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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
He sees her. Her black leather jacket is off.
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 segues 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:
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.
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.
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.
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.
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.
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.
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.
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.
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 son-of-a-bitch... You
fucked her! Goddamn, you are one dumb son-of-a-bitch –
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.
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.
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.
