Carioca Fletch

Seventeen

“We must be very casual,” said Tito, now a movie Indian.

They were entering the Canecão Night Club.

“What is the number of the Passarinho box?” Orlando asked.

“They’re always in box three,” Toninho answered.

“Da Costa is in box nine,” Fletch answered.

Relieved of the corpse, Tito drove the black four-door Galaxie back to Copacabana fast enough to satisfy any police.

In the car, Fletch gulped down the rest of his liter of water.

At Toninho’s apartment on rua Figueiredo Magalhaes, Toninho, Tito, Orlando, and Fletch shaved and showered in assembly-line fashion.

The Tap Dancers were to dress as movie Indians in breech-clouts, soft thigh-high boots, and war paint. Norival’s breech-clout did not fit Fletch, unless he wanted to spend the rest of the night holding it up with his hand.

Toninho dug his last year’s costume out of a closet and tossed it to Fletch: a one-piece shiny satin movie cowboy suit, complete with mask, frayed leggings, and spangles. Fletch wriggled into it.

“Toninho. This is a scuba suit?”

“It fits you perfectly. Here are the boots, the hat, the mask.”

“It fits like a scuba suit.”

Toninho, Tito, and Orlando then sat in a circle decorating each other’s faces, chests, backs with movie war paint, with great speed. Finished, they looked as if they had already sweated through a war.

While they were doing that, Fletch decorated Toninho’s apartment by draping wet cruzeiros every conceivable place, to dry.

“Remember,” Tito said. “Very casual.”

At Canecão Night Club, Orlando opened the door to the Passarinho box.

“Orlando!” people exclaimed. “Tito! Toninho!”

The people in the box just stared at the masked movie cowboy.

Below them, the huge floor of the Canecão Night Club was jammed with people in bright costumes at little tables, on the dance floor, wandering around. Across the hall on the large stage was an enormous band, mostly of samba drums, but of horns and electric guitars as well.

Everyone in the Passarinho box made much of the Tap Dancers’ costumes. As there wasn’t much to the costumes, in fact they were making much of the Tap Dancers.

In turn, Toninho, Orlando, Tito exercised the courtesy of not knowing who people were and expressing great surprise when, for example, Harlequin revealed himself to be Admiral Passarinho.

“You’re very late!”

“Oh,” Toninho equivocated. “We just found the box.”

“Who’s this?” a woman asked.

“Janio Barreto,” Toninho muttered.

“I. M. Fletcher.”

Senhor Passarinho was dressed as Papai Noel. “Where’s Norival?”

“He went sailing,” Tito said.

“Sailing? It is storming out!”

“The storm is over,” Orlando said.

“Sailing? On the night of the Canecão Ball?”

“We saw him off,” Toninho said. “Fletch did too.”

“Sailing? Why would he go sailing the night of the Canecão Ball?”

With apparent concern, Toninho said, “Norival has been acting very serious lately.”

“He has been talking of taking up a career,” Orlando said.

“That would be nice,” said Papai Noel.

“It is a question of what he does best,” Tito said.

“Norival has his talents,” Orlando said.

Toninho said, “Perhaps he wanted to think.”

“Norival becoming serious?” asked Harlequin. “Then it is time for me to retire!”

“No, no,” Toninho said. “You don’t know Norival as we do. When Norival sets his mind to something, he is apt to die trying.”

“Norival can be very sincere,” Orlando said. “About some things.”

“Yes.” Accented by war paint, Toninho’s eyes crossed. “Norival is one to die trying.”

“Norival is not coming to the ball at all?” Harlequin asked.

“He went sailing,” Toninho said lamely. “To come to some conclusion…”

“Ah, what a son!” Papai Noel said. “Probably drunk somewhere! These tickets cost three hundred North American dollars each! Norival, Adroaldo … Why does a man have sons? As soon as they grow as big as he is, they ignore him! They take, but do not give!”

Fletch was introduced to Senhora Passarinho, who sat aside, watching the dancers on the floor. A lady with mild, vague eyes, she was dressed as a circus clown.

“Ah!” she said. “Norival went sailing! Of course, he never was one for parties! A quiet, sensitive boy, always. He wrote poetry, you know, when he was younger. I remember one poem of his, where the cockatoo bird was meant to represent his school principal…”

“You see,” Tito said aside to Fletch. “We could not disappoint that lady with the truth.”

“Clearly.”

“It would kill her.”

“Have a drink!” ordered Harlequin. “Cachaça?”

Toninho grinned broadly. The worst was over. “Nao, Senhor. We must go find girls.”

“Of course you must!” boomed Papai Noel. “The night is as young as you!”

“Just make sure they’re not men disguised surgically!” Harlequin warned.

“If I find someone special, I shall bring her to you,” Toninho said, “to check out.”

Harlequin roared in laughter.

Outside the box, Fletch said, Toninho, are you going back to the beach in the morning to make sure Norival came ashore?”

“Oh, no.” Toninho adjusted the top of his boot against the bare calf of his leg. “Today is Sunday. We must go to Mass.”

Teodomiro da Costa was standing at the little bar at the back of his box.

“Who is this?” he exclaimed. “I don’t recognize you!”

Fletch stared at him the appropriate time through his mask.

Everyone else in the box was facing forward, listening intently to the singer of the moment.

What was left of the Tap Dancers had gone looking for girls.

“You scare me, Senhor Gunslinger! What do you want?”

“It’s me, Teo.”

“Who?” Teo leaned forward, staring through the eyeholes of Fletch’s mask.

“Fletch!”

“Ah!” Teo feigned a look of great relief. “Then come have a drink.”

The barman Teo had brought from his house began to make Fletch a screwdriver.

“It’s so late,” Teo said. “It is nearly three o’clock in the morning. Did you fall asleep?”

“No.”

“I thought not.”

“Without Laura, I went for a tour of the suburbs. Got back late.”

“In a bus?”

“Something like that. A big car.”

The singer stopped singing.

“Oh, Fletch! Beautiful costume!” the Viana woman said. “Where did you get it?”

“I mugged someone on my television set.”

“It fits you …” She looked below his waist. “… handsomely.”

“Frankly, I feel like I’m walking behind myself.”

“You are, darling. You are.”

Teo introduced Fletch to his other guests. Besides the Vianas and the da Silvas, there was a famous Brazilian soccer player who could not stop dancing around the box by himself; his wife, who was taller than he, and probably heavier; a broker and his wife from London, who put on their Wegman—Man Ray masks for Fletch; Adrian Fawcett, who wrote about music for The New York Times; an Italian racing car driver and his girl friend, who was very young indeed; and the young French film star Jetta.

Everyone marveled at Fletch’s costume, and he at everyone’s. Teo was dressed somewhat as a tiger, with a short tail. His tiger head rested on the bar table. Staring unblinkingly through glass eyes, the tiger head reminded Fletch somewhat of Norival in his last moment. But Norival’s eyes were much happier.

Jetta was dressed in a nurse’s cap and costume, white shoes. Her nurse’s skirt was not even as long as the Tap Dancers’ breechclouts.

In films, he had seen more of Jetta.

Fletch took off his mask and movie cowboy hat and stood at the rail and watched the swirl of color and flesh below him.

A few of the drummers were going off the stage; others were coming on. The music would never stop.

At three places on the huge floor, between the dancing area and the tables, were tall, raised, gilded cages. Inside, three or four magnificent women dressed only in G-strings and tall headgear writhed to the music. Outside, crawling around the cages, trying to attain sufficient footholds in their high-heeled shoes to writhe to the music, nine or ten women dressed in G-strings and tall headgear crawled around like big cats on their hind legs. Each of the gilded cages was a locus of writhing brown bare asses and huge, shaking brown bare breasts.

Beside him, Teo said, “The floors of the cages are elevators; they go up and down so the women can get in and out without being accosted by the crowd.”

“They must be seven feet tall,” Fletch said.

“They are all over six feet.”

“What about the women outside the cages?”

“They were not women.” Teo sipped his drink.

“They are.”

Teo said, “They are exhibiting the superb work of their Brazilian surgeons.”

From a distance, Fletch could see no difference between the women inside the cages and the women outside the cages.

Once before, in New York, he had been fooled.

“No one hardly ever accosts them,” Teo said. “Very sad, for them.”

The music picked up, and all the people, those dancing, those at the tables, those in the boxes, began singing/chanting the song presented by Imperio Serrano that Carnival. Fletch stumbled over the lyrics. He could never make his Portuguese sibilant enough.

All the tanned people, the brown people, the black people were moving to the rhythm and singing the lyrics of the song presented by a single samba school together, something about how indebted Brazilian people are to the coffee bean, and how they should respect the coffee bean like an uncle.

Adrian Fawcett, drink in hand, stood at the rail to Fletch’s left. “Brazil is what the United States would like to think it is.”

“I used to work for a newspaper,” Fletch said. “A reporter.”

“What do you do now?”

“Do? Why must I do? I am.”

Jetta stood the other side of Fletch. After Eva, after watching the women in the gilded cages, Jetta-off-the-screen seemed small.

“Really what do you do?” Adrian asked.

Fletch said, “I don’t know.”

Jetta said, “Teo said there would be someone young for me to dance with.”

“I feel one hundred years old at the moment.”

“I have heard that story,” she said. “You are someone who died, years ago, murdered, and has come back to life to reveal your murderer.”

“Did you ever hear anything so crazy?”

“Yes,” she said. “Will you dance?”

Fletch wanted to crawl into a corner of the box, to sleep. He was sure he could do so, despite the drums, the horns, the guitars, the singing. “Of course.”

Excusing themselves from the box, they went to the dance floor.

The people swirling around them were dressed as rabbits and rodents, harlequins and harlots, grande dames and playschool children, villains and viscounts, convicts and cooks, pirates and priests.

Surprising to Fletch, Jetta seemed a wooden dancer. She clung to Fletch as she might to a log in the middle of the sea. He suspected she resisted such music.

A few meters away, Orlando, breechclout flapping, was dancing wildly with a woman in a blond wig. The concentration in his eyes as he danced put him in another world. The woman’s dress exposed only one breast totally.

At the edge of the dance floor, a dozen men stood absolutely still, staring up, their mouths agape. Above them was a woman sitting on the rail of a box, her bare buttocks hanging over the rail. The woman herself was not visible: just her bare buttocks hanging over the rail.

Jetta followed Fletch’s gaze. “Brazilians are so relaxed about their bodies,” said the young French film star. “So practical.”

Feeling almost intoxicated with sleeplessness, Fletch envisioned Tito and Toninho turning Norival upside down in the bushes, kicking the vomit out of his stomach; Tito and Orlando, naked, kick-dancing, then wrestling, laughing, on the burned-out grass; the magnificent Eva standing in the door of the small, dark room where Norival lay dead, clutching her left breast with both hands, looking mildly pleased with herself; harness and broomsticks and calculating where a corpse dropped into the tide would be by dawn….

Jetta ran her hands up the smooth sleeves of Fletch’s shirt to his shoulders and said, “You were so late in coming.”

Even though dancing, sleep passed through Fletch’s brain like a curtain dragging across a stage. “I had to sit up a sick friend.”