Laura Restrepo - Hot Sur

They took a room at a Budget Inn. Rose had insisted that they get two separate rooms, as in the previous motel, but María Paz thought it was a waste of money and suggested it would more practical to get one room with two single beds; they were a team on a mission and should adopt a more agile and warlike attitude. They holed themselves up in the motel against the afternoon snowstorm, which according to the Weather Channel was a bad one, lashing the roads with high winds and creating zero visibility conditions. María Paz washed her hair and made use of the hair dryer. The dogs sniffed every nook and corner of the room, and Rose set up shop at a desk with cigarette burns at the edges. There he painstakingly set his notes in order, the articles he had printed after various Google searches, an issue of a magazine called Very Interesting that he had just bought at a drugstore, a Bible, and other texts. He wanted to try to tie in all his previous elucidations on the criminal behavior of Sleepy Joe to reach some general conclusions. He devoted the afternoon to it, ignoring the noise of the hair dryer and the bustle of the dogs, who had begun to bark.

In neat letters and using an impeccable script, attempting to remain objective, and with a little dash of hard-learned wisdom and a stack of criminology manuals, Rose had managed to land that first insight using the photos of the Ponte Sant’Angelo, until his discussion turned into a technical report on the strength of materials. He had written his observations on a yellow legal pad, which he lent me so I could transcribe it.

First constant: How does Sleepy Joe kill? He follows a strict canon. For X reasons, he needs his victims to know that he is in control of the Stations of the Cross, and that they are on their way to martyrdom. He chose this ritual process, but he may as well have chosen any other, from training Mesoamerican peoples for the Florida wars to the symbolic acts of Helter Skelter with Charles Manson and the Family. Any preset structure would have worked as long as it meant a sequential progress that would allow him to undertake the ascent of what might be called the conductor’s steps. Sleepy Joe must see himself as the executor of a directive that leads him to kill. Now, that didn’t mean he always killed. Sometimes he just mortified the victim, like in the Corina case. Occasionally, as in the case of my son, Cleve, the victim will die before he completes the ritual. Sometimes the torture gets out of hand, and the victim dies prematurely. Second constant: He chooses his victims. When he feels he needs to kill, or offer up sacrifice, he looks around and chooses the weakest link in the chain: disabled (Hero), abused (Corina), insignificant individuals (John Eagles), drug addicts (Maraya). The disabled and the weak become his favorite targets, because they exacerbate his criminal instincts and sharpen his perversions. But we have to be careful, here there’s a jump, a parallel plane has to be considered, because the victims need to meet dual requirements. Aside from the characteristics mentioned above, the victims are all connected in one way or another to María Paz. It can be said that they are people who stand in his way to reach her, and therefore he needs to eliminate them. So he combines the sacrifice prerequisite with the extermination of an opponent. That is, an adversary, as my son, Cleve, must have been — a rival male who stirred his jealousy. Third constant: What weapons does he use? Several, as suggested by the Via Crucis, but he gives himself freedom to improvise. He is creative, resourceful, as he has shown. Take into account: daggers (Greg), nails (Hero), broomstick (Corina), thorns (Cleve), drowning in a Jacuzzi (Maraya). Fourth constant: Why do it? Possible answer: To feel God. That’s how Edward Norton puts it in Red Dragon .

That’s as far as Rose had gone with his notes on the yellow legal pad. He tells me that afternoon he wanted to focus particularly on Maraya, one of the first victims, who, according to the scheme Rose had uncovered, would have been involved in the ritual of the gambling for the tunic. He needed to learn more about this relic before they went to Chikki Charmers that night, but other than the controversy over the authenticity of the item, in the end, he found nothing about it he didn’t already know, except for the full quote from the Gospel of John, which he had been ignorant of: “Then the soldiers, when they had crucified Jesus, took his garments, and made four parts, to every soldier a part; and also his tunic, which was seamless. Then they said among themselves, ‘Let us not rend it, but cast lots for it, to decide whose it shall be.’”

When the time came to go that night, Rose shook María Paz’s shoulder. She had done her hair and then dropped on the bed like a rock, surrendering to exhaustion from not having slept a wink the night before. Her head drooped when she responded, not yet fully awake, so it was easy for Rose to convince her that he would take care of the investigations at Chikki Charmers on his own.

“You know what the crowd will be like at that place?” he warned her. “Just like the one we saw today at the café, either those same people or others identical to them, only now they’ll be rowdy and drunk. Besides, I don’t think women go there unless they are working. You’ll attract too much attention, the last thing we need.”

Ignoring the recommendation of local newscasts to avoid driving during the storm, Rose steered the Toyota into a road painted with ice. But the motel was near the bar, so it was only a few minutes before he sighted, somewhere just beyond the curtain of fog, the neon sign for Chikki Charmers, the letters illuminated in pink and green, and the pair of dancers, who before had been static, now brought to life with electricity, and they flapped their arms and hips spasmodically. Three hours later, Rose returned to the room at the Budget Inn, opened the door, and complained that the dog smell was getting unbearably thick inside.

“What do you expect?” María Paz asked. She was watching Doctor Zhivago , the scene in which Pasha gets cut in the face by a saber. “Did you want me to let the dogs out so they froze to death? Look at poor Omar Sharif, how frost clings even to his eyelashes. Anyway, the whiff of drink on you could light a torch, so don’t be talking about smells.”

“Tonight’s theme was Oriental Night,” Rose said from the bathroom, furiously rinsing out his mouth and washing his hands.

“Mother of God,” she said without taking her eyes off the screen. “Oriental Night? Is that at the place, the Chikki Charmers? And what did they do to bring out the charmers, the dance of the seven veils?”

“Yes, exactly. The seven veils. There were five women, each wrapped in seven veils. I had to cough up a dollar for each veil that hit the floor, plus the five table dances I ordered later to get close enough to the girls.”

“Jesus Christ, our life is full of strippers.”

“You know, one table dance for each girl. To get a chance to speak with them, have a little face-to-face time.”

“You mean cunt to face.”

“I wasn’t worried about the money, but they gave me a senior discount, twenty percent. Can you believe it? Very humiliating.”

“So? Did you get directions to Sleepy Joe’s place? Phone number?”

“Basically, they danced on me; that was it. None of them knew anything of Sleepy Joe’s whereabouts. Of the five, only three had met Maraya. The staff has a lot of turnover, not many of the same dancers as before. Of those three who knew Maraya, only two had ever seen Sleepy Joe. Of those two, one told me that she was not there to chat with old men, and the other told me some things.”

“What things?”

“Her name is Olga, Russian, I think. On Saturdays she comes out as a Cossack.”