Корнелл Вулрич - A Treasury of Stories (Collection of novelettes and short stories)

Two gleams deep in the skull jogging against the upholstery, dimmer than the dashboard lights, are the only sign that there’s life beside him. “Used to park it blocks away — go on foot.”

“Oh, you went there more than once?”

“Wouldn’t you — to beg for your life?”

More of that screwy stuff, Humphries thinks disgustedly. Why should a man like Eddie Bloch, star of the mike and the dance-floor, go to some colored man in the slums and beg for his life?

Royal Street comes whistling along. He swerves in toward the curb, shoves the door out, sees Desjardins land on the running-board with one foot. Then he veers out into the middle again without even having stopped. Desjardins moves in on the other side of Bloch, finishes dressing by knotting his necktie and buttoning his vest. “Where’d you get the Aquitania?” he wants to know, and then, with a look beside him: “Holy Kreisler, Eddie Bloch! We had you only

tonight on my Emerson—”

“Matter?” Humphries squelches. “Got a talking-jag?”

“Turn,” says a hollow sound between them, and three wheels take the Bugatti around into North Rampart Street. “Have to leave it here,” he says a little later, and they get out. Congo Square, the old stamping-ground of the slaves.

“Help him,” Humphries tells his mate tersely, and they each brace him by an elbow.

Staggering between them with the uneven gait of a punch-drunk pug, quick and then slow by turns, he leads them down a ways, and then suddenly cuts left into an alley that isn’t there at all until you’re smack in front of it. It’s just a crack between two houses, noisome as a sewer. They have to break into Indian file to get through at all. But Bloch can’t fall down; the walls almost scrape both his shoulders at once. One’s in front, one behind him. “You packed?” Humphries calls over his head to Desjardins, up front.

“Catch cold without it,” the other’s voice comes back out of the gloom.

A slit of orange shows up suddenly from under a windowsill and a shapely coffee-colored elbow scrapes the ribs of the three as they squirm by. “This far ’nough, honey,” a liquid voice murmurs.

“Bad girl! Wash y’mouth out with soap,” the unromantic Humphries warns over his shoulder without even looking around. The sliver of light vanishes as quickly as it came...”

The passage widens out in places into mouldering courtyards dating back to French or Spanish colonial days, and once it goes under an archway and becomes a tunnel for a short distance. Desjardins cracks his head and swears with talent and abandon.

“Y’left out—” the rearguard remarks dryly.

“Here,” pants Bloch weakly, and stops suddenly at a patch of blackness in the wall. Humphries washes it with his torch and crumbling mildewed stone steps show up inside it. Then he motions Bloch in, but the man hangs back, slips a notch or two lower down against the opposite wall that supports him. “Lemme stay down here! Don’t make me go up there again,” he pleads. “I don’t think I can make it any more. I’m afraid to go back in there.”

“Oh no!” Humphries says with quiet determination. “You’re showing us,” and scoops him away from the wall with his arm. Again, as before, he isn’t rough about it, just business-like. Dij keeps the lead, watering the place with his own torch. Humphries trains his on the band-leader’s forty-dollar custom-made patent-leathers jerking frightenedly upward before him. The stone steps turn to wood ones splintered with usage. They have to step over a huddled black drunk, empty bottle cradled in his arms. “Don’t light a match,” Dij warns, pinching his nose. “There’ll be an explosion.”

“Grow up,” snaps Humphries. The Cajun’s a good dick, but can’t he realize the man in the middle is roasting in hell-fire? “This is no time—”

“In here is where I did it. I closed the door again after me.” Bloch’s skull-face is all silver with his life-sweat as one of their torches flicks past it.

Humphries shoves open the sagging mahogany panel that was first hung up when a Louis was still king of France and owned this town. The light of a lamp far across a still, dim room flares up and dances crazily in the draught. They come in and look.

There’s an old broken-down bed, filthy with rags. Across it there’s a motionless figure, head hanging down toward the floor. Dij cups his hand under it and lifts it. It comes up limply toward him, like a small basketball. It bounces down again when he lets it go — even seems to bob slightly for a second or two after. It’s an old, old colored man, up in his eighties, even beyond. There’s a dark spot, darker than the weazened skin, just under one bleared eye, and another in the thin fringe of white wool that circles the back of the skull.

Humphries doesn’t wait to see any more. He turns, flips out, and down, and all the way back to wherever the nearest telephone can be found, to let headquarters know that it’s true after all and they can rouse the police commissioner. “Keep him there with you, Dij,” his voice trails back from the inky stairwell, “and no quizzing. Pull in your horns till we get our orders!” That scarecrow with them tries to stumble after him and get out of the place, groaning: “Don’t leave me here! Don’t make me stay here-!”

“I wouldn’t quiz you on my own, Mr. Bloch,” Dij tries to reassure him, nonchalantly sitting down on the edge of the bed next to the corpse and retying his shoelace. “I’ll never forget it was your playing Love in Bloom on the air one night in Baton Rouge two years ago gave me the courage to propose to my wife—”

But the Commissioner would, and does, in his office a couple hours later. He’s anything but eager about it, too. They’ve tried to shunt him, Bloch, off their hands in every possible legal way open to them. No go. He sticks to them like flypaper. The old colored man didn’t try to attack him, or rob him, or blackmail him, or kidnap him, or anything else. The gun didn’t go off accidentally, and he didn’t fire it on the spur of the moment either, without thinking twice, or in a flare of anger. The Commissioner almost beats his own head against the desk in his exasperation as he reiterates over and over: “But why? Why? Why?” And for the steenth time, he gets the same indigestible answer: “Because he was killing me.”

“Then you admit he did lay hands on you?” The first time the poor Commissioner asked this, he said it with a spark of hope. But this is the tenth or twelfth and the spark died out long ago.

“He never once came near me. I was the one looked him up each time to plead with him. Commissioner Oliver, tonight I went down on my knees to that old man and dragged myself around the floor of that dirty room after him, on my bended knees, like a sick cat — begging, crawling to him, offering him three thousand, ten, any amount, finally offering him my own gun, asking him to shoot me with it, to get it over with quickly, to be kind to me, not to drag it out by inches any longer! No, not even that little bit of mercy! Then I shot — and now I’m going to get better, now I’m going to live—”

He’s too weak to cry; crying takes strength. The Commissioner’s hair is about ready to stand on end. “Stop it, Mr. Bloch, stop it!” he shouts, and he steps over and grabs him by the shoulder in defense of his own nerves, and can almost feel the shoulder-bone cutting his hand. He takes his hand away again in a hurry. “I’m going to have you examined by an alienist!”

The bundle of bones rears from the chair. “You can’t do that! You can’t take my mind from me! Send to my hotel — I’ve got a trunkful of reports on my condition! I’ve been to the biggest minds in Europe! Can you produce anyone that would dare go against the findings of Buckholtz in Vienna, Reynolds in London? They had me under observation for months at a time! I’m not even on the borderline of insanity, not even a genius or musically talented. I don’t even write my own numbers, I’m mediocre, uninspired — in other words completely normal. I’m saner than you are at this minute, Mr. Oliver. My body’s gone, my soul’s gone, and all I’ve got left is my mind, but you can’t take that from me!”