Voodoo River

the phone, happy to be of service, happy to help, and happy to speak with me. Maybe Louisiana was the Land of Happy People.

I said, 'Darlene?'

'Yes, Mr. Cole?'

'Is this what they mean by southern hospitality?'

'Why, we're just happy to help.'

I said, 'Darlene, you sound the way magnolias smell.'

She laughed. 'Oh, Mr. Cole. Aren't you the one.'

Some people just naturally make you smile.

I dialed Joe Pike's condo and got his answering machine. It answered on the first ring and Joe's voice said, 'Speak.' You see what I mean about the conversation?

I told him who we were working for and where I would be, and I left both Sid Markowitz's and Lucille Chenier's office numbers. Then I hung up and went out onto the little balcony I have and leaned across to look into the office next door. A woman named Cindy runs a beauty distribution outlet there, and we often meet on the balcony to talk. I wanted to tell her that I would be gone for a few days, but her office was dark. Nobody home. I went back inside and phoned my friend Patricia Kyle who works on the Paramount lot, but she was in a casting meeting and couldn't be disturbed. Great. Next I called this cop I know named Lou Poitras who works detectives out of the North Hollywood division, but he wasn't in, either. I put down the phone, leaned back in my chair, and looked around the office. The only thing moving besides me was this Pinocchio clock I've got. It has eyes that tock side-to-side and it's nice to look at because it's always smiling, but, like Pike, it isn't much when you're trying to work up a two-way conversation. I have figurines of Jiminy Cricket and Mickey Mouse, but they aren't much in the conversing department, either. My office was neat, clean, and in order. All bills were paid and all mail was answered. There didn't seem to be a whole lot of preparation necessary for my departure, and I found that depressing. Some big-time private detective. Can't even scare up a friend.

I shut the lights, locked the door, and stopped at a liquor store on the way home. I bought a six-pack of Falstaff beer from a bald man with a bad eye and I told him that I was going to Louisiana. On business. He told me to have a nice time and to stop in again when I got back. I said that I would, and I told him to have a nice night. He gave me a little wave. You take your friendship where you find it.

At 1:40 the next afternoon I was descending into the Baton Rouge metropolitan area over land that was green and flat and cut by chocolate waterways. The pilot turned over the muddy wide ribbon of the Mississippi River, and, as we flew over it, the bridges and the towboats and the barges and the levee were alive with commerce and industry. I had visited Baton Rouge many years before, and I remembered clear skies and the scent of magnolias and a feeling of admiration for the river, and for its endurance through history. Now, a haze hung low over the city, not unlike Los Angeles. I guess commerce and industry have their drawbacks.

We landed and taxied in, and when they opened the airplane the heat and humidity rolled across me like warm honey. It was a feeling not unlike what I had felt when I stepped out of the troop transport at Bien Hoa Air Base in 1971 in the Republic of South Vietnam, as if the air was some sort of extension of the warm soupy water in the paddies and the swamps, as if the air wasn't really air, but was more like thin water. You didn't walk through the air down here, you waded. Welcome to Atlantis.

I sloshed down to the baggage claim, collected my bag, then presented myself to a smiling young woman at the Hertz desk. I said, 'Pretty hot today, huh?'

She said, 'Oh, this isn't hot.'

I guess it was my imagination.

I gave her my credit card and driver's license, asked directions to the downtown area, and pretty soon I was driving past petrochemical tank farms and flat green fields and white cement block structures with signs that said things like FREE DIRT and TORO LAWNMOWERS. The undeveloped land gave way to working-class neighborhoods and grocery markets and, in the distance, the spidery structures and exhaust towers of the refineries and chemical plants that lined the river. The chemical plants reminded me of steel towns in the Northeast where everything was built low to the ground and men and women worked hard for a living and the air smelled strange and sulfurous. Most of the men in these neighborhoods would work at the refineries, and they would work in shifts around the clock. The traffic in the surrounding areas would ebb and flow with great whistles announcing the shift changes three times a day, at seven and three and eleven, sounding like a great sluggish pulse, with each beat pumping a tired shift of workers out and sucking a fresh shift of workers in, never stopping and never changing, in its own way like the river, giving life to the community.

The working-class neighborhoods and the refineries gave way to the state's capitol building, and then I was in the heart of downtown Baton Rouge. The downtown area was a mix of new buildings and old, built on a little knoll overlooking the river and the Huey Long Bridge. The river ran below the town, as much as within it, walled off from the city by a great earth levee that probably looks today much as it did over a hundred years ago when Yankee gunboats came down from the north. Even with the commerce and the industry and a quarter million people, there was a small-town southern feel to the place. Monstrous oak trees laden with Spanish moss grew on wide green lawns, standing sentry before a governor's mansion sporting Greek Revival pillars. It made me think of Gone With the Wind, even though that was Georgia and this wasn't, and I sort of expected to see stately gendemen in coarse gray uniforms and women in hoop gowns hoisting the Stars 'n Bars. I wish I was in the Land of cotton…

At six minutes before three, I walked into an older building in the heart of the riverfront area and rode a mahogany-paneled elevator to the third floor and the offices of Sonnier, Melancon amp; Burke, Attorneys at Law. An African-American woman with gray hair watched me approach and said, 'May I help you?'

'Elvis Cole for Lucille Chenier. I have a three o'clock appointment.'

She smiled nicely. 'Oh, yes, Mr. Cole. I'm Darlene. Ms. Chenier's expecting you.'

Darlene led me back along a corridor that was solid and enduring, with heavily lacquered pecan walls and art deco sconces and framed prints of plantations and cotton fields and portly gentlemen of an age such that they might have shared cigars with old Jeff Davis… Old times there are not forgotten… The whole effect was unapologetically Old South, and I wondered what Darlene felt when she walked past the slave scenes. Maybe she hated it, but then again, maybe in a way I might never understand, she was proud the way any person might be proud of obstacles overcome and disadvantages defeated, and of the ties with a land and a people that adversity builds in you. On the other hand, maybe not. Like friendship, you take your paycheck where you find it.

She said, 'Here we are,' and then she showed me into Lucille Chenier's office.

Lucille Chenier smiled as we entered, and said, 'Hello, Mr. Cole. I'm Lucy Chenier.'

Lucy Chenier was five-five, with amber green eyes and auburn hair that seemed alive with sun streaks and a wonderful tan that went well with the highlights. She seemed to radiate good health, as if she spent a lot of time outdoors, and it was a look that drew your eye and held it. She was wearing a lightweight tweed business suit and a thin gold ring on the pinkie of her right hand. No wedding band. She came around her desk and offered her hand. I said, 'Tennis.'

'Pardon me?'

'Your grip. I'll bet you play tennis.'

She smiled again, and now there were laugh lines bracketing her mouth and soft wrinkles at the corners of her eyes. Pretty. 'Not as often as I'd like. I had a tennis scholarship at LSU.'

Darlene said, 'Would you like coffee, Mr. Cole?'

'No, thank you.'

'Ms. Chenier?'

'I'm fine, Darlene. Thanks.'

Darlene left, and Lucy Chenier offered me a seat. Her office was furnished very much like the reception area and the halls, only the couch and the chairs were covered with a bright flower-print fabric and there were Claude Monet prints on the walls instead of the plantation scenes. A blond wood desk was end on to a couple of double windows, and an iron baker's rack sat in the corner, filled with cascading plants. A large ceramic mug that said LSU sat among the plants. The Fighting Tigers. She said, 'Did you have a nice flight?'

'Yes, I did. Thank you.'

'Is this your first time to Louisiana?' There was a southern accent, but it was slight, as if she had spent time