The Big Nowhere

Chapter Forty-One

Ten days went by; Buzz hid out at a motel in San Pedro. Johnny Stompanato brought him information and bothered him for his fee on the Minear squeeze; the chink restaurant down the street delivered three greasy squares a day; the newspapers and radio supplied more info. He called Audrey in Ventura every night, spinning her tall tales about Rio and Buenos Aires, where the U.S. government couldn’t extradite and Mickey was too cheap to send men. He fretted on the last and craziest money-making scheme of his LA career, wondering if he’d survive to spend the proceeds. He listened to hillbilly music, and Hank Williams and Spade Cooley did terrible things to him. He missed Mal Considine wicked bad.

After the shootout, and LAPD army got the citizens quelled and the bodies removed. Four dead: Coleman, Loftis, Mal and the back door bouncer he shot. Claire De Haven disappeared — she probably sent Reynolds on his lunatic mission, heard the shots, decided one redemption for the night was sufficient and calmly caught a cab home to plan more People’s Revolts, Beverly Hills style. He followed Mal to the morgue and gave a statement at the Seven-Seven squadroom, tying in the Healy/Loftis deaths to the homo snuffs and insisting the late Deputy Danny Upshaw get credit for cracking the case. His statement glossed the illegalities he and Mal pulled; he didn’t mention Felix Gordean, Chaz Minear, Dudley Smith or Mike Breuning at all. Let fruitfly Chaz live to enjoy his redemption; crazy Dud was too large to tap for the José Diaz kill or Charles Hartshorn’s “suicide.”

Reading between newspaper lines, you could follow the upshot: the Gordean killing unsolved, no suspects; the shootout explained as Mal and himself “following up a lead on an old case”; the dead boogie attributed to Coleman. No Commie or queer homicide angle on it at all — Ellis Loew had beaucoup press connections and hated complications. Reynolds and his son-lover were dismissed as “old enemies settling a grudge” — the howler to top all howlers.

Mal Considine got a hero’s funeral. Mayor Bowron attended, as did the entire LA City Council, Board of Supervisors and selected LAPD brass. Dudley Smith gave a moving eulogy, citing Mal’s “grand crusade” against Communism. The Herald ran a picture of Dudley chucking Mal’s kid Stefan under the chin, exhorting him to “be a trouper.”

Johnny Stomp was his conduit for dope on the grand jury, Ellis Loew to Mickey to him — and it looked like 24-karat stuff on all fronts:

Loew would begin his presentation of evidence next week — perfect timing — the UAES was still bearing the brunt of radio and newspaper editorials blaming them for the Gower Gulch bloodshed. Herman Gerstein, Howard Hughes and two other studio heads had told Loew they would oust UAES the day the grand jury convened — violating the union’s contract on the basis of fine-print clauses pertaining to expulsion for subversive activities.

Johnny’s other glad tidings: Terry Lux had suffered a stroke — the result of “prolonged oxygen deprivation” caused by a mouthful of money and a popped artery in his right hand. He was recuperating well, but ruined tendons in that hand would prevent him from performing plastic surgery again. Mickey Cohen had upped the ante on the Meeks contract to $20,000; Buzz jacked his payoff on the Minear job to $25,000 so Stompanato wouldn’t put a bullet in his head. The Mick was pulling his hair out over Audrey; he’d erected a shrine out of Audrey memorabilia: her stripper publicity pics, the costumes she wore when she headlined the Burbank in ’38. Mickey locked the stuff up in his bedroom at the hideaway and spent hours mooning over it. Sometimes you could hear him crying like a baby.

And Turner Meeks himself, holder of the Va Va Voom Girl’s real true love, was getting fat, fat, fatter on moo shu duck, sweet and sour pork, shrimp chop suey and beef kowloon — a shitload of condemned man’s last meals. And with his money shot a day away, he knew there were two things he wanted to know before he stuck his head in the noose: the whole story on Coleman and why the UAES hadn’t played its extortion scheme against the studios — whatever it was — yet. And he had a hunch he knew where to get the answers.

Buzz went to the motel office, changed a five into nickels and walked to the phone booth in the parking lot. He got out the list of rest homes he’d torn from the Yellow Pages the day of the shootout and started calling, impersonating a police officer. He figured Lesnick would be hiding under an alias, but he hit the flunkies he talked to with his real name anyway, along with “old,” “Jewish,” “dying of lung cancer.” He was $3.10 poorer when a girl said, “That sounds like Mr. Leon Trotsky.” She went on to say that the oldster had checked out against medical advice and left a forwarding address: the Seaspray Motel, 10671 Hibiscus Lane, Redondo Beach.

A cheap Commie joke making it easy for him.

Buzz walked to a U-Drive and rented an old Ford sedan, thinking it looked pretty long in the tooth for a getaway car. He paid a week’s fee in advance, gave the clerk a look at his driver’s license and asked him for a pen and paper. The clerk complied; Buzz wrote:

Buzz drove to the Seaspray Motel, hoping Mal’s death kiboshed the Bureau men looking for Lesnick. It was an auto court at the tail of a dead-end street facing the beach; the office was shaped like a rocket ship pointed at the stars. Buzz walked in and punched the bell.

A youth with godawful pimples came in from the back. “You want a room?”

Buzz said, “Mr. Trotsky still alive?”

“Barely. Why?”

Buzz handed him the note and a five-spot. “Is he in?”

“He’s always in. Here or the beach. Where’s he gonna go? Jitterbugging?”

“Give him the paper, sonny. Keep the five. If he says he’ll talk to me, Abe Lincoln’s got a brother.”

The pimple boy motioned Buzz outside; Buzz stood by his car and watched him walk to the middle of the court and knock on a door. The door opened, the boy went in; a minute later he came out lugging two beach chairs, a stooped old man holding his arm. The hunch played — Lesnick wanted some friendly ears on his way out.

Buzz let them come to him. The old man had a hand extended from ten yards away; his eyes were bright with sickness, his face was muddy beige and everything about him looked caved-in. His voice was strong — and the smile that went with it said he was proud of the fact. “Mr. Meeks?”

Buzz gave the hand a little tug, afraid of breaking bones. “Yessir, Doctor.”

“And what is your rank?”

“I’m not a policeman.”

“Oh? And what were you doing with the grand jury?”

Buzz handed the clerk a fiver and grabbed the beach chairs. The boy walked off smiling; Lesnick held Buzz’s arm. “Why, then? I had thought Ellis Loew’s minions were all policemen.”

Lesnick’s weight on his was almost nothing — a stiff breeze would blow the fucker to Catalina. Buzz said, “I did it for money. You wanta talk on the beach?”

Lesnick pointed to a spot near some rocks — it was free of glass and candy bar wrappers. Buzz shephered him over, the chairs more of a strain than the man. He set the seats down facing each other, close, so he could hear if the Doc’s voice went bum; he settled him in and watched him hunch into folds of terrycloth. Lesnick said, “Do you know how I was convinced to become an informant?”

True snitch behavior — he had to justify himself. Buzz sat down and said, “I’m not sure.”

Lesnick smiled, like he was glad he could tell it. “In 1939 representatives of the Federal government offered me a chance to secure my daughter’s release from Tehachapi Prison, where she was incarcerated for vehicular manslaughter. I was the official CP analyst in Los Angeles then, as I have remained. They told me that if I gave them access to my psychiatric files for evaluation by the 1940 State Attorney General’s probe and other probes that might come up, they would release Andrea immediately. Since Andrea had a minimum of four more years to serve and had told me terrible stories of the abuse the matrons and her fellow inmates inflicted, I did not hesitate one second in agreeing.”

Buzz let Lesnick catch some breath — and cut to Coleman. “And the reason you didn’t kick loose with Loftis’ file from ’42 to ’44 was because Coleman was smeared all over it. That right?”

Lesnick said, “Yes. It would have meant much unnecessary suffering for Reynolds and Coleman. Before I turned the files over in toto I checked for other Coleman references. Chaz Minear alluded to Coleman, but only elliptically, so his file I relinquished. I did that same sort of editing when I gave my files to the HUAC investigators, but I lied and told them the Loftis file had been lost. I didn’t think Ellis Loew would believe that lie, so I just secreted Reynolds’ file portion and hoped I would die before they asked me for it.”

“Why didn’t you just chuck the damn thing?”

Lesnick coughed and hunched deeper into his robe. “I had to keep studying it. It compelled me greatly. Why did you leave the grand jury? Was it moral qualms over Ellis Loew’s methods?”

“I just didn’t think UAES was worth the trouble.”

“Your statement on the newspapers gives you credibility, and I find myself wondering exactly how much you know.”

Buzz shouted over a sudden crash of waves. “I worked the killings and the grand jury! What I don’t know is the history!”

The ocean noise subsided; Lesnick coughed and said, “You know all...”

“Doc, I know the incest stuff, and the plastic surgery and all about Coleman tryin’ to frame his daddy. The only other guy who knew was that DA’s captain who was killed at the jazz club. And I think you wanta tell what you got, or you wouldn’t of pulled that juvenile ‘Trotsky’ number. Make sense, headshrinker?”

Lesnick laughed, coughed, laughed. “You understand the concept of subliminal motivation, Mr. Meeks.”

“I got a half-assed brain, boss. Wanta hear my theory why you held the files back from summer ’49 on?”

“Please expound.”

“The UAESers who knew were talkin’ about Reynolds and Claire gettin’ married and how Coleman would take it. That right?”

“Yes. I was afraid the investigators would seize the Coleman references and try to locate him as one of their friendly witnesses. Claire tried to keep news of the wedding out of the papers so Coleman wouldn’t see it, but she did not succeed. At a terrible price, as I’m sure you know.”

Buzz stared at the water, stone quiet: his favorite trick to open suspects up. After a minute or so, Lesnick said, “When the second two victims were reported in the scandal tabloids, I knew the killer had to be Coleman. He was my analysand during the SLDC time. I knew he would have to be living somewhere near the Central Avenue jazz clubs, and I located him. We were close once, and I thought I could reason with him, get him to a locked institution and stop his senseless slaughter. Augie Duarte proved me wrong, but I tried. I tried. Think of that before you judge me too harshly. ”

Buzz looked at the walking dead man. “Doc, I’m not judgin’ anybody in this fuckin’ thing. I’m just leavin’ town in a day or so, and I sure would like you to fill in what I don’t know.”

“And nobody else will be told?”

Buzz threw Lesnick some crumbs. “You tried to spare your friends grief while you played the game, and I’ve pulled tricks like that too. I’ve got these two friends who’d like to know why, but they ain’t ever gonna. So could you maybe just tell me?”

Saul Lesnick told. It took him two hours, with many long pauses to suck in air and keep himself fueled. Sometimes he looked at Buzz, sometimes he looked out at the ocean. He faltered at some of the worst of it, but he always kept telling.

1942.

Wartime blackouts in LA, 10:00 P.M. curfew. Coleman was nineteen, living on Bunker Hill with his crazy mother Delores and two of his quasi-sisters. He used the surname “Masskie” because slave breeder mommy needed a paternal monicker to get Relief payments for her son and the seven letters jibed with Sister Aimee’s dictates on numerology. Coleman dropped out of Belmont High when they wouldn’t let him play in the school band; he was heartbroken when the band teacher told him the stupid saxophone flubbing he did was just noise that indicated no talent, only strong lungs.

Coleman tried to join the army two months after Pearl Harbor; he flunked the physical on trick knees and a spastic colon. He passed out handbills for Angelus Temple, earned enough money to buy himself a new alto sax and spent hours running chords and improvisational charts that sounded good only to him. Delores wouldn’t let him practice at home, so he took his horn to the Griffith Park hills and honked at the squirrels and coyotes and stray dogs that trucked there. Sometimes he walked to the downtown library and listened to Victrola records with earphones. His favorite was “Wolverine Blues,” sung by an old coon named Hudson Healy. The jig mushed words, and you could hardly hear him; Coleman invented his own words, dirty stuff about wolverines fucking, and sometimes he sang along under his breath. He listened to the record so much that he wore down the grooves to where you could hardly hear anything, and he started singing a little bit louder to make up for it. Finally, the old biddy who ran the Victrola Room got wind of his lyrics and gave him the boot. For weeks he jerked off to fantasies of Coleman the Wolverine butt raping her.

Delores kept bothering Coleman for Sister Aimee money; he took a job at the Joredco Dental Lab and gave her a percentage tithe. The work was pulling animal teeth out of decapitated trophy heads, and he loved it. He watched the more skilled workers make dentures with the teeth, fashioning plastic and mortar paste into choppers that could bite for eternity. He stole a set of bobcat plates and played with them when he honked his sax up in the hills. He pretended he was a bobcat and that Delores and his phony brothers and sisters were afraid of him.

Joredco laid Coleman off when the boss found a wetback family who’d work for an extra-low group rate. Coleman was hurt and tried to get a job at a couple of other dental labs, but found out Joredco was the only one that made dentures with real animal teeth. He took to prowling around after dark — real dark — everybody shut in behind blackout curtains so the Japs wouldn’t see all the lights and do LA like they did Pearl Harbor.

Coleman composed music in his head while he prowled; curiosity about life behind the curtains almost drove him crazy. There was a list on the wall at a local barber shop: Bunker Hill citizens who were good citizens working defense jobs. The list said who was working days, swing and graveyard. Coleman took the names to the phone book and matched them to addresses; from there he made phone calls — a phony census poll — and figured out who was married and who wasn’t. Unmarried and graveyard meant a Coleman foray.

He forayed a bunch of times: in through an unlocked window, busting open a woodbox door, sometimes chiseling a door jamb. He took little things and money to keep Delores off his back. His best catch was a stuffed bobcat. But Coleman liked just being in the empty houses best. It was fun to pretend to be an animal that could appreciate music. It was fun to pretend to be an animal that could appreciate music. It was fun to be in dark places and pretend you could see in the dark.

Early in June, Coleman was on the Hill Street trolley and heard two guys talking about a strange-o named Thomas Cormier and the smelly animals he kept behind his house on Carondelet. One man recited the names: weasels, ferrets, badgers, otters and wolverines. Coleman got excited, census-called Thomas Cormier and learned he worked nights at the Griffith Park Zoo. The next night, armed with a flashlight, he visited the wolverines and fell in love with them.

They were nasty. They were vicious. They took shit from no one. They tried to chew through the front of their cages to get at him. They had a snarl that sounded like the high notes on his sax.

Coleman left; he didn’t burglarize the house, because he wanted to keep coming back for more visits. He read up on the lore of the wolverine and reveled in tales of its savagery. He set rat traps in Griffith Park and brought his catch back for the wolverines to eat dead. He brought hamsters and fed them to the wolverines live. He shone his flashlight on the wolverines and watched them gorge on his goodies. He came without touching himself while he watched.

Coleman’s summer was marred by Delores pestering him for more money. Late in July, he read in the paper about a local bachelor who worked swing shift at Lockheed and owned a valuable coin collection. He decided to steal it, sell it and parcel the money out to Delores so she’d leave him alone.

On the night of August 2, Coleman tried — and was captured inside the house by the owner and two friends of his. He went for the owner’s eyes like a good wolverine — unsuccessfully — but managed to get away. He ran the six blocks home, found Delores and a strange man going 69 on the couch with the lights on, was repulsed and ran back outside in a panic. He tried to run for the wolverine house, but the coin collection man and his pals — trawling in a car — found him. They drove him out to Sleepy Lagoon Park and beat him; the coin collection man wanted to castrate him, but his friends held him back. They left him there beaten bloody, composing music in his head.

Coleman stumbled over to a grassy knoll and saw — or thought he saw — a big white man beating a Mexican youth with his fists, slashing at his clothes with a razor-bladed two-by-four. The white man railed in a thick brogue: “Spic filth! I’ll teach you to traffic with clean young white girls!” He ran the boy down with a car and drove away.

Coleman examined the Mexican youth and found him dead. He made it home, lied to Delores about his injuries and spent time recuperating. Seventeen Mexican boys were indicted for the Sleepy Lagoon killing; a social ruckus over their innocence ensued; the boys were quickly put on trial and languished in jail. Coleman sent the LA Police Department anonymous letters during the trial — he described the monster he had come to call the Scotch Voice Man and told what really happened. Months passed; Coleman played his sax, afraid to burglarize, afraid to visit his wolverine friends. He worked skid row day labor and kicked back most of the scratch to keep Delores off his case. Then one day the Scotch Voice Man himself came walking up the steps of 236 South Beaudry.

Delores and his half sisters were gone for the day; Coleman hid out, realizing what must have happened: he left fingerprints on the letters and Scotch Voice retrieved the notes and compared the prints against the prints in his Selective Service file. Coleman hid out all that day and the next; Delores told him an “evil man” was looking for him. He knew he had to run, but had no money; he got an idea: check crazy momma’s scrapbook of old flames for men that he resembled.

Coleman found four photographs of a summer-stock actor named Randolph Lawrence — the dates on the back of the pictures and a strongish facial resemblance said this was his daddy. He copped two of the snapshots, hitchhiked to Hollywood and told a fish story to a clerk at the Screen Actors Guild. She believed his abridged tale of parental abandonment, checked the Guild files and informed him that Randolph Lawrence was really Reynolds Loftis, a character actor of some note: 816 Belvedere, Santa Monica Canyon.

The child showed up at his father’s door. Reynolds Loftis was touched, pooh-poohed the story of the Scotch Voice Man, admitted his parentage and gave Coleman shelter.

Loftis was living with a screenwriter named Chaz Minear; the two men were lovers. They were members of the Hollywood leftist community, they were party-hopping devotees of avant-garde cinema. Coleman spied on them in bed — he both loved and hated it. He went with them to parties thrown by a Belgian filmmaker; the man screened movies featuring naked men and snapping dogs that reminded him of his wolverines — and the films obsessed him. Reynolds was generous with money and didn’t mind that he spent his days in the back yard honking his alto. Coleman started hanging out at jazz clubs in the Valley and met a trombone player named Mad Marty Goines.

Mad Marty was a heroin fiend, a reefer seller, a burglar and a second-rate horn. He was a lowlife’s lowlife, with a legitimate gift: teaching thievery and music. Marty taught Coleman how to hot-wire cars and really blow alto, showing him how to shape notes, read music, take his repertoire of noises and powerful lungs and use them to make sounds that meant something.

It was now the winter of ’43. Coleman was shedding his baby fat, getting handsome. Reynolds became demonstrative to him, physically affectionate — lots of hugs and kisses on the cheek. He suddenly credited the story of the Scotch Voice Man. He joined the Sleepy Lagoon Defense Committee — a hot lefty item now that the seventeen boys had been convicted — to prove his faith in Coleman.

Reynolds told Coleman to be quiet about the Scotch Voice Man — nobody would believe him, and the important thing was to get the poor persecuted boys out of jail. He told him Scotch Voice would never be caught, but the evil man was probably still looking for Coleman — who needed protective coloration to remain safe from him. Reynolds took Coleman to Dr. Terence Lux and had his face physically altered to his own specifications. While recuperating at the clinic, Coleman went crazy, killing chickens in the hatchery, pretending he was a wolverine while he drank their blood. He got leaves from the olinic and pulled burglaries with Mad Marty, his face bandaged like a movie monster; he went to SLDC rallies with his attentive father — and against his wishes told the story of José Diaz and the Scotch Voice Man. Nobody believed him, everyone patronized him as Reynolds Loftis’ nutty kid brother burned in a fire — lies his father told him to go along with. Then the bandages came off and Coleman was his father twenty years younger. And Reynolds seduced his own youthful mirror image.

Coleman went with it. He knew he was safe from Scotch Voice; while recovering from the surgery he did not know how his new face would look, but he knew now that he was beautiful. The perversion was awful but continually exciting, like being a wolverine prowling a strange dark house twenty-four hours a day. Acting the part of a platonic kid brother was an intriguing subterfuge; Coleman knew Daddy was terrified of their secret coming out and kept mum — he knew also that Reynolds was going to rallies and donating money to causes because he felt guilty for seducing him. Maybe the surgery was not for his safety — just for the seduction. Chaz moved out — bitter over the horrific cuckolding — spurning Reynolds’ offer to make it a menage à trois. Minear went on a sex bender then, a different Felix Gordean male prostitute every night — Reynolds lived in terror of his ex-lover telling them of the incest and tricked with a bunch of prosties himself, for the sex and to keep his ear down. Coleman was jealous, but kept still about it, and his father’s sudden frugality and displays of nervousness convinced him that Reynolds was being blackmailed. Then Coleman met Claire De Haven and fell in love with her.

She was Reynolds’s friend and confrere in various leftist organizations, and she became Coleman’s confidante. Coleman had begun to find sex with his father intolerable; he pretended the man was Claire to get through their nights together. Claire heard Coleman’s horror story out and convinced him to see Dr. Lesnick, the CP’s approved psychiatrist — Saul would never violate confidentiality with an analysand.

Lesnick heard Coleman out — in a series of arduously detailed two-hour sessions. He believed the Sleepy Lagoon story to be fabricated on two levels: Coleman needing to justify his search for his father and his own latent homosexuality; Coleman wanting to curry favor with SLDC Latins by saying the killer was white — not the unfound Mexican gang members the leftist community asserted the slayers to be. That aside, he believed Coleman’s narratives, comforted him and urged him to break off the affair with his father.

Lesnick was also seeing Loftis as a patient; he knew Reynolds was guilt-crazed over the affair, giving more and more money to more and more causes — especially the SLDC — an adjunct of the lever of manipulation he had applied to get Coleman to consent to the plastic job. Coleman felt reality closing in and began visiting Thomas Cormier’s wolverines again, feeding and loving them. One night he felt an incredible urge to pet and hold one. He opened a pen, tried to embrace the beast and was bitten all over his arms. He and the wolverine fought; Coleman won with a stranglehold. He took the carcass home, skinned it, ate its flesh raw and made dentures out of its teeth, wearing them in his private hours, pretending to be the wolverine — stalking, fucking, killing.

Time passed.

Reynolds, convinced by Claire and Lesnick, broke off the liaison with Coleman. Coleman resented his sex power being usurped and started hating Daddy outright. The boys convicted of the Sleepy Lagoon killing were exonerated and released from prison — the SLDC largely responsible for securing the piece of justice. Claire and Coleman continued to talk, but now sporadically. Coleman copped Southside heroin for her to dally with; Claire was more disturbed than pleased by the gesture, but she did give Coleman a two-thousand-dollar loan he asked for. He used the money to buy himself a second Terry Lux surgery, the doctor going at his face with weighted boxing gloves, then holing him up at the hatchery with morphine and syringes to keep himself painless. Coleman read anatomy and physiology texts there; he left the clinic, kicked the drug cold turkey and showed up at Claire’s door black and blue, but not looking like his father. When he asked Claire to sleep with him, she ran away in horror.

1945.

Coleman moved out of Los Angeles, Claire’s revulsion a hot wind at his back. He bummed around the country and played alto with pickup bands, taking Hudson Healy’s surname. In ’47, Reynolds Loftis went before HUAC, refused to inform and was blacklisted; Coleman read about it and was delighted. Coleman was living in a world of impacted rage: fantasies of hurting his father, possessing Claire, raping men who looked at him the wrong way and eating their flesh with the wolverine teeth he still carried everywhere. Composing music and playing it was the only thing holding him glued. Then, back in LA at the end of ’49, he read that Daddy and Claire were getting married. His threadbare, jerry-built world crashed in.

Coleman’s fantasies escalated to where he couldn’t even think of music. He knew he had to act on the fantasies and build a purpose around them, clear and precise like what his music meant to him. He found out about Reynolds’ UAES membership and learned when the union held its Executive Committee meetings. He decided to kill sex partners of his father’s — ones he remembered from the time of Daddy’s breakup with Chaz. Coleman recalled George Wiltsie and Latin lover Augie by face and name, but they would never be able to identify him: at the time he was protectively colored as a lowly kid brother. He remembered other Reynolds conquests strictly by face, but knew the bars they frequented. Finding victims would be easy, the rest of it more difficult.

The plan:

Kill the Reynolds lovers on UAES meeting nights, disguised as Reynolds, spreading Reynolds’ identical O+ seed, dropping clues to point to Reynolds as the killer, forcing him to — at worst — be implicated in the murders, or — milder punishment — cough up his treasonous UAES meetings as alibis. Daddy could be convicted of the crimes; he could be a suspect and have to admit his homosexuality to the police; he might get smeared in the press, and if he used his precious union soirees as alibis, he might ruin his newly resurrected movie career on grounds of Pinko associations.

Coleman knew he needed money to finance his killing spree, and he was only making chump change gigging on Central Avenue. On Christmas Eve he ran into his old pal Marty Goines at Bido Lito’s. Marty was surprised — and happy — it was the first time he’d seen Coleman post-bandages, years had gone by, the boy had become a man with a new face — and was not a bad alto. Coleman suggested they pull another B&E string; Mad Marty agreed. They made plans to talk after New Year’s; then, early New Year’s Eve, Goines saw Coleman outside Malloy’s Nest and told him he’d called a Quentin buddy in Frisco, Leo Bordoni, and invited him to join their gang. Coleman, enraged at not being consulted — but not showing it — determined that Goines hadn’t mentioned him or described him to Bordoni and decided that his old jazz mentor was prime wolverine bait. He told Marty to meet him at 67th and Central at 12:15, and to be quiet about it — there was a reason.

Coleman went to his room and got the Reynolds gray wig and makeup kit he’d brought. He fashioned a zoot stick from a plank he found in the garbage and a Gillette five-pack. He snapped that UAES was holding a party/meeting that night, copped four H bindles and a hypo from his old source Roland Navarette, pegged an unlocked Buick on 67th as his wheels, played his last gig at the Zombie, walked into the men’s can at the Texaco Station on 68th as Coleman, walked out as Daddy.

Marty was right on time, but drunk — he didn’t even blink at Coleman’s disguise. Coleman coldcocked him on the sidewalk, slung him against his shoulder like a boozed-out buddy, got him into the Buick and hot-wired it. He geezed Marty up with a heavy junk load, drove him to his crib in Hollywood, shot him with the other three bindles and stuffed the hood of a terrycloth robe in his mouth so he wouldn’t vomit blood on him when his cardiac arteries burst. Marty’s heart popped big; Coleman strangled the rest of his life out, zoot slashed his back, pulled out his eyes like he tried to with the coin collection man back at Sleepy Lagoon. He raped those bare sockets; he put on his wolverine teeth and feasted, spraying blood on the walls to wild alto riffs in his head. When he was finished he left the eyeballs in the Frigidaire, dressed Goines in the white terry robe, carried him downstairs and propped him up in the back seat of the Buick. He adjusted the rear-view mirror so he could watch Marty with his eyeless head lolling; he drove to Sunset Strip in the rain, thinking of Daddy and Claire reamed to their teeth in every orifice. He deposited Marty nude in a vacant lot on Allegro, prime fruit territory, a corpse on display like the Black Dahlia. If he was lucky, victim number one would get just as much ink.

Coleman went back to his music, his other life. The Goines kill did not reap the publicity he hoped it would — the Dahlia was a beautiful woman, Marty an anonymous transient. Coleman rented U-Drive cars and patrolled 2307 Tamarind at odd times; no cops showed up — he could use the place again. He got George Wiltsie’s address from the phone book and decided that Wiltsie would be victim number two. He spent nights cruising queer bars near the pad, saw Wiltsie at the dives, but always in the company of his squeeze, a guy he called “Duane.” He almost decided to let the bastard live — but thinking of the possibilities a duo kill presented made him tingly and reminded him of Delores and the man going 69. Then Duane mentioned to a barman that he worked at Variety International — old Daddy turf.

Providence.

Coleman approached George and Duane, carrying a little kill kit he’d concocted: secobarbital caps bought from Roland Navarette, and strychnine from the drugstore. Two to one, barbiturate to poison — pinprinks on the capsules for a quick effect. Coleman suggested a party at “his place” in Hollywood; George and Duane accepted. On the ride over in his U-Drive, he gave them a pint of rye to slug from. When they were half gassed, he asked them if they’d like to try some real Spanish Fly. Both men eagerly swallowed death pills; by the time they got to Marty’s dump they were so woozy Coleman had to help them upstairs. Lindenaur was DOA, Wiltsie in a deep slumber. Coleman undressed them and went to work zooting the dead guy.

Wiltsie woke up and fought to live. Coleman slashed one of the fruiter’s fingers off defending himself and killed him with a knife thrust to the throat. With both men dead, he zooted, wolverined, raped the standard way and drew music pictures and a trademark W on the walls. He put Wiltsie’s digit in the icebox; he showered Duane and George free of blood, wrapped them in spare blankets, carried them down and drove to Griffith Park, his old sax-honking territory. He stripped them and carried them up to the hiking trail; he 69’d them for the world to see. If he was seen, he was seen as his father.

Two events coincided.

Dr. Saul Lesnick, near death and wanting to somehow recoup his moral losses, read a scandal tabloid account of the Wiltsie/Lindenaur murders. He recalled Wiltsie as a name bandied in a Reynolds Loftis psychiatric session years before; the zoot slashing reminded him of Coleman’s fantasies regarding the Scotch Voice Man and the weapons at Terry Lux’s hatchery. What finally convinced him that Coleman was the killer was the hunger behind the obliquely described bite marks. Coleman was hunger personified. Coleman wanted to be the most vicious, insatiable animal on earth, and now he was proving that he was.

Lesnick knew the police would kill Coleman if they caught him. Lesnick knew he had to try to get him to a locked-ward institution before he killed anyone else or took it in mind to go after Reynolds and Claire. He knew Coleman had to be close to the music, and found him playing at a club on Central Avenue. He regained Coleman’s confidence as the one person who had never hurt him, secured him a cheap apartment in Compton and talked, talked, talked to him, hiding with him when a friend in the leftist community told him Reynolds and Claire were also seeking Coleman out. Coleman was experiencing moments of clarity — a classic behavior pattern in sexual psychopaths who had succumbed to murder to satisfy their lusts. He poured out the story of his first three killings; Lesnick knew that chauffeuring a dead man in the back seat and the second two victims brought to Tamarind Street were a pure subconscious attempt to be caught. Psychological craters existed for a skilled psychologist to drive wedges into — Saul Lesnick’s redemption for ten years of informing on people he loved.

Coleman was fighting his urges inchoately, with music. He was working on a long solo piece filled with eerie silences to signify lies and duplicities. The riffs would spotlight the unique high sounds he got with his sax, loud at first, then getting softer, with longer intervals of silence. The piece would end on a scale of diminishing notes, then unbroken quiet — which Coleman saw as being louder than any noise he could produce. He wanted to call his composition The Big Nowhere. Lesnick told him that if he got to a hospital, he would survive to perform it. The doctor saw Coleman faltering, clarity gaining. Then Coleman told him about Danny Upshaw.

He’d met Upshaw the night after he killed Marty Goines. The detective was on a routine canvassing assignment, and Coleman brazened him out with his “I was in plain view all night” alibi, knowing Upshaw believed it. That belief meant Goines had kept mum about meeting him, and Coleman took the opportunity to lie about Marty being fruit and drop clues on tall, gray Daddy. He put Upshaw out of his mind and went on with his plan, killing Wiltsie and Lindenaur, wavering between Augie Duarte or another Daddy squeeze he knew as victim number four. But he’d started having dreams about the young detective, steamy stuff that said he really was what Daddy tried to make him. Coleman made a decision to murder Reynolds and Claire if he couldn’t smear Daddy to the rafters — he thought that potential added blood to his stew would spice him up and make him dream about the women he once loved.

The plan didn’t work. Coleman had more Upshaw dreams, more Upshaw fantasies. He was Daddy-garbed and in the process of staking out Felix Gordean’s office for leads on old Reynolds lovers when he spotted Upshaw holding down his own surveillance; he was nearby when Upshaw phoned the DMV Police Information Line. He caught the gist of his talk, and tailed Upshaw in the Pontiac he’d stolen — just to get close to him. Upshaw spotted the tail; a chase followed; Coleman got away, stole another car, called the DMV and pretended to be the deputy’s partner. One of the names the clerk read back to him was Augie Duarte; Coleman decided it was providence again and settled on him as victim four then and there. He drove to Gordean’s beach house, spotted Upshaw’s car, hid and listened to Gordean and one of his musclemen talking. The pimp/queer expert said, “That policeman is coming out of the closet. I know it.”

The next day, Coleman let himself into Upshaw’s apartment and savored it. He saw no mementoes of women, nothing but a too-tidy, impersonal pad. Coleman knew then, and began to feel a complete identification with Upshaw, a symbiosis. That night, Lesnick left the apartment to get medicine at County General, thinking Coleman’s Upshaw fixation would break him down on his homosexuality, stymie and stalemate him. He was wrong. Coleman picked up Augie Duarte at a downtown bar, sedated him and took him to an abandoned garage in Lincoln Heights. He strangled him and hacked him and ate him and emasculated him like Daddy and all the others had tried to do to him. He left the body in the LA River wash, drove back to Compton and told Lesnick he had finally put Upshaw in perspective. He was going to compete with the man, killer against detective. Saul Lesnick left the apartment and took a cab back to his rest home, knowing Coleman Healy would wreak slaughter until he was slaughtered himself. And the frail old headshrinker had been trying to get up the guts for a mercy killing ever since.

Lesnick ended his narrative with a deft storyteller’s flourish, pulling a revolver from the folds of his robe. He said, “I saw Coleman one more time. He had read that Upshaw died accidentally and was very disturbed by it. He had just purchased opiates from Navarette and was going to kill another man, a man who had been an extra on one of Reynolds’ films, an opium dabbler. The man had had a brief fling with Reynolds and Coleman was going to kill him. He told me, like he thought I would do nothing to stop it. I bought this gun at a pawn shop in Watts. I was going to kill Coleman that night, but you and Captain Considine got to him first.”

Buzz looked at the piece. It was old and rusted and would probably misfire, like the shrinker’s nutso take on Sleepy Lagoon as a fantasy. Coleman would have slapped it out of his bony hand before Pops could pull the trigger. “You pleased the way it turned out, Doc?”

“No. I am sorry for Reynolds.”

Buzz thought of Mal shooting straight at Daddy — wanting Coleman alive for his career and maybe something to do with his own kid. “I’ve got a cop question, Doc.”

Lesnick said, “Please. Ask me.”

“Well, I thought Terry Lux hipped Gordean to all the stuff Gordean blackmailed Loftis with. Your story makes me think Chaz Minear told Felix some details, details that he put together when he blackmailed Loftis a second time just lately. Stuff that made him think Coleman was killin’ people.”

Lesnick smiled. “Yes, Chaz told Felix Gordean many things about Coleman’s clinic stay that could be construed as clues when put together with newspaper facts. I read that Gordean was murdered. Was it Chaz?”

“Yeah. Does that please you?”

“It’s a small happy ending, yes.”

“Any thoughts on Claire?”

“Yes. She’ll survive your grand jury pogrom like a Tigress. She’ll find another weak man to protect and other causes to champion. She’ll do good for people who deserve good done for them, and I will not comment on her character.”

Buzz said, “Before things got out of control, it looked like the UAES had some kind of extortion scheme brewin’ against the studios. Were you playin’ both ends? Holdin’ back stuff you heard as a psychiatrist to help the union?”

Lesnick coughed and said, “Who wants to know?”

“Two dead men and me.”

“And who else will hear?”

“Just me.”

“I believe you. Why, I don’t know.”

“Dead men got no reason to lie. Come on, Doc. Spill.”

Lesnick fondled his pawnshop piece. “I have verified information on Mr. Howard Hughes and his penchant for underaged girls, and much information on various RKO and Variety International actors and the narcotics cures they periodically undergo. I have information on the underworld associations of many studio executives, including one RKO gentleman who ran down a family of four in his car and killed them. The arrest was fixed, and it never went to trial, but that allegation by itself would be most embarrassing. So the UAES is not without weapons, you see.”

Buzz said, “Boss, I pimped them girls to Howard and fixed up most of them dope cures. I got that RKO guy off the hook and ran the payoff to the judge that woulda arraigned him. Doc, the papers would never print what you got and the radio would never put it on the air. Howard Hughes and Herman Gerstein would laugh your extortion right back in your face. I’m the best fixer this town ever saw, and believe me the UAES is crucified.”

Saul Lesnick got to his feet, wobbled, but stayed standing. He said, “And how will you fix that?”

Buzz walked on the question.

When he got back to his motel, there was a note from the manager on the door: “Call Johnny S.” Buzz went to the pay phone and dialed Stompanato’s number.

“Talk to me.”

“It’s Meeks. What’s up?”

“Your number, but hopefully not my money. I just got a lead, through a friend of Mickey’s. LAPD did a routine ballistics run-through on that jazz club shootout you were in. That hotshot coroner Layman examined the report on the pills they took out of that rat guy you told me about. It looked familiar, so he checked back. Bullets from your gun matched the pills they took out of Gene Niles. LAPD makes you for the Niles snuff, and they’re out to get you in force. Shoot to kill. And I hate to mention it, but you owe me a lot of money.”

Buzz sighed. “Johnny, you’re a rich man.”

“What?”

Buzz said, “Meet me here tomorrow at noon,” and hung up. He dialed an East LA number and got, “Quien? Quien es?”

“Speak English, Chico, it’s Meeks.”

“Buzz! My Padrone!”

“I’m changin’ my order, Chico. No thirty-thirty, make it a sawed-off.”

“.12 gauge, Padrone?”

“Bigger, Chico. The biggest you got.”

Chapter Forty-Two

The shotgun was a .10 gauge pump with a foot-long barrel. The slugs held triple-aught buckshot. The five rounds in the breech were enough to turn Mickey Cohen’s haberdashery and the dope summit personnel into dog food. Buzz was carrying the weapon in a venetian blind container covered with Christmas wrapping paper.

His U-Drive clunker was at the curb a half block south of Sunset. The haberdashery lot was packed with Jew canoes and guinea gunboats; one sentry was stationed by the front door shooing away customers; the man by the back door looked half asleep, sitting in a chair catching a full blast of late-morning sun. Two neutral triggers accounted for — Dudley and the fourth man had to be inside with the action.

Buzz waved at the guy up on the corner — his prepaid accomplice recruited from a wine bar. The guy walked into the lot looking furtive, trying Caddy and Lincoln door handles, skirting the last row of cars by the fence. Buzz eased up slowly, waiting for the sentry to take note and pounce.

It took the sunbird almost half a minute to stir, get wise and tread over, a hand inside his jacket pocket. Buzz ran full speed, fat lightning on sneakered feet.

The sentry turned around at the last second; Buzz swung the Christmas box in his face and knocked him against the hood of a ’49 Continental. The man pulled his gun; Buzz kneed him in the nards, popped his nose with a flat palm and watched the .45 auto hit the blacktop. Another knee spear put him down and keening; Buzz kicked the gun away, whipped off the box and used the butt of his sawed-off to beat him quiet.

The accomplice was gone; the sentry was bleeding at the mouth and nose, deep off in dreamland — maybe for keeps. Buzz pocketed the loose cannon, walked over to the back door and let himself in.

Laughter and hail-fellow dialogue booming; a short corridor lined with dressing rooms. Buzz inched up to a curtain, pulled a corner back and looked.

The summit was in full swing. Mickey Cohen and Jack Dragna were glad-handing each other, standing by a table laid out with cold cuts, bottles of beer and liquor. Davey Goldman, Mo Jahelka and Dudley Smith were knocking back highballs; a line of Dragna humps was standing by the front window curtains. Johnny Stompanato was nowhere to be seen because Johnny Stompanato was probably halfway to Pedro by now, hoping a certain fat man survived the morning. Over by the left wall, the real business was happening: two Mex National types counting a suitcase full of money while one Mickey guy and one Jack guy taste-tested the white-brown powder stuffed into reinforced paper bags in another suitcase. Their smiles said the stuff tasted good.

Buzz pulled the curtain aside and joined the party, sliding a round into the chamber to get some attention. The noise caused heads to turn, drinks and plates of food to drop; Dudley Smith smiled; Jack Dragna eyed the barrel. Buzz saw a cop type by the Mexes. Twenty to one he and Dudley were the only ones heeled; Dud was much too smart to try something. Mickey Cohen looked hurt. He said, “As God is my witness I will do you worse than I did the guy who did Hooky Rothman.”

Buzz felt his whole body floating away from him. The Mexes were starting to look scared; a rap on the window would bring the outside man. He stepped over to where he could see every face in the room and trained his muzzle for a blast spread: Jack and Mickey vaporized the second he pulled the trigger. “The money and the dope in one of your garment bags, Mick. Now and slow.”

Mickey said, “Davey, he’ll shoot. Do it.”

Buzz saw Davey Goldman cross his vision and start talking low Spanish to the Mexes. He caught a slant view of paper sacks and greenbacks being ladled into a zippered hanger bag, tan canvas with red piping and Mickey Cohen’s face embossed on the front. Mickey said, “If you send Audrey back to me I will not harm a hair on her head and I will not do you slow. If I find her with you, mercy I cannot promise. Send her back to me.”

A million-dollar deal blown — and all Mickey Cohen could think of was a woman. “No.”

The bag was zipped up; Goldman walked it over extra slow. Buzz held his left arm out straight; Mickey was shaking like a hophead dying for a fix. Buzz wondered what he’d say next; the little big man said, “Please.”

The garment bag settled; Buzz felt his arm buckling. Dudley Smith winked. Buzz said, “I’ll be back for you, lad. Diaz and Hartshorn.”

Dudley laughed. “You won’t live the day.”

Buzz backed into the curtains. “Don’t go out the rear door, it’s booby-trapped.”

Mickey Cohen said, “Please. You can’t run with her. Not a hair on her head will I hurt.”

Buzz getawayed.

Johnny Stompanato was waiting for him at the motel, lying on the bed listening to an opera on the radio. Buzz dropped the garment bag, unzipped it and pulled out ten ten-thousand-dollar bank stacks. Johnny’s jaw dropped; his cigarette hit his chest and burned a hole in his shirt. He snuffed the butt with a pillow and said, “You did it.”

Buzz threw the money on the bed. “Fifty for you, fifty for Mrs. Celeste Considine, 641 South Gramercy, LA. You make the delivery, and tell her it’s for the kid’s education.”

Stompanato hoarded the money into a tight little pile and gloated over it. “How do you know I won’t keep it all?”

“You like my style too much to fuck me.”

Buzz drove up to Ventura, parked in front of Deputy Dave Kleckner’s house and rang the bell. Audrey answered. She was wearing an old Mickey shirt and dungarees, just like she was the first time he kissed her. She looked at the garment bag and said, “Planning to stay awhile?”

“Maybe. You look tired.”

“I was up all night thinking.”

Buzz put his hands to her face, smoothing a wisp of stray hair. “Dave home?”

“Dave’s on duty until late, and I think he’s in love with me.”

“Everybody’s in love with you.”

“Why?”

“Because you make them afraid to be alone.”

“Does that include you?”

“Me especially.”

Audrey jumped into his arms. Buzz let go of the garment bag and kicked it for luck. He carried his lioness into the front bedroom and made a swipe at the light switch; Audrey grabbed his hand. “Leave it on. I want to see you.”

Buzz got out of his clothes and sat on the edge of the bed; Audrey slow-grinded herself naked and leaped on him. They kissed ten times as long as they usually did and strung out everything else they’d ever done together. Buzz went into her fast, but moved extra slow; she pushed up with her hips harder than she did their first time. He couldn’t hold it and didn’t want to; she went crazy when he did. Like the first time, they thrashed the sheets off the bed and held each other, sweating. Buzz remembered how he’d hooked a finger around Audrey’s wrist so they’d still be touching while he caught his breath. He did it again, but this time she squeezed his whole hand like she didn’t know what the gesture meant.

They curled up, Audrey nuzzling. Buzz looked around the strange bedroom. Passport applications and stacks of South American tourist brochures were resting on the nightstand and boxes of women’s clothing were arrayed by the door next to a brand-new suitcase. Audrey yawned, kissed his chest like it was sleep time and yawned again. Buzz said, “Sweetie, did Mickey ever hit you?”

A drowsy head shake in answer. “Talk later. Lots of talk later.”

“Did he ever?”

“No, only men.” Another yawn. “No Mickey talk, remember our deal?”

“Yeah, I remember.”

Audrey gave him a squeeze and settled into sleep. Buzz picked up the brochure closest to him, a huckster job for Rio de Janeiro. He flipped pages, saw that Audrey had circled listings for guest cottages offering newlywed rates and tried to picture an on-the-lam cop-killer and a thirty-seven-year-old ex-stripper basking in the South American sun. He couldn’t. He tried to picture Audrey waiting for him while he attempted to lay off twenty-five pounds of heroin to some renegade mob guy who hadn’t already heard of the heist and the contract that went with it. He couldn’t. He tried to picture Audrey with him when the LAPD closed in, hard-on glory cops holding their fire because the killer was with a woman. He couldn’t. He thought of Icepick Fritzie finding them together, going icepick crazy on Audrey’s face — and that picture was easy. Mickey saying “Please” and going mushy with forgiveness was even easier.

Buzz listened to Audrey’s breath; he felt her sweaty skin cooling. He tried to picture her getting some kind of bookkeeper’s job, going home to Mobile, Alabama, and meeting a nice insurance man looking for a Southern belle. He couldn’t. He made a big last try at the two of them buying their way out of the country with a nationwide cop-killer APB on his head. He tried extra, extra hard on that one — and couldn’t find a way to make it stick.

Audrey stirred and rolled away from him. Buzz saw Mickey tired of her in a few years, cutting her loose for some younger stuff, a nice cash money separation gift. He saw Sheriff’s, City cops, Feds and Cohen goons chasing his okie ass to the moon. He saw Ellis Loew and Ed Satterlee on easy street and old Doc Lesnick hounding him with, “And how will you fix that?”

Lesnick was the kicker. Buzz got up, walked into the living room, grabbed the phone and had the operator get him Los Angeles CR-4619. A voice answered, “Yeah?”

It was Mickey. Buzz said, “She’s at 1006 Montebello Drive in Ventura. You hurt her and I’ll do you slower than you ever thought of doin’ me.”

Mickey said, “Mazel tov. My friend, you are still dead, but you are dead very fast.”

Buzz let the receiver down gently, went back to the bedroom and dressed. Audrey was in the same position, her head buried in the pillow, no way to see her face. Buzz said, “You were the one,” and turned off the light. He grabbed his garment bag on the way out and left the door unlocked.

Dawdling on back roads got him to the San Fernando Valley just after 7:30 — full evening, black and starry. Ellis Loew’s house was dark and there were no cars parked out front.

Buzz walked around to the garage, broke a clasp on the door and pushed it open. Moonlight picked out a roof bulb at the end of a string. He pulled the cord and saw what he wanted on a low shelf: two double-gallon cans of gasoline. He picked them up, found them near full, carried them to the front door and let himself in with his special-investigator’s key.

A flick of the overhead light; the living room jarring white — walls, tables, cartons, shelves and odd mounds of paper — Loew and company’s once-in-a-lifetime shot at the political moon. Graphs and charts and thousands of pages of coerced testimony. Boxes of photographs with linked faces to prove treason. A big fuckload of lies glued together to prove a single theory that was easy to believe because believing was easier than wading through the glut of horseshit to say, “Wrong.”

Buzz doused the walls and shelves and tables and stacks of paper with gasoline. He soaked the Sleepy Lagoon Committee photos. He ripped down Ed Satterlee’s graphs, emptied the cans on the floor and made a gas trail out to the porch. He lit a match, dropped it and watched the white whoosh into red and explode.

The fire spread back and upward; the house became a giant sheet of flame. Buzz got in his car and drove away, red glow lighting up the windshield. He took back streets northbound until the glow disappeared and he heard sirens whirring in the opposite direction. When the noise died, he was climbing into the foothills, Los Angeles just a neon smear in his rear-view mirror. He touched his future there on the seat: sawed-off, heroin, a hundred and fifty grand. It didn’t feel right, so he turned on the radio and found a hillbilly station. The music was too soft and too sad, like a lament for a time when it all came cheap. He listened anyway. The songs made him think of himself and Mal and poor Danny Upshaw. Hardcases, rogue cops and Red chasers. Three dangerous men gone for parts unknown.