I set the stage the way I wanted it. I masked off all the windows and the door so that not a ray of light entered the room. I set up the strobe light so that it flashed not into his eyes but off to the side, and I set the frequency way below the level that knocked him out. It flashed quite slowly, on and off, on and off. I found a small record player downstairs and pawed through his records until I found one of Nazi marching songs. It was a 33 rpm recording, and I set the player for 45 rpm. I turned off the strobe because it was bothering me, and I sat in the darkness and waited for something to happen.

Nothing did for a very long time, perhaps six or seven hours. Then I heard him breathing, starting to stir. I leaned over and flicked on the strobe light and let it flash monotonously on and off. I turned a dial on the record player and the “Horst Wessel Lied” began to play, pitched too high and played too fast. I kept my hand on the volume dial and made it now louder, now softer, now louder, now softer.

He discovered his bonds. He called out for me. He wanted to know what was happening, why he was tied, where he had been taken. I did not make a sound or move a muscle. I stayed very still on the dark side of the room while the light flashed and the crazy music played on and on.

After a while, maybe fifteen minutes although it seemed like an hour to me and must have constituted a week of subjective time to Kotacek, I began to vary the frequency of the flashes. I still kept them way below the blackout range, but varied the flash speed enough to turn his world a little further inside out. He was getting hysterical now. I didn’t want to overdo it. He was supposed to have a bad heart, and I was putting him through a special kind of hell.

Finally I began to talk with him. The two of us had always spoken in Slovak, so I avoided that language at first. I cupped my hands around my mouth to make my voice hollow and as weird-sounding as possible, and I talked to him in German.

“We must have the records. You must tell us where they are. The Fuehrer wants your records. You must find the records. Where are the records? The Fuehrer needs the records…”

I broke that off after a while, moved to another part of the room and hit him with Spanish. He had a working knowledge of that and of Portuguese as well, and I kept pitching at him in both of those languages, then shifting gears, working in German again, returning to Slovak, pitching my voice a little differently each time.

I had him reeling. I kept it up long past the point where I myself was thoroughly bored with it, and then I cut it all out at once, the talking, the flashing, the music. I turned off the record and cut the strobe and sat down in the darkness. He didn’t make a sound at first. Then I heard him making a sort of clicking noise. I couldn’t figure it at first, and then I got it. His teeth were chattering.

A few minutes later I got things going again. I pitched the strobe at a different part of the room where I’d drawn a large black swastika on the wall. I set the speed down low, so that a beam of light would illuminate the swastika on the white wall for about four seconds, then there would be four seconds of darkness, and then the light again, a nice boring pattern. I slipped noiselessly over to the side of the bed and whispered in his ear.

I told him he was on trial, that he was going to be killed. I begged him to confess so that his life would be spared. I kept on in this vein, over and over. He asked what he had done, what he was supposed to confess to, where he was, who was going to kill him. He was just filled with questions. I pretended that I did not hear anything he said. I talked on over his words, switching languages constantly, often in mid-sentence. I asked the same questions over and over again, and then I began to intersperse the questions with others. The location of the records. The number of his account in the Swiss bank. The name of the bank. At one point I very nearly had him. He told me the name of the bank, the Zurich-Geneva Bank of Commerce, and then he stopped cold. “Tanner!” he shouted. “What in God’s name are you doing to me? What is it? What do you want?”

He was oriented again, and I was worried. But I was fairly sure it was going to work. He had let one part of his guard slip. He had mentioned the name of the bank. The rest would come in due time. He knew who I was and knew where we were, but he would lose the thread before long. The music and the voice and the flashing had to get him sooner or later. I think it would have gotten anyone, sick or healthy, young or old. I’m sure it would have gotten me.

He never recognized me after that. I kept it up, the mixture as before, constantly changing it, constantly keeping it the same. The first thing I got was the bank account number, then the current balance. It was about what I had guessed, just over half a million Swiss francs, or about $130,000 U.S. I jotted down the account number and some other scraps of information, and when I was done I had enough to get the money out of that account and into my own numbered account at the Bank Leu.

It would take a trip to Zurich, and perhaps require some false identification and a copy of Kotacek’s signature, but it could be done. On the way home or at my leisure. Already I was portioning out the money in my mind – so much to Hungary, so much to Israel, so much to Macedonia, to Ireland, to Kurdistan, to Croatia. And some, no doubt, to the girl in Macedonia who expected my child. And perhaps a bit to Kurt Neumann, and surely some to Sarkan’s friends in Athens, and…

But I still had to find the records. I turned my attention to Kotacek, squirming in his little homemade hell of Nazi march music played off tempo and a light that flashed on and off, on and off, illuminating a black swastika on a white wall.

It didn’t take very much longer. He coughed it up in bitter gasps and he cursed around the words, cursed the Jews and the Czechs and the Negroes and the Orientals, cursed all the persons and peoples he blamed for the miseries of the world, all of which miseries had suddenly come down around his head. The words poured out in a bitter stream of Slovak, a river of black slime. I couldn’t listen to him. I fled from the room and went down the stairs to the living room. There was a false drawer in his desk. The drawer’s bottom was composed of two pieces of very thin wood artfully fitted one atop the other. I took the fittings of the drawer apart and slipped out one of the pieces of wood to expose the meat in the sandwich, a dozen sheets of onionskin covered with careful, tiny writing. Part was in Slovak, part in code. The part I could read was enough to convince me that I had found the bacon. This was what they wanted in Washington. They were welcome to it.

I went back upstairs. He was roaring now. I turned off the music. I got the strobe light, and pointed it not at the wall, not at the swastika, but at him. His face was drawn, his eyes wild. I set the frequency of the strobe up to the right level and let him have it. His eyes swallowed up the magic flashing light as if hungry for the blackness it would bring, and his face relaxed in mock death as he went out and under.

I put out the strobe light, turned on the light overhead. I went to the window and removed the black paper and masking tape. Outside the hot Portuguese sun was shining. Before I had not known what time it was, whether it was night or day.

I stood for several minutes at Kotacek’s bedside. I had gotten what I came for, what I had been sent for. The records for my pudgy string-puller, the money for whomever I decided to give it to. And a filthy old Nazi, a pathetic old Nazi, had been saved from the rope. No trial, no execution. He could go on living, writing his letters, weaving his webs of intrigue, bolting his food, injecting his insulin, worrying about his heart, and periodically, tasting false death in a cataleptic fit. He could go on in this fashion for a year or two years or five years or more, until one time the seizure was permanent and the death real.