Game theory
For Lucas, the incident, which occurred in "the summer of 1965 or '66," was strategy. Strictly business. Because, as Lucas recalls, "when you're in the kind of work I was in, you've got to be for real. You've got to show what you're willing to do."
"Everyone, Goldfinger Terrell, Willie Abraham, Hollywood Harold, was talking about this big guy, this Tango. About six five, 270 pounds, quick on his feet . . . He killed two or three guys with his hands. Had this big bald head, like Mr. Clean. Wore those Mafia undershirts. Everyone was scared of him. So I figured, Tango, you're my man.
"I went up to him, asked him if he wanted to do something, some business. I gave him $5,000 worth of merchandise. Because I know he was gonna fuck up. That's the kind of guy he was. Two weeks later, I go talk to him. 'Look, man,' I say. 'Hey, man, when you gonna pay me?'
"Then, like I knew he would, he started getting hot, going into one of his gorilla acts. He was one of them silverback gorillas, you know, you seen them in the jungle. A silverback gorilla, that's what he was.
"He started cursing, saying he was going to make me his bitch and he'd do the same to my mama too. Well, as of now, he's dead. No question, a dead man. But I let him talk. A dead man got a right to say what he wants. Now the whole block is there, to see if I'm going to pussy out. He was still yelling. So I said to him, 'When you get through, let me know.' "
"Then the motherfucker broke for me. But he was too late. I shot him. Four times, right through here: bam, bam, bam, bam.
"Yeah, it was right there," says Frank Lucas, 35 years after the shooting, pointing out the car window. "The boy didn't have no head. The whole shit blowed out back there . . . That was my real initiation fee into taking over completely down here. Because I killed the baddest motherfucker. Not just in Harlem but in the world."
"After I killed that boy," Frank Lucas goes on, gesturing toward the corner on the other side of 116th Street, "from that day on, I could take any amount of money, set it on the corner, and put my name on it. FRANK LUCAS. I guarantee you, nobody would touch it."
This is from 'The Return of Superfly', a New York magazine story that led to Ridley Scott's 'American Gangster'. The film is OK, though not a must-see. The NY mag story is fantastic, I'm probably quoting its least interesting part. Here is a recent discussion between Frank Lucas and Nicky Barnes.
