I walked north on Third Avenue now, on the right-hand side of the street, in the shade of the expressway overhead. As I neared Cruz's street I stopped in a couple of bars, more to immerse myself in the neighborhood than to ask any questions. I had a short shot of bourbon in one place, stuck to beer otherwise.
The block where Miguelito Cruz had lived with his grandmother was as Neumann described it. There were several vast vacant lots, one of them staked out in cyclone fencing, the others open and rubble-strewn. In one, small children played in the burned-out shell of a Volkswagen beetle. Four three-story buildings with scalloped brick fronts stood in a row on the north side of the block, closer to Second Avenue than to Third. The buildings abutting the group on either side had been torn down, and the newly exposed brick side walls looked raw except for the graffiti spray-painted on their lower portions.
Cruz had lived in the building closest to Second Avenue, closest, too, to the river. The vestibule was a lot of cracked and missing tiles and peeling paint. Six mailboxes were set into one wall, their locks broken and repaired and broken again. There were no bells to ring, nor was there a lock on the front door. I opened it and walked up two flights of stairs. The stairwell held cooking smells, rodent smells, a faint ammoniac reek of urine. All old buildings housing poor people smell like that. Rats die in the walls, kids and drunks piss. Cruz's building was no worse than thousands.
The grandmother lived on the top floor, in a perfectly neat railroad flat filled with holy pictures and little candle-illuminated shrines. If she spoke any English, she didn't let me know it.
No one answered my knock at the apartment across the hall.
I worked my way through the building. On the second floor, the apartment directly below the Cruz apartment was occupied by a very dark-skinned Hispanic woman with what looked like five children under six years old. A television set and a radio were playing in the front room, another radio in the kitchen. The children were in constant motion and at least two of them were crying or yelling at all times. The woman was cooperative enough, but she didn't have much English and it was impossible to concentrate on anything in there.
Across the hall, no one responded to my knock. I could hear a television set playing and went on knocking. Finally the door opened. An enormously fat man in his underwear opened the door and walked back inside without a word, evidently assuming I would follow. He led me through several rooms littered with old newspapers and empty Pabst Blue Ribbon cans to the front room, where he sat in a sprung armchair watching a game show. The color on his set was curiously distorted, giving the panelists faces that were red one moment and green the next.
He was white, with lank hair that had been blond once but was mostly gray now. It was hard to estimate his age because of the weight he was carrying, but he was probably somewhere between forty and sixty. He hadn't shaved in several days and may not have bathed or changed his bed linen in months. He stank, and his apartment stank, and I stayed there anyway and asked him questions. He had three beers left from a six-pack when I went in there, and he drank them one after another and padded barefoot through the apartment to return with a fresh six-pack from the refrigerator.
His name was Illing, he said, Paul Illing, and he had heard about Cruz, it was on television, and he thought it was terrible but he wasn't surprised, hell no. He'd lived here all his life, he told me, and this had been a nice neighborhood once, decent people, respected theirselves and respected their neighbors. But now you had the wrong element, and what could you expect?
"They live like animals," he told me. "You wouldn't believe it."
ANGEL Herrera's rooming house was a four-story red brick building, its ground floor given over to a coin laundry. Two men in their late twenties lounged on the stoop, drinking their beer from cans held in brown paper bags. I asked for Herrera's room. They decided I was a cop; the assumption showed in their faces, and the set of their shoulders. One of them told me to try the fourth floor.
There was a reek of marijuana smoke floating on top of the other smells in the hallway. A tiny woman, dark and bright-eyed, stood at the third-floor landing. She was wearing an apron and holding a folded copy of El Diario, one of the Spanish-language newspapers. I asked for Herrera's room.
"Twenny-two," she said, and pointed upstairs. "But he's not in." Her eyes fixed on mine. "You know where he is?"
"Yes."
"Then you know he is not here. His door is lock."
"Do you have the key?"
She looked at me sharply. "You a cop?"
"I used to be."
Her laugh was loud, unexpected. "Wha'd you get, laid off? They got no work for cops, all the crooks in jail? You want to go in Angel's room, come on, I let you in."
A cheap padlock secured the door of Room 22. She tried three keys before finding the right one, then opened the door and entered the room ahead of me. A cord hung from the bare-bulb ceiling fixture over the narrow iron bedstead. She pulled it, then raised a window shade to illuminate the room a little more.
I looked out the window, walked around the room, examined the contents of the closet and the small bureau. There were several photographs in drugstore frames on top of the bureau, and half a dozen unframed snapshots. Two different women, several children. In one snapshot, a man and woman in bathing suits squinted into the sun, the surf behind them. I showed the photograph to the woman and she identified the man as Herrera. I had seen his photo in the paper, along with Cruz and the two arresting officers, but he looked completely different in the snapshot.
The woman, I learned, was Herrera's girlfriend. The woman who appeared in some of the other photos with the children was Herrera's wife in Puerto Rico. He was a good boy, Herrera was, the woman assured me. He was polite, he kept his room neat, he didn't drink too much or play his radio loud late at night. And he loved his babies, he sent money home to Puerto Rico when he had it to send.
FOURTH Avenue had churches on the average of one to a block- Norse Methodist, German Lutheran, Spanish Seventh-Day Adventists, and one called the Salem Tabernacle. They were all closed, and by the time I got to it, so was Saint Michael's. I was ecumenical enough in my tithing, but the Catholics got most of my money simply because they kept longer hours, but by the time I left Herrera's rooming house and stopped for a quick one at the bar on the corner, Saint Michael's was locked up as tight as its Protestant fellows.
Two blocks away, between a bodega and an OTB parlor, a gaunt Christ writhed on the cross in the window of a storefront iglesia. There were a couple of backless benches inside in front of a small altar, and on one of them two shapeless women in black huddled silent and motionless.
I slipped inside and sat on one of the benches myself for a few moments. I had my hundred-fifty-dollar tithe ready and I'd have been as happy giving it to this hole in the wall as to some more imposing and long-established firm, but I couldn't think of an inconspicuous way to manage it. There was no poor box in evidence, no receptacle designed to accommodate donations. I didn't want to call attention to myself by finding someone in charge and handing him the money, nor did I feel comfortable just leaving it on the bench, say, where anybody could pick it up and walk off with it.
I walked out of there no poorer than I'd walked in.
I spent the evening in Sunset Park.
I don't know if it was work, or if I even thought I was doing Tommy Tillary any good. I walked the streets and worked the bars, but I wasn't looking for anyone and I didn't ask a lot of questions.
On Sixtieth Street east of Fourth Avenue I found a dark beery tavern called the Fjord. There were nautical decorations on the walls but they looked to have accumulated haphazardly over the years- a length of fishnet, a life preserver, and, curiously, a Minnesota Vikings football pennant. A black-and-white TV sat at one end of the bar, its volume turned down low. Old men sat with their shots and beers, not talking much, letting the night pass.
When I left there I flagged a gypsy cab and got the driver to take me to Colonial Road in Bay Ridge. I wanted to see the house where Tommy Tillary had lived, the house where his wife had died. But I wasn't sure of the address. That stretch of Colonial Road was mostly brick apartment houses and I was pretty sure that Tommy's place was a private house. There were a few such houses tucked in between the apartment buildings but I didn't have the number written down and wasn't sure of the cross streets. I told the cabdriver I was looking for the house where the woman was stabbed to death and he didn't know what the hell I was talking about, and seemed generally wary of me, as though I might do something unpredictable at any moment.
I suppose I was a little drunk. I sobered up on the way back to Manhattan. He wasn't that enthusiastic about taking me, but he set a price of ten dollars and I agreed to it and leaned back in my seat. He took the expressway, and en route I saw the tower of Saint Michael 's and told the driver that it wasn't right, that churches should be open twenty-four hours a day. He didn't say anything, and I closed my eyes and when I opened them the cab was pulling up in front of my hotel.
There were a couple of messages for me at the desk. Tommy Tillary had called twice and wanted me to call him. Skip Devoe had called once.
It was too late to call Tommy, probably too late for Skip. Late enough, anyway, to call it a night.
Chapter 9
I rode out to Brooklyn again the next day. I stayed on the train past the Sunset Park stations and got off at Bay Ridge Avenue. The subway entrance was right across the street from the funeral parlor Margaret Tillary had been buried from. Burial had been in Green-Wood Cemetery, two miles to the north. I turned and looked up Fourth Avenue, as if following the route of the funeral cortege with my eyes. Then I walked west on Bay Ridge Avenue toward the water.
At Third Avenue I looked to my left and saw the Verrazano Bridge off in the distance, spanning the Narrows between Brooklyn and Staten Island. I walked on, through a better neighborhood than the one I'd spent the previous day in, and at Colonial Road I turned right and walked until I found the Tillary house. I'd looked up the address before leaving my hotel and now found it easily. It may have been one of the houses I'd stared at the night before. The cab ride had since faded some from memory. It was indistinct, as if seen through a veil.
The house was a huge brick-and-frame affair three stories tall, just across the street from the southeast corner of Owl's Head Park. Four-story apartment buildings of red brick flanked the house. It had a broad porch, an aluminum awning, a steeply pitched roof. I mounted the steps to the porch and rang the doorbell. A four-note chime sounded within.
No one answered. I tried the door and it was locked. The lock didn't look terribly challenging, but I had no reason to force it.
A driveway ran past the house on its left-hand side. It led past a side door, also locked, to a padlocked garage. The burglars had broken a pane of glass in the side door, and it had been since replaced with a rectangle of cardboard cut from a corrugated carton and secured with metallic tape.
I crossed the street and sat in the park for a while. Then I moved to where I could observe the Tillary house from the other side of the street. I was trying to visualize the burglary. Cruz and Herrera had had a car, and I wondered where they'd parked it. In the driveway, out of sight and close to the door they'd entered through? Or on the street, making a getaway a simpler matter? The garage could have been open then; maybe they stowed the car in it, so no one would see it in the driveway and wonder about it.