Part 14 (1/2)

”I don't know. I wanted to talk about it.”

He took another bite of his cheeseburger. He did not want her to talk about it.

”I don't know why I should be all twisted around,” she said. ”And I don't even know why I'm telling you.”

”I wouldn't know,” he said.

”Are you jealous?”

”Yes.”

”Cyril said you had a crush on me,” she said.

”That makes it sound like I'm ten years old,” he said.

”I was thinking about going to Colorado,” she said.

”I don't know what I expected,” he said, slamming his hand down on the table. ”I didn't expect that you'd be talking about s.c.r.e.w.i.n.g Cyril and going to Colorado.” He pushed his plate away, angry.

”I shouldn't have told you.”

”Shouldn't have told me what? What am I going to do about it? What do you expect me to say?”

”I thought you felt the way I feel,” she said. ”I thought you felt stifled in New Haven.”

He looked at her. She had a way of sometimes saying perceptive things, but always when he was expecting something else.

”I have friends in Colorado,” she said. ”Bea and Matthew. You met them when they stayed at the house once.”

”You want me to move out to Colorado because Bea and Matthew are there?”

”They have a big house they're having trouble paying the mortgage on.”

”But I don't have any money.”

”You have the money your father sent you so you could take courses at Yale. And you could get back into painting in Colorado. You're not a picture framer-you're a painter. Wouldn't you like to quit your lousy job framing pictures and get out of New Haven?”

”Get out of New Haven?” he repeated, to see what it felt like. ”I don't know,” he said. ”It doesn't seem very reasonable.”

”I don't feel right about things,” she said.

”About Cyril?”

”The last five years,” she said.

He excused himself and went to the bathroom. Scrawled above one of the mirrors was a message: ”Time will say nothing but I told you so.” A very literate town, New Haven. He looked at the bathroom window, stared at the ripply white gla.s.s. He thought about crawling out the window. He was not able to deal with her. He went back to the booth.

”Come on,” he said, dropping money on the table.

Outside, she began to cry. ”I could have asked Cyril to go, but I didn't,” she said.

He put his arm around her. ”You're bats,” he said.

He tried to get her to walk faster. By the time they got back to his apartment, she was smiling again, and talking about going skiing in the Rockies. He opened the door and saw a note lying on the floor, written by Dan. It was Penelope's name, written over and over, and a lot of profanity. He showed it to her. Neither of them said anything. He put it back on the table, next to an old letter from his mother that begged him to go back to graduate school.

”I want to stop smoking,” she said, handing him her cigarette pack. She said it as if it were a revelation, as if everything, all day, had been carefully leading up to it.

It is a late afternoon in February, and Penelope is painting her toenails. She had meant what she said about moving in with him. She didn't even go back to Dan's apartment for her clothes. She has been borrowing Robert's s.h.i.+rts and sweaters, and wears his pajama bottoms under his long winter coat when she goes to the laundromat so she can wash her one pair of jeans. She has quit her job. She wants to give a farewell party before they go to Colorado.

She is sitting on the floor, and there are little b.a.l.l.s of cotton stuck between her toes. The second toe on each foot is crooked. She wore the wrong shoes as a child. One night she turned the light on to show Robert her feet, and said that they embarra.s.sed her. Why, then, is she painting her toenails?

”Penelope,” he says, ”I have no interest in any d.a.m.n party. I have very little interest in going to Colorado.”

Today he told his boss that he would be leaving next week. His boss laughed and said that he would send his brother around to beat him up. As usual, he could not really tell whether his boss was kidding. Before he goes to bed, he intends to stand a c.o.ke bottle behind the front door.

”You said you wanted to see the mountains,” Penelope says.

”I know we're going to Colorado,” he says. ”I don't want to get into another thing about that.”

He sits next to her and holds her hand. Her hands are thin. They feel about an eighth of an inch thick to him. He changes his grip and gets his fingers down toward the knuckles, where her hand feels more substantial.

”I know it's going to be great in Colorado,” Penelope says. ”This is the first time in years I've been sure something is going to work out. It's the first time I've been sure that doing something was worth it.”

”But why Colorado?” he says.

”We can go skiing. Or we could just ride the lift all day, look down on all that beautiful snow.”

He does not want to pin her down or diminish her enthusiasm. What he wants to talk about is the two of them. When he asked if she was sure she loved him she said yes, but she never wants to talk about them. It's very hard to talk to her at all. The night before, he asked some questions about her childhood. She told him that her father died when she was nine, and her mother married an Italian who beat her with the lawnmower cord. Then she was angry at him for making her remember that, and he was sorry he had asked. He is still surprised that she has moved in with him, surprised that he has agreed to leave New Haven and move to Colorado with her, into the house of a couple he vaguely remembers-nice guy, strung-out wife.

”Did you get a letter from Matthew and Bea yet?” he says.

”Oh, yes, Bea called this morning when you were at work. She said she had to call right away to say yes, she was so excited.”

He remembers how excited Bea was the time she stayed with them in the country house. It seemed more like nervousness, really, not excitement. Bea said she had been studying ballet, and when Matthew told her to show them what she had learned, she danced through the house, smiling at first, then panting. She complained that she had no grace-that she was too old. Matthew tried to make her feel better by saying that she had only started to study ballet late, and she would have to build up energy. Bea became more frantic, saying that she had no energy, no poise, no future as a ballerina.

”But there's something I ought to tell you,” Penelope says. ”Bea and Matthew are breaking up.”

”What?” he says.

”What does it matter? It's a huge state. We can find a place to stay. We've got enough money. Don't always be worried about money.”

He was just about to say that they hardly had enough money to pay for motels on the way to Colorado.

”And when you start painting again-”

”Penelope, get serious,” he says. ”Do you think that all you have to do is produce some paintings and you'll get money for them?”

”You don't have any faith in yourself,” she says.

It is the same line she gave him when he dropped out of graduate school, after she had dropped out herself. Somehow she was always the one who sounded reasonable.