The Comedy is Finished

stand somewhere? Thirty or more years ago?

Still in the same dispassionate manner, Mark says, “You knew her as Honeydew Leontine.”

“Honeydew!” Surprise is almost immediately succeeded by pleasure, at the simple reminder of Honeydew Leontine. She was the first, the very first blonde on the very first USO tour; the first and in many ways the best. For six years she’d traveled with Koo—not always, not every trip, there had been other blondes on other tours along the way—and when she’d quit show business he’d been briefly saddened, because he already knew that most of the blondes were cold and tough and barely worth getting a hard-on over, while Honeydew Leontine had been warm and sweet and natural. Not the brightest girl in the world, but good-hearted. A friend as much as a fuck. But then she’d quit and...

She quit because she was pregnant; that’s right. Koo had an office on the MGM lot then, and he came in one afternoon to find a message from Honeydew, whom he’d last seen two months earlier on their return from a tour to Alaska and the Aleutians; ’47 or ’48, that was, between wars. He almost never saw Honeydew socially, had virtually no contact with her other than the tours, so he was surprised to get her call, and not at all happy when he phoned back and the first words out of her mouth were, “I think I’m in trouble.”

Koo’s response was immediate: “Let’s have dinner. How many you eating for?”

“I think, two.”

“That’s what I figured.”

He took her to Musso & Frank, because it was a prominent place, full of show business people. If he’d taken her to some out-of-the-way joint (as had been his first impulse) she’d start feeling sorry for herself, and maybe she’d take it out on Koo. Besides, he knew what he wanted her to do, and Musso & Frank was the proper setting for the discussion. “Your career,” he kept saying, and the word abortion was never actually spoken aloud. She cried a little into her veal parmigiana, not enough to be noticed by anybody but the waiter, whose job it was to mind his own business, but except for the tears and a general aura of sadness and one wistful comment—“Gee, it seems too bad”—she didn’t argue back or disagree very forcefully at all. (Now he realizes he should have mistrusted such easy compliance; at the time, he was simply relieved she wasn’t going to cause a lot of trouble.) At the end of the meal he said, “There’s a doctor I can call,” but she shook her head: “I’ll take care of it, Koo, don’t worry about that. It’s just the—finances. I’m sorry, I’ll need a little help with that.”

“Sure,” he said, and drove her home, and sent her into her house with a chaste kiss; then the next day he mailed her a check for five hundred dollars and a note containing a crass joke: “Hope everything comes out all right.” And that was the last he ever saw or heard of Honeydew Leontine. The next time it occurred to him to get in touch with her, a couple years later when he was putting together his first Korean tour, her agent said Honeydew had quit the business, so he got somebody else. And that was that.

“You’re smiling,” Mark says. “I didn’t expect you to smile, I don’t know what it means.”

“Honeydew,” Koo explains. “I liked her.” He very nearly said I loved her, which is ridiculous. Also, he doesn’t know how far he can trust this new calmness of Mark’s, and he suspects the phrase I loved her might be just the thing to trigger Dr. Jekyll’s next transformation. Feeling nervous, a bit confused, he scrabbles in his memory for a fact about Honeydew, and comes out with the first thing he finds: “The stones,” he says. “She had that incredible collection of stones, one from every beach she ever walked on. Carried them all around in little cloth bags. Carried them everywhere.”

“That’s right,” Mark says, and now one corner of his mouth lifts in a not-pleasant smile. Is this Mr. Hyde returning? “I threw them away,” he says.

Koo frowns at him, not sure he understands. “The stones?”

“When I was fifteen.” Mark shrugs, almost as though embarrassed. “It was very hard to make her cry.”

“She cried the last time I saw her.”

“Did she? Too bad I wasn’t there.”

“You were there.”

“Oh. Yeah, I see what you mean.” The shrug again, of just one shoulder; Mark is embarrassed. “She didn’t cry when I threw the stones away. Tough old bitch.”

“Wait a minute. You were trying to make her cry?”

“I’ve had two goals,” Mark says, “since the day I was born. One to make her cry, and the other to make you dead.”

“Well, you do work at them.”

“I’d see you in the movies, I’d see you on television. That’s my father. I never said that to anybody, but I’d sit and stare at you and try to kill you with my mind. But you were too far up, and I was too far down.”

Dangerous territory; Koo eases them away from it, saying, “But what did you have against your mother?”

“Me.” The coldness of his memories is seeping into Mark’s face; it’s like watching a chill breeze ruffle icy water. “I ruined her life, to hear her tell it. So I figured I might as well make it a good job.”

“Ruined her life?”

“ ‘You ruined my life! I was a star!’ ” Mark’s falsetto imitation of a woman’s voice contains all the fury of his normal self. “ ‘I didn’t have to have you, you little brat! Your father gave me five hundred dollars to get rid of you, and I swear I wish I’d done it!’”

“She wasn’t like that,” Koo says. He’s actually shocked to hear Honeydew spoken of this way. “She wasn’t like that at all.”

“You didn’t know her after I ruined her life.”

“Jesus.” Koo can see it, the sentimental romantic decision to have the child, then to keep it. She would have had some money at the beginning, left over from her career; it would all have seemed possible at first. But it wasn’t possible, and by the time she understood the implications of her mistake it was too late to change. She must have been about thirty when the kid was born; a couple of years as a hausfrau, out of the business, quickly forgotten (starlets are always quickly forgotten, like the individual leaves on a tree), her blowsy good looks very easily going to seed, going to fat, the lost world irretrievably in the past and receding farther and farther every day; when a good old girl like that turns bitter she can undoubtedly be hell on wheels. Koo shakes his head; then, trying to find something good in it, something hopeful, he says, “Didn’t she ever marry?”

“When I was two, a fella named Ralph Halliwell. I carry his last name.”

“What happened?”

“It didn’t last. He was part-owner of a restaurant in Santa Fe, I guess he married my mother because she’d been in the movies, he thought it would be an attraction for the restaurant. But something happened, I don’t know exactly, he was stealing from his partner or his partner was stealing from him. Something like that. And he thought my mother must have money because of being a movie star. So one day when I was four he beat the shit out of her and left.” Mark smiles, angrily and hopelessly. “I was present for that one. It’s just about my earliest memory.”

“Where, uh. Where is she now?”

“Dead.” The word is flat, spoken as though without meaning. “She died six years ago. Breast cancer. She wouldn’t do anything about it until it was too late, but that was her style, right?”

All at once, the tears are coming. Koo blinks and blinks, turning his head from side to side as though to duck out of the way, but there’s no stopping them, they’re like a warm flood building up inside him, overflowing, feelings he didn’t even know he owned, emotions and remorses welling inside him, burning in his throat, groaning in his mouth, bursting out through his eyes. “Gah—God,” he says, struggling to say something that will paper over this crack, but there isn’t a joke in the world, all the jokes are told and gone. “Gah—Gah—God. God. Oh. Jee-sus.” And he’s sobbing, actual racking sobs that shake his whole body and grind like tanks through his throat.

Mark has risen from the bed, is staring at him as though affronted, and now he says, “What’ve you got to cry about, you son of a bitch? You fucking hypocrite, what are you crying for?”

“I never—” But the sobs are too much for him, he can’t push words through them, can’t stop them, can’t get away from all this misery. “I never—knew,” he cries, and drags his aching heavy arms out