Actors do not often visit the offices of the production company, and this must be the first time that one of them has come to make inquiries about a letter from an admirer, even though this letter differed from the others in that, unusually, it asked not only for a photograph or an autograph but also for an address, António Claro does not know what the letter says, he assumes it merely asks for his home address. António Claro's task would be a difficult one were it not for the fortunate circumstance that he knows one of the department heads, who was at school with him and who received him with open arms and the usual words, So, what brings you here, Well, I was told that someone wrote in asking for my address, and I was just curious to read the letter, he said, Well, I don't deal with such matters myself, but I'll get someone to help you. He spoke to someone over the intercom, explained briefly what was needed, and moments later, a young woman entered, smiling, with her words already prepared, Good morning, I really enjoyed seeing you in your last film, That's very kind of you, Now what would you like to know, It's about a letter written by someone called Tertuliano Máximo Afonso, If all he wanted was a photograph, the letter won't be here, we don't keep those ones, if we did, the files would be bursting at the seams, As far as I know, he asked for my address and made some other rather interesting comment, which is what brings me here today, What did you say his name was, Tertuliano Máximo Afonso, he's a history teacher, Do you know him, Yes and no, that is, I've heard of him, How long ago was the letter written, More than two weeks and less than three, I think, but I'm not sure, Well, I'll look in the letter register first, although, to be honest, the name doesn't ring a bell, Are you in charge of the register, No, a colleague of mine is but she's on holiday, although a name like that must have caused some comment, there can't be too many Tertulianos around nowadays, No, I suppose not, Would you mind coming with me, said the woman. António Claro said good-bye to his friend and followed her, which was certainly no hardship, she had a good figure and was wearing a nice perfume. They walked through a room where several people were working, two of them smiled shyly when they saw him pass, which just goes to show, despite opinions to the contrary, which tend to be governed by ancient class prejudices, that some people do notice supporting actors. They went into an office lined with shelves, almost all of which were filled with large record books. An identical book lay open on the only table. It's like stepping back in time, said António Claro, it's like the archive in a Central Registry Office, Well, it is an archive, but only a temporary one, as soon as the book on the table is full, the oldest of the others will be thrown out, it's not like a real Registry Office, where everything is kept, the living and the dead, Compared with the other room we walked through, though, this is another world, You probably get rooms like this in even the most modern of offices, like a rusty anchor chained to the past and with no purpose in life. Antonio Claro looked at her intently and said, You know, you've come out with a number of interesting comments since we came into this room, Do you think so, Yes, I do, Perhaps it's a bit like a sparrow who suddenly starts singing like a canary, You see, another interesting idea. The woman did not respond, she turned a few pages in the book, going back three weeks, and began running through the list of names with her right index finger, one by one. The third week passed, the second too, we're on the first week, we've reached today's date, and the name of Tertuliano Máximo Afonso has still not appeared. You must have been misinformed, said the woman, no such name has been recorded, which would mean that the letter, if it was written, didn't come through here, it must have got lost en route, Oh dear, I'm putting you to an awful lot of trouble, wasting your time, but, Antonio Claro added sweetly, perhaps we could just go back another week, Of course. The woman turned more pages and sighed. The fourth week had seen a superabundance of requests for photographs, it would take a good while to get to Saturday, but let us raise our hands to heaven and give thanks to God that the requests concerning more important actors are dealt with in a department equipped with computer systems, nothing like the near-incunabular archaism of this mountain of folios reserved for the masses. It took a while for António Claro to realize that the search being carried out by this amiable woman was one he could do equally well himself and that he really should have offered to take her place, especially since the elementary nature of the facts recorded, no more than a list of names and addresses, the sort of thing anyone could find in an ordinary telephone directory, did not demand any degree of confidentiality or discretion that would require them to be kept away from the inquisitive eyes of non–staff members. The woman smiled, thanked him for his offer of help, but did not accept, she couldn't stand idly by watching him work, she said. The minutes passed, the pages passed, it was Thursday already and still no sign of Tertuliano Máximo Afonso. António Claro was beginning to feel uneasy, to curse himself for having thought of coming here, to wonder what use the wretched letter would be to him if it did turn up, and he could find no answer to justify the awkwardness of the situation, and even the tiny satisfaction his ego had come looking for, like a greedy cat, was rapidly turning into embarrassment. The woman closed the book, I'm terribly sorry, but it isn't here, And I must apologize for giving you so much work and all for nothing, The fact that you were so keen to see the letter means that it can't have been nothing, said the woman generously, I was told there was a paragraph in the letter that might interest me, What paragraph, Oh, I'm not quite sure, but I think it was about the important contribution made by supporting actors to the success of films, or something like that. The woman started, as if, inside her, a memory had shaken her, and asked, Did you say it was about supporting actors, Yes, said António Claro, not wanting to believe that some remnant of hope could yet come from that quarter, But that letter was written by a woman, By a woman, repeated António Claro, feeling his head give a sudden lurch, Yes, by a woman, And what happened to her, to the letter I mean, The first person who read it thought it was pretty eccentric and immediately rushed off to show it to the former head of the department, who, in turn, sent it up to the admin department, And then, It was never sent back, it was either locked up in a safe or put through the shredder by the managing director's secretary, But why, why, Those are two very pertinent questions, probably because of that paragraph, probably because the management did not look kindly on the possibility of a petition going around, inside and outside the company, throughout the country, demanding equality and justice for supporting actors, there would be a revolution in the industry, and imagine what would happen if the demand was taken up by the lower orders, by the supporting players in society as a whole, You mentioned a former head of the department, why former, Because, thanks to his great foresight, he was immediately promoted, So the letter disappeared, vanished, murmured António Claro glumly, The original did, yes, but I kept a copy for my own use, a duplicate, You kept a copy, echoed Antonio Claro, aware that the shudder that had just run through him had been caused not by the first word, copy, but by the sec ond, duplicate, It struck me as such an extraordinary idea that I decided to commit a minor infraction of staff regulations, And do you have that letter with you, No, I have it at home, Ah, at home, If you'd like a duplicate, I'd be more than happy to send you one, after all, the letter was intended for the actor Daniel Santa-Clara, whose legal representative you are, I really don't know how to thank you and let me just say again what a pleasure it's been to meet you and talk to you, Well, I have my moments, today you found me in a good mood, or perhaps it's because I felt as if I were a character in a book, What book, what character, Oh, it doesn't matter, let's get back to real life, and leave aside fantasies and fictions, tomorrow I'll make you a photocopy of the letter and post it to you at home, Look, I don't want to put you to any more trouble, I can always drop by, Absolutely not, imagine what people here would think if I was seen passing you a bit of paper, Would your reputation be at risk, asked António Claro, with just the hint of a mischievous smile, Worse than that, she said tartly, my job would be at risk, Forgive me, I must have s
eemed indiscreet, I didn't mean to hurt your feelings, No, I suppose not, you merely mistook the meaning of the words, which is a common-enough occurrence, that's the purpose of the filters that get woven into us over time and through continual listening, What filters are those, They act like voice-sieves, and any words, as they pass through, leave behind them a kind of sediment, and to find out what those words actually intended to communicate, you have to analyze the sediment carefully, It seems an awfully complicated process, On the contrary, the necessary procedures happen instantaneously, like on a computer, but they never get in each other's way, there's a strict order to be followed, from start to finish, it's all a matter of training, Or a natural gift, like perfect pitch, You don't need quite that degree of accuracy, you just have to be capable of hearing the word, the acuteness lies elsewhere, but don't go thinking it's roses all the way, sometimes, and I'm speaking for myself here, I don't know how it is with other people, I get home and it feels as if my filters were all clogged up, it's just a shame that the showers we take for our outsides can't be used to clean up our insides too, You know I'm beginning to think that this sparrow isn't singing like a canary, but like a nightingale, Good heavens, there's an awful lot of sediment there, exclaimed the woman, Listen, I'd like to see you again, So I thought, my filter just told me so, Really, I'm serious, But not serious enough, Look, I don't even know your name, Why do you want to know, Don't get annoyed, it's normal for people to introduce themselves, When there's a reason, And isn't there, asked António Claro, To be perfectly honest, I can't see one, What if I come here again needing your help, That's simple enough, you just ask my boss to call the clerk who helped you this time, although you'll probably get my colleague, the one who's on holiday at the moment, So I won't be hearing from you again, No, but I'll keep my promise, you'll receive the letter from the person who asked for your address, And that's all, That's all, replied the woman. António Claro went to thank his former school friend, they chatted for a while, then he asked, What's the name of the clerk who helped me, Maria, why, Oh, no reason really, that doesn't tell me any more than I knew before, And what did you know before, Nothing.
THE ARITHMETIC WAS EASY ENOUGH TO DO. IF SOMEONE TELLS us that they wrote a letter and that letter subsequently turns up bearing the signature of another person, there are only two hypotheses to choose from, either the second person wrote the letter at the request of the first, or the first person, for reasons António Claro does not know, forged the name of the second person. And that's that. Whatever the truth may be, bearing in mind that the sender's address on the letter is not that of the first person but that of the second, to whom the reply from the production company had clearly been addressed, bearing in mind that all the steps taken as a result of knowing the letter's contents were taken by the first person and not a single step taken by the second, the conclusions to be drawn from this case are not just logical but transparent. Firstly, as is obvious, patent, and manifest, the two parties agreed between them to carry out this piece of epistolary mystification, secondly, for reasons that António Claro again does not know, the aim of the first person was to remain in the shadows until the last possible moment, as he had succeeded in doing. Antonio Claro went over and over these very elementary deductions during the three days it took for the letter sent by the enigmatic Maria to reach him. The letter was accompanied by a card bearing the following handwritten words, but no signature, I hope this proves useful to you. This was precisely the question that António Claro was asking himself, And now what do I do. Nevertheless, it must be said that were we to apply the theory of filters and word-sieves to the current situation, we would notice the presence of lees, of a residue, a deposit or sediment, as Maria chose to describe it, the same Maria whom Antonio Claro dared to call, although only he will know with what intentions, first, a canary and then a nightingale, anyway, now that we are trained in the analytical process, we would say that the above-mentioned sediment betrays the existence of a purpose, perhaps still undefined, diffuse, but which we would bet our boots would not have arisen if the letter received had been signed not by a woman but by a man. This means that if Tertuliano Máximo Afonso had, for example, a close male friend and had worked out this crafty trick with him, Daniel Santa-Clara would have simply torn up the letter because he would consider it an unimportant detail vis-à-vis the fundamental issue, that is, the complete identity that brought them together and, at this rate, will very probably drive them apart. Alas, the letter is signed by a woman, Maria da Paz is her name, and António Claro, who, in his professional life, has never been cast as the elegant seducer, or even as a lowlier class of cad, does his best to find some balancing compensations in real life, although not always with very auspicious results, as we have recently had occasion to verify in that episode with the assistant at the production company, we should perhaps point out that the reason we have made no previous reference to his amatory propensities is simply because they did not seem relevant to the events being recounted at the time. Since, however, human actions, generally speaking, are determined by a concurrence of impulses flowing from all the cardinal and collateral points of the instinctive being, we still are, along, of course, with a few rational factors that, against all the odds, we still manage to slip into the motivational web, and since, in these actions, the pure and the sordid are present in equal parts, and honesty counts as much as prevarication, we would not be using António Claro fairly if we refused to accept, however provisionally, the explanation he would doubtless offer us regarding the evident interest he is showing in the signatory of the letter, that is, his natural and very human curiosity to know what kind of relationship exists between Tertuliano Máximo Afonso, the letter's intellectual author, and, or so he thinks, its material author, this Maria da Paz. We have had many opportunities to observe that António Claro does not lack perspicacity or vision, but the truth is that not even the most subtle of investigators to have left their mark on the science of criminology would have ever imagined that, in this strange matter, and against all the evidence, especially the documentary evidence, the moral author and the material author were one and the same. Two obvious hypotheses cry out for consideration, in ascending order of gravity, either they are simply friends or they are simply lovers. António Claro inclines to the latter hypothesis, firstly, because it fits in with the sentimental plots to which he is a mere witness in the films he usually appears in, and secondly and consequently, because he finds himself then in familiar territory and with a prepared script. It is time we asked if Helena knows what is going on, if António Claro has bothered to tell her about his visit to the production company, about the search through the register and his conversation with the intelligent and aromatic Maria, if he showed her or is going to show her the letter signed by Maria da Paz, if, in short, given that she is his wife, he will share with her his dangerously fluctuating thoughts. The answer is no, three times no. The letter arrived yesterday morning, and António Claro's one concern was to find a place to put it where no one else would find it. There it is, pressed between the pages of a history of the cinema that has not caught Helena's interest since she very cursorily read it during the first few months of their marriage. Out of respect for the truth, we should say that, as yet, and despite the enormous amount of thought he has given to the matter, António Claro has still not produced a satisfactory plan of action deserving of the name. However, the privilege we enjoy of knowing everything that is going to happen up until the very last page of this story, apart from those things that might still need to be invented, allows us to say that tomorrow, the actor Daniel Santa-Clara will make a phone call to Maria da Paz's apartment, purely to find out if anyone is there, we are, don't forget, in high summer, the holiday period, but he will not say a word, not a single sound will issue from his lips, total silence, lest there should be any confusion, on the part of the person at the other end, between his voice and that of Tertuliano Máximo Afonso, for in that case, he would probably have no option but to pretend, to as
sume his identity, with, bearing in mind the current state of affairs, entirely unforeseeable consequences. However unexpected this may seem, in a few minutes' time, before Helena gets back from work, and, again, to find out if he is away, he will phone the history teacher's apartment, but this time he will not lack for words, António Claro has his speech already prepared, regardless of whether there is someone there to listen to him or whether he has to speak to the answering machine. This is what he will say, this is what he is saying, Hello, it's António Claro here, I don't sup pose you were expecting a call from me, in fact, I'd be surprised if you were, I assume you're not at home, perhaps you're off enjoying a holiday in the country somewhere, it's only natural, it is, after all, the holiday season, anyway, whether you're there or not, I wanted to ask you a big favor, to phone me as soon as you get back, I genuinely think we have a lot more to say to each other, I believe we should meet, not at my house in the country, which is, frankly, too out-of-the-way, but somewhere else, somewhere discreet where we will be safe from prying eyes, which would do us no good at all, anyway, I hope you agree, the best time to call me is between ten in the morning and six o'clock in the evening, any day except Saturday and Sunday, but, please note, only until the end of next week. He did not add, Because from then on, Helena, that's my wife's name, I don't know if I've mentioned it before, will be at home on holiday, but even though I'm not shooting a film, we won't be going anywhere. That would be tantamount to admitting that she doesn't know what's going on, and where there is no trust, nonexistent in the present case, no sensible, well-balanced person would lay bare the secrets of his married life, especially in view of the gravity of the situation. An-tónio Claro, whose sharp wits have been shown to be in no way inferior to those of Tertuliano Máximo Afonso, realizes that the roles they have been playing up until now have been switched and that, from now on, he will be the one who has to disguise himself, and what had, at first sight, appeared to be a tardy and gratuitous provocation on the part of the history teacher, sending him, like a slap in the face, that false beard, did, it appears, have meaning and purpose, was born out of some presentiment. António Claro, not Tertuliano Máximo Afonso, will be the one who has to go in disguise to wherever their next meeting place will be. And just as Tertuliano Máximo Afonso came to this street, wearing a false beard, in order to catch a glimpse of António Claro and his wife, so António Claro, complete with false beard, will go to the street where Maria da Paz lives to find out what kind of woman she is, and will follow her to the bank and occasionally even to within sight of where Tertuliano Máximo Afonso lives, thus he will be her shadow for however long is necessary and until the compelling force of what is written and what might be written disposes otherwise. After what has been said, it will come as no surprise that António Claro should go to the chest of drawers where he keeps the box containing the mustache that, in times past, adorned the face of Daniel Santa-Clara, a disguise clearly inadequate for the present situation, the same empty cigar box that for some days now has also been home to the false beard that António Claro is going to wear. Also in times past, there lived a king considered to be very wise and who, in a moment of easy philosophical inspiration, stated, one assumes with all the solemnity due to his position, that there was nothing new under the sun. We should never take these phrases too seriously, just in case we should still be saying them when everything around us has changed and the sun itself is not what it once was. The movements and gestures people make, on the other hand, have not changed very much, not just since the third king of Israel, but since that immemorial day when a human face first saw itself in the smooth surface of a pond and thought, That's me. Now, here, where we are, where we have our existence, even after the passing of four or five million years, those primeval gestures continue to be monotonously repeated, oblivious to any changes in the sun and in the world illumined by that sun, if we need further proof that this is so we have only to watch as, before the smooth surface of his bathroom mirror, António Claro ad justs the beard that once belonged to Tertuliano Máximo Afonso with the same care, with the same concentration of mind, and perhaps with the same tremor of fear with which, not many weeks ago, Tertuliano Máximo Afonso, in another bathroom and before another mirror, had drawn António Claro's mustache on his own face. Less sure of themselves than their brutish common ancestor, they did not fall into the ingenuous temptation of saying, That's me, for fears have changed a lot since then and doubts have changed even more, now, here, instead of a confident affirmation, all that emerges from our mouth is the question, Who's that, and probably not even another four or five million years will be enough to provide an answer. António Claro took off the beard and put it back in the box, Helena will be home soon, tired from work, even more silent than usual, moving about the apartment as if it were not her home, as if the furniture were unfamiliar to her, as if the corners and edges of the furniture did not recognize her and, like zealous guard dogs, growled threateningly at her as she passed. A single word from her husband might perhaps change things, but we know that neither An-tónio Claro nor Daniel Santa-Clara will say it. Perhaps they don't want to, perhaps they can't, all fate's reasons are human, purely human, and anyone who, basing themselves on the lessons of the past, says otherwise, be it in prose or in verse, doesn't know what he or she is talking about, if you'll forgive such a bold opinion.
The Collected Novels of José Saramago Page 299