Murder and Salutations - By Elizabeth Bright Page 0,29

oak to better explain its great weight as it was wheeled outside to a waiting pickup truck—was convicted killer Robert Thomas Nauss, the sadistic leader of the Warlocks biker gang, who had strangled and carved up his beauty-queen girlfriend. An unknown couple driving the pickup truck drove away with the armoire, and the killers were never seen again. It was believed they had separated, but they were considered highly dangerous, and profilers thought it inevitable that they would kill again. The marshals had no higher priority than getting Vorhauer and Nauss off the streets—and they’d recently had a break in the long-dormant case. An old neighbor of Vorhauer’s thought she saw him in Philadelphia, where his wife lived, but she wasn’t sure; she hadn’t seen him in fifteen years. The marshals weren’t sure, either; the problem was photographs of him were seventeen years out of date, and nobody knew what the fugitive looked like—or was even sure he was in Philadelphia until Bender spotted him on a stakeout. Bender’s job was to produce sketches and a bust showing how Vorhauer looked today, and he was stumped. It was his first federal case, his first case of national importance. His future forensic career—and perhaps his life—depended on it. He was stumped.

“I saw him at a distance, it was way too fuzzy a view,” Bender said glumly. “There’s something I’m missing about him. I need to know more about him, something that will help me capture his look and his personality in my art.”

Fleisher’s big face was flushed. The memory of the hit man had haunted him for over a decade.

“I’d do anything to help you get that bastard. He has the coldest eyes I’ve ever seen.”

• CHAPTER 11 •

DEATH OF A B-GIRL

Fleisher knocked on the boxer’s door in Queens and stood to the side with the other special agents. The old boxer was saving for his retirement with a part-time job doing Mafia hijackings.

He answered the door in his underwear. His wife was cooking in the kitchen. The feds said they wanted to talk to him about the murder of a federal informant—one of Fleisher’s informants, the dumbest ever, had told the mob he was talking to the FBI.

“Can I put some pants on?” the boxer asked.

“Sure,” the feds said.

“I’ll go with him,” Fleisher said.

In the bedroom the boxer reached for his pants, an arm’s length from a rifle against the wall. Fleisher put his hand over his service .38—worn gunslinger style over the groin, with the attitude I’m small and I’m Jewish, make my day—and said, “I hear on the street you’re trying to whack me. Get the rifle and let’s get this over with, mano a mano.”

The mobster backed down politely: “No, Mr. Fleisher, I’d never do such a thing.”

Fleisher was soft like the Italians were soft—emotional, wild, a little crazy. The Italians and the street people liked him, a reputation that had led his supervisor, Jim Scanlon, to call him into his office one morning in 1971 at the FBI headquarters in Boston.

As he sat down, Scanlon said, “I want you to look into the murder of a B-girl in the Combat Zone.”

Fleisher’s sources included hookers, bouncers, and bar girls. “They all love me there,” he famously bragged to the older agents, leading to the inevitable question, “What do they charge for that? ” Yet in fact the special agent could wheedle information from anybody. He didn’t spend a dime of the thousands of dollars in taxpayer money available to buy off informants. With the sweet smile of a Boy Scout and the street smarts of a bookie, Fleisher got people to open up, then he picked them clean.

“Her name was Vicki Harbin. She was fiftyish, a dancer working at the 222 Club,” Scanlon said. “They found her in her room at the Avery Hotel. She was lying on the floor near the door, stabbed to death.”

Fleisher’s eyes narrowed. “An over-the-hill B-girl, still dancing around a pole, hustling drinks, living the life in the Avery.” He shook his head sadly. The Avery was a narrow, ten-story landmark gone to seed, a respectable turn-of-the-century hotel turned hooker Hilton. In the 1940s and ’50s, Tommy Carr and his orchestra played “Good-bye to Paris” in the Cameo Bar, and vaudevillians Jackie Gleason and Art Carney and actor Jason Robards camped in the hotel’s modest rooms, cheapest in the theater district. Filled with touring young performers, even then the Avery smelled of sex. The line was, “At two in the morning in