Supernatural Noir (25 page)

When we made the upper landing, we went through the door where Susan’s body lay. I looked in the coffin. She was nude, looking a lot rougher than before. Perhaps the ghoul had gotten the last of her, or without him to keep her percolating with his magic, she had gone for the last roundup, passed on over into true, solid death. I hoped in the end her soul had been hers, and not that monster’s.

I let go of Cathy, and, using the ax for support, made it to the window. The dark sawdust was piled deep below.

Stumbling back to the coffin, I dropped the ax, got hold of the edge, and said, “Push.”

My thinking was maybe we could save Susan’s body for reburial. Keep it away from flames. I didn’t need to explain to Cathy. She got it right away. Together we shoved the coffin toward the window.

We pushed the coffin and Susan out the window. She fell free of the box and hit the sawdust. We jumped after her.

When we were on the pile, spitting sawdust, trying to work our way down the side of it, the sawmill wall started to fall. We rolled down the side of the piled sawdust and hit the ground.

The burning wall hit the sawdust. The mound was high enough we were protected from it. We crawled out from under it and managed to get about fifty feet away before we looked back.

The sawmill, the sawdust, and poor Susan’s body—which we had not been able to save—and whatever was left of Cauldwell Hogson was now nothing more than a raging mountain of sizzling, crackling flames.

——

Joe R. Lansdale
has been a freelance writer since 1973, and a full-time writer since 1981. He is the author of thirty novels and eighteen short-story collections, and has received the Edgar Award, seven Bram Stoker Awards, the British Fantasy Award, and Italy’s Grinzani Prize for Literature, among others.

“Bubba Ho-Tep,” his award-nominated novella, was filmed by Don Coscarelli and is now considered a cult classic, and his story “Incident On and Off a Mountain Road” was filmed for Showtime’s
Masters of Horror
.

He has written for film, television, and comics, and is the author of numerous essays and columns. His most recent works are a collection from the University of Texas Press,
Sanctified and Chicken Fried
;
The Portable Lansdale
; and
Vanilla Ride
, his latest in the Hap Collins–Leonard Pine series. The series has recently been released in paperback from Vintage Books.

Lee Thomas

—

Sylvian Newman strolls along the boulevard. She is already late for her rendezvous with Louis Towne, but the delay is calculated. The nights she makes Louis wait are always the most exciting, so she takes her time, stopping at brightly lit shop windows along the street to peer in at the teasing displays. At Genevieve’s a glittering stream of diamonds pulls her to the glass like a magnet. The necklace is draped over a black velvet bust, and the clear gems twinkle like tiny stars. At their center is a perfect ruby the size of a postage stamp. Sylvia has never seen anything so beautiful in her life, and though Louis is rich, she knows he will never be diamonds-and-rubies generous with her. Besides, the shop owners in this part of town know Louis well. They also know his wife.

Leaving behind the beautiful gems, she continues to the corner. Sylvia spots Louis standing by his car under a street lamp across the intersection. His angry expression is emphasized by the shadows, and the sight of his frown sends a thrill through her. He will complain about being made to wait in a neighborhood where he is so well known. He’ll sulk over dinner and threaten to dump Sylvia on her ass for being such a pain in his, and when he fucks her, it will be brutal without a hint of tenderness, and Louis will think he’s punishing her. Sylvia is more than happy to allow him the illusion.

Louis stands up straight and throws his shoulders back when he sees her across the street. He is an odd-looking man, with chipmunk cheeks and a perpetual coffee-ground stubble covering them. His ears are abnormally small and stick away from his head. He is not repellent to look at, but nearly so. For Sylvia, the attributes that make him attractive—his power and his money—sufficiently offset his passing resemblance to a rodent. Besides, he is a natty dresser, always wearing crisp Italian suits perfectly tailored to his stout form, so he looks sharp, if not handsome.

When she reaches the corner, Sylvia lifts her hand to wave. Louis shoves his hands in the pocket of his slacks in a gesture meant to show his irritation.

Behind Louis, a tall, burly man, wearing a black woolen overcoat and a wide-brimmed hat pulled low to hide his face, appears on the sidewalk. His stride is purposeful. With his left hand he draws a handgun from the pocket of his coat and swings it up in a smooth arc. Sylvia’s heart and lungs turn to ice water, and she opens her mouth to call a warning.

The muzzle of the gun flares. Then, in unison with the
crack
of the pistol’s report, a hole appears in Louis’s face, producing a spray of brain and blood and teeth to shower the sidewalk before he collapses. The giant of a man leans down and puts another bullet in the head of Sylvia Newman’s lover.

Sylvia pivots on her toes and hurries back the way she came.

——

Sylvia did not attend Louis Towne’s funeral, but I did. Being Towne’s lawyer, I felt a professional obligation to say farewell to my client; the decision certainly had nothing to do with respect or affection for the man.

The service was held at St. Michael’s Cathedral, an institution to which Towne had donated considerably over the years. A bishop presided over the ceremony, standing behind the altar and speaking exalted words above a polished mahogany coffin that contained the earthly remains of a base and violent man—a man I had come to see as evil in every possible way. The irony that the church should so laud such a monster seemed lost on the other mourners. Members of the congregation wept and held each other for comfort. Hard faces, streaked with tears, looked heavenward for answers. “Why?” a woman sobbed in the pew ahead of mine.

I, too, asked why. Why had it taken so long for God to rid the world of this filth? At least they’d kept the coffin closed for the mass, so I didn’t have to lay my eyes on him again.

Louis Towne had come to me fifteen years ago to hire my services. Despite ample clues—unheeded because of my naiveté and a certain level of professional denial—it took me a year to discover the nature of my client’s business, and I’d almost dropped him on the spot once I did. But the truth was Towne paid well. He paid on time. And Towne scared me. Part of the fear was rational; he was a gun-toting thug, whose curriculum vitae included maiming and murder and a hundred lesser crimes. In this, he was not unique. More than likely, dozens of men who had acquired the same level of brutal experience occupied the cathedral’s pews, but Towne’s intimidation did not end with the obvious. There was another level to his threat, one which I could only call mystical. Even before he entered a room I would feel the air thicken, grow dense with his detestable presence. Sometimes, in the middle of a conversation, Towne’s eyes would harden and he’d begin speaking phrases in Latin. Occasionally a familiar word would emerge from the babble, and though I could never put together exactly what he was saying, hearing him quote this dead language soon had the power to shrivel my skin into goose flesh.

Ahead of me and to the left, a man with broad shoulders bowed his head, revealing a scarred nape. I wondered if he had carried his gun into the cathedral, and then I wondered how many murderers shared the room with me, and the mockery of God and His house settled in my gut like writhing worms.

I didn’t buy into the macho glamour of the mobs. I saw nothing honorable in the rackets, and the lifestyle they promoted—easy wealth carried over the bodies of the ignorant and unfortunate. They talked about respect and brotherhood and family, but it was all grease for the cogs, making sure the greed machine didn’t break down. Friends were as expendable as rivals if it cleared the path to a buck.

At the altar, the bishop began a prayer in Latin. I shuddered.

——

Sylvia carries a photograph of her father in her purse. He is tall and wiry, and his flat nose and lipless mouth call to mind the face of a python.

Sylvia is nine years old. She is on the floor watching television when she hears her father shouting. Her body tenses, and a web of ice-cold filaments locks to the back of her skull. Matt, her older brother, shouts, and a great crash follows. Her father bellows, his voice shaking the thin walls of the house like an approaching train.

This scene is familiar to Sylvia. Her father is at turns sweet and doting and cruel and violent. Alcohol flicks the switch. At least once a week her father beats her siblings, laying them flat like a scythe moving through wheat. He has never raised his hand to Sylvia, but that fact does nothing to alleviate her fear. Even so young she understands the indiscretion of blind rage.

Matt comes charging into the living room and barrels into the kitchen. He throws open the back door and vanishes into the night.

Sylvia’s father stumbles into the room, growling deep in his throat like an angry dog. He swings his head from side to side and then his eyes lock on Sylvia, causing the icy web at her skull to spread over her entire body. She crawls away from the man and climbs to her feet as her father stomps forward. Confused and frightened, she follows Matt’s path, but she stops in the kitchen. She doesn’t want to run from her father, shouldn’t
have
to run from him.

“You brats ruined my life,” he says. Spit foams at the corner of his mouth. His eyes are hard as glass and burn hate as if lit from within. “I could have gone places.”

Backed to the stove, Sylvia pulls a saucepan of boiling water off the burner. She ignores the too-hot handle, and splashes her father’s crotch with the contents, and when he bends over, howling in pain, she cracks the saucepan across his skull. He drops to his knees, and she hits him again.

——

Sylvia checks her hair in the reflection of the glass door before pulling it open. She enters Club Barlow like a movie star walking the red carpet, wearing the awkward smile of grief she has spent hours practicing in front of a mirror—makes a show of waving at familiar faces, some of which aren’t even looking her way. She walks through the room, her steps landing in perfect time to the bossa nova track pouring from the club’s speakers. She takes a small booth on the far side of the dance floor with a gilt mirror at her back, and when the waitress comes for her order, she says, “Martini. Dry.”

The dance floor is empty. Nobody dances anymore. Sylvia thinks that’s a shame.

As she sips her drink a series of men come to her table. They do not sit beside her. Instead, they lean in close and tell Sylvia they are sorry for her loss, and if she ever needs anything—anything at all—she should call them. She promises to do so, though she never will. Their definition of “needing anything” goes no further than her crotch. Louis’s murder has left her a pretty shell, vacant on the sand, and every fucking hermit crab on the beach is trying to wriggle its way in. Sylvia expects this. In fact, she knows it will work to her advantage, but not with these men. None of them has what Sylvia needs. They run their numbers and sell their smack and boost electronics from the backs of trucks. Graceless. Useless. Before her first drink is gone, she has already tucked five business cards into her handbag.

Across the room she sees Mickey Rossini, the man she was hoping to find. He is a large man, with thick salt-and-pepper hair brushed back from his brow in a lush wave. His suit is ash gray and cheap. With his arm around a bleach job half his age, he looks as happy as a bear with a mouth full of honey. His overly broad grin and hooded eyes show he’s devoted much of his night to drinking. He has a reputation among the ladies—gentle, sweet, affectionate. Sylvia thinks that’s a shame, though she can live with it until she gets what she needs. She stands from the booth and smoothes the sides of her dress before lifting her handbag and crossing to Rossini’s table.

The blond is the first to notice Sylvia. She looks up with a bright, wide-eyed smile, which quickly vanishes. The girl recognizes the threat and immediately scowls, knowing she will have to defend her territory from another predator. Sylvia is unfazed.

When Rossini’s eyes fall on Sylvia, a noticeable amount of the intoxication clears from them. He’s wanted Sylvia for years, but she has shot him down at every turn. Rossini is a thief; he jacked locks and cracked safes for Louis, making a fraction of a fraction of the money the things he stole were worth. She’d never needed him before.

“Hello, Mickey,” she says.

Rossini straightens himself in the booth, removing his palm from the bottle job’s thigh. He leans back in the booth and says, “Sylvia, it’s good to see you.”

“Is this your wife?” the blond asks. She is sulking because Rossini’s expression tells her that she has already been subtracted from this equation.

“No,” he says.

“Then who the fuck is she?” the blond wants to know.

“She’s a friend. Don’t worry about it.”

“I didn’t mean to interrupt,” Sylvia says, playing demure. She locks eyes with Rossini and dips her chin bashfully, knowing the effect it will have on the man. “I’ll let you back to your evening.”

“Wait. Wait.” He nudges the blond and says, “Why don’t you go powder your nose. I need to have a word with Sylvia here.”

“Mickey,” the girl whines.

“It’s business,” he tells her. “Be a sweetheart and give us a couple of minutes, okay?”

He gives her a sloppy peck on the lips and produces a fifty-dollar bill and hands it to the young woman, who quickly drops the note into her purse. She scoots her butt across the booth, and as she stands, she fixes a glare on Sylvia, who pretends to ignore the girl’s attitude, but decides in that second to put a serious
fuck
you
in the little cunt’s night.

These amateur bitches, Sylvia thinks. They didn’t understand the game, and that’s why it ate them alive, leaving them shaking their tits in low-rent knocker shops by the docks to feed the bastard brats of sailors and warehouse men, waiting for some disease to slowly snuff their candles. Over the years, Sylvia had seen a hundred similar pieces of trash blown into the gutter, and she didn’t pity a single one of them.

“I really didn’t mean to interrupt,” Sylvia says, sliding into the booth next to Rossini. “It’s just that since . . . well, you know . . . I’ve been a little lost.”

“I know,” Rossini says, placing his hand on Sylvia’s knee in a salacious move he masks as mere comfort. “It’s gotta be tough. How are you holding up?”

“Fine,” she says. Already she has managed to work tears into her eyes. She sniffs lightly and retrieves a napkin from the table to dab her cheeks.

“Oh now, Sylvia,” says Rossini, scooting closer to her. He puts his arm around her shoulders and slides his hand higher on her thigh, re-creating the pose he’d assumed with the bottle job before Sylvia’s arrival. In a handful of moments, Sylvia has replaced the blond in the booth, in Rossini’s thoughts, and in the thief’s plans for the night.

Rossini is typical, a man led by his ego and his cock who believes himself the cure-all for a woman’s pain. His need to rescue her is an evolutionary blindfold, and though she finds his predictability unsatisfying, it serves her purpose.

——

Sylvia is twenty years old. For two years she has enjoyed an affair with Joe Tocci, a handsome and sophisticated man who will soon be named boss of his own crew. He is her lover and her employer, sending her on trips across the city, muling drugs and cash. Sylvia takes pride in her work, feeling she is paying her dues and earning respect within the rackets, unlike the other women who satisfy themselves in the roles of whore, wife, or victim.