Текст книги "Aztec Blood"

Автор книги: Gary Jennings

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The door opened behind me and I heard his heavy step as he entered.

"Isabella, I—"

The man had the instincts of a jungle cat. Whatever he could see from a rear view of me instantly put him on guard and he went for his sword.

I leaped from the chair, flashing my own sword, but before we could engage Mateo hit him on the back of the head with an ax handle. Alva fell to his knees and Mateo hit him again, not enough to knock him out but to stun him. We were immediately on him with rope, tying his hands behind him. Mateo looped another rope through the large round candleholder, as big as a carriage wheel, hanging from the ceiling. With a knife at Alva's throat, we maneuvered him under the chandelier. The end of the rope dangling from the ceiling was tied into a noose and we slipped it over Alva's head.

Together we hoisted him up by the neck until his feet were dangling. I slipped a chair under his feet and he was able to stand on the chair and keep from strangling.

When we were finished, Alva stood on the chair with his hands tied behind him and his neck in the noose. Mateo kicked the chair out from under him. He swung, wrenching for air; the candleholder creaked, and stucco fell from the ceiling.

I put the chair under his feet and let him struggle onto it.

Because I did not intend to kill the man unless it was necessary, besides wearing a mask I had pebbles in my mouth to disguise my voice.

"You killed a good man in Veracruz nearly seven years ago, a fray named Antonio, and you tried to kill a boy whom Antonio raised. Why did you do this? Who put you up to these black deeds?"

His voice was a gutter of anger that spewed filth.

I kicked the chair out from under his feet and he bounced and swung, his face red. When his features were convulsed with pain and nearly black from being strangled, I replaced the chair.

"Let's cut off his testicules," Mateo said. He poked the man in the groin with his sword to get across the point.

"Ramon, Ramon, why must you make us turn you into a woman?" I asked. "I know you killed the fray for someone else. Tell me who you performed the deed for, and you can go on using this place as your private whorehouse."

More filth spewed from his mouth.

"I know one of you is that bastard boy," he gasped. "I fucked your mother before I killed her."

I went forward to kick the chair out from under him. As I stepped up to the chair, Alva kicked me in the stomach. His boot caught me just below my sternum and took my wind and, for a moment, my life from me. I staggered backward and fell onto my rear on the floor.

The momentum caused by kicking me sent Alva swinging wildly off the chair. The carriage wheel candleholder broke loose as an entire section of the ceiling collapsed to the floor. A storm of debris and dust blinded me.

Mateo yelled and I saw Alva's dark form run by me and then the crash of wood as he flung himself headfirst through the closed window shutters. I heard his body hit the tiles on the roofed part of the courtyard. He yelled for help.

Mateo grabbed me. "Hurry!"

I followed him into the adjoining sitting room and onto a balcony. He had the rope we had been hanging Alva with in hand. He looped the noose around a post and swung over the side, sliding down the rope with his hands and feet. I followed before he hit the ground, grateful that this was not the first time Mateo had had to leave a bedroom with a threat behind him.

After discarding our clothes and masks and reassuming our roles as workers of Don Julio, we sat in a tavern and played primero, a card game Mateo was brilliant at losing money playing.

"Bastardo, we learned one interesting piece of information tonight—other than the fact that Alva is a tough hombre."

"Which is?"

"He killed your mother."

I never knew my mother and I had no real image of her, but the fact that this man claimed to have raped and murdered her were more nails in his coffin. The statement, even if I assigned it as a taunt, increased the mystery surrounding the past. What did Alva have to do with my mother? Why would it be necessary for a gachupin to kill an india girl? And the most mysterious of all—I knew for a fact that he had not killed her. As far as I knew, she was still alive.

"It will be a long time before we could ever hope to trick Alva into falling into our hands again," he said. "If ever."

"Do you think he will connect us back to Isabella?"

Mateo shrugged. "I think not. The conclusion will be that Isabella and the maid both were victims of bad food. But to ensure that there is no connection, I will be leaving tonight for Acapulco."

The Manila galleon was due in from the Far East. What his joining the excitement of the arrival of the galleon with its treasures from China, the Spice Islands, and India had to do with Alva discovering the identity of his attackers was another mystery to me. I had the unkind, but true, thought that he was leaving for Acapulco just to enjoy himself.

NINETY

With Mateo in Acapulco, the don at the tunnel project, and Isabella in a foul mood, I stayed away from the house as much as possible. When I was not in the print shop, I would take a walk along the arcade, stopping in a shop now and again.

I was working late in the shop when I heard the flap on the back door and the sound of a package dropping. Realizing it was probably the author of the romantic poems that I found so provocative and compelling, I raced to open the door and run into the alley. I saw the person fleeing, a slender built, short man with his hooded cape flapping as he ran. He disappeared around a corner. When I reached the corner, a carriage was already moving down the street. It was too dark to see any identifying marks on the carriage.

Walking back I was struck by the presence of the scent of a French water that I knew was popular with young women in the city. At first I thought it odd that a man would wear a scent, but there were many fops who wore not just French water, but such silks and lace that on inspection of their genitals one would expect to find a witch's teat instead of a pene. That a writer of romantic poetry might be the type who found other men attractive, entering by the back door as it is said, would not surprise me. Eh, the poems came through the back door, did they not?

The poems were once again visions of love that touched my romantic soul—the one well-hidden behind my lépero's scabrous one. I put aside a deshonesto play that I had been checking Juan's typesetting on and began typesetting the poems. No profit was made from the poet's books, but what a pleasure to lose one's self in the images of lovers in a heat of passion. Printing his works of honest passions, I felt that I was making amends for the works of lesser quality—and lesser morality—that I printed only to make money. It was much work for me to set the type for all of the poet's works, but I had found it very rewarding.

As I set the type, I thought about the play we were surreptitiously publishing. We printed more plays than books. While comedias were rarely performed in New Spain, they were more popular to read than books.

It occurred to me that money could be had quicker and easier simply by putting on plays, rather than selling printed copies. Plays had not reached the level of popularity or profitability in New Spain that they had in the mother country because those the Holy Office approved for the colonies were insipid comedies of manners or religious works. To have even submitted a play like the ones we print to the Holy Office for a permit to perform would have resulted in our immediate arrest.

I wondered if there was a play we could present that would prove popular yet yield the needed approval. A group of actors had come to town to present a play in a vacant area between the mint building and residences, but the play had only lasted a few performances. I watched the play while Mateo was in Acapulco and found it to be a very uninteresting rendition of Lope de Vega's Fuente Ovejuna.I had been forewarned that the censor's knife had cut the heart from Vega's brilliant work and that a familiar would be in the audience with a copy to ensure that the deleted dialogue did not find its way back into the presentation. Added to this, the actors did not have their lines well rehearsed. I heard the actors had disagreed over which play was to be presented and who was to perform the lead roles. It was sad to watch such a wonderful, stirring play mouthed by people who were unable to instill within themselves the spirit of the character they were playing.

No nation had ever produced a writer as prolific as Vega. Cervantes called him a monster of nature because he was able to write plays in hours and had composed perhaps a couple of thousand. Fuente Ovejunawas a stirring tale, much in line with Vega's other great works that demonstrated how Spanish men and women of all classes can be honorable. I had read a true copy of the play, smuggled into the colony under the dress of an actress.

The name of the play, Fuente Ovejuna, was the name of the village where the action took place. Here again a nobleman was trying to dishonor a peasant girl, who was betrothed to a village youth. Laurencia is the peasant girl, but she is a smart, resourceful one. She knows what the nobleman, the commander, is really after when he sends his emissaries to her with gifts. He plans to dishonor her and cast her aside after he has had his pleasure. As she says about men in general, "All they want, after giving us much trouble, is their pleasure at night and our sorrow in the morning."

She can be a sharp-tongued wench. As one character puts it, "I bet the priest poured salt on her as he christened her."

When the commander returns triumphant from war, the village greets him with gifts. But the gift he wants are Laurencia and another peasant girl. Struggling against his adjutant who is trying to pull her into a room where the commander can take advantage of her, Laurencia says, "Isn't your master satisfied with all the meat he was given today?"

"He seems to prefer yours," the servant says.

"Then he can starve!"

The commander catches Laurencia in the forest and tries to take her by force, when a peasant boy who loves her, Frondoso, grabs a bow and arrow the commander had laid down, and holds off the knight until the girl escapes.

The commander is disgusted by the way the peasant girl resists him. "What boors these peasants are. Ah, give me the cities, where nobody hinders the pleasures of lofty men, and husbands are glad when we make love to their wives."

He discusses women with his aide, speaking of the women who will surrender themselves to him without a struggle. "Easy girls I love dearly and repay poorly. Ah, Flores, if they only knew their worth."

The cruel nobleman takes village girls by force as he pleases, but Laurencia manages to avoid him. He shows up at her wedding and has her bridegroom, Frondoso, arrested. The commander carries off Laurencia and beats her when she resists his rape.

She returns to her father and the men in the village, calling them "sheep" for permitting the commander to violate village girls. She tells the men of the village that after the commander hangs Frondoso, he'll come and hang the spineless men of the village. "And I'll be glad—you race of half men—that this honorable town will be rid of effeminate men and the age of Amazons will return."

Picking up a sword Laurencia rallies the women of the village around her, and declares they must take the castle and free Frondoso before the commander kills him. She tells another woman, "When my courage is up, we don't need a Cid."

Women knock down the castle door and storm in, facing the commander, just as he's starting to have Frondoso hanged. The village men enter with their weapons to help. But a woman says, "Only women know how to take revenge. We shall drink the enemy's blood."

Jacinta, a girl raped by the commander, says, "Let us pierce his corpse with our lances."

Frondoso says, "I won't consider myself avenged until I've pulled out his soul."

The women attack the commander and his men. Laurencia says, "Com' on women, dye your swords with their vile blood!"

Vega had the literary courage to put swords in the hands of women. I suspect that was why the audience, which was composed mostly of men, did not appreciate the play as much as I did.

Another great moral point of the play was the way the villagers stood together when they are tried for the commander's death before the king and queen, Ferdinand and Isabella. When the villagers are questioned and tortured to reveal who slayed the evil nobleman, each of them in turn names the culprit: Fuente Ovejuna. The village itself had taken justice in its hands.

Faced with an impossible situation, the king and queen leave the death of the commander unpunished.

From what few seats were sold for the play, I had no doubt that the rest of the city were not stirred by the actors.

The thought of putting on a comedia had been on my mind from the time I had been clandestinely printing offensive ones. But no matter how I struggled with the thought, I was always blocked by how I knew Mateo would react. He would insist that we do some foolish tale of hombria—if I had to sit through another hour of an honorable Spaniard killing an English pirate who had raped his wife...

I would have presented a play by Beelzebub if it made money, but besides their lack of artistic merit, Mateo's plays had the added disadvantage of being financial disasters.

I went home that night struggling with the idea of putting on a play that would provide great profit yet not run us afoul of the Inquisition. Restless, I grabbed a copy of Montebanca's Historia of the Roma Empireand read it by candlelight as I breathed the sweet fumes of the stable below. As the empire became more and more decadent, decomposing as its social and moral fabric rotted under one bad leader after another, the emperors had gotten more and more extreme in the entertainment they provided the people in the arena; no longer did it entertain people to see gladiators killing each other, soon small armies fought and men were pitted against wild beasts. I found among the more interesting gladiatorial contests the sea battles in which the arena was flooded and warships with gladiators aboard fought.

Dozing off, I wondered how one would flood a comedia de corral, which was often little more than the space between houses, to put on a battle of gladiators.

I awoke in the middle of the night with the realization that I already had the flooded arena.

Mateo returned from Acapulco after two weeks. He was in bad temper and had no scar to which he had ascribed a woman's name.

"Pirates sank the Manila galleon; I made the trip for nothing."

"Mateo, Mateo, my friend, my companion in arms, I have had a revelation."

"Did you walk on water, amigo?"

"Exactly! You have guessed it. We are going to put on a comedia—on water."

Mateo rolled his eyes and pounded the side of his head. "Bastardo, you've been inhaling some of that yoyotli that steals the mind."

"No, I've been reading history. The Romans sometimes flooded the arena and put on gladiatorial sea battles with warships."

"Did you plan to put this comedia on in Rome? Has the pope given you San Pedro's to flood?"

"You are such a doubter of genius. Have you looked around and seen that Ciudad Mexico is surrounded by water?—not to mention a dozen lagoons in and around the city."

"Explain this madness to me."

"We take great risk for small profit printing deshonesto plays and books and selling them. It occurred to me that we could put on our own comedia and make our fortune."

Mateo's eye lit up. "I will write the play! An English pirate rapes—"

"No! No! No! Everyone from Madrid to Acapulco has seen that story. I have an idea for a play—"

His hand brushed his dagger. "You don't want meto write the play?"

"Yes, of course, but based on a different story." That fortunately needed very little dialogue, I added silently to myself. "What is the greatest moment in the history of New Spain?"

"The conquest, of course."

"Besides those famous horses whose blood you invest in, Cortes had a fleet of warships. Because Mexico, Tenochtitlan, was an island with a causeway that could be easily defended by the Aztecs, Cortes had to attack the city over water. He had timber felled and beams cut and built a fleet of thirteen boats; installed them with masts, rigging, and sail. While the boats were being prepared, he employed eight thousand indios to dig a canal by which the boats could be launched on the lake."

Mateo, of course, knew the story better than me. Cortes put twelve rowers aboard each vessel, along with twelve crossbowmen and musketeers, a total of about half of the conquistadors in his army. None of the conquistadors wanted to be rowers, and he'd had to coerce men with sea experience to man the oars.

He equipped each boat with cannon taken from the ships that had carried him to New Spain and put the boats under the command of captains. He invested himself as admiral of the fleet and led an attack on the city as the rest of his force and indio allies attacked the causeway.

The fleet of little warships was countered by an Aztec armada, over five hundred war canoes, hosting thousands of warriors. As the two fleets closed the distance between them, Cortes knew all would be lost if the good Lord did not give them a fresh breeze to propel their ships into battle with such speed that they would not be overwhelmed by the enormous number of Aztec war canoes.

The Hand of God did enter the battle. A breeze came up that sent Cortes's ships crashing through the Aztec armada with a ferocity only matched by the fierceness of the conquistadors themselves.

"How did you plan to pay for the thirteen ships and five hundred canoes, not to mention several hundred conquistadors and five thousand Aztec warriors?"

"We need but one warship and two or three canoes. A lake barge can be turned into a warship by adding some false lines of timber and wooden cannon. Indios with canoes can be had for a few pesos each night."

Mateo had the nervous intensity of a jaguar on the prowl. He paced, seeing himself as the man who won an empire.

"Cortes would be the main player," he said, "fighting with the strength of ten demons, killing a dozen– no!—a hundred of the enemy, exhorting his men not to waiver, in his most desperate moment, on his knees, calling upon God to deliver wind."

"Naturally only a fine actor like yourself could pay the conqueror."

"There is a company of players in the city, stranded, their bellies getting thinner each day," he said. "They could be had for a place to sleep and a little wine and food until our boat is prepared."

"I leave matters requiring artistic judgment to one who has performed before royalty in Madrid. I will occupy myself with mundane matters of getting the warship built, printing announcements, and the selling of tickets."

And, praise God, collecting enough money to become the gentleman I had always wanted to be.

Preparations for the play proved to be easier than I had imagined. The viceroy's office and the Holy Office were more than willing to license a play that extolled God and the glory of Spanish conquerors. All of the negotiations were done in my persona of a print shop assistant commissioned by the fictitious autor of the play. Because of our connection to the don, we decided not to use our real names.

Late at night, while I was printing up handbills advertising the play, I heard the telltale drop of a package through the back door slot and I again rushed to the alley.

The poet was nearly to end of the alley when a dark figure jumped out in front of him. The poet screamed and ran back toward me.

A woman's scream.

Terrified, looking back where an attack was expected, the poet ran nearly into my arms. I grabbed the mask from the person's face.

"Eléna!"

She stared at me wide-eyed. "You!"

She spun around and ran back down the alley, flying around Juan the lépero whom I had posted in the alley.

No wonder the words of the poet had so inflamed my heart—they flowed from the heart and hand of the woman I loved! That Eléna was the author of the poetry was a shock. That she was capable of writing poetry in no way surprised me. As a young girl she had talked of disguising herself as a man to write poetry.

The drudgery of typesetting the poems had been rewarded by a moment in which we stood only inches apart.

What did she mean when she had exclaimed, You!Shock that she had seen the lépero again who had accosted her on the street? Or did she recognize me as the youth from Veracruz? I toyed with the word, "you," listening in my mind to her speaking it, sometimes in a tone of familiarity, other times a tone of derision creeping in.

Finally, sighing, realizing my thoughts of someday courting Eléna were more fanciful than Mateo's battles with dragons, I sat down with the papers she had delivered.

The material she left were not in fact poems but a play. Called Beatriz de Navarre,it was the tale of a woman with a jealous husband. He suspects her of infidelity after finding what appears to be a love note.

Determined to catch the two lovers red-handed, he spies on his wife's every move. He had truly loved his wife and their love had been passionate before his suspicions arose. But with suspicion eating at him, he treats her coldly, keeping his doubts to himself so he can catch her in the act. His wife reaches out for him but is rejected.

While lurking outside his wife's bedroom, he hears her telling someone how much she loves him, using very erotic language. Enraged, he breaks down the door. He finds no one but his wife in the room and assumes her lover has fled. Still in a rage, certain that the woman has been unfaithful to him, he draws his sword and thrusts it through her heart.

As she lies on the floor, her life slowly draining from the wound in her chest, she whispers to her husband that she has always been faithful to him, that she loved him, and had been immortalizing her love for him in a poem. She had been afraid to show it to him because he had forbidden her to even read poetry, much less write it.

After her last breath escapes from her, he picks up papers on the table where she had been writing. Reading the poem aloud, he realizes that the words he overheard outside her door were not to a man in her room, but a lover in her heart—she had been reading aloud the poem.

He had doubted her because he never realized that a woman was capable of placing her heart on paper in a poem. Women had neither the inclination nor the need to experience literature.

Heartbroken by having spilled the blood of his beloved, he kneels beside her and begs forgiveness, then plunges a dagger into his own heart....

Was I touched by the play because it was penned by a certain young woman in a carriage who saved my life and yearned to get an education? Perhaps, but the language, the words of the love poem Beatriz wrote to her husband, was also quite appealing to me. Eléna the poet had a talent for bringing words between lovers that were poignant, provocative, and, yes, with an eroticism that titillates the ear and private places.

Another one of the ideas that seize my mind and soul and bring the hounds of hell yapping at my heels came to me, an idea even more outrageous than Mateo's tales. I would put on a play that would tickle the fancy of Homer and Sophocles. From the money earned from Cortes's spectacular sea battle, I would produce Eléna's play. Not in her name, of course, but one I would make up to protect her. And I would have to devise a way to let her know that the poor lépero boy she had helped had repaid her by giving her everlasting glory—in anonymity.

Of course, I would have to trick the Holy Office and the viceroy to get the play performed and not let Mateo know I had stolen money to put on someone else's play. He would carry through his threat to flay me and rub my raw flesh with salt if he knew.

Eh, amigos, I had nothing to risk. I would simply replace the money I diverted from our play with the admissions sold for Eléna's play.

The thought of the sacrifices I would be making for love choked me up as I reread the play.

NINETY-ONE

We chose a lagoon near the Alameda for the reenactment of the lake battle between Cortes's fleet and the Aztecs. Handbills advertising the play had been distributed throughout the city, and criers proclaimed the magnificence of the play in every plaza.

I personally collected the admission price. Vendors of blankets for sitting on the grass, since there were only a few benches available, and the sale of candy and sweetmeats, owed me a percentage of all dinero collected.

The preparations went well and there was no room to sit or stand by the time I collected the last admission. But my fears were not relieved. Despite the simplicity of the story, Mateo was anything but a simple actor, managing to embellish even the most ungarnished role. I feared that the Mexico audience would boo him off the stage—or worse, Mateo might draw his sword at the audience instead of the other actors.

The play began with the conquistadors floating in on a warship that looked much like a barge that had been temporarily converted into a warship. Mateo-Cortes stood valiantly at the bow, sword in one hand, Holy Cross in another. Beside him was "Doña Marina," the india interpreter who had been so vital in forming alliances with indio nations, giving Cortes's little band the armies he needed to defeat the dreaded Aztec legions.

The "doña" had originally been cast from a woman in the troupe of traveling actors, but her husband and Mateo had fallen out, for reasons I never bothered to inquire about. Her replacement was a pretty young india girl. I had the misfortune of asking Mateo where he'd found her—a casa de las putas, of course.

I wore a mask, as a number of people in the audience and one of the actors did. Of course, mine was not for fashion, but disguise. Eléna was a lover of plays and despite the fact that a play was considered vulgar entertainment for a woman—and most wore masks to them—I was certain she would not pass up the opportunity to see so heralded a play.

My fears—and rapture—at seeing her again came true as she arrived in a coach with Luis and an older woman chaperone. I did not recognize the older woman, it was not the elderly matron who had been in the coach many years before. A servant followed them, with cushions and blankets for them to sit on.

I sold Luis tickets, careful not to meet eyes with him or Eléna, even with my face covered by a mask.

After the last admission had been collected, I posted myself so that I could abscond with the admission money if the audience became so inflamed over Mateo's bad acting that blood was drawn rather than just vegetables thrown. I could not see Eléna from my position. It hurt to know she was with Luis, and I was the better for not seeing them together.

As the barge-warship came into sight, the ominous beat of drums set the mood for the dark battle that was to come.

When the barge-warship was close enough, Mateo-Cortes told the audience that before he was old enough to kill an Infidel with a sword, the Moors had been defeated and driven from Spain. But while Spain was no longer threatened by the bloody Islamic horde, the nation had not found its place under the sun as a great empire. The opportunity came when Columbus discovered a whole new world to conquer.

"Because I sought fortune, adventure, and to bring the Cross to pagans, I, too, crossed the great ocean to the New World."

As with any Mateo speech, he talked so long that my eyes were beginning to get heavy and difficult to keep open. I had insisted upon inserting action between his long discourses, and to my relief, three indio war canoes, all I could afford, came into the lagoon. And the battle began—the wooden cannons on Cortes's ship coughed black powder smoke; more powder was lit on board the barge to create noise and a haze. A man hiding behind a blanket banged on a large metal drum to create the sound of cannon and musket fire, arrows without sharp heads flew, indios shouted curses and banged the Spanish with wooden spears, while the four conquistadors fought back. As an added touch, we had set several pieces of pitch-covered wood afire floating around the boats.

The indios mounted a surprisingly aggressive attack on "Cortes" and his men, who fought back just as aggressively. I watched, horrified, as the battle between indios and conquistadors intensified into actual combat. A conquistador was dragged off the ship and into the water and barely got away with his life as the triumphant indios tried to spear him like a fish.

Then another conquistador went into the water. A roar of delight came from the indios on the canoes as they threw themselves at men on the mock warship.

¡Ay de mí!This disaster was not planned. With the smoke, the fire, the shouting, the clash of swords and spears, the impression of a real battle was supposed to be created. But only the impression!

I clutched the money pouch, ready to flee, but stood rooted by fascination as I watched all my work in putting together the play being destroyed by the sudden inflamed passions of indios and españols, who forgot they were acting.

¡Santa Maria!A conquistador was stunned by a spear blow to the head and dragged off the warship. Indios swarmed up the sides of the ship. Only Mateo was left on his feet. The invaders grappled with Doña Marina, and her dress was torn off of her in the struggle.

I had a horrible thought. The indios are going to win!

If that happened, Mateo would not be booed from the "stage," his ticket collector would not be robbed, the crowd would tear us limb from limb.

My eyes sought out the familiar who sat with a copy of the play to make sure that the dialogue did not deviate from what had been approved. If he leaped to his feet and stopped the play, there would be a riot over the admission money.