Geoffrey Bartholomew - Manhattan Noir 2 - The Classics

All I keep thinking is: this is it. Here it is. It’s not a hotel-service call, it can’t be, not at this hour anymore. The waiter’s been and gone, the night maid’s been and gone. It can’t be an outside call, because nobody on the outside knows I’m here in the hotel. Not even where I work, where I used to work, they don’t know. This is it; it’s got to be.

How will they put it? A polite summons. “Would you mind coming down for a minute, sir?” And then if I do, a sudden preventive twisting of my arm behind my back as I step out of the elevator, an unnoticeable flurry tactfully covered up behind the backs of the bellboys — then quickly out and away.

Why don’t they come right up here to my door and get me? Is it because this is a high-class hotel on a high-class street? Maybe they don’t want any commotion in the hall, for the sake of the other guests. Maybe this is the way they always do it.

Meanwhile it keeps ringing and ringing and ringing.

The damp zigzag path my spilled drink made, from where I was to where I am now, is slowly soaking into the carpet and darkening it. The empty glass, dropped on the carpet, has finished rocking on its side by now and lies still. And I’ve fallen motionless into the grotesque posture of a badly frightened kid. Almost prone along the floor, legs sprawled out in back of me in scissors formation, just the backs of my two hands grasping the edge of the low stand the phone sits on, and the rim of it cutting across the bridge of my nose so that just two big staring, straining eyes show up over the top.

And it rings on and on and on.

Then all at once an alternative occurs to me. Maybe it’s a wrong-number call, meant for somebody else. Somebody in another room, or somebody in this room who was in it before I came. Hotel switchboards are overworked places: slip-ups like that can happen now and then.

I bet I haven’t said a prayer since I finished my grammar-school final-exam paper in trigonometry (and flunked it; maybe that’s why I haven’t said a prayer since), and that was more a crossed-fingers thing held behind my back than a genuine prayer. I say one now. What a funny thing to pray for. I bet nobody ever prayed for a wrong number before, not since telephones first began. Or since prayers first began, either.

Please, make it a mistake and not for me. Make it a mistake.

Suddenly there’s open space between the cradle and the receiver, and I’ve done it. I’ve picked it up. It’s just as easy as pulling out one of your own teeth by the roots.

The prayer gets scratched. The call is for me, it’s not a wrong number. For me, all right, every inch of the way. I can tell from the opening words. Only — it’s not the one I feared; it’s friendly, a friendly call no different from what other people get.

A voice from another world, almost. Yet I know it so well. Always like this, never a cloud on it; always jovial, always noisy. When a thing should be said softly, it says it loudly; when a thing should be said loudly, it says it louder still. He never identifies himself, never has to. Once you’ve heard his voice, you’ll always know him.

That’s Johnny for you — the pal of a hundred parties. The bar-kick of scores of binges. The captain of the second-string team in how many foursome one-night stands? Every man has had a Johnny in his life sometime or other.

He says he’s been calling my apartment since Wednesday and no answer: what happened to me?

I play it by ear. “Water started to pour down through the ceiling, so I had to clear out till they get it repaired…. No, I’m not on a tear…. No, there’s nobody with me, I’m by myself…. Do I? Sound sort of peculiar? No, I’m all right there’s nothing the matter, not a thing.”

I pass my free hand across the moist glisten on my forehead. It’s tough enough to be in a jam, but it’s tougher still to be in one and not be able to say you are.

“How did you know I was here? How did you track me to this place?... You went down the yellow pages, hotel by hotel, alphabetically. Since three o’clock yesterday afternoon?... Something to tell me?”

His new job had come through. He starts on Monday. With a direct line, and two, count ’em, two secretaries, not just one. And the old bunch is giving him a farewell party. A farewell party to end all farewell parties. Sardi’s, on 44th. Then they’ll move on later to some other place. But they’ll wait here at Sardi’s for me to catch up. Barb keeps asking, Why isn’t your best-man-to-be here with us?

The noise of the party filters through into my ear. Ice clicking like dice in a fast-rolling game. Mixing sticks sounding like tiny tin flutes as they beat against glass. The laughter of girls, the laughter of men. Life is for the living, not the already dead.

“Sure, I’ll be there. Sure.”

If I say I won’t be — and I won’t, because I can’t — he’ll never quit pestering and calling me the rest of the night. So I say that I will, to get off the hook. But how can I go there, drag my trouble before his party, before his friends, before his girl? And if I go, it’ll just happen there instead of here. Who wants a grandstand for his downfall? Who wants bleachers for his disgrace?

Johnny’s gone now, and the night goes on.

Now the evening’s at its noon, its meridian. The outgoing tide has simmered down, and there’s a lull — like the calm in the eye of a hurricane — before the reverse tide starts to set in.

The last acts of the three-act plays are now on, and the after-theater eating places are beginning to fill up with early comers; Danny’s and Lindy’s — yes, and Horn & Hardart too. Everybody has got where they wanted to go — and that was out somewhere. Now everybody will want to get back where they came from — and that’s home somewhere. Or as the coffee-grinder radio, always on the beam, put it at about this point: New York, New York, it’s a helluva town, The Bronx is up, the Battery’s down, And the people ride around in a hole in the ground —

Now the incoming tide rolls in; the hours abruptly switch back to single digits again, and it’s a little like the time you put your watch back on entering a different time zone. Now the buses knock off and the subway expresses turn into locals and the locals space themselves far apart; and as Johnny Carson’s face hits millions of screens all at one and the same time, the incoming tide reaches its crest and pounds against the shore. There’s a sudden splurge, a slew of taxis arriving at the hotel entrance one by one as regularly as though they were on a conveyor belt, emptying out and then going away again.

Then this too dies down, and a deep still sets in. It’s an around-the-clock town, but this is the stretch; from now until the garbage-grinding trucks come along and tear the dawn to shreds, it gets as quiet as it’s ever going to get.

This is the deep of the night, the dregs, the sediment at the bottom of the coffee cup. The blue hours; when guys’ nerves get tauter and women’s fears get greater. Now guys and girls make love, or kill each other or sometimes both. And as the windows on the Late Show title silhouette light up one by one, the real ones all around go dark. And from now on the silence is broken only by the occasional forlorn hoot of a bogged-down drunk or the gutted-cat squeal of a too sharply swerved axle coming around a turn. Or as Billy Daniels sang it in Golden Boy: While the city sleeps, And the streets are clear, There’s a life that’s happening here —

In the pin-drop silence a taxi comes up with an unaccompanied girl in it. I can tell it’s a taxi, I can tell it’s a girl, and I can tell she’s unaccompanied; I can tell all three just by her introductory remark.

“Benny,” she says, “will you come over and pay this for me?”