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JEAN SHEPHERD even more Bugatti

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And I couldn’t believe what I saw.  It was that unreal.  He had reached up and flicked on a neon light and that light made it look even more spectacular.  This thing began to gleam with that light.  And there it was.

We were looking at one of the great automobiles.  I mean one of the great automobiles.  By ‘great’—this car had appeared in probably two or three hundred catalogs of great masterworks—that specific car.  Even today that car is almost priceless.  It was one of the finest works of one of the great artists of the twentieth century–considered possibly his prime work.  Ettore Bugatti.  Did you ever hear of the name?  Ettore Bugatti.  The maestro.  A man who created automobiles the way Michelangelo created altar cloths.  He created them as works of art.

And there, resting on the floor under that flickering neon light was a dark, rich, plum-colored 57SC, one of the great moments in the career of Ettore Bugatti.  An automobile that had been created for a French duke late in the 1930s—around 1937.  A car built specifically for mountain driving.  An alive, magnificent, evil, sensual-looking machine that lay low.  It didn’t’ really squat on the floor, it just sort of lounged, stretching out low and flat—sensual.  And looking at that car you felt flight in every inch of it.  Not only flight but movement and statement.  And a curious kind of truth.  It was so honest.

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