Page 13

By Jack Joseph Smith

2. the direct hand of money a darker side of bread on the tongues communion of flesh. Walking head up along the highway now, Bash's hand grip- ing his suitcase, his brow beginning to tan, his reality actually had him kicking in desperation and the wild fear of his long drunken drained weakness the Spanish decended man below him on the tentiment stairway. There along the highway appearing no more than a bit over adventureous clean cut character possibly in graduate school his eyes were looking up and he saw his friend O'Neill scrambeling. Like the astrological crab sign he was up the dark extend- other man, the ing heights of the stairway grabbing the Malatto with their sixteen hundred dollars worth of travelers checks somewhere on his person right at the turn where disappearence for Bash and excape from O'Neill seemed inevitable. Now the two assailants were gone, but their shreaks of hatred in defeat still rang through the stairwells winding out into the brains of Bash and O'Neill as they stepped blur waves of people coming at them quickly through the morning of the crowded avenue. in multicolored garments down the Here Stavrogin turned his footsteps off the highway some moments North of the Santa Monica Caynon before the freeway exiting conglomerate of stone on to the beach seeing in the Southern California present the waves of a somewhat soft tide distant as a slow moving set against more multicolors spread as bathing suits infinately out in an almost determined clinging across the sand. Glancing back he noticed peace signs in red and black paint printed wildly across

Original Scan

Page 13

AI Interpretation

GPT

Bash walks along the highway with a suitcase while recalling a stairway struggle over travelers checks involving O'Neill. He then turns toward the Santa Monica beach, where bathing suits, sand and painted peace signs enter the description.

The remembered assailants and money occupy Bash's attention before the present coastal scene resumes. Added crowd and beach descriptions interrupt the sentences, leaving some transitions incomplete rather than defining a clean escape narrative.

Claude

Numbered '2.', the page has Bash walking the highway while remembering a stairway fight in which O'Neill was 'grabbing the Malatto with their / sixteen hundred dollars worth of travelers checks', then turning toward the beach where 'peace signs in red' are painted.

Memory and present walk run together, setting violence against a sunlit beach. Interlinear additions are kept where they are written.