Three by Cain: Serenade/Love's Lovely Counterfeit/The Butterfly

by James M. Cain

  “Yes. I ask you to come. Yes.”

  “I caught that. But what’s all this other stuff about? I didn’t have any date with you—that I know of.”

  She kept studying me, and studying the letter, and hungry as I was, and bad as she had walloped me that night, and dumb as it had been up to now, I couldn’t help having this same feeling about her I had had before, that was mainly what any man feels toward a woman, but partly what he feels toward a child. There was something about the way she talked, the way she held her head, the way she did everything, that got me in the throat, so I couldn’t breathe right. It wasn’t child, of course. It was Indian. But it did things to me just the same, maybe worse on account of it being Indian, because that meant she was always going to be like that. The trouble was, you see, that she didn’t know what the letter said. She couldn’t read.

  She called the fat one out, and had her read it, and then there was the most indignant jabbering you ever heard. The other two came out and got in it, and then she grabbed me by the arm. “The auto. You make go, yes?”

  “Well I could once.”

  “Come, then. Come quick.”

  We went down the street, and she turned in at a shack that seemed to be a kind of a garage. It was full of wrecks with stickers pasted on the windshield, that seemed to be held for the sheriff or something, but halfway down the line was the newest, reddest Ford in the world. It shone like a boil on a sailor’s neck. She went up to it, and began waving the letter in one hand and the key in the other. “So. Now we go. Calle Venezuela.”

  I got in, and she got in, and it was a little stiff, but it started, and I rolled it through the murk to the street. I didn’t know where the Calle Venezuela was, and she tried to show me, but she didn’t have the hang of the one-way streets, so we got tangled up so bad it took us a half hour to get there. As soon as I backed up to park she jumped out and ran over to a colonnade, where about fifty guys were camped out on the sidewalk, back of tables with typewriters on them. They all wore black suits. In Mexico, the black suit means you got plenty of education, and the black fingernails mean you got plenty of work. When I got there, she was having an argument with one guy, and after a while he sat down to his machine, stuck a piece of paper in it, wrote something, and handed it to her. She came over to me waving it, and I took it. It was just two lines, that started off “Querido Sr. Sharp” instead of “Querido Jonny,” and said she wanted to see me on a matter of business.

  “This letter, big mistake.”

  She tore it up.

  Well, never mind the fine points. The result of the big Socialist educational program is that half the population of the city have to come to these mugs to get their letters written, and that was what she had done. But the guy had been a little busy, and didn’t get it quite straight what she had said, and fixed her up with a love letter. So of course, she had to go down there and get what she had paid for. I didn’t blame her, but I still didn’t know what she wanted, and I was still hungry.

  “The auto—you like, yes?”

  “It’s a knockout.” We were coming up the Bolivar again, and I had to keep tooting the horn, according to law. The main thing they put on cars for Mexican export is the biggest, loudest horn they can find in Detroit, and this one had a double note to it that sounded like a couple of ferryboats passing in an East River fog. “Your business must be good.”

  I didn’t mean to make any crack, but it slipped out on me. If it meant anything to her at all, she passed it up.

  “Oh no. I win.”

  “How?”

  “The billete. You remember?”

  “Oh. My billette?”

  “Yes. I win, in lotería. The auto, and five honnerd pesos. The auto, is very pretty. I can no make go.”

  “Well, I can make it go, if that’s all that’s bothering you. About those five hundred pesos. You got some of them with you?”

  “Oh yes. Of course.”

  “That’s great. What you’re going to do is buy me a breakfast. For my belly—muy empty. You get it?”

  “Oh, why you no say? Yes, of course, now we eat.”

  I pulled in at the Tupinamba. The restaurants don’t open until one o’clock, but the cafés will take care of you. We took a table up near the corner, where it was dark and cool. Hardly anybody was in there. My same old waitress came around grinning, and I didn’t waste any time. “Orange juice, the biggest you got. Fried eggs, three of them, and fried ham. Tortillas. Glass of milk, frío, and café con crema.”

  “Bueno.”

  She took iced coffee, a nifty down there, and gave me a cigarette. It was the first I had had in three days, and I inhaled and leaned back, and smiled at her. “So.”

  “So.”

  But she didn’t smile back, and looked away as soon as she said it. It was the first time we had really looked at each other all morning, and it brought us back to that night. She smoked, and looked up once or twice to say something, and didn’t, and I saw there was something on her mind besides the billete. “So—you still have no pesos?”

  “That’s more or less correct.”

  “You work, no?”

  “I did work, but I got kicked out. Just at present, I’m not doing anything at all.”

  “You like to work, yes? For me?”

  “… Doing what?”

  “Play a guitar, little bit, maybe. Write a letter, count money, speak Inglés, help me, no work very hard, in Mexico, nobody work very hard. Yes? You like?”

  “Wait a minute. I don’t get this.”

  “Now Í have money, I open house.”

  “Here?”

  “No, no, no. In Acapulco. In Acapulco, I have very nice friend, big politico. Open nice house, with nice music, nice food, nice drink, nice girls—for American.”

  “Oh, for Americans.”

  “Yes. Many Americans come now to Acapulco. Big steamboat stop there. Nice man, much money.”

  “And me, I’m to be a combination professor, bartender, bouncer, glad-hander, secretary, and general bookkeeper for the joint, is that it?”

  “Yes, yes.”

  “Well.”

  The food came along, and I stayed with it a while, but the more I thought about her proposition the funnier it got to me. “This place, it’s supposed to have class, is that the idea?”

  “Oh yes, very much. My politico friend, he say American pay as much as five pesos, gladly.”

  “Pay five—what?”

  “Pesos.”

  “Listen, tell your politico friend to shut his trap and let an expert talk. If an American paid less than five dollars, he’d think there was something wrong with it.”

  “I think you little bit crazy.”

  “I said five bucks—eighteen pesos.”

  “No, no. You kid me.”

  “All right, go broke your own way. Hire your politico for manager.”

  “You really mean?”

  “I raise my right hand and swear by the holy mother of God.But—you got to get some system in it. You got to give him something for his money.”

  “Yes, yes. Of course.”

  “Listen, I’m not talking about this world’s goods. I’m talking about things of the spirit, romance, adventure, beauty. Say, I’m beginning to see possibilities in this. All right, you want that American dough, and I’ll tell you what you’ve got to do to get it. In the first place, the dump has got to be in a nice location, in among the hotels, not back of the coconut palms, up on the hill. That’s up to your politico. In the second place, you don’t do anything but run a little dance hall, and rent rooms. The girls came in, just for a drink. Not mescal, not tequila. Chocolate ice-cream soda, because they’re nice girls, that just dropped in to take a load off their feet. They wear hats. They come in two at a time, because they’re so well brought up they wouldn’t dream of going in any place alone. They work in the steamboat office, up the street, or maybe they go to school and just came home for vacation. And they’ve never met any Americans, see, and they’re giggl
ing about it, in their simple girlish way, and of course, we fix it up, you and I, so there’s a little introducing around. And they dance. And one thing leads to another. And next thing you know, the American has a room from you, to take the girl up. You don’t really run that kind of place, but just because it’s him, you’ll make an exception—for five dollars. The girl doesn’t take anything. She does it for love, see?”

  “For what?”

  “Do I know the Americano, or don’t I?”

  “I think you just talk, so sound fonny.”

  “It sounds fonny, but it’s not just talk. The Americano, he doesn’t mind paying for a room, but when it comes to a girl, he likes to feel it’s a tribute to his personality. He likes to think it’s a big night for her, too, and all the more because she’s just a poor little thing in a steamboat office, and never had such a night in her life until he came along and showed her what life could be like with a real guy. He wants an adventure—with him the hero. He wants to have something to tell his friends. But don’t have any bums sliding up to take their foto. He doesn’t like that.”

  “Why not? The fotógrafo, he pay me little bit.”

  “Well, I tell you. Maybe the fotógrafo has a heart of gold, and so has the muchacha, but the Americano figures the foto might get back to his wife, or threaten to, specially if she’s staying up at the hotel. He wants an adventure, but he doesn’t want any headache. Besides, the fotos have got a Coney Island look to them, and might give him the idea it was a cheap joint. Remember, this place has class. And that reminds me, the mariachi is going to be hand-picked by me, and hand-trained as well, so maybe somebody could dance to the stuff when they play it. Of course, I don’t render any selections on the guitar. That’s out. Or the piano, or the violin, or any other instrument in my practically unlimited repertoire. And that mariachi, they wear suits that we give them, with gold braid down the pants, and turn those suits in every night when they quit. It’s our own private mariachi, and as fast as we get money to buy more suits we put on more men, so it’s a feature. The main thing is that we have class, first, last, and all the time. No Americano, from the time he goes in to the time he goes out, is going to get the idea that he can get out of spending money. Once they get that through their heads, we’ll be all right.”

  “The Americanos, are they all crazy?”

  “All crazy as loons.”

  It seemed to be settled, but after the gags wore off I had this sick feeling, like life had turned the gray-white color of their sunlight. I tried to tell myself it was the air, that’ll do it to you at least three times a day. Then I tried to tell myself it was what I had done, that I had no more pride left than to take a job as pimp in a coast-town whorehouse, but what the hell? That was just making myself look noble. It was, anyway, some kind of work, and if I really made a go of it, it wouldn’t make me squirm. It would make me laugh. And then I knew it was this thing that was drilling in the back of my head, about her. There hadn’t been a word about that night, and when she looked at me her eyes were just as blank as though I’d been some guy she was talking to about the rent. But I knew what those eyes could say. Whatever it was she had seen in me that night, she still saw it, and it was between us like some glass door that we could see through but couldn’t talk.

  She was sitting there, looking at her coffee glass and not saying anything. She had a way of dozing off like that, between the talk, like some kitten that falls asleep as soon as you stop playing with it. I told you she looked like some high school girl in that little white dress. I kept looking at her, trying to figure out how old she was, when all of a sudden I forgot about that and my heart began to pound. If she was to be the madame of the joint, she couldn’t very well take care of any customers herself, could she? Then who was going to take care of her? By her looks, she needed plenty of care. Maybe that was supposed to be my job. My voice didn’t quite sound like it generally does when I spoke to her.

  “… Señorita, what do I get out of this?”

  “Oh—you live, have nice cloth, maybe big hat with silver, yes? Some pecos. Is enough, yes?”

  “—And entertain the señoritas?”

  I don’t know why I said that. It was the second mean slice I had taken since we started out. Maybe I was hoping she’d flash jealous, and that would give me the cue I wanted. She didn’t. She smiled, and studied me for a minute, and I felt myself getting cold when I saw there was the least bit of pity in it. “If you like to entertain señoritas, yes. Maybe not. Maybe that’s why I ask you. No have any trouble.”

  C H A P T E R

  3

  Early next morning I shaved, washed, and packed. My earthly possessions seemed to be a razor, brush, and cake of soap, two extra shirts, a pair of extra drawers I had washed out the night before, a pile of old magazines, and the black-snake whip I had used when I sang Alfio. They give you a whip, but it never cracks, and I got this mule-skinner’s number with about two pounds of lead in the butt. One night on the double bill a stagehand laid it out for Pagliacci, and the Nedda hit me in the face with it. I still carry the scar. I had sold off all the costumes and scores, but couldn’t get rid of the whip. I dropped it in the suitcase. The magazines and my new soapdish I put on top of it, and stood the suitcase in the corner. Some day, maybe, I would come back for it. The two extra shirts I put on, and tied the necktie over the top one. The extra drawers I folded and put in one pocket, the shaving stuff in another. I didn’t mention I was leaving, to the clerk, on my way out. I just waved at him, like I was on my way up to the postoffice to see if the money had come, but I had to slap my hand against my leg, quick. She had dropped a handful of pesos in my pocket, and I was afraid he’d hear them clink.

  The Ford was an open roadster, and I lost a half hour getting the boot off and the top up. It was an all-day run to Acapulco, and I didn’t mean to have that sun beating down on me. Then I rolled it out and pulled down to 44b. She was on the doorstep, waiting for me, her stuff piled up around her. The other girls weren’t up yet. She was all dressed up in the black dress with purple flowers that she had had on when I first saw her, though I thought the white would have been better. The main baggage seemed to be a round hatbox, of the kind women traveled with fifteen years ago, only made of straw and stuffed full of clothes. I peeled off the extra shirts and put them and the hatbox in the rumble seat. Then there was the grass mat that she slept on, rolled up and tied. I stuck that in, but it meant I couldn’t close the rumble. Those mats, they sell for sixty centavos, or maybe twenty cents, and it didn’t hardly look like it was worth the space, but it was a personal matter, and I didn’t want to argue. Then there was a pile of rebozos, about every color there was, but mainly black. I put them in, but she ran out and took one, a dark purple, and threw it over her head. Then there was the cape, the espada, and the ear. It was the first time I ever saw a bullfighter’s cape, the dress cape, I mean, not the fighting cape, up close so I could really look at it. I hated it because I knew where she had got it, but you couldn’t laugh off the beauty of it. I think it’s the only decently made thing you’ll ever see in Mexico, and maybe it’s not even made there. It’s heavy silk, each side a different color, and embroidered so thick it feels crusty in your hands. This one was yellow outside, crimson in, and against that yellow the needlework just glittered. It was all flowers and leaves, but not in the dumb patterns you see on most of their stuff. They were oil-painting flowers, not postcard flowers, and the colors had a real tone to them. I folded it, put a rebozo around it, to protect it from dust, and laid it beside the hatbox. The espada, to me, was just one more grand-opera prop. It’s what they use to stick the bull with, and I didn’t even take it out of the scabbard to look at it. I threw it down in the bottom.

  While I was loading the stuff in, she was standing there stroking the ear. I wouldn’t have handled it with tongs. Sometimes, when a bullfighter puts on a good show, they give him an ear. The crowd begins to yell about it, and then one of the assistants goes over and cuts an ear off the bull, w
here he’s lying in the dirt with the mules hooking on to his horns. The bullfighter takes it, holds it up so you can see all the blood and slime, and goes around with it, bowing every ten steps. Then he saves it, like a coloratura saves her decoration from the King of Belgium. After about three months it’s good and rank. This one she had, there were pieces of gristle hanging out of it, and it stunk so you could smell it five feet away. I told her if it went on the front seat with us the deal was off, and she could throw it back there with the espada. She did, but she was plenty puzzled.

  The window popped open then, and the fat one showed, with some kind of a nightgown on, and her hair all frazzled and ropy, and then the other ones beside her, and there was a lot of whispering and kissing, and then we got in and got started. We lost about ten minutes, out on the edge of town, when we stopped to gas up, and another five when we came to a church and she had to go in and bless herself, but finally, around eight o’clock we leveled off. We passed some wooden crosses, another little feature they’ve got. Under Socialism, it seems that there’s only one guy that really knows how it works, and if some other guy thinks he does, it’s a counter-revolutionary act, or, in un-socialist lingo, treason. So back in 1927, a guy named Serrano thought he did, and they arrested him and his friends down in Cuernavaca, and started up to Mexico with them in a truck. But then up in Mexico somebody decided it would be a good idea if they never got there at all, and some of the boys started out in a fast car to meet them. They fastened their hands with baling wire, lined them up beside the road, and mowed them down with a machine gun. Then they said the revolution was over, and the American papers handed it to them that they had a stable government at last, and that a strong man could turn the trick, just give him the chance. So wooden crosses mark the spot, an inspiring sight to see.