Hannibal Rising (10 page)

Above Lady Murasaki in the dark, the attic floor creaked. Weight on the boards, not the squeak of a mouse. Lady Murasaki took a deep breath and swung her feet onto the cold stone floor of the bedroom. She put on her light kimono, touched her
hair, gathered flowers from a vase in the hall and, carrying a candle lamp, mounted the stairs to the attic.

The mask carved on the attic door smiled at her. She straightened, she put her hand on the carved face and pushed. She felt the draft press her robe against her back, a tiny push, and far, far down the dark attic she saw the flicker of a tiny light. Lady Murasaki went toward the light, her candle lamp glowing on the Noh masks watching her, and the hanging row of marionettes gestured in the breath of her passing. Past wicker baskets and stickered trunks of her years with Robert, toward the family altar and the armor where candles burned.

A dark object stood on the altar before the armor. She saw it in silhouette against the candles. She set her candle lamp on a crate near the altar and looked steadily at the head of Paul the Butcher standing in a shallow suiban flower vessel. Paul’s face is clean and pale, his lips are intact, but his cheeks are missing and a little blood has leaked from his mouth into the flower vessel, where blood stands like the water beneath a flower arrangement. A tag is attached to Paul’s hair. On the tag in a copperplate hand:
Momund, Boucherie de Qualité
.

Paul’s head faced the armor, the eyes upturned to the samurai mask. Lady Murasaki turned her face up too and spoke in Japanese.

“Good evening, Honored Ancestor. Please excuse this inadequate bouquet. With all respect, this is not the type of help I had in mind.”

Automatically she picked up a wilted flower and ribbon from the floor and put it in her sleeve, her eyes moving all the while. The long sword was in its place, and the war axe. The short sword was missing from its stand.

She took a step backward, went to the dormer window and opened it. She took a deep breath. Her pulse sounded in her ears. The breeze fluttered her robe and the candles.

A soft rattle from behind the Noh costumes. One of the masks had eyes in it, watching her.

She said in Japanese, “Good evening, Hannibal.”

Out of the darkness came the reply in Japanese, “Good evening, my lady.”

“May we continue in English, Hannibal? There are matters I prefer to keep private from my ancestor.”

“As you wish, my lady. In any case, we have exhausted my Japanese.”

He came into the lamplight then, carrying the short sword and a cleaning cloth. She went toward him. The long sword was in its rack before the armor. She could reach it if she had to.

“I would have used the butcher’s knife,” Hannibal said. “I used Masamune-dono’s sword because it seemed so appropriate. I hope you don’t mind. Not a nick in the blade, I promise you. The butcher was like butter.”

“I am afraid for you.”

“Please don’t be concerned. I’ll dispose of … that.”

“You did not need to do this for me.”

“I did it for myself, because of the worth of your person, Lady Murasaki. No onus on you at all. I think Masamune-dono permitted the use of his sword. It’s an amazing instrument, really.”

Hannibal returned the short sword to its sheath and with a respectful gesture to the armor, replaced it on its stand.

“You are trembling,” he said. “You are in perfect possession of yourself, but you are trembling like a bird. I would not have approached you without flowers. I love you, Lady Murasaki.”

Below, outside the courtyard, the two-note cry of a French police siren, sounded only once. The mastiff roused herself and came out to bark.

Lady Murasaki quick to Hannibal, taking his hands in hers, holding them to her face. She kissed his forehead, and then the intense whisper of her voice: “Quickly! Scrub your hands! Chiyoh has lemons in the maid’s room.”

Far down in the house the knocker boomed.

LADY MURASAKI let Inspector Popil wait through one hundred beats of her heart before she appeared on the staircase. He stood in the center of the high-ceilinged foyer with his assistant and looked up at her on the landing. She saw him alert and still, like a handsome spider standing before the webbed mullions of the windows, and beyond the windows she saw endless night.

Popil’s breath came in a bit sharply at the sight of Lady Murasaki. The sound was amplified in the dome of the foyer, and she was listening.

Her descent seemed one motion with no increment of steps. Her hands were in her sleeves.

Serge, red-eyed, stood to the side.

“Lady Murasaki, these gentlemen are from the police.”

“Good evening.”

“Good evening, ma’am. I’m sorry to disturb you so late. I need to ask questions of your … nephew?”

“Nephew. May I see your credentials?” Her hand came out of her sleeve slowly her hand disrobing. She read all the text in his credentials, and examined the photograph.

“Inspector POP-il?”

“Po-PIL, Madame.”

“You wear the Legion of Honor in your photograph, Inspector.”

“Yes, Madame.”

“Thank you for coming in person.”

A fragrance, fresh and faint, reached Popil as she gave him back his identification. She watched his face for its arrival, and saw it there, a minute change in his nostrils and the pupils of his eyes.

“Madame
…?”

“Murasaki Shikibu.”

“Madame is the Countess Lecter, customarily addressed by her Japanese title as Lady Murasaki,” Serge said, brave for him, speaking with a policeman.

“Lady Murasaki, I would like to speak with you in private, and then with your nephew separately.”

“With all due respect to your office, I’m afraid that is not possible, Inspector,” Lady Murasaki said.

“Oh, Madame, it is entirely possible,” Inspector Popil said.

“You are welcome here in our home, and you are entirely welcome to speak with us together.”

Hannibal spoke from the stairs. “Good evening, Inspector.”

He turned to Hannibal. “Young man, I want you to come with me.”

“Certainly, Inspector.”

Lady Murasaki said to Serge, “Would you get my wrap?”

“That will not be necessary, Madame,” Popil said. “You won’t be coming. I will interview you here tomorrow, Madame. I will not harm your nephew.”

“It’s fine, my lady,” Hannibal said.

Inside her sleeves Lady Murasaki’s grip on her wrists relaxed a little in relief.

THE EMBALMING ROOM was dark, and silent except for a slow drip in the sink. The inspector stood in the doorway with Hannibal, raindrops on their shoulders and their shoes.

Momund was in there. Hannibal could smell him. He waited for Popil to turn on the light, interested to see what the policeman would consider a dramatic interval.

“Do you think you would recognize Paul Momund if you saw him again?”

“I’ll do my best, Inspector.”

Popil switched on the light. The mortician had removed Momund’s clothing and put it in paper bags as instructed. He had closed the abdomen with coarse stitching over a piece of rubber raincoat, and placed a towel over the severed neck.

“Do you remember the butcher’s tattoo?”

Hannibal walked around the body. “Yes. I hadn’t read it.”

The boy looked at Inspector Popil across the body. He saw in the inspector’s eyes the smudged look of intelligence.

“What does it say?” the inspector asked.

“Here’s mine, where’s yours?”

“Perhaps it should say
Here’s yours, where’s mine?
Here is your first kill, where is my head? What do you think?”

“I think that’s probably unworthy of you. I would hope so. Do you expect his wounds to bleed in my presence?”

“What did this butcher say to the lady that drove you crazy?”

“It did not drive me crazy Inspector. His mouth offended everyone who heard it, including me. He was rude.”

“What did he say Hannibal?”

“He asked if it were true that Japanese pussy runs sideways, Inspector. His address was ‘Hey Japonnaise!’ ”

“Sideways.” Inspector Popil traced the line of stitches across Paul Momund’s abdomen, nearly touching the skin. “Sideways like this?” The inspector scanned Hannibal’s face for something. He did not find it. He did not find anything, so he asked another question.

“How do you feel, seeing him dead?”

Hannibal looked under the towel covering the neck. “Detached,” he said.

The polygraph set up in the police station was the first the village policemen had seen, and there was considerable curiosity about it. The operator, who had come from Paris with Inspector Popil, made a number of adjustments, some purely theatrical, as the tubes warmed up and the insulation added a hot-cotton smell to the atmosphere of sweat and cigarettes. Then the inspector, watching Hannibal watching the machine, cleared the room of everyone but the boy, himself and the operator. The polygrapher attached the instrument to Hannibal.

“State your name,” the operator said.

“Hannibal Lecter.” The boy’s voice was rusty.

“What is your age?”

“Thirteen years.”

The ink styluses ran smoothly over the polygraph paper.

“How long have you been a resident of France?”

“Six months.”

“Were you acquainted with the butcher Paul Momund?”

“We were never introduced.”

The styluses did not quiver.

“But you knew who he was.”

“Yes.”

“Did you have an altercation, that is a fight, with Paul Momund at the market on Thursday?”

“Yes.”

“Do you attend school?”

“Yes.”

“Does your school require uniforms?”

“No.”

“Do you have any guilty knowledge of the death of Paul Momund?”

“Guilty knowledge?”

“Limit your responses to yes or no.”

“No.”

The peaks and valleys in the ink lines are constant. No increase in blood pressure, no increase in heartbeat, respiration constant and calm.

“You know that the butcher is dead.”

“Yes.”

The polygrapher appeared to make several adjustments to the knobs of the machine.

“Have you studied mathematics?”

“Yes.”

“Have you studied geography?”

“Yes.”

“Did you see the dead body of Paul Momund?”

“Yes.”

“Did you kill Paul Momund?”

“No.”

No distinctive spikes in the inked lines. The operator took off his glasses, a signal to Inspector Popil that ended the examination.

A known burglar from Orléans with a lengthy police record replaced Hannibal in the chair. The burglar waited while Inspector Popil and the polygrapher conferred in the hall outside.

Popil unspooled the paper tape.

“Vanilla.”

“The boy responds to nothing,” the polygrapher said. “He’s a blunted war orphan or he has a monstrous amount of self-control.”

“Monstrous,” Popil said.

“Do you want to question the burglar first?”

“He does not interest me, but I want you to run him. And I may whack him a few times in front of the boy. Do you follow me?”

On the downslope of the road leading into the village, a motorbike coasted with its lights out, its engine off. The rider wore black coveralls and a black balaclava. Silently the bike rounded a corner at the far side of the deserted square, disappeared briefly behind a postal van parked in front of the post office and moved on, the rider pedaling hard, not starting the engine before the upslope out of the village.

Inspector Popil and Hannibal sat in the commandant’s office. Inspector Popil read the label on the commandant’s bottle of Clanzoflat and considered taking a dose.

Then he put the roll of polygraph tape on the desk and pushed it with his finger. The tape unrolled its line of many small peaks. The peaks looked to him like the foothills of a mountain obscured by cloud. “Did you kill the butcher, Hannibal?”

“May I ask you a question?”

“Yes.”

“It’s a long way to come from Paris. Do you specialize in the deaths of butchers?”

“My specialty is war crimes, and Paul Momund was suspected in several. War crimes do not end with the war, Hannibal.” Popil paused to read the advertising on each facet of the ashtray. “Perhaps I understand your situation better than you think.”

“What is my situation, Inspector?”

“You were orphaned in the war. You lived in an institution, living inside yourself, your family dead. And at last, at last your beautiful stepmother made up for all of it.” Working for the bond, Popil put his hand on Hannibal’s shoulder. “The very scent of her takes away the smell of the camp. And then the butcher spews filth at her. If you killed him, I could understand. Tell me. Together we could explain to a magistrate …”

Hannibal moved back in his chair, away from Popil’s touch.

“The very scent of her takes away the smell of the camp?
May I ask if you compose verse, Inspector?”

“Did you kill the butcher?”

“Paul Momund killed himself. He died of stupidity and rudeness.”

Inspector Popil had considerable experience and knowledge of the awful, and this was the voice Popil had been listening for; it had a faintly different timbre and was surprising coming from the body of a boy.