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A Death in Belmont
Sebastian Junger


A compelling portrait of 1960s America that takes as its starting point the brutal events of 11 March 1963, the day on which the lives of three complete strangers – a black handyman, an Italian-American carpenter and a second-generation Jewish housewife – collided in the leafy Boston suburb of Belmont.These three people did not know one another, but, by the end of the day, the housewife had been raped and strangled, the handyman had been arrested on suspicion of being the notorious Boston Strangler, and the real Boston Strangler – carpenter Al DeSalvo – had returned home to his wife and children. It was not until two years later that DeSalvo admitted to the gruesomely violent murders of thirteen women. Also unwittingly drawn into the drama were one-year-old Sebastian Junger's own family, who posed for a photograph with DeSalvo the day after the Belmont strangling, at the completion of his work on their studio.Taking the chilling family snap as his inspiration, Junger explores the worlds of the three protagonists and, in so doing, creates a portrait of America in the 1960s that touches on the historic themes of the era: the assassination of JFK, the rise of the immigrants and the troubling race relations that prefigured the death of Martin Luther King.This new work by Sebastian Junger, the acclaimed author of �Perfect Storm’ and �Fire’, is as enlightening as it is haunting. Taking as its foundation the events that shocked a quiet community in 1963, �A Death in Belmont’ expands to encompass an entire nation at a time of extraordinary social turmoil.











SEBASTIAN JUNGER




A Death in Belmont










DEDICATION (#ulink_52d76e91-3c8a-5c3f-b7e2-dbbf45a7d77e)


FOR MY MOTHER, ELLEN SINCLAIR JUNGER




EPIGRAPH (#ulink_327f2a85-9e7c-59ac-a9d0-58034536f623)


And they said to the Prophet, “How may we stop our ears to the rant of the fool and yet show him charity?”

And he answered, “You show yourselves charity by opening wide your ears to him. The fool in the midst of his babble shall speak truths which the minds of the wise cannot perceive.”

—unattributed quote pinned to the office

wall of a Massachusetts appellate lawyer




CONTENTS


Cover (#u87d450ca-6657-548c-8604-e9ac764f3d56)

Title Page (#u7e94149a-67cc-5e35-841b-d4de402be0c2)

Dedication (#u321b4ac8-3b60-5c29-aa9d-4480bdf4dbef)

Epigraph (#ua1490246-4053-52d2-9657-1306c4fca25c)

A Note on Quotes (#ue3efaa10-cb17-54e9-aae9-7c8fed9039a8)

Part 1: The Murder (#u84d64814-e607-5943-9f9c-94dbca647b98)

One (#u5b37e462-48b0-5fc2-9c3c-466a922328a1)

Two (#u073b850b-8381-5831-8d82-f92c50c7c695)

Three (#u45210b39-27e8-595a-bb37-f22ca5907835)

Four (#uad55c65d-a1b8-5f3b-8f3c-32b7fae5a347)

Five (#udad93785-0b81-5f99-ac8c-a55c4e0d52ae)

Six (#u08ba53d3-8e6f-5acf-8f7a-a6ea8565fa6d)

Seven (#uc86448ac-0829-5106-87de-993a3f6ee3e9)

Eight (#ud63537d1-1b37-5342-bd02-4630bfed83b8)

Nine (#uc42829f5-79c0-55c6-903d-cddb6ef80ce9)

Ten (#u111fadd7-99c6-52cc-ba68-2f8fbc5f5715)

Part 2: The Trial (#u9264d407-f3a1-5085-8439-0c387b38e0b2)

Eleven (#u99c9a2be-0253-5585-bccc-fc59339a03cc)

Twelve (#u5cd7d342-1cdc-5e4f-ae04-e0d27d6262bb)

Thirteen (#uae1aa53d-6d20-5f3e-8df2-08e8fa4190b1)

Fourteen (#u2f3a9b9f-6b5c-551f-891b-fc7ba5adc08e)

Fifteen (#u03595f70-4ad3-51fd-abda-e3a428105612)

Sixteen (#uba980455-1179-5e3f-8d3c-0db365224327)

Seventeen (#u70bd87c0-6855-5c8b-8ff7-b9d555f07abb)

Part 3: The Confessions (#ud53aade7-f508-5e29-93d9-408fa35ee79a)

Eighteen (#ucdff6820-0c29-5a71-9eeb-bf5f29bec0d4)

Nineteen (#ue76cad68-7756-5b92-a003-a2e38b55d066)

Twenty (#u741e0097-1cb6-5215-a5db-d39c09512664)

Twenty-one (#u07509b10-0986-5808-96aa-c7f176aac9bd)

Twenty-two (#uecb3783d-0148-5e1c-84d1-e89b6058254f)

Twenty-three (#u10fb02b3-08be-5973-8f15-c1d6361576c0)

Twenty-four (#ub2499194-ed52-5f7d-a5ea-7afb2bab980c)

Twenty-five (#ue7b59e0a-5e4d-5404-8e1b-f1964a5b8bc9)

Twenty-six (#u73b8d564-11ff-545d-9489-04da7e334d56)

Twenty-seven (#ub7a0dcce-763d-54b2-a369-df8744c32492)

September 2005 (#u88a0788c-5c49-5953-a1f9-b64ea4ad3aa6)

Further Reading (#u1f5ec4f2-5693-56be-b050-df2c5a3ba8c1)

Acknowledgments (#u62b1d519-9877-5464-8d68-34dc9fca9a05)

About the Author (#u11b6adb3-c277-5789-8bca-3f4da869eaaa)

Praise (#u6c16685f-81cc-5b1a-a827-07c768931c38)

Other Works (#ud6b0a2b3-d7e1-5cd4-a005-e4324390bf59)

Copyright (#u18bc2920-9829-5aa1-af7a-08972c3d4a02)

About the Publisher (#u0e6a53fe-d7f2-5c75-b304-c5c8a3fa6353)




A NOTE ON QUOTES (#ulink_74beb73a-5750-5449-8d53-b16d912dfa84)


If a passage is enclosed in quotation marks in this book, it means that the person was speaking into a tape recorder or before a court stenographer. In some instances I wrote my interviews in notebooks, but that was rare; almost all my interviews were done with a tape recorder. Conversations in this book were obviously not recorded as they happened, so they never take quotation marks. As reproduced in this book, however, they do faithfully represent the recollections of the people involved. In all cases—including in some published texts—I have made grammatical changes for the sake of clarity, as well as minor edits for the sake of brevity.



THE MURDER (#ulink_85cfb165-d3a3-5820-9f38-947fb96bc8af)




ONE (#ulink_5cefa5a8-c0b8-55df-869d-fdeb00338479)


ONE MORNING IN the fall of 1962, when I was not yet one year old, my mother, Ellen, looked out the window and saw two men in our front yard. One was in his thirties and the other was at least twice that, and they were both dressed in work clothes and seemed very interested in the place where we lived. My mother picked me up and walked outside to see what they wanted.

They turned out to be carpenters who had stopped to look at our house because one of them—the older man—had built it. He said his name was Floyd Wiggins and that twenty years earlier he’d built our house in sections up in Maine and then brought them down by truck. He said he assembled it on-site in a single day. We lived in a placid little suburb of Boston called Belmont, and my parents had always thought that our house looked a little out of place. It had an offset salt-box roof and blue clapboard siding and stingy little sash windows that were good for conserving heat. Now it made sense: The house had been built by an old Maine carpenter who must have designed it after the farmhouses he saw all around him.

Wiggins now lived outside Boston and worked for the younger man, who introduced himself as Russ Blomerth. He had a painting job around the corner, Blomerth said, and that was why they were in the neighborhood. My mother said that the house was wonderful but too small and that she and my father were taking bids from contractors to build a studio addition out back. She was an artist, she explained, and the studio would allow her to paint and give drawing classes at home while keeping an eye on me. Would they be interested in the job? Blomerth said that he would be, so my mother put me in his arms and ran inside to get a copy of the architectural plans.

Blomerth’s bid was the low one, as it turned out, and within a few weeks he, Wiggins, and a younger man named Al were in the backyard laying the foundation for my mother’s studio. Some days all three men showed up, some days it was Blomerth and Wiggins, some days it was just Al. Around eight o’clock in the morning my mother would hear the bulkhead door slam, and then she’d hear footsteps in the basement as Al got his tools, and then a few minutes later she’d watch him cross the backyard to start work. Al never went into the main part of the house, but sometimes my mother would bring a sandwich out to the studio and keep him company while he ate lunch. Al talked a lot about his children and his German wife. Al had served with the American forces in postwar Germany and been the middleweight champion of the American army in Europe. Al was polite and deferential to my mother and worked hard without saying much. Al had dark hair and a powerful build and a prominent beak of a nose and was not, my mother says, an unhandsome man.

My mother was born in Canton, Ohio, the year of the stock market crash to a nightclub and amusement park owner named Carl Sinclair and his wife, Marjorie. Canton was a conservative little city that could be stifling to a woman who wanted more than a husband and children—which, as it turned out, my mother did. She wanted to be an artist. At eighteen she moved to Boston, went to art school, and then rented a studio and started to paint. Her parents looked on with alarm. Young women of her generation did not pass up marriage for art, and that was exactly what my mother seemed to be doing. A few years went by and she hadn’t married, and a decade went by and she still hadn’t married, and by the time she met my father, Miguel, in the bar of the Ritz Hotel her parents had all but given up.

When my mother finally got married at age twenty-nine it was welcome news, but my father could not have been exactly what her parents had envisioned. The son of a Russian-born journalist who wrote in French, and a beautiful Austrian socialite, he had come to the United States during the war to escape the Nazis and study physics at Harvard. He spoke five languages, he could recite the names of most of the Roman emperors, and he had no idea how the game of baseball was played. He also had made it to age thirty-seven without getting married, which alarmed any number of my mother’s female friends. Against their advice she eloped with him to San Francisco, and they were married by a judge at the city hall. A year later my mother got pregnant with me, and they bought a house in a pretty little suburb called Belmont.

The studio they built, when it was finally finished, had a high cement foundation set into a slight hill and end walls of fir planks with a steep-pitched shingle roof that came down almost to the ground. There was a Plexiglas skylight at the roof peak that poured light onto the tile floors, and there was a raised flagstone landing that my mother populated with large plants. The job was completed in the spring of 1963; by then Blomerth and Wiggins had moved on to other work, and Al was left by himself to finish up the last details and paint the trim. On one of those last days of the job, my mother dropped me off at my baby-sitter’s and went into town to do some errands and then picked me up at the end of the day. We weren’t home twenty minutes when the phone rang. It was the baby-sitter, an Irishwoman I knew as Ani, and she was in a panic. Lock up the house, Ani told my mother. The Boston Strangler just killed someone in Belmont.

The victim’s name was Bessie Goldberg, and she had been found by her husband raped and strangled in their home on Scott Road. Several days earlier, a sixty-eight-year-old woman named Mary Brown had been raped and bludgeoned to death in the small town of Lawrence, north of Boston. They were the eighth and ninth sex murders in the Boston area in almost a year, and the city was in a state of terror. My mother rushed out to the studio where Al was painting on a ladder and told him the news. It’s so scary, my mother remembers telling him. I mean, here he is in Belmont, for God’s sake! Al shook his head and said how terrible it was, and he and my mother talked about it for a while, and eventually she went back into the house to start dinner.

My mother didn’t see Al again until the next day. He showed up with Blomerth and Wiggins because the job was almost done and they had to start packing their tools and cleaning up the site. Blomerth had brought a camera for the occasion, and he arranged us all inside the studio and took a photograph. I’m looking straight at Blomerth—no doubt because he said something to get my attention—and my mother, seated on a maplewood bench, is looking down at me, her firstborn child, rather than up at the camera. She is thirty-four years old, and her dark brown hair is pinned high on her head and she wears a paisley shirt with the sleeves neatly rolled up and she appears primarily interested in the baby on her lap. Behind my mother and off her right shoulder is old Mister Wiggins standing politely in a sweater-vest with his hands clasped behind his back and a claw hammer jammed headfirst into his front pocket. His shirt is buttoned right up to his chin, and he looks like he’s at least seventy-five years old. Standing next to Wiggins and directly behind my mother is Al.

Al and I are the only people looking directly at the camera, and whereas I have an infant’s expression of puzzled amazement, Al wears an odd smirk. His dark hair is greased up in a pompadour, and he is clean-shaven but unmistakably rough looking, and he has placed across his stomach one enormous, outspread hand. The hand is visible only because my mother is leaning forward to look at me. The hand is at the exact center of the photograph, as if it were the true subject around which the rest of us have been arranged.




TWO (#ulink_c2487ee0-670d-5479-9f97-b6cb39081fc9)


IT WASN’T UNTIL Israel Goldberg started putting the food away in the kitchen that he realized something was wrong. His wife, Bessie, had asked him to pick up frozen vegetables and cheese on his way home from work, but when he pushed open the front door and called out her name, all he heard was the radio. That was odd; Bessie had hired a cleaning man to help get the house ready for a dinner party that night, and Israel had expected to find them both at work when he arrived home. Instead, the house was deserted and there wasn’t even a note. Bess! he shouted from the kitchen, but still no one answered, and that was when his puzzlement turned to fear. He dropped his overcoat on the floor and ran upstairs, calling his wife’s name as he went. He checked thir bedroom. He checked their closets. He checked the spare bedroom. He checked their daughter’s old bedroom: no one.

Outside, Israel could hear the shouts of children playing kickball on the street; a boy named Dougie Dreyer was single-handedly scoring run after run against an assemblage of neighborhood girls. John F. Kennedy was president, America was not yet at war, and Belmont, Massachusetts, where he and his wife had moved ten years earlier, was arguably the epitome of all that was safe and peaceful in the world. There were no bars or liquor stores in Belmont. There were no poor people in Belmont. There were no homeless people in Belmont. There were no dangerous parts of Belmont, or poor parts of Belmont, or even ugly parts of Belmont. There had never been a murder in Belmont. It was—until the moment Israel Goldberg went back downstairs and finally glanced into the living room—the ideal place to live.

The first thing he noticed was his wife’s feet, which protruded from behind the corner of the wall. Israel stepped into the living room to investigate. A standing lamp had been knocked over, and its pedestal was now propped on the arm of the divan. Between the lampshade and the knocked-over lamp lay the immobile body of his wife.

Bessie Goldberg was on her back with her skirt and apron pulled up and her legs exposed. One of her stockings had been wound around her neck, and her eyes were open, and there was a little bit of blood on her lip. The first thought that went through Israel Goldberg’s mind was that he’d never seen his wife wearing a scarf before. An instant later he realized that her head was at the wrong angle, that her face looked puffy and that she wasn’t breathing. According to the children on the street, Israel Goldberg was inside less than a couple of minutes before he screamed and ran back out and demanded to know if they had seen anyone leave the house. They hadn’t, though they would later remember a black man passing them on the sidewalk as they walked home from school. A black man was not a common sight in Belmont in 1963, and virtually every good citizen who had seen him walking down Pleasant Street that afternoon remembered him.

In hindsight—Belmont now forever marred by its first murder—some witnesses agreed that the black man might have looked like he was in a hurry. He had glanced back several times. He had walked fast, hands in his coat pockets, and had almost walked into some bushes as he passed Dougie Dreyer and two neighborhood girls on their way home from school. A sub-shop owner named Louis Pizzuto caught sight of him from behind his restaurant counter and was sufficiently curious to step around to the doorway to watch him pass. The black man had stopped in at the Pleasant Street Pharmacy across the street and then reemerged a few minutes later with a pack of cigarettes. The teenage boy who worked at the pharmacy said that he had bought a pack of Pall Malls for twenty-eight cents but had not seemed nervous. A middle-aged woman said that he hadn’t seemed nervous but that the skin of his face was “pocky.” Sometime later Louis Pizzuto walked into the pharmacy to make sure everything was okay. So what did the big darkie want?—or something much like that—he asked the boy behind the counter.

Not much, it seemed, except the cigarettes. The black man was tall and thin and wore brown checked pants and a black overcoat. Some remembered him wearing a dark hat and sunglasses, and some remembered that he had a moustache and sideburns. Soon it would be known that he crossed the street to the bus stop and boarded the first bus that came, which, unfortunately, was going in the wrong direction. Instead of getting off, he stayed on it to Park Circle, smoked a cigarette with the bus driver during the five-minute layover and then continued back toward Cambridge. He stepped off the bus in Harvard Square at nineteen minutes to four and walked past Out-of-Town News to the closest bar he could find. He would have been sitting at the bar counter ordering a ten-cent beer just as Israel Goldberg opened the door of his strangely quiet home. He would have been in a taxicab heading toward a friend’s apartment in Central Square when police cruisers began converging on Scott Road. And he would have been walking around Central Square looking for his girlfriend—who had left him several days earlier—when Leah Goldberg, Bessie and Israel’s twenty-four-year-old daughter, arrived at the murder scene and was led by a police officer to her stunned and grief-struck father.

Leah chose not to look at her mother’s body; the last time she’d seen her mother was at dinner the night before, and she wanted to keep it that way. She did cast around the house, though, and spotted on the kitchen counter a piece of paper that the police officers had missed. It was from the Massachusetts Employment Security Office on Huntington Avenue in Boston, and it had a name written on it. Shortly after that discovery the phone rang, and a woman named Mrs. Martin asked for Israel Goldberg. Mrs. Martin said she was calling from the Massachusetts Division of Employment Security and just wanted to know how the new cleaning man had worked out.

He murdered my wife, that’s how he worked out! Israel Goldberg screamed into the phone.

The name on the employment stub was Roy Smith. Smith was originally from Oxford, Mississippi, but his records at Employment Security had him living at 441 Blue Hill Avenue in Roxbury. That wasn’t true; he really lived with his girlfriend at 175 Northampton Street in Boston. The landlady, however, told the police that Smith’s girlfriend had moved out four or five days earlier. Two plainclothes officers stayed on Northampton Street while word went out to the Cambridge police station that Smith might be in the area looking for his girlfriend. At 11:13 p.m. the police issued a bulletin, accompanied by Roy Smith’s mug shots and fingerprint data from a previous arrest, announcing that he was wanted for murder in the town of Belmont. Bessie Goldberg was the ninth Boston-area woman to be raped and strangled in less than a year, and many of the victims had been elderly. If Roy Smith had indeed killed Bessie Goldberg—and by now the authorities knew that his criminal history included grand larceny, assault with a dangerous weapon, and public drunkenness—they had their first break in a series of murders that had virtually paralyzed the city of Boston.

The public called the killer the “Boston Strangler,” and a special investigatory unit—the “Strangler Bureau”—had been convened to track him down. They had screened 2,500 sex offenders and brought in 300 of them for close questioning. They had interviewed 5,000 people connected to the victims and combed through half a million fingerprint files. It was the most thorough investigation in Massachusetts history, and their spectacular lack of success was leading the public to attribute nearly supernatural qualities to the killer: He was inhumanly strong; he could break into any apartment, no matter how well-locked; he could kill in minutes and leave no trace at all. Women bought guard dogs. They only went out in pairs. They placed cans in darkened hallways as a sort of early-warning system. One particularly high-strung woman heard someone in her apartment and leaped to her death from her third-floor window rather than face whatever it was. Virtually every month there was another sick, brutal murder in Boston, and the fifty-man tactical police unit—specially trained in karate and quick-draw shooting—was helpless to stop them.

“What I remember about Roy Smith,” says Mike Giacoppo, the Cambridge police officer who arrested him, “is that they had a murder warrant out for him, and that they said it was possible he’d be in Cambridge or in Somerville. I used to work for a power and light company, and they have a database that’s unreal. So I went to the power and light company at night and looked up names. Every time I found an R. Smith moved in or moved out, I’d find a D. Hunt, which was Dorothy Hunt. They would move out without paying their bills, you know; they’d shut ’em off. I finally located her at 93 Brookline Street in Cambridge. And so I went up to the captain, and I says, �I got a hunch.’”

Giacoppo’s captain wouldn’t let him do a stakeout on the clock because he was just a rookie, so Giacoppo waited until his shift was over to drive over to 93 Brookline Street. He was in civilian clothes, and he had another rookie friend with him named Billy Coughlin. The house was a triple-decker on a street that ran north-south from the Charles River to the Irish bars and shoe stores of Central Square—a working-class part of Cambridge known as “the Coast.” Giacoppo parked across from 93 Brookline Street and got out of the car and started for a variety store where he planned to ask if anyone knew Dorothy Hunt. Halfway there he saw a little black girl sitting on the stoop, and he stopped in front of her and bent down and asked her instead. The girl said that that was her mother. Is Roy up there? Giacoppo asked. The girl said yes.

Giacoppo and Coughlin had no radio and no backup and were possibly about to arrest the most prolific killer in Boston history. If they drove back to the police station to get help, Smith might escape. If they tried to go in and arrest him, they might find themselves in way over their heads. Giacoppo walked across the street to the variety store to use the telephone, but the owner said he didn’t have one. There was only one thing left to do: He told Coughlin to go up the front stairs of the building and he pulled his gun and went up the back stairs. When he got to the top landing he pounded on the door until a black man named Ronald Walcott finally let him in.

Smith was frozen in an armchair, and Coughlin was pointing his service revolver at his head and screaming that he would shoot him if he moved. Dorothy Hunt and her other young daughter looked on in shock. Smith asked what he was being arrested for, and Coughlin told him that it was suspicion of murder. Smith didn’t say anything in response. “He was in a state of shock,” says Giacoppo. “How would you be if you had a gun to your head? We held a gun to his head all the way. We never handcuffed him—we didn’t even have handcuffs with us! It was sort of a comedy of errors, it was a riot, we did everything wrong.”

They took Smith down the back staircase and then out onto the street, revolvers still pointing at his head. Smith never said a word. One of the cops flagged down a car, and all three men squeezed into the back seat, and Giacoppo yelled at the terrified driver to take them to the police station. The station was just around the corner, and minutes later Smith found himself seated in a chair getting booked by a detective named Leo Davenport. A photograph that appeared on the front page of the Boston Herald shows Davenport in a suit and tie working away on a manual typewriter while Coughlin and Giacoppo and another police officer look on from behind. Smith is seated in a chair with one hand shackled to the armrest and the other cocked up in the air with a cigarette between his first and second fingers. His legs are crossed, and he is looking down at his knees. The accompanying article describes him as a “lean, moustached drifter” who wore a striped sports shirt and shabby brown trousers and ignored the crowd that had gathered around him except to avert his face from the news cameras.

The way Bessie Goldberg died was considered a classic “Boston Strangling,” so Smith’s arrest prompted many local reporters to announce that the Strangler had finally been caught. The few reporters who held back on that announcement resorted to a theme of random violence in the suburbs that was almost as compelling. Until now all the stranglings had occurred in apartment buildings in downtown Boston or in working-class towns north of the city. Bessie Goldberg was the first woman to be killed in a one-family home in an affluent neighborhood, and if a murderer could strike there, he could strike anywhere. “This is Belmont, these things just don’t happen here!” one of Bessie’s neighbors told the Boston Herald. Another reporter described the Goldberg house as a “rambling ten-room colonial … on a street of similarly expensive homes.” In fact it was a modest brick-and-clapboard on a street that virtually overlooked a highway. It was also imagined by the press that Bessie Goldberg had put up a “terrific struggle” for her life, though there was little evidence of that. She had, in fact, died with her glasses on. The details of sexual assault, of course, were respectfully muted.

Whether or not Smith was the Boston Strangler, the case against him for the Goldberg murder was devastating. By his own admission he had been at the Goldberg house most of the afternoon and had left around three o’clock, a fact confirmed by numerous people in the neighborhood. Israel Goldberg had arrived home at ten minutes to four—again confirmed by numerous people—and no one had spotted anyone else going into or out of the Goldberg house during the intervening fifty minutes. The house was in disarray, as if Smith had not finished cleaning, and fifteen dollars that Israel had left on Bessie’s nightstand was missing. As far as the police were concerned, Smith had committed the murder because, realistically, no one else could have. All that remained was for Smith to confess, which—considering the evidence against him—seemed almost inevitable. If Smith confessed to second-degree murder and served his time peacefully, he could expect to be out in fifteen years or so. For a habitual criminal accused of murder in a city terrorized by a serial killer, it wasn’t a bad deal.

IT HAS BEEN forty years since her mother’s murder, and Leah Goldberg—now older than her mother was when she died—still cannot talk about it without getting angry. She is a small, intense woman who speaks her mind sharply and unapologetically, her voice occasionally diving into an outraged whisper that even the person she is speaking to cannot understand. She was living in Cambridge and teaching fifth graders at the Roberts School at the time of the murder; she first heard something was wrong when the operator broke into a phone conversation and said that she had an emergency call for a Leah Goldberg. It was her father. He told her that her mother was sick and to come home as quickly as possible.

Leah could tell from her father’s voice that the news was really far worse. She dropped the phone, and she and one of her roommates dashed out to her car and drove down Concord Avenue to Belmont Center and then turned up Pleasant Street to her old neighborhood. There was a police cruiser and an ambulance in front of her house, and neighborhood children watching from the street. Leah ran up to the front door and caught a glimpse of her father through the living room window. He saw her as well and just raised his arms in grief.

Leah’s memories of the next few hours are jumbled. She answered a lot of questions from the police but was in such a state of shock that the exchanges were utterly calm. The police sent her to a neighbor’s house to recover, but later she could not remember whether her father had come with her or not. She had trouble making sense of the fact that she had seen her mother just the previous evening; everything that followed seemed like an insane dream that inevitably had to end. It was not a dream, and it was not going to end. Not only had her mother’s life been truncated, but in some ways her father’s life had as well. He was sixty-eight years old and had been married to Bessie for almost half of that. He was the one who had discovered the body. He was the one who had rushed over to help his wife and then realized that she was dead. Every morning for the rest of his life he would have to greet that image in his mind and then fence it out and somehow keep it out of his thoughts for the rest of the day until it was time to go to sleep again. He would have to do that for another twenty-six years. It was worse than any sentence Smith could get from a judge.

The unsavory details about Smith helped make sense of the crime but also raised other agonizing issues. Mrs. Martin at the Division of Employment Security thought she might have smelled alcohol on his breath. So why did she send him on the job? It was known that Smith had an extensive criminal record. How could Mrs. Martin have failed to warn Leah’s mother that an ex-con was coming to clean her house? Police investigators also thought that Smith might be a drug addict or have an extremely low IQ. Is that why he would commit a murder that he was virtually certain to get caught for? The aspects of Smith’s personality that could explain his impulsive murder inevitably made the crime seem senseless and avoidable.

It was possible, Leah Goldberg realized, that her mother had died simply because Roy Smith had wanted to get high. It seemed hard to believe, but why else would someone kill another person for the fifteen dollars on their nightstand?




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