The first floor is the alcohol station, the loitering station, the place where Jamil the Honduran distributes affection like a bristly puppy.
The second floor is the dance floor, where people sway after the band has gone, the promise of funk and soul lingering in the air unfulfilled.
The third floor is the pool room, a square of couches near the stairs, lines of people leaning against the walls, and in the square, the members of the band, with two sets of bongos and a cajón, a mini-maraca and a paintbrush on an empty beer bottle, create a rhythm and jive off it in tempo that keeps going up, up, quicker hands on the bongos and the accelerating firmness of the clicks of the wood on the glass, the whole room beginning to channel into the energy that the rhythm is, conversations pacing themselves off it, then ceasing, in a fade into the enveloping height of a unity that keeps getting higher and higher, and higher, will it ever stop?