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Niki Wurster Visit our Movie Scripts Page screenplay 451: http://www.geocities.com/~screenplay451/ 茆广勤 7 1 2000-01-15T02:34:00Z 2001-07-31T07:04:00Z 26 15980 91088 Pumpkin Software 759 182 111862 9.2812 75 21 6 磅 5.2 磅 0 0 Basi
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.
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.
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.
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.
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.
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.
THE BARTENDER
Here you go, Nick.
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?
GUS
Not unless she got up in the ring and turned into one
mean son-of-a-bitch.
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.
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.
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.
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.
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.
