I wanted to see that man Ruibérriz, who must have been about to leave; I wanted to see his face and see that famous leather coat before he destroyed it. I decided to leave the bedroom and was on the verge of getting dressed. But if I did that, Díaz-Varela might suspect that I’d been aware for a while that there was someone else in the apartment and had perhaps been listening or spying, at least during the few seconds it would have taken me to pull on the rest of my clothes. If, on the other hand, I burst into the living room as I was, I would give the impression that I had just woken up and had no idea that anyone else was there. I would have heard nothing, convinced that he and I were, as usual, still alone, with no witness to our occasional evening conjunctions. I was simply going to look for him, having discovered that he had left the bed while I was sleeping. It would be best if I presented myself in that state of half-undress, with no show of caution and making a normal amount of noise, like an innocent unaware of anything.
The fact is, though, that far from being half-dressed, I was half- or almost-naked, and ‘the rest of my clothes’ meant everything apart from my skirt, because that was all I was wearing, Díaz-Varela preferring to see me with it pulled up or preferring to pull it up himself during our labours, but for reasons of pleasure or comfort, he always removed my other garments; well, sometimes, he suggested I put my shoes back on once I’d taken off my tights, but only if I was wearing heels, a lot of men cling faithfully to certain classic images, and I can understand that – I have my own such images – and I’ve nothing against it, after all, it costs me nothing to please them and I even feel rather flattered to be conforming to a fantasy that has a certain prestige, and which has, rather commendably, endured now for a few generations. And so that near-complete lack of clothing – my skirt came to just above my knee when it was in its proper place and unwrinkled, but now it was crumpled and twisted and seemed far briefer – stopped me in my tracks and made me hesitate and wonder how I would behave if I genuinely thought I was alone in the apartment with Díaz-Varela, would I sashay forth from the bedroom with my breasts bare or would I cover them up? If you’re going to appear in front of someone else, you have to be very confident that your breasts haven’t grown slack, that they don’t give you away by swaying and bouncing too much (I’ve never understood how nudists of a certain age can be so relaxed about this); having a man see them in repose or from close to and in the heat of battle, so to speak, is quite a different matter from him seeing them full on and at a distance and with them bobbing about uncontrollably. I failed to reach a conclusion, because modesty immediately got the better of me. The prospect of revealing myself like that to a complete stranger seemed completely unacceptable, especially when the stranger in question was a shady character with no scruples. Although, as I was discovering, Díaz-Varela lacked scruples too, possibly to an even greater extent, but he was nonetheless someone who knew those parts of my body that were visible, and not just that, he was someone whom I still loved, for what I felt was a mixture of utter incredulity and basic, unreflecting repugnance; I was incapable of taking in – let alone analysing – what I believed I now knew, and I say ‘believed’ because I felt sure that I must have misheard, that this was some kind of misunderstanding, that I had entirely misinterpreted the conversation, that there was some explanation that would allow me to think later on: ‘How could I possibly have thought such a thing, how foolish and unfair I have been.’ And at the same time, I realized that I had, inevitably, already internalized and incorporated the facts that emerged from that conversation, that they were engraved on my brain until I received the denial I could not ask for without possibly exposing myself to grave danger. I had to pretend to have heard nothing, not just in order to avoid seeming, in his eyes, to be a spy and a busybody – insofar as I cared how he viewed me, which I still did, because no change is ever immediate and instantaneous, not even one brought about by a horrendous discovery – but because it was advisable and even, quite literally, vital. I felt afraid too, for myself, well, a little afraid, I couldn’t be very afraid, as I gauged the dimensions of what had happened and what it meant, it wasn’t easy to move from post-coital placidity or torpor to fearing the person with whom I had achieved that state. There was something improbable and unreal about the whole situation, like a dark, defamatory dream that weighs unbearably on our soul, I was incapable of suddenly seeing Díaz-Varela as a murderer who, having once crossed that line, having once transgressed, might well reoffend. He wasn’t really a murderer, I tried to think later on: he hadn’t held the knife or stabbed anyone, he had never even spoken to that homicidal gorrilla, Vázquez Canella, he hadn’t ordered him to do anything, he’d had no contact with him, indeed, from what I could gather, they had never exchanged a single word. Perhaps the plot hadn’t even been his idea, he might have told his troubles to Ruibérriz, who had then planned it all himself – eager to please, a fool, a hothead – and come to him when the deed was done, like someone turning up with an unexpected present: ‘See how I have smoothed the way for you, see how I have cleared the field, now it is all within your grasp.’ Even that man Ruibérriz had not been the actual executioner, he hadn’t held the weapon or given precise instructions to anyone: he had, at least initially and as I understood it, been a third party, and had merely poisoned the crazed mind of the beggar, trusting in the latter’s eventual violent reaction or response, which might or might not happen; if it was a premeditated crime, much had been left strangely to chance. To what extent had they been sure that he would act, to what extent were they responsible? Unless they had given him instructions or orders and put pressure on him and provided him with that butterfly knife with its seven-centimetre blade, every centimetre of which enters the flesh; after all, given that, in theory, such knives are banned, it can’t be easy to buy one nor would it be affordable to someone who exists solely on tips and sleeps in a clapped-out car. They had obviously given him a mobile phone so that they could phone him, not so that he could make any calls himself – perhaps he had no one to phone, his daughters’ whereabouts were unknown or they may deliberately have kept their distance, avoiding their angry, puritanical, unhinged father like the plague – but to persuade him, like someone whispering in his ear, people forget that what is said to us on the phone comes not from far away, but from very near, which is why what we are told over the phone is so much more persuasive than the same words spoken by someone face to face, for such an interlocutor will not, or only in very rare cases, brush our ear with his lips. Generally speaking, this argument doesn’t work at all, on the contrary, it’s merely an aggravating factor, but it helped momentarily to reassure me and make me feel less threatened, not in principle and not then, not in Díaz-Varela’s apartment, in his bedroom, in his bed: he had not actually stained his hands with blood, with the blood of his best friend, that man I had become so fond of, at a distance and over the years, when we breakfasted in the same café.
Then there was this other man, whose face I wanted to see, who was the reason I was prepared to emerge from the bedroom half-naked, before he left and I lost sight of him for ever. He might prove to be the far more dangerous of the two and might not be at all amused to see me or for me to preserve an image of him for ever afterwards; with him I might really be exposing myself to danger and might read in his eyes the following words: ‘I won’t forget your face; I can easily find out your name and where you live.’ He might be tempted to get rid of me.
But I had to hurry, I could hesitate no longer, and so I put on my bra and my shoes – I had taken these off again, rubbing the heels against the bottom end of the bed, where they had fallen to the floor just before I fell asleep. The bra was enough, I might have put it on anyway, even if there hadn’t
been an intruder, aware that it would be more flattering once I was standing up and in movement: even to Díaz-Varela, who had just seen me with nothing on. It was a size smaller than I normally wear, a very old trick which always works on romantic dates, it gives a bit of uplift to your breasts, makes them look fuller, not that I’ve ever had any problems with mine, so far anyway. It’s a small enticement and never fails, when you go on a date with a preconceived idea of what that date will involve, along with other less predictable things. The bra might even make me look more striking – well, more attractive perhaps – in the stranger’s eyes, but it also helped me feel more protected, less embarrassed.
I prepared to open the door, I had already put my shoes on, not worrying if the heels made a noise on the wooden floor, it was a way of warning them, if they were listening acutely enough and not too absorbed in their own problems. I had to watch my expression, which should be one of complete surprise when I saw that man Ruibérriz, but I hadn’t yet decided what my initial response should be, I would probably turn on my heel in alarm and rush back into the bedroom and not reappear until I had put on the slightly, or sufficiently, low-cut V-neck sweater I had chosen to wear that day. And I would probably cover my bust with my hands, or would that seem overly modest? It’s never easy to put yourself in a non-existent situation, I can’t understand how so many people spend their whole life pretending, because it’s impossible to keep every factor in mind, down to the last, unreal detail, when there are no details and they have all been made up.
I took a deep breath and opened the door, ready to play my part, and I knew then that I was already blushing, even before Ruibérriz had entered my field of vision, because I knew he was about to see me in a bra and tight skirt and I found it embarrassing to appear like that before a stranger who had already made the worst possible impression on me. Perhaps all that heat came, in part, from what I had just overheard, from the mixture of indignation and horror that my encircling sense of incredulity did nothing to diminish; I was, at any rate, extremely upset and troubled, filled by confused feelings and thoughts.
The two men were standing up and both of them immediately glanced round, they obviously hadn’t heard me putting on my shoes or anything. In Díaz-Varela’s eyes I noted an immediate coldness or mistrust, censure and even severity. In Ruibérriz’s I saw only surprise and a flicker of male appreciation, which is easy enough to spot and which he doubtless made no effort to conceal, for some men’s eyes are very quick to make such evaluations, a reflex action they can’t avoid, they’re even capable of ogling the bare thighs of a woman who has been involved in a car accident and is still lying, all bloody, on the road, or of staring at the hint of cleavage revealed by the woman who crouches down to help them if they happen to be the injured party, it’s beyond their will to control or perhaps it has nothing to do with will at all, it’s a way of being in the world that will last until the day they die, and before closing their eyes for ever, their gaze will linger appreciatively on the nurse’s knee, even if she’s wearing lumpy white tights.
Instinctively, and feeling genuinely embarrassed, I covered myself with my hands, but what I didn’t do was turn on my heel and disappear at once, because I felt that I should say something, give voice to my embarrassment and shock. This proved less spontaneous.
‘Oh, I’m sorry,’ I said to Díaz-Varela, ‘I didn’t know anyone was here. Forgive me, I’ll go and put something on.’
‘It’s all right, I was just leaving,’ said Ruibérriz, holding out his hand to me.
‘Ruibérriz, a friend,’ Díaz-Varela said, introducing me in stark, awkward fashion: ‘This is María.’ Like Luisa, he failed to give my surname, but he possibly did so consciously, to provide me with a minimum of protection.
‘Ruibérriz de Torres,’ added the introducee, ‘delighted to meet you.’ He was clearly keen to highlight that ‘de’ with its hypothetically noble connotations, and continued to hold out his hand.
‘Pleased to meet you,’ I said, rapidly shaking his hand – his eyes flew straight to the one breast left momentarily uncovered – then hurried back into the bedroom, leaving the door open to make it clear that I intended rejoining them, the visitor would hardly leave without saying goodbye to someone he could still see. I picked up my sweater, put it on – aware that his gaze was fixed on my figure, as I stood, sideways on to him, to get dressed – and then returned to the living room. Ruibérriz de Torres was wearing a scarf around his neck – a mere adornment, he had not perhaps removed it all the time he had been there – and draped over his shoulders was the famous leather coat, which hung about him like a cape, in vaguely theatrical, carnivalesque fashion. It was long and black, like the coats worn by members of the SS or perhaps by the Gestapo in films about the Nazis, he was the kind of man who preferred the quick and easy route to attracting attention, even at the risk of causing revulsion, and now, if he did as Díaz-Varela said, he would have to renounce his overcoat. My first thought was: ‘How could Díaz-Varela have placed his trust in someone who was so visibly a rogue?’ It was written all over his face and physique, his mannerisms and his manner, a single glance was all it took to detect his essential self. He was over fifty, and yet everything about him oozed youthfulness: his attractive hair combed back so that it formed a wave on either side of his slightly broad, bulbous, but entirely orthodox forehead, with streaks or blocks of grey hair, the colour of quicksilver, that failed to make him look any more respectable because they looked artificial, as if he’d had highlights put in; his athletic trunk, slightly convex as tends to be the case with those who try, at all costs, to avoid acquiring a belly and so take pains to cultivate their pectorals instead; his broad smile that revealed flashing teeth; his upper lip that folded back to reveal its moist inside, thus emphasizing his overwhelmingly salacious nature. He had a straight, pointed nose with a very prominent central bone, indeed, he looked more like a citizen of Rome than of Madrid and reminded me of that actor, Vittorio Gassman, not in his noble old age, but when he used to play crooks. Yes, it was obvious to anyone that he was an amiable fraud. He folded his arms so that each hand rested on the opposite biceps muscle – he tensed them briefly, a purely reflex action – as if he were stroking or measuring them, as if he wanted to draw attention to them even though they were now covered by his overcoat, a sterile gesture. I could easily imagine him in a T-shirt, and even wearing high boots, a cheap imitation of a frustrated polo player who had never been allowed on a horse. Yes, it was strange that Díaz-Varela should have chosen him as his accomplice in such a secret and delicate enterprise, an enterprise that soils all those involved: that of causing someone’s death, one ‘who should have died hereafter’, perhaps tomorrow or if not tomorrow then the day after, but not now. Therein lies the problem, because we all die, and in the end, it makes little difference – deep down – if you cause someone’s turn to come earlier than expected by murdering them, the problem lies in when, but who knows which is the right or appropriate time, what does ‘hereafter’ or ‘at some point from now on’ mean, when ‘now’ is, by its very nature, always changing, what does ‘at another time’ mean if there is only one continuous, indivisible time that is eternally snapping at our heels, impatient and aimless, stumbling on as if powerless to stop and as if time itself were ignorant of its purpose. And why do things happen when they happen, why this date and not the previous day or the next, what is so special or decisive about this moment, what marks it out and who chooses it, and how can anyone say what Macbeth went on to say – I had looked it up after Díaz-Varela had quoted the lines to me – because what he goes on to say is this: ‘There would have been a time for such a word,’ that is, for the fact or phrase that he has just heard from th
e lips of his attendant Seyton, the bringer of relief or of misfortune: ‘The queen, my lord, is dead.’ As is so often the case, Shakespeare’s editors are unable to agree on the meaning of Macbeth’s famously ambiguous and mysterious lines. What did he mean by ‘hereafter’? ‘She could have died at a more appropriate time’? ‘She could have chosen a better moment, because this doesn’t suit me at all’? Perhaps ‘a more opportune, peaceful time, when she could have been properly honoured, when I could have stopped and mourned as I should the loss of the woman who shared so much with me, ambition and murder, hope and power and fear’? Macbeth has a moment, that’s all, before he launches into his ten most famous lines, into the extraordinary soliloquy that so many people round the world have learned by heart and which begins: ‘Tomorrow, and tomorrow, and tomorrow …’ And when he has finished – although who knows if he has finished speaking or if he would have added something more had he not been interrupted – the messenger arrives demanding his attention, for he brings Macbeth the terrible and supernatural news that Birnam Wood is on the move and advancing on the high hill of Dunsinane, where he is encamped, and this means that he will be defeated. And if he is defeated, he will be killed, and once he is dead, they will cut off his head and display it like a trophy, sightless and separated from the body that still supports it now, while he is speaking. ‘She should have died later on, when I wasn’t alive to hear the news, or to see or to dream anything; when I was no longer in time and incapable, therefore, of understanding.’