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Private Investigators - Louisiana - New Iberia,
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it inside.”
“What you’re doing is not only stupid, you’re starting to piss me off, Dixie.”
“I’m sorry.”
“You want to be on these guys’ leash the rest of your life? What’s the matter with you?”
“Everything. My whole fucking life. You want to pour yourself some iced tea? I got to use the bedpan.”
“I think I’ve been jerked around here, partner.”
“Maybe you been jerking yourself around.”
“What?”
“Ask yourself how much you’re interested in me and how much you’re interested in the drilling company that killed your old man.”
I watched him work the stainless steel bedpan out from the rack under the mattress.
“I guess you have dimensions I haven’t quite probed,” I said.
“I flunked out my freshman year, remember? You’re talking way above my league.”
“No, I don’t think so. We’ll see you around, Dixie.”
“I don’t blame you for walking out mad. But you don’t understand. You can’t, man. It was big back then. The Paramount Theater in Brooklyn with Allan Freed, on stage with guys like Berry and Eddie Cochran. I wasn’t no drunk, either. I had a wife and a kid, people thought I was decent. Look at me today. I’m a fucking ex-convict, the stink on shit. I killed a child, for God’s sake. You come in here talking an AA shuck about the beautiful weather outside when maybe I’m looking at a five-spot on Angola farm. Get real, son. It’s the dirty boogie out there. “and all the cats are humping to it in three-four time.”
I stood up from my chair.
“I’ll speak with the sheriff about the deputy. He won’t leave you alone again. I’ll see you, Dixie,” I said.
I left him and walked outside into the sunlight. The breeze was cool and scented with flowers, and across the street in a grove of oak trees a Negro was selling rattlesnake watermelons off the back of a truck. He had lopped open one melon on the tailgate as an advertisement, and the meat was dark red in the shade. I looked back up at Dixie Lee’s room on the corner of the second floor and saw a nun close the Venetian blinds on the sunlight.
CHAPTER 3
I had never liked the Lafayette Oil Center. My attitude was probably romantic and unreasonable. As chambers of commerce everywhere are fond of saying, it provided jobs and an expanded economy, it meant progress. It was also ugly. It was low and squat and sprawling, treeless, utilitarian, built with glazed brick and flat roofs, tinted and mirrored windows that gave onto parking lots that in summer radiated the heat like a stove.
And to accommodate the Oil Center traffic the city had widened Pinhook Road, which ran down to the Vermilion River and became the highway to New Iberia. The oak and pecan trees along the road had been cut down, the rural acreage subdivided and filled with businesses and fast-food restaurants, the banks around the Vermilion Bridge paved with asphalt parking lots and dotted with more oil-related businesses whose cinder-block architecture had all the aesthetic design of a sewage-treatment works.
But there was still one cafe on Pinhook left over from my college days at Southwestern in the 1950s. The parking lot was oyster shell the now-defunct speakers from the jukebox were still ensconced in the forks of the spreading oak trees, the pink and blue and green neon tubing around the windows still looked like a wet kiss in the rain.
The owner served fried chicken and dirty rice that could break your heart. I finished eating lunch and drinking coffee and looked out at the rain blowing through the oaks, at the sheen it made on the bamboo that grew by the edge of the parking lot. The owner propped open the front door with a board, and the mist and cool air and the smell of the trees blew inside. Then a Honda stopped in a rain puddle out front, the windshield wipers slapping, and an Indian girl with olive skin and thick black hair jumped out and ran inside. She wore designer jeans, which people had
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Michael J. Bowler
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Alice Goffman