studies. She has worked for the French aid organisation Action Contre la Faim in Darfur alongside Jane Oduya. She wrote an acclaimed article for Dagens Nyheter about the women in the refugee camps and their attempts to recreate a semblance of normal life after every assault on them. Two years ago she succeeded Frida Blom as chair of the Swedish Peace and Arbitration Society.

Penelope gets off at Hornstull station and emerges into the sunshine. She suddenly feels inexplicably anxious, so runs down Pålsundsbacken to Söder Mälarstrand, hurries across the bridge to Långholmen and follows the road round to the left, towards the small boats harbour. Dust from the grit on the road hangs like a haze in the still air.

Björn’s boat is moored in the shadow of the Western Bridge, the movements of the water forming a mesh of light reflected onto the grey steel beams high above.

She sees him at the back of the boat, wearing a cowboy hat. He’s standing still, with his arms wrapped round him, his shoulders hunched.

Penelope puts two fingers in her mouth and wolf-whistles. Björn starts, and his face becomes completely unmasked, as if he were horribly afraid. He looks over towards the road and catches sight of her. He still has a worried look in his eyes as he walks to the gangplank.

‘What is it?’ she asks, walking down the steps to the jetty.

‘Nothing,’ Björn replies, then adjusts his hat and tries to smile.

They hug and she feels that his hands are ice-cold, and his shirt soaking wet on his back.

‘You’re really sweaty,’ she says.

Björn looks away evasively.

‘I’m just keen to get going.’

‘Did you bring my bag?’

He nods and gestures towards the cabin. The boat is rocking gently beneath her feet, and she can smell sun-warmed plastic and polished wood.

‘Hello?’ she says breezily. ‘Where are you right now?’

His straw-coloured hair is sticking out in all directions in small, matted dreads. His bright blue eyes are childlike, smiling.

‘I’m here,’ he replies, and lowers his eyes.

‘What’s on your mind?’

‘I just want us to be together,’ he says, and puts his arms round her waist. ‘And have sex out in the open air.’

He nuzzles her hair with his lips.

‘Is that what you’re hoping?’ she whispers.

‘Yes,’ he replies.

She laughs at him for being so upfront.

‘Most people … well, most women, anyway, probably find that a bit overrated,’ she says. ‘Lying on the ground among loads of ants and stones and …’

‘It’s like swimming naked,’ he maintains.

‘You’re just going to have to try to persuade me,’ she says flirtatiously.

‘I’ll do my best.’

‘How?’ she laughs, as her phone starts to ring in her canvas bag.

Björn’s smile seems to stiffen at the sound of the ringtone. The colour drains from his cheeks. She looks at the screen and sees that it’s her younger sister.

‘It’s Viola,’ she says quickly to Björn before she answers.

‘Hola, little sister.’

A car blows its horn and her sister shouts something away from the phone.

‘Bloody lunatic,’ she mutters.

‘What’s going on?’

‘It’s over,’ her sister says. ‘I’ve dumped Sergey.’

‘Again,’ Penelope adds.

‘Yes,’ Viola says quietly.

‘Sorry,’ Penelope says. ‘You must be upset.’

‘It’s not that bad, but … Mum said you were going out on the boat, and I was wondering … I’d love to come along, if that would be okay?’

Neither of them speaks for a moment.

‘Sure, come along,’ Penelope repeats, and hears the lack of enthusiasm in her own voice. ‘Björn and I need a bit of time together, but …’

2
The pursuer

Penelope is standing at the helm with a light blue sarong wrapped round her hips and a white bikini top with a peace sign over the right breast. She is bathed in summer light coming through the windscreen. She carefully steers round Kungshamn lighthouse, then manoeuvres the large motor cruiser into the narrow strait.

Her sister Viola gets up from the pink sun-lounger on the aft-deck. She’s spent the past hour lying there wearing Björn’s cowboy hat and an enormous pair of mirror sunglasses, sleepily smoking a joint.

Viola makes five half-hearted attempts to pick up the box of matches with her toes before giving up. Penelope can’t help smiling. Viola walks into the saloon through the glass door and asks if Penelope would like her to take over.

‘If not, I’ll go and make a margarita,’ she says, and carries on down the steps.

Björn is lying out on the foredeck on a towel, using his paperback of Ovid’s Metamorphoses as a pillow.

Penelope notices that the base of the railing by his feet has started to rust. Björn was given the boat by his father when he turned twenty, but he hasn’t been able to afford to maintain it properly. The big motor cruiser is the only gift he ever got from his father, apart from a holiday. When his dad turned fifty he invited Björn and Penelope to one of his finest luxury hotels, the Kamaya Resort on the east coast of Kenya. Penelope only managed to put up with the hotel for two days before travelling to the refugee camp in Kubbum in Darfur in western Sudan, where the French aid organisation Action Contre la Faim was based.

Penelope decreases their cruising speed from eight to five knots as they approach the Skurusund Bridge. The heavy traffic high above on the bridge can’t be heard at all on the water. Just as they’re gliding into the shadow of the bridge she spots a black inflatable boat by one of the concrete foundations. It’s the same sort used by the Special Boat Service: a RIB with a fibreglass hull and extremely powerful motors.

Penelope has almost passed the bridge when she realises that there’s someone sitting in the boat. A man crouching in the gloom with his back to her. She doesn’t know why her pulse quickens at the sight of him. There’s something about the back of his head and his dark clothes. She feels as if she’s being watched, even though he’s facing the other way.

When she emerges into the sunshine again she shivers, and the goosebumps on her arms take a long time to go down.

She increases their speed to fifteen knots once she’s past Duvnäs. The two on-board motors rumble, the water foams behind them and the boat takes off across the smooth sea.

Penelope’s phone rings. She sees her mother’s name on the screen. Perhaps she saw the discussion on television. Penelope wonders for a moment if her mum is calling to tell her she did well, but knows that’s just a fantasy.

‘Hi, Mum,’ Penelope says when she answers.

‘Ow,’ her mother whispers.

‘What’s happened?’

‘My back … I need to get to the chiropractor,’ Claudia says. It sounds like she’s filling a glass from the tap. ‘I just wanted to find out if Viola’s spoken to you?’

‘She’s here on the boat with us,’ Penelope replies as she listens to her mother drink.

‘Oh, good … I thought it would do her good.’

‘I’m sure it will do her good,’ Penelope says quietly.

‘What food have you got?’

‘Tonight we’re having pickled herring, potatoes, eggs …’

‘She doesn’t like herring.’

‘Mum, Viola called me just as …’

‘I know you weren’t expecting her to come with you,’ Claudia interrupts. ‘That’s why I’m calling.’

‘I’ve made some meatballs,’ Penelope says patiently.

‘Enough for everyone?’ her mother asks.

‘Everyone? That depends on …’

She tails off and stares out across the sparkling water.

‘I don’t have to have any,’ Penelope says in a measured tone.

‘If there aren’t enough,’ her mother says. ‘That’s all I meant.’

‘I get it,’ she says quietly.

‘So it’s poor you now, is it?’ her mother asks with barely concealed irritation.

‘It’s just that … Viola is actually an adult, and …’

‘I’m disappointed in you.’

‘Sorry.’

‘You always manage to eat my meatballs at Christmas and Midsummer and …’

‘I can go without,’ Penelope says quickly.

‘Fine,’ her mother says abruptly. ‘That’s that sorted.’

‘I just mean …’

‘Don’t bother coming for Midsummer,’ her mother interrupts crossly.

‘Oh, Mum, why do you always have to …’

There’s a click as her mother hangs up. Penelope stops talking and feels frustration bubbling inside her as she stares at the phone, then tosses it aside.

The boat passes slowly across the green reflection of the verdant slopes. The steps from the galley creak and Viola wobbles into view with a martini glass in her hand.

‘Was that Mum?’

‘Yes.’

‘Is she worried I’m not going to get anything to eat?’ Viola asks with a smile.

‘There’s food,’ Penelope replies.

‘Mum doesn’t think I can take care of myself.’

‘She’s just worried,’ Penelope replies.

‘She never worries about you,’ Viola says.

‘I’m fine.’

Viola sips her cocktail and looks out through the windscreen.

‘I saw the debate on television,’ she says.

‘This morning? With Pontus Salman?’

‘No, this was … last week,’ she says. ‘You were talking to an arrogant man who … he had a fancy name, and …’

‘Palmcrona,’ Penelope says.

‘That was it, Palmcrona …’

‘I got angry, my cheeks turned red and I could feel tears in my eyes, I felt like reciting Bob Dylan’s “Masters of War” or just running out and slamming the door behind me.’

Viola watches as Penelope stretches up and opens the roof hatch.

‘I didn’t think you shaved your armpits,’ she says breezily.

‘No, but I’ve been in the media so much that …’

‘Vanity got the better of you,’ Viola jokes.

‘I didn’t want to get written off as a troublemaker just because I had a bit of hair under my arms.’

‘How’s your bikini line going, then?’

‘Well …’

Penelope lifts her sarong and Viola bursts out laughing.

‘Björn likes it,’ Penelope smiles.

‘He can hardly talk, with his dreadlocks.’

‘But you shave everywhere, just like you’re supposed to,’ Penelope says with a note of sharpness in her voice. ‘For your married men and muscle-bound idiots and …’

‘I know I have bad taste in men,’ Viola interrupts.

‘You don’t have bad taste in anything else.’

‘I’ve never really done anything properly, though.’

‘You just have to improve your grades a bit, then …’

Viola shrugs her shoulders:

‘I did actually sit the high-school paper.’

They’re ploughing gently through the transparent water, followed high above by some gulls.

‘How did it go?’ Penelope eventually asks.

‘I thought it was easy,’ Viola says, licking salt from the rim of the glass.

‘So it went well, then?’ Penelope smiles.

Viola nods and puts her glass down.

‘How well?’ Penelope asks, nudging her in the side.

‘Top marks,’ Viola says, looking down.

Penelope lets out a shriek of joy and hugs her sister hard.

‘You know what this means, don’t you?’ Penelope says excitedly. ‘You can study anything you like, you can have your pick of the universities, you can chose whatever course you like, business studies, medicine, journalism.’

Her sister blushes and laughs, and Penelope hugs her again, knocking her hat off. She strokes Viola’s head, then arranges her hair just as she always did when they were little, takes the clasp with the dove from her own hair and uses it to fasten her sister’s, then looks at her and smiles happily.

3
A boat is left adrift in Jungfrufjärden

The fore cuts the smooth surface of the water like a knife, with a sticky, liquid sound. They’re going very fast. Large waves hit the shore in their wake. They turn steeply and bounce across breaking waves, spraying water around them. Penelope heads out into the open water with the engines roaring. The fore lifts up and plumes of foaming white water spread out behind them.

‘You’re crazy, Madicken!’ Viola shouts, pulling the clasp from her hair, just like she always did as a child when her hair was finally neat.

Björn wakes up when they stop at Gåsö. They buy ice-creams and have coffee. Then Viola wants to play mini-golf, and it’s already late in the afternoon by the time they get going again.

The sea opens up on their port side, like a dizzyingly large stone floor.

The plan is to reach Kastskär, a long, narrow-waisted island that’s uninhabited. There’s a lush bay on the south side where they’re going to drop anchor, swim, have a barbecue and spend the night.

‘I think I’ll go down and have a rest,’ Viola says with a yawn.

‘Go ahead,’ Penelope smiles.

Viola goes down the steps and Penelope looks ahead of them. She lowers their speed and keeps an eye on the electronic depth sounder that will warn them of reefs as they approach Kastskär. The water very quickly gets shallow, from forty metres to just five.

Björn comes into the cabin and kisses Penelope on the back of her neck.

‘Shall I go and start the food?’ he asks.

‘Viola probably ought to sleep for an hour.’

‘You sound like your mother,’ he says gently. ‘Has she phoned yet?’

‘Yes.’

‘To see if we let Viola come with us?’

‘Yes.’

‘Did you have an argument?’

She shakes her head.

‘What is it?’ he asks. ‘Are you upset?’

‘No, it’s just that Mum …’

‘What?’

Penelope smiles as she wipes the tears from her cheeks.

‘She doesn’t want me there for Midsummer,’ she says.

Björn hugs her.

‘Just ignore her.’

‘I do,’ she replies.

Very slowly, Penelope manoeuvres the boat as far into the bay as she can. The engines rumble softly. They’re so close to the shore now that she can smell the plants.

They drop anchor, and the boat swings closer to the rocks. Björn jumps ashore onto the steep slope and ties the rope around a tree.

The ground is covered in moss. He stops and looks at Penelope. Some birds move in the treetops when the windlass rattles.

Penelope pulls on a pair of jogging bottoms and her white trainers, jumps ashore and takes his hand. He wraps his arms round her.

‘Shall we go and take a look at the island?’

‘Wasn’t there something you were going to try to persuade me about?’ she teases.

‘The advantages of the Swedish “right to roam”,’ he says.

She nods and smiles, and he brushes her hair back and runs a finger across her prominent cheekbone and thick, black eyebrow.

‘How can you be so beautiful?’

He kisses her softly on the lips, then starts to walk towards the low-growing woods.

In the middle of the island is a small glade with dense clumps of tall meadow grass. Butterflies and small bumblebees are drifting about above the flowers. It’s hot in the sun, and the water sparkles between the trees to the north. They stand still, hesitate, smiling as they look at each other, then turn serious.

‘What if someone comes?’ she says.

‘We’re the only people on the island.’

‘Are you sure about that?’

‘How many islands are there in the Stockholm archipelago? Thirty thousand? More, probably,’ he says.

Penelope takes off her bikini top, kicks her shoes off and pulls down the rest of her bikini with her jogging bottoms, and is suddenly standing completely naked on the grass. Her initial feeling of embarrassment is replaced almost at once with sheer delight. She can’t help finding the sea air on her skin and the heat radiating up from the ground intensely exciting.

Björn looks at her, mutters something about not being sexist, but that he just wants to look at her for a bit longer. She’s tall, her arms simultaneously muscular and soft. Her narrow waist and powerful thighs make her look like a playful goddess.

Björn can feel his hands shaking as he pulls off his T-shirt and flowery, knee-length shorts. He’s younger than her, his body is boyish, almost hairless, and his shoulders have already caught the sun.

‘Now I want to look at you,’ she says.

He blushes and walks over to her with a big smile.

‘Can’t I?’

He shakes his head and hides his face against her neck and hair.

They start to kiss, very gently, just stand close together kissing each other. Penelope feels his warm tongue in her mouth and a feeling of dizzy happiness courses through her. She forces herself to stop smiling so she can carry on kissing. They start to breathe faster. She feels Björn’s erection growing as his heartbeat quickens. They lie down in the grass, finding a flat spot between the tussocks. His mouth traces its way down to her breasts and brown nipples, then he kisses her stomach and parts her thighs. When he looks at her it seems to him that their bodies are glowing with inner light in the evening sun. Suddenly everything is intensely intimate and sensitive. She’s already wet and swollen when he starts to lick her, very softly and slowly, and she has to push his head away after a while. She presses her thighs together, smiles and blushes. She whispers to him to come closer, pulls him to her, guides him with her hand and lets him slide into her. He breathes heavily in her ear and she looks straight up at the pink sky.

Afterwards she stands naked in the warm grass, stretches, walks a few steps and stares off towards the trees.

‘What is it?’ Björn asks languidly.

She looks at him. He’s sitting on the ground naked, smiling up at her.

‘You’ve burned your shoulders.’

‘Every summer.’

He gently touches the red skin on his shoulders.

‘Let’s go back – I’m hungry,’ she says.

‘I just need to go for a swim.’

She pulls her bikini bottoms and jogging pants back on, pulls her shoes on and stands there with her bikini top in her hand. She lets her eyes roam across his hairless chest, muscular arms, the tattoo on his shoulders, his careless sunburn and bright, playful eyes.

‘Next time you get to lie underneath,’ she smiles.

‘Next time,’ he repeats cheerfully. ‘You’re already a convert, I knew it.’

She laughs and waves at him dismissively. He lies back and stares up at the sky. She hears him whistling to himself as she walks through the trees towards the steep little beach where the boat is moored.

She stops to put her bikini top on before she goes down to the boat.

When Penelope goes on board she wonders if Viola is still asleep in the aft-bunk. She decides to put a pan of new potatoes on to boil with some dill tops, then go and wash and get changed. Rather strangely the aft-deck is wet, as if it has been raining. Viola must have swabbed it down for some reason. The boat feels different. Penelope can’t put her finger on what it is, but suddenly her skin comes out in goosebumps. It’s almost completely silent, the birds have stopped singing. There’s just a gentle lapping sound as the water hits the hull, and the faint creak of the rope around the tree. Penelope suddenly becomes very conscious of her own movements. She goes down the steps to the stern, and sees that the door to the guest cabin is open. The light is on, but Viola isn’t there. Penelope notices that her hand is shaking when she knocks on the door of the little toilet. She opens it and looks inside, then goes back up on deck. Further along the bay she sees Björn on his way down to the water. She waves to him, but he doesn’t see her.

Penelope opens the glass door to the saloon and walks past the blue sofas, teak table and helm.

‘Viola?’ she calls quietly.

She goes down to the galley and takes out a saucepan, but puts it down on the stove when her heart starts to beat even faster. She looks in the bathroom, then carries on to the cabin at the front where she and Björn always sleep. She opens the door and looks round in the gloom, and at first thinks she’s looking at herself in the mirror.

Viola is sitting perfectly still at the top of the bed, her hand resting on the pink cushion from the Salvation Army.

‘What are you doing in here?’

Penelope hears herself ask her sister what she’s doing in the bedroom, even though she’s already realised that something isn’t right. Viola’s face is oddly pale and wet, her hair hanging in damp clumps.

Penelope goes over and takes her sister’s face in her hands, lets out a moan, then a scream, right close to her face.

‘Viola? What is it? Viola?’

But she’s already realised what’s happened, what’s wrong – her sister isn’t breathing, there’s no warmth in her skin, there’s nothing left in her, the flame of life has been extinguished. The cramped room gets darker, closes in around Penelope. She hears herself whimpering in an unfamiliar voice and stumbles backwards, pulling clothes onto the floor, then hits her shoulder hard on the doorpost when she turns and runs up the steps.

When she emerges onto the aft-deck she gasps for breath as if she were close to suffocating. She coughs and looks round with a feeling of ice-cold terror in her body. A hundred metres away on the shore she can see a stranger dressed in black. Somehow Penelope realises how it all fits together. She knows it’s the same man who was sitting in the military inflatable in the shadow under the bridge when they went past. She realises that the man in black killed Viola, and that he isn’t finished yet.

The man is standing on the shore waving to Björn, who is swimming twenty metres out. He’s shouting, holding his arm up. Björn hears him and stops, treading water, then turns to look back towards land.

Time almost stands still. Penelope rushes to the helm and digs about in the toolbox, finds a knife and runs back to the aft-deck.

She sees Björn’s slow strokes, the rings spreading out across the water around him. He’s looking curiously at the man. The man beckons him towards him. Björn smiles uncertainly and starts to swim back to shore.

‘Björn!’ Penelope screams as loudly as she can. ‘Swim away from shore!’

The man on the shore turns towards her, then starts running towards the boat. Penelope cuts through the rope, slips over on the wet wooden deck, gets to her feet, hurries to the helm and starts the engine. Without looking she raises the anchor and puts the boat in reverse.

Björn must have heard her, because he’s turned away from shore and has started to swim towards the boat instead. Penelope steers towards him as she sees the man in black change direction and start running up the slope towards the other side of the island. Without really thinking about it, she realises that the man has left his black inflatable in the bay to the north.

She knows there’s no way they can outrun that.

She slowly turns the big boat and steers towards Björn. She yells at him as she gets closer, then slows down and holds a boathook out to him. The water’s cold. He looks scared and exhausted. His head keeps disappearing below the surface. She manages to hit him with the point of the boathook, cutting his forehead and making it bleed.

‘You have to hold on!’ she shouts.

The black inflatable is already coming into view at the end of the island. She can hear its engine clearly. Björn is grimacing with pain. After several attempts he finally manages to wrap his arm around the boathook. She pulls him towards the swimming platform as fast as she can. He grabs hold of the edge and she lets go of the boathook and watches it drift off across the water.

‘Viola’s dead,’ she screams, hearing the mixture of despair and panic in her voice.

As soon as Björn has climbed up onto the steps she runs back to the wheel and accelerates as hard as she can.

Björn clambers over the railing and she hears him yell at her to steer straight towards Ornäs.

The roar of the inflatable’s motors is rapidly approaching from behind.

She swings the boat round in a tight curve, and the hull rumbles beneath them.

‘He killed Viola,’ Penelope whimpers.

‘Mind the rocks,’ Björn warns, his teeth chattering.

The inflatable has rounded Stora Kastskär and is speeding across the flat, open water.

Blood is running down Björn’s face from the cut on his forehead.

They’re rapidly approaching the large island. Björn turns to see the inflatable some three hundred metres behind them.

‘Aim for the jetty!’

She turns and puts the engines in reverse, then switches them off when the fore hits the jetty with a creak. The whole side of the boat scrapes past some protruding wooden steps. The swell hisses as it hits the rocks and rolls back towards them. The boat rocks sideways and the wooden steps shatter as water washes over the railings. They leap off the boat and hurry across the jetty. Behind them they hear the hull scrape against the jetty on the waves. They race towards land as the black inflatable roars towards them. Penelope slips and puts her hand out, then clambers up the steep rocks towards the trees, gasping for breath. The inflatable’s engines go quiet below them, and Penelope realises that they have barely any advantage at all. She and Björn rush through the trees, deeper into the forest, while her mind starts to panic as she looks around for somewhere they can hide.

4
The floating man

Paragraph 21 of Swedish Police Law permits a police officer to gain entry to a house, room or other location if there is reason to believe that someone may have died, is unconscious or otherwise incapable of calling for help.

The reason why Police Constable John Bengtsson on this Saturday afternoon in June has been instructed to investigate the top flat at Grevgatan 2 is that the director general of the Inspectorate for Strategic Products, Carl Palmcrona, has been absent from work without any explanation and missed a scheduled meeting with the Foreign Minister.

It’s far from the first time that John Bengtsson has had to break into someone’s home to see if anyone is dead or injured. Mostly it’s been because relatives have suspected suicide. Silent, frightened parents forced to wait in the stairwell while he goes in to check the rooms. Sometimes he finds young men with barely discernible pulses after a heroin overdose, and occasionally he has discovered a crime scene, women who have been beaten to death lying in the glow from the television in the living room.

John Bengtsson is carrying his house-breaking tools and an electric pick gun as he walks in through the imposing front entrance. He takes the lift up to the fifth floor and rings the doorbell. He waits a while, then puts his heavy bag down on the floor and inspects the lock. Suddenly he hears a shuffling sound in the stairwell, from the floor below. It sounds like someone is trying to creep silently down the stairs. Police Constable John Bengtsson listens for a while, then reaches out and tries the handle: the door isn’t locked, and glides open softly on its four hinges.

‘Is anyone home?’ he calls.

John Bengtsson waits a few seconds, then pulls his bag into the hall and closes the door, wipes his shoes on the doormat and walks further into the large entrance hall.

Gentle music can be heard in a neighbouring room. He goes over, knocks and walks in. It’s a spacious reception room, sparsely furnished with three Carl Malmsten sofas, a low glass table and a small painting of a ship in a storm on the wall. An ice-blue glow is coming from a flat, transparent music centre. Melancholic, almost tentative violin music is playing from the speakers.

John Bengtsson walks over to the double door and opens them, and finds himself looking into a sitting room with tall, art-nouveau windows. The summer light outside is refracted through the tiny panes of glass in the top sections of the windows.

A man is floating in the centre of the white room.

It looks supernatural.

John Bengtsson stands and stares at the dead man. It feels like an eternity before he spots the washing-line fixed to the lamp-hook.

The well-dressed man is perfectly still, as if he had been frozen in the middle of a big jump, with his ankles stretched and the toes of his shoes pointing down at the floor.

He’s hanging – but there’s something else, something that doesn’t make sense, something wrong.

John Bengtsson mustn’t enter the room. The scene needs to be left intact. His heart is beating fast, he can feel the heavy rhythm of his pulse, and swallows hard, but he can’t tear his eyes from the man floating in the middle of the empty room.

A name has started to echo inside John Bengtsson’s head, almost as a whisper: Joona. I need to speak to Joona Linna.

There’s no furniture in the room, just a hanged man, who in all likelihood is Carl Palmcrona, the director general of the Inspectorate for Strategic Products.

The cord has been fastened to the middle of the ceiling, from the lamp-hook in the middle of the ceiling-rose.

There was nothing for him to climb on, John Bengtsson thinks.

The height of the ceiling is at least three and a half metres.

John Bengtsson tries to calm down, gather his thoughts and register everything he can see. The hanged man’s face is pale, like damp sugar, and he can see no more than a few spots of blood in his staring eyes. The man is wearing a thin overcoat on top of his pale grey suit, and a pair of low-heeled shoes. A black briefcase and a mobile phone are lying on the parquet floor a little way from the pool of urine that has formed immediately beneath the body.

The hanged man suddenly trembles.

John Bengtsson holds his breath.

There’s a heavy thud from the ceiling, hammer-blows from the attic – someone is walking across the floor above. Another thud, and Palmcrona’s body trembles again. Then comes the sound of a drill, which stops abruptly. A man shouts something. He needs more cable, the extension lead, he calls.

John Bengtsson notices his pulse settle down as he walks back through the sitting room. In the hall the front door is standing open. He stops, certain that he closed it properly, but perhaps he was mistaken. He leaves the flat and before he reports back to the station he takes out his mobile phone and calls Joona Linna of the National Crime Unit.

5
National Homicide Commission

It’s the first week of June. In Stockholm people have been waking up too early in the morning for weeks. The sun rises at half past three, and it’s light almost all night through. It’s been unusually warm for the time of year. The cherry trees were in blossom at the same time as the lilac. Heavy clusters of flowers spread their scent all the way from Kronoberg Park to the entrance to the National Police Committee.

The National Crime Unit is Sweden’s only operative police department tasked with combatting serious crime on both a national and international level.

The head of the National Crime Unit, Carlos Eliasson, is standing at his low window on the eighth floor looking out at the steep slopes of Kronoberg Park. He’s holding a phone, and dials Joona Linna’s number, but once again his call goes straight to voicemail. He ends the call, puts the phone down on his desk and looks at his watch.

Petter Näslund comes into Carlos’s office and clears his throat quietly, then stops and leans against a poster saying ‘We watch, scrutinise and irritate.’

From the next room they can hear a weary telephone conversation about European arrest warrants and the exchange of information in the Schengen Zone.

‘Pollock and his team will be here soon,’ Petter says.

‘I know how to tell the time,’ Carlos replies gently.

‘The sandwiches are ready, anyway,’ Petter says.

Carlos suppresses a smile and asks:

‘Have you heard that they’re recruiting?’

Petter’s cheeks go red and he lowers his eyes, then composes himself and looks up again.

‘I’d … Can you think of anyone who’d be better suited to the National Homicide Commission?’ he asks.

The National Homicide Commission consists of six experts who assist with murder cases throughout Sweden. The commission provides systematic support within a framework designed for serious crimes.

The workload of the permanent members of the National Homicide Commission is extreme. They’re in such high demand that they very rarely have time to meet at Police Headquarters.

When Petter Näslund has left the room Carlos sits down behind his desk and looks over at the aquarium and his paradise fish. Just as he is reaching for the tub of fish-food his phone rings.

‘Yes?’ he says.

‘They’re on their way up,’ says Magnus in reception.

‘Thanks.’

Carlos makes one last attempt to get hold of Joona Linna before getting up from his chair, glancing at himself in the mirror and leaving the room. As he emerges into the corridor the lift pings and the door slides open without a sound. At the sight of the members of the National Homicide Commission an image flits quickly through his mind, a memory from a Rolling Stones concert he went to with a couple of colleagues a few years ago. As they walked out on stage, the group reminded him of laidback businessmen. Just like the members of the National Homicide Commission, they were all wearing dark suits and ties.

First is Nathan Pollock, with his grey hair in a ponytail, followed by Erik Eriksson with his diamond-studded glasses, which is why the rest of the team call him Elton. Behind him comes Niklas Dent, alongside P. G. Bondesson, and bringing up the rear is the forensic expert Tommy Kofoed, hunch-backed and staring morosely at the floor.

Carlos shows them into the conference room. Their operational boss, Benny Rubin, is already seated at the round table with a cup of black coffee, waiting for them. Tommy Kofoed takes an apple from the fruit-bowl and starts to eat it noisily. Nathan Pollock looks at him with a smile and shakes his head, and he stops mid-bite and looks back quizzically.

‘Welcome,’ Carlos says. ‘I’m pleased you were all able to come, because we have a number of important issues to discuss on today’s agenda.’

‘Isn’t Joona Linna supposed to be here?’ Tommy Kofoed asks.

‘Yes,’ Carlos replies hesitantly.

‘That guy tends to do as he likes,’ Pollock adds quietly.

‘Joona managed to clear up the Tumba murders a year or so back,’ Tommy Kofoed says. ‘I keep thinking about it, the way he was so certain … he knew in which order the murders had taken place.’

‘Against all obvious logic,’ Elton smiles.

‘There’s not much about forensic science that I don’t know,’ Tommy Kofoed goes on. ‘But Joona just went in and looked at the footprints in the blood, I don’t understand how …’

‘He saw the whole picture,’ Nathan Pollock says. ‘The degree of violence, effort, agitation, and how listless the footprints in the row-house seemed in comparison to the changing room.’

‘I still can’t believe it,’ Tommy Kofoed mumbles.

Carlos clears his throat and looks down at the informal agenda.

‘The marine police have contacted us this morning,’ he says. ‘Apparently a fisherman has found a dead woman.’

‘In his net?’

‘No, he saw a large motor cruiser drifting off Dalarö, rowed out and went on board, and found her sitting on the bed in the front cabin.’

‘That’s hardly anything for the commission,’ Petter Näslund says with a smile.

‘Was she murdered?’ Nathan Pollock asks.

‘Probably suicide,’ Petter replies quickly.

‘Nothing urgent,’ Carlos says, helping himself to a slice of cake. ‘I just thought I’d mention it.’

‘Anything else?’ Tommy Kofoed says cheerfully.

‘We’ve received a request from the police in West Götaland,’ Carlos says. ‘There’s a summary on the table.’

‘I won’t be able to take it,’ Pollock says.

‘I know you’ve all got your hands full,’ Carlos says, slowly brushing some crumbs from the table. ‘Perhaps we should start at the other end and talk about recruitment to the National Homicide Commission.’

Benny Rubin looks around intently, then explains that the high-ups are aware of the heavy workload, and have therefore agreed as a first step to authorise the expansion of the commission by one permanent post.

‘Thoughts, anyone?’ Carlos says.

‘Wouldn’t it be helpful if Joona Linna was here for this discussion?’ Tommy Kofoed asks, leaning across the table and looking through the wrapped sandwiches.

‘It’s not certain he’s going to make it,’ Carlos says.

‘Maybe we could break for coffee first,’ Erik Eriksson says, adjusting his sparkling glasses.

Tommy Kofoed removes the wrapper from a salmon sandwich, pulls out the sprig of dill, squeezes some lemon juice and unwraps the cutlery from the napkin they were rolled up in.

Suddenly the door to the big conference room opens and Joona Linna walks in with his blond hair on end.

‘Syö tilli, pojat,’ he says in Finnish with a grin.

‘Exactly,’ Nathan Pollock chuckles. ‘Eat your dill, boys.’

Nathan and Joona smile as their eyes meet. Tommy Kofoed’s cheeks turn red and he shakes his head with a smile.

‘Tilli,’ Nathan Pollock repeats, and bursts out laughing as Joona walks over and puts the sprig of dill back on Tommy Kofoed’s sandwich.

‘Perhaps we can continue the meeting?’ Petter says.

Joona shakes Nathan Pollock’s hand, then walks over to a spare chair, hangs his dark jacket on the back of it and sits down.

‘Sorry,’ Joona says quietly.

‘Good to have you here,’ Carlos says.

‘Thanks.’

‘We were just about to discuss the issue of recruitment,’ Carlos explains.

He pinches his bottom lip and Petter Näslund begins to squirm on his chair.

‘I think … I think I’ll let Nathan speak first,’ Carlos goes on.

‘By all means,’ Nathan Pollock says. ‘I’m not just speaking for myself, here … Look, we all agree on this, we’re hoping you might want to join us, Joona.’

The room falls silent. Niklas Dent and Erik Eriksson nod. Petter Näslund is sharply silhouetted in the light from the window.

‘We’d like that very much,’ Tommy Kofoed says.

‘I appreciate the offer,’ Joona says, running his fingers through his thick hair. ‘You’re a very smart team, you’ve proved that, and I respect your work …’

They smile.

‘But as for me … I can’t work to a specific framework,’ he explains.

‘We appreciate that,’ Kofoed says quickly. ‘It’s a little rigid, but it can actually be helpful, because of course it’s been proven that …’

He tails off.

‘Well, we just wanted to extend the invitation,’ Nathan Pollock says.

‘I don’t think it would suit me,’ Joona replies.

They look down, someone nods, and Joona apologises when his phone rings. He gets up from the table and leaves the room. A minute or so later he comes back in and takes his jacket from the chair.

‘I’m sorry,’ he says. ‘I’d have liked to stay for the meeting, but …’

‘Has something serious happened?’ Carlos asks.

‘That call was from John Bengtsson, one of our uniforms,’ Joona says. ‘He’s just found Carl Palmcrona.’

‘Found?’ Carlos says.

‘Hanged,’ Joona replies.

His symmetrical face becomes serious and his eyes shimmer like grey glass.

‘Who’s Palmcrona?’ Nathan Pollock asks. ‘I can’t place the name.’

‘Director general of the Inspectorate for Strategic Products,’ Tommy Kofoed answers quickly. ‘He takes the decisions about Swedish arms exports.’

‘Isn’t the identity of anyone working for the ISP confidential?’ Carlos asks.

‘It is,’ Kofoed replies.

‘So presumably the Security Police will be dealing with this?’

‘I’ve already promised John Bengtsson that I’d take a look,’ Joona replies. ‘Apparently there was something that didn’t make sense.’

‘What?’ Carlos asks.

‘It was … No, I should probably take a look with my own eyes first.’

‘Sounds exciting,’ Tommy Kofoed says. ‘Can I tag along?’

‘If you like,’ Joona replies.

‘I’ll come too, then,’ Pollock says quickly.

Carlos tries to say something about the meeting, but realises that it’s pointless. The three men leave the sun-drenched room and walk out into the cool corridor.

6
How death came

Twenty minutes later Detective Superintendent Joona Linna parks his black Volvo on Strandvägen. A silver-grey Lincoln Town Car pulls up behind him. Joona gets out of the car and waits for his two colleagues from the National Homicide Commission. They walk round the corner together and in through the door of Grevgatan 2.

In the creaking old lift up to the top floor Tommy Kofoed asks in his usual cheery voice what Joona has been told so far.

‘The ISP reported that Carl Palmcrona had gone missing,’ Joona says. ‘He doesn’t have any family and none of his colleagues know him privately. But when he didn’t show up for work one of our patrols was asked to take a look. John Bengtsson went to the flat and found Palmcrona hanged, and called me. He said he suspected criminal activity and wanted me to come over at once.’

Nathan Pollock’s craggy face frowns.

‘What made him suspect criminal activity?’

The lift stops and Joona opens the grille. John Bengtsson is standing outside the door to Palmcrona’s apartment. He tucks his notepad in his pocket and Joona shakes his hand.

‘This is Tommy Kofoed and Nathan Pollock from the National Homicide Commission,’ Joona says.

They shake hands briefly.

‘The door was unlocked when I arrived,’ John says. ‘I could hear music, and found Palmcrona hanging in one of the big reception rooms. Over the years I’ve cut down a fair number of men, but this time, I mean … it can hardly be suicide, given Palmcrona’s standing in society, so …’

‘It’s good that you called,’ Joona says.

‘Have you examined the body?’ Tommy Kofoed says gloomily.

‘I haven’t even set foot inside the room,’ John replies.

‘Very good,’ Kofoed mutters, and starts to lay down protective mats with John Bengtsson.

Shortly afterwards Joona and Nathan Pollock are able to enter the hall. John Bengtsson is waiting beside a blue sofa. He points towards the double doors leading to a brightly lit room. Joona walks over on the mats and pushes the doors wide open.

Warm sunlight is streaming in through the row of high windows. Carl Palmcrona is hanging in the middle of the spacious room. He’s wearing a light suit, a summer overcoat and lightweight low-heeled shoes. There are flies crawling across his face, around his eyes and the corners of his mouth, laying tiny yellow eggs and buzzing around the pool of urine and smart briefcase on the floor. The thin washing-line has cut deep into Palmcrona’s neck, the groove is dark red and blood has seeped out and run beneath his shirt.

‘Execution,’ Tommy Kofoed declares, pulling on a pair of protective gloves.

Every trace of moroseness suddenly vanishes from his face and voice. With a smile he gets down on his knees and starts to take photographs of the hanging body.

‘I’d say we’re going to find injuries to his cervical spine,’ Pollock says, pointing.

Joona looks up at the ceiling, then down at the floor.

‘He’s been put on show,’ Kofoed says eagerly as he photographs the dead man. ‘I mean, the murderer isn’t exactly trying to hide the crime. He wants to say something, wants to send a message.’

‘Yes, that’s what I was thinking,’ John Bengtsson says keenly. ‘The room’s empty, there’s no chair, no stepladder to climb on.’

‘So what’s the message?’ Tommy Kofoed goes on, lowering the camera and squinting at the body. ‘Hanging is often associated with treachery, Judas Iscariot and …’

‘Just hold on a moment,’ Joona interrupts gently.

He gestures vaguely towards the floor.

‘What is it?’ Pollock asks.

‘I think it was suicide,’ Joona says.

‘Typical suicide,’ Tommy Kofoed says, and laughs a little too loudly. ‘He flapped his wings and flew up …’

‘The briefcase,’ Joona goes on. ‘If he stood the briefcase on its end he could have reached.’

‘But not the ceiling,’ Pollock points out.

‘He could have fastened the rope earlier.’

‘Yes, but I think you’re wrong.’

Joona shrugs his shoulders and mutters:

‘Together with the music and the knots, then …’

‘Can we take a look at the briefcase, then?’ Pollock asks tersely.

‘I just need to secure the evidence first,’ Kofoed says.

They look on in silence as Tommy Kofoed’s hunched, short frame crawls across the floor unrolling black plastic film covered with a thin layer of gelatine on the floor. Then he carefully presses it down using a rubber roller.

‘Can you take out a couple of bio-packs and a wrapper?’ he asks, pointing at his bag.

‘Cardboard?’ Pollock wonders.

‘Yes, please,’ Kofoed replies, catching the bio-packs that Pollock throws him.

He secures the biological evidence from the floor, then beckons Nathan Pollock into the room.

‘You’ll find shoeprints on the far edge of the briefcase,’ Joona says. ‘It fell backwards and the body swung diagonally.’

Nathan Pollock says nothing, just goes over to the leather briefcase and kneels down. His silver ponytail falls forward over his shoulder as he leans down to lift the case onto one end. Clear, pale grey shoeprints are visible on the black leather.

‘What did I tell you?’ Joona asks.

‘Damn,’ Tommy Kofoed says, impressed, the whole of his tired face smiling at Joona.

‘Suicide,’ Pollock mutters.

‘From a purely technical perspective, anyway,’ Joona says.

They stand and look at the hanged body.

‘So what have we actually got here?’ Kofoed asks, still smiling. ‘A man who makes the decisions about the supply of armaments has committed suicide.’

‘Nothing for us,’ Pollock sighs.

Tommy Kofoed takes his gloves off and gestures towards the hanging man.

‘Joona? What did you mean about the music and the knots?’ he asks.

‘It’s a double sheet bend,’ Joona says, pointing to the knot around the lamp-hook. ‘Which I assumed was linked to Palmcrona’s long career in the navy.’

‘And the music?’

Joona stops and looks thoughtfully at him.

‘What do you make of the music?’ he asks.

‘I don’t know. It’s a sonata, for the violin,’ Kofoed says. ‘Early nineteenth-century or …’

He falls silent when the doorbell rings. The four men look at each other. Joona starts to walk towards the hall and the others follow him, but stop in the sitting room, out of sight of the front door.

Joona carries on across the hall, contemplates using the peep-hole and decides not to. He can feel the air blowing through the keyhole as he reaches out and pushes the handle down. The heavy door glides open. The landing is dark. The timed lamps have gone out and the light from the red-brown glass in the stairwell is weak. Joona suddenly hears slow breathing, very close to him. Laboured, almost heavy breathing from someone he can’t see. Joona’s hand goes to his pistol as he looks cautiously behind the open door. In the thin strip of light between the hinges he sees a tall woman with large hands. She looks like she’s in her mid-sixties. She’s standing perfectly still. There’s a large, skin-coloured plaster on her cheek. Her grey hair is cut short in a girlish bob. She looks Joona straight in the eye without a trace of a smile.

‘Have you taken him down?’ she asks.

Pulsuz fraqment bitdi.

15,33 ₼
Yaş həddi:
0+
Həcm:
533 səh. 6 illustrasiyalar
ISBN:
9780007488087
Müəllif hüququ sahibi:
HarperCollins

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