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Her phone buzzed—a text from Finn:Thorne says he has footage of someone filming Jessica the night she died.Tech team processing it now.
Sheila was already moving.In the evidence room, the tech team had multiple screens set up, processing Thorne's files.On one monitor, timestamped footage showed the theater hallway the night Jessica died.The angle was awkward—clearly one of Thorne's hidden cameras—but she could see Jessica walking quickly, clutching a yellow envelope.And behind her…
"Stop," Sheila said."Go back a few frames."
The technician rewound slightly.There—in the corner of the frame, barely visible: someone following Jessica.Someone carrying professional camera equipment.
"Can you enhance that?"
The tech worked his magic, zooming and sharpening.The image was still grainy, but she could make out the camera rig—high-end, expensive.Documentary grade.
The kind James Morrison used.
"Pull up Morrison's festival credentials," she told Neville."I want to know every building he had access to, every production he worked on."
She headed back to interrogation.Thorne was standing when she reentered, pacing despite his cuffs.Finn gave her a look that said he'd tried to keep him seated.
"Morrison," Thorne said before she could speak."That's what I've been trying to tell you.But I needed to be sure you'd found enough to believe me."
"James Morrison," Sheila said."Bradley Greenwald's cinematographer."
"More than that."Thorne finally sat, his hands making those framing gestures again."He's been filming everything.Every production, every rehearsal, every private moment.Says it's for Greenwald's documentary, but..."He shook his head."The angles he chooses, the moments he focuses on—it's like he's studying them.Learning them."
"Studying who?Who is he going after next?"
Thorne took a quick, hesitant breath.
"This isn't the time to hold out on us," Finn said.
"Morrison has this private studio above the Mountain View Hotel where he does his editing.The film festival rents it for him.Anyway, two nights ago, I managed to get inside and take a look around.I was planning to document everything, but I didn't have time—I heard someone coming up the stairs and got spooked."
Sheila studied him, sensing he wouldn't have brought this up if he hadn't found anything."So you didn't document anything," she said."But what did yousee?"
"Just some of his editing notes.There's a sequence he calls 'The Final Performance.'He's been planning it for weeks."Thorne's hands finally went still."And he already has his next actor picked out."
"Who, damn it?"Finn said.
"Bradley Greenwald."Thorne's voice dropped lower."Morrison blames him for ruining his vision.Says Greenwald doesn't understand true cinema, true performance.The notes talk about making him part of the ultimate scene."
Sheila was already moving toward the door."How sure are you about this?"
"I know what I saw," Thorne said."But Sheriff?"She turned back."Be careful.Morrison...he sees everything as a scene to be filmed.Everyone as actors in his production."He made one final framing gesture."And he always gets the shot he wants."
CHAPTER TWENTY EIGHT
The editing studio above the Mountain View Hotel was dark when they arrived, but Sheila could see a faint glow from beneath the door—the kind of light given off by editing monitors.CSU was still ten minutes out, having taken a circuitous route to avoid drawing attention.
"Greenwald's not answering his phone," Finn said quietly."Hotel staff says he checked out an hour ago, but his car's still in the parking lot."
Sheila studied the door.No sound from within, but her instincts told her Morrison was in there.Probably editing his latest work, his "Final Performance" with Greenwald.
"Back entrance?"Finn suggested.
She shook her head."He'll have cameras covering all approaches.That's his signature—multiple angles, everything documented."
As if to confirm her theory, she spotted a tiny lens in the hallway's smoke detector, positioned for a perfect view of anyone approaching the studio.Morrison would already know they were here.
"We can't wait for CSU," she said."If he's in there with Greenwald..."