"How badly is she injured?"
"It was a shotgun, Dad," Matt said.
"Oh, my God! A robbery?"
"We don't know yet," Matt said. "I have to get back over there." He looked at Amanda. "I'll see you… later."
"Okay," Amanda said.
Matt ran down the stairs, taking his badge from his pocket and pinning it to his lapel again. The Traffic cop would probably be waiting for him. He reached the door, stopped, and then trotted into the gentlemen's lounge. Concentrating on the business at hand, he didn't notice the young gentleman at the adjoining urinal until he spoke.
"What thehell have you pinned to your lapel, Payne?"
Matt turned and saw Kellogg Shaw, who had been a year ahead of him at Episcopal Academy and then had gone on to Princeton.
"What's that sore on the head of your dick, Kellogg?" Matt replied, and then ran out of the men's room, zipping his fly on the run. He glanced over his shoulder and saw Kellogg Shaw exposing himself to the mirror over the sinks.
SIX
Victor, checking his rearview mirror to make sure that Charles was still behind him, flicked on his right-turn signal and turned into the short-term parking lot at Philadelphia International Airport.
He took a ticket from the dispensing machine, then drove around the lot until he found two empty parking spaces. A moment after he stopped, Charles pulled the Cadillac in beside him.
Charles got out of the Cadillac, glanced around the parking lot to make sure that no one had an idle interest in what they were doing, and then opened the door of the Pontiac. Quickly he shifted the Remington Model 1100 from the floor of the Cadillac to the floor of the Pontiac. Victor helped him put it out of sight under the seat.
Charles then took his carry-on from the Cadillac and walked toward the terminal building. Victor waited until Charles was almost out of sight, then got out of the Pontiac. He put the keys on top of the left rear tire, then took his carry-on from the backseat, slammed the doors, checked to make sure they were locked, and then walked to the terminal.
Victor checked in with TWA, then went to the cocktail lounge. Charles was at the bar. Victor touched his shoulder and Charles turned.
"Well, look who's here," Charles said.
"Nice to see you. Everything going all right?"
"No problems at all."
"Can I buy you a drink?"
"A quick one. I'm on United 404 in fifteen minutes."
"Lucky you. I've got to hang around here for an hour and a half."
Fifteen minutes later Charles boarded United Airlines Flight 404 for Chicago. An hour and fifteen minutes after that, Victor boarded TWA Flight 332 for Los Angeles, with an intermediate stop in St. Louis.
****
At the entrance to the Penn Services Parking Garage there was a crowd of citizens, almost all of them well dressed and almost all of them indignant, even furious.
They had been told, or were being told, by uniformed police officers and detectives that the entire Penn Services Parking Garage had been designated a crime scene and they could not reclaim their cars, or even go to them, until the investigation of the scene had been completed. And they had been told, truthfully, that no one could even estimate how long the investigation of the crime scene would take.
Matt felt sorry for the cops charged with keeping the civilians out. The necessity to go over the garage with a fine-tooth comb was something understood by everyone who had ever watched a cops-androbbers television show. But that was different.
"I'm a law-abiding citizen, and not a holdup man or a murderer or whatever the hell went on in there. I didn't do anything, and all I want to do is get in my own goddamn car and go home. It's a goddamn outrage to treat law-abiding citizens like this! How the hell am I supposed to get home?"
When he got to the entrance ramp, Matt saw that it was crowded with police cars. They had moved off the street, he realized, to do what they could about getting traffic flowing smoothly again. He decided that the mobile crime lab, and the other technical vehicles, had gone up to the roof.
"Detective D'Amata?" Matt asked the district cop standing in front of the stairwell door.
"On the roof."
Matt went up the stairs two at a time and was a little winded when he finally emerged on the roof. There was a district cop just outside the door, and he took a good look at Matt and his badge but didn't say anything to him.
The mobile crime lab was there, doors open, and three other special vehicles, CRIME SCENE-DO NOT CROSS tape had been strung around the area, the entire half of the roof, and a photographer armed with a 35-mm camera as well as a revolver was shooting pictures of the bloody pool left when the van cops had loaded Penelope Detweiler into their van and hauled her off to Hahneman.
Matt looked around for Detective D'Amata. Before he found him, Lieutenant Foster H. Lewis came up unnoticed behind Matt and touched his arm.
"They want you in homicide, Payne," he said. "Right now."
"Yes, sir," Matt said.
"You know where it is?"
All too well, Matt thought. When I was questioned by Homicide detectives after I killed the rapist, it had been only after three hours of questioning and a twenty-seven-page statement that someone finally told me it had been a "good" shooting.
"Yes, sir."
Matt turned and started toward the stairwell. The body of the man who had had half his head blown off was still where Matt had first seen it, slumped against the concrete block wall of the stairwell.
It was horrible, and Matt felt a sense of nausea. He pushed open the stairwell door and started down them. The urge to vomit passed.
And I didn't faint, Matt thought, not without a sense of satisfaction. When I saw the mutilated body of Miss Elizabeth Woodham, 33, of 300 East Mermaid Lane, Roxborough, I went out like a light and looked like an ass in front of Detective Washington.
Detective Jason Washington, acknowledged to be the best Homicide detective in the department, had been transferred, over his bitter objections, to the newly formed Special Operations Division. When the state police had found a body in Bucks County meeting the description of Elizabeth Woodham, who had been seen as she was forced into a van, Washington had gone to the country to have a look at it and had taken Matt with him. Not as a fellow police officer, to help with the investigation, but as an errand boy, a gofer. And Matt hadn't even been able to do that; one look at the body and he'd fainted.
Washington, a gentleman (he perfectly met Matt's father's definition of a gentleman: He was never seen in public unshaven, in his undershirt, or with run-down heels; and he never unintentionally said something rude or unkind), hadn't told anyone that Matt had passed out and had gone much further than he had to, trying to make Matt feel better about it.
But the humiliation still burned.
When Matt reached the street, at the entrance ramp a taxi was discharging a passenger with a distracted, I'm-in-a-hurry look on his face. Matt ran to the cab and got in, thinking that if the man getting out had parked his car in the garage, he was about to find something he could talk about when he got home.
"You're not going to believe this, Myrtle, but when I went to get the car from the garage, the goddamn cops wouldn't let me have it. They had some kind of crime in there, and they acted as if I had something to do with it. Can you imagine that? I had to come home in a cab, and I don't have any idea when I can get the car back."
"The Roundhouse," Matt told the cabdriver.
"Where?"
"The Police Department Administration Building at 8^th and Race," Matt answered.
"You a cop?" the driver asked doubtfully.
"Yeah."
"I saw the badge," the driver said. "What's going on in there?"
"Nothing much," Matt said.
"I come through here twenty minutes ago, and there was cop cars all over the street."
"It's over now," Matt said.
The cab dropped him at the rear of the administration building. There is a front entrance, ove
rlooking Metropolitan Hospital, but it is normally locked.
At the rear of the building a door opens onto a small foyer. Once inside, a visitor faces a uniformed police officer sitting behind a heavy plate-glass window.
To the right is the central cell room, in effect a holding prison, to which prisoners are brought from the various districts to be booked and to face a magistrate, who sets (or denies) bail. Those prisoners for whom bail is denied, or who can't make it, are moved, males to the Detention Center, females to the House of Correction.
The magistrate's court is a small, somewhat narrow room separated from the corridor leading to the gallery where the public can view arraignment proceedings. This, a dead-end corridor, is walled by large sections of Plexiglas, long fogged by scratches received over the years from family, friends, and lovers, pressing against it to try to get closer to the accused as they are being arraigned.
The arraignment court, as you look down on it from the gallery, has a bench on the left-hand side where the magistrate sits; tables in front of the bench where an assistant district attorney and a public defender sit; and across from them are two police officers, who process the volumes of paperwork that accompanies any arrest. The prisoners are brought up from the basement detention unit via a stairway shaft, which winds around an elevator. All the doors leading into the arraignment court are locked to prevent escape.
To the left. is the door leading to the main foyer of the Police Department Administration Building. The door has a solenoid-equipped lock, operated by the police officer behind the window.
Matt went to the door, put his hand on it, and then turned so the cop on duty could see his badge. The lock buzzed, and Matt pushed open the door.
He went inside and walked toward the elevators. On one wall is a display of photographs and police badges of police officers who have been killed in the line of duty. One of the photographs is of Sergeant John Xavier Moffitt, who had been shot down in a West Philadelphia gas station while answering a silent burglar alarm. He had left a wife, six months pregnant with their first child.
Thirteen months after Sergeant Moffitt's death, his widow, Patricia, who had found work as a secretary-trainee with a law firm, met the son of the senior partner as they walked their small children near the Philadelphia Museum on a pleasant Sunday afternoon.
He told her that his wife had been killed eight months before in a traffic accident while returning from their lake house in the Pocono Mountains. Mrs. Patricia Moffitt became the second Mrs. Brewster Cortland Payne II two months after she met Mr. Payne and his children. Shortly thereafter Mr. Payne formally adopted Matthew Mark Moffitt as his son and led his wife through a similar process for his children by his first wife.
"Can I help you?" the cop on duty called to Matt Payne as Matt walked toward the elevators. It was not every day that a young man with a police officer's badge pinned to the silk lapel of a tuxedo walked across the lobby.
"I'm going to Homicide," Matt called back.
"Second floor," the cop said.
Matt nodded and got on the elevator.
The Homicide Division of the Philadelphia Police Department occupies a suite of second-floor rear offices.
Matt pushed the door open and stepped inside. There were half a dozen detectives in the room, all sitting at rather battered desks. None of them looked familiar. There was an office with a frosted glass door, with a sign, CAPTAIN HENRY C. QUAIRE, above it. Matt had met Captain Quaire, but the office was empty.
He walked toward the far end of the room, where there were two men standing beside a single desk that faced the others. Sitting at the desk was a dapper, well-dressed man in civilian clothing whom Matt surmised was the watch officer, the lieutenant in charge.
As he walked across the room he noticed that one of the two " interview rooms" on the corridor side of the room was occupied; a large, blondheaded man in a sleeveless T-shirt was sitting in a metal chair, his left wrist encircled by a hand-cuff. The other handcuff was fastened to a hole in the chair. The chair itself was bolted to the floor.
He saw Matt looking at him and gave him a look of utter contempt.
As Matt approached the desk at the end of the room the mustached, dark-skinned man sitting at it saw him coming and moved his head slightly. The other two men turned to look at him. Matt saw a brass nameplate on the desk, LIEUTENANT LOUIS NATALI, whom Matt surmised was the lieutenant in charge.
"My name is Payne, Lieutenant," Matt said as he reached the desk. "I was told to report here."
No one responded, and Matt was made uncomfortable by the unabashed examination he'd been given by all three men. The examination, he decided, was because of the dinner jacket, but there was something else in the air too.
"He's all yours," Lieutenant Natali said finally.
"Let's find someplace to talk," the smaller of the two detectives said, and gestured vaguely down the room.
There was an unoccupied desk, and Matt headed for it.
"Let's use this," the detective called. Matt stopped and turned and saw that the detective was pointing to the second, empty interview room. That seemed a little odd, but he walked through the door, anyway.
The two detectives followed him inside. One closed the door after them. The other, the one who had suggested the use of the interview room, signaled for Matt to sit in the interviewee's chair.
Matt looked at it with unease. There was a set of handcuffs lying on it, one of the cuffs locked through a hole in the chair.
"Go on, sit down," the detective said, adding, "Payne, my name is Dolan. Sergeant Dolan."
Matt offered his hand. Sergeant Dolan ignored it. Neither did he introduce the other detective.
"Where's your car, Payne?" Sergeant Dolan asked. "Outside? You mind if we have a look in it?"
"What?"
"I asked if you mind if we have a look in your car."
"I don't know where my car is right now," Matt replied. "Sorry. Why are you interested in my car?"
"What do you mean, you don't know where your car is?"
"I mean, I don't know where it is. I loaned it to somebody. "
"Somebody? Does somebody have a name?"
"You want to tell me what this is all about?"
"This is an interview. You're a police officer. You should know what an interview is."
"Hey, all I did was find the injured girl and the dead guy."
"What I want to know is two things. What were you doing up there, and where's your car?Three things: Why were you so anxious to get your car away from the Penn Services Parking Garage?"
"And I'd like to know why you're asking me all these questions."
"Don't try to hotdog me, Payne, just answer me."
Matt looked at Sergeant Dolan and decided he didn't like him. He remembered two things: that his mother was absolutely right when she said he too often let his mouth run away with him when he was angry or didn't like somebody; and that he was a police officer, and this overbearing son of a bitch was a policesergeant. It would be very unwise indeed to tell him to go fuck himself.
"Sorry," Matt said. "Okay, Sergeant. From the top. I went to the top of the garage because I wanted to park my car and there were no empty spots on the lower floors. When I got there, I found Miss Detweiler lying on the floor. Injured. The lady with me-"
"How did you know the Detweiler girl's name? You know her?"
"Yes, I know her."
"Who was the lady with you?"
"Her name is Amanda Spencer."
"And she knows the Detweiler girl too?"
"Yes. I don't know how well."
"How about Anthony J. DeZego? You know him?"
"No. Is that the dead man's name?"
"You sure you don't know him?"
"Absolutely."
****
Lieutenant Louis Natali had watched as the two Narcotics detectives led Payne into the interview room and closed the door. He opened a desk drawer and took a long, thin cigar from a box and very carefully lit it. He e
xamined the glowing coal for a moment and then made up his mind. Whatever the hell was going on smelled, and he could not just sit there and ignore it.
He stood up, walked down the room, and entered the room next to the interview room. It was equipped with a two-way mirror and a loudspeaker that permitted watching and listening to interviews being conducted in the interview room.
The mirror fooled no one; any interviewee with more brains than a retarded gnat knew what it was. But it did serve several practical purposes, not the least of which was that it intimidated, to some degree, the interviewees. They didn't know whether or not somebody else was watching. That tended to make them uncomfortable, and that often was valuable.
But the primary value, as Natali saw it, of the two-way mirror and loudspeaker was that it provided the means by which other detectives or Narcotics officers could watch an interview. They could form their own opinion of the responses the interviewee made to the questions, and of his reaction to them. Sometimes a question that should have been asked but had not occurred to them, and they could summon one of the interviewers out of the room and suggest that he go back in and ask it.
And finally, as was happening now, the two-way mirror afforded supervisors the means to watch an interview when they were either curious or did not have absolute faith in the interviewers to conduct the interview, keeping in mind Departmental regulations and the interviewees' rights.
While Lieutenant Natali was happy to cooperate with the Narcotics Division, as he was now, he had no intention of letting Narcotics do anything in a Homicide interview room that he would not permit a Homicide detective to do. And there was something about this guy Dolan that Natali did not like.
"So if you had to guess, Payne, where would say your car is now?" Sergeant Dolan asked.
"Another parking lot somewhere. I just don't know."
"And your girlfriend?"
"I suppose she's back at the Union League having dinner."
"Why don't we go get her?"
"Why can't we wait until the party is over? Detective D'Amata, who was there when Lieutenant Lewis sent me to tell the Detweilers what happened, didn't say anything about getting her over here right away."
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