Truman Capote: In Cold Blood: A True Account of a Multiple Murder and Its Consequences

Ink-circled names populated the map. Cozumel, an island off the coast of Yucatan, where, so he had read in a men’s magazine, you could “shed your clothes, put on a relaxed grin, live like a Rajah, and have all the women you want for $50-a-month!” From the same article he had memorized other appealing statements: “Cozumel is a hold-out against social, economic, and political pressure. No official pushes any private person around on this island,” and “Every year flights of parrots come over from the mainland to lay their eggs.” Acapulco connoted deep-sea fishing, casinos, anxious rich women; and sierra madre meant gold, meant Treasure of the Sierra Madre, a movie he had seen eight times. (It was Bogart’s best picture, but the old guy who played the prospector, the one who reminded Perry of his father, was terrific, too. Walter Huston. Yes, and what he had told Dick was true: He did know the ins and outs of hunting gold, having been taught them by his father, who was a professional prospector. So why shouldn’t they, the two of them, buy a pair of pack horses and try their luck in the Sierra Madre? But Dick, the practical Dick, had said, “Whoa, honey, whoa. I seen that show. Ends up Everybody nuts. On account of fever and bloodsuckers, mean conditions all around. Then, when they got the gold—remember, big wind came along and blew it all away?”) Perry folded the map. He paid for the root beer and stood up. Sitting, he had seemed a more than normal-sized man, a powerful man, with the shoulders, the arms, the thick, crouching torso of a weight lifter, weight lifting was, in fact, his hobby. But some sections of him were not in proportion to others. His tiny feet, encased in short black boots with steel buckles, would have neatly fitted into a delicate lady’s dancing slippers; when he stood up, he was no taller than a twelve-year-old child, and suddenly looked, strutting on stunted legs that seemed grotesquely inadequate to the grown-up bulk they supported, not like a well-built truck driver but like a retired jockey, overblown and muscle-bound, outside the drugstore, Perry stationed himself in the sun. It was a quarter to nine, and Dick was a half hour late; however, if Dick had not hammered home the every-minute importance of the next twenty-four hours, he would not have noticed it. Time rarely weighed upon him, for he had many methods of passing it—among them, mirror gazing. Dick had once observed, “Every time you see a mirror you go into a trance, like. Like you was looking at some gorgeous piece of butt. I mean, my God, don’t you ever get tired?” Far from it; his own face enthralled him. Each angle of it induced a different impression. It was a change-face, and mirror-guided experiments had taught him how to ring the changes, how to look now ominous, now impish, now soulful; a tilt of the head, a twist of the lips, and the corrupt gypsy became the gentle romantic. His mother had been a full-blooded Cherokee; it was from her that he had inherited his coloring—the iodine skin, the dark, moist eyes, the black hair, which he kept brilliantined and was plentiful enough to provide him with sideburns and a slippery spray of bangs. His mother’s donation was apparent; that of his father, a freckled, ginger-haired Irishman, was less so. It was as though the Indian blood had routed every trace of the Celtic strain. Still, pink lips and a perky nose confirmed its presence, as did a quality of roguish animation, of uppity Irish egotism, which often activated the Cherokee mask and took control completely when he played the guitar and sang. Singing, and the thought of doing so in front of an audience, was another mesmeric way of whittling hours. He always used the same mental scenery—a night club in Las Vegas, which happened to be his home town. It was an elegant room filled with celebrities excitedly focused on the sensational new star rendering his famous, backed-by-violins version of “I’ll Be Seeing You” and encoring with his latest self-composed ballad:

(Dick, on first hearing this song, had commented, “Parrots don’t sing. Talk, maybe. Holler. But they sure as hell don’t sing.” Of course, Dick was very literal-minded, very— he had no understanding of music, poetry—and yet when you got right down toot, Dick’s literalness, his pragmatic approach to every subject, was the primary reason Perry had been attracted to him, for it made Dick seem, compared to himself, so authentically tough, invulnerable, “totally masculine.”)

Nevertheless, pleasant as this Las Vegas reverie was, it paled beside another of his visions. Since childhood, for more than half his thirty-one years, he had been sending off for literature (“fortunes in diving! Train at Home in Your Spare Time. Make Big Money Fast in Skin and Lung Diving. free booklets…”) answering advertisements (“sunken treasure! Fifty Genuine Maps! Amazing Offer…”) that stoked a longing to realize an adventure his imagination swiftly and over and over enabled him to experience: the dream of drifting downward through strange waters, of plunging toward a green sea-dusk, sliding past the scaly, savage-eyed protectors of a ship’s hulk that loomed ahead, a Spanish galleon—a drowned cargo of diamonds and pearls, heaping caskets of gold. A car horn honked. At last—Dick.

“Good grief, Kenyon! I hear you.”

As usual, the devil was in Kenyon. His shouts kept coming up the stairs: “Nancy! Telephone!”

Barefoot, pajama-clad, Nancy scampered down the stairs. There were two telephones in the house—one in the room her father used as an office, another in the kitchen. She picked up the kitchen extension: “Hello? Oh, yes, good morning, Mrs. Katz.”

And Mrs. Clarence Katz, the wife of a farmer who lived on the highway, said, “I told your daddy not to wake you up. I said Nancy must be tired after all that wonderful acting she did last night. You were lovely, dear. Those white ribbons in your hair! And that part when you thought Tom Sawyer was dead—you had real tears in your eyes. Good as anything on TV. But your daddy said it was time you got up; well, it is going on for nine. Now, what I wanted, dear—my little girl, my little Jolene, she’s just dying to bake a cherry pie, and seeing how you’re a champion’ cherry-pie maker, always winning prizes, I wondered could I bring her over there this morning and you show her?”

Normally, Nancy would willingly have taught Jolene to prepare an entire turkey dinner; she felt it her duty to be available when younger girls came to her wanting help with their cooking, their sewing, or their music lessons—or, as often happened, to confide. Where she found the time, and still managed to practically run that big house” and be a straight-A student, the president of her class, a leader in the 4-H program and the Young Methodists League, a skilled rider, an excellent musician (piano, clarinet), an annual winner at the county fair (pastry, preserves, needlework, flower arrangement)—how a girl not yet seventeen could haul such a wagonload, and do so without “brag,” with, rather, merely a radiant jauntiness, was an enigma the community pondered, and solved by saying, “She’s got character. Gets it from her old man.” Certainly her strongest trait, the talent that gave support to all the others, derived from her father: a fine-honed sense of organization. Each moment was assigned; she knew precisely, at any hour, what she would be doing, how long it would require. And that was the trouble with today: she had overscheduled it. She had committed herself to helping another neighbor’s child, Roxie Lee Smith, with a trumpet solo that Roxie Lee planned to play at a school concert; had promised to run three complicated errands for her mother; and had arranged to attend a 4-H meeting in Garden City with her father. And then there was lunch to make and, after lunch, work to be done on the bridesmaids’ dresses for Beverly’s wedding, which she had designed and was sewing herself. As matters stood, there was no room for Jolene’s cherry-pie lesson. Unless something could be canceled.