“Besides which,” Sziklai smiled, “the Firefighters’ Platform is naturally waiting for you with open arms, old chap,” and he related to a happily dumbfounded Köves that while Köves had been away in the army, he, Sziklai, had not been “loafing about” either. It may have taken time, and it was not without its difficulties, but he had managed to get “the managers” to understand that rather than using their own amateur-dramatic society, the job of gaining the fire brigade mass appeal would be done much more effectively and successfully by well-known professional actors who were beloved by all, insofar as he could persuade them to place their talents in the service of the fire brigade, at least for one night. Now, one could not expect professional actors “to play any old role,” so that meant professional writers needed to be won over, like the actors, to the idea of placing their skills at the fire brigade’s disposal and each put together an evening of entertainment which, at a professional level, skilfully and effectively blending tragedy and comedy, was drawn from the subject matter of firefighting, or at least somehow touching on it. Consequently, since they were talking about professionals, it would not do to forget about the customary fees which would be owed them; indeed, it would do no harm — given that they had to be won over to a line of duties which was out of the ordinary, not to say special — to offer something a touch over the customary. That was how the Firefighters’ Platform had come into existence: a small touring company which played in towns and villages alike, and every other month presented a new programme, generally consisting of a compering role and “sketches.”
“The compere’s lines are always written by me,” Sziklai pointed out with an obdurate expression on his face, as though Köves might have some idea of denying him, “and I always write one of the sketches, as does my boss, the deputy commander … seeing as how he has lately discovered the inner writer in himself … you know how it is,” he winked at Köves, “… and from now on you will write one of them, and then we could even do yet another one as co-authors, under a pen name, though we’ll actually write all three of them together, of course, old chap.” Provided he could make do with little, then, Köves would be able to make a living from sketches and newspaper articles — that is, until the light comedy was completed, of course, when they would be dealing with success and never again be tormented by financial concerns, Sziklai spurred him on before raising an arm to ask Alice over to their table, more than likely wishing to anoint their high hopes with a higher-class hooch, except that in Alice’s place a greasy-faced, flat-footed, paunchy waiter waddled over, for one fine day, to the great sorrow of all the South Seas’ regulars, Alice had vanished from the coffeehouse.
“Where to?…,” Köves was astonished, but he asked Sziklai, and later others too, in vain. She had handed in her notice one day and just vanished, and her post had not been filled since: obviously at the back of it was that dubious, disagreeable, and freakish character, likewise not seen since, on whom Alice had wrongheadedly squandered her time, her attractions, and, no doubt, her earnings as well — that was about all he managed to find out, though when he probed a bit more thoroughly it immediately became clear that this was all just speculation, the only certainty being that Alice was no longer in the South Seas.
Another face that, although once so familiar, had been missing even longer now, rather like Köves, turned up again out of the blue. This face had changed, everyone agreed on that: it had become longer and yet somehow wizened, a bit decrepit, but it was still the same face that, even so, looked down on the others from a towering height from over a bow tie of uncertain colour: it was Tiny, the pianist, and his appearance, as Köves was able to observe with wonderment, was by no means greeted with joy on all sides, more with a certain amount of embarrassment. There was a rumbling in the South Seas, rather like the rumble of a wave suddenly dashing on a rocky channel, and that was how backs and heads moved, rising and falling in alternation on the wave, though only a few people — at the musicians’ table, for example — stood up to welcome him, and rather hesitantly at that, with a cautious, somehow crooked smile on their faces, whereas others carried on their momentarily interrupted conversations as if nothing had happened, particularly a large male group, all in black tails underneath which each wore a red silk cummerbund: the members of the Tango String Band, until all at once there was a scraping of a chair being pushed back, though with a noise more befitting a throne than a mere chair, and from it, with the assistance of nimble hands placed under the elbow, the Uncrowned staggered to his feet, threw his stubby arms apart, and with much puffing and blowing, sweating profusely, embraced the stupefied musician (or to be more precise, leapt at his neck), and however strange the spectacle offered by the embrace of these two portly men — the smaller one and the giant — the South Seas regulars were nonetheless able to regard the Uncrowned’s act as constituting some sort of solemn proclamation, so to speak, an authorisation, indeed invitation, because, as if waiting for a signal, all at once now almost everyone jumped up, so that they too might hug the pianist or shake his hand, or at least touch the hem of his jacket, pass him from hand to hand, to celebrate and ask him about his sufferings.
Later on, though, he became the centre of endless, heated debates: Köves could only wonder at how much excitement, emotion, and passion which, lacking a specific object, must have been seething hitherto in the South Seas, nebulously like cigarette smoke, for it now all to condense suddenly around, as it were, the magnetic personality of Tiny, the pianist, and coil around, bubble like a maelstrom in the form of sharp reproofs, embittered outbursts, indeed veiled accusations and barely concealed mutual threats. There were cases where, with arguments running low, or when people tired of reasoned argument, they simply hurled short slogans tersely from table to table (by then the musicians had split between two tables, with Tiny’s supporters at one and their opponents, the Tango String Band to the fore of course, at the other, though there were some who sat today at one and next day at the other, indeed, even some who did not take a seat at all, but scampered between the two tables, perhaps unable to make up their minds, perhaps mediating conciliatorily or, on the contrary, further fuelling the antagonisms, who could tell) — battle cries like, for instance, “Tiny to the piano!” which would elicit the response, “You can’t blackmail us!” even though Tiny had no wish to sit down at the piano, so there could be no question of any blackmail either, as gradually became evident to Köves at any rate. The hefty disputes, the most serious arguments, of course, were aired at the Uncrowned’s table, and Köves, who caught only snatches of what was said, gathered it was about whether Tiny, who as a result of the changes everyone knew about — or, to be more correct, that no one at all knew about precisely, and yet were still obvious to everyone — had, from one day to the next, been released from the agricultural labour to which he had been carted off, and whose carting-off moreover was judged as “lacking any legal foundation,” notwithstanding which he had not been given back his job (“the piano he was hauled away from”); so, whether Tiny should be satisfied with whatever work he could get, and resign himself to possibly having to play in some out-of-the-way dive or not compromise and hold out — through the courts if need be”—to regain his original position, currently being usurped by the Tango String Band.