The houseboy let him in. He crossed the hall and made his way down the black glass staircase into the sunken lounge. Wide studio windows revealed an elegant panorama of park and mid-town skyscrapers.
A white-slacked young man sitting on one of the long slab sofas - Paul Merrill, Alto's arranger - waved him back.
'Mangon, hold on to your dive breaks. I'm really on reheat this morning.' He twirled the ultrasonic trumpet he was playing, a tangle of stops and valves from which half a dozen leads trailed off across the cushions to a cathode tube and tone generator at the other end of the sofa.
Mangon sat down quietly and Merrill clamped the mouthpiece to his lips. Watching the ray tube intently, where he could check the shape of the ultrasonic notes, he launched into a brisk allegretto sequence, then quickened and flicked out a series of brilliant arpeggios, stripping off high P and Q notes that danced across the cathode screen like frantic eels, fantastic glissandos that raced up twenty octaves in as many seconds, each note distinct and symmetrically exact, tripping off the tone generator in turn so that escalators of electronic chords interweaved the original scale, a multichannel melodic stream that crowded the cathode screen with exquisite, flickering patterns. The whole thing was inaudible, but the air around Mangon felt vibrant and accelerated, charged with gaiety and sparkle, and he applauded generously when Merrill threw off a final dashing riff.
'Flight of the Bumble Bee,' Merrill told him. He tossed the trumpet aside and switched off the cathode tube. He lay back and savoured the glistening air for a moment. 'Well, how are things?'
Just then the door from one of the bedrooms opened and Ray Alto appeared, a tall, thoughtful man of about forty, with thinning blonde hair, wearing pale sunglasses over cool eyes.
'Hello, Mangon,' he said, running a hand over Mangon's head. 'You're early today. Full programme?' Mangon nodded. 'Don't let it get you down.' Alto picked a dictaphone off one of the end tables, carried it over to an armchair. 'Noise, noise, noise - the greatest single disease-vector of civilization. The whole world's rotting with it, yet all they can afford is a few people like Mangon fooling around with sonovacs. It's hard to believe that only a few years ago people completely failed to realize that sound left any residues.'
'Are we any better?' Merrill asked. 'This month's Transonics claims that eventually unswept sonic resonances will build up to a critical point where they'll literally start shaking buildings apart. The entire city will come down like Jericho.'
'Babel,' Alto corrected. 'Okay, now, let's shut up. We'll be gone soon, Mangon. Buy him a dnink, would you, Paul.'
Merrill brought Mangon a coke from the bar, then wandered off. Alto flipped on the dictaphone, began to speak steadily into it. 'Memo 7: Betty, when does the copyright on Stravinsky lapse? Memo 8: Betty, file melody for projected nocturne: L, L sharp, BB, Y flat, Q, VT, L, L sharp. Memo 9: Paul, the bottom three octaves of the ultratuba are within the audible spectrum of the canine ear - congrats on that SP of the Anvil Chorus last night; about three million dogs thought the roof had fallen in on them. Memo 10: Betty - ' He broke off, put down the microphone. 'Mangon, you look worried.'
Mangon, who had been lost in reverie, pulled himself together and shook his head.
'Working too hard?' Alto pressed. He scrutinized Mangon suspiciously. 'Are you still sitting up all night with that Gioconda woman?'
Embarrassed, Mangon lowered his eyes. His relationship with Alto was, obliquely, almost as close as that with Madame Gioconda. Although Alto was brusque and often irritable with Mangon, he took a sincere interest in his welfare. Possibly Mangon's muteness reminded him of the misanthropic motives behind his hatred of noise, made him feel indirectly responsible for the act of violence Mangon's mother had committed. Also, one artist to another, he respected Mangon's phenomenal auditory sensitivity.
'She'll exhaust you, Mangon, believe me.' Alto knew how much the personal contact meant to Mangon and hesitated to be over-critical. 'There's nothing you can do for her. Offering her sympathy merely fans her hopes for a come-back. She hasn't a chance.'
Mangon frowned, wrote quickly on his wrist-pad: She WILL sing again!
Alto read the note pensively. Then, in a harder voice, he said: 'She's using you for her own purposes, Mangon. At present you satisfy one whim of hers - the neurotic headaches and fantasy applause. God forbid what the next whim might be.'
She is a great artist.
'She was,' Alto pointed out. 'No more, though, sad as it is. I'm afraid that the times change.'
Annoyed by this, Mangon gritted his teeth and tore off another sheet.
Entertainment, perhaps. Art, No!
Alto accepted the rebuke silently; he reproved himself as much as Mangon did for selling out to Video City. In his four years there his output of original ultrasonic music consisted of little more than one nearly finished symphony aptly titled Opus Zero - shortly to receive its first performance, a few nocturnes and one quartet. Most of his energies went into programme music, prestige numbers for spectaculars and a mass of straight transcriptions of the classical repertoire. The last he particularly despised, fit work for Paul Merrill, but not for a responsible composer.
He added the sheet to the two in his left hand and asked: 'Have you ever heard Madame Gioconda sing?'
Mangon's answer came back scornfully: No! But you have. Please describe.
Alto laughed shortly, tore up his sheets and walked across to the window.
'All right, Mangon, you've made your point. You're carrying a torch for art, doing your duty to one of the few perfect things the world has ever produced. I hope you're equal to the responsibility. La Gioconda might be quite a handful. Do you know that at one time the doors of Covent Garden, La Scala and the Met were closed to her? They said Callas had temperament, but she was a girl guide compared with Gioconda. Tell me, how is she? Eating enough?'
Mangon held up his coke bottle.
'Snow? That's tough. But how does she afford it?' He glanced at his watch. 'Dammit, I've got to leave. Clean this place out thoroughly, will you. It gives me a headache just listening to myself think.'
He started to pick up the dictaphone but Mangon was scribbling rapidly on his pad.
Give Madame Gioconda a job.
Alto read the note, then gave it back to Mangon, puzzled. 'Where? In this apartment?' Mangon shook his head. 'Do you mean at V. C.? Singing?'
When Mangon began to nod vigorously he looked up at the ceiling with a despairing groan. 'For heaven's sake, Mangon, the last vocalist sang at Video City over ten years ago. No audience would stand for it. If I even suggested such an idea they'd tear my contract into a thousand pieces.' He shuddered, only half-playfully. 'I don't know about you, Mangon, but I've got my ulcer to support.'
He made his way to the staircase, but Mangon intercepted him, pencil flashing across the wrist-pad.
Please. Madame Gioconda will start blackmail soon. She is desperate.
Must sing again. Could arrange make-believe programme in research studios. Closed circuit.
Alto folded the note carefully, left the dictaphone on the staircase and walked slowly back to the window.
'This blackmail. Are you absolutely sure? Who, though, do you know?' Mangon nodded, but looked away. 'Okay, I won't press you. LeGrande, probably, eh?' Mangon turned round in surprise, then gave an elaborate parody of a shrug.
'Hector LeGrande. Obvious guess. But there are no secrets there, it's all on open file. I suppose she's just threatening to make enough of an exhibition of herself to block his governorship.' Alto pursed his lips. He loathed LeGrande, not merely for having bribed him into a way of life he could never renounce, but also because, once having exploited his weakness, LeGrande never hesitated to remind Alto of it, treating him and his music with contempt. If Madame Gioconda's blackmail had the slightest hope of success he would have been only too happy, but he knew LeGrande would destroy her, probably take Mangon too.
Suddenly he felt a paradoxical sense of loyalty for Madame Gioconda. He l
ooked at Mangon, waiting patiently, big spaniel eyes wide with hope.
'The idea of a closed circuit programme is insane. Even if we went to all the trouble of staging it she wouldn't be satisfied. She doesn't want to sing, she wants to be a star. It's the trappings of stardom she misses - the cheering galleries, the piles of bouquets, the green room parties. I could arrange a half-hour session on closed circuit with some trainee technicians - a few straight selections from Tosca and Butterfly, say, with even a sonic piano accompaniment, I'd be glad to play it myself - but I can't provide the gossip columns and theatre reviews. What would happen when she found out?'
She wants to SING.
Alto reached out and patted Mangon on the shoulder. 'Good for you. All right, then, I'll think about it. God knows how we'd arrange it. We'd have to tell her that she'll be making a surprise guest appearance on one of the big shows that'll explain the absence of any programme announcement and we'll be able to keep her in an isolated studio. Stress the importance of surprise, to prevent her from contacting the newspapers... Where are you going?'
Mangon reached the staircase, picked up the dictaphone and returned to Alto with it. He grinned happily, his jaw working wildly as he struggled to speak. Strangled sounds quavered in his throat.
Touched, Alto turned away from him and sat down. 'Okay, Mangon,' he snapped brusquely, 'you can get on with your job. Remember, I haven't promised anything.' He flicked on the dictaphone, then began: 'Memo 11: Ray...'
Three
It was just after four o'clock when Mangon braked the sound truck in the alley behind the derelict station. Overhead the traffic hammered along the flyover, dinning down on to the cobbled walls. He had been trying to finish his rounds early enough to bring Madame Gioconda the big news before her headaches began. He had swept out the Oratory in an hour, whirled through a couple of movie theatres, the Museum of Abstract Art, and a dozen private calls in half his usual time, driven by his almost overwhelming joy at having won a promise of help from Ray Alto.
He ran through the foyer, already fumbling at his wrist-pad. For the first time in many years he really regretted his muteness, his inability to tell Madame Gioconda orally of his triumph that morning.
Studio 2 was in darkness, the rows of seats and litter of old programmes and ice-cream cartons reflected dimly in the single light masked by the tall flats. His feet slipped in some shattered plaster fallen from the ceiling and he was out of breath when he clambered up on to the stage and swung round the nearest flat.
Madame Gioconda had gone!
The stage was deserted, the couch a rumpled mess, a clutter of cold saucepans on the stove. The wardrobe door was open, dresses wrenched outwards off their hangers.
For a moment Mangon panicked, unable to visualize why she should have left, immediately assuming that she had discovered his plot with Alto.
Then he realized that never before had he visited the studio until midnight at the earliest, and that Madame Gioconda had merely gone out to the supermarket. He smiled at his own stupidity and sat down on the couch to wait for her, sighing with relief.
As vivid as if they had been daubed in letters ten feet deep, the words leapt out from the walls, nearly deafening him with their force.
'You grotesque old witch, you must be insane! You ever threaten me again and I'll have you destroyed! LISTEN, you pathetic - , Mangon spun round helplessly, trying to screen his ears. The words must have been hurled out in a paroxysm of abuse, they were only an hour old, vicious sonic scars slashed across the immaculately swept walls.
His first thought was to rush out for the sonovac and sweep the walls clear before Madame Gioconda returned. Then it dawned on him that she had already heard the original of the echoes - in the background he could just detect the muffled rhythms and intonations of her voice.
All too exactly, he could identify the man's voice.
He had heard it many times before, raging in the same ruthless tirades, when deputizing for one of the sound-sweeps, he had swept out the main boardroom at Video City.
Hector LeGrande! So Madame Gioconda had been more desperate than he thought.
The bottom drawer of the dressing table lay on the floor, its contents upended. Propped against the mirror was an old silver portrait frame, dull and verdigrised, some cotton wool and a tin of cleansing fluid next to it. The photograph was one of LeGrande, taken twenty years earlier. She must have known LeGrande was coming and had searched out the old portrait, probably regretting the threat of blackmail.
But the sentiment had not been shared.
Mangon walked round the stage, his heart knotting with rage, filling his ears with LeGrande's taunts. He picked up the portrait, pressed it between his palms, and suddenly smashed it across the edge of the dressing table.
'Mangon!'
The cry riveted him to the air. He dropped what was left of the frame, saw Madame Gioconda step quietly from behind one of the flats.
'Mangon, please,' she protested gently. 'You frighten me.' She sidled past him towards the bed, dismantling an enormous purple hat. 'And do clean up all that glass, or I shall cut my feet.'
She spoke drowsily and moved in a relaxed, sluggish way that Mangon first assumed indicated acute shock. Then she drew from her handbag six white vials and lined them up carefully on the bedside table. These were her favourite confectionery - so LeGrande had sweetened the pill with another cheque. Mangon began to scoop the glass together with his feet, at the same time trying to collect his wits. The sounds of LeGrande's abuse dinned the air, and he broke away and ran off to fetch the sonovac.
Madame Gioconda was sitting on the edge of the bed when he returned, dreamily dusting a small bottle of bourbon which had followed the cocaine vials out of the handbag. She hummed to herself melodically and stroked one of the feathers in her hat.
'Mangon,' she called when he had almost finished. 'Come here.'
Mangon put down the sonovac and went across to her.
She looked up at him, her eyes suddenly very steady. 'Mangon, why did you break Hector's picture?' She held up a piece of the frame. 'Tell me.'
Mangon hesitated, then scribbled on his pad: I am sorry. I adore you very much. He said such foul things to you.
Madame Gioconda glanced at the note, then gazed back thoughtfully at Mangon. 'Were you hiding here when Hector came?'
Mangon shook his head categorically. He started to write on his pad but Madame Gioconda restrained him.
'That's all right, dear. I thought not.' She looked around the stage for a moment, listening carefully. 'Mangon, when you came in could you hear what Mr LeGrande said?'
Mangon nodded. His eyes flickered to the obscene phrases on the walls and he began to frown. He still felt LeGrande's presence and his attempt to humiliate Madame Gioconda.
Madame Gioconda pointed around them. 'And you can actually hear what he said even now? How remarkable. Mangon, you have a wondrous talent.'
I am sorry you have to suffer so much.
Madame Gioconda smiled at this. 'We all have our crosses to bear. I have a feeling you maybe able to lighten mine considerably.' She patted the bed beside her. 'Do sit down, you must be tired.' When he was settled she went on, 'I'm very interested, Mangon. Do you mean you can distinguish entire phrases and sentences in the sounds you sweep? You can hear complete conversations hours after they have taken place?'
Something about Madame Gioconda's curiosity made Mangon hesitate. His talent, so far as he knew, was unique, and he was not so na·ve as to fail to appreciate its potentialities. It had developed in his late adolescence and so far he had resisted any temptation to abuse it. He had never revealed the talent to anyone, knowing that if he did his days as a sound-sweeper would be over.
Madame Gioconda was watching him, an expectant smile on her lips. Her thoughts, of course, were solely of revenge. Mangon listened again to the walls, focused on the abuse screaming out into the air.
Not complete conversations. Long fragments, up to twenty syllables.
Depending on resonances and matrix. Tell no one. I will help you have revenge on LeGrande.
Madame Gioconda squeezed Mangon's hand. She was about to reach for the bourbon bottle when Mangon suddenly remembered the point of his visit. He leapt off the bed and started frantically scribbling on his wrist-pad.
He tore off the first sheet and pressed it into her startled hands, then filled three more, describing his encounter with the musical director at V. C., the latter's interest in Madame Gioconda and the conditional promise to arrange her guest appearance. In view of LeGrande's hostility he stressed the need for absolute secrecy.
He waited happily while Madame Gioconda read quickly through the notes, tracing out Mangon's child-like script with a long scarlet fingernail. When she finished he nodded his head rapidly and gestured triumphantly in the air.
Bemused, Madame Gioconda gazed uncomprehendingly at the notes. Then she reached out and pulled Mangon to her, taking his big faun-like head in her jewelled hands and pressing it to her lap.
'My dear child, how much I need you. You must never leave me now.'
As she stroked Mangon's hair her eyes roved questingly around the walls.
The miracle happened shortly before eleven o'clock the next morning.
After breakfast, sprawled across Madame Gioconda's bed with her scrapbooks, an old gramophone salvaged by Mangon from one of the studios playing operatic selections, they had decided to drive out to the stockades - the sound-sweeps left for the city at nine and they would be able to examine the sonic dumps unmolested. Having spent so much time with Madame Gioconda and immersed himself so deeply in her world, Mangon was eager now to introduce Madame Gioconda to his. The stockades, bleak though they might be, were all he had to show her.
For Mangon, Madame Gioconda had now become the entire universe, a source of certainty and wonder as potent as the sun. Behind him his past life fell away like the discarded chrysalis of a brilliant butterfly, the grey years of his childhood at the orphanage dissolving into the magical kaleidoscope that revolved around him. As she talked and murmured affectionately to him, the drab flats and props in the studio seemed as brightly coloured and meaningful as the landscape of a mescalin fantasy, the air tingling with a thousand vivid echoes of her voice.
The Complete Short Stories: Volume 1 Page 17