How do you estimate my etymological efforts?. Well, and since I’m here, perhaps, it’s time to crawl into this one-person Chinese pagoda of mine. What I do like about it are these folding bamboo rods. Some cleverly designed gizmo – a dozen half-meter tubes assemble into the pair of three-meter-long elastic poles to stretch the tent over them. And this mosquito net at the entrance works fine – zip it up, and no mosquito can fly in. Buzz outside, bloodsuckers! Fig at you!

Now I’ll take off my shirt and pants, get into this sleeping bag “Made in Germany”, get warm and all the king’s men can’t make you feel cozier.

It feels good when such an ancient civilization and so technocratic nation, from East and West, work for you. Although, when you come to think about it, these 2 are only manufacturers who put to use the ideas accumulated by the humans as a whole. Any widget, even the most sophisticated one, rolled out by this or that advanced nation is the mutual achievement of mankind, to which the Amazonia Indians contributed also by the mere fact of their existence. But they, just like me, have to pay for things from public domain.

Look at this zipper here: you know who invented it? Me neither, but hardly they were the Liang Jin dynasty or, say, Kaiser Wilhelm…)

~ ~ ~

The stage is a complex mechanism, in addition to the block system for operating the curtains, besides the electrical board full of fuses, switches, buttons to control its diverse illumination, you will also find up there, high above the stage, a whole cobweb of metal beams for hanging drops, lamps and side wings.

At concerts, we not only stood beside virtuoso accordionist Ayeeda, and not only shot the breeze with Moldovan-Ukrainian peacocks made in the Ballet Studio before their dance was announced, no, we were also exploring the mysterious world of the backstage. There was discovered a vertical iron ladder to a short catwalk, from which you could climb the beams under the roof and cross over to the opposite side of the stage, where was another catwalk but without any ladder, so retrace your Tarzan-walk thru the flies you, short-sighted Chung!.

But still, what possibly could be there – behind that lumber partition stretched high above the stage from one wall to the other? Ha! The attic must it be! Over the auditorium!.

And thus was conceived and matured the plan for getting free access to movie shows at Club – thru the attic to the catwalk, down the ladder to the stage, wait for the lights to go out, dive under the screen, take a vacant seat, sit back and enjoy the show!

On the first floor of Club, next to the movies list painters’ room there was a door eternally ajar to the Plant territory where the Club wall got furnished with a comfortable iron stairway running up to the very roof that had a dormer for easy access to the attic. So, it only remained to penetrate the plank partition which separated attic from the stage. Kuba, for some reason, refused to participate in moving the problem of penetration out of the way to free cinema and the realization of so brilliant a plan was left to me and Skully.

Before long, one dark and windy winter night, we smuggled the ax from the Skully’s shed to the Plant territory over one of frequent stiles in the concrete wall. Without any delay or obstacle, we approached the Club building, climbed to the attic and looked around…

The extensive space harbored some incomprehensible metal disk in the middle, about 2-3 meters in diameter and somewhat-less-than-a-meter tall, under a one-piece cover also of metal, a kinda jumbo casserole lid. Moving it tad bit aside, we discovered that the disk was hollow and its round bottom much deeper than you might suppose considering the object from outside. The frequent narrow slits cut the bottom in a spoke-wise pattern reaching neither the hub not the rim in the unknown contraption. The location of the "casserole"-disk as well as the outline of the slits in the bottom suggested that it was from where the giant chandelier adorned with dangling pieces of milky glass hung into the auditorium. The guess was promptly confirmed by the burst of dogged assault-rifles rounds interspersed by booms of explosions coming up thru the slits—a war movie down there turned an accomplice in our not strictly legitimate intentions.

The prowling circle of light carved in the darkness by a flashlight frisked over the leveled layer of cinder for thermal isolation ahead of our sneaking feet to where the plank partition crossed the attic. Deducting the approximate location of the catwalk screened by the sturdy planks, we started to split and break them so as to produce, by application of the ax, a sizable hole. The wood turned out rather hard, besides, our work was slowed down at lulls in the combat actions underneath.

It’s only after splitting one of the planks in two halves, we realized the additional problem we had run into—the supposed partition was, actually, a double wall of planks with a sheet-iron layer sandwiched between 2 wooden partitions. You can’t cut iron with an ax, that’s why we failed to make a manhole to the magnificent world of the art of motion pictures. The builders of yore knew their job all right, I warrant…

As it turned out, and pretty soon too, the whole manhole plan was not needed at all, because Raissa taught us taking pass-checks from the Club Director.

About six in the evening, Pavel Mitrofanovich was, as a rule, already jolly screwed, and when someone from the Children Sectorians appeared in his office with a humble petition, he tore a page-wide slip off a sheet of paper on his desk and, snuffling his nose so as to keep in check the booze on his breath, wrote an illegible line yielding “let in 6 (six) people” when deciphered, or any other number of those who wanted to watch the show on that day. Then he added his ornate signature running much longer than the previous line.

When the show began, we went up to the second floor and handed the precious scrap of paper to auntie Shura, who unlocked the treasured door to the balconies, suspiciously comparing our quantity to the hieroglyphics in the pass-check…

The Club Director was short and thickset without having a pot-belly though. His slightly swollen, and oftentimes ruddy, face was accompanied by the combed back grayish hair with a natural wave. When the Club stuff together with the amateurs from the Plant staged a full-length performance of the Ostrovsky’s At the Advantageous Place, the Club Director just parted his hair in the middle of his head, smeared it with Vaseline and turned out a better than natural Czar-times Merchant for the play.

Electrician Murashkovsky acted Landowner and appeared on stage in a white Circassian coat, constantly clutching a riding-whip, instead of a handkerchief, in his thong of the disfigured hand.

Even the Head of Children Sector, Eleonora Nikolayevna, partook in the full-length production of that classic play. Her position at Club was unmistakably higher than that of Raissa, who was the Artistic Director of Children Sector and reported to Eleonora because the latter appeared in Children Sector much seldomer. On those visits, as elsewhere, she invariably arrived in dangling earrings studded with tiny bright sparklers, as well as in an immaculate white blouse with a lace collar, which rigging was further emphasized by mannerly retarded movements of her hands, in contrast to the energetically Plebeian gesticulation of Raissa.

The only occasion when I saw Eleonora without those tiny shining strips hanging from her ears was in the one-act play, where she was acting the underground communist caught by the White Guards. The Whites locked her in the same prison cell with a criminal, acted by Raissa, and Eleonora converted her into a Communist supporter before Stepan, Club House Manager, together with Head of Variety Band, Aksyonov, both in white Circassian coats and ballet high boots, took her away to face the firing squad…