"Crash" - читать интересную книгу автора (Ballard J. G.)

Chapter 10

Above us, along the motorway embankment, the headlamps of the waiting traffic illuminated the evening sky like lanterns hung on the horizon. An airliner rose from the runway four hundred yards to our left, wired by its nervous engines to the dark air. Beyond the perimeter fence long lines of metal poles stood in the untended grass. The tracts of landing lights formed electric fields like the sections of an overlit metropolis. I followed Vaughan's car along the deserted slip road. We were moving through a development zone on the southern fringes of the airport, an unlit area of three-storey apartment buildings for airline personnel, half-constructed hotels and filling stations. We passed an empty supermarket standing in a sea of mud. Along the verge of the road white dunes of builder's shingle rose in Vaughan's headlamps.

A line of street-lamps appeared in the distance, marking the perimeter of this transit and leisure complex. Immediately beyond its margins, in the western approaches to Stanwell, was an area of breakers' yards and vehicle dumps, small auto-repair shops and panel beaters. We passed a parked two-tier trailer loaded with wrecked cars. Seagrave sat up in the rear seat of Vaughan's car, some familiar stimulus reaching his exhausted brain. During the drive from the hospital he lay back against the rear window-sill, his dyed blond hair lit like a nylon fleece by my headlamps. Helen Remington sat beside him, now and then looking back at me. She had insisted that we accompany Seagrave to his home, apparently distrusting Vaughan's motives.

We turned into the forecourt of Seagrave's garage and salesroom. His business, which had clearly seen better times during his brief heyday as a racing driver, specialized in hot-rod and customized cars. Behind the unwashed glass of the show-room was a fibreglass replica of a 1930s Brooklands racer, faded bunting stuffed into the seat.

Waiting until we could leave, I watched Helen Remington and Vaughan steer Seagrave into the living-room. The stunt-driver gazed unclearly at the cheap leatherette furniture, for a moment failing to recognize his own house. He lay back on the sofa as his wife remonstrated with Helen, as if she, the doctor, were responsible for her patient's symptoms. For some reason, Vera Seagrave absolved Vaughan of any responsibility, although – as I realized later and she must have known already -Vaughan was clearly using her husband as an experimental subject. A handsome, restless woman of about thirty, she wore her hair in a simulated Afro wig. A small child watched us all from between her legs, its blunt fingers straying to the two long scars on the mother's thighs exposed by her mini-skirt.

Briefly holding Vera Seagrave's waist as she questioned Helen Remington, Vaughan stepped past to the trio sitting on the twin sofa opposite. The man, a television producer who had made Vaughan's first programmes, nodded encouragingly as Vaughan described Seagrave's accident, but was too glazed by the hash he had been smoking – the body-sweet smoke hung in a diagonal drift across the room – to focus his mind on the possibilities of a programme. Beside him on the sofa a sharp-faced young woman was preparing another joint; as she rolled a small piece of resin in a twist of silver foil Vaughan brought a brass lighter out of his hip pocket. She cooked the resin, and shook the powder into the open cigarette waiting in the roller machine on her lap. A social worker in the Stanwell child-welfare department, she was a longstanding friend of Vera Seagrave.

On her legs were traces of what seemed to be gas bacillus scars, faint circular depressions on the kneecaps. She noticed me staring at the scars, but made no effort to close her legs. On the sofa beside her was a chromium metal cane. As she moved I saw that the instep of each leg was held in the steel clamp of a surgical support. From the over-rigid posture of her waist I guessed that she was also wearing a back-brace of some kind. She rolled the cigarette out of the machine, glancing at me with evident suspicion. I guessed that this reflex of hostility was prompted by her assumption that I had not been injured in an automobile crash, unlike Vaughan, herself and the Seagraves.

Helen Remington touched my arm. 'Seagrave – ' She pointed to the sprawling figures of the blond-haired driver. He had revived and was now playfully tripping up his infant son. 'Apparently there's some stunt-driving at the studios tomorrow. Can you stop him?'

'Ask his wife. Or Vaughan – he seems to call the tune.'

'I don't think we should.'

The television producer called out, 'Seagrave is doubling now for all the actresses. It's that beautiful blond hair. What do you do for a brunette, Seagrave?'

Seagrave flicked at his son's minuscule penis. 'Shove it up her arse. Hash first, make a tight little suppository, then ramrod it home. Two trips for the price of one.' He peered reflectively at his grimy hands. 'I'd like to get them all in those cars we have to drive. What do you think of that, Vaughan?'

'We will, one day.' There was a surprising hint of deference in Vaughan's voice as he looked down at the stunt-driver. 'We'll do that.'

'With those cheap bloody harnesses we have to wear.' Seagrave drew on the loosely packed cigarette Vaughan passed to him. He held the smoke in his lungs as he stared at the mountain of derelict cars at the bottom of his garden. 'Can you see them, Vaughan, in one of those high-speed pile-ups? Doing a really groovy rollover. Or a hard head-on job. I dream about that. It's your whole thing, Vaughan.'

Vaughan smiled reassuringly, a metallic grimace. 'You're right, of course. Who do we start with?'

Seagrave smiled through the smoke. He ignored his wife, who was trying to calm him, and stared with level eyes at Vaughan. 'I know who I'd start with…'

'Maybe.'

'… I can see those big tits cut up on the dash.'

Vaughan turned away abruptly, almost as if he were afraid of Seagrave stealing a march on him. The scars on his mouth and forehead carried his face beyond ordinary feeling. He glanced at the other sofa, where his television producer and the crippled young woman, Gabrielle, were passing a cigarette to and fro.

I turned to go, deciding to wait for Helen in my car. Vaughan followed me through the door. He held my arm in a strong grip.

'Don't leave yet, Ballard, I want you to help me.'

As he surveyed the scene I had the sense that Vaughan was controlling us all, giving each of us what we most wanted and most feared.

I followed him down the corridor into a photographic workshop. He beckoned me into the centre of the room, closing the door.

This is the new project, Ballard.' He waved confidently around the room. 'I'm doing a special television series as part of the spin-off.'

'You've left the N.C.L.?'

'Of course – the project is too important.' He shook his head, ridding himself of the association. 'A large government laboratory isn't equipped to handle something like this, psychologically or otherwise.'

Pinned to the walls and lying on the benches among the enamel pails were hundreds of photographs. The floor around the enlarger was littered with half-plate prints, developed and cast aside once they had yielded their images. As Vaughan hunted around the central table, turning the pages of a leatherbound album, I looked down at the discarded prints below my feet. Most of them were crude frontal pictures of motor-cars and heavy vehicles involved in highway collisions, surrounded by spectators and police, and close-ups of impacted radiator grilles and windshields. Many had been taken by an unsteady hand from a moving car, showing the blurred outlines of angry police and ambulance attendants, remonstrating with the cameraman as he swerved past them.

At a first glance no recognizable human figures appeared in these photographs, but on the wall above the metal sink beside the window were the enlarged prints of six middle-aged women. I was struck by their marked resemblance to Vera Seagrave, as she might appear in twenty years' time. They varied from what I guessed was the well-preserved wife of a successful businessman, fox fur around her shoulders, to a menopausal supermarket cashier and an overweight usherette in a braided gaberdine uniform. Unlike the remainder of the photographs, these six pictures had been taken with elaborate care, using a zoom lens trained through windshields and revolving doors.

Vaughan opened the album at random and handed it to me. Leaning back against the door, he watched me as I adjusted the desk lamp.

The first thirty pages recorded the crash, hospitaliza-tion and post-recuperative romance of the young social worker, Gabrielle, who was at that moment sitting on the sofa in Seagrave's sitting-room and rolling the cigarettes which they were smoking. By coincidence, her small sports car had collided with an airline bus at the entry to the airport underpass not far from the site of my own accident. Her sharp-jawed face, its skin beginning to sag like the first slide of an avalanche, lay back against the oil-smeared seat. Around the crushed car was a group of police, ambulance attendants and spectators. In the foreground of the first photographs a fireman with cutting equipment was severing the right-hand windshield pillar. The young woman's injuries were not yet apparent. Her expressionless face looked up at the fireman as he held his torch, almost as if waiting for some bizarre sexual assault. In the later photographs the bruises that were to mask her face began to appear, like the outlines of a second personality, a preview of the hidden faces of her psyche which would have emerged only in late middle age. I was struck by the prim lines these bruises formed around her broad mouth. These morbid depressions were like those of a self-centred spinster with a history of unhappy affairs. Later, even more bruises appeared on her arms and shoulders, the marks of the steering column and instrument panel, as if these lovers had beaten her out of an increasingly abstracted despair with a series of grotesque implements.

Behind me, Vaughan still leaned against the door. For the first time since I had met him his body was completely at rest, its manic movements in some way calmed by my immersion in his album. I turned the next pages. Vaughan had compiled an elaborate photographic dossier on the young woman. I guessed that he had chanced upon her accident a few minutes after she had skidded into the rear of the airline bus. The alarmed faces of several Varig passengers peered through the rear window at the crushed sports car which this injured young woman had delivered like a tableau sculpture to the unprotected overhang below their seats.

The next pictures showed her being lifted from the car, her white skirt heavy with blood. Her face leaned emptily against the arm of a fireman raising her from the bloody basin of the driving seat like some insane cultist in the American South baptized in a font of lamb's blood. A hatless police driver held one handle of the stretcher, his square jaw pushed to one side by her left thigh. Between these two was the darkening triangle of her crotch.

Several pages followed, showing the crashed sports car in the breaker's yard, close-ups of the dried bloodstains on the driving and passenger seats. Vaughan himself appeared in one of these photographs, staring down at the car in a Byronic pose, his heavy penis visible in the tight crotch of his jeans.

The last group of photographs showed the young woman in a chromium wheelchair, guided by a friend across the rhododendron-screened lawn of a convalescent institution, propelling her shiny vehicle herself at an archery meeting, and finally taking her first lessons at the wheel of an invalid car. As she pondered the complex, treadle-operated brakes and gear changes I realized the extent to which this tragically injured young woman had been transformed during her recovery from the accident. The first photographs of her lying in the crashed car showed a conventional young woman whose symmetrical face and unstretched skin spelled out the whole economy of a cozy and passive life, of minor flirtations in the backs of cheap cars enjoyed without any sense of the real possibilities of her body. I could imagine her sitting in the car of some middle-aged welfare officer, unaware of the conjunction formed by their own genitalia and the stylized instrument panel, a euclid of eroticism and fantasy that would be revealed for the first time within the car-crash, a fierce marriage pivoting on the fleshy points of her knees and pubis. This agreeable young woman, with her pleasant sexual dreams, had been reborn within the breaking contours of her crushed sports car. Three months later, sitting beside her physiotherapy instructor in her new invalid car, she held the chromium treadles in her strong fingers as if they were extensions of her clitoris. Her knowing eyes seemed well aware that the space between her crippled legs was constantly within the gaze of this muscled young man. His eyes roved among the damp moor of her pubis as she moved the gear lever through its cage. The crushed body of the sports car had turned her into a creature of free and perverse sexuality, releasing within its twisted bulkheads and leaking engine coolant all the deviant possibilities of her sex. Her crippled thighs and wasted calf muscles were models for fascinating perversities. As she peered through the window at Vaughan's camera her canny eyes were clearly aware of his real interest in her. The posture of her hands on the steering wheel and accelerator treadle, the unhealthy fingers pointing back towards her breasts, were elements in some stylized masturbatory rite. Her strong face with its unmatching planes seemed to mimic the deformed panels of the car, almost as if she consciously realized that these twisted instrument binnacles provided a readily accessible anthology of depraved acts, the keys to an alternative sexuality. I stared at the photographs in the harsh light. Without thinking, I visualized a series of imaginary pictures I might take of her: in various sexual acts, her legs supported by sections of complex machine tools, pulleys and trestles; with her physical education instructor, coaxing this conventional young man into the new parameters of her body, developing a sexual expertise that would be an exact analogue of the other skills created by the multiplying technologies of the twentieth century. Thinking of the extensor rictus of her spine during orgasm, the erect hairs on her undermuscled thighs, I stared at the stylized manufacturer's medallion visible in the photographs, the contoured flanks of the window pillars.

Vaughan leaned silently against the door. I turned the pages. The remainder of the album, as I anticipated, described the course of my own accident and recovery. From the first photograph, which showed me being carried into the hospital casualty unit at Ashford, I knew that Vaughan had been there when I arrived – later I learned that he listened to the ambulance broadcasts on the VHP band of his car radio.

The sequence of pictures formed a record of Vaughan rather than myself, far more of,the landscape and pre-occupations of the photographer than of his subject. Apart from those photographs of myself in hospital, taken with a zoom lens through the open window as I lay in bed, swathed in more bandages than I realized at the time, the background to all the pictures was the same -the automobile, moving along the highways around the airport, in the traffic jams on the flyover, parked in culs-de-sac and lovers lanes. Vaughan had followed me from the police pound to the airport reception area, from the multistorey car-park to Helen Remington's house. From these coarse prints it seemed that my whole life was spent in or near the motor-car. Vaughan's interest in myself was clearly minimal; what concerned him was not the behaviour of a 40-year-old producer of television commercials but the interaction between an anonymous individual and his car, the transits of his body across the polished cellulose panels and vinyl seating, his face silhouetted against the instrument dials.

The leitmotiv of this photographic record emerged as I recovered from my injuries: my relationships, mediated by the automobile and its technological landscape, with my wife, Renata and Dr Helen Remington. In these crude photographs, Vaughan had frozen my uncertain embraces as I edged my wounded body into its first sexual encounters since the accident. He had caught my hand stretching across the transmission tunnel of my wife's sports car, the inner surface of my forearm dented by the chromium gear lever, my bruised wrist pressing against the white flank of her thigh; my still-numb mouth against Renata's left nipple, lifting her breast from her blouse as my hair fell across the window-sill; Helen Remington sitting astride me in the passenger seat of her black saloon, skirt hitched around her waist, scarred knees pressing against the vinyl seat as my penis entered her vulva, the oblique angle of the instrument panel forming a series of blurred ellipses like globes ascending from our happy loins.

Vaughan stood at my shoulder, like an instructor ready to help a promising pupil. As I stared down at the photograph of myself at Renata's breast, Vaughan leaned across me, his real attention elsewhere. With a broken thumbnail, its rim caked with engine oil, he pointed to the chromium window-sill and its junction with the overstretched strap of the young woman's brassiere. By some freak of photography these two formed a sling of metal and nylon from which the distorted nipple seemed to extrude itself into my mouth.

Vaughan's face was without expression. Childhood boils had left an archipelago of pockmarks across his neck. A sharp but not unpleasant smell rose from his white jeans, a blend of semen and engine coolant. He turned through the photographs, now and then tilting the album to emphasize an unusual camera angle for me.

I watched Vaughan close the album, wondering why I was unable to rouse myself into at least a parade of anger, remonstrate with him for this intrusion into my life. But Vaughan's detachment from any emotion or concern had already had its effect. Perhaps some latent homo-erotic element had been brought to the surface of my mind by his photographs of violence and sexuality. The deformed body of the crippled young woman, like the deformed bodies of the crashed automobiles, revealed the possibilities of an entirely new sexuality. Vaughan had articulated my needs for some positive response to my crash.

I looked down at Vaughan's long thighs and hard buttocks. However carnal an act of sodomy with Vaughan would have seemed, the erotic dimension was absent. Yet this absence made a sexual act with Vaughan entirely possible. The placing of my penis in his rectum as we lay together in the rear seat of his car would be an event as stylized and abstracted as those recorded in Vaughan's photographs.

The television director came hazily to the door, a wet cigarette unravelling between his fingers.

'V. – can you fix this? Seagrave messed it up.' He drew emptily on a crack on the side of the cigarette, and nodded to me. 'The nerve centre, eh? Vaughan makes everything look like a crime.'

Vaughan put down the camera tripod he was oiling and expertly tucked the tobacco into the cigarette, pouring back the grains of hash that landed on his palm. He licked the paper with a sharp tongue that darted from his scarred mouth like a reptile's. His nostrils sucked at the smoke.

I looked through a batch of freshly developed prints on the table below the window. They showed the familiar face of the film actress, photographed as she was stepping from her limousine outside a London hotel.

'Elizabeth Taylor – are you following her?'

'Not yet. I need to meet her, Ballard.'

'As part of your project? I doubt if she'll be able to help you.'

Vaughan sauntered around the room on his uneven legs.

'She's working at Shepperton now. Aren't you using her in a Ford commercial?'

Vaughan waited for me to speak. I knew that he would act on any evasion. Thinking of Seagrave's grim concussion-fantasy – the film stars forced to crash their own stunt-cars – I decided not to answer.

Seeing all this cross my face, Vaughan turned to the door. 'I'll call Dr Remington for you – we'll talk about this again, Ballard.'

He handed to me, presumably as a pacifier, a bundle of well-thumbed Danish sex magazines. 'Have a look at these – they're more professionally done. You and Dr Remington might enjoy them together.'

Gabrielle, Vera Seagrave and Helen were in the garden, their voices drowned by the blare of aircraft taking off from the airport. Gabrielle walked in the centre, her shackled legs in a parody of a finishing-school carriage. Her pallid skin reflected the amber street-lights. Helen held her left elbow, steering her gently through the knee-high grass. It suddenly occurred to me that during all the time I had spent with Helen Remington I had never discussed her dead husband with her.

I looked through the colour photographs in the magazines; in all of them the motor-car in one style or another figured as the centrepiece – pleasant images of young couples in group intercourse around an American convertible parked in a placid meadow; a middle-aged businessman naked with his secretary in the rear seat of his Mercedes; homosexuals undressing each other at a roadside picnic; teenagers in an orgy of motorized sex on a two-tier vehicle transporter, moving in and out of the lashed-down cars; and throughout these pages the gleam of instrument panels and window louvres, the sheen on over-polished vinyl reflecting the soft belly of a stomach or a thigh, the forests of pubic hair that grew from every corner of these motor-car compartments.

Vaughan watched me from the yellow armchair as Seagrave played with his small son. I remember his face, detached but serious, as Seagrave unbuttoned his shirt and placed the child's mouth on his nipple, squeezing the hard skin into the parody of a breast.