James Ellroy - The Best American Noir of the Century

Helen lowered her gaze to her plate. Nolan stared directly at Latimer and Latimer reddened and looked away. Nolan grinned inside. He had caught the man. But the victory was empty. The long afternoon, thinking about her out there with Latimer, would be painful.

They finished lunch in silence. Almost before Nolan realized it, the house was again empty. He could hear them laughing still, their voices growing faint as they moved down along the beach.

Helen had even insisted on taking several bottles of cold beer wrapped in insulated bags to keep cool, and carried in the old musette.

Nolan could not stand still. He paced back and forth across the extent of the house, thinking about tonight. If he didn’t do it tonight, it might be too late. He did not want Helen too attached to Latimer, and he felt sure it had gone very far already.

He knew Latimer intended to stay on and stay on — until he could take Helen away with him. But tonight would end it. He would go along with Latimer to the mainland. Only, Latimer would never reach the mainland. The boat would swamp.

Nolan knew how to swamp a boat. He knew Latimer wasn’t much of a swimmer, and anyhow, a man couldn’t swim with a .45 slug in his heart. But Nolan could swim well. He would kill Latimer, take him out into the Gulf, weight him, and sink him. Then he’d bring the boat in and swamp it and swim ashore. He would report it, and rent a boat and come home. He knew they were in for a bit of heavy weather tonight. It would be just perfect.

And Helen and he would be happy again. The way they had always been.

He looked back, thinking over the good times. The time before they’d come to the island, when he’d been hard-working at the glass-cutting business he’d inherited from his father. Then more and more he’d become conscious of Helen’s beauty and the effect she had on men. And loving her as wildly as he did, he could no longer bear the endless suspense; the knowledge that sooner or later she would leave him. So he sold the business, retired. His little lie. So far as she knew, he simply wanted island life — quiet, unhurried, alone with her. It was true. But not a complete truth.

All this time they had been happy. Until now. Somebody’d got wind of the beauty of the island and Latimer had shown up to do his story. Under conditions imposed by Nolan — no pictures of either himself or Helen. He had allowed one fuzzy negative of them standing against a blossoming hibiscus near the house, at twilight — that was all.

Wandering through the house, trying not to think of what they were doing now, he found himself in Latimer’s room. The unmade bed, the photographic equipment, the typewriter set up on the table.

Beside the machine was a typewritten letter.

Nolan turned away. But something drew him over to the table. Pure curiosity in this man Latimer. He stood there, staring down at the obviously unfinished letter. An addressed envelope lay beside it. There was a half-completed sentence on the sheet in the typewriter, numbered Page 2.

The letter was addressed to the editor of the magazine where Latimer worked.

Nolan began reading, at first leisurely, then feverishly.

Dear Bart:

Really have this thing wrapped up, but I’m staying on a while longer, just to settle a few things in my own mind and maybe I’ll come up with a bunch of pix and a yarn that’ll knock your head off…sure beautiful scenery on the island…house is a regular bamboo and cypress mansion…unhealthy, Bart, really sick…he watches her like a hawk. He’s ripped with jealousy and it would be laughable, except that they’re both so very old. He must be in his eighties, but she’s a bit harder to read. I did a lousy thing. I confronted her with it. You would have, too. She’s so obviously just enduring everything for his sake. Humoring him. My God, think of it! All these years he’s kept her out here, away from everybody, imprisoned. It’s pure hell. She as much as admitted it. I’m staying on, just to see if I can’t work it somehow. Get her back to civilization, if only for a vacation, Bart. She deserves it. You should hear her ask how things are out there — it would break your damned heart…

There was more, and Nolan read all of it through twice. For a moment longer he stood there, seeing everything clearly for the first time in nearly a half century.

Then he walked through the house to his study, opened the desk drawer, took out the .45 automatic. He sat down in his chair by the desk, put the muzzle of the gun into his mouth, and pulled the trigger.

Evan Hunter (1926-2005) was born Salvatore A. Lombino, legally changing his name in 1952. He was admitted to New York’s Cooper Union after winning a scholarship to the Art Students League, then served in the Navy during World War II; he graduated from Hunter College after his return from the Pacific theater. He had begun writing stories while based on a destroyer, then wrote numerous short stories and several novels in the years after the war. After several unsuccessful adult and children’s books, he published The Blackboard Jungle in 1954, which was an instant success, filmed the following year and starring Glenn Ford, Anne Francis, and Sidney Poitier. In 1956 he created the Ed McBain byline, which became more famous than his own, as he wrote the iconic Eighty-seventh Precinct series, in which the members of an entire squad room, rather than a single police officer, serve as the hero. Fifty-four novels succeeded Cop Hater, the first book in the series. Under the McBain name, he also produced thirteen novels about Matthew Hope, a Florida lawyer, and several standalone mysteries. Hunter also wrote under the pseudonyms Richard Marston, Hunt Collins, Ezra Hannon, Curt Cannon, and John Abbott, producing more than one hundred books. Other films made from his works include Strangers When We Meet (i960), High and Low (1962), Last Summer (1969), Fuzz (1972), Blood Relatives (1977), and The Chisholms (1979). He also wrote the screenplay for Alfred Hitchcock’s The Birds (1963).

The Blackboard Jungle was the first significant book to deal with juvenile delinquents and gang violence in New York, and many of Hunter’s early short stories, collected in Learning to Kill (2006), deal with these subjects, often in a sympathetic manner.

“The Last Spin” was first published in the September 1956 issue of Manhunt; it was collected in Hunter’s The Jungle Kids the same year.

The boy sitting opposite him was his enemy.

The boy sitting opposite him was called Tigo, and he wore a green silk jacket with an orange stripe on each sleeve. The jacket told Dave that Tigo was his enemy. The jacket shrieked ‘Enemy, enemy!’

‘This is a good piece,’ Tigo said, indicating the gun on the table. ‘This runs you close to forty-five bucks, you try to buy it in a store.’

The gun on the table was a Smith & Wesson .38 Police Special.

It rested exactly in the centre of the table, its sawed-off two-inch barrel abruptly terminating the otherwise lethal grace of the weapon. There was a checked walnut stock on the gun, and the gun was finished in a flat blue. Alongside the gun were three .38 Special cartridges.

Dave looked at the gun disinterestedly. He was nervous and apprehensive, but he kept tight control of his face. He could not show Tigo what he was feeling. Tigo was the enemy, and so he presented a mask to the enemy, cocking one eyebrow and saying, ‘I seen pieces before. There’s nothing special about this one.’

‘Except what we got to do with it,’ Tigo said. Tigo was studying him with large brown eyes. The eyes were moist-looking. He was not a bad-looking kid, Tigo, with thick black hair and maybe a nose that was too long, but his mouth and chin were good. You could usually tell a cat by his mouth and his chin. Tigo would not turkey out of this particular rumble. Of that, Dave was sure.