Lost Light (2003) Page 2

  Rider knew Benton was trying to establish a career in the film business on the production side. She worked as a production assistant for Eidolon Productions, the company headed by Alexander Taylor. Production schedules used all twenty-four hours on the clock, depending on the availability of locations and personnel. It meant that Benton had a gym schedule similar to Rider’s. It also meant that Benton had little time for relationships. She told Rider that she’d had only two dates in the past year and that there was no man in her life.

  It was only a surface friendship and Rider had never seen Benton outside of the gym. They were both young black women trying to keep their bodies from betraying them as they went about busy professional lives and attempted to scale steep ladders in different worlds.

  Nevertheless, the fact Kiz knew her gave us a good jump. We knew right away who we were dealing with—a responsible and confident young woman who cared about both her health and her career. It eliminated a variety of lifestyle angles we might have mistakenly pursued. The negative from the break was that it was the first time Rider had ever come across someone she knew as the victim of a homicide she’d been assigned to investigate. I noticed right away at the scene that it put a pause in her step. She usually was quite vocal when breaking down a crime scene and developing an investigative theory. At this scene she was silent until spoken to.

  There were no witnesses to the murder. The vestibule was hidden from street view and offered the killer a perfect blind. He would have been able to move into the small space and attack without fear of being seen from outside. Still, there had been a risk to the crime. At any moment another resident of the building could have come home or left and come upon Benton and her killer. If the dog walker had taken his pet out an hour earlier he possibly could have ventured into the crime in progress. He could have saved her, or possibly have become a victim himself.

  Anomalies. So much of the work entailed study of the anomalies. The crime had the appearance of an attack of opportunity. The killer had followed Benton and waited for the moment she was in the blind. Yet there were aspects of the scene—its privacy, for example—that suggested that he already knew about the vestibule and may have been waiting there, like a hunter watching a bait trap.

  Anomalies. Angella Benton was no more than five feet five but she was a strong young woman. Rider had witnessed her workout regimen and knew first-hand of her strength and stamina. Yet there was no sign of a struggle. Fingernail scrapings produced no skin or blood belonging to anyone else. Had she known her killer? Why hadn’t she fought? The masturbation and the tearing open of the blouse suggested a crime of psychosexual motivation, a crime perpetrated alone. Yet the seeming lack of any fight for life suggested Benton had been completely and quickly overpowered. Had there been more than one killer?

  In the first twenty-four hours our purpose had been to collect the evidence, make notifications and conduct first interviews of those immediately connected to the crime scene. It was in the second twenty-four that the sifting began and we began to work the anomalies, trying to crack them open like walnuts. And by the end of that second day we had concluded that it was a staged crime scene. That is, a scene designed by the perpetrator to convey false ideas about the crime. We concluded we had a killer who thought he was smarter than us, who was sending us down the psychosexual-predator road when the reality of the crime was something altogether different.

  The thing that tilted us in this direction was the semen found on the body. In studying the crime scene photographs I noticed that drops of semen stretched across the victim’s body in a line suggesting a trajectory. However, the individual drops were round. It was common investigative knowledge in regard to blood spatter evidence that round drops are formed when blood drops directly down to a surface. Elliptical-shaped drops occur when blood is spattered in a trajectory or at an angle to the surface. We consulted the department’s blood spatter expert to see if the norms of blood evidence extended to other bodily fluids. We were told it did, and that for us cracked open an anomaly. We now theorized that the possibility was high that the killer or killers had planted the semen on the body. It had possibly been taken to the crime scene and then dripped onto the body as part of an intended misdirection.

  We refocused the investigation. No longer did we view it as a case in which the victim wandered into the kill zone of a predator. Angella Benton was the kill zone. It had been something about her life and circumstances that had drawn the killer to her.

  We attacked her life and work, looking for that hidden thing that had set the plan to kill her into motion. Someone had wanted her dead and thought they were clever enough to disguise it as the work of a hit-and-run psycho. While publicly we pumped the sex-slayer angle into the media machine, privately we began looking elsewhere.

  On the third day of the investigation Edgar took the autopsy and the mounting paperwork duty while Rider and I took the field. We spent twelve hours in the offices of Eidolon Productions located at Archway Pictures on Melrose. Alexander Taylor had his moviemaking machine taking up nearly a third of the office space on the Archway lot. There were more than fifty employees. By virtue of her job as a production assistant, Angella Benton had interaction with them all. A PA stands at the bottom of the Hollywood totem pole. Benton had been a gofer, a runner. She had no office. She had a desk in the windowless mail room. But no matter, because she was always on the move, running between offices at Archway and back and forth from productions in the field. At that moment Eidolon had two movies and a television show shooting at separate locations in and around Los Angeles. Each one of those productions was a small city unto itself, a tent city that packed up and moved from location to location almost every night. A city with another hundred or more people who could have interacted with Angella Benton and needed to be interviewed.

  The task we had was daunting. We asked for help—additional bodies to help with the interviews. The lieutenant could spare none. It took the whole day for Rider and me to cover the interviews at the company headquarters at Archway. And that was the one and only time I spoke to Alexander Taylor. Rider and I got a half hour with him and the conversation was perfunctory. He knew Benton, of course, but not well. While she was at the bottom of the totem pole, he was at the very top. Their interactions were infrequent and short. She had been with the company less than six months and he had not been the one who had hired her.

  We got no hits during that first day of interviews. That is, no interview we conducted resulted in a new direction or focus for the investigation. We hit a wall. No one we talked to had an inkling of why someone would want to kill Angella Benton.

  The following day we split up so each detective could visit a production location to conduct interviews. Edgar took the television production out in Valencia. It was a family-oriented comedy about a couple with an only child who connives to keep her parents from having more children. Rider took the movie production nearest her home in Santa Monica. It was a story about a man who takes credit for an anonymous valentine sent to a beautiful coworker and how their subsequent romance is built on a lie that grows inside him like a cancer. I had the second movie production, which was being shot in Hollywood. It was a high-action caper about a burglar who steals a suitcase with two million dollars in it, not knowing that the money belongs to the mob.

  As a detective three I was the team leader. As such, I made the decision not to inform Taylor or any other administrators of his company that members of my team would be visiting the production locations. I didn’t want advance notice to precede us. We simply split up the locations and the next morning we each arrived unannounced, using the power of the badge to force our way in.

  What happened the next morning shortly after I arrived at the set is well documented. I sometimes review the moves of the investigation and wish I had gotten to the set one day sooner. I think that I would have heard somebody mention the money and that I would have been able to put it all together. But the truth is we handled the investigation approp
riately. We made the right moves at the right time. I have no regrets about that.

  But after that fourth morning the investigation was no longer mine. The Robbery-Homicide Division came in and bigfooted the case. Jack Dorsey and Lawton Cross ran with it. It had everything RHD likes in a case: movies, money and murder. But they got nowhere with it, moved on to other cases and then walked into Nat’s for a ham sandwich and a jolt. The case more or less died with Dorsey. Cross lived but never recovered. He came out of a six-week coma with no memory of the shooting and no feeling below the neck. A machine did his breathing for him and a lot of people in the department figured his luck was worse than Dorsey’s because he survived but was no longer really living.

  Meantime, the Angella Benton case was gathering dust. Everything Dorsey and Cross touched was tainted by their luck. Haunted. Nobody worked the Benton case anymore. Every six months somebody in RHD would pull out the file and blow off the dust, write the date and “No New Developments” on the investigative log, then slide it back into its place until the next time. In the LAPD that is what is called due diligence.

  Four years went by and I was now retired. I was supposedly comfortable. I had a house with no mortgage and a car that I’d paid cash for. I had a pension that covered more than I needed covered. It was like being on vacation. No work, no worries, no problems. But something was missing and deep down I knew it. I was living like a jazz musician waiting for a gig. I was staying up late, staring at the walls and drinking too much red wine. I needed to either pawn my instrument or find a place to play it.

  And then I got the call. It was Lawton Cross on the line. Word had finally gotten to him that I had pulled the pin. He got his wife to call and then she held the phone up so he could speak to me.

  “Harry, do you ever think about Angella Benton?”

  “All the time,” I told him.

  “Me, too, Harry. My memory’s come back, and I think about that one a lot.”

  And that’s all it took. When I walked out of the Hollywood Division for the last time, I thought I’d had enough, that I’d walked around my last body, conducted my last interview with somebody I knew was a liar. But I’d hedged my bet just the same. I walked out carrying a box full of files—copies of my open cases from twelve years in Hollywood homicide.

  Angella Benton’s file had been in that box. I didn’t have to open it to remember the details, to remember the way her body looked on the tile floor, so exposed and violated. It still drove the hook into me. It cut me that she had been lost in the fireworks that came after, that her life had not become important until after two million dollars was stolen.

  I had never closed the case. It had been taken away from me by the big shots before I could. That was life in the LAPD. But that was then and this was now. The call from Lawton Cross changed all of that in me. It ended my extended vacation. It gave me a job.

  3

  I no longer carried a badge but I still carried a thousand different habits and instincts that came with the badge. Like a reformed smoker whose hand digs inside his shirt pocket for the fix that is no longer there, I constantly found myself reaching in some way for the comfort of my badge. For almost thirty years of my life I had been part of an organization that promoted isolation from the outside world, that cultivated the “us versus them” ethic. I had been part of the cult of the blue religion and now I was out, excommunicated, part of the outside world. I had no badge. I was no longer part of us. I was one of them.

  As the months passed, there was not a day that I did not alternately regret and revel in my decision to leave the department behind. It was a period in which my main work was to separate the badge and what it stood for from my own personal mission. For the longest time I believed the two were inextricably entwined. I could not have one without the other. But over the weeks and months came the realization that one identity was greater, that it superseded the other. My mission remained intact. My job in this world, badge or no badge, was to stand for the dead.

  When I hung up the phone after talking to Lawton Cross I knew I was ready and that it was time to stand again. I went to the closet in the hallway and pulled out the box that contained the dusty files and all the voices of the dead. They spoke to me in memories. In crime scene visions. Of all of them I remembered Angella Benton the most. I remembered her body crumpled on the Spanish tile, her hands held out in such a way, as if reaching to me.

  And I had my mission.

  4

  The morning after I spoke to Alexander Taylor I sat at the dining room table in my house on Woodrow Wilson Drive. I had a pot of hot coffee in the kitchen. I had filled my five-disc changer with CDs chronicling some of Art Pepper’s late work as a sideman. And I had the documents and photographs from the Angella Benton file spread in front of me.

  The file was incomplete because the case was taken by RHD just as my investigation was beginning to come into focus and before many of the reports were written. It was merely a starting point. But after almost four years removed from a crime scene it was all I had. That and the list of names Alexander Taylor had given me the day before.

  As I readied myself for a day of chasing down names and setting up interviews, my eyes were drawn to the small stack of newspaper clippings that had yellowed at the edges while closed in the file. I took these up and began looking through them.

  Initially Angella Benton’s murder rated only a short report in the Los Angeles Times. I remembered how this had frustrated me. We needed witnesses. Not only to the crime itself but possibly to the killer’s car or getaway route. We needed to know the victim’s movements before she was attacked. It had been her birthday. Where and with whom had she spent the evening before coming home? One of the best ways to stimulate citizen reports is through news stories. Because the Times decided to run only a short that was buried in the back of the B section, we got almost no help from the public. When I called the reporter to express my frustration, I was told that polling showed that customers were tired of stories about death and tragedy. The reporter said the news hole for crimes stories was shrinking and there was nothing she could do about it. As a consolation she wrote an update for the next day’s edition which included a line about the police seeking the public’s help in the case. But the story was even shorter than the first report and was buried deeper inside the paper. We got not one call from a citizen that day.

  All of that changed three days later when the story hit the front page and was the lead story for every television station in the city. I picked up the first of the stories clipped from the front page and read it once again.

  REAL-LIFE SHOOT-OUT ON FILM SET

  1 DEAD, 1 HURT AS COPS AND ROBBERS

  INTERRUPT CELLULOID COUNTERPARTS

  By Keisha Russell

  Times Staff Writer

  A deadly reality intruded on Hollywood fantasy Friday morning when Los Angeles police and security guards exchanged gunfire with armed robbers during a heist of $2 million in cash being used in the filming of a movie about a heist of $2 million in cash. Two bank employees were shot, one of them fatally.

  The armed robbers escaped with the money after opening fire on security officers and a real-life police detective who happened to be on the set. Police said that blood found later in the abandoned getaway vehicle indicated that at least one of the robbers was also hit by gunfire.

  The film’s star, Brenda Barstow, was inside a nearby trailer at the time of the shooting. She was unhurt and did not witness the real-life shoot-out.

  The incident occurred outside a bungalow on Selma Avenue shortly before 10 a.m., according to police spokesmen. An armored truck arrived at the filming location to deliver $2 million scheduled to be used as a prop in scenes to be shot inside the house. The film set was described as being under heavy security at the time, though the exact number of armed security guards and police on hand was not disclosed.

  The victim who was fatally shot was identified as Raymond Vaughn, 43, director of security for BankLA, the bank t
hat was delivering the money to the film set. Also shot was Linus Simonson, 27, another BankLA employee. He suffered a bullet wound to the lower torso and was listed late Friday in stable condition at Cedars-Sinai Medical Center.

  LAPD Detective Jack Dorsey said that as two guards were moving the cash from the armored truck into the house, three heavily armed men jumped from a van parked nearby, while a fourth waited behind the wheel. The gunmen confronted the guards and took the money. As the suspects were retreating to the van with the four satchels containing the cash, one of them opened fire.

  “That was when all hell broke loose,” Dorsey said. “It turned into a firefight.”

  It was unclear Friday why the shooting started. Witnesses told police that the robbers encountered no resistance from the security people on the scene.

  “As far as we can tell, they just opened up and started firing,” said Detective Lawton Cross.

  Police said several security guards returned fire, along with at least two off-duty patrol officers working as on-set security and a police detective, Harry Bosch, who had been inside a movie set trailer conducting a seemingly unrelated investigation.