Cabin Fever [32]
unfriendly to turn back now. He went inside to the jangling of a player-piano in dire need of a tuner's service, and sat down near the back of the hall with his hat upon his lifted knees which could have used more space between the seats.
While they waited for the program they talked in low tones, a mumble of commonplaces. Bud forgot for the moment his distaste for such places, and let himself slip easily back into the old thought channels, the old habits of relaxation after a day's work was done. He laughed at the one-reel comedy that had for its climax a chase of housemaids, policemen, and outraged fruit vendors after a well-meaning but unfortunate lover. He saw the lover pulled ignominiously out of a duck pond and soused relentlessly into a watering trough, and laughed with Frank and called it some picture.
He eyed a succession of "current events" long since gone stale out where the world moved swifter than here in the mountains, and he felt as though he had come once more into close touch with life. All the dull months he had spent with Cash and the burros dwarfed into a pointless, irrelevant incident of his life. He felt that he ought to be out in the world, doing bigger things than hunting gold that somehow always refused at the last minute to be found. He stirred restlessly. He was free--there was nothing to hold him if he wanted to go. The war--he believed he would go over and take a hand. He could drive an ambulance or a truck--
Current Events, however, came abruptly to an end; and presently Bud's vagrant, half-formed desire for achievement merged into biting recollections. Here was a love drama, three reels of it. At first Bud watched it with only a vague, disquieting sense of familiarity. Then abruptly he recalled too vividly the time and circumstance of his first sight of the picture. It was in San Jose, at the Liberty. He and Marie had been married two days, and were living in that glamorous world of the honeymoon, so poignantly sweet, so marvelous--and so fleeting. He had whispered that the girl looked like her, and she had leaned heavily against his shoulder. In the dusk of lowered lights their hands had groped and found each other, and clung.
The girl did look like Marie. When she turned her head with that little tilt of the chin, when she smiled, she was like Marie. Bud leaned forward, staring, his brows drawn together, breathing the short, quick breaths of emotion focussed upon one object, excluding all else. Once, when Frank moved his body a little in the next seat, Bud's hand went out that way involuntarily. The touch of Frank's rough coat sleeve recalled him brutally, so that he drew away with a wincing movement as though he bad been hurt.
All those months in the desert; all those months of the slow journeying northward; all the fought battles with memory, when he thought that he had won--all gone for nothing, their slow anodyne serving but to sharpen now the bite of merciless remembering. His hand shook upon his knee. Small beads of moisture oozed out upon his forehead. He sat stunned before the amazing revelation of how little time and distance had done to heal his hurt.
He wanted Marie. He wanted her more than he had ever wanted her in the old days, with a tenderness, an impulse to shield her from her own weaknesses, her own mistakes. Then--in those old days --there had been the glamor of mystery that is called romance. That was gone, worn away by the close intimacies of matrimony. He knew her faults, he knew how she looked when she was angry and petulant. He knew how little the real Marie resembled the speciously amiable, altogether attractive Marie who faced a smiling world when she went pleasuring. He knew, but--he wanted her just the same. He wanted to tell her so many things about the burros, and about the desert--things that would make her laugh, and things that would make her blink back the tears. He was homesick for her as he had never been homesick in his life before. The picture flickered on through scene after scene that Bud did not see at all, though he was staring unwinkingly
While they waited for the program they talked in low tones, a mumble of commonplaces. Bud forgot for the moment his distaste for such places, and let himself slip easily back into the old thought channels, the old habits of relaxation after a day's work was done. He laughed at the one-reel comedy that had for its climax a chase of housemaids, policemen, and outraged fruit vendors after a well-meaning but unfortunate lover. He saw the lover pulled ignominiously out of a duck pond and soused relentlessly into a watering trough, and laughed with Frank and called it some picture.
He eyed a succession of "current events" long since gone stale out where the world moved swifter than here in the mountains, and he felt as though he had come once more into close touch with life. All the dull months he had spent with Cash and the burros dwarfed into a pointless, irrelevant incident of his life. He felt that he ought to be out in the world, doing bigger things than hunting gold that somehow always refused at the last minute to be found. He stirred restlessly. He was free--there was nothing to hold him if he wanted to go. The war--he believed he would go over and take a hand. He could drive an ambulance or a truck--
Current Events, however, came abruptly to an end; and presently Bud's vagrant, half-formed desire for achievement merged into biting recollections. Here was a love drama, three reels of it. At first Bud watched it with only a vague, disquieting sense of familiarity. Then abruptly he recalled too vividly the time and circumstance of his first sight of the picture. It was in San Jose, at the Liberty. He and Marie had been married two days, and were living in that glamorous world of the honeymoon, so poignantly sweet, so marvelous--and so fleeting. He had whispered that the girl looked like her, and she had leaned heavily against his shoulder. In the dusk of lowered lights their hands had groped and found each other, and clung.
The girl did look like Marie. When she turned her head with that little tilt of the chin, when she smiled, she was like Marie. Bud leaned forward, staring, his brows drawn together, breathing the short, quick breaths of emotion focussed upon one object, excluding all else. Once, when Frank moved his body a little in the next seat, Bud's hand went out that way involuntarily. The touch of Frank's rough coat sleeve recalled him brutally, so that he drew away with a wincing movement as though he bad been hurt.
All those months in the desert; all those months of the slow journeying northward; all the fought battles with memory, when he thought that he had won--all gone for nothing, their slow anodyne serving but to sharpen now the bite of merciless remembering. His hand shook upon his knee. Small beads of moisture oozed out upon his forehead. He sat stunned before the amazing revelation of how little time and distance had done to heal his hurt.
He wanted Marie. He wanted her more than he had ever wanted her in the old days, with a tenderness, an impulse to shield her from her own weaknesses, her own mistakes. Then--in those old days --there had been the glamor of mystery that is called romance. That was gone, worn away by the close intimacies of matrimony. He knew her faults, he knew how she looked when she was angry and petulant. He knew how little the real Marie resembled the speciously amiable, altogether attractive Marie who faced a smiling world when she went pleasuring. He knew, but--he wanted her just the same. He wanted to tell her so many things about the burros, and about the desert--things that would make her laugh, and things that would make her blink back the tears. He was homesick for her as he had never been homesick in his life before. The picture flickered on through scene after scene that Bud did not see at all, though he was staring unwinkingly