must die.
'Put the money in the suitcases. It should be in bills of 500 and 1000 baht. Tomorrow afternoon at four, a maid from your house will come out of the gate alone, with the suitcases. This is why they must have wheels. She will turn left, walk to the intersection, and get a taxi. She will put the suitcases in the trunk. I know your staff by sight, so I will know if she is not one of your maids. I will know if she is not alone. I will know if she doesn't get a real taxi. If she does not follow directions, you will lose the money and you will not get the envelope.'
He sips the iced coffee. The ice has melted, and the drink tastes watery. He tries to remember when he slept last.
'She will carry the cellular phone I have enclosed in this package,' he writes. He reaches into the blue bag and pulls out a small Nokia cell phone. He pushes the 'power' button and checks the battery level, although he has done this three times already.
'She will return in two hours or a little more. If you have done as I say, she will have the envelope with her. That will be the end of our business.'
He puts down the pencil and lights a cigarette. He lets the letter rest for a few minutes before he rereads it.
Her anger will be immeasurable. She will want to kill someone. He once saw her kill a four-year-old child because it was crying.
She will send the money. He is certain of that. As much pain as it causes her, she will send it. For the first time in her adult life, perhaps, she will have no alternative but to do as she is told. He tries to imagine the agony she will feel when she realizes she has no choice but to comply. Then he closes his eyes and tries to visualize how she will feel later, when she gets the suitcases back and looks inside.
He thinks that is the point at which she will begin to be afraid.
26
A small man, Heng has enough energy for three large ones. He bounces up and down on his toes as he listens, eager for the chance to reply. When he talks, he makes large, empty gestures that look to Rafferty like Nicolas Cage playing an Italian. Surrounded in his Khmer antiques shop by carved, immobile faces, his own face is never in repose. He goes through more expressions in ten minutes than Rafferty uses all day.
'I'm completely straight now,' he informs Rafferty without being asked, his eyebrows bouncing up and down like a pair of bungee jumpers. 'No more smuggling, papers all in order, keep a clean nose, observe all the international conventions. It's a new world we're living in, Poke, a global village. We're all citizens of the world. What goes around comes around.'
When it is clear Heng has exhausted Bartlett's Familiar Quotations for the moment, Rafferty says, 'Do you mind if I write that down?'
Heng pounces. 'A Boswell,' he says. 'What every really interesting man needs. Have you ever stopped to think, Poke, how much good talk is wasted on just one or two people? Similes, metaphors, unexpected turns of speech, puns, insights, revelations, fresh perspectives? All of it gone, used once, disposable, tossed into the air like confetti, frittered away on a few people who probably won't even bother to remember. New ideas, perhaps even new religions, lost to the ether. Who was Samuel Johnson, anyhow? A blowhard with a Boswell. We need more of them.'
'You're the only person I know who thinks the world is short of talk,' Rafferty says.
'Good talk,' Heng says, holding up an admonitory finger. Since the finger is in the air anyway, he waves it back and forth. 'We're drowning in dull talk. No wonder our children are in trouble. Nothing to fire their imaginations. They hear dull talk all day long, this, that, blah, blah, blah, fact, fact, fact, cause, effect, pallid adjectives, the occasional timid speculation. That's why we live in the Age of the Concrete Slab. We might as well be mute as fish. There's no feeling for language, no appreciation for how it can be stretched, Poke, to weave that elusive net of words that can be thrown over, that can capture, the most ephemeral-'
'Heng,' Rafferty says.
Heng stops. His eyebrows go up again, inquiringly this time, to demonstrate that he is listening with his entire being. For a moment Rafferty thinks he will cup his hand to his ear.
'This man, Heng,' Rafferty says, holding out the photo of Claus Ulrich, which is becoming dog-eared with use. 'Do you know this man?'
Heng takes the picture and scans it avidly, as though it is the first photograph he has ever seen and the technology dazzles him. He does everything except turn it over to see whether the image goes all the way through to the back. When he is finished, he reverently hands it back.
'I might,' he says. He waits, bouncing a little.
It is the shortest sentence Rafferty has ever heard him speak.
'Well,' Rafferty says, 'why don't you tell me about it. Just a summary, Heng, sort of a caption.'
'I said I might,' Heng says. Cataclysmic doubt floods his face.
'When and where might you have seen him?'
'It's a small community, Poke,' Heng begins, but Rafferty holds up a hand.
'What's a small community?'
'People of taste,' Heng says with nicely modulated awe. 'People who can find room in their lives for the timeless. The things I offer, Poke, they trail behind them the perfume of-'
'He bought something from you,' Rafferty says.
'Once,' Heng says, unfolding a single finger in case Rafferty has trouble with lower mathematics. 'Perhaps. But he might have come back many times.'
'But if he did, he didn't buy.'
'In a nutshell.' Heng opens his arms to take in the extraordinary collection of objects that crowd his shop: statues, sections of carved temple walls, gilt Buddhas and monks, panels of carved wood, antique ivory. 'But you speak of buying.' He allows a ten-percent tincture of disapproval to darken his tone. 'These things belong to the world. They've been here for ages. How long can a statue of a god absorb the gazes of the faithful without becoming a god, Poke? Don't you think holiness can be cumulative?'
'Why didn't he buy again?'
'The small-mindedness of our times,' Heng says, with a snap that verges on ire. 'The idea that these treasures can be tricked out with pettiness like permits and provenances, pieces of paper pasted to the eternal. Like giving a mountain a nickname. 'There's a nice mountain. Let's call it Bill.''
'The documentation costs money,' Rafferty clarifies. 'Prices have gone up.'
Heng emits an admiring puff of air. 'You have a gift, Poke. That's the writer in you.'
'And Ulrich is cheap.'
'Is that his name? Anyway, not my judgment to pass,' Heng says virtuously.
'Do you know a Madame Wing?'
Heng's face slams shut. It is as though the plug has been pulled from the wall. 'No,' he says, not even circling his lips around the o.
The lie is so transparent that Poke has only to wait.
'A woman, I suppose, by the title you give her,' Heng says, looking extremely uncomfortable. He tries to bounce but succeeds only in jiggling. 'Chinese, I presume? No, no, I don't know her. Never heard the name. Completely new to me, not a whisper of an association.'
'But she's a collector. And-as you say-it's such a small community.'
'I did?' Heng's eyes are darting around the shop as though he's afraid one of the antiques might contradict him. 'Doesn't sound like something I'd-'
'Madame Wing, Heng. She's here. She's rich. She's got some of the best Khmer art-'
'Doesn't matter,' Heng says, with renewed resolve. 'I am telling you I haven't heard of her, and nothing you can say will change the fact that I am telling you I haven't heard of her.'
