Page 53 of Once Broken
“Yes, but maybe that’s because the killer had no alternative.Where else could you find a vintage projection booth except in an old theater?She didn’t have a make-believe projection booth.She had to use the real thing.”
Riley felt a sudden chill as the implications crystallized.“You’re saying that Sarah Brooks might not be planning to commit her next murder in an actual church, but rather—”
“In a make-believe church,” Ann Marie finished.“A set designed to look like a church sanctuary.”
“A film set.At Magnolia Gateway Films.”Riley’s pulse quickened as the pieces locked into place.“Where Sarah Brooks works as the head of production design.Where she would have access, knowledge, control.Call Gillian Sinclair again.Now.”
Ann Marie already had her phone out, scrolling to find the number they’d called earlier.She put it on speaker as it rang.
“Gillian Sinclair,” the woman’s voice answered.
“Ms.Sinclair, this is Agent Esmer again, with Agent Paige.You’re on speaker.”
“Has there been any sign of Sarah?”Gillian asked immediately.
“No,” Riley replied, “but we have another question.Do any of the soundstages at Magnolia Gateway Films currently have a set for a church sanctuary?”
There was a moment of silence on the line.Then Gillian’s voice carried a note of surprise.“Yes, actually.Stage Six has a church interior that was built for the period drama we wrapped last week.It hasn’t been struck yet.”A pause.“Agent Paige, what’s going on?These questions—”
“Is anyone working on that stage today?”Riley interrupted.
“No, it’s dark.We’re not scheduled to use it again until next week.”
“I need you to have one of your security personnel check what’s happening on that soundstage,” Riley instructed, cutting her off again.“But tell them to be extremely careful.Don’t enter, just check if there’s any activity.Can you do that now, while we’re on the line?”
“Of course,” Gillian replied, the rustle of movement audible through the speaker.They heard her voice, slightly muffled as she apparently covered the phone to speak to someone else.“Jerry, I need you to check Stage Six right away.Just see if there’s any activity, but don’t go inside.Be careful.”
Riley and Ann Marie exchanged tense glances as they waited.The traffic light ahead turned yellow, and Riley slowed to a stop, fighting the urge to run it.
The muffled sounds of conversation continued on the other end of the line.Then Gillian’s voice returned, clearer now.“Jerry’s calling the security desk nearest Stage Six.They should be able to do a quick check.”
The silence stretched, marked only by the soft hum of the car’s engine and the barely audible sounds of Gillian’s office.Riley checked the time on the dashboard—10:15 AM.Lucy Morgan had been missing all morning.How much time did she have left?
“Agent Paige?”Gillian’s voice suddenly returned.“Jerry just heard back from security.The locks on Stage Six have been changed.They can’t gain access with their keys.”
“Ms.Sinclair, I need you to make sure everyone stays clear of that soundstage,” Riley instructed.“Don’t let anyone approach it.We and other law enforcement personnel are on our way there now.”
“Of course,” Gillian agreed, her voice strained.“I’ll make sure security keeps the area clear.Should I evacuate the rest of the studio?”
Riley considered the question.“No, that might alert our suspect.Just keep everyone away from Stage Six, specifically.”
“Please tell me what’s going on,” Gillian pleaded.
“I will when we get there,” Riley said.
After ending the call, Riley immediately told Ann Marie.“Call Hayes.Tell him what we’ve figured out.”
Ann Marie quickly dialed, putting the call on speaker just as Hayes answered with a curt, “Hayes.”
“Detective, it’s Agent Esmer.You’re on speaker with Agent Paige and me.We think we’ve identified where Sarah Brooks is holding Lucy Morgan.”
“I’m listening,” Hayes replied.
“We have reason to believe she’s not using an actual church,” Riley said, taking over.“She’s using a church set on Stage Six at Magnolia Gateway Films.We just confirmed with Gillian Sinclair that there is indeed a church sanctuary set there, and someone changed the locks.”
“You’re sure about this?”
“As sure as we can be without visual confirmation,” Riley replied.“The pattern fits.Sarah Brooks is a production designer.She works with sets every day.The first murder was staged on a set, not in a real nightclub.”
