Kiss of the Spider Woman Read Online Free PDF Page A

cage to the other, smashing its little wings. She doesn’t resist the impulse to open the cage and stick her hand in. The bird drops dead, as if struck down, sensing the closeness of her hand. Now Irena is desperate. All her hallucinations come back to her, she runs out, going off in search of her husband, he’s the only one she can ask to help her, the only person who’s going to understand her. But heading toward the office she unavoidably passes the bar and spots them. She stands still, she can’t take another step, she’s trembling with rage, with jealousy. The couple get up to leave, Irena hides behind a tree. She watches them say goodbye and separate.
    —How do they say goodbye?
    —He gives her a kiss on the cheek. She’s wearing an elegant hat with the brim pulled down. Irena isn’t wearing any hat, her curly hair shines under the street lights along the deserted street, because she’s following the other one. The other one takes the direct route home, which means cutting through the park, Central Park, which is across from the office building, and by a street that sometimes is like a tunnel, because the park’s got like little hills, and the road’s straight, and at times it’s cut right through the hills, it’s like a regular street, with traffic but not much, like a shortcut, and a bus that cuts across there. And sometimes the assistant takes the bus so as not to walk so far, and other times she walks, because the bus only runs once in a while. And this time she decides to walk it, to air her thoughts a little, because her head is pounding after her talk with the guy. He’s told her everything, about how Irena doesn’t sleep with him, about the nightmares she keeps having of panther women. And the poor thing, who’s so in love with the guy, she really feels all confused, because she’s already resigned herself to losing him, and now, well, she’s hopeful again. And on the one hand she feels glad, now that all’s not lost, and on the other she’s afraid of deluding herself all over again and having to suffer for it later, coming out empty-handed every time. And she goes on thinking about all this, walking a little faster because it’s getting so cold. No one’s around, the park’s lost in shadows off to the side of the road, no wind, not a leaf stirring, so the only thing you hear is footsteps behind the assistant, a woman’s high heels clicking. The assistant turns around and sees a silhouette, but at some distance, and with so little light she can’t make out who’s there. But by now the clicking can be heard getting faster. So she begins to get alarmed, because you know how it is when you’ve been talking about something scary, like about corpses or a crime, you’re more impressionable, and you jump at every little thing, and this woman’s got her mind on panther women and all that and begins to panic and starts to hurry, but she’s just halfway through, with like about four blocks to go, where some buildings begin because the park comes to an end. So she almost begins to run, which is worse.
    —Can I interrupt, Molina?
    —Mmm-hmm, but there’s not much more to go now, for tonight I mean.
    —Only one question, which intrigues me a little.
    —What?
    —You won’t get annoyed?
    —Depends.
    —It’d be interesting to know. And afterwards you ask me if you want.
    —Let’s have it then.
    —Who do you identify with? Irena or the other one?
    —With Irena, what do you think? She’s the heroine, dummy. Always with the heroine.
    —Okay, go on.
    —And you, Valentin, with who? You’re in trouble because the architect seems like a moron to you.
    —Go ahead and laugh. With the psychiatrist. But no making jokes now, I respected your choice, with no remarks. Go on.
    —We can discuss it later if you want, or tomorrow.
    —Okay, but go on a little more.
    —A little bit, no more, I like to leave you hanging, that way you enjoy the film more. You have to do it that way with the public,