an ideal place to kill

Four days before the shooting, Patrick Purdy invited his half-brother Albert Gulart to his motel room, where they spent much of the evening drinking and cleaning and loading Purdy’s collection of guns. Conversation soon deviated to the familiar topic of killing people. In the past, the two of them had shared a desire to shoot policemen, even deciding on a bridge near Modesto as the ideal place to kill officers. That night, Purdy reportedly said, “Let’s do it,” to which Gulart replied, “You’re not ready.” They continued drinking, and awhile later, Purdy finally gave up on the idea, admitting, “Fuck it, they’re not worth it.” Investigators concluded that it was “probable” Gulart knew about his general plan and Purdy intended him to be his partner, due to his “guarded” account of that January 13th conversation, among other things, and he even admitted, “It’s kind of hard to talk about because somewhere in the future I would have went with him.”

When asked about Purdy’s suicide, Gulart claimed he killed himself “to get even with police, so they wouldn’t be able to punish him.” He also said suicide “takes all the guesswork out of it” because one doesn’t need to worry about when or whether to leave, the arrival of the police, or how many people were killed, then added: “You can concentrate more on doing it. You just fire away, and you hear it and that’s what happened. Basically, he knew what he was going to do.”




(Y/n) was quite surprised when she woke up the next morning, stumbling down the stairs at the early hour of five to find half the avengers in her kitchen. She peered down the stairway in confusion, trying to remember everything that had happened the day before, and why she ached all over.

Pietro was the first to notice her, his white hair more messy than usual as he turned his glance to the stairway. A grin flashed across his face and he gave the girl a comforting wave.

It all seemed to rush back to her as she returned the smile, edging down toward him.

“Ah, glad to see you’re okay kid” Steve commented, crossing his arms over his chest as he leant against the kitchen counter.

“Yeah, I just needed a nap” she yawned, itching at her nose.

“We’ve come to a decision” Nick interrupted the calm and happy mood, his face as blank as always.

(Y/n) nodded, pulling her messy pony tail out as she looked at him.

“You won’t be joining us on this mission-“

“No, I want to!” (Y/n) barked quickly, (Y/ec) widening in shock at her own words, let alone Fury’s.

“(Y/n) it’s far too dangerous” Maria sighed “You would be in constant danger and we owe it to your mother to keep you safe”

“I am not a child” (Y/n) huffed.

“But you’re not a soldier either” Tony shook his head.

“You came here for my help, so that’s what you’re getting”

“I wouldn’t feel comfortable with you running around out in New York-“Fury started.

“I can stop it” she yelled, everyone in the room growing stiff with her outburst.

“What?” Nat whispered, mouth wide open.

“I think – no I know, I know I can stop this” (Y/n) licked her lips nervously “I’ve been wanting to go to New York since I heard about this Necromancer. But-but I was afraid. I don’t feel scared anymore, I just to make it stop”

“What changed?” Clint asked.

“Hmmm?” (Y/n) frowned, not quite understanding him.

“What stopped your fear? Why are you so brave all of a sudden?”

(Y/n) stole a quick glance at Pietro before shaking her head.

“I don’t know. But somethings different. And I won’t sit back anymore. I’m going to New York, with or without you”


“The plan is simple, we distract the goons whilst Pietro and (Y/n) take out the Necromancer” Nick instructed. They were a few minutes away from New York, the team itching to get out and fight. Everyone was on edge, foots tapping and lips bitten to shreds.

“Why Pietro?” Steve asked “Surly you want someone like Nat if you’re going for stealth”

“I’m choosing Pietro because of his speed” Nick explained “If everything goes to shit, I want her out of there as quickly as possible”

“I’m not completely useless. I did take eight years of martial arts, and I can shoot a gun too” (Y/n) grumbled. No one said anything as she rolled her eyes at Fury’s glare, Pietro chuckling quietly.

“Get ready” Maria called over their earpieces, landing the Helicarrier as smoothly as she could. They had to move fast, as the sound would attract enemies from all over the city. And this was mainly a stealth missions, meaning loads of bodies in the one place all looking to kill them was not ideal.

Pietro picked up the girl silently and dashed away, running quite a few streets until slowing down to normal pace.

“You can put me down you know “(Y/n) whispered, adjusting her hold on the boy’s neck.

“It is no problem” Pietro shrugged “You are not heavy”

(Y/n) smiled softly, returning her gaze to the road and not his amazing blue eyes. She felt very comfortable around Pietro, and it probably had something to do with the fact they were bonded in a way. I mean, her soul had saved his from destruction, that have to have some impact on their relationship. She wondered if Pietro wasn’t as comfortable and he was just being polite. But with the little grin he gave her when she started humming quietly told her otherwise.

“So what do you like to do for fun?” she asked, flicking hair out of her eyes.

“Um, I don’t know” he mumbled.

“What do you mean you don’t know?”

“Well, it has been a while since I had a bit of fun to be honest. I’ve been busy saving the world

“Ah, I guess fighting criminals isn’t great for a living” (y/n) nodded in understanding “Still, I think it beats waitress”

Pietro was silent for a few moments.

“I like music” He answered, (Y/n) smiling widely.

“Who doesn’t?” she chuckled.

“I enjoy pranking Tony, that is always fun” he grinned.

“Yeah, that sounds good. Whenever my mum would piss me off I’d move all the furniture in the house over a few inches. And I mean like everything; paintings, couches beds, even cabinets. She’d always come back from home so confused. She couldn’t see the difference, but she knew something was wrong” (Y/n) snickered.

“I would pull similar pranks on my mother. One time Wanda and I-“

A loud bang interrupted him. Quickly, (Y/n) jumped down from Pietro’s arms, hand brushing at the gun Maria had given her.

They pair stood back to back, breathing slow and silent as they waited for whatever made the noise to come around the street corner.

Soon enough about ten blank looking men and women jogged around the corner, all staring off in different directions and not paying attention to where they walked. But, none of them tripped over or banged into each other. As the Necromancer was in the middle of the pack, hands raised as he directed them down the street silently.

There were a few seconds were Pietro and (Y/n) were just watched by the group. That was of course until the Necromancer snapped his fingers. Instantly the group charged, grunting and rambling like animals.

Pietro was the first to act, knocking down two of the zombies that got too close. After watching Pietro dash away from her side, (Y/n) seemed to snap into action, aiming and pulling the trigger at anything in her view. She even tried to hit the Necromancer a few times but he always made another body leap in front of the bullet. It didn’t matter how many times she hit them however, the minions always got back up and ran at her again. In no time (Y/n) was out of bullets. She fumbled around, trying to reload her gun quickly before anything knocked her over.

“This is hopeless, we need to leave” Pietro panted, grabbing the girl’s arm.

“No, we probably won’t get a chance like this again. He’s right in front of us” She shook her head, licking her lips nervously. She had a slight idea, but it was kind of crazy.

“Then what are we to do?” he asked, pushing away a zombie that got too close.

“Look, my mother used to talk about this thing where she could draw power from those she bonded with and well, I kind of have an idea but it’s probably not going to work and it’s pretty stupid so-“

“Well, it’s all we’ve got”

“Pietro I don’t think…” She trailed off as all of the bodies started to close in on them, forming a tight circle around the pair.

“Oh fuck it” she sighed quietly, grabbing the boy’s cheeks and pulling him down to her height. She smashed her lips onto his, kissing him with such an unexpected urgency that Pietro just stood their shocked. She pulled away moments later, forehead resting against his. She opened her eyes slowly, body going alarmingly still. Her eyes had changed from the friendly (Y/ec) to a bright golden yellow and she turned away from the very embarrassed Pietro, holding out her hand to the closest zombie.

It touched her hand hesitantly, a bright flash radiating from her finger tips and onto its grey ones. In seconds the golden glow had spread over its whole body. There was a bright flash of light and the body collapsed, finally at peace.

It was like a chain reaction. More and more zombies reached out toward to touch her, all fighting to get toward her. No matter how much the Necromancer yelled they didn’t listen and in under a minute every once enslaved corpse was again really dead, their bodies surrounding (Y/n) as she shook.

When Pietro realised she was going to collapse he ran over to her, supporting her weight gently.

“How did you-“

Pietro never got to finish his question, as animal like cries interrupted him. Other shouts could also be heard. It seemed the Avengers had gotten into quite the pickle.

(Y/n) weakly made a move toward the sound but Pietro held her back.

“There is no time” he whispered, pointing to the Necromancer who was sprinting away from the pair as if hell’s dogs bit at his feet.

The two exchanged a quick glance before (Y/n) leapt onto the boy’s back, wincing as her hair whipped around her face as they flashed across the street in a blue blur.

In moments, Pietro had ran in front of the Necromancer, (Y/n) reloading and cocking her gun against his forehead before he could dash away.

“The mask, now” She hissed, her other hand holding onto Pietro’s shoulder worriedly. He daren’t take his eyes of the criminal however, watching as he removed the mask slowly from his face.

(Y/n) let out a quiet gasp and her gun dropped to the floor. Pietro looked up at her sharply, wondering what was wrong.

“D-Dad?” she stuttered quietly, tears flooding into her (Y/ec) eyes.

“Hey sweet heart”


Denial and meat-eating

All of the following is from The Face On Your Plate by Jeffrey Moussaieff Masson.  It’s a little long but interesting.

“Denial…is simply a specific psychic defense against an overwhelming reality. … Those who eat meat are in massive denial. … We deny an idea and then repress the feelings that accompany that idea. … The feelings that accompany eating another being are stronger – much stronger – than the accompanying thoughts. … If the idea of eating a sentient being is conscious, the feelings of disgust, of horror, of guilt, may lie beneath our consciousness; in other words, we may well remain unaware that we have such feelings. … We train children from a young age by providing them with picture books about idyllic farms where the humans live in harmony with the animals and where we do not even obliquely refer to eating them. … The children are trained to disassociate. They eat in a kind of trance of denial. …

“What should we call something we deliberately choose not to know about? And what do we call it when an entire society takes this path? Consider slaughterhouses. They are remote from our homes and remote from our awareness. The ‘family farm’ conveys an image of a good life for humans and other animals alike. I doubt such a place ever existed anywhere except the human imagination. After all, how ideal could a place be when its raison d'etre is to kill the occupants? And these occupants, the animals on the farm, did not choose to be there. …

“As long ago as 1906, Upton Sinclair in his novel The Jungle wrote this searing passage: 'The shriek was followed by another, louder and yet more agonizing, for once started upon that journey, the hog never came back. One by one the men hooked up the hogs and slit their throats. There was a line of hogs with squeals and lifebood ebbing away. Until at last each vanished into a huge vat of boiling water (some still alive). The hogs were so innocent. They came so very trustingly. They were so very human in their protests. They had done nothing to deserve it.’ …

“The kind of denial referred to above is the one we employ when it is in our interest, that is, when it leads to less guilt, less cognitive dissonance for us. We are concerned with our own suffering, not the animals’ suffering. Denial is a convenient overarching mechanism. But we employ other defenses as well: most simply, we just avoid thinking about something. This surely explains some of the unpopularity of the person who insists we pay attention. …

“When we see animals suffering, some people simply walk away. For others, the distancing mechanism is more psychological: they never connect the face on their plate with a single animal’s death. Food comes so disguised it often requires a conscious effort of the imagination to put the face back onto the meat. … When the underlying reality is particularly unpleasant, we minimize – numbing ourselves to the actual extent of the real story. We say, 'Things can’t possibly be as bad as people tell us,’ because we don’t want them to be that bad. This is a form of magical thinking, a way of shutting our eyes. …

“The classic psychological defense of 'splitting’ is another form of minimization. We can say that there are good farms and bad farms, and refuse to have anything to do with the latter. But it is still a defense mechanism, because we have split something in two that belongs as one: the animal who provides the food. Whether she comes from a good farm or a bad farm, her life is still taken from her long before she is ready. …

“Other times we use the awkward defense of 'reversal.’ Instead of concerning ourselves with the suffering of the animals, we claim that it is we who are the ones who suffer by having to keep these animals fed and safe. We act put upon. We become testy. We make fun of animal rights activists. Sometimes we even make fun of the animals themselves. Notoriously in the footage taken by the Humane Society of cruelty in slaughterhouses, we saw men mocking the animals they were torturing. … The psychology of such behavior is worth an entire book. It is odd, when you think about it, that some people may hurt animals or other people as a way of dealing with their own terror of being hurt, or as a means of running away from the feelings of responsibility and guilt.

“In severe cases we can even dissociate. I think of children who understandably do not want to recognize the animal on their plate as the animal they were playing with earlier in the day. … The psychologically healthy reaction of mourning the animal who was their friend is not encouraged by adults, primarily, I think, because it raises uncomfortable questions that are difficult for any adult to answer honestly. 'Dad, I thought you raised me to show compassion to those less unfortunate than we are, or for those who suffer?’ There is no good answer to this good-faith question. …

“You could argue over whether the denial is conscious, pre-conscious, or unconscious, or when it begins to shade into 'disguisal’ (a parallel to denial), as when we disguise what we eat either literally (in packaging) or with euphemisms – pork, bacon, or sausage, not pig; beef, steak or hamburger, not cow; mutton, not sheep; venison, not deer; veal, not calf; and perhaps most notoriously, pate de foie gras, not diseased goose liver. … Not only does industry profit [from denial], so do all the consumers who eat meat. It is in nobody’s interest to acknowledge the reality, the suffering, the horrible lives, and the savage deaths of the animals, except for the animals themselves and their few, but growing, number of advocates.

“In the past, some animal scientists have engaged in a kind of willed ignorance, falsely claiming that animals feel nothing. This position became increasingly less tenable as more research became available, but there were still the objections that what animals feel may well be beyond our understanding, and hence outside the realm of our possible empathy. Yet one need not know all the details of what another person suffers to know that they do suffer. More and more, people are giving animals the benefit of the doubt.  Could we not at least maintain that while they feel pain (perhaps even more keenly than we do), they do not reflect about the pain, and hence avoid the kind of suffering that comes from contemplation, self-awareness. or memory?  This is an unlikely source of comfort:  we need only observe how dogs avoid a person who has been unkind to them to recognize that the memory of pain is critical to their very survival. …

“It is only when the curtain of denial has been torn aside that we are free to make the choices each of us must make for ourselves. We must remove ourselves from whatever blind hides our vision, and look out at the horizon to face what we see there. We owe animals no less. We also owe ourselves no less, it turns out.”


Un posto ideale per uccidere
Also Known As (AKA)
Bulgaria (Bulgarian title) Оазис на страха
Spain Un lugar ideal para matar
France Meurtre par intérim
Greece (transliterated) I vromiki kyria
Greece (video title) Idanikos topos eglimatos
Japan Garasu no tabi
Japan (English title) Love Stress
Portugal Um Sítio Ideal para Matar
USA (dubbed version) Dirty Pictures
USA (alternative title) Oasis of Fear
West Germany Deadly Trap
World-wide (English title) An Ideal Place to Kill

Directed by Umberto Lenzi

Music by Bruno Lauzi

Writing Credits (in alphabetical order)
Antonio Altoviti
Lucia Drudi Demby
Umberto Lenzi

Release Dates
Italy 18 August 1971
Ireland 8 June 1973
Japan 13 October 1973
USA 1974
France 2 February 1975
West Germany April 1988 (video premiere)
USA 21 March 2015 (The Killer Must Kill Again!: Giallo Fever)

Cast (in credits order) complete, awaiting verification
Ornella Muti Ornella Muti …
Ingrid Sjoman
Irene Papas Irene Papas …
Barbara Slater
Ray Lovelock Ray Lovelock …
Dick Butler (as Raymond Lovelock)
Michel Bardinet Michel Bardinet …
Jacques Stany Jacques Stany …
Umberto D'Orsi Umberto D'Orsi
Calisto Calisti Calisto Calisti …
Police Inspector
Ugo Adinolfi Ugo Adinolfi …
Gas Station Attendant
Salvatore Borghese Salvatore Borghese … Agostino’s Friend (as Salvatore Borgese)
Giuseppe Terranova Giuseppe Terranova
Carla Mancini Carla Mancini …
Shop Worker
Umberto Raho Umberto Raho …
Police Inspector
Antonio Mellino Antonio Mellino …

Rest of cast listed alphabetically:
Antonio Anelli Antonio Anelli …
Tennis player (uncredited)
Tom Felleghy Tom Felleghy …
Col. Steve Slater (uncredited)
Gennarino Pappagalli Gennarino Pappagalli … Passerby (uncredited)
Franco Ressel Franco Ressel …
Man That Buys Aural Porn (uncredited)

filming locations
Copenhagen, Denmark

Chiasso, Cantone Ticino, Switzerland

Florence, Tuscany, Italy

Monte Argentario, Grosseto, Tuscany, Italy

Pisa, Tuscany, Italy

Ponte Chiasso, Como, Lombardia, Italy

Versilia, Tuscany, Italy