But though Marian did not expect to get through the evening without mention of the Fund, or of Jimmy, she was completely blindsided by the question that actually came.
She was removing an olive pit discreetly to a bread plate when Clark asked what about that guy Randall, it was on the evening news, that was that guy, wasn't it, and what the hell happened? But Marian had been in meetings all afternoon, she hadn't heard the news, and it seemed Sam had not, either: Which guy, what do you mean what happened? Everyone filled them in, slapping facts down as though in a friendly cutthroat game of hearts: midmorning, on the Verrazano—the inbound side, he must have been on Staten Island—not many other cars around; so far no note, no idea why—or else they just weren't saying; left his car keys behind, and his wallet, they say most jumpers do that, why, for God's sake? until someone—Sue—focused in on Marian's silence, on her wide eyes. “But, honey, you hate him,” Sue said, half question, half reminder. Marian drank her chardonnay in an attempt to refloat her heart, which seemed to have suddenly run aground.
“Hate,” Marian repeated, holding her wineglass by the delicate stem. “I guess. But there's just been so much death. . . .”
In the rustling forest of talk around them, in the clinking of dinnerware and the teasing and laughter, a withering drought of silence descended on their table. Marian, her stomach clenching, said, “Oh no, I'm sorry. I didn't mean to bring you guys down. Look, just give me a minute. I'll be right back.” She stood, dropped her napkin on her chair, hurried from the table, but not before she stopped to smile at Sam and answer his “Are you okay?” with an unwavering “Of course.” Then she headed for the ladies' room, up front by the bar; but once close, she slipped past it, out onto the street.
The night was warm; Marian was wearing a jacket of loose-woven cotton and needed nothing else. She stood at the end of the narrow street, waiting to cross the highway. The traffic seemed normal, it seemed almost like before. Two weeks ago the city had begun to allow even trucks downtown again, and the perimeter was pulled in a little every few days.
When the light changed, Marian crossed to the river. The scent of salt water overwhelmed the faint, astringent odor from Ground Zero, the odor of cars and furniture, papers, family photographs, clothing and its owners, jet fuel still smoldering underground.
The river flowed smoothly; an ocean smell this strong meant the tide was pushing the water north, and a barge moved that way, too, placidly allowing itself to be towed by a hardworking tug with yellow lights glowing in its cabin. On the day of the attacks, the squat and ugly tugboats, along with lumbering ferries and sleek commuter launches and polished yachts, had rushed to the shores of Lower Manhattan and swept dust-caked survivors across the river. The boats had worked tirelessly, into the night.
In the following days, though, river traffic had been halted. Unneeded and forlorn, the tugs had stayed bound at their moorings. Marian, her office building too close to Ground Zero to reopen right away—the cleanup, the air tests, must come first—had taken her coffee to the river each morning; standing there, she'd watched the tugs pull halfheartedly on their ropes, as the tide shifted. So much to be done, no way to do it. But now traffic on the river was moving again, and the tugs were needed. Marian imagined them joyously leaning their shoulders into their work.
She thought of Sally, and then of Kevin. Did they know about Harry Randall's death, had they heard? She was hit with a strange thought, a terrible thing to think, but she was thinking it before she could stop herself: most deaths came too soon (and this was a theme of meditation on the September 11 deaths, because so many of the lost were young professionals, young office workers, young firefighters, young cops), but this death, the death of this reporter, had come too late.
With determination Marian turned her mind from that idea. She did not want to wish anyone ill, not even this man who had so disturbed the ravaged earth just as people were attempting, warily, to find footing again.
But her thoughts, pushed away from Harry Randall and not easily managed in this uneasy time, swung back to the missing and the lost. Many were young, yes; but not all. Jimmy had been forty-six.
In Marian's most insistent, most difficult memory, they were both twenty-four. Jimmy stood with her on the rocks under the bridge. Dazzling spring sunlight streamed over them. She knew, had known for some time, that things were not right with Jimmy. Still, she was stunned, unable to speak, even to ask, as he folded his hands on hers, held her eyes with his, and told her goodbye.
She could not now, nor could she then, repeat the words he'd used. It had seemed to her she hadn't understood them, that she had abruptly lost her ability to comprehend language. Jimmy had talked about being someone different, although it had not been clear to Marian whether he was speaking of a desire, or a regret. What she did recall clearly, such a small, strange thing, was the cool dampness on her fingertips from the salt spray that had splashed on his sleeve. She remembered feeling that coolness even after, long after, he'd turned and walked away.
Over the years she had run across him, of course, and been shocked each time at the changes in him, and at the things that had not changed.
On Staten Island she'd seen him in church at Kevin's first communion, and at the ballpark when Kevin's Little League team made the play-offs; he had been a pallbearer nine years ago at Sally's father's funeral, but two years later he had not attended Big Mike Molloy's, though Marian had steeled herself for his presence. Nor had she been the only person who expected him there. Returning from the graveside ceremony to drink coffee in Peggy Molloy's hushed living room, Marian overheard a neighbor asking Tom about Jimmy.
“You were such good friends, Tom,” the man said. “Your father's funeral, I'd have thought he'd be here.”
“He doesn't come out here anymore” had been Tom's answer. “Only sometimes to see Kevin and Sally.”
“No, not just them. Owen McCardle, that he used to work with? I saw him the other day, Jimmy, I mean, on Owen's porch. A week before that big construction fire, it was on the news? Jimmy climbing all that scaffolding. I thought he'd be here, I could congratulate him.”
Tom just said, “Him and me, we lost touch.”
Marian had watched the neighbor turn away, felt his disappointment that the famous Jimmy McCaffery was not going to appear. She'd tried to feel only relief.
Two years after that—five years ago—by heart-stopping accident, she'd run into Jimmy in Manhattan. Rounding a corner, she'd come upon a company of firefighters stowing their equipment after a call. The sidewalk was wet, the air smelled of smoke. The captain turned to answer someone's shouted question and was suddenly face-to-face with her, and it was Jimmy. His face had fleshed out, the hair she could see was gray. Three white scars ran down his cheek, parallel tracks that echoed the folds now etched on his forehead. But his eyes, his eyes were the same. They met hers and held them.
Only when Jimmy had swung himself up onto the truck and the company had driven away did Marian know her hand had reached for him, must have touched his coat, because her fingertips were stained with soot.
Now, as she stood gazing out over the river, another scene—Harry Randall's death—gathered itself and grew bright in her mind. She knew better than to try and stop it; she just watched. Pulling over on the bridge. (You'd have to put your flashers on, so no one drove into your car and got hurt.) Clambering over the cold steel rails. (A difficult climb, made to be so, she imagined, she hoped, to give the climber one more chance, one more reason, to turn away.) Hauling your trembling body up to stand swaying, surveying the enormous sweep of river, buildings, sun, and clouds, until that mighty moment of final choice and the dive, the long, soaring flight into blue, sparkling water. (From such a height, no difference between water and rock.)
She did a breathing exercise to rid herself of the images, and of the twin burdens of anger and guilt. The guilt was for the pall she had cast on the easy joy of her friends' evening. Joy was not an abundant crop lately; where found, it needed t
o be carefully tended and sheltered from the withering chill of memory.
The anger was at Harry Randall, for killing himself.
Attempting to force the truth about Jimmy McCaffery out of the dark place they'd all, without a word to one another, buried it in; exposing what he'd uncovered, now of all times, to the searing glare of front-page headlines—that had been a terrible thing. Marian had tried to make Harry Randall see that it would be that way.
Her own danger had been secondary to her. The morass opening before her now, the tangle of trouble to herself, was not important. But her work was. And especially now. In these unsteady days, when no one was able to find a firm footing, she could offer a handhold, a refuge, a place to stand. She had tried every way she could think of to make Harry Randall understand how crucial it was, right now, for everyone only to help. She had tried to make him see that truth was not, always, the highest good.
Randall, though, was a reporter. And though she had failed, she did understand his need, in these times, to cling to what he had always believed in.
But when the consequences of what he'd done began to become clear, he should have acted like a man. He owed them all that.
In times like these, no one had the right to suicide.
PHIL'S STORY
Chapter 1
The Man Who Sat by the Door
October 30, 2001
The thunderbolt of Harry Randall's death hit Phil Constantine at Grainger's Tavern. It was thrown from the TV over the bar by a glossy-haired anchorwoman in an insistent blue suit. The news blasted him with a powerful jolt, though no one watching would have seen that: just his eyes opening slightly, his jaw tightening as his focus narrowed and intensified.
In court Phil would sometimes cock his head, lean forward when a witness spoke—a prosecution witness, never his own—as though what he was hearing made no sense. As though he were trying to understand by moving closer to the source of his confusion. That gesture, though, was ruthlessly tactical. A lawyer who admitted to confusion was a fool. Real surprises, like being told by the evening news that that bastard reporter had jumped off the Verrazano Narrows Bridge, called for control.
Facing gravely into the camera, a trench-coated reporter spooled off as many facts of Harry Randall's life and death as he could jam into forty-five seconds. Behind him a weary-looking cop ripped down crime-scene tape. Two more linked tow chains to Randall's empty car. When the story was done, Phil asked Steve, behind the bar, to switch the channel, to try to catch it again.
“Something going on?” Steve glanced apprehensively up at the TV, tensing with someone's just-opened beer bottle in one hand.
“No, nothing new.” Phil spoke reassuringly—reassurance was one of the tones in his automatic repertoire—“just someone I know,” he added, to explain. Steve nodded but gave the TV another distrustful look as he reached for the remote, handed it to Phil.
Everyone was like this now. Every siren, every subway delay, every unexpected crowd as you rounded the corner, made your heart speed, your palms sweat. You walked along thinking of your day or your date or your dinner, and then you saw someone on the street run up to someone else and whisper, and before you could stop yourself you were thinking, That's it, something else happened. What this time? Sarin in the subway? Car bombs in the tunnels, dynamite on the bridge? Smallpox, assassination, poison in the water?
Everyone was like this, Phil as much as anyone. You just had to control yourself and go on anyway: it wasn't going away.
Phil flicked through channels. He found the Harry Randall story again, just ending, heard only what he'd just heard, learned nothing new. Either the other stations weren't running it, or, Harry Randall being one of their own, they'd led with it and he'd missed it already. Probably that. The death of a reporter, even a washed-up drunk like Harry Randall, was news to reporters. It would have been, even without the bullshit stories the Tribune had been running these past few weeks. Stories that started from the pure bright light of that fallen hero, Jimmy McCaffery, and spread in so many directions like a scorching flame. Stories with Randall's byline over them as though his name still meant something, stories meant to reignite a career long since cooled to ash.
Phil laid the remote on the bar. Steve came over and picked it up, Phil thanking him but really only half there, half aware of one televised story ending and another beginning. An anchorman offered him scenes of the war and developments in homeland defense. He paid no attention to the rest of the news or the rest of the crowd, sparse still, though Grainger's, barely a dozen blocks from Ground Zero, had never closed.
On the night of the day itself, Phil, stunned, exhausted, and alone, had stood at his window looking out over the dark, silent streets of Lower Manhattan. Down the block, flickering lights caught his eye: candles in Grainger's window. That Steve had lit them that first night as a beacon was clear, though whether he was offering rescue or hoping to be rescued, Phil was never sure.
The light brought Phil down four flights from his blacked-out apartment to a bar nearly but not totally dark, nearly but not totally empty. That first night there were five of them, all longtime regulars who lived inside what was suddenly the perimeter, in places without power but still habitable thanks to the arbitrary nature of currents of wind and smoke.
In Phil's memory of that night, they huddled in a room that stank of smoke and sweat. Compulsively they told one another their stories: the avalanche roar, the choking black cloud, then the silence, sudden, absolute, and horrifying; and then, as in a nightmare, roar and cloud and silence again as the second tower fell.
Grainger's had no ice and no TV, but someone had brought a radio. They twirled the dial until they found a station still broadcasting. In the shuddering candlelight they sat late, drank, and talked—Phil, no, Phil not talking, just silent, just listening to others' words swirling around him, like sounds from afar brought on a whirlwind, Phil saying almost nothing but not leaving—and all of them alert to changes in the newscaster's tone as though to rumblings of the heavens from which the gods might speak. Phil remembered drinking steadily but remaining sober, scotch slipping past the numbness at his core like wind whistling around a rock.
Now, tonight, Phil sat here again, as he had almost every night before (when Grainger's was just a place, somewhere to unwind) and every night since (when anything familiar was a parachute and everyone was falling). With barroom solidarity the other regulars ignored what Harry Randall had written about Phil, as though they hadn't read the stories (unlikely); or they made it a point to tell Phil that they didn't buy one single word of that crap (to Phil's mind, people being what they were, equally unlikely). A third reaction, one nobody voiced but Phil sensed in the appraising looks he caught when he glanced in the mirror above the bar, was a surprised respect: That string-bean Jew lawyer? Mixed up with Eddie Spano, for all these years? Whaddaya know?
There was a fourth reaction now, too: Phil could see it on cops or firefighters who'd known Grainger's from before, who were working the rescue but had to get away from the tent. They'd come to the bar bringing other cops and firefighters with them, ones who'd come down from Massachusetts, up from Kentucky or Virginia. If they knew who he was—and the ones who did would point him out to the ones who didn't—they would glare at him in anger, in disgust, as though it was Phil Constantine who'd brought the great Jimmy McCaffery low. The untruth of that, the twisted irony, was so great, and secret-keeping so long a habit, that Phil could only shake his head and turn away.
Phil sipped his scotch, stared into the dimness. Harry Randall's voice, demanding, insinuating, churned in his memory. It drowned out the bar's mindless chatter and the anchorman's bland modulation. Phil watched as Randall's creased, pugnacious face formed and floated in the air before him.
In the end, Randall had won. Phil had fought him with all his courtroom weapons of exaggerated rationality, sarcasm, feigned innocence, and personal attack. He'd buried his knowledge at the center of a blinding maze of argument, tirade, sermo
n, and bitter humor. But Randall, with his irritating shrug, had merely to turn and go elsewhere. Randall hadn't found his way to the truth, not all the way in. But he'd gotten his story. True? Did it matter? He'd won.
But now, it seemed, he had lost.
Phil slipped a ten onto the bar, left his drink unfinished. It was his second; he never finished the second. Before September 11 he'd never ordered a second. But early on, the crowds thin as they were, he'd tried way overtipping for the one he'd had. Steve had pointedly left the extra bills on the bar. Now Phil ordered two, left the second, tipped on both. Neither he nor Steve ever said anything about it.
Phil pushed out of Grainger's into stillness. The streets were almost empty of people, no cars at all; down here the perimeter still held. The rumble of heavy equipment faded as he moved south, away from the site. Behind him the sky glowed with an icy gleam from the enormous lights lent by filmmakers to the rescue effort. No, not rescue now; now, just recovery.
A faint breeze brought him the smell of burning. At Battery Park he walked past the wary eyes of two young men wearing military camouflage, holding rifles, serving their country on the tip of Manhattan. Kids with guns, Phil thought. Once that would have meant either a threat or a client. Now, God help us, they were here to protect him.
He leaned on the railing near the ferry terminal. He knew this place so well, he was sometimes surprised his shoes hadn't made grooves in the pavement, his hands hadn't worn down the rail. He'd stood here so many times in the beginning years, staring across the water, letting the ferries go, telling himself he'd take the next one. And in the end turning, walking home.
S. J. Rozan Page 4
