‘But telling us that he’s an angry devil out for revenge, doesn’t?’

‘Does it to you?’

Her eyebrows arched for a second. ‘No,’ she admitted. ‘So you think he’s trying to tell us something about Nashorn with the second image?’

‘Maybe.’

‘Yeah, but what? That he considered Nashorn the devil? A man with horns? And how about the other four images, two figures standing and two down? What the hell do they mean?’

Hunter had no reply.

Seventy-Four

His eyelids fluttered like butterfly wings – very damaged butterfly wings. They felt as if they weighed a ton, and it took Nathan Littlewood several seconds and tremendous effort to half open them and keep them that way. Shards of light seemed to rip through his eyeballs. He took a deep breath and his lungs burned as if the air were sulfuric acid. Whatever drug was injected into his neck, it was now wearing off.

His chin slumped down to his chest, his head feeling too heavy for him to lift it back up. He stayed like that for several seconds. Only then he realized that he was naked, except for his sweat-soaked striped boxers clinging to his skin. It took him another moment to understand his position. He was sitting down on a comfortable leather office chair. His arms were pulled back behind him, around the chair’s backrest. His wrists were bound together by something hard and thin that was cutting into his flesh. His feet were also pulled back and tied together under the chair’s seat, about an inch or so from the floor. His whole body hurt as if he’d been at the receiving end of a massive beating, and the pain inside his head was eating away at his sanity.

Something was pulling against the corners of his mouth, and all of a sudden he was overwhelmed by a desperate gagging sensation. Coughing erupted from his chest with incredible force, but the air was half-blocked by the tight cloth gag in his mouth, and that served only to intensify his desire to retch. Littlewood tasted bile mixed with blood, and the coughs quickly escalated into a struggle not to choke to death.

Breathe through your nose, was the only thought that came into his head. He tried to concentrate on that, but he was too scared and drunk on pain for his brain to muster any discipline at that moment. Littlewood needed more air, he was desperate for it, and instinctively he drew another deep breath through his mouth. The mixture of bile and blood that was sitting just under his tongue was sucked back into his throat, blocking the oxygen passage even more.

Total panic.

His eyes rolled back into his head and the contents of his stomach exploded inside him, shooting up through his chest and esophagus like a rocket, though to him everything happened in slow motion. His body started to go limp. Life was quickly draining away from him.

He felt the acid taste of vomit take hold of his mouth a fraction of a second before it was flooded by warm, lumpy liquid. At that exact moment, his gag gave in, dropping from his mouth as if someone had snipped it off at the back.

He threw up all over his lap. But the good news was he could now breathe.

After a battery of dry coughs and spits, Littlewood started taking desperate gasps of air, trying to fill his lungs with oxygen and at the same time calm himself down. He started shaking, convulsing with two realizations – one: he had just come within an inch of death; two: he was still tied to a chair, and he didn’t have a clue what was going on.

Movement came from his left. Startled, Littlewood’s head snapped in that direction. Someone was there, but the shadows didn’t allow Littlewood to see.

‘Hello?’ he said, in such a weak voice he wasn’t sure it’d been audible to anyone but himself.

A few more desperate breaths to steady himself.

‘Hello?’ he tried again.

No answer.

Littlewood looked around himself. He saw a large bookshelf crowded with leather-bound volumes, a floor lamp by the side of a large desk across the room from him – the room’s only source of light. His eyes moved right and he saw a comfortable brown leather armchair. A few feet in front of it he recognized the psychologist’s couch – his psychologist’s couch. He was back in his office.

‘By the look on your face, I can see you’ve figured out where you are.’ The phrase was delivered in an even voice. Someone had come from the shadows, and was now standing about five feet in front of him, leaning against his desk.

Littlewood’s gaze refocused on the tall figure as even more confusion settled in.

‘This is your office. Four floors up from the road below. Thick windows. Thick walls. And your window faces the back alley. Outside your door there’s a large waiting room, and only then do you reach the door to the outside hallway.’ A pause and a shrug. ‘Scream if you like, but no one will hear a peep.’

Littlewood coughed again to try and clear the vile taste from his mouth. ‘I know you.’ His voice was croaked and weak. Fear cloaked every word.

A smile and a shrug. ‘Not as well as I know you.’

Littlewood’s head was still too fuzzy for him to put a name to the face. ‘What? What’s all this?’

‘Well, what you don’t know about me is that I am . . . an artist.’ A deliberate pause. ‘And I’m here to make you into a work of art.’

‘What?’ Littlewood finally noticed that the person in front of him was wearing a clear, hooded, thick plastic jumpsuit and latex gloves.

‘But I guess that what I am does not matter. What matters is what I know about you.’

‘What?’ The fog of confusion was getting denser, and Littlewood started wondering if all this wasn’t just a bad dream.

‘For example,’ the artist continued. ‘I know where you live. I know about your awful marriage all those years back. I know where your son goes to college. I know where you go when you want to let off some steam. I know what you like when it comes to sex, and all the places you go to get it. The dirtier the better, isn’t that right?’

Littlewood coughed again. Spit dribbled down his chin.

‘But best of all . . . I know what you did.’ Pure anger found its way into the artist’s voice.

‘I . . . I don’t know what you’re talking about.’

The artist took a step to the left and the light from the pedestal lamp reflected on something that’d been laid out on Littlewood’s desk. Littlewood couldn’t make out what it was, but he realized that there were several metal objects lying there. Shuddering fear traveled through every inch of his body.

‘It’s OK. I will remind you as the night goes on.’ An irreverent chuckle. ‘And for you, it will be a long, long night.’ The artist grabbed two objects from the desk and approached Littlewood.

‘Wait. What’s your name? Could I have some water, please?’

The artist stopped directly in front of Littlewood and chuckled sarcastically. ‘What, you want to try your psychology crap with me? What would that be? Let’s see . . . ah yes . . . Appeal to the assailant’s human side by asking for the simplest of things, like water, or going to the bathroom. Sympathy for those in need is a natural sentiment to most human beings. You want to call me by my name? Who knows, maybe I’ll call you by yours – which would humanize the victim in the eyes of the assailant, transposing the victim from a simple victim to a person, a human being, someone with a name, with feelings, with a heart. Someone who the assailant could maybe identify with. Someone who, outside the given situation, could be just the same as the assailant, with friends, and family, and everyday problems.’ A new chuckle. ‘Appeal to their human nature, right? It’s supposedly harder for people to hurt someone they know. So try to strike a conversation. Even a simple one can have a massive effect on the assailant’s psyche.’