The Terminal Beach

by James Graham Ballard

  Georg pulled a leather-bound pad from his centre drawer.

  'Now listen to this. I've been doing some research on the identity of the models for Ahasuerus - usually some petty princeling or merchant-king. The Leonardo is untraceable.

  He kept open house, beggars and goats wandered through his studio at will, anyone could have got in and posed. But the others were more select. The Ahasuerns in the Holbein was posed by a Sir Henry Daniels, a leading banker and friend of Henry VIII. In the Veronese by a member of the Council of Ten, none other than the Doge-to-be, Enri Danieli - we've both stayed in the hotel of that name in Venice. In the Rubens by Baron Henrik Nielson, Danish Ambassador to Amsterdam, and in the Goya by a certain Enrico da Nella, financier and great patron of the Prado.

  While in the Ponssin by the famous dilettante, Henri, Due de Nile.'

  Georg closed the note-book with a flourish. I said: 'It's certainly remarkable.'

  'You don't exaggerate. Danilewicz Daniels, Danieli, Da Nella, de Nile and Nielson. Alias Ahasuerns. You know Charles, I'm a little frightened, but I think we have the missing Leonardo within our grasp.'

  Nothing was more disappointing, therefore, than the failure of our quarry to appear that afternoon.

  The transfer of the Van Gogh from the previous day's sales had fortunately given it a high lot number, after some three dozen oth century paintings. As the bids for the Kandinskys and Legers came in, I sat on the podium behind Georg, surveying the elegant assembly below. In such an international gathering, of American connoisseurs, English press lords, French and Italian aristocracy, coloured by a generous sprinkling of ladies of the demi-monde, the presence of even the remarkable figure Georg had described would not have been over-conspicuous. However, as we moved steadily down the catalogue, and the flashing of the photographer's bulbs became more and more wearisome, I began to wonder whether he would appear at all. His seat in the front row remained reserved for him, and I waited impatienfiy for this fugitive through time and space to materialize and make his magnificent entry promptly as the Van Gogh was announced.

  As it transpired, both the seat and the painting remained untaken. Put offby Georg's doubts as to its authenticity, the painting failed to reach its reserve, and as the last sales closed we were left alone on the podium, our bait untaken.

  'He must have smelled a rat,' Georg whispered, after the attendants had confnxned that Count Danilewicz was not present in any of the other sale-rooms. A moment later a telephone call to the Ritz established that he had vacated his suite and left Paris for the south.

  'No doubt he's expert at sidestepping such traps. What now?' I asked.

  'Cadaques.'

  'Georg! Are you insane?'

  'Not at all. There's only a chance, but we must take it!

  Inspector Carnot will find a plane. I'll invent some fantasy to please him. Come on, Charles, I'm convinced we'll find the Leonardo in his villa.'

  We arrived at Barcelona, Carnot in tow, with Superintendent Jurgens of Interpol to,mooth our way through customs, and three hours later set off in a posse of police cars for Cadaques. The fast ride along that fantastic coast line, with its monstrous rocks like giant sleeping reptiles and the glazed light over the embalmed sea, reminiscent of all Dali's timeless beaches, was a fitting prelude to the final chapter.

  The air bled diamonds around us, sparkling off the immense spires of rock, the huge lunar ramparts suddenly giving way to placid bays of luminous water.

  The Villa d'Est stood on a promontory a thousand feet above the town, its high walls and shuttered moorish windows glistening in the sunlight like white quartz. The great black doors, like the vaults of a cathedral, were sealed, and a continuous ringing of the bell brought no reply. At this a prolonged wrangle ensued between Jurgens and the local police, who were torn between their reluctance to offend an important local dignitary - Count Danilewicz had evidently founded a dozen scholarships for promising local artists- and their eagerness to partake in the discovery of the missing Leonardo.

  Impatient of all this, Georg and I borrowed a car and chauffeur and set off for Port Lligat, promising the Inspector that we would return in time for the commercial airliner which was due to land at Barcelona from Paris some two hours later, presumably carrying Count Danilewicz. 'No doubt, however,' Georg remarked softly as we moved off, 'he travels by other transport.'

  What excuse we would make to penetrate the 'private rn6nage of Spain's most distinguished painter I had not decided, though the possibility of simultaneous one-man shows at Northeby's and Galleries Normande might have appeased him. As we drove down the final approach to the familiar tiered white villa by the water's edge, a large limousine was coming towards us, bearing away a recent guest.

  Our two cars passed at a point where the effective width of the road was narrowed by a nexus of pot-holes, and for a moment the heavy saloons wallowed side by side in the dust like two groaning mastodons.

  Suddenly, Georg clenched my elbow and pointed through the window.

  'Charles! There he is!'

  Lowering my window as the drivers cursed each other, I looked out into the dim cabin of the adjacent car. Sitting in the back seat, his head raised to the noise, was a huge Rasputin-like figure in a black pin-stripe suit, his white cuffs and gold tie-pin glinting in the shadows, gloved hands crossed in front of him over an ivory-handled cane. As we edged past I caught a glimpse of his great saturnine head, whose living features matched and corroborated exactly those which I had seen reproduced by so many hands upon so many canvases. The dark eyes glowed with an intense lustre, the black eyebrows rearing from his high forehead like wings, the sharp curve of the beard carrying the sweep of his strong jaw forward into the air like a spear.

  Elegantly suited though he was, his whole presence radiated a tremendous restless energy, a powerful charisma that seemed to extend beyond the confines of the car. For a moment we exchanged glances, separated from each other by only two or three feet. He was staring beyond me, however, at some distant landmark, some invisible hill-crest forever silhouetted against the horizon, and I saw in his eyes that expression of irredeemable remorse, of almost hallucinatory despair, untouched by self-pity or any conceivable extenuation, that one imagines on the faces of the damned.

  'Stop him? Georg shouted into the noise. 'Charles, warn him?

  Our car edged upwards out of the final rut, and I shouted through the engine fumes: 'Ahasuerus I Ahasuerus I'

  His wild eyes swung back, and he rose forward in his seat, a black arm on the window ledge, like some immense half-crippled angel about to take flight. Then the two cars surged apart, and we were separated from the limousine by a tornado of dust. Enchanted from the placid air, for ten minutes the squall seethed backwards and forwards across us.

  By the time it subsided and we had managed to reverse, the great limousine had vanishe.

  They found the Leonardo in the Villa d'Est, propped against the wall in its great gilt frame in the dining-room.

  To everyone's surprise the house was found to be completely empty, though two manservants who had been given the day off testified that when they left it that morning it had been lavishly furnished as usual. However, as Georg de Stael remarked, no doubt the vanished tenant had his own means of transport.

  The painting had suffered no damage, though the first cursory glance confirmed that a skilled hand had been at work on a small portion. The face of the black-robed figure once again looked upwards to the cross, a hint of hope, perhaps even of redemption, in its wistful gaze. The brushwork had dried, but Georg reported to me that the thin layer of varnish was still tacky.

  On our fated and triumphant return to Paris, Georg and I recommended that in view of the hazards already suffered by the painting no further attempts should be made to clean or restore it, and with a grateful sigh the director and staff of the Louvre sealed it back into its wall. The painting may not be entirely by the hand of Leonardo da Vinci, but we feel that the few additions have earned their place. No further news
was heard of Count Danilewlcz, but Georg recently told me that a Professor Henrico Daniella was reported to have been appointed director of the Museum of Pan-Christian Art at Santiago. His attempts to communicate with Professor Daniella had failed, but he gathered that the Museum was extremely anxious to build up a large collection of paintings of the Cross.

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