Tod had fallen asleep. When he woke again, it was after eight o’clock. He took a bath and shaved, then dressed in front of the bureau mirror. He tried to watch his fingers as he fixed his collar and tie, but his eyes kept straying to the photograph that was pushed into the upper corner of the frame.
It was a picture of Faye Greener, a still from a two-reel farce in which she had worked as an extra. She had given him the photograph willingly enough, had even autographed it in a large, wild hand, “Affectionately yours, Faye Greener,” but she refused his friendship, or, rather, insisted on keeping it impersonal. She had told him why. He had nothing to offer her, neither money nor looks, and she could only love a handsome man and would only let a wealthy man love her. Tod was a “good-hearted man,” and she liked “good-hearted men,” but only as friends. She wasn’t hard-boiled. It was just that she put love on a special plane, where a man without money or looks couldn’t move.
Tod grunted with annoyance as he turned to the photograph. In it she was wearing a harem costume, full Turkish trousers, breastplates and a monkey jacket, and lay stretched out on a silken divan. One hand held a beer bottle and the other a pewter stein.
He had gone all the way to Glendale to see her in that movie. It was about an American drummer who gets lost in the seraglio of a Damascus merchant and has a lot of fun with the female inmates. Faye played one of the dancing girls. She had only one line to speak, “Oh, Mr. Smith!” and spoke it badly.
She was a tall girl with wide, straight shoulders and long, swordlike legs. Her neck was long, too, and columnar. Her face was much fuller than the rest of her body would lead you to expect and much larger. It was a moon face, wide at the cheek bones and narrow at chin and brow. She wore her “platinum” hair long, letting it fall almost to her shoulders in back, but kept it away from her face and ears with a narrow blue ribbon that went under it and was tied on top of her head with a little bow.
She was supposed to look drunk and she did, but not with alcohol. She lay stretched out on the divan with her arms and legs spread, as though welcoming a lover, and her lips were parted in a heavy, sullen smile. She was supposed to look inviting, but the invitation wasn’t to pleasure.
Tod lit a cigarette and inhaled with a nervous gasp. He started to fool with his tie again, but had to go back to the photograph.
Her invitation wasn’t to pleasure, but to struggle, hard and sharp, closer to murder than to love. If you threw yourself on her, it would be like throwing yourself from the parapet of a skyscraper. You would do it with a scream. You couldn’t expect to rise again. Your teeth would be driven into your skull like nails into a pine board and your back would be broken. You wouldn’t even have time to sweat or close your eyes.
He managed to laugh at his language, but it wasn’t a real laugh and nothing was destroyed by it.
If she would only let him, he would be glad to throw himself, no matter what the cost. But she wouldn’t have him. She didn’t love him and he couldn’t further her career. She wasn’t sentimental and she had no need for tenderness, even if he were capable of it.
When he had finished dressing, he hurried out of the room. He had promised to go to a party at Claude Estee’s.
Last updated Monday, December 22, 2014 at 10:56