'Are you listening to negro music?'

'Hail,' Malin says.

'If I wanted anything done in Linkoping, you hardly imagine I'd go myself?'

Inferences, intimations.

'What do you want?'

'I'm at the Grand in Stockholm. I've got a suite. I thought maybe you'd like to come along. We could have a nice time. Drink some champagne. Maybe take some pictures. Just the two of us. What do you say?'

Malin clicks to end the call.

Shuts her eyes.

She's not sure that Jochen Goldman really exists. That her parents exist. That there's ever any explanation whatsoever for anyone's actions.

They drive past Axel Fgelsjo's door on Drottninggatan. Neither of them sees the long-haired figure slide through the door like a shadow.

Jochen.

You and your nasty little games. You still got me in the end, didn't you? You never forgive any transgression. Even though you commit a fair number yourself.

I'm drifting over the plain and the forests now, over the castle and the field where the accident happened, I'm drifting over tenant farmer Lindman's house, see his Russian wife quickly packing her bags, so quickly, heading for another man in another place, taking half, more than half, of what Lindman has, just as she planned right from the start.

Lindman.

I was the one who fucked his first wife when she was up in Stockholm for a conference. I found her at the bar in Baldakinen, and the way she screamed up in the office on Kungsgatan . . . Probably couldn't bear the smell of manure after that.

I was contacted. Like the blackmail letter promised.

I remember that the phone ringing in advance of the conversation summoning me to the Ikea car park reminded me of those screams. As if the unassuming ringing wanted to burst my eardrums.

65.

Linkoping, September Jerry is standing beside his Range Rover in one of the central rows of the almost empty car park outside Ikea in Tornby, listening to the rain drumming on the car roof, and the persistent, relentless sound of the drops reminds him of the phone ringing, calling him here. The car park must have space for a thousand cars, but on one of the first properly rainy nights like this it's almost empty. The retail lots glow in the darkness: Ica Maxi, Siba, Coop Forum.

In the distance he can see the copper-green spire of the cathedral, the numbers on the clock shining through the veils of mist and low dark clouds of the evening.

'Wait outside the car. I'll be there at eleven o'clock.'

Jerry looks at his watch, wipes the rain from his eyes, knows how to handle this.

Then he sees a car turn into the car park, a red Golf that pulls up alongside him, and a man the same age as him gets out.

Is that you, Jonas? Jerry thinks. Jonas Karlsson, you who saved me long ago.

No. Not Jonas, someone else.

Instead of waiting for the man in the green jacket to start talking, Jerry leaps at him, forcing him up against the door of the Range Rover, taking a stranglehold of his neck and snarling: 'What the fuck do you think you're doing? Whoever the fuck you are. Do you think I'm going to take this sort of shit from anyone?'

And the man in the green jacket sinks, his body slumping in fear, and he says: 'I didn't mean anything. Sorry. I didn't mean it.'

'What you wrote about that New Year's Eve is wrong.'

'Yes. I was wrong.'

'How did you hear about it?'

'A letter.'

'Who from?'

The hand gripping the man's neck getting tighter, his voice getting weaker.

'I don't know. But the letter was postmarked in Tenerife.'

Jochen.

'And who are you?'

'Someone who got in your way. You didn't even notice.'

The man in the green jacket says his name, and Jerry searches his memory but nothing springs to mind.

'I don't give a shit who you are.'

With all his strength he throws the man in the green jacket to the ground. Kicks him, screaming: 'Who the fuck are you?'

And the man groans his name again, says: 'Andreas Ekstrom was the only friend I ever had.'

Jochen.

Punta del Este. I should have kept my mouth shut. God knows how you got hold of this tragic loser. But if you want to you can find out anything, can't you?

More kicking. Hitting soft flesh beneath the green jacket, and it feels good.

'And now you want money, do you? My money, is that it? Stay away from me. Otherwise this is going to turn out really fucking badly.'

More groaning, the rain like a solid monochrome mass in the air.

Jerry leaves the man behind him, in the rear-view mirror he sees him writhing on the tarmac, trying to get up.

Back home in his big, empty castle he brings up a number on his mobile phone, wants to call the woman who is waiting to hear his voice.

But the phone call is never made, and remains as inaudible whispering inside Jerry's head. Instead the sound of rotating, hungry lawnmower blades takes over, the drumming of feet on the grass, feet that can never carry their body far enough or close enough.

66.

Axel Fgelsjo hears the doorbell, vaguely, like a cry for help from an already long forgotten dream.

Who the hell can this be? he thinks as he walks through the sitting room, past the portraits of his ancestors.

The police again? Can't they leave me in peace? Alone with all my mistakes and inadequacies, with all the love I've lost.

Those damn journalists? He'd had to unplug his phone and disconnect the doorbell. But now he's put them back in. He thought they'd got tired of him, the fourth estate.

Grief.

For you, Bettina, for our son. That's all I've got left now.

I want to be left in peace with it.

The doorbell sounds shrill now. A salesman? A Jehovah's Witness?

Axel Fgelsjo looks through the peephole, but there's no one there.

What the hell?

He looks again.

The stairwell, empty and silent. Is someone after me now? he has time to wonder before the door flies open, hitting him in the forehead and making him stagger backwards.

Lying on the parquet floor, he finds himself staring into the barrel of a rifle. He sees long black hair and a pair of eyes full of longing, desperation and loneliness.

The house in the clearing is still silent and dark.

Now that daylight is no longer lighting up the facade it looks even more anxious, as if it were on the point of collapsing under the weight of all the sorrows it has been forced to contain.

Malin and Zeke stop the car. Anders Dalstrom's red Golf is still not there.

They get out, and Malin takes a deep breath, trying to work out if there's anyone apart from them there.

'He isn't here,' she says. 'Where the hell could he be?'

They go up the steps, look through the window in the front door.

A computer is flickering on the table in the living room.

Malin checks the door handle. Unlocked.

'We can't go in,' Zeke says. 'We need a warrant.'

'Are you kidding?'

'Yes. I'm kidding, Fors. The door's open. Obviously we suspect a break-in.'

They go inside.

The gun cabinet in the living room.

Malin goes over and finds it unlocked. A solitary shotgun inside. Rifle ammunition on the floor, but no rifle.

Has he got another gun? Malin wonders, then says: 'Wherever he is right now, he could be armed.'

She goes into Anders Dalstrom's bedroom. The blinds are closed and the room is dark and cold, damp.

A film projector has been set up on a bench, reels of film scattered across the floor, unrolled.

A film is sitting in the projector. Without thinking, Malin switches it on, and on the white wall she sees a boy moving across a grass lawn, running, screaming soundlessly as if he's running from something, as if there's a monster holding the camera, ready to catch him if he trips or runs too slowly.

Then the boy stops. Turns towards the camera, trying to look beyond its lens, cowering as if preparing to be hit, the black pupils of his eyes like little planets of fear.

The reel comes to an end.

Zeke has crept in behind Malin, put a hand on her shoulder and says: 'I could have done without seeing the look in his eyes.'

They leave the room. In the living room, the computer screen is showing the online telephone directory, and Zeke reads out loud: 'Axel Fgelsjo. 18 Drottninggatan. What the hell is he up to?'

'Axel Fgelsjo,' Malin says. 'Do you think he's going straight to what he thinks is the source of the evil? The man who beat up his father and turned him into an abusive parent?'

Zeke's face is half illuminated by the glow of the screen, raindrops glistening on his head.

'So you're sure now?'

'Yes, aren't you?'

Zeke nods.

'Should we call for back-up at Fgelsjo's apartment?'

'Yes, we'd better,' Malin says.