The Brass Verdict

turning the file over. The other was a public indecency case that I thought I could do something with. The woman was charged when a sheriff’s deputy ordered her out of the water on a Malibu beach. She was swimming nude but this was not apparent until the deputy ordered her out of the water. Because the charge was a misdemeanor, the deputy had to witness the crime to make an arrest. But by ordering her out of the water, he created the crime he arrested her for. That wouldn’t fly in court. It was a case I knew I could get dismissed.
    “I’ll go see these two tonight,” I said. “In fact, I want to hit the road with all of the cases soon. Starting with a stop at Archway Pictures. I’m going to take Cisco with me, and Lorna, I want you to gather up whatever you need from here and head on home. I don’t want you being here by yourself.”
    She nodded but then said, “Are you sure Cisco should go with you?”
    I was surprised she had asked the question in front of him. She was referring to his size and appearance – the tattoos, the earring, the boots, leather vest and so on – the overall menace his appearance projected. Her concern was that he might scare away more clients than he would help lock down.
    “Yeah,” I said. “He should go. When I want to be subtle he can just wait in the car. Besides I want him driving so I can look at the files.”
    I looked at Cisco. He nodded and seemed fine with the arrangement. He might look foolish in his bike vest behind the wheel of a Lincoln but he wasn’t complaining yet.
    “Speaking of the files,” I said. “We have nothing in federal court, right?”
    Lorna shook her head.
    “Not that I know of.”
    I nodded. It confirmed what I had indicated to Bosch and made me more curious about why he had asked about federal cases. I was beginning to get an idea about it and planned to bring it up when I saw him the next morning.
    “Okay,” I said. “I guess it’s time for me to be a Lincoln lawyer again. Let’s hit the road.”

Twelve
    In the last decade Archway Pictures had grown from a movie industry fringe dweller to a major force. This was because of the one thing that had always ruled Hollywood. Money. As the cost of producing films grew exponentially at the same time the industry focused on the most expensive kinds of films to make, the major studios began increasingly to look for partners to share the cost and risk.
    This is where Walter Elliot and Archway Pictures came in. Archway was previously an overrun lot. It was on Melrose Avenue just a few blocks from the behemoth that was Paramount Studios. Archway was built to act as the remora fish does with the great white shark. It would hover near the mouth of the bigger fish and take whatever torn scraps somehow missed being sucked into the giant maw. Archway offered production facilities and soundstages for rent when everything was booked at the big studios. It leased office space to would-be and has been producers who weren’t up to the standards of or didn’t have the same deals as on-lot producers. It nurtured independent films, the movies that were less expensive to make but more risky and supposedly less likely to be hits than their studio-bred counterparts.
    Walter Elliot and Archway Pictures limped along in this fashion for a decade, until luck and lightning struck twice. In a space of only three years Elliot hit gold with two of the independent films he’d backed by providing soundstages, equipment and production facilities in exchange for a piece of the action. The films went on to defy Hollywood expectations and became huge hits – critically and financially. One even took home the Academy Award as best picture. Walter and his stepchild studio suddenly basked in the glow of huge success. More than one hundred million people heard Walter being personally thanked on the Academy Awards broadcast. And, more important, Archway’s worldwide cut from the two films was more than a hundred million dollars apiece.
    Walter did a wise thing with that newfound money. He fed it to the sharks, cofinancing a number of productions in which the big studios were looking for risk partners. There were some misses, of course. The business, after all, was Hollywood. But there were enough hits to keep the nest egg growing. Over the next decade Walter Elliot doubled and then tripled his stake and along the way became a player who made regular appearances on the power 100 lists in industry minds and magazines. Elliot