I2Final Draft, Inc. Final Draftz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econd double Written by Slavcho Dimitrov FADE IN: 1. INT. PRISON - DAY Jail interior. Cells are empty. It is calm around and no one could be seen. The jail gates leading to the yard are being opened and a lot of prisoners come in long formations heading to the cells. CHARLEY BENNET, good looking with middle stature, about thirty marches in one of the formations. He stops in front of a cell and enters. CUT TO: 2. INT. PRISON - CHARLEYS CELL - DAY Charley is sitting on the bed his head bent down looking express sly at the floor. BILLY, his co-cellar about thirty-three, tall, muscular person with a long hair is sitting on his bed in front of Charley and is looking up some magazine. Billy is nodding his head. Billy (looking at the magazine) I wish I could have that baby some day. I would show her what does a real man can do. Billy has a look at Charley who continues to sit with his head bent. Billy (CONTD) What's wrong with you? Charley has a look at Billy and nods. The jailer (O.s.) (shouts) Lamps ladies. Billy turns the lamp off. Charley lies on his bed and gazes at the ceiling. 3. INT. OFFICE OF SOME BIG BOSS - DAY - about five years PRIOR TO PRESENT DAY (Charleys memory) FILM PRODUCER about 50 with lustrous hair dressed in an expensive black suit is sitting behind a big shining desk. Charley is sitting on a chair in front of him. The producer's mouth is biting a big fuming cigar. The Producer I watched your film. (pause) Young man, you'll have great future. The Producer returns his cigar in the mouth. 4. INT. RESTAURANT - NIGHT - about five years PRIOR TO PRESENT DAY (Charleys memory) Charley is in a black expensive suit. He is sitting on a same table with DON a man about 55 with a white beard and short cut white hair dressed in a white suite and two young ladies about twenty-five. Don who is sitting in front of Charley lifts his glass. DON For Charley Bennet, one of the best young film directors that we have. The two ladies look at Charley, grin and lift their glasses. Charley smiles. CHARLEY Don, you make me feel uneasy. Everybody has a sip from the glasses. CHARLEY is nearing Don. Charley (CONTD) (whispering) You should have said the best one. Don and the two young ladies smile. Charley is leaning on the chair happily. 5. INT. NIGHT CLUB - NIGHT - about five years PRIOR TO PRESENT DAY (Charleys memory) Charley and NICK, a friend of him about 30 with a long black hair turned backwards both are sitting with two beautiful young women about 25. There are plenty of empty glasses on the table. Charley is a little bit drunk. WE HEAR a LOUD MUSIC. Nick is whispering in the ear of one of the young ladies as he smiles. She smiles. Charley is slowly turning his head back. On the dancing area a lot of people are dancing. Nick (v. o.) Charley (pause) Youooo Charley. Charley turns to Nick Nick (CONTD) I'm going to the bar. Shall I bring another one? Charley rubs his eyes. Charley No, I'm fed up of being here. (pause) Let's go out. 6. INT. CHARLEYS CAR - NIGHT - about five years PRIOR TO PRESENT DAY (Charleys memory) Charley is driving his car on some street. He is still drunk. One of the girls is sitting by him. Nick and the other girl are sitting on the back seat. Both are drunk and are laughing loudly. Charley torpids for a moment, his arms drop and the car turns suddenly to the left entering the opposite side of the road. Charley quickly open his eyes and turns the steering wheel to the right. 0002000007E200000F2B7DC,Nick Charley, let me drive for you. Charley No, I'm OK. Nick Are you sure? You drank a little bit more in the club. Charley I only drive my car. Nick smiles and lifts his arms. Nick OK. Do, as you like. Charley rubs his eyes with one hand Charley Damn! Nick takes out from his pocket a little packet full with a white power. He opens the packet with his little finger and takes out a little from the power. The girl sitting by him snuffs from the power. Nick smiles. Nick (content) Bravo. Nick takes out a big quantity of the white power with his little finger and lifts it to his nose. Charley turns his head backwards to Nick Charley What the fuck... The car jumps because of some holes on the road. Nick drops the little packet and the power is dispersing everywhere and some of it grazes Charley's eyes. It is being formed a thick white cloud. Charley cries from pain and turns his head forward as he is rubbing his eyes. Nick (shouting) Look out! Charley removes his hand from his face, looks with wide-opened eyes forward and presses the brakes. 7. INT. PRISON - CHARLEY'S CELL - NIGHT Charley sleeps. He cries out, opens his eyes, stands up and looks round. 8. EXT. PRISON - THE YARD - DAY Charley is by Billy who is on a bench and lifts weight. 9. INT. INTERROGATION room - day - about five years PRIOR TO PRESENT DAY (Charleys memory) At the table in front of CHARLEY is sitting his ATTORNEY, about 45, good-looking in an expensive brown suit. Attorney Things are no rosy. Driving in a drunken state Charley How is the woman? Attorney Out of danger. The physicians are optimistic she will recover completely. Charley Thanks God. Attorney You'll be accused of drug possession, too. Charley What? The drug is Nick's. Attorney It was found in your car. I've checked it. Your fellow was caught with drugs once. He won't admit the drug is his. 0002000008A6000017078A0,Charley Damn. Attorney The newspapers will cause us a big problem, too. They like very much such stories. Charley is desperate. He nods his head helplessly. Attorney (CONTD) There is one more thing. (pause) Melinda Vais. Charley Who? Attorney One of the girls you were together that night. She is minor. Charley No. I've done nothing Attorney Don't worry. I'll arrange the problem with her parents. Just pray the press not to be informed. For the rest I don't know what shall we do. 10. EXT. PRISON - THE YARD - DAY Charley is by Billy who is on a bench. Billy stops in the middle of the movement. N holds the bar. Billy No. Charley You'll have a heart attack one day. Charley lifts the bar and puts it on the stand. Billy gets up. Billy I could lift it once again. Charley Next time. Billy takes two dumb-bells from the floor next to him and starts training his biceps. He has a look at Charley who is looking somber in front of him. Billy What's wrong with you? Don't you want to leave the place? Charley smiles a bit and starts going to the bench. Chuck (v.o.) Hey Bennet. Charley has a look aside. Some prisoners are playing basketball. CHUCK, about 35, strong with a shaved head is looking at Charley. Chuck (CONTD) We need one more player. CHARLEY turns his head and goes ahead Chuck (CONTD) What is wrong with that guy? 11. INT. PRISON - CHARLEY'S CELL - NIGHT It is dark. Charley is on his bed looking at the ceiling. 12. INT. COURT - DAY - five years PRIOR TO PRESENT DAY (Charleys memory) Charley is in a black suit. He is the Court sitting by his attorney at the place of the defendant. Both of them stand up. The JUDGE, about 65, bald of short stature puts his spectacles on. Judge Mrs. Bennet because of driving in a drunk condition, inflicting a heavy physical injury and drug possession I give you a prison sentence of five years and I fine you to pay damages to Mrs. Gordan amounting to $ 120 000. The Judge hits the mallet. 00020000085800001FA7852,13. EXT. PRISON - ENTRANCE GATE - DAY Charley leaves the jail by the gate. In front of him stops some car. Tim Bhrowser, a friend of him about 35, fat with a curly beard and moustaches gets out of the car. They both with Charley hang. Tim How are you, man? Charley smiles and lifts his arms a little bit. Charley Free at last. Tim smiles. Tim Let's leave that place. 14. INT. BAR - DAY Charley and Tim are at a table Tim (CONTD) Then he agreed with 12 000. I have no idea what we should have done if he had denied. We took pictures of him for two weeks. Charley smiles and nods. Charley You're always the same person. Tim The flitting was a big nightmare. We nearly couldn't agree about any scene. (pause) It was worst that film. The film we both shot in that hovel. Do you remember how we Tim throws a look at Charley who is looking at nowhere. Tim Charley Charley has a look at Tim. Charley What? Tim Are you OK? You don't look very happy. Charley waves with his hand carelessly. Charley No, I just Charley sips from his glass and smiles. Charley (CONTD) So, you have shot it for two weeks only. Tim Yeah, we acted in a great rush but we did it perfectly at last. 15. INT. OFFICE - DAY Charley is setting in front of BEN HANNING about 56. Ben is looking through some file. Ben Really impressive. (pause) Very impressive! Ben closes the file. Ben (CONTD) Mr. Bennet there is no doubt that you're a talented man and you'll manage the business. But having in mind your past I' really sorry but we should look for somebody else. 16. INT. CHARLEY'S APARTMENT - LIVING ROOM - DAY Charley is sleeping on the sofa. A half-empty bottle of whisky is by him. WE HEAR somebody is KNOCKING at the door. Charley wakes up, has a drowsy look at his watch and rubs his eyes. Charley It's open, Tim. 0002000006E8000027F96E2,Tim enters the apartment. Charley is slowly getting up from the sofa. He looks awful - his hair is dirty and he has a bear and big rings under his eyes. Tim Charley? What Charley takes the bottle of the whisky and has a look at Tim. Charley What? Tim Look at yourself. Do you spend your time like that? Charley sips from the bottle and broods for a moment. Charley Mainly I do so. Tim What's happening with you? Why not Charley sits in an armchair. Charley You wanna know what's happening? Charley leans his head on his hand. Charley (CONT'D) No one wants me. Tim Don't say that. You know that Charley Come on, Tim. All the week I have been going to any interviews. We don't have to be under a delusion. I won't find any work. Tim You don't' have to stop trying. (pause) I will talk with some people. Charley No sense. No one will agree to appoint me. Tim Come on. When I tell you I'll find you a job I mean I'll find you a job for you. You just don't lose your mind. Tim offers his hand. Tim (CONTD) OK? Charley smiles and takes his hand. Charley OK. 17. INT. CHARLEY'S APARTMENT - LIVING ROOM - DAY Charley speaks on the phone walking nervously in the room. Charley (CONTD) Hello, Vince, Charley is here. Listen to me. Do you still work for those italians? (pause) Mini-serial film - that's great. (pause) Couldn't you make an appointment with some of the producers? (pause) Come on I know you can. I only want to talk with them. (pause) So, you can't do it. OK when we're going to see each other? (pause) I'm busy. (pause) No, I can't understand. It's OK we'll see some other time. Angrily, Charley hangs up the receiver, sits in the armchair and holds his head with both hands trying to invent what to do. 0002000008AC00002EDB8A6,18. INT. CHARLEY'S APARTMENT - LIVING ROOM - DAY Charley is sitting on the bed staring as hypnotized at no where. He is leaning against the wall tossing a coin in his hands. WE HEAR the phone RINGS. Charley gets up and lifts the receiver. Charley Hello (pause)? Hi, Tim. Charley rubs his eyes with his hand. Charley (CONT'D) No, I didn't get the job. Charley goes to the armchair and sits in. There is a bottle of whisky on the table by the armchair. Charley (CONT'D) Yeah, I know. Charley hesitates for a while then he takes the bottle and sips from the bottle. Charley (CONTD) So I go on trying. What else have I to do? 19. INT. CHARLEY'S APARTMENT - DAY Charley enters the apartment. He is in a black suit. Charley undresses his jacket, throw it on the floor, sits in the armchair and sighs tiredly. He puts his hand in his pocket, takes out some creased bank-notes of a little value, puts them on the table by the bottle and stares glumly at them. 20 INT. OFFICE - DAY Charley is sitting in front of HARRY PARKER, about 46, fat, bald with big bristled ears. HArRY As I have told you, Mr. Bennet, that job requires some definite qualities. You should be communicative, be kind. Extremely important is the right method of approach. (pause) Do you think you'll manage? Charley Yes, Mr. Parker. 21. INT. TELE SHOPPING - DAY Charley is sitting behind the desk and is selling by the phone. Holding the receiver he is looking round nervously. A MAN about 45 dressed in a chequered jacket, fat, bald with curly hair speaks on the phone. MAN (boring) Yes, we provide consummative, too. Charley has a look at the other side. HAROLD SIMS, about 27, thin with a black shining hair and spectacles contentedly hangs up the receiver and notes something in a notebook on his desk. A blonde WOMAN, about 35 with a lot of makeup on and her legs on the desk talks on the phone. She has a cigarette in her hand. 00020000097900003781973,WOMAN Yeah and the I was telling his that I'd like visiting again that club by the cinema and he Mr. VALDES (on the phone) (v. o.) Hello? Charley is startled for a moment by the voice in the receiver.. Charley Mr. Valdes, let me introduce to you the last product of the firm S.K.N. Mr. Valdes (v.o.) Don't give me that, man. I don't buy junk by the phone. The connection is off. Charley hangs up and without leaving the receiver he is staring at the phone. WOMAN (v.o.) Hey, are you all right? Charley lifts his head. JENNY FARROW about 25, very beautiful with a light-red colored hair is standing by him. Jenny is dressed in a worn pair of jeans and a short leather jacket. Charley Yeah. Jenny Are the clients satisfied? Charley smiles. Jenny (CONTD) I'm going out to have a coffee. Will you come with me? Charley hesitates. Jenny (CONTD) What you gonna work in lunch time? Charley OK. 22. INT. CAFE - DAY Charley and Jenny are sitting at a table in a cafe?. Jenny lights a cigarette, has a look at his watch and is looking around. It seems she does not remark Charley. Jenny What so complicated to bring a damn coffee. I hate such things. It seems that it's not enough for me to be in that damn hole-office all day long. Jenny has a look at Charley. Jenny (CONTD) Cigarette? Charley I don't smoke. Jenny Good for you. You are making one stupid thing less than me. A WAITER is passing by the table. Jenny turns to the waiter and makes him a sign to come. The waiter comes to her. Waiter What will you offer? Jenny smiles. Jenny We've already ordered two coffees. I don't think they are made since 15 minutes passed, but anyway could you check. Jenny turns to Charley. Jenny (CONTD) It is hard to believe, isn't it? Charley nods. JENNY (CONTD) Those people might be paid to walk among the tables only? What's the date today? Charley Fourteenth. Jenny What a hell. I'll be cut the electricity again. The waiter puts two coffees on the table. Jenny (CONTD) (sarcastically) Thank you so much, we are really obliged to you. The waiter, really hurt, is walking away. Jenny (CONTD) I still don't know your name. Charley Charley. Charley Bennet. Jenny Jenny Farrow. Jenny gazes at Charley. Jenny (CONTD) You don't look like the other idiots. I wonder what are you doing in that damn office? 000200000905000040F48FF,Charley I have no money at all. Jenny It sounds familiar to me. Charley has a look at her watch nervously. Charley Don't we have already to Jenny To be back? Charley nods. Jenny (CONTD) (CONTD) Do you think that Parker will do anything if he realizes that we are absent. Charley Well Jenny He is not even clever to make you remark. Believe me I know it by experience. Charley smiles. Jenny (CONTD) I'm sure he had that speech about the importance, the responsibility of the work, the right approach and other similar nonsense. Charley Yeah. He looked very serious. Jenny He likes being a chief of some very important business. As he is bald-headed and with his pricked up ears he is like a cartoon's hero. As Jenny looks up and tries to remember. Charley Miky Mouse? Jenny has a little surprised look and smiles loudly. Jenny (loughing) Yeah. The same, exactly. Jenny smiles louder. Jenny (CONTD) How did you occur of him? Charley smiles and lifts her shoulders Charley Don't know. At the first moment when I came in the office and I looked at him He was looking at me with that broad smile. Jenny Yeah, that smile. Jenny has a look at her watch. Her smile disappears. Jenny (CONTD) Damn. Jenny stands up and quickly starts gathering his belongings from the table. She is in a hurry for somewhere. Jenny (CONTD) Today is a bad day for me. Will you pay for me my coffee? Charley nods. Jenny (CONTD) Thanks. I am really obliged to you. Jenny is running towards the exit. 23. INT. CHARLEY'S APARTMENT - DAY Charley opens his apartment door and comes into it. He is holding some letters. Charley goes to his armchair looking through the letters. He stops his attention at one of the envelops and drops the others, sits in the armchair, tears impatiently the envelop and stares at the letter. Charley We are really sorry to say but you are not suitable for the position. Charley crumples the letter and throws it on the floor. 24. EXT. STREET - PHONE BOX - DAY Charley is talking by the phone. Charley Yeah. (pause) Friday is OK. (pause)Yeah, Mr. Nelson, thank you. I'll be there. Charley hangs on the receiver. Jenny (v.o.) What's happening? 0002000008B2000049F38AC,Charley turns back. Jenny stands by him. Charley Hi. Jenny On my way my car has broken down. Could you drop me home after work? Charley Yeah. Sure. Jenny smiles. Jenny Great. (pause) So, will we go to work? Charley Yeah. Tim (o.s.) Charley. Charley looks at his left. Tim is 20 metres away from him. Charley Now I'll be back. Charley comes to Tim. Charley (CONTD) Hi. Tim Hi. I have good news. I entered in connection with some people of an independent studio. The project they start is really nice. They haven't found a director yet. Later I'll speak with them again. Come over tonight. Charley OK. Thanks you, Tim. Tim has a look behind Charley. Jenny stands by the phone box. She lights a cigarette. Tim (v. o.) Who is she? Charley (v.o.) We work together. Tim (v.o.) She's beauty. Charley Yeah. (pause) Look Tim. I have to come back to work. Tim OK we'll see later. 25. INT. TELE SHOPPING - NIGHT Charley is speaking on the phone. Charley Yeah, I'll be waiting, Mrs. Henderson. Jenny stands by him and sits on his desk. Jenny Shall we go? Charley Yeah, wait a minute. Jenny has a look aside and lights a cigarette. Charley (CONT'D) Yes, Mrs. Henderson, check again. Jenny (impatiently) Come on. That woman will be tantalizing you. Until Charley Just a second. Charley is waiting for some seconds on the phone. Charley (CONT'D) Yes, Mrs. Henderson Jenny takes the receiver from Charley's hand. Jenny Mrs. Henderson , the items we're selling are complete junk-heap. There is no normal people that would buy it. Jenny hangs up the receiver and stands up from the desk. Jenny (CONT'D) Will we go? Charley smiles and shakes his head. 26. INT. BAR - NIGHT Charley and Jenny are sitting at a table in some bar. Jenny is holding a cigarette in his hand. Jenny Director!? Really? Charley Yeah. Jenny stares at Charley and smiles. Jenny No, you're joking with me. Charley smiles and lifts his shoulders. Jenny (CONT'D) What you're doing then on that shit of a work? Charley It's a long story. Charley shakes his head. 00020000089F0000529F899,Charley (CONT'D) The work is not so bad. I'd like to say that is has its good points Jenny stares at Charley. He looks at her for a moment, smiles and bends his head. A moment later Jenny smiles, too. Charley (CONTD) OK. She is awful. (pause) What about you? Jenny I'm born in Clivlant. I've been in New York for 5 year about. Charley And your parents? Don't they miss you? Jenny I don't know them. I was grown up in an orphanage. When I was 14, I was adopted by some couple. Charley Do you keep any contact with them? Jenny Yeah, I phone them from time to time. Charley And why exactly New York? Jenny Don't know really I just didn't have patient to leave that rotten town. 27. EXT. STREET - NIGHT Charley's car stops in front of an old residential block. Charley gets out of the car and goes to the driver's door. Jenny opens the door, she is drunk. Charley takes her hand and helps her to get out of the car. Jenny Well, thanks to have dropped me. I'm in your debt. Charley Which floor do you live on? Jenny has a look at him and smiles. Jenny My knight in shining armor. (pause) I'll mane all alone. Jenny is staggering a little. Charley holds her. CUT TO: 28. Int. Jennys apartment - night Jenny unlocks her apartment door and both with Charley enter it. The apartment is very modest. Everywhere there is a mess of clothes, shoes and other things. Jenny I didn't do it purposely because you'll come, but for a long time it wasn't so tidy so feel at home. Jenny sits on the sofa. Jenny (CONTD) Do you like something to drink? I think I have a little wine in the fridge. Charley No, thanks. Charley looks around Charley (CONTD) Sometimes ago Charley has a look at Jenny. She has fallen in sleep. Charley goes to her, lies her down on the sofa, takes a blanket from the armchair and covers her. Jenny moves a little. Charley steps back and stares at her. DISSOLVE TO: 29. INT. tims office - night Charley is walking along a corridor. At the end of the corridor there is a half-opened door. 00020000070500005B386FF,Tim (O.S.) (angrily) No, Jack don't give me that. (pause) You know it's not true.(pause) The newspapers make him be such a guy. It could happen with anyone. (pause) I'm just asking you to talk with them on more time. Make them understand that they are wrong. (pause) Yeah I know today is hard to make films. That's why they need a good director. (pause) Yeah I'll be waiting to call me. Charley stands at the door. Tim notice him. Tim (CONT'D) OK, I will. Tim bangs he receiver. Tim (CONT'D) Asshole. Charley Bad news, aren't they? Tim No, no. (pause) Jack, just Charley sits on a chair in front of Tim and stares at him. Tim (CONT'D) Well, it didn't pass? Very well. Charley looks aside and waves carelessly with hid hand. Charley Don't worry so much, Tim. I'm getting used to it. Tim We'll find some one. I promise you. (pause) What' did happen with Charley Will Nelson you mean. We have an appointment on Friday. Tim Great. Charley I wish it be OK. He was very excited on the phone. He knew almost everything that I've shot until today. He told me he would discuss it immediately with the investors. Tim Well, you see how it comes? Charley But they didn't give their consent yet, Tim. Tim You'll see they'll engage you. Charley I hope so. Otherwise I don't know what to do. 30. int. Tele shopping - day Charley is sitting behind his desk and speaks on the phone. Charley (C0NT'D) (angrily) Yeah the same to you. Charley hangs up the receiver angrily. Jenny is speaking on the phone. Jenny Yeah. Jenny has a look at Charley. He is sitting and staring at the floor. Jenny gazes worried at him. Woman (v.o.) Hello? Jenny Yes, I'm listening to you. (pause) So, any way you won't buy it. Jenny hangs up the receiver. Charley looks up. Jenny is standing by him and looks at him. 00020000070F00006237709,Jenny (CONT'D) I need you. Charley hesitates for a while. Jenny (CONTD) We're going out. Charley What? Jenny Today, I don't feel like working. Charley We shouldn't Jenny Come on, get up. Jenny pulls Charley's arm and he gets up from the chair. Harold gets up from his chair. HAROLD Farrow, you can't do that Jenny Fuck you, Harold. HAROLD I'll be informing Mrs. Parker. Jenny (menacing) And I will break your fucking neck. 31. Int. TATTOO exhibition - DAY Charley and Jenny are walking in a big hall where there is tattoos exhibition. Charley Are you sure you wanted exactly to come here? A big muscular man with a shaved crane and a big tatoo of a tiger on his arm is sitting on a table where some thick books of tatoo pictures lie on the table. Jenny Yeah, you gonna help me in my choice A woman with a lot of tatoo on her arms is talking with some man with glasses. CUT TO: 32. Int. TATTOO exhibition - DAY - later Jenny is sitting on a chair. Charley is standing by her. A strong man is tattooing a little red bird on her shoulder. The man lifts the machine and put a plaster on the tatoo. 33. Int. Park - day Jenny and Charley are walking in a park. Both of them are hand in hand. The weather is sunny and nice. As he is walking Jenny is looking around the park. Jenny There is a park in my hometown and it looks very like this one. I used to like walking round it. Jenny is staring at the little lake in the park. Jenny (CONTD) It made me feel again I'm 9 years old. (pause) Then the only thing I wanted was to be a ballerina. I couldn't even dance. I just liked to see that I'm one. (paise) As a child what did you wish you be when you grow up? Charley Don't know. (pause) Can't remember. Jenny smiles and looks at him. Jenny You're lying to me. Charley smiles. Charley F1 pilot. 00020000076600006940760,Jenny smiles in surprise. Jenny Really? Charley Yeah, why? Jenny Yeah, F1 pilot is cool. Jenny stares at Charley. Jenny (CONTD) Why are you so sad? Charley What? Jenny That expression on your face. What is it due to? Charley Just Because I can't have it back what I've lost. Jenny Why? Looking ahead Charley, shakes his head. Charley I just can't. Charley looks at her and after a while he smiles. Charley (CONTD) But now I'm selling ballpoints by the phone. Jenny smiles a little. Jenny Today we won't be back to work. I won't spoil me mood. (Pause) I haven't gone to the pictures for a long time. Charley hesitate for a while. Jenny (CONTD) No objection. We'll go. 34. Int. Jennys apartment - night Charley and Jenny are walking to the Jenny's apartment. Both are smiling. Jenny (smiling) And the moment he realized his girlfriend was an alien. Both stop in front of Jenny's apartment. Jenny unlocks and opens the door. Jenny (CONTD) Thank you to have come with me. I had a wonderful time. Charley Yeah, me the same. Both are staring at one another. Charley comes close to Jenny and kisses her. An uneasy silence falls on them. Eye contact. Jenny OK, see you tomorrow. Charley Yeah, see you tomorrow. Jenny comes quickly in the apartment and closes the door behind. Charley leans against the corridor wall and hits angrily the back of his head on it. 35. Int. Tele shopping - day Charley is sitting at his desk and talking by the phone. Charley Yes, we have blue ones, too. Jenny is passing by him. Charley has a look at her. Charley (CONT'D) Hi. Jenny Hi. Charley (by the phone) No, I'll phone you later. Jenny sits at her desk. Charley hesitate for a while and then approach her. Charley (CONTD) You see, I'm sorry for yesterday. (pause) It was hastily. Jenny Yeah. Charley The day was wonderful and I shouldn't have done it. I'm sorry. Jenny nods her head a little. 00020000079E000070A0798,Jenny Im not. 36. INT. Cafe - day Charley is sitting at a table. WILL NELSON about 45 dressed in an expensive grey suit is siting in fron of him Will Charley Bennet, Will Nelson we talk by the phone. Charley Hello. Will At first I'd like to tell you tat up to me you're really good and talented. Charley nods. Will (CONTD) I know you'd manage it in perfection Charley gets up from the table. Will (CONTD) Where are you going? Charley Let me guess. I won't have that job. Will hesitates for a while. Charley (CONTD) It isn't my first interview where they make an attempt to tell it to me by such a manner. Charley heads to the cafeteria door. 37. Int. Charleys apartment - night Charley is sitting in the armchair in front of the TV. He is holding in one hand a glass of whisky and in the other the TV remote control. Charley is watching apathetically the TV and changes the channels. Suddenly he stops and stares at the TV. The TV screen fills the entire frame. On a black background is written in white letters "Director Charley Bennet". Charley smiles a bit. 38. Int. Tele shopping - day Charley is sitting behind his desk. His head is leaning on his arm and is looking desperately at his desk Charley Damn. Charley gets up walks toward the door. Jenny (v.o.) Charley. Charley doesn't pay her any attention and keeps going towards the door. Jenny (CONTD) Charley. Jenny gets up from her desk, runs up to him and stops him. Jenny (CONTD) Oh, you, where are you heading? Charley I'm leaving. Jenny looks at him in confusion. Jenny We're something like friends, aren't we. Tell me what's going on? Charley I can't stand that place anymore. I should clear off. Charley is heading to the door. Jenny Charley, wait a minute. DISSOLVE TO: 39. Int. Charleys apartment - living room - day Charley is lying on the sofa watching the TV with an unmeaning face. Charley (v.o.) (by the phone) It's Charley Bennet's home. Leave your message. 00020000082600007838820,Tim (v.o.) (by the phone) Charley, where are you? Both with Mike entered in contact with some people from Jersey. I think we try with them. CUT TO: 40. Int. Charleys apartment - living room - day Charley is lying on the sofa watching TV. Charley (v.o.) (by the phone) It's Charley Bennet's home. Leave your message. Jenny (v.o.) (by the phone) Charley, it's me Jenny. I haven't any news from you for two days. Call me, just to know you're OK. CUT TO: 41. Int. Charleys apartment - living room - day Charley is sitting on the sofa. Tim (v.o.) (by the phone) Charley, where are you? I'd like to talk with you. Call me after you're back. Charley lifts the receiver. Charley I'm here. Tim (v. o.) Look now Charley Tim, nothing will come of it. Tim Charley, wait, just listen to me Charley I have already been reconciled. Tim You can't give up. Charley Thank you for everything. I'll see you later. 42. Ext. Street - day Charley leaves the residential block where he lives in. He looks awful. His hair is dirty, unshaved and has circles around his eyes. A big black car stops in front of Charley. The back door window gets down and ALAN RICE about 45 with a black long hair knotted in a tail and a beard in the form of padlock appears. He smiles. Rice Charley Bennet? Charley Yeah. Rice Alan Rice. I'd like to talk. Charley What for? Rice About a movie I like you to shoot for me. The limousine door opens. Charley hesitates for a while then he gets into the car. DISSOLVE TO: 43. Int. Very expensive restaurant - day Rice and Charley are sitting at one table. A bottle, almost empty is on their table. Rice As I have already told you I'm well familiar with your capability and I think that you're exactly the man I need. A WAITER is coming near them. WAITER Sirs, are you ready with your order? Rice Not yet. Bring us another bottle of wine, Andy. 00020000067800008058672,Waiter Seventy-sixth? Rice Yeah, seventy-sixth. CUT TO: 44. Int. Very expensive restaurant - day Charley and Rice are sitting at a table. In front of there is dessert. Rice Now let's talk for real. I'd like to come to an end of a film shooting where I'm the producer. Charley You mean I to bring it to the end? Rice Yeah, Paul Manson, the director who started shooting the film perished a week ago in an accident. I have been looking for some days a director to replace him Rice leans on his chair. Rice (CONT'D) Time is driving me to the wall, CHARLEY I have no time to lose anymore. I have a term and I'd like to keep it. That's why I need you. Charley And .. what about is that film? Rice About some serial killer of young beautiful ladies. (pause) Are you interested in? Charley Yeah. Rice Good. (pause) Now, the way of working with me is something different. Each day there are definite scenes for shooting. You have never to be arrear of the schedule. You can't alter, as well, anything in the scenes no matter how inappropriate they look to you. (Pause) Your main task will be to shoot the respective scenes by the respective way on the respective day. Charley nods. Rice (CONT'D) It means that you have to start tomorrow. Charley Tomorrow!? Rice As I've already told you. For each day there are definite scenes to be shot. These are for tomorrow. Rice gives to Charley some sheets. Charley But Mrs. Rice I don't know the actors. I didn't see what it has been shot until now I didn't even read the screenplay. Rice You can do that later. The most important is the schedule. What do you think? Charley gazes at the sheets. Charley OK then. 00020000068D000086CA687,Rice Perfect. Rice's face becomes very serious. Rice (CONT'D) Oh, Charley. Charley looks at Rice. Rice (CONT'D) There is one thing that I really insist. I don't like you to tell to no one that you work on that film. Charley nods. Rice (CONTD) To no one. It includes friends, relatives, all. It is my most important requirement. Don't brake it, ever. Charley I understood you, mr. Rice. Rice smiles. Rice I know and I count on you. Rice has a look at his watch. Rice (CONT'D) I would almost forget about it. Rice takes out a key and gives it to Charley. Rice (CONT'D) This is your new home. Your baggage is already there. Charley A new home? Rice As you'll work for me you'll have a more decent dwelling. George will take you Rice stands up from the table. Rice (CONT'D) Have a rest. We'll see tomorrow on the ground. (Pause) And finish your dessert. There is no place where to try a better one. Rice heads to the door. 45. Int. Very expensive hotel - day Charley unlocks a hotel room door comes in looking around. The hotel apartment is extremely luxurious and looks expensive. 46. Int. cafeteria - day Charley is sitting at the director seat. On his right side is BOB, the cameraman about 56 with a short cut grey hair and moustaches. Actors - BILL , handsome about 28 and Cindy, very beautiful about 25 with a blonde hair are sitting at a table. CARRY about 20, beautiful girl, short and thin stands in front of the camera. CARY "Death in Blue" scene 57 second double. Charley Wait. I thought the scene hasn't been shot. BOB I hasn't We always start with the second double. Charley Why? BOB Mr. Rice wants that way. Charley thinks for a while. Charley OK, then. 0002000006B200008D516AC,Charley nods to Carry. CARY "Death in Blue" scene 57 second double. Bill and Cindy are siting at the table. Cindy Why didn't you come. You promised to take me to Depeche Mode concert. Bill I Cindy I've been waiting for it for two months. Bill I'm sorry. Sam didn't come to work and there was no one to take the night shift. I came back in the morning, some minutes before you called me. Bill takes his cup of coffee and almost immediately he drops it. He feels an acute pain in his hand. Cindy (anxiously) Are you OK? Bill Yeah. Cindy Whats wrong with your hand? Bill Nothing. A friend of mine in the office hit me with door without to pay any attention. 47. Int. Charleys car - day Charley drives an expensive sports car. He takes out of his pocket a mobile phone. Tim (v.o.) Hello ? Charley Hi. Tim (v.o.) Charley? Where are you? I came to your place, but Charley (happily) I'm shooting a movie. Tim (v.o.) What ?! You're shooting? Charley Yeah, for some days. Tim (v. o.) (happily) Charley, that's great. Charley Yeah, it's great but say to no one. Tim (v.o.) I knew you would succeed. How it's going on? Charley Perfect. Are you free now? Tim (v.o.) No. After a while I'll be flying to Seatle. I'd like you to tell me after I'm back. Charley Well, OK. 48. Ext. Tele shopping building - day Charley is leaning against the building wall where he works. The building gate opens and Jenny is coming out. As she's looking ahead, she lights a cigarette and draws a deep breath with relieve. Charley Hi. Jenny turns her head back and sees Charley. He smiles. Jenny Charley. Jenny goes to him and holds him. Jenny (CONTD) You are OK. Jenny drops his arms and angrily taps him a little on the chest. 0002000007E9000093FD7E3,Jenny (CONTD) (angrily) Why you didn't call me? You made me feel anxious. I went for several times to your place and you I couldn't never find you. Charley Sorry. Jenny I thought you had done some stupid thing. Jenny holds him again. Charley Sorry I should have called you. Jenny I'm really happy you're OK. Charley Will you forgive me if I invite you to dinner? Jenny smiles a little and drops down her arms. Jenny Dinner? Charley smiles. Charley Yeah. 49. Int. Restaurant - night Charley and Jenny are sitting at a table in an expensive restaurant. Charley Yeah. I really would have done some silly thing. Jenny You must be really happy. Charley Yeah I missed my work very much. I don't have an idea what I would have done without Rice. Jenny stares at Charley. Charley (CONT'D) (excitingly) He's just showed up and Charley looks at Jenny. Charley (CONTD) What? Jenny That expression you had on your face (pause) Its gone. Charley Yeah. There is nothing more I'd like. I have a job that I have always wanted, the opportunity to have back that what I've lost Charley stares at Jenny. Charley (CONT'D) I have you. 50. Int. CHARLEYS hotel room - The bed - night Charley and Jenny make love. Charley lifts her higher so he can look at her as they make love for the first time. 51. cHARLEYS hotel room - night Charley is sleeping. He opens his eyes and turns to the other side. Jenny is sleeping be him. Charley gazes at her face. He caresses her face tenderly. 52. Int. House - corridor - day Charley and Bob are in the corridor where are the stairs leading to the first floor. People from the shooting staff are walking to and fro. Charley is looking round anxiously and turns to Bob. Charley Bob, what's the actor's name? Bob lifts his shoulders. Bob I don't know he appears for the first time in that scene. Charley has a look at his watch. Rice (v.o.) How do you feel today, gentleman? Charley looks back. Rice comes up the stairs and stops by Bob and him. Bob We can't start. The killer is absent. 00020000065700009BE0651,Rice On the contrary. (Pause) Everything is ready. Charley You mean he's here. Rice nods. Charley is looking around. Rice You'll notice just shoot the scene. Charley throws a hesitating look. Rice (CONTD) Come on. Rice stands behind Bob. Charley OK, we're shooting. The people from the staff disappear in the rooms. The lamps are turned off and the corridor becomes dark. Carry stands in front of the camera. Carry "Death in Blue" , scene 96, second double. Carry passes behind the camera. A door two metres far from the camera opens and appears from it a young beautiful woman of 25 with auburn hair. The woman starts walking slowly towards the end of the corridor. One of the doors at the far end of he corridor is half-opened. When the woman comes to the door a black silhouette of a man in along raincoat and a had appears. The man is holding a knife. The woman screams. The silhouette grips the woman and after a little fight he drops her on the ground. Woman (desperately) No, please. The silhouette cuts her throat and stands up. The woman is lifelessly on the ground. The silhouette doesn't move for a while looking at the corps. The man collects the knife, takes out some flower, puts it on her chest and enters the other room at the far end of the corridor. Charley Stop. Lamps are turned on. Rice (happily) Perfect. That was great. Charley throws a look at the end of the corridor. The woman is still lying on her eyes in a big pool of blood Rice (CONTD) Charley, let's have a walk. We have some minutes until they organize for shooting the following scene. Charley (looking at the woman) Well 0002000006A30000A23169D,The woman is still lying on her eyes in a big pool of blood Rice Come on. Rice takes Charley's hand and pull him. Charley gets up from the chair and they both care coming down the stairs. Rice (CONT'D) I'm inviting you to dinner tonight I'd like to celebrate your good work. George will take you at 8 p.m. 53. Int. library - day Charley is sitting at the director's chair and is reading some pages of the screenplay. Charley (reading) I don't understand anything anymore. Why do we shoot that? Carry (v. o.) Mrs. Bennet. Charley looks up. Carry is by him. Carry (CONTD) Everybody is ready. Charley OK. We're shooting. Carry stands in front of the camera. Carry "Death in Blue", scene 98, second double. Carry passes aside. A man about 50 with a short white hair, a beard and moustaches sits at a table. He is holding a book with a title "Help from a Friend". The men opens the book and starts reading it. CUT TO: 54. Int. library - day The man is sitting at the table reading the book. Charley is sitting on the chair and observes boringly ahead. The man turns a page, has a look at it, nods satisfied and close the book. Charley Stop. Charley gets up from the chair and massages his stiff neck. Charley (CONTD) (to Bob) What you're doing here Do you have anything in common with the film? Bob raises his shoulders. Bob Don't ask me. I'm only shooting. 55. Int. Expensive restaurant - night Charley and Rice are having dinner in an expensive restaurant. Charley Mrs. Rice what about the film premiere? Rice (looking at his plate) The film will not come put. Charley (confused) Sorry?! Rice looks at Charley. Rice The film won't come out. Charley But, why Rice puts down the cutlery. 0002000006E20000A8CE6DC,Rice That's what we make isn't destined to appear on cinemas. Charley looks up with confusion at Rice. Rice smiles. Rice (CONT'D) I know. You're disappointed. (pause) Charley, I know you consider that project as a chance to return to be a director. Charley Yeah. Rice But is something much more important. Do you understand me, I'm giving you a second chance. Charley I know Mrs. Rice. And I'm very grateful to you. Rice No, Charley you know nothing. Maybe a little bit later you'll realize and then you'll really appreciate it. (pause) Don't worry about anything. At the end you'll realize that it was much better. (pause) You know, the most important is to remember only one thing. (pause) Everything is in your hands. Charley is perplexed. He smiles a bit. Charley Then why Rice No more questions. Just remember it. Everything is in your hands. 56. Int. cheap hotel room - day Charley opens a hotel room door. Bob is sitting on a bed in the room. He is having a coffee and reading a paper. By the window there is a camera. Charley Hi Bob. Bob nods. Charley enters the room and looks around. The room hasn't been clean for a long time. The walls and the floor are very dirty. Charley (CONTD) So, what we're doing here? Bob Mrs. Mice told me you to shoot the square from 4.30 p.m. to 5.00 p.m. The camera is ready. Charley Only that? Bob Only that. Charley Just to shoot it? And what about you? Bob I have to make sure that you're shooting everything as it should de done. Charley throws a look at his watch. Charley So, it looks obvious that Ive come just on time. Charley goes to the camera and starts shooting. There will be a demonstration against the abortions. In front of the window, on a building, there is a big clock telling 4.29 p.m. 0002000006BB0000AFAA6B5,Charley looks at Bob. Charley (CONTD) So, demonstration against the abortions. Bob Yeah, that's right. It looks to me like that. Charley Let me guess. Rice didn't say why it should be shot that and what in common there is with the film. Bob lifts his shoulders. 57. Int. bar - night Charley is sitting at a table. Tim holding two beers is sitting next to him. Charley is looking thoughtfully aside. Tim Serial killer, is that so? Charley looks at Tim. Charley What? Tim The movie, you told me it was about a serial killer. Charley Yeah. Tim You don't look very excited. What's wrong? Charley The film will not be showed. Tim What? Charley I talked with the producer. Tim But why? Charley Who knows? (pause) I counted on it so much. Tim I'm so sorry, Charley. Charley sips from the beer. Charley (looking at the table) They paid me well, but I have always had how will I become again that CHARLEY The gifted one having a big career ahead. After finishing the film shooting I'll be again the same unlucky person, who no one will hire as a director. Tim Come on, don't fall into despair. You succeeded once, don't you? Charley looks at Tim. Tim (CONTD) Did you succeed? Aren't you shooting at the moment? Charley smiles a little. Charley Yeah, I did it. Tim So you gonna succeed again. (pause) Am I right? Charley Yeah, I'll succeed. Tim smiles. Tim So, you said a serial killer. And what's he doing? Charley He chose his victims according to their age. He kills beautiful women of 25. He leaves a rose on each of his victims. Tim has a suspicious look at Charley. Tim A rose? Charley Yeah. Tim's face becomes serious. Tim What rose exactly? Charley I can't get you? Tim (exerted) A red, a white one, what exactly? 0002000006AD0000B65F6A7,Charley I don't know. Most of the scenes are shot at night. I didn't pay any attention what the rose is like. Tim (exerted) How does he kill his victims? Charley What are you interested in so much? Tim Just tell me. Charley He cuts their throats. Frightened, Tim looks at Charley. Charley (CONTD) What? Tim Charley, how did you meet Rice for the first time? Charley He found me. One day he just appeared at my door. (pause) Why are you asking that? Tim Well. This might sound to you a little crazy, but let me finish. My cousin Sam, you know he's a cop? Charley Yeah. Tim Three years ago he investigated some case. It was about a serial killer who cut his victims' throat. (pause) By each of the victims the police found a rose. Charley stares at Tim. Charley What do you mean? Tim does not give him an answer as he is looking at him seriously. Charley (CONT'D) No, no. Come on, Tim. Tim Six victims. All of them at the age of twenty-five. The police kept it in secret. The press didn't get the information about the case. Charley Come on Tim Tim Did he tell you why the film wouldn't be showed. Charley shakes his head. Charley He told me Charley pauses, realizing that the situation he is in is very dangerous. Tim What? Charley to not tell anyone I'm shooting that film. He insisted very much to it. Charley bends his head leaning against his both hands. Tim Look, Charley Charley I have to talk to someone. Charley gets up from the table and heads to the exit. 58. Int. eating-house - day Charley is sitting at a table. SHANON HENDERS, about 30, beautiful, blonde, dressed in black wearing sunglasses eneters the eating-house. Sharon has a look at Charley and goes and sits in front of him. 0002000006970000BD06691,Charley Miss Henders. Shanon puts off his glasses and lights a cigarette. Charley (CONTD) I'd like to ask you about your friend Paul. Shanon Where did you know him from? Charley We're friends from the college. How long did you know each other? Shanon About two years. We were engaged. Charley And how did it happen you know? Shanon His car rushed off the road. Charley I was informed at that time he used to work for Shanon Rice. He used to work for Alan Rice. Charley Did you have any idea how did they meet for the first time? Shanon Rice got in touch with him. He started explaining how did he start shooting a film and Paul was exactly the man he needed. Shanon lights cigarette. Charley And did Paul agree? Shanon Yeah. They started shooting almost immediately. Paul didn't come home all day long. He had to shoot some scenes on definite places at a definite time. That terribly engaged him. He was under a big stress. Charley Do you thing that it could be any reason for the incident. Shanon Yeah, it might be. Charley Did he partake of anything with it? Shanon shakes his head. Shanon No, that film alienated us. Shanon is staring at the smoking cigarette. Shanon (CONT'D) And I was so happy at the beginning. Charley What do you mean? Shanon Some months ago, one evening, Paul came back completely pale. He was trembling. He didn't want to tell me what had happened. After that night he started shutting up in himself. He didn't speak to any one, he didn't get out of the house. (pause) I felt worried about him. I didn't know what to do. The Rice showed up. Paul accepted the work as if it was the most important thing in his life ever and started shooting the film. 0002000007530000C39774D,Charley I understand. Shanon Youre shooting a film now, aren't you? Charley hesitates for a while and nods. Shanon (CONTD) Be careful. 59. ext. Street - day Charley is leaving the eating-house. Looking around he heads to his car. We hear how his mobile is ringing. Charley Hello? Jenny (v.o.) Hi. Charley Hi. Jenny Thanks for the flowers. They're wonderful. Charley Jenny I didn't send you any flowers. Jenny Liar. Charley Could I call you a little later? Jenny (v.o.) Yeah. Charley OK, see you. Jenny See you. Charley has a look aside. There is some parked cars on the both sides of the street. One on the car is a Mercedess. The Mercedess sets off on the street getting far from Charley and then turning in a lane. 60. Int. CHARLEYS car - day Charley is driving his car. He is casting his eyes about to be sure that no one is following him. Charley has a look aside. On the right side of the street there is a gun shop. Charley stops the car looking at he shop. 61. Int. Charleys apartment - day Charley enters his apartment and gets to his bed. There is a string of keys. He takes the keys, turns back goes towards the door and stops. Charley comes back to his bed, opens a drawer by his bed, takes out from his pocket a little gun and puts it into the drawer. 62. ext. Street - day Charley stops his car in front of a small eating-house. He is heading to the eating-house gate looking around him. On the left of the street in a distance of 30 metres from him there is a parcked Mercedess. Charley enters the eating-room. Inside there is only the shooting staff. Each one of the staff is around a box in the far end. Charley has a look aside. Rice is sitting on a chair. A man in a black suit and sunglasses is sitting by him. Rice has a look at Charley and smiles. The man with the sunglasses is looking straight at Charley. Rice comes to Charley. 0002000008AD0000CAE48A7,Rice (gaily) How is my director today? Rice put his hand on Charley's shoulder and both with the shooting staff. Rice (CONTD) Tonight I saw the scenes of the last days. You managed perfectly. Charley Thank you Mr. Rice. Rice I'd like to admit that I'm very happy by the way this project is going on. You're managing really well with the shooting. I'm well aware that this way of shooting is hard enough But you're managing very well with all the conditions we used to discuss. Charley Thank you, Mr. Rice. Rice I also feel please that you respect your promise not to discuss with anyone about the film. (pause) To say the truth there is no way where to know from. It's for real, you would like to tell to some friend or a female but you haven't done id. Am I right? Charley That's right, Mr. Rice. Rice stops and smiles. Rice It seems that every one is waiting for you. Rice pats Charleys shoulder. Rice (CONT'D) Go back to work. I don't wanna disturb you. Charley joins the shooting staff and sits on his chair. Carry is in front of the camera and claps with the frame. Carry "Death on Blue", scene 105 second double. Carry passes behind the camera. DETECTIVE 1, about 45 with a short cut hair and long moustaches in a black jacket and worn jeans and DETECTIVE 2, about 28 in a nice grey suit are sitting in the box. Detective 1 And do you have about Jennifer Noels? Detective 2 Traces due to iodine on the wound, the same with Suzan Connelly and Carry Vincent. It might be from the edge. Detective 1 What for using a disinfectant when he kills them? Detective 2 Maybe he wants to be careful. Detective 1 looks at him puzzled. Detective 2 (CONTD) Until now there is no trace of bruises or of violence. Each one is clean and dressed in new clothes. Detective 1 Sick bastard. Detective 2 The yellow color under Jennifer nails turns to be some paint. Detective 1 A paint? Detective 2 Water colors. The same as of a water colored drawing Detective 1 What about her friend. Did it occur cross her mind? Detective 2 shakes his head. Detective 2 No. They both were together for the last time yesterday in the evening in "Fantasy" nightclub. Jeffrey left it earlier. Since then they didn't meet or call each other. 00020000084E0000D38B848,Detective 1 What about Kate Johnsson? Detective 2 we had more luck with her. It was found on her hands Charley turns back his head. Rice and the man with the sunglasses are sitting in the middle of the eating-house and talking. While the man with the sunglasses is talking, Rice has a look at Charley. Charley turns immediately his head towards the detectives. Detective 2 (CONTD) the water has washed everything. Detective 1 OK. Let's check again if somebody in the factory doesn't know anything. Charley hesitates and turns his head back. Rice and the man with the sunglasses have disappeared. 63. ext. Street - phone box - day Charley is in a phone box. Charley And you haven't found anything? Tim (v.o.) I've talked almost with every one of them I know. No one has ever heard about Alan Rice. (pause) Let's meet tonight. Charley I'll be able about eight. Now I should go. Charley hangs up the receiver and walks on the street. Jenny (o.s.) Charley. As he is walking, Charley has a look back. Jenny follows him hurriedly. Jenny (CONTD) Wait. Charley goes on walking ahead pretending to not hear her. Jenny runs up to him. Jenny (CONTD) Hey, you didn't you see me? Charley (walking and looking ahead) I can't talk now. I'll call you later. Jenny grips Charley's hand and stops him. Jenny What's wrong? Charley I've got problems at moment. I don't wanna be seen I'm talking with somebody. Jenny looks around. Jenny Who? What are you talking about? Charley I'm in trouble. Go, if we're seen together you might be in danger. Jenny I don't care. Just explain me what' happening. Charley looks around and takes Jenny's hands. Charley Please, listen to me at least this time. I promise I'll phone you right away I can. Looking at her eyes, Charley steps back and drops her hands. Charley (CONTD) I love you. Charleys P.O.V.: Jenny stands looking at him a little alarmed and puzzled. Charley turns round and moves away. 64. Int. Bar - night Charley and Tim are sitting at a table. Charley is looking round nervously. Charley Up to me, he suspects something. Tim Damn, listen to me and get away for some time. 0002000009200000DBD391A,Charley nods. Charley I have to shoot some more scenes only. Tim And you think when you finish the film he'll disappear. Charley shakes his head looking in desperation and helplessly around. Charley (in desperation) I don't know. I really don't know (pause) I am shooting some nonsense and there is nothing in common among them. I don't know who is Alan Rice and why the hell he wants me to do that Charley looks up at Tim. Charley (CONTD) What the hell am I shooting? 65. ext. Street - day The shooting team is in a narrow street. Charley is sitting on a director seat and looking thoughtfully at nothing. Cindy is running on the street. Bill is running after her. Bill Cindy, wait. As she is running she looks for a moment over her shoulder. Bill (CONT'D) I'll explain you. Charley is sitting on the chair looking thoughtfully ahead. He doesn't pay any attention to the shooting scene. Carry Mr. Bennet? Charley does not pay her any attention. Carry (CONTD) Mr. Bennet? Charley has a look at Carry. Charley What? Charley has a look ahead. The street where Bill and Cindy were running is empty. Charley (CONT'D) Cut. Cary Mr. Bennet are you OK? Charley Yeah, I'm OK. (to the shooting team) OK, that's it. 66. Int. House - day Charley is sitting on the director seat. He looks very tense. Charley is looking through some pages of the script. Woman (v.o.) Hello, I'm Jennifer Noels. Charley looks aside. Jennifer Noels about 25 very beautiful is standing by his. Charley Charley Bennet. Glad to meet you. Jennifer smiles. Jennifer You look very young for being a director. I thought you were one of the actors. Charley Are you ready? Jennifer Any time you like. Charley has a look aside. Carry nods. Charley OK. We're shooting. Carry stands in front the camera. Carry Death in blue", scene 112, second double. Jennifer puts her arm on Charley's shoulder. Jennifer I count on you. Carry stands behind the camera. Light is off. Jennifer starts walking slowly along the dark corridor. She stops at a door and enters the room. WE HEAR a BLUNT SHOCK AND SOMETHING FALLING ON THE GROUND. The room door is opening and a killer's silhouette dressed in a long raincoat and a hat is coming out. The killer leaves behind the door half-opened and goes to the far end of the corridor and walks down the stairs to the first floor. 0002000006B80000E4ED6B2,Charley Cut. The light is on. A part of a Jennifer's arm covered with blood is seen through the half-opened door on the floor. Charley gets up from the chair. Carry grips his hand. Carry Mr. Bennet, we have to hurry. Carry pulls Charleys ahead and they both run along the corridor. Charley has a look at the half-opened door. Only a part of Jennifers arm is seen from the room. Her arm doesn't move. Carry and Charley are getting down the stairs to the first floor where two actors are getting ready for shooting. Carry (CONTD) (to the actors) Are you ready? Charley stops, turns round and gets back up the stairs to the second floor. He goes to the room door where Jennifer has come in and tries to open it. The door is locked. Carry is running to Charley. Carry (CONTD) Mr. Bennet Charley (nervously) Why the door is locked? Carry Mr. Bennet, the shooting must start Charley (angrily) Who has locked the door? Carry Mr. Bennet, please. We must start shooting Charley (angrily) Who lock the fucking door? Carry is hiding something. She doesn't know what to tell him. Charley goes to the stairs and gets to the first floor. Carry is walking behind him. Charley is heading to the exit door. Carry (anxiously) Mr. Bennet, where are you going? Charley I'm leaving. Charley opens the door and comes out of the house. Carry But, Mr. Bennet, today we must be shooting more Walking fast, Charley is moving away on the street. 67. Int. Charleys hotel room - day Charley enters his hotel room. He is very tired. He goes to his bed, lies on it and looking at the ceiling he sighs tiredly. WE HEAR his mobile is RINGING. As he is lying, Charley takes out his mobile. Charley Hello? Tim (v.o .) Charley, it's me. 0002000007920000EB9F78C,Charley Hi, Tim. Tim (v.o.) It's about Jenny. (pause) I don't know how to tell you. Charley gets up from the bed. Charley (worried) What's wrong.? Did it happened anything with her? Tim (v.o.) Look, I Charley rushes to the door. 68. ext. In front of jennys block - day Charley stops with his car in front of Jenny's block of residence. Tow police cars are in front of the entrance. Charley gets down of the car and makes his way to the entrance. Somebody behind him seizes him. Charley turns. Tim is standing by him. Tim Charley, stop. Charley (worried) Please tell me that nothing happened to her. Tim is only looking at him without saying a word. Two men are taking out of the entrance a stretcher a covered human body. Charley is shocked. He can't believe what is happening before his eyes. There are tears in his eyes. He shakes his head refusing to accept the fact. Charley (CONTD) No. Tim I'm sorry. The two men put the stretcher in the ambulance. Tim pulls Charley to one side. A strong man about forty with a crew cut grey hair comes out of the entrance. The man has a look at Tim and nods. Tim nods him back. Charley Your cousin? Tim Yeah. The man holds in his hand a plastic bag with a blue rose in. Charley starts crying. Charley No. Charley sighs deeply for coming over. He clenches his teeth. His eyes are reading rage. Charley turns back and heads to his car. Tim Charley. Charley, where are you going? 69. Int. Charleys hotel room - day Charley enters his hotel room, goes to his bed and opens the drawer where he has put the gun. The drawer is empty. The hotel room door is opening and two strong mens about 38 in black suits and sunglasses enter. MAN1 Mr. Rice is waiting for you. 70. Int. Rices car - day Charley and Rice are sitting one in front of the other. Charley is looking menacing at Rice. He is ready to jump and to strangle him at any moment. Rice has a look at Charley and smiles at him. 0002000007480000F32B742,Rice Today are the last shots. Aren't you excited? Without replying Charley goes on looking at Rice. 71. Int. House - kitchen - day Charley is sitting on the director's chair. Rice is behind him. Bill is sitting on some chair and looking at some papers. Tears are coming down his face. Bill creases the papers in his hand. The room door opens with crash and some policemen burst into. The two prostrate Bill on the floor and put him handcuffs. Detective 1 and Detective 2 enter the room. The two policemen lift Bill and conduct him to the door. Detective 1 Bill Jackson, you're accused in murdering Suzan Connelly, Carry Vincent, Catherin Price, Jennifer Noels, Kate The detectives leave the house. Charley Cut. Rice (excitedly) Great, perfect! Rice taps Charley's shoulder. Rice (CONTD) You managed, Charley. Rice turns to the team. Rice (CONTD) OK, people you did marvelous work. I'm proud of all of you. Cut to: 72. Int. House - kitchen - day Charley is sitting on the chair looking at nowhere. The people of the team start leaving the room. Rice (v. o.) Hey, Charley. Charley is looking around. The room is empty. Rice is standing at the door. Rice (CONTD) Anyone has a right of a second chance. But he has to deserve it. Rice leaves the room. Charley remains still for a little longer then he stands up slowly and has a look around. He goes to a door, opens it and comes out in an empty corridor. Charley Hello. There is no answer. 73. Int. Charleys hotel room - night Charley is sitting in an armchair fastening his eyes on the floor. He is physically and psychically exhausted. His head is leaning against his hand while the other one is holding a half-empty bottle of whisky. He leaves the bottle, gets up from the chair and enters the bedroom. As he is walking tiredly he gets to the bed and lies on his face down and closes his eyes. 0002000006BC0000FA6D6B6,74. Int. some cheap apartment - day Charley is lying on a bed. He opens his eyes and looks around. Charley is in some untidy and dirty room. The furniture is worn and dirty, a part of the wallpapers miss. Charley raises a little his head making sickly grimaces. He looks down. There is a wound on his arm looking as nails scratch. Charley gets up looking around in confusion. He has no idea how he got in. WE HEAR a KNOCK at the door. Charley winces fearfully and has a look at the door. WE HEAR a KNOCK at the door again. Charley gets warily and hesitatingly to the door and looks through the eyelet. By the eyelet is seen a big fat MAN, about 40 in dirty vest, standing at the door. MAN (angrily) Bill, I wanna my rent. Charley steps back from the door. Man (o.s.) (CONT'D) I know, you're in. WE HEAR mans KNOCKS at the door. Man (o.s.) (CONT'D) (shouting) Bill. Charley steps back. WE HEAR retreating STEPS. WE HEAR phone RINGS. Charley turns back. There is a little table by the window with a phone on it. WE HEAR the phone RINGS again. Charley goes to a little table and lifts the receiver. Charley Hello? WOMAN (v.o.) Bill, it's me. Charley Look, Miss WOMAN (v.o.) Very funny. Change the T-shirt and come have a coffee with me. Charley bows his head and notice he is in a worn and dirty T-shirt. Charley has a look through the window. A blonde and beautiful WOMAN about 25 is in a phone box and is speaking by. The woman is looking at Charley and waves to him with a hand. WOMAN (v. o.) (CONTD) (by the phone) Hi. Charley (bewildered) Who are you? Why you call me WOMAN (v.o.) You won't appease me with your jokes. I'm still mad of you. Now, get down because I'm losing my temper. Charley Look 0002000007250001012371F,WOMAN (v.o.) Come on. Charley I I can't. WOMAN (v.o.) What? Charley I have to finish something very important. WOMAN: ( v.o.) But Charley I'll call you later. Charley hangs up the receiver and steps back. He has a look instinctively aside. On a cupboard by the wall there are some pictures of Charley with the woman of the phone box. Charley goes to the cupboard and starts looking through the pictures. He is shocked and confused. Charley (CONTD) (bewildered) What the hell Charley starts stepping back. He sits on the bed and has a look at the floor. Charley has stepped on some newspaper. He lifts the paper. On the first page is written in capital letters "Second victim for three days." Under the headline there is a picture of Carry Vincent - the woman he took shots during the first murder in Rice's film (scene 52). On the floor, by the bed there is some Id Cart. Charley takes it. There is a Charley's picture on and is written "Bill Jackson". Charley is shocked. He drops the Id cart on the floor and scrutinizes the room. Charley (CONTD) What the hell is coming up here? 75. Ext. Street - day Charley gets to the street. He turns back and notices that he has come out of some old and unkempt block. Charley looks around in bewilderment. CUT TO: 76. Ext. Street - day Charley is walking up the street. He makes a painful grimace and throws a look at his wound looking as a nail scratch. 76. ext. street - Phone box - day Charley is in a phone box talking by the phone. Charley Yes, Alan Rice. (pause) You have no data about such a man. WOMAN (v.o.) You didn't call. Charley looks aside. The blonde lady from the phone box is standing by him. 77. int. Cafe - day Charley and the Woman of the phone box are at a table. WOMAN Let me know what kind of an excuse you have now. Charley I can't get you. 00020000071F00010842719,WOMAN The Depeche Mode concert. It was yesterday and you had promised we both would go to. Yesterday you didn't show up so I went to alone. Charley is shocked. He looks at her suspiciously. WOMAN (CONTD) I have been waiting for it for two months and you didn't even call me. Charley Cindy? WOMAN Yes, Bill. As he is looking at her, Charley shakes his head in disbelieve Charley No. Cindy I'm waiting. Charley realizes that Cindy is talking seriously. Cindy (CONT'D) Bill. Charley I... SLAM CUT: FLASHBACK: INT. cafe - day Bill and Cindy are siting on a table. Cindy Why didn't you come. You promised to take me to Depeche Mode concert. Bill I Cindy I've been waiting for it for two months. Bill I'm sorry. Sam didn't come to work and there was no one to take the night shift. I came back in the morning, some minutes before you called me. SLAM CUT: PRESENT: INT. cafe - day Charley I'm sorry. I had to take the night shift. I came back some minutes only before you called me. Charley has a look at his arm with the wound. He feels pain from almost any movement of the arm. Cindy Are you OK? Charley Yeah. Cindy Your arm Cindy reached for him. Charley cautiously takes back his arm. Charley I'm OK. There is nothing. 78. Int. Charleys (Bills) apartment - night Charley is sitting on the sofa in front of the TV. He is holding in his hand a half-empty bottle of whisky. He has a big sip of the bottle and has a curious look around. Charley gets up, goes to the wardrobe and opens the doors. There are some jackets hanging in the wardrobe. Charley starts looking at them. He takes out from the wardrobe a black jacket, puts it on to try it up is it is of his size and looks up instinctively. A box of cardboard is seen from the upper shelf of the wardrobe. Charley stretches out his arm and takes the box. 000200000AFD00010F5BAF7,NEWS GUY (v.o.) (on the TV) The killer of the twenty-five years old Carry Vincent is still unknown. Charley leaves the box and turns. There is news on the TV. A picture of Carry appears on the screen. NeWS GUY (CONTD) (from the screen) Miss Vincents body was found two days ago in her home. Charley steps ahead and stares at the scree. A vase with blue rose is seen behind Carry. SLAM CUT: FLASHBACK: INT. house - day Carry Death in Blue", scene 96, second double. FLASHBACK: INT. house - day Carry Death in Blue", scene 105, second double. FLASHBACK: INT. house - day Carry Death in Blue", scene 112, second double. SLAM CUT: PRESENT: Int. Charleys (Bills) apartment - night Watching the screen, Charley leaves the bottle. 79. Int. FLORIST shop - day Charley enters a big florist shop. THE ASSISTANT (v.o.) May I help you? Charley has a look ahead. The ASSISTANT, about 33, is standing behind the stall. Charley Do you sell blue roses? THE ASSISTANT We sold them out a few days ago. Charley Could you tell me where can I find such flowers? THE ASSISTANT Nowhere. We are the unique shop that sells these flowers during that time of the year. Charley nears the Assistant. Charley Do you know who has bought these flowers during recent days? THE ASSISTANT Sure. We are keeping a list of all orders made the last seven days. The Assistant turns to the nearby computer, writes down something on it and stares at the scree. THE ASSISTANT (CONT'D) One of the last client was Mr. Paterson for their fourteenth marriage anniversary. We have a bunch of eleven roses for Miss Henlly from her secret adorer . Almost all flower were bought three days ago for some wedding. (pause) Wait a minute. We had an order by Internet for twenty roses There was no note to the bunch. It was sent to hotel "Paradise", room twenty- seven. 80 int. Hotel paradise - day Charley goes to the reception where stands a big fat MAN , about 40, unshaved with a black greasy hair. Man is reading a newspaper. Charley I'd like to have a room. If it's possibly could I have room twenty-seven. The Man looks back for a while. MAN No luck, buddy. It's occupied. Charley Are you sure. Please could you check? The Man roars irritably, open the hotel diary and points at up of the page. On the page in front of room twenty-seven is written "G. Kendal". MAN Is it OK, now? The Man closes the diary. MAN (CONTD) If you want that room so much you have to wait until 2 p.m. Then the reservation is off. 00020000079D00011A52797,Charley Give me the room in front of it. 81 int. Hotel paradise - hotel room - day Charley enters the hotel room and starts observing through the spy hole. CUT TO: 82 int. Hotel paradise - hotel room - day Charley is observing through the spy hole. The corridor is empty. Charley looks at his watch. It is 1:56 p.m. Charley hesitates for a moment, then leaves the room, goes to door of the room twenty-seven and puts his ear on it. It is heard nothing. Charley tries to open the door. The lock turns and the door opens. The hotel room is empty. Looking around the room, Charley slowly walks ahead. The bed is in a mess. At one of the room corner there is a small waste-basket. Charley takes and empties it. A lot of litter is scattered on the floor. Charley takes a puncture yellow balloon. There is a box of matches under the balloon. Charley looks for a while the balloon, drops it and the takes the box of matches. There is a superscription on one of its sides and it reads: "Nightclub Red Light". Charley turns back the box. On its back there is a black fingerprint. Charley puts the box into his pocket. A vase with some water is on the middle of the table. There is some water around he vase. The window is open. Charley is heading to the window. He has a look at his feet. Charleys P.O.V.: has stepped over an old blue rose. 83. Int. Charleys (Bills) apartment - night Charley has opened the wardrobe and is looking at the clothes. He has a look up. A cardboard box is on the shelf above the clothes. Charley reaches out, takes the box, sits on the sofa and open it. In the bow there is a big knife with a jag edge. Charley takes the knife and observes it. NEWS GUY (v.o.) (by the screen) The police still don't provide any information about Carry Vincent's murder. Miss Vincent body was found three days ago. According to unconfirmed reports, for the moment, the murder was accomplished with a knife of a jag edge. 0002000009FE000121E99F8,Charley has a look at the knife in his hand. He gets up, takes out of the wardrobe a black shoe wax and a white sheet of paper from the table in front of the TV and sits again on the sofa. Charley puts his thumb on the wax and than he puts it on the white paper. He takes out the box of matches out of his pocket and puts it by the fingerprint of the white page. The two fingerprints look alike. Frightened by the big similarity of the fingerprints, Charley gets up and steps back. SLAM CUT: FLASHBACK: ext. street - day Cindy is running on the street. Bill is running after her. Bill Cindy, wait. As she is running she looks for a moment over her shoulder. Bill (CONT'D) I'll explain you. SLAM CUT: PRESENT: Int. Charleys (Bills) apartment - night 84. Int. bar - day Charley enters the bar. There are only a few men. The BARMAN, about 40, bald with big moustaches is watching TV. Charley sits at the bar and tiredly drops his head. The Barman has a look at Charley. BARMAN Hi, Bill. What's up? Surprised, Charley lifts his head and has a look at the Barman. The Barman goes on looking at Charley and waits for a reply. Charley Hm Hi. Barman Hey, what's wrong with you? Charley nods. The Barman leaves a glass of beer in font of Charley. Charley takes out of his pocket the box of matches which he found in hotel Paradise and shows it to the Barman. Charley Do you have any idea how much people have such a box? The Barman gives a smile. BARMAN I hope a lot have it. I gave the same one to almost any visitors. Charley sips from his beer, smiles bitterly and turns around the chair. Charley I knew you would tell that. Charley freezes as he is looking through the window. In front of the bar there is an old residential block. Some workers are painting on the block wall a huge advertising of a bottle of soft drink on a black background. Charley has a look at the black fingerprint on the box of matches. BARMAN (v.o.) Bill, I'd like to ask you something. Charley does not pay him any attention as he is looking through the window. The workers are painting the block wall. In front of the there is a big stall where there are a lot of balloons. SLAM CUT: FLASHBACK: EXT. hotel paradise - the hotel room - DAY At one of the room corner there is a small waste-basket. Charley takes and empties the waste-basket. A lot of litter is scattered on the floor. Charley takes a puncture yellow balloon. SLAM CUT: PRESENT: INT. CHARLEY'S (BILL'S) APARTMENT - NIGHT Holding the glass, Charley gets up from his chair and heads to the door. 00020000088F00012BE1889,BARMAN Bill, where are you going? Charley does not pay to him any attention. BARMAN (CONTD) Hey, you Bill, I'll need that glass. Without looking at the barman, Charley leaves the glass on an empty table and comes out of the bar. 85. Int. The block with the advertising - day Charley is slowly walking in a corridor on one of the floors. He stops in the middle of the corridor front of a door with an inscription: "John Candle". There are black fingerprints on the lock. Charley puts his ear at the door. Nothing is heard. Charley is looking around. The corridor is empty. Charley runs his fingers over the door-frame and finds a key. He unlocks the door and enters the room. Darkness. Charley hits a switch on the wall and a lamp illuminates on a desk. The desk is in the center of the room, facing him. The wall is covered with pictures, newspaper articles, sketches and various in size black-white photos of women of twenty-five. On some photos half of the women's faces are cut of and, on some others only the women's eyes are missing. At the corner of the room there a TV set, VSR and some VHS cassettes. Charley walks slowly ahead. He looks around nervous and excited, being in the murderer's lair. Charley goes to a close door across the room and enters the room. It has been converted into a darkroom, lit by red bulbs, with strip of film hanging from the ceiling. It is very silent. WE HEAR a faint sound of WATER DROPPING ON THE FLOOR behind Charleys back. Charley comes back in the first room. There is a small black pad on the VHS cassettes. He quickly takes the cassettes and the pad. He puts the pad into his trousers back pocket and turns to the closed door. WE HEAR some NOISE coming from that side. Charley slowly and attentively steps ahead, opens the door and freezes frightened - there is a bath at the corner of the room where lies the naked dead body of a beautiful woman about 25 with a red hair. Her throat is cut. Her skin is as white as snow. Her lifeless eyes are looking at the lit lamp in the room. The bath is full up to the edge with dark red water that overflows and drops on the floor. Frightened, Charley steps back and closes the door. 0002000009CE0001346A9C8,86. Int. Charleys (bills) apartment - living room - day Charley plays on of the cassettes he has taken with him. The TV screen fills the entire frame. The recorded picture is black-white. The videotape shows a beautiful young lady about 25 with a long dark hair sitting on a bench and smoking. There is a small park car behind her. The record lasts only four-five seconds. The tape image turns to snow for a moment. The videotape shows Carry Vincent, the woman, who Charley has shot in Rice's film (scene 52). She is going out of some trade center and heading to the car park (AT NIGHT). Cary gets on her car. The tape image turns to snow for a moment. Carry is in her car waiting at the traffic lights post. The camera shows a close plan of her face. Her eyes are looking up at the red light. The tape image turns to snow for a moment. The tape shows the interior of some house. The interior is the same with house where Charley has shot the Carry's murderer (scene 52). The camera is still. A door, two meters from the camera opens and Carry emerges from it. She is walking slowly to the end of the corridor. One of the doors in the end of the corridor is a little half-opened. When Carry reaches the half-opened door, a black silhouette of a man in a long raincoat and a hat emerges. He is holding a knife in his hand. Carry screams. The silhouette grips her and after a brief fight he prostrated her on the floor. CARRY (desperately) No, please no. The silhouette cuts her throat and stands up. Carry remains lifeless on the floor. The silhouette remains for a while staring at the corps. He puts back the knife into his pocket, takes out some flower and puts it on her breast and enters the room that is in the far end of the corridor. The tape image turns to snow for a moment. A woman about 25 with a black short cut hair is seen on the screen who is walking through a narrow street. The camera follows her at a distance of seven-eight metres. The camera starts nearing her slowly. When it arrives almost to her back the woman turns in a street and enters a big square with a fountain in the middle of it. She stops in front of her car, gets into and sets off the street moving away from the camera. The tape image turns to snow. Charley stares at the snow for a few moments. WE HEAR the phone RINGS. Charley does not pay any attention. He is completely concentrated at the record from the videotape. WE HEAR the phone RINGS again. Charley goes to the phone and lifts the receiver. 0002000008BF00013E328B9,Charley Hello? UNEARTHLY RASPY VOICE (v.o.) Who are you? Charley hesitates. UNEARTHLY RASPY VOICE (CONT'D)(v.o.) I want my the cassette. Charley freezes at his place, realizing that is the killer. UNEARTHLY RASPY VOICE (CONT'D)(V. O.) You made a big mistake. The man of the other end of the line hangs up. Charley slowly puts the receiver down. The phone rings. Charley steps back. He hesitates. The phone rings again. Charley lifts the receiver. Charley Hello? Cindy (v.o) Bill, they're marvelous. Thank you. Charley What? What are you talking about? Cindy (v.o.) The flowers, witling. Charley Flowers? Cindy (v.o.) You know I can't be cross with you for a long time, Thank you. I have never seen blue roses until now. Charley is shocked. Charley (nervously) Don't move from there. Cindy (v.o.) Bill Charley Lock the door and let no one until I come. Cindy (v.o.) (confused) What's wrong? Charley You just do it. I'm coming in a second. Charley hangs up and is hurrying up the door. 87. Int. Cindys apartment - day Cindy is walking to and fro anxiously. WE HEAR the bell of the door Rings. Cindy dashes to the door, has a look through the spy hole and opens the door. Charley enters the apartment and is looking around. Cindy (alarmed) Bill, what's happening? In the middle of the table there is a bunch of blue roses. Cindy (CONTD) (alarmed) What's going on? Charley When did you get the bunch? Charley takes the bunch and scrutinizes it. Cindy In the morning maybe about 10. Charley Did you notice who brought it? Cindy shakes her head. Cindy It was at my door. I thought it was you. Charley shakes his head. Cindy (CONTD) (alarmed) Bill, what's going on? Charley puts the flowers back on the table. Cindy (CONTD) (alarmed) Bill? Charley (looking at the bunch) Nothing. Sorry to have frightened so much. Cindy is embarrassed. She tries to hug him. Charley steps back. Charley (CONTD) I have to go. 88. Int. Charleys (bills) block - corridor - day Charley is running along the corridor. His apartment door is a little ajar. Charley enters his apartment. The cassettes are not in. Charley reaches into the VSR but the cassette is not there. He hits furiously at the wall. Charley (shouts) (nervously ) FUCK! 000200000792000146EB78C,WE HEAR the phone RINGS. Charley is furious. He lifts the receiver. Charley (CONTD) Hello? WE HEAR a LAUGH from the other end of the line. UNEARTHLY RASPY VOICE (v.o.) Did I scare you? Don't worry. I need the cassette only. If I wanted I would kill her. Charley holds squeeze the receiver. Charley (angrily - seriously) Listen to me now, you sick bastard. I'll find you. UNEARTHLY RASPY VOICE (v.o.) Do you think so? Charley Tell Rice I won't take part in the perverted game. (pause) You'll sorry for Jenny Farrow. I know it was you. I'll find you and kill you. (shouting) Are you listening to me? I WILL FUCKING KILL YOU! Charley banged the receiver. 89. INT. Weapons SHOP - DAY Charley is in front on a shop ASSISTANT about 23. He is nervously looking at the shop window, where some guns are displayed. The Assistant has an embarrassed look at him. Charley stops his eyes on a big gun and shows it. Charley That one. assistant Sir, it's a very powerful weapon. Do you have any experience with Charley I want that one. The Assistant shows him some smaller guns. Assistant Why don't you have a look at these Charley puts some one hundreds bank-notes in front of the Assistant. Charley Just give me the fucking gun. 90. Int. The killers apartment - day Charley enters the apartment. He is holding the big gun he has just bought from the weapons shop. Charley aims his gun ahead as he is walking slowly ahead. Each item from the walls has disappeared. The walls and the floor are wet. Some papers wet half decomposed cuttings are on the floor. Charley opens the bathroom door. The bath tap is turned on. Water overflows from the bath. Charley steps ahead and glances at the bath. He sticks his arm into and takes out from the bottom a plastic bit where a crown is painted. The digit 5 is under the crown. 00020000073100014E7772B,91. Ext. The square with the fountain - day Charley is walking round the square with the big fountain. He is looking around searching the woman from the recording. 50 metres ahead a Woman with a short cut hair leaves a shop. Charley Hey. Charley starts running ahead. Woman's back is facing him. As she is looking at the street she lifts her hand. A taxi stops in front of her. Charley (CONTD) (shouting) Stop. The woman gets into the taxi and the car sets off. Charley starts running ahead trying to reach the taxi. The car is moving away fast along the street. Charley stops as he is gasping for breath. WE HEAR his mobile RINGS. Charley takes it out. Charley (CONTD) Hello? Cindy (v.o.) Hi. Charley is still gasping for breath. Cindy (v.o.) (CONTD) OK? Charley Yeah, I'm OK. What do you want? Cindy (v.o.) Just to have a talk. Could you Charley No, I can't I have a lot to do. Cindy (v.o.) Bill, what's up? The last few days I can't understand you. You're continuously Charley Look, I have much more important things to Cindy hangs up. Dissolve to: 92. Int. Cafe - day Charley is sitting at a table having coffee. He is gazing at the plastic bit with a crown on. Charley stirs and takes something from his trousers back pocket. He has in his hand a little black pad he took with the videocassettes. Only now he remembers that he has the pad. He opens it. Its pages are full with indiscriminately written digits and abbreviations without saying what does it mean. CUT TO: 93. Int. Cafe - day - little later Charley is scrutinizing the pad. On one of the pages is written with capitals "O.S. 120" The inscription is in a circle. Charley starts looking up the pages. He stops and stares at on of the pages. At the bottom of the page something is crossed out. Charley is staring more attentively. It is some address. 000200000A11000155A2A0B,94. Ext. Street - day Charley stops his car in front of a block of flats. CUT TO: 95. Int. The block - corridor - day - moment later Charley grips his gun, takes a deep breath to calm, kicks the entrance door and enters the dwelling. Pointing the gun he is slowly walking ahead. No one has entered the apartment for a long time. The furniture is covered with a white material. WE HEAR a FAINT MONOTONOUS NOISE, coming from one of the rooms. Charley steps to the room and curtly opens the door aiming the gun. The room is empty. The window is not closed completely. Little drops are falling on the floor. CUT TO: 96. Int. The apartment - bedroom - day - little later Charley is raking into a drawer. He takes out a box full with photos. The first photo shows about twenty children of seven years standing in front of a school. Charley starts examining the photos one by one dropping each one on the floor. His attention is attracted by a photo of two men, one of 30 and the other about 56. The older one holds in his hands a big fish. The other, a tall man with a short cut black hair with a wide smile has put his arm on his shoulder. Charley passes to the next photo. On that photo the man of 30 is on the court of a house. He is holding a little girl of five. Charley passes to the following photo. Here are again the two men. They are in some bar. The both are arm over arm. CUT TO: 96. Int. The apartment - living room - day - little later Charley is sitting on the sofa in the middle of the room looking sadly at the floor. He is holding in one hand his gun. SLAM CUT: FLASHBACK: EXT. park - DAY Charley and Jenny are walking in the park hand in hand. They both are talking and smiling. We can't hear what they are talking about. SLAM CUT: PRESENT: INT. The apartment - living room - day Charley is raking in a drawer. He takes out a pair of sunglasses and throws them on the floor. Charley thrusts his hand into the drawer and takes out a ball of baseball with an autograph on. He throws it on the floor and takes out a little silver box for cigarettes, looks at it for a moment and throws it on the floor, too. Charley takes out some small box, inside there is a gold plated watch with an inscription on "Twenty Years Loyal Service". Charley takes a photo from a frame. The two men are on it. The two are in a police uniforms arm over an arm. Charley takes the photo in his hands where the two men are in the bar and stares at it. Behind the men on one of the windows in the end of the bar there is a blue neon inscription "Bar Night Life". 00020000094000015FAD93A,97. Int. Bar Night life - night Charley is in front of the bar. The gun butt is seen from his pocket. Charley puts one hand in his pocket and enters the bar. There are some people in the bar. Charley has a look at the two policemen photo and looks around. They both could not be seen anywhere. The BARTENDER, a tall man of 44, thin is cleaning a glass while watching the TV in the bar. Charley nears him. Charley I'm looking for John Candle. BARTENDER (watching the TV) Who? Charley Candle. John Candle. BARTENDER (watching the TV) He hasn't shown up lately. Charley Do you know where Charley looks for a moment at the TV. There is the news on. The REPORTER, about 30 is at a street. There is a yellow police band drawn across a street. A few policeman are walking around. REPORTER The body of the twenty-fifth Catherin Price was found about 5 p.m., today. At the upper right corner of the screen appears the young lady with the short cut hair's photo, who Charley noticed on the square. REPORTER (CONT'D) The police refuse any commentary. The case is in competence of SLAM CUT: FLASHBACK: int. House - DAY Carry Death in Blue", scene 96, second double. FLASHBACK: INT. house - day Carry Death in Blue", scene 105, second double. FLASHBACK: INT. very expensive restaurant - day Rice I count on you. FLASHBACK: INT. restaurant - day Rice No more questions. Just remember. Everything depends on you. SLAM CUT: PRESENT: INT. bar night life - night Charley is looking at the TV like hypnotized. Dissolve to: 98. Int. Cindys house - front door - day Charley knocks at the door. The door opens and Cindy appears from it. She sees Charley and tries to close the door, but Charley grips the door. Cindy (angrily) What are you want? Charley To talk. Sorry to have been such an asshole. Cindy throws a look aside then smiles and opens the door. CUT TO: 99. Int. Cindys house - kitchen - day - little later Charley and Cindy are at a table having coffee. Charley puts his hand on hers. Charley I'm sorry. I shouldn't have talked to you like that. Cindy smiles. Cindy It's OK. But I wanna know what's happening with you. 00020000078C000168E7786,Charley OK. (pause) Look I know something about some and I have to find him. Cindy And? Charley He's dangerous. Cindy Dangerous? Charley Yeah. Very dangerous. Cindy looks at him worried. Cindy Why you don't Charley I can't go to the police. Cindy Why? Charley I just can't. I have to find and stop him. Cindy (worried) Bill, have you done something wrong? Charley No. Cindy So, I can't get why exactly you Charley Because if I don't stop him he'll hurt you. As he has hurt some other people. Charley stares at her. Cindy Yesterday when you came scared Charley Yeah. (pause) I'm sorry didn't want to know about it. Cindy But why Charley I can't tell you. I'd like to trust me. Cindy hesitates. Charley stares at her Charley (CONTD) Please, I need to believe me. Cindy hesitates for a while and nods. Cindy OK. Charley holds tight her hand to reassure her. Charley I promise nothing will happen to you. Cindy And when you find him? Charley I'll give him to the police. Cindy I wanna help you. Charley No. It's dangerous. Cindy I can't just Charley No. I'd like to stay here. Now I have to go. I'll come back later and we'll talk. OK? Cindy nods. 100. Int. Library - day Charley is walking between the shelves full of books. It is very quiet. He stops in front of a shelf and takes a book with a title "Help from a Friend". Charley is looking through the pages. A black-white photo drops from the book. Charley takes the photo. On the photo Jennifer Noels, the woman, who Charley has shot in a Rice's film (scene 66). She is leaving a big clothes shop. She is holding an advertising plastic bag with an inscription "NOVA Styles". Charley turns the photo back. It is written in the back: "Jennifer will be killed on 17th at 7.10 p.m. I hope you're not late when you're reading that. A. P." Charley has a look at his watch. His clock says: 17th 2.02 p.m. Charley drops the book on the floor and rushes to the exit. 0002000007100001706D70A,101 int. charleys car - day Charley drives with his car very fast along the street. He looks nervously at his watch. The time is 2,34 p.m. On the left side of the street there is a big shop with an inscription "NOVA Styles". Charley presses suddenly the brakes, gets from the car and crosses the street in running. Two cars abruptly stop in front of him for not being hit. As Charley is running he enters the shop and looks around. There are only a few customers. WOMAN (v.o.) Can I help you? Charley turns back. A shop ASSISTANT about 35 is standing by him. Charley Yeah. I'm looking for that woman. Charley takes out Jennifer's photo and gives it to the assistant. ASSISTANT I'm sorry you've missed her, too. Charley What? What you mean? ASSISTANT She was here a half an hour ago, but she left. Charley You said "You, too". ASSISTANT Ten minutes ago a man was looking for her. Charley (tensed) How does he look like? ASSISTANT About thirty with a short cut hair and a middle stature. Charley Don't you know where is she now? The Assistant shakes her head. Charley is heading fast to the door. Assistant (v.o.) Wait. Charley stops and turns back. ASSISTANT (CONT'D) Before she went out she spoke with Mimi, one of ours here. I think she asked what was the fastest way to get to some hotel. It was maybe Hilton, but I'm not sure. Charley Hilton? The Assistant lifts her shoulders. ASSISTANT I don't know. I think so. 102. ext. in front of Hotel hilton - day Charley stops his car in front of the hotel. He gets down from the car and is looking around. Jennifer is seen nowhere. As he is looking around, Charley is heading to the hotel. At the door he is walking past a thin man of fifty with fine moustaches and a baret on. As he is walking pass the man he barely touches Charley's shoulder. 00020000068C00017777686,MAN (with a French accent) (looking forward) Be careful young man. Charley stops and turns back The man goes to a rose-pale jaguar and throws a look at the hotel gate. MAN (CONTD) (nervously) (with a French accent) Come on, come on, quickly. A porter is coming out of the hotel carrying three big suitcases. MAN (CONTD) (with the French accent) Boy, put them in the boot. And for God sake, be careful. They cost a fortune. The man gets into the rear seat. A strong man of forty gets into the driver's seat. MAN (v.o.) (CONTD) (with the French accent) Be quickly, boy. (to the driver) What a hell, Rupper. I'll be late for my own exhibition. DRIVER (v.o.) Don't worry Mr. Fourget. We'll be in time. Cut to: 102. int. Hotel hilton - reception desk - day Charley is standing in front of a Man about 28 with a sleek black hair. Charley hands Jennifer's photo to the man. Charley (tensed) Did you see her? The Man stares at the photo and shakes his head. MAN I'm sorry, no. Charley (tensed) Are you sure? MAN Yeah. Why don't you look at the hotel bar unless she is a hotel guest Charley I've already been there. MAN I'm sorry, can't help you. 103. Int. Charleys car - day Charley is driving his car and looks gloomy ahead. He has a look at his watch. The time is 5.47 p.m. Angrily he clenches the steering-wheel. Charley (angry) FUCK! Charley hits the steering-wheel. There is a yellow band across one of the turning That is the turning where Catherin Price was killed. Charley stops the car, gets down from it nears to the turning and looking forward leans against a pole. In the middle of the turning, behind the yellow band, two detectives are standing. 00020000063000017DFD62A,DETECTIVE 1 about 45 with a grey hair and long moustaches is in a black jacket and worn pair of jeans, and DETECTIVE 2 about 28 in a nice grey suit. They both are talking something. WE HEAR a phone RINGS. Charley gets startled and looks back. There is a pay phone by him. The phone RINGS again. Charley is looking around. There is no one near him. The phone rings again. Detective 1 throws a look at Charley. WE HEAR the phone RINGS again. Charley lifts the receiver. Charley (CONTD) Hello? UNEARTHLY RASPY VOICE (v. o.) So you're playing a detective. Charley is looking around. UNEARTHLY RASPY VOICE (v.o.) (CONT'D) My pad is with you, isn't it. Charley Yeah. UNEARTHLY RASPY VOICE (v. o.) I wanna have it back. Charley takes out the black par out of his back pocket, lifts it over his head and looks around. Charley Here it is. Come and take it. UNEARTHLY RASPY VOICE (v.o.) Be patient. Charley I'll get you. WE HEAR A LOUGH. UNEARTHLY RASPY VOICE (v. o.) So, you'll get me. You don't even know who I am, how do I look. You've never met me. I'll walk pass you on the street the same way as the man who's passing now by you Charley looks back. A man about 40, bald with moustaches is walking pass him. The man throws a look at Charley and passes by. UNEARTHLY RASPY VOICE (v.o) (CONTD) and you won't even know that's me You know nothing about me. Charley I know more than you can imagine. UNEARTHLY RASPY VOICE (v.o.) There is one thing that pesters me. How did you found it's me. You know about the flowers, too. And the police don't have any idea about it. 0002000007AC000184277A6,Charley You wanna know, don't you? It gives you a fright. UNEARTHLY RASPY VOICE (v.o.) Don't forget I know where Cindy lives and I can WE HEAR TRAMPING by the phone. Woman (v.o.) (by the phone) Roo The man of the other end of the line hangs up. Charley has a look aside. The two detectives pass by him. Detective 2 is holding a plastic bag and there is something in. Detective 1 stares at Charley while he is passing by him. Charley throws a look aside pretending not to have noticed him. Walking away Detective 1 goes on looking at Charley. Detective 2 I'll take it to the lab. Detective 1 has a look at Detective 2. Detective 1 OK. I'll see what her friend knows. Detective 2 In a half an hour in the small eating-house, OK? Detective 1 OK. As usual. SLAM CUT: FLASHBACK: int. cafe - DAY DETECTIVE 1, about 45 with a short cut hair and long moustaches in a black jacket and worn jeans and DETECTIVE 2, about 28 in a nice grey suit are sitting in the box. Detective 2 The yellow color under Jennifer nails turns to be some paint. Detective 1 A paint? Detective 2 Water colors. The same as of a water colored drawing Detective 1 What about her friend. Did it occur cross her mind? Detective 2 shakes his head. Detective 2 No. They both were together for the last time yesterday in the evening in "Fantasy" nightclub. Jeffrey left it earlier. Since then they didn't meet or call each other. SLAM CUT: PRESENT: ext. Street - day Charley hangs up the receiver. 104. Int. Nightclub fantasy - day Charley enters the club. No one could be seen around. BARMAN (v.o.) It's closed. BARMAN a strong man about 30 is behind the bar cleaning a glass. BARMAN (CONT'D) We'll be opening in two hours. Charley goes to the Barman and shows him Jennifer's photo. Charley Have you ever seen her? BARMAN Jennifer Noels. Yeah, yesterday she was here. Are you a friend of hers? Charley Hm yeah. Have you an idea where can I find her? The Barman shakes his head. 000200000CD700018BCDCD1,BARMAN Jennifer comes often here. Usually about ten p.m. Shall I tell her anything if I see her? Charley No. I have to find her quickly. Don't you know other places she visits? The Barman shakes his head. BARMAN I remember, she talked with some French yesterday. The guy obviously got in his head she liked him. He invited her to some exhibition of him. (pause) It seemed he said he was a painter or a sculptor. They talked for a long time. 105. Ext. Street - in front of some gallery - day Charley stops his car in front of a gallery, rushes to the entrance, enters and looks around. Few people are walking around. Jennifer is not in. Cut TO: 106. int. some other gallery - day Charley is in another gallery. He is walking fast looking nervously around. Jennifer is not in. Charley is in another gallery. He is looking around. Jennifer is not in. Charley is broken in spirit. Looking around he is at his wits end. At one of the gallery corner is the PAINTER - a short man about 46. He is restlessly looking at the people in the hall. Charley rushes to him and shows Jennifer's photo. Charley Please, tell me you've seen her? The painter throws a look at the photo for a moment. PAINTER No, my young friend, I'm afraid I haven't. Charley (insistently) Are you sure? PAINTER I'd have noticed such a beautiful woman being on the exhibition. 107. Int. Charleys car - day Charley drives on the street looking around desperately. He nervously has a look at his watch. The time is 5.40 p.m. On the left side of the street is stopped the pink Jaguar. Charley presses suddenly the brakes. He gets off the car looking around. Some ten metres ahead there is a gallery. A big, strong MAN about 27 in a black suit is standing at the entrance. Charley rushes to the entrance. The man stands at his way. Man Can I help you? Charley I have to come in. Man Your invitation card, please. Charley I haven't such. Man I'm sorry but I can't let you in. Charley has a look at the gallery. Inside the gallery Jennifer is by the French Man with the baret. They both are talking something. Charley (desperately) You don't understand. I have to speak with some man who is in. It's urgent. MAN I'm sorry, without an invitation card I can't let you in. Charley Look MAN Why don't you wait for him here? CUT TO: 108. ext. street in front of the gallery - day Charley is leaning against the building by the gallery. He is string at Jennifer's photo. Charley puts back the photo in his pocket and has a look forward. On the other side of the street, at a lane, is standing a man in a long raincoat and a hat on. The man is standing in the shade and his face could not be seen. As Charley is looking at the man he steps ahead. The man steps back and disappears into the shade. Charley has a look around, crosses the street and takes out his gun. The lane is desert. Holding the gun with both hands, Charley walks ahead. WE HEAR some NOISE. Charley turns back. Somebody hits him at the head. Charley drops on his back on the ground. Charleys P.O.V.: a black silhouette of a man with a raincoat and a hat on bends over him. We can't see man's face. The man takes the black pad out of Charley's pocket and leaves. Arising Charley tries to get up. He drops on the floor and looses consciences. 000200000C450001989EC3F,Cut to: 109. Ext. The street - day - later Charley is lying on the middle of the street. There is a wound over his eyebrow and blood drops. He opens his eye and is getting up with pain. Tottering Charley heads to the place where he has come from. At the middle of the street he stops and looks ahead. A car stops suddenly, a few metres in front of him, to not hit him. As he is standing in the middle of the street Charley does not pay any attention to the car. The gallery is empty. 110. Int. Charleys car - day Charley is driving along a street. Blood still drops from the wound of hid head. Looking gloomy ahead he does not pay any attention to the wound. Charley is turning his head desperately. SLAM CUT: FLASHBACK: EXT. STREET - DAY There is a yellow band across one of the turning That is the turning where Catherin Price was killed. Charley is in the phone box, talking with the killer. UNEARTHLY RASPY VOICE (v.o.) There is one thing that pesters me. How did you found it's me. You know about the flowers, too. And the police don't have any idea about it. Charley You wanna know, don't you? It gives you a fright. UNEARTHLY RASPY VOICE (v.o.) Don't forget I know where Cindy lives and I can WE HEAR TRAMPING by the phone. Woman (v.o.) (by the phone) Roo The man of the other end of the line hangs up. SLAM CUT: PRESENT: int. charleys car - day Charley Room service. Charley has a look at his watch. The time is 6.23 p.m. He presses the accelerator. 111. ext. the Street with the yellow police band - day Charley stops his car in front of the street with the yellow police band. He gets off and starts looking around. There are around big residential blocks. Charley's look is stopped at a small hotel with a red inscription "Hotel Royal". Over the inscription there is a blazon - a king crown. Charley takes out the orange plastic bid he found in the bath (scene 90). The crown on it is the same the one that is at the hotel. Cut to: 112. Int. Hotel Royal - hotel room - day BOOM - door flies open. Charley hits a switch on the wall. The room is very simple and cosy. The curtains are put down. Holding the gun he steps slowly and attentively ahead. Charley is nervous. The hand holding the gun is shaking trembling. On the far wall there are a multitude of black-white stacked photos. Charley is heading to the photos. WE HEAR some NOISE. Charley turns back and faces a close door. He curtly opens the door, aims the gun ahead and freezes shocked - a man about 56 from the photos that Charley found the address in the pad (scene 96) is sitting on a chair in the middle of the room. The man's throat is cut. His whole shirt is in blood. His arms and legs are tied up at the chair. A terrible agony is seen on his face. His eyes are looking directly at Charley. A police badge is on his chest. Charley takes the badge. Some small card is sticked out the man's mouth. Charley takes it out. It is John Candle identity card. The man on the chair is on the photo. The dead man is John Candle. Charley is looking flustered at the identity card. He steps back and confusingly shakes his head. 0002000009860001A4DD980, Charley (flustered) How Charley has a look at his watch. The time is 6.42 a.m. Charley faces the wall with the photos. Jennifer is shot on each photo. As he is nervously searching with his eyes among the photos, Charley suddenly stops his eyes on a photo where Jennifer is coming out of a house. Charley stares attentively at it. The house address is 120. By the house there is a inscription "Ocean Street". SLAM CUT: FLASHBACK: int. cafe - DAY Charley is sitting at a table having coffee. He is scrutinizing the pad. On one of the pages is written with capitals "O.S. 120" The inscription is in a circle. 113. Ext. street - In front on jennifers house - evening Charley stops with his car in front of Jennifers house, rushes to the front door, comes in and walks ahead. Charley Jennifer. Jennifer Noels. No reply. Charley is walking up the stairs to the upper floor. Charley (CONTD) Don't be afraid, I just wanna Charley stops in the corridor on the second floor. A door in the middle of the corridor is a little ajar. Charley is walking fast forward, opens the ajar door and freezes shocked. Charley (CONTD) No. Jennifer is lying on her back in the room. Her throat is cut. Charley drops to his knees by her. He has a look at his watch. The time is 7.12 p.m. Jennifer's eyes look expressionless at the ceiling. A blue rose is on her breast. SLAM CUT: FLASHBACK: int. house - DAY Charley is sitting on the director seat. Jennifer is standing by him. She puts her arm on Charley's shoulder. Jennifer I count on you. SLAM CUT: PRESENT: INT. Jennifer house - evening Kneeling by her, Charley holds her in his arms. He bashes and throws away the rose. Tears appear on his eyes. Charley I'm sorry. I'm so sorry. On Jennifer's palm is written "D. A. 253" in a circle. Charley starts crying holding Jennifer close to him. Dissolve to: 114. Int. Charleys (BILLS) apartment - night Charley enters his apartment. He is very tired. Cindy is on the sofa in the living sitting room watching TV. She stands up and heads to the door. Cindy Hi Cindy notices Charley's wound above the eyebrow. Cindy (CONTD) (anxiously) My God. Cindy grasps his arm. Cindy (CONTD) Come here. What has happened? Cindy makes Charley sits on the sofa. She rushes to the kitchen, turns back from it and starts cleaning the wound. Charley is looking without any expression at nothing. Cindy (CONTD) Bill, what has happened with you? 0002000008380001AE5D832,Charley (looking at nothing) I Charley has a look at Cindy. Charley (CONTD) I could have not saved her. Tears appear in Charley's eyes. Cindy stares at him and holds him. Charley starts crying. 115. Ext. Street - day Charley is standing in front of a half demolished residential building. He is looking gloomy forward. There are enclosers around the building. At the entrance a sign is hanging with number 253. Charley leaps over the enclosure and is heading the entrance. MAN (v.o.) Hey, you get out of it. Charley enters the building. CUT TO: 116. INT. the building - corridor - day Charley is walking along a corridor. The doors of the apartments on the both sides of the corridor are missed. As he is walking Charley looks around. He stops in font some flat. An old table with a missed leg is seen inside and something lies on it. Charley enters the apartment. There is a videocassette on it. MAN (v.o.) Hey, you. Charley takes the videocassette and turns back. WORKER about 48 is at the apartment entrance. Worker Didn't you notice the sign. Well be blowing up the building very soon. Are you crazy, or Without saying a word, Charley is heading at the worker who is afraid and steps back. Charley passes along him without paying him any attention and is walking towards the stairs at the end of the corridor. 117. Int. Charleys (bills) apartment - day Charley is sitting on the sofa in front of the TV watching the videotape. The TV screen fills the entire frame. The videotape shows a beautiful woman about 25 with a dark long hair, the same one Charley has noticed sitting and smoking on the first videotape (scene 86). She is in a T-shirt and wide and unbuttoned shirt. The record is black and white. The woman is in some park. There are plenty of people around. She is walking and looking around. A man is coming to her holding a map of the town. They both are talking about something. She points with her finger at the right and says something to the man. The man has a smile and heads towards that direction. Charley is sitting without moving watching gloomy the TV. 000200000A3E0001B68FA38,Cindy (v.o.) What's that? Charley stops the video recorder and turns back. Cindy is standing at the door. Charley Nothing, I just Cindy It's related with him, isn't it. Charley hesitates for a moment and nods. Cindy (CONTD) Turn it on. Charley No. I don't think I should Cindy I'm involved, too. Charley looks at her for a moment. Charley OK. Cindy sits by him. The screen fills the entire frame. The woman is walking along a narrow path through two slides. At some metres the camera follows her. A friend of hers about 23 asian with a long black hair come near her. Both of them kiss, talk about something and quickly walking away from the camera. The tape image turns to snow for a moment. A man with a black mask in a dark room appears on the screen. Cindy turns her head in horror. The killer (with unreal raspy voice) I know you're watching. It's your last chance. I have just one to kill more. The tape turns to snow. Charley stares at the screen gloomy. 118. Int. Hotel royal - hotel room - day Charley enters the hotel room. It is very quite. In the room everything is on its own place. Walking towards wall with the photos Charley looks aside. Charleys P.O.V.: John Candle is sitting at the middle of the room. His eyes are looking straight at Charley On his forehead is written with blood "LATE". Charley stands in front of the wall with the photos. There is a Woman's photo from the videotape at end of the wall. She is sitting on a little bench in a small park car. A huge building is standing behind her and it is written on "S.W." Charley takes the photo from the wall. Cut to: 119. ext. The street with the yellow band - day Detective 1 is standing behind the yellow band, surveying the crime place. He takes a cigarette and looks aside for a moment. Charley comes out of hotel "Royal" and rushes along the street. Detective 1 takes out the cigarette, looks aside and goes to the hotel. Cut to: 120. Int. Hotel Royal - hotel room - day Detective 1 pushes slowly the half opened door and enters the room. It's very quiet. He goes slowly ahead, stops and looks aside. John Candle's corpse is staring at him. Detective 1 stands without moving for a moment. He is terrified, but he manages to stay calm. Detective 1 looks around and sees the wall with the photos. He goes closer. Jennifer Noels is on every photo. Dissolve to: 121. int. Charleys (bills) apartment - day Charley is sitting on the sofa in front of the TV watching the videotape. Cindy enters the room. She looks at him anxiously. Charley is sitting as if he is hypnotized, paying attention to nothing around him. 000200000AEB0001C0C7AE5,Cindy Charley Charley does not pay her any attention. He is completely absorbed by the recording. The TV screen is filled the entire frame. The woman explains something to the man with the map. Cindy CONT'D) Hey, do you wanna go out for a walk, outside is Charley (watching the TV) I can't. Cindy sits by him. Cindy Stops for a while. As he is watching the TV, Charley winces for a while. Charley Wait. The TV is filled the entire frame. The woman is walking along the path between two slides. Charley runs back the image until the moment when the man with the map comes to the woman. He stares at the TV. The TV is filled the entire frame. The woman lifts her hand indicating something to the man. The image stops to pause. She has lifted her hand indicating something aside. A part of an inscription "Sw " is seen on her T-shirt. Charley takes out the woman's photo staring at her. Charley (CONTD) That's this! Cindy What? Charley shows her the phot. Charley These two letters "S. W." They are on her T-shirt. It must be some shop sign where she works. That son of a bitch must be around observing her. 122. ext. The park from the videotape - day Charley is in the park. He is looking around. There are plenty of people everywhere. Nowhere can be seen the woman. Charleys P.O.V: Charley is walking along a narrow path between two slides SLAM CUT: FLASHBACK: Int. Charleys (bills) apartment - the tv - day The screen fills the entire frame. The woman is walking along a narrow path through two slides. At some metres the camera follows her. SLAM CUT: PRESENT: Ext. The park from the videotape - day Charley looks aside. There is a small fountain at ten metres from him. Some metres far from the fountain there is a short man of forty with a camera. There is a sign over his head: "Unforgettable Souvenir - $ 4.55 only". Under the sign there are some photos of young ladies shot by the fountain. The photographer speaks with a young couple by the fountain. The young couple holds each other and the photographer shots them. Charley comes to the photographer. PHOToGRAPHER Good afternoon, sir. Do you wanna a shot? Charley shakes his head and looks at the photos behind the photographer. On one of the photos the woman from the videotape is seen behind a young couple. At the photo corner is seen the man with the camera. The camera hides his face. There is some tatoo on the hand holding the camera. Charley points at the photo. Charley I need that one. 123. Int. Cafe - day Charley is at a table observing the photo. He has spectacles in his hand. Charley puts the spectacles over the photo. The enlarged picture by the spectacles shows the hand holding the camera with the tattoo representing a skull in profile. Charley starts drawing it on a paper serviette. 00020000091B0001CBAC915,124. int. Tattoo studio 1 - day Charley is looking through a big book with skulls tattoos. On a chair in front of his is sitting the TATTOO MAN 1, about 40, thin with a long hair and moustaches. He is reading some magazine. He throws a look at Charley. TATTOO MAN 1 Man, are you looking for something special or you're hesitating? Charley (looking at the book) Something concrete. 125. int. Tattoo studio 2 - day Charley is standing in front of a TATTOO MAN 2, about 30, fat and bald, with a long beard and a great number of tattoos on his arms. Tattoo man 2 is observing the serviette with a skull sketch on. He shakes his head. TATTOo MAN 2 No, I've neve made such one. They're not in demand. 126. int. Tattoo studio 3 - day Charley enters a studio. TATTOO MAN 3, about 52 with a long grey hair and moustaches is making a tattoo of a big cobra on an arm of a beautiful young woman about 20. TATTOo MAN 3 Jus a moment. Charley sits on a chair. Tattoo man 3 turns off the machine and puts a plaster on the tattoo. TATTOo MAN 3 (CONTD) You're ready, beauty. Tattoo man 3 turns to Charley. TATToO MAN What you like? Charley hands him the serviette with the tattoo on. Charley Have you ever made such ones? Tattoo man 3 stares at the serviette. TATTOo MAN No. I'm sorry. Tattoo man 3 hands back the serviette. Charley Are you sure? Tattoo man 3 nods. Charley continues looking at him for a while. He takes a big book full of tattoos pictures. Charley (CONT'D) Don't you mind if I look through, do you? Tattoo man 3 nods. Charley starts thumbing the pages. Tattoo man 3 is looking nervously around. Charley is thumbing the pages with tattoo pictures of skulls. On one of the pages there is the same tattoo as the one of the shot. Charley (CONTD) What about that one? TATToO MAN 3 See, I make twenty tattoos a day and can't remember each one. Charley You must remember that one. Tattoo man 3 hesitates for a while. TATToO MAN 3 Are you a cop? Charley shakes his head. TATToO MAN 3 (CONTD) OK, a month ago came a guy. I haven't seen him before. He wanted me to make exactly that one. He gave me three hundred bucks for making it on his arm. Charley Three hundred? TATTO MAN 3 It's forbidden in the States. Because of the veins. I used to make such ones in Europe. He told me he needed somebody with an enough experience. 000200000B490001D4C1B43,Charley Did he mention something about him? Tattoo man 3 shakes his head. Charley (CONT'D) What's his name or when does he work? TATToO MAN 3 No, but he has a lot of scares on his arms. He must be an industrial worker. I used to have such a work and know how easily scares come. 127. Ext. street - day Detective 1 is driving slowly along the street. About 12 meters in front him. Charley is walking on the street. He stops in frond of some factory. Detective 1 stops too. The factory gates opens and a multitude of workers are coming out. Charley is looking round. Among the workers' multitude a worker with a hat on is scoring his neck. On his arm there is a tattoo of a skull in profile. Charley Hey, you. The worker has no reactions. Quickly Charley is advancing to him. Suddenly the worker start running, crosses the street and enters a narrow quit lane. Charley rushes to him. Cut to: 128. Ext. Alley - foot chase - day A non-descript alley. Commercial buildings on one side, walled suburb on the other. Two men running all out. It's quiet. Just the hard breathing of the two men, each in overdrive, going all out in long blurring strides. The worker looks back. Sees Charley behind him, gaining. Cut to: 129. EXT. NEIGHBORHOOD - FOOT CHASE - day The worker crosses a cluttered backyard. Charley is still behind him. They emerge into the front yard. The worker flashes across the sunlit street. Dodges in front of a garbage truck which locks up the brakes. Charley whips around the back of the truck. The worker turns suddenly in a narrow street. Charley is after him. Cut to: 130. Ext. Street - foot chase - day The worker is running on a sidewalk. For a while he looks aside and crossing the street. Charley is after him. He notices that there is no traffic on one side of the street. The worker is moving away. Charley starts crossing the street, too. When he is in the middle of the street he looks aside for a moment. A car hit the brakes. Even driving with a little speed the car hits Charley. He falls on the street. Charley shakes his head to collect himself. The worker is far away. Charley stands up quickly and tries to run but his leg hurts. After some steps he stops as he is limping. The worker disappears in the distance. Dissolve to: 131. int. The factory - Office - day Charley is sitting in front of his boss, JIM BURNS, about 44. Burns is behind his desk. On of the office wall is in glass looking at the working place - machines where a factory workers work. BURNS OK, detective Charley Harris. BURNS Yeah, Harris. So you think the man you're looking for is working here? Charley That's right. BURNS Has he done anything Charley No, no. I 'd like to ask him several questions. BURNS Detective, I don't know if I can help you. 2167 people are working here. I can talk with shift heads, but I don't Charley You could present me their files. 0002000009770001E004971,BURNS Files? Charley nods. 132. Int. factory - the archive - night Charley is sitting at a table in the archives. There are two big boxes on the floor by him. On the table in front of Charley there are a big pile of files. Charley is looking through a file. On the first page there is a photo of a man of 23 with a blond hair. Under the photo there is an inscription Jim Masterson. Charley closes the file and takes the next one. On the first page there is a photo of a bald man about 50. Charley closes the file and takes the next. CUT TO: 133. Int. factory - the archive - night - later Charley is rubbing his eyes. There are two new piles on the table. He opens a file. On the first page there is a photo of a man about 30 with a short black hair. Charley is staring at the photo. BURNS enters the room. BURNS Detective, are you finishing with? Charley shows the photo to Burns. BURNS (CONTD) Kiel Morrison? Is he? Charley I don't know. He looks like him. I've examined no more that the half. BURNS Why don't you leave it for tomorrow? It's almost 1.30 a.m. Charley Yeah. Charley gets up and takes Kiel Morrison's file. Charley (CONTD) I'll keep it for tonight. BURNS Do, as you like. 134. INT. CHARLEY'S (BILL'S) APARTMENT - NIGHT Charley enters his apartment. He is very tired. Limping a little he comes in the living room, throws the file on the table in front of the TV and sits on the sofa. He sighs tiredly, leans, drops his head back and closes his eyes. SLAM CUT: FLASHBACK: int. very expensive hotel - CHARLEYS hotel room - day Charley is sleeping. He opens his eyes and turns to the other side. Jenny is sleeping be him. Charley gazes at her face. He caresses her face tenderly. SLAM CUT: PRESENT: INT. CHARLEY'S (BILL'S) APARTMENT - NIGHT 135. Int. Factory - the archive - day Charley is at the table in the archives looking through a file. On the first page there is a photo of a man about 40, bald with a beard and moustaches. Charley takes the next file. On the first page there is a photo of a man about 30 with a black hair and a little scar on his left cheek. Charley is staring at the photo. 136. Int. Factory - the working area - day KIEL MORRISON, thin, about 30 with a short cut hair enters the factory and is heading to the machine he works with. He is rubbing his eyes with a hand. He has a headache. Kiel takes out a small green little bottle with pills and takes two. 0002000009020001E9758FC,MAN (V. O.) Hello, Romeo what did happen with that girl that evening? You both left very early. Kiel I'd tell you but it seems that yours didn't tell you anything about the birds and the bees. WE HEAR a strong LAUGH from some men. Kiel looks ahead and stops. Kiels P.O.V.: through the windows is seen how Burns and Charley are talking. 137. Int. Factory - boss office - day Kiel enters the office. Burns is behind his desk. He makes a sign to Kiel to near him. Kiel steps towards the desk. Kiel You wanted to talk with me, Mr. Burns. BURNS Yeah, Kiel, how are you? Kiel OK, thanks. Burns What the doctor told you? Kiel OK. He told me he doesn't know yet what I have, but he prescribed me these pills. Kiel takes out his green bottle with pills. Burns What's it? Kiel I have no idea, but it helps. Burns This is detective Harris. Kiel looks back. Charley is sitting on a chair by the door. BURNS (CONT'D) He wants to ask you some questions. Charley gets up and stands by Kiel. Charley Please, show me your hands. Kiel hesitates and looks at Burns who nods to him. Kiel shows his palms to Charley. Charley (CONTD) And on the other side, too. Kiel slowly turns his hands. There is no a tattoo. Charley (CONTD) It's not him. BURNS Thank you Kiel. You can be back to work. Kiel opens the office door. BURNS (CONT'D) Kiel, tell Michael to come to me. And look out. Kiel Today he's not at work. BURNS What!? Kiel He didn't come to work. He is on a shift, isn't? Burns and Charley look at each other. Kiel is at the door looking at Burns and than at Charley. BURNS OK, Kiel that's all. Thank you. Kiel come out of the office. Charley What did you have in mind telling him to look out? BURNS They both don't like each other. A few days they had a fight. 138. Street - in front of the factory - day Charley is leaving the factory. Kiel (v.o.) Detective Harris. Charley turns back. Kiel is leaning against the door that Charley has passed through. Charley Yeah? Kiel What are you looking Michael for? Charley I can't tell you. Charley is heading to his car. Running Kiel comes to him. Kiel I have to know. Charley No, you don't have to. Come back to work and Kiel grasps Charley and pushes him to the car. Charley (CONTD) Oh, oh, take care, what you're Kiel Cut the bullshit! I know you're not a cop. 0002000007200001F27171A,Kiel drops his hands. Kiel (CONT'D) I'd like to know what that bastard have done. Charley He has just Kiel Don't give me that. Since you present as a cop it's not unimportant. Charley And you, why are so interested in? Kiel looks around to be sure they are alone. Kiel Carry Vincent. She was killed some days ago. Charley Did you know her? Kiel Yeah. We both have grown up together. Charley And you think Kiel He can trick the others but not me. Here he's a very decent boy, he almost doesn't speak, but I know what he is in reality. One evening I saw both with carry in the bar "Red Light". They talked and laughed all the night. On the following day the news said about carry and he pretended that he had never met her. I know he did it. (pause) Now. Why are you looking for him? Charley He Somebody is trailing my girlfriend. Letters with threats were sent and I think that's him. Kiel I knew that bastard would hurt some other girl. (pause) Shall we go? Charley Where to? Kiel I know Burns have given you the address. I'll come with you. Charley No, look Kiel You don't wanna I tell you're just pretending to be a cop, do you? Charley hesitates for a moment. Charley Get in. 139. Int. Block - corridor - day Charley and Kiel are in front of a door with an inscription "Michael Collins". Charley takes out his gun. Surprised and a little frightened, Kiel steps back. Kiel (whispering) What will you do? Charley knocks at the door. There is no answer. Charley knocks again. No sound is coming from inside. Kiel (CONTD) So he isn't in. Charley (whispering) Quiet. Kiel He would have opened it until now. Kiel lifts the mat in front of the door. There is nothing. He touches the upper frame of the door and finds the key. Kiel (CONT'D) Shall we have a look. Kiee unlocks the door and they both come in. 0002000006F30001F98B6ED,The apartment is modest and very cosy. Kiel open the door leading to the bedroom and enters. Charley comes in a dark little room. The shutters are put down. At one end of the room there is a small desk with a lit lamp on. The lamp gives light to one of the desk corner where there is a little audiocassette. Charley takes the audiocassette and put it in his pocket. Kiel (v.o.) (CONTD) Did you find anything. Charley looks back. Kiel is standing by the door. Charley shakes his head. The both of them come back to the first room. Kiel grasps his head and inclines a little aside. He rushes to the basin, takes two pills from the green bottle and pours him a glass of later. Charley Are you OK? Kiel nods. He is still having a pain. Charley (CONTD) I hardly believe I'll be back Charley goes to the entrance door. Kiel Where are you going? Charley I have to check something. Charley writes something on a sheet of paper and hands it to Kiel. Charley (CONTD) That's my address. Tell me if you find something. 140. int. Charleys car - day Charley is passing along a small factory chocolate producing. There is an inscription over the building " Sweet Way". CUT TO: 141. Int. Charleys car - day - moment later Charley is driving on a desert road. He is approaching a little bridge. He inserts the audiocassette he found in the dictaphone into the cassette player. UNEARTHLY RASPY VOICE (v.o.) So, you found me. I've obviously underestimated you. Don't you have the idea you're not working into the right direction. I don't think you take enough pains to find Kate, but time is running on. (pause) She is very sweet, but I've already had enough. It's hard for me to keep in control when I pass by her. Don't you understand I terribly want to cut her lovely whistle. 000200000A2800020078A22,SLAM CUT: FLASHBACK: int. cafe - day Charley is sitting on the directors chair and shooting the scene with the two detectives. Detective 1 What about Kate Johnsson? Detective 2 we had more luck with her. It was found on her hands Charley turns back his head. Rice and the man with the sunglasses are sitting in the middle of the eating-house and talking. While the man with the sunglasses is talking, Rice has a look at Charley. Charley turns immediately his head towards the detectives. Detective 2 (CONTD) the water has washed everything. Detective 1 OK. Let's check again if somebody in the factory doesn't know anything. SLAM CUT: PRESENT: INT. CHARLEY'S car - day Charley stops his car in the middle of the bridge, gets off and gazes at the river below. 142. Int. Charleys (bills) apartment - day Charley is sitting on the sofa in front the TV and watching the tape with Kate. He switches off the TV, rubbing tiredly his eyes and drops his head back. Cindy enters and sits by him. Charley smiles at her. Cindy takes his hand. Cindy Are you OK? Charley nods. Cindy (CONTD) I checked about the girl on the tape. Charley (surprised) What? Charley is shocked and a little angry. Cindy I checked almost any company or shop having such initials. Charley (a little angry) Jesus, why did you go to Cindy She didn't work to any of those places. There are three left only - an antiquarian shop "The Sword World", the trade center "Seven Wonders" and some factory of chocolate "Sweet Way". Charley (a little angry) Don't you realize he can see you and catch you. Cindy I can't just sit and wait. Charley hugs Cindy. Charley You're fantastic don't you know it? 143. Int. Trade center seven wonders - day Charley is walking on one of the upper floor and is looking around. Everywhere there are a lot of people. WE HEAR his cell phone is RINGING. Charley Hello? Cindy (v.o.) (afraid) Bill, it's me. Some man is standing in front of the door. Charley Lock it and don't open it until I come. I'm coming in a minute. 144. Int. charleys Block - corridor - day Charley climbs up the stairs as he is running. He gets to a long corridor and is running ahead. Some man is standing in front of his apartment door. Man's bag is towards Charley. When Charley is in a distance of some four, five meters from the man, he turns his face Charley. It's Kiel. Charley Kiel? Kiel Don't you live here, do you. I've been waiting for you for fifteen minutes. Charley unlocks the door. Charley Come in. Both of them enter the apartment. Cindy is standing in the middle of the sitting room. 00020000099500020A9A98F,Charley (CONTD) (to Cindy) This is Kiel. A friend of mine. (to Kiel) This is Cindy, my girlfriend. Kiel shyly waves with his hand. Cindy Hi. Charley What's up? Kiel I talked with some of the neighbors. For the last few days he came back for a little time. His neighbor, living on the left side of his apartment, noticed him today to drive along the bridge before Charley A chocolate factory "Sweet Way". SLAM CUT: FLASHBACK: int. charleys car - day Charley is passing along a small factory chocolate producing. There is an inscription over the building " Sweet Way". SLAM CUT: PRESENT: INT. CHARLEY'S (BILL'S) APARTMENT - day Charley (excited) Let's go. I think I know what he looked for. 145. ext. Desert road - day Charley's car is passing along the little bridge. Kiel's car is following him. Cut to: 146. Int. Charleys car - day Charley has a look on his right. On the right there is a detour. There is an inscription, "Motel Prestige - Guaranteed Good Time, Boat Renting", at the detour opening. Charley turns the steering wheel curtly driving on the detour. CUT TO: 147. int. Kiels car - day Kiel notices as Charley's car is driving on the detour. WE HEAR his cell RINGING. Kiel Hello? Charley (v.o.) I've to check something. Go on by yourself. Kiel What Charley (v.o.) The factory is in two miles ahead. Call me if you find Kate. 148. Int. Motel Prestige - reception desk - day Charley is standing at the reception desk. In front of him a weak, small, a little phlegmatic MAN about 35 is standing. MAN May I help you? Charley Do you have a lot of visitors at this time of the year? The man has a little irritated look at him. MAN Are you a cop? Charley shows him John Candle's badge. MAN (CONTD) So, from time to time. Charley And at the moment? MAN At the moment there are three persons only. If some one is doing something illegal in one of the rooms I'm not the responsible one, am I? Charley Anybody to have lately rented a boat? The man shakes his head. 149. Ext. in front of the motel rooms - day Charley is walking along the motel rooms. WE HEAR a cell RINGING. Charley stops in front of a room. WE HEAR a louder cell RINGING. Charley knocks at the door. No one opens it. WE HEAR how the cell continues RINGING. Charley kicks out the door and enters the room. At the far end of the room there is a cell on a little table. Charley takes the cell and has a look around. There is some map on the bed. 00020000091A00021429914,Charley Hello? UNEARTHLY RASPY VOICE (v.o.) So, you're making a progress. Charley goes to the bed. It is the town traffic map. There is a place marked with a red circle on the map. Charley Yeah. Charley is scrutinizing the map as he tries to find out to find out the enclosed spot. UNEARTHLY RASPY VOICE (v.o.) Good. Charley is heading quickly to his car. CUT TO: 150. Int. Charleys car - day Charley is driving along a busy street. On his hands hi is holding the traffic map. UNEARTHLY RASPY VOICE (v.o.) You know, I was surprised when you came in the factory yesterday. I didn't expect you at all. Charley Sure, it must have been like that Michele. HE HEAR a LAUGHING. UNEARTHLY RASPY VOICE (v.o.) Yeah, you know already my name. I could have left you to think it's Candle. Charley What had he to do here? UNEARTHLY RASPY VOICE (v.o.) Nothing. Charley Then, why did you kill him? UNEARTHLY RASPY VOICE (v.o.) I was forced to. I rented an apartment close to that retired miserable cop. He started hanging about and asking what I'm doing. I realized he won't stop. (pause) And you, how do you manage? Charley OK. Charley is scrutinizing the traffic map. UNEARTHLY RASPY VOICE (v.o.) And what about that buffer who's with you? Charley Who? UNEARTHLY RASPY VOICE (v.o.) Kiel. Is that his name, isn't he? Charley He just UNEARTHLY RASPY VOICE (v.o.) Don't rely on him. He can't help you with anything. He knows me from the office only. Charley He knows you killed Carry Vincent. UNEARTHLY RASPY VOICE (v.o.) So, he's not so dull as he looks. Charley leaves the map. He is looking around hesitating whether the Killer did not leave the map purposely. Charley What did you circle on the map? UNEARTHLY RASPY VOICE (v.o.) Circle? Charley You have left the cell for me, haven't you? You knew I would find you. UNEARTHLY RASPY VOICE (v.o.) May be. Charley Don't you dare give me that you have forgotten the map on the bed. WE HEAR a LAUGH. UNEARTHLY RASPY VOICE (v.o.) You started getting smart. (pause) It's a surprise. You'll realize when you arrive to. (pause) You haven't told me yet why you're doing that? Charley I don't even think, I will. UNEARTHLY RASPY VOICE (v.o.) You think you could catch me I wish we had met. You're running from place to place without even having the idea what exactly you're looking for. 0002000007AE00021D3D7A8,Charley rubs tiredly his eyes. UNEARTHLY RASPY VOICE (v.o.) (CONT'D) How long you haven't slept? Charley freezes motionlessly realizing the killer is observing him. He is looking around. There is an outcry about the abortion on the square. SLAM CUT: FLASHBACK: Int. cheap hotel room - day Bob is sitting on a bed in the room. He is having a coffee and reading a paper. Charley is shooting with the camera by the window. There will be a demonstration against the abortions. In front of the window, on a building, there is a big clock telling 4.29 p.m. SLAM CUT: PRESENT: INT. CHARLEY'S car - day Charley has a look ahead. Some fifty meters down is the low-grade hotel where from he was shooting the outlay for the Rice's film (scene 56). UNEARTHLY RASPY VOICE (v.o.) When are you going to get to? Charley Wait a little bit. Charley turns with a jerk in a lane, gets of his car and looks around. UNEARTHLY RASPY VOICE (v.o.) Are you already there? Charley did not reply. He rushes to the hotel. UNEARTHLY RASPY VOICE (v.o.) (CONT'D) Hello? CUT TO: 151. Int. Cheap hotel - the stairs - day - little later Charley is running up the stairs. UNEARTHLY RASPY VOICE (v. o.) Stop joking. Do you hear me? Charley comes into a long corridor. He rushes to a door, enters the room and stands by the window. It is the same room where from Charley was shooting the outcry. UNEARTHLY RASPY VOICE (v.o.) (CONT'D) Hello? The killer hangs up the receiver. The outcry is seen in the square. The clock on the building facing the hotel says 5 p.m. A man in a long raincoat and a hat on is leaving a cafeteria and is walking on the street. The man waves with his hand and a black taxi stops by him. The man gets in the taxi. Charley winces and rushes to the entrance door. CUT TO: 152. Ext. in front of the hotel - day - moment later Charley comes out in the street and looking around he raises his hand. A yellow taxi stops by him. Charley gets quickly in the taxi. 000200000C7B000224E5C75,DRIVER Where to? Charley Follow that taxi. The traffic lights switch to red. Charley's taxi stops at the traffic lights. Charley (CONTD) (angrily) Damn. Charley has a look ahead. The black taxi bends in a street. The traffic lights are still red. Charley (CONTD) (nervously) Come on, come on. Charley is gazing nervously ahead. The traffic lights are green. Charley (CONTD) (nervously) Go, go. CUT to: 153. Int. Charleys taxi - day The taxi is driving along a street. Charley is looking around in despair. There are almost no cars on the streets where the taxi passes. No other taxi could be seen around. Charley Here he is. Stop. The black taxi is stopped in a street. Charley leaves the taxi. Some meters from the black taxi there is a very old and uninhabited house. For a moment the man back in the black raincoat is seen how he is entering the house and shuts the door behind him. Charley rushes to the house, takes out his gun, opens the doors and comes into. The house is in ruins. Charley is looking around. WE HEAR some NOISE. Charley is walking ahead. He passes through the hall and is coming into a big empty room. The floor, he is on sudden, suddenly sinks. Dissolve to: 154. Int. The old house - night Charley is lying in the mud. He opens his eyes, stands up slowly and is looking around. Charley is at the bottom of a big hole, under the room, where the floor sank. The hole is 10 meters depth. It is very dark around and the only place where light is coming is the hole in the floor. The light that comes from the hole illuminates the center of the hole only. Charley takes out a box of matches, lights a match, lifts it up over his head and looks around. There is something lying on the floor at three-four meters from him. Charley lights a new match and walks ahead. After some steps he stops horrified - on the floor, in front of him is lying Kate Johnson's corps. Her throat is cut. Her skin is light gray in color. Charley steps forward. He steps over something, has a look down and brings the match closer. Charleys P.O.V.: Charley's foot has stepped over a little green empty bottle (the same as the Kiel's one. Charley is shocked. He drops the match, steps back to the center of the hole and sits on the ground. He is tire and crossed with himself to have been so naive. Charley leans his head against his hand and smiles bitterly. The man with the raincoat is standing at the hole edge. Only his silhouette could be seen in the darkness. Charley What a fool I am. Charley looks up. Charley (CONT'D) How many days has she been dead? MAN Four. Charley smiles bitterly. Charley And I have really taken into my head that you give me a chance to save her. MAN Why should I do it? (pause) I needed something to have distracted your attention. That's why I left for you an old tape, which you didn't take from the apartment. I knew you would be caught. Charley Congratulations, Kiel. Even for a moment I didn't have the idea it was you. The man puts his hat down. It is Kiel. He blots out the paints from his arm where there is a skull tattoo in profile. Kiel Yeah. After you have been cheated by the trick with John Candle, I decided to try it again. 0002000009C00002315A9BA,Charley What about Michael? Kiel What? Don't give me that it didn't cross your mind what has really happed. Anyway I didn't like him. (pause) But he did a splendid job for me. Charley Somehow I should have made you think I wanted to help you. Disappointed, Charley drops his head as he is shaking it. Kiel CONT'D) Come on. You didn't fancy you could have done something. Catch me. I always knew what you would do. Except that time in the factory. (pause) One thing I couldn't realize only. How did you find Candle's address and how did you guess for the flowers. Charley As I've told you. I don't think I'll tell you. Kiel Yeah. As I've already told you there is one more beauty to kill. But you failed. You didn't have to look for her. It was enough to guess right who she was. Charley looks up realizing that Kiel is talking about Cindy. Kiel steps back of the hole edge. Charley jumps to his feet. Charley (shouting) NO! Charley clutches his fingers into the mud and starts climbing up. When he gets some meters above the edge hole the soil under his feet slides and Charley drops on the ground. 155. int. detectives car - In front of the cindys apartment -night Detective 1 is reading a paper. He has a look ahead. On the street where Cindy lives there is no a living soul. Detective 2 bringing something for eating opens the door. Detective 1 It was high time you come. Detective 2 Did he come into sight? Detective 1 No, not yet. Cut to: 156. int. Cindys apartment - night Cindy is waiting at the phone. Cindy (nervously) Come on Bill, where are you? WE HEAR a KNOCK at the door. Cindy hang up the receiver and is heading to the door. 157. int. The old house - night An arm in blood and wounds is emerging from the floor hole. Charley is getting his nails at the hole edge of the wooden floor and is slowly and painfully emerging from the hole. Cut to: 158. int. Detectives car - night Detective 1 is reading the paper. Detective 2 is looking around impatiently. Detective 2 Will you tell me finally why we need this Charley Jackson? You don't think that he is our guy, aren't you? (pause) I mean you say that you were seeing him hanging around where we found Catherin Price. Detective 1 is staring at the window of the Cindy's apartment, without paying any attention. Detective 2 (CONTD) ...and yeah he presented himself as detective. Why we just Detective 1 (staring at the window) He knows some thing. Detective 2 Why don't we get to her place and just inquire her about. 000200000A3100023B14A2B,Detective 1 (looking at the paper) Cause we might frighten her and she'll tell us nothing. Cut to: 159. int. Cindys block - the corridor - night Charley is running towards Cindys apartment. WE HEAR Cindys SCREAMING. Charley opens the entrance door and comes in. Cindy is lying on the floor. She is unconscious. Charley is looking around. Kiel (v.o) Exactly here. Charley turns back. Kiel is standing behind him. He aim a blow with a knife and cuts Charley's leg. Charley staggers back and falls on the floor overturning a little table at the middle of the room. Kiel pounce on him and again he aims a new blow to his face. At the last moment Charley graps Kiel's hand. The knife edge stops at some centimeters from Charley's eye. Kiel exercise all his weight pressing the knife towards Charley's face. The edge slowly is nearing the Charley's eye. Charley gets hold of a vase lying on the floor, grasps it and breaks the vase in to pieces into Kiel's head. Kiel falls at the floor. Cut to: 160. int. Detectives car - night Detective 1 is reading the paper. Detective 2 is joking with a ballpoint looking with boredom at the street. He throws a glance at Cindys apartment. Two silhouettes of fighting men are seen through the one of the windows. Detective 2 What Detective 1 has a look at Detective 2 who is sitting without moving looking at the Cindys apartment. Detective 1 throws a look at Cindys apartment, too. Detective 1 Shit. Detective 1 takes out his gun. Detective 1 (CONT'D) Come on. Both of them dash out of the car. Cut to: 161. Int. CINDYS apartment - night Kiel and Charley are walking in circle watching one another. Kiel aims a blow with the knife. Charley grabs his hand and with the other grabs his neck and pushes him to the wall. Charley hits Kiel with his knee at the stomach and he drops on his knees. Charley kicks him at his ribs. Kiel screams from the pain, rolls on the floor and stands up his hand on the ribs. He feels a terrible pain. Charley is drawing to attentively. Kiel aims a blow with the knife to ward off his blow. Charley grabs a chair and smashes it on Kiel's back and drops again on his knees. He is completely exhausted. Charley grabs his neck. Suddenly Kiel rises and sticks the knife deeply into Charley's shoulder. Charley steps back as his hand is on his wounded shoulder. Kiel kicks Charley at the leg where he has just made a cut it. Charley screams from the pain and drops on the floor. Kiel jumps over Charley and takes the knife out of his shoulder. BOOM - the door flies open. Detective 1 and Detective 2 enters the room. 0002000009440002453F93E,Detective 1 (shouting) Freeze. Police. Kiel aims a blow at Charley with the knife. Detective 1 shoots him at the head. Kiel drops on the floor. Dissolve to: 162. Int. the police-station - night Charley is sitting in a corridor in front of a room. His arm is bandaged. The door opens. Charley stands up. Cindy comes out of it. Both of them hugs one another. Cindy cries. Detective 1 emerges from the doorway. Charley leaves Cindy. DETECTIVE 1 Mr. Jackson, come in. Cindy Go. I'll be waiting for you here. Charley cuddles against her face. Charley No. Go home and have a rest. After I leave the place I'll come over. Charley enters the room. 163. Ext. In front of the police-station -night Charley and Detective 1 are leaving the police station. Detective 1 Shall I drop you somewhere? Charley No, thanks. I'll walk. Detective 1 and Charley shakes his hands. 164. Ext. desert street - night Charley is walking on a street looking at the ground. It is very quite and no one could be seen around. Charley is very exhausted. His face shows a relief that everything has already finished. 165. Int. Charleys (bills) apartment - night Charley enters his apartment. He comes to the bed, lies on it and sighs tiredly. 166. int. The expensive hotel room which rice booked for charley - day Charley opens his eyes. He is in the expensive hotel room that Rice booked for him. Charley is standing up and looks around in bewilderment. 167. Ext. the street in front of the hotel - day Charley leaves the hotel. He is walking along the street looking around and smiling slightly. Charley is happy. He realizes that he is the same man as he used to be. Jenny (v.o.) Charley. Charley stops and is staring ahead with hope. A lot of people are walking on the street. Jenny (v.o.) (CONTD) Charley. Charley Jenny? Charley starts walking fast ahead. Jenny is quickly walking towards him. Charley notices her and rushes towards her. Both of them are holding and kissing with passion. Jenny is staring at Charley and smiling. Jenny What? Charley I love you. Both of them are kissing again with passion. 168. Ext. Street - day BARRY HOPKINS about 27, fat with a curly red-haired and spectacles is leaving a cafeteria with two friends of him of the same age. A big black limousine stops in front of them. The back door side window is slowly lowering and Rice's face shows on it. 0002000002F300024E7D2ED,Rice Barry Hopkins? Barry and his friends smile amazingly. Barry Yeah. Rice My name is Alan Rice and a need a film director for my new film. Do you have time to talk about it. Barry has a look at Rice in amazement. One of his friends touches him a little. Barry Yeah, I have. The limousine back door opens. Rice Get on. Barry gets on the car. The limousine is driving on the street. Barry (v.o.) Mr. Rice, I'm really flattered, but Rice (v.o.) Don't worry about you don't have enough experience. I know that you're the right man I need. Barry (v.o.) Your film. What's it about? Rice (v.o.) About a young and very promising film director who after a very wild night causes a car accident, goes to jail and squanders his splendid future. Fade 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(O.S.) (O.C.) (CONT'D) (SUBTITLE)tp(looking at the magazine): I wish I could have that baby some day. I would show her what does a real man can do.SsTTR CUT TO: FADE IN: FADE OUT. FADE TO: DISSOLVE TO: BACK TO: MATCH CUT TO: JUMP CUT TO:FADE TO BLACK.CutY:sTSIINTEXTI/E 1 INT 12 INT39 CH F G51FLASHBACK: INTSLAM CUT: FLASHBACK: EXTFLASHBACK: EXTN90157156159119MIDETECTIVE 1 IS STANDING BEHIND THE YELLOW BAND, SURVEYING THE CRIME PLACE| PRISON COURT TIMOK? TIM OK?TIMOK.*&INT. CHARLEY'S APARTMENT - LIVING ROOM JENNY: JENNY 50CH F G CH F GCHARLEY'S HOTEL ROOMINT. HOUSECAFE STREET%!HOTEL "PARADISE" - THE HOTEL ROOMN.INT. THE KILLER'S APARTMENTVERY EXPENSIVE RESTAURANT CINDYOK.N: F 55 FTHE PARK FROM THE VIDEOTAPE F 119 F%!INT. CINDY'S BLOCK - THE CORRIDORINT. DETECTIVE'S CARINT%!INT. CHARLEY'S (BILL'S) APARTMENT62HE TAKES A CIGARETTE AND LOOKS ASIDE FOR A MOMENT.[sTST:DAY NIGHT AFTERNOON MORNING EVENING LATER MOMENTS LATER CONTINUOUS THE NEXT DAYuqDAY qmDAY T CHARLEYDAY 7OK.n mCRO9INTINT. 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