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After sufficiently stuffing her face with everything she ordered, and then eating the shrapnel, Narcisa promptly informed Jonathan and I that we would be taking a field trip to the Parque Lage, the famed place of many of her crimes, such as this one:

“Soon I getting com-for-table inside there, Cigano, I make light up an’ go for take it one big hit an’ then, boo! I look him an’ he sitting right over there at the rock by side of me…”
“Who!?”
“The e’scorpion!”

And this one!

“an’ then it come all for sudden the big e’sploding with the… morcegos, how to say it? The bat. Bat! Hundred the bat Cigano, an’ all come fly fly fly out on the back the cave, hundred the terrible little bat, flipping flipping all over me, squiking like the mouses an’ the rats, attack on to my head, flopping flopping squiking an’ fly fly all over my eye. “

Let’s not forget this one:

“Yes, the monkey, Cigano! They attack-ed to me! An’ they all e’stand-ed ’round me all e’scream on me, an’ they make the throw the thing on to me, the branch an’ the rock, all thing like these.”

She also informed me that she and I were taking a cab and that I was paying.

“Ey! Vamo pra Parque Lage, okey?” She screeched at one of the cab drivers who was at that time enjoying a beer.

The cab ride to the Parque Lage was interesting, not as interesting as the ride HOME, but that is for later. She told me of her childhood in the small town of Penedo, about her siblings and about her love for babies, her hope to one day have one, which was another surprise to me. Narcisa was starting to seem more like a girl than this ghost that I’d always viewed her as.

NOTIFICAÇÃO: Os eventos relatados neste site são contos de ficção registrados na Biblioteca Nacional com todos os direitos autorais revertidos ao autor Jonathan Shaw e Alessandra DeBenedetti. Os personagens mencionados são inteiramente fictícios. Certos eventos, personagens, lugares e relatos, foram baseados em fatos reais, porém qualquer semelhança a qualquer pessoa viva ou morta se trata de pura coincidência. As várias fotografias apresentadas se encontram com o rosto distorcido para preservar o anonimato das modelos que representam personagens fictícios.