‘There you go,’ he says, parking the Vespa over by the house. He pushes back his cap, which is made of the same green fabric as his coat, and rubs his brow with the back of his hand. Inside the house Agnes is clattering around in the kitchen; it actually sounds as if she’s making dinner.

‘So . . .’ Klein moves a little closer. His normally expressionless face looks a little troubled. ‘Elisabet told me you think the man who was found dead on Monday has something to do with Simon.’

Anna nods slowly, waits for him to go on. He holds his breath, as if he is choosing his words with extreme care, then continues.

‘Elisabet has lived for virtually one thing over the past twenty-seven years: to see the investigation into Simon’s death reopened.’ He adjusts his cap. ‘There’s no denying that you’ve made her very happy, and for that I’m grateful. At the same time . . .’ He stops, glances at the house and the open front door. ‘At the same time I have to warn you,’ he says quietly. ‘There are those who don’t want anyone poking about in what went on. Who are ready to go a very long way to prevent that from happening.’

‘You’re thinking about the burned-out garage. Simon’s studio, Karl-Jo’s sports car.’ She waves in the direction of the outbuilding where the charred skeleton of the car is hidden.

Klein looks completely taken aback – almost frightened.

‘How—’ he begins, but breaks off and regains his composure. His voice deepens. ‘All I want to say, Anna, is that you need to think carefully before you act.’ He leans forward, bringing his face close to hers. ‘Elisabet Vidje is the most important person in my life. If she’s at risk of being hurt by all this, by something or someone . . .’

He doesn’t finish the sentence. Instead, he straightens up, pulls down his cap, then jumps in the truck and screeches away.

*

Agnes has made a start on dinner. They finish off together, then eat at the table while making polite conversation. The subject of Simon Vidje soon comes up. Agnes is still interested in the mural and the story behind it; she asks questions about the details and about those involved. Anna answers as best she can, trying not to break the rules of confidentiality, but at this stage that’s virtually impossible.

After dinner Agnes fetches her camera, transfers the memory card to her computer and shows Anna the pictures she’s taken down in Mats’s creepy cellar.