One Night Stands and Lost Weekends.

by Lawrence Block

INTRODUCTION.

IN 1999 THE SMALL PRESS PUBLISHER Crippen & Landru brought out a limited hardcover edition of twenty-five previously uncollected early stories of mine. I called the book Crippen & Landru brought out a limited hardcover edition of twenty-five previously uncollected early stories of mine. I called the book One Night Stands, One Night Stands, as most of the stories were written in a single session. as most of the stories were written in a single session.

The Lost Cases of Ed London followed two years later, consisting of three novelettes narrated by a private detective whose name you can very likely infer. followed two years later, consisting of three novelettes narrated by a private detective whose name you can very likely infer.

I was by no means convinced that any of these stories needed to return to print, and yet I didn't want to deprive collectors and specialists of access to them. So I chose to limit their availability to these hardcover collector's editions, and not to allow them to be reprinted in paperback form.

Here you have the contents of both volumes, a.s.sembled together in a handsome but reasonably priced trade paperback edition. How come? What happened that led me to change my mind?

More important, I think, is what didn't happen. No one who bought either book wrote to the publisher to demand his money back or to me to savage me for foisting such c.r.a.p upon the reading public. Now this doesn't necessarily mean that anybody liked liked the stories; for all I know, collectors bought them and admired them and placed them with pride upon their shelves, never bothering to read the d.a.m.ned things. While I might have worried that reissuing them would damage whatever remains of my reputation, well, it didn't. the stories; for all I know, collectors bought them and admired them and placed them with pride upon their shelves, never bothering to read the d.a.m.ned things. While I might have worried that reissuing them would damage whatever remains of my reputation, well, it didn't.

And here's something that did happen: Sometime in the mid-nineties I got an e-mail from my friend Evan Hunter. He'd been approached by Charles Ardai of Hard Case Crime about the possibility of HCC's reissue of a group of stories Evan had written and published some forty years earlier. They featured a Bowery derelict named Matt Cordell, a former cop who pulls himself together sufficiently to handle a case and then falls apart again. Evan wasn't sure he wanted to see those stories back in print, and he wondered what my experience had been with the publisher and with reissuing early work.

I was able to vouch for Ardai and Hard Case Crime, and I was also able to put in a word for Matt Cordell. I remembered those stories well-I'd read all of them when they appeared-and I a.s.sured Evan that neither he nor they had anything to apologize for. "And for what it's worth," I said, "here's how I make this sort of decision. When I'm faced with two courses of action, I try to pick the one that brings money into the house."

Why should I sit in judgment of my early work? Why should I limit its readership to collectors with full wallets? Why not opt instead for the choice that will bring in a few dollars?

ONCE I'D COME AROUND to that way of thinking, I didn't need to do a lot of heavy lifting. My publishers and I agreed that both books should be combined into a single volume, or if you prefer, a double volume-English is a curious language, isn't it? And was there a t.i.tle that might serve for such a book? to that way of thinking, I didn't need to do a lot of heavy lifting. My publishers and I agreed that both books should be combined into a single volume, or if you prefer, a double volume-English is a curious language, isn't it? And was there a t.i.tle that might serve for such a book?

I still liked One Night Stands One Night Stands as a t.i.tle, but it didn't really fit the Ed London novelettes. They'd taken longer to write-a few days, certainly. I couldn't remember whether I'd written them on the weekend or during the week-I could barely recall having written them at all, to tell you the truth-but as soon as the new t.i.tle came to mind I liked it, and so did the good people at HarperCollins. as a t.i.tle, but it didn't really fit the Ed London novelettes. They'd taken longer to write-a few days, certainly. I couldn't remember whether I'd written them on the weekend or during the week-I could barely recall having written them at all, to tell you the truth-but as soon as the new t.i.tle came to mind I liked it, and so did the good people at HarperCollins.

We also decided that the original introductions should stay, and so you'll find them here, one immediately after this one, the other preceding the novelettes.

THERE'S ONE OTHER THING I should talk about here, and that's a story that was included in I should talk about here, and that's a story that was included in One Night Stands One Night Stands as a separate pamphlet. It's tucked into the main body of this new edition, but it isn't mentioned in the original introduction, and I probably ought to remedy that. as a separate pamphlet. It's tucked into the main body of this new edition, but it isn't mentioned in the original introduction, and I probably ought to remedy that.

The story was my only real attempt at science fiction, a genre I rather liked and certainly respected, but not one to which my talents and imagination seemed to lend themselves. My agent liked the story and sent it everywhere, and it always came back, until it landed at Science Fiction Stories, Science Fiction Stories, that market of last resort edited by Robert A. W. Lowndes. (They paid half a cent a word, but my agency insisted they get a minimum of ten dollars for a story. They took their one buck commission, and I netted nine dollars. Funny what you remember.) that market of last resort edited by Robert A. W. Lowndes. (They paid half a cent a word, but my agency insisted they get a minimum of ten dollars for a story. They took their one buck commission, and I netted nine dollars. Funny what you remember.) Laurence Janifer, a friend of mine who liked the story far more than it could possibly have deserved, brought it to the attention of Judith Merril, known as the "little mother of science fiction," who chose it for her very prestigious best-of-the-year collection. Go figure.

The planet on which the story takes place is called Althea in a nod to the Richard Lovelace poem "To Althea from Prison," which begins, "Stone walls do not a prison make." I accordingly called the story "Make a Prison," although that's not a very good t.i.tle, is it? If I had wanted a good t.i.tle, all I had to do was move on to the poem's second line: "Nor iron bars a cage." Now that's that's a t.i.tle. And, since I get to decide these things, that's the t.i.tle it's going to have from now on, starting right here in this volume: "Nor Iron Bars a Cage." The rest of the story's not much, Larry Janifer and Judy Merril notwithstanding, but that's a d.a.m.n nice t.i.tle. a t.i.tle. And, since I get to decide these things, that's the t.i.tle it's going to have from now on, starting right here in this volume: "Nor Iron Bars a Cage." The rest of the story's not much, Larry Janifer and Judy Merril notwithstanding, but that's a d.a.m.n nice t.i.tle.

Lawrence Block New York 2008.

One Night Stands

Introduction.

IF MEMORY SERVES...

IN 1956, FROM THE BEGINNING OF AUGUST through the end of October, I lived in Greenwich Village and worked in the mail room at Pines Publications. I was a student at Antioch College, in Yellow Springs, Ohio, which sounds like a h.e.l.l of a commute, but that's not how it worked. At Antioch students spent two terms a year studying on campus and two terms working at jobs the school arranged for them, presumably designed to give them hands-on experience in their intended vocational area. Like a majority of students, I had spent my entire freshman year on campus. Now, at the onset of my second year, I was ready to begin my first co-op job. I knew I wanted to be a writer, so I went through the school's list and picked a job at a publishing house. through the end of October, I lived in Greenwich Village and worked in the mail room at Pines Publications. I was a student at Antioch College, in Yellow Springs, Ohio, which sounds like a h.e.l.l of a commute, but that's not how it worked. At Antioch students spent two terms a year studying on campus and two terms working at jobs the school arranged for them, presumably designed to give them hands-on experience in their intended vocational area. Like a majority of students, I had spent my entire freshman year on campus. Now, at the onset of my second year, I was ready to begin my first co-op job. I knew I wanted to be a writer, so I went through the school's list and picked a job at a publishing house.

Pines published a paperback line, Popular Library, a batch of comic books, and a couple dozen magazines, including some of the last remaining pulps in existence. (Ranch Romances, I recall, was one of them. It was what the t.i.tle would lead you to believe.) I worked five days a week from nine to five, shunting interoffice mail from one desk to another, and doing whatever else they told me to do. My weekly salary was forty bucks, and every Friday I got a pay envelope with $34 in it.

I lived in the Village, at 54 Barrow Street, where I shared a one-bedroom apartment with two other Antioch co-ops. My share of the monthly rent was $30, so I guess it fit the traditional guideline of a week's pay. I know I never had any money, but I never missed any meals, either, and G.o.d knows it was an exciting place to be and an exciting time to be there. (I was eighteen, and on my own, so I suppose any place would have been exciting, but at the time I thought the Village was the best place in the world. Now, all these years later, I haven't changed my mind about that.) I didn't do much writing during those months. I'd realized three years earlier that writing was what I wanted to do, and every now and then I actually wrote something. Poems, mostly, and story fragments. I sent things to magazines and they sent them back. At Antioch, I taped the rejection slips on the wall over my desk, like the heads of animals I'd slain. Sort of.

One weekend afternoon, I sat down at the kitchen table on Barrow Street and wrote "You Can't Lose." It was pretty much the way it appears here, but it didn't end. It just sort of trailed off. I showed it to a couple of friends. I probably showed it to a girlfriend, in the hope that it would get me laid, and it probably didn't work. Then I forgot about it, and at the end of October I went back to campus.

Where at some point I remembered the story and dug it out and sent it to a magazine called Manhunt. Manhunt. All I knew about All I knew about Manhunt Manhunt was that most of the stories in Evan Hunter's collection was that most of the stories in Evan Hunter's collection The Jungle Kids The Jungle Kids had first appeared in its pages. I'd admired those stories, and it struck me that a magazine that would publish them might like my story. So I sent it off, and it stayed there for a while, and then back it came. had first appeared in its pages. I'd admired those stories, and it struck me that a magazine that would publish them might like my story. So I sent it off, and it stayed there for a while, and then back it came.

With a note enclosed from the editor. He liked it, but pointed out that it didn't have an ending, and that it rather needed one. If I could come up with a twist ending, a snappier ending, he'd like to see it again. So I found a newsstand that carried Manhunt Manhunt, bought a copy, read it, and wrote a new ending, one which at least proved I'd read O. Henry's "The Man at the Top." (My narrator ends with the triumphant boast that his ill-gotten gains are due to increase dramatically, because he's just invested the whole thing in some gold mine stock. Or something.) I sent this off, and it came back with another note, saying the new ending was predictable and didn't really work, but thanks for trying. And that was that.

Then several months later the school year was coming to a close, and I was due to head off to Cape Cod and find a co-op job on my own. One night near the end of term I couldn't sleep, and I lay there thinking, and thought of the right way to finish the story. I went home to Buffalo to visit my folks, drove out to Cape Cod, and wrote a new ending for the story. The acceptance process was slow-Manhunt had what we've since learned to call a cash-flow problem-but, long story short, they bought it. Paid a hundred bucks for it. had what we've since learned to call a cash-flow problem-but, long story short, they bought it. Paid a hundred bucks for it.

My first sale.

I LEFT THE CAPE after a month or so and wound up back in New York, where I got a job as an editor at a literary agency, reading scripts and writing letters to wannabe writers, telling them how talented they were and how this particular story didn't work, but by all means send us another story and another reading fee. after a month or so and wound up back in New York, where I got a job as an editor at a literary agency, reading scripts and writing letters to wannabe writers, telling them how talented they were and how this particular story didn't work, but by all means send us another story and another reading fee.

I lived in a residential hotel on West 103rd Street, where my $65-a-month rent was again a fourth of my salary. And, nights and weekends, I wrote stories, which the agency I worked for submitted to various magazines. Most of the stories were crime fiction. I hadn't yet decided I was going to be a crime fiction writer-I don't know that that's a decision I ever made-but in the meantime I read extensively in the field. There was a shop on Eighth Avenue off Times Square where they sold back copies of Manhunt Manhunt and other digest-sized magazines ( and other digest-sized magazines (Trapped, Guilty, Off-Beat, Keyhole, Murder, and so on) at two for a quarter. I bought every one of these I could find, and I read them cover to cover. Some I liked and some I didn't, but somewhere along the way I must have internalized the sense of what made a story, and I wrote some of my own.

They sold, most of them, sooner or later. Sometimes to Manhunt Manhunt, but more often to its imitators. Trapped Trapped and and Guilty Guilty paid a cent and a half per word, so they were the first choice after paid a cent and a half per word, so they were the first choice after Manhunt Manhunt pa.s.sed. Then came Pontiac Publications, at a penny a word. (Their magazines had t.i.tles like pa.s.sed. Then came Pontiac Publications, at a penny a word. (Their magazines had t.i.tles like Sure Fire Sure Fire and and Twisted Twisted and and Off-Beat Off-Beat, and every story t.i.tle had an exclamation mark at the end. I longed to call a story "One Dull Night" so that they could call it "One Dull Night!") After I'd been a month or so at the literary agency, it was clear to me I was learning more than I'd ever learn in college, and that I'd be crazy to stop now. So I dropped out and stayed right where I was. In the spring, I decided I'd learned as much as I was going to at the job, and that a student draft deferment was, after all, better than a poke in the eye with a sharp bayonet. I went back to Antioch.

By the time I got there, I was writing books. "s.e.x novels" was what we called them, though they'd now get labeled "soft-core p.o.r.n." I wrote one to order the summer before I returned to Antioch, and the publisher wanted more. So that's what I did instead of cla.s.swork. And I also went on writing crime stories. At the end of that academic year, in the summer of 1959, I dropped out again, and this time it took. I started writing a book a month for one s.e.x novel publisher, and other books for other publishers, and from that point the crime short stories were few and far between.

WHEN DOUG GREENE AND I discussed bringing out a collection of these early stories, he brought up the subject of an introduction. "You can read through the stories," he said, "and write some sort of preface." I discussed bringing out a collection of these early stories, he brought up the subject of an introduction. "You can read through the stories," he said, "and write some sort of preface."

"One or the other," I said. "You decide which."

I have a lot of trouble looking at my early work. I rarely like the way it's written, and I especially dislike the glimpse it gives me of the unutterably callow youth who produced it. I like that kid and wish him well, but read what he wrote? The h.e.l.l with that.

You know what? I'm afraid afraid to read them. I'm scared I'll decide not to publish them after all, and it's too late for that. to read them. I'm scared I'll decide not to publish them after all, and it's too late for that.

So an uncharacteristic attack of honesty compels me to advise you that I am in the curious position of introducing you to a couple of dozen short stories that I myself haven't read in forty years.

Someone else suggested that some of the stories might require revision, because att.i.tudes expressed in them are out-of-date and politically incorrect. No way, I told him. First of all, one of the few interesting things about them is that they're of their time. I'd much rather burn them than update them. And screw political rect.i.tude, anyway. You want to go through Huckleberry Finn Huckleberry Finn and change the name of Huck's companion to African-American Jim? Be my f.u.c.king guest, but leave me out of it. and change the name of Huck's companion to African-American Jim? Be my f.u.c.king guest, but leave me out of it.

A FEW THINGS YOU MIGHT WANT TO KNOW:.

1. A few of these stories, as indicated in the bibliographical notes at the back, were published under pen names. This only happened when I wound up with more than one story in the same issue of a magazine. W. W. Scott, who edited Trapped Trapped and and Guilty, Guilty, would make up a pen name when this occurred, generally by working a variation on the author's usual byline. Thus "B. L. Lawrence." The guy at Pontiac asked what pen name to use in similar circ.u.mstances, and I provided the name "Sheldon Lord." Were there other pen names? Maybe, because there have been editors in the business who had house names that they used at such times. Maybe they used them on stories of mine. I don't think this ever happened, but at this point I'd have no way of knowing. And no reason whatever to care... would make up a pen name when this occurred, generally by working a variation on the author's usual byline. Thus "B. L. Lawrence." The guy at Pontiac asked what pen name to use in similar circ.u.mstances, and I provided the name "Sheldon Lord." Were there other pen names? Maybe, because there have been editors in the business who had house names that they used at such times. Maybe they used them on stories of mine. I don't think this ever happened, but at this point I'd have no way of knowing. And no reason whatever to care...

2. There's a story in here called "Look Death in the Eye" that deserves comment. It may strike some readers as curiously familiar. I wrote it way back when, while I was working for the literary agent, and it sold to Pontiac, and I lost all track of it. Didn't have a copy, didn't know where to find one.

And I found myself thinking about the story. What I really liked about it was the last line, and that, really, was all I remembered. So I re-created the story from memory, right up to the last line, which I recalled word for imperishable word. I hammered it out and sent it off to a fellow named Bruce Fitzgerald, who was editing a magazine called For Women Only. For Women Only. (It was a beefcake magazine, as it happens, composed of outtake photos from (It was a beefcake magazine, as it happens, composed of outtake photos from Blueboy Blueboy, a gay magazine. The stories and articles interspersed among the nude male pix in For Women Only For Women Only were ostensibly slanted to female readers, of which I doubt the magazine had more than twenty nationwide. The idea was that, by being purportedly for women, it could get on newsstands closed to gay publications, where its true audience would, uh, sniff it out. Its name notwithstanding, it was really for were ostensibly slanted to female readers, of which I doubt the magazine had more than twenty nationwide. The idea was that, by being purportedly for women, it could get on newsstands closed to gay publications, where its true audience would, uh, sniff it out. Its name notwithstanding, it was really for men men only. Publishing is a wonderful business.) only. Publishing is a wonderful business.) Bruce liked the story, but felt it was a little too graphic for his female readers, even though we all knew they didn't exist. Could he use it without the last line?

Without the last line, of course, there's no story. And the only reason I wrote the story a second time was so that I could reuse the last line. So I displayed artistic integrity I never knew I had and withdrew the story. I don't know what difference I thought it would make, since n.o.body read anything in that magazine anyway, but for once I just couldn't stop myself from doing the right thing. Gallery Gallery wound up taking it, last line and all. It was published as "Hot Eyes, Cold Eyes," and was later included in my second collection, wound up taking it, last line and all. It was published as "Hot Eyes, Cold Eyes," and was later included in my second collection, Like a Lamb to Slaughter. Like a Lamb to Slaughter.

3. The t.i.tle deserves explanation. Most of these stories were written in a single sitting. I would get an idea and sit down at the typewriter and hammer it out. You can hold a short-story idea entirely in the mind, especially the sort of brief and uncomplicated story that most of these are. A weekday evening or a weekend afternoon was generally time enough to see one of these stories through to the end.

It still often is. I still write stories rapidly, and sometimes complete one in a single setting. The major difference, it seems to me, is that the gestation period has gotten a lot longer. I'll nowadays let a story idea percolate or ferment or stew for days or weeks or months. Back then I tended to strike as soon as the iron was hot, or, occasionally, before it had really warmed up.

I'VE HAD THREE COLLECTIONS of short stories published, plus a small-press collection of the Ehrengraf stories and of short stories published, plus a small-press collection of the Ehrengraf stories and Hit Man Hit Man, an episodic novel comprising the Keller stories. One Night Stands One Night Stands consists of stories deliberately omitted from these collections (or ones I'd lost track of, but if I'd had them handy I'd still have left them out). consists of stories deliberately omitted from these collections (or ones I'd lost track of, but if I'd had them handy I'd still have left them out).

What have we got here, then? A box labeled "pieces of string too small to save"? If they weren't worth collecting, why have I collected them?

I've been guided by the same principle (or, some might argue, the same lack thereof) that has led me to republish some early crime novels that I'd be hard put to read without cringing. The fact that I can't read them with pleasure doesn't mean someone else couldn't, or shouldn't. I've decided it's not my job to judge my early work. Let other people make what they will of it.

Then, too, I'm not unmindful of the interests of collectors and readers with a special interest in an author-in this instance, myself. I don't collect books, but I have other collecting interests, and I understand the mind set. Of course a collector would want a writer's early work, to read or simply to have and to hold, and why should I deprive him of the opportunity? And why shouldn't some scholar with a thesis to write have access to that early work?

At the same time, I don't think these stories are much good, or representative of my mature work. For G.o.d's sake, when I wrote these my typewriter still had training wheels on it. So I've decided One Night Stands One Night Stands should have limited distribution, going not to general readers but to collectors and specialists. Thus it's being published only in a limited collector edition, and not, as is generally the case with Crippen & Landru publications, in trade paperback as well. should have limited distribution, going not to general readers but to collectors and specialists. Thus it's being published only in a limited collector edition, and not, as is generally the case with Crippen & Landru publications, in trade paperback as well.

Enough! This introduction has pa.s.sed the 2500-word mark, which makes it longer than many of the stories it's introducing. It's taken most of the morning to write it, too. May you, Dear Reader, like the tomcat who had the affair with the skunk, enjoy these stories as much as you can stand.

Lawrence Block Greenwich Village 1999.

THE BAD NIGHT.

THE SHORTER OF THE TWO BOYS had wiry black hair and a twisted smile. He also had a knife, and the tip of the blade was pressed against Dan's faded gabardine jacket. "Why'd you have to get in the way?" he asked, softly. "Every bull from here to Memphis is after us, and Pops here has to..." had wiry black hair and a twisted smile. He also had a knife, and the tip of the blade was pressed against Dan's faded gabardine jacket. "Why'd you have to get in the way?" he asked, softly. "Every bull from here to Memphis is after us, and Pops here has to..."

"Shut up." The older boy was taller, with blond hair that tumbled over his forehead. He, too, had a knife.

"Why? He ain't going to tell anybody..."

"Shut up, Benny." He turned to Dan, smiling. "We need money, maybe some food. We better make it over to your shack."

"No shack," Dan said. He gestured toward an opening in the wall of rock that edged the valley. "I live in the cave over there."

Benny started to laugh, and the blade of his knife pierced Dan's skin and drew blood. "A cave!" he exploded. "Dig, Zeke-he's a hermit!"

Zeke didn't laugh. "C'mon," he said. "To the cave."

They walked slowly across the field toward the mouth of the cave. Dan felt the sweat forming on his forehead, felt the old familiar sensation that he hadn't felt since Korea. He was afraid, as afraid as he'd ever been in his life.

"Faster," Benny said, and again Dan felt the knife p.r.i.c.k skin. It didn't make sense. He'd lived through a world war and a police action, and now two kids from Memphis were going to kill him. Two kids who called him "Pops."

The veins stood out on his temples, and he could feel the sweat running down his face to the stubble of beard on his chin. "Why did he get in the way?" the kid had asked. h.e.l.l, he didn't mean to get in anyone's way. Just wanted to go off by himself, fool around with a little prospecting, and relax for a while.

They were almost at the entrance of the cave. Now they would take his money, eat his food, and put a switchblade knife between his ribs. He was finished, unless he managed to get to his gun in time. There was a shiny black .45 waiting on his shelf, if only he could get to it before Benny got to him with the knife.

"Here it is," he said. He stepped inside the cave, the two boys right behind him. It was a large cave, wide and roomy and branching out much wider in the rear. On one side was his mattress, on the other his trunk and four orange-crate shelves.

"Let's go," said Zeke. "Bring out the dough and some food. We ain't got all night."

"Yeah," Benny echoed. "We gotta roll, man. Make it fast or I stick you, dig?" He prodded Dan with a knife for emphasis.

"Wait a minute." Dan's eyes darted desperately to the crates and lighted on the kerosene lantern. "Let me light the lamp over there. It's getting kind of dark in here."

Benny looked at Zeke, who shrugged. "Okay," he said. "But don't try anything." Dan walked across to the side of the cave, and Benny followed with the knife.

Fumbling in his pocket for a match, Dan glanced down to the middle shelf of the crate where the gun nestled cozily amidst a packet of letters and a pair of socks. If only he could get it, and if only it were loaded. Was it loaded? He couldn't remember.

"Hurry it up," Zeke said. It was now or never, Dan thought. He lifted the pack of matches from his pocket, tensed his body, and fell forward.

At the same time he lashed out viciously with his foot and heard a dull grunt of pain as he connected solidly with Benny's belly. His right hand snaked out for the gun and closed around it, his fingers caressing the smooth metal of the b.u.t.t. All in one motion he took it and whirled around, his finger tight against the trigger. The boys scampered for the rear of the cave. Then, before he could get a shot off, his right ankle buckled and he fell to the floor. For a moment everything went black as the pain shot up and down his leg. He gritted his teeth until the floor stopped spinning.

Dan glanced around the cave, and the two boys seemed to have disappeared. He tried to stand, but the stab of pain in his ankle told him it was useless. The ankle was broken.

He could hear Zeke, cursing dully from the back of the cave. They hadn't left, then. He had them trapped.

After a time the cursing stopped. "Hey, Pops!" Zeke called. "That was pretty sharp, you know?"

Dan didn't answer.

"Sharp," the boy repeated. "You faked us good, but what'll it get you? You can't move, Pops."

Dan started. He scrutinized the rear walls of the cave but could see nothing.

"Peek-a-boo," Zeke called. "I can see you real good, Pops. There's a cool little crack in the rock, you know? I can see you clear as anything. You still got your gun, but you can't go anywhere."

"Neither can you," Dan answered, in spite of himself. "You can't come out without getting shot. You two little b.a.s.t.a.r.ds can stay there until I get some help."

The boy's laugh rang hollowly in the cave. "Help? You expecting company, Pops? Bet there's a whole mess of people in a real rush to come here. This cave's a big attraction, huh?"

Dan ran a hand over his forehead. The boy was right-the world didn't exactly beat a path to his door. Daley would drop by in the morning with the mail, but he couldn't figure on anyone showing before then. It was a stalemate; he couldn't get the boys, and they couldn't get him.

"I can wait," he called. "My friend comes up at eleven every morning, and we can just sit it out until then. Have a nice wait, kids. Enjoy yourselves. When the cops get hold of you it won't be much fun."

This time they both laughed-high, shrill laughs that chilled Dan to the bone. The laughter echoed and bounced between the walls, and Dan felt his blood come to a boil. "Laugh!" he yelled, savagely. "Laugh your heads off, you little b.a.s.t.a.r.ds!"