“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!”
The Commissioner’s face is beet-red. He’s about ready for a stroke, but he speaks softly, persuasively. “An eighty-odd-year-old colored man who is so feeble he can’t even go upstairs half the time, who has to have his food pulleyed up to him through the window in a basket, is killing—whom? A white stumble-bum his own age? No-o-o, Mr. Eddie Bloch, the premier bandsman of America, who can name his own price in any town, who’s heard every night in all our homes, who has about everything a man can want—that’s who!” He peers close, until their eyes are on a level. His voice is just a silky whisper. “Tell me just one thing, Mr. Bloch.” Then like the explosion of a giant firecracker, “How?” He roars it out, booms it out.
There’s a long-drawn intake of breath from Eddie Bloch. “By thinking thoughtwaves of death that reached me through the air.” The poor Commissioner practically goes all to pieces on his own rug. “And you don’t need a medical exam!” he wheezes weakly.
There’s a flutter, the popping of buttons, and Eddie Bloch’s coat, his vest, his shirt, undershirt, land one after another on the floor around his chair. He turns. “Look at my back! You can count every vertebra through the skin!” He turns back again. “Look at my ribs. Look at the pulsing where there’s not enough skin left to cover my heart!”
Oliver shuts his eyes and turns toward the window. He’s in a particularly unpleasant spot. New Orleans, out there, is stirring, and when it hears about this, he’s going to be the most unpopular man in town. On the other hand, if he doesn’t see the thing through now that it’s gone this far he’s guilty of a dereliction of duty, malfeasance in office.
Bloch, slowly dressing, knows what he’s thinking. “You want to get rid of me, don’t you? You’re trying to think of a way of covering this thing up. You’re afraid to bring me up before the Grand Jury on account of your own reputation, aren’t you?” His voice rises to a scream of panic. “Well, I want protection! I don’t want to go out there again—to my death! I won’t accept bail! If you turn me loose now, even on my own cognizance, you may be as guilty of my death as he is. How do I know my bullet stopped the thing? How does any of us know what becomes of the mind after death? Maybe his thoughts will still reach me, still try to get me. I tell you I want to be locked up, I want people around me day and night, I want to be where I’m safe “
“Shh, for God’s sake, Mr. Bloch! They’ll think I’m beating you
up ” The Commissioner drops his arms to his side and heaves a
gigantic sigh. “That settles it! I’ll book you all right. You want that and you’re going to get it! I’ll book you for the murder of one Papa Benjamin, even if they laugh me out of office for it!”
For the first time since the whole thing has started, he casts a look of real anger, ill-will, at Eddie Bloch. He seizes a chair, swirls it around, and bangs it down in front of the man. He puts his foot on it and pokes his finger almost in Bloch’s eye. “I’m not two-faced. I’m not going to lock you up nice and cozy and then soft-pedal the whole thing. If it’s coming out at all, then all of it’s coming out. Now start in!
Tell me everjrthing I want to know, and what I want to know is—everything!”
The strains of Goodnight Ladies die away; the dancers leave the floor; the lights start going out, and Eddie Bloch throws down his baton and mops the back of his neck with a handkerchief. He weighs about two hundred pounds, is in the pink, and is a good-looking brute. But his face is sour right now, dissatisfled. His outfit starts to case its instruments right and left, and Judy Jarvis steps up on the platform, in her street clothes, ready to go home. She’s Eddie’s torch singer, and also his wife. “Coming, Eddie? Let’s get out of here.” She looks a little disgusted herself. “I didn’t get a hand tonight, not even after my rumba number. Must be staling. If I wasn’t your wife, I’d be out of a job, I guess.”
Eddie pats her shoulder. “It isn’t you, honey. It’s us. We’re beginning to stink. Notice how the attendance has been dropping the past few weeks? There were more waiters than customers tonight, I’ll be hearing from the owner any minute now. He has the right to cancel my contract if the intake drops below five grand.” A waiter comes up to the edge of the platform. “Mr. Graham’d like to see you in his office before you go home, Mr. Bloch.”
Eddie and Judy look at each other, “This is it now, Judy. You go back to the hotel. Don’t wait for me. G’night, boys.” Eddie Bloch calls for his hat and knocks at the manager’s office.
Graham rustles a lot of accounts together. “We took in forty-five hundred this week, Eddie. They can get the same ginger ale and sandwiches any place, but they’ll go where the band has something to give ‘em. I notice the few that do come in don’t even get up from the table any more when you tap your baton. Now, what’s wrong?”
Eddie punches his hat a couple of times. “Don’t ask me, I’m getting the latest orchestrations from Broadway sent to me hot off the griddle. We sweat our bald heads off rehearsing “
Graham swivels his cigar. “Don’t forget that jaizz originated here in the South, you can’t show this town anything. They want something new.”
“When do I scram?” Eddie asks, smiling with the southwest comer of his mouth.
“Finish the week out. See if you can do something about it by Monday. If not, I’ll have to wire St. Louis to get Kruger’s crew. I’m sorry, Eddie.”
“That’s all right,” broadminded Eddie says. “You’re not running a charity bazaar.”
Eddie goes out into the dark danceroom. His crew has gone. The tables are stacked. A couple of old colored crones are down on hands and knees slopping water around on the parquet. Eddie steps up on the platform a minute to get some orchestrations he left on the piano. He feels something crunch under his shoe, reaches down, picks up a severed chicken’s claw lying there with a strip of red rag tied around it. How the hell did it get up there? If it had been under one of the tables, he’d have thought some diner had dropped it. He flushes a little. D’ye mean to say he and the boys were so rotten tonight that somebody deliberately threw it at them while they were playing?
One of the scrubwomen looks up. The next moment, she and her mate are on their feet, edging nearer, eyes big as saucers, until they get close enough to see what it is he’s holding. Then there’s a double yowl of animal fright, a tin pail goes rolling across the floor, and no two stout people, white or colored, ever got out of a place in such a hurry before. The door nearly comes offits hi
nges, and Eddie can hear their cackling all the way down the quiet street outside until it fades away into the night. “For gosh sake!” thinks the bewildered Eddie. “They must be using the wrong brand of gin.” He tosses the object out onto the floor and goes back to the piano for his music scores. A sheet or two has slipped down behind it and he squats to collect them. That way the piano hides him.
The door opens again and he sees Johnny Staats (traps and percussion) come in in quite a hurry. He thought Staats was home in bed by now. Staats is feeling himself all over like he was rehearsing the shim-sham and he’s scanning the ground as he goes along. Then suddenly he pounces—and it’s on the very scrap of garbage Eddie just now threw away! And as he straightens up with it, his breath comes out in such a sigh of relief that Eddie can hear it all the way across the still room. All this keeps him from hailing Staats as he was going to a minute ago and suggesting a cup of Java. But—“Superstitious,” thinks broadminded Eddie. “It’s his good-luck charm, that’s all, like some people carry a rabbit’s foot. I’m a little that way myself, never
walk under a ladder “
Then again, why should those two mammies go into hysterics when they lamp the same object? And Eddie recalls now that some of the boys have always suspected Staats has colored blood, and tried to tell him so years ago when Staats first came in with them, but he wouldn’t listen to them.
Staats slinks out again as noiselessly as he came in, and Eddie decides he’ll catch up with him and kid him about his chicken-claw on their way home together. (They all roost in the same hotel.) So he takes his music-sheets, some of which are blank, and he leaves. Staats is way down the street—in the wrong direction, away from the hotel! Eddie hesitates for just a minute, and then he starts after Staats on a vague impulse, just to see where he’s going—just to see what he’s up to. Maybe the fright of the scrubwomen and the way Staats pounced on that chicken-claw just now have built up to this, without Eddie’s really knowing it.
And how many times afterward he’s going to pray to his God that he’d never turned down that other way this night—away from his hotel, his Judy, his boys—away from the sunlight and the white man’s world. Such a little thing to decide to do, and afterwards no turning back—ever ….
He keeps Staats in sight, and they hit the Vieux Carr6. That’s all right. There are a lot of quaiiit places here a guy might like to drop in. Or maybe he has some Creole sweetie tucked away, and Eddie thinks: I’m lower than a ditch to spy like this. But then suddenly right before his eyes, halfway up the narrow lane he’s turned into—there isn’t any Staats any more! And no door opened and closed again either. Then when Eddie gets up to where it was, he sees the crevice between the old houses, hidden by an angle in the walls. So that’s where he went! Eddie almost has a peeve on by now at all this hocus-pocus. He slips in himself and feels his way along. He stops every once in awhile and can hear Staats’ quiet footfall somewhere way up in front. Then he goes on again. Once or twice the passage spreads out a little and lets a little green-blue moonlight part way down the walls. Then later, there’s a little flare of orange light from under a window and an elbow jogs him in the appendix, “You’d be happier here. Doan go the rest of the way,” a soft voice breathes. A prophecy if he only knew it!
But hardboiled Eddie just says: “G’wan to bed, y’dirty stay-up!” out of the comer of his mouth, and the light vanishes. Next a tunnel and he bangs the top of his head and his eyes water. But at the other end of it, Staats has finally come to a halt in a patch of clear light and seems to be looking up at a window or something, so Eddie stays where he is, inside the tunnel, and folds the lapels of his black jacket up over his white shirt-front so it won’t show.
Staats just stands there for a spell, with Eddie holding his breath inside the tunnel, and then finally he gives a peculiar, dismal whistle. There’s nothing carefree or casual about it. It’s a hollow swampland sound, not easy to get without practice. Then he just stands there waiting, until without warning, another figure joins him in the gloom. Eddie strains his eyes. A gorilla-like, Negro roustabout. Something passes from Staats’ hand to his—the chicken claw possibly—then they go in, into the house Staats has been facing. Eddie can hear the soft shuffle of feet going up stairs on the inside, and the
groaning, squeaking of an old decayed door—and then silence He
edges forward to the mouth of the tunnel and peers up. No light shows from any window, the house appears to be untenanted, deserted.
Eddie hangs onto his coat collar with one hand and strokes his chin with the other. He doesn’t know just what to do. The vague impulse that has brought him this far after Staats begins to peter out now. Staats has some funny associates—something funny is going on in this out-of-the-way place at this unearthly hour of the morning—but after all, a man’s private life is his own. He wonders what made him do this, he wouldn’t want anyone to know he did it. He’ll turn around and go back to his hotel now and get some shut-eye; he’s got to think up some novelty for his routine at the Bataclan between now and Monday or he’ll be out on his ear.
Then just as one heel is off the ground to take the turn that will start him back, a vague, muffled wailing starts from somewhere inside that house. It’s toned down to a mere echo. It has to go through thick doors and wide, empty rooms and down a deep, hollow stairwell before it gets to him. Oh, some sort of a revival meeting, is it? So Staats has got religion, has he? But what a place to come and get it in!
A throbbing like a far-away engine in a machine-shop underscores the wailing, and every once in a while a boom like distant thunder across the bayou tops the whole works. It goes: Boom-putta-putta-boom-putta-putta-boom! And the wailing, way up high at the moon: Eeyah-eeyah-eeyah … !
Eddie’s professional instincts suddenly come alive. He tries it out, beats time to it with his arm as if he were holding a baton. His fingers snap like a whip. “My God, that’s grand! That’s gorgeous! Just what I need! I gotta get up there!” So a chicken-foot does it, eh?
He turns and runs back, through the tunnel, through the courtyards, all the way back where he came from, stooping here, stooping there, lighting matches recklessly and throwing them away as he goes. Out in the Vieux Carre again, the refuse hasn’t been collected. He spots a can at the comer of two lanes, topples it over. The smell rises to heaven, but he wades into it ankle-deep like any levee-rat, digs into the stuff with both forearms, scattering it right and left. He’s lucky, finds a verminous carcass, tears off a claw, wipes it on some newspaper. Then he starts back. Wait a minute! The red rag, red strip around it! He feels himself all over, all his pockets. Nothing that color. Have to do without it, but maybe it won’t work without it. He turns and hurries back through the slit between the old houses, doesn’t care how much noise he makes. The flash of light from Old Faithful, the jogging elbow. Eddie stoops, he suddenly snatches in at the red kimono sleeve, his hand comes away with a strip of it. Bad language, words that even Eddie doesn’t know. A five-spot stops it on the syllable, and Eddie’s already way down the passage. If only they haven’t quit until he can get back there!
They haven’t. It was vague, smothered when he went away; it’s louder, more persistent, more frenzied now. He doesn’t bother about giving the whistle, probably couldn’t imitate it exactly anyhow. He dives into the black smudge that is the entrance to the house, feels greasy stone steps under him, takes one or two and then suddenly his collar is four sizes too small for him, gripped by a big ham of a hand at the back. A sharp something that might be anything from a pocket-knife blade to the business edge of a razor is creasing his throat just below the apple and drawing a preliminary drop or two of blood.
“Here it is, I’ve got it here!” gasps Eddie. What kind of reUgion is this, anyway? The sharp thing stays, but the hand lets go his collar and feels for the chicken-claw. Then the sharp thing goes away, too, but probably not very far away. “Whjrfor you didn’t give the signal?”
Eddie’s windpipe gives him the answer. “S
ick here, couldn’t.”
“Light up, lemme see yo’ face.” Eddie strikes a match and holds it. “Yo’ face has never been here before.”
Eddie gestures upward. “My friend—up there—he’ll tell you!”
“Mr. Johnny you’ friend? He ax you to come?”
Eddie thinks quickly. The chicken-claw might carry more weight than Staats. “That told me to come.”
“Papa Benjamin sen’ you that?”
“Certainly,” says Eddie stoutly. Probably their deacon, but it’s a
hell of a way to The match stings his fingers and he whips it out.
Blackness and a moment’s uncertainty that might end either way. But a lot of savoir-faire—a thousand years of civilization are backing Eddie up. “You’ll make me late. Papa Benjamin wouldn’t like that!”
He gropes his way on up in the pitch-blackness, thinking any minute he’ll feel his back slashed to ribbons. But it’s better than standing still and having it happen, and to back out now would bring it on twice as quickly. However, it works, nothing happens.
“Fust thing y’know, all N’yorleans be comin’ by,” growls the African watchdog sulkily, and flounders down on the staircase with a sound like a tired seal. There was some other crack about “darkies lookin’ lak pinks,” and then a long period of scratching.
But Eddie’s already up on the landing above and so close to the boom-putta-boom now it drowns out every other sound. The whole framework of the decrepit house seems to shake with it. The door’s closed but the thread of orange that outlines it shows it up to him. Behind there. He leans against it, shoves a little. It gives. The squealings and the grindings it emits are lost in the torrent of noise that comes rushing out. He sees plenty, and what he sees only makes him want to see all the more. Something tells him the best thing to do is slip in quietly and close it behind him before he’s noticed, rather than stay there peeking in from the outside. Little Snowdrop might always come upstairs in back of him and catch him there. So he widens it just a little more, oozes in, and kicks it shut behind him with his heel—and immediately gets as far away from it as he can. Evidently no one has seen him.
Darkness at dawn : early suspense classics Page 20