James Ellroy - The Best American Noir of the Century

Finally I simply turned away and walked into the living room and poured a good half-inch of bonded bourbon into a glass and drank it down like water after an aspirin. I damned near strangled on the stuff; and by the time I stopped gasping for air and wiping the tears out of my eyes, I was ready to do some thinking.

Back at the desk again, I sat down and picked up the two sheets of paper. A careful comparison removed the last lingering doubt that they had come out of the same machine. Other points began to fall into place: the fact that the typing in Donnas letter had been done by a professional. You can always tell by the even impression of the letters, instead of the dark-light-erasure-strike-over touch you find in an amateur job. And I knew that Donna had never used a typewriter in her life!

All right, what did it mean? On the surface, simply that somebody had typed the letter for Donna, and at Dave Wainhope’s office. It had to be his office, for he would hardly write business letters at home — and besides I was pretty sure Dave was strictly a pen-and-pencil man himself.

Now what? Well, since it was typed in Dave’s office, but not by Dave or Donna, it would indicate Dave’s secretary had done the work. Does that hold up? It’s got to hold up, friend; no one else works in that office but Dave and his secretary.

Let’s kind of dig into that a little. Let’s say that Donna dropped in on Dave earlier in the afternoon, upset about something. Let’s say that Dave is out, so Donna dictates a note to me and the secretary types it out. Very simple …But is it?

No.

And here’s why. Here are the holes: first, the note is on dime-store paper, sent in a dime-store envelope. Dave wouldn’t have that kind of stationery in his office — not a big-front guy like Dave. OK, stretch it all the way out; say that Donna had brought her own paper and had the girl use it. You still can’t tell me Dave’s secretary wouldn’t have told her boss about it when he got back to the office. And if she told him, he would certainly have told me during our phone conversation.

But none of those points compares with the biggest flaw of them all: why would Donna have anyone type the letter for her when a handwritten note would do just as well — especially on a very private and personal matter like telling your husband you’re in trouble?

I got up and walked down the room and lit a cigarette and looked out the window without seeing anything. A small voice in the back of my mind said, “If all this brain work of yours is right, you know what it adds up to, don’t you, pal?”

I knew. Sure, I knew. It meant that Donna Kane was a threat to somebody It meant that she was being held somewhere; that she had been forced to sign a note to keep me from reporting her disappearance to the cops until whoever was responsible could make a getaway.

It sounded like a bad movie, and I tried hard to make myself believe that’s all it was. But the more I dug into it, the more I went over the results of my reasoning, the more evident it became that there was no other explanation.

You do only one thing in a case like that. I picked up the phone and called Martell again. He was still out. I took a stab at telling the desk sergeant, or whoever it was at the other end, what was going on. But it sounded so complex and confused, even to me, that he finally stopped me. “Look, neighbor, call back in about fifteen, twenty minutes. Martell’s the man you want to talk to.” He hung up before I could give him an argument.

His advice was good and I intended to take it. Amateur detectives usually end up with both feet stuck in their esophagus. This was a police job. My part in it was to let them know what I’d found out, then get out of their way.

That secretary would know. She was in this up to the hilt. I had seen her a few times: a dark-haired girl, quite pretty, a little on the small side but built right. Big blue eyes; I remembered that. Quiet. A little shy, if I remembered right. What was her name? Nora. Nora something. Campbell? Kenton? No. Kemper? That was it: Nora Kemper.

I found her listed in the Central District phone book. In the 300 block on North Hobart, a few doors below Beverly Boulevard. I knew the section. Mostly apartment houses along there. Nothing fancy, but a long way from being a slum. The right neighborhood for private secretaries. As I remembered, she had been married but was now divorced.

I looked at my watch. Less than five minutes since I’d called the sheriff’s office. I thought of Donna tied and gagged and stuck away in, say, the trunk of some car. It was more than I could take.

I was on my way out the door when I thought of something else. I went back into the bedroom and dug under a pile of sports shirts in the bottom dresser drawer and took out the gun I’d picked up in San Francisco the year before. It was a Smith & Wesson .38, the model they called the Terrier. I made sure it was loaded, shoved it under the waistband of my slacks in the approved pulp-magazine style, and left the apartment.

It was a quiet street, bordered with tall palms, not much in the way of streetlights. Both curbs were lined with cars, and I had to park half a block down and across the way from the number I wanted.

I got out and walked slowly back through the darkness. I was a little jittery, but that was to be expected. Radio music drifted from a bungalow court and a woman laughed thinly. A couple passed me, arm in arm, the man in an army officer’s uniform. I didn’t see anyone else around.

The number I was after belonged to a good-sized apartment building, three floors and three separate entrances. Five stone steps, flanked by a wrought-iron balustrade, up to the front door. A couple of squat Italian cypresses in front of the landing.

There was no one in the foyer. In the light from a yellow bulb in a ceiling fixture I could make out the names above the bell buttons. Nora Kemper’s apartment was 205. Automatically I reached for the button, then hesitated. There was no inner door to block off the stairs. Why not go right on up and knock on her door? No warning, no chance for her to think up answers before I asked the questions.

I walked up the carpeted steps to the second floor and on down the hall. It was very quiet. Soft light from overhead fixtures glinted on pale green walls and dark green doors. At the far end of the hall, a large window looked out on the night sky.

Number 205 was well down the corridor. No light showed under the edge of the door. I pushed a thumb against a small pearl button set flush in the jamb and heard a single flatted bell note.

Nothing happened. No answering steps, no questioning voice. A telephone rang twice in one of the other apartments and a car horn sounded from the street below.

I tried the bell again, with the same result. Now what? Force the door? No sense to that, and besides, illegal entry was against the law. I wouldn’t know how to go about it anyway.

She would have to come home eventually. Thing to do was stake out somewhere and wait for her to show up. If she didn’t arrive within the next half hour, say, then I would hunt up a phone and call Martell.

I went back to the stairs and was on the point of descending to the first floor when I heard the street door close and light steps against the tile flooring down there. It could be Nora Kemper. Moving silently, I took the steps to the third floor and stood close to the wall where the light failed to reach.

A woman came quickly up the steps to the second floor. From where I stood I couldn’t see her face clearly, but her build and the color of her hair were right. She was wearing a light coat and carrying a white drawstring bag, and she was in a hurry. She turned in the right direction, and the moment she was out of sight I raced back to the second floor.