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“Take it off, take it off,” soon it’s all you can hear

But she’s always a lady even in pantomime,

So she stops and always just in time

They cross the length of the roo in Louie’s size, and in the eyes and shoreerly out of the way

There’s a door beside the bar The driver knocks once, hears a single gruff syllable, and opens the door wide for Rainy to step in

It’s an office, a square room with a curtainedthat probably leads to a fire escape There’s an i office chair behind it One wall is covered in thues: Naples, Sicily, Rome, but also Miami and New Orleans

The wall to Rainy’s right is fitted with shelves, azines There are three books, one of which, Rainy is sure, raved silver crucifix hangs froe of the top shelf

There are two ray, with a face that looks like a piece of driftwood, i no expression

The other is a large, portly man in a decent brown suit He has a round, cheerful face and the red nose of a dedicated drinker He steps forward s, hand out

“So you’re Schulterlad to meet you, honey, your old man must be proud as hell—excuse my French—proud as a peacock”

“Thank you, and it’s good to meet you, Mr”

“Camporeale,” he says “It’s hard for folks to pronounce unless they grew up speaking Italian We go with Caht?”

Instinctively, Rainy lies “Don Vito it is, then, because I don’t speak any Italian I have no head for languages”

She’s hoping her father has not bragged too often about his hter But alht her name into his work, and in any case he works only indirectly for Camporeale

“And what do they call you, aside froeant, I mean?”