Philip Kerr - The Other Side of Silence

“I don’t know. Can that hold fifty thousand dollars?”

“I should say so.”

“In which case, use it. Either way, have the money ready by seven o’clock. The meet is at eight. I’ll bring the negative and the photograph straight to the Villa Mauresque, as soon as I have them.”

“Fifty thousand dollars,” he exclaimed grumpily. “Must be the most expensive fucking photograph in history.”

“A picture can tell a thousand words. Isn’t that what they say?”

“Christ, I hope not. Otherwise I’m out of f-fucking work.”

“Look, sir, it’s probably best that none of the words that this particular picture can tell are ever heard outside of a Turkish bathhouse or a novel by Marcel Proust. So you’d best reconcile yourself to paying up.”

“That’s easy for you to say, Mr. Wolf. Fifty thousand dollars is fifty thousand dollars.”

“You’re right. And I’ll admit, fifty thousand pictures of Washington are fifty thousand stories I’d love to hear. So, don’t pay him. Tell him to go to hell and take the flak. It’s up to you, sir. But sometimes, when it’s absolutely necessary, everyone has to eat flies.”

“Suppose I give you the money and you drive straight for the Italian border? You could be in Genoa before midnight and on a boat to fuck knows where.”

“And leave my wonderful job here at the Grand Hotel? I don’t think so. Every man likes to delude himself that he has some moral standards. For years I told myself that I was the most honest man I’d ever met. Of course, that was easy enough in Nazi Germany. But why take my word for it? Mark a few bills. Take a few serial numbers. I’d be easy enough to trace. I daresay even the French police wouldn’t have too much of a struggle to find me or it. Come to think of it, do that anyway. You never know.”

The rest of Sunday passed slowly as it often does, especially when there is an important task to be completed at the end of it. Hebel came back to the hotel just after lunch and went straight to his room without so much as a glance in my direction. He was a cool one, I’ll say that for him. I went out to his car and searched it; there was a brochure from the perfume factory in Grasse and I concluded that this was where he’d been. Meanwhile, the small of my back had started hurting, which is not unusual when I’ve been on my feet for much of the day, and I was keen to get home and have a bath. But first I had an important job to do. As soon as Hebel went out again-around six-I took his key and went upstairs to search the German’s room. I was nibbling around at the edge of his viperous person, keen to see what else he might have among his high-quality possessions that was potentially compromising to my vulnerable and easily compromised client. Letters, perhaps, or another photograph. It was my idea of room service. He had left nothing of value to him in the hotel safe, I knew, because I would certainly have known about it, and nothing in his car, either. That left his hotel suite and, perhaps, as I had suggested to Maugham, some local lawyer with a strong room and a weekly retainer. What I did find was surprising, although not in the way I might have expected.

It was a nice suite atop the east wing of the hotel, just below a flagpole and the Tricolore, full of summer evening light and the smell of cut flowers, with a fine view of gently sloping lush gardens and, beyond, the deep blue sea. Anchored in the bay, the millionaire Greek shipowner Aristotle Onassis’s yacht, the Christina O , with its distinctive yellow smokestack and naval frigate lines, looked like a brand-new Argo in search of some more modern and profitable golden fleece, as devised by Charles Ponzi, perhaps, or Ferdinand Demara.

I looked around the room. There was a big bed, a comfortable seating area, an en suite bathroom, and a sun terrace as long as the Champs-Elysees. On the walls were some French prints depicting anodyne scenes of the French Riviera that always made me think well of gloomier artists like Bosch and Goya, and a large bowl of fresh fruit. On top of a chest of drawers was Hebel’s own portable Grundig tape machine. I switched it on and listened to a minute or two of bebop jazz, which I find is usually more than enough. There was an address book and a diary and a toilet bag filled with an optimistic number of condoms. Not unexpectedly, the closets and the drawers were home to a variety of fine clothes. But on top of a pile of neatly folded shirts from Turnbull amp; Asser I found an envelope addressed to Bernie Gunther, while under the rubble of socks and underwear was a nine-millimeter Sig, recently cleaned. It was a nice gun with a full clip and I was glad to see it there if only because it made me think Hebel wouldn’t be carrying a weapon when I met him later, but it was the cheeky letter that interested me more and I wondered how I might read it without him knowing that I had. Obviously he’d been expecting me to search his room, which made me think I was probably wasting my time in there. So, after a minute of just staring at the position of the envelope on the top shirt-could there have been a hair I hadn’t noticed that would tell him I’d been in that drawer?-I left it untouched exactly where it was. But on an impulse, and thinking I might use it to reason with Hebel later on, I took the gun, tucked it behind me under the waistband of my pinstripe trousers, and went downstairs again; he wasn’t going to complain to anyone about my borrowing his gun, especially if it was pointed at his head. I rarely ever do anything on impulse, however, and almost immediately it was an impulse I strongly regretted.

In the lobby there were two plainclothes cops waiting for me and already making a silent inventory of my face, my manner, my morning coat, the way I walked-their eyes were all over me like ants. I knew they were cops because plainclothes always appear a little too plain in a grand hotel. Cops are the same the world over; they usually look as if they belong somewhere else, somewhere second-rate like the Soviet Union, or Alaska, where cheap suits, tight shoes, and creased shirts with yesterday’s collars are almost standard uniform. These two looked like a couple of dull rocks in a silver punch bowl. I ushered them quickly into the back office in case they disturbed the chandeliers or Monsieur Charrieres, the hotel manager, caught a distressing sight of them. For a brief moment I thought they were there to speak to Hebel and wondered how long it would be before he tried to make a deal with them that involved me, but to my surprise, they were there to ask me about Antimo Spinola. They showed their greasy plastic identity cards and muttered their names through a blue cloud of French cigarette smoke, but I was hardly paying attention because I was now more worried that I might miss my appointment with Hebel than I was about any acquaintance I had with Antimo Spinola. The Italian could look after himself; or so I thought. There was five thousand dollars in it if I handled Maugham’s blackmail money without a hitch-more than enough to buy a new car. Or a ticket to somewhere else; increasingly, somewhere else was a place I was keen to visit.

“How well do you know him?” asked one of the cops.

“Spinola? I play cards with him twice a week at the Hotel Voile d’Or in Cap Ferrat. He’s my bridge partner. Which is to say, not well at all. Bridge is that kind of game. Too interesting for a lot of what-did-you-do-today talk.”

“For how long have you played together?”

“Oh, perhaps a couple of years. As long as I’ve worked here, anyway.”

“It’s a beautiful hotel.”

“Isn’t it? So much beauty.” I almost added, “But so much sadness, too. It’s a beautiful, sad world, I think, that has some beautiful, sad people in it,” only you don’t speak to cops like that when they’re asking questions. Not if you want them to leave you alone.