“I have two questions, Joe,” Lee said.

“Go ahead.”

"First, if this money does not go to Mrs. Keeler, to whom will it go?”

“Under the terms in my redraft, it will be put into a charitable trust already mandated in the will.”

“And two, will Mrs. Keeler have any part in managing the estate?”

“No, she will not. I will remain the executor of the will and Walter’s trustee, and after the estate is probated, I will have as little contact as possible with Mrs. Keeler. This law firm will manage the charitable trust, and a large part of our work here will have to do with that.”

“Then I am happy to take part in denying the bitch the money,” Lee said. “Where do I sign?”

“You don’t have to sign,” Wilen said. “You can both leave now, and I will personally alter the will. Last chance to change your minds.”

Both women shook their heads.

Wilen handed them each a computer disk. “Please copy this onto your computers, replacing the old file, and erase the backup files.”

The two women accepted the disks and left Wilen’s office.

Wilen carefully initialed the two pages and inserted them into the will. He shredded the old pages, then went to his secretary and handed her the will.

“Margie, will you make a copy of Walter Keeler’s will for Mrs. Keeler and file the original in the office vault?”

“Of course, Mr. Wilen. I’ll have the copy for you in just a moment.” She walked to the copying machine, placed the document on top and pressed a button. A moment later, she handed Wilen the copy.

“Thank you, Margie.”

Wilen took the copy into his office and sat down. He held a hand out in front of him. It was perfectly steady. He had never done anything like this in his life, but he would have done anything to protect Walter Keeler’s interests, in death as well as in life.

27

DETECTIVE ALEX REESE checked into his Los Angeles hotel, then drove his rented car to Centurion Studios. The guard at the main gate confirmed his appointment, then put a studio pass on the dashboard of his car and gave him directions to the security office.

Reese parked in a visitor’s spot, walked into the building and presented himself to the secretary of the head of security. “I’m Detective Alex Reese of the Santa Fe Police Department; I have an appointment with your head of security.”

“Of course,” she replied, then pressed the intercom button. “Mr. Bender, Detective Reese is here.” She hung up the phone. “Please go in, Detective.” She pointed at the door.

The door opened, and a man in his shirtsleeves waved him in and stuck out his hand. “I’m Jeff Bender, Detective; please come in and have a seat.”

Reese took a seat on a leather sofa, and Bender sat down in a facing chair. “What can I do for the Santa Fe P.D.?”

“Mr. Bender…”

“Jeff, please.”

“And I’m Alex. Jeff, I’m investigating the murder in Santa Fe of Mrs. Donald Wells and her son, Eric.”

“Yes, I know about that; it’s been big in the L.A. papers. I assume that, since you’re here, Don Wells is a suspect?”

“We have no evidence against him, but he is, of course, a person of interest.”

“Yeah, I understand that she was very, very rich. Always a good motive for the husband. I was a homicide cop on the Beverly Hills force; I know how it goes.”

“May I speak to you in confidence about this?”

“Of course.”

“My working theory of the case is that, since Mr. Wells was in Rome at the time, he could have hired someone to kill his wife, and that, if he did so, he might have hired someone who worked for him in the movie business.”

“Reasonable assumption,” Bender said. “Have you found anything to back it up?”

“That’s why I’m here. Another assumption is that such a person would be someone who Wells knows well and trusts, so he or she would probably be someone who has worked for him on several pictures.”

“Wells has produced only eight or ten pictures,” Bender said, “so it wouldn’t be hard to narrow the list.”

“I’ve already done that,” Reese said. “From a list of thirty-one people who’ve worked as crew on more than one of Wells’s pictures, I’ve found six who have arrest records, and I’d like to discuss them with you.”

“Who are they?”

Reese ripped out a page of his notebook and handed it to Bender.

“Five men, one woman,” he said, reading the names.

“Do you know them?”

“Only one of them: Jack Cato, a stuntman. I think one of the other guys, Grif Edwards, is a stuntman, too. I know him when I see him. What kind of records do they have?”

Reese consulted a sheet of paper. “Cato has had a number of arrests for disorderly conduct or assault over the past seven years. He seems to have a tendency to get into bar fights.”

“Yeah, I’ve had to bail him out a couple of times, once in L.A., once on location in Arizona.”

“And Edwards stole a couple of cars when he was in his early twenties, got probation, which he served without incident, then he took a baseball bat to his brother-in-law after the man beat up his sister. That was two years ago.”

“What about the records of the others?”

“The three other men had arrests for domestic abuse, either with a girlfriend or a wife. The woman apparently ran with a Hispanic gang for a couple of years and had a shoplifting conviction. Nothing for the last four years, so maybe she straightened out her life.”

Bender went to his desk and began typing on his computer. “Four years is how long she’s had her job. Tina López started as an assistant seamstress and is now a seamstress in the costume department. She seems an unlikely candidate, though she might know someone from her gang past who would do the job. However, it’s unlikely that Wells would have had much contact with her, since she’s pretty far down the pecking order from a producer, especially one with his own company.

“Cato has worked at Centurion as a stuntman and wrangler for twelve years and Edwards for nine. Edwards’s specialty is car work: chases, crashes. Former stock-car racer. The other three guys are in makeup, accounting and catering-like the woman, pretty far removed from Wells. I wouldn’t think they would make good suspects.”

“Okay, I’ll talk to Cato and Edwards first. How do I find them?”

Bender did some more computer work. “They’re both full-time employees: Cato at what we call the ranch, where animals are kept, out on the back lot; Edwards at the motor pool. When he’s not doing stunt work, he’s a mechanic. Neither is working on a film right now. Why don’t I go along with you, lend a little studio authority to the interviews?”

“I’d appreciate that,” Reese said.

Bender got his coat and put on a western straw hat. “Keeps the sun off my fair skin,” he said. “A day in the sun means a trip to the dermatologist.” He led the way outside, and they got into a golf cart. “It’s how we travel on the lot,” he said.

Reese had a good look at the studio as they drove down a long avenue with big hangar-like buildings on both sides.

“These are the soundstages, where interiors are filmed,” Bender said. He stopped at an intersection and pointed. “Down there is the New York street set, which is the most-used standing set on the lot.” He began driving again. “The studio commissary is over there, and down the side streets are the office buildings where the independent producers, like Wells, rent space. There are also bungalows that are dressing rooms for our stars.”

He swung the cart into a large shedlike building and stopped. It looked like the workshop of an auto dealer, only larger. There were a number of hydraulic hoists, and along the rear of the building were two rows of parked vehicles with covers over them. “The cars back there are period stuff, everything from Packards to delivery vans to a fire truck.”

A man in coveralls approached the golf cart. “Hey, Jeff,” he said to Bender. “What can I do for you?”