tracking.

Back to reality, Billy arrived in Los Angeles to focus on the scenes for L.A. Confidential. Los Angeles was the perfect place for him to perform at his best, offering a different experience from the ordinary. The location was situated in a place.

Billy sat, still oblivious to the trial, holding his lover in his arms, calm and animated. They kissed with enthusiastic fervor. Their getaway felt like gasoline, and Billy ignored newspapers, calls, and other places… they were in a space beyond the planet.

-.When you arrive, I might have a surprise for you. I want to relieve your stress, darling,- Monica said, giving a deep kiss filled with love and affection. Monica's surprise was nothing less than an elegant Italian-made beige suit with red cufflinks and handcrafted leather shoes from an old shoemaker factory who made only 70 pairs a year, valued between 3,000 to 5,000 euros. They were beautiful, rare, and the finest brand. An Italian businessman, owner of a photography agency, only wore those shoes, claiming they were the best he could buy.

-I'm looking forward to it… Take her to Fox and stay there. Wait for her, - Billy told his driver. He would use the car that followed behind, the bodyguard's car, with a security cost of $400,000 a year, plus additional expenses related to its function.

He continued on his way to meet the production team. The day's first morning would be a long recording period, followed by an afternoon of outdoor recordings. They wanted to make up for lost time, and the recordings would extend into the night. Meanwhile, Kevin Spacey, who had won at the Golden Globes, worked hard and performed most of the scenes on his own. Only a few scenes remained with Roy Pearce and Billy together.

Settling into the small dressing room, he calmed his mind while his face was lightly made up. His beard was a bit thicker, and a member of the makeup team used small scissors to trim it carefully, with such skill that it was impressive. He changed into a black suit with a simple tie required for the role.

Scene 49, Take 6.

Everyone's attention was focused, particularly Bud's. They watched and listened through the speaker. Billy had already given the thread to the paper, which made such a difference to him. Bud was a straightforward guy, always with a tough face, even with women, but at times he was shy and somewhat introverted, especially when he felt vulnerable. Covered by the strength of his character, which was not something simple.

EXLEY

(over the speaker)

Let go, Jones. I know you made her bleed, but that doesn't mean you killed her.

There is no response, but Jones squirms.

EXLEY

(over the speaker)

If that girl is alive, you still have a chance in this.

JONES

(over the speaker)

I think she's alive.

EXLEY

(over the speaker)

Do you think so?

Jack turns to Dudley.

JACK: That's good. I'll give him that.

They don't notice when the back of Bud's chair starts splintering in his hands, everyone is focused on the front glass. He clenches his hands tightly, with a bit of desperation, but in that strength, his hands acquire a tone between white and red.

ROOM #3

Exley sits across from him, trying to engage him.

EXLEY: Where is she now?

(no response)

Did you leave her somewhere?

(no response)

Did you sell her? Give her to any of your friends? Tell me where the girl is!

Billy twists his expression, aware that the cameras are focused on his face. He moves his jaw in a brief gesture, reflecting anger. He pushes someone in his path.

The door bursts open. Bud slams Jones against the wall. As Exley stands up, he hits his knee against the table. Bud pulls out a .38, breaks the cylinder, and drops 5 bullets on the floor.

BUD: One out of six. Where is the girl?

EXLEY: Officer White, put that gun down and...

Bud shoves the barrel into Jones's mouth, pulling the trigger twice. CLICK, CLICK. Jones starts sliding down the wall. Bud pulls him up by the collar and roars.

BUD: WHERE?! Two more clicks. Jones gives in.

JONES S-Sylvester F-Fitch one-o-nine and the gray house at the corner of Avalon...

-Cut, - grumbles Curtis, who has been repeating the scene for seven takes and is fed up. They need to record first from the interrogation camera angle, from two different positions, followed by two more takes from Roy Pearce's angle, and finally one from the spectators outside.

Billy wiped the sweat from his brow; the studio was blisteringly hot. While others took their next shots as part of the job, they didn't finish until 2 in the afternoon. Afterward, they went to visit the outdoor locations. Guy Pearce, who had no scenes to shoot, said goodbye and left Billy to his recording, while he ate a turkey sandwich that Monica had prepared with the help of the housekeeper. Curiously, and to his surprise, there was also water, an apple, and some cheese bars.

-Why are you smiling? - a blonde next to him on the black bus to the set asked. She was Kim Basinger, and it was the first time they had spoken to each other outside of the recording scenes, having met only three times due to their brief scenes.

-Something that reminds me of my childhood… Nice to meet you again, Miss Basinger, - Billy replied.

-Likewise. Although it might seem annoying, we'll have some time to practice our scenes. Bud is Lynn's romance, and well, chemistry is necessary, - Kim said.

She didn't just need practice; she wanted to test Billy's acting range. Kim was a seasoned actress, having been active since 1978, and could be considered to have a career as illustrious as Billy's, with almost as many years of experience.

-Very well, - Billy said, with an appreciative gesture. He watched her perform with a sense of pleasure but didn't forget to regard his acting as a duty, taking it as seriously as he did his business.

Scene 58, Take 1.

INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY

A pleasant and cool atmosphere. The perfect place to hang out is a suburban house. Kim Basinger is seen in her dress, so provocative that some might even take note of the new fashion season, especially the white the blonde is wearing.

LYNN: It's Officer White, isn't it?

Bud nods and surveys the place.

LYNN: Can I offer you a drink?

BUD: Yes, whiskey is neat.

Bud/Billy watches her as she heads to the bar. God, she's beautiful. These are the complex kinds of recordings where desire can only be conveyed through the eyes. He thinks of Monica, on the bed, with her black hair spread out and her lips red from so many kisses.

LYNN: I was friends with Sue Lefferts, but we weren't close friends. You know what I mean?

BUD: Do you regret her death?

LYNN: Of course I do. What kind of question is that?

She takes a step back with whiskey for both of them.

BUD: Have you heard of Dick Stensland?

LYNN: No, I haven't. Do you know why Pierce is humoring you?

BUD: If you use words like that, you might make me angry.

LYNN: Yes. But, do you know?

BUD: Yes, I do. Patchett is running prostitutes and, judging by his direction, probably something more significant. He doesn't want any attention.

LYNN: Exactly. Our motives are selfish, so we're cooperating.

BUD: Why was Susan Lefferts at the Nite Owl?

LYNN: I don't know. I'd never heard of the Nite Owl until today.

BUD: Did Lefferts have a boyfriend?

LYNN: Like I said, we were friends, not close friends.

BUD: How did she meet Patchett?

LYNN: Pierce knows people. Sue came on the bus with dreams of Hollywood. That's how things turned out. Thanks to Pierce, we can still act a little.

BUD: Tell me about Patchett.

LYNN: He takes a part of our earnings and invests it for us. He makes us leave the business by thirty.

Cut! - Curtis shouted.

The set began to move; a few more quick takes followed. Patchett's mansion was not far, just five minutes away. They would have to wait until the evening to shoot additional scenes with Lynn and Bud. For now, Lynn would do her scenes with Patchett.

-You're better than I expected, - Kim commented, surprised by Billy's composure, which was comparable to that of an experienced actor. Was he born to act like some do?

-I do what I can, but it's all thanks to practice. It helped me adapt to your rhythm and maintain my own, - Billy replied.

-Ah, modesty, - Kim said playfully, her voice soft, and she was very gentle in words as well.

-I'll see you tonight,- Billy said, taking out his phone to call Monica about his delay while arranging for a car to pick him up at the set at a certain time. He gave the address. The car arrived quickly with his sketchbook, as he needed to submit the next volumes of Van HELLSING, still in the drawing phase.

Scene 64, Take 1.

INT. MAIN HALL - NIGHT

LYNN

(opening the door)

Did you forget something...?

Bud is there, filling the doorframe, looking somewhat uncertain, stretching his lips.

LYNN: I was wondering when you'd ring the doorbell again, Officer White.

BUD: I'm Bud.

Bud glances at Lynn for a moment, then down at his own feet, embarrassed. She smiles.

LYNN: You should see yourself. You look like you're ten years old.

Bud looks up again. Lynn's smile fades as she studies his face. She isn't going to ask questions. Lynn looks at him for a moment more, then brushes her blonde hair out of her eye.

LYNN: If you'd called first, I wouldn't look so ridiculous.

BUD: You're beautiful.

In a tender and affectionate gesture, he gently holds Kim's chin and caresses it, something parallel to the Bud we know. But this time, he draws closer, embracing the blonde's hips in an improvised gesture. Billy waits for the cut, but the director hasn't shouted anything yet. He uses his other hand to trace the outline of the blonde's face delicately, accustomed to doing the same with Monica every night, with an almost unimaginable subtlety. His eyes lack desire and show a look of love that is impressive to Kim Basinger, as she can feel a certain vibe.

"Cut!" Curtis's shout breaks the scene.

Billy snaps out of his trance, while the blonde, feeling shy, also comes out of it. All traces of maturity and kindness towards the junior are abruptly cut off. Kim is not a woman of that style; she is the shy, fragile blonde who only retreats when the situation becomes unbearable for her.

-We have another scene to shoot,- Kim murmured.

They both walked to a bed, where they settled under the covers. Above them were a dozen cameras, which were reduced to three, making it uncomfortable. Billy ended up in white, somewhat snug shorts, and Kim in a body-hugging, small pair of pants.

Take 65, Scene 1.

INT. LYNN BRACKEN'S HOUSE (1736 NOTTINGHAM) - BEDROOM - NIGHT

Lynn approaches Bud naked, with her hair slicked back. Bud moves slowly, delicately, taking his time with his kisses, as if she were a solitary woman he wanted to love until death. They share soft, affectionate kisses, both touching each other. Billy's breath smells of watermelon mints, which he used before this scene, but her lotion is intoxicating. Unable to resist, she presses her nose to his neck to savor the penetrating scent.

Billy lifts his arm, brushing her collarbone, and resumes kissing her in rhythm. She inadvertently presses her elbow against his chest, making him feel her firm breasts.

Lynn plays with the rhythm: her kisses, her caresses. Eventually, Bud forces himself to stop. He pulls back to see her.

LYNN: Are you wondering if Patchett told me to be receptive?

Bud doesn't respond, but he does.

LYNN: It doesn't matter. I like you, Bud. Really.

Bud: Let's not bother.

She kisses him. Gently, prolonging it. It's not work. She wants to make love to him. And when Bud stops thinking...

"Cut."

...

LA Confidencial, what a good movie, although it has certain details that may seem a bit cliché in this type of genre, it is magnificent... very good.