Nena Daconte was almost a child, with the eyes of a happy bird, and molasses skin still radiant with the bright Caribbean sun in the mournful January gloom, and she was wrapped up to her chin in a mink coat that could not have been bought with the year’s wages of the entire frontier garrison. Her husband, Billy Sánchez De Ávila, who drove the car, was a year younger and almost as beautiful, and he wore a plaid jacket and a baseball hat. Unlike his wife, he was tall and athletic and had the iron jaw of a timid thug. But what best revealed the status of them both was the silver automobile whose interior exhaled a breath of living animal; nothing like it had ever been seen along that impoverished border. The rear seat overflowed with suitcases that were too new and many gift boxes that were still unopened. It also held the tenor saxophone that had been the overriding passion of Nena Daconte’s life before she succumbed to the disquieting love of her tender beach hoodlum.
He began to pace every room, like a happy lunatic, waving his hands and reciting the film in great shouts. We listened to him, dazzled, and it seemed we could see the images, like flocks of phosphorescent birds that he set loose for their mad flight through the house.