Vikram greeted me warmly, rising from his chair to give me a hug.
His gunslinger's clothes had disappeared, item by item, under Lettie's persuasion and his own maturing taste. All that remained of the Clint Eastwood costume were the silver belt and the black cowboy boots. His beloved hat, surrendered with no little reluctance when he'd found himself more frequently in the boardrooms of major companies than in the stuntmen's corral, was hanging from a hook in my apartment.
It was one of my most treasured possessions.
When I leaned over to kiss Lettie, she seized the shoulder of my shirt and pulled me closer to whisper in my ear.
"Keep your cool, lad," she murmured inscrutably. "Keep your cool."
Sitting next to Lettie were the movie producers Cliff De Souza and Chandra Mehta. As sometimes happens with close friends, Cliff and Chandra seemed to exchange the substance of their bodies between them over time, so that Cliff had become slightly thinner and more angular, while Chandra had gained weight in almost perfect proportion. The more they differed physically, however, the more they resembled one another in other ways. In fact, the close colleagues, who often worked and played together for forty hours at a stretch, used so many of the same gestures, facial expressions, and phrases that they were known on the sets of the movies they produced as Fat Uncle and Skinny Uncle.
They raised their arms in identically enthusiastic greeting when I approached them, although each was pleased to see me for his own reasons. Cliff De Souza had developed a passionate affection for Kavita Singh since I'd introduced them, and he'd hoped I might influence her in his favour. Having a far longer acquaintance with her, I knew that no power could influence Kavita toward anything not fully consonant with her will and her wish. Still, she seemed to like him well enough, and they had much in common. They were both almost thirty and unmarried-a status so unusual in the Indian upper middle class, in those years, that their families anguished over it at every feast and festival in the crowded calendar. They were both media professionals who prided themselves on their independence and artistic flair. They were also driven by the same instinctive tolerance to seek out, and fairly examine, each point of view in any apparent conflict of interests. And they were attractive people. Kavita's shapely figure and perilously seductive eye seemed the perfect complement to Cliff's rangy angularity and the boyishness of his artless, lopsided grin.
For my part, liking them both, I saw no reason to resist the matchmaker's urge to meddle. In public I made it clear that I liked Cliff De Souza, and in private I praised him discreetly to her whenever the natural opportunity arose. They had a chance-a good chance, it seemed to me-and my heart put a wishing star in my eyes for them.
Chandra Mehta, on the other hand, was pleased to see me because I was his closest link to the black money in Salman's mafia council, and the only link he could describe as amicable. Like Khader before him, Salman Mustaan saw great advantage in the access to Bombay's film world that Chandra Mehta provided. New regulations at federal and state levels had tightened restrictions on the flow of capital, making it ever more difficult to launder black money. For many reasons-not least because of the irresistible glamour attached to the industry- politicians had exempted the movie business from many of those monetary and investment controls. They were boom economy years, and Bollywood films were going through a renaissance in style and confidence. The films got bigger and better, and had begun to reach out to a wider world market. As the budgets for successful films soared, however, producers exhausted the traditional sources of revenue. That convergence of interests drove more than a few producers and production houses into strange syzygies with gangsters: films about mafia goondas were financed by the mafia, and the profits from hit movies about hit men went into new crimes and real hits on real people, which in turn became the subjects for screenplays and new films financed by more mafia money.
And I played my part, so to speak, by working as the connection between Chandra Mehta and Salman Mustaan. The relationship was a lucrative one. The Salman council had put crores, each crore being ten million rupees, through Mehta-De Souza Productions, and drew clean, untraceable profits from the bottom line. That first contact with Chandra Mehta, when he'd asked me to find a few thousand American dollars on the black market, had fattened into a nexus that the portly producer couldn't resist or refuse. He was rich, and getting richer. But the men who poured their wealth into his company frightened him, and every contact with them was menaced with the scent of their distrust. So Chandra Mehta smiled at me, and was glad to see me, and tried to pull me tighter into the tremulous clutch of his friendship whenever our paths crossed.
I didn't mind. I liked Chandra Mehta, and I liked Bollywood movies. I allowed him to drag me into the worried, wealthy world of his friendship.
Next to him at the table was Lisa Carter. Her thick, blonde hair had grown long enough, after the short cut, to fall beside the oval cameo of her face. Her blue eyes were clear and glittering with passionate intent. She was tanned and very healthy. She'd even gained a little extra weight-something she decried, but that I and every other man within her sight-horizon was bound to admire. And there was something new and very different in her manner: a warm, unhurried softness in her smile; a willing laugh that won the laughter of others; and a lightness of spirit that looked for and often found the best in those she met. For weeks, months, I'd watched those changes shift and settle in her, and at first I'd thought they'd grown from my affection. Although no formal relationship had been declared-she continued to live in her apartment, and I lived in mine-we were lovers, and we were far more than friends. After a time, I realised that the changes were not mine, but hers alone.
After a time, I began to see how deep the well of her loving was, and how much her happiness and confidence depended on drawing that love into the light, and sharing it. And love was beautiful in her. It was a clear sky she gave us with those eyes, and a summer morning with her smile.
She kissed my cheek when I greeted her. I returned the kiss, wondering, as I stepped back, why a small concerned frown rippled from her brow to her cornflower-blue eyes.
Sitting next around the long table were the print journalists Dilip and Anwar. They were young, only a few years out of college, and still learning their trade in the anonymous vaults of The Noonday, a Bombay daily. At night, with Didier and his little court, they discussed the big breaking stories of the day as if they'd played key parts in the scoops or had followed their own instincts to the investigation's end. Their excitement, enthusiasm, ambition, and limitless hope for the future so delighted everyone in the Leopold's crowd that Kavita and Didier felt obliged to respond, occasionally, with sardonic sniping.
Dilip and Anwar reacted well, laughing and often giving as good as they got until the whole group was shouting and pounding the table in delight.
Dilip was a tall, fair, almond-eyed Punjabi. Anwar, a third generation native of Bombay, was shorter, darker, and the more serious of the two. New blood, Lettie had said to me with a smile, a few days before that afternoon. It was a phrase she'd once used about me, soon after I'd arrived in Bombay. And as I made my way around the table and looked at the two young men talking with such passion and purpose, it occurred to me that once, before heroin and crime, my life had been like theirs. Once I'd been just as happy and healthy and hopeful as they were. And I was glad to know them, and to know they were a part of the pleasure and promise of the Leopold's crowd. It was right that they were there, just as it was right that Maurizio was gone, and Ulla and Modena were gone, and that I, too, would one day be gone.