Darnell was in the kitchen, cleaning up. I could see his willowy torso in the reach-through and hear the clatter of china, muted by the sound of his cheap radio, as he emptied the dishwasher.
Dan Boyle placed his palm over the top of his shot glass to signal he was done, then drank the rest of the beer from the bottle sitting next to it. I asked if he wanted to put the nigart put thht on his tab and he nodded, seeming to look both to my right and to my left simultaneously.
Boyle was square-jawed and built like a heavyweight prizefighter, with stubbornly short, dirty blond, Steve McQueen-style hair, circa Bullitt. The age in his bleached blue eyes exceeded his thirty years. He drank methodically, and when he spoke it was through the tight teeth of an angry dog.
Many of the on-duty detectives who frequented the Spot wore their guns in the bar (it was, in fact, a police regulation that they do so), and most of them got tanked up and weaved out into the night without incident. But it wasn’t Boyle’s weapon (the grip of his Python always showed from beneath his wool jacket where it was holstered) that was disturbing, or the fact that he even carried one. He was clearly on the edge, and he was the last guy in the bar who I ever would have fucked with.
“Hear anything more on the William Henry case?” I asked him carefully. I bent into one of the three sinks and rinsed out the green bar netting.
“You knew him, didn’t you?”
“Yeah.”
“Haven’t heard anything,” he said. “But I’ll lay you ten to one your friend got burned for drug money. In this town, it all boils down to drugs. Let me tell you what it is. It’s”-he glanced around the room-“it’s the fuckin’ boofers. You know what they ought to do about the drug problem in this city?” I didn’t answer, having heard his solution a dozen times. “Take ’em out in the middle of the street and shoot ’em in the head. Public fuckin’ executions.”
I said, “Check on the Henry case for me, will you, Boyle?” He rose clumsily, nodded, and with a tilted, heavy gait made his way across the room and out the front door. A trace of snow blew through before the door closed.
The lights dimmed in Darnell’s kitchen. He walked out, wearing a leather kufi on his head and a brown overcoat. Darnell was tall and bone-skinny and pushing forty. He had done time and from that had gotten a thick white scar from the back of his ear to the underside of his chin. The scar made him look tough but, whatever he had been, that part of his life was clearly over. He was soft-spoken and introspective now, and though it was obvious that he would never rise above his position in the kitchen, that futility did not prevent him from reporting to work every single day. He was, as one of my regulars had described him with special emphasis on the word, a man.
Darnell and I looked through the transom window and watched the steady diagonal fall of thick flakes, a picture that seemed unreal from our warm vantage point. Darnell, hoping for some company, said, “You headin’ up my way?”
“I’ve got some work to do,” I said. “Think I’ll stick around, check my antifreeze.”
Darnell looked at the pyramid of liquor on the wall and then back at me. “What you want to drink that nasty shit for? Shit kills your spirit, man.” He shook his head and walked to the door, then turned. “You want me to lock up?”
“No, I’ll get it. Thanks, Darnell.”
“Check you tomorrow, hear?” He waved and then he was gone.
Dimming the lights even further, I finished wiping down the bar, placing all of the ashtrays but one in the soak sink. Then I slipped Robyn Hitchcock’s Queen Elvis into the deck and listened to the quiet intro to “Wax Doll” as I poured myself two fingers of Grand-Dad. I brought the shot glass to my lips and with closed eyes tasted sweet velvet.
I opened my eyes to a shock of cold air and a memory fifteen years old. Billy Goodrich glided across the dark room and had a seat at the bar.
“Hey, Greek,” he said. “ Aren’t you gonna’ offer me a drink?”
TWO
The first time I met Billy Goodrich he was sitting on a wooden bench in Sligo Creek Park, rolling a huge spliff with the care and precision of an artisan. This was in the fall of my junior year, and my first semester at Blair High in Silver Spring. My grandfather had used a Maryland relative’s address to get me in, alarmed as he was at my subpar sophomore performance in the D.C. public school system.
Billy yelled, “Hey, Greek,” and I did a double take, surprised that one of the more popular students even knew who I was. “Come on over here and help me out with this number,” he said.
We split the joint (the handshake of my generation) and then laughed awhile over nothing. After that we played one-on-one at the park courts for the rest of the afternoon and our friendship, with the uncluttered reasoning that accompanies those years, was sealed.
Billy Goodrich was one of the better-liked kids in school, though not for the usual reasons. He wasn’t the best-looking or most athletic guy; neither was he the friendly intellectual who even the most brutal students grudgingly learn to respect. What he had was that rare ability to fit in at the fringe of every group-hippies, grits, geeks, jocks-without conforming to their constrictively rigid codes of behavior and dress. He did it with an infectious smile and a load of self-confidence that bordered on, but never slipped into, conceit. As I had always hung with Jews and Italians and other Greeks, he was also the first truly white-bread friend I had ever had.
The details of those years are unimportant and certainly not unusual. Billy had a ’69 Camaro (the last year that car made any difference) with a 327 under the hood and Hi-Jackers in the rear. There was a Pioneer eight-track mounted under the AM radio and two Superthruster speakers on the rear panel. On weekend nights we drank Schlitz from cans and raced that car up and down University Boulevard and Colesville Road, trolling for girls and parties. On the nights when we got too drunk the cops would pull us over and, in those days, simply tell us to get on home. Our friends enacted roughly the same ritual, and amazingly none of us died.
I had part-time work as a stock boy, but on the days I had off, Billy and I shot hoops. Every Saturday afternoon we’d blow a monster joint, then head down to Candy Cane City in Rock Creek Park and engage in pickup games for hours on end. The teams always ended s oup being “salt and pepper,” and the losers did push-ups. Billy had a cheap portable eight-track player, and on those rare occasions when we’d win, he would blast J Geils’s “Serve You Right to Suffer” over the bobbing heads of the losing team. Eventually our overconfidence (and the desire to unearth the wet treasures that simmered beneath the red panties of our Blazer cheerleading squad) pushed us to try out for the varsity team, but Billy didn’t have the heart and I, in truth, lacked the ability. The day we were cut we walked the path in the park and, with laughter and some degree of relief, split a bumper of beer and huffed half a pack of Marlboros.
After graduation Billy, who had already been accepted to an out-of-state school, took a construction job, and I continued to work as a stock boy at Nutty Nathan’s on Connecticut Avenue. The prospect of another humid season carrying air conditioners up and down stairs was upon me, so when a customer I had befriended offered me the opportunity to tow his ski boat down to the Keys for two hundred bucks, I accepted. Billy’s construction job was kicking his ass so he asked to come along. I secured a leave of absence from Nathan’s with the help of my friend and mentor Johnny McGinnes; Billy simply quit. We made plans to stay in D.C. through the Fourth of July and leave the following day.
The summer of ’76 was not just the tail end of my childhood, a fact of which even then I was vaguely aware, but also the end of an optimistic era for an entire generation. The innocence of marijuana had not yet, to use the most emblematic example, become the horror of cocaine, and the economic and political emergence of minorities hadn’t yet been crushed by the moral bankruptcy of the Reagan years. But our Bicentennial celebration reflected none of this, and what I witnessed on Independence Night was simply the most spectacular party ever thrown in downtown D.C.
The next day Billy and I prepared to leave. We attached a hitch to his car (mine, a ’64 Valiant with push- button transmission on the dash, never would have made it), changed his oil, and filled up the tape box. The tapes we were to return to most were Lou Reed’s Sally Can’t Dance (I can’t hear “Kill Your Sons” now without the druggy heat of that summer burning through my memory), Robin Trower’s Twice Removed from Yesterday, Bowie’s Station to Station, Hendrix’s mind-blowing Axis: Bold as Love, and the debut from Bad Company. We cut the black BAD CO.
