He wore a monocle in place of the black owl spectacles. His hair was parted on the side and his maroon-coloured bow tie was dashing rather than snug, but beyond the details, it was his overall air that was so very different. Coming to the table, he gave a little click of the heels and a brief inclination of the head, the humorous gesture of a friend, not an employee, before dropping into the chair across from me. There he sat sprawled, an expansive set to his shoulders, with not the slightest sign of his normal prim attitude.
I leant forward to study the man’s features: Yes, there was the fleck in the right iris, the mild disturbance in the hair over his left brow, the nick from that morning’s razor. I sat back, breathing a sigh of relief: For a moment, I feared I’d strayed into the clichés of an unlikely detective story. As if William S. Gilbert were collaborating with Edgar A. Poe.
CHAPTER FOURTEEN
I need truth, and some aspirin.
Friday, 14 November, 11:30 p.m.
Avenida-Palace, Lisbon
Dear Holmes,
I have spent any number of odd evenings (generally in your company, come to think of it) but I’ve just had one of the oddest. Even after having it explained to me, I’m not at all certain I understand it.
This afternoon, our hired pirates turned up drunk from their lunch, and it was given to me to explain to the translator that it simply wouldn’t do. Since he, too, had of drink taken, I commanded him to dinner. When he showed up, I would initially have sworn that he and I had become characters in “The Case of the Substitute Twin.”
Now, it is true that I occasionally feel myself going translucent and fictional (again, often in your company.) However, the stories I occupy are not generally so lowbrow as to depend on the mechanism of twins. This being a new experience for me—what next, I could only wonder: white slavery? opium dens?—I pursued the anomaly with interest. What had caused our translator’s transformation from a quiet, unhealthy-looking, marginally shabby and humorously self-deprecating melancholic into an intense, ardent, witty gentleman-about-town? He wore the exact clothes he had earlier, but with panache rather than apology.
And although I’m not at all certain I grasp the details, it would appear that I have spent the evening within a poetical conceit.
I believe I mentioned previously that our translator, Mr Pessoa, is a poet—and according to him, not simply any poet, but the poet who will define his country to the world. It matters not that he is well into his fourth decade and few have heard of him. No: In his mind, Portugal is due to become the world’s leader in the modern era—in artistic and literary matters, if not political and economic—and Fernando Pessoa is due to take his place at its head. A Fifth Empire, less the apocalypse, ushered in by this narrow country on the edge of Europe—just as soon as he obtains government funding for his journal. And finds a publisher for his poetry. And finishes his detective story, and finds acceptance for his Arts Council, and … And he did not show any indication of being under the influence of drugs.
Holmes, I am awash in a sea of megalomaniacs.
In any event, I settled to dinner with this fellow who was both familiar and unknown: hair parting different, monocle in place of spectacles, wide gestures instead of controlled, a flamboyant vocabulary, a shift in accent. He even looked taller.
After some minutes of increasingly disorientating conversation, I had to ask. It turned out the man across from me was both Mr Pessoa, and another.
Modern poetry, in Pessoa’s eyes, is required to be outrageous and exaggerated. The modern poet, he believes, must do more than sit and write verse: He must become his poem, he must transform himself into a living stage. Only through lies is the truth known; only through pretence does one achieve revelation. The dramatis personae of Pessoa’s life are the embodiment of theatre, a solemn game, a celebration of the counterfeit. He calls them (apparently there are quite a few) his heteronyms.
And lest one assume that Pessoa thus makes an ideal partner for a moving picture company, he has a theatrical scorn for the theatrical. He holds in polite contempt the contrivance of stage trickery, regarding the theatre as “low” because it limits a playwright—even a great playwright such as Shakespeare, whom he otherwise admires—to the dull formality of a script. At best, theatre or film itself provides the stage on which the actor can make a new thing. “A true play is one not intended as a performance, but as its own reality.”
Which is why, although he looks down his nose at scripted stage-craft, this one picture has thrilled his imagination (someone’s imagination—Pessoa? de Campos? Ricardo Reis perhaps?) because it counteracts the formal script with a “boundless unreality” of free association. (That, and the pirates—he is completely besotted with pirates, and went on and on about freedom and masculine imagery and the sea-going heritage of Portugal, and cannon. I’m sure there was something about cannon.)
If you are a touch confused, I will pause while you fetch yourself strong drink: I found that alcohol helps considerably.
All of this came spilling out of this new and excitable version of Mr Pessoa (whose surname, I should point out, translates as “Person”) after I had made the mild remark that he looked … different.
With our soup, we drank in philosophical reflection, which settled our palates for the main course of revelation: that his changed appearance reflected this true theatre, this true-faking, this poet’s grasp of play. That Fernando Pessoa does not, in fact, exist, that he is a vácuo-pessoa, a vacuum-person.
Before taking up his knife and fork, this non-person fished into a pocket, then extended his card across the table linen. “Álvaro de Campos, at your service.”
Senhor Álvaro de Campos is not a translator, but a naval engineer. He is from the south of Portugal, born Jewish (although he seems not entirely certain what this entails) though raised Roman Catholic, studied in Scotland, and travelled widely before settling in Lisbon. He is a Sensationist and admirer of Walt Whitman, and his tendency to flamboyance and lusty flirtations with decadence are reflected in his writing. A thick packet of which he then handed me.
Oh, indeed: Senhor de Campos is a poet, too.
It took us until coffee to reach this dramatic revelation, having spent the interim in a monologue: the great history of Portugal; the greater future of Portugal; piracy as an allegory for the Portuguese identity; his experiments with automatic writing; Pessoa’s schooling (to which he referred in the third person) in Durban (where—he gave a disbelieving laugh—the students were woefully ignorant that Vasco da Gama, a gentleman of Portugal, had not only discovered their land, but named it); the publication of two volumes of English verse; his belief that the greatest artist is the one who writes with the most contradictions, the clearest writer is he who writes the most baffling prose.…
Or I may have got some of that wrong, because by this time I was near cross-eyed with tiredness and my only lusty flirtation was for my own quiet rooms. He had been telling me about a 900 verse ode he had written to pirates, or perhaps about pirates, some years before, when I broke in to inform Pessoa—or de Campos—that I was tired, that we both were needed at the theatre by nine o’clock, and that if he did not have a word with his friend the pirate king about keeping his retainers under control, Fflytte would fire the lot of them and take his company off to Morocco, seeking his piratical actors there.
And I left the poet with his multiple personas at the table, and shall now stagger off to bed.
Saturday, 6:30 a.m.
I finish this seven hours later, in what will no doubt be my only quiet moment of the day, before setting off for my theatre of the mad.
You might, by the way, enjoy the antics of our pirates, and especially our designated Pirate King, a man who would have the air of a brigand even were it not for his gold earring and the considerable scar down the side of his face (which must have come near to taking out an eye, if not the throat itself). La Rocha lacks only a peg-leg and parrot to complete the storybook image. He impresses Randolph Fflytte mightily, as we
ll as the men hired as his pirate band. Which is good: If he can keep that rabble in line, this film may actually get made.
Your,
R.
Postscript: Again, I fear I have given the impression of having greater concern with the demands of my façade employment than with the darker matter that may be at its core. I confess, I keep hoping that word will reach me of Miss Johns’ safe reappearance at her flat. Still, lest you (and Lestrade) imagine me taking my ease here, I assure you that I am pressing forward, albeit on an indirect path. If there is wrongdoing on the set of Pirate King along the lines of the guns of Small Arms and the drugs of The Coke Express, it may be possible to anticipate the new crime and solve the old at one and the same time. I merely have to figure out what it may be. If, as I say, crime exists.
—R
CHAPTER FIFTEEN
ALL: How pitiful his tale! How rare his beauty!
SATURDAY MORNING BEGAN at the specified ungodly hour of nine o’clock, when a cohort of unkempt and ill-shaven pirates came face to face with a flock of scrubbed and radiant young ladies. It would be hard to say which side had the greater shock. The girls put their curly yellow heads together and giggled; the men turned (according to their age) surly or scarlet beneath their stubble, kicking their dusty boots against the boards.
Fflytte mounted the stage steps and took up a position between the two groups, rubbing his hands in anticipation. “Now,” he said with the air of a schoolmaster calling together his unruly class, that they might be inculcated into the amusements of the Latin deponent. “Here we are! We’ll be working together for several weeks, and although some of us know each other, many of us are strangers. Let me do a quick run-through on the story we’ll be working on, just to remind you, and then I’d like to introduce each of you before we split up to begin our rehearsals.
“Once upon a time,” he began (thus proving himself a quick judge of an audience), “there was a musical stage-play about a young pirate named Frederic.” He lit into the worn tale as if he’d just invented it that instant: Frederic repudiates the pirate band to which he has mistakenly been apprenticed all these years; repudiates, too, the affections of his middle-aged nursemaid; encounters a group of pretty sisters, bathing on the shore; falls instantly in love with Mabel.
Hale and I stood looking on, Hale with amusement, me with amazement: The little director might have been a storyteller around a camp-fire, flitting between the interests of the girls (romance!) with those of the men (sex!) and weaving together apprehension (the police!) and tension (can Frederic and Mabel ever be together?) with humour (the sisters speak pointedly of the weather, to permit the flirtation of the young lovers) and satisfaction (a good fight scene!). The girls gasped when Fflytte revealed that the pirates were taking them captive; the pirates looked uneasy when they heard that the Major-General was bringing in the troops. And when Fflytte revealed that the pirates were, in fact, noblemen in disguise, and thus acceptable husbands—
I pray you pardon me, ex–Pirate King!
Peers will be peers, and youth will have its fling.
Resume your seat, and legislative duties,
And take my daughters, all of whom are beauties.
—they applauded, one and all. Personally, I’d found the story both thin and somewhat distasteful, a sort of nineteenth century precursor of The Sheik, concluding that because the pirates were peers (and marriageable) the abduction of a group of young girls would be forgiven. Still, both girls and pirates seemed to find the story satisfactory, and Fflytte bowed.
When the huzzahs and buzz of conversation died down, Fflytte went on. “However, we are not making a movie about The Pirates of Penzance. The subject of our tale is the movie crew who is making a movie about The Pirates of Penzance, and whose lives come to intertwine with the lives of their stage counterparts. For example—Daniel, stand up, if you would—Mr Marks here plays Frederic, and he also plays the man directing the film about Frederic. And—Bibi?—this lovely lady is at one and the same time Frederic’s Mabel, and the director’s fiancée. And our Ruth—Mrs Hatley, please?—is also the fiancée’s aunt. Major-General Stanley, the father of all those girls—Harry?—is also William Stanley, the director’s fiancée’s father and financial backer of the film.
“And now for the daughters themselves.”
Fflytte’s voice paused for the translator to catch him up, yet Pessoa went on, and on. The pirates were all gawping at him with expressions ranging from confusion to outrage, and he went on, with increasing volume and insistence, until his gestures began to look more like those of Álvaro de Campos than those of Fernando Pessoa. Eventually he ran out of breath, and in the pause, questions shot across the stage at him. In an instant, we were back in the same wrangle we’d had before. The voices climbed in volume until, at a crescendo, La Rocha’s squeaky voice cut in with a sharp question. To which Pessoa responded, in a state of considerable frustration, with a brief phrase, half of which I’d heard the previous morning from the startled man in the breakfast-room. The phrase was accompanied by a hand flung in Fflytte’s direction, and its meaning was crystal clear: “Because he’s a [blithering] madman.”
It must have been a strong adjective, because as one, the pirates blinked, looked at each other, looked at the waiting Fflytte, and burst into laughter.
This time, La Rocha got them back into order before Fflytte could blow up. The pirates rearranged their faces and pasted a look of expectancy over their mirth. Fflytte glared, but the techniques of working with actors could be applied to Portuguese non-actors as well: He stretched his arm towards the girls, to regain the men’s attention, and began to introduce them.
Fflytte’s variation on the original plot—that there be thirteen girls, all of marriageable age—caused the pirates less concern than it had me. I could not fit my mind around the ghastly gynaecological and logistical nightmare of four sets of triplets (and one single birth, Mabel); they merely nodded. Perhaps they assumed that the Major-General had several wives.
In any event, the actresses had been hired first by their looks (blonde) and then for their variations in height. Fflytte had not yet noticed the creeping imperfections of their precisely regulated heights. He might not notice until he turned his camera on them, since only Linda was shorter than he. I made a note on my pad to consult a shoe-maker, to have lifts made for the laggers. Edith—and one or two others—would have to slump.
He ran through their names, from “Annie” to “Linda,” blind to the moues of dissatisfaction that passed over several rosebud mouths at these substitute identities. “June” turned her back in protest.
Then he had the pirates remove their hats and line up by height, to give them identities as well: “Adam,” “Benjamin,” “Charles,” and so on. (In the play, the only named pirate is the king’s lieutenant, Samuel—naturally, Fflytte had assigned that name to La Rocha’s man, who invariably lingered nearby, as bodyguard or enforcer. As if La Rocha needed either.) It was my job to follow behind the director with a prepared set of cards on which those names were written, pinning each to its pirate’s chest.
Had I not been a woman, “Adam” would have knocked me to the boards. As it was, I permitted him to seize and hold my wrist. I then spoke over my shoulder to the translator, “Mr Pessoa, would you kindly explain to the gentleman that this is merely a way of simplifying matters. We all need to be able to remember what rôle he is playing. And the girls may not have Mr Fflytte’s instantaneous memory for faces.”
Pessoa began to explain, but was cut short by a phrase from Samuel. Adam’s dark eyes did not leave mine, but after a moment, he let go of my wrist, grabbed the card and the pin, and applied the name to his lapel. Wordlessly, I went down the line, handing to each man his card and pin. Some of the names I thought oddly inappropriate—a pirate named Irving?—but their only purpose was to permit Hale and Fflytte to keep track of them.
I had no cards for the two extras, since they were only there in case something happened to one of the
others, but as I drew back from Lawrence, the youngest pirate in both height and fact, the spare pirate standing beside him gave a twitch.
The man’s face was half-hidden by the brim of the hat he still wore; if he hadn’t made that sharp and instantly stifled motion, I might have taken no notice. But the movement caught my attention, and my eyes, once drawn to the tension in his clasped hands, could not help noticing that they were different from the hands of the others. His were clean, to begin with, free of callus, the nails trimmed. I bent to look up under his hat-brim; half the stage went still.
It was the Swedish accountant, in black hair-dye and no glasses.
His eyes pleaded. I looked at the fear, heard the heavy silence in the row of men. Then I straightened and spoke to the young boy beside him. “Pin your card on, there’s a good lad, so we know you’re Lawrence.”
As I turned away, I looked over to where La Rocha and Samuel stood, as tense as the others. I gave them a smile, just a small one. La Rocha’s eyebrows rose in surprise. Samuel just studied me; I could not read his expression.
Fflytte noticed none of this. Once the last card was pinned on, he spread out his arms and cried, “Let’s make a picture!”
The actors divided forces, Fflytte taking the girls away to some backstage room while Hale drew the men (less Frederic and the Major-General, they being too grand for rehearsals) into a circle. The cameraman’s assistant carried out a tea-chest, setting it with a flourish before Hale. Hale squatted, working the latch with enough drama to make the overhead ropes draw a bit closer, and eased back the lid. He reached inside, coming up with a wicked-looking knife nearly two feet long, its blade sparkling in the light. The pirates leant forward, interested at last. Hale held it high—then whirled to plunge the fearsome weapon into “Gerald’s” chest.