Crash Read Online Free PDF Page B

hospital corner, unmoved by this sexual gesture, no more significant than the most commonplace spoken remark.
    Catherine pulled a manila folder from her bag. I recognized the treatment of a television commercial I had prepared. For this high-budget film, a thirty-second commercial advertising Ford’s entire new sports car range, we hoped to use one of a number of well-known actresses. On the afternoon of my accident I had attended a conference with Aida James, a freelance director we had brought in. By chance, one of the actresses, Elizabeth Taylor, was about to start work on a new feature film at Shepperton.
    ‘Aida telephoned to say how sorry she was. Can you look at the treatment again? She’s made a number of changes.’

    I waved the folder away, gazing at the reflection of myself in Catherine’s hand-mirror. The severed nerve in my scalp had fractionally lowered my right eyebrow, a built-in eye-patch that seemed to conceal my new character from myself. This marked tilt was evident in everything around me. I stared at my pale, mannequin-like face, trying to read its lines. The smooth skin almost belonged to someone in a science-fiction film, stepping out of his capsule after an immense inward journey on to the overlit soil of an unfamiliar planet. At any moment the skies might slide …
    On an impulse I asked, ‘Where’s the car?’
    ‘Outside – in the consultant’s car-park.’
    ‘What?’ I sat up on one elbow, trying to see through the window behind my bed. ‘ My car, not yours.’ I had visualized it mounted as some kind of cautionary exhibit outside the operating theatres.
    ‘It’s a complete wreck. The police dragged it to the pound behind the station.’
    ‘Have you seen it?’
    ‘The sergeant asked me to identify it. He didn’t believe you’d got out alive.’ She crushed her cigarette. ‘I’m sorry for the other man – Dr Hamilton’s husband.’
    I stared pointedly at the clock over the door, hoping that she would soon leave. This bogus commiseration over the dead man irritated me, merely an excuse for an exercise in moral gymnastics. The brusqueness of the young nurses was part of the same pantomime of regret. I had thought for hours about the dead man, visualizing the effects of his death on his wife and family. I had thought of his last moments alive, frantic milliseconds of pain and violence in which he had been catapulted from a pleasant domestic interlude into a concertina of metallized death. These feelings existed within my relationship
with the dead man, within the reality of the wounds on my chest and legs, and within the unforgettable collision between my own body and the interior of my car. By comparison, Catherine’s mock-grief was a mere stylization of a gesture – I waited for her to break into song, tap her forehead, touch every second temperature chart around the ward, switch on every fourth set of radio headphones.
    At the same time, I knew that my feelings towards the dead man and his doctor wife were already overlaid by certain undefined hostilities, half-formed dreams of revenge.
    Catherine watched me trying to catch my breath. I took her left hand and pressed it to my sternum. In her sophisticated eyes I was already becoming a kind of emotional cassette, taking my place with all those scenes of pain and violence that illuminated the margins of our lives – television newsreels of wars and student riots, natural disasters and police brutality which we vaguely watched on the colour TV set in our bedroom as we masturbated each other. This violence experienced at so many removes had become intimately associated with our sex acts. The beatings and burnings married in our minds with the delicious tremors of our erectile tissues, the spilt blood of students with the genital fluids that irrigated our fingers and mouths. Even my own pain as I lay in the hospital bed, while Catherine steered the glass urinal between my legs, painted fingernails pricking my penis, even the