Parker 01 - The Hunter, page 13
Stegman moaned, spittle bubbling at the corners of his mouth. Parker was suddenly disgusted. He didn't want any more of this, only to get it over. He picked up the gun by the barrel, swung four times, and Stegman was dead.
Parker wiped the gun butt on Stegman's coat and got out of the car. He tucked the gun in under his belt and walked the rest of the way down the block to Glenwood Road and up to Rock-away Parkway and across the street to the subway entrance.
This was a strange stretch of subway, neither subway nor el. The tracks rode at ground level, with the station platform like a commuter-town railroad depot, except that the tracks came only as far as this platform, one set on either side, and then stopped. End of the line.
Off to the right were the yards, lined with strings of grimy subway cars. Beyond were new row houses, brick, two stories high, where the cab drivers lived, and farther away a bulky city project, seven stories high, where the elevator operators lived. The land was flat out here, all flat.
Two trains flanked the platform now, their doors open. A lit sign under the platform's shed roof said next train, with an arrow pointing to the left. A heavy man in a corduroy jacket sat on the platform bench, reading the News, with a lunch bucket beside him.
Parker went over and sat next to the man. He picked up the lunch bucket and snapped it open and looked at the Luger nestled inside. The man dropped his News and reached for the bucket.
Parker shook his head, put the bucket on the bench on the side away from the Outfit man, and said, "You better get on your train before it pulls out."
The man looked back toward the turnstiles and the change booth and the rest rooms, then shrugged and got to his feet. He folded his paper and put it under his arm and stepped onto the train.
Parker stood and walked down the platform, carrying the lunch bucket. The rest rooms were in a little separate clapboard shack on the platform, beyond the end of the tracks. There was an anteroom with a radiator, for waiting in wintertime, and the two green doors.
Parker went on into the men's room. Two cowboys in flannel shirts and khaki pants stood there, doing nothing. Their shirt-tails hung outside their pants.
Parker opened the lunch bucket and took the Luger out and showed it to them. "Take off your shirts," he said. "Don't reach under them."
One started to do it, but the other one blinked and smiled and said, "What's going on?"
Parker waited, ignoring the opening. The one who had started on the top button hesitated, looking at his partner. The partner's smile flickered and he said, "I don't know what you want, buddy. What's the problem?"
"No problem," Parker told him. "Take off your shirt."
"But I don't want to take off my shirt."
"I'll pull the trigger when the train starts," Parker told him. "If you want noise before that, jump me."
The hesitant one said, "The hell with it. Do like he says, Artie. What's the percentages?"
Artie considered, and shrugged, and started unbuttoning his shirt. They took off their shirts and stood holding them in their hands. They each had two small revolvers tucked into their trousers, in under their belts.
Parker said, "Turn around." They did so, and he reached around them, taking the guns away, putting them in the sink. Then he said, "Your train's going to leave in a minute. Better hurry."
They put their shirts back on wordlessly and left the room. Parker dropped the four guns in a water closet and went back outside. He walked along the train that was to leave next and saw the two cowboys with the man in the corduroy jacket. The three were sitting hunched together, talking. They looked up and watched him go by.
Down at the other end of the platform was the dispatcher's building, tall and narrow. Beside it was a Coke machine, and a man in a business suit carrying a briefcase and holding a bottle of Coke. He'd been there when Parker had put his token in the turnstile, and he was still there. Parker hadn't yet seen him drink any of the Coke. He was looking out toward the trains in the yards.
Parker walked the length of the platform and stopped by the Coke machine. He said, "You got change of a quarter?"
"Of course," said the man. He put his bottle of warm Coke on top of the machine, switched the briefcase to his other hand, and reached into his trouser pocket.
Parker opened the lunch bucket and tooft the Luger out. His back was to the platform. He said, "Show me what's in your briefcase."
"Of course," the man said again. He seemed unsurprised. He released the two straps and turned the flap back. He started to reach inside, and Parker shook his head. The man smiled and pulled the briefcase lips apart instead. There was a long-barreled .25 target pistol inside.
"Close it up again," Parker said. The man did so. "Put it down beside the machine, and go get on your train."
He watched as the man walked down the platform and got on the same car as the other three. A few minutes later, the conductor and the engineer clattered down the metal outside staircase from the second floor of the dispatcher's building and boarded the train.
The doors slid shut and the train pulled out. The lit sign switched, showing that the train on the other side was now next.
Half an hour later, at twenty past one, five more of them arrived, wearing flashy suits and carrying musical instrument cases. They got off their train and stood around laughing and talking loudly, and Parker waited for ten minutes by the Coke machine, wanting to be sure. When they still had made no move to leave, he was sure.
He went over and introduced himself and said, "You better hurry if you want to make your gig. Or you can make your play instead, right now."
The other four looked at the one with the trombone case. That one looked at the train beside him, with the people on it, and the woman in the distant change booth, and the dispatcher's building. Their car wasn't outside yet, so they didn't make their play.
At quarter to two, a woman got off a train and left an overnight bag on the platform bench. Parker caught up with her and gave her the bag back. She looked frightened when he handed it to her and hurried away toward the street.
When she left, Parker went into the phone booth on the platform and called Fairfax's apartment. Fairfax answered, and Parker recognized the voice. He said, "I just got rid of the woman with the overnight bag. I haven't killed any of these jokers yet, but the next one I will. And if the money doesn't show, I'll come back for you."
Fairfax said, "Just a moment." The line hummed for a little, and then Fairfax came back on. "It'll be a little late."
"That's all right," said Parker.
There weren't any more of them. At twenty to three, a train pulled in and two men got off it together, one carrying a suitcase. They came over to Parker, sitting on the bench, and put the suitcase down on the bench beside him. They started away again, without a word, but Parker said, "Wait."
They turned around and he motioned at the suitcase. "Open it."
They looked at each other and licked their lips. They didn't know if it was bugged or not. Finally, one of them opened the two catches and lifted the top. There was nothing inside but money.
They sighed with relief, and Parker said, "Fine.4Close it again." They did so, and walked away down the platform and through the exit and out to the street.
There were three ways away from here. There was the subway. There was the bus that came in at the end of the platform by the turnstiles, free transfer from and to the subway. There was the exit and the walk to the street. They would be ready for him whichever way he went.
He walked down by the Coke machine and set the suitcase down. He transferred the Luger from the lunch bucket to his side pants pocket and the target pistol from the briefcase to under his belt by the right hip pocket. He still had Mr. Carter's pistol, and this he held in his left hand.
He picked up the suitcase again, walked to the outer end of the platform and down the steps past the sign saying TRANSIT EMPLOYEES ONLY. There was a wooden strip raised over the third rail.
Parker stepped carefully over this and over the track and toward the yards. It was dark out here and no one paid any attention to him.
He moved carefully across the yard, stepping high over each third rail, not wanting even to touch the wooden cover, and finally got past them all to a wide grass-grown gravel driveway. There was more light here, along the driveway, and he walked carefully, keeping to the darkest side. Glenwood Road was ahead, with cars parked along it and the row of houses stretching away down the cross streets. He couldn't see if there was anyone in the cars.
The driveway went through an opening in the fence around the yard. Parker paused at the fence, watched, listened, then stepped through and turned left, away from Rockaway Parkway and the subway entrance. The suitcase was heavy in his right hand, the pistol comforting in his left, held close against his side.
He crossed the street, because three colored boys were walking in his direction on this side, wearing raincoats and porkpie hats and singing in falsetto. He went on down two blocks and turned right where the project began, and tossed Mr. Carter's gun into a litter basket. Whoever fished it out in this neighborhood, it would be a long while before it got to the law.
He transferred the suitcase to his left hand, and walked along with his right hand close to the Luger in his pants pocket. A car squealed around the corner behind him, headed his way.
There was a bulldozed field to his right, where the row houses hadn't been put in yet. He ducked across that, pulling the Luger out of his pocket, and somebody in the car fired too early. He dropped to the ground, and the car raced on, screaming around the far corner and away.
He got to his feet and strode deeper across the field. A high wooden wall separated the field from the backyards of row houses facing on the next street. He crouched down by the wall, the Luger in his hand, and waited.
The same car came around the block again, moving more slowly now, and stopped opposite him. He was in pitch blackness against the wall and couldn't be seen. After a minute, the back door of the car opened and two men got out. They strolled across the field to where he had dropped, wandered around in a small circle, and strolled back.
They stood by the car, and after a minute two more cars came down the street and parked. Men got out of them, and they had a conference. Then two of the cars took off agaiif, going down to the corner, at Flatlands Avenue, both moving slowly. One turned right, and the other turned left.
The third car stayed where it was. Thr"n men got out of it and strolled across the street to the project and disappeared in the darkness among the buildings. The driver stayed in the car, his cigarette glowing faintly from time to time, and watched the field.
Parker moved along the fence back to Glen wood Road, leaving the suitcase behind. The Luger was in his right hand, the target pistol in his left. He kept his hands close to his body as he moved. When he got to Glenwood Road, he stepped out onto the sidewalk and started to whistle.
He walked along, still whistling, and turned at the corner and walked down the block toward the car. The driver watched him in the rearview mirror, but he wasn't carrying a suitcase, and he was whistling.
The car window was open. When Parker reached it, he turned and set both gun barrels on the sill, pointing at the driver, and murmured, "One word."
The driver froze, both hands clenched on the wheel.
Parker said, "Slide over and get out on this side." He stepped back, and the driver obeyed. "Now walk out across the field there."
The two of them walked back to where he'd left the suitcase. He reversed the Luger and swung it, and the driver went down.
He left the target pistol with him, picked up the suitcase, and hurried back to the car.
He slid in, started the engine, and roared away. As he was turning the corner, a man came running out from one of the project buildings half a block back.
He parked the car off Flatbush Avenue near Grand Arrny Plaza and took a cab into Manhattan.
Chapter 4
On the bed were sixteen hundred slips of green paper, banded in stacks of fifty. There were twenty stacks marked ten, ten stacks marked fifty, two stacks marked one hundred. The numbers on all the slips of paper added up to forty-five thousand.
Parker sat on the chair beside the bed and looked at the money. The suitcase, empty now, lay on the floor at his feet. He had counted the money and it was all there, and now he sat and looked at it and wondered how he had happened to get it.
But it wasn't really that hard to figure out. He could follow Branson's reasoning with no trouble at all. There was this mosquito, this Parker, causing trouble and disruptions. He wants forty-five thousand dollars. All right, give him the forty-five thousand dollars.
Try to get him when the delivery is made, but if you don't get him the hell with it, he's got forty-five thousand dollars. So then he won't cause any more trouble and disruptions. And the organization has all the time and all the facilities to get him later on. He won't be bothering the organization any more, and the organization can take care of him at its leisure. Forty-five thousand isn't so much, when you consider the benefits.
So. That was Branson's side. His own side was simple, too; he had eighteen years of a pattern, and the pattern had been ripped apart. One job, the island job, had gone wrong and ripped the pattern apart. Now they were both dead, Lynn and Mal, the two who had done it to him. And he had made the job right again by getting his share back. He couldn't go back to the pattern while that one job was still wrong.
Now he could go back. He had money to last him two or three years of the old life, and a plastic surgery. He'd have to go out to Omaha, to Joe Sheer, and find out the name of that doctor that had done the job on him. That was when Joe had retired, three years ago. He'd had his face changed because you never knew when you'd run into somebody who saw your face on a job ten years ago and still remembered.
With a new face, with forty-five thousand dollars, the organization could look forever and never find him. He'd have to be a little more careful than before about the people he worked with on jobs, but that was no problem. He liked to pick and choose his jobs and his partners anyway.
A job had soured and now it was straight again. It was as simple as that.
He roused himself, putting out his cigarette, and picked up the suitcase from the floor. He carefully packed the bundles of money back into it, closed it, slid it under his bed. Then he picked up the phone and asked for American Airlines, and made a reservation on the 3:26 p.m. plane for Omaha.
After that he left a call for noon, took a leisurely shower, and opened the pint of vodka he'd bought on the way back. He could drink it now; he was finished and he could relax. In Omaha, maybe Joe could set him up with a woman. If not, it could wait till Miami.
He woke to the jangling of the telephone, telling him it was noon, the first day of the new-old pattern. The hotel wasn't as good as he was used to, but it didn't matter. He was on his way back, starting now.
He took another shower, and dressed, and packed. He left the room carrying the two suitcases, his own and the one full of money. He rode down in the elevator and started across the lobby, and the desk clerk pointed him out to two men in rumpled suits.
They came toward him, and he hesitated, not believing they'd dare try anything here. And how could they find him here anyway? They couldn't. But he was unarmed, the Luger thrown away last night on Flatbush Avenue.
The two men came over, and one reached to his hip pocket, and Parker tensed, ready to throw the suitcase with the clothing in it. But all that came out of the pocket was a wallet. It flipped open, showing the badge pinned to the leather. The owner of the wallet said, "Mr. Edward Johnson?"
What is this? What is this? "Yes," he said, because the desk clerk had pointed him out. "What is it?"
"We want to talk to you." The plainclothesman looked around at the lobby. "In private," he said. "We'll go to the manager's office."
"What is it? What's it all about?"
"There are some questions. If you'll come with us?"
One of them had his left arm, gently. It was only to the manager's office, so he didn't fight it. He didn't try to guess what it was all about. He went along, ready, waiting to find out the score before making any kind of move.
The three employees behind the desk watched out of the corners of their eyes as the detectives took him through a door marked Private into a small empty office. The door to the next room, the manager's office, was open, and the manager peered at them from his desk.
One of the detectives went over and said through the door, "We won't be long, sir. Thank you for your cooperation."
"That's perfectly all right," the manager said. He seemed embarrassed.
The detective smiled and closed the door. Then he turned the smile off again and said, "Sit down, Mr. Johnson."
Parker sat down on the corner of the sofa nearest the door, ready, waiting for them to tell him what it was all about.
The silent one stood by the door. The other one pulled a chair over and sat on it backwards, facing Parker, his forearms folded on the chair back, his bent knees jutting out at the sides.
"Two days ago," he said, "you were in a grocery store on West 104th Street between Central Park West and Manhattan Avenue. You spent some time in the back room of the store, talking with Manuel Delgardo, the proprietor. When two patrolmen entered the store, you stated that you were having a soft drink with Mr. Delgardo in the back of the store, and that you were there looking for Mr. Delgardo's son, Jimmy. You stated that you and Jimmy Delgardo once worked for the same trucking company in Buffalo. You also brought up the subject of narcotics, although neither of the patrolmen had given any indication that they were thinking of narcotics or suspected you of having anything to do with junk. Is this all substantially correct, as you remember it?"
"Yes," said Parker. Don't explain, don't justify, don't argue. Wait till you find out the score.
The detective nodded. "Fine," he said. "Now, you also stated that you were recently laid off from a General Electric Company plant on Long Island. Is that correct?"
