Амор Тоулз - A Gentleman in Moscow

Shortly after midnight, the American settled his bill at the bar, patted his companions on the shoulder, and wound up the stairs whistling an approximation of “The Internationale.” In the hallway on the fourth floor, he fumbled with his keys. But once the door to his room was closed, his posture became a little more straight, his expression a little more sober.

That’s when the Count switched on the lamp.

Though presumably startled to find a stranger sitting in one of his chairs, the American didn’t jump back or shout.

“Excuse me,” he said with the smile of the inebriated. “I must be in the wrong room.”

“No,” said the Count. “You are in the right room.”

“Well, if I am in the right room, then it must be you who are in the wrong room. . . .”

“Perhaps,” said the Count. “But I don’t think so.”

The American took a step forward and studied his uninvited guest with a little more care.

“Aren’t you the waiter in the Boyarsky?”

“Yes,” said the Count. “I am the waiter.”

The American nodded slowly.

“I see. Mr. . . . ?”

“Rostov. Alexander Rostov.”

“Well, Mr. Rostov, I’d offer you a drink, but the hour is late and I have a rather early appointment. Is there something else I can do for you?”

“Yes, Mr. Webster, I suspect that there is. You see, I have a letter that I need delivered to a friend in Paris, whom I think that you might know. . . .”

Despite the late hour and early appointment, Pudgy Webster ended up offering the Count a glass of whiskey, after all.

Now if, as a rule, the Count generally avoided drinking after eleven, he absolutely never drank after midnight. In fact, he had even found himself quoting his father to Sofia on the subject, asserting that the only things that came from the practice were foolhardy acts, ill-advised liaisons, and gambling debts.

But having snuck into the room of this American and arranged for a message to be delivered, it suddenly struck the Count that Humphrey Bogart would never turn down an offer of a drink after midnight. In fact, all evidence suggested that Bogart preferred his drinking after midnight—when the orchestra had stopped playing, the barstools had emptied, and the revelers had stumbled off into the night. That was the hour when, with the saloon doors closed, the lights turned low, and a bottle of whiskey on the table, Men of Intent could speak without the distractions of love and laughter.

“Yes, thank you,” said the Count to Mr. Webster. “A glass of whiskey might just hit the spot.”

And as it turned out, the Count’s instincts had been perfectly right, for the glass of whiskey hit the spot. As did the second.

So when he finally bid Mr. Webster goodnight (with a package of American cigarettes for Anna in one pocket and a chocolate bar for Sofia in the other), the Count headed homeward in an elevated frame of mind.

The fourth-floor hallway was empty and still. Behind the line of closed doors slept the practical and predictable, the cautious and comfortable. Tucked under their covers, they dreamt of breakfast, leaving the hallways of night to be walked by the likes of Samuel Spadsky and Philip Marlov and Alexander Ilyich Rostov. . . .

“Yes,” said the Count as he weaved down the hall: “ I am the waiter.”

Then with the finely attuned senses of his brotherhood, the Count noticed something suggestive out of the corner of his eye. It was the door to room 428.

Boris Godunov was a production of three and a half hours. A post-theater supper would last an hour and a half. So, in all likelihood, the Italians would not return to the hotel for another thirty minutes. The Count knocked and waited; he knocked again to be sure; then retrieving the key from his vest, he unlocked the door and crossed the threshold clear-eyed, quick, and without compunction.

In a glance, he could see that the night service had already visited the suite, for everything was in its proper place: the chairs, the magazines, the carafe of water and glasses. In the bedroom, he found the corners of the bed turned down at an angle of forty-five degrees.

Opening the right closet door, he was about to take the newsboy’s cap off its hook when he noticed something he’d missed before. On the shelf above the clothes was a bundle wrapped in paper and tied with twine—a bundle about the size of a small statuette. . . .

Putting the newsboy’s cap on his head, the Count took the bundle off the shelf and laid it on the bed. He untied the string and carefully peeled back the paper—only to find a set of Russian nesting dolls. Painted in a simple if traditional style, available in a hundred Moscow shops, the matryoshka was just that sort of whimsical toy that two parents would bring home to their child from a trip to Russia.

And in which they could easily hide something . . .

Sitting on the bed, the Count opened the largest of the nesting dolls. Then he opened the second largest of the nesting dolls. Then he opened the third largest of the nesting dolls. And he was about to open the fourth, when he heard a key in the lock.

For a moment, the Man of Intent was a Man Who Didn’t Know What to Do. But at the sound of the hallway door opening and the two Italian voices, the Count swept up the halves of the dolls, slipped into the closet, and quietly closed the door.

The shelf that ran above the hanging bar must have been less than six feet off the ground, because in order to fit in the closet, the Count had to bend his head like a penitent. (Point taken.)

It took only a few moments for the couple to shed their coats and come into the bedroom. If they went into the bathroom to perform their nightly toilette together, thought the Count, he would have the perfect opportunity to escape. But room 428 had only a small bath, and rather than crowd each other at the sink, the husband and wife chose to take turns.

Listening closely, the Count could hear the brushing of respective teeth, the opening of drawers, and the donning of pajamas. He could hear the bedsheets being pulled back. He could hear some quiet conversation, the lifting of books, and the turning of pages. After fifteen minutes, or an eternity, there was an exchange of endearments, a delicate kiss, and the lights went out. By the grace of God, this fine-looking couple opted for rest over intimacy. . . .

But how long, the Count wondered, would it take for them to fall asleep? Being careful not to move a muscle, he listened to their breathing. He heard a cough; a sniff; a sigh. Then someone rolling on their side. He might have worried about falling asleep himself, if it weren’t for the crippling pain in his neck and the creeping realization that he would soon need a toilette of his own.

Well, there you have it, thought the Count: one more reason not to drink after midnight . . .

“Che cos ’era questo?! Tesoro, svegliati!”

“Cos’è?”

“C’è qualcuno nella stanza!”

. . .

[Bump]

“Chi è la?”

“Scusa.”

“Claudio! Accendi la luce!”

[Bam]

“Scusa.”

[Crash]

“Arrivederci!”

Adulthood

Are you ready?” asked Marina.

The Count and Anna, who were sitting side by side on the couch in the actress’s suite, answered in the affirmative.

With a fitting sense of ceremony, Marina opened the bedroom door to reveal Sofia.

The dress that the seamstress had fashioned for the concert was a long-sleeved gown in the trumpet style—fitted above the waist and flared below the knee. The blue of the fabric, which recalled the depths of the ocean, provided an otherworldly contrast to the fairness of Sofia’s skin and the blackness of her hair.