THE BIG NOWHERE by James Ellroy

Danny felt Claire’s hand hovering. The blonde rolled her eyes to heaven; she’d just seen her co-star’s cock–huge, veiny, hooked at the middle like a dowsing rod. She salaamed before him, hit her knees and started sucking. The camera caught her acne scars and his needle tracks. She sucked while the hophead gyrated his hips; he pulled out of her mouth and sprayed.

Danny looked away; Claire touched his thigh. Danny flinched, tried to relax but kept flinching; Claire fingered a ridge of coiled muscle inches from his stuff. Hophead screwed Pimples from behind, the insertion close in. Danny’s stomach growled–worse than when he was on a no-food jag. Claire’s hand kept probing; Danny felt himself shriveling–cold shower time where you shrunk down to nothing.

The blonde and the Mexican fucked with abandon; Claire kneaded muscles that would not yield. Danny started to cramp, grabbed Claire’s hand and squeezed it to his knee, like they were back at the jazz club and he was calling the shots. Claire pulled away; the movie ended with a close-up of the blonde and the Mex tongue-kissing.

Film snapped off the cylinder; Claire got up, hit the lights and exchanged reels. Danny uncramped into his best version of Ted Krugman at ease–legs loosely crossed, hands laced behind his head. Claire turned and said, “I was saving this for après bed, but I think we might need it now.”

Danny winked–his whole head twitching–lady-killer Ted. Claire turned the projector on and the lights off; she came back to the couch and snuggled down again. The second half of their double feature hit the screen.

No music, no opening credits, no subtitles like in the old silents–just blackness–gray flecks the only indication that film was running. The darkness broke down at the corners of the screen, a shape took form and a dog’s head came into focus: a pit bull wearing a mask. The dog snapped at the camera, the screen went black again, then slowly dissolved into white.

Danny remembered the dog breeder and his tale of Hollywood types buying pits to film; he jumped to the masked men at Felix Gordean’s house; he saw that he’d shut his eyes and was holding his breath, the better to think who knew what, said what, lied what. He opened his eyes, saw two dogs ripping at each other, animated red splashed in surreal patterns across black-and-white celluloid, disappearing and coloring the real blood its real color, a spritz fogging the camera lens, gray first, cartoon red next. He thought of Walt Disney gone insane; as if in answer, an evil-looking Donald Duck flashed on the screen, feathered phallus hanging to his webbed feet. The duck hopped around, impotent angry like the real Donald; Claire laughed; Danny watched the snapping dogs circle each other and charge, the darker dog getting a purchase on the speckled dog’s midsection, plunging in with his teeth. And he knew his killer, whoever he was, had gone crazy watching this movie.

A black screen; Danny going light-headed from holding his breath, sensing Claire’s eyes on him. Then all color footage, naked men circling each other just like the dogs, going for each other with sucking mouths, 69 close-ups, a pullback shot and Felix Gordean in a red devil costume, capering, prancing. Danny got hard; Claire’s hand went there–like she knew. Danny squirmed, tried to shut his eyes, couldn’t and kept looking.

A quick cut; then Pretty Boy Christopher, naked and hard, pointing his thing at the camera, the head nearly eclipsing the screen like a giant battering ram, white background borders looking just like parted lips and teeth holding the image intact through rigor mortis–

Danny bolted, double-timed to the front of the house, found a bathroom and locked the door. He got his shakes chilled with a litany: BE A POLICEMAN BE A POLICEMAN BE A POLICEMAN; he made himself think facts, flung the medicine cabinet open and got one immediately: a prescription bottle of sodium secobarbital, Wiltsie’s and Lindenaur’s death ticket in a little vial, Reynolds Loftis’ sleep pills administered by D. Waltrow, MD, 11/14/49. Fumbling through shelves of ointments, salves and more pills got him nothing else; he noticed a second door, ajar, next to the shower stall.

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