The Simple Art Of Murder Part 9

Leopardi lowered the trombone and took a long drink from the gla.s.s at his elbow. His eyes glinted nastily. He lifted the trombone to his lips again, filled his lungs with air and blew a blast that rocked the walls. Then he stood up very suddenly and smoothly and smashed the instrument down on Steve's head.

"I never did like house peepers," he sneered. "They smell like public toilets."

Steve took a short step back and shook his head. He leered, slid forward on one foot and smacked Leopardi open-handed. The blow looked light, but Leopardi reeled all the way across the room and sprawled at the foot of the bed, sitting on the floor, his right arm draped in an open suitcase.

For a moment neither man moved. Then Steve kicked the trombone away from him and squashed his cigarette in a gla.s.s tray. His black eyes were empty but his mouth grinned whitely.

"If you want trouble," he said, "I come from where they make it."

Leopardi smiled, thinly, tautly, and his right hand came up out of the suitcase with a gun in it. His thumb snicked the safety catch. He held the gun steady, pointing.

"Make some with this," he said, and fired.

The bitter roar of the gun seemed a tremendous sound in the closed room. The bureau mirror splintered and gla.s.s flew. A sliver cut Steve's cheek like a razor blade. Blood oozed in a small narrow line on his skin.

He left his feet in a dive. His right shoulder crushed against Leopardi's bare chest and his left hand brushed the gun away from him, under the bed. He rolled swiftly to his right and came up on his knees spinning.

He said thickly, harshly: "You picked the wrong gee, brother."

He swarmed on Leopardi and dragged him to his feet by his hair, by main strength. Leopardi yelled and hit him twice on the jaw and Steve grinned and kept his left hand twisted in the bandleader's long sleek black hair. He turned his hand and the head twisted with it and Leopardi's third punch landed on Steve's shoulder. Steve took hold of the wrist behind the punch and twisted that and the bandleader went down on his knees yowling. Steve lifted him by the hair again, let go of his wrist and punched him three times in the stomach, short terrific jabs. He let go of the hair then as he sank the fourth punch almost to his wrist.

Leopardi sagged blindly to his knees and vomited.

Steve stepped away from him and went into the bathroom and got a towel off the rack. He threw it at Leopardi, jerked the open suitcase onto the bed and started throwing things into it.

Leopardi wiped his face and got to his feet still gagging. He swayed, braced himself on the end of the bureau. He was white as a sheet.

Steve Grayce said: "Get dressed, Leopardi. Or go out the way you are. It's all one to me.

Leopardi stumbled into the bathroom, pawing the wall like a blind man.

TWO.

Millar stood very still behind the desk as the elevator opened. His face was white and scared and his cropped black mustache was a smudge across his upper lip. Leopardi came out of the elevator first, a m.u.f.fler around his neck, a lightweight coat tossed oven his arm, a hat tilted on his head. He walked stiffly, bent forward a little, his eyes vacant. His face had a greenish pallor.

Steve Grayce stepped out behind him carrying a suitcase, and Carl, the night porter, came last with two more suitcases and two instrument cases in black leather. Steve marched over to the desk and said harshly: "Mr. Leopardi's bill-if any. He's checking out."

Millar goggled at him across the marble desk. "I-I don't think, Steve-"

"O.K. I thought not."

Leopardi smiled very thinly and unpleasantly and walked out through the bra.s.s-edged swing doors the porter held open for him. There were two nighthawk cabs in the line. One of them came to life and pulled up to the canopy and the porter loaded Leopardi's stuff into it. Leopardi got into the cab and leaned forward to put his head to the open window. He said slowly and thickly: "I'm sorry for you, gum-heel. I mean sorry."

Steve Grayce stepped back and looked at him woodenly. The cab moved off down the street, rounded a corner and was gone. Steve turned on his heel, took a quarter from his pocket and tossed it up in the air. He slapped it into the night porter's hand.

"From the King," he said. "Keep it to show your grand-children."

He went back into the hotel, got into the elevator without looking at Millar, shot it up to Eight again and went along the corridor, master-keyed his way into Leopardi's room. He relocked it from the inside, pulled the bed out from the wall and went in behind it. He got a .32 automatic off the carpet, put it in his pocket and prowled the floor with his eyes looking for the ejected sh.e.l.l. He found it against the wastebasket, reached to pick it up, and stayed bent over, staring into the basket. His mouth tightened. He picked up the sh.e.l.l and dropped it absently into his pocket, then reached a questing finger into the basket and lifted out a torn sc.r.a.p of paper on which a piece of newsprint had been pasted. Then he picked up the basket, pushed the bed back against the wall and dumped the contents of the basket out on it.

From the trash of torn papers and matches he separated a number of pieces with newsprint pasted to them. He went oven to the desk with them and sat down. A few minutes later he had the torn sc.r.a.ps put together like a jigsaw puzzle and could read the message that had been made by cutting words and letters from magazines and pasting them on a sheet.

TEN GRAND BY TH U RS DAY NI GHT, LEO PAR DI. DAY AFTER BY TH U RS DAY NI GHT, LEO PAR DI. DAY AFTER YOU YOU OPEN AT T OPEN AT T HE HE CL U B SHAL OTTE. OR EL SE-CURTAINS. FROM HER BROTHER. CL U B SHAL OTTE. OR EL SE-CURTAINS. FROM HER BROTHER.

Steve Grayce said: "Huh." He scooped the torn pieces into a hotel envelope, put that in his inside breast pocket and lit a cigarette. "The guy had guts," he said. "I'll grant him that-and his trumpet."

He locked the room, listened a moment in the now silent corridor, then went along to the room occupied by the two girls. He knocked softly and put his ear to the panel. A chair squeaked and feet came towards the door.

"What is it?" The girl's voice was cool, wide awake. It was not the blonde's voice.

"The house man. Can I speak to you a minute?"

"You're speaking to me."

"Without the door between, lady."

"You've got the pa.s.skey. Help yourself." The steps went away. He unlocked the door with his master key, stepped quietly inside, and shut it. There was a dim light in a lamp with a s.h.i.+rred shade on the desk. On the bed the blonde snored heavily, one hand clutched in her brilliant metallic hair. The black-haired girl sat in the chair by the window, her legs crossed at right angles like a man's and stared at Steve emptily.

He went close to her and pointed to the long tear in her pajama leg. He said softly: "You're not sick. You were not drunk. That tear was done a long time ago. What's the racket? A shakedown on the King?"

The girl stared at him coolly, puffed at a cigarette and said nothing.

"He checked out," Steve said. "Nothing doing in that direction now, sister." He watched her like a hawk, his black eyes hard and steady on her face.

"Aw, you house d.i.c.ks make me sick!" the girl said with sudden anger. She surged to her feet and went past him into the bathroom, shut and locked the door.

Steve shrugged and felt the pulse of the gin! asleep in the bed-a thumpy, draggy pulse, a liquor pulse.

"Poor d.a.m.n hustlers," he said under his breath.

He looked at a large purple bag that lay on the bureau, lifted it idly and let it fall. His face stiffened again. The bag made a heavy sound on the gla.s.s top, as if there were a lump of lead inside it. He snapped it open quickly and plunged a hand in. His fingers touched the cold metal of a gun. He opened the bag wide and stared down into it at a small .25 automatic. A sc.r.a.p of white paper caught his eye. He fished it out and held it to the light-a rent receipt with a name and address. He stuffed it into his pocket, closed the bag and was standing by the window when the girl came out of the bathroom.

"h.e.l.l, are you still haunting me?" she snapped. "You know what happens to hotel d.i.c.ks that master-key their way into ladies' bedrooms at night?"

Steve said loosely: "Yeah. They get in trouble. They might even get shot at."

The girl's face became set, but her eyes crawled sideways and looked at the purple bag. Steve looked at hen. "Know Leopardi in Frisco?" he asked. "He hasn't played here in two years. Then he was just a trumpet player in Vane Utigore's band-a cheap outfit."

The girl curled her lip, went past him and sat down by the window again. Her face was white, stiff. She said dully: "Blossom did. That's Blossom on the bed."

"Know he was coming to this hotel tonight?"

"What makes it your business?"

"I can't figure him coming here at all," Steve said. "This is a quiet place. So I can't figure anybody coming here to put the bite on him."

"Go somewhere else and figure. I need sleep."

Steve said: "Good night, sweetheart-and keep your door locked."

A thin man with thin blond hair and thin face was standing by the desk, tapping on the marble with thin fingers. Millar was still behind the desk and he still looked white and scared. The thin man wore a dark gray suit with a scarf inside the collar of the coat. He had a look of having just got up. He turned sea-green eyes slowly on Steve as he got out of the elevator, waited for him to come up to the desk and throw a tabbed key on it.

Steve said: "Leopardi's key, George. There's a busted mirror in his room and the carpet has his dinner on it-mostly Scotch." He turned to the thin man.

"You want to see me, Mr. Peters?"

"What happened, Grayce?" The thin man had a tight voice that expected to be lied to.

"Leopardi and two of his boys were on Eight, the rest of the gang on Five. The bunch on Five went to bed. A couple of obvious hustlers managed to get themselves registered just two rooms from Leopardi. They managed to contact him and everybody was having a lot of nice noisy fun out in the hall. I could only stop it by getting a little tough."

"There's blood on your cheek," Peters said coldly. "Wipe it off."

Steve scratched at his cheek with a handkerchief. The thin thread of blood had dried. "I got the girls tucked away in their room," he said. "The two stooges took the hint and holed up, but Leopardi still thought the guests wanted to hear trombone music. I threatened to wrap it around his neck and he beaned me with it. I slapped him open-handed and he pulled a gun and took a shot at me. Here's the gun."

He took the .32 automatic out of his pocket and laid it on the desk. He put the used sh.e.l.l beside it. "So I beat some sense into him and threw him out," he added.

Peters tapped on the marble. "Your usual tact seems to have been well in evidence."

Steve stared at him. "He shot at me," he repeated quietly. "With a gun. This gun. I'm tender to bullets. He missed, but suppose he hadn't? I like my stomach the way it is, with just one way in and one way out."

Peters narrowed his tawny eyebrows. He said very politely: "We have you down on the payroll here as a night clerk, because we don't like the name house detective. But neither night clerks nor house detectives put guests out of the hotel without consulting me. Not ever, Mr. Grayce."

Steve said: "The guy shot at me, pal. With a gun. Catch on? I don't have to take that without a kickback, do I?" His face was a little white.

Peters said: "Another point for your consideration. The controlling interest in this hotel is owned by Mr. Halsey G. Walters. Mr. Walters also owns the Club Shalotte, where King Leopardi is opening on Wednesday night. And that, Mr. Grayce, is why Leopardi was good enough to give us his business. Can you think of anything else I should like to say to you?"

"Yeah. I'm canned," Steve said mirthlessly.

"Very correct, Mr. Grayce. Good-night, Mr. Grayce."

The thin blond man moved to the elevator and the night porter took him up.

Steve looked at Millar.

"Jumbo Walters, huh?" he said softly. "A tough, smart guy. Much too smart to think this dump and the Club Shalotte belong to the same sort of customers. Did Peters write Leopardi to come here?"

"I guess he did, Steve." Millar's voice was low and gloomy.

"Then why wasn't he put in a tower suite with a private balcony to dance on, at twenty-eight bucks a day? Why was he put on a medium-priced transient floor? And why did Quillan let those girls get so close to him?"

Millar pulled at his black mustache. "Tight with money-as well as with Scotch, I suppose. As to the girls, I don't know."

Steve slapped the counter open-handed. "Well, I'm canned, for not letting a drunken heel make a parlor house and a shooting gallery out of the eighth floor. Nuts! Well, I'll miss the joint at that."

"I'll miss you too, Steve," Millar said gently. "But not for a week. I take a week off starting tomorrow. My brother has a cabin at Crestline."

"Didn't know you had a brother," Steve said absently. He opened and closed his fist on the marble desk top.

"He doesn't come into town much. A big guy. Used to be a fighter."

Steve nodded and straightened from the counter. "Well, I might as well finish out the night," he said. "On my back. Put this gun away somewhere, George."

He grinned coldly and walked away, down the steps into the dim main lobby and across to the room where the radio was. He punched the pillows into shape on the pale green davenport, then suddenly reached into his pocket and took out the sc.r.a.p of white paper he had lifted from the black-haired girl's purple handbag. It was a receipt for a week's rent, to a Miss Marilyn Delorme, Apt. 211, Ridgeland Apartments, 118 Court Street.

He tucked it into his wallet and stood staring at the silent radio. "Steve, I think you got another job," he said under his breath. "Something about this set-up smells."

He slipped into a closetlike phone both in the corner of the room, dropped a nickel and dialed an all-night radio station. He had to dial four times before he got a clear line to the Owl Program announcer.

"How's to play King Leopardi's record of 'Solitude' again?" he asked him.

"Got a lot of requests piled up. Played it twice already. Who's calling?"

"Steve Grayce, night man at the Carlton Hotel."

"Oh, a sober guy on his job. For you, pal, anything."

Steve went back to the davenport, snapped the radio on and lay down on his back, with his hands clasped behind his head.

Ten minutes later the high, piercingly sweet trumpet notes of King Leopardi came softly from the radio, muted almost to a whisper, and sustaining E above high C for an almost incredible period of time.

"Shucks," Steve grumbled, when the record ended. "A guy that can play like that-maybe I was too tough with him."

THREE.

Court Street was old town, wop town, crook town, arty town. It lay across the top of Bunker Hill and you could find anything there from down-at-heels ex-Greenwich-villagers to crooks on the lam, from ladies of anybody's evening to County Relief clients brawling with haggard landladies in grand old houses with scrolled porches, parquetry floors, and immense sweeping banisters of white oak, mahogany and Circa.s.sian walnut.

It had been a nice place once, had Bunker Hill, and from the days of its niceness there still remained the funny little funicular railway, called the Angel's Flight, which crawled up and down a yellow clay bank from Hill Street. It was afternoon when Steve Grayce got off the car at the top, its only pa.s.senger. He walked along in the sun, a tall, wide-shouldered, rangy-looking man in a well-cut blue suit.

He turned west at Court and began to read the numbers. The one he wanted was two from the corner, across the street from a red brick funeral parlor with a sign in gold over it: Paolo Perrugini Funeral Home. A swarthy iron-gray Italian in a cut-away coat stood in front of the curtained door of the red brick building, smoking a cigar and waiting for somebody to die.

One-eighteen was a three-storied frame apartment house. It had a gla.s.s door, well masked by a dirty net curtain, a hall runner eighteen inches wide, dim doors with numbers painted on them with dim-paint, a staircase halfway back. Bra.s.s stair rods glittered in the dimness of the hallway.

Steve Grayce went up the stairs and prowled back to the front. Apartment 211, Miss Marilyn Delorme, was on the right, a front apartment. He tapped lightly on the wood, waited, tapped again. Nothing moved beyond the silent door, or in the hallway. Behind another door across the hall somebody coughed and kept on coughing.

Standing there in the half-light Steve Grayce wondered why he had come. Miss Delorme had carried a gun. Leopardi had received some kind of a threat letter and torn it up and thrown it away. Miss Delorme had checked out of the Carlton about an hour after Steve told her Leopardi was gone. Even at that-He took out a leather keyholder and studied the lock of the door. It looked as if it would listen to reason. He tried a pick on it, snicked the bolt back and stepped softly into the room. He shut the door, but the pick wouldn't lock it.