Sammy two shoes, p.1
Sammy Two Shoes, page 1
Contents
Cover
Also by Phillip DePoy
Title Page
Copyright
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Chapter Nineteen
Chapter Twenty
Chapter Twenty-One
Chapter Twenty-Two
Chapter Twenty-Three
Chapter Twenty-Four
Chapter Twenty-Five
Chapter Twenty-Six
Chapter Twenty-Seven
Chapter Twenty-Eight
Chapter Twenty-Nine
Chapter Thirty
Chapter Thirty-One
Acknowledgments
Also by Phillip DePoy
The Foggy Moscowitz series
COLD FLORIDA *
THREE SHOT BURST *
ICEPICK *
SIDEWALK SAINT *
The Fever Devilin series
THE DEVIL’S HEARTH
THE WITCH’S GRAVE
A MINISTER’S GHOST
A WIDOW’S CURSE
THE DRIFTER’S WHEEL
A CORPSE’S NIGHTMARE
DECEMBER’S THORN
* available from Severn House
SAMMY TWO SHOES
Phillip DePoy
This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights and those responsible may be liable in law accordingly.
First world edition published in Great Britain and the USA in 2021
by Severn House, an imprint of Canongate Books Ltd,
14 High Street, Edinburgh EH1 1TE.
Trade paperback edition first published in Great Britain and the USA in 2022
by Severn House, an imprint of Canongate Books Ltd.
This eBook edition first published in 2021 by Severn House,
an imprint of Canongate Books Ltd.
severnhouse.com
Copyright © Phillip DePoy, 2021
All rights reserved including the right of reproduction in whole or in part in any form. The right of Phillip DePoy to be identified as the author of this work has been asserted in accordance with the Copyright, Designs & Patents Act 1988.
British Library Cataloguing-in-Publication Data
A CIP catalogue record for this title is available from the British Library.
ISBN-13: 978-0-7278-5066-9 (cased)
ISBN-13: 978-1-78029-813-9 (trade paper)
ISBN-13: 978-1-4483-0551-3 (e-book)
This is a work of fiction. Names, characters, places and incidents are either the product of the author’s imagination or are used fictitiously. Except where actual historical events and characters are being described for the storyline of this novel, all situations in this publication are fictitious and any resemblance to actual persons, living or dead, business establishments, events or locales is purely coincidental.
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ONE
Early Summer, 1976
Sometimes I really missed New York.
I loved my little town in Florida. Good seafood, a couple of great friends; a girl at the donut shop who didn’t mind spending time with me. But when’s the last time some total stranger told me to go screw myself? Or a hooker grabbed my arm and coughed in my face? Or I had a great pastrami on rye? These were the things that you’d miss when you’ve been away from New York for too long.
And I’d been away too long.
I knew I’d have to slip into town without too much notice. I’d have to be careful. I mean, I still had an outstanding warrant. But it was nearly five years old. What kind of cop was going to be looking out for a dinky car thief with five-year-old paper on him? And anyway the hubbub had been in Brooklyn, so maybe I would just stick to Manhattan.
My good old ’57 T-bird convertible had made the trip before. If I took a couple of back roads I knew about, I could really open up the engine. It was nothing to go a hundred and twenty miles per hour on one particular two-lane blacktop across the Florida–Georgia line.
So I packed up my three best suits, a week’s worth of everything else, and stole out of town after midnight like I was on the lam. I figured I could make it there in twenty hours.
In the bad old days, of course, I would have relied on coke and whites. But I was a responsible citizen now and would have to make it on a thermos full of espresso and an overwhelming desire for a slice at Ray’s. Any Ray’s.
So, that’s how I happened to be in Reno Sweeney’s on a Thursday evening, having a good old-fashioned negroni and waiting for Blossom Dearie to start.
Blossom had been a primary cause of my trip, as it happened. The barber shop in my little Florida hideaway of Fry’s Bay was more sophisticated than I might have imagined when I first arrived there. In the magazine rack I could always find that week’s edition of the New Yorker.
Sitting at the barber shop in the sweltering heat despite the window air-conditioner, I had often delighted in scanning the ‘Nightlife’ section, daydreaming of The Village Vanguard or Birdland. But on the recent Tuesday morning I happened across the announcement that Blossom Dearie would be appearing at Reno Sweeney’s to record a live album for her own Daffodil label, and Bob Dorough would be her guest artist.
I loved Blossom, but Bob Dorough was a demigod. Miles Davis had called Dorough his favorite vocalist. Bob Dorough, a skinny white kid from Arkansas. In my opinion, Bob’s version of ‘Baltimore Oriole’ was the perfect vocal iteration of Miles’s cool school.
So the fact that I could see the both of them in a tidy little club like Reno Sweeney’s – well, it was too much to pass up. Along with the aforementioned Ray’s and the pastrami and everything.
So, to continue at Reno Sweeney’s, my negroni arrived and the bartender said, before he even set it down, ‘On the house.’
I stared at him. He shrugged and was gone.
I thought, ‘Who am I to pass up le negroni gratis?’ And I sipped.
A couple of minutes later a cheese plate appeared along with a second negroni.
‘For you,’ the bartender said.
I shook my head. ‘I didn’t order it.’
He smiled. ‘You think I don’t know who you are? You’re Foggy Moscowitz. If it wasn’t for Blossom, I’d make the door guy give you back the cover charge. Anyway. Welcome home.’
And once again, he was gone.
I began to understand. Modesty kept me from overstating it, but I was a kind of hoodlum hero in certain parts of the city. And in a way I didn’t like.
To be brief, I stole a car. It was what I did when I lived in Brooklyn. Only the particular car in question had a kid in the back seat, a kid of which I had been unaware. Didn’t make a peep. I only knew about it when the mother started screaming and running down the street after me. It was the worst night of my life.
The mother had a heart attack or something. She died chasing the car. She was an addict visiting her wealthy upper-class drug connection. The connection was also the father. So when the mother died from running down the street with too much skag in her system, and the father denied even knowing about the baby, the little tyke got placed in the system and I got gone. All the way to Florida.
The reason I got free cheese that night at Reno Sweeney’s was what happened after that. After that I sent money every week from Florida to New York so that the kid would be taken care of. I set up a good adoption, I started a college fund, and I opened a bank account in its name. All anonymous.
But the thing about anonymous in the petty underworld is that it almost always equals notorious, which can turn into famous pretty quickly.
I had money to send the nipper because I had a gig working – and this is how I knew that God had a sense of humor – with Florida Child Protective Services. Look up the definition of irony and there I’ll be.
Anyway, word got around. My old cronies in crime started spreading the scurrilous rumor that I was some kind of good guy. I’d mostly avoided encountering such an uncomfortable ethos by being in Florida, where no one knew about my old life.
But there I was that night: at Reno Sweeney’s on West 13th Street. In Manhattan.
So what could I do? I drank the negroni, and several more. I ate the cheese. All long before Blossom was supposed to appear, because I’d gotten there plenty early in order to get a seat.
And then it happened. I was suddenly and inexplicably accosted by Sammy Two Shoes. Apparently, some busboy told some delivery guy, and, like a bolt of lightning, everybody knew I was in town.
And Sammy wasn’t just anybody. We grew up together in the streets. We pitched pennies, stole hubcaps, got shot at. The kind of thing that makes you somebody’s brothe r, even though I hadn’t seen him in five years.
He sat down beside me before I even knew he was in the club. That’s how much of my New York savvy I’d lost over the course of my time in Florida, that a guy with a gun could get that close to me without my even noticing. So, you know. Damn.
‘Give my friend another,’ he said just as I saw him sit beside me.
The bartender had already made another, and he set it down right in front of me, and then vanished.
I swiveled at the same time. ‘Sammy?’
‘Hello, Foggy,’ he answered.
He didn’t seem surprised to see me. He didn’t ask me what I’d been doing for the number of years since he’d seen me. He didn’t ask me why I was in town. Instead of any preamble or small talk, he just sighed.
‘Foggy,’ he said, ‘I’m in love with a woman who’s in love with the theatre. And here she is.’
He pointed to the woman sitting beside him. She was a knockout, about five foot six, white-blond hair, eyes greener than money; dressed in junk-shop chic.
Sammy was wearing one of his old favorite suits, the double-breasted salt and pepper with the lapels too wide for his skinny frame. If you asked me.
‘Her name is Phoebe Peabody, and she’s what you call a stage manager, which, far as I can figure, is the person in charge. When the director goes on to another project and the producer is busy complaining about audience numbers, the stage manager has to keep the whole thing on its feet. Say hi.’
‘Hello, Phoebe,’ I said.
‘Hiya,’ she said right back, sweet as you please.
‘I told her about you already, Foggy,’ Sammy went on. ‘Phoebe’s in trouble, and I know you can help. Because I always considered you something of a buttinsky. At least that’s what your aunt Shayna used to call it. I call it helping out a friend. In this case.’
All I could think of to say, under the circumstances, was, ‘Um.’
‘You gotta do it, Foggy,’ Sammy said plaintively. ‘See, somebody wants Phoebe dead.’
I guess I had gotten a little too used to the pace of things in small-town Florida. The speed with which things were happening in the city turned my mind around just a little bit. I’m in town for an hour and already everybody knows where I’m drinking, and old friends gnaw their way out of the woodwork to cop a favor? For a girlfriend? Seriously, if it hadn’t been for Blossom and Bob, I might have just finished my last negroni and made a beeline south.
I should have done that. But before I could gather my wits, Sammy laid his giant paw on my forearm.
‘Now, you gotta understand,’ Sammy said to me very softly, ‘I been kinda keeping my relationship with Phoebe on, you know, the sly.’
‘Because you don’t want your new flame to get hip to your old crowd,’ I assumed. ‘Actors and hoodlums maybe don’t mix. And vice versa.’
‘Exactly.’ He nodded. ‘I don’t want her and criminals to get into any sort of cahoots type of situation.’
‘Right,’ I told him. ‘So why risk it with me?’
‘Right. Exactly. That’s where you come in,’ he said. ‘She don’t know you and you ain’t on the wrong side of Johnny Law no more. Am I right or am I right?’
‘I suppose I’m as close to being an upright citizen as I’ve ever been,’ I agreed.
‘OK, that’s settled.’ He turned to Phoebe. ‘So, tell him.’
‘Right.’ She leaned on the bar. ‘The trouble is named Emory. She’s in the show.’
‘Which, alone, is trouble enough,’ Sammy interrupted. ‘Actors.’
‘They’re all trouble,’ Phoebe agreed, ‘but Emory more than most.’
‘Show him the latest,’ Sammy said to Phoebe.
Phoebe produced a note and put it on the bar beside my negroni.
It said, ‘How now? A rat? Dead, for a ducat, dead!’
I looked up from the note. ‘What’s a ducat?’
‘It’s from Hamlet,’ Sammy told me. ‘That’s the show Phoebe is running.’
‘It’s an all-girl cast,’ Phoebe added, a little wearily. ‘The director had a concept. It’s set in a women’s prison.’
I finished my drink. ‘Sounds just terrible. How can I help?’
‘Razz this Emory character,’ Sammy snapped. ‘Get her to stop leaving Phoebe notes like this. You know, put the freeze in her knees.’
‘Why don’t you do it?’ I asked Sammy.
‘I’m Phoebe’s boyfriend,’ he told me, like I was an idiot. ‘If I hassle the help, Phoebe gets blamed. Actor gossip. Suddenly Phoebe’s got no work. It’s a big mess. You gotta do it.’
‘What makes you think,’ I asked Sammy, ‘that I’d be the sort of person to rile some poor actor just for leaving a note?’
‘Tell him,’ Sammy said to Phoebe.
‘It’s not just a note,’ Phoebe said. ‘Emory wants to kill me.’
‘Why would she want to do that?’ I asked. ‘I just met you and I already like you.’
‘I’m replacing her in the show,’ Phoebe said. ‘I’m tossing her out.’
‘Why?’ I asked her.
Heavy sigh. ‘She’s always late. She doesn’t know her lines. She’s missed two performances altogether. And we’ve only been open for a week!’
‘Tell her about Nan,’ Sammy prodded.
‘Oh yeah!’ Phoebe said. ‘Emory already tried to kill Nan!’
‘Nan is what you call an understudy,’ Sammy told me.
Sammy began to explain what an understudy was, but I stopped him. It wasn’t an unfamiliar term.
‘The understudy’s taking over?’ I said to Phoebe.
‘Tomorrow.’ Phoebe nodded. ‘And Emory, she’s out for blood.’
‘Blood? Well, they say actors are a high-strung lot,’ I observed, nodding.
‘The thing is, Nan’s understudying every role,’ Phoebe told me. ‘She’s the only substitute we got. I can’t have anything happen to her.’
I locked eyes with Phoebe. ‘Isn’t it just possible that it’s all talk? I mean: theatre, right?’
Phoebe shook her head. ‘Emory went to Nan’s apartment last night and fired a gun into the poor kid’s door. Five bullets. It was just lucky Nan was in the bathroom.’
‘This understudy,’ I asked, ‘she knew it was definitely Emory?’
‘Emory was screaming, “I’m Ophelia! Not you!”’
‘That’s the part this Emory dame’s got, see?’ Sammy filled in. ‘Ophelia. She’s Hamlet’s girlfriend.’
Phoebe looked at Sammy with love in her eyes, or something like it. ‘He’s seen the show seven times.’
He nodded, staring back. ‘I think I almost got the hang of it.’
I stood up, mostly to get away from the mooning.
‘Look,’ I told them both, ‘I’ve had people shoot at my door. More than once. It’s just a way to blow off steam. You’re making too much out of this.’
‘But that’s our world, Foggy,’ Sammy entreated. ‘Normal people don’t participate in that kind of a deal, i.e. shooting at innocent doors.’
I sighed. ‘You just want me to talk to this Emory?’
‘Just set her straight,’ Sammy agreed. ‘You can be nice and threatening. I seen you do it.’
‘OK.’ I shook my head. ‘Where can I find her?’
‘The show starts at eight,’ Sammy said instantly. ‘Let’s go.’
‘Now?’ I looked over at the stage. ‘No. I gotta hear Blossom. And Bob Dorough is sitting in.’
‘But …’ was all Phoebe could get out.
Anyone could see why it was a tough decision for me: save a theatre type or listen to Blossom Dearie. On the one hand, they say that theatre people are almost like real human beings. On the other hand, what if I missed Bob Dorough?
In the end, Sammy prevailed upon my better instincts by saying, ‘Come on, man, I’m in love.’
Sammy Two Shoes in love was indeed a rare monster, and I couldn’t ignore it. So I downed my last negroni and off to the little theatre I went. If I’d known what was going to happen, I would have handcuffed myself to the bar stool in Reno Sweeney’s and had about ten more negronis.
TWO
The theatre, if you could call it that, was on Cornelia Street, not far from where Caffe Cino used to be. Really just a storefront with folding chairs and coffee can lights. When we walked in, the place was deserted, dark, and depressing.
