After writing in the particulars about Willie and the schoolteacher, Albert replaced the ledger in the firebox and covered it with the floorboard. Then he took a quart of corn whiskey from a suitcase, went out to the sales floor, and sat at his favorite piano. He drank in silence until the street went dark outside the display window. Then he got up, switched on the lights, and returned to the piano.
Laying his fingers on the keys, he started with “Blues in the Night,” rolling his right hand with a feather-light touch. Then he gently twisted the melody inside out until it became “Blue Skies,” despite not having felt smiled upon in quite a while. It was times like this that Albert wished his wife had lived. Lilly would always sit at his side while he played, or on the floor behind him, leaning against his lower back, and sing over the notes he coaxed from whichever piano they had at the time. Sometimes she’d sing the way Billie Holiday sang on the radio, other times she crooned in a language all her own, improvising over whatever Albert did with the keys. Tonight he’d give all the money he had in the bank to have recorded the songs his wife had made up on those nights. But he never did.
And then she died.
Lilly had passed when he was thirty, she twenty-eight. Albert had never remarried. He’d passed the last twenty years with various girls, none more special than the last, and he’d stayed away from white women as much as he could, despite considerable pressure from some of the housewives whose homes he visited to tune their pianos. He always tried to make his calls when the husband was home, and he worked hard to make a good impression. That was how you survived in cotton country. From one corner of the parish to the other, every white man of property knew Albert Norris as a “good nigger.”
Albert stopped playing in mid-measure, like a walker in mid-stride, and listened to the suspended chord fade into silence. It took half a minute, and he knew that a child could probably hear the sound waves decay for another thirty seconds after that, the way he used to when he’d sat on the floor by his mother’s old Baldwin. Age took those things from you, though—slow but sure.
In the haunting silence, he heard a muted thump from the workroom. A few seconds later, the sound repeated itself. The trapdoor had closed. Pooky Wilson was slipping out into hostile night, like a thousand black boys before him.
“Godspeed, son,” Albert said softly.
He’d drunk more whiskey than usual tonight, hoping to dull the memory of the men who’d visited him that afternoon, not to mention the specter of Big John DeLillo cruising past on the hot asphalt outside. Sometimes reality crowded in so close on you, not even music could block it out. He could almost hear Pooky’s pounding heart as the boy tried to cover the two blocks to Widow Nichols’s house. Filled with bitterness, Albert got up from the piano bench, wobbled, then marched up to the display window and fiddled with some glittery drums to draw the eyes of any watchers outside. After a couple of minutes of this, he staggered to his bedroom at the back of the shop. He could still smell the white woman’s sex on the air, and it made him angry.
“Bitch ought to stay with her own,” he muttered. “Nothing but trouble.”
His last words were mumbled into his bunched pillow.
THE SOUND OF BREAKING glass dredged Albert from a dreamless sleep. Instinctively, he reached for the .32 pistol he kept on his bedside table, but he’d been too drunk to bring it from the office when he went to bed. Somebody fell over a drum set, and a cymbal crashed to the floor. Then a flashlight beam cut through the short dark hallway that led to the sales floor.
“Who’s there?” Albert called. “Pooky? That you?”
The noises stopped, then continued, and this time he heard muffled voices. Albert got up, fought a wave of dizziness, then hurried into his office. His pistol was right where he’d left it. He picked up the .32 and padded carefully up the hall. He heard a deep gurgling, like someone emptying herbicide from a fifty-five-gallon drum. Then he smelled gasoline.
Panic and foreknowledge swept through him in a paralyzing wave. He wanted to flee, but the store was all he had. He owned the building—a rare feat for a black man in Ferriday, Louisiana—but he had no insurance. He’d put the premium money into new inventory, those electric guitars all the white boys was wanting since the Beatles hit the TV. Albert flung himself up the hall, then stopped when he saw two black silhouettes in the darkness. The shadow men were emptying gasoline over the piano in the display window, and splashing it high on the guitars hanging on the wall.
“What ya’ll doin’?” he cried. “Stop that now! Who is that?”
The men kept emptying the cans.
“I’ll call the po-lice! I swear I will!”
The men laughed. Albert squinted, and in the faint light bleeding through the window he saw the paleness of their skin. In the shadows to his right, Albert sensed more than saw a third figure, but it looked larger than a man, almost like a Gemini astronaut with air tanks on his back.
“I got a pistol!” Albert cried, ashamed of the fear in his voice. If he fired now, the muzzle flash or the ricocheting bullet was as likely to set off the fumes as a struck match. “Please!” he begged. “Why ya’ll want to ruin my store? What I ever done to you fellas?”