Free Love's Lovely Counterfeit by James M. Cain

and several police jumped down on the abutment and the one next to it to manage the boat's lines. One of the men in undershirts climbed into a diving suit, the other began to test pump, phones, and cables. A towcar, parked at one end of the bridge, ran out and took position near June, so that its crane, with dangling hook, was just above the spot she had indicated.
    The man in the suit was now sitting with his helmet on his knees, his feet hanging over the water, almost ready to go off. There was a hitch, however, when the sheriff climbed down for more pictures, and invited June, Jansen, and the divers to pose with him. This involved persuading a boat to edge in and take the photographers aboard, but presently the thing was done. The subjects of the picture climbed back on the bridge, and the man at the pump put his partner's helmet on, slipped on his earphones. The partner slipped into the water.
    In a surprisingly short time, the man with the phones motioned the man on the crane. "O.K., down with your hook." The hook was lowered to him, and he hung cable and clamps over it, and let it go. With a splash it went down in the water, and for perhaps five minutes there was silence, a strained, queer silence as thousands of people waited. Then the man with the phones motioned the man on the crane, and power hit the drum. Jerking a little, like a thin snake, the cable slipped upward. Then the barrel broke water, shedding a shower of drops. It shot upward, dangled for a moment above the parapet, then swung in over the bridge and dropped gently to the roadway. Two policemen stepped forward, with wrenches and sledges. The photographers closed in, making a circle which completely obstructed vision.
    There was a delay, as the cable was removed. Then one of the policemen raised his sledge. Ben stood up to see, then climbed to the parapet to see better. The sledge came down. Then it rose and came down again. The cameras began snapping. Then a photographer turned, put his camera under his arm, and came running to Ben's end of the bridge. He didn't jump into the car that had brought him. He ran past it, to a taxi parked in the road. Ducking under the rope and jumping in, he yelled: "The Post, and step on it—it's not Arch Rossi, it's Dick Delany!"
    In utter astonishment Ben's hand went to his brow, and he lost his balance. He teetered perilously for a second or two before he could stoop, jump, and regain his place on the abutment.
    "You love me, Ben?"
    "I could try."
    "Turn your mouth around, and try."
    "Hey, I'm driving."
    "Let me drive. I know a place we could go."
    "Your place?"
    "No, a real nice place."
    "O.K., then, the wheel is yours."
    It was around ten of the night after election, and they were driving back from Castleton, where they had gone to have dinner, and thus celebrate their victory at the polls. It was the first time they had seen each other since the cold morning at the Narrows, and her amusement at how funny he had looked seemed to have ripened in the interval; her laugh had a tear in its eye and a catch in its throat. A psychiatrist might have found her an interesting study, might have used her, indeed, as an argument against too much innocence in the feminine gender. For no wise lady would have let her affection run wild as June was doing, or at any rate, have let the man see it running wild. She had had a tremendous, grotesque, and dangerous adventure with him that couldn't be denied. Yet this didn't quite account for the way she-acted. She gave the impression it was her first contact with such things; that she had never been around much, or if she had, it was by day, to work, and not by night, to play. Certainly she showed no familiarity with the ancient traditions of her sex; she was quite silly, and it was no argument for her performance that after a fashion she was getting away with it. Perhaps Ben too had been around very little. For although he was slightly uncomfortable, occasionally at a loss for an answer to