The Stories of Vladimir Nabokov Part 31

Thus, without hops, no matter how strong

One's thirst, it is rather

Difficult, isn't it,

To make both the beer and the drinking song!

Just imagine, we lacked potatoes,

No turnips, no beets could we get:

Thus the poem, now blooming, wasted

In the bulbs of the alphabet!

A well-trodden road we had taken,

Bitter toadstools we ate,

Until by great thumps was shaken

History's gate!

Until in his trim white tunic

Which upon us its radiance cast,

With his wonderful smile the Ruler

Came before his subjects at last!

Yes, "radiance," yes, "toadstools," yes, "wonderful," that's right. I, a little man, I, the blind beggar who today has gained his sight, fall on my knees and repent before you. Execute me-no, even better, pardon me, for the block is your pardon, and your pardon the block, illuminating with an aching benignant light the whole of my iniquity. You are our pride, our glory, our banner! O magnificent, gentle giant, who intently and lovingly watches over us, I swear to serve you from this day on, I swear to be like all your other nurslings, I swear to be yours indivisibly, and so forth, and so forth, and so forth.

17.

Laughter, actually, saved me. Having experienced all the degrees of hatred and despair, I achieved those heights from which one obtains a bird's-eye view of the ludicrous. A roar of hearty mirth cured me, as it did, in a children's storybook, the gentleman "in whose throat an abscess burst at the sight of a poodle's hilarious tricks." Rereading my chronicle, I see that, in my efforts to make him terrifying, I have only made him ridiculous, thereby destroying him-an old, proven method. Modest as I am in evaluating my muddled composition, something nevertheless tells me that it is not the work of an ordinary pen. Far from having literary aspirations, and yet full of words forged over the years in my enraged silence, I have made my point with sincerity and fullness of feeling where another would have made it with artistry and inventiveness. This is an incantation, an exorcism, so that henceforth any man can exorcise bondage. I believe in miracles. I believe that in some way, unknown to me, this chronicle will reach other men, neither tomorrow nor the next day, but at a distant time when the world has a day or so of leisure for archaeological diggings, on the eve of new annoyances, no less amusing than the present ones. And, who knows-I may be right not to rule out the thought that my chance labor may prove immortal, and may accompany the ages, now persecuted, now exalted, often dangerous, and always useful. While I, a "boneless shadow," un fantome suns os, will be content if the fruit of my forgotten insomnious nights serves for a long time as a kind of secret remedy against future tyrants, tigroid monsters, half-witted torturers of man.

LIK.

THERE is a play of the 1920s, called L'Abime (The Abyss), by the well-known French author Suire. It has already pa.s.sed from the stage straight into the Lesser Lethe (the one, that is, that serves the theater-a stream, incidentally, not quite as hopeless as the main river, and containing a weaker solution of oblivion, so that angling producers may still fish something out many years later). This play-essentially idiotic, even ideally idiotic, or, putting it another way, ideally constructed on the solid conventions of traditional dramaturgy-deals with the torments of a middle-aged, rich, and religious French lady suddenly inflamed by a sinful pa.s.sion for a young Russian named Igor, who has turned up at her chateau and fallen in love with her daughter Angelique. An old friend of the family, a strong-willed, sullen bigot, conveniently knocked together by the author out of mysticism and lechery, is jealous of the heroine's interest in Igor, while she in turn is jealous of the latter's attentions to Angelique; in a word, it is all very compelling and true to life, every speech bears the trademark of a respectable tradition, and it goes without saying that there is not a single jolt of talent to disrupt the ordered course of action, swelling where it ought to swell, and interrupted when necessary by a lyric scene or a shamelessly explanatory dialogue between two old retainers.

The apple of discord is usually an early, sour fruit, and should be cooked. Thus the young man of the play threatens to be somewhat colorless, and it is in a vain attempt to touch him up a little that the author has made him a Russian, with all the obvious consequences of such trickery. According to Suire's optimistic intention, he is an emigre Russian aristocrat, recently adopted by an old lady, the Russian wife of a neighboring landowner. One night, at the height of a thunderstorm, Igor comes knocking at our door, enters, riding crop in hand, and announces in agitation that the pinewood is burning on his benefactress's estate, and that our pinery is also in danger. This affects us less strongly than the visitor's youthful glamour, and we are inclined to sink onto a ha.s.sock, toying pensively with our necklace, whereupon our bigot friend observes that the reflection of flames is at times more dangerous than the conflagration itself. A solid, high-quality plot, as you can see, for it is clear at once that the Russian will become a regular caller and, in fact, Act Two is all sunny weather and bright summer clothes.

Judging by the printed text of the play, Igor expresses himself (at least in the first scenes, before the author tires of this) not incorrectly but, as it were, a bit hesitantly, every so often interposing a questioning "I think that is how you say it in French?" Later, though, when the turbulent flow of the drama leaves the author no time for such trifles, all foreign peculiarities of speech are discarded and the young Russian spontaneously acquires the rich vocabulary of a native Frenchman; it is only toward the end, during the lull before the final burst of action, that the playwright remembers with a start the nationality of Igor, whereupon the latter casually addresses these words to the old manservant: "J'etais trop jeune pour prendre part a la ... comment dit-on ... velika voina ... grande, grande guerre...." In all fairness to the author, it is true that, except for this "velika voina" and one modest "dosvidania," he does not abuse his acquaintance with the Russian language, contenting himself with the stage direction "Slavic singsong lends a certain charm to Igor's speech."

In Paris, where the play had great success, Igor was played by Francois Coulot, and played not badly but for some reason with a strong Italian accent, which he evidently wanted to pa.s.s off as Russian, and which did not surprise a single Parisian critic. Afterwards, when the play trickled down into the provinces, this role fell by chance to a real Russian actor, Lik (stage name of Lavrentiy Ivanovich Kruzhevnitsyn), a lean, fair-haired fellow with coffee-dark eyes, who had previously won some fame, thanks to a film in which he did an excellent job in the bit part of a stutterer.

It was hard to say, though, if Lik (the word means "countenance" in Russian and Middle English) possessed genuine theatrical talent or was a man of many indistinct callings who had chosen one of them at random but could just as well have been a painter, jeweler, or ratcatcher. Such a person resembles a room with a number of different doors, among which there is perhaps one that does lead straight into some great garden, into the moonlit depths of a marvelous human night, where the soul discovers the treasure intended for it alone. But, be that as it may, Lik had failed to open that door, taking instead the Thespian path, which he followed without enthusiasm, with the absent manner of a man looking for signposts that do not exist but that perhaps have appeared to him in a dream, or can be distinguished in the undeveloped photograph of some other locality that he will never, never visit. On the conventional plane of earthly habitus, he was in his thirties, and so was the century. In elderly people stranded not only outside the border of their country but outside that of their own lives, nostalgia evolves into an extraordinarily complex organ, which functions continuously, and its secretion compensates for all that has been lost; or else it becomes a fatal tumor on the soul that makes it painful to breathe, sleep, and a.s.sociate with carefree foreigners. In Lik, this memory of Russia remained in the embryonic state, confined to misty childhood recollections, such as the resinous fragrance of the first spring day in the country, or the special shape of the snowflake on the wool of his hood. His parents were dead. He lived alone. There was always something sleazy about the loves and friends.h.i.+ps that came his way. n.o.body wrote gossipy letters to him, n.o.body took a greater interest in his worries than he did himself, and there was no one to go and complain to about the undeserved precariousness of his very being when he learned from two doctors, a Frenchman and a Russian, that (like many protagonists) he had an incurable heart ailment-while the streets were virtually swarming with robust oldsters. There seemed to be a certain connection between this illness of his and his fondness for fine, expensive things; he might, for example, spend his last 200 francs on a scarf or a fountain pen, but it always, always happened that the scarf would soon get soiled, the pen broken, despite the meticulous, even pious, care he took of things.

In relation to the other members of the company, which he had joined as casually as a fur doffed by a woman lands on this or that quite anonymous chair, he remained as much a stranger as he had been at the first rehearsal. He had immediately had the feeling of being superfluous, of having usurped someone else's place. The director of the company was invariably friendly toward him, but Lik's hypersensitive soul constantly imagined the possibility of a row-as if at any moment he might be unmasked and accused of something unbearably shameful. The very constancy of the director's att.i.tude he interpreted as the utmost indifference to his work, as though everyone had long since reconciled himself to its hopelessly poor quality-and he was being tolerated merely because there was no convenient pretext for his dismissal.

It seemed to him-and perhaps this was actually so-that to these loud, sleek French actors, interconnected by a network of personal and professional pa.s.sions, he was as much a chance object as the old bicycle that one of the characters deftly disa.s.sembled in the second act; hence, when someone gave him a particularly hearty greeting or offered him a cigarette, he would think that there was some misunderstanding, which would, alas, be resolved in a moment. Because of his illness he avoided drinking, but his absence from friendly gatherings, instead of being attributed to lack of sociability (leading to accusations of haughtiness and thus endowing him with, at least, some semblance of a personality), simply went unnoticed, as if there was no question of its being otherwise; and when they did happen to invite him somewhere, it was always in a vaguely interrogative manner ("Coming with us, or ...?")-a manner particularly painful to one who is yearning to be persuaded to come. He understood little of the jokes, allusions, and nicknames that the others bandied about with cryptic gaiety. He almost wished some of the joking were at his expense, but even this failed to happen. At the same time, he rather liked some of his colleagues. The actor who played the bigot was in real life a pleasant fat fellow, who had recently purchased a sports car, about which he would talk to you with genuine inspiration. And the ingenue was most charming, too-dark-haired and slender, with her splendidly bright, carefully made-up eyes-but in daytime hopelessly oblivious of her evening confessions on the stage in the garrulous embrace of her Russian fiance, to whom she so candidly clung. Lik liked to tell himself that only on the stage did she live her true life, being subject the rest of the time to periodic fits of insanity, during which she no longer recognized him and called herself by a different name. With the leading lady he never exchanged a single word apart from their lines, and when this thickset, tense, handsome woman walked past him in the wings, her jowls shaking, he had the feeling that he was but a piece of scenery, apt to fall flat on the floor if someone brushed against him. It is indeed difficult to say whether it was all as poor Lik imagined or whether these perfectly harmless, self-centered people left him alone simply because he did not seek their company, and did not start a conversation with him just as pa.s.sengers who have established contact among themselves do not address the foreigner absorbed in his book in a corner of the compartment. But even if Lik did attempt in rare moments of self-confidence to convince himself of the irrationality of his vague torments, the memory of similar torments was too recent, and they were too often repeated in new circ.u.mstances, for him to be able to overcome them now. Loneliness as a situation can be corrected, but as a state of mind it is an incurable illness.

He played his part conscientiously, and, at least as far as accent was concerned, more successfully than his predecessor, since Lik spoke French with a Russian lilt, drawing out and softening his sentences, dropping the stress before their close, and filtering off with excessive care the spray of auxiliary expressions that so nimbly and rapidly fly off a Frenchman's tongue. His part was so small, so inconsequential, in spite of its dramatic impact on the actions of the other characters, that it was not worth pondering over; yet he would ponder, especially at the outset of the tour, and not so much out of love for his art as because the disparity between the insignificance of the role itself and the importance of the complex drama of which he was the prime cause struck him as being a paradox that somehow humiliated him personally. However, although he soon cooled to the possibility of improvements suggested to him by both art and vanity (two things that often coincide), he would hurry onstage with unchanged, mysterious delight, as though, every time, he antic.i.p.ated some special reward-in no way connected, of course, with the customary dose of neutral applause. Neither did this reward consist in the performer's inner satisfaction. Rather, it lurked in certain extraordinary furrows and folds that he discerned in the life of the play itself, ba.n.a.l and hopelessly pedestrian as it was, for, like any piece acted out by live people, it gained, G.o.d knows whence, an individual soul, and attempted for a couple of hours to exist, to evolve its own heat and energy, bearing no relation to its author's pitiful conception or the mediocrity of the players, but awakening, as life awakes in water warmed by sunlight. For instance, Lik might hope, one vague and lovely night, in the midst of the usual performance, to tread, as it were, on a quicksandy spot; something would give, and he would sink forever in a newborn element, unlike anything known-independently developing the play's threadbare themes in ways altogether new. He would pa.s.s irrevocably into this element, marry Angelique, go riding over the crisp heather, receive all the material wealth hinted at in the play, go to live in that castle, and, moreover, find himself in a world of ineffable tenderness-a bluish, delicate world where fabulous adventures of the senses occur, and unheard-of metamorphoses of the mind. As he thought about all this, Lik imagined for some reason that when he died of heart failure-and he would die soon-the attack would certainly come onstage, as it had been with poor Moliere, barking out his dog Latin among the doctors; but that he would not notice his death, crossing over instead into the actual world of a chance play, now blooming anew because of his arrival, while his smiling corpse lay on the boards, the toe of one foot protruding from beneath the folds of the lowered curtain.

At the end of the summer, The Abyss and two other plays in the repertory were running at a Mediterranean town. Lik appeared only in The Abyss, so between the first performance and the second (only two were scheduled) he had a week of free time, which he did not quite know how to use. What is more, the southern climate did not agree with him; he went through the first performance in a blur of greenhouse delirium, with a hot drop of greasepaint now hanging from the tip of his nose, now scalding his upper lip, and when, during the first intermission, he went out on the terrace separating the back of the theater from an Anglican church, he suddenly felt he would not last out the performance, but would dissolve on the stage amid many-colored exhalations, through which, at the final mortal instant, would flash the blissful ray of another-yes, another life. Nevertheless, he made it to the end somehow or other, even if he did see double from the sweat in his eyes, while the smooth contact of his young partner's cool bare arms agonizingly accentuated the melting state of his palms. He returned to his boardinghouse quite shattered, with aching shoulders and a reverberating pain in the back of his head. In the dark garden, everything was in bloom and smelled of candy, and there was a continuous trilling of crickets, which he mistook (as all Russians do) for cicadas.

His illuminated room was antiseptically white compared to the southern darkness framed in the open window. He crushed a red-bellied drunken mosquito on the wall, then sat for a long time on the edge of the bed, afraid to lie down, afraid of the palpitations. The proximity of the sea whose presence he divined beyond the lemon grove oppressed him, as if this ample, viscously glistening s.p.a.ce, with only a membrane of moonlight stretched tight across its surface, was akin to the equally taut vessel of his drumming heart, and, like it, was agonizingly bare, with nothing to separate it from the sky, from the shuffling of human feet and the unbearable pressure of the music playing in a nearby bar. He glanced at the expensive watch on his wrist and noticed with a pang that he had lost the crystal; yes, his cuff had brushed against a stone parapet as he had stumbled uphill a while ago. The watch was still alive, defenseless and naked, like a live organ exposed by the surgeon's knife.

He pa.s.sed his days in a quest for shade and a longing for coolness. There was something infernal in the glimpses of sea and beach, where bronzed demons basked on the torrid s.h.i.+ngle. The sunny side of the narrow streets was so strictly forbidden to him that he would have had to solve intricate route-finding problems if there had been purpose in his wanderings. He had, however, nowhere to go. He strolled aimlessly along the shop fronts, which displayed, among other objects, some rather amusing bracelets of what looked like pink amber, as well as decidedly attractive leather bookmarks and wallets tooled with gilt. He would sink into a chair beneath the orange awning of a cafe, then go home and lie on his bed-stark naked, dreadfully thin and white-and think about the same things he thought about incessantly.

He reflected that he had been condemned to live on the outskirts of life, that it had always been thus and always would be, and that, therefore, if death did not present him with an exit into true reality, he would simply never come to know life. He also reflected that if his parents were alive instead of having died at the dawn of emigre existence, the fifteen years of his adult life might have pa.s.sed in the warmth of a family; that, had his destiny been less mobile, he would have finished one of the three gymnasiums he had happened to attend at random points of middle, median, mediocre Europe, and would now have a good, solid job among good, solid people. But, strain his imagination as he might, he could not picture either that job or those people, just as he could not explain to himself why he had studied as a youth at a screen-acting school, instead of taking up music or numismatics, window-was.h.i.+ng or bookkeeping. And, as always, from each point of its circ.u.mference his thought would follow a radius back to the dark center, to the presentiment of nearing death, for which he, who had acc.u.mulated no spiritual treasures, was hardly an interesting prey. Nonetheless, she had apparently determined to give him precedence.

One evening, as he was reclining in a canvas chair on the veranda, he was importuned by one of the pension guests, a loquacious old Russian (who had managed on two occasions already to recount to Lik the story of his life, first in one direction, from the present toward the past, and then in the other, against the grain, resulting in two different lives, one successful, the other not), who, settling himself comfortably and fingering his chin, said: "A friend of mine has turned up here; that is, a 'friend,' c'est beaucoup aire-I met him a couple of times in Brussels, that's all. Now, alas, he's a completely derelict character. Yesterday-yes, I think it was yesterday-I happened to mention your name, and he says, 'Why, of course I know him-in fact, we're even relatives.' "

"Relatives?" asked Lik with surprise. "I almost never had any relatives. What's his name?"

"A certain Koldunov-Oleg Petrovich Koldunov.... Petrovich, isn't it? Know him?"

"It just can't be!" cried Lik, covering his face with his hands.

"Yes. Imagine!" said the other.

"It can't be," repeated Lik. "You see, I always thought-This is awful! You didn't give him my address, did you?"

"I did. I understand, though. One feels disgusted and sorry at the same time. Kicked out of everywhere, embittered, has a family, and so on."

"Listen, do me a favor. Can't you tell him I've left."

"If I see him, I'll tell him. But ... well, I just happened to run into him down at the port. My, what lovely yachts they have down there. That's what I call fortunate people. You live on the water, and sail wherever you feel like. Champagne, girlies, everything all polished ..."

And the old fellow smacked his lips and shook his head.

What a mad thing to happen, Lik thought all evening. What a mess.... He did not know what had given him the idea that Oleg Koldunov was no longer among the living. It was one of those axioms that the rational mind no longer keeps on active duty, relegating it to the remotest depths of consciousness, so that now, with Koldunov's resurrection, he had to admit the possibility of two parallel lines crossing after all; yet it was agonizingly difficult to get rid of the old concept, embedded in his brain-as if the extraction of this single false notion might vitiate the entire order of his other notions and concepts. And now he simply could not recall what data had led him to conclude that Koldunov had perished, and why, in the past twenty years, there had been such a strengthening in the chain of dim initial information out of which Koldunov's doom had been wrought.

Their mothers had been cousins. Oleg Koldunov was two years his elder; for four years they had gone to the same provincial gymnasium, and the memory of those years had always been so hateful to Lik that he preferred not to recall his boyhood. Indeed, his Russia was perhaps so thickly clouded over for the very reason that he did not cherish any personal recollections. Dreams, however, would still occur even now, for there was no control over them. Sometimes Koldunov would appear in person, in his own image, in the surroundings of boyhood, hastily a.s.sembled by the director of dreams out of such accessories as a cla.s.sroom, desks, a blackboard, and its dry, weightless sponge. Besides these down-to-earth dreams there were also romantic, even decadent ones-devoid, that is, of Koldunov's obvious presence but coded by him, saturated with his oppressive spirit or filled with rumors about him, with situations and shadows of situations somehow expressing his essence. And this excruciating Koldunovian decor, against which the action of a chance dream would develop, was far worse than the straightforward dream visitations of Koldunov as Lik remembered him-a coa.r.s.e, muscular high school boy, with cropped hair and a disagreeably handsome face. The regularity of his strong features was spoiled by eyes that were set too close together and equipped with heavy, leathery lids (no wonder they had dubbed him "The Crocodile," for indeed there was a certain turbid muddy-Nile quality in his glance).

Koldunov had been a hopelessly poor student; his was that peculiarly Russian hopelessness of the seemingly bewitched dunce as he sinks, in a vertical position, through the transparent strata of several repeated cla.s.ses, so that the youngest boys gradually reach his level, numb with fear, and then, a year later, leave him behind with relief. Koldunov was remarkable for his insolence, uncleanliness, and savage physical strength; after one had a tussle with him, the room would always reek of the menagerie. Lik, on the other hand, was a frail, sensitive, vulnerably proud boy, and therefore represented an ideal, inexhaustible prey. Koldunov would come flowing over him wordlessly, and industriously torture the squashed but always squirming victim on the floor. Koldunov's enormous, splayed palm would go into an obscene, scooping motion as it penetrated the convulsive, panic-stricken depths it sought. Thereupon he would leave Lik, whose back was covered with chalk dust and whose tormented ears were aflame, in peace for an hour or two, content to repeat some obscenely meaningless phrase, insulting to Lik. Then, when the urge returned, Koldunov would sigh, almost reluctantly, before piling on him again, digging his hornlike nails into Lik's ribs or sitting down for a rest on the victim's face. He had a thorough knowledge of all the bully's devices for causing the sharpest pain without leaving marks, and therefore enjoyed the servile respect of his schoolmates. At the same time he nurtured a vaguely sentimental affection for his habitual patient, making a point of strolling with his arm around the other's shoulders during the cla.s.s breaks, his heavy, distrait paw palpating the thin collarbone, while Lik tried in vain to preserve an air of independence and dignity. Thus Lik's school days were an utterly absurd and unbearable torment. He was embarra.s.sed to complain to anyone, and his nighttime thoughts of how he would finally kill Koldunov merely drained his spirit of all strength. Fortunately, they almost never met outside of school, although Lik's mother would have liked to establish closer ties with her cousin, who was much richer than she and kept her own horses. Then the Revolution began rearranging the furniture, and Lik found himself in a different city, while fifteen-year-old Oleg, already sporting a mustache and completely brutified, disappeared in the general confusion, and a blissful lull began. It was soon replaced, however, by new, more subtle tortures at the hands of the initial rackmaster's minor successors.

Sad to say, on the rare occasions when Lik spoke of his past, he would publicly recall the presumed deceased with that artificial smile with which we reward a distant time ("Those were the happy days") that sleeps with a full belly in a corner of its evil-smelling cage. Now, however, when Koldunov proved to be alive, no matter what adult arguments Lik invoked, he could not conquer the same sensation of helplessness-metamorphosed by reality but all the more manifest-that oppressed him in dreams when from behind a curtain, smirking, fiddling with his belt buckle, stepped the lord of the dream, a dark, dreadful schoolboy. And, even though Lik understood perfectly well that the real, live Koldunov would not harm him now, the possibility of meeting him seemed ominous, fateful, dimly linked to the whole system of evil, with its premonitions of torment and abuse, so familiar to him.

After his conversation with the old man, Lik decided to stay at home as little as possible. Only three days remained before the last performance, so it was not worth the trouble to move to a different boardinghouse; but he could, for instance, take daylong trips across the Italian border or into the mountains, since the weather had grown much cooler, with a drizzling rain and a brisk wind. Early next morning, walking along a narrow path between flower-hung walls, he saw coming toward him a short, husky man, whose dress in itself differed little from the usual uniform of the Mediterranean vacationer-beret, open-necked s.h.i.+rt, espadrilles-but somehow suggested not so much the license of the season as the compulsion of poverty. In the first instant, Lik was struck most of all by the fact that the monstrous figure that filled his memory with its bulk proved to be in reality hardly taller than himself.

"Lavrentiy, Lavrusha, don't you recognize me?" Koldunov drawled dramatically, stopping in the middle of the path.

The large features of that sallow face with a rough shadow on its cheeks and upper lip, that glimpse of bad teeth, that large, insolent Roman nose, that bleary, questioning gaze-all of it was Koldunovian, indisputably so, even if dimmed by time. But, as Lik looked, this resemblance noiselessly disintegrated, and before him stood a disreputable stranger with the ma.s.sive face of a Caesar, though a very shabby one.

"Let's kiss like good Russians," Koldunov said grimly, and pressed his cold, salty cheek for an instant against Lik's childish lips.

"I recognized you immediately," babbled Lik. "Just yesterday I heard about you from What's-His-Name ... Gavrilyuk."

"Dubious character," interrupted Koldunov. "Mefie-toi. Well, well-so here is my Lavrusha. Remarkable! I'm glad. Glad to meet you again. That's fate for you! Remember, Lavrusha, how we used to catch gobies together? As clear as if it happened yesterday. One of my fondest memories. Yes."

Lik knew perfectly well that he had never fished with Koldunov, but confusion, ennui, and timidity prevented him from accusing this stranger of appropriating a nonexistent past. He suddenly felt wiggly and overdressed.

"How many times," continued Koldunov, examining with interest Lik's pale-gray trousers, "how many times during the past years ... Oh, yes, I thought of you. Yes, indeed! And where, thought I, is my Lavrusha? I've told my wife about you. She was once a pretty woman. And what line of work are you in?"

"I'm an actor," sighed Lik.

"Allow me an indiscretion," said Koldunov in a confidential tone. "I'm told that in the United States there is a secret society that considers the word 'money' improper, and if payment must be made, they wrap the dollars in toilet paper. True, only the rich belong-the poor have no time for it. Now, here's what I'm driving at," and, his brows raised questioningly, Koldunov made a vulgar, palpating motion with two fingers and thumb-the feel of hard cash.

"Alas, no!" Lik exclaimed innocently. "Most of the year I'm unemployed, and the pay is miserable."

"I know how it is and understand perfectly," said Koldunov with a smile. "In any case ... Oh, yes-in any case, there's a project I'd like to discuss with you sometime. You could make a nice little profit. Are you doing anything right now?"

"Well, you see, as a matter of fact, I'm going to Bordighera for the whole day, by bus.... And tomorrow ..."

"What a shame-if you had told me, there's a Russian chauffeur I know here, with a smart private car, and I would have shown you the whole Riviera. You ninny! All right, all right. I'll walk you to the bus stop."