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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
EXT. THE BUILDING – NIGHT
They get outside. Beth kisses him quickly, softly on the cheek.
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.
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?
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.
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.
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?
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.
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?
CATHERINE
I'm getting deeper and deeper into my character.
They look at each other a long beat.
CATHERINE
(continuing)
Thanks for the drink.
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.
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
