“And your highest heels.”
“I’m wearing them now.”
“You will not turn around. You will not look at me. Do you understand?”
“Yes.”
“Say it.”
“I will not look at you.”
“You will not speak.”
“I will not.”
“You will submit to me totally.”
“Yes.”
“Can you be there in one hour?”
“Yes.”
“If you are one minute late, I will leave.”
“I won’t be late.”
“Then go.”
And so it begins, this casting of the spell. My very first. I had made a promise, un beso sangre, and now I must make good.
I cross the room, turn off the computer’s camera. But before I can shut down the speakers I hear the woman sigh, loud and long. It is an animal sound of base pleasure, a human sound of great pain.
Soon after, as I grab my keys and lock the door to the white room, I realize that for me it is the latter, not the former, that has now become the need.
2
Tina has him. He knows it, she knows it.
She produces a cigarette from her silver case with a flourish, pauses, waiting. He grabs a pack of matches off the bar, lights the cigarette, and, as she blows out the match, she holds his hand gently, looks into his eyes, and can almost see the shudder run through his body, down to his crotch, back up: a thick electrical charge that seems to backlight his eyes for a moment.
“Thanks,” she says.
And has him.
The Cobalt Club is mobbed; the scent of a hundred different perfumes languishes beneath the smoke and noise and perspiration like a gutter full of dying flowers, like the effluence of a hundred blind cats in season. The man slides onto the stool next to Tina, raises his hand to the bartender. Oyster Rolex, custom shirt. His suit- ventless, notched lapels-looks like an Armani. His shoulders say that he played contact sports in his younger days.
Tina is wearing her Michael Kors dress, Ferragamo heels, a thin strand of pearls.
“What’s a nice girl like you, blah, blah, blah,” the man says, smiling. Tina figures him to be in his late fifties, a prime candidate. He dresses well, she thinks, if not a little young for his age. He has an earring, for God’s sake. She glances at his hands. Manicured. A good sign.
“I got stood up,” Tina says. “Can you believe that?”
The man recoils in mock horror while Tina tries to see if he is wearing a rug. The light at this end of the bar is very subdued-mostly Christmas lights, some blues and reds and yellows from the dance floor-and it is hard to tell. She thinks his hair looks a little dark for a man pushing sixty, and there appears to be a slightly unnatural ridge over his ears, but, if it is a rug, at least it is a good one. It is not a place to skimp, she had always thought, and she had had a lot of interaction with men who wore toupees.
She is wearing a wig herself, one of a dozen she owns. Tonight, the red pageboy. She also has on green contact lenses, false eyelashes, fake nails, a ridiculous amount of makeup. Her own mother wouldn’t recognize her.
And that, after all, was the point.
“Someone stood you up?” the man asks, dramatically. “What is he, blind? Stupid? All of the above?”
Tina laughs, fawning at the compliment. The man raises his hand again, his sugar-daddy cool imperiled by a lack of bartender interest. Tina notices the ring, the discreet setting, the big diamond.
“My name’s Elton, by the way. Like the singer.” He deliberately drops his key chain on the bar, a set of three keys held together by a gold ring and a fob bearing the unmistakable Ferrari logo. Unmistakable, that is, to women like Tina. “What’s yours?”
“Tina,” she says, smiling, arching her back slightly. “Tina Falcone. Like the bird of prey.”
Tina props the digital camera on the bar, sets the timer for sixty seconds. They are in Elton Merryweather’s paneled recreation room, the lower level of his huge split-level house in Westlake, a house most assuredly decorated (in a faux-southwestern motif) by his trophy wife, who is curiously absent from the downstairs activities, which included a “tequila kiss,” one of Tina’s specialties. A tequila kiss heavily laced with Rohypnol, that is.
Elton, like the others, is a music-industry executive, specifically, an entertainment lawyer. He had wanted to go to a motel, even though his wife-whom he freely admitted existed, whom he freely confessed understood him not-was out of town. But Tina had insisted that they go to his house. By the time they were in the elevator, heading to the nightclub’s parking lot, and Tina had managed to unzip Elton’s fly and slip her hand inside for a quick pas de deux, Elton was convinced.
But now, in his well-appointed rec room, at just after midnight, Elton Merryweather is baby-naked, save for his knee-high executive black hose, and snoring like a Louisiana sawmill.
Tina steps over to the couch, slips out of her dress. She reaches behind her, unsnaps her bra, sits down on the couch next to Elton, crosses her legs. She puts Elton’s fleshy pink arm around her, looks away from the lens. Ten seconds go by. Twenty. Thirty. Elton stirs, Tina’s muscles go rigid. She is sure he has ingested enough of the drug to topple a moose. He raises his arm for a moment, as if to make a point, then drops it, his wrist brushing her right breast. Despite herself, her nipple stiffens. She looks at the top of his head and, in this light, sees the seam. It is a rug. Then she looks at the camera.
Come on, come on.
She is just about to get up when the flash pops. The burst of light rousts Elton, but before he can move, Tina slips out from under his arm, sets the timer again-this time for twenty seconds-and sits back down.
Whoosh goes the flash, and Tina’s work is done.
Within moments she has her dress on. She checks the LCD screen on the camera. Perfect. In both photographs you can clearly see Elton’s naked body, his face. Her face is turned away from the lens, of course, but her breasts and legs are visible. As is the glass crack pipe she placed in Elton’s hand. She is tempted to turn on the lights over the bar and see how good her body really does look, but she resists.
God she was vain.
It would be her downfall yet.
She checks her bag, making sure she has everything. The Rolex and the ring, along with the pair of diamond tennis bracelets she found in the upstairs bedroom. Expensive little baubles she is certain Elton is going to have a devil of a time replacing by the time Tiffany or Ashley or Courtney or whatever the hell her name is gets back.
Tina retrieves her champagne glass, dropping it in her bag, along with the crack pipe.
Number thirteen.
Done… yes?
She reaches into her shoulder bag, removes her small Pentax portable printer, prints off a copy of one of the photos. Handling it by the edges, she places the picture on Elton Merryweather’s lap, then makes another quick scan of the room.
Number thirteen. Yes.
Done.
