Hollywood Moon (3 page)

“That doesn’t look like a midwatch unit,” he’d said to Dana Vaughn, trying to peer through the darkness. “Must be somebody
from Watch Three.”

“It is,” she said.

“You got infrared eyeballs or what?” Nate said. “How do you know?”

“I know,” she said.

“Why’re they sitting there in the dark like that?”

“That’s how a guardian angel does it,” Dana said, starting the engine and driving back down to the flats, passing the parked
black-and-white without a word and without looking its way.

“It’s great working with you,” Nate said. “I just love a mystery.”

Dana Vaughn heaved a sigh and said, “I’m sure you remember the OIS I got involved in when I was working Watch Three.”

“Yeah, everyone knows you smoked a guy that was doing a death grapple with… what’s his name.”

“Leon Calloway is his name,” Dana said. “That’s him in the parked unit, with his partner.”

“You gonna enlighten me or what?” Nate asked.

And then Dana Vaughn said, “Yeah, I guess I’ve gotta.” And she slowly began to tell Hollywood Nate the story of her officer-involved
shooting, which had endeared her to even the most hard-core anti-female coppers on Watch 3, one of whom had been Leon Calloway.

Calloway was a hulking, flat-nosed, twenty-five-year P2 with a jutting jaw that pushed into a room ahead of him, and a meticulously
shaved head the size of a beach ball. He’d spent his last ten years working the night watch at Hollywood Station. When Dana
Vaughn transferred to Hollywood patrol, some of the women officers told her which guys were good to work with and which were
not. Calloway was in the latter group. When he occasionally worked with women officers who were in phase three of their probation,
he was a mouth-breathing nightmare who scared the hell out of them.

Calloway would usually start the evening by saying to a female rookie, “I hope you can hold your pee or do it in an alley
like a man. I don’t like looking for a
ladies’ room
when I’m doing police work.”

That might be followed by “Velcro crotches would solve the problem. I think I’ll invent police pants with a Velcro crotch
for all you…
ladies
.”

It wouldn’t take long either before he’d look at the young boot, and no matter how feminine she appeared, he’d say, “Are you
a lesbian?”

The first time they encountered Latino gang members in Southeast Hollywood, he’d always tell the probationer, “I don’t chase.
If they run,
you
chase. I’ll drive after them. Try to keep up.”

Or he’d say, “Do you carry D batteries in your war bag?”

And when the perplexed female rookie said, “No, sir, why?” Calloway would say, “To throw at any little asshole that disses
us by running. I hope you got a good arm, sis.”

And all young boots were warned by the older female officers that if they got an upset stomach from eating greasy tacos fried
in lard from a stand on Normandie Avenue—which Calloway liked because it was a “full pop,” meaning it was free to cops—or
if they were under the weather for any other reason, he was sure to say, “Oh, you’re not feeling well? Is it
that time?”

The young women learned very quickly that they’d chosen a career in what was still a man’s world, and Leon Calloway never
let them forget it.

He didn’t try any of this with women cops as senior as Dana Vaughn, but he was a hellish partner for rookie Sarah Messinger,
who happened to be riding shotgun with Calloway on the night that Dana Vaughn got into the only officer-involved shooting
of her career.

A business dispute had taken place between a streetwalking prostitute on the east Sunset Boulevard track and a customer who
happened to be a parolee-at-large. The parolee was a large black man, even bigger than Leon Calloway and, as it turned out,
considerably stronger. Although Hollywood had a very small African-American population, it was a nighttime destination for
many black men from south L.A. because it was, well, Hollywood. The parolee, whose name was Rupert Moore, was one of those,
and he was specifically looking for transsexuals or drag queens, having gotten a taste for them during his twelve-year jolt
in Folsom Prison.

The detectives later learned that earlier in the evening, Rupert Moore had been turned away by at least one tranny and two
dragons on the Santa Monica Boulevard track. After drinking in a bar on Western Avenue for three hours, Rupert Moore had decided
to try east Sunset Boulevard, where he’d met a Latino tranny named Javier Molina, aka Josefina Lamour. A drag queen who was
working a short distance farther east saw and heard the encounter and later gave details to homicide detectives.

Apparently Josefina didn’t like the look of Rupert Moore any more than the other trannies and dragons had. Josefina waved
him off when he pulled his green Mazda to the curb, slurring his words and saying, “Say, baby, how ’bout you and me go for
some sweet time in any motel you want.”

Josefina had never been known to take black tricks and wasn’t about to start with this supersize drunk. “Uh-uh, sorry,” Josefina
said.

Rupert Moore had heard too many “uh-uhs” that evening, and he turned off the engine and got out.

Josefina tried walking away fast in sky-high wedges, but Rupert Moore, with his much longer stride, caught up and said, “Sweet
stuff, I got forty-five dollars and it’s all for you.”

Josefina kept walking until Rupert Moore grabbed the tranny by the arm and said, “You think you’re too good for this nigger?
Is that it, bitch?”

“I’m sorry,” Josefina said, very frightened, looking around for a black-and-white, a vice car, anything! But the headlights
kept passing swiftly by on Sunset Boulevard, and nobody seemed to notice or care that a large man was holding a small woman
by the arm as she struggled to break free.

The Pakistani owner of a nearby liquor store later said that he heard a scream, and when he ran outside, he saw Josefina Lamour
trying to hold her spilling intestines inside her belly as Rupert Moore ran to his car, brandishing a bloody knife. Josefina
Lamour was dead when the ambulance arrived eight minutes later.

Six-Adam-Seventy-nine, driven by Leon Calloway with his female rookie as passenger, was the first to spot the Mazda, moments
after the call came out. It was his P1 partner’s first pursuit, and it was memorable for the way things ended for all concerned.

With light bar flashing and siren howling, Calloway drove a nine-minute pursuit that made the rookie regret not having taken
her partner’s advice about going to the bathroom before leaving the station. The pursuit ended in Rampart Division west of
Alvarado, where, after a turn onto a one-way street, Rupert Moore crashed the Mazda into a row of trash cans sitting curbside
in front of an apartment house. Two tires blew, and the parolee leaped from the damaged car and ran in panic into the darkness.

Within minutes, sixteen cops from Hollywood and Rampart Divisions were swarming the neighborhood with flashlights, searching
yards and stairwells of apartment buildings, scanning fire escapes, and climbing walls and fences to check neighboring yards.
But their murder suspect was nowhere to be found.

A voice on the tactical frequency said, “Airship up!” And soon they heard the police helicopter overhead and knew the spotter
was trying to use night vision lenses to find their suspect.

Bored with it all, Leon Calloway decided to amuse himself at the expense of young Sarah Messinger. The rookie was just about
to go into a dark alley, remove her Sam Browne in the darkness, and probably drop her radio and half her other gear in order
to have an urgently needed pee.

The two of them had been searching as a team and were now half a block from the nearest assistance. They had entered a seedy
apartment complex from the street side, climbing over a security gate. After searching alcoves and stairwells, they’d emerged
in a poorly tended public area that fed onto the alley and was protected by a ten-foot-high wrought-iron fence with razor
wire across the top. The gate could be opened from the yard side but was keyed on the alley side, a good thing given the number
of Latino gang members who lived in houses and apartments bordering that alley.

When the partners got to the imposing security fence and Sarah was ready to scurry into the alley for the nature call, the
big veteran cop backed against the wall of an adjoining garage, paused, and held a vertical finger to his lips, as though
he’d heard something. Of course, his young partner froze and listened also, but all she could hear were the hum of traffic,
meringue music coming from one of the second-floor apartments, and the faint sound of other cops calling to one another somewhere
east in the alley.

Suddenly Leon Calloway began to bark. The sound came from his chest and passed up to his throat, where it took on a gravelly
resonance that made Sarah Messinger actually spin around, expecting to face a gangbanger’s pit bull. Leon Calloway’s face
looked flushed in the moonlight as he continued to strain and bark.

Then he yelled, “Come out, asshole, or we’ll turn the dog loose. This is your last chance.”

His astonished young partner gaped at this amazing performance until Leon Calloway whispered to her, “For chrissake, boot,
tap on the side of the garage!” Then he began barking again.

Sarah Messinger obeyed in confusion by knocking twice on the clapboard with her knuckles.

Leon Calloway stopped barking and whispered urgently, “What the hell’s the matter with you? I said ‘tap.’ Use your baton,
and don’t stop till I tell you.” Then he watched her draw her baton and knock on the wood siding:
tap-tap-tap-tap
.

It seemed to satisfy him and he shouted, “Last chance, dipshit! I’m taking the leash off Rambo right this second, hear me?”
After that, he resumed barking.

Sarah Messinger was miserable. She had to pee desperately, and there was a killer on the loose, and she was tapping on the
side of a ramshackle garage, and her goofy-ass partner was barking like a crazed Doberman, and finally, she’d had enough.

“Sir,” said Sarah Messinger, “why am I tapping on the side of this garage?”

“Why do you think, dummy?” said Leon Calloway. “It’s our dog wagging its tail!”

The rookie cop never got a chance to respond to this new information, or to Leon Calloway’s canine performance in general,
because the instant she stopped tapping and he stopped barking, she heard a scraping above her. And when she looked up, Rupert
Moore, who had been lying flat on the garage roof, legs and arms spread as he tried to hang on to the broken composite shingles,
lost his grip completely and slid down, tumbling off the roof and landing with all 280 pounds on Sarah Messinger, slamming
her skull onto the concrete and partially paralyzing her.

Officer Messinger finally got to release the few hundred cubic centimeters of urine from her bladder while she flopped on
the walkway like a fish, and Officer Leon Calloway found himself fighting for his life with a man even bigger and stronger
than he was. Rupert Moore had dropped the murder weapon on the walkway next to the flailing young woman who was trying in
vain to get her limbs to obey and whose body happened to cover the knife, preventing the killer from grabbing it before he
scrambled to his feet.

Then Leon Calloway began shouting for help and trying to draw his Beretta, but Rupert Moore, surging with adrenaline, had
the cop’s hand in both of his, and there began what looked to the semiconscious young partner like a macabre death dance.
Two big men, one of them shouting for help, the other screaming curses, both clawing at the pistol, lunging forward and jerking
backward in a lunatic fox-trot, banging into the wrought-iron gate, falling to their knees, and then crashing down onto the
walkway. The killer was on his back and the cop on top of him, the pistol at chest level of both men, whose grunts and raspy
breathing sounded to the still-helpless rookie like noises in the hog pen on her grandparents’ farm in Stockton.

Instantly, there were flashlight beams and more shouts. Men were yelling, as was a woman, who had all run down the alley in
the direction of Leon Calloway’s cries for help. But they couldn’t help him. They were locked out of the yard by the tall
iron barrier and the razor wire.

One male voice hollered, “Run around to the front, Sam! Hurry up!”

Another yelled, “I’ll climb the fence next door! Get some light up there!”

Another screamed to the still-floundering rookie, “Shoot him! Shoot the bastard!”

Then there were more voices screaming at both Leon Calloway and Sarah Messinger: “Shoot! Shoot! Kill the fucker! Kill him!
Kill him! Kill him!”

But Sarah Messinger couldn’t shoot anybody. Her entire focus was on getting her knees under her, and she couldn’t even manage
that.

By this time, the three cops still standing outside the fence had guns pointed and were lighting Rupert Moore and Leon Calloway
with crisscrossing flashlight beams, but nobody dared take a shot, not with heads bobbing and the big cop on top. Leon Calloway
hadn’t enough strength left to do anything but hang on to the gun, with the tip of his index finger jammed between the trigger
and the grip to keep it from firing. From one second to the next, Leon Calloway didn’t know if the muzzle was pointed toward
Rupert Moore’s face or at his own, but he sensed it was at himself.

Now the helicopter was hovering right above them, lighting the life-or-death struggle with an aerial spotlight, and Sarah
Messinger resumed her battle with cerebral contusion and the law of gravity, managing to get to her knees. And when she looked
up, there in a literal spotlight, she was uncertain if this was reality or just another Hollywood production. Then she began
vomiting all over her uniform shirt while voices were still screaming at her, “Kill him! Kill him! Kill him!”

But Officer Sarah Messinger just had to ignore them all, and she lay back down, her cheek pressed to the concrete, and in
a moment went into the deepest slumber of her young life, one from which she would not awaken for ten days.