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"Thank you, sir"

"Bogie You can callHe reached out to shake Bogie’s hand; Bogie reached out in turn Madison had to blink It appeared that they’d actually shaken hands

Sean looked back at her "All right, I’m on my way to the police station to meet up with my crew So our plan for toue and then the studio"

They were both startled by a deep sigh froue with you Maybe s a little better for Miss Jenny Henderson"

"Thank you," Sean said soleo for your teah the wringer again," Madison said "You’re accusto Artists usually aren’t Our blood and gore aren’t real People will get edgy"

"Yes, and if a killer is a The police have talked to people, and nowtheir notes e find will be i you in Thing is, Madison, you know the studio and you know the people working there You’ll recognize who’s telling the truth and who isn’t"

"Just like that?" Madison asked "I’ent!"

Sean was already out the door

She stared after hiain, and he poked his head back in "Oh, I guess I should say this just to be on the safe side--stay away from the studio unless you’re with me, and if you speak with anyone, act innocent"

"I a"

"I don’t know anything," she said flatly "And neither do you"

"That will change," he said And then he was gone, warning her to lock the door as he closed it

The more he worked with Benny Knox, the more Sean felt he wasn’t a bad cop or a jerk, he was just a realist And to Knox--being a realist--there was no doubt that Alistair Archer was the only one who could’ve killed Jenny Henderson

He wasn’t sure of the detective’s feelings about him, but at least it wasn’t stone-cold hatred, and his resentation was under way

Knox met Sean at the police station, introduced hie roo cop, Officer Angelo Fontini, orking with the security ies fro ones to knohat they’re doing with this computer stuff," Knox said "Hell, so otta admit, I wouldn’t see half of it"

Sean nodded "I was in filital special effects before I caht It’s an area that can definitely be et along great Right, Fontini?"

Fontini looked up; his naht be Italian, but he had blue eyes and curly blond hair, and with his ready grin, his appearance was even ht security shots The cameras at the studio are set to catch particular areas They don’t rotate I’ve tried to compare the studio filht the sa at this on and off for hours, and I just don’t see how anyone could’ve been there"

"Let’s see the filht before the murder up to the tiht hours of footage"

"Yeah, I know We’ll speed it up, and I’ll call stop when I want you to slo-e from the Friday before the murder Sean watched as people strea them look like harried, robotic performers They all chatted as they headed out to their cars;the building close to seven with a tall, lean man who seemed to be in his early twenties She paused and waved to her immediate supervisor, Mike Greenwood, and Mike waved back

Greenwood talked to so employees, then went back into the studio He appeared from screen to screen as he made his way into the main workroom, stopped to look around, nodded with satisfaction and returned to the guard station Colin Bailey was on shift, and Greenwood spoke to hiuard duty changed and Winston Nash came on as Colin Bailey left A few hours later, Mike Greenwood appeared again, and in ti They all went straight to the main work area, where they co he’d seen the other day The woman made a phone call A pizza delivery et the food The crew ate, then finished haain, Mike Greenwood glanced around, checked a power saw to see that it was unplugged and headed out to speak to Nash, as just changing places again with Bailey Mike left

Colin Bailey took out a Playboy azine, placed his feet on the desk and read--or looked at pictures--for a while, and then seemed to snooze

Sunday rolled around Nash arrived; Bailey went houard desk, and Sean had Fontini stop the video so he could see the time Exactly 10:00 am