Too Beautiful to Die (1988) - full transcript
The models of an agency are invited to a party by the owner of the agency. During the party, one of the models gets raped by a powerful guest, with help from the other models. Soon, the models start to get killed one by one.
(moody soft rock music)
- [David] I'll use a five
second freeze on black.
Then super the logo.
Okay, cut.
- [Man] Cut.
(model sighs)
- Thank you.
- Hey, Sylvia. You were sensational.
- Thank you, David.
Alex.
- [Alex] Yes?
- I'd like to use Sylvia in
that music video, "Blades."
Think she might be free?
We start next Monday.
- I won't even check my calendar.
You just say the word, okay?
- Good.
I'll be in touch as soon
as I get back from London.
You dog.
- Ah, Sylvia. That's her.
That's the girl I want.
Set it up for me, Alex.
- That's impossible. There's
no way with this one.
She's saving it for Mr. Right.
- Don't play games with me, Alex.
I don't like repeating
myself. I want that girl.
- Listen, what's the big deal?
Girls like her are a dime a dozen.
I can line you up with a hundred girls.
- You're not listening.
It's scum like you that
are a dime a dozen.
Do I make myself clear?
Sunday night, I'm free.
- Yes, all right. I'll
do the best I can, but...
- Look, I'm not asking you for a favor.
I'm giving you an order.
Or do I talk to the police?
- Okay. Sunday night.
(soft synth music)
(keyboard clacking)
(computer buzzing and whirring)
(synth music cont.)
(slow, searing guitar instrumental)
(Sylvia gasps)
- Sylvia.
(Michelle laughs)
- What's going on?
- [Model] Go on, Sylvia. You'll enjoy it.
- Ah, baby.
- [Sylvia] Who is he?
- Look, Sylvia, it's okay.
- What's this?
- Relax.
He's a very important friend.
- Where's Alex?
- [Model] He's not going to hurt you.
- What's going on?
- Don't worry.
Don't worry, baby.
I'm not gonna hurt you.
- He's here for you.
- Don't touch me.
- Come on, Sylvia.
- Don't touch me!
- I'm not gonna hurt you.
I'm not gonna hurt you.
(models laughing)
Baby, come on.
- Let me go.
- Let go.
(tense, eerie music)
(Sylvia screams)
(tense, eerie music)
(computer beeping)
- [Sylvia] I hate you!
I hate all of you!
- [Model] Hey, where you going, Sylvie?
- [Sylvia] You can rot in hell!
- Hey, what's happened?
- Damn you.
- What's wrong, Sylvia?
- Damn you.
- Easy, girl.
- Let me go.
- Hey.
- Don't touch me!
- Ah, the hell with you.
Hey, get outta my car.
Sylvia, get out.
Get out.
Get out!
Find yourself another agency, bitch!
If anybody'll take you.
You're finished in this town!
(object clatters)
(bicyclist thuds)
(Sylvia gasps)
- Hey, you blind?
Are you all right, miss?
(Sylvia whimpers)
Hey! Hey, where you going?
You gotta be crazy!
Jeez.
- David. Hi, how you doing?
- Hi, Alex.
- Jesus, what's that monstrosity?
- Monstrosity?
- Yeah.
- It's a work of art.
The video title is "Blades," right?
- Yeah, right.
- Hmm.
Well, this is what props came up with.
- [Alex] Great.
- Yeah.
Have you ever seen more beautiful
blades in your life? Hm?
- Fantastic.
- Are the girls in makeup?
- Yeah, they're almost ready. But, uh...
- What's the problem, Alex?
- Sylvia isn't here.
- What do you mean? Another engagement?
Alex, you promised.
- Oh no, no. It's nothing like that.
- Oh.
- She's disappeared.
- What do you mean, disappeared?
- Well, I can't reach her, and, uh,
look, can't you start without her?
- Well, I guess I'll have to,
although I don't see how it can work.
I was counting on Sylvia.
(low, droning music)
(blade thuds)
(low, droning music)
(woman yells)
("Warriors of the Wasteland"
by Frankie Goes to Hollywood)
♪ From diamond mine to the factory ♪
♪ Everybody's doing what
you've gotta keep on doing ♪
♪ For society ♪
♪ Make this world a good place to be ♪
♪ Let livin' be, but don't work for free ♪
♪ Playing isn't paying so
work is what I'm saying ♪
♪ Working for the world go round ♪
♪ The battle cry, don't mess with me ♪
♪ I've traveled this world for eternity ♪
♪ Warriors of the wasteland ♪
♪ Sailboats of ice on desert sands ♪
♪ Warriors of the wasteland, yeah ♪
♪ It seems to me that the powers that be ♪
♪ Keep themselves in
splendor and security ♪
♪ Armored cars for megastars ♪
♪ No streets, no bars,
your wealth is ours ♪
♪ They make the masses
kiss their asse(t)s ♪
♪ Lower class jackass, pay
me tax, take out the trash ♪
♪ Working for the world go round ♪
♪ Your job is gold, do as you're told ♪
♪ They pay you less
then run for Congress ♪
♪ Warriors of the wasteland ♪
♪ Sailboats of ice ♪
- [Brandam] Alessandro Conti?
- Alex Conti.
- Ah.
Police Lieutenant Brandam.
You're the man I've been looking for,
but, uh, I don't want to interrupt.
- Police? Well, what's this about?
- Well, I believe you
own an '87 Autobianchi.
Tag number is, wait...
Milan 0-A-6-6-6-1.
- Yes, I do. What's happened?
Last night I lent it to a friend.
- Really?
I'm afraid I've got some bad news for you.
Last night, your car went into a ditch
and the gas tank exploded.
Well, we found the charred
remains of a body in the wreck.
- Oh, my god.
Poor Sylvia.
- What was her name?
- Sylvia O'Neal.
She was a model with my agency.
- Hm. And, how come she
was driving your car?
- Well, there'd been a little
dinner party at my house.
Seems Sylvia had one too many,
and I remember that
suddenly, she got very angry.
I don't know about what. She
just took my car and left.
- And about what time was this?
- I'd say it was around
1:00, 1:30 at the latest.
- That's strange.
- Why's that?
- Well, the accident took place
not more than 10 kilometers
from your house, except that
it happened just after four.
A truck driver saw the explosion.
So, your friend took three
hours to drive 10 kilometers,
but she had to be going
like a bat out of hell
to jump the guardrail.
Now, doesn't that sound strange to you?
- Maybe she was just on her
way back to return the car.
- Ah, maybe that's it, yeah.
But we still don't know where she was
during those three hours.
Now, who else was at your dinner party?
- Well, there were three other women,
models who work for me.
- Huh. No men?
- No. It was a working dinner, you know.
- Ah, a working dinner.
Well, would you mind giving them a call?
You've all gotta come down to the morgue.
- To identify the body?
- Personal effects.
I'm afraid there's not
much else to identify.
It's just a formality, you understand?
- Sure, lieutenant.
The girls are kinda busy now,
but I think they'll be wrapping up soon.
I'll tell them.
♪ For the world go round, go round ♪
♪ Diamond mine to the factory, yeah ♪
♪ Make this a world a good place to be ♪
("Warriors of the Wasteland"
by Frankie Goes to Hollywood)
- Cut.
Leslie, if you don't mind,
we're trying to work here.
- I'm sorry, David.
I don't feel well. Really, I'm sorry.
- Okay.
I've made you all work very
hard today. Let's wrap it up.
Tomorrow's another day. Thanks everybody.
- Bye.
- Bye.
- [Model] See you tomorrow.
- Careful. Those are real.
- Yeah, I know.
They're nicely balanced, too.
I thought I knew quite
a lot about weapons,
but I've never seen
anything like these before.
Where did they come from?
- Oh, they come from the fevered brain
of a weird guy in New York.
The set's practically one of a kind.
- How did you enjoy the
party at Alex's last night?
- Party? I wasn't there.
I flew in from London on
the late flight last night.
- Huh.
- Why, did I miss anything?
- Oh, I wouldn't know.
But a girl who was at the party
died later in an automobile accident.
Her name was Sylvia O'Neal.
Did you know her?
- Sure.
Sure, I've used her as a model
in a couple of commercials.
Well, you get to know
everybody in this business.
I'm real sorry. Hm.
- David, we're ready to run that test.
- Um, will you excuse me?
- Sure, go ahead.
- [David] Hey, George. Take five, huh?
I wanna line up this next shot myself.
- Girls.
- Hi, Alex.
- I'm afraid I've got some
bad news about Sylvia.
She crashed my car.
- No.
(low, droning music)
(model speaks quietly)
- Cool it.
- Come on.
- Stop it.
(tense music)
(motorcycle rumbling)
- So, this is where David lives.
- You ain't see nothing yet.
(door alarm beeps steadily)
- Come on in, Alex.
- Hi.
- How are you?
- Great.
Oh, very original.
And I imagine quite a
good little investment.
- Yeah.
Before the yuppies discover the area,
I'm gonna buy that abandoned
factory right next door.
Build my own studio.
- Hey, now you're talking big time.
That's a nice little toy.
- Yeah. Have a seat.
- Tape on, Dave?
- Sure.
- [Alex] You gotta forget
her and just get on with it.
- I know Alex, but that
girl had something special.
It won't be easy to replace her.
- David, the "Blades" video is way late.
The client is having kittens.
- If he wants me to
direct, he'll have to wait.
I'm not gonna shoot until I
find the right girl. Okay?
("Certain Things Are Likely"
by Kissing the Pink plays)
- Not your eyes.
I don't do that. But damn.
(woman laughs)
("Certain Things Are Likely"
by Kissing the Pink plays)
♪ Girl lean over bendy chair ♪
♪ Peer at creaky card ♪
- Leslie, have a drink with us.
- No, thanks.
- Just say the word and
I'll dump these two.
Well?
- [Leslie] Get lost.
♪ Patience in the line she sees ♪
♪ Snaps another card ♪
♪ Curtain wave above her head ♪
♪ Sun it shines so hard ♪
- Hey.
- Hi.
- Thought you weren't coming.
- That's a little scary.
What's happening, Leslie?
- [Leslie] Everything's great.
- How are ya?
- Just fine, but I'm still having problems
finding the right girl.
Talk about difficult.
- Maybe he likes me.
- Look, uh, Leslie?
- Yes?
- You're working tomorrow.
- Uh-huh.
- Yeah, 8:30. Did you get the call sheet?
- Don't speak about work, please. Not now.
It's nighttime, relax.
- What, Lauren?
- Oh, nothing.
(David laughs)
- Just do a shot.
- Okay, fine, fine, fine.
♪ In this race, fever face ♪
♪ Girl stand on her toes ♪
♪ China blue, look at you ♪
♪ Tattoo how it grows ♪
♪ What's your mind on ♪
♪ What's your mind on ♪
♪ Health shape body weight ♪
♪ Body made of steel ♪
♪ Push it up, drive it hard ♪
♪ Drive it like a wheel ♪
♪ Certain things are likely ♪
♪ Certain things I blame ♪
♪ Certain things are likely ♪
♪ They hypnotize me, hypnotize me ♪
♪ Drive it like a wheel ♪
- Melanie Roberts, she's
just come in from New York.
♪ Sun it shines so hard ♪
♪ They hypnotize me, hypnotize me ♪
- My agency's handling
her if you're interested.
- Let's give her a test, tomorrow.
♪ Buckle this, buckle that ♪
♪ Buckle all the way ♪
♪ Certain things are likely ♪
♪ Like falling in love ♪
♪ In this race, fever face ♪
♪ Health shape body weight ♪
- That's fine.
Could you come over here a second?
Well, you were great.
- Thanks.
Do I get the part?
- There was never a doubt.
- Wow. You made a big impression on him.
Looks like the ice man
is melting a little.
- Thanks, I hope so.
Hey, could you help me
find a place to stay?
The hotel I'm in is so tacky.
- Oh, I've got a great apartment.
I used to have a roommate, Sylvia.
But she's gone.
Would you like to move in with me?
- Oh, I'd love to.
How can I ever thank you?
- Oh no, I should be thanking you.
I really don't like living alone.
Let's go.
Oh, do my legs ache.
- Tell me about it.
- We've been rehearsing the whole week.
Well, this is it.
That was Sylvia's bed.
Sorry it's such a mess.
The police took her things away
to send them back to her
family in America, I think.
- [Sylvia] Hi, there and ciao.
(objects clatter)
(tense music)
Please leave your name and
number and we'll get back to you
as soon as we can.
Thanks for calling. Speak after the tone.
- Well, that's something of
Sylvia's they left behind.
- How did you know that was Sylvia?
- Didn't you just say so?
- No.
- Well, I just had to see your face.
You look like you'd seen a ghost.
- For god sake, I thought
I was losing my mind
there for a minute.
(moody soft rock music)
- There's the skull reproduced,
graphically, in wireframe.
Now for phase two.
- Which is?
- The computer will apply the
specific data to the skull,
and reconstruct the cranial differentials
in terms of angulation.
(computer beeping)
- And what does that mean?
- Well, now we have a rendered frame.
Totally faithful reproduction
of the actual skull.
(computer beeps)
See that? It's a bullet hole.
.22 caliber.
No wonder she drove off the road.
(computer whirs)
- Yeah.
(eerie music)
(Leslie crying and groaning)
(eerie music)
(dramatic music)
- Leslie. What is it?
- It's nothing. A bad dream.
- You screamed a name.
It sounded like Sylvia.
- No, I didn't. You heard wrong.
- Leslie, it's none of my business,
but something terrible's
bothering you, isn't it?
It might help to talk about it.
- There's nothing to talk about.
I had a bad dream. That's all, that's it.
(Leslie sighs)
("Perfect World" by Huey
Lewis & The News plays)
♪ We better keep believin' ♪
♪ Ain't no livin' in a perfect world ♪
♪ There ain't no perfect world anyway ♪
♪ Ain't no livin' in a perfect world ♪
♪ But we'll keep on dreamin'
of livin' in a perfect world ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Oh, oh, oh will we now ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Keep on dreamin' ♪
♪ Livin' in a perfect world ♪
- Lieutenant, what brings
you here? Any developments?
- We've been running some computer tests
on the image we elaborated
from the charred skull
we found in your car.
There was a bullet hole in
the right temple. .22 caliber.
- In the temple?
You mean she killed herself?
- Well, you could call it
the classic suicide mode.
Except for one problem.
We didn't find a gun in your car.
No, she was probably murdered.
The mechanics of the crash
don't add up to suicide.
There were no skid marks where
the car went off the road.
It makes sense only if the
car was pushed off the road
with the body inside.
- What?
I can't believe that.
- Better get used to it, miss.
But uh, let's go back to
the unusual little party,
with no male guests.
- I already explained, it was
a working dinner, not a party.
I seem to recall that Sylvia
got mad because she thought
Michelle here was stealing jobs from her.
Isn't that right, Michelle?
- Right.
She was always so insecure and
she'd had too much to drink.
- Uh-huh. And uh, what did
you do after Sylvia left?
Why don't you tell me?
- I don't remember.
I think we talked for a while, and...
- And then we went to bed.
- Exactly. All of us slept
over at Alex's house.
I couldn't take them
home, Sylvia had the car.
And there weren't any cabs at that hour.
- Perfect.
That way you each have three witnesses
for your whereabouts that night.
Four airtight alibis.
- [Model] What are you saying?
- What's this about alibis?
- (chuckles) You'll need it, Mr. Conti.
And lucky for you, you've
got a much better one
than the one you just furnished.
A private security guard was
almost run over by your friend
as she drove out of your villa, alone,
at one in the morning.
But the fact remains,
what did she do between one
and four in the morning?
(low, droning music)
- [Leslie] Stop kidding yourself.
You know it as well as I do,
it was one of us, one of you.
You shut her up.
(Leslie crying)
- Leslie, what do you say?
Why don't we take in a new roommate?
I found him cowering by the mailboxes.
(cat whines)
He's freezing, and shaking like crazy.
Here, feel.
- Get that thing away from
me. Get it out of here.
This is my apartment and I don't want it.
Do you hear me?
I don't want it.
- Leslie, what's the matter
with you? What's happened?
(kitten whines)
- Listen, he must be hungry.
Let me get him some milk.
(kitten whines)
(ominous music)
("Warriors of the Wasteland"
by Frankie Goes to Hollywood)
- Fabulous. Perfect.
Now open it up.
You want her to suffocate? Go on.
(intense music)
Shut off the water!
- [Model] Ah, Leslie!
(tense music)
(tense orchestral music)
(spike clinks)
(spike clinks)
- Genius. Look at this.
One of the rubber spikes was taken out
and a steel one was put in its place.
This is what pierced the girl's neck.
- That's crazy.
I set it up myself yesterday.
All the spikes were fake.
- Well, it doesn't take
much to make the switch.
Anybody could have done it.
- Not really anybody.
- Why not?
- People can't just
walk into these studios.
If Leslie was murdered,
it must've been somebody
the studio guards knew.
- What about at night? The
place is locked, isn't it?
- But the keys are in the office.
- And uh, is there always
a guard in the office?
- Yes, pretty much.
- Huh. Is security any good?
We'll check it out.
Uh, by the way, nobody goes out
without my permission.
Gentlemen.
(phone buzzes)
- [Model] Hello?
Yes, just a moment.
Mr. Conti, you're wanted on the telephone.
- Not now.
- [Model] He says he's a
client and that it's urgent.
- Okay.
You'll have to switch the
call to the dressing rooms.
- [Model] Just a moment please.
(phone keys clicking)
(telephone rings)
- Yes?
Yes.
- [Achitze] This is Achitze.
I've seen the papers.
You trying to frame me?
- Of course not.
I should ask you the same thing.
You have more to lose than I do, you know.
- Ha, a smart ass like you
just might get the idea
that I could be blackmailed.
Is that your game?
- Well, if it's a game,
I'm not dealing the cards,
that's for sure.
- [Achitze] What do you mean?
- Somebody just killed Leslie.
- Oh, my god.
- Look, we can't stay on the phone.
There are police all over the place.
We've got to talk. Is my place okay?
- No way.
Your place is bugged with
hidden mics and cameras.
Meet me at my place, tonight,
and no monkey business.
- All right, all right.
I'll be by after one.
- All right. I'll be expecting you.
(low, droning music)
- It's not easy to come back here.
It was Leslie's place.
Her things, you know.
- Yeah, I know.
Would you like to...
- Don't make me any offers I
might be tempted to accept.
(sighs) I'm a proud, independent woman.
And I'm going back there if it kills me.
It's my home, after all.
I'll just have to learn to live alone.
I don't believe in ghosts. Do you?
- Well, I...
- But I'm very glad
you're worried about me.
(slow, tense music)
(keys jingling)
(slow, suspenseful music)
(kitten meows)
(Melanie sighs in relief)
- Stupid cat, what are you trying to do?
Scare me to death or something, hmm?
(kitten whines)
(Melanie gasps)
- You shouldn't leave your door open.
(Melanie sighs)
(kitten whines)
("I Won't Hold You Back" by TOTO plays)
♪ If I had another chance tonight ♪
♪ I'd try to tell you that
the things we had were right ♪
♪ Time can't erase the love we shared ♪
♪ But it gives me time to realize ♪
♪ Just how much you cared ♪
♪ Now you're gone, I'm
really not the same ♪
♪ I guess I have myself to blame ♪
♪ Time can't erase the things we said ♪
♪ But it gives me time to realize ♪
♪ That you're the one who's sad ♪
♪ You know I won't hold you back now ♪
♪ The love we had just can't be found ♪
♪ You know I can't hold you back now ♪
♪ Now that I'm alone it gives me time ♪
♪ To think about the
years that you were mine ♪
♪ Time can't erase the love we shared ♪
♪ But it gives me time ♪
(low, ominous music)
- [Officer] He was literally butchered.
There was blood everywhere.
- Keep the gory details away
from the media if you can.
Jesus Christ.
Considering who the victim
was, it's bad enough as it is.
(low, tense music)
(slow, ambient music)
- Cut.
Christ.
Michelle, how many times
do I have to tell you
to come in closer with that dagger?
I wanna feel the blade inside
the lens, do you understand?
- Yes, I know, it's just that...
- It's just that you're
not trying, goddammit.
Okay.
We've been rehearsing all afternoon
without getting anywhere.
(water sloshes)
Gentlemen, take a break.
I would like to finish this shot,
provided this young lady
doesn't waste any more
of our precious time.
- You better get used to it.
That's the way he is.
Sometimes sweet,
sometimes sour.
In any case, in here, he's
the one who's lord and master
so I'd get used to it real fast.
- Well, I'm not gonna let him
talk to me like that again,
no way.
- Oh, no? Well then, you
won't go far in this business,
that's for sure.
- Drop dead.
- Is that an order?
Or a prediction?
(tense music)
- [David] Michelle.
Can you give me a minute?
- Sure.
- Um, I'm sorry I lost my cool with you
in front of everyone like that.
Well, you know I've been tense
after what happened to
Leslie, and uh, well...
- Oh, that's okay. It can happen.
(suspenseful music)
- [David] You okay? What's the matter?
- Oh, nothing, nothing.
I just remembered my bracelet
in the dressing room.
I better go get it, if it's still there.
(tense music)
Oh, could you just wait one second?
I need to make a phone call.
- I'm sorry, the
switchboard's closed, miss.
I don't know if I can...
- Oh, please.
- All right, I'll switch it on for you.
But I've got to be going.
I really shouldn't do this.
- Please.
- Okay, miss, okay.
I'll have to leave the
door open for you too.
Just shut it. It locks by itself.
- Oh, thanks a million.
- Turn out the lights when you go.
- Okay.
(dramatic orchestral music)
(telephone buzzes)
- [Alex] Hello?
- Alex, have you seen the paper?
That guy's been killed.
- Yes. I was supposed
to see him last night.
I went by his house, and I rang, and rang,
but nobody answered.
He must have already been dead.
- Oh, my god.
- Listen.
I don't think the police
can tie this murder
up to the others,
but just in case they should
start asking questions,
you don't know anything.
Got it? Especially about my parties.
- You fool.
You're still worried about
your little pimping games?
Don't you realize that
there's someone out there
who's out to kill everyone who
was at your house that night?
(loud banging)
(Michelle gasps)
(tense, eerie music)
- Michelle?
Hello? Michelle?
(blade scraping)
(tense, eerie music)
(door handle rattling)
No. No.
(gate squeaks)
(intense music)
(Michelle gasping)
(intense orchestral music)
(slow, tense music)
(light switches on)
(Michelle cries out)
(intense, eerie music)
(Michelle gasps)
(Michelle groans)
(intense music)
(water splashes)
(footsteps clicking)
(birds chirping)
(tense, foreboding music)
(birds chirping)
(suspenseful music)
(haunting choral music)
(suspenseful orchestral music)
(Lauren screams)
(Maria screams)
- Oh, my god.
- Oh, Jesus Christ, Maria.
- You scared me half to death.
I knocked, but nobody answered.
I thought there was nobody here.
My heart is beating like a drum.
- You're telling me.
(Maria laughs)
Can you get my robe?
- Yes.
(water sloshes)
There you are.
I'll stop by later, then.
- Thanks.
Turn the TV on, please, before you go.
- Okay.
- [TV Reporter] In spite
of heavy (indecipherable)
turned out for the showing
of next year's spring collections.
All the major fashion
designers were represented
in a dazzling of new looks.
- Goodbye, miss.
- Bye.
- On hand to watch the show
were many TV and movie celebrities,
and the wives of several
prominent political figures.
Elsewhere in the province,
continuing flooding in the Po Valley
has caused considerable
damage to farms in the area.
Getting back to fashion, a
report from police headquarters
suggests there might be
a fashion model murderer
roaming the streets of Milan.
The latest victim,
Michelle Lenue...
- My god.
- [TV Reporter] was
found dead in the studios
of a well-known production house.
But here's our reporter on the scene
with the latest details.
What can you tell us, Jack?
(phone buzzing)
(phone ringing)
- Yeah?
- Alex? Alex, it's
Lauren. Michelle's dead.
- I know. I saw it on TV.
- Alex, they got her, too.
Just like Sylvia and just like Leslie.
Alex, who is it?
I don't understand. What
do they want from us?
Do you realize that we're the
only two left from that night?
Who's gonna be next, you or me?
- Calm down.
- Or did you do it?
It's just me left.
It was you, wasn't it?
Sure, that was you following
me in the park this morning.
You wanna kill me, too.
- Shut up! Get a grip on yourself!
- I can't stand this anymore, Alex.
Let's just go with the police, please.
We'll tell them everything.
They'll protect us.
- Oh, yeah?
Well, what they'll do is just
lock us up for prostitution,
drugs, and tax evasion.
- Stop thinking about
yourself all the time.
Alex, I can't stand this, please.
I'd rather go to jail than die.
- Don't lose your head,
Lauren. We're not dead yet.
We may even be able to
make some moves of our own.
- What kind of moves are
you talking about this time?
You and your brilliant moves,
that's what got us into
this to begin with.
- I've got an idea,
but I need to check some
information in the office.
And to do that, I've got to shake the cops
that the police
lieutenant's put on my tail.
So, you just relax, sit tight,
and wait for me to call.
- Alex, I'll go nuts if you don't call me
as soon as you find out something.
- And don't open the door for anybody,
especially if it's somebody you know.
- You bastard!
(Lauren grunts)
(phone clangs)
(slow, suspenseful orchestral music)
- Oh.
- Excuse me, I'm looking
for the coffin of a girl
who died in an accident.
You know, the girl who burned in that car?
- Oh, sure. I know who you mean.
They put her down there. See?
Until the family decides
what to do with the remains.
Second row on the left. Top tier.
- Thank you.
(slow, tense music)
Pardon me, sir?
These flowers were on the coffin.
Somebody must have just brought them.
See, they're still wet.
You didn't happen to see who it was?
- No, I didn't see anybody. No.
(slow, tense music)
(footsteps clicking)
(low, suspenseful drone)
(clock ticking)
(door slams shut)
(gate squeaks)
- There he is.
(telephone beeping)
- Yeah?
- This is car 2-6-7 reporting in, sir.
Conti has just left his
place, alone and on foot.
- Good, 2-6-7. Stay with him.
- Yes, sir.
Okay, let's go.
(moody soft rock)
He just went into a coffee shop.
(moody soft rock cont.)
- I'm gonna check it out.
Shit, he got away.
- Oh, no. Back door.
(phone beeps)
- What's happening?
- [Officer In Car] We
lost him, lieutenant.
He slipped out the back
door of the coffee shop.
- That's just great, shit brains.
(Brandam sighs)
But, uh, every cloud has a silver lining.
If he figured out he was being followed,
he must have a guilty conscience.
Guy's got something to hide.
Go back to his house and wait for him.
- [Officer in Car] You got it, lieutenant.
(phone rings)
- Hello?
Hello?
Who is this, goddammit?
- [Sylvia] Hi, there and ciao.
Hi, there and ciao.
- Sylvia?
- [Sylvia] Hi, there and ciao.
- Sylvia?
- [Sylvia] Hi, there and ciao.
(phone clangs)
(suspenseful music)
(phone ringing)
(suspenseful music)
- Car 6-3-2. The girl
has just left her house.
- [Brandam] Don't lose her.
- Roger.
(intense music)
Let's go.
(tires screech)
(tense music)
- Watch out! She knows how to drive.
(tense music)
- Car 6-3-2 here, the
girl's off like a shot.
We're in heavy traffic.
We may have to use the
siren to keep up with her.
- Don't be an idiot.
We gotta bank on the chance
she doesn't know who you are.
She might be leading us
straight to her pal, Conti.
(tense, suspenseful music)
(computer keys click)
- Christ. That's not possible.
(phone keys clicking)
(phone rings)
(phone screeches)
- [Man on Answering Machine] 9-6-6...
- Oh, shit.
- [Man on Answering Machine]
Please leave your name
and number after the tone.
- This is Alex. Thought you
had me fooled, too, huh?
Only I know your little secret now.
Incidentally, I put the
information in a safe place.
Let's just say I took out
a little insurance policy.
If anything should happen to me,
the police'll know who you really are.
But nothing's going to happen, hmm? Bye.
(phone receiver clunks)
(tense, foreboding music)
(intense orchestral music)
(Alex cries out)
(glass shatters)
Damn you.
(tense orchestral music)
(Alex cries out)
(blade clanks)
(Alex whimpers)
(Alex coughs)
(glass shatters)
(Alex yells)
(Alex whimpers)
(glass shatters)
(tense music)
(dramatic orchestral music)
(flash popping)
(tires screeching)
(lock clicking)
(tires screeching)
(door squeaks)
(Lauren gasps)
- Alex. No!
(Lauren crying)
(car engine revving)
(tense music)
(door rattling)
(tires screeching)
- [Officer] There she goes!
- No!
Let's go.
(tires screeching)
- Oh, shit.
(soft orchestral music)
(door alarm beeps)
(haunting choral music)
- David, I need you. Please.
- What's the matter?
Sorry, I don't think it's a good idea.
- No.
I don't wanna start anything.
I just need a friend.
I could use a friend, please.
- Oh.
Sure.
Sorry, come in.
(tense music)
- Well, I'll be more
specific after the autopsy,
but at first glance,
I'd say that the murder
weapon was the same one
as the one used on the girl.
- Yeah.
A knife with several blades
they're using as a prop
in a music video.
It was stolen from the
set a couple of days ago.
Now, was this turned
around during the struggle?
- Yeah, it looks like it.
Odd it wasn't knocked over.
- Well, what you're saying
is, it wasn't accidental?
- It's just possible
that the victim turned it
so that the light would be powerful enough
to blind his assailant.
(camera shutter clicks)
- Uh, excuse me a second.
I'm not an expert in photography,
but this camera should be
synchronized with the flash,
right?
- Yes, of course.
- Do me a favor.
Develop this roll with
the rest of your film.
- Will do, sure.
- Get it done as fast as you can,
and no red tape, all right?
- Okay, sir.
(refrigerator door thuds shut)
- Thanks.
So, now you know the whole
story, you know everything.
- Yeah.
(Lauren crying)
Poor Sylvia.
I never dreamed...
- What?
The kind of slime you're rubbing
shoulders with, you mean?
I know, you're so honest and so straight.
Look, I'm not trying to justify myself
for what happened that night.
I mean, I'm no better than the rest.
Or, I wasn't any better
than the rest, I should say.
Because now I'm the only
one that's left alive
from that night.
For how long, David?
David, please, I'm so
scared. You have to help me.
I don't wanna die.
- Now, calm down.
You're safe here.
Who knows you're here?
- The police might.
They've been following me.
Hoping that the killer would
try to get me, I suppose.
- You're probably right.
You suspect anyone?
- No.
I've been thinking about it.
It's like, somebody wanted revenge
for what we did to Sylvia that night.
But I don't understand, because
she was the first victim.
It doesn't make any sense.
(telephone rings)
- Well.
(telephone rings)
Hello?
Oh, hi. How are ya?
Fine.
Mm-hmm.
Okay.
Yeah, fine.
Yes. I'll be there.
- New girlfriend?
(David sighs)
- Well, we have to be in London
tomorrow for a commercial.
I hope to get it done in 24 hours.
You know what?
Stay here and make yourself at home.
Just relax. Okay?
Nobody knows you're here.
(knocking at door)
- Come in.
Well, have you got that safe open?
Or do I have to go to jail
for a real specialist?
- No, no, no, we got it open.
We found stocks, jewelry,
some cash, a little cocaine,
and these.
- Oh, not just ordinary file cards, huh?
This is the girl we found
dead in Conti's car.
Who's this one?
- I've requested information on her.
She's been in Milan just a short time.
In fact, she's in London today, on a job.
- That's interesting.
- [Officer] What?
- They come from the same
town in the United States,
Poughkeepsie.
Talk about coincidence.
(phone keys clicking)
DeSantis?
Brandam. Yeah.
Want a tie-in to the
data bank in New York.
Yeah, sure, I've got the code.
Yeah, that's the one. Perfect.
Yeah, patch it through to my desk.
(plane engine roars)
(wheels skidding)
- You sure you don't wanna
come up for a moment?
- Yeah, I'm sure.
I've gotta take this
straight over to the lab.
You know me, I won't be able to sleep
until I know it's okay.
- Sleep wasn't exactly what I had in mind.
(David chuckles)
Will I see you tomorrow?
- I'll call you, okay?
Goodnight.
- Goodnight.
Oh, my keys.
- Oh.
(keys jingle)
It's a good thing you remembered.
- Yeah.
- Night.
- Bye.
(slow, tense music)
- Hey! Hi Melanie, how you doin'?
Johnny's taking me to a new club tonight.
You wanna come with us?
- Thanks anyway, but I'm just dead.
- [Johnny] Sweet dreams, darling.
- Oh, for Christ's sake, I can't get in.
These are David's keys.
- Well, sleep at my place.
- Oh, no thanks.
But do you think you could
give me a ride to a cab?
I'd like to get my keys back.
- Sure. Come on.
- [Melanie] Thanks.
- [Girl] No problem.
(tense music)
(man on TV grunting)
(telephone rings)
- Yeah?
- [Man on Phone] Ready with
the hookup, lieutenant.
- Oh, thank you.
(tense music)
- Shit, there's gotta
be a goddam cigarette
around here somewhere.
(tense music)
Hey.
This is Melanie's.
(scoffs) Incredible. What a bitch.
Didn't take her long, that's for sure.
(tense music)
Melanie O'Neal?
I thought her name was Roberts.
(computer beeping)
- Incorrect?
Let's check it out.
- Sylvia?
"Wow! I made it.
I'm going to model for Armani in Milan.
And I'm in love.
Come quick. I can't wait
to tell you all about it.
Much love, Sylvia. P.S. Kiss daddy for me.
Does he still say that
nice girls don't model?"
My god.
(computer keys click)
(tense music)
- Melanie O'Neal?
Sylvia O'Neal.
(Brandam sighs)
Get a car ready.
(telephone rings)
- [David] Lauren?
Lauren, it's me, David.
- Oh god, David, thank god. Where are you?
- [David] I'm stuck out here at the lab.
I'm waiting the night crew to come on.
- Is Melanie with you?
- [David] No. Why?
- Listen, her name is
not Roberts, it's O'Neal.
- [David] Yeah, so?
- David, O'Neal. Are you dense?
That was Sylvia's name. She's her sister.
- [David] Sylvia's sister?
Are you putting me on?
- David, I'm positive.
I found a picture of Sylvia
with a letter to Melanie
on the back.
She even mentions their father.
- [David] Well, that
explains who put the flowers
on the coffin, but it's weird
she didn't say anything.
Why the phony name?
- There can only be one reason, David.
She's here to... she's
here to avenge Sylvia.
David?
(door clicks open)
(tense music)
(door clicks shut)
(suspenseful music)
(doorbell buzzes)
(foreboding music)
(woman laughs)
- Hold it.
(woman screams)
- Easy, easy.
We're the police, sorry.
We're looking for Melanie Roberts.
- Well, Melanie's out.
She's at a friend's house.
Um, David, he's a director.
They got keys mixed up or something.
Why? What happened?
- How could we be so stupid?
- Sir, the photo lab just sent it over,
the picture that was taken
when Alex Conti was killed.
- Are you absolutely certain
that's when it was taken?
- I wouldn't be here if I weren't.
This is the first time
I've ever seen a killer
about to strike.
- I bet it is.
A model. But who is she?
- [Officer] Maybe that director
could tell us who it is.
- [Melanie] Hey, who's there?
Open up! Open up, come on!
- Not on your life. You
can't kill anybody now.
- [Melanie] Lauren, is that you?
What are you talking about?
- Shut up. I know who you are.
I know you're Sylvia's
sister, Melanie O'Neal.
- [Melanie] Yes, I don't
know how you found out,
but it's true.
But, listen, just let me explain.
Before she died, Sylvia called me.
She was desperate.
She had to talk to me.
I never believed in that
automobile accident story,
that's why I came here.
I wanted to find out what
really happened to her.
Who her friends were.
Let me out, Lauren.
I can explain everything.
- Sure, I let you out and you kill me too.
You just wait.
I bet you've got that
knife in there right now.
Don't ya, honey?
David'll be here any minute.
We'll call the police and
they'll let you out. Okay?
(fist pounds)
(eerie music)
(phone receiver clicks)
(eerie music)
(Lauren cries out)
(lamp clatters)
(eerie music)
(glass shatters)
No! No!
(Lauren grunting)
(Lauren cries out)
No. (gasps)
(plastic crunching)
(eerie music)
(Lauren panting)
(low, ominous music)
(Lauren breathing heavily)
(Lauren gasping)
(intense orchestral music)
(Lauren gasping)
(tense, suspenseful music)
- [Man] Lauren!
(Lauren cries out)
(tense music)
(Lauren yelling)
(Lauren screaming)
(Lauren panting)
(slow, tense music)
(Lauren crying)
- No. David, no.
No.
(Lauren crying)
No, no.
No, David, please.
No, no, David.
David, don't.
David, why? Why all the killing?
You hardly even knew Sylvia.
- That's what you all thought.
I knew Sylvia like no one else.
She could be whatever I wanted.
She could be a woman.
She could be a child.
She could be... a whore.
Even a robot.
She was my creation. She was my invention.
I could film her a million times,
and a million times, she'd
be different from everyone.
Not a sleek, empty shell
like the rest of you.
- I didn't know.
- No one was supposed to know.
Sylvia was going straight
to the top to be number one.
The rest of you were nothing.
I had a project for her.
She was to be my masterpiece.
- You're so insane.
- No, I'm not insane.
I'm a god.
I'm a god who has the
power of life and death
over his creatures.
(David chuckles)
Sylvia was the best.
Then she changed.
She got tense.
She said she felt like she
was living in a video clip.
She said reality was something else.
She said she didn't need
me anymore. Understand?
And I created her.
I didn't see her after the
commercial until that night.
I got back from London
early and found her at home.
She was in a daze and it's your fault.
She was in shock after your sleazy party.
(Lauren whimpering)
She told me everything.
Then I realized she'd never
be the way she was again.
I'd lost her.
You dragged her down to your
level and it destroyed her.
Yes, Sylvia had already
died once that night.
(gunshot blasts)
- You... you killed her, too?
- So? She didn't know it,
she didn't feel anything.
She was dead inside.
Putting her in the car and the rest of it
was just a formality.
You'd already killed her.
- Sick.
Sick. So, so sick.
(Lauren crying out)
- It hurts, doesn't it?
- No! No!
- But I really didn't care
how much it hurt the others.
And I really don't care
how much I hurt you.
(Lauren yelling)
(eerie music)
(pipe hissing)
(eerie music)
- David.
David, please.
David.
David, please.
- No.
- Please.
- You're dead.
You're dead!
- No!
(gunshot blasts)
(somber music)
(slow, somber saxophone music)
("Perfect World" by Huey
Lewis & The News plays)
♪ Everybody's looking
for the perfect world ♪
♪ Where you can have
everything your heart desires ♪
♪ The perfect boy will
meet the perfect girl ♪
♪ And the perfect love will
set the world on fire ♪
♪ Well what you gonna do,
when one and one makes three ♪
♪ And a vision of the future
is impossible to see ♪
♪ Nobody's perfect, not
even a perfect fool ♪
♪ If you'll have faith in me ♪
♪ I'll keep faith with you ♪
♪ Ain't no livin' in a perfect world ♪
♪ There ain't no perfect world anyway ♪
♪ Ain't no livin' in a perfect world ♪
♪ But we'll keep on dreamin'
of livin' in a perfect world ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Everybody's got secrets,
now you know that it's true ♪
♪ They talk about me and
they'll talk about you ♪
♪ Something happens to
the pledges of trust ♪
♪ Down through the years
they begin to rust ♪
♪ Now here we are, amid the
tears and the laughter ♪
♪ Still waiting for our
happily ever after ♪
♪ We'll keep on dreamin'
as long as we can ♪
♪ Try to remember and you'll understand ♪
♪ Ain't no livin' in a perfect world ♪
♪ There ain't no perfect world anyway ♪
♪ Ain't no livin' in a perfect world ♪
♪ But we'll keep on dreamin'
of livin' in a perfect world ♪
♪ Whoa, whoa, whoa could we now ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Yeah, we better keep believin' ♪
♪ Ain't no livin' ♪
- [David] I'll use a five
second freeze on black.
Then super the logo.
Okay, cut.
- [Man] Cut.
(model sighs)
- Thank you.
- Hey, Sylvia. You were sensational.
- Thank you, David.
Alex.
- [Alex] Yes?
- I'd like to use Sylvia in
that music video, "Blades."
Think she might be free?
We start next Monday.
- I won't even check my calendar.
You just say the word, okay?
- Good.
I'll be in touch as soon
as I get back from London.
You dog.
- Ah, Sylvia. That's her.
That's the girl I want.
Set it up for me, Alex.
- That's impossible. There's
no way with this one.
She's saving it for Mr. Right.
- Don't play games with me, Alex.
I don't like repeating
myself. I want that girl.
- Listen, what's the big deal?
Girls like her are a dime a dozen.
I can line you up with a hundred girls.
- You're not listening.
It's scum like you that
are a dime a dozen.
Do I make myself clear?
Sunday night, I'm free.
- Yes, all right. I'll
do the best I can, but...
- Look, I'm not asking you for a favor.
I'm giving you an order.
Or do I talk to the police?
- Okay. Sunday night.
(soft synth music)
(keyboard clacking)
(computer buzzing and whirring)
(synth music cont.)
(slow, searing guitar instrumental)
(Sylvia gasps)
- Sylvia.
(Michelle laughs)
- What's going on?
- [Model] Go on, Sylvia. You'll enjoy it.
- Ah, baby.
- [Sylvia] Who is he?
- Look, Sylvia, it's okay.
- What's this?
- Relax.
He's a very important friend.
- Where's Alex?
- [Model] He's not going to hurt you.
- What's going on?
- Don't worry.
Don't worry, baby.
I'm not gonna hurt you.
- He's here for you.
- Don't touch me.
- Come on, Sylvia.
- Don't touch me!
- I'm not gonna hurt you.
I'm not gonna hurt you.
(models laughing)
Baby, come on.
- Let me go.
- Let go.
(tense, eerie music)
(Sylvia screams)
(tense, eerie music)
(computer beeping)
- [Sylvia] I hate you!
I hate all of you!
- [Model] Hey, where you going, Sylvie?
- [Sylvia] You can rot in hell!
- Hey, what's happened?
- Damn you.
- What's wrong, Sylvia?
- Damn you.
- Easy, girl.
- Let me go.
- Hey.
- Don't touch me!
- Ah, the hell with you.
Hey, get outta my car.
Sylvia, get out.
Get out.
Get out!
Find yourself another agency, bitch!
If anybody'll take you.
You're finished in this town!
(object clatters)
(bicyclist thuds)
(Sylvia gasps)
- Hey, you blind?
Are you all right, miss?
(Sylvia whimpers)
Hey! Hey, where you going?
You gotta be crazy!
Jeez.
- David. Hi, how you doing?
- Hi, Alex.
- Jesus, what's that monstrosity?
- Monstrosity?
- Yeah.
- It's a work of art.
The video title is "Blades," right?
- Yeah, right.
- Hmm.
Well, this is what props came up with.
- [Alex] Great.
- Yeah.
Have you ever seen more beautiful
blades in your life? Hm?
- Fantastic.
- Are the girls in makeup?
- Yeah, they're almost ready. But, uh...
- What's the problem, Alex?
- Sylvia isn't here.
- What do you mean? Another engagement?
Alex, you promised.
- Oh no, no. It's nothing like that.
- Oh.
- She's disappeared.
- What do you mean, disappeared?
- Well, I can't reach her, and, uh,
look, can't you start without her?
- Well, I guess I'll have to,
although I don't see how it can work.
I was counting on Sylvia.
(low, droning music)
(blade thuds)
(low, droning music)
(woman yells)
("Warriors of the Wasteland"
by Frankie Goes to Hollywood)
♪ From diamond mine to the factory ♪
♪ Everybody's doing what
you've gotta keep on doing ♪
♪ For society ♪
♪ Make this world a good place to be ♪
♪ Let livin' be, but don't work for free ♪
♪ Playing isn't paying so
work is what I'm saying ♪
♪ Working for the world go round ♪
♪ The battle cry, don't mess with me ♪
♪ I've traveled this world for eternity ♪
♪ Warriors of the wasteland ♪
♪ Sailboats of ice on desert sands ♪
♪ Warriors of the wasteland, yeah ♪
♪ It seems to me that the powers that be ♪
♪ Keep themselves in
splendor and security ♪
♪ Armored cars for megastars ♪
♪ No streets, no bars,
your wealth is ours ♪
♪ They make the masses
kiss their asse(t)s ♪
♪ Lower class jackass, pay
me tax, take out the trash ♪
♪ Working for the world go round ♪
♪ Your job is gold, do as you're told ♪
♪ They pay you less
then run for Congress ♪
♪ Warriors of the wasteland ♪
♪ Sailboats of ice ♪
- [Brandam] Alessandro Conti?
- Alex Conti.
- Ah.
Police Lieutenant Brandam.
You're the man I've been looking for,
but, uh, I don't want to interrupt.
- Police? Well, what's this about?
- Well, I believe you
own an '87 Autobianchi.
Tag number is, wait...
Milan 0-A-6-6-6-1.
- Yes, I do. What's happened?
Last night I lent it to a friend.
- Really?
I'm afraid I've got some bad news for you.
Last night, your car went into a ditch
and the gas tank exploded.
Well, we found the charred
remains of a body in the wreck.
- Oh, my god.
Poor Sylvia.
- What was her name?
- Sylvia O'Neal.
She was a model with my agency.
- Hm. And, how come she
was driving your car?
- Well, there'd been a little
dinner party at my house.
Seems Sylvia had one too many,
and I remember that
suddenly, she got very angry.
I don't know about what. She
just took my car and left.
- And about what time was this?
- I'd say it was around
1:00, 1:30 at the latest.
- That's strange.
- Why's that?
- Well, the accident took place
not more than 10 kilometers
from your house, except that
it happened just after four.
A truck driver saw the explosion.
So, your friend took three
hours to drive 10 kilometers,
but she had to be going
like a bat out of hell
to jump the guardrail.
Now, doesn't that sound strange to you?
- Maybe she was just on her
way back to return the car.
- Ah, maybe that's it, yeah.
But we still don't know where she was
during those three hours.
Now, who else was at your dinner party?
- Well, there were three other women,
models who work for me.
- Huh. No men?
- No. It was a working dinner, you know.
- Ah, a working dinner.
Well, would you mind giving them a call?
You've all gotta come down to the morgue.
- To identify the body?
- Personal effects.
I'm afraid there's not
much else to identify.
It's just a formality, you understand?
- Sure, lieutenant.
The girls are kinda busy now,
but I think they'll be wrapping up soon.
I'll tell them.
♪ For the world go round, go round ♪
♪ Diamond mine to the factory, yeah ♪
♪ Make this a world a good place to be ♪
("Warriors of the Wasteland"
by Frankie Goes to Hollywood)
- Cut.
Leslie, if you don't mind,
we're trying to work here.
- I'm sorry, David.
I don't feel well. Really, I'm sorry.
- Okay.
I've made you all work very
hard today. Let's wrap it up.
Tomorrow's another day. Thanks everybody.
- Bye.
- Bye.
- [Model] See you tomorrow.
- Careful. Those are real.
- Yeah, I know.
They're nicely balanced, too.
I thought I knew quite
a lot about weapons,
but I've never seen
anything like these before.
Where did they come from?
- Oh, they come from the fevered brain
of a weird guy in New York.
The set's practically one of a kind.
- How did you enjoy the
party at Alex's last night?
- Party? I wasn't there.
I flew in from London on
the late flight last night.
- Huh.
- Why, did I miss anything?
- Oh, I wouldn't know.
But a girl who was at the party
died later in an automobile accident.
Her name was Sylvia O'Neal.
Did you know her?
- Sure.
Sure, I've used her as a model
in a couple of commercials.
Well, you get to know
everybody in this business.
I'm real sorry. Hm.
- David, we're ready to run that test.
- Um, will you excuse me?
- Sure, go ahead.
- [David] Hey, George. Take five, huh?
I wanna line up this next shot myself.
- Girls.
- Hi, Alex.
- I'm afraid I've got some
bad news about Sylvia.
She crashed my car.
- No.
(low, droning music)
(model speaks quietly)
- Cool it.
- Come on.
- Stop it.
(tense music)
(motorcycle rumbling)
- So, this is where David lives.
- You ain't see nothing yet.
(door alarm beeps steadily)
- Come on in, Alex.
- Hi.
- How are you?
- Great.
Oh, very original.
And I imagine quite a
good little investment.
- Yeah.
Before the yuppies discover the area,
I'm gonna buy that abandoned
factory right next door.
Build my own studio.
- Hey, now you're talking big time.
That's a nice little toy.
- Yeah. Have a seat.
- Tape on, Dave?
- Sure.
- [Alex] You gotta forget
her and just get on with it.
- I know Alex, but that
girl had something special.
It won't be easy to replace her.
- David, the "Blades" video is way late.
The client is having kittens.
- If he wants me to
direct, he'll have to wait.
I'm not gonna shoot until I
find the right girl. Okay?
("Certain Things Are Likely"
by Kissing the Pink plays)
- Not your eyes.
I don't do that. But damn.
(woman laughs)
("Certain Things Are Likely"
by Kissing the Pink plays)
♪ Girl lean over bendy chair ♪
♪ Peer at creaky card ♪
- Leslie, have a drink with us.
- No, thanks.
- Just say the word and
I'll dump these two.
Well?
- [Leslie] Get lost.
♪ Patience in the line she sees ♪
♪ Snaps another card ♪
♪ Curtain wave above her head ♪
♪ Sun it shines so hard ♪
- Hey.
- Hi.
- Thought you weren't coming.
- That's a little scary.
What's happening, Leslie?
- [Leslie] Everything's great.
- How are ya?
- Just fine, but I'm still having problems
finding the right girl.
Talk about difficult.
- Maybe he likes me.
- Look, uh, Leslie?
- Yes?
- You're working tomorrow.
- Uh-huh.
- Yeah, 8:30. Did you get the call sheet?
- Don't speak about work, please. Not now.
It's nighttime, relax.
- What, Lauren?
- Oh, nothing.
(David laughs)
- Just do a shot.
- Okay, fine, fine, fine.
♪ In this race, fever face ♪
♪ Girl stand on her toes ♪
♪ China blue, look at you ♪
♪ Tattoo how it grows ♪
♪ What's your mind on ♪
♪ What's your mind on ♪
♪ Health shape body weight ♪
♪ Body made of steel ♪
♪ Push it up, drive it hard ♪
♪ Drive it like a wheel ♪
♪ Certain things are likely ♪
♪ Certain things I blame ♪
♪ Certain things are likely ♪
♪ They hypnotize me, hypnotize me ♪
♪ Drive it like a wheel ♪
- Melanie Roberts, she's
just come in from New York.
♪ Sun it shines so hard ♪
♪ They hypnotize me, hypnotize me ♪
- My agency's handling
her if you're interested.
- Let's give her a test, tomorrow.
♪ Buckle this, buckle that ♪
♪ Buckle all the way ♪
♪ Certain things are likely ♪
♪ Like falling in love ♪
♪ In this race, fever face ♪
♪ Health shape body weight ♪
- That's fine.
Could you come over here a second?
Well, you were great.
- Thanks.
Do I get the part?
- There was never a doubt.
- Wow. You made a big impression on him.
Looks like the ice man
is melting a little.
- Thanks, I hope so.
Hey, could you help me
find a place to stay?
The hotel I'm in is so tacky.
- Oh, I've got a great apartment.
I used to have a roommate, Sylvia.
But she's gone.
Would you like to move in with me?
- Oh, I'd love to.
How can I ever thank you?
- Oh no, I should be thanking you.
I really don't like living alone.
Let's go.
Oh, do my legs ache.
- Tell me about it.
- We've been rehearsing the whole week.
Well, this is it.
That was Sylvia's bed.
Sorry it's such a mess.
The police took her things away
to send them back to her
family in America, I think.
- [Sylvia] Hi, there and ciao.
(objects clatter)
(tense music)
Please leave your name and
number and we'll get back to you
as soon as we can.
Thanks for calling. Speak after the tone.
- Well, that's something of
Sylvia's they left behind.
- How did you know that was Sylvia?
- Didn't you just say so?
- No.
- Well, I just had to see your face.
You look like you'd seen a ghost.
- For god sake, I thought
I was losing my mind
there for a minute.
(moody soft rock music)
- There's the skull reproduced,
graphically, in wireframe.
Now for phase two.
- Which is?
- The computer will apply the
specific data to the skull,
and reconstruct the cranial differentials
in terms of angulation.
(computer beeping)
- And what does that mean?
- Well, now we have a rendered frame.
Totally faithful reproduction
of the actual skull.
(computer beeps)
See that? It's a bullet hole.
.22 caliber.
No wonder she drove off the road.
(computer whirs)
- Yeah.
(eerie music)
(Leslie crying and groaning)
(eerie music)
(dramatic music)
- Leslie. What is it?
- It's nothing. A bad dream.
- You screamed a name.
It sounded like Sylvia.
- No, I didn't. You heard wrong.
- Leslie, it's none of my business,
but something terrible's
bothering you, isn't it?
It might help to talk about it.
- There's nothing to talk about.
I had a bad dream. That's all, that's it.
(Leslie sighs)
("Perfect World" by Huey
Lewis & The News plays)
♪ We better keep believin' ♪
♪ Ain't no livin' in a perfect world ♪
♪ There ain't no perfect world anyway ♪
♪ Ain't no livin' in a perfect world ♪
♪ But we'll keep on dreamin'
of livin' in a perfect world ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Oh, oh, oh will we now ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Keep on dreamin' ♪
♪ Livin' in a perfect world ♪
- Lieutenant, what brings
you here? Any developments?
- We've been running some computer tests
on the image we elaborated
from the charred skull
we found in your car.
There was a bullet hole in
the right temple. .22 caliber.
- In the temple?
You mean she killed herself?
- Well, you could call it
the classic suicide mode.
Except for one problem.
We didn't find a gun in your car.
No, she was probably murdered.
The mechanics of the crash
don't add up to suicide.
There were no skid marks where
the car went off the road.
It makes sense only if the
car was pushed off the road
with the body inside.
- What?
I can't believe that.
- Better get used to it, miss.
But uh, let's go back to
the unusual little party,
with no male guests.
- I already explained, it was
a working dinner, not a party.
I seem to recall that Sylvia
got mad because she thought
Michelle here was stealing jobs from her.
Isn't that right, Michelle?
- Right.
She was always so insecure and
she'd had too much to drink.
- Uh-huh. And uh, what did
you do after Sylvia left?
Why don't you tell me?
- I don't remember.
I think we talked for a while, and...
- And then we went to bed.
- Exactly. All of us slept
over at Alex's house.
I couldn't take them
home, Sylvia had the car.
And there weren't any cabs at that hour.
- Perfect.
That way you each have three witnesses
for your whereabouts that night.
Four airtight alibis.
- [Model] What are you saying?
- What's this about alibis?
- (chuckles) You'll need it, Mr. Conti.
And lucky for you, you've
got a much better one
than the one you just furnished.
A private security guard was
almost run over by your friend
as she drove out of your villa, alone,
at one in the morning.
But the fact remains,
what did she do between one
and four in the morning?
(low, droning music)
- [Leslie] Stop kidding yourself.
You know it as well as I do,
it was one of us, one of you.
You shut her up.
(Leslie crying)
- Leslie, what do you say?
Why don't we take in a new roommate?
I found him cowering by the mailboxes.
(cat whines)
He's freezing, and shaking like crazy.
Here, feel.
- Get that thing away from
me. Get it out of here.
This is my apartment and I don't want it.
Do you hear me?
I don't want it.
- Leslie, what's the matter
with you? What's happened?
(kitten whines)
- Listen, he must be hungry.
Let me get him some milk.
(kitten whines)
(ominous music)
("Warriors of the Wasteland"
by Frankie Goes to Hollywood)
- Fabulous. Perfect.
Now open it up.
You want her to suffocate? Go on.
(intense music)
Shut off the water!
- [Model] Ah, Leslie!
(tense music)
(tense orchestral music)
(spike clinks)
(spike clinks)
- Genius. Look at this.
One of the rubber spikes was taken out
and a steel one was put in its place.
This is what pierced the girl's neck.
- That's crazy.
I set it up myself yesterday.
All the spikes were fake.
- Well, it doesn't take
much to make the switch.
Anybody could have done it.
- Not really anybody.
- Why not?
- People can't just
walk into these studios.
If Leslie was murdered,
it must've been somebody
the studio guards knew.
- What about at night? The
place is locked, isn't it?
- But the keys are in the office.
- And uh, is there always
a guard in the office?
- Yes, pretty much.
- Huh. Is security any good?
We'll check it out.
Uh, by the way, nobody goes out
without my permission.
Gentlemen.
(phone buzzes)
- [Model] Hello?
Yes, just a moment.
Mr. Conti, you're wanted on the telephone.
- Not now.
- [Model] He says he's a
client and that it's urgent.
- Okay.
You'll have to switch the
call to the dressing rooms.
- [Model] Just a moment please.
(phone keys clicking)
(telephone rings)
- Yes?
Yes.
- [Achitze] This is Achitze.
I've seen the papers.
You trying to frame me?
- Of course not.
I should ask you the same thing.
You have more to lose than I do, you know.
- Ha, a smart ass like you
just might get the idea
that I could be blackmailed.
Is that your game?
- Well, if it's a game,
I'm not dealing the cards,
that's for sure.
- [Achitze] What do you mean?
- Somebody just killed Leslie.
- Oh, my god.
- Look, we can't stay on the phone.
There are police all over the place.
We've got to talk. Is my place okay?
- No way.
Your place is bugged with
hidden mics and cameras.
Meet me at my place, tonight,
and no monkey business.
- All right, all right.
I'll be by after one.
- All right. I'll be expecting you.
(low, droning music)
- It's not easy to come back here.
It was Leslie's place.
Her things, you know.
- Yeah, I know.
Would you like to...
- Don't make me any offers I
might be tempted to accept.
(sighs) I'm a proud, independent woman.
And I'm going back there if it kills me.
It's my home, after all.
I'll just have to learn to live alone.
I don't believe in ghosts. Do you?
- Well, I...
- But I'm very glad
you're worried about me.
(slow, tense music)
(keys jingling)
(slow, suspenseful music)
(kitten meows)
(Melanie sighs in relief)
- Stupid cat, what are you trying to do?
Scare me to death or something, hmm?
(kitten whines)
(Melanie gasps)
- You shouldn't leave your door open.
(Melanie sighs)
(kitten whines)
("I Won't Hold You Back" by TOTO plays)
♪ If I had another chance tonight ♪
♪ I'd try to tell you that
the things we had were right ♪
♪ Time can't erase the love we shared ♪
♪ But it gives me time to realize ♪
♪ Just how much you cared ♪
♪ Now you're gone, I'm
really not the same ♪
♪ I guess I have myself to blame ♪
♪ Time can't erase the things we said ♪
♪ But it gives me time to realize ♪
♪ That you're the one who's sad ♪
♪ You know I won't hold you back now ♪
♪ The love we had just can't be found ♪
♪ You know I can't hold you back now ♪
♪ Now that I'm alone it gives me time ♪
♪ To think about the
years that you were mine ♪
♪ Time can't erase the love we shared ♪
♪ But it gives me time ♪
(low, ominous music)
- [Officer] He was literally butchered.
There was blood everywhere.
- Keep the gory details away
from the media if you can.
Jesus Christ.
Considering who the victim
was, it's bad enough as it is.
(low, tense music)
(slow, ambient music)
- Cut.
Christ.
Michelle, how many times
do I have to tell you
to come in closer with that dagger?
I wanna feel the blade inside
the lens, do you understand?
- Yes, I know, it's just that...
- It's just that you're
not trying, goddammit.
Okay.
We've been rehearsing all afternoon
without getting anywhere.
(water sloshes)
Gentlemen, take a break.
I would like to finish this shot,
provided this young lady
doesn't waste any more
of our precious time.
- You better get used to it.
That's the way he is.
Sometimes sweet,
sometimes sour.
In any case, in here, he's
the one who's lord and master
so I'd get used to it real fast.
- Well, I'm not gonna let him
talk to me like that again,
no way.
- Oh, no? Well then, you
won't go far in this business,
that's for sure.
- Drop dead.
- Is that an order?
Or a prediction?
(tense music)
- [David] Michelle.
Can you give me a minute?
- Sure.
- Um, I'm sorry I lost my cool with you
in front of everyone like that.
Well, you know I've been tense
after what happened to
Leslie, and uh, well...
- Oh, that's okay. It can happen.
(suspenseful music)
- [David] You okay? What's the matter?
- Oh, nothing, nothing.
I just remembered my bracelet
in the dressing room.
I better go get it, if it's still there.
(tense music)
Oh, could you just wait one second?
I need to make a phone call.
- I'm sorry, the
switchboard's closed, miss.
I don't know if I can...
- Oh, please.
- All right, I'll switch it on for you.
But I've got to be going.
I really shouldn't do this.
- Please.
- Okay, miss, okay.
I'll have to leave the
door open for you too.
Just shut it. It locks by itself.
- Oh, thanks a million.
- Turn out the lights when you go.
- Okay.
(dramatic orchestral music)
(telephone buzzes)
- [Alex] Hello?
- Alex, have you seen the paper?
That guy's been killed.
- Yes. I was supposed
to see him last night.
I went by his house, and I rang, and rang,
but nobody answered.
He must have already been dead.
- Oh, my god.
- Listen.
I don't think the police
can tie this murder
up to the others,
but just in case they should
start asking questions,
you don't know anything.
Got it? Especially about my parties.
- You fool.
You're still worried about
your little pimping games?
Don't you realize that
there's someone out there
who's out to kill everyone who
was at your house that night?
(loud banging)
(Michelle gasps)
(tense, eerie music)
- Michelle?
Hello? Michelle?
(blade scraping)
(tense, eerie music)
(door handle rattling)
No. No.
(gate squeaks)
(intense music)
(Michelle gasping)
(intense orchestral music)
(slow, tense music)
(light switches on)
(Michelle cries out)
(intense, eerie music)
(Michelle gasps)
(Michelle groans)
(intense music)
(water splashes)
(footsteps clicking)
(birds chirping)
(tense, foreboding music)
(birds chirping)
(suspenseful music)
(haunting choral music)
(suspenseful orchestral music)
(Lauren screams)
(Maria screams)
- Oh, my god.
- Oh, Jesus Christ, Maria.
- You scared me half to death.
I knocked, but nobody answered.
I thought there was nobody here.
My heart is beating like a drum.
- You're telling me.
(Maria laughs)
Can you get my robe?
- Yes.
(water sloshes)
There you are.
I'll stop by later, then.
- Thanks.
Turn the TV on, please, before you go.
- Okay.
- [TV Reporter] In spite
of heavy (indecipherable)
turned out for the showing
of next year's spring collections.
All the major fashion
designers were represented
in a dazzling of new looks.
- Goodbye, miss.
- Bye.
- On hand to watch the show
were many TV and movie celebrities,
and the wives of several
prominent political figures.
Elsewhere in the province,
continuing flooding in the Po Valley
has caused considerable
damage to farms in the area.
Getting back to fashion, a
report from police headquarters
suggests there might be
a fashion model murderer
roaming the streets of Milan.
The latest victim,
Michelle Lenue...
- My god.
- [TV Reporter] was
found dead in the studios
of a well-known production house.
But here's our reporter on the scene
with the latest details.
What can you tell us, Jack?
(phone buzzing)
(phone ringing)
- Yeah?
- Alex? Alex, it's
Lauren. Michelle's dead.
- I know. I saw it on TV.
- Alex, they got her, too.
Just like Sylvia and just like Leslie.
Alex, who is it?
I don't understand. What
do they want from us?
Do you realize that we're the
only two left from that night?
Who's gonna be next, you or me?
- Calm down.
- Or did you do it?
It's just me left.
It was you, wasn't it?
Sure, that was you following
me in the park this morning.
You wanna kill me, too.
- Shut up! Get a grip on yourself!
- I can't stand this anymore, Alex.
Let's just go with the police, please.
We'll tell them everything.
They'll protect us.
- Oh, yeah?
Well, what they'll do is just
lock us up for prostitution,
drugs, and tax evasion.
- Stop thinking about
yourself all the time.
Alex, I can't stand this, please.
I'd rather go to jail than die.
- Don't lose your head,
Lauren. We're not dead yet.
We may even be able to
make some moves of our own.
- What kind of moves are
you talking about this time?
You and your brilliant moves,
that's what got us into
this to begin with.
- I've got an idea,
but I need to check some
information in the office.
And to do that, I've got to shake the cops
that the police
lieutenant's put on my tail.
So, you just relax, sit tight,
and wait for me to call.
- Alex, I'll go nuts if you don't call me
as soon as you find out something.
- And don't open the door for anybody,
especially if it's somebody you know.
- You bastard!
(Lauren grunts)
(phone clangs)
(slow, suspenseful orchestral music)
- Oh.
- Excuse me, I'm looking
for the coffin of a girl
who died in an accident.
You know, the girl who burned in that car?
- Oh, sure. I know who you mean.
They put her down there. See?
Until the family decides
what to do with the remains.
Second row on the left. Top tier.
- Thank you.
(slow, tense music)
Pardon me, sir?
These flowers were on the coffin.
Somebody must have just brought them.
See, they're still wet.
You didn't happen to see who it was?
- No, I didn't see anybody. No.
(slow, tense music)
(footsteps clicking)
(low, suspenseful drone)
(clock ticking)
(door slams shut)
(gate squeaks)
- There he is.
(telephone beeping)
- Yeah?
- This is car 2-6-7 reporting in, sir.
Conti has just left his
place, alone and on foot.
- Good, 2-6-7. Stay with him.
- Yes, sir.
Okay, let's go.
(moody soft rock)
He just went into a coffee shop.
(moody soft rock cont.)
- I'm gonna check it out.
Shit, he got away.
- Oh, no. Back door.
(phone beeps)
- What's happening?
- [Officer In Car] We
lost him, lieutenant.
He slipped out the back
door of the coffee shop.
- That's just great, shit brains.
(Brandam sighs)
But, uh, every cloud has a silver lining.
If he figured out he was being followed,
he must have a guilty conscience.
Guy's got something to hide.
Go back to his house and wait for him.
- [Officer in Car] You got it, lieutenant.
(phone rings)
- Hello?
Hello?
Who is this, goddammit?
- [Sylvia] Hi, there and ciao.
Hi, there and ciao.
- Sylvia?
- [Sylvia] Hi, there and ciao.
- Sylvia?
- [Sylvia] Hi, there and ciao.
(phone clangs)
(suspenseful music)
(phone ringing)
(suspenseful music)
- Car 6-3-2. The girl
has just left her house.
- [Brandam] Don't lose her.
- Roger.
(intense music)
Let's go.
(tires screech)
(tense music)
- Watch out! She knows how to drive.
(tense music)
- Car 6-3-2 here, the
girl's off like a shot.
We're in heavy traffic.
We may have to use the
siren to keep up with her.
- Don't be an idiot.
We gotta bank on the chance
she doesn't know who you are.
She might be leading us
straight to her pal, Conti.
(tense, suspenseful music)
(computer keys click)
- Christ. That's not possible.
(phone keys clicking)
(phone rings)
(phone screeches)
- [Man on Answering Machine] 9-6-6...
- Oh, shit.
- [Man on Answering Machine]
Please leave your name
and number after the tone.
- This is Alex. Thought you
had me fooled, too, huh?
Only I know your little secret now.
Incidentally, I put the
information in a safe place.
Let's just say I took out
a little insurance policy.
If anything should happen to me,
the police'll know who you really are.
But nothing's going to happen, hmm? Bye.
(phone receiver clunks)
(tense, foreboding music)
(intense orchestral music)
(Alex cries out)
(glass shatters)
Damn you.
(tense orchestral music)
(Alex cries out)
(blade clanks)
(Alex whimpers)
(Alex coughs)
(glass shatters)
(Alex yells)
(Alex whimpers)
(glass shatters)
(tense music)
(dramatic orchestral music)
(flash popping)
(tires screeching)
(lock clicking)
(tires screeching)
(door squeaks)
(Lauren gasps)
- Alex. No!
(Lauren crying)
(car engine revving)
(tense music)
(door rattling)
(tires screeching)
- [Officer] There she goes!
- No!
Let's go.
(tires screeching)
- Oh, shit.
(soft orchestral music)
(door alarm beeps)
(haunting choral music)
- David, I need you. Please.
- What's the matter?
Sorry, I don't think it's a good idea.
- No.
I don't wanna start anything.
I just need a friend.
I could use a friend, please.
- Oh.
Sure.
Sorry, come in.
(tense music)
- Well, I'll be more
specific after the autopsy,
but at first glance,
I'd say that the murder
weapon was the same one
as the one used on the girl.
- Yeah.
A knife with several blades
they're using as a prop
in a music video.
It was stolen from the
set a couple of days ago.
Now, was this turned
around during the struggle?
- Yeah, it looks like it.
Odd it wasn't knocked over.
- Well, what you're saying
is, it wasn't accidental?
- It's just possible
that the victim turned it
so that the light would be powerful enough
to blind his assailant.
(camera shutter clicks)
- Uh, excuse me a second.
I'm not an expert in photography,
but this camera should be
synchronized with the flash,
right?
- Yes, of course.
- Do me a favor.
Develop this roll with
the rest of your film.
- Will do, sure.
- Get it done as fast as you can,
and no red tape, all right?
- Okay, sir.
(refrigerator door thuds shut)
- Thanks.
So, now you know the whole
story, you know everything.
- Yeah.
(Lauren crying)
Poor Sylvia.
I never dreamed...
- What?
The kind of slime you're rubbing
shoulders with, you mean?
I know, you're so honest and so straight.
Look, I'm not trying to justify myself
for what happened that night.
I mean, I'm no better than the rest.
Or, I wasn't any better
than the rest, I should say.
Because now I'm the only
one that's left alive
from that night.
For how long, David?
David, please, I'm so
scared. You have to help me.
I don't wanna die.
- Now, calm down.
You're safe here.
Who knows you're here?
- The police might.
They've been following me.
Hoping that the killer would
try to get me, I suppose.
- You're probably right.
You suspect anyone?
- No.
I've been thinking about it.
It's like, somebody wanted revenge
for what we did to Sylvia that night.
But I don't understand, because
she was the first victim.
It doesn't make any sense.
(telephone rings)
- Well.
(telephone rings)
Hello?
Oh, hi. How are ya?
Fine.
Mm-hmm.
Okay.
Yeah, fine.
Yes. I'll be there.
- New girlfriend?
(David sighs)
- Well, we have to be in London
tomorrow for a commercial.
I hope to get it done in 24 hours.
You know what?
Stay here and make yourself at home.
Just relax. Okay?
Nobody knows you're here.
(knocking at door)
- Come in.
Well, have you got that safe open?
Or do I have to go to jail
for a real specialist?
- No, no, no, we got it open.
We found stocks, jewelry,
some cash, a little cocaine,
and these.
- Oh, not just ordinary file cards, huh?
This is the girl we found
dead in Conti's car.
Who's this one?
- I've requested information on her.
She's been in Milan just a short time.
In fact, she's in London today, on a job.
- That's interesting.
- [Officer] What?
- They come from the same
town in the United States,
Poughkeepsie.
Talk about coincidence.
(phone keys clicking)
DeSantis?
Brandam. Yeah.
Want a tie-in to the
data bank in New York.
Yeah, sure, I've got the code.
Yeah, that's the one. Perfect.
Yeah, patch it through to my desk.
(plane engine roars)
(wheels skidding)
- You sure you don't wanna
come up for a moment?
- Yeah, I'm sure.
I've gotta take this
straight over to the lab.
You know me, I won't be able to sleep
until I know it's okay.
- Sleep wasn't exactly what I had in mind.
(David chuckles)
Will I see you tomorrow?
- I'll call you, okay?
Goodnight.
- Goodnight.
Oh, my keys.
- Oh.
(keys jingle)
It's a good thing you remembered.
- Yeah.
- Night.
- Bye.
(slow, tense music)
- Hey! Hi Melanie, how you doin'?
Johnny's taking me to a new club tonight.
You wanna come with us?
- Thanks anyway, but I'm just dead.
- [Johnny] Sweet dreams, darling.
- Oh, for Christ's sake, I can't get in.
These are David's keys.
- Well, sleep at my place.
- Oh, no thanks.
But do you think you could
give me a ride to a cab?
I'd like to get my keys back.
- Sure. Come on.
- [Melanie] Thanks.
- [Girl] No problem.
(tense music)
(man on TV grunting)
(telephone rings)
- Yeah?
- [Man on Phone] Ready with
the hookup, lieutenant.
- Oh, thank you.
(tense music)
- Shit, there's gotta
be a goddam cigarette
around here somewhere.
(tense music)
Hey.
This is Melanie's.
(scoffs) Incredible. What a bitch.
Didn't take her long, that's for sure.
(tense music)
Melanie O'Neal?
I thought her name was Roberts.
(computer beeping)
- Incorrect?
Let's check it out.
- Sylvia?
"Wow! I made it.
I'm going to model for Armani in Milan.
And I'm in love.
Come quick. I can't wait
to tell you all about it.
Much love, Sylvia. P.S. Kiss daddy for me.
Does he still say that
nice girls don't model?"
My god.
(computer keys click)
(tense music)
- Melanie O'Neal?
Sylvia O'Neal.
(Brandam sighs)
Get a car ready.
(telephone rings)
- [David] Lauren?
Lauren, it's me, David.
- Oh god, David, thank god. Where are you?
- [David] I'm stuck out here at the lab.
I'm waiting the night crew to come on.
- Is Melanie with you?
- [David] No. Why?
- Listen, her name is
not Roberts, it's O'Neal.
- [David] Yeah, so?
- David, O'Neal. Are you dense?
That was Sylvia's name. She's her sister.
- [David] Sylvia's sister?
Are you putting me on?
- David, I'm positive.
I found a picture of Sylvia
with a letter to Melanie
on the back.
She even mentions their father.
- [David] Well, that
explains who put the flowers
on the coffin, but it's weird
she didn't say anything.
Why the phony name?
- There can only be one reason, David.
She's here to... she's
here to avenge Sylvia.
David?
(door clicks open)
(tense music)
(door clicks shut)
(suspenseful music)
(doorbell buzzes)
(foreboding music)
(woman laughs)
- Hold it.
(woman screams)
- Easy, easy.
We're the police, sorry.
We're looking for Melanie Roberts.
- Well, Melanie's out.
She's at a friend's house.
Um, David, he's a director.
They got keys mixed up or something.
Why? What happened?
- How could we be so stupid?
- Sir, the photo lab just sent it over,
the picture that was taken
when Alex Conti was killed.
- Are you absolutely certain
that's when it was taken?
- I wouldn't be here if I weren't.
This is the first time
I've ever seen a killer
about to strike.
- I bet it is.
A model. But who is she?
- [Officer] Maybe that director
could tell us who it is.
- [Melanie] Hey, who's there?
Open up! Open up, come on!
- Not on your life. You
can't kill anybody now.
- [Melanie] Lauren, is that you?
What are you talking about?
- Shut up. I know who you are.
I know you're Sylvia's
sister, Melanie O'Neal.
- [Melanie] Yes, I don't
know how you found out,
but it's true.
But, listen, just let me explain.
Before she died, Sylvia called me.
She was desperate.
She had to talk to me.
I never believed in that
automobile accident story,
that's why I came here.
I wanted to find out what
really happened to her.
Who her friends were.
Let me out, Lauren.
I can explain everything.
- Sure, I let you out and you kill me too.
You just wait.
I bet you've got that
knife in there right now.
Don't ya, honey?
David'll be here any minute.
We'll call the police and
they'll let you out. Okay?
(fist pounds)
(eerie music)
(phone receiver clicks)
(eerie music)
(Lauren cries out)
(lamp clatters)
(eerie music)
(glass shatters)
No! No!
(Lauren grunting)
(Lauren cries out)
No. (gasps)
(plastic crunching)
(eerie music)
(Lauren panting)
(low, ominous music)
(Lauren breathing heavily)
(Lauren gasping)
(intense orchestral music)
(Lauren gasping)
(tense, suspenseful music)
- [Man] Lauren!
(Lauren cries out)
(tense music)
(Lauren yelling)
(Lauren screaming)
(Lauren panting)
(slow, tense music)
(Lauren crying)
- No. David, no.
No.
(Lauren crying)
No, no.
No, David, please.
No, no, David.
David, don't.
David, why? Why all the killing?
You hardly even knew Sylvia.
- That's what you all thought.
I knew Sylvia like no one else.
She could be whatever I wanted.
She could be a woman.
She could be a child.
She could be... a whore.
Even a robot.
She was my creation. She was my invention.
I could film her a million times,
and a million times, she'd
be different from everyone.
Not a sleek, empty shell
like the rest of you.
- I didn't know.
- No one was supposed to know.
Sylvia was going straight
to the top to be number one.
The rest of you were nothing.
I had a project for her.
She was to be my masterpiece.
- You're so insane.
- No, I'm not insane.
I'm a god.
I'm a god who has the
power of life and death
over his creatures.
(David chuckles)
Sylvia was the best.
Then she changed.
She got tense.
She said she felt like she
was living in a video clip.
She said reality was something else.
She said she didn't need
me anymore. Understand?
And I created her.
I didn't see her after the
commercial until that night.
I got back from London
early and found her at home.
She was in a daze and it's your fault.
She was in shock after your sleazy party.
(Lauren whimpering)
She told me everything.
Then I realized she'd never
be the way she was again.
I'd lost her.
You dragged her down to your
level and it destroyed her.
Yes, Sylvia had already
died once that night.
(gunshot blasts)
- You... you killed her, too?
- So? She didn't know it,
she didn't feel anything.
She was dead inside.
Putting her in the car and the rest of it
was just a formality.
You'd already killed her.
- Sick.
Sick. So, so sick.
(Lauren crying out)
- It hurts, doesn't it?
- No! No!
- But I really didn't care
how much it hurt the others.
And I really don't care
how much I hurt you.
(Lauren yelling)
(eerie music)
(pipe hissing)
(eerie music)
- David.
David, please.
David.
David, please.
- No.
- Please.
- You're dead.
You're dead!
- No!
(gunshot blasts)
(somber music)
(slow, somber saxophone music)
("Perfect World" by Huey
Lewis & The News plays)
♪ Everybody's looking
for the perfect world ♪
♪ Where you can have
everything your heart desires ♪
♪ The perfect boy will
meet the perfect girl ♪
♪ And the perfect love will
set the world on fire ♪
♪ Well what you gonna do,
when one and one makes three ♪
♪ And a vision of the future
is impossible to see ♪
♪ Nobody's perfect, not
even a perfect fool ♪
♪ If you'll have faith in me ♪
♪ I'll keep faith with you ♪
♪ Ain't no livin' in a perfect world ♪
♪ There ain't no perfect world anyway ♪
♪ Ain't no livin' in a perfect world ♪
♪ But we'll keep on dreamin'
of livin' in a perfect world ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Everybody's got secrets,
now you know that it's true ♪
♪ They talk about me and
they'll talk about you ♪
♪ Something happens to
the pledges of trust ♪
♪ Down through the years
they begin to rust ♪
♪ Now here we are, amid the
tears and the laughter ♪
♪ Still waiting for our
happily ever after ♪
♪ We'll keep on dreamin'
as long as we can ♪
♪ Try to remember and you'll understand ♪
♪ Ain't no livin' in a perfect world ♪
♪ There ain't no perfect world anyway ♪
♪ Ain't no livin' in a perfect world ♪
♪ But we'll keep on dreamin'
of livin' in a perfect world ♪
♪ Whoa, whoa, whoa could we now ♪
♪ Keep on dreamin' of
livin' in a perfect world ♪
♪ Yeah, we better keep believin' ♪
♪ Ain't no livin' ♪