Pete Hamill - Forever

“I’ll see you at the theater,” she says, getting into a taxi. “And Cormac? Thanks again.”

Cormac waits for Delfina under the marquee of the Royale Theater on West Forty-fifth Street, searching the crowds for her face. The wind off the river is raw for May, and there are gusts of rain driving most people into the shallow lobby or directly to their seats. Cormac wonders how many times he has walked under this marquee since the theater opened on New Year’s Day in 1927. He was at the opening, sent there by a features editor from the Daily News . The architect’s name was Krapp. Herbert J. Krapp. “I got a real crappy assignment for you,” the editor said. “Irresistible.” And off Cormac went. He remembers the name of the architect but can’t retrieve the name of the play. The theater was handsome and the street was busy all night with theater people and whiskey joints, and if you stayed up late enough and watched the entrances to the speakeasies, you might even get to see Babe Ruth.

For three months that year of Ruth’s sixty glorious home runs, Cormac had a secret affair with a glorious dancer named Ginger Everett. She was in an Earl Carroll show up the block toward Times Square, and he met her under this marquee where she was sheltering from a rainstorm. She had the Jean Harlow white-blond look before anyone ever heard of Jean Harlow, and like most dancers in those days she was short and a bit chubby, with a bosom that moved when she did, which was most of the time. Ginger Everett seemed to move when she was sitting down. Or sleeping.

She had come to New York on a train from Lorain, Ohio, in 1926, seventeen years old, brown-haired and zaftig and desperate to be a star, and somehow found her way to the arms of a bootlegger named Sonny Rivington. He made her a blonde and found her a gig in a chorus line and a suite at the Dixie Hotel. His suite. Cormac had seen him around the speakeasies: a small dapper man with shiny black hair combed straight back in the Valentino style. His face was so closely shaved that it glistened. He had eyes like a rattlesnake’s.

Sonny Rivington was only about twenty-five but seemed older than the other bootleggers, except when he was dancing. He loved to dance. And watching him from the bar or a corner table, Cormac was always envious. Sonny could do the Charleston without looking ridiculous. He was the best tango dancer in town until George Raft showed up. And every night after the show, he and Ginger Everett bounced from speak to speak. Dancing and drinking and dancing some more, until she could barely move. In the Rivington suite at the Dixie Hotel, she would usually go right to sleep. Poor Sonny: Though his eyes were as old as the lairs of rattlesnakes, he was still too young to know that dancers work so hard at night they can only make love in the morning. This annoyed him, because he never woke up until noon and therefore had no mornings. So he threw her out. She came back. He gave up on her a week later. They got back together. But Cormac’s mornings were always free, and sometimes before noon, she would slip away for a late breakfast in his studio, racing downtown on the subway, and make love to him as if working out in a gym. He was certain that the thing about him she most admired was that he could not dance. One other thing was absolutely clear: She was never in love with Cormac Samuel O’Connor. She was mad for Sonny Rivington.

Finally, one night in 1928 (around the time Mae West was doing Diamond Lil at the Royale, a show he does not remember), Cormac was sitting at the bar in Billy LaHiff’s saloon when Sonny and Ginger came in together. She glanced at Cormac in a nervous way, but then Sonny Rivington started hauling her around the dance floor. She left after two lindy hops to go to the ladies’ room, probably to steal five minutes’ sleep standing up. Then two gunsels walked in wearing gray hats and black overcoats, went straight to Sonny’s table, shot him twelve times, and walked out. In the uproar, Cormac went to the ladies’ room and told Ginger Everett to get the hell out of there, and she dashed out the back door, while he called in the details to the Daily News city desk without mentioning her. She showed up at his studio three hours later, cried for five minutes for poor Sonny Rivington, and then slept for eighteen hours. Two days later she left by train for Hollywood, where she got two small parts in Harold Lloyd movies, married a real estate operator, and disappeared forever.

Now on this street where Cormac met Ginger Everett on a rainy night while Sonny was out of town, here comes Delfina Cintron. Head down, raincoat collar high, cheeks rouged by the wind. She sees him, whispers a hello, takes his arm, and they go in to see Copenhagen . A few men turn to look at her. She removes her coat as they find the seats. She’s wearing a low-cut black sheath and a string of fake pearls and matching fake-pearl earrings and she glows with golden beauty. The houselights dim. She folds her coat over her knees with the Playbill on top. She takes Cormac’s rain-chilled hand. Her own hand is very warm.

“I’m so excited, ” she says. “A play! A Broadway play. ”

As they watch the first act, he hears her make several gasping sounds. Her hand gets wet and she removes it in an embarrassed way and tamps it dry on her coat. He glances at her. Her face is totally concentrated on this drama about the physicists Niels Bohr and Werner Heisenberg and the morality of using their science to build an atomic bomb. The writing, by Michael Frayn, is excellent, but Cormac can’t follow the technical language and imagines Mae West walking in from stage right and causing a riot. At the interval, the lights come up and Delfina’s eyes are welling with tears.

“Are you okay?”

“Yes. No. Oh, I don’t know.” They stand to let others pass to the aisle. “I’ll explain later. Do we have time for a smoke?”

The area in front of the theater is packed. Delfina is composed now, coat draped over her shoulders, and they each smoke Marlboro Lights.

“You see, at Hunter, I had this physics class, and—”

Lights begin blinking, ordering them to return to the seats. She stamps out the cigarette.

“We’ll talk later.”

In the dark, she disappears into the play, or into memory, or both. The rest of the audience seems as absorbed as Delfina Cintron. In the last days of the giddy boom, they are actually paying attention to a moral dilemma. At the end, he and Delfina join in the standing ovation and then move slowly back up the aisle toward the street.

“Thank you so much, Cormac,” she says. “That was—it meant a lot to me.”

He tries not to sound like a stiff but does anyway: “I’m just glad you could come with me.”

The lame sentence goes past her. She says: “I could feel things popping in my brain. You know? Like tiny little dead things suddenly coming to life. It was like—if you didn’t use certain muscles for a long time? Then you do, and pop-pop-pop .”

They walk out into the cool street. The rain has stopped. They hurry toward Frankie & Johnny’s on Forty-fourth Street off Eighth Avenue. One flight up. Delfina has never been here before, but Cormac remembers a night when Owney Madden threw a police lieutenant down the stairs for trying to double the payoffs. He and Delfina go up the same flight of stairs, and he’s at eye level with her golden thighs, and now he remembers Madden’s enraged gangster face. The restaurant is filling up with the New Jersey people coming out of the theaters. They check their coats. Men look up when Delfina walks in her street swagger behind a waiter to a table against the wall, with Cormac behind her. She sits down, scraping the chair as she pulls it forward. She wants a glass of wine and Cormac orders a glass of the house red and a large bottle of sparkling water. She lifts the menu.