The Shadow of the Wind (15 page)

'And nobody else has visited the apartment in all these years?'

'Once this very creepy individual came along, one of those people who never stop smiling, a giggler, but you could see him coming a mile off. He said he was in the Crime Squad. He wanted to see the apartment.'

'Did he say why?'

The caretaker shook her head.

'Do you remember his name?'

'Inspector something or other. I didn't even believe he was a policeman. The whole thing stank, do you know what I mean? It smelled of something personal. I sent him packing and told him I didn't have the keys to the apartment and if he wanted anything, he should call the lawyer. He said he'd come back, but I haven't seem him round here again. Good riddance.'

'You wouldn't by any chance have the name and address of the lawyer, would you?'

'You should ask the manager of this building, Senor Molins. His office is quite close, number twenty-eight, Floridablanca, first floor. Tell him I sent you - Senora Aurora, at your service.'

'I'm very grateful. So, tell me, Dona Aurora, is the Fortuny apartment empty, then?'

'No, not empty, because nobody has taken anything from it in all the years since the old man died. Sometimes it even smells. I'd say there are rats in the apartment, mark my words.'

'Do you think it would be possible to have a look? We might find something that tells us what really happened to Julian.

'Oh no, I couldn't do that. You must talk to Senor Molins, he's the one in charge.'

I smiled at her mischievously. 'But you must have a master key, I imagine. Even if you told that man you didn't . . . Don't tell me you're not dying to see what's in there.'

Dona Aurora looked at me out of the corner of her eye.

'You're a devil.'

The door gave way like a tombstone, with a sudden groan, exhaling dank, foul-smelling air. I pushed the front door inwards, discovering a corridor that sank into darkness. The place was stuffy and reeked of damp. Spiralling threads of grime and dust hung from the ceiling like white hair. The broken floor tiles were covered by what looked like a layer of ash. I also noticed what appeared to be footprints making their way into the apartment.

'Holy Mother of God!' mumbled the caretaker. 'There's more shit here than on the floor of a henhouse.'

'If you'd rather, I'll go in on my own,' I said.

'That's exactly what you'd like. Come on, you go ahead, I'll follow.'

We closed the door behind us and waited by the entrance for a moment until our eyes became accustomed to the dark. I could hear the nervous breathing of the caretaker and noticed the sour smell of her sweat. I felt like a tomb robber whose soul is poisoned by greed and desire.

'Hey, what's that noise?' asked the caretaker in an anxious tone. Something fluttered in the dark, disturbed by our presence. I thought I glimpsed a pale shape flickering about at the end of the corridor.

'Pigeons,' I said. 'They must have got in through a broken window and made a nest here.'

'Those ugly birds give me the creeps,' said the caretaker. 'And they shit like there's no tomorrow.'

'Relax, Dona Aurora, they only attack when they're hungry.'

We ventured in a few steps till we reached the end of the corridor, where a dining room opened onto the balcony. Just visible was a shabby table covered with a tattered tablecloth that looked more like a shroud. Four chairs held a wake, together with a couple of grimy glass cabinets that guarded the crockery: an assortment of glasses and a tea set. In a corner stood the old upright piano that had belonged to Carax's mother. The keys were dark with dirt, and the joins could hardly be seen under the film of dust. An armchair with a long, threadbare cover was slowly disintegrating next to the balcony. Beside it was a coffee table on which rested a pair of reading glasses and a Bible bound in pale leather and edged with gold, of the sort that used to be given as presents for a child's first communion. It still had its bookmark, a piece of scarlet string.

'Look, that chair is where the old man was found dead. The doctor said he'd been there for two days. How sad to go like that, like a dog, all alone. Not that he didn't have it coming, but even so . . .'

I went up to the chair where Fortuny had died. Next to the Bible was a small box containing black-and-white photographs, old studio portraits. I knelt down to examine them, almost afraid to touch them. I felt as if I was profaning the memories of a poor old man, but my curiosity got the better of me. The first print showed a young couple with a boy who could not have been more than four years old. I recognized him by his eyes.

'Look, there they are. Senor Fortuny as a young man, and her . . .'

'Didn't Julian have any brothers or sisters?'

The caretaker shrugged her shoulders and let out a sigh. 'I heard rumours that she miscarried once because of the beatings her husband gave her, but I don't know. People love to gossip, don't they? But not me. All I know is that once Julian told the other kids in the building that he had a sister only he could see. He said she came out of mirrors as if she were made of thin air and that she lived with Satan himself in a palace at the bottom of a lake. My Isabelita had nightmares for a whole month. That child could be really morbid at times.'

I glanced at the kitchen. There was a broken pane in a small window overlooking an inner courtyard, and you could hear the nervous and hostile flapping of the pigeons' wings on the other side.

'Do all the apartments have the same layout?' I asked.

'The ones that look onto the street do. But this one is an attic, so it's a bit different. There's the kitchen and a laundry room that overlooks the inner yard. Down this corridor there are three bedrooms, and a bathroom at the end. Properly decorated, they can look very nice, believe me. This one is similar to my Isabella's apartment - but of course right now it looks like a tomb.'

'Do you know which room Julian's was?'

'The first door is the master bedroom. The second is a smaller room. It was probably that one, I'd say.'

I went down the corridor. The paint on the walls was falling off in shreds. At the end of the passage, the bathroom door was ajar. A face seemed to stare at me from the mirror. It could have been mine, or perhaps the face of the sister who lived there. As I got closer, it withdrew into darkness. I tried to open the second door.

'It's locked,' I said.

The caretaker looked at me in astonishment. 'These doors don't have locks,' she said.

'This one does.'

'Then the old man must have had it put in, because all the other apartments

I looked down and noticed that the footprints in the dust led up to the locked door. 'Someone's been in this room,' I said. 'Recently.'

'Don't scare me,' said the caretaker.

I went up to the other door. It didn't have a lock. It opened with a rusty groan when I touched it. In the middle stood an old four-poster bed, unmade. The sheets had turned yellowish, like winding sheets, and a crucifix presided over the bed. The room also contained a chest of drawers with a small mirror on it, a basin, a pitcher, and a chair. A cupboard, its door ajar, stood against the wall. I went around the bed to a bedside table with a glass top, under which lay photographs of ancestors, funeral cards, and lottery tickets. On the table were a carved wooden music box and a pocket watch, frozen forever at twenty past five. I tried to wind up the music box, but the melody got stuck after six notes. When I opened the drawer of the bedside table, I found an empty spectacle case, a nail clipper, a hip flask, and a medal of the Virgin of Lourdes. Nothing else.

'There must be a key to that room somewhere,' I said.

'The manager must have it. Look, I think it's best we leave.'

Suddenly I looked down at the music box. I lifted the cover and there, blocking the mechanism, I found a gold key. I took it out, and the music box resumed its tinkling melody. I recognized a tune by Ravel.

'This must be the key.' I smiled at the caretaker.

'Listen, if the room was locked, there must be a reason. Even if it's just out of respect for the memory of—'

'If you'd rather, you can wait for me down in your apartment, Dona Aurora.'

'You're a devil. Go on. Open up if you must.'

A breath of cold air whistled through the hole in the lock, licking at my fingers while I inserted the key. The lock that Senor Fortuny had fitted in the door of his son's unoccupied room was three times the size of the one on the front door. Dona Aurora looked at me apprehensively, as if we were about to open a Pandora's box.

'Is this room at the front of the house?' I asked.

The caretaker shook her head. 'It has a small window, for ventilation. It looks out over the yard.'

I pushed the door inward. An impenetrable well of darkness opened up before us, the meagre light from behind barely scratching at the shadows. The window overlooking the yard was covered with pages of yellowed newspaper. I tore them off, and a needle of hazy light bored through the darkness.

'Jesus, Mary, and Joseph,' murmured the caretaker.

The room was infested with crucifixes. They hung from the ceiling, dangling from the ends of strings, and they covered the walls, hooked on nails. There were dozens of them. You could sense them in every corner, carved with a knife on the wooden furniture, scratched on the floor tiles, painted red on the mirrors. The footprints that had led us to the doorway could now be traced on the dust around the naked bed, just a skeleton of wires and worm-eaten wood. At one end of the room, under the window, stood a closed roll top desk, crowned by a trio of metal crucifixes. I opened it with care. There was no dust in the joins of the wooden slats, from which I inferred that the desk had been opened quite recently. It had six drawers. The locks had been forced open. I inspected them one by one. Empty.

I knelt down by the desk and fingered the scratches that covered the wood, imagining Julian Carax's hands making those doodles, hieroglyphics whose meaning had been obscured by time. In the desk, I noticed a pile of notebooks and a vase filled with pencils and pens. I took one of the notebooks and glanced at it. Drawings and single words. Mathematical exercises. Unconnected phrases, quotes from books. Unfinished poems. All the notebooks looked the same. Some drawings were repeated page after page, with slight variations. I was struck by the figure of a man who seemed to be made of flames. Another might have been an angel or a reptile coiled around a cross. Rough sketches hinted at a fantastic rambling house, woven with towers and cathedral-like arches. The strokes were confident and showed a certain ability. Young Carax appeared to be a draftsman of some promise, but none of the drawings were more than rough sketches.

I was about to put the last notebook back in its place without looking at it when something slipped out from its pages and fell at my feet. It was a photograph in which I recognized the same girl who appeared in the other picture - the one taken at the foot of that building. The girl posed in a luxurious garden, and beyond the treetops, just visible, was the shape of the house I had seen sketched in the drawings of the adolescent Carax. I recognized it immediately. It was the villa called The White Friar, on Avenida del Tibidabo. On the back of the photograph was an inscription that simply said:

Penelope, who loves you

I put it in my pocket, closed the desk, and smiled at the caretaker.

'Seen enough?' she asked, anxious to leave the place.

'Almost,' I replied. 'Before, you said that soon after Julian left for Paris, a letter came for him, but his father told you to throw it away.

The caretaker hesitated for a moment, and then she nodded. 'I put the letter in the drawer of the cabinet in the entrance hall, in case the Frenchwoman should come back one day. It must still be there.'