Kitabı oku: «Circus»

CHAPTER ONE

‘If you were a genuine army colonel,’ Pilgrim said, ‘instead of one of the most bogus and unconvincing frauds I’ve ever seen, you’d rate three stars for this. Excellently done, my dear Fawcett, excellently done.’

Pilgrim was the great-grandson of an English peer of the realm and it showed. Both in dress and in speech he was slightly foppish and distinctly Edwardian: subconsciously, almost, one looked for the missing monocle, the Old Etonian tie. His exquisitely cut suits came from Savile Row, his shirts from Turnbull and Asser and his pair of matched shotguns, which at 4000 dollars he regarded as being cheap at the price, came, inevitably, from Purdeys of the West End. The shoes, regrettably, were hand-made in Rome. To have him auditioned for the screen part of Sherlock Holmes would have been superfluous.

Fawcett did not react to the criticism, the praise or the understated sartorial splendour. His facial muscles seldom reacted to anything – which may have been due to the fact that his unlined face was so plump it was almost moon-shaped. His bucolic expression verged upon the bemused: large numbers of people languishing behind federal bars had been heard to testify, frequently and with understandable bitterness, that the impression Fawcett conveyed was deceptive to the point of downright immorality.

Half-hooded eyes deep-sunk in the puffy flesh, Fawcett’s gaze traversed the leather-lined library and came to rest on the sparking pine fire. His voice wistful, he said, ‘One would wish that promotion were so spectacular and rapid in the CIA.’

‘Dead men’s shoes, my boy.’ Pilgrim was at least five years younger than Fawcett. ‘Dead men’s shoes.’ He regarded his own Roman foot briefly and with some satisfaction, then transferred his attention to the splendid collection of ribbons on Fawcett’s chest. ‘I see you have awarded yourself the Congressional Medal of Honour.’

‘I felt it was in keeping with my character.’

‘Quite. This paragon you have unearthed. Bruno. How did you come across him?’

‘I didn’t. Smithers did, when I was in Europe. Smithers is a great circus fan.’

‘Quite.’ Pilgrim seemed fond of the word. ‘Bruno. One would assume that he has another name.’

‘Wildermann. But he never uses it – professionally or privately.’

‘Why?’

‘I don’t know. I’ve never met him. Presumably Smithers never asked him either. Would you ask Pele or Callas or Liberace what their other names are?’

‘You class his name with those?’

‘It’s my understanding that the circus world would hesitate to class those names with his.’

Pilgrim picked up some sheets of paper. ‘Speaks the language like a native.’

‘He is a native.’

‘Billed as the world’s greatest aerialist.’ Pilgrim was a hard man to knock off his stride. ‘Daring young man on the flying trapeze? That sort of thing?’

‘That, too. But he’s primarily a high-wire specialist.’

‘The best in the world?’

‘His fellow professionals are in no doubt about it.’

‘If our information about Crau is correct, he’d better be. I see he claims to be an expert in karate and judo.’

‘He has never claimed anything of the kind. I claim it for him – rather, Smithers does, and as you know Smithers is very much an expert in those matters. He watched Bruno having a work-out down-town this morning in the Samurai club. The instructor there is a black belt – they don’t come any higher in judo. By the time Bruno had finished with him – well, I understand the instructor disappeared with the general air of a man about to write out his resignation on the spot. Smithers said he hadn’t seen Bruno chopping people around in karate: he has the feeling he wouldn’t like to, either.’

‘And this dossier claims that he is a mentalist.’ Pilgrim steepled his fingers in the best Holmes fashion. ‘Well, good for Bruno. What the devil is a mentalist?’

‘Chap that does mental things.’

Pilgrim exercised a massive restraint. ‘You have to be an intellectual to be an aerialist?’

‘I don’t even know whether you have to be an intellectual – or even intelligent – in order to be an aerialist. It’s beside the point. Practically every circus performer doubles up and does one, sometimes even two jobs in addition to his speciality in the actual arena. Some act as labourers – they have mountains of equipment to move around. Some are entertainers. Bruno doubles as an entertainer. Just outside the circus proper they have a showground, fairground, call it what you will, which is used to separate the arriving customers from their spare cash. Bruno performs in a small theatre, just a collapsible plywood job. He reads minds, tells you the first name of your great-grandfather, the numbers of the dollar bills in your pockets, what’s written or drawn inside any sealed envelope. Things like that.’

‘It’s been done. Audience plants and the hocus-pocus of any skilled stage magician.’

‘Possibly, although the word is that he can do things for which there is no rational accounting and which professional conjurers have failed to reproduce. But what interests us most is that he has a totally photographic memory. Give him an opened double-spread of, say, Time magazine. He’ll look at it for a couple of seconds, hand it back, then offer to identify the word in any location you select. You say to him that you’d like to know what the third word in the third line in the third column on the right-hand page is and if he says it’s, say, “Congress” then you can lay your life it is “Congress”. And he can do this in any language – he doesn’t have to understand it.’

‘This I have to see. A propos, if he’s such a genius, why doesn’t he concentrate exclusively on stage work? Surely he could make a fortune out of that, much more than by risking his life turning somersaults up there in the low cloud?’

‘Perhaps. I don’t know. According to Smithers, he’s not exactly paid in pennies. He’s the outstanding star in the outstanding circus on earth. But that wouldn’t be his real reason. He’s the lead member of a trio of aerialists called “The Blind Eagles”, and without him they’d be lost. I gather they are not mentalists.’

‘I wonder. We can’t afford excessive sentiment and loyalty in our business.’

‘Sentiment, no. Loyalty – to us – yes. To others, yes also. If they are your two younger brothers.’

‘A family trio?’

‘I thought you knew.’

Pilgrim shook his head. ‘You called them The Blind Eagles?’

‘No undue hyperbole, Smithers tells me. Not when you’ve seen their act. They may not quite be up in the wild blue yonder or hanging about, as you suggest, in the low cloud, but they’re not exactly earthbound either. On the upswing of the trapeze they’re eighty feet above terra firma. Whether you fall from eighty feet or eight hundred, the chances of breaking your neck – not to mention most of the two hundred-odd bones in your body – are roughly the same. Especially if you’re blindfolded and can’t tell up from down, while your body can’t tell you exactly where up is and most certainly can’t locate down.’

‘You’re trying to tell me – ’

‘They wear those black silk cotton gloves when they take off from one trapeze to another. People think there may be some advanced electronic quirk in those gloves, like negative poles attracting positive poles, but there isn’t. Just for better adhesion, that’s all. They have no guidance system at all. Their hoods are entirely opaque but they never miss – well, obviously they never miss or they would be one Blind Eagle short by this time. Some form of extra-sensory perception, I suppose – whatever that may mean. Only Bruno has it, which is why he is the catcher.’

‘This I have to see. And the great mentalist at work.’

‘No problem. On the way in.’ Fawcett consulted his watch. ‘We could leave now. Mr Wrinfield is expecting us?’ Pilgrim nodded in silence. A corner of Fawcett’s mouth twitched: he could have been smiling. He said: ‘Come now, John, all circusgoers are happy children at heart. You don’t look very happy to me.’

‘I’m not. There are twenty-five different nationalities working for this circus, at least eight of them mid-or eastern European. How am I to know that someone out there might not love me, might be carrying a picture of me in his back pocket? Or half a dozen of them carrying pictures of me?’

‘The price of fame. You want to try disguising yourself.’ Fawcett surveyed his own colonel’s uniform complacently. ‘As a lieutenant-colonel, perhaps?’

They travelled to down-town Washington in an official but unidentifiable car, Pilgrim and Fawcett in the back, the driver and a fourth man in the front. The fourth man was a grey, balding anonymity of a person, raincoated, with a totally forgettable face. Pilgrim spoke to him.

‘Now, don’t forget, Masters, you better be sure that you’re the first man on that stage.’

‘I’ll be the first man, sir.’

‘Picked your word?’

‘Yes, sir. “Canada.”’

Dusk had already fallen and ahead, through a slight drizzle of rain, loomed an oval, high-domed building festooned with hundreds of coloured lights that had been programmed to flicker on and off in a pre-set pattern. Fawcett spoke to the driver, the car stopped and, wordlessly and carrying a magazine rolled up in one hand, Masters got out and seemed to melt into the gathering crowd. He had been born to melt into crowds. The car moved on and stopped again only when it had reached as close to the building entrance as possible. Pilgrim and Fawcett got out and passed inside.

The broad passageway led directly to the main audience entrance of the big top itself – a misnomer, as the days of the great canvas structures, at least as far as the big circuses were concerned, had gone. Instead they relied exclusively on exhibition halls and auditoriums, few of which seated less than ten thousand people, and many considerably more: a circus such as this had to have at least seven thousand spectators just to break even.

To the right of the passageway glimpses could be caught of the true back-stage of the circus itself, the snarling big cats in their cages, the restlessly hobbled elephants, the horses and ponies and chimpanzees, a scattering of jugglers engaged in honing up their performances – a top-flight juggler requires as much and as constant practice as a concert pianist – and, above all, the unmistakable and unforgettable smell. To the rear of the area were prefabricated offices and, beyond those, the rows of changing booths for the performers. Opposite those, in the far corner and discreetly curved so as to minimize the audience’s view of what was taking place back-stage, was the wide entrance to the arena itself.

From the left of the passageway came the sound of music, and it wasn’t the New York Philharmonic that was giving forth. The music – if it could be called that – was raucous, tinny, blaring, atonal, and in any other circumstances could have been fairly described as an assault on the eardrums: but in that fairground milieu any other kind of music, whether because of habituation or because it went so inevitably with its background, would have been unthinkable. Pilgrim and Fawcett passed through one of the several doors leading to the concourse that housed the side-show itself. It covered only a modest area but what it lacked in size it clearly compensated for in volume of trade. It differed little from a hundred other fairgrounds apart from the presence of a sixty-by-twenty, garishly-painted and obviously plywood-constructed structure in one corner. It was towards this, ignoring all the other dubious attractions, that Pilgrim and Fawcett headed.

Above the doorway was the intriguing legend: ‘The Great Mentalist’. The two men paid their dollar apiece, went inside and took up discreet standing positions at the back. Discretion apart, there were no seats left – The Great Mentalist’s fame had clearly travelled before him.

Bruno Wildermann was on the tiny stage. Of little more than average height, and of little more than average width across the shoulders, he did not look a particularly impressive figure, which could have been due to the fact that he was swathed from neck to ankle in a voluminous and highly-coloured Chinese mandarin’s gown, with huge, billowing sleeves. His aquiline, slightly swarthy face, crowned by long black hair, looked intelligent enough, but it was a face that was more pleasant than remarkable: if he passed you in the street you would not have turned to look after him.

Pilgrim said, sotto voce: ‘Look at those sleeves. You could hide a hutchful of rabbits up them.’

But Bruno was not bent on performing any conjuring tricks. He was confining himself strictly to his advertised role as a mentalist. He had a deep carrying voice, not loud, with a trace of a foreign accent so slight as to make its source of origin unidentifiable.

He asked a woman in the audience to think of some object then whisper it to her neighbour: without hesitation Bruno announced what the object was and this was confirmed.

‘Plant,’ said Pilgrim.

Bruno called for three volunteers to come to the stage. After some hesitation three women did so. Bruno sat all three at a table, provided them with foot-square pieces of paper and envelopes to match and asked them to write or draw some simple symbol and enclose them in the envelopes. This they did while Bruno stood facing the audience, his back to them. When they had finished he turned and examined the three envelopes lying on the table, his hands clasped behind his back. After only a few seconds he said: ‘The first shows a swastika, the second a question mark, the third a square with two diagonals. Will you show them to the audience please?’

The three women extracted the cards and held them up. They were undeniably a swastika, a question mark and a square with two diagonals.

Fawcett leaned towards Pilgrim: ‘Three plants?’ Pilgrim looked thoughtful and said nothing.

Bruno said: ‘It may have occurred to some of you that I have accomplices among the audience. Well, you can’t all be accomplices because then you wouldn’t bother to come and see me, even if I could afford to pay you all, which I can’t. But this should remove all doubt.’ He picked up a paper plane and said: ‘I’m going to throw this among you and although I can do lots of things I can’t control the flight of a paper plane. Nobody ever could. Perhaps the person it touches would be good enough to come to the stage.’

He threw the paper plane over the audience. It swooped and darted in the unpredictable fashion of all paper planes, then, again in the fashion of all paper planes, ended its brief flight in an ignominious nose-dive, striking the shoulder of a youth in his late teens. Somewhat diffidently he left his seat and mounted the stage. Bruno gave him an encouraging smile and a sheet of paper and envelope similar to those he’d given the women.

‘What I want you to do is simple. Just write down three figures and put the sheet inside the envelope.’ This the youth did, while Bruno stood with his back to him. When the paper was inside the envelope Bruno turned, but did not even look at the paper far less touch it. He said: ‘Add the three numbers and tell me what the total is.’

‘Twenty.’

‘The numbers you wrote down were seven, seven and six.’

The youth extracted the paper and held it up for the audience to see. Seven, seven and six it was.

Fawcett looked at Pilgrim, who had now adopted a very thoughtful expression indeed. Clearly, if Bruno were not genuine then he was either a consummate magician or an extraordinarily devious character.

Then Bruno announced his most difficult feat of all – that of displaying that he was possessed of a photographic memory, that of identifying, given the location, of any word in a double-spread of any magazine, irrespective of language. Masters left nothing to chance or the impetuousness of any eager beaver who might care to forestall him for he was on stage even before Bruno had finished his explanation. Bruno, slightly lifting amused eyebrows, took the opened magazine from him, glanced at it briefly, handed it back and looked interrogatively at Masters.

Masters said: ‘Left page, second column, let me see now, seven lines down, middle word.’ He looked at Bruno with a half-smile of triumphant expectation.

Bruno said: ‘Canada.’

The half-smile vanished. Masters’s nondescript features seemed to fall apart then he shrugged his shoulders in genuine disbelief and turned away.

Outside, Fawcett said: ‘I hardly think that Bruno is likely to have the inside track on the CIA. Convinced?’

‘Convinced. When does the performance start?’

‘Half an hour.’

‘Let’s go and watch him on the high wire or whatever. If he’s half as good out there – well, he’s our man.’

The exhibition hall that housed the three-ring circus was completely full. The air was alive with music, this time more than tolerable music from a very competent orchestra, an air that was charged with tension and excitement and anticipation, with thousands of young children transported into an enchanted fairyland – almost, indeed, to the extent their grandparents were. Everything glittered, but it was no cheap tinsel glitter, but a background that seemed the integral and inevitable part of everything a circus should be. Apart from the dun-coloured sand in the three rings, a dazzling rainbow of colours caught the eye even more than the music the ear. Circling the ring were beautiful and beautifully dressed girls on the most outrageously caparisoned elephants and if there was any colour in the spectrum that the designer had omitted it wasn’t apparent to the eye. In the rings themselves clowns and pierrots vied with each other in the ludicrousness of their antics and the ridiculousness of their costumes, while both of them vied with the tumblers and the stately procession of stilt-walkers. The audience watched it all in fascination – albeit with an element of impatience, for this spectacle, magnificent as it was, was only the warm-up, the prelude to the action to come. There is no atmosphere in the world quite like that of the charged atmosphere in the big top just before the performance begins.

Fawcett and Pilgrim sat together in excellent viewing seats, almost opposite the entrance of the main ring. Fawcett said: ‘Which is Wrinfield?’

Without appearing to do so, Pilgrim indicated a man sitting only two seats away in the same row. Immaculately clad in a dark blue suit, matching tie and white shirt, he had a lean, thoughtful, almost scholarly face, with neatly parted grey hair and pebble glasses.

‘That’s Wrinfield?’ Pilgrim nodded. ‘Looks more like a college professor to me.’

‘I believe he was once. Economics. But bossing a modern circus is no longer a seat of the pants job. It’s big business and running it requires corresponding intelligence. Tesco Wrinfield is a highly intelligent man.’

‘Maybe too intelligent. With a name like that and on a job like this it’s going to be – ’

‘He’s a fifth-generation American.’

The last of the elephants left the arena and then, to the accompaniment of a blare of trumpets and the suddenly amplified effects of the orchestra, a golden chariot, drawn by two magnificently adorned black stallions, erupted into the arena at full gallop, followed by a dozen horsemen. From time to time these horsemen retained some form of contact with their horses, but for the most part performed a series of acrobatic feats as spectacular as clearly suicidal. The crowd yelled and cheered and applauded. The circus had begun.

The performance that followed more than bore out the circus’s claim that it had no peer in the world. It was superbly arranged and superbly presented and, as was to be expected, it numbered among its acts some of the best in the world: Heinrich Neubauer, an all but incomparable trainer with an uncanny power over a dozen very unpleasant Nubian lions; his only equal, Malthius, who treated the same number of even more unpleasant Bengal tigers as if they were kittens; Carraciola, who had no trouble at all in making his chimpanzees look a great deal more intelligent than he was; Kan Dahn, billed as the strongest man in the world, which, on the basis of his extraordinary one-handed feats on the high wire and trapeze while seemingly unencumbered by the presence of several attractive young ladies who clung to him with a touching degree of devotion, he might well have been; Lennie Loran, a high-wire-walking comedian, who would have made any insurance agent in the country jump on his pen; Ron Roebuck, who could perform feats with a lasso that a rodeo cowboy wouldn’t even dare dream about; Manuelo, a knife-thrower who could extinguish a lit cigarette at twenty feet – with his eyes bandaged; the Duryans, a Bulgarian teeterboard team who made people shake their heads in wonder; and a dozen other acts, ranging from aerial balletists to a group who climbed up tall ladders and balanced there entirely unsupported while they threw Indian clubs at each other.

After an hour or so of this Pilgrim said graciously: ‘Not bad. Not bad at all. And here, I take it, is our star turn.’

The lights dimmed, the orchestra played suitably dramatic if somewhat funereal music, then the lights came on again. High up on the trapeze platform, with half a dozen coloured spotlights trained on them, stood three men clad in sparkling sequinned leotards. In the middle was Bruno. Without his mandarin’s gown he now looked singularly impressive, broad-shouldered and hard and heavy muscled, every inch the phenomenal athlete he was reputed to be. The other two men were fractionally slighter than he. All three were blindfolded. The music died away, and the crowd watched in eerie silence as the three men pulled hoods over their blindfolds.

Pilgrim said: ‘On balance, I think I would prefer to be down here.’

‘That’s two of us. I don’t think I want to look.’

But look they did as The Blind Eagles went through their clearly impossible aerial routine – impossible because, apart from the occasional roll of a solitary drum in the orchestra, they had no means of knowing where each other was, of synchronizing their sightless movements. But not once did a pair of hands fail to smack safely and securely into another and waiting pair, not once did an outstretched pair of hands appear even remotely liable to miss a silently swinging trapeze. The performance lasted for all of an interminable four minutes and at the end there was another hushed silence, the lights dimmed a second time and almost the entire audience was on its feet, clapping and shouting and whistling.

Pilgrim said: ‘Know anything about his two brothers?’

‘Vladimir and Yoffe, I believe they’re called. Nothing. I thought this was going to be a one-man job.’

‘It is. And Bruno has the motivation? The incentive?’

‘If any man ever had. I was making enquiries when I was in eastern Europe time before last. I couldn’t find out much from our man there, but enough, I think. There were seven of the family in the circus act – dad or mum more or less retired – but only those three made it over the border when the secret police closed in. I don’t even know why they closed in. That was six, maybe seven years ago. Bruno’s wife is dead, that’s for sure, there are witnesses who will testify to that – well, they would, if they didn’t live in the part of the world they do. He’d been married two weeks. What happened to his youngest brother, his father and his mother, nobody knows. They just disappeared.’

‘Along with a million others. He’s our man, all right. Mr Wrinfield is willing to play. Will Bruno?’

‘He’ll play.’ Fawcett was confident, then looked thoughtful. ‘He’d better. After all those weeks of trouble you’ve been to.’

The lights brightened. The Blind Eagles were now on a wire platform some twenty feet above ground, the wire itself stretching to another platform on the far side of the centre ring. Both other rings were empty and there was no other performer in sight except one – and he was on the ground. There was no music and among the crowd the silence was absolute.

Bruno straddled a bicycle. Across his shoulders was strapped a wooden yoke while one of his brothers held a twelve-foot steel pole. Bruno edged the bicycle forward until the front wheel was well clear of the platform and waited until his brother had placed the pole in slots across the yoke. It was totally insecure. As Bruno moved off, bringing both feet on to the pedals, the brothers caught hold of the pole, leaned forward in perfect unison and swung themselves clear of the platform until, again in perfect unison, they hung suspended at the full length of their arms. The wire sagged noticeably, but Bruno didn’t: slowly and steadily he pedalled away.

For the next few minutes, balanced partly by himself but mainly by the perfect timing of Vladimir and Yoffe, Bruno cycled backwards and forwards across the wire while the brothers went through a series of controlled but intricate acrobatics. On one occasion, while Bruno remained perfectly steady for seconds at a time, the brothers, necessarily moving with the same immaculate synchronization, gradually increased their pendulum swing until they were doing hand-stands on the pole. The same extraordinary hush remained with the audience, a tribute that wasn’t entirely due to the performance they were witnessing: directly below them as they performed were Neubauer and his twelve Nubian lions, the head of every one of which was turned yearningly upwards.

At the end of the performance the silence in the audience was replaced by a long and far from silent collective sigh of relief, then once again came the same standing ovation, as heartfelt and prolonged as the one that had gone before.

Pilgrim said: ‘I’ve had enough – besides, my nerves can’t take any more. Wrinfield will follow me. If he brushes by you on the way back to his seat that means that Bruno is willing to talk and that you’re to follow him at a discreet distance at the end of the show. Wrinfield, I mean.’

Without making any sign or looking in any particular direction, Pilgrim rose leisurely and left. Almost at once Wrinfield did the same.

A few minutes later the two men were closeted in one of Wrinfield’s offices, a superbly equipped secretary’s dream, albeit somewhat compact. Wrinfield had a much larger if ramshackle office where most of his work was normally carried out just outside the arena itself; but that did not possess a cocktail bar as this one did. On the principle that he forbade anyone to have liquor on the circus site proper, Wrinfield accordingly denied himself the privilege also.

The office was but a tiny part of a complex and beautifully organized whole that constituted the mobile home of the circus. Every person in the circus, from Wrinfield downwards, slept aboard this train except for some independent diehards who insisted on dragging their caravans across the vast spaces of the United States and Canada. On tour the train also accommodated every single performing animal in the circus: at the end, just before the brake-van, were four massive flat-cars that accommodated all the bulky equipment, ranging from tractors to cranes, that were essential for the smooth operation of the circus. In all, it was a minor miracle in ingenuity, meticulous planning and the maximum utilization of available space. The train itself was a monster, over half a mile in length.

Pilgrim accepted a drink and said: ‘Bruno’s the man I want. You think he will accept? If not, we may well cancel your European tour.’

‘He’ll come, and for three reasons.’ Wrinfield’s speech was like the man himself, neat, precise, the words chosen with care. ‘As you’ve seen, the man doesn’t know what fear is. Like all newly naturalized Americans – all right, all right, he’s been naturalized for over five years but that rates as yesterday – his patriotism towards his adopted country makes yours and mine look just that little shabby. Thirdly, he’s got a very big score to settle with his former homeland.’