"Abunai yo," she whispered. "It's dangerous here."
He smiled. There didn't seem to be much danger around. If he fell he would wet his clothes; they would dry again in the sun and wind. He returned to the boat to pick up the hamper. He still had the feeling he had found in himself as he had waked up in the commissaris' house after the accident in Amsterdam, breaking gently out of his fogged drugged sleep and contemplating the patchwork blanket which the commissaris' wife had tucked in neatly only a few minutes before. He had defined the feeling as consisting of two words: nothing matters. A very strong feeling blotting out all other sensations. Nothing matters, he told himself now as he put the hamper down on a rock. Nothing at all. "I was a balloon," he said aloud, and turned toward the lake. A balloon, a small round bloated toy, floating about thinking it had a life and an identity of its own, until something made it pop. I popped, he thought, and grinned vaguely. He remembered the hippies who would wander into the police stations of Amsterdam to tell the police that they had flipped and that everything had become different. But I didn't flip, he thought, gazing at the lake stretching away endlessly, I popped. Flipping is just a change of direction, popping is final. There had been nothing tangible as he looked at the patchwork blanket. A shape, a form, lying in a clean bed, and now putting down a hamper on a rock. A hamper made out of dry bleached stalks on a gray dead rock, spotted with yellow lichen. His thoughts kept on forming themselves, clear and crisp, like teletype messages coming out of a transmitter. I move, he thought, and I talk and I listen and dress and undress and shave and I drive a sports car and sail a boat and maybe I'll sleep with this girl before the day is over and if the daimyo's way of playing chess differs from what I am anticipating, I may get killed today too. I dream and the daimyo dreams and our dreams touch today, but nothing is happening. I am not taking part, I have nothing to take part with.
He grinned, for the feeling wasn't a bad feeling at all, and he wanted it to last. But then, as he began to walk away from the rock supporting the hamper, he suddenly stopped. So there was still some anxiety left in his mind. Maybe the pleasurable feeling wouldn't last. He could still suffer a little; he still had something to suffer with.
He stumbled and hurt his shin against a piece of driftwood. He felt the reaction of his nerves, but again there was no real contact. He observed the pain, a worm crinkling through the bones of his leg, a red-hot worm, an amusing worm which he could watch, but that had nothing to do with him. Yuiko was coming toward him and together they walked on the fine glittering sand. She pointed at the Buddha statue dominating a group of rocks and shrubs at the edge of the beach. The sun and clear air and the sound of the lake's water nibbling at the island had exhilarated the girl and she was running ahead of him, but he saw her stop abruptly in front of the statue and her body crumpled. She was on her knees when he got to her and her hands were clasped over her face. The Buddha was life-size, a body sitting erect, legs folded under the stone folds of a robe, hands outstretched, the left hand supporting the right. The large slanting calm eyes rested on what was lying on the hands. A cat, lazily asleep in the ultimate quietness of death, supporting its chin with its paws, and a bird, also dead, revolving slowly, suspended from an almost invisible nylon string, showing a closed and an open eye in turns, the open eye very much enlarged. The closed eye seemed peaceful, the open eye expressed an intense surprise, a lunatic fear inspired by the situation it found itself in. Whoever had arranged the two corpses had taken his time and managed to obtain the desired effect. Death showed its true face; the bird turning against the background of light gray stone embodied the end of everything to an extreme pitch of stark reality.
Yuiko had fallen forward, whimpering. The daimyo's effort had met with success, but he had injected fear into the wrong subject. De Gier opened his pocketknife and cut the string holding the bird. He picked up the cat and the bird and deposited them gently behind the statue, covering them up with small rocks and pebbles. He worked slowly, giving himself some time to think. So the daimyo had changed his plans. He had arranged the trip on the lake, setting up Yuiko to invite the sergeant. Maybe he had wanted to kill him after all, for Kono might be around. The daimyo had used Kono before, and the move was associated with violence, with a knife, with rough intimidation. But the staging of the dead cat and bird and the Buddha statue indicated the hand of the daimyo himself. De Gier tried to visualize the steps leading up to the confrontation he had taken part in just now. He had seen both cat and bird on his way to Lake Biwa. Now they were here. The daimyo had picked up the corpses and taken them here, so the daimyo's car had been behind his own sports car. The daimyo had been stopped by the flagmen too, had seen the corpses and had collected them. While de Gier and Yuiko lost their way to the harbor, the daimyo had gone ahead, boarded the fishing boat and sailed away. De Gier had lost more time tacking close to the shore while the fishing boat headed directly for the island. The daimyo had arranged his tableau, using the dead animals which coincidence had placed in his hands, and left again, or the boat had left, leaving the daimyo on the island because, presumably, he wanted to see how de Gier would react. But it had all been arranged on the spur of the moment, there had been no deliberate planning. So the daimyo had been in doubt, to destroy the opposition or allow it to continue in order to cooperate with it, to mutual benefit. But shake the opposition a little before proposing participation, paving the way so to speak. De Gier laughed as he pushed some sand over the pebbles. He was beginning to think like the commissaris, maybe he was finally learning.
He walked around the statue and knelt next to Yuiko's body. She had stopped whimpering and he turned her over and picked her up, nuzzling her cheek with his lips. He carried her to a spot where they couldn't see the statue and set her down.
"Yoroshii," he said. "It's all right. Your boss wanted to frighten me but there was nothing there but a dead cat and a dead bird. You saw the bird before, remember? the striped sparrow you told me about? Don't be upset, it had nothing to do with you. The daimyo is on your side, remember?"
She smiled and reached out to stroke his hair.
"I'll get the hamper," he said. "This is just the right time to eat."
When he came back to her she had managed to calm herself although her body was still rigid and she mechanically opened the hamper and took out its small square plastic containers, flipping off the lids and dishing out cold boiled rice and bits of thinly sliced meat. She gave him his chopsticks, wrapped in a narrow paper envelope and he tore off the paper and broke the sticks free, grimacing ferociously, muttering to himself.
"Pardon?" she asked in a flat little voice. "What did you say?"
"Damned sticks," he muttered. "Why do they have to join them?" He picked up a spare pair and showed her. "See? They are joined at the bottom; they expect you to snap them apart. Manufacturers are getting lazier and lazier. It's like selling you a shirt with two hundred and eighty four pins in it. Before you put it on you have to sit down for ten minutes and if you forget to pull one out you scratch youself."
She smiled tiredly. "Chopsticks always come like that, the cheap ones do. They are made in enormous machines, I saw one once, when I was still at school; we were taken to the factory. I don't mind breaking the sticks free, but I apologize if it is inconvenient for you. Perhaps they should pack them differently for foreigners."