Brooklyn Noir 3: Nothing but the Truth by Tim McLoughlin

glassine envelopes and various drug paraphernalia floated to the floor like autumn leaves. But what caught my attention was two white guys sitting by themselves in a corner, the only non-Latinos present. So my first words to the two, as they sat at the table looking up at me, were, “On your feet and against the wall.”
    I gave the muscular guy to my left a little push against the wall, off which he bounced, spun around, and stood stock still, staring at me. He was Irish-looking, five-foot-ten with a mustache and chiseled features.
    Thus, without benefit of names, did I make my initial acquaintance with Joseph “Mad Dog” Sullivan.
    The first thing I noticed about Mad Dog was his flat, dark, dead eyes, with which he assessed me for a long minute, then slowly turned around and assumed the position. His Italianlooking tablemate did the same, without objection.
    Looking down at the floor, I found something that didn’t surprise me—a Beretta semi-automatic, which, I would later discover, was loaded with seven live rounds, one in the chamber. I hollered “Gun!” whereupon the four other cops with me focused attention on the two guys I had on the wall.
    I didn’t find out who these desperadoes were until we got back to the precinct house for arrest processing. We had a dozen other patrons of the bar for various drug possession counts, but only Mad Dog and his companion for the gun.
    In those days there were no computers. You made a phone call to the Bureau of Criminal Identification at NYPD headquarters in downtown Manhattan. BCI eventually identified one Joseph Sullivan, a.k.a. “Mad Dog,” on lifetime parole as a convicted murderer. His Italian cohort was Anthony “Snooky” Solimini, a Genovese soldier out of place here because around the corner on Knickerbocker Avenue were the Bonanno lads sipping espresso and plotting mayhem.
    In those days, everything was done manually. You took a prisoner by the hand and rolled his fingertips over an ink pad and then pressed each one onto a print card. Then you handcuffed the prisoner and went through his personal effects. Then you vouchered (recorded and packaged) drug evidence for the police lab and the gun for ballistics, after which you transported the guy downtown to Central Booking, which back in the day was on Gold Street in downtown Brooklyn. There he would be processed further, and a cop like me would be interviewed by an assistant D.A., who would draft charges based on what I told him.
    With these particular arrests, both my prisoners stood to be charged with felony possession of a loaded gun if I wanted to go by the book—but it was a tenuous charge to lay against both. What I had to do, practically speaking, was select the one more likely to have possessed the weapon. Based on my estimation of Mad Dog’s background, he was elected as the guy who made a motion under the table to toss the gun. A complete fiction, but no more of a fiction than those invented by prosecutors and judges in criminal court, where they are known as “legal fictions.”
    Although my statement to the assistant D.A. could be seen as a lie, it was in fact expected as a professional courtesy. The last thing a prosecutor or judge wants to hear in a criminal case is what actually happened. What they wanted was what they could put together to make a solid case against whomever the perpetrator was that I had dragged downtown. So every cop in my day would say what he was expected to say in order for the wheels of justice to grind exceedingly slowly and for no bad guys to escape. This is no doubt true even today, as I do not expect anything has changed. So, the D.A. was pleased to accept my legal fiction that I saw Mad Dog ditch something under the table. After all, he had Mad Dog’s complete and lengthy history on his yellow sheet, so-called because a criminal record was then printed on yellow paper. Mad Dog had been paroled after being sentenced to twenty-to-thirty years in 1967 upon conviction of