Joona Linna: Stalker Part 78

A protruding bolts tears the skin of her knuckles, and now she can hear her pursuer behind her.

Nelly shouts something to her, but Jackie can't make out the words.

The voice makes panic bubble up inside her and the hand holding the stick is sweating.

She trips over a brick, loses her balance and starts to fall. She throws her arm out, puts her hand through some thick spiders' webs and hits the wall hard. Her back shrieks with pain, cutting through her like a javelin with the sudden contortion, and she can taste blood in her mouth.

A crash from the tunnel behind her makes her ears ring. It sounded like the cupboard full of gla.s.s objects falling over. She hears a load of gla.s.s break, shattering and scattering across the floor.

Jackie wipes her sweaty hand on her legs, takes a firm grip of the stick and carries on as fast as she can. The fingertips of her right hand have gone numb from the rough brick wall.

She can hear footsteps behind her much faster than her own.

Jackie turns into a side-pa.s.sage in panic.

Her heart is pounding.

This isn't going to work, she thinks. Nelly knows her way round these tunnels, this is her territory.

Jackie forces herself to go on. The pa.s.sageway is narrower than the last one. She stumbles over some old fabric and feels something catch round her foot and drag along behind her.

'Jackie?' Nelly shouts. 'Jackie!'

She tries not to cough, feels herself pa.s.s a hole in the wall fairly close to the roof, and hears air streaming through it as something grabs at her clothes. It's holding on to her blouse, pulling her backwards. She flails her arms in panic, and hears the fabric tear. She's stuck, and is trying to pull free when she hears Nelly once more.

She must have followed her into the side-pa.s.sage.

Jackie pulls at her blouse and turns round, puts her hand under her left arm and feels a thick pipe. She walked into a pipe that's somehow hanging from the roof, it's got caught in her clothes and she has to back up several metres to free herself.

Nelly is close now, mortar is crunching under her boots and her clothes rustle as she moves.

Breathing through her nose, Jackie carries on along the pa.s.sageway, then she hears Nelly let out a whimper she too has walked into the dangling pipe.

A metallic clang echoes off the walls.

Jackie hurries on and emerges into a large room with a slower echo.

There's a smell of stagnant water in the air, like an old aquarium. Jackie keeps moving, and almost immediately b.u.mps into something and drops her stick.

She's breathing far too quickly, she bends over and feels a large trough filled with dusty soil, twigs and pieces of bark. The pain in her back almost makes her topple forwards, but she goes on searching beside the trough, feeling tentatively across old bottles, spiders' webs and twigs.

She hears Nelly call out to her, she's nearer again.

Jackie gives up looking for the stick, she'll have to go on without it. With her arms outstretched she feels her way past a series of alcoves with brick walls dividing them.

She stops in front of a large object that's blocking the whole room. It's a long, steel washbasin. She feels along it to one end, and has just made her way round it when she hears Nelly's footsteps behind her.

Jackie clicks her tongue loudly, the way she has learned to. The room around her reflects the sound as vague echoes that her brain turns into a three-dimensional map. She clicks again, but is far too scared for it to work well; she doesn't have time to listen properly, can't get any real sense of the room.

Panting for breath, she moves on. Her whole body is shaking and she doesn't know how to stop it. She turns her head and clicks again, and suddenly becomes aware of an opening off to her left.

Jackie reaches the wall with her hands, follows it until she finds the opening, and once again feels the coolness of air from outside.

It's a narrow pa.s.sageway, its floor covered with loose grit and what smells like the charred remains of wood and plastic. One foot treads straight through a windowpane lying on the ground, and it shatters with a loud crash. She knows she's cut her foot, but stumbles on across the floor. As she reaches out to the wall her fingers dislodge crumbs of dry mortar, and then she hears Nelly stand on the gla.s.s.

She's right behind her.

Jackie breaks into a run, with one hand against the wall and the other stretched out in front of her. She runs into a wooden trestle and falls over it, lands on her left shoulder and groans with pain. She tries to crawl but something hits the floor right beside her. It sounds like a plastic pipe, or a broom-handle.

Jackie crawls forward and hits her head on the wall. She manages to get up onto her feet again, stumbles across some fallen bricks, and leans against the wall.

135.

Jackie isn't entirely sure of the direction of the pa.s.sageway. She turns and follows the wall backwards for a metre or so, listens, but can no longer hear Nelly. Her own breathing is so laboured that she has to hold one hand over her mouth in an effort to stay quiet.

Something rustles in front of her, down on the floor, moving slowly.

It's only a rat.

Jackie stands completely still, breathing through her nose. She has no idea how to find her way out. Terror is preventing her from thinking, she's too stressed to be able to interpret her surroundings correctly.

A short distance away from her something creaks. It sounds like a heavy door, or even an old mangle. She desperately wants to hide, curl up on the floor with her arms over her head, but she forces herself to go on.

Her feet crunch on stones, charred pieces of wood and drifts of sand and grit. The walls have collapsed in places, completely blocking the corridor, and she has to clamber over the heaps. Stones roll down the slope behind her, and fragments of gla.s.s break into smaller pieces.

Jackie hears air rus.h.i.+ng through a small gap higher up, and keeps crawling, leaning on her hands. A broken plank sc.r.a.pes her thigh and her feet slide across bricks and mortar.

There's a rustling sound behind her and she climbs faster until she hits her head on the roof. She can feel the breeze on her face, but can't locate the opening. She fumbles desperately in front of her with her hands, trying to push through stones tangled in metal wire, sweeping aside loose mortar, and then she finds the narrow gap. Jackie puts her fingers through a piece of chicken-wire and pulls. She manages to loosen a large stone, digs the hole a bit larger, and cuts her palm. She shuffles forward and tries to crawl through. Groaning, she manages to push one arm and her head through, stones tumble away on the other side of the hole and she forces her way through, kicking with her legs and panicking that she's going to get stuck.

Jackie fumbles in front of her with her hand, trying to get a grip on anything to help her pull herself through the hole. She can't hear Nelly behind her, has no idea if she's scrambling up the heap of rumble with her knife raised.

Jackie feels a piece of tape with her hand and starts to pull herself through as she pushes as hard as she can with her legs. Chicken-wire and stones scratch her back, but she makes it out. Taking a load of grit with her, she shuffles down the other side, catches her foot on the edge of the hole, pulls, then pushes her foot back, angles it differently and finally it comes loose.

Jackie slides down the heap of rubble and reaches a floor. Without having any idea of where she is, she walks forward with her hands outstretched until she finds a wall, and begins to follow that instead.

The bricks are colder here, and she realises she must be getting closer to a way out. She turns a corner and finds herself in a larger room. The ceiling is much higher here, noises rise and spread out, like a gentle sea.

Jackie stops and rests for a moment, trying to catch her breath. She leans forward on her knees, her whole body shaking with exhaustion and shock.

She has to go on, she thinks. Has to find a way out.

With bleeding fingers she feels along the wall with her hand, then hears a metal door open with a creak some way off to the right.

Jackie crouches down and hopes she's hidden behind something. She tries to breathe silently but her heart is pounding hard in her chest.

Nelly must have gone a different way, she thinks. Nelly knows the layout of the rooms, where the pa.s.sageways lead.

The knife-wound is hurting much more now, it feels oddly stiff and she's having trouble breathing. She can't help letting out a quiet cough, and feels warm blood trickle down her back.

Still crouching, she moves slowly forward, and hits something that sc.r.a.pes metallically. She lowers her hands and feels that it's a spade.

'Jackie,' Nelly calls.

She stands up cautiously and carries on along the wall, clicks her tongue and realises that there's an opening ahead on her left.

'Jackie?'

The echo of Nelly's voice hits the wall on the other side. Jackie stops to listen. All of a sudden she's sure: Nelly shouted in the wrong direction.

She can't see me, Jackie thinks.

It's so dark in here that she can't see me.

Nelly's blind.

Moving slowly now, Jackie bends over, picks up a small stone and throws it away from her. It hits a wall, bounces on to the floor and hits something.

She stands still and hears Nelly move towards the sound.

Jackie returns to the spade and carefully picks it up. The blade sc.r.a.pes the ground and Nelly stops, panting for breath.

'I can hear you!' Nelly says, with laughter in her voice.

Jackie moves closer and can smell her perfume. Step by step she puts her feet down on the floor and listens to the gentle crunch of the gravel.

Nelly moves backwards and walks into a bucket, which falls over with a clatter.

She can't see me, but I can see her, Jackie thinks as she gets closer, listening to Nelly's strained breathing and the smell of sweat through her perfume.

Jackie can clearly sense Nelly's billowing presence, hear the movement of the knife through the air, and sense the movement of her feet as she backs away another couple of steps.

She knows I'm here, but she can't see me, Jackie thinks again. She squeezes the handle of the spade, cautiously adjusts her grip, clicks with her tongue, and knows at once where the wall is, and where Nelly is standing.

Nelly is panting and stabbing quickly in different directions. The knife hits nothing but air and she stops.

She listens, her anxiety audible in her breathing.

Jackie approaches silently, feeling the heat radiating from Nelly's body. She follows the movements of the knife, then takes a step forward and strikes hard with the spade.

The heavy blade hits Nelly on the cheek with a short clang. Her head jerks sideways and she collapses onto her hip.

She roars with pain.

Jackie walks round her, listening to every movement, every breath.

Nelly is whimpering to herself and tries to stand up. Jackie strikes again, but the spade pa.s.ses close to Nelly's head, the metal merely pus.h.i.+ng through her hair.

Nelly gets to her feet and jabs with the knife. The point cuts into Jackie's lower arm. She backs away instinctively and walks into the bucket that Nelly hit earlier, then steps quickly to the side with her heart thudding. Her arm is stinging with pain from the cut, and blood is dripping down into her hand. Adrenalin is coursing through her, making the hairs on her arms stand up and she shakes the blood from her hand, wipes it on her skirt, and takes a fresh grip on the spade.

She approaches as silently as she can. She can hear Nelly crouching down and jabbing with the knife, and can feel the dampness of her exhaled breath. Without a sound, Jackie circles her, then changes direction and strikes with all the strength she can muster. The blow is ferocious. The spade hits the back of Nelly's head. Jackie hears her sigh and fall forward, without putting her hands out to break her fall.

She hits out again, and strikes Nelly across the head with a wet sound, and after that she doesn't hear anything.

Jackie backs away, panting. Her hands are shaking and she listens, but can't hear the sound of breathing. She approaches warily, pokes at Nelly with the spade, but her body is limp.

Jackie waits, hearing her own pulse thump in her ears. Then she jabs hard with the point of the spade, but there's no reaction.

Jackie is breathing fitfully, and anguish washes over her. Her stomach churns. She puts the spade down and moves closer to Nelly, her legs shaking beneath her. The steaming warmth of the body rises up towards her. Carefully she leans over until she can feel Nelly's back with her fingers. She's wearing a raincoat, the rough fabric squeaks beneath her fingers.

Erik said she had the key round her neck.

Jackie feels tentatively up her back to her neck, and feels that Nelly's hair is wet with warm blood.

Her fingers fumble clumsily inside Nelly's collar, feeling along her sticky neck until she finds a chain and tugs at it, but it won't come loose.

She needs to roll Nelly on to her back. She's heavy, and Jackie has to use both hands, and push with one leg.

The body rolls over and Jackie ends up sitting astride it. With her fingers shaking, she undoes the first b.u.t.ton at the neck of the raincoat, but stops when she hears a squelching sound, as if Nelly were moistening her mouth.

Jackie undoes another b.u.t.ton, and thinks she can hear little clicks, as though Nelly were blinking her dry eyelids.

Fear pulses through her head and she tears Nelly's dress open at the neck, grabs hold of the key on the chain, and starts to pull it over her b.l.o.o.d.y head.

136.

Joona has been following the signs to Rimbo, but he leaves road 280 at Vsby and is heading towards Finsta when Margot calls to tell him that Jackie and her daughter aren't in the flat at Lill-Jans plan. All the evidence suggests they've been abducted; there are traces of blood on the floor, all the way out into the stairwell. The door to the wardrobe has been smashed and on the wall inside the child had written 'the lady talks funny'.

Joona repeats several times that they have to find the house near Finsta, that's where she's taken Jackie and Madeleine. Erik is probably already there in his cage, or will be very shortly.

'Find the house that's the only thing that matters right now,' Joona says before they end the call.

He's pa.s.sed plenty of farms in the darkness along the way, and has seen agricultural premises and sawmills with chimneys of varying sizes.