James Ellroy - L. A. Confidential

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The movie Janet Maslin of the New York Times calls:
"Gangbusters! A shrewd, elegant film with a flawless ensemble cast and style to burn"; L.A. Confidential is an epic crime novel that stands as a steel-edged time capsule-Los Angeles in the 1950s, a remarkable era defined in dark shadings.
A horrific mass murder invades the lives of victims and victimizers on both sides of the law-three cops treading quicksand in the middle.
Detective Ed Exley wants glory. Haunted by his father's success as a policeman, he will pay any price, break any law to eclipse him.
Detective Bud White watched his own father murder his mother-he is now bent on random vengeance, a time bomb with a badge.
Celebrity cop Jack Vincennes shakes down movie stars for a scandal magazine. An old secret possesses him-he'll do anything to keep it buried.
Three cops in a spiral, a nightmare that tests loyalty and courage, a nightmare that offers no mercy, allows for no survivors. Here is James Ellroy's masterpiece… darkness to haunt you in shades of red, gray, and black.

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Jack tried for IDs; obscene perfection distracted him: inkbleeding nudes, no faces he knew until the last page: Christine Bergeron and her son fucking, standing on skates planted on a scuffed hardwood floor.

CHAPTER SIXTEEN

A photograph, dropped in his mailbox: Sergeant Ed Exley bleeding and terrified. No printing on the back, no need for it: Stensland and White had the negative, insurance that he'd never try to break them.

Ed, alone in the squadroom, 6:00 A.M. The stitches on his chin itched; loose teeth made eating impossible. Thirty-odd hours since the moment-his hands still trembled.

Payback.

He didn't tell his father; he couldn't risk the ignominy of going to Parker or Internal Affairs. Revenge on Bud White would be tricky: he was Dudley Smith's boy, Smith just got him a straight Homicide spot and was grooming him for his chief strongarm. Stensland was more vulnerable: on probation, working for Abe Teitlebaum, an ex-Mickey Cohen goon. A drunk, begging to go back inside.

Payback-already in the works.

Two Sheriff's men bought and paid for: a dip in his mother's trust fund. A two-man tail on Dick Stens, two men to swoop on his slightest probation fuckup.

Payback.

Ed did paperwork. His stomach growled: no food, loose trousers weighted down by his holster. A voice out the squawk box: loud, spooked.

"Squad call! Nite Owl Coffee Shop one-eight-two-four Cherokee! Multiple homicides! See the patrolmen! Code three!"

Ed banged his legs getting up. No other detectives on call-it was his.

Patrol cars at Hollywood and Cherokee; blues setting up crime scene blockades. No plainclothesmen in sight-he might get first crack.

Ed pulled up, doused his siren. A patrolman ran over. "Load of people down, maybe some of them women. I found them, stopped for coffee and saw this phony sign on the door, 'Closed for Illness.' Man, the Nite Owl «never» closes. It was dark inside and I knew this was a hinky deal. Exley, this ain't your squawk, this has gotta be downtown stuff, so-"

Ed pushed him aside, pushed over to the door. Open, a sign taped on: "Clossed Due to Illness." Ed stepped inside, memorized.

A long, rectangular interior. On the right: a string of tables, four chairs per. The side wall mural-papered: winking owls perched on street signs. A checkered linoleum floor; to the left a counter-a dozen stools. A service runway behind it, the kitchen in back, fronted by a cook's station: fryers, spatulas on hooks, a platform for laying down plates. At front left: a cash register.

Open, empty-coins on the floor mat beside it.

Three tables in disarray: food spilled, plates dumped; napkin containers, broken dishes on the floor. Drag marks leading back to the kitchen; one high-heeled pump by an upended chair.

Ed walked into the kitchen. Half-fried food, broken dishes, pans on the floor. A wall safe under the cook's counter-open, spiffing coins. Crisscrossed drag marks connecting with the other drag marks, dark black heel smudges ending at the door of a walk-in food locker.

Ajar, the cord out of the socket-no cool air as a preservative. Ed opened it.

Bodies-a blood-soaked pile on the floor. Brains, blood and buckshot on the walls. Blood two feet deep collecting in a drainage trough. Dozens of shotgun shells floating in blood.

NEGRO YOUTHS DRIVING PURPLE '48-'50 MERC COUPE SEENDISCHARGING SHOTGUNS INTO AIR IN GRIFFITH PARK HILLS SEVERAL TIMES OVER PAST TWO WEEKS.

Ed gagged, tried for a body count.

No discernible faces. Maybe five people dead for the cash register and safe take and what they had on them- "Holy shit fuck."

A rookie type-pale, almost green. Ed said, "How many men outside?"

"I… I dunno. Lots."

"Don't get sick, just get everybody together to start canvassing. We need to know if a certain type of car was seen around here tonight."

"S-s-sir, there's this Detective Bureau man wants to see you."

Ed walked out. Dawn up: fresh light on a mob scene. Patrolmen held back reporters; rubberneckers swarmed. Horns blasted; motorcycles ran interference: meat wagons cut off by the crowd. Ed looked for high brass; newsmen shouting questions stampeded him.

Pushed off the sidewalk, pinned to a patrol car. Flashbulbs pop pop pop-he turned so his bruises wouldn't show. Strong hands grabbed him. "Go home, lad. I've been given the command here."

CHAPTER SEVENTEEN

The first all-Bureau call-in in history-every downtown-based detective standing ready. The chief's briefing room jammed to the rafters.

Thad Green, Dudley Smith by a floor mike; the men facing them, itchy to go. Bud looked for Ed Exley-a chance to scope out his wounds. No Exley-scotch a rumor he caught the Nite Owl squeal.

Smith grabbed the mike. "Lads, you all know why we're here. 'Nite Owl Massacre' hyperbole aside, this is a heinous crime that requires a hard and swift resolution. The press and public will demand it, and since we already have solid leads, we will give it to them.

"There were six people dead in that locker-three men and three women. I have spoken to the Nite Owl's owner, and he told me that three of the dead are likely Patty Chesimard and Donna DeLuca, female Caucasians, the late-shift waitress and cash register girl, and Gilbert Escobar, male Mexican, the cook and dishwasher. The three other victims-two men, one woman- were almost certainly customers. The cash register and safe were empty and the victims' pockets and handbags were picked clean, which means that robbery was obviously the motive. SID is doing the forensic now-so far they have nothing but rubber glove prints on the cash register and food locker door. No time of death on the victims, but the scant number of customers and another lead we have indicates 3:00 A.M. as the time of the killings. A total of forty-five spent 12-gauge Remington shotgun shells were found in the locker. This indicates three men with five-shot-capacity pumps, all of them reloading twice. I do not have to tell you how gratuitous forty of those rounds were, lads. We are dealing with stark raving mad beasts here."

Bud looked around. Still no Exley, a hundred men jotting notes. Jack Vincennes in a corner, no notebook. Thad Green took over.

"No blood tracks leading outside. We were hoping for footprints to run eliminations against, but we didn't find any, and Ray Pinker from SID says the forensic will take at least fortyeight hours. The coroner says IDs on the customer victims will be extremely difficult because of the condition of the bodies. But we do have one very hot lead.

"Hollywood Division has taken a total of four crime reports on this, so listen well. Over the past two weeks a carload of Negro youths were seen discharging shotguns into the air up at Griffith Park. There were three of them, and the shotguns were pumps. The punks were not apprehended, but eyeball witnesses ID'd them as driving a 1948 to 1950 Mercury coupe, purple in color. And just an hour ago Lieutenant Smith's canvassing crew found a witness: a news vendor who saw a purple Merc coupe, '48-'50 vintage, parked across from the Nite Owl last night around 3:00 A.M."

The room went loud: a big rumbling. Green gestured for quiet. "It gets better, so listen well. There are no '48 to '50 purple Mercurys on the hot sheet, so it is very doubtful that we're dealing with a stolen car, and the state DMV has given us a registration list on '48 to '50 Mercurys statewide. Purple was an original color on the '48 to '50 coupe models, and those models were favored by Negroes. Over sixteen hundred are registered to Negroes in the State of California, and in Southern California there are only a very few registerM to Caucasians. There are one hundred and fifty-six registered to Negroes in L.A. County, and there are almost a hundred of you men here. We have a list compiled: home and work addresses. The Hollywood squad is cross-checking for rap sheets. I want fifty two-man teams to shake three names apiece. There's a special phone line being set up at Hollywood Station, so if you need information on past addresses or known associates, you can call there. If you get hot suspects, bring them here to the Hall. We've got a string of interrogation rooms set up, along with a man to head the interrogations. Lieutenant Smith will give out the assignments in a second, and Chief Parker would like a word with you. Any questions first?"

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