Lars Kepler 2-book Bundle (11 page)

Simone is so stunned she doesn’t know what to say. The boy spits on the ground in front of her, jumps over the barrier, and disappears down the passageway.

Simone is shaken; she goes back outside to Benjamin.

“What did he say?” he asks.

“Nothing,” she says.

They walk to the taxi stand and settle down in the back seat of a cab. As they pull away from the shopping centre, Simone tells him about the call from his school.

“Aida wanted me to be with her when she got her tattoo altered,” says Benjamin quietly.

“That was kind of you.”

They travel in silence.

“Did you call Nicky an idiot?” asks Benjamin.

“I said the wrong thing. I’m the one who’s an idiot.”

“But how could you?”

“I do the wrong thing sometimes, Benjamin,” she says, subdued.

From the Tranberg bridge, Simone looks down at Stora Essingen. The ice has not formed, but the water looks slow and pale.

“It looks as if Dad and I are going to separate,” she says.

“What? But why?”

“It’s not because of you.”

“I asked you why.”

“There’s no real answer,” she begins. “Your dad … it’s hard to explain. Even when you really love someone—and I really love your father—it can all just come to an end.” Her voice falters. “You don’t think that when you first meet, when you have a child … But after a while, if the lies pile up … I’m sorry, I shouldn’t be talking about this.”

“I don’t want to get involved.”

“Sorry I—”

“Just leave it!” he snaps.

Although he knew he wouldn’t be able to sleep in the car, Erik has made an attempt. But he remains wide awake as they drive toward the cottage where they hope to find Evelyn Ek, despite the fact that Detective Joona Linna has driven very smoothly toward Värmdö.

Now, though, off the main road, loose gravel begins to rattle against the bottom of the chassis as they pass an old sawmill.

Erik peers out the windscreen, waiting while Joona speaks quietly over the police radio with his colleagues, who are also on their way to Värmdö.

“I was thinking,” says Erik, after Joona has replaced the transmitter.

“Yes?”

“I said Josef Ek couldn’t run away from the hospital, but if he could inflict all those knife wounds on himself, maybe we can’t be too sure.”

“I was thinking the same thing,” Joona replies, “so I’ve got somebody outside the room.”

“It’s probably completely unnecessary,” says Erik.

“Yes.”

They pull to the side of the road where three cars have stopped next to a telephone pole, one behind the other. Joona momentarily joins four police officers who stand talking in the white light, putting on their bullet-proof vests and pointing at a map. The sunlight flashes on the glass of an old greenhouse nearby.

Joona gets back in the car, carrying the cold air on his clothes. He drums the fingers of one hand pensively on the steering wheel as he waits for the others to return to their cars.

Suddenly a rapid sequence of notes comes from the police radio, then a loud crackling that stops abruptly. Joona switches to another channel and checks that everyone in the team is in contact, exchanging a few words with each one before turning the key in the ignition.

The cars continue alongside a ploughed field, past a grove of birch trees and a large, rusty silo.

“Stay in the car when we get there,” says Joona quietly.

“Fine,” says Erik.

A flock of crows struts across the surface of the road, suddenly taking flight and flapping away as the cars approach.

“Are there any negative aspects to hypnosis?” Joona asks abruptly.

“What do you mean?”

“You were one of the best in the world, but you stopped.”

“People sometimes have good reasons for keeping things hidden,” Erik says.

“Of course, but—”

“And those reasons are very difficult to judge when it comes to hypnosis.”

Joona gives him a sceptical look. “Why do I think that’s not why you gave it up?”

“I don’t want to talk about it,” says Erik.

Tree trunks flash by at the side of the road. As they drive deeper into the forest, it grows darker. Gravel clatters against the undercarriage of the car. Turning off onto a narrow forest track, they pass a number of summer cottages and finally come to a stop. Far away among the fir trees, Joona can see a small brown wooden house in a shady glade.

“I’m trusting you to stay put,” he tells Erik before he leaves the car.

As Joona walks towards the house where the other police officers are already waiting, he thinks once again about Josef under hypnosis. The words that just poured out between his flaccid lips. A little boy describing bestial aggression with remote clarity. The memory must have been perfectly clear to him: his little sister’s feverish cramps, the surge of rage, the choice of knives, the euphoria at crossing the line. But towards the end of the session, Josef’s account had become confused, and it was more difficult to understand what he meant, what he was really perceiving, whether his older sister, Evelyn, had actually forced him to carry out the murders.

Gathering the four officers around him, Joona outlines the gravity of the situation and provides guidelines for the use of firearms. Any shots that might be fired must be directed at the legs, whatever the circumstances.

“I want all of you to proceed with caution so as not to frighten the girl,” he says. “She may be afraid, she may be injured, but at the same time don’t forget for one second that we may be dealing with a dangerous person.”

They all study the house for a moment. Its chocolate brown façade is made up of overlapping shingles; the window and doorframes are white, the front door is black. The windows are covered with pink curtains. No smoke comes from the chimney. On the porch there is a broom and a yellow plastic bucket full of pine cones. Joona sends one patrol of three officers round the house and away from the garden so they can approach the back of the house from a safe distance.

They set off along the forest track; one of them stops and inserts a plug of snuff under his top lip.

Joona watches the patrol spread out around the house at a reasonable distance, weapons drawn. A twig snaps. In the distance he can hear the tapping of a woodpecker echoing through the forest. Joona slowly approaches the house, trying to see something through the pink curtain fabric. He signals to Police Constable Kristina Andersson, a young woman with a pointed chin, to stop on the path. Her cheeks are red, and she nods without taking her eyes off the house. With an air of total calm, she draws her service pistol and moves a few steps to the side.

The house is empty, Joona thinks. Gingerly, he places one foot on the porch steps. They creak under his weight. He watches the curtains for sudden movements as he knocks on the door. Nothing happens. He waits for a while and then stiffens, thinking he’s heard something, and scans the forest, beyond the brush and the tree trunks. He draws his pistol, a heavy Smith & Wesson that he prefers to the standard-issue Sig Sauer, removes the safety catch, and checks the cartridges. Suddenly there is a loud rustling at the edge of the forest and a deer dashes between the trees. Kristina Andersson gives Joona a strained smile when he glances over at her. He points at the window, moves forward cautiously, and looks in through a gap to one side of a curtain.

In the dim interior he can see a cane table with a scratched glass surface and a tan corduroy sofa. On the back of a red wooden chair, two pairs of white pants have been hung up to dry. In the pantry there are several cans of instant macaroni, jars of pesto, canned foods, and a bag of apples. He catches the glint of various pieces of cutlery on the floor in front of the sink and under the kitchen table. He signals to Kristina that he’s going in, then tries the door. The knob turns in his hand; he pushes it open and steps quickly out of the firing line, looking to Kristina for the all-clear. She nods, gesturing for him to enter. He looks inside and steps over the threshold.

From the car, Erik has only a vague sense of what is happening. He sees Joona Linna disappear into the little brown house, followed by another officer. Erik’s eyes are dry and sensitive—a side effect of his codeine capsules. He peers out at the brown house and the policemen, with their careful movements and the dark glimmer of their drawn guns. It is quiet. The trees are bare in the sterile December chill. The light and the colours make Erik think of school trips when he was a child: the smell of rotting tree trunks, the funkiness of mushrooms in the wet earth.

His mother had worked part-time as a school nurse at the high school in Sollentuna and was convinced of the benefits of fresh air. It was Erik’s mother who had wanted him to be called Erik Maria; she had once taken a language course in Vienna and had gone to the Burgtheater to see Strindberg’s
The Father
with Klaus Maria Brandauer in the lead. She’d been so taken with the performance that she’d carried the actor’s name with her for years. As a kid, Erik always tried to hide his middle name; as a teenager, he saw himself in the Johnny Cash song ‘A Boy Named Sue.’

Erik’s father had worked for the National Insurance Office. But he’d really had only one genuine interest in life. In his spare time, he was a magician and would dress up in a home-made cape and a second-hand formal suit, crowning the outfit with a collapsible top hat, and make Erik and his friends sit on wooden chairs in the garage, where he’d built a little stage with secret trapdoors. Most of his tricks came from the Bernando catalogue: magic wands that would suddenly extend with a clatter, billiard balls that multiplied with the help of a shell, a velvet bag with secret compartments, and the glittering hand guillotine. These days Erik remembers his father with joy and tenderness: the way he would start the tape recorder with his foot, playing Jean Michel Jarre as he made magical movements over a skull floating in the air.

Erik hopes with all his heart that his father never noticed how embarrassed he became as he grew older, rolling his eyes at his friends behind his father’s back.

Erik had always wanted to become a doctor. He had never really wanted to do anything else, hadn’t imagined another kind of life. He remembers sitting there on the sofa in Sollentuna as an eighteen-year-old, staring at his top grades, then letting his gaze roam over his parents’ prototypically middle-class living room, the bookshelves empty of books but adorned with knick-knacks and souvenirs: silver-framed photographs of his parents’ confirmations, wedding, and fiftieth-birthday celebrations, followed by a dozen or more shots of Erik, from a chubby baby in a christening gown to a grinning teenager in stovepipe trousers.

His mother came into the room that day and handed him the application forms for medical school. His mother often said the Swedes were spoiled, taking their welfare society for granted when it was most probably nothing more than a small historical parenthesis. She meant that the system of free health care and dental care, free child care and primary education, free secondary schools and free university education, could simply disappear at any time. But right now there was an opportunity for a perfectly ordinary boy or girl to study to become a doctor, or an architect, or a top economist, at any university in the country without the need for a private fortune, grants, or charity hand-outs. As soon as Erik set foot in the medical school at Karolinska Institute, it was as if he had found his true home.

When he decided to specialise in psychiatry, he realised that the medical profession was going to suit him even better than he’d imagined. A trainee doctor has to perform eighteen months of general service before he is fully qualified to practise; Erik spent this period working for Médecins sans Frontières. He had wound up at a field hospital in Kismayo, south of Mogadisho, in Somalia. The equipment consisted of material discarded by Swedish hospitals: X-ray machines from the sixties, drugs well past their best-before date, and rusty, stained beds from old wards that had been closed down or rebuilt. In Somalia he encountered severely traumatised people for the first time: young people who would tonelessly relate how they had been forced to carry out horrific crimes; women who had been so severely abused they were no longer-able to speak. Working with them—with children who had become completely apathetic and had lost the desire to play; with women who were unable to look up and meet another’s eyes—Erik discovered that he wanted to devote himself to helping people who were held prisoner by the terrible things that had been done to them, who were still suffering despite the fact that the perpetrators were long gone.

Upon returning home, Erik trained in psychotherapy in Stockholm. But it was not until he specialised in psychotraumatology and disaster psychiatry that he came into contact with the various theories regarding hypnosis. What he found most attractive about hypnosis was its speed, the fact that a psychiatrist could get to the root of trauma straight away. When it came to working with war victims and the victims of natural disasters, speed could prove immensely important.

He pursued his training with the European Society of Clinical Hypnosis and soon became a member of the Society for Clinical and Experimental Hypnosis, the European Board of Medical Hypnosis, and the Swedish Society for Clinical Hypnosis; he became awed by the groundbreaking work of Karen Olness, the American paediatrician who turned to hypnosis to alleviate the suffering of those in chronic pain and chronically ill children, and he struck up a correspondence with her that lasted several years.

Next, Erik was with the Red Cross in Uganda. In his five years there, the situations he encountered were acute, overwhelming. There was little time to try out and develop his experience of hypnosis; he used it perhaps fewer than a dozen times, and then only in the most straightforward contexts: to block the perception of pain or to ease phobic fixations. And then, one day in his final year, he came across a young girl who was locked in a room because she wouldn’t stop screaming. The Catholic nuns working as nurses explained that the girl had been found crawling along the road from the shanty town north of Mbale. They thought she was a Bagisu, because she spoke Lugisu. She hadn’t slept one single night and, instead, kept shouting that she was a terrible demon with fire in her eyes. Erik asked to see her. As soon as he did, he realised she was suffering from acute dehydration, but when he tried to get her to drink, she bellowed as if the mere sight of water burned her like flames. She rolled on the floor, screaming. He decided to try hypnosis to calm her down. A nun translated his words into Bukusu, which they suspected the girl could understand, and after a while, once she began to listen, it proved very easy to hypnotise her. In one hour the girl recounted her entire psychic trauma.