Two months dragged by, and the headlines never stopped. Southern California’s crime reporters were headquartered in San Bernardino for the duration: Howard Hertel from the Times, Jim Bennett and Eddy Jo Bernal from the Herald-Examiner. Two months in which the Miller trial was pushed off the Examiner’s front page only by the Academy Award nominations and Stan Laurel’s death. And finally, on March 2, after Turner had reiterated that it was a case of “love and greed,” and Foley had protested that his client was being tried for adultery, the case went to the jury.
They brought in the verdict, guilty of murder in the first degree, at 4:50 p. m. on March 5. “She didn’t do it,” Debbie Miller cried, jumping up from the spectators’ section. “She didn’t do it.” Sandy Slagle collapsed in her seat and began to scream. “Sandy, for God’s sake please don’t” Lucille Miller said in a voice that carried across the courtroom, and Sandy Slagle was momentarily subdued. But as the jurors left the courtroom she screamed again: “You’re murderers….Every last one of you is a murderer!’ Sheriff’s deputies moved in then, each wearing a string tie that read “1965 sheriff ‘s rodeo,” and Lucille Miller’s father, that sad-faced junior-high-school teacher who believed in the word of Christ and the dangers of wanting to see the world, blew her a kiss off his fingertips.
The California Institution for Women at Frontera, where Lucille Miller is now, lies down where Euclid Avenue turns into country road, not too many miles from where she once lived and shopped and organized the Heart Fund Ball. Cattle graze across the road, and Rainbirds sprinkle the alfalfa. Frontera has a softball field andtennis courts, and looks as if it might be a California junior college, except that the trees are not yet high enough to conceal the concertina wire around the top of the Cyclone fence. On visitors’ day there are big cars in the parking area, big Buicks and Pontiacs that belong to grandparents and sisters and fathers (not many of them belong to husbands), and some of them have bumper stickers that say “support your local police.”
A lot of California murderesses live here, a lot of girls who somehow misunderstood the promise. Don Turner put Sandra Garner here (and her husband in the gas chamber at San Quentin) after the 1959 desert killings known to crime reporters as “the soda-pop murders.” Carole Tregoff is here, and has been ever since she was convicted of conspiring to murder Dr. Finch’s wife in West Covina, which is not too far from San Bernardino. Carole Tregoff is in fact a nurse’s aide in the prison hospital, and might have attended Lucille Miller had her baby been born at Frontera; Lucille Miller chose instead to have it outside, and paid for the guard who stood outside the delivery room in St. Bernardine’s Hospital. Debbie Miller came to take the baby home from the hospital, in a white dress with pink ribbons, and Debbie was allowed to choose a name. She named the baby Kimi Kai. The children live with Harold and Joan Lance now, because Lucille Miller will probably spend ten years at Frontera. Don Turner waived his original request for the death penalty (it was generally agreed that he had demanded it only, in Edward Foley’s words, “to get anybody with the slightest trace of human kindness in their veins off the jury”), and settled for life imprisonment with the possibility of parole. Lucille Miller does not like it at Frontera, and has had trouble adjusting. “She’s going to have to learn humility/’Turner says.” She’s going to have to use her ability to charm, to manipulate.”
The new house is empty now, the house on the street with the sign that says
PRIVATE ROAD
BELLA VISTA
DEAD END
The Millers never did get it landscaped, and weeds grow up around the fieldstone siding. The television aerial has toppled on the roof, and a trash can is stuffed with the debris of family life: a cheap suitcase, a child’s game called “Lie Detector.” There is a sign on what would have been the lawn, and the sign reads “estate sale.” Edward Foley is trying to get Lucille Miller’s case appealed, but there have been delays. “A trial always comes down to a matter of sympathy,” Foley says wearily now.” I couldn’t create sympathy for her.” Everyone is a little weary now, weary and resigned, everyone except Sandy Slagle, whose bitterness is still raw. She lives in an apartment near the medical school in Loma Linda, and studies reports of the case in True Police Cases and Official Detective Stories. “I’d much rather we not talk about the Hayton business too much,” she tells visitors, and she keeps a tape recorder running. “I’d rather talk about Lucille and what a wonderful person she is and how her rights were violated.” Harold Lance does not talk to visitors at all. “We don’t want to give away what we can sell,” he explains pleasantly; an attempt was made to sell Lucille Miller’s personal story to Life, but Life did not want to buy it. In the district attorney’s offices they are prosecuting other murders now, and do not see why the Miller trial attracted so much attention. “It wasn’t a very interesting murder as murders go,” Don Turner says laconically. Elaine Hayton’s death is no longer under investigation. “We know everything we want to know,” Turner says.
Arthwell Hayton’s office is directly below Edward Foley’s. Some people around San Bernardino say that Arthwell Hayton suffered; others say that he did not suffer at all. Perhaps he did not, for time past is not believed to have any bearing upon time present or future, out in the golden land where every day the world is born anew. In any case, on October 17, 1965, Arthwell Hayton married again, married his children’s pretty governess, Wenche Berg, at a service in the Chapel of the Roses at a retirement village near Riverside. Later the newlyweds were feted at a reception for seventy-five in the dining room of Rose Garden Village. The bridegroom was in black tie, with a white carnation in his buttonhole. The bride wore a long white peau de soie dress and carried a shower bouquet of sweetheart roses with stephanotis streamers. A coronet of seed pearls held her illusion veil.
John Wayne: A Love Song
in the summer of 1943 I was eight, and my father and mother and small brother and I were at Peterson Field in Colorado Springs. A hot wind blew through that summer, blew until it seemed that before August broke, all the dust in Kansas would be in Colorado, would have drifted over the tar-paper barracks and the temporary strip and stopped only when it hit Pikes Peak. There was not much to do, a summer like that: there was the day they brought in the first B-29, an event to remember but scarcely a vacation program. There was an Officers’ Club, but no swimming pool; all the Officers’ Club had of interest was artificial blue rain behind the bar. The rain interested me a good deal, but I could not spend the summer watching it, and so we went, my brother and I, to the movies.