# Framed at the Benefactors Club/Chapter 3

from the Detective Story magazine, 1921 Apr 16, pp. 14–18.

### CHAPTER III.
##### BLUECOATS AND A CARVING KNIFE.

EVEN at that tragic moment, Ogilvie could not rid his mind of the incongruous impression that the whole thing was unreal. For there was no such excitement as is generally supposed to follow the witnessing of a violent deed. The majority of the occupants of the restaurant had indeed risen, but there were no cries of horror and indignation, no hysterical exchange of comments and counter-comments. All seemed quiet, orderly, and well bred, as if murder were a commonplace, rather negligible occurrence.
Ogilvie himself had only turned after he had heard the shot fired. He had turned quickly enough, but even so he could not tell who was the assassin. There seemed to be no weapon in evidence, no telltale, guilty attitude.
Still there could be no doubt that some of the other people in the restaurant must have looked in the direction of the newcomers at the time, must have actually witnessed the killing. Yet there was no sign of it: no pointing, accusing hands reached out, nobody gave way to the natural impulse of those who have witnessed a revolting crime—to hurl themselves upon the criminal, to strike him or do him injury.
The short, stocky man who had accompanied the murdered man was still sitting at the table, looking down upon the dead body, his face singularly unexpressive of any emotion whatsoever. He had not even dropped the cigar which he was smoking. The party of three whom Ogilvie had noticed earlier in the evening—the man who looked like an elderly roué, the one with the cleaverlike profile, and the youth in the foppish clothes—had got up, as had the party of two—he with the bald, pink head and the staring, contemptuous eyes, and the one who looked like an average business man. The five had joined and moved forward in a compact group in the direction of the door, talking in undertones to each other and looking not toward the murdered man, but—Ogilvie realized with a start—toward him.
The red-bearded man was still casually shuffling the pages of the ledger with his hairy fingers, while the brown-eyed girl at the clothes rack sat slumped in her chair, perfectly oblivious to everything, apathetic, and the boy in the outer hall leaned against the door jamb, hands in pockets, staring vacantly at nothing in particular.
Subconsciously, yet with the instantaneous fidelity of a photographic lens, all these physical details impressed themselves upon Ogilvie's brain, as did the fact that the hunchback was standing in a clear space, halfway between his and the murdered man's table. For a second, straight through the confusion in his mind, Ogilvie imagined that the latter must have been the assassin, judging from his position. But he dismissed the idea almost immediately, because he recalled that the man had a cigar in his left hand and a glass in his right. He must have risen, just as he was, the moment he had heard the shot or had seen the actual killing.
Presently, very calmly and unhurriedly, the hunchback crossed the room, exchanged a whispered word in passing with the red-bearded man, and stepped into the outer hall. The girl handed him his coat—Ogilvie noticed that it was next to his own, which was swinging from a peg at the near end of the rack—and the man stepped out into the night. The next moment there was the roar of a motor car gathering speed, then fading into the memory of sound.
And still the people in the restaurant remained as they were, quiet and orderly and unexcited. Only the group of five men had moved a little closer toward Blaine Ogilvie.
The latter was speechless. His thoughts were bunched into too violent a turmoil and commingling for immediate disentanglement. It was the first time in his civil life that he had seen death, and it appeared to him singularly undignified, singularly drab and commonplace. Even war gave it a certain dramatic mise en scène. Yet the shock of it had cut deeply into his inner consciousness,
That thing there on the floor—with the crimson stain slowly trickling down and thickening blackly—the stiff, convulsive fingers—useless, hopeless, weakly ineffectual—and it had been alive a few minutes earlier—had smiled, breathed, talked, acted——
It was beginning to affect Ogilvie physically, and he felt slightly ill. The feeling increased, grew to a choking, nauseating sensation, gripped his chest, his throat, caused him to cough violently. Instinctively he turned from the table in the direction of the wash-room, whose sign he had noticed on entering at the left of the outer hall.
He had hardly taken a step when quickly, yet without a word, the group of five men advanced toward him in a solid phalanx, threateningly barring his way. The youth in the Norfolk suit gripped his arm, and it was this physical contact which cleared Ogilvie's brain and caused him to act. Whatever the reason for Martyn Spencer's strange bargain with him, whatever the cause of the murder or the personality of the murderer, whatever the beginning and problematical end of it all, it became suddenly clear to him that he must get away as rapidly as possible. Remembering football tactics on the college gridiron, where he had been fully as famous for the almost African power of resistance of his skull as for the sturdy speed of his legs, he bent almost double and made a flying leap in the direction of the door, head well forward and down, like a battering-ram,
The youth tried to stop him. Ogilvie caught him full in the pit of the stomach with his head. The youth dropped, with a funny, squeaky little noise of pain, while, at the same moment, the other four hurled themselves upon Ogilvie, their fists going like flails. Ogilvie kept his presence of mind and gave a short laugh. He had taken part in a few rough-and-tumble fights and knew that when a number of men turn against one they usually interfere more with each other than they hurt the man whom they attack.
He fought well, careful to step back a little, with his back to the wall, at his left a table where, a few moments earlier, the waiter had carved a beef-steak,
He dodged and danced and grappled. His breath came in short, violent bursts. At one and the same time he was trying to land blow, to parry blow, to sidestep kicking feet and crashing elbows, and to make a dash for the door, the night, safety. The odds were against him. A rough knuckle caught him on the left temple, an open palm hit the point of his chin, the man with the bald, pink head dodged within the very crook of Ogilvie's powerful right arm and grappled, while the others, joined by the youth, who had revived, closed in the next moment like hounds pulling down a stag.
Ogilvie felt himself seized about the chest under the armpits by a bearlike grasp. He reached back, his fingers closed, something ripped, tore, like cloth. He had no time to think what it was. For a moment he felt as if his ribs were crushing in his lungs. His temples throbbed. Blue wheels whirled in front of his eyes. The roof of his mouth felt parched.
Straining, cursing, he fell to the floor, one of the attackers on top of him, another booting him in the ribs, a third dancing about on the outskirts of the mêlée, watching his chance for a knock-out blow. Bending down, he shot his fist to Ogilvie's jaw, but the latter jerked his head back in the nick of time, and the next second, with a sudden, hard crunching of muscles, he pinioned the arms of the man who was on top of him to both his sides, spread his strong legs, bridged his massive body, and tried desperately to pull himself up. He was succeeding in this when suddenly the first man, with a wolfish snarl, sank his teeth in his ear,
“Curse you!” exclaimed Ogilvie in rage and pain.
Then, with a great jerk and heave, he freed himself, sending the first man crashing into the second, the second into the third. Jumping back, he saw the curved, razor-sharp, old-fashioned carving knife, which the waiter had left on the table, and reached for it.
He did it instinctively, unthinkingly. Hitherto, by the token of his class and training, he had been fighting according to the unwritten code, had still been playing, the game. Now his prejudices and inhibitions danced away in a mad whirligig of rage and resentment, and the carving knife leaped to his hand like a sentient thing, catching the rays of the kerosene lamp, so that the point of it glittered like a cresset of evil passions,
He used the knife like a rapier, with carte and tierce, with thrust and counterthrust and quick, staccato ripost, pinking here a leg, there a hand, and ripping through cloth as with the edge of a razor, stiffening or crooking his arm as he lunged to the attack or estrapaded sideways or feinted to parry clumsy, ineffectual blows and kicks. Some of the other people in the room had rushed up and were joining in the attack, but, as before, they only served to interfere with each other. Somebody threw a chair. It failed of its mark—Ogilvie's head—and hit the youth in the Norfolk suit, who dropped, hors de combat, this time for good. Another threw a bottle, it jerked high, crashed against the lamp, and the light guttered out. The room was plunged in coiling, trooping shadows, except for the few haggard rays that stole in from the lamp in the outer hall.
“Careful! Careful!” somebody warned. In the semidarkness friend was hitting friend. At this moment the street door opened, and by the side of the hunchback two policemen entered, nightsticks readily poised. One of them flashed an electric torch, and the hunchback took in the situation at a glance.
“Quick!” he said to the bluecoats. “There he is—trying to get away——”
“Who?”
“The man I told you about—the murderer!” And he pointed straight at Blaine Ogilvie.
The latter's mind worked with the instantaneous precision of a photographic shutter. He saw the trap—he, the murderer—with a dozen witnesses against him! He acted even as he understood. He danced back from the attacking crowd, then forward suddenly, knife in hand. He catapulted himself through the mass with a sort of breathless, sullen audacity. He was too excited probably to feel ordinary fear at that moment. If he had time to think at all, he considered that he had no chance, in spite of his knife, to give battle to the two muscular, solid policemen who stood there on broad-planted feet, sticks ominously raised, ready to fell him.
He ducked very suddenly, before the two policemen had a chance to realize what was happening, before they had time to put the brake on their brawny right arms. Down came the night-sticks, and they hit each other, temporarily putting themselves out of commission instead of hitting Ogilvie.
With a triumphant little laugh he straightened up again, and, before anybody knew exactly what was going on, obeying some subconscious impulse which reminded him that the night was cold and the coat expensive, he tore Martyn Spencer's sable-lined ulster from the rack, flung it about his shoulders, and was out of the door and into the street.
The automobile which had brought the murdered man and which the hunchback had used a few minutes earlier was still in front, purring invitingly. He jumped into the driver's seat, and the chain-protected tires gripped the snow-crusted pavement. Momentarily the machine seemed to pause, to quiver, as if taking in a great lungful of breath, and a deep, expectant whine rose from its steely body. Then it plunged forward enthusiastically, like a being with a heart and a soul, making naught of the grimy, sticky, slushy snow puddles; and Blaine Ogilvie, who belonged to that new generation which is as alive to the personality and the idiosyncrasies of machinery as the older generation were to horseflesh, rode the steering wheel as he had never done before.
Gradually he increased the speed, sucking every ounce of strength and energy from gasoline and engine, as he heard the voices that poured from the restaurant increase, then diminish, and fade away, bending low as a revolver bullet whistled over his head. He made a corner at nearly a right angle, as if he were trying to lift the car along the pavement by sheer strength of muscle. Taking another corner on two wheels, shaving a lamp-post, evading gesticulating policemen, twisting past top-heavy motor drays, scattering a crowd of homing theater-goers, he finally turned into the Avenue that rose out of the snow-blotched darkness between parallel curves of warm, lemon lights.
At Fifty-first Street he turned east until he reached a little house that seemed rather out of place, framed as it was on both sides by tall, pretentious apartment buildings. Small it was, compact, almost pagan in its Greek simplicity. Ogilvie stopped the car, jumped out, ran up the steps, and pushed the electric bell.
A moment later a white-haired servant opened the door.
“Yes, sir?” he inquired, blinking short-sightedly. Then a smile overspread his wrinkled old features as he recognized the late visitor. “Why—Mr. Ogilvie—come in, sir! Please come in!”
“Is the big chief at home?” asked the other, stepping past the servant into the vestibule.
“He hasn't come in yet, sir.”
“Very annoying.”
“Won't you wait, sir?”
“I guess I will.” Ogilvie threw off his fur coat. “By the way, will you go outside and drive my car into the garage, if you don't mind, Tompkins?”
“Right, sir.”
“And—Tompkins——”
“Yes, sir?”
“All the other servants asleep?”
“Yes, sir.”
“Good! Don't mention to any of them that I'm here—that you've seen me to-night—I have my reasons,”
“Very well, sir.”
And Tompkins bowed with the imperturbable calm of a British butler and withdrew, while Ogilvie entered the next room, occupied himself for a few seconds with a bottle of Bourbon and a syphon that were awaiting their master's return, chose a comfortable chair, and stretched himself luxuriously.
Presently he dozed off.