Fredric Brown - Eine Kleine Nachtmusik

His name was Dooley Hanks and he was One of Us, by which I mean that he was partly a paranoiac, partly a schizophrenic, and mostly a nut with a strong idee fixe, an obsession. His obsession was that someday he’d find The Sound that he’d been looking for all his life, or at least all of his life since twenty years ago, in his teens, when he had acquired a clarinet and learned how to play it. Truth to tell, he was only an average musician, but the clarinet was his rod and staff, and it was the broomstick that enabled him to travel over the face of Earth, on all the continents, seeking The Sound. Playing a gig here and a gig there, and then, when he was ahead by a few dollars or pounds or drachmas or rubles he’ d take a walking tour until his money started to run out, then start for the nearest city big enough to let him find another gig.

He didn’t know what The Sound would sound like, but he knew that he’d know it when he heard it.

Three times he’d thought he’d found it. Once, in Australia, the first time he’d heard a bull-roarer. Once, in Calcutta, in the sound of a musette played by a fakir to charm a cobra. And once, west of Nairobi, in the blending of a hyena’s laughter with the voice of a lion. But the bull-roarer, on second hearing, was just a noise; the musette, when he’d bought it from the fakir for twenty rupees and had taken it home, had turned out to be only a crude and raucous type of reed instrument with little range and not even a chromatic scale; the jungle sounds had resolved themselves finally into simple lion roars and hyena laughs, not at all The Sound.

Actually Dooley Hanks had a great and rare talent that could have meant much more to him than his clarinet, a gift of tongues. He knew dozens of languages and spoke them all fluently, idiomatically and without accent. A few weeks in any country was enough for him to pick up the language and speak it like a native. But he had never tried to cash in on this talent, and never would. Mediocre player though he was, the clarinet was his love.

Currently, the language he had just mastered was German, picked up in three weeks of playing with a combo in a beer-stube in Hannover, West Germany. And the money in his pocket, such as it was, was in marks. And at the end of a day of hiking, augmented by one fairly long lift in a Volkswagen, he stood in moonlight on the banks of the Weser River. Wearing his hiking clothes and with his working clothes, his good suit, in a haversack on his back. His clarinet case in his hand; he always carried it so, never trusting it to suitcase, when he used one, or to haversack when he was hiking.

Driven by a demon, and feeling suddenly an excitement that must be, that could only be, a hunch, a feeling that at long last he was really about to find The Sound. He was trembling a little; he’d never had the hunch this strongly before, not even with the lions and the hyenas, and that had been the closest.

But where? Here, in the water? Or in the next town? Surely not farther than the next town. The hunch was that strong. That tremblingly strong. Like the verge of madness, and suddenly he knew that he would go mad if he did not find it soon. Maybe he was a little mad already.

Staring over moonlit water. And suddenly something disrupted its surface, flashed silently white in the moonlight and was gone again. Dooley stared at the spot. A fish? There had been no sound, no splash. A hand? The hand of a mermaid swum upstream from the North Sea beckoning him? Come in, the water’s fine. (But it wouldn’t be; it was cold.) Some supernatural water sprite? A displaced Rhine Maiden in the Weser?

But was it really a sign? Dooley, shivering now at the thought of what he was thinking, stood at the Weser’s edge and imagined how it would be… wading out slowly from the bank, letting his emotions create the tune for the clarinet, tilting his head back as the water became deeper so that the instrument would stick out of the water after he, Dooley, was under it, the bell of the clarinet last to submerge. And the sound, whatever sound there was, being made by the bubbling water closing over them. Over him first and then the clarinet. He recalled the cliched allegation, which he had previously viewed with iconoclastic contempt but now felt almost ready to accept, that a drowning person was treated to a swift viewing of his entire life as it flashed before his eyes in a grand finale to living. What a mad montage that would be! What an inspiration for the final gurglings of the clarinet. What a frantic blending of the whole of his wild, sweetly sad, tortured existence, just as his straining lungs expelled their final gasp into a final note and inhaled the cold, dark water. A shudder of breathless anticipation coursed through Dooley Hanks’s body as his fingers trembled with the catch on the battered clarinet case.

But no, he told himself. Who would hear? Who would know? It was important that someone hear. Otherwise his quest, his discovery, his entire life would be in vain. Immortality cannot be derived from one’s solitary knowledge of one’s greatness. And what good was The Sound if it brought him death and not immortality?

A blind alley. Another blind alley. Perhaps the next town. Yes, the next town. His hunch was coming back now. How had he been so foolish as to think of drowning? To find The Sound, he’d kill if he had to—but not himself. That would make the whole gig meaningless.

Feeling as one who had had a narrow escape, he turned and walked away from the river, back to the road that paralleled it, and started walking toward the lights of the next town. Although Dooley Hanks had no Indian blood that he knew of, he walked like an Indian, one foot directly in front of the other, as though on a tightrope. And silently, or as nearly silently as was possible in hiking boots, the ball of his foot coming down first to cushion each step before his heel touched the roadway. And he walked rapidly because it was still early evening and he’d have plenty of time, after checking in at a hotel and getting rid of his haversack, to explore the town awhile before they rolled up the sidewalks. A fog was starting to roll in now.

The narrowness of his escape from the suicidal impulse on the Weser’s bank still worried him. He’d had it before, but never quite so strongly. The last time had been in New York, on top of the Empire State Building, over a hundred stories above the street. It had been a bright, clear day, and the magic of the view had enthralled him. And suddenly he had been seized by the same mad exultation, certain that a flash of inspiration had ended his quest, placed the goal at his fingertips. All he need do was take his clarinet from the case, assemble it. The magic view would be revealed in the first clear notes of the instrument and the heads of the other sightseers would turn in wonder. Then the contrasting gasp as he leaped into space, and the wailing, sighing, screaming notes, as he hurled pavementward, the weird melody inspired by the whirling color scene of the street and sidewalk and people watching in horrified fascination, watching him, Dooley Hanks, and hearing The Sound, his sound, as it built into a superb fortissimo, the grand finale of his greatest solo—the harsh final note as his body slammed into the sidewalk and fused flesh, blood and splintered bone with concrete, forcing a final, glorious expulsion of breath through the clarinet just before it left his lifeless fingers. But he’d saved himself by turning back and running for the exit and the elevator.

He didn’t want to die. He’d have to keep reminding himself of that. No other price would be too great to pay.

He was well into town now. In an old section with dark, narrow streets and ancient buildings. The fog curled in from the river like a giant serpent hugging the street at first, then swelling and rising slowly to blot and blur his vision. But through it, across the cobbled street, he saw a lighted hotel sign, Linter den Linden. A pretentious name for so small a hotel, but it looked inexpensive and that was what he wanted. It was inexpensive all right and he took a room and carried his haversack up to it. He hesitated whether to change from his walking clothes to his good suit, and decided not to. He wouldn’t be looking for an engagement tonight; tomorrow would be time for that. But he’d carry his clarinet, of course; he always did. He hoped he’d find a place to meet other musicians, maybe be asked to sit in with them. And of course he’d ask them about the best way to obtain a gig here. The carrying of an instrument case is an automatic introduction among musicians. In Germany, or anywhere.