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by

Robert Towne

FULL SCREEN PHOTOGRAPH

grainy but unmistakably a man and woman making love.Photograph shakes. SOUND of a man MOANING in anguish.The photograph is dropped, REVEALING ANOTHER, MORE com­promising one. Then another, and another. Uore moans.

CURLY I S VOICE(crying out)

Oh, no.

I~T. GITTES' OFFICE

CURLY drops the photos on Gittes' desk. Curlv towersover GITTES and sweats heavily through his workman'sclothes, his breathing progressively more labored. Adrop plunks on Gittes' shiny desk top.

Gittes"notes it. A fan whirrs overhead. Gittes glancesup at it. He looks cool and brisk in a white linen suitdespite the heat. Never taking his eyes off Curly, helights a cigarette using a lighter with a "nail" onhis desk.

Curly, with another anguished sob, turns and rams hisfist into the wall, kicking the wastebasket as he does.He starts to sob again, slides along the wall where hisfist has left a noticeable dent and its impact has sent.the signed photos of several movie stars askew.

Curly slides on into the blinds and sinks to his knees.He is weeping heavily now, and is in such pain that heactually bites into the blinds.

G~ttes doesn't move from his chair.

GI'l'TESAll right, enough is enough-­

. you can't eat the Venetianblinds, Curly. I just had'em installed on Wednesday.

Curly responds slowly, rising to his feet, crying. Gittesreaches into his desk and pulls out a shot glass, quicklyselects a cheaper bottle of bourbon from several fifthsof more expensive Whiskeys.

Gittes pours a large shot. he shoves the glass acrosshis desk toward Curly.

(CONTINUED)

3 CONTINUED:

GITTES--Down the hatch.

Curly stares dumbly at it. Then picks it up, and drainsit. He sinks back into the chair opposite Gittes, beginsto cry quietly.

CURLY(drinking, relaxinga little)

She's just no good.

GITTESWhat can I tell you, Kid?You're right. When you'reright, you're right, andyou're right.

CURLY--Ain't worth thinking about.

Gittes leaves the bottle with Curly.

GITTESYou're absolutely right, Iwouldn't give her anotherthought.

CORLY(pouring himself)

You know, you're okay, Mr. Gittes.I know it's your job, but you'reokay.

GITTES(settling back,bre~thing a littleeasier) .

Thanks, Curly. Call me Jake.

CURLYThanks. You know something,Jake?

GITTES~ihat's ~~at, Curly?

CURLYI think I'll kill her.

2.

4 INT. DUFFY & WALSH'S OFFICE

noticeably less plush than Gitte's. A well-groomed,dark-haired WOMAN sits nervously between their two desks,fiddling with the veil on her pillbox ~at.

WOMAN--I was hqping Mr. Gittes couldsee to this personally--

WALSH(almost the mannerof someonecomforting thebereaved)

--If you'll allow us to completeour prel~nary questioning, bythen he'll be free.

There is t..~e SOUND of ANOTHER MOAN coming from Gittes'office--something made of glass shatters. The Womangrows more edgy.

5 INT. GITTES' OFFICE - GITTES & CURLY

Gittes and C~ly .stand in front of the desk, Gittesstaring contemtuously at the heavy breathing hulktowering over him. Gittes takes a handkerchief andwipes away the plunk of perspiration on his desk.

CURLY(crying)

They don't kill a guy for that.

GITTESOh they don't?

CURLYNot for your wife. That's theunwritten law.·

6 Gittes pounds the photos on the desk, shouting;

GITTESI'll tell you the unwritten law,you dumb son of a bitch, yougotta be rich to kill somebody,anybody and get away with it.You think you got that kindof dough, you think you gott..~at kind of class?

(CONTI~UED)

3.

6 CONTINUED:

Curly shrinks back a little.

CURLY• •• No •••

GITTESYou bet your ass you don't. Youcan't even pay me off.

This seems to upset Curly even more.

CURLYI'll pay the rest next trip-­we only caught sixty ton ofskipjack around San Benedict.We hit a chubasco, they don'tpay you for skipjack the waythey do for tuna or albacore--

GIT'l'ES(easing him out ofhis office)

Forget it. I only mention it toillustrate a point•••

4.

7 INT. OFFICE RECEPTION

He's now walking him past SOPHIE who pointedly averts hergaze. He opens the door where on the pebbled glass canbe read: J. J. GIT'l'ES and Associates - DISCREETINVESTIGATION.

GIT'l'ESI don't want your last dime.

He throws an arm around Curly and flashes a dazzling smile.

GIT'l'ES(continuing)

What kind of guy do youthink I am?

Thanks, Mr.CURLY

Gittes.

GITTESCareful driVingCall me Jake.

home, Curly.

He shuts the door on him and the smile disappears.

8 He shakes his head, starting to swear under his breath.5.

SOPHIE--A Mrs. Mulwray is waitingyou, with Mr. Walsh and Mr.

Gittes nods, walks on in.

9 INT. DUFFY AND WALSH'S OFFICE

Walsh rises when Gittes enters.

forDuffy.

WALSHMrs. Mulwray, may I present Mr.Gittes?

Gittes walks over to her and again flashes a warm,sympathetic smile.

GITTESHow do you do, Mrs. Mulwray?

MRS. MULWRAY~1r • Gittes •••

GITTESNow~ Mrs. Mulwray, What seems tobe the problem?

She holds her breath. The revelation isn't easy for her.

MRS. MULWRAYMy husband, I believe, is seeinganother woman.

Gittes looks midly shocked. He turns for confirmationto his two partners.

GITTES(gravely)

No, really?

MRS • MULWRAYI'm afraid so.

GITTESI am sorry.

10 Gittes pulls up a chair sitting next to Mrs •. MUlwray -­between Duffy and Walsh. Duffy cracks his gum.

(CONTINUED)

10 CONTINUED:

Gittes gives him an irritated glance. Duffy stopschewing.

MRS. MULWRAYCan't we talk about this alone,Mr. Gittes?

GITTESI'm afraid not, Mrs. Mulwray.These men are my operatives andat some point they're going toassist me. I can't do everythingmyself.

MRS. MULWRAYOf course not.

GITTESNow -- what makes you certain heis involved with someone?

Mrs. Mulwray hesitates. She seems uncommonly nervousat the question.

MRS • MULWRAY-- a wife can tell.

Gittes sighs.

GITTES~1rs. Mulwray, do you love yourhusband?

MRS. MULWRAY(shocked)

••• Yes of course.

GITTES(deliberately)

Then go home and forget about it.

MRS. MULWRAYbut•••

GITTES(staring intently a~

her)I'm sure he loves you, too. Youknow the expression, 'let sleepingdogs lie?' You're better off notknowing.

(CONTINUED)

6.

7.10 CONTINUED: (2)

MRS. MULWRAY(with some realanxiety)

But I have to know!

Her intensity is genuine. Gittes looks to his two partners.

GITTESAll right, what's your husband'sfirst name?

MRS. MULWRAYHollis. Hollis Mulwray.

GITTES(visibly surprised)

Water and Power?

Mrs. Mulwray nods, a~ost shyly. Gittes is now casuallybut carefully checking out the detailing of Mrs. Mulwray'sdress -- her handbag, shoes, ect.

MRS. MULWRAY-- he's the Chief Engineer.

DUFFY(a little eagerly)

Chief Engineer?

11 Gittes' glance tells Duffy Gittes wants to do the question­ing. Mrs. Mulwray nods.

GITTES(confidentially)

This type of investigation canbe hard on your pocketbook, l~s.

Mulwray. It takes time.

MRS • MOLWRAYMoney doesn't matter to me, Mr.Gittes.

Gittes sighs.

GITTESVery well. lie' 11 see what wecan do.

12 EXT. CITY HALL - MORNING

already shimmering with heat.

(CONTINUED)

12 CONTINUED:

A drunk blows his nose with his fingers into the fountainat the foot of the steps.

Gittes, impeccably dressed, passes the drunk on the wayup the stairs.

13 INT. COUNCIL CHAMBERS

Former Mayor SAM BAGBY is speaking. Behind him is a hugemap, with overleafs and bold lettering:

"PROPOSED ALTO VALLEJO DAM AND RESERVOIR"

Some of the counci~en are reading funny papers and gossipcolumns while Bagby is speaking.

BAGBY--Gentlemen, today you can walkout that door, turn right, hop ona streetcar and in twenty-five .minutes end up smack in the PacificOcean. Now you can swim in it, youcan fish in it, you can sail init - but you can't drink it, you

,. can't water your lawns with it,you can't irrigate an orange grovewith it. Remember -- we live nextdoor to the ocean but we also liveon the edge of the desert. LosAngeles is a desert community.Beneath this building, beneathevery street there's a desert.Without water the dust will riseup and cover us as though we'dnever existed!

(pausing, lettingthe implicationsink in)

14 CLOSE - GITTES

sitting next to some grubby farmers, bored. He yawns -­edges away from one of the dirtier farmers.

BAGBY (0 •S • )(continuing)

The Alto Vallejo can save us fromthat, and I respectfully suggestthat eight and a half milliondollars is a fair price to pay tokeep the desert from our streets-- and not on top of them.

8.

15 AUDIENCE - COUNCIL CHAMBERS

An amalgam of farmers, businessmen, and city employeeshave been listening with keen interest.· A couple of thefarmers applaud. Somebody shooshes them.

16 COUNCIL COMMITTEE

in a whispered conference.

COUNCILMAN(acknowledging Bagby)

Mayor Bagby •.•• let's hear fromthe departments again -- I supposewe better take Water and Powerfirst. Mr. MUlwray.

17 REACTION - GITTES

looking up with interest from his racing form.

18 MULWRAY

walks to the huge map with overleafs. He is a slenderman in his sixties,·who wears glasses and moves withsurprising fluidity. He turns to a smaller, youngerman, and nods. The man turns the overleaf on the map.

MULWRAYIn case you've forgotten, gentlemen,over five hundred lives were lostwhen the Van der Lip Dam gave way-- core samples have shown thatbeneath this bedrock is shalesimilar to the permeable shalein the Van der Lip disaster.It couldn't withstand that kindof pressure there.

(referring to a newoverleaf)

Now you propose yet another dirtbanked terminus dam with slopesof two and one half to one, onehundred twelve feet high and atwelve thousand acre water sur~ace.Well, it won't hold. I won'tbuild it. It's that simple -- Iam not making that kind of mistaketwice. Thank you, gentlemen.

(CONTINUED)

9.

10.18 CONTINUED:

Mulwray leaves the overleave board and sits down. Suddenlythere are some whoops and hollers from the rear of thechambers and a red-faced FARMER drives in severalscrawny, bleating sheep. Naturally, they cause a commotion.

COUNCIL PRESIDENT(shouting to farmer)

What in the hell do you think you'redoing?

(as the sheep bleatdown the aislestoward the Council)

Get those goddam things out of here!

FARMER(right back)

Tell me where to take them! You don'thave an answer for that so quick, doyou?

19 Bailiffs and sergeants-at-arms respond to the impreca­tions of the Council and attempt to capture the sheepand the farmers, having to restrain one who looks likehe's going to bodily attack Mulwray.

FARMER(through above, toMulwray)

-~ You steal the water from thevalley, ruin the grazing, starvemy livestock -- who's paying youto do that, Mr. Mulwray, that'swhat I want to know!

20 OMITTED&21

22 L.A. RIVERBED - LONG SHOT

It's virtually empty. Sun blases off it's ugly concretebanks. Where the banks are earthen, they are parchedand choked with weeds.

After a moment, Mulwray's car pulls INTO VIEW on a floodcontrol road about fifteen feet above the riverbed.Mulwray gets out of the car. He looks around.

23 WITH GITTES

holding a pair of binoculars, downstream and just abovethe flood control road -- using some dried mustard weedsfor cover. he watches while Mulwray makes his waydown to the center of the riverbed.

There Mulwray stops, turns slowly, appears to be lookingat the bottom of the riverbed, or -- at nothing at all.

24 GITTES

trains the binoculars on him. Sun glints off Mulwray'sglasses.

25 BELOW GITTES

There's the SOuND of something like champagne corks pop­ing. Then a small Mexican boy atop a swayback horserides it into the riverbed, and into Gitte's view.

·26 MULWRAY

himself stops, stands still when he hears the sound.Power lines and the sun are overhead, the trickle ofbrackish water at his feet.

He moves swiftly downstream in the direction of thesound, toward Gittes.

27 GIT'l'ES

moves a little further back as Mulwray rounds the bendin the river and comes face to face with the Mecicanboy on the mUddy banks. Mulwray says something to the

The boy doesn't answer at first. Mulwray points to theground. The boy gestures. Mulwray frowns. He kneelsdown in the mud and stares at it. He seems to beconcentratating on it.

28 After a moment, he rises, thanks the boy and heads swiftlyback upstream -- scrambling up the bank to his car.

There he reaches through the window and pulls out a rollof blueprints or something like them - he spreads themon the hood of his car and begins to scribble some notes,looking downstream from time to time.

(CONTINUED)

11.

28 CONTINUED:

The power lines overhead HUM.

He stops, listens to them -- then rolls up the plans andgets back in the car. He drives off.

29 GITTES

12.

Hurries toback out.towel fromfront one.

getThethe

He

back to his car. He gets in and gets rightsteamy leather burns him. He takes aback seat and carefully places it on thegets in and takes off.

30 OMITTED

31 POINT FERMIN PARK - DUSK

Street lights go- on.

32 MULWRAY

pulls up, parks. Hurries out of the car, across the parklawn and into the shade of some trees and buildings.

33 GIT'l'ES

pulls up, moves across the park at a different angle, butin the direction Mulwray had gone. He makes it throughthe trees in time to see Mulwray scramble adroitly downthe side of the cliff to the beach below. He seems ina hurry. Gittes moves after him - having a little moredifficulty negotiating the climb than Mulwray did.

34 DOWN ON THE BEACH

Gittes looks to his right - where the bay is a long,clear crescent. He looks to his left - there's apromontory of sorts. It's apparent Mulwray has gonethat way. Gittes hesitates, then moves in that direction--but climbs along the-promontory in order to beabove MUlwray. .

35 AT THE OUTFALL

Gittes spots Mulwray just below him, kicking at the sand.

(CONTINUED)

13.35 CONTINUED:

Mulwray picks up a starfish. Brushes the sand off it. Looksabsently up toward Gittes.

36 GITTES

backs away, sits near the outfall, yawns.

37 BEACON LIGHT AT POINT FERMIN

flashing in the dust.

38 CLOSE - GITTES

sitting, suddenly starts. He swears softly -- he's ina puddle of water and the seat of his trousers is wet.

39 MULWRAY

below him in watching the water trickling down fromthe outfall near Gittes.

Mulwray stands and stares at the water, apparently fas­cinated. Even as Gittes watches Mulwray watching, thevolume and velocity seem to increase until it gushes inspurts, cascading into the sea, whipping it into a foam.

40 AT THE STREET - GITTES'~CXR

There's a slip of paper stuck under the windshield wiper.Gittes pulls it off, gets in the car and turns on thedash light. It says: "SAVE OUR CITY! LOS ANGELES ISDYING OF THIRST! PROTECT YOUR PROPERTY! LOS ANGELESIS YOUR INVESTMENT IN THE FUTUm:!! 1 VOTE YES NOVEMBER6. CITIZENS COMMIT'l'IE TO SAVE OUR CITY, HON. SAM BAGBY,FORMER MAYOR - CHAIRMAN." Gittes grumbles, crumples itup and tosses it out the window. He notices otherflyers parked on a couple of cars down the street.

Gittes reaches down and opens his glove compartment.

41 INT. GLOVE COMPAR'l'MENT

consists of a small mountain of Ingersoll pocket watches.

(CONTIi-iUED )

14.41 CONTINUED:

The cheap price tags are still on them. Gittes pullsout one.

He absently winds it, checks the time with his own watch.It's 9:37 as he walks to Mulwray's car and places it be­hind the front wheel of MUlwray's car. He yawns againand heads back to his own car~

42 GITTES

arrives Whistling, opens the door with "J.J. GITTES ANDASSOCIATES - DISCREET INVESTIGATION" on it.

GITTESl-1orning, Sophie.

Sophie hands him a small pile of messages. He goesthrough them.

GITTESWalsh here?

SOPHIEHe's in the dark room.

43 Gittes walks through his office to Duffy and walsh's.A little red light in on in the corner, over a closed door.Gittes walks over and knocks on the door.

GI'l'TESWhere'd he go yesterday?

WALSH'S VOICEThree reservoirs -- Men's room ofa Richfield gas station on flower,and the Pig 'n Whistle.

GITTESJesus Christ, this guy's reallygot water on the brain.

WALSH'S VOICEWhat'd you expect? That's his job.

GITTESListen, we can't string this broadout indefinitely -- we got to comeup with something•.

(CONTINUED)

43 CONTINUED:

WALSH'S VOICEI think I got something.

GITTESOh yeah? You pick up the watch?

44 INT. DUFFY' WALSH'S OFFICE - GITTES

WALSH'S VOICEIt's on your desk. Say, you hearthe one about the guy who goes tothe North Pole with Admiral Byrdlooking for penguins?

Gittes walks to his office.

45 ON HIS DESK

is the Ingersoll watch, the crystal broken -- the handsstoped at 2:47.

GITTESHe was there all night.

Gittes drops it, sits down. Walsh comes in carrying aseries of wet photos stuck with clothes pins onto a smallblackboard.

GITTES(continuing; eagerly)

So what you got?

Walsh shows him the photos. He looks at them. They area series outside a restaurant showing Mulwray withanother man whose appearance is striking. In twoof the photos a gnarled cane is visible.

GITTES(continuing; obviouslyannoyed)

This?

WALSHThey got into a terrific argumentoutside the Pig 'n Whistle.

GITTESWhat about?

(CONTINUED)

15.

45 CONTINUED:

WALSHI don't know -- the traffic waspretty loud. I only heard onething -- apple core.

GITTESApple core?

WALSH(shrugs)

Yeah.

46 INT. GITTES' OFFICE

Gittes tosses down the photos in disgust.

GITTESJesus Christ, Walsh -- that's whatyou spent your day doing?

WALSHLook, you tell me to take -pictures,I take pictures.

GITTESLet me explain something to you,Walsh -- this business requiresa certain finesse --

The PHONE has been RINGING. Sophie buzzes him.

GITTESYeah, Sophie?

(he picks up the phone)Duffy, where are you?

Duffy's VOICE can be HEARD, excitedly -- HI got it. IgQt it. He's found himself some cute little twist -­in a rowboat, in Echo Park~H

GI'l'TES(continuing)

Okay, slow down -- Echo Park -­(to Walsh)

Jesus, water again.

47 WESTLAKE PARK (l-1cARTHUR PARK)

Duffy is rowing, Gittes seated in the stern.

(CONTINUED)

16.

47 CONTINUED:

They pass Mulwray and a slender blonde girl in a summerprint dress, drifting in their rowboat, Mulwray fondlydoting on the girl.

GITTES(to Duffy, as theypass)

Let's have a big smile, pal.

He shoots past Duffy, expertly running off a couple offast shots. Mulwray and the girl seem blissfully un­aware of them.

48 DUFFY

turns again and they row past Mulwray and the girl,Gittes again clicking off several fast shots.

49 CLOSE SHOT - SIGN (EL MACAL'iOO APARTMENTS)

MOVE ALONG the ° red tiled roof and down to a lower levelof the roof, where Gittes' feet are hooked over the apexof the roof and Gittes himself is stretched face down­ward on the tiles, pointing himself and his camera toa veranda below him where the girl and Mulwray areeating. Gittes is clicking off more shots when the tileshis feet are hooked over come loose.

Gittes begins a slow slide down the tile to the edge ofthe roof -- and possibly over it to a three-story drop.He tries to slow himself down. The loose tile alsobegins to slide.

Gittes stops himself at the roof's edge by the storm drainand begins a very precarious turn - this time hookinghis feet in the drain itself. The loose tile falls andhits the veranda below. He stops as it's about to slideover the edge. He carefully lays it in the drain.But a fragment off the cracked edge of the tile falls.

50 WITH MOLWRAY AND THE GIRL

Mulwray staring at the fragment at his feet. He looksto the gi~. He's clearly concerned. ° He rises, looksup to the roof.

51 FROM HIS POV

The roof and the sign topping it betray nothing. Heslowly sits back down, staring at the tile fragment.

17.

52 CLOSE SHOT - NEWSPAPER

10.

DEPAR~1ENT OF WATER AND POWER BLOWS FUSE OVER CHIEF'SUSE OF FUNDS FOR EL MACANDO LOVE NEST.

In the style of the Hearst yellow press, there is aheart-shaped drawing around one of the photos thatGittes had taken. Next to it is a smaller column,

. "J.J. Gittes Hired by suspicious spouse."

53 INT. BARBERSHOP - GITTES

holds the paper and reads while getting his haircut andhis shoes shined. In fact, almost all the customersare reading papers.

BARNEY(to Gittes)

-- when you get so much publicity,atter a while you must get blaseabout it.

A self-satisfied s~le comes to Gittes' face.

BARNEY(cont:1nuing)

Face it. You're practicallya movie star.

In b.g., customers can be OVERHEARD talking about thedrought. .Interspersed with above, someone is saying,"They're gonna start rationing water unless it rains."Someone else says, "Only for washing your cars." Thirdsays. "You're not going to be able to water your la\ffleither. or take a bath more than once a week." Firstsays, "If you don't have a lawn or a car, do' you get anextra bath?"

54 Qittes has been staring outside the barbershop. A caris stalled. The hood is up. A man watches hi:!radiatorbo1l1ng over.

QITTES(laughing)

Look at that.

BARNEYHeat's murder.

OTHER CUSTOr'IER(end of conversation)

'Fools names and fools faces ••• '

c.0-/

19'•.

55 Gittes has heard the word. He straightens up.

GITTES(smiling; to OtherCustomer)

What's that, pal?

OTHER CU STOMER(indicating paper)

Nothing -- you got a hell of away to make a living.

GITTES-- Oh? What do, you do to makeends meet?

OTHER CUSTOMERMortgage Department, First NationalBank.

Gittes laughs.

GITTESTell me, how many people a weekdo you foreclose on?

OTHER CUSTOMERWe don't publish a record in thepaper, I can tell you that.

GITTESNeither do I.

OTHER CUSTOMERNo, you have a press agent do it.

Gittes gets out of the ohair. Barney, a little concerned,tries to restrain him', holding onto the barber sheetaround Gi'ttes' neck.

GITTESBarney, who is this bimbo? He aregular customer?

BARNEYTake it easy, Jake.

GITTESLook, pal -- I make an honestliving. People don't come tome unless they're miserable andI help 'em out of a bad situation.I don't kick them out of theirhomes like you jerks who work inthe bank.

BARNEYJake, for Christ's sake.

56 Gittes is trying to take off his sheet.

GITTESC'mon, get out of the barber chair.We'll go outside and talk thisover --

The Customer is shrinking back into the chair.

20.

,.......11

/

BARNEYHey, c'mon, Jake. Sit down. Sitdown -- you hear about the fellagoes to his friend and says,'What '11 I do, I'm tired ofscrewing mY'wife?' and hisfriend says, 'Whyn't you dowhat the Chinese do?'

Gittes allows himself to be tugged back to his chair.

GITTESI don't know how that got in thepaper as a matter of fact -- itsurprised me it was so quick.I make an honest living.

BARNEY'Course you do, Jake.

GITTESAn honest living.

BARNEY(continuing)

So anyway, he says, 'whyn' t you.do what the Chinese do?'

57 INT. GITTES' OFFICE

Gittes comes bursting in, slapping a newspaper on histhigh.

GI'l'TESDuffy, Walsh

Walsh comes out of his Offic~, Duffy out of the other one.

GI'I'TES(continuing)

Sophie -- go to the little girl'sroom for a minute.

(CONTINUED)

~....,

~..

57

21.

CONTINUED:

SOPHIEBut, ~~. Gittes --

GITTES(insisting)

Sophie

SOPHIEYes, r~. Gittes.

She gets up and leaves.

GITTES-- so there's this fella who'stired of screwing his wife --

DUFFYJake, listen --

GITTESShut up, Duffy, you're always L~

a hurry -- and his friend says whynot do what ·the Chinese do? So hesays what do they do? His friendsays the Chinese they screw for a

--- .. while -- just listen a second,Duffy --

A stunning YOUNG wo~urn appears behind Gittes in hisdoor\'lay. She's shortly j'bined by a small, GREY-HAIRED!~~. They listen, unseen by Gittes.

GITTES(cont inuing)

-- and then they stop and theyread a little Confucius and theyscrew some more and they stop andthey smoke some opium and thenthey go back and screw some moreand they stop again and theycontemplate the moon or somethingand it makes it more exciting.So this other guy goes home toscrew his wife and after a whilehe stops and gets up and goes intothe other room only he reads Life~1agazine and he goes back and hescrews some more and suddenly saysexcuse me a second and he gets upand smokes a cigarette a~d ·he goesback· and by this time his wife isgetting sore as hell.

(MORE)

(CONTINUE!)

57 CONTI}rJED: (2 )

GITTES (CONT'D)So he screws some more and then hegets up to look at the moon andhis wife says, '~~at the hell doyou think you're doing?

(Gittes breaks up)••• you're screwing like a Chinaman.'

22.

..\{(

\

58. Gittes hangs onto Sophie's desle laughing hi~ ass off.The little Grey· Haired f·'1a.n winces. \fuen Gittes ::Looksup he sees the Young Woman, apparently in her latetwenties. She's so stunning that Gittes nearly gasps.

YOUNG War·iANMr. Gittes?

GITTESYes?

YOUNG \ror·1ANDo you know me?

GITTESwell -- I think I -- I

would've remembered.

YOUNG "rOMANHave we ever met?

GITTESWell, no.

.YOUNG '-lOMANNever?

GITTESNever.

YOUNG \'10MA.~

That's what I thought. You see,I'm f.frs. Eve110 r'1ulwray -- youknow, Mr. Mulwray's wife?

59 Gittes is staggered. He glances down at the newspaper.

GITTESNot~ Mulwray?

EVELYNYes, that Mulwray, r~. Gittes. Andsince you agree with me we've nevermet, you must also agree that rhaven't hired you to do anythingcertainly not spy on my husb~~d.

(NORE)

I CON""IN""ED"I... •• \oJ I J

/"!".59

23.

CONTINUED:

EVELYN (CONT'D)I see you like pUblicity, Mr.Gittes. Well, you're going toget it --

GITTESNow wait a minute, I:1rs. Mulwray.•••

She's walked past him toward the door. He stoP~/her.~. -..,.

.GITTES(continui.ng)

there's some m1~understanding

here. It's not going to do anygood to get tough with me --

Evelyn flashes a cold smile.

EVELYNI don't get tough with anybody,Mr. Gittes. My lawyer does.

Evelyn starts out the door and Gittes starts after her.This time he's stopped by the Gray-Haired r~n who hasalso come out ot his office and up behind him.

GRAY-HAIRED fJ1ANHere's something tor you, !~.

Gittes --

Gittes tUrns to be handed a thick sheaf of papers, asummons and complaint. Evelyn walks out the door.

GRAY-HAIRED nAN(continuing;pleasantly)

I suppose we'll be hearing tromyour attorney.

Gittes stares down at the papers in his hand.

60 INT. GITTES' INNER OFFICE - GITTES, DUFFY & \'lALSH

On Gittes' desk· there are empty qottee cups, the summonsand complaint -- and the newspaper Gittes had broughtwith him trom the barber shop.

The three men are sitting, worn and ·silent. Walshchewing gum is the l.oude,st noise ~n the room.

(CONTINUED)

r'.r 60

24.

CONTINUED:

Gittes looks to Walsh with obvious irritation. Walshstops chew1ng.

Duffy puts out a cigarette in the dregs of one of thecoffee cups.

GITTES(to DUffy)

There's seven ashtrays in thisroom, Duffy.

DUFFYOkay.

GITTESThat's a filthy habit.

DUFFYI said okay, Jake.

GITTESYeah, yeah -- if ~he'd come inhere saying she was Shirley Templeyou'd say okay to that, too.

WALSH'Look, Jake -- she give us Mulwray' sreal phone number and address --

GITTESAll she needed for that was thephone book1

WALSHNo, no -- she said not to call,her husband might answer.

GITTES-- When I find out who that phonybitch was -

Gittes is staring down at the newspaper. He suddenlygrabs the phone, begins dialing. A tight little smilebreaks out on his face. He buzzes Sophie.

GITTESSophie.

-,' ....

,J. SOPHIE

Yes, fo1r. Gitte.s. •

(CONTInUED)

Ft.-·-.~. / .

I •

"

60

61

62

CONTINUED: (2)

GITTESGet me the Ti~A~ -- Whiteyf-1ehrholtz --

(as he waits)And how about that snotty broad?

(the phone to hisear)

What does she think, she's perfect?Coming i~, \:a-vi~1g her la~'ers andher money at me -- so Goddamn smug.She's no better th~n anybody elsein this town --

Sophie BUZZES.

GITTn:S(continuing)

Whitey, what's new, pal? •• Yeah,listen, where did you get thosephctogra,hs ••• Ye~1, blowing afuze over the El ~~canbo lovene~t -- that's cut~, Whitey •••so who sent .~hem to you••• !sent thorn?

(Gittes laughs alittle hys~erically)

y~y would I be asking how you getthem if I sent the~? •• \~itey? ••Whitey?7. C'mon, level with mefor once, my tit's in the wringerand it's beginning to hurt •••yeah••• yeah -- yeah.

He hangs up.

WALSHSo he says you sent them?

GI'l'TES(after a moment)

they're all a bunch of phonies.

OIUTTED

INT. DEPARTlmNT ''lATER & POWeR - HALL

Gittes stops outside a door mar~ed:

HOLLIS I. !·mLWRAYCHIEF ENG!NEER

25.

~r

"'" ...fj (... ,

63

26.

He enters an outer office. The SECRETARY looks surprised.

GITTESMr. Mulwray, please.

SECRETARYHe's not in, Mr. --

GITTESGittes.

SECRETARYMay I ask what this is regarding?.

GITTESIt's personal. Has he been outlong?

SECRETARYSince lunch.

GITTESGee whiz -

(he glances at hiswatch)

- and I'm late.

SECRETARYHe was expecting you?

GITTESFifteen minutes ago. Why don'tI go in and wait?

Without waiting tor a response, he does. The Secretaryhalt rises in protest but Gittes is through the innerdoor.

64 MULWRAytS INNEn OFFICE

The walls are covered with commendation, photos of Mul­wray at various construction sites, large maps ofwatershed areas and reservoirs in the city. On thedesk is a tramed, tinted photo ot Evelyn in ridingclothes.

Gittes moves to the desk, watching the translucent panein the upper half of the door leading to the outeroffice as he does.

(CONTINUED)

close· the desk drawers aftertop. He tries one of the ~~awers

He reopens the top drawer, and

~.....-..."

\. ,/

64

65

27.

CONTINUED :.

He begins to open andquickly examining theand it doesn't open.the bottom one opens.

He looks in it, pulls out a checkbook. He opens it -­riffles through the stubs like he was shuffling cards.Drops it -- finds a set of keys, an old phone book, anda menu from a Water Department lunch at the BiltmoreHotel in 1913. Then, Gittes hauls out the blueprintsthat Mulwray had laid across the hood of his car -­they read in bold type: WATERSHED AND DRAINAGE SYSTEMFOR THE LOS ANGELES BASIN.

He flips through them -- reads one notation in Mulwray'sneat hand: "Tues. night. Oak Pass Res. - 1 channelsused. "

Gittes spots a shadow looming in front of the translucentpane. He quickly tosses item after item back, kneeingthe drawer -- nearly knocking a spare pair of Mulwray'sglasses off the desk top when he does. He catches them,puts them on the desk and is pacing the room as thedoor opens.

RUSS YELBURTON

enters the room. An anxious Secretary is right behindhim.

YELBURTONCan I help you?

(extending his hand).Russ Yelburton, ·Deputy Chief inthe Department.

GITTES(equally pleasant)

J.J. Gittes -- and it's not adepartmental matter.

YELBURTONI wonder if you'd care to waitin my office?

This is more a request than an invitation. Gittes nods,follows Yelburton out, through the outer office to hisoffices down the hall.

(CONTINUED)

65 CONTInUED:

YELBURTON(continuing; asthey're going)

You see -- this whole businessin the paper with Mr. Mulwrayhas us all on edge --

28.

66 INT. YELBURTON OFFICE

Smaller than Mulwray's, he has most noticeably a lacqueredmarlin mounted on the wall. There are a couple of otherpictures of Yelburton with yellowtail and other fishhe's standing beside.

There's also a small burgee of a fish with the initialsA.C. below it, tacked onto the wall.

1:'.:.. .,u ( .,.

\ YELBURTONAfter all~ you work with a manfor a certain length of time,you come to know him, his habits,his values. and so forth -- welleither he's the kind who chasesafter women or he isn·' t.

GITTESAnd Mulwray isn't? .

YELBURTONBe never even kids about it.

GITTESMaybe he takes it very seriously.

'\'/

67 . Gittes winks. Yelburton chuckles appreciatively, loosen­ing up a little.

GITTESYou don't happen to know whereMr. MUlwray's having lunch?

YELBURTONI'm sorry, I --

GITTESWell, tell him I'll be back.

Gittes spots a card tray on Yelburton's desk.

(CONTINUED) .

67 CONTINUED:

GITTES(continuing)

vtlnd if I take one of yourcards? In case I want to getin touc~ with you again.

YELBURTONHelp yourself.

29.

68 Gittes fishes a couple off the tray, puts them in hishandkerchief pocket. He goes out the door, nearly runninginto a man who is standing by the Secretary's desk -­about Gittes' age only a head taller and a foot wider,dressed in a plain suit that fits him about as well asa brown paper bag.

GITTESMulrthill, what are you doinghere?

69 OUTER OFFICE - YELBURTON, MULVIHILL AND GITTES

MULVIHILL stares at Gi~tes with unblinking eyes, remainsby the desk.

MULVIHILLThey shut my water off, what'sit to you?

GITTESHow'd you find out? You don'tdrink it, you don't take a bathin it, maybe they sent you aletter. Ah, but then you'd haveto be able to read.

Mulrthill moves toward Gittes, shaking with fury. Yel­burton steps between them.

Relax,

Do you

GITTES(continuing)I~ulvihill, glad to see you.(to Yelburton) .know Claude Mulvihill here?

YELBURTONHope so. He's working for us •..

(CONTINUED)

"~"., ....,..~

69 CONTINUED:

GITTESDoing what?

Yelburton glances uneasily at Mulvihill.

YELBURTONFrankly, there's been some threatsto blow up the city reservoirs.

GITTESAny particular reason?

YELBURTON-- It's this darn drought. We'vehad to rat~on water ~ the valley-- farmers are desperate -- whatcan we do? The rest of the cityneeds drinking water.

GITTESWell, you're in luck, ~~. Yelburton.

YELBURTONBow's that?

. GITTESWhen Mulvihill here was VenturaCounty sheriff, rum runners landedtons of booze· in Malibu and never

. lost a drop. He ought to be ableto hold onto your water for you.

30.

70 OMITTED

71 GITTES

turns off onto a winding road. It goes up into thefoothills.

. .Gittes swerves, missing a dog stretched out lazily inthe road. Gittes honks and yells indigna."1tly at thesleepy animal.

\.

72 Gittes stops on a curve. Above a steep bank and partiallyhidden is the Mulwray home -- designed and constructedwith shade and curves that are dramatic. ~fuen he turnsoff the ignition, the distant SOUND of the SURF can beHEARD •

. Gittes heads up to the entranc~.

73

31.

EXT. rIDL\iRAY HO~m - GITTES

rings the bell. He waits.

A powerful CHINESE BUTLER with heavy hair and a half­jacket of gold on one front tooth, answers the door.

GITTESJ.J. Gittes to see r~. Mulwray.

He hands the Chinese Butler a card from his wallet. TheButler takes it and disappears, leaving Gittes standingin the doorway.

Gittes stands, and sweats, watching a Jap~~ese GARDENERtrim a hedge. There's a SQUEAKING SOUND. Gittes movesa few feet off the porch.

74 POV - GARAGE

...; ..... --".

75

A chauffeur is washing down a cream-colored Packard witha chamois. Steam rises off the hood. The squeaking hasobviously come from the chamois •

CHINESE BUTLER

in doorway.

CHINESE BUTLERPlease.

Gittes looks behind him. The Chinese Butler is gesturingfor him to follow.

76 THROUGH THE HOUSE - GITTES

follows him, trying to check out the rooms as he goes.A maid is cleaning in the den. They pass through it outsome French doors along a trellised walkway to a largepond with running water.

CHINESE BUTLERYou wa1t~ please.

,\. .... '.

77 Gittes is left standing by the pond. It's suddenly veryquiet except for the running water. The pond is over-flowing. After a moment, the Gardener comes running back.He smiles at Gittes, probes into the pond.

There's something gleaming in the bottom of it. Gittesnotes it. After a moment, the Gardener drops the longprobe -- the waters recede.

78

I32.

EXT. POND - GITTES AND JAPANESE GARDENER - DAY

GARDENER(to Gittes)

Bad for glass •

GITTES(not understanding)

Yeah sure. Bad for glass.

The Gardener nods, and is off, leaving Gittes staring atthe object in the bottom of the pond that is gleaming.

He looks at the tool the Gardener was using, hesitates,picks.it up and starts to probe into the pond himself,toward the gleaming object.

He then spots Evelyn rounding a turn, coming down thetrellised pathway. He casually hefts the probe, holdsonto it for poise.

Evelyn is wearing jeans that are lathered white on theinside of the thighs and laced with brown horsehair.

She's wearing riding boots, is perspiring a little, butlooks younger than she d~d in the office.

EVELYNYes, rtr. Gittes?

G1ttes is a little taken aback at seeing Evelyn. He isannoyed as well. Nevertheless, he is elaborately polite.

GITTESActually, I'm here to see yourhusband, Mrs. Mulwray.

He laughs a little nervously. He waits for a reply. Thereis none. The Chinese Butler appears on the veranda.

EVELYNWould you like something to drink?

GITTESWhat are you having?

EVELYNIced tea.

GITTESYeah -- fine, thari you.

Chinese Butler nods, disappears.

""""'"'{

({..

33.

EXT. POND AND GARDEN - r.fJLWRAY HOHE - DAY

79 Evelyn sits at a glass-topped table. G+ttes joins her.

EVELYNMy husband's at the office.

GITTESActually he's not. And he's movedfrom his apartment at the El Mirador.

EVELYN(sharply)

That's not ~ apartment.

GITTESAnyway I -- the point is, r~s.

~~lwray, I'm not in business tobe loved, but I am in business,and believe me, whoever set upyour husband, set me up. L.A.'sa small town, people talk

He waits for a response. Then:

GITTES(continuing;uneasily)

I'm just trying to make a living,and I don't want to become alocal joke --

EVELYNMr. Gittes, you've talked me intoit. I'll drop the lawsuit.

GITTESWhat?

EVELYNI said I'll drop it.

The iced tea comes on a tray which Ramon sets down be­tween them.

EVELYN(continuing;pleasantly)

-- so let's just -- drop thewhole thing. Sugar? Lemon-­or both?

(CONT!NtJED)

34.

79 CONTINUED:

GITTESMrs. f4ulwray?

EVELYN(as she's mixingone of the drinks)

Y~s, Mr. Gittes?

GITTESI don't want to drop it.

80 Evelyn looks up. Gittes smiles a little sheepishly.

GITTESI should talk this over with yourhusband.

EVELYN(a little concerned)

••• Why? •• What on earth for?Look, Hollis seems to think 'you're an innocent man.

GIT'l'ESWell, I been accused ot manythings, r-trs. r·1ulwray, but neverthat.

Again he laugh$ a little nervously. Again no reaction.

GITTES(continuing)

You see, somebody went to a lotot troub le here, and I want torind out, lawsuit or no lawsuit.I'm not the one who's supposed tobe"'caught with my pants down •••so I'd like to see your husbandunless that's a problem.

EVELYN(with a slight edge)

lelhat do you mean?

GITTESMay I speak trankly, f4rs. Mulwray?

EVELYNYou may it you oan, ftlr. 01ttes.

(CONTINUED)

~, .I

35.

80 CONTINUED:

GITTES(determined to bepolite)

Well, that little girlfriend,she was attractive -- in a cheapsort of way of course -- she'sdisappeared. Maybe they disappearedtogether somewhere.

EVELYll(with rising anger)

Suppose they did.. HOlf does itconcern you?

GITTES-- Nothing personal, Mrs. Mulwray.I Just --

EVELYNIt's very personal. It couldn'tbe more personal. Is this abusiness or an obsession with you?

GITTESLook at it this way -- Now thisphony broad, excuse the language,says she's you, she's hired me.Whoever put her up to it, didn'thave anything against me. Theywere out to get your husb~~d.

Now it I see him, I can help him••• did you talk this morning? .

r' ".

81 Evelyn brushes lightly at the horsehair on her Jeans.

EVELYN-- No. I wen:t riding rather early

GITTES-- Looks like you went quite adistance --

EVELYN. No, Just riding bareback, that' ~all. AnY''Iay, you mght try theOak Pass or Stone Canyon Reservoirs-- sometimes at lunch Hollis takeswalks around them -- otherwise he'llbe home by 6:30.

(CONTINUED )

n\ '

to· .... I\,

.-"...

36.

81 CONTINUED:

GITTESI'll stop b:'J'.

EVELYNPlease call first.

Gittes nods.

82. EXT. OAK PASS RESERVOIR - DAY

Gittes drives up a winding road, following a flood channelup into the parched hills.

83 TWO FIRE TRUCKS

one a rescue truck, are at the entrance to the reservoir.

The chain link fence with its KEEP OUT sign is open andthere are people milling around. The reservoir is below.

Gittes' ~ar is stopped by a couple of UNIFORr~ POLICE.

GUARDSorry, this is closed to thepublic, sir.

Gittes hesitates only a moment, then:

GITTES(to the Guard)

It's all right -- Russ Yelburton,Deputy Chief in the Department.

He fishes out one of Yelburton's cards trom his handker­chief pocket -- 'hands it to the Guard.

GUARDSorry, Mr. Yelburton. Go on down.

84. Gittes drives past the Guards, through the gate, alongthe reservoir. He spots a police car and an unmarkedone as well.'

Gittes stops and gets out of the car. Several men withtheir backs turned, one talking qUietly, staring do~m

into the reservoir where other men in small skiffs areapparently dredging for something.

. .. (CONTI~'"UED )

GITTESWha't the hell's

37.

84 CONTINUED:

One of the men turns and sees Gittes. He recognizesGittes and is visibly shocked.

LOACHGittes -- for Chrissakes

GITTESLoach

LOACH(moving to Gittes,taking him by thearm)

C'mon, get out of here before --

85 EXT. RESERVOIR - DAY

Loach tries to ease h~ down the path.

Before what?going on?

At the sound or his raised voice, a man standing at theedge 01' the channel, talking to two boys in swimmingtrunks, turns around. He's a tall, sleek t1exican inhis early thirties, LUIS ESCOBAR.

Both Gittes and Escobar register considerable surpriseat see1.ng one another. The men around them are extremelyWleasy.

Loach is actually ,sweating. Finally, Escobar smiles.

ESCOBAnHello, Jake.

GITTES(without smiling)

How are you, Lou?

ESCOBAR-- I have a cold I can't seem toshake but other than that, I'mtine.

GITTESSummer colds are the worst~

:'

.. (CONTINUED)

38.

85 CONTINUED:

ESCOBARYeah" they are.

Gittdb reaches into his pocket, pulls out his cigarettecase.

A FIREMANNo smoking, sir -- it's a firehazard this tL~e of year --

ESCOBARI think we can make an exception-- I'll see he's careful with thematches.

GITTES( light ing up)

Thanks, Lou.

ESCOBARHow'd you get past the guards?

GITTESWell, to tell you the truth, Ilied a little.

86 Escobar nods. They walk a couple of steps the otherpolice -- two plainclothesmen and a uniformed officerwatch. them.

ESCOBARYou've done well by yourself.

GITTESI get by.

ESCOBARWell, sometimes it takes a whiletor a man to find himself and Iguess you have.

LOACHPoking around in othe~ people'sd1rty l1nen.

(CONTINUED )

..

39.

86 CONTINUED:

GITTESYeah. Tell me. You still throwChinamen into jail for spittingon the laundry?

... .:,...

ESCOBARYou're behind the times, Jake -­they've got steam irons now

(smiles)And I'm out of Chinatown.

GITTESSince when?

ESCOBARSince I made Lieutenant

It's apparent Gittes is impressed despite himself.

GITTESCongratulations.

ESCOBARUh-huh - so what are you (ioinghere? _

GITTESLooking for someone.

ESCOBARWho?

GITTESHollis Mulwray. You seen him?

ESCOBAROh yes.

GITTESI'd like to talk to him.

ESCOBARYou're welcome to try. There he is.

' .. ~~.

87 Escobar points down to "the reservoir -- a couple of menusing poles with hooks are fishing about in the water.It can be SEEN that one of them has hooked something.

He shouts. The other man hooks it, too. They pull,revealing the soaking back of a man's coat -- they startto pull the body into the skiff.

.-~ .....,

.,.-~-

/.

40.

88 INT. CORONER'S OFFICE - EVELYN AND ESCOBAR

are standing over the body of Mulwray. ~scobar has thesheet drawn back. Evelyn nods •

Escobar drops the sheet. Escobar and evelyn move afew feet to one side and whisper, almost as though theywere trying to keep the corpse from hearing them.

ESCOBAR-- It looks like he was washedthe entire length of the runoffchannel could he swim?

EVELYNOf course.

ESCOBARObviously the fall must have

knocked him out --

Evelyn nods slightly. Escobar coughs. A coroner'sassistant wheels the body out of the office.

ESCOBAR(continuing)

This alleged affair he washaving -- the publicity didn'tmake him morose or unhappy?

89 OUTSIDE THE CORONER'S

Gittes has been sitting on a wooden bench, smoking andlistening. At this question, he rises and looks throughthe doorway.

90 Escobar sees him, ignores him. Evelyn doesn't see him.

EVELYN••• Well, it didn't make himhappy •••

ESCOBARBut there is no possibility hewould have taken his own life?

EVELYN(sharply)

No.

(CONTINUED)

"

Ii("',

90 CONTINUED:

ESCOBAR(a little uncorr~ortably

nO\'l )~~s. Mulwray, do you happen to knowthe name of the young woman in,question?

,Evelyn shows a flash of annoyance.

EVELYN••• No.

ESCOBARDo you know where she might be?

EVELYNCertainly nott

Escobar and Evelyn move slowly toward the door.

ESCOBARYou and your husband neverdiscussed her?

EVELYN '(stopping, faltering)

He ••• we did ••• he wouldn't tellme her name. We quarreled overher ••• of course -- it came as acomplete surprise to me

ESCOBARA complete surprise?

EVELDl- Yes.

ESCOBARBut I thOUght you'd hired aprivate investigator --

EVELYN••• A private investigator?

ESCOBAR(gesturing vaguelytoward the door)

Mr. Gittes.

41.

• • • Well yesEVELYN

ri'-.

91

92

42.

Evelyn looks up to see G1ttes standing in the doorwayonly a foot or two from her. She stops cold. They lookat one another for a long memento

EVELYN(her eyes on Gitt.es)

••• But I •.• I •.• did that becauseI thought it was a nasty rumor I'dput an end to •••

She finishes, looks plaintively at Gittes. Escobar isright at her back. Gittes says nothing.

ESCOBARAnd ·when did Mr. Gittes inform

you that these rumors had somefoundation in fact?

Evelyn looks at Escobar but doesn't lcnow how to answerhim.

GITTES(smoothly)

Just before the story broke inthe papers, Lou.

Escobar· nods. They begin to walk slowly, again have tomove out of the way as some other corpse is being wheeledout of one of the Coroner cUbicles.

ESCOBAR.-- You wouldn't happen to knowthe present whereabouts of theyoung woman.

GITTESNo.

ESCOBAROr her name?

GI'l'TESflo.

They have walked a few steps further down the hall.

EVELynWill you need me for anythingelse, Lieutenant?

(CONTINUED)

43.

~92 CONTINUED:

•ESCOBAR

I don't think so, r1rs. r'lulwray.Of course you have my deepestsympathy -- and -- if we needanymore information, we'll bein touch.

,-GITTES

I'll walk her to her .car, beright back.

93 ESCOBAR'S POV

Evelyn glances at Gittes. They go through a couple ofouter doors and pass several reporters who have beenin the outer hall, laughing, kidding, the tag end oflines like 'only in L.A.' and 'Southern Cafeteria.'

Gittes hurries her past the reporters Who flank them,asking questions. Gittes brushes them aside.

,l ..! ._, ...\;; . ,. .

EVELYN AND GITT·ES - AT HER CAR

in a small parking lot.

Evelyn fumbles in her bag, looking feverishly for some­thing in her purse •.

GITTESMrs. Mulwray? •• Mrs. Mulwray.

• • •

EVELYN(flushed, perspiring)

Just a minute •••

/

GITTES(touching her gently)

-- You left your keys in the ignition.

EVELYNOh••• thank you.

She glances down, leans against the side of the car.

EVELYN(continuing)

••• Thank you for going along withme. I just didn't want to explainanything••• I'll send you a check.

(CONTINUED)

94 CONTINUED:

GITTES(puzzled)

A check?

Evelyn gets in her car.

EVELYNTo make it otticial, I hired you.

She drives ott, leaving Gittes gaping.

44.

95 INT. CORONER'S OFFICE HALLWAY

GITTESDon't give me that, Lou. Youhauled me down here tor a statement.

Escobar shrugs.

ESCOBARI don't want it anymore.

GITTESNo?

ESCOBARNo -- it was an accident.

GITTESYou mean that's what you're goingto call it.

Escobar looks up.

ESCOBARThat's right.

(contemptuously)Out ot respect tor his civic pos1tionr

Resume walking•

. Gittes laughs.

GITTESWhat'd he do, Lou, make a passat your sister?

Escobar stops.

(CONTINUED)

95 CONTINUED:

ESCOBARNo -- he drowned a cousin of minewith about five hundred otherpeople. But -- they weren'tvery important, just a bunch ofdumb Mexicans living by a dam.Now beat it, Gittes, you don'tcome out of this smelling likea rose, you know.

GITTESOh yeah? Can you think ofsomething to charge me with?

'ESCOBARWhen I do, you'll hear about it.

Gittes nods, turns, and walks down the hall.

\,

96

91

OUTSIDE l-10RGUE

Gittes stops by a body on the table, the toe tagged withMulwray' s name. f.JORTY is standing near it in a doorwayto an adjoining room. A RADIO is on, and with it theannouncement that they're about to hear another chapterin the life of Lorenzo Jones and his devoted wife, Belle.Another Coroner's assistant sits at the table, listeningto the radio and eating a sandwich.

G1ttes ambles into the room.

MORTY(a cigarette danglingout of his mouth)

Jake, what're you doin' here?

GITTESNothin', Morty, it's my lunchhour, I thought I'd drop by al''ldsee who died lately.

Gittes picks up the sheet and pulls it back. CA}mRAGETS ITS FIRST GLIMPSE of Mulwray's body -- eyes open,the face badly cut and bruised.

l-iORTYYeah? Ain't that something?Middle of a drOUght, the watercommissioner drolnls -- only in L.A.

GITTES(look~g at. Mulwray)

Yeah -- banged up pretty bad '--lJiORTY

That's a long fall --(CONTING'SD)

46.

97 CONTINUED:GITTES

So how are you, Morty?

Morty is wheeling in another body with the help of anassistant.

MORTYNever better. You know me, Jake.

As he begins to move the'body into the refrigerator, hebreaks into a wrenching spasm of coughing. Gittes spotsthe other body, lowers the. sheet on r.1ulwray.

GITTES(picking up on cough)

Yeah -- so who you got there?

Morty pulls back the sheet.

MORTYLeroy Shuhardt, local drunkused to hang around Ferguson'sAlley -

Morty brushes some sand from the man's race, laughs.

MORTY(continuing)

-- Quite a character. Lately he'dbeen living in one of the downtownstorm drains -- had a bureau dresserdown there and everything.

98 Gittes has already lost interest. He starts away.

GITTES- Yeah.

MORTYDrowned, too.

This stops Gittes.

GITTESCome again?

MORTYYeah, got dead drunk, passed outin'the bottom of the riverbed.

GITTESThe L.A. River?

f40RTY(a little puzzled)

Yeah, under Hollenbeck-Bridge,what's wrong with th~t?

Gittes has moved back to the body, looks at it more closely.(CONTINUED)

98

99

47.

CONTINUED:

GITTESIt's bone dry, Morty.

MaRTYIt's not completely dry.

GITTESYeah, well he ain't gonna drownin a damp riverbed either, I don'tcare how soused he was. That'slike drowning in a teaspoon.

Morty shrugs.

MORTYWe got water out of him, Jake.He drowned•

.Gittes walks away mumbling.

GITTESJesus, this town•••

EXT. SUNSET BOULEVARD - GITTES - DAY

He's parked on an overpass -- the sign HOLLENBECK BRIDGEon one of its concrete columns. Gittes looks do\'It1 intothe riverbed below.

100 FROM THE BRIDGE

Gittes can see the muddY remains of a collapsed shack,its contents strewn downriver from the bridge. Belowhim, lying half over the storm drain and one wall thatwas on the bank of the river is a sign that proclaimsOWN YOUR OWN OFFICE IN THIS. BUI~DING $5000 to $6000

. which was used as a roof of sorts. Downstream, there'sthe dresser, an oil drum, a Ford seat cushion, an Armourlard can, etc. -- the trashy remains of"Shuhardt's home.

101 Gittes scrambles down the embankment and as he lands nearthe storm drain one shoe sinks, ankle deep into mud.Gittes pulls it out, swearing.

He begins to walk a little further dO~Tnstream when hehears the vaguelY familiar SQUISHY CLOP of something.

Clearing the bridge.. on the op'posi~e 'side is the littleMexican Boy, again on his swayback horse, riding alongthe muddy bank.

( CONTINUED)

~_ ....,": ~.

'.-'

101

48.

CONTINUED:

They look at one another a moment.

GITTES(calling out to him)

You were riding here the otherday, weren't you••• ?

The Boy doesn't answer.

GITTES(continuing)

Speak English? •• Habla Ingles?

THE BOY(finally)

S1.

GITTESDidn't you talk to a man here- few days ago ••• wore glasses••• he •••

The Boy nods.

GITTES(continuing)

What did you talk about t mindmy asldng?

The shadows of the two are very long now.

THE BOY(finally)

The water.

. GITTESWhat about the water?

THE BOY- when it comes.

GITTES-- When it comes? What'd youtell him?

THE BOYComes in different parts of theriver every night a differentpart.

Gittes nods. The horse snorts. The Boy rides slowly on.

102 EXT. RIVERBED - DUSK

Gittes scrambles up the embankment to note the directionthe storm drain by Hollenbeck Bridge takes. It is headedabove toward the Hollywood Hills, where the sun is setting.

103 EXT. GITTES IN CAR - NIGHTFALL

Winding his way up a section of the Hollywood Hills. Hepicks up on an open flood channel with the spotlight bythe driver's windwing.

104 GITTES IN CAR - MOVING

along the flood channel. It is dark now and Gittes fol­lows the channel with the car spotlight. He turns at afork in the road Which allows him to continue followingthe flood channel.

105 FURTHER UP - MOVING

The road is narrower. Gittes drives more slowly. Foliageis overgrown in the channel so its bottom cannot be

t1',- . glimpsed.,1 /

106 STILL FURTHER - NIGHT

The road ~s dirt. Heavy clusters of oak trees and euca­lyptus are everywhere. It is very still. Another tu~n

and a pie-shaped view of a lake of lights in the citybelow can be GLIMPSED.

107 POV - CHAIN-LINK FENCE

over the road, bolted. It says OAK PASS RESERVOIR. KEEPOUT.· N9 TRESPASSING.

The chain-link itself actually extends over the floodchar~el and down into it, making access along thechannel itself ~poss1ble.

/,.....

108 Gittes backs up, turns off the motor, the car lights, thespotlight. A lone light overhead on tension wires is thesole illumination. There is only the eerie SOUND of thetension WIRES ~~ING.

Gittes gets out of the car, climbs the fence near the floodchannel itself.

50.

109 ON THE OTHER SIDE

Gittes carefully works his way up through the thick foliagetoward a second and large chain-link fence. Lights fromthe reservoir still higher above can be SEEN.

Suddenly there is a GUNSHOT. Then ~~OTHER. Gittes divesinto the flood control channel, Which is at this pointabout four feet deep and six feet wide. There is theSOUND of men scurrying through the brush, coming nearhim, then retreating. Gittes loses himself among the1vy in the channel.

He waits. The men seem to have passed him by. But thereis another SOUND now -- an echo1ng gromng sound. It puz­zles G1ttes. He starts to 11ft his head to catch thedirect1on.

110 GI'rrES IN FLOOD CONTROL CHANNEL - NIGHT

Then he's inundated w1th a rush of water which pours overhim, knocks off his hat, carries him down the channel,banging 1nto 1ts banks, as he desperately tries to grabsome of t~e overgrowth to hang on and pull himself out.But the force of the stream batters h~ and carries himwith it until he's brought rudely to the chain-link fence.It stops him cold. He's ne~ly strained thrOUgh it.

Swearing and choking, he pulls himself out of the rushingwater by means. of the fence itself.

Drenched, battered, he slowly climbs back over the fenceand makes his way toward h1s car.

(~.

111· AT GITTES' CAR

He fishes for his car keys, looks dotm -- one shoe ismissing.

GITTES(grumbling)

Goddam Florsheim shoe, godd~t.

He starts to get into his car but Mulv1hill and a SMALLERMAN stop him -- Mulvihill pul11ng his coat down and pin­ninghis arms -- holding him tightly. The smaller manthrusts a switchblade knife about an inch &~d a half upGittes' left nostril.

SMALLER MAN(shaking with emotion)

Hold it there; kitty cat.

r·

..," .

51.

112 CLOSE - GITTES

frozen, the knife in his nostril, the street lamp over­head gleaming on the silvery blade.

THE Sr·IALLER r1ANYou are a very nosey fellow, kittycat .•• you know what happens tonosey fellows?

The Smaller Man actually seems to be trembling with ragewhen he says this. Gittes doesn't move.

SMALLER MAN(continuing)

Wanna guess? No? Okay. Theylose their noses.

With a quick flick the Smaller Man pulls back on theblade, laying Gittes' lett nostril open about an inchfurther. .

Gittes screams. Blood gushes down onto his shirt andcoat.

Gittes bends over) instinctively trying to keep the bloodtrom getting on his clothes. Mulvihill and the Smallerr~an stare at him.

THE Sre1ALLER MAN(continuing)

Next time you lose the whole thing,kitty cat. I'll cut it otf and .teed it to my goldfish, understand?

MULVIHILLTell him you understand, Gittes.

113 ~'"{T. OAK PASS RESERVOIR - NIGHT

Gittes is now groveling on his hands and knees.

GITTES(mumbling)

••• I understand•••

G1ttes on the ground can see only his tormentor's two­tone brown and white wing-tipped shoes -- lightlyfreckled with his blood•

114 THE SHOE

comes up and lightly shoves Gittes into· the ground. Thenthe SOUliD of FOOTSTEPS RETREATI~G, G1ttes gasping.

115

52.

INT. GITTES' OFFICE - GITTES

sits behind his desk, BACK TO CAMERA, not moving. Duffysits staring at nothing, Walsh moves uneasily around theroom•.

The PHONE is RINGING. Sophie BUZZES.

GITTES(pressing downintercom)

Yeah, Sophie.

SOPHIE'S VOICEA Miss Sessions calling.

GITTESWho?

SOPHIEId.a Sessions.

GITTESDon't know her -- take a number.

(r>--, 115 --NEW ANGLE - REVEALING

a band.age spread-eagled across Gittes' nose.

WALSHSo some contractor wants tobuild a dam and he makes afew payoffs. So what?

G1tt~s turns slowly to Walsh. He lightly taps his nose.

. WALSH(continuing)

Think you can nail Mulvihill?They'll claim you were trespassing.

GITTESI den' t want r1ulvihill. I want theb1g b01G that are making the payoffs.

DUFFYThen what '11 you do?

GITTESSue the shit out of 'em.

r I, -'WALSH

Yeah?

(CONTI~1JED )

116 CONTINUED:

GITTESYeah what's wrong with youguys? Think ahead. We find 'em,sue 'em -- we'll make a killing.

(a dazzling smile)We'll have dinner at Chasen'stwice a week, we'll be pissingon ice the rest of our lives.

WALSHSue people like that they'reliable to be having dinner "liththe judge who's trying the suit.

Gittes looks irritated. The PHONE RINGS again.

SOPHIE'S VOICEMiss Ida Sessions again. She saysyou know her.

GITTESOkay.

53.

r···.

(\

117 Gittes picks up the phone. He winks to his boys.

GITTESHello, Miss Sessions. I don'tbelieve we've had the pleasure.

IDA'S VOICE-- Oh yes we have ••• are youalone, I~. Gittes?

GITTES(clowning a littletor the boys)

Isn't everybody? r~at can I dofor you, Miss Sessions?

Walsh promptly starts to tell Dutfy the Admiral Byrdstory.

IDA'S VOICEWell, I'm a working girl, Mr.Gittes -- I didn't come in to seeyou'on my own.

GITTES-- When did you come in?

.. ., IDA '.S VO:rCE-- I was the one who pretended tobe Mrs. Mul\iray, remecber?

6"----

118

119

54.

Walsh has finished off the punch line and both men arelaughing raucously'. G1ttes drops the mail he's beenleafing through and puts his hand over the receiver.

GITTES(to Duffy and Walsh)

Shut the fuck upl(then back to Ida)

••• Yes I remember -- nothing,Miss Sessions, just going overa detail or two with my associates••• you were saying?

IDA'S VOICE••• Well I never expected anythingto happen like what happened toMr. !rIul\&lray, the point is if itever comes out I want somebodyto know I didn't know what wouldhappen.

GITTES-- I understand ••• if you couldtell me who employed you, MissSessions -- that could help usboth --

IDA'S VOICEOh no --

GIT'l'ES••• Why don't you give me youraddress and we can talk this over? ,.

IDA'S VOICENo, Mr. Gittes-- just look inthe obituarY column of today'sTimes •••

GI'l'TESThe obituary colUQn?

IDA'S VOICE- You'll find one of those people

GITTES'Those people?' Miss Sessions --

She hangs up. Gittes looks to his two men.

OMITTED

120

55.

INT.' BRO~~ DERBY - CLOSE ON NEWSPAPER

Gittes is seated, flips through the paper until he findsthe OBITUARY COLU!·m _.. scans it, looks up -- abruptlytears the column from the paper and puts it in hispocket.

When he closes the paper we can SEE headlines in theleft hand column: WATER BOND ISSL~ PASSES COUNCIL.Ten million dollar referendum to go before the public.

Evelyn Mulwray is standing at the table as he does so.He rises, allows her to sit.

..,- -..(

-/

121 CLOSE ON EVELyn

Gittes watches her as she removes her gloves slowly .••She's wearing dove gray gabardine -- SUbdued, tailored.

GITTESThanks for coming... drink?

The waiter's appeared. Evelyn is looking at Gittes'nose.

EVELYNTom Collins -- with lime, notlemon, please.

Evelyn looks down and smoothes her gloves. When shelo~ks back up she stares expectantly at Gitt~s.

Gittes pulls out a torn envelope. The initials ECM canbe SEEN in a delicate scroll on the corner of it.

GITTESI got your check in the mail.

EVELYNYes. As I said, I was verygrateful.

Gittes ·fingers the envelope. He coughs.

GITTES~~s. Mulwray, Itm afraid that'snot good enough.

EVELYN(a little embarrassed)

Well, how much would you like?

(CONTINUED)

~I~,-

121 CONTINUED:

GITTESStop it. The money's fine. It'sgenerous but you've shortchangedme on the story.

EVELYN(coolly)

I have?

GITTESI think so. Something besidesyour husband '. s death was botheringyou. You were upset but not thatupset.

EVELYNMr. Gittes •••

(icily)Don't tell me how I teel.

The drinks come. The waiter sets them down.

GITTESSorry. Look, you sue me, yourhusband dies, you drop thelawsuit like a hot potato, andallot it quicker than wind froma duck's ass -- excuse me. Thenyou ask me to lie to the police.

EVELYNIt wasn't much ot a lie.

GITTESIt your husband was killed it

was.(meaning check)

This can look like you paidme oft to withhold evidence.

EVELYl:But he wasn't killed.

Gittes smiles.

GITTESI think you're hiding something,Mrs. Mul\':ra.y •

56.

"

122

57.

Evelyn remains unperturbed.

EVELYN-- Well) ! suppose I am...actually I knew about the affair.

GITTESHow did you find out?

EVELYNMy husband.

GITTESBe told you?

Evelyn nods.

GITTES(continuing)

-- And you weren:t the slightestbit upset about it?

EVELYt-r- I was grateful.

Evelyn for the f1rst time appears a l1ttle embarrassed.

GITTESYou'll have to· explain that,Mrs. Mulwray.

EVELYN- Why?

GITTES(a flash ofannoyance)

Look, I do matrimonial work, it'smy met1ay. \fuen a wife tells meshe's happy her. husband is cheatingon her it runs contrary to myexperience.

Gittes looks significantly to Evelyn.

EVELYNUnless 't'1hat?

GrrrES(looking directlyat her)

She's cheating on him.(CONTINUED)

122

123

58.

CONTINUED:

Evelyn doesn't reply.

GITTES(continuing)

-- \'lere you?

Evelyn is clearly angry but she is controlling it.

EVELYNI don't like the word 'cheat. '

GITTESDid you have affairs?

EVELYN(flashing)

Mr. Gittes --

GITTESDid he know?

EVELYN(almos~ an outburst)

Well I wouldn't run home and tellhim whenever I went to bed withsomeone, it that's what you mean.

This subdues Gittes a little. Evelyn is still a littleheated•.

EVELYN(continuing; morecalmly)

-- Is there anything else youwant to know?

GITTESWhere you were when your husbanddied.

• • •EVELnr

I can't tell you•

GITTESYou mean you don't know whereyou were?

EVELYNI mean I can't tell you.

GITTES-- You were seeing someone, too.

.... :...

({ ...

124

59.

Evelyn looks squarely at him. She doesn't deny it •

GITTES-- For very long?

EVELYNI don't see anyone for very long,~~. Gittes. It's difficult forme. Now I think you know allyou need to about me. I didn'twant publicity. I didn't wantto'go into any of this, then ornow. Is this all?

Gittes nods.

GITTESOh, by the way. What's the 'c'stand for?

He's been fingering the envelope.

EVELYN(she stammersslightly)

K••• Cross.

GITTESThat your maiden name?

":'~- ... ... ... . . . Yes ••• why?

No reason.

EVELYN

GITTES

..~.

Evelyn turns in to Gittes.

EVELYNYou must've had a reason to askme that.

GITTES(shrugs)

No. I'm Just a snoop.

EVELYNYou seem to have had a reasonfor every other quest~on.

GITTES.No, not for that one •

..(CONTINUED)

60.

124 CONTINUED:

EVELYNI don't believe you.

Gittes suddenly turns sharply in to Evelyn.

GITTES(moving in)

Do me a favor. Sit still andact like I'm charming.

Evelyn involuntarily dra\'ls back.

'GITTES(continuin,~ )

• •• There' s somebod~" here.. Saysomething. Anything. Somethinglike we're being intimate.

Mrs. r·latch..',J

125 Evelyn reluctantly allows Gittes to move closer anddangle his hand in front of their faces. She stares athim.

EVELYN(meaning his nose)

Hew did it happen?

GITTES(quietly)

Been meaning to talk to youabout that.

EVELYN(quietly)

Maybe putting your nose in otherpeople's business?

. GITTES(quietly)

More like other people puttingtheir business in my nose.

Evelyn actually s~les a little.

WOl·Wl'S VOICEYou son of a bitch.

Gittes looks up and flashes his smile.

GITTESHow're you?., .- ..

(CONTINUED)

(f' ..

....(\

125

126

61.

CONTINUED:

MRS. MATCH is swaying over the table, a plump woman witha glass of whiskey in one hand, a large purse in theother, and a menacing look in her eye.

MRS. r~ATCH

Don't give me that, you son ofa bitch.

GITTESOkay.

Gittes turns back to Evelyn.

EVELYN(softly)

Another satisfied client?

GITTESAnother satisfied client's wife.

MRS. r.u.TCHLook at me, you son of a bitch.You••• you bastard. Are youhappy, are you happy now?

She tries to take a swipe at Gittes with her purse.Gittes covers himself. Waiters rush over.

MRS. MATCH-- You smug son of a bitch. Myhusband's so upset he sweats allnight I How do you think that makesme teel?

GITTES .Sweaty?

Mrs. l.fatch swings at Gittes again and again. She catcheshim on the nose. It hurts. He covers it -- then swingshis leg out from under the table and deftly kicks herin the shin.

Mrs. Match drops her purse and spills her drink. Shegrabs her shin, hopping around a little. The waiterswho had tried to restrain her now try to keep her fromfa.l.ling over.

GITTESLet's get ~ut of here before shepicks up her purse.

.' ..( COl~TINUED )

(

62.

126 CONTINUED:

They rise and move toward the door.

EVELYN(quietly)

Tough guy, huh?

G1ttes looks, sees she's kidding, and nods.

127 OUTSIDE IN THE PARKING LOT - DUSK

G1ttes' car has been.brought by the parking attendant.The attendant opens the passenger side for Evelyn.

EVELYNOh, no. I've got my own car.The cream-colored Packard.

GITTES(to attendant whodutifully startsfor her car)

Wait a minute, sonny.(to Evelyn)

I think you better come with me.

EVELYNWhat tor? There's nothing moreto say.

(to attendant)Get my car, please.

The attendant starts atter it again. Gittes leans onthe open door of his car and in to Evelyn. He t~ks

quietly but spits it out.

GITTESOkay, go home. But in caseyou're interested your hUs~and

t'las murdered. Somebody.' s dumpingtons ot wate~ out of the cityreservoirs when we're supposedlyin the middle of a drought, he~ound out, and he was killed.There'a a waterlogged drunk inthe morgue -- involuntary manslaughterif anybody wants to take the troublewhich they don't;,. it looks like halfthe city is trying to cover it allup, which is tine with me. But,Mrs. !1ulwray --

(nORE)

(CONTINUED)

.~127 CONTINUED:

GITTES (CONT'D)(now inches from her)

-- I goddam near lost my noselAnd I like it. I like breathingthrough it. And I still thinkyou're hiding something.

Evelyn steadies herself on the open car door. She staresat Qittes for a long moment. Then he gently tugs thecar door closed.

EVELYNMr. Gittes

He drives off into the Wilshire traffic, leaving Evelynlooking after h~.

128 INT. DWP - MULWRAY'S OFFICE· DOOR

with its lettering HOLLIS I. ~flJLWRAY

. CHIEF ENGINEER

Gittes goes through the door to the Secretary. She looksup. She recognizes Gittes again and is not r~ppy to seehim.

. GITTESJ.J. Gittes to see r~. Yelburton.

The Secretary immediately gets up and goes into the inneroffice.

Gittes turns and strolls aroUnd the office a moment -­he sees a photographic display of THE HISTORY OF THE DWP- THE EARLY YEARS, along the wall. He stops as he spotsa photo of the man with the cane Gittes had seen photosof earlier -- He is standing high in the moUntains, neara pass. The caption reads JULIAN CROSS - 1905. Crossis str1k~gly handsome.

Gittes immediately pulls out the envelope containingEvelyn's check. He looks at the corner of it, histhumb pressing down under the middle initial £, thenhe looks back to the photos

The Secretary returns.(/ (CONTINUED)

... 128

129

64.

CONTINUED:

SECRETARYMr. Yelburton will be busy forsome time.

GITTESWell I'm on my lunch hour. I'llwait.

SECRETARYHe's liable to be tied upindefinitely.

GITTESI take a long lunch. All daysometimes.

G1ttes pUlls out a cigarette case, offers the Secretaryone. She refuses. He lights up and begins to hum 'TheWay You Look Tonight,' strolling along the wall lookingat more photographs.

INT. MULWRAY'S OFFICES

Here he spots several photos of a much younger MU1\~ay,

along with Julian Cross. One of the captions: HOLLISMULWRAY AND JULIAN CROSS AS THE AQUEDUCT CLEARS THESANTA SUSANNAH PASS - 1912. Gittes, still humming,turns to the Secretary.

GITTESJulian Cross worked for the waterdepartment?

. SECRETARY(looking up)

Yes. No.

GITTES(humming, then)

He did or he didn't?

SECRETARYHe owned it.

G1ttes is genuinely surprised. at this.

GITTESHe owned the water department?

65.

129 CONTINUED:

SECRETARYYes.

GITTESHe owned the entire water supplyfor the city?

SECRETARYYes.

GITTES(really surprised)

How did they get it away from him?

SECRETARY(a sigh, then)

Mr. Mulwray felt the puplic shouldown··the display -- the water. Ifyou'll just read the display

GITTES(glances back, hums,then)

Mr. Mulwray? I thought you saidMr. Cross owned the department.

SECRETARY-- Along with Mr. Mulwray.

GITTESThey were partners.

SECRETARY(testily)

Yes. Yes, they were partners.

She gets up, annoyed, and go~s into Yelburton's inneroffice.

Gittes goes back to the photographs. He hears a SCRATCHINGSOUND, apparently coming from just outside the outer door.

He moves quickly to it, hesitates -- swiftly opens thedoor. Workmen are behind it, scraping away Mulwray'sname on the outer door -- looking up at Gittes in somesurprise.

The Secretary returns, sees the workman on the floor.

SECRETARY(to Gittes)

Mr. Yelburton will see you now.

Gittes nods graciously, heads on into Yelburton's ,1:,1:'o...... J.ce.

JI!!"' '.-.u .. ','

,'.

66.

130 INT. DWP - YELBURTON & GITTES

There is a subtle but perceptible difference1n Yelburton'sattitude. He's now head of the department.

YELBURTONMr. Gittes, sorry to keep youwaiting -- these staff meetings,they just go on and on --

GITTESYeah -- must be especially toughto take over under thesecircumstances.

YELBURTONOh yes. Hollis was the bestdepartment head the city's everhad. My goodness, what happenedto your nose?

GI'I'rES(smiles)

I cut myself shaving.

YELBURTONYou ought to be more careful.That must really smart.

GI'I'rESOnlY when I breathe.

YELBURTON(laughing)

Only when you breathe ••• don't tellme you're still werking forMrs. Mulwray?

GITTESI never was.

YELBURTON(stops smiling)

I don't understand.

GITTESNeither do I, actually~ But youhired me -- or you hired that chipp1eto hire me-.

YELBURTONMr. Gittes, you're not making abit of sense.

(CONTINUED)

130

131

67.

CONTINUED:

GITTESWell, look at it this way, Mr.Yelburton. Mulwray did~'t wantto build a dam -- and he had areputation that was hard to getaround, so you decided to ruin it.Then he found out that you weredumping water e\"ery. niGht -- thenhe -- was dro'\'med.

YELBURTONMr. Gittesf That's an outrageousaccusation. I don't know 't'lhat10u're talking about.

GITTESWell, Whitey r.tehrholtz over atthe Times will. Dumping thousandsot gallons of water do~~ the toiletin the middle of a drought -- that'snews.

Gittes heads to\'Iard' the cfoo-r.'

YELBURTONWait -- please sit down, ~1r. Gittes.We're ••• well, we're not ar~ious

tor this to get around, but we h!!!been diverting a little waterto irrigate avocado and walnutgroves in the northwestvalley. As you know, the farmersthere have no legal right to ourwater, and since the drought we'vehad to cut them off -- the citycomes first, naturally.· But,well, we've been trying to helpsome of them out, keep them fromgoing under. Naturally when youdivert water -- you get a littlerunoff.

GIT'I'ESYeah, a little runoff. Where arethose orchards?

YELBURTONI said, the northwest valley.

(CONTINUED)

.,..,-." .

68.

131 CONTINUED:

GITTESThat's like saying they're inArizona.

YELBURTONMr. Gittes, my field men are outand I can't give you an exactlocation•••

Gittes nods.

GITTESYou're a married man, am I right?

YELBURTONYes •••

GITTESHard working, have a wife and kids •••

YELBURTONYes •••

GI'rl'ESI don't want to nail you -- Ijust want to know who put you upto it. I'll give you a few daysto think it over -- .

(hands him a card)-- call me. I can help. \fuo knows?Maybe we can lay the whole thing offon a few big shots -- and you canstay head of the gepartment forthe next twenty years.

Gittes s~les -- leaves an unsmiling Yelburton.

132 INT. GITTES OFFICEGittes enters, drops his hat on Sophie's desk. Sophietries to tell ~ something but Gittes goes on into hisoffice.

133 EVELYN ~roLvmAY

is sitting, smoking. She looks up when he enters.

EVELYNWhat's your usual salary?

Gittes moves to his desk, barely breaking stride at thesight of her •

GITTESThirty-five bucks daily for me,twenty for each of my operatorsplus expenses, plus my fee if !show result.s.

(CONTINUED)

..~

~.":..:';

· . 69.

133 CONTINUED:

He's sitting now. Evelyn is very pale now, obviouslyvery shaken.

EVELYNWhoever's behind my husband'sdeath, why have they gone to allthis trouble?

GITTES- Money. How they plan to makeit by emptying the reservoirs -­that I don't know.

EVELYNI'll pay your salary plus fivethousand dollars it you tind outwhat happened to Hollis and whois involved.

Gittes buzzes Sophie.

GI'l"l'ESSophie, draw up one 01' ourstandard forms tor r1rs. loiulwray.

(he leans back; toEvelyn)

Tell me, did you get marriedbefore or atter Mulwray and yourfather sold the water department?

Evelyn nearly .jumps at the question.

GITTES(continuing)

Your tather is Julian Cross, isn'the?

EVELYNYes, 01' course -- it was quite awhile atter. I was just out 01'grade school wben they did that.

GITTES-- So you married your tather'sbusiness partner?

Evelyn nods. She lights another cigarette.

GITTES(continuing; staringather, points tothe ashtray)

You've got one going, ~~s. Mulwray.

EVELyn-- Oh.

,,-I

_ .

134 She qUickly stubs one out.

GITTESIs there something upsettine aboutmy asking about your father?

EVELYNNol ••• yes, a little. You seeHollis and my fa -- my father hada falling out •••

GITTESOver the water department -- orover you?

EVELYN(quickly)

Not over me. Why would they havea falling out over me?

GITTES(noting hernervousness)

-- then it was over the waterdepartment.

EVELYNNot exactly. Well, I mean, yes.Yes and no. Hollis felt the publicshould own the water but I don'tthink -- my father felt that way.Actually~ it was over the Van derLip. The dam that· broke.

GITTES-- Oh, yeah?

EVELYNYes. He never forgave him for it.

GITTESNever forgave him for what?

EVELYNPor talking him into building it,he never forgave my father ••• Theyhaven't spoken to this ~ay.

GITTES(starts a little)

You sure about that?

EVELYNor course I'm sure.

GITTES~~at about you -- do you and yourfather get along?

10.

135

136

71.

Sophie comes in with the form, cutting off Evelyn'sreply. Gittes places two copies on a coffee table infront of Evelyn.

GITTESSign here ••• The other copy's foryou.

She ~igns it. \~en she looks back up, Gittes is staringintently at her.

EVELYNWhat are you thinking?

GITTES(picking up one ofcopies, folding it,putting it in hispocket)

Before this -- I turned on thetaucet, it came out hot and cold,I didn't think there was a thingto it.

INT. SEAPLANE

The engines make the small cabin Vibrate. Gittes threadshis way down the tiny aisle ot the eight passenger cabin,which is full of middle-aged men in old clothes andtheir fishing gear. Gittes is poked by a pole -- has tomove along.

One ot the old men says something to him.

aITTES(above the engines)

What?

OLD lo'ANYou'll have to si~ with the pilot.

Gittes moves forward into the cockpit. The PILOT looksup -- nods for Gittes to sit down, first moving a half­~aten cheese sandwich out of Gittes' seat.

137 EXT. HARBOR - SEAPLANE

taxiing down the ramp into the sea. In a moment, itkicks up a spray ot foam and takes ofr.

·,

- ...-::>.:

.. /

./

.~.,:

138

72.

INT. COCKPIT

The island gradually looming larger before the Pilot andGittes.

The Pilot glances over at Gittes who, as usual, isimpeccably dressed -- a contrast to the others on theplane.

PILOT(above the engines)

Well. you're not going fishing.

G1ttes shakes his head.

GITTESNot exactly.

PILOT(winks)

But that's what you told you~

wife --

The Pilot laughs raucously. Gittes laughs politely.

PILOT-- lots or tellas do. Tell thelittle woman they're going on afishing trip, then shack up withsome little twist on the island••• sbe pretty?

GITTES(abruptly)

I'm going to see a man calledJulian C~oss -- ever heard or him?

PILOTIs the Pope Catholic? Who areyou, mister? •• I ask because hedoesn't see a whole lot or people.

GITTESI'm working tor his daughter.

PILOT(surprised)

That right? •• She used to besome looker.

GITTESShe ain't exactly long in thetooth now. .. •

(CONTINUED)

..

138 CONTINu~D:

PILOTShe must be about thirty-three,thirty-four. .

GITTESYou must be thinking of a differentdaughter

PILOTNo, he's only got one, I rememberher age, I read it in the newspaperswhen she ran away.

GITTESShe ran away?

PILOTOh yeah, it was a big thing atthe time -- Julian Cross' daughter.God a~ighty. She was a wildlittle thing.

73 •.

\ .

".--..1 ".

139 He gives a sidelong glance to Gittes, a little concernedhe's said too much.

PILOT(continuing)

Course, she settled down.nicely.

GITTES(s~ling a little)

Well, you never know, do you?

PILOT(loosening up)

That's for sure.

GITTESWhY'd she run away?

PILOTOh, you know -- she was sixteenor seventeen.

GITTES(nudging him)

We missed the best or it, didn'twe, pal?

Both men laugh a little lewdly.

(CONT!NUED)

139 CONTINUED:

PILOTShe ran off to Mexico -- rumor wasshe was knocked up anu ~idn't evenknow who the father was -- wentthere to get rid of it.

GITTESYou don't say?

PILOTCross was looking for her allover the country -- offered rewards,everything. Felt real sorry forhim, with all his money.

74.

~'"

r t'.

140 ALBACORE CLUB ~ DAY

A pleasant but unobstrusive clapboard blue and whitebuilding on the bay overlooking the harbor. The sea­plane lands. A motor launch with a burgee of a fishflying from it turns and heads in the direction of theplane.

141 EXT. WINDING ROAD - RANCHO DEL CRUCE

Gittes, driven in a station wagon, passes under the signwith a cross painted below the name~

The ranch itself is only partially in a valley on theisland -- as the wagon continues one can SEE that it isactually a miniature California, encompassing desert,mountains and canyon that tumble down palisades to thewindward side 'of the sea.

The wagon comes to a halt where a group of hands areclustered around a corral. The circle of men driftapart, leaVing JULIAN CROSS standing, using a cane forsupport, reedy but handsome in a rough linen shirt andjeans. When he talks his strong face is lively, in re­pose it looks ravaged.

142 EXT. BRIDLE PATH - GITTES & CROSS

walking toward the main house -- a classic Monterey. Ahorse led on a halter by another ranch hand slows downand defecates in the center of the path they are taking.Gittes doesn't notice.

pROSSHorseshit.

(CONTINUED)

142 CONTINUED:

Gittes pauses, not certain he has heard correctly.

GITTESSir?

CROSSI said horseshit.

(pointing)Horseshit.

GITTESYes, sir, that's wha~ it lockslike Itll give you that.

75.

../

)

143 Cross pauses when they reach the dung pile. He removeshis hat and waves it, inhales deeply.

CROSSLove the smell of it. A lot orpeople do but or course theywontt admit it. Look at theshape.

Gittes glances down ·out or politeness •

CROSS(continuing; smiling,almost enthusiastic)

Always the same.

Cross walks on. Gittes rollows.

GITTES(not one to let itgo)

Always?

CROSSWhat? Oh, damn near -- yes.Unless the animal's sick orsomething.

(stops and glances.back)

-- and the steam rising off itlike that in the morning thattslife, Mr. Gittes. Life.

They move on.

(CONTINUED)

143 CONTINUED:

CROSS(continuing)

Perhaps this preoccupation withhorseshit may seem a littleperverse, but I ask you toremember this -- one way oranother, it's what I've dealtin all my life. Let's havebreakfast.

76.

r·-:-::-;-,,

144 EXT. COURTYARD VERANDA - GITTES & CROSS AT BREAKFAST

Below them is a corral where hands take Arabians, one byone, and work them out, letting them run and literallykick up their heels. Cross' attention is diverted bythe animals from time to time. An impeccable ftexicanbutler serves them their main course, broiled fish.

CROSSYou know, you've got a nastyreputation, Mr. Gittes. I likethat.

GITTES(dubious)

Thanks.

CROSS-- if you were a bank Presidentthat would be one thing -- butin your business it's admirable.And it's good advertising.

GITTESIt doesn't hurt.

CROSSIt's why you attract a clientlike my daughter.

GITTESProbably.

..,/. ., ,/

CROSSBut I'm surprised you're stillworking for her -- unless she'ssuddenly come up with anotherhusband •

GITTESNo -- she happens to think thelast one was murdered.

(CONTINUED)

144 CONTINUED:

Cross is visibly surprised.

CROSSHow did she get that idea?

GITTESI think I gave it to her.

Cross nods.

CROSSUhh-huh -- oh I hope you don'tmind. I believe they should beserved with the head.

77.

145 G1ttes glances down at the fish whose isinglass eyeis glazed over with the heat of cooking.

GITTES-- Fine, as long as you don'tserve chicken that way.

CROSS(laughs)

Tell me -- what do the policesay?

GITTESThey're calling it an accident.

CROSSWho's the investigating officer?

QI'l'TESLou Escobar -- he's a Lieutenant.

c:lOSSDo you know him?

GITTES'Oh yes.

CROSSWhere from?

GITTES-- We worked Chinatown together.

CROSSWould you call him a capable man?

GITTESVery.

(CCNT!NUED )

145 CONTINUED:

CROSSHonest?

GITTESFar as it goes of course

he has to swim in the same waterwe all do.

CROSSOf course but you've got noreason to th~nk he's bungledthe case?

GITTESNone.

CROSSThat's too bad.

GITTESToo bad?

CROSSIt d1sturbs me, Mr. G1ttes. Itmakes me- th1nk you're tak1ng mydaughter for a ride -- financiallyspeak1ng. of' course. How much areyou charg1ng her?

GITTES(carefully)

My usual fee -- plus a bonusit I come up w1th any results.

CROSSAre you sleeping with her? Come,come, Mr. G1ttes -- you don't haveto th1nk about that to remember.do you?

G1ttes laughs.

78.

GITTESIt you \"ant an answerquest10n I can alwaysot my men on the job.afternoon, Mr. Cross.

to thatput one

Good

CROSSMr. G1ttesl You're dealing witha d1sturb~d wQman w~o's.lost herhusband•. I don't want her t~:en

advantage of. Sit down.GI'IT~S

What for?

145 CONTINUED: (2)

CROSS-- You may think you know whatyou're dealing with -- butbelieve me, you don't.

79.

/

146 This stops Gittes. He seems faintlY amused by it.

CROSSWhy is that funny?

GITTESIt's what the D.A. used to tellme about Chinatown.

CROSSWas ,he right?

Gittes shrugs.

CROSS(continuing)

••• Exactly what do you knowabout me,. Mr. Gittes?

GITTESMainly that you're rich and toorespectable to want your name inthe papers.

CROSS(grunts, then)

'Course I'm respectable. I'mold. Politicians, ugly buildingsand whores all get respectable ifthey las~ long enough. I'll doublewhatever your fees are -- and I'llpay you ten thousand dollars ifyou can find Hollis' girlfriend.

GITTESHis girlfriend?

CROSSYes, his girlfriend.

GITTES .You mean the little chippie hewas with at the El Macando?

CROSSYes. She ~.s di,sappeared~ hasn'tshe?

80.

146 CONTINUED:

CROSS-- Yeah.

CROSSDoesn't that strike you as odd?

GITTESNo. She's probably. scared todeath.

CROSSWouldn't it be useful to talk toher?

GITTESMaybe.

CROSSIt Mulwray was murdered, she wasprobably one of the last people

.to see him.

GITTESYou didn't see Mulwray much, didyou?

CROSS-"No

GITTES-- When was the last time?

141 Cross starts to reply, then there's the SOUND of aMARIACHI BAND and some men in formation clear a bluffabout a hundred yards off. They are dressed likeSpanish dons on horseback. For the most part they arefat in the saddle and pass along in disordered revi~w

to the music.

CROSSSheriff's gold posse ••• bunch ofdamn fools who pay $5,000 apieceto the sheriff's re-election. Ilet 'em practice up out here.

GITTES- Yeah. Do you l"emember thelast time you talked to Mulwray?

Cross shakes his head.

(CONTINUED)

147 CONTINUED:

CROSSAt my age, you tend to lose

track•••

GITTESWell, it was about five days ago.You were outside the Pig 'n Whistle-- and you had one hell of anargument.

C~oss looks to Gittes in some real surprise.

GITTES(continuing)

I've got the photographs in myoffice -- if they'll help youremember. What was the argumentabout? .

CROSS(a long pause, then:)

My da~ghter.

GITTESWhat about her?

CROSS-- Just find the girl, r~. GittesI think she is frightened and I

.happen to know Hollis was fond ofher. I'd like to help her if Ican.

GITTESI didn't realize you and Holliswere so rond or each other.

81.

148 Cross looks hatefully at Gittes.

CROSSHollis Mulwray made this city -­and he made me a fortune ••• Wewere a lot closer than Evelynrealized.

GITTES-- If you want to hire me, Istill have to know what you andMulwray were arguing about.

.. (CONTINUED)

148 CONTINUED:

CRess(painfully)

Well ••• she's an extremely jealousperson. I didn't want her to findout about the girl.

GITTESHow did you find out?

CROSSI've still got a few teeth in myhead, Mr. Gittes -- and a fewfriends in town.

GITTESOkay -- my secretary'll send youa letter ot agreement. Tell me

are you worried about that girl,or what Evelyn might do to her?

CROSSJust .find the girl.

GI'l'TESI'll look into it -- as soon

as I check out some avocado groves.

CROSSAvocado groves?

GI'l"I'ESWe'll be in touch, Mr. Cross.

82.

149 INT. HALL OF RECORDS - DAY

Dark and quiet except .for the whirring of fans. Gittesapproaches one ot the CLERKS at a desk•.

. GITTESI'm a little lost -- where can Itind the plat books tor thenorthwest valley?

The Clerk's droopy eyes widen a little.

CLERKPart ot it's in Ventura County.We don't have Ventura County inour Hall of Records.

Which is a snotty remark~ Gittes ~miles•.

(CONTINUED)

149 CONTINUED:

GITTESI'll settle for L.A. County.

CLERK(regards him, then)

Row twenty-three, section C.

The Clerk turns away abruptly. Gittes regards his backa moment, then goes to the stacks.

150 THROUGH THE STACKS

Gittes sees the Clerk turn to another, say something.The second clerk gets on the phone. Gittes watches amoment, then swiftly turns his attention to the stacks.

He hauls down the northwest valley volume, opens it.It's huge and there's a lot to go through.

The print itself makes him squint.

INSERT PAGE

showing TRACT LOT PARCEL, even a METES AND BOUNDS desig­nation where the description or the land parcel is longand hopelessly involved -- e.g. '6000 paces to Rio Seco,thence 7000 paces to Loma Linda, etc.' These descriptionsare old and faded -- in the owners' ~olumn, however -­there are numerous freshlY-typed names -- pasted overthe prior owners •

.1'51 QI'l'TES

haUls: the huge volume back to the Clerk's desk.,=-. - ••.- ..-:- - .. --GITTES

(to Clerk)Say ••• uh••• sonny.

152 The Clerk turns sharply around.

GITTESHow come all these new names arepasted into the pla~ Dook?

CLERKLand sales out of escrow arealways recorded within the week.

(CONTINUED)

( ..•

~-'iCi ':,' "

152

84.

CONTINUED:

Gittes looks a little surprised.

GITTESThen these are all new owners?

CLERKThat's right.

GITTES(astonished)

-- But that means that most ofthe valley's been sold in thelast few months.

CLERKIt that's what it says.

GI'l'TESCan I check one or these volumesout?

. CLERK(quietly snotty)

Sir, this is not a lending library,it's the Hall of Records.

Well, then

,A ruler?

GI'l'TEShow about a ruler?

CLERK

GI'l'TESThe print's pretty fine. I torgotmy glasses. I'd like to be ableto read acros s •.

The exasperated Clerk reaches around -- rummag~s -- slapsa'ruler on the desk.

G1ttes goes back to the stacks with the ruler. He opens~he book, places the ruler not. horizontally but vertically.

153 OMITTED

154 INSERT PLAT BOOK NORTHWEST VALLEY

Beside the O~~ column he places the ruler, looks towardthe clerks -- then swiftly rips down the page, tearingout a strip about two inches wide -- containing theowner's name and property description.As he tears, he either sn:rrrles or coughs -- to coverthe SOu~ro of the PAPER being ripped.

155

85.

EXT. ROAD - GITTES DRIVING - DAY

amidst a hail of shimmering dust and heat, parched anddrying groves, narrower roads.

,

He passes a ramshackle home, next to a rotting orchard.There is a "SOLD" sign on the collapsing barn. Gittesstops -- checks it against the names he had taken fromthe Hall of Records.

156 . OLD STUCCO BUILDINGS FURTHER ON

and a few withered pepper trees. Gittes has paused atthis dried-up intersection. There is a SOLD sign on adrug store. Gittes looks O.S. ----

Coming INTO VIEW above the arid fields is a spiralingcloud of purple smoke. Gittes heads in that direction.

157 OMITTED

i\ .\. ./

158 Gittes parks at the edge of the field. About twentyyards away is a man mounted on a strange machine, hold­ing a lid oft it -- billowing lavender clouds are belchingforth.

Several CHILDREN are watching the man at work.

GITTES(to one of the Children)

Say. pal, What's he doing?

CHILDMald.ng some rain.

Gittes'nods, walks over to the man who is elaborately·busying himself With the intricacies of his machine.He's aware 0 f Gittes watching him.

GITTES" Well. you're just the man I'm

looking for.

The Rainmaker now glances down at Gittes. who as usualis immaculately dressed.

GITTESSome associates and I are thinkingof buying property out here -- ofcourse, we're worried about therainfall." ..

( CONTINUED)

. 158 CONTINUED:

The Rainmaker steps down.

RATm1AKERNo problem with me on the job.

GI'!'TESYeah.

(glanc~ng aroundat the desolate,.dry field)

Do you have any references?

86 •

159 RAINMAKER & GITTES

RAINMAKERCity ot La Habra Heights -- filledan 800,000 gallon reservoir withsixteen inches of rain in twodays.

GITTES(nods)

That's swell. But how abouthere?

(pulling out namestrom his pocket)

Ever worked for Robert Knox, EmmaDill; Clarence Speer, MarianParsons, or Jasper Lamar Crabb?

RAINMAKERNever heard ot 'em••• new owners?

G-ITTES- Yeah.

RAINMAKER(cUmbing back .up)

Lot ot turnover these days.Better tell them to get in touchwith me i£ they want to hang ontotheir land.

GITTES---Yeah, I'll do that.

160 GITTES DRIVING

is now covered with .~ ti~ of pustt

(CONTINUED)

....

,r.. --

160

161

87.

CONTINUED:

He reaches a fork in the dirt road. There are a coupleof mailboxes.

Gittes takes this fork and begins a slow ascent.

As he does, the tops of a line of bright green treescan be SEEN, coming more and more INTO VIEW, row uponrow of avocado and walnut groves, their foliage heavy.The few structures in the distance are white-washed,and well kept,right down to the white-washed stonesthat mark the pathway to the home. Towering above itall is a huge wooden water tank.

Gittes drives through a gate that has "NO TRESPASSING"and "KEEP OUT - PRIVATE PROPERTY" signs neatly printedon it.

He drives down the road into the grove.

GITTES

pulls to a halt in the road flanking the orchard lanes.He puts the car in neutral, stares at the trees. Bycontrast with what he has seen -- they are lush andbeautiful, their heavy branches barely swaying in alight breeze.

Then a SHOTGUN BLAST abruptly strips bare the branches·of the tree he'd been staring at.

162 EXT. AVOCADO GROVES - DAY

Gittes is shocked. He looks behind him. Riding onhorseback down the field in the direction he had justdriven is a red-faced Man in overalls'. His hat blo\'lSoff his head. He does not, however, lose the shotgunhe has just used. Gittes' lane of retreat is deniedhim. He guns the car, and takes off down one of theorchard lanes.

163 MOVING ~aTH GITTES

The dirt lane is rough. As Gittes nears the end ofit, a younger MAN on a mule blocks the exit.

Gittes veers a sharp left, knocking a branch off oneof the trees, heading down one of the cross-lanes. Herehe's pursued by a scraggly dog that nips at the tires.Gittes yells at it .0' ..

....

88.

164 ANGLE ON GROVE

Two farmers on foot, one usinC a crutch, run down thelanes toward a dust trail rising above the trees -­they've spotted it -- clearly it's from Gittes' car.

This hide-and-seek chase between one man on horseback,one on a mule and a couple on foot continues up anddown and across the orchard lanes -- until Gittes'front tire and radiator are ruptured by anotherSHOTGUN BLAST.

Gittes' car veers off, scattering a stray gaggle ofgeese -- and smacks into an avocado tr~e, shaking loosea barrage of the heavy fruit onto Gittes and the car.

Gittes immediately tries to get out through the branchesover the back of his car, but he's pulled off it by oneof the younger farmers -- a huge brute who he begins totussle with -- the Crippled Farmer begins to bang Gitteson the back with his crutch. The two of them manage topound Gittes to the ground within moments, where theCrippled Farmer continues to whack away at Gittes withthe crutch.

The older Red Faced Farmer with the shotgun and the Manon a mule ride up.

RED··FACED FARMERAll right, quit it! Quit now!Search the man, see if he's armed.

165 Gittes is hefted half off the ground and the two youngerFarmers spin him around, going through his clothes.Gittes is badly banged up and half out on his feet.They toss his wallet, his silver cigarette case, etc.on the ground.

RED FACED FAmmRI said see if he's armed, not emptyhis pockets.

BIG FARMER-- He ain't armed.

Gittes leans against the back of his car, breathingheavily.

RED FACED FA~mR

All right, mister -- who you with-- water department or the realestate office --

(CONTIHUED)

\.

165 CONTINUED:

Gittes' back is to the Red Faced Farmer. He has troublecatching his breath. The Crippled Faroer pokes himrudely in the back with his ·crutch. Gittes turns sharply.

GITTES(to Crippled Farmer)

Get away from me!

CRIPPLED FARr.'IERAnswer him!

GITTESTouch me with that thing again andyou'll need a pair of them.

BIG FARMER(shoVing Gittes)

Whyn't you pick on somebody yourown size?

RED FACED FARMERI said cut that out! Give hima chance to say something.

Gittes looks up at the Red Faced Farmer.

GITTES(reaching down forhis wallet)

Name's Gittes -- I'm a privateinvestigator and I'm not witheither one.

RED FACED FARMERThen what are you doing out here?

GITTES-- Client hired me to see •••whether or not the water department'sbeen irrigating your land.

RED FACED FARr·mnIrrigating my land?

(explodine)The water department's been sendingyou people to blow up my watertanks! They threw poison downthree of my wells! I call thata funny way to irrigate -- who'dhire you for a thing like that?

.....,166 Gittes reach~o into his pocket -- the paper's on the

gro~,d. R~ picks it up •

GITTESr~s. Evelyn Mulwray --

BIG FAR1~IER

MulWl'ay? That's the son of abitch who's done it to us.

GITTESMulw~ay's dead -- you don't knowwhat you're talking about, you dumb'Oakie --

The Big Farmer takes a swing at Gittes. Gittes kicks himsquarely in the nuts, knees him in the Jaw after he'sdoubled up, and hits him solidly. The Crippled Farmertakes careful aim and brings his crutch down on the backof Gittes' head. Gittes is knocked to the ground andlies still beside the Big Farmer who is writhing in agonyin the dirt.

167

. Well

BLACK SCREEN

RED FACED FA~mR

that's that.

There's a PURLING SOUlID, which soon beco~es defined intothe SOUIlD OF VOICES talking quietly -- about whether tomove or not to move, doctors, etc.

168 CLOSE - EVELYN MULvffiAY

is staring dotm at. Gittes who is lying in the screened-inporch of the farmers. His Wife, the Red Faced Farmer,and the Big Parmer are there, alonz with the dog.

The Red Faced Farmer's wife has set tea out. The far­mers -- all of them -- now seem awkward and a little

. embarrassed.

,../

169 EXT. FRONT PO~CH - RED FACED FA.~R'S HOUSE ­REACTION - GITTES - DUSK

He focuses on Evelyn who sits right next to him. He'sgot dried blood down the side of his face from his nose,a huge mouse on his cheek, and his clothes are torn ina couple of spots.

(CONTINUED)

169

91.

C01~INUED:

GITTES(to Evelyn)

What's going on?

DUBOIS(quietly, almost asif he were in ahospital)

-- You didn't look too good, so wethought we better call your employer.

Gittes nods. Healmost evenine4Red Faced FarmerGittes feels the

checks his watch. He looks out -- it'sGittes SdyS nothing. The wife of the(DUBOIS) looks reproachfully at Dubois.back of his head. It obviously hurts him.

170 EXT. DUBOIS FARMHOUSE - EVENING

Evelyn and Gittes go out to her car, the cream coloredPackard. DUbois accompanies them -- along with the BigFarmer who is carrying a crate of something. Gittes hascleaned himself up a little.

DUBOIS-- Look her~, if it's all the samewith you, we'll get your car patchedup -- if you'll tell me what yourtrousers run you, .I'll make good onthem, ~1r. Gittes. .

CITTESIt's okay, ~1r. Dubois.

DUBOIS(to Evelyn)

-- It's Just that they're aftereverybody out here, tearing up ourirrigation ditches -- trying to makeour land worthless so they can pickit up for twenty-five dollars anacre

Gittes nods.

DUBOIS(continuing)

Anyway -- Earl here is sorry, too.He wants to give you something totake back with yo~.

Gittes looks. Ear~ ha~the huge ~rate he's holding brim­full of avocados.

(COrnIIWED)

92.

170 CONTIUUED:

GITTESThanks, Earl.

171 INT. CAR - EVELYN & GITTES - DUSK

Evelyn driving.

QITTESThanks for coming•••

Gittes pulls out cigarette case, takes one -- offers oneto Evelyn who refuses.

- QITTES-- That dam is a con job.

EVELynWhat dam?

GITTESThe one your husband opposed -­they're conning L.A. into buildingit, only the water won't go- toL.A. -- it'll go here.

EVELYNThe Valley?

QITTESEverything you can see, everythingaround us -- I was at the Hall ofRecords today --

(whips out papers,turns on the carlight)

-- That bother you?

EVELYNNo.

GITTES(looking over papers)

In the last three months, RobertKnox has bought 7,000 acres, EmmaOill-12,000 acres, Clarence Speer5,000 acres, and Jasper LamarCrabb 25, 000 acres.

EVELYNJasper Lamar Crabb?.. ..

(CONTINUED)

93.

171 CONTINUED:

GI'I'rESKnow him?

EVELYNNo, I think I'd remember.

GITTESYeah -- they've been blowing thesetarmers out ot here and buyingtheir land tor peanuts -- Haveany idea what this land'll be worthwith a steady water supply? Aboutthirty million more than they paid.

EVELYN-- And Hollis knew about it?

GITTESIt's why he was killed -- JasperLamar Crabb -- Jasper Lamar Crabb

He's pulling out his wallet, excitedly now, spilling itscontents onto the seat. He pulls 'out the obituary columnhe'd tolded up earlier in the day.

GITTES(continuing)

We got it. We got it, baby.

EVELYNWhat? What is it?

GI'rl'ESThere was a memorial service atthe Mar Vista Inn today tor JasperLamar Crabb. He died three weeksago.

EVELYUIs that unusual?

GITTESTwo weeks ago he bought those25,000 acres. That's unusual.

172 EXT. MAR VISTA Il-IN AND REST HOME - NIGHT

Evelyn's car pulls up betore the elegant Spanish resthome, its entryway ill~nated by streetlights. Thereis a small sign giving the name of the place in elegantneon scroll. It sits on the rolling green lawns.

Gittes gets out of the ca~ with Evelyn. He offers herhis arm and they go up the walkway to the entrance.

94.

173. INT. MAR VISTA INN AND REST Hm·m

Gittes and Evelyn are approached by an unctuous man inhis forties, with a flower in his butto~~ole. He seesEvelyn first --

PALI-1ERHello there, I'm Mr. Palmer. CanI help you folks?

Then he gets a clear look at Gittes -- bruised, trouserstorn, etc.

GITTESYes, I sure hope so. It's Dad -­

(indicating hisdisheveled appearance)

-- I just can't handle him anymore,can I, sweetheart?

EvelYn shakes her head.

PAUmROh my goodness.

GITTES(hastily) •

Nothing to do with Dad. It '.s me,actually.

EVELYNThey Just don't get along very well.Dad's a lamb with anyone el.se •

PALMER(not so sure)

Oh - well -- I don't know --

GITTES~aturally, I want the best for him,money is no object --

PALMER-- Perhaps if we could meet yourfather --

GITTESThere's just one question.

PALMERor course.

GITTESDo you accept anyone of the Jewishpersuasion?

(CONTInUED)

_.

95.

173 CONTINUED.:

Evelyn can't quite conceal her surprise at the question.

PALr·tER(very embarrassed)

I'm sorry -- we don't.

GITTES(smoothly)

Don't be sorry, neither does Dad.Wanted to make sure thOUgh, didn'twe, honey?

174 Evelyn stares back at Q1ttes, amused and appalled. Shemanages to nod.

GITTESJust to be certain, I wonder ifyou could show us'a list of yourpatients?

PW-tER(polite but pointed)

We don't reveal the names ot our~estA as a matter of policy. IknOtf you'd appreciate that if yourfather came to live with us.

Gittes locks eyes with Palmer.

QITTES(confidentially)

'!hat's exactly what we wanted tohear.

Oh, good.

GI'l'TESI wonder, is it too late tor usto have a look around?

PALMERI don't think so -- be happy toshow you -

GITTESWould you mind it we took a strollon our own?

.. • (CONTINUED)

96.

174 CONTINUED:

PAL1!ER-- Just, if you will, confineyourself to the main buildingit's nearly bedtime•.

GITTESWe understand, c'mon, sweetheart.

He take's Evelyn.

175 nrr. PARLOR - EVELYN

looking. Either by accident or design, the primarilyo~togenarian guests have segregated themselves. In onew1ng, the men are play1ng p1nocho1e, some are playingdominoes -- one elderly gentleman sits. by himself care-.tully peeling an orange. .

In an adjacent parlor several white-headed ladies workon a qUilt.

. ._. . - .:.

Gittes grabs Evelyn's hand.

- " - - ..

. . . .- ·-GITTES:: ': : .. :'. (4uiet1y )They're all here. Every coddam

- -name.

Gittes points to the wall -~ it says ACTIVITIeS BOARD.There are titles -- LAWN BO\'lLIUG - BRIDGE - FISHING ­CROQUET -- below them are the names of the guests,entered under certain activities, for certain days.

Arter EvelYn looks, she turns to Gittes.. ~ .

G"rl'TES. .. (cont1nuing;

.. ..: .. indicating theancient s aroundthem)

~ou're looking at the otmers of& 50,000 acre empire.

EVELYN_ - .. (astonished)

They can't be.

GITTESThey may not know it -- but theyare.

176

97.

Gittes strolls toward the women knitting and working onthe quilt.

GITTES -Hello, girls.

Two of the ladies giggle. The third continues to busyherself with her qUilt, ort by herself.

GITTES(continuing)

Which one ot you is Emma Dill?

Two of them say "she is," and point in dir:erent direc­tions. The third gives them a curt look and goes backto her knitting. G1ttes approaches her.

GITTESAre you Emma?

Some old voice is singing softly, "Don't Sit Onder theApple Tree."

EMMA- Yes.

-GI'l"l'ESI've been wanting to meet you.

EMMAWhy?

GITTES- Did you know that you're a verywealthy ''loman?

EMMA(stitching, smiles)

-- I'm not·.

GI'l'TESWell you own a lot of land.

"EMMANot anymore. Oh, some time ago,Dl7 late husband owned 3. good dealof beach property in Long Beach -­but ~.,e lost it.

G1ttes looks at the quilt. In it is the head or a fish-- among the rest of the crazy qUilt pattern. Gittesspots it.

.. • (CONTDTUED)

176 CONTINUED:

GITTESThat's just lovely.

Ert1MAThank you•• 0.

177 He looks through the qUilt for other pieces of the fish-- comes across the tail -- and by it -- the initialsA.C.

GITTES(indicating tail)

-- Where did you get this material?

EMMA(what it sounds like)

The apple core clUb --

GITTES-- The apple core?

EMMANo -- the albacore. It's a fish.

_My grandson ' s a member - and theytake very nice care of us.

GITTESBow do they do that?

Ef·fMAGive us things -- not just someold flag like th1.s, but --

GITTES·(kneeling)

But what?

PALMER'S VOICEWe're a sort ot unofficial charityot theirs, Mr. G1ttes. Would youcare to come th~s way? Someone

. wants to see you.

Gittes looks up, sees Palmer standing in the doorway~looking taut and a little drawn. Evelyn is beside him.She gestures - as it there's someone behind Palmer.

Gittes rises.

GITTESSee you later, Emma.

He walks toward Palme: who waite for him to walk in front.

... -,

99.

178 AT THE ENTR.WCE HALL - MULVIHILL

is waiting. He's eot his hand in his pocket. Evelynlooks to Gittes. The four of them s~and there s Mulvihilltowering over everyone.

MULVIHILLCome o~ -- I want you to meetsomebody, Gittes.

GITTES(glancing trom Palmerto Mulvihill)

Can - we leave the lady out otthis?

MULVIHILL(a little uncertain)

- Yeah, why not?

GIT'l'ESOkay. I'd like to walk her to hercar.

EVELYtII'll stay.

GI'l"l'ES(taking her by thearm) "

Get 1n the car.

r·roLVIHILLI'll see she makes" it.

MulVihill has walked up beside Gittes. He makes the mis- "take ot opening the glass door in the entryways puttinghis back to Gittes for a mament~. Gittes swiftly pullsl-iulv1h1ll t s jacket up over his head. He spins him around.With" his jacket covering his race, Gittes hammers away atMulvihill, beating h1= against the glass door, along thewall, mercilessly pounding his fists into the cloth untilthe cloth turns red and Mulv:1h1l1 begins to sink to thered tile floor. Palmer screams. Evelyn stands thereaston:1shed. f.1ulv1h1ll's gun has clattered to the floor.

GITTES(as Mulvihill hitsthe floor, to Evelyn)

What are you waiting for? Get inthe carl

Evelyn goes.

179

100.

Mulvihill tries to get up again. Palmer starts to go forthe gun, nearly picking it up. Gittes slaps it out ofhis hand and kicks it. It goes flying do\~ the hall, atleast thirty feet; hits the wall." Palmer goes screamingoff into the night. Gittes turns back to t·!ulvihill whostarts to get up, theu collapses.

Gittes goes out the front door, ignoring the excitedaudience of ancients behind h~.

180 OUTSIDE

As Gittes walks down the pathway, he stops -- two men arecoming toward him. One or them is shorter, and has thenervous, jerky moves of the man who slit his nose.

Gittes stops. The two men ran out and continue to movetoward him. Gittes spots the two-tone shoes. He beginsto bao-k up.

Suddenly there is a pair at headlights flashing brilli­antly behind the two men. In a moment Evelyn's car isheaded across the lawn directly t~ward the two men,accelerating as it gets near them. They look in dis­belief, then dive tor safetj. The car SY~ds to a step,t1shtail1ne a little on the grass.

Evelyn opens the passenger door.

EVELD. Get in.

G1ttes jumps in and she takes otf across the lawn, tilt­ing the elegant little neon sign on the lawn as she goes.Two SHOTS ARE FIRED.

181 INT. CAR - EVELYN & GXTTES

Evelyn 10ok1ng straight ahead, driv1ng. After a momentshe takes one hand off the wheel ~~d rubs her left eye alittle. Gittes· watches her. He smiles.

182 EXT. VERANDA, f.mLWRAY HOME - NIGH'!'

G1ttes stands on the veranda, smoking a cigarette, staringoff into the night.

Evel~PI1 comes out to the veranda,. carrying a tray '111thwhiskey and an ice bucket on it. She sets it down -­G1ttes turns.

(CONTINUED)

..

/

182 CONTINUED:

GITTES(watching her pour)

Maid's night off?

EVELYN- Why?

GITTES(a little surprised,he laughs)

What do you mean, 'why?' Nobody'shere, that's all.

EVELYN(handing Gittes hisdrink)

-- I gave everybody the night off --

GI'l"l'ES-- Easy, it's an innocent question.

EVELn~

No question trom you is innocent,Mr. Gittes.

GI'l'TES(laughing)

I gUess not -- to you, ~~s. Mulwray.Frankly you really saved my a- •••mr neck tonight.

They drink.

EVELYNTell ~e something· - does thisusually happen to you, Mr. Gittes?

GIT'l'ESWhat's that, Mrs. r·1ulwray'?

EVELnJ-- Well, I'm only judging on thebasis of one afternoon and an evening,but if that's how you go about yourwark, I'd say you're lucky to getthrough a whole day.

GITTES(pouring himselfanother drink)

Actually this hasn't happenedto me in some time.

101.

(CONTINUED)

/ ......

102.

182 CONTINUED: (2)

EVELYN-- When was the last time?

GITTESWhy?

EVELYNJust -- I don't know why. I'masking•

. G1ttes touches his nose, winces a little.

GITTESIt was in C1U.natown.

EVELYNWhat were you doing t~ere?

GITTES(tak1ng a long drink)

-- Working tor the District Attorney.

EVELYNDoing what?

183 Gittes looks sharply at her. Then:

GITTESAs little as possible.

EVELYN~e District Attorney gives hismen adVice like that?

GIT'l'ESThe,. do in Ch1natown.

She looks at him. Gitte8 stares orr into the night.

Evel;yn has poured herself another drink.

EVELYNBothers you to talk about it,doesn't it?

Gittes gets up.

GITTESNo -- I wonder -- could I -- doyou have any peroxide or something?

.' ..He touches his nose lightly.

(CONTDlUED)

•••

,

103.

183 COlnINUED:

EVELYNOh sure. C'mon.

She takes his hand and leads him back into the house.

184 INT. .BATHROOM - MIRROR

Gittes pulls the plaster otf his nose, stares at it inthe mirror. Evelyn takes some hydrogen peroxide and somecotton out ot a medicine cabinet. EvelYn turns Gittes'head toward her. She has him sit on the pullman tileadjacent to the sink.

EVELYNDoctor did a nice job •••

She begins to work on his nose with the peroxide. Thenshe sees his cheek -- checks back in his hair.--

EVELYN(continuing)

-- Boy oh boy, you're a mess --

GrI'l'ES-- Yeah --

EVELYN .(world.ng on lWD)

-- So why does it bother you totalk about it... Chinatown•••

GITTES-- Bothers everybody who worksthere -- but to me -- it was --

Gittes shrugs.

EVELYN-- Hold still -- why?

GITTES-- You can't always tell what'sgoing on there --

EVELYNNo -- why was it

GITTES•.• I thought I \'las keeping som~one

trom being hurt and actually I endedup making·· sure they- were hurt.

(CONTINUED)

104.

184 COlrrIlroED:

EVELYNCould you do anything about it?

185 They're very close now as she's going over a mouse verynear his eye.

GITTESYeah -- make sure I don't findmyself in Chinatown' anymore -­wa1t a second --

He takes hold ot her and pulls her even closer.

EVELYN(momentarily freezing)

-- What's wrong?

GI'l"!'ESYour e,.e.

EVELYNWhat about it?

GI'l'TES(staring intently)

There's something black in thegreen part of your eye.

EVELYN(not moVing)

••• Oh that ••• it's a tlaw in the1r1s•••

GITTES••• A tlaw•••

• • •

EVELYN(she almost shivers)

Yes ••• sort ot a birthmark•••

Gittes kisses her lightly, gradually rises until he'sstanding holding her. She hesitates, then wraps her armsaround h1m.

186. INT. MOLl-IRAY BEDROOM - TELEPHONE'

on a nightstand, cit,. lights visible through the openwindow behind it. It is RINGING. Evelyn's arm reache~

INTO SHOT. SOUND ot something hitting the headboard.Gittes moans. ·f

(CONT~UED)

.....

105.

186 CONTINUED:

VIEW SHIFTS TO INCLUDE Gittes in bed, holding his head,which he's just hit. Evelyn pauses in he~ reach to thephone. She turns to him, whispers, "I'm sorry," kisseshim on the head and lips. PHONE CONTINUES TO RING. Shepicks it up.

EVELYN••• Hello •••

(in Spanish now)••• No, no, I'll come and help,just keep watching her and don'tdo anything until I get the~•••'bye.

VIEW SHIFTS AGAIN TO INCLUDE Gittes in bed, watclUngEvelyn next to h1m as she's talking on the phone. Shehangs up. She touches Gittes' cheek l1ghtly.

EVELYNI have to go.

Gittes stares at her silently.

GITTESWhere?

EVELYN- Just - I have to.

GITTES. And I want to know where.

EVELYN(she starts out ofbed)

Please don't be ~gry••• believeme, it's got nothing to do withyou -

GI'l'TES(stopping her)

Where are you going?

EVELYN(near tears)

Please! ••• Trust me this much•••. (she kisses him

lightly)I'll be back -- look, there issomething I should tell you. Thefishing club that old lady mentioned,the pieces or-- the flag '--

(COu'"IlTr~~ ,,~. • ......oJ J

...

J.Ub.

186 CONTINUED: (2)

GITTESThe Albacore Club.

EVELYNIt has to do with my father.

GITTESI know.

EVELYNHe owns it. You know?

GITTESI saw him.

EVELYN(sitting up straight)

You saw my fa -- father? When?-GITTES

'I'h1s morning.

EVELYN(pan1.cked )

You didn't tell me •

GITTESThere hasn't been a lot ot time.

187 She leaps out ot bed, throwing on a robe.

EVELYNWhat did he say?

(insistent)What did he say?

GITTES- That you were jealous, andhe was worried about what youm1ght do.

EVELYN~? To who?

GITTESMulwray's girlfriend, tor onething. He wanted to know whereshe was.

Evelyn S~~Q Quickly for the bathroom, then comes backand kneels by the Q~e of the bed, takes Gittes' hand.

(CONTINUED )

107.

187 CONTLWED:

EVELYNI want you to listen -to me -- myfather is a very dangerous man.You don't l~ow how dangerous. Youdon't know how crazy.

GITTESGive me an example.

EVELYNYou may th1nk you know what's goingon, but you don't.

GI'l'TESThat's what your father said -­you're telling me he's 1n back otthis wbole thing?

EVELYNIt's possible.

GIT'l'ESIncluding the death ot your husband?

EVELYNIt's possible -- please don't askme any more questions now. Justwait, wait for me -- I'll be back.I need you here.

She kisses him, rushes to the -bathroom, shuts the door.Gittes stares at it a moment. Then leaps out ot bed, ­~lmmages around, tosses on his trousers. He grabs hisshoes, throws them on. Then hurries out of the bedroom.

188 EXT. MOLWRAY HOME - GI'l'TES. .

runn1ng across the driveway to the garage. There are twocars there -Mulwray's Buick and Evelyn's Packard.

Gittes moves -over to the Buick, opens the passenger'sdoor.

108 INT. BUICK - GITTES

checks the ignition. No key is in it. He pulls a coupleof wires from under the dash -- starts to mess with them,seems satisfied. Slides ~ut across the seat, slams thedoor.

~..

108.

190 EXT. MUL\iRAY DRIVEWAY - NIGHT

Gittes hurries over to the Packard. He gets down on thedriveway, lying on his back, bracing himselr. With theheel ot his shoe, he kicks at the right rear taillight ofthe car. He shatters the red leils, gets up. He carefullypulls the red lens otf the taillight, exposing the whitelight beneath it. He tosses the red lens into the shrub­bery. and hurries back toward the house.

191 ONE RED AND ONE WHITE TAILLIGHT - MOVING - NIGHT

Evelyn's car speeds along the curves on Sunset Boulevard,the red and white lights coming IN AND OUT OF VIEW.

192 GITTES DRIVING - NIGHT

behind the wheel of Mulwray's car, keeping a healthYdistance from Evelyn in tront of him.

193 EVELYN'S PACKARD

pulls up betore a small little bungalow-house. She getsout, looks up and down the street. There is nothing.She hurries on up the walkway to the tront door.

194 DOWN THE STREET - GrrlES IN BUICK

idles ·the engine with the lights ott. He brings the cara few yards further down the street, parking it nearEvelyn's.

Gittes gets out of the car and goes up the walkway. Thecurtains are drawn except tor one ot the small Windowson the side of the house. He goes to it and looks, bal­ancing on the edge ot the porch.

195 THROUGH THE WINDOW

Gittes sees Evelyn's Oriental servant rush through theliving room of the 'small h~use. In a moment he re-emergesback through the living room carrying a tray with a giassand pitcher. on it.

196 GITTES

around to the side of the house. He runs into shrubberyand a short picket fence.

(CONTINUED)

109.

196 CONTINUED:

He climCs over it, follows along the stucco wall to aseries of windows at the corner of the house. These allhave shades on them. He can hear someone crying in thehouse. . Someone else talking alternately fil'mly and plain­tively in Spanish. Here the windows have blinds. Hemoves to one where the blind is not completely drawn -­there's an inch or so ot space at the bottom.

197 THROUGH THE WINDOW

G1ttes can see the servant again. Evelyn is pacing backand forth in and out of his line ot vision. Atter a mo­ment someone rises INTO SHOT -- obviously trom lying ona bed. The t1gure is just a tew teet trom Evelyn. Hertear-stained face comes INTO VIEW. It is ~stakably

the girl G1ttes haa last seen with Hollis Mulwray.Mulwray's girlfriend. She's looking up to Evelyn, speak­ing in Spanish -- her words are not discernible cut thetone is -- bitter, anguished. A newspaper is strewnabout the room.

Evelyn kneels. She ins1sts that the girl swallow downsome pills. The girl reluctantly does.

198 GITTES

continues to watch.

199 EXT. STREET - EVELYN - NIGHT

emerges trom the house, goes to her car and gets in.

200 INT. CAR

EvelYn sees G1ttes sitting in her car, ·staring coldlyat her.

GITTESOkay, g1ve me the keys.

EVELYN(stunned, furious)

You bastard.

GITTESIt's either that or you drive

to the police yourself •.

(CONTINUED)

·.'

..

110.

200 CONTINUED:

EVELYNThe police?

GITTESC'mon, Mrs. Mulwray -- you've gotyour husband's girlfriend tied upin therel

EVELYNShe's not tied upl

GITTESYou know what I mean. You'rekeeping her there against her will.

EVELYNI am notl

GITTESThen let's go talk to her.

201 Gittes starts to get out ot the car. Evelyn grabs hisarm, nearly scream:1ng:

EVELYNNol

Her intensity actuall~ rips Gittes' already partiallytorn jacket. He looks at it and her. It seems to havea momentary calming effect on both otthem.

EVELYN(continuing)

She's too upset.

GI'l'TESWhat about?

EVELYNHo111s' death. I tried to keepit trom her, I didn't want herupset before I could make plansfor her to leave. .

GI'T'TESYou mean she just round out?

EVELYN• • • Yes.

GITTESThat's not what it looks like,f1rs. f-tulwray.

(CONTINUED)

111.

201 CONTINUED:

EVELYNWhat does it look like?

GITTESLike she knows about Hollis' death-- like she knows more than youwant her to ·tell.

EVELYNYou're insane.

Gittes explodes.

GITTESJust tell me the truth -- I'm notthe police. I don't care whatyou've done. -I'm not going tohurt you - 'but one way or anotherI'm going to know.

EVELYNYou won't go to the police if Itell you?

GI'l'TESI wUl it you don't.

A long pause. Evelyn's bead sinks onto the steeringwheel. ber hair covering ber race.

EVELYNShe's rrra sister.

202 Evelyn is 'breathing very deeply now -- not crying, 'butthe kind ot deep breat~~g that comes trom real hysteria.Gittes puts an arm on ber shoulder.

GITTESTake it easy ••• It it's your sisterit's your sister ••• why all thesecrecy?

She lifts her head and looks up at him. He ~ s genuinelypUZZled.

EVELYN(really upset)

I. can't •••

GITTESBecause or Hollis? Because shewas seeing your husband? lias thatit? Jesus Christ, say something.Was that·it? ..

She nods. G1ttes sighs.(CONTINUED)

112.

202 CONTINUED:

EVELYN(finally) ,

I would never ever have harmedHollis. I loved him more than myown family. He was the most gentle,decent man imaginable ••• and heput up with more from me thanlou'll ever know ••• I just wantedh1m to be happy •••

She begins to cry softll.

GIT'l'ES(after a moment)

- I took your husband's Buick•••(he opens the cardoor)

I'll return it tomorrow.

EVELYNAren't lOU coming back with me?

GI'l'TES- Don't worry. I'm not tellinganybody about this.

EVELYN••• That's not what I meant.

There is a long moment of silence. Gittes looks over toEvelyn. Her hair covers most of her face from him.

GITTES(finalll)

••• Yeah, well ••• I'm very tired,Mrs •. Mulwral. Good night.

He gets out and slams the car door. She drives off.

203 INT. SHOWER - GITTES' APARTMENT - arrrES

The spray is hitting him fUll on the top of the head.Gittes is so eXhausted hers literally holding onto thenozzle as the water pours down. He shuts the shower off,reaches weakly tor a towel - dabs his nose lightly withit. .

204 INT. GITTES' BEDROOM - aITTES

pads around in eleg'ant silk paj am"as •

(CONTI~~ED )

...

113.

204 CONTINUED:

He walks over to the window where morninB light is stream­ing in. He closes the curtains, collapses on the bedon top of the covers, inert. Almost immediately the 'PHO~~ RINGS. Gittes lets it go on for a moment thenpicks it up without saying anything. '

VOICE ON PHo:m(male)

Gittes? •• Gittes?

GITTES- Yeah.

VOICE ON PHONEIda Sessions wants to see you.

GITTESWho?

VOICE OU PHONEIda Sessions, you remember Ida.

Gittes slowly rises to one elbow.

GITTES-- Yeah? •• I do?

VOICE ON PHONESure you do •.

GITTES-- Well, tell you What, pal. IfIda wants to see me she can callme - at my office.

He hangs up, falls back down. PHONE RINGS AGAIN. ANDAGAD~. Gittes swears, picks it up.

VOICE ON PHONE684 1/2 East Tens1ngton -- EchoPark. She begged me to call.She's waiting for you•.

Before Gittes can say anything, phone clicks dead.

.... -..

205 ~~ • CERRITOS TOl'lER ROAD - HOLLY\v-oOD HILLS - EARLY MomlDra

Gittes pulls up. It is a bungalow courtyard with avery narrow wal~lay and sickly green stucco.

Escobarroom byaround.bedroom.

..

114.

206 EXT. IDA SESSIONS' APARTMENT - DAY

Gittes at the front door. It's slightly ajar. He knocks.Nothing. He opens it and enters.

207 INT. LIVING ROOM

Morning light filters through the half-open blinds. Dustparticles in the shafts of ~ght. It's still and empty.Gittes sees something down the hall, under the legs of atelephone table. Gittes moves toward it. It is grotesque.When he gets closer he can see it's a wilted head oflettuce. Just inside the kitchen some radishes and onionslie on the l1rioleum. Qittes walks on into the kitchen.

208 INT. KITCHEN

Clearing the kitchen counter, G1ttes sees IDA SESSIONSlying on her back on the floor, surrounded by the grocer­ies from a ~roken bag. Ice cream has melted around her.Ber eyes are open, a stream of ants is moving across theice cream and into her mouth. She's recognizable as thewoman who posed as Evelyn Mulwray.

Qittes kneels over her. He gingerly opens her handbag,t1shes for its contents, takes them and looks at them onthe kitchen counter -- wallet with a few bills in it,driver's license with her name ~ a Screen Actors Guildcard. G1ttes nods -- turns, carefully replaces the itemsin the purse.

He idly opens the broom closet, pantry, and even Prig­ida1re -- which is all but empty. Then he steps overher body and moves across the hall to a door that isslightly aJ ar ..

209 INT. BATHROOM

Gittes enters and turns on the light.

ESCOBARFind anything ~nterest1ng, Qittes?

and another PLAINCLOTHED ~~ stand in the bath­the entrance to the bedroom door. G1ttes turnsA THIRD MAN is now coming down the hall from the

Gittes looks ~t the two. doesn't- reply.

ESCOBARWhat are you doing here?

(COUTII1UED )

GITTESDidn't you call?

ESCOBAR(jerk of his headtoward the kitchen)

How do you happen to know her?

GIT'I'ESI don't.

ESCOBAR(turning towardother room)

-- Let me show you somet~g.

210 INT. KITCHEN

Escobar points to the number ~ro 7279 on the side of oneot the kitchen cabinets.

ESCOBARIsn't that four number?

GITTESIs It? I forget •. I don't callmyselt that often.

ESCOBARJust to be on the safe side, wehad Loach bere give you a ring.

He indicates one of'his Assistants.

ESCOBAR'S ASSISTANT(a slight sneer)

What happened to your nose, Gittes?Somebody slam a bedroom window onit? .

GITTES(right back, smiling)

Nope, your w1fe got excited, crossedher legs a little too qUick. Youunderstand, pal.

The Assistant starts to move for Gittes who 1s ready forhim. Escobar steps between the two.

.. (CONTINUED)

116.

210 CONTINUED:

ESCOBAR(to other Assistant)

Loach.(Escobar pulls outa drawer)

How about these? Look familiar?

In the open drawer are the photos or Mulwray and thegirl in the park; boat; and at the El Mirador on theveranda.

GITTES(no point in denying it)

Yeah. I took 'em. So what?

ESCOBARHow did she -

(me-ariing the corpse)- happen to have them?

Gittes takes a deep breath.

GITTESEither you tell me or I guess'cause I don't have the answer.

Escobar nods.

ESCOBARYou really think I'm stupid, don'tyou. Gittes?

GITTESI don't think about it one way orthe other. But ir you want, giveme a day or two, and I'll getback to you. Now I'd like to gobome.

ESCOBARI want the rest o~ the pictures.

GITTESWhat pictures?

ESCOBAR(meaning ·corpse)

This broad hired you, Gittes, notEvelyn Mulwray.

(CONTINUED)

...

~.- ..

210

211

117.

CONTINUED: (2)

GITTESYeah?

ESCOBARYeah - somebody wanted to shake·down l1ulwray, she hired you, andthat's how you happen to knowMulwray was murdered.

GITTESI beard it was an accident.

ESCOBARC'mon, you th1nk you're deaJ.1ngwitb a bunch of assholes? Mu1wrayhad salt water in his goddam lungs INow bow did he get that... in a freshwater reservoir? .

Qittes is surprised at this piece of information, butre~s nonplussed.

ESCOBARYou were tollowing h1m night andday. You saw who killed him.You even took pictures ot it.It was Evelyn Mulwray -- she'sbeen paying you off like a slotmachine ever since her husband

. died.

OrrrES(smiling)

You accus1ng me of extortion?

ESCOBARAbsolutely.

OITTES-- I don't think I need a day ortwo -- you're even dumber thanyou th1nk I th1.9lk you are. Notonly that, I'd never extort a nickelout of my worst enemy, that's whereI draw the line, Escobar.

ESCOBARYeah, I once kne\'1 a whore who forenough money would piss in acustomer's race -- but she'd nevershit on his chest. That's whereshe drew the line.

(CONTINUED)

,..

211

118.

CONTINUED:

GI'rl'ES(smiling)

Well, I hope she wasn't too muchor a disappointment to you, Lou.

Escobar manages a thin smile.

ESCOBARI want those photographs, Gittes.We're talking about accessory afterthe tact, conspiracy, and extortion- minimum.

GI'l'TESWhy do you think Mulwray's bodywas moved, you dawit? EvelynMuJ.wray knocked orr her husbandin the ocean - and thought itwould look like more or an accidentU she hauled him up to the OakPass Reservoir?

This is a little telling.

GI'l'TES(continuing)

Mul\'lray was murdered and moved ­because somebody didn't want hisbody tound in the ocean. .

ESCOBARAnd why's that?

GITTESHe found out somebody was dumpingwater there. That's what .theywere trying to cover up by moving111m•

. This stops Escobar. He's dumbfounded by it.

ESCOBARWhat are you talking about?

GITTESC~mon, I'll show you.

Escobar hesitates.

GITTES(continu.1ne; )

C'mon -- make"a declsion, Lou.You're in charge.

(CONTINUED)

211 CONTINUED: (2)

The men around Escobar look to him. Escobar grudginglynods.

212 CLOSE SHOT - STORM DRAIN

It yawns AT CAMERA, only a trickle of water dropping intothe ocean.

VIEW t~ENS TO INCLUDE Esoobar, Gittes, and two Plain­clothesmen, standing and staring at the empty pipe as itthey expect it to t~.

GITTES(sq1linting in sunlight)

It's too late.

ESCOBARToo late tor- what?

GITTESThey only dump the water at night.

213 A THIRD ASSISTANT runs down the side ot the ol1ft and overto Escobar.

ESCOBARReach anybody?

THIRD ASSISTANT'Yelburton, he's the new chief.

ESCOBARI know who he is. Well?

THIRD ASSISTANTHe says --

GITTESI know what he says.

ESCOBAR(to G1ttes)

Shut up.(to Assistant)

Go on.

THIRD ASSISTANTYelburton says they're 1rrigatL~g

in the valley -- tr.ere' s always al1ttle runorr when they do that.

cr~ORE j

(CONTINUED)

120.

213 CONTINUED:

THIRD ASSISTANT (CONT'D)And he says is G1ttes knows that, .and has been going around makingirresponsible accusations for thelast week.

Escobar turns to Gittes. Stares at him tor a long moment. _

ONE OF ASSISTANTSLet's swear out a warrant for herarrest. What are we waiting for?

GITTES(meaning Escobar)

Because he just made lieutenant,and he wants to hang onto hislittle gold bar.

Escobar stares bateru~y at Gittes.

ESCOBARHave your client in my office intwo hours - and remember. Idon't have to let you go. I'vegot you for withholding evidenceright now.

....- ..

214

215

EXT. MULWRAY HOME - DAY

Gittes in Mulwray's Buick whips into the driveway. Helooks in the garage. Evelyn's car is gone. Only theGardener's truck is there.

G1ttes hurries along the pathway and up to the house.Be rings the doorbell. Scarcely \'laiting for an answerbe tries it. It's locked. He reaches into his pocket-- pulls out his cigarette case, takes a pick out orthe side and starts to fool with the lock.

The Maid opens the door abruptly, stares in some surprise. at Gittes.

GIT'I'ES\\'here's Mrs. Mulwray?

MAIDNo esta •

Gittes looks past the Maid to the center of the li~ing

room -- where luggage is packed and neatly piled.

( CO~~::rroED )

..121.

215 CONTINUED:

The Maid is actua~~y in the process of throwing covers.over the furniture.

GITTES(indicating luggage)

Is Mrs. MU1~tray going someplace? ••(no answer)

••• on a trip? •• vacation? ••

MAIDNo esta in casa.

Gittes nods. He continues through the house ~~d out backto the veranda.

216 EXT. MULWRAY VERANDA - GI'rrES

is unsettled. Sees the Gardener working by the pond.He wanders a few yards in that direction.

217

218

GARDENER

spots Gittes, halt-bows, nods and smiles.

GITTES

in turn, nods, smiles.

GITTES-- bad for glass.

219 GARDENER

breaks into a big grin. Nods again.

GARDENEROh yes, bad for glass.

He points to the newly mown lawn.

GARDENER. . ( cont i.l'lu1ng )

Salt water velly bad for glass.

220 GITTES

. can't quite believe what he's be~d.

( CONTIH"JED )

• • •

122.

220 CONTIlnr.ED:

GITTESSalt water?

The Gardener nods vigorouslJ. Points to the pond.

GARDENERVelly velly bad.

Gittes has moved to the pond. He kneels. Clinging to theedge of it he can now see as he could have before if he'dlooked closely, a starfish.

221 CLOSE STARFISH

It has one leg missing. The fifth point on the star isjust beg~g to grow back.

222 GITTES

touches the water, tastes it. He licks his lips, thenspots something glinting in the bottom of the pond.

GITTESWhat t s that... down there"?

The Gardener peers into tbe pond.

GITTES(continUing)

there.

The Gardener spots it. He rolls up his trousers, gets inthe pond, and reaches into the bottom, his chin actuallytouching the water. He m1s~es the object, which seems toscoot away like an animal. Then he grasps it. He 11ftsit out of the water -and holds a pair of ey~ glasses, rim­less, bent, his finger poking through the frame wnere onelens is shattered.

The Gardener seems surprised. Gittes looks at the glasses.They are aeavily bifocal and reflect the sun.

223 INT. MULWRAY HOME

Gittes holds the phone to his ear. On-the telephone table,lying on his handkerchief are the glasses.

The Maid hovers around over Gittes' shoulder, uneasilywatching him.

( CONTDjUED)

..

'.-.

123.

223 CONTINUED:

CROSS' VOICEHello.

GITTESHave you got your checkbook handy,Mr. Cross? I've got the girl.

CROSS' VOICE-- you've got her? Where?

GITTESDo you remember the figures wediscussed?

CROSS' VOICEOf course I do. Where are you?

GI'rl'ES-- at your daughter's house. Howsoon can you get here?

CROSS' VOICE••• Two hours ••'. tell me, willEvelyn be there as well?

GI'l'TESEither that or she'll be in Jail.

CROSS' VOICE.What are you talking about?

GITTESJust bring your checkbook.

Gittes hangs up.

224 EXT. BUNGALOW-HOUSE, ADELAIDE DRIVE

Gittes pulls up in Mulwray's BUick. He hurries to the. front door, pounds on it.

The Chinese servant answers the door.

CHINESE SERVANTYou wait.

GITTES. (short sentence in

Chinese)You wait.

-

.--...

">-..

225

124.

Gittes pushes past him. Evelyn, looking a little worn butglad to see him hurries to the door. She takes Gittes'arm.

EVELYNHow are you? I was call~ng you.

She looks at h~t search~g ~s faee.

GI'l'TES- Yeah?

They move into the liVing room. Gittes is looking aroundit.

EVELYNDid you get some sleep?

GI'l"I'ESSure.

EVELYNDid you have lunch? Kyo will fixyou something -

GI'l'TES(abruptly-)

- where' s the girl?

EVELYNUpstairs. Why?

GI'l"I'ESI want to see her.

EVELYN~ •• she's having a bath now ••• whydo you want to see her?

Gittes continues to look around. He sees clothes laid outfor packing 1n a bedroom off the living room.

GITTESGoing somewhere?

EVELYNYes, we've got a 4:30 train tocatch. Why?

G!~es doesn't answer. He goes to the phone and dials.

GITTES~ J. J. Gittes for Lieutenant

.' ., . .Escobar •••

(CONTINUED)

, 225

125.

CONTINUED:

EVELYNWhat are you doing? What's wrong?I told you we've got a 4:30

GI'rrES(cutting her off)

You're going to miss your tra1n1(then, into· phone)

••• Lou, meet me at 1412 AdelaideDrive - it's above Santa MonicaCanyon ••• yeah, soon as' you can.

EVELYNWhat did you do that for?

GITTES(a moment, then)

You know any good cr~l lawyers?

EVELYN(puzzled)

- no •••

GrrrESDon't worry - I can recommend acouple. They're expensive bu't you

·can afford it.

EVELYN(evenly but Withgreat anger)

What the hell is this all about?

Gittes looks at her - then takes the handkerchief' out 01'his breast pocket -- unfolds it on a coffee table J reveal­ing the ci£ocal glasses; one lens still intact. Evelynstares dumbly at them.

GITTESI found these in your backyardin your fish pond. They belonged toyour husband, didn't they? •• didn'tthey?

EVELYNI don't know. I mean yes, probably.

GITTES- yes positively. That's wherehe was drowned•••

EVELnrWhat are you saying?

( CONTINtJED )

/

126.

225 CONTINUED: (2)

GITTESThere's no time for you to beshocked by ,the truth, Mrs. MU1wray.The coroner's report proves he waskilled in salt water, just take myword for it. Now I want to knowhow it happened and why. I wantto know before Escobar gets herebecause I want to hang onto M1license.

EVELYN-- I don't know what you're talkingabout. This is the most insane •••the craziest thing I ever •••

Qittes has been in a state ot near frenzy himself. Hegets up, shakes her.

Grl"l'ESStop it! -- I'll make it easy. -­You were Jealous, you fOUght, hetell, hit his head -- it was anaccident -- but his girl is awitness. You've had to pay heroft. You don't have the stomachto harm her, but you've got themoney to shut her up. Yes or no?

• • • no •••EVELYN

GITTESWho is she? and don't give me thatcrap about it being your sister.You don't have a sister.

Evelyn is trembling.

EVELYNI'll tell you the truth •••

Gittes sm-les.

QITTESThat's good. Now what's her name?

EVELDT-- Katherine.

(CO~1TlNUED )

.L~{.

225 CONTINUED: (3)

GITTESKatherine? •• Katherine who?

EVELYN- she's my daughter.

226 Gittes stares at her. He's been charged with anger andwhen Evelyn says this it explodes. He hits her full inthe race. Evelyn stares back at h~. The blow has forcedtears trom her eyes, but she makes no move, not even todefend hersel.t'.

GITTESI said the truthl

EVELYN- she's my sister

Gittes slaps her again.

EVELYN(continuing)

- she's my daughter.

Gittes slaps her again.

'EVELYN(continuing)

- my sister.

He hits her again.

EVELYN(continuing)

My daughter, my sister

He belts her finally) knocking her into a cheap Chinesevase which shatters and she collapses on the sora,sobbing.

GITTESI said I want the truth.

EVELYN(almost screaming it)

She's cy sister and my daug~ter!-.. (CONTINUED)

..

..--- .

.1.-'0.

226 CONTINUED:

Kyo comes running down the stairs.

EVELYN(continuing;in Chinese)

For God's sake, Kyo, keep herupstairs, go back!

Kyo turns after staring at Gittes for a moment thengoes back upstairs.

EVELYN(continuing)

- my father and I, unders tand,or is it too tough for you?

Gittes doesn't answer.

EVELYN(continuing)

••• he had a breakdown ••• thedam broke... my mother died •••he became a little boy ••• I w.sfifteen••• he'd ask me what toeat for breakfast, what clothesto wearl ••• it happened ••• thenI ran away •••

GI'l'TES•••. to Mexico •••

She nods.

EVELYN••• Hollis came and took ••• careot me ••• after she was born•••he said••• he took care of her •••I couldn't see her ••• I wanted tobut I couldn't ••• I just want tosee once in a while ••• take careot her ••• that's all ••• but Idon't want her to know ••• I don'twant her to know •••

GITTES .••• so that's why you hate him•••

Evelyn looks slowly up at Gittes •

(COnTINUED)

•

·....

129.

226 CONTINUED: (2)

EVELYN-- no ••• for turning,his back onme after it happened! He couldn'ttace it •••

(weeping)I hate him.

Gittes suddenly teels the need to loosen his tie."

GI'l"l'ES- yeah... where are you taking hernow?

EVELYNBack to Mexico.

GI'rI'ESYou can't go by train. Escobar' 11be looking tor you everywhere.

EVELYNHow about a plane?

GITTESThat's worse ••• just get out othere -- walk out, leave everything.

EVELYNI have to go home and get my things -

GITTES- I'll take care of it.

EVELYNWhere can we go?

GI'r'I'ES ,••• where does Kyo live?

EVELYN- with us.

GITTESOn his day off. Get the exactaddress.

EVELYN- okay •••

She stops sUddenly.

·,EVELYNThose didn't belong to Hollis.

(CONTINUED)

..

-

130.

226 CONTI~JED: (3)

For a moment Gittes doesn't know what she's talking about.Then he follows her gaze to the glasses lying on hishandkerchief.

GI'rl'ESHow do you know?

EVELYNHe didn't wear bifocals.

Q1ttes picks up the glasses, stares at the lens, ismomentarily lost 1n them.

227 EVELDl

trom the sta1.rs. She has her arm around Katherine.

EVELYNSay hello to r~. Gittes, sweetheart.

KATHERINE(trom the stairs)

Hello •

228 GITTES

rises a little shakilY from the arm ot the sota.

GITTESHello.

With her arm around the g~l, talld.ng in Spanish, Evelynhurries her toward the bedroom. In a moment she re-emerges.

EVELYN(calling down)

--·he lives at 1112 Alameda ••• do;you know where that is?

229 REACTION - GITTES

He nods slowly.

GI'I'l'.E.S- sure. It's in Chinatown.

230 TIiRU ~'IDOto1

of bungalow Qittes watches Evelyn, the girl and Kyo he~dfor Kyo's hlack dus-ry sedan•.

(CONTINUED)

131.

230 CONTINUED:

Gittes drops the curtain, heads sWi~t1y to the phone. Hedials.

GITTESSophie ••• is Walsh there? •• yeah,listen, pal, Escober's going to tryand book me in about five minutes •••relax, I'll tell you. Wait in theoffice for two hours. It you don'thear trom me, you and Duffy meet meat 1112 Alameda.

\olALSH'S VOICE- Jesus, that's in Chinatown, ain'tit?

231 The front BELL RINGS.

GI'l'TESI know where it 1s1 Just do it.

G1ttes hangs up and goes. to the door. He opens it. Noone is there.

GI'l'TES(not even botheringto look around thesides)

Come on in, Lou - we're both too. late. .

Escobar and his minions appear from either side of thedoor.

GITTES(cont inuing )

Lo~ks like she flew the coop.

Escobar nods.

ESCOBARI don't suppose you got any ideawhere she went?

/GITTES

~~tter ot fact I do.

ESCOBAR\tlhere?

(CONTINUED)

132.

231 CONTINUED:

GITTESHer maid's house. I think sheknows something's up.

ESCOBARWhat's the maid's address?

GITTESShe lives in Pedro -- I'll write itdown tor you --

ESCOBARNo, Gittes, you'll show us.

GITTESWhat tor?

.ESCOBARIt she's not there, you're goingdowntown, and you're staying theretil she shows up.

GITTES(deliberatelypetulant)

Gee, Lou, I'm doing the best I can.

ESCOBAR(shoving 1Um towardthe door)

Tell us about it on the way toPedro.

232 E~. SAN PEDRO - 29TH STREET - DAY

A steep hill overlook1ng part ot the harbor. Escobar'sumarked car pulls up to a stop in tront or a Spanishduplex perched on the steep hillside.

ESCOBARThat's it?

GITTES

ESCOBARWell, let's go.

GITTESDo me a favor', will yo~, Lou?

Escobar ~.,ait ~ •

(CONTINUED)

...

I

133.

232 CONTINUED:

GITTES(continuing)

Let me bring her "down myself •••she's not armed or nothing ••• shewon't be any problem••• I'd justlike a minute alone with her •••it would ~ean something ••• to •••her••• and to me •.

Escobar shakes his head.. For a moment it looks like itmeans no.

ESCOBARYou never learn, do you,Gittes?

GI'l'TES(a littlechagrined)

I guess not.

ESCOBAR- Give you 3 minutes •

GITTESGee, thanks, Lou.

Gittes gets out of the car, glances around, goes up thestairs. He looks back down at Escobar. Gittes rings thebell. °Hewaits. It opens. It's a WOMAN who's not recog­nizable. She's got the remnants of a black eye.

WOMANYes? ••

Gittes looks past her to Curly, the fisherman" from ther~st scene. He's' seated at the dinner table with hisfather, his mother, and his children. Curly looks up 11'1surprise~

- CURLY(happily)

Mr. G1ttesl Come in, come in.

233 Gittes enters and closes the door. Curly rises and comesover to ~, greets him happ1ly.

CURLYGee, th1s 1s a surprise, ~~. G1ttes.

GIT'I'ESCall me Jake. How is everything?

(CONTI!-lUED)

.,

233 CONTINUED: .

CURLYJust sitting down to supper, Jake.Care to join us?

GITTESNo thanks --

CURLYHow about a glass of wine? Honey,this is -

WIFE(coolly)

Yes, I mow.

GITTESThanks just the same, Curly. Icould use a glass ot water, tho ­come out with me to the kitchentor a second.

CURLY(puzzled)

Sure thing •

234 INT. KITCHEN - GI'rrES AND CURLY

GITTESCurly, where' s your car?

CURLYIn the garage.

GI'l'TESWhere's that?

CURLYOtt the alley.

GI'l'TES- Could you drive-me somewhere?

CURLYSure, as soon as we eat --

GI'l"l'ESRight now, Curly. It can't wait.

CURLYI'll just tell my wife.

( COtlTINUED )

(COnTINUED )

135.

234 CONTINUED:

GITTES(pulling h~ outthe back door)

-- tell her later.

They head out the back door and down the steps towardthe. garage.

235 EXT. ALLEY AND GARAGE

Curly pulls open the garage door. Gets in, starts thecar, backs it out. It's an old, late twenties Plymouthsedan. G1ttes hops in. They take off•. At the edge ofthe alley G1ttes looks back.

POV PROl\t CURLY'S CAR

Escobar is getting out of his car, moving towards theduplex.G1ttes slips down in the seat.

GITTES' VOICEJust drive slow for a block or two,will you, Curly?

CURLY'S VOICEWhat's this all about?

GITTES' VOICETell you in a coupld of blocks.

236 INT. SEDAN - QITTES AND CURLY

GIT'l'ES .How much do you owe me, Curly?

CURLY(embarrassed)

Oh, gee, Mr. Gittes -- we're goingout tomorrow. I know you been realgood about it but my cousin Auggie'ssick.

GITTESForget it. How would you like topay me off by taking a couple ofpassengers to Ensenada ••• you'dhave to leave tonight.

..

r -.

136.

236 cm:TINUED:

CURLY-- I don't know •••

GITTES-- I might be ab1e to squeeze an

extra seventy-five bucks out of ittor you - maybe an even hundred.

CURLY-- plus what I owe you?

GITTESI'll throw that in too.

CURLY(smiling)

Okay, you got yourself a boat.

237 EXT.MULWRAY HOME - GITTES AND CURLY

carry bags out to Curly's car. Curly opens the door forthe Maid. Sbe gets in. He turns to Gittes.

GITTES .Tell Mrs. Mull'1%'ay to wait tor halfan hour after you get there -- thenit I don't show, take ber down tothe boat.

CUHLY(a little worried)

-- you sure thj,s is oleay?

GITTES(mildly indignant)

Curly, you lmow how long I been inbusiness.

Curly nods, reassured. He gets in and takes oft.

238 EXT. MOLWRAY HOME - DUSK

by the pond. Cigarette smoke drifts INTO SHOT. A carpulls up. In a moment Cross can be SEEN, looking TOWARDCAMERA.

CROSSThere you are.

He walks toward Gittes who stands by the pond, smoking.

(CONTINUED)

137.

238 CONTINUED:

CROSS(continuing)

Well, you don't look any the worsetor wear, 14r. Gittes, I ~u~t say •••where's the girl? ••

GITTESI!ve got her.

CROSSIs she ul right?

GIT'mSShe's tine.

CROSSWhere is' she?

GIT'l'ESWith her mother.

-. - .. -Cross' tone alters here.

........

-, ,- -...-_. . ....- . . .• eo. • _0 •• 0 _ CROSS

• •• with her mother?

e•••-.

239

Gittes pulls.something out of his pocket and unfolds it.-:. o· : .. GIT'.!'ESI'd like you ~o look at something,Mr. Cross -

. __ CROSS__ .0.. ,taking ° it)What is it?

_ GITTESAn~obituary column ••• can you readin ~ this light?

0.0 • CROSSYes ••• I think I can manage •••

Cross dips into his coat p~cket and pulls out a pair otrimless glasses. He puts them on, reads.

GITTES

stares at the bifocal lenses as Cross continues to lookthrough the ob~tuary column. He looks up •

."" .(CONTINUED)

",/

... .

138.

2_39 CONTINUED:

CROSSWhat does this mean?

" QITTES~ that you killed Hollis Mulwray --

Q1ttes is bolding the bifocals with the broken lens now.

GI'l'TES(continuing)

-- right here, in this pond. Youdrowned h~••• and you left these.

Cross looks at the glasses.

GI~S

..... ·the coroner's report showedMUlliray had salt water in lUslungs.

CROSS- - ' _ " (finally)

Hollie was always fond of t1depools.You know what he used to say aboutt.he,m'l.·. :-

., GI'rmS- --Haven't the faintest idea.

-, ' . CROSS.;.. that's where life begins •••marshes, sloughs, t1depoo~s••• hewas fascinated by them••• you knowwhen we first came out here hefigured that it you dumped wateronto desert sand it would percclatedown into the bedrock and stay~er&,. instead of evaporating/thewar .~~ doe& in most reservoirs.You'd lose only twenty percentstead of seventy. or eighty. He~e th1.s c1ty •

. GITTES--. ~'and that's what you were going

to do 1n the Valley?

21rO- EXT'.' POND - CROSS IJ~D r-mIMRAY

CROSS(after a long moment)

-- no, Mr. G1ttes.(MORE)

(CONTINUED)

....

240 CONTINUED:

CROSS (CONT'D)That's what I am doing with theValley. The bond issue passesTuesday -- there'll be ten millionto build an aqueduct and reservoir.I'm doing it.

GI'rrESThere's going to be some iratecitizens when they find out theY'repaying for water they're not getting.

CROSSThat's all taken care of. You see,Mr. Gittes. Either you bring thewater to L.A. -- or you bring L.A.to the water.

GIT'l'ESHow do you do that?

CROSS- just incorporate the Valley intothe city so the water goes to L.A•after all. It's very simple.

Gittes nods.

GI'l"I'ES(then)

How much are you worth?

CROSS(shrugs, then)

I have no idea. How much do youwant?

GITTESI· want to know what you're worth ­over ten million?

CROSSOh, rtl1, yes.

139.

/_....I

GI'l'l'ESThen why are you doing it? Howmuch better can you eat? What canyou buy that you can r t alreadYattord?

. (CONTINUED)..

..

240 CONTINUED: (2)

CROSS(a long moment,then: )

The future, Mr. Gittes -- thefuture. Now where's the girl? ••I want the only daughter I haveleft ••• as you found out, Evelyn!~ _lost to me a long time ago.

'-_... GITTES- (With sarcasm)Who do you blame tor that? Her?

Cross makes a tunny l1ttle cock ot his head.

- . CROSSI don't blame myself. You see,~~. Gittes, most people neverhave to face the tact that attlie right time and right place,they're capable ot anything. Takethose ,glasses from him, will you,elaude? .

CROSS". (contin~g)

Take us to the girl. EitherEvelyn allows me to see her, orI!m not averse to seeing Evelynin jail - it I have to buy thejail - Hollis and Eve lyon kepther trom me for fifteen years -­it's been too long, I'm too old.

140.

241 EXT. CHINATOWN STREET - NIGRT

The streets are crowded. Here and there one can seeChinese in traditional dress.

141.

: 242 . GrrI'ES

driving slowly -- spots Katherine with Ramon and luggage,nearly lost in the crowd. .They are walking toward a carparked near a laundry truck.

Gittes sees them" keeps driving.

CROSS_ _:: .. (suddenly) .Stop the car. Stop the car!

Mulvihill tries to clobber Gittes. Gittes elbows him.The car jumps the curb and hits a lamppost.

-. -243 EXT. STREET - CROSS

leaps ou~ 0£' the car, shouting:

- - ... _. CROSS: .Kat6herine l Katherine! Wa1t !

Gittes i~ after him, grabbing him. Cross tries to swingat Gittes. with his cane. Mulvihill comes up behind Gittesand the three of them begin an awkward wrestling Ina'Cch, .

.. the crowd scatterin~,- Mulvihill pulling his revolver, try­'~:.~ ··to hit Gittes on the side ot the head. The th:'ee men. crash to the pavement.

"-:'---:- .-- . _.. .. .

244 CURLY-

starts out ot the car toward Gittes. '~Gittes ,sees him.

. GITTESNo, Curly, get 'em out ot here!Get '~out ot here!

,... ., .He bites Mulvihill's hand and furiously pounds it into thesidewalk, shaking gun loose. MulVihill and Gittes trytor it bu~ someone else has it •

.. .. .. .~ ---

245 EVELYN'.. .'

bolds the gun. She's sha.k1ng but apparently in control.... ot hersel!'.

rises to his feet. Mulvihill starts to help Cross up.

I

)

246 CONTINtJ.c.D:

. EVELYNNo, don't help him. Don't doanything.

Mulvihill doesn't move. Cross rises on his own. Evelynholds the revolver on him.

EVELYN(continUing)

-- she's gone. It's no good.,CROSS

Where?

GI'l'TES(moving to Evelyn)

Let me handle that.

EVELYN(to Gittes)

I'm all right.

GI'l'TES(she's not)

Sure, but I'd like to handle it.

Evelyn backs up as her father takes a step toward her.

CROSS .You're going·to have to kill me,Evelyn. Either that or tell mewhere she is.

Evelyn is bacld.ng up. Cross moving on her. Evelyn cocksthe pistol.

CROSS(continuing)

How many years have I got? ••she's mine too.

EVELYN-- she's never going to know that.

There's the SOUND of a SIREN. Cross lunges toward her.Gittes grabs Cross.

Dufty and \-lalsh are elbowing through the crowd. Gittessees them.

GITTESDuffy -- go over and sit on Mulvihill.

(MORE)

( COln'INUED )

Evelyn)Curly'S boat'sStark1stEvening Star.I'll take

143.

246 CONTIh~D: (2)

GITTES (CONT'D)(to vlalsh)

Jesus Christ, I didn't tell youto bring the po~ce departmentwith you.

WALSHJake -- it's Chinatown. They'reallover ·the place. You oughtaknow better.

GITTES(to Walsh, meaningCross)

Gtmme your keys. Watch this oldtart. will you?

(moVing toTake Durty' s car.in Pedro. near thecannery. It's theHe'll be waiting.care ot t1U.s.

247 She looks to G1ttes.moves toward the car.and it.

He looks at her. She turns andEscobar is standing between her

you don'tLet her go.

ESCOBARMrs. Mulwray. you don't want to

. run around like that.

GITTESOh, Christ. Escobar.mow what's going on.I'll explain it later.

ESCOBAR.Mrs. Mulwray, it's a very seriousottense pointing that at anofficer ot the law. It's a telony.

GI'1"l'ESLet her go. She d1d.91"'t kill anybody.

ESCOB.4.R(starting to\'rard her)

I'm sorry, Mrs. Mulwray --

GITT!SLou, she will kill you -- let hergo for nc~.,.. "You dcm' t· knO\'1.

(CO:rrINUED )

--,

"-'.--

247

144.

canTnumD:

ESCOBARGittes t stay ~utta this.

Escobar continues to move toward h=r. Qittes grabs h~.

QIT'I'ES(to Evelyn)

Now take off.

Evelyn gets in the car. She starts it. Qittes letsEscobar go.

ESCOBARI'll just have her followed ­she's not going anywhere --

'rhere's a single GUNSHOT. Both men look surpriSed. Downthe block a uniformed officer has fired, standing besidehis double-parked car. DUffy's sedan slows to a stop 1nthe middle of the street. It jerks a couple Of times,st1ll in gear, then comes to a halt.

G1ttes rushes to the car. He opens it. Eve11n 1'alls out,inert. Blood is pouring from her right e1e.

GITTES(yelling)

Nol-He holds onto Eve11n as Escobar and others hurr1 up. Crosshimself elbows through.

GI'l'TES. ( continuing)

Where is he? I'll kill him, I'll1c111 the son of a bitcn -

Several officers contain Gittes.

GIT'!'ES(cont1nuL~;to Escobar)

Who is he, get his name? I'll killh1m -

ESCOEAR(bac1ly shaken)

Take it easy, take it easy, it wasan accident --

QITTES'An accident -

.l47 CONTINOEO: (2)

)

."

-,r

•

Gittes looks down. 'that he sees horri:ies-~im_ Cross ison the C;round, . holding Evelyn's body, crying-

GI'l"r.ESGet him away : rom her _ He'sresponsible :oreve~inq. Geth.im away from hert

ESCOBAR(st.unned)

Jake - you're very dist.urbed.Ybu're crazy. That."sher :ather.

Walsh and Duffy elbo.w throuqh the' crowd.

ESCOBAR(cant.inuinql .to 1:hem)

You wanna do your pU1:Z1erthebiqqest. favor of his life? -Takehim home. Just. qet. him the hellout. of heret

~:y bear-huqs the protest..i.nq Gitt.es, along with Walsh,literally dr&9qiDq h.imaway from the.~en., with. Gittoest:rying t.o· shake free. Throuqhthe crowe noises, Walsh canbe bea:ci sayiDq, -I'o:vet it, .Jake - it's Chinatown.-