across the empty outer office and opened the door and let it shut, staying inside. There ought to be footsteps outside in the corridor, but his transom was closed and I hadn’t made much noise coming on crepe rubber soles. I hoped he would remember that. I sneaked back across the threadbare carpet and edged in behind the door, between the door and the little closed typewriter desk. A kid trick, but once in a while it will work, especially after a lot of smart conversation, full of worldliness and sly wit. Like a sucker play in football. And if it didn’t work this time, we would just be there sneering at each other again.
It worked. Nothing happened for a while except that a nose was blown. Then all by himself in there he went into his sick rooster laugh again. Then a throat was cleared. Then a swivel chair squeaked, and feet walked.
A dingy white head poked into the room, about two inches past the end of the door. It hung there suspended and I went into a state of suspended animation. Then the head was drawn back and four unclean fingernails came around the edge of the door and pulled. The door closed, clicked, was shut. I started breathing again and put my ear to the wooden panel.
The swivel chair squeaked once more. The threshing sound of a telephone being dialed. I lunged across to the instrument on the little typewriter desk and lifted it. At the other end of the line the bell had started to ring. It rang six times. Then a man’s voice said: “Yeah?”
“The Florence Apartments?”
“Yeah.”
“I’d like to speak to Mr. Anson in Apartment two-o-four.”
“Hold the wire. I’ll see if he’s in.”
Mr. Morningstar and I held the wire. Noise came over it, the blaring sound of a loud radio broadcasting a baseball game. It was not close to the telephone, but it was noisy enough.
Then I could hear the hollow sound of steps coming nearer and the harsh rattle of the telephone receiver being picked up and the voice said:
“Not in. Any message?”
“I’ll call later,” Mr. Morningstar said.
I hung up fast and did a rapid glide across the floor to the entrance door and opened it very silently, like snow falling, and let it close the same way, taking its weight at the last moment, so that the click of the catch would not have been heard three feet away.
I breathed hard and tight going down the hall, listening to myself. I pushed the elevator button. Then I got out the card which Mr. George Anson Phillips had given me in the lobby of the Hotel Metropole. I didn’t look at it in any real sense. I didn’t have to look at it to recall that it referred to Apartment 204, Florence Apartments, 128 Court Street. I just stood there flicking it with a fingernail while the old elevator came heaving up in the shaft, straining like a gravel truck on a hairpin turn.
The time was three-fifty.
EIGHT
Bunker Hill is old town, lost town, shabby town, crook town. Once, very long ago, it was the choice residential district of the city, and there are still standing a few of the jigsaw Gothic mansions with wide porches and walls covered with round-end shingles and full corner bay windows with spindle turrets. They are all rooming houses now, their parquetry floors are scratched and worn through the once glossy finish and the wide sweeping staircases are dark with time and with cheap varnish laid on over generations of dirt. In the tall rooms haggard landladies bicker with shifty tenants. On the wide cool front porches, reaching their cracked shoes into the sun, and staring at nothing, sit the old men with faces like lost battles.
In and around the old houses there are flyblown restaurants and Italian fruitstands and cheap apartment houses and little candy stores where you can buy even nastier things than their candy. And there are ratty hotels where nobody except people named Smith and Jones sign the register and where the night clerk is half watchdog and half pander.
Out of the apartment houses come women who should be
D M Midgley
David M. Kelly
Renee Rose
Leanore Elliott, Dahlia DeWinters
Cate Mckoy
Bonnie Bryant
Heather Long
Andrea Pyros
Donna Clayton
Robert A. Heinlein