His shoes are canvas slip-ons.
Is he carrying a gun? His shirt’s tucked in, which suggests he’s left the gun at home.
Should he take him now? The man’s unarmed, with only his bare hands to defend against the knife. And he’s not expecting anything, either.
He’d hear the approach, though, hear his nemesis rushing the length of the hallway at him. He’d turn, he’d prepare himself, and he’d cry out to summon help. The hue and cry would certainly alert Elaine.
Still . . .
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The elevator arrives and spares him the decision. Scudder steps inside.
The door closes and whisks him away.
Now.
He listens for a moment at the closed door. Then he draws back his fist and pounds on it.
Her voice: “What is it?”
He notes the pronoun—What, not Who. Good.
He hammers on the door again, puts his other hand in front of his mouth to muffle his voice. Lowering it to a pitch close to Scudder’s, in-fusing it with urgency, he says, “Let me in. He’s in the building, he got past the doorman. Let me in!”
Nothing but the truth, he thinks.
She’s saying something, he can’t make it out, but it doesn’t matter, because the lock is turning. The instant it begins to open he hurls himself against it and it flies back, catching her shoulder and sending her reeling.
He flings the door shut, turns to her. She’s staggering backward like a drunk in high heels. The wall stops her and she’s trying to get her balance, and her face is something right out of a horror movie, a study in terror, and he holds the knife so she can see it.
Oh, this is going to be lovely . . .
She reaches into a pocket of the robe, comes up with a gun. Holds it in both hands, points it his way.
“Now put that down,” he says, his voice ringing with authority. “You little fool, put that down this minute.” She’s shaking, trembling violently. He takes a confident step toward her, speaking gently to her, telling her to put the gun down, that her only chance is calm cooperation. It’s going to work, he knows it’s going to work, and—
She pulls the trigger.
He feels the punch of the bullet before his ears register the sound of the gunshot. It hits him high on the left shoulder, and he knows at once that it’s broken the bone. There must be pain, and doubtless there will be eventually, but the pain hasn’t come yet.
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Lawrence Block
He rushes her. The gun’s pointing at the ceiling, the recoil must have elevated it, but she’s lowering it, bringing it to bear on him. She fires too soon, though, and the bullet passes harmlessly over his head, and before she can steady herself for a third shot he’s reached her. His left hand won’t work, the arm hangs at his side. He grabs her wrist in his right hand, shakes it until the gun drops to the floor, then lifts his hand and backhands her hard across the face.
He hits her again, in the pit of the stomach, and when she doubles up he gives her a shove and sends her sprawling. She’s scrabbling for the gun, but he gets to it first and grabs it, then straightens up and points it at her.
She’s on her hands and knees on the floor, staring up at him. Her robe has fallen open and he can see her breasts. Her eyes look right into the muzzle of the gun. And it’s odd, because there’s no fear in them now. He wonders what happened to the terror.
Wherever it’s gone, it’ll be back soon enough.
“In a little while,” he says softly, “you’ll wish I’d pulled the trigger.” It would be easier to get the cylinder to swing out if he had both hands to work with. But he manages it, and tilts the gun so that the remaining rounds spill out onto the carpet. He kicks at them, sends them scurrying like bugs across the room.
“Now that that’s out of the way,” he says, “we can enjoy ourselves. Get up, Elaine. Come on, on your feet!”
She stays where she is until he draws back a foot and kicks her hard in the ribs. Then she gets up, and it’s delicious just looking at her face, reading her thoughts in the expressions that pass over it. She’s trying to think of something to do, something that will save her, and there’s nothing, and the hopelessness of her situation is beginning to dawn on her.
And this is just the beginning! Oh, he’s going to enjoy this. He’s going to make it last as long as he can.
“Take off the robe, Elaine.”
She stands there, obdurate. He reaches out with the knife and she backs up until the wall stops her.
His shoulder is throbbing now. There’s still no pain, and the throbbing is like a very strong pulse working in the area of the wound. There’s no All the Flowers Are Dying
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blood, either, except for a minimal amount at the very edge of the wound, and he wonders if the bullet could have cauterized the wound even as it inflicted it.
Is it possible that the wound is healing itself? He’s heard of such things but always dismissed them as comic book fantasies. Still, something is shielding him from the pain, even as something is keeping him from losing blood.
He wore amethyst for months. Perhaps it worked, perhaps he’s absorbed its essence. Perhaps he is in fact immortal . . .
He reaches out with the knife, and there’s nowhere for her to go, nothing for her to do. She unbelts the robe, lets it fall from her shoulders.
Oh, lovely. Just lovely.
She’s on her back on the living room floor. He’s naked, his clothes where he dropped them, and he’s on top of her, and it’s good he didn’t let himself reach climax earlier with that fat queen, because all that energy is at his disposal now, and he’s rock-hard and enormous, and he’s inside her, buried in her clear to the hilt, and her breasts are cushioning him, and he’s holding the knife to her throat. And he could lie like this forever, thrusting lazily into her, gripped so perfectly by the envelope of her flesh, forever on the edge of his passion and yet entirely in control of it, able to go on this way for all eternity.
And, as he moves inside her, he talks to her. He tells her what he’s going to do to her, how he’ll cut her and drink her blood, how he’ll scoop out her eyes like melon balls, how he’ll slice her nipples off, how he’ll skin her alive. His voice is conversational, almost gentle. But is she paying attention? Is she taking this all in?
With the tip of the knife blade, he draws an inch-long line on her shoulder. The left shoulder. She shot him in the left shoulder, inflicting a painless but paralyzing wound, and he’s merely piercing the skin, drawing a white line that turns red as blood oozes from it.
He puts his mouth to the cut and tastes her blood.
And the door bursts open.
38
Could I have heard something?
I don’t think it’s possible. There were two gunshots, and one or both of them might have rung out while I was in the elevator on the way down to the lobby. But it seems unlikely that I could have heard them, or paid much attention to them if I did.
I was just going out for the paper. Elevator to the lobby, a few steps to the newsstand on the corner, a few steps back. I hadn’t even bothered to take my gun along. I’d thought of it, but it was on the bedside table and I was standing at the door, and it would have been silly, wouldn’t it?
Maybe we were linked, she and I, and something within me could sense an attack on her. I don’t know how these things work, or if they work. But when the elevator reached the lobby I had the feeling that something was wrong.
I have to get back there, I thought.
First get the paper, I told myself, so you won’t look like an idiot when you burst into the apartment and she’s got her feet up and the TV on.
No. Screw the paper.
I got back on the elevator. There were other people on it, and it crawled, stopping at three or four floors en route to mine. The closer I got the greater my sense of urgency grew, and by the time I got off at Fourteen I knew with absolute certainty that he was in there. I didn’t All the Flowers Are Dying