Pulp Fiction, 1950 · page 61 of 132
15 Story Detective, April 1950 — page 61: what you’re looking at
What you’re looking at
This page contains story prose from a pulp fiction narrative titled "Pigskin Patsy." The text depicts a dialogue-driven scene in which characters Kyle and Laura help a man named Barry McBride, who appears to be a fugitive wanted for a crime, secure hiding with Laura's elderly Aunt Kath. The conversation reveals McBride is suspected of involvement in a crime (possibly murder, though unclear), and the characters discuss concealing him from authorities. Aunt Kath, described as an old woman with hennaed hair, agrees to let him stay, though she recognizes his face from recent newspaper coverage.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
7 ; Pigskin Patsy 3 “Standing in the alleyway waiting for Laura to come out. [I was there at about eleven.” “Anybody see you?” | “Twas back in the shadows. I don’t think so. | haven't been anxious for peo- ple to see me lately.” “How would anybody get your gun?” [ don’t know. Wait, [ gave George the key to my room. [ gave it to him at about nine o'clock, just before [ left his place,” | +, ‘How did you get back. into the city?” “One of his men drove me in his-car. He let me out at State and Eleventh. [ walked around for quite a while because | knew Laura wouldn't be out until a little after midnight.” “Tetl me one thing,” Kyle said in a level voice, “Were you really mixed up with Deever ?” “Why?” Barry asked angrily. Kyle laughed nervously... “I’m a sucker. It wouldn't make any difference, [ guess. Anything t do for you, Um doing for Laura.” ; “He wasn’t mixed up with Deever and you know it, Kyle,” Laura said indig- nantly. “Well, he is now, but completely. Re- venge motive, opportunity and weapon. McBride, you're certainly batting a thous- and.” oe “Thanks. Why don’t you be a hero and turn me ine” “Please, Barry,” wants to help.” “Big help! He’s making me feel good.” “Vau've got to have a place to stay, McBride,” Kyle said. “If they grab you right away, they'll stop digging imto this mess. The longer you stay free, the more men they'll have on tt, and the better chance of their turning up something in your favor. Got any ideas, Laura?” “Everybody in the city knows his face. Wait a minute! How about Aunt Kathe” “What makes you think she'd hide Laura said. “He the hehe, McBride. him?” Kyle: demanded very adamantly. “You just don't know my Aunt Kath. Turn here, Kyle. Then right again on Center Boulevard.” , Kyle parked around the cortier to wait. Laura and Barry walked down to the small frame house. Laura pressed her thumb on- the bell, released it, pressed again “Who is tt?” an irate voice demanded from overhead. “Tes me, Aunt Kath.” “Laura Kinger! What are you doing out ringing doorbells ?” . “Please let us in.” “Just a minute. Just a minute.” Five mvnutes later the downstairs hall light clicked on. Aunt Kath came down the stairs. They could see her through the glass pane of the door. She was a little old lady with a mop of hennaed hair. She pulled the front doot open and stared at Barry. “Well! Marvied-at last, Laura?” : “No, this is—” “T've seen his face before. In the paper. Just lately. What'd he do? Kill some- “No, Auntie, but they think he did. Can he stay here?” “What's your name, young man?” “Barry McBride.” “McBride. Hramm. Used to know a McBride. Had him on the circuit with us one season. Had a bunch of silly dogs that walked tight ropes. You related to hin?” “T don't think so.” “Came in, then. Come in.” She shut the front door. “Might as well get out of How lone are you gone fo he here?” “Maybe a week, Auntie.”’ The old lady studied Barry. “Big, amt he? Like a horse. Probably eats like one. [ got nasey neighbors. Go on upstairs young man, COPNICLOOOKS 61 Take the second — door on the left. That'll be your room. . (E@)