Private L.A. (Private 6)

“A lot at stake here,” Terry Graves agreed, removing sunglasses to reveal bloodshot eyes.

“Suit yourself,” I said, taking the folder. “Tell us what’s going on.”

Sanders hesitated, said, “Thom and Jennifer, and their three kids, disappeared from their ranch in Ojai. They’ve vanished.”

“What?” Justine said. “How’s that possible?”

Del Rio snorted, said, “Yeah, people like that can’t just disappear.”

Mo-bot and Sci were nodding too.

I understood and shared their skepticism. Thom and Jennifer Harlow were arguably the most powerful and glamorous couple in Hollywood these days, megacelebrities who had won multiple Academy Awards, written bestselling books, and given their time and names to causes worldwide, including a foundation they’d set up themselves called Sharing Hands that raised millions for orphanages across the Third World.

During the twenty minutes it took us to fly north to the rolling hills of Ojai, Sanders, Camilla Bronson, and Terry Graves laid out what they thought we should know.

For the past nine months, the Harlow family had been living in Vietnam, where they had been making a film, Saigon Falls, an epic and tragic story of love and intrigue that unfolds in the last doomed years of the American war. Thom Harlow was writer, director, and lead actor. Jennifer Quinn Harlow was starring opposite her husband. Through their company—Harlow-Quinn—they were also producing the film.

“It’s the project of their lives,” Sanders said.

“The one that will immortalize them,” Camilla Bronson agreed.

“You should see the rushes,” said Terry Graves. “Just brilliant stuff.”

The Harlows had come back from Vietnam on their private jet four days before. To avoid the paparazzi, they’d kept the details of their return secret and landed at Burbank. The lawyer, the publicist, and their head producer were there to greet them. The Harlows were blitzed from the long flight and the longer shoot on location. But they were also determined to complete the principal filming on a soundstage on the Warner lot starting the following month.

“So Saigon Falls is a Warner project?” Justine asked.

Terry Graves shook his head. “They’re a minor player. No other studio in town wanted to touch the project. They all thought it was too risky, more art than commerce. Warner is involved in a nominal way, kind of a nod to Thom and Jennifer for how much money they’ve made for that studio over the years.”

Camilla Bronson said, “Thom and Jennifer raised money for the film privately to supplement what they decided to fund themselves.”

“Which was how much?” Mo-bot asked.

The publicist and the producer looked at Sanders. The attorney shifted in his seat, glanced at Justine, who was signing the nondisclosure form, said, “Sixty of the ninety-three total at last count.”

“Personally?” Dr. Sci said, as shocked as I was.

“The vast majority of their fortune,” Sanders affirmed.

“But they were passionate about Saigon Falls, zealots, in fact,” Terry Graves explained.

Camilla Bronson nodded, said, “Thom and Jennifer were either going to make a masterpiece and a bigger fortune, or they were going to lose everything they had.”

Sanders said, “In all honesty, I met them at the airport because I desperately needed to explain that costs associated with Saigon Falls had overwhelmed their ability to maintain their current lifestyle.”

“You mean they were broke?” I asked.

“Not quite. But they were teetering right on the razor’s edge of it.”

Chapter 9

AS THE SOUTHERN California landscape blurred below us, Sanders went on: “At the airport, I explained their dire financial situation, held nothing back, told Thom and Jennifer they were going to have to take draconian measures or face bankruptcy.”

“What did they say to that?” Justine asked.

Terry Graves said, “Thom acted unconcerned and said he had it covered, that a new investor had appeared who was underwriting the completion of Saigon Falls.”

“He say who that investor was?” I asked.