O is for Outlaw (Kinsey Millhone 15)

I retraced my steps. To the left of the living room was the door to the bedroom, with a closet and undersized bath beyond. The chest of drawers was filled with the usual jockey shorts and T-shirts, socks, handkerchiefs. The bed-table drawer contained some interesting items: a woman's diaphragm and a small spray bottle of cologne with a partial price label on the bottom. The cologne had apparently been purchased from a Robinson's Department Store, since I could still make out a portion of the identifying tag. I removed the top and took a whiff. Heavy on the Lily of the valley that I remembered from the early days of our romance. Mickey's mother must have worn something similar. I remembered how he'd lay his lips in the hollow of my throat when I was wearing it myself. I put the cologne bottle down. There was a tissue paper packet about the size of a stick of gum. I unfolded the paper and picked up a thin gold chain threaded through the clasp of a small gold heart locket with an ever-so-tiny rose enameled in the center. Not to sound cynical, but Mickey'd given me one just like this about a week into our affair. Some men do that, find a gimmick or shtick that works once, the gift of a single red rose-and recycle the same gesture with every woman who comes along.

In a cleaning bag, he'd hung two dark blue uniforms with patches on the sleeves. I slid a hand up under the bag and checked one of the light blue patches. Pacific Coast Security was stitched in gold around the rim. Also hanging in the closet were a couple of sport coats, six dress shirts, four pairs of blue jeans, two pairs of chinos, a pair of dark pants, and a black leather jacket I knew very well indeed. This was the jacket Mickey wore the first time we went out, the jacket he was wearing when he kissed me the first time. I was still living with Aunt Gin, so there was no way we could go inside to misbehave. Mickey backed me up against the trailer door, the leather in his jacket making a characteristic creaking sound. The kiss went on so long we both sank down along the frame. I was Eva Marie Saint with Marlon Brando. On the Waterfront which is still one of the best screen kisses in recorded history. Not like love scenes nowadays where you watch the guy stick his tongue down the girl's throat, trying to activate her gag reflex. Mickey and I might've made love right there on the doorstep except we'd have been visible to everybody in the trailer park, which we knew was bad form, making us vulnerable to arrest.

I shook my head and closed the closet door while a sexual shiver ran down my frame. I tried the door next to it, which seemed to be an exit onto the rear gallery. The lock here was new. There was no key in the deadbolt, but it probably wasn't far. Mickey wouldn't make it easy for someone breaking into the apartment, but he'd want the key handy in case of fire or earthquake. I pivoted, letting my gaze move across the area, remembering his tricks. I knelt and felt my way along the edge of the carpeting. When I reached the corner, I gave the loosened carpet a tug. I lifted that section and plucked the key from its hiding place. I unlocked the back door and left it temporarily ajar.

I went back to the bedroom door and stood there, looking out at the living room. The cops had doubtless cruised through here once, sealing the apartment afterward, pending a more thorough investigation. I tried to see the place as they had, and then I looked at it again from personal experience. With Mickey, the question wasn't so much what was visible as what wasn't. This was a man who lived in a constant state of readiness and, as far as I could tell, his fears had only accelerated in the past fourteen years. In the absence of global conflict, he lived in anticipation of civil insurrection: unruly hordes who would overrun the building, breaking into every unit, clamoring for food, water, and other valuables like toilet paper. So where were his weapons? How did he intend to defend himself?

I tried the kitchen first, tapping along the baseboards for the sound of hollow spaces. I'd seen him install other "safes", compartments with false fronts where you could tuck cash, guns, and ammunition. I started with the kitchen sink. I took out all the gallon water containers, exposing the "floor" and rear wall of stained plywood. I shone the penlight from top to bottom, side to side. I could see four screw heads, one set in each corner, darkened to match the panel. I unbuckled my fanny pack, opened my mini-tool kit, took out a battery-operated drill, and set about removing screws. A person could develop carpal tunnel syndrome doing this the old-fashioned way. Once the screws were out, the partition yielded to gentle pressure, exposing a space that was six to eight deep. Four handguns were mounted in a rack on the rear wall, along with boxes of ammunition. I replaced the panel with care and continued my search. I considered this a fact-finding mission. Like the LAPD detectives, my prime purpose was determining just why Mickey'd been shot. I didn't want to remove anything of his unless I had to. Better to leave the items undisturbed where possible.