“I want to ask a favor of you, to say a few words to you.”
Simoun made a sign of impatience which Placido in his perturbation did not observe. In a few words the youth related what had happened and made known his desire to go to Hongkong.
“Why?” asked Simoun, staring fixedly at Placido through his blue goggles.
Placido did not answer, so Simoun threw back his head, smiled his cold, silent smile and said, “All right! Come with me. To Calle Iris!” he directed the cochero.
Simoun remained silent throughout the whole drive, apparently absorbed in meditation of a very important nature. Placido kept quiet, waiting for him to speak first, and entertained himself in watching the promenaders who were enjoying the clear moonlight: pairs of infatuated lovers, followed by watchful mammas or aunts; groups of students in white clothes that the moonlight made whiter still; half-drunken soldiers in a carriage, six together, on their way to visit some nipa temple dedicated to Cytherea; [[181]]children playing their games and Chinese selling sugar-cane. All these filled the streets, taking on in the brilliant moonlight fantastic forms and ideal outlines. In one house an orchestra was playing waltzes, and couples might be seen dancing under the bright lamps and chandeliers—what a sordid spectacle they presented in comparison with the sight the streets afforded! Thinking of Hongkong, he asked himself if the moonlit nights in that island were so poetical and sweetly melancholy as those of the Philippines, and a deep sadness settled down over his heart.
Simoun ordered the carriage to stop and both alighted, just at the moment when Isagani and Paulita Gomez passed them murmuring sweet inanities. Behind them came Doña Victorina with Juanito Pelaez, who was talking in a loud voice, busily gesticulating, and appearing to have a larger hump than ever. In his preoccupation Pelaez did not notice his former schoolmate.
“There’s a fellow who’s happy!” muttered Placido with a sigh, as he gazed toward the group, which became converted into vaporous silhouettes, with Juanito’s arms plainly visible, rising and falling like the arms of a windmill.
“That’s all he’s good for,” observed Simoun. “It’s fine to be young!”
To whom did Placido and Simoun each allude?
The jeweler made a sign to the young man, and they left the street to pick their way through a labyrinth of paths and passageways among various houses, at times leaping upon stones to avoid the mudholes or stepping aside from the sidewalks that were badly constructed and still more badly tended. Placido was surprised to see the rich jeweler move through such places as if he were familiar with them. They at length reached an open lot where a wretched hut stood off by itself surrounded by banana-plants and areca-palms. Some bamboo frames and sections of the same material led Placido to suspect that they were approaching the house of a pyrotechnist. [[182]]