The Killing Files. Nikki Owen

Dr Andersson’s slight body, her twisted limbs.

      ‘She is alive,’ I say. ‘Injured.’

      ‘I don’t give a damn about her—just get the hell out of there. Get your notebook and bag and run!’

      But my eyes catch sight of my ordered articles and photographs and sketches ripped on the floor pressed under Dr Andersson’s mashed up body, blood seeping from her ear. For a moment there is a quiet, macabre eeriness to it all as the summer sun glows through the windows, warm and serene over the utter devastation in my villa. I slap a hand to the wall, steady myself, everything spinning a little as I will my brain not to melt down at the chaos. One, two, three. One, two, three. I play out a waltz of numbers in my head, draw in a long breath then, looking up, acknowledge where my notebook is and, glancing at Dr Andersson’s splayed limbs, stagger towards the fallen gun.

      Balthus crackles on the line. ‘Are you on the move?’

      ‘Yes.’

      I step over a broken laptop, and stop. There is a torn photograph of my papa lying discarded amidst the mess. It is the one of him with his arm around me, except the picture now only shows me with Papa’s arm on my shoulder, and does not show his face or the rest of him, his body ripped off and in two. The sight of the photograph instantly bothers me.

      ‘Papa.’ I scan the floor, frantic. ‘Where is the other half?’

      ‘What?’

      ‘The photograph of Papa,’ I say to Balthus, twisting left and right, crouching down despite the searing pain in my leg, and clawing through the tattered paper that litters the floor. ‘She tore it in two. Papa is missing.’

      ‘Maria, you’ve no time for this.’

      But I keep looking, ignoring Balthus, ignoring the sting in my leg, led on instead by the urge to stay connected to my father in any way I can. I lift up a heap of shredded newspaper then drop it, confetti pieces floating in the sun. ‘He taught me not to flinch,’ I say to myself. ‘Papa.’

      ‘Maria? Maria, I know this is hard for you, but you don’t have time for this. If MI5 don’t hear from Dr Andersson, they’ll come to the villa. And if they know where you live, chances are the Project do too.’

      Yet it’s as if his words have no meaning. All I can obsess on is Papa’s picture.

      ‘Maria!’

      I lift up files. I throw torn shreds of NSA articles and images around until the air becomes thick with paper and no matter how hard I try, no matter how much I tell myself to leave, I can’t, not without Papa, not without seeing his arm around me, safe, secure, knowing I’m not on my own, because I don’t want to be on my own, not really, not like this for the rest of my life. And then, as I turn, there, among the broken pieces of laptop plastic, I see him, Papa, his eyes shining bright as if he were still alive, warm, breathing next to me.

      ‘Maria, have you got it?’

      ‘Yes!’

      I grab the picture, thrust it to my chest and standing, happy, so happy I have him close to me, even if it’s only like this.

      ‘Good. Okay, Maria. Now you need to run. Run now, yes?’

      ‘Yes. Yes.’

      I turn, checking the room, glancing to Dr Andersson’s body on the floor, then, grabbing my notebook fast from where it lies half-hidden by a stack of half-toppled books, I go to hobble to my bedroom, to the hidden floor compartment containing my emergency bag. But, as I reach the door, there is an almighty scream that fills the room, piercing my ears.

      Dr Andersson flies at me. ‘No!’

      Her hand grabs me as she smacks me against the wall, the picture of Papa floating from my fingertips, notebook flying to the left. She slams me against the wall again, blood instantly spurting from my wound. Flipping me over, she digs her knee into my chest, pinning me down, but my right arm slips free and, crunching my fingers into a fist, I turn, punch her hard in the nose. There is a loud crack. Her head spins back, hand slaps to her face as blood spurts, a crimson slit sliced into her skin.

      I shift faster now, heart racing, counting the entire time to focus, my body rolling away, quicker now, Balthus from the cell shouting at me over and over again to get to the door, to get out, but before I do, there is a scraping on my leg where the bullet wound throbs.

      I look down. Dr Andersson has dug her nails into my skin, clawing at the injury and she is trying to reach my cell phone. ‘Just … Maria, don’t do this …’

      Heat rockets up my leg and I scream out, stumbling forward, attempting to get to a stand, but my knees wobble and I tumble, my torso toppling forward, body a felled tree, slicing my scalp on the corner of a chair.

      Blood splatters in my eyes, disabling my sight, the heat of it, the ooze cloaking my face. My hands flap in front of me as I frantically try to see, attempt to stagger to safety, but Dr Andersson gets to me before I can run. The blood clears and my sight kicks in, but now she has an arm locked around my neck, her hands grasping for my cell phone.

      ‘Who are you speaking to?’ she yells. ‘Who?’

      I smack her hands away and then, spinning round, see it: her gun—under the table where it landed.

      And now both our eyes are on it.

      Quick, slick, she throws me to the side, lurching for the weapon, my shoulder slamming into the stone floor. She kicks me hard in the stomach and I reel back, the agony of it engulfing me, spiking into my consciousness.

      ‘Jesus Christ, Maria, why? Stay fucking still.’ She spits out some blood, looking round for the gun. ‘I didn’t want to fucking do it like this.’

      But I can’t let her get the gun, can’t let her get to my cell and to Balthus. And then I spot my torn Papa photograph, lying lost next to ripped pictures of Mama, Ramon, Patricia and Harry, and a sudden rage courses through me, one phrase slamming into my mind—prepare, wait, engage.

      I glance once more to the photographs and I fly. I fly at Dr Andersson and punch her throat, straight on the windpipe, and her whole body instantly folds, collapsing in with a strange gurgle as her hand clutches her skin. I scramble up, eyes scanning the floor. The gun. Where is the gun?

      ‘Stop!’ Slam. Dr Andersson’s whole body lands on me. I stagger backwards at the weight of her, smothering me almost, impossible to breath, horrified that she is on me, touching me, and I hit out, my legs kicking at her shins, but it does no good. She topples me, my cell phone almost slipping away.

      ‘Maria!’ Balthus yells.

      My face smacks the tiles, bones crunching as she knees me in the chest. Air shoots out and it feels as if I am drowning, as if every atom of oxygen is wheezing from my thorax as now Dr Andersson’s knees pin my torso down, her legs wedged into my skin.

      ‘So it’s the governor you’re in touch with,’ she says, spitting to the floor. ‘I know his voice. Maria, it’s over. Don’t drag everyone into this.’

      She shifts to the right, blowing air on her face where her ponytail now hangs in strings of sweat on her face, and as I try and jerk my head out of her way, I see a glint. The bar. The iron bar.

      I move fast, automatic. I whip my hand forward and with one swift movement, stretch my arm, grab the bar and, using all the force I can find, smash it over Dr Andersson’s head.

      Her grip immediately loosens, her fingers go slack. She slips to the side, a slow groan sliding from her mouth and I waste no time. Pushing her off me, I scramble back, crawling on all fours, my eyes darting left and right until they finally land on the gun, wedged now into the wall. I grab it, chest heaving, and, staggering to a stand, point it at her.

      ‘My baby—’ she says, eyes rolling in her head. ‘It’s her … birthday …’ Blood loops round her ear now, pooling in the well inside it, and she drifts in and out of consciousness.

      I