I went upstairs, pulled out my contract and gave it a good read. I never sign without studying the contract and consulting with my lawyer. I don't care if it looks just like the boilerplate I've signed a hundred times--I don't take chances. But Hollywood contracts are notorious for their legalese and for their sheer size, and this one had covered every eventuality from Death of Innocence: The Musical to Jaime Vegas action figures.
I found the clause about agreeing to be filmed at the Brentwood house. Seemed obvious--I was going to the house to tape segments, so naturally I'd agreed to be filmed. When I reread that clause after finding the pinhole cameras, it took on a whole new meaning.
I'd run this past my lawyer, but even if I had grounds for raising a fuss, I'd be labeled difficult, and my hopes for my own show would fly out the window. Better to tuck the knowledge into my back pocket and use it to my advantage. If I knew I was being taped, I could put on a good performance. And I could make damned sure I didn't pick my nose, scratch my ass or badmouth anyone in the common rooms. As long as they weren't taping me in my bedroom...
I put down the contract and searched. No cameras. Whew.
AS I headed to breakfast the next morning, Becky called to me from the living room. When I caught up with her, she was already vanishing into the study that now served as a communal office.
"I wanted to thank you for helping us out with Grady yesterday," she said as she shut the door. "I really appreciate it, and I want you to be the first to hear Mr. Simon's amazing new idea for the show. I just know you're going to love this."
I braced myself. In Hollywood, the words "you're going to love this" are more plea than assurance.
"Rather than pepper our show with random seances, why not make it a theme?" She lifted her hands, punctuating her words with a jab as if pointing to them on a marquee. "One final curtain call for the tragic dead of Brentwood."
"You want us to contact more dead movie stars?" I said.
"Not just movie stars. Brentwood stars. Those killed under mysterious circumstances, like Tansy Lane. A theme, leading to the grand finale with Marilyn Monroe."
"It's an...interesting concept," I said carefully. "Certainly ambitious--"
"We don't expect you to do as well with every ghost as you did with Tansy. You can ask how they died, but we won't expect any real revelations. We'll intercut with some talking heads giving their theories, some old detectives reminiscing about the cases, and by the end of the segment, no one will even notice that we didn't actually find out anything new."
"It sounds...interesting."
Becky crumpled, bracing herself against the desk. "It's horrible. I'm so sorry. We're still having issues with Grady, and this is Mr. Simon's solution, knowing how much Grady loves working with mysterious deaths."
"I'm not comfortable with changing the format at this point. It's been changed once, when they set it in this house, and I was very understanding about that."
Terror filled Becky's eyes. Part of me wanted to stand my ground and tell her that if she wanted to make the show she envisioned, then she'd better grow a backbone and stand up to men like Bradford Grady. But another part of me remembered being young, ambitious and overwhelmed, and I wanted to be the one person not making this shoot a living hell for her.
"I'll consider a change of format, but on several conditions."
"Name them."
"I want a written guarantee of equal screen time in the final production and equal preshow promotion. Is the Tansy Lane segment in danger of being cut?"
"Definitely not. I'll get Mr. Simon to put that in writing. No matter how much weight Grady throws around, your success with Tansy stays."
Her cell phone rang. A few quick words, then she hung up. "I need to run. The next seance will be after lunch. We're keeping the locations and subjects a secret. Yes, I know--Grady is an expert and by tonight his team will be faxing him dossiers on every semifamous person who died in this neighborhood. But I have a plan."
She headed for the door, then stopped. "Oh, and before you leave, there's a release form on the desk. Just an addendum to your contract. It's in the blue folder. Take it with you to read over. No rush."
I OPENED the blue folder she'd left on the desk. Inside was a single printed sheet. On first glance, it looked more like a memo than a release form.
Subject: Gabrielle Langdon.
The name sounded familiar, but I had to read a few lines before I realized what I was looking at: a detailed summary of the life and death of arguably Brentwood's most famous murder victim.
I slapped the folder shut and scanned the desk, but there were no more blue folders. No fo
lders of any color.
Becky said she had a plan, and now I knew what it was.
I HAD lunch and the early afternoon off, so Jeremy picked me up. He'd already checked in with Robert and a second potential source: Clay. Like Jeremy and Elena, Clay worked part-time and primarily from home--the advantage to having a healthy communal bank account and little desire for material goods. From Jeremy and Elena, I knew Clay was passionate about his work, but he rarely talked about it with anyone outside the Pack.
While Robert Vasic looked like the stereotypical professor, no one looked--or acted--less like one than Clay. Yet that's what he was: an anthropologist. His specialty was religions with animal deities. There's a name for it, which I can never remember, and it's not like he's about to discuss it with me anytime soon.