The film-makers sipped their brandy for a time before Lind spoke. “It would be interesting to do a film about Nobody,” he said. “I know I mustn’t hurry you, so I won’t ask you if you were Nobody for long. But you are going to continue, aren’t you?”

“You must,” said Ingestree. “Now we are getting a true story. Not like Robert-Houdin’s faked-up reminiscences. He was never Nobody. He was always triumphantly and self-assuredly Somebody. He was charming, lively little Eugene Robert, the delight of his family and his friends; or he was that deserving young watch—and clock—maker; or he was the interesting young traveller who extracted the most amazing confidences from everybody; or he was the successful Parisian entertainer, drawing the cream of society to his little theatre, but always respectful, always conscious of his place, always the perfect bourgeois, always Somebody. Do you suppose many people are Nobody?”

Eisengrim looked at him with a not very agreeable smile.

“Have you any recollection of being Nobody?” he said.

“Not really. No, I can’t say I have.”

“Have you ever met anyone who was Nobody?”

“I don’t believe so. No, I’m sure I haven’t. But then, if one met Nobody, I don’t suppose Nobody would make much of an impression on one.”

“Obviously not,” said Eisengrim.

It was I who saw the film-makers to their car and watched them begin the descent from Sorgenfrei to the village where their inn was. Then I went back to the house as fast as my artificial leg would carry me and caught Eisengrim as he was getting into bed.

“About the Devil,” I said, “I’ve been thinking more about what we said.”

“Have you pinned him down, then?”

“Nothing like it. I am simply trying to get a better hold on his attributes. The attributes of God have been very carefully explored. But the Devil’s attributes have been left vague. I think I’ve found one of them. It is he who puts the prices on things.”

“Doesn’t God put a price on things?”

“No. One of his attributes is magnanimity. But the Devil is a setter of prices, and a usurer, as well. You buy from him at an agreed price, but the payments are all on time, and the interest is charged on the whole of the principal, right up to the last payment, however much of the principal you think you have paid off in the meantime. Do you suppose the Devil invented numbers? I shouldn’t be surprised if the Devil didn’t invent Time, with all the subtle terrors that Time comprises. I think you said you spent seven years in hell?”

“I may have underestimated my sentence.”

“That’s what I mean.”

“You’re developing into a theologian, Dunny.”

“A diabologian, rather. It’s a fairly clear field, these days.”

“Do you think you can study evil without living it? How are you going to discover the attributes of the Devil without getting close to him? Are you the man for that? Don’t bother your old grey head, Dunny.”

That was Magnus all over. He simply had to be the damnedest man around. What an egotist!

7

We were eating sandwiches and drinking beer at a lunch-break the following day. Magnus was not with us, because he had gone off to make some repairs and alterations in his make-up, about which he was extremely particular. Robert-Houdin had been a handsome man, in a French style, with strong features, a large, mobile mouth, and particularly fine eyes: Magnus would make no concession to a likeness, and insisted on playing the role of the great illusionist as his handsome self, and he darted away to touch up his face whenever he could. As soon as he was out of the way, Kinghovn turned the conversation to what we had heard the night before.

“Our friend puzzles me,” he said. “You remember that he said the image of Abdullah was the ugliest thing he had ever seen? Then he described it, and it sounded like the sort of trash one would expect in such a poor little travelling show, and just what would seem marvellous to a small boy. How much is he colouring his story with opinions he formed later?”

“But inevitably it’s all coloured by later opinions,” said Ingestree. “What can you expect? It’s the classic problem of autobiography; it’s inevitably life seen and understood backwards. However honest we try to be in our recollections we cannot help falsifying them in terms of later knowledge, and especially in terms of what we have become. Eisengrim is unquestionably the greatest magician of our day, and to hear him tell it, of any day. How is he to make himself into a photographic record of something that happened fifty years ago?”

“Then how can we reconstruct the past?” said Kinghovn. “Look at it from my point of view—really my point of view, which is through the camera. Suppose I had to make a film of what Eisengrim has told us, how could I be sure of what Abdullah looked like?”

“You couldn’t,” said Lind. “And you know it. But you and I and a good designer would work together, and we would produce an Abdullah that would give the right effect, though it might be far, far away from the real Abdullah of 1918. What would the real Abdullah be? Perhaps not as ugly as Eisengrim says, but certainly a piece of cheap junk. You and I, Harry, would show the world not simply what little Paul Dempster saw, but what he felt. We would even get that whiff of hot dwarf across to the public somehow. That’s what we do. That’s why we are necessary people.”

“Then the truth of the past can never be recovered?”

“Harry, you should never talk. Your talk is the least useful part of you. You should just stick to your cameras, with which you are a man of genius. The truth of the past is to be seen in museums, and what is it? Dead things, sometimes noble and beautiful, but dead. And cases and cases of coins, and snuffboxes, and combs, and mirrors that won’t reflect any more, and clothes that look as if the wearers had all been midgets, and masses of frowsy tat that tells us nothing at all. Once a man showed me a great treasure of his family; it was a handkerchief which somebody, on January 30, 1649, had dipped in the blood of the executed English King Charles I. It was a disgusting, rusty rag. But if you and I and Roly here had the money and the right people, we could fake up an execution of King Charles that would make people weep. Which is nearer to the truth? The rag, or our picture?”

I thought it was time for me to intervene. “I wouldn’t call either the rag or your picture truth,” I said; “I am an historian by training and temperament, and I would go to the documents, and there are plenty of them, about the execution of Charles, and when I had read and tested and reflected on them, I would back my truth against yours and win.”

“Ah, but you see, my dear Ramsay, we would not dream of making our picture until we had consulted you or somebody like you, and given the fullest importance to your opinion.”

“Well, would you be content to film the execution on a grey day? Wouldn’t you want a shot of the sun rising behind Whitehall as the sun of English monarchy was setting on the scaffold?”

Lind looked at me sadly. “How you scholars underestimate us artists,” he said, with wintry Scandinavian melancholy. “You think we are children, always beguiled by toys and vulgarities. When have you ever known me to stoop to a sunrise?”

“Besides, you don’t understand what we could do with all those wonderful pearly greys,” said Kinghovn.

“You will never persuade me to believe that truth is no more than what some artist, however gifted he may be, thinks is truth,” I said. “Give me a document, every time.”

“I suppose somebody has to write the document?” said Lind. “Has he no feeling? Of course he has. But because he is not used to giving full weight to his feelings, he is all the more likely to be deluded into thinking that what he puts into his document is objective truth.”