A Gentleman in Moscow

Apotheoses

Despite having gone to bed at four in the morning, on the twenty-first of June the Count rose at his usual hour. He did five squats, five stretches, and took five deep breaths. He breakfasted on coffee, a biscuit, and his daily fruit (today an assortment of berries), after which he went downstairs to read the papers and chat with Vasily. He lunched in the Piazza. In the afternoon, he paid a visit to Marina in the stitching room. As it was his day off, at seven o’clock he had an aperitif at the Shalyapin, where he marveled at the arrival of summer with the ever-attentive Audrius. And at eight, he dined at table ten in the Boyarsky. Which is to say, he treated the day much as he treated any other. Except that when he left the restaurant at ten, having told Nadja that the manager wished to see her, he slipped inside the empty coatroom in order to borrow the raincoat and fedora of the American journalist, Salisbury.

Back on the sixth floor, the Count dug to the bottom of his old trunk in order to retrieve the rucksack that he had used in 1918 on his trek from Paris to Idlehour. As on that journey, this time he would travel only with the bare necessities. That is, three changes of clothing, a toothbrush and toothpaste, Anna Karenina, Mishka’s project, and, finally, the bottle of Châteauneuf-du-Pape that he intended to drink on the fourteenth of June 1963—ten years to the day after his old friend’s death.

Gathering up his things, the Count paid one last visit to his study. So many years before, he had bid adieu to a whole household. Then a few years later he had bid adieu to a suite. Now, he was to bid adieu to a room that was one hundred feet square. It was, without question, the smallest room that he had occupied in his life; yet somehow, within those four walls the world had come and gone. With that thought, the Count tipped his hat to Helena’s portrait and switched out the light.

At the same time that the Count was descending to the lobby, Sofia was concluding her performance on the stage of the Salle Pleyel in Paris. Rising from the piano, she turned to the audience almost in a state of wonder—for whenever Sofia performed, she so fully immersed herself in her playing, that she tended to forget there was anyone listening. But having been brought back to her senses by the sound of applause, she did not forget to gesture graciously toward the orchestra and her conductor before taking one final bow.

Immediately offstage, Sofia received a formal congratulations from the cultural attaché and a heartfelt embrace from Director Vavilov. It was her finest performance yet, he said. But then the two men turned their attention back to the stage, where the violin prodigy was taking his place before the conductor. The hall grew so quiet that all assembled could hear the tap of the conductor’s baton. Then after that universal moment of suspension, the musicians began to play and Sofia made her way to the dressing room.

The Conservatory’s orchestra performed Dvorak’s concerto in just over thirty minutes. Sofia would allow herself fifteen to reach the exit.

Taking up her knapsack, she went straight to one of the bathrooms reserved for the musicians. Locking the door behind her, she kicked off her shoes and shed the beautiful blue dress that Marina had made. She took off the necklace that Anna had given her and dropped it on the dress. She donned the slacks and oxford shirt that her father had purloined from the Italian gentleman. Then looking into the small mirror above the sink, she took out the scissors that her father had given her and began to cut her hair.

This little implement in the shape of an egret, which had been so prized by her father’s sister, had clearly been designed for snipping, not shearing. The rings cut into the knuckles of Sofia’s thumb and forefinger as she tried and failed to cut through lengths of her hair. Beginning to shed tears of frustration, Sofia closed her eyes and took a breath. There is no time for that, she told herself. Wiping the tears from her cheeks with the back of her hand, she began again—cutting smaller amounts of hair, working systematically around her head.

When she was finished, she swept up the hair with her hands and flushed it down the toilet, just as her father had instructed. Then from a side pocket in the knapsack she took the little black bottle that the barber of the Metropol had once used to dye those first gray hairs that appeared in his customers’ beards. The cap of the bottle had a small brush attached to it. Taking in hand the strip of white hair that had virtually defined her appearance since the age of thirteen, Sofia leaned over the sink and carefully brushed it with the dye until it was as black as the rest of her hair.

When she was done, she returned the bottle and the scissors to her pack. She took out the Italian’s cap and set it on the sink. Then she shifted her attention to the pile of clothes on the floor—and that is when she realized they had never considered her shoes. All she had was the elegant pair of high-heeled pumps that Anna had helped pick out for the Conservatory competition the year before. With little choice, she dumped them in the trash.

She scooped up the dress and necklace to dispose of them as well. Yes, Marina had made the dress and Anna had given her the necklace, but she couldn’t take them with her—of that, her father had left no doubt. If for any reason she was stopped and her bag was searched, these glamorous feminine items would give her away. Sofia hesitated for a moment, then she stuffed the dress into the trash with the shoes; but the necklace, she slipped into her pocket.

Securing the straps of the knapsack and swinging it onto her back, Sofia pulled the cap tightly onto her head, opened the bathroom door, and listened. The strings were beginning to swell, signaling the end of the third movement. Leaving the bathroom, she turned away from the dressing rooms and headed toward the back of the building. The music grew louder as she passed directly behind the stage. Then with the first notes of the final movement, she passed through the exit at the rear of the hall and went barefoot into the night.

Walking quickly, but not running, Sofia circled the Salle Pleyel to the Rue du Faubourg Saint-Honoré, where the well-lit entrance of the concert hall was located. Crossing the street, she stepped into a doorway and took off the Italian’s cap. From under the brim, she pulled out the little map that her father had cut from the Baedeker and folded into the size of a matchbook. Opening it, she oriented herself and then began following the red line half a block along Faubourg Saint-Honoré, down the Avenue Hoche to the Arc de Triomphe, and then left onto the Champs-Élysées, headed toward the Place de la Concorde.

In drawing this zigzagging line from the doors of the Salle Pleyel to the American Embassy, the Count had not chosen the most direct route. That would have been ten blocks straight along Faubourg Saint-Honoré. But the Count had wanted to get Sofia away from the concert hall as quickly as possible. This slight detour would add only a few minutes to Sofia’s journey, but it would allow her to disappear into the anonymity of the Champs-Élysées; and she should still have enough time to reach the embassy before her absence was discovered.

But when the Count had made this calculation, what he had failed to take into account was the impact upon a twenty-one-year-old girl of seeing the Arc de Triomphe and the Louvre lit up at night for the very first time. True, Sofia had seen them both the day before, along with plenty of other sights; but just as the Count had imagined, she had seen them through the window of a bus. It was a different thing altogether to see them at the onset of summer, having received an ovation, changed one’s appearance, and escaped into the night. . . .

For while in the classical tradition there was no Muse of architecture, I think we can agree that under the right circumstances, the appearance of a building can impress itself upon one’s memory, affect one’s sentiments, and even change one’s life. Just so, risking minutes that she did not have to spare, Sofia came to a stop at the Place de la Concorde and turned slowly in place, as if in a moment of recognition.

On the night before she had left Moscow, when Sofia had expressed her distress at what her father wanted her to do, he had attempted to console her with a notion. He had said that our lives are steered by uncertainties, many of which are disruptive or even daunting; but that if we persevere and remain generous of heart, we may be granted a moment of supreme lucidity—a moment in which all that has happened to us suddenly comes into focus as a necessary course of events, even as we find ourselves on the threshold of a bold new life that we had been meant to lead all along.

When her father had made this claim, it had seemed so outlandish, so overblown that it had not assuaged Sofia’s distress in the least. But turning in place on the Place de la Concorde, seeing the Arc de Triomphe, and the Eiffel Tower, and the Tuileries, and the cars and Vespas zipping around the great obelisk, Sofia had an inkling of what her father had been trying to say.

“Was it like this all night?”

Richard Vanderwhile, who was standing in his apartment in the embassy, had just noticed the angle of his bow tie in the bedroom mirror. It was at a slant of twenty-five degrees.

“Your tie is always like that, my dear.”

Richard turned to his wife in shock.

“Always! Why on earth haven’t you ever said anything?”

“Because I think it makes you look rakish.”

Giving the nod of one who could make do with “rakish,” Richard took another look in the mirror, then pulled the tie loose, hung his tuxedo jacket on the back of his chair, and was about to suggest a nightcap when there was a knock at the door. It was Richard’s attaché.

“What is it, Billy?”

“I’m sorry to bother you at this hour, sir. But there is a young man asking for you.”

“A young man?”

“Yes. Apparently, he is seeking asylum. . . .”

Richard raised his eyebrows.

“Asylum from what?”

“I’m not certain, sir. But he isn’t wearing any shoes.”

Mr. and Mrs. Vanderwhile exchanged looks.

“Well then, I guess you had better show him in.”

The attaché returned a minute later with a young man in a newsboy’s cap who was, in fact, barefoot. In the manner of the polite but anxious, the young man took off his cap and held it at his waist in both hands.

“Billy,” said Mrs. Vanderwhile, “this is not a young man.”

The attaché’s eyes widened.

“Well, I’ll be damned,” said Richard. “Sofia Rostov.”

Sofia smiled with an expression of relief: “Mr. Vanderwhile.”

Richard told his attaché he could go, then he approached Sofia with a grin and took her by the elbows.

“Let me get a good look at you.” Without letting go of Sofia, Richard turned to his wife. “Didn’t I tell you she was a beauty?”

“You certainly did,” said Mrs. Vanderwhile with a smile.

Although from Sofia’s perspective, it was Mrs. Vanderwhile who was the beauty.

“What a terrific turn of events,” said Richard.

“You weren’t . . . expecting me?” asked Sofia tentatively.

“Of course we were! But your father has grown quite fond of all this cloak-and-dagger business. He assured me that you were coming, but he wouldn’t let me know when, where, or how. And he certainly didn’t tell me you’d be arriving as a barefoot boy.” Richard pointed to Sofia’s knapsack. “Is that all you brought with you?”

“I’m afraid so.”

“Are you hungry?” asked Mrs. Vanderwhile.

Before Sofia could respond, Richard chimed in: “Of course she’s hungry. I’m hungry and I’ve just returned from a dinner. I’ll tell you what, my dear: Why don’t you see if you can scare up some clothes for Sofia, while she and I have a chat. Then we can all rendezvous in the kitchen.”

While Mrs. Vanderwhile went in search of clothes, Richard led Sofia into his study and sat on the edge of his desk.

“I can’t tell you how excited we are to have you in house, Sofia. And I do so hate putting business before pleasure. But once we sit down to eat, I suspect we’ll be swept away with stories of your adventures. So, before we go to the kitchen, your father mentioned that you might have something for me. . . .”

Sofia looked shy and hesitant.

“My father said that you might have something for me first. . . .”

Richard laughed and slapped his hands together.

“Right you are! I’d forgotten all about it.”

Richard crossed the room to one of the bookcases. Standing on his tiptoes, he reached to the uppermost shelf and removed what looked like a large book—but which turned out to be a package wrapped in brown paper. Richard set it down on his desk with a thud.

In turn, Sofia began to reach into her knapsack.

“Before giving anything to me,” Richard cautioned, “you should probably make sure that this is what it’s supposed to be. . . .”

“Oh, yes. I see.”

“Besides,” he added, “I’ve been dying of curiosity.”

Joining Richard at his desk, Sofia untied the strings and pulled back the folds of paper. Inside was an old edition of Montaigne’s Essays.

“Well,” said Richard a little bemused, “you’ve got to give that old Frenchman credit. He’s substantially heavier than Adam Smith or Plato. I really had no idea.”

But then Sofia opened the book, revealing a rectangular cavity cut into the pages, in which there were eight small stacks of gold coins.

“Naturally,” said Richard.

Sofia closed the book and retied the strings. Then taking off her knapsack, she emptied its contents onto a chair and handed the empty bag to Richard.

“Father said you should cut the seam at the top of the straps.”

There was a knock at the door and Mrs. Vanderwhile poked in her head.

“I’ve got some clothes to show you, Sofia. Are you ready?”

“Perfect timing,” said Richard while giving a nod to Sofia. “I’ll follow you in a minute.”

Left alone, Richard took a penknife from his pocket. He switched out the blade and carefully cut the seam that had been expertly sewn along the top of the shoulder straps. In the narrow gap that ran behind the length of one of the straps had been slipped a tightly rolled piece of paper.

Easing the roll from its hiding place, Richard sat down and spread it across his desk. On the top side there was a diagram entitled “Combined Dinner of Council of Ministers and Presidium, June 11, 1954.” The diagram itself depicted a long U with forty-six names inscribed around its periphery. Under the name of each person was their title and a summation of their personality in three words. On the verso was a detailed description of the evening in question.

Certainly, the Count described the announcement concerning the Obninsk nuclear power plant and the theatric display of its connection to the Moscow grid. But what he emphasized in the course of his report were the evening’s social nuances.

First, the Count observed that when the guests appeared at the dinner, virtually all were surprised by the venue. They had obviously arrived at the hotel expecting they would be dining in one of the Boyarsky’s formal rooms, only to be directed instead to suite 417. The one exception was Khrushchev—who entered the room with the cool satisfaction of one who not only knew where the dinner would be held, but was pleased to see that everything was perfectly in order. The General Secretary erased any doubt as to his personal involvement in the planning of the evening when, having been unusually quiet, he stood at ten minutes to eleven to make a toast that referenced the history of the suite two floors below.

But for the Count, the genius of the evening was in Khrushchev’s casual display of his alignment with Malyshev. In recent months, Malenkov had made no secret of his disagreement with Khrushchev regarding nuclear armament. Malenkov foresaw that a nuclear arms race with the West could only have devastating results, referring to it as an “apocalyptic policy.” But with this little event of political theater, Khrushchev had performed the perfect sleight of hand—switching out the threat of nuclear Armageddon for the uplifting sight of a city sparkling with nuclear power. In a stroke, the conservative hawk had cast himself as a man of the future and his progressive opponent as a reactionary.

Sure enough, with the lights of the city shining brightly and freshly chilled bottles of vodka on the table, Malyshev crossed the room to confer with the General Secretary. As most of the others were still milling about with smiles on their faces, Malyshev quite naturally took the empty chair at Khrushchev’s side. So, when everyone began to resume their places, Malenkov found himself stranded behind Khrushchev and Malyshev; and as the Premier of the Communist Party waited awkwardly for them to finish their conversation so that he could reclaim his seat, no one at the table even batted an eye.

As Richard finished reading the Count’s description, he leaned back in his chair and smiled, thinking he could use a hundred men like Alexander Rostov. And that’s when he noticed the small, slightly curled piece of paper lying on his desk. Picking it up, Richard immediately recognized the Count’s cursive. The note, which had presumably been rolled up in the report, included a straightforward instruction of how to confirm that Sofia had arrived at the embassy safely, followed by a long sequence of seven-digit numbers.

Richard jumped to his feet.

“Billy!”

After a moment the door swung open and the attaché stuck in his head.

“Sir?”

“If it is almost ten in Paris, what time is it almost in Moscow?”

“Midnight.”

“How many girls are on the switchboard?”

“I’m not certain,” admitted the lieutenant, a little flustered. “At this hour, two; maybe three?”

“That’s not enough! Go to the typing pool, the decoding room, the kitchen. Round up everyone with a finger on their hand!”

When the Count arrived in the lobby with his rucksack on his shoulder and sat in his chair between the potted palms, he didn’t fidget. He didn’t get up and walk about, or read the evening edition. Nor did he check the time on the Bishop’s watch.

If asked in advance to imagine what sitting there under these circumstances would feel like, the Count would have predicted a definite sense of anxiety. But as the minutes ticked away, the Count didn’t find the wait distressing at all; he found it surprisingly peaceful. With a patience that was almost otherworldly, he watched the guests of the hotel come and go. He saw the elevator doors open and close. He heard the sound of music and laughter emanating from the Shalyapin Bar.

At that moment, it somehow seemed to the Count that no one was out of place; that every little thing happening was part of some master plan; and that within the context of that plan, he was meant to sit in the chair between the potted palms and wait. And almost exactly at midnight, the Count’s patience was rewarded. For in accordance with the instructions he’d written to Richard, every telephone on the first floor of the Metropol began to ring.

All four telephones at the main desk rang. The two house phones that were on a side table by the elevator rang. The telephones at Vasily’s desk and the bell captain’s station rang. As did the four telephones in the Piazza, the three in the coffeehouse, the eight in the executive offices, and the two on the Bishop’s desk. All told, there must have been thirty phones ringing at once.

What a simple thing in concept, the simultaneous ringing of thirty phones. And yet, it immediately created a sense of pandemonium. Those who were in the lobby began looking from corner to corner. What could bring about the ringing of thirty phones at twelve o’clock at night? Had the Metropol been struck by lightning? Was Russia under attack? Or were the spirits of the past exacting their toll on the present?

Whatever the cause, the sound was utterly disconcerting.

When a single telephone rings, our immediate instinct is to pick up the receiver and say hello. But when thirty ring at once, our instinct is to take two steps back and stare. The limited crew of the night shift found themselves running from phone to phone without the fortitude to answer a single one. The drunken crowd in the Shalyapin began spilling into the lobby, as guests, who had been awakened on the second floor, came marching down the stairs. And in the midst of this commotion, Count Alexander Ilyich Rostov quietly donned the journalist’s hat and coat, shouldered his rucksack, and walked out of the Metropol Hotel.