The next day was Sunday, and Sunday is the day he takes the dog for a walk. Love repays love, the animal seemed to be saying, with his lead in his mouth and eager to be off. They entered the park, and the cellist was just heading towards the bench where he usually sat, when he saw that a woman was already sitting there. Park benches are free, public and, usually, gratis, we can’t say to someone who arrives before us, This bench is mine, kindly find another one. A well-brought-up man like the cellist would never do that, and certainly not if he thought he recognised that person as the woman from the theatre, the woman who had stood him up, the woman he had seen in the middle of the music room with her two hands pressed to her breast. As we know, at fifty, we can’t always trust our eyes, we start to blink, to screw them up as if we were trying to imitate the heroes of the wild west or the navigators of long ago, on top of a horse or at the prow of a caravel, one hand shading their eyes as they scan distant horizons. The woman is dressed differently, in trousers and a leather jacket, she must be someone else, says the cellist to his heart, but his heart, which has better eyesight, tells him, open your eyes, it’s her, now you behave yourself. The woman looked up, and the cellist knew for certain then that it was her. Good morning, he said, when he stopped by the bench, the last thing I would have expected today was to find you here, Good morning, I came to say goodbye and to apologise for not coming to the concert yesterday. The cellist sat down, removed the dog’s lead, said, Off you go, and without looking at the woman, replied, There’s nothing to apologise for, that sort of thing is always happening, people buy a ticket and then, for one reason or another, they can’t go, it’s perfectly normal, And about our saying goodbye, do you have any views on that, asked the woman, It’s extremely kind of you to think that you should come and say goodbye to a stranger, although I really can’t imagine how you could possibly know that I come to this park every Sunday, There are very few things I don’t know about you, Oh, please, let’s not go back to the absurd conversations we had on Thursday at the stage door and afterwards on the phone, you don’t know anything about me, we’d never even met before then, Remember, I was at the rehearsal, And I really don’t know how you managed that, because the maestro is very strict about strangers being present, and please don’t go telling me now that you know him too, Not as well as I know you, but you are an exception, It would be better if I wasn’t, Why, Do you want me to tell you, do you really want me to tell you, asked the cellist with a vehemence that bordered on despair, Yes, I do, Because I’ve fallen in love with a woman I know nothing about, who is amusing herself at my expense, who will go off tomorrow who knows where, and who I’ll never see again, It’s actually today that I’ll be leaving, not tomorrow, But you said, And it isn’t true that I’ve been amusing myself at your expense, Well, if you haven’t, you certainly did an excellent imitation, As for you falling in love with me, you can hardly expect me to respond, there are certain words my mouth is forbidden to speak, Another mystery, And it won’t be the last, Once we’ve said goodbye, all the mysteries will be resolved, Others might take their place, Please, go away, don’t torment me any more, The letter, Look, I don’t want to know anything about the letter, The fact is I couldn’t give it to you even if I wanted to, I left it at the hotel, said the woman, smiling, Then tear it up, Yes, I’ll have to think what to do with it, There’s no need to think, tear it up and be done with it. The woman got to her feet. Are you leaving already, asked the cellist. He hadn’t moved, he was sitting with his head bowed, he still had something to say. I’ve never even touched you, he murmured, No, I was the the one who stopped you touching me, How did you manage that, It wasn’t that difficult, Not even now, Not even now, We could at least shake hands, My hands are cold. The cellist looked up. The woman was no longer there.
Man and dog left the park early, the sandwiches were bought to eat at home, there were no naps in the sun. The afternoon and evening were long and sad, the musician picked up a book, read half a page, then threw it down. He sat at the piano to play a little, but his hands would not obey him, they were clumsy, cold, as if dead. And when he returned to his beloved cello, it was the instrument itself that rejected him. He dozed in a chair, hoping to fall into an endless sleep, never to wake again. Lying on the floor, waiting for a sign that did not come, the dog was looking at him. Perhaps the reason for his master’s despondency was the woman they had met in the park, he thought, so it wasn’t true what the proverb said, that what the eyes don’t see, the heart doesn’t grieve over. Proverbs are so deceiving, concluded the dog. It was eleven o’clock when the doorbell rang. Some neighbour with a problem, thought the cellist, and got up to open the door. Good evening, said the woman, standing on the threshold. Good evening, replied the musician, trying hard to control the spasm making his throat tighten, Aren’t you going to ask me in, Of course, please, come in. He stepped aside to allow her to pass, then closed the door, moving very slowly and carefully, so that his heart would not burst. Legs shaking, he invited her to take a seat. I thought you would have left already, he said, As you see, I decided to stay, said the woman, But you’ll leave tomorrow, That’s what I’ve agreed, You’ve come, I presume, to bring the letter, which you decided not to tear up, Yes, I have it here in my bag, Are you going to give it to me, then, We have time, I remember telling you that haste was a bad counsellor, As you wish, I’m at your disposal, Are you serious, That’s my worst defect, I say everything seriously, even when I make people laugh, no, especially when I make people laugh, In that case, may I ask you a favour, What’s that, Make it up to me for having missed yesterday’s concert, How can I do that, The piano’s over there, Oh, forget it, I’m a very mediocre pianist, The cello then, Now that’s another matter, I can play you a couple of pieces if you really want me to, May I choose the music, asked the woman, Yes, but only if it’s something I can play, that’s within my range. The woman chose the sheet music for bach’s suite number six and said, This, It’s very long, it takes more than half an hour, and it’s getting late, As I said, we have time, There’s a passage in the prelude that I always have difficulties with, It doesn’t matter, you could just miss it out when you get there, said the woman, although that won’t be necessary, you’ll see, you’ll play even better than rostropovich. The cellist smiled, You bet. He placed the sheet music on the stand, took a deep breath, placed his left hand on the neck of the cello, his right hand holding the bow poised over the strings, and then he began. He knew perfectly well that he was no rostropovich, that he was only an orchestra soloist when the programme happened to require this of him, but here, sitting opposite this woman, with his dog lying at his feet, at that late hour of the night, surrounded by books, sheet music, scores, he was johann sebastian bach himself composing in cöthen what would later be called opus one thousand and twelve, almost as many as the works of creation. He got through the difficult passage without even noticing this great feat, his happy hands made the cello murmur, speak, sing, roar, this is what rostropovich had lacked, this room, this hour, this woman. When he finished playing, her hands were no longer cold and his hands were on fire, which is why their hands were not in the least surprised when hand reached out to hand. It was long after one o’clock in the morning when the cellist asked, Would you like me to call you a taxi to take you back to the hotel, and the woman replied, No, I’ll stay here with you, and she offered him her mouth. They went into the bedroom, got undressed, and what was written would happen finally happened, and again, and yet again. He fell asleep, she did not. Then she, death, got up, opened the bag she had left in the music room and took out the violet-coloured letter. She looked around for a place where she could leave it, on the piano, between the strings of the cello, or else in the bedroom itself, under the pillow on which the man’s head was resting. She did none of these things. She went into the kitchen, lit a match, a humble match, she who could make the paper vanish with a single glance and reduce it to an impalpable dust, she who could set fire to it with the mere touch of her fingers, and yet it was a simple match, an ordinary match, an everyday match, that set light to death’s letter, the letter that only death could destroy. No ashes remained. Death went back to bed, put her arms around the man and, without understanding what was happening to her, she who never slept felt sleep gently closing her eyelids. The following day, no one died.