The Achmed Abdullah MEGAPACK ®. Achmed Abdullah

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      He knew most of them. For they had talked to him, on stairs and landings and leaning from windows, with the easy garrulousness of the very poor who can’t be snobs since they are familiar with each other’s incomes and flesh-pots. They had lifted the crude-meshed veils of their hearts and hearths and had bidden him look—and all he had seen had been misery.

      He checked the thought.

      No! That wasn’t true!

      He had also seen love and friendship, and fine, sweet faith—and that was why he hated them—why he pitied and despised them.

      Faith—love—friendship! To the devil with the sniveling, weak-kneed lot of ’em! They spelled happiness—and happiness did not exist—and—

      Happiness!

      The thought, the word, recurred to his brain with maddening persistency. It would not budge.

      Happiness.

      “Why, happiness is behind that lighted window!” The idea came to him—almost the conviction.

      But what happiness? And whose?

      He speculated who might be up there, in the garret room squeezed by the flat roof. He tried to picture to himself what might be shimmering behind that golden flash.

      Perhaps it was Fedor Davidoff, the little hunchbacked Russian tailor, with the fat, golden-haired, sloe-eyed wife. He might be celebrating the coming of freedom to his beloved Russia. Or he might be sitting up late to finish some piece of work—to earn extra money. For his wife was expecting a child. He had three already, curly-haired, straight-backed. But he wanted more—

      “Children make happiness, eh?” he used to say.

      Or—wait! Perhaps it was Peter Macdonald, the artist, dreaming over his lamp and his rank, blackened pipe, and deliberating with himself where he would live—upper West Side or lower Fifth—when the world should have acknowledged his genius and backed up the opinion with solid cash. Peter had lived now for over three months in the tenement-house. “Like the neighborhood—bully atmosphere—marvelous greens and browns,” was the reason he gave. But the other tenants smiled. They knew that Peter lived there because his room cost him only two dollars a week, and because he took his meals with the Leibl Finkelsteins on the first floor for three dollars more.

      Perhaps a pair of lovers. Enrique Tassetti, the squat, laughing Sicilian, who had taken to himself a bride of his own people. They would have spent fifty cents for a bottle of Chianti, another fifty for bread and mushrooms and oil and pepper to turn into a dish worthy of a Sicilian—or a king.

      Again it might be Donchian, the Armenian, burning the midnight oil over the perfection of the mysterious invention of which he spoke at times, after having worked with needle and thread since six o’clock in the morning; or old Mrs. Sarah Kempinsky, reading and rereading the letter which her soldier son had sent her from France; or—

      What did it matter?

      Whoever was sitting behind that lighted window was happy—happy—and the man’s imagination choked, his mind became flushed and congested.

      He was quite unconscious of his surroundings. The stillness of the streets seemed magical, the loneliness absolute. Only from very far came sounds: the Elevated rattling with a steely, throaty sob; a surface-car clanking and wheezing; a hoarse Klaxon blaring snobbishly; a stammering, alcoholic voice throwing the tail-end of a gutter song to the moist purple veils of the night.

      But he did not hear.

      He was conscious only of the lighted window, high up. It seemed to glitter nervously, to call to him, to stretch out, as if trying to communicate to him an emotion it had borrowed by contact with something—with somebody.

      That was just the trouble. He wondered who that somebody was, what that something might be. Whoever it was, it seemed urgent, clamorous. Silently clamorous. His subconsciousness grew thick with amazement and wonder and doubt. It surged up—crowded, choking, tumultuous.

      The lighted window!

      What was behind it? What was its riddle?

      He knew that he must find out, and so he rose, crossed the street, entered the house, and was up the stairs three steps at the time.

      He found the room without any trouble, and opened the door. He did not knock.

      He stepped inside; and there, on the bed, he saw a motionless figure, faintly outlined beneath a plain white sheet, a tall candle burning yellow at the foot of the bed, another at the head.

      He crossed over, lifted a corner of the sheet, and looked. And he saw the face of a dead man. It was calm and serene and unutterably happy.

      Then it dawned upon him:

      The man on the bed was himself.

      FEAR

      The fact that the man whom he feared had died ten years earlier did not in the least lessen Stuart McGregor’s obsession of horror, of a certain grim expectancy, every time he recalled that final scene, just before Farragut Hutchison disappeared in the African jungle that stood, spectrally motionless as if forged out of some blackish-green metal, in the haggard moonlight.

      As he reconstructed it, the whole scene seemed unreal, almost oppressively, ludicrously theatrical. The pall of sodden, stygian darkness all around; the night sounds of soft-winged, obscene things flapping lazily overhead or brushing against the furry trees that held the woolly heat of the tropical day like boiler pipes in a factory; the slimy, swishy things that glided and crawled and wiggled underfoot; the vibrant growl of a hunting lioness that began in a deep basso and peaked to a shrill, high-pitched, ridiculously inadequate treble; a spotted hyena’s vicious, bluffing bark; the chirp and whistle of innumerable monkeys; a warthog breaking through the undergrowth with a clumsy, clownish crash—and somewhere, very far away, the staccato thumping of a signal drum, and more faintly yet the answer from the next in line.

      He had seen many such drums, made from fire-hollowed palm trees and covered with tightly-stretched skin—often the skin of a human enemy.

      Yes. He remembered it all. He remembered the night jungle creeping in on their camp like a sentient, malign being—and then that ghastly, ironic moon squinting down, just as Farragut Hutchison walked away between the six giant, plumed, ochre-smeared Bakoto warriors, and bringing into crass relief the tattoo mark on the man’s back where the shirt had been torn to tatters by camel thorns and wait-a-bit spikes and saber-shaped palm leaves.

      He recalled the occasion when Farragut Hutchison had had himself tattooed after a crimson, drunken spree at Madam Celeste’s place in Port Said, the other side of the Red Sea traders’ bazaar, to please a half-caste Swahili dancing girl who looked like a golden Madonna of evil, familiar with all the seven sins. Doubtless the girl had gone shares with the Levantine craftsman who had done the work—an eagle, in bold red and blue, surmounted by a lop-sided crown, and surrounded by a wavy design. The eagle was in profile, and its single eye had a disconcerting trick of winking sardonically whenever Farragut Hutchison moved his back muscles or twitched his shoulder blades.

      Always, in his memory, Stuart McGregor saw that tattoo mark.

      Always did he see the wicked, leering squint in the eagle’s eye—and then he would scream, wherever he happened to be, in a theatre, СКАЧАТЬ