waved vaguely and smiled at him in the serious private manner she reserved for him. "Around."
Wade bowed a little and moved off. Louise looked after him.
"Didn't he used to go with Laura?" she asked.
"Don't be a cat," Michael said.
"Just wanted to know."
"The room," Michael said, "is loaded with guys who used to go with Laura." He surveyed the guests with sudden dissatisfaction. Wade, Talbot, and now another one had come in, a lanky actor by the name of Moran who had been in one of Laura's pictures. Their names had been linked in a gossip column in Hollywood and Laura had called New York early one morning to reassure Michael that it had been an official studio party, etc. etc…
"The room," Louise said, looking at him obliquely, "is full of girls who used to go around with you. Or maybe 'used to' isn't exactly what I mean."
"Parties these days," Michael said, "are getting too crowded. I'm not coming to them any more. Isn't there some place you and I can go and sit and hold hands quietly?"
"We can try," Louise said, and took his arm and led him down the hallway through the groups of guests, towards the rear of the apartment. Louise opened a door and looked in. The room was dark and she motioned Michael to follow. They tiptoed in, closed the door carefully behind them and sank on to a small couch. After the bright lights in the other rooms, Michael couldn't see anything here for a moment. He closed his eyes luxuriously, feeling Louise snuggle close to him, lean over and softly kiss his cheek.
"Now," she said, "isn't that better?"
The rest of the evening was confused in Michael's mind. Later on he didn't remember whether he had made a date with Louise for Tuesday afternoon or not, or whether Laura had told him that the fortune-teller had predicted they were going to be divorced or not. But he remembered seeing Arney appear at the other end of the room, smiling a little, whisky dribbling down from his mouth on his chin. Arney, with his head slightly to one side, as though his neck was stiff, came walking, quite steadily, through the room, ignoring the other guests who were standing there, and came up next to Michael. He stood there, wavering for a moment, in front of the tall french window, then threw open the window and started to step out. His coat caught on a lamp. He stopped to disentangle it, and started out again. Michael watched him and knew that he should rush over and grab him. He felt himself starting to move sluggishly, his arms and legs dream-like and light, although he knew that if he didn't move faster the playwright would be through the window and falling eleven storeys before he could reach him.
Michael heard the quick scuff of shoes behind him. A man leaped past him and took the playwright in his arms. The two figures teetered dangerously on the edge, with the reflection of the night lights of New York a heavy red neon glow on the clouds outside. The window was slammed shut by someone else and they were safe. Then Michael saw that it was Parrish, who had been half-way across the room at the bar, who had come past him to save the playwright.
Laura was in Michael's arms, hiding her eyes, weeping. He was annoyed at her for being so useless and so demanding at a moment like that, and he was glad he could be annoyed at her because it kept him from thinking about how he had failed, although he knew he wouldn't be able to avoid thinking about it later. He wanted to go home, but Laura said she was hungry, and somehow they were in a crowd of people and somebody had a car and everybody sat on everybody else's lap and he was relieved when they drew up to the big, garish restaurant on Madison Avenue and he could get out of the crowded car.
They sat down in a shrill, orange room with paintings of Indians for some reason all over the walls, and inexperienced waiters, hastily pressed into emergency service, stumbling erratically among the loud, still-celebrating diners. Michael felt drunk, his eyelids drooping