Free D Is for Deadbeat by Sue Grafton Page A

down for a couple of beers and a heart-to-heart talk. The next thing I knew, however, the front door opened again and he came out. I slipped down on the car seat until my eyes were level with the bottom of the window. The cloud cover was still heavy, obscuring the moon, and the cars along the curb created deeper shadows still. He stared out at the street, taking in the line of parked cars one by one. I felt my heart start to thump as I watched him come down the steps and head in my direction.
    He paused in the middle of the street. He moved over to a van parked two cars away from mine. He flicked on a flashlight and opened the door on the driver's side, apparently to check the registration. I lost sight of him. Moments went by. I watched the shadows, wondering if he'd crept around the other side and was coming up on my right. I heard a muffled sound as he closed the door to the van. The beam from his flashlight swept over the car in front of me and flashed across my windshield, the light too diffused by the time it reached me to illuminate much. He flicked it off. He waited, scanning the street on both sides. Apparently, he decided there was nothing to worry about. He crossed back to the house. As he reached the porch, she came out, clutching a robe around her. They talked for a few minutes and then he got in his car and took off. The minute she went inside, I started the VW and did a big U-turn, following. I hoped this wasn't all some elaborate ruse to flush me into the open.
    He had already made a left turn and then a right by the time I caught sight of him two blocks ahead of me. We were driving along the back streets with no traffic lights at all and only an occasional stop sign to slow our progress. I had to close the gap or risk losing him. A "one-man" tail is nearly pointless unless you know who you're following and where he's going to begin with. At this hour, there were very few cars on the road, and if he drove far, he'd realize the presence of my VW was no accident.
    I thought he was headed toward the freeway, but before he reached the northbound on-ramp, he slowed and made a right-hand turn. By then, I was only half a block back so I whipped over to the curb and parked, killing the engine. I locked the car and took off on foot, heading diagonally across the corner lot at a dead run. I caught sight of his taillights half a block ahead. The car was making a left-hand turn into a shabby trailer park.
    Puente is a narrow street that parallels Highway 101 on the east side of town, with the trailer park itself squeezed into the space between the two roadways, screened off from the highway by a ten-foot board fence and masses of oleander. I was covering ground at a quick clip. The houses I passed were dark, driveways crowded with old cars, most of them sporting dents. The street lighting here was poor, but ahead of me I caught traces of light from the trailer park, which was strung with small multicolored bulbs.
    By the time I got to the entrance, there was no sign of the Chevrolet, but the place was small and I didn't think the car would be hard to spot. The road twisting through the trailer park was two lanes wide. The blacktop still glistened from the rain and water was dripping from the eucalyptus trees that towered at intervals. There were signs posted everywhere: SLOW. SPEED BUMPS. TENANT PARKING ONLY. DO NOT BLOCK DRIVEWAY.
    Most of the trailers were "single-wides," fifteen to twenty feet long, the kind that once upon a time you could actually hitch to your car and travel in. Nomad, Airstream, and Concord seemed to predominate. Each had a numbered cardboard sign in the window, indicating the number of the lot on which it sat. Some were moored in narrow patches of grass, temporary camper spaces for RVs passing through, but many were permanent and, by the look of them, had been there for years. The lots were stingy squares of poured concrete, surrounded by sections of white picket fence two feet high, or separated