mention that it was strange that someone suddenly claiming to be speaking as an outraged Muslim should have so foul a mouth; nor did he argue that her behavior in recent weeks had not indicated that matters devotional often featured prominently in her thoughts. He understood that the cause of her anger was his “bias” toward the Hindus, and that it would do him no good to explain that his equal and fervently expressed horror at the slaughter of innocent Muslims had been deleted from the program by the vindictive scissors of the network apparatchiks, because the rage of religion had risen up in her and the very rarity of her ardor made it impossible to quell.
As to the truth about herself, which she believed she had so carefully concealed from him, he knew it all, had discovered her identity weeks ago from the chauffeur who went by the name of Shalimar. Back home in India there were tens of millions of men who would have cut off their right ears or little fingers for the privilege of five minutes of Zainab Azam’s company. She was the hottest box-office star in that distant firmament, a sex goddess such as the Indian cinema had never seen, and was consequently unable to leave her design-magazine home in the Pali Hill district of Bombay without a phalanx of bodyguards and a convoy of armored limousines. In America, where nobody then knew that the Indian movies existed, she had found her freedom, and during the affair with Max Ophuls she had reveled in her luxurious anonymity, in his beautiful unknowing, which was why he had never revealed to her that he knew everything there was to know, for example about the broken heart she was nursing and for which he was no more than a temporary palliative, and about the gangsterish movie-star boyfriend who had broken that heart as insouciantly as he crashed and wrote off vintage American motorcars, Stutz Bearcats, Duesenbergs, Cords. Even now at the end of the affair old Max Ophuls in his generosity allowed her to go on believing in the cloak of secrecy beneath which she had permitted herself to do so much that had been so pleasurable in his bed.
He called the chauffeur and asked him to drive the lady home. It is probable that this telephone call sealed his fate, or rather that what had been waiting to happen was finally precipitated by the anger that spilled out of Zainab Azam into the driver’s ears. After the assassination, when she was briefly under suspicion as the possible perpetrator of a crime of passion, the great movie star remembered the fellow’s last words to her. “For every O’Dwyer,” he had said in excellent Urdu as she got out of the car, “there is a Shaheed Udham Singh, and for every Trotsky a Mercader awaits.”
Because she was wallowing in the tar pits of her own anger Zainab had not taken this boastful statement seriously. The name Mercader meant nothing to her anyway. The story of the death of Trotsky was not among her personal golden treasury of tales, but as for the story of the man who murdered the imperialist lieutenant-governor who had sanctioned the Amritsar massacre, the story of Udham Singh who went to England and waited for six years and then shot O’Dwyer at a public meeting, this was well known. It didn’t occur to Zainab that the driver was being serious. Men were always trying to ingratiate themselves with her, after all, and yes, maybe she had said something to the effect that Max Ophuls was a bastard and she wished he was dead, but that was just her way of talking, she was an artist of passion, a hot-blooded woman, and how else should such a woman speak of a man who had proved himself unworthy of her love? She herself was incapable of murder, she was a woman of peace and also, excuse me, a star, there was the responsibility to her public to consider, a person in her position had to set an example. So soulful was her deposition, so vast and innocent were her eyes, so profound was her guilty horror at the thought that the assassin had