“Yeah,” I said. “He should go. When I want to be subtle he can just wait in the car. Besides I want him driving so I can look at the files.”
I looked at Cisco. He nodded and seemed fine with the arrangement. He might look foolish in his bike vest behind the wheel of a Lincoln but he wasn’t complaining yet.
“Speaking of the files,” I said. “We have nothing in federal court, right?”
Lorna shook her head.
“Not that I know of.”
I nodded. It confirmed what I had indicated to Bosch and made me more curious about why he had asked about federal cases. I was beginning to get an idea about it and planned to bring it up when I saw him the next morning.
“Okay,” I said. “I guess it’s time for me to be a Lincoln lawyer again. Let’s hit the road.”
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.
