dead, but again, at this late date, how much good would it do him? Endless Tomorrows would always be regarded as Gregory Kinsey’s last picture no matter who directed the final few scenes.
Production assistant Jerry Shaw didn’t stand to gain anything from the director’s death. To the contrary, he was barely out of the UCLA film program. He was riding quite happily on Greg’s coattails.
Cinematographer Daniel Ortiz, who’d allegedly been busy setting up for the next scene at the time of the killing, owned a piece of GK Productions. The company’s fate rested with the rise or fall of Greg’s star. Molly would have to find out what would happen to GK Productions now that its primary owner was dead, but odds were it had a better future with him than without him. If so, the temperamental but talented Ortiz wouldn’t want him dead.
All of which brought Molly right back to the women in the case. Again she dismissed Veronica as the least likely of the suspects. Laura Crain was Molly’s first choice, if only because the producer had blindsided her earlier with that attack suggesting that Molly had used sex to lure Greg to Miami. There was also the jealousy motive to substantiate the choice. Laura might have sought revenge against the man who was publicly humiliating her.
As much as she wanted to pin it on Laura, however, Molly couldn’t entirely dismiss the possibility that the mysterious model had ended her argument with Greg with a gunshot. Oh, how she’d like to find her before the police discovered her identity.
Just then she heard a commotion at the registration desk in the lobby. When she turned, she spotted a dark-haired, khaki-clad photographer, laden down with camera equipment, who was arguing with the clerk behind the counter. He hadn’t come through the door since she’d been standing there, so she had to assume the man was checking out.
She listened to the exchange for several minutes before realizing that the two were arguing in a mix of English, Spanish, and a third language.
Italian! Of course! This had to be the photographer on location with Greg’s model friend. As she had told Sergeant Jenkins, there were six crews currently shooting fashion layouts all over town, but only one that she knew of had an Italian photographer.
She inched closer to the desk, trying to detectthe man’s name in the barrage of words being flung back and forth. She finally gave that up as a lost cause. They were talking so rapidly she couldn’t even distinguish one word from the next.
When tempers seemed to have cooled a bit, she tapped the photographer on the shoulder. “Excuse me.”
He turned his still-stormy, intense gaze on her. “Yes?” he said, immediately studying her with a photographer’s critical eye. Boredom followed rapidly. Molly didn’t delude herself that she was model material, but his relatively quick dismissal hurt.
She pulled one of her business cards from her purse and handed it to him. “You are here from Italy, aren’t you?”
“Yes.”
“Are you working with a particular model? Dark hair. Dark eyes.” Admittedly, it was a weak description given the likelihood that it applied to half the models on location.
“I work with many models,” he said carefully. “Why do you ask this?” He studied her card more closely. “You have work for one of my models?”
She considered a blatant lie, but settled for a half-truth. “It’s possible,” she said. “Someone told me this one is very beautiful. I’m in touch with a number of casting directors who might be interested.”
“Casting directors? These are from pictures?”
“Yes. We have a crew filming here now, GK Productions. Perhaps you’ve heard of them? Gregory Kinsey? He’s very famous.”
His expression immediately closed down. He handed the card back to her with a disdainful glance.
“She would not be interested,” he said, confirming her guesswork. She had the right photographer, and with any luck he could be
Dorothy Hoobler, Thomas Hoobler