All was in order, so I found nothing. Not a random doodle on an old envelope, nor the faded photograph of a woman. Only the files of business correspondence, the bills from the home farms, the invoices from tailors, the billets-doux from international financiers. Nothing. And this absence of the evidence of his real life began to impress me strangely; there must, I thought, be a great deal to conceal if he takes such pains to hide it.
His office was a singularly impersonal room, facing inwards, on to the courtyard, as though he wanted to turn his back on the siren sea in order to keep a clear head while he bankrupted a small businessman in Amsterdam or – I noticed with a thrill of distaste – engaged in some business in Laos that must, from certain cryptic references to his amateur botanist’s enthusiasm for rare poppies, be to do with opium. Was he not rich enough to do without crime? Or was the crime itself his profit? And yet I saw enough to appreciate his zeal for secrecy.
Now I had ransacked his desk, I must spend a cool-headed quarter of an hour putting every last letter back where I had found it, and, as I covered the traces of my visit, by some chance, as I reached inside a little drawer that had stuck fast, I must have touched a hidden spring, for a secret drawer flew open within that drawer itself; and this secret drawer contained – at last! – a file marked: Personal.
I was alone, but for my reflection in the uncurtained window.
I had the brief notion that his heart, pressed flat as a flower, crimson and thin as tissue paper, lay in this file. It was a very thin one.
I could have wished, perhaps, I had not found that touching, ill-spelt note, on a paper napkin marked La Coupole, that began: ‘My darling, I cannot wait for the moment when you may make me yours completely.’ The diva had sent him a page of the score of Tristan, the Liebestod, with the single, cryptic word: ‘Until…’ scrawled across it. But the strangest of all these love letters was a postcard with a view of a village graveyard, among mountains, where some black-coated ghoul enthusiastically dug at a grave; this little scene, executed with the lurid exuberance of Grand Guignol, was captioned: ‘Typical Transylvanian Scene – Midnight, All Hallows.’ And, on the other side, the message: ‘On the occasion of this marriage to the descendant of Dracula – always remember, “the supreme and unique pleasure of love is the certainty that one is doing evil”. Toutes amitiés, C.’
A joke. A joke in the worst possible taste; for had he not been married to a Romanian countess? And then I remembered her pretty, witty face, and her name – Carmilla. My most recent predecessor in this castle had been, it would seem, the most sophisticated.
I put away the file, sobered. Nothing in my life of family love and music had prepared me for these grown-up games and yet these were clues to his self that showed me, at least, how much he had been loved, even if they did not reveal any good reason for it. But I wanted to know still more; and, as I closed the office door and locked it, the means to discover more fell in my way.
Fell, indeed; and with the clatter of a dropped canteen of cutlery, for, as I turned the slick Yale lock, I contrived, somehow, to open up the key ring itself, so that all the keys tumbled loose on the floor. And the very first key I picked out of that pile was, as luck or ill fortune had it, the key to the room he had forbidden me, the room he would keep for his own so that he could go there when he wished to feel himself once more a bachelor.
I made my decision to explore it before I felt a faint resurgence of my ill-defined fear of his waxen stillness. Perhaps I half-imagined, then, that I might find his real self in his den, waiting there to see if indeed I had obeyed him; that he had sent a moving figure of himself to New York, the enigmatic, self-sustaining carapace of his public person, while the real man, whose face I had glimpsed in the storm of orgasm, occupied himself with pressing private business in the study at the foot of the west tower, behind the still-room. Yet, if that were so, it was imperative that I should find him, should know him; and I was too deluded by his apparent taste for me to think my disobedience might truly offend him.
I took the forbidden key from the heap and left the others lying there.
It was now very late and the castle was adrift, as far as it could go from the land, in the middle of the silent ocean where, at my orders, it floated, like a garland of light. And all silent, all still, but for the murmuring of the waves.
I felt no fear, no intimation of dread. Now I walked as firmly as I had done in my mother’s house.
Not a narrow, dusty little passage at all; why had he lied to me? But an ill-lit one, certainly; the electricity, for some reason, did not extend here, so I retreated to the still-room and found a bundle of waxed tapers in a cupboard, stored there with matches to light the oak board at grand dinners. I put a match to my little taper and advanced with it in my hand, like a penitent, along the corridor hung with heavy, I think Venetian, tapestries. The flame picked out, here, the head of a man, there, the rich breast of a woman spilling through a rent in her dress – the Rape of the Sabines, perhaps? The naked swords and immolated horses suggested some grisly mythological subject. The corridor wound downwards; there was an almost imperceptible ramp to the thickly carpeted floor. The heavy hangings on the wall muffled my footsteps, even my breathing. For some reason, it grew very warm; the sweat sprang out in beads on my brow. I could no longer hear the sound of the sea.
A long, a winding corridor, as if I were in the viscera of the castle; and this corridor led to a door of worm-eaten oak, low, round-topped, barred with black iron.
And still I felt no fear, no raising of the hairs on the back of the neck, no prickling of the thumbs.
The key slid into the new lock as easily as a hot knife into butter.
No fear; but a hesitation, a holding of the spiritual breath.
If I had found some traces of his heart in a file marked: Personal, perhaps, here, in his subterranean privacy, I might find a little of his soul. It was the consciousness of the possibility of such a discovery, of its possible strangeness, that kept me for a moment motionless, before, in the foolhardiness of my already subtly tainted innocence, I turned the key and the door creaked slowly back.
‘There is a striking resemblance between the act of love and the ministrations of a torturer,’ opined my husband’s favourite poet; I had learned something of the nature of that similarity on my marriage bed. And now my taper showed me the outlines of a rack. There was also a great wheel, like the ones I had seen in woodcuts of the martyrdoms of the saints, in my old nurse’s little store of holy books. And – just one glimpse of it before my little flame caved in and I was left in absolute darkness – a metal figure, hinged at the side, which I knew to be spiked on the inside and to have the name: the Iron Maiden.
Absolute darkness. And, about me, the instruments of mutilation.
Until that moment, this spoiled child did not know she had inherited nerves and a will from the mother who had defied the yellow outlaws of Indo-China. My mother’s spirit drove me on, into that dreadful place, in a cold ecstasy to know the very worst. I fumbled for the matches in my pocket; what a dim, lugubrious light they gave! And yet, enough, oh, more than enough, to see a room designed for desecration and some dark night of unimaginable lovers whose embraces were annihilation.
The walls of this stark torture chamber were the naked rock; they gleamed as if they were sweating with fright. At the four corners of the room were funerary urns, of great antiquity, Etruscan, perhaps, and, on three-legged ebony stands, the bowls of incense he had left burning which filled the room with a sacerdotal reek. Wheel, rack and Iron Maiden were, I saw, displayed as grandly as if they were items of statuary and I was almost consoled, then, and almost persuaded myself that I might have stumbled only upon a little museum of his perversity, that he had installed these monstrous items here only for contemplation.
Yet at the centre of the room lay a catafalque, a doomed, ominous bier of Renaissance workmanship, surrounded by long white candles and, at its foot, an armful of the same lilies with which he had filled my b
edroom, stowed in a four-foot-high jar glazed with a sombre Chinese red. I scarcely dared examine this catafalque and its occupant more closely; yet I knew I must.
Each time I struck a match to light those candles round her bed, it seemed a garment of that innocence of mine for which he had lusted fell away from me.
The opera singer lay, quite naked, under a thin sheet of very rare and precious linen, such as the princes of Italy used to shroud those whom they had poisoned. I touched her, very gently, on the white breast; she was cool, he had embalmed her. On her throat I could see the blue imprint of his strangler’s fingers. The cool, sad flame of the candles flickered on her white, closed eyelids. The worst thing was, the dead lips smiled.
Beyond the catafalque, in the middle of the shadows, a white, nacreous glimmer; as my eyes accustomed themselves to the gathering darkness, I at last – oh, horrors! – made out a skull; yes, a skull, so utterly denuded, now, of flesh, that it scarcely seemed possible the stark bone had once been richly upholstered with life. And this skull was strung up by a system of unseen cords, so that it appeared to hang, disembodied, in the still, heavy air, and it had been crowned with a wreath of white roses, and a veil of lace, the final image of his bride.
Yet the skull was still so beautiful, had shaped with its sheer planes so imperiously the face that had once existed above it, that I recognized her the moment I saw her; face of the evening star walking on the rim of night. One false step, oh, my poor, dear girl, next in the fated sisterhood of his wives; one false step and into the abyss of the dark you stumbled.
And where was she, the latest dead, the Romanian countess who might have thought her blood would survive his depredations? I knew she must be here, in the place that had wound me through the castle towards it on a spool of inexorability. But, at first, I could see no sign of her. Then, for some reason – perhaps some change of atmosphere wrought by my presence – the metal shell of the Iron Maiden emitted a ghostly twang; my feverish imagination might have guessed its occupant was trying to clamber out, though, even in the midst of my rising hysteria, I knew she must be dead to find a home there.
With trembling fingers, I prised open the front of the upright coffin, with its sculpted face caught in a rictus of pain. Then, overcome, I dropped the key I still held in my other hand. It dropped into the forming pool of her blood.
She was pierced, not by one but by a hundred spikes, this child of the land of the vampires who seemed so newly dead, so full of blood… oh God! how recently had he become a widower? How long had he kept her in this obscene cell? Had it been all the time he had courted me, in the clear light of Paris?
I closed the lid of her coffin very gently and burst into a tumult of sobbing that contained both pity for his other victims and also a dreadful anguish to know I, too, was one of them.
The candles flared, as if in a draught from a door to elsewhere. The light caught the fire opal on my hand so that it flashed, once, with a baleful light, as if to tell me the eye of God – his eye – was upon me. My first thought, when I saw the ring for which I had sold myself to this fate, was, how to escape it.
I retained sufficient presence of mind to snuff out the candles round the bier with my fingers, to gather up my taper, to look around, although shuddering, to ensure I had left behind me no traces of my visit.
I retrieved the key from the pool of blood, wrapped it in my handkerchief to keep my hands clean, and fled the room, slamming the door behind me.
It crashed to with a juddering reverberation, like the door of hell.
I could not take refuge in my bedroom, for that retained the memory of his presence trapped in the fathomless silvering of his mirrors. My music room seemed the safest place, although I looked at the picture of Saint Cecilia with a faint dread; what had been the nature of her martyrdom? My mind was in a tumult; schemes for flight jostled with one another… as soon as the tide receded from the causeway, I would make for the mainland – on foot, running, stumbling; I did not trust that leather-clad chauffeur, nor the well-behaved housekeeper, and I dared not take any of the pale, ghostly maids into my confidence, either, since they were his creatures, all. Once at the village, I would fling myself directly on the mercy of the gendarmerie.
But – could I trust them, either? His forefathers had ruled this coast for eight centuries, from this castle whose moat was the Atlantic. Might not the police, the advocates, even the judge, all be in his service, turning a common blind eye to his vices since he was milord whose word must be obeyed? Who, on this distant coast, would believe the white-faced girl from Paris who came running to them with a shuddering tale of blood, of fear, of the ogre murmuring in the shadows? Or, rather, they would immediately know it to be true. But were all honour-bound to let me carry it no further.
Assistance. My mother. I ran to the telephone; and the line, of course, was dead.
Dead as his wives.
A thick darkness, unlit by any star, still glazed the windows. Every lamp in my room burned, to keep the dark outside, yet it seemed still to encroach on me, to be present beside me but as if masked by my lights, the night like a permeable substance that could seep into my skin. I looked at the precious little clock made from hypocritically innocent flowers long ago, in Dresden; the hands had scarcely moved one single hour forward from when I first descended to that private slaughterhouse of his. Time was his servant, too; it would trap me, here, in a night that would last until he came back to me, like a black sun on a hopeless morning.
And yet the time might still be my friend; at that hour, that very hour, he set sail for New York.
To know that, in a few moments, my husband would have left France calmed my agitation a little. My reason told me I had nothing to fear; the tide that would take him away to the New World would let me out of the imprisonment of the castle. Surely I could easily evade the servants. Anybody can buy a ticket at a railway station. Yet I was still filled with unease. I opened the lid of the piano; perhaps I thought my own particular magic might help me, now, that I could create a pentacle out of music that would keep me from harm for, if my music had first ensnared him, then might it not also give me the power to free myself from him?
Mechanically, I began to play but my fingers were stiff and shaking. At first, I could manage nothing better than the exercises of Czerny but simply the act of playing soothed me and, for solace, for the sake of the harmonious rationality of its sublime mathematics, I searched among his scores until I found The Well-Tempered Clavier. I set myself the therapeutic task of playing all Bach’s equations, every one, and, I told myself, if I played them all through without a single mistake – then the morning would find me once more a virgin.
Crash of a dropped stick.
His silver-headed cane! What else? Sly, cunning, he had returned; he was waiting for me outside the door!
I rose to my feet; fear gave me strength. I flung back my head defiantly.
‘Come in!’ My voice astonished me by its firmness, its clarity.
The door slowly, nervously opened and I saw, not the massive, irredeemable bulk of my husband but the slight, stooping figure of the piano-tuner, and he looked far more terrified of me than my mother’s daughter would have been of the Devil himself. In the torture chamber, it seemed to me that I would never laugh again; now, helplessly, laugh I did, with relief, and, after a moment’s hesitation, the boy’s face softened and he smiled a little, almost in shame. Though they were blind, his eyes were singularly sweet.
‘Forgive me,’ said Jean-Yves. ‘I know I’ve given you grounds for dismissing me, that I should be crouching outside your door at midnight… but I heard you walking about, up and down – I sleep in a room at the foot of the west tower – and some intuition told me you could not sleep and might, perhaps, pass the insomniac hours at your piano. And I could not resist that. Besides, I stumbled over these—’
And he displayed the ring of keys I’d dropped outside my husband’s office door, the ring from which one key was missing. I took them from
him, looked round for a place to stow them, fixed on the piano stool as if to hide them would protect me. Still he stood smiling at me. How hard it was to make everyday conversation.
‘It’s perfect,’ I said. ‘The piano. Perfectly in tune.’
But he was full of the loquacity of embarrassment, as though I would only forgive him for his impudence if he explained the cause of it thoroughly.
‘When I heard you play this afternoon, I thought I’d never heard such a touch. Such technique. A treat for me, to hear a virtuoso! So I crept up to your door now, humbly as a little dog might, madame, and put my ear to the keyhole and listened, and listened – until my stick fell to the floor through a momentary clumsiness of mine, and I was discovered.’
He had the most touchingly ingenuous smile.
‘Perfectly in tune,’ I repeated. To my surprise, now I had said it, I found I could not say anything else. I could only repeat: ‘In tune… perfect… in tune,’ over and over again. I saw a dawning surprise in his face. My head throbbed. To see him, in his lovely, blind humanity, seemed to hurt me very piercingly, somewhere inside my breast; his figure blurred, the room swayed about me. After the dreadful revelation of that bloody chamber, it was his tender look that made me faint.
When I recovered consciousness, I found I was lying in the piano-tuner’s arms and he was tucking the satin cushion from the piano-stool under my head.
‘You are in some great distress,’ he said. ‘No bride should suffer so much, so early in her marriage.’
His speech had the rhythms of the countryside, the rhythms of the tides.
‘Any bride brought to this castle should come ready dressed in mourning, should bring a priest and a coffin with her,’ I said.
‘What’s this?’
It was too late to keep silent; and if he, too, were one of my husband’s creatures, then at least he had been kind to me. So I told him everything, the keys, the interdiction, my disobedience, the room, the rack, the skull, the corpses, the blood.
The Story: Love, Loss and the Lives of Women: 100 Great Short Stories Page 15