Tales of Manhattan Page #5

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AND YOU CERTAINLY

HAVEN'T ANY PROBLEMS.

OH, YES, I HAVE.

LIONS DON'T HAVE

PROBLEMS.

LIONS ARE FREE:

AND UNINHIBITED.

I CAN SEE YOU NOW

AS EVENING FALLS...

MOVING SILENTLY:

THROUGH THE JUNGLE

ON YOUR SOFT PAWS.

YOU DO?

SHH.

YOUR EYES:

ARE GLEAMING.

YOUR MANE IS SHAKING

AS YOU GO:

STEALTHILY ALONG.

FINALLY,

YOU GET THERE.

WHERE?

STOP INTERRUPTING.

YOU'LL GET THERE.

I CAN SEE YOU:

AT THE DOOR.

NO, I CAN' SEE YOU AT THE DOOR.

DO YOU KNOCK:

OR RING THE BELL?

JUST SMASH:

THE DOOR DOWN.

BUT DOESN'T IT HURT?

I BROKE MY SHOULDER

ONCE,

BUT I WAS ONLY A SCRATCH.

TELL ME, GEORGE,

WHAT DO YOU TWO:

TALK ABOUT?

WE JUST CHAT ABOUT...

CURRENT EVENTS.

DON'T YOU ROAR

LIKE SHE SAYS:

YOU DO?

OH, THAT.

YES, NATURALLY,

A LION ROARS.

GEORGE, WILL YOU

ROAR NOW?

NO.

I'M NOT IN THE MOOD.

AW, GEORGE,

COME ON. PLEASE.

JUST FOR ME.

NO. I'D FEEL SILLY.

AW, GEORGE, PLEASE?

WELL...

RROW.

THAT'S NOT A LION.

IT'S A PEKINESE.

OH.

RRROW!

OH...

YOU'RE SCARED

NOW, HUH?

OH, I'M NOT SCARED.

DON'T BE SILLY.

I MEAN...

THIS IS-THIS-

AW, NOW WAIT.

JUST A MINUTE.

LIONS CAN BE TAMED,

TOO.

HMM.

GO ON BACK.

BACK.

COME ON, BACK.

BACK.

HA HA HA.

BACK. COME ON.

BACK, BACK, BACK.

BACK.

DOWN.

THERE. THAT'S

A GOOD LION.

OH, WE LIONS HAVE OUR GENTLE MOMENTS.

MMM?

AND THE LION SHALL

LIE DOWN WITH THE LAMB

AND ALL THAT.

MM-MMM.

NO?

THE LION SHALL LIE

DOWN WITH THE SQUIRREL

AND ALL THAT.

OH.

THAT'S THE WAY

IT GOES, ISN'T IT?

AND THE SQUIRREL SHALL

LIE DOWN WITH THE... MINK.

IT'S KIND OF A NOAH'S ARK ARRANGEMENT.

OH, NOAH WAS LATE

IN THE RUN.

THIS GOES ALL THE WAY

BACK TO ADAM.

WERE THERE SQUIRRELS

IN THE GARDEN OF EDEN?

MM-HMM.

THAT'S PROBABLY

WHY EVE LEFT.

THAT'S A PRETTY

CYNICAL THING:

FOR A YOUNG WOMAN

TO SAY.

AND WHAT WOULD YOU

LIKE ME TO SAY?

OH, MY LION, EVERY MOMENT AWAY FROM YOU

SEEMS LIKE:

AN ETERNITY.

IS THAT BETTER?

SWELL.

WELL, YOU OUGHT TO LIKE

IT. SHE WROTE IT TO YOU.

OH.

TELL ME ABOUT HER,

GEORGE.

WHAT'S SHE LIKE?

WELL, SHE'S...

SHE'S...

SHE'S LOVELY.

YOU KNOW,

SITTING THERE LIKE THAT,

YOU LOOK A LO LIKE HER.

I DO?

YES. SAME LONG LASHES,

SAME LITTLE NOSE,

SAME SUNLIT HAIR.

SAME LAUGHING EYES.

BUT I DON'T WRITE

LETTERS.

I WISH I DID.

IT MUST BE FUN TO WRITE THINGS LIKE-

STRANGE HOW YOU'RE

GIVING ME THOUGHTS

I'VE NEVER

HAD BEFORE...

HOW BEING NEAR YOU

IS NOT LIKE BEING

NEAR ANYONE ELSE.

THAT'S THE BEST PAR OF THE LETTER.

HUH?

HOW W KNOWING YOU...

IS DIFFERENT FROM KNOWING ANYONE ELSE

IN THE WHOLE WORLD.

IS THAT RIGHT,

GEORGE?

IT'S PERFECT.

I'M GLAD

YOU LIKE IT.

WOULD YOU... LIKE TO

HEAR WHAT I WROTE HER?

YES, I'D LOVE TO.

YOUR VOICE IS LIKE

A SUNRISE...

LIKE A GARDEN IN BLOOM...

LIKE A BIRD:

AGAINST THE SKY.

DO MORE, GEORGE.

WHY DON'T YOU

BE KIND:

AND SET ME FREE?

OR WHY DON'T YOU

BE KINDER:

AND HOLD ME:

FOREVER AND EVER?

YOU DON'T MIND MY QUOTING THAT, DO YOU?

OH, NO. OF COURSE NOT.

IT-IT'S WONDERFUL.

YOU SEEM TO HAVE

CAUGHT EACH OTHER'S

MOOD... EXACTLY.

YES.

YOU KNOW, PEOPLE DO THAT SOMETIMES...

IN LETTERS, I MEAN.

BRUSH YOUR LIPS:

ACROSS MY CHEEK,

MY DEAR.

IS THA FROM THE LETTER?

OH, NO.

OUT OF MY HEAD.

I JUST WANTED TO HEAR

WHAT IT WOULD:

SOUND LIKE.

SOUNDED WONDERFUL.

LET'S SEE WHA THIS SOUNDS LIKE.

I WANT MORE THAN

ANYTHING IN THE WORLD

TO HOLD YOU:

IN MY ARMS.

LETTER?

NO. HEAD.

THERE WAS DARKNESS

FOR A LONG, LONG TIME,

AND SUDDENLY:

THE LIGHT CAME,

AND THE LIGHT WAS YOU.

LETTER?

HEAD.

DARLING...

NOW AND FROM:

THE BEGINNING.

HEAD, DIANE.

THESE MOMENTS WE HAVE

ARE OURS FOREVER.

LETTER?

THESE MOMENTS WE HAVE-

HEAD?

HEART.

GEORGE.

HOW DO PEOPLE KNOW WHEN

THEY'RE REALLY IN LOVE?

WELL...

FIRST I GUESS:

THEY FIND OU THEY LIKE TO BE TOGETHER,

AND THEN THEY FIND OUT THEY

KIND OF THINK THE SAME THINGS.

THEN I GUESS:

AFTER A WHILE,

THEY GET SO THEY EVEN

SAY THE SAME THINGS

AT THE SAME TIME.

AND THAT'S THE WAY

YOU KNOW?

WELL,

I'M JUST GUESSING.

WELL, YOUR GUESS WOULD BE MY GUESS, TOO.

IT MUST BE WONDERFUL WHEN-

IT MUST BE WONDERFUL WHEN-

LIKE THAT.

LIKE THAT.

GEORGE.

I'VE WAITED

A LONG TIME.

BUT NOW...

NOW...

YOU'RE GOING

TO MARRY HARRY.

AND, ACCORDING

TO CUSTOM,

MAY THE BEST MAN

KISS THE BRIDE.

THAT'S ALL

THERE IS TO IT.

HE ISN'T HERE.

THIS IS AN EMPTY

APARTMENT.

THERE'S NOBODY

HERE. NOBODY...

IN-IN-INCLUDING

ME.

THAT'S ALL RIGHT,

EDGAR.

I'LL WAIT.

HE WON'T BE HERE

AT ALL.

MISS GRAY, HE'S GONE TO CHICAGO-

UH, F-FOR

THE NIGHT.

I SEE.

HE'S IN CHICAGO,

AND THE WEDDING'S

IN NEW YORK!

WHY ARE MY LETTERS

SCATTERED ALL OVER THE PLACE?

TO MAKE THE ROOM

LOOK LIVED IN?

SHE FOLLOWS ME:

EVERYWHERE.

I'LL SHOW HIM HE CAN' TREAT ME THIS WAY.

SHE HATES FLOWERS.

AND FRUIT, TOO.

GEORGE, STOP HER! SHE

DOESN'T LIKE CHAMPAGNE EITHER.

SQUIRREL! OH, HO HO!

HAVE WE MET?

SQUIRREL!

SHE HAS A VERY:

BAD MEMORY.

SO I SEE.

WHAT THE-

I'LL SHOW YOU

WHAT THE!

GETTING MARRIED WITHOUT TELLING ME!

SHALL I THROW:

A FIT, SIR?

I CAN EXPLAIN THE WHOLE THING. YOU SEE-

NEVER MIND, GEORGE.

IT'S UP TO ME NOW.

I'M SORRY, BUT I PUT GEORGE ON THE SPOT.

HIS TAIL COAT REALLY

ISN'T MY TAIL COAT-

IT'S NOT REALLY MINE. IT'S EDGAR'S.

IT'S LUTHER'S. NO,

NOT LUTHER'S TAIL COAT.

IT'S MR. ORMAN'S

TAIL COAT,

AND HE'S IN

THE HOSPITAL.

JUST A MINUTE. IT'S BETTER

IF NOBODY EXPLAINS ANYTHING

TO ANYBODY.

HERE'S YOUR LETTER,

SQUIRREL.

AND HERE'S YOUR RING...

HARRY.

AND HERE'S MY LION.

YE-YE-BUT-

YOU EVER WANT ME TO HELP

YOU OUT AGAIN, HARRY,

JUST LET ME KNOW.

RRROW!

IT'S GOT A HOLE.

WE KNOW.

QUESTION IS, HOW MUCH?

WITH THE HOLE.

WELL, $7.00.

$7.00.

FOR THAT COAT?

COME ON, EDGAR.

JUST A SECOND.

LET ME TAKE IT OVER

TO THE LIGHT.

FIND ANYTHING YOU LIKE?

THANK YOU. YES.

JUST LOOKING.

$7.00, AND YOU SAID

AT LEAST 25.

I SAID WE'D SPLI ALL OVER 10, DIDN'T I?

OVER 10, YES.

YOU'RE HERE

TO ENSURE THAT.

WELL, HERE YOU ARE.

$10, TAKE I OR LEAVE IT.

WE'LL TAKE IT.

I'LL TAKE IT.

COME ON.

UH, GOOD DAY,

GENTLEMEN.

MY, WHAT A FINE COAT.

IT WOULD BE NICE

FOR MY HUSBAND.

YOUR HUSBAND A WAITER?

OH, NO.

HE'S NOT A WAITER.

HE'S A GREAT MUSICIAN.

WHAT DO YOU THINK

I'M PAYING YOU FOR?

MUSIC, NOT MURDER.

GOOD MUSIC, GET IT?

MR. WALTER,

I- I-I MUST-

I DEFINITELY MUST GO OU FOR HALF AN HOUR.

KEEP PLAYING.

I- I-I-

I CANNOT CONDUC SLEEPWALKERS.

I CANNOT RAISE:

THE DEAD!

I CANNOT!

I WILL NOT!

BACK TO 26, GENTLEMEN.

YOUR E-FLAT IS FLAT,

MISTER.

WOULD YOU OBLIGE ME BY

NOT REWRITING THE SCORE.

THAT NOTE IS SHARP.

YES! YES!

YOU PLAY EVERYTHING

AS IT IS WRITTEN!

EVERY NOTE LIKE ROBOTS-

WITHOUT LIFE!

WITHOUT FEELING!

BUT THEY ARE NO JUST NOTES!

THEY ARE NOTES WRITTEN

FROM THE BRAIN:

FROM THE HEART!

MUSIC WITHOUT FEELING

IS NOISE!

DON'T YOU UNDERSTAND?

CAN'T YOU READ?

JUST LOOK:

AT THE FOURTH NOTE

AFTER NUMBER 35!

WHAT DO YOU SEE?

TRIPLETS!

AS IN TRIPLETS!

ALL RIGHT, GENTLEMEN,

THIS IS TOO MUCH.

WE'LL PROCEED

IN HALF AN HOUR.

YOU NEED A REST.

SO DO I.

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