Hollywood Nocturnes by James Ellroy

to the war effort early in '42. Simpkins was convicted of five counts of robbery one with aggravated assault, got five-to-life at Big Q, and voodoo-hexed Billy Boyle and me at his trial, vowing on the soul of Baron Samedi to kill both of us, chop us into stew meat, and feed it to his dog. I more than half believed his vow, and for the first few years he was away, every time I got an unexplainable ache or pain I thought of him in his cell, sticking pins into a bluesuited Lee Blanchard voodoo doll.
      I checked the robbery report lying on the seat beside me. The addresses of the four new black-white stickups covered 26th and Gramercy to La Brea and Adams. Hitting the racial demarcation line, I watched the topography change from negligent middleclass white to proud colored. East of St. Andrews, the houses were unkempt, with peeling paint and ratty front lawns. On the west the homes took on an air of elegance: small dwellings were encircled by stone fencing and well-tended greenery; the mansions that had earned West Adams the sobriquet High Darktown put Beverly Hills pads to shame--they were older, larger, and less architecturally pretentious, as if the owners knew that the only way to be rich and black was to downplay the performance with the quiet noblesse oblige of old white money.
      I knew High Darktown only from the scores of conflicting legends about it. When I worked University Division, it was never on my beat. It was the lowest per capita crime area in L.A. The University brass followed an implicit edict of letting rich black police rich black, as if they figured blue suits couldn't speak the language there at all. And the High Darktown citizens did a good job. Burglars foolish enough to trek across giant front lawns and punch in Tiffany windows were dispatched by volleys from thousand-dollar skeet guns held by negro financiers with an aristocratic panache to rival that of anyone white and big-moneyed. High Darktown did a damn good job of being inviolate.
      But the legends were something else, and when I worked University, I wondered if they had been started and repeatedly embellished only because square-john white cops couldn't take the fact that there were "niggers," "shines," "spooks," and "jigs" who were capable of buying their low-rent lives outright. The stories ran from the relatively prosaic: negro boot-leggers with mob connections taking their loot and buying liquor stores in Watts and wetback-staffed garment mills in San Pedro, to exotic: the same thugs flooding low darktowns with cut-rate heroin and pimping out their most beautiful high-yellow sweethearts to L.A.'s powers-that-be in order to circumvent licensing and real estate statutes enforcing racial exclusivity. There was only one common denominator to all the legends: it was agreed that although High Darktown money started out dirty, it was now squeaky clean and snow white.
      Pulling up in front of the liquor store on Gramercy, I quickly scanned the dick's report on the robbery there, learning that the clerk was alone when it went down and saw both robbers up close before the white man pistol-whipped him unconscious. Wanting an eyeball witness to back up Lieutenant Holland's APB, I entered the immaculate little shop and walked up to the counter.
      A negro man with his head swathed in bandages walked in from the back. Eyeing me top to bottom, he said, "Yes, officer?"
      I liked his brevity and reciprocated it. Holding up the mug shot of Wallace Simpkins, I said, "Is this one of the guys?"
      Flinching backward, he said, "Yes. Get him."
      "Bought and paid for," I said.
      An hour later I had three more eyeball confirmations and turned my mind to strategy. With the all-points out on Simpkins, he'd probably get juked by the first blue suit who crossed his path, a thought only partly comforting. Artie Holland probably had stake-out teams stationed in the back rooms of other liquor stores in the area, and a prowl of Simpkins's known haunts was a