L.A. Noire

The Collected Stories

Edited by

Jonathan Santlofer

ROCKSTAR GAMES PRESENTS

L.A. NOIRE: THE COLLECTED STORIES

TABLE OF
CONTENTS

INTRODUCTION BY CHARLES ARDAI

EDITED BY JONATHAN SANTLOFER

Front Cover Image

Introduction

STORY ONE: THE GIRL

by Megan Abbott

Megan Abbott, whose work has often dealt with real-life noir stories, lures the reader—and L.A. Noire character erstwhile actress June Ballard—into the depraved goings-on at an infamous Hollywood party.

STORY TWO: SEE THE WOMAN

by Lawrence Block

Award-winning author Lawrence Block delivers a poignant and painful look at domestic abuse and its harrowing after-math as a retired L.A. cop recounts the story that has haunted and colored his life.

STORY THREE: NAKED ANGEL

by Joe R. Lansdale

In this story of love, betrayal, and murder, Joe R. Lansdale creates a vivid protagonist who confronts an ugly truth in his past to solve a crime in the present before L.A. Noire homicide detective Rusty Galloway even has a lead.

STORY FOUR: BLACK DAHLIA & WHITE ROSE

by Joyce Carol Oates

One of the most esteemed writers of our time, Joyce Carol Oates has often blended fact and fiction—the incident at Chappaquiddick in her novel Black Water, the murder of JonBenét Ramsey in her novel My Sister, My Love—and does so once again in this brilliant reimagining of the Black Dahlia murder case and the young Marilyn Monroe (Norma Jeane Baker), a story sure to haunt readers for a long time.

STORY FIVE: SCHOOL FOR MURDER

by Francine Prose

Distinguished writer of bestselling fiction and nonfiction Francine Prose goes full throttle in her darkly humorous take on Hollywood, the making of noir films, and acting that goes far beyond the Method.

STORY SIX: WHAT’S IN A NAME?

by Jonathan Santlofer

Well-known artist and award-winning writer Jonathan Santlofer, who has often explored the dark psychological makeup of criminals and sociopaths, here crafts a tale of murder and identity that is both heartbreaking and terrifying.

STORY SEVEN: HELL OF AN AFFAIR

by Duane Swierczynski

Duane Swierczynski reveals the dizzying spiral of duplicity that drives L.A. Noire character William Shelton into a headlong collision with the wrong side of the law.

STORY EIGHT: POSTWAR BOOM

by Andrew Vachss

Andrew Vachss, an attorney specializing in child protection, always takes on important and disturbing social issues in his work—whether in fiction or in real life. Here is a pointed, painful look at the bitter racism, shaped by prejudice and combat, that fuels a couple of postwar hit men.

About the Authors

About L.A. Noire

New from the authors of L.A. Noire: The Collected Stories

Copyright

Copyright Acknowledgments

Introduction

Charles Ardai

On the infrequent occasions that I make it out to L.A., to work on the cop show I have a hand in, I always make time to have dinner at Musso & Frank. They’ve been serving the same menu since 1919, the same steaks and chops, the same sauerbraten and lobster thermidor. The seats at the counter in front of the grill have the same buffed leather upholstery, and if you lean in close you can see rings on the bar left behind from Raymond Chandler’s shot glass.

They say he wrote parts of The Big Sleep here, maybe all of it. They say Jim Thompson, author of The Killer Inside Me, often drank himself into a stupor here and had to be helped home. Charles Bukowski, too, and F. Scott Fitzgerald—writers of all stripes used to pickle themselves here. But because of Chandler and Thompson, and because of the look and feel of the place (it could be a set from Chinatown; it was, in fact, a set in Ocean’s Eleven), it’s got a special spot in the hearts of writers and readers of crime fiction. And not just crime fiction—the particular sort of crime fiction we call noir.

You might wonder why a crime writer living in New York would have to fly across the continent to Los Angeles to have a proper noir experience. It’s the same reason that the folks at Team Bondi and Rockstar Games decided to recreate L.A. inside a computer to give gamers the ultimate noir (or noire, if you prefer) environment to explore. If you want a proper Western experience, you go to Tombstone, Arizona; for romance, you go to Venice or Rome. For noir, you go to L.A. Ironic, I suppose, given how strongly California is associated with brightness and sunshine; even more ironic given how synonymous Hollywood is with happy endings (if you say that a movie has a “Hollywood ending,” you mean pretty much the opposite of what goes on in a film noir). But facts are facts, and for generations of readers and writers and filmmakers, L.A. is noir central.

I don’t think this is in spite of Hollywood’s sunny associations—I think it’s because of them. Nowhere on earth do you get to witness more clearly the collision between fantasy and reality than in L.A., the clash between the dreams being spun for the cameras at twenty-four frames per second or enjoyed by stars in the mansions of the Hollywood Hills and the dire existence being lived by the other 99.9 percent of the population, the one doomed never to make it to the Technicolor side of the rainbow.

Musso & Frank is located right on Hollywood Boulevard, a street that is literally paved with stars—you don’t get more dreamlike than that. But the last time I walked that stretch of pavement after the sun went down, I saw a young man in handcuffs being jammed into the back of a police car; then I was approached by another man walking along with his hands in his coat pockets muttering hopefully, “Medical marijuana… Medical marijuana…” Darkness and light. Pawnshops and drug clinics and tranny hookers plying their trade on the same boulevards on which chauffeur-driven Bentleys and Maybachs ferry studio executives working out hundred-million-dollar deals in the backseat. Would-be screenwriters and actors and makeup artists living on Craigslist gigs and ramen look up each night and see the Hollywood sign staring down at them from the mountains—so bright and clean and hopeful and impossibly far away. Yes, every major city has slums, has desperate people living desperate lives—but only in L.A. do the slums come with a view of Shangri-la.

L.A. Noire: the stories.

When Rockstar Games set out to create a classic noir experience, they realized that there were two equally important elements that had to be present: the look and feel, which had to immediately conjure up the unforgettable sights and sounds of the great noir films of the 1940s and ‘50s (and their neo-noir cousins from the 1970s and beyond), and the storytelling. Focus only on the sights and sounds and you have an empty shell, a pastiche. Anyone can put stick figures in trench coats and fedoras, slap some saxophones on the sound track, and call it noir. What makes genuine noir is not just the atmosphere but the stories—heartrending tales about people facing terrible situations and, all too often, not surviving.

And what better lens through which to view these stories than the eyes of a cop? The characters involved in any particular crime get to see only the events of that one story—a cop gets to see them all. So L.A. Noire puts you into the shoes of Cole Phelps, an ex-marine now working for the LAPD, a more or less clean cop in a more or less clean department with the good or bad fortune (you decide) of having worked his way up to the homicide desk during one of the most notorious years in LAPD history: 1947. That was the year that opened with the discovery in a city park of the mutilated body of Elizabeth Short, nicknamed the Black Dahlia by the newspapers; and as the year wound on, other women, one after another, were found murdered in gruesome and sadistic fashion—this one strangled with a stocking, that one beaten to death with a claw hammer, yet another found with obscenities scrawled on her corpse in lipstick. Arrests were made in some cases, but the Dahlia’s killer was never caught. And the problem is… who knows how many of the other murders the killer was responsible for? In some cases, it’s possible that not only did the guilty party not go to jail, an innocent man went in his place.

That’s the thoroughly noir real-world backdrop against which the stories of L.A. Noire unfold, and although Cole isn’t assigned the Dahlia case itself, many of the cases Cole does investigate are ripped straight from the headlines of the day. You’ll get to examine that lipstick-smeared corpse yourself—better have a strong stomach. And lest you think that catching a latter-day Jack the Ripper is all you have to do to earn your pay, rest assured that Cole Phelps’s workday is a long and full one. There are arsons and explosions to look into, vice cases involving fixed boxing matches and reefer peddling (Medical marijuana… Medical marijuana…), hit-and-run cases that hide sordid marital infidelities… oh, and some cases that are tied directly to the film business, though the films involved might not be the sort you’d find playing at your local theater.

Depends on your neighborhood, I guess.

These, then, are the stories in the game, and a satisfyingly sordid lot they are. But the Rockstar crew wanted to go even further on the storytelling front, wanted to give players an extra treat while also tipping their hats to the literary element that has always been central to the world of noir. What they did was invite some of the most acclaimed living practitioners of the noir storytelling art—literary figures such as Joyce Carol Oates and Francine Prose, giants of the crime-writing world such as Lawrence Block and Andrew Vachss, award winners and stylistic innovators and cross-genre geniuses such as Joe Lansdale and Megan Abbott, Jonathan Santlofer and Duane Swierczynski—to each write a new short story inspired by the world of L.A. Noire. Some of the stories use particular cases from the game as a jumping-off point, others simply share the game’s setting and era and spirit—but they all give you a view of humanity in extremis, of the beaten-down and those who savagely dole out the beatings, and of the thin blue line that tries, not always successfully and not always in ways that are strictly legal, to stand between the two.

It is perhaps worth noting that, to the best of my knowledge, not a single one of these authors lives in L.A. The closest is probably Joe Lansdale, who lives in Texas; otherwise it’s a bunch of New Yorkers, a Philly boy, a Jersey girl.

Doesn’t matter. L.A. is where you come to drink at the weathered bar with Chandler’s ghost—to luxuriate in the shadows, to walk the mean streets, to remember, if you’re a noir writer, where it is you came from. In its way, what Rockstar has done is invite eight of the finest writers in the business to a dinner at Musso & Frank—and what a feast it is.

So: tuck in. Napkin in the shirt collar, knife and fork at the ready—you’re going to be served a rich and subtle and darkly delicious meal, savory in its unsavoriness. Just keep your wits about you. It takes a while to finish an eight-course meal, and it’s getting dark out there. By the time you step out onto Hollywood Boulevard again, there could be some dangerous souls sharing the street with you. And, yes, those are police sirens you hear in the distance—but if there’s one thing L.A. Noire teaches us, it’s that the police don’t always make it to the scene in time.

The Girl

Megan Abbott

The house was famous. A Mayan fortress made of ferroconcrete blocks stacked like teeth. A powerful man lived there. June had heard of it long before this, her first introduction.

The talent agent who brought June called it the Shark House.

It was in Los Feliz and you could drive by a hundred times and miss it. But once you saw it, you couldn’t turn it away. There were no windows. The tiny lawn sloped up, feathered with ivy that looked red in the strange light. It was a house that seemed to hold things inside. You felt you might be walking into a maw. You were.

“Huston will be here,” the agent said. “Key Largo. The part’s perfect for you.”

“Claire Trevor’s got it sewn up between her thighs,” June said softly, looking up at the house from the open door of the agent’s middling car. “Ten years, every bed I land in is still warm from her.”

“She’s not married to Guy,” the agent pointed out.

“You can see how far that’s got me,” June said.

The agent was very young, with a scruff of dandelion hair, a splashy tie, and shiny cheeks. She almost wanted to take a bite out of him. Then spit him out.

There were always young men like this and, for a decade or more, they’d look at the line of June’s bust and her slanting smile and figure maybe they could sell her. But she looked in the mirror and saw everything.

Two years ago, she’d married Guy, who ran sports book on the West Side for Mickey Cohen and liked to trot her up and down the Strip, his “actress wife.”

Now, the talent agents saw different kind of possibilities in June, different ways to lay odds. They knew producers cast actresses for all kinds of reasons, including big vigs they needed to pay off, big secrets they needed to hide. Sure, her carnival days might be over, but she may still have sheen left, they told her.

But June had long given up on sheen. She wanted a job.

“What does it matter?” her friend Gladys asked. “You married the honeypot. Just slip on your silver mink, prop your feet up, and listen to Dick Haymes all day.”

Sometimes she considered it.

But June held onto a few small things from when she first came to the City of Dreams. A button from her baby brother’s shoe, her first pair of silk stockings, and a deeply felt longing to show someone something sometime. Something inside her that no one else had ever seen. All these years of lifted skirts and pearl-mouthed hangovers hadn’t scrubbed that yearning away. It was her favorite part of herself and she would not let it go.

When June was young, before her father left the first time, before he became a forgotten man and ended up in Chicago and married a hotelier’s daughter, a bigamist in three states, by her mother’s count, he would pull her on his lap and read her stories from a big book with crumbling foiled edges she liked to touch while he read.

She would lie against his humming chest and watch the gold dust gather on her fingertips.

The story she always remembered, her favorite, was the one about the miller who had fallen on hard times. One day, the devil approached him in the woods and promised the miller all the riches in the world in return for what stood behind his mill. The miller, knowing all that lay behind the mill was a gnarled old apple tree, eagerly agreed. What he did not realize was that his beloved daughter, at that moment, was standing behind the mill, sweeping the yard. And now she was the devil’s own.

It was a long story, with many turns, and June couldn’t remember all of it, but she did remember this: the devil tries to take the daughter but is unable to because she is pure. He tells the miller that he must chop off her hands. The miller cries and cries and his daughter hears him. The daughter, who loved her father, held out her hands.

“Dear father,” she said, “do with me what you will.”

At this point, June’s father always lifted his hand and dropped it on June’s tiny wrists and laughed. They both laughed, maybe.

“That’s a terrible story,” her mother would say, from the laundry tub.

“It is,” her father would reply. “But she loves it.”

As they walked up the pathway to the house, the fleshy succulents tingling around them, the air itself changed, became wet and thick and scented. The leaves curled against June’s face, cradling her with long fingers.

Slipping her mink from her shoulders, she felt, for the first time in long while—years, maybe—nervous, though she couldn’t say why.

The agent was talking behind her.

“I know Georgie Tusk will be here. He’s running B unit over at Warner Bros. and he’s got big eyes right now.”

But June had met Tusk a dozen times at three different studios, and no soap. Women she knew, starlets, made jokes about him, how he was married to that beautiful actress who was big the decade before and all he cared about was poking his tusk in her and they couldn’t get any flash from him.

Suddenly, there were voices buzzing in front of them and another couple was suddenly there, suspended at the front of the house. A man in a pale seersucker suit and a big-eyed girl with tight curls and a coral gash for a mouth. Her face was the studio mask but behind it was something else, maybe something softer. You could never tell, though. And June had long ago stopped trying.

The stacked blocks of the house were white under the moon. Everything looked wet, gleaming, like teeth. Everything was like teeth.

“It’s a cave,” the girl whispered.

“A lair,” the seersucker man said.

“A tomb,” the agent joked, but his voice went high.

When June first hitched to Hollywood, age fifteen, a man picked her up outside of San Francisco. He drove her to a place called the Moaning Cavern, near Vallecito. He told her that, inside, all the mysteries of life would be revealed to her.

They walked a long way until they reached a space so narrow they called it Pancake Squeeze, and he did in fact show her what life was all about.

He also gave her bus fare for the remainder of her trip. On the way out, a stalactite pierced his hat, and June was glad.

Since then, and a thousand thens thereafter—“Let me show you my private office,” “Won’t you come to my wine cellar, baby girl?” and “I have a little house out in Malibu with a peach of a view”—June had stopped feeling scared of men taking her to dark places. In the end, the dark places were all the same, and you’d better get a mink coat out of it or you were a fool.

The coral-mouthed girl next to her did not have a mink, but she had a leopard swing coat, which she dragged along the ground.

“I heard about something that happened here,” she said. “I know a girl.”

June had heard things, too. About the house’s owner, everyone had. An elegant widow’s peak and a European way. A collector, an importer, a private dealer in things, objects. No one knew. She had seen him once at the Mermaid Room, where girls swam in tanks, their twitching smiles painted red, fingertips tapping on the glass. Eyes hidden behind a green-tinted pince-nez, he did not look up at the girls but seemed always to be whispering in the ear of his date, a tanned woman with a square face and large slanted eyes, a thicket of peacock feathers spiked through her brown hair.

June had heard he was a man acquainted with artists and occultists and intellectuals and all the other people who made June feel, despite her I. Magnin suits and cool voice, like a Woolworth’s counter girl who turned tricks every other Saturday night.

“What’s the big deal? Another rich stiff with a taste for Tinseltown trim,” the agent said.

The seersucker man, whose hair was white-blond, and his eyelashes, too, blinked three times but said nothing.

The entrance was hidden under the slab projecting from the center of the house, its heavy tongue. There, on the copper gate, the chevron pattern repeated itself, slashing wrought arrows pointing up, into the house’s dark interior.

The seersucker man pushed it open and they crept up a stone steps to a front door with a flickering glass lamp at the top, a Cyclops eye.

They turned, and turned again, and June felt something brushing her ankle, and it was the girl behind her, the feathers on her gown quivering.

Finally, they found the door, which opened with a shuuusshh.

The girl gasped.

“Oh,” the girl said, as they found themselves in an outdoor courtyard lined with canted columns, wall torches pluming flames, light blazing hysterically from the rooms that faced it.

Through half-open doors, June could see women with severe hair and pendulous earrings, their arms laced high with Mexican bracelets. Men with pencil mustaches and the slick look of morphine and Chinatown yen-shee, their cuff links dropping to the floor, their heads loose on their necks. Some were dancing, hips pressed close, and others were doing other things, straps slipping from shoulders, bracelets clacking to the tiled floor.

Everyone seemed to be having a marvelous time.

Then June saw, under a darkening banana tree in the center court, two women, ruby-haired both, their bodies lit, swarming each other, their silver-toned faces notched against each other. They were famous, both of them, famous like no one ever would be again, June thought, and to see their bodies swirling into each other, their mouths slipping open, wetly, was unbearably exciting, even to June.

“Let’s see the sights,” the seersucker man said, gesturing inside one of the rooms.

But suddenly the coral-mouthed girl didn’t want to and June’s agent had a darting look, and said he’d spotted George Tusk and had a sweet deal he wanted to seal over a pretty girl’s bare back.

The seersucker man drifted away and it was only June and the girl.

A dark-haired man in glasses came up to them. He had in his hand a tall green bottle and a pair of balloon goblets crooked in his finger.

“Please?” he said, lifting the bottle.

“Are you the owner?” June asked.

The man grinned wetly, his face a white streak under a torch flame.

Slowly, he set the glasses on a rosewood table and poured the green liquid from the bottle.

“Are you him?” June asked again, the alcohol—whatever it was—hitting her the second it hit her tongue, tingling through her mouth like cocaine.

“Oh,” the girl said, touching her greening lips. “It’s very fine.”

The man starting talking to them about the Mayans.

“They’d fasten a long cord around the body of each victim. After the smoke stopped rising from the altar, that meant it was time.”

June was not listening because he did not look important. He had rolled up his shirtsleeves and she saw a tattoo of a woman with a long webbed tail on his forearm.

“They’d throw them into the pit,” he was saying. “The tribe would watch from the brink and then pray without stopping for hours. After, they’d bring up the bodies and bury them in a grove.”

June couldn’t really hear, her head starting to feel echoey and strange.

The man was suddenly gone and June couldn’t remember him leaving.

What had they drunk? She felt her dress slipping from her shoulders, her own mouth seeming to go wider, spreading across her face.

She felt the girl’s hands on her, and they were walking on the faintest of feet, their tiny shoes tapping on the courtyard.

They stood under an arching tree hung thickly with long soft blooms like red bells. The bells tickled June’s hair and made her skin rise up.

“I’ve been here before,” the girl said, eyes saucering. “Have you?”

“No,” June said, brushing the blooms from her face, the musked scent from her nose. “I don’t think so. Do you know the owner?”

“I’ve been here before,” the girl whispered. “I know where that hallway goes. I was brought here. I had something done to me here.”

June didn’t say anything, but the way the girl was tingling her arms around her bare shoulders made her skin quill.

It was later, maybe much later, and June was shaking off the drink, which had fallen on her like silk, flooding her mouth and covering her eyes.

Things were starting to turn, and there seemed no life to anything suddenly, not even the bodies pressed close. The girls had hooded eyes, stone faces, lacquered bodies, hard and merciless. The men didn’t seem to have faces at all, only smears of antic pleasure, over as quickly as it began.

Maybe there was more, June thought.

But she and the girl were sunk deep into a low velvet couch and it was very hard for her to get up. Finally, she did, and the girl followed.

It had been years since she’d fallen for slugged booze. When a different man came, this time with a gold-flecked decanter, June refused and the girl did, too, her eyes already like Xs.

“In three weeks, it’ll be 1947,” the girl whispered, then turned and seemed to look at her, blankly. “Did you ever think you’d be so old?”

June, her head a greening fuzz, felt certain the girl meant you, you, you.

She felt something rancid rise up in her and that she might say something very cruel, but then she started to wonder if the girl had meant it that way, or had said anything at all. Had she?

There was music coming from the far end of the courtyard and it drew them, beguiled them.

Trawling, hypnotized, across the courtyard, through the low thicket of agaves, their crimson-tipped leaves a woman’s nails, razored to crimson points, they couldn’t stop.

There was a narrow hall that emptied down into some stone-stepped subterranean keep. From within, they heard laughter, keening.

“I wonder what’s down there?” June asked, the girl’s fingers prickling on her.

“Is that you, Junie?” a voice shouted from below, the talent agent. “Guess who’s down here.”

“Huston?” June whispered into to the black, the drink still telling on her, her fingers seeming to slide down the stone wall, which felt wet and private.

“Come down,” he said, his voice manic and unwholesome.

Before she could do anything, the girl grabbed onto June so fast and hard June felt herself nearly fall.

“I don’t think I can go down there,” the girl said. “I think I’ve been down there before.”

June looked at this frailing girl, a girl like so many she had known. A girl to whom things just happened. June was not that girl and hadn’t been for some time. It had cost her.

“Suit yourself,” June said, louder than she meant, trying to talk herself into something. “I need a job.”

She said it hard, but it was an act. The look on the girl, her mouth open and pink, scared her. It reminded her of girls she knew back in Missouri, that family down the street. The Huffs. The girls were never allowed outside. The father hung a razor strop in their bedroom window so boys would stay away. One day, Sally Huff came to school with a red line down her face. In calisthenics, June saw it, the way the red line went all the way down to the top of Sally’s bloomers, and below. At the time, June wondered if any man would ever care about her so much.

Leaving the girl, who kept calling after her (I don’t think you know, if only I could tell you), June weavingly made her way down the stairs.

Which only led her to another narrow hallway of curving stone, waxing candles strutted along the walls.

There were strange crooning chants coming from somewhere, a drumbeat like one of those jungle movies June always found herself in, except nothing like that.

Because there were smells she couldn’t name, sounds, the sense that the house changed as you moved through it, that you could keep walking and end up in places you never guessed, the house like one of those puzzle boxes, only you’re in it. And it’s in you.

Slowly, in the near-dark, she moved down the first long hallway.

It was a honeycomb, the wetness on everything seeming to cling to its cold walls like nectar.

Her arms quilling, she slid her mink back on, fingers clasped over the frog closure. It made her think of Guy and the things he was good for.

“June, is that you?” she heard the agent say, from somewhere, and soon enough he was at her side, his face a red flame under the torchères. “I’ve got to… I’ve got to…”

His lips were doing funny things and June couldn’t understand him.

“Is it John Huston? Can I talk to him about the part?”

“He ain’t here,” the agent said, shaking his head, his shirt open and wetly red. “I don’t know what kind of man the owner of this house is, but there’s things I don’t care to see. I have a sister. And a wife.”

“You also have a blonde stashed in a duplex on Sunset,” June said, telling herself he was just high, guilty. “How about George Tusk?”

“He ain’t for you,” the agent said, shaking his head harder, like an animal in a cartoon. “And you ain’t for him.”

“Some rainmaker, you,” June started, but the agent started leaning against her, rested his head in her hair and started whispering strange words, like a chant. She couldn’t understand them and she’d never seen him like this. She’d never seen one hair slip from its Vitalis pomp.

“I think we should go,” he said. “I think we should.”

But something made June pull from him.

“I don’t want to go yet,” June said. “I want to see what you’ve seen.”

When she had first landed in Hollywood, young June had twenty-seven dollars papering her powdered breasts under her swiss-dot blouse. She was an orphan, her mother lost five years before to spots on her lungs and her father knifed in the neck shooting dice behind the Southern Pacific roundhouse two months back. Three days after he died, she found he had left her a shoe tip full of small marked bills in her closet, in her white T-straps.

Written on one was a note to her: “Daddy loves you and your big gold dream.”

The first few years in Hollywood, times were hard and she shared apartments, rooms, even, with a hundred girls, their shared pillowcases flossy with their peroxided hair.

Working counter girl, working as an extra, working as a department-store model, a girl to look pretty at parties, she got by, barely. She even filled her teeth with white candle wax when they turned brown and died.

She said she would do things, and she wouldn’t suffer for them. She’d seen where suffering could get you, and it wasn’t her bag.

So she hustled and hustled and finally found the ways to get all those small roles at Republic, B-unit jobs at Fox. She never could be sure, though, if she was making headway or running on her last bit of garter-flashing luck.

Until she met Guy. He wasn’t very smart, or very nice, but he was crazy about her in the way men could be. The hard way she fronted her shoulders, her stupendous breasts, the way she could make him milk pudding and then tug down his pinstripes and show him what her mouth was for. It was all he needed to want to marry her. She was sad to learn what a relief it was. To find a man like this, who, before her, had lived with his mother his whole life, God rest her soul.

And, for the first year or so, she’d stopped the auditions, standing or lying down, kneeling. She didn’t even go to pictures anymore. She was content.

But that feeling had gone away, too, like everything did, always.

It felt like the basement was larger than the house, deeper than a tomb. She walked endlessly, until she seemed to wind up where she started again.

Finally, she saw two producers she’d auditioned for many times. They each had one leg of a limp girl, carrying her, her claw-tooth anklet clattering against the stone wall. They were laughing and the girl was, too, but her body was so limp and her dress had fallen open, her breasts skittering with each swinging move they made. Her laughter reminded June of her mother’s when her mother would go for days not eating, dancing around the living room, raving about her dead babies lost to pennyroyal tea and curling irons.

And that drink would still not go away. Her face felt hot and fluid, like if she touched it it would scald her.

Resting her hand against the wall, June felt it slide and there was a whole new passageway that, she realized, must be underneath the courtyard, because it had the same arcade of rooms, but different things happening in them. Or the same things, only very different.

June felt suddenly like a hard-rock miner who had at last struck gold.

These rooms had no doors, only beaded curtains, and June had to look in all of them.

White arms like spokes from under tangles of green satin—these were things June had seen many times, except it all felt different. Maybe it was the blank faces of the strange stone statues, the lacquered masks cusping from the walls, eyes of blue jade. Everything gleaming and lifeless.

The aura of lush jungle ruins, sweet and rotten.

There were strong smells and noises that started as pitchy squeals and thuds, but when you listened longer turned into odd scrapings and the keening of a sad cat.

She had been to many Hollywood parties since she first stepped off that Greyhound in downtown Los Angeles with those twenty-seven dollars. She had seen many things, sometimes across a party, sometimes across a room, a bathroom stall, sometimes right in her own hands, once shaking, now still, cold, professional.

But she had not seen this, not like this, not here.

There was something in these rooms June knew and was sorry she knew. She had not been in rooms like these but she felt she had. She felt suddenly like the rooms were inside of her.

And in the last room on the left she saw Georgie Tusk, naked, stomach billowing as he rested on a lacquered chaise. Eyes fogged, lashes wet, he was touching himself and some other body on the bed, some long limb—all while watching something happening at the foot of the chaise.

There, against a wide settee of spiky banana bark, kneeled a beautiful woman. Georgie Tusk’s wife.

June recognized her from when she was a girl, this shivery platinum star who tinkled through a series of Paramount society pictures, her skin ice-white, satin creaming across her hips, jewels dripping stalactites from her ear lobes, her neck. She was always the Wealthy Wife, the Long-Throated Mistress, the Rich Divorcée on a tear, her voice warbling like a mouth full of cold marbles but her face, glorious.

June always remembered her famous close-up in Our Stolen Hours.

Robert Taylor leaning over her, eyes lit with passion, mouth craning to reach her stemlike neck.

And her face, the eternal Ice Bitch’s face, finally releases itself. Her eyes blurring, expression going soft with desire. The most beautiful woman the world had ever seen.

Until you spot the mirror glinting behind Taylor. Until you see she is gazing at her reflection. The deepest longing ever, for one’s own miraculous visage.

Watching through the beads now, June could not see the actress’s face clearly because it had been buried under the stiff gingham skirt of a very young girl folded in that banana-bark settee.

A girl in a jumper, her face stitched with terror and elation. And the movie actress doing things, her hands hard on her, and everyone watching. And June felt herself tilt, reaching for the shuddering bead curtains, but they were too far, everything was.

The sound of the shimmying curtains drawing everyone’s eyes, the actress’s face untufting from the girl’s skirt and turning to face June.

That face, marble, calcite, ivory tusk.

And the actress smiled, cooingly.

And June knew the night had only begun for them.

Join us, Mr. Tusk was shouting, his face frenzied, his hand tugging on the bare leg beside him. A leg June now saw belonged to a young boy, a stripling with a chipped tooth and a face flush with opioids. He was not moving but was sleeping deeply, like the schoolboy he was.

June stumbled backward.

Join us, lulled the movie actress, mouth gleaming, wet.

Weaving down another long hall, breathless and eyes stinging, June could still hear them calling.

After a long time of walking in circles that seemed to knot tighter and tighter, she stopped and leaned against a wall.

Listening to her stertorous breaths, she knew that she had reached some kind of dropping-off point. That she had entered the maw of this great terrible house and now had sunk down its tawny gullet into something she could not name.

She had—one foot still hitched on the steps of that Greyhound—thought she wanted something, thought she’d do anything for that thing. Until now that the thing was here. And it surrounded her. Maybe it was her, had become her.

At that moment came the milky whisper on her shuddering neck.

Her heart clutching, June turned and saw nothing but the dark wall, its surface thick and shiny, like the shell of a beetle.

But then she realized something was hiding behind the wall. Like a scurrying rat.

The wall itself then moved, like a carapace clicking loose, and out came a young girl, long-limbed and sylphlike. A slipper of a girl in a pale-blue nightgown threaded with ribbon. With furring braids and eyes winsome as Margaret O’Brien’s.

“I’m Tinka,” she whispered, smiling. She had tiny front teeth, like a baby’s. “Who are you?”

“What are you doing here?” June said, surprised at the raggedness in her voice. “Honey, can you tell me what you’re doing here?”

“Where else would I be?” The girl grinned, twirling the string on her nightgown. “I live here.”

“You live here?” June said, not quite believing it. “How?”

“With my uncle,” she chirped. “He’s practically like a father.”

“I’ll bet he is,” June said.

Tinka nodded and smiled and some of the spritely glint dimmed. Just the faintest bit. Like she was touching some awareness she couldn’t quite reckon with yet.

“I guess everyone has an uncle,” the girl said, softly.

“Yeah,” said June. “Sometimes more than one.”

“Were you in one of the rooms?” Tinka asked, and June felt she could still hear the beaded curtains hissing, feel them pressed against her.

“No,” June said. “Not yet.”

She wanted to leave, but the girl reached out and curled her baby fingers around her wrist.

“Would you like to meet my friend?” she asked.

Tucking her tiny arms behind her, Tinka seemed to, as if by magic spell, pull another girl from a niche in the beetle-curled panel behind her. It was like a story, one in a dark house with secret chambers and bodies buried behind catacomb walls.

The girl was very pretty and had a red rash flushing up her face.

“I’m Edna,” the girl said, “but I’m changing my name.”

She had the clear blue eyes of a church girl and a spray of rosy pox scars by her braid-tight temple.

“What do you think of Rebecca?” she asked, her tongue lisping. “Or Jessica? I think I could be Jessica.”

June was sure the girl was not yet fourteen.

The three of them sat on a stone bench, Edna with one leg propped up, plucking her toes. Tinka got up and starting spinning.

“I’m just like Sonja Henie,” she said. “Aren’t I?”

June wondered what she was doing here, but she could not leave.

“You’re so pretty,” Edna said to June, her fingers reaching out and touching the silver pelts on June’s coat. “Are you in the pictures?”

“No,” June said. “Yes.” Both answers seemed true.

“My mother was a famous model,” Tinka said. “Before she got the Bright’s, she had jet-black hair and alabaster skin.”

“Now Tinka lives with her uncle.” Edna smiled, those jaws churning over her gum.

“He’s is very handsome,” Tinka said. “You should really meet him. When he picked me up this afternoon at the Chili Bowl, all the girls said he looked like Cornel Wilde. He always says I should invite my friends over whenever I like.”

Tinka reached out and touched Edna’s downy cheek. “But I could tell he liked her best.”

Watching her, June knew suddenly that Tinka, in her smocked nightgown and with ribbons in her hair, wasn’t a girl at all anymore but something else. She felt she could see sharp teeth poking from the corners of her mouth.

“There’s a man here,” Tinka said. “With white hair and spectacles.”

“He makes jungle pictures,” Edna chirped, lifting herself up, her palm pressing down on Tinka’s shoulder. “He saw us by the pool in our suits.”

“He said she had ants in her pants,” Tinka said, her eyes glittering as she surveyed the girl, the girl’s feather-softness. “He said he could tell by looking at her.”

Watching Tinka, June remembered a hundred introductions she herself had made, more and more of them as she was no longer the one being introduced. Everyone already knew her, the softest pair of very fine shoes. Now, at nightclubs, at parties, coming out of powder rooms at private homes, June was the one who made the introductions, facilitated the transaction, occasionally procured the goods. The girls.

These girls, all of them, always looked just like Edna might in five years.

At Edna’s age, these girls were still back in Omaha, Cleveland, Poughkeepsie. Were still yawning through algebra class at PS 12, sitting on midwestern front porches with firmly belted suitors. In church with their fathers.

Edna smiled at June, her face flushing, her body shifting, like it itched. Like she had ants in her pants.

“Do you think I could try your coat on sometime?” the girl asked her.

They both looked down at June’s smoky gray pelts.

Before June could answer, Tinka leaped to her feet.

“It’s time,” she said. “I’m going to check on the pink room.”

They watched as Tinka prowled down the hallway, her nightgown billowing like a polluted angel.

“Just you wait,” Tinka was saying as she skittered away.

Edna kept talking, but June was remembering something. The girl in the story her father used to tell, the girl with no hands. And how a king heard what had happened to her and because she was so beautiful and pure, he fell in love and had silver hands made for her, and took her as his wife.

“Do you think he’ll put me in a picture?” Edna was saying. “Like Dorothy Lamour?”

June looked at the girl, gum slipping in and out of her unkissed lips, but said nothing. She was working something out. About these girls and what was happening.

“All the important movie people all come here,” Edna said, flipping her braids with her fingers. “They put you in a big pink room with a big pink bed. Like Lana Turner might have. There’s even a lamp with a pink bulb in it.”

June knew all about pink rooms. For ten years her whole life had been pink rooms. But she knew pink rooms here might be even worse than the beaded-curtain ones.

“And they ask you to perform scenes,” Edna said. “I think I will do Jennifer Jones from Song of Bernadette. Tinka says it’s a magical room and I will never forget it.”

“Take your gum out first,” June said, hard as she could. Hard so her voice would not shake.

But Edna just giggled.

As June watched her, something was happening inside.

She was seeing a girl age seventeen, plaited hair and middy blouse, slipping off a bus at Sixth and Los Angeles Street a dozen years ago.

The whole ride down, nearly two days, this girl could think of nothing but what she had done with the man in the cave. But that it was okay because the man smelled of Pinaud’s Lilac and was a talent agent and had an office on Hollywood Boulevard, or so his creasy card said. The girl was sure there would be many more cards.

The girl—all those years still ahead of her, her teeth turning soft and the rest of her hard—who believed in everything with a pure, pure heart.

The girl who just knew that the world would give her things because life had been hard already and she was very pretty and was made to be a star.

The girl who had written, in grease pencil, on the inside of her cardboard suitcase, “Daddy loves you and your big gold dream.”

The girl who held her hands out, wrists up, for every man with a casting sheet and a promise.

June slipped the pearl-gray pelts around the young girl’s shoulders.

“I didn’t think you’d really let me,” the girl said.

“I wasn’t sure,” June said.

“Are you taking me to the pink room?” the girl asked as they rose.

“Yes,” June said. “That’s where I’m taking you.”

The walls were cold and even wetter and June held the girl’s hand behind her the whole way up.

The girl tried to stop under the heavy hanging red bell tree. The coat tangling beneath her, she tried to fix her shoe.

“You can’t stop here,” June said. “You can’t stop.” And she grabbed the girl’s hand tighter, which was cold as silver.

“Don’t stop,” June said. “And never let go of my hand.”

In the courtyard, with all the stone faces turning, all the ivory heads lifted, tusks raised, June pulled the mink over the girl’s head.

No longer lost, June guided the girl through the flaming center of the house, which she knew better than her own. Better than anyone.

She didn’t let anyone see the girl.

See the Woman

Lawrence Block

Red light’s on, so I guess that thing’s recording. This whole project you’ve got, this oral history, I’ll confess I didn’t see the point of it. You running a tape recorder while an old man runs his mouth.

But it stirs things up, doesn’t it? The other day—Wednesday, it must have been—all I did was talk for an hour or two, and then I went home and lay down for a nap and slept for fifteen hours. I’m an old man, I got up every three hours to pee, but then I went back to bed and fell right back asleep again. And dreams! Can’t recall the last time I dreamed so much.

And then I got up, and my memory was coming up with stuff I never thought of in years. Years! All the way back to when I was a boy growing up in Oklahoma. You know, before the dust, before my old man lost the farm and brought us here. Memories of nothing much. Walking down a farm road watching a garter snake wriggling along in a tractor rut. And me, kicking a tin can while I’m walking, just watching the snake, just kicking the can. Del Monte peaches, that’s what the can was. Why’d anybody remember that?

Mostly, though, what I kept going over in my mind was something that happened in my first year on the force. If it’s all the same to you, that’s what I’ll talk about today.

Now, you know I wasn’t but sixteen when the Japs bombed Pearl, and like just about everybody else I was down there the next morning looking to get into it.

They sent me home when I told them my age, so I waited two days and went back, and wouldn’t you know the same sergeant was behind the desk. This time I told him I was eighteen, and either he didn’t remember me from before or he didn’t give a damn, and they took me.

I went through basic and shipped out to England, and from there to North Africa, and what happened was they cut me out of the infantry and made an MP out of me. But I don’t want to get sidetracked here and tell war stories. I came through it fine and wound up back here in Los Angeles, and I’d been military police for better than three years, so after a few months of beer and girls I went down and applied to join the LAPD.

Now, what they would do then, and they probably still do it, is when they were done training you they’d partner you up with an older guy. You were partners, you’d ride around together, take turns driving, all of that, but he’s the guy with the experience, so he’s more or less in charge. He’s showing you the ropes and it’s something you can’t get from a book or in a classroom.

They put me in a car with Lew Hagner. Now, I’d heard of him, because he had a big part in the Zoot Suit Riots in ‘43, and there were plenty of Mexicans who’d have liked to see him dead. And after I was home but before I joined up with the department, there was an incident where he got in a gunfight with three zoot-suiters or pachucos or whatever you want to call ‘em. Mexicans, anyway. He got a scratch, treated and released at Valley General, and they were all dead on arrival. One of them, the wounds were in the back, and the press made some noise about that, but most people wanted to give him a medal.

Lew was fifteen years older’n me, and I was, what, twenty-two at the time? An old twenty-two, the way everybody’s older after a war, but still. Plus my old man died while I was overseas, and a fifteen-year age difference, plus he’s there to show me the ropes; well, I’m not about to say he was like a father to me, but you might say I looked up to him.

Anyway, we’re two guys in a car. And it’s good, and I’m learning things you don’t learn any other way. All the feel of the streets, and what might be trouble and what’s not. What you had to enforce and what you could let slide. When you had to go by the book, when you didn’t even have to open it.

How else are you gonna learn that sort of thing?

A thing he told me early and often was that domestics were the biggest headache I’d ever have. By that I mean domestic disturbances. You just say “domestics,” you could be talking about somebody’s cleaning girl.

A domestic disturbance, he said, you got two people trying to kill each other, and you walk in the door and they’ve got a united front. It’s both of them against you, and they’ll go back to killing each other as soon as you’re out of the picture, but for now they’re a tag team and you’re it.

And even when that doesn’t happen, Lew said, it’s just so fucking frustrating.

I’m sorry, I guess I should watch my language.

No, that’s all right, Charles. Don’t worry about anything like that.

Well, it’s how he said it. But I’ll watch it from here on in. I don’t know what you’re gonna do with all this stuff, but I might as well keep it clean for you.

But about domestics. You get a man’s beating his wife like she’s a rug, and the neighbors call it in or she calls us herself, and he’s there in his underwear, smelling like a bomb went off in a liquor store. And she’s sporting two shiners and a split lip, and that’s her tooth on the floor there, and you want to pack this bum off to Folsom or Q, and you’re lucky if you even get to haul him in. Because maybe six times out of ten she’s hanging onto his arm and telling you it was all a mistake, that she fell down, she’s just so clumsy. And the rest of the time you take him in, and he’s out the next day because she won’t press charges. Oh, officer, it was all a mistake, plus it only happens when he drinks, and he never has a drink except on days ending in a Y.

You get the picture.

Well, we had our share of those. Part of the job, you know? Then one night we get a radio call, “See the woman,” and it’s an address on South Olive. Don’t ask me which block, and anyway that whole part of downtown’s completely different nowadays. Whatever house it was, you couldn’t find it today. Torn down years ago and something else there now, and no loss, because it wasn’t the best part of town.

And Lew says, “Oh, hell, not again.”

And on our way over there he tells me about this woman, Mildred’s her name, and how her husband beats her like he wants to see how much damage he can do. And she won’t press charges. She can always manage to come up with an excuse for him.

“Oh, he really loves me. Oh, it’s my fault, there’s things I know I shouldn’t do because they make him angry, but I do them anyway. I don’t know what’s wrong with me.”

Like that.

“No kids,” he said. “Usually you see kids in situations like this. What they all got in common, they got the oldest eyes in the youngest faces.”

I knew what he meant. You’d see young troops come back from the front lines and their faces’d still be young. But not their eyes, on account of what they’d seen.

“He had kids and beat up on them, be jail tonight and the pen tomorrow. We wouldn’t need her testimony to put him away. But she’s the only one there, and she gets everything he hands out, and the stupid bitch keeps coming back for more.”

The houses on that block were painted different colors, but they were all the same idea—one story tall, and what we used to call bungalows. Maybe they still call ‘em that. I haven’t heard the word in a long time, but maybe they still use it.

This one was like its neighbors in that it had concrete where most freestanding houses will have a lawn. That’s where we parked. I guess she heard us drive up, because she met us at the door, wearing open-toe bedroom slippers and a housedress with the color washed out of it. Stringy blond hair, patchy red polish on her toenails. Imagine what she must have looked like, and it was two, three times worse than that.

He was in a chair, passed out, a bottle on his lap. Three Feathers, that was the brand. It’s a cheap blended whiskey, or it used to be. No idea if they still make it anymore.

The cap was off the bottle, and there was maybe an inch of whiskey left in it. Funny what you remember.

I forget his name, but it’ll come to me.

Lew said, “Millie, you about ready to press charges?”

“Oh, I don’t know, Lew.” Wringing her hands and not meeting his eyes, so you know all I don’t know means is No. “You all put my Joe in jail and then what am I gonna do?”

Joe, that was his name. Told you it’d come to me.

“Live your life,” Lew said. “Find a real man.”

“I got a real man, Lew.”

“Find one who keeps his hands to himself.”

“It’s my fault as much as it’s his, Lew. I know better than to say the things I say. But I go and get him upset, and he’s had a drink or two—”

“Or twenty.”

“—and he can’t help himself. I’ll be okay, Lew.”

We got back in the car, on account of there was nothing else for us to do, and the rest of the night Lew never said a word unless he had to. Long silences, and if I tried to start a conversation it didn’t go anywhere, so I let it go.

It wasn’t two weeks later that we got another call for South Olive. “See the woman.” Lew let out a sigh when he heard the address, and when we got there it was the same story, except this time Joe hadn’t reached the point of passing out. He was belligerent, and he ran his mouth a little, and that gave Lew the excuse to smack him upside the head. And all that did, besides shut Joe’s mouth, was make her feel the need to stand by her man. I said her name a minute ago and now I can’t think of it. Damn, what was that woman’s name?

I believe you said it was Mildred.

Millie, that’s right. A man gets old and things just come and go out of his memory. First I can’t think of his name and then I can’t think of hers. Joe and Millie, Millie and Joe. “Oh, don’t hit him, Lew, don’t you dare hit my Joe!” And they’re arm in arm, a united front against the damn cops.

We got out of there, didn’t even bother to ask about pressing charges. Would have been a waste of breath.

Rest of the night, same story. Lew’s quiet. We wind up in a greasy spoon a block from Pershing Square, sitting over eggs and home fries and coffee, and out of nowhere he says, “You wouldn’t know it, but that’s a fine-looking woman underneath it all. Beautiful girl, she used to be. Son of a bitch cost her her looks, along with her spirit.”

I asked how he knew her. He was quiet, then pointed out something on the other side of the room. Somebody he recognized. Far as how he knew Millie, I never did get an answer.

There may have been a third time we got called there, or maybe not. Hard to keep everything straight. But then our shift changed, and we were working days, and if there were any calls to see the woman at the Olive Street address, well, we were off duty by the time they came in.

I think there must have been other calls. And looking back, I think Lew kept up with it, checked reports. He had an interest that ran deeper than mine.

A month, maybe six weeks, and we rotated back to nights. I liked nights better. You didn’t have the traffic, and it was dark, and just being in the car was better at night. The things Lew would find to talk about, and the way a conversation would just twist and turn like an old river. And the silences, too. It was all somehow better at night.

Of course, domestics were the downside of working nights. Now, you’d have husbands drinking any hour of the day, so you could in theory have a domestic disturbance on the stroke of noon, but they mostly happened in the hours right after midnight. And we weren’t back on the night shift a full week before we heard the Olive Street address coming over the radio. “Seven-forty-four South Olive, see the woman.”

You hear that? I just remembered the street number, it popped right into my head. Now, ten minutes from now I may forget my own name, but right now I remember the address.

At least I think that was it. But you know it didn’t matter when I couldn’t remember it and it doesn’t matter now. All torn down now, anyway. I can picture that little house clear as day, for all that I only saw it in the middle of the night, but in a few years when I’m gone there probably won’t be a person alive who remembers it.

That’s when something’s really gone, isn’t it? When there’s nobody left who remembers it…

Sorry, I just got distracted there. Hopped a train of thought and disappeared into the distance. That particular night, well, it was the same as the others. Maybe he was passed out that time, maybe he was belligerent or ob—what’s the word I want?

Obnoxious?

Obstreperous. Maybe he was this or that, maybe he was apologizing all over the place. Whatever it was, at bottom it was the same story. She had some new bruises and he was the one that put ‘em there. And over the next couple weeks there were two or three more calls, just variations on the theme. No, she won’t press charges. No, it’s really her fault, and he’s sorry, and they’re married, and this is something for them to work out on their own, and she’s just sorry we had to waste our time coming all that way, but we can go now, and thank you very much.

“Next time we hear that address,” Lew told me in the car, “we acknowledge it, and then we’ll go grab a hamburger someplace. Why burn gas chasing out there? Why waste our damn time?”

Then we’d get the call again, and we’d answer it, same as always.

And then one night the call came in, with the usual address. One thing different: “See the husband.”

I said, “See the husband? What did she do, beat him up?”

Lew shook his head. He knew what it meant, and by the time we got there I’d pretty much worked it out for myself.

He met us on the front step, standing out there in his underwear, and there were bloodstains on the front of his undershirt. He was bleary-eyed, and he reeked of Three Feathers. It wasn’t just on his breath. He was sweating like a pig, and the alcohol was coming out of his pores.

“I’m sorry,” he was saying. “I didn’t mean it, it was an accident, I don’t know what happened, I didn’t mean it, I’m sorry.”

Same thing, over and over and over.

Lew led him inside, and I was surprised as to how gentle his hands were this time, as if all the anger had faded away, with sadness taking its place. He put the man in an armchair, found a bottle with a little booze still in it, and gave it to him. The man took a drink, then clutched the bottle to his chest, as if to shelter it from the world.

Or to keep us from taking it away from him.

We didn’t see Millie right away, but we checked out the rest of the house, and she was in the bedroom. She was sprawled on the floor next to the bed, blood all over, and her head at an odd angle. Lew knelt down next to her, tried for a pulse, put his lips to her mouth, shook his head.

“Oh, you poor baby,” he said. “You were dying by inches and now you’re gone for real. Ah, Millie, you couldn’t listen, could you? You just couldn’t, poor baby. By God, you deserved better than what you got.”

He stood up and looked surprised to see me there. Like for a minute there it was just the two of them, and him talking to her, and no one else in their world.

To me he said, “Well, we got the fucker now, Charlie. We get to slam the barn door on him now that the horse is miles away and gone forever. If they don’t give him the gas, he’ll spend the rest of his life in a cell. The one good thing that comes out of all this is the world’s through with him.”

We were talking about that, and speculating about his chances of winding up in the gas chamber, and what difference it made one way or the other, and then there was a sound from where she was lying, and we stopped talking and turned to look at her.

And she opened her eyes. She said, “Lew?”

Her eyes closed.

And opened again. “Where’s Joe? Is Joe okay?”

Her voice was very faint, her eyes unfocused. Lew drew a breath, let it out. “Jesus,” he said. It was somewhere between a curse and a prayer. Then he said, “Charlie, go get on the phone. Call in, get an ambulance out here on the double. Go!”

So I went back to the other room, where Joe was passed out in the chair where Lew had put him. I didn’t have a number for a hospital, so I called the operator and gave her the address and told her to arrange for an ambulance.

In the bedroom, Millie looked as though she’d been crying. Tears down her cheeks, along with the blood and all. I told Lew I’d made the call, and he lowered his voice and said he didn’t know if she would make it. “She goes in and out,” he said. “You’d better wait outside so they’ll get the right house. Flag ‘em down before they fly right on by.”

I was on my way, but I stopped in the front room to look at the husband. He’d slipped off the chair and was sitting on the floor with his head on the chair cushion. I thought to myself that this piece of garbage was one lucky son of a bitch. He was sitting on a one-way ticket to Q, and then she opened her eyes and set him free.

Free to do it all over again.

The front door was open, and I’d hear the siren in plenty of time, so I stayed where I was. And I sort of heard something from the bedroom, or half heard it, and while I was trying to figure out just what it was, I heard the siren of an ambulance maybe three, four blocks away.

So I went outside and stood on the front step, and I motioned to the ambulance and pointed out where they could park, and then Lew was beside me, hanging his head.

“I think she’s gone,” he said.

Joe went to prison. There was no trial, his court-appointed lawyer had him plead it out, and that way he beat the gas chamber. The sentence was twenty to life, and Lew said that wasn’t long enough, and swore he’d turn up at the guy’s parole hearing and make sure he didn’t get out early.

Never happened. Lew and I pretty much lost track of each other. I got transferred to the Hollywood Division, but I heard about it when he killed himself. That’s not what they called it, they said he was cleaning his gun and had an accident, but it’s funny how so many cops’d have a few drinks and decide they better give their gun a good cleaning.

That must have been around 1955. And it wasn’t more than one or two years later that the husband died in prison. It seems to me somebody stuck a knife in him, but I may not be remembering that right. Maybe it was natural causes.

Then again, in a state joint, getting a knife stuck in you is pretty much a natural cause.

Charles, is there anything more you want to say?

All these years I kept this strictly to myself. There were stretches when it was on my mind a lot, and other times I’d go months or years without thinking about it at all.

But I never said a word to anybody.

And maybe I should leave it that way.

Same token, all of these people are gone. I must be the only man alive even remembers any of them. Why do I have to keep their secret?

Thing is, I don’t even know what I know. Not for certain.

Uh, Charles—

No, this is what, oral history? What you call it?

Only way to say it is to say it.

When I’m in the living room, what I hear is a snapping sound. Like a twig breaking. It’s faint, it’s coming from the back of the house, and if I’m outside where I’m supposed to be I most likely don’t hear it at all.

And after the twig snaps, there’s like a little sigh. Like the air going out of something.

“I think she’s gone.” That’s what he said, and as soon as I heard the words I knew she was gone, and I realized I knew it from the moment I heard the twig snap.

The twig?

Easy to call it that, but I don’t remember seeing any twigs in that bedroom.

I didn’t say anything, and Lew didn’t say anything, and then one night he did. Slow night, quiet night, and we’re in the car. I remember he was driving that night.

Out of the blue he says, “There’s people in this world who never have a chance.”

I knew he was talking about her.

I just sat there, and a minute or two later he says, “Say she pulls through. So he kills her next time, or the time after that. Or the twentieth time after that. You call that a life, Charlie?”

“No.”

We caught a red light. More often than not what we’d do is slow down enough to see there was no cross traffic and then coast on through it, but this time he braked to a stop and waited for the light to change.

And while he was waiting he took his hands off the wheel and sat there looking at ‘em.

The light went to green and we moved on. Two, three blocks along he said, “This way she’s in a better place. And he’s where he belongs. You don’t know what I’m talking about, do you, Charlie?”

“No,” I said. “No idea.”

It wasn’t that much longer before they moved me to the Hollywood Division, which was an interesting place to be in those days. Not that you didn’t get domestics there, too, and every other damn thing, but the people were a little different. The same in many ways, but a little different.

Where was I?

Uh, the Hollywood Division.

No, before that. Never mind, I remember. It was maybe another month I was with Lew, before the move to Hollywood. And he never brought up the subject again, and I for sure never said anything, but there was one thing he kept doing, and it made me glad when they transferred me. I’d have been glad anyway, because the move amounted to a promotion, but it gave me a particular reason to be glad to get out of that particular radio car.

What he would do, he’d go silent and look at his hands. And I couldn’t see him do that without picturing those hands taking hold of that woman’s head and breaking her neck.

I guess he saw the same thing.

And is that why he sat up late one night, all by himself, and gave his gun a good cleaning? Maybe yes, maybe no. The things he supposedly did during the Zoot Suit Riots, far as I know he had no trouble living with them, or the other three Mexicans he killed, and he might have been the same way with this.

Because, you know, it was the only way that woman was gonna get out of it, the mess she was in. Look at it that way and he was doing the humane thing. And it was the perfect opportunity, because her husband already thought she was dead and that he’d killed her. So this way she’s out of it, and this way he goes away for it, and that’s the end of it.

So would it make Lew kill himself a few years down the line? My guess is it wouldn’t. My guess is he was feeling low one night, and he took a long look at his life, not what he’d done but what he had to look forward to.

Stuck the gun in his mouth just to see how it felt.

Here’s something else I never told anybody. I been that far myself. I remember the taste of the metal. I remember—now, I haven’t thought of this in ages, but I remember thinking I had to be careful not to chip a tooth. One trigger pull away from the next world and I’m worried about a chipped tooth.

I never broke any woman’s neck, or shot any Mexicans, or did any big things that weighed all that heavy on my mind. But looking at it one way, Lew pulled the trigger and I didn’t, and on that score that’s all the difference there was between us.

Of course that don’t mean I won’t go home now and do it. I’ve still got a gun. I guess I can clean it any time I have a mind to.

Naked Angel

Joe R. Lansdale

Deep in the alley, lit by the beam of the patrolman’s flashlight, she looked like a naked angel in midflight, sky-swimming toward a dark heaven.

One arm reached up as if to pull air. Her head was lifted and her shoulder-length blond hair was as solid as a helmet. Her face was smooth and snow white. Her eyes were blue ice. Her body was well shaped. One sweet knee was lifted like she had just pushed off from the earth. There was a birthmark on it that looked like a dog paw. She was frozen in a large block of ice, a thin pool of water spreading out below it. At the bottom of the block, the ice was cut in a serrated manner.

Patrolman Adam Coats pushed his cop hat back on his head and looked at her and moved the light around. He could hear the boy beside him breathing heavily.

“She’s so pretty,” the boy said. “And she ain’t got no clothes on.”

Coats looked down at the boy. Ten, twelve at the most, wearing a cap and ragged clothes, shoes that looked as if they were one scuff short of coming apart.

“What’s your name, son?” Coats asked.

“Tim,” said the boy.

“Whole name.”

“Tim Trevor.”

“You found her like this? No one else was around?”

“I come through here on my way home.”

Coats flicked off the light and turned to talk to the boy in the dark. “It’s a dead-end alley.”

“There’s a ladder.”

Coats popped the light on again, poked it in the direction the boy was pointing. There was a wall of red brick there, and, indeed, there was a metal ladder fastened up the side of it, all the way to the top.

“You go across the roof?”

“Yes, sir, there’s a ladder on the other side, too, goes down to the street. I come through here and saw her.”

“Your parents know you’re out this late?”

“Don’t have any. My sister takes care of me. She’s got to work, though, so, you know—”

“You run around some?”

“Yes, sir.”

“You stay with me. I’ve got to get to a call box, then you got to get home.”

Detective Galloway came down the alley with Coats, who led the way, his flashlight bouncing its beam ahead of them. Coats thought it was pretty odd they were about to look at a lady in ice and they were sweating. It was hot in Los Angeles. The Santa Ana winds were blowing down from the mountains like dog breath. It made everything sticky, made you want to strip out of your clothes, find the ocean, and take a dip.

When they came to the frozen woman, Galloway said, “She’s in ice, all right.”

“You didn’t believe me?”

“I believed you, but I thought you were wrong,” Galloway said. “Something crazy as this, I thought maybe you had gone to drinking.”

Coats laughed a little.

“Odd birthmark,” Galloway said.

Coats nodded. “I couldn’t figure if this was murder, vice, or God dropped an ice cube.”

“Lot of guys would have liked to have put this baby in their tea,” Galloway said.

The ice had begun to melt a little, and the angel had shifted slightly.

Galloway studied the body and said, “She probably didn’t climb in that ice all by herself, so I think murder will cover it.”

When he finished up his paperwork at the precinct, Coats walked home and up a creaky flight of stairs to his apartment. Apartment. The word did more justice to the place than it deserved. Inside, Coats stripped down to his underwear, and, out of habit, carried his holstered gun with him to the bathroom.

A few years back a doped-up goon had broken into the apartment while Coats lay sleeping on the couch. There was a struggle. The intruder got the gun, and though Coats disarmed him and beat him down with it, he carried it with him from room to room ever since. He did this based on experience and what his ex-wife called trust issues.

Sitting on the toilet, which rocked precariously, Coats thought about the woman. It wasn’t his problem. He wasn’t a detective. He didn’t solve murders. But still, he thought about her through his toilet and through his shower, and he thought about her after he climbed into bed. How in the world had she come to that? And who had thought of such a thing, freezing her body in a block of ice and leaving it in a dark alley? Then there was the paw print. It worried him, like an itchy scar.

It was too hot to sleep. He got up and poured water in a glass and came back and splashed it around on the bedsheet. He opened a couple of windows over the street. It was louder but cooler that way. He lay back down.

And then it hit him.

The dog paw.

He sat up in bed and reached for his pants.

Downtown at the morgue the night attendant, Bowen, greeted him with a little wave from behind his desk. Bowen was wearing a white smock covered in red splotches that looked like blood but weren’t. There was a messy meatball sandwich on a brown paper wrapper in front of him, half eaten. He had a pulp-Western magazine in his hands. He laid it on the desk and showed Coats some teeth.

“Hey, Coats, you got some late hours, don’t you? No uniform? You make detective?”

“Not hardly,” Coats said, pushing his hat up on his forehead. “I’m off the clock. How’s the reading?”

“The cowboys are winning. You got nothing better to do this time of morning than come down to look at the meat?”

“The lady in ice.”

Bowen nodded. “Yeah. Damnedest thing ever.”

“Kid found her. Came and got me,” Coats said, and he gave Bowen the general story.

“How the hell did she get there?” Bowen said. “And why?”

“I knew that,” Coats said, “I might be a detective. May I see the body?”

Bowen slipped out from behind the desk and Coats followed. They went through another set of double doors and into a room lined with big drawers in the wall. The air had a tang of disinfectant about it. Bowen stopped at a drawer with the number 28 on it and rolled it out.

“Me and another guy, we had to chop her out with ice picks. They could have set her out front on the sidewalk and it would have melted quick enough. Even a back room with a drain. But no, they had us get her out right away. I got a sore arm from all that chopping.”

“That’s the excuse you use,” Coats said. “But I bet the sore arm is from something else.”

“Oh, that’s funny,” Bowen said, and patted the sheet-covered body on the head. The sheet was damp. Where her head and breasts and pubic area and feet pushed against it there were dark spots.

Bowen pulled down the sheet, said, “Only time I get to see something like that and she’s dead. That don’t seem right.”

Coats looked at her face, so serene. “Roll it on back,” he said.

Bowen pulled the sheet down below her knees. Coats looked at the birthmark. The dog paw. It had struck a chord when he saw it, but he didn’t know what it was right then. Now he was certain.

“Looks like a puppy with a muddy foot stepped on her,” Bowen said.

“Got an identity on her yet?” Coats asked.

“Not yet.”

“Then I can help you out. Her name is Megdaline Jackson, unless she got married, changed her last name. She’s somewhere around twenty-four.”

“You know her?”

“When she was a kid, kind of,” Coats said. “It was her older sister I knew. That birthmark, where I had seen it, came to me after I got home. Her sister had a much smaller one like it, higher up on the leg. It threw me because I knew she wasn’t the older sister, Ali. Too young. But then I remembered the kid, and that she’d be about twenty-four now. She was just a snot-nosed little brat then, but it makes sense she would have inherited that mark same as Ali.”

“Considering you seem to have done some leg work in the past, that saves some leg work of another kind.”

“That ice block,” Coats said. “Seen anything like it?”

“Nope. Closest thing to it was we had a couple of naked dead babes in alleys lately. But not in blocks of ice.”

“All right,” Coats said. “That’ll do.”

Bowen pulled the sheet back, said, “Okay I turn in who this is, now that you’ve identified her?”

Coats studied the girl’s pale, smooth face. “Sure. Any idea how she died?”

“No wounds on her that I can see, but we got to cut her up a bit to know more.”

“Let me know what you find?”

“Sure,” Bowen said. “But that five dollars I owe you for poker—”

“Forget about it.”

Coats drove to an all-night diner and had coffee and breakfast about the time the sun was crawling up. He bought a paper off the rack in the diner, sat in a booth, and read it and drank more coffee until it was firm daylight; by that time he had drank enough so he thought he could feel his hair crawling across his scalp. He drove over where Ali lived.

Last time he had seen Ali she had lived in a nice part of town on a quiet street in a tall house with a lot of fine trees out front. The house was still there and so were the trees, but the trees were tired this morning, crinkled, and darkened by the hot Santa Ana winds.

Coats parked at the curb and strolled up the long walk. The air was stiff, so much so you could have buttered it like toast. Coats looked at his pocket watch. It was still pretty early, but he leaned on the doorbell anyway. After a long time a big man in a too-tight jacket came and answered the door. He looked like he could tie a knot in a fire poker, eat it, and crap it out straight.

Coats reached in his pants pocket, pulled out his patrol badge, and showed it to him. The big man looked at it like he had just seen something foul, went away, and after what seemed like enough time for a crippled mouse to have built a nest the size of the Taj Mahal, he came back.

Coats made it about three feet inside the door with his hat in his hand before the big man said, “You got to wait right there.”

“All right,” Coats said.

“Right there and don’t go nowhere else.”

“Wouldn’t think of it.”

The big man nodded, walked off, and the wait was started all over again. The crippled mouse was probably halfway into a more ambitious project by the time Ali showed up. She was wearing white silk pajamas and her blond hair looked like stirred honey. She had on white house slippers. She was so gorgeous for a moment Coats thought he might weep.

“I’ll be damned,” she said, and smiled. “You.”

“Yeah,” Coats said. “Me.”

She came over smiling and took his hand and led him along the corridor until they came to a room with a table and chairs. He put his hat on the table. They sat in chairs next to one another and she reached out and clung to his hand.

“That’s some butler you got,” Coats said.

“Warren. He’s butler, bodyguard, and makes a hell of a martini. He said it was the police.”

“It is the police,” Coats said. He took out his badge and showed it to her.

“So you did become a cop,” she said. “Always said you wanted to.”

She reached up and touched his face. “I should have stuck with you. Look at you, you look great.”

“So do you,” he said.

She touched her hair. “I’m a mess.”

“I’ve seen you messy before.”

“So you have, and fresh out of bed, too.”

“I saw you while you were in bed,” he said.

She didn’t look directly at him when she said, “You know my husband, Harris, died, don’t you?”

“Old as he was when you married him,” Coats said, “I didn’t expect him to outlive you. Of course, he had a lot of young friends and they liked you, too.”

“Don’t talk that way, baby,” she said.

As he thought back on it all, bitterness churned inside Coats for a moment, then settled. They had had something together, but there had been one major holdup. His bank account was lower than a snake’s belly, and the best he wanted out of life was to be a cop. The old man she married was well-heeled and well connected to some rich people and a lot of bad people; he knew a lot of young men with money, too, and Ali, she saw it as an all-around win, no matter how those people made their money.

In the end, looks like they both got what they wanted.

“This isn’t a personal call, Ali,” Coats said. “It’s about Meg.”

And then he told her.

When he finished telling her, Ali looked stunned for a long moment, got up, walked around the table as if she were searching for something, then sat back down. She crossed her legs. A slipper fell off. She got up again, but Coats reached up and took her hand and gently pulled her back to the chair.

“I’m sorry,” Coats said.

“You’re sure?” she asked.

“The dog paw, like you have.”

“Oh,” she said. “Oh.”

They sat for a long time, Coats holding her hand, telling her about the block of ice, the boy finding it.

“Any idea who might have wanted her dead?” Coats asked.

“She had slipped a little,” Ali said. “That’s all I know.”

“Slipped?”

“Guess it was my fault. I tried to help her, but I didn’t know how. I married Harris and I had money, and I gave her a lot of it, but it didn’t help. It wasn’t money she needed, but what she needed I didn’t know how to give. The only thing I ever taught her was how to make the best of an opportunity.”

Coats looked around the room and had to agree about Ali knowing about opportunity. The joint wasn’t quite as fancy as the queen of England’s place, but it would damn sure do.

“I couldn’t replace Mother and Father,” she said. “Them dying while she was so young. I didn’t know what to do.”

“You can’t blame yourself,” Coats said. “You weren’t much more than a kid.”

“I think I can blame myself,” she said. “And I will.”

Coats patted her hand. “Anyone have something against her?”

“She had gotten into dope, and she had gotten into the life,” Ali said. “I tried to pull her out, but she wasn’t coming. I might as well have been tugging on an elephant’s trunk, trying to drag the beast uphill. She just wouldn’t come out.”

“By the life, you mean prostitute?” Phillip asked.

Tears leaked out of Ali’s eyes. She nodded.

“Where’d she do her work?”

“I couldn’t say,” she said. “She was high-dollar, that’s all I know.”

Coats comforted her some more. When he was ready to leave, he picked up his hat and she walked him to the door, clutching his arm like a life preserver, her head on his shoulder.

“I can’t believe it, and I can,” she said. “Does that make any sense?”

“Sure,” he said.

“You got married, I heard.”

“Yeah,” he said. “It was great. For about six days.”

When Coats opened the front door the hot wind wrapped around them like a blanket. Coats put on his hat.

“It’s just awful out there,” Ali said.

When he stepped down the first step, Ali said, “You could come back and stay here, you know. There’s plenty of room. You could stay as long as you like. You could stay forever.”

He turned and looked at her. He looked at the house. It was one hell of a place and she was one hell of a woman. But it was too much of either one.

“I don’t think so, Ali.”

The upscale part didn’t tell Coats much about Meg’s work habits. She could have worked anywhere. The only thing it told him is she gave sexual favors to people with money. Coats didn’t like to think it, but she and Ali weren’t really all that different. It’s just that Ali made her deal the legal way.

On the way back to his apartment, Coats drove by the now-defunct Polar Bear Ice Company. It was just another reminder of what he had found in the alley, and it made his head hurt. He drove a little farther and an idea hit him. He turned around and went back.

He parked out front of the ice company in a no-parking zone and walked around back. There was a chain through the sliding back door and there were boards over the windows. The boards over one of the windows were easy to pull loose, and Coats did just that. He crawled inside and looked around.

Before today, last time he had seen Ali was through the prism of a polar bear made of ice. She had decided he was a bad prospect, and started seeing Old Man Harris from way uptown. He heard she was at a party and he went over to see her, thinking maybe he’d make a scene; went inside like he belonged there. And then it hit him. Everyone there had an air about them that spoke of privilege and entitlement. They were everything he was not. Suddenly, what he was wearing, what he had thought was a nice-enough jacket, nice-enough shoes, felt like rags and animal hides. He saw Ali across the way, her head thrown back, and above the music from the orchestra in the background he heard her laugh. A deep chortle of pleasure that went with the music and the light. She was laughing with a man who wasn’t the man she married. She was laughing with Johnny Ditto; a gangster, drug seller, and prostitute wrangler. He was known for handling the best girls, high-end stuff. Johnny was tall, dark, and handsome, splendid in a powder-blue suit with hair that was afraid to do anything but lay down tight and hold its part.

Coats stepped aside so that he was between them and a table mounted with a big ice sculpture of a polar bear on an ice floe. Below the ice was a ring of shrimp, tight up against the sawlike cut at the bottom. Through the sculpture he could see Ali, made jagged by the cuts and imperfections in the carving. He lowered his head, feeling as out of place as a goat at the ballet. He slipped out quick. Until today, it was the last time he had seen Ali.

What he realized now was that the sawlike cut at the bottom of the ice that night was locked in his head, and it was the same jagged cut he had seen on the ice block in the alley. And that polar bear on the table—was that the ice company’s emblem? It made sense, connected up like bees and honey.

Coats walked around and found a room in the back with a bed and camera and some pull-down backdrops. He toured all over, came to the ice freezers with faucets and hoses and frames for shaping the ice. One of the frames was about the size of the big block of ice in the alley. The kind of block an ice sculptor might chop into a polar bear, or use to house a cold, dead angel.

Coats drove along Sunset, and for a moment he thought he was being followed, but the car, a big blue sedan, turned right, and he decided against it.

Downtown he stopped at the morgue to see Bowen.

“What we got is her belly was full of water, and so were her lungs,” Bowen said.

“So she drowned?” Coats asked.

“Yeah, but the way her throat looks, I think someone ran a hose into her mouth, pumped her up. Figure they squirted it in her nose, too. Unpleasant business.”

“When did she die?” Coats asked.

“The ice throws that off. It’s hard to know body temperature to figure how long she was laying there, messes up rigor—” He stopped in midsentence.

Coats was nodding all the time Bowen was talking.

“Oh, I get it,” Bowen said. “That was the point. Harder to know when she died, harder to break an alibi someone might use. They could kill her and walk away, and the ice melts, body’s found, it doesn’t show signs of being dead as long. They could kill her, one, two, three days before and keep her frozen, drop her off when they wanted.”

“If the boy hadn’t gone through the alley, she’d just be a dead prostitute,” Coats said.

“It kind of figures now,” Bowen said. “We found, let me see, three other girls in the past week in alleys. All of them stripped and lying on the bricks. One of them, she was in a pool of water. It wasn’t urine. We couldn’t figure it. Now it makes sense. She melted out of her block.”

“I think they may have killed them all at the same time,” Coats said. “Kept them frozen, put them out when they wanted to, made it look like a string of nut murders. But this time the ice didn’t melt soon enough before she was found.”

“And all this means… what?”

“I’ll get back to you on it,” Coats said.

At the Hall of Records a snooty woman with her hair in knot so tight it pulled her cheeks up under her ears showed Coats where he could look up what he wanted. What he wanted was to know who owned the Polar Bear Ice Company. When he saw who it was, his stomach ached.

He went home and called in sick for his shift, took off all his clothes, sprinkled the bed with water, and lay there with the window open listening to traffic. The sunlight went deep pink and hit the buildings across the way, made them look as if they were being set on fire by celestial arsonists. He thought about what he had found out at the Hall of Records and decided it didn’t necessarily mean anything, but he could never quite come to the conclusion that it meant nothing. He was thinking about what he should do, how he should go about it all. He eventually decided whatever it was, tomorrow was soon enough, after he got some rest.

In the middle of the night he came awake to a click like someone snapping a knife blade open. He slogged out of his dreams and got up and picked his gun off the nightstand. Naked as a jaybird, he walked into the kitchen and looked at the front door, which is where the snicking sound was coming from. Someone was working the lock.

The door slipped open a crack and when it did, Coats lifted his pistol. Then the door went wider. Framed by the outside streetlights was a woman.

“Come on in,” Coats said.

“It’s me, Ali,” the woman said.

“All right,” he said.

She came in and closed the door and they stood in the dark. Coats said, “You always work men’s locks at night?”

“I was going to surprise you.”

“I thought you might be someone else,” he said, and turned on a small light over the kitchen sink. She looked at him and smiled.

“Who would you be expecting?”

“Oh, someone about Warren’s size. Maybe drove you over in a big blue sedan. Maybe he’s standing out there right now with a lock pick in his hand.”

“I didn’t know you liked Warren that much,” she said.

“I don’t like Warren at all.”

“It’s just me,” she said. “Don’t be silly.” She smiled and looked Coats over good. “I certainly like your lack of dress, though a hat and tie might spruce it some.”

“Your husband, he never owned the Polar Bear Ice Company.”

“What?” she said.

“That means you didn’t inherit it.”

“Make some sense, baby,” she said. “I didn’t come here to talk ice. I came to see you and make some heat.”

“That’s all right,” Coats said. “It’s plenty hot enough.”

“I don’t know,” Ali said. “I’m starting to feel a little chilly.”

“You own the Polar Bear Ice Company. You bought it. And it’s not out of business. It’s just closed off and secret and the only time they make ice now they put someone in it. And you got a partner. Johnny Ditto. He’s on the books with you, honey. That doesn’t bode well. He’s not what you’d call your stand-up businessman.”

“In business, you have all kinds of partners. You can’t know them all. Is that a gun?”

“It is,” Coats said. “You know what I think, Ali? I think you’re just what you’ve always been, only more so. Your sister, you were running her with your high-end stable. You were her madam, her and the other girls. Somewhere along the line, you and her, you got sideways, and you had to have her wings clipped.”

“Me? That’s ridiculous.”

“You got a good act,” Coats said. “I believed it. That walking around the table bit, that was good. And I didn’t tell you my address. So how’d you come here?”

“I know people who know people,” she said.

“At the ice house, I found a camera, and I figure that’s where some special pictures were made; reels for smokers. But I also got to figure a girl like Meg, she might have made a film for one of the owners. Someone like Johnny Ditto, a little keepsake for him to take home and watch on lonely nights. But she decided maybe to keep the film, take it out of the private realm. I think she may have made other films, her and some of the other girls. Maybe not just for Johnny. But films for big-name guys who wanted to watch themselves do the deed with some fine-looking babe. Only the babes kept the films. Threatened blackmail. Asked for money. Johnny might not have cared who saw him do what. But some of the clients you and him were servicing, they might have been more worried. You couldn’t have that. So you had to have the films and you had to get rid of any girls in on the scheme. They had to pay. Even your sister had to pay.”

“Don’t be silly,” Ali said. “She was my sister. I wouldn’t hurt her.”

“But you might let someone else do it for you.”

Ali’s face changed. She looked older. She looked tougher. It was like the devil had surfaced under her skin.

“You’re too damn smart for your own good,” she said. “It’s wasn’t exactly like that, but you’re near enough you get the Kewpie doll.”

“I got to take you in,” Coats said.

She said, “Warren.”

Even though Coats expected it, he was still surprised. He thought Warren would have to open the door. But he came through it. The door blew off the hinges like it had been hit by cannon shot and Warren came speeding through the gap. He rushed straight at Coats. Coats brought his gun up and fired, but it didn’t stop Warren. Warren hit him and knocked him back over the table and into the wall. It made cabinet doors fly open and it made dishes fly out; they popped and shattered on the floor.

Coats lay on the floor with Warren on top of him, choking him with both hands. Coats’s vision crawled with black dots and there was a drumbeat in his head. He tried to get his feet stuck up in Warren’s belly to push him back, but Warren was too close. Coats felt around for the gun, but couldn’t find it.

Then he saw Ali, leaning over them, looking down at him. She had his gun in her hand.

“I got nothing against you,” she said. “It isn’t personal. But business is business, and it’s what runs the world. You finish up here, Warren. Make it look like a robbery. Mess things up some more.”

Warren didn’t seem to be listening. He was concentrating on choking the life out of Coats. Ali wandered off, sat in a chair at the table, and coiled one leg over the other.

“You are quite the waste, baby,” she said.

Coats pushed his shoulders up. It helped a little, lessened the choke. There were fewer black dots. He glanced sideways, saw a broken cup from the cabinet. He snatched it up and dragged it hard across the side of Warren’s neck. Warren yelled and sat up. One hand flew to his neck, the other still clutched Coats’s throat. Blood crept through Warren’s fingers, leaked onto the floor.

Coats smashed what was left of the cup into Warren’s nose and rolled him off. There was a shot. Coats felt a bit of a pinch in his side. He scuttled his feet underneath him and rushed at Ali. She was coming out of the chair, pointing the gun. Coats dropped down and the gun barked and his ears rang. He kept coming. She tried to fire again, but he had her wrist now and was shoving her into the wall. When he did he lost his grip on her, but she lost the gun. It went sailing across the room. He struck her with a hard right to the side of the head. She dropped like a brick and didn’t move.

A big hand grabbed Coats’s shoulder and jerked him backward. He went tumbling across the floor. When he looked up, Warren was looking at him. He had one hand to his cut neck. His nose was flat and bloody. His teeth were bared and there was a look in his eye that made Coats feel weak, as if from a blow. Warren trudged forward a couple of steps. Coats lifted his fists, ready to fight. He figured he might as well be bear hunting with a switch.

Warren’s face changed. He had a look that reminded Coats of a man who’s forgotten his money. Warren swallowed, then coughed. Blood flew out of his mouth. He pulled his hand away from his neck and blood squirted high and wide. Warren looked at his bloody hand as if it had been replaced with a catcher’s mitt. Coats saw now that the first shot he had fired had hit Warren in the side. The big galoot hadn’t even noticed.

Warren sat down on the floor and tried to put his hand against his neck again, but he was too weak. It kept sliding off.

“Damn it,” Warren said. Blood gurgled out of his mouth. He carefully stretched himself out on the floor and made a sound like someone trying to swallow a pineapple. Then he didn’t move again. He was as dead as last year’s Christmas.

Coats went over and looked at Ali. She was breathing heavily, and she had a blue knot on the side of her head, but that was the worst of it. When he stood up, he went weak. The hole in his side was dripping big time. He leaned against a chair for a moment, got it together.

Outside, through the doorway, he saw lights. The shots had been heard and someone had called. Pretty soon, cops would be coming up the stairs. He grinned, thought maybe it would look better all around if he could at least put on his pants.

BLACK DAHLIA & WHITE ROSE: Unofficial Investigation into the (Unsolved) Kidnapping-Torture-Rape-Murder-Dissection of Elizabeth Short, 24, Caucasian Female, Los Angeles, CA, January 1947

Material assembled by Joyce Carol Oates

K. KEINHARDT—PHOTOGRAPHER:

They were lost girls looking for their fathers.

So I knew they’d come crawling back to me.

NORMA JEANE BAKER:

It is true that I was lost—but I knew that no one would find me except myself—if I became a Star in the sky of Hollywood where I could not be hurt.

He was the one—“K.K.” we called him—who took pictures for the girlie mags & calendars—the one I begged Please don’t make me into a joke. Oh please that is all I ask of you.

ELIZABETH—“BETTY”—SHORT:

Nasty lies told about me post mortem but none nastier than that I did not have an actual father—only just a pretend-father like Norma Jeane whose crazy mother would show her studio publicity photos of Clark Gable—whispering in the child’s ear Here is your father, Norma Jeane! But no one must know—yet.

Poor Norma Jeane! Some part of her believed this craziness, why she was always looking for Daddy. Why Norma Jeane made bad mistakes seeking men like she did but that was not why I made my bad mistake winding up post mortem in a weedy vacant lot in a dingy neighborhood of Los Angeles so mutilated the hardened LAPD detectives shrank from seeing me & quickly covered my “remains” with a coat for I had an actual father named Cleo Marcus Short who favored me above my four sisters Kathryn & Lucinda & Agnes & Harriet & wrote to me solely, in 1940, when I was sixteen, to invite me to live with him in California—which Daddy would not have done if he had not truly loved me.

Post mortem—is the Latin term. Post mortem is this state I am in, now. That you do not know exists when you are “alive” & you cannot guess how vast & infinite post mortem is for it is all of the time—forever & ever—after you have died.

Later, Daddy would deny me. Daddy would be so shocked & disgusted by the newspaper headlines & photos—(which were not the coroner’s photos or the LAPD crime scene photos which could not be published of course—too ugly & “obscene”)—but photos of Elizabeth Short a.k.a. THE BLACK DAHLIA—(for since the age of eighteen when I came to L.A., I wore tight-fitting black dresses with dipping necklines & often black silk trimmed in lace & undergarments as well in black & my hair glossy-black & my skin pearly-white & my mouth flame-red with lipstick)—which were glamour photos striking as any stills from the studios—Daddy refused to identify me still less “claim” me—the (mutilated, dissected) remains of me in the L.A. coroner’s morgue.

Or maybe Daddy thought he would have to pay some fee. He would have to pay for a burial, Daddy would fear.

Oh, that was mean of Daddy! To tell the L.A. authorities he would not drive to the morgue to make the “I.D.” (For there is no law to compel a citizen in such circumstances, it seems.) If Daddy had not already broke my heart this sad news post mortem would do it.

But that was later. That was January 1947. When you were all reading of THE BLACK DAHLIA shaking your hypocrite heads in revulsion & chastisement A girl like that. Dressing in all black and promiscuous, it is what she deserves.

When Daddy wrote to me, to summon me to him, it was seven years before. I had dropt out of South Medford High School to work (waitress, movie-house cashier) to help Momma with the household for we were five daughters & just Momma and no father to provide an income for we had thought that Daddy was dead & what a shock—Daddy was not dead but alive.

Cleo Short had been a quite-successful businessman selling miniature golf courses! All of us brought up swinging miniature golf clubs & hitting teeny golf balls & our photos taken—FIVE SHORT DAUGHTERS OF MEDFORD BUSINESSMAN CLEO SHORT TAKE TO THE “MINIATURE LINKS”—& published widely in Medford & vicinity for we were all pretty girls especially (this is a fact everyone acknowledged, this is not my opinion) “Betty” who was the middle sister of the five and the most beautiful by far.

& then the Depression which hit poor Daddy hard & soon collapsed into bankruptcy & utterly shamed so Daddy drove to the Mystic River bridge & what happened next was never made clear but Daddy’s 1932 Nash sedan was discovered on the river bank & not Daddy, anywhere—so it was believed that Cleo Marcus Short was a tragic suicide of the Depression as others had been, & declared dead two years later, & Momma collected $3,000 insurance & was now officially a widow & we were bereaved for our beloved Daddy, for years.

Oh but then one day a letter came postmarked Vallejo, CA! & the shocking news like in a fairy tale that Cleo Short was not dead in the Mystic River as we had believed but “alive and well” in Vallejo, California!

Momma would not reply to this letter, Momma had too much pride. Momma’s heart had turned to stone in the aftermath of such deception, as she called it.

& bitterness, for Momma had to pay back the $3,000 insurance which had been spent years before. In doing so Momma had to borrow from relatives & wherever else she could & out of our salaries we helped Momma pay & everyone in Momma’s family was hateful toward Daddy for this trick as they called it of a callow heart.

Of the five daughters of Cleo Short only one would forgive him. Only one would write back to him & soon travel to live with him in far-away California in a new life that beckoned.

For the old life was used-up & of no promise, in Medford, MA. And the golden California life beckoned—Los Angeles & Hollywood.

Betty you’re a terrific gal. & sure the beauty of the Short females. Look at you!

It did not seem a far-fetched idea to Betty Short as to Cleo Short or anyone who knew them, that daughter Betty was pretty enough & “sexy” enough to be a movie star one day.

That was a happy time, those months then.

They did not last long but Norma Jeane said to me when we were new & shy to each other sharing a room in Mr. Hansen’s “mansion” on Buena Vista Avenue Oh Betty you are so lucky! for Norma Jeane said she had not ever glimpsed her father even from a distance but now that she’d been on the covers of Swank & Stars & Stripes maybe he would see her & recognize her as his. & if ever she was an actress on screen he would see & recognize her—she was sure of this.

(Poor Norma Jeane had faith, if she worked hard & made the right connections among the Hollywood men, like all of us, she would become a star like Betty Grable, Lana Turner, & earlier Jean Harlow who was Norma Jeane’s model & idol. It was so: Norma Jeane was very beautiful in a simpering-baby way with a white-rose-petal skin that was softer than my skin even & did not show fatigue in her face as I did, sometimes. We were not jealous of Norma Jeane for she was so young-seeming though at this time nineteen years old which is not so young in Hollywood. We laughed at Norma Jeane, she was so trusting & innocent & you had to think, hearing her weak whispery voice, Norma Jeane Baker was just not smart & mature enough to make her way in the shark-waters where her white limbs would be torn off in the predators’ teeth.)

It was the New Year of 1947 when this terrible

act was perpetrated upon me. That was a later time.

We did not crawl back to that bastard K.K.! Except he owed us money, he’d kept promising to pay. & he knew “gentlemen”—he said—of a “dependable quality” & not the kind waiting like sharks in the surf for some trusting person to wade out.

Anyway—I didn’t crawl to K.K. like he boasted. Betty Short did not crawl for any man not ever.

So it was the Bone Doctor inflicted such hurt upon me: that I would not submit to him in the disgusting way he wished. For not even $$$ can be enough, in such a case.

Of course—I did not know what would befall me. I did not know what my little cries No! No-no-NO! would unleash in the man, who had seemed till then a sane & reasonable man, a man who might be handled by any shrewd girl like Betty Short!

Port mortem you would not guess that I had had dignity and poise in life as well as milky-skinned brunette beauty though it is true that I had not (yet) a film career—even a “starlet” contract like many girls of our acquaintance at the Hollywood Canteen. (Norma Jeane Baker had not a real contract yet, either—though she led people to think she did.) Post mortem seeing me naked & white-skinned (for my body had totally bled out) & covered in stab wounds & lacerations—my legs spread open in the most ugly & cruel way in mockery—& my torso separated from my lower body & twisted slightly from it as if in revulsion for the horror perpetrated upon me—post mortem you would not guess that I had been a vivacious young woman whom many men admired in Hollywood & L.A. & a favorite at parties & very popular with well-to-do older men & Hollywood producers & Mr. Mark Hansen who owned the Top Hat Club & Mesa Grande movie house & invited me to live in his “mansion” on Buena Vista Blvd. with other girls—(some were “starlets” & others aspiring to that status)—to “entertain” guests.

Dr. M. was not one of these. Dr. M. was known by no one except K.K.—& Betty Short.

It was such cruelty—to ask if he might kiss me & when I shut my eyes, to press the chloroform cloth against my nose & mouth!

For in the romance movies always the kiss is with shut eyes—the camera is close-up to the woman’s beautiful smooth face & long-lashed shut eyes.

And the romance music.

Except in actual life—there is no music. Only the sound of the man’s grunting & the girl trying to draw breath to scream, to scream, to scream—in silence.

& such cruelty, to slash the corners of my mouth smiling in terror & hope to “charm”—slashing my mouth to my ears so that my face that had been a beautiful face would become a hideous clown-face that can never cease grinning.

& my breasts that were milky-pale & beautiful—so stabbed & mutilated, the hardened coroner could barely examine.

& the autopsy revealed contents of my stomach too filthy & shameful to be stated—the man would subordinate the girl utterly in all ways, & why could not be imagined…

What I am hoping you will comprehend—if you would listen to my words & not stare in horror & disgust at the “remains” of me—(the morgue photos have been published & posted everywhere—there is no escape from shame & ignominy, in death—the two halves of me “separated” with a butcher knife the Bone Doctor wielded laying my lifeless body on two planks across a bathtub—in the house on Norfolk, that I had never seen before in all of my life—with this knife the cruel maniac tore & sawed at my midriff—my pearly-pale skin that was so beautiful & desirable—that my blood would fall & drain into the tub—& these halves of my body he would wrap in dirty plastic curtains to carry away to dispose of like trash in a public place to create a spectacle for all to stare at in revulsion & titillation enduring for years)—if you would listen to my words post mortem, I am trying to explain that though Norma Jeane has become famous throughout the world, as MARILYN MONROE, it was a chance thing at the time in January 1947, it was a wisp of a chance, fragile as those feathery spiraling seeds of trees in the spring blown in the wind & catching in your hair & eyelashes—it was not a decreed thing but mere chance that Norma Jeane would become MARILYN MONROE & Elizabeth Short would become THE BLACK DAHLIA pitied & scorned in death & not ever understood, & the cruelest lies spread about me. What I am saying is that if you’d known us, Betty Short & Norma Jeane Baker, in those days, when we were roommates & close as sisters you would not have guessed which one of us would ascend to stellar heights & which would be flung into the pits of Hell, I swear you would not.

K.K. had photographed Norma Jeane when she was working in a factory in Burbank—but she’d never do a nude for him, she said.

A “nude” is all the calendar men want—if you don’t strip, forget it. No matter how gorgeous your face is—nobody gives a damn.

When K.K. saw us in the Canteen, & invited us to his studio to be photographed, it was Betty Short he stared at most, & not Norma Jeane he’d already photographed and had hit a dead-end—he thought. ‘Cause she would not pose nude.

It was Betty Short who engaged K.K. in sparky repartee like Carole Lombard on the screen not Norma Jeane who bit her thumbnail smiling & blushing like a dimwit.

It was Betty Short who said yes maybe. Can’t promise but maybe, yes.

It was Norma Jeane who just giggled, and murmured something nobody could hear.

I was twenty then. I was so gorgeous, walking into the Top Hat—or the Canteen—or some drug store—every eye turned on me in the wild thought—Ohh is that Hedy Lamarr?

Norma Jeane said if she walked into some place eyes would flash on her and people would think—Ohh is that Jean Harlow?

Bullshit! Norma Jeane never was mistook for Jean Harlow, I can swear to it.

I was not jealous of Norma. In fact, Norma was like a sister to me. A true sister—she’d lend me clothes, money. Not like my bitch-sisters back in Medford, cut me out of their lives like I was dirt.

‘Cause I left home, & went to live in California. ‘Cause it was obvious to me, my destiny was in Hollywood not boring Medford.

‘Cause I wore black. Know why? Black is style.

When I was just seventeen, in Vallejo, before I’d even caught on about style—something wonderful happened to me.

You would be led to believe it was the first of many such honors culminating in an Academy Award Oscar for Best Actress…

It was the nicest surprise of my life. It was a surprise to change my life.

I had not even entered my own self in the competition but some guys I knew, at Camp Cooke, entered pictures they’d taken of me, when I was cashier at the PX there—all of the soldiers & their officers voted & when the ballots were counted of twelve girls entered it was ELIZABETH SHORT who had won the title CAMP CUTIE OF CAMP COOKE.

This was June 1941. Six & a half years yet to live. On my grave marker it would’ve been such a kindness to carve ELIZABETH SHORT 1924–1947 CAMP CUTIE OF CAMP COOKE 1941 but not a one of you selfish bastards remembered.

K. KEINHARDT:

Looking through my camera lens sometimes I thought Betty Short was the one. Other times, I thought Norma Jeane Baker.

Betty was the dark-haired beauty—THE BLACK DAHLIA. Norma Jeane was THE WHITE ROSE to me—in secret—her skin like white-rose-petals & face like a china doll’s.

Betty had the “vivacious” personality—Norma Jeane was shy and withdrawn almost—you’d have to coax her out, to meet the camera lens.

Betty was all over you—it felt like her hands were on you—like she was about to crawl onto your lap and twine her arms around your neck and suck at your mouth like one of Dracula’s sisters.

Sometimes a man wants that. Sometimes not.

Norma Jeane was all quivery and whispery and holding-back even when she finally removed the smock I’d given her—to pose “nude” on the red velvet drapery. (You wouldn’t say “naked”—“naked” is like a corpse. “Nude” is art.) Like if you reached out to position Norma Jeane, just to touch her—she’d be shocked and recoil. Ohhh! Norma Jeane’s eyes widened, if I made a move toward her.

I’d just laugh—For Christ’s sake, Norma! Nobody’s going to rape you O.K.?

Fact is, I was afraid to touch THE WHITE ROSE—

you could see the raw pleading in her blue eyes—the orphan-child pleading—no love any man could give Norma would be enough.

& I did not want to love any of them—there is a terrible weakness in love like a sickness that could kill you—but not “K. Keinhardt”!

THE BLACK DAHLIA was a different matter. I would not ever have loved Betty Short—but feared being involved with her, so anxious too for a career—& if you were close to Betty you would smell just faintly the odor of her badly rotted teeth—her breath was “stale”—so she chewed spearmint gum & smoked & learned to smile with her lips pursed & closed—a hard knowing look in her eyes.

Fact is, I discovered Norma Jeane Baker—me.

Lots of guys would claim her—seeing she’d one day be “Marilyn Monroe”—but in 1945 at the Radioplane factory in Burbank, Norma Jeane was just a girl-worker in denim coveralls—eighteen—not even the prettiest girl at the factory but Norma had something—“photogenic”—nobody else had. I took her picture for Stars & Stripes—in those factory-girl coveralls seen from the front, the rear, the side—“to boost the morale of G.I.’s overseas. And the phone rang off the hook—Who’s the girl? She’s a humdinger.

See, I made her take off her wedding band for the shoot.

All the girlie mags—Swank, Peek, Yank, Sir!—wanted Norma Jeane for their covers. But she’d never do a nude—Ohhhh! Gosh I just c-can’t…

I knew she would, though. Just a matter of time—and needing money.

Young girls needing money to live and older guys with money—in L.A.—pretty good setup, eh? Always has been & always will be—that’s human nature & the foundation of Civilization.

Norma Jeane was younger than Betty Short and a lot less experienced—so you’d think. (Actually she’d been married to some jerk at age sixteen—then divorced when he left her to join the Merchant Marines.) Smaller than Betty and dreamy-eyed where Betty was sort of hard-staring and taking everything in with those dark-glassy eyes of hers all smudged in mascara—Norma Jeane was no more than a size two and her body perfectly proportioned—exquisite like something breakable. Betty Short’s pinups were sexy in a crude eye-catching way. Kind of sly, dirty-minded—like she’s winking at you. C’mon I know what you want big boy: do it! Norma Jeane’s pinups were sexy but angelic—her first nude photo “Miss Golden Dreams” I managed to coax out of her is the pin-up photo of all recorded history.

See, the trick was getting Norma to lie on the crinkly-crimson-velvet like she was a piece of candy—to be sucked.

Getting Norma to relax & to smile—like she had not a care in the world & wasn’t desperate for money & broken-hearted, her jerk of a husband had “left her.”

& wasn’t desperate, her movie career was stalled at zero.

Guess what I paid Norma Jeane? Fifty bucks.

I made nine hundred!—a record for me, at the time.

Later Norma would come back to me begging—she had not known what she was signing, the waiver I’d pushed at her that day—& I said it was out of my hands by then, the rights to “Miss Golden Dreams” had been bought by the calendar company & beyond that sold & sold & sold—millions of dollars for strangers to this very day.

Don’t argue with me, I told Norma—this is the foundation of Civilization.

What I never told the L.A. detectives—or anyone who came around to ask about Betty Short—was that—(yes I am regretful of this, & wouldn’t want it to get out publicly)—there was this guy, this “gentleman”-like character, called himself “Dr. Mortenson”—an “orthopedic surgeon”—I think that’s what he called himself.

The Bone Doctor he came to be, to me.

Not my fault—all I did was bring them together.

In fact it was Norma Jeane Dr. M. wanted to meet—not the other girls who came through my studio at that time & definitely not Betty Short who he thought was somewhat common—vulgar.

That’s how the Bone Doctor would talk: this prissy way like there’s a bad smell in the room.

Not the black-haired one—her chin is too wide for feminine beauty & she’s got a cross-eye.

The little blond girl. That one. SHE is the feminine beauty like an angel in heaven.

(Did poor Betty Short have a “cross-eye”? Some photos you can see it, kind of—her left eye isn’t looking at you exactly the way the right eye is. So you’d think—something isn’t right about this girl, she’s witchy.)

One day in September 1946 the phone rang—Hello? Is this K. Keinhardt the pin-up photographer I am speaking to?—this prissy voice & I say Who the fuck is this? & he says Excuse me I am hoping to speak with Mr. Keinhardt on a proposition & I say What kind of a proposition? & he says I have been led to believe that you take “pin-up” photos for the calendars & I say I am a studio photographer in the tradition of Alfred Stieglitz and Paul Strand—“nudes” are a small part of my repertoire & he says My proposition is: in my profession I see almost exclusively injured, disfigured, or malformed human bodies—particularly the female body is a sorry sight when it is far from “perfect”—and so—I am wondering if I might make a proposition to you, Mr. Keinhardt, who photograph only “perfect” female bodies…

The deal was, Dr. M. would pay me twenty-five bucks—(which I later upped to thirty-five)—just to be a secret “observer”: looking through a peep-hole in the screen behind the camera tripod.

Sure I said. As long as you don’t take pictures of your own.

How many times did Dr. M. come to the studio on Vicente Blvd, that fall and into the winter of 1947?—maybe a dozen times—& he never caused any trouble, just paid me in cash.

Parked his shiny black 1946 Packard sedan across the street.

Sat in the back behind the screen. “Observed.”

Dr. M. had a face like a smudged charcoal drawing of Harry Truman, say. Same kind of glasses as Truman. You could not imagine this man young but only middle-aged with a prim little mouth & sagging jowls.

Starched white shirt, no necktie but a good-quality coat and pressed trousers. Graying-brown hair trimmed and with a part on the left. Kind of stubby fingers for a surgeon but Dr. M. had that quiet air of “authority”—you could imagine this character giving orders to nurses and younger doctors in that voice.

You could imagine the man giving orders to women—in that voice.

Yes he was what you’d call a “gentleman”—“good breeding”—good taste too, he preferred the White Rose to the Black Dahlia—at least, that had been his wish.

Of Betty Short whom he saw photographed on three separate occasions Dr. M. said frowning afterward:

That black-haired vixen. She’s got a dirty mind—you can see it in her eyes—that cross-eye. And always licking her lips like there’s something on her lips she can’t get enough of tasting.

Of Norma Jeane whom he saw photographed just once—(historic “Miss Golden Dreams” which was a session of just forty minutes, surprisingly)—Dr. M. did not speak at all as if tongue-tied.

Dr. M. did request the girls’ names, telephone numbers & addresses & I told him NO.

NO I cannot violate the girls’ privacy—that would be a considerable extra fee, Doctor!

Something in my manner discouraged him. The Bone Doctor mumbled sorry & did not pursue the issue, did not even ask how much the “extra fee” might be—which was unexpected.

After THE BLACK DAHLIA in all the papers the Bone Doctor vanished. He did not ever call me again & no one would ever know of his visits to my studio except me—and Betty Short.

And how much Betty Short knew, I don’t know.

Afterward I tried to find out who Dr. M. was—thinking maybe the Bone Doctor might find it worth while to pay me not to give the L.A. homicide detectives his name—but I couldn’t track him.

So I thought Could be just a coincidence.

A year or so before in L.A. there’d been another girl murdered in what was called a “sex frenzy”—in fact a girl Betty Short had known from the Top Hat—ankles and wrists tied with rope in the same way as The Black Dahlia—some of the same kind of torture-stab-wounds—and left in a bathtub naked—(but not dissected at the waist like Betty)—so you might think the same guy did both murders—but the detectives couldn’t come up with any actual “suspects”—there just wasn’t evidence & in the mean time there’s kooks confessing to the murder—not just men but some women, too!

Could be just a coincidence, I thought then, & I think now. Anyway—K.K. is not going to get involved.

NORMA JEANE BAKER:

It was just a n-nightmare.

It was the awfulest—most horrible—thing…

You could not ever imagine such a—an awful thing…

When I came back to the room that night I was kind of m-mad at Betty ‘cause she’d stood me up at the Top Hat—also Betty had not paid me back the thirty dollars she owed me—thirty dollars was a lot—also Betty was always in my things—she would “borrow” & never return what she took—like my lipsticks—that made me mad!

At 20 Century-Fox I went to auditions all the time. Betty was not on contract but got on a list to audition, too—it costs money for makeup & clothes—& hair—Betty dyed her hair that inky-black color—my hair, that was brown, about the color of Betty’s natural hair, they made me bleach at the Blue Book Agency saying they could get twice as many shoots for me as with my brown hair & this turned out to be correct though an understatement—more like three times as many shoots. Like Anita Loos says—Gentlemen Prefer Blondes—this is a fact.

But Betty Short had the wrong complexion for blond—so dyed-black hair was perfect for her. & with white makeup & powder & dark lipstick she made herself look really glamorous—“sexy.”

Always wearing black clothes—that wasn’t Betty’s idea but some agent. Trying to get Betty Short work in the studios. Not who you are but who you know—they’d tell us. To get a contract you’d have to “entertain” the producers & their friends & then to keep the contract renewed you’d be expected to live in one of their residences like Mr. Hansen’s—he liked us to lie around the pool in the sun in teeny bathing suits & sunglasses—it was just party, party, party night after night & Betty Short thrived on it—& sleeping through the day—but I needed to get to my acting class & my dance class & that was no joke—you can’t audition either, if you are hung-over & have shadows under your eyes. So—Betty Short & me—we did not always get along one hundred percent—being from different backgrounds too for Betty did actually have a “father”—she’d lived with him before coming to L.A.—she showed me pictures of him—& she said Oh my father was pretty well-to-do in Medford, MA when I was a little girl—see, this is my sisters & me on Daddy’s miniature golf course—then Daddy lost the business—people stopped buying miniature golf courses I guess—in the damn old Depression.

And I was so jealous!—I said Oh Betty at least you have a f-father—you could go to him in Vallejo even now & Betty said with this hurt angry look Like hell I would never crawl back to him or to any God-damn man, my drunk father kicked me out saying I was no good, I was not even a good housekeeper like my mother, & Daddy accused me of being a strumpet & a whore—just on the evidence that I dated some boys.

& I said But maybe your father feels differently now, you are older now & maybe he needs you & Betty looks as me like I am an idiot saying Maybe he needs me but I don’t need him, & I don’t need any man to boss me around, I will marry a rich man who adores me & wants to please ME not the other God-damn way around, see?

So I backed off. I did not say that Betty had no idea how sad it is not to have a father—even a drunk father—& not to have a mother—even a sick mother like my mother who “could not keep me” because she had “mental problems”—but still, I would live with her, if she was discharged from the hospital… I did not say any of this because I did not want Betty mad at me & screaming & swearing like she did. It was known that Betty Short had a “short” temper! We were sharing a room at the Buena Vista & already it was up to me to make her bed not just my own & hang things up she’d throw down & take away laundry & wash it if I did not want a demoralizing sight to greet me every time I opened the door. & Betty owed me money, I was anxious she would not repay.

Betty said You can get money from men—if they’re the right men not these God-damn bloodsuckers.

Betty seemed angry at most men. She’d been engaged to a major in the US Army Air Corps she had met at Camp Cooke—this was said of her by girls who’d known her longer than me—& her fiancé had died in a plane crash—& she had been pregnant at the time—(maybe)—& had lost the baby or—(maybe)—had had an abortion. & there was something more—Betty had tried to sue her fiancé’s family—for what, it wasn’t known.

& I thought—we have that in common. As my husband Jim Dougherty had left me to join the Merchant Marines because he could not love me as I needed to be loved so Betty’s fiancé had left her in a terrible accident—in death.

Later I found out Betty’s other roommates had evicted her! Coming home in the early morning & waking them & not giving a damn & worst of all stealing from them—they said.

You can’t trust Betty Short. This “Black Dahlia” bullshit—what a laugh.

Betty was nice to me, though—she laughed at me & called me Baby-face. She laughed at me not wanting to pose for nude pictures—I told her if you do nude pictures it’s like taking money from men for sex—it’s a crossing-over & you can’t go back. & she just laughed—Of course Baby-face you can “go back”—who’s to know? & I said if you have a nude photo in your past, the studios will not touch you—(for this was true & well known)—& she said Of course they will—if you are meant to be a star.

Betty had great faith in this, more than any of us—if you could be a star, all would be changed for you.

Between Betty Short & Norma Jeane Baker, it could not have been predicted who would be a “star.” Just looking at the two of us—you could not ever have guessed for sure.

Soon, the name “Marilyn Monroe” would be given me. For the studio did not like “Norma Jeane”—this was an Okie name, they said. (It was not an Okie name! No one in my family was Okie or anything near.) & the studio did not like “Baker”—this was a dull name. But even the new name—“Marilyn Monroe”—did not seem real but a concoction like meringue, that would melt in the slightest rain.

Betty was always looking at herself in a mirror. Betty would look right past your head & if you turned, you would see it was her reflection she was looking at like in a window pane! Betty believed she was beautiful as Hedy Lamarr & that she would be a star soon—all she needed was the right break, the right audition.

Well—this is true! So many of us yearning for this “break”—which will make the sadness of our lives fade, we think—like shadows on a wall when the sun comes out.

& we will think then Now the sadness of my life is forgotten. Now—there will be a new life.

When Betty was in a bitter mood she said you have only a few years if you’re a female. By twenty-five if you don’t have a man to adore you & take care of you or a studio contract—you are through.

But Betty made a joke of it saying You are kaput! Finito! Dead meat!

When she died in that terrible way, Betty was twenty-four.

The saddest thing was—oh not the saddest maybe—but it was awful!—after Betty was found dead in a vacant lot in that terrible way a reporter for the Enterprise called her mother in Medford, MA & told Mrs. Short that her daughter “Elizabeth Short” had won a major beauty contest in California & please could Mrs. Short tell her anything she could of her daughter’s background—& poor Mrs. Short talked & talked all excitedly for an hour—(Betty would have thought it ironic, her mother seemed to have “forgiven” her having heard she’d won a big beauty contest!)—& at the end, the reporter cruelly told her that the actual news was, her daughter Elizabeth Short had been murdered…

Reporters & photographers like K.K.—some cruelty enters their veins, like a parasite—they are not “human” any longer in their pursuit of prey.

What do you know of your roommate Elizabeth Short’s life? “Secret” life?

But I could tell the detectives nothing that others had not told them. & I did not know nearly so much as others did—this was a surprise!

Who it could have been who’d taken Betty into captivity—if it was someone who knew Betty & had lain in wait for her—or someone who had never seen her before that night—was not revealed.

Three days before the morning she was found in the vacant lot dumped like trash, the kidnap must have happened. Betty had been last seen at the Biltmore Hotel at about 9 PM where she had gone to meet someone—maybe?

He must have h-hated her. This one. To hurt her so.

For days he had her tied up in secret, it was revealed in the newspapers. Tied by her wrists & her ankles & (it was speculated) hung “upside-down”—“spread-eagled”—& tortured before he k-killed her…

He slashed her face—that was such a pretty face—& just a girl’s face without the makeup—He cut the corners of Betty’s mouth so it looked like she was crazy-smiling—like a mask…

& then he—did something else…

With sharp knives & it was speculated “surgical tools”…

It is too terrible for me to say. It is too terrible to think of Betty Short in this way, who was my friend & my s-sister…

Oh Betty what has happened to you! Who would do such a thing & why—why to you?

Oh Betty I am sorry—every unkind thought I had of you, & that last night when you “stood me up”—again…

Oh Betty forgive me—maybe I could have helped you s-somehow.

I was twenty-two then. I was a model & had a “starlet” contract at 20-Century Fox—which the studio would let lapse at the end of the year.

Like Betty Short I was desperate for money & sometimes it did cross my mind—I would “do anything” for money…

Except of course—I would not.

BETTY SHORT:

Why he was so—angry!

This was such a shock to me I did not ever—

comprehend—& then it was too late.

You would say She asked for it. The Black Dahlia—a slut…

She took $$$ from men, that makes her a slut—

Well I say a married woman is a slut too then—taking $$$ from a man except it is “blessed” by the church—hypocrites I hate you & wish that I could be revenged upon you from the grave especially those of you who have PROFITED FROM THE DAHLIA’S TERRIBLE FATE.

The Bone Doctor did appear to be a “gentleman” & not like most others. He did appear to be well-groomed & thoughtful. Waiting for me in his shiny black Packard sedan outside K.K.’s studio on Vicente Blvd. & when I crossed the street in my black patent-leather high heels worn without stockings having some difficulty with the damn paving stones he called to me Excuse me miss would you like a ride?—& I knew who he was (for K.K. had mentioned to me, this “Bone Doctor” who paid to see girls photographed nude & who had a particular interest in Norma Jeane) though not his name of course—& when I saw him, the glittery glasses like some politician or public man, the smile that was strained but polite, the thought came to me This one is well-to-do & can be trusted—& maybe the thought came to me This one is well-to-do & can be handled, by Betty Short.

For always in that first instant if you are female an instinct comes to you: can this one be handled, or no. & if no you must flee.

But if yes it will be worth your while to advance to him, if he beckons.

& what happened was: Dr. M. drove me back to the Buena Vista in the beautiful black Packard car & said very few words to me—asked where I lived & was I a “starlet”—& stared straight ahead through the windshield of the car—(which I took note was sparkling clean & clear & the white sunshine of Los Angeles in January made my eyes water it was so bright)—& he said only that he was a resident of Orange County & had inherited a—(I am not certain of these fancy words, which I might mis-remember)—an “orthopedic surgical practice” from his father; but was an artiste in his heart & hoped to retire early & pursue his desires in that direction.

The starched white shirt-collar & cuffs—the stubby hands but nails manicured & very clean—the pressed trousers & shiny shoes not scuffed or battered in the slightest—the third finger of the left hand with a just-perceptible paleness & impress where—(Betty Short had a sharp eye for such clues!)—a wedding band had been removed—all this I absorbed without seeming to be staring. My hands were clasped on my knees & my nails were dark-maroon polish—to match my dark-maroon lipstick—& my face powdered very white like (as K.K. would say part-sneering & part-admiring) a geisha. & I am wearing black of course—a black satin flared skirt & a lacy black blouse & black “pearls” at my throat—each of these borrowed from friends at Buena Vista except the “pearls” a gift from Mr. Hansen—& I am smiling & mentioned to Dr. M. that the concrete in the sun glittered in my eyes reminding me of the snow of Medford MA of my childhood & Dr. M. said You are from New England, Betty?—(for I had told him my name Betty Short by this time)—you do not seem like you are from New England.

Where does it seem that I am from, then?—I asked him with a sidelong smile.

He continued to drive the Packard slow along the street as other vehicles passed us & his forehead furrowed & he said finally—I could not guess. I would think that you are born of Hollywood—you have stepped out of a movie—or of the night.

Out of the night—this struck me, it was a strange thing to say & flattering to me & so I thought He is attracted to me. He will fall in love with me—he will be in my power.

& I smiled to think how K.K. would be surprised! That bastard treating us like shit on his shoes & taking such advantage of us.

Dr. M. let me out at Mr. Hansen’s stucco “mansion” (as it would be called in the newspapers) asking did I have a roommate & I said yes & Dr. M. said with a catch in his throat Is your roommate that little blond girl—“Norma Jeane”—& I had to say yes.

What is her last name? he asked & I said stiffly I am not comfortable talking about Norma Jeane, she is so dear to me. I’m sorry.

Dr. M. asked me for my phone number—he did not ask for Norma Jeane’s phone number—(which was identical to my own in fact—the phone did not belong to either of us but was shared by girls on the second floor of the house)—& so I thought maybe he would call me; & hoped that he would, for he did seem like a “gentleman” though old & starched-stuffy as hell but clearly he had $$$ & seemed kindly disposed & not a tightwad. & the next day a call did come for “Elizabeth Short”; & he was shy at first clearing his throat & saying did I remember him?—& I said yes of course—& he said he would like to see me again & also—if it was possible—my friend Norma Jeane; he would like to take us to dinner that night to a nice restaurant he knew of, on Sunset Boulevard, if we were free—& I said Yes I believe we are both free, Norma Jeane & me—yes. & a date was made, he would come to pick us up at the Buena Vista at 7 PM.

& at 7 PM I was dressed & waiting—from our friend Phoebe who was away I borrowed a beautiful black satin dress with a “plunging” neckline—around my neck the black “pearls” Mr. Hansen gave me—& my black patent leather shoes & silk stockings—(also borrowed from Phoebe, who had more than one pair)—& there came Dr. M. exactly on time—no one saw me depart, I think—I hurried to the curb & slipped into the front passenger seat of the shiny black Packard came & hoped not to see in the man’s face a look of disappointment that Norma Jeane was not with me—(for I did not ask Norma Jeane to join us of course—& I would not have told Dr. M. that Norma Jeane was not coming for Dr. M. might have said he would not wish to see me alone)—& quickly said Norma Jeane is not free after all—& he said Oh—but where is she?—she is not coming with us?—like he was hard of hearing & I said in a louder voice smiling at him to put him at ease for he seemed stiff & unyielding—Oh Norma Jeane leads a crazy life, you see—she has a former husband very jealous of her—he is her “ex” but he is always spying on her & threatening to “beat to a pulp” her man-friends & after this, Dr. M. said nothing more of that simpering baby-face Norma; but paid attention to me.

Before the dinner we would stop by a place he knew, Dr. M. said. For he had forgot something essential—his wallet. (He said with an awkward wink.) & asked would I come inside & I said Oh—I don’t know…for I did not want the “gentleman” to think that I was not shy & fearful of being alone with a strange man; & he said he was an artiste in his heart & was learning photography too—he would like to take photographs of me he said—for I was so beautiful—But only with your consent, Betty. & we entered into this house on Norfolk St.—which did not seem like a nice enough house for Dr. M. to be staying in & also did not seem to be furnished—& a strange smell came to my nostrils, a chemical-smell like some kind of strong disinfectant—but I was thinking how Dr. M.’s hair was the color of a sparrow’s feathers & Dr. M. was not very tall so that in my high heels I was almost his height—& he was not a muscled man but lean & stringy—I was smiling thinking I could handle him if necessary; & he said, taking my elbow to help me up a step, in the most gentlemanly way as we further entered the house he said Betty, may I kiss you? Just once please may I kiss you, you are so beautiful Betty Short & his breath was quickened & his eyes moist & intense behind the glittery glasses & I leaned to him & held my breath against the starchy-stuffy smell & shut my eyes knowing how gorgeous the Black Dahlia was at this time of dusk, & in the wan light of a single lamp inside, & lifted my lips to be kissed that were dark-plum in hue & “kissable” as Hedy Lamarr’s. & I thought—Maybe he is the one. Maybe—this will be the one.

NORMA JEANE BAKER:

In the Top Hat I waited for Betty & she did not come.

Oh gosh I was getting mad at Betty!

Ohhh damn you Betty I was thinking!

& my heart hardened against her for Betty had promised she would join me—there were two guys wanting to buy me drinks—& I needed to get home because I wanted to wash out some things & dry them on the radiator & in the morning iron—my flannel skirt & my white cotton eyelet blouse—I would wear these to acting class, the others wore slacks & cheap sweaters—I had the philosophy It is always an audition, you don’t know who is observing you & so I needed to be in bed by midnight & needed at least seven hours sleep or there would be blue shadows beneath my eyes but damn Betty would come into the room later, I knew—for Betty was always coming home late & stumbling-drunk—& if you scolded her she would cry Go to hell! Screw you! like she did not even know me & did not care for me any more than she did for the other girls in the Buena Vista.

For her heart was broken Betty had said, she’d been engaged to a wonderful man she had loved so much, Major Matt Gordon of the US Army Air Corps & they were to be married several years before but Major Gordon died in a plane crash far away in India & his body never recovered & Betty confessed she’d been so broken-hearted & a little crazed she had told her fiancé’s family that they had actually been married—in secret—& had had a little baby that had died at birth; & the family refused to believe this & scorned her & kept her from them & finally pretended that “Elizabeth Short” did not exist—so she had ruined her chances with the Gordon family, & was sick to think of it—So much that I have lost, I hate God sometimes He has cursed me. & I said to Betty Don’t ever say that! Don’t give God any reason to hurt you more.

& Betty cried in my arms like a little girl as no one had ever seen her except me—for Betty did not wish anyone to know her weakness, she said—& swore me to secrecy, I would never tell; & I held her & said We can help each other, Betty. We will!

But then, you could not trust her. My new lipstick missing, & one of my good blouses—& I knew it was Betty doing what Betty did which was take advantage of a friend. & I knew a time was coming when we would split up—& Betty would have no place to stay for the girls of Buena Vista were getting sick of her & then what? Where would she go?

That January night it was cold & rainy & I came back to the Buena Vista finally in a taxi by 1 AM & climbed the stairs to the second floor & there was the door to our room shut & I thought Maybe Betty is here: maybe Betty did not feel well & did not go out at all tonight—& when I came inside I stumbled in the darkness & groped for the light switch & I could see someone in Betty’s bed sprawled & helpless-seeming—limp & not-breathing—& when I managed to switch on the light I saw that it was just bedclothes twisted in Betty’s messy bed, coiled together like a human body.

“Oh Betty! Gosh I thought it was you.”

School for Murder

Francine Prose

All summer I kept hearing people say desperate. Actors are always eavesdropping on strangers, picking up phrases, gestures, stuff we can use. And wherever I went, whenever I listened in, I heard: desperate, desperate, desperate!

At the pharmacy, I heard a dame say, “Hon, if my landlord evicts me, things are gonna get desperate.” A buddy of mine said, “If my girl in New York doesn’t call pretty soon, man… I’m desperate.” I overheard a bum on Skid Row say, “That jerk better pay me back, I don’t care how desperate he is.”

The funny thing was, this was 1947. Desperation was yesterday’s mashed potatoes. Happy days were here again. The Depression was over, the war was over, we’d dropped the bomb, we’d won. Guys like me had defended our country, and girls appreciated that. I’d been in the battle of Okinawa. That was pretty much all I had to say and gals would feel like it was their personal mission to heal whatever was broken.

In L.A., the studios were popping out pictures like bunnies having babies. L.A. was the place to be! As soon as I got discharged, I spent a week with my mom in Seattle, then stuck out my thumb and headed south. Hollywood, here I come!

For a while, it seemed I was getting paid back for risking my life and seeing things I shouldn’t have seen. Horrors I kept seeing in those nightmares I’d wake up from, drenched and shaking.

At first, good things were coming my way. No great things, I wouldn’t say great. But I was making a living.

Everyone knew about the stars who’d started out as extras, or with one-sentence walk-ons that made some producer sit up and ask, “Who’s that? Get me his agent on the phone.” Bit parts were a foot in the door. I was glad to get them.

If you’ve seen enough pictures from those years, you’ve probably seen me. I’m the croupier in that scene where Barbara Stanwyck wins all that money. I’m a ranger out searching for the kid right before Lassie finds him. I give Bing Crosby directions in Road to Utopia.

For a while life looked rosy. Then… my luck turned. People lost interest. If I’d had a dollar for every time I heard the line, “My agent stopped returning my calls,” this story wouldn’t have happened. I wouldn’t have needed the money. But it wasn’t about the money. Or maybe a little about the money. Maybe the reason I kept hearing people say desperate was because it described my state of mind—and my bank account.

At Gatsby’s, the actors’ bar where my unemployed friends and I hung out, the clientele was so desperate we never used the word.

Chuck was my agent at the time. The one not returning my calls. The boys at Gatsby’s gave me advice. They said, “Vince, you need to get heavy with the guy.” You could ask why I took the advice of other unemployed actors. But I did. I made a real pest of myself, called my agent twenty times a day. His receptionist hated my guts. But she had to pick up the phone.

Chuck finally called back. Maybe his receptionist had read him the riot act. He’d blackmailed someone into blackmailing someone into getting me a part.

I’d been drinking the night before, needless to say. Chuck called at nine and gave me the address of a studio. Not one of the majors—but not somebody’s garage in Pasadena, either.

I asked what the picture was called. He said, “Not Guilty.” Then louder, “Not Guilty! With an exclamation point!”

I asked when I could see the script. Chuck said he didn’t have one. I should just show up on the set and they’d take it from there. Then he said, “To sweeten the pot, the director is Harry Wattles.”

“You’re kidding me,” I said.

Everyone knew Wattles’s name. He’d been a rising star who’d fucked himself, or more specifically, the girlfriend of some big-shot producer. Now he’d been busted down to doing low-budget noir films. But everybody saw them. He had a reputation.

Chuck said, “You should be paying them for a chance to work with Wattles. Though I don’t know how I’d calculate my commission on that. Relax, big guy. I’m joking.”

The shoot was in Pasadena on a soundstage that smelled like a cross between a dead rat and a recent electrical fire. Everyone was running around—frazzled, yelling their heads off. But you couldn’t tell what anyone was doing, and they didn’t seem to know, either. In other words, a film set.

Wattles looked even stranger than he did in his photos. It was weird to have a name like Wattles and look like a hammerhead shark. It was also weird to look like that and get any girl you wanted.

Someone intercepted me on my way to Wattles, someone else intercepted that person, who was intercepted by the one who actually got to talk to Wattles. Wattles came over and shook my hand. He was surprisingly friendly, but like a friendly shark smiles before he chews your leg off.

He said, “Nice to meet you. Love your work.”

“You do?”

“Yes,” he said. “Sorry we couldn’t find you a part with some meat on its bones.”

“Gee, Mr. Wattles, I’ll take a skinny part.” I sounded like a moron!

“But I have to tell you, Vince.” Wattles was one of those guys who says your name every five seconds. I never trusted guys like that, but maybe I’d been wrong. “Your role is crucially important. It sets the tone for the whole picture.”

I was definitely wrong. Harry Wattles was a prince.

“Really?” My voice was climbing. I thought, You just screwed yourself out of a job unless they’re looking for boy sopranos.

Wattles said, “It’s not a speaking part. I assume Chuck made that clear.”

“He did.” I should have gotten an Oscar right then for pretending that I knew.

Wattles handed me on to a dame named Celia who outlined the plot of the movie. Jimmy Parker was playing the hero. Celia couldn’t believe a big star had agreed to do such a small picture. She guessed that it was Wattles. Actors wanted to work with him.

“So what’s my part?” I asked.

Oh, right. Well, apparently, Jimmy says goodnight to his girlfriend, gives her a kiss at her door. She invites him in for a nightcap, but he has to work early. The girl walks into her apartment. I’m there. I turn and see her. I grab her around the neck and strangle her dead. The rest of the movie is Jimmy Parker being accused of the murder he didn’t commit. I did the crime, but you don’t see me again. Grab, scream, I’m out of the picture.

Celia obviously hadn’t heard about my setting the tone.

I said, “Who plays the girl?”

“Iris Morell,” she said.

“Iris Morell gets eighty-sixed in the first scene?” Iris was the actress Wattles stole from the big-shot producer. The producer made a few calls, both their careers went down like the Titanic. The gossip was they were having problems, that lately she’d been seen around town with the big-shot producer again. Maybe they were working things out.

Everyone gossiped about everyone else, most of it was bullshit. On the other hand, Iris had starred in most of Wattles’s films, but now she was dying so early in the picture that if you were in the lobby getting popcorn, you’d miss her completely. That should have told you something—that is, if you understood that secret Hollywood language.

Celia weighed her annoyance at having to deal with me against her desire to show someone, even me, that she had the scoop on some hot gossip.

“Bettina Raymond plays the tough girl reporter who shows up after the murder and believes in the guy and helps him clear his name. People say that Wattles and Bettina are a hot item, but y’know, people say anything.”

“People are desperate,” I said.

Celia looked at me, wondering if I was nuts or just trying to sound interesting. She went for the second option—and sent me on to costume.

I don’t know why I expected Harry Wattles to stop by for a chat. I don’t know why I thought someone would give me some direction before we started shooting. I was asking the make-up girl. That’s how desperate I was.

“Don’t I need to know why I’m in the apartment? Am I stealing something? Looking for something? Was I hired to kill her? Why couldn’t I just push her and run out the door?”

She said, “You better ask Mr. Wattles.”

I did ask Mr. Wattles. He seemed irritated that I asked. Or maybe it was a bad moment. Iris Morell was on the set. I couldn’t help goggling at how gorgeous she was, and Wattles saw me looking. Which added a personal note to our professional discussion.

“I don’t mean to be rude,” Wattles said. “But no one needs to know why you kill her. No one cares why you did it after the scene is over. The point is that our hero isn’t the killer. You are.”

“I understand that,” I said. “But while I’m in her room… am I doing something or just waiting?”

“Jesus Christ,” said Wattles. “Isn’t that the first thing they teach you in acting class? Don’t they teach you how to wait?”

It turned out I had plenty of time to wait. Wattles was famous for how long he spent getting the lighting—and the shadows—just right. He was a pretentious son of a bitch, but his movies looked great. That’s what I kept telling myself. I was lucky to be there.

Finally Wattles got what he wanted or else hallucinated the voices of the money guys yakking in his ear.

“All right, Iris,” he said. “Kiss kiss goodnight. Jimmy drives off. But you can’t get him out of your head. It’s been a fabulous date. And now you’re going to brush your teeth, put on the lacy nightie, crawl in bed, no funny stuff under the covers. That’s what you’re thinking as you walk into your apartment. But something’s a little… off. Maybe you smell something, maybe you sense it. You’re getting really nervous when the guy sneaks up from behind. He grabs you and turns you around. You look into his eyes. You’ve never seen him before. You scream and beg for your life. Cut to his hands around your neck with the maniac squeezing and—”

“Excuse me… So you’re saying I should play this like a maniac?”

“Hold everything,” Wattles said. “Laurence Olivier here wants to know our thinking about Othello. Look, buddy, just kill the dame and pick up your check so we can move on to the suspicious cops showing up at Jimmy’s. I’d like to not go over budget for once, if that’s okay with you.”

“Sorry,” I said. What if the word got out that I was hard to work with? But the word wouldn’t get out. Wattles wouldn’t remember my name.

“Okay, I’m ready,” I said.

“Thank God,” Wattles said. “All right. Let’s see how it looks.”

The cameras started rolling. Iris unlocked the door and walked through her living room into her bedroom. Her feet hardly touched the ground, that’s how in love she was with Jimmy.

I tried not to look at Wattles. I didn’t want to think about how I would feel if she was the girl I’d given up everything for, and now she was going back to her fat-cat producer?

Iris was wearing expensive perfume, I hadn’t counted on that. It threw me.

I thought about the six months since my girlfriend Caroline left. And she’d said I was starting to scare her. She wouldn’t say why, which made me even madder. I used to tell her, Honey, I’d be fine if I could just get some work and stop feeling so desperate.

Iris pulled her dress above her head. I crept up behind her. That beautiful face gazed up at me. Tears of fear and horror wobbled in her eyes.

“All right,” said Wattles. “Grab her throat.” The girl’s real-life boyfriend was ordering me to kill her, and I couldn’t do it.

“Excuse me?” I said. “Excuse me? I think I need a minute.”

Iris jumped back like I’d slapped her. Wattles stalked onto the set, his hammerhead slicing the air like the figurehead on a ship.

“I can’t,” I said.

“Can’t what?”

“Kill her. I can’t kill her.” I knew I was probably losing my job—probably the last work I was ever going to get in this town.

“All right,” Wattles said. “I get it. You need motivation. Okay. You are a maniac. An escapee from a mental asylum. If the girl reports you, you’ll be back in maximum lock-up. So you kill her. That’s it. End of story. Let’s take it from the top.”

We began again. The casual kiss between Iris and Jimmy wasn’t as casual as before. You could feel the strain. Iris was no longer the unsuspecting innocent coming home, but an actress trying to do a scene with a lousy actor. Me. You could see it in her eyes: not with fear of being murdered but the fear of not being murdered.

“I can’t,” I said. “I’m not feeling it. Iris, Mr. Wattles. Can I talk to you privately for a second?”

Wattles looked as if I’d asked if I could stick needles in his eyes. He yanked Iris over to the edge of the set, and I followed.

“I have to tell you something,” I said. “It’s not something I usually tell people.” I crossed my fingers behind my back. Another Oscar, please. So what? It was true. I mean the story was true.

I said, “I was in Okinawa. I saw a lot of bad things. Really bad.”

“Like what?” asked Iris, all sympathy and concern.

Wattles looked blue murder at her.

“I had this crazy commanding officer. Lieutenant Mather. I saw him shoot an old Japanese woman point blank in the head.”

“Why?” asked Iris.

“He wanted to warn the people in town what he would do to spies.”

“That’s terrible!” said Iris. That’s what women always said. I loved women, I really did.

“And?” said Wattles. “What the hell does that have to do with my picture?”

“Harry!” said Iris.

“I have a condition… sometimes it all comes back. Just now… I think the memory was telling me I shouldn’t kill. Not even for a part.”

I fell silent and waited. I waited to hear Wattles tell me to get out. Instead he muttered to himself, “Is this guy kidding?” Then it was like a cartoon light bulb went on over his head. He thought a moment, then said, “Okay. Let’s move on to the next scene.”

I hesitated. Was this the moment when I was supposed to thank him and leave?

“Stick around,” he told me. “Watch the shoot. If you’re not busy later, we can go for a drive.”

The rest of the afternoon passed, as they say, in a fog. I got to spend hours watching Harry Wattles at work, getting genius performances out of second-raters like Jimmy and Bettina. Every direction he gave them transformed the picture from dime store crap into art!

It was late when Wattles said, “I can’t see straight. Let’s start fresh in the morning.”

I was sure he’d forgotten me, but sure enough, he told Celia to find me and ask if I was ready. I watched him give Bettina a kiss and tell her he’d see her later, I watched Iris hurry off, probably into the big-shot producer’s arms.

Wattles and I stepped outside into the dark summer night. A fast, parched wind brought the smell of something burning in the distance.

“Crazy wind,” Wattles said. “Drives you nuts.” The valet brought his car around. A red convertible MG.

“Most guys like me have a driver,” he said. “But I like the feel of the wheel. You trust me, right?”

“Why wouldn’t I?” I said.

“How long have you been in L.A.?” he said.

“Since Okinawa.”

“Right,” he said. “Okinawa.”

He drove down from Pasadena, west on Hollywood Boulevard, then onto Mulholland Drive. The city glittered beneath us.

“Pretty, huh?” he said.

After a while I got up the nerve to ask, “How come you didn’t fire me? You know I won’t to be able to do that scene.”

Wattles drove on, taking the curves a little hard and fast, maybe, but he knew what he was doing. He was silent for so long I thought he hadn’t heard.

Finally he said, “I saw something in your eyes. I don’t want to sound like a sap, but call it respect for human life. I thought, Jesus Christ, if I could bottle whatever that is and sell it, all the world’s problems would be solved. No more murders, no more wars. You couldn’t kill that girl, no matter how much you wanted the job. You couldn’t even pretend. And I admired that, I respected that. It made me admire you. And when I heard about your being a veteran… I have a bad ticker. Skips one beat out of a hundred. But it kept me out of the service.

“Like I said, I saw something in you. It made me want to help out. I can’t rewrite the script or give you another part. But I can help you play this one, and you can go on from there. I could list a dozen big stars, who got famous playing killers. Ever hear of Burt Lancaster? George Raft? Jimmy Cagney?”

“Sure,” I said. “Who hasn’t?”

“It’s something you can work on,” he said.

For a second I had the creepy feeling he was going to give me the name of a shrink who would get me over my traumas. Everyone in Hollywood was suddenly getting their heads shrunk, the most sought-after Hollywood head docs were starting to out-earn the producers. Me, I couldn’t see myself lying on some bearded guy’s smelly couch and boring us both with my problems.

“There’s a class,” said Wattles. “An acting class. This French guy in Santa Monica… he specializes in teaching actors how to kill. Because let’s face it: you watch enough pictures like ours, you might think no one likes anything better than murdering someone. Preferably another actor. But the truth is, and let’s be grateful, it doesn’t come naturally to most people. Not even actors. Good actors. Big talents. Most people don’t enjoy killing, and if you can’t get someone to do the crime and look like he enjoys it, how are you going to make crime films?

“So my man in Santa Monica, he finds himself a niche. He trains actors who have gotten parts or want to play killers. And they need a little help. A gentle push. Training. Motivation.”

“I’d like to take a few classes,” I said. “I used to take classes when I lived with my girlfriend Caroline. She and I took them together.”

“The beauty part is,” he said, “this guy I have in mind—it’s a one-shot deal. One class is all it takes. He’s a master at what he does, like some kind of magician. One class and you come back to the set and do what needs to be done. We won’t have to interrupt production, just juggle the schedule a little. I’ll call the guy for you and set the whole thing up.”

My heart sank. “How much is that going to set me back?”

“I’ll write it into the budget.” Wattles zoomed around a sharp curve. The MG spit and kept going. “I’ll level with you. I already set it up. I called before we left the set.”

“Gosh,” I said. “That’s so generous. I don’t know to repay you.”

“Just go to the class tomorrow, then come back on set the next day and prove me right. I meant what I said about you setting the tone for the picture.”

He asked where he could drop me. I was embarrassed for him to see where I lived, in one of the crappy bungalows at the Flamingo Gardens. I told him to leave me half a mile away, I said I wanted to walk, clear my head. He said he couldn’t imagine that hot wind clearing anyone’s head.

As I got out he gave me the acting coach’s card. He told me to be there tomorrow at ten, and I said I would.

I’d been having nightmares, on and off, since the war. But that night was the worst. Sometimes I was in Hollywood, sometimes in Okinawa. Sometimes the hammerhead shark face of Harry Wattles turned into the fat blubbery puss of Lieutenant Mather. I dreamed that Mather was ordering me to kill someone. Only this time the victim was Iris Morell and not the little old Japanese lady that Mather shot. The little old Japanese lady appeared in another dream. Directing a picture. Wattles, Iris, Bettina, Jimmy, and I were all starring together. This was a nicer dream, or it would have been if half the old lady’s head wasn’t half torn away, like it was on that day I’d been trying to forget.

I woke up with a headache, as if I’d been drinking all night, though I hadn’t touched a drop. I wanted to be clear.

By the time I found the school, the crisp business card that Wattles gave me was gray with fingerprints and creased by all my taking it out and looking at it and putting it back in my pocket, as if I couldn’t remember the few words in simple black type.

Professor Gaston Landru. A Santa Monica address.

There wasn’t even a phone number. That’s how classy the operation was. You had to know someone special to find out.

4130 Eucalyptus was a three-story office building, a pointed roof and a tower like a medieval castle. Peeling yellowed white plaster. I was half an hour early. I drove around the block. Not that I could afford the gas, but I couldn’t sit still.

The classroom was up a few flights that reeked of cheap-carpet mildew. The office—the school, I should say—looked like the place where a seedy PI or loser lawyer would work, in a picture like Not Guilty! On the door a sign in flaking black letters said, MAITRE G. LANDRU.

I knocked. No one answered. I pushed open the door to find a dozen men and women—mostly young, attractive—sitting in a circle of folding chairs. It looked like the AA meeting that Caroline dragged me to before she walked out. The last one of those I went to. I told her, it wasn’t for me.

Landru’s students turned around and gave me the hairy eyeball. I had the feeling they were expecting me. And then an even crazier feeling that they were actors paid to play actors learning how to act. It wasn’t a useful thought. It wasn’t going to help me get the most from the class.

I nodded and smiled and shook it off and focused on Professor Landru.

Hello, Central Casting? Can you get me an arty French guy? Slight, quick, pencil moustache, little goatee, paisley ascot. Even a beret. But even with all those clothes on, he was what they call a cool customer. The only one not sweating.

His thick French accent felt put-on. One of those guys, you wake him up in the middle of the night, and he speaks the king’s Brooklyn English.

In fact as he started talking—and talking and talking—the accent migrated from the Left Bank of the Seine to the Bronx River Parkway. He sounded like a friend of my dad’s. And why was I taking lessons from a guy who couldn’t even keep up an accent? Then I remembered. He wasn’t an accent coach. He taught people how to kill.

“Take zat chair,” said Professor Landru. I sat between a red-haired girl in a yellow dress and a young guy in jeans and a denim jacket. Neither of them looked at me. It was like they were afraid to.

The professor introduced himself. Then he basically ran through every film we’d ever heard of and a lot we hadn’t, every famous and obscure picture made in the last thirty years. That is, every picture that featured a homicide.

This strangling, that poisoning, that shooting. He boasted about his work. The machine guns that gangsters would never have picked up without his coaching! That woman pushed out the window. “Defenestration,” he said. “The defenestration of Miss…” He mentioned an actress whose name made everyone gasp. That was early in her career, but there were many actors—he listed a dozen major stars—who’d required his coaching.

“What would we make films about if there were no murders?” He gave a little giggle. “But you wouldn’t be here if you didn’t understand that most human beings don’t want to murder other human beings. It’s not as natural as we might think. It… goes against the grain.”

I sure didn’t think it was natural. That’s why I was there. The other students were all nodding. And scribbling in their notebooks.

“It’s something that must be learned,” Frenchie said. For personal reasons he preferred not to discuss, this had become his specialty.

Today we would run through a series of exercises designed to tap into certain feelings. We will draw on our own experience and recall sense memories we’d forgotten or never knew we had…

It was always easier to demonstrate than describe. The professor asked for two volunteers. Two girls waved their hands in his faces. Both had ponytails and smart little secretary dresses.

“You’re not sisters, are you?” he said.

“No sir,” they said. “We never met before.”

“Good. I want you to play sisters. Fiendishly jealous since childhood. And now you are both in love with the same man. One of you”—he pointed at one, at random—“is going to strangle the other.”

You could see why these dames needed lessons. The victim bugged her eyes and shrieked. The killer sister puffed herself up like a robin whose worm the blue jay has stolen.

Landru stopped them and said to the killer girl, “You do have a sister, don’t you?”

“Sure. How do you know?”

“I have my little ways. Now I want you to remember back to when you were a little girl, and your sister first came into the house. Back to when you first realized your parents loved her more than you. Back to when you found out they’d given her your crib, your stroller, your toys—”

“How did you know about that?” She looked as if she’d caught the professor reading her diary.

“Oh please,” he said. “Acting requires being something of a mind reader, don’t you think?”

I guess the girl must have thought so. The other “sister” must have, too. I saw a funny look in her eyes. Like she was actually frightened.

“Concentrate,” said Professor Landru. “Remember. Put yourself back in that girl’s shoes. That little girl who was you.” He paused. “Now play the scene again.”

This time the killer sister flew across the room like a cat and dug her claws into the other sister’s neck. It went on for quite a while before we realized what was happening. Then two guys got up and dragged one girl off the other, who was yelling with real terror.

When things settled down, when the actresses stopped hyperventilating, and our hearts stopped slamming around, Professor Landru said, “Of course an important part of the training is learning to keep things under control. Oh, and by the way… The scene you’re playing doesn’t have to correspond directly to a situation in life. You needn’t have wanted to kill your mother to play a son who murders mom for the inheritance. All that matters is the emotion. Shall we try another scene?”

This time it was harder getting volunteers. We’d seen what his method could do, and no one was so eager to stand up and kill or be killed. Almost kill or be killed. Still, it was school. Harry Wattles had paid my tuition. The others had probably paid their own way, and they were damned if a little squeamishness about murder was going to keep them from getting their money’s worth.

He called up two women and a man. He told them the man was going to poison his sisters because they wouldn’t let him marry the only woman he’d ever loved. They’d driven him into this corner from which he could only fight his way out. Fight to the death.

The actor who stepped up was the guy in jeans who’d been sitting next to me.

“Take a good look at this fellow,” said the professor. “You’re looking at a future star. The face of an angel grafted onto the soul of a street criminal.”

The rest of us checked him out. He wasn’t any better looking than half the guys in Hollywood. By now a lot of us were wishing he was the one getting murdered.

Professor Landru sat them down at a table, the man facing the two women. The girls had their backs to us.

The professor said, “Young man, was there ever a time in your life when you felt totally cornered? Completely trapped? With no hope of escape?”

The guy gave him a long look.

“Jesus Christ have I,” he said.

“This is then,” said Professor Landru. “Those women are trapping you. And there’s only one way they’ll let you go. This is their tea. This is the poison. Did I mention you’re a doctor? No one will ever find out, it’s the perfect crime. You just have to do it.”

I don’t know what I picked up on first. Some new tension in the women’s shoulders, the look on the guy’s face. That innocent kid in denim wanting them to die so he could get out of that corner. It was so real we couldn’t look. Everyone stared at the floor.

Landru said, “We don’t need to see the girls turn blue to know that our experiment has worked… Before we go any further, there’s another lesson, another part of the training I call ‘the wait.’ It’s not always in the script. As you know there are plenty of films in which the killer only gets caught in the last scene. But eventually he does get caught. Your childish film board insists.

“So there comes a moment after you have committed the crime, the moment I call ‘the wait.’ Either you will come to your senses and sink down into the nearest chair and wait for the cops to come. Or you will run till they catch you—and then wait to see what happens next. In both cases, the wait is the same. Sometimes sooner, sometimes later. And it takes practice. Because unless you can imagine the crime, as we’ve been doing today, you cannot imagine the guilt, or the expectation of punishment, the sorrow or the relief.

“Let’s start with the last gentleman. You committed the perfect crime. But somehow the cops found out, and they’re coming to get you. Slump in that chair across from your dead sisters and contemplate the enormity of what you’ve done and what lies ahead in the future.”

The actor slid down in the chair. It seemed to me I could see the history of Cain and Abel and of every crime that ever happened playing over his face. I was thinking about Okinawa—

“Thank you,” said Professor Landru. “And now before we stop, let’s do one more scene.”

I knew he was going to call on me. I knew it as well as I knew anything that ever happened. I was nervous, I won’t lie. But I thought, That’s what I’m here for. That’s why Harry Wattles is paying, so I can go back there tomorrow and pretend to kill Iris Morell and set the tone for the picture. And maybe there will be some producer somewhere who will see me and sit up in his chair and say, “Who’s his agent? Chuck? Get Chuck on the phone!”

I could practically hear the producer’s voice as I walked to the front. The professor asked a girl to come up, a girl who looked so much like Iris that I had to blink twice to make sure. That was a coincidence. But it made sense, in a way. Maybe Wattles had given the professor a heads-up about the dame I had to finish off.

“All right,” said the professor. “The two of you stand facing each other. A few feet apart.”

The girl and I looked at each other. I was going to fail. I couldn’t even pretend to hurt this innocent stranger.

“Who is she?” he asked me. “And why do you want to kill her?”

“I don’t know,” I said. “That’s the problem.” I couldn’t kill a pretty blonde. I couldn’t even fake it.

“All right,” he said. “Take a little journey with me. I’m seeing a jungle scene; I’m seeing a little redheaded guy in a uniform. Short and fat and pasty. I’m seeing him with his mouth wide open, yelling, shouting, shaming people, insulting them, a regular bully. Concentrate.

“Now look at her. At the girl! It’s not her you’re seeing. When you look at her, you’re seeing him. Now tell us how you feel.”

“Dizzy,” I said. It was like the sound of his voice had hypnotic powers.

As I looked at the girl who looked like Iris, her face sort of melted away, and in its place was the face of Lieutenant Mather. Just like the professor said. I watched him yelling and shouting and bullying everybody—especially me. I saw him getting ready to shoot that old woman in the head. I realized, This time I could save her…

I dimly heard the professor’s voice, asking, “How you feel?”

I said, “I want to kill him.”

“Do it,” said the professor.

I lunged at the figure in front of me. I put my hands around his neck and squeezed.

The next thing I knew, they were pulling me back.

“All right, it’s done,” said Professor Landru. “You’ve killed her. You’re guilty. Now wait.”

The professor pushed a chair over to me, and I sat down and waited to be taken away to a trial, life in prison, execution. It didn’t matter. I’d done what I had to do. What I wanted to do. What I should have done in Okinawa.

I heard a guy say, “Are you okay?” But he wasn’t asking me. The girl I’d played the scene with—the one who looked like Iris—was rubbing her neck and glaring at me as if I’d actually tried to kill her.

“Hey, I got marks on my neck!” she said. “What the hell am I going to tell my boyfriend?”

“Tell him you played a scene with a real actor,” said Professor Landru.

I stood and faced the rest of the class, and they burst into applause.

“Bravo,” said Professor Landru. “There’s not a doubt in my mind that tomorrow you can go back on the set and do what has to be done.”

Maybe you would have thought I’d have bad dreams that night. But I slept like a baby. I woke up feeling terrific.

Walking back onto Harry Wattles’s set, I felt like a new man. Wattles asked how I liked Landru’s class. I said it changed my life. I couldn’t thank him enough.

He said, “Don’t thank me. When I’m watching the dailies, and I see you doing what I know you can do, and the picture takes off from there… that will be thanks enough.”

Just like yesterday, we set up the scene. Iris kissed Jimmy good night. I waited for her in the bedroom. She was back into her part again, this time she didn’t seem nervous. She’d fooled herself into forgetting me. She was an actress, acting.

I sneaked up behind her. I turned her around. She looked up into my eyes. I saw her face, and her face disappeared, and I saw Lieutenant Mather.

I lunged at her. I grabbed her throat and shook her. I squeezed till I felt something crack, and I kept on squeezing. I heard screaming and shouting, but I dragged Lieutenant Mather over to a corner of the set and kept squeezing until he was heavy in my arms, and I put him on the ground.

I looked at the body on the floor. It wasn’t Lieutenant Mather. It was Iris Morell. Everyone was running around and yelling. Harry Wattles came over.

“What have you done, you crazy son of a bitch? What the hell have you done?”

I kept thinking, He’s acting.

“She’s dead,” said Wattles. “Can’t you see that? You’ve killed her, you maniac!”

“Dead?” I said.

“Dead,” he repeated. “You strangled her, you fool!”

I had one of those moments of clarity.

Wattles had set me up. He’d sent me to Professor Landru’s. He’d sensed something about me, something dark and desperate. He knew that I could kill—that I wanted to kill, that I could kill with pleasure—if someone pushed the right buttons and pulled out all the right stops.

But what could I do? I couldn’t prove it. I couldn’t blame acting class. It was me who’d killed her, all these people saw me do it. It was my fault. I was guilty. I’d just been so goddamn desperate.

There was only one thing to do. I sat down and waited.

What’s in a Name?

Jonathan Santlofer

I start feeling it in the middle of the afternoon and it gets worse by night, pictures flashing inside my head, that gnawing feeling in my gut like I’m starving, obsession building like steam under the goddamn L.A. streets, ready to blow.

I stare at the cracks in the ceiling of this lousy rooming house on Hollywood Boulevard and imagine Bugsy Siegel getting shot while he’s reading the L.A. Times in his girlfriend’s Beverly Hills living room, just sitting there minding his own business, and I think: No one’s safe nowadays, and picture it—four bullets blasting Bugsy’s head apart, one blowing his eyeball clear across the room, according to the papers, and I imagine his girlfriend, Virginia Hill, coming home from Paris, where she’d gone after she and Bugsy had one of their big fights, and finding it in a corner half under the rug, wondering at first what it is, then going all sick. I know everything there is to know about Bugsy, like his real name, Benjamin Siegelbaum, and that he’s Jewish, from Brooklyn, a poor kid who made good, and I admire that, the way he had an idea to build a gambling casino in the middle of the desert and no one could stop him spending millions that he didn’t have, which is what got him into trouble. The Flamingo opened last Christmas with all sorts of hoopla, in every paper, even a newsreel, movie stars like June Haver and George Raft there for the opening, though it didn’t go so well on account of it not being finished and the air-conditioning in them fancy suites not working and everyone mad as hell at poor Bugsy.

Me, I would’ve given anything to be there, hobnobbing with movie stars and the likes of Lucky Luciano and especially Mickey Cohen, real name Meyer Harris Cohen, also Jewish and a poor kid, like Bugsy. I know all about Mickey, too, that he trained as a boxer and wasn’t half bad but gave it up when he got in with Meyer Lansky, the mob’s accountant, real name Majer Suchowliński, again Jewish, and it got me thinking I’m a lot like those guys, starting out poor and all, with big dreams, and how I’ve changed my name, more than once, though I don’t know if I’m Jewish because Carole never told me. She never told me anything. What she said was: You’re nothing.

The sheets are rough and itchy, but I lie still, like I’ve been taught, and picture that I save Bugsy from the hit and he repays me by making me his number one, like Johnny Stompanato is to Mickey Cohen; Johnny, who dates movie stars and gets me a date with Ava Gardner, and I see us, me and Ava, in front of Grauman’s Chinese, lights crisscrossing the air, big horde pointing, oohing and aahing, and Carole’s in the crowd, a ghost, watching, filled with envy; Carole, who wanted to be a famous movie star so bad, which never happened. But I’m not like her. I’m already famous, it’s just that people don’t know it, not yet. But soon.

Some neon sign is driving me crazy, lighting up my window every other second bluish-white, and I stop thinking about Bugsy and Mickey and think about Myrna, skin so pale and white the veins showed through, giving it a bluish cast, and the way she cried and begged and how I told her to think about something else, how that had always worked for me, and I got so good at it I’d be surprised when I came back to real life and the men were gone and Carole was snoring beside me, and how I’d find a bruise the next day or dried blood on my lip where one of the guys had hit me and I hadn’t even felt it, and I wanted that for Myrna, and the others, too. I’m not a monster. I’d say, Think about your favorite picture star, Gary Cooper or Claudette Colbert, and in my mind I’d see all the pictures I’d stored and the ones Carole had cut out of Photoplay and Modern Screen, photographs of Ginger Rogers and Jean Harlow and Lana Turner and Carole Lombard, who she claims she was named after, all bottle blonds like Carole, covering the walls of our crummy apartment. She’d say, You know, Lana was discovered at Schwab’s drugstore, just sitting there at the counter in her tight sweater, and she’d pull on a sweater and stick her chest out and study herself in the mirror, drawing red lipstick above her thin upper lip, and ask me, How do I look? Like Lana, huh? And I’d say, Better, and she’d give me one of her rare smiles.

Sometimes Carole would sneak me into a picture show and leave me there all day and I’d sit through It Happened One Night seven or eight times until I could recite the lines along with Clark Gable and Claudette Colbert, and even now I can hear the dialogue and see that picture in my mind and freeze it when Claudette Colbert raises her skirt to hitch a ride and sometimes, when I’m feeling bad, I do that and it lifts my spirits. I saw lots of pictures that way, King Kong, which made me cry, and The Invisible Man, who I wish I could be and maybe I am. Sometimes, Carole would forget to come back for me and my eyes would blur, imagining my hands on Barbara Stanwyck’s neck or Mae West’s rear end, and next thing I knew the matron was rapping my feet and telling me to scram and I’d walk home in the dark with all those pictures flickering in my head and I’d imagine doing all sorts of things, like kissing Veronica Lake or just lying next to Loretta Young telling her all sorts of things, secrets I’d never tell anyone else, and knowing she’d listen and pat my head, and say, There, there, and those were my favorite days, my best days.

When I finish counting the cracks in the ceiling I start counting all the girls, but after nine, Mildred or Mabel, I can’t keep their names straight. Names can be confusing, like mine, which is John, I think, though when I learned to write, Carole said it was Jon without an h, or maybe James, and when I asked her which one, she said, Who cares?

I try to picture the girls’ faces but they’ve started to blur and it’s like maybe I made them up or dreamed them, or maybe the made-up part is me, lying here in this bed, you know what I mean?

I run my hands along my arms and they feel solid enough but I’m still not sure so I sit up and stare at my reflection in the mirror at the end of the bed and I see some regular-looking Joe, dark hair shiny with Brylcreem, sticking up, and I remember how Carole would never let me cut it, how it got long and wavy like a girl’s, and I try to smooth it down but it pops up and I think, John the scarecrow, that’s me, or Jon without an h, or James, and then I’m thinking about Carole bringing home some old guy who wasn’t so interested in her, and she’d say How about the kid? And he’d say, Is it a girl or a boy? And she’d say, What do you want it to be? and I’d lie there pretending to sleep, curled up tight as could be, and sometimes the guys would hit me because I wasn’t a girl or because they just felt like hitting me, and if I cried Carole would hit me, too, and tell me to shut up, so I learned to be still and replay the last episode of The Shadow in my mind or just listen to Carole humming “Life Is Just a Bowl of Cherries” really loud until they finished.

I stop looking in the mirror and lie back but it’s like ants are crawling all over me, I’ve got the heebie-jeebies so bad. The papers say hot winds are blowing out of the Great Basin all the way from Nevada to California, making people crazy, but that isn’t it: the pictures in my head won’t stop, and I know it’s too late and I’ll never get relief.

I look around the room, no better than the place in Mission Junction, which I had to leave because the police came around asking my landlady questions about me. Luckily, she liked me, they all do, the women, I mean, but the cops had found the girl, Mabel or Mildred, so it was time to get going, like the other times and other places. Now I’m wondering if coming back to L.A. was such a good idea, but it had called to me like Western Union. Funny, right? But it was really like that, like I heard it calling: Come back to L.A. Maybe ‘cause it’s my birthplace. Carole said I was conceived with a sailor right under the Hollywood sign, another time she said it was in Griffith Park with a soldier, and then in Silver Lake with a car mechanic, who smelled like gasoline and grease, but it’s all L.A., right, except for our landlord, in Vernon, who Carole said she paid off in trade starting a year before I was born, so it could’ve been him. We lived there till I was six or seven or eight, depending on what year Carole said I was born, 1916 or ‘17 or ‘18, but I don’t remember the landlord, only the stench from the nearby meatpacking plants. After Vernon, we moved to Cudahy, which had even more meatpacking plants and the same bad smell, like the stink was following me.

I push the shade aside and look down onto Hollywood Boulevard, see a colored man leaning against a shiny new Kaiser puffing on a cigarette and blowing smoke rings, then a white girl, no more than fifteen, with a painted face, comes by and hands him a stack of bills and he stuffs them into his pocket and I think about Carole’s painted face and marcel waves and penciled eyebrows and red lips, and all the others just like her, and the one from the other night, at the hotel where I man the front desk and carry bags up to rooms and fix the plumbing when it goes on the fritz, which is more often than not, a regular jack-of-all-trades, that’s me, another name to add to my list.

The one thing I know is how to talk to women, especially the unhappy ones, the ones who are sick to death of their husbands and their miserable lives, the ones who’ve packed their bags and left, who drink too much and wear their rayon skirts too tight and who stink of cheap perfume, just like that dame who checked in two nights ago, Mary something-or-other, who I’d pegged at forty-something, though she claimed to be thirty, gammin’ for me, acting all Fifth Avenue when she was anything but, complaining about this and that, like the world owed her a living, while I lugged her bag up three flights, doing my best Bing Crosby, nodding and smiling, I know, I know, and her showing off how she worked at the May Company department store selling dresses and how she knows everything about fashion, something called the New Look, and me saying, That’s swell, nodding and smiling till my face hurt and then, later, she’s downstairs again, bending my ear and crying on my shoulder and I’m all sympathy till some sailor comes in, twenty-one, twenty-two, and she stops talking to me just like that and starts laughing it up with the kid and next thing I know they go off arm in arm and she doesn’t so much as give me a second glance or bother to say good night, but two hours later she’s back after dumping the sailor, or more likely he dumped her, staggering on her open-toed pumps all drunk and teary and wants to talk again, and my shift’s about to end so I say, How about a cup of coffee? and she says, That’d be swell, and I say there’s an all-night diner up on Mulholland and we get into my beat-up Dodge coupe and I drive to a deserted lover’s lane, and when I pull to a stop, she asks, Where the hell are we? but I don’t say anything, just lean over to kiss her and she slaps me across the face and I think, that’s it for her. I punch her and her head hits the side window so hard I think it’s going to break the glass but the only thing that breaks is her head, blood all over my goddamn window and upholstery, and I leave her there a minute, get out of the car and come around and open her door and she slumps out, moaning, and I drag her across the field by her arms and she’s kicking and scratching, crying and stuttering, N-no—p-please—no, but all I’m seeing is Carole tucking bills inside her brassiere and hands coming over my face and covering my mouth and the smell of old man whiskey breath while my fingers tighten around her neck.

When I stop, she’s lying still and I’m out of breath and have to sit on the damp ground for a minute and I look at her face, all purple and bloated, and I don’t feel so good anymore. I thought that would do it, calm my urges, but here they are again, begging to be fed sooner than expected, like someone has wound my muscles and nerves too tight and my head is pounding and there’s only one way to get relief.

I pace back and forth in my room feeling sad and mad and disgusted because I’d planned to start over in L.A., have a new life, but it’s just the same old thing.

The sun finally comes up orange and soft under the smog and I go down the hall to the bathroom, take a leak, cover my mug with Barbasol, use my finger to create an ear-to-ear grin, careful not to nick myself while I shave. Afterward, I splash on Skin Bracer and rub more Brylcreem into my hair and use my comb to make a perfect part, and think, John or Jon or Jamey, you look pretty darn good, and I feel better, too, almost calm, like maybe everything’s going to be okay after all. I put on a clean shirt and a tie and go downstairs whistling “Life Is Just a Bowl of Cherries,” head west on Hollywood Boulevard, the air warm and a little thick, until I reach North Cherokee and see the pale green sign for Musso & Frank Grill.

Inside, still feeling good, I order my favorite breakfast—flannel cakes, the Musso & Frank version of pancakes—which is the cat’s meow. I sip black coffee and open the L.A. Times, read all about President Truman trying to stop communism and the United Nations voting to create a place just for Jews who suffered so bad during the war, then I turn a page and there it is in big bold letters: LOVER’S LANE MURDER. I skim the article, heart thumping like there’s a rabbit inside my chest, not sure what I’m looking for, my name? Maybe. Both wanting to see it and dreading that I will. I’m just reading how the police have booked the dame’s husband on suspicion of her murder when the waitress brings my pancakes and I practically jump out of my seat.

“Honey,” she says. “You’d better lay off the coffee,” and smiles, lipstick creeping into the sides of her mouth, and I picture Carole’s lips but manage to smile back and say, “Hi-de-ho,” and she pivots on her low-heeled waitress shoes and I smother my flannel cakes with syrup and drink two more cups of coffee, in no hurry to get moving, the day yawning in front of me with nothing to do till my shift at the hotel and I feel okay now, my nerves under control.

The waitress comes back with my check and I accidentally-on-purpose brush my fingertips against hers, read her name off her ID, and say, “So, you must be new here, Lorraine.” And she says, “Second day.” And I say, “Lemme guess, you’re an actress,” and she slides her hand up the back of her neck, pats her French twist, smiles again, and says, “Tryin’ to be.” And I say, “I know it’s rough, but you’ll make it, kid,” thinking she’s pushing thirty and her kid days are numbered. And she says, “Gee, thanks, mister,” and I feel disappointed because that “mister” part makes me feel old but I don’t let it bother to me too much. I ask, “When do you get off?” And she says, “Oh, today I’m leaving at four because I got an audition at Warner Bros.,” and she beams. “It’s just a walk-on, but you never know, right?” and pats her hair again. I say, “Right. So maybe I could pick you up later.” And she frowns and says, “I don’t think my boyfriend would like that.” And I say, “Neither would my girlfriend!” And we both laugh, but she’s already turned away and I’m thinking she’s not really my type, a bit too cheerful, and I’m about to go back to my paper when two guys come in, a big handsome galoot I recognize right away as Johnny Stompanato, and the guy with him, none other than Mickey Cohen! I seen his picture dozens of times but he doesn’t look as glamorous in person, smaller, closer to my size, and I can’t stop staring at him, his dark eyes and dark eyebrows beneath a felt fedora and a wide silk tie with a turtle-and-fish design that must’ve set him back six, seven bucks easy, and my heart’s thumping again as they slide into the booth opposite mine and Lorraine pours them each a cup of coffee, posing while she does, hand on her hip, and me gaping.

Hey, Mickey, you don’t know me, not yet, but I know everything about you—your mother, Fanny, your three brothers, your first boxing match on April 8, 1930, and your last one on May 14, 1933, the fact that you ran gambling for Al Capone in Chicago, and I can’t tell you how sorry I am to hear about your pal Bugsy, but I was thinking I could help out, I mean now that you’re short a man at the Flamingo, work reception, you know, I got the experience, or whatever else you need, I’m your man—

All of this going through my mind as I continue to stare at Mickey over the rim of my coffee cup, totally lost in thought, when Mickey says, “What the hell are you looking at?” and I snap to and say, “Me? Nothing,” though I want to hold the newspaper up, point to the headline, and say, That’s me, I’m the guy who did it! but Mickey is giving me a cold hard stare, and Johnny Stompanato is giving me an even colder one, so I look away, fumble a few coins out of my pocket, and drop them on the table, trying hard not to let my hands shake.

Out on the street I’m thinking Mickey was just testing me, seeing if I could take it, that he’s going to be getting back to me soon, and I picture myself behind a mahogany reception desk at the Flamingo, chatting up movie stars and gangsters, everyone laughing and saying what a swell guy I am, and I start feeling good again. Before long, I’m behind the reception desk at the hotel, moving dust around with a dirty rag, when these two cops come in and start asking me about the dame who worked at the May Company department store and I give them an innocent look and keep mopping the counter, real casual, and they say something about finding a matchbook with the hotel’s name at the scene of the crime, but I don’t flinch, I just tell them how she checked in and got drunk and left with some sailor, keeping my voice real quiet and they seem to buy it and I think for a minute that I’m telling the truth, that maybe I didn’t kill her after all, that it was the sailor or another guy or maybe even her husband, that it was just a bad dream I had about strangling her till I heard a bone crack deep inside her throat, and I lead the two cops up to her room on the third floor and tell them I’ll be downstairs if they need me and ten minutes later they’re back, and the young cop, a hotshot all-American type, asks me what time the dame checked in and I turn the register book around for him and point out her signature and he asks if she said anything important and I say, “Like what?” and he gives me a long hard stare and for a minute I think the words are going to fall out of my mouth—It was me! I did it! I’m your man! I want to say it so bad because it’s time that I was famous, but I keep my yap shut and wipe the counter over and over till it’s so shiny I can see my regular-Joe face staring back at me, but it doesn’t look familiar.

The cops walk around the hotel lobby whispering the whole time I’m busy rearranging keys on hooks that don’t need no rearranging, and then the young one, Mr. All-American, looks at me again and this time I offer him a smile, nothing special, though I freeze it on my face and Carole’s last smile comes into my mind like I just opened a bottle and a goddamn genie popped out.

Carole, I say, my hands on her throat, gimme a smile, but she just looks at me like she always does, like I was nothing, and I ask, Where was I born? Who am I? What’s my name? and she sneers and says, Who cares? and I say, I’m John, right? and she says in a singsong voice, Or Jack or James or Jake or—and then I’m pleading, Carole—Mom—please—and she says, You can’t prove that I’m your fucking mother—maybe I just took you in ‘cause I pitied you—and I tighten my grip on her neck just like I will with all the other girls and I can’t stop squeezing. Afterward I cut her up, body in half, then in pieces, arms, legs, torso, then wrap all of it up in a sack like it was a filleted animal and dump it into one of the trash bins outside the Cudahy meatpacking plant, already half filled with bones and guts, and I never heard another word about it, no news story, no nothing, no one missing Carole.

I’m still looking at the young cop and thinking maybe I’ll make him famous, give him a lead, a tip, that there’s this guy, John or Jon without an h or James, who’s connected to this murder and a whole lot more, but I don’t say anything and who knows, maybe I’m lying, maybe there is no John or Jon or James, no tortured boy for you to feel sorry for, no mother named for the actress Carole Lombard, only some guy, some regular Joe without a name, just a monster.

Hell of an Affair

Duane Swierczynski

I am the master of all I survey.

Well, not really.

This is Los Angeles, after all.

Still, I like to crack that joke with people. Makes my job sound almost… important. My business card reads: WILLIAM SHELTON, P.L.S. (professional land surveyor), GREATER LOS ANGELES TITLE CO., DOWNTOWN DIVISION. But what I really do is drive my Lincoln around in the dry heat and set up my theodolite on its tripod and make little measurements and write them down in my notebook. Then I go home to my empty apartment on West Temple Street, where I stare at the walls and try not to climb them. Just me and my tripod, propped up in the corner, waiting for me to pick it up and report to work the next day.

I don’t even know what made me notice that bar on Los Angeles Street—Ray’s Café, 77.5 by 47.5 feet in a commercial zone.

But the Santa Ana winds were blowing and I was thirsty and I decided to go in.

It was noon. I stepped inside and sat at a wooden table for four, as if I were expecting three friends to join me. Which seemed slightly less desperate than sitting alone at the bar. I leaned the tripod against the opposite end of the table and waited for someone to notice me.

And after a few minutes, she did.

A shot and a cold glass of beer were placed down on the table in front of me and a beautiful woman took the seat next to me. Her scent reached me first—the aroma of jacaranda trees. Her dark hair and smooth white skin were just as intoxicating.

“I know you didn’t order this,” she said softly.

All at once it felt like the collar on my Bullock’s shirt had shrunk a few sizes.

“What is it?” I asked, stupidly.

She smiled. “A shot and a cold glass of beer.”

Only then did I realize that the beautiful woman sitting next to me was the waitress.

“Is there a menu?”

“You can have anything you want.”

“What’s your name?”

She smirked and tapped her right breast.

BONNIE.

“Good to meet you,” I said. “My name’s”

“Let’s go out tonight,” she said.

A statement; not a question. As if going out were a foregone conclusion.

“I’m sorry?”

“We close at two. Come in for a nightcap just before, and we’ll hit the town. What do you say?”

Now, I should have said:

No, that’s ridiculous. I report for work at the Greater Los Angeles Title Company, Downtown Division, at 8:00 a.m. sharp, and if we go out at 2:00 a.m. I won’t be able to get any sleep, and there’s a good chance I’ll record a wrong measurement in my notebook, which could be the start of endless legal and business trouble. Surveyors have been to clean, sober, and deadly accurate.

But of course I said:

“Okay.”

Back at the office Shep was reclining in his chair, sweating out a hangover, eyes barely open. Mallahan was at the accounting desk in the back. I dug my per diem out of my pocket, put it down on the blotter in front of Mallahan.

“What’s this?” Mallahan asked. “You skip lunch?”

“A friend treated me.”

Mallahan rolled his eyes. “And you’re giving this back? Billy, my friend, you’re about as black-and-white as a nun. You don’t have to give this back. We consider it part of your salary.”

The company gave its surveyors cash for lunch, parking, incidentals. Mallahan was the partner who doled it out every morning. But I could still feel the shot and beer rolling around in my guts. I hoped Mallahan couldn’t smell it on my breath. I would have felt like a heel keeping the dough on top of everything else. I let the money sit on the blotter.

“Okay, then,” he said after a few moments, scooping up the bills and depositing them into a metal box he kept in his lower-left-hand drawer. Shep and Mallahan liked to keep their cash in one place. The company had done work for various banks, but they didn’t trust banks. The Depression had wiped them out once before; Shep and Mallahan swore up and down that it would never happen again.

I sat down at my own desk to complete a few field reports while Mallahan grabbed his coat and hat and headed out for his lunch break. Always the same time; always the same place—Philippe’s, on Alameda. Bought the same cheap beef sandwich, the same nickel cup of coffee.

After he returned, thirty minutes later, I spent the rest of afternoon with my theodolite on La Brea, taking measurements on a lot somebody wanted to turn into a department store. The tar pits were behind me. I know it isn’t possible, but I swear I could feel the heat of the prehistoric goop on my back.

And I couldn’t stop thinking about Bonnie.

Her lips.

Her skin, as fragrant and soft as jacaranda trees.

At exactly 1:55 a.m., I stepped into Ray’s Café. The carousing was still happening full steam ahead, even though last call had been announced. I ordered a beer and drank it quick, my eyes watching Bonnie as she glided around the tables, picking up empty glasses and settling tabs.

At 2:05 a.m., she finally came up to me. “Ready to go?”

“Sure. Where to?”

We took my dark-red Lincoln Continental up the Cahuenga Pass to Mulholland. I hugged the curves until she told me to pull over at a lookout over the San Fernando Valley. The moment I hit the brakes she was in my lap, mashing her lips against mine. I could taste the same whiskey she’d given me earlier in the day. She had a small bottle in her purse. We passed the bottle back and forth until the lights down in the valley were a blur. We kissed some more and then she told me she wanted to see the ocean. I thought we should stay put, considering how much whiskey we’d knocked back, but she insisted.

“I want to dip my feet in the Pacific.”

I should have casually glanced at my watch and said something about the time but didn’t. Instead I put the car in drive and sped down Mulholland.

The crack-up happened a few miles later.

I took a curve and braked to make sure we didn’t skid off the edge of the cliff. The guy behind me wasn’t as cautious. Bumper kissed bumper, metal was bent, and we spun out a little. But otherwise, nobody got hurt.

The other guy turned out to be drunk, too, and didn’t seem to be in a mood to throw around any accusations. The flesh on the top of his balding pate was hot pink; his eyes were droopy. So we all sat there up on the side of the mountain, convincing each other that we didn’t need to involve the police. The balding man acted strangely. He seemed furious, but also eager to not bother with any formal complaints. I quickly sobered up; Bonnie drank more from the bottle in her purse. Every now and again she’d slip her tongue in my mouth. The other guy would turn his head away, as if he were both embarrassed and angry at the same time.

By the time we sorted it all out, the sun was creeping up over the horizon. The Lincoln was fine to drive, so I took Bonnie back to Ray’s. She lived in an apartment nearby. I didn’t see which one, because she insisted on me letting her out in front of the bar. I didn’t argue. By that time I was already late for work.

“Come for me tonight,” she said.

“How about dinner?”

“No. Ray’s, right before closing. I’ll get another bottle. You’ll be there, right?”

God help me, I was.

This went on for a while. Late-night dates. Drinking. Mulholland. Feeling wasted all day long. The occasional fender bender, all of them caused when Bonnie surprised me with her tongue in my mouth, or her hand on my lap, or her fingers across the back of my neck. The Lincoln was the only thing I owned that was worth anything, a college-graduation gift from my parents back in Cleveland, and it was slowly taking a beating.

But I didn’t care.

And if Mallahan noticed the dark circles forming under my eyes, he didn’t say a word. I cruised the empty lots as usual, making my measurements, partly daydreaming about Bonnie from the night before and partly in mortal terror that I’d make a numerical slip, and that Shep would catch it, and that would be the end of me at the Greater Los Angeles Title Co., Downtown Division.

Some primal part of me, however, said it was worth it. Cars were nothing but lumps of metal and wiring and hydraulics; Bonnie was flesh and blood. Warm flesh. Warm blood. Her lips, mashing against mine.

I never questioned why.

Why she’d only meet me late at night, toward the end of her shift. Never dinner. Never lunch, certainly. As if she didn’t exist during the daylight hours.

Why she never showed me where she lived, even though I lived downtown, too.

Why she turned down all invites to my place, even though it would be more comfortable than the front seat of my Lincoln or a scratchy blanket from my messy trunk.

I just went along with it.

Her warm lips and the scent of jacaranda trees, which is the smell that first hit me when I moved to Los Angeles, and will forever remind me of the place.

Then one night she canceled.

“I can’t,” she said, tears in her eyes, before disappearing into the back room at Ray’s.

I sat there in the café for a while, nursing a warm glass of beer. She never came out. I finished my beer then went back out to the Lincoln. Made it home in ten minutes. Went to bed, consoling myself with the thought that I’d be reasonably rested and sober for work the next morning.

But I couldn’t sleep.

The next day I told myself to get over it. The fling with Bonnie was fun while it lasted. Had to end sometime. She clearly had trouble, and it was probably the kind of trouble you didn’t need in your life. She was doing me a favor, really. I needed a few good nights of sleep in a row so that I could focus on my job again. I’d been lucky so far, but sooner or later I was bound to slip, and Shep was bound to catch me. When he was sober, he was a math hawk. That afternoon I was surveying a lot out in Culver City. My chest felt lighter, my head clearer, than it had been in weeks. I felt like I’d been given a gubernatorial pardon.

And that very night I was back in Ray’s Café, at exactly 1:55 a.m.

No tears in her eyes this time. Instead, I got a brilliant megawatt smile.

“I knew you’d come back for me,” she said.

“What’s the trouble?” I asked.

“Nothing. Not a blessed thing, now that you’re here.”

We drove out to the beach via Mulholland as usual, and, though she claimed otherwise, I knew something was wrong. The smile was there, but not the smile behind the eyes. She was working out some kind of problem back behind her gorgeous Pacific Ocean blues. Every so often I’d pull my lips away from hers and look at her, trying to seeif by some miracle I’d brought her back. No such luck. She was as distant as Japan.

A lot of hemming and hawing later, she finally told me:

“I need six thousand dollars by tomorrow night or someone is going to hurt me.”

The story she told me doesn’t matter. She told it to me under the moonlight, on the beach, and with Scotch whiskey running through my veins. She kissed me while telling the story, as if her lips were drowning and my face was the life preserver. The story, if you must know, involved a wayward brother who fell in deep with the sharks preying on the illegal gamblers in the back of Ray’s Café. It also involved broken promises and pawning every last thing the brother owned and then pawning every last thing Bonnie owned and garnishing tips and wages and finally had devolved to the threat of garnishing flesh and what the hell else God only knows…

If six grand were not thrown to the sharks by midnight tomorrow.

Like I said, the story really doesn’t matter. Because fact is, I was convinced. This was not just a hard-luck story. Listening to her tell it out there, with the Pacific licking at the shoreline… I’m telling you, it was like listening to a lost book of the New Testament.

I told her I’d help her out.

Even though I barely cleared six grand in a year, let alone two days.

The words were barely out of my mouth—

“Don’t worry, Bonnie.”

—and I knew exactly how I was going to do it, too.

Professional land surveyors use simple gear—a tape measure, a level, a theodolite. We use our instruments to measure the distance and angles from a fixed location to points unknown.

Right up until the day I met Bonnie, I thought life worked the same way. You start out in a fixed location, and through careful triangulation, you can figure out the unknowns.

My fixed position, right at that moment:

I loved Bonnie.

Bonnie loved me.

Someone wanted to hurt Bonnie.

Simple triangulation…

… that pointed me to the obvious solution.

Couldn’t be easier, really.

Shep was sleeping it off in the back room, like he frequently does during lunch hours. Mallahan was off to Philippe’s for his usual beef sandwich, his usual cup of nickel coffee, leaving me in charge.

I took the key from Shep’s top drawer. Went back into Mallahan’s office. Slipped the key into the lock. Opened the metal lid. Extracted sixty one-hundred-dollar bills—about a quarter of the money there, leaving a noticeable dent.

I also snatched an extra hundred in twenties.

(A per diem for embezzlement, I told myself.)

I closed the lid, relocked the box, replaced the key, left a note for Shep and Mallahan that lunch wasn’t agreeing with me, and left the office.

That’s how easy it is to ruin your life.

When I told Bonnie I had the money, she told me she wanted to meet for dinner at eight. Which was a first. Didn’t she have work? No, she said. She’d already arranged it so she could work late.

She chose a woody steak house right off Olive Avenue in Burbank, across the street from the Warner Bros. lot. I sat in my apartment on West Temple, staring at the walls and wondering if Mallahan would be checking that metal lockbox anytime soon.

I wasn’t worried about getting caught; at that point I was thinking that the chips of my life would fall where they may. The important thing was saving Bonnie from the sharks.

But if Mallahan were to put it together quick and send the LAPD to my front door, Bonnie wouldn’t get her money.

I decided to drive around town until dinner.

I put the six grand into a small brown paper bag like it was a packed lunch and stuffed it into the crowded trunk of my Lincoln, wedged in with all of my surveying gear. My theodolite looked up at me with its cold black eye.

Almost judging me.

The 101 took me out of downtown and up into the Valley, and then I followed a curving road up to Mulholland and proceeded to drive down my own little memory lane high above the city. Before I knew it, I was recharting the peculiar topography of Bonnie and Me. The old familiar places looked strange in the naked daylight. I pulled onto the overlook where we’d first kissed and was startled by the number of houses clinging to the side of the hill. I thought we had been utterly alone up there in the darkness, perched on the rim of the bowl that was Los Angeles, where no one could see us. Now it felt like the entire city had been watching.

After a while I got itchy again thinking about how easy it would be for Mallahan to give the cops my license-plate number (“Yes, officer, he drives a dark-red Lincoln Continental, plate number 3C8…”) so I kept going down Mulholland, ducking into the overlooks, checking my watch, thinking about the lunch sack full of cash in the trunk. Soon I passed the intersection where I’d had that first crack-up. Under the cover of night I thought it had been the most treacherous hairpin turn in all of Southern California, but now I saw it was a simple gentle curve.

Before I knew it I was all the way to the ocean. I stared at the sun as it slowly plummeted toward the flat gray water like a slow-motion ember.

So different out here in the daylight…

You start out in a fixed location, and through careful triangulation, you can figure out any uncertainty.

But all good surveyors check their work twice.

She was already seated at a table, a full highball in front of her. She was beaming as I started to cross the length of the room, but the corners of her mouth had already turned down by the time I reached her.

“Do you have it?” she said, almost wincing.

I sat down, craving a slug of whiskey and a cold beer like you wouldn’t believe. I searched the room for the waitress.

“Billy,” she said, “please tell me you have it.”

“I have it,” I said.

She exhaled.

“We’re going to have dinner, and then I’m going to go to Ray’s and work all of this out. The right way.”

“What… what do you mean, ‘work it out’? Don’t you have the money?”

Oh, I still had the money, I explained. It was in a paper bag in the trunk. But as I sat on the beach, recalculating my position, I realized I was being a fool. There were other solutions. Ones that didn’t require ripping off the very men who’d been nothing but decent to me ever since I’d arrived from Cleveland.

I told her what I had in mind. The installment plans, the sliding rates, the whole ball of wax.

It was foolproof. These were businessmen; they’d listen to reason.

“You stupid bastard,” she said. She threw her full drink at me, then stormed out of the restaurant.

It was at that moment, as the expensive Scotch dripped down my face and onto my bow tie and Bullock’s special, that I realized my measurements had been way, way off, because my fixed position was erroneous.

And I had just made the biggest miscalculation of my life.

After drying myself off as best I could, I raced the Lincoln back down the Cahuenga Pass, telling myself there was still a chance to fix everything before Mallahan checked the metal box.

This was Thursday evening. Mallahan was probably home with his wife and daughters out in Glendale, peeling the top from a can of beer and not even thinking about the Greater Los Angeles Title Co., Downtown Division. He didn’t tally the cash in the box until Friday morning, after he’d doled out the per diems for the staff. I could get there tonight and replace the six grand and he would never suspect.

Unless he’d already checked earlier in the day…

I stopped at my apartment first to change my soaking shirt. Oh, she had been good. To think that I had been so willing to plunge myself into debt for her after-dark kisses. She must have seen my tripod and bow tie and thought she’d landed her ticket out of Ray’s. Sorry, sweetie, the depot is closed.

There was a knock at my door.

My first thought was: Mallahan.

As I crossed the room, buttoning my shirt, I was already formulating my mea culpas, wondering what I’d have to do to keep the police out of this. Then I opened the door to see that it wasn’t Mallahan. The man looked vaguely familiar, but I didn’t place him until he narrowed his eyes and his scalp went hot pink.

“I want my six grand, you louse.”

It was the man from the fender bender on Mulholland.

Much later I would learn that he was Bonnie’s husband. But right then, in that moment, there was no opportunity to make proper introductions. That’s because he slammed a beefy fist into my stomach, dropping me to the ground. He dragged me inside and slammed the door shut.

I spent the next few hours writhing on the floor while Bonnie’s husband searched my apartment inch by inch, leaving no piece of furniture unbroken, no garment untorn. “Where’s my six grand?” he’d mutter from time to time.

“My six grand or I’ll kick your face in.”

“Bonnie told me you had the money. So where is it? Tell me or I’ll twist your ears off.”

But he never followed through on the threat, most likely because I was more or less incoherent the whole time, taking deep breaths in between vomiting sessions.

At some point the big balding menace realized that he hadn’t searched my car. Then I thought to myself, okay, that’s it, you’re done for now.

He didn’t even ask for the keys. He rolled me over like I was a burrito and rooted through my clothes until he found them. I tried to grab his hand but he slapped it away.

I would have told him:

You don’t even need the keys. The trunk’s always unlocked, so I can get to my gear quickly. See, I usually don’t have six grand tucked away back there.

But I still had trouble breathing.

The idea of the keys wouldn’t leave me, though. The keys would be useless to him, but I suddenly had the idea that they’d be extremely useful to me…

That was it!

If I could make it out to the car, maybe I could drive away before he found the paper bag with the six grand in the trunk.

I had a spare key in my underwear drawer—the one place the lummox neglected to toss, most likely because he didn’t want to touch another man’s underthings.

Guts grinding, I somehow made it to my feet, over to my dresser, then down the stairs, pausing every few moments to spit out a little more of my own blood.

Bonnie’s husband was still searching the trunk when I made it to the ground floor. I staggered around to the driver’s side, opened the door, sat down, and turned on the ignition. The lummox said,

“What the…”

as I hammered the gas pedal and inertia made the trunk lid go whomp! on his head and I peeled down West Temple Street.

Served him right.

Bonnie, too.

The office was only a few minutes away, on Broadway. I started in with the pleases. Please let Mallahan have gone home to Glendale without checking the box. Please let me put the six grand back before my entire life goes swirling down the drain. Please let me erase my work and recalculate and remeasure and put everything back in proper order.

When I pulled up, I realized that I didn’t have a key to the office. How was I supposed to get in?

Already I was thinking like a criminal, because the answer came quickly:

A break-in.

I would just break in the front door and replace the six grand and maybe take a typewriter or something, to make it look real. The last person they would suspect would be me—especially with all of the cash replaced in Mallahan’s metal box.

But Broadway was busy this time of night—almost eleven, if my watch was correct. I couldn’t possibly smash my way in with someone watching. Police headquarters was too close.

So I parked across the street and waited for my opportunity.

I ended up waiting until well after midnight. By that time my stomach had calmed a little, and it wasn’t absolute agony to move. When the block seemed clear in both directions, I climbed out of the car and made my way to the trunk. There it was, still wedged in between the legs of my tripod.

Then I checked for something heavy I could use to break the plate-glass door. My theodolite stared up at me, almost saying, Don’t even think about it. I settled for the tripod legs. Sturdy, metal, American-made. They hadn’t let me down before.

I was across the street and about to commit my second felony, the tripod literally in my hands, inches from the glass, when I stopped…

The door was unlocked.

There was a dim light on, back in Shep’s office.

Somebody was already here.

Panic flooded my veins. What was I supposed to do now? There was no reason for a surveyor like me to be stopping by the office this late at night. Maybe it was Mallahan back there with the robbery-homicide guys, and he was showing them the metal box with the wedge of cash clearly missing…

I’d come too far. I had to at least look inside and see what I was up against.

After setting my tripod down on the sidewalk, I slipped inside, making my way through the darkened reception area and back into the inner sanctum. I heard grunting and creaking wood. A few more steps and I knew exactly who was in the office. This was knowledge I wish I could erase from my memory bank, because nobody should have to see their bosses in such a position. The empty Scotch bottles, the casually dumped pairs of shoes, the trousers hanging over wooden chairs.

Mallahan was definitely not back home with his wife and daughters in Glendale. And all at once I knew why Shep always seemed so tired and hungover most mornings…

As Mallahan had once told me, they’d been partners for a long, long time.

I had a choice. I could either leave now, with the money tucked under my arm, and start a new life somewhere else, always wondering if the cops would be closing in on me…

Or I could set things right.

And pray that fortune did indeed favor the bold.

Before I knew it I was crouched behind Shep’s desk, slowly pulling out the drawer, my fingertips feeling for the lockbox key…

“What wuzzat?”

“Huh?”

“Heard something.”

“Shh, now. You’re always hearing something. Calm yourself down.”

“Did you lock the front door?”

“Of course I did. And Betty’s asleep at home with the girls. Now come back over here.”

Somehow, after what seemed like a small eternity, I roused myself from the state of utter paralysis that had set in. My fingers found the key. During a particularly fevered period of grunting I slipped into Mallahan’s office. Opened his desk drawer. Removed the metal box, taking great care not to bang it on the edges of the drawer. I unlocked it. The stack of cash was there, waiting to be reunited with its brothers and sisters. I slowly unfolded the paper bag and reached inside and felt… metal.

As in the metal spiral binding of a surveyor’s notebook.

The bag was packed with six notebooks. All my own, apparently collected from the sloppy insides of my trunk.

Had Bonnie’s lummox done this—pulled a switcheroo? No. That made no sense. He wouldn’t have still been searching the trunk if he’d found the cash.

So where did it go?

No one knew I even had the money except for me and…

Bonnie.

If circumstances were different, she would have made an excellent addition to the staff at the Greater Los Angeles Title Co., Downtown Division. Because this was a woman who knew all of the angles.

She knew I didn’t lock my trunk, because of how many times I went back there for that scratchy blanket for us to use on the beach. She knew the money was in the trunk, because I told her so. And she knew that if she threw a drink in my face, she’d have a few minutes to search my car, take the money, and leave.

And as an added bonus—send her deranged lummox husband after me, just for kicks.

I refused to believe that all was lost. I could still set things right.

I just had to find Bonnie.

Talk reason to her.

And if not… find another way.

I checked my watch and realized that it was already after 2:00 a.m. But if I could make it back to the car and over to Ray’s Café in time, maybe I could still catch her there. Or force someone to cough up her address, damn it…

Which is when the lights snapped on.

Both Mallahan and Shep, naked as the days they were born, standing in the doorway, hands almost touching.

They looked at me, and then at the paper bag, and then finally at the open metal lockbox in slack-jawed confusion.

“Billy?” Mallahan asked.

I could still set things right…

I could still set things right…

I blasted past both of them and ran through the office and reception area and right out the front door—where I promptly tripped over my own tripod. My palms burned as they slid across the sidewalk. Forget it. Get up, get to your car, get over to Ray’s. There were shouts behind me. Probably my bosses pulling on their clothes in hurry so they could catch up with me. But I was already behind the wheel of my Lincoln and gunning the engine and zooming down Broadway.

A plan formed in my head.

I would speed past Ray’s, just to make sure the lummox wasn’t there waiting for me. I’d park around the corner, so Bonnie wouldn’t see my Lincoln and run…

Bonnie.

Her face hung in front of me like a phantom. Her smiles, her megawatt smile, her kiss, her sickening scent of jacaranda trees…

She would help me put things right. It was not too late. You can always take digits from one column and move them to another… right?

Bonnie tried to shove her tongue in my mouth as I turned onto Los Angeles Street. I spat at her ghostly image as I approached Ray’s, which is probably why I didn’t see the drunk stumbling in front of my headlights.

We use our instruments to measure the distance and angles from a fixed position to points unknown.

But the moment I felt my Lincoln’s wheels run over that body, I knew I was definitely headed somewhere incalculable, immeasurable.

Postwar Boom

Andrew Vachss

“What’s your name, anyway?”

“What difference?”

“Come on, pal. We’re gonna be working together next couple of weeks or so. Just two vets, riding around, seeing the country. That’s the story they gave us. So I gotta have something to call you by, just in case.”

“Case of what?”

“It’s one hell of a drive, all the way to L.A. Cops stop us, I should know what name’s on your ID, right?”

“I was hitching a ride.”

“In that suit? Not gonna fly. Makes it too complicated, anyway. Down the road, I mean.”

The short, compactly built man in the passenger seat of the big sedan said nothing for a few seconds. Finally, as if conceding the reasonableness of the driver’s request, said “Mendil,” without turning his head.

“Mendil?” the thickset man behind the wheel said. “What kind of name is that?”

“Just a name.”

“There ain’t no such thing as ‘just a name,’ pal. Take me, for instance. I tell you my name is Seamus O’Reilly, you know I’m Irish, am I right?”

“No.”

“No?! What other kind of name could it be?”

“Fake.”

“Huh! Well, right you are at that one. But my mug’s a map of Galway, as my mother used to say.”

The passenger pulled the front of his felt fedora down over his eyes, as if to shield them from the sun.

The driver took the hint… for about ten minutes. “Seems funny, don’t it? The war’s been over for a couple of years, and here we are, driving all the way across the country right back to where it started.”

“The war didn’t start in L.A.”

“Christ, you must think I’m as thick as a paving stone! I just meant the West Coast. That’s where the Japs made their move. Fucking ambush, it was. After that, even a pansy like Roosevelt, he didn’t have no choice.”

The passenger snatched a pack of Lucky Strikes from the top of the dashboard.

Damn! I didn’t even see his hand move, the driver thought to himself.

The passenger flicked his wrist. A single cigarette shot into his mouth. His thumb cracked, and a wooden match flared into life. He took a measured drag, carefully replaced the pack, and used the tap of a single finger to send it sliding across the dashboard.

“Nice to see these in a white package,” the driver said, pushing in the dashboard lighter.

Silence reigned for another twenty minutes. The miles slipped past as the big car gobbled long patches of concrete.

“They say you go without smoking for a few weeks, you lose your taste for them. What a crock. Me, I didn’t have one for months. Fucking Japs. I still don’t know how I made it through that march. Walk or die, that’s what they kept saying. Walk or die. Far as I’m concerned, we should have bombed that whole island into the ocean.”

“Too valuable.”

“Yeah, I guess it was. The island, I mean. But those little yellow monkeys… I wish I’d killed a few more of them, at least. It feels better when you handle that kind of work yourself.”

“True enough.”

“You were there?”

“Europe.”

“So you didn’t see how they—”

“I saw how they fought.”

“How the hell could you see Japs fight in Europe?”

“Nisei brigades.”

“Oh, yeah. I heard about them. Crazy bastards.”

“They had something to prove.”

“I guess so. Maybe. I don’t know.”

“I do.”

“Yeah? How could that be?”

“I had something to prove, too.”

“You? The boss told me you did stuff, but he didn’t say what.”

The passenger leaned back in his seat, rolled down his window, snapped out the still-burning stub of his last cigarette, and closed the window again.

“They gave me a dishonorable,” he said, after another minute of silence.

“For what?”

“Killing Nazis.”

“That was the whole point, right? I mean, that’s why they sent us over. Guys like me and you, right? We were supposed to kill the other guys.”

“They said I killed some Nazis after they surrendered.”

“How were you gonna do that? Once it was over—”

“It wasn’t over. What they said was, I gunned down a bunch of them while they had their hands in the air.”

“What the fuck? Who cares?”

“Eisenhower, I guess. Whoever was in charge.”

“Why’d you—?”

“Camp guards,” the passenger said, as if that explained everything.

“How’d they even find out? There weren’t any generals on the front lines, pal.”

“Somebody talked.”

“Ratted you out?”

“You could say that.”

“I’ll bet the louse got a medal for it, too.”

“Maybe posthumously.”

“What?”

“After his death.”

“He got killed over there, you mean?”

“No. After he testified.”

“You mean, like, right in the barracks?”

“Barracks? No. He was back here. In this clubhouse. Yorkville, you know where that is?”

“Way over on the East Side?”

“Yeah. He was supposed to make a speech or something; I’m not sure.”

“He got drilled right there?”

“Not just him. Whole place blew up.”

“Hey, I heard about that. I mean, it was on the front page and everything. That was some blast.”

“There’s been bigger.”

“Wait a minute! That guy, he wouldn’t happen to be… what the hell was his name?… people were saying he was going to run for city council?”

“Hendricks.”

“That’s the one! Big war hero. He was a shoo-in. What the hell was he doing over in Yorkville?”

“That’s the district he was running in.”

“But that’s Germantown.”

“So? They get to vote there, too.”

“I guess that’s right. At least he was a white man. When we had to pass through Chicago to change cars? One thing the boss was clear about—we stay outta the South Side. The niggers’re bunching up over there. Making their own plays. That’s what we get for letting them fight.”

“Yeah, that was a real privilege.”

“I don’t mean that part. I mean, teaching them all about… you know, guns and stuff.”

“You think they didn’t know before?”

“Down south, sure. But if you look close, you see they never turned those guns in the wrong direction. Not until after the war, anyway.”

“Rifles for food, pistols for each other.”

“Yep! That’s it, exactly. But we send them over, we’re telling ‘em to shoot at white men. Probably never thought of it before.”

“You really believe that?”

“Huh?”

“The IRA never thought of shooting a Protestant?”

“Hey! You don’t know what you’re talking about, okay? The IRA, all they ever killed was—”

“Enemies.”

“That’s right, enemies!”

“Enemies come in all colors, yeah? Some of them even wear camouflage.”

“I… okay, I see what you’re saying.”

“Hitler and Hirohito, they kept everything down to one color. What do you think happens if they’d’ve won?”

“I guess they’d… okay, I see it. They’d start in on each other, is that what you’re saying?”

“You see any coloreds fighting alongside the Japs?”

“And you didn’t see any in your unit, either, right? I get it.”

“Up to you?”

“What’s that’s supposed to mean?”

“You get it, you don’t get it, that’s your choice. It’s not a puzzle you figure out; it’s just the way you look at things.”

The driver turned his head and stared at the man in the passenger seat for a long minute. Then he said, “You see that sign back there? Says we’re in Idaho.”

“Odometer show another four hundred?”

“Three sixty-eight.”

“Try and find a gas station. Better if we make the switch without stopping on the side of the road.”

“I know. Damn, this is one endless journey, you know? Why the boss has to send us all the way across country just to do this one job, I’ll never know.”

“What difference?”

“What difference? You’re joking, pal. We got to change drivers every few hundred miles, change cars every day or two, spend every night in some crummy motel, eat diner food, no stopping for even a little bit of fun… and for what?”

“You know.”

“Yeah, I know. But this job, it ain’t no big deal. Must be a hundred local boys who could handle it.”

“A hundred suspects.”

“That’s what you think this is all about?”

The passenger shrugged. As if acting in unison with his shoulders, night fell.

“This is more like it,” O’Reilly said. “Brand-new Buick. Rides like a cloud. Too bad we can’t take it all the rest of the way.”

“Only a couple of more switches to go,” the passenger said. “Maybe we’ll get lucky again.”

“All the guineas want Cadillacs. ‘Course, they can’t have one even if they got the scratch—bosses wouldn’t like that. Freelancers like you and me, we don’t got that problem. You know what I’m getting? Present for myself when this job is done?”

“No.”

“A Lincoln Continental. Now that’s the cream of the crop. Don’t see many of them. Something special. You drive a car like that, everybody pays attention.”

“That’s what you want?”

“Not while we’re working, for Christ’s sake. Hey! Maybe that’s the idea.”

The passenger lit another of his endless smokes. “What’s the idea?”

“We cancel this guy in L.A., and we come back home. Doesn’t matter who the cops are looking for—it won’t be us.“Now I get it. Airplanes, you got to buy a ticket. Even trains, buses, there’s people to deal with. But we go back just like we got out there, there’s nothing. We pay cash for gas, and we change cars all along the way. By the time we roll out of Cleveland, we’re driving a car with New York plates.”

The cream-colored Oldsmobile fastback coupe turned off the highway and slowly made its way through the city, the passenger calling out directions as they rolled.

A huge billboard high above the boulevard announced Lana Turner would soon be blazing across the screen in Green Dolphin Street.

“Now that’s a babe,” the driver said.

“Turn left two blocks down.”

“You see the all those palm trees? I thought it never rained in this part of the country.”

“It rains everywhere.”

“Bullshit. What about deserts?”

“Rains less, that’s all. Four more lights, turn left again. The garage on Barton Avenue, that’s what we want.”

As the car pulled inside the unnamed garage, the doors closed behind it.

The two men climbed out slowly.

“Over here,” a voice called.

A morbidly obese man sat behind a desk covered with aging cartons of takeout food. The free-range cockroaches who roamed the desktop didn’t seem picky, just plentiful.

“I guess I don’t have to ask which one of you is O’Reilly. The car’s over there,” he said, tilting his watermelon-size head to one side. “Got it all fixed up so it looks like one of those zoot-suit boys hit it big. Being a Mex, naturally, all the dough goes into his car. They ain’t hot-rodders. In fact, they drop those things so low you can’t drive ‘em fast at all. They’re all show, no go.

“Now here’s the beauty part. You’d think, with all that crap that happened a few years ago, the beaners would get themselves together. At least stick together. But no, not those chumps.

“They don’t got time to find jobs, but they got all the time in the world to shoot each other. Got gangs all over the East Side. And territories, can you feature that? It ain’t like they do nothing with these ‘territories’ of theirs. But if you ain’t a member of this club or that club, they will seriously fucking shoot you in the head for just walking down ‘their’ street.”

“How’s that help us?” O’Reilly asked. “That car may be what your spics drive out here; I wouldn’t know. But him and me, we don’t exactly look the part.”

The piggish man laughed. “The part. Yeah, that’s it. This town’s fulla broads who’ll drop right down and suck your cock, you even say those words, the part. Movies. That’s the magic word in this town. You wouldn’t believe how much stag film we got stored up.”

“Why store it? That don’t make you any money.”

“We store it ‘cause the boss said to store it. But I know why he said it, and it makes sense, you give it some thought. Some of those broads, they’re gonna be famous. Movie stars. That’s when we cash in, see? The boss, he’s even got things on schedule, like. We shoot the footage, then the girl’s got five years to make it. She does, we cash big—those studios, they’ll pay anything to keep stuff like that quiet… especially if the star’s supposed to be lily-white. You own a piece of property, you put up a fence, see what I’m saying?

“And if the broad never makes it, we just put the movies on the market. Pretty slick, huh?”

“Yeah. Yeah, it is. But you still haven’t told us what’s gonna be so easy about this job.”

“Those stag films, we shoot them right here,” the fat man said. “In the back. It’s like a real studio and all. Now it wouldn’t be a studio without a prop department, am I right? We got all kinds of stuff back there. Even some of those zoot suits.

“Now, this guy, the one who’s gotta go, he operates out of a dump on Melrose. Actually, it’s on the street just behind Melrose. From the front, looks like a liquor store. But for his real business, he just walks out the back door and right through to the other joint.

“Now, you don’t never wanna park on Melrose. Too many cars, you can’t be sure of a spot. So this guy, he parks around back, then he walks down the street, makes a sharp right, and goes in the front door. Every night.

“Still with me? Okay, at eleven, he’s walking down the street to his joint. On Melrose. And that car over there? It’s waiting just around the corner. One of you walks up Melrose, the other stays behind the wheel. When he gets close, the walking man plugs him. It’s that easy. The shooter—I don’t even want to know who that’s gonna be—he gets in that Mex car, and the driver comes straight back here… it’s not even ten minutes away, that time of night.

“You drive in here, and you drive right out in that nice little Ford we got for you. California plates. You change clothes first, head north. The Mex car disappears, and so do you. Sound good?”

“Good enough,” the smaller man said.

“Not for me, it ain’t,” O’Reilly said. “What if the cops decide to stop that car? Me, I don’t speak Spanish.”

“The cops?” The obese man laughed. “Who do you think runs this town, the fucking mayor? The studios, that’s who’s in charge. The cops already got the license plate. If there’s one car that ain’t gonna be stopped tomorrow night, it’s that one over there.”

The man with O’Reilly lit a cigarette.

“You’d think they’d learn, wouldn’t you?” The fat man chuckled. “I mean, it was only a couple of months ago that they had to take out that yid? You know, the one Virginia Hill ended up with? Now this fuck, he thinks he’s out on this coast, they can’t reach out and touch him, too?”

“I’ve spent the night in better places,” O’Reilly said, surveying the space above the garage.

It was bare-bones, lacking even a radio, but it had two separate cots, a bathroom, and a refrigerator.

“And worse.”

“That, too,” O’Reilly agreed, watching his companion nail a large-scale map of their target area to the wall. “You really think it’ll be as easy as that fat slob says?”

“We come south on Formosa,” his partner said, drawing a line with a thick red grease pencil. “Then left on Melrose. We wait for the target to walk toward us. Soon as he passes by the car, I get out, step behind him, catch up quick, and put a couple in his head.

“I get back in the car. You take off. Make a left on Mansfield—see, right here?—a quick left again on Waring, takes us right back to Formosa. Go up a couple of blocks, make a right, and follow it all the way back here… Barton Avenue, that’s where we are now. After that, there’s nothing for us to do but drive back home.”

“How come I drive?”

“You’re a better driver than me.”

“What kind of piece is that?”

“Luger.”

“Never heard of it,” O’Reilly said. “Me, there’s nothing like the army-issue .45. It ain’t no target pistol, but whatever you hit with it, down they go. They stay down, too.”

“This one’s army-issue, too.”

“Huh?”

“German army. Just for officers—like yours—and very precise.”

“It don’t look like much.”

“Smaller rounds. Nine-millimeter. A little less than a .38, but very fast. Has to be. The way they designed these things, you need a lot of recoil to chamber the next cartridge.”

“Nine-millimeter. Even sounds weird.”

“Nine-millimeter Parabellum, they called it. The Germans, I mean. It’s from Latin. Means: if you want to be left in peace, be prepared for war.”

“Yeah? Makes sense to me. Okay. You want the shower first?”

“I’m good.”

The next night, at 10:57 p.m., a man wearing a black coat with red silk lining turned on Melrose and began to walk down the block. He glanced neither right nor left, but drew covert glances from a wide variety of nightcrawlers.

As he passed a blood-orange 1945 Chevrolet dropped almost to street level, a man got out of the passenger seat, fell into step behind him, pulled a pistol from his suit jacket, and shot him in the back of the head without breaking stride.

He fell to the sidewalk, face up, the red lining of his overcoat mocking the promise of the neon wash from a nearby window.

The shooter stepped close and shot him three more times, carefully placing each round into the dead man’s face.

Instantly, the shooter spun, eyes sweeping a now-empty street. He walked back toward the lowrider. As he passed, he emptied the magazine of his Luger into the driver’s face, head, and neck without breaking stride.

The shooter pocketed his pistol and kept walking to the end of the block. There, he climbed into the backseat of a fog-gray Cadillac that had been idling at the corner.

The Cadillac slid into traffic. Neither of the two men in the front seat turned around.

The man in the backseat snapped a new magazine into his pistol.

About the Authors

Megan Abbott is the Edgar award–winning author of the crime novels Queenpin, The Song Is You, Die a Little, and Bury Me Deep. Her writing has appeared in Wall Street Noir, Detroit Noir, Best Crime and Mystery Stories of the Year, Phoenix Noir, Storyglossia, the Los Angeles Times Magazine, The Believer, Queens Noir, and The Speed Chronicles. She is also the author of a nonfiction book, The Street Was Mine: White Masculinity in Hardboiled Fiction and Film Noir, and the editor of A Hell of a Woman, an anthology of female-themed crime fiction. She has been nominated for the Hammett Prize, the Los Angeles Times Book Prize, and the Pushcart Prize. Her newest novel, The End of Everything (Little, Brown, July 2011), is set in the suburbs of the 1980s and tells the story of a thirteen-year-old girl whose best friend disappears. Abbott lives in Queens, New York.

Charles Ardai is the Edgar and Shamus Award–winning author of four novels, two of which (Little Girl Lost and Songs of Innocence) are currently in development as feature films from Universal Pictures. His writing has appeared in dozens of publications, ranging from Time to Twilight Zone, as well as in series such as The Year’s Best Horror Stories and Best American Mystery Stories. As founder and editor of the acclaimed pulp-fiction series Hard Case Crime—described by Neal Pollack in The Stranger as “the best new American publisher to appear in the past decade”—Ardai has had the opportunity to work with authors such as Stephen King, Mickey Spillane, Pete Hamill, Donald E. Westlake, Ed McBain, Madison Smartt Bell, and Lawrence Block. He is also a writer and producer on the TV series Haven.

In addition to his work as a writer, publisher, and entrepreneur, Ardai serves as a managing director at the D. E. Shaw group, in which capacity he has had responsibility for technology ventures such as Schrödinger, a leading developer of software for computational chemistry (Ardai serves as the firm’s chairman). His best-known creation is the Internet service Juno, which provided free e-mail and Internet access to millions of computer users in the 1990s.

Lawrence Block is the highly prolific and respected author of more than sixty novels and eleven collections of short fiction. He has won almost every major award available to mystery writers, including four Edgar Awards, four Shamus Awards, two Falcon Awards (presented by the Maltese Falcon Society in Japan), and the Nero Award. A past president of the Private Eye Writers of America and the Mystery Writers of America, Block has published articles and short fiction in American Heritage, Redbook, Playboy, GQ, Ellery Queen’s Mystery Magazine, and the New York Times. Three of his novels have been turned into major studio films.

Joe R. Lansdale is the author of more than thirty novels and many short stories and articles. He also writes comic scripts and screenplays. His novella Bubba Ho-Tep was turned into a film of the same name, and his short story Incident On and Off a Mountain Road was made into an episode of Showtime’s Masters of Horror. He is currently producing a film based on his story Christmas with the Dead.

Joyce Carol Oates is the author of a more than fifty novels, twenty collections of short fiction, ten poetry collections, and numerous nonfiction pieces and plays, including, most recently, the story collection Give Me Your Heart and the memoir A Widow’s Story. Twice nominated for the Pulitzer Prize, she is a recipient of the PEN/Malamud Award, honoring excellence in the art of the short story, an O. Henry Award, the Bram Stoker Award, National Book Award, the Ivan Sandrof Lifetime Achievement Award of the National Book Critics Circle, and the 2010 National Humanities Medal.

Francine Prose has written fifteen novels, among them Blue Angel, which was a finalist for the National Book Award, and, most recently, My New American Life. Her books of nonfiction include The Lives of the Muses: Nine Women and the Artists They Inspired, Caravaggio: Painter of Miracles, Gluttony, and Anne Frank: The Book, the Life, the Afterlife. Her book Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them was a New York Times bestseller. Her stories, reviews, cultural criticism, and essays have appeared in such publications as The New Yorker, the New York Times, the New York Review of Books, and ARTNews, and she is a contributing editor at Harper’s and BOMB. Formerly the president of PEN American Center, Prose is the recipient of the Washington University International Humanities Medal, the Dayton Literary Peace Prize, the Edith Wharton Achievement Award, a Guggenheim fellowship, two NEA grants, and a PEN Translation Prize. She is currently a distinguished writer in residence at Bard College. She is a member of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, the New York Institute for the Humanities, and has been a resident in literature at the American Academy in Rome. She was one of the first recipients of a Director’s Fellowship at the New York Public Library’s Cullman Center for Scholars and Writers.

Jonathan Santlofer is the author of five crime novels, among them his debut novel, The Death Artist, which received national attention and was translated into more than twenty languages, and Anatomy of Fear, winner of the Nero Award in 2008. He is also coeditor of the highly acclaimed anthology The Dark End of the Street. The recipient of two NEA grants, he has been a visiting artist at the Vermont Studio Center, the American Academy in Rome, and serves on the board of Yaddo, the oldest arts community in the U.S. His short fiction appears in several anthologies and collections, including The Rich and the Dead, edited by Nelson DeMille, and the forthcoming New Jersey Noir, edited by Joyce Carol Oates. Santlofer is also a well-known artist: his work is in the collections of the Metropolitan Museum of Art, the Museum of Contemporary Art in Tokyo, and JPMorgan Chase.

Duane Swierczynski is the author of several crime thrillers, including the Edgar Award–nominated Expiration Date and Fun & Games, the first in a new series published by Mulholland Books. He’s also written about the characters Punisher, Cable, the Immortal Iron Fist, Werewolf by Night, Black Widow, and Deadpool for Marvel Comics, and is collaborating with CSI creator Anthony E. Zuiker on the Level 26 series of bestselling “digi-novel” thrillers, including Dark Origins and Dark Prophecy. He and his family live in Philadelphia, Pennsylvania.

Andrew Vachss is a lawyer who represents children and youth exclusively. His many books include eighteen novels in the Burke series and four collections of short stories. His work has appeared in Parade, Antaeus, Esquire, Playboy, and The New York Times, among other publications. For more information about Mr. Vachss and his work, visit www.vachss.com.

About L.A. Noire

Produced and developed by Rockstar Games and Team Bondi, L.A. Noire is a dark and violent crime thriller that blends breathtaking action with true detective work to deliver an unprecedented interactive experience. Following the story of a young detective’s rise to prominence in the LAPD, L.A. Noire lets players solve complex, historically-inspired crimes in a beautifully-recreated and fully interactive rendition of 1947 Los Angeles. Interrogate witnesses, search for clues, and chase down suspects as you struggle to find the truth in a city where everyone has something to hide. L.A. Noire is available for the Xbox 360® video game and entertainment system from Microsoft and the PlayStation®3 computer entertainment system.

About Rockstar Games

Founded in 1998 and based in New York, Rockstar Games is the publisher of some of the world’s best-selling and critically acclaimed videogames, including the record-breaking Grand Theft Auto series, Red Dead Redemption, the Max Payne series, Manhunt and Bully.

New from the authors of
L.A. Noire: The Collected Stories

The End of Everything

Megan Abbott

A Drop of the Hard Stuff

Lawrence Block

Devil Red

Joe R. Lansdale

A Widow’s Story: A Memoir

Joyce Carol Oates

My New American Life: A Novel

Francine Prose

The Murder Notebook

Jonathan Santlofer

Fun and Games

Duane Swierczynski

The Weight

Andrew Vachss

Copyright

Copyright in the collection © 2011 by Rockstar Games

Introduction copyright © 2011 by Charles Ardai

Copyright acknowledgments follow.

The right of the contributors to be identified as the Authors of the Work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

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First eBook Edition: June 2011

The Mulholland Books name and logo are trademarks of Hachette Book Group, Inc.

The characters and events in this book are fictitious. Any similarity to real persons, living or dead, is coincidental and not intended by the authors.

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ISBN 978 1444 730883

Copyright Acknowledgments

Introduction copyright © 2011 by Charles Ardai. Originally published by Rockstar Games.

“See the Woman,” copyright © 2011 by Lawrence Block. Originally published by Rockstar Games.

“Naked Angel,” copyright © 2011 by Joe R. Lansdale. Originally published by Rockstar Games.

“BLACK DAHLIA & WHITE ROSE: Unofficial Investigation into the (Unsolved) Kidnapping-Torture-Rape-Murder-Dissection of Elizabeth Short, 24, Caucasian Female, Los Angeles, CA, January 1947,” copyright © 2011 by Joyce Carol Oates. Originally published by Rockstar Games.

“What’s in a Name?” copyright © 2011 by Jonathan Santlofer. Originally published by Rockstar Games.

“Postwar Boom,” copyright © 2011 by Andrew Vachss. Originally published by Rockstar Games.

“Hell of an Affair,” copyright © 2011 by Duane Swierczynski. Originally published by Rockstar Games.

“School for Murder,” copyright © 2011 by Francine Prose. Originally published by Rockstar Games.

“The Girl,” copyright © 2011 by Megan Abbott. Originally published by Rockstar Games.

Table of Contents

Front Cover Image

Introduction

STORY ONE: THE GIRL

STORY TWO: SEE THE WOMAN

STORY THREE: NAKED ANGEL

STORY FOUR: BLACK DAHLIA & WHITE ROSE

STORY FIVE: SCHOOL FOR MURDER

STORY SIX: WHAT’S IN A NAME?

STORY SEVEN: HELL OF AN AFFAIR

STORY EIGHT: POSTWAR BOOM

About the Authors

About L.A. Noire

New from the authors of L.A. Noire: The Collected Stories

Copyright

Copyright Acknowledgments