"The Brass Verdict" - читать интересную книгу автора (Connelly Michael)

Twelve

In the last decade Archway Pictures had grown from a movie industry fringe dweller to a major force. This was because of the one thing that had always ruled Hollywood. Money. As the cost of producing films grew exponentially at the same time the industry focused on the most expensive kinds of films to make, the major studios began increasingly to look for partners to share the cost and risk.

This is where Walter Elliot and Archway Pictures came in. Archway was previously an overrun lot. It was on Melrose Avenue just a few blocks from the behemoth that was Paramount Studios. Archway was built to act as the remora fish does with the great white shark. It would hover near the mouth of the bigger fish and take whatever torn scraps somehow missed being sucked into the giant maw. Archway offered production facilities and soundstages for rent when everything was booked at the big studios. It leased office space to would-be and has been producers who weren’t up to the standards of or didn’t have the same deals as on-lot producers. It nurtured independent films, the movies that were less expensive to make but more risky and supposedly less likely to be hits than their studio-bred counterparts.

Walter Elliot and Archway Pictures limped along in this fashion for a decade, until luck and lightning struck twice. In a space of only three years Elliot hit gold with two of the independent films he’d backed by providing soundstages, equipment and production facilities in exchange for a piece of the action. The films went on to defy Hollywood expectations and became huge hits – critically and financially. One even took home the Academy Award as best picture. Walter and his stepchild studio suddenly basked in the glow of huge success. More than one hundred million people heard Walter being personally thanked on the Academy Awards broadcast. And, more important, Archway’s worldwide cut from the two films was more than a hundred million dollars apiece.

Walter did a wise thing with that newfound money. He fed it to the sharks, cofinancing a number of productions in which the big studios were looking for risk partners. There were some misses, of course. The business, after all, was Hollywood. But there were enough hits to keep the nest egg growing. Over the next decade Walter Elliot doubled and then tripled his stake and along the way became a player who made regular appearances on the power 100 lists in industry minds and magazines. Elliot had taken Archway from being an address associated with Hollywood pariahs to a place where there was a three-year wait for a windowless office.

All the while, Elliot’s personal wealth grew commensurately. Though he had come west twenty-five years before as the rich scion of a Florida phosphate family, that money was nothing like the riches provided by Hollywood. Like many on those power 100 lists, Elliot traded in his wife for a newer model and together they started accumulating houses. First in the canyons, then down in the Beverly Hills flats and then on out to Malibu and up to Santa Barbara. According to the information in the files I had, Walter Elliot and his wife owned seven different homes and two ranches in or around Los Angeles. Never mind how often they used each place. Real estate was a way of keeping score in Hollywood.

All those properties and top 100 lists came in handy when Elliot was charged with double murder. The studio boss flexed his political and financial muscles and pulled off something rarely accomplished in a murder case. He got bail. With the prosecution objecting all the way, bail was set at $20 million and Elliot quickly ponied it up in real estate. He’d been out of jail and awaiting trial ever since – his brief flirtation with bail revocation the week before notwithstanding.

One of the properties Elliot put up as collateral for bail was the house where the murders took place. It was a waterfront weekender on a secluded cove. On the bail escrow its value was listed at $6 million. It was there that thirty-nine-year-old Mitzi Elliot was murdered along with her lover in a twelve-hundred-square-foot bedroom with a glass wall that looked out on the big blue Pacific.

The discovery file was replete with forensic reports and color copies of the crime scene photographs. The death room was completely white – walls, carpet, furniture and bedding. Two naked bodies were sprawled on the bed and floor. Mitzi Elliot and Johan Rilz. The scene was red on white. Two large bullet holes in the man’s chest. Two in the woman’s chest and one in her forehead. He by the bedroom door. She on the bed. Red on white. It was not a clean scene. The wounds were large. Though the murder weapon was missing, an accompanying report said that slugs had been identified through ballistic markings as coming from a Smith amp; Wesson model 29, a.44 magnum revolver. Fired at close quarters, it was overkill.

Walter Elliot had been suspicious about his wife. She had announced her intentions to divorce him and he believed there was another man involved. He told the sheriff’s homicide investigators that he had gone to the Malibu beach house because his wife had told him she was going to meet with the interior designer. Elliot thought that was a lie and timed his approach so that he would be able to confront her with a paramour. He loved her and wanted her back. He was willing to fight for her. He had gone to confront, he repeated, not to kill. He didn’t own a.44 magnum, he told them. He didn’t own any guns.

According to the statement he gave investigators, when Elliot got to Malibu he found his wife and her lover naked and already dead. It turned out that the lover was in fact the interior designer, Johan Rilz, a German national Elliot had always thought was gay.

Elliot left the house and got back in his car. He started to drive away but then thought better of it. He decided to do the right thing. He turned around and pulled back into the driveway. He called 911 and waited out front for the deputies to arrive.

The chronology and details of how the investigation proceeded from that point would be important in mounting a defense. According to the reports in the file, Elliot gave investigators an initial account of his discovery of the two bodies. He was then transported by two detectives to the Malibu substation so he would be out of the way while the investigation of the crime scene proceeded. He was not under arrest at this time. He was placed in an unlocked interview room where he waited three long hours for the two lead detectives to finally clear the crime scene and come to the substation. A videotaped interview was then conducted but, according to the transcript I reviewed, quickly crossed the line into interrogation. At this point Elliot was finally advised of his rights and asked if he wanted to continue to answer questions. Elliot wisely chose to stop talking and to ask for an attorney. It was a decision made better late than never but Elliot would have been better off if he had never said word one to the investigators. He should’ve just taken the nickel and kept his mouth shut.

While investigators had been working the crime scene and Elliot was cooling his heels in the substation interview room, a homicide investigator working in the sheriff’s headquarters in Whittier drew up several search warrants that were faxed to a superior court judge and signed. These allowed investigators to search throughout the beach house and Elliot’s car and permitted them to conduct a gunshot residue test on Elliot’s hands and clothes to determine if there were gas nitrates and microscopic particles of burned gunpowder on them. After Elliot refused further cooperation, his hands were bagged in plastic at the substation and he was transported to Sheriff’s Headquarters, where a criminalist conducted the GSR test in the crime lab. This consisted of wiping chemically treated disks on Elliot’s hands and clothing. When the disks were processed by a lab technician, those that had been wiped on his hands and sleeves tested positive for high levels of gunshot residue.

At that point Elliot was formally arrested on suspicion of murder. With his one phone call he contacted his personal lawyer, who in turn called in Jerry Vincent, whom he had attended law school with. Elliot was eventually transported to the county jail and booked on two counts of murder. The sheriff’s investigators then called the department’s media office and suggested that a press conference should be set up. They had just bagged a big one.

I closed the file as Cisco stopped the Lincoln in front of Archway Studios. There were a number of picketers walking the sidewalk. They were writers on strike, holding up red-and-white signs that said WE WANT A FAIR SHARE! and WRITERS UNITED! Some signs showed a fist holding a pen. Another said YOUR FAVORITE LINE? A WRITER WROTE IT. Anchored on the sidewalk was a large blow-up figure of a pig smoking a cigar with the word PRODUCER branded on its rear end. The pig and most of the signs were well-worn clichés and I would have thought that with the protesters being writers, they would have come up with something better. But maybe that kind of creativity happened only when they were getting paid.

I had ridden in the backseat for the sake of appearances on this first stop. I was hoping that Elliot might catch a glimpse of me through his office window and take me for an attorney of great means and skill. But the writers saw a Lincoln with a rider in the back and thought I was a producer. As we turned into the studio, they descended on the car with their signs and started chanting, “Greedy Bastard! Greedy Bastard!” Cisco gunned it and plowed through, a few of the hapless scribes dodging the fenders.

“Careful!” I barked. “All I need is to run over an out-of-work writer.”

“Don’t worry,” Cisco replied calmly. “They always scatter.”

“Not this time.”

When he got up to the guardhouse, Cisco pulled forward enough that my window was even with the door. I checked to make sure none of the writers had followed us onto studio property and then lowered the glass so I could speak to the man who stepped out. His uniform was a beige color with a dark brown tie and matching epaulets. It looked ridiculous.

“Can I help you?”

“I’m Walter Elliot’s attorney. I don’t have an appointment but I need to see him right away.”

“Can I see your driver’s license?”

I got it out and handed it through the window.

“I am handling this for Jerry Vincent. That’s the name Mr. Elliot’s secretary will recognize.”

The guard went into the booth and slid the door closed. I didn’t know if this was to keep the air-conditioning from escaping or to prevent me from hearing what was said when he picked up the phone. Whatever the reason, he soon slid the door back open and extended the phone to me, his hand covering the mouthpiece.

“Mrs. Albrecht is Mr. Elliot’s executive assistant. She wants to speak to you.”

I took the phone.

“Hello?”

“Mr. Haller, is it? What is this all about? Mr. Elliot has dealt exclusively with Mr. Vincent on this matter and there is no appointment on his calendar.”

This matter. It was a strange way of referring to double charges of murder.

“Mrs. Albrecht, I’d rather not talk about this at the front gate. As you can imagine, it’s quite a delicate ‘matter,’ to use your word. Can I come to the office and see Mr. Elliot?”

I turned in my seat and looked out the back window. There were two cars in the guardhouse queue behind my Lincoln. They must not have been producers. The writers had let them through unmolested.

“I’m afraid that’s not good enough, Mr. Haller. Can I place you on hold while I call Mr. Vincent?”

“You won’t get through to him.”

“He’ll take a call from Mr. Elliot, I am sure.”

“I am sure he won’t, Mrs. Albrecht. Jerry Vincent’s dead. That’s why I’m here.”

I looked at Cisco’s reflection in the rearview mirror and shrugged as though to say I had no choice but to hit her with the news. The plan had been to finesse my way through the arch and then be the one to personally tell Elliot his lawyer was dead.

“Excuse me, Mr. Haller. Did you say Mr. Vincent is… dead?”

“That’s what I said. And I’m his court-appointed replacement. Can I come in now?”

“Yes, of course.”

I handed the phone back and soon the gate opened.