The Kills: Sutler, the Massive, the Kill, and the Hit (139 page)

Isa isn’t frightened over what might go wrong. ‘I could never say this to Henning, but what frightens me is what happens when everything works out? What if she is fine? What happens then? What if she hates me? What if we don’t get along? What if she is hateful? Wicked?’

‘You love her.’ Rike answers. Her phone beeps, the power is low. She promises to visit Isa in an hour. Nothing will happen before then.

‘We have a name.’

‘Tell me when I’m there.’

Rike returns to Tomas’s building in the early afternoon. The decision, she knows, is foolish, but she wants to see the building, perhaps even the apartment.

The balcony doors are open, but there’s no sign otherwise that anyone is inside.

The name Christos on the brass tag, scratched through because he doesn’t live there, and hasn’t lived there for two years. Tomas picked the name up, dressed it with someone else’s story, and delivered it to her, almost verbatim. His notebooks show word for word preparation.

The door is open and she walks in, cautious. The room is different. Busier, unkempt. One suitcase, open, clothes strewn across the floor, still no furniture. She’s surprised not to find a bed, just a thin rubber mat, a sheet, a pillow and a blanket. The kitchen door stands open to show a similar chaos. What once appeared simple and well kept now appears squalid.

Back in the stairwell she hurries down the stairs, at the entrance she notices that the door to the basement is open. Tomas had spoken about the basement, this was the most absurd story of all, more bizarre than the story about his assault. Two brothers. A bloody room. And hadn’t he said that he was helping Christos, the man who hasn’t lived here for two years?

She comes down the stairs and into a corridor with a low ceiling. To her right, just ahead, she can see an open door. She regrets the decision to look as soon as she acts on it. Looking sets her on a certain path.

Inside the room, Tomas Berens lies on a cot. A strip of light falls from the corridor over his forehead. His hair is dyed dark, freshly cut. His face appears rounder, less distinguished – it could be someone else, and she thinks to apologize for her interruption before realizing that this is Tomas.

He doesn’t appear surprised. He sits up, as if tired, and asks if she is with anyone else.

Rike says no, and can’t understand why she’s being polite.

‘I can imagine that you’re confused.’ His voice has a transatlantic undertone. His body also, in its basic movements, appears confident, he’s lost that tight Scandinavian reserve. At least this is how she reads it.

Rike can’t help but step into the room. ‘What are you doing?’

Tomas has cleared the stored promotion and advertising material – a heap of plastic penguins, stuffed plastic bags – to the back wall. The room is unbearably hot and smells of sweat, spiced and sour. ‘What is this?’

Berens rises, and comes slowly forward. He looks to Rike, the cot, the water. Steps into the corridor and then closes the door.

Hands up Rike traces the sides of the door searching for a handle and finds nothing. The darkness is absolute, unbroken. There’s no sound other than her breathing, her heartbeat, the pressure increasing in her ears.

She beats at the door, shouts, struggles for breath and sits down, dizzy.

*

She wakes to find Tomas over her, and immediately recoils. The light is unbearably bright. He has brought ice, he says. This will help. She has been sweating, her hair is matted to her forehead, her clothes twisted so that she can’t move comfortably. As she rolls from her stomach to her back her head throbs, her tongue feels thick in her mouth. She can’t quite make sense of what he’s saying.

There are things which make no sense to her, memories from a long time back. A woman changing out of her bathing costume on a beach, and the way she holds the string of the costume aside with a little disbelief. This is what? Punta Sabbione, nineteen-what? Another, more specific, climbing worn steps to a belfry. It’s Köln cathedral, and the wall opens suddenly to a view of the square. The market below, the slabbed court. Her father had reached out to secure her, but held his hand flat, as if to push. A shocking thing, to stand so close to an edge, to have your father’s hand thrust forward, as if to shove. And did she properly trust him after that?

Tomas beside her: Rike shielding her eyes, trying nevertheless to calculate the distance between Tomas and the door. Her legs are so heavy there’s no point making the attempt. She tells herself not to sleep. Next time. However long, she needs to be ready.

The door makes a suck as it closes and in a matter of minutes the heat overwhelms her.

When she wakes she reaches out, finds the metal bowl, and the ice melted but the water still cold, which could be three hours, perhaps. She can’t judge. Holds her wrist to her face to see if she can tell the time. The darkness is so complete, so thorough her arm could be a kilometre from her face, or centimetres. As long as she is lying on the cot she has an instrument to place herself in the space.

Her body reacts badly to the heat, she feels sick, her head aches. She attempts to rationalize these sensations, and fights against a rising squabble of panic and fear.

The room has been prepared. A bed. Water. But no commode. She can’t judge if this is deliberate or opportunistic. Would he have brought her here if she hadn’t come? Does he intend this to be short, as in hours, or long, as in days? Is this some kind of punishment?

When he returns she will tell him that she is diabetic. That there are certain requirements, problems, details he hasn’t accounted for. She will not ask why this is happening.

12.2

It’s a whole different thing being inside the house after observing it from outside, from the shell of the hotel. For one thing it’s smaller, and what seemed to be clean and ordered is actually battered. This is rented accommodation, other people have lived here, and they remain in some way, through scuffs on the walls and scratches on the floor. There is a history of use.

He’s not keen on how everything is placed. The sofa faces the garden, cuts the room in half. It’s uncaring in the way things don’t fit. It isn’t lived in. It isn’t accommodating either for Tomas – chairs block the exits.

Neither is it personable. Two photographs mounted in the same frame are the only personal element. Relatives, he supposes, people from another century who have a vague wash of history, a little startled awe in their slightly open mouths, their black eyes.

Isa is still in hospital.

Tomas collects towels from the house. Two tea towels, a striped beach towel, a small blanket with an Air France logo. He places these aside with a roll of duct tape. Under the kitchen sink he finds a black bin bag and two clear plastic shopping bags.

When Henning returns he makes no attempt to sound an alarm. He sits where he is told, and hands Tomas his phone without comment. Tomas explains that Henning shouldn’t waste time thinking over what he needs to do.

‘Rike is safe. I need information about the man in hospital. Do you know who he is?’

Henning remains composed, dignified.

‘I want to know who he is. Is he Sutler?’

‘No.’

‘You’re certain.’

‘I’m certain.’

Tomas nods in agreement.

‘Who is he?’

‘We don’t know.’

Tomas leans forward with his elbows on his knees. ‘Who do you think he is?’

Henning shakes his head. ‘I don’t know who he is.’

‘How certain are you he isn’t Sutler?’

‘Absolutely certain. He’s Caucasian, between forty-five and fifty. He might be too old to be Sutler. He has had a procedure on his upper inner arm to remove a tattoo. There is no mention of Sutler having a tattoo. Within the past month he has had replacement fillings in his front teeth and a front crown, this would have happened while Sutler was already in Iraq.’ Henning’s voice thins and dries. He pauses to wet his lips, looks to the window. Calculating. ‘We’re almost certain that he has lived in Europe. He meets the profile of most contractors. There is trafficking along the Syrian border. It is possible he is involved, which would explain why no one has come forward. Why are you here? Where is Rike?’

Tomas ignores the questions. He can see Henning thinking, can trace the calculations. Henning understands the economy of their discussion: the values, the costs, exactly what is at stake.

‘What do you need to release her?’

Tomas again refuses to answer.

‘Why are you interested in Stephen Sutler?’

Tomas allows a small pause. ‘What did you discuss with Parson when you met him in Istanbul?’

‘It doesn’t matter.’

‘What did you talk about?’

‘It’s pointless now. It’s redundant. It doesn’t matter.’ Henning closes his eyes and runs a hand hard across his forehead. ‘The man we have in hospital won’t live. He has an infection we can’t control, and respiratory problems. He isn’t responding to the drugs. It no longer matters who he is. None of this matters any more.’

‘What did you discuss?’

‘I told him that Sutler was a fiction. It was my belief that HOSCO invented Sutler, they either invented him, or they used someone. Sutler is a scapegoat.’ Henning clears his throat. ‘None of this matters. Paul Geezler, the man who reorganized HOSCO in the Middle East, is missing. No one has any idea where he is. He was in New Mexico. He is missing. No one has heard from him. Whatever this was about, it’s over. Sutler is gone. Geezler is gone. Parson is dead. The company is now refigured as something else. It’s all redundant. Whatever point this had – it doesn’t matter any more.’

Tomas takes the African staff from the coffee table and strikes Henning with a horizontal swipe. The force runs through his wrist, so that the staff rebounds, almost bounces free from his grip. The first blow is intentionally savage. There is no backward step, no going back. After the first blow Tomas is committed. He swoops the staff overhand and draws it down, this time on Henning, knocked to the floor, hands either side, not in defence, but ready to push himself upright.

Tomas washes his hands at the sink. Douses water over the back of his neck. Does not look at the mess in the room behind him. The pathway from the bed to the hall. His knuckles are cut, he has no idea how this has happened, and does not want to clean the staff nor the room but understands this to be necessary.

12.3

Rike wakes to the smallest slice of light coming through the doorframe, and then the door opens with a blinding wall of light. She shields her eyes with her arms, attempts to stand but finds this impossible. He strikes once: hits the side of her head and her raised right forearm. He is on her immediately. Rike, stunned, lies immobile. Plastic is pulled over her head, and tape binds the bag about her throat. He does this three times, then drops her and leaves.

In the darkness Rike struggles to upright herself. She bites and struggles with the plastic, pokes a hole so she can breathe, then loses herself to panic until she is weak and breathless.

This isn’t happening
.

She wants to understand how this started, to unthread a sequence and understand the origin, because everything has a start, a place where what is happening is set in motion. She can take it back to Parson at the trackside, running, hectic, perhaps hopeful in those last moments of escape, steps ahead of the train, perhaps in panic with the knowledge that he cannot possibly outrun what is coming. Or earlier, to Henning and Parson in Istanbul with no notion of what lies ahead. Earlier still, to Sutler in his multiple guises, proto-Sutler, the first Sutler arriving in Iraq as a contractor. Is this the start? A man eager for a contract to work in the desert, or does she need to go back further to the company who hired the man, accepted his bid, or further still, should she consider the military who required that company for operational support, food, weapons, shelter, because without them they cannot function? Is this the proper start, here with these men, these boys, who have trained specifically for this kind of endeavour, but who would otherwise never have left their country if it wasn’t for a year or so of threats, of provocations, of governments shouldering into each other? Does she take it back to here? Or further? Back to those buildings? Back to those planes? Back to that city and that early workday morning? Does she need to retreat this far? If this far then why not further, because what she is finding is that there is no single starting point, only multiple threads which appear to bind because of distance, but only ever run parallel?

At every point, how clear this seems to her, there appears to have been a choice, and most often the choice that has been exercised is a choice to do harm.

She knows this is too simple. As she understands that what is happening isn’t history. Not in any way which matters.

Either: one of us, or both of us
.

He will come back. She is certain. The door closes fast by itself. She will wait by the door, and when he returns he will come into the room and she will shut the door, even if she has to remain inside, because there needs to be an end.

Wolf & Rabbit: Coda

thekills.co.uk/wolfandrabbit

1
. This was not the experience related by the Americans – see Part 2,
here
, where there is a discussion about resistance fighters in the main square, and the discovery of a building loaded with explosives which did not blow.