and they immediately finger it for usâ¦Must be something else youâre holding, Ty.â
Hauck glanced at Munoz, who took out the newspaper article, still in the evidence bag. âWe found this in the getaway vehicle. Which was dumped about a mile away.â
The Bridgeport detective read the bold headline through the plastic.
âThe manager of the Exxon station where this occurred was Sunil Gupta, whose son was one of the kids involved. The girl had a brother, Artie, whoâs reputed to be in a gang. The shooter yelled out the victimâs name as they drove away.â
âSo youâre thinking it was revenge?â
âI happened to have been there, Art. My daughter was with me. When it occurred. I guess I donât know what Iâm thinking, other than weâre lucky to be alive.â
Art Ewell shook his head with a disgusted air. âYeah, I understand.â He pushed his large frame out of the chair, reached into his desk drawer, and took out his gun. âCâmon, letâs find that kid,â he said. âJust remember, keep your eyes open, Dorothyâ¦Youâre not in Kansas anymore.â
CHAPTER FOURTEEN
T he place known as the Tombs was actually the Harry Larson housing project on Pembroke in Bridgeportâs East End, two tall gray towers built in the sixties amid a neighborhood of run-down single-family homes.
Just stepping into the decrepit, paint-chipped lobby, the smell of disinfectant and island cooking, the sense that he was stepping into hostile territory, took Hauck back to when he used to work for the NYPD or to Gangland documentaries on TV. He felt safer since Artie had brought along two uniformed patrolmen.
They took the jerky, urine-smelling elevator up to Anna Maria Ruizâs apartment on the fourth floor. Outside, Ewell motioned to them to check their weapons. He rapped his knuckles against the door.
âMrs. Ruiz? Please open up. Itâs Detective Ewell of the Bridgeport police.â
There was no reply.
Ewell knocked again, louder. â Mrs. Ruiz⦠? This is the Bridgeport police.â
Finally a womanâs voice came back. âOne meenit, pleaseâ¦â
A lock opened and the door came ajar slightly. Through thechain, a face peeked out. It was Ruizâs older daughter. Rosa. The one in nursing school, Hauck recalled.
âDo you remember me?â Ewell said. âIâm Sergeant Ewell. Weâre looking for Victor, Rosa.â
She shook her head. â Veectorâs not around.â
âYou mind if we come in? Is your mother at home? It will only take a second.â
âMamá, es la policÃa,â Hauck heard the daughter say. She opened the door.
It was a small two-bedroom apartment with chipped plaster walls and a large crucifix on the wall over the small wooden table in the dining area. It was clean and well kept, with a wear-worn patterned couch and plants in the corner near an outmoded console TV. Hauck noticed an arrangement of photos on the wall. A young boy in his confirmation suit who he took to be Victor. On a console was a larger, framed photograph: a pretty, dark-haired girl in a pink gown at what looked like her middle school graduation.
The TV was turned to the local news channel.
Anna Maria Ruiz was a tiny, small-boned woman with fearful dark eyes. She spoke Spanish, punctuated with a little broken English. She explained she was only home because she had been recently laid off and was about to head to her night job as a housekeeper at the Hyatt in Stamford. Rosa translated.
âMy mom wants you to know that my sister was a good girl. She wasnât into trouble. She was preparing to go to college. She hoped to be an accountant.â
âTell your mother weâre all very sorry for her loss,â Ewell said, âand for having to be here todayâ¦â He introduced Hauck and Munoz. Mrs. Ruizâs eyes drifted to the stains on Hauckâs blood-speckled