LITMIR.BIZ

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upside down, inside out, shook it. It was plain white, thick, his name in a thick black Modoni font. I tried to envisage the number across the bottom. I couldn’t. I hadn’t even read the card. I must have dropped it in the street. At the party. In Pierre’s red car.

      I slammed my hands down on the bed. Then I forced myself to count to ten and walk to the window and back ten times. My camera. My cameras. Think. My life’s work is stored in there.

      My mobile phone buzzed on the table beside the bed. I can’t think who that is. Please not Jake. And I’ll kill Polly if she gave Tomas my number. I don’t want to have to find the words to put him off. No. Stay calm. It could be one of those galleries. Number unknown.

      ‘Yes. Serena Folkes here. Hello?’

      There was a pause. Then, ‘Ah. Serena.’

      His voice was even deeper than I remembered, pouring treacle. My knees went from under me and I fell onto the bed.

      ‘Gustav! Mr Levi. Oh my God. You don’t know how happy I am to hear from you!’

      He chuckled. I could hear low voices and brisk footsteps in the background. He sounded as if he was an echoing room.

      ‘Maybe you could come and show me how happy?’

      ‘How did you find me?’

      ‘The wonders of technology, Serena. I just made a note of your mobile number when you left your phone with me in the bar last evening. If you go to your contacts you’ll see I’ve added myself in there, too. So now we’re both armed with vital information. I told you I wanted to see you again, and I meant it.’

      I just stared stupidly at the phone.

      ‘You do want your cameras back, don’t you?’

      Yes I did. I do. And so it was arranged.

      This must be it. There’s a flight of steps and big glass doors up ahead of me, but before I reach them and check the address I stop to look at the publicity poster attached to the approaching railings.

      There’s no obvious gallery anywhere nearby, but the poster shows a sepia photograph of a group of comely women reclining on a sofa, with tumbling black hair, plump bodies, and can-can corsets and stockings. They are incredibly dated, girlishly coy, mostly, their backs turned to the camera to show mooning white buttocks and big bovine hips and shoulders, but the eyes gleaming under curled fringes are vacant and old as the hills.

      I guess they are from a collection of dirty postcards of fin-de-siècle Parisian prostitutes, or a clever reproduction. They are certainly faded. Patches of the background are missing or cracked where the old processing ink has peeled away from the paper, but the women are intact.

      I run my hands over my own rounded hips. I’ve made a real effort today. After we’d arranged to meet I told myself as I showered and dressed in Polly’s glittering white bathroom that today is the day to make some changes.

      So I’ve shed Rena the scruff in her jeans and biker boots, and I’m wearing a dress. Well, he told me that this was business and that I was to come to his office, so businesslike is how I want to be. It won’t go amiss for my other appointments, either. So it’s not only a dress, but a black jersey dress, flaring on the hips, wrapped tight across the bust, severe yet softened by these shiny black boots. Flat, not heeled. I can’t masquerade to that extent, let alone pound the streets of London in heels. And a cropped black Cossack jacket with velvet collar and cuffs and military silver buttons.

      At the last minute I pull on the beret for comfort, but this time I wear it low over my forehead Garbo-style.

      I continue on up the polished white steps and read the name above the door. It says The Levi Building. It’s not as phallic as some City buildings. None of the structures along the Embankment reach any higher than Big Ben. But it’s no less hulking and impressive for that. The words swim into focus. The Levi Building. So he owns the whole shebang?

      The lobby is vast and echoing. There is a chrome shelf, not even a desk, in the middle of the place, and a lady sitting bolt upright behind a switchboard of buttons. She looks like a spooky Mary Poppins. Black hair pulled back into a bun so tight that her face is dragged back with it. A black broderie anglaise blouse pinned with a cameo brooch. She glances up and without speaking pokes out a long plum-painted fingernail to press a button marked Levi.

      ‘Is everything around here named after him?’ I ask. My voice hisses across the black marble interior as if I’m in church.

      ‘Penthouse office. Top floor.’ Her voice is high, as if holding a top note.

      The lift spits me out at the top, and I am dazzled by the blaze of light. It’s hard to know where the light comes from, whether I’m facing north or south, even.

      ‘Ah, Serena. How lovely to see you again.’

      A pin man appears in the distance, etiolated and thin like an alien just about to step out of the blinding interior of the mother ship. I rub my eyes and step towards him. He seems to be wearing a suit and a white shirt today, but before I can focus properly he takes my hand and shakes it formally. He holds it for an extra moment.

      ‘I’m so glad you took my phone number,’ I gibber, as we start to move back towards the light, one of my hands still in his. ‘I would be absolutely lost without my cameras!’

      ‘Your head is like a sieve, so it’s lucky I’m a magpie. Gloves, cameras–’

      How familiar his deep, calm voice is. I only met him yesterday.

      There is a cool, tomb-like atmosphere in this place. I still can’t see clearly, but I think we are in a corridor. He turns right and leads me into another big space but this is insulated. Not warm, but not cold, either.

      He drops my hand and leaves me standing in this vast, warehouse-like space. He walks towards another window but the light in here is less glaring, and finally I can focus. I turn in a full circle. There are more of the French photographs, blown up, on one wall, and others, sepia, black and white, none coloured, but I’m assailed, as any visitor would be, by rolling flesh, and plump women, and vivid nakedness.

      ‘You’ve brought me to a gallery? This is awesome. A real inspiration. Exactly the kind of venue I’ve dreamt about.’

      ‘Not just any gallery, Serena.’ There’s a click. On goes an oversized chrome Anglepoise lamp by his desk and there he is, springing back into my life. Someone who looks just like him, anyway, but this guy is scrubbed and brushed today, those eyes blacker, deeper, more glittering in contrast to the cleanly shaved cheeks. The formal tailoring makes him seem taller and broader, but the fine fabric also restrains him, restrains all that restless energy.

      He stands and moves differently, slowly, considerately, the jacket creasing slightly as he bends his arms, the trousers revealing nothing of the long legs I saw in their jeans last night. The body that pressed against me. No hint of the manhood, what lies beneath. He moves almost in slow motion, but not his hands. They are restless as ever. They pluck the middle buttons, doing and undoing. The man I know as Gustav Levi is someone who stalks misty London squares at night, wrapped up warm but unshaven, wild eyes watching.

      Apart from a giant vase of lilies in the corner tall enough to bathe in, there is nothing else visible in this space.

      As the light snaps on the lively photographs leap away into the shadows cast by the winter afternoon light.

      ‘This is my gallery.’

      I walk towards the window. Behind him the river flows dark and fast past the London Eye and the South Bank opposite, multi-coloured lights winking off the various bridges spanning the Thames.

      ‘What can I say, Mr Levi? You said you were an entrepreneur, but this? You own this place? This whole building?’

      ‘That’s my name on the door. And more besides, Serena. You could say I’m multi-national. London. Paris. New York is currently being conquered.’ He takes a pen out of his breast pocket and taps it against his

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