Harshvardhan's Shepherd

Citation preview

Harshvardhan's Shepherd

ii.

In lovin' memory of my woman.

Poised on the brink of

hell.

With a face which is benign yet sinister. With a pair of eyes which are mellow yet

iii.

fierce. With an aura which is poignant yet ecstatic. Harshvardhan Vilial

VILIAL - BELIAL - ONE WITH NO MASTER (SCRIPT WRITTEN BETWEEN JULY 2021- JULY 2022) LOCATION - SOUTH OF FRANCE, SOMEWHERE IN MARSEILLE TIME - 1964, 2 FEBRUARY INT.

VILIAL’S HOUSE - LARGE COMPOUND AREA - BEFORE SUNRISE

MUSIC - VIOLIN TUNES WHICH EVOKES IMMENSE SADNESS SUPER IMPOSE VILIAL (VILAYAL) - ONE WITH NO MASTER Blue tinted sky. The solitude. The serene wind. Grey colored house, little rusty, unrefined, with coarse cement walls and broken tiles, wooden gate with little algae on it. An orange bulb near glowin’ near the exit/entrance gate of the house’s compound area. Our focus now shifts to a bathtub in the middle of the compound area with a man in it. We are only able to see the back of the man. The man has both his hands placed on the edge whilst lookin’ in front. The man has a cigarette in his hand. The man takes a puff outta his cigarette whilst lookin’ in front. We now move forward, the man’s lyin’ in the bathtub whilst sportin’ a poker face. The man’s name Vilial, in his late 20’s, tall, handsome, mid fair complexion, dark hair, dark eyes, a decent toned physique. Vilial takes another puff outta his cigarette whilst lookin’ lost in his toughts. Vilial then closes his eyes. Vilial rests his head back on the bathtub’s edge. Vilial takes another puff outta his cigarrete whilst keepin’ his eyes shut. Vilial holds the smoke in. Vilial then slowly opens his mouth a little, the smoke comes out slowly. Vilial opens his eyes. Vilial tosses the cigarette away with his fingers. Vilial then looks at the blue tinted sky. Vilial moves his mouth a little. Vilial has this look on his face, the look which lone wolves have, the ones who have nothin’ left in thier lives except loneliness and pain. Vilial slowly turns his head in front. Vilial slowly gets outta the bathtub. Vilial sits on the edge of the bathtub. Vilial is wearin’ a blue trunks. Vilial’s toned physique becomes clearer as he sits on the edge of the bathtub. Vilial grabs a light green towel from the hook attached to the bathtub. Vilial pats himself dry a little. Vilial does this whilst lookin’ little lost. Vilial then puts the towel on the hook again. Vilial then grabs a pack of cigarette from the ground. Vilial takes a cigarette outta it. Vilial then grabs the lighter from the the edge of the bathtub.

2. Vilial lights up the cigarette. Vilial then puts the cigarette pack and the lighter on the edge of the bathtub. Vilial takes a deep puff outta the cigarette. Vilial holds in the smoke for a while. Vilial rotates his head a little and looks in to bathtub. Vilial sees his reflection. Vilial releases the smoke via his nostrils. Vilial then grabs his gun, the one on the edge of the bathtub. Vilial then gets up. Vilial wraps the towel around his waist. Vilial then starts aimin’(headin’) for his houses’s porch. Vilial starts walkin’ whilst smokin’ in serene manner, showin’ no intense emotions. Vilial eventually reaches the porch of his house. Vilial takes two steps. Vilial reaches on the porch’s stage. INT. VILIAL’S HOUSE - PORCH - BEFORE SUNRISE Vilial sits on the wooden chair. Vilial looks at the entrance/exit gate of his house. Vilial sees the orange bulb swirlin’ a little as the wind becomes a tad faster. Vilial takes a deep puff outta his cigarette. Vilial realses the smoke, a thick smoke comes out from his mouth. Vilial then puts the burnin’ cigarette in the ashtray, the one on a small round table near his chair. Vilial then looks at his gun. Vilial twists it and sees the chamber filled with bullets. Vilial twists it back. Vilial then looks in front. Vilial then relaxes his back on the chair whilst holdin’ a gun in his one hand. Vilial puts the gun on the table. Vilial grabs the burnin’ cigarette from the ashtray. Vilial takes three quick puffs simultaneously whilst realisin’ smoke outta his mouth. Vilial then takes one deep puff outta his cigarette and holds it in. Vilial flicks the cigarette away with his middle finger. Vilial realeses the smoke outta his nostrils. Bastet, Vilial’s black cat arrives outta the front door and starts walkin’ towards Vilial. Vilial sees this. Vilial simply looks at the cat. The cat, halfway through turns into another direction. Vilial again looks in the front. Vilial slowly gets up. Vilial grabs the gun from the table. Vilial starts headin’ in through the main door with a gun in his hand. INT. VILIAL'S HOUSE - LIVIN’ ROOM - BEFORE SUNRISE Vilial walks in. Vilial turns the lights on. Vilial’s house is small, it has one kitchen, one bedroom, and one livin’ room, but the compound/garden/porch make up for it. Vilial’s house looks simple, too simple perhaps, minimalist, grey colored walls, dark grey colored cupboards, and furniture. Vilial starts walkin’ towards the almari. Whilst walkin’, Vilial throws his gun on his sofa.

3. Vilial reaches near the almari. Vilial looks at himself in the mirror attached to his Almari. Vilial then opens the alamari. FADE TO: Vilial has almost worn his crisp formal attire. Vilial is adjustin’ his black tie which compliments his black shirt and trousers. Vilial looks himself in the mirror. Vilial then looks down a little, just a little. Vilial grabs the black jacket which would complete his attire. Vilial puts it on. Vilial then draws back the strand of hair fallin’ on his forehead. Vilial’s hair are sleek and lustrous. Vilial then takes another look at himself. Somethin’ is eatin’ up Vilial. But Vilial does not display any intense emotion. Vilial simply turns around. Vilial starts walkin’ towards the sofa. Vilial grabs a silver coin and puts it in his jacket’s pocket. Vilial then grabs large franc bills and puts it in his pocket as well. Vilial then starts headin’ for the main door. Vilial reaches the main door of his house, which is open. Vilial turns off the bright white light. Vilial then looks around the dark room. Vilial sees the open window, the window’s curtain are swirlin’ with the wind. Vilial turns around and walks out. INT. VILIAL'S HOUSE - PORCH - BLUE SKIES Vilial starts aimin’ for the classic silver car (it has a black roof) parked in his compound. Vilial takes couple of steps and cilmbs down the porch’s stairs. INT. VILIAL'S HOUSE - LARGE COMPOUND - BLUE SKIES Vilial starts walkin’ towards his classic silver car which is around twenty fourty meters apart from the bathtub that is lyin’ in the compound. Vilial finally reaches near his classic silver car. Vilial’s cat is sittin’ on the bonet of the car. Vilial is displayin’ no intense emotions, a poker face that’s all. Vilial opens the car’s door. INT/EXT. VILIAL’S CAR - BLUE SKIES Vilial gets in. Vilial puts the key and turns on the ignition. Vilial’s cat jumps off the front bonet. Vilial puts the car in to motion. Vilial starts monvarin’ the car outta his compound in a smooth manner.

4. EXT. VILIAL'S HOUSE - BLUE SKIES There is no one around. Vilial’s house is surrounded by deserted houses, run down, grey. Vilial leaves in a recluse area, considerin’ his nature of work, and his love for solitude. Vilial’s car is movin’ on a narrow road, the one which leads to more narrow roads, and those narrow roads evnetually leads to the city. EXT. SOME WHERE IN MARSELLE - EARLY MORNING We see the bird’s eye view of a locality in Marseilie. It’s rainin’. We see a silver classic car movin’ forward. INT. VILIAL'S CAR - EARLY MORNING Vilial is drivin’ whilst lookin’ at the road. Vilial lights up a cigarette whilst drivin’. Vilial then stops as the traffic light turns red. Vilial puts the cigarette in his mouth. Vilial takes a drag outta his cigarette. EXT. NEAR A TRAFFIC POINT - EARLY MORNING Vilial’s car is joined by this equally allurin’ car, it’s all black. Vilial is smokin’ whilst lookin’ forward. The balck car has a female driver, in her early 20’s, pretty, all alone in her car. The female driver looks at Vilial. Vilial releases the smoke via his nostrils. Vilial still has his poker face on. Vilial then looks at female driver in the car adjacent to him, whilst sportin’ a cigarette in his mouth . Vilial notices her lookin’ at him. Vilial looks at her, showin’ no emotions. The female driver ducks a little to see Vilial clearly. The female driver smile a little at Vilial. Vilial turns his head in front, almost snubbin’ her. The female driver pucker her eyebrows, almost confused by the fact that most men would love a beautiful woman’s attention, but Vilial is just not havin’ it. Vilial notices the traffic light turnin’ green. Vilial races his car off whilst lookin’ utterly unimpressed by the beautiful female driver. The female driver also leaves whilst lookin’ little disappointed. EXT. A SMALL GARAGE - SOMEWHERE IN MARSELLE - SUNRISE Vilial’s silver car is movin’ towards the garage. Vilial’s silver car moves inside the garage’s open door.

5. INT. SMALL GARAGE - SOMWHERE IN MARSEILLE - EARLY MORNING Vilial halts his car. Vilial gets out, meanwhile a man in his late 40’s shuts the garage’s door. Vilial stands near the wall. The garage’s real small, about one room, with different number plates, spray ons, wires and other stuff lyin’ around. Vilial lights up a cigarette whilst standin’ still and lookin’ at his car, as if there is no one else in the garage. Vilial takes a drag outta his cigarete as the man starts walkin’ towards the sheets of number plates lyin’ in the corner of the garage. The man grabs one and starts headin’ for the Vilial’s classic silver car. The man gets rid of the old number plate and fits on the new number plate. Vilial simply looks at the number plate whilst smokin’. Vilial still has a poker face on. Vilial puts outa his cigarette. The man starts walkin’ towards Vilial. Vilial makes no eye contact as he is still lookin’ at his car. The man stands near Vilial. Vilial takes out a bundle of large franc bills and gives it to the man. Vilial is still standin’ still whilst havin’ a cigarette as a hangin’ orange bulb shimmers orange light above him. The man is still standin’ near him lookin’ at him. Vilial then looks him in the eye, a firm look. Vilial snaps his fingers and demands somethin’ thru his hand gestures. The man takes out a gun and gives it to him. Vilial takes it. The man then gives him the silencer for the gun. Vilial takes it as well and puts both the gun and the silencer in his pocket. Vilial then starts headin’ for his car. Vilial grabs the car’s door. The man meanwhile starts movin’ towards the garage’s shutter. The man opens the shutter. Vilial drives his car outta the garage. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - MORNING Vilial’s car smoothly rolls over near an empty parkin’ spot, the one right in front of the apartment building. Vilial parks his car. Vilial then gets out of the car. Vilial looks at the apartment building. Vilial then looks at his watch. Vilial notices a man walkin’ outta the apartment. Vilial sees a taxi pulllin’ over right in front of the apartment. Vilial sees the man gettin’ in to taxi. The taxi leaves. Vilial starts to walk towards the apartment building. A beautiful girl in her early 20’s looks at Vilial walkin’ towards the apartment building as she walks outta the apartment buildin’ whilst wearin’ a formal attire. Vilial takes a quick glance at her, and then quickly fixes his gaze back at the glass doors of the apartment building’s entrance. Vilial keeps walkin’ untill he reaches near the glass door entrance.

6. EXT/INT. LUXURIOUS HOUSE - MARSELLE - EVENING We look at a beautiful house in a remote area, the house is surrounded by lotta trees, the house is heavily guarded, with two men at the entrance/exit gate and two more at the main door of the house. Each guard has a gun strapped in his belt. INT. LUXURIOUS HOUSE - LIVING ROOM - MARSELLE - EVENING We see several men in their late 50’s sittin’ on their chairs. All the men are dressed in crisp black suits. All the men are holdin’ a cigarette whilst lookin’ at each other. By the looks of thier mugs, we can say that the topic of discusiion is serious. JON (take a drag outta his cigarette and looks at Michael) Can we trust him ? Michael breathes a little. Michael is the head of this criminal organization. Jon is his right hand man. JON (CONT’D) The shepherd ? Jon and Michael lock eyes whilst the other three men in the room simply smoke. It’s very sinister atmosphere over here, one look at these men and we can tell that they have no moral stand on anything, for them it’s all about achievin’ thier said target. MICHAEL (smokes a little and then exhales the smoke slowly) You know why they call him the shepherd ? Jon just takes a drag outta his cigarette whilst lookin’ at Michael. Michael smiles a little. JON (serious) Does he knows his fate ? Michael chuckles a little. MICHAEL He will, once the bullet goes through the back of his skull.

7. JON (still serious) I don’t like this a one bit, Michael. Michael’s smile disappears a little. MICHAEL Your lack of belief in our organization’s abilities feels highly insultin’ somehow. JON I just want to make sure that nothin’ comes back to us. MICHAEL (rolls his eyes slowly) The man is a retired army soldier, with no one by his side, he is the quickest cat in the jungle, but he has no one by his side, he is alone. (little pause) Nothin’ would ever come back to us. Michael smiles a little. Jon nods a little, but still lookin’ cautious. The other three men smile a little whilst lookin’ at Michael. Dean, the business man adjusts his tie a little as he begins to chime in. DEAN Have to give it to you, Micheal. A stone cold assasin’ with no friends. Nothin’ could be ever pinned back at us. Micheal smiles and takes a drag outta his cigarette. Michael then gets up whilst squashin’ his cigartte in to the ash tray. Michael starts to walk towards the window. Michael looks outside the window, whilst his associates look at Michael. Dean’s twin brother who is sittin’ right besides him, proceeds to put out his cigarette. Jean, Dean’s twin brother exhales the smoke whilst rubbin’ his index finger with his thumb, in a slow, and sinister manner. JEAN (lookin’ at his index finger bein’ firmly brushed by his thumb) When’s the job ? Micheal is lookin’ outta the window with a blank expression.

8. MICHAEL (slowly) Tonight. INT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING APARTMENT/ROOM 206 Vilial is standin’ in the corner of Zia’s small bedroom. Vilial snaps outta his lighter. Vilial lights up his cigarette with the flame, and puts back his lighter in his pocket. Vilial takes a deep drag off his cigarette. The orange dot glows real bright as Vilial continues to take a long drag outta his cigarrrte. Vilial lets goes of his cigarette and blows out smoke from his mouth, in a slow and serene manner whilst lookin’ at the naked frame of Zia’s lyin’ on the bed with a white bedsheet on her feet. Vilial slowly aims for the opposite side of the room. Vilial opens up the curtains a little, the room becomes little bright. But still the blue/grey tint is still adament, a reminder of the gloomy world that Vilial’s world. Vilial then slowly aims for Zia. Zia looks at Vilial, almost hopin’ he would get on top of her. But Vilial simply runs his thumbon Zia’s beautiful lips in a slow, yet sensual manner. Zia, a high school beauty can’t resist Vilial’s dark soul. Zia smiply breahthes in a stern manner. Vilial then withrdraws his thumb. Vilial then looks at Zia’s bare breasts. Vilial then looks outside the window. Zia swallows a lump, yearnin’ for Vilial. But Vilial has some inner demons buried in him. Vilial slowly starts to walk outta her bedroom, as he is about to reach towards the bedroom’s door, he pauses. Zia gets up a little. Zia covers her beautiful naked frame with bedsheet a little. Vilial turns his head a little. Vilial looks at Zia. Zia looks at Vilial. Vilial looks towars the door, and opens it. Vilial walks outta the bedroom. EXT. CAFE FRANCIS - MARSELLIE - NIGHT Vilial pulls over his car slowly. The cafe has neon green banner which flickers, on and off, slowly. INT. VILIAL'S CAR = MARSELLIE - NIGHT Vilial grabs his gun. Vilial twists the chamber. Vilial sees six bullets in it. Vilial then twists the chamber agains, and puts the gun in his pocket. Vilial then gets outta his car.

9. Vilial starts walkin’ towards the cafe slowly. Vilial enters the cafe. INT. CAFE FRANCIS - LOUNGE - MARSELLIE - NIGHT Vilial looks around. Vilial sees everyone sittin’ on thier tables, enjoyin’ thier drinks whilst lookin’ at the belly dancers dancin’ on the stage in a sesnual manner. Vilial simply stands there, lookin’ at the beautiful girl in her late twenties, one that he has been assigned to kill. Vilial then starts walkin’ towards the bar. INT. CAFE FRANCIS - BAR - MARSELLIE - NIGHT Vilial arrives at the bar. The bartender looks at Vilial. The bartender starts headin’ towards Vilial. The bartender gives Vilial a drink, rum on rocks, along with a tissue paper. The bartender looks at Vilial. Vilial looks at bartender with a blank yet kinda cold look. The bartender leaves for the other end of the bar. Vilial takes a glass of whiskey. Vilial turns around a little and looks at the belly dancers dancin’, but Vilial’s eyes start to gravitate towards the beautiful girl in her late twenties. Vilial sees her belly move in a sensual manner. Vilial then slowly looks at her eyes. The beautiful girl looks at Vilial for a moment. Vilial takes a sip of whiskey from the glass. The beautiful girl (belly dancer) finsihes with strong moves whilst lookin’ at Vilial. Vilial simply stares at her with a blank expression. The beautiful girl then bows to the crowd (lounge, sittin’ in thier chairs) who starts clappin’ for her, since she is the lead one amongst the group, which includes four belly dancers. Vilial puts the glass on the bar. Vilial takes the tissue, beneath the tissue, lies a key. Vilial slowly takes the key and puts it in his pocket. Vilial then puts some loose bills on the table, and starts headin’ for the backstage’s door whilst everyone is busy admirin’, and cheerin’ the belly dancers. INT. CAFE FRANCIS - BACKSTAGE - NIGHT The belly dancers start to walk whilst laughin’, and talkin’ the usual female shit. Then comes the performers quarters lobby.

10. INT. PERFORMER’S QUARTERS LOBBY - NIGHT All of the belly dancers starts to head for thier quarters whilst smilin’ and gigglin’, and wavin’ “see you later” at each other. The last one is the beautiful girl, the one which will face the death which will come to her soon enough. The beautiful girl heads inside her quarters. INT. THE BEAUTIFUL GIRL’S QUATERS - ROOM - NIGHT The door clicks as soon as she unlocks it with a key, and pushes the door in. The beautiful girl arrives inside her chamber/quater/room, and then shuts the door. The room is dark, only visible source of light is the mirror which has Orange bulb on top of it. The room is small, has one sofa. The room has a sink as well, and a small restroom. The room also has a small chair in the corner, but it’s in the dark, light is not bright enough to illuminate it. Vilial is sittin’ on the chair, with a gun - Luger -( silencer mounted on it )in his hand. The beautiful girl starts takin’ her clothes ( belly dancer’s attire ) off. Vilial simply watches her. Vilial then finally lights up the cigarette which has been in his mouth all this time with his lighter. The beautiful girl sees the bright orange dot via the mirror she is standin’ in front of, naked. The beautiful girl turns around whilst lookin’ scared. Vilial exhales the smoke.

Sit.

VILIAL (niether sinister nor freindly, bland)

The beautiful girl sits on the chair right in front of the mirror. Vilial gets up, we see white gloves on Vilial’s hands. Vilial starts headin’ towards the beautiful girl. Vilial puts out his cigarette in the beautiful girl’s ashtray, which is presnet on the small table, right below the mirror. Vilail blows the smoke outta his nostrils whilst slowly turnin’ towards the beautiful girl. Vilail looks at the back of the naked girl sittin’ on the chair. Vilial sees the girl is in immense stress. Vilial could feel her heart poundin’ real fast. Vilial slowly puts his gun on the neck of the beautiful girl. The beautiful girl, her breathe starts to rise. The beautiful girl starts to cry ( wihtout makin’ any noises, simply tears which begin to roll down her cheeks ). Vilial slowly pulls the trigger. PHEWWW ! The beautiful girl is dies as the blood comes outta her neck, she slowly falls down on the floor. Vilial sees this. Vilial has no remorse in his eyes.

11. Vilial slowly starts to head outta the room. But before leavin’. Vilial looks one last time at her dead corpse. Vilial then turns his head and heads outta the dead girl’s room/quaters. EXT. CAFE FRANCIS - MARSELLIE - NIGHT Vilial walks towards his car, little fast, but not too fast to draw any supspicion on to him. Vilial opens the door of his car. Vilial gets in. INT. VILIAL’S CAR - NIGHT Vilial takes a seat. Vilial swallows a lump. Vilial looks at his naked hands, his hands are shakin’ a little. Vilial simply stares at the steerin’, lookin’ a bit lost for a second. Vilial closes his eyes. Vilial takes a deep breathe. Despite the fact that he has killed an innocent woman for his employer ( the one who hired him for this job ), we can’ help but feel some sort of sorry for Vilial. Vilial’s face is filled with a hatred, the one that he has, not for the world, but for himself. Vilial opens his eyes. Vilial then grabs the steerin’ wheel, and turns on the ignition. Vilial then drives away. INT. MAFIA’S HOUSE - LIVING ROOM - MARSELLIE - NIGHT Michael is sittin’ on the sofa. Jon, along with the two ugly henchman (Leno & Raul ) are also present in the livin’ room. Michael looks at the clock on the wall. Micheal then rubs his mouth a little, a tint of nervousness perhaps. Micheal then takes a deep breathe. Michael looks at the wall clock again. It’s 10:00 PM! The phone rings. Michael looks at the phone. Jon, and the two ugly henchman look at the phone as well. The phone is on the table, right in the centre of the room, surrounded by sofas. Michael gets up, and walks towards the table in the centre. Michael slowly picks up the phone. THE BARTENDER (non chalant) Hello. Is this Sabina ? No.

MICHAEL

12. THE BARTENDER Must’ve dialed the wrong number, apologies in order. The bartender from the cafe francis cuts the phone. Michale slowly puts the phone down. Michael smiles a little. Jon smiles a little as well. Micheal then looks at the two ugly henchman. Both of them are ready to take Michael’s command, servile, robotic, heartless, killin’ machines with no brains, kinda men you would use when you don’t mind makin’ a noise, or huntin’ a difficult prey. MICHAEL Midnight, under the bridge. (pause) I do not have to remind you how important this job is. The two henchman just look at Michael, and nod at him. Michael then turns around. Michael starts to head for the window again. Michael takes a deep breathe whilst lookin’ outta the window. INT. RANDOM APARTMENT BUILDING - UNDERGROUND PARKING - NIGHT Vilial slowly pulls over his car at this vacant spot in the parkin’ lot. Vilial then looks at the steerin’ whell. Vilial looks ridden with guilt, sorrow, and pain, it’s like he wants an escape, but the fightin’ spirit inside him helps him to get over the existential and moral angst that he faces every now and then. Vilial gets outta the car. Vilial shakes his angst off. Vilial heads for the car besides the car he just parket. Vilial pulls out a straight long (about the size of ruler) device, he hacks apart the lock after slidin’ the device between the small gap between the window and the door. Vilial opens the door. INT. NEW CAR - NIGHT Vilial sits in this chic(elegant) lookin’ car. Vilial then takes out a small device, butter knife like, he ignites the car. Vilial begins to drive outta that parkin’ area. EXT. A SMALL GARAGE - MARSELLIE - NIGHT Vilial’s car is comin’ hot. The garage owner opens the shutter. Vilial goes in with his car. The garage owner (mechanic) quickly shuts the shutter down.

13. INT. A SMALL GARAGE - MARSELLIE - NIGHT Vilial gets outta his new stolen car. Vilial aims for the spot beneath the hangin’ roof orange bulb. Vilial stands there. Vilial takes out his cigarette. Vilial lights up his cigarette with his lighter, and stylishly swifts the lighter’s cap back in the place by movin’ his arm. Vilial puts the lighter in his pocket. Vilial looks at his new stolen car, the mechanic (the one stop guy for all the illegal supplies and activities) quickly starts to take out the number plate. Vilial simply smokes. Vilial looks empty. Vilial then builds up the smoke in his mouth and slowly lets it rise. Vilial then sucks the smoke via his nostrils. Vilial then exhales the remainin’ smoke outta his mouth. The mechanic starts headin’ for the table, where various passports, number plates, are lyin’. The mechanic takes one number plate, whilst discardin’ the old number plate into the bin near the table. The mechanic heads for the car, he bends down, and starts to install the new number plate on the car. The mechanic then gets up. Vilial starts headin’ for his new car. Vilial takes out a wadd of franc bills held together by a rubber band. Vilial tosses it towards the mechanic. The mechanic catches it. Vilial gets near the car’s door. Vilial gets inside the car with a cigarette in his mouth. The mechanic quickly starts headin’ towards the shutter, and quickly opens it. Vilial reverses his car. EXT. SMALL GARAGE - MARSEILLE - NIGHT Vilial the straightens his car in an effortless manner, and starts to head out of the remote, run down, haunted area, whilst sportin’ a blank face. EXT. DESERTED AREA OF MARSELLIE - NIGHT The streets are empty, haunted. Vilial is headin’ towards his house which is surrounded by empty broken concrete houses with broken concrete, dust, and dry leaves. Vilial’s car is headin’ with it’s lights on, towards the only house in this forsaken hell like area, the only house which has life in it, a dark cat, and a dark hearted man. EXT. VILIAL'S HOUSE - LARGE COMPOUND Vilial arrives inside his house’s compound area. Vilial parks his car. Vilial gets outta his car.

14. Vilial starts headin’ towards the porch. Vilial takes off his black jacket as he reaches near the porch. Vilial quickly cimbs up the stairs of the porch. INT. VILIAL'S HOUSE - PORCH Vilial starts to walk towards the door of his house. Vilial is about to open the door, but before he could open it, the black cat arrives. Vilial pauses. Vilial looks at it. The car turns around and gives Vilial a quick glance. Vilial stares into the green eyes of his black car. The black car quickly turns his head around, and starts to head for the compound. Vilial opens the door, and walks in. INT. VILIAL'S HOUSE - LIVIN' ROOM Vilial throws his jacket on the sofa. Vilial then turns on the light whilst lookin’ dead. Vilial then aims for the telephone. Vilial dials a number, slowly. The phone connects. VILIAL (says nothin’, just breathes) Hhhhhhhhhhhhhh ZIA (on the phone) Vilial ? Vilial cuts the phone quickly. as soon as he hears Zia’s voice. Vilial then puts the telephone back in the holder. Vilial takes looks down, the wieght on his shoulders is heavy, but not heavy enough to drown him into an inecapable abyss. Vilial looks up. Vilial takes out a cigarete and lights it up slowly with his lighter. Vilial flicks the lighter’s cap back on with the flick of his wrist. Vilial then starts smokin’ whilst lookin’ at the telephone. Vilial then looks at his wall clock. Vilial sees it’s 11:15 PM. Vilial breathes a little and looks at the closet. Vilial starts headin’ towards the closet whilst unbuttonin’ his shirt. Vilial opens the closet whilst hangin’ his shirt on the hook of the closet. Vilial grabs a metal (shiny silver like) plate, one which could fit the right side of a man’s chest ( in this case, Vilial’s chest ), the plate is measured to the last inch for a perfect protection of Vilial’s heart. Vilial puts on the plate around the right side of his chest, it fits perfectly, givin’ his heart a perfect protection. Vilial then closes the closet. Vilial grabs his silk black shirt.

15. Vilial then slowly runs his fingers on the black silk shirt. Vilial just stares at it whilst lookin’ indifferent, yet for some reason endearin’ to the ever watchin’ eye. EXT. VILIAL'S HOUSE - PORCH Vilial is suited up, crisp, clean, ready to face the god’s wrath. Vilial reaches near the end of the porch’s stage. Vilial climbs down the porch’s stairs. EXT. VILIAL'S HOUSE - LARGE COMPOUND - NIGHT Vilial starts aimin’ towards his car. The black cat runs towards the porch, takin’ Vilial’s place. Vilial does not bother to look at his cat this time. Vilial simply keeps walkin’ towards his car. EXT. VILIAL'S NEW CAR - NIGHT Vilial reaches near his car. Vilial is about to open his car’s door, but he pauses for some reason, he looks up to sky, he looks at the moon in an indifferent manner. Vilial then again fixes his gaze towards his car’s door and opens it quickly, and gets in. Vilial gets inside the car whilst lookin’ cold, and detached, INT. VILIAL'S NEW CAR - NIGHT Vilial turns on the igntion. Vilial smoothly reverses, and turns around his car like a quick cat that he is. Vilial then heads out of his house’s compound. EXT. VILIAL'S HOUSE - NIGHT The dry leaves float above the ground for a split second, as Vilial quickly manouevers outta his house’s entrance/exit. EXT. DESERTED AREA OF MARSELLIE - NIGHT Bird’s eye view of Vilial’s car venturin’ through the dark and haunted streets, with it’s lights on. EXT. UNDER THE BRIDGE - MARSELLIE - NIGHT It’s as quite as a church over here. The green neon tubelights from a deserted coffee shop is visible.

16. Right in front of the abadoned coffee shop’s entrance, there’s a black car, we could see two ugly henchmen sittin’ in it whilst wearin’ fedoras, and black trenchcoats on their formal suits. Both of them are waitin’ for Vilial to arrive. Vilial’s car arrives. Vilial pulls over his car, right in the opposite side of the black car. Vilial has kept little distant between his car, and the black car, perhaps he is well aware that things could always go south. INT. VILIAL'S NEW CAR - NIGHT Vilial has his hands on the steerin’ wheel. Vilial looks in the front, at the black car. EXT. UNDER THE BRIDGE - MARSELLIE - NIGHT The two henchmen get outside slowly. Vilial gets out of the car as well. Vilial is wearin’ a tranchcoat, and he has got his hands in it. One of the henchman has a black bag in his hand, he opens it up, it’s filled with gold bars. Vilial sees it, but seems little vary. The henchman then closes the bag, and toss it towards Vilial, hopin’ that he would take his hands out and catch the bag, so that they can shoot him real quick while Vilial tries to catch the black bag. But Vilial does not move one bit. The bag falls on the ground. And as soon as the bag falls on the ground, one of the henchman shoots at Vilial’s ( rightside). Vilial shoots him with his left hand’s gun whilst bein’ unaffected by the bullet, since he is wearin’ a plate. The bullet hits the hechman’s chest, he falls down. The other henchman quicly shoots at Vilial left shoulder. The bullet hits Vilial’s left shoulder. Vilial gasps a little, but quickly shoots the henchman in the throat with his right hand gun, the second henchman falls down on the ground. But the first henchman is still alive, and tryin’ to aim for his gun. Vilial sees this. Vilial flares his nostrils a little whilst nursin’ his left shoulder with his right hand, which still has a gun in it’s grasp. Vilial starts walkin’ whilst lookin’ in little pain, the black trenchcoat has now a hole, we can see the shoulder wound through it. Vilial heads towards the henchman who just grabbed the gun. Vilial shoots his hand. The gun slips outta the first henchman’s hand. Meanwhile the carphone starts riningin’, the henchman’s carphone. Vilial’s head moves towards the black car’s direction. Vilial starts headin’ for the black car.

17. Vilial shoots the first henchman in the back of his head whilst walkin’ towards the black car. The henchman dies instantly. Vilial grabs the black car’s door, and opens it. Vilial then picks up the car phone. Vilial simply breathes. JON Is it done ? Vilial does not say a thing. Vilial just looks cold. JON (CONT’D) (little worked up) Is it done, dammit ? Vilial breathes whilst lookin’ cold. Jon soon realizes that it’s Vilial. JON (CONT’D) (slowly) Shepherd ? Vilial cuts the phone. Vilial then starts to walk towards his car. Vilial grunts a little, as the pain becomes little sharp. Vilial opens his car’s door. Vilial then gets inside his car. Vilial then ignites his car, and leaves the bloodbath scene behind. INT. MAFIA'S HOUSE - MARSELLIE - NIGHT Jon has not dropped the telephon yet. Jon is holdin’ the wire of the telephone, the telephone is hangin’ in the air a little. Michael is sittin’ on the sofa. Michael looks at Jon. Michael takes drag outta his cigarette. Trouble ?

MICHAEL

Jon finally puts the telephone down in the holder. Jon is simply standin’, not sayin’ anything. JON (after a pause) He will come for me, and then he will come for you. MICHAEL (puts out his cigarette in the ashtray) I don’t think so.

18.

Why ?

JON

MICHAEL He will be dead by then. Jon nods whilst lookin’ at the ground. JON (breathes a little) Hmmmm. Micheal lights up another cigarette whilst sittin’ on the sofa. Michael takes a quick puff outta his cigarette. MICHAEL Do you know where he lives ? Jon shakes his head. Jon then looks at Michael.

No,

JON (bland)

(pause) But I know someone who might. Michael smirks. MICHAEL (whilst smokin’) Excellent. Let’s close this chapter fast. Jon nods. EXT. VILIAL'S HOUSE - LARGE COMPOUND - NIGHT Vilial slowly pulls over his car. Vilial gets outta his car. Vilial shuts the car’s door with one hand. Vilial slowly starts walkin’ towards the porch. Vilial grunts a little as the pain in his wounded shoulder becomes little intense. Vilial keeps walkin’ slowly. Vilial reaches near the porch’s stairs. Vilial slowly climbs the couple of stairs, and reaches on to the porch (stage). EXT. VILIAL HOUSE - PORCH - NIGHT Vilial looks little run down. Vilial keeps walkin’, headin’ for his house’s door. The pain is visible, but more than the physical pain, we see a man, a man who’s heart is become heavier with every assasination he performs.

19. Vilial finally reaches in front of his house’s door. Vilial slowly opens the door, and walks in. INT. VILIAL'S HOUSE - LIVIN' ROOM - NIGHT Vilial keeps the door open. Vilial turns on the master switch, every corner of his eyes becomes lit. Vilial takes off his tranchcoat slowly, Vilial then aims for the kitchen. INT. VILIAL’S HOUSE - KITCHEN - NIGHT Kitchen is adjacent to the livin’ room. Vilial goes near the sink. There’s a mirror over the sink. Vilial turns on the tap. Vilial splashes some water, the pain is there, but it’s not botherin’ Vilial that much, the mental tool of this life is far much more taxin’ on Vilial, than the physical toll. Vilial looks into the mirror. Vilial then looks at the wound. Vilial slowly heads towards a wooden box on the kitchen counter. Vilial opens up the box. Vilial grabs a bottle of alcohol. Vilial takes a swing of alcohol. Vilial puts the bottle down. Vilial starts to take his shirt off, unbuttonin’ it up, slowly. Vilial then takes off shirt slowly, but grunts a little as the wounded shoulder gets rubbed by the silk material a little. Vilial puts the shirt on the counter.

Vilial’s toned phyqique is at the display, aong with few battle, and work (assasin job) realted scars on his chest, and back. Vilial grabs a bottle of sanatazer and sanatize his hands. Vilial then takes a large bowl. Vilial pours the alcohol in it. Vilial then takes a needle, and a knife, and proceeds to puts it in the bowl. Vilial then takes a medical tissue outta the box. Vilial cleans up his wound a little. Vilial then takes the bottle of alcohol and pours it on his wound. Vilial grunts as alcohol makes contact. Vilial puts the alcohol bottle down. Vilial then heads for the stove whilst takin’ the knife outta the bowl. Vilial heats up a knife real good on the stove’s flame. Vilial keeps heatin’ it. Vilial then looks at his shoulder. Vilial starts to hack the bullet outta his shoulder. Vilial grunts. Vilial soon scoops the bullet outta his shoulder. Vilial grunts further as the bullet falls out. Vilial then takes the bottle of alcholo and pours it on his wound. Vilial then takes another swish of the acohol. Vilial then takes the needle outta the bowl. Vilial gets the thread from the box, and gets it ready along with the needle, to stitch his withered open wound. Vilial starts to sew his wound close with the help of the needle and the thread.

20. Vilial soon enough patches it up. Vilial then puts the bloddied needle into the bowl. Vilial look little run down. Vilial then takes a tablet of antibiotic, along with a painkiller. Vilial then gulps these two tablets with some alcohol. Vilial then slowly dresses up his wound with a medical gauge. Vilial leaves the kitchen. Vilial heads for the livin’ room. INT. VILIAL'S HOUSE - LIVIN' ROOM - NIGHT Vilial slowly opens the almari. Vilial grabs a grey shawl (thin cotton cloth) and wraps it around his shoulders. Vilial starts to head outside. INT. VILIAL'S HOUSE - PORCH - NIGHT Vilial walks outta the door whilst shuttin’ off the master switch, thus blowin’ house into darkness again. Vilial then starts to walk towards the wooden chair. Vilial arrives near the wooden chair. Vilial slowly sits on the wooden chair, restin’ his back on it. Vilial stares in to the quiete. Vilial just looks at it. Vilial swallows a lump. Vilial’s face look little heavy. Vilial simply breathes whilst lookin’ lost in deep thought. FLASHBACK : INT. VILIAL'S HOUSE - LARGE COMPOUND - NIGHT Vilial is standin’ near his classic car, whilst wearin’ a crisp black silk shirt and black trousers. Vilial has a gun in his hand which is pointed towards the temple of a beautiful girl in her mid 20’s. The beautiful girl is on her knees, cryin’ whilst lookin’ down. Vilial does not flinch, or even melts by the sight of beautiful girl in tears. Vilial simply looks at her miserable state. Vilial then proceeds to pull the trigger. But before Vilial could pull the trigger, the girl looks at Vilial, in the eyes. The girl fights her tears, and prepares to say words which will haunt Vilial forever. The conviction on the girl’s face is intense. Vilial pauses, lettin’ the girl have her last words. THE SOON TO BE DEAD GIRL (looks little fierce) You will never be happy. The girl no longers cries. The girl has prepared her self for the death that will be bestowed on to her through Vilial.

21. The girl just looks at Vilial. Vilial is still standin’ still. Vilial then finally, pulls the trigger. The bullet goes through the girl’s head. The girl falls on the ground with the back of her head landin’ flat on the ground. The girl’s white dress looks little red all of sudden. Vilial simply stands there with a gun in his hand. Vilial looks at her. Vilial then looks down, starin’ at his shoes. Vilial keeps starin’ at his shoes. Vilial’s face, his silk black shirt, his black trousers, his black shoes, his entire self is covered with blood spots. Vilial simply stands still, the words that the girl just said before her death, are somehow echoin’ loudly in Vilial’s head, not in a metaphorical sense, but literally, it’s like the girl is still alive. Vilial then slowly turns around. Vilial starts walkin’ towards the porch, with a dead look on his face. BACK TO PRESENT : INT. VILIAL'S HOUSE - PORCH - NIGHT Vilial looks little distrurbed, as if the girl’s last few words are somehow still hauntin’ him, even after months. Vilial simply stares in the front whilst sittin’ on the wooden chair. Vilial then slowly proceeds cover himself a little better with the shawl. Vilial closes his eyes. EXT. GARAGE - SOMWHERE IN MARSEILLE - NIGHT Jon arrives in his car, along with three other goons. Jon gets outta his car. The other three goons get outta the car as well. Jon has a gun in his hand. The other three goons have gun in their hands as well. All of them start to walk towards the garage. INT. GARAGE - SOMWHERE IN MARSEILLE - NIGHT The mechanic (the garage owner) hears footsteps of men walkin’ towards the garage. The shutter is closed. The orange light bulb in the garage flickers a little. The mechanix looks at it, a sign of someone sinister arrivin’ at his doorstep. The mechanic grabs his gun, and starts walkin’ towards the closed shutter.

22. THE MECHANIC (looks cautious whilst standin’ behind the closed shutter) Who’s it ? JON (from the outside) It’s me. The mechanic puckers his eyebrows. THE MECHANIC (still cautious) What do you want ? JON (chuckles) Can you open this up, so that we can talk. I’ve got another business proposition for you. THE MECHANIC (still cautious) You always call before arrivin’. How come you never called this time? JON (exhales loudly) THe situation is how do you say.... urgent. The mechanic exhales a little. THE MECHANIC (droppin’ his gaurd a little) Ok. But we better finish this up in half an hour, I’ve got another client comin’ soon. JON I’ll be gone in few minutes. Don’t worry. The mechanic nods. The mechanic then slowly opens the shutter. JON (CONT’D) (smiles as soon as he sees the mechanic) Good mornin’

23. The mechanic does not respond to his greetin’, instead his focus falls on the three odd lookin’ men with Jon. Jon walks in, along with the three other goons of his, who are dressed in formal suits. The goons slowly shut the shutter down. The mechanic swallows a lump. The mechanic looks at Jon. Jon sits on a car, the only car in the garage, which is lyin’ in the middle. THE MECHANIC (starts to sense that somethings is off) What’s this about, Jon ? JON (smiles) Nothin’, as I said, I have a business propostion for you. Jon takes out a brown paper bag outta his trenchcoat. Jon throws it towards the mechanic. The mechanic sees fresh franc bills, large denominations, in the bag. JON (CONT’D) (looks at the mechanic) You are a good man. You have always helped our organization, with yout unique skillset. This is a little token of our appreciation. The mechanic looks at Jon, and then looks at the money. JON (CONT’D) We need your help. THE MECHANIC (asks in a non chalant manner) For what ? Jon breathes a little. Jon then bites his lower lip. Jon then looks at the mechanic. JON A freelancer we hired has turned against us, has killed few of our associates, and has ran away with out money. The mechanic swallows a lump, he knows they are talkin’ about Vilial. Really ?

THE MECHANIC

24. Jon nods. JON Yeah. We are tryin’ to catch him. THE MECHANIC (looks at Jon, and then his three goons standin’ seperately in three different spots) Anyone I might know ? JON (licks his lips a little) Shepherd ? The mechanic stays quiete, but his stiff face gives it away. JON (CONT’D) (makes hand gesture) Have you seen him tonight by any chance ? The mechanic looks at Jon. The mechanic shakes his head.

No.

THE MECHANIC (with conviction in his voice)

Jon nods, still keepin’ his mask of friendliness intact. JON (mutters) Hmmmmmmmm. Jon then rubs his mouth a little. JON (CONT’D) (casual) Would happened to know where he lives ? The mechanic slowly shakes his head. THE MECHANIC Calls from the payphone prior to all his jobs, pays in cash, leaves as soon as I finish the work on his car, never sticks around to talk. Jon bites his lower lip a little. Jon then slowly gets up from the car’s bonet. Jon walks towards the mechanic.

25. The mechanic swallows a lump, but does not flinch or look rattled by Jon. Jon stands in front of the mechanic. JON You would never lie to me ? Right ? The mechanic says nothin’. The mechanic simply stands in a firm manner, holdin’ his ground, not backin’ up an inch. THE MECHANIC (disdain in his eyes / normal tone) Go fuck yourself. The mechanic throws away the brown paper bag on the ground, the money, fresh franc bills stash, falls outta the bag. Jon laughs a little. The mechanic knows that this is might very well be his end. But mechanic has never given up his clients personal information, no matter what. The three other goons start to take knives and pliers outta thier trenchcoats. The mechanic flares his nostrils a little. INT. VILIAL'S HOUSE - PORCH - BEFORE SUNRISE (BGM - A PRETTY GIRL’S PRETTY HUMMIN’ WITH SAD GUITAR STRINGS) Vilial is dressed, in a fresh crisp black suit, with his black trenchcoat lyin’ on a wooden chair. Vilial is standin’ near the stairs, with a rifle in his hand. Vilial shoots in the sky from the edge of his porch. The sky is still gloomy, with dark blue tint in it, it will take a while for sun to rise, till then darkness shall remain intact. BAMMMMMMMMM! A bird falls off. Vilial’s black cat starts runnin’ towards the spot where the bird fell off (near his entrance/exit gate), and starts rippin’ it apart, consumin’ it. Vilial sees this from a far. Vilial breathes a little. Vilial then puts the rifle (vertical) near the porch’s wooden pillar(support). Vilial grabs his tranchcoat and dawns it on. Vilial starts walkin’ towards his car. Vilial looks little better. Vilial has rifle in his one hand. Vilial keeps walkin’, we see the back of the Vilial as he wanders far off the porch. INT. VILIAL'S HOUSE - LARGE COMPOUND - BEFORE SUNRISE Vilial soon reaches near the car. Vilial grabs the door of the car. Vilial opens his car’s door. Vilial then throws the rifle in, on the seat adjacent ot the driver’s seat.

26. Vilial gets in. Vilial turns on the igntion. Vilial looks little cold, for now he knows that he will either die whilst tryin’ to kill the bastards who betrayed him, or kill and triumph somehow. Vilial swiftly circles his car, and starts drivin’ towards the main gate (entrance/exit) of his house. EXT. VILIAL'S HOUSE - BEFORE SUNRISE Vilial car swiftly moves outta his house, is now on the street which leads to the main city. EXT. GARAGE - SOMWHERE IN MARSEILLE -

BEFORE SUNRISE

Vilial pulls over his car slowly, it’s as quiete as church. Vilial gets out his car. Vilial slowly walks towards the garage. Vilial stands in front of the closed shutter. Vilial taps once. Vilial then looks down. Vilial sees blood slowly flowin’ outta the garage, it soon enoughs touches the soles of his feet. Vilial’s eyes become little narrow. Vilial soon enough realizes that the mechanic is dead. INT. GARAGE - SOMWHERE IN MARSEILLE - BEFORE SUNRISE Vilial opens the shutter. The orange bulb is still glowin’. Vilial looks around. Vilial sees the entire place has been hacked apart, all the fake passports are lyin’ on the ground, along with the fake plates, papers are torn, other tools are also lyin’ on the ground. The table has been hacked apart as well, with it’s drawers pulled out. Vilial then starts to walk forward. Vilial sees the blood, he keeps walkin’, followin’ the blood’s source. Vilial soon reaches near the dead body of the mechanic lyin’ in front of the car’s front side. Vilial walks further, reachin’ real close to the dead body. Vilial eyes, for the first time, show hint of remorse, straight out, no subtleness, just remorse. Vilial simply stands still whilst watchin’ the dead body of the mechanic, who has been hacked to death by knife, pliers, and finally shot in the head. Vilial knows that he did not give him up. Vilial bends his knees. Vilial sees the severed face of the mechanic. Vilial slowly closes the eyes of the mechanic. Vilial rubs his forehead a little, showin’ little bit of distress. Vilial then breathes a little. Vilial gets up. Vilial takes off his trench coat. Vilial puts it over the dead mechanic. Vilial despite his stone cold demenour, some how manages to come off as a man who just lost a friend.

27. Vilial looks down, stares for awhile, whilst standin’ still, lookin’ lost. Vilial then looks at the mechanic. VILIAL (empathic) Farewell. Vilial swiftly turns around. Vilial starts walkin’ outside of the garage whilst lookin’ cold. Vilial only has one thing on his mind, to kill those who are responsible for this. Vilial opens the shutter. Vilial then gets out, lettin’ go of the shutter, the shutter shuts it self as Vilial comes out. EXT. GARAGE - SOMWHERE IN MARSEILLE - BEFORE SUNRISE Vilial walks outta the garage. Vilial heads for his car. Vilial reaches near his car. Vilial then looks at the garage. Vilial then looks at his car. Vilial swiftly opens his car’s door. Vilial gets in. Vilial turns on the igntions and drives out there real swiftly. INT. VILIAL’S HOUSE - LARGE COMPOUND - MORNING We see a car parked inside the Vilial’s house’s compound. It’s Jon, and his three henchmen. INT. VILIAL'S HOUSE - LIVIN' ROOM - MORNING Jon’s three henchmen are tearin’ up sofas, lookin’ for something. Jon meanwhile is lookin’ around, processin’ the belongings of Vilial. Jon then looks at the black cat. Jon smirks a little. Jon then quickly pulls out his gun, and shotts the black cat near the sofa. The henchmen look at Jon, but continue to look for anything important to be found. Jon shakes his head. JON Hopefully the next one would be in the shepherd’s head. Jon puts his gun back. Jon then starts to head for the kitchen. INT. VILIAL'S HOUSE - KITCHEN - MORNING Jon looks at the the bloddied bowl, medical apparatus, along with scissors, and the first aid kit. Jon walks towards the kitchen counter. Jon looks at the wooden box. Jon touches it, and then looks at the bullet, the one which Vilial removed himself, lyin’ in the bowl.

28. JON He is wounded. The three henchman of Jon’s, are busy tearin’ apart everything they could find in livin’ room. Jon then looks around the kitchen. Jon walks back in the livin’ room. HENCHMAN (ONE) We found nothin’, no diaries, no adresses, nothin’. Jon exhales whilst lookin’ little bitter. JON God’s lonely man. (pause) Let’s move. Jon and his three associates begin to move out of the livin’ room, but as soon as they begin to walk out. Vilial’s phone rings. Jon pauses, so do his three henchmen. Jon turns his head, to look besides. Jon starts to walk back. Jon aims for the telephone. Jon picks up the telephone slowly. Beat. ZIA (mellow) Vilial ? Are you comin’ tomorrow to pick me up ? Jon smirks. CUT TO : EXT. SOME GANGSTER’S PUB - OUTSKIRTS OF MARSEILLIE - MORNING Vilial pulls over his car. Vilial gets out of his car. Vilial swiftly walks towards the pub’s entrance. Two bouncers point thier finger, tryin’ to tell Vilial that he can’t come in right now. Vilial quickly shoots them both with his Luger (with a silencer on). Vilial climbs the stairs, and opens the pub’s entrance gate. Vilial stands there with a luger in his hand. INT. A POSH PUB - OUTSKIRTS OF MARSEILLIE - MORNING Vilial walks in. Vilial sees rangin’ from 16-22 ) dressed some dance/performance piece present in the middle of the

lotsa of beautiful girls ( in exotic dresses, preparin’ for whilst standin’ on the stage pub.

29. All of the beautiful girls look at Vilial, all of them pause whilst lookin’ little scared. Vilial ignores them. Vilial starts to head for the office on the first floor, one where the “Roaul” will be present, the man who hooked Vilial up with Michael for this job. Vilial is walkin’ whilst lookin’ cold. Vilial reaches near circle stairs, one which lead to the office. Vilial starts climin’ them up. Vilial then reaches in front of the Raoul’s office’s door. Vilial keeps walkin’, and then all of a sudden kicks the door in a fierce manner. INT. ROAL’S OFFICE - MORNING Vilial arrives in, hot, Vilial’s eyes look little enraged. Vilial looks at Roaul. Roaul is bein’ etertained by two naked girls in thier late teens. Vilial says nothin’. Roaul sees Vilial. Roaul looks little shaken all of a sudden. Roaul is in his late 40’s but looks like he is in his 60’s. Roaul asjusts his glasses, and tucks his shirt in. The two beautiful naked girls see Vilial with a gun in his hand. Vilial just give those two girls a cold stare, both of them leave. Vilial then starts to walk towards Roaul with a luger in his hand, not pointed upwards, simply restin’ in his hand. Vilial arrives Roaul’s desk. Vilial then crosses the desk, and arrives near Roaul’s chair. Vilial takes his luger and starts movin’ it towards Roaul’s mouth. Raoul looks scared. ROAUL We can talk, alrite. Vilial puts the luger on Roaul’s mouth. VILIAL Open your mouth. Roaul shakes his head whilst lookin’ at Vilial. VILIAL (CONT’D) (whilst movin’ his index finger on the trigger, showin’ that he is serious) I won’t ask again. Roaul opens his mouth whilst lookin’ scared. Vilial shoves his gun’s tip in.

30. ROAUL (distorted voice due Vilial’s gun bein’ present inside his mouth) I don’t know anything about this, I have no hand in this, I swear to god. Vilial’s eyes are intensely lookin’ into Roaul’s eyes. Vilial starts to slowly move his index finger whilst lookin’ into Roaul’s eyes. Roaul quickly glances at the red book on his desk. ROAUL (CONT’D) (distorted voice) Please, don’t. I can give you their names, their addresses. Vilial slowly lets goes of his gun. Roaul gasps. ROAUL (CONT’D) (whilst breathin’ heavily) You’re crazy, you know ? Vilial simply stands whilst lookin’ at him. Roaul grabs his desk’s drawer. Roaul grabs a book. Roaul opens up the book. Roaul finally gets on the page where Michael’s adress is written. Roaul looks at Vilial. VILIAL (slowly) I want you to call him. Roaul puckers his eyebrows a little whilst lookin’ scared. Vilial points the gun, and shakes it, tellin’ him to pick up the phone and dial Michael. Roaul reluctantly dials the Micheal’s number. The number connects. ROAUL (stutterin’ a little whilst shakin’) Hello, Michael. MICHAEL Roual, are you okay? Vilial shoots Roaul in the head. The phone falls off his hand. Vilial grabs the phone. VILIAL (breathes in the phone and just mutters) Hmmmm

31. MICHAEL (little tension in his voice) Shepherd ? Vilial bangs the phone back in the holder. INT. MAFIA'S HOUSE - MARSELLIE - MORNING Micheal swallows a lump. Micheal puts the phone down. Micheal looks at an worn out man in his late 50’s sittin’ on a sofa. MICHAEL I don’t care if you have to torch the entire city’s hideouts, but I want this son of a bitch dead by tomorrow. The worn out man adjusts his fedora and gets up. THE WORN OUT MAN It will done. The worn out man starts walkin’ in the opposite direction, headin’ for the exit. MICHAEL (looks at the phone) One more thing. The worn out man pauses, and turns around. MICHAEL (CONT’D) I want you to bring me his corpse. THe worn out man nods. INT. ROAL'S OFFICE - MORNING Vilial then looks at the black tranccoar hangin’ in the office. Vilial starts headin’ towards it. Vilial grabs the balck trenchcoat. Vilial then wears it whilst lookin’ cold. Vilial then starts walkin’ outside the Roal’s office. INT. A POSH PUB - MARSEILLIE - MORNING Vilial starts climbin’ down the spiral stairs whilst ajdustin’ his gun’s silencer. Vilial soon reaches to the end of the spiral stairs.

32. Vilial gets off the spiral stairs. Vilial notices that all the girls have left the pub. Vilial’s attention then falls at a beautiful girl sittin’ on the stage, all by herself. Vilial starts walkin’ towards her. The beautiful girl sees Vilial walkin’ towards her. Vilial arrives near the stage. Vilial just stares at her with a gun in his hand. THE GIRL (with pure innocence) You look handsome, Mr. Would you like to dance with me ? Vilial just stares at her. Vilial then looks down, for some odd reason the girl reminds Vilial of Zia. Vilial slowly looks sideways. Vilial starts to walk towards the exit. Vilial’s footsteps become little faster, as he senses somethin’ sinister. EXT. ROAUL’S PUB - MORNING Vilial starts climin’ the quickly walks towards his then grabs the car’s door and turns the igntion on.

stairs a little faster. Vilial then car. Vilial gets in his car. Vilial open. Vilial then gets in quikcly, Vilial quickly drives aways.

EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - AFTERNOON Vilial pulls over his car. Vilial starts walkin’ quickly towards the apartment building’s entrance, the revolvin’ door. Vilial soon enough reaches near the entrance. Vilial pushes the door, and gets in. INT. APARTMENT BUILDING - 8TH FLOOR - AFTERNOON Vilial gets outta the elevator. Vilial starts headin’ towards the room 206. Vilial sees the room’s door is open. Vilial flares his nostrils. Vilial takes his gun out. Vilial slowly pushes the door, and gets in. INT. ROOM 206 - LVIING ROOM - AFTERNOON Vilial slowly starts to walk. Vilial sees the place is torn down. Vilial’s face tightens, he knows that what he will discover soon might break him beyond repair. Vilial starts to walk towards the bedroom.

33. INT. ROOM 206 - BEDROOM - AFTERNOON The bedroom’s door is half open. Vilial walks in slowly with a gun in his hand. Vilial arrives inside the bedroom. Vilial sees Zia lyin’ on the bed, dead. Vilial swallows a lump. For the first time, we see Vilial’s eyes turn moist. Vilial starts to walk further whilst puttin’ his gun back in his holster. Vilial arrives near the bed of Zia. Vilial sees Zia lyin’ on the bed naked, with blood comin’ outta her eyes. A tear rolls down outta Vilial’s eye. Vilial slowly looks at the naked frame of Zia. Vilial sees bruises on her naked frame. Vilial then sees the blue marks on her neck. Vilial touches Zia’s neck with her index finger. Vilial realizes that she was tortured first, and then finally chocked to death with hands. Vilial just looks at her face. Vilial slowly runs her index finger on her lips. Another tear falls rolls down from Vilial’s eye. Vilial slowly closes the eyes of Zia with his one hand. Vilial flares his nostrils a little. Vilial then looks at Zia’s desk. Vilial sees it’s broken as well. Vilial sees a diary lyin’ on the broken desk. Vilial starts to walk towards it. Vilial picks it up. Vilial sees sketch of him, a broodin’ man in a trenchcoat, with a red rose pressed on th page. Vilial takes out pressed red rose. Vilial puts the diary down. Vilial then looks at the red rose. FLASHBACK : ENRIQUE IGLESIAS - SAD EYES BGM EXT. THE ST PAUL’S HIGHSCHOOL’S CIRCLE

- MARSEILLE - EVENING

It’s rainin’ like hell. A beautiful girl runs a little, but see her school bus racin’ away. The girl looks distressed. The girl is in her late teens. The girl simply stands there, alone, near the school bus stop. The girl face is little broken. The girl is none other than Zia herself. Zia swallows a lump. Zia looks little worried. Zia looks at the sky. Zia has no umbrella. Soon it starts to rain harder. Zia stands there with tears in her eyes, reekin’ innocence, beauty, and a troubled mind. Meanwhile, Vilial’s car arrives from the other end. INT. VILAIL’S CAR Vilial is drivin’ whilst wearin’ a crisp black suit. Vilial is wearin’ a black trench coat on top of it. Vilial simply keeps drivin’ whilst lookin’ dead. Vilial sees a distant figure lookin’ little sad whilst standin’ in heavy rain.

34. Vilial sees that it’s a beautiful girl in a highschool uniform. EXT. THE ST PAUL'S HIGHSCHOOL'S CIRCLE - MARSELLIE - EVENING Zia catches glimpse of Vilial. Zia looks at Vilial, and for some reason licks her lips and waves at Vilial, hopin’ to catch a ride. INT. VILIAL’S CAR - EVENING Vilial sees this, but ignored Zia royally. Vilial continues to drive away, payin’ no attention to Zia’s cry for help. Vilial keeps drivin’. But something starts to eat up Vilial all of a sudden. Vilial stops his car. Zia sees this. Zia starts runnin’ whilst it’s rainin’ like hell. Vilial sees Zia headin’ towards his car, from the rear view mirror in his car. Zia soons arrives near Vilial’s car. Zia slowly steps off the footpath, and steps on the road, quickly grabbin’ Vilial’s car’s door, and openin’ it up. Zia sits in it. Zia’s slender body smells of jasmine’s cologne, her wet hair faillin’ on her face, her smooth long legs rest themselves on the Vilial’s car seat. Zia looks at Vilial. Vilial looks at Zia. Zia brushes her wet hair a back a little. Zia adjusts her khakhee colored (yellow sand colored) school shorts a little. Vilial then looks in the front, not impressed, but still one could sense that he saw somethin’ in Zia’s dememour which pulled him in. Vilial has his poker face on. Vilial accelarates, the car leaves the spot behind. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING Vilial pulls over his car near the entrance of the apartment building. INT. VILIAL'S CAR - EVENING Zia looks at the apartment builiding. Zia then looks at Vilial who is lookin’ in the front, ignorin’ her presence. Zia licks her lips with a yearnin’ desire in her eyes, the kind which is not sexual, but divine, and perhaps poignant to an extent. ZIA (sad eyes) You want to have coffee, Mr ?

35. Vilial looks at Zia. Vilial simply stares at Zia. Zia swallows a lump. Zia licks her lips a little. Vilial looks at Zia’s lips. Vilial then turns his head in front. Zia understands that Vilial does not want to be with her. Zia grabs the door’s handle, and proceeds to leave the car, but before that, she pauses, and looks at Vilial. Thank you.

ZIA (CONT’D)

Zia gets outta the car. Zia starts runnin’ towards the revolvin’ door ( the entrance/exit ) of the apartment building. Vilial looks at Zia. Vilial just stares at Zia’s rear. Vilial keeps lookin’. INT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING Zia soon enough reaches near the revolvin’ door. Zia pauses as she is about to open the door. Zia turns her head around. Zia sees Vilial lookin’ at her from his car. Vilial turns his head in the front, and leaves. Zia sees this, and turns her head, and aims for the lobby, with a sad look on her face. INT. VILIAL’S CAR - NIGHT Vilial is lost in a deep thought. Vilial is completely taken by Zia’s innocence and beauty. Vilial keeps thinkin’ about her whilst drivin’. Vilial then slowly pulls over near this diner. EXT. NOIR DINER - MARSELLIE - NIGHT Vilial gets outta his car. Vilial starts headin’ for the diner. CUT TO: INT. NOIR DINER - MARSELLIE - NIGHT Vilial is sittin’ on a stool with a coffee on the counter. Vilial is restin’ his elbows on the counter. Vilial just stares into the coffee. Bright orange bulbs flicker for a second. Vilial’s attention falls on them. Vilial then looks back into his coffee. Vilial starts thinkin’ about Zia. Flashbacks of early evenin’ come back to haunt him.

36. FLASHBACKS FROM THE EARLY EVEININ’ : Zia looks at the apartment builiding. Zia then looks at Vilial who is lookin’ in the front, ignorin’ her presence. Zia licks her lips with a yearnin’ desire in her eyes, the kind which is not sexual, but divine, and perhaps poignant to an extent. ZIA (sad eyes) You want to have coffee, Mr ? Vilial looks at Zia. Vilial simply stares at Zia. Zia swallows a lump. Zia licks her lips a little. Vilial looks at Zia’s lips. Vilial then turns his head in front. Zia understands that Vilial does not want to be with her. Zia grabs the door’s handle, and proceeds to leave the car, but before that, she pauses, and looks at Vilial. Thank you.

ZIA (CONT’D)

Zia gets outta the car. Zia starts runnin’ towards the revolvin’ door ( the entrance/exit ) of the apartment building. Vilial looks at Zia. Vilial just stares at Zia’s rear. Vilial keeps lookin’. BACK TO NOIR CAFE : INT. NOIR DINER - MARSELLIE - NIGHT Vilial just wipes his eyebrows off with the tips of his fingers, tryin’ his best to forget about Zia. Vilial’s face looks little borken. Vilial gets up, and starts to head for the exit. Vilial leaves. The cafe’s waitress looks at Vilial, and then at the Vilial’s coffee, lookin’ amuses and puzzeld by the sad eyed loner in the black trench coat, who just left the diner. INT. VILIAL'S CAR - NIGHT Vilial gets in his car. Vilial drives away. Vilial has only one thing on his head “Zia”. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - NIGHT Vilial pulls over his car. Vilial looks at the apartment building. Vilial’s eyes turn sad. Vilial looks down at the steerin’, the loneliness intensifies. Vilial just stares at the steerin’ for a while. Vilial then drives away.

37. INT. ROOM 206 - BEDROOM - NIGHT Zia looks slides her curtains, and looks down, hopin’ to see Vilial’s car, hopin’ that he would be there. But there is no one as of now. Zia slowly closes her curtain with sadness in her eyes. SUPER IMPOSE : NEXT DAY EXT. THE ST PAUL'S HIGHSCHOOL'S CIRCLE - EVENING Zia is walkin’ with an umbrealla, whilst raindrops is hittin’ her umbrella in a fierce manner. Zia’s demoenour is sad. Zia is simply walkin’ whilst lookin’ lost. INT. VILIAL’S CAR - EVENING Vilial is seein’ all of this from the other end. Vilial’s car is still. Vilial turns on the ignition. Vilial starts drivin’ towards her. Vilial soon reaches near her vicinty. Vilial flashes her lights a little, and then turns them off. EXT. THE ST PAUL'S HIGHSCHOOL'S CIRCLE - EVENING Zia pauses a little. Zia slowly swallows a lump. Zia turns around, only to see Vilial in his car, waitin’ to pick her up. Zia looks at Vilial with her glooomy blue sad eyes. Vilial looks at Zia with his gloomy dark sad eyes. Both of them stare at each other for a second, tryin’ to see who is more broken. Zia’s eyes turn little moist. Zia swallows a lump. Zia closes her umbreall, and starts to head for Vilial’s car, slowly, whilst lookin’ at him. INT. VILIAL'S CAR - EVENING Zia opens the door, and gets inside the car. Zia puts her umbrealla between her legs. Zia looks at Vilial. Vilial reciprocates a little this time. Vilial looks into Zia’s eyes, her moist eyes. Vilial then looks in the front slowly, and begins to accelrate. Vilial’s car leaves the spot soon. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING Vilial slowly pulls over his car. Zia looks at Vilial. Zia’s lips open like a cocoon. Zia bites her lips whilst lookin’ vulnurable. Vilial slowly moves his head from the road(front). Vilial slowly looks at Zia. Zia swallows a lump.

38. Vilial swallows a lump as well. Two broken souls starin’ into each other’s eyes. ZIA (whilst lickin’ her lips) Thank you. Vilial says nothin’. ZIA (CONT’D) (looks at Vilial in with longin’ in her eyes) Would you like to come up ? Vilial, as if he is a kid, slowly looks at his steerin’, with his sad eyes. Zia understands Vilial’s answer. Zia grabs her umbrealla, proceeds to opens the car’s door, and leaves. Vilial slowly turns his head. Vilial looks at Zia runnin’ towards her apartment building’s revolvin’ door. Vilial swallows a lump. Vilial sees Zia reachin’ near the revolvin’ door. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING Zia has almost reached near the revolvin’ door (entrance/exit) of her apartment building. Zia is about to push the revolvin’ door, and enter the lobby, but she pauses. Zia turns around, and looks at Vilial, who is lookin’ at her from his car. Zia swallows a lump. Vilial turns his head in front, and accelarates. Zia watches Vilial’s car leave. Zia looks down, and then looks at the direction that Vilial’s car went in. Zia turns around, and heads inside. EXT. THE ST PAUL'S HIGHSCHOOL'S CIRCLE - EVENING SUPER IMPOSE : WE MEET AGAIN Zia is walkin’ all lonesome, it’s rainin’ heavily. Zia looks back every whilst walkin, hopin’ Vilial would be there, but he is not. Zia then looks in the front, and continue to walk. And soon enough Vilial arrives in his car. Vilial stops his car. Vilial looks at Zia. Zia could sense Vilial’s presence. Zia slowly turns her head around. Zia looks at Vilial. Zia starts pacin’ towards Vilial’s car. Zia closes her umbrealla, as soon as she reaches near the Vilial’s car. Zia opens the door, and hops in. INT. VILIAL'S CAR - EVENING Zia gets in whilst puttin’ umbrella between her legs. Zia licks her lips, little nervous. Zia then looks at Vilial.

39. Vilial looks at Zia, and for the first time, sport a small(broken smile) smile with his lips. Zia smiles at Vilial, and then bites her lower lip slowly, showin’ her vulnurable state. Vilial looks at her lips. Vilial then looks into her eyes. Vilial then looks in the front, and begins to drive forward. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING Vilial pulls over his car. INT. VILIAL'S CAR - EVENING Vilial swallows a lump. Vilial looks at Zia. Zia looks at Vilial. Zia then looks down. Zia licks her lips. Vilial also look down. Vilial breathes in slowly. Vilial has look on his face, a man who is afraid of bein’ loved, afraid to get close to anyone. Zia is the other half of Vilial, broken and lost, with scars all over her soul. Zia swallows a lump. ZIA (slowly looks at Vilial with her mellow eyes) Would you.. Beat. Vilial looks at Zia with his sad eyes. ZIA (CONT’D) (continues) Like to come upstairs, Mr ? Vilial looks down. Vilial parks his car in the parkin’ spot. Vilial then turns off the igntion. Zia bites her lower lip whilst lookin’ little nervous. Zia starts to breathes little sternly. Vilial can smell her jasmine cologne. Vilial starts to breathe little sternly as well. Zia’s hand touches Vilial’s hand a little. Vilial slowly holds Zia’s hand. Vilial looks at Zia. Zia looks at Vilial. Zia’s eyes become little moist. Vilial looks mellow as well. Vilial then slowly opens his door, and gets out with his umbrella. Zia also gets outta the car whilst grabbin’ her umbrealla. EXT. APARTMENT BUILDING - POSH AREA - MARSELLE - EVENING Rain is pretty “harsh” right now, something poignant about it today, despite it’s fierce intensity. Vilial has already opened his umbrealla. Zia meanwhile is strugglin’ to get her umbrealla open. Vilial arrives closer to Zia. Zia looks at Vilial. Vilial looks at Zia. Both of them start to walk towards the apartment’s revolving door.

40. INT. APARTMENT BUILDING - LOBBY - EVENING Vilial closes his umbrealla as soon as they enter the lobby. Zia offers her hand, askin’ for umbrealla. Vilial slowly gives it to her whilst lookin’ into her eyes. Both of them start to walk toward the elevator. INT. ELEVATOR - EVENING Both of them walk in the elevator. The girl pushes the 8th floor’s button. Vilial simply stands whilst lookin’ down. Vilial clearly has fallen for Zia’s angel like persona, her angle like face, her angle like eyes. Vilial simply looks down. Zia meanwhile is lookin’ at Vilial. Soon the the elevator reaches on the 8th floor. INT. APARTMENT BUILDING - 8TH FLOOR - EVENING The elevator’s door opens. Zia walks out. Vilial follows her. Zia starts to head for the room 206. Vilial is right behind her tail. Zia soon reaches in front of the room 206. Zia takes a key outta her breast pocket ( white shirt ). Zia opens the door. Zia looks at Vilial. Vilial just stares at Zia. Zia slowly walks in. Vilial follows zia. INT. ROOM 206 - LIVING ROOM - EVENING Vilial enters. Zia is waitin’ for Vilial to arrive. Zia then proceeds to close the door. Zia puts the umbrealls near the door. Zia bends down a little to place the umbrealla properly. Vilial looks at Zia’s sensual frame as she bends down. Vilial then looks away, feelin’ guilty for some reason. Zia then gets up, and looks at Vilial. Zia smiles in a coy manner. Vilial does not smile. Vilial simply looks at Zia. ZIA (brushes her hair behind her ear) Would you like some coffee ? Vilial stares at Zia. Vilial nods a bit. Zia bites her lower lip, ZIA (CONT’D) (looks at Vilial’s trench coat) You could take your... (swallows a lump, and then proceeds to look at Vilial’s eyes) If you want.

41. Vilial nod a bit. Vilial proceeds to take his tranch coar off, Zia starts walkin’ towards Vilial. Vilial sees Zia aimin’ for him. Vilial pauses a little, as Zia arrives behind him. Zia assits Vilial. Vilial takes his tranch coat off, slowly. The sexual tension is evident. But none of them act upon it. Zia slowly takes the tranch coat, and proceeds to aim for the hanger. Zia hangs the coat in the hook. Vilial simply looks at Zia. Vilial swallows a lump. Vilial feels completely vulnurable around Zia. Zia looks at Vilial. ZIA (CONT’D) (polite) You can sit here, or... (little nervous, licks her lips) Join me in the kitchen if you want. Vilial nods a little again. Zia starts headin’ for the kitchen. INT. ROOM 206 - KITCHEN - EVENING Zia walks in, and begans starts to prepare coffee for Vilial. Vilial follows Zia. Zia looks at Vilial as he walks in the kithen. Zia smiles a little, nervous manner. Zia grabs a kettle, and pours some water in it. Zia turns on the stove. Zia starts to boil the kettle. Vilial is standin’ on the other side of the counter, with his hips restin’ on the edge of the counter, and his hands crossed. Zia looks at Vilial. Vilial looks at Zia. VILIAL (finally say somethin’) You don’t go out much, do you ? Zia swallows a lump.

No

ZIA (licks her lips)

(beat) Why ? Vilial shakes his head a little. VILIAL You look... What ? Vilial looks at Zia.

ZIA

42. VILIAL (mellow, yet somehow intense) hurt. Zia swallows a lump. ZIA You look hurt too. Vilial looks in the corner all of a sudden. Zia licks her lips. Zia slowly gets the kettle off the stove. Zia turns off the flame. Zia pours the boilin’ water into a cup. Zia then adds the coffee powder into it. Zia stirs it with a spoon. Zia then grabs the cup. Zia slowly starts to walk towards Vilial. Zia hands the cup filled with black coffee, whilst lookin’ down. Vilial takes it. But whilst takin’ the cup from Zia’s hand. Vilial’s finger touches Zia’s finger. VILIAL (licks his lower lip) I’m.. Zia looks at Vilial. ZIA (mellow sad eyes) I don’t mind. Vilial swallows a lump as Zia stands besides him. Zia rests her hips on the edge of the counter. Vilial takes a sip of coffee. Zia stands still, lookin’ like a girl who is ready to melt in the arm’s of any handsome, and kind hearted man who would give her a chance. VILIAL (looks at Zia) Your parents ? Zia licks her lower lip. ZIA (looks into Vilial’s face) They live in Pari. Vilial nods a little. Beat. VILIAL You don’t have any friends ? Zia shakes her head. Zia looks at Vilial with her sad eyes.

43. ZIA (little mellow) No one likes to be around me, I don’t know why, it gets lonely sometimes. Vilial just looks at Zia. Zia’s eyes become little moist. Zia looks down. Vilial notices that Zia is as broken as him. Zia’s eyes start to become further broken, tears slowly fall down from them. Vilial swallows a lump. Vilial puts the cup(mug) down on the counter slowly. Vilial slowly turns towards Zia. Vilial holds Zia’s face. Zia is still lookin’ down, startin’ at the floor. Vilial’s eyes turn little moist as he sees this. ZIA (CONT’D) (tries to fight her tears) I’m sorry. Vilial wipes the tears off Zia’s face, whilst cuppin’ her face gently. Zia looks up, into Vilial’s eyes. I’m sorry.

ZIA (CONT’D)

Vilial wipes her tears again. Zia then slowly proceeds to wrap her arms around Vilial. Zia then buries her head into Vilial’s chest. Vilial gasps a little. Vilial takes a long breathe. Vilial then slowly puts his arms around Zia. Zia squeezes Vilial tightly with her arms, whilst tears slowly roll outta her eyes. Vilial wraps his arms around Zia again, tightly. Zia then let goes Vilial slowly. Zia looks at Vilial. Vilial slowly brushes Zia’s hair back. Vilial then leans a little forward. Vilial’s nose is on Zia’s nose. Vilial rubs her nose. Zia’s eyes are still wet. Vilial then bumps his forehead on to Zia’s forehead. Vilial kisses Zia’s forehead. Vilial then again hugs Zia. Zia again buries her head in Vilial’s chest. It’s like both of them are healin’ each other with every moment they spend in each other’s arms. Both of them then let go of each other slowly. Zia looks at Vilial. Zia’s tears are fadin’, but her eyes are still little moist. VILIAL (little mellow) I’m not a good person. Zia looks at Vilial.

44. ZIA (looks into Vilial’s eyes, words it slowly) I don’t care. Zia slowly holds Vilial’s hand, and leans to kiss Vilial on his cheek. Vilial simply stands still. Vilial looks at Zia. VILIAL (mellow) I gotta go. Zia looks at Vilial. ZIA (longin’ in her voice) Will you come tommorow ? Vilial looks down. Vilial knows that he is invitin’ danger (death) upon Zia as well, but can’t help himself. Vilial nods. Zia bites her lower lip, and smiles a little. Zia bumps her head on Vilial’s chest. INT. ROOM 206 - LIVING ROOM - NIGHT Super impose : The Red Rose Vilial walks in with a red rose in his one hand. Zia closes the door after him. Zia looks at Vilial, still shy. ZIA (with her ever mellow eyes) Umm.. For me? Vilial nods a little, like a coy boy. Zia takes the read rose from Vilial’s hand, and smells it a little. Vilial looks at Zia. Zia puts her one hand behind Vilial’s head, and proceeds to kiss Vilial on his lips. Vilial stands still. Zia then retracts, and smiles at Vilial a little. Vilial simply looks at Zia, as if this is the first time he has laid eyes on to her. Vilial smiles a little. Vilial then holds her hand. Both of them start to head out. EXT. DESERTED AREA OF MARSELLIE - NIGHT We see Vilial’s car rollin’ in the darkness.

45. INT. VILIAL’S CAR - NIGHT Vilial is drivin’ whilst lookin’ in front. Zia is sittin’ besides her, wearin’ a formal attire, a black shirt, and black short skirt. EXT. VILIAL HOUSE - NIGHT Vilial’s car arrives, and starts to aim for the large compound. INT. VILIAL'S CAR - NIGHT Vilial’s car arrives inside the compound. Vilial pulls over. INT. VILIAL'S HOUSE - LARGE COMPOUND - NIGHT Vilial opens his car’s door, and gets out. Zia opens her side’s door, and gets out of the car as well. Zia just looks around. Zia then walks a little, and stands besides Vilial. Vilial is lookin’ at moon. Vilial flares his nostrils a little. Vilial then swallows a lump. Vilial takes a deep breathe, sighs a little. Vilial then looks at Zia. Zia smiles at Vilial. Vilial makes little room for Zia to wrap her hands around his arm. Zia wraps her hands around Vilial’s arm. Zia and Vilial starts walkin’ toward the porch. FADE TO: INT. VILIAL'S HOUSE - PORCH - NIGHT Vilial is standin’ whilst starin’ into the cemetery like concrete ruins around his house. Zia is standin’ besides Vilial. ZIA You must get lonely. Vilial for the first time chuckles (softly). VILIAL Look who’s talkin’. Zia chuckles a little as well. Zia then rests her head over Vilial’s shoulder. Vilial looks in the front. It feels like after an eon, Vilial has found someone, someone who might be his redemption. BACK TO PRESENT :

46. INT. ROOM 206 - BEDROOM - AFTERNOON Vilial’s eyes look fuckin’ tormented, filled with pain, guilt, screams of hallow. Vilial looks at Zia’s dead body. Vilial starts to walk towards Zia’s bed. Vilial face breaks further, as he arrives closer to the bed. Vilial puts the white bedsheet on Zia’s dead corpse, strechin’ it to till her neck. Vilial then puts the red rose beneath Zia. Vilial leans down, to kiss Zia’s forehead. Vilial then stands upright, with his eyes wet. Vilial looks broken, for Zia was his redemption, and now he is alone again, to suffer in this hell. Vilial just stares at Zia. VILIAL (broken) I’m sorry. (tear falls down outta Vilial’s eyes) I’m sorry for everything. (Vilial’s face cracks, as the pain of losin’ Zia becomes too intense) I’ll see you soon. (tears fall down) I’ll.... see you soon. Vilial face is broken. Vilial cries silently whilst lookin’ at Zia’s face. Vilial then wipes his tears off with his thumb and index finger. Vilial slowly turns around. Vilial starts walkin’ outside of the bedroom, but as soon as he reaches towards the door of the bedroom, he pauses, he turns his head, and looks at Zia for one last time. Vilial then looks down, his face filled with guilt, the guilt of bringin’ death upon such an angel like creature. Vilial walks out. EXT. DESERTED AREA OF MARSELLIE - EARLY EVENING Vilial is drivin’ towards his house. INT. VILIAL'S CAR -

EARLY EVENING

Vilial reaches keeps drivin’ with a broken look on his face. Vilial continues to drive, takin’ turns here, and there, aimin’ for his house. Vilial’s car soon reaches near his house. Vilial swiftly drives towards his house’s gate. Vilial’s car moves in.

47. INT. VILIAL'S HOUSE - LARGE COMPOUND - EARLY EVEINING Vilial’s face is in utter shock. Vilial’s is starin’ at his porch from his car. Vilial opens his car’s door. Vilial sees his black cat hung from the porch’s roof, roped in with a hook, with the rope around the cat’s neck. Vilial opens his mouth a little. Vilial goes in comeplete shock. Vilial breathes a little. Vilial then cleanches his jaw a little, without makin’ an angry face. Vilial swallows a lump and starts walkin’ towards his porch. Vilial soon enough reaches near his proch’s stairs. Vilial climbs the stairs slowly whilst lookin’ at his dead cat bein’ hung from the porch’s roof. INT. VILIAL'S HOUSE - PORCH - EARLY EVENING Vilial reaches near the spot where cat is hangin’. Vilial slowly looks at the dead black cat. Vilial sees a bullet in his head, with the dried blood on his face. Vilial swallows a lump. Vilial eyes start to blink a little. Vilial looks down. Vilial stares at the ground for a while. Vilial then slowly looks at dead cat hangin’ from the porch’s roof. Vilial then looks at the ground again. Vilial then looks at his house. Vilial starts to walk inside his house. Vilial stays in the house for a while. Vilial comes outta his house with shovel in his one hand. Vilial starts to walk towards the compound. Vilial’s face shows no emotions, the only emotion he showed previously in regards to his cat’s death was a mild form of shock. Vilial keeps walkin’, headin’ towards the bathtub. INT. VILIAL'S HOUSE - LARGE COMPOUND - EVENING Vilial soon reaches near the bathtub lyin’ in the large compound of his. Vilial starts to dig the ground with the shovel. Vilial continues to dig the hole, whilst lookin’ little dead inside, but showin’ no major emotions. Vilial keeps diggin’ the grave for his dead cat. Vilial then throws the shovel. Vilial breathes a little. Vilial then turns around. Vilial starts walkin’ back to the porch. Vilial keeps walkin’ untill he reahes nar the proch’s stairs. Vilial climbs the proch’s stairs. INT. VILIAL'S HOUSE - PORCH - EVENING Vilial reaches walk to the particular spot where the cat is hangin’. Vilial slowly takes a knife outta his pocket. Vilial cuts the rope off the cat’s neck, which is in his reach.

48. Vilial cuts off the rope, and removes the cat from that settin’. Vilial puts the knife back in his pocket. Vilial now holds the dead cat with his both hands. Vilial does not cry. Vilial just stares at his dead cat. Vilial holds his dead cat with his both hands, as if he is holdin’ a toddler. Vilial holds it the way men hold thier children, in order to make them feel safe, or comfortable, keepin’ them near thier chest. Vilial starts walkin’ towards the small grave that he has dug up for his dead cat. Vilial climbs down the porch’s stairs, and starts walkin’ towards the bathtub area, where the freshly dug grave is at. INT. VILIAL'S HOUSE - LARGE COMPOUND - EVENING Vilial keeps walkin’ whilst lookin’ indifferent, like a calm before the storm. Vilial soon reaches near the freshly dug up grave. Vilial looks at the his dead cat. Vilial then walks closer to the grave. Vilial slowly puts the dead cat inside the hole. Vilial then takes the shovel. Vilial starts to put back the mellow soil over his dead cat “Bastet”. Vilial eyes become less human with every ounce of soil he shovels back, it’s like darkness is takin’ over him for once and all, the one which will consume him, and blow him & his enemies intto the gallows of hell soon. Vilial is done, the hole is filled with soil again. Vilial throws the shovel aside. Vilial catches his breathe a little. Vilial then looks at the grave. Vilial just stares at it whilst makin’ zero facial expression. Vilial then moves his trancchoat. Vilial then looks at the sky, it’s gettin’ dark. Vilial then looks at his finger. Vilial has a small cat head’s ring on his left hand’s middle finger. Vilial looks at it. Vilial then bends his kness a little. Vilial fists a handful of grave’s soil. Vilial rubs it with his index finger and thumb. Vilial then slowly lets it goes from his fist. Vilial gets up slowly. VIlial looks at the grave. Vilial then looks sideways. (thief music - 1981 ) Vilial’s face turns icy, the hell will be raised. Vilial clenches his jaw a little. Vilial slowly starts to walk towards his car. Vilial looks fuckin’ death angle’s reincarnation, only way he will regain some of his humanity is if he kills all those who did this to him, and those who were close to him. Vilial reaches near his car. Vilial slowly opens the door.

49. Vilial gets inside the car, and turns on the ignition. Vilial agressively drives off his house’s compound, the mud spirts all over, as VIlial circles and starts racin’ outta his coumpound. Vilial’s car goes off on the streets. Vilial makes another sharp turn, the car now runs straight, headin’ towards the lonsome streets, which will lead to the city soon. EXT. OPERA HOUSE - NIGHT Vilial pulls over his car in the open parkin’ lot situated in front of the opera house’s stairs. The opera house is this luxurious & grand. The opera house is lit with orange bright LED lights. Vilial gets outta his car. Vilial starts walkin’ towards the stairs. The opera is closed, there is huge sign in front of the main entrance gate of the opera. But Vilial continues to walk whilst lookin’ ice cold. Vilial soons reaches near the stairs, which have red carpet on them. Vilial starts to head upwards. Vilial soon enough climbs the stairs. Vilial heads for the ticket counter besides the gate. Vilial looks at a beautiful girl in her late 20’s. Vilial just stares at her. Vilial inches further. Vilial slowly takes off his cat headed ring. Vilial puts it on the counter. The beautiful girl looks at it, she then looks at Vilial. Vilial simply stares at her with a ice cold poker faced expression. The beautiful girl takes the ring, and presses a key. Vilial looks at the entrance gate/door of the opera house. Vilial sees the gate bein’ opened for him. Vilial starts to head for the gates. INT. OPERA HOUSE - LOBBY - NIGHT Vilial gets in. The two big lookin’ bouncer type guys close the gate, both of them have a machine gun in thier hands. Vilial is unfazed. Vilial simply looks in the front. A pretty girl in her early 20’s arrives, wearin’ a cris formal attire, but short and revealin’ to keep the temperature high a little. Vilial looks at her, no emotion on his face. Vilial simply stands still. The pretty girl arrives closer, she begins to inscpect Vilial whilst lookin’ into his eyes. Vilial is unfazed. Vilial stands still whilst the pretty girl frisks him, perhaps it’s just an excuse, all she wants is to get her hands on Vilial. THe pretty girl takes out the gun from his pocket, the six shooter. The pretty girl then takes luger from his holster.

50. The pretty girl then slowly smells Vilial’s neck, she proceeds to whisper something in his ears. THE PRETTY CRAZY GIRL You’re fine. (pauses) A lot finer than I thought. The pretty girl smiles a little and retracts, fallin’ back into her normal vertical composure. Vilial looks at her. The pretty girl smirks. Vilial does not react a one bit. The pretty girl then snaps her fingers. A man aarives ( formal suited ) with a small bag, the pretty girl stands there lookin’ at Vilial, meanwhile the man slowly grabs the guns from her hand, and puts it in the bag. Vilial stands still. The pretty girl rubs her cheek with her tongue. THE PRETTY CRAZY GIRL (CONT’D) The infamous “Shepherd”. It’s an honour to have you here. Vilial just stares at her like he gives zero fucks about her. The pretty girl chuckles a little. THE PRETTY CRAZY GIRL (CONT’D) (slowly rubs his index finger over Vilial’s shoulder) Follow me. The pretty crazy girl starts to walk towards the elevator. Vilial follows her. INT. ELEVATOR - NIGHT The pretty girl walks in. Vilial follows her in. The pretty girl pushes the top floor’s and the bottom floor’s button together. The elevator starts to move. Vilial simply stands still. The pretty girl looks at Vilial, as if she would eat him. Vilial looks in the front. Soon enough the elevator stops. The eleavator’s door opens. The pretty girl gets out. Vilial follows her. INT. SECRET UNDERGROUND FLOOR - NIGHT Vilial starts walkin’ with the pretty girl.

51. THE PRETTY CRAZY GIRL My mother would be pleased to see you. Shame you don’t come too often. Vilial says nothin’. The pretty girl and Vilial keeps walkin’ in the front. Soon the gate opens. INT. QUEEN’S PUB - 1ST FLOOR - NIGHT The place is jammed, with people dancin’, and gettin’ drunk. The pretty girl slowly grabs Vilial’s hand, and starts to head towards the queen’s office. The ground floor has a stage, where every one dances. The 1st floor has just the edges, which connect with each other, the entire sqaure is hollow, with light attached on the top floor. There are various room in the way, several men and women comin’ out, and several men and women goin in. It’s a world, a dark world which breathes beneath Marsellie at night, under the queen’s watch. The pretty girl is walkin’ whilst leadin’ Vilial towards her mother’s office, it has opaque dark glasses, she could watch everything goin’ on the dance floor, and the first floor, from there. Soon enough the pretty girl reaches near the queen’s ( her mother’s ) office. The pretty girl snaps his fingers at the gaurds, the two bouncers armed with tommy gun. They open the door for her. The pretty girl then turns around, and looks at Vilial. Vilial flares his nostrils a little whilst lookin’ at her. The preety girl walks towards Vilial, gettin’ clsoer and closer, leavin’ no space between him and her. THE PRETTY CRAZY GIRL (to the bouncers) Make sure not to shoot the pretty face of the gentleman standin’ over here, incase he tries something funny in there. The pretty girl smiles. Vilial grabs her by her neck. The pretty girl laughs a little, little devilish. The bouncers move a little but she raises her hand. The bouncers fall back. THE PRETTY CRAZY GIRL (CONT’D) There he is. The pretty girl smiles a little. The pretty girl then kisses Vilial’s lips.

52. Vilial does not kiss back, he simply stands still whilst lookin’ little disgusted by her. The pretty girl laughs a little. THE PRETTY CRAZY GIRL (CONT’D) (looks into Vilial’s eyes) They’ve put a bounty on your head so big, that it will be a miracle if you make it alive through the weekend. Vilial flars his nostrils, silent, but with a violent side lurkin’ right beneath his face. THE PRETTY CRAZY GIRL (CONT’D) But then again, the shepherd never dies, am I right ? Vilial pushes her aside and starts walkin’ in. The pretty girl starts laughin’ a little, she starts to walk away. INT. QUEEN'S OFFICE - NIGHT Vilial walks in. The bouncers close the door. Vilial stats to head for the chair on the oppsite side of the queen. The queen is havin’ a cigarette, with a holder. The queen has a deck of cards in her hands. The queen is in his late early 40’s. Vilial soon reaches nar the chair. Vilial sees three naked girl sittin’ on a sofa besides the door, hooked to the gills. Vilial turns his head towards the queen. Vilial takes a seat. Vilial sits down. Vilial takes out a ciagarette. Vilial lights it up with his lighter. Vilial closes his lighter and exhales a fat smoke outta his mouth. Vilial puts the lighter in his pocket. The queen is still not lookin’ at Vilial. The queen spreads the deck of card. The queen is wearin’ a red silk dress, with a red lipstick. Vilial simply sits there whilst watchin’ the cards. Vilial then puts out his cigarette in the ashtray. The queen is starin’ at the cards. The queen picks one. The queen puts that card aside. The queen flips the card over, it’s blank. The queen then then puts the other cards in the bowl. Queen takes a red matchstick and lights it up. The queen butsn the cards inside the blowl by throwin’ the hot matchstic inside it. The cards burn, and leave a red after flame. The queen then takes the blank card and jerks it a little. The queen then proceeds to give Vilial the card. Vilial takes it. Vilial looks at it. The blank card slowly starts to take life, we start to see an image form on it, with a red ink, the shapes are vague, but they tend to become more clear after a while.

53. The image is of “Three devils, wounded, tryin’ to knife each other” Vilial puts gives the card to the queen. The queen takes it, and puts it in the bowl. Vilial looks at the queen. THE QUEEN Your death is near, my child. Vilial does not react much. THE QUEEN (CONT’D) But then again, that’s what you have been cravin’ ever since you were a kid. Vilial looks at the bowl. The queen the looks at the bowl. THE QUEEN (CONT’D) I always said that you are special, and I still belive that, Vilial. For the dark angel himself, favours you. But even he has his limits, your fate has been sealed I’m afraid, my child. Vilial breathes. Vilial then looks at the black cat arrivin’ outta from the corner. Vilial looks at it. The black cat looks at Vilial, and then meows, she starts to head towards the door. The queen sees this. THE QUEEN (CONT’D) (empathy) Would like to have her ? Vilial shakes his head. THE QUEEN (CONT’D) I’m sorry about what happened. The girl, the cat, the entire thing is too tragic. Vilial breathes a little. VILIAL Well, it’s fine. (looks at the large painting of the dark angel himself, on the wall behind the queen’s chair) I’ll see them soon.

54. The queen chuckles a little. Vilial still has his cold face on. THE QUEEN Now I know you will come. So I already had prepared this for you. Vilial looks at the queen. The queen looks at Vilial. The queen grabs a silver skull ring from underneath her table. The queen stands up, and heads towards a large rusty bathtub in the corner. Vilial stands up, and follows the queen. The queen grabs a lionesses cub which is chained near the bathtub. The queen slits it throat. The blood starts to drip from it’s throat, the lionesses cub starts to cry, but soon stops makin’ noises. Vilial is standin’ besides the queen. The queen meanwhile puts the cub on the small table beneath the bathtub. Queen looks at the red blood that has been spilled in the bathtub. The queen looks at Vilial. Vilial looks at the queen. Vilial extends his hand. The queen makes a cut on Vilial’s palm, blood drips from the VIlial’s palm, and falls into the bathtub. The queen then proceeds to put the bloodied skull shaped silver ring on Vilial’s left hand’s middle finger. THE QUEEN (CONT’D) Nothin’ will touch you till you get your revenge. But after that... (la long pause, takes a a look at Vilial’s liver) But then. Vilial says nothin’. Vilial kisses the ring of the queen. Vilial then looks at the pretty crazy girl walkin’ fromt the other direction. Vilial rolls his eyes a little. THE QUEEN (CONT’D) (chuckles a little) My daughter has a thing for dark souls. The pretty girl licks her cheek with her tongue a little. THE PRETTY CRAZY GIRL Let’s go handsome. Vilial looks at the queen, The queen breathes a little, a tint of pity. THE QUEEN I hope you find peace, my child. Vilial still has his emotionless/cold/poker face on. Vilial turns around and starts to walk.

55. The pretty girl looks at Vilial’s ring, the pretty girl smirks. The queen leaves for her desk, leavin’ Vilial and the pretty girl there. THE PRETTY CRAZY GIRL (whilst walkin’) The death ring, seems like you won’t be comin’ back here again. Vilial looks at the pretty girl. The pretty girls shakes her head. The pretty girl hands Vilial a large brown leather bag. Vilial opens it a little. Vilial sees guns, cash, and few small diaries. THE PRETTY CRAZY GIRL (CONT’D) (licks her lips) It has everything that you will need, and yeah, your clumsy guns are in there as well. Vilial gives her a yet another small eyeroll. The pretty crazy girl then looks little sad. THE PRETTY CRAZY GIRL (CONT’D) (looks at the skull shaped ring on Vilial’s left hand’s middle finger) I still hope you make it out alive. Vilial looks at her chest, then slowly starts to move upwards. Vilial looks her into her eyes. Vilial gives away nothin’, not even one expression, or an emotion. Vilial starts walkin’ away slowly. The pretty girl turns around and looks at Vilial walkin’ away with brown leather bag in his hand. Vilial soon reaches near the queen’s office’s exit door. Vilial pauses a little. Vilial looks at the queen, the queen is payin’ no attention to anything in the office, the only thing she has her attention on is her fountain pen, and a blank peice of paper, on which she is writin’ somethin’. Vilial then looks at the pretty girl, the queen’s daughter, she is still standin’ in the exact same spot, starin’ at her. Vilial then looks in the front. Vilial heads outta the queen’s office. The bouncer close the door. Vilial starts headin’ towards the exit. EXT. OPERA HOUSE - NIGHT Vilial is walkin’ towards his car with a brown leather bag in his hands. Vilial opens his car’s door, and throws the brown leather bag in the seat adjacent to the driver’s seat. Vilial then looks at his hand, the fresh wound on his palm, the fresh cut. Vilial looks at the dried blood. Vilial then looks at the skull shaped silver ring.

56. Vilial then looks at the moon in the sky. Vilial then looks at his silver ring. Vilial falres his nostrils. Vilial’s eyes turn ( little, just little, pitch black, as if he possesed ) dark for a split second. Vilial gets inside the car. Vilial then flares his nostrils and starts drives away switfly. EXT. JON’S WHORE’S APARTMENT BUILDING - MARSELLIE - NIGHT A car pulls over near the road, where other cars have been parked. Jon and his three henchman get outta the car. Jon looks around whilst adjustin’ his belt. JON Fuck, my neck hurt. Jon then twist his neck a little. Jon then looks at the apartment, the 10th floor, and smiles a little. JON (CONT’D) Yeah, I’m comin’ baby. Jon looks at one of his henchman. JON (CONT’D) You stay here, keep an eye. Jon then starts to walk, the other two other henchman start to follow Jon. The henchman near the car stands still whilst lookin’ around a little. INT. JON’S WHORE’S APARTMENT BUILDING - LOBBY - NIGHT Jon starts to walk towards the elevator, along with his two henchman. Jon reaches near the elevator. Jon pushes a button. Jon then walks in, the two other henchman follow him in. INT. ELEVATOR - NIGHT Jon breathes a little. JON I want you both to sweep the shepherd’s house again tommorow, see if we find anythin’. Jon scratches his neck a little. JON (CONT’D) If I get my hands on this son of a bitch, I’ll skin him alive.

57. The elevator opens. Jon slowly gets out of the elevator. Jon starts to walk towards the room number 7. Jon looks at his two henchman. JON (CONT’D) See you in an hour, fellas. The pretty whore of Jon’s ( in her early late 20’s) opens the door. Jon smiles, and walks in. INT. ROOM 7 - LIVIN’ ROOM - NIGHT Jon nurses his neck a little. Jon’s pretty young whore closes the door, but swallows a lump whilst doin’ so. JON I want you to massage my neck after we are done. (presses his neck) God, it has been a fuckin’ rough day. Jon takes his shirt off. Jon starts to head for the bedroom. The pretty young whore follows Jon. INT. ROOM 7 - BEDROOM - NIGHT Jon enters the bedroom. Jon tries to turn on the lights, but lights don’t turn on. JON What’s with the lights ? The pretty young whore adjusts her satin bathrobe a little. THE PRETTY YOUNG WHORE (her throat’s little dry) Oh, the lights have not been workin’ since the mornin’. Jon shakes his head, whilst lookin’ at the open window, little silver (moon’s) light illuminatin’ the room a little. JON Who needs lights anyways ? Am I right ? The pretty young whore smiles a little, The pretty young whore then takes off her satin bathrobe, and lies on the bed. Jon takes outs his gun, and puts it on the table. Jon then smiles, and tries to get on top of the pretty young whore.

58. The pretty young whore for some odd reason start cryin’. I’m sorry.

THE PRETTY YOUNG WHORE

Jon swallows a lump. JON What’s wrong baby ? The pretty young whore cries a little more. Vilial slowly emerges outta the shadows ( from the curtains near the window ), with a silencer gun in his hand, he is also wearin’ white rubber gloves. Jon swallows a lump as he gets on his back, and sees Vilial standin’ with a gun, lookin’ menacingly calm, and cold. VILIAL (calm yet intimidatin’) Once I kill you, (preapres to aim for Jon’s head) I will head to your home, and I will put a bullet inside your dog, and your wife’s head. (nods a little) Yeah (beat) But I won’s shoot your daughter, oh no. Jon swallows a lump. VILIAL (CONT’D) I will bash her fuckin’ head with a hammer, yeah, that’s what I’ll do. JON (swallows a lump) Look, we could talk. (raises his hand, tryin’ to calm Vilial) It wasn’t me, it was Michael, he told me to. Before Jon could say finish, Vilial shoots the young whore in the head, Jon just gasps a little, before he could process anythin’, Vilial shoots him in head. Vilial then quickly aims for the brown leather under the bedroom’s king sized bed. Vilial grabs the bag. Vilial puts it on the bed. Vilial grabs the sniper outta it. Vilial starts moutnin’ a silencer on it. Vilial starts to aim for the window.

59. Vilial looks at the retarded ugly hencman standin’ near Jon’s car, lookin’ at the road. Vilial closes his one eye. Vilial preapres to get a good aim. Vilial breathes a little. Vilial then pulls the trigger. EXT. JON'S WHORE'S APARTMENT BUILDING - NIGHT The henchman fallss the fuck over on the ground. INT. ROOM 7 - BEDROOM - NIGHT Vilial starts to head back towards the bed. Vilial puts the sniper rifle on the bed. Vilial unmounts the silencer. VIlial then slowly puts the sniper rifle, and the silencer in the bag. Vilial then closes the brown leather bag. Vilial then lights up a cigarette. Vilial takes out a mutter gas bomb. Vilial then puts on a mask. Vilial starts headin’ out, into the livin’ room. INT. ROOM 7 - LIVIN' ROOM - NIGHT Vilial has a gasoline tank ready on the sofa. Vilial pours the gasoline tank on the sofas. Vilial then throws the mutter bomb near the door. VIlial lights up the sofa, and the heads for the corner with his brown leather bag. EXT. ROOM 7 - SMALL LOBBY - NIGHT It’s quiete as chruch over here. The henchman are standin’ near the door, in thier positions. But soon they start to see the smoke risin’ from the door’s gap. Both of them look down, and immediately proceeds to open the door. INT. ROOM 7 - LIVIN’ ROOM - NIGHT Both of them arrive and start to smell the mustard gas and start coughin’ whilst coverin’ thier mouths, and noses. Vilial quickly shoots them both whilst standin’ in the corner adjacent to the door. Both of them fall down. Vilial starts to head out with his mustard gas mask on. Vilial puts the gun in the brown leather bag, and starts to walk outta the room 7, like a boss. Vilial closes the door. Vilial takes off his mask. Vilial starts to head for the elevator. EXT. JON'S WHORE'S APARTMENT BUILDING - NIGHT The tenth floor is burnin’ hot. Our attention slowly falls on the street behind the apartment building.

60. Vilial is walkin’ towards his car. Vilial grabs his car’s door open. Vilial throws the brown leather bag in. VIlial then hunches, and gets in his car. Vilial settles in quikcly, and turns on the igntion, and drives away with a blank expression on his face. EXT. MICHAEL’S PUB - NIGHT It’s a five storey building, near a train path, which stands tall. It is surrounded by numerous other musty old buidlings. Michael’s pub is located in the criminal area of Marsellie. The pub is the hub for all the sahdy and illegal activities. Michael often chills in his magnanimous pub, with all his griefreinds, sometimes conducts buisness deals over here. The pub has an old school look to it, it’s highly ventilated, it has two floors, but all of them are have a spiral like stairs, with the centre, which happens to be hollow, dance floor, Micheal’s office is on the second floor. EXT. A BUILDING NEAR MICHEA’S PUB - NIGHT It’s a run down buildin’ with no residents, it’s a ghost buildin’. It has seven floors. INT. A BUILDING NEAR MICHEA’S PUB - SIXTH FLOOR - NIGHT The floors is filled with broken glasses, debris, and musty old cement bags. There is no light over here, just the moonshine which illuminates certain parts of the dark floor. The windows are broken, with co webs on them. Our attention now falls on a man aimin’ at the entrance of Michael’s pub. Vilial is takin’ an aim from the cover. Vilial turns his neck a little. Vilial then looks at a timer in his hand. Vilial then looks at his wrist watch. Vilial takes deep breathe. Vilial slowly retracts. We see a contraction, with wires and red led over the sniper rifle. Vilial clicks it. Vilial then looks at his timer (remote like device). Vilial then starts to head for the other window, the one adjacent to the previous window. The window has a sniper rifle on the tripod, with a similar contracption, wires and red leds, and a button. Vilial looks at his watch. Vilial then clicks on the button of the sniper’s contraption. Vilial then takes out another timer( remote like device ), marked number 2. Vilial then looks above.

61. INT. BUILDING NEAR MICHAEL’S PUB - SEVENTH FLOOR - NIGHT There is large machine gun, with wires, and red led like dots on it. It has a timer on it, which is turned on. INT. BUILDING NEAR MICHAEL’S PUB - SIXTH FLOOR - NIGHT Vilial lights up his cigarette whilst turnin’ around. Vilial starts to aim for the run down, old elevator. Vilial smokes like a boss, a man with nothin’ to lose. Vilial flicks his cigartte away when he reaches near the elevator. EXT. MICHAEL'S PUB - THE LARGE METAL DOOR - NIGHT Four bouncers are standin’ with machine guns in their hands. The crowd is comin’ in and out, some are little drunk, most of them have beautiful girls ( smuggled, sex slaves from Eastern europe mostly ). Everything is goin’ smoothly. But. INT. BUILDING NEAR MICHAEL'S PUB - SIXTH FLOOR - NIGHT The sniper’s red led turns green. The sniper one fires itself. EXT. MICHAEL'S PUB - THE LARGE METAL DOOR - NIGHT The bullet hits one bouncer. He drops fuckin’ dead. The crowd starts to panic. The bouncers look at the buildings, but are unsure which one it was. Another bullet hits another bouncer, but in the shoulder, he falls down. Crowd starts runnin’ around, there is pure chaos. Two bouncers quikcly look at the buildin’ from where the shot was fired. Both of them take cover. THE BOUNCER EK (in his walkie talkie) A shot’s been just fired, I want the A Team to scoop the buildin’ on the right, I repeat a shot has been fired, possible sniper on the sixth or seventh floor. INT. MICHAEL'S OFFICE - NIGHT Michael watches his pub’s security head lookin’ little nervous, the security head starts to head out whilst lookin’ at Michael. Micheal and his business partner look little rattled.

62. There are beautiful girls in the office dancin’, whilst drinkin’. Michael and his partners are sittin’ in the corner, sofas, round table, drinks on the table. MICHAEL What the fuck is goin’ on ? THE SECURITY HEAD There is a sniper sitiation, I reccmmend you, that you do not leave the office, sir. Micheal and his business partners get up. Michael heads near the galss window, the dark tinted glass window, from where he could see the entire dancin’ stage on the ground floor. Michael looks down, everyone on the floor is dancin’ to the loud music whilst the red lights are glowin’, funky mood all around the place. But soon they start to scream, and run around, utter choas breaks out as the machine gun starts firin’ itself at the front of the pub’s entrance, all of them start headin’ for the exit, the other floors, a palce to hide, it’s madness over here. Michael swallows a lump. DEAN The shepherd ? Micheal takes a deep breathe in. MICHAEL I’m afraid so. DEAN (little rattled) What now ? MICHAEL Nothin’, he will come here, and I will shoot him in the head. Michael lights up his cigarete whilst lookin’ little fierce. Dean and his associates shake thier head. DEAN This is madness. You are mad. I know.

MICHAEL

Michael exhales the smoke from his nose.

63. EXT. MICHAEL'S PUB - THE BACKDOOR ENTRANCE - NIGHT A team of black dressed, army like uniforms, start to head out with machine guns in thier hands. EXT. MICHAEL'S PUB - THE LARGE METAL DOOR - NIGHT Another sniper shot is fired. Someone from the runnin’ crowd in front of the metal door gets shot in the head, she falls down. The bouncers starts shootin’ at the buildin’, but the attempt is futile, it’s too far, and too above. Meanwhile Vilial starts walkin’ whilst wearin’ a crips silk black shirt, a black trouser, with a tommy gun strapped on him, a gun in his pocket. And belt with mustard gas bombs. Vilial also has a mask in his one hand. Vilial is unfazed. Viilial simply clicks on the timer ( remote ), the shootin’ stops. But the crowd is still runnin’ around. The crowd is runnin’ around, like headless chicken. EXT. MICHAEL'S PUB - THE LARGE METAL DOOR - NIGHT Vilial throws a mustard gas at the bouncers who get up from thier covers as soon as the shootin’ stops. Vilial wears the mask. Vilial then throws another mustard gas bomb. The crowd along with the bouncers start to choke. Vilial sprays bullets in the air with his tommy gun, like a madman, but with calm and icy cold demenour. Vilial soon gets near the metal gate. Vilial shoots the bouncers in the head quickly by takin’ out a gun from his pocket. Vilial then walks in, headin’ inside the pub, arrivin’ on the ground floor. INT. MICHAEL'S PUB - GROUND FLOOR - NIGHT Vilial looks up at Micheal’s office directly, whilst standin’ at the bottom floor. Micheal looks at vilial. Michael looks unfazed. Vilial still has amustard gas mask on. Vilial then looks in the front, the crowd is runnin’ around like headless chicken. Vilial shakes his head a little. A shot is taken on Vilial’s heart. Vilial feels the blow and his right side (one with the plate on it) falls behind a little. VIlial instantly shoots the henchman on the second floor who aimed at him. Vilial twists his neck a little. Group of henchman come above from the third floor to the second floor, preparin’ to aim at Vilial.

64. vilial looks unfazed, Vilial starts walkin’ towards the other side whilst takin’ out two smoke bomb and throwin’ it. The smoke bomb hits instantly, risin’ a thick cloud of smoke. Vilial clicks on his mask, a small red led glows. Vilial keeps walkin’, the gaurds on the second floor look confused, but fire anyways, randome people from crowd die, lot of people in the crowd start screamin’ on top of thier lungs. Vilial meanwhile is headin’ towards elevator. Vilial grabs a woman and throws her in the elevator. Vilial gets inside the elevator with her. INT. ELEVATOR - NIGHT Vilial pushes the button for the first floor. INT. MICHAEL'S PUB - FIRST FLOOR - NIGHT The red lights of the pub are now lookin’ like a fire alarm, instead of funky party lights. Vilial arrives on the first floor. The henchman are lookin’ down, scannin’ for Vilial. The henchman quickly starts to shoot in the crowd whilst lookin’ angry and confused, but as soon as the elevator opens, thier attention falls on it, they start to shoot the elevator, sprayin’ it with bullets, but a mustard bomb is already dropped at them by Vilial. The bullet hit the poor girl who is bein’ used by Vilial as human shield. HENCHMAN * (shootin’ wildly at the elvator) Die motherfucker!!! It’s Vilial’s turn. Vilial starts shootin’ at them as they begin to choke. Vilial throws the girl in the front. Vilial gets out whilst punchin’ a henchman in the face, another henchman tries to slice Vilial with his big shiny returant knife, one which could skin a crococdile. Vilia dodges, but it slices his shoulder a little, cuttin’ the tommy gun strap, and a bit of his shoulder collar bone’s skin. Vilial punches him, and shoots him with his luger. Vilial then shoots two other henchman who try to attack him whilst bein’ choked by the mustard gas. Vilial then gets shot on the chest again. Vilial’s plate takes the blow, but he falls down on the ground. Vilial quickly clenches his fist, a contraption shoots a fuckin’ long metal nail like thing, it goes throught the fuck who shot him from the third floor. Vilial gets up, but other one from the side starts shootin’ him with a huge machine gun, attached to him, he is a big boy, a big, a massive henchman.

65. Vilial jumps into the elevator, and slouches down, the bullet are hittin’ the middle portion of the elevator’s door’s edge, Vilial then throws a smoke bomb whilst garbbin’ a dead corpse of a henchman lyin’ on the eleavtor’s floor. The massive henchman is firin’ at Vilial with everything he has got in him, arrivin’ closer, ingorin’ the smoke, just firin’ like hell. Vilial gets up whilst grabbin’ the dead henchman’s corpse. Vilial gets out, the bullets hit the dead henchmans;s corpse. Vilial takes out his luger and shoots, the bullet hits the massive henchman’s shoulder. THE MASSIVE HENCHMAN (lettin’ go his huge machine gun whilst moanin’ a little) Aaah!! Vilial flares his nostrils, we can’t see it, but we know he is fuckin’ angry. Vilial starts runnin’ towards him. Vilial jumps on him, and strikes him on the top of his head with his fuckin’ elbow, the massive henchman falls of the rusty black metal railin’, on to the Ground floor. Vilial barely saves himself from fallin’, by grabbin ‘ the metal railin’. Vilial climbs back on the safe side again. Vilial sees other team of henchman arrivin’, and shootin’ at him. Vilial starts runnin’ towards the spot near the elevator, whislt throwin’ smoke bomb, the red lights make the smoke look red. The group of jump on to the second floor directly from the thrid floor’s rusty black railings, by hangin’ themselves, and swingin’ down on the first floor. Vilial is simply waitin’ for his perfect window of oppurtunity. All of them start shootin’ at Vilial whilst headin’ for him, the L shape manuver, tryin’ to reach the spot behind the elevator, one with stairs nearby. Meanwhiel other team of henchmen arrives from the spiral stiar case near the elevator, they are about to shoot at Vilial, but Vilial shoots at them with the tommy gun he found on the floor, but they have somehow forced Vilial to run from the safe spot. Vilial throws a disc like bomb at the group of henchmen arrivin’ from the other side ( the ones who jumped on the first floor ) whilst runnin’, headin’ for the jump. Vilial clenche his feet, a black wire like arrow hits the roof of the bulidin’, dom. Vilial grabs the wire whilst jumpin’, and swingin’ towards the other side. The bomb explodes, killin’ the henchmen over there. Vilial is about to make it, but his wire gets cut, by the henchman’s thrown knife. Vilial falls on the edge of the metal railin’ instead of the safe side.

66. Vilial grunts a little but tries to climb up. The henchman who threw the knife, senses a perfect oppurtunity, he takes out his gun, and aims for Vilial who is tryin’ to pull himself up, he shoots at Vilial’s head, but as soon as he shoots, Vilial’s hand slips, and the bullet misses Vilial’s head. INT. MICHAEL'S OFFICE - NIGHT Micheal falres his nostrils whilst hittin’ the glass window. MICHAEL Stupid son of a bitch. Dean and his associates along with the girls have hidden in the corner, behind the table. Michael turns his head behind a little. Michael sees this. Micheal shakes his head, and turns his head again, watchin’ the live theatre, and his soon to funeral arrivin’ closer and closer to the second floor. MICHAEL (CONT’D) Can someone kill this fuckhead for lord’s sake. INT. MICHAEL'S PUB - FIRST FLOOR - NIGHT Vilial turns around and clenches his fist, shoots at the henchman on the third floor, the metal ( long nail ) object launches itself, and heads toward’s that henchman’s neck, peiecin’ it, the henchman falls off the railin’ whilst holdin’ his neck. Vilial meanwhile tries to pull himself upwards. INT. MICHAEL'S OFFICE - NIGHT Micheal shakes his head. Micheal takes out his gun. MICHAEL Sometimes you have to do things on your own. Michael starts to head outside the office. Dean and his associates see this. Dean gets up. DEAN Are you stupid ? You will get us all killed, stay the fuck in. Michael is walkin’ towards the door. Michael turns around.

67. MICHAEL You know I always hated your risk averse behaviour, Dean. I have never furbished you with this griveince till now. Michael then shoots Dean in the head. His twin brother, and his associates gasp. Michael looks at them. MICHAEL (CONT’D) Any one else care to raise any objections. All of them just stay quiete. Michael then gets out of the office. The two bouncers look at Michael. BOUNCER 0) (tryin’ to push Michael in with his one hand) Sir I would advise you to stay Vilial shoots him in the head, the other bouncer tries to shoto at Vilial, and takes a shot quickly, but misses, and hits his shoulder instead. Vilial who has arrived on the third floor, the other side of the office, grunts a little as the gun slips away from his hand. Michael meanwhile shoots at Vilial. Vilial ducks a little, and takes a cover, bein’ unscathed by the bullet. Vilial grunts a little whilst nursin’ his shoulder a bit. Vilial grabs another gun outta his pocket. Vilial then grabs a smoke bomb and throws it. Michael signals his bouncer to head for Vilial from the other side. Michael then starts to walk from the other side, the idea is to double cross Vilial, fry him up with bullets comin’ from the both sides, or atleast one side, incase he manages to counter one. Vilial still has his mask on. Vilial knows he is bein’ hounded, two men comin’ from two different sides. Vilial simply lights up his cgiarette whilst lookin’ unfazed by the impednin’ doom. Vilial takess the smoke in, and tosses the cigarete away behind. The cigarette falls off, Michael sees this as he puckers his eyebrows. MICHAEL (tightens his grip on the gun whilst walkin’ slowly) Man’s deranged. Micheal is gettin’ closer, the bouncer is gettin’ closer as well. Vilial throws mustard gas bomb at Bouncer’s side.

68. Michael sees this, he sees bouncer gaspin’ for breathe as soon as he reaches the spot, despite havin’ his mouth covered with his one hand. Vilial is still lyin’ low. Vilial then takes off his plate and throws it away. Vilial closes his eyes. MICHAEL (CONT’D) (loudly) Don’t believe in playin’ fair, do you ? Vilial preapres his gun whilst keepin’ his eyes closed. Vilial takes out a disc bomb, and fits it near the spot he is sittin’. Vilial swiftly gets up and shoots Michael in the head. Michael falls off the railin’. Vilial then turns to shoot the bouncer who is coughin’, but the bouncer shoots in a haywire manner at Vilial. But Vilial maganges to shoot him in his neck with his injured right arm. The bouncer falls down. Vilial then grunts a little. Vilial then starts to walk towards the office. Vilial takes off his mask. Vilial throws it, it falls on the ground floor’s dancin’ stage. Vilial face has little bruises, bloody spots. Vilial is calmly headin’ for the Michae’s office. Meanwhile, the disc bomb blows it self up, creatin’ a fire like effect in the background. Vilial soon reaches near the office. INT. MICHAEL'S OFFICE - NIGHT Vilial kicks the door open, and walks in. Vilial looks as if he just wants to finish his homework, and die, or sleep, cause the pain is catchin’ up with him finally. Vilial grunts a little whilst lookin’ around. Vilial looks at Dean’s twin brother and his associates hidin’ behind the table. Vilial throws a smoke bomb. The girls, and the assocaites starts coughin’. Vilial watches them cough and wave hands. All fo them get outta the table, and start to run for the exit. Vilial starts shootin’ at them, killin’ them, as if this is some video game. Vilial kills four men, three girls, bullets in them. Mission accomplished. Vilial then breathes a little. Vilial lights up a cigarette. Vilial takes a moment. Vilial is tired. INT. BUILDING NEAR MICHAEL'S PUB - SIXTH FLOOR The team which was supposed to take out the non existent sinper, is here. They start to sweep the area, but as they reach to the floor, and start to move around, a tick tick sound occurs.

69. All of them look at each other, by the time they realize that the floor is filled with mines and bombs, it’s too late, the floor explodes, along with the elevator, killin’ them all at once, and makin’ an epic explosion. INT. MICHAEL'S OFFICE - NIGHT Vilial is smokin’ whilst nursin’ his shoulder. And then all of a sudden, he hears group of henchmen arrivin’, headin’ for the first floor’s stairs. Vilial exhales a little. Vilial sees the gas cylinder in the corner, attached to a stove. Vilial puts out his cigarete and starts to head for the gas cylinder in the corner. Vilial unhooks the gas cyclinder. Vilial lifts it a little, and starts to circle it, whilst headin’ for the office’s exit door. Vilial soon reaches near the door. Vilial closes the door. Vilial then places the gas cyclinder near the door. Vilial then grabs a bottle of whiskye, and starts to slowly pour it, whilst headin’ towards the window on the other side. Vilial reaches near the other side. Vilial opens a window. Vilial throws the bottle on the floor. Vilial sees there is not emergency exit stairs or anything, just the concrete ground, if he jumps. Vilial breathes a little. Vilial notices a car below. Vilial then sees a pipe near the window. Vilial gets on the ledge. Vilial takes out his lighter as the footsteps become audible. Vilial flicks the lighter, and throws it on the floor whilst garbbin’ the pipe. Vilial starts to climb down, but the flame soon lighten up, and travels staright to the gas cyclyder, a cracklin’ sound of explosion occurs, along with the damagin’ effects, killin’ all the henchmen who arrive near the door. EXT. MICHAEL'S PUB - BACKSIDE - NIGHT Vilial’s hand meanwhile slips, he falls down on the car parked right close to the buildin ‘s wall. Vilial does not move one bit, the car’s roof has become some what distorted. Vilial simply lies on the roof, with his face buried on the car’s roof. Vilial the grunts a little. Vilial finally starts to get up a little. Vilial looks broken, mentally, and physically. Vilial staightens his spine whilst gettin’ up. Vilial grunts. Vilial then slowly tries to get off the car, but falls down. Vilial stays there for a second or two, then tries to get up again. Vilial finally gets up, slowly. Vilial starts to walk, limpin’ a bit. Vilial starts to head for the car on the other side. Vilial keeps walkin’ (limps a little). Meanwhile the fumes are comin’ from Micheal’s office’s window.

70. Vilial keeps walkin’, and soon reaches near the car. Vilial takes out his gun and shoots the car’s glass, the glass breaks. Vilial then pushes the glass, it falls down on the driver seat. Vilial opens the car’s door. Vilial then grabs the glass and throws it out. Vilial gets in. Vilial eyes are red, bloddied, his face is bruised, his clothes are dirty, filled with dust, and blood spots on some areas. Vilial wires the car, the car turns up. Vilial drives away from the scene. EXT. AN ABADNONED CHURCH - NIGHT Vilial arrives in his car. Vilial grunts whilst openin’ the door. Vilial gets out whilst lookin’ distressed (the physcial toll). Vilial starts to walk towards the payphone (limpin’ a little). Vilial soon reaches near the payphone. INT. PAYPHONE NEAR AN ABADNONED CHURCH - NIGHT Vilial opens the door. Vilial takes out a silver coin. Vilial drops the silver coin in to the payfone. Vilial then dials triple six- triple six. Vilial waits for line to connect. The line connects. INTERCUT WITH : INT. QUEEN'S OFFICE - NIGHT Queen picks up the phone. Meanwhile the queen’s daughter is sittin’ in a sofa near the her mother’s (queen’s) desk. QUEEN (slowly)) You never fail to surprise me, my child. VILIAL (grunts a little) Yeah, I’ll need a room. QUEEN My door is always open for you, my child. VILIAL (clenches his jaw a little, pain is gettin’ intense) Ahh.. I never said thank you.

71. QUEEN (non chalant) And you won’t have to. Vilial swallows a lump. Vilial is about to put the phone down, but Queen.. QUEEN (CONT’D) One more thing.. Vilial puts the phone back to his ear. Vilial eyes all of sudden turn sharp. QUEEN (CONT’D) Michael was just a pawn, the “Saints” are beleived to be involved in it. Vilial breathes. Hmmmm.

VILIAL

QUEEN We will talk about it all once you reach here. I suppose you might need a few stitches. Vilial breathes a little whilst touchin’ his chest, the sharp pain strikes him as he breathes, his face looks in anguish. VILIAL (dead pan, whilst lookin’ in pain from all the physical torment his body faced tonight) Yeah, few stitches, that’s about right. Queen chuckles slowly. QUEEN You have not changed on bit. Queen’s daughter shakes her head whilst smilin’ a little as she hears her mother say this. Vilial cuts the phone, and proceeds to walk outta the payphone.

72. EXT. AN ABANDONED CHURCH - NIGHT Vilial walks (limps a bit) whilst walkin’ towards his car. Vilial soon reaches near his car and opens his car’s door. Vilial then fires up his car, and leaves the area. EXT. DESERTED AREA OF MARSELLIE - NIGHT ( Bird’s eye view ) Vilial’s car is seen inchin’ forwards, takin’ turns, headin’ towards his house, the one he will torch soon. INT. VILIAL'S CAR - NIGHT Vilial looks in pain, but is somewhat okay with it. EXT. VILIAL’S HOUSE - NIGHT Vilial’s car soon arrives. Vilial’s car goes throught the gate of the house. INT. VILIAL’S HOUSE - LARGE COMPOUND - NIGHT Vilial drives his car, and parks it near the stairs of his house’s porch. Vilial gets out of his car. Vilial starts walkin’ a little, and soon reaches on the porch’s stairs. Vilial climbs them. INT. VILIAL'S HOUSE - PORCH - NIGHT Vilial reaches on the porch’s stage. Vilial walks straight, headin’ for his house’s door. INT. VILIAL'S HOUSE - LIVIN' ROOM - NIGHT Vilial arrives in the livin’ room. Vilial grunts. The house is dark, in ruins, all the furniture and stuff is ripped apart from the previous fiasco. Vilial starts to head for the kitchen. INT. VILIAL'S HOUSE - KITCHEN - NIGHT Vilial soon reaches near the cupboard in the kitchen, and opens it. Vilial takes a bottle of painkillers and pops few. Vilial then takes a powder. Vilial sprinkles it on his shouler.

73. VILIAL (screams a little) Aahhhh.. fuck. Vilial throws the powder away. Vilial heads for the sink, and drinks bit of water. Vilial heads in the corner, and grabs couple of gasoline tanks. Vilial pours it in the kitchen. But Vilial’s then looks up as soon as he senses something sinister, footsteps. Vilial looks at his house’s door. EXT. VILIAL'S HOUSE - NIGHT A dark car with dark tinted glasses, pull over near Vilial’s large metal gate. Four henchmen ( the one is thier leader, the worn out henchman ) get out with shot guns in thier hands. All four of them start walkin’ into Vilial’s house. INT. VILIAL'S HOUSE - LARGE COMPOUND - NIGHT Four of them are walkin’ towards the house’s porch, lookin’ cold, wearin’ black trenchcoats, and formals underneath it. INT. VILIAL'S HOUSE - KITCHEN - NIGHT Vilial is no where to be found. INT. VILIAL'S HOUSE - LARGE COMPOUND - NIGHT All of them reach near the house’s porch. All of them take a look at Vilial’s car whilst reachin’ near the porch. All of them then slowly climb up the couple of stairs, and arrive on the porch’s stage. INT. VILIAL'S HOUSE - PORCH - NIGHT The worn out henchman ( large and buff ), throws a grenade into the livin’ room. It soon explodes. All of them walk in Vilial’s livin’ room. INT. VILIAL'S HOUSE - LIVIN' ROOM All of them look at the run down state of the livin’ room, and house in general. The worn out henchman ( leader ) snaps his fingers. The three scatter away, slowly headin’ into different direction. One heads for the kitchen. The other one heads for the first floor. The third one heads for the bedroom on the ground floor. The worn out henchman stays in the livin’ room.

74. INT. VILIAL'S HOUSE - FIRST FLOOR - NIGHT The henchman arrives on the floor, and slowly look around. The henchman then sees a bedroom’s door open. INT. VILIAL’S HOUSE - FIRST FLOOR - BEDROOM - NIGHT The henchman slowly enters the bedroom with a shotgun in his hand. Vilial emerges from the side, grabs the shotgun, as the henchman sees him, and fires, but the shot goes haywire, in the air. Vilial slices the henchman’s throat with his knife. But the shot was loud enough for others to take notice. INT. VILIAL'S HOUSE - LIVIN' ROOM - NIGHT The worn out henchman hears the shot, and looks little more alert. Other two henchman that have been on the ground floor, starts headin’ for the first floor. INT. VILIAL'S HOUSE - FIRST FLOOR - NIGHT The two henchman are climbin’ the stairs whilst lookin’ real alert, treadin’ slowly and carefully. Both of them arrive on the first floor, whilst lookin’ at the doors. There are two doors, one which lead’s to the bedroom, and the other to a small storage room, both of them are open. Both the henchmen walks slowly with thier shotguns ready to shoot. Both of them then see the dead body of thier collegue lyin’ in the bedroom, from the narrow section, the lobby between the bedroom and the storage room. Both of them look at each other, one signals him to head for the storage room. INT. VILIAL'S HOUSE - FIRST FLOOR - STORAGE ROOM - NIGHT The henchman arrives in the storage room, but soon is met with a shot in his stomach from the side. Vilial emerges from the dark corner. INT. VILIAL'S HOUSE - FRIST FLOOR - NARROW LOBBY - NIGHT The henchman hears this runs outta the bedroom, he sees Vilial arrivin’ outta the storage room. The henchman is about to shoot, but before that Vilial shoots him in the heart. But as soon as VIlial shoots him, the worn out henchman, the last remainin’ henchman takes a shot at Viial’s liver side, the bullet goes in.

75. Vilial’s hand goes little weak, as he takes the blow. The worn out henchman takes another shot, as Vilial swiftly turns around, and heads inside the storage room, the shot connects to Vilial’s shoulder ( the one which was not injured ). Vilial drops the gun as he vanishes inside the room. The henchman quikcly climbs the spiral stairs as he hears Vilial droppin’ the shotgun. The henchman arrives on the first floor. The henchman throws away his shotgun, and grabs a knife. INT. VILIAL'S HOUSE - FIRST FLOOR - NARROW LOBBY - NIGHT The henchman arrives, treadin’ slowly, his eyes on the storage room. Soon enough he arrives near the storage room. INT. VILIAL'S HOUSE - FIRST FLOOR - STORAGE ROOM - NIGHT The henchman arrives, and looks around slowly, the moonshine is lighenin’ up certain parts of the room, comin’ from the open window of the storage room. The henchman sees lotsa of paintings, lotsa of portaraits of women, naked women. The henchman scans the room. Vilial sees invisible, but by the time the henchman realizes that Vilial is comin’ from behind, from the beneath of the door. The henchman turns around. The henchman tries to slice Vilial, but Vilial grabs his hand. The henchman bashes his head on Vilial’s forhead. Vilial weakens a little. The henchman grabs Vilial’s throat and pushes him on to the back of the wall, and proceeds to stab Vilial in his heart. But Suprise Surprise Motherfucker ! Vilial is wearin’ a plate. The henchman looks little confused, but then tries to slice Vilial’s throat, but Vilial kicks him in the nuts ( henchman drops the knfie ) with his knee, and quickly eye jabs him. Vilial then punches him in the throat. Vilial then kicks him hardly in his shins. The giant of man bends a little. Vilial kicks him in the chest, and off he falls on the floor. Vilial is gaspin’ a little, but gets on top of the top of the henchman, and begins to choke him to death. The henchman tries to fight it, but Vilial clenches his fist a little. The skull ring opens a little, a sharp nail like small thing comes out. Vilial punches the henchman with it, in his throat. Vilial retracts, the blood starts to ooze out. Vilial then grabs the knife near him, and slashes the henchman’s throat, the blood spirts out on his face a little. Vilial clenches his jaw. Vilial throws the knife away. Vilial gets up whilst severely in pain, grabbin’ his liver side with his one left hand. Vilial starts to walk out. CUT TO:

76. INT. VILIAL'S HOUSE - PORCH & LARGE COMPOUND - NIGHT MUSIC - SAD AND SLOW PIANO NOTES FROM “LE SAMOURAI” Vilial is stumblin’ and fumblin’ whilst gettin’ outta his house’s door. Vilial throws the live lighter afer lightin’ up his cigarette . Vilial arrives on the porch, the cigarette falls outta his mouth. Vilial tries to power through, but still keeps fallin’ and stumblin’ whilst walkin’. Vilial clenches his jaw a little whilst fumblin’, and tumblin’ towards his porch’s stairs. Vilial grunts, but somehow manges stairs. Vilial but then falls off car’s front. Vilial then looks at compound. Vilial swallows a lump. towards it.

to climb down his porch’s balance, and grabs his the bathtub in the Vilial starts limpin’

(Aims for the tub, cries, sees the girl then falss off, cryin whilst lookin’ to the moon) As Vilial slowly limps and aims for the tub, we see his eyes gettin’ little wet, he makes it, and falls down, grabs the tub’s edge and tries to get up, he gets up and blood ozzes out a little from his mouth. Vilial turns himself straight, sits on the tub’s edge while holdin’ the wounded part his body, the liver side, with a bullet in it. Vilial is pain, life is slowly leavin’ his side, as death proceeds to welcome him with open arms. Vilial looks at the ground. Vilial tries to mutter something. VILIAL (barely makin’ sense) At last Vilial swallows a lump, the blood oozes out, he is in pain, his face is breakin’, slowly and gradually death is inchin’ further, he then tries to take something out of his pocket, there is a silver neckclace. Vilial rubs it a little. Vilial then looks at moon, then slowly looks down, he ponders over Zia’s demise. Vilial eyes turns wet, a tear fall down. Vilial tightly holds the side with a bullet in it, the liver area. Vilial’s emotional and physical pain, both becomes unbearable, he squeezes his eyes shut whilst swallowin’ a lump, his body becomes rigid, he slowly falls into the bathtub. A broken soul landin’ in an ocean, never to rise again, ever. SCREEN TURN BLACK :

77. WHITE GOTHIC FONTS (MARCH - 28 - 2023) Tears will never not stop Hope left, when her hearth was stolen by the monsters. The broken heart’s quest to find love and innocence remained futile, for she died, before I could rescue her.

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I love you! Yours, Aryan / William