The Golden House

  (You remember I Confess? A murderer confesses his crime to a Catholic priest who is bound by the rules of the confessional to keep the killer’s secret. Hitchcock hated Montgomery Clift’s Method-acting techniques, and some people hated the film’s total humorlessness, but Éric Rohmer and Claude Chabrol praised the film for its “majesty” in Cahiers du Cinéma, pointing out that as the priest is silenced, the film is dependent on the actor’s expressions. “Only these looks give us access to the mysteries of his thought. They are the most worthy and faithful messengers of the soul.” Riya Zachariassen, hurrying across Manhattan at dead of night, was no priestess, but she was about to receive a confession. Would she keep the secret? If so, how would her looks and glances communicate what she knew? And: would possession of the secret endanger her life?)

  The past, his abandoned past on the storied hill. The hill had always been a magical place ever since Ram’s brother Lakshman shot an arrow into the earth and brought the faraway Ganges here to quench their thirst. An underground spring burst through the ground and they drank. There was still fresh water in the Banganga Tank. Baan, an arrow in Sanskrit, and Ganga of course the mother river. They lived among the living stories of the gods.

  And after the gods, the British, and in particular the Hon. Mountstuart Elphinstone, governor of the city between 1819 and 1827, who built the first bungalow on the hill and all the city’s grandees followed his example. Nero remembered the hill of his childhood, a place of many trees and some low elegant mansions with their red tiled roofs visible among the foliage. He walked in memory through the Hanging Gardens and watched his sons play in the Old Woman’s Shoe in Kamala Nehru Park. The first tower block was built on the hill in the 1950s and people laughed at it. Matchbox House they called it because it looked like a giant matchbox standing on its end. Who would want to live there, people jeered, look, how ugly. But the machis buildings went up and the bungalows came down. That was progress. But this was not the story he wanted to tell. He wanted to finish the story he began to tell me that day in the Russian Tea Room.

  (He let Riya in himself. They went to his darkened study and sat in darkness. She said nothing, or almost nothing. He had a long story to tell.)

  He first met the man he started calling Don Corleone around the same time as the theatrical release of The Godfather, back when he was getting his feet wet for the first time in the world of film production. At that time everyone else called the don Sultan Ameer. His crime family was S-Company, “S for Sultan, Super and Style,” as the don liked to boast. He was a big-time criminal, master smuggler, but people loved him because he allowed nobody to be killed and he was a sort of social worker at heart. Helped the poor in the slums and the petty shopkeepers also. Prostitution he did, it’s true; brothels in Kamathipura, yes, he ran them. Bank robberies, also. Nobody’s perfect. So, yes, on the whole, give or take, a Robin Hood type, you could say. Not true, not really, operating on that mega scale is not to be compared to a bunch of small-operator bow-and-arrow bandits in Sherwood Forest, UK, but people thought him a good guy, more good than rotten. He was the first celebrity gangster. Knew everybody, was seen everywhere. Police, judges, politicians, all in his pocket. Walked the city freely, without fear. And without gangsters like him half the movies people loved would not have been made. Major investors, the mafia dons. You could ask any big filmmaker. Sooner or later the mafia came to call, with bags of money in its hands.

  He trained the next generation, all local boys nurtured by him. What did Zamzama Alankar know about smuggling that Sultan Ameer didn’t teach him? He trained Zamzama (a.k.a. KG, for “Kim’s Gun,” or just the Cannon), he trained Little Feet, he trained Short Fingers, he trained Big Head, all the top guys. They, all five of them, loved movies, and Sultan Ameer had a film-star lover—this was the girl called Goldie, he poured money into dud movies trying to make her an icon—so naturally they went into the motion picture business. Nobody called it Bollywood then, that was a much later invention. Bombay film industry. Bombay talkies. It was just called that.

  (Bombay Talkie, if I may briefly interject, was and remains my favorite Merchant-Ivory movie, especially the song-and-dance number “Typewriter Tip Tip Tip” in which dancers pirouette on the keys of the giant “fate machine,” and the director explains, “As we human beings dance on them we press down the keys and the story that is written is the story of our fate.” Yes, we are all dancing out our stories on the Typewriter of Life.)

  So. Don Corleone in the Bombay talkies helped some falling stars regain their footing, Parveen Babi for example, also Helen. He was friends with Raj Kapoor and Dilip Kumar. His smugglers smuggled and his thieves thieved and his whores whored and his judges and politicos and cops did as they were told but up there on the silver screen at Maratha Mandir his movie Kuch Nahin Kahin Nahin Kabhi Nahin Koi Nahin, “Nothing Nowhere Never Nobody,” held the record for most consecutive weeks screened until of course that other bloody movie, The Bride Stripped Bare by Her Bachelors, Even, came on and broke every damn record in sight. But KN4, as people called his biggest hit, Sultan Ameer / Don Corleone was proud of that, his proudest achievement, he used to say, and he had his own name for it, “Everything Everywhere Everytime Everyone,” or “E4All,” because that’s what it was, all things to all people. And it was true his beloved Goldie never made it to the top, was never above-the-title as Hollywood types say, but she was happy, he bought her a big house in Juhu next door to the great Dev Anand and she could invite that living god over for samosas and cups of tea.

  And Nero: he was just a businessman, putting most of his energy into the construction business, going up in the world like his buildings, and also like everyone else in that starry-eyed city obsessed with the movies. He met the don at so-and-so’s beach house in Juhu, or maybe such-and-such’s, it wasn’t important. One of the two or three great hostesses who dominated the city’s glittering nightlife, let’s say that. They hit it off immediately and at the end of the night Sultan Ameer said, “Tomorrow I’m going to see Smita to narrate my new picture, why not come along?” With those words he seduced Nero forever and the businessman’s life started to move down a new path.

  Superstars—ultrastars!—didn’t read scripts. One went to them and narrated the picture, told its story, and made sure in the telling that the superstar’s role came across as the indispensable central element of the project. Smita was one of the most beloved actresses of her time, not just a beauty or a sex symbol but a wonderful, powerful actor. She led an outrageous life by local standards, carrying on openly with a famous star who was also a married man. In the end puritanism and vilification would drive her out of the business and she became a wounded recluse, but that was later, right now she was the highest of the high, on the pinnacle of Mount Kailash, a goddess of goddesses, the top. For Nero his meeting with her was one of the great events of his life, even though the narration didn’t go well, because the part required Smita to age, during the course of the film, from seventeen to maybe fifty-five. “You see,” the immortal personage said to the don, “I am so grateful you came to me with this, because most parts are not stretching, isn’t it, and what I want to do as an artist is to stretch, to expand, so this picture, I love it. I just love it. There are just one-two things, okay, I want to put them right out in the open, right on the table, because everything should be hundred percent agreed before we start shooting, isn’t it, when we are on set we should all be hundred percent pulling in the same direction, so can I say?” Of course, Sultan Ameer replied, this is why we are here, please. She frowned and looked in Nero’s direction. “And he is who?” she wanted to know. Sultan Ameer clucked his tongue and made a dismissive gesture. “Not to mind him,” he said. “He is just like that.” This diminished the frown. Then the celestial entity turned back to the don and said, “You see, as you narrated, the character becomes the mother of a nineteen-year-old girl. Now I have never—never in my life!—played the mother of a teenage child. This is my difficulty. You understand that the choices I
make, the pictures I choose, seriously affect the annual box office performance of our whole beloved industry, so I must be careful, isn’t it? I hear a voice speaking, from the public that loves me!—from the star that I am!—and the voice is saying—” Sultan Ameer interrupted her. “Storyline can be changed,” he said. “Tell your voice to stop speaking.”—But it was too late. “ ‘No,’ the voice is saying. ‘You owe it to the world.’ ”

  Nero, who sat silently in the corner, Nero who was just like that, was entranced. When they left the divine presence he said, “I’m sorry she didn’t like it.” Sultan Ameer snapped his fingers. “She will like it. Story is easy to shift. And maybe a Mercedes and if there is a suitcase in the dickey containing black money then, fataakh! Done deal.” He clapped his hands. Nero had just begun to nod to express understanding when the don added, “This can be your investment in the project.”

  “The Mercedes?”

  “And the suitcase. The suitcase is very important.”

  That was how it began. In the next few years Nero established a profitable sideline as the don’s money launderer and bagman. How did that happen? He just slid into it, driven by his obsession with the movie world. Stardust in his eyes, filmi glamour turning his head, and the money everyone made was crazy. Or, more accurately, there had always been a lawless side to him, the construction business was scarcely law-abiding, after all, it was crooked as corkscrews, as W. H. Auden might have put it. In those days the construction boom had begun and tall buildings, “matchbox houses,” were rising all around the city and Nero was at the heart of the transformation. In the new high-rise grab for the sky, how many laws were flouted or broken, how many pockets were lined to make troubles go away! The buildings went up and kept on going up beyond the number of floors authorized by the municipal corporation. Afterwards the electricity or water or gas authorities might threaten to cut off supply to the floors that should not exist but there were ways of smoothing those ruffled feathers. The movie star’s suitcase was by no means Nero’s first. It also happened that many of the new buildings were straightforwardly illegal, built without properly sanctioned plans, not conforming to the proper codes. Nero was guilty of such work also, but so was everybody, nobody was innocent, and like the other big builders he had friends in the other type of high places, so like everyone else he got away with everything he did. “The builder is the law,” he liked to say. “And the law is, keep on building.” Ethics? Transparency? Those were foreign words, words for people who didn’t understand the city’s culture or its people’s way of life.

  That was who he was. He knew it, his sons knew it, that was the way of the world. His friendship with Don Corleone a.k.a. Sultan Ameer unlocked the door to the dungeon in which the deeper lawlessness was lurking, waiting to be set free. Now there were starlets at his parties and cocaine in the bathrooms and he had moved from being a straight, suited-and-booted, ditchwater-dull high-rise builder with a blueprint and a briefcase to becoming a figure in the city in his own right. And with status came more business, and with business came more status, and so on, around and around. During these years he developed the frankly vulgar self-promotional manner which still hung around him like a flashy fur coat in his New York years. He moved his family into the luxury Walkeshwar home. He bought a yacht. He had affairs. His name glittered in the night sky from Andheri to Nariman Point. Life was good.

  There were many different ways in which money could be cleaned. For smaller sums there was smurfing, a way of breaking up dirty money into small amounts and using it to buy things like money orders or bankers’ drafts, which would later be redeposited in different banks, still in smallish amounts, and then withdrawn as laundered cash. Nero used this method for things like the money suitcases. But for larger projects, a larger-scale method was required, and the real estate business was the ideal vehicle. Nero became, to those in the know, the unacknowledged master of “flipping one” and “flipping two.” “Flipping one” was purchasing high-end, big-ticket real estate with black money and then quickly reselling it, usually for a profit, as prices were rocketing. The money from the sale was white money, clean as a whistle. “Flipping two” was buying property—with the seller’s agreement—for less than the market value, paying him the balance under the table in black money, and then proceeding to “flipping one.” Nero ran the largest real estate brokerage firm in the city and in underground parlance it became known as “Flipistan,” the country to which dirty money went for a vacation, to get cleaned up and come back with a nice honest tan. For a price, of course. Nero used Flipistan for his own black-money deals, but whenever members of S-Company asked for his services, he made a generous percentage on the deal.

  Then the sky fell in on Don Corleone. The prime minister’s son Sanjay Gandhi, formerly his drinking buddy, went after Sultan Ameer during his mother’s years of authoritarian Emergency rule and the S-Company godfather was convicted in courts controlled by Sanjay, not by him, and he was sent down for a year and a half. Curiously, just as the Emergency ended and Sanjay fell from grace, the don was freed. But he was a changed man, had lost his nerve in prison and found God instead. Even though they were both of the same religious persuasion Nero was a Muslim in name only and this new devout Corleone was not to his liking. The don gave up gangsterism and tried, unsuccessfully, to enter politics; the two men drifted apart. In the 1980s Sultan Ameer was withered and all but forgotten, beginning his long struggle against the cancer that eventually claimed him, and Nero was a big wheel. But an even bigger wheel had begun to turn.

  Before he was notorious, Zamzama Alankar was known for his mustache, a growth so thick and ominous that it seemed to be a parasitic organism originating somewhere deep inside his head, perhaps even in his brain, and growing down his nose until it reached the outside world, like an alien emerging onto his upper lip and bringing with it news of its host’s immense and dangerous power. It was a mustache that won a mustache competition back home in the coastal village of Bankot, but Zamzama was after far bigger game. He had been born the son of a policeman in that remote township on the shore of the Arabian Sea near an old sea fort, but, perhaps because his relationship with his stern father soured during childhood, he never had much time for the law or the officers who enforced it, whether on the water or on solid ground. He first rose to prominence because of his central role in the hawala system by which money was transferred from place to place by word of mouth and without paperwork—handed to a hawala broker in place A, who then, for a small commission, communicated receipt to a broker in place B, who paid an equal sum of money to the designated recipient as long as the recipient knew the password. Thus money “moved without moving,” in the words of the hawala, and there could be many more links in the chain if required. The system was popular because the commission paid by the client was far lower than in the normal banking system, and, in addition, the procedure could bypass problems such as variable exchange rates; the hawala chain fixed its own exchange rate and everyone adhered to it. The whole network relied on the honor of hawala brokers around the country and indeed the world. (Though if a hawala broker acted dishonorably, it would have been unwise to bet on his living to a ripe old age.) The system was illegal in India because, like smurfing and flipping, it was an effective means of money laundering, but Zamzama continued to operate it on a large scale, not only in the Indian subcontinent but also throughout the Middle East, the Horn of Africa, and even certain parts of the United States. Hawala wasn’t enough for him, however. He wanted to sit in the kursi, that is, on the throne of the underworld, and with Sultan Ameer out of the way in jail, he made his bid for power, assisted by his lieutenants Big Head, Short Fingers and Little Feet. He faced competition from the associates of a rival boss named Javed Greasy but he soon brushed the challenge aside, using a technique that came as a profound shock to all the members of Sultan Ameer’s relatively nonviolent crime family. The name of this technique was murder. The bodies of Javed Greasy and his family, laid out like fish on a sl
ab on Juhu beach at low tide, not only resolved the leadership issue; they also sent a message to the whole city, overworld as well as underworld. It was a new day, the corpses said. There was a new player in town, and there were new rules. S-Company was Z-Company now.

  His brother Salloo, known as Salloo Boot, had helped Zamzama establish his first foothold in the city by targeting the don of the Dongri district, Daddy Jyoti, and taking a bunch of his men to surround Daddy and his men and beating them severely with empty glass bottles of soda water, Campa-Cola and Limca. That got rid of Daddy, who was never seen again in the city, but a more serious gang war followed, against the Pashto gang from Afghanistan, who started in the money-lending business with offices in the ideally named Readymoney Lane, but moved rapidly into small-scale extortion, obliging little shopkeepers and small businesses to pay protection money, in the city’s slums as well as its markets. The prices at tailors’ shops, watch-repair services, hairdressers, and vendors of leather goods rose to cover the requirements of the racketeers. Prostitutes on Falkland Road had to charge their marks more as well. The costs of extortion could not be absorbed by businesses with such tight margins, so they were passed on to the consumer. In this way much of the city found itself paying, so to speak, an extra, gangland tax. But what to do? There was no option but to cough up.

  The Pashtos also decided to eliminate Boot and Cannon—that is, Zamzama—and hired Manny, a top dacoit or bandit from Madhya Pradesh, to do the job. Now it so happened that Salloo Boot had a dancer girlfriend, Charu, and one night in the early 1980s he picked her up from her home in Bombay Central and drove her in a Fiat toward a love nest in Bandra. But Manny and the Pashtos were on his tail, and surrounded the Fiat at a gas station where Salloo Boot had stopped en route. With genuine gallantry Manny and the Pashtos asked Charu to get out of the car and buzz off. After that they shot Boot five times and left him dead. They went as fast as possible to Zamzama’s base at Pakmodia Street to catch him off guard before news of his brother’s death reached him, but the building was heavily guarded and a major gun battle ensued. Zamzama was unhurt. Soon afterwards the Pashto leaders were arrested and charged with Boot’s murder. When they were standing trial a Z-Company shootist, a Christian killer called Derek, burst into the courtroom and shot them dead with a machine gun.