Grief, that’s what it was. Or was it? And then she was thinking of Sonny again — what if he was dead and she was old like Muriel? She wouldn’t be so fat, of course, but maybe like one of those thin and elegant old ladies in Palm Springs, the ones who’d done their stretching all their lives. Or what if she wasn’t an old lady at all — the thought swooped down on her like a bird out of the sky — what if Sonny was in a car wreck or something? It could happen.
She stood there gazing in on the mess through her own wavering reflection. One moment she saw the wreckage of the old lady’s life, the next the fine mouth and expressive eyes everyone commented on. After a while, she turned away from the window and looked out on the yard as Muriel must have seen it. There were the roses, gorged with water and flowering madly, the impatiens, rigid as sticks, oleander drowning in their own yellowed leaves — and there, poking innocuously from the bushes at the far corner of the patio, was the steel wand that controlled the sprinklers. Handle, neck, prongs: it was just like theirs.
And then it came to her. She’d turn them on — the sprinklers — just for a minute, to see what it felt like. She wouldn’t leave them on long — it could threaten the whole foundation of her house.
That much she understood.
THE HUMAN FLY
Just try to explain to anyone the art of fasting!
IN THE EARLY DAYS, before the press took him up, his outfit was pretty basic: tights and cape, plastic swim goggles and a bathing cap in the brightest shade of red he could find. The tights were red too, though they’d faded to pink in the thighs and calves and had begun to sag around the knees. He wore a pair of scuffed hightops — red, of course — and the cape, which looked as if it had last been used to line a trash can, was the color of poached salmon. He seemed to be in his thirties, though I never did find out how old he was, and he was thin, skinny, emaciated — so wasted you worried about his limbs dropping off. When he limped into the office that first afternoon, I didn’t know what to think. If he brought an insect to mind, it was something spindly and frail — a daddy longlegs or one of those spidery things that scoot across the surface of the pool no matter how much chlorine the pool man dumps in.
“A gentleman here to see you,” Crystal sang through the intercom.
My guard was down. I was vulnerable. I admit it. Basking in the glow of my first success (ten percent of a walk-on for Bettina Buttons, a nasally inflected twelve-year-old with pushy parents, in a picture called Tyrannosaurus II—no lines, but she did manage a memorable screech) and bloated with a celebratory lunch, I was feeling magnanimous, large-spirited, and saintly. Of course, the two splits of Sangre de Cristo, 1978, might have had something to do with it. I hit the button on the intercom. “Who is it?”
“Your name, sir?” I heard Crystal ask, and then, through the crackle of static, I heard him respond in the peculiar unmodulated rumble he associated with speech.
“Pardon?” Crystal said.
“La Mosca Humana,” he rumbled.
Crystal leaned into the intercom. “Uh, I think he’s Mexican or something.”
At that stage in my career, I had exactly three clients, all inherited from my predecessor: the aforementioned Bettina; a comic with a harelip who did harelip jokes only; and a soft-rock band called Mu, who believed they were reincarnated court musicians from the lost continent of Atlantis. The phone hadn’t rung all morning and my next (and only) appointment, with Bettina’s mother, grandmother, acting coach, and dietician, was at seven. “Show him in,” I said grandly.
The door pushed open, and there he was. He drew himself up with as much dignity as you could expect from a grown man in a red bathing cap and pink tights, and hobbled into the office. I took in the cap, the cape, the hightops and tights, the slumped shoulders and fleshless limbs. He wore a blond mustache, droopy and unkempt, the left side of his face was badly bruised, and his nose looked as if it had been broken repeatedly — and recently. The fluorescent light glared off his goggles.
My first impulse was to call security — he looked like one of those panhandling freaks out on Hollywood Boulevard — but I resisted it. As I said, I was full of wine and feeling generous. Besides, I was so bored I’d spent the last half-hour crumpling up sheets of high-fiber bond and shooting three-pointers into the wastebasket. I nodded. He nodded back. “So,” I said, “what can I do for you, Mr., ah—?”
“Mosca,” he rumbled, the syllables thick and muffled, as if he were trying to speak and clear his throat at the same time. “La Mosca Humana.”
“The Human Fly, right?” I said, dredging up my high-school Spanish.
He looked down at the desk and then fixed his eyes on mine. “I want to be famous,” he said.
How he found his way to my office, I’ll never know. I’ve often wondered if it wasn’t somebody’s idea of a joke. In those days, I was nothing — I had less seniority than the guy who ran the Xerox machine — and my office was the smallest and farthest from the door of any in the agency. I was expected to get by with two phone lines, one secretary, and a workspace not much bigger than a couple of good-sized refrigerator boxes. There were no Utrillos or Demuths on my walls. I didn’t even have a window.
I understood that the man hovering over my desk was a nut case, but there was more to it than that. I could see that he had something — a dignity, a sad elemental presence — that gave the lie to his silly outfit. I felt uneasy under his gaze. “Don’t we all,” I said.
“No, no,” he insisted, “you don’t understand,” and he pulled a battered manila envelope from the folds of his cape. “Here,” he said, “look.”
The envelope contained his press clippings, a good handful of them, yellowed and crumbling, bleached of print. All but one were in Spanish. I adjusted the desk lamp, squinted hard. The datelines were from places like Chetumal, Tuxtla, Hidalgo, Tehuantepec. As best I could make out, he’d been part of a Mexican circus. The sole clipping in English was from the “Metro” section of the Los Angeles Times: MAN ARRESTED FOR SCALING ARCO TOWER.
I read the first line—“A man known only as ‘The Human Fly’”—and I was hooked. What a concept: a man known only as the Human Fly! It was priceless. Reading on, I began to see him in a new light: the costume, the limp, the bruises. This was a man who’d climbed twenty stories with nothing more than a couple pieces of rope and his fingernails. A man who defied the authorities, defied death — my mind was doing backflips; we could run with this one, oh, yes, indeed. Forget your Rambos and Conans, this guy was the real thing.
“Five billion of us monkey on the planet,” he said in his choked, moribund tones, “I want to make my mark.”
I looked up in awe. I saw him on Carson, Letterman, grappling his way to the top of the Bonaventure Hotel, hurtling Niagara in a barrel, starring in his own series. I tried to calm myself. “Uh, your face,” I said, and I made a broad gesture that took in the peach-colored bruise, the ravaged nose and stiffened leg, “what happened?”
For the first time, he smiled. His teeth were stained and ragged; his eyes flared behind the cracked plastic lenses of the goggles. “An accident,” he said.