She stretches her hands out in front of her to protect herself, and finds her left hand taken and held by another hand: held gently and without coercion. It’s as if she’s being asked a question.

She can’t speak. She can’t say, I can’t speak.

The blind assassin lets his woman’s veil fall to the floor. Holding the girl’s hand, he sits down on the bed beside her. He still intends to kill her, but that can come later. He’s heard about these impounded girls, kept hidden away from everyone until the last day of their lives; he’s curious about her. In any case she’s a gift of sorts, and all for him. To refuse such a gift would be to spit in the face of the gods. He knows he should move swiftly, finish the job, vanish, but there’s lots of time for that still. He can smell the scent they’ve rubbed on her; it smells of funeral biers, those of young women who’ve died unwed. Wasted sweetness.

He won’t be ruining anything, or nothing that’s been bought and paid for: the fraudulent Lord of the Underworld must have been and gone already. Had he kept his rusty chainmail on? Most likely. Clanked into her like a ponderous iron key, turned himself in her flesh, wrenched her open. He remembers the feeling all too well. Whatever else, he will not do that.

He lifts her hand to his mouth and touches his lips to it, not a kiss as such but a token of respect and homage. Gracious and most golden one, he says—the beggar’s standard address to a prospective benefactor—rumour of your extreme beauty has brought me here, though simply by being here my life is forfeit. I can’t see you with my eyes, because I’m blind. Will you permit me to see you with my hands? It would be a last kindness, and perhaps for yourself as well.

He hasn’t been a slave and a whore for nothing: he’s learned how to flatter, how to lie plausibly, how to ingratiate himself. He puts his fingers on her chin, and waits until she hesitates, then nods. He can hear what she’s thinking: Tomorrow I’ll be dead. He wonders if she guesses why he’s really here.

Some of the best things are done by those with nowhere to turn, by those who don’t have time, by those who truly understand the word helpless. They dispense with the calculation of risk and profit, they take no thought for the future, they’re forced at spearpoint into the present tense. Thrown over a precipice, you fall or else you fly; you clutch at any hope, however unlikely; however—if I may use such an overworked word—miraculous. What we mean by that is, Against all odds.

And so it is, this night.

The blind assassin begins very slowly to touch her, with one hand only, the right—the dexterous hand, the knife hand. He passes it over her face, down her throat; then he adds the left hand, the sinister hand, using both together, tenderly, as if picking a lock of the utmost fragility, a lock made of silk. It’s like being caressed by water. She trembles, but not as before with fear. After a time she lets the red brocade fall away from around her, and takes his hand and guides it.

Touch comes before sight, before speech. It is the first language and the last, and it always tells the truth.

This is how the girl who couldn’t speak and the man who couldn’t see fell in love.

You surprise me, she says.

Do I? he says. Why? Though I like to surprise you. He lights a cigarette, offers her one; she shakes her head for no. He’s smoking too much. It’s nerves, despite his steady hands.

Because you said they fell in love, she says. You’ve sneered at that notion often enough—not realistic, bourgeois superstition, rotten at the core. Sickly sentiment, a high-flown Victorian excuse for honest carnality. Going soft on yourself?

Don’t blame me, blame history, he says, smiling. Such things happen. Falling in love has been recorded, or at least those words have. Anyway, I said he was lying.

You can’t wiggle out of it that way. The lying was only at first. Then you changed it.

Point granted. But there could be a more callous way of looking at it.

Looking at what?

This falling in love business.

Since when is it a business? she says angrily.

He smiles. That notion bother you? Too commercial? Your own conscience would flinch, is that what you’re saying? But there’s always a tradeoff, isn’t there?

No, she says. There isn’t. Not always.

You might say he grabbed what he could get. Why wouldn’t he? He had no scruples, his life was dog eat dog and it always had been. Or you could say they were both young so they didn’t know any better. The young habitually mistake lust for love, they’re infested with idealism of all kinds. And I haven’t said he didn’t kill her afterwards. As I’ve pointed out, he was nothing if not self-interested.

So you’ve got cold feet, she says. You’re backing down, you’re chicken. You won’t go all the way. You’re to love as a cock-teaser is to fucking.

He laughs, a startled laugh. Is it the coarseness of the words, is he taken aback, has she finally managed that? Restrain your language, young lady.

Why should I? You don’t.

I’m a bad example. Let’s just say they could indulge themselves—their emotions, if you want to call it that. They could roll around in their emotions—live for the moment, spout poetry out of both ends, burn the candle, drain the cup, howl at the moon. Time was running out on them. They had nothing to lose.

He did. Or he certainly thought he did!

All right then. She had nothing to lose. He blows out a cloud of smoke.

Not like me, she says, I guess you mean.

Not like you, darling, he says. Like me. I’m the one with nothing to lose.

She says, But you’ve got me. I’m not nothing.

The Toronto Star, August 28, 1935