Lipstick - English Transcript

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. Captioning sponsored by 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 13-year-old 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 *** 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 *** to get what you want?! ( screams ): No! Huh? ( panting ) Where is it? What? That new red ***. 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 ***. Am I good enough to ***?! 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: 18 Indiana Avenue. 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. *** 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 *** 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 *** 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 ***. 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 10,000 rapes reported every year in California? MARTIN: Only 10,000? Out of no less than 50,000 committed, Father. What is it, Mr. Edison? Do you want to ask me something? Uh, yes, I do. What chance is there the *** 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 ***. 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 ***. 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 *** 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 ***! 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 ***? 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 "***"? It's when somebody puts force on somebody to have sex. If your sister hadn't told you she'd been ***, 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 *** 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' *** 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 *** 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 *** daydreams of being ***... Objection. of being overwhelmed... to see these *** fantasies on the beach-- helpless, half naked, ***. 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 *** 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 *** 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 ***. 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! *** 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 *** 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 *** anybody! I have no further questions, Your Honor. And it won't convict me of ***! 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 *** my sister. No, you mean your sister told you she'd been ***. He *** her. Look, that is the accusation, Kathy, but Mr. Gordon Stuart is not guilty of ***. 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 ***. Your Honor, I agree that there was a *** 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 ***? 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. ***. 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 *** 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 ***. 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.