The White Moll

by Frank L. Packard

Slowly, with infinite care, she crossed to the stairs, and on hands and knees now, lest she should make a sound, began to crawl upward. And a little way up, panic fear seized upon her again, and her heart stood still, and she turned a miserable face in the darkness back toward the door below, and fought against the impulse to retreat again.

And then she heard Danglar speak, and from her new vantage point his words came to her distinctly this time:

“Good work, Skeeny! You've got the Sparrow nicely trussed up, I see. Well, he'll do as he is for a while there. I told the boys to hold off a bit. It's safer to wait an hour or two yet, before moving him away from here and bumping him off.”

“Two jobs instead of one!” a surly voice answered. “We might just as well have finished him and slipped him away for keeps when we first got our hooks on him.”

“Got a little sick of your wood-carving, while you stuck around by your lonesome and watched him—eh?” Danglar's tones were jocularly facetious. “Don't grouch, Skeeny! We're not killing for fun—it doesn't pay. Supposing anything had broken wrong up the Avenue—eh? We wouldn't have had our friend the Sparrow there for the next time we tried it!”

There was something abhorrently callous in the laugh that followed. It seemed to fan into flame a smoldering fire of passionate anger in Rhoda Gray's soul. And before it panic fled. Her hand felt upward for the next stair-tread, and she crept on again, as a face seemed to rise before her—not the Sparrow's face—a woman's face. It was a face that was crowned with very thin white hair, and its eyes were the saddest she had ever seen, and yet they were brave, steady old eyes that had not lost their faith; nor had the old, care-lined face itself, in spite of suffering, lost its gentleness and sweetness. And then suddenly it seemed to change, that face, and become wreathed in smiles, and happy tears to run coursing down the wrinkled cheeks. Yes, she remembered! It had brought the tears to her own eyes. It was the night that the wayward Sparrow, home from the penitentiary, on his knees, his head buried in his mother's lap, had sworn that he would go straight.

Fear! It seemed as though she never had known, never could know fear—that only a merciless, tigerish, unbridled fury had her in its thrall. And she went on up, step after step, as Danglar spoke again:

“There's nothing to it! The Sparrow there fell for the telephone when Stevie played the doctor. And old Hayden-Bond of course grants his prison-bird chauffeur's request to spend the night with his mother, who the doctor says is taken worse, because the old guy knows there is a mother who really is sick. Only Mr. Hayden-Bond, and the police with him, will maybe figure it a little differently in the morning when they find the safe looted, and that the Sparrow, instead of ever going near the poor old dame, has flown the coop and can't be found. And in case there's any lingering doubt in their minds, that piece of paper with the grease-smudges and the Sparrow's greasy finger-prints on it, that you remember we copped a few days ago in the garage, will set them straight. The Cricket slipped it in among the papers he pulled out of the safe and tossed around on the floor. It looks as though a tool had been wiped with it while the safe was being cracked, and that it got covered over by the stuff that was emptied out, and had been forgotten. I guess they won't be long in comparing the finger-prints with the ones the Sparrow kindly left with them when they measured him for his striped suit the time they sent him up the river—eh?”

Rhoda Gray could see now. Her eyes were on a level with the landing, and diagonally across from the head of the stairs was the open doorway of a lighted room. She could not see all of the interior, but she could see quite enough. Two men sat, side face to her, one at each end of a rough, deal table—Danglar, and an ugly, pock-marked, unshaven man, in a peaked cap that was drawn down over his eyes, who whittled at a stick with a huge jack-knife. The latter was Skeeny, obviously; and the jack-knife and the stick, quite as obviously, explained Danglar's facetious reference to wood-carving. And then her eyes shifted, and widened as they rested on a huddled form that she could see by looking under and beyond the table, and that lay sprawled out against the far wall of the room.

Skeeny pushed the peak of his cap back with the point of his knife-blade.