скачать книгу бесплатно
“An old Western scaffold.”
“For The Unholy?”
“No, that’s the tail end of our last project—Ways of the West.” She gave herself a mental shake and turned toward the sewing machines and a rack of clothing. “Projects overlap, but you know that. Or sometimes we work on several at the same time. Right now, though, as soon as the scaffolding’s out of here, we’ll be doing nothing but The Unholy. Or…I assume we’ll still be working on it.”
“The world goes on, despite murder,” Sean said. He motioned to the far wall of the construction area. “And there’s the door that leads from the tunnel.”
It wasn’t really a question. She said, “Yes,” anyway.
He walked over but didn’t touch it. Madison followed him and saw powder all over the whitewashed floor nearby. Black powder.
“The police dusted here,” he said.
Madison felt a moment’s discomfort. Her prints were on that door.
“They’ll get a lot of prints,” she said. “Including mine.”
He looked at her, the curl of his lips gentle, slightly amused. “Elimination,” he told her. “They’ll take everyone’s prints for the purposes of comparison.”
“Elimination? But…you believe the killer works here, or is close to someone here? That means we’ve all known him or her…. Actually, any of us might have been killed.”
“No, I don’t think any of you could have been killed. The killer didn’t want the police running around looking for a murderer. The killer wanted them to arrest Alistair. His habits were known—he was being watched way ahead of time.”
“Are we going through there?” she asked, nodding at the door.
“No, we’ll let the police find everything they can with their forensic units. I’ll go into the tunnel soon. You don’t have to come with me.”
An uncomfortable sensation crept over her. A horrible murder had just taken place there, in the tunnel. She’d only seen crime scenes on television or at the movies. She didn’t want to see the real thing.
But she was here to help. Help save Alistair. He couldn’t be guilty—and Eddie had called her to assist this man who was somehow going to prove it.
She had to go to the site. If what she’d experienced during her life, the ordeals that had made it so painful, were worth anything at all, the one benefit might be that she could reach the dead girl. Did Jenny’s spirit somehow remain, although her mortal life had been stolen? If so, wasn’t she obliged to try to speak to the girl, to connect with her?
She shook her head, responding to Sean’s comment. “No…if I’m going to help you, I should go all the way.”
He didn’t reply. He was staring at the area around the door. Close to it on the left was another rack of costuming, while a supply of wood had been stacked up on the right. She began to wonder if anyone could have hidden behind the racks of clothing or the wood, staying out of sight of the video cameras. But if someone had been there, waiting, how had that person gotten into the building? Some of the construction crew had been working Saturday; she’d been off herself, as had most of the shop. Sunday, as far as she knew, no one had planned on coming in. So that would’ve meant the person had hidden behind the rack of clothing overnight, with the intent of killing someone who might or might not have been in the tunnel on a night when no one should have been there?
Or did she know the killer? Was it someone who walked among them, someone she saw on a day-to-day basis, worked with, laughed with?
“Let’s take a walk through the rest of the place,” he said.
Madison turned and headed back to the hallway, then passed by the reception area and went on to the offices. There were two on the ground floor, both conference rooms more than offices but supplied with computers, printers, screens and other work equipment. The walls were lined with movie posters; the hallway had two circular areas decorated with mannequins, all from different movies. There was an adolescent werewolf, a beautiful evil witch, a torn-up robotic trooper, a vampire complete with cape and golden eyes that seemed to follow you and a zombie, a poor girl from one of those “park by the lake and make out even though a dozen couples have already been killed there” movies. This girl had not done so well; she was missing most of her face, and the one blue eye that stared out at them was pretty gruesome.
Actually, with the exception of Myra Sue, their “creatures” rarely bothered Madison. She was accustomed to them. But there were a few mannequins in the offices that were far more upsetting. They were incredibly realistic. In the first office, there was one on an autopsy table, the sheet drawn up, eyes glazed and open, blond hair streaming around a beautiful face. She was the first victim in a murder mystery. In the second office, there was a mannequin of a beautiful, terrorized woman peeking out from the leaves of a bush. Neither victim had been played by a living actress; the work was so good, it just looked like they’d been real.
Entering the second office, Sean commented, “So Matilda is still here.”
“Matilda?”
He flashed a smile. “We dubbed her Matilda. She didn’t have a name, even in the script. She was just ‘devoured victim number one.’ But we all liked her when my crew was around, and we called her Matilda. She used to really creep out a lot of people. A guy named Harry Smith was working on digital back then, and he used to swear that he hated being in the office alone. He felt like Matilda was watching him.”
“You can feel like our characters are watching you,” Madison said. “The studio’s always done great work. And when it’s great, it looks real.”
“I agree.”
Sean left the office, and for the first time, Madison felt that “Matilda” was watching her and she, too, hurried out.
In the second hallway circle—complete with vampire, witch and slasher-movie victim—Sean paused for a moment, then headed to the hall with the elevator and the emergency exit that led to the fire escape outside. He didn’t touch the door; he saw that the police had dusted here, too. Instead, he returned to the elevator, then saw that the police had dusted there, as well. “We’ll take it.” He pushed the button and they waited for a moment, listening to the whir of motors.
When they were inside the elevator, he said, “Did you know there’s a key to get to the basement—or the end of the tunnel?”
“What?” Madison asked, surprised. As far as she was aware, the elevator only went down to the main level. There were two buttons to push in, for the first and second floors.
Sean pointed to a little metal piece where a key could be inserted. “The elevator can go to the first and second floors and to the basement…or to the tunnel entrance. As far as I’m aware, no one’s used it—except for Eddie Archer, maybe—since Eddie’s owned the place. I think there’s only one key and he has it. But I saw the plans once, and this elevator will go to the basement. I wonder if Eddie thought to mention that to the police.”
“I don’t know if he did,” Madison said. “I have my keys with me, of course. And I have keys to almost everything, but not the elevator.”
“I don’t want to try getting down to the basement yet. I’m going to ask if anyone’s checked it out. For now, we’ll stay clear until the crime scene units have gotten what they need.”
Upstairs, the basic floor design was the same. They passed by a circle of prop creatures and came to Eddie’s office—home to several charming little gnomelike beings from a children’s fantasy movie—and then moved on to the large office occupied by Mike Greenwood, managing artist of the studio. Mike liked aliens, and his office was filled with sci-fi and space creatures and miniatures of a spaceship that appeared several stories tall on film.
A window in the back of his office looked over the rear of the property; it was high enough that the cemetery in back with its historic family vaults and funerary art could easily be seen. Sean paused there, gazing out.
“Peace Cemetery,” he murmured, glancing at her. “Did it ever disturb you to work in the midst of a cemetery?”
“No,” she said curtly, perhaps too curtly.
“That’s an old, old place.”
“And still accepting burials,” Madison said. “I think Eddie loves that it’s there. He says it’s a place where history and contemporary life meet.” She hesitated a moment. Eddie knew she had a sixth sense, as he called it, because of the cemetery, because of the times they’d walked there together—and the day he’d caught her talking to a ghost. “There are dozens of stories about the cemetery, secret burials and, of course, ghosts. Naturally, it’s got a reputation for being haunted.”
“Most cemeteries do,” Sean said. “Eddie told me once that if he ever had time between the projects that paid the bills, he’d love to do a documentary on the cemetery.” She had the uneasy feeling that he was looking inside her soul. Good Lord, Eddie hadn’t told him she was some kind of a freak who talked to ghosts, had he?
“Does it mean anything to you?” she asked. “The cemetery being there?”
He shrugged. “Right now? I see it as a place where a killer could escape—that’s what I see. Let’s keep going, shall we?”
They returned to the first floor and stopped at Bailey’s station. Sean thanked him and asked, “You’re not working around the clock now, are you?”
“No, but I’ve always taken on the Sunday evening shift. You know how Eddie Archer loves his cinema. And it’s not even like we have break-ins or anything of the kind, but I take over for Winston Nash at five in the afternoon on Sundays and work until morning. Today I’m in because I was already here, and because I’d do whatever I could for Eddie Archer.”
“And Nash didn’t report anything?”
“No, Nash said it was quiet as a tomb all day. I saw Alistair when he went into the Black Box.”
“Did you see when Ms. Henderson showed up?” Sean asked.
Bailey flushed. He shook his head. “But she knew I was here. Even if I weren’t, there’d still be a guard watching over the place. I think she parked on the other side of the cemetery—well, that’s where they found her car—and came around through the graveyard. The front of the cemetery is only on the one side, but the graves stretch around to the back. I assume she slipped around the building. We must’ve caught her entry on the security cameras, but I admit I wasn’t watching that screen when she got in. From what I understand, Alistair told his father that Jenny Henderson said he’d forgotten to lock the front door.”
“And had he forgotten?” Sean asked.
“I haven’t talked to Alistair since I raced over to the Black Box when he came for me. He was…he was crazy, hysterical, when I saw him. He was screaming that a monster killed Jenny. I went back to the tunnel with him…” He shook his head. “It was a pure zoo here last night! When Alistair ran up to this door it was as if he was being pursued by demons. I saw the blood on him and hit the call button for the police, and they were here within minutes. I tried to calm Alistair down enough to talk, but he just kept screaming about the priest and the mummies.”
“Did you go down to the tunnel?”
“Yes. I walked in, saw Jenny Henderson and the blood and walked out again. But I had to check it out because he was so hysterical. It’s my job.”
Sean was thoughtful. Silent.
Bailey continued. “It was a slip-and-slide of blood down there. A slip and slide. When I saw the way the girl was lying there…. Well, I knew she was dead. I backed out, not wanting to mess anything up for the police.”
“That was the right thing to do, Colin.”
“I never had anything that resembled a coherent talk with Alistair. He was in shock. And then the police got here—and Eddie. Eddie seemed to be in shock, too, and they arrested Alistair. Eddie told me not to leave my post, and it’s been a long time now, but I haven’t left,” Bailey said, nodding with determined loyalty. “I haven’t left,” he repeated doggedly.
“Thank you, sir,” Sean said. He handed Colin Bailey a card. “If you think of anything—even something that might seem unimportant, will you call me?”
“You bet, Sean. You know the police interviewed me for more than an hour. I think I said everything. But, Sean, yeah, you bet. I’ll call you.”
They walked out into the dying sunlight. Sean paused. Some of the police cars were gone; they could see that Benny Knox was still standing outside the entrance to the Black Box Cinema, like a sentinel.
“I’m going in,” Sean said. “They should have finished up with the crime scene evidence by now.” He turned to her. “There’s no reason for you to come.”
Yes, there is. The reason Eddie picked me to be with you.
She studied him, wondering how to explain that she somehow knew it was important that she go in without sounding like a fool. She didn’t want to say she might get some kind of feeling from the place. He’d probably look at her as if she should be committed if she said, “There’s a slim possibility that there’s a ghost in there now, and that she might talk to me.”
What would happen? This man wouldn’t really react. He’d hold his thoughts, be polite—and then see that she was committed.
“I really love Eddie Archer,” she began. “He gave me my life. I want to go in, I don’t know if it’ll help, but maybe…”
“I think it’s a mistake,” he said. He might be a legend, but she sensed that to him she was just the guide. No real help, just the guide.
“Eddie asked me to be here. I feel I should go in,” she said stubbornly.
He knew she resented him at that moment and maybe he resented her back. He was the man in charge, so she understood.
“All right,” he said. “I just wanted to know what we were doing before I challenged the buzzard.”
“The buzzard?”
“Detective Knox,” he said, rolling his eyes toward the entrance—and the man in question.
He didn’t say any more as he headed toward the Black Box. Benny Knox had already been standing in a ramrod-stiff position, but his whole body seemed to straighten further as they approached.
“You going in now?” Knox asked.
“Yes,” Sean said.
“You wait here, miss,” Knox ordered.
“She’s working with me, Detective,” Sean said. “She’ll be with my people on this.” He kept speaking even though Knox’s frown made it apparent that he planned to argue. “This case is looking more and more like an in-house situation, Detective. Madison knows all the players on the stage now, and I may not. She probably knows the killer, and I would say fairly well.”
“In-house,” Knox muttered. “The Archer kid was the only one here, Agent Cameron. Yeah, I guess you’d call that in-house.”
“Come on, Knox,” Sean said. “You’re a good detective or you wouldn’t be on this. And you know as well as I do that what’s most obvious isn’t always the truth.”
“In this case? I don’t know. I really don’t.” Knox wasn’t being a wiseass, Madison thought; he was serious. The subdued way he spoke scared her for Eddie more than anything else.
Sean said, “We’re not going with obvious. We’re investigating. Madison is familiar with the working of this studio and the cinema, inside and out. She’s with me.” The last was quiet and firm.
Madison watched Knox’s inner struggle. His longing to argue was clearly there, but he didn’t persist. She wondered what kind of power Sean and his people had—exactly who they were, she wasn’t sure.
Knox nodded. “Hands gloved, feet bagged,” he said.
“Of course,” Sean agreed.
At the entry there was a box of supplies. Madison followed suit as Sean put plastic covers over his shoes and pulled latex gloves on his hands. She fumbled awkwardly as she tried to get the gloves on, perhaps because Knox was behind them, watching her every move.
The three of them went inside.
A tech in a jumpsuit was leaving, a plastic box filled with vials in his arms. He nodded. As they headed through the theater, she saw that Sean looked at everything, from the Art Deco popcorn stand to the rugs, the cinema itself—and the office. As they reached the tunnel, she heard two of the techs talking.
“Hazmat will have fun with this one,” someone said.
“This is nothing! You should’ve seen that murder site up on the hill. The killer wrote in blood everywhere. Wonder if that place will ever sell,” another voice responded.
“This is Hollywood—you can sell anything,” the first man said. “Let’s finish up here. I’m ready for a drink.”
The techs nodded as they passed Knox, Sean and Madison.
“Your team’s covered everything?” Knox asked.
“Sir, if we covered any more, we’d have to take the walls,” the man said.
“Good.”
As they made their way down, Madison felt as if the place was closing in on them. It was actually a broad throughway, maybe fifty feet in width and a hundred and fifty in length.
When they reached the tunnel, she felt dizzy. The smell of blood was overwhelming.
The museum in the tunnel had always been fascinating. It was an homage to a bygone era of film, one that played an important role in the evolution of movies. Although Madison preferred romantic comedy, fantasy, adventure and horror, she loved the feel of the little museum. She’d learned new respect for film noir because of it, and she was impressed by the accuracy and detail of the old tableaux.
Today, it was different. The artistry seemed to be gone; it was merely a tunnel with props and policemen. There were little plastic clips with numbers, a photographer was still snapping photos and tape outlined the place where the body had fallen. The last tableau at the rear, the Sam Stone movie scene, was out of kilter. It had been photographed, fingerprinted and invaded.
Madison focused on that tableau, not wanting to see the blood on the floor.
It wasn’t prop blood. It wasn’t chocolate, as Hitchcock had used for the black-and-white murder scene in Psycho. It was real blood, and the person who’d shed that blood was now dead.
