"Get what?"

"IT! IT! I'll tell you – now no time, we have no time now." Dean rushed back to watch Roll Greb some more.

George Shearing, the great jazz pianist, Dean said, was exactly like Roll Greb. Dean and I went to see Shearing at Bird-* land in the midst of the long, mad weekend. The place was deserted, we were the first customers, ten o'clock. Shearing'1 came out, blind, led by the hand to his keyboard. He was distinguished-looking Englishman with a stiff white collar,! slightly beefy, blond, with a delicate English-summer's-night air about him that came out in the first rippling sweet number! he played as the bass-player leaned to him reverently and} thrummed the beat. The drummer, Denzil Best, sat motionless! except for his wrists snapping the brushes. And Shearing began to rock; a smile broke over his ecstatic face; he began to rock in the piano seat, back and forth, slowly at first, then the beat went up, and he began rocking fast, his left foot jumped up with every beat, his neck began to rock crookedly, he brought his face down to the keys, he pushed his hair back, his combed hair dissolved, he began to sweat. The music I picked up. The bass-player hunched over and socked it in, faster and faster, it seemed faster and faster, that's all. Shearing began to play his chords; they rolled out of the piano in great rich showers, you'd think the man wouldn't have time to line them up. They rolled and rolled like the sea. Folks yelled for him to "Go!" Dean was sweating; the swear poured down his collar. "There he is! That's him! Old God! Old God Shearing! Yes! Yes! Yes!" And Shearing was conscious of the madman behind him, he could hear every one of Dean's gasps and imprecations, he could sense it though he couldn't see. "That's right!" Dean said. "Yes!" Shearing smiled; he rocked. Shearing rose from the piano, dripping with sweat; these were his great 1949 days before he became cool and commercial. When he was gone Dean pointed to the empty piano seat. "God's empty chair," he said. On the piano a horn sat; its golden shadow made a strange reflection along the desert caravan painted on the wall behind the drums. God was gone; it was the silence of his departure. It was a rainy night. It was the myth of the rainy night. Dean was popeyed with awe. This madness would lead nowhere. I didn't know what was happening to me, and I suddenly realized it was only the tea that we were smoking; Dean had bought some in New York. It made me think that everything was about to arrive – the moment when you know all and everything is decided forever.

I left everybody and went home to rest. My aunt said I was wasting my time hanging around with Dean and his gang. I knew that was wrong, too. Life is life, and kind is kind. What I wanted was to take one more magnificent trip to the West Coast and get back in time for the spring semester in school. And what a trip it turned out to be! I only went along for the ride, and to see what else Dean was going to do, and finally, also, knowing Dean would go back to Camille in Frisco, I wanted to have an affair with Marylou. We got ready to cross the groaning continent again. I drew my GI check and gave Dean eighteen dollars to mail to his wife; she was waiting for him to come home and she was broke. What was on Marylou's mind I don't know. Ed Dunkel, as ever, just followed.

There were long, funny days spent in Carlo's apartment before we left. He went around in his bathrobe and made semi-ironical speeches: "Now I'm not trying to take your hincty sweets from you, but it seems to me the time has come to decide what you are and what you're going to do." Carlo was working as typist in an office. "I want to know what all this sitting around the house all day is intended to mean. What all this talk is and what you propose to do. Dean, why did you leave Camille and pick up Marylou?" No answer – giggles. "Marylou, why are you traveling around the country like this and what are your womanly intentions concerning the shroud?" Same answer. "Ed Dunkel, why did you abandon your new wife in Tucson and what are you doing here sitting on your big fat ass? Where's your home? What's your job?" Ed Dunkel bowed his head in genuine befuddlement. "Sal – how comes it you've fallen on such sloppy days and what have you done with Lucille?" He adjusted his bathrobe and sat facing us all. "The days of wrath are yet to come. The balloon won't sustain you much longer. And not only that, but it's an abstract balloon. You'll all go flying to the West Coast and come staggering back in search of your stone."

In these days Carlo had developed a tone of voice which he hoped sounded like what he called The Voice of Rock; the whole idea was to stun people into the realization of the rock. "You pin a dragon to your hats," he warned us; "you're up in the attic with the bats." His mad eyes glittered at us. Since the Dakar Doldrums he had gone through a terrible period which he called the Holy Doldrums, or Harlem Doldrums, when he lived in Harlem in midsummer and at night woke up in his lonely room and heard "the great machine" descending from the sky; and when he walked on 12 5th Street "under water" with all the other fish. It was a riot of radiant ideas that had come to enlighten his brain. He made Marylou sit on his lap and commanded her to subside. He told Dean, "Why don't you just sit down and relax? Why do you jump around so much?" Dean ran around, putting sugar in his coffee and saying, "Yes! Yes! Yes!" At night Ed Dunkel slept on the floor on cushions, Dean and Marylou pushed Carlo out of bed, and Carlo sat up in the kitchen over his kidney stew, mumbling the predictions of the rock. I came in days and watched everything.

Ed Dunkel said to me, "Last night I walked clear down to Times Square and just as I arrived I suddenly realized I was a ghost – it was my ghost walking on the sidewalk." He said these things to me without comment, nodding his head emphatically. Ten hours later, in the midst of someone else's conversation, Ed said, "Yep, it was my ghost walking on the sidewalk."

Suddenly Dean leaned to me earnestly and said, "Sal, I have something to ask of you – very important to me – I wonder how you'll take it – we're buddies, aren't we?"

"Sure are, Dean." He almost blushed. Finally he came out with it: he wanted me to work Marylou. I didn't ask him why because I knew he wanted to see what Marylou was like with another man. We were sitting in Ritzy's Bar when he proposed the idea; we'd spent an hour walking Times Square, looking for Hassel. Ritzy's Bar is the hoodlum bar of the streets around Times Square; it changes names every year. You walk in there and you don't see a single girl, even in the booths, just a great mob of young men dressed in all varieties of hoodlum cloth, from red shirts to zoot suits. It is also the hustlers' bar – the boys who make a living among the sad old homos of the Eighth Avenue night. Dean walked in there with his eyes slitted to see every single face. There were wild Negro queers, sullen guys with guns, shiv-packing seamen, thin, noncommittal junkies, and an occasional well-dressed middle-aged detective, posing as a bookie and hanging around half for interest and half for duty. It was the typical place for Dean to put down his request. All kinds of evil plans are hatched in Ritzy's Bar – you can sense it in the air – and all kinds of mad sexual routines are initiated to go with them. The safecracker proposes not only a certain loft on i4th Street to the hoodlum, but that they sleep together. Kinsey spent a lot of time in Ritzy's Bar, interviewing some of the boys; I was there the night his assistant came, in 1945. Hassel and Carlo were interviewed.

Dean and I drove back to the pad and found Marylou in bed. Dunkel was roaming his ghost around New York. Dean told her what we had decided. She said she was pleased. I wasn't so sure myself. I had to prove that I'd go through with it. The-bed had been the deathbed of a big man and sagged in the middle. Marylou lay there, with Dean and myself on each side of her, poised on the upjutting mattress-ends, not knowing what to say. I said, "Ah hell, I can't do this."