"Great!" said Karp. "The penny drops. As a matter of fact, I don't think Mr. Bloom is working for a bunch of killers. But some of his friends might be, and Sanford Bloom never kept a secret for more than ten minutes in his whole life. He's a mouth on legs."
Karp rose and paced nervously back and forth. "Roland, didn't you think? Clay's out there exposed… Christ! When was this? When did you tell Bloom?"
"At the staff meeting-yesterday morning, about ten."
Karp sat down again and blew out his breath through puffed cheeks. "Then it's too late," he said. "I can't find him anywhere. They've got him."
He sat there for a while, looking out the window, unable to think of any constructive activity. He barely heard Hrcany's embarrassed leave-taking. After some indeterminate time he was roused by a tapping on his door. It was Doug Brenner, his driver. Karp remembered that he had made an appointment to meet Brenner and Marlene outside the building fifteen minutes ago, to run up to the Twenty-eighth Precinct for the sting on Meissner. He made some noises of acknowledgment, put on his jacket, and allowed Brenner to lead him away.
In the car Brenner said, "We'll never make it up to Harlem in time."
"Yes, we will," replied Marlene. "Use the siren."
Which they did, and did arrive at ten past noon, not too far off the appointed moment. Marlene secreted herself in an interrogation room while the two men went to the homicide squad room, to find Alan Meissner being one of the boys with the King Cole Trio.
Karp smiled all around. Maus finished a cop anecdote and everyone laughed. Then Karp said, "Well, we've invited Mr. Meissner here to help us out again. Art, you want to review this case?"
Dugman stood up and began, in a professorial tone quite removed from his usual cynical profanity, to outline a serial murder case. The case was wholly fictitious, having been adapted from a B movie Maus had seen on late TV recently, and cheerfully embellished by the detectives of the Two-eight.
When he had finished, Karp said, "Look, Alan, guys, this is going to take at least an hour-why don't we have lunch? We can order in sandwiches and drinks from that good deli on Amsterdam, my treat."
General agreement: Karp wrote the orders down on a slip of paper-pastrami on rye, corned beef, Cokes, Dr. Brown's. The detectives made themselves appear busy, thumbing through, stacking, and arranging piles of folders. Lanny Maus turned on a small cassette tape recorder, coughed into its microphone, said, "Testing, testing," and sang two bars of "She's So Fine" in a good falsetto. Laughter. He tossed the mike aside, but did not turn off the recorder.
Karp put an apologetic expression on his face and offered the lunch-order slip to Meissner, saying, "Would you mind calling these in, Alan? It'd save some time. The number's up on the wall by that phone."
Meissner was glad to help. He sat on the edge of the desk and dialed the number penciled on the wall. The phone rang twice and was picked up. A man's voice said, "Hello." Meissner thought it sounded vaguely familiar. Meissner said, "Is this the Amsterdam Deli?" The voice said, "Hello, can I help you?"
Meissner slammed the phone down with a bang. The detectives and Karp looked over at him mildly. His face was turning bright red.
"Something wrong, Alan?" asked Karp.
"You fucking son-of-a-bitch!" Meissner yelled. "You tried to trick me."
"I'm sorry?" said Karp. "What's the matter, don't they have any pastrami?"
"That wasn't the delicatessen, you phony bastard! That was him on the phone, the boyfriend. You set me up, you fucker!"
"Boyfriend? What boyfriend, Alan?" asked Karp.
"You know goddamn good and well what boyfriend!" screamed Meissner. He was standing less than a foot from Karp now, and little flecks of foam were jumping from his mouth onto Karp's suit coat. Karp flicked them off with his handkerchief and said, "Yes, I know what boyfriend, Alan, but I wonder how you know. Did you recognize his voice on the phone? From when he called, just before you murdered Ellen Wagner?"
Meissner uttered a strangled cry and leapt for Karp's throat. Karp batted his hands away, and in an instant Jeffers, moving faster than anything that large had a right to move, had Meissner locked in a chokehold with his feet dangling six inches off the floor.
Meissner was struggling wildly, kicking out at everything within reach, like a four-year-old in a tantrum. Jeffers grunted as a heel connected with his shin; he tightened his grip. Dugman moved in, and Karp saw that he had a leather sap in his hands.
"No, don't hurt him," Karp yelled. Dugman grimaced, but put the sap away and brought out cuffs. Working together, the three cops were finally able to get Meissner cuffed and forced down into a chair.
"He feisty, all right," said Jeffers, adjusting his rumpled suit. "Raping all them women must be good training."
Meissner stared up at Karp, his face flushed with exertion and contorted with impotent rage. "You can't do this," he shouted. "This is entrapment."
"No it's not, Alan," said Karp calmly. "It's called a spontaneous expression showing consciousness of guilt. You need to check your law books again. Art?"
Dugman formally rearrested Meissner for the Wagner homicide and read him his rights. Meissner did not take his eyes off Karp's face; the force of his silent hatred at last made Karp uncomfortable and he turned away, to see Marlene come running in.
Marlene looked at Meissner, waved gaily, and called out, "Hi, smarty-pants. Gotcha!"
At this, Meissner began shouting vile obscenities and threats. He continued to do so as two uniformed officers dragged him down to the precinct cells.
"My, he was upset," said Marlene. "And he seemed like such a calm, sophisticated type on the phone. Intelligent too. So, my hero, have we really got him?"
"Yeah, I have a good feeling about it," said Karp. "It's a solid consciousness-of-guilt case now. He just ran on spontaneously, which will be obvious from the tape we made. It's going to be real hard for anyone to defend against, and it'll stand up legally too. If I was his lawyer, I'd advise a cop-out."
"Which we won't accept," said Marlene firmly.
"Uh-uh. We hang tough on the top count. You earned it. Who're you calling?"
Marlene said, "JoAnne Caputo. And the others. They could use a laugh."
While Marlene made her calls, Karp sought out Art Dugman in his tiny cell of an office. Neat, was his first impression, and reminiscent of a former age. Awards on the wall, pictures of PAL teams, photographs of young black patrolmen in the fifties, unsmiling and austere. Pride of place on the wall went to a framed exhibit of four deformed bullets: neatly typed legends beneath them set out the circumstances in which they had been, on separate occasions, shot into and yanked out of the body of Art Dugman.
On the uncluttered desk stood a dozen or so photographs of family members, most of which showed children in graduation gowns representing successive levels of education. Karp had not thought of Dugman as a family man: he seemed rather to have been exuded from the streets, living entirely on the underlife of Harlem, like some beneficent parasite.
After an interlude of stiff conversation about the Meissner case, about the job, and about sports, Karp turned to the subject of his visit, asking, with no great emphasis, whether Clay Fulton's whereabouts were known.
Dugman's deep yellowish eyes narrowed. "Shit, I don't know where the fuck he is. It ain't my turn to watch him. Maybe the Bahamas. Brazil."
Karp took a deep breath, stared briefly into the abyss, and told Dugman the whole story: Fulton's odd behavior, the searing interview with the chief of detectives, the swearing to secrecy, the revelations of Tecumseh, the discoveries about Manning and Amalfi and the suspicions about Fane.