BASIC INSTINCT

INT. A BEDROOM - NIGHT

It is dark; we don't see clearly.

a man and woman make love on a brass bed. There are

mirrors on the walls and ceiling. On a side table, atop a

small mirror, lines of cocaine. A tape deck PLAYS the

Stones: "Sympathy for the Devil."

Atop him... she straddles his chest... her breasts in his

face. He cups her breasts. She leans down, kisses him...

JOHNNY BOZ is in his late 40's, slim, good-looking. We don't

see the woman's face. She has long blonde hair. The CAMERA

STAYS BEHIND and to the side of them.

She leans close over his face, her tongue in his mouth...

she kisses him... she moves her hands up, holds both of his

arms above his head.

She moves higher atop him... she reaches to the side of the

bed... a white silk scarf is in her hand... her hips above

his face now, moving... slightly, oh-so slightly... his

face strains towards her.

The scarf in her hand... she ties his hands with it...

gently... to the brass bed... his eyes are closed...

tighter... lowering hips into his face... lower... over his

chest... his navel. The SONG plays.

He is inside her... his head arches back... his throat

white.

She arches her back... her hips grind... her breasts are

high...

Her back arches back... back... her head tilts back... she

extends her arms... the right arm comes down suddenly...

the steel flashes... his throat is white...

He bucks, writhes, bucks, convulses...

It flashes up... it flashes down... and up... and down...

and up... and...

EXT. A BROWNSTONE IN PACIFIC HEIGHTS - MORNING

Winter in San Francisco: cold, foggy. Cop cars

everywhere. The lights play through the thick fog. Two

Homicide detectives get out of the car, walk into the

house.

2.

NICK CURRAN is 42. Trim, good-looking, a nice suit: a face

urban, edged, shadowed. GUS MORAN is 64. Crew-cut, silver

beard, a suit rumpled and shiny, a hat out of the 50's: a

face worn and ruined: the face of a backwoods philosopher.

INT. THE BROWNSTONE

There's money here -- deco, clean, hip -- That looks like a

Picasso on the wall. They check it out.

GUS

Who was this fuckin' guy?

NICK

Rock and roll, Gus. Johnny Boz.

GUS

I never heard of him.

NICK

(grins)

Before your time, pop.

(a beat)

Mid-sixties. Five or six hits.

He's got a club down in the

Fillmore now.

GUS

Not now he don't.

Past the uniformed guys... nods... waves... past the

forensic men... past the coroner's investigators... they

get to the bedroom.

INT. THE BEDROOM

They walk in, stare -- it's messy.

It's like a convention in here. LT. PHIL WALKER, in his

50's, silver-haired, the Homicide guys: JIM HARRIGAN, late

40's, puffy, affable; SAM ANDREWS, 30's, black. A

CORONER'S MAN is working the bed.

LT. WALKER

(to Nick and Gus)

You guys know Captain Talcott?

They nod.

GUS

What's the Chief's office doin'

here.

CAPT. TALCOTT

Observing.

3.

LT. WALKER

(to the Coroner's

Guy)

What do you think, Doc?

THE CORONER'S GUY

The skin blanches when I press it --

this kind of color is about right

for six or eight hours.

LT. WALKER

Nobody say anything. The maid came

in an hour ago and found him.

She's not a live-in.

GUS

Maybe the maid did it.

LT. WALKER

She's 54 years old and weighs 240

pounds.

THE CORONER'S GUY

(deadpan)

There are no bruises on his body.

GUS

(grins)

It ain't the maid.

LT. WALKER

He left the club with his

girlfriend about midnight. That's

the last time anybody saw him.

NICK

(looks at body)

What was it?

THE CORONER'S GUY

Ice pick. Left on the coffee table

in the living room. Thin steel

handle. Forensics took it

downtown.

HARRIGAN

There's come all over the sheets --

he got off before he got offed.

GUS

(deadpan)

That rules the maid out for sure.

CAPT. TALCOTT

This is sensitive. Mr. Boz was a

major contributor to the mayor's

campaign. He was Chairman of the

Board of the Palace of Fine Arts --

4.

GUS

(to Nick)

I thought you said he was a rock

and roll star.

LT. WALKER

He was a retired rock and roll

star.

CAPT. TALCOTT

A civic-minded, very respectable

rock and roll star.

GUS

What's that over there?

We see the white powder laid out in lines on the small

mirror on the side table.

NICK

(deadpan)

It looks like some civic-minded,

very respectable cocaine to me,

Gus.

CAPT. TALCOTT

(evenly, to Nick)

Listen to me, Curran. I'm going to

get a lot of heat on this. I don't

want any... mistakes.

Nick and Talcott look at each other a beat, then --

NICK

Who's the girlfriend?

Lt. Walker looks at the notepad in his hand.

LT. WALKER

Catherine Tramell, 162 Divisadero.

Nick writes it down. He and Gus turn, leave. Captain

Talcott watches them. He looks disturbed.

INT. THE LIVING ROOM

as they head out --

NICK

Talcott doesn't usually show up at

the office 'till after his 18

holes. What are they nervous

about?

GUS

They're executives. They're

nervous about everything.

5.

LT. WALKER (O.S.)

Nick!

He stops, turns, sees Walker behind them. Walker comes up

to them.

LT. WALKER

(to Nick)

Keep your three o'clock.

NICK

Do you want me to work the case,

Phil, or do you want me to --

LT. WALKER

I said keep it.

EXT. A VICTORIAN ON DIVISADERO - DAY

It is more a mansion than a house. They ring the bell. An

Hispanic MAID answers. They flash their badges.

NICK

I'm Detective Curran, this is

Detective Moran. We're with the

San Francisco Police Department.

We'd like to speak to Ms. Catherine

Tramell.

THE MAID

(after a beat, an

accent)

Just moment. Come in.

She leads them into a lavish, beautifully done living room

that offers a sweeping view of the Bay.

THE MAID

(continuing)

Sit, please. Just moment.

They look around, impressed. There is a Picasso on the

wall here, too.

GUS

Ain't that cute? They got his and

her Pig-assos, son.

NICK

(smiles)

I didn't know you knew who Picasso

was, Gus. 6.

GUS

(grins)

I'm a smart sonofabitch. I just

hide it.

Nick smiles -- and at that moment a beautiful BLONDE walks

into the room. She looks like she has been asleep. She is

in her early 20's. She wears a very sheer robe.

NICK

We're sorry to disturb you, we'd

like to ask you some --

THE WOMAN

Are you vice?

GUS

(after a beat)

Homicide.

THE WOMAN

What do you want?

THE WOMAN

(continuing)

Is he dead?

NICK

(after a beat)

Why do you think he's dead?

THE WOMAN

You wouldn't be here otherwise,

would you?

GUS

Were you with him last night?

THE WOMAN

You're looking for Catherine, not

me.

NICK

Who are you?

THE WOMAN

I'm Roxy.

(a beat)

I'm her -- friend.

She looks at them a beat.

7.

ROXY

She's out at the beach house at

Stinson. Seadrift. 1402.

NICK

Thanks.

They start to head out.

ROXY

You're wasting your time. Catherine

didn't kill him.

A beat, they look at her, and go...

EXT. SEADRIFT - STINSON BEACH - DAY

Foggy. Cold. It is an expensive spit of land on the

ocean. Multi-million dollar "beach houses" with gardens

and swimming pools. There are two Ferraris in the

driveway -- one black, one white.

They get out of the car in front of the house. They see a

woman in back of the house, sitting on a deck chair,

staring at the sea, a blanket around her.

As they get to her --

NICK

Ms. Tramell?

She takes a long look a Nick, then looks away.

CATHERINE TRAMELL is 30 years old. She has long blonde

hair and a refined, classically beautiful face. She is not

knockout gorgeous like Roxy; there is a smoky kind of

sensuousness about her.

NICK

(continuing)

I'm De--

CATHERINE

(evenly)

I know who you are.

She doesn't look at them. She looks at the water.

CATHERINE

(continuing)

How did he die?

GUS

He was murdered.

CATHERINE

Really. Maybe that's why you're

from Homicide. How?

Nick glances at Gus.

8.

NICK

With an ice pick.

She closes her eyes a beat and then, still staring out, we

see a thin smile. They see it, too, and glance at each

other.

NICK

(continuing)

How long were you dating him?

CATHERINE

I wasn't dating him. I was fucking

him.

They glance at each other again.

GUS

What are you -- a pro?

Catherine looks at him -- that thin smile again.

CATHERINE

No. I'm an amateur.

She looks away.

NICK

How long were you having sex with

him?

CATHERINE

About a year and a half.

NICK

Were you with him last night?

CATHERINE

Yes.

NICK

Did you leave the club with him?

CATHERINE

Yes.

NICK

Did you go home with him?

CATHERINE

No. We had a drink at the club.

We left together. I came here. He

went home.

NICK

Was there anyone with you last

night?

9.

CATHERINE

(looks at Nick)

No. I wasn't in the mood to have

sex with anyone last night.

They look at her a beat.

NICK

Let me ask you something, Ms.

Tramell? Are you sorry he's dead?

Catherine looks at him.

CATHERINE

Yes. I liked fucking him.

They stare at her. She looks out at the water.

CATHERINE

(continuing)

I don't really feel like talking

anymore.

GUS

listen, lady, we can do this

downtown if you --

CATHERINE

Read me my rights and arrest me and

I'll go downtown.

She doesn't even look at them.

CATHERINE

(continuing;

quietly)

Otherwise, get the fuck out of

here. Please.

A long beat as they look at her.

INT. A CORRIDOR - POLICE HEADQUARTERS

The door says: Dr. Elizabeth Gardner, Counseling. Nick

opens the door, peeks in. The receptionist is not there.

A clock says 3:15.

INT. THE COUNSELING OFFICE

He walks in -- sees the inner door open, walks in.

NICK

I'm sorry, Beth. I -- I got hung

up in Stinson.

10.

DR. ELIZABETH GARDNER, the police psychologist, is a very

good-looking, dark-haired woman. She is 30.

BETH

(smiles)

How are you, Nick?

NICK

I'm fine. Come on, Beth! You know

I'm fine! How the hell long do I

have to keep doing this?

BETH

As long as Internal Affairs wants

you to, I suppose. Sit down, Nick.

NICK

It's bullshit. You know it is.

BETH

(smiles)

I know it is -- but sit down anyway

so we can get it over with, okay?

He sits down.

BETH

(continuing)

So -- how are things?

NICK

(after a beat)

Things are fine. I told you.

They're fine.

She watches him closely.

BETH

(after a beat)

How is your -- personal life?

NICK

My sex life is fine.

(a beat)

My sex life is pretty shitty

actually since I stopped seeing you

-- maybe I should think about my

Electrolux again.

That embarrassed her; she looks away from him.

NICK

(continuing; after a

beat)

Sorry.

She shrugs. A beat.

11.

BETH

How about the booze?

NICK

It's been three months.

BETH

(after a long beat)

How about the coke?

NICK

No.

BETH

No?

NICK

(hard)

No! I'm working my tail off. I'm

off the sauce, I'm not even smoking

anymore.

She smiles.

BETH

How's not smoking?

NICK

It's fucked -- now will you please

tell I.A. that I'm just you average

healthy totally fucked-up cop and

let me get out of here?

BETH

(after a beat;

smiles)

Yes.

NICK

Thank you.

And he starts heading out.

BETH

(behind him)

I still miss you, Nick.

He doesn't even turn, pretends he didn't hear.

INT. THE DETECTIVE BUREAU

He walks in. Gus Moran gets up from his desk as soon as he

sees him.

GUS

Talcott's in there. They're

waiting.

They start heading for Lt. Walker's office.

12.

GUS

(continuing)

How'd it go, son?

NICK

She misses me.

GUS

(grins)

Hallelujah.

INT. LT. WALKER'S OFFICE

He and Gus sit there with Lt. Walker, Harrigan, Andrews and

Captain Talcott.

HARRIGAN

Sixteen stab wounds to the chest

and neck. No usable prints, no

forcible entry, nothing missing.

No prints on the ice pick, either --

it's available at any Safeway.

The scarf is Hermes, expensive --

they sell about 20,000 a year

worldwide.

ANDREWS

The powder was cocaine, high-

quality, high-content. He inhaled

it; there were minute quantities on

his lips and penis. Mr. Boz leaves

five million dollars, no insurance,

no direct survivors. He liked his

coke, he liked his girls, and he

liked rock and roll.

NICK

He liked the mayor, too, right?

Talcott gives him a look.

GUS

What about his girlfriend?

TALCOTT

Is she relevant here? I didn't

know she was a suspect.

LT. WALKER

She's a suspect.

TALCOTT

On what basis?

LT. WALKER

(looks a notes)

Catherine Tramell. Age 30.

13.

LT. WALKER

(continuing)

No priors, no convictions. Double

major, magnum cum laude, Berkeley,

1980. Literature and Psychology.

Daughter, sole survivor -- Marvin

and Elaine Tramell, killed in a

boating accident, 1978, Catherine

Tramell sole heir. Estimated

assets: $110 million.

It hangs there.

NICK

Are you kidding me?

LT. WALKER

(continues)

Formerly engaged to Roberto

Vasquez, deceased --

ANDREWS

Bobby Vasquez?

LT. WALKER

Bobby Vasquez, former middleweight

contender, killed in the ring

Atlantic City, 1984.

NICK

(smiles)

I love it. She's got a hundred

million bucks. She fucks fighters

and rock and roll stars. And she's

got a degree in screwing with

peoples' heads.

LT. WALKER

You forgot her degree in

literature. She's a writer. She

published a novel last year under a

pen name. Do you want to know what

it's about?

They just stare at him.

LT. WALKER

(continuing)

It's about a retired rock and roll

star who is murdered by his

girlfriend.

It hangs there a long beat.

INT. NICK'S APARTMENT - NIGHT

His apartment is very bare -- very few things -- with wide

open spaces. There is a lot of chrome.

14.

He sits on the couch, reading a book. It is a paperback.

We see the title -- Love Hurts, by Catherine Adams. He

puts the book down a beat, then picks the phone up, dials.

NICK

Page 67, pop. Do you know how she

does the boyfriend? With an

icepick, in bed, his hands tied

with a white silk scarf.

INT. A POLICE DEPARTMENT CONFERENCE ROOM - DAY

Nick, Gus, Lt. Walker, Harrigan, Andrews, Captain Talcott --

and Beth Gardner. With them is an older, white-haired

man, DR. ANDREW LAMOTT. There are copies of "Love Hurts"

around the table.

LT. WALKER

Dr. Gardner?

BETH

I've asked Dr. Lamott to consult

with us. This isn't really my

turf. Dr. Lamott teaches the

psycho-pathology of psychopathic

behavior at Stanford and is also a

member of the Justice Department's

Psychological Profile team. Dr.

Lamott?

DR. LAMOTT

There are two possibilities. One:

The person who wrote this book is

your murderer and acted out the

killing described in ritualistic,

literal detail. Two: Someone who

wants to do the person who wrote

this book harm read the book and

enacted the killing described to

incriminate the writer.

NICK

(after a long beat)

What if the writer did it? What

are we dealing with?

DR. LAMOTT

You're dealing with a devious,

diabolical mind. This book must

have been written at least six

months, maybe years before it was

published. That means the writer

planned the crime, at least in the

subconscious, back then.

15.

DR. LAMOTT

(continuing)

The fact that the writer carried it

out indicates psychopathic

obsessive behavior in terms not

only of the killing itself but in

terms of applied advance defense

mechanism.

A long beat.

GUS

Most times I can't tell shit from

shinola, Doc. What was all that

you just said?

Some grins, titters.

BETH

She anticipates the book to be her

best alibi.

DR. LAMOTT

Correct.

BETH

She's going to say: Do you think

I'd be dumb enough to kill anyone

in the exact way I've described in

my book? I wouldn't do that

because I'd know I'd be a suspect.

A long beat -- as they think about it.

NICK

What if it's not the writer? What

if it's someone who read the book?

DR. LAMOTT

You're dealing then with someone so

obsessed that he or she is willing

to kill an irrelevant and innocent

victim to place the blame on the

person who wrote this book. We are

talking about deep-seated,

obsessional hatred; an utter lack

of sense of proportion or

perspective.

GUS

We've got a top-of-the-line, once-

in-a-lifetime loony-tune either way

you cut it -- that's what you're

saying, right, Doc?

DR. LAMOTT

You're dealing with someone very

dangerous and very ill.

16.

INT. THE PROSECUTOR'S OFFICE - DAY

PROSECUTOR JOHN CORRIGAN, a big man in his 50's, with

Captain Talcott, Lt. Walker, Nick, and Gus.

Corrigan is reading a file. He gets up, yawns, goes to his

window, looks out.

CORRIGAN

Come on, you know there's no case

here. There's no physical

evidence -- okay, she doesn't have

an alibi: but there's no motive.

Her defense would just beat us to

death with the copycat thing.

Anybody who read the book could

have done it.

A long beat; no one says anything.

NICK

So what do we do -- nothing?

LT. WALKER

(after a beat)

We bring her in for questioning.

TALCOTT

She's got enough money to burn this

whole department down.

LT. WALKER

She was the last person seen with

the guy -- I'll take the

responsibility.

TALCOTT

It's yours.

CORRIGAN

It won't do any good. She'll come

in with Lee Bailey and Mel Belli

trailing behind her on a solid gold

chain from Tiffanys.

TALCOTT

Yes she will.

NICK

(after a beat)

No she won't.

They look at him.

17.

NICK

(continuing; smiles)

I don't think she's going to hide

behind anybody. I don't think

she's going to hide at all.

TALCOTT

(after a beat)

I think you're as crazy as she

probably is, Curran.

Nicks says nothing.

GUS

You know what they say: It takes

one to know one.

Nick looks a Gus, grins.

EXT. HER HOUSE IN STINSON - DAY

They walk from the car to the door of the big beach house.

They ring the bell. They hear typing inside. The typing

stops. She comes to the door in jeans and a tight-fitting

sweatshirt.

NICK

Ms. Tramell, we'd like you to come

downtown and answer some questions

for us.

CATHERINE

Are you arresting me?

NICK

If that's the way you want to play

it.

They look at each other a beat.

CATHERINE

(smiles)

Can I change into something more

appropriate? It'll just take a

minute.

He nods.

CATHERINE

(continuing)

Come in.

INT. THE HOUSE

It is beautifully done in a Santa Fe motif. She goes to a

bedroom of the living room.

18.

Nick sits down on a couch facing the bedroom she's walked

into. Gus sits across from him, his back to the bedroom.

There is a coffee table between them. She leaves the

bedroom door halfway open.

An old newspaper is on the coffee table them. Nick reaches

for it. The headline says: VICE COP CLEARED IN TOURIST

SHOOTINGS. A headline underneath says: GRAND JURY SAYS

SHOOTINGS ACCIDENTAL. There is a photograph of Nick.

He stares at the paper.

CATHERINE (O.S.)

How long will this take?

Nick puts the paper down on the coffee table. He is lost

in his thoughts. Gus picks the paper up.

NICK

(looks up)

I don't know.

Nick, facing the half open bedroom door, sees a mirror near

the wall of the bedroom. The mirror reflects her in the

other corner of the bedroom. She is taking her clothes

off. He stares. She strips down. He sees her back. She

has a beautiful body. Naked, she puts a dress on. She

doesn't put any underwear on.

NICK

(continuing)

Do you always keep old newspapers

around?

CATHERINE (O.S.)

Only when they make interesting

reading.

And she is suddenly out of the bedroom. She stands there,

smiles. They look at each other a long beat.

CATHERINE

(finally)

I'm ready.

They get up, head out.

GUS

You have the right to an attorney.

CATHERINE

Why would I need an attorney?

INT. THE CAR - DAY

They sit in the front; she is in the back. The car goes

over the winding, two-lane Mt. Tamalpais road.

19.

The fog is heavy. It's starting to rain. We see the beach

far below.

CATHERINE

Do you have a cigarette?

NICK

I don't smoke.

CATHERINE

Yes you do.

NICK

I quit.

She smiles, looks at him. A beat, and he turns away.

Another beat, and she lights a cigarette up.

NICK

(continuing)

I thought you were out of

cigarettes.

CATHERINE

I found some in my purse; would you

like one?

He turns back to her.

NICK

I told you -- I quit.

CATHERINE

It won't last.

A beat, as she looks at him, and then he turns away.

GUS

You workin' on another book?

CATHERINE

Yes I am.

GUS

It must really be somehtin' --

makin' stuff up all the time.

He watches her in the rearview mirror.

CATHERINE

It teaches you to lie.

GUS

How's that?

20.

CATHERINE

You make it up, but it has to be

believable. They call it

suspension of disbelief.

GUS

I like that. "Suspension of

Disbelief."

He smiles at her in the mirror.

NICK

What's your new book about?

CATHERINE

A detective. He falls for the

wrong woman.

He turns back to her.

NICK

What happens to him?

She looks right into his eye.

CATHERINE

She kills him.

A beat, as they look at each other, and then he turns away

from her. Gus watcher her in the rearview mirror.

INT. A POLICE INTERROGATION ROOM - DAY

It is large, fluorescent-lighted, antiseptic.

She walks in with Nick and Gus. In the room are prosecutor

John Corrigan, Lt. Walker, Captain Talcott, Harrigan, and

Andrews. There is a police stenographer: a plain young

woman in her 20's.

As soon as she comes in --

CORRIGAN

I'm John Corrigan. I'm an

assistant district attorney, Ms.

Tramell. Can we get you anything?

Would you like some coffee?

CATHERINE

No thank you.

TALCOTT

Are your attorneys --

NICK

(hiding a smile)

Ms. Tramell waived her right to an

attorney.

21.

Corrigan and Talcott glance at Nick. She sees the look.

CATHERINE

(smiles)

Did I miss something?

NICK

I told them you wouldn't want an

attorney present.

LT. WALKER

Why have you waived your right to

an attorney, Ms. Tramell?

CATHERINE

(to Nick)

Why did you think I wouldn't want

one?

NICK

I told them you wouldn't want to

hide.

CATHERINE

I have nothing to hide.

The two of them keep their eyes on each other.

She sits down. They sit around her. Nick sits directly

across from her. She lights up a cigarette. They watch

her. She is poised, cool, in complete command of herself.

CORRIGAN

There is no smoking in this

building, Ms. Tramell.

CATHERINE

What are you going to do? Charge

me with smoking?

Ever so casually, she blows her smoke across at Nick.

DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

CORRIGAN

Would you tell us the nature of

your relationship with Mr. Boz?

CATHERINE

I had sex with him for about a year

and a half. I liked having sex

with him.

22.

She has control of the room: she looks from one man to the

other as she speaks.

CATHERINE

(continuing)

He wasn't afraid of experimenting.

I like men like that. I like men

who give me pleasure. He gave me a

lot of pleasure.

A beat, as they watch her. She is so matter-of-fact.

CORRIGAN

Did you ever engage in sado-

masochistic activity with him?

CATHERINE

(smiles)

Exactly what do you have in mind,

Mr. Corrigan.

CORRIGAN

(after a beat,

little flustered)

Did you ever tie him up?

CATHERINE

No.

ANDREWS

You never tied him up.

CATHERINE

No. Johnny liked to use his hands

too much. I like hands and fingers.

They stare at her.

DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

LT. WALKER

You describe a white silk scarf in

your book.

CATHERINE

I've always had a fondness for

white silk scarves.

(she smiles)

I have a very vivid imagination.

NICK

But you said you liked men to use

their hands.

23.

CATHERINE

No. I said I liked Johnny to use

his hands.

(she smiles)

I don't give any rules, Nick. I go

with the flow.

They have their eyes on each other.

DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

CORRIGAN

Did you kill Mr. Boz, Ms. Tramell?

CATHERINE

I'd have to be pretty stupid to

write a book about a killing and

then kill him the way I described

in my book. I'd be announcing

myself as the killer. I'm not

stupid.

She smiles.

TALCOTT

We know you're not stupid, Ms.

Tramell.

LT. WALKER

Maybe that's what you're counting

on to get you off the hook.

NICK

Writing a book about it gives you

an alibi for not killing him.

CATHERINE

Yes it does, doesn't it?

She holds his eyes a second, then --

CATHERINE

(continuing)

The answer is no. I didn't kill

him.

DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

GUS

Do you use drugs, Ms. Tramell?

CATHERINE

sometimes.

24.

HARRIGAN

Did you ever do drugs with Mr. Boz?

CATHERINE

Sure.

GUS

What kind of drugs?

CATHERINE

Cocaine.

She looks directly at Nick.

CATHERINE

(continuing)

Have you ever fucked on cocaine?

(she smiles)

It's nice.

He watches her.

DISSOLVE TO:

INT. THE INTERROGATION ROOM - LATER

NICK

You like playing games, don't you?

CATHERINE

(smiles)

I've got a degree in psych. It

goes with the turf. Games are fun.

They are holding each other's eyes.

NICK

How about boxing? That's a game.

Was that fun for you?

They don't take their eyes off each other for a second.

TALCOTT

I think that's irrelevant to this

inquiry.

CATHERINE

(to Nick)

Yes it was. Bobby died.

NICK

How did you feel when he died?

CATHERINE

I loved him. I hurt.

Their eyes are still on each other.

25.

NICK

How did you feel when I told you

Johnny Boz had died -- that day at

the beach.

CATHERINE

I felt somebody had read my book

and was playing a game.

NICK

But you didn't hurt --

CATHERINE

No.

NICK

Because you didn't love him --

CATHERINE

That's right.

Their eyes are digging into each other.

NICK

Even though you were fucking him.

CATHERINE

(after a beat)

You still get the pleasure. Didn't

you ever fuck anybody else while

you were married, Nick?

A bet; he stares at her, expressionless.

LT. WALKER

How did you know he was married?

CATHERINE

(watching Nick)

Maybe I was guessing. What

difference does it make?

She lights a cigarette. He stares at her.

CATHERINE

(continuing)

Would you like a cigarette, Nick?

He just stares at her, expressionless.

CORRIGAN

Do you two know each other?

NICK

No.

CATHERINE

No.

26.

INT. THE INTERROGATION ROOM - LATER

ANDREWS

How did you meet Mr. Boz?

CATHERINE

I wanted to write a book about the

murder of a retired rock star. I

went down to his club and picked

him up. Then I had sex with him.

LT. WALKER

You didn't feel anything for him.

You just had sex with him for your

book.