0bec3c185ffe7f716108fce8bd4a1558d4cd4a54
movie
http://www.imsdb.com/scripts/Mute-Witness.html
MUTE WITNESS (
black screen .
 Billy (Marina Zudina), an FX make up artist who does not have the physical ability to speak, is in Moscow working on a low budget slasher film directed by her sister's boyfriend Andy (Evan Richards). On one particular night Billy returns to the set to fetch a piece of equipment for the next day's shoot when she is accidentally locked in the studio. Being unable to speak but having the ability to communicate with her sister Karen (Fay Ripley), Billy makes several telephone calls but is interrupted when she discovers a small film crew working after hours to shoot a cheap porno film. Watching unseen, Billy is amused until the performed sex becomes sadistic. When a masked actor pulls out a knife and stabs the actress (Olga Tolstetskaya), Billy reacts and is discovered. She flees pursued by the homicidal film crew.
Billy narrowly escapes and manages to tell her story to her sister and the police, but the snuff film crew manages to convince the authorities that the onscreen 'murder' was a cinematic special effect. However, the events bring forward Larsen (Oleg Yankovsky), an undercover detective who is tracking the activities of the covert film crew and their connection to a shadowy criminal mastermind called "The Reaper". The Reaper (Alec Guinness) is a financier of an international underground snuff ring. He tells the criminal film crew that Billy is a witness and must be eliminated, thus motivating the snuff film director, his thug assistant and a host of subsidiary criminals to retrieve a missing computer disc from her and dispatch it. As more and more factions get involved in killing and saving Billy the action becomes wild and fantastic and hard to discern what's real from movie magic.
Billy ( Marina Zudina ) , an FX make up artist who does not have the physical ability to speak , is in Moscow working on a low budget slasher film directed by her sister s boyfriend Andy ( Evan Richards ) . On one particular night Billy returns to the set to fetch a piece of equipment for the next day s shoot when she is accidentally locked in the studio . Being unable to speak but having the ability to communicate with her sister Karen ( Fay Ripley ) , Billy makes several telephone calls but is interrupted when she discovers a small film crew working after hours to shoot a cheap porno film . Watching unseen , Billy is amused until the performed sex becomes sadistic . When a masked actor pulls out a knife and stabs the actress ( Olga Tolstetskaya ) , Billy reacts and is discovered . She flees pursued by the homicidal film crew . Billy narrowly escapes and manages to tell her story to her sister and the police , but the snuff film crew manages to convince the authorities that the onscreen murder ' was a cinematic special effect . However , the events bring forward Larsen ( Oleg Yankovsky ) , an undercover detective who is tracking the activities of the covert film crew and their connection to a shadowy criminal mastermind called The Reaper . The Reaper ( Alec Guinness ) is a financier of an international underground snuff ring . He tells the criminal film crew that Billy is a witness and must be eliminated , thus motivating the snuff film director , his thug assistant and a host of subsidiary criminals to retrieve a missing computer disc from her and dispatch it . As more and more factions get involved in killing and saving Billy the action becomes wild and fantastic and hard to discern what s real from movie magic .
http://en.wikipedia.org/wiki/Mute_Witness
Mute Witness
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<b>                           MUTE WITNESS
</b>
<b>                              (1994)
</b>


                           Screenplay by

                           Anthony Waller



 CREDITS (First part)

 White letters on black screen. We hear the sound of a radio with a
 lot of statics. Apparently, someone is scanning the channels.
 After we've heard different channels, the scanning stops on a
 channel with jazz music.

 With a loud sound, the credits stop, the black screen moves away
 to the right and is replaced by :

<b> FILM SET - BEDROOM - INTERIOR DAY
</b> (it is actually day-time, but the scene in the film being shot is
 supposed to take place during the night. So all the artificial
 lights make us believe it is night-time)

 We still hear the sound of the radio.

 We are on a film set, even though we don't know it yet. The way it
 is filmed makes us believe we are in a real bedroom.

 A bedroom, seen through a window. Nice, clean, elegantly furnished
 and very well lit. Large bed. On the other side of the room from
 the window, a young woman is seated in front of desk facing the
 wall. The young woman stands up, with a paper document in her
 hand. She is wearing thick hoses, large slippers and a man's white
 shirt, which hangs down to the middle of her thighs.

 She walks out of the bedroom, to the next room. The window opens,
 and the camera, which acts as the eyes of the intruder, looks
 around the room.

<b>       VOICE ON THE RADIO
</b>       We interrupt this program to bring you a special news
       bulletin.

 The camera moves to the next room :

 FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)

 A dining-room with a large mantlepiece. In the center of the room,
 a round dining table with four chairs around it. The table is set,
 ready for dinner.

<b>       VOICE ON THE RADIO
</b>       Ernest Strohbecker and two accomplices escaped from a
       maximum-security ward in Bellevue Hospital last night...

 The camera (and consequently the eyes of the intruder) keeps on
 looking around the room and then focus on the radio set sitting on
 a small table.

Close shot on the radio. The volume of the radio goes up.

<b>       VOICE ON THE RADIO
</b>       ... after brutally stabbing two nurses and a custodian to
       death. Strohbecker is extremely dangerous, brutal and
       unpredict...

 The radio is suddenly switched off.

 The camera moves upward to show us the corridor and the open door
 of the bathroom in the corridor.

       THE YOUNG WOMAN (Voice over)
       Harry ?

 FILM SET - BATHROOM - INTERIOR DAY (NIGHT in the film)

 Close shot on the mirror, in front of which the young woman is
 standing. She looks a bit surprised by the sudden silence of the
 radio, but very soon goes back to her make-up.

FILM SET - CORRIDOR - INTERIOR DAY (NIGHT in the film)

The camera (and consequently the eyes of the intruder) moves along
the corridor, toward the door of the bathroom. It stops very
shortly to look at the young woman, still taking care of her make-
up, and moves away to look at the open door on the other side of
the corridor.

FILM SET - KITCHEN - INTERIOR DAY (NIGHT in the film)

A kitchen. There is no light and the room is very dark. Close shot
on the row of knives hanging on the wall. A man's hand takes one
of the knives.

FILM SET - BATHROOM - INTERIOR DAY (NIGHT in the film)

The young woman opens a small closet, temporarily hiding her face
to the camera. She takes a lipstick and start doing her lips.

Close-up shot on the woman's lips, with the lipstick moving around
them.

Back to the mirror, showing the reflection of the young woman. She
opens the small closet. In the mirror, which covers the door of
the closet, we see a man approaching slowly, with a knife in his
hand.

Close-up shot on the woman's lips.

FILM SET - CORRIDOR - INTERIOR DAY (NIGHT in the film)

High-angle shot of the corridor, seen from the ceiling.

The woman comes out of the bathroom. She sees something, stops and
walks slightly backward.

<b>       THE YOUNG WOMAN
</b>       Harry ?
She walks to an half-open door and closes the door.

<b>       THE YOUNG WOMAN
</b>       Harry ?

When she closes the door, a corpse, who was hidden by the half-
open door, falls, face down, on the floor. The woman screams.

The corpse on the floor. It is a man with blood on his face. The
woman bends down on the man and shakes him.

<b>       THE YOUNG WOMAN
</b>       Harry !

She turns him around to look at his face. We see the white shadow
of a man coming out of a room.

FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)

A white telephone in the foreground. The girl runs toward the
telephone. She dials on the phone. We see the mysterious man in
the background, slowly walking into the room, coming from the
corridor. The girl has the telephone handset on her ear, but
apparently, she gets no tone. She frenetically taps on the
telephone hook to make it work. Then she sees the cut wire on the
phone and picks it up. The man is coming closer to her. He has a
black mask on his face, and a white apron covered with blood.

The woman sees the man. She drops the phone and walks back until
she reaches the wall. She moves out of the room to :

FILM SET - BEDROOM - INTERIOR DAY (NIGHT in the film)

The woman walks back until she reaches the bed. The man, covered
with blood, has his knife raised above his head. The woman falls
backward on the bed. The man raises his knife above the woman's
body. The woman screams. The man stabs repeatedly the woman with
his knife, and then moves away from the bed.
FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)

The man enters the room and takes the mask away from his face.

FILM SET - BEDROOM - INTERIOR DAY (NIGHT in the film)

Apparently, the woman is not dead and she walks to the desk.

FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)

The man crosses the room.

The bedroom can be seen through the large open door between the
two rooms. The woman tries to steady herself by holding on the
desk, but she falls down on the floor, and the desk with her.

The man sits himself on a table, and searches the breast pocket of
his shirt for a cigarette.

The woman crawls on the floor toward the dining room. She is
holding her stabbed stomach.
The man rolls a cigarette.

The woman stands up, holding on bookshelves set on the wall
between the two rooms.

The man licks the paper of his cigarette.

The woman still holds on the bookshelves.

The man has put the cigarette in his mouth. A hand moves into the
shot, holding a lit match to his cigarette.

The woman falls on the floor, with the bookshelves falling on top
of her.

The two men, the one who stabbed the girl and Arkadi, the one who
lit the other man's cigarette, they both look at the woman and
laugh.

The woman crawls out from underneath the bookshelves. She stands
up, holding on the table.

Back to the two men. A hand comes into the shot, holding a metal
flask to Arkadi. He doesn't take it and the camera moves on the
right to a third man sitting near the two other ones. He drinks
from the flask.

The camera moves to the right of the shot, and the title of the
film appears in white letters on a dark screen. The camera keeps
on moving from one face to another, apparently the faces of the
members of the film crew. And on those faces, we see :

CREDITS (Part Two)

In the background, we hear the noises of the girl who keeps on
falling down and breaking the furniture.
Close up on a dial. A needle is moving on the dial, on which,
besides numbers, is written «Groove Depth» and «Batteries».

The woman falls down. Since she was holding on the tablecloth, the
tablecloth comes away with her, and everything that was on the
table falls down on the floor.

Arkadi and the «murderer» are laughing.

Close shot on the face of the sound engineer, with the earphones
on his ears.

By now, we've started to understand that what we have seen up till
now is not real, but is part of the shooting of a film, a strange,
a bit gory film, but still a film.

The sound engineer shushes the two laughing man down, and looks
down at his tape recorder.

Close shot of the tape recorder.

The camera moves to the right, and shows a female hand writing on
a clipboard, then moves up and shows a large stopwatch hanging
from a cord around the neck of the writing girl. The camera keeps
on moving up to show the face of the writing girl. She is Karen
Hughes, the assistant director and girlfriend of the director. She
looks at what is going on around the set and squints her eyes,
apparently not liking it.

The camera moves to the right and shows the face of Billy Hughes,
Karen's sister and FX make-up artist.

Back to the actress playing the part of the stabbed woman. She
holds the corner of a chest of drawer, and makes everything on top
of that piece of furniture fall on the floor, including several
bottles of alcohol.

Back to Karen and Billy. Billy represses a laughter behind her
hand.

Close shot on Lyosha, a young assistant camera operator, looking
at Billy and smiling. Then close shot on Billy's face.

The actress holds the drapes of the nearest window. She falls down
on the floor tearing the drapes and breaking the curtain-rod off
the wall.

Karen and Billy are both laughing silently.

The actress gets slowly out from under the torn drapes.

Lyosha looks at the actress, and then at Billy.

Billy looks at the actress, and then at Lyosha.

Close up shot on Lyosha's face, smiling.

Billy walks behind Karen's back to the other side of Karen. Karen
looks at her, and then looks in the direction into which Billy is
looking.
Lyosha keeps on smiling.

Karen whispers in Billy's ear.

       KAREN (whispering)
       He has the hots for you.

Billy answers in sign language. We understand that Billy cannot
speak, but she isn't deaf.

       BILLY (in sign language)
       For me ? No.

The actress, half-covered with the drape, drags the curtain-rod
behind her.

Billy is smiling and Karen is looking at the scene with her mouth
half open.

Close shot on a smiling bearded film crew member. The camera then
moves to the right, to an open ring binder, with a hand following
whatever is written on the document. The camera keeps on panning
on the right, showing part of instruments and people's hands,
while we hear some whining noises coming from the actress.

<b>END OF CREDITS
</b>
The camera stops on a close shot on Andy Clarke's face. Andy is
the film director.

The actress looks like a ghost with the drape covering her. She
slowly falls down on the floor, among the mess she has created by
breaking and dropping every prop in sight.

Andy looks thunderstruck by what he sees on the set.

Close up shot on the camera. A button just switched off, showing
that there is no more film inside the camera.

Andy looks at the camera and sighs.

<b>       ANDY
</b>       Cut. Brilliant.

He puts his hands on his eyes.

The actress, still lying on the floor under the drape, raises the
drape to look at Andy.

       ANDY (yelling)
       Natasha !

He stands up.

Both Andy and Natasha, the interpreter, walks toward the still
lying actress and squats around her.

<b>       ANDY
</b>       Okay, I think we have a little communication gap here.
Natasha translates in Russian what Andy just said.

<b>       ANDY
</b>       When I said «more»...

Natasha translates.

<b>       ANDY
</b>       ...I didn't mean trash the fucking set.

Natasha translates.

<b>       ANDY
</b>       This is not Chekhov. You're not the star. You're just
       another victim.

Natasha translates.

The actress tries to understand what Andy tells her through
Natasha.
<b>       ANDY
</b>       You get stabbed. You die.

Natasha translates

<b>       ANDY
</b>       I want to see the pain.

Natasha translates.

<b>       ANDY
</b>       I want to see the blood spurting.

Natasha translates. Andy turns around to Billy and Karen standing
among the film crew members.

       ANDY (voice over)
       Billy, where was the blood ? I want to see her bleed to
       death.

Billy answers in sign language.

       ANDY (to Billy)
       Okay ?
       (to the actress)
       Okay ?

The actress, still lying on the floor under the drape, nods her
head.

       ANDY (voice over)
       Let's do it again, folks !

A man yells some orders in Russian. Billy walks to the actor
playing the murderer, sitting on a prop. She checks his blood
device. She takes the knife and plugs a tube coming from the man's
shirt on the knife's handle. She explains, by signs, how the knife
works, and he nods. Billy fixes something inside his shirt and he
reacts when Billy touches his stomach.

<b>       THE ACTOR
</b>       Oh !

He smiles. Billy squeezes a small bag full of fake blood. She has
just taken that bag from the inside of the man's shirt. The actor
keeps on smiling and Billy doesn't seem to like the man's smile.
She puts the bag back inside the actor's shirt. Then Billy signs
her sister for her to come. Karen joins Billy, who explains to the
actor what he has to do, and Karen translates Billy's sign
language.

<b>       KAREN
</b>       You make the blood flow by squeezing the bag with your
       elbow. Okay ?

<b>       THE ACTOR
</b>       Sure.

<b>       KAREN
</b>       We're gonna be here till Christmas, right ?
       (turning around and calling)
       Natasha !

Natasha joins the group.

<b>       NATASHA
</b>       Yes.

<b>       KAREN
</b>       Tell him you make the blood flow by squeezing the bag with
       your elbow.

She mimes the squeezing movement while speaking. Natasha
translates in Russian. Karen nods her head. The actor says a few
words in Russian, nodding his head.

<b>       KAREN
</b>       Okay.

Billy looks at Natasha.

       NATASHA (voice over)
       Tell her that he will get it right next time.

<b>       KAREN
</b>       Mmmm... She heard you. You all keep forgetting she can hear
       you perfectly well.

Billy smiles.

       NATASHA (voice over)
       Oh, I'm sorry.

       BILLY (in sign language)
       It's okay.

The actor laughs.
Lyosha, who actually is the assistant operator, is behind the
camera, near the camera operator. Andy sits down on his chair.

<b>       ANDY
</b>       Okay, from the top.

His Russian assistant, standing near the camera, with an open ring
binder in his hands, says a few words in Russian. We hear an angry
voice in the background.

<b>       THE VOICE
</b>       Stop. Stop. Stop!

On the dining room part of the set, where the young Russian
actress broke everything in sight, two men are trying to fix the
broken furniture. Another one, a tall man with a beard, talks very
angrily in Russian.

Andy, still seated on his chair, looks at his Russian assistant.

<b>       ANDY
</b>       What's the holdup ?
The angry bearded man speaks angrily in Russian.

Andy looks and listens at him and then turns toward his Russian
assistant, trying to speak, but is cut off twice by the angry
voice of the man.

The bearded Russian man walks away. Then he comes back and shows
his wristwatch, saying a few more angry words in Russian.

Andy looks up at his Russian assistant.

<b>         ANDY
</b>         What is he saying ?

<b>         THE RUSSIAN ASSISTANT
</b>         He says he's awfully sorry, but he needs at least a day to
         redress the set.

         ANDY (yelling)
         A day ?

<b>         THE RUSSIAN ASSISTANT
</b>         Yeah.

Andy stands up and slaps his thighs, looking very nervous.

<b>         ANDY
</b>         Okay, well, let's just do the close-up of the corpse now,
         and that'll wrap it for today.

The Russian assistant says a few words in Russian. Andy makes a
sign to the camera operator for him to come closer to him. The
operator joins Andy.

<b>         ANDY
</b>         All right. Okay. So, what I want to do is zoom in, do a
         slow zoom into the puddle of blood...
On another part of the set, behind the dining room, Billy kneels
down in front of a big ancient-looking wooden trunk.

On the lid of the trunk is written, in white large capital
letters : «KEEP OUT ! BILLY'S BOX». Billy opens the trunk. Inside,
on the inside part of the lid, various props, and in the trunk
itself, a big square plastic bottle and, in a plastic box, plenty
of smaller bottles.

Behind   Billy, who is still kneeling in front of the trunk, we see
Lyosha   walking around. He looks at Billy, who feels she is being
looked   at. She turns around and looks at Lyosha. Natasha walks
toward   Billy.

<b>         NATASHA
</b>         Billy.

Natasha kneels down to be at Billy's level.

<b>         NATASHA
</b>         Madame Olga wants some sugar in her blood again.
Billy laughs.

       BILLY (in sign language)
       Thank you.

Billy stands up and starts pulling the big heavy square plastic
bottle out of the trunk. Lyosha comes to help Billy pull the
bottle out of the trunk. They both slowly put the bottle down on
the floor. Billy looks up at Lyosha, who is smiling to her. Then
he walks away. Billy, kneeling on the floor, opens the bottle.
Karen walks in from behind the trunk. She leans on the open lid of
the trunk.

<b>       KAREN
</b>       So, he's kind of cute.

Billy is pouring a bag of sugar in the bottle.

<b>       KAREN
</b>       Three months in Moscow, cold winter nights...

Billy smiles.

<b>       KAREN
</b>       Just a thought.

Billy makes several language signs.

<b>       KAREN
</b>       Billy, that's what Mom would say.

Billy looks at her sister.

Another part of the set, near the entrance of the set. The
building janitor, wearing a more or less official cap, just walked
in. Karen sees the janitor and waves at him. Billy looks in the
janitor's direction.
<b>       KAREN
</b>       Hi.

Billy waves at the janitor, who waves back at the girls. Then he
yells something in Russian. Billy and Karen look at each other.
They seem to understand what he says. Billy shows two finger to
him. The janitor says something in Russian and walks away.

The dining-room set. The young Russian actress is sitting on the
floor among the debris she has created and she is putting lipstick
on her lips, looking at her face in a small pocket mirror. Billy
walks in with a small plastic case in her hands. She sits on the
floor next to the actress and puts the box down beside her. She
takes the lipstick and the mirror away from the actress' hands,
and puts them down on the floor. Then she gives her a little piece
of white cotton to wipe the lipstick out of her lips. The actress
takes it and starts wiping her lips. Then Billy takes some make-up
to put it on the actress' face. A male hand puts a light meter
close to the actress' face.

A strong light starts playing on Billy's face, and we hear a
Russian voice who seems to come from a loudspeaker.

The upper part of the film set. Three big spotlights on a rack. An
electrician is playing with one of them.

Billy puts her hand above her eyes to try to locate who is sending
that strong light on her face.

The electrician says a few words in Russian.

The actress looks up to see who is talking.

Closer shot on the electrician sitting on the spotlight rack. He
is Arkadi, the man who was sitting next to the actor playing the
murderer, and who offered him a light for his cigarette. He speaks
in Russian with a queer smile on his face.

Natasha squats down near Billy and the actress, to speak to Billy.

<b>       NATASHA
</b>       He says use more white like a real dead body.

Billy covers her eyes and looks up at the spotlight rack.

Arkadi smiles and winks to Billy.

Billy closes her plastic case.

The actress eats a piece of cake. She lies down on the floor.

       ANDY (voice over)
       Okay, Boris, get everyone ready.

Billy, using a pair of tweezers, puts something, which looks like
a cherry, out of a small bottle and into the actress' mouth.

<b>       A VOICE OVER WITH A RUSSIAN ACCENT
</b>       Out of frame, Billy.
Billy stands up and walks away.

The camera, and the group of people around it. Andy is sitting on
his director's chair, and Karen is kneeling on the other side of
the camera, writing on a clipboard. A clapperboard girl walks in
front of the camera, says a few words in Russian, claps her
clapperboard and walks away. We hear a loud noise, and most of the
spotlights are suddenly switched off. Andy looks up at the
spotlight racks.

<b>       ANDY
</b>       What... what is going on now ?

Billy, standing in the half-dark set with her plastic case in
front of her, looks up around her as more spotlights are switched
off with loud noises.

Alex, who must be the assistant producer, walks toward Andy,
tapping his wristwatch.

<b>       ALEX
</b>       Andy. Sorry, it's six o'clock.

<b>       ANDY
</b>       One shot, one more shot !

<b>       ALEX
</b>       We have no time.

Billy opens her arms in a gesture of despair.

All the people around Andy start leaving the set.

<b>       ANDY
</b>       One shot ! I can't believe this.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR EVENING
</b>
Night is coming. The sky is grey. In the background, a group of
people is coming out of a building.

Andy and Billy are crossing the parking lot. Cars are driving
around them : the film crew members are leaving the studio. Andy
waves his hand at one of them.

Andy and Billy come to a white car parked near a red car. Karen is
walking on the other side of the white car. She opens the driver's
door. Billy is standing near the red car, and looking for
something in her purse. She can't find it and looks disappointed.
She taps on the roof of her car.

Karen was ready to get inside her car, but, when she hears Billy's
tapping, she looks up. Billy explains something in sign language.
Andy doesn't understand and turns towards Karen

<b>       KAREN
</b>       She needs to go get Strohbecker's face.

Andy claps his hands.
<b>       ANDY
</b>       Ohh ! Right ! His dummy falls off the balcony on Monday.

<b>       KAREN
</b>       We'll wait for you here.

Billy starts walking away. Andy turns toward Karen.

<b>       ANDY
</b>       Karen, she's got her own car.

Billy explains something in sign language.

<b>       KAREN
</b>       Okay. Okay. Don't forget tonight.

She opens the door of her car. Andy turns around to face Billy.

<b>       ANDY
</b>       Yeah, yeah, yeah! Fiesta ! I'm making my famous chili con
       Clarke.
Near Andy's car, Alex, the assistant producer we just saw on the
set, is opening the door of his car.

<b>       ANDY
</b>       Alex !... what do you say ? You coming ?

Alex has already opened the door of his car.

<b>       ALEX
</b>       Sorry. I have tickets for the Bolshoi Ballet tonight.

Andy sneers.

<b>       ANDY
</b>       Well, try and stay awake.

Andy opens the door, gets inside the car and closes the door.

<b>CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR EVENING
</b>
Close up shot on a green hideous mask held with both hands by
Billy.

Around Biily, all the props used for the film she is working on,
or other films. Billy puts the green mask down. She looks around
for something. She throws away various masks she doesn't need.
Billy is kneeling near a large box used as a table. On the box
something is written in large capital Russian letters. Around
Billy, a lot of props are scattered around. Apparently, Billy
can't find what she is looking for, and sits back on her heels in
despair. She hears a loud noise. She sits up when she hears the
noise. She tries to figure out what that noise means. She stands
up and runs toward a window.

The sky is darker. The night is coming soon. Billy looks through
the window.
On the parking lot, seen trough the bars of the window, the
janitor is crossing the yard with his dog.

Billy opens the window and turns around, looking for something to
hit the metal bars of the window. She takes a spear from a suit of
armor. Then she bangs on the bars of the window with the long
handle of the spear.

On the parking lot, seen through the bars of the window, the
janitor keeps on walking around with his dog, apparently not
hearing the noise made by Billy. Then he closes the main door of
the studio parking lot.

Billy drops the spear on the floor and runs away from the window.

<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
A large corridor. A door opens and Billy rushes out. She opens a
door at the end of the corridor and runs out.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>The gallery around the top of the set. A door opens and Billy runs
along the gallery.

At ground level, we see Billy coming down the stairs leading to
the gallery. Billy runs across the film set, which seems not to
have been used recently.

Billy reaches a heavy metal door and tries to open it... without
any success. She kicks it.

<b>CINEMA STUDIO - ANOTHER ROOM - INTERIOR NIGHT
</b>
The parking lot seen trough the heavy metal bars of a door. It is
darker than before and completely empty. Close-up shot on an big
padlock and a thick chain set across the bars of the door.

<b>KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
We hear very loud rock music.

Close shot on the gas stove. Ground meat is cooking in a frying
pan. Chopped onions are being poured into another frying pan from
a wooden cutting board.

Andy is spraying some spices on the meat. He is wearing an apron
tied around his waist. He tastes his «cuisine» from a spoon. He is
bobbing up an down in rhythm with the music. Andy makes the round
spice rack spin around very fast and picks up a jar from the rack.
Then he pours spices from two different jars with both hands, in
rhythm with the music, miming a drummer beating his drums with his
sticks. Then he pours tomato sauce from a can into a saucepan. He
throws the empty can away.

<b>       ANDY
</b>       Yeah !

He takes another spice jar. But the lid of the jar comes off, and
all the spices fall down into the meat. He puts the empty jar
down.

<b>       ANDY
</b>       Damn !

He takes the lid off the meat. We hear the phone ringing. Andy
lowers the volume of the music from the radio set hanging on the
wall. The phone is still ringing.

<b>       ANDY
</b>       Honey ! Honey, can you get that ?

Andy takes the meat frying pan out of the stove to pour the meat
into the onions frying pan.

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>
The kitchen seen from the dark living room. There is no door
between kitchen and living room, just a wide open arch. The phone
is still ringing. Andy turns around.

<b>       ANDY
</b>       Honey !

       KAREN (voice over)
       I'm in the shower !

Andy puts the frying pan back on the stove and runs in the living-
room. He picks up the phone from a table.

<b>       ANDY
</b>       Hello ?... Hello ?

<b>CINEMA STUDIO - A ROOM - INTERIOR NIGHT
</b>
Close dark shot of Billy with the telephone handset to her ear.
She taps on the microphone of the handset. The telephone set is on
a small shelf fixed on the wall.

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>
Even if the volume of the radio has been lowered, it is still loud
enough for Andy not to be able to hear Billy's tapping. A hissing
sound, coming from the kitchen, makes him turn around.

<b>KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
On the stove, a big stew pot is hissing, and water is leaking
between the lid and the pot.

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>
Andy takes the telephone set and runs toward the kitchen. But the
cord is a bit too short and is stretched tight just when he
reaches the kitchen. He drops the telephone set on the floor.

<b>       ANDY
</b>       Hello ?

He tries to reach the stove control panel while still holding the
telephone handset to his ear.

<b>KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
Andy's hand is trying to reach the control panel of the stove.

<b>CINEMA STUDIO - A ROOM - INTERIOR NIGHT
</b>
Billy is still tapping on the microphone of the telephone.

       ANDY (voice over from the telephone)
       Hello ?

<b>KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
Andy puts the telephone back on its hook on the set on the floor
of the kitchen.

<b>CINEMA STUDIO - A ROOM - INTERIOR NIGHT
</b>
We hear the disconnection tone of the telephone. Billy puts is
back on its hook on the small shelf on the wall. She leans on the
shelf, feeling dispirited.

<b>MOSCOW - AERIAL SHOT - EXTERIOR NIGHT
</b>
Aerial shot of Moscow, with all the cars driving on the main
highways. The camera pans to the right and reaches an high brick
building near the river.

Fade in to :

<b>KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
Andy is setting some food on a plate on the small table. The music
is off. We hear the waiting tone of the telephone.

       KAREN (voice over)
       Didn't it even cross your mind ?

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>
Karen is seated at the table, holding the telephone handset to her
ear. We still hear the waiting tone. The telephone set is beside
her on the table, where three candles are burning in three
candlesticks.

<b>       KAREN
</b>       It could've been Billy.

       ANDY (voice over from the kitchen)
       I was thinking about dinner.

Full shot of the room, with Karen seated at the table, and Andy in
the kitchen in the background, still fixing dinner.

<b>       ANDY
</b>       I'm still thinking about dinner.

<b>       KAREN
</b>       She's not there either. Shit.

She shuts the telephone by pressing on the hook, still keeping the
handset to her ear. We ear the long tone of the telephone.

<b>       KAREN
</b>       Okay. Ohh !

She dials another number.

<b>CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
</b>
There are no light, and the room is completely dark. We hardly see
a huge bear and a bat. The camera pans on the right, tilting
slightly down. The camera comes to Billy, seated behind a desk and
dialing on a telephone set. She puts the handset to her ear, but
only gets a busy tone. She puts the phone down on its hook.

Documents are scattered on the desk. A draught makes one of the
documents fly away. Billy looks surprised by what just happened.
Some more papers fly away. She looks on her right at a door with
frosted small window panes, which closes shut by itself.
On the top of the door, a small bell is ringing.

Billy looks at the door and stands up

<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
A long dark corridor. A door opens on the right, ringing the small
bell. It's the door of Billy's workshop. Billy walks out of the
room. In the dark, we only see the dark outline of her figure. She
stops, not sure about where she is going to go next. Eventually,
she starts walking slowly. She stops again when she hears voices
speaking in Russian. Then she starts walking again.

A metal door with a notice hanging from the handle. Zoom on the
notice, on which something is written in Russian. Actually, it is
an elevator door.

<b>CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
</b>
Billy peeks from behind the elevator door to look at what is going
on down below.

High angle shot of the elevator shaft. We hear voices speaking in
Russian and we see some light at the bottom of the shaft, where
the cabin is.

Billy is still peeking into the elevator shaft. A draught is
waving her hair. She moves away.

<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
Billy closes the door of the elevator. She walks toward the
staircase, and starts walking downstairs. Through the open door of
the staircase, we see her stopping, because she just heard a faint
sound of a telephone ringing.

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>Karen is still seated behind the table and listening to a
telephone which keeps on ringing without any answer. Andy walks
slowly toward the table, coming from the kitchen. Karen looks very
nervous. Suddenly we hear a clicking noise in the telephone.

<b>       KAREN
</b>       Hello, Billy !

Karen looks up at Andy.

<b>       KAREN
</b>       Thank God. She's there. Are you all right ?

<b>       ANDY
</b>       Ask her about the mask.

Karen shushes Andy with her hand.

<b>       KAREN
</b>       You want to tap something through ?
<b>CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
</b>
Billy is holding the telephone next to her ear. She taps on the
microphone with her finger.

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>
Karen has the telephone handset squeezed between her head and her
shoulder.

<b>       KAREN
</b>       Wait. Wait. Wait.

Andy turns around because he just heard a hissing noise in the
kitchen. He runs toward the stove.

<b>       ANDY
</b>       Oh, man !

       KAREN (voice over)
<b>       A...O...
</b>
<b>       ANDY
</b>       Oh, man !

In the kitchen, Andy tries to save his cooking.

<b>       KAREN
</b><b>       ...L ?
</b>
Andy puts his frying pan down into a large white plastic can full
of water, where it starts hissing.

<b>       ANDY
</b>       Man ! Oh, man !

<b>       KAREN
</b>       Was it L ? The second letter, was it L ?
Karen shushes Andy with her hand.

<b>       ANDY
</b>       Shit !

Andy is getting his frying pan out of the plastic can.

<b>       KAREN
</b><b>       A-L-L ?
</b>
While Karen is trying to understand her sister's message, Andy is
banging the frying pan on the side of the can, to get rid of
everything that was inside it.

<b>       KAREN
</b>       O...kay !

She smiles.

In the kitchen, Andy looks at his empty frying pan.
<b>       ANDY
</b>       We're eating out tonight.

<b>       KAREN
</b>       Okay. So are you coming over now ?

<b>CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
</b>
Billy keeps on tapping on the microphone.

       KAREN (voice over on the telephone)
       Do you have the mask ?

Billy taps again.

<b>KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
</b>
<b>       KAREN
</b>       Well, don't worry. Just get over here.

<b>       ANDY
</b>       You hungry ?

<b>       KAREN
</b>       Bye.

Andy throws the frying pan in the can of water, where it hisses
again. Karen looks at Andy, puts the telephone down and makes a
face.

<b>CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT
</b>
Billy is running downstairs.

<b>CINEMA STUDIO - A FILM SET - INTERIOR NIGHT
</b>
The entrance of a film set. We hear some giggles. The door opens,
Billy enters and closes the door behind her.
In the background, spotlights are switched on above a scenery :
apparently, someone is shooting a film. Billy walks noiselessly
across the empty part of the set. As Billy comes closer to the lit
part of the set, we hear strange noises that sound like a woman
having an orgasm.

With Billy in the background, we see a camera with an operator
behind it.

On a bed, two actors are having sex. The female, a blonde woman,
is naked, the male has his pants down to his ankles and is wearing
a T-shirt and a white mask.

Billy looks slightly embarrassed by what she sees.

Close shot on the face of the camera operator, looking into the
viewfinder of his camera. He is Lyosha, the young man who was
courting Billy.

The blonde naked woman is moaning. She is a slightly plump woman
with hair too blonde to be true. She could be in her forties.
Billy, still looking slightly embarrassed, is also smiling.

The woman is faking a very strong orgasm.

       LYOSHA (voice over)
       Stop ! Stop ! Stop !

The woman instantly stops faking her orgasm and gets up from the
bed. Lyosha talks in Russian to the woman, who is still lying on
the bed. Her «lover», lying on the woman, is answering Lyosha in
Russian.

Lyosha looks back into his viewfinder.

We hear the woman, moaning again. Billy walks around the set.

Close shot on the face of the «lover». He is wearing the mask
Billy has been looking for. In the background behind the man, we
see Billy, looking from behind an open window in the scenery.

Lyosha looks up from his viewfinder, then back again into it.

The woman's «lover» slaps her gently on the face, but keeps on
having sex with her. The man slaps her again but much harder this
time. She screams.

Billy looks surprised by what she sees.

The man holds the woman down on the bed with both hands. He slaps
her very hard several times and then hits her with his fist.

Billy closes her eyes, disgusted by what she sees. We hear the
woman being hit and screaming.

The woman seems very surprised by what is happening to her. The
man keeps on hitting her. She tries to cover her face from the
blows she is getting repeatedly.
Lyosha smiles, looking very happy with what is happening on the
set.

The woman tries to get the man away from her. She grabs his mask
and throws it away. Underneath the mask, the man has another black
very close-fitting fabric mask hiding his face, which could be a
black stocking. He grabs both her hands with one of his hands, and
holds them above her head. Then he takes a black strong ribbon
from under the bed and ties her hands with it. The woman is now
very frightened and tries to get free. The man slaps her very
hard.

Close shot on a pillow being lifted by the hand of the man. Under
the pillow, there is a long very sharp knife.

Billy can't believe what she sees.

The man takes the knife and slowly lifts the knife above his head.

Billy looks more and more frightened. She has tears in her eyes.
She is crying silently with her fist in her mouth.
The man start stabbing the woman. Her blood is splashing on the
wall and the man's T-shirt. The woman is covered with her own
blood.

Billy starts walking away from the window and across the set.

The woman doesn't seem to move anymore, but the man is still
stabbing her.

Billy walks backward across the set and she bumps into a hatstand
which falls down. Everything that was in the open purse hanging on
the hatstand - hairbrush, keys, lighter, make-up things, etc. -
falls on the floor. A plastic diskette-case skids on the floor and
slips under a big wooden wardrobe.

Lyosha, alerted by the noise, stands up from his camera.

Billy is kneeling on the floor near the fallen hatstand.

Lyosha goes back to his camera.

Billy, kneeling on the floor, puts everything back into the purse.
Then she stands up, puts the hatstand back on its legs and walks
away from it. She hides behind the large wooden wardrobe. Lyosha
walks slowly toward the place where Billy is hiding. Billy walks
away and Lyosha stops near the hatstand.

<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
The long dark corridor. In the foreground on the left, the
staircase, the only part of the set where there is light
(apparently coming from the windows and the street lights). Billy
is running upstairs. She enters the corridor, where she starts
running, just when Lyosha appears in the staircase, running after
Billy. When he reaches the landing, Lyosha switches on the lights
in the corridor. Just before Lyosha enters the corridor, in the
background, we see Billy hiding in a nook, a small partition, in
the corridor.

Lyosha looks for her. Billy seems suddenly interested by something
up on the wall across from her. It is a sign for an emergency
exit. Billy looks in the direction the sign is pointing at. It is
the emergency exit.

Lyosha is coming toward Billy's hiding. He stops to listen for a
meaningful noise. He opens a door to look into a room. Billy peeks
from behind her hiding nook. She runs toward the emergency exit,
which is located toward the end of the long corridor.

The open door, and just behind it, Lyosha looking into the room.
He switches the light off, just as Billy reaches the emergency
exit. He walks out of the room, and closes slowly the door behind
him. He looks at the far end of the corridor.

<b>       LYOSHA
</b>       Hey !

He walks a couple of steps and stops. He turns around and says a
few words in Russian.
Billy is hiding behind a big red vending machine at the far end of
the corridor. Lyosha looks around him and Billy looks at the
emergency exit.

Close shot on the handle of the emergency door. Then the camera
pans on the left and stops on the red emergency box, with the door
key inside. Near the key, is posted a long notice in Russian.

Lyosha walks slowly toward Billy. He tries to open a door, but it
is locked. We hear him talking in Russian.

Billy is still hidden behind the red vending machine.

<b>       LYOSHA
</b>       Hello ?

Lyosha keeps on walking slowly toward Billy.

<b>       LYOSHA
</b>       Is anyone there ?

Lyosha is looking at the far end of the corridor. He crosses
toward a door.

<b>       LYOSHA
</b>       I can explain.

He opens the door and walks inside the room.

Billy peeks cautiously from behind the machine, and sees the open
door. She runs toward the emergency exit. She breaks the glass
with her hand and grabs the key.

       LYOSHA (voice over)
       Ho ?

Billy runs back toward the vending machine, behind which she hides
again.

Lyosha walks out of the room, leaving the door open, and looks at
the far end of the corridor.

Billy is still hidden behind the vending machine. Lyosha is coming
toward her. Billy moves slowly along the wall, keeping her back as
close as possible of the wall. She opens a door and enters a dark
room. She closes the door behind her.

Lyosha reaches the vending machine, and starts running toward the
emergency exit. He stops near the emergency box with its broken
glass. He looks inside the emergency box. His finger comes out of
the box, with the tip covered with Billy's blood. He tries to open
the emergency door, which is locked.

<b>CINEMA STUDIO - STORE ROOM - INTERIOR NIGHT
</b>
A dark store room, with large windows. The door opens and Lyosha
walks in. He runs to the window. He looks outside, but seeing
nothing significant, he turns around and walks a couple of steps
inside the room. He stops and looks around. He starts walking
again across the room. Suddenly something catches his eye.

Close shot on the bottom of a long drape. There is a thin space
between the bottom of the drape and the floor. And on this thin
space, the tip of a shoe is showing. Lyosha walks slowly toward
the drape. He pulls the drape open with a very quick movement.
Several racks of shoes were actually hidden by the drape.

<b>CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
</b>
A door opens in the back of the room and Billy walks in the room.
There is some light coming from the door. Billy walks to the main
door of the room and opens it. She raises her arm and grabs the
bell at the top of the door to silence it. She walks out of the
room.

<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
The long corridor. The lights are still on. Billy walks out of her
workshop and closes the door. She starts running along the
corridor toward the emergency exit. She suddenly stops, when she
hears a door opening. She runs back toward the staircase and hides
near the entrance of the staircase. In the background, we see
Lyosha coming out of a room. The camera pans toward the staircase
and Billy. A door opens on the floor below, and the large shadow
of a man is projected on the wall of the staircase. Billy runs on
the other side of the landing, while the man starts climbing the
stairs. He is Arkadi, the electrician working on Andy's film, and
the one who was playing with a spotlight on Billy's face. He is
bare-chested, which makes us believe he was the poor actress'
murderer. He reaches the landing and stops.

Billy is still hiding in a dark corner. She sees Arkadi coming on
the landing.

<b>       ARKADI
</b>       Lyosha !
Lyosha is coming to meet Arkadi. They speak in Russian.

Billy looks at the two men, then she moves silently away from
them. She reaches the door of the elevator, which is supposed to
be out of order, and opens it. She puts the key of the emergency
exit door in her mouth, and start climbing down the elevator shaft
emergency ladder.

<b>CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
</b>
Billy climbs down the emergency ladder, trying not to miss the
steps.

Her face is now on the level of the bottom of the door of the
elevator. There is a small gap between the bottom of the door and
the floor, which enables Billy to peek at what is going on in the
corridor.

A shoe appears in the gap between the door and the floor.

Close shot on the small window at the top of the elevator door.
Arkadi's face appears in the window. He looks around inside the
elevator shaft.

Billy is not in front of the gap anymore, but hiding in the dark.
She puts the key in front of the gap.

Arkadi tries to open the door of the elevator. But it is locked.
The blood on his hand proves that Arkadi was actually the poor
actress' murderer. Through the small window, he looks around in
the shaft.

Billy tries not to be seen through the gap.

Arkadi still looks around in the shaft. He turns his head to talk
in Russian to Lyosha.

Billy has got the key back between her teeth. We hear the two men
talking in Russian.

Arkadi's face moves away from the window. Some lights are switched
off, making the window slightly darker.

Billy moves away from the wall of the shaft and falls. She catches
the elevator cables.

Close shot on Billy's face. She is holding the cables. She makes a
face because of the pain. She doesn't have the key in her mouth
anymore.

Close shot on a concrete ledge somewhere along the shaft. The
emergency door key drops on it, then moves away from it.

Billy is trying to climb back up to the door.

We see the elevator cabin at the bottom the shaft, and Billy in
the foreground, trying to climb back up. There is some light in
the cabin. We hear some strange noise in the shaft. Billy looks
down at where the noise is coming from.
Close shot on the key, seen through the chicken wire roof of the
cabin, and resting on the floor of the cabin.

Billy, still holding the cables, starts going slowly down. She
misses a step but holds on the cables. She keeps on going down the
shaft. She eventually reaches the roof of the cabin. We hear
muffled voices talking in Russian.

Billy sits down on the roof of the cabin to rest a little. Through
the chicken wire that covers the roof of the cabin, she sees the
key on the floor of the cabin. She tries to open a panel in the
chicken wire. It is stuck but she eventually succeeds in opening
it. She moves the panel on its hinges and rests it against the
wall. We still hear the muffled voices talking in Russian. Billy
starts climbing down in the opening in the chicken wire.

Billy drops down on the floor of the cabin. The front door of the
cabin is wide open showing the well lit store room in front of the
cabin. But the cabin is not completely at the same level as the
room : it is slightly higher. We hear banging noises in the
background.
Billy looks at the room and is suddenly frightened by something.
She stands up and looks up at the roof of the cabin. She climbs
back toward the roof. We see Lyosha in the room, walking toward
the elevator.

Lyosha is coming closer, carrying a large plastic trash bag on his
shoulder. When he reaches the elevator, he takes the bag down from
his shoulder, and drops it in the gap between the bottom of the
cabin and the floor of the room. The plastic bag drops down to the
bottom of the shaft.

Billy, lying on the roof of the cabin, is looking through the
chicken wire.

Arkadi is walking toward the elevator, carrying a bag on his
shoulder, and pulling another one on the floor.

Close shot on the key, which was not actually on the floor of the
cabin, but on the floor of the room, just outside the cabin. The
plastic bag, pushed by Arkadi under the cabin, pushes the key in
the gap.

Lyosha and Arkadi are standing just outside the cabin. Lyosha is
pushing another bag in the gap. The two men then walk away from
the cabin.

Billy climbs down from the roof of he cabin and stands up on the
cabin floor. Seeing Lyosha, she squats down, but Lyosha walks
away.

Billy climbs out of the cabin. Then she enters the gap and starts
climbing down the shaft, using the emergency ladder.

The bottom of the shaft is full of plastic bags and various
debris. Billy reaches the bottom and steps on the bags. She kneels
down and starts searching for her key. Suddenly, we hear a very
loud noise. Billy, startled by the noise, stands up.
Lyosha is looking through the gap at the bottom of the shaft. He
turns around and talks in Russian to Arkadi.

<b>       LYOSHA
</b>       Arkadi !

Billy is hiding among the plastic bags.

Lyosha is still calling Arkadi.

<b>       LYOSHA
</b>       Arkadi !

He talks to him in Russian.

Arkadi comes near Lyosha with a powerful flashlight, and, with it,
he looks into the bottom of the shaft. The light from the
flashlight is playing on the bags.

Close shot of Billy's face, hidden among the bags. The light moves
near Billy's face, then moves to a transparent bag, near Billy,
with a head inside. Billy looks up at the bag. She screams
noiselessly. Suddenly she turns around, because she has seen
something else.

Close shot of the emergency door key, lying among the debris,
brightly lit by Arkadi's flashlight.

Arkadi walks away from the elevator, followed by Lyosha. Before
leaving, they close the outside door of the elevator. After the
door has been closed shut, the elevator shaft becomes completely
dark.

Billy slowly comes out of the bags. She takes the key. Then she
slowly stands up, puts the key in the pocket of her sleeveless
jacket and starts climbing the emergency ladder along the wall of
the shaft. She climbs just a few step to reach the first door, the
basement door.

Close shot of the small window on the door of the elevator, seen
from outside the shaft. Billy's face appears in the window. The
basement is completely dark.

Billy tries to open the door, but it is locked. She bangs on it
with her hand. Then she shakes it violently. She looks up, on the
verge of tears. She sighs. Then she hears some steps.

Arkadi is coming carrying a powerful lamp.

Billy looks very frightened. The light from the lamp plays on her
face.

Billy moves away from the door.

<b>CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
</b>
Arkadi stops near the locked door of the elevator, puts his lamp
down on the floor, and takes a key out of his pocket.

<b>CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
</b>Billy climbs on the emergency ladder in the shaft

<b>CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
</b>
Arkadi opens the door of the elevator.

<b>CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
</b>
Billy looks very frightened.

<b>CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
</b>
Arkadi is kneeling down by the lamp. He starts to stand up. He is
carrying a plastic bag which he has taken away from inside the
elevator shaft. He walks away, leaving the door open.

<b>CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
</b>
Billy climbs down the shaft.

<b>CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
</b>Arkadi walks away in the basement. Billy slowly comes out of the
elevator door and runs away in the opposite direction from Arkadi.
She hides behind a pillar, because she sees Arkadi's lamp in the
background. Arkadi is coming back, and Billy moves around the
pillar to be hidden from Arkadi's eyes. Arkadi stops near the
elevator. He opens the elevator's door.

Billy runs away. She trips on something and makes a little noise.
She stops.

Arkadi, coming out of the elevator, looks in Billy's direction.

Billy opens a door and walks out.

Arkadi slowly walks away from the elevator door.

The door closes smoothly behind Billy.

<b>CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT
</b>
Billy is walking rapidly upstairs.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
The door of the set opens and Billy walks in. She walks slowly
through the set, looking around her. Suddenly, the big spotlights
are switched on one by one.

In the electricians' control cabin, we see Lyosha switching the
lights on. More spotlights are switched on.

Billy is running around on the set, trying to avoid the lights.
She reaches the scenery and jumps out of one of the scenery
windows.

A searchlight, controlled by Lyosha. The searchlight is following
Billy.
Billy tries to avoid the searchlight. She runs away toward the
exit of the set. She meets Arkadi coming back on the set, but she
keeps on running.

<b>       ARKADI
</b>       Billy !

Billy starts climbing a ladder, but before climbing, she pushes a
heavy piece of furniture to block the bottom of the ladder. The
piece of furniture falling down makes other props fall down.
Arkadi starts moving the props out of his way. He reaches the
bottom the ladder.

<b>       ARKADI
</b>       Wait. I explain.

He starts climbing the ladder, turning his head around to yell :

<b>       ARKADI
</b>       Lyosha !
In the electricians' control cabin, hearing his name, Lyosha looks
outside the cabin.

       ARKADI (voice over)
       Lyosha !

He says a few words in Russian.

A gallery near the ceiling of the set. Billy is running along the
gallery.

Lyosha runs out of the electricians' control cabin and on the
gallery.

Billy runs down a few steps and outside the room. From the other
side of the gallery, Lyosha comes running after her.

<b>CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT
</b>
Lyosha runs downstairs.

<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
The long dark corridor, with the staircase in the foreground.
Lyosha runs in the corridor from the staircase, but before
entering the corridor, he switches the lights on. With the lights
on, we can see Billy running away to the far end of the corridor.
Lyosha runs after her.

Zoom on the emergency door, coming closer to us.

Billy is running toward the door.

Billy puts the key in the keyhole. She opens the emergency door
and shuts it behind her.

Lyosha runs toward the door. He pushes it open.
<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
The other side of the door, opening on a small gallery leading to
the emergency ladders set along the exterior wall of the building.

The door is been violently pushed open by Lyosha. With Lyosha's
violent push, Billy falls backward, above the balcony of the
gallery and down on the yard below.

Billy falls on her back on a huge pile of used film metal boxes.

Lyosha bends over the balcony and looks down at Billy.

Billy is lying among the boxes and moves her head.

A blurred dark picture with lights dancing around. It is what
Billy's eyes are seeing when she tries to focus after her fall.
She sees the blurred picture of Lyosha running down the emergency
ladder along the wall of the building.

       KAREN (voice over)
       Hello!
The corner of the building. A shadow is moving hidden by the
building.

       KAREN (voice over)
       Hello ?

Lyosha is bending over Billy. When he hears Karen's voice, he
looks up.

       KAREN (voice over)
       Is anybody there ?

Karen appears at the corner of the building, looking around.

<b>       LYOSHA
</b>       Come here, quickly !

Karen runs toward them.

<b>       KAREN
</b>       Oh, my God, Billy.

<b>       LYOSHA
</b>       Quickly !

Karen runs toward Billy, still lying on the film boxes in the
foreground. She bends over her.

<b>       KAREN
</b>       What did happen ?

<b>       LYOSHA
</b>       I don't know.

Lyosha looks up at the gallery where Billy fell from.

<b>       LYOSHA
</b>       She slipped and fall bad. Poor Billy.

Karen yells in Andy's direction.

<b>       KAREN
</b>       Andy, she's at the back !

<b>       LYOSHA
</b>       Get the doctor, quickly.

<b>       KAREN
</b>       You go. I'll stay here with her.

Billy is trying to say something to her sister.

<b>       KAREN
</b>       Let go of her.

<b>       LYOSHA
</b>       No, I must hold her. She must not move.

Lyosha's hand is restraining Billy's arm.
<b>       LYOSHA
</b>       Danger she'll never walk again if she move.

Billy is moving nervously, trying to get her arm free to talk to
her sister.

<b>       LYOSHA
</b>       Go !

<b>       KAREN
</b>       Yeah, okay.

Billy tries to move her hand away from Lyosha and bangs on a film
box.

       KAREN (yelling in voice over)
       Andy !

She bends over Billy.

<b>       KAREN
</b>       Billy !... Billy, you mustn't move... You may become
       paralyzed. It's dangerous... Don't worry. I'll be right
       back... I promise.

Karen starts moving away from Billy

<b>       KAREN
</b>       Andy !

Billy moves nervously, raises from the film boxes and looks
desperately at Karen.

Karen just saw Billy's last expression and seems worried.

Billy is trying to articulate some words.
Karen runs back toward Billy. She reaches the pile of film boxes
and bend over Billy. She looks at Lyosha.

Andy is walking toward them.

<b>       ANDY
</b>       What's going on ?

Karen turns toward Andy.

<b>       KAREN
</b>       Andy, go with the janitor...

Lyosha seems worried.

       KAREN (voice over)
       ...and fetch an ambulance !

Andy joined the janitor with his dog.

       KAREN (voice over)
       Billy's had an accident.
<b>       ANDY
</b>       What ?

Lyosha says something in Russian to the janitor.

       KAREN (voice over)
       Don't just stand there !

Karen looks at Andy.

<b>       KAREN
</b>       Do it now !

The dog barks. Andy turns toward the janitor

<b>       ANDY
</b>       Ambulance !

The janitor answers in Russian. The dog keeps on barking. Andy
pushes the janitor toward his office.

<b>       ANDY
</b>       Come on !

They both walk away.

Karen bends over Billy.

<b>       KAREN
</b>       It's all right, sweetie.

Billy is still moving restlessly.

<b>       KAREN
</b>       I'm here now and an ambulance is on its way.

Karen pushes Lyosha's hand away.
<b>       KAREN
</b>       Let go of her. She's trying to say something.

Lyosha stands up. Billy talks to Karen with her hand.

<b>       KAREN
</b>       Police ?

Billy keeps on signing.

<b>       KAREN
</b>       Murder ?

She looks up at Lyosha.

Lyosha shrugs his shoulders and makes a face that means he doesn't
know what Billy is talking about.

<b>       KAREN
</b>       Andy ! Andy !
<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
This the set where the poor actress was brutally murdered.

Billy is seated between Karen and Andy. She has a disoriented look
on her face, and a blanket is wrapped around her shoulders. Karen
is tenderly stroking Billy's shoulder. We hear some laughing and
people talking in Russian.

Lyosha and Arkadi are talking to an uniformed Russian policeman,
who seems to be in charge of the inquiry. Consequently, he will
be, from now on, mentioned as «First Policeman»

The other policeman (who shall be mentioned as «Second Policeman»)
is kneeling down, looking at something on the floor, and the
janitor is standing in a corner with his dog on a leash.

Lyosha, Arkadi and the first policeman are still talking together.
They slowly walk toward the rest of the group. The second
policeman, who was still kneeling down, stands up.

Billy is listening to Lyosha, apparently trying to lip-read and
understand what he says. Lyosha turns toward her.

<b>       LYOSHA
</b>       Excuse me. It's true. We just fake murder. If we really
       want to murder...

The two uniformed policemen are listening to Lyosha.

       LYOSHA (voice over)
       ...why make film of it ?

Lyosha and Arkadi both laugh.

<b>       LYOSHA
</b>       We're not stupid, really.
The janitor is trying to follow the conversation. We hear a
policeman talking in Russian.

Arkadi answers in Russian.

Arkadi must have said something funny, because the policemen are
laughing.

Lyosha and Arkadi look at Billy.

<b>       ARKADI
</b>       No, no. Sorry.

Billy doesn't look at Arkadi, but Karen does.

       ARKADI (voice over)
       We understand how she feel. She think she see...

Back to Lyosha and Arkadi

<b>       ARKADI
</b>       ...a real murder and panic.
Billy taps on Karen's arm. Karen looks up at Arkadi.

The first policeman looks at the paper he is holding in his hand.

<b>       FIRST POLICEMAN
</b>       Where did you see the murder from ?

Billy stands up and, pointing her finger, shows where she was
during the murder.

The two policemen both turn around to look at the place Billy is
showing. The second policeman moves away and the first one looks
at his paper.

<b>       FIRST POLICEMAN
</b>       And it was this man ?

He points at Arkadi.

Billy, seated again, points at Arkadi.

Lyosha looks at Arkadi.

The first policeman resumes the reading of his paper.

<b>       FIRST POLICEMAN
</b>       But you say here : «He wore a stocking pulled over his
       head.»

Billy looks very angry and keeps on pointing at Arkadi.

<b>       FIRST POLICEMAN
</b>       «And then they chased me through the building and try to
       kill me as well.»

Arkadi yells something in Russian. Lyosha also says something in
Russian, but with a quieter voice.
<b>       ANDY
</b>       Guys ! Guys ! English, please.

Arkadi stops yelling. Lyosha speaks to him. Arkadi pushes him
away.

<b>       ARKADI
</b>       We make test for you.

The first policeman looks at Arkadi, and then at Billy.

<b>       ARKADI
</b>       For your film. We try make blood much big.

Andy looks at Arkadi and then at Billy.

Close shot on Billy, enabling us to read her words on her lips.

       BILLY (in sign language)
       He's lying !
       LYOSHA (voice over)
       Sorry, Billy.

Billy looks at Lyosha

<b>       LYOSHA
</b>       We not tell you. Keep secret not to hurt your feelings.

<b>       ANDY
</b>       I would've let you done tests.

Karen slaps Andy.

       KAREN (whispering)
       Andy.

Karen tries to tell silently to Andy to shut up.

<b>       ANDY
</b>       What I mean is... What I mean is... Let's see their film.
       I'll know if it's real.

Billy nods her head, approving what Andy just said.

       FIRST POLICEMAN (voice over)
       You're right.

The first policeman looks at the two men, and speaks in Russian to
them.

Arkadi and Lyosha both look slightly embarrassed. Lyosha starts
walking away.

Karen looks, with a worried eye, to the departing Lyosha.

<b>       KAREN
</b>       Wait. Stop !
Karen runs after Lyosha.

<b>       KAREN
</b>       He could expose the film.

The first policeman takes Lyosha's arm and talks to him in
Russian.

<b>       FIRST POLICEMAN
</b>       Let her do it. Please.

<b>       KAREN
</b>       Okay.

Karen starts working on the hermetic bag used as a portable dark
room. Karen puts her arms inside the bag.

<b>       KAREN
</b>       This lets you unload the film without needing a darkroom.

<b>       FIRST POLICEMAN
</b>       I see.
Close shot on Arkadi's face. He looks very menacing.

Andy starts taking his jacket off.

       ANDY (whispering)
       God, it's hot in here.

In the background, Arkadi is bending down on something we don't
see. He looks up at Karen.

       KAREN (voice over)
       If he had exposed the film to the light, he could have
       destroyed all the evidence.

Billy looks at Arkadi, still busy doing something that we don't
see.

       KAREN (voice over)
       Actually, I haven't done this since film school.

Arkadi stands up from whatever he was doing.

       KAREN (voice over)
       Right. It's safe in the can now.

Arkadi walks around the group.

       KAREN (voice over)
       Here. Take it to the lab immediately...

Close shot on Arkadi walking away.

       KAREN (voice over)
       ...for developing.

Billy, who understands something wrong is going on with Arkadi,
stamps her feet.
Karen gives the film to the first policeman.

<b>       KAREN
</b>       It's okay... It's okay.

Arkadi is walking slowly with something that looks like a knife in
his hand. We hear Billy clapping her hands. Andy turns around to
look at Billy.

Billy points to Arkadi and tries to explain something in sign
language.

Karen looks at Billy.

<b>       KAREN
</b>       Murder weapon ? Where ?

Arkadi grabs Andy and pushes him against the wall.

Karen screams.
Arkadi stabs Andy in the stomach with his knife. Andy screams. He
has blood on his cheek. Arkadi keeps on stabbing Andy.

The first policeman takes his gun out of his belt.

Both policemen grab Arkadi from behind. They pull him away from
Andy. They have both drown their guns.

Karen rushes toward Andy, whose shirt is covered with blood.

Karadi, still restrained by the two policemen, is yelling in
Russian.

       LYOSHA (voice over)
       Stop. Stop. Stop!

Arkadi drops his knife, and it remains attached to his wrist by a
plastic tube. Actually, it was a fake prop knife.

Andy stutters, trying to explain something to Karen.

<b>       ANDY
</b>       I'm...

<b>       KAREN
</b>       What ?

<b>       ANDY
</b>       I'm fine. I'm fine. I'm fine.

<b>       KAREN
</b>       You...

<b>       ANDY
</b>       Oh, my God!

Karadi shows the knife to the policemen. He makes the retractable
blade work, to prove it is harmless.
Billy walks to her trunk and notices that the padlock on the lid
has been broken. She opens the trunk. She takes the fake blood can
out of the trunk : it is almost empty.

The policemen taste the fake blood.

<b>       FIRST POLICEMAN
</b>       Tastes sweet.

<b>       ANDY
</b>       It's for the actors. They put the stuff in their mouths.

Billy stamps her foot. They all turn toward her. She explains
something in sign language.

<b>       FIRST POLICEMAN
</b>       What she say ?

<b>       KAREN
</b>       That it's her knife. They broke into her box and used all
       the blood.
<b>       FIRST POLICEMAN
</b>       So now she say it was a trick.

Billy keeps on talking in sign language. Karen translates.

<b>       KAREN
</b>       It happened so fast she couldn't see the knife clearly.

<b>       FIRST POLICEMAN
</b>       But everything else she saw tonight was clear ? Huh ?

Billy keeps on talking in sign language. Karen translates.

<b>       KAREN
</b>       The body in the elevator shaft. She saw that.

Billy points to the elevator door.

<b>CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
</b>
They are all walking in the basements toward the elevator. Several
of them are carrying torches. Billy is still wrapped in the
blanket.

They reach the elevator and Arkadi opens the door. The first
policeman points his torch in the bottom of the elevator shaft.
The dog barks. The janitor tries to calm it down. There are many
plastic trash bags scattered in the bottom of the shaft. The first
policeman talks in Russian to the second one. Apparently, he asks
him to go down to the bottom of the shaft and look at the bags.
The second policeman doesn't look very happy to do it.

But he does go down in the shaft, and starts looking into the
bags. He even pours the content of the first one out of the bag.
But there are only trashes in the bag.

Arkadi and Lyosha look at each other.
The second policeman finds a bloody sheet in a bag.

Lyosha talks to him in Russian. And the first policeman apparently
tells him to do what Lyosha just asked

Reluctantly, he second policeman tastes the blood on the sheet. He
smiles and says a word in Russian.

The first policeman repeats that word to Lyosha

<b>       KAREN
</b>       What ?

<b>       ANDY
</b>       What ? What ?

<b>       FIRST POLICEMAN
</b>       Sweet. It is fake blood.

<b>       ANDY
</b>       It's fake blood.
<b>       KAREN
</b>       They could have soaked the sheets in fake blood afterwards.

<b>       FIRST POLICEMAN
</b>       But... where is the body ? Huh ?

The second policeman keeps looking through the trash bags.

The first policeman shows the paper, he is still holding, to
Billy.

<b>       FIRST POLICEMAN
</b>       Here you say, "A head cut off."

The second policeman has just emptied another bag. He makes a sign
meaning «Nothing significant» and talks in Russian.

Arkadi answers something that makes Lyosha and the two policemen
laugh.

Billy says something in sign language.

<b>       KAREN
</b>       Oh ! Wait. Wait. Ah ! She says... Well, there were more
       bags in there before.

The first policeman seems a bit fed up with Billy.

<b>       ARKADI
</b>       No, she's right. I will show you.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
They are all coming out of the basement on a ramp that reaches the
yard and the parking lot around the building. Arkadi is leading
them.
<b>       ARKADI
</b>       From lift shaft we take the rubbish here. Fast. Easy.

The janitor says something in Russian. They have reached the large
plastic trash containers where all the trashes from the studio are
dropped off, waiting for the garbage collectors to take them away.
The second policeman raises the lid of a container, while the
first policeman looks inside. Arkadi takes a bag out of another
container and drops it on the ground. The second policeman looks
inside the bag with his flashlight. There seems to be a head
inside the bag. The policeman pours the content of the bag on the
ground. Actually the head was just a mask !

<b>       ANDY
</b>       Hey, we need that.

He picks up the mask from the rubbish. He wipes it with his hand.
The first policeman gives his card to both Billy and Karen.

<b>       FIRST POLICEMAN
</b>       Sorry, I can do nothing for you now. But I will call you
       after I see the film. Okay ? Sorry.
He walks away. The second policeman shakes hands with Arkadi and
Lyosha and goes away with his chief.

Billy rests her head on Karen's shoulder.

Lyosha looks at her, shrugs and smiles.

<b>ANDY'S CAR - INTERIOR NIGHT
</b>
Close up shot on Billy's face, seated in the back of the car. She
looks very sad and disappointed.

Andy is driving, with Karen seated next to him.

<b>       ANDY
</b>       Well, I've never been more embarrassed in my entire life.

<b>       KAREN
</b>       I don't get it. I mean, Billy's a pro. She'd know the
       difference between a real murder and a gag.

<b>       ANDY
</b>       Please, has she even seen a real murder ?

<b>       KAREN
</b>       That's my point. If what she saw tonight was real, then she
       has seen the difference, right ?

<b>       ANDY
</b>       Oh, come on, honey. We all bought the guy cutting me up
       tonight. Even I believed it.

<b>       KAREN
</b>       Because you're a wuss.

She laughs.
<b>       ANDY
</b>       I'm gonna let that slide.

Karen looks at Billy.

<b>       ANDY
</b>       No offense, Billy, but I'd like to re-shoot the stuff today
       using that guy's knife.

<b>       KAREN
</b>       It was her knife. God !

A very short flash-back sequence of the murder of the actress.

<b>       ANDY
</b>       Whatever. It looked good.

Another very short flash-back. We understand those short flash-
backs come from Billy's mind reliving what she saw a couple of
hours before.

Karen, looking at Billy, seems to understand what's going on
inside her sister's head, because she says to Andy :

<b>       KAREN
</b>       Shut up.

More short flash-backs of the murder, and a close-up shot on
Billy's face. She seems very disturbed.

<b>CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
</b>
The janitor is patrolling the basement with his dog. He is
carrying an electric torch.

He checks a heavy metal door, which is closed.

While he is checking the door, the dog runs away.

The janitor looks around him.

<b>       JANITOR
</b>       Buka !

He is apparently calling his dog, but he gets no answer. He starts
looking around.

He reaches the door of the incinerator. We hear the noise of the
incinerator, and we see its light on the janitor's face. The
janitor seems surprises that the incinerator is working so late in
the night. We hear the dog whining.

<b>       JANITOR
</b>       Buka ?

The janitor enters the incinerator room. He walks slowly around
until he reaches the incinerator. The incinerator door is slightly
open. He looks inside.

Close shot of the inside of the incinerator. Among the flames, a
human skull is burning.

The janitor walks backward with a terrified look on his face. He
trips on something and falls down.

Close shot on the fallen flashlight rolling around. In the light,
we see a pair of boots, belonging to a still unknown man, standing
on the floor.

Still lying on the floor, the janitor discovers his dog lying next
to him, and starts patting it. The dog's fur is covered with
blood.

<b>       JANITOR
</b>       Buka.

Arkadi walks toward the janitor.

<b>       JANITOR
</b>       Buka. Buka.

Arkadi raises something we don't clearly see (a knife ?) above his
head and hit the janitor, still lying on the floor.

<b>A RESTAURANT - INTERIOR NIGHT
</b>
Close up shot of a knife hitting a beefsteak. The directors's idea
was, of course, to give us the impression that it was Arkadi's
knife hitting the poor janitor !

Larger shot of the steak being cut into the plate. We hear some
soft music.

Karen and Andy are seated, side by side, at a table in a
restaurant, with Billy sitting on the other side of the table.
Andy, with his shirt still covered with fake blood, is eating with
an evident good appetite. Billy doesn't seem to be very hungry.
Andy gives his plate to Billy.

<b>       ANDY
</b>       Please, Billy, take some of mine. You'll feel better.

Billy explain silently that she is not hungry. Andy takes his
plate back.

<b>       ANDY
</b>       Okay.

Andy pours a lot of ketchup on his steak.

Billy says something in sign language. Karen looks at her, while
Andy drinks his wine. Billy keeps on «talking».

<b>       ANDY
</b>       Could you pass me the salt, please ?

Karen gives the salt to Andy.

<b>       KAREN
</b>       You could at least make the effort.
Andy stops eating, looks at Billy drinking water and then at
Karen.

<b>       ANDY
</b>       Listen... I'm sorry. All I can think about now is the
       movie, but as soon as we get back, I promise, I'll learn.

He starts eating his steak again.

<b>       KAREN
</b>       How often have I heard that ?

<b>       ANDY
</b>       Come on. I can understand some of what she's saying.

<b>       KAREN
</b>       What ?

Andy puts his fork and knife down.

<b>       ANDY
</b>       Okay, how about this ?

Andy makes a sign.

<b>       ANDY
</b>       Means «makeup», right ?

Billy smiles and nods her head «No».

<b>       KAREN
</b>       Wrong. It means somebody's look, the expression on their
       face.

<b>       ANDY
</b>       That was close.

<b>       KAREN
</b>       What Billy said she'll never forget the look on the girl's
       face tonight from the moment she knew she was gonna die.
       She said the pain and the terror was real. You can't act
       that.

Billy looks at Andy and Karen with a worried face. Andy seems
suddenly a bit worried too.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
The chimney of the studio seen from the parking lot in a low-angle
shot. A lot of black smoke is coming out of it, certainly from the
incinerator.

Lyosha is smoking on the ramp leading to the basement, and he,
like the chimney, exhales a lot of smoke, but white one !

The door of the basement opens and Arkadi walks out. There seems
to be a lot of smoke in the basement too. He coughs. Lyosha throws
him a pack of cigarettes, which he catches. He spits, takes a
cigarette out of the pack and lights it.
Two cars are coming toward them. The fist one is a large black
limousine.

Lyosha picks up a small plastic bag.

The cars stop near the ramp. Arkadi and Lyosha walk toward them. A
man gets out of the front passenger door of the second car. He is
Wartschuk, the Big Boss' first assistant. He closes the door and
walks toward Lyosha and Arkadi. Lyosha gives him the plastic bag.
The man says a few words in Russian and nods toward the limousine.
He walks away, but Lyosha doesn't move.

A man is sitting in the back of the limousine, his face hidden in
the dark. He is called «The Reaper» and he is the famous «Big
Boss» of the whole criminal organization, and consequently of
Arkadi and Lyosha.

<b>       THE REAPER
</b>       Come closer, Mr. Hausmann. I won't bite.

Lyosha starts walking slowly toward the car.
       THE REAPER (voice over)
       Did it go smoothly ?

<b>       LYOSHA
</b>       About the money...

<b>       THE REAPER
</b>       Did it go smoothly ?

<b>       LYOSHA
</b>       Yes, of course. No problem.

The Reaper bends slightly, so his face appears in the light.

<b>       THE REAPER
</b>       Did it go smoothly, Mr. Hausmann ?

<b>       LYOSHA
</b>       We did our job. The condition was...

<b>       THE REAPER
</b>       The condition was that everything would go smoothly.

<b>       LYOSHA
</b>       Yes. Yes, and we have your diskette.

<b>       THE REAPER
</b>       And who informed the police ?

<b>       LYOSHA
</b>       American girl say something, but nobody believe her.

<b>       THE REAPER
</b>       As long as there are witnesses, there's no money.

<b>       LYOSHA
</b>       You mean ?...
<b>       THE REAPER
</b>       I think we understand each other, Mr. Hausmann.

The Reaper winds his car window up. Then he sits back in his seat.

Lyosha and Arkadi look at the two cars driving away.

Lyosha gives a folded paper to Arkadi, who unfolds it.

Close up shot on the paper. It shows Billy's address and telephone
number.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
Low-angle shot on the buildings around the street. Then the camera
tilts down to street level. Andy's car drives toward us and stops.
Billy opens the back door and walks out of the car. Karen opens
the driver's door and walks out. Both sisters close their doors.
Billy starts walking toward her building and Karen follows her.

<b>       KAREN
</b>       No, honestly, you can come back to our place, and we'll set
       up the couch if you want.

Andy has remained in the car.

Billy answers her sister in sign language.

<b>       KAREN
</b>       You're not on one of your «I'll show her how independent I
       am» kicks, are you ?

Andy has got out of the car and is watching the two sister,
leaning on the roof of the car.

<b>       ANDY
</b>       Honey, you coming or what ?

Billy waves to Andy and enters her building. Karen looks at her
sister and then turns toward Andy.

<b>       KAREN
</b>       Andy, don't you care about her ?

Andy looks offended by Karen's words.

<b>       ANDY
</b>       I don't care ? I don't care ? Fine, fine. I'm calling the
       American Embassy tonight, okay ?

Billy has stopped near her building door and is looking at Karen
and Andy's verbal fight.

<b>       KAREN
</b>       It's the weekend. They're closed.

<b>       ANDY
</b>       Not for us. My dad gave me the duty officer's direct number
       before we left, just in case. So say goodbye.
He waves to Billy, who waves back to him. She blows a kiss to her
sister, who blows one back, and enters her building.

<b>POLICE HEADQUARTERS - CORRIDOR - INTERIOR NIGHT
</b>
A long corridor. In the foreground, the two uniformed policemen,
who took care of Billy's case, are sitting on a wooden bench. The
second policeman is asleep. The first policeman stands up when he
sees a group of three people, a woman in white coat (like a nurse)
and two men in suit and tie, coming toward them. The first
policeman wakes up the second policeman, who stands up.

One of the men is Mr. Larsen, a high-rank police officer, the
other one is Mr Lovett, the US ambassador's secretary.

The woman in white shows the two policemen to Larsen, then walks
away. Larsen takes his hat off.

<b>       LARSEN
</b>       Mr. Lovett, these are the two officers who answered the
       complaint.
He shakes hands with the two policemen.

<b>       LOVETT
</b>       Good evening, gentlemen.

Lovett shakes hands with the two policemen.

<b>       FIRST POLICEMAN
</b>       Good evening.

<b>       LARSEN
</b>       Please speak English to the ambassador's secretary. My
       chief asked me to meet Mr. Lovett here. If this witness is
       correct about what she saw tonight, she may help my own
       investigation.

<b>       LOVETT
</b>       Your English is quite good, Mr. Larsen.

<b>       LARSEN
</b>       Thank you. My mother was a translator.

<b>       LOVETT
</b>       In the university ?

<b>       LARSEN
</b>       No. KGB.

After Larsen's answer, there is a slight embarrassed silence
between the two men. Fortunately for them, a door opens and a man
in white coat walks out of a room, carrying a film box under his
arm. He talks to Larsen in Russian, and shows him the room where
they have to go. Larsen shows the room to Lovett.

<b>       LARSEN
</b>       Please.
They all follow the technician.

<b>POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
</b>
The door of the projection room opens and Lovett enters, followed
by Larsen.

<b>       LARSEN
</b>       We've been tracking gangsters in Moscow running an
       international pornography and prostitution racket.

The two policemen enters behind them. Larsen shows a seat to
Lovett. The projection room looks like a small cinema theatre,
with rows of red seats.

<b>       LARSEN
</b>       Sit down, please. We have information they have made snuff
       films here and sold them all over the world.

Lovett sits down. Larsen takes his coat off and sits down next to
Lovett. The two policemen sit on the row behind the two men.
<b>       LOVETT
</b>       Snuff film... Is that what I think it is ?

<b>       LARSEN
</b>       Victims believe they are making a sex film, but they are
       murdered in front of the camera.

Larsen turn toward the two policemen.

<b>       LARSEN
</b>       What is the name of the witness ? What is it ?

He snaps his fingers.

<b>       FIRST POLICEMAN
</b>       Billy Hughes, sir.

<b>       LARSEN
</b>       Billy Hughes. Yes. She claims to have seen one being made.

<b>POLICE HEADQUARTERS - PROJECTION CABIN - INTERIOR NIGHT
</b>
The technician is setting the film reel on the projector. We can
hear the voices from the room coming through the loudspeaker of
the cabin.

       LARSEN (voice over from the loudspeaker)
       The victims are illegal immigrants exploited as prostitutes
       by a gang headed by one man.

The technician is feeding the film into the projector.

<b>POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
</b>
<b>       LARSEN
</b>       He is brutal, ruthless. They call him The Reaper.

Larsen is making nervous movements with his hands.
<b>       LARSEN
</b>       I'm surprised his men gave up the film so easily. If it is
       what I think it is, our witness, Billy Hughes, is in great
       danger.

The sequence ends with a close shot on Larsen's worried face.

<b>BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
</b>
Close up shot on the gas flames of the water heater.

Billy is getting ready to take a bath. She is just wearing a bath
towel wrapped around her body. With her hand, she tests the
temperature of the bath water. She pours some bubble-bath from a
big bottle into the water. We hear the telephone ringing. Billy
turns her head toward the living-room

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
The apartment is a bit ancient-looking. It doesn't «look like»
Billy. One can tell it is only a rented apartment for a short
period. Various clothes are scattered around the room.

Billy walks from the bathroom along the corridor to the living-
room. The telephone keeps on ringing.

The telephone and the special answering machine are set on a small
table. Billy picks up the telephone handset and puts it on the
machine. Then she sits down on a chair and puts a pair of earphone
on her ears. Finally, she presses a button on the machine.

Close up shot on the screen of the machine. It looks a bit like a
computer screen. The machine offers the choice between different
sentences :
     «Hello»
     «Hello this is Billy Hughes speaking»
     «I am using a digital voice computer»
     «Please have patience and I will answer»
     «My address is apartment 923 - 126 Kievsky Prospekt»
     «My telephone number is 9205910»
     etc.
Billy chooses the second choice, using a ball-mat. Then she brings
the arrow on an icon to start the machine.

<b>       DIGITAL VOICE
</b>       Hello, this is Billy Hughes speaking.

Momentarily, the scene is seen through a binocular, which makes us
realize that Billy is been spied by someone.

Billy, apparently getting no answer but a deep breathing noise,
chooses the first choice.

<b>       DIGITAL VOICE
</b>       Hello.

A shot on the large bay window makes us guess where the spy is
hiding : somewhere across the street.
<b>       DIGITAL VOICE
</b>       Hello, this is Billy Hughes speaking.

Billy keeps on trying to get an answer.

<b>       DIGITAL VOICE
</b>       Hello.

But she gets only a disconnection tone. She takes the earphone out
of her ears, and puts them on the table. She looks at the window.

Shot on the window, with a zoom on another window across the
street. Behind that window, we see the figure of a man looking at
Billy with binoculars.

Billy seen through the «neighbor's» binoculars. She walks to the
window and pull the drapes to hide the window.

The «spy» sees the drapes being pulled through his binoculars.

<b>POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
</b>The same men are still in the projection room. The first policeman
has taken his cap off. And Larsen is now seated in a seat behind
Lovett.

<b>       FIRST POLICEMAN
</b>       Have you seen a... how do you say... snuff film before ?

<b>       LARSEN
</b>       I saw a woman tied to a tree   kept alive while her arms and
       legs were cut off. It's hard   to talk about it, or even
       think about it. And it makes   you sick to watch it. You
       never forget the look in the   victim's eyes. The sheer panic
       and horror when they realize   they're about to die.

Lovett looks very disturbed by what Larsen just told him. The
technician knocks on the window between his cabin and the room.
Larsen and Lovett turn around, and Larsen makes a sign to tell the
technician to start the film. Then he takes a cigarette from the
pack he left on his former seat. The room becomes dark and the
projection starts. The four men watch the film which has no sound.

On the screen of the projection room, we see the sequence when the
young actress, pretending she is dying very slowly, breaks the
whole set.

Lovett and Larsen turn their head toward the cabin.

<b>POLICE HEADQUARTERS - PROJECTION CABIN - INTERIOR NIGHT
</b>
The technician is also watching the film through the window
between the two rooms. When he sees Larsen looking at him, he
shrugs to tell him that he is not responsible for what is shown on
the screen.

<b>POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
</b>
Larsen and Lovett turn back to watch the screen.
On the screen, the sequence when the young actress is pulling the
tablecloth away from the table, and also everything that was on
the table.

The two policemen are smiling because they find what they see on
the screen quite funny.

Lovett and Larsen do not smile, because they are disappointed.

Now, on the screen, the actress is pulling the drapes down from
the windows.

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
Karen, wearing her night-gown, is seated on the edge of the bed.
We hear Andy talking into the telephone.

       ANDY (voice over)
       Yes, sir... No, sir.

Andy is walking up and down in the next room, carrying the
telephone set in his hand and with the handset on his ear.
<b>       ANDY
</b>       Right... Right... Right, sir. Right, sir. Thank you, Mr.
       Ambassador. So, I really appreciate the call. I'll give Dad
       your best. Right.

He puts the phone down back on its hook.

Karen has a worried look on her face.

<b>       KAREN
</b>       Well ?

<b>       ANDY
</b>       I told you. There's nothing to worry about. He says the
       film's the biggest piece of shit he's ever seen.

Andy is smiling, but Karen still has a worried look on her face.

<b>BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
</b>
High-angle shot of the room, seen from the ceiling. Billy is lying
in her bathtub, surrounded by foam and bubbles. Her eyes are
closed. She slowly puts her head underwater, and leaves just her
face above water.

One of the faucet is leaking and water is dropping from it.

One of the glass panes is broken and fixed with adhesive tape and
newspaper.

He eyes closed, Billy has her daydreams flashbacks again. She sees
the actress' blood spurting on the wall of the scenery. She sees
her being stabbed. She sees herself running away from Lyosha in
the long dark corridor.

Suddenly, she feels drops of blood on her face. And, opening her
eyes, she sees the bloody actress behind the broken glass pane.
She quickly sits up in her bath. She looks at the window, which is
empty. She hears the phone ringing. She stands up in her bath and
takes her bath towel to dry herself.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy opens the bathroom door and walks out and along the
corridor, while drying her hair. She has put a bathrobe on.

She puts the telephone handset on the answering machine. She puts
her earphones on and select an answer.

<b>       DIGITAL VOICE
</b>       Hello, this is Billy Hughes speaking.

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
Karen is sitting on the bed, with the telephone handset to her
ear. Andy is lying next to her, asleep.

<b>       KAREN
</b>       Hi, Billy. It's Karen. I hope you weren't sleeping. I just
       wanted to check and see if you're okay.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy smiles, hearing her sister's voice. She start typing on the
keyboard of the answering machine. The she sends the text to the
digital voice translating system.

<b>       DIGITAL VOICE
</b>       I am fine. No need to worry. Did you call earlier ?

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
Karen is still seated on her bed.

<b>       KAREN
</b>       No, I got straight through. You sure you're okay ?

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy starts typing again.

Close up shot on the machine screen. We can read what she is
typing.

<b>       DIGITAL VOICE
</b>       Sure. Had bath. All fine. Now I go to bed. You too.

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
<b>       KAREN
</b>       I just wanted to tell you : they saw the film, and it's not
       the real thing.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy is listening to her sister.
       KAREN (voice over from the telephone)
       That's good. Right ?

The doorbell rings. Billy turns her head toward the door.

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
<b>       KAREN
</b>       Did I hear something there ?

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy starts typing her answer.

<b>       DIGITAL VOICE
</b>       Doorbell. Wait. I'll see who.

She puts her earphones down, and stands up. We can still hear
faintly Karen's voice coming from the earphones.

       KAREN (voice over from the telephone)
       What ? Ah ! It's almost one o'clock. I wouldn't get that,
       Billy...
       (louder)
       Billy ?

Billy is looking through the peephole on the door.

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
Karen is looking worried.

<b>       KAREN
</b>       Billy ? You be careful, now. Check who it is first.

Karen's louder voice has awaken Andy, who sits up.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy is still looking through the peephole.

<b>BILLY'S APARTMENT - LANDING OUTSIDE THE FRONT DOOR - INTERIOR
</b><b>NIGHT
</b>
The landing, just outside Billy's apartment front door, is dark
and empty.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy, still looking in the peephole, moves her head from right to
left, trying to see further on the landing. She slowly moves away
from the door to a small table by the door.

Close up shot on the table, and a business card lying on it. It is
the first policeman's card. It says : «Police Inspector Vladimir
Pekar - Precinct 22» and underneath an address and a telephone
number.

Billy is still standing near the door. She puts the safety chain
on. And then she slowly opens the door. Arkadi appears behind the
door. Billy tries to shut the door, but he puts his foot between
the door and the wall.

<b>       ARKADI
</b>       Please. I want to talk.

Desperately, Billy tries to push the door shut.

Close up on the earphones on the machine keyboard.

       KAREN (voice over from the telephone)
       Billy ?

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
Karen seems very excited.

<b>       KAREN
</b>       Billy, are you still there ?

<b>       ANDY
</b>       Would you leave her alone ?

He lies back in the bed.

<b>       KAREN
</b>       I heard a noise, Andy. Something's happened. I swear.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy is trying to push the door shut. Arkadi has a big wire-
cutter in his hand. He brings the cutter near the chain. Billy
takes an umbrella from the stand near the door, and, with it,
tries to prevent Arkadi from cutting the chain. Arkadi cuts the
tip of the umbrella off. With her slippered foot, Billy kicks
Arkadi's foot still jamming the door, but it doesn't move it off.
Then she takes the heavy metal umbrella stand and hits Arkadi's
foot with it. Arkadi removes his foot from the door. Billy can -
at last - slam the door shut. She leans on it, panting.

<b>KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
</b>
Karen is now very frightened. She yells in the phone.

<b>       KAREN
</b>       Billy !

She puts the phone down and stands up from the bed.

<b>       KAREN
</b>       Okay, that's it. I'm going there.

Andy sits up on the bed.

<b>       ANDY
</b>       What ?

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>Billy is still leaning on the door, panting. We hear the noise of
an electric machine. Billy's eyes widen with horror. She rushes to
the telephone, and starts typing frenetically.

<b>       DIGITAL VOICE
</b>       Karen, help. Call police. Emergency.

Close up shot on the door lock. We can guess that Arkadi is trying
to open the door with a power tool.

Billy puts her earphone on. She hears the disconnection tone. She
presses the disconnection switch on her own telephone.

Close up shot on the door lock. One of the screws holding the lock
pops off and falls on the floor.

Billy is listening to a Russian-speaking female voice in her
earphones. She types on her keyboard.

<b>       THE VOICE ON THE PHONE
</b>       Hello ?... Hello ?
She sends her message.

<b>       DIGITAL VOICE
</b>       Police, emergency.

A few word in Russian and then, more distinctly :

<b>       THE VOICE ON THE PHONE
</b>       Police ?

Billy types «Yes».

<b>       DIGITAL VOICE
</b>       Yes.

Getting a Russian answer, she types «Da»

<b>       DIGITAL VOICE
</b>       Da.

Billy chooses a pre-recorded message, and sends it.

<b>       DIGITAL VOICE
</b>       Hello, my name is Billy Hughes. My address is apartment
<b>       923...
</b>
Close up on the lock : another screw just pops off. The telephone
operator keeps on speaking in Russian, apparently not listening to
Billy's message. We hear the power tool working again on the lock.

<b>       DIGITAL VOICE
</b>       ... 126 Kievsky prospekt...

Billy takes her earphones off and rushes out of the room.

<b>       DIGITAL VOICE
</b>       Telephone 9-2-0-9-5-9-1-0...
<b>BILLY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
Billy enters her dark kitchen. She takes a big knife from the
table, and rushes out of the kitchen.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy rushes in the room, with the knife in her hand. The
answering machine keeps on speaking.

<b>       DIGITAL VOICE
</b>       Billy Hughes speaking.

Close up shot on the lower screws of the lock. They're vibrating
under Arkadi's tool.

<b>       DIGITAL VOICE
</b>       This is a digital voice computer.

Close up on the answering machine screen. Billy select another
message. She puts her earphones on.
<b>       DIGITAL VOICE
</b>       Please have patience and I will answer.

Apparently, the telephone company found an English-speaking
operator.

<b>       TELEPHONE OPERATOR
</b>       Hello ? You English ?

Billy works frenetically on her answering machine.

<b>       DIGITAL VOICE
</b>       My name is Billy Hughes.

<b>       TELEPHONE OPERATOR
</b>       Yes ? What do you want, please ?

Close up on the screen. Billy is typing a message.

<b>       TELEPHONE OPERATOR
</b>       Hello ?

<b>       DIGITAL VOICE
</b>       Help. Intruder.

But apparently, the operator doesn't speak such a good English

<b>       TELEPHONE OPERATOR
</b>       I no understand. Sorry.

The operator speaks in Russian, certainly to another operator.
Billy types another message.

<b>       DIGITAL VOICE
</b>       Bad man want to kill me.

<b>       TELEPHONE OPERATOR
</b>       Bad man ? I get man who speak English, yes ?
Close up on the lock : another screw pops off.

Billy takes her earphones off and rushes to the light switch. She
puts all the lights of the room at their maximum lighting
capacity.

<b>BILLY'S APARTMENT - LIVING ROOM WINDOW - EXTERIOR NIGHT
</b>
We see Billy's living room window from the outside. Billy is
pulling the drapes wide open. Then she starts waving her arms to
attract the attention of the peeping-Tom and his binoculars.

Reverse angle shot on the window where the peeping-Tom was
standing when he was watching Billy. There is light coming through
the window and someone is moving in the room behind the curtains,
but the peeping-Tom doesn't seem interested by Billy at the
moment.

Back to Billy's window. She unties her bathrobe and shows her
breasts.
The peeping-Tom is still moving in the room behind the curtains,
but he doesn't come to the window.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy is standing in front of the window, with her bathrobe wide
open, revealing her naked body to whomever wants to watch it !

Close up on the lock. Another screw is vibrating and pops off. We
see the drill bit coming through the hole it just made.

Billy hears a male voice coming from her earphones.

<b>       MALE TELEPHONE OPERATOR
</b>       Hello ? Hello ?

Billy picks up the earphones and put them on her ears.

<b>       TELEPHONE OPERATOR
</b>       I speak English.

The door burst open and Arkadi walks into the room. Billy picks up
her big kitchen knife and points it to Arkadi.

<b>       MALE TELEPHONE OPERATOR
</b>       Are you okay ?

Arkadi presses the light switch to dim the lights in the room.

Close up shot on the earphones.

<b>       MALE TELEPHONE OPERATOR
</b>       If you just give your address, we send somebody
       immediately.

Arkadi is walking slowly inside the room. Billy is walking
backward away from him, but still pointing her knife at him.
<b>       MALE TELEPHONE OPERATOR
</b>       Hello ?

Arkadi tears the telephone cord off the telephone handset. He
tries to get near Billy, but she is still pointing her knife at
him. He pulls the drapes back on the window.

Walking backward, Billy has reached the wall, in which she bumps.
She takes a white statuette on a chest of drawers and throws it at
Arkadi.

Arkadi bends down and avoid the statuette, which crashes on the
wall behind him. He takes his own knife out of his pocket, a
switchblade knife.

Billy pushes the chest of drawers toward Arkadi. It crashes on the
floor, but Arkadi avoids it. Billy is still pointing her knife at
Arkadi, when we hears some bumping noise.

<b>APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
</b>
In the bedroom just underneath Billy's apartment, a Russian couple
is trying to get some sleep, which, with all the noise in Billy's
apartment, is not very easy.

The woman is still in the bed, but the man is standing up on the
floor, holding a broom with both hands, and hitting the ceiling
with the handle of the broom. Both members of the couple swear in
Russian.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy, who has understood the situation very well, is hitting the
floor with a stick.

<b>APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
</b>
The man hears the noise made by Billy, and answer by hitting the
ceiling with his broom.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Billy is waving her knife around her, to prevent Arakadi from
coming closer to her. She throws the knife at him. Arkadi bends
his head and the knife hits the piano.

Close up of the piano keyboard, with the knife stuck between two
keys.

Billy rushes out of the room, closing the door behind her.

<b>BILLY'S APARTMENT - KITCHEN - INTERIOR NIGHT
</b>
Billy rushes into the kitchen. She takes various knives hanging
from the wall and throws them at Arkadi, as he tries to enter the
kitchen. One knife gets stuck into a painting on the other side of
the corridor. Arkadi almost catches Billy, but she jumps through a
sort of window set between the kitchen and the living-room.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>Billy stands up after her jump through the window, and she slams
the door of the corridor in Arkadi's face. This door being a sort
of French window, with plenty of small glass panes on it, Arkadi
crashes through the door, scattering pieces of glass all over the
floor. He falls on the floor. Billy slips on a piece of glass and
also falls on the floor. Arkadi tries to catch her by the ankles.
She kicks him in the face. He grabs her ankles back. Billy grabs a
big white vase from the floor, she sits up and crashes the vase on
Arkadi's head. Arkadi lets her go, and she rushes to the front
door, but, as she reaches the door, Lyosha comes in. She rushes to
the corridor. Arkadi, still a bit groggy, looks at Lyosha with
blinking eyes.

<b>BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
</b>
Same high-angle shot, as before, of the bathroom seen from the
ceiling.

Billy enters the bathroom, and locks the door behind her.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>Arkadi stands up slowly and walks into the corridor.

<b>BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
</b>
Arkadi tries to crash the door open. Billy looks around for a
possible escape.

She opens the door of the small cabinet above the sink, and takes
everything out of it

<b>BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
</b>
Close up shot on the bathroom door. Arkadi has put his knife
inside the lock of the bathroom door to open it.

<b>BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
</b>
Close up shot on the door. We see the handle of the lock spinning
slowly.

Billy, still looking in the cabinet, sees the handle spinning. She
rushes to the door and spins the handle back into the lock
position. A knife blade comes through the door a few inches from
Billy's face. Billy goes back to the cabinet and starts searching
it again. Eventually she seems to have found what she was looking
for : a small disposable razor.

The door is shaking under Arkadi's blows. Eventually his hand
breaks through the door and tries to find the handle of the door.
Billy picks up the toilet brush (the handle of which is a Donald
Duck), and hits Arkadi's hand with it. But the door starts falling
down under Arkadi's blows. Billy looks through the hole Arkadi has
made in the door with his hand.

Through the hole, we can see Arkadi going to the end of the
corridor, and running back full speed to smash the door.
At the last moment, when Arkadi is going to hit the door, Billy
opens it. Arkadi can't stop himself, he crosses the bathroom and
falls into the full bathtub. Billy hits him on the head with the
Donald Duck toilet brush. Then Billy takes the hair-drier, switch
it on, and throws it in the bathtub. Arkadi is instantly covered
with blue sparks. Then he falls back into the bathtub where he
remains motionless. Billy grabs a bunch of clothes and rushes out
of the bathroom.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Lyosha is looking through Billy's documents scattered on the desk.
When Billy comes rushing through the room, he grabs her. She tries
to fight him but he locks both of her arms behind her back. He
brings her to the desk, and slams her face on the desk. He puts a
knife very close to her face.

<b>       LYOSHA
</b>       Where's the diskette ?

He puts a piece of paper and a pen in front of her face. He frees
her right hand for her to be able to write.
<b>       LYOSHA
</b>       Where is the diskette ?

Billy takes the pen and starts writing.

Close up shot on the paper. Billy writes : «What diskette ?»

<b>       LYOSHA
</b>       I know you have !

Lyosha raises Billy's bathrobe above her waist, revealing Billy
naked bottom underneath.

Billy looks very frightened, afraid of what Lyosha can do to a
defenseless naked girl. She takes the pen very firmly in her hand
and brings it violently to Lyosha's leg.

Close up shot of the pen hitting Lyosha's leg.

Lyosha screams. He raises his knife to bring it down on Billy.
Billy is waiting for the worse to happen. She hears the noise of
something - or someone - falling violently on the floor. And
suddenly, she realizes she is free. She raises from the table and
sees Larsen holding Arkadi's big wire-cutter in his hands. He just
hit Lyosha with it. Larsen throws the wire-cutter on the floor and
bends on Billy.

<b>       LARSEN
</b>       My name is Alexander Larsen. I'm a policeman. Take your
       clothes. We must get out of here.

Larsen goes to the window and peeks through the drapes.

<b>       LARSEN
</b>       You must hurry.

Billy rushes to her clothes she had dropped on the floor when
Lyosha grabbed her. She sits down on the floor and starts putting
her socks on.

<b>       LARSEN
</b>       I explain everything in the car.

He is still peeking through the drapes.

<b>       LARSEN
</b>       In the car. No time now.

He gathers the rest of Billy's clothes, takes her hand to makes
her stand up, and drags her outside the apartment.

<b>BILLY'S LANDING - INTERIOR NIGHT
</b>
They come out of the apartment and start running along the
corridor on Billy's landing. They reach the staircase. Billy drops
a piece of clothing and picks it up. Larsen opens the door of the
elevator, and pushes Billy inside. He closes the door.

<b>BILLY'S BUILDING - ELEVATOR - INTERIOR NIGHT
</b>Larsen is ready to press the number «1» on the control panel, but
the button number «1» lights up by itself before Larsen presses
it.

<b>       LARSEN
</b>       They are coming.

Billy starts putting her panties on.

<b>       LARSEN
</b>       We are in great danger.

He looks down at Billy, who is still putting her panties on. He
takes the rest of Billy's clothes in his hands, and presses the
button number «3».

<b>THIRD FLOOR LANDING - INTERIOR NIGHT
</b>
The elevator stops and Larsen opens the door. Billy walks out of
the elevator, and follows Larsen down the staircase.

<b>SECOND FLOOR LANDING - INTERIOR NIGHT
</b>
Larsen and Billy are coming from the third floor and start going
downstairs toward the first landing. The elevator is going up with
two people inside. They look very much like Andy and Karen.

<b>STREET IN FRONT OF BILLY'S BUILDING - EXTERIOR NIGHT
</b>
Larsen and Billy are coming out of the building.

<b>       LARSEN
</b>       Quick.

Larsen's car is parked just in front of the building. Larsen opens
the passenger's door for Billy, who climbs inside the car. Then he
walks around the car, open the driver's door and climbs inside. He
starts the engine.

A big black limousine, with two men inside, starts and follows
Larsen's car, which has just started. The driver is Wartschuk,
whom we have seen before with The Reaper, and who is The Reaper's
first assistant.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Larsen gives a quick look in the rear-view mirror.

We see the headlights of the other car through the back window of
the car.

Billy resumes her dressing. When she puts her white sweater on,
without a bra, her breasts are showing. Larsen gives a quick
glance toward her, and then turns his head away. Billy looks back
at him, smiles and kisses him on the cheek.

<b>       LARSEN
</b>       It's not over yet.
Billy puts her jacket on. Larsen looks in the back-view mirror.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Karen and Andy enter the apartment and stop when they see the mess
around them. We realize that it was really them and not some
gangsters going up in the elevator.

<b>       KAREN
</b>       My...

<b>       ANDY
</b>       Oh, my God, it's trashed !

Karen rushes through the room. Andy remains on the doorstep.

<b>       KAREN
</b>       Billy, where are you ?

<b>       ANDY
</b>       I'll call the police !

<b>BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
</b>
Karen is running through the corridor.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Andy picks up the telephone handset without noticing that the cord
has been cut.

<b>BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
</b>
Karen is checking all the rooms to find her sister

<b>       KAREN
</b>       Billy ! Oh, Billy. Oh, my God !
<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Andy is still trying to get a dialing tone

<b>       ANDY
</b>       How do you work this thing ? Oh, there it is.

Behind Andy, the front door is closing slowly, revealing Lyosha
standing behind it. He has the big wire-cutter in his hand, and is
ready to hit Andy with it. Andy looks at the cut cord, but doesn't
realize the telephone can't work with a cut cord.

<b>BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
</b>
Karen enters the bathroom

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
We hear Karen screaming. Andy puts the telephone down on the table
and rushes across the room

<b>BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
</b>Karen is coming out of the bathroom, screaming.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Andy walks toward the corridor, but Karen meets him at the door.

<b>       KAREN
</b>       Someone's dead in the ba...

She doesn't finish her sentence, because she has just seen Lyosha
behind Andy. She grabs Andy and moves him out of the way of
Lyosha's wire-cutter. The wire-cutter smashes what is left of the
door of the corridor.

<b>BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
</b>
Andy and Karen run and enter a room, presumably Billy's bedroom,
and slam the door behind them.

<b>       KAREN
</b>       God ! Oh, my God !

Lyosha looks at the door, and doesn't even bother to smash it. He
slowly walks back to the living room. We hear Karen and Andy's
voices in the room.

       KAREN (voice over)
       Get the door ! Get a chair ! Get the chair !

       ANDY (voice over)
       What chair ?

       KAREN (voice over)
       The chair ! Out of the way ! Move ! Put it over there!

       ANDY (voice over)
       Move! Get the wardrobe over !
Lyosha enters the living-room through what remains of the door.

       KAREN (voice over)
       Andy, quick ! Push it !

<b>APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
</b>
The man, seated on his bed, stares at the ceiling, through which
we can hear Andy and Karen yelling. His wife has put the sheet
over her head to try not to hear the noise. The man stands up and
throws one of his slippers to the ceiling. Then he sits back,
while his wife stares at him.

       ANDY (voice over)
       I'm pushing ! Get out of the way !

       KAREN (voice over)
       What are you doing ?

       ANDY (voice over)
       I can't. Oh, my God !
<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Lyosha sits down in an armchair and takes a pack of cigarettes out
of his pocket. But he doesn't take a cigarette. He gives a quick
look at the front door, and closes his eyes, ready to fall asleep.

The front door bursts open, and two uniformed policemen enters the
room, guns in hand. Lyosha looks at them without moving from his
chair, with a sort of look of indifference in his eyes. He shows
them the corridor, where we can still hear Andy and Karen yelling
in the bedroom. From Lyosha's attitude, we can guess that those
policemen are not real ones, but fake ones.

       KAREN (voice over)
       I can't. I can't ! You hold the door !

       ANDY (voice over)
       Get out of the way !

The two fake policemen cross the room.

       KAREN (voice over)
       Come here! Andy! Come here!

       ANDY (voice over)
       Don't yell at me! I'm trying to get the goddamn wardrobe
       near the fucking door!

       KAREN (voice over)
       Oh, my God!

Lyosha doesn't even look at them. He just smiles. Before going
through the smashed door into the corridor, one of the policeman
nods to his «colleague», who takes his gun from his holster, aims,
and sends a bullet through Lyosha's head, whose blood splatters
the wall. The gun is equipped with a silencer, and doesn't make
much noise. Then the policeman goes through the smashed door to
join his colleague.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
While driving, Larsen talks to Billy.

<b>       LARSEN
</b>       The girl you saw murdered tonight...

Billy nods in approval.

<b>       LARSEN
</b>       ...her boyfriend stole a diskette full of information.
       Money, names, connections, everything. He blackmailed The
       Reaper. Very dangerous. And now he thinks that you have the
       diskette.

Billy mouth a word we can easily understand.

<b>       BILLY
</b>       Me ?
<b>       LARSEN
</b>       You have it ?... Huh ?

Billy is trying to think about the lost diskette.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
Andy and Karen are kneeling on the floor, with their hands joined
behind their heads. One of the fake policeman is searching the
room, throwing everything off the shelves on the floor, while the
other one is aiming his gun at Andy and Karen. He is leaning on
the piano, and he throws all the objects, which are on top of the
piano, on the floor. He raises briefly the piano lid, and then
starts looking behind the picture hanging on the wall.

<b>       ANDY
</b>       We don't have any diskettes.

The policeman picks up a diskette he had thrown on the floor and
looks at it.

<b>       ANDY
</b>       Not that one. That's my script.

Karen hits Andy with her elbow. The policeman puts the diskette
into a small white plastic bag he is carrying around. He puts
another diskette in the bag. The other policeman is speaking in
Russian in a walkie-talkie.

<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
Wartschuk is answering the fake policeman on his own walkie-
talkie. Next to him, his passenger is screwing a silencer on his
gun.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
The street is empty at this time of the night, but for the two
cars following each other.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
<b>       LARSEN
</b>       The girl had it when she went into the studio. Then she was
       murdered, and it was gone. Where is it ? Think. You were
       the only person there.

Close up shot on Billy's face trying to think about the mysterious
diskette. She has a short flashback of Arkadi taking the knife to
murder the actress. Then another one of the naked actress lying on
the bed. Then another one of the blood splattering the wall. Then
another one of Arkadi stabbing the girl.

<b>       LARSEN
</b>       Think.

Another short flashback of Billy going away from the   set. Then
another one of Billy bumping into the hatstand. Then   another one
of the girl's purse contents scattered on the floor.   Then another
one of the diskette skidding on the floor and hiding   under the
large wooden wardrobe.

Billy grabs Larsen's shoulder.

<b>       LARSEN
</b>       Write. Write it.

Billy takes a notepad and starts writing on it. But she is
interrupted by a Russian voice coming from somewhere in the car.
Larsen opens the glove compartment and takes a walkie-talkie out
of it. He talks in Russian in the talkie.

Billy looks at the pair of handcuffs in the glove compartment.

Larsen puts the talkie back in the compartment.

<b>       LARSEN
</b>       Write it.

They drive along a police station, but Larsen doesn't stop. Billy
looks a bit worried all of sudden.

<b>       LARSEN
</b>       Quick, write.

Billy shows the police station to Larsen. Then she writes «Police»
on the notepad.

<b>       LARSEN
</b>       Police ? Yes. Yes, but only with the diskette.

She writes «Why ?» on the notepad.

<b>       LARSEN
</b>       You know, I work undercover. The Reaper thinks I work for
       him. Trust me. Trust me.

She grabs the steering-wheel to force Larsen to park the car.
<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
Through the car windshield, we see Larsen's car zigzagging on the
street. The two passenger talks in Russian

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Billy is trying to force Larsen to stop the car.

<b>       LARSEN
</b>       Crazy !

<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
Through the windshield, we see Larsen's car stopping near the
sidewalk. The two men talk nervously in Russian.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Billy hits Larsen violently on his private parts. Larsen moans.
Billy takes the handcuffs out of the glove compartment and ties
Larsen's hand on the steering-wheel.

<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
The two men look at Larsen's parked car. They see the passenger
door being opened.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Billy opens the door and gets out of the car.

<b>       LARSEN
</b>       They'll kill you !

Billy shows him the handcuffs key. Then she slams the door. Larsen
moves his hand nervously, but, of course, can't get it out of the
handcuff.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
Billy is running away from Larsen's car toward the other car.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Larsen looks into the glove compartment and takes the talkie out
of it. He speaks in Russian into the talkie.

<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
Wartschuk answers Larsen in Russian.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Larsen is yelling in the talkie, very excited.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
Billy is walking in the street and she suddenly stops. She sees a
ray of light on the sidewalk.

<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
Through the windshield, we see Billy who has stopped on the
sidewalk. She starts crossing the street, and the camera moves to
a nook between two building, near the car, and where a man is
hiding. Actually, he is Wartschuk's passenger.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Larsen puts his gearshift into reverse and starts driving
backward.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
Billy is walking in the middle of the street, and Larsen's car is
coming toward her. Billy starts running. Larsen's car turns around
to face Billy and starts again, driving forward.

The man, who was hiding between the two buildings, comes out of
his hiding nook and runs toward Larsen's car. Larsen stops and
starts driving backward again.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Larsen is driving, looking in the rear windshield. He stops
suddenly.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
The man walks in front of Larsen's car.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Close up shot on Larsen's feet. He steps on the accelerator.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
The man falls on the hood of Larsen's car, where he remains lying
on his stomach.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
The man lying on the hood seen through the windshield of the car.
He yells at Larsen.

Close up on Larsen's feet. He steps on the brake.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
The man falls from the hood and rolls on the street.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Close up on the gear shift. Larsen changes gear and looks through
the rear windshield.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>The man stands up and starts running after Larsen's car, driving
backward again. The car reaches Billy, standing on the sidewalk.

The big black car, which was following Larsen, starts and turns
around.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Larsen looks at Billy.

<b>       LARSEN
</b>       Get in !

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
The man is running toward Larsen's car.

Billy looks at him, and hesitates on her next move. But she
decides to climb in Larsen's car.

The big black car is coming toward them.
<b>       LARSEN
</b>       Get in!

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Billy climbs into the back of the car and closes the door.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
The man reaches Larsen's car just as it drives away. The man
remains on the sidewalk with a mean look on his face. The black
limousine stops near him and he climbs inside.

<b>LARSEN'S CAR - INTERIOR NIGHT
</b>
Billy looks through the rear windshield at the car following them.
Larsen has a hard time driving with his hand tied on the steering
wheel.

<b>       LARSEN
</b>       Please, give me the keys.

Billy nods her head «No». Larsen gives her the notepad.

<b>       LARSEN
</b>       Write. Where is the diskette ?

Billy looks at the following car.

<b>       LARSEN
</b>       We cannot escape in this car. Write. Write.

Billy starts writing. Then she shows the note pad to Larsen, who
reads it.

<b>       LARSEN
</b>       Studio. Where in the studio ?
Billy makes a «No» with her finger.

<b>A STREET IN MOSCOW - EXTERIOR NIGHT
</b>
Larsen's car makes a left turn into another street.

<b>THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
</b>
Through the windshield, we see Larsen's car turning into the
adjacent street. Wartschuk speaks in his talkie.

<b>       WARTSCHUK
</b>       Delta three.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>
One of the fake policeman picks up his talkie from the table

       WARTSCHUK (voice over from the talkie)
       Delta three.

The policeman answers «Da», then listen to Wartschuk speaking in
Russian. He says «Da» again and a few more words. Karen and Andy
look at him, with a worried look on their face. Wartschuk answers
him. Apparently, Andy understood a few words, because he says :

<b>       ANDY
</b>       What ?

The policeman drops the talkie on the table and talks to his
colleague.

<b>       ANDY
</b>       What ?

The other policeman walks near Andy and Karen, raising his gun.

<b>       ANDY
</b>       This is all a big misunderstanding and... Excuse me, but
       this is...

The first policeman takes Andy's hands and cuffs them behind his
back.

<b>       ANDY
</b>       You don't have to arrest us. Why is he arresting me ? This
       is ridiculous. I'm an American citizen. Do you understand
       what I'm saying ? Now, I'm a director.

Karen turns her head and looks at the dead Lyosha.

<b>       ANDY
</b>       You know, I'm directing a movie here in Moscow. I'm
       bringing a lot of money in this place.

The policemen don't seem to take any notice of what Andy is
saying. One is still cuffing his hands while the other one is
holding his gun.

<b>       ANDY
</b>       And my father, okay, he knows a lot of big people, and...
       Listen.

The policeman raises Andy to his feet and moves him away from
Karen.

<b>       ANDY
</b>       You want money ? Is that what you want ?

The policeman has seated Andy on an armchair. He bends him down
and puts the barrel of his gun on Andy's neck.

<b>       ANDY
</b>       I don't understand what is going on here. We don't have a
       diskette !

<b>       FAKE POLICEMAN # 1
</b>       You have one more chance to tell me where is diskette.

Since the policemen are not looking at her, Karen moves slowly on
the floor.
<b>       ANDY
</b>       The diskette. You know, I mean, this is ridiculous. We
       don't have a diskette. That's what I'm saying.

The policeman clicks his gun in a «ready to shoot» position.

Karen grabs the carpet with both hands and pulls it violently.

The small telephone table falls on the floor, but also the
policeman who was ready to kill Andy. In his fall, he pulls the
trigger of his gun, which shoot a bullet at the other policeman,
who falls dead on the floor.

Andy tries to get off the armchair, but just falls down with it.

Karen picks up the telephone handset, with its cut cord hanging
from it. She rushes to the first policeman, and starts hitting him
on the head with the handset. Andy stands up.

<b>       ANDY
</b>       Karen, get the key ! Get the key ! Unlock me !

<b>APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
</b>
The couple was eventually asleep, but with what is happening now
in Billy's apartment, they wake up. The man switches the light on.
We hear Andy yelling.

       ANDY (voice over)
       Find the key !

The man swears in Russian and puts his night robe on.

       ANDY (voice over)
       He's not gonna move, is he ? Okay, okay.

<b>BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
</b>Karen is unlocking Andy's handcuffs. When it's done, Andy massages
his hands and puts his jacket back on. Karen drops the handcuffs
on a table.

<b>       ANDY
</b>       Right. Let's get out of here.

Close shot on the talkie lying on the floor.

       WARTSCHUK (voice over from the talkie)
       Delta three. Delta three.

Andy and Karen look at the talkie.

<b>       KAREN
</b>       Answer it.

<b>       ANDY
</b>       Why ?

<b>       KAREN
</b>       They may say something about Billy.
       WARTSCHUK (voice over from the talkie)
       Delta three.

Karen picks up the talkie and gives it to Andy.

       ANDY (with an exaggerated deep voice)
       Da.

Of course, he gets an answer in Russian.

<b>       ANDY
</b>       Da.

He gets another Russian answer, but the word «studio» is clearly
understandable.

<b>       ANDY
</b>       Da.

Karen takes the talkie out of his hands and throws it.

<b>       KAREN
</b>       I got something about studio. Come on.

The policeman, who had been knocked out by Karen, is slowly waking
up. Karen sees him and yells.

<b>       KAREN
</b>       Look out !

Karen picks up a gun and points it at the policeman. Andy grabs a
wooden armchair and crashes it on the policeman's back. The
armchairs breaks apart. The policeman falls down, unconscious.

The door opens and the next floor neighbor walks in. He yells
something in Russian. Karen turns toward him, with the gun still
pointed in front of her. The man look at the mess, the dead
bodies... and the gun. He raises his arms above his head. Andy
throws away the pieces of armchair he still had in his hands.
Karen puts the gun behind her back.

<b>       ANDY
</b>       Mmm... It's not what you think. What do you say ?... How do
       you ?... In Russian, what ?...

Karen says a couple of words in Russian. Andy turns toward her.

<b>       ANDY
</b>       What ? What does that mean ?

<b>       KAREN
</b>       Hel...

<b>       ANDY
</b>       Hello ? We need help !

The man starts talking rapidly in Russian.

<b>       ANDY
</b>       I'm a director, and I'm making a movie here. This is not a
       movie.

The man hasn't stopped talking. Actually, he and Andy have been
talking together. Now he yells something in Russian. Andy turns
toward Karen.

<b>       ANDY
</b>       Put the gun away. You look like a hit man. He thinks we're
       gonna kill him !

Andy took the gun from Karen and now he is waving it at the man.

<b>       KAREN
</b>       We're not gonna kill you !

<b>       ANDY
</b>       This is not even ours !

<b>       KAREN
</b>       The policemen wanted to kill us !

The man turns around and runs out of the apartment, yelling in
Russian.

<b>       KAREN
</b>       We gotta get out of here.

<b>       ANDY
</b>       Well, I think we should call the cops.

<b>       KAREN
</b>       Are you crazy ?

<b>       ANDY
</b>       Well, we can explain this.

<b>       KAREN
</b>       Explain ? You are crazy. Come on. Here.

She has a gun in her hand and she gives him another gun. She runs
out of the apartment. Andy takes the handcuffs from the table.

<b>       ANDY
</b>       I'll take these too.

He follows Karen out of the apartment.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Close shot on the entrance of the studio, where a plate says
something in Russian and underneath : «Central Film Studio».

Larsen's car enters the studio. It stops near the building.

We see Billy and Larsen through the windshield. Larsen shows his
handcuff to Billy.

<b>       LARSEN
</b>       And now ?
Billy tries to get out of the car, but she can't open the back
door.

<b>       LARSEN
</b>       Child locks.

Billy gets the key out of her pocket and gives it to Larsen, who
unlocks the handcuff.

He gets out of the car and closes the door. He goes around the car
to open Billy's door. As he is doing it, he sees car headlights
coming his way.

<b>       LARSEN
</b>       Don't look now, but our friends are still here.

They both runs toward the building. He opens a big metal door and
they enter the building.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
This is the unused set, where Billy went, at the beginning of the
story, when she found herself locked in. It has metal doors
opening directly on the parking lot.

Billy pulls the big bolt that locks the door from the inside. Then
Larsen puts a padlock on the bolt.

<b>       LARSEN
</b>       I will block the other entrances.

They both walk away.

<b>MOSCOW - A STREET NEAR RED SQUARE - EXTERIOR NIGHT
</b>
Karen's car is driving full speed toward The Red Square. When she
takes a turn, the tires are screeching on the macadam and the car
zigzags a little.

<b>KAREN'S CAR - INTERIOR NIGHT.
</b>
Through the windshield, we see a small roadblock with lights on
it. It is not permitted to cross Red Square during the night.

<b>       ANDY
</b>       What... what are you doing ? That... that's Red Square.

<b>MOSCOW - RED SQUARE - EXTERIOR NIGHT
</b>
The car rushes toward the roadblock.

<b>KAREN'S CAR - INTERIOR NIGHT.
</b>
When he sees the roadblock coming toward him, Andy slides down
under the dashboard.

<b>       ANDY
</b>       Oh, perfect.
<b>MOSCOW - RED SQUARE - EXTERIOR NIGHT
</b>
Without even slowing down, Karen's car smashes through the
roadblock. The debris are flying around. And the car keeps on
driving full speed toward Red Square.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Wartschuk and his passenger are walking on the empty yard, guns in
hand. Voices are coming from their walkie-talkie. Several cars are
entering the parking lot behind them. The cars stop in front of
the building. Men carrying machine guns are coming out of the
cars.

Wartschuk directs the whole operation with his walkie-talkie.

A man tries to open the big metal door, but it's locked. He yells
something in Russian to Wartschuk, who answers him and points at
something. Apparently, he tells him to go around the building,
because the man starts running away.

Just outside the parking lot, Karen's car is coming to a stop near
the entrance. We hear the Russian voices in the parking lot. Karen
and Andy get out of the car. Karen walks to the entrance of the
parking lot and peeks inside. Andy joins her, trying to make his
gun work.

<b>       ANDY
</b>       This damn gun, I can't work the safety.

Karen shushes him down. They both peek inside, and they are
surprised to see such a number of big black cars.

<b>       ANDY
</b>       Holy shit !

Wartschuk is giving orders through his walkie-talkie. A man with a
machine-gun walks away from him.
Back to Karen and Andy, still standing outside the entrance.

<b>       KAREN
</b>       Around the back.

They run across the entrance. The men, all looking toward the
building, don't see them.

Wartschuk is still giving orders. All the men with machine-guns
are scattering around the building. Someone is calling Wartschuk
through his talkie. Wartschuk smiles. He walks away from his men.

On the other side of the studio compound, Karen and Andy are
entering the place by climbing over the wall. Karen is already in
the place and she is helping Andy to join her. For the moment, he
is sitting on top of the wall and he throws the two guns to her.
Then he goes down himself. Karen holds his legs.

<b>       KAREN
</b>       Okay. Jump, Andy. I got you.
<b>       ANDY
</b>       What ?

<b>       KAREN
</b>       I got you. I got you.

Andy falls down heavily on the ground.

On a balcony on a near building, a man is watching the yard with a
flashlight. This is the balcony which Billy fell from.

Andy and Karen are crossing the yard, trying to be as discrete as
possible.

Wartschuk is climbing rapidly up an emergency ladder to meet the
man with the flashlight.

Karen and Andy, lying low, are coming slowly toward the building.

Wartschuk has reached the balcony where the man is watching the
yard. They whisper in Russian. Then Wartschuk goes inside,
actually through that same emergency door through which Billy
tried earlier to escape. The watcher closes the door behind him.

Andy and Karen are still crawling slowly toward the building.

On the balcony, the man is smoking a cigarette.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
This is the set where the poor actress was murdered.

Larsen is trying to use a telephone on the wall.

<b>       LARSEN
</b>       It's no use. All lines are cut.

Billy is watching Larsen. Behind her, we see Wartschuk peeking
through the half-open door.

<b>       LARSEN
</b>       Where is it ?

Billy shows him the ancient-looking wardrobe under which the
diskette is hidden. He bends down. Then he raises and takes a
piece of wood from a rack. He slides the piece of wood under the
wardrobe.

Wartschuk enters silently on the set.

Larsen gets the diskette out of its hiding place. Billy picks it
up. Behind her, Wartschuk has got his gun out. Billy stands up
with the diskette in her hand. She smiles. Wartschuk grabs her
from the back. She throws the diskette. Larsen catches it.

<b>       LARSEN
</b>       You helped us a lot, Billy. Thank you.

Larsen puts discreetly the diskette in Wartschuk's pocket.
<b>       WARTSCHUK
</b>       The Reaper wants to meet the woman who has kept him up all
       night and witnessed a live snuff.

He gives his gun to Larsen.

<b>       WARTSCHUK
</b>       He wants you to do it.

<b>       LARSEN
</b>       You know why we call him The Reaper ? You see his face, you
       die.

Billy spits in Larsen's face. Then she yells silently, because
Wartschuk is squeezing her a little tighter. Larsen wipes the spit
from his face. Larsen raises his gun, holding it by the barrel.
Billy looks very frightened, because she knows that Larsen is
going to knock her out. But the butt of the gun lands violently...
on Wartschuk's head, who screams and falls heavily on the floor.
Billy looks from Larsen to the falling man, not understanding
clearly what happened.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR
</b>
Andy is hiding behind a trash can. He looks up at the watcher on
the balcony. He finally comes out of his hiding place, but bumps
into a beer can lying on the ground. The watcher says something in
Russian and points his flashlight toward Andy.

<b>       ANDY
</b>       Nice night, isn't it ?

Karen is slowly going around the pile of empty film boxes on which
Billy fell earlier.

<b>       ANDY
</b>       I'm just taking a piss. Right, you know, just...
The watcher walks slowly down the ladder. Karen reaches the
ladder, climbs on something we don't see, and catches the
watcher's foot through the steps of the ladder. The man falls and
rolls all the way down the ladder. He is unconscious and Andy ties
his wrist to the ladder with the handcuff. Karen joins him. Andy
seems very happy about the successful operation.

The Reaper's black limousine is entering the parking lot.

Karen, who has started to go up the steps of the ladder, looks at
the limousine.

<b>       KAREN
</b>       Who the hell is that ?

<b>       ANDY
</b>       Well, whoever it is, they're coming here.

They reach the balcony and enter the building.

The Reaper's car is driving toward the building, with all the men,
equipped with machine guns, watching his arrival.
<b>CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
</b>
Karen and Andy are running along the long corridor. Andy is still
trying to work out the safety of his gun.

<b>       ANDY
</b>       I can't work the safety.

<b>       KAREN
</b>       Andy, come on.

<b>       ANDY
</b>       Yeah, yeah, I'm coming.

He falls down, dropping all the bullets on the floor.

<b>       KAREN
</b>       Hurry !

Andy picks up his bullets, stands up and runs after Karen.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
The Reaper's car is still surrounded by all the guards in arms.

We see only the shadow of The Reaper inside his car.

<b>       THE REAPER
</b>       Where is she, Larsen ?

We guess he is talking into a walkie-talkie.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
This is the unused film set, with large metal doors opening on the
parking lot
Karen enters the gallery above the room, followed by Andy. She
bends down, and makes him bend down.

       THE REAPER (voice over from the talkie)
       Larsen, are you reading me ?

       KAREN (whispering)
       Somebody's coming.

       ANDY (whispering)
       I'm waiting.

Down below, on the set itself, Billy is walking, with Larsen
behind her, pointing a gun in her back.

       LARSEN (answering The Reaper)
       I'm bringing her out now.

On the gallery, Andy is still trying to work his gun.

<b>       KAREN
</b>       Shoot him. Shoot him, Andy.
<b>       ANDY
</b>       Okay.

Andy shoots, misses Larsen, and hits a statue.

Larsen and Billy try to hide from the shooter.

Andy shoots again and misses again.

<b>       KAREN
</b>       Be careful of Billy ! God.

Karen runs along the gallery, while Andy shoots and misses again.
And once again. Then he realizes that the gun is empty and he
drops it on the floor of the gallery. He runs after Karen.

Down below, Larsen brings Billy near the big metal door opening on
the outside. He unlocks the padlock that he had put earlier on the
bolt of the door.

Karen rushes toward them.

       KAREN (yelling)
       Billy !

Larsen pulls the bolt open. Billy is very surprised to see her
sister. Larsen points his gun at her and yells something in
Russian.

Karen stops running, but Billy makes large signs to her, signs she
doesn't seem to understand. Karen hides, and then comes out.

<b>       LARSEN
</b>       Stay where you are !

Karen throws a piece of metal at Larsen. The piece of metal hits
his hand and he drops his gun.
       KAREN (yelling)
       Run, Billy. Run ! Run !

Billy opens the big metal door. Andy runs in to join Karen. Larsen
picks up his gun, and points it at Billy.

<b>       LARSEN
</b>       Stand back !

But Billy is already out of the building.

       KAREN (yelling)
       Not out there !

Andy grabs Karen and pulls her out of Larsen's gun.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Billy runs out of the building. An army of men, armed with
machine-guns, is waiting for her. The cars' drivers all switched
their headlights on high beams. With all that light in front of
her, Billy doesn't see anymore where she is going and stops
running.

The Reaper, still in his car, bends down to look at her. He takes
his walkie-talkie.

<b>       THE REAPER
</b>       Kill her, Larsen.

Larsen walks out of the building, and we hear the end on The
Reaper's sentence coming from his own walkie-talkie.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
Karen and Andy rush to the window, to look at what is happening on
the parking lot.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Billy looks at the men in front of her with a frightened face. She
turns around to look at Larsen pointing his gun at her. Then she
turns back to the men in front of her, and especially The Reaper,
looking at her from his car. Behind her, Larsen aims his gun at
her.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
Karen and Andy are still looking through the window.

       KAREN (yelling)
       No !

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Larsen closes one eye before shooting. He shoots seven times. We
see the bullets going through Billy's body from the back, and
coming out through the front, making red bloody spots on her white
sweater. Billy falls down on her stomach, and remains motionless
on the ground with her arms spread apart.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
Karen, still standing behind the window, can't believe what she
just saw.

Through the window, we see Billy's body lying on the ground, with
all the big black cars surrounding her.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Through the half-open door, Larsen shows The Reaper the diskette
he has found on the set.

The Reaper smiles. The big metal door closes as Larsen goes back
inside.

All the men go back inside their cars. The engines start. And the
cars start driving out, The Reaper's car being the first one to
go.
Billy is still lying motionless on the ground, her blood flowing
slowly on the tarmac.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
Karen is in Andy's arms, crying.

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
The last cars are leaving the parking lot.

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>
Andy, with Karen crying on his laps, looks at Larsen coming back
in and closing the door.

<b>       LARSEN
</b>       Now please, let me explain. Please ?

       KAREN (yelling)
       Explain ?

She rushes out of Andy's arms and bumps violently into Larsen.

<b>       ANDY
</b>       Karen !

They both fall on the floor, and Larsen's gun flies away from his
hand. Karen hits Larsen very hard with both her fists. Andy picks
up the gun and points it at Larsen. Larsen pushes Karen away from
him. Karen takes the legs of a statue and hits Larsen with it.
Then she grabs Larsen by the ears and throws him on the metal
door. She turns toward Andy.

<b>       KAREN
</b>       Kill him.

Karen opens the door and walks out.
<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Billy, still lying on the ground, opens one eye and smiles.

Karen runs out of the building and rushes toward her sister, who
stands up when she sees her. Karen stops and looks at her. Karen
sits up and raises her sweatshirt.

Underneath, she is equipped with the special effect system she
uses to pretend people are being shot. Little bags, full of fake
blood, explode one by one, tearing the piece of clothing in front
of them, and pouring the blood through the fabric. For the
spectator, it does looks like bullet going through a body and
blood spurting out.

Karen rushes to Billy and hugs her.

<b>       KAREN
</b>       You genius !

<b>CINEMA STUDIO - FILM SET - INTERIOR NIGHT
</b>Larsen is still kneeling on the floor. Andy is pointing the gun at
him, trying to look mean, which is a bit hard for him.

<b>       ANDY
</b>       You thought we were tourists, huh ? Guess again, pal.

Larsen is slowly getting up.

<b>       ANDY
</b>       Don't move. Don't move! I'm talking to you !

He shoots the gun to the ceiling.

<b>       ANDY
</b>       I'm warning you. Don't move or I'm gonna shoot you ! Okay !

He shoots at Larsen, who doesn't react and walks closer to him. He
shoots twice more, walking backward. He bumps into a prop and
falls down on his back... next to Wartschuk, all tied up and with
a large piece of tape across his mouth. Wartschuk moans, Andy
screams and gets quickly up. He rushes out of the building while
Larsen is trying to get over what just happened to him

<b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
</b>
Andy rushes out of the building and sees Karen cleaning Billy's
face.

<b>       ANDY
</b>       Billy ! Billy ! Billy !

<b>       KAREN
</b>       She's okay. She's fine.

<b>       ANDY
</b>       She's fine ? She's okay ?
Billy mouth the words «I'm fine» and shows him the special effect
device on her stomach. Larsen comes behind her and takes her by
the shoulder, saying a few words in Russian. Billy says something
in sign language to Karen.

<b>       KAREN
</b>       A cop ?

<b>       ANDY
</b>       A cop ?

<b>       KAREN
</b>       Oh, my God, I'm sorry.

<b>       ANDY
</b>       Sorry.

<b>       LARSEN
</b>       Forget it. Your sister was brilliant.

Karen pats Larsen's shoulder.
<b>       KAREN
</b>       Next time, hit back.

Larsen throws a remote control into Andy's hands.

<b>       ANDY
</b>       Oh !... this is the remote. I get it.

They all laugh. Larsen pats Andy's shoulder.

<b>       LARSEN
</b>       Big cowboy.

Billy starts talking in sign language to Larsen. He turns toward
Karen.

<b>       LARSEN
</b>       What ?

<b>       KAREN
</b>       That was an invitation to dinner sometime.

<b>       LARSEN
</b>       How you say ?... It would be a pleasure.

Billy mouthes the word «Pleasure» and then makes the sign for it,
which is rubbing you stomach. Larsen makes the same sign. Then he
stops and seems to think about something.

<b>       LARSEN
</b>       I still don't understand.

<b>       KAREN
</b>       What ?

<b>       LARSEN
</b>       I don't understand why The Reaper didn't take the diskette
       off me.
<b>       KAREN
</b>       Who ?

The sound of a shot, and a blood bag explodes under Billy's
sweater. Karen screams. Since she was just in front of Billy, her
face is covered with fake blood. Andy looks at them, the remote
control in his hand.

<b>       ANDY
</b>       Whoops !... Shit. I'm sorry.

They all look at him. Larsen smiles.

<b>       LARSEN
</b>       Big cowboy.

A little later.

Andy drives his car near the entrance of the building. Billy walks
toward the car, looking at Wartschuk, his mouth still gagged,
being forced by Larsen to go inside his car. He moans
incomprehensible words, and seems not to want to get inside the
car.

Andy waves to Larsen.

<b>       ANDY
</b>       Ciao !...

Andy opens the back door of his own car to let Billy inside. But
she doesn't climb in, still surprised by Wartschuk's attitude.

Finally, Larsen succeeds in putting his prisoner in the back of
his car, where another prisoner, also gagged, is already waiting
(certainly the man that Andy had handcuffed earlier on the
emergency ladder).

Before climbing into the driver's seat, Larsen waves to Billy.

<b>       LARSEN
</b>       Billy, tomorrow !

He makes the «pleasure» sign. Billy waves back to him.

<b>       LARSEN
</b>       Tomorrow !

Billy looks at Wartschuk inside the car. She seems worried.

<b>       ANDY
</b>       What's the matter ?

Billy makes several signs. Andy doesn't understand, but he looks
at Larsen. Larsen smiles back to him.

<b>       LARSEN
</b>       Big cowboy.

Karen is already seated in the car, and doesn't understand the
reason for the delay.

<b>       KAREN
</b>       Guys, could we get out of here, please ?

Close shot on Wartschuk's face, who is trying to tell them
something.

Andy eventually understand what Billy is trying to tell him. It is
the word he learned earlier in the restaurant.

<b>       ANDY
</b>       The expression ?

Billy nods «Yes». Larsen smiles to her and starts his car. Billy
slams violently on the roof of Andy's car. She seems frightened by
something. She yells silently.

<b>       ANDY
</b>       The car ?

Billy keeps on yelling silently and moving her arms. Andy is
beginning to understand what she means.

<b>          ANDY
</b>          The car...

Wartschuk looks more and more frightened.

Andy want to rush to Larsen's car, but Billy holds him back.

          ANDY (yelling)
          Get out of the car ! Get out of the car !

Watching Billy and Andy, Larsen has suddenly a worried look on his
face. He is beginning to understand that something is wrong. He
gets out of his car, walks a few steps, and then his car explodes
and he falls on the ground.

Andy, Billy and Karen, who is now out of her car, they all look at
the car burning and at the motionless Larsen lying on the ground.
Billy looks very sad.

But, slowly, Larsen begins to move. He sits up and looks at Billy.

Billy is crying and smiling at the same time. We get to understand
she must be in love with Larsen.

<b>CREDITS
</b>
White letters on a black screen.
</pre><br>
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What physical disability does Billy have?
What physical disability does Billy have ?
He is mute
He is mute
She cannot speak.
She can not speak .