Robert Coover - A Night at the Movies Or, You Must Remember This

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From B-movies to Hollywood classics, A Night at the Movies invents what "might have happened" in these Saturday afternoon matinees. Mad scientists, vampires, cowboys, dance-men, Chaplin, and Bogart all flit across Robert Coover's riotously funny screen, doing things and uttering lines that are as shocking to them as they are funny to the reader. As Coover's Program announces, you will get Coming Attractions, The Weekly Serial, Adventure, Comedy, Romance, and more, but turned upside-down and inside-out.

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"Jesus," Rick wheezes, "I've been saving that one for a goddamn year and a half…!"

"It was the best fokk I effer haff," Ilsa replies with a tremulous sigh, and kisses his ear, runs her fingers in his hair. He starts to roll off her, but she clasps him closely: "No… wait…!" A deeper thicker pleasure, not so ecstatic, yet somehow more moving, seems to well up from far inside her to embrace the swollen visitor snuggled moistly in her womb, once a familiar friend, a comrade loved and trusted, now almost a stranger, like one resurrected from the dead.

"Ah — !" he gasps. God, it's almost like she's milking it! Then she lets go, surrounding him spongily with a kind of warm wet pulsating gratitude. "Ah…"

He lies there between Ilsa's damp silky thighs, feeling his weight thicken, his mind soften and spread. His will drains away as if it were some kind of morbid affection, lethargy overtaking him like an invading army. Even his jaw goes slack, his fingers (three sprawl idly on a dark-tipped breast) limp. He wears his snowy white tuxedo jacket still, his shiny black socks, which, together with the parentheses of Ilsa's white thighs, make his melancholy buttocks — beaten in childhood, lashed at sea, run lean in union skirmishes, sunburned in Ethiopia, and shot at in Spain — look gloomier than ever, swarthy and self-pitying, agape now with a kind of heroic sadness. A violent tenderness. These buttocks are, it could be said, what the pose of isolation looks like at its best: proud, bitter, mournful, and, as the prefect of police might have put it, tremendously attractive. Though his penis has slipped out of its vaginal pocket to lie limply like a fat little toe against her slowly pursing lips, she clasps him close still, clinging to something she cannot quite define, something like a spacious dream of freedom, or a monastery garden, or the discovery of electricity. "Do you have a gramophone on, Richard?"

"What — ?!" Her question has startled him. His haunches snap shut, his head rears up, snorting, he seems to be reaching for the letters of transit. "Ah… no…" He relaxes again, letting his weight fall back, though sliding one thigh over hers now, stretching his arms out as though to unkink them, turning his face away. His scrotum bulges up on her thigh like an emblem of his inner serenity and generosity, all too often concealed, much as an authentic decency might shine through a mask of cynicism and despair. He takes a deep breath. (A kiss is just a kiss is what the music is insinuating. A sigh…) "That's probably Sam…"

She sighs (… and so forth), gazing up at the ceiling above her, patterned with overlapping circles of light from the room's lamps and swept periodically by the wheeling airport beacon, coming and going impatiently, yet reliably, like desire itself. "He hates me, I think."

"Sam? No, he's a pal. What I think, he thinks."

"When we came into the bar last night, he started playing 'Luff for Sale.' Effryone turned and looked at me."

"It wasn't the song, sweetheart, it was the way you two were dressed. Nobody in Casablanca — "

"Then he tried to chase me away. He said I was bad luck to you." She can still see the way he rolled his white eyes at her, like some kind of crazy voodoo zombie.

Richard grunts ambiguously. "Maybe you should stop calling him 'boy.' "

Was that it? "But in all the moofies — " Well, a translation problem probably, a difficulty she has known often in her life. Language can sometimes be stiff as a board. Like what's under her now. She loves Richard's relaxed weight on her, the beat of his heart next to her breast, the soft lumpy pouch of his genitals squashed against her thigh, but the floor seems to be hardening under her like some kind of stern Calvinist rebuke and there is a disagreeable airy stickiness between her legs, now that he has slid away from there. "Do you haff a bidet, Richard?"

"Sure, kid." He slides to one side with a lazy grunt, rolls over. He's thinking vaguely about the pleasure he's just had, what it's likely to cost him (he doesn't care), and wondering where he'll find the strength to get up off his ass and go look for a cigarette. He stretches his shirttail down and wipes his crotch with it, nods back over the top of his head. "In there."

She is sitting up, peering between her spread legs. "I am afraid we haff stained your nice carpet, Richard."

"What of it? Put it down as a gesture to love. Want a drink?"

"Yes, that would be good." She leans over and kisses him, her face still flushed and eyes damp, but smiling now, then stands and gathers up an armload of tangled clothing. "Do I smell something burning?"

"What — ?!" He rears up. "My goddamn cigarette! I musta dropped it on the couch!" He crawls over, brushes at it: it's gone out, but there's a big hole there now, dark-edged like ringworm. "Shit." He staggers to his feet, stumbles over to the humidor to light up a fresh smoke. Nothing's ever free, he thinks, feeling a bit light-headed. "What's your poison, kid?"

"I haff downstairs been drinking Cointreau," she calls out over the running water in the next room. He pours himself a large whiskey, tosses it down neat (light, sliding by, catches his furrowed brow as he tips his head back: what is wrong?), pours another, finds a decanter of Grand Marnier. She won't know the difference. In Paris she confused champagne with sparkling cider, ordered a Pommard thinking she was getting a rosé, drank gin because she couldn't taste it. He fits the half-burned cigarette between his lips, tucks a spare over his ear, then carries the drinks into the bathroom. She sits, straddling the bidet, churning water up between her legs like the wake of a pleasure boat. The beacon doesn't reach in here: it's as though he's stepped out of its line of sight, but that doesn't make him feel easier (something is nagging at him, has been for some time now). He holds the drink to her mouth for her, and she sips, looking mischievously up at him, one wet hand braced momentarily on his hipbone. Even in Paris she seemed to think drinking was naughtier than sex. Which made her on occasion something of a souse. She tips her chin, and he sets her drink down on the sink. "I wish I didn't luff you so much," she says casually, licking her lips, and commences to work up a lather between her legs with a bar of soap.

"Listen, what did you mean," he asks around the cigarette (this is it, or part of it: he glances back over his shoulder apprehensively, as though to find some answer to his question staring him in the face or what, from the rear, is passing for his face), "when you said, 'Is this right?' "

"When…?"

"A while ago, when I grabbed your, you know — "

"Oh, I don't know, darling. Yust a strange feeling, I don't exactly remember." She spreads the suds up her smooth belly and down the insides of her thighs, runs the soap up under her behind. "Like things were happening too fast or something."

He takes a contemplative drag on the cigarette, flips the butt into the toilet. "Yeah, that's it." Smoke curls out his nostrils like balloons of speech in a comic strip. "All this seems strange somehow. Like something that shouldn't have — "

"Well, I am a married woman, Richard."

"I don't mean that." But maybe he does mean that. She's rinsing now, her breasts flopping gaily above her splashing, it's hard to keep his mind on things. But he's not only been pronging some other guy's wife, this is the wife of Victor Laszlo of the International Underground, one of his goddamn heroes. One of the world's. Does that matter? He shoves his free hand in a jacket pocket, having no other, tosses back the drink. "Anyway," he wheezes, "from what you tell me, you were married already when we met in Paris, so that's not — "

"Come here, Richard," Ilsa interrupts with gentle but firm Teutonic insistence. Komm' hier. His back straightens, his eyes narrow, and for a moment the old Rick Blaine returns, the lonely American warrior, incorruptible, melancholy, master of his own fate, beholden to no one — but then she reaches forward and, like destiny, takes a hand. "Don't try to escape," she murmurs, pulling him up to the bidet between her knees. "You will neffer succeed."

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