Stuart reached out suddenly to grab the front of Kleiber’s jacket. ‘Where is it, Kleiber?’ He banged him back against the wall with enough force to make the thin partition wall shake. ‘You came here to give it to Grechko. Grechko is dead; give it to me.’ The sound echoed. ‘Give it to me!’ Stuart slapped him. Kleiber’s head hit the plasterboard wall again, and a large table lamp fell to the floor and broke. Kleiber shook his head slowly and blinked; his eyes watered with pain and surprise. Boyd Stuart said softly, ‘Give me the photo Franz Wever sent to you general delivery in Los Angeles.’
Slowly Kleiber unbuckled his belt and slid it through the loops of his trousers. He unzipped the inside of the belt to open the money compartment and took out a very tattered snapshot and a single-frame 35-mm negative.
‘How did you know?’
‘You collected the cameras; you just told me so. You were in a unique position to get a photo of Hitler and Churchill shaking hands.’ Stuart smoothed the photo to look at it. ‘And you could hide in a good spot to get the picture, concealment would be expected of a security guard.’
Kleiber nodded.
It was a blurred photo; Hitler squinting into the light, Churchill-cigar in mouth-frowning as if perplexed. But the two men had grasped hands firmly in an unmistakable gesture of solidarity.
‘Now what?’ Kleiber asked. He wiped his face with his handkerchief, watching Stuart warily and still surprised that his guess about the Scotsman’s violent nature was so soon confirmed.
Stuart had discovered everything he wanted to know. Already he had begun to decide how much of it should go into his report to Sir Sydney Ryden. He looked at his watch and wondered if the cashier would complain if he went Concorde.
‘Now, what? Now nothing, Kleiber.’ The man was a repugnant creature but that made his job only marginally more bearable.
Stuart patted his pockets as if searching for cigarettes. He felt the box inside which the hypodermic was wrapped in cotton gauze, with a spare phial inside his silver cigarette case where it was not likely to be broken. He hated these XPD jobs that the laboratory experts arranged. It was horrible enough to dispose of men with gun, blade or explosive but these toxic chemicals were loathsome.
‘I’m sorry, Kleiber,’ he said. ‘But it’s the end of the story.’
‘I’m a soldier,’ said Kleiber. It was almost as if he welcomed the chance to die like a hero.
Len Deighton
Len Deighton was born in London in 1929. He worked as a railway clerk before doing his National Service in the RAF as a photographer attached to the Special Investigation Branch.
After his discharge in 1949, he went to art school – first to the St Martin's School of Art, and then to the Royal College of Art on a scholarship. It was while working as a waiter in the evenings that he developed an interest in cookery – a subject he was later to make his own in an animated strip for the Observer and in two cookery books. He worked for a while as an illustrator in New York and as art director of an advertising agency in London.
Deciding it was time to settle down, Deighton moved to the Dordogne where he started work on his first book, The Ipcress File. Published in 1962, the book was an immediate and spectacular success. Since then he has published twenty books of fiction and non-fiction – including spy stories, and highly-researched war novels and histories – all of which have appeared to international acclaim.
