by Various
* * * * *
So his being quiet was a bad sign. It might mean that a rumble was brewing--and that meant that my work so far had been pretty nearly a failure. Even worse, it might mean that somehow the Leopards had discovered that I had at last passed my examinations and been appointed to the New York City Police Force as a rookie patrolman, Shield 8805.
Trying to work with these kids is hard enough at best. They don't like outsiders. But they particularly hate cops, and I had been trying for some weeks to decide how I could break the news to them.
The door opened. Hawk stood there. He didn't look at me, which was a bad sign. Hawk was one of the youngest in the Leopards, a skinny, very dark kid who had been reasonably friendly to me. He stood in the open door, with snow blowing in past him. "Walt. Out here, man."
It wasn't me he meant--they call me "Champ," I suppose because I beat them all shooting eight-ball pool. Walt put down the comic he had been reading and walked out, also without looking at me. They closed the door.
* * * * *
Time passed. I saw them through the window, talking to each other, looking at me. It was something, all right. They were scared. That's bad, because these kids are like wild animals; if you scare them, they hit first--it's the only way they know to defend themselves. But on the other hand, a rumble wouldn't scare them--not where they would show it; and finding out about the shield in my pocket wouldn't scare them, either. They hated cops, as I say; but cops were a part of their environment. It was strange, and baffling.
Walt came back in, and Hawk walked rapidly away. Walt went behind the counter, lit a cigaret, wiped at the marble top, picked up his comic, put it down again and finally looked at me. He said: "Some punk busted Fayo and a couple of the boys. It's real trouble."
I didn't say anything.
He took a puff on his cigaret. "They're chilled, Champ. Five of them."
"Chilled? Dead?" It sounded bad; there hadn't been a real rumble in months, not with a killing.
He shook his head. "Not dead. You're wanting to see, you go down Gomez's cellar. Yeah, they're all stiff but they're breathing. I be along soon as the old man comes back in the store."
He looked pretty sick. I left it at that and hurried down the block to the tenement where the Gomez family lived, and then I found out why.
* * * * *
They were sprawled on the filthy floor of the cellar like winoes in an alley. Fayo, who ran the gang; Jap; Baker; two others I didn't know as well. They were breathing, as Walt had said, but you just couldn't wake them up.
Hawk and his twin brother, Yogi, were there with them, looking scared. I couldn't blame them. The kids looked perfectly all right, but it was obvious that they weren't. I bent down and smelled, but there was no trace of liquor or anything else on their breath.
I stood up. "We'd better get a doctor."
"Nay. You call the meat wagon, and a cop comes right with it, man," Yogi said, and his brother nodded.
I laid off that for a moment. "What happened?"
Hawk said, "You know that witch Gloria, goes with one of the Boomer Dukes? She opened her big mouth to my girl. Yeah, opened her mouth and much bad talk came out. Said Fayo primed some jumper with a zip and the punk cooled him, and then a couple of the Boomers moved in real cool. Now they got the punk with the zip and much other stuff, real stuff."
"What kind of stuff?"
Hawk looked worried. He finally admitted that he didn't know what kind of stuff, but it was something dangerous in the way of weapons. It had been the "zip" that had knocked out the five Leopards.
I sent Hawk out to the drug-store for smelling salts and containers of hot black coffee--not that I knew what I was doing, of course, but they were dead set against calling an ambulance. And the boys didn't seem to be in any particular danger, only sleep.
* * * * *
However, even then I knew that this kind of trouble was something I couldn't handle alone. It was a tossup what to do--the smart thing was to call the precinct right then and there; but I couldn't help feeling that that would make the Leopards clam up hopelessly. The six months I had spent trying to work with them had not been too successful--a lot of the other neighborhood workers had made a lot more progress than I--but at least they were willing to talk to me; and they wouldn't talk to uniformed police.
Besides, as soon as I had been sworn in, the day before, I had begun the practice of carrying my .38 at all times, as the regulations say. It was in my coat. There was no reason for me to feel I needed it. But I did. If there was any truth to the story of a "zip" knocking out the boys--and I had all five of them right there for evidence--I had the unpleasant conviction that there was real trouble circulating around East Harlem that afternoon.
"Champ. They all waking up!"
I turned around, and Hawk was right. The five Leopards, all of a sudden, were stirring and opening their eyes. Maybe the smelling salts had something to do with it, but I rather think not.
We fed them some of the black coffee, still reasonably hot. They were scared; they were more scared than anything I had ever seen in those kids before. They could hardly talk at first, and when finally they came around enough to tell me what had happened I could hardly believe them. This man had been small and peculiar, and he had been looking for, of all things, the "Mafia," which he had read about in history books--old history books.
Well, it didn't make sense, unless you were prepared to make a certain assumption that I refused to make. Man from Mars? Nonsense. Or from the future? Equally ridiculous....
* * * * *
Then the five Leopards, reviving, began to walk around. The cellar was dark and dirty, and packed with the accumulation of generations in the way of old furniture and rat-inhabited mattresses and piles of newspapers; it wasn't surprising that we hadn't noticed the little gleaming thing that had apparently rolled under an abandoned potbelly stove.
Jap picked it up, squalled, dropped it and yelled for me.
I touched it cautiously, and it tingled. It wasn't painful, but it was an odd, unexpected feeling--perhaps you've come across the "buzzers" that novelty stores sell which, concealed in the palm, give a sudden, surprising tingle when the owner shakes hands with an unsuspecting friend. It was like that, like a mild electric shock. I picked it up and held it. It gleamed brightly, with a light of its own; it was round; it made a faint droning sound; I turned it over, and it spoke to me. It said in a friendly, feminine whisper: Warning, this portatron attuned only to Bailey's Beam percepts. Remain quiescent until the Adjuster comes.
That settled it. Any time a lit-up cue ball talks to me, I refer the matter to higher authority. I decided on the spot that I was heading for the precinct house, no matter what the Leopards thought.
But when I turned and headed for the stairs, I couldn't move. My feet simply would not lift off the ground. I twisted, and stumbled, and fell in a heap; I yelled for help, but it didn't do any good. The Leopards couldn't move either.
We were stuck there in Gomez's cellar, as though we had been nailed to the filthy floor.
III
Cow
When I see what this flunky has done to them Leopards, I call him a cool cat right away. But then we jump him and he ain't so cool. Angel and Tiny grab him under the arms and I'm grabbing the stuff he's carrying. Yeah, we get out of there.
There's bulls on the street, so we cut through the back and over the fences. Tiny don't like that. He tells me, "Cow. What's to leave this cat here? He must weigh eighteen tons." "You're bringing him," I tell him, so he shuts up. That's how it is in the Boomer Dukes. When Cow talks, them other flunkies shut up fast.
We get him in the loft over the R. and I. Social Club. Damn, but it's cold up there. I can hear the pool balls clicking down below so I pass the word to keep quiet. Then I give this guy the foot and pretty soon he wakes up.
As soon as I talk to him a little bit I figure we had luck riding with us when we see them Leopards. This cat's got real bad stuff. Yeah, I never hear of any
thing like it. But what it takes to make a fight he's got. I take my old pistol and give it to Tiny. Hell, it makes him happy and what's it cost me? Because what this cat's got makes that pistol look like something for babies.
* * * * *
First he don't want to talk. "Stomp him," I tell Angel, but he's scared. He says, "Nay. This is a real weird cat, Cow. I'm for cutting out of here."
"Stomp him," I tell him again, pretty quiet, but he does it. He don't have to tell me this cat's weird, but when the cat gets the foot a couple of times he's willing to talk. Yeah, he talks real funny, but that don't matter to me. We take all the loot out of his bag, and I make this cat tell me what it's to do. Damn, I don't know what he's talking about one time out of six, but I know enough. Even Tiny catches on after a while, because I see him put down that funky old pistol I gave him that he's been loving up.
I'm feeling pretty good. I wish a couple of them chicken Leopards would turn up so I could show them what they missed out on. Yeah, I'll take on them, and the Black Dogs, and all the cops in the world all at once--that's how good I'm feeling. I feel so good that I don't even like it when Angel lets out a yell and comes up with a wad of loot. It's like I want to prime the U.S. Mint for chickenfeed, I don't want it to come so easy.
But money's on hand, so I take it off Angel and count it. This cat was really loaded; there must be a thousand dollars here.
I take a handful of it and hand it over to Angel real cool. "Get us some charge," I tell him. "There's much to do and I'm feeling ready for some charge to do it with."
"How many sticks you want me to get?" he asks, holding on to that money like he never saw any before.
I tell him: "Sticks? Nay. I'm for real stuff tonight. You find Four-Eye and get us some horse." Yeah, he digs me then. He looks like he's pretty scared and I know he is, because this punk hasn't had anything bigger than reefers in his life. But I'm for busting a couple of caps of H, and what I do he's going to do. He takes off to find Four-Eye and the rest of us get busy on this cat with the funny artillery until he gets back.
* * * * *
It's like I'm a million miles down Dream Street. Hell, I don't want to wake up.
But the H is wearing off and I'm feeling mean. Damn, I'll stomp my mother if she talks big to me right then.
I'm the first one on my feet and I'm looking for trouble. The whole place is full now. Angel must have passed the word to everybody in the Dukes, but I don't even remember them coming in. There's eight or ten cats lying around on the floor now, not even moving. This won't do, I decide.
If I'm on my feet, they're all going to be on their feet. I start to give them the foot and they begin to move. Even the weirdie must've had some H. I'm guessing that somebody slipped him some to see what would happen, because he's off on Cloud Number Nine. Yeah, they're feeling real mean when they wake up, but I handle them cool. Even that little flunky Sailor starts to go up against me but I look at him cool and he chickens. Angel and Pete are real sick, with the shakes and the heaves, but I ain't waiting for them to feel good. "Give me that loot," I tell Tiny, and he hands over the stuff we took off the weirdie. I start to pass out the stuff.
"What's to do with this stuff?" Tiny asks me, looking at what I'm giving him.
I tell him, "Point it and shoot it." He isn't listening when the weirdie's telling me what the stuff is. He wants to know what it does, but I don't know that. I just tell him, "Point it and shoot it, man." I've sent one of the cats out for drinks and smokes and he's back by then, and we're all beginning to feel a little better, only still pretty mean. They begin to dig me.
"Yeah, it sounds like a rumble," one of them says, after a while.
I give him the nod, cool. "You're calling it," I tell him. "There's much fighting tonight. The Boomer Dukes is taking on the world!"
IV
Sandy Van Pelt
The front office thought the radio car would give us a break in spot news coverage, and I guessed as wrong as they did. I had been covering City Hall long enough, and that's no place to build a career--the Press Association is very tight there, there's not much chance of getting any kind of exclusive story because of the sharing agreements. So I put in for the radio car. It meant taking the night shift, but I got it.
I suppose the front office got their money's worth, because they played up every lousy auto smash the radio car covered as though it were the story of the Second Coming, and maybe it helped circulation. But I had been on it for four months and, wouldn't you know it, there wasn't a decent murder, or sewer explosion, or running gun fight between six P.M. and six A.M. any night I was on duty in those whole four months. What made it worse, the kid they gave me as photographer--Sol Detweiler, his name was--couldn't drive worth a damn, so I was stuck with chauffeuring us around.
We had just been out to LaGuardia to see if it was true that Marilyn Monroe was sneaking into town with Aly Khan on a night plane--it wasn't--and we were coming across the Triborough Bridge, heading south toward the East River Drive, when the office called. I pulled over and parked and answered the radiophone.
* * * * *
It was Harrison, the night City Editor. "Listen, Sandy, there's a gang fight in East Harlem. Where are you now?"
It didn't sound like much to me, I admit. "There's always a gang fight in East Harlem, Harrison. I'm cold and I'm on my way down to Night Court, where there may or may not be a story; but at least I can get my feet warm."
"Where are you now?" Harrison wasn't fooling. I looked at Sol, on the seat next to me; I thought I had heard him snicker. He began to fiddle with his camera without looking at me. I pushed the "talk" button and told Harrison where I was. It pleased him very much; I wasn't more than six blocks from where this big rumble was going on, he told me, and he made it very clear that I was to get on over there immediately.
I pulled away from the curb, wondering why I had ever wanted to be a newspaperman; I could have made five times as much money for half as much work in an ad agency. To make it worse, I heard Sol chuckle again. The reason he was so amused was that when we first teamed up I made the mistake of telling him what a hot reporter I was, and I had been visibly cooling off before his eyes for a better than four straight months.
Believe me, I was at the very bottom of my career that night. For five cents cash I would have parked the car, thrown the keys in the East River, and taken the first bus out of town. I was absolutely positive that the story would be a bust and all I would get out of it would be a bad cold from walking around in the snow.
And if that doesn't show you what a hot newspaperman I really am, nothing will.
* * * * *
Sol began to act interested as we reached the corner Harrison had told us to go to. "That's Chris's," he said, pointing at a little candy store. "And that must be the pool hall where the Leopards hang out."
"You know this place?"
He nodded. "I know a man named Walter Hutner. He and I went to school together, until he dropped out, couple weeks ago. He quit college to go to the Police Academy. He wanted to be a cop."
I looked at him. "You're going to college?"
"Sure, Mr. Van Pelt. Wally Hutner was a sociology major--I'm journalism--but we had a couple of classes together. He had a part-time job with a neighborhood council up here, acting as a sort of adult adviser for one of the gangs."
"They need advice on how to be gangs?"
"No, that's not it, Mr. Van Pelt. The councils try to get their workers accepted enough to bring the kids in to the social centers, that's all. They try to get them off the streets. Wally was working with a bunch called the Leopards."
I shut him up. "Tell me about it later!" I stopped the car and rolled down a window, listening.
* * * * *
Yes, there was something going on all right. Not at the corner Harrison had mentioned--there wasn't a soul in sight in any direction. But I could hear what sounded like gunfire and yelling, and, my God, even bombs going off! And it wasn't too far away. There were sirens, too--sq
uad cars, no doubt.
"It's over that way!" Sol yelled, pointing. He looked as though he was having the time of his life, all keyed up and delighted. He didn't have to tell me where the noise was coming from, I could hear for myself. It sounded like D-Day at Normandy, and I didn't like the sound of it.
I made a quick decision and slammed on the brakes, then backed the car back the way we had come. Sol looked at me. "What--"
"Local color," I explained quickly. "This the place you were talking about? Chris's? Let's go in and see if we can find some of these hoodlums."
"But, Mr. Van Pelt, all the pictures are over where the fight's going on!"
"Pictures, shmictures! Come on!" I got out in front of the candy store, and the only thing he could do was follow me.
Whatever they were doing, they were making the devil's own racket about it. Now that I looked a little more closely I could see that they must have come this way; the candy store's windows were broken; every other street light was smashed; and what had at first looked like a flight of steps in front of a tenement across the street wasn't anything of the kind--it was a pile of bricks and stone from the false-front cornice on the roof! How in the world they had managed to knock that down I had no idea; but it sort of convinced me that, after all, Harrison had been right about this being a big fight. Over where the noise was coming from there were queer flashing lights in the clouds overhead--reflecting exploding flares, I thought.
* * * * *
No, I didn't want to go over where the pictures were. I like living. If it had been a normal Harlem rumble with broken bottles and knives, or maybe even home-made zip guns--I might have taken a chance on it, but this was for real.
"Come on," I yelled to Sol, and we pushed the door open to the candy store.
At first there didn't seem to be anyone in, but after we called a couple times a kid of about sixteen, coffee-colored and scared-looking, stuck his head up above the counter.