Free Acts of Mercy by Bill Pronzini, Barry N. Malzberg Page B

a silver lighter, and blows smoke carefully to one side. “Well,” he says for the third time, “what is it you wanted to see me about? I had the impression on the phone that it was important.”
    “It is,” we say, and move past him, stop beside his desk and pretend to look through the open venetian blinds at the lighted grounds beyond. We let the fingers of our left hand slide along the desk, come to rest on the smooth black onyx ashtray we have seen there before. Then we turn slowly to face Briggs again.
    His head is wreathed in smoke from his cigarette. A thin streamer of it rises from his hand in a vertical line that seems to bisect his face, so that for an instant we see him as two fragmented halves, as if he has been cleaved in two. The image is unsettling and we take a step backward and one more to our left—but not so far away from the desk that we cannot now reach the black onyx ashtray with our right hand.
    Briggs says, “If it has something to do with the backgrounder this morning—”
    “It has everything to do with that,” we say, “and nothing to do with it. I’m here because of you—what you are and what you’ve tried to do.”
    He avoids our eyes, puffs deeply on his cigarette. “I don’t know what you mean,” he says.
    “Oh but you do. You know exactly what I mean.”
    His expression becomes defensive. “My conscience is clear,” he says. “I’ve never done anything that wasn’t in the best interests of the party, the presidency, the country.”
    “Not to mention the best interests of Austin Briggs.”
    “That’s not true.”
    “Isn’t it?” We look at him more closely, and what we see feeds our hatred for him, cements our purpose. “You’re a parasite, Austin, and a righteous, self-deluding one at that. You don’t have an ounce of compassion or human decency.”
    He stiffens, looks at us, looks away. There is a stirring of fear in him now; we can see it in his eyes. “I don’t have to listen to that,” he says.
    “No, of course you don’t. There’s no point in going on with it, is there?”
    “None at all,” Briggs says, and draws again on his cigarette.
    “You’re about to lose your ash,” we say.
    He blinks. “What?”
    “The ash on your cigarette, you’re about to lose it,” we say. And we pick up the black onyx ashtray, cup it in our palm, extend it toward him.
    “Oh,” he says in a confused way, “yes.” He takes a step forward, and his gaze is locked on the ashtray; he does not notice that we have braced one hip against the desk, that we stand rigid and poised. Our heart is racing wildly now.
    When he reaches out with his cigarette for the ashtray we raise our left hand and jab the knuckles sharply into his shoulder. He stops in mid-stride, frowning in surprise, and turns his head toward his shoulder—and that exposes his left temple, makes of it a target on which we fasten our own gaze. Then we bring the ashtray up with all our strength and drive the flat edge of it against his temple.
    There is a dull, ugly sound. Briggs cries out in pain, staggers but does not fall. We go after him, swing the ashtray a second time, feel it connect solidly with the bone above one eye. This time he makes no sound and this time he collapses immediately, boneless, and lies staring up at us with eyes like discs of polished glass.
    The execution is finished: the traitor is dead.
    We take several deep breaths, look away from Briggs and cock our head to listen. No one has heard his cry; the building is shrouded in silence. We realize his dropped cigarette is smoldering on the carpet, and we pick it up and tamp it out in the ashtray which we find we are still holding in our hand. On the carpet is a small black scorch mark, but there is nothing to be done about that. The ashtray is undamaged, and since the blows we struck did not draw blood, there are no marks on it. We replace it on the desk.
    It occurs to us as we go to the window that we have, in spite of all our