Ipcress file the, p.1
Ipcress File, The, page 1
LEN DEIGHTON
Len Deighton was born in 1929. He worked as a railway clerk before doing his National Service in the RAF as a photographer attached to the Special Investigation Branch.
After his discharge in 1949, he went to art school – first to the St Martin’s School of Art, and then to the Royal College of Art on a scholarship. His mother was a professional cook and he grew up with an interest in cookery – a subject he was later to make his own in an animated strip for the Observer and in two cookery books. He worked for a while as an illustrator in New York and as art director of an advertising agency in London.
Deciding it was time to settle down, Deighton moved to the Dordogne where he started work on his first book, The Ipcress File. Published in 1962, the book was an immediate success.
Since then his work has gone from strength to strength, varying from espionage novels to war, general fiction and non-fiction. The BBC made Bomber into a day-long radio drama in ‘real time’. Deighton’s history of World War Two, Blood, Tears and Folly, was published to wide acclaim – Jack Higgins called it ‘an absolute landmark’.
As Max Hastings observed, Deighton captured a time and a mood – ‘To those of us who were in our twenties in the 1960s, his books seemed the coolest, funkiest, most sophisticated things we’d ever read’ – and his books have now deservedly become classics.
By Len Deighton
Fiction
The Ipcress File
Horse Under Water
Funeral in Berlin
Billion-Dollar Brain
An Expensive Place to Die
Only When I Larf
Bomber
Declarations of War
Close-Up
Spy Story
Yesterday’s Spy
Twinkle, Twinkle, Little Spy
SS-GB
XPD
Goodbye Mickey Mouse
Mamista
City of Gold
Violent Ward
The Samson Series
Berlin Game
Mexico Set
London Match
Winter: A Berlin Family 1899–1945
Spy Hook
Spy Line
Spy Sinker
Faith
Hope
Charity
Non-fiction
Action Cook Book
Fighter: The True Story of the Battle of Britain
Airshipwreck
Basic French Cooking
Blitzkrieg: From the Rise of Hitler to the Fall of Dunkirk
ABC of French Food
Blood, Tears and Folly
LEN DEIGHTON
The Ipcress File
An Imprint of Sterling Publishing
387 Park Avenue South
New York, NY 10016
STERLING and the distinctive Sterling logo are registered trademarks of Sterling Publishing Co., Inc.
First Sterling edition 2011
First published in Great Britain by Hodder & Stoughton in 1962
© 1962 by Pluriform Publishing Company BV
Introduction copyright © 2009 by Pluriform Publishing Company BV
The author asserts the moral right to be
identified as the author of this work.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher.
ISBN 978-1-4027-9062-1 (trade paperback)
ISBN 978-1-4027-9063-8 (ebook)
For information about custom editions, special sales, and premium and corporate purchases, please contact Sterling Special Sales at 800-805-5489 or specialsales@sterlingpublishing.com.
www.sterlingpublishing.com
Contents
Introduction
Prologue
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
Epilogue
Appendix
Introduction
The Ipcress File was my first attempt to write a book. I was a commercial artist, or ‘illustrator’ as we are now called. I had never been a journalist or reporter of any kind so I was unaware of how long writing a book was likely to take. Knowing the size of the task is a deterrent for many professional writers, which is why they defer their ambitions often until it is too late. Being unaware of what’s ahead can be an advantage. It shines a green light for everything from enlisting in the Foreign Legion to getting married.
So I stumbled into writing this book with a happy optimism that ignorance provides. Was it a depiction of myself? Well, who else did I have? After completing two and a half years of military service I had been, for three years, a student at St. Martin’s School of Art in Charing Cross Road. I am a Londoner. I grew up in Marylebone and once art school started I rented a tiny grubby room around the corner from the art school. This cut my travelling time back to five minutes. I grew to know Soho very well indeed. I knew it by day and by night. I was on hello, how are you? terms with the ‘ladies’, the restaurateurs, the gangsters and the bent coppers. When, after some years as an illustrator, I wrote The Ipcress File much of its description of Soho was the observed life of an art student resident there.
After three years postgraduate study at the Royal College of Art I celebrated by impulsively applying for a job as flight attendant with British Overseas Airways. In those days this provided three or four days stop-over at the end of each short leg. I spent enough time in Hong Kong, Cairo, Nairobi, Beirut and Tokyo to make good and lasting friendships there. When I became an author, these background experiences of foreign people and places proved of lasting benefit.
I don’t know why or how I came to writing books. I had always been a dedicated reader; obsessional is perhaps the better word. At school, having proved to be a total dud at any form of sport – and most other things – I read every book in sight. There was no system to my reading, nor even a pattern of selection. I remember reading Plato’s The Republic with the same keen attention and superficial understanding as I read Chandler’s The Big Sleep and H.G. Wells’ The Outline of History and both volumes of The Letters of Gertrude Bell. I filled notebooks as I encountered ideas and opinions that were new to me, and I vividly remember how excited I was to discover that The Oxford Universal Dictionary incorporated thousands of quotations from the greatest of great writers.
So I wasn’t taking myself too seriously when, as a holiday diversion, I took a school exercise book and a fountain pen, and started this story. Knowing no other style I did it as though I was writing a letter to an old, intimate and trusted friend. I immediately fell into the first person style without knowing much about the literary alternatives.
My memory has always been unreliable, as my wife Ysabele regularly points out to me, but I am convinced that this first book was influenced by my time as the art director of an ultra-smart London advertising agency. I spent my days surrounded by highly educated, witty young men who had been at Eton together. We relaxed in leather armchairs in their exclusive Pall Mall clubs. We exchanged barbed compliments and jocular abuse. They were kind to me, and generous, and I enjoyed it immensely. Later, when I created WOOC(P), the intelligence service offices depicted here, I took the social atmosphere of that sleek and shiny agency and inserted it into some ramshackle offices that I once rented in Charlotte Street.
Using the first person narrative enabled me to tell the story in the distorted way that subjective memory provides. The hero does not tell the exact truth; none of the characters tell the exact truth. I don’t mean that they tell the blatant self-serving lies that politicians do, I mean that their memory tilts towards justification and self-regard. What happens in The Ipcress File (and in all my other first-person stories) is found somewhere in the uncertainty of contradiction. In navigation, the triangle where three lines of reference fail to intersect is call a ‘cocked hat’. My stories are intended to offer no more precision than that. I want the books to provoke different reactions from different readers (as even history must do to some extent).
Publication of The Ipcress File coincided with the arrival of the first of the James Bond films. My book was given very generous reviews and more than one of my friends was moved to confide that the critics were using me as a blunt instrument to batter Ian Fleming about the head. Even before publication day, I was taken by Godfrey Smith (a senior figure at The Daily Express newspaper) to lunch at the Savoy Grill. We discussed serial rights. The next day I went in my battered old VW Beetle to Pinewood Film Studios and lunch with the unforgettable and in every way astonishing Harry Saltzman. He had co-produced Dr. No, which was getting widespread publicity, and had decided that The Ipcress File and its unnamed hero could provide a counterweight to the Bond series. On the way to Pinewood my car phone brought a request for an interview with Newsweek and there were similar requests from publications in Paris and New York. It was difficult to believe this was all really happening; ill
Publication proved that I wasn’t the only one surprised by the book’s success. Despite the seriali-zation and the entire hullabaloo, Hodder and Stoughton resolutely restricted their print order to 4,000 books. These were sold out in a couple of days. Reprinting took weeks and much of the value of the publicity and serialization was lost.
There was one question that remained un-answered. Why did I say that the hero was a northerner from Burnley? I truly have no idea. I had seen the destination ‘Burnley’ on parcels I had handled while on a Christmas vacation job at King’s Cross sorting office. I suppose that invention marked one tiny reluctance to depict myself exactly as I was.
Perhaps this spy fellow is not me after all.
LEN DEIGHTON, 2009
And now I will unclasp a secret book, And to your quick-conceiving discontents, I’ll read you matter deep and dangerous.
Henry IV
Though it must be said that every species of birds has a manner peculiar to itself, yet there is somewhat in most genera at least that at first sight discriminates them, and enables a judicious observer to pronounce upon them with some certainty.
Gilbert White, 1778
The Ipcress File
Secret File No. 1
Prologue
They came through on the hot* line at about half past two in the afternoon. The Minister didn’t quite understand a couple of points in the summary. Perhaps I could see the Minister.
Perhaps.
The Minister’s flat overlooked Trafalgar Square and was furnished like Oliver Messel did it for Oscar Wilde. He sat in the Sheraton, I sat in the Hepplewhite and we peeped at each other through the aspidistra plant.
‘Just tell me the whole story in your own words, old chap. Smoke?’
I was wondering whose words I might otherwise have used as he skimmed the aspidistra with his slim gold cigarette case. I beat him to the draw with a crumpled packet of Gauloises; I didn’t know where to begin.
‘I don’t know where to begin,’ I said. ‘The first document in the dossier . . .’
The Minister waved me down. ‘Never mind the dossier, my dear chap, just tell me your personal version. Begin with your first meeting with this fellow . . .’ he looked down to his small morocco-bound notebook, ‘Jay. Tell me about him.’
‘Jay. His code-name is changed to Box Four,’ I said.
‘That’s very confusing,’ said the Minister, and wrote it down in his book.
‘It’s a confusing story,’ I told him. ‘I’m in a very confusing business.’
The Minister said, ‘Quite,’ a couple of times, and I let a quarter inch of ash away towards the blue Kashan rug.
‘I was in Lederer’s about 12.55 on a Tuesday morning the first time I saw Jay,’ I continued.
‘Lederer’s?’ said the Minister. ‘What’s that?’
‘It’s going to be very difficult for me if I have to answer questions as I go along,’ I said. ‘If it’s all the same to you, Minister, I’d prefer you to make a note of the questions, and ask me afterwards.’
‘My dear chap, not another word, I promise.’
And throughout the entire explanation he never again interrupted.
* * *
* Permanently open line.
1
[Aquarius (Jan 20–Feb 19) A difficult day. You will face varied problems. Meet friends and make visits. It may help you to be better organized.]
I don’t care what you say, 18,000 pounds (sterling) is a lot of money. The British Government had instructed me to pay it to the man at the corner table who was now using knife and fork to commit ritual murder on a cream pastry.
Jay the Government called this man. He had small piggy eyes, a large moustache and handmade shoes which I knew were size ten. He walked with a slight limp and habitually stroked his eyebrow with his index finger. I knew him as well as I knew anyone, for I had seen film of him in a small, very private cinema in Charlotte Street, every day for a month.
Exactly one month previous I had never heard of Jay. My three weeks’ termination of engagement leave had sped to a close. I had spent it doing little or nothing unless you are prepared to consider sorting through my collection of military history books a job fit for a fully grown male. Not many of my friends were so prepared.
I woke up saying to myself ‘today’s the day’ but I didn’t feel much like getting out of bed just the same. I could hear the rain even before I drew the curtains back. December in London – the soot-covered tree outside was whipping itself into a frenzy. I closed the curtains quickly, danced across the icy-cold lino, scooped up the morning’s post and sat down heavily to wait while the kettle boiled. I struggled into the dark worsted and my only establishment tie – that’s the red and blue silk with the square design – but had to wait forty minutes for a cab. They hate to come south of the Thames you see.
It always had made me feel a little self-conscious saying, ‘War Office’ to cab drivers; at one time I had asked for the pub in Whitehall, or said ‘I’ll tell you when to stop,’ just to avoid having to say it. When I got out the cab had brought me to the Whitehall Place door and I had to walk round the block to the Horseguards Avenue entrance. A Champ vehicle was parked there, a red-necked driver was saying ‘Clout it one’ to an oily corporal in dungarees. The same old army, I thought. The long lavatory-like passages were dark and dirty, and small white cards with precise military writing labelled each green-painted door: GS 3, Major this, Colonel that, Gentlemen, and odd anonymous tea rooms from which bubbly old ladies in spectacles appeared when not practising alchemy within. Room 134 was just like any other; the standard four green filing cabinets, two green metal cupboards, two desks fixed together face to face by the window, a half full one pound bag of Tate and Lyle sugar on the window-sill.
Ross, the man I had come to see, looked up from the writing that had held his undivided attention since three seconds after I had entered the room. Ross said, ‘Well now,’ and coughed nervously. Ross and I had come to an arrangement of some years’ standing – we had decided to hate each other. Being English, this vitriolic relationship manifested itself in oriental politeness.
‘Take a seat. Well now, smoke?’ I had told him ‘No thanks’ for two years at least twice a week. The cheap inlay cigarette box (from Singapore’s change alley market) with the butterflies of wood grain, was wafted across my face.
Ross was a regular officer; that is to say he didn’t drink gin after 7.30 P.M. or hit ladies without first removing his hat. He had a long thin nose, a moustache like flock wallpaper, sparse, carefully combed hair, and the complexion of a Hovis loaf.
The black phone rang. ‘Yes? Oh, it’s you, darling,’ Ross pronouncing each word with exactly the same amount of toneless indifference. ‘To be frank, I was going to.’
For nearly three years I had worked in Military Intelligence. If you listened to certain people you learned that Ross was Military Intelligence. He was a quiet intellect happy to work within the strict departmental limitations imposed upon him. Ross didn’t mind; hitting platform five at Waterloo with rose-bud in the buttonhole and umbrella at the high port was Ross’s beginning to a day of rubber stamp and carbon paper action. At last I was to be freed. Out of the Army, out of Military Intelligence, away from Ross: working as a civilian with civilians in one of the smallest and most important of the Intelligence Units – WOOC(P).
‘Well I’ll phone you if I have to stay Thursday night.’
I heard the voice at the other end say, ‘Are you all right for socks?’ Three typed sheets of carbon copies so bad I couldn’t read them (let alone read them upside down) were kept steady and to hand by the office tea money. Ross finished his call and began to talk to me, and I twitched facial muscles to look like a man paying attention.
