The sun rises on Frady’s car, and the voice-over is Mike and Doug in conversation about what it was like to hear that their friend was dead, and then to find his little economy station wagon. Ridgeway joins them.
“I had a hangover,” Ridgeway says. “But that wasn’t what made me so sick. It was seeing Roy’s car. I was already under Internal Affairs investigation for bad checks, so I was really scared about saying that I might know something. I said nothing. Twenty years is a long time to keep a secret like that.”
I turned off the sound. “What do you think?”
“I think the guy who plays Frady spent too much time in the gym. Frady wasn’t a big guy.”
“I did it for Mary Helen and her kids. A goodly portion of the audience will think this is real.” I kicked off my shoes. “Whatever real is.”
There was snow on the screen and an image trying to form. I turned the player off because I did not trust Guido. I didn’t want to find a little homemade goody edited in—naked bodies in the bathtub, for instance. Guido still had not returned my tape. I thought he was afraid that doing so would remind me of his gaffe. We were working together as if everything between us was status quo. But it wasn’t quite. I never went over to his house anymore. I never used him as a convenient shoulder, either. And he respected that space.
“I’ve only used actors where the real players are dead, except for Ridgeway,” I said. “I’m still not sure about the dramatization, but Lana is wild for it. She wants to call the film ‘The Bitter Web,’ as in ‘What a bitter web we weave, when first we practice to deceive.’”
“What do you want to call it?”
“I think a variation on ‘Ode to an Athlete Dying Young.’”
Mike shook his head. “‘Requiescat in Pace.’ You’ve made Roy Frady’s eulogy.”
“The title decision will be made by the marketing people, so there’s no sense getting committed to one. Gaylord is already looking for a writer to do the treatment for the movie-of-the-week version of the making of our movie. The working title is ‘Film Fatale.’”
“It’s your story, why don’t you write it?”
“I wouldn’t touch it with a fork.”
“Who’s going to play you?”
“Good question.”
He peeled my dress off over my head. “Will her period be late, too?”
AFTERWORD
Kill Mike Edwards
—Graffiti, Nickerson Gardens Federal Housing Project, May 1974
This is fact: sometime after midnight on May 10, 1974, Officer Michael Lee Edwards, who worked out of the Seventy-seventh Street Division of the LAPD, was shot dead in a burned-out triplex at 122½ West Eighty-ninth Street in the city’s Southeast section. His murder has never been solved.
This also is fact: the night before Michael Lee died, and less than a mile from the murder house, the nine core members of the Symbionese Liberation Army, including their prize captive, Patricia Hearst, moved into a shack at 833 West Eighty-fourth Street. They lived in that tiny unit, without telephone or power, for one week. On May 17, 1974, six of them moved to another hideout, and it was there that they died in a shoot-out with the police.
The rest of the story you have just read is fiction. As far as I know.
Turn the page to continue reading from the Maggie MacGowen Series
CHAPTER
1
“Maggie, you sure you got the right address?” Guido shifted his Steadicam from one shoulder to the other.
“First hovel past the sewer outflow,” I said. “There, that one with the Budweiser poster for a door.”
Minh Tam’s alleged abode was an untidy, dun-colored assemblage of rags and cardboard propped up and strung up between two undernourished castor bean trees. Very little vegetation managed to sprout out of the stone-paved banks of the Los Angeles River where it dumped into the Long Beach Harbor. The trees, spindly though they were, must have been made of hardy stuff to survive at all.
There were several shelters along that barren bank, the last stretch of river before the stinking urban stew of backyard runoff and industrial waste finally poured into the Pacific. The end, in many ways.
Guido, with one small camera, seemed burdened as Atlas might have been with his somewhat larger load. Usually a joy to work with, all day Tuesday Guido was crabbier than our task, the smoggy air, and too much of my company warranted. When I asked what nettled him, I got “Nothing” for an answer, twice. I quit asking, he kept grousing.
“This is nuts.” Guido shifted the camera again. “We shouldn’t be messing around down here. People live in shit holes like this because they’re problem children in a major way. I don’t feel like getting into a knock-down with some guy who hasn’t had a bath since Christmas.”
“Two of my film school interns spent three days walking Minh Tam’s picture through every breadline in town just so that I could get to this point. Now it’s time for the payoff. Be proud for me, boyo.” I punched his hard shoulder. “Finding this shit hole may well be the crowning moment of my inglorious career nosing around in other people’s business. So, if you don’t mind, shut up and start the camera running. We need to document the moment.”
Guido would not be bullied. “Doesn’t look like anyone’s home.”
“Won’t know if we don’t go down there and find out.”
“This Minh Tam guy could be armed.”
“He could be. Just make sure you have the tape running if I get hit.”
“The riverbank’s too steep, Maggie. I don’t want to fall with the camera.” This from Guido, who had filmed incoming SCUD missiles in Iraq.
“Then stay up here.” I handed him the heavy Nagra recorder I carried. “I’ll go down and see if Mr. Tam is home. If he is, I’ll deliver him to you up here.”
“I think the camera’s battery charge is low.”
I reached across him and pressed the charge meter on his camera. We had ninety minutes on the battery, and a fully charged spare in the bag. I said, “Think of something else.”
“I can think of only one thing,” he said, his chiseled jaw clenched. “How bad was Khanh Nguyen hurt?”
“Khanh is more scared than hurt,” I said. “She was tied up and threatened, she has some bruises. But she’s physically intact.”
“She’s scared,” Guido said pointedly, “because she’s smart, Maggie. A home invasion robbery, something like that takes real mean motherfuckers to pull off. You get yourself too involved, you think those creeps won’t come pay a visit to your house?”
“After what Khanh went through, the least I can do is help her find her friend Minh Tam. Give her some peace of mind to know he’s okay. It’s no big deal.”
“It’s none of your business.”
I turned my back on him.
I make documentaries for a living, I don’t locate people. And I certainly don’t put myself in any situation that could conceivably involve contact with my former husband. Khanh was a longtime legal client of my ex; that’s how we met. But Khanh’s problem was real, the progress on my film project was stalled, and I was desperate for an excuse to skip a damned network-exec goon meeting that was scheduled for that Tuesday morning. Mr. Minh Tam needed finding at exactly the time I needed an out.
Guido and I took cameras along from habit and to avoid questions when we slipped out of the studio. Minh Tam had nothing to do with my film in progress, a sad tale about rudderless youth, a detail we kept from my executive producer.
Guido and I had parked the network’s van at the downtown Long Beach marina and walked for maybe a quarter mile along a paved bike path to reach this garden spot. Down the slope behind us was the city’s tow yard and street department storage, ranks of sagging barbed wire atop half a mile of cyclone fence. On the far side of the river in front of us, the city’s westside ghetto.
“I just don’t want you to get hurt.” Guido was still arguing with me when I took a tentative step off the pavement down onto the rocky bank. Fist-sized stones shifted underfoot
.
“Oh, for cryin’ out …” Guido passed me back the Nagra and led the way, as I knew he would: Guido Patrini of the Sicilian Patrinis.
We were both off-balance to begin with—me with the strap of the recorder over one shoulder and Guido with the video camera cradled against his chest the way he would hold a baby. But Guido was the first to fall.
As he lost his footing, his free hand snagged the thick stock of a milkweed. He managed to stay upright, until I landed on my butt and slid into him, sending a cascade of stones bouncing all the way down to the sluggish gray water below.
We made a lot of noise and dust, but we only actually moved a yard or two, sledding on our bottoms. After we came to rest, tangled together but sitting upright, there was a moment of icy silence between us that lasted until the splash of the final stone.
I took a sort of personal inventory and found all of my parts and the recorder intact. Guido was swearing, so I knew he was all right. I asked, “The camera okay?”
If looks could kill: “Yes, the camera is just peachy. My precious little ass feels like mincemeat, in case you’re interested. But, yes, Maggie, the camera is perfectly fine.”
“Good.” I stood, found solid footing atop a concrete outlet pipe, and gave him a hand up. And then I gave him a hug. My uptight friend, a sack of bone and sinew inside a Mickey Mouse T-shirt, held me in a tight embrace.
“You’re not hurt, are you?” he asked, a little quaver in his voice that showed more emotion than the mishap warranted.
“I’m fine.”
Then he held me at arm’s length and looked me over. “Tell me the truth. Are you okay?”
“Would I lie to you?” I patted his cheek and broke from his hold.
Guido and I had worked together, off and on, ever since my first TV job reading the farm report at a little independent station in central Kansas. He was an intern cameraman back then, both of us fresh out of college. I made a down payment on a nose job with my first paycheck, and Guido drove me to the appointment.
After Kansas, we did the news correspondents’ tango, moving from city to city, now and then reconnecting, both of us rising with each move until eventually I was a big-city evening news anchor in full makeup and big hair and Guido was a network correspondent dodging bullets during Desert Storm. Then we both quit. I now make documentaries, he teaches film at UCLA.
For a lot of those middle years, other than Christmas cards and occasional late-night phone calls when something at the bottom of a scotch bottle reminded one of the other’s face, we lost touch. Then, about a year ago, I accepted a contract with one of the big three networks, and moved from San Francisco to Los Angeles with my teenage daughter, Casey.
For one more go-around, I accepted all the hassle that goes with a network gig—endless oversight and accounting—because I needed, first, a steady paycheck, and second, some time in Los Angeles to work out my destiny with Mike Flint, detective, Robbery-Homicide Division, LAPD.
That hazy Tuesday morning, I was at a crossroads. Mike was three months and five days away from eligibility for a full city pension. Casey, my daughter, had only four more months of her junior year in high school, and an offer to attend a dance academy in Boston in the fall. My film in progress was the last project on the network contract. The lease on our rented house in South Pasadena would expire in June.
The question du jour was, once the project was finished, and Mike Flint was retired, and Casey was ready to move on, then what? The riverbank was not the only rocky slope I had to contend with.
One edge of the Budweiser banner that served as the hovel’s door moved an inch or so. I called out, “Minh Tam? Mr. Tam?”
First one dark eye appeared, then a brown, leathery face. According to Khanh, Minh Tam was fifty-three, but he looked much older, beaten down by more than overexposure to the elements.
I repeated, “Mr. Tam?”
“You Sanitation? I don’t bother anybody. This is my place. Go away.”
“We aren’t from the Sanitation Department, Mr. Tam. Or any other department. My name is Maggie MacGowen, this is Guido Patrini. We want to talk to you. I’m a friend of Khanh Nguyen.”
“Khanh Nguyen?” He came out a little farther to look around, expecting, I supposed, to find Khanh.
“Khanh told me to show you this picture when I found you.” I offered him a photograph of me and Casey picnicking with Khanh, her husband, Sam, and their four adult offspring. Mr. Tam studied the snapshot with the skepticism a passport inspector might have if he were on the lookout for a fleeing terrorist, comparing me to my smiling image.
After a long moment, he decided to come all the way outside, struggling upright from a squat, a skinny man in too-big khaki pants and a clean button-down shirt. There were gaps among his yellowed teeth, but he seemed more-or-less healthy. At least, his eyes were clear and his mind was sharp.
“Where is Khanh Nguyen?” He slipped the snapshot into his breast pocket without asking if he could keep it. “Does she come with you?”
“She’s at home,” I said. “In San Marino. She asked us to bring you some news about a family member, a Mr. Bao Ngo.”
Mr. Tam’s first reaction was a panicky retreat back toward his ragged pile of a house.
“Do you know Bao Ngo?” I asked.
He waved me off, his back to me. “Never heard of him.”
“I have another photograph I’d like you to look at, Mr. Tam.”
I held out a copy of an old black-and-white shot of two young men holding hands in the Vietnamese manner. One of them was Minh Tam before he had gray hair at his temples. This was the picture my interns had spread all over town, hoping someone would recognize Tam. A dozen or more people knew who he was, but the only person who knew where Minh Tam lived was a security guard working a harbor-front RV park.
I extended the picture to Tam. “Khanh says the man standing with you is Bao Ngo.”
Tam turned and studied me again before he reached for the second snap. When he looked at it, the expression that crossed his face I can only describe as the joy you might feel taking the first sip of water after a long desert trek. He only said, “Ah,” a short, sharp, happy bark. There were tears in his eyes.
“This picture is very old,” he said.
“Khanh brought it with her from Vietnam.”
As Tam angled the picture away from the sun’s glare, Guido raised the camera to his shoulder and turned it on.
Khanh should have prepared me better. She should have told me more about the relationship between the two men.
I asked again, “Is that Bao Ngo?”
“You are not FBI?”
“No.” I handed him my card with the Technicolor network logo embossed on one corner, and saw him scrutinize me with new appreciation; bless the power of TV. “I’m a filmmaker.”
“You want to talk with me about my cousin?” His velvet brown eyes widened. “Are we exemplary in some way?”
“You’re interesting.”
“Interesting?” For the first time, he smiled directly at me, a sarcasm there that hinted at a wicked sense of humor. “I have been sought out for many reasons, but never for being interesting. What is interesting about my cousin Bao and me?”
“I located you as a favor to Khanh Nguyen,” I said, stalling. I had a feeling that if I told Tam too much, too soon, he would be afraid to talk to me. “She was worried about you. She wants to talk with you about Bao Ngo.”
“Ah. I see. My cousin Bao, he is dead?” Tam bowed his head, contemplative, sad. A breeze feathered his short hair at the crown as a father’s hand might, gently, as his own hand brushed across the photograph he held. “I thought that must be true. Otherwise, if Bao is not dead, why have I not heard from him?”
I let his erroneous conclusion stand for the moment. “When was the last time you spoke with your cousin Bao Ngo, Mr. Tam?”
“Long time,” he said. “In Saigon. April 29, 1975. I flew out on the last helicopter that was able to evacuate from the American
embassy before the Communists reached Saigon. Bao did not make it in time. The last I saw Bao, he waved to me from the helipad as I flew away from him.” Tam’s face clouded over as he remembered. With his head bowed he asked, “Does my cousin Khanh know how Bao died? Did she learn when it happened?”
“Bao is not dead, as far as I know,” I said. “Khanh saw him last week, at her home in San Marino.”
“Last week?” Tam was startled, looked around as if there might be better information from somewhere else because what I said was impossible. “How could it be? Bao did not contact me all this time. I know he must be dead, or maybe it is too dangerous for him to write to me.”
“Dangerous why?”
“The Communists.” The word seemed to leave a bad taste in his mouth. “When he stayed in Vietnam, I knew that the Communists would take him to jail or they would execute him.”
“Bao got out of Vietnam the same day you did,” I said. “He missed the evacuation airlift, but he found space on a Canadian freighter. Bao Ngo entered the United States through the Port of Los Angeles in September of 1975.”
Tam all but called me a liar, shaking his head, waving his hands to fend off my words. “Not possible.”
“Last week, Bao invaded the home of Khanh Nguyen and held her hostage while he ransacked the house.”
“Last week?” Tam seemed more stunned by the timing than by the deed.
“Yes. I’m sorry to be the one to tell you. What would make him do such a horrible thing to a family member?”
He brushed off the question to get back on the topic that bothered him. “But where has Bao been all the time?”
77th Street Requiem Page 30
