The Assistant Murderer
by
Gold on the door, edged with black, said ALEXANDER RUSH, PRIVATE DETECTIVE. Inside, an ugly man sat tilted back in a chair, his feet on a yellow desk.
The office was in no way lovely. Its furnishings were few and old with the shabby age of second-handdom. A shredding square of dun carpet covered the floor. On one buff wall hung a framed certificate that licensed Alexander Rush to pursue the calling of private detective in the city of Baltimore in accordance with certain red-numbered regulations. A map of the city hung on another wall. Beneath the map a frail bookcase, small as it was, gaped emptily around its contents: a yellowish railway guide, a smaller hotel directory, and street and telephone directories for Baltimore, Washington, and Philadelphia. An insecure oaken clothes-tree held up a black derby and a black overcoat beside a white sink in one corner. The four chairs in the room were unrelated to one another in everything except age. The desk’s scarred top held, in addition to the proprietor’s feet, a telephone, a black-clotted inkwell, a disarray of papers having generally to do with criminals who had escaped from one prison or another, and a grayed ashtray that held as much ash and as many black cigar stumps as a tray of its size could expect to hold.
An ugly office — the proprietor was uglier.
His head was squatly pear-shaped. Excessively heavy, wide, blunt at the jaw, it narrowed as it rose to the close-cropped, erect grizzled hair that sprouted above a low, slanting forehead. His complexion was of a rich darkish red, his skin tough in texture and rounded over thick cushions of fat.
These fundamental inelegancies were by no means all his ugliness. Things had been done to his features.
One way you looked at his nose, you said it was crooked. Another way, you said it could not be crooked; it had no shape at all. Whatever your opinion of its form, you could not deny its colour. Veins had broken to pencil its already florid surface with brilliant red stars and curls and puzzling scrawls that looked as if they must have some secret meanings. His lips were thick, tough-skinned. Between them showed the brassy glint of two solid rows of gold teeth, the lower row lapping the upper, so undershot was the bulging jaw. His eyes — small, deep-set, and pale blue of iris — were bloodshot to a degree that made you think he had a heavy cold. His ears accounted for some of his earlier years: they were the thickened, twisted cauliflower ears of the pugilist.
A man of forty-something, ugly, sitting tilted back in his chair, feet on desk.
The gilt-labelled door opened and another man came into the office. Perhaps ten years younger than the man at the desk, he was, roughly speaking, everything that one was not. Fairly tall, slender, fair-skinned, brown-eyed, he would have been as little likely to catch your eye in a gambling-house as in an art gallery. His clothes — suit and hat were gray — were fresh and properly pressed, and even fashionable in that inconspicuous manner which is one sort of taste. His face was likewise unobtrusive, which was surprising when you considered how narrowly it missed handsomeness through the least meagreness of mouth — a mark of the too-cautious man.
Two steps into the office he hesitated, brown eyes glancing from shabby furnishings to ill-visaged proprietor. So much ugliness seemed to disconcert the man in gray. An apologetic smile began on his lips, as if he were about to murmur, “I beg your pardon, I’m in the wrong office.”