Sicario – Day of the Soldado – Street Scene Surveillance

I always loved this next scene in Sicario, Day of the Soldado. In it, CIA Officer Matt Graver, played by Josh Brolin is turning loose an asset he trained up as an assassin, named Alejandro Gillick, played by Benicio Del Toro.

The two Sicario movies were somewhat deeper than most people saw. They are the story of Alejandro, who was a prosecutor in Mexico, when a Cartel boss kidnapped his family, cut his wife’s head off, and then threw his deaf daughter, who he loved more than anything, into a vat of acid, dissolving her alive. He was then recruited by CIA Officer Matt Graver, who trained him up as an assassin to use against the Cartels. And in the process, Alejandro has become almost a serial killer of Cartel members, apparently compulsively hunting and killing them on his own time, as well as under Graver’s orders. Graver, in the first movie, noted to another character, “Alejandro will work for anyone – us – them – anyone who will turn him loose, and point him at the people who made him.” In the second one, when a CIA supervisor orders him to kill Alejandro to tie off a loose end, Graver asks incredulously, “Do you know how hard he was to make?” The implication being he made Alejandro. He probably arranged Alejandro taking on the prosecutorial case against the Cartel Boss who would kill his family, provided the Cartel boss with the intelligence that indicated killing Alejandro’s family would be a good play, and then provided the Cartel boss with everything he needed to facilitate his family’s murder through cutouts. All to shift Alejandro’s path, and make him approachable and usable as an assassin. Meaning in a future episode, Alejandro will probably turn himself loose, and point himself at the CIA and Graver, and everyone on all sides of the conflict which inserted itself into his life. He will still be a message, but the message will be different yet again.

But for now, in this scene, Alejandro still thinks Graver is on his side, and is happy to kill Cartel members for Graver.

The reason for this post is, I find it interesting a lot of these movies incorporate exactly what you would see if you were to see the scene for real, in terms of surveillance. I don’t know why, it is entirely unnecessary given the audience would have no idea of any of it and would never miss it. It even risks the audience learning what surveillance looks like, and beginning to spot it around their neighborhoods and stores.

And the reality is, whenever a mission would be run like this, it is not akin to some sort of fight between competing entities. Rather in the real world it would be Cabal having two elements under its command put on a show of violence and mayhem for the amusement of the elites, and no matter which of their pets died gruesome deaths, Cabal’s control is not threatened. CIA Officers or assets die, Cartel members die, none of it matters. None of this is really real, in the sense we are taught to think it real. There is one entity in full control of everything. Still, if one professional side decided to kill the other, and employed surveillance support, this is what it would look like.

If you are a target, you will realize these details end up perfectly spot on. They are exactly what you would see if you were there, the CIA ran surveillance support of direct action for NatSec reasons, they were at war with the Cartels, and there wasn’t an overarching Cabal in control of everything. Many times it is exactly what you see as you travel around to the grocery store.

Lets take a closer look at the three details here which are so spot on, and yet every normie would miss them. First the scene – watch it full screen, and see what you notice:

A reviewer wrote somewhere that this scene was just pointless violence, but he missed the point. The fat guy who is killed is shown at the end of the scene to be the top Cartel lawyer. So he and Alejandro knew each other as colleagues. They had faced off in court, and stood across the aisle from each other in business suits, even talking to each other civilly in polite society. Alejandro was the prosecutor, standing before the judge, frustrated time and again, as the fat guy got his clients off on technicalities and corruption. And now Alejandro is pursuing justice more directly, the only way it can be gotten in this world. It is why Alejandro only fires a single cold shot into the car engine block to warm up his pistol for precise accuracy for use on a single target, rather than joining his friends in spraying up the car, it is why the other shooters ignore the lawyer and leave him to Alejandro, and it is why the lawyer needed to put his glasses on and Alejandro took off his mask, despite the opsec issue. Alejandro wanted him to know before he died, to see his face. Even the choice of the Beretta, with the crisp single action trigger to facilitate the bump-firing was great. Just a great scene. If you look closely, it reveals his past, his present, and the only way the Cartels can be dealt with going forward, at least in this fantasy world where the Cartels, and the CIA, and courts, and the US government politicians are not all subsidiaries of the exact same broader command structure that runs all of them to one, single purpose.

Now lets look at the surveillance.

Scene one, below, they are being observed exiting the building by the newspaper reader in the background, who is precisely calling their exit back to the team. It is a busy office building, in the middle of a workday, but there is a guy sitting on an uncomfortable bench seat reading a newspaper in the lobby, and he just happens to have a sightline to the door used by the lawyer. Why they are this precise in the portrayal when nobody would notice these things is puzzling, but that is clearly what they are doing:

Next, targets have exited the sightline of the first static post, and are about to turn the corner and head into the kill zone, so a new unit needs to call the corner-turn to forward units. There is no good reason to loiter in the area, so a mobile foot unit is deployed on the first unit’s call, with the purpose of keeping eyes on the target and calling the corner turn. If the target is surveillance-aware, it is much more subtle than having somebody just standing there with no purpose, as it reduces the “eye’s” exposure to a few seconds at the end of the target’s movement through this phase of coverage. You will say the eye could have set up behind a window in an apartment across the way, and you would be right. But for some reason it is done like this, from this close. Maybe they want the eye within earshot for procedure:

Now below, we have two foot units, probably for redundancy in the event of radio failure or another unforeseen circumstance, as this moment must be timed precisely and without fail, so the van will cut off the target’s movement at the exact moment they hit the curb. Too early and the car could back up out of the killzone and escape, and too late, and the car is into the street and could blast through the blockade and escape. Both units are as close to the corner as they can be, and yet, just beginning to clear the killzone. They probably are ready to “forget” something and double back in front of the car to stall it, if the van ends up a second or two off. They were listening to the previous two units, and timed their movements to what they were hearing to put them in exactly that position to call the car’s exact approach to the van driver.

Notice how much more obvious a guy standing at the corner would be, and how having units appear to be moving on their own tracks in their own lives causes them to disappear into the background. All it requires is them growing accustomed to executing with that kind of precise timing:

If you are under coverage, that aspect of timing is the only indicator you will get. People repeatedly hitting corners just as you do, or timing movements precisely to your own entrances and exits from scenes can happen in real life by chance. The only indication you may have of it being surveillance will be the statistical unlikelihood of it happening over, and over, and over again, in a repeatable fashion which defies statistical likelihood.

And of course depending on the risk you face, the more paranoid you might want to be. A cartel lawyer, noticing two such statistical unlikelihoods in a row may want to decide to stop and reverse his path suddenly, or turn and jump over a curb into the street to head in an unlikely direction quickly, and be a lot more unpredictable in the event there is something prepared for him that he is heading into.

Whereas you, on your way to the grocery store as a regular citizen, might just want to increase your vigilance at the next decision point or blind spot and see if somebody pops up at just the right moment, haplessly wandering about on their own course in life, with a perfect sightline to what you are about to do, or which direction you are about to go. As things get more chaotic, you will be better and better served to know these things.

Both movies are great. Alejandro is the deadliest killer there, and at the same time he is the only one in the movies who is genuinely human, from the lowest sicario to the highest ranking US government administrator. When he needs to warm his barrel and offload a cold shot, he even responsibly does it into an engine black, rather than just let it go in the direction he is heading. He is the killing machine, and yet everyone else is a psychopath but him. I have a feeling it is not far off from the reality. And he is being betrayed by everyone, and the trajectory is clear – it is all leading up to that realization, at which point he will become more ruthless and lethal than everyone combined, because he will be the righteous man motivated by his heart. In a world of psychopaths, righteousness persists because it is more powerful as a motivator than mere self-interest.

I’m sure they will fuck up the next one. Anything which doesn’t end with him killing everyone brutally and taking off into the regular world, away from it all to live his life in peace, will be wasted. And if there is anything Hollywood can do it is fuck up a good thing. But the first two were great.

Still, I find it interesting the people making these movies are not just hippy-dippy druggie liberals who managed to stop navel-gazing long enough to create some fantasy, with lots of guys shooting guns at each other, that they saw in their minds while sipping mojitos and snorting coke poolside in their mansion. Whoever makes these movies has either been trained, or they have been knowingly staring at surveillance all around them for a very long time, to the point they cannot make a movie without including all of the most subtle nuances of it. I have noticed this in a few movies now. As I have said, there is a secret society in this world who knows, and the only more shocking thing is, they have successfully kept this secret from everyone else.

I don’t know what it means, but I know it is probably significant to the reality of our world in some regard, and how the people which create the neurological inputs entering our brains are chosen, and what their backgrounds are. It may speak to a much deeper involvement of CIA and intelligence in the movie-making process. Why they would expose all this though, is a mystery to me.

Spread r/K Theory, because the details are everywhere.