"Yeah. Look, Janice. It sounds like you're having a lot of fun over there
"Fun? I'm working, sweetie."
"Sure. Now what the fuck is really going on?"
"What do you mean, going on? Nothing is going on except your wife is trying to bring home a little extra bread." Bread? " `Going on' – really. You may think your seven or whatever dollars an hour you get for sitting in the dark diddling that machine is wonderful money, Harry, but the fact is a hundred dollars doesn't buy anything anymore, it just goes."
"Jesus, why am I getting this lecture on inflation? All I want to know is why my wife is never home to cook the fucking supper for me and the fucking kid."
"Harry, has somebody been bugging you about me?"
"Bugging? How would they do that? Janice. Just tell me, shall I put two TV dinners in the oven or what?"
A pause, during which he has a vision: sees her wings fold up, her song suspended: imagines himself soaring, rootless, free. An old premonition, dim. Janice says, with measured words, so he feels as when a child watching his mother levelling tablespoons of sugar into a bowl of batter, "Could you, sweet? Just for tonight? We're in the middle of a little crisis here, frankly. It's too complicated to explain, but we have to get some figures firm or we can't do the paychecks tomorrow."
"Who's this we? Your father there?"
"Oh sure."
"Could I talk to him a second?"
"Why? He's out on the lot."
"I want to know if he got those tickets for the Blasts game. The kid's dying to go."
"Well, actually, I don't see him, I guess he's gone home for supper."
"So it's just you and Charlie there."
"Other people are in and out. We're desperately trying to untangle this mess Mildred made. This is the last night, Harry, I promise. I'll be home between eight and nine, and then tomorrow night let's all go to a movie together. That space thing is still in West Brewer, I noticed this morning driving in."
Rabbit is suddenly tired, of this conversation, of everything. Confusing energy surrounds him. A man's appetites diminish, but the world's never. "O.K. Be home when you can. But we got to talk."
"I'd love to talk, Harry." From her tone she assumes "talk" means fuck, when he did mean talk. She hangs up: a satisfied impatient sound.
He opens another beer. The pull-tab breaks, so he has to find the rusty old church key underneath everything in the knife drawer. He heats up two Salisbury steak dinners; while waiting for the oven to preheat to 400°, he reads the ingredients listed on the package: water, beef, peas, dehydrated potato flakes, bread crumbs, mushrooms, flour, butter, margarine, salt, maltodextrin, tomato paste, corn starch, Worcestershire sauce, hydrolyzed vegetable protein, monosodium glutamate, nonfat dry milk, dehydrated onions, flavoring, sugar, caramel color, spice, cysteine and thiamine hydrochloride, gum arabic. There is no clue from the picture on the tinfoil where all this stuff fits in. He always thought gum arabic was something you erased with. Thirty-six years old and he knows less than when he started. With the difference that now he knows how little he'll always know. He'll never know how to talk Chinese or how screwing an African princess feels. The six o'clock news is all about space, all about emptiness: some bald man plays with little toys to show the docking and undocking maneuvers, and then a panel talks about the significance of this for the next five hundred years. They keep mentioning Columbus but as far as Rabbit can see it's the exact opposite: Columbus flew blind and hit something, these guys see exactly where they're aiming and it's a big round nothing. The Salisbury steak tastes of preservative and Nelson eats only a few bites. Rabbit tries to joke him into it: "Can't watch TV without a TV dinner." They channel-hop, trying to find something to hold them, but there is nothing, it all slides past until, after nine, on Carol Burnett, she and Gomer Pyle do an actually pretty funny skit about the Lone Ranger. It takes Rabbit back to when he used to sit in the radiolistening armchair back on Jackson Road, its arms darkened with greasespots from the peanut-butter cracker-sandwiches he used to stack there to listen with. Mom used to have a fit. Every Monday, Wednesday, and Friday night The Lone Ranger came on at seven-thirty, and if it was summer you'd come in from kickthe-can or three-stops-or-a-catch and the neighborhood would grow quiet all across the back yards and then at eight the doors would slam and the games begin again, those generous summer days, just enough dark to fit sleep into, a war being fought across oceans so he could spin out his days in such happiness, in such quiet growing. Eating Wheaties, along with Jack Armstrong, and Jell-O, which brought you Jack Benny.
In this skit the Lone Ranger has a wife. She stamps around a cabin saying how she hates housework, hates her lonely life. "You're never home," she says, "you keep disappearing in a cloud of dust with a hearty `Heigh-ho, Silver.' " The unseen audience laughs, Rabbit laughs. Nelson doesn't see what's so funny. Rabbit tells him, "That's how they always used to introduce the program."
The kid says crossly, "I know, Dad," and Rabbit loses the thread of the skit a little, there has been a joke he didn't hear, whose laughter is dying.
Now the Lone Ranger's wife is complaining that Daniel Boone brings his wife beautiful furs, but "What do I ever get from you? A silver bullet." She opens a door and a bushel of silver bullets comes crashing out and floods the floor. For the rest of the skit Carol Burnett and Gomer Pyle and the man who plays Tonto (not Sammy Davis Jr. but another TV Negro) keep slipping and crunching on these bullets, by accident. Rabbit thinks of the millions who are watching, the millions the sponsors are paying, and still nobody took time to realize that this would happen, a mess of silver bullets on the floor.
Tonto tells the Lone Ranger, "Better next time, put-um bullet in gun first."
The wife turns to complaining about Tonto. "Him. Why must we always keep having him to dinner? He never has us back."
Tonto tells her that if she comes to his teepee, she would be kidnapped by seven or eight braves. Instead of being frightened, she is interested. She rolls those big Burnett eyes and says, "Let's go, que más sabe."
Nelson asks, "Dad, what's que más Babe?"
Rabbit is surprised to have to say, "I don't know. Something like `good friend' or `boss,' I suppose." Indeed come to think of it he understands nothing about Tonto. The Lone Ranger is a white man, so law and order on the range will work to his benefit, but what about Tonto? A Judas to his race, the more disinterested and lonely and heroic figure of virtue. When did he get his pay-off? Why was he faithful to the masked stranger? In the days of the war one never asked. Tonto was simply on "the side of right." It seemed a correct dream then, red and white together, red loving white as naturally as stripes in the flag. Where has "the side of right" gone? He has missed several jokes while trying to answer Nelson. The skit is approaching its climax. The wife is telling the Lone Ranger, "You must choose between him or me." Arms folded, she stands fierce.
The Lone Ranger's pause for decision is not long. "Saddle up, Tonto," he says. He puts on the phonograph a record of the William Tell Overture and both men leave. The wife tiptoes over, a bullet crunching underfoot, and changes the record to "Indian Love Call." Tonto enters from the other side of the screen. He and she kiss and hug. "I've always been interested," Carol Burnett confides out to the audience, her face getting huge, "in Indian affairs."
There is a laugh from the invisible audience there, and even Rabbit sitting at home in his easy chair laughs, but underneath the laugh this final gag falls flat, maybe because everybody still thinks of Tonto as incorruptible, as above it all, like Jesus and Armstrong. "Bedtime, huh?" Rabbit says. He turns off the show as it unravels into a string of credits. The sudden little star flares, then fades.