Far South Read online

  Far South

  Far South

  David Enrique Spellman

  Partially funded by an Arts Council of Wales Creative Wales Award.

  A complete catalogue record for this book can be obtained from the

  British Library on request

  The right of David Enrique Spellman to be identified as the author of this

  work has been asserted by him in accordance with the Copyright, Designs

  and Patents Act 1988

  Copyright © 2011 David Enrique Spellman

  All rights reserved. No part of this book may be reproduced, stored in a

  retrieval system or transmitted in any form or by any means, electronic,

  mechanical, photocopying, recording or otherwise, without the prior

  permission of the publisher.

  First published in 2011 by Serpent’s Tail,

  an imprint of Profile Books Ltd

  3A Exmouth House

  Pine Street

  London EC1R 0JH

  www.serpentstail.com

  ISBN 978 1 84668 810 2

  eISBN 978 1 84765 772 5

  Designed and typeset by [email protected]

  Printed by Clays, Bungay, Suffolk

  10 9 8 7 6 5 4 3 2 1

  You have in your hands extracts from the casebook of Juan Manuel Pérez, a private investigator, who was contracted to search for Gerardo Fischer, the founder and director of the Real and Present Theater Company. Fischer disappeared on January 9th 2006 from the Temenos artists’ colony in the hills near the town of Ciudad Azul, a lakeside resort on the western shore of the Lago Gran Paraíso, in the Sierras of Córdoba. Transcripts of witness statements, some written down later, have been interspersed with the casebook narrative, along with a thirty-page section of a graphic novel/diary that belongs to Damien Kennedy, the company’s set designer. More responses to Gerardo’s disappearance are available on the Far South Project website in text, film and image. The url-addresses or keywords are found in this book.

  Gerardo Fischer left South America, as did many others under political threat, in the early seventies and spent much of his life traveling the world, with longer stays in Rome, Sydney and New York. In 2004, he returned to Argentina to put on new theater productions including his adaptation of Fernando Pessoa’s Book of Disquiet.

  Our deepest thanks go to Juan Manuel Pérez for the materials from his casebook. This is his personal response to Gerardo’s disappearance and, as such, is as much his story as Gerardo’s.

  Clara Luz Weissman,

  Far South Project Coordinator.1

  Extract from the casebook of Juan Manuel Pérez

  January 10th 2006

  Hours: 16:00 to 17:30

  I first heard of the disappearance of the Uruguayan theater director, Gerardo Fischer, not long after four p.m. on January 10th 2006. I was stuck in a traffic jam in the town of Ciudad Azul. Ciudad Azul is beautiful lakeside resort about seven hundred kilometers west of Buenos Aires, in the Sierras of Córdoba. The hotels fill up in the summer with people trying to escape the heat of the city. No chance of that today, the temperature must have been around thirty-five degrees. The sun on the black metal of my Ford Executive had heated it up like an oven.

  My cell phone rang.

  A woman’s voice: ‘Is this Juan Manuel Pérez?’

  ‘What can I do for you?’

  ‘Are you the Juan Manuel Pérez who used to work for the federal police?’

  ‘That’s right.’

  ‘This is Ana Valenzuela from the Temenos Artists Colony.’

  I knew this woman. A few years previously, I’d been the investigating officer on two brutal robberies they’d had up there. And I’d put away a certain Pablo Arenas, and his nephew. Three bent local cops had sold Arenas the guns to do the robberies and had taken quiet money from him. They got jailed too.

  And that was the end of my police career.

  My car got trashed. I got death threats. Somebody – friend or friends to the cops we’d jailed – had decided to make life impossible for me. I kept getting assigned jobs that nobody else could be bothered to investigate. It was frustrating. Or I was paranoid. And I got a big mouth. Maybe I mouthed off once too often to the head of my division. I got fired. So these days, instead of robbery and homicide, I investigate cases that involve alimony and child support. Ana Valenzuela must have gotten my number from the ad I run in the local newspaper.

  ‘How can I help you?’ I said.

  ‘Gerardo Fischer, our theater director, is missing. You have to help us. Would you please come to the colony?’

  ‘How long has he been missing?’

  ‘Since yesterday afternoon.’

  ‘That’s not very long.’

  ‘His house… It was open… everything open… He’d never do that… He was due in rehearsal yesterday… and today… and nobody has seen him for… I don’t know… he’s gone.’

  She was distressed. This much was clear.

  ‘Have you called the local police?’

  ‘I have. But they said they’d pass it on to the missing persons office.’

  Of course they would. The department has some decent guys in the locality now, who genuinely protect people. But no way were they going to mobilize a search on a missing person case only just twenty-four hours after it was reported. This Gerardo Fischer might be in some local farmhouse with a mistress of his and might show up for dinner tonight.

  But Ana Valenzuela was panicked. She obviously thought that this was a kidnapping. We do have them from time to time but not like in the big cities. Ana wanted something done now. Immediately. I could understand that.

  ‘Please, you have to come.’

  ‘Okay. I’ll be there as soon as I can.’

  ‘You know Sara Suarez’s house? Come there, okay?’

  ‘Okay.’ I rang off. I saved Ana’s number on my cell phone.

  My first thought was that this was going to be a paying job. My second thought was that it was going to be better than snooping around motel rooms trying to snap pictures of couples having sex. And the third, my gut instinct was that something was radically wrong up at the colony.

  Could there be some connection between this Gerardo Fischer’s disappearance and the fact that Pablo Arenas, the man who had robbed the residents of the artists’ colony at gunpoint, had been released from jail not three weeks previously? It was possible. And I don’t like Arenas. Why should I? He got me kicked off the force.

  But my car was at a standstill at the road works. The municipality was building a major new overpass along the edge of the town, close to Gran Paraíso Lake. A tractor-trailer was parked in the middle of the roadway. A huge concrete bridge strut hung in mid-air dangling from the arm of a crane.

  I took off my shades and reached up to the rearview mirror to see how presentable I might be to a prospective client. A goatee in need of a trim, dark green shadows under my eyes, two days of stubble on my face and the stubble on my otherwise bald scalp made me look dingy. I guess I hadn’t been sleeping too well recently. I put the wraparound shades back on as if they might mask me. They didn’t. It was still me in the mirror, Juan Manuel Pérez. The not-cop.

  Out beside the tractor-trailer, a construction foreman barked into a radio handset. The crane arm swung the concrete bridge strut over the construction site. The air conditioning fan whirred. The red stop sign didn’t change to green at the head of the line of cars. I had a copy of the local newspaper on the passenger seat, La Voz del Interior. I lit a cigarette and cast an eye over the front page. The newspaper was still full of the international fallout over President Kirchner’s canceling of Argentina’s debt to the IMF. It made him popular with me at any rate. Lower down the page was a report on a robbery from the m
ilitary airport in Córdoba. Some cases of weapons had gone missing and an investigation was underway into the major security breach. Now that was something that the cops would have to move on fast. They’d commit a lot of manpower to that: far more than on a missing person case. I read as far as the third paragraph about some bogus catering service that had got a truck onto the base.

  The tractor-trailer moved off. The crane began to lower the strut into place on the bridge site, the traffic sign turned to green, and the cars ahead of me inched forward through clouds of dust kicked up by the earth-moving machinery.

  I got the Ford Executive in gear. I eased through the construction site. The road out of town was clear. I accelerated up the hill, going west, passed the cookie factories and the roadside barbecue restaurants. I turned down Route 60 toward the village of El Naranjo Campanil.

  Open country, foothills of the Sierras, rolling hills with grass and rocks and scrubby trees, a roadside shrine to the Madonna. After ten kilometers, I turned off Route 60 and onto a dirt road. After six kilometers of washboard rises and washed-out cambers, dry streambeds and stands of trees, and easing around recently exposed rocks, I pulled in through the gate of the artists’ colony.

  It was called Temenos. They called it that because Temenos in Greek means ‘sacred space.’ In Spanish, it’s an order, an imperative: it means ‘Fear us.’ You wouldn’t think many people would fear this bunch of artists. That had proved to be a serious mistake for two of the people who had tried to rob them. One of the would-be robbers was dead. Pablo Arenas had lost a finger and the piece of an ear. But now the son of a bitch had just been released from jail.

  I let the cloud of dust settle behind my big black car. I took another look in the rearview mirror but I didn’t see any improvement in the way I looked. My mouth was stale. I got out of the car.

  A furious barking of dogs came from inside Sara Suarez’s house. The house curtains twitched for a second and then the door opened. Sara came out onto the terrace. She was a stocky woman, about fifty-five years old, dressed in shorts and a kind of cotton smock. The young woman who’d called me, Ana Valenzuela, was behind her: dreadlocks piled up on top of her head; a cotton slip and surfer shorts. I lit a cigarette. Sara looked like I was bringing her the worst news she’d ever heard in her life. Ana was pale. And the dogs made me nervous.

  ‘Hi,’ I said when I reached the terrace.

  ‘Come in,’ Sara said.

  The dogs barked behind a door to the living room.

  ‘We’ve talked to everybody on the property,’ Ana said. ‘Nobody’s seen him. Gerardo was due at rehearsal yesterday evening… and again this morning… and he never misses a rehearsal, ever. The least he would do is to let us know.’

  ‘What about friends of his off-site?’

  ‘We’ve called everyone we know,’ Sara said. ‘And we called the hospitals as well in case he’d been involved in some kind of accident.’

  ‘His house was left open,’ Ana said, ‘and when I went in there was no sign of him or his computer and we haven’t heard anything from him since yesterday morning.’

  ‘Any sign of a break in, robbery, anything like that?’

  ‘No,’ Ana said. ‘Just his laptop was missing, nothing else.’

  ‘He owned the house?’

  ‘No, he was just staying there while we developed a new play based on Pessoa’s Book of Disquiet,’ Ana said.

  I like to read. I’ve got a good library at home. I know that book. I didn’t see how they could ever adapt anything from it. But that wasn’t my business.

  ‘His car?’

  ‘Still in the parking lot,’ Sara said.

  That wasn’t a good sign.

  ‘Let’s hope a friend came by to pick him up. Maybe they’ve gone for a ride somewhere and he’ll just turn up.’

  Ana and Sara exchanged a glance of panic.

  ‘Don’t worry. We’ll go down to his house, now… take a look around.’

  ‘You go with him, Ana,’ Sara said. ‘I’ll stay here by the phone.’

  ‘Look. I hate to bring this up but… I’m not a cop anymore. I work privately now. Do you understand?’

  ‘Don’t worry,’ Sara said. ‘We can cover your fees, I’m sure.’

  I nodded.

  ‘I’m a little expensive. I’ll need a retainer fee of one thousand US dollars up front to cover my time and expenses.’

  ‘That’s fine,’ Sara said.

  ‘In cash, if that’s not inconvenient.’

  Sara and Ana exchanged another glance.

  ‘It will take a couple of days,’ Sara said.

  ‘That’s okay.’

  It might take time to raise a thousand dollars in cash and this Gerardo Fischer might have turned up by then. If he did turn up, I needn’t charge them the full amount. But I didn’t want to say that.

  ‘We can deal with the details tomorrow,’ I said.

  ‘Shall we go to the house?’ Ana said.

  ‘Yeah, let’s go.’

  A red dirt trail led downhill from the terrace behind Sara’s house. Ana Valenzuela led me through Temenos. She was small, about a meter and a half, no more, but her tight white t-shirt clung to the curves of her body. She had a colored sarong tied around her waist. Her skin was a golden brown and her natural blonde hair caught the light so it showed up on her arms, a little downy around her upper lip, but not unattractive. On her left forearm she had some kind of oriental letters tattooed in blue.

  It was still hot to be walking under the late afternoon sun despite the breeze in the hills. The Artists Colony was made up of small houses built on little plots of land among rocky outcrops and small areas of pine and eucalyptus. A large meeting hall or theater stood on a piece of flat land near the center of the property. We kept going downhill until we reached Gerardo Fischer’s house. It was a low one-story affair with steel grills on the door, shutters on the windows, and a low, stone wall around the perimeter of the plot. Ana unlocked the padlocks and the mortise locks and we went into the kitchen. It was cooler in here. There was no living room as such. I saw no obvious signs of any break-in or violence. Why would I? She said on the phone that she’d found the place wide open.

  ‘What time did you say it was, when you found out he was missing?’

  ‘About two-thirty,’ Ana said. ‘I’d just been to the river. I was still in a swimsuit and a sarong…’

  I could imagine her in a swimsuit, her dreadlocks all wet.

  ‘I was just passing by,’ she said, ‘when I saw that the steel grid over the kitchen door was wide open. That was unusual. Gerardo should have been taking his siesta… but why hadn’t he locked up first? I came in through the gate. I just knew that something was wrong.’

  http://bit.ly/farsouth2

  Witness Deposition:

  Ana Valenzuela (Extract 1)

  The kitchen was empty. The windows were wide open. I went along the corridor to the bedroom. The bed was unmade. The upper sheet was all twisted. The pillows had fallen off. I went over to the window. Down below in the orchard, the hammock was empty. It was hanging between two plum trees. A gray pampas fox was eating the fruit that had fallen into the dry grass between the roots of the trees.

  A fox eating fruit, I thought, how come?

  I called out: ‘Gerardo!’

  The fox raised its head. It looked straight at me. I felt this crawling-like static across my skin and my shoulders. My mouth was dry. Everything felt wrong. I saw that Gerardo’s laptop wasn’t on the desk by the bedroom window. I thought, he’s missing. Disappeared. All these terrible thoughts in my head: if Gerardo’s been kidnapped, who would pay the ransom? Gerardo has no family. I don’t know where his money comes from. Then again, Gerardo always seemed to have money: money to move from country to country whenever he wanted. Maybe he was involved in some business I know nothing about?

  I never knew him to do any drugs. No marijuana. No coke. Nothing. A criminal would have been better off kidnapping me, because my parents have money. The sw
eat turned cold on my skin. The terrible anxiety at not finding him just flooded into me.

  I love him so dearly… like… what? I don’t know. It was the work he did with me… he made me bring things out on stage I had no idea I was capable of doing. He’s so much older than me but he always related to me in the theater space with so much respect. I love him… I mean… but he’s about the same age as my father, you know. There’s such a difference between them: my father’s a businessman, he makes a lot of money, and Gerardo only just about makes a living as the director of the company… Gerardo lived in exile during the years of the dictatorship while my father never seemed to have been affected by it at all. I think my father knew people in the junta… but I’m not going to talk about that… Gerardo was gone. I wanted to call someone with my cell phone. Get some advice. Sara up at the colony. She’s always so practical. Pragmatic.

  I thought, well, she’ll know what to do.

  I took out the cell phone. No signal, of course.

  I thought, should I lock up the house and find a place where I can call? Or wait for Gerardo to get back? He’s not coming back. I knew that. I went into the bedroom again. Crossed to the window. The fox had gone from under the hammock. Maybe Gerardo had turned into a fox and disappeared… I wish…

  Extract from the casebook of Juan Manuel Pérez

  January 10th 2006

  Hours: 17:30 to 18:50

  ‘How old is Gerardo?’ I said.

  ‘Close to sixty, I guess,’ Ana said.

  I couldn’t see this young woman, at most in her late twenties, with dreadlocks and tattoos sleeping with a sixty-year-old guy… but you never know.

  ‘Is there anyone who might have a grudge against him among the people here?’

  Ana’s blue eyes fixed on me. She shifted back on the kitchen chair.

  ‘I don’t think so.’ She shook her head. Maybe there was someone but she didn’t want to say.