They begin a recital which goes on and on as they walk, Douglas asking, the night watchman answering, Douglas asking, the night watchman answering.

"What's this over here?"

"A Buddhist temple."

"And on the other side of it?"

"The log cabin where Lincoln was born."

"And here?"

"St. Patrick's church, New York."

"And on the reverse?"

"A Russian Orthodox church in Rostov!"

"What's this?"

"The door of a castle on the Rhine!"

"And inside?"

"A Kansas City soda fountain!"

"And here? And here? And over there? And what's that?" asks Douglas. "What's this! What about that one! And over there?"

It seems as if they are running and rushing and yelling all through the cities, here, there, everywhere, up, down, in, out, climbing, descending, poking, stirring, opening-shutting doors.

"And this, and this, and this, and this?"

The night watchman tells all there is to tell.

Their shadows run ahead in narrow alleys, and avenues as broad as rivers made of stone and sand.

They make a great talking circle; they hurry all around and back to where they started.

They are quiet again. The old man is quiet from having said what there was to say, and the producer is quiet from listening and remembering and fitting it all together in his mind. He stands, absentmindedly fumbling for his cigarette case. It takes him a full minute to open it, examining every action, thinking about it, and to offer the case to the watchman.

"Thanks."

They light up thoughtfully. They puff on their cigarettes and watch the smoke blow away.

Douglas says, "Where's that d.a.m.ned hammer of yours?"

"Here," says Smith.

"You got your nails with you?"

"Yes, sir."

Douglas takes a deep drag on his cigarette and exhales. "Okay, Smith, get to work."

"What?"

"You heard me. Nail what you can back up, on your own time. Most of the stuff that's already torn down is a complete loss. But any bits and pieces that fit and will look decent, put 'em together. Thank G.o.d there's a lot still standing. It took me a long time to get it through my head. A man with a nose for business and some imagination, you said. That is the world, you said. I should have seen it years ago. Here it all is inside the fence, and me too blind to see what could be done with it. The World Federation in my own back yard and me kicking it over. So help me G.o.d, we need more crazy people and night watchmen."

"You know," says the night watchman, "I'm getting old and I'm getting strange. You wouldn't be fooling an old and strange man, would you?"

"I'll make no promises I can't keep," says the producer. "I'll only promise to try. There's a good chance we can go ahead. It would make a beautiful film, there's no doubt of that. We could make it all here, inside the fence, photograph it ten ways from Christmas. There's no doubt about a story, either. You provided it. It's yours. It wouldn't be hard to put some writers to work on it. Good writers. Perhaps only a short subject, twenty minutes, but we could show all the cities and countries here, leaning on and holding each other up. I like the idea. I like it very much, believe me. We could show a film like that to anyone anywhere in the world and they'd like it. They couldn't pa.s.s it up, it would be too important."

"It's good to hear you talk this way."

"I hope I keep on talking this way," says the producer. "I can't be trusted. I don't trust myself. h.e.l.l, I get excited, up one day, down the next. Maybe you'll have to hit me on the head with that hammer to keep me going."

"I'd be pleased," says Smith.

"And if we do the film," says the younger man, "I suppose you could help. You know the sets, probably better than anyone. Any suggestions you might want to make, we'd be glad to have. Then, after we do the film, I suppose you won't mind letting us tear the rest of the world down, right?"

"I'd give my permission," says the watchman.

"Well, I'll call off the hounds for a few days and see what happens. Send out a camera crew tomorrow to see what we can line up for shots. Send out some writers. Maybe you can all gab. h.e.l.l, h.e.l.l. We'll work it out." Douglas turns toward the gate. "In the meantime, use your hammer all you want. I'll be seeing you. My G.o.d, I'm freezing!"

They hurry toward the gate. On the way, the old man finds his lunch box where he abandoned it some hours ago. He picks it up, takes out the thermos, and shakes it. "How about a drink before you go?"

"What've you got? Some of that amontillado you were yelling about?"

"1876."

"Let's have some of that, sure."

The thermos is opened and the liquid poured steaming from it into the cup.

"There you are," says the old man.

"Thanks. Here's to you." The producer drinks. "That's good. Ah, that's d.a.m.ned good!"

"It might taste like coffee, but I tell you it's the finest amontillado ever put under a cork."

"You can say that again."

The two of them stand among the cities of the world in the moonlight, drinking the hot drink, and the old man remembers something: "There's an old song fits here, a drinking song, I think, a song that all of us who live inside the fence sing, when we're of a mind, when I listen right, and the wind's just right in the telephone wires. It goes like this: "We all go the same way home, All the same collection, in the same direction, All go the same way home.

So there's no need to part at all, And we'll all cling together like the ivy on the old garden wall..."

They finish drinking the coffee in the middle of Port-au-Prince.

"Hey!" says the producer suddenly. "Take it easy with that cigarette! You want to burn down the whole darn world?"

They both look at the cigarette and smile.

"I'll be careful," says Smith.

"So long," says the producer. "I'm really late for that party."

"So long, Mr. Douglas."

The gate hasp clicks open and shut, the footsteps die away, the limousine starts up and drives off in the moonlight, leaving behind the cities of the world and an old man standing in the middle of these cities of the world raising his hand to wave.

"So long," says the night watchman.

And then there is only the wind.

THE KILIMANJARO DEVICE.

I ARRIVED IN THE TRUCK VERY EARLY in the morning. I had been driving all night, for I hadn't been able to sleep at the motel so I thought I might as well drive and I arrived among the mountains and hills near Ketchum and Sun Valley just as the sun came up and I was glad I had kept busy with driving.

I drove into the town itself without looking up at that one hill. I was afraid if I looked at it, I would make a mistake. It was very important not to look at the grave. At least that is how I felt. And I had to go on my hunch.

I parked the truck in front of an old saloon and walked around the town and talked to a few people and breathed the air and it was sweet and clear. I found a young hunter, but he was wrong; I knew that after talking to him for a few minutes. I found a very old man, but he was no better. Then I found me a hunter about fifty, and he was just right. He knew, or sensed, everything I was looking for.

I bought him a beer and we talked about a lot of things, and then I bought him another beer and led the conversation around to what I was doing here and why I wanted to talk to him. We were silent for a while and I waited, not showing my impatience, for the hunter, on his own, to bring up the past, to speak of other days three years ago, and of driving toward Sun Valley at this time or that and what he saw and knew about a man who had once sat in this bar and drunk beer and talked about hunting or gone hunting out beyond.

And at last, looking off at the wall as if it were the highway and the mountains, the hunter gathered up his quiet voice and was ready to speak.

"That old man," he said. "Oh, that old man on the road. Oh, that poor old man."

I waited.

"I just can't get over that old man on the road," he said, looking down now into his drink.

I drank some more of my beer, not feeling well, feeling very old myself and tired.

When the silence prolonged itself, I got out a local map and laid it on the wooden table. The bar was quiet. It was midmorning and we were completely alone there.

"This is where you saw him most often?" I asked.

The hunter touched the map three times. "I used to see him walking here. And along there. Then he'd cut across the land here. That poor old man. I wanted to tell him to keep off the road. I didn't want to hurt or insult him. You don't tell a man like that about roads or that maybe he'll be hit. If he's going to be hit, well that's it. You figure it's his business, and you go on. Oh, but he was old there at the last."

"He was," I said, and folded the map and put it in my pocket.

"You another of those reporters?" said the hunter.

"Not quite those," I said.

"Didn't mean to lump you in with them," he said.

"No apology needed," I said. "Let's just say I was one of his readers."

"Oh, he had readers all right, all kinds of readers. Even me. I don't touch books from one autumn to the next. But I touched his. I think I liked the Michigan stories best. About the fishing. I think the stories about the fishing are good. I don't think anybody ever wrote about fishing that way and maybe won't ever again. Of course, the bullfight stuff is good, too. But that's a little far off. Some of the cowpokes like them; they been around the animals all their life. A bull here or a bull there, I guess it's the same. I know one cowpoke has read just the bull stuff in the Spanish stories of the old man's forty times. He could go over there and fight, I swear."

"I think all of us felt," I said, "at least once in our lives, when we were young, we could go over there, after reading the bull stuff in the Spanish stories, that we could go over there and fight. Or at least jog ahead of the running of the bulls, in the early morning, with a good drink waiting at the other end of the run, and your best girl with you there for the long weekend."

I stopped. I laughed quietly. For my voice had, without knowing, fallen into the rhythm of his way of saying, either out of his mouth, or from his hand. I shook my head and was silent.

"You been up to the grave yet?" asked the hunter, as if he knew I would answer yes.

"No," I said.

That really surprised him. He tried not to show it.

"They all go up to the grave," he said.

"Not this one."

He explored around in his mind for a polite way of asking. "I mean . . ." he said. "Why not?"

"Because it's the wrong grave," I said.

"All graves are wrong graves when you come down to it," he said.

"No," I said. "There are right graves and wrong ones, just as there are good times to die and bad times."

He nodded at this. I had come back to something he knew, or at least smelled was right.

"Sure, I knew men," he said, "died just perfect. You always felt, yes, that was good. One man I knew, sitting at the table waiting for supper, his wife in the kitchen, when she came in with a big bowl of soup there he was sitting dead and neat at the table. Bad for her, but, I mean, wasn't that a good way for him? No sickness. No nothing but sitting there waiting for supper to come and never knowing if it came or not. Like another friend. Had an old dog. Fourteen years old. Dog was going blind and tired. Decided at last to take the dog to the pound and have him put to sleep. Loaded the old blind tired dog on the front seat of his car. The dog licked his hand, once. The man felt awful. He drove toward the pound. On the way there, with not one sound, the dog pa.s.sed away, died on the front seat, as if he knew and, knowing, picked the better way, just handed over his ghost, and there you are. That's what you're talking about, right?"

I nodded.

"So you think that grave up on the hill is a wrong grave for a right man, do you?"

"That's about it," I said.

"You think there are all kinds of graves along the road for all of us?"

"Could be," I said.

"And if we could see all our life one way or another, we'd choose better? At the end, looking back," said the hunter, "we'd say, h.e.l.l, that was the year and the place, not the other year and the other place, but that one year, that one place. Would we say that?"

"Since we have to choose or be pushed finally," I said, "yes."