17-02-2020, 02:10 AM
Again, he wondered, to what end? Something in the film that they "don't want the world to see?" What, then? The movie was still being made and LeGrasse already knew how the story ended. You could open a history book to find that out! He hadn't had time to read through Juliessa Skankeko's script but imagined that La Contessa wouldn't have chosen it if it weren't historically accurate and well-written.
LeGrasse looked over at Luc's findings from Scott's computer. More significantly brutal and disturbing pornography than on Eliot's. And, as suspected, a great deal of activity on white supremacist websites, chat groups, and forums. The man seemed to have little time to pursue other hobbies than hatred or means to that end.
His email provided more information. A number of them within the past two weeks had been to an anonymous email server and painted the timeline of Scott's being reached out to by Dietz or his representative for assistance with an upcoming project in San Finzione. So, he had at least that long to get things ready for their arrival as best he could without drawing suspicion. And whatever the motive was, it had been in play long before Silverman's murder. Apart from a few gaps filled in, the timeline of events was essentially the one they'd put together already.
The last item that Scott had been able to send from home before going in to work on the last day of his life had been the revised shooting schedule. He'd given Dietz the previous schedule prior to Silverman's murder. The second had been the one made after, now that the other directors had moved up a step on the pyramid. La Contessa's statements that they'd resume shooting the day after a murder had been hasty, made over the dead body of someone she considered a friend. She hadn't thought at the time that some of the crew might want to take a day of mourning. They were resuming filming today with the battle in the caverns. LeGrasse had people protecting Larry Compton, so he was safe. The actors and the rest of the crew, on the other hand...
That thought led him to more. The director had been killed, a set ruined, a tank destroyed, an old man accidentally killed. With all those guns and bombs they now knew Dietz and his gang had, they could have just attacked the production directly and gotten it over with. Slaughtering the cast would definitely end the whole thing. So, if Dietz had the motive, opportunity, and means to do so prior to now, why not go straight to mass bloodshed? Moves like murdering the director when and where you know he'll be alone or stealing a tank and going on a rampage over an empty set were less effective methods of terror than the C-4 and vintage guns would allow.
"Vintage" resonated with him. Scott had more modern firearms in his collection, but apart from someone taking the Uzi, the guns they'd selected had mostly been MP-40s, Lugers, a couple of Gewehr rifles. He imagined that whomever had picked the Uzi had done so merely because he'd seen it in the movies and thought it looked cool.
Period guns and the fact that they were filming a battle in the caverns today. It gnawed on the part of his gut that made him a cop. Most of the force was busy looking for Dietz or helping find the ammo supplier on the base. He picked up the phone.
"Have any available units within ten kilometers of the caverns meet me there." He thought a second. "Send SWAT as well. No lights or sirens. Not just yet."
He left the office for his car, informing his receptionist that he'd need to speak with La Contessa and the others as soon as possible.
When he was told that La Contessa was en route to the caverns as well, he decided it was time for the lights and sirens.
* * *
The driver parked the van in front of the Tourist Center that served as the entrance to the caverns. Signs out front advised that the Caverns were closed today for filming.
Good One opened the back door and he and the other four men dressed as Nazis checked their weapons one last time before emerging. He looked at the strange old yellow-and-black antique car someone had driven to the set. It was old enough to be a movie prop, but far too bright and cheery, and it wasn't on the set, which was inside the caverns themselves. When the van drove away, he led them toward their destination.
A man with a clipboard stood in a doorway with a sawhorse propping it open. The last obstacle between them and being on the set. Good One knew that this was likely a one-way trip. That van wouldn't be back to collect them and report their success to Dietz. He patted the pocket containing the cyanide capsule that would be his only alternative to life in prison if they succeeded and approached the man.
LeGrasse looked over at Luc's findings from Scott's computer. More significantly brutal and disturbing pornography than on Eliot's. And, as suspected, a great deal of activity on white supremacist websites, chat groups, and forums. The man seemed to have little time to pursue other hobbies than hatred or means to that end.
His email provided more information. A number of them within the past two weeks had been to an anonymous email server and painted the timeline of Scott's being reached out to by Dietz or his representative for assistance with an upcoming project in San Finzione. So, he had at least that long to get things ready for their arrival as best he could without drawing suspicion. And whatever the motive was, it had been in play long before Silverman's murder. Apart from a few gaps filled in, the timeline of events was essentially the one they'd put together already.
The last item that Scott had been able to send from home before going in to work on the last day of his life had been the revised shooting schedule. He'd given Dietz the previous schedule prior to Silverman's murder. The second had been the one made after, now that the other directors had moved up a step on the pyramid. La Contessa's statements that they'd resume shooting the day after a murder had been hasty, made over the dead body of someone she considered a friend. She hadn't thought at the time that some of the crew might want to take a day of mourning. They were resuming filming today with the battle in the caverns. LeGrasse had people protecting Larry Compton, so he was safe. The actors and the rest of the crew, on the other hand...
That thought led him to more. The director had been killed, a set ruined, a tank destroyed, an old man accidentally killed. With all those guns and bombs they now knew Dietz and his gang had, they could have just attacked the production directly and gotten it over with. Slaughtering the cast would definitely end the whole thing. So, if Dietz had the motive, opportunity, and means to do so prior to now, why not go straight to mass bloodshed? Moves like murdering the director when and where you know he'll be alone or stealing a tank and going on a rampage over an empty set were less effective methods of terror than the C-4 and vintage guns would allow.
"Vintage" resonated with him. Scott had more modern firearms in his collection, but apart from someone taking the Uzi, the guns they'd selected had mostly been MP-40s, Lugers, a couple of Gewehr rifles. He imagined that whomever had picked the Uzi had done so merely because he'd seen it in the movies and thought it looked cool.
Period guns and the fact that they were filming a battle in the caverns today. It gnawed on the part of his gut that made him a cop. Most of the force was busy looking for Dietz or helping find the ammo supplier on the base. He picked up the phone.
"Have any available units within ten kilometers of the caverns meet me there." He thought a second. "Send SWAT as well. No lights or sirens. Not just yet."
He left the office for his car, informing his receptionist that he'd need to speak with La Contessa and the others as soon as possible.
When he was told that La Contessa was en route to the caverns as well, he decided it was time for the lights and sirens.
* * *
The driver parked the van in front of the Tourist Center that served as the entrance to the caverns. Signs out front advised that the Caverns were closed today for filming.
Good One opened the back door and he and the other four men dressed as Nazis checked their weapons one last time before emerging. He looked at the strange old yellow-and-black antique car someone had driven to the set. It was old enough to be a movie prop, but far too bright and cheery, and it wasn't on the set, which was inside the caverns themselves. When the van drove away, he led them toward their destination.
A man with a clipboard stood in a doorway with a sawhorse propping it open. The last obstacle between them and being on the set. Good One knew that this was likely a one-way trip. That van wouldn't be back to collect them and report their success to Dietz. He patted the pocket containing the cyanide capsule that would be his only alternative to life in prison if they succeeded and approached the man.
Like, Comment and Give Rating.
![[+]](https://xossipy.com/themes/sharepoint/collapse_collapsed.png)