Kitabı oku: «Hooded Detective, Volume III No. 2, January, 1942», sayfa 10
Lasseroe stood there in the center of the lavender rug. He said, "You gentlemen have wasted your time."
"Quiet," Mogin toned.
In the elevator Frey said, "Maybe we can still make that double feature."
"I'm getting hungry," Mogin said. "How about some lunch?"
Frey parted his lips and the cigarette fell from his mouth. He stepped on the stub and said, "We'll have lunch and then we'll visit another party."
"No double feature?" Mogin said.
"No double feature. We'll visit this third party and if we strike out we'd better leave town for a few days to avoid a lot of aggravation. See what I mean?"
"I see what you mean," Mogin said. "Who do we see now?"
"We see Daisy Hennifer, the jewelry designer," Frey said. "We go to the Vanderbilt Hotel."
They faked a story that they were representatives of a big Manhattan lapidary. That got them up to Daisy Hennifer's suite. It was topaz yellow, ceiling, walls, rugs and furniture – all topaz yellow. Daisy had on a topaz yellow gown and she had topaz yellow hair.
"You won't be able to stay long, gentlemen," she said. "I've a cocktail engagement at hof post threh – "
"What's that again?" Mogin said.
"Skip it," Frey said.
Daisy was frowning.
"What did you do last night, Miss Hennifer?" Frey said.
Her topaz eyes started to glow and she said, "Just what do you mean by coming up here and – "
"Don't get excited, Miss Hennifer. We're just doing our job, that's all."
"But you said you were – "
"No, we don't represent a lapidary. We're just up here to ask you a few questions, that's all."
"You're not police – " She was wearing four rings and she was twisting them about her fingers. They were all big yellow topaz stones.
"Not exactly – " Frey said.
"Well then – "
"Do you know Harry Duggin?" Frey said.
"Why – yes. In fact, I was to see him this afternoon – "
"You won't see him, Miss Hennifer," Frey said. "He was murdered this morning."
"Oh – "
"He was a fine sort, Miss Hennifer. You shouldn't have done it."
"Done what?"
"Killed him."
She was twisting the topaz rings. They circled fast about her long fingers, the nails of which held topaz yellow polish.
"You've been friends with Harry for a long time, Miss Hennifer," Frey said. "As far as you were concerned, it was more than friendship. You went for Harry. But he wasn't serious. And he finally gave you up altogether because he was getting big ideas concerning Tess Rillette. You hated Tess. You had known her for some time and you had paid no particular attention to her, except to laugh behind her back. You looked upon her as a girl with a lot of money and no brains and no real ability as a sculptress. When you saw her at teas and parties you just saw her, that was all. But when Harry fell for her, you had to pay attention, and you hated her. You – "
"How do you know this? Who are you? What – ?"
"Please be quiet and listen," Mogin droned.
"It was sort of natural that you should begin to cultivate this Tess Rillette's friendship. You wanted to talk to her about Harry. You wanted to find out just how much she cared for the guy. And then you found out that she didn't go for him at all. She adored another man. That made you hate Harry. But at the same time you still weren't giving up hope. You went to Harry, told him that Tess Rillette was after another man. You begged him to marry you. But instead of helping the situation, your visit made things worse. Harry began to look into the matter. He found out about Tess and this man Lasseroe. He wanted to make doubly sure. He was worried about a lot of things. He had a private investigator follow Tess around during this past week."
Mogin threw a cigarette. Frey caught it and flicked a safety match with his fingernail.
Daisy Hennifer was saying, "All this – it's – I don't know what to think. I don't know what to say."
"You don't have to say anything," Frey said. "Just write me a confession note, that's all. Just write out the confession and sign it and you won't have to say anything."
"But – but – "
"It was convenient for you, Miss Hennifer. Lasseroe had a good motive for killing Duggin. So did Tess Rillette. At first she was indifferent to Harry. And after he threatened to have Lasseroe jailed, she hated him. But your feelings were even stronger. It was your kind of hate that turned to murder."
"You're wrong," she said. She was excited. "I didn't do it."
"A confession will get you off easy."
"I'm not signing any confession," she said. "I didn't do it. I had nothing to do with it. I adored Harry. I – "
"You'll save yourself a lot of misery – "
She started to sob. "I didn't do it. I – "
Frey looked at Mogin. The short, heavy guy shrugged.
"Is that all, Miss Hennifer?" Frey asked.
"That's all I've got to say." She stopped sobbing. Her topaz eyes were dull now. "Are you going to take me away?"
Frey shook his head. "We can't take you away. We're not cops."
She stared. "Then – what are you?"
Frey shrugged. "Maybe we're just a couple of damn fools."
He nodded to Mogin. They went out of Daisy Hennifer's suite.
They were walking toward the coupe. Mogin was saying, "It's almost three."
"We'll have something to eat and we'll go back and sit in the coupe and wait a while," Frey said. He put his hand in his change pocket and took out two half dollars, three quarters, six dimes, four nickels. "We'll eat a classy lunch on this," he said. "Then we'll wait around for a little while and we'll see where Daisy Hennifer goes."
"It's all right with me," Mogin said: "Anything's all right with me – as long as we eat."
They lunched at the hotel and then they walked out to the lobby and sat down and smoked. At twenty past three, Daisy Hennifer walked through the lobby and Frey and Mogin took their time and followed her.
A cab was waiting at the curb and Daisy got in.
The coupe followed.
Up Fourth avenue and two turns to blade through heavy uptown traffic and then down the street where Tess Rillette lived. The cab stopped outside the white stone house and Daisy got out.
The coupe went once around the block and then Frey parked it at the corner.
"This looks good," he said.
Mogin nodded.
Frey said, "Maybe you better wait here. If I'm not out in thirty minutes maybe you better come in and see what's happened to me."
Mogin said, "Maybe you better take this." He reached in his coat pocket and pulled out a little pistol. Frey looked at it and made a face.
"I hate to use those things."
He took the pistol and put it in his pocket and walked up the white stone steps. The Jap came to the door and Frey said, "Well – it's past three thirty. Miss Rillette is expecting me, isn't she – ?"
The Jap shook his head. "Miss Rillette is busy. You must call later."
"Tell Miss Rillette that I – " He braked his tongue and said, "No – don't tell Miss Rillette anything. In fact – maybe you better take a walk around the block."
The Jap started to get excited. He said, "You were not among those invited – "
"Take a walk around the block," Frey said. "Look, I'll help you down the steps – " He grabbed hold of the Jap and hustled him down the steps. Mogin saw the deal and opened the door of the coupe. Frey pushed the Jap inside.
"What's this?" Mogin said.
"A glimpse of the Far East," Frey murmured. "Take him to a show. Take him to a dance. I don't care what you do with him, only keep him away from the house for a while. He'll get in my way otherwise."
The Jap started to yell.
"Tag him," Frey said. He looked up and down the street and he saw that it was all right. Then he heard a click and he saw Mogin's fist bouncing away from the Jap's chin. The Jap went to sleep.
"I'll drive around the block a few times," Mogin said.
Frey went up the steps again and took his time going through the pale orange room, the burnt orange room. Then he was moving slowly and very quietly as he heard voices coming from the other pale orange room. The orange door was closed but Frey managed to get in a look through the side windows of the studio. The windows were slits of glass running from the floor to the ceiling, and through them Frey saw Tess Rillette and Lasseroe and Daisy Hennifer.
They were all talking at once and at first their voices were low but then they started to argue and Frey got in on it.
"Clever, weren't you, Daisy?" Tess Rillette was saying. "You asked me to be your guest at the hotel, and I thought it was hospitality. But what you really wanted was to keep me away from here. You didn't want Harry to get in touch with me."
"That's a lie," Daisy said. "I asked you to stay at the hotel purely for business reasons. I wanted you to work on those inlaid ivories – "
"That's what I thought – at first," Tess Rillette said. "But I know the truth now. You wanted to keep me away from Harry. You thought maybe you had one last chance of winning him back. And when you found out it was futile – you killed him!"
"She's right, Daisy," Lasseroe said. "You killed Harry Duggin. You worshipped him – and hated him!"
He got out of the chair and pointed at her, and a few glasses on a cocktail tray tipped over.
Daisy was shouting, "You're both lying! You're trying to place the blame on me and switch things around so that I'll be put out of the way. You're trying to commit – double murder!"
"Just what do you mean by that?" Lasseroe said.
Daisy's voice was lowered as she stared at the art appraiser and said, "You killed him. You had every reason to kill him, and you did it. And now you're trying to get me out of the way. I know the truth about you, Lasseroe. I know how you've been swindling art patrons, charging them exorbitant prices for cheap junk such as Tess puts out – "
Tess Rillette wasn't taking this sitting down. She started to call Daisy a lot of nasty names. It was all very unpleasant.
And then Lasseroe said, "You've got a lot of influence around this town, haven't you, Daisy?"
She liked that. She nodded. And there was a mean smile on her lips. Lasseroe was moving slowly toward her, and his face was pale. There was a light in the man's eyes that told Frey a lot of things. Frey reached into his coat pocket and touched the revolver to make sure that it was still there.
"You've got a lot of mouth, too," Lasseroe was saying.
"Just what do you mean by that?" Daisy looked at him straight.
"You may turn out to be quite an annoyance," Lasseroe said. He kept moving toward her.
Tess Rillette was grabbing Lasseroe's arm, saying, "Please – enough has already happened – "
But Lasseroe was excited and he was pushing Tess Rillette away and then he was making a grab for Daisy. She fell backward and he went over with her and he got his fingers around her throat. She managed to scream once and then she started to gurgle. Frey opened the door and took out his revolver and pointed it at Lasseroe's spine.
"All right," he said, "Let's stop playing."
But Lasseroe was out of control now and he was choking the life out of Daisy Hennifer. He didn't seem to hear Frey, and he increased the pressure of his fingers around Daisy's windpipe. Tess Rillette was screaming and putting herself between Frey and Lasseroe, in an ungraceful try at the old martyr act.
Frey knew that he couldn't stand on ceremony. He had to break it up and break it up fast. He pushed Tess Rillette and she didn't like being pushed. She was screaming now, and she threw fingernails at his face. He let her have a slow right to the jaw and it sent her across the room, spinning.
Then he had a try at Lasseroe.
He tried to pull Lasseroe away from Daisy Hennifer, who by now was in a very bad way. But Lasseroe was a maniac now and he wanted to take the life away from the jewelry designer. Frey knew that he would have to use the revolver. He lifted it and then allowed the butt to come down and make contact with Lasseroe's skull.
Lasseroe went to sleep.
"We'll take them all down to Harry's apartment," Frey said. "If the cops aren't there already, it'll be a good idea to finish the case right on the spot where it started."
"That's a very good idea," Mogin said. "I have a hunch that this will put us on the map."
Frey nodded. He prodded Lasseroe with the revolver and said, "You and Miss Rillette will sit in the opera seats with me. Miss Hennifer will ride in front." He touched the shivering Jap on the elbow and said, "The studio is in quite a bad state. Better go in there and rearrange things. If you have any questions to ask Miss Rillette, maybe you better call the police station. That'll be her temporary address before she goes away on a long trip."
He stepped into the coupe and closed the door. Lasseroe was manacled to him and Miss Rillette was manacled to Lasseroe. Daisy was still groaning as Mogin put the car in first and sent it whizzing down the street.
"You're making a big mistake," Lasseroe said.
"I wouldn't talk about making mistakes if I were you," Frey said lightly. He felt very good. All a private investigator needed was one good break like this, and he was made. The cases would come in thick and fast, and so would the dough. Frey smiled.
Tess Rillette was saying, "I told you, Mr. Frey – you were letting yourself in for a lot of difficulty, and – "
"Do I turn here?" Mogin was saying.
There were a few police cars in front of the high-class apartment where Harry Duggin had lived, and where he had died. The coupe parked across the street and Frey saw the crowd and the reporters. He said, "All right – here we go."
Everyone was looking and murmuring as the five of them went into the apartment house. A cop walked over and said, "What's this?"
"It's the Harry Duggin case," Frey said.
They stepped into the elevator and went up seven floors to the apartment. There were a lot of cops up there, a lot of plain clothes men and lads from the homicide bureau. Reporters and photographers and a doctor.
"What's this?" a plain clothes man said.
"It's the Harry Duggin case," Frey said.
The mob crowded around. This little deal was taking place in the living room of the apartment. The dick was saying, "Carven is in the bedroom. He's talking to Duggin's valet." He frowned at Frey and said, "What have you got?"
"Enough," Frey said. He pointed to Lasseroe. "Here's your baby. I'm going in and talk to Carven."
As he started for the bedroom door he heard Lasseroe saying, "You're making a big mistake – "
Frey smiled.
He went into the bedroom and he saw Carven, the big shot detective. He saw the two cops in there and he saw the valet, and then the corpse of Harry Duggin. Carven had the valet by the back of the neck. Carven was a big man and he was forcing the valet to look down at Harry Duggin's dead face.
Carven was saying, "Look at him. He's dead. Do you get that? He's dead. You called us in here and you figured that would automatically put you out of the picture. And you told us that a guy by the name of Frey came in here this morning and killed him. But Frey's an old pal of mine. Frey's a private dick – a lousy one, reckless and careless, but still he's a dick and your story didn't go. You killed Duggin – why – why – ?"
Not only was Carven big, he was plenty tough. He gave the valet a short left and a mean right to the ribs. The valet broke.
"I – I killed him," he said, and it turned into a sob. "I – I wanted something that he owned – "
"What was it?" Carven said. He raised his head, clipped to one of the cops, "Take this down."
The valet was sobbing, saying, "He had a fortune in little marble statues. He was always talking about those marble statues, telling me how priceless they were. He – kept talking about those statues all the time, telling me that the greatest sculptress in the world made them – and that money couldn't buy them. That's all he talked about – the statues made by Tess Rillette. He – drove it into me – made me crazy with the desire to own them. I – I – put a knife into him – "
Carven grinned. He looked at the cops and said, "Pretty fast, wasn't it? We came in on this case exactly two and a half hours ago. I can well imagine what happened to that wise guy Frey. He came in here this morning and he saw Duggin lying dead in bed and he figured he'd go out with his stooge Mogin and do big things. I'd like to see his face when he finds out – "
Then he turned and saw Frey's face.
Mogin was talking loud and fast. He was saying, "What're you crying the blues about? It was just a bad break, that's all. And at least we pinned something on somebody. We got that smart bird Lasseroe locked up for fake art manipulations, and – "
They were walking toward the coupe. Frey was shaking his head and his head was hanging low. He said, "Can we make a late double feature?"
"Sure," Mogin said. He put his heavy hand on Frey's shoulder and said, "It's a good idea. We'll go to the movies and get it off our minds. Don't worry, pal. Better days are coming. Hey – where you goin'?"
Frey was walking away from the coupe, toward a corner drug store. "I'll be right back," he said. "I just want to go in here and take an aspirin. It'll help me wait for the better days."
THE COP WAS A COWARD
by WILBUR S. PEACOCK
Johnny Burke had the making of a fine cop in him … but there was something mighty strange about Johnny Burke – something mighty strange!
I liked the looks of Johnny Burke the first time I saw him. He was one of the cadets who had been signed on less than six months before. He was still on the probation lists, but I could see that he had the making of a fine cop in him.
"Sergeant Southern?" he asked, when he found me in the garage, where I was wiring in a new radio, "My name's Johnny Burke, and I've been detailed to work with you in 27."
"Glad to know you, Burke," I said, coming out from underneath the dashboard of the cruiser.
We shook hands, after I had wiped some of the oil from mine, and I winced a bit from the pressure of his fingers. I got my first good look at him then, and I felt my first bit of confidence since Riley, my old partner, had been detailed to the north end of the district.
He was big, and I mean big. Six feet four, he must have been, and must have weighed close to two and a quarter. Wide shoulders tapered into a narrow waist, his blond head sat squarely on his shoulders, and he carried himself with a panther-like grace. He appeared to be a swell partner to hold down the other half of cruiser 27.
I said as much, and he flushed at the compliment, which was another thing that took my liking. Too many of the cadet cops think they're big shots and are inclined to belittle the men who had been cops before they were out of three-cornered pants.
"I hope so," he said, "for I want to be a cop more than anything else in the world."
I grinned from my scant six feet. "Okay, let's see how we'll work in double harness. Shed that coat, and give me a hand with this set."
"Right," he said, and the two of us went to work.
That was our first meeting, and the one in which I judged him for the first time. I liked the kid and I let him know it, tried to put him wise to some of the things I've learned in ten years on the force. He listened to everything I said, tried to fit it in with the theories the police school had pumped into his brain. Some of it, I knew, he discarded because it didn't sound logical, but other parts seemed to make an impression on him.
He rode the other half of the seat with me for the next week, learning the neighborhood that was our patrol, memorizing names and locations and addresses as I gave them out. He learned fast, and I knew I had drawn a honey of a partner.
Still, there was something strange about him that I couldn't quite analyze. When we were alone, or when we were with the other men at one of the stations, he was big and quiet, seeming to know that he was not out of place. But when we made periodic inspections of boarding houses and the like, he was an entirely different person. He walked stiffly, his arms braced a bit at his sides. His face became a trifle white and his lips thinned, making him seem somebody suddenly alien to the kid I had for a partner. I didn't understand it, and in a way it shook my confidence in him, which, of course, meant that ours was not the instinctive partnership it should have been.
That sounds rather silly when I tell it, but there is nothing childish or amusing in its practical application. Cop teams should be as closely in accord as Tom and Jerry, or sorghum and flapjacks. The average person thinks that the mere routine of following orders takes care of the partnership angle, but that isn't the fact. Teams have to know exactly how much confidence each can place in the other, and each must know the capabilities of the other, or the two men don't make a good team.
And here was this new cadet partner of mine acting strangely as the devil any time the mere routine of covering the district became broken. I didn't like it, but I kept my mouth shut, waiting to see something definite that would prove something one way or the other.
Then one day, down in the station gymnasium where daily calisthenics must be taken, I got my first inkling of the mental twist that was in Burke's brain.
There were half a dozen of us in the place; some of the men boxing the bags, some on the bars, and Burke and I on the wrestling mats. He and I had been practicing jiu jitsu for ten minutes, and both of us were working up a good perspiration. Neither of us had the advantage for the moment, so I went in for a quick wristlock and spin.
Burke straightened as I came forward, squatted and drove forward with catlike speed. Before I knew what was happening, he had caught me with a knee catch and a hip flip, and I was skidding across the rough canvas on my face. I was growling to myself for being caught with an elementary trick, and came whipping back with my hands outspread in catch-all style.
There was blood on my face, although I didn't know it, and since I'm none too soft looking at best, I must have appeared to be rather in a mad rage at being thrown by a man of less skill than I.
I was half-crouched and gathering myself for a quick burst of energy. I noticed Burke's hands coming into position for sudden defense, and for a moment the mere fact that they were in position meant quite a bit to me. For there is no such thing as placing hands in defensive position in Jiu Jitsu; the entire science of this particular wrestling lies in keeping your hands out of the reach of your opponent.
I stopped momentarily, sudden wonder filling my mind. Burke's hands seemed to be warding off some unknown danger that was threatening, and I caught the flicker of some emotion in his grey eyes. I straightened out of my crouch, forced myself not to reveal what I had just seen.
Burke backed off a step, and slowly some of the tightness went out of his face and arms. He breathed deeply, and the sound was strangely like a gasp of relief.
"Whew!" he said relievedly, "I thought for a moment we were going to have a real fight."
I grinned, watching every play of emotion on his face, and carefully weighing every nuance in his tone of voice. And as suddenly as though somebody had told me, I knew he had a strip of yellow squarely up his back.
"That shouldn't worry you," I countered, "You could tie me into knots."
"Yeah?" he said skeptically, "And while I was tying you in knots, what would you be doing?"
I grinned, but I felt suddenly sick inside. Somehow, in the past week, I had come to think a lot of the kid. And now, despite his strength and brains and college degree, I knew that our days as partners in 27 were numbered.
I stretched, headed toward the showers, not answering his question.
"Come on," I said, "We've got just enough time for a cup of coffee before our shift."
I watched him that night and for the next three days. Now that I was particularly noticing him, I could see that my analysis was right. He was like any other cop I had ever known while in comparative safety, but when out of the usual routine and into some beer dive or fairly tough hangout, he was yellow clear to his heart.
He proved that one night when we picked up a quartet of drunks at a dive on the south end of our district. We went there on radioed orders, the complaint being phoned into headquarters by some old maid whose sleep was disturbed.
I shoved through the door of the dive, Burke following close behind. The report had been right, for we could hear the quartet murdering 'Sweet Adeline' in the back room. We went down the narrow passage and over to the drunks' table.
"Come on, fellows," I said, "we're going for a little ride."
Burke stood at my side, not saying anything, carrying himself with that same strained look that I had noticed the first few days we were together. The drunks joked with me at first, insisting that Burke and I have a drink or two with them. I wheedled with them for a while, not wanting to get tough.
And then the entire situation changed. The drunks got ugly, wanted to fight. I obliged them, taking the two on my side of the table, leaving the other two for Burke. I crossed a short right, then lifted a left, and turned to see how my partner was doing.
One of his own men was down, a bloody welt along the side of his head, and the other was cowering drunkenly from the heavy gun in Burke's fist. I knocked the gun up just as his finger pulled the trigger. I caught the gun from his hand, looked at his face in amazement.
"What the hell do you think you're doing, Burke," I yelled, "These men aren't criminals; they're just drunk!"
"He was going to hit me with a beer bottle."
"So what!" I was shaking with the nearness with which tragedy had almost struck. "Hell, you don't shoot a man because of that!"
"But that's what that gun's for. I'm supposed – "
I looked at the drunks, who were rapidly sobering. "Get out of here and go home," I said, then turned to Burke, "Come on, let's get out of here."
I reported over the two-way radio that a gun had been fired accidentally, in case somebody phoned in about it, also explained that the drunks had disappeared when we got to the scene of the complaint. Then I turned back to Burke who was huddled in white-faced silence in the side of the seat.
"For God's sake, Johnny," I said slowly, "Just because you're a cop and wear a badge doesn't give you the license to shoot that gun any time you get a notion."
"I know," he said miserably, "I know."
And that was all that was said that night. Burke was uncommunicative and sullen the rest of the shift, seeming to realize now just what a boner he had pulled. As for me, I still shook with horror when I remembered how close he had come to putting a slug through the drunk. I didn't say any more, even tried to apologize for his action in my mind.
1 tried to cover up for him by saying that he was just a rookie and untrained. Too, I remembered how frightened I was the first time I had any trouble. I walked into a gang fight and waded into the leader of one gang. I had my man down, and was bouncing his head on the sidewalk, when other cops pulled me off. I was so scared that I didn't even know he had been unconscious for seconds. Luckily, I hadn't killed him in my unreasoning excitement.
So I covered for my new partner, and acted as though he had made but a natural mistake.
But I was only kidding myself, for two nights later, he let me down again.
It was about eleven at night, and the streets were slowly clearing of traffic, when we rode right into the center of a bank job. I was at the wheel, thinking what a swell life my girl and I were going to have when I got promoted to a detective's job. I pulled around the corner onto Harper street, and into the path of a tommy gun's fire.
We went over the curb, the tires shot to ribbons, before I had time to take a deep breath. I went sideways out of the door, grabbing my gun as I rolled on the pavement. I came up shooting at the two men who were in the touring. I heard Burke yell something from the other side of the cruiser.
And then a couple of slugs spun me like a top, and I hit the ground, having only a hazy memory of seeing Tony Flasco dodging out of the bank's door with another guy. I passed out cold, the drum of the touring's motor sounding in my ears.
I woke up once, when Burke came around the car to see how badly I was hit. I went back into blackness remembering that the flap to his belt gun was still fastened. The yellow rat hadn't even pulled his gun!
The next thing I remember was asking for a slug of whiskey and not getting it. After that, I slowly came back to earth. I hadn't been hit so badly; just bullet shock and a nicked shoulder to keep me in bed for a couple of days. Within forty eight hours, I was sitting up, and a week later I was aching to get back into harness again. True, I was still a bit muscle tender, but I figured a thing like that shouldn't be considered when a killer like Tony Flasco is running around loose.
I wouldn't see Johnny Burke in the hospital; I wanted nothing to do with him again. So, each time he tried to visit me, I had the nurse tell him I was asleep. Finally, he must have taken the hint, for he didn't come around any more.
I felt pretty badly about the kid, but I felt worse when Riley, my old partner, visited me. He came through the door of the hospital room, that map of Ireland he uses for a face ruffled up in a wide grin.
"I warned you, Southern," he said, "but you would play with the big boys. Now, look at you – your pants are ripped."
"Oh, shut up and sit down," I snapped from the wheelchair, trying not to grin, "Who the hell do you think you are – Dorothy Dix! Cripes, you've got enough slugs in you to make you rattle like a dice box!"
"My, what a nasty temper. Tch, tch, tch!"
"Okay, okay, go ahead and gloat. But first, let's hear the latest from headquarters."
And then his face wasn't grinning, instead it grew hard like granite. He told me the details that the chief hadn't let me know, for fear that I would get worried. Suddenly, I lost all desire to joke, too.
Tony Flasco, his lieutenant Vance, another killer named Keeper, and an unidentified man were in the mob that shot me down. They had forced the bank's cashier to open the bank for them at night, had murdered the watchman and then left the cashier for dead. He had rallied enough to identify two of the men from pictures. Burke's and my stories had fitted in the other pieces.
