A Treasury of Stories (Collection of novelettes and short stories)

“No, we didn’t,” Lee answers. “Stay here, I’ll go back for it. I’m armed. I could stand anything now, after what I just been through.” Lee’s gone about five minutes. When he comes back, he’s in his shirt, coatless. His coat’s rolled up under one arm in a bulky bulge. He bends over the basket, lifts the blanket, replaces it again, and when he straightens up, the bulge in his folded coat is gone. Then he throws the coat away, kicks it away on the ground. “Hidden away in a cupboard,” he mutters. “Had to shoot one of ’em through the palm of the hand before they’d come clean. What were they up to?”

“Practice cannibalism maybe, I don’t know. I’d rather not think.”

“I brought your money back. It didn’t seem to square you with them.”

Eddie shoves it back at him. “Pay for your suit and your time.”

“Aren’t you going to tip off the squareheads?”

“I told you he jumped in the lake. I have a copy of the examiner’s report in my pocket.”

“I know, but isn’t there some ordinance against dissecting a body without permission?”

“I can’t afford to get mixed up with them, Lee. It would kill my career. We’ve got what we went there for. Now just forget everything you saw.”

The hearse from the crematorium contacts them there in Congo Square. The covered basket’s taken on, and what’s left of Johnny Staats heads away for a better finish than was coming to him.

“G’night, boss,” says Lee. “Anytime you need any other little thing—”

“No,” says Eddie. “I’m getting out of New Orleans.” His hand is like ice when they shake.

He does. He hands Graham back his contract, and a split week later he’s playing New York’s newest, in the frantic Fifties. With a white valet. The Chant, of course, is still featured. He has to; it’s his chief asset, his biggest draw. It introduces him and signs him off, and in between, Judy always dances it for a high-spot. But he can’t get rid of that backache that started the night he first played it. First he goes and tries having his back baked for a couple of hours a day under a violet-ray. No improvement.

Then he has himself examined by the biggest specialist in New York. “Nothing there,” says the big shot. “Absolutely nothing the matter with you: liver, kidneys, blood — everything perfect. It must be all in your own mind.”

“You’re losing weight, Eddie,” Judy says, “you look bad, darling.” His bathroom scales tell him the same thing. Down five pounds a week, sometimes seven, never up an ounce. More experts. X-rays this time, blood analysis, gland treatments, everything from soup to nuts.

Nothing doing. And the dull ache, the lassitude, spreads slowly, first to one arm, then to the other.

He takes specimens of everything he eats, not just one day, but every day for weeks, and has them chemically analyzed. Nothing. And he doesn’t have to be told that anyway. He knows that even in New Orleans, way back in the beginning, nothing was ever put into his food. Judy ate from the same tray, drank from the same coffee-pot he did. Nightly she dances herself into a lather, and yet she’s the picture of health.

So that leaves nothing but his mind, just as they all say. “But I don’t believe it!” he tells himself. “I don’t believe that just sticking pins into a wax doll can hurt me — me or anyone!”

So it isn’t his mind at all, but some other mind back there in New Orleans, some other mind thinking, wishing, ordering him dead, night and day.

“But it can’t be done!” says Eddie. “There’s no such thing!”

And yet it’s being done; it’s happening right under his own eyes. Which leaves only one answer. If going three thousand miles away on dry land didn’t help, then going three thousand miles away across the ocean will do the trick. So London next, and the Kit-Kat Club. Down, down, down go the bathroom scales, a little bit each week. The pains spread downward into his thighs. His ribs start showing up here and there. He’s dying on his feet. He finds it more comfortable now to walk with a stick — not to be swanky, not to be English — to rest on as he goes along. His shoulders ache each night just from waving that lightweight baton at his crew. He has a music-stand built for himself to lean on, keeps it in front of him, body out of sight of the audience while he’s conducting, and droops over it. Sometimes he finishes up a number with his head lower than his shoulders, as though he had a rubber spine.

Finally he goes to Reynolds, famous the world over, the biggest alienist in England. “I want to know whether I’m sane or insane.” He’s under observation for weeks, months; they put him through every known test, and plenty of unknown ones, mental, physical, metabolic. They flash lights in front of his face and watch the pupils of his eyes; they contract to pinheads. They touch the back of his throat with sandpaper; he nearly chokes.