Complete Short Stories Of Ernest Hemingway, The

“No,” said the manager. “You see it is very rare. Everything is muy raro. This I learn from the police who are very efficient if given time. They have interrogated comrades from the shop where he worked. This they located from the card of his syndicate which was in his pocket. Yesterday he bought the flit gun and agua de colonia to use for a joke at a wedding. He had announced this intention. He bought them across the street. There was a label on the cologne bottle with the address. The bottle was in the washroom. It was there he filled the flit gun. After buying them he must have come in here when the rain started.”

“I remember when he came in,” a waiter said.

“In the gaiety, with the singing, he became gay too.”

“He was gay all right,” I said. “He was practically floating around.”

The manager kept on with the relentless Spanish logic.

“That is the gaiety of drinking with a weakness of the chest,” he said.

“I don’t like this story very well,” I said.

“Listen,” said the manager. “How rare it is. His gaiety comes in contact with the seriousness of the war like a butterfly—”

“Oh, very like a butterfly,” I said. “Too much like a butterfly.”

“I am not joking,” said the manager. “You see it? Like a butterfly and a tank.”

This pleased him enormously. He was getting into the real Spanish metaphysics.

“Have a drink on the house,” he said. “You must write a story about this.”

I remembered the flit gun man with his grey wax hands and his grey wax face, his arms spread wide and his legs drawn up and he did look a little like a butterfly; not too much, you know. But he did not look very human either. He reminded me more of a dead sparrow.

“I’ll take gin and Schweppes quinine tonic water,” I said.

“You must write a story about it,” the manager said. “Here. Here’s luck.”

“Luck,” I said. “Look, an English girl last night told me I shouldn’t write about it. That it would be very bad for the cause.”

“What nonsense,” the manager said. “It is very interesting and important, the misunderstood gaiety coming in contact with the deadly seriousness that is here always. To me it is the rarest and most interesting thing which I have seen for some time. You must write it.”

“All right,” I said. “Sure. Has he any children?”

“No,” he said. “I asked the police. But you must write it and you must call it ‘The Butterfly and the Tank.’ ”

“All right,” I said. “Sure. But I don’t like the title much.”

“The title is very elegant,” the manager said. “It is pure literature.”

“All right,” I said. “Sure. That’s what we’ll call it. ‘The Butterfly and the Tank.’ ”

And I sat there on that bright cheerful morning, the place smelling clean and newly aired and swept, with the manager who was an old friend and who was now very pleased with the literature we were making together and I took a sip of the gin and tonic water and looked out the sandbagged window and thought of the wife kneeling there and saying, “Pedro. Pedro, who has done this to thee, Pedro?” And I thought that the police would never be able to tell her that even if they had the name of the man who pulled the trigger.

Night Before Battle

AT THIS TIME WE WERE WORKING IN A shell-smashed house that overlooked the Casa del Campo in Madrid. Below us a battle was being fought. You could see it spread out below you and over the hills, could smell it, could taste the dust of it, and the noise of it was one great slithering sheet of rifle and automatic rifle fire rising and dropping, and in it came the crack of the guns and the bubbly rumbling of the outgoing shells fired from the batteries behind us, the thud of their bursts, and then the rolling yellow clouds of dust. But it was just too far to film well. We had tried working closer but they kept sniping at the camera and you could not work.

The big camera was the most expensive thing we had and if it was smashed we were through. We were making the film on almost nothing and all the money was in the cans of film and the cameras. We could not afford to waste film and you had to be awfully careful of the cameras.

The day before we had been sniped out of a good place to film from and I had to crawl back holding the small camera to my belly, trying to keep my head lower than my shoulders, hitching along on my elbows, the bullets whocking into the brick wall over my back and twice spurting dirt over me.

Our heaviest attacks were made in the afternoon, God knows why, as the fascists then had the sun at their backs, and it shone on the camera lenses and made them blink like a helio and the Moors would open up on the flash. They knew all about helios and officers’ glasses from the Riff and if you wanted to be properly sniped, all you had to do was use a pair of glasses without shading them adequately. They could shoot too, and they had kept my mouth dry all day.