Sue Grafton - K Is For Killer

A police car cruised slowly along Cabana Boulevard, the uniformed officer turning to stare at me as I passed. I took a left onto my street and found a parking place. I locked the car. The sky was velvety with clouds now, the stars completely obscured. Darkness hugged the ground, while the sky was tinged with eerie light, like dark gray construction paper smudged with white chalk. Behind me, I heard the low hum of air moving swiftly through the spokes of a bike. I turned in time to see the man on the bicycle passing. From the rear, his taillight and the strips of reflecting tape on his heels made him look like someone juggling three small points of light. The effect was oddly unsettling, a circus act of the spirits performed solely for me.

I went through the gate and let myself into my apartment, flipping on the light. Everything was orderly, just as I'd left it. The quiet was profound. I could feel a little nudge of anxiety, made up of weariness, the late hour, empty rooms around me. I wasn't going to be able to sleep at this point. It was like hunger-once the peak moment passed, the appetite diminished and you could simply do without. Food, sleep… what difference did it make? The metabolism shifts into overdrive, calling up energy from some other source. If I'd gone to bed at nine or even ten o'clock, I could have slept through the night. But now my sleep permit had reached its expiration point. Having stayed awake this long, I was consigned to further wakefulness.

My body was both fatigued and fired up. I dropped my handbag and jacket on the chair by the door. I glanced at the answering machine: no messages. Did I have any wine on the premises? No, I did not. I checked the contents of the refrigerator, which showed nothing of culinary interest. My pantry was typically barren: a few stray cans and dried items that, singly or in combination, would never constitute anything remotely edible, unless you favored uncooked lentils with maple syrup. The peanut-butter jar had concentric swirl marks in the bottom, as if the rest of it had drained away. I found a kitchen knife and scraped the sides of the jar, eating the accumulated peanut butter off the blade as I walked around. "This is really pitiful," I said, laughing, but actually I didn't mind a bit.

Idly I flipped on the TV set. Lorna's video was still in the VCR. I touched the remote control, and the tape began to run again. I had no intention of watching any late night sex, but I went through the credits twice. The night before, I'd tried directory assistance in San Francisco, hoping for a telephone number for the production company Cyrenaic Cinema. In the credits, the producer, director, and film editor were all listed by name: Joseph Ayers, Morton Kasselbaum, and Chester Ellis respectively. What the hell, telephone operators are awake all night.

I tried the names in reverse order, bombing out on the first two. When I got to the producer, I picked up a hit. The operator sang, "Thank you for using AT and T," and a recording kicked in. A mechanical voice came on the line and recited Joseph Ayers's number for me twice.

I made a note, then picked up the phone and called directory assistance in San Francisco again, this time checking for a listing in the names of the other players, Russell Turpin and Nancy Dobbs. She wasn't listed, but there were two Turpins with the first initial R, one on Haight and one on Greenwich. I wrote down both numbers. At the risk of wasting my time and Janice Kepler's money, a trip north might actually be worth a shot. If the contacts didn't pan out, at least there was hope of eliminating the porno angle as a factor in her daughter's death.

I put a call through to Frankie's Coffee Shop, and Janice answered on the second ring. "Janice. This is Kinsey. I have a question for you."

She said, "Fire away. We're not busy."

I brought her up to date on my conversations with Lieutenant Dolan and Serena Bonney, and then filled her in on the minisurvey I'd done of the pornographic film crew. "I think it might be worthwhile to talk to the producer and the other actor."

"I remember him," she cut in.

"Yeah, well, between Turpin and this film producer, I'm hoping we can satisfy some questions. I'll try to contact both by phone in advance, but it looks like it'd make sense to make a quick trip. If I can set up a few appointments, I thought I'd hit the road."

"You're going to drive?"

"I'd thought to."

"Don't you have a dinky little VW? Why not fly? I would, if I were you."

"I guess I could," I said dubiously. "On a short hop like that, though, the plane fare will be outrageous. I'll have to rent a car up there, too. Motel, meals…"

"That sounds okay to me. Just save your receipts and we'll reimburse you when you get back."

"What about Mace? Did you tell him about the tape?"

"Well, I told you I would. He was shocked, of course, and then he got mad as hell. Not with her, but whoever put her up to it."

"What's his feeling about the investigation itself? He didn't seem that thrilled yesterday."

"He told me just what he told you," she said. "If this is what it takes to make me happy, he'll go along with it."

"Great. I'll probably fly up sometime tomorrow afternoon and talk to you as soon as I get back."

"Have a good flight," she said.

At 9:00 the next morning, I roused myself just long enough to call Ida Ruth, telling her I'd be in shortly in case anyone was looking for me. As I pulled the covers up, I checked the Plexiglas skylight above my bed. Clear, sunny skies, probably sixty-five degrees outside. To hell with the run. I awarded myself ten more minutes of rest. I next woke at 12:37, feeling as hungover as if I'd drunk myself insensible the night before. The tricky factor with sleep is that aside from the number of hours you put in, the body seems to hold you accountable for their position. Snoozing from four a.m. to eleven a.m. doesn't necessarily equate with the same number of hours logged between eleven p.m. and six. I had sketched in a full seven, but my regular metabolic rhythms were now decidedly off and required additional down time to correct themselves.

I called Ida Ruth again and was relieved to discover she was out at lunch. I left a message, indicating I'd been delayed by a meeting with a client. Don't ask why I fib to a woman who doesn't even cut my paycheck. Sometimes I lie just to keep my skills up. I staggered out of bed and into the bathroom, where I brushed my teeth. I felt as if I'd been anesthetized, and I was sure that none of my extremities would function. I propped myself against the wall in the shower, hoping the hydrotherapy would mend my skewed circuits. Once dressed, I found myself eating breakfast at one in the afternoon, wondering if I'd ever get myself back on track again. I put on a pot of coffee and dosed myself with caffeine while I made some phone calls to San Francisco.

I didn't get very far. Instead of Joseph Ayers, I got an answering machine that may or may not have been his. It was one of those carefully worded messages that bypasses confirmation of the party's name or the number called. A mechanical male voice said, "Sorry I wasn't here to take your call, but if you'll leave your name, number, and a brief message, I'll get back to you."

I left my name and office number and then left messages on answering machines for both R. Turpins. One voice was female, the other male. To both Turpins I chattered happily, "I'm not sure if this is the right Turpin or not. I'm looking for Russell. I'm a friend of Lorna Kepler's. She suggested I call if I was ever in San Francisco, and since I'm going to be up there in the next couple of days, I thought I'd say hi. Give me a call when you get this message. I'd love to meet you. She spoke so highly of you. Thanks." Through San Francisco information, I checked out the names of other members of the crew, working my way patiently down the list. Most were disconnects.