Sue Grafton - K Is For Killer

"What about Lorna? How'd you meet her?"

"I was down in Santa Teresa Memorial Day weekend, this would have been a couple of years ago. I spotted her in a hotel bar and asked if she was interested in an acting career. She laughed in my face. I gave her my card and a couple of my videocassettes. She called me some months later and expressed an interest. I set up the shoot. She flew up to San Francisco and did two and a half days' work, for which she was paid twenty-five hundred dollars. That's the extent of it."

"I'm still puzzled by the fact that the film never went into distribution."

"Let's just say I wasn't happy with the finished product. The film looked cheap, and the camera work was lousy. The company that bought me out ended up taking my entire library, but that one wasn't included in the deal."

"Did you know Lorna was working as a hooker on the side?"

"No, but it doesn't surprise me. Do you know what they call those people? Sex workers. A sex worker might do all manner of things: massage, exotic dance, out-call, Lesbian videos, hard-core magazines. They're like migrant pickers on the circuit. They go where the work is, sometimes city to city. Not that I'm saying she'd done related work. I'm filling you in on the big picture."

I watched his face, marveling at the matter-of-fact tone he was using. "What about you? What was your relationship with her?"

"I was in London when she was killed. I left on the twentieth."

I disregarded the nonsequitur, though it interested me. When we'd talked on the phone, he'd been vague about how long ago her death had occurred. Maybe he'd done an internal audit in anticipation of my arrival.

He opened a drawer and took out a slip of paper. "I checked the payroll roster for the film she did. These are the names and addresses of a couple of crew members I've been in touch with since. I can't guarantee they're still here in San Francisco, but it's a place to start."

I took the slip and glanced at it, recognizing the names from the list I'd checked. Both San Francisco numbers were now disconnects. "Thanks. I appreciate this." Worthless as it is, I thought.

He got up from the desk. "Now if you'll forgive me, I have to put in a quick appearance before I go to bed. Are you sure you wouldn't like a drink?"

"Thanks, but I'd better not. I have ground to cover yet, and I'm not in town that long."

"I'll walk you out," he said courteously.

I followed him down the wide white marble stairs, across the foyer, and through a vast empty room with a domed ceiling and pale, glossy, hardwood floors. At the far end, there was a small stage. "What will you do now that your business is sold?"

"This is the ballroom," he said, catching the curiosity in my look. "My wife had it refurbished. She gives charity balls for diseases only rich people get. To answer your question, I won't have to do anything."

"Lucky you."

"Not luck. This was my intention from the onset. I'm a goal-oriented person. I'd advise you to do likewise."

"Absolutely," I said.

In the foyer, we shook hands. I noticed he had the door closed before I reached the front walk. I retrieved my car, tipping the parking valet a buck. From his look of amazement, everybody else must have tipped him five.

I consulted my map. Russell Turpin's Haight Street address wasn't far. I headed south on Masonic and crossed the Panhandle section of Golden Gate Park. Haight was two blocks up, and the address I needed was only four blocks down.

The sidewalks were crowded with pedestrians. Remnants of the past glories of Haight-Ashbury were still in evidence: vintage dress shops and bookstores, funky-looking restaurants, a storefront clinic. The street was well lighted, and there was still quite a bit of traffic. The street people were decked out like the flower children of old, still wearing bell-bottoms, nose rings, dreadlocks, torn blue jeans, leather, face paints, multiple earrings, backpacks, and knee-high boots. Music tumbled out of bars. In half the doorways, kids loitered, looking stoned, though perhaps on drugs more exotic than grass or 'ludes.

I circled, driving an eight-block track-two down, two over, two up, two back-trying to find a place to tuck my car. San Francisco seems ill equipped to accommodate the number of vehicles within the city limits. Parked cars are squeezed into every available linear inch of curb, angled into hillsides, lined up on sidewalks, wedged against the buildings. Front bumpers are nosed in too close to fire hydrants. Back bumpers hang out into red-painted zones. Garage space is at a premium, and every driveway bristles with signs warding off the poachers.

By the time I found parking, it was nearly 1:00 a.m. I tucked my rental around the corner on Baker Street, whipping into a place as another vehicle pulled out. I fumbled in the bottom of my handbag until I found my penlight. I locked my car and hiked up the hill the half block to Haight. All of the buildings were close-packed, pastel, four and five stories tall. An occasional frail tree contributed a grace note of green. Many of the oversize windows were still lighted. From the street I could see, in a diminishing series of acute angles, fireplace mantels, bold, abstract paintings, white walls, bookshelves, hanging plants, and crown molding.

The address I had turned out to be a "modern" fourplex of shaggy brown shingles sandwiched between two Victorian frame houses. The streetlight was burned out, and I was left to surmise that one was painted dull red, the other an indigo blue with (perhaps) white trim. In the dark, both appeared to be shades of muddy gray. I talked to a painter once who worked on movie sets. For a film shot in black and white, he said the crew used brown paint in eleven different shades. My current surroundings had the same feel, an environment drained of color, reduced to tones of chestnut and dun. The gradations were infinite but visible only to night souls.

Turpin apparently occupied a second-floor apartment, and I was gratified to note that the hand-lettered card tucked in the slot actually specified "Russell" by name, along with a housemate named Cherie Stanislaus. I peered through the glass door at a handsomely papered foyer with an apartment door on either side. At the rear, a stairway angled left and out of sight, probably doubling back on itself to an identical hallway above. I moved out to the street and looked up at the second-floor windows. The front rooms on both sides of the building were lighted, which suggested that the occupants were still awake.

As I moved up the stairs to the entrance, I could hear the tapping of high heels approaching from behind me. I paused, looking back. The blonde coming up the stairs wore makeup so pale, the effect was ghostly. Her eyes were elaborately done up with thick false eyelashes, two shades of eye shadow, and a black pencil line on both her upper and lower lids. Her forehead was high, and her hair was teased upward at the crown, held back with a gaudy Rhinestone clip. The rest of her hair was long and straight, splitting at the shoulder so that half extended down her back. A cluster of long curls tumbled over her breasts. Her long dangle earrings were shaped like elongated question marks. She wore a dark leotard on top and a slinky black skirt that was split up one side. Her hips were narrow, her stomach flat. She took out a ring of keys and gave me a long, cool look as she unlocked the foyer door. "Looking for someone?"

"Russell Turpin."

"Well, you've come to the right place." Her smile was self-contained, not unfriendly, but less than warm I thought. "He's not here, but you can come up and wait if you want. I'm his roommate."

"Thanks. You're Cherie?"

"That's right. Who are you, pray tell?"

"Kinsey Millhone," I said. "I left a message on your machine…"

"I remember that. You're Lorna's friend," she said. She pushed the door open, and I followed her in. She paused, making sure the door had latched shut again before she headed up the stairs. I trailed behind. Having lied on the phone, I now had to decide whether to play this straight.