Law & Order

Law & Order

•• EXEC. PRODUCER: CO-EXEC. PRODUCER: SUPVR. PRODUCER: SUPVR. PRODUCER: PRODUCER: PRODUCER: CO-PRODUCER: PROD. '66208 April 3, 1990 DICK WOLF JOS...

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••

EXEC. PRODUCER: CO-EXEC. PRODUCER: SUPVR. PRODUCER: SUPVR. PRODUCER:

PRODUCER: PRODUCER: CO-PRODUCER:

PROD. '66208 April 3, 1990

DICK WOLF

JOSEPH STERN MICHAEL DUGGAN OA1/10 BLACK

ROBERT PALM DAN SAC1Q!EIM JUDY STEVENS

"PRISONER

Of

LPYJ"

Story by David Black , Robert stuart Nathan Teleplay by Robert stuart Nathan

THI STU

FOR



DIS, PRO:

TRI,

From

THE GERSH AGENCY INC. Talent Agency 232 North Canon Drive. Beverly Hilts. California 90210

CITY :OtELY ON OR INS

IS

)N

OF

(F.R. )

LAW AND OROER PRISONER OF. LOVE

TWg.

FADE IN 1

EXT. NARROW SOHO STREET - 3 A.M.

1

Not a soul in sight. A line ot red traffie lights receding into nowhere is the only bright color against the gray. Art gallery banners hang from titth-tloor poles. An exaggerated lOUd whooshing -- just .s a street-sweepinq truck pas.es. CUT

2

TO

INT. PATROL CAR - NIGHT

2

Pooly, the driver, is inhaling a sandwich -- a hand on the tuna, the other on the vheel. Ubillez, riding shotgun, slUrps cotte.. Under them we faintly HEAR the police radio.

(X)

UBILLEZ get home at midnight, she vants to jump my bon•• , I vanna aleep. She says I don't pay.enouqh attention, I don't love ber. I



POOLY Give her a kiss, tell her she's the best thing in your life -- and ahe'll shut up.

( X)

OBILLEZ

I tried, she aaidthat ain't love. I ••an for chri••ake what is?

The car rounds a corner and three bursts ot light explode trom behind a .econd-floor lott winclow. Could be a camera flash or a atrobe. At qrouncl lavel ia a parking lot tour cara vide, h..-ed in by buildinqa. Next to the lot, taeing the .'treat, a .t_l door SLAMS OPEN WITH A CRONCH against a brick vall. Two figure. -- ..1•• , we asme -- bolt tram the door. In the dark ve can j u.t make em out. They're clad 1ft ~lack leather h.ad-to-toa: short jackets, pan~., boot8. (X)

POOLY (V .0.)

No ••rchandi•••••

.'. 0:, ....•..,.

One ot the fl.eing figure. looks toward the blu.-and-white, points an ana in th. other clirection. Both turn, . ~ into the parking lot, and .que.ae betw••n cars toward. the baek. CUT TO

:

'~

Rev. 4/11/90

2

#66208

eX)

3

OMI'rl'E0

3

4

EXT. SOHe STREET - 3 A.M.

4

,



The blue-and-white jumps the curb with a thud into the lot. Pooly and Ubillez leap out. Go!

UBILLEZ It lets out on Sprinq.

The camera follows Pooly. He jumps onto a car, leaping hood-to-hood toward the rear of the lot. CUT

5

EXT.

TO

PARKING LOT - NIGHT

5

Pooly leaps down from a car, weapon in hand. The back of the lot is a brick wall. At the edge is a long, wiele passage between two buildings. Pooly ~eers down it. Nobody there. Sheer walls on either s1ele. No hiding places. To his right is a rickety wooden doorwaf in the brick wall. Pooly lifts his leg jUdo-style and k1Cks through the door. 6



thru

6

thru

OMITTED

7

8

7

EXT.

VACANT LOT .. NIGHT

8

The door opens onto a vacant lot. Piled high with rubble and glowing under the sodium lights of the main street ahead. The building has b.en torn down. only one wall is lett. Oft Pooly's look ot frustration -COT TO

9

EXT. SORO STREET -

NIGHT

9

At the door that crashed open. Obillez holds a lit tlaahliClht. He cautiously approach•• , looks in, qoe. in. 10

INT. LOFT BUILDING - HIGHT - CONTINUOUS

10

Ubillez co••s into a dark hallway. ae fac•• a wall of steel fencinq with a heaVY-dutr .ecurity qate. Hi. beam shows the qat. open a crack. He q ve. it a .hove. It swings back with a horror-house creak. Ubillez qoes through, bOdr· close to the wall, and rounds a eomer • There'. a narrow f iqht ot stairs. Ubillez, sidling to the wall, starts up •



,

..

"",

166208

11

Rev. 4/11/90 ..

3

INT. LOFT BUILDING STAIRWELL - NIGHT - CONTINUOUS On tha second floor Ubillez com.. off tha stap., •••s an open door. No li;ht from insid8.He mova. to the door. hears som8thinq behind him, turns, pointing his weapon. It's Pooly. Ubillez turns back and move. his flashliqht across the scene. The beam pans across a huqe Graphlex camera on ilL table. An old porcelain tub. Then: a human face. Ubillez rears back and reaches for his qun, then stops. Damn!

11 He

(X)

UBILLEZ

The flashliqht is on the face. Which isn't hUlDan, but is incredibly lifelike. A leather collar's around the fiqure's neck. The liqht moves across several startlinqly lifelike statues of people, like those done by George Seqal. The statues: a man without a shirt, a leather band around his chest. A woman in a leather outfit holding a Whip. A man with chains wrapped around his body. Behind the fiqures are enormous stark photographs of the sam. works, blown up to twice life-size. (low) Holy God •..

POOLY

(X)

UBILLEZ Who'd want to staal this stuff?



-';-.<-' ..

POOLY Who'd want to make it?

(X)

The flashliqht beam pans a man'. face. A noose around the neck. But this face is real. And the man is obviously dead. UBILLEZ (waving flashliqht) Pooly ••• this one. It's real.

( X)

CD'1' TO

12

thru

12

thru

OMI'rrBD

17 18

••

17

18

INT. LOFT - NIGHT

crime scene circus. Photographers, print dusters, quys tweezing the carpet. Greevay, unlit ciqar in his mouth, is next to a statue of a beautiful wOIIan. Re backs away from the body bag as the half-naked victim qet. zipped in. Gr.evey shak•• his head, tak•• the ciqar out of his mouth and looks at it, puts it in his pocket. Loqanapproaches . CONTINO'ED

#66208

4

Rev. 4/1S.,i90

(X) 18

CONTINUED

18

LOGAN

siqn of forced entry. And they left the camera and the stereo.

No

I.D.?

GREEVEY LOGAN

Lease says Victor Hore. Three qrand a month. Premises rented for work only. GREEVEY

(makinq a note on his pad) Some work. If this was my stuff, I wouldn't advertise either. (at statue) Look at her eyes. What are they -_ marbles? lOGAN

She ain't half-bad. out for coffee.

I

could take her

GREEVEY

Builds 'em, dres.e. 'em kinky, takes pictures of'em. Ubillez and Pooly come up. Ubillez carries a plastic bag with a Polaroid camera and baqqie with a Po~aroid print. LOGAN

(to Pooly) The two leather quy., Batman and Robin? You aure they were cOlllinq froll here? POOLY They ran When they saw us. UBILLEZ

(holdinq thinqs up) Coera was in the lot. Print on the step•• Greevey take. the baq with the print and bolds it up. eyes tell us he can't quite believe What he .ees. GREEVEY

Whoa •.• Looks ·like the coera was snappinq While he died.



CONTINUED

His

5

#66208 18

CONTINUED

Rev. 4/18/90

..

18

(2) LOGAN

Somebody wanted a souvenir.

That's sick.

GREEVEY

(X)

LOGAN

You qotta believe the BiDle's riqht, Max. 'As ya sow, so shall ye--' GREEVEY

FADE OUT





(X) ( X) ( X)

Nobody deserves tociie. END OF TEASER

( X) ( X)

166208

6

Rev. 4/11/90

ACT ONE

FADE IN 19

INT. SOHO LOFT - NIGHT

19

At tne crime scene. Greevey's cigar is now lit and he holds a steno pad. Loqan stands at a table next to a banker's box and a pile of papers. He holds papers with a blue legal backing. LOGAN

Lease says Victor More. Three grand a month. Premises rented for work only.

( X)

GREEVEY (makinq a note on his padl Some work. ,1\\'\ \../) U:P~\ l\\-:·t:... }, \eN e-

(')('

\

LOGAN

You qotta believe the Bible's right, Max. As ye sow, so shall ye-GREEVEY

Nobody deserves to die.



LOGAN

You ever hear of karma? Greevey qives him a look.

Fate?

GREEVEY Let's 9t wak.,··1:fte- n.j,q~.... fAL''-- ro \,\~\.' W\\::(., COT TO 20

thru 21 22

20

OMITTED

thru

INT. APARTKEHT - DAY

22

SOho chic. Leath.r couche.. Schnabel on the wall. Vietor' • •everely handsome wit., pace., distraught. .tanda.

Sondra, Greevey

SONDRA

We just bought a farm up.tate, Red Rock, you can walk to town •••• iqn.d the papers laat w••k ••• thirty-year lIortqaqa •••



(~

21

CONTINUED <

"".,.

n

22

Rev. 4/11/90

7

j6620S

CONTINUED

22

Mrs. Mor•.•. Burke.

I

GREEVEY (X)

SONDRA use my own name. GREEVEY

IOU

Ms. Burke. Do know where your husband was ton qht? SONDRA (ralliblinq) I didn't qet in from the airport until ten -- I was in San Diego -doing a fashion shoot ••. these new long sweater coats, you've saen them ••• ? Sondra pulls a cofte.-table book from a stack on a shelf.



SONDRA (breath startinq to heave) I did this book of Vietor'S work. Did you see the eyelids on his sculptures, the veins on the back of the hands ..• on the one of the man with the collar -- did you s •• how Victor made tha riqht thumbnail .•• like the man had been bitinq it. That's how meticulous he was ..• GREEVEY

(with a respectful pause) Did your husband work late otten? SONDRA Se works -- worked -- all the time. Niqht and day. Gr.evey ia atartinq toward the bedroom, followed by Sondra. GREEVEY

Could someone have be.n in his studio? Mod.ls . .yb•••• ? SONORA Victor didn't need models. all in hi. head • . (MORE)



It was

CONTINUED

22

Rev. 4/11/90

8

*66208

CONTINUED

(2 )

22

SONDRA (Cont'd) (beat) What are you sayinq? Victor ..• because of what he mad•••• h. lived that wa":(? H. didn't have to. H. looked ~nside himself, he was a mirror of the whole world. GREEVEY

Mind if we check his thinqs? •. 23

INT. BEDROOM - NIGHT - CONTINUOUS

23

Loqan is at a closet, pushinq aside bangers with men's clothes. Greevey moves to a desk, look~nq at papers. On the desk is an oversized brandy snifter tilled with matchbooks. Sondra stands in the doorway. SONDRA What exactly are you lookinq tor? LOGAN

Ma'am, we're just tryinq to tind out what happened. SONDRA What happened is somebody killed my husband. Greevay holds up a tramed 5x7 -- Vietor with a baseball bat. Sottball?

GREEVEY

SONDRA

The Soho artists league.

basaball fanatie.

Me, too. As

G~.y

Vietor's a

GREEVEY

pulls the brandy snitter toward him

SONDRA Victor always said there were three ways you could tell what somebody was like. How they ran the ba••• , the books they read, and What they saved. GREEVEY



(readinq trom the matchbooks) Frank's Diner ••• CONTINUED

eX)

23

23

CONTINUED SONDRA Around the corner ... Victor liked to

• ",

2nd Rev. 4/12,;:

9

;l6620a

'

sketch there. GREEVEY

Elaine's ... SONORA My aqant took us. GREEVEY

Harry's Bar in Venice ... SONORA Our second honeymoon .•• GREEVEY

(beat) The Iron Bar?

Sondra qive. no response. GREEVEY The Iron Bar?

otf Sondra's reaction CUT 24

TO 24

EXT. STREET - NIGHT Gr••vay and Loqan head tor the car . I: .-.""-~-----------------LOGAN

( "\

Married fifte.n years and she thinks he was ju.t tak1nq picture.? Could you ke.p .ecret. like that from your wite?

~

GREEVEY Do~t kid yourself, everybody'. qot

(X) (X)

.eereta..:_

....---

'.

(X) (X)

COT TO

<

"".

10

166208 2S

Rev. 4/11/90

INT. IRON BAR - DAY

25

A cavernous villaqe leather bar. Empty. The bartender, bearded, in a white T-shirt and leather jacket, has a photo in his hand. BARTENDER The one with the baseball hat? He's been in here a couple times, yeah. Last niqht?

LOGAN

BARTENDER

It was crowded ..• I. just serve 'em. GREEVEY

(casual) Well how about I take a walk around the block .• and maybe you're memory'll qet better .•. or I'll qat angrier •••

BARTENDER Hanqinq on some

He was here, okay? weird blond. Weird what?

GREEVEY

Blaached?

BARTENDER

Weird like Marilyn Monro. back from the dead, but six-two with ••• (hands movinq to imaqinary hair) --like blue-qreen spike. in har hair. LOGAN

You know wh.re

we

can tind the lady?

BARTENDER

Works in onaot those l.ather .hop•••• Th. Eroqenou8 Zone.

(X) (X) COT TO

26

thru

26

thru (X

OMIT'l'J:D

27

28

27 INT. THE EROGENOUS ZONE -

28

DAY

A l ••ther/••x shop. Hanginq on the wall: h.rn••••• , ridinq crops, Whip.. cathy i. a large girl with turquoise stripes in her hair and a low .exy vo~ce. She sit. on a stool behind a counter, hands folded aero•• her che.t. CONTINUED I

'"',,'.

11

166208 28 "

;.~.'.

Rev. 4/11/90

CONTINUED

28

She peers d.own at Greevey and. Loq'an as it they were from another planet. CATHY

In belts, you want only alliqator. In harnesses, saddle leather. Like a good briefcase. (a diq) Or a nightstick. LOGAN

The Iron bar your favorite hangout? CATHY

Those rouqh types aren't for me. ~ milieu, place called Best Friends. In the West Village? Gay preppies -the one. with Dartmouth and Yale on their tee shirts? In the summer they don't allow anyone in with roller skate. after ten. GREEVEY You were at the Iron Bar last night. CATHY



I wanted a club soda.

It was clo.e •

Logan has ~icked up a pair of woman's white leather gloves with a cha.nmail·band at the cuft. LOGAN

Five hundred bucks? CATHY

Newborn calt, the tinest Italian leather. Vat-tanned. We are the 2n!I store in New York carrie. it. LOGAN

Who buy. this stuff? CATHY

That leather has no grain. It'. like wearing skin. Reminds you the animal was once alive -- it you like that sort ot thing. GREEVEY Did you leave with Victor last night? CONTINUED

28

Rev. 4/11/90

12

#66208 CONTINUED

28

(2 )

CATHY

(heaven forbid) I didn't know the JDan from Adam. He wasn't lookinq for me anyway. He wanted. Brian. (beat) Who used to belonq to me. COT TO 29

EXT. VILLAGE RESTAURANT -

29

DAY

Brianr\~ ~ waiter, is in the alley next to the kitchen.

)Ha's flanked. by Greevay and Loqan. )ije qlances toward the restaurant. (

~~Wf\~ (~.'),.v.. \vrx '\

nervous.

BRIANrJA I

(X) (X)

don't want to qet canned.

.,{) ~\ \ t· \

. '",-

Brian~ooks

( X) ( X)

GREEVEY Brian~~~ust

with victor.

tell us where you w.nt BRIAN

I

d.idn't qo anywhere with him.

GREEVEY You knew who be was. BRIAN

mr .

Gimme a break. My par.nts •.• father'd bave a stroke if my p1.cture was in the papera. LOGAN

(lOUder) So what happened?

I va. vearinqBRIAN a l.ather ~~ h. liked. H. asked it I want.d to b. in a ••••p.rformanc. art work." Okay, I va. tupted ••• GREEVEY

Your father would've loved that. BRIAN

••

You get a little adr.nalin going. Like you -- When you cha.e soae guy down a dark alley. Maybe he' a tot a knife, maybe he'a got a qun ••• you never know what'. going to happen. You and •• , w.'re a lot alike • CONTINUED

"""..0

(X)

Rev. 4/11/90

#66208 29



LOGAN

There's a difference. for qoing into alleys.

~e

qet paid

GREEVEY So you didn't leave with Victor. BRIAN

There was something I ••. I didn't trust about him. LOGAN

Let me qet this straight. You're asked out on a data by a quy .•• who publishes pictures of people hanging upside down in chains ••• and you're t.mpted but there's something you don't trust about him. Off Brian's shrug -CUT TO



30

30

OMITTED

31

INT. MEDICAL EXAMINER'S OFFICE -

31

DAY

In one swipe Hoaxter, an Assistant Medical Examiner, pieks up a file as he come. in, followed by Greevey and Logan.

ae

LOGAN

died of ••• ?

HOEXTER

(reads) Asphyxiation during a state of sexual arouaa1. (shake. head) You ever hear of anythinq so damn .tupid? Thank Goc1, the appeal's limited to bard core masochists ••• so••thinq must have qon. wrong. GREEVEY Yeah, h. died. LOGAN

.•

~ ""' -

.

.

(appalled) So you're sayinq h. bung himself voluntarily? CONTINUED

166208

14

Rev. 4/11/90 "

31

CONTINUED

31

HOEXTER (flips paqe, shakes his head) This qentleman played some dangerous sports in his day. Burn scars, cuts, healed fractures •••

(X)

LOGAN

What's the official cause of death? HOEXTER

(dead serious) You can rule out natural causes. CUT TO

32

INT. CRAGEN'S OFFICE - DAY

32

Cragen throws the News down on the desk.



CRAGEN "Artist Hangs, Not A Pretty Picture." Great. (picks up the Post) "Dirty Picture.: Oea~mitates Art" •.• And this i. only the first day ••• Craqen tosse. the .f2n aside.

We ••• the headline.

~---_.-.~-----,.,'-,.~._,,-_ ..._.~ .._-,._"".,., .....,.'~~~_.~.,.,~,..~'-.~~-~~"~"'".,-"".,'\

-----

au

1.

i

""""' CRAGEN This'~s. is boilinq. turn dG\il1 the heat.

I

Look,

(

-_.1

He .eans.

~Pt~i~~what do you want us to do

!

Fine.

I'd like to

i~"_l~ euicide. Sold.

CRA~ wrap~t

up •••

Gre.vey'. unhappy expre••ion. God dammit!

Craqan knows what it

CRAGEN

What'. wronq with it? CONTINUED , "'fIII'·

(X

15

'66208 32

Rev. 4/11/90

CONTINUED



32

GREEVEY The polaroid. Somebod¥ else ~ there. Even if they d1.dn't hanq him, it'. still a crime to facilitate suicid••.. CRAGEN (deep sigh) Go back to the wife. See if Victor stumbled home one night a little banged up with no explanation. LOGAN

Sondra doesn't have a clue. The guy was Jekyll and Hrde -- and she was married to Jekyl • CRAGEN

Take her throu9h it again. People always know th1.ngs they don't think they know. Loqan starts out, then stops when Greevey doesn't move. \ Greevey waVe. him out.

-.

\Il) &~ N

a"Fn

Give me a minute •••

Loqan closes the door behind him. Cragen doesn't like the feel of this. Gre.vey'B clearly upset.

L_'"__. ~_,

Wh_a-t?_

;I.

Take m. ott this on•• Before Crag.n can answ.r, be holds up his hand. GRe'IEY

L06~C:l J

Thia thing diaausts ••••• Th. guy's pictures are-jUi€ porn ••• lf this is art, Hugh Hetner's Michelangelo .•• CRAGEN

(can't fathom this) A guy'. d.ad ••• You're the one'. aaying it's not a suicid•• GREEVEY



tX:1fl~

(annoyed) You want •• to lie? There was somebody else ther., but .a tar as I'. concerned, he'. going to the aame place • CONTINUED

.,-." .-

32

CONTINUED

Rev. 4/11/90

16

#66208

(2)

What place? about?

32 CRAGEN

What are you talkinq ~

GUEVEY

\0~.

Chances are, living that life, he'll be dead in a couple ot years, anyway. I'm Catholic. I know it's old fashioned but I still believe in sin. Remember sin? Right and wrong? I don't know if it'. ha~. and pearly gates but whatever it loS, these freaks aren't goint to the same place you and I are, okay? CRAGEN

(leaning back) Wow. I can see this leading to an entirely new penological outlook ••• We will only pursue hoaicid.. where the vic died in a state of grace. GREEVEY

(not amused) I'm not kidding about this.



cra~en leans forward and suddenly he off1.cer. .

!! Greevey's superior

CRAGEN

Either am I. ~e~ ~weaty-~ years f\N\,r;:: i.ar ~ supposed to tell you that the ~ob ain't about the people involved 1.n a crime, it's about the cri••? GREEVlY

toLW~JJ

(disqusted) We went into this leather bar this morning. High noon and the place reeked of stale .ex ••• And believe .e, we're not talking the beautiful people ••• CRAGEN

Request denied ••• (picking up tile) If s01Debody el.e was there, find him and charge him ••• start with the wite. COT TO



""'",.

17

#66208 32A

Rev. 4/11/90

INT. SQUADROOM - DAY

32A

A twenty :rear-old girl, pretty, intelliqent lookinq, a student, ~s at Logan's desk. She's obviously been cryinq. Loqan looks up, pained. LOGAN

Sintra More .•• Sq't • Greevey... ( ,_, , Sintra is ~r. More' s c:la~ by his ~ lJ ~C~) first marr~age... S\ ')(t'iL

(X) ( X)

SINTRA

(defiant) My fatbe~did not commit suicide • ...

~

()

-...;'.,'.

GREEVEY

Miss More, I know how ditt .••

(X)

SINTRA

(cutting him ott) I go to NYU, Serqeant ••• I grew up in Nt' )~".: Lft1?tO ~~ tp,,~ my f~~ Ir' s world ••• I'm not a dewy- a~, 1"'1'\"~1'"\ I ey.d vl.rqin. t) M L..,,, , (beat) l/\tfJQ.-- Daddy was bi-sexual. Everybody Who knew him knew that. But he would never have committed suicide. I")

GREEVEY

There is evidence to con ••• SINTRA

(cutting him otf again) ing to . you but r1,c>0I~:r.;·,1l,. Th is n~n anythkn ~J~ h e vas ~ __._. ~,d l e w hl.m ••• He ----v-.-.happy ••• very happy. Hev•• excited about the POPA show, but even it he had been ....iv.ly unah~p¥, he neVer would have committed sUl.cl.de.

JIla!v

GREEVEY

How do you know?

SIN'l'RA

ae was a Catholic ••.

( X)

ott Greevey's stunned .xpression.

VJ\JV;I',\ 33

OMITTED

CUT TO

In &.~~S'J 33

v\ (pX'ij G{~i I1ki. C ()~\.-.:\ I'.i' \-- '1J\.,Ji.. L\ ~f r\J~ <;'1 N(lZ·V\

itt\, \l~AC-\~f c \\O~'U11~) .

( (~~()

, l".,'

'66208 34 .':.;

18

Rev. 4/12/90

.'

INT. MORE/BURKE APARTMENT

34

An unhappy Sondra Burke sits on the sofa.

SONDRA He never did the S&M scene.

Never.

GREEVEY

(treadinq qently) Did he ever .•• come home ••• hurt? A

tense

hort silence.

Loqan sends Gr.evay a look.

SONDRA (SOftly) I ... I'm on the road a lot ••• and ju t in the last year ••• somethinq cha qed.

Greevay and

Lo

an wait.

SONDRA He was muqqed. Greevay and Loqan

( X)

SONDRA

Last Au t. (be t, looks down) Last Apri Last November. \,

H~

~

GREEVEY

(not ushinq) was muqqd a lot.

Sondra knows the truth\ (in It'. a

And dani•• it to herself.

SONDRA

con~rol,

anqrily~

violent\~itY.

CUT TO

\ 35

INT. FORENSICS LAB - DAY

\

,

35

\

Hurley, a technician, leana\over a print acope. at Gra.vay and Loqan. \

He looks up

HURLEY \.

This is a very aick picture, qentl. .an ••• but it'. a very qood print. Foretinq.r. Perfect. LOGAN

,.

....... •.

What alse do we have?

, "\t"'"

CONTINUED

2nd Rev.

19

#66208

4/12 90

.. 35

CONTlNUtD

"

35 HURLEY

oval smears on the back. been qloves.

Could have

LOGAN

So at some point our frienq took one glove off. HURLEY

Must have .•• Oh, and this quy had oil on his hand .•. some kind of •.. acidic base. Lemon oil, maybe. LOGAN

Great. Now all we have to do is print everyone who knew him.

(X)

COT TO 36

36

INT. SQUAD ROOM - CAY Gre.vey and Loqan sift throuqh papers from the banker's boxes taken from Victor'. loft. LOGAN

Victor had Con Ed bills like the national debt. GREEVEY

(th\Ullbinq throuqh ch.cks) Bought a Sam Cooke collection. My taste in music. Armani suits ••• LOGAN

Not your taste in clothes. GREEVEY

(iqnorinq him) Gave to Big Brothers, Save the Earth, World Education. This quy had a aocial con.ci.nc•••• LOGAN

That'. the only kind ot consci.nce he had.

CONTINUED

-. .--'~.' ~.'~ .~

..

36

Rev. 4/11/90

20

#66208

36

CONTINUED

GREEVEY Sent a check home every month. More than ~ salary. GOod son: took care of mom and dad. LOGAN

Should've taken better care of himself. (stops, looks up) Bill of sale for one of his pictures. Dated yesterday. To be picked up at his loft in the p.m. GREEVEY Name and address? COT TO 37

37

EXT. STREET OF BROWNSTONES - NIGHT

A

tree-shaded block.

We are moving down the street -LOGAN (V .0.)

600 East 77th Street. Rothman.

Benry

(X)

We move in close on an el~ant brownstone. Gleaminq brass carriaqe lamps on either S1de of the door are lit. Greevey and Logan come u~ the steps. Gr••vay pushes the bell, we hear itrinq ins1de. The door opens. A distinquished silver-haired man in his aid-fortie., Henry 'Rothman, appears. Yes?

ROTHKAH

00 I know you?

GREEVEY (thinkinq) No, but I know you. ·You'r•••• ROTHMAN

Henry Rothman.

LOGAN

(amazed) The commissioner of CUltural Affairs. Bold on Rothman and --

.•

~"

FADE OUT

-go

OF ACT ONE

t66208

21

Rev. 4/11/90 "

ACT TWO

FADE IN 38

INT.

ROTHMAN'S LIVING ROOM - NIGHT

38

Rothman stands next to a qrand piano. Photos of the wife and kids are visible next to him. A Jim Oine hanqs behind him. A motorcycle paintinq by Tom Blackwell on the other wall. Greevey and Loqan are also standinq. ROTHMAN

See that paintinq. Jim Dine. I paid three thousand dollars for it twenty years aqo. Now, it's worth thirty. That motorcycle over there. Tom Blackwell. I ~ot it for a thousand in 1972. Now 1t'S worth sixty. That one? John Kacere. I qot it for ten qrand. Now it's worth seventy. And the Victor More, I paid four thousand.

(X)

LOGAN

And twenty years from now ••• ROTHMAN



You buy a good bottle ot wine, you put it in the cellar, and you hope it doesn't turn to vinegar. GR!:EVEY Oid you know Victor More well?

( X)

ROTHMAN

Cockatail parties, gallery openinq•••• I met him a tew time•• LOGAN

Did you pick up the photograph ye.terday? ROTHMAN

was in a meeting and didn't qet down there. (beat) Nowtbat Victor More'. dead ••• I

LOGAN

He won't be taking any more pictur••• ROTHMAN

Which mean. I've probably ju.t doubled my inv••tment.

( X)

'66208 39

22 eX)

Rev. 4/11/90

EXT. WALK-ANO-TALK - NIGHT

39

GREEVEY I don't know Mike, when I was your aqe, we had scandals-LOGAN

Maybe with the rich it's different. GREEVEY But they weren't weird like this. Some guy cau~ht with a woman Who wasn't his w1fe ••• some chippie runninq around on her old man ••. But today -LOGAN

Yeah ••• Like that guy in Palm Beach? Had the wife Who did it with a trumpet? There's a beat of silence. GREEVEY What the hell do you trumpet?

gg with a

Off Loqan's smile --



COT TO 40

INT. ARTVIEW MAGAZINE - DAY

40

Kyle Jordan, an art critic, sits on the adqe of his desk. In a bow-tie and tweed. Logan stands to one side, Greevey to the other. JORDAN

In the Middle Aqe., artists painted Maclonnas. In the nineteenth century they painted vater lilie.. Andy Warbol siqned a soup can and sold it for a fortune. Artists paint What the pUblic has an apPetite for. LOGAN And Vietor More qava them what they

wanted?

JORDAN

It h. didn't, he wouldn't have sold all tho•• photoqraphs. ·GREEVEY What about hi. private lite? CONTINUED

23

Rev. 4/11/90

tJ(~1 A

40

'66208

. ":, .. r";

,"

~,

40

CONTINUED

~.

'.j,'

Lmll

~

.

«,

/ , - n~' t?J
'J)YV"t:

hlJ:.e fWonL-=fl..V i e r More

was either a pornoqrapher who got lUcky ••• or ••• he was an opportunist who created tor the market. Either ,y, mrw~ artist._ ' / _.s. 'tL ~ w 1$ l/v..A 5~~ '(v'X'fll POd )J So how did he get lUcky?

Jordan looks at Loqan, then Gre.vey, with an uneasy Cheshire Cat smile. He's deciding Whether to tell what he knows.

( X) ( X)

( X)

<;1 t-lif.1\

~
JORDAN

had many talents. One of them was photoqraphy. Another •.. was getting grants. . ( b e a t ) _ - . ."'.~ \ - r _ Grants from the city. L luL::)ce"'-l I \'\C ~

( X) ( X)

(bn oCl\-\t')\ Ot'QIJ{L\""YIJ\\:'tr f¥lo~ TO 41

OMIttED

41

42

INT. HALLWAY - DAY

42

Gr••vey and Logan walk with Anita Swenson, a grant reviewer for the City Department of CUltural Aftairs. Swenson has a clipped, tough manner. SWENSON

That's my job. I decide who qets your tax money and mine for artistic work. LOGAN

Henry Rothman doesn't decide that? SWENSON

Oh, ye., Mr. Rothman decide., too. Th.ylre at the door of Swenson'. ottice. On the translucent qlas. ~.l: Anita Swenson. Assistant Deputy Commissioner of CUltural Attair•• 43

INT. ANITA SWENSON'S OFFICE - DAY - CONTINUOUS

Followed by Gr••vey and Loqan, Svan.on cOIle. in and sits behind her desk.



CONTINUED

43

#66208

. .~

~,

:

.....

Rev. 4/11/90

CONTINUED

43

,:.' " .

.•.........

.

43

24

SWENSON

Mr. Rothman has the final authority. GREEVEY

The city gave a lot ofqrants to Victor More.

( X)

SWENSON

Don't ask me to explain Mr. Rothman's taste. He has none. His decisions are arbitrary and have nothinq to do with art. LOGAN

Miss Swenson, didn't fOU approve these grants? Your s~gnature is on them.

SWENSON I didn't approve

approved them. them. I

£!

GREEVEY

Why did you sign them?

Ii:

SWENSON

Mr. Rothman is the Commissioner. I work for the~ommission.r. I have to sign the form or they won't disburse' the check. Does that make it clear?

LOGAN Mr. Rothman and Mr. More ••• they were

clo•• ?

Financially?

(X)

SWENSON

Or personally?

LOGAN

Are you sayinq Mr. Rotnman--? SWENSON

I abouldn't enqaqe in qossip. Greevey and Loqan exchanqe a look. GREEVEY

Three months aqo, this fifty thousand dollars-SWENSON

That one. I registered my ClI'iipproval in writinq • Mr. Roth1Dan overrulad me. But at le.st Mr. Hore didn't qet the money. CONTINUED

(X)

43

2nd Rev.

25

#66208

CONTINUED (2) Loqan looks at Greevay.

4/12/90 43

What's she talkinq about?

SWENSON That fifty thousand dollars was an attempt to elevate Mr. More out of the vuttar. It's payinq fora show of h1S work. At the Pavilion of Popular Art. CUT TO .1 \

44

INT. HALLWAY - DAY

44

Greevey and Loqan walk. LOGAN

capta~thinks

he'S qot a media Commissioner

probl.m~ How about the sleepinq ~'th the vic?

G EVEY

Maybe she's qot n axe to qrind. Rothman's in a s dal, she qats made Commissioner. (baat) ~ Or maybe he just disqu~ts h!£ as much as he does me. \

( X)

(X) (X) ( X)

CUT TO 45

INT. GALLERY - PAVILION OF POPULAR ART - DAY Gr.avey and Logan meve past a siqn sayinq ·Pavilion of Popular Art, Sand paintinqs by Maria Corman" -- with Joseph Hoffer, curator of American 20th Century Art. People are aillinq around the paintinqs. LOGAN

(re: paintinqs) ."/ , fl\i0~ ~ tk. th••• ? Uj 13"1 l---\ k~ ~J r'~ \r'V HOFTER (with a shruq) A<)')1S l\AtJt) One at our younq cvretors like. 'em. I think theY're junk. LOGAN

And Victor Mar.?



HOFP!R His death doesn't .ake hi. picture. any better • COH'I'INUED

45

26

'66208 45

CONTINUED

.

1,t"' frJ

Rev. 4/11/90

..

\ U~ ~ Or' rJOl>Ul (L;OK (\

45

GREEVEY

But 'iouLre still 90in9 to 9ive him a show? Greevey nods to an exhibition sign: -Next: New Photographs". Hoffer stops walking.

Victor More:

(X)

HOFFER Let me explain something. That show is being put on because the city put up part of the money and the rest is one from one of ~r__ p.rivate patrons. , [TlelL

LOGAN

Let me quess.

Henry Rothman.

HOFFER (almost rolling his eyes) Mr. Rothman could hardly afford it. (beat) Elizabeth Hendrick. LOGAN

As in the Hendricks who own the entire world?

e.

HOFFER

Why do fOU think this mus.WIl's called the Pav11ion of PopUlar Art? P-o-P-A. Poppa. The Hendrick family built it in honor of their father., Would r~~J do GREEVEY this show it Hendrick and the city weren't paying for it? HOFFER

(as if to a dumb child) Detective, there is no art without .on.y. COT TO

46

INT. HENDRICK FOUNDATION OFFICE - DAY

46

The very eleqant Elizabeth Henclrick holds court. She's prettY but there's an undercurrent of mis-directad enerqy. Her he 1r's pulled back severely.

-.

CONTINUED

46

• ."

Rev.

27

~66208

4/11/90

~~~

CONTINUED

46

~EV&Y

Miss Hendrick, you don't seem shocked by the circumstances of Victor More's death.

,

(X)

HENDRICK Van Gogh cut off his ear. Edvard Munch hung halt ot his paintings in the woods, where they ended up rottinq. Gauquin abandoned his family and went to Tahiti. Art would be much more pleasant it we didn't have to deal with artists. GREEVEY

Did you know Mr. More ••• his triends ..•

(X)

HENDRICK understand Mr. Mora was a private person ••• reclusive. (beat) You •••m surprised that I'm not shocked. I'm surprised that you are. You have to deal with .•• what do the newspapers .call it? •• slea:., all the time . I



( X)

GREEVEY

The sleaze we usually deal with doesn't end up hanqinq in a museWl. HENDRICK Victor More was a qood artist. Would I want to sit down to dinner with him. No. (standing) I'm sorry, but I am late for a m••tinq ••• it there's nothinq else ..•

( X)

...-

\

She qet. her coat from behind the door, picks up her purse, '~and a pair ot qloves. They're black, not white like the 'one. Gr.-vey and ~an saw at The Eroqenous Zone, but they h~~ .... chainmail band. Off Loqan catchinq Greevey's eye -:"-.. COT TO

47

INT. THE EROGENOUS ZONE -

47

DAY

Cathy is behind the counter, and .h.'s a little shaken.

'.

You neve,r

(Y\A~~';

c,a~" "ied"'them'Iii'Dl~C 1D ~\'I\,.Il1\ _'

L:JL ~f\rJ .

1JJ CDVC?J-rttv ~

t~k"N'')~~~::.~ wl'-l fn' fi(j) V\- IJ ~ r'~. )

~frJ'v\ I}

",)frvrrV"

J

CONTINUED

47

Rev. 4/11/90

28

*66208

47

CONTINUED

.'j.,

.._-_ .



CATHY

(tentative) We might've.

GREEVEY

And you don't know Elizabeth Hendrick. CATHY

(almost pleading) The customers don't wear name tags. I just take their money. GREEVEY

(to Loqan) Mike, I must be crazy. Why do I think Cathy reads all the gossip columns and knows exactly who EliZabeth Hendrick is? LOGAN

And I might be crazy, but I think a lot of the respectable citizens who come in here to bUy this sicko stuff might decide they didn't need it if there was a cruiser parked out tront.



CATHY

(caving fast) . I think Elizabeth Hendrick might have been in once or twice.

Or more. CATHY

Yes, maybe ••• maybe three or four time•. COT TO 48

thru 49 50

48

thru

OMI'1"1'B

49

WIDD - IN'!'. CRAGO'S OFFICE - DAY - CONTINUOUS

Cragan pace. behind his desk. CRAGO

-.

I had a hundred calls in the last hour. A Commissioner'. being dragged through the lDUd, and it looka like we're responsible. I hope you have .omethine;. CONTINUED

50

'66208 50



Rev. 4/11/90

29

CONTINUED

so LOGAN

It qets worse. What it I tell you Elizabeth Hendrick is connected to this? This hits the tarqet. CRAGEN

If you step on the toe. of somebody like Elizabeth Hendrick, you be damn sure her foot's really in the way. CUT

51

TO

INT. FORENSICS LAB - DAY

51

Greevey and Loqan are with Hurley, the print technician. LOGAN

Doesn't everybody qat printed when they qo to work for the city? HURLEY

You do, but commissioners don't. GREEVEY Find Rothman's prints somewhere. Maybe he was in the Army or •.• maybe he was busted in some anti-war demonstration. .



LOGAN

And Hendrick?

HORLEY

Unle.. she served on a qrand jury, or applied tor a gun license, good luck. She lett her prints. CUT TO 52

INT. a:rtJiHAN'S OFFICE - DAY Gre.vey and Loqan stand.

52

Rothman paces •.

ROTHMAN

Are you sayinq I'm a suspect in the aurder ot Victor More? GREEVEY

Ye. sir, ve are. Can you tell ua where you vere that night?



CONTINUED

(X)

'66208

52

Rev. 4/11/90

30

CONTINUED

52

Rothman takes a deep breath, puts on an intimate voice. ROTHMAN

I have a wife and three children. GREEVEY I have a wife and three kids mys.lf. ROTHMAN

Then you'll realize why I'd. prefer it if where I was that niqht didn't become pub 1 ic • IDGAN

We can't make quarantees. ROTHMAN

was with another woman the niqht Mr. More died.. I

Greevey and. Loqan wait. ROTHMAN

Elizabeth Hendrick.

COT TO



53

.

INT. HENDRICK'S LIVING ROOM - DAY

Hendrick standS, holdinq a cup of I

HENDRIClC

was home alone that niqht. CREEVEY

You didn't .ee Henry Rothman at any time. HENDRIeJ:

(she can hardly believe this) You're not .uqqe.tinq ••• that I was havinq an affair withMr. Rotbman. LOGAN

(carefUlly) Mr. Rothman aU9Qe.ted ••• HElfDRICX

Detective, I went to bed early that niqht. (beat) Alone.



. "':, "

COT TO

(X)

166208 54

• j."

31

Rev. 4/11/90

INT. CRAGEN'S OFFICE - DAY

54



The Post is on Cragen's desk. A picture ot Rothman and the headIIni: "Comish Hanqinq, Too:" Subhead: "When's He Gonna Go?"

CRAGEN They're letting Rothman swing in the wind. GREEVEY

He says he was with Hendrick. She says she was alone. Neither alibi works.

CRAGEN So maybe they're both innocent. Or

LOGAN

both quilty •

CRAGEN have to put one ot tho in the room with More. Do that, and the 0A'11 qo for manslaughter one. We

(X)

LOGAN

All a DA wants i. a signed confession. The

phone rinqs.

Craqen answers. CRAGO

Yes. (hangs up) Hendrick's print doesn't match. Rothman'. do.. • I think it'. time to pay Mr. Rothman a visit. And read hill his rights. Uh-buh.

FADE OUT END OF ACT TWO



< 'i'fII"

*66208

32

Rev. 4/11/.90

ACT THREE

FADE IN 55

thru

55 thru 56

OMITTED

56 57

INT. COURTROOM - DAY

57

Rothman's arraiqnment.

Stone and Robinette for the state. JUDGE

The charqe is manslauqhter in the first deqree. How does the defendant plead? STOHIXEYER The defendant pleads not quilty, Your Honor. The defense would like to make a motion that the defendant be set free on his own recoqnizance. STONE Your Honor, if it ple.ses the court JUDGE

Just ·a minute., Mr. Stone. She _isn't finished. Go ahead, Ms. Stohlmeyer. STOHUmYER

Your Honor, my client has no criminal record. He has obvious tie. to the communitI' He's a re.pected and distinqu shed man. STONE Your honor, this i. a homicide of a qrue.o.e kind. The pro••cution feels that bail is ••••ntial. w. recoma.nd alOO,OOO. STOHIDYER

Your Honor, Mr. Rothman pr••ants !l!2 risk of fliqht. alOO,OOO is ridiculous. JUDGE

Mr. Stone'. recommendation is a little hiqh, but this is a homicide. Bail is sat at aSO,OOO. CON'l'IHOEO

57

Rev. 4/11/90

33

t66208

CONTINUED Rothman looks like he's going to cry or faint. CUT

58

57

TO

INT. COURTHOUSE HALLWAY - OAY

58

Stohlmeyer is walking rapidly toward Stone as he walks away. STOHLMEYER

Are you purposely tryinq to make this unpleasant? Stone stops. STONE

We trained you pretty well. How do you like working on the other side? STOHLMEYER

The pay's better. problem?

Is that your

STONE

I just don't like the class ot client you choos.. First drug dealers, now a murderer. You should be more discriminating. STOHLKEYD

And you shOUld be more discriminating tiling charqe. ot manslaughter one. You hav.n't qot • cas., Ben. That tingerprint could have b••n on the Polaroid months before More died. You can qet a grand jury to indict a ham sandwich, but it you indict Rothman, you're crazy. Rothman approach•• th_ from down the hall. STONE

Your cli.nt's alibi has be.n r.fut.d by his alibi witn•••• ROTHMAN

Elizab.th H.ndrick has made a mistake. I ••aur. you she'll tell the truth. COT TO



( X)

Rev. 4/11/90

34

*66208

.'

59

INT. SCHIFF'S OFFICE - DAY

59

Schiff is running his hand over the hair at the nape of his neck,' pushinq the side hair back. Robinette leans aqainst the door. Stone sits in front of Schiff's desk. STONE Erica will arque that More consented to being tortured. She can just about prove he liked to be beat up. But I can work around that.

(X)

SCHIFF You can consent to being tortured, but you can't consent to murder. (beat) But you still have to prove intent. Do we know Rothman wanted to hurt him? We will.

STONE

SCHIFF Rothman absolutely at the scene? fingerprint?

'.

The

STONE The Polaroid i. ic1entical .•. practically down to the shadows of the one. the police photographer took.

SCHIFF That'll fly'. (beat) I want to be elear about one thing. I don't care wbat con••nting adults do in their bedrooma--or els.wbere. It'. their bu.in.... But Rothman'. a public fiqure. Se'. a role model. He bas an obligation not to behave like thia. And Hendrick••• it sbe's involved ••• qo atter her. I'll back you all the war' I don't want even a hint ot a doub e standard for the

rIai.

ROBINETTE (to stone) W.'ve qot to put Rot.bJDan at the scene more convincingly. CONTINUED

'.

,,

..

~'

Rev. 4/ 17/90

35

#66208

(X) 59

CONTINUED

59

SCHIFF

Go back over the evidence. Tear his lit. apart till so••thing turns up ••• COT TO

60

60

INT. MEDICAL EXAMINER'S OFFICE - DAY

Assistant M.E., Marty Ciaran, handa Robinett. a report, Which Robinette reads.

An

i

CIORAN Tax scan i. negative. No heroin, no coke, no codeine, nothing. ROBINtrl'B Run another on.. S.e it -- .

CIORAN Whoa, whoa ••• Who'. paying tor thi.? ROBINEi4tB

I~'. a homicide inve.tigation. Stone'll approve it.

• ·.

CIOIWf hanged hiaaelt. Doe. it aatter what h. had in his blood? The man

It attars.

ROBDttflB

CIOIWf What an we looJUnq tor? ROSDUt't'tB

Synt:hetics, JIDA, speed, _tbaqualone. CIOIWf

Bxactly what I'd Uke it CJOinq

to hanq JlYselt.

! were CC'1' TO

••••

Rev. 4/17/90

36

t66208

.', X) ',~:



61

IN'I'. FORENSICS LAB - DAY

61

Robinette hands the M.!.'. report to a young lab teChnician. ROBINE'l*li!

The Medical Exaainer's re~ort says there was oil on the vict1.lI's body. Can you match it to the oil in the fingerprint on the photoqraph?

The lab technician nods at Robinette'. reasoning. I qet it.

LAB TECHNICIAN

You want to put 'the body and the photograph in the same time frue. It the hand touched his body and the picture, you knov the picture Vii taken the night he diad. ROBDtE'l-liE

That's right.

LAB TBc:BHICIAN

We're vorkin; vitb very _11 quantitie. and I don't vant to daaage that print. ROBINEffI

• "~

can you do it?

.

LAB TEc:BHICIAN

uk.. toaorrow.

62

INT. ROBIBEi-rz OFFICE - DAY

62

Robinette !nUni... RothMn'. black ai441e-aqad secretary, Mary Jobnaon.

R.'.

JOIIRSOK

'1'be ea-i•• ioner

fiDe.

alway. treated . .

a fine 9entl~.

COR'l'IHt1BD

'.

62

Rev. 4/12/90

37

#66208

(X) 62

CONTINUED ROBINETTE You're sure he never had an appointment with Victor More? I

JOHNSON keep his appointment book. ROBINETTE

You've worked for other city agencies? JOHNSON worked in the Real Estate Department and EPA. I was secretary to deputy commissioner•• I

ROBINETTE

And Commissioner Rothman never did anythinq out of the ordinary. Johnson nervously chews her lip.

Robinette lets her stew.

JOHNSON He has these long phone calls, and .•• sometimes I couldn't qet him ott to go to meetings. He'd talk right through 'em for an hour, hour and a halt ••• and •.• (long beat) ••• when he came out he'd be all pale and sweaty •••



Off Robinette'. look -COT TO

62A

INT. STONE'S OFFICE - DAY

62A

Stohl.eyer i. standing in tront of Stone's desk. custoaers fighting low-level warfare.

Two tough

STOHUlEYER There'. no ca.e here, Ben. My Client is not eom~lled to rescue soaebody who'. ri.k~nq his own lite. STONE That'. one war to look at it. I think he'. qu 1ty of un.lauqhter. S'I'OBUmYER

• ..'

Then why do' yOU want hia in front of & grand jury? CONTINUED

, .....

.

",':".

62A

3rd. Rev.

37A

*66208

4/1~(90

62A

CONTINUED I

STONE want to know what happened.

STOHLMEYER Grant him immunity and he'll testify against Hendrick. STONE If he pleads to manslaughter one ••. ? That's discussable. . STOHLMEYER can't convict him of manslaughter one.

,I \

(X)

YOU

STONE That's what ~uries are for, Erica. To decide wh~ch one of us is right. STOHUSEYER I'll talk to my client. 63



63

INT. HALLWAY - DAY

Robinette is walking fast with Stone • ROBINETTE The Local Usage Details for Rothman's home phone have dozens of long calls to Hendrick. On the weekends, four-five-six times a day. Hers have as many calls to him. STONE Hight of the murder? ROBIHE'rrE A call from Rothman to Victor More. CONTINUED

".'.• . .

"'I"..'

63

Rev. 4/11/90

38

#66208

CONTINUED

63

STONE What the hell were Hendrick and Rothman talkinq about the rest ot the time? COT TO 64

INT. COURTROOM - DAY Stone comes in. defendant, etc.

64

There's a hearinq in proqress. Lawyers, The jUdge's plaque says Leo Fadenhecht. JUDGE FADENHECHT

I'm not goinq to rule on that right now, counselor. We're miles away from discovery questions. Stone's at the back of the courtroom. He's holding up a hand to qet the judqe's attention. Fadenhecht spots him and crooks a finger to tell him to come forward. Stone comes down the center aisle, through the qate, up to the bench. He covers hi. microphone with his hand and they talk quietly. JUDGE FADENHECHT

••

I hope this is important, Mr. Stone. STONE I ne.d a tap warrant. JUDGE FADENHECHT

Anrbody qoinq to put my a.. in a ~l~nq it I say ya.? You got cause? STONE

Rock solid, Your Honor. The judge cups a hand and wave. tor the warrant. it up on the bench and the j udqa .igns.

Stone puts

CUT TO 65

thru 66

67

65

OMI'rl'BD

thru 66

INT. STONE'S OFFICE - DAY

67

Stohl.eyer is standinq, turious. Rothman sits. Stone, casual to the point ot boredom, haa his teet up on his desk. CONTINUED



.. ....

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CONTINUED

67

STOHUtEYER You're only qoinCf to indict because h.'s being hunq ~n the press.

Stone swinqs his feet down and his manner changes to steel. STONE Somebody ~ot very careless here with a human l~fe, Er~ca. Your client still has no alibi. Hendrick hasn't budged. She never saw him. (to Rothman) Do you want to tell me about your. relationship with her? Maybe we can help her change her mind. ROTHMAN have nothinq to say about Miss Hendrick. I

STONE commissioner, you know what our prisons are like these days. And you're qoinq to be in one for a long time. -You want to qo alone?

ROTHMAN Miss Hendrick will do the riqht thinq •

•.••.•. .0:\ .. "

STOHLMEYER (standinq) Let's qo, Henry.

Robinette enters as they leave. ROBINETTE Firat tape. are in on the Rothman tap. CO'!' TO

68

INT. SCJal'F'S OFFICE - DAY

A tape recordinq i. playinq -- Rothman and Hendrick. Schitf, Stone, and Robinette listen. Hendrick berates Rothman. He responds like a scolded child. RO'l'HMAN

•.

...•

' '...

(d••perate, soft voice) Elizabeth, I need your protection. You have to tell th. .-CONTINUED

68

..

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CONTINUED

68

HENDRICK (hard) Henry, you do exactly what ! tell you. ROTHMAN

(meek) Yes, Elizabeth, whatever you say. Stone and Schiff look at each other.

This is weird.

HENDRICK First, Henry, ke.p your mouth shut. Especially with that moron lawyer of yours. Second, don't talk to the prosecutors. And third, don't call me. Do you understand? Yes. Yes what?

ROTHMAN

HENDRICK ROTHMAN

Yes, EliZabeth, I understand. There is a click. Schiff stops the tape. He lets out a whooshinq breath to show how stranqe he thinks this is. SCHIFF Riqht out of Krafft-Ebbinq. ROBlNE'ftE But nothinq incriminatinq. STONE

Sure sounds like she could have been with him. ROBlNE'rtE And it sounds like he's her slave. Literally. SCHIFF

SUppo.. sb.'. into this sc.n., and

suppo•• she is the elominant one, was qoinq on~at niqht?

~

COT TO

41

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69



INT. PSYCHIATRIST'S OFFICE - DAY

69

A stark room.

A modern standing lamp with soft light cast upward, white walls with a single modern print. A desk with chair. An Eames chair next to a chaise. Or. Nicholas Gregg sits in the Eames chair and Stone sits on the chaise. OR. GREGG

(with a smile) I'm sorry you don't like the room. STONE (looking around) A little bleak, don't you think? OR. GREGG

No distractions. My patients are the center of attention, not the room. (beat) You see, we're doing it right now. Establishing who'S in control. Who has the power. STONE Went right past me. OR. GREGG

Every relationship, Mr. stone. Work, at home with your wife, kids.. Every relationship .is about power •



STONE But I don't beat people up for kicks. (beat) A dominatrix, a woman who plays the dominant role in a .exual relationahip ••• would ahe play the role in 80me other situation••• not a sexual on•••• but emotionally charqed? OR. GREGG

It'. learned behavior. Operant conditioning. Pre•• the riqht button, you qet the riqhtre.ponse. (beat) The que.tion i. finding the button. COT 70

TO

INT. HALLWAY - DAY

70

Stone walks toward Schiff'. otfice holdine; a tile. Robinette co... ott a side hallway and joins him. CONTINUED ,

',..



70

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70

CONTINUED ROBINETTE Forensics says the oil on the Polaroid finqerprint is the same as on the body. STONE That sure ought to establish the picture was taken when More died. This is going to be a pleasure.

(X)

They turn into Schiff's office. 71

INT. SCHIFF'S OFFICE - DAY - CONTINUOUS Robinette and Stone come in.

a file onto Schiff's desk.

71

Schiff looks up.

Stone tosses

STONE New tox report. victor haa quaaludes in his blood. Probably black-market from Goa. If he was on ludes ••• ' Diminished mental capacity. He was in no condition to protect himself. SCHIFF Time to put a little ~re••ure on the Commissioner. ' ROBINETTE Why not on Hendrick? She was the one in charge. He's the weak one.STONE

Because the only pre.sure on Hendrick ..• i . Rothman.

ROBINE'rI'E Do••n't .... right. STONE

(exasperated) PaUl, w. have on. murderer we can indict by a hair and another we're not even near. SCHIF!' Something'. gotta give. And it'. going to be COJIIJIli••ion.r Rothman. CUT TO



( X) (X)

72

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#66208

INT. STONE'S OFFICE - DAY Stone holds the door open for Erica Stohl.eyer. As she's cominq in, she seems relatively pleased to see him. Ben.

72

STOHIXEYER You're ready to make a deal.

STONE But you're not qoinq to like it. going to indict your client for manslaughter one.

I'm

STOHIDYER (tight) Unless you have something I don't know about... Do I have to make a discovery motion? STONE (sitting down) Victor More had quaalud.s in his blood. A jury is not going to believe he had the caPacity to protect himself.

( X)

STOHUfEYER Nobody intended to hurt Vietor More. You have to prove intent -- and you can't. There's a knock on the- glass -- aenry Rothman. opens the door.

(X)

Stohlmeyer

STONE

Have a seat, Mr. RotbJlan. We were just discussing your state of mind when you killed Vietor More. ROTIDIAH

(bewildered) I thought we were here to make a deal. S'l'OHLMEYER

Sit down, Henry ••• and don't say anything! He sits. co_and.

Stone notices how immediately he responded to her CON'l'INtTlO

(X)



.~'.

:.:

.. ,-

..

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72

CONTINUED STOHUlEYER (to Stone) No matter what you think my client was doing with Viator Rore, this was a quywho begqed. to be hurt as part df the qame •.. he was a masochist. STONE He didn't beg to die.

STOHUlEYER I'll tell you riqht now what I'm going to tell a jUry, if there-iver i. one. Victor More committed. iUicide. And. you can't prove he didn't. Try me.

STONE

Stohlmeyer's in a box andahe knows it.

She qives a little.

STO!WlJtYER Criminally negligent homicide. doe. three months, maximum.



He

STONE We stay with, manslaughter one, your client waive. immunity, and. I'll recommend a minimum sentence if he rolls on aendrick.

(X) "( X)

Stone looks at Rothman with utter disdain. STONE ae's insignificant ••• A ceq. I know aendrick ordered hill to do what he did. His mistake is he thinks she can still help hia. (cold, soft, hard) I'm in cbarqe. And I'll crush your client. We are not talkin~ Gout dirty pictures, we're talk].ng about death. A crime ' s been C01llllitted, and the quilty wIll pay. OOe. he want the deal or-noE? Forqet it.

STOHUmYER

Stone stands up and heads tor the door.



STONE I just forqot it.

No deal • CONTINUED

,, .. ,,.,

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72

......•

·',' ; ....

72

CONTINUED (2) He opens the door for her to leave. Rothman's eye. dart from Stone to stohlmeyer. ROTHMAN (almost frantic) wait a minute, it wasn't m••.• sh. did order me to do it ••. I wanted to savehim. But she wouldn7 t let m•• STOHLMEYER (d.f.ated, to Stone) I quess you got your d~al. FADEOUT END OF ACT THREE

:/".



'

• .;,..+

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t66208

ACT FOUR

FADE IN 73

OMITTED

73

74

INT. HENDRICK'S APARTMENT - DAY

74

In the livinq room, Elizabeth Hendrick enters and is met by Stone who ~resents the warrant as two investigators search. Robinette 15 with one investiqator opening the drawers of a Louis XIV bureau. Another is pawing through a closet. STONE We have court-ordered permission to search the premises. This warrant covers your apartment, your car, and all your personal possessions. To Hendrick, they're all just a bunch of annoying peons. HENDRICK

Would you like some coffee?



Stone gives her a'look. Robinette turns from the bureau, shaking his head. Nothinq • CUT

75

TO 75

INT. HENDRICK'S BATHROOM -DAY

Wall-to-wall marble. An inve.tiqator is at the medicine chest with Robinette. He is openinq an unlabeled brown pill container. He looks, pas••• it to Robinette, who looks. ROBINE'1"1'E

(calling) Stone •••

Stane poke. hi. head around the corner. ROBINE'l"1'E

Looka like black-market luudes. Maybe the same kind they found in Victor ••• ? 76

INT. HENDRIClC'S BEDROOM - DAY - CONTINUOUS

76

Stone i. coming back in. An inve.tiqator is kneelinq at a 1arqe cedar che.t, tryinq to get it open.



CONTINUED ""' ,.1'

P

76

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76

CONTINUED INVESTIGATOR Locked, Mr. Stone . . Stone turns to Hendrick. STONE Do you have a key? Hendrick pulls out a key and hands it to Stone, who fits it into the lock. HENDRICK (wry)

That's my hope chest. Stone lifts the lid of the chest and pulls out a black leather jacket and pants--identical to the kind worn by the fleeing duo in the Teaser. STONE What were you hoping !2£? CUT TO

77



INT. SCHIFF'S OFFICE - DAY

77

Robinette and Schiff are an audience to a frustrated Stone . STONE You have three consenting adults consenting to certain... activitie•• games. One ot them dies. Who'. responsible? ~

SCHIFF think Hendrick was.

STONE And all I have is the uncorroborated te.timony ot an accomplice. I think maybe in Albania that gets you a conviction. SCHIFF What about the pills? ROBINE'.rTE Tough. It they're =_ically the s . .e. Iran expert witne•• doesn't knock t5i toxicology. circumstantial isn't the word for it. Try the jury laugh. on the way out. CONTINUED

(X) (X) (X)

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#66208

77

CONTINUED SCHIFF There's no law against owning a leather jacket. STONE But there might be one against what you do when you're wearing it.

78

78

INT. STONE'S OFFICE - DAY cathy, the salesC1irl fro. the Eroqenous Zone, is interviewed as a potential w1tness by Stone and Robinette. CATHY

Okay, I sold Miss Hendrick the leather. So What? STONE Did you ever hang out with her? CATHY

Is that a joke?

STONE How well do you know Elizabeth Hendrick?

'. ., . .

CATHY

Look, I don't qet clo.e to the customers .•• They're all playinq with fifty-one cards. ---

( X)

Stone's responds slowly and calmly. He wants her to realize how serious this is. And cathy qets the .essa98. STONE Cathy. A man is dead. murder.

This is about

CATHY

(quietly) There'. a couple of club•••• on. where a lot of rich people go ••• (beat) Club X. CUT TO 79

tNT. CLUB X - NIGHT

79

An S~M bar in full swing. Enough black l.ather to excite GOebbels. Robinette weave. tbrOuyh the bikers and their wo.en, who look at him with di.da n that's almost hatred. CONTINUED

Rev. 4/12/90

49

*66208

"

79

79

CONTINUED The heavy metal music is pounding. We SEE BUT DON'T HEAR Robinette talking to the bartender, who points toward the rear of the club. Robinette starts off through the crowd. COT TO

80

80

INT. CLUB X - MANAGER' 5 OFFICE - NIGHT

The heavy metal music is faint. eeline, the manager, is a razor of a guy in who's standing and breathing fire. CELINE

you got some Amazon blond freak who says this Hendrick person was here. 50

And you --

ROBINEn'E CELINE

And I club.



(interrupting) say qet the hell out of my

ROBINETTE (turning to laave) I'll be back with a subpoena. COT TO

81

INT. GRAND JURy ROOM - DAY

81

Celine is on the stand. Onder stone's qrillinq he's not sounding quite so tough, but he starts with an attitude. CELIO

can't discuss my customers. It's like doctor-patient confidentiality ••• lavyer-client ••• you can understand that.

I

STONE

Mr. Celine, as leqal advisor to the

(X) ( X) (X)

qrand jury, Iac1vi.e you that the law of the .tate of New York recognize. no such privilege or confidentiality and I direct you, sir, to an.wer the question.

(X) ( X) (X)

CELIKE

run the place, I ' . not responsible tor what goe. on in it.

I

CONTINUED 'l",.

81

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#66208

81

CONTINUED

Stone walks straight up to the stand and delivers this to celine's face. STONE

You are here under subpoena and you're under oath. You answer the questions or you Cio to jail. Your attorney will verlfy that tor you. I ask you again: was Elizabeth Hendrick a dues-paying .ember of your club? Celine tiguratively, and literally, starts to sweat. CELlNE She was a member. She paid dues. STONE

And what did she do when she came to your club? CELINE She .•. uh ... she liked to have slaves. STONE

What did Miss Hendrick do with her slaves?

CELINE She liked to watch things get a little out of control.

.,

',.:""'"

( X)

STONE

How out of control, Mr. Celina? ClLINE

La.t .onth ••••h. had this .lav•••• it got crazy .•. damn n.ar killed a kid ••• Gary ••• Gary .omething ••• Pard... Gary Pardee. The Grand Jury isn't pleased. COT TO

.'.

82

OMI'rI'ED

83

INT.

82

STONE'S OFFICE - DAY

83

Gary, 19, rest. hi. broken 8a, in a cast, on the arm of the chair. He i . embarra.sed and scar.d. CONTINUED < 'i ,.'.

51

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4/ 11/90 "

83

CONTINUED

83

GARY (reasonable, not angry) What is it with you guys? business What I do?

Is it your

ROBINETTE (patiently) Garr, you got hurt. It'. our bus~ness if people qet hurt.

STONE Who actually hit you? GARY (head down, subdued) It was Rothman. She told him to do it •.• but it went a little turther than it was supposed to.

STONE Why didn't you press charges? Gary is contronting the

'.

~

reason he'. embarrassed.

GARY

What does that make me look like? I agreed to it. Maybe it was mr tault . for qetting invo1ved in the t rst place. (beat) Don't torce me to ~estify. It'll ruin my career. 1']1 perfect tor younq dad parts in commercials. CO'1'

84

TO

INT. STONE'S OFFICE - HALLWAY

84

Stone and Robinette watch Gary qoinq toward the elevator. ROBINE'rI'E He'. usele•• at trial. He'd be a reluctant witness and you can only brinq him in it the character i.sue i. opened up.



STONE Wor... He say. ita hi. own faUlt, he can be used against us. Make. the responsibility question real IlUddy . COT

TO -",.'.

.

·

• "',.

r~,~

85

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#66208

INT. GRAND JURy ROOM - DAY

85

Rothman is on the stand. Robinette is at the prosecutor's table. Stone is facing the grand jury in mid-question. STONE And on that evening, did you hurt Mr. More?

( X)

ROTHMAN Miss Hendrick said to slap him on the legs and the buttocks. STONE You slapped him with your hands.

ROTHMAN Yes •.• no, I was wearing gloves. STONE Where was Mr. More when this was happening?

( X)

ROTHMAN He was standin~ on a chair with a noose around h1S neck and ••• trying to reach orgasm • ...:"'.

And did he?

STONE ROTHMAN

No, he .•. he lifted his legs off the chair to tighten the noose and qet' the feeling of hanqing ••• and accidentally kicked the chair over. I went to put it back and Mi.s Hendrick ordered .e not to. STONE EliZabeth Hendrick told you to let Itt. More hang to death and you S!Q? ROTHMAN

You have to understand, 1 ..• 1 had to do what she told me. STONE You h!a to do what she told you. ROTHMAN

(meek and pathetic) It was part of our game. COT TO

(X)

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#66208

'.

86

86

INT. SCHIFF'S OFFICE - DAY

Schiff is talking with Stone and Robinette. SCHIFF Still a million miles from Hendrick. Even with the drugs and diminished capacity.

ROBINETTE Our own case says her role in the death is indirect. STONE If I qet her on the stand, I can brinq her down. COT TO

87

INT. HENDRICK FOUNDATION OFFICE - DAY

87

Elizabeth Hendrick is sittinq. Jar Sterlinq, her lawyer, (X) an eminence qrise, is standinq behnd hare Stone is conciliatory, overly polite, even weak ••• He is tryinq to sucker her 1nto overplayinq her hand and he is beqinninq to succeed.

it ."

HENDRICK You know that Henry Rothman killed Victor More, don't you?

( X)

STONE Ye., I'm afraid I do. HENDRICK At least we have thatstraiqht. STERLING Elizabeth, I have to recommend-HENDRICK (cuttinq him off) I'll handle this, Jay.

(X)

sterlin; looka properly chastened ••• and frustrated. STONE On the stand, if you were effective in pre.entinq your side, you'd clear yourself.

... .,

:..;.

HENDRICK order) You'll qrant .e immunity and then I'll testify aqainst hi•• (an

CONTINUED

87

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#66208

87

CONTINUED

".~".".'.'.<"'.: "

STONE I'm sorry, I can't do that, Hi•• Hendrick. HENDRICK That's what you're going to dO, Mr. Stone.

..

STONE YOU really think the qrand jury will believe you're innocent.

(X)

Hendrick qive. him a clear-eyed, hard stare. HENDRICK You never know, Mr. stone, do you? (beat) I'll waive immunity ..• (beat) I'll see you at the qrand jury. CUT TO

.•

.~ ":'" "

8S SSA

88

OMITTED EXT. HENDRICK FOUNDATION ,

SSA c

Robinette looks dispirited as he and stone exit the buildinq. STONE She has to .nqaqe ••••• 1t she doesn't, it'll .ake her look weak. CONTINUED

".

(X) (X)

.66208

'.

8aA

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88A

CONTINUED ROBINETtE It's one of the long.st shots you've ever played. STONE She wants to dominate .e. I'm going to give her the chance. CUT TO





-

.~

.'.. .... '

'.



89

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55

*66208

INT. GRAND JURy ROOM - D A Y 8 9 ElizaJ:)eth Hendrick is on the witness stand. Again Stone is conciliatory, treating her with great deference, letting her dominate the exchange. HENDRICK That question has an ugly implication, Mr. Stone. STONE I'm sorry. Could you help me rephrase it?

HENDRICK You asked if I gave the men drugs. You implied I gave them illeaal drugs. Mr. Rothman and Mr. ore took drugs, but not because they got them from me. I

STONE apologize if I otfended you.

Hendrick looks pleased. asks the next question.

'. <,"."

stone turns toward the jurors as he

STONE

You were accustomed to playing qames with Mr. Rothman, is that right? HENDRICK More invited .e to joip him in what he called a performance art . work. We were rehearsing it with Mr. Rothman. We'd done this before and. the man were never very good. at it, so I was doing my best to help them.

Mr.

The jurors look at each other.

the wacko in Hendrick.

They are beqinning to see

HENDRICK I left the men alone for just a few ainute.. When I returned I found. Mr. More dead and the chair .everal feet away. Mr. Rothman was sobbing on the floor and he kept saying over and over, I let hi. die. It was a tragic mistake made by incompetent .en. I know that I Should. never have left them alone. CONTINUED



eX)

'66208 89

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5SA (X)

89

CONTINUED STONE

You knew that you shouldn't have lett them-aIOne? D08s that mean you knew victor More might get hurt it you did? Hendrick hesitates for a moment. She's lost, flustered.

HENDRICK I mean I •.• I know now that I shouldn't have let~em alone. COT TO

-,

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56

166208

(X)

90

"

90

INT. CORRIDOR - DAY

Lunch break.

outside the qrand jury room. ROBINETTE

She sounds crazy. The question is does she sound crazy enouqh. STONE The question is does she sound quilty enouqh. ROBINE1"I'E

Ben •.• 91

(noc:ldinq past Stone)

91

THEIR POV

At the end of q••ticulatinq Rothman steps He backs into

the hall, Hendrick is stanc:linq over Rothman, with her hands, seeminq to berate him. backward. Hendrick steps up closer to him. the wall.

Stone and Robinett. move down the hall. Stone's face is buried in a file. When Robinette spots Hendrick and Rothman, he nUc:lqes Stone. ROBIHE'rl'E

Ben •••

Stone looka up, sae. the tableau and watches with interest.

92

92

INT. GRAND JtJRY ROOM - DAY

Rothman is on the stand.

Stone is dead-facade

STONE

Ladie. and qantl_en, Mr. Rothman has told . . ha feels his testimony this aorninq was not complete. He has ••ked for the opportunity to expand on it. ROTHMAN

(voice quaverinq) I lied to you this aorninq. I was solely responsible for Victor More's death. Mi.. Hendrick was not in the ro01l at the tiae. I take full responsibility. COM'1'IHUED

• ·~

..

92

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t66208

(X)

CONTINUED

92

STONE Did you have a. conversation during the lunch break with Elizabeth Hendrick?

Rothman wasn't pre~ar.d for this. licks his lips. H~s eyes roam. STOKE

H. says nothinq.

He

IOU

Mr. Rothman, I asked it you had a conversation with E iZabeth Hendrick. Yes ••• STONE Did Miss Hendrick order you to co•• back here and change your testimony?

/

RO'1'HMAN

I

killed Vietor More. STONE

Just like she ord.red you to on the night Vietor More died. ROTHMAN

Miss Hendrick had nothing to do with it. Stone's jaw muscl•• are flexing. Se mak•• a 'visible effort to control hiaself, hi. voic. quiet and hard. Mr. Rothman,

STONE

IOU

r . .11:. that the•• statement. wi 1 invalidate the plea barqain that you entered into. RO'1'IIIWt

(.tone-faced.) Mi•• Hendrick had nothing to do with it.

93 93A

OMIT'l'ED

93

IN'!' • ROTHMAN'S TOWNHOUSE - DAY/lfIGH'1'

93A

Gr.evay's on tha bedrOO1l extension. A pair of 1"8 from a hanging body i8 sUilpended in aid-air behind hu. Se's holdine; a handfUl of Polaroid•• COIC'l'IHUED

93A

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'66208

CONTINUED

93A

GUEVEY

stone? •• Max Gr.evey ••• I'. standinq in the late Henry Rothman's bedroom. I think you should g.t up h.r•••• CUT TO

94

INT. PAVILION OF POPULAR ART -

NI~UT'

94

I

The glittery opening of the. lat. Victor, More'. show. ( X) Black-tie men, gowned wo.en, Soho .en an4- women. More's ( X) massive photoqraphs are on the walla, includinq a picture of (X) More himself, his death photo blown up. Stone moves throuqh the· crowd. He s••• Elizabeth Hendrick in a gown, lauqhinq, her h.ad thrown back. He mov.s slowly toward her. She turns and se.. hill. . HENDRICK (a picture of chara) Mr. Stone, I didn't expect to ••• you here. STONE

(controllinq the venoll) I have .0118 news you . .y not have heard. Your friend Mr. Rothman? He killed hims.lf tonight. Couldn't tace jail, I Hanged himself trom hi. bedrOOll chandelier. . What do you bave to .ay about ~t?

qu....

HENDRIC1t

(now a .00000r aile) Di4 anyone take a picture? STONE

Ho one took a picture, but Rothman lett soae •••

sum. reache. into hi. pock.t, Greevey and Loqan enter, tollowed by a pair o~ unitorms.

As

STORE

Polaroid•••• ot you ••• watchinqKor. die ••• He turns th. . sO that she can s_ Greevey and Loqan COM up to her. Greevey locks ey•• with her.

th...

She

As Loqan

(X)

bl~che••

cutts her,

COll'1'nrtJlD

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94

CONTINUED

94 GREEVEY

You have the right to remain silent, you have the right to an attorney. If you cannot afford an attorney, one will be provided ••• FADEOUT END OF ACT FOUR



,~.,.

j.

Inqa vainshtein

Oct. 16th, 1990

Charles Banks

PRISONER· OF LOVE by Robert Stuart Nathan (teleplay from T.V. series, "LAW AND ORDER")

qenre: T.V./drama/crime paqes: 59

C;~~~',f.\ ~J ~ C~ &,,"'> k __

SYNOPSIS

,'.

In New York, a police investiqation into the apparently suicidal death of morbid artist VICTOR MOQuncovers some unusual details which convinces authorities there is more to the story than meets the eye. Further invest~qation and the ensuinq.courtroom trial reveals that victor More was into S & M, and that niqht was involved·· in domination play with two other people -- HENRY ROTHMAN, the city cOllUllissioner of CUltural Affairs, and ELIZABETH KENDRICK, a spoiled socialite who enjoys havinq "slaves"~n her sex play -- of which Rothman and More were two. RotiUllan claims responsibility for More's death. He explains that More used a noose to simulate-hanqinq, thus heiqhteninq his orqasm ••. but he tripped and hunq for. real. Rothmanclaims he refused to help More, and that Kendric~ ""as out of the room at the time. But after he's convicted, Rothman kills himself, leavinq Polaraids that prove Kendrick was there durinq the hanqinq, and was primarily responsible for the accident. She is arrested •.• COMMENTS

This is not very useful for a wri.:tinq sample.

First

off, it's based on a television proqram, which seems to allow the absence of character development within the script.

As a result, we don't have any idea of what our

heroes are \ike. and only the most curllory hints at some of their

motiva~ions. \

This simply leaves the.tory, which is your basic T.V. police procedural.

While the aqent tried to fob this Off as

"amazinq" in his coverlett.r,. he don't seem to have very

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high standards.

Tqe story is competent, but not especially

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,

outstanding or unique-- unless you c,ount

SODle

of the rather

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lurid details of the plot (5 & M sexplay, autoerotic suicide, etc.). character, this stuff.

But again, without any feeling for

.,1*Ys simply

plot-driven T.V. detective

Even the ending is rather contrived, relying on

Aux Machina to bring the guilty party to justice. OVerall, competent, but far from impressive.

I>eUS