Jealousy and In The Labyrinth (12 page)

One side of this trapezoid is formed by the dirt road which ends at the little bridge over the stream. The five men are now arranged in a quincunx, two on each bank and one in the middle of the bridge, all facing upstream and watching the muddy water flowing between two vertical banks which have collapsed a little here and there.

On the right bank there still remain two new logs to be set in place. They form a kind of loose V with an open point across the road rising toward the house and the garden.

A ... is just coming home. She has been visiting Christiane, who has been kept from going out for several days by her child's poor health, as delicate as her mother's and just as badly adapted to colonial life. A . . ., whom Franck has driven home in his car, crosses the living room and walks down the hallway to her bedroom which opens onto the terrace.

The bedroom windows have remained wide open all morning long. A . . . approaches the first one and closes its right-hand leaf, while the hand resting on the left one interrupts her gesture. The face turns in profile toward the half-opening, the neck straight, the ear cocked.

The low voice of the second driver reaches her.

The man is singing a native tune, a wordless, seemingly endless phrase which suddenly stops for no apparent reason. A . . ., finishing her gesture, closes the second leaf of the window.

Then she closes the two other windows. But she lowers none of the blinds.

She sits down in front of the dressing-table and looks at herself in the oval mirror, motionless, her elbows on the marble top and her hands pressing on each side of her face, against the temples. Not one of her features moves, nor the long-lashed eyelids, nor even the pupils at the center of the green irises. Petrified by her own gaze, attentive and serene, she seems not to feel time passing.

Leaning to one side, her tortoise-shell comb in her hand, she fixes her hair again before coming to the table. A mass of the heavy black curls hangs over the nape of her neck. The free hand plunges its tapering fingers into it.

A ... is lying fully dressed on the bed. One of her legs rests on the satin spread; the other, bent at the knee, hangs half over the edge. The arm on this side is bent toward the head lying on the bolster. Stretched across the wide bed, the other arm lies out from the body at approximately a forty-five degree angle. Her face is turned upward toward the ceiling. Her eyes are made still larger by the darkness.

Near the bed, against the same wall, is the heavy chest. A... is standing in front of the open top drawer, on which she is leaning in order to look for something, or else to arrange the contents. The operation takes a long time and requires no movement of the body.

She is sitting in the chair between the hallway door and the writing table. She is rereading a letter which shows the creases where it has been folded. Her longs legs are crossed. Her right hand is holding the sheet in front of her face; her left hand is gripping the end of the armrest.

A ... is writing, sitting at the table near the first window. Actually, she is getting ready to write, unless she has just finished her letter. The pen remains suspended an inch or so above the paper. Her face is raised toward the calendar hanging on the wall.

Between this first window and the second, there is just room enough for the large wardrobe. A ..., who is standing beside it, is therefore visible only from the third window, the one that overlooks the west gable-end. It is a mirrored wardrobe. A ... is carefully examining her face at close range.

Now she has moved still further to the right, into the corner of the room which also comprises the southwest corner of the house. It should be easy to observe her from one of the two doors, that of the hallway or that of the bathroom; but the doors are of wood, without blinds that can be seen through. As for the blinds on the three windows, none of them is now arranged so that anything can be seen through them.

Now the house is empty.

A . . . has gone to town with Franck to make a few necessary purchases. She has not said what they were. They left very early, so as to have enough time to run their errands and still be able to return to the plantation the same night.

Having left the house at six-thirty this morning, they expect to be back a little after midnight, which means an absence of eighteen hours, at least eight of which will be spent on the road, if all goes well.

But delays are always likely on these bad roads. Even if they start back at the expected time, immediately after a quick dinner, the travellers might not get home until around one in the morning, or even much later.

Meanwhile, the house is empty. All the bedroom windows are open, as well as its two doors, opening onto the hallway and the bathroom. The door between the bathroom and the hallway is also wide open, as is that from the hallway to the central part of the veranda.

The veranda is empty too; none of the armchairs has been brought outside this morning, nor has the low table that is used for cocktails and coffee. But under the open office window, the flagstones show the trace of eight chair legs: two sets of four shiny points, smoother than the stone around them. The two left-hand corners of the right-hand square are scarcely two inches away from the two right-hand corners of the left-hand square.

These shiny points are clearly visible only from the balustrade. They disappear when the observer comes closer. Looking down from the window immediately above them, it becomes impossible to tell where they are.

The furnishings of this room are very simple: files and shelves against the walls, two chairs, the massive desk. On one corner of the latter stands a little mother-of-pearl inlaid frame with a photograph taken at the seaside, in Europe. A ... is sitting on the terrace of a large cafe. Her chair is set at an angle to the table on which she is about to set down her glass.

The table is a metal disc pierced with innumerable holes, the largest of which form a complicated rosette: a series of S's all starting at the center, like double-curved spokes of a wheel, and each spiraling at the outer end, at the periphery of the disc.

The base supporting the table consists of a slender triple stem whose strands separate to converge again, coiling (in three vertical planes through the axis of the system) into three similar volutes whose lower whorls rest on the ground and are bound together by a ring placed a little higher on the curve.

The chair is similarly constructed, with perforated metal sheets and stems. It is harder to follow its convolutions, because of the person sitting on it, who largely conceals them from view.

On the table near a second glass, at the right edge of the picture, are a man's hand and the cuff of a jacket sleeve, cut off by the white vertical margin.

All the other portions of chairs evident in the photograph seem to belong to unoccupied seats. There is no one on the veranda, as elsewhere in the house.

In the dining room, a single place has been set for lunch, on the side of the table facing the pantry door and the long, low sideboard extending from this door to the window.

The window is closed. The courtyard is empty. The second driver must have parked the truck near the sheds, to wash it. In the place it usually occupies, all that remains is a large black spot contrasting with the dusty surface of the courtyard. This is a little oil which has dripped out of the motor, always in the same place.

It is easy to make this spot disappear, thanks to the flaws in the rough glass of the window: the blackened surface has merely to be brought into proximity with one of the flaws of the windowpane, by successive experiments.

The spot begins by growing larger, one of its sides bulging to form a rounded protuberance, itself larger than the initial object. But a few fractions of an inch farther, this bulge is transformed into a series of tiny concentric crescents which diminish until they are only lines, while the other side of the spot shrinks, leaving behind it a stalk-shaped appendage which bulges in its turn for a second; then suddenly everything disappears.

Behind the glass, now, in the angle determined by the central vertical frame and the horizontal cross-piece, there is only the grayish-beige color of the dusty gravel that constitutes the surface of the courtyard.

On the opposite wall, the centipede is there, in its tell-tale spot, right in the middle of the panel.

It has stopped, a tiny oblique line two inches long at eye level, halfway between the baseboard (at the hall doorway) and the corner of the ceiling. The creature is motionless. Only its antennae rise and fall one after the other in an alternating, slow, but continuous movement.

At its posterior extremity, the considerable development of the legs—of the last pair especially, which are longer than the antennae—identifies it unquestionably as the Scutigera, also known as the "spider-centipede" or "minute-centipede," so called because of a native belief as to the rapidity of the action of its bite, supposedly mortal. Actually this species is not very venomous; it is much less so, in any case, than many Scolopendra common in the region.

Suddenly the anterior part of the body begins to move, executing a rotation which curves the dark line toward the lower part of the wall. And immediately, without having time to go any further, the creature falls onto the tiles, still twisting and curling up its long legs while its mandibles rapidly open and close around its mouth in a quivering reflex.

Ten seconds later, it is nothing more than a reddish pulp in which are mingled the debris of unrecognizable sections.

But on the bare wall, on the contrary, the image of the squashed Scutigera is perfectly clear, incomplete but not blurred, reproduced with the faithfulness of an anatomical drawing in which only a portion of the elements are shown: an antenna, two curving mandibles, the head and the first joint, half of the second, a few large legs, etc. . . .

The outline seems indelible. It has no relief, none of the thickness of a dried stain which would come off if scratched at with a fingernail. It looks more like brown ink impregnating the surface layer of the paint.

Besides, it is not practical to wash the wall. This dull- finish paint is much more fragile than the ordinary gloss paint with linseed oil in it which was previously used on the walls of this room. The best solution would be to use an eraser, a hard, fine-grained eraser which would gradually wear down the soiled surface—the typewriter eraser, for instance, which is in the top left desk drawer.

The slender traces of bits of legs or antennae come off right away, with the first strokes of the eraser. The larger part of the body, already quite pale, is curved into a question mark that becomes increasingly vague toward the tip of the curve, and soon disappears completely. But the head and the first joints require a more extensive rubbing: after losing its color, the remaining shape stays the same for quite a long time. The outlines have become only a little less sharp. The hard eraser passing back and forth over the same point does not have much effect now.

A complementary operation seems in order: to scratch the surface very lightly, with the corner of a razor blade. Some white dust rises from the wall. The precision of the tool permits the area exposed to its effect to be carefully determined. A new rubbing with the eraser now finishes off the work quite easily.

The stain has disappeared altogether. There now remains only a vaguely outlined paler area, without any apparent depression of the surface, which might pass for an insignificant defect in the finish, at worst.

The paper is much thinner nevertheless; it has become more translucid, uneven, a little downy. The same razor blade, bent between two fingers to raise the center of its cutting edge, also serves to shave off the fluff the eraser has made. The back of a fingernail finally smoothes down the last roughness.

In broad daylight, a closer inspection of the pale blue sheet reveals that two short pen strokes have resisted everything, doubtless because they were made too heavily. Unless a new word, skillfully arranged to cover up these two unnecessary strokes, replaces the old one on the page, the traces of black ink will still be visible there. Unless the eraser is used once again.

It stands out clearly against the dark wood of the desk, as does the razor blade, and the foot of the mother-of-pearl inlaid frame where A ... is about to set down her glass on the round table with its many perforations. The eraser is a thin pink disc whose central part is covered by a little white-metal circle. The razor blade is a flat, polished rectangle, its short sides rounded, and pierced with three holes in a line. The central hole is circular; the two others, one on each side, reproduce precisely—on a much smaller scale—the general shape of the blade, that is, a rectangle with its short sides rounded.

Instead of looking at the glass she is about to set down, A ..., whose chair is set at an angle to the table, is turning in the opposite direction to smile at the photographer, as if encouraging him to take this candid shot.

The photographer has not lowered his camera to put it on a level with his model. In fact he seems to have climbed up onto something: a stone bench, a step, or a low wall. A — has to raise her head to turn her face toward the lens. The slender neck is erect, turned toward the right. On this side, the hand is resting easily on the far edge of the chair, against the thigh; the bare arm slightly bent at the elbow. The knees are apart, the legs half extended, ankles crossed.

The delicate waist is encircled by a wide belt with a triple clasp. The left arm, extended, holds the glass a few inches above the openwork table.

The lustrous black curls fall free to the shoulders. The flood of heavy locks with reddish highlights trembles at the slightest movement the head makes. The head must be shaken with tiny movements, imperceptible in themselves, but amplified by the mass of hair, creating gleaming, quickly vanishing eddies whose sudden intensity is reawakened in unlooked-for convulsions a little lower . . . lower still . . . and a last spasm much lower.