Mark shrugged and shoved Gurdy into the dull blue limousine at the curb. The motor took him away from the theatre and away from several beckoning hands on the sidewalk. His shift to managership had changed the fashion of salutes. People now beckoned him with a posture of confidential affection and earnestness. They had friends to recommend, deep suggestions. Carlson had warned him, “Mind, you’re a kid with a pocketful of candy, now. You’ve stopped bein’ just one of the gang. Better ride in cabs if you want to get anyplace.” Well, the motor, with its adorable slippery blue crust, kept people at a distance. Mark wound an arm about Gurdy and pulled himself into a corner of the seat. The car was hampered by a dilatory van that lurched ahead of its hood. The chauffeur cursed in Canadian French and a messenger boy on the van’s tail cursed back, joyously foul, emptily shooting accusations of all sins in a sweet, sexless howl that pierced the glass about Mark and made him grin, absently amused. “He’s mad,” said Gurdy, dispassionately. “No. He’s just talking, son.” “Huh,” Gurdy grunted, trying to match the words with ordinary conversation. This messenger boy was plainly an accomplished fellow. The van rolled off over Broadway in a shock of light and dust. Gurdy saw “Red Winter” on a poster and asked, “Is this Red Winter a good play, Mark?” “Pretty fair, honey.” “Well, can I come to it?” “No.” “Why?” “Too dirty,” Mark said, then, “All about killin’ folks, son.” Gurdy argued, “Well, Lohengrin’s all about killing people and Miss Converse took me to that and it was in Dutch.” “German, sonny.” “I like French better’n German,” Gurdy yawned, waving a leg in the air and went on, “I think Broadway’s ugly.” “You’re right,” said Mark, enchanted by such taste.