November 21 1936
One evening in the summer of 1936 I am passing in front of Mindy’s restaurant on Broadway when the night manager suddenly opens the door and throws a character in a brown suit at me.
Fortunately, the character just misses me, and hits a yellow short that is standing at the curb, and dents a mudguard, because he is a little character, and the night manager of Mindy’s can throw that kind with an in curve.
Naturally, I am greatly vexed, and I am thinking of stepping into Mindy’s and asking the night manager how dare he hurl missiles of this nature at me, when I remember that the night manager does not care for me, either, and in fact he hates me from head to foot, and does not permit me in Mindy’s except on Fridays, because of course he does not have the heart to keep me from enjoying my chicken soup with matzoth dumplings once a week.
So I let the incident pass, and watch the jockey of the yellow short nail the character in the brown suit with a left hook that knocks him right under my feet, and then, as he gets up and dusts himself off with his hands and starts up the street, I see that he is nobody but a character by the name of Asleep, who is called by this name because he always goes around with his eyes half closed, and looking as if he is dozing off.
Well, here is a spectacle that really brings tears to my eyes, as I can remember when just a few years back the name of Asleep strikes terror to the hearts of one and all on Broadway, and everywhere else in this town for that matter, because in those days he is accounted one of the greatest characters in his line in the world, and in fact he is generally regarded as a genius.
Asleep’s line is taking care of anybody that somebody wishes taken care of, and at one time he is the highest-priced character in the business. For several years along in the late “twenties, he handles all of the late Dave the Dude’s private business when Dave the Dude is at war with the late Big Moey, and when somebody finally takes care of Dave the Dude himself, Asleep is with Moey for quite a while.
In six or seven years, the chances are Asleep takes care of scores of characters of one kind and another, and he never looks for any publicity or glory. In fact, he is always a most retiring character, who goes about very quietly, minding his own affairs, and those who know him think very well of him indeed.
The bladders print many unkind stories about Asleep when he is finally lumbered in 1931 and sent to college, and some of them call him a torpedo, and a trigger, and I do not know what all else, and these names hurt Asleep’s feelings, especially as they seem to make him out no better than a ruffian. In fact, one bladder speaks of him as a killer, and this tide causes Asleep to wince more than anything else.
He is in college at Dannemora from 1931 until the late spring of 1936, and although I hear he is back, this is the first time I see him in person, and I hasten to overtake him to express my sympathy with him on his treatment by the night manager of Mindy’s and also by the jockey of the yellow short, and to deplore the lack of respect now shown on Broadway for a character such as Asleep.
He seems glad to see me, and he accepts my expressions gratefully, and we go into the Bridle Grill and have a couple of drinks and then Asleep says to me like this:
“I only go into Mindy’s seeking a situation,” he says. “I hear Benny Barker, the bookie, is in there, and I understand that he has a disagreement with another bookie by the name of Jersey Cy down at Aqueduct, and that Jersey Cy punches Benny’s beezer for him. So,” Asleep says, “I figure Benny will wish to have Cy taken care of immediately and that it will be a nice quick pick-up for me, because in the old days when Benny is a bootie, he is one of my best customers.
“It is the first time I see Benny since I get back,” Asleep says, “but instead of being glad to see me, he seems very distant to me, and the minute I begin canvassing him for the business, he turns as white as one of Mindy’s napkins, and in fact whiter, and says for me to get out of there, or he will call the law.
“Benny says he will never even dream of such a thing as having anybody taken care of, and,” Asleep says, “when I start to remind him of a couple of incidents back down the years, he carries on in a way you will never believe. I even offer to cut my fee for him,” Asleep says, “but Benny only gets more excited, and keeps yelling no, no, no, until the night manager appears, and you see for yourself what happens to me. I am publicly embarrassed,” he says.
“Well, Sleeps,” I say, “to tell the truth, I am somewhat amazed that you do not out with that thing and resent these familiarities.”
But Asleep seems somewhat horrified at this suggestion, and he sets his glass down, and gazes at me a while in pained silence, and finally he says: “Why,” he says, “I hope and trust that you do not think I will ever use that thing except for professional purposes, and when I am paid for same. Why,” he says, “in all my practice, covering a matter of nearly ten years, I never lift a finger against as much as a flea unless it is a business proposition, and I am not going to begin now.”
Well, I remember that this is indeed Asleep’s reputation in the old days, and that a midget can walk up to him and tweak his ear without running any risk, and of course I am bound to respect his ethics, although I am sorry he cannot see his way clear to making an exception in the case of the night manager of Mindy’s.
“I do not understand the way times change since I am in college,” Asleep says. “Nobody around here wishes anybody taken care of any more. I call on quite a number of old customers of mine before I visit Benny Barker, but they have nothing for me, and none of them suggests that I call again. I fear I am passé,” Asleep says. “Yet I am the one who first brings the idea to Brooklyn of putting them in the sack. I originate picking them off in barber chairs. I am always first and foremost with innovations in my business, and now there is no business.
“It is a tough break for me,” Asleep says, “just when I happen to need a situation more than at any other time in my life. I simply must make good,” he says, “because I am in love and wish to be married. I am in love with Miss Anna Lark, who dances behind bubbles over in the Starlight Restaurant. Yes,” he says, “Miss Anna Lark is my sweet-pea, and she loves me as dearly as I love her, or anyway,” he says, “she so states no longer ago than two hours.”
“Well,” I say, “Miss Anna Lark has a shape that is a lulu. Even behind bubbles,” I say, and this is a fact that is well known to one and all on Broadway, but I do not consider it necessary to mention to Asleep that it is also pretty well known along Broadway that Benny Barker, the bookie, is deeply interested in Miss Anna Lark, and, to tell the truth, is practically off his onion about her, because I am by no means a chirper.
“I often notice her shape myself,” Asleep says. “In fact, it is one of the things that starts our romance before I go away to college. It seems to me it is better then than it is now, but,” he says, “a shape is not everything in this life, although I admit it is never any knock. Miss Anna Lark waits patiently for me all the time I am away, and once she writes me a screeve, so you can see that this is undoubtedly true love.
“But,” Asleep says, “Miss Anna Lark now wishes to abandon the bubble dodge, and return to her old home in Miami, Florida, where her papa is in the real-estate business. Miss Anna Lark feels that there is no future behind bubbles, especially,” he says, “since she recently contracts arthritis in both knees from working in drafty night-clubs. And she wishes me to go to Miami, Florida, too, and perhaps engage in the real-estate business like her papa, and acquire some scratch so we can be married, and raise up children, and all this and that, and be happy ever after.
“But,” Asleep says, “it is very necessary for me to get hold of a taw to make a start, and at this time I do not have as much as two white quarters to rub together in my pants’ pocket, and neither has Miss Anna Lark, and from what I hear, the same thing goes for Miss Anna Lark’s papa, and with conditions in my line what they are, I am greatly depressed, and scarcely know which way to turn.”
Well, naturally, I feel very sorry for Asleep, but I can offer no suggestions of any value at the moment, and in fact the best I can do is to stake him to a few dibs for walk-about money, and then I leave him in the Bridle Grill looking quite sad and forlorn, to be sure.
I do not see Asleep for several months after this, and am wondering what becomes of him, and I watch the bladders for news of happenings that may indicate he finally gets a break, but nothing of interest appears, and then one day I run into him at Broadway and Forty-sixth Street.
He is all sharpened up in new clothes, and a fresh shave, and he is carrying a suitcase, and looks very prosperous, indeed, and he seems happy to see me, and leads me around into Dinty Moore’s, and sits me down at a table, and orders up some drinks, and then he says to me like this:
“Now,” he says, “I will tell you what happens. After you leave me in the Bridle Grill, I sit down and take to reading one of the evening bladders, and what I read about is a war in a place by the name of Spain, and from what I read, I can see that it is a war between two different mobs living in this Spain, each of which wishes to control the situation. It reminds me of Chicago the time Big Moey sends me out to Al.
“Thinks I to myself,” Asleep says, “where there is a war of this nature, there may be employment for a character of my experience, and I am sitting there pondering this matter when who comes in looking for me but Benny Barker, the bookie.
“Well,” Asleep says, “Benny states that he gets to thinking of me after I leave Mindy’s, and he says he remembers that he really has a soft place in his heart for me, and that while he has no business for me any more, he will be glad to stake me to go wherever I think I may find something, and I remember what I am just reading in the evening bladder, and I say all right, Spain.
“Where is this Spain?” Benny Barker asks.
“Well,” Asleep says, “of course I do not know where it is myself, so we inquire of Professor D, the educated horse player, and he says it is to hell and gone from here. He says it is across the sea, and Benny Barker says he will arrange my passage there at once, and furthermore that he will give me a thousand slugs in ready, and I can pay him back at my convenience. Afterward,” Asleep says, “I recall that Benny Barker seems greatly pleased that I am going far away, but I figure his conscience hurts him for the manner in which he rebuffs me in Mindy’s, and he wishes to round himself up with me.
“So I go to this Spain,” Asleep says, “and now,” he says, “if you wish to hear any more, I will be glad to oblige.” Well, I tell Asleep that if he will keep calling the waiter at regular intervals, he may proceed, and Asleep proceeds as follows:
I go to this Spain seeking employment, and you will scarcely believe the trouble and inconvenience I am put to in getting there. I go by way of a ship that takes me to France, which is a place I remember somewhat, because I visit there in my early youth, in 1918, with the 77th Division, and which is a nice place, at that, especially the Folies-Bergères, and I go across France and down to a little jerk-water town just over the border from this Spain, and who do I run into sitting in front of a small gin-mill in the town but a Spanish character by the name of Manuel something.
He is once well known along Broadway as a heavy-weight fighter, and he is by no means a bad fighter in his day, and he now has a pair of scrambled ears to prove it. Furthermore, he is bobbing slightly, and seems to have a few marbles in his mouth, but he is greatly pleased to see me.
Manuel speaks English very good, considering the marbles, and he tells me he is personally in the fighting in this Spain for several weeks, but he is unable to find out what he is fighting about, so finally he gets tired, and is over in France taking a recess, and when I tell him I am going to this Spain, and what for, he says he has no doubt I will do very nice for myself, because of course Manuel knows my reputation in the old days in New York.
Furthermore, he says he will go with me, and act as my manager, and maybe take a piece of my earnings, just as his American managers do with him when he is active in the ring, and when I ask him what he calls a piece, he says 65 per cent. is the way his American managers always slice him, but naturally I do not agree to any such terms. Still, I can see that Manuel is such a character as may come in handy to me, what with knowing how to speak Spanish, as well as English, so I say I will look out for him very nicely when the time comes for a settlement, and this satisfies him.
We go across the border into this Spain by night, and Manuel says he will lead me to a spot where the fighting is very good, and by and by we come to a fair-sized town, with houses, and steeples, and all this and that, and which has a name I do not remember, and which I cannot pronounce, even if I do remember it.
Manuel says we are now in the war, and in fact I can hear shooting going on although it does not seem to be interfering with public business in the town, as many characters, male and female, are walking around and about, and up and down, and back and forth, and none of them seem to be disturbed by anything much.
But Manuel and I follow the sound of the shooting, and finally we come upon a large number of characters behind a breastworks made out of sandbags, and they all have rifles in their hands, and are shooting now and then at a big stone building on a high hill about three blocks away, and from this building also comes a lot of firing, and there are occasional bur-ur-ur-ups on both sides that I recognize as machine-guns, and bullets are zinging about the sandbags quite some.
Well, Manuel says this is some of the war, but all the characters behind the sandbags seem to be taking things easy, and in fact some are sitting in chairs and firing their rifles from a rest over the bags while so seated, and thinks I to myself, this is a very leisurely war, to be sure.
But about two blocks from the breastworks, and on a rise of ground almost as high as the hill the building is on, there is a field gun, and this is also firing on the building about every fifteen minutes, and I can see that it seems to be doing some real damage, at that, what with knocking off pieces of the architecture, and punching holes in the roof, although now and then it lets go a shell that misses the mark in a way that will never be tolerated by the character who commands the battery I serve with in France.
Many of the characters behind the sandbags seem to know Manuel, who appears to be a famous character in this Spain, and they stop shooting, and gather about him, and there is much conversation among them, which of course I do not understand, so after a while I request Manuel to pay more attention to me and to kindly explain the situation I find here.
Well, Manuel says the building on the hill is an old castle and that it is being held by a lot of Spanish characters, male and female, who are as mad at the characters behind the sandbags as the Republicans are mad at the Democrats in my country, and maybe madder. Manuel says the characters in the castle represent one side of the war in this Spain, and the characters behind the sandbags represent the other side, although Manuel does not seem to know which is which, and naturally I do not care.
“Well,” I say to Manuel, “this is a good place to start business. Tell them who I am,” I say, “and ask them how much they will give me for taking care of these parties in the castle.”
So Manuel makes quite a speech, and while I do not understand what he is saying, I can see that he is putting me away with them very good, because they are gazing at me with great interest and respect. When he concludes his speech they give me a big cheer and crowd around me shaking hands, and I see Manuel talking with some characters who seem to be the mains in this situation, and they are listening eagerly to his remarks, and nodding their heads, and Manuel says to me like this:
“Well,” Manuel says, “I tell them you are the greatest American gangster that ever lives, and that they undoubtedly see you often in the movies, and they are in favor of your proposition one hundred per cent. They are anxious to see how you operate,” Manuel says, “because they wish to install similar methods in this country when things get settled down.”
“Kindly omit referring to me as a gangster,” I say. “It is a most uncouth word, and besides I never operate with a gang in my life.”
“Well, all right,” Manuel says, “but it is a word they understand. However,” he says, “the trouble here is they do not have much dinero, which is money. In fact, they say the best they can offer you to take care of the parties in the castle is two pesetas per head.”
“How much is two pesetas?” I ask.
“The last time I am here, it is about forty cents in your language,” Manuel says.
Naturally, I am very indignant at this offer, because in my time I get as high as twenty thousand dollars for taking care of a case, and never less than five hundred, except once when I do a favor for one-fifty, but Manuel claims it is not such a bad offer as it sounds, as he says that at the moment two pesetas is by no means alfalfa in this Spain, especially as there are maybe four hundred heads in the castle, counting everything.
Manuel says it really is an exceptional offer as the characters behind the sandbags are anxious to conclude the siege because certain friends of the parties in the castle are arriving in a near-by town, and anyway, sitting behind these sandbags is getting most monotonous to one and all. Furthermore, Manuel says, when they are not sitting behind the sandbags, these characters are required to work every day digging a tunnel into the hill under the castle, and they regard this work as most enervating.
Manuel says the idea of the tunnel is to plant dynamite under the castle and blow it up.
“But you see,” Manuel says, “digging is no work for proud souls such as Spaniards, so if you can think of some other way of taking care of these parties in the castle, it will be a great relief to my friends here.”
“To the dickens with these skinflints,” I say. “Let us go to the castle and see what the parties there will give us for taking care of these cheap skates behind the sandbags. Never,” I say, “will I accept such a reduction.”
Well, Manuel tells the mains behind the sandbags that I will take their offer under consideration, but that I am so favorably disposed towards it that I am going into the castle and examine the surroundings, and this pleases them no little, so Manuel ties his handkerchief on a stick and says this is a flag of truce and will get us into the castle safe and sound, and we set out.
Presently characters appear at the windows, and at holes in the walls of the castle, and Manuel holds a conversation with them in the Spanish language, and by and by they admit us to the castle yard, and one character with whiskers leads us into the building and down stone steps until we arrive in what seems to be a big basement far underground.
And in this basement I behold a very unusual scene to be sure. There are many characters present, male and female, also numerous small children, and they seem to be living in great confusion, but they are greatly interested in us when we appear, especially a tall, thin elderly character with white hair, and a white tash, and a white goatee, who seems to be a character of some authority.
In fact, Manuel says he is nobody but a character by the name of General Pedro Vega, and that this castle is his old family home, and that he is leader of these other characters in the basement.
I can see at once that Manuel and the general are old friends, because they make quite a fuss over meeting up in this manner, and then Manuel introduces me, and delivers another speech about me, explaining what a wonderful character I am. When he gets through, the general turns to me, and in very good English he speaks as follows:
“I am very glad to meet you, Señor Asleep,” he says. “I once live in your country a couple of years,” he says. “I live in your Miami, Florida.”
Well, I am glad to find somebody who can talk English, so I can do my own negotiating, and in a few words I state my proposition to the general to take care of the characters behind the sandbags, and call for his bid on same.
“Alas,” the general says, “money is something we do not have. If you are offering to take care of the enemy at one centavo each,” he says, “we still cannot pay. I am most regretful. It will be a big convenience to have you take care of the enemy, because we can then escape from this place and join our friends in a near-by city. Our food runs low,” he says. “So does our ammunition. Some of our females and children are ill. The longer we remain here the worse it gets.
“If I do not know the caliber of the enemy,” he says, “I will gladly surrender. But,” he says, “we will then all be backed up against a wall and executed. It is better that we die here.”
Well, being backed up against a wall strikes me as a most undesirable fate, to be sure, but of course it is nothing to me, and all I am thinking of is that this is a very peculiar country where nobody has any scratch, and it is commencing to remind me of home. And I am also thinking that the only thing I can do is to accept the two pesetas per head offered by the characters behind the sandbags when a very beautiful young Judy, with long black hair hanging down her back, approaches and speaks to me at some length in the Spanish language. Manuel says:
“She says,” he says, “Oh, sir, if you can help us escape from this place you will earn my undying gratitude.” She says,” Manuel says, “I am in love with a splendid young character by the name of Señor Jose Valdez, who is waiting for me with our friends in the near-by town. We are to be married as soon as the cruel war is over,” she says,” Manuel says. “It seems to be a most meritorious case,” Manuel says.
Now naturally this statement touches my heart no little, because I am in love myself, and besides the young Judy begins weeping, and if there is one thing I cannot stand it is female tears, and in fact my sweet-pea, Miss Anna Lark, can always make me do almost anything she wishes by breaking out crying. But of course business is business in this case, and I cannot let sentiment interfere, so I am about to bid one and all farewell when General Pedro Vega says:
And with this he disappears into another part of the basement, but is back pretty soon with a small black tin box, and out of this box he takes a batch of papers, and hands them to me, and says:
“Here are the deeds to some property in your Miami, Florida,” he says. “I pay much money for it in 1925. They tell me at the time I am lucky to get the property at the price, but,” he says, “I will be honest with you. It is unimproved property, and all I ever get out of it so far is notices that taxes are due, which I always pay promptly. But now I fear I will never get back to your Miami, Florida, again, and if you will take care of enough of the enemy for us to escape, the deeds are yours. This is all I have to offer.”
Well, I say I will take the deeds and study them over and let him know my answer as soon as possible, and then I retire with Manuel, but what I really study more than anything else is the matter of the beautiful young Judy who yearns for her sweet-pea, and there is no doubt but what my studying of her is a point in favor of General Vega’s proposition in my book, although I also do some strong studying of the fact that taking care of these characters in the castle is a task that will be very tough.
So after we leave the castle, I ask Manuel if he supposes there is a telegraph office in operation in town, and he says of course there is, or how can the newspaper scribes get their thrilling stories of the war out, so I get him to take me there, and I send a cablegram addressed to Mr. Lark, real estate, Miami, Florida, U.S.A., which reads as follows:
IS FIFTY ACRES LANDSCRABBLE SECTION ANY ACCOUNT
Then there is nothing for me to do but wait around until I get an answer, and this takes several days, and I devote this period to seeing the sights with Manuel, and I wish to say that some of the sights are very interesting. Finally, I drop around to the telegraph office, and sure enough there is a message there for me, collect, which says like this:
LANDSCRABBLE SECTION GREAT POSSIBILITIES STOP WHY LARK
Now I do not know Mr. Lark personally, and he does not know me, and the chances are he never even hears of me before, but I figure that if he is half as smart as his daughter, Miss Anna Lark, his judgment is worth following, so I tell Manuel it looks as if the deal with General Vega is on, and I begin giving my undivided attention to the case.
I can see at once that the key to the whole situation as far as I am concerned is the field-piece on the hill, because there are really too many characters behind the sandbags for me to take care of by myself, or even with the assistance of Manuel, and of course I do not care to get Manuel involved in my personal business affairs any more than I can help.
However, at my request he makes a few innocent inquiries among the characters behind the sandbags, and he learns that there are always seven characters on the hill with the gun, and that they sleep in little home-made shelters made of boards, and canvas, and tin, and one thing and another, and that these shelters are scattered over the top of the hill, and the top of the hill is maybe the width of a baseball diamond.
But I can observe for myself that they do no firing from the hilltop after sundown, and they seldom show any lights, which is maybe because they do not wish to have any airplanes come along and drop a few hot apples on them.
Manuel says that the characters behind the sandbags are asking about me, and he says they are so anxious to secure my services that he will not be surprised if I cannot get three pesetas per head, and I can see that Manuel thinks I am making a mistake not to dicker with them further.
But I tell him I am now committed to General Vega, and I have Manuel obtain a twelve-inch file for me in the city, and also some corks out of wine bottles, and I take the file and hammer it down, and smooth it out, and sharpen it up nicely, and I make a handle for it out of wood, according to my own original ideas, and I take the corks, and burn them good, and I find a big piece of black cloth and make myself a sort of poncho out of this by cutting a hole in the center for my head to go through.
Then I wait until it comes on a night to suit me, and it is a dark night, and rainy, and blowy, and I black up my face and hands with the burnt cork, and slip the black cloth over my clothes, and put my file down the back of my neck where I can reach it quickly, and make my way very quietly to the foot of the hill on which the field-gun is located.
Now in the darkness, I begin crawling on my hands and knees, and wiggling along on my stomach up the hill, and I wish to state that it is a monotonous task because I can move only a few feet at a clip, and there are many sharp rocks in my path, and once an insect of some nature crawls up my pant leg and gives me a severe nip.
The hill is maybe as high as a two-story building, and very steep, and it takes me over an hour to wiggle my way to the top, and sometimes I pause en route and wonder if it is worth it. And then I think of the beautiful young Judy in the castle, and of the property in Miami, Florida, and of Miss Anna Lark, and I keep on wiggling.
Well, just as Manuel reports, there is a sentry on duty on top of the hill, and I can make out his shape in the darkness leaning on his rifle, and this sentry is a very large character, and at first I figure that he may present difficulties, but when I wiggle up close to him I observe that he seems to be dozing, and it is quiet as can be on the hilltop.
The sentry is really no trouble at all, and then I wiggle my way slowly along in and out of the little shelters, and in some shelters there is but one character, and in others two, and in one, three, and it is these three that confuse me somewhat, as they are three more than the seven Manuel mentions in his census of the scene, and I will overlook them entirely if one of them does not snore more than somewhat.
Personally, I will always say that taking care of these ten characters one after the other, and doing it so quietly that not one of them ever wakes up, is the high spot of my entire career, especially when you consider that I am somewhat rusty from lack of experience, and that my equipment is very crude.
Well, when morning dawns, there I am in charge of the hilltop, and with a field-gun at my disposal, and I discover that it is nothing but a French 75, with which I am quite familiar, and by and by Manuel joins me, and while the characters behind the sandbags are enjoying their breakfast, and the chances are, not thinking of much, I plant four shells among them so fast I ruin their morning meal, because, if I do say it myself, I am better than a raw hand with a French 75.
Then I remember that the characters who are boring under the castle are perhaps inside the tunnel at this time, so I peg away at the hole in the hill until the front of it caves in and blocks up the hole very neatly, and Manuel afterward claims that I wedged in the entire night-shift.
Well, of course these proceedings are visible to the occupants of the castle, and it is not long before I see General Pedro Vega come marching out of the castle with the whole kit and caboodle of characters, male and female, and small children behind him, and they are laughing and shouting, and crying and carrying on no little.
And the last I see of them as they go hurrying off in the direction of the near-by town where their friends are located, the beautiful young Judy is bringing up the rear and throwing kisses at me and waving a flag, and I ask Manuel to kindly identify this flag for me so I will always remember which side of the war in this Spain it is that I assist.
But Manuel says his eyesight is bad ever since the night Jim Sharkey sticks a thumb in his eye in the fifth round in Madison Square Garden, and from this distance he cannot tell whose flag it is, and in fact, Manuel says, he does not give a Spanish cuss-word.
“And there you are.” Asleep says to me in Dinty Moore’s.
“So,” I say, “you are now back in New York looking for business again?”
“Oh, no,” Asleep says. “I now reside in Miami, Florida, and I am going to marry Miss Anna Lark next month. I am doing very well for myself, too,” he says. “You see, we turn the property that I get from General Vega into a cemetery, and I am now selling lots in same for our firm which is headed by Miss Anna Lark’s papa. Manuel is our head grave-digger, and we are all very happy,” Asleep says.
Well, afterward I hear that the first lot Asleep sells is to the family of the late Benny Barker, the bookie, who passes away during the race meeting in Miami, Florida, of pneumonia, superinduced by lying out all night in a ditch full of water near the home of Miss Anna Lark, although I also understand that the fact that Benny is tied up in a sack in the ditch is considered a slight contributing cause of his last illness.