Shoot the Works

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When the telephone rang, Michael Shayne said, “Let it ring, angel,” without lifting his head. He made his voice sound placid and almost drowsy. He was stretched out full-length on the sofa, in Lucy Hamilton’s sitting room, and his left cheek was pressed against Lucy’s warm lap. He had his jacket off and his tie loosened and his shirt collar unbuttoned, and Lucy was leaning slightly forward over him and her fingers were tangled in his coarse red hair.

It was almost eleven o’clock, and a half-filled brandy bottle stood on the low coffee table directly in front of Shayne beside an empty wine-glass and a tumbler with two partially-melted cubes of ice in the bottom.

The telephone across the room continued to jangle insistently. Lucy did not speak or move until the fourth ring. Then she sighed lightly and Shayne felt the muscles of her thigh tighten beneath his cheek, and he knew he had lost.

From the first ring, he had known he would lose, of course. His effort to hold on to the lazy mood of the evening had been purely a mechanical reflex. No woman can resist the summons of a telephone. Particularly late at night, when she hasn’t the faintest idea who might be calling at that hour. Why, it might be anyone or anything! The building might be on fire, or it might be long-distance from California with a message that some distant relative had died and left her a fortune.

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