Upon The 50th Anniversary Of The Death Of "King Of The Beats" Jack Kerouac-Out In The 1950s Crime Noir Night- When Alan Ladd Held Forth-“Appointment With Danger”- A Film Review

Click on the headline to link to a Wikipedia entry for the crime noir film Appointment With Danger.

DVD Review

Appointment with Danger, starring Alan Ladd, Jack Webb, Jan Sterling, Paramount Picture, 1951

No question I am a film noir aficionado. Recently I have been on a tear reviewing various film noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been left on the cutting room floor. The classics are easy; films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as they stand on their own merits. I would add here a couple of earlier Alan Ladd vehicles, the film adaptation of Dashiell Hammett’s The Glass Key and This Gun For Hire both also starring classic femme fatale Veronica Lake (be still my heart, sorry Rita Hayworth). Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale, Rita Hayworth. Be still my heart, am I forgiven, Rita Hayworth? I have even tried to salvage some by touting their plot lines, and others by there use of shadowy black and white cinematography to overcome plot problems. Like The Third Man (and, in that case, the edgy musical score, with all the zither music you could want or need, as well). And that brings us to those, like this film under review, 1951's Appointment With Danger, starring the above-mentioned Alan Ladd that have no redeeming film noir qualities.

Now as I mentioned in a recent review of another lesser crime noir, William Holden in Union Station, it is not like Alan Ladd did not know how to play hard-boiled crime noir on either side of the crime line as he did in The Glass Key and This Gun For Hire (as well as the Raymond Chandler-scripted The Blue Dahlia) so it is not the acting capabilities, although Brother Ladd may have been a little tired from holding Veronica Lake's hand (or playing playfully with that big wavy hair falling over her right eye). What is missing here in the film under review, Appointment With Danger, is any spark to get interested in actors or plot.

The plot line in any case is rather conventional. Ladd plays a hard-nosed postal inspector (what? yes a postal inspector, and hard-nosed to boot) who is sent out to crime-ridden Indiana to seek the killer, or killers, of a fellow postal inspector (what?, again a postal inspector-who would have known it was such a dangerous life) and the only clue that he has to go on is via a sister, no not a dame, a nun who can identify (and be identified by) one of the men last seen with said postal inspector. Between the pair hard-boiled, obviously Protestant, postal inspector with a narrow sense of his job, and narrower regard for the human species and Catholic nun good who sees only good, Ladd tumbles into a big time heist, a million dollar heist (that was big dough ten, if only pocket change now) involving the postal service. Is nothing sacred?

Part of the tumbling by Ladd is that he gets inside the job through wit, wiliness, and an occasional drawing of the gun, although this is the weakest part of a weak plot. If one assumes a certain amount of finesse by Earl, a hotel owner looking for, well, looking for “easy street” and an end to changing towels for the masses, then Ladd’s working his way into the scheme should have put out signals big time. Moreover some of Earl’s confederates have more than a few problems, especially the combination that later in the decade would do yeomen’s service as detectives in Dragnet (Jack Webb and Harry Morgan). Of course in this one the message was telegraphed from the very beginning, crime doesn’t pay, especially if you go after the big boys, the postal service. Or people who walk around with guardian angels to protect them.

Note: As is usual with crime-addled guys they need their molls, sometimes gun molls, but sometimes just for company in the sometimes long wait between jobs. Here the moll, a blonde one as well, although blondeness is not required for the job, just the craven desire for a share of the ”easy street” dough is played by the same moll from Union Station, Jan Sterling. Ms. Sterling actually “steals” the show here as the hard-boiled but smart “be-bop” moll with the quick answer who also has enough sense to come in out of the rain. In short, to know when the deal goes down that her man, Earl, ain’t going nowhere fast and so she blows town, just in time. Nice work. But this is where my interest was perked; she also was into the 1950s be-bop jazz night and brought tin-eared Ladd up to her digs to listen to some platters. If Brother Ladd had had any sense he would have followed her out of town. Willingly.

When The Whole World Reached Out For One Sweet Breathe Of Hollywood Glamour When It Counted-In Honor Of The Commemoration of 100th Birthday Of Rita Hayworth-A Different Look At The Women Question -On Jumping Through Hoops- Rita Hayworth’s Gilda- A Film Review

When The Whole World Reached Out For One Sweet Breathe Of Hollywood Glamour When It Counted-In Honor Of The Commemoration of 100^th Birthday Of Rita Hayworth-A Different Look At The Women Question -On Jumping Through Hoops- Rita Hayworth’s Gilda- A Film Review

Click on the headline to link to a Wikipedia entry for Rita Hayworth. You are forewarned.

DVD Review

Gilda, Rita Hayworth, Glenn Ford, George Macready, Columbia Pictures, 1946

No, this will not be a paean to the virtues of the modern women’s movement and to the women liberation struggle that I have spilled much worthwhile ink arguing for in this space. Let’s place it more as an off-the-cuff social commentary on bourgeois society and the sometimes obscure way that its values get transmitted even to those who oppose, and oppose vehemently, its existence although they are not inured to the pull of some of its (historical progressive) charms. But enough of introductory justification, let us get to the heart of the matter- a film review of 1940s “hot” (you can see where I am going with this already) film star Rita Hayworth in her most famous film, the film noir classic, Gilda, and the men, the legions of men in the film and in the audience, including this writer, whom she had (or, in my case, could have had) jumping through hoops (and much more, gladly).

Now the last time that devilishly sweet-smiling, buttery-voiced, long-legged, big-haired(heck, that's the best I can do, I don't know what they called that style but other "hot" 1940s women stars like Lauren Bacall and Veronica Lake wore it that way too), been around the block and is still standing, femme fatale, relentlessly sexual, very relentlessly sexual, Rita’s name came up for this writer was when her photograph, just her big blow-up photo nothing more, was used to cover (literally) actor Tim Robbins’ escape route in the film, The Shawshank Redemption. Of course, that flash got me to thinking about the film Gilda and there you have it. So naturally I had to see the thing, again. I have had to wait until now though to write this little commentary until my doctor said that my blood pressure had gone down enough to do so.

Here are the high points of the plot quickly. Down and out American expatriate fellaheen, Johnny Farrow (played by Glenn Ford), finds himself in Buenos Aires doing, well, doing the best he can. Sometimes though doing the best one can, when down and out at the lumpen edges of society is risky, very risky, and not just in Buenos Aires, as the French writers Genet and Celine can tell you. Up steps “savior” Ballin, illegal night club owner, power-monger and all-around megalomaniac (played by icy George Macready) to offer job, companionship and advice. Most importantly, on the advice front, that gambling and women don’t mix, especially for up-and-coming managerial prospects. Naturally, that advice goes by the boards when femme fatale Gilda (off film) marries one totally enchanted megalomaniac Ballin. That’s one hoopster corralled. Turns out though that Johnny and Gilda know each other and had previously held the "torch" for each other. Well, to make the story short, the rest of the “boy meets girl” action is spent with old Johnny denying on three (maybe more) bibles that he is over, done with, finished with, couldn’t care less about, is not smitten with, Gilda. Maybe. Ya, there goes another hoopster down.

As we know, which was very routine for 1940s (and now, for that matter, see Avatar) “boy meets girl” films in the end things will work out, although it was close for a while here. Ballin, despite his off-hand desire to rule the world, was so smitten with Gilda that he could not think straight. Johnny was so smitten with Gilda that he could not think straight. The 1940s male audience was so smitten with Gilda that they could not think straight. The modern male audience is so smitten with Gilda that it cannot think straight (oops). And it is just not me, old as I am. I showed a picture of Rita Hayworth to some young leftist male college students once, and they were drooling just like I was. So there are the rest of your hoopsters.

Now where does all this lead. Simply this, or maybe not so simply, in the course of human relationships there are people (there are many permutations) you will jump through hoops for and for no known reason (dare I say rational reason?). I have done it more times than I care to admit, and gladly. That is what makes the millions of possible relationships that humankind has run through so interesting, even within the limitations of bourgeois society. Well, I have to finish this thing up. And here is how. Leon Trotsky, the great Russian Bolshevik revolutionary leader, according to his best biographer Isaac Deutscher, once stated that of the three great tragedies of human existence, hunger, sex, and death that revolutionaries had, necessarily, to concentrate on the struggle against hunger but that under a more equitable socialist society the other two would be dealt with in a much better manner. Let us hope so. Meanwhile we hoopsters have our Gildas. And that is just fine. Oh, did I mention that among Rita’s other charms that she could sing (well, lip-sync, being able to sing is overrated anyway, don't you think? ), dance, and strum a guitar. Wait, I have to stop now I feel that old blood pressure rising again.

When The Whole World Reached Out For One Sweet Breathe Of Hollywood Glamour When It Counted-In Honor Of The Commemoration of 100th Birthday Of Rita Hayworth- A Different Look At The Women Question –Once Again, On Jumping Through Hoops- Rita Hayworth’s “The Lady From Shanghai”- Hey, She Ain’t No Lady

When The Whole World Reached Out For One Sweet Breathe Of Hollywood Glamour When It Counted-In Honor Of The Commemoration of 100^th Birthday Of Rita Hayworth- A Different Look At The Women Question –Once Again, On Jumping Through Hoops- Rita Hayworth’s “The Lady From Shanghai”- Hey, She Ain’t No Lady

Click on the headline to link to a Wikipedia entry for The Lady From Shanghai.

DVD Review

The Lady From Shanghai, Rita Hayworth, Orson Welles, Everett Sloane, Columbia Pictures, 1948

Recently I reviewed Rita Hayworth’s classic femme fatale performance in Gilda in this space after some delay from the time of watching, on doctor’s advice, until such time as my blood pressure when down enough to safety do the film justice. At the end of that review I nevertheless had to cut it short because I could definitely feel that old pressure rising again. But I am okay now and can review a later Hayworth femme fatale effort, The Lady From Shanghia. Old Rita still has them (and me) jumping through hoops but I am not worrying about my blood pressure on this one.

Let me repeat some of that previous Gilda review to make sure that we are all on the same page here:

“….But enough of introductory justification, let us get to the heart of the matter- a film review of 1940s “hot” (you can see where I am going with this already) film star Rita Hayworth in her most famous film, the film noir classic, Gilda, and the men, the legions of men in the film and in the audience, including this writer, whom she had (or could have had in my case) jumping through hoops (and much more).

Now the last time that devilishly sweet-smiling, buttery-voiced, long-legged, big-haired, been around the block and is still standing, femme fatale Rita’s name came up for this writer was when her photograph, just her big blow-up photo nothing more, was used to cover (literally) actor Tim Robbins’ escape route in the film, The Shawshank Redemption. Of course, that flash got me to thinking about the film Gilda and there you have it. So naturally I had to see the thing, again. I have had to wait until now though to write this little commentary until my doctor said that I my blood pressure went down a little.”

And seeing Gilda of course let to this review. Know that the points made in the quoted commentary still stands here, except that she, Rita that is, is a blonde femme fatale this time. And know not all femme fatales are born equal. Some like Gilda are capable of good and some like the lady from Shanghai here are not.


Here are the high points of the plot quickly. Down and out seaman “Black Irish” O’ Hara (Orson Welles) hits New York looking for… something. And he finds it without much trouble, although in the end it will be nothing but trouble. Enter Elsa (Rita Hayworth) who just happens to be slumming on a horse and buggy ride in Central Park and who, as fate would have it, a not uncommon fate at least in Central Park, is waylaid by some hooligans. Black Irish comes to the rescue and is immediately smitten. Black Irish, please, please she is poison, even I can tell that. But, no, old Blackie is bound and determined to pursue this deadly course, also a not uncommon occurrence when one is smitten.

Of course problem number one is that said Elsa is married, married to a great criminal lawyer, Arthur Bannister (played by Everett Sloane) with some serious physical disabilities and a perverse mental make-up that has old Elsa fed up. Problem number two is that Elsa and said hubby are going on a long sea voyage via the Panama Canal to their home port ‘Frisco on their yacht. Hey, Blackie, you’re a sailor why don’t you come along as a crew member. Okay Blackie, second chance, please, please don’t do it. Damn, he signs on. From there you know he is a goner.

Why? Well, up front old Arthur has a partner, Grisby, who is also under Elsa’s spell, at least enough to try to assist her in getting rid of the old goat by any means necessary. I don’t have to draw you a diagram on that proposition. The rest of the plot centers on making Blackie the fall guy for the murder of old Arthur. But as such things do, the best laid plans of mice and men sometimes go awry. Old Grisby winds up dead, Blackie winds up framed for murder and, naturally, Arthur feels duty-bound to defend him. Of course such a defense has a double-edge as Blackie will soon enough find out. And will find out soon enough as well that not all femme fatales are on the level when the heat is turned up. Love will only take you so far though, and then justice, rough justice anyway has to come into play. Still, if you ask Blackie in the sober light of day whether he would do it again, hell, you know the answer. Black Irish is just another of old Rita’s hoopsters. Stand in line brother.

Okay, now for the finale. How does this film, this great director Orson Welles’ film, compare with Gilda? Well…let’s say I’m partial to redheads, if I have a choice. And I am partial to “good” femme fatales with a little heart, as well. Especially if they can dance, strum a guitar, sing (okay, lip synch) and give that look (you know that look, right?) like old Rita did in Gilda. But, I am a man of the ocean so maybe, just maybe, I would sign on for that cruise. Hey, I never said I wasn’t just another Rita hoopster. But this time my blood pressure is okay at the end.

When The Whole World Reached Out For One Sweet Breathe Of Hollywood Glamour When It Counted-In Honor Of The Commemoration of 100th Birthday Of Rita Hayworth-Out In The Tex-Mex Be-Bop Night- Ex-Rita Husband Orson Welles’ “ Touch Of Evil"

When The Whole World Reached Out For One Sweet Breathe Of Hollywood Glamour When It Counted-In Honor Of The Commemoration of 100^th Birthday Of Rita Hayworth-Out In The Tex-Mex Be-Bop Night- Ex-Rita Husband Orson Welles’ “ Touch Of Evil"

Click on the headline to link to a Wikipedia entry for Orson Welles' Touch of Evil.

DVD Review

Touch Of Evil, Orson Welles, Charlton Heston, Janet Leigh, directed by Orson Welles, 1957

Put the blame on Mame. Or rather on the quintessential 1940s film star Rita Hayworth for her role in the 1946 film noir classic as the good femme fatale in Gilda. I was so smitten by Ms. Hayworth’s performance that I had to run out and get several other of her films. First place amount those works was her bad (very bad, indeed) femme fatale role in The Lady From Shang-hai, directed by the director of the film under review, Orson Welles. I might add that Welles also co-starred in that film as the roustabout sailor who also was very smitten by Rita’s charms, Irish Blackie. (See I am not the only one who was taken in by Ms. Hayworth’s charms).

In this film, Touch Of Evil, old beanbag (and I am being kind about his girth) star Orson Welles(Sheriff Hank Quinlan) is very much smitten as well, but not by any such sensible thing as being smitten by a beautiful dame but is rather in thrall to small time Tex-Mex border police power and a rather overblown sense of what passes for “justice”, his rough and tumble justice, as meted out in the hinterlands. The plot line is rather straight forward. Old Orson has to investigate what turns out to be a second-rate romantic variant of murder for hire of a well-known Texas citizen ( along with his, ah,lady friend) who is murdered when his car is blown up by a planned bomb, said bomb planted on the Mexican side of the border. Enter newlywed ace Mexican honest cop Miguel Vargas played by Charlton Heston (gee, I didn't know he was Mexican he could have fooled me with that makeup)just married to a very fetching gringa, played by Janet Leigh. But duty calls, at least the script call for it, especially when Mike becomes wary, very wary of Orson’s investigative techniques which include putting the “frame” on the nearest Mexican national that he can get his hands on. The rest of the film is highlighted by the struggle by Orson to cover up his dirty work and by Charlton to expose Orson as just another red-necked gringo sheriff with no respect for third world sensibilities.

The plot may be simple, and the political incorrectness by the gringos, led by Orson, may be way too obviously incorrect for today’s audiences but this is a classic Welles break-out of a film. Both the direction that, by the end, forces you to almost smell the evil of small town, last of the old frontier life, down in gringo good-time borderland Texas in the 1950s and by Welles’ performance where you can almost smell the corrupted human flesh as it loses its relationship to any rational view of the world are what makes this a late noir classic. Add in the always engrossing close-up black and white photography that is a Welles hallmark and that enhances the grittiness of the scenes and highlights the sometimes startling grotesqueness of the human animal when held under a microscope and there you have it. Thanks, Rita.

*Saucy and Sexy- The Wicked Old World of James M. Cain-You Don't Need A Postman to Know Which Way This Wind Blows

Click on the headline to link to a Wikipedia entry for American novelist James M. Cain's noir classic, The Postman Always Rings Twice.

Book Review

The Postman Always Rings Twice, James M. Cain, Everyman's Library, New York, 2003

Okay, so now that this reviewer has recently warmed you up with review of James M. Cain's lesser works, including the minor classic Double Indemnity it is time to bring up the big guns- The Postman Always Rings Twice (hereafter, Postman). I have reviewed elsewhere in this space both the movie versions of this novel- the original one with John Garfield and Lana Turner in black and white in the 1940’s and the color version with Jack Nicholson and Jessica Lange in the 1980’s. Both have there merits although the Nicholson/Lange version produced at a time when there was a more permissive atmosphere in portraying raw, primordial sexual passions is closer to the sense of Cain’s novel.

Both films also take some license with the story line from the novel. That line, in summary, went something like this- Girl is unhappily married to older uncouth owner of a highway diner and gas station in sunny California of the 1930’s. Boy an outlaw tramp, who also happens to be handy, very handy, with a wrench, comes down the road and hubby puts his to work in the station. Boy meets girl. Bang. Hubby is doomed but the newly formed couple, after a false start in clearing up that little matter, seemingly is ready to start a new life together once the murder rap is cleared up. Or are they?

After a fair exposition of Cain’s works in this space, including a few short stories not reviewed, it is apparent that he was onto something about the way that novelist could look at crime and the vagaries of human passions. Most of his works, including Postman, center on the reactions of his characters to the way that their lusts (and it is mainly the distortions caused by their lusts that Cain wants to look at) lead them inevitably to crime, mainly the most heinous one murder. Moreover, as demonstrated here, no crime no matter how perfectly committed or maneuvered around, will go unpunished either as a result of the psychological reaction and revulsion against their crimes, no matter how deeply submerged, of the characters, as here, with Frank and Cora or by some quirk of fate. No police or gumshoes need apply to solve these crimes.

I have sometimes mentioned in reviewing Cain’s work that the women tend to be femme fatales and that is true to the extent that these women have strong sexual identities, use that fact, and are, usually, to the extent they are fully developed by Cain stronger than the men. But then we are back to the old Adam and Eve story, aren’t we? After all Eve was the one who took the chance. I would argue, as an aside here to the theme presented in Postman, that as conventional as Cora is in many ways, trying to make a go of the diner and trying to create a stable environment after the close call on the murder rap, that there is also some primitive Christian notion at work here. Something about the fates being played out a certain way and the gods best stay on the sidelines while they get worked out. But, hey, why don’t you read this little gem and try to figure it out for yourselves.

From The Pen Of Joshua Lawrence Breslin- Peter Paul Markin’s Stew

 

Jesus, Peter Paul Markin was in a fine stew. I had, over the part forty plus years that I have known him since we first met on a Russian Hill park in San Francisco during the Summer of Love, 1967, seen him in a dither on many occasions, most not worthy of discussion, or mention, but this one was different. This was one of those furies that might not past, especially since it involved his very essence as he called it. A few weeks back on one lonely night he called me up and said he wanted to talk, talk seriously, which tipped me off that I was in for an earful. Later that night at the Surfside Bar over on Main in Ocean City after a few preliminary drinks he let go. For the next two or so hours he, calmly mostly, ran through his life time of grievances, tics, weird allusions and just plain funk on the subject of femmes, fatale or otherwise. I tried to take notes as I as is my wont in these infrequent tirades but I make no claim that I got everything right. Here is the gist of his complaint:

First off Markin (let’s leave it at that since I have already introduced his full name and that is what I have taken to call him of late since Peter Paul seems too ornate and his childhood Pee-Pee, well too childhoody) said he was tired, tired of remembering and writing about remembering that had been his lot for the past several years. On the top of that list was remembering writing and remembering, fatally remembering, those femme fatales that he was addicted to watching on old time black and white film noir flicks. He spoke of the addiction, of his self-imposed addiction, like it was a curse that had befallen him and that he, and he alone, needed to clear the memories of those ancient females who did what they had to do, including a little rough stuff, boom- boom rough stuff or a case of the run offs come hell or high water. See, he said, in those days, and maybe now too although frails (women in his old-time corner boy remembrance Billie Bradley working class Adamsville, Ma. projects days term) have their own dough more now, a woman had to look out for herself, especially working women who it didn’t take much to put on cheap street, walking some red light streets, or in some broken down wreck of a whore house working night to five (night to day) doing what they had tried to avoid doing and so they had to take the main chance when they got it. Especially good- looking frills (another Billie-ism, okay) who maybe didn’t finish high school, maybe were faced with serving them off the arm in some cheap jack hash house, maybe charging a dime a dance in some clip joint, or maybe just avoiding the boss’ passes while taking dictation in some seventh floor seedy run down office building on the back streets of town peopled by in your face repo men, failed dentists, shady chiropractors, flim-flam insurance guys, peeping tom gumshoes and assorted other low life but who had, well, had looks, and a certain way of carrying herself, but mainly the scent, that scent that told every guy, rich or poor, that here comes trouble and what are you going to do about it.

Naturally when old Pee-Pee (his nickname from those Billie day neighborhoods and the last time I will use it here, sorry) got into second gear about femme fatales he (and I) knew that the subject of one Jane Greer would come up. I braced myself although I too could have recited the story he would relate chapter and verse. See I had seen (at his suggestion) Jane Greer in the 1946 classic Out Of The Past although he conveniently forgot that hard fact when he was in the stews. Of course Ms. Greer’s dilemma touched old Markin’s larcenous heart. Seemed that hard pressed drop dead beautiful working girl Jane (if you want to cut to the chase here and look the story up at its Wikipedia entry feel free to do so and as well get the character names because I am using their acting names here) was just the slightest bit trigger- happy and put a slug in her sugar daddy, one Kirk Douglas. She split but not without taking a fistful of his dough (Markin loved that part, the taking the dough “for services rendered” part and if you think about it whatever she did do she earned that dough, earned it the hard way).

Naturally one sugar daddy, one connected don (maybe connected, maybe a free-agent but with muscle and no scruples) did not get, or keep, his sugar by being a patsy, especially not to some twisted forty-five happy gunsel dame. So he hired gumshoe Robert Mitchum (and his partner) to get the damn dough, and bring milady back into the fold. And so the chase was on, well, almost was on because once old Robert got a look at her down in some dusty old Mexican cantina, no, got a whiff of that gardenia, or whatever perfume, even before she came through the door he knew he was hooked. Markin figured that Robert he had it figured that she would be a looker maybe he figured he could withstand that scent, and maybe the slow afternoon whiskies just got to him once he knew he had to have her. Hooked by a femme just as bad as a man can be hooked. So they ran away back to the states and lived happily ever after. Right?

No way. You forgot about Kirk and his little sense of manhood, and maybe Jane and her wants to. He sent the gumshoe partner off to get this pair and the partner does finally find them. Except then Jane’s little problem with guns came back into play. Boom, boom dead partner and she skipped town letting Robert play the fall guy, or at least a prime candidate for that distinction. But all came out well in the end, the noir end. Jane found her way, as a struggling girl must, back to Kirk. But Kirk would be well-advised to not turn his back even a quarter- turn when Jane had her wanting habits on. In the meantime Kirk accidently found out where Robert was holing up, some Podunk town out on the edge of oblivion, they have a am not man powwow and Jane in one last gallant act shot Kirk in order to run away with Robert. But dear Robert had by then learned a lesson or two in life, kind of, and so he crossed up the deal. Crossed it up so bad that Jane, in one last blaze of glory, put a couple in Robert for double-crossing her. So in the end all three were RIP. "What a woman," Markin said almost in a sacred whisper before stating that, hell, he had told that story seventeen different ways, including having her cast as some avenging Madonna angel of the streets out to avenge the historic gash left by primordial man before the fall, and enough was enough. Yah, the stews.

Almost enough that is. Before I could get a yah in edgewise he was off on another femme binge this time whimpering about Miss Lana Turner, damn Miss Turner, who played some California (by way of Okie/Arkie dust bowl beginnings looking some walking daddy to run rings around) tramp round-hell whore who picked up some gabacho old guy and who was serving them off the arm at his seaside diner when Mister John Garfield went left instead of right at the stop where he was left off by some hobo-saving trucker in The Postman Always Rings Twice. When our boy John saw her coming through the door, all dressed in white and ready, ready for anything, and started licking his chops he was doomed just like probably ten million Lana guys before him. Yes Lana had seen the dark side of life and she wanted her’s, wanted it all. And John bought into her dreams, or maybe just that jasmine scent that kept him awake every night until, well, just until. I told you he was hooked, hooked as bad as a man could be hooked, maybe even worst that Robert Mitchum. Jesus. So when dear Lana suggested that all that stood between them and happiness was old hubby the plan was hatched, hatched to perfection.

Except don’t trust amateurs in the murder racket. This pair screwed up about

six-ways- to-Sunday, screwed it up so bad that it was only just when the deal went down that Frank, Frank was left alone to take the rap. Taking the rap and begging for long gone Lana’s smile up in some death row prison cell. The way Markin told it though was like Lana was another one of those Madonna of the streets frails, some virginal vestige of all the bad that could happen to a woman and so she needed, more, she was entitled, to grab, and grab hard for whatever small solace she could dig out of this wicked old world. But Markin yelled, one of his very few outright eruptions, that he had done that story about eighteen different ways, including switching it up and having her as nothing but a money-grubbing man-hater, all men, maybe going back to some unspoken abusive father creeping up to her room time, and while Lana, and her ilk, deserved better that is the way that kind of story went. Basta,

So finally he was done with the femme tale stuff, right? No, no way, he still had the trifecta to complete, the ankle bracelet story. Well that ankle bracelet doesn’t play much of a part in the story but that is what Markin always called it when he cornered somebody long enough to tell this tale this Double Indemnity plot line and how poor Barbara Stanwyck really did get the short end of the stick when all was said and done. Barbara needed dough, well she just needed dough, don’t ask the reason maybe just some deprived, depraved childhood or something. But what she really needed was a guy who could do some heavy lifting, was ready to jump hoops for her, and like it. Enter one Fred MacMurray who once he got a load of the ankle bracelet and looked up he was hooked, need I say it, hooked as bad as a man could be hooked and still breath. See Fred sold insurance, life insurance, with nice little riders for double indemnity, extra sugar, in case of some accidental death, like falling off the club car of a slow-moving train that fell from the sky. Manna, pure manna.

So Fred and Barbara were going to be on easy street after this little caper, no problems. Problem is the insurance company that Fred worked for had a tenacious fraud investigator, Edward G. Robinson (more frequently seen working the bang-bang bad guy, guys like mobbed-up Johnny Rico in Key Largo) who almost fouled the plan up except the pair start distrusting each other and saved him the trouble by shooting each other up, bang, bang. Yes, Barbara was a queen-sized femme maybe having had a hand in off-handedly knocking off hubby’s first wife to get to the prize and then tripping up poor Fred. But that crime doesn’t pay thing Markin complained of had been done by him about nineteen different ways, including the inevitable Eve substitute thing that he had a thing about, before. Enough of femmes, enough of driving guys crazy perfumes (or ankle bracelets, for that matter), and enough of guys trying figure them out. Including Markin.

With those several mouthfuls you would have thought that Markin had exhausted his venomous ways. Had gotten his remembering hurts off his chest. No, not by a long shot. Once he had gotten film noir queens out of the way he was just getting up to speed. I will spare the reader a little eyesight though and summarize that he went through just about every frill that had done him wrong since about childhood.

Some bath soap elementary school thing named Rosalind who turned on him because he didn’t have the right clothes or something the way he told it, some perfumed pre-teen named Maria who refused to take a “clipped” (stolen, petty larceny stolen with friend Billie) cheapo onyx ring as a sign of his eternal devotion, a couple of college girls who sounded to me like they were just doing it as a lark, one clearly just slumming before moving on to her dream stockbroker, more that I had previously known about south of the border senorita-led failed drug deal stuff with a couple of dead hombres face down in some dusty Sonora back street, the usual three or ten failed marriage, live together, night together, week together things half the world has been through without becoming apoplectic about femmesat sixty-something , and about six others that I couldn’t keep straight by the time the tirade ended. He even brought in Butterfly Swirl, a Botticelli-picture girl, that I had “stolen” from him out in San Francisco back in the ‘60s and how she dope smoked up the world and left him flat (neglecting to finish for me, although in the end she, Botticelli vision or not, left me for her old time golden-haired surfer boy back in Carlsbad). Then he finished up, finished up classic Markin, with this beauty- “What’s a guy to do when that scent gets to a man.” What, indeed. Jesus, the stews.

From The Pen Of Joshua Lawrence Breslin- Peter Paul Markin’s Stew

Jesus, Peter Paul Markin was in a fine stew. I had, over the part forty plus years that I have known him since we first met on a Russian Hill park in San Francisco during the Summer of Love, 1967, seen him in a dither on many occasions, most not worthy of discussion , or mention, but this was different. This was one of those furies that might not past, especially since it involved his very essence as he called it. A few weeks back on one lonely night he called me up and said he wanted to talk, talk seriously, which tipped me off that I was in for an earful. Later that night at the Surfside Bar over on Main in Ocean City after a few preliminary drinks he let go. For the next two or so hours he, calmly mostly, ran through his life time of grievances, tics, weird allusions and just plain funk. I tried to take notes as I as is my wont in these infrequent tirades but I make no claim that I got everything right. Here is the gist of his complaint.

First off Peter Paul Markin said he was tired, tired of remembering and writing about remembering. On the top of that list was remembering writing and remembering, fatally remembering, those femme fatales that he was addicted to watching on old time black and white film noir flicks. He spoke of the addiction like it was a curse that befell him and that he, and he alone, needed to clear the memories of those ancient females who did what they had to do, come hell or high water. See, he said, in those days, and maybe now too although frails (women in his old-time corner boy remembrance Billie Bradley working class Adamsville, Ma. projects days term) have their own dough more now, a woman had to look out for herself, especially working women who it didn’t take much to put on cheap street and so they had to take the main chance when they got it. Especially good- looking frills (another Billie-ism, okay) who maybe didn’t finish high school, maybe were faced with serving them off the arm in some cheap jack hash house, maybe charging a dime a dance in some clip joint, or maybe just avoiding the boss’passes while taking dictation in some seventh floor seedy run down office building but who had, well, had looks, and a certain way of carrying herself, but mainly the scent, that scent that told every guy, rich or poor, that here comes trouble and what are you going to do about it.

Naturally when old Pee-Pee (his nickname from those Billie day neighborhoods) got into second gear about femme fatales he (and I) knew that the subject of one Jane Greer would come up. I braced myself although I too could have recited the story he would relate chapter and verse. See I had seen (at his suggestion) Jane Greer in the 1946 classic Old Of The Past although he conveniently forgot that hard fact when he was in the stews. Of course Ms. Greer’s dilemma touched old Pee-Pee’s larcenous heart. Seemed that hard pressed working girl Jane (if you want to cut to the chase here and look the story up at its Wikipedia entry feel free to do so and as well get the character names because I am using their acting names here) was just the slightest bit trigger happy and put a slug in her sugar daddy, one Kirk Douglas. She split but not without taking a fistful of his dough (Pee-Pee loved that part, the “for services rendered” part).

Naturally one sugar daddy, one connected don, did not get, or keep, his sugar by being a patsy, especially not to some twisted gunsel dame. So he hired gumshoe Robert Mitchum (and his partner) to get the damn dough, and bring milady back into the fold . And so the chase was on, well, almost was on because once old Robert got a look at her down in some dusty old Mexican cantina, no, got a whiff of that gardenia , or whatever perfume, even before she came through the door he knew he was hooked. Hooked by a femmejust as bad as a man can be hooked. So they ran away and lived happily ever after. Right?

No way. You forgot about Kirk and his little sense of manhood, and maybe Jane and her wants to. He sent the gumshoe partner off to get this pair and he does finally find them. Except then Jane’s little problem with guns came back into play. Boom, boom dead partner and she skipped town letting Robert play the fall guy, or at least a prime candidate for that distinction. But all comes out well in the end, the noir end. Jane found her way, as a struggling girl must, back to Kirk, Kirk accidently found out where Robert was holing up, they have a powwow and Jane in one last gallant act shot Kirk in order to run away with Robert. But dear Robert had by then learned a lesson or two in life, kind of, and so he crossed up the deal. Jane in one last blaze of glory puts a couple in Robert for double-crossing her. In the end all three are RIP. What a woman Pee-Pee said almost in a sacred whisper before stating that, hell, he had told that story seventeen different ways and enough was enough. Yah, the stews.

Almost enough that is. Before I could get a yah in edgewise he was off on another femme binge this time whimpering about Miss Lana Turner , damn Miss Turner, who played some California (by way of Okie/Arkie dust bowl beginnings) tramp who picked up some gabacho old guy and who was serving them off the arm at his seaside diner when Mister John Garfield went left instead of right at the stop where he was left off by some hobo-saving trucker in The Postman Always Rings Twice. When our boy John saw her coming through the door, all dressed in white and ready, ready for anything, and started licking his chops he was doomed just like probably ten million Lana guys before him. Yes Lana had seen the dark side of life and she wanted her’s, wanted it all. And John bought into her dreams, or maybe just that jasmine scent that kept him awake every night until, well, just until, I told you he was hooked, hooked as bad as a man could be hooked, maybe even worst that Robert Mitchum. Jesus. So when dear Lana suggested that all that stood between them and happiness was old hubby the plan was hatched, hatched to perfection.

Except don’t trust amateurs in the murder racket. This pair screwed up about six- way to Sunday, screwed it up so bad that it was only just when the deal went down that Frank, Frank was left alone to take the rap. Taking the rap and begging for long gone Lana’s smile up in some death row prison cell. The way Pee-Pee told it though was like Lana was some Madonna of the streets, some virginal vestige of all the bad that could happen to a woman and so she needed, more, she was entitled, to grab, and grab hard for whatever small solace she could dig out of this wicked old world. But Pee-Pee yelled, one of his very few eruptions that, he had done that story about eighteen different ways and while Lana, and her ilk, deserved better that is the way that kind of story went. Basta,

So finally he was done with the femme tale stuff, right? No, no way he still had the trifecta to complete, the ankle bracklet story. Well that ankle bracklet doesn’t play much of a part in the story but that is what Pee-Pee always called it when he cornered somebody long enough to tell this tale this Double Indemnity plot line and how poor Barbara Standwyck really did get the short end of the stick when all was said and done. Barbara needed dough, well she just needed dough, don’t ask the reason maybe just some depraved childhood or something. But what she really needed was a guy who could do some heavy lifting, was ready to jump hoops for her, and like it. Enter one Fred MacMurray who once he got a load of the ankle bracklet and looked up he was hooked, need I say it, hooked as bad as a man could be hooked and still breath. See Fred sold insurance, life insurance, with nice little riders for double indemnity in case of some accidental death, like falling off the club car of a slow-moving train fell from the sky. Manna, pure manna. So Fred and Barbara were going to be on easy street after this little caper, no problems. Problem is the insurance company that Fred works for has a tenacious fraud investigator, Edward G. Robinson (more frequently seen working the bang-bang bad guy, guys like mobbed-up Johnny Rico in Key Largo) who almost fouls the plan up except the pair start distrusting each other and save him the trouble by shooting each other up, bang, bang. Yes, Barbara was a queen-sized femme maybe having had a hand in off-handedly knocking off hubby’s first wife to get to the prize and then tripping up poor Fred. But that crime doesn’t pay thing Pee-Pee complained had been done by him about nineteen different ways before. Enough of femmes, enough of driving guys crazy perfumes (or ankle bracelets for that matter), and enough of guys trying figure them out. Including Pee-Pee.

With those several mouthfuls you would have thought that Pee-Pee had exhausted his venomous ways. No, not by a long shot. Once he had gotten film noirqueens out of the way he was just getting up to speed. I will spare the reader a little eyesight though and summarize that he went through just about every frill that had done him wrong since about childhood, some bath soap thing named Rosalind, some perfumed pre-teen named Maria, a couple of college girls who sounded to me like they were just doing it as a lark, more south of the border senorita failed drug deal stuff, and about six others that even I couldn’t keep straight by the time the tirade ended. He even brought in Butterfly Swirl, a Botticelli girl that I had “stolen” from him out in San Francisco back in the ‘60s. Then he finished up, finished up classic Pee-Pee, with this beauty- “What’s a guy to do when that scent gets to a man” What, indeed. Jesus, the stews.

From The Pen Of Joshua Lawrence Breslin- Johnny Shea’s Femme Fatale Moment

Click on the headline to link to a Wikipedia entry for the classic femme fatale film Out Of The Past to set the scene below.


Jim Sweeney was a great fan of 1940s and 1950s film noir, especially those that featured enticing femme fatales who knew, without lifting a finger sometimes, how to twist a guy in knots and make him like it without working up a hard breathe. He had been crazy for noir since he was kid growing up in 1950s Nashua, New Hampshire where he would go to the old Strand Theater (long since torn down) on Main Street every Saturday afternoon, sometimes with his boys, sometimes alone, although then he didn’t know femme fatale or film noir words from a hole in the wall. What he did know, and maybe only sub-consciously as he thought about it later when he discussed the issue with those same boys, was that dames, those femmes on the screen anyway, were poison, but what was a guy going to do when he drew that ticket. Take the ride, see what happened, and hope you drew a good femme.

Yes, Jim was a dreamer, a weaver of dreams, a sunny side of life guy, and that was why Billy Riley was surprised when he told him this story about Johnny Shea a few years ago, a guy Jim said put him in the shade for being crazy about femme fatales, and a guy who did not by any stretch of the imagination draw a good femme. Funny, Jim said, that back in the neighborhood corner boy young days, the days of hanging out in front of Joyce’s Variety Store over on Third Street in the Irishtown section of town down by the Merrimac River, Johnny would walk away when anybody spoke of what he called those mushy noir films, his thing was the sci-fi thrillers that scared everybody out of their wits thinking the commies or some awful thing from outer space, or both, was headed straight for Nashua, and would leave no survivors. It was only later, sometime in the 1980s when Johnny was down on his luck a little and happened to spend a spare afternoon on 42nd Street in the Bijou Theater where they played revival films, that he got “religion.” The film: Humphrey Bogart Mary Astor in The Maltese Falcon and the rest was history.


Billy got to thinking about Jim’s story again recently as he had periodically whenever the subject of noir came to the surface. He was watching a film noir, Impact, a strictly B-noir as far as the story line went, but with a femme worthy of the greats like sultry Barbara Stanwyck in Double Indemnity or coolly calculating Rita Hayworth in The Lady From Shang-hai. This Irene (played by Helen Walker) was nothing but a young gold-digger, strictly from cheap street, but she had a plan to murder her rich husband, some San Francisco swell, and run off with her boyfriend after he did dear hubby in. A scheme many dames have cooked up ever since Adam and Eve, maybe before.

Well things didn’t work out as planned, boyfriend (who acted like a hopped up junkie while he was on screen and may explain why things went awry) didn’t finish the job so hubby didn’t die but was just left in some sierra gully to croak, boyfriend carelessly got himself killed in an accident trying to flee the scene, hubby put two and two together finally when he woke up in that ditch and instead of heading back to ‘Frisco then tried to start a new anonymous life. Meanwhile sweet poison Irene was being held for his murder. She was all set to take the fall, to take the big stretch when, prodded by so “good” woman out in Podunk who had entered hubby’s new life, he decided to come clean. Our Irene then in a reverse twist framed, framed hubby big time, for the murder of her boyfriend. Beautiful.

That is why Billy always said that he would listen to a femme tale any time one passed his way. He only asked that the teller make it interesting and not too goofy. See goofy in Billy’s book was just like a million guys get with any dame under any circumstances. He only wanted to hear about guys, hard-nosed guys like Johnny Shea who had been around the block with a frail and lived to tell about it, and who got all tied up in knots about and were ready to ask for more. Here is how Billy remembered Jim telling him his Johnny Shea story, maybe a little off after passing though double hearsay as they say in the courts but certainly with the ring of truth around it :


“He, Johnny Shea, Johnny Jukes, from the old neighborhood up in Nashua, was on record, maybe not a swear on the bible take it to court under oath type record but on record, as being very much enthralled by the bad femme fatales of film noir [of course now from a safe cinematic distance ]. Funny as a kid he would go off the deep end when I mentioned some such film and walk away while I was telling the “lesson” I learned about women and life from a show I had seen at the Saturday matinee. But back in the1980s when he would show up in the old town every now and then and gather the old corner boys around him he would go on and on about how, let’s say, Jane Greer in Out Of The Past off-handedly shot her kept man, Kirk Douglas (or did he keep her, a matter very much in dispute), then put a bullet or six in some snooping sleuth who crowded her just a little and for lunch, just for kicks, turned the tables on a guy, Robert Mitchum, a stray slightly off-center guy built to handle rough stuff if necessary who thought maybe he could help her out of a jam after he got a look at her and a whiff of that gardenia perfume or whatever she was wearing that made him crazy. Johnny would especially go into detail about how hefty Mitchum would sit around drinking in some dusty desolate cantina down in Mexico, maybe, Tampico, maybe Cuernavaca, he forgot, and who was putty in dear Jane’s hands went she walked through the cantina door. Yes, she was a stone-cold killer, blood simple they call it in some quarters, and Johnny couldn’t get enough of her.

On an off day, or when Johnny got tired of telling, and we got tired of listening, about some newly discovered move Jane put on after watching that film for the fifteenth time, he would go on and on about glamorous, 1940s glamorous (although maybe eternal glamorous when you look at her pin-up pictures even today) Rita Hayworth as she framed, framed big time, one Orson Welles in The Lady From Shang-hai just because his was a little smitten with her after smelling that come hither fragrance. She wanted the dough, all of it, from a rich lawyer hubby and she wanted old Orson to work his shoot-out magic for her. Hubby dead and they off to spend the dough in some foreign port, maybe in Asia. Orson bought into the scheme, bought into scheme right up to his neck, and all time she was setting him up for the gallows, soaping the rope as she went along. Old Orson just saved his neck in time, as happens sometimes in these things, but it was a close thing, and he would always wonder, wonder if he had played things a little different that maybe they could have found some island some place. Yes, old Orson had it bad, bad as a man can have it for a woman. Damn that damn scent.

On other days Johnny might switch up and talk about good femmes, with kind of soft whisper, a soft forlorn whisper, like when his eyes would light up when he spoke of Lauren Bacall and about how she, rich girl she, with a doped-up, wayward, sex addled sister, tried to work both sides of the street in The Big Sleep. She soldiered for bad guy Eddie Miles for a while but when the deal went down she hungered for old Bogie (playing the classic noir detective Philip Marlowe) and switched up on old Eddie, switched him up bad which tells you even good femmes bear watching your back on. I could go on and on but you get the drift. Johnny was living something out in those films. But here is the clincher, Johnny’s wisdom about the bad femmes, which he never failed to bring up at the end of his spiel. He would
say-“Yah, but see these guys had it coming because they went in with their eyes open, took their chances and took the fall, took the fall big time. And maybe in some deep recess of their minds, maybe like John Garfield in The Postman Always Rings Twice, they smiled, and would have done it the same way if they that never to be had second chance to do it over.” Pure sweet Johnny Jukes wisdom.

Like I said Johnny, whatever femme film plot line he was thinking of, always came back to that question in the end, the question of questions, the part about a guy taking a beating, taking it hard, and then coming back for more when the femme purred in his ear, or swayed some flash dress into the room or he smelled even a whiff, hell, a half whiff of that damn perfume which let him know she was coming. That part, that doing it again part, always got to Johnny. And this was no academic question, no noir theory, and no clever plotline about the vagaries of human experience, about how low you can go and still breathe. See Johnny had been there, had seen it all, and done it all and so he was haunted forever after about whether if she came in the door again, passed him on some haunted street again, drove by in some flash car again, he would also do it exactly like it was done before. Hell, enough of beating around the bush let Johnny tell it the way he finally spilled one night up in Nashua after we had a few, he was feeling a little low, and had his old time corner boys around him, and then you decide.

“I not saying Rosa, Rosa Lebron, was as hot as Jane Greer or Rita Hayworth, no way but she had her moments, her moments with me when she might as well have been one of those dames. I am not going to say exactly where we meet, or exactly under what circumstances, but it all came together down in sunny Mexico, down Sonora way back in the late 1970s when I was doing a little of this and a little of that in the drug trade. That will give you the idea why I want to be vague about my meeting up with Rosa, okay. This, by the way, was before it got real crazy down there a few years back with a murder a minute, some of it gang-related, some just pure batos locos craziness from the drugs and the dough. All hell craziness when some busted gabacho deal winds up exploding some whole dusty, dirty little bracero town, although even back then it was always a tight thing when you dealt with the Mexicans, and when you dealt with dope. Period. Sometime when I don’t want to talk about femmes I will tell you some back road, dusty trail stuff that will curl the hairs on the back of your neck and that was when things were “cooled out.” But back to Rosa.

See Rosa ‘s older brother, hey, let’s call him Pedro alright just to be on the safe side and just because it doesn’t matter what his name was as long as you remember this is about Rosa and her ways, was a primo “distributor” down Sonora way, mainly marijuana (or herb, ice, ganga, rope, hemp, or whatever you call it in your neighborhood) but as time went on cocaine (ditto on what you call it in your town, snow, little sister, girl), but a guy on his way up in the cartel, no question. That was when a little smarts, street smarts like a lot of Mexican kids had, and a little English which most didn’t, got you pretty far when the vast bulk of the trade was heading norte. So Pedro was no stinky little bracero always staring at you, staring through you really, looking like he would cut your throat for a dollar and change. I met Pedro through mutual business contacts in a New York City bar one night and that got us started on our business, our “nuestra cosa .”

One time Rosa came up with him and at first I thought she was his girlfriend because they seemed very close. Now Pedro wasn’t a bad looking guy but I didn’t figure he could have such a fox for a girlfriend, you know all dark skin, nice shape, black as night hair, dancing black eyes AND some scent some mystic Aztec, mestizo, conquistador, ten thousand year sense that distracted me from the minute she clasped my hand. (I found out later from her that it was made from some Mexican cacti flowers, I forget the name but I will never forget that scent, that first time, never). Let me put it this way and maybe you can look it up and get a photo to see what I mean she looked like that Mexican artist everybody talks about, that Frida Kahlo, the one that was married to Diego Riviera, the dish with the one eyebrow, except Rosa had two. When you see that picture and think what that dame did to big time guys like Riviera and Leon Trotsky, the big Bolshevik revolutionary who went daffy over her, then you get an idea what Rosa was like. So when Pablo introduced me to Rosa as his sister I was relieved. Especially after she threw (there is no other word for it) those laughing Spanish eyes at me. She had me, had me bad from that moment.

I didn’t see her for a while, maybe a couple of months, although Pedro and I were doing a regular series of business transactions. Then, maybe it was late 1979 or so, I got a call from him to come down to Sonora for what he called a big deal. I showed up at the designated cantina, La Noche, on the main strip, a dusty old place then, maybe now to for all I know. And there was Rosa, all Rosa-like, dark, Spanish, those eyes, the fragrance, and dressed very elegantly in a very fashionable dress (so she told me later). She was the bait. And I bite.

Pedro never showed that night, and it didn’t matter as Rosa and I drank high- shelf tequila (my first time, and like scotch and other whiskies there are gradations of tequila too), danced (even with my two left feet it didn’t seem to matter), and wound up at her casa (room). The rest of the night you can figure out on your own. What matters is the next morning, early; after I took a shower and was lying on her bed she asked me if I couldn’t do Pedro a favor. The favor: go to Columbia and bring back a load (twenty kilos, forty pounds) of little sister. In those days Pedro’s cartel was testing the route and having a friendly Norte Americano do the run, which at the time would have been unusual and would have faked out the cops, was seen as the best way to iron out the wrinkles. And, well, Rosa would go along too. Sold.

The first trip, and several after, was actually uneventful. Back and forth, sometimes with Rosa sometimes with another female “mule.” After a few months, maybe six, Rosa came up to my hotel room in Sonora one night crying, crying like crazy. She told me that she was being harassed and beaten by Pedro because he had started to “use” some of the product and would get all crazy and lash out at whoever was around. She also said he wasn’t all that crazy now about have a goddam gringo around now that things were already set up and that maybe it was time to terminate my contract. The clincher though was when she said right then and there she said she had to get out, get out before she was maybe killed by Pedro, or one of his thugs on his orders.

Maybe it was the tears, maybe it was that scent that always threw me off or maybe now that I knew the score it was flat- out fear that I would be found face down in some Sonora back alley waiting for some consulate officer to ship my remains back home but I listened to what Rosa proposed.
The next shipment was our salvation; the forty of fifty pound of girl would get us a long way from Mexico and far enough away from Pedro that we could start our own lives. It sounded good, real good. The idea was to go to Columbia but instead of heading back to Mexico head to Panama, unload the dope in a new market, then catch a freighter to, to wherever, some island maybe. I was in, in all the way.

And it worked, worked beautifully. For Rosa. See here is how the deal really went down. We got the dope in Columbia okay, no problema as usual. And we did head to Panama and made the transaction there. Again no problema. Something like a half a million in cash in the proverbial suitcase. Easy street. We were to catch a freighter, some Liberian-registered tanker, headed for Africa the next morning. That night Rosa insisted that we celebrate our “liberation” with some high-shelf tequila in honor of our success and remembrance of our first night together. We drank and made love like it was our last night on earth. And that was the last I saw of Rosa Lebron.

The last of her but not quite of the story. After being drunk as a skunk and worn to a frazzle by our love-making (maybe drugged too, I don’t know) I was practically unconscious. The next morning when I awoke Rosa was gone. I frantically looked for her, checking every place including the tanker that we were supposed to take through the Canal. They had no reservations (under our aliases) for any gringo or senorita. No reservations for passengers at all. That’s when I started to panic (and to put two and two together). I couldn’t go back to (a) Columbia or (b) Mexico so I headed back to New York City on the sly. After a while I finally put the pieces together (or rather they got put together for me).

First Rosa was not Pedro’s sister but just part of his organization, his brother Pablo’s ex-girlfriend. It was Pedro who had put Rosa up to setting me up on that last transaction because he was feeling constrained by the cartel he was linked to and wanted to go out on his own. The half million (minus Rosa’s cut) would set him up just fine. The problem was that she ran out on Pedro too. It was Pedro (and you can read about it in the Mexican newspaper of the time when such incidents were fairly rare, unlike now) who wound up face down in that Sonora back alley for his lack of cartel spirit, twelve bullet holes in him. And Rosa? Nowhere to be found. Except here is the funny part, although I am not laughing, Pablo, Pedro’s brother and Rosa’s supposed ex-boyfriend was last seen in Sonora the day Rosa and I left for Columbia on that last easy street transaction. If you see her, her and her dancing eyes and that damn cactus flower fragrance tell her I said hello. ”

[Jesus, this is a no-brainer. Of course our boy Johnny would do it over again. Just like that. Take it easy on the tequila next time though that stuff will kill you Johnny. Christ after hearing that story I might take a run at Rosa and that fragrance myself and I only like to watch femmes from the comfort of my living room or local theater-JLB]

From The Pen Of Joshua Lawrence Breslin- Johnny Shea’s Femme Fatale Moment

Click on the headline to link to a Wikipedia entry for the classic femme fatale film Out Of The Past to set the scene below.


Jim Sweeney was a great fan of 1940s and 1950s film noir, especially those that featured enticing femme fatales who knew, without lifting a finger sometimes, how to twist a guy in knots and make him like it without working up a hard breathe. He had been crazy for noir since he was kid growing up in 1950s Nashua, New Hampshire when he would go to the old Strand Theater (long since torn down) on Main Street every Saturday afternoon, sometimes with his boys, sometimes alone, although then he didn’t know femme fatale or film noir words from a hole in the wall. What he did know, and maybe only sub-consciously as he thought about later when he discussed the issue with those same boys, was that dames, those femmes on the screen anyway were poison, but what was a guy going to do when he drew that ticket. Take the ride, see what happened, and hope you drew a good femme.

Yes, Jim was a dreamer, a weaver of dreams, a sunny side of life guy, and that was why he was surprised when he told Billy Riley this story about Johnny Shea a few years ago, a guy Jim said put him in the shade for being crazy about femme fatales, and a guy who did not by any stretch of the imagination draw a good femme. Funny, Jim said, that back in the neighborhood corner boy young days, the days of hanging out in front of Joyce’s Variety Store over on Third Street in the Irishtown section of town down by the Merrimac River, Johnny would walk away when anybody spoke of what he called those mushy noir films, his thing was the sci-fi thrillers that scared everybody out of their wits thinking the commies or some awful thing from outer space, or both, was headed straight for Nashua, and would leave no survivors. It was only later, sometime in the 1980s when Johnny was down on his luck a little and happened to spend a space afternoon on 42nd Street in the Bijou Theater where they played revival films, that he got “religion.” The film: Mary Astor in The Maltese Falcon and the rest was history.


Billy got to thinking about Jim’s story again recently as he had periodically whenever the subject of noir came to the surface. He was watching a film noir, Impact, a strictly B-noir as far as the story line went, but with a femme worthy of the greats like sultry Barbara Stanwyck in Double Indemnity or coolly calculating Rita Hayworth in The Lady From Shang-hai. This Irene (played by Helen Walker) was nothing but a young gold-digger, strictly from cheap street, but she had a plan to murder her rich husband, some San Francisco swell, and run off with her boyfriend after he did dear hubby in. A scheme dames have cooked ever since Adam and Eve, maybe before.

Well things didn’t work out as planned, boyfriend (who acted like a hopped up junkie while he was on screen and may explain why things went awry) didn’t finish the job so hubby didn’t die but was just left in some sierra gully to croak, boyfriend carelessly got himself killed in an accident trying to flee the scene, hubby put two and two together finally when he woke up in that ditch and instead of heading back to ‘Frisco then tried to start a new anonymous life. Meanwhile sweet poison Irene was being held for his murder. She was all set to take the fall, to take the big stretch when, prodded by the “good” woman out in Podunk who had entered hubby’s new life, he decided to come clean. Our Irene then in a reverse twist framed, framed hubby big time, for the murder of her boyfriend. Beautiful. That is why Billy always said that he would listen to a femme tale any time one passes his way. He only asked that the teller make it interesting and not too goofy. See goofy in Billy’s book was just like a million guys get with any dame under any circumstances. He only wanted to hear about guys, hard-nosed guys like Johnny Shea who had been around the block with a frail and lived to tell about it, and who got all tied up in knots about and were ready to ask for more. Here is how Billy remembered Jim telling him his Johnny Shea story, maybe a little off after passing though double hearsay as they say in the courts but certainly with the ring of truth around it :


“He, Johnny Shea, Johnny Jukes, from the old neighborhood up in Nashua, was on record, maybe not a swear on the bible take it to court under oath type record but on record, as being very much enthralled by the bad femme fatales of film noir [of course now from a safe cinematic distance ]. Funny as a kid he would go off the deep end when I mentioned some such film and walk away while I was telling the “lesson” I learned about women and life from a show I had seen at the Saturday matinee. But back in the1980s when he would show up in the old town every now and then and gather the old corner boys around him he would go on and on about how, let’s say, Jane Greer in Out Of The Past off-handedly shot her kept man, Kirk Douglas (or did he keep her, a matter very much in dispute), then put a bullet or six in some snooping sleuth who crowded her just a little and for lunch, just for kicks, turned the tables on a guy, Robert Mitchum, just a stray slightly off-center guy built to handle rough stuff if necessary who thought maybe he could help her out of a jam after he got a look at her and a whiff of that gardenia perfume or whatever she was wearing that made him crazy. Johnny would especially go into detail about how hefty Mitchum would sit around drinking in some dusty desolate cantina down in Mexico, maybe, Tampico, maybe Cuernavaca , he forgot, who was putty in dear Jane’s hands went she walked through the cantina door. Yes, she was a stone-cold killer, blood simple they call it in some quarters, and Johnny couldn’t get enough of her.

On an off day, or when Johnny got tired of telling, and we got tired of listening, about some newly discovered move Jane put on after watching that film for the fifteenth time, he would go on and on about glamorous, 1940s glamorous (although maybe eternal glamorous when you look at her pin-up pictures even today) Rita Hayworth as she framed, framed big time, one Orson Welles in The Lady From Shang-hai just because his was a little smitten with her after smelling that come hither fragrance. She wanted the dough, all of it, from a rich lawyer hubby and she wanted old Orson to work her magic for her. Hubby dead and they off to spend the dough in some foreign port, maybe Asia. Orson bought into the scheme bought into scheme right up to his neck, and all time she was setting him up for the gallows, soaping the rope as she went along. Old Orson just saved his neck in time, as happens sometimes in these things, but it was a close thing, and he would always wonder, wonder if he had played things a little different that maybe they could have found some island some place. Yes, old Orson had it bad, bad as a man can have it.

On other days Johnny might switch up and talk about good femmes, with kind of soft whisper, a soft forlorn whisper, like when his eyes would light up when he spoke of Lauren Bacall and about how she, rich girl she with a doped-up, wayward, sex addled sister, tried to work both sides of the street in The Big Sleep. She soldiered for bad guy Eddie Miles for a while but when the deal went down she hungered for old Bogie (playing the classic noir detective Philip Marlowe) and switched up old Eddie, switched him up bad which tells you even good femmes bear watching your back on. I could go on and on back you get the drift. Johnny was living something out in those films. But here is the clincher, Johnny’s wisdom about the bad femmes, which he never failed to bring up at the end of his spiel. He would
say-Yah, but see these guys had it coming because they went in with their eyes open, took their chances and took the fall, took the fall big time. And maybe in some deep recess of their minds, maybe like John Garfield in The Postman Always Rings Twice, they smiled, and would have done it the same way if they that never to be had second chance to do it over. Pure sweet Johnny Jukes wisdom.

Like I said Johnny, whatever femme film plot line he was thinking of, always came back to that question in the end, the question of questions, the part about a guy taking a beating, taking it hard, and then coming back for more when the femme purred in his ear, or swayed some flash dress into the room or he smelled even a whiff, hell, a half whiff of that damn perfume which let him know she was coming. That part, that doing it again part, always got to him. And this was no academic question, no noir theory, and no clever plotline about the vagaries of human experience, about how low you can go and still breathe. See Johnny had been there, had seen it all, and done it all and so he was haunted forever after about whether if she came in the door again, passed him on some haunted street again, drove by in some flash car again, he would also do it exactly like it was done before. Hell, enough of beating around the bush let Johnny tell it the way he finally spilled one night up in Nashua after we had a few, he was feeling a little low, and had his old time boys around him, and then you decide.

“I not saying Rosa, Rosa Lebron, was as hot as Jane Or Rita, no way but she had her moments, her moments with me when she might as well have been one of those dames. I am not going to say exactly how we meet, or under what circumstances, but it all came together down in sunny Mexico, down Sonora way back in the late 1970s when I was doing a little of this and a little of that in the drug trade. This was before it got real crazy down there with a murder a minute and some busted deal wound up exploding some whole dusty, dirty little braceros town, although it was always a tight thing when you dealt with the Mexicans, and when you dealt with dope. Period.

See Rosa ‘s older brother, hey, let’s call him Pedro alright just to be on the safe side and just because it doesn’t matter what his name was as long as you remember this is about Rosa and her ways, was a primo “distributor” down Sonora way, mainly marijuana (or herb, ice, ganga, rope, hemp, or whatever you call it in your neighborhood) but as time went on cocaine (ditto on what you call it in your town, snow, little sister, girl), but a guy on his way up in the cartel, no question. I met Pedro through mutual business contacts in New York City one night and that got us started on our business.

One time Rosa came up with him and at first I thought she was his girlfriend because they seemed very close. Now Pedro wasn’t a bad looking guy but I didn’t figure he could have such a fox for a girlfriend, you know all dark skin, nice shape, black as night hair, dancing black eyes AND some scent some mystic Aztec, mestizo, conquistador, ten thousand year sense that distracted me from the minute she clasped my hand. (I found out later from her that it was made from some Mexican cacti flowers, I forget the name but I will never forget that scent, that first time, never). Let me put it this way and maybe you can look it up and get a photo to see what I mean she looked like that Mexican artist everybody talks about, that Frida Kahlo, the one that was married to Diego Riviera, the one with the one eyebrow, except Rosa had two. When you see that picture and think what that dame did to guys like Riviera and Leon Trotsky, the big Bolshevik revolutionary who went daffy over her, then you get an idea what Rosa was like. So when Pablo introduced me to Rosa as his sister I was relieved. Especially after she threw (there is no other word for it) those laughing Spanish eyes at me. She had me, had me bad from that moment.

I didn’t see her for a while, maybe a couple of months, although Pedro and I were doing a regular series of business transactions. Then, maybe it was late 1979 or so, I got a call from him to come down to Sonora for what he called a big deal. I showed up at the designated cantina, La Noche, on the main strip, a dusty old place then, maybe now to for all I know. And there was Rosa, all Rosa-like, dark, Spanish, those eyes, the fragrance, and dressed very elegantly in a very fashionable dress (so she told me later). She was the bait. And I bite.

Pedro never showed that night, and it didn’t matter as Rosa and I drank high- shelf tequila (my first time, and like scotch and other whiskies there are gradations of tequila too), danced (even with my two left feet it didn’t seem to matter), and wound up at her casa (room) for the night. The rest of the night you can figure out on your own. What matters is the next morning, early; after I took a shower and was lying on her bed she asked me if I couldn’t do Pedro a favor. The favor: go to Columbia and bring back a load (twenty kilos, forty pounds) of little sister. In those days Pedro’s cartel was testing the route and having a friendly Norte Americano do the run, which at the time would have been unusual and would have faked out the cops, was seen as the best way to iron out the wrinkles. And, well, Rosa would go along too. Sold.

The first trip, and several after, was actually uneventful. Back and forth, sometimes with Rosa sometimes with another female “mule.” After a few months, maybe six, Rosa came up to my hotel room in Sonora one night crying, crying like crazy. She told me that she was being harassed and beaten by Pedro because he had started to “use” some of the product and would get all crazy and lash out at whoever was around. She also said he wasn’t all that crazy now about have a goddam gringo around now that things were already set up and that maybe it was time to terminate my contract. The clincher though was when she said right then and there she said she had to get out, get out before she was maybe killed by Pedro, or one of his thugs on his orders.

Maybe it was the tears, maybe it was that scent that always threw me off or maybe now that I knew the score it was flat- out fear that I would be found face down in some Sonora back alley waiting for some consulate officer to ship my remains back home but I listened to what Rosa proposed.
The next shipment was our salvation; the forty of fifty pound of girl would get us a long way from Mexico and far enough away from Pedro that we could start our own lives. It sounded good, real good. The idea was to go to Columbia but instead of heading back to Mexico head to Panama, unload the dope in a new market, then catch a freighter to, to wherever, some island maybe. I was in, in all the way.

And it worked, worked beautifully. For Rosa. See here is how the deal really went down. We got the dope in Columbia okay, no problema as usual. And we did head to Panama and made the transaction there. Again no problema. Something like a half a million in cash in the proverbial suitcase. Easy street. We were to catch a freighter, some Liberian-registered tanker, headed for Africa the next morning. That night Rosa insisted that we celebrate our “liberation” with some high-shelf tequila in honor of our success and remembrance of our first night together. And that was the last I saw of Rosa Lebron.

The last of her but not quite of the story. After being drunk as a skunk and worn to a frazzle by our love-making (maybe drugged too, I don’t know) I was practically unconscious. The next morning when I awoke Rosa was gone. I frantically looked for her, checking every place including the tanker that we were supposed to take through the Canal. They had no reservations (under our aliases) for any gringo or senorita. No reservations for passengers at all. That’s when I started to panic (and to put two and two together). I couldn’t go back to (a) Columbia or (b) Mexico so I headed back to New York City on the sly. After a while I finally put the pieces together (or rather they got put together for me).

First Rosa was not Pedro’s sister but just part of his organization, his brother Pablo’s ex-girlfriend. It was Pedro who had put Rosa up to setting me up on that last transaction because he was feeling constrained by the cartel he was linked to and wanted to go out on his own. The half million (minus Rosa’s cut) would set him up just fine. The problem was that she ran out on Pedro too. It was Pedro (and you can read about it in the Mexican newspaper of the time when such incidents were fairly rare, unlike now) who wound up face down in that Sonora back alley for his lack of cartel spirit, twelve bullet holes in him. And Rosa? Nowhere to be found . Except here is the funny part, although I am not laughing, Pablo, Pedro’s brother and Rosa’s supposed ex-boyfriend was last seen in Sonora the day Rosa and I left for Columbia on that last easy street transaction. If you see her, her and her dancing eyes and that damn cactus flower fragrance tell her I said hello. ”

[Jesus, this is a no-brainer. Of course our boy Johnny would do it over again. Just like that. Take it easy on the tequila though that stuff will kill you Johnny . Christ I might take a run at Rosa and that fragrance myself and I only like to watch femmes from the comfort of my living room or local theater-JLB]

From The Pen Of Joshua Lawrence Breslin- Johnny Shea’s Femme Fatale Moment

Click on the headline to link to a Wikipedia entry for the classic femme fatale film Out Of The Past to set the scene below.


Jim Sweeney was a great fan of 1940s and 1950s film noir, especially those enticing femme fatales who knew, without lifting a finger sometimes, how to twist a guy in knots and make him like it without working up a hard breathe. He had been crazy for noir since he was kid growing up in 1950s Nashua, New Hampshire when he would go to the old Strand Theater (long since torn down) on Main Street every Saturday afternoon, sometimes with his boys, sometimes alone, although then he didn’t know femme fatale or film noir words from a hole in the ground then. What he did know, and maybe only sub-consciously as he thought about later when he discussed with those same boys, was that dames, those femmes on the screen anyway were poison, but what was a guy going to do when he drew that ticket. Take the ride, see what happened and hope you drew a good femme.

Yes, Jim was a dreamer, a weaver of dreams, and that was why I was surprised when he told me this story about Johnny Shea a few years ago, a guy Jim said put him in the shade in the old days for being crazy about femme fatales, and a guy who did not by any stretch of the imagination draw a good femme. I got to thinking about Jim’s story recently. I was watching a film noir, Impact, a strictly B-noir as far as the story line went, but with a femme worthy of the greats like sultry Barbara Stanwyck in Double Indemnity or coolly calculating Rita Hayworth in The Lady From Shang-hai. This Irene (played by Helen Walker) was nothing but a young gold-digger okay, strictly from cheap street, but she had a plan to murder her rich husband and run off with her boyfriend after he did dear hubby in. Well things didn’t work out as planned, boyfriend (who acted like a hopped up junkie while he was on screen) didn’t finish the job so hubby didn’t die but was just left in some gully to croak, boyfriend carelessly got himself killed in an accident trying to flee the scene, hubby put two and two together finally when he woke up and then tried to start a new anonymous life. Meanwhile sweet poison Irene was being held for his murder. When prodded by the “good” woman who entered his new life to come clean our Helen framed, framed hubby big time, for the murder of her boyfriend. Beautiful right. So you can see that I will listen to a femme tale any time one passes my way. Just make it interesting and not too goofy because goofy is just like a million guys get with any dame and no tied up in knots and liking it like with some dishy femme. Here is how I remember Jim telling me his Johnny Shea story:


He, Johnny Shea from the old neighborhood, was on record, maybe not a swear on the bible take it to court under oath type record but on record, as being very much enthralled by the bad femme fatales of film noir (of course now from a safe cinematic distance ). He would go on and on about how Jane Greer in Out Of The Past off-handedly shot her kept man, Kirk Douglas (or did he keep her, a matter very much in dispute), then put a bullet or six in some snooping sleuth who crowded her just a little and for lunch, just for kicks, turned the tables on a guy, Robert Mitchum, just a stray off-hand guy built to handle rough stuff if necessary who thought maybe he could help her out of a jam after he got a look at her and a whiff of that gardenia perfume or whatever she was wearing that made him crazy. Yes, she was a stone-cold killer, blood simple they call it in some quarters, and Johnny couldn’t get enough of her.

On an off day, or when he got tired of telling, and we got tired of listening, about some newly discovered move Jane put on after watching that film for the fifteenth time, he would go on and on about glamorous, 1940s glamorous (although maybe eternal glamorous when you look at her pin-up pictures even today) Rita Hayworth as she framed, framed big time, one Orson Welles in The Lady From Shang-hai just because his was a little smitten with her after smelling that come hither fragrance. She wanted the dough, all of it, from a rich lawyer hubby and she wanted old Orson to work her magic for her. Yah, but see these guys had it coming because they went in with their eyes open, took their chances and took the fall, took the fall big time. And maybe in some deep recess of their minds, maybe like John Garfield in The Postman Always Rings Twice, they smiled, and would have done it the same way if they that never to be had second chance to do it over.

Johnny, whatever femme film plot line he was thinking of, always came back to that question in the end, the question of questions, the part about a guy taking a beating, taking it hard, and then coming back for more when the femme purrs in his ear, or sways some flash dress into the room or he smells even a whiff, hell, a half whiff of that damn perfume which lets him know she is coming. That part, that doing it again part, always got to him. And this was no academic question, no noir theory, and no clever plotline about the vagaries of human experience, about how low you can go and still breathe. See Johnny had been there, had seen it all, and done it all and so he was haunted forever after about whether if she came in the door again he would also do it exactly like it was done before. Hell, enough of beating around the bush let him tell it and you decide.

“I not saying Rosa, Rosa Lebron, was as hot as Jane Or Rita, no way but she had her moments, her moments with me when she might as well have been one of those dames. I am not going to say exactly how we meet, or under what circumstances, but it all came together down in sunny Mexico, down Sonora way back in the late 1970s when I was doing a little of this and a little of that in the drug trade. This was before it got real crazy although it was always a tight thing when you dealt with the Mexicans, and when you dealt with dope. Period.

See Rosa ‘s older brother, hey, let’s call him Pedro alright just to be on the safe side and just because it doesn’t matter what his name was as long as you remember this is about Rosa and her ways, was a primo “distributor” down Sonora way, mainly marijuana (or herb, ice, ganga, rope, hemp, or whatever you call it in your neighborhood) but as time went on cocaine (ditto on what you call it in your town, snow, little sister, girl), but a guy on his way up in the cartel, no question. I met Pedro through mutual business contacts in New York City one night and that got us started on our business.

One time Rosa came up with him and at first I thought she was his girlfriend because they seemed very close. Now Pedro wasn’t a bad looking guy but I didn’t figure he could have such a fox for a girlfriend, you know all dark skin, nice shape, black as night hair, dancing black eyes AND some scent some mystic Aztec, mestizo, conquistador, ten thousand year sense that distracted me from the minute she clasped my hand. (I found out later from her that it was made from some Mexican cacti flowers, I forget the name but I will never forget that scent, that first time, never). And, so when he introduced me to Rosa as his sister I was relieved. Especially after she threw (there is no other word for it) those laughing Spanish eyes at me. She had me, had me bad from that moment.


I didn’t see her for a while, maybe a couple of months, although Pedro and I were doing a regular series of business transactions. Then, maybe it was late 1979 or so, I got a call from him to come down to Sonora for what he called a big deal. I showed up at the designated cantina, La Noche, on the main strip, a dusty old place then, maybe now to for all I know. And there was Rosa, all Rosa-like, dark, Spanish, those eyes, the fragrance, and dressed very elegantly in a very fashionable dress (so she told me later). She was the bait. And I bite.

Pedro never showed that night, and it didn’t matter as Rosa and I drank high- shelf tequila (my first time, and like scotch and other whiskies there are gradations of tequila too), danced (even with my two left feet it didn’t seem to matter), and wound up at her casa (room) for the night. The rest of the night you can figure out on your own. What matters is the next morning, early; after I took a shower and was lying on her bed she asked me if I couldn’t do Pedro a favor. The favor: go to Columbia and bring back a load (twenty kilos, forty pounds) of little sister. In those days Pedro’s cartel was testing the route and having a friendly Norte Americano do the run, which at the time would have been unusual and would have faked out the cops, was seen as the best way to iron out the wrinkles. And, well, Rosa would go along too. Sold.

The first trip, and several after, was actually uneventful. Back and forth, sometimes with Rosa sometimes with another female “mule.” After a few months, maybe six, Rosa came up to my hotel room in Sonora one night crying, crying like crazy. She told me that she was being harassed and beaten by Pedro because he had started to “use” some of the product and would get all crazy and lash out at whoever was around. She also said he wasn’t all that crazy now about have a goddam gringo around now that things were already set up and that maybe it was time to terminate my contract. The clincher though was when she said right then and there she said she had to get out, get out before she was maybe killed by Pedro, or one of his thugs on his orders.

Maybe it was the tears, maybe it was that scent that always threw me off or maybe now that I knew the score it was flat- out fear that I would be found face down in some Sonora back alley waiting for some consulate officer to ship my remains back home but I listened to what Rosa proposed.
The next shipment was our salvation; the forty of fifty pound of girl would get us a long way from Mexico and far enough away from Pedro that we could start our own lives. It sounded good, real good. The idea was to go to Columbia but instead of heading back to Mexico head to Panama, unload the dope in a new market, then catch a freighter to, to wherever, some island maybe. I was in, in all the way.

And it worked, worked beautifully. For Rosa. See here is how the deal really went down. We got the dope in Columbia okay, no problema as usual. And we did head to Panama and made the transaction there. Again no problema. Something like a half a million in cash in the proverbial suitcase. Easy street. We were to catch a freighter, some Liberian-registered tanker, headed for Africa the next morning. That night Rosa insisted that we celebrate our “liberation” with some high-shelf tequila in honor of our success and remembrance of our first night together. And that was the last I saw of Rosa Lebron.

The last of her but not quite of the story. After being drunk as a skunk and worn to a frazzle by our love-making (maybe drugged too, I don’t know) I was practically unconscious. The next morning when I awoke Rosa was gone. I frantically looked for her, checking every place including the tanker that we were supposed to take through the Canal. They had no reservations (under our aliases) for any gringo or senorita. No reservations for passengers at all. That’s when I started to panic (and to put two and two together). I couldn’t go back to (a) Columbia or (b) Mexico so I headed back to New York City on the sly. After a while I finally put the pieces together (or rather they got put together for me).

First Rosa was not Pedro’s sister but just part of his organization, his brother Pablo’s ex-girlfriend. It was Pedro who had put Rosa up to setting me up on that last transaction because he was feeling constrained by the cartel he was linked to and wanted to go out on his own. The half million (minus Rosa’s cut) would set him up just fine. The problem was that she ran out on Pedro too. It was Pedro (and you can read about it in the Mexican newspaper of the time when such incidents were fairly rare, unlike now) who wound up face down in that Sonora back alley for his lack of cartel spirit, twelve bullet holes in him. And Rosa? Nowhere to be found . Except here is the funny part, although I am not laughing, Pablo, Pedro’s brother and Rosa’s supposed ex-boyfriend was last seen in Sonora the day Rosa and I left for Columbia on that last easy street transaction. If you see her, her and her dancing eyes and that damn cactus flower fragrance tell her I said hello. ”

[Jesus, this is a no-brainer. Of course our boy Johnny would do it over again. Just like that. Take it easy on the tequila though that stuff will kill you Johnny . Christ I might take a run at Rosa and that fragrance myself and I only like to watch femmes from the comfort of my living room or local theater-JLB]