button. It was stuck.
Monsieur Tremblé, the concierge, walked up. âAll is well, mademoiselle?â
âNo,â I said. âThat gentleman over there has been bothering me. Heââ
âThat gentlemanââ Tremblé gently released the button ââis Monsieur Valentin. Iâm sure he would only be meaning to help.â
The elevator arrived and he pulled open the delicate birdcage.
âThank you, Tremblé.â I smiled weakly and stepped inside, thinking that I knew that name from somewhere.
Monsieur Valentin. Inspector Valentin. Iâd just missed a golden opportunity to have a drink with the detective in charge of the case. I could have drunk him under the table, charmed him, pumped him for information, and captured it all on video. Instead, I verbally kneed him in the balls. Typical.
Quinn Perkins
JULY 13, 2015
Blog Entry
Hands burrow into my armpits, close on my upper arms, strong as a vise, pressing into me. Hurting me so I want to yell. But I canât because my mouth is full of water, my lungs burning, chest, flesh heavy as lead. The hands squeeze me, wrench my flesh, and I am fighting tooth and nail, fighting for all I am worth, sucking the water deeper and deeper, my nose, my throat on fire.
And then the hands haul me to land and I flop on the concrete oven shelf at the side of the pool, its grit raking my flesh, then I lie still, weirdly still, no longer fighting at all.
The field of my bright-light-spotted burning blur vision darkens. Something is over me, on me, blocking out the sun. Someone. Vaguely, I see a tanned face, dark eyes, lips. Then the lips are on mine, blowing, and strong hands pump my ribs. I cough, splutter up water, choking, wheezing for air. Lips pressmine again, soft and hot against my freezing lips, breathing harsh life into me. I cough harder. More water comes out. The man moves, turns me on my side. It strikes me that he is fully clothed in black and I have the surreal thought that the ghost of Johnny Cash just saved me from drowning.
My ears pop and the world shrieks again. Voices crash against my eardrums, angry, cacophonous. Waves of sound, argument, some angry exchange in French happening over my head that I am way too out of it to translate. The squall of words ends as suddenly as it started. The hands are on me again, under me, lifting my waterlogged floppy fish body. Johnny Cash cradles me against his black-clad chest. I blink and stare up like a baby. His face is all I can see and he is beautiful . . . and familiar somehow.
He frowns down at me and I hear my voice all high and dreamy. âAm I dead?â My own voice betraying me.
He grins and says, âThatâs terrible.â
âWhat?â
Heâs laying me down on a towel at this point, my own towel under the olive tree. Other faces jostle behind him to look at me. Noémie, Freddie, Sophie, Romuald. They are blurry, out of focus. Then I see Freddie, who nearly drowned me, and I look away, look back at Johnny Cash. Less Johnny Cash now that Iâm gazing up into his dreamy brown eyes, more James Franco. He has the tousled dark hair, a stubbly beard, and cute crinkles in the corners of his eyes.
âTerrible,â he murmurs, leaning close to my face so only I can hear, âto almost drown and then the first words you come out with are cliché.â
I smile up at him, even though my ribs ache and my eyes sting and my throat burns. âSo the next time I have a near-death experience I shouldââ cough ââstop watching my life flash in front of my eyes and take a minute to come up with a better line?â
âAh, irony. You must be feeling better. I am officially no longer needed here.â He pretends to get up and then kneels down closer, grinning again. He smooths strands of hair from my forehead, then turns to Noémie and says something brusquely in French I donât catch.
âMais non!â says Noémie
Joseph Vargo, Joseph Iorillo
Stephanie Hoffman McManus