The Complete Short Stories (93 page)

Georg nodded. 'And someone else too,' he added pensively.

For the next month, after Georg's return to Paris, I spent less time in my office and more in the sale rooms, watching for that familiar profile which something convinced me I had seen before. But for this undeniable conviction I would have dismissed Georg's hypothesis as obsessive fantasy. I made a few tactful enquiries of my assistants, and to my annoyance two of them also vaguely remembered such a person. After this I found myself unable to drive George de Stael's fancies from my mind. No further news was heard of the missing Leonardo - the complete absence of any clues mystified the police and the art world alike.

Consequently, it was with an immense feeling of relief, as much as of excitement, that I received five weeks later the following telegram: CHARLES. COME IMMEDIATELY. I HAVE SEEN HIM. GEORGDE STAEL.

This time, as my taxi carried me from Orly Airport to the Madeleine, it was no idle amusement that made me watch the Tuileries Gardens for any sight of a tall man in a black slouch hat sneaking through the trees with a rolled-up canvas under his arm. Was Georg de Stael finally and irretrievably out of his mind, or had he in fact seen the phantom Ahasuerus?

When he greeted me at the doorway of Normande et Cie his handshake was as firm as ever, his face composed and relaxed. In his office he sat back and regarded me quizzically over the tips of his fingers, evidently so sure of himself that he could let his news bide its time.

'He's here, Charles,' he said at last. 'In Paris, staying at the Ritz. He's been attending the sales here of 19th and 20th century masters. With luck you'll see him this afternoon.'

For once my incredulity returned, but before I could stutter my objections Georg silenced me.

'He's just as we expected, Charles. Tall and powerfully built, with a kind of statuesque grace, the sort of man who moves easily among the rich and nobility. Leonardo and Holbein caught him exactly, that strange haunted intensity about his eyes, the wind of deserts and great ravines.'

'When did you first see him?'

'Yesterday afternoon. We had almost completed the 19th century sales when a small Van Gogh - an inferior copy by the painter of The Good Samaritan - came up. One of those painted during his last madness, full of turbulent spirals, the figures like tormented beasts. For some reason the Samaritan's face reminded me of Ahasuerus. Just then I looked up across the crowded auction room.' Georg sat forward. 'To my amazement there he was, sitting not three feet away in the front row of seats, staring me straight in the face. I could hardly take my eyes off him. As soon as the bidding started he came in hard, going up in two thousands of francs.'

'He took the painting?'

'No. Luckily I still had my wits about me. Obviously I had to be sure he was the right man. Previously his appearances have been solely as Ahasuerus, but few painters today are doing crucifixions in the bel canto style, and he may have tried to redress the balance of guilt by appearing in other roles, the Samaritan for example. He was left alone at 15,000 actually the reserve was only ten - so I leaned over and had the painting withdrawn. I was sure he would come back today if he was Ahasuerus, and I needed twenty-four hours to get hold of you and the police. Two of Carnot's men will be here this afternoon. I told them some vague story and they'll be unobtrusive. Anyway, naturally there was the devil's own row when this little Van Gogh was withdrawn. Everyone here thought I'd gone mad. Our dark-faced friend leapt up and demanded the reason, so I had to say that I suspected the authenticity of the painting and was protecting the reputation of the gallery, but if satisfied would put it up the next day.'

'Clever of you,' I commented.

Georg inclined his head. 'I thought so too. It was a neat trap. Immediately he launched into a passionate defence of the painting - normally a man with his obvious experience of sale rooms would have damned it out of hand bringing up all sorts of details about Vincent's third-rate pigments, the back of the canvas and so on. The back of the canvas, note, what the sitter would most remember about a painting. I said I was more or less convinced, and he promised to be back today. He left his address in case any difficulty came up.' Georg took a silver-embossed card from his pocket and read out: "'Count EnriqueDanilewicz, Villa d'Est, Cadaques, Costa Brava." Across the card was enscribed: 'Ritz Hotel, Paris.'

'Cadaques,' I repeated. 'Dali is nearby there, at Port Lligat. Another coincidence.'

'Perhaps more than, a coincidence. Guess what the Catalan master is at present executing for the new Cathedral of St Joseph at San Diego? One of his greatest commissions to date. Exactly! A crucifixion. Our friend Ahasuerus is once more doing his rounds.'

Georg pulled a leather-bound pad from his centre drawer. 'Now listen to this. I've been doing some research on the identity of the models for Ahasuerus - usually some petty princeling or merchant-king. The Leonardo is untraceable. He kept open house, beggars and goats wandered through his studio at will, anyone could have got in and posed. But the others were more select. The Ahasuerus in the Holbein was posed by a Sir Henry Daniels, a leading banker and friend of Henry VIII. In the Veronese by a member of the Council of Ten, none other than the Doge-to-be, Enri Danieli - we've both stayed in the hotel of that name in Venice. In the Rubens by Baron Henrik Nielson, Danish Ambassador to Amsterdam, and in the Goya by a certain Enrico Da Nella, financier and great patron of the Prado. While in the Poussin by the famous dilettante, Henri, Duc de Nile.'

Georg closed the note-book with a flourish. I said: 'It's certainly remarkable.'

'You don't exaggerate. Danilewicz, Daniels, Danieli, Da Nella, de Nile and Nielson. Alias Ahasuerus. You know, Charles, I'm a little frightened, but I think we have the missing Leonardo within our grasp.'

Nothing was more disappointing, therefore, than the failure of our quarry to appear that afternoon.

***

The transfer of the Van Gogh from the previous day's sales had fortunately given it a high lot number, after some three dozen 20th century paintings. As the bids for the Kandinskys and Legers came in, I sat on the podium behind Georg, surveying the elegant assembly below. In such an international gathering, of American connoisseurs, English press lords, French and Italian aristocracy, coloured by a generous sprinkling of ladies of the demi-monde, the presence of even the remarkable figure Georg had described would not have been over-conspicuous. However, as we moved steadily down the catalogue, and the flashing of the photographers' bulbs became more and more wearisome, I began to wonder whether he would appear at all. His seat in the front row remained reserved for him, and I waited impatiently for this fugitive through time and space to materialize and make his magnificent entry promptly as the Van Gogh was announced.

As it transpired, both the seat and the painting remained untaken. Put off by Georg's doubts as to its authenticity, the painting failed to reach its reserve, and as the last sales closed we were left alone on the podium, our bait untaken.

'He must have smelled a rat,' Georg whispered, after the attendants had confirmed that Count Danilewicz was not present in any of the other sale-rooms. A moment later a telephone call to the Ritz established that he had vacated his suite and left Paris for the south.

'No doubt he's expert at sidestepping such traps. What now?' I asked.

'Cadaques.'

'Georg! Are you insane?'

'Not at all. There's only a chance, but we must take it! Inspector Carnot will find a plane. I'll invent some fantasy to please him. Come on, Charles, I'm convinced we'll find the Leonardo in his villa.'

We arrived at Barcelona, Carnot in tow, with Superintendent Jurgens of Interpol to smooth our way through customs, and three hours later set off in a posse of police cars for Cadaques. The fast ride along that fantastic coast line, with its monstrous rocks like giant sleeping reptiles and the glazed light over the embalmed sea, reminiscent of all Dali's timeless beaches, was a fitting prelude to the final chapter. The air bled diamonds around us, sparkling off the immense spires of rock, the huge lunar ramparts suddenly giving way to placid bays of luminous water.

The Villa d'Est stood on a promontory a thousand feet above the town, its high walls and shuttered moorish windows glistening in the sunlight like white quartz. The great black doors, like the vaults of a cathedral, were sealed, and a continuous ringing of the bell brought no reply. At this a prolonged wrangle ensued between Jurgens and the local police, who were torn between their reluctance to offend an important local dignitary - Count Danilewicz had evidently founded a dozen scholarships for promising local artists - and their eagerness to partake in the discovery of the missing Leonardo.

Impatient of all this, Georg and I borrowed a car and chauffeur and set off for Port Lligat, promising the Inspector that we would return in time for the commercial airliner which was due to land at Barcelona from Paris some two hours later, presumably carrying Count Danilewicz. 'No doubt, however,' Georg remarked softly as we moved off, 'he travels by other transport.'

What excuse we would make to penetrate the private menage of Spain's most distinguished painter I had not decided, though the possibility of simultaneous one-man shows at Northeby's and Galleries Normande might have appeased him. As we drove down the final approach to the familiar tiered white villa by the water's edge, a large limousine was coming towards us, bearing away a recent guest.

Our two cars passed at a point where the effective width of the road was narrowed by a nexus of pot-holes, and for a moment the heavy saloons wallowed side by side in the dust like two groaning mastodons.

Suddenly, Georg clenched my elbow and pointed through the window.

'Charles! There he is!'

Lowering my window as the drivers cursed each other, I looked out into the dim cabin of the adjacent car. Sitting in the back seat, his head raised to the noise, was a huge Rasputin-like figure in a black pin-stripe suit, his white cuffs and gold tie-pin glinting in the shadows, gloved hands crossed in front of him over an ivory-handled cane. As we edged past I caught a glimpse of his great saturnine head, whose living features matched and corroborated exactly those which I had seen reproduced by so many hands upon so many canvases. The dark eyes glowed with an intense lustre, the black eyebrows rearing from his high forehead like wings, the sharp curve of the beard carrying the sweep of his strong jaw forward into the air like a spear.

Elegantly suited though he was, his whole presence radiated a tremendous restless energy, a powerful charisma that seemed to extend beyond the confines of the car. For a moment we exchanged glances, separated from each other by only two or three feet. He was staring beyond me, however, at some distant landmark, some invisible hill-crest forever silhouetted against the horizon, and I saw in his eyes that expression of irredeemable remorse, of almost hallucinatory despair, untouched by self-pity or any conceivable extenuation, that one imagines on the faces of the damned.

'Stop him!' Georg shouted into the noise. 'Charles, warn him!'

Our car edged upwards out of the final rut, and I shouted through the engine fumes: 'Ahasuerus! Ahasuerus!'

His wild eyes swung back, and he rose forward in his seat, a black arm on the window ledge, like some immense half-crippled angel about to take flight. Then the two cars surged apart, and we were separated from the limousine by a tornado of dust. Enchanted from the placid air, for ten minutes the squall seethed backwards and forwards across us.

By the time it subsided and we had managed to reverse, the great limousine had vanished.

They found the Leonardo in the Villa d'Est, propped against the wall in its great gilt frame in the dining-room. To everyone's surprise the house was found to be completely empty, though two manservants who had been given the day off testified that when they left it that morning it had been lavishly furnished as usual. However, as Georg de Stael remarked, no doubt the vanished tenant had his own means of transport.

The painting had suffered no damage, though the first cursory glance confirmed that a skilled hand had been at work on a small portion. The face of the black-robed figure once again looked upwards to the cross, a hint of hope, perhaps even of redemption, in its wistful gaze. The brush-work had dried, but Georg reported to me that the thin layer of varnish was still tacky.

On our feted and triumphant return to Paris, Georg and I recommended that in view of the hazards already suffered by the painting no further attempts should be made to clean or restore it, and with a grateful sigh the director and staff of the Louvre sealed it back into its wall. The painting may not be entirely by the hand of Leonardo da Vinci, but we feel that the few additions have earned their place.

No further news was heard of Count Danilewicz, but Georg recently told me that a Professor Henrico Daniella was reported to have been appointed director of the Museum of Pan-Christian Art at Santiago. His attempts to communicate with Professor Daniella had failed, but he gathered that the Museum was extremely anxious to build up a large collection of paintings of the Cross.

1964

At night, as he lay asleep on the floor of the ruined bunker, Traven heard the waves breaking along the shore of the lagoon, like the sounds of giant aircraft warming up at the ends of their runways. This memory of the great night raids against the Japanese mainland had filled his first months on the island with images of burning bombers falling through the air around him. Later, with the attacks of ben-ben, the nightmare passed and the waves began to remind him of the deep Atlantic rollers on the beach at Dakar, where he had been born, and of watching from the window in the evenings for his parents to drive home along the corniche road from the airport. Overcome by this long-forgotten memory, he woke uncertainly from the bed of old magazines on which he slept and went out to the dunes that screened the lagoon.

Through the cold night air he could see the abandoned Superfortresses lying among the palms beyond the perimeter of the emergency landing field three hundred yards away. Traven walked through the dark sand, already forgetting where the shore lay, although the atoll was little more than half a mile in width. Above him, along the crests of the dunes, the tall palms leaned into the dim air like the symbols of a cryptic alphabet. The landscape of the island was covered by strange ciphers.

Giving up the attempt to find the beach, Traven stumbled into a set of tracks left years earlier by a large caterpillar vehicle. The heat released by the weapons tests had fused the sand, and the double line of fossil imprints, uncovered by the evening air, wound its serpentine way among the hollows like the footfalls of an ancient saurian.

Too weak to walk any further, Traven sat down between the tracks. Hoping that they might lead him to the beach, he began to excavate the wedge-shaped grooves from a drift into which they disappeared. He returned to the bunker shortly before dawn, and slept through the hot silences of the following noon.

The Blocks

As usual on these enervating afternoons, when not even a breath of on-shore breeze disturbed the dust, Traven sat in the shadow of one of the blocks, lost somewhere within the centre of the maze. His back resting against the rough concrete surface, he gazed with a phlegmatic eye down the surrounding aisles and at the line of doors facing him. Each afternoon he left his cell in the abandoned camera bunker among the dunes and walked down into the blocks. For the first half an hour he restricted himself to the perimeter aisle, now and then trying one of the doors with the rusty key in his pocket - found among the litter of smashed bottles and cans in the isthmus of sand separating the testing ground from the air-strip - and then inevitably, with a sort of drugged stride, he set off into the centre of the blocks, breaking into a run and darting in and out of the corridors, as if trying to flush some invisible opponent from his hiding place. Soon he would be completely lost. Whatever his efforts to return to the perimeter, he always found himself once more in the centre.

Eventually he would abandon the task, and sit down in the dust, watching the shadows emerge from their crevices at the foot of the blocks. For some reason he invariably arranged to be trapped when the sun was at zenith - on Eniwetok, the thermonuclear noon.

One question in particular intrigued him: 'What sort of people would inhabit this minimal concrete city?'

The Synthetic Landscape

'This island is a state of mind,' Osborne, one of the scientists working in the old submarine pens, was later to remark to Traven. The truth of this became obvious to Traven within two or three weeks of his arrival. Despite the sand and the few anaemic palms, the entire landscape of the island was synthetic, a man-made artefact with all the associations of a vast system of derelict concrete motorways. Since the moratorium on atomic tests, the island had been abandoned by the Atomic Energy Commission, and the wilderness of weapons aisles, towers and blockhouses ruled out any attempt to return it to its natural state. (There were also stronger unconscious motives, Traven recognized: if primitive man felt the need to assimilate events in the external world to his own psyche, 20th century man had reversed this process; by this Cartesian yardstick, the island at least existed, in a sense true of few other places.)

But apart from a few scientific workers, no one yet felt any wish to visit the former testing ground, and the naval patrol boat anchored in the lagoon had been withdrawn three years before Traven's arrival. Its ruined appearance, and the associations of the island with the period of the Cold War - what Traven had christened 'The Pre-Third' were profoundly depressing, an Auschwitz of the soul whose mausoleums contained the mass graves of the still undead. With the RussoAmerican dtente this nightmarish chapter of history had been gladly forgotten.

The Pro- Third

The actual and potential destructiveness of
the atomic bomb plays straight
into the hands of the Unconscious. The most c
ursory study of the dream-life
and fantasies of the insane shows that ideas o
f world-destruction are latent
in the unconscious mind... Nagasaki destroyed by the magic of science is the nearest man has yet approached to the realization of dreams that even during the safe immobility of sleep are accustomed to develop into nightmares of anxiety.

Glover: 'War, Sadism and Pacifism'

The Pre-Third: the period was characterized in Traven's mind above all by its moral and psychological inversions, by its sense of the whole of history, and in particular of the immediate future - the two decades, 1945-65 - suspended from the quivering volcano's lip of World War III. Even the death of his wife and six-year-old son in a motor accident seemed only part of this immense synthesis of the historical and psychic zero, the frantic highways where each morning they met their deaths the advance causeways to the global armageddon.

Third Beach

He had come ashore at midnight, after a hazardous search for an opening in the reef. The small motorboat he had hired from an Australian pearl-diver at Charlotte Island subsided into the shallows, its hull torn by the sharp coral. Exhausted, Traven walked through the darkness among the dunes, where the dim outlines of bunkers and concrete towers loomed between the palms.

He woke the next morning into bright sunlight, lying halfway down the slope of a wide concrete beach. This ringed an empty reservoir or target basin some two hundred feet in diameter, part of a system of artificial lakes built down the centre of the atoll. Leaves and dust choked the exit grilles, and a pool of warm water two feet deep lay below him, reflecting a distant line of palms.

Traven sat up and took stock of himself. This brief inventory, which merely confirmed his physical identity, was limited to little more than his thin body in its frayed cotton garments. In the context of the surrounding terrain, however, even this collection of tatters seemed to possess a unique vitality. The desolation and emptiness of the island, and the absence of any local fauna, were emphasized by the huge sculptural forms of the target basins set into its surface. Separated from each other by narrow isthmuses, the lakes stretched away along the curve of the atoll. On either side, sometimes shaded by the few palms that had gained a precarious purchase in the cracked cement, were roadways, camera towers and isolated blockhouses, together forming a continuous concrete cap upon the island, a functional, megalithic architecture as grey and minatory (and apparently as ancient, in its projection into, and from, time future) as any of Assyria and Babylon.

The series of weapons tests had fused the sand in layers, and the pseudogeological strata condensed the brief epochs, microseconds in duration, of thermonuclear time. Typically the island inverted the geologist's maxim, 'The key to the past lies in the present.' Here, the key to the present lay in the future. This island was a fossil of time future, its bunkers and blockhouses illustrating the principle that the fossil record of life was one of armour and the exoskeleton.

Traven knelt in the warm pool, and splashed his shirt and trousers. The reflection revealed the watery image of gaunt shoulders and bearded face. He had come to the island with no supplies other than a small bar of chocolate, assuming that in some way the island would provide its own sustenance. Perhaps, too, he had identified the need for food with a forward motion in time, and that with his return to the past, or at most into a zone of non-time, this need would be eliminated. The privations of the previous six months, during his journey across the Pacific, had already reduced his always thin body to that of a migrant beggar, held together by little more than the preoccupied gaze in his eye. Yet this emaciation, by stripping away the superfluities of the flesh, revealed an inner sinewy toughness, an economy and directness of movement.

For several hours Traven wandered about, inspecting one bunker after another for a convenient place to sleep. He crossed the remains of a small landing field, next to a dump where a dozen B-29s lay across one another like dead reptile birds.

The Corpses

Once he entered a small street of metal shacks, containing a cafeteria, recreation rooms and shower stalls. A wrecked jukebox lay half-buried in the sand behind the cafeteria, its selection of records still in their rack.

Further along, flung into a small target lake fifty yards from the shacks, were the bodies of what at first he thought were the former inhabitants of this ghost town - a dozen life-size plastic models. Their half-melted faces, contorted into bleary grimaces, gazed up at him from the jumble of legs and torsoes.

On either side of him, muffled by the dunes, came the sounds of waves, the great rollers on the seaward side breaking over the reefs, and on to the beaches within the lagoon. However, he avoided the sea, hesitating before any rise or dune that might take him within its sight. Everywhere the camera towers offered him a convenient aerial view of the confused topography of the island, but he avoided their rusting ladders.

Traven soon realized that however random the blockhouses and towers might seem, their common focus dominated the landscape and gave to it a unique perspective. As he noticed when he sat down to rest in the window slit of one of the bunkers, all these observation posts occupied positions on a series of concentric perimeters, moving in tightening arcs towards the inmost sanctuary. This ultimate circle, below ground zero, remained hidden beyond a line of dunes a quarter of a mile to the west.

The Terminal Bunker

After sleeping for a few nights in the open, Traven returned to the concrete beach where he had woken on his first morning on the island, and made his home - if the term could be applied to that damp crumbling hovel - in a camera bunker fifty yards from the target lakes. The dark chamber between the thick canted walls, tomb-like though it might seem, gave him a sense of physical reassurance. Outside, the sand drifted against the sides, halfburying the narrow doorway, as if crystallizing the immense epoch of time that had elapsed since the bunker's construction. The narrow rectangles of the five camera slits, their shapes and positions determined by the instruments, studded the west wall like runic ideograms. Variations on these ciphers decorated the walls of the other bunkers, the unique signature of the island. In the mornings, if Traven was awake, he would always find the sun divided into its five emblematic beacons.

Most of the time the chamber was filled only by a damp gloomy light. In the control tower at the landing field Traven found a collection of discarded magazines, and used these to make a bed. One day, lying in the bunker shortly after the first attack of ben-ben, he pulled out a magazine pressing into his back and found inside it a full-page photograph of a six-year-old girl. This blonde-haired child, with her composed expression and self-immersed eyes, filled him with a thousand painful memories of his son. He pinned the page to the wall and for days gazed at it through his reveries.

For the first few weeks Traven made little attempt to leave the bunker, and postponed any further exploration of the island. The symbolic journey through its inner circles set its own times of arrival and departure. He evolved no routine for himself. All sense of time soon vanished, and his life became completely existential, an absolute break separating one moment from the next like two quantal events. Too weak to forage for food, he lived on the old ration packs he found in the wrecked Superfortresses. Without any implement, it took him all day to open the cans. His physical decline continued, but he watched his spindling legs and arms with indifference.

By now he had forgotten the existence of the sea and vaguely assumed the atoll to be part of some continuous continental table. A hundred yards to the north and south of the bunker a line of dunes, topped by the palisade of enigmatic palms, screened the lagoon and sea, and the faint muffled drumming of the waves at night had fused with his memories of war and childhood. To the east was the emergency landing strip and the abandoned aircraft. In the afternoon light their shifting rectilinear shadows made them appear to writhe and pivot. In front of the bunker, where he would sit, was the system of target lakes, the shallow basins extending across the atoll.

Above him, the five apertures looked out upon this scene like the tutelary symbols of a futuristic myth.

The Lakes and the Spectres