January 21.

  They had been shooting for five days, and everything was going perfectly. The people who started shooting, ected different ways ing the movie to life with different painters who portrayed each frame.

  Billy took a breath; they had just shot the se of a murder, by Gluttony, a man who was forced to eat until he died. Death bees a sinful form; that's where Billy has to use all his brain cells. The shooting order was wrong, and they filmed everything in a non-linear way, uher films; they focused on all the recs iy. Yes! They recreated ses in fotten apartments, furhem, and took the shot.

  -In this se, you have to be tough, - David ented, ping his . - Try to create a fight se; you want to be part of something, and you don't like being excluded. You have that, and you also have the air of a poli. Now, I want a fight. Recreate the rebellion of David Mills, the one who fights for everything and against everyoo follow his straight path of justice. -

  -Yes, director. -

  -Se 24, take 1. -

  Exterior urban street with row houses. - Night.

  Billy walked down a sidewalk with a beer in hand, apparently transferred to Chicago, and on his first day oreets, he entered two car thieves. This rundown neighborhood lives in the shadow of a sihick skyscraper. Mills walks and looks at broken refrigerators and pieces of garbage iter. Further dowreet, TWO YOUNG THIEVES struggle with a crowbar to get into the trunk of a parked car. Mills approaches. Ohug looks up, doesn't think Mills is a problem, and tio interfere. Mills stops, calm.

  -Is that your car, man? - Billy/David Mills said.

  -What the hell do you care? - the first thug retorts.

  Mills pauses and switches his beer bottle to the other hand, shaking his head.

  -Does this car belong to you? -

  The thugs look at each other, assessing. They face Mills.

  -Yeah, it's my car, okay? Screw off. -

  -Are you tellihat's your car? -

  The sed thug takes the long way around the car.

  -Well, for some strange reason, I don't believe you, - Mills ughs as if to say, 'You're not that dumb,' and looks away... he sees the first thug sliding the crowbar to use as a on.

  -You suck my... - the thug doesn't finish the sentence.

  Mills quickly fihat sentence by smashing his bottle against the first thug's head. He falls and staggers blindly. The sed thug moves aside and pulls out a knife.

  Mills dodges, swings, and hits the sed thug's face with the side of his fist: CRACK. Broken nose.

  The sed thug steps back, drops the knife, and his arts bleeding.

  Mills turns around, enraged, breathing heavily.

  The first thug screams and tries to get up. Mills takes a step and hits the first thug's head. The crowbar ctters away noisily.

  Mills is in the process of kig a man when he's on the ground when the sed thug grabs him from behind and pulls him back.

  Mills grabs the thug's arm, trying to avoid a chokehold. They both spasmodically fight. The thug is winning.

  Gasping, panting for air, Mills shifts his weight, kneels, and spins the thug, smming him against the car. Mills lets go, grabs a handful of the sed thug's hair, and holds the man's head against the car's side window. Mills's free hand hits the thug's face: owice; the third time is the charm, and the window shatters. The thug faints.

  -Cut. -

  -That was a great take, the best of the st three. We'll stick with this one. You have a car what to do; we'll turn on the sprinklers, - David ehey're shooting at lightning speed.

  They tih the quick shoot in the car; now they have to shoot a fruit stand, ge from a bck to a dark deep blue tie, a white shirt, and a bck jacket, with a great hunter's coat over their shoulders. They skip ten ses and go back to the beginning, again, to shoot this time, details that plement the story, necessary for the final touch.

  -Rec - begins with a ringtone, so as not to disrupt some people who are not from the industry; it will be recorded quickly.

  Billy/Mills smiles at Gwyh, in the same way that he sometimes smiles in some special moments, the blonde who pys Traly has to respond; she is a bit hesitant; she's ag, repeating herself. It came out very naturally!

  They walk together while shopping in narrow aisles for fruits aables.

  -That was good. I mean... certainly better thaerday. I think Somerset and I reached a little uanding, - Billy says, with his thumb and index finger notched approximately an inch apart.

  -This big, - Mills says.

  -That sounds iing, - Traents.

  -He is that. At least, - Mills said, tossing some es into the basket hanging from Tracy's arm. Seeing the carrots, Tracy looks up at the potatoes, and even at a strange man at the entrahis man tinues humming, swaying bad forth, with gssy eyes, and ers e and go without paying attention to him.

  Bill/Mills notices Tracy, still buying carrots, but he gives her a side gnce.

  -Today, we're starting a big homicide case. I'll spare you the gruesome details, - Mills tinues.

  The strange man suddenly stops humming and looks into the store with a twisted smile. The atmosphere chills, in a weird, eerie way; all iions are palpable.

  -Do you hat tune? Does anyone hat tune? hat tune... - the strange man says.

  Gwyh mao put a disgusted look on her face.

  -It's... it's like they emptied the asylums onto the streets. That's it. Like they just gave up a everyo, - Traents.

  Billy nods to her but turns away.

  -There are a lot of creepy people in this city, - Tracy says, with deep fear.

  He's doing a good job, thinks Billy; they practiced the se together at the hotel for two hours, and the result is good.

  -There are a lot of creepy people in the world, - Billy ents, totally serious. He imagihe workload of detectives and imposes a code that it must be their thing to lock up all the crazies.

  Tracy/Gwyh looks at the strange man again.

  -Do you hat tune? Does anyone hat tune? - the Strange Mas.

  -It seems worse than Phidelphia because everything is against you. In your face, - Traents.

  Mills listens, walks to the front of the store, and tries to be pleasant.

  -Listen, honey. I don't want to fight tonight. Okay? we have one night without fighting over something? - Mills ents, but his words feel empty. Billy wants to freshen them up, but he 't fix, or feel anything.

  They look at the apples.

  -I'm n to start a fight. How do I try to start a fight? - Traents, offended.

  -We're here now. Okay. Are we supposed to pack it all up and go back? How are we going to do that? - Mills says.

  -Do I have to act like I love this pce? Is that what a 'good wife' would do? - Now they stop the air; another spark be noticed.

  Billy lowers his head and leans in a bit.

  "There's a lot of pressure on me... I..."

  "And there's a lot of pressure on me. I'm here with you," Traents, somewhat lost.

  -I know. I know... - Mills ents.

  Mills moves towards the outdoor entrance. He's seeing something. The strange man's voice is still heard off-s. Tracy moves to a high wooden shelf, trying to reach a bag of rice, baills.

  -I'm not going to y eyes and block everything out, David. I'm not going to act like you've taken us to some kind of paradise. I 't... - Tracy says.

  She grabs the rid turns around. Mills isn't there. She sighs, annoyed, and looks around. She walks towards the entrand sees him.

  An old dy with a e appears. In front of the stall, Mills has run to the street er to help a very elderly woman with a e. The old woman smiles at Mills and takes him by the arm as he helps her down from the curb and across the street. He talks to her as they go.

  That gesture melts Tracy; she shakes her head, moved, amazed by her husband's simple boy scout behavior.

  Mills deposits the old dy oher side. She thanks him and pats him on the cheek. Mills returns to the fruit stand, proud of himself. A car screeches to a halt and narrowly avoids hitting him. The driver leans out the window and shouts at Mills. Mills kicks the side of the car.

  -Go to hell. Screw you, asshole! I'm walking here, - Mills shouts.

  Tracy rolls her eyes with amused disappoi. She sighs again.

  -I'm sorry... I couldn't let that pass. I never had the ce to do that. But we start the argument right where we left off? -

  The fight is over now Mills melted Tracy, even Gwyh, inside desires a more expressive, affeate Billy, although they both have simirities, both are workaholics, both Billy Carson and David Mills, are more simir now that he identifies how they both act.

  She only look delighted at Mills/Billy.

  -What? - David ents again.

  Tracy s her arms around Mills from behind and kisses him. He holds her.

  A voice is heard in the background.

  -That was the theme from The Mod Squad television show. I'm surprised no o that, - the strange man ents.

  An old man tries to navigate the aisle where Trad Mills are kissing; the camera begins to pull away, dictating a rge frame of the entire fruit shop.

  "Cut."

  -You were amazing, - Billy says.

  -We have to redo it again, now from yle. It's not pleasant, - Gwyh says.

  ***