But the pose would not hold. His face, from high cheekbones to square chin, from the full wide-lipped mouth to the low forehead, which had ordinarily the expression of professional-boxer histrionic ferocity, now broke up into a charming open look of simple, smiling excitement. He was happy to see Andreyev again, but there was something more: he had news worth hearing, and would be the first to tell us.
What a to-do there had been at the hacienda that morning!. . . Even while we were shaking hands all around, he broke out with it. “Justino—you remember Justino?—killed his sister. He shot her and ran to the mountains. Vicente—you know which one Vicente is?—chased him on horseback and brought him back.” And now they had Justino in jail there in the village we were just leaving.
We were all as astounded and full of curiosity as he had hoped we would be. Yes, it had happened that very morning, at about ten o’clock. . . . No, nothing had gone wrong before that anyone knew about. No, Justino had not quarreled with anybody. No one had seen him do it. He had been in good humor all morning, working, making part of a scene on the set.
Neither Andreyev nor Kennerly spoke Spanish. The boy’s words were in a jargon hard for me to understand, but I snatched key words and translated quickly as I could. Kennerly leaped up, white-eyed. . . .
“On the set? My God! We are ruined!”
“But why ruined? Why?”
“Her family will have a damage suit against us!”
The boy wanted to know what this meant.
“The law! the law!” groaned Kennerly. “They can collect money from us for the loss of their daughter. It can be blamed on us.”
The boy was fairly baffled by this.
“He says he doesn’t understand,” I told Kennerly. “He says nobody ever heard of such a thing. He says Justino was in his own house when it happened, and nobody, not even Justino, was to blame.”
“Oh,” said Kennerly. “Oh, I see. Well, let’s hear the rest of it. If he wasn’t on the set, it doesn’t matter.”
He collected himself at once and sat down.
“Yes, do sit down,” said Andreyev softly, with a venomous look at Kennerly. The Indian boy seized upon the look, visibly turned it over in his mind, obviously suspected it to refer to him, and stood glancing from one to another, deep frowning eyes instantly on guard.
“Do sit down,” said Andreyev, “and don’t be giving them all sorts of strange notions not necessary to anybody’s peace of mind.”
He reached out a free hand and pulled the boy down to sit on the arm of the seat. The other lads had collected near the door.
“Tell us the rest,” said Andreyev.
After a small pause, the boy melted and talked. Justino had gone to his hut for the noon meal. His sister was grinding corn for the tortillas, while he stood by waiting, throwing the pistol into the air and catching it. The pistol fired; shot her through here. . . . He touched his ribs level with his heart. . . . She fell forward on her face, over the grinding stone, dead. In no time at all a crowd came running from everywhere. Seeing what he had done, Justino ran, leaping like a crazy man, throwing away the pistol as he went, and struck through the maguey fields toward the mountains. His friend Vicente went after him on horseback, waving a gun and yelling: “Stop or I’ll shoot!” and Justino yelled back: “Shoot! I don’t care!. . .” But of course Vicente did not: he just galloped up and bashed Justino over the head with the gun butt, threw him across the saddle, and brought him back. Now he was in jail, but don Genaro was already in the village getting him out. Justino did not do it on purpose.
“This is going to hold up everything,” said Kennerly. “Everything! It just means more time wasted.”
“And that isn’t all,” said the boy. He smiled ambiguously, lowered his voice a little, put on an air of conspiracy and discretion, and said: “The actress is gone too. She has gone back to the capital. Three days ago.”
“A quarrel with doña Julia?” asked Andreyev.
“No,” said the boy, “it was with don Genaro she quarreled, after all.”
The three of them laughed mightily together, and Andreyev said to me:
“You know that wild girl from the Jewel Theater.”
The boy said: “It was because don Genaro was away on other business at a bad moment.” He was being more discreet than ever.
Kennerly sat with his chin drawn in severely, almost making faces at Andreyev and the boy in his efforts to hush them. Andreyev stared back at him in hardy innocence. The boy saw the look, again lapsed into perfect silence, and sat very haughtily on the seat arm, clenched fist posed on his thigh, his face turned partly away. As the train slowed down, he rose suddenly and dashed ahead of us.
When we swung down the high narrow steps he was already standing beside the mule car, greeting the two Indians who had come to meet us. His young hangers-on, waving their hats to us, set out to walk a shortcut across the maguey fields.
Kennerly was blustering about, handing bags to the Indians to store away in the small shabby mule car, arranging the party, settling all properly, myself between him and Andreyev, tucking my skirts around my knees with officious hands, to keep a thread of my garments from touching the no doubt infectious foreign things facing us.
The little mule dug its sharp hoof points into the stones and grass of the track, got a tolerable purchase at last on a cross tie, and set off at a finicking steady trot, the bells on its collar jingling like a tambourine.
We jogged away, crowded together facing each other three in a row, with bags under the seats, and the straw falling out of the cushions. The driver, craning around toward the mule now and then, and snapping the reins on its back, added his comments: An unlucky family. This was the second child to be killed by a brother. The mother was half dead with grief and Justino, a good boy, was in jail.
The big man sitting by him in striped riding trousers, his hat bound under his chin with red-tasseled cord, added that Justino was in for it now, God help him. But where did he get the pistol? He borrowed it from the firearms being used in the picture. It was true he was not supposed to touch the pistols, and there was his first mistake. He meant to put it back at once, but you know how a boy of sixteen loves to play with a pistol. Nobody would blame him. . . . The girl was nineteen years old. Her body had been sent already to the village to be buried. There was too much excitement over her; nothing was done so long as she was on the place. Don Genaro had gone, according to custom, to cross her hands, close her eyes, and light a candle beside her. Everything was done in order, they said piously, their eyes dancing with rich, enjoyable feelings. It is always regrettable and exciting when somebody you know gets into such dramatic trouble. Ah, we were alive under that deepening sky, jingling away through the yellow fields of blooming mustard with the pattern of spiked maguey shuttling as we passed, from straight lines to angles, to diamond shapes, and back again, miles and miles of it spreading away to the looming mountains.
“Surely they would not have had loaded pistols among those being used in the picture?” I asked, rather suddenly, of the big man with the red-tasseled cord on his hat.
He opened his mouth to say something and snapped it shut again. There was a pause. Nobody spoke. It was my turn to be uncomfortable under a quick exchange of glances between the others.
There was again the guarded watchful expression on the Indian faces. An awful silence settled over us.
Andreyev, who had been trying his Spanish boldly, said, “If I cannot talk, I can sing,” and began in his big gay Russian voice: “Ay, Sandunga, Sandunga, Mamá, por Diós!” All the Indians shouted with joy and delight at the new thing his strange tongue made of the words. Andreyev laughed, too. This laughter was an invitation to their confidence. With a burst of song in Russian, the young pugilist threw himself in turn on the laughter of Andreyev. Everybody then seized the opportunity to laugh madly in fellowship, even Kennerly. Eyes met eyes through the guard of crinkled lids, and the little mule went without urging into a stiff-legged gallop.
A big rabbit leaped across the track, chased by lean hungry dogs. It was cracking the strings of its heart in flight; its eyes started from its head like crystal bubbles. “Run, rabbit, run!” I cried. “Run, dogs!” shouted the big Indian with the red cords on his hat, his love of a contest instantly aroused. He turned to me with his eyes blazing: “What will you bet, señorita?”
The hacienda lay before us, a monastery, a walled fortress, towered in terra cotta and coral, sheltered against the mountains. An old woman in a shawl opened the heavy double gate and we slid into the main corral. The upper windows in the near end were all alight. Stepanov stood on one balcony; Betancourt, on the next; and for a moment the celebrated Uspensky appeared with waving arms at a third. They called to us, even before they recognized us, glad to see anyone of their party returning from town to relieve the long monotony of the day which had been shattered by the accident and could not be gathered together again. Thin-boned horses with round sleek haunches, long rippling manes and tails were standing under saddle in the patio. Big polite dogs of expensive breeds came out to meet us and walked with dignity beside us up the broad shallow steps.
The room was cold. The round-shaded hanging lamp hardly disturbed the shadows. The doorways, of the style called Porfirian Gothic, in honor of the Díaz period of domestic architecture, soared towards the roof in a cloud of gilded stamped wallpaper, from an undergrowth of purple and red and orange plush armchairs fringed and tassled, set on bases with springs. Such spots as this, fitted up for casual visits, interrupted the chill gloom of the rooms marching by tens along the cloisters, now and again casting themselves around patios, gardens, pens for animals. A naked player-piano in light wood occupied one corner. Standing together here, we spoke again of the death of the girl, and Justino’s troubles, and all our voices were vague with the vast incurable boredom which hung in the air of the place and settled around our heads clustered together.
Kennerly worried about the possible lawsuit.
“They know nothing about such things,” Betancourt assured him. “Besides, it is not our fault.”
The Russians were thinking about tomorrow. It was not only a great pity about the poor girl, but both she and her brother were working in the picture; the boy’s rôle was important and everything must be halted until he should come back, or if he should never come back everything must be done all over again.
Betancourt, Mexican by birth, French-Spanish by blood, French by education, was completely at the mercy of an ideal of elegance and detachment perpetually at war with a kind of Mexican nationalism which afflicted him like an inherited weakness of the nervous system. Being trustworthy and of cultured taste it was his official duty to see that nothing hurtful to the national dignity got in the way of the foreign cameras. His ambiguous situation seemed to trouble him not at all. He was plainly happy and fulfilled for the first time in years. Beggars, the poor, the deformed, the old and ugly, trust Betancourt to wave them away. “I am sorry for everything,” he said, lifting a narrow, pontifical hand, waving away vulgar human pity which always threatened, buzzing like a fly at the edges of his mind. “But when you consider”—he made an almost imperceptible inclination of his entire person in the general direction of the social point of view supposed to be represented by the Russians—“what her life would have been like in this place, it is much better that she is dead. . . .”
He had burning fanatic eyes and a small tremulous mouth. His bones were like reeds.
“It is a tragedy, but it happens too often,” he said.
With his easy words the girl was dead indeed, anonymously entombed. . . .
Doña Julia came in silently, walking softly on her tiny feet in embroidered shoes like a Chinese woman’s. She was probably twenty years old. Her black hair was sleeked to her round skull, eyes painted, apparently, in the waxed semblance of her face.
“We never really live here,” she said, in a gentle smooth voice, glancing vaguely about her strange setting, in which she appeared to be an exotic speaking doll. “It’s very ugly, but you must not mind that. It is hopeless to try keeping the place up. The Indians destroy everything with neglect. We stay here now for the excitement about the film. It is thrilling.” Then she added, “It is sad about the poor girl. It makes every kind of trouble. It is sad about the poor brother. . . .” As we went towards the dining-room, she murmured along beside me, “It is sad. . . very sad. . . sad. . . .”
Don Genaro’s grandfather, who had been described to me as a gentleman of the very oldest school, was absent on a prolonged visit. In no way did he approve of his granddaughter-in-law, who got herself up in a fashion unknown to the ladies of his day, a fashion very upsetting to a man of the world who had always known how to judge, grade, and separate women into their proper categories at a glance. A temporary association with such a young female as this he considered a part of every gentleman’s education. Marriage was an altogether different matter. In his day, she would have had at best a career in the theater. He had been silenced but in no wise changed in his conviction by the sudden, astonishing marriage of his grandson, the sole inevitable heir, who was already acting as head of the house, accountable to no one. He did not understand the boy and he did not waste time trying. He had moved his furniture and his keepsakes and his person away, to the very farthest patio in the old garden, above the terraces to the south, where he lived in bleak dignity and loneliness, without hope and without philosophy, perhaps contemptuous of both, joining his family only at mealtimes. His place at the foot of the table was empty, the weekend crowds of sightseers were gone and our party barely occupied part of the upper end.
Uspensky sat in his monkey-suit of striped overalls, his face like a superhumanly enlightened monkey’s now well overgrown with a simian beard.
He had a monkey attitude towards life, which amounted almost to a personal philosophy. It saved explanation, and threw off the kind of bores he could least bear with. He amused himself at the low theaters in the capital, flattering the Mexicans by declaring they really were the most obscene he had found in the whole world. He liked staging old Russian country comedies, all the players wearing Mexican dress, on the open roads in the afternoon. He would then shout his lines broadly and be in his best humor, prodding the rear of a patient burro, accustomed to grief and indignity, with a phallusshaped gourd. “Ah, yes, I remember,” he said gallantly, on meeting some southern women, “you are the ladies who are always being raped by those dreadful negroes!” But now he was fevered, restless, altogether silent, and his bawdy humor, which served as cover and disguise for all other moods, was gone.
Stepanov, a champion at tennis and polo, wore flannel tennis slacks and polo shirt. Betancourt wore well-cut riding trousers and puttees, not because he ever mounted a horse if he could avoid it, but he had learned in California, in 1921, that this was the correct costume for a moving-picture director: true, he was not yet a director, but he was assisting somewhat at the making of a film, and when in action, he always added a greenlined cork helmet, which completed some sort of precious illusion he cherished about himself. Andreyev’s no-colored wool shirt was elbow to elbow with Kennerly’s brash tweeds. I wore a knitted garment of the kind which always appears suitable for any other than the occasion on which it is being worn. Altogether, we provided a staggering contrast for doña Julia at the head of the table, a figure from a Hollywood comedy, in black satin pajamas adorned with rainbow-colored bands of silk, loose sleeves falling over her babyish hands with pointed scarlet finger ends.
“We mustn’t wait for my husband,” said doña Julia; “he is always so busy and always late.”
“Always going at top speed,” said Betancourt, pleasantly, “70 kilometers an hour at least, and never on time anywhere.” He prided himself on his punctuality, and had theories about speed, its use and abuse. He loved to explain that man, if he had concentrated on his spiritual development, as he should have done, would never have needed to rely on mechanical aids to conquer time and space. In the meantime
, he admitted that he himself, who could communicate telepathically with anyone he chose, and who had once levitated himself three feet from the ground by a simple act of the will, found a great deal of pleasurable stimulation in the control of machinery. I knew something about his pleasure in driving an automobile. He had for one thing a habit of stepping on the accelerator and bounding across tracks before approaching trains. Speed, he said, was “modern” and it was everyone’s duty to be as modern as one’s means allowed. I surmised from Betancourt’s talk that don Genaro’s wealth allowed him to be at least twice as modern as Betancourt. He could afford high-powered automobiles that simply frightened other drivers off the road before him; he was thinking of an airplane to cut distance between the hacienda and the capital; speed and lightness at great expense was his ideal. Nothing could move too fast for don Genaro, said Betancourt, whether a horse, a dog, a woman or something with metal machinery in it. Doña Julia smiled approvingly at what she considered praise of her husband and, by pleasant inference, of herself.
There came a violent commotion along the hall, at the door, in the room. The servants separated, fell back, rushed forward, scurried to draw out a chair, and don Genaro entered, wearing Mexican country riding dress, a gray buckskin jacket and tight gray trousers strapped under the boot. He was a tall, hard-bitten, blue-eyed young Spaniard, stringy-muscled, thin-lipped, graceful, and he was in fury. This fury he expected us to sympathize with; he dismissed it long enough to greet everybody all around, then dropped into his chair beside his wife and burst forth, beating his fist on the table.
Flowering Judas and Other Stories: A Library of America eBook Classic Page 18