I stopped listening, and attempted to decide what I should do next. Nothing occurred to me. Nothing, I thought, remembering with disgust the century or two of experience I had to draw on: I recalled canoeing down the Amazon, lighting in the streets of New York, a thousand other like events…
But what I actually had done was difficult to distinguish from all the things I remembered doing. All I was sure of was that I had spent a lot of time in a chair, living in words; and on stages. It was as if I were driving a vehicle, and the rearview mirror had expanded to fill the windshield. Or as if I were the Angel of Time, flying backward into the future! Metaphors came up to me like bowling balls out of an automatic return; but no plans, nothing like a decision. Who was I to decide? Who was I?
“Pallio,” said the speaker loudly. It was a prompter, calling for me. I returned to the prop room, reluctant to take to the stage again. I could no longer remember what attraction I had ever had to it.
Bloomsrnan herself waved at me: I was on. I stepped out upon a dark stage. There was just enough grainy, purple light leaking down to enable me to perceive the silhouettes of three men, pulling something from beneath the bed. Something about the scene—the lithe, long-limbed black figures, crouching—lacked all familiarity—jamais vu swept over me like nausea. I no longer understood what I saw. The dark room was a dimensionless field, and the black figures were nameless objects, ominous because they moved. Meaningless sounds rang in my ears.
I came to and found myself confronted by Ferrando and Ursini, on a brightly lit apron. Their blades were out and pointed at my throat. My first thought was that I’d left my épée in my costume bag, and was defenseless; then synapses fired, for what reason I knew not, and my lines came to me. I was safe from them.
They accused me of Sanguinetto’s murder, and in a rather weak imitation of the ingenuous public Pallio I informed them that Velasquo had been the last person seen with their late master. With trembling voice I quickly shifted their suspicions to Velasquo, feeling thankful that it made sense to play Pallio as a distracted man. I left the stage, and then had to watch while Velasquo surprised them and knifed them both in the back. He did it with a verve and accuracy that left me chilled; surely their improvised blocking couldn’t be so well-done: had he begun already? But in the darkness between scenes Ferrando and Ursini brushed by me, muttering and giggling together. I shook my head in hopes of clearing it, inhaled sharply, and moved back onstage.
Again the light was deep crevasse-blue Caropia was already there: we embraced. This was to be one of our last scenes together, I knew. Surely everyone knew. I moved to the apron and saw below me, in the front row, Ferrando, Ursini, Elazar, Carmen, Leontia, and Sanguinetto. It was the custom for actors whose work was done to join the audience, but it made me uncomfortable. Given the traditions of the genre it always seemed to me that they were still in the play as ghosts, who might speak at any time. I resisted the impulse to move to the other side of the apron.
My attention shifted back to Caropia. In her slim face the pebble-grey eyes were large, and filled with pain. I had so many disparate images of her to link… and yet, within the play and without, I knew nothing real about her. Our backstage silence augmented the Jacobean notion that the other sex was unknowable, a different species, an alien intelligence. Still, watching her bowed head, her slender arms moving nervously, I felt Paulo’s emotions as my own, and I wanted to break into the play and experience that incestuous closeness. I spoke, infusing my lines with all these illusory feelings, to the invisible actress inside her, the one who made them both a mystery. I spoke tenderly of our love, and lamented our situation: “We are so far in blood…” “ ‘Tis payment,” Caropia cried, and railed against the sequence of unchangeable events she found herself trapped in. Bitterly she blamed our incest: “Our sin of lust has webbed these plots around us, so I’ve dreamt—” I interrupted:
“Why shouldst thou not love best the one known best?
It is no crime, and were it, it has gain’d
Us more than lost…”
She spoke of the church and we argued religion. Finally I interrupted again:
“In this world all are quite alone,
All efforts grasp for union. Who’s succeeded
More than thou and I? We shar’d the womb,
The universe of childhood; lov’d
As lovers in the lust of youth—”
And Caropia, thinking no doubt of her pact with the Cardinal, replied:
“Thou know’st me well as one can know another.”
I smiled, a tremendous effort, and continued:
“Thus be calm—thy dreams are naught but visions
Of thine other self, beheld while in
The timeless void of sleep. We’ve fears enough
In this world.”
I turned from her and the tone of reassurance left me. I voiced my real concern:
“…I fear Velasquo’s
Found me out; his eyes shout ‘murderer’
With all the brutal energy of horror.
He greets me mornings, dines with me at noon,
And stalks the palace grounds at night,
As if he were a hungry wolf, and I
A man alone on the trackless waste—”
Velasquo entered, several lines too early. Unable to finish in his presence, I moved to the other side of the apron and returned his baleful glare. Below me Sanguinetto was smiling.
There was silence. It was the first time the three of us had been onstage by ourselves, and the triangle we formed was the focus of all the tension we had managed to create. Beneath our polite exchange (Velaquo was inquiring if Caropia would accompany him to the masque) were layers: the reality of the play, the reality of the players… Velasquo’s crafted jests probed at me with an intensity I alone could understand, although all that he did made perfect sense in the context of the play; indeed it must have appeared that he was doing a superb job. Only small stresses in his intonation revealed the danger, like swirls in a river, indicating swift undercurrents. I replied with a brittle hostility that had little acting in it, and we snapped at each other like the two poles of a Jacob’s ladder:
Pallio: “She goes with me, keep you away from her—”
Vel: “Would you be kicked?”
Pallio: “Would you have your neck broke?”
The audience’s silence was a measure of their absorption. Despite my earlier revulsion, and the blank nausea of the jamais vu, I felt growing within me, insidiously, the pleasure of acting, the chill tingling one feels when a scene is going very well.
This pleasure in the scene’s success was soon overwhelmed by the fear which was making it succeed; Velasquo’s thinly veiled attack was strengthening. His pale eyes glared at me intently, looking for some involuntary movement or expression that would show me to be the one who had recognized him. I struggled to keep only Pallio’s wariness on my face, but it was a delicate distinction, one becoming more and more difficult to make… I exited to the sound of his high laughter.
Once off, I hurried around toward the dressing room. Caropia’s was the only voice emerging from the wall-speakers in the narrow corridor, and footsteps were padding behind me. I almost ran, remembering the early death in Hamlet. But it was only the Cardinal, completing errands of his own.
The dressing room was momentarily empty. I took my épée from my costume bag and once again locked myself in a lavatory stall. The steel of the blade gleamed as I pulled away the leather scabbard.
It was an old épée, once used in competitive electric fencing. I had polished the half-sphere bell and removed the plug socket from inside it to convert it to a theater sword. The wire running down a slot in the blade was still there, as was the tip, a small spring-loaded cylinder. The blade was stiff, and curved down slightly. At the bell it was triangular in cross-section, a short, wide-based triangle, with the base uppermost. It narrowed to a short cylindrical section at the end, which screwed into the tip.
I tried to unscr
ew the tip, certain that what I was doing was not real, that I was acting for myself. Surely the thing to do was to stop the play (I winced) and proclaim Velasquo’s identity to all. Or to slip away, out the back, and escape him entirely.
Yet naming him before all would not do—where was my proof? Even my own conviction was shaken by the question of evidence. There wasn’t any. The first real proof I would get would be a sudden hard lunge for my throat, with a sharp blade…
The tip wouldn’t unscrew. I twisted until my fingers and hands were imprinted with red bars and semicircles, but it felt as if tip and blade were a solid piece. I clamped the tip between two molars and turned, but succeeded only in hurting my teeth. I needed pliers. I stared at the tip.
And if I were to escape, the Hieronomo would also. Surgery would change his face and voice, and he would return. I knew that in that case I would never be able to perform again without wondering if it were him again, playing opposite me…
I put the tip on the floor under my boot sole. Holding it flat against the floor, I pulled up on the blade. When I lifted my foot, the tip stuck out at right angles from the blade. I put it back on the floor, and carefully stepped on the new bend until it was straight again. I repeated the operation delicately; I knew, from years of fencing, how easily the blades would snap. Presently there appeared behind the tip a ripple, a weak spot that would break when struck hard enough. I slipped the scabbard back on, satisfied that the épée could be swiftly transformed into a weapon that would kill.
At some level unknown to me I had decided. I left the stall and stared at the white face in the mirror, feeling a stranger to myself.
Back in the dressing room, Caropia and Velasquo were in earnest conference. When they saw me. Caropia returned to her cubicle and Velusquo, looking angry, crossed to the other side of the room.
I sat down beside Caropia and listened to the speaker above us. The Cardinal was arranging, with whom I could not tell, to have Hamond and Orcanes poisoned at the masque. Apparently the masque was to take place very soon. As I changed my coat I could feel my pulse throbbing in my arms.
“Disguise,” said a voice in my ear. I jumped and turned to see Velasquo, his square face set close to mine.
“It’s an odd word,” he continued. “Shouldn’t it be enguise, or beguise? Doesn’t disguise imply the opposite of what you want it to mean?”
I stared at him, in an agony of apprehension that he might go on, that he might reveal (disguise?) himself openly, and dare me to act—”Dis can also be used to intensify a verb,” I finally stammered.
“You are disguised,” he said, and scrutinized me closely. Then he walked away.
In my brain a chemical typhoon whirled. The exchange had been so—dramatic… suddenly I was stunned by the horrible suspicion that all our words were lines, all the events backstage part of a larger play… Bloomsman, Bloomsman… By coincidence (or perhaps not) Caropia appeared to sense this thought. She stuck her head around the partition and said, with a sardonic smile, “You learnt it of no fencer to shake thus,” a line from a play that I myself had once spoken. I picked up my épée and strode away in agitation, all my certainties shattered.
Caropia caught up with me just outside the prop room, and touched my hand. I watched her and tried to conceal the fact that I was still trembling. She smiled and slipped her arm under mine. The archaic gesture seemed fraught with emotion. For the first time I understood that it was not just another dominant/submissive signal from the past, that it had been able to express one human’s support for another. My confusion lessened. One way or other I would know, soon enough.
The prop room was filled with actors getting ready for the masque. Bloomsman had done her usual meticulous prop work; the masks were bright animal heads that covered one to the shoulders. A menagerie composed chiefly of pigs, tigers, and horses, we stared at each other and whispered with excitement. Bloomsman handed us our masks and smiled—a smile that now seemed to be filled with ominous possibility. “It’s going fine,” she said. “Let’s do this last scene right.” She put on a mask herself, a remorselessly grinning gargoyle.
I looked at my mask: a red fox. I could guess what Velasquo’s would be. Caropia’s was an exact model of her own head, with holes cut out for her eyes and mouth. The result, once on, was grotesque. She looked in a wall-mirror and laughed. “I’m animal enough already,” she said. The gargoyle shrugged and said, in Bloomsman’s calm voice, “I thought it the right thing.”
Velasquo was already on stage, announcing his plans to the audience. Somehow he had learned of the relationship between Caropia and me. Long after everyone else in the theater, he had seen through her guise. His desire for vengeance now focused as much on her as me. She was to die of poison placed in her drinking cup. Beside me, she watched the cup, still on the prop table, and shivered. I felt fear for her then, and great affection, and heedlessly I whispered to her, “Don’t drink from it.”
She stared at me, and began to laugh. But I did not and she stopped. Her grey eyes surveyed me and slowly widened, as if in fear of me “I won’t,” she whispered in a soothing voice. She disengaged her arm and moved away, glancing back once with an expression I could not read, but which could have been one of… terror.
The stage was divided by two long tables, both laden with silver and gold, fruits and meat, candles and flasks of liqueurs. As the stage filled with masquers, servants—in masks that were faceless white blanks—continued to load the tables. The fantastic menagerie milled about slowly and randomly seating themselves. Lines were shouted simultaneously, creating a cacophony that could only have been Bloomsman’s doing.
I stood behind Caropia, at one end of the front table, peering through the eyeholes of my fox-face in search of Velasquo. My black, shiny nose protruded far before me. I saw that the Cardinal was not masked—he was still in his red robes, but a papal coronet was tilted back on his bead. He viewed the uproar with an indulgent smile. Around him goats in formal dress drank wine.
My eye was caught by a movement above. A tall figure dressed in black leaned over the balcony and observed the activity; his mask was a skull. I glanced into the audience, and the backwash from the multicolored glare was enough illumination to confirm my suspicion. Sanguinetto was gone. It was he on the balcony, playing the medieval death-figure. He began to descend the stairs, pausing for several seconds after each step.
The masque gained energy. A plate piled high with meat was tipped over; people rose from their seats, shouting witticisms. A long body of glittering red liquid flashed through the air and drenched one of the Cardinal’s goats. There was still no sign of Velasquo. An orange fight started between tables, and the noise reached a frantic pitch, timed by the metronome of Sanguinetto’s steps. Two women, both with tiger masks, began to claw at each other,
At the height of the cacophony a long scream cut through the sound, making its ragged descant. When it ended there was silence and the company was still, forming a bizarre tableau. A man with a pig’s head and red doublet staggered to the apron. He tore at his snout and pulled the mask off, to reveal Orcanes. His face was bloated and purple. He clutched his throat, sank to his knees. As he collapsed another scream ripped the air. Another player, also in pig mask, fell to the floor and drummed out his death. Sanguinetto, now on the stage, paced between tables.
The Cardinal stood, his face grim. “Who can account for these untimely deaths?” he demanded.
“Pallio,” a voice behind me called. I spun around and saw the wolf’s face, fangs protruding, yellow eyes agleam. I tore off my mask and stepped back to increase the distance between us.
“Who is this man?” I asked, my voice preternaturally calm. “He must be mad.”
“Your brother I,” he said, and pulled off his mask.
“Velasquo.”
“Velasquo!” I cried, and spoke to the Cardinal:
“Why, he kill’d Sanguinetto, Ferrando
And Ursini; yea, perhaps the old Duke too.
These
new deaths without doubt are also his devise—”
Vel: “He’s false; he is the murd’rer of our father,
Here’ s proof—”
Velasquo threw Sanguinetto’s note down. I picked it up and looked at it. Penciled beneath my Latin tag, in a fine imitation of Bloomsman’s hand, was another title: The Guise. Proof indeed.
I crumpled the sheet and tossed it to the floor. “A forgery,” I said, voice still calm. “He tries usurping me.”
I pulled my épée from my scabbard. Velasquo did the same. The company drew back, pulling the front table with them to make room. The Cardinal made his way forward. Sanguinetto stood beside him. The two of them linked arms, and the Cardinal spoke:
“The truth is in Fate’s hands. Let them fence.”
And in my mind I heard the blocking instruction, in Bloomsman’s dry voice: “Fence.”
Finally, finally the light became red, a bright crimson glare that bathed us both in blood. We circled each other warily. I watched his wrist, his stance, and in my concentration the world contracted to the two of us. Adrenaline flooded through me and my pulse was trip-hammer fast.
His blade had a tip on it, but that meant nothing; I knew it would slide back on contact, releasing the sharp point. The Hieronomo had used it before.
We began tentatively. He lunged, I parried, and we established a simple parry-riposte pattern, often used in practice, at very high speed. The flashing blades and the rapid clicking of clean parries were highly dramatic, but meant little.
After a short pause to regain balance, Velasquo lunged again, more fully this time, and we bouted with increased speed, using the full variety of tactics. The scrape and ring of steel against steel, the wooden thumping of our footwork, our hoarse breathing were the only sounds in the theater.
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