At the airport, Joe thought of Mo and asked Max if he'd ever had a professor at Vermont named Soule.

"Soule . . . Sounds familiar. An old guy? Yeah, Soule. He gave a couple of guest lectures in an economics cla.s.s. I remember now--he was steamed about the Romans. They had tax laws that screwed everything up. Then the currency collapsed. He was interesting about that."

"His daughter lives here. I met her by accident." Max's flight was announced for boarding. "There it is," Joe said. "Sorry to see you go.

But you're headed in the right direction. That's a joke. You'll see a cookie fortune taped to the dash in the truck; that's what it says. But you are, actually. Listen, that truck has two gas tanks--there's a switch--you'll see it."

"O.K. Joe, thanks. Take care of yourself, man."

"You too, Max." And he was gone. That's the way it is with kids, Joe thought.

"d.a.m.n it, Batman, " he said when he got home much later that day. "You and me. They don't have a chance." That night he dreamt of a campfire and coyotes calling in the night.

5

Two girls with clear Asian faces and long black hair were waiting at a bus stop on King Street. One was about fourteen, carrying school books; the other was several years older, heavier. Joe stopped at Coco's, ordered coffee, and tried to describe the girls in a notebook. They were so beautiful, so similar, sisters maybe . . . yet different. The older was a woman, really. Hours went by like minutes as he searched for the right words.

He wandered into Waikiki and sat on a bench by the beach. A woman with smooth brown skin walked into the water. Her body was like a torpedo in a blue one piece suit. She went out a few yards, waited, and dove quietly under a three-footer, bobbing up on the other side. The locals live in the water, Joe thought, they don't fight it. He remembered a story in The Advertiser about a sampan that sank in the Pacific. A fisherman, rescued twenty-four hours later, was asked by a reporter, "What did you do all that time out there with no life jacket?"

"Wen' sleep when I got tired," he said. He was one of those big laughing Hawaiians who float like buoys, heads up out of the water.

Joe strolled through the zoo. The gorilla was famous. He sat near the front of his cage mugging at tourists, carrying on, drawing them closer as they took pictures. Locals grinned from the sides. When enough people had gathered, the gorilla would sneak one hand behind and below him and without warning blast the tourists with a s.h.i.t ball that hit the bars and scattered for maximum effect. He would leap to his feet mightily pleased, as the crowd screamed and the locals bent over laughing.

The elephants were patient and knowing. Joe trusted elephants. And dolphins. Sometimes he walked all the way to the Kahala to watch the dolphins zoom around their salt water pool. They came right to him at the edge of the pool, wiggling, excited as puppies.

He walked up Kapahulu Avenue and stopped at Zippy's where he had a bowl of saimin and worked on the description of the two girls. At home, in the mail, there was a card from Mo announcing a show of her photographs. The print on the card was deeply silvered. It showed the base of a banyan tree by a bus stop: high roots radiated out and sank below the sidewalk; a man was asleep, cradled between two roots, a lunch box by his waist, one arm stretched out along the top of a root, fingers dangling, the angles of his knees and elbows blending with the bends in the roots.

"Not bad, Batman," Joe said. "Next Friday."

The days before Mo's opening pa.s.sed quickly. On Friday, Joe walked down Ward Avenue to a gallery and camera shop, and, for once, he wasn't early. Empty wine bottles, a few pupus on bare trays, a gla.s.s punch bowl, paper cups and napkins were scattered across white tables.

Conversation hummed and collided around the room. A blues guitar kept time in the background. Mo was smiling down at a bearded professorial type.

"How do you do?" A young j.a.panese man shook Joe's hand.

"Thanks for the invitation," Joe said, flashing the card.

"Are you a friend of Winifred's?"

"Yes. Joe Burke."

"Wendell Sasaki."

"Nice place you have here," Joe said. A well-dressed couple entered, and Wendell excused himself. Joe drifted along a wall of Mo's photographs. There were several of old sugar mill buildings and one taken of the sky through the branches of a koa tree. There was a large one of the city at night, lights running high up the ridges. His favorite showed two young women walking toward the camera on Kalakaua Avenue. The light was gray, pre-dawn. One had her arm around the other's shoulders. They were bent forward laughing. Their bodies and clothes were used and tired, but their faces were innocent, flooded with relief; the night was over.

Most of the subjects were conventional; it was the detail and the light on them that was interesting. They were all black and white but one--a close-up of bamboo stalks and leaves. "What do you think?" Mo asked from behind him.

"I like it." Joe turned partially. "How come it's the only one in color?"

"I have problems with color," Mo said. "It's always off. But in this case, there are really only two colors, bamboo and that tender green.

They're both off in the same way, so the relationship works. And the color is so much of the story . . . " Wendell Sasaki called her over to confer with the well-dressed couple.

Joe stood in front of the picture of the young hookers, if that's what they were. Looking at them seemed more helpful than talking to anyone.

Mo worked the crowd. After a time, Joe thanked the owner, waved at Mo, and left. All artists love light, he thought, walking up Ward Avenue.

Mo was no exception.

The next day, he called. "Mo? Nice show."

"Thanks."

"You have won the Joe Burke award--excellence in photography."

"Why, never did I dream," she said in a Southern drawl.

"Lunch!"

"Joe, honey . . . " She dropped the drawl. "I'm busy today, let's see .

. . How about Tuesday? I want to check something out on the windward side. We could eat over there."

"Good deal."

On Tuesday, she picked him up by the sandbox on the lower level of the shopping center. As they drove toward the pali, Joe said, "I'm sentimental about that sandbox. Kate used to play there." He was surprised to see pain flicker on Mo's face. "What's the matter?"

"I had a child, once. He died--when he was two--from a condition my husband forgot to tell me ran in his family. His nerves didn't work."

"How awful."

"I don't think about it much," Mo said. They were silent for a few minutes. "So, what have you been doing?"

"Losing money. I got completely involved in the market. I made a major mistake, but I learned a lot."

"I'll show you where I took the bamboo picture," she said, turning onto the old pali road. She turned again and stopped by a weathered concrete bridge. They got out and walked to the other end of the bridge where a tall grove had grown from the bank below. Mo put her elbows on the side wall of the bridge, and leaned out, midway up the grove. Joe leaned out beside her. A breeze stirred and they were enveloped by melodious knocking, a hundred percussionists set free.

"Wow!" Joe said. "A bamboo orchestra. I've never heard that before."

They listened for a few minutes and then drove through the pali tunnel, emerging high over Kaneohe Bay--planes of pure light green, turquoise, dark blue. "Just another day in paradise," he said.

"Kailua isn't paradise, exactly. I've got to stop a moment in town and then we'll go over to Kaneohe."

"Sure." They wound down off the pali, and Joe waited while Mo accomplished her errand. She drove along Oneawa Street past the Racquet Club. Joe pointed. "See that hedge? I planted it!" A tall oleander hedge curved along the club drive. "A hundred small bushes," Joe said, "took me almost all day."

"Your roots in Hawaii?"

"Yok. I used to live there with Sally and Kate. I was the manager."

"How old is Kate?"

"Twenty-seven. Hard to believe. Where are we going?"