Serenade. Part 14

I jumped up, and got a pen, and wrote the numbers on the memo pad. It was the Don Giovanni serenade, and time signature is 6/8. I wrote 6868..."All right, I've got it."

"Now subtract from it this number." He gave me a number to subtract. I did it. "That is the number of the pay telephone I'm at. The exchange number is Circle 6. Go out to another pay telephone and call me there."

"In twenty minutes. As soon as I get dressed."

I jumped into my clothes, ran up to a drugstore, and called. Whether they were around the booth, listening to me, I didn't care. They couldn't hear what was coming in at the other end. "Is that you, lad?"

"Yes. What news?"

"I have her. She's going down the line with me. I'm at the foot of Seventeenth Street, and I slip my hawsers at midnight tonight. If you wish to see her before we leave, come aboard some time after eleven, but take care you're not detected."

"How did you find her?"

"I didn't. She found me. She's been aboard since yesterday, if you had answered your phone."

"I'll be there. I'll thank you then."

I went back to the apartment, cut out the fooling around, and began to think. I checked over every last thing I had to do that day, then made a little program in my mind of what I was to do first, and what I was to do after that. I knew I would be tailed, and I planned it all on that basis. The first thing I did was to go up to Grand Central, and look up trains for Rye. I found there was a local leaving around ten that night. I came out of there, went in a store and bought some needles and thread. Then I went down to the bank. I still had over six thousand dollars in hundred-dollar bills, but I needed more than that. I drew out ten thousand, half of it in thousand-dollar bills, twenty-five hundred more in hundreds, and the rest in fives and tens, with about fifty ones. I stuffed all that in my pockets, and went home with it. I remembered about the two s.h.i.+rts I had worn out of the hotel in Mexico, and pulled one just like it. I took two pairs of drawers, put one pair inside the other, sewed the bottoms of each leg together, then quilted that money in, all except the ones, and some fives and tens, that I put in my pockets. I put the drawers on. They felt a little heavy, but I could get my trousers over them without anything showing. Tony came up. They had got out of him how he had called the taxi, and he was almost crying because he had squealed. I told him it didn't make any difference.

When dinner time came, instead of going out I had something sent in. Then I packed. I shoved a stack of newspapers and heavy stuff into a traveling case, and locked it. When I dressed I put on a pair of gray flannel pants I had left over from Hollywood, and over my s.h.i.+rt a dark red sweater. I put on a coat, and over that a light topcoat. I picked out a gray hat, shoved it on the side of my head. I looked at myself in the mirror and I looked like what I wanted to look like, a guy dressed up to take a trip. After drawing the money, I knew they would expect that. That was why I had planned it the way I had.

At nine thirty, I called Tony, had him take my bag down and call a cab, shook hands with him, and called out to the driver, "Grand Central." We turned into Second Avenue. Two cars started up, down near Twenty-first Street, and one left the curb just behind us as we turned west on Twenty-third. When we turned into Fourth, they turned too. When we got to Grand Central they were still with us, and five guys got out, none of them looking at me. I gave my bag to a redcap, went to the ticket office, bought a ticket for Rye, then went out to the newsstand and bought a paper. When I mixed with the crowd at the head of the ramp I started to read it. Three of the five were there too, all of them reading papers.

The redcap put me aboard, but I didn't let him pick the car. I did that myself. It was a local, all day-coaches, but I wanted one without vestibule. It happened to be the smoker, so that looked all right. I took a seat near the door and went on reading my paper. The three took seats further up, but one of them reversed his seat and sat so he could see me. I didn't even look up as we pulled out, didn't look up as we pulled into a Hundred and Twenty-fifth Street, didn't look up as we pulled out. But when the train had slid about twenty feet, I jumped up, left my bag where it was, walked three steps to the car platform, and skipped off. I never stopped. I zipped right out to a taxi, jumped in, told him to drive to Grand Central, and to step on it. He started up. I kept my eyes open. n.o.body was behind us, that I could see.

When he turned into upper Park, I tapped on the gla.s.s and said I was too late for my train, that he should go to Eighth Avenue and Twenty-third Street. He nodded and kept on. I took off the hat, the topcoat, and the coat and laid them in a little pile on the seat. When we got to Eighth and Twenty-third I got out, took out a five-dollar bill. "I left some stuff in the car, two coats and a hat. Take them up to Grand Central and check them to leave them. Leave the three checks at the information desk, in my name, Mr. Henderson. There's no hurry. Any time tonight will do."

"Yes sir, yes sir."

He grabbed the five, touched his hat, and went off. I started down Eighth Avenue. Instead of a guy all dressed up to go away, I was just a guy without a hat, walking down for a stroll on a spring night. I looked at my watch. It was a quarter to eleven. I back-tracked up to Twenty-third Street and went into a movie.

At twenty after, I came out, started down Eighth Avenue again, and walked to Seventeenth Street. I took my time, looked in windows, keep peeping at my watch. When I cut over to the pier it was a quarter to twelve. I followed the signs to the Port of Cobh, Port of Cobh, strolled aboard. n.o.body stopped me. Up at the winch I saw something that looked familiar. I went up and put my arm around him. strolled aboard. n.o.body stopped me. Up at the winch I saw something that looked familiar. I went up and put my arm around him.

"She's back in your old cabin--and you're late."

I went back there, knocked, and stepped in. It was dark in there, but a pair of arms were around me before I even got the door shut, and a pair of lips were against mine, and I tried to say something, and couldn't and she tried to say something and couldn't and we just sat on one of the berths, and held on to each other.

In almost no time there was a knock on the door and he stepped in. "You'll be going ash.o.r.e now. Why didn't you get here sooner?"

"What are you talking about?"

"I cast my hawsers in two minutes."

"Hawsers, h.e.l.l. I'm going with her."

"No, Hoaney. Goodbye, goodbye, now you are free, remember, Juana, but come not. No, I have much money now, I be all right. Now, kiss, I love you much."

"I'm going with you."

"No, no!"

"Lad, you don't know what you're saying. Alone, she can vanish like the mist. With you, she's doomed."

"I'm going with her."

He went out. A bell sounded on the tugboat, and we began to move. We looked out. When we straightened out in the river we were looking at the Jersey side. We slipped past it, and pretty soon we stepped out and found him on the bridge. He was at the far end of it, looking out at the Long Island side. I said something, but he paid no attention, and pointed. A cl.u.s.ter of lights was bearing down on us. "It's a police boat, and she's headed right for us."

We stood watching it, hardly daring to breathe. It came on, then cut across our bows toward Staten Island. We picked up speed. The first swell lifted our nose. She put her hand in mine, and gave it a little squeeze.

Chapter 13.

We were in Guatemala, though, before we really knew what we were up against, or I did. The trip down was just one nightmare of biting our fingernails and listening to every news broadcast we could pick up, to see if they were on our trail yet. In between, I stuffed myself with food and beer, to put on more weight, and let my moustache grow, and plucked my eyebrows to give my face a different expression, and stood around in the sun, to tan. All I thought about was that radio, and what it was going to tell us. Then at Havana I was running around like a wild man, still trying to beat them to the punch. I found a tailor shop, and put in a rush order for clothes, and then at a little bootleg printshop I got myself a lot of fake papers fixed up, all in the name of Guiseppe Di Nola and where she figured in them, Lola Deminguez Di Nola. I speak Italian like a Neapolitan, and changed myself into an Italian as fast as the tailor, the printer, the barber, and all the rest of them could work on me. As well as I could tell, I got by all right, and none of them had any idea who I was. But one thing kept gnawing at me, and that was the h.e.l.lo I had said to Conners on that first broadcast. Sooner or later, I knew, somebody was going to remember it and check back, and then we would be sunk. I wanted to get a thousand miles away from that s.h.i.+p, and any place she would touch on her way down to Rio.

I had to work fast, because all we had was a three-day layover. As soon as my first suit was ready, I put my fake papers in a briefcase and went over to Pan-American. I found all we would really need was a vaccination certificate for each of us. The rest was a matter of tourist papers that they furnished. I told them to make out the ticket and that I would have the certificates at the airport in the morning. I went over to American Express and bought travelers' checks, then went down to the boat and got her. I had her put on some New York clothes, and we went ash.o.r.e. Then we went to a little hotel off the Prado. Conners wasn't there when we left, and I had to scribble a note to him, and call that a goodbye. It seemed a terrible thing to beat it without even shaking his hand, but I was afraid even to leave our hotel address with anyone on board, for fear some U.S. detective would show up and they would tip him off. So far, none of them on the s.h.i.+p knew us. He had run into a strike at Seattle in the winter, and cleared with an entirely new crew, even officers. He had carried us as Mr. and Mrs. Di Nola, and Mr. and Mrs. Di Nola just disappeared.

There was no hotel doctor, but they knew of one, and got him around, and he vaccinated us, and gave us our certificates. About six o'clock I went around to the tailor and got the rest of my suits. They were all right, and so were the shoes, s.h.i.+rts, and the rest of the stuff I had bought. The tropicals were double-breasted, with a kind of a Monte Carlo look, the pin-stripe had white piping on the vest and the gray had black velvet, the hats were fedoras, one green, the other black, with a Panama thrown in to go with the tropicals. The shoes were two-toned. On appearance, I was as Italian as Mussolini, and I was surprised to see I looked quite a lot like him. I got out my razor and gave the moustache an up-cut under each corner. That helped. It was two weeks out now, and plenty black, with some gray in it. Those gray hairs startled me. I hadn't known they were there.

In the morning we went to the airport, showed the certificates, and were pa.s.sed through. The way the trip broke, we could make better time by going through to Vera Cruz, and then turning south, than by making the change at Merida. There had been some switch on planes, and that would save us a day. I didn't want to spend one more hour in Mexico than I had to, so I said that suited me. Where we were going I had no idea, except that we were going a long way from Havana, but where we were booked for was Guatemala. That seemed to be a kind of a terminus, and to go on from there we would have to have more papers than they could furnish us with at Havana. She got sick as a dog as soon as we took off, and I, and the steward, and the pilots thought it was airsickness. But when it still kept up, after we got to the hotel in Vera Cruz, I knew it was the vaccination. She was all right, though, the next day, and kept looking down at the country we were going over. We had the Gulf of Mexico under us for a little while after we hauled out of Vera Cruz, and then as we were working down toward Tapachula we were over the Pacific. She had to have all that explained to her. She had never got the oceans quite straight, and how we could leave one, and then pick up another almost before we had time to look at the pictures in the magazines, had to be blue-printed for her, with drawings. To her, I think all countries were square, like a bean patch with lines of maguey around it, and it was hard for her to get through her head how any country, and especially Mexico, could be wide at the top and narrow at the bottom.

At Guatemala, we marched from the plane into the pavilion with a loud speaker blaring the Merry Widow waltz, a barefoot Indian girl gave us coffee, and then after a while an American in a flyer's uniform came and explained to me, in some kind of broken Italian, what I would have to do to go on down the line, if that was what I expected to do. I thanked him, we got our luggage, and went to the Palace Hotel. Then I got to thinking: ***

Why are we going down the line? Why is Chile any better than Guatemala? Our big danger comes every time we fool with papers, and if we're all right so far, why not let well enough alone, and dig in? We couldn't stay on at the hotel, because it was full of Americans, Germans, English and all kinds of people, and sooner or later one of them would know me. But we might rent a place. I sent her down to the desk to ask how we went about it, and when we found out we didn't have to sign any police forms, we went out and got a house. It was a furnished house, just around the block from the hotel, and the gloomiest dump I ever laid eyes on, with walnut chairs, and horse-hair sofas, and sea sh.e.l.ls, and coconut sh.e.l.ls carved into skulls, and everything else you could think of. But there was a bathroom in it, and it didn't look like we would find one any better. The lady that owned it was Mrs. Gonzalez, and she wanted it understood that she didn't really have to rent the house, that she came of an old coffee family, that she preferred to live out of town, at the lake, on account of her health. We said we understood that perfectly, and closed at a hundred and fifty quetzals a month. A quetzal exchanges even with a dollar.

So in a couple of days we moved in. I found a j.a.panese couple that didn't speak any English, Italian, or Spanish, and we had to wigwag, but there was no chance of their finding out too much. I was practicing Spanish morning, noon and night, so she and I would be able to talk in front of other people without using English, and I tried to speak it with an Italian accent, but I still wasn't sure I was getting away with it. With the j.a.ps, though, it was safe around the house.

So then we breathed a little easier, and began to shake down into a routine. Daytime we'd lay around, mostly upstairs, in our bedroom. At night we'd walk down to the park and listen to the band. But we'd always sit well away from it, on a lonely bench. Then we'd come back, flit the mosquitoes, and go to bed. There was nothing else to do, even if we had thought it was safe to do it. Guatemala is the j.a.pan of Central America. They've copied everything. They've got Mexican music, American movies, Scotch whisky, German delicatessens, Roman religion, and everything else imported you can think of. But they forgot to put anything of their own in, and what comes out is a place you could hardly tell from Glendale, California, on a bet. It's clean, modern, prosperous, and dull. And the weather gives you plenty of chance to find out how dull it really is. We hit there in June, at the height of the rainy season. It's not supposed to rain in Central America, by the books, but that's wrong. It rains plenty, a cold, gray rain that sometimes keeps up for two days at a time. Then when the sun comes out it's so sticky hot you can hardly breathe, and the mosquitoes start up. The air gets you down almost as bad as it does in Mexico. Guatemala City is nearly a mile up in the air, and at night that feeling of suffocation comes over you, so you think you'll die if you don't get something in your lungs you can breathe.

Little by little, a change came over her. Mind you, from the time we left New York we hadn't said one word about Winston, or what she did, or whether it was right or wrong, or anything about it. That was done, and we steered around it. We talked about the j.a.ps, the mosquitoes, where Conners was by now, things like that, and so long as we jumped at every noise, we seemed to be nearer than we ever had been. But after that eased off, and we began to kid ourselves we were safe, she began moping to herself, and now and then I'd catch her looking at me. Then I noticed that another thing we never talked about was my singing. And then one night, just as we started downstairs to go out in the park, just mechanically I did a little turn, and in another second would have cut loose a high one. I saw this look of horror on her face, and choked it off. She listened, to see if the j.a.ps had caught it. They seemed to be in the kitchen, so we went down. Then it came to me, the spot I was in. On the way down I hadn't even thought about singing. But here, and any other place south of the Rio Grande, for that matter, my voice was just as familiar as bananas. My picture, in the lumberjack suit, was still plastered all over the Panamier show windows, Pablo Bunan had played the town not a month before, even the kids were whistling My Pal Babe. Unless I was going to send her to the chair, I couldn't ever sing again.

I tried not to think about it, and so long as I could read, or do something to get my mind off it, I wouldn't. But you can't read all the time, and in the afternoon I'd get to wis.h.i.+ng she'd wake up from her siesta, so we could talk, or practice Spanish, and I could shake it off. Then I began to get this ache across the bridge of my nose. You see, it wasn't that I was thinking about the fine music I couldn't sing any more, or the muted song that was lost to the world, or anything like that. It was simpler than that, and worse. A voice is a physical thing, and if you've got one, it's like any other physical thing. It's in you, and it's got to come out. The only thing I can compare it with is when you haven't been with a woman for a long time, and you get so you think if you don't find one soon, you'll go insane. The bridge of the nose is where your voice focuses, where you get that little pull when you cut loose, and that was where I began to feel it. I'd talk, and read, and eat, and try to forget it, and it would go away, but then it would come back.

Then I began to have these dreams. I'd be up there, and they'd be playing my cue, and it would be time for me to come in, and I'd open my mouth, and nothing would come out of it. I'd be dying to sing, and couldn't. A murmur would go over the house, he'd rap the orchestra to attention, look at me, and start the cue again. Then I'd wake up. Then one night, just after she had gone over to her bed, something happened so we did talk about it. In Central America, they've got radios all over the place, and there were three in the block back of us, and one of them had been setting me nuts all day. It was getting London, and they don't have any of that advertising hooey over there. The whole Barber of Seville had come over in the afternoon, with only a couple of small cuts, and at night they had played the Third, Fifth, and Seventh Beethoven symphonies. Then, around ten o'clock, a guy began to sing the serenade from Don Giovanni, the same thing I had sung for Conners at Acapulco, the same thing I had sung the night I came in big at the Metropolitan. He was pretty good. Then, at the end, he did the same messa di voce messa di voce that I had done. I kind of laughed, in the dark. "...Well, he's heard me sing it." that I had done. I kind of laughed, in the dark. "...Well, he's heard me sing it."

She didn't say anything, and then I felt she was crying. I went over there. "What's the matter?"

"Hoaney, Hoaney, you leave me now. You go. We say goodbye."

"Well--what's the big idea?"

"You no know who that was? Who sing? Just now?"

"No. Why?"

"That was you."

She turned away from me then, and began to shake from her sobs, and I knew I had been listening to one of my own phonograph records, put on the air after the main program was over. "...Well? What of it?"

But I must have sounded a little sick. She got up, snapped on the light, and began walking around the room. She was stark naked, the way she generally slept on hot nights, but she was no sculptor's model now. She looked like an old woman, with her shoulders slumped down, her feet sliding along in a flat-footed Indian walk, her eyes set dead ahead, like two marbles, and her hair hanging straight over her face. When the sobs died off a little, she pulled out a bureau drawer, got out a gray rebozo, rebozo, and pulled that over her shoulders. Then she started shuffling around again. If she had had a donkey beside her, it would have been any hag, from Mexicali to Tapachula. Then she began to talk "...So. Now you go? Now we say and pulled that over her shoulders. Then she started shuffling around again. If she had had a donkey beside her, it would have been any hag, from Mexicali to Tapachula. Then she began to talk "...So. Now you go? Now we say adios." adios."

"What the h.e.l.l are you talking about? You think I'm going to walk out on you now?"

"I kill these man, yes. For what he do to you, for what he do to me, I have to kill him. I know these thing at once, that night, when I hear of the inmigracion, inmigracion, that I have to kill him. I ask you? No. Then what I do? Yes? What I do!" that I have to kill him. I ask you? No. Then what I do? Yes? What I do!"

"Listen, for Christ's sake--"

"What I do? You tell me, what I do?"

"G.o.ddam if I know. Laughed at him, for one thing."

"I say goodbye. Yes, I come to you, say remember Juana, kiss you one time, adios. adios. Yes, I kill him, but then is goodbye. I know. I say so. You remember?" Yes, I kill him, but then is goodbye. I know. I say so. You remember?"

"I don't know. Will you cut it out, and--"

"Then you come to boat. I am weak. I love you much. But what I do then? What I say?"

"Goodbye, I suppose. Is that all you know to say?"

"Yes. Once more I say goodbye. The capitan, capitan, he know too, he tell you go. You no go. You come. Once more, I love you much, I am glad...Now, once more. Three times, I tell you go. It is the end. I tell you, he know too, he tell you go. You no go. You come. Once more, I love you much, I am glad...Now, once more. Three times, I tell you go. It is the end. I tell you, goodbye." goodbye."

She didn't look at me. She was shooting it at me with her eyes staring straight again, and her feet carrying her back and forth with that sliding, shuffling walk. I opened my mouth two or three times to stall some more, but couldn't, looking at her. "Well, what are you going to do? Will you tell me that? Do you know?"

"Yes. You go. You give me money, not much, but little bit. Then I work, get little job, maybe kitchen muchacha, muchacha, n.o.body know me, look like all other n.o.body know me, look like all other muchacha, muchacha, I get job, easy. Then I go to priest, confess my I get job, easy. Then I go to priest, confess my pecado pecado--"

"That's what I've been waiting for. I knew that was coming. Now let me tell you something. You confess that pecado, pecado, and right there is where you lose." and right there is where you lose."

"I no lose. I give money to church, they no turn me in. Then I have peace. Then some time I go back to Mexico."

"And what about me?"

"You go. You sing. You sing for radio. I hear. I remember. You remember. Maybe. Remember little dumb muchacha muchacha--"

"Listen, little dumb muchacha, muchacha, that's all swell, except for one thing. When we hooked up, we hooked up for good, and--" that's all swell, except for one thing. When we hooked up, we hooked up for good, and--"

"Why you talk so? It is the end! Can you no see these thing? It is the end! You no go, what then? They take me back. Me only, they never find. You, yes. They take me back, and what they do to me? In Mexico, maybe nothing, unless he was politico. politico. In New York, I know, you know. The In New York, I know, you know. The soldados soldados come, they put the come, they put the panuelo panuelo over the eyes, they take me to wall, they shoot. Why you do these things to me? You love me, yes. over the eyes, they take me to wall, they shoot. Why you do these things to me? You love me, yes. But it is the end!" But it is the end!"

I tried to argue, got up and tried to catch her, to make her quit that walking around. She slipped away from me. Then she flung herself down on her bed and lay there staring up at the ceiling. When I came to her she waved me away. From that time on she slept in her bed and I slept in mine, and nothing I could do would break her down.

I didn't leave her, I couldn't leave her. It wasn't only that I was insane about her. What was between us had completely reversed since we started out. In the beginning, I thought of her like she had said, as a little dumb muchacha muchacha that I was nuts about, that I loved to touch and sleep with and play with. But now I had found out that in all the main things of my life she was stronger than I was, and I had got so I had to be with her. It wouldn't have done any good to leave her. I'd have been back as fast as a plane could carry me. that I was nuts about, that I loved to touch and sleep with and play with. But now I had found out that in all the main things of my life she was stronger than I was, and I had got so I had to be with her. It wouldn't have done any good to leave her. I'd have been back as fast as a plane could carry me.

For a week after that, we'd lie there in the afternoon, saying nothing, and then she began putting on her clothes and going out. I'd lie there, trying not to think about singing, praying for strength not to suck in a bellyful and cut it loose. Then it popped in my mind about the priests, and I got in a cold sweat that that was where she was going. So one day I followed her. But she went past the Cathedral, and then I got ashamed of myself and turned around and came back.

I had to do something with myself, though, so when she went I began going to the baseball games. From that you can imagine how much there was to do in Guatemala, that I would go to the baseball game. They've got some kind of a league between Managua, Guatemala, San Salvador, and some other Central American towns, and they get as excited about it as they get in Chicago over a World Series, and yell at the ump, and all the rest of it. Buses run out there, but I walked. The fewer people that got a close look at me, the better I liked it. One day I found myself watching the pitcher on the San Salvador team. The papers gave his name as Barrios, but he must have been an American, or anyway have lived in the United States, from his motion. Most of those Indians handle a ball jerky, and fight it so they make more errors than you could believe. But this guy had the old Lefty Gomez motion, loose, easy, so his whole weight went in the pitch, and more smoke than all the rest of them had put together. I sat looking at him, taking in those motions, and then all of a sudden I felt my heart stop. Was it coming out in me again, this thing that had got me when I met Winston? Was that kid out there really doing things to me that had nothing to do with baseball? Was it having its effect, her putting me out of her bed?

I got up and left. I know now it was just nerves, that when Winston died that chapter ended. But I didn't then. I tried to put it out of my mind, and couldn't. I didn't go to the ball games any more, but then, after a couple of weeks, I got to thinking: Am I going to turn into the priest again? Am I going to give up everything else in this Christ-forsaken dump, and then lose my voice too? It began to be an obsession with me that I had to have a woman, that if I didn't have a woman I was sunk.

She didn't go with me to hear the band play any more. She stayed home and went to bed. One night, when I went out, instead of heading for the park, I flagged a taxi. "La Locha."

"Si, Senor, La Locha."

I had heard guys at the ball game talking about La Locha's, but I didn't know where it was. It turned out to be on Tenth Avenue, but the district was on a different system from in Mexico. There were regular houses, with red lights over the door, all according to Hoyle. I rang, and an Indian let me in. A wh.o.r.ehouse, I guess, is the same all over the world. There was a big room, with a phonograph on one side, a radio on the other, and an electric piano in the middle, with a stained-gla.s.s picture of Niagara Falls in the front, that lit up whenever somebody put in a nickel. The wallpaper had red roses all over it, and at one end was a bar. Back of the bar was an oil painting of a nude, and in the cabinet under it were stacks and stacks of long square cans. When a guy in Guatemala really wants to show the girls a good time, he blows them to canned asparagus.

The Indian looked at me pretty funny, and after he went back, so did the woman at the bar. I thought at first it was the Italian way I was speaking Spanish, but then it seemed to he he something about my hat. An army officer was at a little table, reading a newspaper. He had his hat on, and then I remembered and put mine on. I ordered something about my hat. An army officer was at a little table, reading a newspaper. He had his hat on, and then I remembered and put mine on. I ordered cerveza, cerveza, and three girls came in. They stood on the rail and began loving me up. Two of them were Indian, but one of them was white, and she looked the cleanest. I put my arm around her, and after the other two got their drinks, they went over with the officer. One of them turned on the radio, and the other one and the officer began to dance. My girl and I danced. By rights I guess she was fairly pretty. She couldn't have been more than twenty-one or two, and even in the sweater and green dress she had on, you could see she had a pretty good shape. But she kept playing with my hand, and everything I'd say to her, she'd answer in a little high squeak of a voice that got on my nerves. I asked her what her name was. She said Maria. and three girls came in. They stood on the rail and began loving me up. Two of them were Indian, but one of them was white, and she looked the cleanest. I put my arm around her, and after the other two got their drinks, they went over with the officer. One of them turned on the radio, and the other one and the officer began to dance. My girl and I danced. By rights I guess she was fairly pretty. She couldn't have been more than twenty-one or two, and even in the sweater and green dress she had on, you could see she had a pretty good shape. But she kept playing with my hand, and everything I'd say to her, she'd answer in a little high squeak of a voice that got on my nerves. I asked her what her name was. She said Maria.

We had another dance, but G.o.d knows there was no point in keeping that up. I asked her if she wanted to go upstairs, and she was leading me out the door even before the tune was over.

We went up, she took me in a room, and snapped on the light. It was just the same old wh.o.r.e's bedroom, except for one thing. On the bureau was a signed photograph of Enzo Luchetti, an old ba.s.s I had sung with years before, in Florence. My heart skipped a beat. If he was in town, that meant I had to get out, and get out fast. I picked it up and asked her who it was. She said she didn't know. Another girl had had the room before she came, a fine girl that had been in Europe, but she had got enferma enferma and had to leave. I put it down and said it looked like an Italian. She asked if I wasn't Italian. I said yes. and had to leave. I put it down and said it looked like an Italian. She asked if I wasn't Italian. I said yes.

There didn't seem to be much to do, then, but get at it. She began dropping off her clothes. I began dropping off mine. She snapped off the light and we lay down on the bed. I didn't want her, and yet I was excited, in some kind of a queer, unnatural way, because I knew I had to have her. It didn't seem possible that anything could be over so quick and amount to so little. We lay there, and I tried to talk to her, but there wasn't anything to talk to. Then we had another, and next thing I knew I was dressing. Ten quetzals. I gave her fifteen. She got awfully friendly then, but it was like having a poodle b.i.t.c.h trying to jump in your lap. It was only a little after ten when I got home, but Juana was asleep. I undressed in the dark, got into bed, and thought I would get some peace. Next thing, the conductor threw the stick on me, and I tried to sing, and the chorus stood around looking at me, and I began yelling, trying to tell them why I couldn't. When I woke up, those yells were still echoing in my ears, and she was standing over me, shaking me.

"Hoaney! What is it?"

"Just a dream."

"So."

She went back to bed. Not only the bridge of my nose, but the whole front of my face was aching so it was two hours before I dropped off again.

From then on I was like somebody thres.h.i.+ng around in a fever, and the more I threshed the worse the fever got. I went around there every night, and when I was so sick of Maria I couldn't even look at her any more, I tried the Indian girls, and when I got sick of them I went in other places, and tried other Indian girls. Then I began picking girls off the street, and in cafes, and taking them in to cheap hotels off the park. They didn't ask me to register and I didn't volunteer. I paid the money, took them in, and around eleven o'clock left them there and went home. Then I went back to La Locha's and started up with Maria again. The more I had of them the worse I wanted to sing. And all that time there was only one woman in the world that I really wanted, and that was Juana. But Juana had turned to ice. After that one little flash, when I woke her up with my nightmare, she went back to treating me like she just barely knew me. We spoke, talked about whatever had to be talked about, but whenever I tried to push it further than that, she didn't even hear me.

One night the Pagliacci cue began to play, and I was just about to step through the curtain and face that conductor again. But I was almost used to it by now, and woke up. I was about to drop off again, when a horrible realization came to me. I wasn't home. I was in bed with Maria. I had been lying there listening to her squeak about how the rains would be over soon, and then the good weather would come, and must have gone to sleep. I was the star customer there by now, and she must have turned off the light and just let me alone. I jumped up, snapped on the light, and looked at my watch. It was two o'clock. I jumped into my clothes, left a twenty-quetzal note on the bureau, and ran downstairs. Things were just getting good down in the main room. The army, the judiciary, the coffee kingdom, and the banana empire were all on hand, the girls were stewed, the asparagus was going down in bunches, and the radio, the phonograph, and the electric piano were all going at once. I never stopped. A whole row of taxis were parked up and down the street outside. I jumped in one, went home. A light was on upstairs. I let myself in and started up there.

Halfway up, I felt something coming at me. I fell back a step and braced myself for her to hit me. She didn't. She shot by me on the stairs, and in the half light I saw she was dressed to go out. She had on red hat, red dress, and red shoes, with gold stockings, and rouge smeared all over her face, but I didn't catch all that until later. All I saw was that she was got up like some kind of hussy, and I took about six steps at one jump and caught her at the door. She didn't scream. She never screamed, or talked loud, or anything like that. She sank her teeth into my hand and grabbed for the door again. I caught her once more, and we fought like a couple of animals. Then I threw her against the door, got my arms around her from behind, and carried her upstairs, with her heels cutting dents in my s.h.i.+ns.

When we got in the bedroom I turned her loose, and we faced each other panting, her eyes like two points of light, my hands slippery with blood. "What's the rush? Where you going?"

"Where you think? To the Locha, where you come from."

That was one between the eyes. I didn't know she had even heard of La Locha's. But I dead-panned as well as I could.

"What's the locha? I don't seem to place it."

"So, once more you lie."

"I don't even know what you're talking about. I went for a walk and got lost, that's all."

"You lie, now another time you lie. You think these girl no tell me about crazy Italian who come every night? You think they no tell me?"

"So that's where you spend your afternoons."

"Yes."