Basic Instinct

by drawingqueen

I've decided to do a just slight twist to the movie "Basic Instinct" written by Joe Eszterhas. I've made Jethro Gibbs take the place of Michael Douglas' character in the film, also Jennifer Shepard takes the place of Sharon Stones character as well. (If only sexy Mark Harmon was in the movie! *Sighs) * I don't own anything! Enjoy! :)

4. Chapter 4

CHAPTER 4:

THE DETECTIVE BUREAU - (MORNING)

He walks in. He looks hung-over. He sees Gus with Harrigan and Andrews and Lt. Walker in Lt. Walker's glass-enclosed office at the end of this big room. They look at him when they see him.

LT. WALKER: "You look like dog shit."

GUS: (grins) "He looks a little shrunk, that's all."

ANDREWS: (after a moment) "We got a call from Berkeley P.D. There was a killing. A professor. Icepick. In his bed, multiple stab wounds. 1977."

JETHRO: (a thin smile) "She was there, wasn't she?"

LT. WALKER: "University records say she was there." (He and Jethro look at each other a long beat, then) -

LT. WALKER: (suddenly) "Gus go over to Berkeley. Harrigan - find out what else she's published. Andrews get the files on her parents' accident. Carbon Beth on everything. I want some psychological input on this. (Andrews and Harrigan go; Jethro is left there with Gus.)

JETHRO: "What about me?"

GUS: "You're already gettin' psychological input, son."

LT. WALKER: (to Jethro) "Go stick your head in a tub of ice water." (pauses, then seriously) "See where she leads."

THE BEACH HOUSE AT STINSON - (DAY)

The black Ferrari is in the driveway. He sits in an unmarked police car on a hillside above the house, watching. It is a bleak, leaden gray day. Jennifer comes out of the house. She is dressed casually. She gets into the Ferrari and pulls out of the long driveway.

HIS POLICE CAR

He stays behind her at a safe distance on the winding panoramic highway - a two-lane mountain road which leads from Stinson Beach into Marin County.

She suddenly starts speeding up on the dangerous road, cutting in and out, passing cars very fast. He starts cutting around cars to keep up. He cuts out and can barely pass a car without hitting a Grey Lines Tour Bus head-on. Close call: sheer drops on either side. He looks frazzled.

He's behind her at a distance on a hilly Mill Valley road - little streets, terraced hillsides, sharp turns. He goes slowly, looks around, thinks he's lost her. And then he sees the black Ferrari parked in front of a house obscured by hedges.

He parks the car a distance behind the Ferrari, sits there for a while. He gets out, goes carefully up to the hedges, looks. A small, nondescript house. He watches. He can't see anything inside the house. He reaches over to the mailbox and opens it. He takes an envelope out, looks at the name: Hazel Dobkins.

HIS POLICE CAR - (NIGHT)

He watches as she comes out of the house. A frail old woman in her 70's is with her. She hugs the old woman, gets into the Ferrari, starts it up. He waits a moment and then starts after her. He stays behind her at a distance - she is going slowly. And then she suddenly guns it, cuts her lights - her wheels screech. He guns his car after her. He makes a turn. She is gone. There's a fork in the road. He turns one way, goes a few hundred feet. Nothing. Blackness. He stops.

JETHRO: (quietly) "Shit."

He pulls his car up to her house at Stinson Beach. The black Ferrari is in the driveway. A light goes on in an upstairs bedroom. The curtain is drawn. He sees the outline of her body now. She starts to take her clothes off - there in the window, behind the curtain. Her breast and butt are visible. He watches her body as she does an almost languorous strip. His eyes are intense... ravishing. She walks out of the room and turns off the lights.

THE DETECTIVE BUREAU - (NIGHT)

He is alone, nobody else in the big room. He sits in front of a computer. We see the screen. He has typed in: HAZEL DOBKINS, WF, 145 ALBION RD., MILL VALLEY. He's waiting for a response. We see it come on screen: NOTHING CURRENT. A long moment, as he stares at the screen, and then we see these words:

RELEASED, SAN QUENTIN, JULY 7, 1965. We see him type in the words: PRIOR ARREST RECORD. A long pause, and then it comes up: HOMICIDE, JANUARY 10, 1956 - SAN FRANCISCO He stares at the screen a long moment.

GUS: (behind him) "Ain't you go nothin' better to do than to come in here and jack off the damn machine?"

JETHRO: (lost in his thoughts) "What are you doing here?"

GUS: (grins) I came in here to jack off the damn machine. One dead psychology professor. Noah Goldstein. Dr. Noah Goldstein. And guess what? He was her counselor. (Jethro looks at him a beat.)

JETHRO: "Was she ever suspect?"

GUS: "No, sir. They never even got a statement from her." (Jethro sits back a long beat, his eyes off somewhere.)

JETHRO: (slowly) "Do you remember a case - 1956 - Hazel Dobkins?"

GUS: (grins) "Hell yes! Couldn't get it outta my head for years. Still can't. Nice little kids - nice husband, wasn't porkin' around - no financial problems. One day - outta the clear blue sky - she does 'em. All of 'em. Used a knife. He got for a wedding present. Didn't even deny it. Sweet as honey. Said she didn't know why

she done it. (Jethro just stares at him.)

THE STINSON BEACH HOUSE - (NEXT DAY)

He pulls up to the house, gets out of his unmarked police car. He stands there a moment, thinking. He walks down to the beach entrance of the house. He hears a Rolling Stones song playing inside. He stands there. The door suddenly opens. Jennifer stands there, smiles. She's wearing a very short revealing dress with a cardigan.

JENNIFER: "Hi." (He looks at her, then) -

JETHRO: "Am I... disturbing you?"

JENNIFER: "No. Come in."

(They have their eyes on each other, she turns to go in. She goes in ahead of him - he follows her inside. He watches her body. His movements are tentative, off-balance. She turns the Stones down. On a table by the window, he sees a word processor. Spread around it are newspaper clippings. They are all about him. He sees the headline on one: KILLER COP TO FACE POLICE REVIEW. She sees him glancing at the clips.

JENNIFER: "I'm using you for my detective in my book. You don't mind, do you? (She smiles. He looks at her, expressionless.) "Would you like a drink? I was

just going to have one."

JETHRO: "No, thanks." (She goes to the bar.)

JENNIFER: (smiles) "That's right. You're off the Jack Daniels too, aren't you?"

(She is making herself a drink. She takes the ice out and then opens a drawer and gets an icepick. It has a fat wooden end. She uses the icepick on the ice, her back to him. He watches her.)

JETHRO: "I'd like to ask you a few more questions."

JENNIFER: "I'd like to ask you some, too." (She turns to him, icepick in hand, smiles.) "For my book." (She turns back to the ice, works on it with the pick. She raises her arm, jabs it. Raises it, jabs it. He watches her.)

JETHRO: (wary) "What kind of questions?" (She puts the icepick down, pours herself a drink, turns to him.)

JENNIFER: "How does it feel to kill someone?" (He looks at her for a long moment.)

JETHRO: (finally) "You tell me."

JENNIFER: "I don't know. But you do." (Their eyes are glued to each others.)

JETHRO: (finally) "It was an accident. They got in the line of fire."

JENNIFER: "Four shootings in five years. All accidents."

JETHRO: (after a long pause) "They were drug buys. I was a vice cop." (they continue to look at each other.) "Tell me about Professor Goldstein."

JENNIFER: "There's a name from the past."

JETHRO: "You want a name from the present? How about Hazel Dobkins?" (She looks at him, sips her drink, never takes her eyes off him.)

JENNIFER: Noah was my counselor in my freshman year. (she smiles) That's probably where I got the idea for the icepick. For my book. Funny how the subconscious works. (a pause) Hazel is my friend."

JETHRO: "She wiped out her whole family."

JENNIFER: "Yes. She's helped me understand homicidal impulse."

JETHRO: "Didn't you study it in school?"

JENNIFER: "Only in theory." (she smiles) "You know all about homicidal impulse, don't you, shooter? Not in theory - in practice." (He stares at her.)

JENNIFER: (quietly, walking towards him) "What happened, Jethro? Did you get sucked into it? Did you like it too much?"

JETHRO: "I don't know what you're talking about." (He stares at her, almost horrified.)

JENNIFER: (quietly, closing in on him) "Tell me about the coke, Jethro. The day you shot those two tourists -how much coke did you do? Hmm. Come on. You can tell me." (She steps closer to him. Her face inches away from his.) "Tell me, Jethro" (She whispers, her lips millimeters from his.)

JETHRO: (his eyes focused on her lips) "I didn't."

JENNIFER: "Yes, you did. They never tested you, did they? But Internal Affairs knew. (They are face to face. Her nose brushes against his lip.)

JENNIFER: "Your wife knew, didn't she? She knew what was going on." (Her hand slips up his chest. He twists her arm back behind her - their bodies are pressed against each other - their eyes digging into each other.)

JENNIFER: (continuing in a seductive whisper) Jethro got too close to the flame. I think you liked it. That's why she killed herself? (He's twisting her arm, staring at her, pulling her against him. They hear the door behind them. A moment goes by, he lets her go, turns away from her. Roxy stands there, staring at them. Her hair is up. She wearind a black motorcycle jacket, a black T-shirt, and black jeans and cowboy boots.

JENNIFER: (brightly) "Hiya, hon. You two have met, haven't you?" (Roxy looks at Jethro. Jennifer goes to her, kisses her on the lips, stands there with her arm around her -both of them looking at Jethro. He walks by them, opens the door to go.

JENNIFER: "You're going to make a terrific character, Jethro." (He doesn't look at her; he's gone. Jennifer looks at Roxy and they make out.)

BETH GARDNER'S OFFICE - (DAY)

Jethro comes in. He looks like he's going to kill someone. A receptionist sits there…

RECEPTIONIST: "She's on the phone - she'll be right with you, detective - He sweeps by her into Beth's inner office. She hangs up when she sees the look on his face.

JETHRO: "Who has access to my file?!"

BETH: "What are you talking about, Jethro -what's wrong with you?"

JETHRO: (screams out) "Who's got access to my goddamn file?!" (She gets up - he goes closer to her; she backs away from him.)

BETH: "Nobody." (He goes closer to her; she backs away.)

BETH: It's a confidential psychiatric record, it'd be illegal -She backs into a wall. She looks very scared. He comes very close to her - puts an arm behind her to the wall.

JETHRO: "Don't, Beth. Don't fucking lie to me!" (She says nothing, looks scared.)

JETHRO: (suddenly) "It's Internal Affairs, isn't it?"

BETH: "No, Jethro, please -

JETHRO: (loud, hard) "Who?!"

BETH: (blurts it) "Nilsen."

THE INTERNAL AFFAIRS DIVISION - (DAY)

He storms into the big room. He sees Marty Nilsen. He is sitting behind his desk in his glass-enclosed office inside this big room. About a dozen plainclothes policemen are in the big room. He goes by them into Nilsen's office.

MARTIN NILSEN'S OFFICE

He closes the door. Nilsen sees the look on his face, backs his chair away towards the wall…

NILSEN: "What do you want, Gibbs?" (He goes to him, picks him up by his lapels, slams him against the wall.)

JETHRO: (out of control) "You sold her the file, didn't you?!"

NILSEN: (scared) "What are you talking about?"

JETHRO: (out of control) "What'd she pay you?" (He slams him against the wall again. Jethro is frozen, holding Nilsen by the throat against the wall.)

ONE OF THE I.A. GUYS: "Let him go, Gibbs. Nice and easy." (He looks back, sees two Internal Affairs men with their guns drawn, pointed at him. He lets Nilsen go. He turns calmly and starts to walk out.)

NILSEN: "You fucked yourself, Shooter. You hear me? You are out! You are out!"

THE POLICE PARKING LOT - (DUSK)

He gets into his old Porsche. He starts the car up. Gus Moran comes up to the window…

GUS: "What's goin' down?"

JETHRO: "Nothin. I'll be okay." (They look at each other a long moment.)

GUS: "No, sir. You won't. There's smoke off yonder on the horizon. They're gonna want your badge."

JETHRO: (almost to himself) "She knows where I live and breathe. She's coming after me."

GUS: (after a long beat) "What is it you got between you?"

JETHRO: (after a moment; to himself) "I don't know."

GUS: "Somethin', though." (pauses, then Jethro looks at him.)

JETHRO: "Yeah." (pauses) Something."

TO BE CONTINUED…

More to come! Hope you enjoy it so far. Reviews Recommended! :)