“Hold this against your neck and lean your head back.” She obeyed without a word. All the energy she’d shown down by the river seemed to have evaporated. Maybe because of the nosebleed. He took off her coat and shoes and lay her on the bed, putting the pillow under her back. Like an exhausted little girl, she let him. Before turning off all the lights except for the one in the bathroom, Corso looked around. Other than a toothbrush, toothpaste, and shampoo above the washbasin, the only belongings he could see were her duffel coat, the rucksack open on the sofa, the postcards bought the day before with The Three Musketeers, a gray sweater, a couple of T-shirts, and a pair of white panties drying on the radiator. He looked at the girl, embarrassed. He wasn’t sure whether he ought to sit on the edge of the bed or elsewhere. His feeling from the Hue de Rivoli was still there in his stomach. He couldn’t leave. Not until she felt better. In the end he decided to remain standing. He had his hands in his coat pockets, and with one of them he could feel the empty flask of gin. He glanced greedily at the liquor cabinet, its hotel seal still unbroken. He was dying for a drink.
“You were great down there by the river,” he said. “I haven’t thanked you.”
She smiled sleepily. But her eyes, with pupils dilated in the darkness, followed Corso’s every move. “What’s going on?” he asked.
She looked back at him with irony, implying that his question was absurd.
“They obviously want something you have.” “The Dumas manuscript? Or The Nine Doors?” The girl sighed. None of this is terribly important, she seemed to be saying.
“You’re clever, Corso,” she said at last. “By now you should have a theory.”
“I have too many. What I don’t have is any proof.”
“A person doesn’t always need proof.”
“That’s only in crime novels. All Sherlock Holmes or Poirot has to do is guess who the murderer is and how he committed the crime. He invents the rest and tells it as if he knew it was a fact. Then Watson or Hastings congratulates him admiringly and says, ‘Well done. That’s exactly how it happened.’ And the murderer confesses. The idiot.”
“I’d congratulate you.”
This time there was no irony in her voice. She was watching him intently, waiting for him to say or do something.
He shifted uneasily. “I know,” he said. The girl still held his gaze, as if she truly had nothing to hide. “But I wonder why.”
He was about to add, “This is real life, not a crime novel,” but didn’t. At this point in the story, the line between fantasy and reality appeared rather tenuous. The flesh-and-blood Corso, having an ID, a known place of residence, and a physical presence, of which his aching bones—after the episode on the stone steps—were proof, was increasingly tempted to see himself as a real character in an imaginary world. But that wasn’t good. From there it was only a small step to believing he was an imaginary character who thinks he’s real in an imaginary world. Only a small step to going nuts. And he wondered whether someone, some twisted novelist or drunken writer of cheap screenplays, at that very moment saw him as an imaginary character in an imaginary world who thought he wasn’t real. That really would be too much.
These thoughts made his mouth unbearably dry. He stood in front of the girl, his hands in his pockets, his tongue like sandpaper. If I were imaginary, he thought with relief, my hair would stand on end, I’d exclaim “Woe is me!” and my face would be beaded with sweat. And I wouldn’t be this thirsty. I drink, therefore I am. So he went to the liquor cabinet, broke the seal, took a miniature bottle of gin, and drank it in two gulps. He was almost smiling when he stood up and shut the cabinet like someone closing a reliquary. Things gradually assumed their proper proportions.
The room was fairly dark. The dim light from the bathroom slanted across the bed where the girl was still lying. He looked at her bare feet, her legs, the T-shirt spattered with dry blood. Then his gaze lingered over her long, tanned, bare neck. The half-open mouth showing the tips of her white teeth in the gloom. Her eyes still watching him intently. He touched the key to his room inside his coat pocket. He ought to leave.
“Are you feeling better?”
She nodded. Corso looked at his watch, although he didn’t really care about the time. He didn’t remember having switched on the radio as they came into the room, but there was music playing somewhere. A melancholy song, in French. A waitress in a bar, in a port, in love with a sailor. “Right. I’ve got to go.”
The woman on the radio went on singing. The sailor, predictably, had gone for good, and the girl in the bar gazed at his empty chair and the wet ring left by his glass on the table. Corso went to the bedside table to get his handkerchief and used the cleanest part to wipe his undamaged lens. Then he saw that the girl’s nose was bleeding. “It’s started again.”
A trickle of blood was running down to her mouth. She put her hand to her face and smiled stoically, looking at her bloodstained fingers.
“It doesn’t matter.” “You ought to see a doctor.”
She half closed her eyes and shook her head. She looked helpless in the dim light of the room, dark spots of blood staining the pillow. Still holding his glasses, he sat down on the edge of the bed and leaned over to hold the handkerchief to her nose. As he did so, his shadow, outlined on the wall by the slanting light from the bathroom, seemed to hesitate a moment between light and darkness before disappearing into the corner. Then the girl did something strange, unexpected. She ignored the handkerchief he was offering her and stretched out her bloody hand to him. She touched his face and drew four red lines with her fingers, from his forehead to his chin. Instead of moving her hand away after this singular caress, she kept it there, damp and warm, while he felt drops of blood running down the four lines on his face. Her luminous irises reflected the light from the half-open door, and he shuddered, seeing in each the image of his lost shadow.
Another song was playing on the radio, but neither of them was listening. The girl smelled of heat and fever, a gentle pulse throbbing under the skin of her bare neck. The room was light and dark, and things became lost in the deep shadows. She whispered something unintelligible very low, and light glinted in her eyes as she slipped her hand around his neck, spreading the trail of warm blood. With the taste of blood on his tongue, he leaned toward her, toward her soft, half-open mouth. She gave a gentle moan which seemed to come from far away, slow and monotonous, centuries-old. For a brief moment, in the pulse of her flesh all Lucas Corso’s previous deaths came to life, as if brought by the current of a dark, slow river whose waters were as thick as varnish. He regretted that she didn’t have a name that he could carve in his memory with that moment.
It lasted only a second. Then, recovering his clearheadedness, he saw his other self sitting on the edge of the bed, still in his coat, mesmerized as she moved back slightly and undid her jeans, arching her back like a beautiful young animal. He watched her with a kind of internal, benevolent wink, with a familiar indulgence both weary and skeptical. More with curiosity than desire. As she slid her zipper open, the girl uncovered a dark triangle that contrasted with the white cotton panties that came down with her jeans. Her long, tanned legs, stretched out on the bed, took Corso’s—both the Corsos’— breath away, just as they had kicked in Rochefort’s teeth. Then she lifted her arms and took off her T-shirt. She did it naturally, neither flirtatious nor indifferent. She kept her calm, sweet eyes on him until her T-shirt covered her face. Then the contrast was even greater—more white cotton, this time sliding upward over tanned skin, her firm, warm flesh, her slender waist, her heavy, perfect breasts outlined against the light in the darkness, her neck, her half-open mouth, and once again her eyes, with all the light in them stolen from the sky. With Corso’s shadow in them, like a soul locked in the bottom of a double crystal ball or emerald.
At that moment, he knew that he wouldn’t be able to do it.
He sensed it with the lugubrious intuition that precedes certain events and marks them, even before they ha
ve taken place, with inevitable disaster. To be prosaic, Corso realized, as he threw the rest of his clothes on top of his coat at the foot of the bed, that his initial erection was now in visible retreat. Cut down in its prime. Or, as his Bonapartist great-great-grandfather would have said, “La Garde recule.” Totally. Anxiously he hoped that, as he was standing against the light, his unfortunately flaccid state wouldn’t be noticed. Very carefully he lay facedown next to her tanned, warm body waiting in the dark and used what the emperor, out on the muddy fields of Flanders, would have called an indirect-approach tactic—sizing up the terrain from the middle distance and making no contact in the critical zone. From a prudent distance he played for time in case Grouchy arrived with reinforcements; he caressed the girl and kissed her unhurriedly on the mouth and neck. But no luck. Grouchy was nowhere to be seen. The old fool was chasing Prussians miles from the battlefield. Corso’s anxiety turned to panic as the girl moved nearer to him and slipped her firm, warm thigh between his thighs. She must have become aware of the extent of the disaster. He saw her smile, a slightly disconcerted smile, but encouraging, as if to say something like, “I know you can do it!” Then she kissed him with extreme tenderness and put out her hand, to help things along. And just when he felt her hand at the very epicenter of the drama, Corso went down completely. Like the Titanic. Straight to the bottom, no half measures. The orchestra playing on deck, women and children first. The next twenty minutes were agony, atonement for all his sins. Heroic attacks meeting the immovable barrier of the Scottish fusiliers. The infantry on the attack glimpsing only the slightest chance of victory. Improvised incursions by the light infantry, in the vain hope of taking the enemy by surprise. Skirmishes of hussars and heavy charges by cuirassiers. But all attempts met with the same results—Wellington was messing around in a remote Belgian village while his pipers were playing the march of the Scots Greys in Corso’s face. The Old Guard, or what remained of it, was glancing desperately in all directions, teeth clenched and face against the sheets, twenty minutes by the watch, which, for his sins, he hadn’t removed. Drops of sweat the size of fists ran from the roots of his hair down his neck. He looked with wide staring eyes over the girl’s shoulder, desperately wishing for a gun to shoot himself.
SHE WAS ASLEEP. HE stretched out an arm, carefully so as not to wake her, and searched for a cigarette inside his coat. When it was lit, he propped himself up on an elbow and stared at her. She was on her back, naked, her head tilted back on the pillow spotted with dry blood, breathing gently through her half-open mouth. She still smelled of fever and warm flesh. In the glow from the bathroom, which traced her outline in light and shadow, Corso admired her perfect body. This, he told himself, is a masterpiece of genetic engineering. He wondered what mixture of blood, or mysteries, saliva, skin, flesh, semen, and chance had commingled to create her. All women, all females produced by the human species were there, summed up in her eighteen- or twenty-year-old body. He saw the pulse at her neck, the almost imperceptible beat of her heart, the gentle curve from her back to her waist, widening at the hips. He put out his hand and stroked the small curly triangle down where the skin was a little lighter, between her thighs where he’d been unable to bivouac in the classic manner. The girl had taken the situation with perfect good humor. She’d made light of it, and they’d drifted into a lighthearted, friendly game once she understood that on Corso’s part and in that particular bout, there wasn’t going to be any more action. This eased the tension. Lacking a gun—they shoot horses, don’t they?—in his blind rage he had wanted to dash his head against the corner of the bedside table in an attempt to crack his skull. But he ended up discreetly punching the wall, almost breaking his hand. Surprised by that and the sudden tension of his body, she looked at him. The effort it took not to shout out in pain calmed him. He even managed to smile rather tensely and say that this usually happened to him only the first thirty times or so. She laughed, her arms around him, and kissed his eyes and mouth, amused and tender. You idiot, Corso. I don’t mind at all. He did the only thing he could at that point—a meticulous play of fingers in the right place, with results that were, if not glorious, at least satisfactory. As she caught her breath, the girl stared at him for a long time in silence before kissing him slowly, conscientiously, until the pressure of her lips diminished and she fell asleep.
The burning tip of his cigarette lit up his fingers in the darkness. He kept the smoke in his lungs as long as he could, then exhaled, watching the patterns it made in the segment of light above the bed. He felt the girl’s breathing falter for a moment, and he looked at her sharply. She was frowning and moaning quietly, like a child having a nightmare. Then, still asleep, she half turned toward him, her arm under her bare breasts and her hand under her face. Who the hell are you, he asked her soundlessly once again, bad-temperedly, although he next leaned over to kiss her. He stroked her short hair, the curve of her waist and hips now sharply silhouetted against the light. There was more beauty in that gentle line than in a melody, a sculpture, a poem, or a painting. He moved closer and smelled her neck, and at that instant his own pulse started to hammer more strongly, awakening his flesh. Keep calm now, he said to himself. Don’t panic this time. Let’s continue. He didn’t know how long he could keep it up, so he hurriedly stubbed out his cigarette and pressed himself against the girl. His body seemed to respond in a satisfactory manner. Then he parted her legs and at last, bewildered, entered a moist, welcoming paradise of warm milk and honey. He felt the girl shift sleepily and put her arms around him, although she wasn’t quite awake. He kissed her on the neck, the mouth. She was moaning gently, and he realized that she was moving her hips in time with him. And when he sank right to the root of the flesh and himself, making his way easily to a place lost in his memory, she opened her eyes and looked at him surprised and happy, green reflections through her long damp lashes. I love you, Corso. Iloveyoulloveyoulloveyoulloveyou. I love you. Later he had to bite his tongue in order not to say something equally stupid. Amazed and incredulous, he watched from a distance and did not know himself. He was attentive to her, watching her beats, movements, anticipating her desires and discovering her secret springs, the intimate key to the soft yet tense body wound firmly around his own. They went on like that for about an hour. Afterward Corso asked her if there was any risk of pregnancy, and she told him not to worry, she had everything under control. Then he put it all away deep inside him, next to his heart.
HE WOKE AT DAYBREAK. The girl was sleeping pressed against him. For some time he didn’t move in order not to wake her. He made himself stop thinking about what had happened or might happen. He closed his eyes and drifted, enjoying the peace of the moment. He could feel her breath on his skin. Irene Adler, 223B Baker Street. The devil in love. The outline in the mist confronting Rochefort. The blue duffel coat falling slowly, unfolding, onto the quayside. And Corso’s shadow in her eyes. She slept, relaxed and tranquil, aware of nothing. He couldn’t link the images in his mind logically. At that moment, logic had no appeal. He felt lazy and content. He put his hand between her warm thighs and kept it there, very still. Her naked body, at least, was real.
Later, he got out of bed carefully and went to the bathroom. In the mirror he saw that he still had traces of dried blood on his face, and also, as the result of his encounter with Rochefort and the stone steps, a bluish bruise on his left shoulder, and another across a couple of ribs, which hurt when he pressed it. He had a quick wash and went to look for a cigarette. As he was searching in his coat, he found the note Gruber had handed him.
He cursed under his breath for having forgotten it, but there was nothing he could do about that now. So he opened the envelope and went back to the light in the bathroom to read the note. It was brief and its contents—two names, a number, and an address—made him smile malevolently. He glanced at himself again in the mirror. His hair was matted, and he needed a shave. He put on his glasses as if arming himself, a mean wolf off to hunt. He picked up his clothes and canvas b
ag quietly, and gave the sleeping girl a last glance. Maybe it was going to be a beautiful day after all. Buckingham and Milady were about to choke on their breakfast.
THE HOTEL CRILLON WAS too expensive for Flavio La Ponte. Enrique Taillefer’s widow must have been paying the bill. Corso reflected on this as he paid his taxi on the Place Concorde and crossed the marble lobby to the stairs and room 206. There was a DO NOT DISTURB sign on the door and no sound when he rapped loudly three times. Three punctures were made in the heathen flesh, and the White Whale’s barbs were then tempered. The Brotherhood of Nantucket Harpooners was about to be dissolved. Corso didn’t know if he was sorry or not. He and La Ponte had once imagined an alternative version of Moby-Dick. Ishmael writes the story, places the manuscript in the caulked coffin, and drowns with the rest of the crew of the Peguod Queequeg is the only survivor, the wild harpooner with no intellectual pretensions. In time he learns to read. One day he reads his friend’s novel and discovers that Ishmael’s account and his own memories of what happened are completely different. So he writes his own version of the story. Call me Queequeg the story begins, and he titles it A Whale. From the harpooner’s point of view, Ishmael was a pedantic scholar who blew things out of proportion. Moby Dick wasn’t to blame, he was a whale like any other. It was all a matter of an incompetent captain wanting to settle a personal score instead of filling barrels with oil. “What does it matter who tore his leg off?” writes Queequeg. Corso could remember the scene around the table in Makarova’s bar. Makarova, with her masculine, Nordic reserve, listening carefully as La Ponte explained the use of the caulking on the carpenter’s coffin while Zizi looked on jealously from the other side of the bar. In those days, if Corso dialed his own number, Nikon would answer—he always pictured her emerging from the darkroom, her hands wet with fixative. That’s what happened the night they rewrote Moby-Dick. They all ended up at Corso’s place, emptied more bottles, and watched a John Huston movie on the VCR. They drank a toast to old Melville when the Rachel, searching the seas for her lost sons, at last finds another orphan.
The Dumas Club Page 25
