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Basic Instinct (1992) movie script

by Joe Eszterhas.
Draft script.

More info about this movie on IMDb.com
INT. A BEDROOM - NIGHT

It is dark; we don't see clearly.

a man and woman make love on a brass bed.  There are
mirrors on the walls and ceiling.  On a side table, atop a
small mirror, lines of cocaine.  A tape deck PLAYS the
Stones:  "Sympathy for the Devil."

Atop him... she straddles his chest... her breasts in his
face.  He cups her breasts.  She leans down, kisses him...

JOHNNY BOZ is in his late 40's, slim, good-looking.  We don't
see the woman's face.  She has long blonde hair.  The CAMERA
STAYS BEHIND and to the side of them.

She leans close over his face, her tongue in his mouth...
she kisses him... she moves her hands up, holds both of his
arms above his head.

She moves higher atop him... she reaches to the side of the
bed... a white silk scarf is in her hand... her hips above
his face now, moving... slightly, oh-so slightly... his
face strains towards her.

The scarf in her hand... she ties his hands with it...
gently... to the brass bed... his eyes are closed...
tighter... lowering hips into his face... lower... over his
chest... his navel.  The SONG plays.

He is inside her... his head arches back... his throat
white.

She arches her back... her hips grind... her breasts are
high...

Her back arches back... back... her head tilts back... she
extends her arms... the right arm comes down suddenly...
the steel flashes... his throat is white...

He bucks, writhes, bucks, convulses...

It flashes up... it flashes down... and up... and down...
and up... and...

EXT. A BROWNSTONE IN PACIFIC HEIGHTS - MORNING

Winter in San Francisco:  cold, foggy.  Cop cars
everywhere.  The lights play through the thick fog.  Two
Homicide detectives get out of the car, walk into the
house.

					     2.


NICK CURRAN is 42.  Trim, good-looking, a nice suit: a face
urban, edged, shadowed.  GUS MORAN is 64.  Crew-cut, silver
beard, a suit rumpled and shiny, a hat out of the 50's: a
face worn and ruined:  the face of a backwoods philosopher.

INT. THE BROWNSTONE

There's money here -- deco, clean, hip -- That looks like a
Picasso on the wall.  They check it out.

		GUS
	Who was this fuckin' guy?

		NICK
	Rock and roll, Gus.  Johnny Boz.

		GUS
	I never heard of him.

		NICK
		(grins)
	Before your time, pop.
		(a beat)
	Mid-sixties.  Five or six hits.
	He's got a club down in the
	Fillmore now.

		GUS
	Not now he don't.

Past the uniformed guys... nods... waves... past the
forensic men... past the coroner's investigators... they
get to the bedroom.

INT. THE BEDROOM

They walk in, stare -- it's messy.

It's like a convention in here.  LT. PHIL WALKER, in his
50's, silver-haired, the Homicide guys:  JIM HARRIGAN, late
40's, puffy, affable;  SAM ANDREWS, 30's, black.  A
CORONER'S MAN is working the bed.

		LT. WALKER
		(to Nick and Gus)
	You guys know Captain Talcott?

They nod.

		GUS
	What's the Chief's office doin'
	here.

		CAPT. TALCOTT
	Observing.

					     3.




		LT. WALKER
		(to the Coroner's
		 Guy)
	What do you think, Doc?

		THE CORONER'S GUY
	The skin blanches when I press it --
	 this kind of color is about right
	for six or eight hours.

		LT. WALKER
	Nobody say anything.  The maid came
	in an hour ago and found him.
	She's not a live-in.

		GUS
	Maybe the maid did it.

		LT. WALKER
	She's 54 years old and weighs 240
	pounds.

		THE CORONER'S GUY
		(deadpan)
	There are no bruises on his body.

		GUS
		(grins)
	It ain't the maid.

		LT. WALKER
	He left the club with his
	girlfriend about midnight.  That's
	the last time anybody saw him.

		NICK
		(looks at body)
	What was it?

		THE CORONER'S GUY
	Ice pick.  Left on the coffee table
	in the living room.  Thin steel
	handle.  Forensics took it
	downtown.

		HARRIGAN
	There's come all over the sheets --
	he got off before he got offed.

		GUS
		(deadpan)
	That rules the maid out for sure.

		CAPT. TALCOTT
	This is sensitive.  Mr. Boz was a
	major contributor to the mayor's
	campaign.  He was Chairman of the
	Board of the Palace of Fine Arts --

					     4.


		GUS
		(to Nick)
	I thought you said he was a rock
	and roll star.

		LT. WALKER
	He was a retired rock and roll
	star.

		CAPT. TALCOTT
	A civic-minded, very respectable
	rock and roll star.

		GUS
	What's that over there?

We see the white powder laid out in lines on the small
mirror on the side table.

		NICK
		(deadpan)
	It looks like some civic-minded,
	very respectable cocaine to me,
	Gus.

		CAPT. TALCOTT
		(evenly, to Nick)
	Listen to me, Curran.  I'm going to
	get a lot of heat on this.  I don't
	want any... mistakes.

Nick and Talcott look at each other a beat, then --

		NICK
	Who's the girlfriend?

Lt. Walker looks at the notepad in his hand.

		LT. WALKER
	Catherine Tramell, 162 Divisadero.

Nick writes it down.  He and Gus turn, leave.  Captain
Talcott watches them.  He looks disturbed.

INT. THE LIVING ROOM

as they head out --

		NICK
	Talcott doesn't usually show up at
	the office 'till after his 18
	holes.  What are they nervous
	about?

		GUS
	They're executives.  They're
	nervous about everything.
					     5.


		LT. WALKER (O.S.)
	Nick!

He stops, turns, sees Walker behind them.  Walker comes up
to them.

		LT. WALKER
		(to Nick)
	Keep your three o'clock.

		NICK
	Do you want me to work the case,
	Phil, or do you want me to --

		LT. WALKER
	I said keep it.

EXT. A VICTORIAN ON DIVISADERO - DAY

It is more a mansion than a house.  They ring the bell.  An
Hispanic MAID answers.  They flash their badges.

		NICK
	I'm Detective Curran, this is
	Detective Moran.  We're with the
	San Francisco Police Department.
	We'd like to speak to Ms. Catherine
	Tramell.

		THE MAID
		(after a beat, an
		 accent)
	Just moment.  Come in.

She leads them into a lavish, beautifully done living room
that offers a sweeping view of the Bay.

		THE MAID
		(continuing)
	Sit, please.  Just moment.

They look around, impressed.  There is a Picasso on the
wall here, too.

		GUS
	Ain't that cute?  They got his and
	her Pig-assos, son.

		NICK
		(smiles)
	I didn't know you knew who Picasso
	was, Gus.						         6.


		GUS
		(grins)
	I'm a smart sonofabitch.  I just
	hide it.

Nick smiles -- and at that moment a beautiful BLONDE walks
into the room.  She looks like she has been asleep.  She is
in her early 20's.  She wears a very sheer robe.

		NICK
	We're sorry to disturb you, we'd
	like to ask you some --

		THE WOMAN
	Are you vice?

		GUS
		(after a beat)
	Homicide.

		THE WOMAN
	What do you want?

		THE WOMAN
		(continuing)
	Is he dead?

		NICK
		(after a beat)
	Why do you think he's dead?

		THE WOMAN
	You wouldn't be here otherwise,
	would you?

		GUS
	Were you with him last night?

		THE WOMAN
	You're looking for Catherine, not
	me.

		NICK
	Who are you?

		THE WOMAN
	I'm Roxy.
		(a beat)
	I'm her -- friend.

She looks at them a beat.
					     7.


		ROXY
	She's out at the beach house at
	Stinson.  Seadrift.  1402.

		NICK
	Thanks.

They start to head out.

		ROXY
	You're wasting your time. Catherine
	didn't kill him.

A beat, they look at her, and go...

EXT. SEADRIFT - STINSON BEACH - DAY

Foggy.  Cold.  It is an expensive spit of land on the
ocean.  Multi-million dollar "beach houses" with gardens
and swimming pools.  There are two Ferraris in the
driveway -- one black, one white.

They get out of the car in front of the house.  They see a
woman in back of the house, sitting on a deck chair,
staring at the sea, a blanket around her.

As they get to her --

		NICK
	Ms. Tramell?

She takes a long look a Nick, then looks away.

CATHERINE TRAMELL is 30 years old.  She has long blonde
hair and a refined, classically beautiful face.  She is not
knockout gorgeous like Roxy; there is a smoky kind of
sensuousness about her.

		NICK
		(continuing)
	I'm De--

		CATHERINE
		(evenly)
	I know who you are.

She doesn't look at them.  She looks at the water.

		CATHERINE
		(continuing)
	How did he die?

		GUS
	He was murdered.

		CATHERINE
	Really.  Maybe that's why you're
	from Homicide.  How?

Nick glances at Gus.
					     8.


		NICK
	With an ice pick.

She closes her eyes a beat and then, still staring out, we
see a thin smile.  They see it, too, and glance at each
other.

		NICK
		(continuing)
	How long were you dating him?

		CATHERINE
	I wasn't dating him.  I was fucking
	him.

They glance at each other again.

		GUS
	What are you -- a pro?

Catherine looks at him -- that thin smile again.

		CATHERINE
	No.  I'm an amateur.

She looks away.

		NICK
	How long were you having sex with
	him?

		CATHERINE
	About a year and a half.

		NICK
	Were you with him last night?

		CATHERINE
	Yes.

		NICK
	Did you leave the club with him?

		CATHERINE
	Yes.

		NICK
	Did you go home with him?

		CATHERINE
	No.  We had a drink at the club.
	We left together.  I came here.  He
	went home.

		NICK
	Was there anyone with you last
	night?


					     9.


		CATHERINE
		(looks at Nick)
	No.  I wasn't in the mood to have
	sex with anyone last night.

They look at her a beat.

		NICK
	Let me ask you something, Ms.
	Tramell?  Are you sorry he's dead?

Catherine looks at him.

		CATHERINE
	Yes.  I liked fucking him.

They stare at her.  She looks out at the water.

		CATHERINE
		(continuing)
	I don't really feel like talking
	anymore.

		GUS
	listen, lady, we can do this
	downtown if you --

		CATHERINE
	Read me my rights and arrest me and
	I'll go downtown.

She doesn't even look at them.

		CATHERINE
		(continuing;
		 quietly)
	Otherwise, get the fuck out of
	here.  Please.

A long beat as they look at her.

INT. A CORRIDOR - POLICE HEADQUARTERS

The door says:  Dr. Elizabeth Gardner, Counseling.  Nick
opens the door, peeks in.  The receptionist is not there.
A clock says 3:15.

INT. THE COUNSELING OFFICE

He walks in -- sees the inner door open, walks in.

		NICK
	I'm sorry, Beth.  I -- I got hung
	up in Stinson.

					     10.


DR. ELIZABETH GARDNER, the police psychologist, is a very
good-looking, dark-haired woman.  She is 30.

		BETH
		(smiles)
	How are you, Nick?

		NICK
	I'm fine.  Come on, Beth!  You know
	I'm fine!  How the hell long do I
	have to keep doing this?

		BETH
	As long as Internal Affairs wants
	you to, I suppose.  Sit down, Nick.

		NICK
	It's bullshit.  You know it is.

		BETH
		(smiles)
	I know it is -- but sit down anyway
	so we can get it over with, okay?

He sits down.

		BETH
		(continuing)
	So -- how are things?

		NICK
		(after a beat)
	Things are fine.  I told you.
	They're fine.

She watches him closely.

		BETH
		(after a beat)
	How is your -- personal life?

		NICK
	My sex life is fine.
		(a beat)
	My sex life is pretty shitty
	actually since I stopped seeing you
	-- maybe I should think about my
	Electrolux again.

That embarrassed her; she looks away from him.

		NICK
		(continuing; after a
		 beat)
	Sorry.

She shrugs.  A beat.

					     11.


		BETH
	How about the booze?

		NICK
	It's been three months.

		BETH
		(after a long beat)
	How about the coke?

		NICK
	No.

		BETH
	No?

		NICK
		(hard)
	No!  I'm working my tail off.  I'm
	off the sauce, I'm not even smoking
	anymore.

She smiles.

		BETH
	How's not smoking?

		NICK
	It's fucked -- now will you please
	tell I.A. that I'm just you average
	healthy totally fucked-up cop and
	let me get out of here?

		BETH
		(after a beat;
		 smiles)
	Yes.

		NICK
	Thank you.

And he starts heading out.

		BETH
		(behind him)
	I still miss you, Nick.

He doesn't even turn, pretends he didn't hear.

INT. THE DETECTIVE BUREAU

He walks in.  Gus Moran gets up from his desk as soon as he
sees him.

		GUS
	Talcott's in there.  They're
	waiting.

They start heading for Lt. Walker's office.

					     12.


		GUS
		(continuing)
	How'd it go, son?

		NICK
	She misses me.

		GUS
		(grins)
	Hallelujah.

INT. LT. WALKER'S OFFICE

He and Gus sit there with Lt. Walker, Harrigan, Andrews and
Captain Talcott.

		HARRIGAN
	Sixteen stab wounds to the chest
	and neck.  No usable prints, no
	forcible entry, nothing missing.
	No prints on the ice pick, either --
	  it's available at any Safeway.
	The scarf is Hermes, expensive --
	they sell about 20,000 a year
	worldwide.

		ANDREWS
	The powder was cocaine, high-
	quality, high-content.  He inhaled
	it; there were minute quantities on
	his lips and penis.  Mr. Boz leaves
	five million dollars, no insurance,
	no direct survivors.  He liked his
	coke, he liked his girls, and he
	liked rock and roll.

		NICK
	He liked the mayor, too, right?

Talcott gives him a look.

		GUS
	What about his girlfriend?

		TALCOTT
	Is she relevant here?  I didn't
	know she was a suspect.

		LT. WALKER
	She's a suspect.

		TALCOTT
	On what basis?

		LT. WALKER
		(looks a notes)
	Catherine Tramell.  Age 30.
					     13.


		LT. WALKER
		(continuing)
	No priors, no convictions.  Double
	major, magnum cum laude, Berkeley,
	1980.  Literature and Psychology.
	Daughter, sole survivor -- Marvin
	and Elaine Tramell, killed in a
	boating accident, 1978, Catherine
	Tramell sole heir.  Estimated
	assets:  $110 million.

It hangs there.

		NICK
	Are you kidding me?

		LT. WALKER
		(continues)
	Formerly engaged to Roberto
	Vasquez, deceased --

		ANDREWS
	Bobby Vasquez?

		LT. WALKER
	Bobby Vasquez, former middleweight
	contender, killed in the ring
	Atlantic City, 1984.

		NICK
		(smiles)
	I love it.  She's got a hundred
	million bucks.  She fucks fighters
	and rock and roll stars.  And she's
	got a degree in screwing with
	peoples' heads.

		LT. WALKER
	You forgot her degree in
	literature.  She's a writer.  She
	published a novel last year under a
	pen name.  Do you want to know what
	it's about?

They just stare at him.

		LT. WALKER
		(continuing)
	It's about a retired rock and roll
	star who is murdered by his
	girlfriend.

It hangs there a long beat.

INT. NICK'S APARTMENT - NIGHT

His apartment is very bare -- very few things -- with wide
open spaces.  There is a lot of chrome.

					     14.


He sits on the couch, reading a book.  It is a paperback.
We see the title -- Love Hurts, by Catherine Adams.  He
puts the book down a beat, then picks the phone up, dials.

		NICK
	Page 67, pop.  Do you know how she
	does the boyfriend?  With an
	icepick, in bed, his hands tied
	with a white silk scarf.

INT. A POLICE DEPARTMENT CONFERENCE ROOM - DAY

Nick, Gus, Lt. Walker, Harrigan, Andrews, Captain Talcott --
  and Beth Gardner.  With them is an older, white-haired
man, DR. ANDREW LAMOTT.  There are copies of "Love Hurts"
around the table.

		LT. WALKER
	Dr. Gardner?

		BETH
	I've asked Dr. Lamott to consult
	with us.  This isn't really my
	turf.  Dr. Lamott teaches the
	psycho-pathology of psychopathic
	behavior at Stanford and is also a
	member of the Justice Department's
	Psychological Profile team.  Dr.
	Lamott?

		DR. LAMOTT
	There are two possibilities.  One:
	The person who wrote this book is
	your murderer and acted out the
	killing described in ritualistic,
	literal detail.  Two:  Someone who
	wants to do the person who wrote
	this book harm read the book and
	enacted the killing described to
	incriminate the writer.

		NICK
		(after a long beat)
	What if the writer did it?  What
	are we dealing with?

		DR. LAMOTT
	You're dealing with a devious,
	diabolical mind.  This book must
	have been written at least six
	months, maybe years before it was
	published.  That means the writer
	planned the crime, at least in the
	subconscious, back then.
					     15.


		DR. LAMOTT
		(continuing)
	The fact that the writer carried it
	out indicates psychopathic
	obsessive behavior in terms not
	only of the killing itself but in
	terms of applied advance defense
	mechanism.

A long beat.

		GUS
	Most times I can't tell shit from
	shinola, Doc.  What was all that
	you just said?

Some grins, titters.

		BETH
	She anticipates the book to be her
	best alibi.

		DR. LAMOTT
	Correct.

		BETH
	She's going to say:  Do you think
	I'd be dumb enough to kill anyone
	in the exact way I've described in
	my book?  I wouldn't do that
	because I'd know I'd be a suspect.

A long beat -- as they think about it.

		NICK
	What if it's not the writer?  What
	if it's someone who read the book?

		DR. LAMOTT
	You're dealing then with someone so
	obsessed that he or she is willing
	to kill an irrelevant and innocent
	victim to place the blame on the
	person who wrote this book.  We are
	talking about deep-seated,
	obsessional hatred; an utter lack
	of sense of proportion or
	perspective.

		GUS
	We've got a top-of-the-line, once-
	in-a-lifetime loony-tune either way
	you cut it -- that's what you're
	saying, right, Doc?

		DR. LAMOTT
	You're dealing with someone very
	dangerous and very ill.
					     16.


INT. THE PROSECUTOR'S OFFICE - DAY

PROSECUTOR JOHN CORRIGAN, a big man in his 50's, with
Captain Talcott, Lt. Walker, Nick, and Gus.

Corrigan is reading a file.  He gets up, yawns, goes to his
window, looks out.

		CORRIGAN
	Come on, you know there's no case
	here.  There's no physical
	evidence -- okay, she doesn't have
	an alibi:  but there's no motive.
	Her defense would just beat us to
	death with the copycat thing.
	Anybody who read the book could
	have done it.

A long beat; no one says anything.

		NICK
	So what do we do -- nothing?

		LT. WALKER
		(after a beat)
	We bring her in for questioning.

		TALCOTT
	She's got enough money to burn this
	whole department down.

		LT. WALKER
	She was the last person seen with
	the guy -- I'll take the
	responsibility.

		TALCOTT
	It's yours.

		CORRIGAN
	It won't do any good.  She'll come
	in with Lee Bailey and Mel Belli
	trailing behind her on a solid gold
	chain from Tiffanys.

		TALCOTT
	Yes she will.

		NICK
		(after a beat)
	No she won't.

They look at him.

					     17.


		NICK
		(continuing; smiles)
	I don't think she's going to hide
	behind anybody.  I don't think
	she's going to hide at all.

		TALCOTT
		(after a beat)
	I think you're as crazy as she
	probably is, Curran.

Nicks says nothing.

		GUS
	You know what they say:  It takes
	one to know one.

Nick looks a Gus, grins.

EXT. HER HOUSE IN STINSON - DAY

They walk from the car to the door of the big beach house.
They ring the bell.  They hear typing inside.  The typing
stops.  She comes to the door in jeans and a tight-fitting
sweatshirt.

		NICK
	Ms. Tramell, we'd like you to come
	downtown and answer some questions
	for us.

		CATHERINE
	Are you arresting me?

		NICK
	If that's the way you want to play
	it.

They look at each other a beat.

		CATHERINE
		(smiles)
	Can I change into something more
	appropriate?  It'll just take a
	minute.

He nods.

		CATHERINE
		(continuing)
	Come in.

INT. THE HOUSE

It is beautifully done in a Santa Fe motif.  She goes to a
bedroom of the living room.

					     18.


Nick sits down on a couch facing the bedroom she's walked
into.  Gus sits across from him, his back to the bedroom.
There is a coffee table between them.  She leaves the
bedroom door halfway open.

An old newspaper is on the coffee table them.  Nick reaches
for it.  The headline says:  VICE COP CLEARED IN TOURIST
SHOOTINGS.  A headline underneath says:  GRAND JURY SAYS
SHOOTINGS ACCIDENTAL.  There is a photograph of Nick.

He stares at the paper.

		CATHERINE (O.S.)
	How long will this take?

Nick puts the paper down on the coffee table.  He is lost
in his thoughts.  Gus picks the paper up.

		NICK
		(looks up)
	I don't know.

Nick, facing the half open bedroom door, sees a mirror near
the wall of the bedroom.  The mirror reflects her in the
other corner of the bedroom.  She is taking her clothes
off.  He stares.  She strips down.  He sees her back. She
has a beautiful body.  Naked, she puts a dress on.  She
doesn't put any underwear on.

		NICK
		(continuing)
	Do you always keep old newspapers
	around?

		CATHERINE (O.S.)
	Only when they make interesting
	reading.

And she is suddenly out of the bedroom.  She stands there,
smiles.  They look at each other a long beat.

		CATHERINE
		(finally)
	I'm ready.

They get up, head out.

		GUS
	You have the right to an attorney.

		CATHERINE
	Why would I need an attorney?

INT. THE CAR - DAY

They sit in the front; she is in the back.  The car goes
over the winding, two-lane Mt. Tamalpais road.
					     19.


The fog is heavy.  It's starting to rain.  We see the beach
far below.

		CATHERINE
	Do you have a cigarette?

		NICK
	I don't smoke.

		CATHERINE
	Yes you do.

		NICK
	I quit.

She smiles, looks at him.  A beat, and he turns away.
Another beat, and she lights a cigarette up.

		NICK
		(continuing)
	I thought you were out of
	cigarettes.

		CATHERINE
	I found some in my purse; would you
	like one?

He turns back to her.

		NICK
	I told you -- I quit.

		CATHERINE
	It won't last.

A beat, as she looks at him, and then he turns away.

		GUS
	You workin' on another book?

		CATHERINE
	Yes I am.

		GUS
	It must really be somehtin' --
	makin' stuff up all the time.

He watches her in the rearview mirror.

		CATHERINE
	It teaches you to lie.

		GUS
	How's that?
					     20.


		CATHERINE
	You make it up, but it has to be
	believable.  They call it
	suspension of disbelief.

		GUS
	I like that.  "Suspension of
	Disbelief."

He smiles at her in the mirror.

		NICK
	What's your new book about?

		CATHERINE
	A detective.  He falls for the
	wrong woman.

He turns back to her.

		NICK
	What happens to him?

She looks right into his eye.

		CATHERINE
	She kills him.

A beat, as they look at each other, and then he turns away
from her.  Gus watcher her in the rearview mirror.

INT. A POLICE INTERROGATION ROOM - DAY

It is large, fluorescent-lighted, antiseptic.

She walks in with Nick and Gus.  In the room are prosecutor
John Corrigan, Lt. Walker, Captain Talcott, Harrigan, and
Andrews.  There is a police stenographer:  a plain young
woman in her 20's.

As soon as she comes in --

		CORRIGAN
	I'm John Corrigan.  I'm an
	assistant district attorney, Ms.
	Tramell.  Can we get you anything?
	Would you like some coffee?

		CATHERINE
	No thank you.

		TALCOTT
	Are your attorneys --

		NICK
		(hiding a smile)
	Ms. Tramell waived her right to an
	attorney.
					     21.


Corrigan and Talcott glance at Nick.  She sees the look.

		CATHERINE
		(smiles)
	Did I miss something?

		NICK
	I told them you wouldn't want an
	attorney present.

		LT. WALKER
	Why have you waived your right to
	an attorney, Ms. Tramell?

		CATHERINE
		(to Nick)
	Why did you think I wouldn't want
	one?

		NICK
	I told them you wouldn't want to
	hide.

		CATHERINE
	I have nothing to hide.

The two of them keep their eyes on each other.

She sits down.  They sit around her.  Nick sits directly
across from her.  She lights up a cigarette.  They watch
her.  She is poised, cool, in complete command of herself.

		CORRIGAN
	There is no smoking in this
	building, Ms. Tramell.

		CATHERINE
	What are you going to do?  Charge
	me with smoking?

Ever so casually, she blows her smoke across at Nick.

				 DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

		CORRIGAN
	Would you tell us the nature of
	your relationship with Mr. Boz?

		CATHERINE
	I had sex with him for about a year
	and a half.  I liked having sex
	with him.
					     22.


She has control of the room:  she looks from one man to the
other as she speaks.

		CATHERINE
		(continuing)
	He wasn't afraid of experimenting.
	I like men like that.  I like men
	who give me pleasure.  He gave me a
	lot of pleasure.

A beat, as they watch her.  She is so matter-of-fact.

		CORRIGAN
	Did you ever engage in sado-
	masochistic activity with him?

		CATHERINE
		(smiles)
	Exactly what do you have in mind,
	Mr. Corrigan.

		CORRIGAN
		(after a beat,
		 little flustered)
	Did you ever tie him up?

		CATHERINE
	No.

		ANDREWS
	You never tied him up.

		CATHERINE
	No. Johnny liked to use his hands
	too much.  I like hands and fingers.

They stare at her.

				 DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

		LT. WALKER
	You describe a white silk scarf in
	your book.

		CATHERINE
	I've always had a fondness for
	white silk scarves.
		(she smiles)
	I have a very vivid imagination.

		NICK
	But you said you liked men to use
	their hands.
					     23.


		CATHERINE
	No.  I said I liked Johnny to use
	his hands.
		(she smiles)
	I don't give any rules, Nick.  I go
	with the flow.

They have their eyes on each other.

				 DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

		CORRIGAN
	Did you kill Mr. Boz, Ms. Tramell?

		CATHERINE
	I'd have to be pretty stupid to
	write a book about a killing and
	then kill him the way I described
	in my book. I'd be announcing
	myself as the killer.  I'm not
	stupid.

She smiles.

		TALCOTT
	We know you're not stupid, Ms.
	Tramell.

		LT. WALKER
	Maybe that's what you're counting
	on to get you off the hook.

		NICK
	Writing a book about it gives you
	an alibi for not killing him.

		CATHERINE
	Yes it does, doesn't it?

She holds his eyes a second, then --

		CATHERINE
		(continuing)
	The answer is no.  I didn't kill
	him.

				 DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

		GUS
	Do you use drugs, Ms. Tramell?

		CATHERINE
	sometimes.

					     24.


		HARRIGAN
	Did you ever do drugs with Mr. Boz?

		CATHERINE
	Sure.

		GUS
	What kind of drugs?

		CATHERINE
	Cocaine.

She looks directly at Nick.

		CATHERINE
		(continuing)
	Have you ever fucked on cocaine?
		(she smiles)
	It's nice.

He watches her.

				 DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

		NICK
	You like playing games, don't you?

		CATHERINE
		(smiles)
	I've got a degree in psych.  It
	goes with the turf.  Games are fun.

They are holding each other's eyes.

		NICK
	How about boxing?  That's a game.
	Was that fun for you?

They don't take their eyes off each other for a second.

		TALCOTT
	I think that's irrelevant to this
	inquiry.

		CATHERINE
		(to Nick)
	Yes it was.  Bobby died.

		NICK
	How did you feel when he died?

		CATHERINE
	I loved him.  I hurt.

Their eyes are still on each other.
					     25.


		NICK
	How did you feel when I told you
	Johnny Boz had died -- that day at
	the beach.

		CATHERINE
	I felt somebody had read my book
	and was playing a game.

		NICK
	But you didn't hurt --

		CATHERINE
	No.

		NICK
	Because you didn't love him --

		CATHERINE
	That's right.

Their eyes are digging into each other.

		NICK
	Even though you were fucking him.

		CATHERINE
		(after a beat)
	You still get the pleasure.  Didn't
	you ever fuck anybody else while
	you were married, Nick?

A bet; he stares at her, expressionless.

		LT. WALKER
	How did you know he was married?

		CATHERINE
		(watching Nick)
	Maybe I was guessing.  What
	difference does it make?

She lights a cigarette.  He stares at her.

		CATHERINE
		(continuing)
	Would you like a cigarette, Nick?

He just stares at her, expressionless.

		CORRIGAN
	Do you two know each other?

		NICK
	No.

		CATHERINE
	No.
					     26.


INT. THE INTERROGATION ROOM - LATER

		ANDREWS
	How did you meet Mr. Boz?

		CATHERINE
	I wanted to write a book about the
	murder of a retired rock star.  I
	went down to his club and picked
	him up.  Then I had sex with him.

		LT. WALKER
	You didn't feel anything for him.
	You just had sex with him for your
	book.

She looks at Nick.

		CATHERINE
	In the beginning.  Then I got to
	like what he did for me.

		GUS
	That's pretty cold, ain't it, lady?

		CATHERINE
	I'm a writer,  I use people for
	what I write.  You write what you
	know.  Let the world beware.

She and Nick have their eyes on each other, then --

		CATHERINE
		(continuing; to
		 Corrigan, smiles)
	Would you like me to take a lie
	detector test?

				 DISSOLVE TO:

INT. THE POLICE BUILDING - NIGHT

We see her in a glass-enclosed cubicle with a polygraph
EXAMINER.  Nick stands outside watching her with Gus and
Lt. Walker.  Her back is to them.  The Examiner shuts the
machine down, gathers rolls of papers, and comes out of the
cubicle.

		THE EXAMINER
	No blips, no blood pressure
	variations, no pulse variance.
	Either she's telling the truth or
	I've never met anyone like her.

A long beat, then --
					     27.


		LT. WALKER
	Well, I guess that's it.

A long beat, Nick watches her as she sits inside.

		NICK
	How does somebody beat this machine?

		THE EXAMINER
	Ninety-nine point nine percent of
	the cases, they don't.  You'd have
	to be able to mask the truth from
	your own central nervous system,
	your circulatory system, your
	adrenal glands.  In my opinion,
	this woman is telling the truth.

The Examiner walks away.  They stand there. Catherine
stands at the door of the cubicle behind them --

		CATHERINE
	Can I go now?

		LT. WALKER
		(after a beat)
	Yes.  Thanks for coming in, Ms.
	Tramell.  I'm sorry to
	inconvenience you.

She says nothing, has a thin smile.

		CATHERINE
	Can I ask one of you for a ride?

They look at her a beat.

		NICK
	Sure.

		CATHERINE
		(smiles)
	Thanks.

And he and Catherine walk away.  Gus and Walker watch them.

INT. HIS CAR - NIGHT

It is an old, mint-condition silver Porsche.

It is pouring rain; the wind is blowing:  a San Francisco
winter storm.

Nothing is said a long beat as he drives.  She yawns.
Stretches.  He looks at her.

				         28.


		CATHERINE
		(smiles)
	I'm tired.

		NICK
	It's got to be tiring to beat that
	machine.

She looks at him and looks away.  A beat.

		CATHERINE
	If I were guilty, and if I wanted
	to beat that machine, it wouldn't
	be tiring.  It wouldn't be tiring
	at all.

		NICK
	Why not?

		CATHERINE
	Because I'm a professional liar.  I
	spend most of my waking hours
	dwelling on my lies.
		(a beat)
	For my writing.

He looks at her.

		CATHERINE
		(continuing; smiles)
	I love the rain, don't you?

He says nothing, doesn't look at her.

		CATHERINE
		(continuing)
	You took a polygraph after you shot
	those two people, didn't you?

He looks at her now.

		NICK
	I passed.

		CATHERINE
	You see?  We're both innocent, Nick.

He pulls up in front of her house on Divisadero, stops.  He
sees the white Ferrari in the driveway.

		NICK
	How do you know all this stuff
	about me?

		CATHERINE
	You know all about me.
					     29.


		NICK
	I don't know anything that isn't
	police business.

		CATHERINE
		(after a beat)
	You know I don't like to wear any
	underwear, don't you, Nick?

They look at each other a beat.

		CATHERINE
		(continuing; smiles)
	Thanks for the ride.

And she's out of the car.  He watches her as she hurries in
the rain -- his eyes on her until the moment she opens the
door and is inside.

INT. THE TEN-FOUR - NIGHT

It is a police bar, San Francisco style.  Ferns  Joe
Montana and Will Clark posters.  The jukebox has a lot of
Tony Bennett.

He walks in.  He sees Lt. Walker at a back booth with Gus,
goes to them, sits down.

		LT. WALKER
	What is all this "Nick" stuff --
	Nick would you like a cigarette.
	Nick can you give me a ride.

		NICK
	She didn't ask me for the ride.
	She asked anybody.

		LT. WALKER
	And you volunteered.

A BARTENDER stays behind the bar, but yells to him.

		THE BARTENDER
	Perrier, Nick?

		NICK
	Double Black Jack rocks, Harry.

		GUS
		(with concern)
	What you doin', son?

		NICK
	It's my first drink in three
	months.  That okay with you, pop?
		(to Lt. Walker)
	She doesn't know me.  I never saw
	her before Gus and I talked to her.

					   30.


		THE BARTENDER
	Here you go, Nick.

He gets up, gets his drink --

		NICK
	Thanks, Harry.

He sits back down.  He takes a big slug.  They watch him.

		LT. WALKER
	You sure?

		NICK
	I'm sure.

He takes another big slug.

		NICK
		(continuing)
	Now what?

		LT. WALKER
	What now what? Now nothing.  She
	passed the polygraph.  That's it.

		NICK
	She knew she could beat it.  That's
	why she asked to take it.

		LT. WALKER
	How the fuck do you know?  What is
	it with you and this broad anyway?

		NICK
	Come on, Phil.  You're not gonna
	let this slide.  What about her
	parents?  What about what else
	she's published?  At least we
	should get the stuff to see if we
	find anything else that's an
	amazing real-life coincidence.

		LT. WALKER
	Her parents died in an accident.  I
	don't care what else she's written.
	What are you -- a book critic?

		NICK
	How did they die?  Was there an
	investigation?

		LT. WALKER
	How you're saying she killed her
	parents?  Did she kill Bobby
	Vasquez, too?
					     31.


		GUS
	Not unless she got up in the ring
	and turned into one mean
	sonofabitch.

		LT. WALKER
	Maybe she did, Gus.  Maybe she grew
	herself an Afro and learned a left
	hook and put shoe polish on her
	face.  Let's polygraph her again
	and ask her about it.

		NICK
		(casually)
	Fuck you, Phil.

		LT. WALKER
	Fuck you, too Nick.

A beat, then --

		NICK
		(calls to the
		 Bartender)
	Can you get me another double Black
	Jack, Harry.

Gus looks at him with concern.

A man in his 50's -- LT. MARTIN NILSEN  is suddenly there.
He is overweight, florid.

		NILSEN
		(to Nick)
	Hey, shooter -- You back on the
	Black Jack, Shooter?

He grins.  Nick doesn't look at him.

		LT. WALKER
	We're discussing a case, Marty.

		NILSEN
	I know that.  I had no doubt of
	that.

		THE BARTENDER
	Here you go, Nick.

Nilsen takes the drink, hands it to Nick.

		NILSEN
		(grins)
	Double, huh, Shooter?

Nick turns to him.  He's sitting in the booth; Nilsen is
standing there.  Nick looks like he's barely restraining
himself.
					     32.


		NICK
	I'm off-duty, Nilsen.  You hear me?
	I'm off-duty discussing a case.
	Internal Affairs shouldn't have any
	trouble with that.  Maybe I should
	put in for overtime.

		NILSEN
		(grins)
	You do that, Shooter.  Why don't
	you send it to me?  I'll give it
	special attention.

A beat, and then Nick gets up, faces him.

		NICK
	I'm gonna tell you once more,
	Nilsen --

Lt. Walker and Gus get up and hold Nick back.

Beth Gardner, the police psychologist, is suddenly there.

		BETH
	What's the problem?

		NILSEN
		(grins)
	No problem, Doctor.  Here comes the
	Doctor just in time to save her
	patient.  Take care, Shooter.

And he walks away.  Nick still looks like he wants to go
after him.  Beth pulls him away from the booth.

		BETH
	You okay?

		NICK
		(after a beat)
	Yeah.

		BETH
		(smiles)
	You don't look so okay.

Nick looks at her a beat.

		NICK
		(smiles)
	What are you doing here?

		BETH
		(smiles)
	Baby-sitting.
		(she shrugs)
	Rookie cop.
					     33.


		NICK
		(smiles)
	What else is new?

A beat.  He looks at her again.

		NICK
		(continuing)
	You want to get out of here?

She looks at him a beat.

		BETH
		(smiles)
	Yes.

At the booth, Gus and Lt. Walker watch the two of them
leave.

		GUS
	Maybe it's for old-time's sake.

		LT. WALKER
		(watches them go
		 out)
	Sometimes I think he started
	banging her just to get himself off
	the hook with Internal Affairs.

		GUS
		(after a beat,
		 smiles)
	He ain't that way.  He's got heart.

		LT. WALKER
		(smiles)
	Yeah.  I know.

INT. BETH'S LIVING ROOM - NIGHT

He is kissing her -- hard, rough.  He forces her against
the wall.

		BETH
	Don't -- please, Nick --

We hear her dress RIP.  He kisses her harder -- we hear her
panties RIP.  He gets the dress off, pushes his hands under
her bra --

		BETH
		(continuing)
	Please don't -- don't --

He puts his mouth to her shoulder, bites it -- as they move
down to the floor.

					     34.


INT. BETH'S LIVING ROOM - LATER

It is dark.  The are still partially dressed.  They are on
the floor.  He lies on his back, staring at the ceiling.
She lies next to him -- the torn dress wound around her.
There is a bite mark on her shoulder.  A long beat,
silence -- then --

		BETH
	What was she like?

		NICK
	Who?

		BETH
	Catherine Tramell.

		NICK
		(after a beat)
	She said what you said she'd say.

She sits up, looks away.  He looks at her, puts his finger
on the bite mark idly, gently.  A beat, and he kisses her
shoulder gently, then lies back down.

		BETH
	I met her at Berkeley.

He looks at her.

		BETH
		(continuing)
	We were in some of the same classes.

		NICK
		(after a beat)
	Why didn't you tell me?

She looks at him.

		BETH
	I'm telling you.

They look at each other a long beat.

		BETH
		(continuing; with
		 difficulty)
	You've never been... like that...
	before.

He says nothing, looks away from her.

		BETH
		(continuing)
	Why?

He doesn't look at her a long beat, says nothing.
					     35.


		NICK
	You're the shrink.

She keeps looking at him.  He won't look at her.

		BETH
	You weren't making love to me.

A beat; he looks at her.

		NICK
	Who was I making love to?

She looks at him a long beat.

		BETH
	You weren't making love.

They look at each other, a long beat, then away.  He lies
back down.  Beth doesn't look at him, keeps sitting up.

		NICK
		(finally)
	I need a cigarette.

		BETH
		(after a beat)
	I thought you quit.

He says nothing.

		BETH
		(continuing)
	Top drawer in the foyer.
		(a beat)
	Get it on your way out.

He looks at her; she won't look at him.

INT. THE DETECTIVE BUREAU - MORNING

He walks in.  He looks hung-over.  He sees Gus with
Harrigan and Andrews and Lt. Walker in Lt. Walker's glass-
enclosed office at the end of this big room.

They look at him when they see him.

		LT. WALKER
	You look like dogshit.

		GUS
		(grins)
	He looks a little shrunk, that's
	all.

					     36.


		ANDREWS
		(after a beat)
	We got a call from Berkeley P.D.
	There was a killing.  A professor.
	Icepick.  In his bed.  Multiple
	stab wounds.  1977.

		NICK
		(a thin smile)
	She was there, wasn't she?

		LT. WALKER
	University records say she was
	there.

He and Nick look at each other a long beat, then --

		LT. WALKER
		(continuing;
		 suddenly)
	Gus -- go over to Berkeley.
	Harrigan -- find out what else
	she's published.  Andrews -- get
	the files on her parents' accident.
	Carbon Beth on everything.  I want
	some psychological input on this
	one.

Andrews and Harrigan go; Nick is left there with Gus.

		NICK
	What about me?

		GUS
	You're already gettin'
	psychological input, son.

		LT. WALKER
		(to Nick)
	Go stick your head in a tub of ice
	water.
		(a beat; then
		 seriously)
	See where she leads.

EXT. THE BEACH HOUSE AT STINSON - DAY

The black Ferrari is in the driveway.  He sits in an
unmarked police car on a hillside above the house,
watching.  It is a bleak, leaden gray day.

Catherine comes out of the house.  She is dressed casually.
She gets into the Ferrari.

INT. HIS POLICE CAR

He stays behind her at a safe distance on the winding
panoramic highway -- a two-lane mountain road which leads
from Stinson Beach into Marin County.
					     37.


She suddenly starts speeding up on this dangerous road,
cutting in and out, passing cars very fast.

He has to start cutting around cars to keep up.  This woman
really drives.

He cuts out and can barely pass a car without hitting a
Grey Lines Tour Bus head-on.  Close call:  sheer drops on
either side.

He looks frazzled.

INT. HIS POLICE CAR

He is behind her at a distance on a hilly Mill Valley
road -- little streets, terraced hillsides, sharp turns.
He goes slowly, looks around, thinks he's lost her.  And
then he sees the black Ferrari parked in front of a house
obscured by hedges.

He parks the car a distance behind the Ferrari, sits there
a long beat.  He gets out, goes carefully up to the hedges,
looks.  A small, nondescript house.  He watches.  He can't
see anything inside the house.

A beat, he reaches over to the mailbox and opens it.  He
takes an envelope out, looks at the name:  Hazel Dobkins.

INT. HIS POLICE CAR - NIGHT

He watches as she comes out of the house.  A frail old
woman in her 70's is with her.  She hugs the old woman,
gets into the Ferrari, STARTS it up.

He waits a beat and then STARTS after her.  He stays behind
her at a distance -- she is going slowly.  And then she
suddenly GUNS it, cuts her lights -- her wheels SCREECH.
He GUNS his car after her.  He makes a turn.  She is gone.
There is a fork in the road.  He turns one way, goes a few
hundred feet.

Nothing.  Blackness.  He stops.

		NICK
		(quietly)
	Shit.

INT. HIS POLICE CAR - NIGHT

He pulls his car up to her house at Stinson Beach.  The
black Ferrari is in the driveway.

A light goes on in an upstairs bedroom.  The curtain is
drawn.  He sees the outline of her body now.

					     38.


She starts to take her clothes off -- there in the window,
behind the curtain.  He watches her body as she does an
almost languorous strip.  His eyes are intense... ravishing.

INT. THE DETECTIVE BUREAU - NIGHT

He is alone, nobody else in the big room.

He sits in front of a computer.  We see the screen.  He has
punched in:

     HAZEL DOBKINS, WF, 145 ALBION RD., MILL VALLEY.

He is waiting for a response.  We see it come on screen:

	     NOTHING CURRENT.

A long beat, as he stares at the screen, and then we see
these words:

      RELEASED, SAN QUENTIN, JULY 7, 1965.

We see him type in the words:

	   PRIOR ARREST RECORD.

A long beat, and then it comes up:

	  HOMICIDE, JANUARY 10, 1956
				SAN FRANCISCO

He stares at the screen a long beat.

		GUS
		(behind him)
	Ain't you go nothin' better to do
	than to come in here and jack off
	the damn machine?

		NICK
		(after a beat; lost
		 in his thoughts)
	What are you doing here, Pop?

		GUS
		(grins)
	I came in here to jack off the damn
	machine.
		(a beat)
	One dead psychology professor.
	Noah Goldstein.  Dr. Noah
	Goldstein.  And guess what?  He was
	her counselor.

Nick looks at him a beat.
					     39.


		NICK
	Was she ever suspect?

		GUS
	No, sir.  They never even got a
	statement from her.

Nick sits back a long beat, his eyes off somewhere.

		NICK
		(slowly)
	Do you remember a case -- 1956 --
	Hazel Dobkins?

		GUS
		(grins)
	Hell yes!  Couldn't get it outta my
	head for years.  Still can't.  Nice
	little kids -- nice husband, wasn't
	porkin' around -- no financial
	problems.  One day -- outta the
	clear blue sky -- she does 'em.
	All of 'em.  Used a knife she got
	for a wedding present.  Didn't even
	deny it.  Sweet as honey.  Said she
	didn't know why she done it.

Nick just stares at him.

EXT. THE STINSON BEACH HOUSE - NEXT DAY

He pulls up to the house, gets out of his unmarked police
car.  He stands there a beat, thinking.  He walks down to
the beach entrance of the house.  He hears a Rolling Stones
SONG playing inside.  He stands there.  The door suddenly
opens.  Catherine stands there, smiles.  She wears very
tight-fitting spandex leotards.

		CATHERINE
	Hi.

He looks at her a beat, then --

		NICK
	Am I... disturbing you?

		CATHERINE
	No.  Come in.

They have their eyes on each other.  A beat, and she turns
to go in.

					     40.


INT. THE STINSON BEACH HOUSE

She goes in ahead of him -- he follows her inside.  He
watches her body.  His movements are tentative, off-
balance.  She turns the Stones DOWN.

On a table by the window, he sees a word processor.  Spread
around it are newspaper clippings.  They are all about him.
We see the headline on one:  KILLER COP TO FACE POLICE
REVIEW.  She sees him glancing at the clips.

		CATHERINE
	I'm using you for my detective.  In
	my book.  You don't mind, do you?

She smiles.  He looks at her, expressionless.

		CATHERINE
		(continuing)
	Would you like a drink?  I was just
	going to have one.

		NICK
	No, thanks.

She goes to the bar.

		CATHERINE
		(smiles)
	That's right.  You're off the Jack
	Daniels too, aren't you?

She is making herself a drink.  She takes the ice out and
then opens a drawer and gets an icepick.  It has a fat
wooden end.  She uses the icepick on the ice, her back to
him.  He watches her.

		NICK
	I'd like to ask you a few more
	questions.

		CATHERINE
	I'd like to ask you some, too.

She turns to him, icepick in hand, smiles.

		CATHERINE
		(continuing)
	For my book.

She turns back to the ice, works on it with the pick.  She
raises her arm, plunges it.  Raises it, plunges it.  He
watches her.

		NICK
		(wary)
	What kind of questions?





					     41.


She puts the icepick down, pours herself a drink, turns to
him.

		CATHERINE
	How does it feel to kill someone?

He looks at her a long beat.

		NICK
		(finally)
	You tell me.

		CATHERINE
	I don't know.  But you do.

Their eyes are on each other.

		NICK
		(finally)
	It was an accident.  They got in
	the line of fire.

		CATHERINE
	Four shootings in five years.  All
	accidents.

		NICK
		(after a long beat)
	They were drug buys.  I was a vice
	cop.

A long beat, as they look at each other.

		NICK
		(continuing)
	Tell me about Professor Goldstein.

A beat.

		CATHERINE
	There's a name from the past.

		NICK
	You want a name from the present?
	How about Hazel Dobkins?

She looks at him a long beat, sips her drink, never takes
her eyes off him.

		CATHERINE
	Noah was my counselor in my
	freshman year.
		(she smiles)
	That's probably where I got the
	idea for the icepick.  For my book.
	Funny how the subconscious works.
		(a beat)
	Hazel is my friend.




					     42.


		NICK
	She wiped out her whole family.

		CATHERINE
	Yes.  She's helped me understand
	homicidal impulse.

		NICK
	Didn't you study it in school?

		CATHERINE
	Only in theory.
		(she smiles)
	You know all about homicidal
	impulse, don't you, shooter?  Not
	in theory -- in practice.

He stares at her a long beat.

		CATHERINE
		(continuing;
		 quietly)
	What happened, Nick?  Did you get
	sucked into it? Did you like it too
	much?

		NICK
		(after a beat)
	No.

He stares at her, almost horrified.

		CATHERINE
		(quietly)
	Tell me about the coke, Nick.  The
	day you shot those two tourists --
	how much coke did you do?

She steps closer to him.

		CATHERINE
		(continuing)
	Tell me, Nick.

She puts her hand softly on his cheek,  He grabs her hand
roughly, holds it.

		NICK
	I didn't.

		CATHERINE
	Yes, you did.  They never tested
	you, did they?  But Internal
	Affairs knew.

They are face to face.  He is still holding her roughly by
the hand.





					     43.


		CATHERINE
		(continuing)
	Your wife knew, didn't she?  She
	knew what was going on.  Nicky got
	too close to the flame.  Nicky
	liked it.

He twists her arm back behind her -- their bodies are
pressed against each other -- their eyes digging into each
other.

		CATHERINE
		(continuing; in a
		 whisper)
	That's why she killed herself?

He is twisting her arm, staring at her, pulling her against
him.  We hear the DOOR behind them.  A beat, and he lets
her go, turns away from her.

Roxy stands there, staring at them.  Her hair is up.  She
wears a black motorcycle jacket, a black T-shirt, and black
jeans and cowboy boots.

		CATHERINE
		(continuing;
		 brightly)
	Hiya, hon.  You two have met,
	haven't you?

Roxy looks at Nick.  Catherine goes to her, kisses her
briefly on the lips, stands there with her arm around her --
both of them looking at Nick.

He walks by them, opens the door to go, his face a mask.

		CATHERINE
		(continuing)
	You're going to make a terrific
	character, Nick.

He doesn't look at her; he's gone.

INT. BETH GARDNER'S OFFICE - DAY

He comes in.  He looks like he's going to kill someone.  A
RECEPTIONIST sits there.

		RECEPTIONIST
	She's on the phone -- she'll be
	right with you, detective --

He sweeps by her into Beth's inner office.  She hangs up
when she sees the look on his face.

		NICK
	Who has access to my file?

		BETH
	What are you talking about, Nick --
	what's wrong with you?

					     44.


		NICK
	Who's got access to my goddamn file?

She gets up -- he goes closer to her; she backs away from
him.

		BETH
	Nobody.

He goes closer to her; she backs away.

		BETH
		(continuing)
	It's a confidential psychiatric
	record, it'd be illegal --

She backs into a wall.  She looks very scared.  He comes
very close to her -- puts an arm behind her to the wall.

		NICK
	Don't, Beth.  Don't lie to me.

She says nothing, looks scared.

		NICK
		(continuing;
		 suddenly)
	It's Internal Affairs, isn't it?

		BETH
	No, Nick, please --

		NICK
		(loud, hard)
	Who?

		BETH
		(blurts it)
	Nilsen.

INT. THE INTERNAL AFFAIRS DIVISION - DAY

He storms into the big room.  He sees MARTY NILSEN.  He is
sitting behind his desk in his glass-enclosed office inside
this big room.  About a dozen plainclothes policemen are in
the big room.

He goes by them into Nilsen's office.

INT. MARTIN NILSEN'S OFFICE

He closes the door.  Nilsen sees the look on his face,
backs his chair away towards the wall.

		NILSEN
	What do you want, Curran?						         45.


He goes to him, picks him up by his lapels, slams him
against the wall.

		NICK
		(out of control)
	You sold her the file, didn't you?

		NILSEN
		(scared)
	What are you talking about?

		NICK
		(out of control)
	What'd she pay you?

He slams him against the wall again.  The glass EXPLODES
behind them -- a chair comes into the room.  Nick is
frozen, holding Nilsen by the throat against the wall.

		ONE OF THE I.A. GUYS
	Let him go, Curran.  Nice and easy.

He looks back, sees two Internal Affairs men with their
guns drawn, pointed at him.

A beat, and he lets Nilsen go.

He turns calmly and starts to walk out.

		NILSEN
	You're on sick leave, Shooter.  As
	of right now.  Pending the outcome
	of a psychiatric evaluation.

EXT. THE POLICE PARKING LOT - DUSK

He gets into his old Porsche.  He STARTS the car up.  Gus
Moran comes up to the window.  They look at each other a
beat.

		GUS
	What's goin' down, son?

		NICK
	Nothin'
		(a beat)
	I'll be okay, pop.

They look at each other a long beat.

		GUS
	No, sir.  You won't.  There's smoke
	off yonder on the horizon.  They're
	gonna want your badge.

					     46.


		NICK
		(after a long beat)
	I got tired of being played with.

		GUS
		(after a beat)
	You sure got real conclusive ways
	of demonstrating that.

They almost smile at each other, then --

		NICK
		(almost to himself)
	She knows where I live and breathe.
	She's coming after me.

		GUS
		(after a long beat)
	What is it you got between you?

		NICK
		(after a beat; to
		 himself)
	I don't know.

		GUS
	Somethin', though.

A beat, and then Nick looks at him.

		NICK
	Yeah.
		(a beat)
	Somethin'.

INT. HIS APARTMENT - NIGHT

He sits in front of the TV, watching a lame sitcom.  A
bottle of Jack Daniels is half-empty in front of him.  He
is smoking a cigarette.

		BETH
		(behind him)
	I still have my key.

He looks at her, looks away at the sitcom.

		NICK
	I don't want to see you, Beth.

He keeps watching the sitcom.  A long beat.

		BETH
		(suddenly angry)
	Damnit!  Don't shut me out!  You
	owe me more than that?						         47.


He goes to the TV, shuts it off.

		NICK
	I don't owe you anything; you don't
	owe me anything.
		(he looks at her)
	We went to bed -- what was it? --
	ten or fifteen times?
		(he smiles)
	It wasn't memorable enough to carry
	any obligations.

		BETH
		(after a long beat)
	Sometimes I really hate you.

		NICK
		(smiles)
	Yeah?  Well why don't you find some
	friendly therapist and work some of
	that hostility out.
		(a beat)
	But take my advice.  Put a little
	more life into it than you usually
	do.

A beat, and she suddenly hurls herself at him in absolute
fury, trying to claw at his face.  He grabs her, blocks
her.  They look at each other a long beat and then he lets
her go.

The emotion of the moment is gone now -- they turn away
from each other.

		BETH
		(finally)
	I'm sorry... I don't usually... act
	like that.

Nick looks at her a beat.

		NICK
	How could you let him have my file,
	Beth?

A long beat, then --

		BETH
		(not looking at him)
	He was going to recommend your
	discharge:  a behavioral
	disability.  I made a deal with
	him.  He could review the session
	notes himself.  It was the only way
	I could keep you on the force.
					     48.


She looks at him.  He looks away from her.

		NICK
	You did it for me.

		BETH
	Yes.  I care about you.  I did it
	for you.

He turns away from her.

		NICK
		(quietly)
	Get out of here, Beth.
		(a beat)
	Please?

He goes to the Jack Daniel's, pours some more.  She looks
at him pour it and turns to go.

INT. HIS APARTMENT - NIGHT

He is asleep on the couch -- the TV is on to a blank
screen.  The Jack Daniel's is mostly gone.  The phone on
the coffee table RINGS.  It RINGS again.  He wakes, picks
it up, listens.

		NICK
	Yeah.
		(a beat)
	Okay.

He hangs it up.  He sits there a long beat, staring.  He
looks disturbed.

EXT. THE ALLEY BEHIND THE TEN-FOUR BAR - NIGHT

He walks down the alley.  There are lots of police cars,
flashing lights, uniformed men, coroner's men.

As he walks down the alley, he sees Lt. Walker, Gus, and
several of the Internal Affairs men we saw earlier in
Nilsen's office.  They are standing around a Lincoln Town
Car.

They look at him as he comes closer to them -- then move
aside.

He can see into the car now.  Martin Nilsen lies against
the front seat.  He has been shot in the head.  Nick stares.

		GUS
	One shot.  Close range.  Probably
	a .38 caliber revolver.

					     49.


Nick stares at Nilsen's body.  They watch him.

		LT. WALKER
	Give me your gun, Nick.

A beat, and then Nick gives him his gun.  Walker smells it,
shakes his head, gives it to one of the Internal Affairs
men.

		NICK
		(to Walker)
	You think I --

		GUS
	I don't son, but I got the minority
	opinion.

INT. POLICE INTERROGATION ROOM - NIGHT

He sits in the same room that Catherine sat in --
surrounded by four or five Internal Affairs men, Lt.
Walker, Gus, and Captain Talcott.  Lt. Walker and Gus sort
of sit back -- I.A. is running the investigation.  The same
police stenographer -- the same plain young woman -- is
sitting in the room who was there with Catherine.

		NICK
	Okay.  I went after him.  I lost my
	temper.

		AN I.A. MAN
	Do you have any evidence that he
	showed your psychiatric file to
	anyone?

		NICK
		(after a beat)
	No.

Beth Gardner comes into the room.  They look at her.

		AN I.A. MAN
	We'll speak to you afterwards, Dr.
	Gardner.

Nick gives her a look.

		BETH
	I'd like to sit-in if you don't
	mind.

		THE I.A. MAN
	I'd really rather --


					     50.


		TALCOTT
	I don't see anything wrong with Dr.
	Gardner sitting-in if Detective
	Curran doesn't object.

Nick looks at her, shrugs.

		AN I.A. MAN
	Where were you tonight?

		NICK
	Home. Watching TV.

		AN I.A. MAN
	All night?

		NICK
	Yeah.

		AN I.A. MAN
	Were you drinking?

He looks at Beth.

		NICK
	Yeah, I was drinking.

		AN I.A. MAN
	When did you start drinking again?

		NICK
		(after a beat)
	A couple days ago.

		BETH
	I saw Detective Curran at his
	apartment around ten o'clock.  He
	was sober and lucid.  I asked him
	in my capacity as his departmental
	therapist about his altercation
	with Lt. Nilsen.  He expressed
	regret and displayed no hostility.

		AN I.A. MAN
		(to Beth)
	How long were you at his apartment?

		BETH
	About fifteen minutes.  I saw there
	was no reason for my concern and
	left.

She and Nick look at each other.  He looks away and lights
a cigarette.

					     51.


		AN I.A. MAN
	There's no smoking in this building.

		NICK
		(after a beat)
	What are you gonna do -- charge me
	with smoking?

It is the exact line that Catherine used.  A long beat.

		LT. WALKER
	I'll ask you once, Nick -- for the
	record:  Did you kill him?

		NICK
	No.

They look at him a beat.

		NICK
		(continuing)
	Come on -- I'm going to storm into
	his office in front of everybody in
	the afternoon and then that night
	I'm going to kill him?  I'd have to
	be really dumb to do that.

		AN I.A. MAN
	Going after him before gets you off
	the hook for killing him:  that's
	your alibi.

		LT. WALKER
	Like writing a book about killing a
	guy gets you off the hook for
	killing him.

		AN I.A. MAN
		(to Walker)
	I don't understand.  What are you
	talking about?  What book?

		LT. WALKER
		(to Nick)
	Private joke.

		NICK
	I don't think it's funny.

		GUS
		(grins)
	Well, hell, son, it's got a certain
	ring to it, I'll say that.

INT. POLICE DEPARTMENT - NIGHT

He is by the elevators with Gus and Lt. Andrews.  He spots
Beth going for the stairway.




					     52.


		NICK
		(to Lt. Andrews)
	I'll get my stuff tomorrow.

INT. THE STAIRWAY

		NICK
	Beth.

She stops.  He catches up to her.  They walk down the
flights together.  They speak quietly.

		NICK
		(continuing)
	Thank you.

She looks at him, smiles.  They keep walking down the steps.

		BETH
	It's the least I could do...
	considering I got you into this
	mess with those reports.

		NICK
		(smiles)
	No.  I mean it, thank you.

She looks at him, smiles.

		BETH
	How do you know Catherine Tramell
	saw my reports?

		NICK
	She knows stuff about me that only
	you know.

		BETH
		(after a beat)
	She must really be something.
		(she smiles)
	From a clinical point of view.

		NICK
	What was she like in school?

		BETH
	I hardly knew her.  She gave me the
	creeps, though.  I don't know why.

EXT. THE BUILDING - NIGHT

They get outside.  Beth kisses him quickly, softly on the
cheek.

					     53.


		BETH
	Get some rest.  Promise?

He nods.  She starts walking toward her car.

		NICK
	Beth.  I didn't mean what I said.
	About --

		BETH
		(smiles)
	Yes you did.  I'm a big girl.  I
	can handle it.

She goes to her car.

INT. THE DETECTIVE BUREAU - NEXT DAY

He is cleaning his desk out, putting things into a duffel
bag.  Only Andrews is in the room.  We see Lt. Walker
sitting in his glass-enclosed office.

He closes the duffel bag, looks at the place a long beat.
Andrews is watching him.  He goes up to Andrews

		ANDREWS
		(after a beat)
	Take care, you hear?

		NICK
		(after a beat)
	Did you find out about her parents?

		ANDREWS
	You're on leave, man.
		(a beat)
	You're on psycho leave.  I'm
	talking to a possible whacko here.

		NICK
	You know I'm whacko, Sam, what'd
	you find?

A beat, and Andrews opens the file.

		ANDREWS
	The boat blew.  There was a leak in
	the gas line.  There were two
	previous repairs.  There was a five-
	mil policy on both of 'em.  A real
	heavy investigation.  Zilch.  Goose-
	egg.  It was an accident.

		NICK
		(after a beat)
	Thanks.						         54.


He sees Lt. Walker looking at him.  He goes into Walker's
office.

		LT. WALKER
	I.A.'s going to talk to you more
	about Nilsen.  They're handling the
	investigation, we're not.  Stay in
	touch with Dr. Gardner, it'll help
	on the evaluation.

		NICK
		(after a beat)
	She killed him.

		LT. WALKER
	Beth?  Now you've got Beth killing
	people?

		NICK
	Catherine Tramell.  It's part of
	her game.

		LT. WALKER
	First you've got her buying your
	file.  Now you've got her killing
	Nilsen.  Forget her, willya?  Go
	someplace.  Sit in the sun.  Get
	away from this goddamn fog.  Get
	her out of your system.

		NICK
	You don't but it, do you?  She knew
	nobody would but it.
		(he smiles)
	She knew I'd say she did it.  And
	she knew nobody would buy it.

Lt. Walker looks at him a long beat.

		LT. WALKER
	She's screwing with your head,
	Nick.  Pretty soon you're gonna
	look in the mirror and think you're
	seeing her.

EXT. HIS APARTMENT

It is in the Marina District; on a street like Cervantes.
He gets out of his old Porsche; he sees her black Ferrari
there.  She is sitting on the front stoop.  She wears an
Indian jacket, jeans and a T-shirt.  He goes up to her.
She looks at him a beat.

		CATHERINE
	I heard about what happened.  What
	good's a shooter without his gun?						         55.


She smiles.

		NICK
		(a beat)
	How exactly did you hear?

		CATHERINE
		(after a beat)
	I have attorneys.  They have
	friends.  I have friends.  Money
	buys you a lot of attorneys and
	friends.

		NICK
		(after a beat)
	I don't know about that:  I don't
	have any money:  I don't have any
	attorneys:  Gus is my only real
	friend.

		CATHERINE
		(smiles)
	I wasn't talking about real
	friends.  Why doesn't Gus like me.

		NICK
		(after a beat)
	I like you.

		CATHERINE
	Do you?

		NICK
		(smiles)
	Yeah.  Would you like to come up
	and have a drink?

She looks at him a beat.

		CATHERINE
	I didn't think you'd ask me.

He looks at her a beat.

		NICK
		(smiles)
	I'm not that easy to figure.

They start walking inside.  She walks ahead of him.  He
watches her.  She turns suddenly.

		CATHERINE
	You're not easy to figure.  I'm
	just very good at figuring.

					     56.


		NICK
		(after a beat)
	Don't get too cocky.

		CATHERINE
	Why not?

		NICK
	You can make a mistake.

		CATHERINE
		(smiles)
	Not me.

And she turns, heads inside; he follows her.

INT. HIS APARTMENT - DAY

They walk in.  She looks at the bareness of the place.

		CATHERINE
	You should put some warmth into it.
	You don't want it to reflect on
	your personality.

She turns, smiles at him.  He looks at the bottle of Jack
Daniel's; there's not much left.

		NICK
	Jack Daniel's okay?  It's gonna
	have to be.

		CATHERINE
	Fine.

		NICK
	Ice?

		CATHERINE
		(smiles)
	Please.

There is a palpable tension between them.

He takes the ice out, opens a drawer, takes out an icepick.

		CATHERINE
		(continuing)
	Let me do that.  You like to watch
	me doing it, don't you?

She smiles; a beat and he hands her the icepick.  She takes
it, starts to us the icepick, her back to him.  He lights a
cigarette.

					     57.


		CATHERINE
		(continuing)
	Can I have a cigarette, please?  I
	told you you'd start smoking again.

He watches her working on the ice.

		CATHERINE
		(continuing)
	Light it for me, will you?

He does, steps to her.  She parts her lips -- he puts it on
her lip, watches it.  Their eyes are on each other.

		CATHERINE
		(continuing)
	Thank you.

She works on the ice again, opens the cabinets for glasses.

		NICK
	What did you pay Nilsen?

		CATHERINE
		(doesn't look at
		 him)
	Isn't he the policeman that you
	shot, Shooter?

She makes the drinks.

		NICK
	What if I as you not to call me
	Shooter?

		CATHERINE
	What if I call you Nicky?

		NICK
		(after a beat)
	My wife used to call me that.

		CATHERINE
		(smiles)
	I know, Nicky, but I like it.

She hands him his drink, holds hers.

		CATHERINE
		(continuing)
	Cheers.  My friends call me
	Catherine.

		NICK
	What did Bobby Vasquez used to call
	you?						         58.


		CATHERINE
	Bitch mostly, but he meant it
	affectionately.  You don't have any
	coke, do you?  I love coke and Jack
	Daniel's.

		NICK
		(after a beat)
	There's Pepsi in the fridge.

		CATHERINE
		(smiles)
	It's not the same thing, is it?

They look at each other a long beat, their eyes very
involved.

		NICK
		(quietly)
	Where's it going?  What do you want
	from me?

Their faces are close together.

		CATHERINE
	Say -- "What do you want from me,
	Catherine?"

		NICK
		(after a beat,
		 quietly)
	What do you want from me, Catherine?

A beat, and she suddenly turns away.

		CATHERINE
		(brightly)
	I brought you something.

She goes to her purse, takes a paperback book out of it.
We see it -- The First Time, by Catherine Smith.  He looks
at it.

		CATHERINE
		(continuing; smiles)
	Aren't you going to thank me?

		NICK
	What's it about?

		CATHERINE
	A boy kills his parents.  They have
	a plane.  He makes it look like an
	accident.

					     59.


He stares at her.  A long beat, then --

		NICK
	Why does he do it?

		CATHERINE
	To see if he can get away with it.

They look at each other a beat.

		NICK
	When did you write it?

		CATHERINE
		(after a beat)
	You mean did I write it before my
	parents died?

		NICK
	Yes.

		CATHERINE
	No.  I wrote it years afterwards.

He watches her; she has turned away from him -- and then
she turns back to him in a different mood.

		CATHERINE
		(continuing; smiles)
	You're not going to stop following
	me around now just because you're
	on leave -- are you?

		NICK
		(after a beat)
	No.

		CATHERINE
	Good.  I'd miss you.
		(a beat)
	You can get into trouble, though.
	You're not really a cop anymore.

		NICK
	I'll risk it.

		CATHERINE
	Why take the risk?

		NICK
	To see if I can get away with it.

She looks at him:  she smiles.

		NICK
		(continuing)
	How's your new book?





					     60.


		CATHERINE
	I'm getting deeper and deeper into
	my character.

They look at each other a long beat.

		CATHERINE
		(continuing)
	Thanks for the drink.

He nods, say nothing as she goes to the door --

		CATHERINE
		(continuing)
	I'm leaving the house around
	midnight.  In case you're going to
	follow me.
		(a beat)
	I'm going down to Johnny's club.

		NICK
		(after a beat)
	I'll meet you there.

She looks at him a long beat; and she's gone.

INT. THE STAIRWAY

As she is going down the stairs, Gus Moran is coming up.
He does a real double-take as he goes by her.

		CATHERINE
		(smiles)
	Hi, Gus.

He looks at him a long beat, and he goes upstairs, into
Nick's apartment.

INT. NICK'S APARTMENT

Nick stands at the window, watching her outside.  A long
beat, and he looks at Gus.

		GUS
		(after a beat)
	Forgive me for askin', son, and I
	don't mean to belabor the obvious,
	but why is it that you've got your
	head so far up your own ass?

		NICK
		(after a beat)
	She want to play?  Fine.  I can
	play.

		GUS
		(after a beat)
	Everybody that she plays with dies.




					     61.


		NICK
		(after a beat,
		 quietly)
	I know what that's like.

INT. JOHNNY BOZ'S CLUB - NIGHT

It is dark, cavernous:  there are a thousand people in
here.  The MUSIC is ear-splitting, pulsing.  Lights flash.
The floor is huge.  At one time, this club was a church.

He walks around the sides, a drink in his hand, looking for
her.  He doesn't see her.

The he catches a glimpse of Roxy.  She is dancing with
another woman.  He watches her.  She is wearing pants and a
jacket, her hair off to the side.  She looks very masculine
tonight.

Roxy laughs at the other woman, leaves her on the floor,
starts moving through the sea of dancers.  He follows her
through the press of bodies.  She goes towards the men's
room.  She walks in.

INT. THE MEN'S ROOM

It is large, dark, shadowy:  It was once the sacristy.

A crowd scene:  men and women. Roxy presses through them.
A haze of crack smoke; we see people doing poppers.

She opens the door to a toilet stall, walks in.  Nick is
behind her.  As the door opens, he sees Catherine.

She wears a black motorcycle jacket, a very short skirt,
stiletto heels.  Her hair is up.  He make-up is severe,  I
the darkness, in the shadows she looks about 19.  A hot 19.
A hot flash-trash 19.

She is in there with two men -- one of them is a big, body-
built black guy.  She has a vial of something near her face.

She sees Nick watching her.  She whispers something to the
tall black guy.  He looks at Nick, smiles a condescending
smile.  The door to the stall closes

INT. THE CLUB

He is walking along the side, watching the floor, a drink
in his hand.  The song ends and it seques right into the
Stones's "Miss You."

He sees her.  Her black leather jacket is off.


					     62.


She wears a very tight, flimsy top, the short skirt, the
heels.  She is dancing with Roxy and the black guy.  He
watches her move... watches her body.

She turns, sees him, dances, watches him... gets between
Roxy and the black guy... they sandwich her with their
bodies... keeps moving, turning... eyes on him... playing
to him with her body.  He watches.

A long beat, and he goes up to them.  His movements are
almost trance-like.  They look at each other.  A long beat.
Catherine stops dancing.  he reaches for her.  She moves
away.  A beat:  their eyes are on each other.  She moves a
step towards her.  A beat, as they look at each other...
and they start to move together.

Their eyes are on each other as they move, the eyes
burning... the movements tighter, hotter... and he suddenly
grabs her and kisses her... as they keep moving... the song
seques into the Stones's "Gimme Shelter."

She is melting into him now, kissing him... Tex watches,
expressionless... the black guy is gone... he holds her by
the back of the neck, kissing her... their bodies pressed
into each other... his hands are on her butt now, pulling
her into him now, almost holding her up now... and then
under her skirt, under her panties... as he kisses her neck.

People around them stare... he moves his hands under her
top as she keeps moving with the song, her head back, her
back almost arching... cups her breasts now... she keeps
moving... the song sweeping them into its rhythm:  "it's
just a shot away, it's just a kiss away, a kiss away..."

They devour each other.  Right there on the floor.  Barely
able to hold it back.  As Tex watches expressionless.  As
people stop dancing and stare.

				 DISSOLVE TO:

INT. HER BEDROOM

It is dark.  We can't see clearly.  A side table, lines of
cocaine on a small mirror.  A CD player:  The Stones play
"Love In Vain."

There are mirrors all over the walls and ceiling.  They are
in bed.  The bed is big and brass.

Atop her... he kisses her neck... his hands under her,
raising her... he moves down, kisses her breasts... puts
his mouth around  a breast... she arches, moves... he
kisses her shoulder... biting into it... she opens her
mouth... we hear no cry... we hear the Stones.

				 DISSOLVE TO:						         63.


INT. HER BEDROOM - LATER

The Stones play "Monkey Man."

Atop him... she kisses his chest, licks it, lowers her
head... lower... lower... he arches his back... her mouth
comes up... her mouth on his lips again... he turns her.

Atop her... he moves her legs apart... (the CAMERA is
behind them)... she holds his back... digs in her nails...
rakes his back with them... digs in again... his back
bleeds... he moves inside her... harder... the nails dig...
blood trickles down his back.

				 DISSOLVE TO:

INT. HER BEDROOM - LATER

The Stones play "Wild Horses."

He is behind her... she is on her stomach... he rises her
by her hips... kisses her back... races her spine with his
tongue... traces her lower back... he kneels... moves into
her... kisses her neck... his fingers are in her mouth...
as he moves.

				 DISSOLVE TO:

INT. HER BEDROOM - LATER

The Stones play "Sympathy for the Devil."

Atop him... she leans close over his face, her tongue in
his mouth... kneeling over him... she moves his arms above
his head... moves higher atop him... her breasts in his
face... she reaches over to the side... a white silk scarf
is in her hand... she moves higher above him... kneeling
over his face... moving oh-so-slightly... his face strains
towards her.

The scarf in both hands now... she starts to tie his hands
with it... his eyes are open, watching her... she ties it
loosely, gently... it isn't tight... but his hands are tied
to the brass bed.

She kisses him... moving her hips lower now... over his
chest... lower...

And he is inside her... her arms above him... his eyes
open... she kisses his neck... bites but not hard...
moves... grinding hard against him now.. she is on her
knees... head arches back.. her breasts high.. still
grinding.


					     64.


Her back arches, strains... he strains toward her... she
holds her arms high... she comes out of the arch...
shivering... falling over him... the scarf loosens... his
arms come forward and hold her close.. closer... closer...
as she moves with slight... shivery... movements.

				 DISSOLVE TO:

INT. HER BEDROOM - NIGHT

It is dark, quiet.  Pindrop quiet.  He is sitting on the
side of the bed, his head down... his back a line tracing
of dried blood.  She is asleep nest to him, naked.

He looks around the room.  The white scarf around the
bedpost... the coke on the side-table... clothes all over
the floor.

He gets up, walks into the bathroom.

INT. HER BEDROOM - NIGHT

The light is too bright.  He looks at himself in the
mirror.  He pours the water, lowers his head, puts cold
water on his face.  A long beat, he comes back up, opens
his eyes.  Roxy is in the mirror behind him.  She startles
him.

He looks at her in the mirror a long beat, doesn't turn.
She is expressionless; she wears the same thing she wore at
the club.

He lowers down into the basin again, puts more water on his
face, comes back up, uses a towel this time, finishes with
the towel.  She is still looking at him in the mirror the
same way.  He looks at her in the mirror, doesn't turn.

		ROXY
		(quietly)
	If you don't leave her alone, I'll
	kill you.

He looks at her a beat, then turns --

		NICK
	Tell me something, Rocki.  Man-to-
	man.
		(he smiles)
	I think she's the fuck of the
	century, don't you?

For a second, she looks like she's going to spring at him,
then controls it and turns to go.


					     65.


		NICK
		(continuing)
	How long you been here, Rock?  You
	like to watch, do you?

		ROXY
		(after a beat,
		 looks at him)
	She likes me to watch.

And she turns and she is gone.

INT. HER BEDROOM - NIGHT

He lies on the bed in the dark, quiet room.  He is on his
back, his eyes open.  He has his arm around her.  She is
asleep.

		CATHERINE
		(murmurs)
	Nicky.

He looks at her.

INT. HER BEDROOM - MORNING

He wakes up.  She is not there.  He looks around.  The
white scarf is gone.  The coke on the side table is gone.
In its place, a scrawled note:  "The Beach -- C."

EXT. HER STINSON BEACH HOUSE - DAY

A cold and foggy day.  He gets out of his old Porsche,
walks down the driveway.  He sees her out on the beach by
the water.  A small bonfire is near her.  He walks towards
her.

Roxy watches him, expressionless, from an upstairs window
of the house.  He doesn't see her.

He walks up to Catherine.  She has an Indian blanket over
her and is wearing a black felt English derby hat, her hair
loose underneath.

		NICK
		(expressionless)
	'Morning.

She doesn't look at him -- he smiles slowly.  She doesn't
smile and she doesn't seem to like his smile, either.  She
walks along the beach.  He walks with her.  A long beat.

		NICK
		(continuing)
	I think Roxy got jealous.

She looks at him.  He looks like he is trying to hide a
smile.




					     66.


		CATHERINE
		(after a beat)
	She's seen me fuck plenty of other
	guys.

That wipes the hidden smile off his face.

He looks at her, walks with her.  A long beat.

		NICK
	Maybe she saw something she didn't
	see before.

		CATHERINE
	She's seen everything before.

She looks at him:  he's smiling now.

		NICK
	She's never seen us before.

He's serious.  She looks at him.  She smiles slowly.

		CATHERINE
	Did you think it was so special?

		NICK
	I told her it was the fuck of the
	century.

He can't hide his smile anymore.  She says nothing, keeps
walking.

		NICK
		(continuing; after
		 a beat)
	What did you think?

		CATHERINE
	I thought it was a pretty good
	beginning.

They look at each other.  They keep walking.  A long beat.

		NICK
	How about Roxy?  Is she a fuck to
	the century, too?

		CATHERINE
		(after a beat)
	Do you want her to join us sometime?

He looks at her:  she's serious.

		NICK
	I didn't mean for me -- I meant for
	you.





					     67.


She looks at him.

		CATHERINE
	I'm not as judgmental about women
	as I am about men.

They keep walking.  A long beat.

		NICK
	How's your shoulder?

		CATHERINE
	Fine.  How's your back?

		NICK
	It hurts.

She stops, looks at him.  A long beat.

		CATHERINE
	We're alike, you know.

A beat, he looks at her --

		NICK
	Are you kidding?  You think this is
	my idea of morning-after
	conversation?

		CATHERINE
		(keeps walking)
	Do you want personal insights and
	adolescent secrets?  I don't do
	those.

The keep walking.

		NICK
	You mean getting inside you isn't
	going to get me any deeper into
	your character.

She looks a him.  A beat.  She smiles slowly.

		CATHERINE
	Not unless you confuse my character
	with my body parts.

They keep walking.  A long beat.

		CATHERINE
		(continuing)
	Were you frightened, Nicky?

He looks at her.
					     68.


		NICK
		(after a beat)
	I thought that business with the
	scarf was pretty nifty.

		CATHERINE
	I told you I had a vivid
	imagination.

They look at each other.  A long beat.

		CATHERINE
		(continuing)
	You shouldn't play this game.

		NICK
		(after a beat)
	I don't have a choice.

Their eyes are into each other.

		CATHERINE
		(after a beat)
	You're in over your head.

		NICK
		(after a beat)
	I know.

A long beat.  They look at each other.

		CATHERINE
	I've got a book to write.  I'll see
	you around, Shooter.

A beat, and she walks away towards the house.  He watches
her.

INT. A COUNTRY AND WESTERN BAR - NIGHT

Nick walks in.  Waylon Jennings is on the JUKEBOX.  Gus is
sitting at the bar wearing jeans, a cowboy shirt, and a
cowboy hat.

Nick goes, sits next to him.

		NICK
		(grins)
	What is this place?  Hillbilly
	heaven?

He glances around.

		GUS
		(loud)
	Where in the fuck you been?  I went
	over to your place.





					     69.


He is drunk, slurring.  Nick sees it.

		NICK
	Easy there, partner -- I wasn't
	there.

		GUS
	I went over last night, too.

		NICK
		(grins)
	I wasn't there last night, either.

Gus takes a long, drunken look at him.

		GUS
	You... fucked her!  Goddamn dumb
	sonofabitch... You fucked her!
	Goddamn, you are one dumb
	sonofabitch --

		NICK
		(trying to quiet
		 him)
	I'm not gonna get AIDS, pop --
	don't worry about it.  I always use
	a rubber.

		GUS
		(loud)
	I don't give a... flyin'... chili-
	bean... fart about AIDS!

		NICK
		(grins; quietly)
	You oughta use a rubber, pop.  You
	really should.

		GUS
		(loud)
	What in the hell for?  You think
	I'm gettin' any at my age?  I don't
	like blue-haired women.  I don't
	like 'em.

		NICK
		(straight)
	You don't like punk rockers?

		GUS
		(loud)
	Say what?

INT. A DINER - NIGHT

Gus is eating chili, drinking coffee.  Hick keeps pouring
him more coffee.





					     70.


		NICK
		(grins)
	You feeling better?

		GUS
		(loud)
	I feel fine!

Nick pours him more coffee; Gus guzzles it.

		GUS
		(continuing; loud)
	How could you fuck her?

It gets some looks from the other people in her -- Nick
shushes him, pours him more coffee.  He drinks it.

		GUS
		(continuing;
		 quietly)
	You wanna die, son?  What is it --
	those goddamn tourists -- you still
	feel so bad about that you're
	wigglin' your way into an icepi --
		(suddenly louder)
	We got too many goddamn tourists
	comin' here anyway -- plenty more
	goddamn tourists where they goddamn
	came from.

Some people here really give him the looks now.  Gus looks
angrily away from them, drinks more coffee.

		NICK
		(after a beat;
		 quietly)
	I'm not afraid of her.

		GUS
		(loud)
	Why the hell not?

		NICK
	I don't know.  I'm just not.

		GUS
		(loud)
	That's her pussy talkin' --

He gets a real nasty look from a very fat woman eating a
cheeseburger.  He winks at her.  The woman looks away from
him, shaking her head.

		GUS
		(continuing;
		 smiles; to Nick)
	It ain't your brain.





					     71.


They look at each other a long beat.  Gus drinks more
coffee.  He sits back, pulls his cowboy hat over his eyes.
A long beat.

		GUS
		(continuing;
		 quietly)
	I.A. done did a track on Lt. Martin
	D for Dickhead Nilsen.  They found
	a safety deposit box with fifty-
	thousand dollars in it, taken out
	three months ago, used that one
	time.

He looks at the fat woman again -- leers at her obscenely.
She looks away.

		NICK
		(after a long beat)
	It doesn't make sense.  She didn't
	know me three months ago.

		GUS
	Maybe it wasn't her that paid him.
	Maybe the money was for somethin'
	else.  How the fuck do I know?  I'm
	just an old city cowboy tryin' not
	to fall outta his saddle.

Nick looks at him and smiles a thin smile; he's not there,
he's completely preoccupied.

INT. A CAR - NIGHT

Someone is watching as he and Gus come out of the diner.

EXT. THE STREET - NIGHT

He stands by Gus as Gus gets into his battered, rusted,
vintage Cadillac.

		NICK
	You all right, pop?  You want me to
	drive you?

		GUS
	In that little pissant car of
	yours?  Hell, no.  I ain't gettin'
	no back pain disability
	retirement -- I'm gettin' me a full
	pension and a real gold-plate Seiko
	watch.

		NICK
	Come on, I'll drive you in this
	thing.						         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 styled 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 styled 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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