The Night and the Music - Lawrence Block [52]
“And this whole building smells that way to me. There’s the stench of disinfectant over everything. We use tons of it, spray and liquid. The virus is surprisingly frail, it doesn’t last long outside the body, but we leave as little as possible to chance, and so the rooms and halls all smell of disinfectant. But underneath it, always, there’s the smell of the disease itself.”
He turned the pipe over in his hands. “His clothes were full of the smell. John’s. I gave everything away. But his pipes held a scent I had always associated with him, and a pipe is such a personal thing, isn’t it, with the smoker’s toothmarks in the stem.” He looked at me. His eyes were dry, his voice strong and steady. There was no grief in his tone, only in the words themselves. “Two years in November, though I swear it doesn’t seem that long, and I use one smell to keep another at bay. And, I suppose, to bridge the gap of years, to keep him a little closer to me.” He put the pipe down. “Back to cases. Will you take a careful but unofficial look at our Angel of Death?”
I said I would. He said I’d want a retainer, and opened the top drawer of his desk. I told him it wouldn’t be necessary.
“But isn’t that standard for private detectives?”
“I’m not one, not officially. I don’t have a license.”
“So you told me, but even so — “
“I’m not a lawyer, either,” I went on, “but there’s no reason why I can’t do a little pro bono work once in a while. If it takes too much of my time I’ll let you know, but for now let’s call it a donation.”
The hospice was in the Village, on Hudson Street. Rachel Bookspan lived five miles north in an Italianate brownstone on Claremont Avenue. Her husband, Paul, walked to work at Columbia University, where he was an associate professor of political science. Rachel was a free-lance copy editor, hired by several publishers to prepare manuscripts for publication. Her specialties were history and biography.
She told me all this over coffee in her book-lined living room. She talked about a manuscript she was working on, the biography of a woman who had founded a religious sect in the late nineteenth century. She talked about her children, two boys, who would be home from school in an hour or so. Finally she ran out of steam and I brought the conversation back to her brother, Arthur Fineberg, who had lived on Morton Street and worked downtown as a librarian for an investment firm. And who had died two weeks ago at the Caritas Hospice.
“How we cling to life,” she said. “Even when it’s awful. Even when we yearn for death.”
“Did your brother want to die?”
“He prayed for it. Every day the disease took a little more from him, gnawing at him like a mouse, and after months and months and months of hell it finally took his will to live. He couldn’t fight anymore. He had nothing to fight with, nothing to fight for. But he went on living all the same.”
She looked at me, then looked away. “He begged me to kill him,” she said.
I didn’t say anything.
“How could I refuse him? But how could I help him? First I thought it wasn’t right, but then I decided it was his life, and who had a better right to end it if he wanted to? But how could I do it? How?
“I thought of pills. We don’t have anything in the house except Midol for cramps. I went to my doctor and said I had trouble sleeping. Well, that was true enough. He gave me a prescription for a dozen Valium. I didn’t even bother getting it filled. I didn’t want to give Artie a handful of tranquilizers. I wanted to give him one of those cyanide capsules the spies always had in World War Two movies. You bite down and you’re gone. But where do you go to get something like that?”
She sat forward in her chair. “Do you remember that man in the Midwest who unhooked his kid from a respirator? The doctors wouldn’t let the boy die and the father went into the hospital with a gun and held everybody at bay until his son was dead. I think that man was a hero.”
“A lot of