The Locked Room Read online

  Praise for

  MAJ SJÖWALL and

  PER WAHLÖÖ

  “No one is more convincing than Maj Sjöwall and Per Wahlöö in transmitting the actual shock of brutal murder.”

  —Buffalo News

  “Lively, stylistically taut.… Sjöwall and Wahlöö changed the genre.”

  —Henning Mankell

  “Magically successful, a series of crime novels you shouldn’t miss.”

  —Minneapolis Tribune

  “It’s hard to think of any other thriller writers (apart from Simenon perhaps) who can capture so much of a society in a couple of hundred pages and yet still hold true to the thriller form.”

  —Sean and Nicci French

  “Sjöwall and Wahlöö continue to be tops for discriminating crime book readers.”

  —The Denver Post

  MAJ SJÖWALL and

  PER WAHLÖÖ

  THE LOCKED ROOM

  Maj Sjöwall and her husband, Per Wahlöö, wrote ten Martin Beck mysteries. Mr. Wahlöö, who died in 1975, was a reporter for several Swedish newspapers and magazines and wrote numerous radio and television plays, film scripts, short stories, and novels. Maj Sjöwall is a poet. The books, together known as “The Story of Crime,” remain one of the greatest series of crime stories ever written.

  THE MARTIN BECK MYSTERY SERIES

  by

  MAJ SJÖWALL and

  PER WAHLÖÖ

  Roseanna

  The Man Who Went Up in Smoke

  The Man on the Balcony

  The Laughing Policeman

  The Fire Engine That Disappeared

  Murder at the Savoy

  The Abominable Man

  The Locked Room

  Cop Killer

  The Terrorists

  SECOND VINTAGE CRIME/BLACK LIZARD EDITION, OCTOBER 2009

  Translation copyright © 1973 by Maj Sjöwall and Per Wahlöö

  Introduction copyright © 2007 by Michael Connelly

  All rights reserved. Published in the United States by Vintage Books, a division of Random House, Inc., New York, and in Canada by Random House of Canada Limited, Toronto. Originally published in Sweden as Det Slutna Rummet by P.A. Norstedt & Söners Förlag; Stockholm, in 1972. Copyright © 1972 by Maj Sjöwall and Per Wahlöö. This translation originally published in hardcover in slightly different form in the United States by Pantheon Books, a division of Random House, Inc., New York, in 1973, and subsequently published in paperback by Vintage Books, a division of Random House, Inc., New York, in 1980. Originally published with introduction in Great Britain by Harper Perennial, an imprint of HarperCollins Publishers, London, in 2007.

  Vintage is a registered trademark and Vintage Crime/Black Lizard and colophon are trademarks of Random House, Inc.

  This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.

  The Library of Congress Cataloging-in-Publication Data:

  Sjöwall, Maj, 1935–

  [Slutna rummet. English]

  The locked room / Maj Sjöwall and Per Wahlöö; translated from the Swedish by Paul Britten Austin.—1st Vintage Books ed.

  1. Beck, Martin (Fictitious character)—Fiction. 2. Police—Sweden—

  Stockholm—Fiction. 3. Sweden—Fiction. I. Wahlöö, Per, 1926–1975, joint author. II. Title.

  PZ4.S61953 Lo 1980 [PT9876.29.J63]

  839.7′3′74—dc22

  79021993

  eISBN: 978-0-307-77283-1

  www.vintagebooks.com

  v3.1

  Contents

  Cover

  About the Author

  Other Books by this Author

  Title Page

  Copyright

  Introduction

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Chapter 8

  Chapter 9

  Chapter 10

  Chapter 11

  Chapter 12

  Chapter 13

  Chapter 14

  Chapter 15

  Chapter 16

  Chapter 17

  Chapter 18

  Chapter 19

  Chapter 20

  Chapter 21

  Chapter 22

  Chapter 23

  Chapter 24

  Chapter 25

  Chapter 26

  Chapter 27

  Chapter 28

  INTRODUCTION

  What I don’t like about writing an introduction is that you can’t give anything away. You can only tease. You can say to the reader that you are in for a great ride, a great set of characters, and a great story but you can’t really make your case. You don’t want to ruin it for the reader, so you can’t exactly say why. So an introduction is sort of a “trust me” proposition. I am here to tell you that if you are about to hop aboard and ride this story, then you are in for a great ride. Trust me.

  I first took this ride about thirty years ago. A child of the movies and television, I have come to most of the masters of crime fiction through the visual medium. I read Raymond Chandler, Ross MacDonald, and Joseph Wambaugh after seeing their work on the screen first. In each case I found the written stories that spawned the screen stories to be much deeper, more detailed, and more gripping as they took the reader to the place no movie or television show can go, inside a character’s thoughts.

  So too was the case with the work of Maj Sjöwall and Per Wahlöö. The movie came first. My father and I both loved cop flicks. We went together often. One night in Fort Lauderdale, Florida, we went to see The Laughing Policeman with Walter Matthau and Bruce Dern. I didn’t know it was based on a book until I saw the credits. I liked the movie, with the deeply brooding Detective Martin played by Matthau and the more reactive, loose cannon Detective Larsen played by Dern.

  Not long after, I bought the book and quickly learned that the original story was not set in San Francisco, California, but in Stockholm, Sweden, and that the film’s Detective Jake Martin was actually Detective Martin Beck in the book. No matter, I had invested. I read the book and there began one of the best lessons a writer in waiting could ever have. In the next several years I moved from book to book in the Martin Beck series. I found it to be one of the most authentic, gripping, and profound collections of police procedurals ever accomplished.

  Sjöwall and Wahlöö set out to write a ten-book, ten-year glimpse of Swedish society, using the detective novel as the magnifying glass through which they would conduct their examination. They achieved their goal with great mastery. As a young reader with the intention/hope of writing crime novels someday, there were no better teachers when it came to showing how a detective story could rise above mere entertainment to the point of holding a mirror up to ourselves and the societies we build. Their work constantly reminds me of something the great writer Richard Price once said when questioned about his repeated forays into the realms of crime and detection. He said that he liked writing about detectives because when you circle around a murder long enough, you get to know a city. Long before he said that, Maj Sjöwall and Per Wahlöö knew it and practiced it. The Martin Beck books tell us so much more than just how a crime is solved. Beautifully structured, textured, and rendered, they tell us how a crime happens and how a city, country, and society can often be complicit. They take us beneath the surface. They tell it like it is. Though the series now ages past thirty years, there is both a timeliness and timelessness to the books that make them just as important now as the day they first came out of the bindery.

  The Locked Room is
flat out one of my favorites in the series. I am blown away by the authors’ wonderful and original take on the standard mystery contraption—a locked room murder. I am in awe of the novel as a showcase of Martin Beck at his brooding best. The authors avoid the norms by weaving two seemingly separate investigations through the book, the story of a bank robbery gone bad and the story of Beck’s investigation into what appears to be an unsolvable case, a man found shot to death in a room with the door and window locked. The case has been all but given up on until the detective returns to the job after recovering from wounds received in the earlier story. As he deals with his physical and mental recovery, he works the locked room case over like a child works on a loose tooth with his tongue.

  From the standpoint of a writer who has some experience attempting such things, there is no finer example of how to do it. Sjöwall and Wahlöö do it with completely convincing detail, humor, and that most important ingredient, momentum. The book never lags. It never fails to keep the reader in his seat.

  All the while the book carries the vivid imagery of Stockholm and its underbelly of crime that Beck traverses. I read this book long before I ever visited Stockholm but the sense of the city, its smells, its sounds, its hidden dangers, and beauties are vibrantly alive. The city is as much a character in the book as any person who appears in its pages.

  What’s more, the book carries a dark irony: the idea of justice in which we are all guilty of something, and if we are not punished for the crimes we have committed then we are punished for those we have not. It is a daring proposition and one I have seen in a number of other books. But I have not seen it played out so well as in these pages.

  As with the entire series of ten books, Martin Beck is the pole that holds the tent up in The Locked Room. His presence looms over every page whether he is actually on it or not. To me Beck is the original grinder, an empathist who takes it all in and grinds it constantly in his head. He grinds the case down to powder and only then does he see the solution. He operates with a certain melancholy that is just right. He is alone by not lonely. He is the thinking man’s detective. The writer Joseph Wambaugh once said that the best crime stories are not about how a cop works on a case, but how a case works on a cop. Martin Beck is a most fitting example of the accuracy of this. And The Locked Room is a most fitting case for him to work and be worked upon.

  —Michael Connelly

  1

  The bells of St. Maria struck two as she came out from the subway station on Wollmar Yxkullsgatan. Before hurrying on towards the Maria Square she halted and lit a cigarette.

  The din of the church bells reverberated through the air, reminding her of the dreary Sundays of her childhood. She’d been born and grown up only a few blocks from the Church of St. Maria, where she’d also been christened and confirmed—the latter almost twelve years ago. All she could remember about her confirmation classes was having asked the vicar what Strindberg had meant when he’d written of the “melancholy descant” of the St. Maria bells. But she couldn’t recall his answer.

  The sun was beating down on her back. After crossing St. Paulsgatan she eased her pace, not wishing to break into a sweat. All of a sudden she realized how nervous she was and regretted not having taken a tranquillizer before leaving home.

  Reaching the fountain in the middle of the square, she dipped her handkerchief in the cool water and, walking away, sat down on a bench in the shade of the trees. She took off her glasses and rubbed her face with the wet handkerchief, polished her glasses with the hem of her light-blue shirt, and put them on again. The large lenses reflected the light, concealing the upper half of her face. She took off her wide-rimmed blue denim hat, lifted up her straight blond hair, so long it brushed against her shoulders, and wiped the nape of her neck. Then, putting on her hat, she pulled it down over her brow and sat quite still, her handkerchief crumpled up into a ball between her hands.

  After a while she spread the handkerchief out beside her on the bench and wiped the palms of her hands on her jeans. She looked at her watch: half past two. A few minutes to calm down before she had to go.

  When the clock struck 2:45 she opened the flap of the dark-green canvas shoulder bag that lay in her lap, picked up her handkerchief, which by now was completely dry, and without folding it slipped it into the bag. Then she got up, slung the leather strap of the bag over her right shoulder, and started walking.

  Approaching Hornsgatan she grew less tense; everything, she persuaded herself, would work out fine.

  It was Friday, the last day of June, and for many people the summer vacation had just begun. On Hornsgatan, both on the street itself and on the sidewalks, the traffic was lively. Emerging from the square, she turned off to the left and went into the shadow of the houses.

  She hoped today had been a wise choice. She’d weighed the pros and cons and realized she might have to put off her project until next week. No harm in that, though she wasn’t too keen on exposing herself to such mental stress.

  She got there earlier than she’d planned and halted on the shady side of the street, observing the big window opposite her. Its shiny glass reflected the sunshine, and the heavy traffic partially blocked her view. But one thing she noticed. The curtains were drawn.

  Pretending to be window shopping, she walked slowly up and down the sidewalk, and although there was a large clock hanging outside a watchmaker’s shop nearby she kept looking at her watch. And all the while she kept an eye on the door on the other side of the street.

  At 2:55 she walked over to the crosswalk at the intersection. Four minutes later she was standing outside the door of the bank.

  Before pushing it open, she lifted the flap of her bag. Walking in, she let her gaze sweep over the office, a branch of one of Sweden’s major banks. It was long and narrow; the front wall consisted of the door and the only window. To her right a counter ran all the way from the window to the short wall at the other end, and on her left four desks were fixed to the long wall. Beyond them were a low, round table and two stools upholstered in red-checked material. Furthest away were some stairs, rather steep, disappearing below to what presumably was the bank’s safe deposit vault.

  Only one customer had come in before her—a man. He was standing at the counter, stuffing banknotes and documents into his briefcase. Behind the counter two female clerks were sitting. Further away a male clerk stood leafing through a card index.

  Going up to one of the desks, she fished out a pen from the outer pocket of her bag, meanwhile watching out of the corner of her eye as the customer with the briefcase went out through the street door. Taking a deposit slip out of the holder, she began doodling on it. After a little while she saw the male clerk go over to the door and lock it. Then he bent down and flicked the hook holding open the inner door. As it swung closed with a hissing sound, he resumed his place behind the counter.

  She took her handkerchief out of her bag. Holding it in her left hand and the deposit slip in her right, as she approached the counter, she pretended to blow her nose.

  Then she stuffed the deposit slip into her bag, brought out an empty nylon shopping bag, and laid it on the counter. Clutching her pistol, she pointed it at the female cashier and, holding her handkerchief in front of her mouth, said: “This is a holdup. The pistol’s loaded and if you make any trouble I’ll shoot. Put all the money you’ve got into this bag.”

  The woman behind the counter stared at her and, slowly taking the nylon bag, laid it down in front of her. The other woman stopped combing her hair. Her hands sank slowly. She opened her mouth as if to say something, but couldn’t get a sound out. The man, who was still standing behind his desk, gave a violent start.

  Instantly she pointed the pistol at him and yelled: “Stay where you are! And put your hands where I can see them.”

  Impatiently waving the barrel of the pistol at the woman in front of her, who was obviously paralyzed with fright, she went on: “Hurry up with the money! All of it!”

  The cashier began stu
ffing wads of bills into the bag. When she’d finished, she laid it on the counter.

  Suddenly the man at the desk said: “You’ll never get away with this. The police will—”

  “Shut up!” she screamed.

  Then she threw her handkerchief into her open bag and grabbed the nylon shopping bag. It felt nice and heavy. Backing slowly toward the door, she pointed the pistol at each of the bank’s employees in turn.

  All of a sudden someone came running toward her from the stairway at the far end of the room: a tall, blond man in well-pressed pants and a blue blazer with shiny buttons and a big gold emblem stitched to the breast pocket.

  A loud bang filled the room and went on thundering between the walls. As her arm jerked upward to the ceiling she saw the man in the blazer being flung backwards. His shoes were brand new and white, with thick, grooved, red rubber soles. Only as his head hit the stone floor with a horrible dull thud did she realize she’d shot him.

  Dropping the pistol into her bag, she stared wild-eyed at the three horror-stricken people behind the counter. Then she rushed for the door. Fumbling with the lock, she had time to think before emerging into the street: “Calm now, I must walk perfectly calmly.” But once out on the sidewalk, she started half-running towards the intersection.

  She didn’t see the people around her—she was only aware of bumping against several of them and of the pistol shot which went on thundering in her ears.

  She rounded the corner and started running, the shopping bag in her hand and the heavy satchel bumping against her hip. Jerking open the door of the building where she’d lived as a child, she took the old familiar way out into the yard, checked herself, and fell to a walk. Passing straight through the porch of a gazebo she came out into another back yard. She descended the steep stairway into a cellar and sat down on the bottom step.

  She tried to cram the nylon bag down on top of the automatic in her shoulder bag, but there wasn’t enough room. She took off her hat, glasses, and blond wig, and stuffed them all into the shoulder bag. Her own hair was dark and short. She stood up, unbuttoned her shirt, took it off, and put that too into the bag. Under her shirt she was wearing a short-sleeved black cotton sweater. Slinging the shoulder bag over her left shoulder, she picked up the nylon shopping bag and went up the stairs to the yard again. She climbed over a couple of walls before at last finding herself in a street at the far end of the block.