The Pyramid

  'Then we won't disturb you any more,' said Wallander. 'Not just now, at least. But I have no doubt we'll be back. And then you'll have to let us in.'

  He took Rydberg's arm and steered him towards the gate. The door closed behind them.

  'Why did you give in so easily?' Rydberg asked.

  'Something you taught me,' Wallander said. 'That it does no harm to let people stew for a while. Besides, I need a warrant from Åkeson to search the house.'

  'Is he really the one who killed Alexandersson?' asked Rydberg.

  'Yes,' said Wallander. 'I'm certain of it. He's the one. But I still don't understand how it all fits together.'

  That afternoon Wallander received the authorisation he needed. He decided to wait until the next morning. But just in case, he persuaded Björk to have a guard placed on the house until then.

  When Wallander woke up as dawn was breaking the next morning, 7 May, and opened the curtains, Ystad was covered in fog. Before taking a shower he did something he had forgotten to do the previous night: he looked up Stenholm in the telephone directory. There was no mention of a Martin or Kajsa Stenholm. He phoned directory assistance and ascertained that the number was unlisted. He nodded to himself, as if that was exactly what he had expected.

  As he drank his morning cup of coffee, he asked himself if he should take Rydberg with him or drive out to Svarte on his own. It wasn't until he was behind the wheel that he decided to go himself. The fog was thick along the coast road.

  Wallander drove very slowly. It was nearly eight when he pulled up outside the Stenholm house. He walked through the gate and rang the doorbell. It wasn't until the third ring that the door opened. When Stenholm saw that it was Wallander, he tried to slam it shut again, but Wallander managed to put his foot in the way.

  'What right do you have to break in here?' the old man shouted in a shrill voice.

  'I'm not breaking in,' Wallander said. 'I have a search warrant. You might as well accept that. Can we sit down somewhere?'

  Stenholm suddenly seemed resigned. Wallander followed him into a room full of books. Wallander sat down in a leather armchair, and Stenholm sat opposite him.

  'Do you really have nothing to say to me?' Wallander asked.

  'I haven't seen anybody wandering up and down the beach. Nor has my wife, who's seriously ill. She's in bed upstairs.'

  Wallander decided to come right to the point. There was no reason to beat around the bush any longer.

  'Your wife was a public prosecutor,' he said. 'For most of 1980 she was assigned to Stockholm. Among a lot of other things, she was in charge of a preliminary investigation into the circumstances surrounding the death of an eighteen-year-old named Bengt Alexandersson. She was also responsible for putting the case aside some months later. Do you recall those events?'

  'Of course not,' said Stenholm. 'It has always been our habit not to talk shop at home. She said nothing about the people she was prosecuting, I said nothing about my patients.'

  'The man who was walking on the beach here was the father of Bengt Alexandersson,' said Wallander. 'He was poisoned and died in the back seat of a taxi. Does that seem like a mere coincidence?'

  Stenholm made no reply. And then the penny suddenly dropped for Wallander.

  'When you retired you moved down from Nynäshamn to Skåne,' he said slowly. 'To a place in the middle of nowhere like Svarte. You're not even in the telephone book because your number's unlisted. Needless to say, that could be because you want to be left in peace and quiet, to live out your old age in anonymity. But there could be another explan ation. You might have moved out here as discreetly as possible in order to escape from something or somebody. Perhaps to get away from a man who can't understand why a prosecutor didn't put more effort into solving the pointless murder of his only child. You moved, but he tracked you down. I don't suppose we'll ever know how he managed that. But one day, there he is on the beach. You meet him while you're out walking your dog. Naturally, it's a big shock. He repeats his accusations, maybe he even makes threats. Your wife is seriously ill upstairs. I have no doubt that's the case. The man on the beach keeps on coming back, day after day. He won't let you shake him off. You see no way of getting rid of him. No way out at all. Then you invite him into your house. Presumably you promise him that he can talk to your wife. You give him some poison, possibly in a cup of coffee. Then you suddenly change your mind and tell him to come back the next day. Your wife is in great pain, or perhaps she's asleep. But you know he'll never come back. The problem is solved. Göran Alexandersson will die of something that looks like a heart attack. Nobody has ever seen you together, nobody knows about the link between you. Is that what happened?'

  Stenholm sat motionless in his chair.

  Wallander waited. He could see through the window that the fog was still very thick. Then the man raised his head.

  'My wife never did anything wrong,' he said. 'But times changed, crimes multiplied and became more serious. Overworked police officers and courts couldn't cope with it. You should know that, you're a policeman yourself. That's why it was so unjust for Alexandersson to blame my wife when the murder of his son was never solved. He persecuted us and threatened us and terrorised us for seven years. And he did it in such a way that we could never actually pin anything on him.'

  Stenholm fell silent. Then he stood up.

  'Let's go up to my wife. She can tell you about it herself.'

  'That's not necessary any more,' Wallander said.

  'For me it's necessary,' said Stenholm.

  They went upstairs. Kajsa Stenholm was lying in a sickbed in a large, bright, airy room. The Labrador was lying on the floor beside the bed.

  'She's not asleep,' said Stenholm. 'Go up to her and ask her whatever you want.'

  Wallander approached the bed. Her face was so thin, her skin was stretched tight over her cranium. Wallander realised she was dead. He turned round quickly. The old man was standing in the doorway. He was holding a pistol, aimed at Wallander.

  'I knew you'd come back,' he said. 'That's why it's just as well she died.'

  'Put the gun down,' Wallander said.

  Stenholm shook his head. Wallander could feel himself stiffening with fear.

  Then everything happened very fast. Suddenly Stenholm pointed the gun at his own head and pulled the trigger. The shot echoed through the room. The man was thrown halfway through the door. Blood had spurted all over the walls. Wallander felt as if he were about to faint. Then he staggered out of the door and down the stairs. He called the police station. Ebba answered.

  'Hansson or Rydberg,' he said. 'As fast as possible.'

  It was Rydberg who came to the phone.

  'It's all over,' said Wallander. 'I want an emergency team sent to the house in Svarte. I've got two dead bodies here.'

  'Did you kill them? What's happened?' Rydberg asked. 'Are you hurt? Why the hell did you go there on your own?'

  'I don't know,' Wallander said. 'Get a move on. I'm not hurt.'

  Wallander went outside to wait. The beach was covered in fog. He thought about what the old doctor had said. About crimes becoming more frequent and more serious. Wallander had often thought that as well. He sometimes thought he was a police officer from another age. Even though he was only forty. Maybe a new kind of police officer was needed nowadays.

  He waited in the fog for them to arrive from Ystad. He was deeply upset. Yet again, against his will, he had found himself involved in a tragedy. He wondered how long he would be able to keep going.

  When the emergency services arrived and Rydberg got out of his car, it seemed to him that Wallander was a black shadow in the white fog.

  'What happened?' Rydberg asked.

  'We've solved the case of the man who died in the back seat of Stenberg's taxi,' Wallander said.

  He could see that Rydberg was waiting for something more, but there would be nothing more.

  'That's all,' he said. 'That's all we've done, in fact.'

  Then Wallander
turned on his heel and walked down to the beach. Soon he had disappeared into the fog.

  THE DEATH OF THE

  PHOTOGRAPHER

  Every year, in early spring, he had a recurring dream. That he could fly. The dream always unfolded in the same way. He was walking up a dimly lit staircase. Suddenly the ceiling opened and he discovered that the stairs led him to a treetop. The landscape spread out under his feet. He lifted up his arms and let himself fall. He ruled the world.

  At that moment he always woke up. The dream always left him right there. Although he had had the same dream for many years, he had not yet experienced actually floating away from the top of the tree.

  The dream kept coming back. And it always cheated him.

  He was thinking of this as he walked through central Ystad. The dream had come to him one night a week ago. And as always, it left him right as he was going to fly away. Now it would probably not return for a long time.

  It was an evening in the middle of April, 1988. The warmth of spring had not yet manifested itself with any seriousness. As he walked through the town he regretted not having put on a warmer sweater. He also still had a lingering cold. It was shortly after eight o'clock. The streets were empty of people. Somewhere in the distance he heard a car drive off with a screech. Then the engine noise died away. He always followed the same route. From Lavendelvägen, where he lived, he followed Tennisgatan. At Margareta Park he turned left and then followed Skottegatan down to the centre. Then he took another left, crossed Kristianstad Road, and soon arrived at St Gertrude's Square, where he had his photography studio. If he had been a young photographer who was just in the process of establishing himself in Ystad, it would not have been the optimal location. But he had run his studio for more than twenty-five years. He had a stable list of clients. They knew where to find him. They came to him to be photographed for their weddings. Then they liked to return with the first child. Or for different occasions that they knew they would want to remember. The first time he had taken the wedding pictures for a client's child, he realised he was getting old. He had not thought so much about it before but suddenly he had turned fifty. And that was now six years ago.

  He stopped at a shop window and studied his face in the reflection. Life was what it was. He couldn't really complain. If he were allowed his health for ten or fifteen years more, then . . .

  He abandoned his thoughts about the passage of time and walked on. There was a gusty wind and he pulled his coat more tightly around him. He was walking neither quickly nor slowly. There was no urgency. Two evenings a week he went down to his studio after dinner. These were the holy moments of his life. Two evenings when he could be completely alone with his own pictures in the room at the back of the studio.

  He reached his destination. Before unlocking the door to the shop he studied the display window with a mixture of disapproval and irritation. He should have changed the display a long time ago. Even if he didn't attract new clients, he should be able to follow the rule he made more than twenty years ago. Once a month he changed the photographs on display. Now almost two months had gone by. When he had employed an assistant, he had had more time to devote to the shop window. But he had let the last one go almost four years ago. It had become too expensive. And it wasn't more work than he could manage on his own.

  He unlocked the door and walked in. The shop lay in darkness. He had a cleaning woman who came in three days a week. She had her own key and usually came in at around five in the morning. Since it had rained earlier that morning, the floor was dirty. He didn't like dirt. Therefore he did not turn on the light and instead walked straight through his studio and into the innermost room, where he developed his pictures. He closed the door and turned on the light. Hung up his coat. Turned on the radio that he kept on a little shelf. He always kept it tuned to a station he could expect to play classical music. Then he filled the coffee-maker and washed out a cup. A feeling of well-being started to spread through his body. The innermost room behind his studio was his cathedral. His holy room. He didn't let anyone other than his cleaning woman in here. Here he found himself in the centre of the world. Here he was alone. An absolute ruler.

  While he waited for the coffee to brew, he thought about what awaited him. He always decided in advance what work he would do on a given evening. He was a methodical man who never left anything to chance.

  This evening, it was the Swedish prime minister's turn. Actually it had surprised him that he had not spent an evening on him yet. But at least he had been able to prepare. For more than a week he had scoured the daily papers for the picture he was going to use. He had found it in one of the evening papers and known at once that it was the right one. It filled all of his requirements. He had photographed a copy of it a few days ago. Now it was locked in one of his desk drawers. He poured out the coffee and hummed along with the music. A piano sonata by Beethoven was playing. He preferred Bach to Beethoven. And Mozart best of all. But the piano sonata was beautiful. He could not deny it.

  He sat down at the desk, adjusted the lamp and unlocked the drawers on the left. The photograph of the prime minister was inside. He had enlarged the image, as he usually did, to a size somewhat larger than a standard sheet of paper. He laid it out on the table, sipped his coffee and studied the face. Where should he start, where should he begin the distortion? The man in the picture was smiling and looking to the left. There was a touch of anxiety or uncertainty in his gaze. He decided to begin with the eyes. They could be made to look cross-eyed. And smaller. If he angled the enlarger, the face would also become thinner. He could try to place the paper in an arc in the enlarger and see what effect that had. Then he could cut and paste and excise the mouth. Or perhaps sew it up. Politicians talked too much.

  He finished his coffee. The clock on the wall showed a quarter to nine. Some noisy teenagers walked by on the street outside and disturbed the music for a moment.

  He put the coffee cup away. Then he started the painstaking but enjoyable work of retouching. He could slowly see the face changing.

  It took him more than two hours. You could still see that it was the prime minister's face. But what had happened to it? He got up out of his chair and hung the picture on the wall. Directed the light on it. The music on the radio was different now. Stravinsky's Rite of Spring. The dramatic music was fitting as he regarded his work. The face was no longer the same.

  Now the most important part remained. The most enjoyable. Now he would reduce the picture. Make it small and insignificant. He put it on the glass plate and focused the light. Made it smaller and smaller. The details pulled together. But remained sharp. Only when the face started to blur did he stop.

  He was done.

  It was almost half past eleven when he had the finished product in front of him on the desk. The prime minister's distorted face was no bigger than a passport picture. Once again he had shrunk a power-hungry individual down to more suitable proportions. Of large men he made small men. In his world there was no one who was bigger than himself. He remade their faces, made them smaller, more ridiculous, into small and unimportant insects.

  He took out the album he kept in his desk and flipped through it until he got to the first empty page. There he pasted in the picture he had just manipulated. He wrote in the day's date with a fountain pen.

  He leaned back in his chair. Yet another picture had been produced. It had been a successful evening. The result had been good. And nothing had disturbed him. No restless thoughts had flown around in his head. It had been an evening in the cathedral when everything breathed peace and quiet.

  He put the album back and locked the cabinet. Stravinsky's Rite of Spring had been followed by Handel. Sometimes he was irritated by the programme director's inability to make softer transitions.

  At that moment he had the feeling that something wasn't right. He stood still and listened. Everything was quiet. He thought that he had imagined it. He turned off the coffee-maker and started turning off the lights. Then he stoppe
d again. Something wasn't right. He heard a sound from the studio. Suddenly he was afraid. Had someone broken into the store? He walked carefully over to the door and listened. Everything was quiet. I'm imagining things, he thought with irritation. Who would break into a photographer's studio where there are not even any cameras for sale? At least cameras can be stolen.