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72.
GUS
You think I'd let you drive my
Cadillac car? I ain't lettin' no
hear-up-his-ass person drive my
Cadillac car.
And he steps on the gas and ROARS out of there, forcing
Nick to get out of the way. Nick looks after him a long
beat, shakes his head.
INT. A CAR - NIGHT
Someone is following him slowly as he walks down the
street. He turns a corner, walks down the alley towards
his Porsche, parked behind the country and western bar.
The car suddenly speeds up -- ROARS down on him from the
back, full bore.
EXT. THE ALLEY
He hurls himself across the Porsche's hood... barely
avoiding the car. He sees the car at the end of the alley,
turning out: It is a black Ferrari.
INT. HIS PORSCHE
He GUNS it down the alley, makes a wild turn in the
direction the Ferrari turned.
EXT. THE STREET
The Porsche dodges around cars very fast, almost side-
swiping them, looking almost out of control, its MOTOR
screaming.
INT. THE PORSCHE
He sees the Ferrari turn ahead. When he gets to where it
turned, he turns wildly.
EXT. THE STREET
The Ferrari is making fast, wild turns into little streets
in North Beach, its MOTOR screaming -- the Porsche is
gaining ground behind it, making turns.
INT. THE PORSCHE
The Ferrari is up ahead and makes a wild right turn onto a
road going up a hillside. He yanks the wheel hard.
EXT. THE STEPS
The Porsche rockets up the steps -- bouncing high into the
air, almost out of control.
73.
INT. THE PORSCHE
As it crests the steps and gets to the street. Nick GUNS
it and it looks like it flies high down the hill-side into
blackness.
EXT. THE STREET
But it lands on more steps -- heading downward -- bucking,
almost spinning, it bounces onto the next street.
INT. THE PORSCHE
Another set of steps leading up: he GUNS it, it rockets
up, ROARS, bucking --
EXT. THE STREET
And lands on the next street. Nick makes a wild right turn
onto the street. And the black Ferrari appears from around
a curve to the right, heading right for him.
INT. THE PORSCHE
Nick steps on the GAS and heads head-on for the Ferrari.
The Ferrari SCREAMS head-on for him.
EXT. THE STREET
And at the last moment, in the game of chicken, the Ferrari
tries to swerve around him on this narrow road, goes out of
control and over the side, turning over and over as it
rolls down the hillside.
EXT. THE HILLSIDE
The Ferrari has landed right-side up.
He runs down the hillside and gets to it. A beat, and he
opens the car door.
Roxy lies hunched over the wheel, her eyes open. Her neck
is broken. She is dead.
EXT. THE HILLSIDE - NIGHT
Police lights have been set up. He stands there with Lt.
Walker and several of the Internal Affairs men.
LT. WALKER
Tell me again. I want to hear you
say it again.
74.
NICK
(after a beat;
sheepish)
It was an accident.
LT. WALKER
You're driving around North Beach
for no particular reason and this
car won't get out of the way --
NICK
I don't think she meant to go off
the hill, do you?
LT. WALKER
(quietly)
Don't fuck with me, Nick. I don't
need a reason to put your ass in a
sling.
He and Nick look at each other a long beat. Andrews comes
up to them with a piece of paper in his hand.
ANDREWS
Full name, Roxanne Hardy. Last
address -- Cloverdale, California.
No priors, no convictions. The car
is registered to Catherine Tramell.
Lt. Walker looks at Nick like he's going to kill him. Nick
looks calmly away.
LT. WALKER
You knew her, didn't you?
NICK
Gus and I talked to her at
Tramell's house. All we did was
write her name down.
LT. WALKER
(after a beat)
I told you to stay away from
Tramell.
NICK
(after a beat;
smiles)
Yeah. But you didn't tell me to
stay away from her car.
Walker looks at him in absolute disbelief.
AN I.A. MAN
I want you in Dr. Gardner's office
at nine o'clock. You're out of
control, Curran.
☆☆75.
NICK
(to the I.A. Man)
Who are you guys gonna sell my file
to this time?
They stare at him. He watches as Roxy's body is taken away.
INT. A POLICE CONFERENCE ROOM -DAY
He walks in. He looks good, in control. Beth Gardner is
sitting there with two middle-aged MEN, both of them
wearing suits, who smile and scrutinize him the instant he
walks in the door.
BETH
Hello, Nick. This is Dr. Myron and
R. McElwaine. They've been asked
to consult with me on this
evaluation.
They shake hands with him.
DR. MYRON
Sit down, Nick.
Nick gives him a look: What did he think he was going to
do -- stand there?
He sits down, looks at them. A beat, as they look at him,
then --
DR. McELWAINE
(courtly)
Nick -- when you recollect your
childhood, are your recollections
pleasing to you?
Nick looks at them a long beat in disbelief.
NICK
(calmly, directly)
Number one: I don't remember how
often I used to jack off, but it
was a lot.
Number two: I didn't get pissed
off at my dad -- even after I was
old enough to know what he and mom
were doing in the bedroom.
Number three: I don't look in the
toilet before I flush it.
Number four: I don't wet the bed
and haven't for some time.
Number five: You can go fuck
yourselves because I'm out of here.
76.
INT. THE CORRIDOR
He is walking away quickly. Beth is with him, trying to
keep up. She is very angry.
BETH
What is your problem? I'm trying
to help you. Why won't you let me
help you?
NICK
I don't need any help.
BETH
Yes you do. Something's on with
you.
(a beat)
You're sleeping with her, aren't
you?
A beat, he stops looks at her, then keeps walking.
NICK
What is this interest you've got in
her?
BETH
My interest is in you, not in her.
She seduces people, she
manipulates --
NICK
I thought you hardly know her.
BETH
I know the type. I'm a
psychologist.
He stops, looks at her.
NICK
(after a beat)
That means you manipulate people
too, doesn't it, Beth? You're a
practicing psychologist -- that
means you're better at it than she
is.
She looks at him a long beat.
BETH
(quietly)
I feel sorry for you, Nick
A beat, and she turns and walks away.
77.
EXT. ROAD TO STINSON HOUSE - DAY
Nick is driving down winding road to Stinson house. He is
driving very fast, passing other cars on the winding and
twisting road.
INT. THE STINSON BEACH HOUSE - DAY
Nick enters and shuts door. Looking around, he does not
see her.
NICK
Catherine!
(after a beat)
Catherine!
Finally he sees her sitting by the window. He walks over
to her.
CATHERINE
(near tears)
I should have known. I came into
the house when you were down on the
beach. She looked at me so
strangely. She left right after
you.
(a beat)
I shouldn't have let her watch us.
She wanted to watch me all the
time. She tried to kill you,
didn't she?
NICK
(a beat)
Did you like her to watch?
CATHERINE
(a long beat)
Do you think I told her to kill You?
NICK
(softly, with
intensity)
No.
CATHERINE
(after a beat, near
tears)
Everybody that I care about dies.
She is about to break into uncontrolable sobbing. Nick
puts his arms around her.
78.
NICK
(soothing)
It's OK. It's OK.
CATHERINE
(quietly, almost
begging)
Make love to me.
INT. BEDROOM - NIGHT
They are seen rolling and turning around on each other.
Their love making is sensual, sincere.
Later in bed.
NICK
(calmly, but
seriously)
Do you think she killed Johnny Boz?
CATHERINE
(surprised,
startled)
For what... to set me up? She
loved me she wouldn't frame me.
NICK
(a beat)
Maybe she got jealous of Johnny
Boz, too.
CATHERINE
(after a beat)
No, she didn't... she never got
jealous before... she got excited.
(a beat)
I don't have luck with women.
There was this girl I met while I
was in college. I slept with her
once. She started following me
around, taking my picture. She
dyed her hair, copied my clothes.
Lisa something... Oberman. It was
awful.
79.
A long beat, he looks at her.
NICK
I thought you didn't do adolescent
secrets.
CATHERINE
(after a beat)
I never have before.
EXT. THE DECK - MORNING
It is a bright, sunshiny day. He is out there looking at
the water. She comes up behind him, hugs him.
CATHERINE
(full of life)
Isn't it just beautiful? I love it
here like this.
He looks at her.
NICK
(cold)
We're still playing games, aren't
we?
She looks hurt.
CATHERINE
No.
NICK
(cold)
No?
CATHERINE
No more games, Nick. I'm tired of
playing games!
They have their eyes on each other.
NICK
Then tell me about Nilsen.
She turns away from him. He watches her.
CATHERINE
You won't believe me.
NICK
Try me.
A beat, she looks at him.
80.
CATHERINE
I paid him $50,000 in cash for your
psychiatric file.
NICK
(after a beat)
When?
CATHERINE
About three months before I met you.
NICK
Why?
She turns away from him.
CATHERINE
I'd read about your shootings in
the papers. I decided to write a
book about a detective. I wanted
to know my character.
NICK
You paid $50,000 for your character?
CATHERINE
I would've paid more. I wanted to
know everything about you. Then
you came down here after Johnny got
killed... it gave me a chance to
get to know my character better.
NICK
(after a long beat)
What about the other night. What
about last night? Was that to get
to know your character?
CATHERINE
(after a beat)
Maybe I'm losing interest in my
book.
Their eyes are on each other.
CATHERINE
(continuing)
Do you believe me?
NICK
(after a beat)
I don't know.
CATHERINE
I'll convince you.
81.
And she kisses him slowly, with more and more heat, on the
lips.
The cordless phone on the deck table goes off. It keeps
RINGING. She breaks finally from the kiss, picks it up.
CATHERINE
(continuing)
Hello?
She listens a beat, then hands him the phone.
CATHERINE
(continuing)
It's Gus-who-doesn't-like-me.
He takes the phone.
NICK
Catherine says you don't like her.
INT. THE DETECTIVE BUREAU - DAY
GUS
(on the phone)
She's right. You got an icepick in
you yet?
EXT. HER DECK - STINSON
Catherine sees him smile.
CATHERINE
What did he say?
NICK
He asked if I had an icepick in me
yet.
CATHERINE
(smiles)
Funny.
INT. THE DETECTIVE BUREAU - DAY
GUS
(on the phone)
You know that stuff they say about
how you can judge people by their
friends?
EXT. HER DECK
NICK
I don't believe it.
82.
INT. THE DETECTIVE BUREAU - DAY
GUS
Why not?
NICK
(smiles)
You're my friend, Gus.
She watches him.
INT. THE DETECTIVE BUREAU - DAY
GUS
(seriously)
I'm gonna make you believe in it,
friend.
INT. CLOVERDALE POLICE DEPARTMENT - DAY
In CLOSEUP: We see a large, glossy photograph of Roxy.
She looks about thirteen. She has braces in her teeth.
Nick is looking at the photo -- it is in a file in his
hands. He sits there with Gus in front of a woman juvenile
officer.
He turns the file and we see a glossy of a little boy in a
pool of blood.
Nick looks up at the woman.
NICK
(after a beat)
How old was she when this happened?
THE WOMAN
Fourteen. We seal juvenile records
until they're deceased. That's why
you didn't find it in your computer.
GUS
What was the motive?
THE WOMAN
She said she didn't know herself,
just sort of did it on impulse.
(she shrugs)
The razor just happened to be there.
They stare at her.
THE WOMAN
(continuing)
That's what she said.
83.
INT. CLOVERDALE POLICE DEPARTMENT - DAY
It is a small, old, rural building: a lot of Four-H type
stuff on the walls.
NICK
I don't understand what the hell's
going on here, pop.
GUS
Ain't that hard, son. This young
farmgirl, she got tired of all that
attention goin' to her little
brothers -- she fixed 'em. Just
like 'ole Hazel Dobkins fixed her
whole family -- except young Roxy
here, she didn't use a wedding
present. She used Daddy's razor.
EXT. THE CLOVERDALE POLICE DEPARTMENT
They are going to their cars, parked side by side. The
Porsche looks pretty badly banged up.
GUS
It sure makes you wonder what they
talked about when they set
themselves down in front of the
campfire at night. You ever met
any of her friends who hasn't
killed somebody.
Nick looks at him.
GUS
(continuing)
It musta beat your ordinary
everyday girl talk.
Nick get into his car, sits there a beat.
NICK
I'm not sure anymore she did it.
GUS
(after a beat)
Which one you talkin' about now,
son? We know ole Hazel did it; we
know young Roxy did it -- and the
other one: Well, hell, she's got
that magna come lawdy pussy on her
that done fried up your brain.
Nick looks at him.
84.
INT. THE REGISTRAR'S OFFICE - U.C. BERKELEY
A young woman is checking a computer. Nick is with her.
THE WOMAN
Anderson. Jack W. Donald M. I'm
sorry. No Lisa.
NICK
Did you check all four years?
THE WOMAN
Yes I did.
NICK
(in disbelief)
Can you check again?
She gives him a look, but punches it in again.
THE WOMAN
No Lisa Anderson, detective.
NICK
(after a beat)
Can there be some mistake?
THE WOMAN
(straining patience)
Only if you're making it.
He looks at her.
EXT. CATHERINE'S HOUSE ON DIVISADERO - DAY
He gets out of the Porsche, starts to go in. He looks
disturbed
Catherine comes out of the house with Hazel Dobkins, the
old woman we saw with her in Mill Valley. Nick watches
them a beat, then goes up to them.
CATHERINE
Hazel , this is Nick. I told you
all about him. This is Hazel
Dobkins.
HAZEL
(smiles)
You're the Shooter, aren't you?
How are you?
NICK
(after a beat)
Fine. Thank you.
85.
He looks at her sort of warily.
NICK
(continuing; to
Catherine)
Can I talk to you a minute?
CATHERINE
(to Hazel)
Honey, why don't you go in the car?
I'll be right there.
The old woman starts going to the Ferrari.
HAZEL
(brightly)
Goodbye, Shooter.
Nick looks at Hazel a beat, then at Catherine.
NICK
You like to hang out with murderers
or what? Did you know Roxy --
CATHERINE
Of course I knew.
He looks at her a long beat.
CATHERINE
(continuing;
casually)
Look. Sometimes when I do my
research, I get involved with
people. It happened with you, too.
She smiles. He looks at her, doesn't know what to say.
CATHERINE
(continuing)
Killing isn't like smoking. You
can quit.
He looks at her: What did she say?
CATHERINE
(continuing;
preoccupied)
I've go to go. I promised to get
her home by six o'clock. She just
loves "America's Most Wanted."
America's Most Wanted? She turns to go.
NICK
There was no Lisa Anderson at
Berkeley when you were there.
☆☆86.
She stops, looks at him a beat.
CATHERINE
What were you doing, checking up on
me? What for?
He says nothing. A long beat, she looks hurt.
CATHERINE
(continuing; after
a beat)
Henderson.
And she's gone.
INT. A PHONE BOOTH - DAY
He is on the phone.
NICK
Henderson. Lisa Henderson. With
an H.
He waits.
NICK
(continuing)
You do?
INT. THE DETECTIVE BUREAU - NIGHT
He sits in front of a computer screen with Andrews.
ANDREWS
I can get my butt kicked for this.
You're not supposed to be in here.
NICK
It's not gonna take long, Sam.
We see the computer screen. The screen says:
LISA HENDERSON DMV LICENSE CHECK
We wait and then we see the words:
1983 RENEWAL -- ELIZABETH GARDNER, 147
QUEENSTON DRIVE, SALINAS, CAL.
Nick stares at the screen.
NICK
(continuing)
Bring it up, will you, Sam?
A beat, and then we see the license itself: It is Beth
Gardner on the photo. Nick stares.
☆☆87.
ANDREWS
Hey, that's Dr. Gardner, isn't it?
NICK
Bring 1976 up.
A beat, and the license comes up. We see a young Beth
Gardner on the photo. She has blonde hair.
Nick stares.
INT. BETH GARDNER'S APARTMENT - NIGHT
She walks in. The apartment is dark.
NICK (O.S.)
You shouldn't leave your door open.
She is startled.
BETH
(after a beat)
I didn't. Something's wrong with
my lock.
A beat, she looks at him.
BETH
(continuing; cold)
What do you want, Nick?
NICK
(quietly)
Tell me about Catherine.
She looks at him a long beat, then turns away --
BETH
She told you, didn't she?
NICK
(after a beat)
What did she tell me, Beth?
BETH
(after a long beat)
I slept with her once in school.
(a beat)
I was just a kid. I was
experimenting. It was just that
one time.
(a beat)
She developed a... fixation... on
me. She d her hair like mine.
She wore the same kind of clothes I
did. It scared me.
88.
She looks at him, sees his look.
BETH
(continuing)
Isn't that what she told you?
He looks at her a long beat.
NICK
She told me it was you. You wore
the same kind of clothes. You dyed
your hair blonde.
A long beat as they look at each other.
BETH
I did dye my hair. It didn't have
anything to do with her. I was a
redhead for a while, too.
NICK
(after a beat)
Did you know Noah Goldstein?
BETH
I had him in two classes.
NICK
You saw all the reports, Beth!
Phil had you copied. You never
said anything!
BETH
(after a beat)
What do I say -- Hey, listen, guys,
I'm not gay, but I did fuck your
suspect.
(she turns away)
I was embarrassed. It's the only
time I've been with a woman.
She turns to him.
BETH
(continuing)
She's really sick you know. Don't
you know what she's doing? She
knows I went to Berkeley. She
knows I knew Noah. She makes up
that story about me. She's handing
you somebody who's obsessed with he
her.
NICK
She didn't hand you to me. She
doesn't even know who you are. She
told me about Lisa Henderson.
☆☆89.
BETH
She knew you'd find out who Lisa
Henderson is. You're a good cop --
what did she do? Tell you casually
and make it seem irrelevant?
(she smiles)
Did she tell you in bed, Nick?
That's how I'd do it.
Nick looks at her a long beat.
NICK
Why did you change your name?
BETH
I got married.
(a beat)
He was on staff at the clinic. I
was down in Salinas. It didn't...
last long.
He gets up. He looks at her a long beat.
BETH
(continuing)
Nick -- Do you really think I...
that I could kill someone... I
never even met Johnny Boz. What
about Nilsen? What possible motive
would I have to kill him?
He turns to go.
NICK
You should do something about this
lock.
BETH
She's evil. She's brilliant. Be
careful, Nick.
He looks at her.
EXT. HIS APARTMENT - NIGHT
He gets out of his Porsche. He walks toward the door.
INT. HIS APARTMENT HOUSE - THE STAIRWAY
He starts going up the dark stairway. There is a hand on
his neck. He spins.
CATHERINE
(smiles)
Do I scare you, Nick?
90.
He looks at her, doesn't say anything.
CATHERINE
(continuing; smiles)
I just thought I'd surprise you.
(a beat)
What's the matter?
NICK
(after a beat)
I found Lisa Henderson.
CATHERINE
Did you? What's she doing?
He looks at her, doesn't say anything.
CATHERINE
(continuing)
You're not going to tell me what
she's doing.
(a beat)
I thought we weren't playing games
anymore.
NICK
(after a beat)
I did, too.
(a beat)
She told me it was backwards -- she
said you even d your hair the
way she did.
Catherine looks at him a beat, then smiles.
CATHERINE
And you believed her? I even went
down to the campus police and made
out a report about her.
He just looks at her.
CATHERINE
(continuing)
You still think I kill people,
don't you?
NICK
(after a beat)
No.
CATHERINE
Liar.
And she's gone.
91.
INT. CAMPUS POLICE RECORDS ROOM - BERKELEY - DAY
He stands with an old CAMPUS COP. He is going through
files.
CAMPUS COP
Who'd you say you were with?
NICK
Homicide. San Francisco.
He stops at a file, opens it.
CAMPUS COP
Don't you guys communicate over
there? You must be the same way we
are.
Nick doesn't get it.
CAMPUS COP
(continuing)
There was a report about Lisa
Henderson -- January, 1977 -- the
file's not here.
NICK
What do you mean it's not here?
CAMPUS COP
San Francisco P.D. Detective
Nilsen. Internal Affairs. You
know him? Tell him we want it
back. He's had it a whole year.
Nick says nothing.
INT. HIS APARTMENT - DAY
He and Gus sit there -- they look tired, upset.
GUS
So Nilsen had a report on her -- so
what. You don't know what the hell
was in it?
NICK
Catherine told me what was in it.
GUS
If she's telling you the truth.
NICK
Don't you get it, Gus? If Beth
killed Johnny Boz to frame
Catherine -- she wouldn't want
anyone to know what happened at
Berkeley. It gives her the motive
to kill Nilsen.
☆☆92.
GUS
How did she know Nilsen knew about
it -- if it happened?
NICK
He was I.A. He probably asked her
about it.
Gus thinks about it.
GUS
She'd have to be nuttier than a
twenty-pound Christmas fruitcake.
She's not the one who hangs out
with multiple murderers -- your
girlfriend is.
NICK
She's a writer -- it's part of what
she does.
GUS
(irate)
Goddamn writers -- all they do is
use up trees and ruin people's eyes.
(a beat)
There's gotta be somebody at
Berkeley who knows what the hell
happened.
NICK
I know what happened. Catherine
told me what happened.
GUS
(after a beat,
quietly)
You got goddamn tweety-birds
flutterin' around your head, that's
what you got. You think you're
gonna fuck like minks, raise
rugrats, and live happily ever
after? Oh, man.
INT. THE STAIRWAY - HIS APARTMENT HOUSE - NIGHT
He has his key out to open his door. He hears MUSIC
inside. A beat, and he opens the door.
INT. HIS APARTMENT
It is dark. We hear a Rolling Stones SONG. He sees
Catherine standing by a window, watching him. She wears
black jeans and the black motorcycle jacket.
93.
They look at each other a long beat.
NICK
How'd you get in here?
CATHERINE
I decided to give you one more
chance.
(a beat)
I missed you.
NICK
You didn't not see me long enough
to miss me.
CATHERINE
Did you miss me?
NICK
No.
CATHERINE
Come over here and tell me no.
He walks up close to her.
NICK
No.
She unzips her motorcycle jacket slowly. She wears nothing
underneath it.
NICK
(continuing)
That's below the belt.
She reaches for him.
CATHERINE
Not yet it isn't.
She pulls him close.
CATHERINE
(continuing)
But we're getting there.
INT. HIS LIVING ROOM - NIGHT
They sit in the window seat, naked. His back is against
the wall. She sits against him. He has his legs around
her. They don't look at each other. She is smoking.
NICK
I have to do some research tomorrow.
94.
I'm very good at research. I'll help you.
NICK
(continuing)
No thanks.
CATHERINE
What are you researching?
NICK
I'm writing a book.
CATHERINE
(smiles)
Really. What are you writing about.
NICK
A detective. He falls for the
wrong girl.
CATHERINE
(smiles)
What happens to them?
NICK
(after a beat)
They fuck like minks, raise
rugrats, and live happily ever
after.
CATHERINE
(after a beat)
It won't sell.
NICK
Why not?
CATHERINE
(after a beat)
Somebody has to die.
NICK
Why?
CATHERINE
Somebody always does.
EXT. THE SALINAS CLINIC - DAY
He walks in; it is a small valley hospital. He goes up to
the desk. There are two women there.
NICK
Hi, I'm looking for a Dr. Gardner?
95.
ONE WOMAN
(after a beat)
We don't have a Dr. Gardner on
staff here.
THE OTHER WOMAN
Dr. Joseph Gardner?
NICK
(after a beat)
Yeah.
THE WOMAN
He died -- about five or six years
ago.
NICK
(after a beat)
He was shot.
INT. SALINAS SHERIFF'S OFFICE - DAY
Nick sits with a sheriff's DETECTIVE.
DETECTIVE
He was walking home from work.
They only lived a coupla blocks
from the clinic. Somebody drove by
and shot him.
NICK
What was the weapon?
DETECTIVE
.38 revolver. Never recovered.
NICK
Were there ever any suspects?
DETECTIVE
No suspects, no motive. Unsolved.
NICK
(after a beat)
Was his wife ever a suspect?
DETECTIVE
(after a beat)
I had another one of you guys down
here from Frisco -- about a year
ago -- he asked me the same
question. What's this about anyway?
96.
NICK
Routine.
DETECTIVE
Yeah, he said it was routine too.
Now it's two guys saying it's
routine.
NICK
Do you remember his name?
DETECTIVE
(after a long beat)
Nope, can't say that I do.
NICK
Nilsen?
DETECTIVE
That's him.
A long beat, then --
NICK
Was she ever a suspect?
DETECTIVE
Nope.
(a beat)
There was some talk; it never
panned.
NICK
What kind of talk?
DETECTIVE
The usual -- a girlfriend.
NICK
He had a girlfriend?
DETECTIVE
Nope. She did.
(a beat)
Like I say. It never panned.
NICK
(after a beat, gets
up)
Thanks.
DETECTIVE
I hope I helped you out.
NICK
(after a beat)
You did.
☆☆97.
EXT. HER HOUSE IN STINSON - AFTERNOON
He walks around the house; he sees her sitting out on the
deck, a portable word-processor in front of her. She is
smoking.
He goes up to her.
NICK
(smiles)
Hi. I missed you. I finished my
research.
He moves toward her. She moves away, kills her cigarette.
CATHERINE
I finished my book.
NICK
How did it end?
CATHERINE
(after a beat)
I told you. She kills him.
They look at each other a long beat.
CATHERINE
(continuing;
quietly)
Goodbye, Nick.
He stares at her. A long beat.
CATHERINE
(continuing)
I finished my book.
(a beat)
Didn't you hear me?*
(a beat)
Your character's dead.
(a beat)
Goodbye.
He stares at her. He can't believe what she is saying.
CATHERINE
(continuing)
What do you want, Nick? Flowers?
I'll send you some flowers.
NICK
(after a beat)
What is this -- some kind of...
Joke?
(a beat; he almost
smiles)
Are we playing games again?
☆☆98.
CATHERINE
(after a beat)
The games are over. You were
right. It was the fuck of the
century, Shooter.
He stares at her.
A VOICE INSIDE
Catherine?
Nick looks -- Hazel Dobkins is there.
Catherine still has her eyes on him.
CATHERINE
Right there.
A beat, and then she turns to go inside. Hazel Dobkins
smiles slowly at him.
EXT. THE POLICE PARKING LOT - DUSK
He sits in his Porsche, staring ahead. He is parked next
to Gus' Cadillac. Gus is suddenly there, onway to his car.
GUS
(excited)
Catherine Tramell's roommate her
freshman year. I got a call from
her. I've been calling people who
were in her dorm all day. She
must've heard I was trying to talk
to her. She says she knows all
about Catherine and Lisa Henderson.
She's over in Oakland. You wanna
come with me?
Nick just stares ahead.
GUS
(continuing)
You look like you seen a ghost, son?
Nick looks at him.
INT. GUS' CADILLAC - NIGHT
Gus drives.
GUS
(excited)
Johnny Boz's psychiatrist has an
office on Van Ness. Guess who he
shares office space with? Dr.
Elizabeth Gardner.
99.
Nick doesn't even respond. Gus looks at him.
GUS
(continuing)
What in hell's the matter with you?
Nick doesn't say anything, stares ahead.
EXT. AN OFFICE BUILDING - OAKLAND - NIGHT
Gus gets out with Nick. It is an old building.
GUS
Where the hell you goin'?
NICK
(after a beat)
I'm going with you.
GUS
She said alone -- suite 405. It
ain't gonna take long.
A beat, and Nick gets back in the car.
INT. THE OFFICE BUILDING - NIGHT
Gus is on the first floor. There is no one around. He
hits the elevator button. A beat, and it comes. He steps
in.
INT. THE ELEVATOR - NIGHT
He hits the button for the fourth floor.
The elevator rises a floor, stops. The door opens. There
is no one there. Then it starts going up again. It rises
to the third floor. It stops. The door opens. There is
no one there. Then it starts to rise again.
EXT. GUS' CADILLAC - NIGHT
Nick sits there, staring ahead.
NICK
(suddenly,
screaming)
Gus!
INT. THE ELEVATOR
As it goes up. It stops. The door starts to open. As it
does -- a figure in a hooded raincoat sweeps into the
elevator. It happens very fast. We see blonde hair around
the face.
100.
But we don't see the face itself -- the head is down, the
hood up. There is an icepick in the figure's hand. The
figure explodes into Gus. The icepick goes into his neck.
INT. THE STAIRWAY
Nick tears desperately up the stairway -- he hits the
fourth floor door. It explodes open.
INT. THE FOURTH FLOOR
He stands there a beat, sees the elevator door open. He
runs there, He sees Gus, crumpled into the corner of the
elevator.
INT. THE ELEVATOR
He goes into the elevator -- holds Gus. He is dead. A
long beat. He sees the gun in Gus' hand -- he takes the
gun out of his hand. He runs out of the elevator.
INT. THE FOURTH FLOOR
He hears something. Gun in hand, he runs towards the
SOUND. He stops, gun in hand, listens again. He runs
again, hears nothing.
Behind him, we see a figure.
He spins suddenly, gun, in hand. Beth Gardner is there.
She wears a windbreaker. She has her hands in the pockets.
BETH
What are you doing here?
NICK
(screaming)
Put your hands up!
She stares at him.
NICK
(continuing;
screams)
Put your fucking hands up! Don't
move.
BETH
I got a message on my machine to
meet Gus here. Where is he?
She smiles a strange smile. She takes a step toward him.
101.
NICK
(screams)
Don't!
(a beat)
I know about your husband. You
still like girls, Beth?
BETH
What?
She smiles strangely again, takes a step toward him.
NICK
(screams)
Take your hands out of your pockets!
She moves a hand in a pocket and moves towards him fast --
BETH
What is wrong with you?
And he FIRES the gun. She is hit in the chest, goes down.
A long beat, and then he goes to her. He gets down on the
ground. Her eyes are open. He empties the pockets of the
windbreaker -- first one, then the other: the pockets are
empty.
BETH
(continuing; in a
whisper)
I loved you.
And she dies.
INT. THE FOURTH FLOOR - LATER
A lot of policemen, coroner's guys, photos being taken.
Nick stands there with Lt. Walker, Harrigan, and some of
the Internal Affairs guys.
LT. WALKER
(upset)
What made you think she had a gun?
Nick says nothing; he looks like a zombie.
LT. WALKER
(continuing)
What the hell was she doing here?
What was Gus doing here?
Andrews yells to them from the stairway door.
ANDREWS
Lieutenant.
102.
INT. THE STAIRWAY
A FORENSICS MAN very carefully handles a hooded rain coat
in a stair landing. He wears gloves.
Nick is there with Lt. Walker.
The Forensics Man picks the raincoat up -- a long blonde
wig falls out of it. There are flecks of blood on it.
He reaches into the pocket and pulls out an icepick. It
has a thin steel handle and is bloody. He hands the
icepick to an assistant.
He looks at the raincoat. It has blood on it.
THE FORENSICS MAN
It's departmental issue.
LT. WALKER
(quietly)
Jesus.
INT. BETH GARDNER'S APARTMENT - NIGHT
Nick with Lt. Walker. Nick looks like a zombie.
Andrews comes up to them. He has a gun in his hands.
ANDREWS
Thirty-eight caliber revolver.
Bottom drawer, bureau in the
bedroom.
LT. WALKER
Have ballistics check it for
Nilsen.
Harrigan comes out.
HARRIGAN
Lieutenant, you'd better come in
here.
Lt. Walker goes into the kitchen. Nick follows him.
There are several cops around a kitchen cabinet. A drawer
is open.
Walker looks -- we look with him. We see a copy of Love
hurts, Catherine's paperback book, and a stack of photos of
Catherine.
Walker picks the photos up, goes through them -- we see
shots of Catherine in college -- Catherine at a fight --
Catherine with Johnny Boz -- Catherine with Roxy.
103.
He hands the photos to Nick.
Nick stares at them.
LT. WALKER
I guess that's it.
INT. THE DETECTIVE BUREAU - NIGHT
Nick sits, his feet up. He looks like a zombie. With him
are Lt. Walker, Andrews, and Captain Talcott. We see other
plainclothesmen in the b.g. -- a flurry of activity, people
on phones. A long beat.
LT. WALKER
She must've heard you on the
stairway and dumped the stuff.
Nick says nothing, stares off.
A DETECTIVE comes over to them.
DETECTIVE
There was no suite 405 in that
building. Catherine Tramell's
roommate in her freshman year is
dead. She died of leukemia two
years ago.
An INTERNAL AFFAIRS MAN comes over to them.
INTERNAL AFFAIRS MAN
Our files on Dr. Gardner show
nothing about a police report in
Berkeley -- nothing related to
Salinas, either.
A long beat -- the phone RINGS. Andrews picks it up,
listens.
ANDREWS
Thanks.
He hangs up.
ANDREWS
(continuing)
Ballistics says the .38 we found in
her apartment matches Nilsen. No
registration. They're checking
with Salinas. The icepick is the
same brand and model as the Boz
weapon.
A long beat -- Nick just stares.
104.
Harrigan comes up to them.
HARRIGAN
We checked the tape machines at Dr.
Gardner's apartment and at her
office -- both here and the one on
Van Ness. No message from Gus on
any of 'em. The one at her
apartment was broken.
(a beat)
Johnny Boz's psychiatrist says he
thinks he remembers Dr. Gardner and
Boz meeting at a Christmas party at
his house a year ago.
A long beat.
LT. WALKER
(after a long beat,
sadly)
You just can't tell about people,
can you. Even the ones you think
you know inside-out.
He and Nick look at each other a beat.
CAPTAIN TALCOTT
Congratulations, Curran.
Nick looks at him, expressionless.
EXT. HIS APARTMENT - NIGHT
He parks his car. It is dark. Foggy.
He starts heading inside.
INT. HIS APARTMENT - NIGHT
He goes in. He starts to walk up the dark stairway, we see
him walking up several flights of steps.
INT. THE CORRIDOR TO HIS APARTMENT
He opens his door with his key.
INT. HIS APARTMENT
He walks in. The apartment is dark.
A VOICE
(behind him)
Hi.
105.
It is a whisper, almost a hiss. He spins, fast. Catherine
stands there, pressing herself against a wall. They look
at each other a long beat. She looks like she is almost in
a trance.
CATHERINE
I heard about it... on TV.
He looks at her, expressionless. A long beat, their eyes
are into each other. She looks like she is almost
shivering.
CATHERINE
(continuing)
I can't allow myself to care about
you -- I can't allow myself to
care -- I can't -- I can't --
She looks very emotional. He moves towards her, puts his
arms around her, holds her very close.
CATHERINE
(continuing; in a
whisper)
I don't want to do this -- please --
I don't want to do this -- I lose
everybody -- I don't want to lose
you -- I don't want to --
He presses her closer and closer to himself, holds her.
INT. HIS BEDROOM - NIGHT
It is dark; we can't see clearly.
Atop her... he makes love to her... gently... tenderly...
hardly moving inside her... there are tears in her eyes...
DISSOLVE TO:
INT. HIS BEDROOM - LATER
Atop him... she is on her knees, straddling him... he is on
his back, his eyes are closed... her head arches back...
her breasts high... he strains toward her with his body...
she holds her arms high... her right hand is in a fist...
(we only see the back of her hand and arm)... it comes down
suddenly... he bucks... writhes... then her whole body
falls on top of him.
A very long beat...
We can't see him... her body completely covers him...
And then finally he moves... turns her to the side...
kisses her.
DISSOLVE TO:
☆☆106.
INT. HIS BEDROOM - LATER
The Stones play "Sympathy For The Devil" in the b.g.; the
MUSIC is low.
They lie next to each other on the bed. The CAMERA faces
them. He lies, staring at the ceiling, on the left side of
the bed, smoking a cigarette. She is curled away from him
toward the right side of the bed. A long beat, then --
CATHERINE
What do we do now, Nick?
NICK
(after a long beat)
We fuck like minks. We raise
rugrats. We live happily ever
after.
We see her right arm go to the side of the bed and then
over. He stares at the ceiling.
CATHERINE
I hate rugrats.
NICK
(after a long beat)
We fuck like minks. We forget the
rugrats. We live happily ever
after.
We see from an ANGLE to the left side of the bed now:
Her face is expressionless. Her right arm dangles over the
right side of the bed. Her right hand is clenched. Is she
holding something in it against her arm?
We see them from an ANGLE to the left side of the bed now:
He turns his body away from her to put out his cigarette.
We see her behind him slowly turning towards him and the
CAMERA. A beat, and he turns towards her.
They look at each other. A long beat as the SONG gets
louder. We see them in CLOSEUP. We don't see her right
arm.
CATHERINE
(in a whisper)
I love you.
107.
A beat, and he kisses her. The CAMERA BACKS AWAY from them
slowly to the right side of the bedroom as they kiss, and
we --
FADE TO BLACK:
... A long beat, as the SONG keeps playing... and we...
FADE IN:
We see them from the right side of the bedroom. And then
the CAMERA LOWERS SLOWLY as they kiss with more and more
passion.
It keeps going LOWER.
There is something under the bed. The CAMERA MOVES CLOSER
towards it as "SYMPATHY FOR THE DEVIL" plays louder. We
see it now in CLOSEUP as the bed rustles above...
It is a thin, steel-handled icepick.
The SONG plays LOUDER and LOUDER, and we --
FADE OUT:
THE END |
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