Back to reality, Billy arrived in Los Ao focus on the ses for L.A. fidential. Los Angeles was the perfect pce for him to perform at his best, a different experience from the ordinary. The location was situated in a pce.
Billy sat, still oblivious to the trial, holding his lover in his arms, calm and animated. They kissed with enthusiastic fervor. Their getaway felt like gasoline, and Billy ignored neers, calls, and other pces… they were in a space beyond the p.
-.When you arrive, I might have a surprise for you. I want to relieve your stress, darling,- Monica said, giving a deep kiss filled with love and affeonica’s surprise was nothihan a Italian-made beige suit with red cufflinks and handcrafted leather shoes from an old shoemaker factory who made only 70 pairs a year, valued between 3,000 to 5,000 euros. They were beautiful, rare, and the fi brand. An Italian businessman, owner of a photography agency, only wore those shoes, g they were the best he could buy.
-I’m looking forward to it… Take her to Fox and stay there. Wait for her, - Billy told his driver. He would use the car that followed behind, the bodyguard’s car, with a security cost of 400,000 a year, plus additional expenses reted to its fun.
He tinued on his way to meet the produ team. The day's first m would be a long rec period, followed by an afternoon of outdoor recs. They wao make up for lost time, and the recs would extend into the night. Meanwhile, Kevin Spacey, who had won at the Golden Globes, worked hard and performed most of the ses on his own. Only a few ses remained with Roy Peard Billy together.
Settling into the small dressing room, he calmed his mind while his face was lightly made up. His beard was a bit thicker, and a member of the makeup team used small scissors to trim it carefully, with such skill that it was impressive. He ged into a bck suit with a simple tie required for the role.
Se 49, Take 6.
Everyone's attention was focused, particurly Bud’s. They watched and listehrough the speaker. Billy had already givehread to the paper, which made such a differeo him. Bud was a straightfuy, always with a tough face, even with women, but at times he was shy and somewhat introverted, especially when he felt vulnerable. Covered by the strength of his character, which was not something simple.
EXLEY
(over the speaker)
Let go, Jones. I know you made her bleed, but that doesn’t mean you killed her.
There is no response, but Jones squirms.
EXLEY
(over the speaker)
If that girl is alive, you still have a this.
JONES
(over the speaker)
I think she’s alive.
EXLEY
(over the speaker)
Do you think so?
Jack turns to Dudley.
JAbsp;That’s good. I’ll give him that.
They don’t notice when the back of Bud’s chair starts splintering in his hands, everyone is focused on the front gss. He ches his hands tightly, with a bit of desperation, but in that strength, his hands acquire a toween white and red.
ROOM #3
Exley sits across from him, trying to engage him.
EXLEY: Where is she now?
(no response)
Did you leave her somewhere?
(no response)
Did you sell her? Give her to any of your friends? Tell me where the girl is!
Billy twists his expression, aware that the cameras are focused on his face. He moves his jaw in a brief gesture, refleg anger. He pushes someone in his path.
The door bursts open. Bud sms Jones against the wall. As Exley stands up, he hits his knee against the table. Bud pulls out a .38, breaks the der, and drops 5 bullets on the floor.
BUD: O of six. Where is the girl?
EXLEY: Officer White, put that gun down and...
Bud shoves the barrel into Jones’s mouth, pulling the trigger twice. CLICK, CLICK. Joarts sliding down the wall. Bud pulls him up by the colr and roars.
BUD: WHERE?! Two more clicks. Jones gives in.
JONES S-Sylvester F-Fite-o-nine and the gray house at the er of Avalon...
-Cut, - grumbles Curtis, who has beeing the se for seven takes and is fed up. They o record first from the interrogation camera angle, from two different positions, followed by two more takes from Roy Pearce’s angle, and finally one from the spectators outside.
Billy wiped the sweat from his brow; the studio was blisteringly hot. While others took their shots as part of the job, they didn’t finish until 2 iernoon. Afterward, they went to visit the outdoor locations. Guy Pearce, who had no ses to shoot, said goodbye a Billy to his rec, while he ate a turkey sandwich that Monica had prepared with the help of the housekeeper. Curiously, and to his surprise, there was also water, an apple, and some cheese bars.
-Why are you smiling? - a blonde o him on the bck bus to the set asked. She was Kim Basinger, and it was the first time they had spoken to each other outside of the rec ses, havi only three times due to their brief ses.
-Something that reminds me of my childhood… o meet you again, Miss Basinger, - Billy replied.
-Likewise. Although it might seem annoying, we’ll have some time to practice our ses. Bud is Lynn’s romance, and well, chemistry is necessary, - Kim said.
She didn’t just need practice; she wao test Billy’s ag range. Kim was a seasoned actress, having been active since 1978, and could be sidered to have a career as illustrious as Billy’s, with almost as many years of experience.
-Very well, - Billy said, with an appreciative gesture. He watched her perform with a sense of pleasure but didn’t fet tard his ag as a duty, taking it as seriously as he did his business.
Se 58, Take 1.
INT. 1736 NOTTINGHAM (LYNN BRA'S) - DAY
A pleasant and cool atmosphere. The perfect pce to hang out is a suburban house. Kim Basinger is seen in her dress, so provocative that some might even take note of the new fashion season, especially the white the blonde is wearing.
LYNN: It's Officer White, isn’t it?
Bud nods and surveys the pce.
LYNN: I offer you a drink?
BUD: Yes, whiskey is .
Bud/Billy watches her as she heads to the bar. God, she’s beautiful. These are the plex kinds of recs where desire only be veyed through the eyes. He thinks of Monica, on the bed, with her bck hair spread out and her lips red from so many kisses.
LYNN: I was friends with Sue Lefferts, but we weren’t close friends. You know what I mean?
BUD: Do yret her death?
LYNN: Of course I do. What kind of question is that?
She takes a step back with whiskey for both of them.
BUD: Have you heard of Dick Stensnd?
LYNN: No, I haven’t. Do you know why Pierce is hum you?
BUD: If you use words like that, you might make me angry.
LYNN: Yes. But, do you know?
BUD: Yes, I do. Patchett is running prostitutes and, judging by his dire, probably something more signifit. He doesn’t want any attention.
LYly. Our motives are selfish, so we’re cooperating.
BUD: Why was Susan Lefferts at the Nite Owl?
LYNN: I don’t know. I’d never heard of the Nite Owl until today.
BUD: Did Lefferts have a boyfriend?
LYNN: Like I said, we were friends, not close friends.
BUD: How did she meet Patchett?
LYNN: Pierows people. Sue came on the bus with dreams of Hollywood. That’s how things turned out. Thanks to Pierce, we still act a little.
BUD: Tell me about Patchett.
LYNakes a part of our earnings and is it for us. He makes us leave the business by thirty.
Cut! - Curtis shouted.
The set began to move; a few more quick takes followed. Patchett’s mansion was not far, just five minutes away. They would have to wait until the evening to shoot additional ses with Lynn and Bud. For now, Lynn would do her ses with Patchett.
-You’re better than I expected, - Kim ented, surprised by Billy’s posure, which was parable to that of an experienced actor. Was he born to act like some do?
-I do what I , but it’s all thanks to practice. It helped me adapt to your rhythm and maintain my own, - Billy replied.
-Ah, modesty, - Kim said pyfully, her voice soft, and she was very gentle in words as well.
-I’ll see you tonight,- Billy said, taking out his phoo call Monica about his dey while arranging for a car to pick him up at the set at a certain time. He gave the address. The car arrived quickly with his sketchbook, as he o submit the volumes of Van HELLSING, still in the drawing phase.
Se 64, Take 1.
INT. MAIN HALL - NIGHT
LYNN
(opening the door)
Did you fet something...?
Bud is there, filling the doorframe, looking somewhat uain, stretg his lips.
LYNN: I was w when you’d ring the doorbell again, Officer White.
BUD: I’m Bud.
Bud g Lynn for a moment, then down at his ow, embarrassed. She smiles.
LYNN: You should see yourself. You look like you’re ten years old.
Bud looks up again. Lynn’s smile fades as she studies his face. She isn’t going to ask questions. Lynn looks at him for a moment more, then brushes her blonde hair out of her eye.
LYNN: If you’d called first, I wouldn’t look so ridiculous.
BUD: You’re beautiful.
In a tender and affeate gesture, he gently holds Kim’s and caresses it, something parallel to the Bud we know. But this time, he draws closer, embrag the blonde’s hips in an improvised gesture. Billy waits for the cut, but the director hasn't shouted anythi. He uses his other hand to trace the outline of the blonde’s face delicately, aced to doing the same with Monica every night, with an almost unimaginable subtlety. His eyes ck desire and show a look of love that is impressive to Kim Basinger, as she feel a certain vibe.
"Cut!" Curtis’s shout breaks the se.
Billy snaps out of his trance, while the blonde, feeling shy, also es out of it. All traaturity and kiowards the junior are abruptly cut off. Kim is not a woman of that style; she is the shy, fragile blonde who only retreats wheuation bees unbearable for her.
"We have another se to shoot," Kim murmured.
They both walked to a bed, where they settled uhe covers. Above them were a dozen cameras, which were reduced to three, making it unfortable. Billy ended up in white, somewhat snug shorts, and Kim in a body-hugging, small pair of pants.
Take 65, Se 1.
INT. LYNN BRA'S HOUSE (1736 NOTTINGHAM) - BEDROOM - NIGHT
Lynn approaches Bud naked, with her hair slicked back. Bud moves slowly, delicately, taking his time with his kisses, as if she were a solitary woman he wao love until death. They share soft, affeate kisses, both toug each other. Billy’s breath smells of watermelon mints, which he used before this se, but her lotion is intoxig. Uo resist, she presses her o his o savor the peing st.
Billy lifts his arm, brushing her colrbone, and resumes kissing her in rhythm. She iently presses her elbow against his chest, making him feel her firm breasts.
Lynn pys with the rhythm: her kisses, her caresses. Eventually, Bud forces himself to stop. He pulls back to see her.
LYNN: Are you w if Patchett told me to be receptive?
Bud doesn’t respond, but he does.
LYNN: It doesn’t matter. I like you, Bud. Really.
Bud: Let’s not bother.
She kisses him. Gently, prolonging it. It’s not work. She wants to make love to him. And when Bud stops thinking...
"Cut."
...
