[Nyarlathotep] Chapter Four: Milano

[Lev Lafayette]

(I do intend to finish these before we start Masks of Nyarlathotep...)


Chapter Four: Milano
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Le Journal De Hercule Poirot, Saturday, January 14th, 1923. Milan.
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The journey into Italy was somewhat difficult with the train held up at
the Simplon tunnel at Brigue, and with the new style of government being
most officious and even efficient, although contrary to the belief most
popular, they are not making the trains run on time. Prior to Laussane
however, Senhor Garcia made the acquaintance of one Caterina Cavollaro, an
operatic singer of some, let us say "note", n'est-ce pas? Naturellement we
sought her acquaintance on arrival and Milan, especially since we had
received tickets to her perfomance, and she had booked hotel rooms in
advance for us. Senhor Garcia obviously made some impression on the young
woman.

We did not arrive at Milan until after one in the afternoon and it was not
as we expected, the station looking that it had been subject to a military
attack - we were informed that it was simply under development. Shortly
afterwards, we discover that the operatic singer had been missing for some
days. After her arrival at Milan she was seen taken intoa black car that
was waiting to collect her and not seen since. The newspapers also mention
that she had not been seen at her rehersals at La Scalla. People lolled
around the city as if they were in some sort of daze.

Nevetheless, to keep our spirits up we travelled to various vantage
points, like travelling tourists. Of particular note was a cathedral, Il
Duomo, most magnificant. We noted three elderly women who were praying for
the the singer, and conversed with a young priest, Father Angelico, who
had some skill at English. In the cathedral Frau Weismuller also espied a
chameleon, an unusual creature for such a latitude one would think, but
before she could catch the lizard, we were disturbed by a cackling thin
elderly man who dropped a glass jar of dead moths. When we looked back,
the lizard had gone, and then so had the man.

We thought this much strange, but decided to retire as the sun was setting
and a chill was coming in from the north. Having an enjoyable dinner, we
turned in for the night, but were awoken at midnight by the sounds of a
voice that could only be Caterina Cavollaro. We went into the Galleria,
wondering if we were all encountering a collective hallucination, but no,
many members of the public had also heard the singing and were out in the
streets. Mr. Fraser heard a scuttling sound and we ran down a small
alleyway to witness the fading of the singing voice as a chameleon
scampered over the wall.

Could it be that lizards sing? I confess I find it difficult to sleep with
such considerations. Am I going mad?


Le Journal De Hercule Poirot, Saturday, January 14th, 1923. Milan.
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Arising late the following day, Frau Weissmuller pointed out the mural in
the Galleria above our rooms seemed to have changed. The newspapers
continued the stories of the missing singer, which indicated the name of
the understudy, one Rosario Sorbello, and that accidents have been
occurring at the props department. Immediately we took the opportunity to
travel to the Teatro alla Scala, where we received ingress through the
stage door following the application of some compliments by Frau
Weismuller towards the large doorman.

Inside, it was complete chaos. At first we saw a great number of plaster
limbs, leading us to think that perhaps some component of the Similcrum
was located here. A large chariot wheel was rolled down a narrow corridor,
running over my foot causing great pain. Keeping closely together in this
madhouse that they call theatre and inmates they call actors, we
eventually sought out the stage and props manager, Paolo Rischonti.
Signore Rischonti gave us information most interesting of how a curse had
caused much suffering and turnover among staff; pneumonia, consumption,
gastro-entertitis, asthma, appendicities, and dermititis of the chest.
All, I note, illnesses of the torso. Signore Rischonti however noted that
the new woman, Lisa Visconti, had not succumbed to this illness, and so
therefore we chose her to be the next person we communicated with.

Another journey through the madhouse, this time to the costume department.
Through narrow corridors, up rickety stairs. Who, I ask myself, chooses
the actor's life willingly? We talk to Visconti, who works with the very
same elderly women that we saw yesterday at the cathedral. Of particular
interest is, thanks to Signora Visconti, we learn that the is another
dummy that has been moved, a recent one, a mere six years old, which made
them feel uncomfortable. Thinking that we have located another component
of the Sedefkar Simulcrum, we make our way downstairs, but are blocked by
the doorman, who informs us we are to leave as he has received complaints
about us getting in the way of the actors. Perposterous!

Fortunately, we have tickets for the opening performance, kindly provided
my Signora Cavollaro, and the attendance is most interesting. Some three
thousand people pack into the massive Teatro, an overwhelming experience
in itself. As the performance begins, it begins with a scene from the
story of Radames and his proposal of marriage to Aida, which Frau
Weissmuller was able to provide knowledge of the entire story, such is her
knowledge of Egyptian myth and ancient history. As the understudy sings
Aida's now familiar piece, the entire audience seems to drawn in, as if
participating in some ritual (I have grown much suspicious of such events
now).

Suddenly we hear none other than the voice of Signora Caterina Cavollaro
herself, an event most unexpected. Surprisingly more, it is coming from a
wizened old man, whom we recognise from the Cathedral the day previously.
Although in shock we make moves towards this old man who sings with the
voice of a young woman. Sergio notices that the old man is accompanied by
a elderly woman and four men whom we can only presume are thugs, based on
their physique, sullen looks, and their expensive suits.

As we approached the old man, they stood to prevent us, and soon there was
a wild melee in the middle of the Teatro, as the show tried to continue.
At the next scence of the Temple of Ptah, the suit of Radames armour was
revealed, and with it the torso section of the Simulcrum. The old man and
two of his men took to the stage to wrestle the torso of armour, whilst
the others turned to gunfire! We escaped as the crowd panicked, taking to
the staqe door, where in the alleyway the gunfight continued. Eventually
however, the doorman Marco Baldo came to our aid. The old man was dead,
wounded by a bullet, but strangled by the elderly woman with him.

It was Sergio who first recognised the possibility that the woman could
have been Signora Cavollaro. Her body shrivelled with age, and her voice
completely gone, taken by an evil ritual which transferred the vocal
chords. Signore Baldo seemed to recognise what remained of her as well,
and the wickedness that had occurred. He let us depart with the torso,
even though it was the property of the Teatro.

Le Journal De Hercule Poirot, Sunday, January 15th, 1923. Milan.
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After a restful morning, we arrive at Milan station at thirteen and half
hours. Train delayed by heavy snowfall in Switzerland. For the next five
hours we are at the wreck of a train station, avoiding the dust and
boredom. I complete many annotations to my journal and read the newspapers
of the world from cover to cover. Discover that thousands of Nazis march
in Berlin and denounce French reparations and annexations. Frau
Weissmuller attempts to convince us that the complaints are justified.
Surprisingly Mr. Fraser also agrees, and suggests that the unfairness of
reparations will drive Germany to extremism.

Finally the train depart Milan at eighteen hundred hours. We are, at last,
on our way to Venezia.


-- 
Lev Lafayette, BA (Hons), MBA, GCertPM
mobile:  0432 255 208
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