Benjamin Black - Christine Falls

“Terrible racket again last night,” Mr. Poole called up accusingly. “Not a wink.”

Quirke turned. Poole stood sideways in the barely open doorway of his flat, neither in nor out, his accustomed stance, with an expression at once truculent and timid. He was an early riser, if indeed he ever slept. He wore a sleeveless pullover and a dicky-bow, twill trousers sharply creased, gray carpet slippers. He looked, Quirke always thought, like the father of a fighter pilot in one of those Battle of Britain films or, better still, the father of the fighter pilot’s girlfriend.

“Good morning, Mr. Poole,” Quirke said, politely distant; the fellow was often a source of light relief, but Quirke’s mood this early morning was not light.

Poole’s pale gull’s eye glittered vengefully. He had a way of grinding his lower jaw from side to side.

“All night, no letup,” he said, aggrieved. The other flats in the house were vacant, save for Quirke’s on the third floor, yet Poole regularly complained of noises in the night. “Frightful carry-on, bang bang bang.”

Quirke nodded. “Terrible. I was out, myself.”

Poole glanced back into the room behind him, looked up at Quirke again. “It’s the missus that minds,” he said, lowering his voice to a whisper, “not me.” This was a new twist. Mrs. Poole, rarely glimpsed, was a diminutive person with a furtive, frightened stare; she was, Quirke knew for a fact, profoundly deaf. “I’ve lodged a strong complaint. I shall expect action, I told them.”

“Good for you.”

Poole narrowed his eyes, suspecting irony. “We’ll see,” he said menacingly. “We’ll see.”

Quirke walked on up the stairs. He was at his own door before he heard Poole closing his.

Chill air stood unwelcoming in the living room, where the rain murmured against the two high windows, relics of a richer age, which no matter how dull the day were always somehow filled with a muted radiance Quirke found mysteriously dispiriting. He opened the lid of a silver cigarette box on the mantelpiece, but it was empty. He knelt on one knee and with difficulty lit the gas fire from the small flame of his cigarette lighter. With disgust he noted his dry raincoat, thrown over the back of an armchair, where it had been all the time. He rose to his feet too quickly and for a moment saw stars. When his vision cleared he was facing a photograph in a tortoiseshell frame on the mantelpiece: Mal Griffin, Sarah, himself at the age of twenty, and his future wife, Delia, laughingly pointing her racquet at the camera, all of them in tennis whites, walking forward arm in arm into a glare of sunlight. He realized with a faint shock that he could not remember where the picture had been taken; Boston, he supposed, it must have been Boston-but had they played tennis in Boston?

He took off his damp suit, put on a dressing gown, and sat down barefoot before the gas fire. He looked about the big, high-ceilinged room and grinned joylessly: his books, his prints, his Turkey carpet-his life. In the foothills of his forties, he was a decade younger than the century. The 1950s had promised a new age of prosperity and happiness for all; they were not living up to their promise. His eye settled on an artist’s articulated wooden model, a foot high, standing on the low telephone table beside the window, its jointed limbs arranged in a prancing pose. He looked away, frowning, but then with a sigh of annoyance rose and went and twisted the figure into a stance of desolate abasement that would better suit his morning gloom and burgeoning hangover. He returned to the chair and sat down again. The rain ceased and there was silence but for the sibilant hiss of the gas flame. His eyes scalded, they felt as if they had been boiled; he closed them, and shivered as the lids touched, imparting to each other along their inflamed edges a tiny, horrible kiss. Clearly in his mind he saw again that moment in the photograph: the grass, the sunlight, the great hot trees, and the four of them striding forward, young and svelte and smiling. Where was it? Where? And who had been behind the camera?

IT WAS AFTER LUNCH BY THE TIME HE COULD GET UP THE ENERGY TO drag himself into work. As he entered the pathology department, Wilkins and Sinclair, his assistants, exchanged an expressionless glance. “Morning, men,” Quirke said. “Afternoon, I mean.” He turned away to hang up his raincoat and his hat, and Sinclair grinned at Wilkins and lifted an invisible glass to his mouth and mimed drinking off a deep draught. Sinclair, a puckish fellow with a sickle of a nose and glossy black curls tumbling on his forehead, was the comedian of the department. Quirke filled a beaker of water at one of the steel sinks ranged in a row along the wall behind the dissecting table and carried it cautiously in a not quite steady hand into his office. He was searching for the aspirin bottle in the cluttered drawer of his desk, wondering as always how so much stuff had accumulated in it, when he spotted Mal’s fountain pen lying on the blotter; it was uncapped, with flecks of dried ink on the nib. Not like Mal to leave his precious pen behind, and with the cap off, too. Quirke stood frowning, groping his way through an alcohol haze back to the moment in the early hours when he had surprised Mal here. The presence of the pen proved it had not been a dream, yet there was something wrong with the scene as he recalled it, more wrong even than the fact of Mal sitting here, at this desk, where he had no right to be, in the watches of the night.

Quirke turned and walked into the body room and went to Christine Falls’s trolley and pulled back the sheet. He hoped the two assistants did not see the start he gave when he found himself confronted with the corpse of a half-bald and mustached old woman, the eyelids not quite closed and the thin, bloodless lips drawn back in a rictus that revealed the tips of a row of incongruously white, gleaming dentures.

He returned to the office and took Christine Falls’s file from the cabinet and sat down with it at his desk. His headache was very bad now, a steady, dull hammering low down at the back of his skull. He opened the file. He did not recognize the handwriting; it was certainly not his, nor that of Sinclair or Wilkins, and the signature was done in an illegible, childish scrawl. The girl was from down the country, Wexford or Waterford, he could not make out which, the writing was so bad. She had died of a pulmonary embolism; very young, he thought vaguely, for an embolism. Wilkins entered the room behind him, his crepe soles squeaking. Wilkins was a big-eared, long-headed Protestant, thirty years old but gawky as a schoolboy; he was unfailingly, excessively, infuriatingly polite.

“This was left for you, Mr. Quirke,” he said, and laid Quirke’s cigarette case before him on the desk. He coughed softly. “One of the nurses had it.”

“Oh,” Quirke said. “Right.” They both gazed blankly at the slim silver box as if expecting it to move. Quirke cleared his throat. “Which nurse was it?”

“Ruttledge.”

“I see.” The silence seemed a demand for explanation. “There was a party, upstairs, last night. I must have left it up there.” He took a cigarette from the case and lit it. “This girl,” he said, in a brisk voice, lifting the file, “this woman, Christine Falls-where’s she gone?”

“What was the name, Mr. Quirke?”

“Falls. Christine. She must have come in sometime last evening, now she’s gone. Where to?”

“I don’t know, Mr. Quirke.”

Quirke sighed into the open file; he wished Wilkins would not insist on addressing him by his name in that crawlingly obsequious way every time he was called on to speak. “The release form,” he said, “where’s that?”

Wilkins went out to the body room. Quirke searched in the desk drawer again and this time found the aspirin bottle; there was one tablet left.