Your Face Tomorrow: Dance and Dream (39 page)

When Manoia had disappeared (at a trot), Tupra looked at me very seriously, almost ominously, outside on the pavement by the lights of the Ritz Hotel, Ritz Restaurant, Ritz Club. Then he smiled broadly and said:
'Shall I give you a lift? It's Dorset Square, isn't it, or a square near there? In that area, anyway.'

I knew, for example, that he knew the precise details of my address and that all these approximations were a pretence, he would have memorised the floor and the number and the letter of my apartment, as he did with all his collaborators. I also knew that he
wanted
to give me a lift, for some reason that went beyond mere thoughtfulness. He wanted to talk, to comment on the events of the night. Or to warn me about something. Or to give me advice and perhaps instructions for other such
occasions, after my baptism of fire, as a witness and in the presence of a sword. I didn't think he intended giving me an explanation or apologising, smoothing away any rough edges. But he wanted something. I assumed, therefore, that he would end up giving me a lift in his Aston Martin,
velis nolis.
And that if I declined his offer, he would insist. And that if I refused, he would insist further.

'There's no need, I'll take a taxi,' I replied, and he must have realised that my indignation had not abated.

The two of us were standing on the pavement outside the Ritz; he had left the car door open while we were saying our rapid farewells to the Catholic couple, the nearside door, the co-pilot's door, from which I had emerged. The commissionaire kept shifting from one foot to another, as if his feet were cold. He was keeping an urgent eye on us, we weren't supposed to park there, of course, or even to stop.

'Oh, come on, it's no bother, besides, this whole business has woken me up. It'll only take ten minutes; it's the least I can do, you deserve it. Come on, get in, we're in the way here.'

I would have taken a taxi and that would have been an end to it, but no taxis were passing at that moment, and the hotel taxi rank must have been elsewhere, I couldn't see it, or perhaps that was it, right there, and it was deserted. However, I knew now, very clearly, that he wanted to or, rather, intended to give me a lift.

The prospect didn't please me. I would have preferred to see no more of him that night and not to run the risk of confronting him and reproaching him and demanding an explanation, and it seemed to me impossible not to do this if we were to go in the car alone. The following morning - we would start late, that was the norm when we had had a late night because of work, and our timetable was, anyway, fairly flexible - I would feel calmer, I thought, and might have come to terms with it more. And although he knew exactly where I lived, I didn't much like the idea of his encroaching on my territory, not with my
knowledge and in my company. When someone drops you off or follows, you or tails you or spies on you, and sees you open your front door as night falls or evening falls, they have seen much more than they appear to have seen or should have seen: they have seen you - how can I put it - in retreat, probably tired and even on the point of succumbing to passivity after the long day of pretence and effort and of false alert; they have, moreover, seen something that we repeat every day, perhaps the most everyday event of our external lives. People allow themselves to be accompanied or given lifts without a qualm, they even expect it and are grateful, as is often the case with women, but from then on it is as if someone knew where to find us — as if they knew it with their own eyes and had stored away the image; which is different from merely knowing something -and at approximately what time too. (Indeed, this is the first thing that burglars and kidnappers, rapists and murderers, spies and policemen find out and observe, what time you come home, when you are at home or when the house is empty, depending on their intentions and whether or not they would prefer you to be there or safely out of the way.) Yes, it makes a lot of difference being seen in our own territory or environs, even more so being seen going up the four or five steps that separate the street from our front door in London, opening the latter with our key, going in and closing it behind us with the involuntary slowness of the weary. After a couple of minutes, they will be able to identify our lights and our balconies, from the pavement below, or from behind the trees and the statue  - except the window on that side has no balcony; and then they are better able to imagine or to guess at our domestic interiors, to know what kind of lighting we like, and even make out our silhouette if we go over to the window or observe us in our personal frame if we lean out to smoke a cigarette or to admire the twilight or to take the air or water the plants, or to see who it is ringing our doorbell on a rainy night, who it is who has been following us for ages now, she and I both with umbrellas and she with a white dog, tis tis tis the dog went, its footsteps
almost flying. And someone in the square, from a distance, or, more precisely, someone from one of the houses opposite, the house of the proud dancer, for example, could have watched the two of us while we were talking, while young Pérez Nuix was asking me a bothersome and awkward favour, and was explaining why it is that our clients are no longer always the State, the army, the navy, a ministry or an embassy, New Scotland Yard or the judiciary, Parliament, the Bank of England, the Secret Service, MI6, MI5 or even Buckingham Palace, the Crown; and also while she wfas answering my numerous questions, sometimes without my even having to ask them and sometimes once I had asked them, 'What do you know about criminals?', 'Who are these "wet gamblers"?' and 'Who do I have to lie or keep silent about in order to please you?' and 'You still haven't asked me the favour, I still don't know what it is exactly' and 'How long have you been working here, how old were you when you started, who were you or what were you like before?' and 'Which private private individuals do you mean, and how is it that this time you know so much about this particular commission, its origin and provenance?' It could no longer be, nor was it, 'a moment', as she had announced after saying 'It's me' from down in the street. (Everything immediately grows longer or becomes tangled or adhesive, as if every action carried within it its own prolongation and every phrase left a thread of glue hanging in the air, a thread that can never be cut without something else becoming sticky too. Everything persists and continues on its own, even if you yourself decide to withdraw.)

And whenever I've brought a woman home, before, when I was single, or during that time in London (I mean brought someone back to spend the night or at least spend some time in my bed), I have always feared that she might later revisit the place uninvited and unsolicited: precisely because she had once set foot there and had seen me inside my apartment, seen how I lived and then stored away the image. And sometimes I have been quite right to fear this. And if someone has returned to this
territory because I wanted them to and with my permission, or even because I summoned them and desired their presence, then, if we don't want them to move in, if we're not prepared for that, there is one room we must never allow them to enter, not even to keep us company while we fix a drink or prepare a snack, and that room is not the bedroom, where it doesn't even matter if they spend the night, nor the bathroom, a single man's bathroom is hardly a place to fire the imagination, but the kitchen, because if a woman enters the kitchen to continue the conversation while we're busy or to help us without our asking or suggesting that she does; if she follows us there on her own initiative, or almost instinctively, the way ducks do, she will probably want to stay by our side
sine die —
for a moment, she experiences or even smells what it would be like to live together - even though she may not know it and it is only her first visit, and even though she would genuinely deny it if someone were to predict it. This was perhaps one of the more trivial things learned from my gift or my curse, assuming I possessed either.

Tupra wasn't a woman and wasn't going to stay, he wasn't even coming upstairs to my apartment, he was merely going to drive into the square in his speedy Aston Martin and leave me at my door. Nevertheless, I didn't like the idea, because I could so easily imagine him afterwards, or on another night, another evening, another day or at dawn, spying on me from behind the trees or the statue, watching my window, or lying in wait in the hotel opposite, eyes trained on my lights or my window and on the possible woman who might have come to see me, although not necessarily to spend time in my bed. Waiting for her to leave. No wonder he had, from the first, struck me as a man who spent more time padding streets than carpets, more time out of the office than slaving away inside.

I opened the passenger door properly and got back into the car, without saying a word. He walked round to his side. I simply gave him my exact address, rather sarcastically I imagine, as if he were a taxi driver, and that was all. I knew I wouldn't be able to contain myself during the next few minutes that we
would spend alone, but I wasn't sure how to begin, perhaps it would be best if I didn't rush things, despite my anger, by saying the first and possibly trivial words of recrimination that sprang to my lips, a mere detail in comparison with the real gravity of what had happened. I had not yet decided to leave this job for good, I needed to think about it more coolly and get myself used to the idea of going back to the BBC, with its ill-paid tedium. I waited for a few long seconds, with the car already moving off and accelerating, to see if he would say something and thus give me an opening. 'He won't do that,' I thought, 'he's very good at withstanding silences, especially those he initiates.' He was the one who had wanted to give me a lift, but perhaps it was not in order to lecture me or to tell me off (it was my fault that we had got stuck with De la Garza), nor to clarify anything to me, but to hear me venting my rage in the heat of the moment, and thus gauge my capacity for anger. After a while, the silence became that of two people who do not wish to speak to each other.

'It's not exactly a cheap area where you live,' he said eventually; the silence, therefore, was not, I judged, one he had decided upon and chosen, and he was not so good at withstanding those: his permanent state of vehemence and tension demanded that he fill every moment with some palpable, audible, recognisable or computable content. The whole car, free now from the interference of Flavia's rival fragrance, smelled of his aftershave, it was as if the lotion impregnated his skin or as if he were constantly, secretly, applying more. I hadn't seen him do so in front of the cripples' mirror. I wound down my window slightly.

'No, it's not cheap, in fact, it's rather expensive,' I replied almost reluctantly. 'But I prefer to spend my money on that, I avoid squalor like the plague.' Suddenly I realised that Tupra wasn't wearing his overcoat and hadn't been for a while, not even draped over his shoulders or over his arm, I hadn't noticed when he had taken it off or where he had put it, it must have been when we left the disco, or perhaps, unbeknown to me, he
had switched coats in the cloakroom. I turned my head to see if the coat was lying on the shelf behind the back seats, but I couldn't see it, so where was the wretched sword? 'What about that sword?' I said.

Tupra - he was no longer Reresby, even though the night was not yet over - took out a cigarette and lit it with the lighter in the car, illuminating for a moment his smooth cheeks the colour of beer, he looked as if he had just shaved. This time he did not offer me one of his precious Egyptian cigarettes. To underline this, I got out one of my own Peloponnese brand, but did not immediately light it.

'It's in the boot.'

'No, I mean what was it for? Why do you carry it with you? That was a monstrous, brutish thing to do, I thought you were really going to cut the guy's head off, I nearly died, you must be mad, I mean what is all this about, where do you think we are, you're nothing but an animal, and why did you need to ...'
It all came out in a rush, in a torrent, despite the fact that his answer ('It's in the boot') had been spoken in the same concluding or conclusive tone with which he had once answered me in his office ('Yes, I have') when I asked him if he had heard about the
coup d'état
against Chavez in Vene zuela (and had added: 'Anything else, Jack?'). My tone was not yet furious, but if I had continued my disjointed litany, that tone would inevitably have come to the fore, we tend to generate our own heat, everything happens inside our head, especially if there is a pause, a condensation, an enforced wait between the events and the explosion. Tupra seemed unaffected, as yet, by my bitter outburst — he did not appear to feel uncomfortable or even moderately upset - and he dammed the current, only barely begun, with a calm, tangential sentence which I only partly understood. Not understanding is what most effectively brings us up short, and the need to understand is more urgent and more potent than any other.

'I learned it from the Krays,' he said, using that plural which is redundant in Spanish when used with surnames or the names
of families (the plural is indicated by the article, for example,
'los Manoia')
and which more and more of our idiotic compatriots are transferring into our language out of pure copy-cat ignorance: they'll end up saying
'los Lopeces'
or
'los Santistebanes'
or
'los Mercaderes' —
but I didn't understand the word at the time, nor did I imagine it as having a capital letter or even know that it was a surname, still less how it was written ('erase', 'craze', 'kreys', 'crays', 'crease', 'creys', or even 'krais'? Most Spaniards have difficulty distinguishing the different kinds of Y in English). That is why I abruptly stopped the deluge, at the same time as he stopped at a traffic light.

'From
what?'

'From whom, you mean,' he replied. 'The Kray brothers, k-r-a-y.' And he spelled it out, as people so often do with English words and names. 'There's no reason why you should have heard of them, they were twins, Ronnie and Reggie, two pioneering gangsters from the 1950's and 1960's, they started out in the East End, they were from Bethnal Green or thereabouts; they took over the respective turfs of the Italians and the Maltese; they prospered and expanded and eventually ended up in prison at the end of the 1960's, one died behind bars and I think the other one is still in there, he must be pretty old by now and he'll probably never be let out. They were the most violent and the most feared and the most vicious of the lot, sadists really, and they did little to curb their cruelty, and to start with, they used swords. Obviously, in their first attempts at punishment beatings and intimidation, they did so out of necessity, because they didn't have the money for more expensive weapons. They provoked terror with those swords, they would slice their victim's face from ear to ear with a single cut, or slit them down the spine or lower still. They'd sometimes make a second cut too, and it's said that they sliced one woman in four. There are a number of books about them, and there was a film as well, I thought you were a cinema-goer. Although it probably wasn't shown in Spain, too parochial to be of interest in other countries, a minor London story. I've seen it, though,
and in one or two scenes they showed them sowing panic with their swords. I remember one scene took place in a pool hall. It wasn't a bad film, well documented, and the actors were twins too. Biographical cinema, they call it.' I had never heard that term. I'd heard of 'biopic', but never 'biographical cinema', yet that was what he said.