BODY OF EVIDENCE

Brad Mirman

(second draft)

Over the BLACK we hear the SOUNDS of two people making love. A

MAN'S VOICE MOANS passionately.

FADE IN:

INT. BEDROOM - NIGHT

ANDREW MARSH lies on his back in bed. He is a frail-looking

man in his early sixties, with thinning gray hair. On top of

him is a much younger WOMAN. Although her back is to us, we

catch flashes of her face for a moment as she turns from side

to side. We see enough to know that this is a beautiful woman.

She moves wildly, grinding her hips into him, her head arched

back, her hands rubbing lightly over her breasts. She reaches

down, grabbing his hips and jerks them upwards, forcing him

deeper inside her. They move together -- faster -- and faster.

The CAMERA slowly begins to PULL BACK. As it does we see what

we are watching is on a TELEVISION.

Further back still. We see TWO UNIFORMED POLICE OFFICERS

standing before the television watching the act.

The CAMERA begins to pan around the room. Rain streaks down

the windows of the room -- LIGHTNING flashes outside. A VIDEO

CAMERA is set up on a tripod. More PLAIN CLOTHES POLICE,

looking, dusting, talking.

We continue to PAN. We can now see it is the same room on the

tape. ON the bed lies the naked body of ANDREW MARSH, a sheet

covering his lower torso. His face is ashen, mouth open, his

dull eyes looking out in a fixed stare. The last instant of

his life is etched upon a face frozen in pain.

EXT. RESIDENTIAL STREET - NIGHT

LIGHTNING fills the night sky. THUNDER BOOMS overhead. The

wind whips the RAIN furiously against anything in its path.

The CAMERA moves slowly along rows of beautiful HOMES. At the

end is a cul-de-sac. Several POLICE CARS are in the driveway,

their RED LIGHTS FLASHING.

A four-door SEDAN pulls into the driveway. JOHN CARDENAS steps

out into the rain. He is a handsome Latin in his thirties,

with hard, chiseled features and black, slicked-backed hair.

He does not run through the rain -- he walks.

DETECTIVE REESE, a man who looks more like an accountant than a

homicide detective runs out to meet him.

CARDENAS

Is it Marsh?

REESE

Yeah.

Just a hint of sadness shows on Cardenas' face. It lasts an

instant, then it's gone.

REESE

Sir, do you mind if we get out of the

rain?

Cardenas doesn't move. He ignores the question.

CARDENAS

Who found him?

REESE

His Secretary. Joanne Braslow.

CARDENAS

She was here?

REESE

No. She stopped by to pick up some

papers.

CARDENAS

Show me.

Reese starts for the house. Cardenas looks up into the night

sky. A FLASH of LIGHTNING fills the SCREEN.

INT. HOUSE, BEDROOM - CLOSE ON CAMERA - NIGHT

Pull back to reveal a POLICE PHOTOGRAPHER snapping pictures of

Marsh in bed.

Cardenas enters followed by Reese. He moves through the

FORENSIC and MEDICAL TEAMS. Anything Cardenas feels about the

gruesome sight before him is hidden behind a mask of

indifference.

Standing by the bed is ASSISTANT DISTRICT ATTORNEY, ROGER

TROXELL, a short, baby-faced man. Cardenas looks down at the

body, then over at the MEDICAL EXAMINER, DR. HENRY McCURDY, a

portly man with windblown cheeks and bloodshot eyes.

CARDENAS

How long?

MCCURDY

About three hours.

CARDENAS

Cause?

MCCURDY

Not sure. I'll have everything you

need tomorrow.

REESE

Take a look at this.

Reese points to the nightstand drawer and Troxell opens it. On

top of the nightstand is a box of tissues and a bottle of nasal

spray. Inside are ROPES, HANDCUFFS and an assortment of SEXUAL

AIDES.

TROXELL

This guy was into some kinky shit.

Cardenas looks at the various sexual devices, then walks out of

the room.

INT. HALLWAY - NIGHT

JOANNE BRASLOW sits on chair. Her eyes are tired -- red from

crying. She is mid thirties -- attractive, but her looks come

more from effort than nature -- expensive hair cut -- the right

cosmetics. She has a corporate look to her.

Cardenas steps into the hall and walks over to her.

CARDENAS

Miss Braslow -- I'm District Attorney

John Cardenas. You arrived at what

time tonight?

JOANNE

A little after eleven.

CARDENAS

Why did you come by?

JOANNE

I had some papers to pick up.

CARDENAS

Do you know who Mr. Marsh was with?

JOANNE

I assume his girlfriend.

CARDENAS

Her name?

JOANNE

Rebecca Lawson.

CARDENAS

You wouldn't know her address, would

you?

JOANNE

No -- but I can get it for you.

CARDENAS

Thank you.

INT. HALLWAY, CITY HALL BUILDING - DAY

Cardenas walks down the corridor with McCurdy.

MCCURDY

Marsh wasn't alone. We found traces

of sperm on the sheets. The

toxicology report says there were

high levels of cocaine in his blood.

CARDENAS

What'd he die of?

MCCURDY

The official cause of death was a

cardiac arrest.

CARDENAS

The official cause?

MCCURDY

That's what my report will read.

CARDENAS

But there's more?

They reach a door and stop.

MCCURDY

It's speculative at this point.

Marsh had advanced Arterial disease.

His heart attack was induced by

excessive aerobic activity -- in

conjunction with the drug.

McCurdy enters the room. Cardenas thinks for a moment, then

follows.

INT. CARDENAS' OFFICE - DAY

Spacious and sparsely furnished. The walls are empty. No

commendations, plaques or photographs to add prestige to the

office. Cardenas steps into the room and looks at McCurdy who

is already seated next to Reese and Troxell.

CARDENAS

(to McCurdy)

What are you saying, Henry? That his

girlfriend fucked him to death?

MCCURDY

Yes.

A trace of a grin shows on Cardenas' face. He walks over to

the window and stares outside. Reese, Troxell and McCurdy wait

as he thinks. A beat. Cardenas turns back to the room.

CARDENAS

What can we prove?

MCCURDY

We know Marsh had a head cold. We

found cocaine mixed with water in a

nasal spray container on the

nightstand. The coke would contract

the nasal membrane the same as any

decongestant, but for a much shorter

time. He'd keep using more and more

-- never knowing what he was taking.

CARDENAS

Any prints on the nasal spray?

REESE

Marsh's and Rebecca Lawson's.

TROXELL

What if he did know what was in it?

A lot of users put it in nasal spray

bottles so they can use it in public.

MCCURDY

Cocaine is the last thing a man in

his condition would want.

CARDENAS

Can we put Rebecca Lawson at the

scene?

REESE

A man across the street from Marsh

saw her drive up about four thirty

Sunday afternoon. And her prints are

all over the place.

Cardenas stands and walks to a DART BOARD on the wall. He

gathers the DARTS, moves back and tosses one.

TROXELL

Marsh's Cardiologist told me that

after Marsh was diagnosed with heart

disease he quit smoking, quit

drinking and started exercising every

day. Does that sound like a guy

who'd start shoveling cocaine up his

nose?

CARDENAS

What did he say about Miss Lawson?

TROXELL

He can remember at least one occasion

-- and the receptionist can recall

two times when she accompanied Marsh

to the office.

Cardenas throws another dart at the board.

CARDENAS

So she knew about his heart?

TROXELL

Had to. I also interviewed three

women who were in past relationships

with Marsh. There's no evidence that

he had anything but straight sex

prior to meeting Miss Lawson.

CARDENAS

What about the will?

TROXELL

That's the best part. She gets it

all -- everything.

EXT. CEMETERY - MORNING

Gray clouds hang over head. A light drizzle falls. A GROUP of

MOURNERS hold umbrellas as they stand around the grave.

In the b.g. the PRESS is visible, held back my private SECURITY

GUARDS.

A WOMAN dressed in BLACK stands in the front of the MOUNERS,

her face hidden behind a hat and veil. RAYMOND SATTLER, a

tall, distinguished-looking man in his sixties stands beside

her. He supports his weight with the aid of a CANE. The

service concludes. Sattler along with several other PEOPLE

offer her their condolences. Joanne Braslow is there. She

does not go over to Rebecca.

CARDENAS AND REESE stand off to the side by a large oak tree.

Cardenas watches and waits. He steps forward as Sattler leads

the woman by.

CARDENAS

Miss Lawson?

The Woman stops. Her back is to Cardenas.

CARDENAS

I'm District Attorney, John Cardenas.

REBECCA LAWSON removes her hat and veil and slowly turns

around. She is in her late twenties. A deep pain fills her

face -- controlled, but evident. Her eyes are tired -- heavy

from crying -- but no tears show now. This is a woman whose

grief is private and not displayed for others. Although

emotionally drained she is still stunningly beautiful. So

beautiful that even Cardenas' usually cool demeanor cannot hide

how impressed he is.

SATTLER

I don't think that this is the time,

or the place.

CARDENAS

I just wanted to introduce myself and

inform Miss Lawson that there will be

an inquiry.

SATTLER

An inquiry into what?

CARDENAS

For starters I'd like to know why she

left the house and didn't report the

death?

SATTLER

Because he wasn't dead when she left,

and even if he was, not reporting a

natural death in a timely fashion

isn't a crime.

CARDENAS

Did I say it was a natural death?

Cardenas and Rebecca lock eyes. Rebecca stares at him

genuinely shocked by his accusation. Cardenas nods and walks

away. In the b.g. we see Joanne staring at Rebecca with

hostility.

INT. HOUSE, LIVING ROOM - NIGHT

Large and homey. A fire roars in the fireplace. FRANK DULANEY

sits on his couch as he goes over some PAPERWORK. He is mid-

thirties, powerful, self-assured.

SHARON DULANEY enters. She is an attractive woman in her early

thirties. She kisses him on the cheek then pushes his

PAPERWORK aside and sits down on his lap.

SHARON

You're on vacation, remember? You're

supposed to be relaxing.

DULANEY

I am relaxing.

SHARON

(pushing the papers

aside)

This is not relaxing.

DULANEY

(playfully)

Really?

SHARON

Really.

DULANEY

(playing along)

And I suppose you're going to show me

how to relax?

SHARON

If you want me to.

DULANEY

I'm always open to learning new

things.

She kisses him -- soft, gentle kisses. Dulaney puts his arms

around her and kisses her harder.

DULANEY

I'm beginning to see what you mean.

Why don't we go upstairs and work on

the advanced course?

SHARON

I can't. I've got to finish a

counter offer on the Bergman

property.

The moment is passing by. A trace of frustration shows on

Dulaney's face -- this is obviously not a new occurrence.

DULANEY

Can't it wait?

SHARON

No -- it has to be done by tomorrow.

The moment is gone. Dulaney forces an understanding smile. He

looks towards the door and sees his EIGHT YEAR OLD SON,

MICHAEL.

DULANEY

Hey, Slugger. Ready for bed?

Michael walks over to this parents.

MICHAEL

Uh huh.

The PHONE RINGS. Dulaney answers it.

DULANEY

(into phone)

Hello?... Hi Raymond.... What?...

Well, I was sort of planning on...

Alright... Okay, goodbye.

(hangs up; to Sharon)

That was Sattler. He thinks the

D.A.'s going to file on Rebecca

Lawson. He wants me in the office

tomorrow morning.

SHARON

We're supposed to go to the lake.

DULANEY

I know. What can I do? He is the

boss.

SHARON

He could let you have your vacation.

MICHAEL

Dad -- is it true what they're saying

about that Miss Lawson Lady?

DULANEY

What are they saying?

MICHAEL

The kids at school say she humped Mr.

Marsh to death.

DULANEY

Hey, you know better than that. What

did I teach you to say when someone

is accused of doing something?

MICHAEL

She allegedly humped him to death?

Dulaney grins. Sharon is fighting the temptation to laugh.

SHARON

I swear -- the both of you.

(to Dulaney)

Some example you set.

DULANEY

(imitating her)

Some example you set.

He makes a funny face at Michael who LAUGHS and makes one back.

Dulaney grabs him and starts TICKLING him. Michael SCREAMS

with LAUGHTER as he tries to tickle him back. Dulaney then

starts TICKLING SHARON -- Michael helps him. Sharon ROARS with

LAUGHTER and falls to the floor. The three of them roll around

LAUGHING hysterically.

INT. SATTLER'S OFFICE - MORNING

Sattler sits on a couch sipping a cup of coffee. Dulaney sits

across from him.

DULANEY

Andrew Marsh was a very wealthy man.

A trial like this is going to put

Cardenas in the spot-light.

SATTLER

We've already got press arriving from

over the country and she hasn't even

been charged yet.

Cardenas wants to see her in his

office tomorrow at ten. I'd like you

to go with her.

DULANEY

I'm supposed to be on vacation.

SATTLER

I know -- but she wants you to

represent her if Cardenas files.

DULANEY

Why?

SATTLER

Because I told her you were the best

criminal attorney we have.

DULANEY

Raymond, I'm the only criminal

attorney you have.

SATTLER

(jokingly)

Well, I guess that makes you the

best.

(candidly)

Look, Frank -- she stands to inherit

three million dollars. As executors

of the estate and her attorneys that

could generate a lot of legal fees

for us. All I'm asking you to do is

talk to her.

Dulaney thinks about it for a moment.

DULANEY

Alright, I'll talk to her

SATTLER

She's waiting in the conference room.

Dulaney stands and walks towards the door.

SATTLER

(continuing)

You know, I knew Andrew Marsh for

almost twenty years -- or thought I

did. What do you think would make a

man in his condition do the things he

did?

Dulaney stops at the door and looks back.

DULANEY

I think the question is: What is it

about her that made him want to do

it?

INT. CONFERENCE ROOM - DAY

Rebecca is seated at the end of the conference table smoking a

CIGARETTE. Sunlight flows through a window and highlights her

hair. She is dressed in a fashionable business suit that

clings to every curve of her body.

Dulaney enters the room. When he sees her he can't help but

stare. Rebecca notes his gaze.

DULANEY

Miss Lawson, I'm Frank Dulaney.

She raises the cigarette to her lips. Dulaney notices despite

her outward composure her hand is shaking.

REBECCA

(nervously)

Are you going to represent me?

DULANEY

There are no charges against you. I'm

here to decide if I'm going to

represent you should that occur.

(beat)

Did you kill him?

Rebecca appears hurt by the question.

REBECCA

You don't waste any time, do you?

Dulaney doesn't answer. He studies her -- his eyes probing

hers.

REBECCA

(continuing)

Do you think I did it?

DULANEY

I don't know. That's why I'm asking

you.

REBECCA

You must have some feeling. Some

immediate impression. A young,

attractive woman, involved with an

older man who leaves her everything

in his will. And the things that

went on in that house. Such wild

sex. What kind of picture does that

paint?

DULANEY

Not a very good one I'm afraid.

REBECCA

And that's exactly what the jury will

see when they look at me. That's why

I need a very good lawyer, Mr.

Dulaney.

DULANEY

You're assuming the District Attorney

is going to file charges.

Rebecca's anxiety begins to surface. She feigns a weak smile.

REBECCA

He'll file. He's an ambitious man.

Ambitious men build their careers on

the bodies of others.

DULANEY

You still haven't answered my

question.

She takes a long drag of her cigarette before answering. She

looks at Dulaney. Displaying emotions is not something that

comes easily. Tears well up in her eyes.

REBECCA

(emotionally)

I loved him. A big part of my life

has been torn away from me, Mr.

Dulaney. A part I can never get back

-- and on top of that people are

saying that I am somehow responsible

for it. They've taken everything

that is good and caring about two

people in love and made it dirty.

A single tear streams down her check. She knows what he wants

to hear her say -- and she resents having to say it.

REBECCA

No -- I didn't kill him.

INT. HALLWAY, D.A.'S OFFICE - DAY

Cardenas walks down the hall, sipping a cup of coffee. Troxell

walks towards him excitedly. They walk together.

TROXELL

I think I'm going to make your day.

CARDENAS

How?

Troxell points to an Office. Through the glass partition we

can see a MAN sitting at a table. ALAN PALEY is a well-groomed

man in his thirties who makes every effort to look good.

TROXELL

I've got this guy in my office.

Doctor Alan Paley. Wait until you

hear what he has to say.

Cardenas and Troxell enters the room. Cardenas shakes hands

with Paley and listens with great interest as he starts to

talk.

INT. DULANEY'S BEDROOM - NIGHT

Dulaney and Sharon are in bed. Dulaney reads some PAPERS.

Sharon finishes reading her MAGAZINE. She puts it on the

nightstand and looks at Dulaney.

SHARON

How can Cardenas possibly think he

can build a case against two

consenting adults?

DULANEY

He must have something or he wouldn't

be pressing so hard.

SHARON

If he files are you going to take the

case?

DULANEY

I don't know yet. I want to hear

what she says at her statement

tomorrow.

SHARON

What's she like?

DULANEY

Attractive. Bright. Distant.

Charming when she wants to be.

Dulaney's description seems to bother her.

SHARON

She sounds like quite a woman.

DULANEY

(joking)

Yeah -- but can she cook?

Sharon hits him on the arm playfully.

SHARON

The whole thing gives me the creeps.

I mean -- what if she really humped

him to death?

Dulaney grins at her choice of words.

DULANEY

Humped

SHARON

(grinning)

Yes.

DULANEY

I can think of worse ways to go--

Dulaney rolls over, gathering her up in his arms.

DULANEY

(continuing)

--and speaking of humping.

He reaches over to the nightstand and turns off the LIGHTS.

EXT. CITY HALL BUILDING MORNING

As Dulaney and Rebecca walks up the steps they are engulfed by

a CROWD of REPORTERS. Dulaney puts his arm around Rebecca and

ushers her through the crowd.

INT. CARDENAS' OFFICE - MORNING

Dulaney and Rebecca sit on one side of a table. Reese stands.

Cardenas sits at his desk.

REBECCA

I didn't know that Andrew was dead

until Mr. Sattler called me at home

that night.

REESE

We have a witness who saw you go into

the house at four thirty.

DULANEY

She's not denying she was there.

REESE

Did you have sex?

REBECCA

Yes.

REESE

What time did you leave?

REBECCA

Six thirty -- and he was very much

alive.

CARDENAS

Miss Lawson, do you use cocaine?

REBECCA

I have.

CARDENAS

Did you use it the night Marsh died?

REBECCA

No. I haven't done it in years.

REESE

Did Marsh use it?

REBECCA

No -- never.

REESE

It had to get there somehow.

REBECCA

It didn't get there from me.

CARDENAS

Were you aware of Mr. Marsh's heart

condition?

REBECCA

No.

CARDENAS

Mr. Marsh's Cardiologist and his

nurse have told us that you

accompanied Mr. Marsh to their office

on at least two occasions.

REBECCA

That's correct -- but Andrew never

told me he had a heart condition. He

said he had a heart arrhythmia and it

was nothing serious.

REESE

He never mentioned his heart disease?

DULANEY

She just said that.

REESE

Why do you think he lied to you?

DULANEY

That's something only Marsh would

know.

REESE

I think Miss Lawson knew it too. I

think she slipped him the coke and he

popped his cork giving her the high-

hard-one.

Dulaney's anger shows. He stands.

DULANEY

That's it. My client doesn't have to

take this crap from you.

CARDENAS

Sit down, Frank.

DULANEY

No. Miss Lawson came in here

voluntarily to answer your questions.

She doesn't have to sit here and be

insulted. So, either you charge her

now or we're leaving.

A beat. Dulaney and Cardenas lock eyes. Cardenas shrugs his

shoulders.

CARDENAS

Fine.

Dulaney motions for Rebecca to get up. She stands and they

walk to the door. Reese looks at Cardenas. Cardenas nods.

REESE

Rebecca Lawson, you're under arrest

for the murder of Andrew Marsh.

Rebecca is stunned -- frightened. She looks at Dulaney in

disbelief. Dulaney looks at Cardenas angrily. Reese removes

his handcuffs as he moves towards Rebecca.

REESE

You have the right to remain silent.

If you give up--

CARDENAS

(to Reese)

I don't think the handcuffs will be

necessary. You can finish giving

Miss Lawson her rights outside.

Reese grabs Rebecca by the arm and leads her to the door. She

looks back at Frank, her face filled with fear -- her eyes

welling with tears.

REBECCA

(frightened)

Frank!

DULANEY

I'll have you out in a few hours.

Reese ushers her through the door. A beat. Dulaney and

Cardenas are left alone. Cardenas starts fishing through a can

of NUTS, carefully extracting the cashews. Dulaney continues

to stand.

DULANEY

Lookin' to make the papers, John?

CARDENAS

Marsh left her close to three million

dollars in his will. That's motive.

She admits to being there the night

of his death. That's opportunity --

and her fingerprints are on the nasal

spray bottle.

DULANEY

(continuing)

You can't show intent.

Cardenas looks at Dulaney wryly. He knows that Dulaney is

trying to discover his game plan. Cardenas looks into his can

of nuts and fishes for another cashew.

DULANEY

(continuing)

Can you?

CARDENAS

Take your pole out of the water,

Frank. The fish ain't biting today.

DULANEY

You're bluffing. John, it's me,

remember? I've known you since your

name was Juan Carlos.

Cardenas doesn't appreciate Dulaney mentioning his real name.

DULANEY

(continuing)

C'mon -- think about it. If she was

going to kill Marsh why leave the

nasal spray bottle there for the

police to find?

CARDENAS

She planned this. She wanted us to

find the nasal spray.

DULANEY

Why would she want that?

CARDENAS

Because she's clever. Because she

knows that even if we didn't find it

we'd have suspicions as to why a man

in Marsh's condition would use

cocaine.

DULANEY

Suspicions maybe -- but suspicions

aren't enough for a conviction.

CARDENAS

The M.E.'s report stated that Marsh's

nasal membranes showed no sign of

prior cocaine use. Without the nasal

spray we would have still treated it

as a poisoning. We would have looked

for motive and the trail would have

still led back to her.

DULANEY

I don't buy it and neither will a

jury.

CARDENAS

We're going all the way on this one,

Frank. Tell your client she has

until the prelim to cop a plea for

murder two -- fifteen to twenty five.

DULANEY

I'll tell her but she won't take it.

CARDENAS

Then she's not as smart as I thought

she was. You've seen her in the

depositions. Tell me you don't have

any doubts?

DULANEY

She's innocent.

CARDENAS

Aren't they all?

DULANEY

Yeah. Well -- we'll let the

blindfolded lady with the scales

decide that.

Dulaney gets up slowly and leaves.

INT. CITY JAIL, BOOKING COUNTER - AFTERNOON

Dulaney waits at the counter. A barred door slides open and

Rebecca is led out by a WOMAN JAILER. Even in these

surroundings she maintains her composure. She walks to the

counter and waits silently.

EXT. CITY HALL BUILDING - AFTERNOON

As Dulaney and Rebecca leave they are once again encircled by

REPORTERS, screaming questions, asking them to verify Rebecca's

arrest. Dulaney plows through the crowd with Rebecca in tow.

EXT. RIVER - AFTERNOON

Gray clouds hang overhead, threatening rain. Tall birch trees

line the river, the color of their leaves hinting that autumn

is approaching. Dulaney and Rebecca walk along a jogging path

cut along the bank.

DULANEY

I want you to know right now that the

trial's going to be nasty. Your sex

life is going to be dragged through

the mud. They're going to say that

you enticed Marsh -- led him down a

dark path.

REBECCA

Andrew hardly needed leading. He was

a very passionate man. He was eager

to explore. I gave him what he

wanted. We fulfilled each others

needs.

DULANEY

This is a very small town -- people

here have very straight views on sex.

REBECCA

I'm used to being on the outside

looking in. The same men who will

publicly profess their moral outrage

for my sexual tastes are the same

ones who privately rest their sweaty

little hands on my legs and talk

about weekend trips together.

DULANEY

Those same men will be sitting on the

jury.

REBECCA

I am who I am. I can't deny it,

anymore than you can deny who you

are. I like sex different -- I like

it wild. That's not a crime.

(emotional)

I loved Andrew. We made love

together. We made it differently,

but we still made love. It was our

way. It was private -- and now the

whole world wants to look in through

the pretense of justice. If I was

some middle-aged divorcee who screwed

him once a week do you think this

would be happening to me?

She stops walking and stares out over the River.

REBECCA

Have you ever seen animals make love,

Mr. Dulaney? They have such passion

-- such savage emotion. They

struggle, and snarl, and claw, but

neither hurts the other. Not really.

DULANEY

No pain, no gain?

REBECCA

Something like that.

DULANEY

We're not animals.

As Rebecca speaks, Dulaney seems captivated.

REBECCA

Of course we are. Our primal urges

are still there -- but we've taken

sex and intellectualized it, refined

it down to its most essential

components. It's bland, easy,

mechanical. There's great passion in

the struggle -- such craving in

denial. Do you know what it's like

to yearn for something? I'm not

talking about wanting, or needing.

I'm talking about an urge so deep

that your skin burns and every cell

in your body pulses with desire?

Dulaney appears moved by the passion of her words -- but he's

uncomfortable by it and quickly pushes it aside.

DULANEY

(awkwardly)

I think we're getting a little off

the subject here.

REBECCA

I thought the subject was sex?

DULANEY

As it pertains to you -- not me.

(beat)

Did you always know you had

different... tastes?

REBECCA

Yes.

DULANEY

How?

REBECCA

I don't know if it's something I can

explain to you.

DULANEY

Why not?

REBECCA

Because -- it's beyond intellect.

It's emotion. It's passion. It has

to be experienced -- it can't be

imagined.

DULANEY

Try.

Rebecca thinks for a moment.

REBECCA

When I was growing up we had a

strawberry patch in our backyard. So

did this family down the road. I

used to sneak in their yard and steal

their strawberries. It wasn't easy.

The stone walls were high and I'd

scrape my knees as I climbed over.

On the other side were wild rose

bushes. The thorns would dig into my

legs and cut my thighs as I lowered

myself down.

DULANEY

If you had what you wanted at home

why did you sneak into their yard?

REBECCA

Because -- somehow the fruit always

tasted that much sweeter because of

the pain it took to get to it.

Dulaney appears lost in her words. This isn't lost on Rebecca.

She walks off. Dulaney stares after her intrigued.

INT. DULANEY'S HOUSE, DINING ROOM - EVENING

A light rain falls outside. Dulaney picks at his food. He

stares out the window. He seems oblivious to the conversation

between Sharon and Michael.

MICHAEL

Albert's got the stomach flu.

SHARON

That's too bad.

MICHAEL

No, it's not. Now I get to pitch.

SHARON

Michael, you shouldn't be happy when

someone else isn't feeling well.

MICHAEL

Not even if they're a dork?

SHARON

Not even if they're a dork. You

should go by and see how he's

feeling.

MICHAEL

No way. Jerry Milner stopped by and

Albert puked right in front of him.

Sharon tries to suppress a grin.

SHARON

Don't use language like that at the

dinner table.

MICHAEL

Sorry.

Sharon looks at Dulaney. He is still staring out the window,

deep in thought.

INT. DEN - EVENING

Dulaney is at his desk, looking at PHOTOGRAPHS of Marsh and the

bedroom. Sharon enters.

SHARON

Frank -- I know you're busy, but

Michael asked me after dinner if you

were angry with him. He wanted to

know why you weren't talking to him.

DULANEY

I'll talk to him later.

SHARON

Why don't you talk to him now?

DULANEY

Because I go to trial in seven weeks.

I've got a lot of preparing to do.

SHARON

(angry)

No one's asking you not to work. I

just think you could make some time

for your son.

INT. MICHAEL'S BEDROOM - EVENING

Michael lies on his bed, doing his homework. The door opens

and Dulaney enters and sits beside him.

DULANEY

I'm sorry if it looks like I'm not

paying attention to you lately.

Michael looks at Dulaney somewhat confused. Dulaney tries to

explain it another way.

DULANEY

(continuing)

You know how it is sometimes when

you're out playing ball with your

friends? How you're really

concentrating on what you're doing --

and you lose track of time and you

come home late and Mom yells at you?

MICHAEL

Yeah.

DULANEY

Well, that's kind of how I am right

now.

MICHAEL

Is Mom yelling at you too?

Dulaney grins.

DULANEY

Yeah -- a little.

Dulaney leans over and hugs Michael.

DULANEY

I love you.

MICHAEL

I love you too, Dad.

INT. DULANEY'S OFFICE - MORNING

CHARLIE BIGGS is a tall, wiry black man. Street-wise, but

basically good humored. He is tossing a NERF BALL through a

basketball hoop mounted on the wall as Dulaney enters.

BIGGS

How you doin' Mister D?

DULANEY

Fine, Charlie. You familiar with the

Marsh case?

BIGGS

Yeah -- I hear they had 'em a real

dog and pony show going on up there -

- I'll tell you, sometimes white

people are a real puzzle to me. I

mean, did this old guy really think

he was gonna be able to keep up with

a sweet little number like that?

DULANEY

It could've happened to anyone.

BIGGS

(ghetto accent)

I'm sorry, man -- but I ain't ever

heard of no brother dying from

gettin' too much pussy.

Dulaney grins in spite of himself.

DULANEY

We have to find out who else would

profit from Marsh's death -- and who

knew enough about his personal life

to know that putting cocaine in the

nasal spray would be fatal.

BIGGS

So -- where do we start?

DULANEY

I want you to hit all the dealers in

town. Give them a list of people

close to Marsh and see if any of them

use. Then I want you to check out a

Doctor Alan Paley. He lives up in

Roseburg.

Dulaney's SECRETARY'S VOICE crackles over the intercom.

SECRETARY (VO)

Mister Dulaney, I have Rebecca Lawson

on one.

Dulaney picks up the phone.

DULANEY

(on the phone)

Hi... No, I don't... One o'clock is

fine... Alright La Brasa... Bye.

Dulaney hangs up. Biggs is staring at him with a grin.

BIGGS

La Brasa?

DULANEY

(defensive)

I'm taking a client to lunch. Where

should I go, Taco Bell?

Biggs tosses the ball to Dulaney, then raises his hands

indicating he is backing off. He leaves. Dulaney shoots from

his desk. SWOOSH!

INT. RESTAURANT - DAY

Dimly lit. Dark wood and leather. Dulaney sits at a table

with Rebecca. She removes a CIGARETTE and holds it, waiting

for Dulaney to light it. Dulaney fumbles through his pockets

and removes a book of MATCHES. He lights one. Rebecca doesn't

lean forward to meet him. He must go to her. She looks into

his eyes as she cups her hand over his. A beat. She lights

the cigarette and takes a drag, then arches her neck back and

blows a stream of smoke towards the ceiling. SHE DOES NOT BLOW

OUT THE MATCH OR REMOVE HER HAND FROM DULANEY'S. She watches

him as it burns down towards his fingers. After a long moment

she leans in and sensually blows out the match and releases his

hand.

DULANEY

How'd you meet Marsh?

REBECCA

I was at a cocktail party. Very

trendy. Andrew was in Chicago on

business. He had broken his wrist

the week before and was wearing it in

a sling. He looked so helpless.

A FOURSOME a few tables away are staring at her. Rebecca sees

them.

DULANEY

-- And then?

REBECCA

We started talking. In fact, we

talked until four in the morning. We

discovered we shared a lot of the

same interests. After that we were

together all the time until he left.

He used to call me every night after

he came back. Then after a few weeks

he invited me to come visit him.

I've never left.

DULANEY

Why didn't you live together?

REBECCA

Andrew was worried about how it would

look.

A COUPLE in a booth are looking at Rebecca and whispering.

Rebecca and Dulaney notice them.

REBECCA

Can we get out of here?

DULANEY

Sure. Where to?

Rebecca stands up. She doesn't answer. She just walks off.

EXT. REBECCA'S HOUSE - AFTERNOON

Dulaney pulls up in his car behind Rebecca's. They get out.

Dulaney follows her as she walks to the door.

DULANEY

This is your house.

REBECCA

(walking towards the

door)

I know.

Dulaney stops.

DULANEY

I don't think this is a good idea.

Rebecca stops and turns towards him.

REBECCA

Why not?

DULANEY

Because, I'm your attorney. I

shouldn't be going to your house.

REBECCA

Is it against the law?

DULANEY

No -- it just doesn't look right.

Rebecca stares at him for a moment, then looks down the street

to her left and back to her right, then back at Dulaney.

REBECCA

No one's looking.

She walks to her front door and opens it. She enters, leaving

the door open. Dulaney waits for a moment, then follows.

INT. REBECCA'S, LIVING ROOM - AFTERNOON

Dulaney enters. Rebecca is standing in the middle of the room.

Her back is to Dulaney, but she knows he is there. Dulaney

looks around the room. He stares at a group of PHOTOGRAPHS on

the wall. On the other WALL is a GIANT TELEVISION SCREEN.

DULANEY'S POV - OF THE WALL

filled with EROTIC PAINTINGS AND PHOTOGRAPHS -- sensual but not

vulgar.

Rebecca walks over and stands very close to him as he studies

the artwork.

REBECCA

What do you think?

DULANEY

I think the photographer's probably a

voyeur.

REBECCA

I'm the photographer.

DULANEY

Oh -- Well, they're different.

REBECCA

That's not an answer.

DULANEY

It's not my taste.

REBECCA

(seductively)

Tastes can change.

Rebecca looks up to the top of a high cabinet. Sitting on top

of the cabinet is a WHITE PERSIAN CAT.

REBECCA

There you are.

She stands on her tip toes as she reaches up. Dulaney watches

her -- the arch of her back -- the hem of her skirt rising up

her legs. She lowers the cat down and walks to a chair and

sits down. The slit of her dress opens revealing her thighs.

Dulaney's eyes trace along them. Rebecca notes his gaze.

REBECCA

What are you thinking?

Dulaney looks up quickly.

DULANEY

Nothing.

REBECCA

Not true. Shall I tell you what you

were thinking? You were wondering if

I was wearing anything under my

skirt.

The fact that he doesn't protest confirms that she is right.

She runs her finger lightly along her thighs.

REBECCA

I am.

Dulaney walks to the window and stares out. Rebecca seems

amused. She puts the cat down and walks over to him.

REBECCA

Sorry. I wasn't trying to embarrass

you.

He slowly turns towards her.

DULANEY

Yes you were.

Dulaney stares at her for a moment, then places his briefcase

on the table and opens it.

INT. RESTAURANT - CLOSE ON STRAWBERRIES - NIGHT

A fork digs into a large strawberry. PULL BACK as we follow

the strawberry into Sharon's mouth.

Dulaney sits across from Sharon. His eyes are on the

strawberries. His mind is someplace else -- and it isn't hard

to guess where.

SHARON

--he said it might be too expensive

to add another room. He suggested we

might convert the garage into a guest

room. He's going to check with the

contractor and let me know. I'll let

you know how much and we can decide.

Alright?

Dulaney looks up slowly. It is not so much that he has heard

the question -- it is more that he is aware that Sharon has

stopped talking. A beat. Sharon isn't sure he has heard her.

SHARON

Is that alright, Frank?

DULANEY

Yeah -- fine. Excuse me. I'll be

right back.

He stands and leaves the table.

INT. RESTAURANT, HALLWAY - NIGHT

Dulaney walks to a PAY PHONE near the bathrooms. He thinks for

a moment, then dials a number. Rebecca answers.

REBECCA (VO)

Hello?

DULANEY

Hi. It's Frank.

REBECCA (VO)

Hi, Frank.

DULANEY

(awkwardly)

I just wanted to see if my secretary

called to confirm your appointment

tomorrow.

REBECCA (VO)

Yes -- she did.

DULANEY

Great. I'll see you at the office at

nine.

REBECCA (VO)

No -- not at the office. I've got a

better idea.

EXT. CABIN, KLAMATH LAKE - AFTERNOON

An old wood cabin set on the shore of the lake. Dulaney and

Rebecca get out of the car and walk towards it.

REBECCA

I figured if we have to talk all day

we might as well do it someplace

nice.

(looks at the cabin)

Isn't it beautiful?

DULANEY

Yeah.

REBECCA

(sadly)

Andrew loved this old cabin.

(fondly remembering)

He always dreamed about moving to

Tahiti -- living in a hut and

becoming a beach-bum.

(a sad smile)

I could never imagine myself doing

that -- but somehow when he talked

about it, he made it sound so alive -