Lipstick (1976) Movie Script
Easy.
Easy, Chrissy.
Mmm.
Now.
That's it.
Oh, boy.
We're going to make it.
So beautiful.
So beautiful!
Wow!
Sean, bring up the music.
( camera shutter clicking )
A little easier
with your love... softer.
It's beautiful like that.
It's great like that,
really good.
Let me have another back.
How's the hair, Sean?
It's good.
PARAMOUNT PICTURES
Just pull it a little bit
in the bed.
That's it, that's it, good.
WOMAN:
The veil is much too low.
Wait, wait,
wait just a minute.
Wait a minute,
let me just--
Francesco, it's
interfering with the lipstick.
All right, we know
it's the lipstick.
Yes.
Very good.
Up a little bit.
That's it, baby.
Look right at me.
Beautiful, very mysterious.
WOMAN:
Turn a bit to the right.
A bit to the
right, yes.
There you go.
A bit to the right.
Over, yeah.
The veil is much too low.
FRANCESCO:
Wait, wait, wait, just a minute.
Wait a minute,
let me just--
Francesco, it's interfering
with the lipstick.
No, no, honey,
you're interfering.
Yes, look
to the right, darling.
Wait. Chrissy, just pay
attention to me, Chrissy.
Just listen to me.
Here, let me
take this picture, no?
( shutter clicking )
Beautiful.
Beautiful, beautiful.
Great.
Yeah.
Ah, very mysterious like that.
I still think
it's too low.
I want her
all to myself. It's very distracting.
Will you give me--
You want the camera?
Do you want
to take this picture? No, darling, no.
No, you are the artist.
Let's keep going.
All right, well,
well, will you be quiet
and let me get one frame?
Yes.
Just let me get
one picture I like, Yes, darling.
without your
bickering there?
Now, come on,
give me a break.
All right.
Forget everything.
( Francesco talking
indistinctly )
Ooh, fabulous.
Oh, bravo, bravo.
You look sensational.
Fabulous, Chrissy.
Beautiful.
Oh, Chrissy, you look great.
Great like that.
Oh, let's get
this mermaid on film!
Like, wow, wow.
Give me a camera.
( Francesco giving instructions
indistinctly )
( gasps )
Beautiful like that.
Hey, man, what happened?
Is she dead?
Uh, it's closed for the day.
Stay behind the line, fellows.
MAN:
Focus. Now hold it.
Take a deep breath,
don't let me see it.
Feel the seaweed.
Wait a minute,
Bill, Bill.
Are you
uncomfortable? Steve, I was...
I was right in the
middle of a take.
Bill, look,
I just don't think this is working.
I'm sorry,
it really isn't.
I mean, what are you
trying to get at with this?
Hold that. It's great.
What's the matter?
It doesn't work.
Are you trying
to convince somebody
this is real?
( arguing continuing )
Hey, Chris, he's here--
Mr. Stuart.
( arguing continues )
I know we're
selling lipstick,
but nobody else
is going to know that.
The idea is
the woman...
( arguing continues )
Hi, Mr. Stuart!
Whoo!
Why didn't you tell me
I had to be a mountain goat?
You!
( giggles )
BILL:
Wait for the wave, the next wave.
They're still shooting.
Yeah,
they're running late.
BILL:
All right, let her out,
let her out
on the set.
Sit down.
BILL:
That's fine,
you're great, let's get,
we're getting it,
we're getting it, wait.
( Steve speaking indistinctly )
Maybe-maybe this isn't
the-the-the
right time, Kathy.
Uh...
Maybe-maybe
I just shouldn't
be here at all, huh?
She'll be
so disappointed.
Who'll be disappointed?
She really wants
to hear it.
You mean you want her
to hear it.
Uh, Kathy, will you bring
your sister's bag
from my car, please?
The small pigskin.
He drives
a small pigskin car?
( giggles )
BILL:
That's fine, you're great.
That's it.
We're getting it...
Oh, look.
Who's the, uh, masseur?
Huh?
With your sister?
Oh, that's Steve.
He works for
an advertising agency.
Ah.
They get
very friendly.
( chuckles )
Hey, Chris,
this is my music teacher,
Mr. Stuart.
Hi.
Hello.
Ooh.
( laughs )
Hi, how are you?
Fine, thank you.
You know you're Kathy's
favorite man
in the world, don't you?
Well, uh...
You've got to be a
wonderful music teacher.
STEVE:
Chris!
We're going to be ready
in a second.
Uh, I'm sorry.
No, no, no--
Delays.
It's okay, it's okay.
No, it isn't.
I should have known better.
No, it's,
it's interesting.
What, waiting around?
No.
Watching.
You're being
awfully nice.
And I really do
want to hear your music.
But...
it doesn't look like
it's going to be today.
Do you think possibly
I could come by
the school tomorrow?
Uh, yeah, sure, you can come by.
Uh, I won't be there.
I only teach on Mondays,
Wednesdays, and Fridays.
STEVE:
Chris!
Let's go, we're ready!
Uh, well, look.
Why don't
I make it easy for you.
Why don't I, why don't I
come by your place, all right?
You're just every bit as nice
as Kathy said you were.
What...?
BILL:
Wait for the wave, the next wave...
Uh, what's the address?
The Towers.
On Sunset?
Mm-hmm.
Okay.
I'll see you, kiddo.
All right?
See you, Mr. Stuart.
Sorry you had to come
out here for nothing.
Don't worry about it.
( seagulls screeching )
( pigeons cooing )
Come on, come on, come on,
come on, come on.
( clucking )
( high-pitched whine )
( pigeons cooing
with electronic embellishment )
( wings flapping )
( sounds change pitch )
( pitch descending )
( modulated cooing )
( dissonant electronic piano )
( music stops )
( water running )
( phone ringing )
( ringing )
Hello?
Who is it?
Who?
Uh, Mr. Stuart?
Gordon, Gordon Stuart.
Mr. Gordon Stuart.
Um, okay, could you ask him
to come up, please?
Yeah, you can go up.
It's apartment 16-B.
Thank you very much.
( doorbell rings )
Come on in, Mr. Stuart.
Hi.
I'm sorry.
I'm not quite ready.
You apologize too much.
Okay.
No more apologies?
Come on in.
Would you like
some tea or coffee?
No, thank you.
Maybe some beer.
I've got a terrific
French beer.
Yeah, beer would be fine.
Uh... would you mind...
helping yourself
while I get dressed?
Sure.
Thanks.
It's right there
in the fridge.
Shall I open one for you?
No, thanks.
Kathy hasn't been bugging you,
has she, about...
about listening to my stuff?
No, no,
not at all.
And I've got to say,
she's really crazy
about it.
She's beautiful.
I think so, too.
And I really want
to thank you
for being so great with her.
It's not just the music,
but it's the way
you understand her.
( chuckles ):
I think she's got one of those classic
crushes on you.
( chuckles )
How do you know Gage?
Pardon?
How do you know Sean Gage?
Oh, I met him
at some party.
An opening back
in New York.
Come on, sit down.
What were you doing,
playing "Chopsticks"
with him?
You know what,
I think we were.
He's got something to do
with classical music.
Modern classical music.
Well...
( chuckles )
Well, what I mean is not pop.
I teach the stuff.
I wrote to him once.
Wanted to send him something
I'd done.
What happened?
Nothing happened.
I like to teach.
I'm curious about what kind
of music you do.
Is it like Sean Gage?
Well...
it is electronic.
But, um...
I also add natural sounds.
And then I get variations by
utilizing modifying devices.
I also use synthesizers.
And-and now I'm
into using lasers.
( chuckles )
Look, why don't I just play it
for you now
and then if I have to,
explain it later, okay?
Sure.
( dissonant electronic
music playing )
( phone ringing )
Excuse me.
( music continues playing )
Hello?
Steve.
Where are you?
The airport?
Oh, really.
Hang on a second.
I'll... I'll only be
a few minutes.
Could you hang up
the phone
when I get to
the other room?
Sure.
Please?
Thank you.
( dissonant electronic
music continues )
Got it.
Thanks.
CHRIS:
How long did you say
that meeting's
going to be?
I've got it.
Could you hang up
the phone, please?
STEVE ( on phone ):
Hey, come on.
Your man's not even out of town
and you've got a party going.
Of course we'll miss you.
( dissonant electronic
music continues )
CHRIS ( over music ):
You know I'm crazy...
( music stops )
...about you.
Yeah.
Look, Steve, I know.
I know.
Okay.
Look, can I
call you back?
Yeah.
Okay.
Could you call me from Seattle?
Bye-bye.
You forgot about today,
didn't you?
I did.
I did.
I'm-I'm...
I'm really sorry.
I know how
you must feel.
You don't know me.
How do you know
how I feel?
You fuck priests, too?
Get out of here!
( grunts )
What...?
What...?
( groaning )
What are you doing?
No!
What's so hot about you?
Nothing.
Your picture all over
the place? Huh?
What have you got,
heavy-duty friends... No!
...give you whatever
you want, huh? No!
You fuck to get
what you want?!
( screams ):
No! Huh?
( panting )
Where is it?
What?
That new red shit.
Where is it?!
I don't know.
( grunts )
Huh?
( groans )
Where is it?!
Huh?
Where is it?
Where is it?
I don't...
Where is it?!
I don't... in-in...
Hmm?
...in the bath... room.
Hmm?
( whimpering )
Come on.
Come on!
( panting )
( grunting )
( screaming ):
Help!
Help...!
( crying ):
Help!
( crying ):
Please, God, help me.
( grunts in frustration )
( bottles clattering )
( Chris gasps )
( glass shattering )
( Chris sobbing )
( stifled sobbing )
Put it on.
Put it on.
Please don't hurt me.
Oh, come on.
Hold still.
My...
( moans )
( groaning )
Nice?
Take a look.
Open your eyes.
You like it?
You like it, Chrissy?
Huh?
Yes.
Why?
( stammers ):
It-it's... nice.
Huh? Because it makes you look
good enough to fuck.
Am I good enough
to fuck?!
I-I never said...
Oh, no, no...
( sobs )
I want it on me.
I want it on me.
( screams )
Come on.
This is only the beginning.
( Chris groaning )
( moaning ):
No.
( dissonant electronic
music playing )
( groaning, sobbing )
( screaming )
Oh, my God!
You're killing me!
( screaming )
Shh.
Get off me!
Shh, shh.
God... help me!
Relax.
( dissonant electronic
music continues )
Relax.
Just open up.
No!
Open up.
Relax.
That's it.
Yes.
( muffled screaming )
( screaming )
( dissonant electronic
music continues )
Hey, sis, I'm home.
( dissonant electronic
music continues )
What's the matter?
Untie me.
No.
My sister was in here.
I heard her.
I heard her close the door.
( music stops )
Want to call her in?
Have some fun?
Please... please, untie me.
What'd she see?
You mean this is the first time
that Kathy ever walked in
on you?
You know what she's thinking
now, don't you?
"My sister... just made it...
with my favorite teacher."
( grunting )
Catholic education,
can't do a damn thing about it.
It's on all their minds.
( cutting cloth )
( sighs )
( Chris whimpering )
( Chris gasping )
( sighs )
Listen, Chris...
don't do this with anyone else.
( door closes )
Kathy?
( water running )
Kathy?
Kathy! Kathy!
I was... going
to take a shower.
Kathy...
I thought you were...
I thought...
( both crying )
Did he urinate on you?
CHRIS: Pardon?
Urinate or
defecate on you?
They do that?
Some of them.
No. He didn't.
Did he
sodomize you?
CHRIS:
Yes.
WOMAN:
When he beat your head
against
the bedposts,
did you lose
consciousness?
Almost.
Not really,
but I almost did.
Where else did he hurt
you, Miss McCormick?
Um, I seem to be hurting
all over.
MAN:
I'm supposed to photograph
any cuts or bruises.
Would you mind?
I didn't exactly get... cut.
But he knocked
me around.
( shutter clicks )
Can I please go
get dressed?
Uh, one more,
please.
( shutter clicks )
Thank you.
Does he live
at the school?
No.
Some place in Venice.
What address?
( gasps )
( sirens blaring )
I don't know.
The school would know.
KATHY:
How do you know?
Have you
been there?
No. I looked it up.
I wanted to know where he lives.
WOMAN:
Where will you stay tonight?
Pardon?
The hospital
won't take long-- a few tests.
You may not want to
sleep here tonight.
No. No, I think
we'll probably stay
with our brother Martin.
I'll go along with
you to the hospital.
Please don't bathe
until after
the examination.
Okay.
Go on, go get
yourself a sweater.
There's a little bar
around the corner,
but then there's
a health food store.
He's got a little gal in there
he yaks a lot with.
You might check
that out.
If he shows up,
I'll... be in touch.
Good evening, Mr. Stuart.
Hold it!
Are you Gordon Stuart?
( indistinct radio
transmission )
( truck horn blaring )
( Chris gasps )
Chris... are you okay?
I guess I'm not.
I'm just not used
to driving Steve's car.
Why didn't we take ours?
He said just
to take his.
( turns engine off )
( vomiting )
( coughing )
( spitting )
( coughing )
Chris?
Chris?
( panting )
What is it?
It's not my fault,
is it?
No, no, don't
be ridiculous.
A little bit?
No, don't even
think that way.
I should have done
something...
called the police.
In class,
he seemed so nice,
even when somebody did
something really dumb.
I hope he hasn't
screwed up your head
like he screwed up mine.
Come on, let's go.
What'll they do
when the find him?
Not enough.
Chris, I'm sorry.
Come on,
let's just go.
( engine starts )
( birds chirping )
Is Steve going
to meet us here?
No, he can't get back here
till tomorrow morning.
Go find Martin.
I'll be along
in a minute.
MARTIN:
Kathy, you remember Sister Margaret, don't you?
KATHY:
Yes.
Hello,
Chris. Hi.
And, Kathy?
Hello, Sister.
Martin...
Go with Sister.
Kathy, we're having
buckwheat cakes
and raspberry syrup
for breakfast.
Go, Kath.
KATHY:
Thanks for treating me like a child.
CHRIS:
God, if I could only say what I feel.
What do you feel?
Anger.
Goddamned anger.
How's that for news?
Good. Good news.
At everybody?
Yeah, okay.
And him?
A lot more than anger.
That's right, love.
Keep your head down,
take a deep breath.
Breathe deeply, dear.
My mother and father...
I've been thinking
about them.
When they died...
I was at Mary Elizabeth's
house--
my friend.
They were coming to pick me up.
They crashed.
They got in a crash.
I felt...
It was worse.
I mean, it was different.
But it...
it was sort of like now.
The police, they asked her
such awful questions.
No question about it?
CHRIS:
No.
This is the man that raped you?
Yes.
What are you so quiet for,
Miss McCormick?
Nothing to shout about.
Yeah, I know,
but you sound uncertain,
and that worries me.
Are you sure this is the guy
that raped you?
I'm sure.
I told the police
why he was there.
Yeah, I know.
You invited him.
He's a teacher
at Kathy's school.
I have all that.
( intercom buzzes )
Yes?
There's a gentleman here
to see Miss McCormick.
Who is it?
Steven Edison.
Is that okay?
It's okay.
Oh, Chris.
( sighs )
Mmm.
Was it raining
in Seattle?
Let me see.
She lives alone, huh?
With our kid sister.
And that's it?
Yeah.
Have they got the guy?
Yes.
Please come in,
Father.
I'm Carla Bondi.
Where have you
got the guy?
Please, sit down.
Mr. Stuart is in jail,
but we can only keep him
there for 48 hours.
Then he's got
to be released,
unless we decide
to prosecute.
And we won't decide
to prosecute
unless you decide
to testify.
Now, do you understand that?
Well, you,
you should.
You should, sure.
She'll press charges.
Good.
Do you think I should testify?
Yes, of course I think
you should testify--
you've been raped.
Miss McCormick,
every human being
has the right of simple
consent-- even women.
But I must tell
you something.
If you plan to go ahead
with this,
you better be prepared to be
abused again in court.
What do you mean?
I mean that his
lawyer's going
to try to terrify you,
degrade you, control you,
humiliate you.
Why do you think there are only
in California?
MARTIN:
Only 10,000?
Out of no less than
What is it, Mr. Edison?
Do you want to ask me something?
Uh, yes, I do.
What chance is there the rapist
will actually go to prison?
Two out of 100 serve time.
So, even if Chris goes through
all that, there's no guarantee?
Never a guarantee.
What's in this for you,
Mrs. Bondi?
What do you mean?
Well, what I mean is,
I think there's a hell of a lot
you can get out of this--
we know there is.
I think you're
ambitious, aren't you?
Aren't you?
Yeah, but I'm not...
Come on, Steve.
I... I thought you
wanted me to press charges.
EDISON:
I do. I-I did, but...
Oh, look, this is
going to get ugly.
It was ugly.
I know.
But taking him
to court--
what's that going
to do for you?
Aw, look, things have been going
so beautifully, haven't they?
I mean, you're
the hottest model in the country.
The agency's happy.
If you go ahead
with this thing,
that's all going
to be wiped out.
And for what?
You're going to win this case,
and you're going
to feel worse.
Excuse me.
You know, she doesn't win
the case.
The People of the State
of California do--
to protect them from a rapist.
Chris McCormick
is a witness, that's all--
in the People's case
against Gordon Stuart.
If we have a case.
Oh, what...?
Mrs. Bondi, what do you mean,
"If we have a case"?
There's enough evidence,
isn't there?
Gordon Stuart is
one of the People
of the State of
California, too.
And we owe him his case.
And his case says...
here's a pretty woman
who, let's say,
comes on... and on,
and then
changes her mind.
What?
All right, she has a right
to change her mind...
but then she cries rape.
I didn't encourage him.
I told him to get out.
Yeah, but that can sound like,
"Come on in."
You didn't
throw him out.
It was too late to call...
When did it get
to be too late?
When it began to feel good?
It never did!
Gordon says you loved it.
He's a liar.
It was horrible.
Let's go, Chris. Come on.
He forced me down, and made me
smear lipstick all over...
Aw, drop it,
Chris.
Isn't that what you do?
Peddle lipstick?
Isn't that
what you do, too?
You hard sell her
all over this country.
And we're allowed to look
and we're allowed to buy,
but don't touch.
And all it takes for rape
is one man like Gordon Stuart.
Why should Chris McCormick
risk all the good luck
she's had
just to...?
Because it happened to her!
( sighs )
And because she can help.
All right, so you
know what you want.
Steven, you know
what you want.
But what do
you want, Chris?
He wanted to kill me with it.
BONDI:
With what? That's enough, damn it!
With his cock!
I hate him! I hate him,
and I want him to die in jail!
I want them to do it
to him in jail!
( crying )
Okay.
I'm sorry I had
to do that to you,
but I had to find out.
You're going to be
a terrific witness.
And we'll get
a conviction.
Oh, here they are.
REPORTER:
There they are up there. Okay.
Where's
the boyfriend?
He's not coming in.
REPORTER 2:
Is that Steve Edison, the boyfriend?
Miss McCormick, have
you had any contact
with Gordon Stuart
since the alleged rape?
No.
Not even at
the pretrial investigation?
Father McCormick,
are you willing
to give a statement
on this matter?
Mr. Stuart-- you supposedly
saw him attack your sister?
He was your music teacher
at school, wasn't he?
Do you think he was a nice man,
Kathy?
Any statement,
Miss McCormick?
Button your blouse.
Don't let
the newsmen see it.
BONDI:
What did you do then?
KATHY:
Nothing. I just cried.
Then we called the police.
I had to dial the number
'cause Chrissy couldn't see.
Thank you, Kathy.
Sorry I had to
put you through it all again.
Your witness,
Mr. Cartright.
CARTRIGHT:
Kathy, what time
did you get home from
school that afternoon?
KATHY:
About the time I usually get home.
You usually get home from school
at the same time?
I sometimes stop
at a friend's.
It was quite often.
Four out of five afternoons
the previous week.
So your sister might
easily have assumed
you might be late
that afternoon.
BONDI:
I object, Your Honor. I don't think so.
Counsel is asking Kathy to state
what was in her sister's mind.
Sustained.
Kathy, in direct testimony,
when you were questioned
by the deputy district attorney,
you testified he was raping her.
Do you know what it means,
the word "rape"?
It's when somebody puts force
on somebody to have sex.
If your sister hadn't told you
she'd been raped,
from what you saw, would you
have been able to determine
if it was done
without her consent?
BONDI:
Objection. Objection.
JUDGE:
Objection sustained.
CARTRIGHT:
Now, Kathy, if she had said nothing to you that afternoon,
would you have thought that
the behavior of the defendant
and your sister,
in her bed,
constituted this crime?
BONDI:
Objection.
The witness is not competent
to determine
what constitutes a crime.
Yes, I am.
JUDGE:
Sustained.
You said you opened
your sister's door,
and saw her on the bed
with Mr. Stuart.
When you looked through
that door,
was she struggling?
She was tied up.
Ah, but, Kathy, your sister's
a very strong woman.
You think that somebody,
all by themselves
could have tied her up?
BONDI: Objection, Your Honor.
That calls
for speculation.
JUDGE:
Sustained.
If he had a gun or a knife.
Kathy, did you see a knife
in the defendant's hand?
Did you see a gun?
Still, she was tied up,
wasn't she?
Do you like to read?
Yes. I like to read.
Do you sometimes read books
you're not supposed to?
Books on the list?
KATHY:
Sometimes.
Have you read a novel
entitled The Story of O?
No.
Have you heard
of it?
Yes.
From friends?
One friend.
So you know
from this friend
that there are people
who derive sexual pleasure
from being
physically restrained.
Tied up. Some of them
even enjoy being beaten up.
Not my sister.
The answer to my question,
though, Kathy, is...
Not my sister.
Please, Your Honor.
Let it pass, Mr. Cartright.
You've made your point.
Not my sister.
CARTRIGHT:
Miss McCormick,
surely you have experienced
oral copulation in the past.
BONDI:
The witness' sexual history is inadmissible.
JUDGE:
Objection sustained.
I hope I haven't
given the impression
that I believe you
to be a promiscuous person.
I object.
Well, yes, you did,
by your questions.
Then I want to state
quite emphatically
that Mr. Stuart's defense
does not depend upon
your promiscuity.
I object to these
gratuitous comments
by the defense attorney.
Sustained.
This is cross-examination,
Mr. Cartright, not argument.
Mr. Bailiff,
could you get the board, please?
Your Honor,
I have defense exhibits
which I've already marked
"B" through "G,"
and which I believe
Mrs. Bondi has already seen.
If it please, Your Honor,
may we approach the bench?
Yes, you may approach.
I object, Your Honor,
to the introduction
of these photographs.
On what grounds, Mrs. Bondi?
As not being relevant
to the case.
JUDGE:
Mr. Cartright?
CARTRIGHT:
At least one of these frames is from a film commercial
that was photographed
the day before
the alleged attack.
Now, it's acknowledged
that Mr. Stuart was
present on that occasion.
They'll be received in evidence.
Proceed, Counselor.
Now, this is a frame
from the film commercial
that was photographed the day
before the alleged attack.
Is that correct?
BONDI:
Objection. Yes.
These are rejects
out of hundreds,
perhaps thousands,
of work prints.
They're called outtakes,
and they're not meant
for general distribution.
( gavel pounding )
JUDGE:
Overrulled.
Are spectators normally
permitted to watch the filming?
No. Not from close.
But Mr. Stuart
was present, was he not?
CHRIS:
Yes.
CARTRIGHT:
So he must have been there
by your invitation.
CHRIS:
No. Well, he was going...
CARTRIGHT:
No, just answer the question.
Was he there at
your invitation?
Yes.
And you knew he was there
when you posed
like this?
It's my work,
and I do what I'm told.
Everything you're told?
If you were told to perform
certain sexual acts...?
Objection, Your Honor.
That's argumentative
and irrelevant.
JUDGE:
Sustained.
I want you to look
at this frame once again--
remembering, of course,
that it's one frame
from a long,
slow, continuous action--
and I want you
to tell me--
we're none of us here
experienced with this...
with this kind of work--
can you tell me
how someone managed
to look as
seductive as this?
As suggestive
as this?
Do you have
to think certain things?
Bring certain
images to mind?
Yes.
Images of men,
I assume?
Yes.
And these are
really meant
to make you hot,
isn't that true?
Excite you a bit?
Very well.
A little.
Sexy thoughts
that are meant...
I object, Your Honor.
That's vague
and ambiguous.
JUDGE:
Objection overruled.
I'm going to allow that.
Answer the question.
What's the question, please?
Do you use
sexy thoughts
to make you
a little bit hot?
Thoughts of oral sex?
Yes.
Sodomy?
No.
No. Oral sex, yes.
Sodomy, no.
BONDI:
I object, Your Honor.
That's not a question.
Sustained.
Do you have daydreams
of being overpowered?
Objection.
JUDGE:
Overruled.
Sometimes.
So the answer is yes.
Yes. Yes.
So, one afternoon,
you invite this young man
to watch you
going through these
erotic daydreams
of being raped...
Objection.
of being overwhelmed...
to see these sexual fantasies
on the beach-- helpless,
half naked,
lusting.
And, the very next afternoon,
you invite this young
man to your apartment.
The man of your choice,
in the place of your choice.
And you expect this jury
to believe
that he had to brutalize you...
Objection!
to make you perform these sexual acts?!
JUDGE:
Sustained! Objection!
I have only one
more question, Miss McCormick,
and I believe
the jury has only one more question:
In spite of everything,
were you sexually aroused?
Objection! Objection!
Objection! Objection!
And did you not,
in fact, reach a sexual climax?
Objection!
No! No!
JUDGE:
Sustained. Jury will disregard both question and answer.
Your Honor, it must
be made absolutely clear
that there has been
no admission of orgasm.
And, in any case, such
a reaction would have no bearing
on whether or not a crime
has been committed!
JUDGE:
Do you have any further questions,
Mr. Cartright?
No, Your Honor.
JUDGE:
Any redirect, Mrs. Bondi?
BONDI:
Yes, I certainly do.
Did you pose in this manner
because you knew that
Gordon Stuart was present?
No.
Why was he present?
My sister had him come
because she wanted me
to hear some of his music.
BONDI:
So then you did not, in fact, personally invite him?
No. I only told her
that she could bring him
if she wanted to.
( crying )
Then will you tell us why...
on this occasion...
you allowed yourself
to be photographed like this?
I'm... I'm a model.
You mean you sell yourself?
Your body, your dreams,
your fantasies?
No.
What do you sell?
Lipstick.
To men?
To women.
Then why like that?
( sighs )
'Cause I'm supposed to look like
what every... woman
wants to look like.
( sighs )
( murmuring )
STUART:
I'm not proud of what happened--
what I did.
But I love to teach;
it's my career.
And I need a job,
it's a job, too.
It's the, it's the teaching.
What did you do?
I said, "You'll have to show me
what you want."
CARTRIGHT:
Then what happened?
STUART:
She said...
"It'll be
my pleasure.
( murmuring )
( bangs gavel )
She led me into the bedroom.
She, uh...
she had, uh... soft silk,
silk s-scarves
that she wanted me to...
tie her with so that
they would leave no marks.
Other places,
she wanted me to mark her,
so that they
would be...
Carla... can't you do
something about him?
Please, please.
Will you stop him?
( bangs gavel )
Liar! You're a liar!
( bangs gavel )
JUDGE:
Court will be in order!
Rape is an act of violence,
I know.
But she wanted this violence,
and...!
She's...
She's... she's a beautiful,
lovely woman
and I-I-I'd look at her,
and I'd want
to make love to her.
But love!
In an affectionate way, not...
She wants something else.
JUDGE:
Your witness, Mrs. Bondi.
Your Honor, in view
of the late hour
and Mr. Stuart's
comprehensive testimony,
I request permission
to start my cross-examination
in the morning.
( bangs gavel )
JUDGE:
Court is adjourned until 10:00 tomorrow morning.
( bangs gavel )
( phone rings )
( ring )
Hello?
( dissonant electronic
instrumental plays )
( dissonant electronic
instrumental plays )
Showing you People's
One, Two, and Three.
Do you recognize this
place, Mr. Stuart?
It's her bedroom.
Chris McCormick's
bedroom?
Yes.
A mess, isn't it?
These pictures
on the floor.
Tell me, how did
they get smashed?
You happen
to remember?
Um, no, it was...
There was a lot
going on.
Yes, of course.
But I was just
wondering what part
of Chris McCormick's
sexual perversion
is satisfied by
the smashing
of family
photographs?
I wouldn't know.
But you did
smash them. No.
Well, I must have
misunderstood.
I thought all the
acts of violence--
sheets ripped, smeared
with lipstick and blood,
mirrors smashed--
weren't they
all done by you
for Chris McCormick?
No, no.
Well, I was sure
that's what you testified.
Shall I have it read back?
I did do all that.
For her.
I just don't remember
smashing the priest's picture.
Who's picture?
A priest?
I can't make out any priest.
Her brother's a priest.
How do you know that?
She told me.
Why?
I don't know. Ask her.
Did you ask about him?
No.
Then, uh, how did
he get brought up?
I don't remember.
And you don't
remember
how his pictures
got smashed.
No.
Now, about the music.
How you doing?
Pardon?
With the music--
how far along are you?
No, you don't understand.
I-I just teach music.
Oh, I see. So, you are
not a composer,
and you are not a player.
No. Uh, yes. I do some
composing for myself.
Well, perhaps that's why
you wanted Chris McCormick
to hear your tape.
Why?
Well, she might be in
a position to help you.
I didn't...
I didn't think about that.
Well, think about it now.
CARTRIGHT:
Objection, Your Honor.
JUDGE:
No, I'm going to allow it.
Well, uh...
I suppose she could get my stuff
to the right people.
Ah, so you haven't quite
given up, have you?
I guess not.
You took this
to Chris McCormick's
apartment that afternoon.
Yes, ma'am.
To play this tape.
Right.
And this tape you made?
I did.
I can't quite make out
what you've written
here on the side.
Can you make that out?
I know the tape.
What's it called?
You did name it,
didn't you?
I mean, after all
it is your, um,
your fabrication.
Filios Irae.
Latin, isn't it?
Yes.
What does it mean,
Mr. Stuart?
"Fury's Child."
I beg your pardon?
"Fury's Child."
"Fury's Child."
That's an
interesting title.
Is it from something,
a poem?
It's from me.
If it please the court,
I would like to play
some of Mr. Stuart's music
for the jury.
Do you have any objections,
Mr. Cartright?
I'm a great admirer
of the defendant's composition,
Your Honor, but is it relevant?
Very relevant, Your Honor,
and it's all set up.
You may proceed.
The machine is a little small,
so I've made arrangements
to have it plugged into
another speaker or two
for all of us to hear.
What setting do you suggest,
Mr. Stuart? Six decibels?
It was done
for eight.
Eight.
( dissonant electronic
music playing )
( dissonant music continuing )
So this is the music
that you played
for Chris McCormick
on that afternoon?
Yes.
What were you doing
while it played?
Listening.
What do you think?
Was she listening, too?
Yes.
All the time?
Until the phone rang.
( music stops )
( audience murmuring )
( gavel rapping )
Who was it?
It wasn't for me.
Some man.
A business call?
I don't know what he is to her.
How did you feel
when the phone rang
in the middle
of your serenade?
Nothing.
What did she do?
She... she went into
the bedroom with him.
With the phone, you mean.
No. Yes.
She took the phone
into the bedroom.
Couldn't she have asked him
to call back if she was busy?
Maybe she had
to talk to him.
Maybe she was glad
the call came.
Is that possible?
That's her business.
Get her off the hook
and away from the noise.
You don't know
what you're talking about.
How did you feel,
Mr. Stuart?
Who cares?
Hell, noise.
The music's good.
If she doesn't want to listen,
it's her damn loss.
Yes, it is,
but I asked you
how you felt.
Weren't you furious
that she ran out on you?
CARTRIGHT:
Objection, Your Honor. No.
JUDGE:
Overruled.
Isn't that why
you punished her,
because you knew
she wasn't interested in you or your music?
No, no!
Because she'd rather
talk to somebody else
and be with somebody else
than this music of yours?!
Listen!
That's all, Mr. Stuart.
You can play my music all day
and all night,
and it won't make me into a man
who will rape anybody!
I have no further
questions, Your Honor.
And it won't convict me of rape!
JUDGE:
You may step down, Mr. Stuart.
Uh, I don't know
the rules here, Your Honor.
Who do I tell--
If it please the court...
Mr. Stuart.
It happened the way I said.
Tell them!
Your Honor!
The prosecution provoked
this outburst, Your Honor,
by harassing the defendant!
Why? Why, Chrissy, why?
Why did you do it?
JUDGE:
Mr. Stuart, will you restrain yourself?
( banging gavel )
Why?
Bailiff!
It could've been s...
( gavel bangs )
If it please the court,
the defense wishes to recall
a single prosecution witness
for further cross-examination.
Which witness,
Mr. Cartright?
Miss McCormick, Your Honor.
Miss Kathy McCormick.
JUDGE:
Has the prosecution any objection?
Uh, none, Your Honor,
except it is unfortunate
to subject a young person
to needlessly painful,
sometimes pointless questioning.
I can assure you, Mrs. Bondi,
no pointless questions.
You're still
under oath, Kathy.
Yes, sir.
You had your own key
to the apartment, did you?
Yes.
So that afternoon
you let yourself in.
Yes.
Now,
please tell us again
what you saw and heard
the moment you closed
the door behind you.
Nothing.
It was quiet.
It was quiet?
No sounds at all?
Some music...
coming from somewhere.
In the apartment?
I'm not sure.
Was it coming from
your sister's bedroom?
I couldn't tell.
What happened
next, Kathy?
I said, "I'm home."
You called out?
Yes, but not loud.
Why not?
Sometimes Chrissy takes a nap
in the afternoon.
CARTRIGHT:
I see. That's how quiet it was.
Now, when your sister
didn't answer you,
what did you do?
I went to look
into Chrissy's room.
Why?
( sighs )
You went toward
your sister's room.
Why?
KATHY:
I went out on the terrace...
I opened that door.
And I saw her.
Saw them.
And then I went
back to my room.
Did you close
your sister's door first,
before you went
back to your room?
Yes.
Why?
I just did.
Well, why
do you think?
I don't know. Privacy.
For your sister's privacy?
It was closed before,
so I just closed it again.
And then you telephoned the
police from your own bedroom.
No.
You didn't telephone the police?
No.
Or call downstairs
for some help?
I should have.
But you didn't,
did you?
'Cause you didn't believe
your sister was in danger.
That's the truth,
isn't it?
Did you think for an instant
your sister was being harmed?
I didn't know.
You would have
called for help
if she'd been
in danger. Yes.
You would have
telephoned the police. Yes.
Anyone,
wouldn't you?
Yes.
But from what you saw,
she wasn't being harmed.
She wasn't struggling.
She wasn't
being beaten.
She didn't scream.
She was quiet,
wasn't she?
You looked into your sister's
bedroom, Kathy,
and you saw her making love.
In some way,
she wanted to make love,
with a teacher
you liked and admired.
No, he was raping her.
BONDI:
Objection. This calls for a conclusion.
He was raping her!
JUDGE:
Sustained.
You did like Mr. Stuart,
didn't you, Kathy?
It's not true.
You didn't like him?
No.
Didn't you?
No. Yes, but...
Did you like him
or didn't you?
He raped my sister.
No, you mean your sister
told you she'd been raped.
He raped her.
Look, that is the
accusation, Kathy,
but Mr. Gordon Stuart
is not guilty of rape.
That requires evidence,
and there is no evidence.
You were an
eyewitness, Kathy,
but you didn't see
anything violent
or you would have
called the police.
BONDI:
Your Honor, I demand
that you admonish counsel
to stop using
this child as a tool
for his closing argument!
A jury, not
this witness,
will determine that
violence was done,
that Chris McCormick was raped.
Your Honor, I agree that there
was a rape that afternoon
in Miss McCormick's apartment.
From this evidence, from the
testimony of the one eyewitness,
it is impossible to tell,
beyond a reasonable doubt,
just who the victim was.
KATHY:
He was raping her!
He was!
Your Honor, I have
no more questions.
She told me!
Your Honor,
I have no more questions.
She told me!
She never lies to me!
( gavel pounds )
( gavel pounds )
JUDGE:
Have you reached a verdict?
We have, Your Honor.
CLERK:
We, the jury, find the defendant not guilty.
( buzz of conversation )
How do you feel about...?
( all shouting questions )
What do you think
happened, Miss Bondi?
Will anyone hire
you after this?
Will you
continue to model?
Hi.
Gordon Stuart!
Yeah.
Gordon Stuart,
can we have a picture
of you
and Chrissy together?
How does it feel
to be a free man?
Mrs. Bondi, have you had it
with the D.A.'s office?
I've had it
with 18th century juries.
How about a retrial?
What do you want?
What do you want?
You want to follow them
in the ladies' room?
You want more rape?
Come on, come on.
Just trying to get in.
Can we have a picture?
Do you still believe
Chris's story?
We're certainly innocent.
Bastards.
Are you okay?
Are you
all right?
Oh, God.
( disco music plays )
Try and look right
in the camera.
You look so beautiful
today, Chrissy.
Come on, try
a little bit.
That's nice
like that.
Just turn your head
away a little bit.
Turn it away.
( camera shutter clicking )
Just turn it away.
That's it.
Bring it back
to me, Chrissy.
Bring your head
back to me.
Come on, you're
my favorite, Chrissy.
My favorite girl
in the whole world.
( shutter clicking )
Try a little
harder, Chrissy.
Just remember
the way we used to do it.
Kill that bulb.
Chrissy, honey, come on.
Please let me try it
one more time, Francesco.
I'll be all right
in a minute.
We can do it another time.
We don't have to do it today.
There's no hurry.
We've got so much
to do, though.
Aw, come on, baby.
Let's go out.
We can get it
in one session.
Remember when we-we did
the ten pages
for Vogue in one day?
Nobody could believe
we finished it.
We can always do
things another day.
But... we have
a whole campaign to finish.
We don't really.
The agency wants
to cool it,
and Steve agrees.
He says, possibly we'll
pick it up next year.
This is the last
session, Chrissy,
but we don't have
to finish it today.
We can do it tomorrow.
You'll be fresher then.
KATHY:
Why should you?
'Cause I've got
a commitment.
But they fired you.
Who said they fired me?
You said.
After today.
Just put the
rest of the gear
in the back
of the car.
Zip up that
rifle case.
Well, I'll do it.
It's okay.
It's not just a question
of being fired.
There's a lot more to it
than that.
How will we make a living?
Starving.
We'll be the first sister team
to make a living by starving.
We couldn't starve.
Why not?
We've got
looks, talent, honesty,
and we're great in courtrooms.
Chris?
Mm-hmm.
Will they take him back
at school?
You heard the verdict.
Not guilty.
They'll probably
throw him a party.
How could they believe him?
Even the kids
at my new school.
What?
They look at me.
You know, funny.
Steve gave you that,
didn't he?
Yeah, right.
Steve.
Steve, who said
I was the hottest
model in the business.
And the jury
agreed with him.
Why didn't the jury believe you?
Kathy...
I have to ask you a question.
After the jury--
what they said,
do you think maybe it...
it didn't happen?
No.
KATHY:
How long is it going to take this time?
Don't worry about it.
We'll have
plenty of time
to get to the
mountains afterwards.
When are you
going to know?
Know what?
If we come
back to L.A.
or go home
to Colorado.
Well,
in the mountains,
there'll be
some fresh air,
and then we'll
be able to make
the wrong decision
better. Right?
GIRLS:
Kathy! Kathy!
Where have you been?
How are you?
Good to see you.
Where have you been?
Can you come
watch us rehearse?
No, I'm here with Chris.
She's working.
We're doing
modern dance.
It's really neat.
Come on. Can't you
come watch us rehearse?
Come on, Kathy.
Come on. Please?
Kathy, come on!
Please?
No, I've got to be with Chris.
Okay. We'll see
you later, okay?
Bye!
What time you going
up to the mountains?
Right afterwards.
When we're
finished shooting.
I'll bet you can't wait
to get out of here.
Marvelous! Marvelous!
In five years,
I'll hire you.
There! Now, let's see.
What can I do?
There! Like Dietrich.
Marlene Dietrich.
Very languorous. Dietrich.
Oh, this is the most
beautiful dress
I think I've ever had on.
You look fabulous.
I love it.
Let me see you move.
Look what happens
when I turn around.
That's it. Just
walk around there.
Kind of tiring,
isn't it?
Yeah, a little.
Sort of boring.
You know, there
are two or three floors up there
that are unoccupied.
Lots of empty shops.
Sort of like
a big fun house.
Why don't you
go exploring?
I think I will.
Sure. There are all
kinds of escalators.
Have fun, honey.
Fix the hair
and the makeup.
Give me the camera
on the floor.
That's it. This is
going to be really good.
Fabulous like that.
From down here,
you should see you, Chrissy.
Great.
Twirl for me.
Great like that.
Fabulous!
( electronic music playing )
( music continues )
Open it out!
On her.
Okay, good.
Nice performance,
everybody.
Get your warmers
on please, dancers.
WOMAN:
And after you get your things changed,
I want everybody
to meet in the bus
in about five minutes.
Now, don't scatter.
I know you all want
to talk to your parents.
Tamara, let me have
the mike, will you?
Now?
Yeah. See you.
Go get
your costumes.
Thank you.
Give me the
remote control.
I need to fasten
some stuff up.
Don't worry, everybody.
We'll put it all together.
It'll be all right.
Huh? Tomorrow.
Hiya, kiddo.
How you doing?
How's the new school?
It's all right.
Pretty awful, huh?
It's a real shame
you had to miss all the fun.
What are you doing here?
I'm here with Chris.
She's working downstairs
with Francesco.
Ah.
I'm, uh...
I'm doing your basic sweetening
the tracks--
dub over sound
onto the tapes.
Putting
the mike on me,
and getting breathing
and heart sounds.
Oh, my heavens.
I think I have terminal gas.
Hey, you don't have to miss it.
You can be a part of it.
I'll put you on.
Come on.
I'll tape you breathing.
Oh, Kath, come on.
Come on.
Where's Kathy?
Oh, she just got bored.
She's up exploring
the place.
Just check everything,
because we're almost ready.
Pull your head back,
just for a second.
She looks great now.
Come on, let's get up
and do the twirling.
Come on.
What a wonderful coincidence
having you here.
Yeah, put your...
I'm not going
to use this mike.
I have got...
a sole, number one
mike for you.
Specially designed...
with you in mind, my dear.
Tack it on
right there. ( heart beating )
Hey.
( breaths echoing )
Can you hear it?
It's your heart.
It's your breathing.
( breaths echoing )
Huh?
Wait a minute.
( breaths echoing )
( whirring )
Can you hear it?
( inhales ):
Come on, breathe.
Terrific.
Isn't it incredible?
It just fills the whole
hall, doesn't it?
( heartbeat quickens )
Breathe again.
( breaths echoing )
That's it.
Wonderful. Again.
( breaths echoing )
( heart beating )
( breaths echoing )
It's the sound of...
the sound of our bodies
mixed together.
I mean, really mixing together.
Hey...
( breaths echoing )
( heart beating )
Do you really believe
I raped your sister?
( heart beating )
( breaths echoing )
Kathy...
( running footsteps )
( panting )
STUART:
Kathy?
( whimpering )
Kathy?
Kathy?
Kathy?
( screams )
( screams )
( tapping )
( gasping )
FRANCESCO:
Bend down to the left.
That's nice.
Bend to the left.
Beautiful.
You're beautiful.
( screams )
( screaming )
( screaming hysterically )
( shrieking )
FRANCESCO:
Tighter.
Give it to me right
here in the lens.
( shutter clicking )
Give me everything,
right in the lens.
Strut your stuff.
( clattering )
Kathy!
What happened?
Kathy, are you all right?
What happened?
Nothing, I just have
to go to the bathroom.
Who...?
Who did this to you?!
Mr. Stuart.
Oh, my God.
Oh, God!
( growling )
Get the doctor!
Mr. Stuart.
How splendid you must feel!
It went so well.
Weren't you
pleased?
Huh?
I've invited some board
members for tomorrow.
Uh...
I think it will help.
Getting you back
on the faculty.
Oh, yes. Yeah.
Gordon?
Huh?
You should be
very proud.
It's going to be
a knockout.
CHILDREN:
Bye, Mr. Stuart!
( keys jingling )
( gunshot )
( rifle clicking empty )
( rifle clicking empty )
( siren blares in distance )
( sirens blaring )
( handcuffs clicking )
CARLA BONDI:
I did not leave the district attorney's office
to extenuate
the crime of murder.
I'll tell you what Clarence
Darrow wrote some time ago.
"Crime is to be expected,
since humans are never perfect,
"but the failure of justice
may be more damaging to society
than crime itself."
Then where is law and order?
I say your verdict to acquit
Chris McCormick
is law and order...
...and justice.
Thank you, ladies and gentlemen,
for your attention.
FOREMAN:
We, the jury, find the defendant not guilty as charged.
Easy, Chrissy.
Mmm.
Now.
That's it.
Oh, boy.
We're going to make it.
So beautiful.
So beautiful!
Wow!
Sean, bring up the music.
( camera shutter clicking )
A little easier
with your love... softer.
It's beautiful like that.
It's great like that,
really good.
Let me have another back.
How's the hair, Sean?
It's good.
PARAMOUNT PICTURES
Just pull it a little bit
in the bed.
That's it, that's it, good.
WOMAN:
The veil is much too low.
Wait, wait,
wait just a minute.
Wait a minute,
let me just--
Francesco, it's
interfering with the lipstick.
All right, we know
it's the lipstick.
Yes.
Very good.
Up a little bit.
That's it, baby.
Look right at me.
Beautiful, very mysterious.
WOMAN:
Turn a bit to the right.
A bit to the
right, yes.
There you go.
A bit to the right.
Over, yeah.
The veil is much too low.
FRANCESCO:
Wait, wait, wait, just a minute.
Wait a minute,
let me just--
Francesco, it's interfering
with the lipstick.
No, no, honey,
you're interfering.
Yes, look
to the right, darling.
Wait. Chrissy, just pay
attention to me, Chrissy.
Just listen to me.
Here, let me
take this picture, no?
( shutter clicking )
Beautiful.
Beautiful, beautiful.
Great.
Yeah.
Ah, very mysterious like that.
I still think
it's too low.
I want her
all to myself. It's very distracting.
Will you give me--
You want the camera?
Do you want
to take this picture? No, darling, no.
No, you are the artist.
Let's keep going.
All right, well,
well, will you be quiet
and let me get one frame?
Yes.
Just let me get
one picture I like, Yes, darling.
without your
bickering there?
Now, come on,
give me a break.
All right.
Forget everything.
( Francesco talking
indistinctly )
Ooh, fabulous.
Oh, bravo, bravo.
You look sensational.
Fabulous, Chrissy.
Beautiful.
Oh, Chrissy, you look great.
Great like that.
Oh, let's get
this mermaid on film!
Like, wow, wow.
Give me a camera.
( Francesco giving instructions
indistinctly )
( gasps )
Beautiful like that.
Hey, man, what happened?
Is she dead?
Uh, it's closed for the day.
Stay behind the line, fellows.
MAN:
Focus. Now hold it.
Take a deep breath,
don't let me see it.
Feel the seaweed.
Wait a minute,
Bill, Bill.
Are you
uncomfortable? Steve, I was...
I was right in the
middle of a take.
Bill, look,
I just don't think this is working.
I'm sorry,
it really isn't.
I mean, what are you
trying to get at with this?
Hold that. It's great.
What's the matter?
It doesn't work.
Are you trying
to convince somebody
this is real?
( arguing continuing )
Hey, Chris, he's here--
Mr. Stuart.
( arguing continues )
I know we're
selling lipstick,
but nobody else
is going to know that.
The idea is
the woman...
( arguing continues )
Hi, Mr. Stuart!
Whoo!
Why didn't you tell me
I had to be a mountain goat?
You!
( giggles )
BILL:
Wait for the wave, the next wave.
They're still shooting.
Yeah,
they're running late.
BILL:
All right, let her out,
let her out
on the set.
Sit down.
BILL:
That's fine,
you're great, let's get,
we're getting it,
we're getting it, wait.
( Steve speaking indistinctly )
Maybe-maybe this isn't
the-the-the
right time, Kathy.
Uh...
Maybe-maybe
I just shouldn't
be here at all, huh?
She'll be
so disappointed.
Who'll be disappointed?
She really wants
to hear it.
You mean you want her
to hear it.
Uh, Kathy, will you bring
your sister's bag
from my car, please?
The small pigskin.
He drives
a small pigskin car?
( giggles )
BILL:
That's fine, you're great.
That's it.
We're getting it...
Oh, look.
Who's the, uh, masseur?
Huh?
With your sister?
Oh, that's Steve.
He works for
an advertising agency.
Ah.
They get
very friendly.
( chuckles )
Hey, Chris,
this is my music teacher,
Mr. Stuart.
Hi.
Hello.
Ooh.
( laughs )
Hi, how are you?
Fine, thank you.
You know you're Kathy's
favorite man
in the world, don't you?
Well, uh...
You've got to be a
wonderful music teacher.
STEVE:
Chris!
We're going to be ready
in a second.
Uh, I'm sorry.
No, no, no--
Delays.
It's okay, it's okay.
No, it isn't.
I should have known better.
No, it's,
it's interesting.
What, waiting around?
No.
Watching.
You're being
awfully nice.
And I really do
want to hear your music.
But...
it doesn't look like
it's going to be today.
Do you think possibly
I could come by
the school tomorrow?
Uh, yeah, sure, you can come by.
Uh, I won't be there.
I only teach on Mondays,
Wednesdays, and Fridays.
STEVE:
Chris!
Let's go, we're ready!
Uh, well, look.
Why don't
I make it easy for you.
Why don't I, why don't I
come by your place, all right?
You're just every bit as nice
as Kathy said you were.
What...?
BILL:
Wait for the wave, the next wave...
Uh, what's the address?
The Towers.
On Sunset?
Mm-hmm.
Okay.
I'll see you, kiddo.
All right?
See you, Mr. Stuart.
Sorry you had to come
out here for nothing.
Don't worry about it.
( seagulls screeching )
( pigeons cooing )
Come on, come on, come on,
come on, come on.
( clucking )
( high-pitched whine )
( pigeons cooing
with electronic embellishment )
( wings flapping )
( sounds change pitch )
( pitch descending )
( modulated cooing )
( dissonant electronic piano )
( music stops )
( water running )
( phone ringing )
( ringing )
Hello?
Who is it?
Who?
Uh, Mr. Stuart?
Gordon, Gordon Stuart.
Mr. Gordon Stuart.
Um, okay, could you ask him
to come up, please?
Yeah, you can go up.
It's apartment 16-B.
Thank you very much.
( doorbell rings )
Come on in, Mr. Stuart.
Hi.
I'm sorry.
I'm not quite ready.
You apologize too much.
Okay.
No more apologies?
Come on in.
Would you like
some tea or coffee?
No, thank you.
Maybe some beer.
I've got a terrific
French beer.
Yeah, beer would be fine.
Uh... would you mind...
helping yourself
while I get dressed?
Sure.
Thanks.
It's right there
in the fridge.
Shall I open one for you?
No, thanks.
Kathy hasn't been bugging you,
has she, about...
about listening to my stuff?
No, no,
not at all.
And I've got to say,
she's really crazy
about it.
She's beautiful.
I think so, too.
And I really want
to thank you
for being so great with her.
It's not just the music,
but it's the way
you understand her.
( chuckles ):
I think she's got one of those classic
crushes on you.
( chuckles )
How do you know Gage?
Pardon?
How do you know Sean Gage?
Oh, I met him
at some party.
An opening back
in New York.
Come on, sit down.
What were you doing,
playing "Chopsticks"
with him?
You know what,
I think we were.
He's got something to do
with classical music.
Modern classical music.
Well...
( chuckles )
Well, what I mean is not pop.
I teach the stuff.
I wrote to him once.
Wanted to send him something
I'd done.
What happened?
Nothing happened.
I like to teach.
I'm curious about what kind
of music you do.
Is it like Sean Gage?
Well...
it is electronic.
But, um...
I also add natural sounds.
And then I get variations by
utilizing modifying devices.
I also use synthesizers.
And-and now I'm
into using lasers.
( chuckles )
Look, why don't I just play it
for you now
and then if I have to,
explain it later, okay?
Sure.
( dissonant electronic
music playing )
( phone ringing )
Excuse me.
( music continues playing )
Hello?
Steve.
Where are you?
The airport?
Oh, really.
Hang on a second.
I'll... I'll only be
a few minutes.
Could you hang up
the phone
when I get to
the other room?
Sure.
Please?
Thank you.
( dissonant electronic
music continues )
Got it.
Thanks.
CHRIS:
How long did you say
that meeting's
going to be?
I've got it.
Could you hang up
the phone, please?
STEVE ( on phone ):
Hey, come on.
Your man's not even out of town
and you've got a party going.
Of course we'll miss you.
( dissonant electronic
music continues )
CHRIS ( over music ):
You know I'm crazy...
( music stops )
...about you.
Yeah.
Look, Steve, I know.
I know.
Okay.
Look, can I
call you back?
Yeah.
Okay.
Could you call me from Seattle?
Bye-bye.
You forgot about today,
didn't you?
I did.
I did.
I'm-I'm...
I'm really sorry.
I know how
you must feel.
You don't know me.
How do you know
how I feel?
You fuck priests, too?
Get out of here!
( grunts )
What...?
What...?
( groaning )
What are you doing?
No!
What's so hot about you?
Nothing.
Your picture all over
the place? Huh?
What have you got,
heavy-duty friends... No!
...give you whatever
you want, huh? No!
You fuck to get
what you want?!
( screams ):
No! Huh?
( panting )
Where is it?
What?
That new red shit.
Where is it?!
I don't know.
( grunts )
Huh?
( groans )
Where is it?!
Huh?
Where is it?
Where is it?
I don't...
Where is it?!
I don't... in-in...
Hmm?
...in the bath... room.
Hmm?
( whimpering )
Come on.
Come on!
( panting )
( grunting )
( screaming ):
Help!
Help...!
( crying ):
Help!
( crying ):
Please, God, help me.
( grunts in frustration )
( bottles clattering )
( Chris gasps )
( glass shattering )
( Chris sobbing )
( stifled sobbing )
Put it on.
Put it on.
Please don't hurt me.
Oh, come on.
Hold still.
My...
( moans )
( groaning )
Nice?
Take a look.
Open your eyes.
You like it?
You like it, Chrissy?
Huh?
Yes.
Why?
( stammers ):
It-it's... nice.
Huh? Because it makes you look
good enough to fuck.
Am I good enough
to fuck?!
I-I never said...
Oh, no, no...
( sobs )
I want it on me.
I want it on me.
( screams )
Come on.
This is only the beginning.
( Chris groaning )
( moaning ):
No.
( dissonant electronic
music playing )
( groaning, sobbing )
( screaming )
Oh, my God!
You're killing me!
( screaming )
Shh.
Get off me!
Shh, shh.
God... help me!
Relax.
( dissonant electronic
music continues )
Relax.
Just open up.
No!
Open up.
Relax.
That's it.
Yes.
( muffled screaming )
( screaming )
( dissonant electronic
music continues )
Hey, sis, I'm home.
( dissonant electronic
music continues )
What's the matter?
Untie me.
No.
My sister was in here.
I heard her.
I heard her close the door.
( music stops )
Want to call her in?
Have some fun?
Please... please, untie me.
What'd she see?
You mean this is the first time
that Kathy ever walked in
on you?
You know what she's thinking
now, don't you?
"My sister... just made it...
with my favorite teacher."
( grunting )
Catholic education,
can't do a damn thing about it.
It's on all their minds.
( cutting cloth )
( sighs )
( Chris whimpering )
( Chris gasping )
( sighs )
Listen, Chris...
don't do this with anyone else.
( door closes )
Kathy?
( water running )
Kathy?
Kathy! Kathy!
I was... going
to take a shower.
Kathy...
I thought you were...
I thought...
( both crying )
Did he urinate on you?
CHRIS: Pardon?
Urinate or
defecate on you?
They do that?
Some of them.
No. He didn't.
Did he
sodomize you?
CHRIS:
Yes.
WOMAN:
When he beat your head
against
the bedposts,
did you lose
consciousness?
Almost.
Not really,
but I almost did.
Where else did he hurt
you, Miss McCormick?
Um, I seem to be hurting
all over.
MAN:
I'm supposed to photograph
any cuts or bruises.
Would you mind?
I didn't exactly get... cut.
But he knocked
me around.
( shutter clicks )
Can I please go
get dressed?
Uh, one more,
please.
( shutter clicks )
Thank you.
Does he live
at the school?
No.
Some place in Venice.
What address?
( gasps )
( sirens blaring )
I don't know.
The school would know.
KATHY:
How do you know?
Have you
been there?
No. I looked it up.
I wanted to know where he lives.
WOMAN:
Where will you stay tonight?
Pardon?
The hospital
won't take long-- a few tests.
You may not want to
sleep here tonight.
No. No, I think
we'll probably stay
with our brother Martin.
I'll go along with
you to the hospital.
Please don't bathe
until after
the examination.
Okay.
Go on, go get
yourself a sweater.
There's a little bar
around the corner,
but then there's
a health food store.
He's got a little gal in there
he yaks a lot with.
You might check
that out.
If he shows up,
I'll... be in touch.
Good evening, Mr. Stuart.
Hold it!
Are you Gordon Stuart?
( indistinct radio
transmission )
( truck horn blaring )
( Chris gasps )
Chris... are you okay?
I guess I'm not.
I'm just not used
to driving Steve's car.
Why didn't we take ours?
He said just
to take his.
( turns engine off )
( vomiting )
( coughing )
( spitting )
( coughing )
Chris?
Chris?
( panting )
What is it?
It's not my fault,
is it?
No, no, don't
be ridiculous.
A little bit?
No, don't even
think that way.
I should have done
something...
called the police.
In class,
he seemed so nice,
even when somebody did
something really dumb.
I hope he hasn't
screwed up your head
like he screwed up mine.
Come on, let's go.
What'll they do
when the find him?
Not enough.
Chris, I'm sorry.
Come on,
let's just go.
( engine starts )
( birds chirping )
Is Steve going
to meet us here?
No, he can't get back here
till tomorrow morning.
Go find Martin.
I'll be along
in a minute.
MARTIN:
Kathy, you remember Sister Margaret, don't you?
KATHY:
Yes.
Hello,
Chris. Hi.
And, Kathy?
Hello, Sister.
Martin...
Go with Sister.
Kathy, we're having
buckwheat cakes
and raspberry syrup
for breakfast.
Go, Kath.
KATHY:
Thanks for treating me like a child.
CHRIS:
God, if I could only say what I feel.
What do you feel?
Anger.
Goddamned anger.
How's that for news?
Good. Good news.
At everybody?
Yeah, okay.
And him?
A lot more than anger.
That's right, love.
Keep your head down,
take a deep breath.
Breathe deeply, dear.
My mother and father...
I've been thinking
about them.
When they died...
I was at Mary Elizabeth's
house--
my friend.
They were coming to pick me up.
They crashed.
They got in a crash.
I felt...
It was worse.
I mean, it was different.
But it...
it was sort of like now.
The police, they asked her
such awful questions.
No question about it?
CHRIS:
No.
This is the man that raped you?
Yes.
What are you so quiet for,
Miss McCormick?
Nothing to shout about.
Yeah, I know,
but you sound uncertain,
and that worries me.
Are you sure this is the guy
that raped you?
I'm sure.
I told the police
why he was there.
Yeah, I know.
You invited him.
He's a teacher
at Kathy's school.
I have all that.
( intercom buzzes )
Yes?
There's a gentleman here
to see Miss McCormick.
Who is it?
Steven Edison.
Is that okay?
It's okay.
Oh, Chris.
( sighs )
Mmm.
Was it raining
in Seattle?
Let me see.
She lives alone, huh?
With our kid sister.
And that's it?
Yeah.
Have they got the guy?
Yes.
Please come in,
Father.
I'm Carla Bondi.
Where have you
got the guy?
Please, sit down.
Mr. Stuart is in jail,
but we can only keep him
there for 48 hours.
Then he's got
to be released,
unless we decide
to prosecute.
And we won't decide
to prosecute
unless you decide
to testify.
Now, do you understand that?
Well, you,
you should.
You should, sure.
She'll press charges.
Good.
Do you think I should testify?
Yes, of course I think
you should testify--
you've been raped.
Miss McCormick,
every human being
has the right of simple
consent-- even women.
But I must tell
you something.
If you plan to go ahead
with this,
you better be prepared to be
abused again in court.
What do you mean?
I mean that his
lawyer's going
to try to terrify you,
degrade you, control you,
humiliate you.
Why do you think there are only
in California?
MARTIN:
Only 10,000?
Out of no less than
What is it, Mr. Edison?
Do you want to ask me something?
Uh, yes, I do.
What chance is there the rapist
will actually go to prison?
Two out of 100 serve time.
So, even if Chris goes through
all that, there's no guarantee?
Never a guarantee.
What's in this for you,
Mrs. Bondi?
What do you mean?
Well, what I mean is,
I think there's a hell of a lot
you can get out of this--
we know there is.
I think you're
ambitious, aren't you?
Aren't you?
Yeah, but I'm not...
Come on, Steve.
I... I thought you
wanted me to press charges.
EDISON:
I do. I-I did, but...
Oh, look, this is
going to get ugly.
It was ugly.
I know.
But taking him
to court--
what's that going
to do for you?
Aw, look, things have been going
so beautifully, haven't they?
I mean, you're
the hottest model in the country.
The agency's happy.
If you go ahead
with this thing,
that's all going
to be wiped out.
And for what?
You're going to win this case,
and you're going
to feel worse.
Excuse me.
You know, she doesn't win
the case.
The People of the State
of California do--
to protect them from a rapist.
Chris McCormick
is a witness, that's all--
in the People's case
against Gordon Stuart.
If we have a case.
Oh, what...?
Mrs. Bondi, what do you mean,
"If we have a case"?
There's enough evidence,
isn't there?
Gordon Stuart is
one of the People
of the State of
California, too.
And we owe him his case.
And his case says...
here's a pretty woman
who, let's say,
comes on... and on,
and then
changes her mind.
What?
All right, she has a right
to change her mind...
but then she cries rape.
I didn't encourage him.
I told him to get out.
Yeah, but that can sound like,
"Come on in."
You didn't
throw him out.
It was too late to call...
When did it get
to be too late?
When it began to feel good?
It never did!
Gordon says you loved it.
He's a liar.
It was horrible.
Let's go, Chris. Come on.
He forced me down, and made me
smear lipstick all over...
Aw, drop it,
Chris.
Isn't that what you do?
Peddle lipstick?
Isn't that
what you do, too?
You hard sell her
all over this country.
And we're allowed to look
and we're allowed to buy,
but don't touch.
And all it takes for rape
is one man like Gordon Stuart.
Why should Chris McCormick
risk all the good luck
she's had
just to...?
Because it happened to her!
( sighs )
And because she can help.
All right, so you
know what you want.
Steven, you know
what you want.
But what do
you want, Chris?
He wanted to kill me with it.
BONDI:
With what? That's enough, damn it!
With his cock!
I hate him! I hate him,
and I want him to die in jail!
I want them to do it
to him in jail!
( crying )
Okay.
I'm sorry I had
to do that to you,
but I had to find out.
You're going to be
a terrific witness.
And we'll get
a conviction.
Oh, here they are.
REPORTER:
There they are up there. Okay.
Where's
the boyfriend?
He's not coming in.
REPORTER 2:
Is that Steve Edison, the boyfriend?
Miss McCormick, have
you had any contact
with Gordon Stuart
since the alleged rape?
No.
Not even at
the pretrial investigation?
Father McCormick,
are you willing
to give a statement
on this matter?
Mr. Stuart-- you supposedly
saw him attack your sister?
He was your music teacher
at school, wasn't he?
Do you think he was a nice man,
Kathy?
Any statement,
Miss McCormick?
Button your blouse.
Don't let
the newsmen see it.
BONDI:
What did you do then?
KATHY:
Nothing. I just cried.
Then we called the police.
I had to dial the number
'cause Chrissy couldn't see.
Thank you, Kathy.
Sorry I had to
put you through it all again.
Your witness,
Mr. Cartright.
CARTRIGHT:
Kathy, what time
did you get home from
school that afternoon?
KATHY:
About the time I usually get home.
You usually get home from school
at the same time?
I sometimes stop
at a friend's.
It was quite often.
Four out of five afternoons
the previous week.
So your sister might
easily have assumed
you might be late
that afternoon.
BONDI:
I object, Your Honor. I don't think so.
Counsel is asking Kathy to state
what was in her sister's mind.
Sustained.
Kathy, in direct testimony,
when you were questioned
by the deputy district attorney,
you testified he was raping her.
Do you know what it means,
the word "rape"?
It's when somebody puts force
on somebody to have sex.
If your sister hadn't told you
she'd been raped,
from what you saw, would you
have been able to determine
if it was done
without her consent?
BONDI:
Objection. Objection.
JUDGE:
Objection sustained.
CARTRIGHT:
Now, Kathy, if she had said nothing to you that afternoon,
would you have thought that
the behavior of the defendant
and your sister,
in her bed,
constituted this crime?
BONDI:
Objection.
The witness is not competent
to determine
what constitutes a crime.
Yes, I am.
JUDGE:
Sustained.
You said you opened
your sister's door,
and saw her on the bed
with Mr. Stuart.
When you looked through
that door,
was she struggling?
She was tied up.
Ah, but, Kathy, your sister's
a very strong woman.
You think that somebody,
all by themselves
could have tied her up?
BONDI: Objection, Your Honor.
That calls
for speculation.
JUDGE:
Sustained.
If he had a gun or a knife.
Kathy, did you see a knife
in the defendant's hand?
Did you see a gun?
Still, she was tied up,
wasn't she?
Do you like to read?
Yes. I like to read.
Do you sometimes read books
you're not supposed to?
Books on the list?
KATHY:
Sometimes.
Have you read a novel
entitled The Story of O?
No.
Have you heard
of it?
Yes.
From friends?
One friend.
So you know
from this friend
that there are people
who derive sexual pleasure
from being
physically restrained.
Tied up. Some of them
even enjoy being beaten up.
Not my sister.
The answer to my question,
though, Kathy, is...
Not my sister.
Please, Your Honor.
Let it pass, Mr. Cartright.
You've made your point.
Not my sister.
CARTRIGHT:
Miss McCormick,
surely you have experienced
oral copulation in the past.
BONDI:
The witness' sexual history is inadmissible.
JUDGE:
Objection sustained.
I hope I haven't
given the impression
that I believe you
to be a promiscuous person.
I object.
Well, yes, you did,
by your questions.
Then I want to state
quite emphatically
that Mr. Stuart's defense
does not depend upon
your promiscuity.
I object to these
gratuitous comments
by the defense attorney.
Sustained.
This is cross-examination,
Mr. Cartright, not argument.
Mr. Bailiff,
could you get the board, please?
Your Honor,
I have defense exhibits
which I've already marked
"B" through "G,"
and which I believe
Mrs. Bondi has already seen.
If it please, Your Honor,
may we approach the bench?
Yes, you may approach.
I object, Your Honor,
to the introduction
of these photographs.
On what grounds, Mrs. Bondi?
As not being relevant
to the case.
JUDGE:
Mr. Cartright?
CARTRIGHT:
At least one of these frames is from a film commercial
that was photographed
the day before
the alleged attack.
Now, it's acknowledged
that Mr. Stuart was
present on that occasion.
They'll be received in evidence.
Proceed, Counselor.
Now, this is a frame
from the film commercial
that was photographed the day
before the alleged attack.
Is that correct?
BONDI:
Objection. Yes.
These are rejects
out of hundreds,
perhaps thousands,
of work prints.
They're called outtakes,
and they're not meant
for general distribution.
( gavel pounding )
JUDGE:
Overrulled.
Are spectators normally
permitted to watch the filming?
No. Not from close.
But Mr. Stuart
was present, was he not?
CHRIS:
Yes.
CARTRIGHT:
So he must have been there
by your invitation.
CHRIS:
No. Well, he was going...
CARTRIGHT:
No, just answer the question.
Was he there at
your invitation?
Yes.
And you knew he was there
when you posed
like this?
It's my work,
and I do what I'm told.
Everything you're told?
If you were told to perform
certain sexual acts...?
Objection, Your Honor.
That's argumentative
and irrelevant.
JUDGE:
Sustained.
I want you to look
at this frame once again--
remembering, of course,
that it's one frame
from a long,
slow, continuous action--
and I want you
to tell me--
we're none of us here
experienced with this...
with this kind of work--
can you tell me
how someone managed
to look as
seductive as this?
As suggestive
as this?
Do you have
to think certain things?
Bring certain
images to mind?
Yes.
Images of men,
I assume?
Yes.
And these are
really meant
to make you hot,
isn't that true?
Excite you a bit?
Very well.
A little.
Sexy thoughts
that are meant...
I object, Your Honor.
That's vague
and ambiguous.
JUDGE:
Objection overruled.
I'm going to allow that.
Answer the question.
What's the question, please?
Do you use
sexy thoughts
to make you
a little bit hot?
Thoughts of oral sex?
Yes.
Sodomy?
No.
No. Oral sex, yes.
Sodomy, no.
BONDI:
I object, Your Honor.
That's not a question.
Sustained.
Do you have daydreams
of being overpowered?
Objection.
JUDGE:
Overruled.
Sometimes.
So the answer is yes.
Yes. Yes.
So, one afternoon,
you invite this young man
to watch you
going through these
erotic daydreams
of being raped...
Objection.
of being overwhelmed...
to see these sexual fantasies
on the beach-- helpless,
half naked,
lusting.
And, the very next afternoon,
you invite this young
man to your apartment.
The man of your choice,
in the place of your choice.
And you expect this jury
to believe
that he had to brutalize you...
Objection!
to make you perform these sexual acts?!
JUDGE:
Sustained! Objection!
I have only one
more question, Miss McCormick,
and I believe
the jury has only one more question:
In spite of everything,
were you sexually aroused?
Objection! Objection!
Objection! Objection!
And did you not,
in fact, reach a sexual climax?
Objection!
No! No!
JUDGE:
Sustained. Jury will disregard both question and answer.
Your Honor, it must
be made absolutely clear
that there has been
no admission of orgasm.
And, in any case, such
a reaction would have no bearing
on whether or not a crime
has been committed!
JUDGE:
Do you have any further questions,
Mr. Cartright?
No, Your Honor.
JUDGE:
Any redirect, Mrs. Bondi?
BONDI:
Yes, I certainly do.
Did you pose in this manner
because you knew that
Gordon Stuart was present?
No.
Why was he present?
My sister had him come
because she wanted me
to hear some of his music.
BONDI:
So then you did not, in fact, personally invite him?
No. I only told her
that she could bring him
if she wanted to.
( crying )
Then will you tell us why...
on this occasion...
you allowed yourself
to be photographed like this?
I'm... I'm a model.
You mean you sell yourself?
Your body, your dreams,
your fantasies?
No.
What do you sell?
Lipstick.
To men?
To women.
Then why like that?
( sighs )
'Cause I'm supposed to look like
what every... woman
wants to look like.
( sighs )
( murmuring )
STUART:
I'm not proud of what happened--
what I did.
But I love to teach;
it's my career.
And I need a job,
it's a job, too.
It's the, it's the teaching.
What did you do?
I said, "You'll have to show me
what you want."
CARTRIGHT:
Then what happened?
STUART:
She said...
"It'll be
my pleasure.
( murmuring )
( bangs gavel )
She led me into the bedroom.
She, uh...
she had, uh... soft silk,
silk s-scarves
that she wanted me to...
tie her with so that
they would leave no marks.
Other places,
she wanted me to mark her,
so that they
would be...
Carla... can't you do
something about him?
Please, please.
Will you stop him?
( bangs gavel )
Liar! You're a liar!
( bangs gavel )
JUDGE:
Court will be in order!
Rape is an act of violence,
I know.
But she wanted this violence,
and...!
She's...
She's... she's a beautiful,
lovely woman
and I-I-I'd look at her,
and I'd want
to make love to her.
But love!
In an affectionate way, not...
She wants something else.
JUDGE:
Your witness, Mrs. Bondi.
Your Honor, in view
of the late hour
and Mr. Stuart's
comprehensive testimony,
I request permission
to start my cross-examination
in the morning.
( bangs gavel )
JUDGE:
Court is adjourned until 10:00 tomorrow morning.
( bangs gavel )
( phone rings )
( ring )
Hello?
( dissonant electronic
instrumental plays )
( dissonant electronic
instrumental plays )
Showing you People's
One, Two, and Three.
Do you recognize this
place, Mr. Stuart?
It's her bedroom.
Chris McCormick's
bedroom?
Yes.
A mess, isn't it?
These pictures
on the floor.
Tell me, how did
they get smashed?
You happen
to remember?
Um, no, it was...
There was a lot
going on.
Yes, of course.
But I was just
wondering what part
of Chris McCormick's
sexual perversion
is satisfied by
the smashing
of family
photographs?
I wouldn't know.
But you did
smash them. No.
Well, I must have
misunderstood.
I thought all the
acts of violence--
sheets ripped, smeared
with lipstick and blood,
mirrors smashed--
weren't they
all done by you
for Chris McCormick?
No, no.
Well, I was sure
that's what you testified.
Shall I have it read back?
I did do all that.
For her.
I just don't remember
smashing the priest's picture.
Who's picture?
A priest?
I can't make out any priest.
Her brother's a priest.
How do you know that?
She told me.
Why?
I don't know. Ask her.
Did you ask about him?
No.
Then, uh, how did
he get brought up?
I don't remember.
And you don't
remember
how his pictures
got smashed.
No.
Now, about the music.
How you doing?
Pardon?
With the music--
how far along are you?
No, you don't understand.
I-I just teach music.
Oh, I see. So, you are
not a composer,
and you are not a player.
No. Uh, yes. I do some
composing for myself.
Well, perhaps that's why
you wanted Chris McCormick
to hear your tape.
Why?
Well, she might be in
a position to help you.
I didn't...
I didn't think about that.
Well, think about it now.
CARTRIGHT:
Objection, Your Honor.
JUDGE:
No, I'm going to allow it.
Well, uh...
I suppose she could get my stuff
to the right people.
Ah, so you haven't quite
given up, have you?
I guess not.
You took this
to Chris McCormick's
apartment that afternoon.
Yes, ma'am.
To play this tape.
Right.
And this tape you made?
I did.
I can't quite make out
what you've written
here on the side.
Can you make that out?
I know the tape.
What's it called?
You did name it,
didn't you?
I mean, after all
it is your, um,
your fabrication.
Filios Irae.
Latin, isn't it?
Yes.
What does it mean,
Mr. Stuart?
"Fury's Child."
I beg your pardon?
"Fury's Child."
"Fury's Child."
That's an
interesting title.
Is it from something,
a poem?
It's from me.
If it please the court,
I would like to play
some of Mr. Stuart's music
for the jury.
Do you have any objections,
Mr. Cartright?
I'm a great admirer
of the defendant's composition,
Your Honor, but is it relevant?
Very relevant, Your Honor,
and it's all set up.
You may proceed.
The machine is a little small,
so I've made arrangements
to have it plugged into
another speaker or two
for all of us to hear.
What setting do you suggest,
Mr. Stuart? Six decibels?
It was done
for eight.
Eight.
( dissonant electronic
music playing )
( dissonant music continuing )
So this is the music
that you played
for Chris McCormick
on that afternoon?
Yes.
What were you doing
while it played?
Listening.
What do you think?
Was she listening, too?
Yes.
All the time?
Until the phone rang.
( music stops )
( audience murmuring )
( gavel rapping )
Who was it?
It wasn't for me.
Some man.
A business call?
I don't know what he is to her.
How did you feel
when the phone rang
in the middle
of your serenade?
Nothing.
What did she do?
She... she went into
the bedroom with him.
With the phone, you mean.
No. Yes.
She took the phone
into the bedroom.
Couldn't she have asked him
to call back if she was busy?
Maybe she had
to talk to him.
Maybe she was glad
the call came.
Is that possible?
That's her business.
Get her off the hook
and away from the noise.
You don't know
what you're talking about.
How did you feel,
Mr. Stuart?
Who cares?
Hell, noise.
The music's good.
If she doesn't want to listen,
it's her damn loss.
Yes, it is,
but I asked you
how you felt.
Weren't you furious
that she ran out on you?
CARTRIGHT:
Objection, Your Honor. No.
JUDGE:
Overruled.
Isn't that why
you punished her,
because you knew
she wasn't interested in you or your music?
No, no!
Because she'd rather
talk to somebody else
and be with somebody else
than this music of yours?!
Listen!
That's all, Mr. Stuart.
You can play my music all day
and all night,
and it won't make me into a man
who will rape anybody!
I have no further
questions, Your Honor.
And it won't convict me of rape!
JUDGE:
You may step down, Mr. Stuart.
Uh, I don't know
the rules here, Your Honor.
Who do I tell--
If it please the court...
Mr. Stuart.
It happened the way I said.
Tell them!
Your Honor!
The prosecution provoked
this outburst, Your Honor,
by harassing the defendant!
Why? Why, Chrissy, why?
Why did you do it?
JUDGE:
Mr. Stuart, will you restrain yourself?
( banging gavel )
Why?
Bailiff!
It could've been s...
( gavel bangs )
If it please the court,
the defense wishes to recall
a single prosecution witness
for further cross-examination.
Which witness,
Mr. Cartright?
Miss McCormick, Your Honor.
Miss Kathy McCormick.
JUDGE:
Has the prosecution any objection?
Uh, none, Your Honor,
except it is unfortunate
to subject a young person
to needlessly painful,
sometimes pointless questioning.
I can assure you, Mrs. Bondi,
no pointless questions.
You're still
under oath, Kathy.
Yes, sir.
You had your own key
to the apartment, did you?
Yes.
So that afternoon
you let yourself in.
Yes.
Now,
please tell us again
what you saw and heard
the moment you closed
the door behind you.
Nothing.
It was quiet.
It was quiet?
No sounds at all?
Some music...
coming from somewhere.
In the apartment?
I'm not sure.
Was it coming from
your sister's bedroom?
I couldn't tell.
What happened
next, Kathy?
I said, "I'm home."
You called out?
Yes, but not loud.
Why not?
Sometimes Chrissy takes a nap
in the afternoon.
CARTRIGHT:
I see. That's how quiet it was.
Now, when your sister
didn't answer you,
what did you do?
I went to look
into Chrissy's room.
Why?
( sighs )
You went toward
your sister's room.
Why?
KATHY:
I went out on the terrace...
I opened that door.
And I saw her.
Saw them.
And then I went
back to my room.
Did you close
your sister's door first,
before you went
back to your room?
Yes.
Why?
I just did.
Well, why
do you think?
I don't know. Privacy.
For your sister's privacy?
It was closed before,
so I just closed it again.
And then you telephoned the
police from your own bedroom.
No.
You didn't telephone the police?
No.
Or call downstairs
for some help?
I should have.
But you didn't,
did you?
'Cause you didn't believe
your sister was in danger.
That's the truth,
isn't it?
Did you think for an instant
your sister was being harmed?
I didn't know.
You would have
called for help
if she'd been
in danger. Yes.
You would have
telephoned the police. Yes.
Anyone,
wouldn't you?
Yes.
But from what you saw,
she wasn't being harmed.
She wasn't struggling.
She wasn't
being beaten.
She didn't scream.
She was quiet,
wasn't she?
You looked into your sister's
bedroom, Kathy,
and you saw her making love.
In some way,
she wanted to make love,
with a teacher
you liked and admired.
No, he was raping her.
BONDI:
Objection. This calls for a conclusion.
He was raping her!
JUDGE:
Sustained.
You did like Mr. Stuart,
didn't you, Kathy?
It's not true.
You didn't like him?
No.
Didn't you?
No. Yes, but...
Did you like him
or didn't you?
He raped my sister.
No, you mean your sister
told you she'd been raped.
He raped her.
Look, that is the
accusation, Kathy,
but Mr. Gordon Stuart
is not guilty of rape.
That requires evidence,
and there is no evidence.
You were an
eyewitness, Kathy,
but you didn't see
anything violent
or you would have
called the police.
BONDI:
Your Honor, I demand
that you admonish counsel
to stop using
this child as a tool
for his closing argument!
A jury, not
this witness,
will determine that
violence was done,
that Chris McCormick was raped.
Your Honor, I agree that there
was a rape that afternoon
in Miss McCormick's apartment.
From this evidence, from the
testimony of the one eyewitness,
it is impossible to tell,
beyond a reasonable doubt,
just who the victim was.
KATHY:
He was raping her!
He was!
Your Honor, I have
no more questions.
She told me!
Your Honor,
I have no more questions.
She told me!
She never lies to me!
( gavel pounds )
( gavel pounds )
JUDGE:
Have you reached a verdict?
We have, Your Honor.
CLERK:
We, the jury, find the defendant not guilty.
( buzz of conversation )
How do you feel about...?
( all shouting questions )
What do you think
happened, Miss Bondi?
Will anyone hire
you after this?
Will you
continue to model?
Hi.
Gordon Stuart!
Yeah.
Gordon Stuart,
can we have a picture
of you
and Chrissy together?
How does it feel
to be a free man?
Mrs. Bondi, have you had it
with the D.A.'s office?
I've had it
with 18th century juries.
How about a retrial?
What do you want?
What do you want?
You want to follow them
in the ladies' room?
You want more rape?
Come on, come on.
Just trying to get in.
Can we have a picture?
Do you still believe
Chris's story?
We're certainly innocent.
Bastards.
Are you okay?
Are you
all right?
Oh, God.
( disco music plays )
Try and look right
in the camera.
You look so beautiful
today, Chrissy.
Come on, try
a little bit.
That's nice
like that.
Just turn your head
away a little bit.
Turn it away.
( camera shutter clicking )
Just turn it away.
That's it.
Bring it back
to me, Chrissy.
Bring your head
back to me.
Come on, you're
my favorite, Chrissy.
My favorite girl
in the whole world.
( shutter clicking )
Try a little
harder, Chrissy.
Just remember
the way we used to do it.
Kill that bulb.
Chrissy, honey, come on.
Please let me try it
one more time, Francesco.
I'll be all right
in a minute.
We can do it another time.
We don't have to do it today.
There's no hurry.
We've got so much
to do, though.
Aw, come on, baby.
Let's go out.
We can get it
in one session.
Remember when we-we did
the ten pages
for Vogue in one day?
Nobody could believe
we finished it.
We can always do
things another day.
But... we have
a whole campaign to finish.
We don't really.
The agency wants
to cool it,
and Steve agrees.
He says, possibly we'll
pick it up next year.
This is the last
session, Chrissy,
but we don't have
to finish it today.
We can do it tomorrow.
You'll be fresher then.
KATHY:
Why should you?
'Cause I've got
a commitment.
But they fired you.
Who said they fired me?
You said.
After today.
Just put the
rest of the gear
in the back
of the car.
Zip up that
rifle case.
Well, I'll do it.
It's okay.
It's not just a question
of being fired.
There's a lot more to it
than that.
How will we make a living?
Starving.
We'll be the first sister team
to make a living by starving.
We couldn't starve.
Why not?
We've got
looks, talent, honesty,
and we're great in courtrooms.
Chris?
Mm-hmm.
Will they take him back
at school?
You heard the verdict.
Not guilty.
They'll probably
throw him a party.
How could they believe him?
Even the kids
at my new school.
What?
They look at me.
You know, funny.
Steve gave you that,
didn't he?
Yeah, right.
Steve.
Steve, who said
I was the hottest
model in the business.
And the jury
agreed with him.
Why didn't the jury believe you?
Kathy...
I have to ask you a question.
After the jury--
what they said,
do you think maybe it...
it didn't happen?
No.
KATHY:
How long is it going to take this time?
Don't worry about it.
We'll have
plenty of time
to get to the
mountains afterwards.
When are you
going to know?
Know what?
If we come
back to L.A.
or go home
to Colorado.
Well,
in the mountains,
there'll be
some fresh air,
and then we'll
be able to make
the wrong decision
better. Right?
GIRLS:
Kathy! Kathy!
Where have you been?
How are you?
Good to see you.
Where have you been?
Can you come
watch us rehearse?
No, I'm here with Chris.
She's working.
We're doing
modern dance.
It's really neat.
Come on. Can't you
come watch us rehearse?
Come on, Kathy.
Come on. Please?
Kathy, come on!
Please?
No, I've got to be with Chris.
Okay. We'll see
you later, okay?
Bye!
What time you going
up to the mountains?
Right afterwards.
When we're
finished shooting.
I'll bet you can't wait
to get out of here.
Marvelous! Marvelous!
In five years,
I'll hire you.
There! Now, let's see.
What can I do?
There! Like Dietrich.
Marlene Dietrich.
Very languorous. Dietrich.
Oh, this is the most
beautiful dress
I think I've ever had on.
You look fabulous.
I love it.
Let me see you move.
Look what happens
when I turn around.
That's it. Just
walk around there.
Kind of tiring,
isn't it?
Yeah, a little.
Sort of boring.
You know, there
are two or three floors up there
that are unoccupied.
Lots of empty shops.
Sort of like
a big fun house.
Why don't you
go exploring?
I think I will.
Sure. There are all
kinds of escalators.
Have fun, honey.
Fix the hair
and the makeup.
Give me the camera
on the floor.
That's it. This is
going to be really good.
Fabulous like that.
From down here,
you should see you, Chrissy.
Great.
Twirl for me.
Great like that.
Fabulous!
( electronic music playing )
( music continues )
Open it out!
On her.
Okay, good.
Nice performance,
everybody.
Get your warmers
on please, dancers.
WOMAN:
And after you get your things changed,
I want everybody
to meet in the bus
in about five minutes.
Now, don't scatter.
I know you all want
to talk to your parents.
Tamara, let me have
the mike, will you?
Now?
Yeah. See you.
Go get
your costumes.
Thank you.
Give me the
remote control.
I need to fasten
some stuff up.
Don't worry, everybody.
We'll put it all together.
It'll be all right.
Huh? Tomorrow.
Hiya, kiddo.
How you doing?
How's the new school?
It's all right.
Pretty awful, huh?
It's a real shame
you had to miss all the fun.
What are you doing here?
I'm here with Chris.
She's working downstairs
with Francesco.
Ah.
I'm, uh...
I'm doing your basic sweetening
the tracks--
dub over sound
onto the tapes.
Putting
the mike on me,
and getting breathing
and heart sounds.
Oh, my heavens.
I think I have terminal gas.
Hey, you don't have to miss it.
You can be a part of it.
I'll put you on.
Come on.
I'll tape you breathing.
Oh, Kath, come on.
Come on.
Where's Kathy?
Oh, she just got bored.
She's up exploring
the place.
Just check everything,
because we're almost ready.
Pull your head back,
just for a second.
She looks great now.
Come on, let's get up
and do the twirling.
Come on.
What a wonderful coincidence
having you here.
Yeah, put your...
I'm not going
to use this mike.
I have got...
a sole, number one
mike for you.
Specially designed...
with you in mind, my dear.
Tack it on
right there. ( heart beating )
Hey.
( breaths echoing )
Can you hear it?
It's your heart.
It's your breathing.
( breaths echoing )
Huh?
Wait a minute.
( breaths echoing )
( whirring )
Can you hear it?
( inhales ):
Come on, breathe.
Terrific.
Isn't it incredible?
It just fills the whole
hall, doesn't it?
( heartbeat quickens )
Breathe again.
( breaths echoing )
That's it.
Wonderful. Again.
( breaths echoing )
( heart beating )
( breaths echoing )
It's the sound of...
the sound of our bodies
mixed together.
I mean, really mixing together.
Hey...
( breaths echoing )
( heart beating )
Do you really believe
I raped your sister?
( heart beating )
( breaths echoing )
Kathy...
( running footsteps )
( panting )
STUART:
Kathy?
( whimpering )
Kathy?
Kathy?
Kathy?
( screams )
( screams )
( tapping )
( gasping )
FRANCESCO:
Bend down to the left.
That's nice.
Bend to the left.
Beautiful.
You're beautiful.
( screams )
( screaming )
( screaming hysterically )
( shrieking )
FRANCESCO:
Tighter.
Give it to me right
here in the lens.
( shutter clicking )
Give me everything,
right in the lens.
Strut your stuff.
( clattering )
Kathy!
What happened?
Kathy, are you all right?
What happened?
Nothing, I just have
to go to the bathroom.
Who...?
Who did this to you?!
Mr. Stuart.
Oh, my God.
Oh, God!
( growling )
Get the doctor!
Mr. Stuart.
How splendid you must feel!
It went so well.
Weren't you
pleased?
Huh?
I've invited some board
members for tomorrow.
Uh...
I think it will help.
Getting you back
on the faculty.
Oh, yes. Yeah.
Gordon?
Huh?
You should be
very proud.
It's going to be
a knockout.
CHILDREN:
Bye, Mr. Stuart!
( keys jingling )
( gunshot )
( rifle clicking empty )
( rifle clicking empty )
( siren blares in distance )
( sirens blaring )
( handcuffs clicking )
CARLA BONDI:
I did not leave the district attorney's office
to extenuate
the crime of murder.
I'll tell you what Clarence
Darrow wrote some time ago.
"Crime is to be expected,
since humans are never perfect,
"but the failure of justice
may be more damaging to society
than crime itself."
Then where is law and order?
I say your verdict to acquit
Chris McCormick
is law and order...
...and justice.
Thank you, ladies and gentlemen,
for your attention.
FOREMAN:
We, the jury, find the defendant not guilty as charged.