L.A. Noir: The Struggle for the Soul of America's Most Seductive City

One night soon after his rookie probationary period had ended, Parker was leaving Central Division station, an imposing Romanesque building that also served as police headquarters up the block from the Times. He had just gotten into his car, ready to head off to an evening of night class at law school, when he saw an automobile weave down the First Street hill and then blow through a red light. The driver of the car was clearly drunk; Parker estimated it was moving at about sixty miles per hour. He took off in pursuit, picking up a madly whistling traffic cop along the way. Eventually, the two policemen succeeded in pulling the driver over. They found a half-empty open bottle in the car. They also discovered that the man they had stopped was John Arrington, a police reporter for the Los Angeles Daily News.

Today the police beat is seen as a place where novice reporters go to learn the craft—the bottom of the journalistic food chain. Not so in the 1920s. In those pretelevision days, crime was the sexiest beat in journalism, and the men (and occasionally women) who covered it were important figures. Not only were they star reporters, they also frequently functioned as political hatchet men for their publishers (a job greatly facilitated by reporters’ free access to police files). Reporters supplemented their writing and (ahem) “research” with booze, poker, and occasionally extortion (publicity being something that many people were willing to pay to avoid). Veteran officers rarely crossed them. So it was hardly surprising that when Patrolman Parker hauled reporter Arrington into Central Division station and presented him to the desk sergeant for booking, he was not greeted enthusiastically. On the contrary, the sergeant on duty suggested that Parker let the newsman go. That’s when a defining feature of Bill Parker’s personality emerged: his stubbornness.

Infuriated at the idea that press credentials somehow inoculated the bearer from prosecution, Parker insisted that “the law was the law.” Reluctantly, the desk sergeant agreed to book the newspaperman. It soon emerged that the open bottle of liquor Parker had discovered in Arrington’s car was a gift from a police captain pal. Reluctantly, Parker’s superiors allowed the case to go to court, where, after many testimonials to the high character and unshakable sobriety of the newsman, a judge dismissed the case. It was Parker’s first lesson in how policing really worked.

Punishment, the ways in which it was or was not dispensed, provided a compelling introduction to how power was really distributed in Los Angeles. Nowhere were these realities more vivid than inside the dungeon that was the city jail. Every year fifty thousand Angelenos were arrested and passed through its halls—a significant number in a city of a million souls, and a sign that despite widespread corruption, a considerable portion of the department was still prepared to enforce Prohibition and its vice laws. Yet when a person of importance was caught in the net of vice enforcement, the legal apparatus was often forgiving. One night in 1927, the journalist and writer Louis Adamic happened to be on hand at 2:30 a.m. when “a star of world-wide fame, the sister of another famous celebrity, near stars, maids in waiting, and a bevy of attending sheiks and bull fighters” were hauled in “more or less cock-eyed drunk.”

Adamic then related what happened next:

“Come along, sister, and give me a hand,” the cop addresses the star. “I’m goin’ to print you.”

“Not by a damn sight. Let go my arm—take your paw off’n me, you mammal,” she replies indignantly….

The officer puts a brawny arm of enforcement around a classic waist. This is too much. He is kicked efficiently amidship. Another cop comes to the rescue of his mate. He is assaulted by the remainder of the bevy…. Much swearing, screeching, kicking, pulling of hair, and everything. The cops work methodically and effectively…. The best way of quieting a temperamental and irate movie queen, it has been found, is to sit on her.

Alas, the fun soon came to an end:

But before this printing process is completed there is a great scurrying down the corridor and a whole brigade of bondsmen, wirepullers and fixers come charging upon the scene. The climax is quickly past. The Records are inspected to see that aliases are used, warnings issued against giving anything to the paper, and the guests prepare to depart. The star, now somewhat sobered, feels that the parting shot is expected of her—an exit is after all an exit—and drawing herself up to her full five feet six inches she withers with a single glance the offending officer who has printed her and declares so that all may hear, “You damn big bum, I’ll let you know that I’m a lady.”