Fat Leonard

Fat Leonard is the worst U.S. Navy scandal since Tailhook.  And while Tailhook was about sex – not sex, per se, but the toxic fratboy, locker-room culture of carrier aviation – Fat Leonard is about greed, with a side order of espionage, and general embarrassment all around.

Leonard Francis headed up Glenn Marine, a Singapore-based maritime services contractor.  Over a period beginning roughly in 2006 (but probably earlier) and lasting until Leonard’s arrest in 2013, Glenn Marine and its subsidiaries provided port security and other infrastructure support to the U.S. Seventh Fleet.  During that time, NCIS, the Navy’s criminal investigators, opened twenty-seven separate inquiries into Glenn Marine, and then closed every single one, without result.  It’s probably impossible to calculate how many millions DoD and the Navy got burned for. 

The fraudulent billing, and the ongoing security failure, continued for all those years because Leonard and his team infiltrated and compromised Navy chain of command.  Defense industry procurement is ripe for abuse.  No-bid contracts are common.  Leonard bribed admirals.  Cash, travel, luxury gifts, escort services.  What he got in return was inside information about ship deployments and naval maneuvers, much of it classified.  He was able to redirect Navy vessels to ports controlled by Glenn Marine, and overbilled for fuel, food, water, and sewage removal.  

To date, five naval personnel have been court-martialed, and twenty-eight have pled guilty in federal court.  This number includes eleven admirals, thirteen captains, a Marine Corps colonel and an NCIS special agent, and a few hapless lower ranks.  Logistics, operations, systems, supply, the entire food chain.  The point being that it wasn’t just money leaking through the cracks.  These guys gave away the U.S. defense posture in the Pacific - the Order of Battle, generally – but more specifically, ship positions and readiness, an enormous intelligence advantage to any potential adversary. 

Now, whether Leonard was or is under the discipline of Chinese state security is speculation, but information is currency.  Leonard was lining his pockets, and maybe saving for a rainy day.   

Leonard had been in custody in San Diego, awaiting sentencing.  He was under house arrest and wearing an ankle monitor.  He was subject to round-the-clock surveillance.  A week ago Sunday, he discarded his ankle monitor and slipped away.  He was missing for seven hours before the U.S. Marshals Service was alerted.  Not to belabor the obvious, but San Diego is a forty-minute drive from Mexico.  You do the math.  Fat Leonard’s in the wind.

Spy TV

I recently had an experience that carried me off on a cheerful wave of nostalgia.  Our current TV package provides access to an obscure channel called TubiTV.  And on it I was able to make my reacquaintance with The Sandbaggers, a spy series from Britain's ITV.  I had watched it on PBS back around 1980 when it premiered.  I was surprised at how much I remembered and how well it held up.  (It also seems to be available on Youtube.)

The series revolves around the Secret Intelligence Service (never called MI6 in the show), and it's Director of Operations, Neil Burnside (played by Roy Marsden, before he became better known as Adam Dalgleish).  Burnside is in charge of all the British agents in foreign countries around the world, but his first love is the Special Operations Section, known as the Sandbaggers.  These are the smash-and-grab boys, the ones who get sent to perform an extraction or an assassination (or prevent one). Please don't compare them to James Bond or Burnside will slit your throat.  He hates Ian Fleming's famous creation.

And as for slitting your throat, he is himself a former Sandbagger, and as ruthless as they come.  And yes, this crowd is pretty ruthless.  In the 20 episodes you will see virtually all the characters lying to each other, and often doublecrossing their superiors and allies.  Burnside would defend himself by saying he is true to the service and to his ultimate goal: destroying the KGB.  And he is willing to destroy his own career to do it.

An example of Burnside's charming personality.  In one episode he is in a restaurant and someone informs him: "I just saw your ex-wife out on the street."

"Best place for her."  Like I said, charming.

One thing I love about the show is the title.  I like to imagine it made John Le Carre, the master of fictional spy jargon, terribly jealous.  His name for the same type of group was the Scalphunters, but Sandbaggers is so much better.  "To sandbag" means "to launch a sneak attack" but it also means "to build emergency defenses."  Clever, eh?

The show had its flaws, of course.  The SIS is seen to be strangled with personnel shortages but it felt like that had more to do with TV budgets than anything else.  The inside sets look like a high school drama club production.  So many of the international crises take place in Malta that one can only assume ITV had a deal with the local tourist board.  And the last episode of the show only makes sense if you forgot everything that happened four episodes earlier.

None the less, it has been called one of the best spy shows of all time, and I'm not arguing.

The show was created, and most episodes were written, by Ian MacKintosh, a former naval officer.  Because of the series' sense of realism there was speculation that he had been involved in the spy world, but he played coy about it.  The series ends with a (hell of a) cliffhanger, because MacKintosh died unexpectedly and the network decided no one else could do it justice.

But I oversimplified when I said MacKintosh died.  In reality he and his girlfriend disappeared in a small airplane over the Pacific Ocean after radioing for help. The plane disappeared in a small area where neither U.S. nor Soviet radar reached.

I wonder what Burnside would make of that.

Oh, the show also has a great musical theme (just about the only music ever used in the program). Listen all the way to the last note.

But wait, there's more!  In the midst of my Sandbaggery I discovered a very different spy show which is, curiously, both older and newer than The Sandbaggers.  Available on Netflix A Very Secret Service (Au Service de la France) was created in 2015, but is set in 1960. And now let's give Grandpa a moment to marvel here over the fact that The Sandbaggers is set closer in time to 1960 than to 2015.

The series (in French, with subtitles) tells the story of Andre Merlaux, a naive young man who is forcibly recruited into the French Secret Service, which promptly makes it clear that they don't much want him.   It is a rather peculiar agency where doing your job is much less important than turning in proper receipts and wearing suits from the correct tailors.

On his first day on the job Merlaux gets in trouble for committing the incredible faux pas - I know you will be stunned by this blunder -- of answering the ringing phone on his desk. Quel imbécile!

This show is wildly and wickedly funny.  In one episode Merlaux assumes that a suspect cannot be a terrorist because she is a woman  His tutor firmly instructs him: "In cases of terrorism women must be considered humans!"

In another episode the French capture a German on his way from Argentina and suspect he is a Nazi. Fortunately they have a scientific survey which allows them to detect such barbarians.  (Sample question: "Adolf Hitler: pleasant or unpleasant?")

The best spy in the bunch is Clayborn, who will never get promoted because she is a woman.  All her operations are described as "courtesy missions," which means they involve getting naked with someone, but don't think that means they don't also involve theft, blackmail, and murder.

At one point Merlaux pours out all his troubles to Clayborn. She is, of course, sympathetic: "You feel out of place.  I understand.  This is the women's bathroom."

Neil Burnside would not be amused, but I was.

BRUCE LOCKHART: Memoirs of a British Agent

Where do you start? This is the guy who smuggled Kerensky out of Russia after the Bolsheviks came to power. He was intimate with Leon Trotsky. He met Stalin, once, and Lenin more than once. He was present at the creation of the modern world, the 20th century in all its wickedness. He lived, in other words, in interesting times, and he perhaps changed history. He was, of course, a spy.
Sun Tzu remarks that war is deceit. And our intelligence services, to borrow a phrase from John LeCarre, reflect our different national characters. Le Carre also noted the odd attraction of the Scots to the secret world, John Buchan an obvious example. Bruce Lockhart, as it happens, was a Scot.

Lockhart

He was sent to the British consulate in Moscow by the Foreign Office in 1912. He was twenty-four years old, and by his own admission, no sophisticate. He set out to learn the language, the customs and courtesies of the country, and Moscow itself, but above all, to cultivate social and political connections. This led, inevitably, to late nights filled with vodka and Gypsy balalaikas, sleigh rides to outlying dachas, and some dubious associations. It led also to an adulterous affair (Lockhart's wife had come with him to Russia), a scandal that got him sacked.

But he'd spent almost five years in Moscow, and the insular young sport had toughened considerably. He'd experienced the popular uprising firsthand, the abdication of the Tsar, the rise of Kerensky and the Social Democrats. As well, he'd witnessed the rough beast slouching toward war. Great Britain and Russia were now allies against Germany, and in London, the primary political concern was keeping Russia in the fight. Six weeks after Lockhart's return to England, in October of 1917, the Bolshevik Revolution overthrew the Provisional Government and established the groundwork for a Soviet state. Capitulation to Germany was widely rumored.

There were, in the corridors of power Whitehall, two, if not three, competing schools of thought. The first was to strangle the new enterprise at birth. The second was to treat with the Bolsheviks, to encourage their continued resistance to German advances on the Eastern Front. The third was to deploy both the carrot and the stick, and to this end, David Lloyd George, the Prime Minister, and Lord Milner, heading up the war cabinet, decided Lockhart was the man for the job. They sent him back, in January, 1918. This time, however, he served two masters, the Foreign Office, which gave him diplomatic cover, and the Secret Intelligence Service. SIS had a rather different mission in mind for him, to set up a clandestine espionage network, and penetrate the upper Soviet apparat.

This wasn't quite the impossible task it now seems, in retrospect. Everything was up for grabs. The new Russian government's grasp on power was unsteady, and the Terror hadn't yet begun. For the moment, they were just trying to keep the trains running, and most of the people Lockhart met in Moscow and St. Petersburg were fatalistic about their chances. Lockhart suggested to Trotsky that he could allow Japanese troops onto Russian soil, to help fight the Germans, or an expeditionary force, perhaps British, but Trotsky wasn't having any. He knew an imperialist plot when he saw one. Lockhart was of course halfhearted in this endeavor, since he knew any intervention would have to be in strength, and the War Office wouldn't sign off on it. At best, it would only be a token number of troops, which was worse than nothing. He was also hamstrung by vitiation in London: they were still arguing which course to follow. In the event, Trotsky went to Brest-Litovsk, and negotiated a humiliating peace. German envoys arrived as conquerors.

Lockhart was in a vise. His sponsors back in London were fighting a rear-guard action---he himself was seen as an obstacle, if not already co-opted by the Commies, and the Russians didn't trust him worth a damn, either. He was hanging on by his fingernails, trying to follow conflicting instructions from home, and keeping the confidence of his hosts. Two events blew him out of the water. A bomb attack in Kiev killed the German commanding general who was a guest of the Kremlin. This was in late July. On the last day of August, a young Social Revolutionary named Dora Kaplan put two bullets into Lenin himself, at point-blank range. One of them hit his lung. "His chances of living," Lockhart reports, "were at a discount."

Sidney Reilly

Now the rubber hits the road. Lockhart and his chief agent, Sidney Reily (yes, that Sidney Reilly---Lockhart's son Robin later wrote ACE OF SPIES), were implicated in the assassination attempt. Their operation came unraveled. Was our man in fact involved? Unlikely. He seems to have been taken completely by surprise. On the other hand, what about Reilly? I wouldn't put it past him. He was a slippery character, with a shadowy past, and an uncertain future, but that's a story for another day. He slips through the net. Lockhart is arrested and jailed by the Cheka. He's taken to the dreaded Lubyanka prison, dreaded for good reason.

Dark corridors, unyielding guards, the stone cells clammy with tears. At the end of a long hallway, a man waiting in an interrogation room, lit only by a lamp on the writing table, a revolver by his hand. "You can go," he tells the guards. A long silence follows. He looks at Lockhart, his face still. "Where is Reilly?" is his first question. An eternity goes by, Lockhart playing dumb, but in point of fact, he doesn't know. There is, he tells us, no attempt to bully him. The threat is implicit. He asks, finally, if he can use the bathroom.

Two gunmen take him there. I suddenly felt in my breast pocket a notebook, he writes. It was compromising material. There was no toilet paper in the stall. As calmly as I could, I took out my notebook, tore out the offending pages and used them in the manner in which the circumstances dictated. I pulled the plug. It worked, and I was saved.

Furious cables are exchanged, the Brits trying to spring their guy. In the end, Lockhart is released, and even at the last minute, the story of his escape is full of suspense. He's traded for the Russian diplomat Litvinov, but sentenced to death in absentia, later on, by the Soviet courts. He never goes back to Russia.

Lockhart lived into the fullness of his years, and died in 1970, at the age of eighty-two. During the Second World War, he coordinated the British propaganda effort against the Axis. He was knighted, too, Well deserved. A man who put duty first, if his dick on occasion led him astray.

Lockhart published MEMOIRS OF A BRITISH AGENT in 1932. It was a worldwide sensation. Why the British government didn't suppress it is an interesting question, but it was the story of an extraordinary success. The final section of his book is titled 'History from the Inside,' and indeed it is, the record of a man who was in the thick of it. He leaves a lot out, for sure, particularly the spook stuff. His son says he scoured through his father's remaining notes and diaries, after Lockhart's death, and turned it all over to the Foreign Office. Was it too revealing? We can read between the lines. Lockhart knew where the bodies were buried.

Cold War Berlin: A Whiter Shade of Pale

by David Edgerley Gates

David Morrell's forthcoming new thriller, MURDER AS A FINE ART, takes place in Victorian London, and he remarks that his research and the writing itself so completely immersed him in the time and place that it became more real to him than the contemporary, so-called 'real' world. Anybody who's ever written period stories, whether in the distant past or more recent history, can relate. The language you use changes from modern usage– not so much "prithee, sirrah," as perhaps word order– and even the thoughts of your characters are different, because their view of themselves and the world are different from the present day. The easiest trap to fall into is anachronism, a modern viewpoint bleeding into the past, which could be something as simple as cause and effect: we know the Black Death was caused by a bacillus; the people it killed thought it was the hand of God. Specific details are simpler, as in, when did Lucky Strikes go to war? 1942, as it happens.

In both the bounty hunter stories, which take place in the years just before America's entry into World War I, and the Mickey Counihan stories, which take place immediately after World War II, I've found myself slipping into a habit of mind, not so much a slavish devotion to accuracy ('the smell of the lamp') as a mental device, or discipline, trying to think my way into the characters' heads, which is more than just the correct vocabulary. It's time travel.

I've had a much different experience e-formatting my Cold War spy novel, BLACK TRAFFIC, for upload to my website. I hadn't actually taken a close look at the book in over a year, so it came as a surprise to me how evocative, to my mind, the story-telling is, an era and a city that might as well be as distant and foreign as the Mexican Revolution, or postwar New York. It's time travel, but into living memory. The book takes place in Berlin, in the mid to late 60's, and I was in fact there. Much of BLACK TRAFFIC is based on my personal experience of both Berlin and the spook trade of the times. In other words, it's firsthand recollection, and the problem, often, wasn't a lack of specificity, but too much, an overwhelming flood of significant detail. How to pick and choose? Memory is a chancy thing, an unreliable guide to history. I found I second-guessed myself a lot, was such-and-such a thing for real, or something my subconscious overheard, a trick of the mind's eye? Authentic reconstruction is a false hope.

So what I was left with, after filtering out the generic and over-familiar, while keeping the untidy and simply bizarre---the story of the would-be U.S. defector to the Russians returning to West Berlin to feed his cat is based on fact, for example---was still an indigestible stew, underdone and lumpy, needing better seasoning and more time in the pot (which was true of the book as a whole), but in the end, I could only follow my own likes, and forgetting caution, there were a couple of things I cherished too much to discard.

Berlin had a soundtrack in those years, Procol Harum's "A Whiter Shade of Pale." Actually, you heard it all over Europe in the spring and summer of '67, but I always associated it most closely with Berlin, and so did a lot of Berliners. It remains an anthem, even today, for that certain generation, both triumphal and melancholy. Why that particular theme song? I've got no idea. Germans can be a sentimental lot.

The other totemic association I have with Berlin is currywurst. All over town there were food stalls set up in the street, and wurst stands were the most popular. You got brats or a knock with potato salad and a hard roll, with a dab of mustard on the side, on a paper plate. The odder iteration was currywurst. Basically pork sausage slathered in ketchup mixed with curry powder, and served with French fries. An acquired taste, as you might imagine, but once acquired, not forgotten.

I saw a recent news article saying that landmarks which had been inaccessible when the Wall was up, the Brandenburg Gate, for instance, were now overrun with people, both native Berliners and a raft of tourists, and of course they were teeming with so-called Schnell-Imbiss, fast food. A new wrinkle is that they aren't even stalls, but guys with a hot-top rigged up to a shoulder harness, so they can work the crowd, and your wurst comes to you, not the other way around. Interestingly enough, this has generated some political controversy---not the serving method, but the perceived disrespect of public monuments. It's just part of the urban scene, in my opinion, but the politics of Left and Right in Germany often fixate on irrelevancies. The presence of all that cheap food is is seen as an insult to the historic significance of these symbolic places.

Germans are often accused of wanting to conveniently erase or reinvent the uglier passages of their own history, not just Hitler, say, but the Soviet occupation of the East, and the reinterpretations have a definite bias, Liberal or Conservative, depending on your sympathies. In other words, which history, and who appropriates it. Symbols mirror desired meanings, old wine in new bottles. It seems odd to me that currywurst has fallen afoul of politics and now wears a badge of dishonor, in some quarters. It's only sausage links and tomato paste, after all, and has no dog in the fight, so to speak. Then again, one man's relish is another man's distaste.

MANNING COLES: A Toast to Tomorrow

by David Edgerley Gates

The first spy stories I remember reading were the Tommy Hambledon books, written by Manning Coles.  I was probably nine or so.  I took an omnibus edition of three Hambledon novels out of the Hancock Point library one summer, and gobbled them up.  It was like eating Fritos, but the books were more nourishing.  I don’t think Ian Fleming was much on the radar at that point.  CASINO ROYALE came out in 1953, but Fleming didn’t really get legs until Jack Kennedy told an interviewer Fleming was his favorite writer.  DR. NO, the first of the Bond movies, was released in 1962, so that was later.  I might have picked up an E. Phillips Oppenheim sooner than Coles---my grandmother had them by the yard---but Oppenheim was pretty lukewarm stuff even then, effete and unconvincing: imagine Lord Peter Wimsey without the wit, and no Bunter.  And a writer like Eric Ambler would have gone over my head.  A MASK FOR DEMETRIOS, say.  Too sophisticated. Tommy Hambledon was just right.

Manning Coles was a pseudonym.  They were a writing team, Adelaide Manning and Cyril Coles.  Coles the man, vice Coles the pen-name, was a spy in both wars, and Tommy’s adventures were based on real behind-the-lines derring-do.  The first of the books (there would be two dozen) was DRINK TO YESTERDAY, about a secret mission in the first war, and it’s pretty sharp, with a zinger of a finish, but it was their second book, A TOAST TO TOMORROW, about the next war, when they hit one over the fence.

The premise of TOAST TO TOMORROW is immediately arresting.  Hambledon, washed ashore near Ostend at the end of the earlier book, half-dead, has lost his memory.  He has a head wound, and his face is badly scarred.  The nurse at the Belgian naval hospital remarks that after the scars heal, they’ll look “too Heidelberg for words.”  Slowly, he recovers.  Amnesiac, but speaking the language fluently, Tommy is taken for a wounded German officer.  Tommy himself believes this, a terrific hook for the story that follows.  A later shock brings bits and pieces of his memory back, and he realizes he was once a British intelligence covert operative.  By this time, however, having been recruited by German intelligence, who think he’s a war hero, he’s risen to senior command.  Tommy is now positioned to be a British agent-in-place, at the heart of the Wehrmacht.  His cover is near-perfect, but not quite---nobody actually remembers him from Heidelberg, or officers’ school at Potsdam---and his back story begins to unravel as a canny Nazi spycatcher picks up his scent.  The novel turns into a cat-and-mouse game, and a real stem-winder, at that, with Tommy trying to .stay one jump ahead of the hangman. 

Re-reading the book, fifty-odd years later, you could be forgiven for thinking it hadn’t aged that well.  There are a few too many arched eyebrows and afternoon sherries and old Oxbridge dons with gnomic comments, but what stands up is the tradecraft.  Somebody once asked John LeCarré whether the lingo and the secret handshakes, the culture of the clandestine world, in other words, that LeCarré so lovingly mirrors, was in fact authentic.  LeCarré said, It doesn’t have to be authentic; it has to be convincing.  And here’s where A TOAST TO TOMORROW pays off in spades.  The first clue the Brits get, for example, that they might have a highly–placed asset inside the Reich comes in a radio broadcast.  British communications intercept is monitoring German broadcasts of any description.  This is a propaganda piece, a half-hour radio drama about a wireless operator, and it opens and closes with a burst of Morse, simple background noise, to set the stage, dah-dah-dit, but it begins with a callsign, and the brief message that follows is broken into five-letter stutter groups.  The callsign belongs to a British agent long thought blown, since 1918 and the Armistice, and the coded groups, once recognized as such, can be decrypted.  The scriptwriter is of course Tommy Hambledon in Berlin, and this is how he makes himself known to his former masters in Whitehall.

The two biggest Allied secrets of the Second World War were the Manhattan Project and the code-breaking operation at Bletchley Park, ENIGMA.  The atom bomb wasn’t long a secret after the Japanese surrender, but ENIGMA was still closely held thirty years later.  Cryptography has been a part of war as long as spies have, but the concentration of effort that broke the U-boat codes went on with even greater force into the Cold War.  Bletchley Park was a secret that couldn’t be surrendered, its sources and methods deployed against a different target, Soviet Russia.  For a writer in 1940, or perhaps Cyril, the guy on the team with hands-on experience, to make such an educated guess about the use and importance of encrypted communications, is nothing short of astonishing.  Or perhaps it wasn’t exactly a guess, but an interpolation, filling in the obvious gaps.  A TOAST TO TOMORROW, then, becomes more than a simple story of espionage and pursuit.  It borders on the clairvoyant.