☆☆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 isstanding
there. Nick looks like he's barely restraininghimself.
☆☆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 goafter
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 themleave.
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 againstthe wall.
BETH
Don't -- please, Nick --
We hear her dress RIP. He kisses her harder -- we hear herpanties
RIP. He gets the dress off, pushes his hands underher bra --
BETH
(continuing)
Please don't -- don't --
He puts his mouth to her shoulder, bites it -- as they movedown
to the floor.
34.
INT. BETH'S LIVING ROOM - LATER
It is dark. The are still partially dressed. They are onthe 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 fingeron the
bite mark idly, gently. A beat, and he kisses hershoulder 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 liesback
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 withHarrigan 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 anunmarked 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 windingpanoramic
highway -- a two-lane mountain road which leadsfrom 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 womanreally
drives.
He cuts out and can barely pass a car without hitting aGrey Lines
Tour Bus head-on. Close call: sheer drops oneither side.
He looks frazzled.
INT. HIS POLICE CAR
He is behind her at a distance on a hilly Mill Valleyroad --
little streets, terraced hillsides, sharp turns.He goes slowly,
looks around, thinks he's lost her. Andthen he sees the black
Ferrari parked in front of a houseobscured by hedges.
He parks the car a distance behind the Ferrari, sits therea long
beat. He gets out, goes carefully up to the hedges,looks. A small,
nondescript house. He watches. He can'tsee anything inside the
house.
A beat, he reaches over to the mailbox and opens it. Hetakes
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 oldwoman 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 behindher
at a distance -- she is going slowly. And then shesuddenly 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 fewhundred feet.
Nothing. Blackness. He stops.
NICK
(quietly)
Shit.
INT. HIS POLICE CAR - NIGHT
He pulls his car up to her house at Stinson Beach. Theblack Ferrari
is in the driveway.
A light goes on in an upstairs bedroom. The curtain isdrawn.
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 analmost 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 haspunched
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 seethese
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 policecar.
He stands there a beat, thinking. He walks down tothe beach entrance
of the house. He hears a Rolling StonesSONG playing inside. He
stands there. The door suddenlyopens. Catherine stands there,
smiles. She wears verytight-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 turnsto go
in.
40.
INT. THE STINSON BEACH HOUSE
She goes in ahead of him -- he follows her inside. Hewatches
her body. His movements are tentative, off-balance. She turns
the Stones DOWN.
On a table by the window, he sees a word processor. Spreadaround
it are newspaper clippings. They are all about him.We see the
headline on one: KILLER COP TO FACE POLICEREVIEW. 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 andthen
opens a drawer and gets an icepick. It has a fatwooden end. She
uses the icepick on the ice, her back tohim. 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. Sheraises
her arm, plunges it. Raises it, plunges it. Hewatches her.
NICK
(wary)
What kind of questions?
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