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"You look here," he said. "I worked nine years on a mini-series about the murder of six million people. I went to Auschwitz and set up cameras on the same spots the S.S. used to photograph the people being pulled out of the boxcars and herded with dogs to the ovens. I've had survivors tell me I'm the only person who ever described on film what they actually went through. I don't give a fuck what any critic says, that series will last a thousand years. You get something straight, Mr. Robicheaux. People might fuck me over as an individual, but they'll never fuck me over as a director. You can take that to the bank."
His pale eyes protruded from his head like marbles.
I looked back at him silently.
"There's something else?" he said.
"No, not really."
"So why the stare? What's going on?"
"Nothing. I think you're probably a sincere man. But as someone once told me, hubris is a character defect better left to the writers of tragedy."
He pressed his fingers on his chest.
"I got a problem with pride, you're saying?"
"I think Jimmy Hoffa was probably the toughest guy the labor movement ever produced," I said. "Then evidently he decided that he and the mob could have a fling at the dirty boogie together. I used to know a button man in New Orleans who told me they cut Hoffa into hundreds of pieces and used him for fish chum. I believe what he said, too."
"Sounds like your friend ought to take it to a grand jury."
"He can't. Three years ago one of Julie's hired lowlifes put a crack in his skull with a cold chisel. Just for kicks. He sells snowballs out of a cart in front of the K & B drugstore on St. Charles now. We'll see you around, Mr. Goldman."
I walked away through the dead leaves and over a series of rubber-coated power cables that looked like a tangle of black snakes. When I looked back at Mikey Goldman, his eyes were staring disjointedly into space.
Chapter 6
Rosie was waiting for me by the side of the pickup truck under the live-oak tree. The young sugarcane in the fields was green and bending in the wind. She fanned herself with a manila folder she had picked up off the truck seat.
"Where did you go?" I asked.
"To talk to Hogman Patin."
"Where is he?"
"Over there, with those other black people, under the trees. He's playing a street musician in the film."
"How'd you know to talk to him?"
"You put his name in the case file, and I recognized him from his picture on one of his albums."
"You're quite a cop, Rosie."
"Oh, I see. You didn't expect that from an agent who's short, Chicana, and a woman?"
"It was meant as a compliment. How about saving that stuff for the right people? What did Hogman have to say?"
Her eyes blinked at the abruptness of my tone.
"I'm sorry," I said. "I didn't mean to sound like that. I still have my mind on Goldman. I think he's hiding some serious problems, and I think they're with Julie Balboni. I also think there might be a tie-in between Julie and Cherry LeBlanc."
She looked off at the group of black people under the trees.
"You didn't bother to tell me that earlier," she said.
"I wasn't sure about it. I'm still not."
"Dave, I'll be frank with you. Before I came here I read some of your history. You seem to have a way of doing things on your own. Maybe you've been in situations where you had no other choice. But I can't have a partner who holds out information on me."
