“Yes.”
“At half-past six?”
“Yes.” And after a minute or two, “Is it you?”
“No, a German friend of mine.”
“All right.”
“You will have to get up at five.”
Bitzenko’s friend was a tall, powerfully built young Russian painter, who, with his great bow-legs, would take up some straggling and extravagantly twisted pose of the body and remain immobile for minutes together, with an air of ridiculous detachment. This combination of a tortured, restless attitude, and at the same time statuesque tendency, suggested something like a contemplative acrobat or contortionist. A mouth of almost anguished attention and little calm indifferent eyes, produced similar results in the face.
Bitzenko’s next move was to go to his rooms, put a gently ticking little clock, with an enormous alarum on the top, under his arm, and then walk round once more to Otto Kreisler’s. He informed his friend of these last arrangements made in his interests. He suggested that it would be better for him to sleep there that night, to save time in the morning. In short, he attached himself to Kreisler’s person. Until it were deposited in the large cemetery near by, or else departed from the Gare du Nord in a deal box for burial in Germany, it should not leave him. In the event of victory, and he being no longer responsible for it, it should disappear as best it could. The possible subsequent conflict with the police was not without charm for Bitzenko. He regarded the police force, its functions and existence, as a pretext for adventure.
The light was blown out. Bitzenko curled himself up on the floor. He insisted on this. Kreisler must be fresh in the morning and do him justice. The Russian could hear the bed shaking for some time. Kreisler was trembling violently. A sort of exultation at the thought of his success caused this nervous attack. He had been quite passive since he had heard that all was well.