What We Become (3 page)

It was a bright, clear day, pleasantly warm for that time of year. Max had left his cabin without a hat, gloves, or cane (he was dressed in a gray suit with a vest, a soft-collared shirt, and a knitted tie) and so as he walked past the woman he simply bowed politely. She wore a smart flannel suit: a three-quarter-length jacket and a pleated skirt. She was reading a book resting in her lap, and as he walked in front of her, momentarily blocking the sun, she looked up at him, her oval face framed beneath the narrow brim of her felt hat. Perhaps it was the glimmer of recognition Max thought he detected in her eyes that made him pause for a moment, with the discretion appropriate to the situation and to their respective positions on the ship.

“Good morning,” he said.

The woman, who was lowering her gaze again toward her book, responded with another silent stare and a brief nod.

“I am . . . ,” he blurted, feeling suddenly awkward, on shaky ground, and already sorry he had spoken to her.

“Yes,” she replied calmly. “The gentleman from last night.”

She said gentleman instead of dancer, and he was secretly grateful for it.

“I don't know whether I told you,” he added, “that you dance magnificently.”

“You did.”

She was already returning to her book. A novel, he noticed, glancing at the cover, which she was holding half-open on her lap:
The Four Horsemen of the Apocalypse
by Vicente Blasco Ibáñez.

“Good-bye. Enjoy your reading.”

“Thank you.”

He moved on, unaware of whether her eyes remained glued to her book or if she was watching him leave. He did his best to walk nonchalantly, one hand in his trouser pocket. When he reached the last lifeboat, he paused beside it, took out a silver cigarette case (engraved with initials that weren't his), and lit a cigarette. He took advantage of the gesture to cast a surreptitious glance toward the prow, to the bench where the woman was still reading, head down. Not interested.

Grand Albergo Vittoria.
Buttoning up his jacket, Max Costa passes beneath the gold sign on the arched, wrought-iron gateway, nods at the security guard, and walks down the driveway bordered by ancient pines and every kind of tree and plant. The gardens are spacious, stretching from Piazza Tasso to the edge of the cliff, which looks out over Marina Piccola and the sea, and where the hotel's three main buildings are perched. In the middle one, at the bottom
of a small flight of steps, Max finds himself in the lobby, in front of the glass doors leading to the conservatory and the terrace, which (unusually for that time of year) is full of people enjoying an aperitif. To the left, behind the reception desk, is an old acquaintance: Tiziano Spadaro. Their association dates back to a time when the man who is currently chauffeur to Dr. Hugentobler was a guest in such places as the Hotel Vittoria. Many a generous tip, changing hands discreetly according to a set of unwritten codes, laid the basis for a friendship, which over time had become sincere, or complicit.

“Well, if it isn't Max. You're a sight for sore eyes. It's been a long time.”

“Almost four months.”

“Good to see you.”

“And you. How is life?”

Spadaro shrugs (he has thinning hair, and his protruding belly strains under his black vest), reeling off the usual list of complaints about his job out of season: fewer tips, weekenders accompanied by aspiring young actresses or models, groups of loud Americans doing the Naples-Ischia-Capri-Sorrento-Amalfi tour, a night spent in each place, breakfast included, who are forever ordering bottled water because they don't trust what comes out of the tap. Fortunately (Spadaro gestures toward the door to the bustling conservatory) the Campanella Cup has come to the rescue: the Keller-Sokolov duel has filled the hotel with chess players, journalists, and fans.

“I want some information. Off the record.”

Spadaro doesn't remark “just like in the old days,” and yet his expression, surprised at first and then mocking, taken somewhat off guard, lights up with the familiar look of collusion. Close to retirement, with fifty years of experience behind him after starting as a bellhop in the Hotel Excelsior in Naples, Spadaro has seen everything. And that includes Max Costa in his prime. Or not yet past it.

“I thought you'd given all that up.”

“I have. This is different.”

“I see.”

The old receptionist appears relieved. Then Max asks him about an elegant older lady, accompanied by a girl and a good-looking young man, who entered the hotel ten minutes ago. Perhaps they are guests.

“They are, of course . . . the young man is none other than Keller himself.”

Max blinks absentmindedly. The girl and the young man are what least interest him.

“Who?”

“Jorge Keller, the Chilean grand master. Contender for the title of world chess champion.”

Max remembers at last, and Spadaro fills in the details. The Luciano Campanella Cup, held this year in Sorrento, is sponsored by the Turin multimillionaire, one of the biggest shareholders in Olivetti and Fiat. A great chess enthusiast, Campanella organizes an annual contest in landmark sites all over Italy, always in the most luxurious hotels, where he invites the most famous grand masters, whom he pays handsomely. The encounter takes place over four weeks, some months before the official contest for the world championship, and has come to be considered the unofficial world championship between the two best chess players of the moment: the titleholder and the most prominent challenger. In addition to the prize money (fifty thousand dollars for the winner and ten thousand for the runner-up), the prestige of the Campanella Cup resides in the fact that, so far, the victor of the contest has either gone on to win the world title or has retained it. Sokolov is the current champion; and Keller, who has beaten all the other candidates, is the challenger.

“That young man is Keller?” Max says, astonished.

“Yes. A pleasant lad, relatively normal, which is unusual in his profession. . . . The Russian is less friendly. Always surrounded by bodyguards and cautious as a fox.”

“What about her?”

Spadaro makes a dismissive gesture, the one he reserves for low-status guests. Those without much history.

“She's the fiancée. And part of his team (the receptionist leafs through the hotel register to refresh his memory). Irina. Irina Jasenovic. The name is Yugoslav, but her passport is Canadian.”

“I meant the older woman. The one with the short gray hair.”

“Ah, she's the mother.”

“Of the girl?”

“No. Of Keller.”

He bumped into her again two days later, in the ship's ballroom. Dinner was to be a black-tie affair: the captain was honoring some distinguished guest, and a number of male passengers had exchanged their customary black tuxedo for a tight-fitting tailcoat, starched bib front, and white bow tie. The diners had gathered in the ballroom, drinking cocktails and listening to the music before going on to dinner. After the meal a few of the youngest or more fun-loving would return there and stay on until the small hours. The orchestra started with the usual slow waltzes and smooth melodies, and Max Costa danced half a dozen sets, almost all of them with young girls and married women traveling
en famille
. Max reserved a slow fox-trot for an Englishwoman, past her prime but not bad-looking, who was there with a girlfriend. He had seen them whisper and nudge each other whenever he swept past their table. The Englishwoman was blonde, plump, with a rather abrupt manner. Although perhaps a little vulgar (he thought he detected too much My Sin on her) and festooned with jewelry, she was not a bad dancer. She had pretty blue eyes, too, and enough money to make her attractive: the clutch bag on the table was of gold mesh, he confirmed at a glance as he stood before her to invite her onto the dance floor; and the jewels looked real, in particular the sap
phire bracelet and matching earrings, the stones of which, once removed from their settings, would fetch five hundred pounds sterling. He had discovered from the reservations list that her name was Miss Honeybee. Widowed or divorced, the headwaiter, a man called Schmöcker (nearly all the officers, seamen, and permanent members of staff on the ship were German) had hazarded, with the assurance of someone having fifty Atlantic crossings under his belt. And so, after a careful study of the woman's responses to his manners and proximity, and without making a single inappropriate gesture—maintaining proper distance and a professional aloofness throughout, and ending as he returned her to her table with a splendid, manly smile (met with a perfunctory “so nice” from the Englishwoman)—Max placed Miss Honeybee on his list of possibles. Five thousand sea miles and a three-week crossing could provide rich pickings.

That evening, the de Troeyes arrived together. Max was taking a breather next to the bank of palms alongside the stage, drinking a glass of water and smoking a cigarette. From there he saw the couple enter, preceded by the obsequious Schmöcker, with her walking slightly ahead. The husband had a white carnation in his black satin lapel, one hand in his pocket and the other holding a lighted cigarette. Armando de Troeye appeared indifferent to the interest he aroused in his fellow passengers. As for his wife, she looked as if she had just stepped out of the society pages of an illustrated magazine: she was wearing a long string of pearls with matching earrings. Slender, calm, walking confidently in high-heeled shoes to the gentle roll of the ship, her body etched long, straight lines onto her flowing jade gown (with an expert eye Max calculated it as costing at least five thousand francs on Rue de la Paix in Paris), which exposed her arms, shoulders, and back down to her waist, and was fastened around her neck by a fine strap, charmingly visible beneath her bobbed hair. Entranced, Max came to a two-fold conclusion. She was one of those women who at first glance
­appeared elegant, but when you looked again were beautiful. She also belonged to the select class of women born to wear gowns like that as if they were a second skin.

He did not dance with her immediately. The orchestra played a Camel Walk then a shimmy (the absurdly titled “Tutankamon” was still in fashion), and Max was obliged to satisfy the wishes of two energetic young girls, watched over from a distance by their parents (two amiable-looking Brazilian couples), who were intent upon practicing the dance steps, not without skill: right shoulder followed by the left forward then back, until they decided they were exhausted, and had almost exhausted him. Afterward, when the first beats of a black bottom started (the title of the song was “Love and Popcorn”), Max's services were solicited by an American woman, still in her prime, somewhat ungraceful but more than adequately clothed and bejeweled, who turned out to be an amusing dance partner, and, when he accompanied her back to her table, discreetly slipped a folded five-dollar bill into his hand. Several times during this last dance Max came close to the de Troeyes' table, and yet each time he directed his gaze there, the woman seemed to be looking elsewhere. The table was now unoccupied and a waiter was clearing away two empty glasses. Busy attending to his partner of the moment, Max had not seen them get up and leave for the dining room.

He took advantage of the dinner break, which was at seven, to enjoy a bowl of consommé. He never ate anything solid when he had to dance—another habit acquired during his time in the Legion, although the dance then was of a different nature, and a light meal was a healthy precaution in case of a bullet in the belly. After the soup he put on his coat and went out on the starboard promenade deck, to smoke another cigarette and to clear his head as he watched the crescent moon shimmering on the ocean. At a quarter past eight he returned to the ballroom, installing himself at one of the empty tables, close to the orchestra, where he chatted
with the musicians until the first passengers began to float in from the dining room: the men on their way to the casino, the library, or the smoking room, and the ladies, younger people, and more game couples occupying the tables around the dance floor. The orchestra began tuning up, Schmöcker rallied his waiters, and there was the sound of laughter and champagne corks popping. Max stood, and, after making sure his bow tie was still straight and checking that his shirt collar and cuffs were in place, he smoothed down his tailcoat and scanned the tables in search of anyone requiring his services. Then he saw her enter, this time on her husband's arm.