Library of Congress Cataloging-in-Publication Data
Kellerman, Jonathan.
Mystery: an Alex Delaware novel/Jonathan Kellerman.
p. cm.
eISBN: 978-0-345-52438-6
1. Delaware, Alex (Fictitious character)—Fiction. 2. Sturgis, Milo (Fictitious character)—Fiction. 3. Forensic psychologists—Fiction. 4. Police—California—Los Angeles—Fiction. 5. Los Angeles (Calif.)—Fiction. I. Title.
PS3561.E3865M97 2011
813′.54—dc22      2010053031

Jacket design: Scott Biel
Jacket image (car and storefront): Shutterstock/Konstantin Sutyagin

v3.1

Dedication

This one’s for
Kim Hovey.

Contents

Cover

Other Books by This Author

Title Page

Copyright

Dedication

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

Chapter 33

Chapter 34

Chapter 35

Chapter 36

Chapter 37

Chapter 38

Chapter 39

Chapter 40

About the Author

Chapter 1

ike a con man on the run, L.A. buries its past.

Maybe that’s why no one argued when the sentence came down: The Fauborg had to die.

I live in a company town where the product is illusion. In the alternate universe ruled by sociopaths who make movies, communication means snappy dialogue, the scalpel trumps genetics, and permanence is mortal sin because it slows down the shoot.

L.A. used to have more Victorian mansions than San Francisco but L.A. called in the wrecking ball and all that handwork gave way to thirties bungalows that yielded to fifties dingbats, which were vanquished, in turn, by big-box adult dormitories with walls a toddler can put a fist through.

Preservationists try to stem the erosion but end up fighting for the likes of gas stations and ticky-tack motels. Money changes hands, zoning laws are finessed, and masterpieces like the Ambassador Hotel dissolve like wrinkles shot with Botox.

The Fauborg Hotel was no Ambassador but it did have its charm. Four somber stories of Colonial brick-face, it sat on a quiet block of Crescent Drive in Beverly Hills, wedged between a retirement home and a dry cleaner. A short walk but a psychic universe from the Eurotrash cafés of Canon Drive and the shopping frenzy on Beverly and Rodeo, the Fauborg appeared in few guidebooks but managed to boast one of the highest occupancy rates in the city.

Built in 1949 by a French Holocaust survivor, its design aped the mansions in the American movies that had transfixed Marcel Jabotinsky as a teenager. Jabotinksy’s first guests were other postwar émigrés seeking peace and quiet. That same desire for low-key serenity continued with the hotel’s clientele, divided between the genteel grandparents of Eurotrash and the odd knowledgeable American willing to trade glitz and edgy and ironic for a decent night’s sleep.