The following day, after Helena had gone out, António Claro phoned Maria da Paz's house. He did not feel particularly nervous or excited, silence would be his protective shield. The voice that answered was flat, with the hesitant fragility of someone recovering from some physical ailment, and yet although everything indicated that the voice belonged to a woman of a certain age, it did not sound as frail as that of an old woman, or, if you prefer euphemisms, an elderly lady. She did not say much, Hello, hello, who is it, say something, will you, hello, hello, honestly, how rude, a person can't even get any peace in her own home, and she hung up, but Daniel Santa-Clara, although he does not orbit the solar system of the really famous actors, has an excellent ear, for relationships in this case, and so it was easy for him to work out that the elderly woman, if she isn't the mother, is the grandmother, and if she isn't the grandmother, she's the aunt, excluding out of hand, because it bears no relation to actuality, that tired old literary cliché of the old-servant-who-never-got-married-out-of-love-for-her-master-and-mistress. Obviously, given his method of approach, he still doesn't know if there are any men at home, a father, a grandfather, an uncle, or a brother, but António Claro need not worry overmuch about such a possibility, since, in every respect, in sickness and in health, in life and in death, he will appear before Maria da Paz not as Daniel Santa-Clara, but as Tertuliano Máximo Afonso, who, while they may not fling wide the doors for him, either as friend or lover, must at least enjoy the advantages of a tacitly acknowledged relationship. Were we to ask António Claro what his preference would be, in accordance with the objectives he has in mind, as to the nature of the relationship between Tertuliano Máximo Afonso and Maria da Paz, whether they are lovers or friends, we have no doubt whatsoever as to his reply, that if the relationship were merely one of friendship, it would not hold half the attraction for him as it would if they were lovers. As we can see, the plan of action that Antonio Claro has been working on has not only advanced greatly as regards the setting of objectives, it is also beginning to grow in strength as regards the motivation it previously lacked, although that strength, unless we have made a grave error of interpretation, seems to be based entirely on malevolent ideas of personal revenge that the situation, as we see it, neither promised nor in any way justified. True, Tertuliano Máximo Afonso did challenge Daniel Santa-Clara directly when, without a word, and that, perhaps, was the worst thing, he sent him the false beard, but with a little common sense, the matter could have ended there, António Claro could have shrugged and said to his wife, The man's a fool, if he thinks he can provoke me that easily, he's very much mistaken, throw it in the bin, will you, and if he's stupid enough to repeat this nonsense, then we'll call the police and put a stop to this whole story once and for all, whatever the consequences. Unfortunately, common sense does not always appear when it is needed, and its brief absences have often resulted in some major dramas and in some of the most terrifying of catastrophes. The proof that the universe was not as well-thought-out as it should have been lies in the fact that the Creator ordered the star that illumines us to be called the sun. Had the king of the stars borne the name Common Sense, imagine how enlightened the human spirit would be now, both by day and by night, because, as everyone knows, the light we call moonlight comes not from the moon but always and solely from the sun. It's worth considering that the reason so many theories about the origin of the universe have been created since the birth of speech and the word is that all of them, one by one, have failed miserably, with a regularity that augurs rather ill for the one that, with a few variations, is currently in vogue. Let us return, however, to António Claro. It is clear that he wishes, as soon as possible, to meet Maria da Paz, and that, for entirely wrongheaded reasons, he has become obsessed with revenge, and, as you will no doubt already have noticed, there is no power in heaven or on earth that will dissuade him from this. Obviously, he cannot go and stand outside the building where she lives and ask every woman who goes in or out, Are you Maria da Paz, nor could he entrust himself to the hands of chance and fortune and, for example, walk up and down her street once, twice, three times and, on the third occasion, address the first woman he saw, You look like Maria da Paz, you can't imagine what a pleasure it is finally to meet you, I'm a movie actor and my name's Daniel Santa-Clara, allow me to invite you to a coffee, it's just across the road, I'm sure we're going to have lots to talk about, ah, the beard, yes, I congratulate you on your perspicacity, on not being deceived, but I ask you, please, don't be alarmed, keep calm, when we can meet in some more private place, a place where I can remove the beard without danger, you will see before you a person you know well, intimately I believe, and whom I, without a flicker of envy, would congratulate were he here, our very own Tertuliano Máximo Afonso. The poor woman would be utterly overwhelmed by the prodigious transformation, which would, however, be quite inexplicable at this point in the narrative, for it is vital to keep in mind the fundamental, guiding idea that things should patiently await their moment and not push or reach over the shoulders of those who arrived first, shouting, I'm here, although we would not entirely reject the hypothesis that if, occasionally, we did let them through, certain potential evils might lose some of their virulence or vanish like smoke in the air, for the banal reason that they had missed their turn. This outpouring of thoughts and analyses, this benevolent scattering of reflections and their offshoots over which we have been lingering, should not make us lose sight of the prosaic reality that, deep down, what António Claro wants to know is if Maria da Paz is worth it, if she is really worth all the trouble he is going to. If she was unattractive, as thin as a rail, or, on the contrary, suffering from an excess of fat, neither of which, we hasten to add, would constitute any great obstacle if love were playing a part, then, we would see Daniel Santa-Clara taking a rapid step backward, as must have happened so often in the past, during encounters based on friendships formed through correspondence, the ridiculous stratagems, the ingenuous means of identification, I'll be carrying a blue parasol in my right hand, I'll be wearing a white flower in my buttonhole, and, in the end, no parasol and no flower, perhaps one person waiting in vain at the arranged spot, perhaps neither, the flower thrown hastily into the gutter, the parasol hiding a face that preferred not to be seen. Daniel Santa-Clara, however, need not worry, Maria da Paz is young, pretty, elegant, with a nice figure and a good character, that last attribute, though, is irrelevant to the matter at hand, for, nowadays, the scales on which the fate of the parasol or the destiny of the flower were once decided are not particularly sensitive to considerations of this nature. Meanwhile, António Claro has an important problem to resolve if he does not want to spend hours and hours hanging about on the pavement outside Maria da Paz's building, waiting for her to appear, with fatal and dangerous consequences arising from the natural apprehensions of the neighbors, who would, in no time, be phoning the police to alert them to the suspicious presence of a bearded man who certainly wasn't there just to keep the building propped up. He must have recourse, therefore, to reason and to logic. It is likely that Maria da Paz works, that she has a regular job and leaves and returns at regular hours. Like Helena. But António Claro does not want to think about Helena, he tells himself that the two things have nothing to do with each other, that whatever happens with Maria da Paz will not put his marriage at risk, you could almost call it a whim, of the kind to which men are said to be so easily prone, if, in the present case, the right words were not vengeance, revenge, retaliation, retribution, redress, reprisal, rancor, vindictiveness, if not the very worst of them all, hatred. Good heavens, how ridiculous, where will it all end, cry those happy people who have never come face-to-face with a copy of themselves, who have never suffered the terrible affront of receiving in the post a false beard in a box without even a pleasant, good-humored note to soften the blow. What is, at this moment, going through António Claro's head will show to what extent, and contrary to the most elementary good sense, a mind dominated by base feelings can make its own conscience fall in with them, slyly forcing it to reconcile the worst actions with the best reasons and to use both to justify each other, in a kind of double game in which the same player will always win or lose. What António Claro has just thought, incredible though it may seem, is that taking Tertuliano Máximo Afonso's lover to bed under false pretenses would, as well as being a way of returning the slap in the face with a still more resounding one, be the most extreme way, now can you imagine anything more absurd, of avenging his wife Helena's wounded dignity. However hard we pleaded, Antonio Claro would be unable to explain what extraordinary offenses these were that could, theoretically, be avenged only by a new and no less shocking offense. This has now become in him an idée fixe, and there is nothing to be done. It is something of an achievement that he is still capable of returning to his interrupted reasoning, when he recalled that Helena was similar to Maria da Paz in having work obligations, a regular job, and particular hours for leaving and returning. Instead of walking up and down the street in the hope of some highly unlikely chance encounter, what he should do is get there really early, stand somewhere inconspicuous, wait for Maria da Paz to come out, and then follow her to work. What could be easier, one might think, and yet how wrong one would be. The first problem is that he does not know if Maria da Paz, on leaving her building, will turn left or right, and therefore to what extent the position he chooses to keep watch from, as regards both the direction she chooses to take and the place where he will leave his car, will complicate or facilitate the task of following her, not forgetting, and here is the second and no less serious problem, the possibility that she may have her own car parked outside the door, which would not give him enough time to run back to his car and join the traffic without losing sight of her. What will probably happen is that he will fail completely on the first day, return on the second to fail in one respect but succeed in another, and then trust that the patron saint of detectives, impressed by his pertinacity, will take it upon himself to make the third day a perfect and definitive triumph in the art of following a trail. António Claro will still have one other problem to resolve, relatively insignificant, it is true, compared with the enormous difficulties already overcome, but which will have to be dealt with using a remarkable degree of tact and spontaneity. Apart from when he has to drag himself from between the sheets when obliged to do so by work, an early-morning shoot or one taking place outside the city, Daniel Santa-Clara, as you will have noticed, prefers to remain snug in his bed for one or