The Big Nowhere

Coleman was fighting his urges inchoately, with music. He was working on a long solo piece filled with eerie silences to signify lies and duplicities. The riffs would spotlight the unique high sounds he got with his sax, loud at first, then getting softer, with longer intervals of silence. The piece would end on a scale of diminishing notes, then unbroken quiet—which Coleman saw as being louder than any noise he could produce. He wanted to call his composition The Big Nowhere. Lesnick told him that if he got to a hospital, he would survive to perform it. The doctor saw Coleman faltering, clarity gaining. Then Coleman told him about Da

He’d met Upshaw the night after he killed Marty Goines. The detective was on a routine canvassing assignment, and Coleman brazened him out with his “I was in plain view all night” alibi, knowing Upshaw believed it. That belief meant Goines had kept mum about meeting him, and Coleman took the opportunity to lie about Marty being fruit and drop clues on tall, gray Daddy. He put Upshaw out of his mind and went on with his plan, killing Wiltsie and Lindenaur, wavering between Augie Duarte or another Daddy squeeze he knew as victim number four. But he’d started having dreams about the young detective, steamy stuff that said he really was what Daddy tried to make him. Coleman made a decision to murder Reynolds and Claire if he couldn’t smear Daddy to the rafters—he thought that potential added blood to his stew would spice him up and make him dream about the women he once loved.

The plan didn’t work. Coleman had more Upshaw dreams, more Upshaw fantasies. He was Daddy—garbed and in the process of staking out Felix Gordean’s office for leads on old Reynolds lovers when he spotted Upshaw holding down his own surveillance; he was nearby when Upshaw phoned the DMV Police Information Line. He caught the gist of his talk, and tailed Upshaw in the Pontiac he’d stolen—just to get close to him. Upshaw spotted the tail; a chase followed; Coleman got away, stole another car, called the DMV and pretended to be the deputy’s partner. One of the names the clerk read back to him was Augie Duarte; Coleman decided it was providence again and settled on him as victim four then and there. He drove to Gordean’s beach house, spotted Upshaw’s car, hid and listened to Gordean and one of his musclemen talking. The pimp/queer expert said, “That policeman is coming out of the closet. I know it.”

The next day, Coleman let himself into Upshaw’s apartment and savored it. He saw no mementoes of women, nothing but a too-tidy, impersonal pad. Coleman knew then, and began to feel a complete identification with Upshaw, a symbiosis. That night, Lesnick left the apartment to get medicine at County General, thinking Coleman’s Upshaw fixation would break him down on his homosexuality, stymie and stalemate him. He was wrong. Coleman picked up Augie Duarte at a downtown bar, sedated him and took him to an abandoned garage in Lincoln Heights. He strangled him and hacked him and ate him and emasculated him like Daddy and all the others had tried to do to him. He left the body in the LA River wash, drove back to Compton and told Lesnick he had finally put Upshaw in perspective. He was going to compete with the man, killer against detective. Saul Lesnick left the apartment and took a cab back to his rest home, knowing Coleman Healy would wreak slaughter until he was slaughtered himself. And the frail old headshrinker had been trying to get up the guts for a mercy killing ever since.

Lesnick ended his narrative with a deft storyteller’s flourish, pulling a revolver from the folds of his robe. He said, “I saw Coleman one more time. He had read that Upshaw died accidentally and was very disturbed by it. He had just purchased opiates from Navarette and was going to kill another man, a man who had been an extra on one of Reynolds’ films, an opium dabbler. The man had had a brief fling with Reynolds and Coleman was going to kill him. He told me, like he thought I would do nothing to stop it. I bought this gun at a pawn shop in Watts. I was going to kill Coleman that night, but you and Captain Considine got to him first.”

Buzz looked at the piece. It was old and rusted and would probably misfire, like the shrinker’s nutso take on Sleepy Lagoon as a fantasy. Coleman would have slapped it out of his bony hand before Pops could pull the trigger. “You pleased the way it turned out, Doc?”

“No. I am sorry for Reynolds.”

Buzz thought of Mal shooting straight at Daddy—wanting Coleman alive for his career and maybe something to do with his own kid. “I’ve got a cop question, Doc.”

Lesnick said, “Please. Ask me.”

“Well, I thought Terry Lux hipped Gordean to all the stuff Gordean blackmailed Loftis with. Your story makes me think Chaz Minear told Felix some details, details that he put together when he blackmailed Loftis a second time just lately. Stuff that made him think Coleman was killin’ people.”

Lesnick smiled. “Yes, Chaz told Felix Gordean many things about Coleman’s clinic stay that could be construed as clues when put together with newspaper facts. I read that Gordean was murdered. Was it Chaz?”

“Yeah. Does that please you?”

“It’s a small happy ending, yes.”

“Any thoughts on Claire?”

“Yes. She’ll survive your grand jury pogrom like a Tigress. She’ll find another weak man to protect and other causes to champion. She’ll do good for people who deserve good done for them, and I will not comment on her character.”

Buzz said, “Before things got out of control, it looked like the UAES had some kind of extortion scheme brewin’ against the studios. Were you playin’ both ends? Holdin’ back stuff you heard as a psychiatrist to help the union?”

Lesnick coughed and said, “Who wants to know?”

“Two dead men and me.”

“And who else will hear?”

“Just me.”

“I believe you. Why, I don’t know.”

“Dead men got no reason to lie. Come on, Doc. Spill.”

Lesnick fondled his pawnshop piece. “I have verified information on Mr. Howard Hughes and his penchant for underaged girls, and much information on various RKO and Variety International actors and the narcotics cures they periodically undergo. I have information on the underworld associations of many studio executives, including one RKO gentleman who ran down a family of four in his car and killed them. The arrest was fixed, and it never went to trial, but that allegation by itself would be most embarrassing. So the UAES is not without weapons, you see.”

Buzz said, “Boss, I pimped them girls to Howard and fixed up most of them dope cures. I got that RKO guy off the hook and ran the payoff to the judge that woulda arraigned him. Doc, the papers would never print what you got and the radio would never put it on the air. Howard Hughes and Herman Gerstein would laugh your extortion right back in your face. I’m the best fixer this town ever saw, and believe me the UAES is crucified.”

Saul Lesnick got to his feet, wobbled, but stayed standing. He said, “And how will you fix that?”

Buzz walked on the question.

When he got back to his motel, there was a note from the manager on the door: “Call Joh

“Talk to me.”

“It’s Meeks. What’s up?”

“Your number, but hopefully not my money. I just got a lead, through a friend of Mickey’s. LAPD did a routine ballistics run-through on that jazz club shootout you were in. That hotshot coroner Layman examined the report on the pills they took out of that rat guy you told me about. It looked familiar, so he checked back. Bullets from your gun matched the pills they took out of Gene Niles. LAPD makes you for the Niles snuff, and they’re out to get you in force. Shoot to kill. And I hate to mention it, but you owe me a lot of money.”