Strega - Andrew H. Vachss [86]
I unzipped the case and threw in a pack of graph paper, some pencils, an old blueprint of a sewage plant, and a little calculator. I added a telescoping metal pointer, the kind architects use to point out features on their blueprints; it works just as well for keeping people from getting close enough to stab you. Then I hunted around until I found the clear plastic T–square the Mole made for me. It looks like the real thing, but if you wishbone the two ends in your hands and snap hard, you end up with a razor–edged knife. Perfect for stabbing and not illegal to carry. The CIA uses these knives to beat airport security machines, but their best feature is the way they break off inside a body—you can put a hell of an edge on plastic, but it stays very brittle.
I caught the E Train at Chambers Street, under the World Trade Center. That was the end of the line—the return would take me right out to my meeting with Strega without changing trains. And I got a seat.
The first thing I did was open my briefcase and take out my blueprints and T–square. I made a desk of the briefcase in my lap and sat there watching. During rush hour, the trains belong to the citizens. By the time we got into midtown, the car was packed with people. An Oriental man, his dark suit shiny from too many cleanings, face buried in a book on computers, shut out the train noises and concentrated. A dress–for–success black woman was reading some kind of leather–bound report—all I could read on the cover was "Proposal" stamped in gold letters. A pair of middle–aged women sat facing each other, arguing over whose boss was the biggest asshole.
The E Train has modern cars—blue–and–orange plastic seats set perpendicular to each other instead of lined up against the side like the older versionssubway maps set behind thick clear–plastic sheetsstainless–steel outer skins. Even the air conditioning works sometimes. By the time the train hit the long tunnel connecting Manhattan and Queens the car looked like a forest of newspapers and briefcases—gothic romances and crossword puzzles covered faces. A transit cop got on at Queens Plaza, a young guy with a mustache, carrying fifty pounds of equipment on his belt. His eyes swept the car for a second; then he started writing something in his memo book. The car was thick with people, but no skells—nobody smoking dope, no portable radio blasting. Working people going home from work. I felt like a tourist.
Roosevelt Avenue was the next stop on the express. The transit cop got off—Roosevelt Avenue was the Queens version of Times Square–the only thing free out on the streets was trouble. Next came Continental Avenue, where most of the yuppies made their exit. The train goes all the way out to Jamaica; by the time it got to the end of the line there wouldn't be too many white faces left.
I got off at Union Turnpike, stuffing the T–square back into my briefcase, checking my watch. I still had almost fifteen minutes to wait for Strega.
63
THE SUN was dropping into the west as I made my way across Queens Boulevard to the statue. The courthouse was to my right, a squat, dirty piece of undistinguished architecture that hadn't been put up by the lowest bidder—not in Queens County. Looming behind it, the House of Detention cast a shadow of its own, six stories of cross–hatched steel bars, cannon fodder for the processing system citizens call Justice. The guys inside—the ones who can't make bail—call it "just us." Wolfe's office was somewhere in the courthouse complex.
I found a seat at the base of the statue—some Greek god covered with tribute from the passing pigeons. I lit another smoke, watching my hands holding the wooden match. Citizens passed me without a glance—not minding their own business because it was the right thing to do, just in a hurry to get home to whatever treasures their VCRs had preserved for them. The statue was right behind a bus stop, just before the