The Hollywood Serial Killers: A Mike Kane Mystery Series

by Sands, Jordan

  The Hollywood Serial Killers

  By

  Jordan Sands

  Copyright © 2016 Jordan Sands

  Published by Akamai One

  The Honolulu Serial Killers is a work of fiction.

  This book is a work of fiction. Names, characters, businesses, places, and incidents are either the products of the author’s imagination or are used in a fictitious manner. Any resemblance to actual persons, living or dead, business establishments, or actual places or events is purely coincidental.

  All rights reserved, including the right to reproduce this book or portions thereof in any form, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, whatsoever, without prior permission of the publisher and the author is prohibited.

  Overview

  by Jordan Sands

  To give you an insight into my character Mike Kane, (whose last name was changed as he was a Honolulu Policeman), his primary mission as a law enforcement official has been to catch people who commit murder, especially later in his career, serial killers. Before this novel, he has sought and caught dozens of murders and was asked by one of the past Governors of California to put his knowledge in the search and finding of those who commit multiple murders, mainly serial killers.

  In these series, you will see that he and his teams persistence, knowledge, and luck indicate the difficulty in following and finding a serial killer. His team doesn’t know all of the answers but follow the leads that are sometimes far and few. If a serial killer is smart enough, he or she can elude the officials for weeks, months, years and sometimes even decades. Some serial killers have never been caught.

  In this story, Mike Kane and his team must find who is killing the Oscar-winning starlets. When a string of bizarre murders hits Hollywood with a disturbing and distinct way of killing along with someone making sure that the bodies are meticulously vacuumed, combed and cleaned before being displayed in public makes it near impossible for the medical examiner to find any discriminating evidence.

  I hope that you will enjoy these series and see how a serial killer who knows what they are doing can be elusive and almost impossible to capture.

  Table of Contents

  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

  Chapter 41

  Chapter 42

  Chapter 43

  Chapter 44

  Chapter 45

  Chapter 46

  Chapter 47

  Chapter 48

  Chapter 49

  Chapter 50

  Chapter 51

  Chapter 52

  Chapter 53

  Chapter 54

  Chapter 55

  Chapter 56

  Chapter 57

  Chapter 58

  Chapter 59

  Chapter 60

  Chapter 61

  Chapter 62

  Chapter 63

  Chapter 64

  Chapter 65

  Chapter 66

  Chapter 67

  Chapter 68

  Chapter 69

  Chapter 70

  Chapter 71

  Next Book The Honolulu Serial Killers

  Chapter 1

  ACKNOWLEDGEMENTS

  To my editor, calebsmith665 thank you for you making my job so much easier. To Jim, my brother who helped in so many ways. To Jeff Fetner who helped with his knowledge of aircraft and air disasters. To my beautiful wife, Babette, who allowed me the time to write. To Mitch Gowen for his encouragement. To Steven Kiyabu with his help, to Emilly egm0124 for her formatting and to the one hundred friends, that chose the cover, thank-you.

  Chapter 1

  As a Police tape flutters in the wind, while it is wrapped around a crime scene, it paints the background for the news that just came on. The locally known TV announcer breaks in, standing in front of a large monitor in the studio with the words flashing on and off: Breaking News. “Another Hollywood starlet found stabbed. Good evening. This is John Moore, your Channel 22 news anchor. An unconfirmed report just came into the station telling us another victim is lying on the stars on the Hollywood Walk of Fame in front of the Kodak Theater. It is reported this is the body of Michelle Borne. If so, this will be the fourth Hollywood actress to be found murdered in our city in the last couple of months. Just a few weeks ago Borne, who is in her early twenties, won an Oscar for Best Supporting Actress from the movie Midnight Blue, where a prostitute who worked her way out of the gutter and into fame. Police are still working on who killed the actresses, Gracie Tan, Barbara Akin, and Patricia Wright. They haven’t released any information, but if this tip turns out to be true, it appears to be the work of a serial killer; let us hope and pray this is the last and final one. We are sending a news crew to the scene as I speak. We will keep you updated as more information becomes available. This is John Moore, Channel 22 news.”

  At the same time, the news report is being broadcast; there is a police car driving down the Hollywood Boulevard, making the nightly patrol. One of the officers says, "Bill it looks like there’s a woman who looks drunk and lying against the lamppost. We better check her out and make sure she’s ok,".

  They turn on their flashers and make a U-turn on the street and pull up to the curb. Bill, the rookie cop, gets out of the cruiser and approaches the woman.

  “Hey, lady, get up. You can't be here. Get up," as he nudges her with his foot. “Hey Sarge, she's not moving,” Bill says while he checks for a pulse. “I think she’s dead.”

  Sarge gets out of the car to confirm the situation and then calls for an ambulance as they begin to string police tape around the immediate area, tying it to whatever is available.

  A television crew arrives on the scene. The bright lights of the TV cameramen do not take long to shine upon the victim. The corpse, dressed in a black and white sharks tooth jacket with a white skirt.It outlines her shapely body as she lies propped up against the pole, her head bent down with her hands clasped upon her thighs.

  "We're going live. I just got hold of our producer; she said Channel 22 had already reported this as their news alert. How in the hell did they beat us to it, since they’re not even here?” Being overheard by both policemen, as the reporter is trying to position his cameraman for the best shot. “See if you can get which actor’s star she is laid next to,” the announcer says.

  The cameraman steps over the police tape and tries to get closer to the victim to see which personalized star she is near.

  “Hey, you know better than that! Get the hell back behind the line,” Sarge yells over to the cameraman.

&nb
sp; He quickly steps back over the tape. “I couldn't see who it is.”

  “It’s okay; the producer can figure it out back at the studio.”The Channel 22 news crew drives up, their vehicle screeching to a halt, their brakes squealing as if asking to be changed. The remote outside antenna rises from the top of the van to begin sending a live feed to the main station.

  "Damn it, hurry up; looks like Channel 16 beat us to it. Get those cameras running,” As he is hurrying to the stretched police tape with the mic in hand, motioning for the cameraman to hurry up and follow.

  “Sarge,” Bill says while following the latest arrival, “now we have two TV crews here."

  "Just make sure they stay behind the police line."

  The announcer asks if the feed is set to go live. He is told as soon as he is ready he has to let them know and they will break into the ongoing broadcast. He nods and the camera man raises his hand, starting the countdown with his fingers, 4, 3, 2, 1 and points for him to start. “This is Bill Cunningham, your Channel 16 news reporter. We are here live in front of the Kodak Theater where the body of an actress has been found. This is the actress Michelle Borne who, just three weeks ago, won an Oscar for her supporting role in the movie Midnight Blue, where she played a prostitute who had worked her way from the nightlife of a call girl to that of a film star. In the role, she was strangled while working as a prostitute and left for dead on the Hollywood Walk of Fame. In the movie, she gets up and makes a name for herself, but here, she won't be getting up and won't be getting another chance. Here she will remain still, making no more movies for us to enjoy.” The camera pans from the still women to a close up of the reporter. “In the movie, six women were killed, all, in the same way. With that being said, it would mean two more starlets are going to die. Just as I mentioned in the last broadcast, life imitates art.”

  You can hear the crew from Channel 22 saying similar things about the actress in the background. Lights are everywhere. Cars are rolling slowly past trying to see what is going on. From a distance a teenager rolls down his window, sticks his head out and yells, "Who got killed? Another actress? Dumb slut probably deserved it."

  Bill tries to move the cars along as several more police cars arrive on the scene to assist. A couple of the patrol cars pull up to stop the traffic from turning in off of North Highland Ave. Two more blocks the traffic from North Orange Drive, blocking lanes so no more cars can pass and yell out obscenities or have the opportunity to gawk at the crime scene.

  Chapter 2

  Less than half an hour earlier, a dark vehicle driving south on North Highland Ave takes a right onto Hollywood Boulevard, slowly creeping up to the front of the Kodak Theater. The driver, wearing a dark outfit with his collar up, exits the vehicle and moves around to the right rear passenger door. When he opens it up, a slumped body almost falls onto the sidewalk. The driver takes hold of the individual, pulls her from the back seat. He wraps his arm around her waist, using her belt to steady her body and places her under the black lamppost right in front of the theater. The woman slumped down with her back against the post. The driver crosses her hands onto her lap, and casually walks back to the vehicle, climbs in and drives off.

  The time is four-oh-seven in the morning; very few people are strolling on the Hollywood Walk of Fame at this hour. Some don't give the woman too much attention. A few do, walking by murmuring under their breath—disgusting, another drunk, God can't they keep this area clean of filth like that?

  Chapter 3

  My car’s blue and white lights from the front grill, as well as the blue strobe lights which are placed in front of the rear view mirror, flash. As Sharon, my driver pulls up behind a patrol car parked next to the curb; I get out first, and she follows.

  I walk up to Sarge, “It doesn't take the news long to get here, who was here first?”

  "Oh, hi, Mike, Channel 16 beat the news crew of 22," Sarge mentions, looking over his shoulder as the news crews jockey for position.

  "What have we got here?" looking over to the body. I ask.

  "Doesn't look good, it’s like the serial killer has struck again," He points to the body still leaning back against the lamppost. She's another movie actress. I recognized her from the Oscars, so young, talented, and beautiful. What a shame.”

  I walk over to the victim and bend down, move her short black hair aside to look at the back of her neck. "The same as the last three victims," as I pull out my pen and notepad out of my pocket. I begin drawing out the crime scene, even putting notes down on which TV crew arrived first, who was second, and sometimes which TV station didn’t even bother to show up.

  "Seems to me the same person has done all four, but something seems different for some reason," Sharon says. Sharon has been with me for several years. She's a graduate of the Arizona State University, with an undergraduate degree in criminology. She holds a black belt in Tae Kwon Do and is efficient in Shaolin Chin. She's five feet eight inches, has long brown hair pulled back into a ponytail. Her tailored suit fits perfectly on her toned body.

  "I'm pretty sure, but we’ll have to wait till the medical examiner gets here."

  I think, damn I can't believe this is happening again. Why would someone murder such beautiful and talented women?

  "Sarge, move back the tape a little farther. Those cameramen have telephoto lenses; they can get a close enough shot on their own. We don't have to provide them with any assistance."

  "Okay. Bill, let’s move this grid back a little farther.” The Sarge instructs his partner to assist him in the movement of the tape. They tie off the tape back another twenty feet and all the way up to the Kodak Theater, blocking anyone from even walking through the area. Pedestrian traffic is escorted to the other side. Across the street, a crowd of onlookers is starting to congregate.

  Sarge bears a name, a title which was given to him even before he became a sergeant. He's been on the police force for almost twenty-five years. Sarge's real name is Randall O'Reilly, 5 foot 6, 250 pounds, potbellied, doughnut-eating, meticulous-in-his-work as a police officer. Sarge has applied three times, just missing out on that elusive promotion. Both his father and his grandfather were on the police force. His grandfather made it up to the rank of captain, and his father made it to the rank of detective before he was killed in the line of duty. He left behind a wife and three children, Sarge and two daughters.

  Susan Kraft drives up in her crime scene search vehicle. Not all cities have such a vehicle, but I made sure she had almost everything and anything she wanted and needed when I brought her on board as part of my team. Phil Billion, her driver, and assistant in the crime lab, gets out and opens up the back of the vehicle, pulling out the gurney to take the body back to the morgue. Bill lifts up the yellow and black crime tape to allow Susan to enter, as she bends down and proceeds directly to the body, approaching her while looking for any evidence which might be laying around.

  Susan Kraft, the medical examiner which I have personally requested in all my cases, bends down and feels for a pulse. She looks at the wound while moving the victim’s hair out of the way by the back of her neck. She takes dozens of pictures all around the body and around the surrounding area. She has a good habit of taking photos of the people standing around the perimeter, as so often the murderer sometimes wants to be close and see what the police and medical examiner find at the scene. She opens up her medical bag which Phil had brought over for her and pulls out some plastic bags.

  "Hi, Mike. Hi, Sharon. I see you beat me here."

  "Susan, thanks for getting here as soon as you could. This one is number four," I mention, as she is putting tape on the wrists and around the bags which she placed over the victim's hands.

  "No problem. I was in my office. I was working on Patricia's body. So far it seems, and even looking at this woman's clothes, whoever it is doing this is almost vacuuming their garments beforehand, and combing out their hair. I've never seen a cleaner murder scene than these cases.”

  "It seems to me that they a
re being instructed on how to cover their tracks, told what to do, before, during, and after a killing. They will make a mistake one of these times, and we will get them." I bend down next to the victim. "Seems similar, just glancing at it, looks like the same type of stab wound along with the same location, right at the bottom of the back of the neck."

  "This one seems a bit different, though, the wound. It's not as neat or precise. It’s just a gut feeling." She glances over to me.

  Susan Kraft has been hand-selected by me ever since the first murder. We have worked together before on several high-profile cases in the past. I have always liked her, saying Kraft knows her craft. She’s 5'4", 110 pounds soaking wet, short, curly black hair, round face with big round Hawaiian eyes. The Hollywood coroner’s office is in the same building as my office.

  She grew up not far from where I was born, although we never knew each other because of our age difference. But, if you are born on Oahu, you’re never really that far from anyone on the island. The island is a real small community. I have also said, with those eyes, she never misses anything.

  "Okay, guys, I'm done. Put her on the gurney and let's take her to my office." After the body is picked up and placed into her vehicle, she takes additional photos right where the body had been. Wanting to make sure nothing is overlooked if at all possible.

  "Mike," she calls out, "this person in not leaving any physical evidence. This person is good, very good. He is going to be one tough cookie to catch. I’ll give her a thorough going-over once I get back to my lab. Just knowing from the other three cases, and the looks of this drop, I will be very fortunate to find any new evidence. I just hope and pray he did something wrong this time."

  Both TV crews are trying to get the best angle for the best shots before the pickup and transport of the body. You can hear in the background, from one of the news anchors saying they will follow this story as it progresses. Channel 22 lights go dim as channel 16 is still filming the ambulance leaving the scene, driving down the street, and then theirs goes dark as they pack up and depart.