“Piss off, Manolo.”
The worst side of the dead is that they leave their living behind, thought the Count after the woman confirmed: “Yes, he’s my son, what’s happened now?” And as she seemed so strong and self-confident he told her without any soft-soaping: “The fact is he was murdered last night,” and then the woman started to crumple, her body visibly shrinking on that nice leather sofa, and an inconclusive scream escaped from the hands she screwed up over her face…
The identity card Alexis Arayan was carrying indicated that the address was his permanent residence: a big two-storey house on Seventh Avenue in Miramar, with a well-trimmed garden, walls painted a bright white, panes of glass miraculously intact in a city of broken windows, and two cars in the drive. A Mercedes and a Toyota, pointed out Manuel Palacios, who knew all there is to know about cars and makes… It was the image of prosperity, as it should be, for according to his ID Alexis was the son of Faustino, the Faustino Arayan, Cuba’s latest representative at UNICEF, a diplomat always away on long trips, a personage from the higher echelons, and of Matilde Rodriguez, that woman who was perhaps a well-preserved sixtysomething, with hair a delicate shade of brown and well-kept hands, who suddenly seemed much older than sixty and to have lost the petulant confidence with which she’d welcomed the policemen.
When she cried out a black woman silently emerged from somewhere in the mansion. She walked noiselessly, as if her feet didn’t touch the ground. The Count noticed the bloodshot look in her bulging, shiny eyes. She didn’t greet the policemen, but sat down next to Matilde and started whispering words of consolation accompanied by almost maternal gestures. Then she got up, went out the way she’d come, and returned with a glass of water and the tiniest pink pill, which she handed to Matilde. The Count’s training enabled him to pick up a fleeting tremble in the black woman’s hands as they neared the out-of-control hands of Alexis’s mother. Still not acknowledging the Count or Manolo, the black woman said: “Her nerves have been very bad of late,” and she helped Matilde stand up and led her towards the stairs.
The Count looked at Manuel Palacios and lit a cigarette. Manolo shrugged his shoulders as if to say: “Bloody hell,” and they waited. The Count, meanwhile, decided to use a blue and white ashtray inscribed GRANADA. Everything seemed clean and perfect in that house where suddenly tragedy had unexpectedly intruded. The black woman came down ten minutes later and sat down opposite them. Finally she looked at them, her eyes still red and shiny, as if she were running a temperature.
“Her nerves have been very bad of late,” she repeated, as if it were a set phrase or the best her vocabulary could muster.
“And comrade Faustino Arayan?”
“He’s at the Foreign Ministry, he left early,” she said, joining her hands together and pressing them between her legs, as if praying to an image nailed to the floor.
“You work here?” interjected Manolo.
“Yes.”
“Been here long?”
“Over thirty years.”
“Do you know if Alexis went out from here yesterday?”
“No.”
“Didn’t he live here?”
“No.”
“But this was his home, wasn’t it?”
“Yes.”
“Yes what: was it or wasn’t it, did he go out or don’t you know?”
“Yes, it was his home, but he didn’t live here and so he didn’t leave here. For months… Poor Alexis.”
“So where did he live then?”
The black woman looked towards the staircase that led to the bedrooms. She hesitated. Should she ask permission? Now she did seem nervous, as she lowered her bloodshot gaze and bit her lips.
“In somebody else’s house… Alberto Marques’s.”
“And who might he be?” continued Manuel Palacios, perching his sparse buttocks on the edge of the chair.
The black woman looked back at the staircase and the Count felt that anonymous sensation for which a girlfriend of his, for want of a better word, had invented the term liporis: embarrassment at somebody making a spectacle of themselves. That woman, in the year 1989, still harboured the atavistic instinct of deference: she was a servant and, what was worse, thought like a servant, wrapped perhaps in the invisible but tightly clinging veils of genetics moulded by numerous enslaved, repressed generations. Physical discomfort then replaced liporis, and the Count felt the desire to flee that world of glitter and veneer.
The black woman looked back at Sergeant Palacios and said: “I think he’s a friend of Alexis… A friend he lived with. Poor Alexis, oh God…”
When he found that the almost impossible address really existed, the Count shut the notebook where he’d transcribed various data from the stout file on Alberto Marques Basterrechea and tucked it into his back pocket. He contemplated the miraculously cheerful bougainvillea in the garden under that anti-social two p.m. sun. Magenta, purple, yellow, like enchanted butterflies, their flowers entangled the small clump of leaves, thorns and branches which seemed capable of surviving any local or universal cataclysm. The sylvan shadow in the garden, dominated by the arrogant plumes of several palms, lent a dark patina to the house rising up a few yards behind, exhibiting its number 7, on calle Milagros, between Delicias and Buenaventura. Could that number and the names of the three streets – Miracles, Delights and Good Fortune – be an invention of Alberto Marques in order to locate his house in a corner of Earthly Paradise, in perfect arcadian bliss? Yes, it had to be one of the devil’s infinite stratagems, since, according to the information the Count had recorded in his notebook, extracted from the aged but ever healthy file he’d been handed with a broad grin by the security specialist who dealt with the Ministry of Culture, anything was possible if it involved that very particular, diabolical Alberto Marques: a hugely experienced, predatory homosexual, politically apathetic and ideologically deviant, a provocative, conflictive individual, lover of the foreign, hermetic, obscurantist, potential consumer of marijuana and other substances, protector of derailed queers, a man of dubious philosophical affiliations, steeped in class-based, petty-bourgeois prejudice, all annotated and classified with the precious help of a Muscovite manual of social-realist techniques and procedures… That impressive curriculum vitae was the result of reports written, collated and precised by diverse police informers, successive presidents of the Committee for the Defence of the Revolution, cadres of the long-gone National Council for Culture and the present Ministry of Culture, the political attache’s office in the Cuban Embassy in Paris and even by a Franciscan Father who’d been his confessor in a prehistoric era and a pair of perverse lovers who’d been interrogated for strictly criminal reasons. What the hell have I got myself into? Trying futilely to cleanse his mind of prejudices – the fact is I love prejudice and can’t stand pansies – the Count crossed the garden and walked up the four steps to the front door in order to press the bell that stuck out like a nipple under the number 7. He stroked it twice and repeated the operation, for no sound of a bell reached him, and when he was about to touch it again, hesitating over whether to try the knocker, he felt assailed by the darkness beyond the slowly opening door, which surrounded the pale face of Alberto Marques, dramatist and theatre director.
“What’s the charge this time?” asked the man, his deep voice heavy with irony. The Count tried to suppress his surprise at the door, which apparently opened by itself, at the remarkable pallor of his host’s face and the question he fired at him, and opted to smile.
“I’m looking for Alberto Marques.”
“Yours truly, Mr Policeman,” the man replied, opening the door a few inches more, with a distinctly theatrical touch, so that the Count had the forbidden pleasure of seeing him full length: colourless rather than pale, thin to the point of emaciation, his head barely adorned by a drooping, lank lock. He was covered from neck to ankles by a Chinese dressing gown that might have belonged to the Han dynasty: yes, thought the policeman, no less than two thousand years of anguish must have passed through that silk, its colours as faded as the man’s face, worn and rough as if it were no longer silk, prominently marked by testimonies to many a battle, by what could be coffee, banana, iodine or even blood stains, endowing what masqueraded as the attire of historic emperors with a dismal, out-of-sorts leitmotif… The Count forced a smile, remembered the awful reports stuck to his buttock, and dared ask: “How do you know I’m police? Were you expecting us?”
