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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
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.
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.
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.
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.
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.
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.
NICK
Am I... disturbing you?
CATHERINE
No. Come in.
They have their eyes on each other. A beat, and she turns to go in.
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?
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.
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.
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?
