Heather Graham - The Unholy

“Actually, there are several devoted to you,” she said. “But why would someone suspect it was murder? It sounds like an accident.”

“I knew the key grip and the lead electrician on that film. They were the best in the business. If they were working the rigging and electric, both were safe.” Bogie waved a hand. “Anyway, Krakowski’s death is a far cry from a starlet being sliced up in the tunnel. A far cry, indeed.” He leaned back, nostalgic. “I remember that old cinema from way back. Played silent films, even before my time. It’s a shame, a damned shame. That Eddie Archer has a real appreciation for the past—this shouldn’t have happened on his property. Shouldn’t have happened to the poor girl, either.”

Madison realized that she’d been feeling sorry for and worried about Eddie Archer and his son, Alistair. She’d almost forgotten the victim.

Was that how it had been when the death had occurred during the original filming?

“Lord,” she whispered. “You’re right. The poor girl.”

“That’s Hollywood for you,” Bogie said. “It’ll steal your soul, if not your life. There’ve been so many who came here with such dreams and wound up dead. Christa Helm, Dorothy Stratton, Dominique Dunne, Elizabeth Short or the Black Dahlia, Sharon Tate. Peg Entwhistle, the only one to really jump from the Hollywood sign. I remember that,” Bogie said. “She found her fame in death. And we may never find out what really happened to Marilyn Monroe.” He paused. “Did you know the young woman who was killed?”

Madison nodded, then shook her head. “I can’t say I knew her. I met her a few times when she was with Alistair and once at an office party.”

“You work too much, kid. You’ve gotta remember, none of it’s worth anything if you don’t have a life.”

Madison arched a brow and refrained from reminding him that the last time she’d brought a date home, she’d acted like an idiot because Bogie had been watching something on her television and had said, “Don’t mind me, kid.” He loved TV. He couldn’t do a lot on the physical plane, but he could manage such simple tasks as pushing buttons on the remote control. He adored old sitcoms and liked to keep up with the television news.

“There has to be some information on Krakowski’s death,” she said, returning to their previous topic.

“There was—one newspaper article. No follow-up. He died. It was sad. He was buried. And that was that. I’m sure many of us thought about it back then. But time goes by.”

“This is so horrible. For the poor girl, yes, of course. And for everyone who will be touched by it.” She sighed. “Alistair really loves his dad. He didn’t usually bring people to the studio. I mean, I don’t know what went on before—I’ve been there for about three years now. But as far as I can tell, Alistair respects the studio. And he loves film. He wants to get into directing rather than special effects, but…although I didn’t really know Jenny Henderson, I saw the way Alistair followed her around like a puppy dog. He had a huge crush on her. I can’t believe he would’ve killed anyone. And I especially can’t believe he would’ve hurt Jenny. He was crazy about her.”

Bogie shook his head sadly. “Sometimes I think it might have been better back in the bad old days when we were contract players for the major studios. Now, the young and the beautiful come out here willing to do anything for stardom. Anything. Can’t help wondering what Jenny Henderson did—or was willing to do. Or maybe her dreams had nothing to do with her death. Maybe she was simply in the wrong place at the wrong time.”

The wrong place at the wrong time. How could that be possible? The studio was in lockdown. There should have been no one with access to the museum—other than Alistair, Eddie and some of the department heads.

She winced inwardly.

It didn’t look good for Eddie Archer. And it sure didn’t look good for Alistair.

“Sam Stone and the Curious Case of the Egyptian Museum,” Bogie said. “You know, the costuming and effects for that movie were done where you work. The place was Claymore Illusions back then.”

“I know,” Madison told him. “That’s why it seemed so perfect that the studio was hired for the remake. I think the fact that the place was used for creating props, costumes, illusions and whatever was needed for film noir is half the reason Eddie Archer loves it so much.”

“Eddie appears to be a talented man with a real appreciation for the past,” Bogie said, not for the first time.

Madison let out a little cry, startled as something pounced onto the sofa beside her. She laughed at herself.

As if he knew she was upset and needed some warmth, Ichabod meowed and settled his furry body next to hers.

“Hey!” Bogie said softly. “It’s going to be all right. Don’t go getting all jumpy on me now.”

Madison forced a smile despite feeling a sense of dread.

It wasn’t going to be all right.

* * *

Sean Cameron arrived in L.A. in the afternoon, when the sun seemed to spray down light like a fountain, and the bustle of the city was as frantic as ever. This might be Tinseltown, and massive movie deals might be taking place in any coffee shop, but it was also where he’d learned that it was often the B-lister who had to put on pretensions, and where the working moguls could be as down-to-earth as their gardeners.

Such was the case with Eddie Archer.

Sean had spent five formative years working under Archer. The man was a genius when it came to creating creatures and special effects. To this day, Eddie loathed straight CGI or computer-generated imagery. Of course, effects were effects, but in Eddie’s view, to create what looked real, you had to start with something real. Thanks to Archer, Sean had learned a great deal about physical illusion as well as computer-generated magic. He’d worked with Eddie in many capacities, learning to create costumes and attachments, build creatures, as well as work with computers.

Archer certainly enjoyed his income and the fact that he was customarily sought out by the most important and influential names in the business. But above all, he still loved his art, and he loved sharing that excitement and enthusiasm with promising young artists, wide-eyed and in awe of the chance to work for him.

Sean had gotten a frantic call from Archer an hour before he’d gotten the call from Logan Raintree, head of their Krewe of Hunters unit, telling him he’d received an official request that they be brought in. He assumed that Eddie Archer had used his influence with someone above the local police and even the state police, because just when he’d been about to tell Logan Raintree that he had to go to L.A. one way or another, Raintree had asked him to head out on the first flight and look into the situation.

“Remember, if something’s impossible—then it’s impossible,” Logan had said. “I know this man is an old friend of yours, a mentor. And I know you don’t want his son to be guilty of murder. But our job isn’t to hide things, fix things or help with creative defense mechanisms. Our job is to discover the truth.”

“I’m aware of that, Logan,” Sean had been quick to reply. He hadn’t taken offense. Whenever a team member had any personal involvement in a case, it was important to note what priorities had to be maintained. He’d gone on to say, “But I knew Alistair when he was a kid. Nice boy. He’s trying to figure out how to be his father’s son and his own man. And no, murder wouldn’t be how he’d plan to make his name. From what I understand from Eddie so far, the kid loved this girl. She used him, but he was crazy about her. And he’s a basket case now. He was immediately arraigned, and he’s out on bail—Archer money and pull, I imagine—but he’s basically locked up, anyway. He’s wearing an ankle monitor and he’s at a mental hospital that deals with dangerous and suicidal clients. A posh place, I understand. Apparently it’s where the A-listers go when there’s some kind of serious question about rehab, sanity…or possibility of a criminal offense.”