THE '.!'WO JAKES By Robert Towne - Script Slug

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, -··1;'·""THE '.!'WO JAKES"by Robert Townesecond draftrevised February 27, 1985

Produ tion Draft 04/02/851.(b)INT JAKE GITTES' OFFICE (DAY) - A WIRE RECORDER ANO A PAIROF WING-TIPPED SHOES ON GITTES' DESK-TOP.1/The glove leather of the shoes contain feet crossed at theankles, cocked on the heels and nestled up against oneanother like a pair of love birds. From time to time theshoes separate an inch or so, then give one another aplayful tap - the wire on the recorder moves continuouslyhowever, winding tautly around .itself. The red light on themachine intermittently flashes to indicate sound levels.BERMAN'S VOICE rehearsing, but shaky andnervous)' - oh no, oh no, oh no Kitty, youtold me you were going to MuriettaBot Springs and now I find you hereat - 'The shaky recitatif breaks off.poised in anticipation.The shoes have separated, WALSH'S VOICECa stage whisper) - the Bird-of-Paradise Motel - '2OMIT3BERMAN an anxious and olive skinned man sitting in front of Gittes'desk and shoes. BERMAN(going on)' - the Bird-of-Paradise Motel inRedondo Beach at two in theafternoon on October 2.1, 1948 withthis man - 'The shoes bump rudely into one another and GITTES sits upinto FRAME, visible along with his legs and shoes.(CONTINUED)I .

Production Draft 02/24/85 -,:((32.CONTINUED:GITTESMr. Berman, it's very unnatural fora man to discuss what year it iswhen he's staring at his wife inbed with another man BERMANBut my lawyer said GITTES- we'll establish the date, let.!!!.worry about that. Just -.Be gestures gently but firmly in the direction of therecorder. Berman nods:BERMAN- oh no, oh no, oh my God, it's anearthquake.The room has shuddered as if shivering from a chill. Thebrass lantern with its green shade sways overhead on itschain. On Gittes' desk a little porcelain dog with legraised by a porcelain fire hydrant topples into a neat stackof dimes. They spill and spin like tops on the blotter,carpet and oak floor.GITTES(after a moment)Relax, Mr. Berman. It's just atemblor.Berman has risen right out of his seat.ABERMAN(looking at swaying lamp)trembler?GITTESTemblor.- (glancing at his watch - look I understand how edgy youmust be, ahhh (glancing at paper on hisdesk)··Julius BERMANMy friends call me Jake.Gittes rises, slts on his desk top.(CONTINUED)

Production Draft 02/24/853CONTINUED:3.( 2)GITTESWell, that makes two of us.Be offers Berman a cigarette.GITTES- that's what my friends call me.Be lights Ber an's.cigarette with a lighter shaped like anoil pump on his desk - and ,in Rawley Petroleum's blue andgold colors.BERMAN(in disbelief)- is that right? Is that right?(turning to Duffy andRamsey)He's a Jake and I'm a Jake -GITTES(anxious to get on with itwhile maintaining Berman'senthusiasm: - two Jakes, how about that? Nowlook uhhh - Jake, I've never lost ahusband yet, but I've got a golfdate at one. If I'm not ready totee off at 12:55 they'll breakevery club in my bag.BERMANYou're kidding - that's terrible.GITTES(glancing out window)No, that's Wilshire Country Club - Iwas lucky they let me join.BERMAN'S VOICE- I know what you mean.Berman's quiet conviction causes Gittes to glance back. Ashe does, he spots something on the carpet. Gittes bendsover to pick up the stray dime and finds his chic cream andbeige glove leather shoes confronting a virtually identicalpair of chic tan and beige glove leather shoes - Berman's.As Gittes rises a little surprised and looks to Berman,Berman smiles tentatively and this appears to be his reply:BERMAN' - oh no, oh no, oh no - Gittes realizes Berman's rehearsing again.slow move down to wire recorder, WIRE and:CAMERA begins a

Production Draft 02/24/8544.INT BIRD-OF-PARADISE MOTEL (DAY)BERMAN'S VOICE' - oh no, Kitty how could you?Here I thought you were going toMurietta Bot Springs this afternoonand now I find you just where theysaid I'd find you, in room 19H - '5REACTION GITTESnodding approval, sits contented on a bedspread with anubbly Bird-of-Paradise pattern, earphones on, holding amicrophone and huge suction cup to the motel wall.BERMAN'S VOICE - of the Bird-of-Paradise Moteliri Redondo Beach, oh my God this isterrible! Not with him! not him!'Gittes continues to listen, imperturbed.BERMAN'S VOICE- get her out of here!KITTY'S VOICENolBODINE'S & DUFFY'S VOICES(overlapping)- where n the hell that come from?- take it easy now, hand it BERMAN'S VOICE- get her out!There is a GUNSHOT that sets Gittes head vibrating like atuning fork. With another SHOT, the SUCTION CUP & MIC dropfrom the wall, glance off Gittes. Gittes tears theearphones from his head and bangs against the door adjoiningthe two rooms. There are more screams ·and shouts. Gitteskicks in one of the door binges and flattens the door as hesteps on it, falling into the adjoining room. A third shotis FIRED.6GITTES' POV MOVING OF BERMANwho has fired.the third shot into the bathroom door and nowlunges in after it and a naked and desperate man.:.A lamp shade rolls crazily around the floor, its kewpie dollbase a shower of fragments everywhere. The bedspread istwisted nearly to the bathroom. Duffy lies in a protectivepose over the screaming Mrs. Berman at the base of the bed. ·Cameras and newspapers are strewn all over the room.(CONTINUED)

s.Production Draft 02/24/856CONTINUED:Gittes moves to the bathroom door, but stumbles overRamsey's legs which poke out from under the adjacent bed.Two more SHOTS ring out. The SOUND of glass falling intothe bathroom sink. A final SHOT, then the SOUND of aplastic shower curtain being stretched and torn. SILENCE.In a moment, shouts from the other motel rooms, doors·opening and SLAMMING, a frantic drumbeat of foots eps on thestairs.7GITT.ES.rises to his feet.8TBE BATHROOM DOORhas opened and Berman stands cut and bleeding in the doorwaystaring blankly toward the oceanside wall. The smokingpistol dangles from his hand. Behind him is the shatteredbathroom mirror and the body of a man draped over thebathtub, head and torso tangled up in the torn showercurtain, a huge stain growing like spilt ink across ablotter. Gittes takes the pistol from Berman's hand.Berman does not seem to notice.FADE TO:9.EXT LOS ANGELES CITY BALL (DAY)Gittes is on the steps and CAPT. LOU ESCOBAR, dressed inplain clothes, gets out of a police car ESCOBAR(getting out of a car Cowboys and Indians.Gittes looks questioningly not sure he's heard right.ESCOBARCowboys and Indians.GlTTES(genuinely puzzled)How's that, Lou?ESCOBAR(moving beside Gittes Your client shot some guy right outof the saddle.(CONTINUED)

Production Draft 02/24/8596.CONTINUED:GITTESOh yeah, geez, how about that?Never had anyone pull anything likeit Gittes wants to make a graceful exit.Then:GITTES- not while I was in the roomanyway. See you, Lou.Be smiles and starts down the marble steps to the parkinglot. Escobar smiles and starts up the steps to City Ball then stops:ESCOBAR turning So you witnessed it.GITTES(caught on the landing)I was next door with the wirerecorder. By the time I made itinto the room Berman had the guycornered in the john. Be fired thelast three shots with the doorclosed.Escobar takes a step or two toward Gittes, wbo does notmove.ESCOBARThen they could've struggled overthe gun?GITTESI'm sure they did.ESCOBAR(moving down more steps)Why are you sure if the door wasclosed?GITTESI'm not. For allI know the guy shot himself threetimes and gave Berman the gun come op, Lou.- you're right.He tries to make his exit again.ESCOBARJake, walk me back to Homicide.(CONTINUED)

Production Draft 02/24/859CONTINUED:7.(2)GITTESI just came from there - besidespromised Linda I'd meet her atPerino's at eight.IEscobar starts walking.ESCOBAR(moving up the steps I'll give you an escort so wheredid Berman get hold of .the gun?GITTES(shrugs - then)- in the bedroom.10INT CITY HALL - GITTES AND ESCOBAR ENTEREscobar nods intermittently to various officials and policein the hallways - it is evident he carries some real weight.ESCOBARBow do you know he didn't have itwith him?Gittes turns on Escobar with a flash of anger.Escobar knows· he has gone too far.AlreadyGITTES- oh I'd never frisk him before Ilet him walk in on his wife hangingonto the headboard while some guyslams her into a bedroom wall ESCOBAR(deferring)- just asking, Jake GlTTES- look, Berman grabbed the gun fromsomewhere in the motel room andfired it. That's absolutely all Iknow.They reach an elevator.Escobar presses the down button.ESCOBARThen what happened?GITTESWhat usually happens when somebodyfires a gun? Everybody ducks.(CONTINUED)

Production Draft 02/24/85.108.CONTINUED:The elevator doors close.11CUT TO:INT HOMICIDE DIVISIONGittes and Escobar walk in together.ESCOBAR- I guess you talked to theinvestigating officer.GITTESNo, Sergeant Gutierrez ESCOBAR(gesturing behind Gittes'head)- Detective Loach.Gittes turns and sees Loach at the same time Loach sees him.Both men freeze.LOACH(breaking the taut silence)- I just came on duty, Lou.Escobar moves between the two men, and takes them both bythe arm, drawing them toward him.ESCOBAR(soft and swiftly)Now this is not a case where I wantany difficulty for anybody. It's ·simple. A guy gets fucked gettingfucked - let's not get cute LOACHLook at him. I don't see how hecan avoid it.ESCOBAR.r(grabs Leach's arm, awhisper)That's what I mean!(backing up, out loud,pleasantly Haven't seen you in awhile Jake - Inever seem to get away from mydesk. Makes me wonder if. Ishould've made Captain (CONTINUED)

Production Draft 02/24/85ll9.CONTINUED:GITTESWell, Lou - for your .twentiethyear, I'll give you an embroideredpillow for your chair - somethingyou can sit on besides Loach.Escobar shoots Gittes a last warning look, takes off downthe corridor, stops and wheels back:ESCOBAR(to Loach)- I want a preliminary report bythe end of the day and by tomorrowI want it in the D.A. 1 s office for good.The Desk Sergeant has been waving the phone receiver overhis head, signalling Gittes.DESK SERGEANTFor you. t.Gittes goes for the receiver. Loach cuts him off and hangsit up. Gittes looks like he's been slapped. Loach smiles.They're nose to nose.LOACHThis is Homicide, not your office.Gittes starts to flush. The phone begins to RING again.Both men are aware of it. The Desk Sergeant starts to pickup the phone.LOACHLet it ring - you're not lost,Gittes. You know the way out Gittes turns to go and bumps into an immaculate anddiminutive man with an imposing shock of white hair.phone continues RINGING:As theDIMINUTIVE MAN(grabbing Gittes)Jesus, don't go. You're just theman I want to see.GITTES(surprised)What for? I can't, Cotton.Ca gesture toward Loach I got told to leave (CONTINUED)

Production Draft 02/24/8511CONTINUED:10.(2) toCOTTONLoach)Is that true?LOACH(deferentially)Yes, Mr. Weinberger.Cotton becomes·aware of the phone RINGING off the hook in· front of the Desk Sergeant. Suddenly everyone in Homicideseems aware of the phone RINGING. Cotton looks to Loach,then back. to the Desk Sergeant.COTTON(mildly Answer the phone, please.LOACH(uncomfortable, to DeskSergeant)- go ahead.r! -DESK SERGEANT(holding out phone)Lieutenant Loach it's -Loach automatically re ches for the receiver. The Sergeantholds onto it, creating a momentary but embarrassingscuffle.DESK SERGEANT(red-faced, indicatingGittes - for him. It's his office again.Loach releases the receiver. Cotton looks like a man whohas walked into a room where the law of gravity no longerapplies LOACH(disgusted, to Gittes Take your call.Gittes picks up the phone and .as he can be heard trying tocalm Gladys down and ask about Duffy:LOACHBe's been disruptive, Mr.Weinberger.(CONTINUED)

Production Draft 02/24/8511CONTINUED:11.(3 COTTON(pulling out a sheet·ofpa er)Disrupting Homicide is not all bad (reading from sheet)'sheets, blankets, shower curtainwith broken rings attached' - and Ido need to speak with Mr. Gittesabout our client -Gittes nearly drops the phone.GITTES hanging up:)- client?COTTONI'm counsel for Jake Berman - 'onesix-inch Smith and Wesson revolverregistered in the name of the deadman Mark Bodine on behalf o.f B, BHomes' - no wire recording on thepolice report?GITTESWhat's B & B Homes?LOACHMy men didn't pick one up.-4Gittes smiles and it starts to grow into a smirk.GITTES'Your men didn't pick one up - 'COTTON(stopping Gittes pointedly)You're thinking Jake, B & BRomes, Bodine & Berman, that'sanother one of their corporations,Berman's and the dead man's - webetter talk later:-7ust remember,(indicating list you have a fiduciary relationshipwith our client, Mr. Berman. Thatgoes for your associates too.Gittes nods, mumbles 'thanks, Cotton,' and walks out in adaze.

Production Draft 02/24/851212. TL.A. STREET (LATE AFTERNOON) - AN OIL DERRICKpumps away on an island in the center of the street, awooden skeleton with late afternoon sun streaming thru it.The pump itself is partially obscured by demure fencing anda billboard.Gittes.drives past it and pulls into the parking lot of:13EXT THE G.I. BUILDING(GITTES' OFFICE)on the corner with the oil well background. The building isa slow curve of pale green stucco and glass brick, somewherebetween monumental and medical Moderne - its broad copingsweeps around the corner and over the entrance like the brimof a hat. Beneath the bold G.I. lettering is a smaller'§ittes Investigations. 14.15EXT PARKING LOTGITTEShops out of his car and moves across gravel to the reservedparking space marked "DUFFY" on a white wooden sign thatalso warns: 'Parking solely for G.I. Building and itstenants - J.J. Gittes. Gittes tries the car doors and thetrunk - everything is locked. He moves down the row of carsto the space marked for RAMSEY. RAMSEY'S CAR WINDOW ON THE DRIVER SIDEis rolled up and the door locked - but Gittes can see theWEBCOR WIRE RECORDER sitting primly on the passenger seat.Be sees something else. Be fairly leaps over the hood.16ON THE PASSENGER SIDEGITTESsticks his hand thru an open window. He pulls the wirespool from the recorder and walks briskly into the rearentrance of his building.17INT G.I. BUILDING HALLWAY - MOVING UP THE STAIRSGITTESahears the muffled sound of some object hurled againstwalland SHATTERING. By the time he reaches the large G.I. onhis entrance door, Gittes can glimpse a figure backed upagainst the blocks of glass that frame is double doorway.Gittes bolts thru the doors.18INT) GITTES' OFFICE - DUFFY BOLDS LILLIAN AGAINST THE GLASSpinning her arms to her sides, tr ing to avoid the action ofthe pointed toes on her high heel pumps as they search outhis shins with one tireless kick after another.(CONTINUED).

Production Oraf·t 02/24/851813.CONTINUED:Gittes takes in the damage at a glance - in his privateoffice he can see the desk half-cleared, his chair andwastebasket overturned. In the outer office there's abroken vase, flowers and water strewn, a couple of pictureframes knocked cockeyed, with one·off the wall and impaledon a standing ashtray.GITTES(to Duffy as he holds thekicking screaming woman My God, Duffy what do you thinkyou're doing to that poor woman?Let go of her this instant.Duffy looks up in shock. Lillian Bodine kicks Duffy in the·shins. As Duffy hobbles to Gladys' desk for support, Gittestakes Lillian Bodine's arms. She promptly jerks away.LILLIANDon't you touch mel rLillian tries to catch her breath. She's a ·painted cat anda beauty, but smudged and damp now, spitting hysteria andcigarette smoke. She spots her purse in a wall planter andwobbles toward it with reckless abandon.Gittes moves to steady her but she turns on him withremarkable grace, thrusting out one slender arm - whosefingertips hold a half-mashed cigarette - with the precisionof a traffic cop in Bermuda. The gesture proves· costly,however. She topples into the planter. Gittes assists herup and fishes out her purse.GITTESHere you go.Lillian starts to cry. Gittes loosens his grip on her armbut watches her like he would a rabid animal.GITTES(carefully) I'm so sorry,. I know how terriblethis is, it must hurt you so This last gets to her.She nods slowly.LILLIAN- yes - it does She bursts into uncontrollable sobs and leans on and intoGittes, moaning for comfort.(CONTINUED)

14.Production Draft 02/24/8518CONTINUED:(2)GITTES- look wby don t - you just ·comeon in and lie down in a dark roomfor a few minutes? 19BEDEFTLY MANAGES TO STEER BER INTO HIS INNER OFFICEand onto the sofa, under the nose of Gladys, who, withDuffy, stares amazed at the now compliant madwoman wiltingin Gittes' arms. Gittes places a sofa cushion under herhead, and turns off the inner-office wall switch on hisswift return to Gladys and Duffy.20FLUSHED AND ANGRY, BE ADDRESSES DUFFY:GITTES(spitting it out softly - all right, now with a jerk of his head)- who the fuck is that?GLADYS(whispering - Mark Bodine's widow.GITTESWho?DUFFYThe wife of the guy Jake Bermanjust shot GITTES.(stunned)- yeah yeah yeah GLADYS(lowering her voice she knows you were there when herhusband was killed.GITTESSo what. So was Mrs. Berman. Whyisn't she over a t house tearingit apart? It would be a lot moreappropriate.GLADYS(in sympathy with thewidow)She wants to talk to you.(CONTINUED)

Production Draft 02/24/852015.CONTINUED:Lillian Bodine moans from the other room. Gittes stopsshort. Be's felt the wire recorder spool in his pocket.GITTES(pulling out wire spool)- where's Ramsey?LILLIAN'S VOICE(suddenly smokey and surly)- you may be slick as afloorwalker, but you and thatlittle Rike killed my husband, youson of a bitch.Gittes stops in his tracks, calls softly:GITTESGladys, get my lawyer right awayand buzz me (with a nod)- Duffy .21LILLIAN IS SITTING UPRIGHTas she concentrates on pouring half a bottle of bourbon intoa shot glass, the rest onto her lap.GITTES- why I believe you've beendrinking, Mrs. Bodine. Duffy, didyou give Mrs. Bodine something todrink?She knocks the bourbon back like a 49er in a San Franciscobar. Gittes glances at Duffy, furious.DUFFY just to calm her down.GITTES(a tight little smile)- obviously it's not calming herdown. Mrs. Bodine, why don't youlet me have that Lillian has poured another and evades his grasp withoutspilling a drop, downs half.LILLIAN- ah-ah, answer my question GIT'l'ESWhat question is that?. (CONTINUED)

Production Draft 02/24/852116.CONTINUED:LILLIAN(.screaming)How much the little Kike paid youto kill my husband!Gladys buzzes. Gittes moves swiftly to the phone.tries to make amends.DuffyDUFFYHonestly, Mrs. Bodine, e had noidea Mr. Bodine would have a gun inhis possession at the motel, nonein the world.This seems to stimulate Lillian Bodine into an alert mentalstate and she turns on Duffy like a debater:LILLIANLet me tell you something else youmay not know, my husband didn'teven have a permit to carry a gun.What aoyou think the police aregonna say about ?DUFFYUnder the circumstances I'm surethey won't press charges - tLillian Bodine is on her feet and has pulled a picture frameoff the wall,. ready to brain Duffy.GITTESNol that's the Navy Cross!( hanging up - talk to you later, Sy.Lillian Bodine is stopped by Gittes desperate tone.lowers the frame and looks at it.22INSERTSheNAVAL.AWARDGittes has had the medal and its certification framed . Itstates that on June 12, 1943, Lieutenant Junior Grade JohnJay Gittes did etc etc.23LILLIAN BODINEallows Gittes to move to her and take the framed medal.LILLIANMy God, you're a war hero.(looks at him) it's just not fair.(CONTINUED)

Production Draft 02/24/852317.CONTINUED:She starts to cry quietly, sits. Gittes moves to touch her,she shakes her head, gestures 'it's okay. LILLIAN- I've said awfui things GITTES(having achieved thedesired effect)- no harm done really - as long asyou don't talk to the newspaperslike that -LILLIAN(weeping quietly) only Examiner.(suddenly I was so crazy about him Gittes glances to Duffy, wipes away a little sweat.GITTES(gently trying to stay ontrack - only who, Mrs. . Bodine?t-.She buries her face in the sofa for a long moment. Gitteslooks like he'd like to pounce down her throat, but arespectful silence is now mandatory. Lillian lifts her headfrom the sofa throw pillow and brushes away a few strands ofhair from her eyes LILLIAN I wasn't the only one. Mark wasa chaser. On the other hand, henever had to run very far (she shakes her head) he was a man's man too. gazing at Gittes' medal You would have liked him.GITTESI'm sure I would.LILLIANYou would have been crazy abouthim.GITTESNo question.Mrs. Bodine (CONTINUED)

Production Draft 02/24/85r23CONTINUED:18.C2 ) ILILLIAN(going on Then you can't let Jake Berman getaway with i t lShe looks imploringly to Gittes.GITTES(taking her arms gently butfirmly enough to breakthem Mrs. Bodine, if you were thereyou'd know that when Mr. Berman sawMrs. Berman in bed with yourhusband, he just lost his head!Lillian Bodine sways, dizzy with exhaustion and alcohol.Gittes catches her as she looks about to fall off the sofa.LILLIAN(on the rise)- Jake Berman never lost his heador the first nickel he ever made.(smiles, turns slowly toGittes)- not only that, there's KittyBerman. She's a real cool cookie,and a real cold one. They were inthis together GITTESI n together?LILLIAN- Jake and Kitty Berman killed myhusband and you helped, what thehell - I'm going home now andcalling the papers.Duffy's response is an audible intake of breath. LillianShe smiles slightly, dabs at her facewith a powder puff she's. taken from her compact.Bodine notices it.GITTES(evenly)Mrs. Bodine, it would be highlyirresponsible of me to allow you todo that.LILLIAN working over her face give me one good reason (CONTINUED)

Production Draft 02/24/8523CONT.INUED:19.( 3)GITTESI'll give you two - you can't walkand you shouldn't drive.That does it. Lillian Bodine snaps her compact closed,drops it in her purse, pulls out her keys and sways to herfeet. Gittes rises with her.LILLIANTry and stop me.GITTESDon't just sit there.Call the lady a S!,2 -well, Duffy.Gittes firmly points to the telephone, catching Mrs. Bodineflush on the chin as he does - for she has somehow steppedinto the fist on the end of his outstretched arm. LillianBodine drops backward like a stone - Gittes deftly breaksher fall with a hand at the small of her back, eases herdown onto the sofa again.GITTES- gee, she just walked right intoit (to Duffy directly - now get her out of here.DUFFYBut that's kidnapping.GITTES(wearily Not if you drive her home.Ramsey!Ramsey has been standing for some little time at thedoorway. Gittes spots him.GITTESWhat the hell were you doingleaving the wire recorder in yourcar? never mind, just get herhome, she doesn't talk to anybody'til she's sober enough to listento me - she's distraught.( heading out)- and be sure and take her thru thekitchen or a side window,reporters'll be hopping around herfront lawn like jackrabbits DISSOLVE TO:

Production Draft 02/24/852420.INT GITTES' OFFICE (DUSK) - GITTES' HANDas it opens his office window to the fading twilight. Thelast spears of sun can be seen poking thru the tinkertoylatticework of the oil derrick in the center of the street.25GITTES IN SHIRTSLEEVESwrinkles his nose with distaste for the smell of oil,jiggles the ice cubes in his scotch and soda. Gittes takesa drag on a cigarette. The derrick-pump sounds like a lazyhorse switching its tail, kicking softly up against itsstall.Gittes turns from the open window to his desk.26THE WEBCOR WIRE RECORDERon his desktop is a little ominous in the lavender andsalmon-colored twilight. Gittes into SHOT. He kneels andplugs the recorder into a floor socket. As he does,everything seems to shake around him - there are rattles andtinkling sounds like someone just gave the entire room apush. Something breaks. Gittes looks over to:27THE WET BARA GLASS SWIZZLE STICK BELOW.THE ICE BUCKETlies broken on the floor. There's another .sound, like agiant gulping down a drink. POV PAN TO:28WATER COOLERthe five-gallon bottle upside down and shaking on itsderrick-like structure, air bubbles rising thru the water.29GITTES .becomes aware of the faint shadow swinging across his face,looks up:30THE OVERHEAD LAMP ON ITS CHAINis swinging again, as it did during the last temblor.31GITTEShalf-shrugs, double checks the cord, and rises. Be reachesinto his jacket hanging on the desk chair, pulls out thespool of wire, threads it up, and pushes the REWIND button.He sits behind his desk wit his scotch and soda.In a moment the wire recorder CLICKS loudly.the START button.,;.Gittes presses(CONTINUED)

Production Draft 02/24/853121.CONTINUED:RAMSEY'S VOICE on wire recorder 'Able Baker Charlie, Able BakerCharlie - Con and off clicking sound,then: - Gerald Ramsey at the Bird-ofParadise Motel, October 21, 1948,1300 hours, testing sound levels inadjacent bedroom one niner hotel,okay Duffy, you on the bed?RAMSEY S VOICE(suddenly, urgent:) - May Day, May Day, bail outtathere - 'There are muffled sounds.A door opens.DUFFY'S VOICE' - what's wrong?'RAMSEY'S VOICE - those guys with the chaircomin' up the steps - look wherethey' re from 32THERE IS ANOTHER TF.MBLOR.The ice in Gittes glass tinkles like chimes.up and checks the arc of the swaying lamp.Gittes looksDUFFY'S VOICE'Johnny-on-the-Spot Hotel/MotelSupplies? 33TSE PHONE IN GI TES' OFFICE RINGS.It too jars Gittes. It rings again. Gittes snaps themachine OFF, picks up the phone, glancing at his watch:GITTES- yeah?COTTON'S VOICEHi kid, where's the wire recording?GITTES- right here on my desk wannalisten?Be pushes the PLAY button.(CONTINUED)

Production Draft 02/24/853322.CONTINUED:RAMSEY'S VOICE(impatiently). - so they're making a delivery - 34THERE IS A MAJOR TEMBLOR.It's a.sudden and swift series of shakes through the room,culminating in a WRENCHING QUAKE. The overhead lamp lightdies. The streetlights outside the window darken. The oilwell pump stops. The wire recording is SILENCED. There's asudden and eery silence everywhere - except for the sloshingfrom the water cooler and the dripping from its catch basinwhich has overturned.Gittes stares at the phone which dangles from the end of hisarm. Cotton's voice comes babbling up at him from thecarpet. Gittes slowly lifts the receiver to his ear:COTTON'S VOICE- for Christ's sake, Jake answer me GITTES- I'm fine, power's out, how aboutover there? .COTTON'S VOICE- same thing - never mind - hang upand put the recording in the safe.GITTESI can't do that Cotton. When thepower goes back on it'll triggeralarms for forty miles, and I'llhave the LAPD all over me and thisthing like stink on shit.COTTON'S VOICE- so stay 'til- the power's on andthen put the recording in the safe.GITTESOh come on -COTTON'S VOICEJake, we've done business many,many years, and we'll keep doingbusiness just as long as youprotect your client and mine, JakeBerman Gittes wearily lowers the phone again while the vocif rousand volatile voice comes up at him from the floor. Befinally lifts the receiver to his ear.(CONTINUED)

Production Draft 02/24/853423.CONTINUED:GITTES(trying to interrupt)Cotton Cotton Cotton - Cotton!(after a silence fromreceiver - thank you and fuck you.COTTON'S VO ICE(after a slight pause,imperturbed)·Is that a yes?(silence from Gittes)- thanks, Jake. It's always apleasure working with you.Cotton hangs up. Gittes slowly lowers the phone onto itscradle and stares out the open window and just above it thedark outline of the derrick. As CAMERA begins a slow PUSHtoward the derrick, FADE TO:35INT GITTES' OFFICE (NIGHT) (POV FRO GITTES' WINDOW) - THECROSS-BATCHED OUTLINEof a portion of the derrick, but dim and blurred. There isthe SOUND of steady breathing, then light SCRAPING . . . THE saARP sILHooETTE.-,i ttf-ls:of a head breaks into FRAME, obiiterat inq. , h ·blurry linesof the derrick. It places one hand on the window sillr theother hand holds a heavy, cylindrical object The figure deftly slips halfway thru the window and findsitself nose to nose with Gittes sleeping form. The figurelifts the dark object threateningly over Gittes' head, thenquick and light as a cat, pounces into the roonr. · :7;;.;;-c .The figure stares down for a moment at the sleeping Gittes,then lowers the menacing object and gropes around in thedarkness. Placing the cylindrical object on the desk, itreaches for the wire recorder. As the hand moves to thewire, the light on the Webcor suddenly switches ON like anangry red eye. The overhead lamp goes ON. The streetlightsare LIT, floodlights from the parking lot BRIGHTEN. Thefigure's HAND makes a move for the iron pipe on the deskbut:RAMSEY'S VOICE' - right here, you don't wanna bein the room '· (CONTINUED)

24.Production Draft 02/24/85 :: I'35CONTINUED:The figure is so unsettled by the voice, it melts swiftlyout of the office door entrance, leaving Gittes stirring onthe couch.The SOUND of a door OPENING on the recording.ONE FORNITURE MOVER VOICE(breathing heavily)'Where do they want this?'OTHER FURNITURE MOVER VOICE(breathing heavily as well) - by the window - no! the oceanwindow ,.DUFFY'SVO ICE(softly ' - okay, okay - 'There is a CLICK from the machine. Gittes moans sleepily.During what follows, CAMERA MOVES slowly from wire recorderon the desk to Gittes on the couch.There is a man's laughter, prolonged, relaxed.Then thesoft but long, taut exhaling of cigarette smoke, rustle ofsheets and a light, playful slap. The VOICES of the man andwoman are muffled by background SOUNDS, the flap of acurtain from an offshore breeze; the cry of a gull.MARK'S VOICE'Kitty---ere--oman who can-trouble--you know--wbo--'KI.TTY'S VOICE' no MARK'S VOICE(quiet, clear)'I think you do KITTY'S VOICE(quiet, clear)' do I? 'MARK Is VOICE(body turning in bed) --alking--out-Katherine--ul-ay. '36GITTES' EYES OPENA murmur from Kitty on the wire. Then long ILENCE. Gittesis sitting upright now, waiting expectantly fo more.

Production Draft 02/24/85rr3725.WIRE TURNINGwith SOUND of sheets rustling,·movement of cellophane.MARX'S VOICE(louder, apparently

OF WING-TIPPED SHOES ON GITTES' DESK-TOP. The glove leather of the shoes contain feet crossed at the ankles, cocked on the heels and nestled up against one another like a pair of love birds. From time to time the shoes separate an inch or so, then give one another a playful tap - the wire on the recorder moves continuously