K is for Killer (15 page)

There was a knock at the door frame and Joan peered in. “Sorry to interrupt, but we've got a baby over here I'd like you to take a look at. I've got a call in to the resident, but I think you should see him.”

Serena rose to her feet. “Let me know if there's anything else,” she said to me as she moved toward the door.

“I'll do that. And thanks.”

I drove back to my place through deserted streets. I was beginning to feel at home in the late night world. The nature of the darkness shifts from hour to hour. Once the bars close down and traffic dissipates, what emerges is the utter stillness of three
A.M.
The intersections are empty. Traffic lights are bright O's of red and sea-foam green in a dazzling string that you can see for half a mile.

Clouds were pouring in. A dense ground fog, like cotton batting, was laid across the mountains, and the gray hills were pocked with streetlights against the backdrop of rolling mist. Most of the residential windows I saw were dark. Where an occasional light burned, I pictured students churning out last minute papers, the nightmares of the young. Or maybe the lights burned for recent insomniacs like me.

A police car cruised slowly along Cabana Boulevard, the uniformed officer turning to stare at me as I passed. I took a left onto my street and found a parking place. I locked
the car. The sky was velvety with clouds now, the stars completely obscured. Darkness hugged the ground, while the sky was tinged with eerie light, like dark gray construction paper smudged with white chalk. Behind me, I heard the low hum of air moving swiftly through the spokes of a bike. I turned in time to see the man on the bicycle passing. From the rear, his taillight and the strips of reflecting tape on his heels made him look like someone juggling three small points of light. The effect was oddly unsettling, a circus act of the spirits performed solely for me.

I went through the gate and let myself into my apartment, flipping on the light. Everything was orderly, just as I'd left it. The quiet was profound. I could feel a little nudge of anxiety, made up of weariness, the late hour, empty rooms around me. I wasn't going to be able to sleep at this point. It was like hunger—once the peak moment passed, the appetite diminished and you could simply do without. Food, sleep . . . what difference did it make? The metabolism shifts into overdrive, calling up energy from some other source. If I'd gone to bed at nine or even ten o'clock, I could have slept through the night. But now my sleep permit had reached its expiration point. Having stayed awake this long, I was consigned to further wakefulness.

My body was both fatigued and fired up. I dropped my handbag and jacket on the chair by the door. I glanced at the answering machine: no messages. Did I have any wine on the premises? No, I did not. I checked the contents of the refrigerator, which showed nothing of culinary interest. My pantry was typically barren: a few stray cans and dried items that, singly or in combination, would never constitute anything remotely edible, unless you favored uncooked lentils with maple syrup. The peanut-butter jar had concentric
swirl marks in the bottom, as if the rest of it had drained away. I found a kitchen knife and scraped the sides of the jar, eating the accumulated peanut butter off the blade as I walked around. “This is really pitiful,” I said, laughing, but actually I didn't mind a bit.

Idly I flipped on the TV set. Lorna's video was still in the VCR. I touched the remote control, and the tape began to run again. I had no intention of watching any late night sex, but I went through the credits twice. The night before, I'd tried directory assistance in San Francisco, hoping for a telephone number for the production company Cyrenaic Cinema. In the credits, the producer, director, and film editor were all listed by name: Joseph Ayers, Morton Kasselbaum, and Chester Ellis respectively. What the hell, telephone operators are awake all night.

I tried the names in reverse order, bombing out on the first two. When I got to the producer, I picked up a hit. The operator sang, “Thank you for using AT and T,” and a recording kicked in. A mechanical voice came on the line and recited Joseph Ayers's number for me twice.

I made a note, then picked up the phone and called directory assistance in San Francisco again, this time checking for a listing in the names of the other players, Russell Turpin and Nancy Dobbs. She wasn't listed, but there were two Turpins with the first initial
R
, one on Haight and one on Greenwich. I wrote down both numbers. At the risk of wasting my time and Janice Kepler's money, a trip north might actually be worth a shot. If the contacts didn't pan out, at least there was hope of eliminating the porno angle as a factor in her daughter's death.

I put a call through to Frankie's Coffee Shop, and Janice answered on the second ring. “Janice. This is Kinsey. I have a question for you.”

She said, “Fire away. We're not busy.”

I brought her up to date on my conversations with Lieutenant Dolan and Serena Bonney, and then filled her in on the minisurvey I'd done of the pornographic film crew. “I think it might be worthwhile to talk to the producer and the other actor.”

“I remember him,” she cut in.

“Yeah, well, between Turpin and this film producer, I'm hoping we can satisfy some questions. I'll try to contact both by phone in advance, but it looks like it'd make sense to make a quick trip. If I can set up a few appointments, I thought I'd hit the road.”

“You're going to drive?”

“I'd thought to.”

“Don't you have a dinky little VW? Why not fly? I would, if I were you.”

“I guess I could,” I said dubiously. “On a short hop like that, though, the plane fare will be outrageous. I'll have to rent a car up there, too. Motel, meals . . .”

“That sounds okay to me. Just save your receipts and we'll reimburse you when you get back.”

“What about Mace? Did you tell him about the tape?”

“Well, I told you I would. He was shocked, of course, and then he got mad as hell. Not with her, but whoever put her up to it.”

“What's his feeling about the investigation itself? He didn't seem that thrilled yesterday.”

“He told me just what he told you,” she said. “If this is what it takes to make me happy, he'll go along with it.”

“Great. I'll probably fly up sometime tomorrow afternoon and talk to you as soon as I get back.”

“Have a good flight,” she said.

A
t 9:00 the next morning, I roused myself just long enough to call Ida Ruth, telling her I'd be in shortly in case anyone was looking for me. As I pulled the covers up, I checked the Plexiglas skylight above my bed. Clear, sunny skies, probably sixty-five degrees outside. To hell with the run. I awarded myself ten more minutes of rest. I next woke at 12:37, feeling as hung-over as if I'd drunk myself insensible the night before. The tricky factor with sleep is that aside from the
number
of hours you put in, the body seems to hold you accountable for their position. Snoozing from four
A.M.
to eleven
A.M.
doesn't necessarily equate with the same number of hours logged between eleven
P.M.
and six. I had sketched in a full seven, but my regular metabolic rhythms were now decidedly off and required additional down time to correct themselves.

I called Ida Ruth again and was relieved to discover she was out at lunch. I left a message, indicating I'd been delayed by a meeting with a client. Don't ask why I fib to a woman who doesn't even cut my paycheck. Sometimes I
lie just to keep my skills up. I staggered out of bed and into the bathroom, where I brushed my teeth. I felt as if I'd been anesthetized, and I was sure that none of my extremities would function. I propped myself against the wall in the shower, hoping the hydrotherapy would mend my skewed circuits. Once dressed, I found myself eating breakfast at one in the afternoon, wondering if I'd ever get myself back on track again. I put on a pot of coffee and dosed myself with caffeine while I made some phone calls to San Francisco.

I didn't get very far. Instead of Joseph Ayers, I got an answering machine that may or may not have been his. It was one of those carefully worded messages that bypasses confirmation of the party's name or the number called. A mechanical male voice said, “Sorry I wasn't here to take your call, but if you'll leave your name, number, and a brief message, I'll get back to you.”

I left my name and office number and then left messages on answering machines for both R. Turpins. One voice was female, the other male. To both Turpins I chattered happily, “I'm not sure if this is the right Turpin or not. I'm looking for Russell. I'm a friend of Lorna Kepler's. She suggested I call if I was ever in San Francisco, and since I'm going to be up there in the next couple of days, I thought I'd say hi. Give me a call when you get this message. I'd love to meet you. She spoke so highly of you. Thanks.” Through San Francisco information, I checked out the names of other members of the crew, working my way patiently down the list. Most were disconnects.

As long as I was home, I opened my desk drawer and pulled out a fresh pack of index cards, transcribing the information I'd picked up on the case to date—about four cards' worth. Over the last several years I've developed the
habit of using index cards to record the facts uncovered in the course of an investigation. I pin the cards on the bulletin board that hangs above my desk, and in idle moments I arrange and rearrange the data according to no known plan. At some point I realized how different a detail can look when it's seen out of context. Like the pieces in a jigsaw puzzle, the shape of reality seems to shift according to circumstance. What seems strange or unusual can make perfect sense when it's placed in the proper setting. By the same token, what seems unremarkable can suddenly yield up precious secrets when placed against a different backdrop. The system, I confess, usually nets me absolutely nothing, but a payoff comes along just often enough to warrant continuing. Besides, it's restful, it keeps me organized, and it's a visual reminder of the job at hand.

I pinned Lorna's photograph on the board beside the cards. She looked back at me levelly with calm, hazel eyes and that enigmatic smile. Her dark hair was pulled smoothly away from her face. Slim and elegant, she leaned against the wall with her hands in her pockets. I studied her as if she might reveal what she had learned in the last minutes of her life. With the silence of a cat, she returned my gaze. Time to get in touch with Lorna's day self, I thought.

I drove along the two-lane asphalt road, past the low, rolling fields of dry grass, drab green overlaid with gold. Here and there, the live oaks appeared in dark green clumps. The day was darkly overcast, the sky a strange blend of charcoal and sulfur yellow clouds. The swell of mountains in the distance were a hazy blue, sandstone escarpments visible across the face. This section of Santa Teresa County is basically desert, the soil better suited for chaparral and sage scrub than productive crops. The early settlers in the area planted all the trees. The once sear land
has now been softened and civilized, but there is still the aura of harsh sunlight on newly cultivated ground. Take away the irrigation systems, the drip hoses, and the sprinklers, and the vegetation would revert to its natural state—ceanothus, coyote brush, manzanita, and rolling grasses that in dry years yield a harvest of flames. If current predictions were correct and we were entering another drought, all the foliage would turn to tinder and the land would be cleared beneath a plow of fire.

Up ahead, on the left, was the Santa Teresa Water Treatment Plant, erected in the 1960s: red tile roof, three white stucco arches, and a few small trees. Beyond the low lines of the building, I caught sight of the maze of railings that surrounded concrete basins. To my right, a sign indicated the presence of the Largo reservoir, though the body of water wasn't visible from the road.

I parked out in front and went up the concrete stairs and through the double glass doors. The reception desk sat to the left of the front entrance, which opened into a big room that apparently doubled as class space. The clerk at the desk must have been Lorna's replacement. She looked young and capable, without a hint of Lorna's beauty. The brass plate on her desk indicated that her name was Melinda Ortiz.

I gave her my business card by way of introduction. “Could I have a few minutes with the plant supervisor?”

“That's his truck behind you. He just arrived.”

I turned in time to see a county truck turn into the driveway. Roger Bonney emerged and headed in our direction with the preoccupied air of someone on his way to a meeting, focus already leapfrogging to the encounter to come.

“Can I tell him what this is in regards to?”

I looked back at her. “Lorna Kepler.”

“Oh, her. That was awful.”

“Did you know her?”

She shook her head. “I've heard people talk about her, but I never met her myself. I've only been here two months. She had this job before the girl I replaced. There might have been one more in between. Mr. Bonney had to go through quite a few after her.”

“You're part-time?”

“Afternoons. I got little kids at home, so this is perfect for me. My husband works nights, so he can keep 'em while I'm gone.”

Bonney entered the reception area, manila envelope in hand. He had a broad face, very tanned, tousled curly hair that had probably turned gray when he was twenty-five. The combination of lines and creases in his face had an appealing effect. He might have been too handsome in his youth, the kind of man whose looks make me surly and unresponsive. My second husband was beautiful, and that relationship had come to a demoralizing end . . . at least from my perspective. Daniel seemed to think everything was just swell, thanks. I was inclined now to disconnect from certain male types. I like a face marked by the softening processes of maturity. A few sags and bags are reassuring somehow. Bonney caught sight of me and paused politely at Melinda's desk lest he interrupt our conversation.