Dr. Lesnick—
I was in with the grand jury for a while. I was there when Coleman and Reynolds Loftis were killed and I know what happened with them ’42–’44. I didn’t let any of that information out. Check the newspapers if you don’t believe me. I have to leave Los Angeles because of some trouble I’ve gotten into and I would like to talk to you about Coleman. I won’t tell what you tell me to the grand jury—I would get hurt it I did.
T. Meeks.
Buzz drove to the Seaspray Motel, hoping Mal’s death kiboshed the Bureau men looking for Lesnick. It was an auto court at the tail of a dead-end street facing the beach; the office was shaped like a rocket ship pointed at the stars. Buzz walked in and punched the bell.
A youth with godawful pimples came in from the back. “You want a room?”
Buzz said, “Mr. Trotsky still alive?”
“Barely. Why?”
Buzz handed him the note and a five-spot. “Is he in?”
“He’s always in. Here or the beach. Where’s he gonna go? Jitterbugging?”
“Give him the paper, sonny. Keep the five. If he says he’ll talk to me, Abe Lincoln’s got a brother.”
The pimple boy motioned Buzz outside; Buzz stood by his car and watched him walk to the middle of the court and knock on a door. The door opened, the boy went in; a minute later he came out lugging two beach chairs, a stooped old man holding his arm. The hunch played—Lesnick wanted some friendly ears on his way out.
Buzz let them come to him. The old man had a hand extended from ten yards away; his eyes were bright with sickness, his face was muddy beige and everything about him looked caved-in. His voice was strong—and the smile that went with it said he was proud of the fact. “Mr. Meeks?”
Buzz gave the hand a little tug, afraid of breaking bones. “Yessir, Doctor.”
“And what is your rank?”
“I’m not a policeman.”
“Oh? And what were you doing with the grand jury?”
Buzz handed the clerk a fiver and grabbed the beach chairs. The boy walked off smiling; Lesnick held Buzz’s arm. “Why, then? I had thought Ellis Loew’s minions were all policemen.”
Lesnick’s weight on his was almost nothing—a stiff breeze would blow the fucker to Catalina. Buzz said, “I did it for money. You wanta talk on the beach?”
Lesnick pointed to a spot near some rocks—it was free of glass and candy bar wrappers. Buzz shephered him over, the chairs more of a strain than the man. He set the seats down facing each other, close, so he could hear if the Doc’s voice went bum; he settled him in and watched him hunch into folds of terrycloth. Lesnick said, “Do you know how I was convinced to become an informant?”
True snitch behavior—he had to justify himself. Buzz sat down and said, “I’m not sure.”
Lesnick smiled, like he was glad he could tell it. “In 1939 representatives of the Federal government offered me a chance to secure my daughter’s release from Tehachapi Prison, where she was incarcerated for vehicular manslaughter. I was the official CP analyst in Los Angeles then, as I have remained. They told me that if I gave them access to my psychiatric files for evaluation by the 1940 State Attorney General’s probe and other probes that might come up, they would release Andrea immediately. Since Andrea had a minimum of four more years to serve and had told me terrible stories of the abuse the matrons and her fellow inmates inflicted, I did not hesitate one second in agreeing.”
Buzz let Lesnick catch some breath—and cut to Coleman. “And the reason you didn’t kick loose with Loftis’ file from ’42 to ’44 was because Coleman was smeared all over it. That right?”
Lesnick said, “Yes. It would have meant much unnecessary suffering for Reynolds and Coleman. Before I turned the files over in toto I checked for other Coleman references. Chaz Minear alluded to Coleman, but only elliptically, so his file I relinquished. I did that same sort of editing when I gave my files to the HUAC investigators, but I lied and told them the Loftis file had been lost. I didn’t think Ellis Loew would believe that lie, so I just secreted Reynolds’ file portion and hoped I would die before they asked me for it.”
“Why didn’t you just chuck the damn thing?”
Lesnick coughed and hunched deeper into his robe. “I had to keep studying it. It compelled me greatly. Why did you leave the grand jury? Was it moral qualms over Ellis Loew’s methods?”
“I just didn’t think UAES was worth the trouble.”
“Your statement on the newspapers gives you credibility, and I find myself wondering exactly how much you know.”
Buzz shouted over a sudden crash of waves. “I worked the killings and the grand jury! What I don’t know is the history!”
The ocean noise subsided; Lesnick coughed and said, “You know all…”
“Doc, I know the incest stuff, and the plastic surgery and all about Coleman tryin’ to frame his daddy. The only other guy who knew was that DA’s captain who was killed at the jazz club. And I think you wanta tell what you got, or you wouldn’t of pulled that juvenile ‘Trotsky’ number. Make sense, headshrinker?”
Lesnick laughed, coughed, laughed. “You understand the concept of subliminal motivation, Mr. Meeks.”
“I got a half-assed brain, boss. Wanta hear my theory why you held the files back from summer ’49 on?”
“Please expound.”
“The UAESers who knew were talkin’ about Reynolds and Claire gettin’ married and how Coleman would take it. That right?”
“Yes. I was afraid the investigators would seize the Coleman references and try to locate him as one of their friendly witnesses. Claire tried to keep news of the wedding out of the papers so Coleman wouldn’t see it, but she did not succeed. At a terrible price, as I’m sure you know.”
Buzz stared at the water, stone quiet: his favorite trick to open suspects up. After a minute or so, Lesnick said, “When the second two victims were reported in the scandal tabloids, I knew the killer had to be Coleman. He was my analysand during the SLDC time. I knew he would have to be living somewhere near the Central Avenue jazz clubs, and I located him. We were close once, and I thought I could reason with him, get him to a locked institution and stop his senseless slaughter. Augie Duarte proved me wrong, but I tried. I tried. Think of that before you judge me too harshly. ”
Buzz looked at the walking dead man. “Doc, I’m not judgin’ anybody in this fuckin’ thing. I’m just leavin’ town in a day or so, and I sure would like you to fill in what I don’t know.”
“And nobody else will be told?”
Buzz threw Lesnick some crumbs. “You tried to spare your friends grief while you played the game, and I’ve pulled tricks like that too. I’ve got these two friends who’d like to know why, but they ain’t ever gonna. So could you maybe just tell me?”
* * *
Saul Lesnick told. It took him two hours, with many long pauses to suck in air and keep himself fueled. Sometimes he looked at Buzz, sometimes he looked out at the ocean. He faltered at some of the worst of it, but he always kept telling.
1942.
Wartime blackouts in LA, 10:00 P.M. curfew. Coleman was nineteen, living on Bunker Hill with his crazy mother Delores and two of his quasi-sisters. He used the surname “Masskie” because slave breeder mommy needed a paternal monicker to get Relief payments for her son and the seven letters jibed with Sister Aimee’s dictates on numerology. Coleman dropped out of Belmont High when they wouldn’t let him play in the school band; he was heartbroken when the band teacher told him the stupid saxophone flubbing he did was just noise that indicated no talent, only strong lungs.
Coleman tried to join the army two months after Pearl Harbor; he flunked the physical on trick knees and a spastic colon. He passed out handbills for Angelus Temple, earned enough money to buy himself a new alto sax and spent hours running chords and improvisational charts that sounded good only to him. Delores wouldn’t let him practice at home, so he took his horn to the Griffith Park hills and honked at the squirrels and coyote
s and stray dogs that trucked there. Sometimes he walked to the downtown library and listened to Victrola records with earphones. His favorite was “Wolverine Blues,” sung by an old coon named Hudson Healy. The jig mushed words, and you could hardly hear him; Coleman invented his own words, dirty stuff about wolverines fucking, and sometimes he sang along under his breath. He listened to the record so much that he wore down the grooves to where you could hardly hear anything, and he started singing a little bit louder to make up for it. Finally, the old biddy who ran the Victrola Room got wind of his lyrics and gave him the boot. For weeks he jerked off to fantasies of Coleman the Wolverine butt raping her.
Delores kept bothering Coleman for Sister Aimee money; he took a job at the Joredco Dental Lab and gave her a percentage tithe. The work was pulling animal teeth out of decapitated trophy heads, and he loved it. He watched the more skilled workers make dentures with the teeth, fashioning plastic and mortar paste into choppers that could bite for eternity. He stole a set of bobcat plates and played with them when he honked his sax up in the hills. He pretended he was a bobcat and that Delores and his phony brothers and sisters were afraid of him.
Joredco laid Coleman off when the boss found a wetback family who’d work for an extra-low group rate. Coleman was hurt and tried to get a job at a couple of other dental labs, but found out Joredco was the only one that made dentures with real animal teeth. He took to prowling around after dark—real dark—everybody shut in behind blackout curtains so the Japs wouldn’t see all the lights and do LA like they did Pearl Harbor.
Coleman composed music in his head while he prowled; curiosity about life behind the curtains almost drove him crazy. There was a list on the wall at a local barber shop: Bunker Hill citizens who were good citizens working defense jobs. The list said who was working days, swing and graveyard. Coleman took the names to the phone book and matched them to addresses; from there he made phone calls—a phony census poll—and figured out who was married and who wasn’t. Unmarried and graveyard meant a Coleman foray.
He forayed a bunch of times: in through an unlocked window, busting open a woodbox door, sometimes chiseling a door jamb. He took little things and money to keep Delores off his back. His best catch was a stuffed bobcat. But Coleman liked just being in the empty houses best. It was fun to pretend to be an animal that could appreciate music. It was fun to pretend to be an animal that could appreciate music. It was fun to be in dark places and pretend you could see in the dark.
Early in June, Coleman was on the Hill Street trolley and heard two guys talking about a strange-o named Thomas Cormier and the smelly animals he kept behind his house on Carondelet. One man recited the names: weasels, ferrets, badgers, otters and wolverines. Coleman got excited, census-called Thomas Cormier and learned he worked nights at the Griffith Park Zoo. The next night, armed with a flashlight, he visited the wolverines and fell in love with them.
They were nasty. They were vicious. They took shit from no one. They tried to chew through the front of their cages to get at him. They had a snarl that sounded like the high notes on his sax.
Coleman left; he didn’t burglarize the house, because he wanted to keep coming back for more visits. He read up on the lore of the wolverine and reveled in tales of its savagery. He set rat traps in Griffith Park and brought his catch back for the wolverines to eat dead. He brought hamsters and fed them to the wolverines live. He shone his flashlight on the wolverines and watched them gorge on his goodies. He came without touching himself while he watched.
Coleman’s summer was marred by Delores pestering him for more money. Late in July, he read in the paper about a local bachelor who worked swing shift at Lockheed and owned a valuable coin collection. He decided to steal it, sell it and parcel the money out to Delores so she’d leave him alone.
On the night of August 2, Coleman tried—and was captured inside the house by the owner and two friends of his. He went for the owner’s eyes like a good wolverine—unsuccessfully—but managed to get away. He ran the six blocks home, found Delores and a strange man going 69 on the couch with the lights on, was repulsed and ran back outside in a panic. He tried to run for the wolverine house, but the coin collection man and his pals—trawling in a car—found him. They drove him out to Sleepy Lagoon Park and beat him; the coin collection man wanted to castrate him, but his friends held him back. They left him there beaten bloody, composing music in his head.
Coleman stumbled over to a grassy knoll and saw—or thought he saw—a big white man beating a Mexican youth with his fists, slashing at his clothes with a razor-bladed two-by-four. The white man railed in a thick brogue: “Spic filth! I’ll teach you to traffic with clean young white girls!” He ran the boy down with a car and drove away.
Coleman examined the Mexican youth and found him dead. He made it home, lied to Delores about his injuries and spent time recuperating. Seventeen Mexican boys were indicted for the Sleepy Lagoon killing; a social ruckus over their innocence ensued; the boys were quickly put on trial and languished in jail. Coleman sent the LA Police Department anonymous letters during the trial—he described the monster he had come to call the Scotch Voice Man and told what really happened. Months passed; Coleman played his sax, afraid to burglarize, afraid to visit his wolverine friends. He worked skid row day labor and kicked back most of the scratch to keep Delores off his case. Then one day the Scotch Voice Man himself came walking up the steps of 236 South Beaudry.
Delores and his half sisters were gone for the day; Coleman hid out, realizing what must have happened: he left fingerprints on the letters and Scotch Voice retrieved the notes and compared the prints against the prints in his Selective Service file. Coleman hid out all that day and the next; Delores told him an “evil man” was looking for him. He knew he had to run, but had no money; he got an idea: check crazy momma’s scrapbook of old flames for men that he resembled.
Coleman found four photographs of a summer-stock actor named Randolph Lawrence—the dates on the back of the pictures and a strongish facial resemblance said this was his daddy. He copped two of the snapshots, hitchhiked to Hollywood and told a fish story to a clerk at the Screen Actors Guild. She believed his abridged tale of parental abandonment, checked the Guild files and informed him that Randolph Lawrence was really Reynolds Loftis, a character actor of some note: 816 Belvedere, Santa Monica Canyon.
The child showed up at his father’s door. Reynolds Loftis was touched, pooh-poohed the story of the Scotch Voice Man, admitted his parentage and gave Coleman shelter.
Loftis was living with a screenwriter named Chaz Minear; the two men were lovers. They were members of the Hollywood leftist community, they were party-hopping devotees of avant-garde cinema. Coleman spied on them in bed—he both loved and hated it. He went with them to parties thrown by a Belgian filmmaker; the man screened movies featuring naked men and snapping dogs that reminded him of his wolverines—and the films obsessed him. Reynolds was generous with money and didn’t mind that he spent his days in the back yard honking his alto. Coleman started hanging out at jazz clubs in the Valley and met a trombone player named Mad Marty Goines.
Mad Marty was a heroin fiend, a reefer seller, a burglar and a second-rate horn. He was a lowlife’s lowlife, with a legitimate gift: teaching thievery and music. Marty taught Coleman how to hot-wire cars and really blow alto, showing him how to shape notes, read music, take his repertoire of noises and powerful lungs and use them to make sounds that meant something.
It was now the winter of ’43. Coleman was shedding his baby fat, getting handsome. Reynolds became demonstrative to him, physically affectionate—lots of hugs and kisses on the cheek. He suddenly credited the story of the Scotch Voice Man. He joined the Sleepy Lagoon Defense Committee—a hot lefty item now that the seventeen boys had been convicted—to prove his faith in Coleman.
Reynolds told Coleman to be quiet about the Scotch Voice Man—nobody would believe him, and the important thing was to get the poor persecuted boys out of jail. He told him Scotch V
oice would never be caught, but the evil man was probably still looking for Coleman—who needed protective coloration to remain safe from him. Reynolds took Coleman to Dr. Terence Lux and had his face physically altered to his own specifications. While recuperating at the clinic, Coleman went crazy, killing chickens in the hatchery, pretending he was a wolverine while he drank their blood. He got leaves from the olinic and pulled burglaries with Mad Marty, his face bandaged like a movie monster; he went to SLDC rallies with his attentive father—and against his wishes told the story of José Diaz and the Scotch Voice Man. Nobody believed him, everyone patronized him as Reynolds Loftis’ nutty kid brother burned in a fire—lies his father told him to go along with. Then the bandages came off and Coleman was his father twenty years younger. And Reynolds seduced his own youthful mirror image.
Coleman went with it. He knew he was safe from Scotch Voice; while recovering from the surgery he did not know how his new face would look, but he knew now that he was beautiful. The perversion was awful but continually exciting, like being a wolverine prowling a strange dark house twenty-four hours a day. Acting the part of a platonic kid brother was an intriguing subterfuge; Coleman knew Daddy was terrified of their secret coming out and kept mum—he knew also that Reynolds was going to rallies and donating money to causes because he felt guilty for seducing him. Maybe the surgery was not for his safety—just for the seduction. Chaz moved out—bitter over the horrific cuckolding—spurning Reynolds’ offer to make it a menage à trois. Minear went on a sex bender then, a different Felix Gordean male prostitute every night—Reynolds lived in terror of his ex-lover telling them of the incest and tricked with a bunch of prosties himself, for the sex and to keep his ear down. Coleman was jealous, but kept still about it, and his father’s sudden frugality and displays of nervousness convinced him that Reynolds was being blackmailed. Then Coleman met Claire De Haven and fell in love with her.
She was Reynolds’s friend and confrere in various leftist organizations, and she became Coleman’s confidante. Coleman had begun to find sex with his father intolerable; he pretended the man was Claire to get through their nights together. Claire heard Coleman’s horror story out and convinced him to see Dr. Lesnick, the CP’s approved psychiatrist—Saul would never violate confidentiality with an analysand.