The concrete blonde - By Michael Connelly Page 0,85
budget. They throw a grand to the producer and he lets the guy hang around and watch 'em shoot. It's pretty common. These shoots draw a lot of people for whom seeing it on video isn't enough. They want to be right up there and see it live.”
“All right, so what' about this guy?”
“Well, Harry, look, there's really only one reason these people hang around the sets. They're hitting on the chicks between takes. I mean, these guys wanna get laid. Or they want to make flicks themselves. They want to break in. And that was the thing with this guy. He wasn't hitting on anybody. He was just hanging around. She—this is Gallery—said she never saw this dude make the move on anybody. He talked to some of the girls but never left with any of them.”
“And that's what made him weird? He didn't want to get laid?”
Mora raised his hands and shrugged like he knew it sounded weak.
“Yeah, basically. But listen, Gallery worked shoots with both Heather Cumhither and Holly Lere, the two Dollmaker victims, and she said it was on those shoots that she saw this Tom. That's why she called.”
Now the story had Bosch's attention. But he didn't know what to make of it. Mora could be simply trying to deflect attention, to send Bosch down the wrong trail.
“She didn't have a name on the guy?”
“No, that was the problem. That was why I didn't jump all over it. I had a backlog of tips I was assigned and she calls in with this one without a name. I would have gotten to it eventually, but a few days later you put Church's dick in the dirt and that was that.”
“You let it go.”
“Yeah, dropped it like a bag of shit.”
Bosch waited. He knew Mora would go on. He had more to say. There had to be more.
“So the thing is, when I looked up the card on Magna Cum Loudly for you yesterday, I recognized some of her early titles. She worked with Gallery in some of her early work. That's what made me remember the tip. So just stringing along on a hunch, I try to look Gallery up, ask around with some people in the business I know, and it turns out Gallery dropped out of the scene three years ago. Just like that. I mean, I know a top producer with the Adult Film Association and he told me she dropped out right in the middle of one of his shoots. Never said a word to anyone. And no one ever heard from her again. The producer, he remembered it pretty clearly 'cause it cost him a lot of money to reshoot the flick. There would've been no continuity if he just dumped in another actress to take her place.”
Bosch was surprised that continuity was even a factor in such films. He and Mora were both silent a moment, thinking about the story, before Bosch finally spoke.
“So, you're thinking she might be in the ground somewhere? Gallery, I'm talking about. In concrete like the one we found this week.”
“Yeah, that's exactly what I'm thinking. People in the industry—I mean, they are not your mainstream people, so there are plenty of disappearing acts. I remember this one broad, she dropped out, next thing I know I see her in People magazine. One of those stories about some celebrity fund-raiser and she's on the arm of what's his name, guy has his own TV show about the guy in charge of a kennel. Noah's Bark. I can't think of—”
“Ray, I don't give—”
“Okay, okay, anyway the point is, these chicks drop in and out of the biz all the time. Not unusual. They aren't the smartest people in the first place. They just get it in their mind to do something else. Maybe they meet a guy who they think is going to keep them in cocaine and caviar, be their sugar daddy, like that Noah's Bark asshole, and they never show up for work again—until they find out they were wrong. As a group, they don't look much past the next line of blow.
“Y' ask me, what they're all looking for is Daddy. They all got knocked around when they were a kid and this is some fucked-up way of showing they're worth something to Daddy. Leas[$$$ MS Page No. 261] I read that somewhere. Prob'ly bullshit like everything else.”