L.A. Noir (43 page)

Soon thereafter, Cohn called Cohen to discuss what was bothering him—the Davis-Novak relationship. After several fairly circumspect conversations, Mickey finally asked Cohn point-blank what he wanted. Cohn replied that he wanted Sammy Davis Jr. “knocked in” (i.e., “rubbed out”). In Cohen’s later recounting of this story, he indignantly refused, telling Cohn, “Lookit, you’re way out of line. Not only am I going to give ya a negative answer on this, but I’m going to give ya a negative answer that you better see this doesn’t happen.”

There’s another more plausible version of the story. According to Davis biographer Gary Fishgall, Mickey Cohen visited Sammy in Las Vegas to deliver a warning and offer advice. The warning was that someone was about to put a contract out on his head. The advice was to dump Kim Novak and
go find himself a nice black girl to marry. Panicked, Davis promptly called Sam Giancana in Chicago to plead for help. Giancana replied that there was only so much the Outfit could do on the West Coast. A fearful Davis broke off the relationship with Novak and abruptly married showgirl Loray White. Harry Cohn died one month later (of natural causes).

Whatever version is true, Sammy Davis Jr. apparently felt nothing but gratitude toward Mickey. When Cohen was hauled into court on April 4, 1958 (Good Friday), for assaulting a waiter who had annoyed him at a party for Davis at Frank Sinatra and Peter Lawford’s Villa Capri restaurant, the entertainer came forward as a witness for the defense. (He testified that the waiter had spilled coffee on Cohen and made a rude remark.) So did another guest with a long and curious relationship with Mickey Cohen, the actor Robert Mitchum. Public violence, high-profile arrests, celebrity alibis—to a recently relapsed gangster hungry for publicity, things could hardly get better. But later that night, they did. At 9:40 p.m., Cohen associate Johnny Stompanato was stabbed to death in the home of then-girlfriend Lana Turner.

Turner, thirty-eight, was one of Hollywood’s best-known (and most frequently married) actresses. According to Turner’s FBI files, she was also one of the most sexually voracious. As a result, it’s no surprise that she soon shacked up with Stompanato, thirty-two, a celebrity in his own right among adventuresome Hollywood actresses. “The most handsome man that I’ve ever known that was all man,” Cohen called him. But it wasn’t Stompanato’s good lucks that made him Hollywood’s most notorious gigolo. Rather, it was his legendary “endowment.” To Mickey, though, Stompanato was kind of like a kid brother. As soon as he heard the news of Stompanato’s death, he raced over to Turner’s house in Beverly Hills. Attorney Jerry Giesler intercepted Cohen outside.

“If Lana sees you, she’s going to fall apart altogether,” Giesler told Cohen. Instead, he sent him over to the morgue to identify Stompanato’s body.

In fact, Turner was terrified of Cohen. Wild rumors quickly spread. “
LANA FEARS COHEN GANG VENGEANCE
,” cried one tabloid. The identity of the supposed killer quickly emerged—Lana’s fourteen-year-old daughter, Cheryl Crane. Supposedly, she had stabbed Stompanato with a kitchen knife when she walked in on him beating her mother.

Cohen didn’t believe it. Stompanato wasn’t the toughest of Cohen’s henchmen, but he was a former Marine. Mickey couldn’t believe that a mere girl could have killed him with a knife. He suspected that Lana herself was probably the killer. Cohen wanted to see justice done.

In this, he was virtually alone. Neither prosecutors nor the public seemed upset that Johnny Stompanato was dead. The general attitude was,
Good riddance. Press accounts portrayed Stompanato as a swarthy abuser who had preyed upon the fair Turner. This offended Mickey, who believed that Stompanato and Turner genuinely loved each other. Cohen resolved to set the record straight.

The day after Stompanato’s death, his apartment at the Del Capri Motel in Westwood was mysteriously sacked. A week later, love letters from Turner to Stompanato appeared in the
Herald-Express
, just as the trial of Cheryl Crane was beginning. The letters left little doubt of Turner’s affection for Stompanato, whom she addressed as “daddy love” in notes signed “Tu Zincarella” (your gypsy). But this time, the resurgent gangster was out of touch with the public. The publication of private letters was seen as unseemly, and the press read them for evidence that the affair was winding down.

Cohen was puzzled by this hostile reception. But he didn’t dwell on it. Perhaps he didn’t care all that much about Johnny either. Or maybe he was distracted by his latest discovery, a thrice-married, hazel-eyed Marilyn Monroe look-alike named Liz Renay.

Renay was a sometime stripper (44DD-26-36) as well as an aspiring painter and occasional poet who had left New York after boyfriend Tony Coppola’s longtime boss, Albert Anastasia, was rubbed out in 1957. Friends such as “Champ” Segal in New York told Renay to look up Mickey. When she did, Renay was pleasantly surprised: “His hands were soft, his nails fastidiously clean and polished. His touch was more like a caress. He wasn’t at all what I expected him to be.” The two hit it off and soon became a couple (though Renay would later claim that in private Mickey always “stopped short”—out of respect for Renay’s boyfriend in New York). In March 1958,
Life
magazine featured a photo spread of the two of them eating ice cream sundaes at the Carousel. This was too much for LaVonne. Escorting starlets to nightclubs was one thing—that was practically part of a Hollywood gangster’s job description. Flirting around town and eating ice cream with a rather notorious young woman was quite another. That June, LaVonne and Mickey returned to divorce court. This time the split was final. As alimony, Cohen agreed to pay LaVonne a dollar a year.

Meanwhile, Cohen and Hecht were making progress with his life story. On July 7, Walter Winchell reported that
The Soul of a Gunman
was finished and that Mickey Cohen had already begun selling shares in a future feature film based on his memoirs. According to Winchell, a Los Angeles psychiatrist had already invested $30,000 in the project. It soon emerged that a number of other people had made significant investments as well. Now that his client had the prospect of legitimate income at hand, Cohen attorney
George Bieber approached the Internal Revenue Service with a proposal to settle Cohen’s tax problems for $200,000. Under Bieber’s proposal, the government would get the first $50,000 in revenues from Cohen’s life story; Cohen would get the second $50,000; and the IRS would collect the rest of the royalties until Mickey’s debt was paid. Treasury agent Guy Mc-Cown expressed an interest in the deal.

Then Mickey made a misstep. On September 20, 1959, writer Dean Jennings published the first installment in what proved to be a withering four-part series about Cohen in the
Saturday Evening Post
. Entitled “The Private Life of a Hood,” the article detailed Cohen’s luxurious lifestyle—a lifestyle the author estimated required about $120,000 a year—at precisely the moment Cohen was denying that he had any earned income. Jennings’s article also infuriated the writer Ben Hecht, who felt that by talking to Jennings, Cohen had cannibalized their proposed book. Angrily, Hecht informed Cohen that the collaboration was off. Mickey was upset (though he still harbored hopes for a lucrative movie deal).

On the whole, though, Chief Parker’s problems were more acute. Cohen was reconstituting his power and hiding large sources of income from the IRS, even as he prepared to negotiate a deal that would remove the threat of federal monitoring and prosecution. Recent court decisions made it harder than ever to catch Cohen in the act. In October 1958, the state supreme court came out with yet another ruling,
People v. McShann
, that required the police to produce confidential informers in narcotics cases for cross-examination by the defense. The LAPD, warned Parker in reply, was being disarmed just as “the criminal cartels of the world” were preparing another “invasion.”

“It won’t be long,” Parker warned, “until the Costello mob moves in here and turns this city into another Chicago.”

But Cohen was not home free yet. While his attorney was seeking a deal, the Treasury Department was opening a new investigation into Cohen’s finances. Investigators quickly homed in on Liz Renay. In early 1958, prosecutors in New York interrogated her about her ties to Anastasia—and her relationship with Mickey. Cohen was nonchalant about the prospect of prosecutors questioning the statuesque actress about their relationship.

“Anything she says is good enough for me,” he told the
Los Angeles Times
. He even invited Chief Parker and Captain Hamilton to join them for dinner when Renay got back. “But I don’t think they’d pick up the tab,” he quipped. “That’s a thousand-to-one shot.”

The questioning of Renay continued. The U.S. attorney’s office in Los Angeles convened a grand jury to investigate Mickey’s lavish lifestyle. That fall, the federal grand jury summoned Renay to appear before them. She
arrived at the federal courthouse resplendent in an outfit the
Los Angeles Times
described as “a tight-fitting royal blue jersey dress.”

“Her red hair was set in a swirling pile,” continued the anonymous scribe. “Her eyes which she said are green with brown polka dots, were dramatized by long glossy lashes and blue-shadowed eyelids.” When confronted with questions about her underworld associates, Renay took the Fifth. The LAPD and the IRS seemed to have run into yet another roadblock in their effort to take down Mickey Cohen and his Syndicate associations. Fortunately for Chief Parker, though, he had another, even more powerful ally he could call upon—Robert Kennedy.

In March 1959, Robert Kennedy subpoenaed Cohen to testify before the McClellan Committee in Washington, D.C. Cohen’s lawyer was Sam Dash, who would later win fame as the chief counsel of the Senate Watergate Committee. Dash took his client to meet Kennedy for the first time the day before the hearings. Cohen arrived aggrieved. He felt that he “already had a beef” with Kennedy, thanks to the stingy $8-a-day per diem authorized by Kennedy’s staff. (Mickey was spending $100 a night to stay at the Washington Hilton.) Nonetheless, when Kennedy asked Cohen if he was going to answer questions at the Senate hearing tomorrow, Mickey said that he would try.

“Lookit, I’m going to answer any question that won’t tend to incriminate me,” he replied.

The next day, Cohen appeared as a witness—along with New Orleans crime boss Carlos Marcello (“a beautiful person, a real gentleman,” according to Mickey). Kennedy began by establishing Cohen’s moral character—namely, that he was an effete clotheshorse who had spent “$275 on his silk lounging pajamas, $25,000 for a specialty built bulletproof car and at one time had 300 different suits, 1,500 pairs of socks and 60 pairs of $60 shoes.” Kennedy then noted that despite such lavish expenditures Cohen had declared only $1,200 in income in 1956 and $1,500 in income in 1957.

Cohen was upset about being questioned “like an out-and-out punk” by this “snotty little guy.” So when Kennedy started to ask him more pointed questions about his finances, Cohen took the Fifth, declining to answer on the grounds that by doing so he might incriminate himself. Cohen’s only laugh came when Kennedy asked if it was true that Cohen had gone zero for three in his professional boxing career (with three knockouts). (It wasn’t. His professional boxing record seems to have been six wins, eleven losses, and one draw.)

Frustrated by Cohen’s stonewalling, Kennedy called Cohen back into the hearings the next day. “I have been given to understand that you are a gentleman,” he told Cohen pointedly before the cameras.

“Well, I consider myself a gentleman yeah,” Cohen replied.

“Well, you sure haven’t been a gentleman before this committee,” Kennedy chided. “I see you’re not going to answer any questions, but at least you could have answered that you
respectfully
declined to answer the questions because they may tend to incriminate you.”

“That you
respectfully?”
Cohen replied, incredulous. “I’ll be glad to do that—if I remember.”

Then Kennedy switched gears. “Now off the record—you say you’re a gentleman and all that. Let me ask you a question, and it has nothing to do with what we’re here for concerning coin-operated machines, but what’s the meaning in the underworld or the racket world when somebody’s ‘lights are to be put out’?”

It was a trick question. Cohen himself stood accused of having threatened one cigarette vending machine operator by informing him that he’d gotten a $50,000 contract to “put his lights out.’” His answer was quick in coming.

“Lookit,” Mickey replied innocently, “I don’t know what you’re talking about. I’m not an electrician.”

The audience laughed. Flushing bright red, Kennedy jumped up and headed for Mickey. But Senator McClellan grabbed Kennedy by the shoulder, to Cohen’s great disappointment.

“I would have torn him apart [and] kicked his fuckin’ head,” Cohen said later. Instead, he and Fred Sica, highly pleased with themselves, flew up to New Jersey to visit Sica’s eighty-year-old mother, who greeted Cohen by saying, “Mickey, my boy. Jimmy was supposed to get the lamp fixed, but I told him to wait for you. You fix it. You’re an electrician.”

To celebrate the thumb in the eye to Kennedy, the next day Cohen called the Cadillac dealership in Beverly Hills and ordered a new El Dorado Biarritz black convertible. Its list price was approximately $10,000—more than six times Cohen’s declared income that year.

THE POLITE WORD was “Negro”—long “e,” long “o.” Bill Parker couldn’t pronounce it correctly. Try as he might, Parker kept shortening his vowels, producing (in his odd, pseudo-Bostonian accent) something more like “nigra.” The effect was jarring. When black people first heard Parker speak about race, they sometimes thought he was using the slur “nigger.” When Vivian Strange, one of the few black women in the department in the early 1950s (and a fellow Roman Catholic), pointed out the chief’s pronunciation problem, Parker was embarrassed. He did his best to correct himself, even going so far as to tape himself and play back his words: nigra, nigra, neegro. Parker’s lack of familiarity with the word pointed to a larger challenge: Like many white Angelenos, Parker simply didn’t know much about black people.