It was the belief that spiders were the guardians of the underworld.
The Wang Center, on Tremont, was just about the most beautiful theater on the upper East Coast, and the Boston Ballet was, given my limited experience, a great company, so the combination was pretty hard to resist, especially on a first night. As we walked past Boston Common, a band played in the window of Emerson College's WERS radio station, the crowds heading to the theater district pausing briefly to examine the contorted face of the singer. We collected our tickets at the box office and walked into the ornate marble and gold lobby, past the booths hawking Cleopatra memorabilia and souvenir books. We had seats in the front row, far left, of the orchestra box-close to the back of the theater and slightly raised above the rows of seats ahead, so that nobody could obscure our view. The red and gold of the theater was almost as opulent as the stage design, giving the whole affair an air of restrained decadence.
“You know, when I told Angel we were coming here he asked me if I was sure I wasn't gay,” I whispered to Rachel.
“What did you say?”
“I told him I wasn't dancing the damn ballet, I was just going to watch it.”
“So I'm just a means of reassuring you about your heterosexuality?” she teased.
“Well, a very pleasurable means…”
Above and to my right, a figure entered one of the front-row seats on the level above ours, at the farthest extremity of the U-shaped upper tier. He moved slowly, easing himself gently into his chair before adjusting his hearing aids. Behind him, Tommy Caci folded Al Z's coat, then poured a glass of red wine for his boss before taking the seat directly behind him.
The Wang is an egalitarian theater; there are no closed boxes, but some sections are more private than others. The area where Al Z sat was known as the Wang box; it was partially shielded by a pillar, although it was open to the aisle on the right. The adjacent seats were empty, which meant that Al had booked the entire section for the first-night show.
Al Z, I thought, you old romantic.
The lights went down as the audience grew quiet. Rimsky-Korsakov's music, arranged for the ballet by the composer John Lanchbery, filled the huge space as the evening's entertainment commenced. Handmaidens danced around Cleopatra's bedchamber while the queen slept in the background and her brother Ptolemy and his confidant Pothinus plotted her downfall. It was all brilliantly done, yet I found myself drifting during the whole first half, my mind occupied by images of crawling things and the final, imagined moments of Grace Peltier's life. I kept seeing:
A gun close to her head, a hand buried in her hair to hold her steady as a finger tightened on the trigger. It is her finger, but pressed against it is another. She is dazed, stunned by a blow to the temple, and cannot fight as her arm is maneuvered into position. There is no blood from the blow, and anyway the entry wound will tear apart the skin and bone, disguising any earlier injury. It is only when the cold metal touches her skin that she realizes, finally, what is happening. She strikes out and opens her mouth to scream…
There is a roar in the night, and a red flame bursts from her head and sheds itself over the window and the door. The light dies in her eyes and her body slumps to the right, the smell of burning in the air as her singed hair hisses softly.
There is no pain.
There will never be pain again.
I felt a pressure on my arm and found Rachel looking at me quizzically, the ballet on stage reaching its preintermission climax. In her bedchamber, Cleopatra was dancing for Caesar, seducing him. I patted Rachel's hand and saw her scowl at the patronizing nature of the gesture, but before I could explain, a movement to my far right attracted my attention. Tommy Caci had risen, distracted, and was reaching inside his jacket. Before him, Al Z continued watching the ballet, apparently unaware of what was going on behind. Tommy moved away from his seat and disappeared into the aisle.
Onstage, the assassin, Pothinus, appeared in the wings, looking for his moment to strike at the queen, but Cleopatra and Caesar danced on, oblivious. The music swelled as a figure took the seat behind Al Z, but it was not Tommy Caci. Instead, it was thinner, more angular. Al Z remained engrossed in the action, his head moving in time to the music, his mind filled with images of escape as he sought briefly to forget the darker world he had chosen to inhabit. A hand moved, and something silver gleamed. Pothinus shot out from the wings, sword in hand, but Caesar was quicker and his sword impaled Pothinus through the stomach.
And in the box above, Al Z's body tensed and fluid shot from his mouth as the figure leaned over him, one hand on his shoulder, the other close to the base of his skull. From behind, it would appear as if they were talking, nothing more, but I had seen the blade flash, and I knew what had happened. Al Z's mouth was wide open, and as I watched, Mr. Pudd's gloved hand closed upon it and he held him as he shook and died.
Then Mr. Pudd seemed to stare down to where I sat before draping Al Z's coat across the old man's shoulders and receding into the shadows.
Onstage, the curtain was falling and the audience had burst into applause, but I was already moving. I climbed over the edge of the orchestra box and ran up the aisle, the doors flying open noisily before me. To my left, a flight of stairs, topped by an eagle clock, led up to the next level. I took them two at a time, brushing aside an usher as I drew my gun.
“Call an ambulance,” I said as I passed. “And the police.”
I heard the sound of his footsteps echoing on the marble as I reached the top of the stairs, my gun raised ahead of me. An exit door stood open and the counterweighted fire escape, which descended under body weight, was rising back up. Below me was a loading dock, from which a car was already speeding, a silver Mercury Sable. Its side faced me as it turned onto Washington Street, so I didn't get the license number, but there were two figures inside.
Behind me, the seats were emptying for the intermission, and one or two people glanced out the open door. These doors were all alarmed, so security would be up here soon to find out who had opened them, and why. I retreated inside and moved to the front row where Al Z still sat. His head hung down, his chin on his chest, the coat draped loosely across his shoulders to hide the bulge of the blade's handle. The handle anchored him to his seat, preventing him from falling facedown. Blood flowed from his mouth and drenched the front of his white dress shirt. Some of it had fallen into his wineglass in a final, terrible act of consecration. I couldn't see Tommy Caci.
Behind me, two Wang Center security staff appeared, but they backed off at the sight of the gun in my hands.
“You call the police?”
They nodded.
Across the aisle to my right, a door stood slightly ajar. I gestured to it. “What's in there?”
“VIP lounge,” one of the security guards answered.
I looked down to the base of the door and saw what looked like the toe of a shoe in the gap. Gently, using my elbow, I pushed it open.
Tomy Caci lay facedown on the floor, his head to one side and the edge of the wound at his throat clearly visible. There was a lot of blood on the floor and on the walls. He had probably been taken from behind when he left his seat and entered the lounge. Beyond him was a bar, with some couches and chairs, but the room looked empty.
I stepped back into the aisle as two blue uniforms appeared behind me, advancing with their weapons drawn. I heard the order to drop my gun amid the audience's cries of surprise and fear. I immediately did as I was told and the two cops descended on me.