G is for Gumshoe (32 page)

Behind me, I heard the front door opening. “Oh, hi. Is that you, Mr. Bronfen?” I said, turning my attention back.

The man in the doorway was someone else—a frail old fellow with an air of shuffling indecision. He was thin and bent, his shoulders narrow, his fingers twisted with arthritis. He wore a much-washed plaid flannel shirt, thin at the elbows, and a pair of pants that came halfway up his chest. “He's out. You'll have to come again,” he said. His voice was a pastel blend of raspiness and tremor.

“Do you have any idea what time he'll be back?”

“About an hour,” he said. “You just missed him.”

“Oh, gee, that's too bad. I'm the contractor,” I said in this totally false warm tone I use. “I guess Mr. Bronfen's thinking about an addition to the shed out back. He asked me to take a look. Why don't I just go on out there and see what's what.”

“Suit yourself,” he said. He closed the door.

Heart thumping, I made a beeline for the backyard, figuring my time was going to be limited. Patrick Bronfen was not going to appreciate my snooping, but then, if I
were quick about it, he'd never know. The shed was perched haphazardly on a concrete foundation that did a sort of zigzag between the single-car garage and the house. This looked like the sort of work that was done without permit and was probably not up to code. Given the slope of the side yard and the retaining wall at the property line, Bronfen probably should have had a team of civil engineers out here before he opened that first sack of Redi-Mix.

I removed the dangling padlock from the hasp and let myself in. The interior was probably eight by ten, smelling of loam, peat moss, and potting soil, overlaid with B1 and fish emulsion. There were no windows and the light level had dropped by more than half. I felt around in the gloom, trying to find a light switch, but apparently the shed wasn't wired for electricity. I groped through my handbag till I came up with a penlight and shone it around. The beam illuminated a large expanse of wall-mounted pegboard, hung with gardening tools. A mower leaned against the wall, its blades flecked with grass clippings. There was a six-foot workbench, its surface littered with clay pots, trowels, spilled potting soil, and discarded seed packs. Damp air clambered over my ankles and feet. Under the bench, I could see a gap in the rotting wood where a board had been pushed out.

To the right was an oblong wooden bin with a hinged lid, knee-high, the sort of unit where tools are stored. A square of newly cut plywood had been nailed across one end. Big plastic bags of bark mulch and Bandini 101 were stacked on top. One of the bags had a rip in the bottom and a trail of bark extended across the cracked cement floor. A pie-shaped wedge of track suggested that the bin had been
dragged forward and then pushed back again. I thought about Agnes's torn knuckles and broken nails.

I lifted my head. “Hello,” I said, just to check the sound level. The word was muffled, as if absorbed by the shadows. I tried again.
“Hello?”
No echo at all. I doubted the noise carried five feet beyond the shed. If I'd abducted a half-senile old lady, this would be a neat place to stash her till I decided what to do.

I balanced the penlight on the workbench and removed the twenty-five-pound bags from the top of the bin, stacking them to one side. When I'd cleared the lid, I opened it and peered in. Empty. I retrieved the penlight and checked the rough interior surface. The space was easily the size of a coffin and constructed so poorly that the air flow could probably sustain life, at least for a brief period. I ran the penlight from corner to corner, but there was no evidence of occupancy. I lowered the lid and restored the bags of mulch to their original positions. On my hands and knees, I checked the area around the bin. Nothing. I'd never be able to prove Agnes Grey had been here.

As I backed out of the space, I caught a whiff of foul air, musty and sweet, like a faint wisp of smoke. I felt my skin contract with recognition, hairs standing at attention along the back of my neck. I could feel my lips purse with distaste. This was the odor of dead squirrel trapped in a chimney, rotting gopher parts left on the porch by your cat, some creature guaranteed to perfume your nights until nature had completed the process of decomposition. Jesus. Where was it coming from?

I raised myself up on my knees and fumbled across the workbench until I found the trowel. I ducked under the
bench again, running my fingers lightly along the shed's concrete footing. The material was porous, softening with age, the texture mealy. I found a patch of crumbling mortar and began to dig with the trowel, gouging out a pocket. I turned the penlight off and worked by feel, using both hands. Under the hardened outer shell, the stuff felt gritty and wet, as if the groundwater had somehow seeped in, undermining the concrete. The smell seemed stronger. There was something dead down here.

I tried the light again, working my way to the right where I could see two horizontal cracks. I began to chop away at the concrete, doing more damage to the trowel than I was doing to the footing. I pulled myself to my feet again, searching the workbench for a more effective tool. Up on the pegboard, I spotted a short-handled hoe with a pick on the back side of the blade. I crawled back to my little strip mine and began to hack in earnest. I was making so much damn noise, it was a wonder the neighbors didn't complain. A hunk of cement fell away. Tentatively, I scooped some of the debris off, using the pick to excavate. I felt resistance, some sort of root perhaps, or a length of rebar. I turned on the penlight again and peered into the space.

“Oh shit,” I whispered. I was looking at the dorsal surface of a little finger bone. I scooted backward across the floor, bumping into the mower. I sucked air through my teeth as my banged elbow sang. The pain was a welcome diversion under the circumstances. I flicked the light off and scrambled to my feet. I shoved a bag of bark mulch in front of the hole and snagged my handbag.

I was making little whimpering sounds as I whipped
out of the door again. I placed the padlock where it had been and danced away from the shed with a spasm of revulsion. For a moment, all I could do was shiver, slapping at my arms as if to aid circulation. I paced in a circle, trying to think what to do. I breathed deeply. God, that was vile. From the glimpse I'd had, the bone had been there for years. Whatever the odor, it wasn't emanating from
that
, but what else was down there? In the fading afternoon light, the zigzagging foundation seemed to glow. Someone had been adding outbuildings from time to time. First the lath house had been attached to the garage, then the potting shed had been attached to that. Extending from the side of the potting shed, there was a pad where firewood was stacked. If Anne Bronfen (in the guise of Agnes Grey) was accounted for, then the body had to be Sheila's. Bronfen claimed his wife had run away with Irene, but I didn't believe a word of it. I did one of those all-over body shudders, thinking about the finger. All of the flesh was gone. I gave my head a shake and took two deep breaths, disconnecting my sensibilities. There had to be other answers somewhere on the premises.

I went back to the front door and knocked. I waited, hoping fervently that Bronfen wasn't back. Eventually, the old fellow shuffled his way to the door and opened it a crack. I had to clear my throat, assuming what I hoped was a normal tone of voice.

“Me again,” I chirped. “Could I come in and wait for Mr. Bronfen?”

The old gent put a gnarly finger to his lips, giving my request some thought. Finally, he nodded and backed away from the door awkwardly as if controlled by wires. I
followed him into the house, quickly checking my watch. I'd been in the shed twenty minutes. I still had plenty of time if I could figure out what I was looking for.

The old man crept toward the living room. “You can have a seat in here. I'm Ernie.”

“Nice to meet you, Ernie. Where did Mr. Bronfen go? Did he say anything to you?”

“No. I don't believe so. He'll be home directly I should think. Not long.”

“Nice house,” I said, peering into the living room. There I was, telling lies again. The house was shabby and smelled of cooked cabbage and peed-in pants. The furniture looked like it had been there since the turn of the century. The once-upon-a-time white curtains hung in limp wisps. The wallpaper in the hallway, with its motif of violets, fanned out in all directions like a bug infestation. Lucky for Klotilde she hadn't qualified for occupancy.

To the left, uncarpeted stairs led up to a second floor. I could see a dining room with a series of decorative plates on the wall. I moved toward the rear of the house, passing a small door that probably opened onto a little storage area under the stairs. Across from that was the basement door. “Is this the kitchen through here? I need to wash my hands.” But I was talking to myself—Ernie had shuffled into the living room, forgetting me entirely.

The kitchen was the prototype “before” in any home remodeling magazine. Cracked tile counters, black and white floor tiles, brown woodwork, stained sink, a dripping faucet. Someone, in a jaunty attempt to update the place, had covered the original wallpaper with a modern-day vinyl equivalent: pale green fruits and vegetables intermixed with white
and yellow daisies. Along the baseboard, the vinyl strip was curling up like a party favor. I checked the walk-in pantry. The shelves were lined with industrial-size cans of hominy and peas. I went in and stood there, looking out at the kitchen with the door half-shut.

Irene Bronfen had been four when she left. I hunkered down, smelling soot, my eyes level with the doorknob. I returned to the hallway. The door to the storage space beneath the stairs was kept locked. I wondered if she'd used it as a playhouse. I hunkered there, looking left toward the kitchen. Not much visible from that vantage point. Murders are, so often, domestic affairs. Alcohol is a factor in more than sixty percent. Thirty percent of the weapons in these murders are knives, which, after all, antedate gunpowder and don't have to be registered. As a matter of convenience, the kitchen is a favored location for crimes of passion these days. You can sit there with your loved ones, grabbing beers out of the fridge, adding ice to your Scotch. Once your spouse makes a smart remark, the stakes can escalate until you reach for the knife rack and win the argument.

I moved through the kitchen. At the rear of the house, there was an enclosed wooden porch, uninsulated board and batten, where an antique washer stood. The water heater was out there, looking too small and decrepit to provide much hot water to the residents.

Irene at four had been somewhere in this house. I was willing to bet she'd been playing with the tea set. What had she told me? That the paint ran down the walls and ruined all the violets. I thought about her phobias: dust, spiders, closed spaces. I stood in the doorway, looking
through the kitchen toward the hall. The ceilings were high, papered overall with the same repeating pattern of violets as the hall. The kitchen walls had been repapered, but not the ceiling itself. There must have been a time when it was the same throughout. I checked the baseboard near the stretch where the old icebox had once stood. In the wall above it was the square space with the little door to the exterior where the iceman had left his delivery. The next section of wall was a straight shot, floor to ceiling.

I could feel my attention stray to the portion of the vinyl paper that was loose along the bottom. I leaned over and peeled a corner back. Under it was a paper sprigged with roses. Under that layer came the paper with the violets again. I got a grip on the lower edge of the vinyl panel and I pulled straight up. The strip made a sucking sound as it raced up the wall, taking some of the sprigged paper with it. The rust-colored streaks were showing through, drab rivulets coursing through a field of violets, spatters of dull brown that had soaked into the paper, soaked into the plaster underneath. The blood had sprayed in an arc, leaping high along the wall, penetrating everything. Attempts to clean it had failed and the second coat of paper had been layered over the first. Then a third coat over that. I wondered if current technology was sufficiently sophisticated to forge the link between the blood here and the body that was buried in the footing. Lottie was the first to go. Her death must have been passed off as natural since she was buried with the rest. Emily must have come next, her skull “crushed” by falling bricks. And Sheila after that, with a story to cover her disappearance. That must have been the killing Agnes and Irene witnessed. Bronfen had probably
made up the story of Sheila's departure. I doubted there were any neighbors left who could verify the sequence of events. No telling what Bronfen had told them at the time. Some glib cover story to account for the missing.

Agnes had been in exile for years, protecting Irene. I wondered what had tempted her to return to the house. Perhaps, after over forty years, she thought the danger had passed. Whatever her motives, she was dead now, too. And Patrick—dear brother Patrick—was the only one left.

I heard the front door shut.

 

 

 

 

 

 

He stood in the kitchen doorway, a brown grocery bag in his arms. He wore a dark green sport shirt and wash pants, belted below his waist. He was wheezing from exertion, sweat beading his face. His gaze was fixed on the length of vinyl wallpaper that now lay on the floor, folded over on itself. His gaze traveled up the wall and then jerked across to mine. “What'd you do that for?”

“Time to take care of old business, my friend.”

He crossed to the kitchen table and set the grocery bag down. He removed some items—toilet paper, a dozen eggs, a pound of butter, a loaf of bread—and set them on the table. I could see him try to settle on an attitude, the proper tone. He'd been rehearsing this in his mind for years, probably confident the conversation was one he could handle with a perfect air of innocence. The problem was, he'd forgotten what innocence felt like or how it was supposed to look. “What old business?”