Beware of a Holy Whore Page #3

- I guess so.

I'm looking for a job

as an extra or something.

I may be able to fix you up.

Are you here alone?

No. I'm with my husband.

Oh, I see.

In that case...

Thank you.

Jeff.

Oh, Jeff.

Just let go of me, honey.

Kiss me, Jeff.

I haven't seen you for two weeks.

I told you to let go

or you'll regret it.

I have a right to, Jeff.

Just leave me alone.

But I love you.

You hit me.

You all saw it.

He nearly killed me.

He promised to marry me.

He wanted to have kids with me.

It's all your fault, you pig.

Pig.

You'll see...

I'll show you...

All of you.

You're all witnesses.

He nearly beat me to death again.

I'll show you.

You'll see.

Come on.

Two Cuba libres for me.

Sure.

Cheers, Jeff.

- What was wrong this time?

- The usual thing.

Jeff.

Yeah?

Irm's in the production office.

She wants her money.

She says you promised to marry her.

She wants her money

or she's quitting.

Let her quit.

Tell her I don't want

to see her here again.

I'm not shooting if that woman's

on the set. Clear?

- I'm going to bed. Goodnight.

- Goodnight.

- OK. I'll tell her.

- At once.

OK, but I've no money to pay her off.

The lazy b*tch should do some work

before she asks for money.

Good evening, Mr Constantine.

- Enjoy your dinner?

- It was excellent.

Am I going to get my money?

Excuse me.

Irm, Jeff said no,

and he said you should go.

Four years I've worked

for that bastard.

I whored for that repulsive swine.

You'd have starved long ago

if it wasn't for me.

He promised to marry me.

What a stupid b*tch I am.

Just so I'd go on working for him.

He wanted to have kids with me,

and I believed it all.

Come on, Irm. Come on.

It'll be OK.

Good evening, Mr Constantine.

Good evening.

Want to tell me

what we're doing tomorrow?

Sure.

Mike, I want an incredibly long,

slow shot.

Dolly slowly through the two rooms.

Since this is the scene

of two brutal murders,

our approach must be

a complete contrast.

If we make it quick and snappy,

and it's edited afterwards,

the audience will never get the

feeling that a murder takes time.

That it's not so simple.

The woman must know at once

she's going to die. She stares...

After a time, she begins to cry.

I want to dolly into the house

with Eddie,

stay behind him a while and see

how the minister

reacts to his appearance.

When the minister stands up,

we travel in with Eddie.

He speaks about his mandate

and honour and so on.

We dolly back to a long shot.

Then the murder's committed.

Maybe pan to the woman first.

She's in the doorway, watching.

She's speechless and retreats.

Then a slow pan to Eddie.

The minister is murdered.

Eddie looks for the woman,

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