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[1974][차이나타운] Chinatown

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 [차이나타운] Chinatown    









                                  CHINATOWN
        by
       Robert Towne
 









       THIRD DRAFT
       October 9, 1973














  1    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. More moans.

       CURLY'S VOICE
      (crying out)
     Oh, no.

  2    INT. GITTES' OFFICE

   CURLY drops the photos on Gittes' desk. Curly towers
   over GITTES and sweats heavily through his workman's
   clothes, his breathing progressively more labored. A
   drop plunks on Gittes' shiny desk top.

   Gittes notes it. A fan whiffs overhead. Gittes glances
   up at it. He looks cool and brisk in a white linen suit
   despite the heat. Never taking his eyes off Curly, he
   lights a cigarette using a lighter with a "nail" on
   his desk.

   Curly, with another anguished sob, turns and rams his
   fist into the wall, kicking the wastebasket as he does.
   He starts to sob again, slides along the wall where his
   fist 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 he
   actually bites into the blinds.

   Gittes doesn't move from his chair.

       GITTES
     All right, enough is enough --
     you can't eat the Venetian
     blinds, Curly. I just had
     'em installed on Wednesday.

   Curly responds slowly, rising to his feet, crying. Gittes
   reaches into his desk and pulls out a shot glass, quickly
   selects a cheaper bottle of bourbon from several fifths
   of more expensive whiskeys.

  3    Gittes pours a large shot. He shoves the glass across
   his desk toward Curly.

       GITTES
     -- Down the hatch.

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

       CURLY
      (drinking, relaxing
      a little)
     She's just no good.

       GITTES
     What can I tell you, Kid?
     You're right. When you're
     right, you're right, and
     you're right.

       CURLY
     -- Ain't worth thinking about.

   Gittes leaves the bottle with Curly.

       GITTES
     You're absolutely right, I
     wouldn't give her another
     thought.

       CURLY
      (pouring himself)
     You know, you're okay, Mr. Gittes.
     I know it's your job, but you're
     okay.

       GITTES
      (settling back,
      breathing a little
      easier)
     Thanks, Curly. Call me Jake.

       CURLY
     Thanks. You know something,
     Jake?

       GITTES
     What's that, Curly?

       CURLY
     I think I'll kill her.

  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 hat.

       WOMAN
     -- I was hoping Mr. Gittes could
     see to this personally --

       WALSH
      (almost the manner
      of someone
      comforting the
      bereaved)
     -- If you'll allow us to complete
     our preliminary questioning, by
     then he'll be free.

   There is the SOUND of ANOTHER MOAN coming from Gittes'
   Office -- something made of glass shatters. The Woman
   grows more edgy.

  5    INT. GITTES' OFFICE - GITTES & CURLY

   Gittes and Curly stand in front of the desk, Gittes
   staring contemptuously at the heavy breathing hulk
   towering over him. Gittes takes a handkerchief and
   wipes away the plunk of perspiration on his desk.

       CURLY
      (crying)
     They don't kill a guy for that.

       GITTES
     Oh they don't?

       CURLY
     Not for your wife. That's the
     unwritten law.

  6    Gittes pounds the photos on the desk, shouting;

       GITTES
     I'll tell you the unwritten law,
     you dumb son of a bitch, you
     gotta be rich to kill somebody,
     anybody and get away with it.
     You think you got that kind
     of dough, you think you got
     that kind of class?

   Curly shrinks back a little.

       CURLY

     ... No...

       GITTES
     You bet your ass you don't. You
     can't even pay me off.

   This seems to upset Curly even more.

       CURLY
     I'll pay the rest next trip --
     we only caught sixty ton of
     skipjack around San Benedict.
     We hit a chubasco, they don't
     pay you for skipjack the way
     they do for tuna or albacore --

       GITTES
     (easing him out of
     his office)
     Forget it. I only mention it to
     illustrate a point...

  7    INT. OFFICE RECEPTION

   He's now walking him past SOPHIE who pointedly averts her
   gaze. He opens the door where on the pebbled glass can
   be read: J. J. GITTES and Associates - DISCREET
   INVESTIGATION.

       GITTES
     I don't want your last dime.

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

       GITTES
      (continuing)
     What kind of guy do you
     think I am?

       CURLY
     Thanks, Mr. Gittes.

       GITTES
     Call me Jake. Careful driving
     home, Curly.

   He shuts the door on him and the smile disappears.

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

       SOPHIE
     -- A Mrs. Mulwray is waiting for
     you, with Mr. Walsh and Mr. Duffy.

   Gittes nods, walks on in.

  9    INT. DUFFY AND WALSH'S OFFICE

   Walsh rises when Gittes enters.

       WALSH
     Mrs. Mulwray, may I present Mr.
     Gittes?

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

       GITTES
     How do you do, Mrs. Mulwray?

       MRS. MULWRAY
     Mr. Gittes...

       GITTES
     Now, Mrs. Mulwray, what seems to
     be the problem?

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

       MRS. MULWRAY
     My husband, I believe, is seeing
     another woman.

   Gittes looks mildly shocked. He turns for confirmation
   to his two partners.

       GITTES
      (gravely)
     No, really?

       MRS. MULWRAY
     I'm afraid so.

       GITTES
     I am sorry.

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

   Gittes gives him an irritated glance.
   Duffy stops chewing.

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

       GITTES
     I'm afraid not, Mrs. Mulwray.
     These men are my operatives and
     at some point they're going to
     assist me. I can't do everything
     myself.

       MRS. MULWRAY
     Of course not.

       GITTES
     Now -- what makes you certain he
     is involved with someone?

   Mrs. Mulwray hesitates. She seems uncommonly nervous
   at the question.

       MRS. MULWRAY
     -- a wife can tell.

   Gittes sighs.

       GITTES
     Mrs. Mulwray, do you love your
     husband?

       MRS. MULWRAY
      (shocked)
     ... Yes of course.

       GITTES
      (deliberately)
     Then go home and forget about it.

       MRS. MULWRAY
     -- but...

       GITTES
      (staring intently at
      her)
     I'm sure he loves you, too. You
     know the expression‎, let sleeping
     dogs lie? You're better off not
     knowing.

       MRS. MULWRAY
      (with some real
      anxiety)
     But I have to know.

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

       GITTES
     All right, what's your husband's
     first name?

       MRS. MULWRAY
     Hollis. Hollis Mulwray.

       GITTES
      (visibly surprised)
     -- Water and Power?

   Mrs. Mulwray nods, almost shyly. Gittes is now casually
   but carefully checking out the detailing of Mrs.
   Mulwray's dress -- her handbag, shoes, etc.

       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 can
     be hard on your pocketbook, Mrs.
     Mulwray. It takes time.

       MRS. MULWRAY
     Money doesn't matter to me, Mr.
     Gittes.

   Gittes sighs.

       GITTES
     Very well. We'll see what we
     can do.

  12   EXT. CITY HALL - MORNING

   already shimmering with heat.

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

   Gittes, impeccably dressed, passes the drunk on the way
   up the stairs.

  13   INT. COUNCIL CHAMBERS

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

    "PROPOSED ALTO VALLEJO DAM AND RESERVOIR"

   Some of the councilmen are reading funny papers and
   gossip columns while Bagby is speaking.

       BAGBY
     -- Gentlemen, today you can walk
     out that door, turn right, hop on
     a streetcar and in twenty-five
     minutes end up smack in the Pacific
     Ocean. Now you can swim in it, you
     can fish in it, you can sail in
     it - but you can't drink it, you
     can't water your lawns with it,
     you can't irrigate an orange grove
     with it. Remember -- we live next
     door to the ocean but we also live
     on the edge of the desert. Los
     Angeles is a desert community.
     Beneath this building, beneath
     every street there's a desert.
     Without water the dust will rise
     up and cover us as though we'd
     never existed!
      (pausing, letting
      the implication
      sink in)

  14   CLOSE - GITTES

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

       BAGBY(O.S.)
      (continuing)
     The Alto Vallejo can save us from
     that, and I respectfully suggest
     that eight and a half million
     dollars is a fair price to pay to
     keep the desert from our streets
     -- and not on top of them.

  15   AUDIENCE - COUNCIL CHAMBERS

   An amalgam of farmers, businessmen, and city employees
   have been listening with keen interest. A couple of the
   farmers applaud. Somebody shooshes them.

  16   COUNCIL COMMITTEE

   in a whispered conference.

       COUNCILMAN
      (acknowledging Bagby)
     -- Mayor Bagby... let's hear from
     the departments again -- I suppose
     we better take Water and Power
     first. 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 slender
   man in his sixties, who wears glasses and moves with
   surprising fluidity. He turns to a smaller, younger
   man, and nods. The man turns the overleaf on the map.

       MULWRAY
     In case you've forgotten, gentlemen,
     over five hundred lives were lost
     when the Van der Lip Dam gave way
     -- core samples have shown that
     beneath this bedrock is shale
     similar to the permeable shale
     in the Van der Lip disaster.
     It couldn't withstand that kind
     of pressure there.
      (referring to a new
      overleaf)
     Now you propose yet another dirt
     banked terminus dam with slopes
     of two and one half to one, one
     hundred twelve feet high and a
     twelve thousand acre water surface.
     Well, it won't hold. I won't
     build it. It's that simple -- I
     am not making that kind of mistake
     twice. Thank you, gentlemen.

   Mulwray leaves the overleaf board and sits down. Suddenly
   there are some whoops and hollers from the rear of the
   chambers and a red-faced FARMER drives in several
   scrawny, bleating sheep. Naturally, they cause
   a commotion.

       COUNCIL PRESIDENT
      (shouting to farmer)
     What in the hell do you think you're
     doing?
      (as the sheep bleat
      down the aisles
      toward the Council)
     Get those goddam things out of here!

       FARMER
      (right back)
     Tell me where to take them! You don't
     have an answer for that so quick, do
     you?

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

       FARMER
      (through above, to
      Mulwray)
     -- You steal the water from the
     valley, ruin the grazing, starve
     my livestock -- who's paying you
     to do that, .Mr. Mulwray, that's
     what I want to know!

  20   OMITTED
  &
  21   OMITTED

  22   L.A. RIVERBED - LONG SHOT

   It's virtually empty. Sun blazes off it's ugly concrete
   banks. Where the banks are earthen, they are parched
   and choked with weeds.

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

  23   WITH GITTES

   holding a pair of binoculars, downstream and just above
   the flood control road -- using some dried mustard weeds
   for cover. he watches while Mulwray makes his way
   down to the center of the riverbed.

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

  24   GITTES

   trains the binoculars on him. Sun glints off Mulwray's
   glasses.

  25   BELOW GITTES
   There's the SOUND of something like champagne corks
   popping. Then a small Mexican boy atop a swayback horse
   rides 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 of
   brackish water at his feet.

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

  27   GITTES

   moves a little further back as Mulwray rounds the bend
   in the river and comes face to face with the Mexican
   boy on the muddy banks. Mulwray says something to the boy.

   The boy doesn't answer at first. Mulwray points to the
   ground. The boy gestures. Mulwray frowns. He kneels
   down in the mud and stares at it. He seems to be
   concentrating on it.

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

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

   The power lines overhead HUM.

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

  29   GITTES

   Hurries to get back to his car. He gets in and gets right
   back out. The steamy leather burns him. He takes a
   towel from the back seat and carefully places it on the
   front one. He gets 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 park
   lawn and into the shade of some trees and buildings.

  33   GITTES

   pulls up, moves across the park at a different angle, but
   in the direction Mulwray had gone. He makes it through
   the trees in time to see Mulwray scramble adroitly down
   the side of the cliff to the beach below. Be seems in
   a hurry. Gittes moves after him - having a little more
   difficulty 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 a
   promontory of sorts. It's apparent Mulwray has gone
   that way. Gittes hesitates, then moves in that direction
   -- but climbs along the promontory in order to be
   above Mulwray.

  35   AT THE OUTFALL

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

   Mulwray picks up a starfish. Brushes the sand off it.
   Looks absently 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 in
   a puddle of water and the seat of his trousers is wet.

  39   MULWRAY

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

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

  40 AT THE STREET - GITTES' CAR

   There's a slip of paper stuck under the windshield wiper.
   Gittes pulls it off, gets in the car and turns on the
   dash light. It says: "SAVE OUR CITY! LOS ANGELES IS
   DYING OF THIRST! PROTECT YOUR PROPERTY! LOS ANGELES
   IS YOUR INVESTMENT IN THE FUTURE!!! VOTE YES NOVEMBER
   6......CITIZENS COMMITTEE TO SAVE OUR CITY, HON. SAM
   BAGBY, FORMER MAYOR - CHAIRMAN." Gittes grumbles,
   crumples it up and tosses it out the window. He notices
   other flyers parked on a couple of cars down the street.

   Gittes reaches down and opens his glove compartment.

  41   INT. GLOVE COMPARTMENT

   consists of a small mountain of Ingersoll pocket watches.

   The cheap price tags are still on them. Gittes pulls
   out 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 again
   and heads back to his own car.

  42   GITTES

   arrives whistling, opens the door with "J.J. GITTES AND
   ASSOCIATES - DISCREET INVESTIGATION" on it.

       GITTES
     Morning, Sophie.

   Sophie hands him a small pile of messages. He goes
   through them.

       GITTES
     Walsh here?

       SOPHIE
     He's in the dark room.

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

       GITTES
     Where'd he go yesterday?

       WALSH'S VOICE
     Three reservoirs -- Men's room of
     a Richfield gas station on Flower,
     and the Pig 'n Whistle.

       GITTES
     Jesus Christ, this guy's really
     got water on the brain.

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

       GITTES
     Listen, we can't string this broad
     out indefinitely -- we got to come
     up with something.

       WALSH'S VOICE
     I think I got something.

       GITTES
     Oh yeah? You pick up the watch?

  44   INT. DUFFY & WALSH'S OFFICE - GITTES

       WALSH'S VOICE
     It's on your desk. Say, you hear
     the one about the guy who goes to
     the North Pole with Admiral Byrd
     looking for penguins?

   Gittes walks to his office.

  45   ON HIS DESK

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

       GITTES
     He was there all night.

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

       GITTES
      (continuing; eagerly)
     So what you got?

   Walsh shows him the photos. He looks at them. They are
   a series outside a restaurant showing Mulwray with
   another man whose appearance is striking. In two
   of the photos a gnarled cane is visible.

       GITTES
      (continuing; obviously
      annoyed)
     This?

       WALSH
     They got into a terrific argument
     outside the Pig 'n Whistle.

       GITTES
     What about?

       WALSH
     I don't know -- the traffic was
     pretty loud. I only heard one
     thing -- apple core.

       GITTES
     Apple core?

       WALSH
      (shrugs)
     Yeah.

  46   INT. GITTES' OFFICE

   Gittes tosses down the photos in disgust.

       GITTES
     Jesus Christ, Walsh -- that's what
     you spent your day doing?

       WALSH
     Look, you tell me to take pictures,
     I take pictures.

       GITTES
     Let me explain something to you,
     Walsh -- this business requires
     a certain finesse --

   The PHONE has been RINGING. Sophie buzzes him.

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

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

       GITTES
      (continuing)
     Okay, slow down -- Echo Park --
      (to Walsh)
     Jesus, water again.

  47   WESTLAKE PARK (McARTHUR PARK)

   Duffy is rowing, Gittes seated in the stern.

   They pass Mulwray and a slender blonde girl in a summer
   print dress, drifting in their rowboat, Mulwray fondly
   doting on the girl.

       GITTES
      (to Duffy, as they
      pass)
     Let's have a big smile, pal.

   He shoots past Duffy, expertly running off a couple of
   fast 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 MACANDO APARTMENTS"

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

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

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

  50   WITH MULWRAY AND THE GIRL

   Mulwray staring at the fragment at his feet. He looks
   to the girl. He's clearly concerned. He rises, looks up
   to the roof.

  51   FROM HIS POV

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

  52   CLOSE SHOT - NEWSPAPER

   DEPARTMENT OF WATER AND POWER BLOWS FUSE OVER CHIEF'S
   USE OF FUNDS FOR EL MACANDO LOVE NEST.

   In the style of the Hearst yellow press, there is a
   heart-shaped drawing around one of the photos that
   Gittes 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 and
   his shoes shined. In fact, almost all the customers
   are reading papers.

       BARNEY
      (to Gittes)
     -- when you get so much publicity,
     after a while you must get blas?     about it.

   A self-satisfied smile comes to Gittes' face.

       BARNEY
      (continuing)
     Face it. You're practically
     a movie star.

   In b.g., customers can be 0VERHEARD talking about the
   drought. Interspersed with above, someone is saying,
   "They're gonna start rationing water unless it rains."
   Someone else says, "Only for washing your cars." Third
   says, "You're not going to be able to water your lawn
   either, or take a bath more than once a week." First
   says, "If you don't have a lawn or a car, do you get an
   extra bath?"

  54   Gittes has been staring outside the barbershop. A car
   is stalled. The hood is up. A man watches his
   radiator boiling over.

       GITTES
      (laughing)

     Look at that.

       BARNEY
     Heat's murder.

       OTHER CUSTOMER
      (end of conversation)
     Fools names and fools faces...

  55   Gittes has heard the word. He straightens up.

      GITTES
     (smiling; to Other
      Customer)
     What's that, pal?

       OTHER CUSTOMER
      (indicating paper)
     Nothing -- you got a hell of a
     way to make a living.

       GITTES
     -- Oh? What do. you do to make
     ends meet?

       OTHER CUSTOMER
     Mortgage Department, First National Bank.

   Gittes laughs.

       GITTES
     Tell me, how many people a week
     do you foreclose on?

       OTHER CUSTOMER
     We don't publish a record in the
     paper, I can tell you that.

       GITTES
     Neither do I.

       OTHER CUSTOMER
     No, you have a press agent do it.

   Gittes gets out of the chair. Barney, a little concerned,
   tries to restrain him, holding onto the barber sheet
   around Gittes' neck.

       GITTES
     Barney, who is this bimbo? He a
     regular customer?

       BARNEY
     Take it easy, Jake.

       GITTES
     Look, pal -- I make an honest
     living. People don't come to
     me unless they're miserable and
     I help 'em out of a bad situation.
     I don't kick them out of their
     homes like you jerks who work in
     the bank.

       BARNEY
     Jake, for Christ's sake.

  56   Gittes is trying to take off his sheet.

       GITTES
     C'mon, get out of the barber chair.
     We'll go outside and talk this
     over --

   The Customer is shrinking back into the chair.

       BARNEY
     Hey, c'mon, Jake. Sit down. Sit
     down -- you hear about the fella
     goes to his friend and says,
     'What'll I do, I'm tired of
     screwing my-wife?' and his
     friend says, 'Whyn't you do
     what the Chinese do?'
  
   Gittes allows himself to be tugged back to his chair.

       GITTES
     I don't know how that got in the
     paper as a matter of fact - it
     surprised me it was so quick.
     I make an honest living.

       BARNEY
     'Course you do, Jake.

       GITTES
     An 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 newspapers on his
   thigh.

       GITTES
     Duffy, Walsh --

   Walsh comes out of his office, Duffy out of the other
   one.

       GITTES
      (continuing)
     Sophie -- go to the little girl's
     room for a minute.

       SOPHIE
     But, Mr. Gittes --


       GITTES
      (insisting)
     Sophie.

       SOPHIE
     Yes, Mr. Gittes.

   She gets up and leaves.

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

       DUFFY
     Jake, listen -

       GITTES
     Shut up, Duffy, you're always in
     a hurry - and his friend says why
     not do what-the Chinese do? So he
     says what do they do? His friend
     says the Chinese they screw for a
     while -- just listen a second,
     Duffy --

   A stunning YOUNG WOMAN appears behind Gittes in his
   doorway. She's shortly joined by a small, GRAY-HAIRED
   MAN. They listen, unseen by Gittes.

       GITTES
      (continuing)
     -- and then they stop and they
     read a little Confucius and they
     screw some more and they stop and
     they smoke some opium and then
     they go back and screw some more
     and they stop again and they
     contemplate the moon or something
     and it makes it more exciting.
     So this other guy goes home to
     screw his wife and after a while
     he stops and gets up and goes into
     the other room only he reads Life
     Magazine and he goes back and he
     screws some more and suddenly says
     excuse me a second and he gets up
     and smokes a cigarette and he goes
     back and by this time his wife is
     getting sore as hell. So he screws
     some more and then he gets up to look
     at the moon and his wife says, 'What
     the hell do you think you're doing?
     (Gittes breaks up)
     ... you're screwing like a Chinaman.'

  58   Gittes hangs onto Sophie's desk laughing his ass off.
   The little Gray-Haired Man winces. When Gittes looks
   up he sees the Young Woman, apparently in her late
   twenties. She's so stunning that Gittes nearly gasps.

       YOUNG WOMAN
     Mr. Gittes?

       GITTES
     Yes?

       YOUNG WOMAN
     Do you know me?

       GITTES
     -- well -- I think I -- I
     would've remembered.

       YOUNG WOMAN
     Have we ever met?

       GITTES
     Well, no.

       YOUNG WOMAN
     Never?

       GITTES
     Never.

       YOUNG WOMAN
     That's what I thought. You see,
     I'm Mrs. Evelyn Mulwray -- you
     know, Mr. Mulwray's wife.

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

       GITTES
     Not that Mulwray?

       EVELYN
     Yes, that Mulwray, Mr. Gittes. And
     since you agree with me we've never
     met, you must also agree that I
     haven't hired you to do anything -
     certainly not spy on my husband.
     I see you like publicity, Mr.
     Gittes. Well, you're going to
     get it -

       GITTES
     Now wait a minute, Mrs. Mulwray...

   She's walked past him toward the door. He stop her.

       GITTES
      (continuing)
     -- there's some misunderstanding
     here. It's not going to do any
     good to get tough with me --

   Evelyn flashes a cold smile.

       EVELYN
     I 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 Man who has
   also come out of his office and up behind him.

       GRAY-HAIRED MAN
     Here's something for you, Mr.
     Gittes --

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

       GRAY-HAIRED MAN
      (continuing;
      pleasantly)
     I suppose we'll be hearing from
     your attorney.

   Gittes stares down at the papers in his hand.

  60   INT. GITTES' INNER OFFICE - GITTES, DUFFY & WALSH

   On Gittes' desk. there are empty coffee cups, the summons
   and complaint -- and the newspaper Gittes had brought
   with him from the barber shop.

   The three men are sitting, worn and silent. Walsh
   chewing gum is the loudest noise in the room.

   Gittes looks to Walsh with obvious irritation. Walsh
   stops chewing.

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

       GITTES
      (to Duffy)
     There's seven ashtrays in this
     room, Duffy.

       DUFFY
     Okay.

       GITTES
     That's a filthy habit.

       DUFFY
     I said okay,. Jake.

       GITTES
     Yeah, yeah -- if she'd come in
     here saying she was Shirley Temple
     you'd say okay to that, too.

       WALSH
     Look, Jake -- she gave us Mulwray's
     real phone number and address --

       GITTES
     All she needed for that was the
     phone book!

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

       GITTES
     -- when I find out who that phony
     bitch was --

   Gittes is staring down at the newspaper. He suddenly
   grabs the phone, begins dialing. A tight little smile
   breaks out on his face. He buzzes Sophie.

       GITTES
     Sophie.

       SOPHIE
     Yes, Mr. Gittes.

       GITTES
     Get me the Times -- Whitey
     Mehrholtz --
      (as he waits)
     And how about that snotty broad?
      (the phone to his
      ear)
     What does she think, she's perfect?
     Coming in waving her lawyers and
     her money at me -- so goddam smug.
     She's no better than anybody else
     in this town --

   Sophie BUZZES.

       GITTES
      (continuing)
     Whitey, what's new, pal?... Yeah,
     listen, where did you get those
     photographs... Yeah, blowing a
     fuse over the El Macando love
     nest -- that's cute, Whitey...
     so who sent them to you... I
     sent them?
      (Gittes laughs a
      little hysterically)
     Why would I be asking how you got
     them if I sent them?... Whitey?...
     Whitey?... C'mon, level with me
     for once, my tit's in the wringer
     and it's beginning to hurt...
     yeah... yeah -- yeah.

   He hangs up.

       WALSH
     So he says you sent them?

       GITTES
      (after a moment)
     -- they're all a bunch of phonies.

  61   OMITTED

  62   INT. DEPARTMENT WATER & POWER - HALL

   Gittes stops outside a door marked:

      HOLLIS J. MULWRAY
      CHIEF ENGINEER

  63   He enters an outer office. The SECRETARY looks surprised.

       GITTES
     Mr. Mulwray, please.

       SECRETARY
     He's not in, Mr. -

       GITTES
     Gittes.

       SECRETARY
     May I ask what this is regarding?

       GITTES
     It's personal. Has he been out long?

       SECRETARY
     Since lunch.

       GITTES
     Gee whiz --
      (he glances at his
      watch)
     -- and I'm late.

       SECRETARY
     He was expecting you?

       GITTES
     Fifteen minutes ago. Why don't
     I go in and wait?

   Without waiting for a response, he does. The Secretary
   half rises in protest but Gittes is through the inner
   door.

  64   MULWRAY'S INNER OFFICE

   The walls are covered with commendation, photos of
   Mulwray at various construction sites, large maps of
   watershed areas and reservoirs in the city. On the
   desk is a framed, tinted photo of Evelyn in riding
   clothes.

   Gittes moves to the desk, watching the translucent pane
   in the upper half of the door leading to the outer
   office as he does.

   He begins to open and close. the desk drawers after
   quickly examining the top. He tries one of the drawers
   and it doesn't open. He reopens the top drawer, and
   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, and
   a menu from a Water Department lunch at the Biltmore
   Hotel in 1913. Then, Gittes hauls out the blueprints
   that Mulwray had laid across the hood of his car --
   they read in bold type: WATERSHED AND DRAINAGE SYSTEM
   FOR THE LOS ANGELES BASIN.

   He flips through them -- reads one notation in Mulwray's
   neat hand: "Tues. night. Oak Pass Res. - 7 channels
   used."

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

  65   RUSS YELBURTON

   enters the room. An anxious Secretary is right behind
   him.

       YELBURTON
     Can I help you?
      (extending his hand)
     Russ Yelburton, Deputy Chief in
     the Department.

       GITTES
      (equally pleasant)
     J.J. Gittes -- and it's not a
     departmental matter.
 
       YELBURTON
     I wonder if you'd care to wait
     in my office?

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

       YELBURTON
      (continuing; as
      they're going)
     You see -- this whole business
     in the paper with Mr. Mulwray
     has us all on edge --

  66   INT. YELBURTON OFFICE

   Smaller than Mulwray's, he has most noticeably a
   lacquered marlin mounted on the wall. There are a couple
   of other pictures of Yelburton with yellowtail and other
   fish he's standing beside.

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

       YELBURTON
     After all, you work with a man
     for a certain length of time,
     you come to know him, his habits,
     his values, and so forth -- well
     either he's the kind who chases
     after women or he isn't.

       GITTES
     And Mulwray isn't?

       YELBURTON
     He never even kids about it.

       GITTES
     Maybe he takes it very seriously.

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

       GITTES
     You don't happen to know where
     Mr. Mulwray's having lunch?

       YELBURTON
     I'm sorry, I --

       GITTES
     Well, tell him I'll be back.

   Gittes spots a card tray on Yelburton's desk.

       GITTES
      (continuing)
     -- Mind if I take one of your
     cards? In case I want to get
     in touch with you again.

       YELBURTON
     Help yourself.

  68   Gittes fishes a couple off the tray, puts them in his
   handkerchief pocket. He goes out the door, nearly running
   into 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 as
   a brown paper bag.

       GITTES
     Mulvihlll, what are you doing
     here?

  69   OUTER OFFICE - YELBURTON, MULVIHILL AND GITTES

   MULVIHILL stares at Gittes with unblinking eyes, remains
   by the desk.

       MULVIHILL
     They shut my water off, what's
     it to you?

       GITTES
     How'd you find out? You don't
     drink it, you don't take a bath
     in it, maybe they sent you a
     letter. Ah, but then you'd have
     to be able to read.

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

       GITTES
      (continuing)
     Relax, Mulvihill, glad to see you.
      (to Yelburton)
     Do you know Claude Mulvihill here?

       YELBURTON
     Hope so. He's working for us.

  70   OMMITTED

  71   GITTES

   turns off onto a winding road. It goes up into the
   foothills.

   Gittes swerves, missing a dog stretched out lazily in
   the road. Gittes honks and yells indignantly at the
   sleepy animal.

  72   Gittes stops on a curve. Above a steep bank and partially
   hidden is the Mulwray home -- designed and constructed
   with shade and curves that are dramatic. When he turns
   off the ignition, the distant SOUND of the SURF can be
   HEARD.

   Gittes heads up to the entrance.

  73   EXT. MULWRAY HOUSE - GITTES

   rings the bell. He waits.

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

       GITTES
     J.J. Gittes to see Mr. Mulwray.

   He hands the Chinese Butler a card from his wallet. The
   Butler takes it and disappears, leaving Gittes standing
   in the doorway.

   Gittes stands, and sweats, watching a Japanese GARDENER
   trim a hedge. There's a SQUEAKING SOUND. Gittes moves
   a few feet off the porch.

  74   POV - GARAGE

   A chauffeur is washing down a cream-colored Packard with
   a chamois. Steam rises off the hood. The squeaking has
   obviously come from the chamois.

  75   CHINESE BUTLER
   in doorway.

       CHINESE BUTLER
     Please.

   Gittes looks behind him. The Chinese Butler is gesturing
   for 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 out
   some French doors along a trellised walkway to a large
   pond with running water.

       CHINESE BUTLER
     You wait, please.

  77   Gittes is left standing by the pond. It's suddenly very
   quiet except for the runnning 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. Gittes
   notes it. After a moment, the Gardener drops the long
   probe -- the waters recede.

  78   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 at
   the 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 the
   trellised pathway. He casually belts the probe, holds
   onto it for poise.

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

   She's wearing riding boots, is perspiring a little, but
   looks younger than she did in the office.

       EVELYN
     Yes, Mr. Gittes?

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

       GITTES
     Actually, I'm here to see your
     husband, Mrs. Mulwray.

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

       EVELYN
     Would you like something to drink?

       GITTES
     What are you having?

       EVELYN
     Iced tea.

       GITTES
     Yeah -- fine, thank you.

   Chinese Butler nods, disappears

  79   EXT. POND AND GARDEN - MULWRAY HOUSE - DAY

   Evelyn sits at a glass-topped table. Gittes Joins her.

       EVELYN
     My husband's at the office.

       GITTES
     Actually he's not. And he's moved
     from his apartment at the El Macando.

       EVELYN
      (sharply)
     That's not his apartment.

       GITTES
     Anyway I -- the point is, Mrs.
     Mulwray, I'm not in business to
     be loved, but I am in business,
     and believe me, whoever set up
     your husband, set me up. L.A.'s
     a 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 a
     local Joke -

       EVELYN
     Mr. Gittes, you've talked me into
     it. I'll drop the lawsuit.

       GITTES
     What ?

       EVELYN
     I 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 the
     whole thing. Sugar? Lemon --

       GITTES
     Mrs. Mulwray?

       EVELYN
      (as she's mixing
      one of the drinks)
     -- Yes, Mr. Gittes?

       GITTES
     I don't want to drop it.

  80   Evelyn looks up. Gittes smiles a little sheepishly.

       GITTES
     I should talk this over with your
     husband.

       EVELYN
      (a little concerned)
     Why?... What on earth for?
     Look, Hollis seems to think
     you're an innocent man.

       GITTES
     Well, I've been accused of many
     things, Mrs. Mulwray, but never
     that.

   Again he laughs a little nervously. Again no reaction.

       GITTES
      (continuing)
     You see, somebody went to a lot
     of trouble here, and I want to
     find out, lawsuit or no lawsuit.
     I'm not the one who's supposed to
     be caught with my pants down...
     so I'd like to see your husband --
     unless that's a problem.

       EVELYN
      (with a slight edge)
     What do you mean?

       GITTES
     May I speak frankly, Mrs. Mulwray?

       EVELYN
     You may if you can, Mr. Gittes.

       GITTES
      (determined to be
      polite)
     -- Well, that little girlfriend,
     she was attractive -- in a cheap
     sort of way of course -- she's
     disappeared. Maybe they disappeared
     together somewhere.

       EVELYN
      (with rising anger)
     Suppose they did. How does it
     concern you?

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

       EVELYN
     It's very personal. It couldn't
     be more personal. Is this a
     business or an obsession with you?

       GITTES
     Look at it this way -- Now this
     phony broad, excuse the language,
     says she's you, she's hired me.
     Whoever put her up to it, didn't
     have anything against me. They
     were out to get your husband.
     Now if I see him, I can help him
     did you talk this morning?

  81   Evelyn brushes lightly at the horsehair on her Jeans.

       EVELYN
     -- No. I went riding rather early --

       GITTES
     -- Looks Like you went quite a
     distance --

       EVELYN
     No, Just riding bareback, that's
     all. Anyway, you might try the
     Oak Pass or Stone Canyon Reservoirs
     -- sometimes at lunch Hollis takes
     walks around them -- otherwise he'll
     be home by 6:30.

       GITTES
     I'll stop by.

       EVELYN
     Please call first.

   Gittes nods.

  82   EXT. OAK PASS RESERVOIR - DAY

   Gittes drives up a winding road, following a flood
   channel up 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 and
   there are people milling around. The reservoir is below.

   Gittes' car is stopped by a couple of UNIFORMED POLICE.

       GUARD
     Sorry, this is closed to the
     public, 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 from his
   handkerchief pocket -- hands it to the Guard.

       GUARD
     Sorry, Mr. Yelburton. Go on down.

  84   Gittes drives past the Guards, through the gate, along
   the reservoir. He spots a police car and an unmarked
   one as well.

   Gittes stops and gets out of the car. Several men with
   their backs turned, one talking quietly, staring down
   into the reservoir where other men in small skiffs are
   apparently dredging for something.

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

       LOACH
     Gittes -- for Chrissakes --

       GITTES
     Loach --

       LOACH
      (moving to Gittes,
      taking him by the
      arm)
     -- C'mon, get out of here before --

  85   EXT. RESERVOIR - DAY

   Loach tries to ease him down the path.

       GITTES
     Before what? What the hell's
     going on?

   At the sound of his raised voice, a man standing at the
   edge of the channel, talking to two boys in swimming
   trunks, turns around. He's a tall, sleek Mexican in
   his early thirties, LUIS ESC0BAR.

   Both Gittes and Escobar register considerable surprise
   at seeing one another. The men around them are extremely
   uneasy.

   Loach is actually sweating. Finally, Escobar smiles.

       ESCOBAR
     Hello, Jake.

       GITTES
      (without smiling)
     How are you, Lou?

       ESCOBAR
     -- I have a cold I can't seem to
     shake but other than that, I'm
     fine.

       GITTES
     Summer colds are the worst.

       ESCOBAR
     Yeah, they are.

   Gittes reaches into his pocket, pulls out his cigarette
   case.

       A FIREMAN
     No smoking, sir -- it's a fire
     hazard this time of year --

       ESCOBAR
     I think we can make an exception
     -- I'll see he's careful with the
     matches.

       GITTES
      (lighting up)
     Thanks, Lou.

       ESCOBAR
     How'd you get past the guards?

       GITTES
     Well, to tell you the truth, I
     lied a little.

  86   Escobar nods. They walk a couple of steps -- the other
   police -- two plainclothesmen and a uniformed officer
   watch them.

       ESCOBAR
     You've done well by yourself.

       GITTES
     I get by.

       ESCOBAR
     Well, sometimes it takes a while
     for a man to find himself and I
     guess you have.

       LOACH
     Poking around in other people's
     dirty linen.

       GITTES
     Yeah. Tell me. You still throw
     Chinamen into jail for spitting
     on the laundry?

       ESCOBAR
     You're behind the times, Jake --
     they've got steam irons now --
      (smiles)
     And I'm out of Chinatown.

       GITTES
     Since when?

       ESCOBAR
     Since I made Lieutenant --

   It's apparent Gittes is impressed despite himself.

       GITTES
     Congratulations.

       ESCOBAR
     Uh-huh -- so what are you doing
     here?

       GITTES
     Looking for someone.

       ESCOBAR
     Who?

       GITTES
     Hollis Mulwray. You seen him?

       ESCOBAR
     Oh yes.

       GITTES
     I'd like to talk to him.

       ESCOBAR
     You're welcome to try. There he is.
  
  87   Escobar points down to the reservoir -- a couple of men
   using 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 start
   to pull the body into the skiff.

  88   INT. CORONER'S OFFICE - EVELYN AND ESCOBAR

   are standing over the body of Mulwray. Escobar has the
   sheet drawn back. Evelyn nods.

   Escobar drops the sheet. Escobar and Evelyn move a
   few feet to one side and whisper, almost as though they
   were trying to keep the corpse from hearing them.

       ESCOBAR
     -- It looks like he was washed
     the entire length of the runoff
     channel -- could he swim?

       EVELYN
     Of course.

       ESCOBAR
     -- Obviously the fall must have
     knocked him out --

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

       ESCOBAR
      (continuing)
     -- This alleged affair he was
     having -- the publicity didn't
     make him morose or unhappy?

  89   OUTSIDE THE CORONER'S

   Gittes has been sitting on a wooden bench, smoking and
   listening. At this question, he rises and looks through
   the doorway.

  9O   Escobar sees him, ignores him. Evelyn doesn't see him.

       EVELYN
     ... Well, it didn't make him
     happy...

       ESCOBAR
     But there is no possibility he
     would have taken his own life?

       EVELYN
      (sharply)
     No.

       ESCOBAR
      (a little uncomfortably
      now)
     Mrs. Mulwray, do you happen to know
     the name of the young woman in
     question?

   Evelyn shows a flash of annoyance.

       EVELYN
     No.

       ESCOBAR
     Do you know where she might be?

       EVELYN
     Certainly not!

   Escobar and Evelyn move slowly toward the door.

       ESCOBAR
     You and your husband never
     discussed her?

       EVELYN.
      (stopping, faltering)
     He... we did... he wouldn't tell
     me her name. We quarreled over
     her... of course -- it came as a
     complete surprise to me --

       ESCOBAR
     A complete surprise?

       EVELYN
     -- Yes.

       ESCOBAR
     But I thought you'd hired a
     private investigator --

       EVELYN
     A private investigator?

       ESCOBAR
      (gesturing vaguely
      toward the door)
     Mr. Gittes.

       EVELYN
     Well yes --

  91   Evelyn looks up to see Gittes standing in the doorway
   only a foot or two from her. She stops cold. They look
   at one another for a long moment.

       EVELYN
      (her eyes on Gittes)
     But I... I... did that because
     I thought it was a nasty rumor I'd
     put an end to...

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

       ESCOBAR
     -- And when did Mr. Gittes inform
     you that these rumors had some
     foundation in fact?

   Evelyn looks at Escobar but doesn't know how to answer him.

       GITTES
      (smoothly)
     -- Just before the story broke in
     the papers, Lou.

  92   Escobar nods. They begin to walk slowly, again have to
   move out of the way as some other corpse is being wheeled
   out of one of the Coroner cubicles.

       ESCOBAR
     -- You wouldn't happen to know
     the present whereabouts of the
     young woman.

       GITTES
     -- No.

       ESCOBAR
     Or her name?

       GITTES
     -- No.

   They have walked a few steps further down the hall.

       EVELYN
     Will you need me for anything
     else, Lieutenant?

       ESCOBAR
     I don't think so, Mrs. Mulwray.
     Of course you have my deepest
     sympathy -- and -- if we need
     anymore information, we'll be
     in touch.

       GITTES
     I'll walk her to her car, be
     right back.

  93   ESCOBAR'S POV

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

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

  94   EVELYN AND GITTES - AT HER CAR

   in a small parking lot.

   Evelyn fumbles in her bag, looking feverishly for some-
   thing in her purse.

       GITTES
     Mrs. Mulwray?... Mrs. Mulwray.

       EVELYN
      (flushed, perspiring)
     ... Just a minute...

       GITTES
     (touching her gently)
     -- You left your keys in the ignition.

       EVELYN
     Oh... thank you.

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

       EVELYN
      (continuing)
     Thank you for going along with
     me. I just didn't want to explain
     anything... I'll send you a check.

       GITTES
      (puzzled)
     A check?

   Evelyn gets in her car.

       EVELYN
     To make it official, I hired you.

   She drives off, leaving Gittes gaping.

  95   INT. CORONER'S OFFICE HALLWAY

       GITTES
     Don't give me that, Lou. You
     hauled me down here for a statement.

   Escobar shrugs.

       ESCOBAR
     I don't want it anymore.

       GITTES
     No?

       ESCOBAR
     No -- it was an accident.

       GITTES
     You mean that's what you're going
     to call it.

   Escobar looks up.

       ESCOBAR
     That's right.
      (contemptuously)
     Out of respect for his civic
     position.

   Resume walking.

   Gittes laughs.

       GITTES
     What'd he do, Lou, make a pass
     at your sister?

   Escobar stops.

       ESCOBAR
     No -- he drowned a cousin of mine
     with about five hundred other
     people. But -- they weren't
     very important, Just a bunch of
     dumb Mexicans living by a dam.
     Now beat it, Gittes, you don't
     come out of this smelling like
     a rose, you know.

       GITTES
     Oh yeah? Can you think of
     something to charge me with?

       ESCOBAR
     When I do, you'll hear about it.

   Gittes nods, turns, and walks down the hall.

  96   OUTSIDE MORGUE

   Gittes stops by a body on the table, the toe tagged with
   Mulwray's name. MORTY is standing near it in a doorway
   to an adjoining room. A RADIO is on, and with it the
   announcement that they're about to hear another chapter
   in the life of Lorenzo Jones and his devoted wife, Belle.
   Another Coroner's assistant sits at the table, listening
   to the radio and eating a sandwich.

  97   Gittes ambles into the room.

       MORTY
      (a cigarette dangling
      out of his mouth)
     Jake, what're you doin' here?

       GITTES
     Nothin', Morty, it's my lunch
     hour, I thought I'd drop by and
     see who died lately.

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

       MORTY
     Yeah? Ain't that something?
     Middle of a drought, the water
     commissioner drowns -- only in L.A.

       GITTES
      (looking at. Mulwray)
     -- Yeah -- banged up pretty bad --

       MORTY
     -- That's a long fall.
  
       GITTES
     -- So how are you, Morty?

   Morty is wheeling in another body with the help of an
   assistant.

       MORTY
     -- Never better. You know me, Jake.

   As he begins to move the body into the refrigerator, he
   breaks into a wrenching spasm of coughing. Gittes spots
   the other body, lowers the. sheet on Mulwray.

       GITTES
      (picking up on cough)
     -- Yeah -- so who you got there?

   Morty pulls back the sheet.

       MORTY
     Leroy Shuhardt, local drunk --
     used to hang around Ferguson's
     Alley --

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

       MORTY
      (continuing)
     -- Quite a character. Lately he'd
     been living in one of the downtown
     storm drains -- had a bureau dresser
     down there and everything.

  98   Gittes has already lost interest. He starts away.

       GITTES
     -- Yeah.

       MORTY
     Drowned, too.

   This stops Gittes.

       GITTES
     Come again?

       MORTY
     Yeah, got dead drunk, passed out
     in the bottom of the riverbed.

       GITTES
     The L.A. River?

       MORTY
      (a little puzzled)
     Yeah, under Hollenbeck Bridge,
     what's wrong with that?

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

       GITTES
     It's bone dry, Morty.

       MORTY
     It's not completely dry.

       GITTES
     Yeah, well he ain't gonna drown
     in a damp riverbed either, I don't
     care how soused he was. That's
     like drowning in a teaspoon.

   Morty shrugs.

       MORTY
     We got water out of him, Jake.
     He drowned.

   Gittes walks away mumbling.

       GITTES
     Jesus, this town...

  99   EXT. SUNSET BOULEVARD - GITTES - DAY

   He's parked on an overpass -- the sign HOLLENBECK BRIDGE
   on one of its concrete columns. Gittes looks down into
   the riverbed below.

  100  FROM THE BRIDGE

   Gittes can see the muddy remains of a collapsed shack,
   its contents strewn down river from the bridge. Below
   him, lying half over the storm drain and one wall that
   was on the bank of the river is a sign that proclaims
   OWN YOUR OWN OFFICE IN THIS BUILDING $5000 to $6000
   which was used as a roof of sorts. Downstream, there's
   the dresser, an oil drum, a Ford seat cushion, an Armour
   lard can, etc. -- the trashy remains of Shuhardt's home.

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

   He begins to walk a little further downstream when he
   hears the vaguely familiar SQUISHY CLOP of something.

   Clearing the bridge. on the opposite side is the little
   Mexican Boy, again on his swayback horse, riding along
   the muddy bank.

   They look at one another a moment.

       GITTES
      (calling out to him)
     You were riding here the other
     day, weren't you...?

   The Boy doesn't answer.

       GITTES
      (continuing)
     Speak English?... Habla Ingles?

       THE BOY
      (finally)
     Si.

       GITTES
     Didn't you talk to a man here
     -- few days ago... wore glasses
     ... he...

   The Boy nods.

       GITTES
      (continuing)
     What did you talk about, mind
     my asking?

   The shadows of the two are very long now.

       THE BOY
      (finally)
     The water.

       GITTES
     What about the water?

       THE BOY
     -- when it comes.

       GITTES
     -- When it comes? What'd you
     tell him?

       THE BOY
     Comes in different parts of the
     river -- every night a different
     part.

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

  102  EXT. RIVEBED - DUSK

   Gittes scrambles up the embankment to note the direction
   the storm drain by Hollenbeck Bridge takes. It is headed
   above 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. He
   picks up on an open flood channel with the spotlight by
   the 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 a fork
   in the road which allows him to continue following the
   flood channel.

  105  FURTHER UP - MOVING

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

  106  STILL FURTHER - NIGHT
   The road is dirt. Heavy clusters of oak trees and
   eucalyptus are everywhere. It is very still. Another
   turn and a pie-shaped view of a lake of lights in the
   city below can be GLIMPSED.

  107  POV - CHAIN-LINK FENCE

   over the road, bolted. It says OAK PASS RESERVOIR.
   KEEP OUT. NO TRESPASSING.

   The chain-link itself actually extends over the flood
   channel and down into it, making access along the
   channel itself impossible.

  108  Gittes backs up, turns off the motor, the car lights, the
   spotlight. A lone light overhead on tension wires is the
   sole illumination. There is only the eerie SOUND of the
   tension WIRES HUMMING.

   Gittes gets out of the car, clubs the fence near the
   Flood channel itself.

  109  ON THE OTHER SIDE

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

   Suddenly there is a GUNSHOT. Then ANOTHER. Gittes dives
   into the flood control channel, which is at this point
   about four feet deep and six feet wide. There is the
   SOUND of men scurrying through the brush, coming near
   him, then retreating. Gittes loses himself among the
   ivy in the channel.

   He waits. The men seem to have passed him by. But there
   is another SOUND now -- an echoing growing sound. It
   puzzles Gittes. He starts to lift his head to catch
   the direction.

  110  GITTES IN FLOOD CONTROL CHANNEL - NIGHT

   Then he's inundated with a rush of water which pours over
   him, knocks off his hat, carries him down the channel,
   banging into its banks, as he desperately tries to grab
   some of the overgrowth to hang on and pull himself out.
   But the force of the stream batters him and carries him
   with it until he's brought rudely to the chain-link
   fence. It stops him cold. He's nearly strained through
   it.

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

   Drenched, battered, he slowly climbs back over the fence
   and makes his way toward his car.

  111  AT GITTES' CAR

   He fishes for his car keys, looks down -- one shoe is
   missing.

       GITTES
      (grumbling)
     Goddam Florsheim shoe, goddammit.

   He starts to get into his car but Mulvihill and a SMALLER
   MAN stop him -- Mulvihill pulling his coat down and
   pinning his arms -- holding him tightly. The smaller man
   thrusts a switchblade knife about an inch and a half up
   Gittes' left nostril.

       SMALLER MAN
      (shaking with emotion)
     Hold it there, kitty cat.

  112  CLOSE - GITTES

   frozen, the knife in his nostril, the street lamp over-
   head gleaming on the silvery blade.

       THE SMALLER MAN
     You are a very nosey fellow, kitty
     cat... you know what happens to
     nosey fellows?

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

       SMALLER MAN
      (continuing)
     Wanna guess? No? Okay.
     lose their noses.

   With a quick flick the Smaller Man pulls back on the
   blade, laying Gittes' left nostril open about an inch
   further. Gittes screams. Blood gushes down onto his shirt
   and coat.

   Gittes bends over, instinctively trying to keep the blood
   from getting on his clothes. Mulvihill and the Smaller
   Man stare at him.

       THE SMALLER MAN
      (continuing)
     Next time you lose the whole thing,
     kitty cat. I'll cut it off and
     feed it to my goldfish, understand?

       MULVIHILL
     Tell him you understand, Gittes.

  113  EXT. OAK PASS RESERVOIR - NIGHT

   Gittes is now groveling on his hands and knees.

       GITTES
      (mumbling)
     I understand...

   Gittes on the ground can see only his tormentor's two-
   tone brown and white wing-tipped shoes -- lightly
   freckled with his blood.

  114  THE SHOE

   comes up and lightly shoves Gittes into the ground.
   the SOUND of FOOTSTEPS RETREATING, Gittes gasping.

  115  INT. GITTES' OFFICE - GITTES

   sits behind his desk, BACK TO CAMERA, not moving. Duffy
   sits staring at nothing, Walsh moves uneasily around the
   room.

   The PHONE is RINGING. Sophie BUZZES.
  
       GITTES
      (pressing down
      intercom)
     Yeah, Sophie.

       SOPHIE'S VOICE
     A Miss Sessions calling.

       GITTES
     Who?

       SOPHIE'S VOICE
     Ida Sessions.

       GITTES
     Don't know her -- take a number.

  116  NEW ANGLE - REVEALING

   a bandage spread-eagled across Gittes' nose.

       WALSH
     So some contractor wants to
     build a dam and he makes a
     few payoffs. So what?

   Gittes turns slowly to Walsh. He lightly taps his nose.

       WALSH
     ( continuing)
     Think you can nail Mulvihill?
     They'll claim you were trespassing.

       GITTES
     I don't want Mulvihill. I. want the
     big boys that are making the payoffs.

       DUFFY
     Then what'll you do?

       GITTES
     Sue the shit out of 'em.

       WALSH
     Yeah?

       GITTES
     Yeah -- what's wrong with you
     guys? Think ahead. We find 'em,
     sue 'em -- we'll make a killing.
      (a dazzling smile)
     We'll have dinner at Chasen's
     twice a week, we'll be pissing
     on ice the rest of our lives.

       WALSH
     Sue people like that they're
     liable to be having dinner with
     the Judge who's trying the suit.

   Gittes looks irritated. The PHONE RINGS again.

       SOPHIE'S VOICE
     Miss Ida Sessions again. She says
     you know her.

       GITTES
     Okay.

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

       GITTES
      (continuing)
     Hello, Miss Sessions. I don't
     believe we've had the pleasure.

       IDA'S VOICE
     -- Oh yes we have... are you
     alone, Mr. Gittes?

       GITTES
      (clowning a little
      for the boys)
     Isn't everybody? What can I do
     for you, Miss Sessions?

   Walsh promptly starts to tell Duffy the Admiral Byrd
   story.

       IDA'S VOICE
     Well, I'm a working girl, Mr.
     Gittes -- I didn't come in to see
     you on my own.

       GITTES
     -- When did you come in?
  
       IDA'S VOICE
     -- I was the one who pretended to
     be Mrs. Mulwray, remember?

  ll8  Walsh has finished off the punch line and both men are
   laughing raucously. Gittes drops the mail he's been
   loafing through and puts his hand over the receiver.

       GITTES
      (to Duffy and Walsh)
     Shut the fuck up!
      (then back to Ida)
     ... Yes I remember -- nothing,
     Miss Sessions, just going over
     a detail or two with my associates
     ... you were saying?

       IDA'S VOICE
     Well I never expected anything
     to happen like what happened to
     Mr. Mulwray, the point is if it
     ever comes out I want somebody
     to know I didn't know what would
     happen.

       GITTES
     -- I understand... if you could
     tell me who employed you, Miss
     Sessions -- that could help us
     both --

       IDA'S VOICE
     Oh no --

       GITTES
     ... Why don't you give me your
     address and we can talk this over?

       IDA'S VOICE
     No, Mr. Gittes -- just look in
     the obituary column of today's
     Times...

       GITTES
     The obituary column?

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

       GITTES
     'Those people?' Miss Sessions --

   She hangs up. Gittes looks to his two men.

  119  OMITTED

  120  INT. BROWN DERBY - CLOSE ON NEWSPAPER

   Gittes is seated, flips through the paper until he finds
   the OBITUARY COLUMN -- scans it, looks up -- abruptly
   tears the column from the paper and puts it in his
   pocket.

   When he closes the paper we can SEE headlines in the
   left hand column: WATER BOND ISSUE 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.

       GITTES
     Thanks for coming... drink?

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

       EVELYN
     Tom Collins -- with lime, not
     lemon, please.

   Evelyn looks down and smoothes her gloves. When she
   looks back up she stares expectantly at Gittes.

   Gittes pulls out a torn envelope. The initials ECM can
   be SEEN in a delicate scroll on the comer of it.

       GITTES
     I got your check in the mall.

       EVELYN
     Yes. As I said, I was very
     grateful.

   Gittes' fingers the envelope. He coughs.

       GITTES
     Mrs. Mulwray, I'm afraid that's
     not good enough.

     EVELYN
      (a little embarrassed)
     Well, how much would you like?

  121  CLOSE ON EVELYN

       GITTES
     Stop it. The money's fine. It's
     generous but you've shortchanged
     me on the story.

       EVELYN
      (coolly)
     I have?

       GITTES
     I think so. Something besides
     your husband's death was bothering
     you. You were upset but not that
     upset.

       EVELYN
     Mr. Gittes...
      (icily)
     Don't tell me how I feel.

   The drinks come. The waiter sets them down.

       GITTES
     Sorry. Look, you sue me, your
     husband dies, you drop the
     lawsuit like a hot potato, and
     all of it quicker than wind from
     a duck's ass -- excuse me. Then
     you ask me to lie to the police.

       EVELYN
     It wasn't much of a lie.

       GITTES
     -- If your husband was killed it
     was.
      (meaning check)
     -- This can look like you paid
     me off to withhold evidence.

       EVELYN
     But he wasn't killed.

   Gittes smiles.

       GITTES
     I think you're hiding something,
     Mrs. Mulwray.

  122  Evelyn remains unperturbed.

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

       GITTES
     How did you find out?

       EVELYN
     My husband.

       GITTES
     He told you?

   Evelyn nods.

       GITTES
      (continuing)
     -- And you weren't the slightest
     bit upset about it?

       EVELYN
     -- I was grateful.

   Evelyn for the first time appears a little embarrassed.

       GITTES
     You'll have to explain that,
     Mrs. Mulwray.

       EVELYN
     -- Why?

       GITTES
      (a flash of
      annoyance)
     Look, I do matrimonial work, It's
     my metiay. When a wife tells me
     she's happy her husband is cheating
     on her it runs contrary to my
     experience.

   Gittes looks significantly to Evelyn.

       EVELYN
     Unless what?

       GITTES
      (looking directly
      at her)
     She's cheating on him.

  122  Evelyn doesn't reply.

       GITTES
      (continuing)
     -- Were you?

  123  Evelyn is clearly angry but she is controlling it.

       EVELYN
     I don't like the word 'cheat.'

       GITTES
     Did you have affairs?

       EVELYN
      (flashing)
     Mr. Gittes --

       GITTES
     Did he know?

       EVELYN
      (almost an outburst)
     Well I wouldn't run home and tell
     him whenever I went to bed with
     someone, if that's what you mean.

   This subdues Gittes a little. Evelyn is still a little
   heated.

       EVELYN
      (continuing; more
      calmly)
     -- Is there anything else you
     want to know?

       GITTES
     Where you were when your husband
     died.

       EVELYN
     I can't tell you.

       GITTES
     You mean you don't know where
     you were?

       EVELYN
     I mean I can't tell you.

       GITTES
     -- You were seeing someone, too.

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

       GITTES
     -- For very long?

       EVELYN
     I don't see anyone for very long,
     Mr. Gittes. It's difficult for
     me. Now I think you know all
     you need to about me. I didn't
     want publicity. I didn't want
     to go into any of this, then or
     now. Is this all?

   Gittes nods.

       GITTES
     Oh, by the way. What's the 'C'
     stand for?

   He's been fingering the envelope. .

       EVELYN
      (she stammers
      slightly)
     K... Cross.

       GITTES
     That your maiden name?

       EVELYN
     Yes... why?

       GITTES
     No reason.

   Evelyn turns into Gittes.

       EVELYN
     You must've had a reason to ask
     me that.

       GITTES
      (shrugs)
     No. I'm just a snoop.

       EVELYN
     You seem to have had a reason
     for every other question.

       GITTES
     No, not for that one.

       EVELYN
     I don't believe you.

   Gittes suddenly turns sharply in to Evelyn.

       GITTES
      (moving in)
     Do me a favor. Sit still and
     act like I'm charming.

   Evelyn involuntarily draws back.

       GITTES
      (continuing)
     There's somebody here. Say
     something. Anything. Something
     like we're being intimate.

  125  Evelyn reluctantly allows Gittes to move closer and
   dangle his hand in front of their faces. She stares
   at him.

       EVELYN
      (meaning his nose)
     How did it happen?

       GITTES
      (quietly)
     Been meaning to talk to you
     about that.

       EVELYN
      (quietly)
     Maybe putting your nose in other
     people's business?

       GITTES
      (quietly)
     More like other people putting
     their business in my nose.

   Evelyn actually smiles a little.

       WOMAN'S VOICE
     You son of a bitch.

   Gittes looks up and flashes his smile.

       GITTES
     Mrs. Match. How're you?

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

       MRS. MATCH
     Don't give me that, you son of
     a bitch.

       GITTES
     Okay.

   Gittes turns back to Evelyn.

       EVELYN
      (softly)
     Another satisfied client?

       GITTES
     Another satisfied client's wife.

       MRS. MATCH
     Look at me, you son of a bitch.
     You... you bastard. Are you
     happy, are you happy now?

  126  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. My
     husband's so upset he sweats all
     night! How do you think that makes
     me feel?

       GITTES
     Sweaty?

   Mrs. Match swings at Gittes again and again. She catches
   him on the nose. It hurts. He covers it -- then swings
   his leg out from under the table and deftly kicks her
   in the shin.

   Mrs. Match drops her purse and spills her drink. She
   grabs her shin, hopping around a little. The waiters
   who had tried to restrain her now try to keep her from
   falling over.

       GITTES
     Let's get out of here before she
     picks up her purse.

   They rise and move toward the door.

       EVELYN
      (quietly)
     Tough guy, huh?

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

  127  OUTSIDE IN THE PARKING LOT - DUSK

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

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

       GITTES
      (to attendant who
      dutifully starts
      for her car)
     Wait a minute, sonny.
      (to Evelyn)
     I think you better come with me.

       EVELYN
     What for? There's nothing more
     to say.
      (to attendant)
     Get my car, please.

   The attendant starts after it again. Gittes leans on
   the open door of his car and in to Evelyn. He talks
   quietly but spits it out.

       GITTES
     Okay, go home. But in case
     you're interested your husband
     was murdered. Somebody's dumping
     tons of water out of the city
     reservoirs when we're supposedly
     in the middle of a drought, he
     found out, and he was killed.
     There's a waterlogged drunk in
     the morgue -- involuntary manslaughter
     if anybody wants to take the trouble
     which they don't. it looks like half
     the city is trying to cover it all
     up, which is fine with me. But,
     Mrs. Mulwray --
      (now inches from her)
     -- I goddam near lost my nose!
     And I like it. I like breathing
     through it. And I still think
     you're hiding something.

   Evelyn steadies herself on the open car door. She stares
   at Gittes for a long moment. Then he gently tugs the
   car door closed.

       EVELYN
     Mr. Gittes --

   He drives off into the Wilshire traffic, leaving Evelyn
   looking after him.

  128  INT.. DWP - MULWRAY'S OFFICE DOOR

   with its lettering:

      HOLLIS I. MULWRAY
      CHIEF ENGINEER

   Gittes goes through the door to the Secretary. She looks
   up. She recognizes Gittes again and is not happy to see
   him.

       GITTES
     J.J. Gittes to see Mr. Yelburton.

   The Secretary immediately gets up and goes into the inner
   office.

   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 spots
   a photo of the man with the cane Gittes had seen photos
   of earlier -- He is standing high in the mountains, near
   a pass. The caption reads JULIAN CROSS - 1905. Cross
   is strikingly handsome.

   Gittes immediately pulls out the envelope containing
   Evelyn's check. He looks at the corner of it, his
   thumb pressing down under the middle initial C, then
   he looks back to the photos --

   The Secretary returns.

       SECRETARY
     Mr. Yelburton will be busy for
     some time.

       GITTES
     Well I'm on my lunch hour. I'll
     wait.

       SECRETARY
     He's liable to be tied up
     indefinitely.

       GITTES
     I take a long lunch. All day
     sometimes.

   Gittes pulls out a cigarette case, offers the Secretary
   one. She refuses, He lights up and begins to hum 'The
   Way You Look Tonight,' strolling along the wall looking
   at more photographs.

  129  INT. MULWRAY'S OFFICES

   Here he spots several photos of a much younger Mulwray,
   along with Julian Cross. One of the captions: HOLLIS
   MULWRAY AND JULIAN CROSS AS THE AQUEDUCT CLEARS THE
   SANTA SUSANNAH PASS - 1912. Gittes, still humming,
   turns to the Secretary.

       GITTES
     Julian Cross worked for the water
     department?

       SECRETARY
      (looking up)
     Yes. No.

       GITTES
      (humming, then)
     He did or he didn't?

       SECRETARY
     He owned it.

   Gittes is genuinely surprised. at this.

       GITTES
     He owned the water department?

       SECRETARY
     Yes.

       GITTES
     He owned the entire water supply
     for the city?

       SECRETARY
     Yes.

       GITTES
      (really surprised)
     How did they get it away from him?

       SECRETARY
      (a sigh, then)
     Mr. Mulwray felt the public should
     own the display -- the water. If
     you'll just read the display --

       GITTES
      (glances back, hums,
      then)
     Mulwray? I thought you said
     Cross owned the department.

       SECRETARY
     -- Along with Mr. Mulwray.

       GITTES
     They were partners.

       SECRETARY
      (testily)
     Yes. Yes, they were partners.

   She gets up, annoyed, and goes into Yelburton's inner
   office.

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

   He moves quickly to it, hesitates -- swiftly opens the
   door. workmen are behind it, scraping away Mulwray's
   name on the outer door -- looking up at Gittes in some
   surprise.

   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 office.

  130  INT. DWP - YELBURTON & GITTES

   There is a subtle but perceptible difference in
   Yelburton's attitude. He's now head of the department.

       YELBURTON
     Mr. Gittes, sorry to keep you
     waiting -- these staff meetings,
     they just go on and on --

       GITTES
     Yeah -- must be especially tough
     to take over under these
     circumstances.

       YELBURTON
     Oh yes. Hollis was the best
     department head the city's ever
     had. My goodness, what happened
     to your nose?

       GITTES
      (smiles)
     I cut myself shaving.

       YELBURTON
     You ought to be more careful.
     That must really smart.

       GITTES
     Only when I breathe.

       YELBURTON
      (laughing)
     Only when you breathe... don't tell
     me you're still working for
     Mrs. Mulwray?

       GITTES
     I never was.

       YELBURTON
     (stops smiling)
     I don't understand.

       GITTES
     Neither do I, actually. But you
     hired me -- or you hired that chippie
     to hire me.

       YELBURTON
     Mr. Gittes, you're not making a
     bit of sense.

       GITTES
     Well, look at it this way, Mr.
     Yelburton. Mulwray didn't want
     to build a dam -- and he had a
     reputation that was hard to get
     around, so. you decided to ruin it.
     Then he found out that you were
     dumping water every night -- then
     he -- was drowned.

       YELBURTON
     Mr. Gittes! That's an outrageous
     accusation. I don't know what
     you're talking about.

       GITTES
     Well, Whitey Mehrholtz over at
     the Times will. Dumping thousands
     of gallons of water down the toilet
     in the middle of a drought -- that's
     news.

  131  Gittes heads toward the door.

       YELBURTON
     Wait -- please sit down, Mr. Gittes.
     We're... well, we're not anxious
     for this to get around, but we have
     been diverting a little water
     to irrigate avocado and walnut
     groves in the northwest
     valley. As you know, the farmers
     there have no legal right to our
     water, and since the drought we've
     had to cut them off -- the city
     comes first, naturally. But,
     well, we've been trying to help
     some of them out, keep them from
     going under. Naturally when you
     divert water -- you get a little
     runoff.

       GITTES
     Yeah, a little runoff. Where are
     those orchards?

       YELBURTON
     I said, the northwest valley.

       GITTES
     That's like saying they're in
     Arizona.

       YELBURTON
     Mr. Gittes, my field men are out
     and I can't give you an exact
     location...

   Gittes nods.

       GITTES
     You're a married man, am I right?

       YELBURTON
     Yes...

       GITTES
     Hard working, have a wife and kids...

       YELBURTON
     Yes...

       GITTES
     I don't want to nail you -- I
     Just want to know who put you up
     to it. I'll give you a few days
     to think it over --
      (hands him a card)
     -- call me. I can help. Who knows?
     Maybe we can lay the whole thing off
     on a few big shots -- and you can
     stay head of the department for
     the next twenty years.

   Gittes smiles -- leaves an unsmiling Yelburton.

  132  INT. GITTES OFFICE

   Gittes enters, drops his hat on Sophie's desk. Sophie
   tries to tell him something but Gittes goes on into his
   office.

  133  EVELYN MULWRAY

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

       EVELYN
     What's your usual salary?

   Gittes moves to his desk, barely breaking stride at the
   sight of her.

       GITTES
     Thirty-five bucks daily for me,
     twenty for each of my operators --
     plus expenses, plus my fee if I
     show results.

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

       EVELYN
     Whoever's behind my husband's
     death, why have they gone to all
     this trouble?

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

       EVELYN
     I'll pay your salary plus five
     thousand dollars if you find out
     what happened to Hollis and who
     is involved.

   Gittes buzzes Sophie.

       GITTES
     Sophie, draw up one of our
     standard forms for Mrs. Mulwray.
      (he leans back; to
      Evelyn)
     Tell me, did you get married
     before or after Mulwray and your
     father sold the water department?

   Evelyn nearly jumps at the question.

       GITTES
      (continuing)
     Your father is Julian Cross, isn't
     he?

       EVELYN
     Yes, of course -- it was quite a
     while after. I was just out of
     grade school when they did that.

       GITTES
     -- so you married your father's
     business partner?

   Evelyn nods. She lights another cigarette.

       GITTES
      (continuing; staring
      at her, points to
      the ashtray)
     You've got one going, Mrs. Mulwray.

       EVELYN
     -- Oh.

  134  She quickly stubs one out.

       GITTES
     Is there something upsetting about
     my asking about your father?

       EVELYN
     No!... yes, a little. You see
     Hollis and my fa -- my father had
     a falling out...

       GITTES
     Over the water department -- or
     over you?

       EVELYN
      (quickly)
     Not over me. Why would they have
     a falling out over me?

       GITTES
      (noting her
      nervousness)
     -- Then it was over the water
     department.

       EVELYN
     Not exactly. Well, I mean, yes.
     Yes and no. Hollis felt the public
     should own the water but I don't
     think -- my father felt that way.
     Actually, it was over the Van der
     Lip. The dam that broke.

       GITTES
     -- Oh, yeah?

       EVELYN
     Yes. He never forgave him for it.

       GITTES
     Never forgave him for what?

       EVELYN
     For talking him into building it,
     he never forgave my father... They
     haven't spoken to this day.

       GITTES
      (starts a little)
     You sure shout that?

       EVELYN
     Of course I'm sure.

       GITTES
     What about you -- do you and your
     father get along?

  135  Sophie comes in with the form, cutting off Evelyn's
   reply. Gittes places two copies on a coffee table in
   front of Evelyn.

       GITTES
     Sign here... The other copy's for
     you.

   She signs it. When she looks back up, Gittes is staring
   intently at her.

       EVELYN
     What are you thinking?

       GITTES
      (picking up one of
      copies, folding it,
      putting it in his
      pocket)
     Before this -- I turned on the
     faucet, it came out hot and cold,
     I didn't think there was a thing
     to it.

  136  INT. SEAPLANE

   The engines make the small cabin vibrate. Gittes threads
   his way down the tiny aisle of the eight passenger cabin,
   which is full of middle-aged men in old clothes and
   their fishing gear. Gittes is poked by a pole -- has to
   move along.

   One of the old men says something to him.

       GITTES
      (above the engines)
     What?

       OLD MAN
     You'll have to sit with the pilot.

   Gittes moves forward into the cockpit, the PILOT looks
   up -- nods for Gittes to sit down, first moving a half-
   eaten cheese sandwich out of Gittes' seat.

  137  EXT. HARBOR- SEAPLANE

   taxiing down the ramp into the sea. In a moment, it
   kicks up a spray of foam and takes off.

  138  INT. COCKPIT

   The island gradually looming larger before the Pilot and
   Gittes.

   The Pilot glances over at Gittes -- who, as usual, is
   impeccably dressed -- a contrast to the others on the
   plane.

       PILOT
      (above the engines)
     Well, you're not going fishing.

   Gittes shakes his head.

       GITTES
     Not exactly.

       PILOT
      (winks)
     But that's what you told your
     wife ---

   The Pilot laughs raucously. Gittes laughs politely.

       PILOT
     -- lots of fellas do. Tell the
     little woman they're going on a
     fishing trip, then shack up with
     some little twist on the island
     ... she pretty?

       GITTES
      (abruptly)
     I'm going to see a man called
     Julian Cross -- ever heard of him?

       PILOT
     Is the Pope Catholic? Who are
     you, mister?... I ask because he
     doesn't see a whole lot of people.

       GITTES
     I'm working for his daughter.

       PILOT
      (surprised)
     That right?... She used to be
     some looker.

       GITTES
     She ain't exactly long in the
     tooth now.

       PILOT
     She must be about thirty-three,
     thirty-four.

       GITTES
     You must be thinking of a different
     daughter --

       PILOT
     No, he's only got one, I remember
     her age, I read it in the newspapers
     when she ran away.

       GITTES
     She ran away?

       PILOT
     Oh yeah, it was a big thing at
     the time -- Julian Cross' daughter.
     God almighty. She was a wild
     little thing.

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

       PILOT
      (continuing)
     Course, she settled down nicely.

       GITTES
      (smiling a little)
     Well, you never know, do you?

       PILOT
      (loosening up)
     That's for sure.

       GITTES
     Why'd she run away?

       PILOT
     Oh, you know -- she was sixteen
     or seventeen.

       GITTES
      (nudging him)
     We missed the best of it, didn't
     we, pal?

   Both men laugh a little lewdly.

       PILOT
     She ran off to Mexico -- rumor was
     she was knocked up and didn't even
     know who the father was -- went
     there to get rid of it.

       GITTES
     You don't say?

       PILOT
     Cross was looking for her all
     over the country -- offered rewards,
     everything. Felt real sorry for
     him, with all his money.

  140  ALBACORE CLUB - DAY

   A pleasant but unobtrusive clapboard blue and white
   building on the bay overlooking the harbor. The sea-
   plane lands. A motor launch with a burgee of a fish
   flying from it turns and heads in the direction of the
   plane.

  141  EXT. WINDING ROAD - RANCHO DEL CRUCE

   Gittes, driven in a station wagon, passes under the sign
   with a cross painted below the name.

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

   The wagon comes to a halt where a group of hands are
   clustered around a corral. The circle of men drift
   apart, leaving JULIAN CROSS standing, using a cane for
   support, reedy but handsome in a rough linen shirt and
   jeans. 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. A
   horse led on a halter by another ranch hand slows down
   and defecates in the center of the path they are taking.
   Gittes doesn't notice.

       CROSS
     Horseshit.

   Gittes pauses, not certain he has heard correctly.

       GITTES
     Sir?

       CROSS
     I said horseshit.
     (pointing)
     Horseshit.

       GITTES
     Yes, sir, that's what it looks
     like -- I'll give you that.

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

       CROSS
     Love the smell of it. A lot of
     people do but of course they
     won't admit it. Look at the
     shape.

   Gittes glances down out of politeness.

       CROSS
      (continuing; smiling,
      almost enthusiastic)
     Always the same.

   Cross walks on. Gittes follows.

       GITTES
     (not one to let it
     go)
     Always?

       CROSS
     What? Oh, damn near -- yes.
     Unless the animal's sick or
     something.
      (stops and glances.
      back)
     -- And the steam rising off it
     like that in the morning -- that's
     life, Mr. Gittes. Life.

   They move on.

       CROSS
      (continuing)
     Perhaps this preoccupation with
     horseshit may seem a little
     perverse, but I ask you to
     remember this -- one way or
     another, it's what I've dealt
     in all my life. Let's have
     breakfast.

  144  EXT. COURTYARD VERANDA - GITTES & CROSS AT BREAKFAST

   Below them is a corral where hands take Arabians, one by
   one, and work them out, letting them run and literally
   kick up their heels. Cross' attention is diverted by
   the animals from time to time. An impeccable Mexican
   butler serves them their main course, broiled fish.

       CROSS
     You know, you've got a nasty
     reputation, Mr. Gittes. I like
     that.

       GITTES
      (dubious)
     Thanks.

       CROSS
     -- If you were a bank president
     that would be one thing -- but
     in your business it's admirable.
     And it's good advertising.

       GITTES
     It doesn't hurt.

       CROSS
     It's why you attract a client
     like my daughter.

       GITTES
     Probably.

       CROSS
     But I'm surprised you're still
     working for her -- unless she's
     suddenly come up with another
     husband.

       GITTES
     No -- she happens to think the
     last one was murdered.

   Cross is visibly surprised.

       CROSS
     How did she get that idea?

       GITTES
     I think I gave it to her.

   Cross nods.

       CROSS
     Uh-huh -- oh I hope you don't
     mind. I believe they should be
     served with the head.

  145  Gittes glances down at the fish whose isinglass eye
   is glazed over with the heat of cooking.

       GITTES
     -- Fine, as long as you don't
     serve chicken that way.

       CROSS
      (laughs)
     Tell me -- what do the police
     say?

       GITTES
     They're calling it an accident.

       CROSS
     Who's the investigating officer?

       GITTES
     Lou Escobar -- he's a Lieutenant.

       CROSS
     Do you know him?

       GITTES
     Oh yes.

       CROSS
     Where from?

       GITTES
     -- We worked Chinatown together,

       CROSS
     Would you call him a capable man?

       GITTES
     Very.

       CROSS
     Honest?

       GITTES
     -- Far as it goes -- of course
     he has to swim in the same water
     we all do.

       CROSS
     Of course -- but you've got no
     reason to think he's bungled
     the case?

       GITTES
     None.

       CROSS
     That's too bad.

       GITTES
     Too bad?

       CROSS
     It disturbs me, Mr. Gittes. It
     makes me think you're taking my
     daughter for a ride -- financially
     speaking, of course. How much are
     you charging her?

       GITTES
      (carefully)
     My usual fee -- plus a bonus
     if I come up with any results.

       CROSS
     Are you sleeping with her? Come,
     come, Mr. Gittes -- you don't have
     to think about that to remember,
     do you?

   Gittes laughs.

       GITTES
     If you want an answer to that
     question I can always put one
     of my men on the job. Good
     afternoon, Mr. Cross.

       CROSS
     Mr. Gittes! You're dealing with
     a disturbed woman who's lost her
     husband. I don't want her taken
     advantage of. Sit down.

       GITTES
     What for?

       CROSS
     -- You may think you know what
     you're dealing with -- but
     believe me, you don't.

  146  This stops Gittes. He seems faintly mused by it.

       CROSS
     Why is that funny?

       GITTES
     It's what the D.A. used to tell
     me about Chinatown.

       CROSS
     Was he right?

   Gittes shrugs.

       CROSS
      (continuing)
     ... Exactly what do you know
     about me, Mr. Gittes?

       GITTES
     Mainly that you're rich and too
     respectable to want your name in
     the papers.

       CROSS
      (grunts, then)
     'Course I'm respectable. I'm
     old. Politicians, ugly buildings
     and whores all get respectable if
     they last long enough. I'll double
     whatever your fees are -- and I'll
     pay you ten thousand dollars if
     you can find Hollis' girlfriend.

       GITTES
     His girlfriend?

       CROSS
     Yes, his girlfriend.

       GITTES
     You mean the little chippie he
     was with at the El Macando?

       CROSS
     Yes. She's disappeared, hasn't
     she?

       GITTES
     -- Yeah.

       CROSS
     Doesn't that strike you as odd?

       GITTES
     No. She's probably. scared to
     death.

       CROSS
     Wouldn't it be useful to talk to
     her?

       GITTES
     Maybe.

       CROSS
     If Mulwray was murdered, she was
     probably one of the last people
     to see him.

       GITTES
     You didn't see Mulwray much, did
     you?

       CROSS
     -- No --

       GITTES
     -- When was the last time?

  147  Cross starts to reply, then there's the SOUND of a
   MARIACHI BAND and some men in formation clear a bluff
   about a hundred yards off. They are dressed like
   Spanish dons on horseback. For the most part they are
   fat in the saddle and pass along in disordered review
   to the music..

       CROSS
     Sheriff's gold posse... bunch of
     damn fools who pay $5,000 apiece
     to the sheriff's re-election. I
     let 'em practice up out here.

       GITTES
     -- Yeah. Do you remember the
     last time you talked to Mulwray?

   Cross shakes his head.

       CROSS
     -- At my age, you tend to lose
     track...

       GITTES
     Well, It was about five days ago.
     You were outside the Pig 'n Whistle
     -- and you had one hell of an
     argument.

   Cross looks to Gittes in some real surprise.

       GITTES
      (continuing)
     I've got the photographs in my
     office -- if they'll help you
     remember. What was the argument
     about?

       CROSS
      (a long pause, then:)
     My daughter.

       GITTES
     What about her?

       CROSS
     -- Just find the girl, Mr. Gittes
     I think she is frightened and I
     happen to know Hollis was fond of
     her. I'd like to help her if I
     can.

       GITTES
     I didn't realize you and Hollis
     were so fond of each other.

  148  Cross looks hatefully at Gittes.

       CROSS
     Hollis Mulwray made this city --
     and he made me a fortune... We
     were a lot closer than Evelyn
     realized.

       GITTES
     -- If you want to hire me, I
     still have to know what you and
     Mulwray were arguing about.

       CROSS
      (painfully)
     Well... she's an extremely jealous
     person. I didn't want her to find
     out about the girl.

       GITTES
     How did you find out?

       CROSS
     I've still got a few teeth in my
     head, Mr. Gittes -- and a few
     friends in town.

       GITTES
     Okay -- my secretary'll send you
     a letter of agreement. Tell me
     -- are you worried about that girl,
     or what Evelyn might do to her?

       CROSS
     Just find the girl.

       GITTES
     -- I'll look into it -- as soon
     as I check out some avocado groves.

       CROSS
     Avocado groves?

       GITTES
     We'll be in touch, Mr. Cross.

  149  INT. HALL OF RECORDS - DAY

   Dark and quiet except for the whirring of fans. Gittes
   approaches one of the CLERKS at a desk.

       GITTES
     I'm a little lost -- where can I
     find the plat books for the
     northwest valley?

   The Clerk's droopy eyes widen a little.

       CLERK
     Part of it's in Ventura County.
     We don't have Ventura County in
     our Hall of Records.

   Which is a snotty remark. Gittes smiles.

       GITTES
     I'll settle for L.A. County.

       CLERK
      (regards him, then)
     Row twenty-three, section C.

   The Clerk turns away abruptly. Gittes regards his back
   a 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 a
   moment, 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 of the land parcel is
   long and hopelessly involved -- e.g. '6000 paces to Rio
   Seco, thence 7000 paces to Loma Linda, etc.' These
   Descriptions are old and faded -- in the owners' column,
   however -- there are numerous freshly-typed names -
   pasted over the prior owners.

  151  GITTES

   Hauls the huge volume back to the Clerk's desk.

       GITTES
      (to Clerk)
     Say... uh... sonny.

  152  The Clerk turns sharply around.

       GITTES
     How come all these new names are
     pasted into the plat book?

       CLERK
     Land sales out of escrow are
     always recorded within the week.

   Gittes looks a little surprised.

       GITTES
     Then these are all new owners?

       CLERK
     -- That's right.

       GITTES
      (astonished)
     -- But that means that most of
     the valley's been sold in the
     last few months.

       CLERK
     If that's what it says.

       GITTES
     Can I check one of these volumes
     out?

       CLERK
      (quietly snotty)
     Sir, this is not a lending library,
     it's the Hall of Records.

       GITTES
     Well, then -- how about a ruler?

       CLERK
     A ruler?

       GITTES
     The print's pretty fine. I forgot
     my glasses. I'd like to be able
     to read across.

   The exasperated Clerk reaches around -- rummages -- slaps
   a ruler on the desk.

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

  153  OMITTED

  154  INSERT PLAT BOOK NORTHWEST VALLEY

   Beside the OWNER column he places the ruler, looks toward
   the clerks -- then swiftly rips down the page, tearing
   out a strip about two inches wide -- containing the
   owner's name and property description.
   As he tears, he either sniffles or coughs -- to cover
   the SOUND of the PAPER being ripped.

  155  EXT. ROAD - GITTES DRIVING - DAY

   amidst a hall of shimmering dust and heat, parched and
   drying groves, narrower roads.

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

  156  OLD STUCCO BUILDINGS FURTHER ON.

   and a few withered pepper trees. Gittes has paused at
   this dried-up intersection. There is a "SOLD" sign on a
   drug store. Gittes looks O.S.

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

  157  OMITTED

  158  Gittes parks at the edge of the field. About twenty
   yards away is a man mounted on a strange machine, holding
   a lid off it -- billowing lavender clouds are belching
   forth.

   Several CHILDREN are watching the man at work.

       GITTES
      (to one of the Children)
     Say, pal, what's he doing?

       CHILD
     Making some rain.

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

       GITTES
     Well, you're just the man I'm
     looking for.

   The Rainmaker now glances down at Gittes, who as usual
   is immaculately dressed.

       GITTES
     Some associates and I are thinking
     of buying property out here -- of
     course, we're worried about the
     rainfall.

   The Rainmaker steps down.

       RAINMAKER
    No problem with me on the Job.

       GITTES
     -- Yeah.
      (glancing around
      at the desolate,
      dry field)
     Do you have any references?

  159  RAINMAKER & GITTES

       RAINMAKER
     City of La Habra Heights -- filled
     an 800,000 gallon reservoir with
     sixteen inches of rain in two
     days.

       GITTES
      (nods)
     That's swell. But how about
     here?
      (pulling out names
      from his pocket)
     Ever worked for Robert Knox, Emma
     Dill, Clarence Speer, Marian
     Parsons, or Jasper Lamar Crabb?

       RAINMAKER
     Never heard of 'em... new owners?

       GITTES
     -- Yeah.

       RAINMAKER
      (climbing back .up)
     Lot of turnover these days.
     Better tell them to get in touch
     with me if they want to hang onto
     their land.

       GITTES
     -- Yeah, I'll do that.

  160  GITTES DRIVING

   is now covered with a film of dust:

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

   Gittes takes this fork and begins a slow ascent.

   As he does, the tops of a line of bright green trees
   can be SEEN, coming more and more INTO VIEW, row upon
   row 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 stones
   that mark the pathway to the home. Towering above it
   all is a huge wooden water tank.

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

   He drives down the road into the grove.

  161  GITTES

   pulls to a halt in the road flanking the orchard lanes.
   He puts the car in neutral, stares at the trees. By
   contrast with what he has seen -- they are lush and
   beautiful, their heavy branches barely swaying in a
   light 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 on
   horseback down the field in the direction he had just
   driven is a Red-Faced Man in overalls. His hat blows
   off his head. He does not, however, lose the shotgun
   he has just used. Gittes' lane of retreat is denied
   him. He guns the car, and takes off down one of the
   orchard lanes.

  163  MOVING WITH GITTES

   The dirt lane is rough. As Gittes nears the end of
   it, a Younger Man on a mule blocks the exit.

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

  164  ANGLE ON GROVE

   Two farmers on foot, one using a crutch, run down the
   lanes 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 and
   down and across the orchard lanes -- until Gittes'
   front tire and radiator are ruptured by another
   SHOTGUN BLAST.

   Gittes' car veers off, scattering a stray gaggle of
   geese -- and smacks into an avocado tree, shaking loose
   a barrage of the heavy fruit onto Gittes and the car.

   Gittes immediately tries to get out through the branches
   over the back of his car, but he's pulled off it by one
   of the younger farmers -- a huge brute who he begins to
   tussle with -- the Crippled Farmer begins to bang Gittes
   on the back with his crutch. The two of them manage to
   pound Gittes to the ground within moments, where the
   Crippled Farmer continues to whack away at Gittes with
   the crutch.

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

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

  165  Gittes is hefted half off the ground and the two younger
   Farmers 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 FARMER
     I said see if he's armed, not empty
     his pockets.

       BIG FARMER
     -- He ain't armed.

   Gittes leans against the back of his car, breathing
   heavily.

       RED FACED FARMER
     All right, mister -- who you with
     -- water department or the real
     estate office --

   Gittes' back is to the Red Faced Farmer. He has trouble
   catching his breath. The Crippled Farmer pokes him rudely in
   the back with his crutch. Gittes turns sharply.

       GITTES
      (to Crippled Farmer)
     Get away from me!

       CRIPPLED FARMER
     Answer him!

       GITTES
     Touch me with that thing again and
     you'll need a pair of them.

       BIG FARMER
      (shoving Gittes)
     Whyn't you pick on somebody your
     own size?

       RED FACED FARMER
     I said cut that out! Give him
     a chance to say something.

   Gittes looks up at the Red Faced Farmer.

       GITTES
      (reaching down for
      his wallet)
     Name's Gittes -- I'm a private
     investigator and I'm not with
     either one.

       RED FACED FARMER
     Then what are you doing out here?

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

       RED FACED FARMER
     Irrigating my land?
      (exploding)
     The water department's been sending
     you people to blow up my water
     tanks! They threw poison down
     three of my wells! I call that
     a funny way to irrigate -- who'd
     hire you for a thing like that?

  166  Gittes reaches into his pocket -- the paper's on the
   ground. He picks it up.

       GITTES
     Mrs. Evelyn Mulwray --

       BIG FARMER
     Mulwray? That's the son of a
     bitch who's done it to us.

       GITTES
     Mulwray's dead -- you don't know
     what you're talking about, you dumb
     Oakie --

   The Big Farmer takes a swing at Gittes. Gittes kicks him
   squarely in the nuts, knees him in the jaw after he's
   doubled up, and hits him solidly. The Crippled Farmer
   takes careful aim and brings his crutch down on the back
   of Gittes' head. Gittes is knocked to the ground and
   lies still beside the Big Farmer who is writhing in agony
   in the dirt.

       RED FACED FARMER
     Well -- that's that.

  167  BLACK SCREEN

   There's a PURLING SOUND, which soon becomes defined into
   the SOUND OF VOICES talking quietly -- about whether to
   move or not to move, doctors, etc.

  168  CLOSE - EVELYN MULWRAY

   is staring down at Gittes who's lying in the screened-in
   porch of the farmers. His wife, the Red Faced Farmer,
   and the Big Farmer are there, along 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  FRONT PORCH - RED FACE FARMER'S HOUSE -
   REACTION - GITTES - DUSK

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

       GITTES
      (to Evelyn)
     What's going on?

       DUBOIS
      (quietly, almost as
      if he were in a
      hospital)
     -- You didn't look too good, so we
     thought we better call your employer.

   Gittes nods. He checks his watch. He looks out -- It's
   almost evening. Gittes says nothing. The wife of the
   Red Faced Farmer (DUBOIS) looks reproachfully at Dubois.
   Gittes feels the back of his head, It obviously hurts
   him.

  170  EXT. DUBOIS FARMHOUSE - EVENING

   Evelyn and Gittes go out to her car, the cream colored
   Packard. Dubois accompanies them -- along with the Big
   Farmer who is carrying a crate of something. Gittes has
   cleaned himself up a little.

       DUBOIS
     -- Look here, if it's all the same
     with you, we'll get your car patched
     up --If you'll tell me what your
     trousers run you, I'll make good on
     them, Mr. Gittes.

       GITTES
     It's okay, Mr. Dubois.

       DUBOIS,
      (to Evelyn)
     -- It's just that they're after
     everybody out here, tearing up our
     irrigation ditches -- trying to make
     our land worthless so they can pick
     it up for twenty-five dollars an
     acre --

   Gittes nods.

       DUBOIS
      (continuing)
     Anyway -- Earl here is sorry, too.
     He wants to give you something to
     take back with you.

   Gittes looks. Earl has the huge crate he's holding brim-
   full of avocados.

       GITTES
     Thanks, Earl.

  171  INT. CAR - EVELYN & GITTES - DUSK
  
   Evelyn driving.

       GITTES
     Thanks for coming...

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

       GITTES
     -- That dam is a con job.

       EVELYN
     What dam?

       GITTES
     The one your husband opposed --
     they're conning L.A. into building
     it, only the water won't go to
     L.A. -- it'll go here.

       EVELYN
     The Valley?

       GITTES
     Everything you can see, everything
     around us -- I was at the Hall of
     Records today --
      (whips out papers,
      turns on the car
      light)
     -- That bother you?

       EVELYN
     No.

       GITTES
      (looking over papers)
     In the last three months, Robert
     Knox has bought 7,000 acres, Emma
     Dill 12,000 acres, Clarence Speer
     5,000 acres, and Jasper Lamar
     Crabb 25,000 acres.

       EVELYN
     Jasper Lamar Crabb?

       GITTES
     Know him?

       EVELYN
     No, I think I'd remember.

       GITTES
     Yeah -- they've been blowing these
     farmers out of here and buying
     their land for peanuts -- Have
     any idea what this land'll be worth
     with a steady water supply? About
     thirty million more than they paid.

       EVELYN
     -- And Hollis knew about it?

       GITTES
     It's why he was killed -- Jasper
     Lamar Crabb -- Jasper Lamar Crabb --

   He's pulling out his wallet, excitedly now, spilling its
   contents onto the seat. He pulls out the obituary column
   he'd folded up earlier in the day.

       GITTES
      (continuing)
     We got it. We got it, baby.

       EVELYN
     What? What is it?

       GITTES
     There was a memorial service at
     the Mar Vista Inn today for Jasper
     Lamar Crabb. He died three weeks
     ago.

       EVELYN
     Is that unusual?

       GITTES
     Two weeks ago he bought those
     25,000 acres. That's unusual.

  172  EXT. MAR VISTA INN AND REST HOME - NIGHT

   Evelyn's car pulls up before the elegant Spanish rest
   home, its entryway illuminated by streetlights. There
   is a small sign giving the name of the place in elegant
   neon scroll. It sits on the rolling green lawns.

   Gittes gets out of the car with Evelyn. He offers her
   his arm and they go up the walkway to the entrance.

  173  INT. MAR VISTA INN AND REST HOME - NIGHT

   Gittes and Evelyn are approached by an unctuous man in
   his forties, with a flower in his buttonhole. He sees
   Evelyn first --

       PALMER
     Hello there, I'm Mr. Palmer. Can
     I help you folks?

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

       GITTES
     Yes, I sure hope so. It's Dad --
      (indicating his
      disheveled appearance)
     -- I just can't handle him anymore,
     can I, sweetheart?

   Evelyn shakes her head.

       PALMER
     Oh my goodness.

       GITTES
      (hastily)
     Nothing to do with Dad. It's me,
     actually.

       EVELYN
     They just don't get along very well.
     Dad's a lamb with anyone else.

       PALMER
      (not so sure)
     Oh -- well -- I don't know --

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

       PALMER
     -- Perhaps if we could meet your
     father --

       GITTES
     There's just one question.

       PALMER
     Of course.

       GITTES
     Do you accept anyone of the Jewish
     persuasion?

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

       PALMER
      (very embarrassed)
     I'm sorry -- we don't.

       GITTES
      (smoothly)
     Don't be sorry, neither does Dad.
     Wanted to make sure though, didn't
     we, honey?

  174  Evelyn stares back at Gittes, amused and appalled.
   She manages to nod.

       GITTES
     Just to be certain, I wonder if
     you could show us a list of your
     patients?

       PALMER
      (polite but pointed)
     We don't reveal the names of our
     guests as a matter of policy. I
     know you'd appreciate that if your
     father came to live with us.

   Gittes locks eyes with Palmer.

       GITTES
      (confidentially)
     That's exactly what we wanted to
     hear.

       PALMER
     Oh, good.

       GITTES
     I wonder, is it too late for us
     to have a look around?

       PALMER
     I don't think so -- be happy to
     show you --

       GITTES
     Would you mind if we took a stroll
     on our own?

       PALMER
     -- Just, if you will, confine
     yourself to the main building --
     it's nearly bedtime.

       GITTES
     We understand, c'mon, sweetheart.

   He takes Evelyn.

  175  INT. PARLOR - EVELYN

   looking. Either by accident or design, the primarily
   octogenarian guests have segregated themselves. In one
   wing, the men are playing pinochle, some are playing
   dominoes -- one elderly gentleman sits. by himself
   carefully peeling an orange.

   In an adjacent parlor several white-headed ladies work
   on a quilt.

   Gittes grabs Evelyn's hand.

       GITTES
      (quietly)
     They're all here. Every goddam
     name.

   Gittes points to the wall -- it says ACTIVITIES BOARD.
   There are titles -- LAWN BOWLING - BRIDGE - FISHING -
   CROQUET -- below them are the names of the guests,
   entered under certain activities, for certain days.

   After Evelyn looks, she turns to Gittes.

       GITTES
      (continuing;
      indicating the
      ancients around
      them)
     You're looking at the owners of
     a 50,000 acre empire.

       EVELYN
      (astonished)
     They can't be.

       GITTES
     They may not know it -- but they are.

  176  Gittes strolls toward the women knitting and working on
   the quilt.

       GITTES
     Hello, girls.

   Two of the ladies giggle. The third continues to busy
   herself with her quilt, off by herself.

       GITTES
      (continuing)
     Which one of you is Emma Dill?

   Two of them say "she is," and point in different
   directions. The third gives them a curt look and
   goes back to her knitting. Gittes approaches her.

       GITTES
     Are you Emma?

   Some old voice is singing softly, "Don't Sit Under the
   Apple Tree."

       EMMA
     -- Yes.

       GITTES
     I've been wanting to meet you.

       EMMA
     Why?

       GITTES
     -- Did you know that you're a very
     wealthy woman?

       EMMA
      (stitching, smiles)
     -- I'm not.

       GITTES
     Well you own a lot of land.

       EMMA
     Not anymore. Oh, some time ago,
     my late husband owned a good deal
     of beach property in Long Beach --
     but we lost it.

   Gittes looks at the quilt. In it is the head of a fish
   -- among the rest of the crazy quilt pattern. Gittes
   spots it.

       GITTES
     That's just lovely.

       EMMA
     Thank you...

  177  He looks through the quilt for other pieces of the fish
   -- comes across the tail -- and by it -- the initials
   A.C.

       GITTES
      (indicating tail)
     -- Where did you get this material?

       EMMA
      (what it sounds like)
     The apple core club --

       GITTES
     -- The apple core?

       EMMA
     No -- the albacore. It's a fish.
     My grandson's a member -- and they
     take very nice care of us.

       GITTES
     How do they do that?

       EMMA
     Give us things -- not just some
     old flag like this, but --

       GITTES-
      (kneeling)
     But what?

       PALMER'S VOICE
     We're a sort of unofficial charity
     of theirs, Mr. Gittes. Would you
     care to come this 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 if there's someone behind Palmer.

   Gittes rises.

       GITTES
     See you later, Emma.

   He walks toward Palmer who waits for him to walk in
   front.

  178  AT THE ENTRANCE HALL - MULVIHILL

   Is waiting. He's got his hand in his pocket. Evelyn
   looks to Gittes. The four of them stand there, Mulvihill
   towering over everyone.

       MULVIHILL
     Come on -- I want you to meet
     somebody, Gittes.

       GITTES
      (glancing from Palmer
      to Mulvihill)
     Can -- we leave the lady out of
     this?

       MULVIHILL
      (a little uncertain)
     -- Yeah, why not?

       GITTES
     Okay, I'd like to walk her to her
     car.

       EVELYN
     I'll stay.

      GITTES
      (taking her by the
      arm)
     Get in the car.

      MULVIHILL
     I'll see she makes it.

   Mulvihill has walked up beside Gittes. He makes the
   mistake of opening the glass door in the entryway,
   putting his back to Gittes for a moment. Gittes swiftly
   pulls Mulvihill's jacket up over his head. He spins him
   around. With his jacket covering his face, Gittes hammers
   away at Mulvihlll, beating him against the glass door,
   along the wall, mercilessly pounding his fists into the
   cloth until the cloth turns red and Mulvihill begins to
   sink to the red tile floor. Palmer screams. Evelyn stands
   there astonished. Mulvihill's gun has clattered to the
   floor.

       GITTES
      (as Mulvihill hits
      the floor, to Evelyn)
     What are you waiting for? Get in
     the car!

   Evelyn goes.

  179  Mulvihill tries to get up again. Palmer starts to go for
   the gun, nearly picking it up. Gittes slaps it out of
   his hand and kicks it. It goes flying down the hall, at
   least thirty feet; hits the wall. Palmer goes screaming
   off into the night. Gittes turns back to Mulvihill who
   starts to get up, then collapses.

   Gittes goes out the front door, ignoring the excited
   audience of ancients behind him.

  180  OUTSIDE

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

   Gittes stops. The two men fan out and continue to move
   toward him. Gittes spots the two-tone shoes. He begins
   to back up.

   Suddenly there is a pair of headlights flashing
   brilliantly behind the two men. In a moment Evelyn's car
   is headed across the lawn directly toward the two men,
   accelerating as it gets near them. They look in
   disbelief, then dive for safety. The car skids to a stop,
   fishtailing a little on the grass.

   Evelyn opens the passenger door.

       EVELYN
     Get in.

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

  181  INT. CAR - EVELYN & GITTES

   Evelyn looking straight ahead, driving. After a moment
   she takes one hand off the wheel and rubs her left eye a
   little. Gittes watches her. He smiles.

  182  EXT. VERANDA - MULWRAY HOME - NIGHT

   Gittes stands on the veranda, smoking a cigarette,
   staring off into the night.

   Evelyn comes out to the veranda, carrying a tray with
   whiskey and an ice bucket on it. She sets it down --
   Gittes turns.

       GITTES
      (watching her pour)
     Maid's night off?

       EVELYN
     Why?

       GITTES
      (a little surprised,
      he laughs)
     What do you mean, 'why?' Nobody's
     here, that's all.

       EVELYN
      (handing Gittes his
      drink)
     -- I gave everybody the night off --

       GITTES
     -- Easy, It's an innocent question.

       EVELYN
     No question from you is innocent,
     Mr. Gittes.

       GITTES
      (laughing)
     I guess not -- to you, Mrs. Mulwray.
     Frankly you really saved my a--
     my neck tonight.

   They drink.

       EVELYN
     Tell me something -- does this
     usually happen to you, Mr. Gittes?

       GITTES
     What's that, Mrs. Mulwray?

       EVELYN
     -- Well, I'm only judging on the
     basis of one afternoon and an evening,
     but if that's how you go about your
     work, I'd say you're lucky to get
     through a whole day.

      GITTES
      (pouring himself
      another drink)
     -- Actually this hasn't happened
     to me in some time.

       EVELYN
     -- When was the last time?

       GITTES
     Why?

       EVELYN
     Just -- I don't know why.
     I'm asking.

   Gittes touches his nose, winces a little.

       GITTES
     It was in Chinatown.

       EVELYN
     What were you doing there?

       GITTES
      (taking a long drink)
     -- Working for the District Attorney.

       EVELYN
     Doing what?

  183  Gittes looks sharply at her. Then:

       GITTES
     As little as possible.

       EVELYN
     The District Attorney gives his
     men advice like that?

       GITTES
     They do in Chinatown.

   She looks at him. Gittes stares off into the night.

   Evelyn has poured herself another drink.

       EVELYN
     Bothers you to talk about it,
     doesn't It?

   Gittes gets up.

       GITTES
     No -- I wonder -- could I -- do
     you have any peroxide or something?

   He touches his nose lightly.

       EVELYN
     Oh sure. C'mon.

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

  184  INT. BATHROOM - MIRROR

   Gittes pulls the plaster off his nose, stares at it in
   the mirror. Evelyn takes some hydrogen peroxide and some
   cotton out of a medicine cabinet. Evelyn turns Gittes'
   head toward her. She has him sit on the pullman tile
   adjacent to the sink.

       EVELYN
     Doctor did a nice job...

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


       EVELYN
      (continuing)
     -- Boy oh boy, you're a mess

       GITTES
     -- Yeah --

       EVELYN
      (working on him)
     -- So why does it bother you to
     talk about it... Chinatown...

       GITTES
     -- Bothers everybody who works
     there -- but to me -- It was --

   Gittes shrugs.

       EVELYN
     -- Hold still -- why?

       GITTES
     -- You can't always tell what's
     going on there --

       EVELYN
     ... No -- why was it --

       GITTES
     I thought I was keeping someone
     from being hurt and actually I ended
     up making sure they were hurt.

       EVELYN
     Could you do anything about it?

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

       GITTES
     Yeah -- make sure I don't find
     myself in Chinatown anymore --
     wait a second --

   He takes hold of her and pulls her even closer,

       EVELYN
      (momentarily freezing)
     -- What's wrong?

       GITTES
     Your eye.

       EVELYN
     What about it?

       GITTES
      (staring intently)
     There's something black in the
     green part of your eye.

       EVELYN
      (not moving)
     Oh that... It's a flaw in the
     iris...

       GITTES
     ... A flaw...

       EVELYN
     (she almost shivers)
     ... Yes, sort of a birthmark...

   Gittes kisses her lightly, gradually rises until he's
   standing holding her. She hesitates, then wraps her arms
   around him.

  186  INT. MULWRAY BEDROOM - TELEPHONE

   on a nightstand, city lights visible through the open
   window behind it. It is RINGING. Evelyn's arm reaches
   INT0 SHOT. SOUND of something hitting the headboard.
   Gittes moans.

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

       EVELYN
     Hello...
      (in Spanish now)
     No, no, I'll come and help,
     just keep watching her and don't
     do anything until I get there...
     'bye.

   VIEW SHIFTS AGAIN TO INCLUDE Gittes in bed, watching
   Evelyn next to him as she's talking on the phone. She
   hangs up. She touches Gittes' cheek lightly.

       EVELYN
     I have to go.

   Gittes stares at her silently.

       GITTES
     Where?

       EVELYN
     -- Just -- I have to.

       GITTES
     And I want to know where.

       EVELYN
      (she starts out of
      bed)
     Please don't be angry... believe
     me, it's got nothing to do with
     you --

       GITTES
      (stopping her)
     Where are you going?

       EVELYN
      (near tears)
     Please!... Trust me this much...
      (she kisses him
      lightly)
     I'll be back -- look, there is
     something I should tell you. The
     fishing club that old lady mentioned,
     the pieces off the flag --

       GITTES
     The Albacore Club.

       EVELYN
     It has to do with my father.

       GITTES
     I know.

       EVELYN
     He owns it. You know?

       GITTES
     I saw him.

       EVELYN
      (sitting up straight)
     You saw my fa -- father? When?

       GITTES
     This morning.

       EVELYN
      (panicked)
     You didn't tell me.

       GITTES
     There hasn't been a lot of time.

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

       EVELYN
     What did he say?
      (insistent)
     What did he say ?

       GITTES
     -- That you were jealous, and
     he was worried about what you
     might do.

       EVELYN
     Do? To who?

       GITTES
     Mulwray's girlfriend, for one
     thing. He wanted to know where
     she was.

   Evelyn starts quickly for the bathroom, then comes back
   and kneels by the side of the bed, takes Gittes' hand.

       EVELYN
     I want you to listen to me -- my
     father is a very dangerous man.
     You don't know how dangerous. You
     don't know how crazy.

       GITTES
     Give me an example.

       EVELYN
     You may think you know what's going
     on, but you don't.

       GITTES
     That's what your father said --
     you're telling me he's in back of
     this whole thing?

       EVELYN
     It's possible.

       GITTES
     Including the death of your husband?

       EVELYN
     It's possible -- please don't ask
     me any more questions now. Just
     wait, 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 of bed,
   rummages around, tosses on his trousers. He grabs his
   shoes, throws them on. Then hurries out of the bedroom.

  188  EXT. MULWRAY HOME - GITTES

   running across the driveway to the garage. There are two
   cars there -- Mulwray's Buick and Evelyn's Packard.

   Gittes moves over to the Buick, opens the passenger's
   door.

  189  INT. BUICK - GITTES

   checks the ignition. No key is in it. He pulls a couple
   of wires from under the dash -- starts to mess with them,
   seems satisfied. Slides out across the seat, slams the
   door.

  190  EXT. MULWRAY DRIVEWAY - NIGHT

   Gittes hurries over to the Packard. He gets down on the
   driveway, lying on his back, bracing himself. With the
   heel of his shoe, he kicks at the right rear taillight of
   the car. He shatters the red lens, gets up. He carefully
   pulls the red lens off the taillight, exposing the white
   light 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 healthy
   distance from Evelyn in front of him. .

  193  EVELYN'S PACKARD

   pulls up before a small little bungalow-house. She gets
   out, looks up and down the street. There is nothing.
   She hurries on up the walkway to the front door.

  194  DOWN THE STREET - GITTES IN BUICK

   Idles the engine with the lights off. He brings the car
   a few yards further down the street, parking it near
   Evelyn's.

   Gittes gets out of the car and goes up the walkway.
   The curtains are drawn except for one of the small
   windows on the side of the house. He goes to it and
   looks, balancing on the edge of the porch.

  195  THROUGH THE WINDOW

   Gittes sees Evelyn's Oriental servant rush through the
   living room of the small house. In a moment he re-emerges
   back through the living room carrying a tray with a glass
   and pitcher on it.

  196  GITTES

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

   He climbs over it, follows along the stucco wall to a
   series of windows at the corner of the house. These all
   have shades on them. He can hear someone crying in the
   house. Someone else talking alternately firmly and
   plaintively in Spanish. Here the windows have blinds.
   He moves to one where the blind is not completely drawn
   -- there's an inch or so of space at the bottom.

  197  THROUGH THE WINDOW

   Gittes can see the servant again. Evelyn is pacing back
   and forth in and out of his line of vision. After a
   moment someone rises INTO SHOT -- obviously from lying
   on a bed. The figure is just a few feet from Evelyn. Her
   tear-stained face comes INTO VIEW. It is unmistakably
   the girl Gittes had last seen with Hollis Mulwray.
   Mulwray's girlfriend. She's looking up to Evelyn,
   speaking in Spanish -- her words are not discernible
   but the tone is -- bitter, anguished. A newspaper is
   strewn about the room.

   Evelyn kneels. She insists that the girl swallow down
   some pills. The girl reluctantly does.

  198  GITTES

   continues to watch.

  199  EXT. STREET - EVELYN - NIGHT

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

  200  INT. CAR

   Evelyn sees Gittes sitting in her car, staring coldly
   at her.

       GITTES
     Okay, give me the keys.

       EVELYN
      (stunned, furious)
     You bastard.

       GITTES
     -- It's either that or you drive
     to the police yourself..

       EVELYN
     The police?

       GITTES
     C'mon, Mrs. Mulwray -- you've got
     your husband's girlfriend tied up
     in there!

       EVELYN
     She's not tied up!

       GITTES
     You know what I mean. You're
     keeping her there against her will.

       EVELYN
     I am not!

       GITTES
     Then let's go talk to her.

  201  Gittes starts to get out of the car. Evelyn grabs his
   arm, nearly screaming:

       EVELYN
     No!

   Her intensity actually rips Gittes' already partially
   torn jacket. He looks at it and her. It seems to have
   a momentary calming effect on both of them.

       EVELYN
      (continuing)
     She's too upset.

       GITTES
     What about?

       EVELYN
     Hollis' death. I tried to keep
     it from her, I didn't want her
     upset before I could make plans
     for her to leave.

       GITTES
     You mean she just found out?

       EVELYN
     Yes.

       GITTES
     That's not what it looks like,
     Mrs. Mulwray.

       EVELYN
     What does it look like?

       GITTES
     Like she knows about Hollis' death
     -- like she knows more than you
     want her to tell.

       EVELYN
     You're insane.

   Gittes explodes.

       GITTES
     Just tell me the truth -- I'm not
     the police. I don't care what
     you've done. I'm not going to
     hurt you -- but one way or another
     I'm going to know.

       EVELYN
     You won't go to the police if I
     tell you?

       GITTES
     I will if you don't.

   A long pause. Evelyn's head sinks onto the steering
   wheel, her hair covering her face.

       EVELYN
     She's my sister.

  202  Evelyn is breathing very deeply now -- not crying, but
   the kind of deep breathing that comes from real hysteria.
   Gittes puts an arm on her shoulder.

       GITTES
     Take it easy... If it's your sister
     it's your sister... why all the
     secrecy?

   She lifts her head and looks up at him. He's genuinely
   puzzled.
       EVELYN
      (really upset)
     I can't...

       GITTES
     Because of Hollis? Because she
     was seeing your husband? Was that
     it? Jesus Christ, say something.
     Was that it?

   She nods. Gittes sighs.

       EVELYN
      (finally)
     I would never ever have harmed
     Hollis. I loved him more than my
     own family. He was the most gentle,
     decent man imaginable... and he
     put up with more from me than
     you'll ever know... I just wanted
     him to be happy...

   She begins to cry softly.

       GITTES
      (after a moment)
     -- I took your husband's Buick...
      (he opens the car
      door)
     I'll return it tomorrow.

       EVELYN
     Aren't you coming back with me?

       GITTES
     -- Don't worry. I'm not telling
     anybody about this.

       EVELYN
     ... That's not what I meant.

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

       GITTES
      (finally)
     Yeah, well... I'm very tired,
     Mrs. Mulwray. Good night.

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

  203  INT. SHOWER - GITTES' APARTMENT - GITTES

   The spray is hitting him full on the top of the head.
   Gittes is so exhausted he's literally holding onto the
   nozzle as the water pours down. He shuts the shower off,
   reaches weakly for a towel -- dabs his nose lightly with
   it.

  204  INT. GITTES' BEDROOM - GITTES

   pads around in elegant silk pajamas.

   He walks over to the window where morning light is
   streaming in. He closes the curtains, collapses on the
   bed, on top of the covers, inert. Almost immediately the
   PHONE RINGS. Gittes lets it go on for a moment, then
   picks it up without saying anything.

       VOICE ON PHONE
      (male)
     Gittes?... Gittes?

       GITTES
     -- Yeah.

       VOICE ON PHONE
     Ida Sessions wants to see you.

       GITTES
     Who?

       VOICE 0N PHONE
     Ida Sessions, you remember Ida.

   Gittes slowly rises to one elbow.

       GITTES
     -- Yeah?... I do?

       VOICE ON PHONE
     Sure you do.

       GITTES
     -- Well, tell you what, pal. If
     Ida wants to see me she can call
     me -- at my office.

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

       VOICE ON PHONE
     684 1/2 East Tensington -- Echo
     Park. She begged me to call.
     She's waiting for you.

   Before Gittes can say anything, the phone clicks dead.

  205  EXT..CERRITOS TOWER ROAD - HOLLYWOOD HILLS -
   EARLY MORNING

   Gittes pulls up. It is a bungalow courtyard with a
   very narrow walkway and sickly green stucco.

  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. Dust
   particles in the shafts of light. It's still and empty.
   Gittes sees something down the hall, under the legs of a
   telephone table. Gittes moves toward it. It is grotesque.
   When he gets closer he can see it's a wilted head of
   lettuce. Just inside the kitchen some radishes and onions
   lie on the linoleum. Gittes walks on into the kitchen.

  208  INT. KITCHEN

   Clearing the kitchen counter, Gittes sees IDA SESSIONS
   lying on her back on the floor, surrounded by the
   groceries from a broken bag. Ice cream has melted around
   her. Her eyes are open, a stream of ants is moving across
   the ice cream and into her mouth. She's recognizable as
   the woman who posed as Evelyn Mulwray.

   Gittes kneels over her. He gingerly opens her handbag,
   fishes for its contents, takes them and looks at them on
   the kitchen counter -- wallet with a few bills in it,
   driver's license. with her name -- a Screen Actors Guild
   card. Gittes nods -- turns, carefully replaces the items
   in the purse.

   He idly opens the broom closet, pantry, and even
   Frigidaire -- which is all but empty. Then he steps over
   her body and moves across the hall to a door that is
   slightly ajar.

  209  INT. BATHROOM

   Gittes enters and turns on the light.

       ESCOBAR
     Find anything interesting, Gittes?

   Escobar and another PLAINCLOTHED MAN stand in the
   bathroom by the entrance to the bedroom door. Gittes
   turns around. A THIRD MAN is now coming down the hall
   from the bedroom.

   Gittes looks at the two, doesn't reply.

       ESCOBAR
     What are you doing here?

       GITTES
     Didn't you call?

       ESCOBAR
      (jerk of his head
      toward the kitchen)
     How do you happen to know her?

       GITTES
     I don't.

       ESCOBAR
     (turning toward
     other room)
     -- Let me show you something.

  210  INT. KITCHEN

   Escobar points to the number MU 7279 on the side of one
   of the kitchen cabinets.

       ESCOBAR
     Isn't that your number?

       GITTES
     Is it? I forget. I don't call
     myself that often.

       ESCOBAR
     Just to be on the safe side, we
     had Loach here 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 on it?

       GITTES
      (right back, smiling)
     Nope, your wife got excited, crossed
     her legs a little too quick. You
     understand, pal.

   The Assistant starts to move for Gittes who is ready for
   him. Escobar steps between the two.

       ESCOBAR
      (to other Assistant)
     Loach.
      (Escobar pulls out
      a drawer)
     How about these? Look familiar?

   In the open drawer are the photos of Mulwray and the
   girl in the park, boat, and at the El Macando on the
   veranda.

       GITTES
      (no point in denying it)
     Yeah, I took 'em. So what?

       ESCOBAR
     How did she --
      (meaning the corpse)
     -- happen to have them?

   Gittes takes a deep breath.

       GITTES
     Either you tell me or I guess -
     'cause I don't have the answer.

   Escobar nods.

       ESCOBAR
     You really think I'm stupid, don't
     you, Gittes?

       GITTES
     I don't think about it one way or
     the other. But if you want, give
     me a day or two, and I'll get
     back to you. Now I'd like to go
     home.

       ESCOBAR
     I want the rest of the pictures.

       GITTES
     What pictures?

       ESCOBAR
      (meaning the corpse)
     This broad hired you, Gittes, not
     Evelyn Mulwray.

       GITTES
     Yeah?

       ESCOBAR
     Yeah -- somebody wanted to shake
     down Mulwray, she hired you, and
     that's how you happen to know
     Mulwray was murdered.

       GITTES
     I heard it was an accident.

       ESCOBAR
     C'mon, you think you're dealing
     with a bunch of assholes? Mulwray
     had salt water in his goddam lungs!
     Now how did he get that... in a fresh
     water reservoir?

  211  Gittes is surprised at this piece of information, but
   remains nonplussed.

       ESCOBAR
     You were following him night and
     day You saw who killed him.
     You even took pictures of it.
     It was Evelyn Mulwray -- she's
     been paying you off like a slot
     machine ever since her husband
     died.

       GITTES
      (smiling)
     You accusing me of extortion?

       ESCOBAR
     Absolutely.

       GITTES
     -- I don't think I need a day or
     two -- you're even dumber than
     you think I think you are. Not
     only that, I'd never extort a nickel
     out of my worst enemy, that's where
     I draw the line, Escobar.

       ESCOBAR
     Yeah, I once knew a whore who for
     enough money would piss in a
     customer's face -- but she'd never
     shit on his chest. That's where
     she drew the line.

       GITTES
      (smiling)
     Well, I hope she wasn't too much
     of a disappointment to you, Lou.

   Escobar manages a thin smile.

       ESCOBAR
     I want those photographs, Gittes.
     We're talking about accessory after
     the fact, conspiracy, and extortion
     -- minimum.

       GITTES
     Why do you think Mulwray's body
     was moved you dimwit? Evelyn
     Mulwray knocked off her husband
     in the ocean -- and thought it
     would look like more of an accident
     if she hauled him up to the Oak
     Pass Reservoir?

   This is a little telling.

       GITTES
      (continuing)
     Mulwray was murdered and moved --
     because somebody didn't want his
     body found in the ocean.

       ESCOBAR
     And why's that ?

       GITTES
     He found out somebody was dumping
     water there. That's what they
     were trying to cover up by moving
     him.

   This stops Escobar. He's dumbfounded by it.

       ESCOBAR
     What are you talking about?

       GITTES
     C'mon I'll show you.
  
   Escobar hesitates.

       GITTES
      (continuing)
     C'mon - make a decision, Lou.
     You're in charge.

   The men around Escobar look to him. Escobar grudgingly
   nods.

  212  CLOSE SHOT - STORM DRAIN

   It yawns AT CAMERA, only a trickle of water dropping into
   the ocean.

   VIEW WIDENS TO INCLUDE Escobar, Gittes, and two Plain-
   clothesmen, standing and staring at the empty pipe as if
   they expect it to talk.

       GITTES
      (squinting in sunlight)
     It's too late.

       ESCOBAR
     Too late for what?

       GITTES
     They only dump the water at night.

  213  A THIRD ASSISTANT runs down the side of the cliff and
   Over to Escobar.

       ESCOBAR
     Reach anybody?

       THIRD ASSISTANT
     Yelburton, he's the new chief.

       ESCOBAR
     I know who he is. Well?

       THIRD ASSISTANT
     He says --

       GITTES
     I know what he says.

       ESCOBAR
      (to Gittes)
     Shut up.
      (to Assistant)
     Go on.

       THIRD ASSISTANT
     Yelburton says they're irrigating
     in the valley -- there's always a
     little runoff when they do that.
     And he says is Gittes knows that,
     and has been going around making
     irresponsible accusations for the
     last week.

   Escobar turns to Gittes. Stares at him for a long moment.

       ONE OF ASSISTANTS
     Let's swear out a warrant for her
     arrest. What are we waiting for?

       GITTES
      (meaning Escobar)
     -- Because he just made lieutenant,
     and he wants to hang onto his
     little gold bar.

   Escobar stares hatefully at Gittes.

       ESC0BAR
     Have your client in my office in
     two hours -- and remember. I
     don't have to let you go. I've
     got you for withholding evidence
     right now.

  214  EXT. MULWRAY HOME - DAY

   Gittes in Mulwray's Buick whips into the driveway. He
   looks in the garage. Evelyn's car is gone. Only the
   Gardener's truck is there.

   Gittes hurries along the pathway and up to the house.
   He rings the doorbell. Scarcely waiting for an answer
   he tries it. It's locked. He reaches into his pocket
   -- pulls out his cigarette case, takes a pick out of
   the side and starts to fool with the lock.

   The Maid opens the door abruptly, stares in some surprise
   at Gittes.

       GITTES
     Where's Mrs. Mulwray?

       MAID
     No esta.

  215  Gittes looks past the Maid to the center of the living
   room -- where luggage is packed and neatly piled.

   The Maid is actually in the process of throwing covers
   over the furniture.

       GITTES
      (indicating luggage)
     Is Mrs. Mulwray going someplace?...
      (no answer)
     on a trip?... vacation?...

       MAID
     No esta in casa.

   Gittes nods. He continues through the house and out back
   to the veranda.

  216  EXT. MULWRAY VERANDA - GITTES

   is unsettled. Sees the Gardener working by the pond.
   He wanders a few yards in that direction.

  217  GARDENER

   spots Gittes, half-bows, nods and smiles.

  218  GITTES

   in turn, nods, smiles.

       GITTES
     -- bad for glass.

  219  GARDENER

   breaks into a big grin. Nods again.

       GARDENER
     Oh yes, bad for glass.

  He points to the newly mown lawn.

       GARDENER
      (continuing)
     Salt water velly bad for glass.

  220  GITTES

   can't quite believe what he's heard,

       GITTES
     Salt water?

   The Gardener nods vigorously. Points to the pond.

       GARDENER
     Velly velly bad.

   Gittes has moved to the pond. He kneels. Clinging to the
   edge of it he can now see as he could have before if he'd
   looked closely, a starfish.

  221  CLOSE STARFISH

   It has one leg missing. The fifth point on the star is
   Just beginning to grow back.

  222  GITTES

   touches the water, tastes it. He licks his lips, then
   spots something glinting in the bottom of the pond.

       GITTES
     What's that... down there?

   The Gardener peers into the pond.

       GITTES
      (continuing)
     ... there.

   The Gardener spots it. He rolls up his trousers, gets in
   the pond, and reaches into the bottom, his chin actually
   touching the water. He misses the object, which seems to
   scoot away like an animal. Then he grasps it. He lifts it
   out of the water and holds a pair of eye glasses,
   rimless, bent, his finger poking through the frame where
   one lens is shattered.

   The Gardener seems surprised. Gittes looks at the
   glasses. They are heavily 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, uneasily
   watching him.

       CROSS' VOICE
     Hello.

       GITTES
     Have you got your checkbook handy,
     Mr. Cross? I've got the girl.

       CROSS' VOICE
     -- you've got her? Where?

       GITTES
     Do you remember the figures we
     discussed?

       CROSS' VOICE
     Of course I do. Where are you?

       GITTES
     -- at your daughter's house.
     How soon can you get here?

       CROSS' VOICE
     Two hours... tell me, will
     Evelyn be there as well?

       GITTES
     Either that or she'll be in jail.

       CROSS' VOICE
     What are you talking about?

       GITTES
     Just 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 SERVANT
     You wait.

       GITTES
      (short sentence in
      Chinese)
     You wait.

  225  Gittes pushes past him. Evelyn, looking a little worn but
   glad to see him hurries to the door. She takes Gittes'
   arm.

       EVELYN
     How are you? I was calling you.
  
   She looks at him, searching his face.

       GITTES
     -- Yeah?

   They move into the living room. Gittes is looking around
   it.

       EVELYN
     Did you get some sleep?

       GITTES
     Sure.

       EVELYN
     Did you have lunch?
     Kyo will fix you something --

       GITTES
      (abruptly).
     -- where's the girl?

       EVELYN
     Upstairs. Why?

       GITTES
     I want to see her.

       EVELYN
     ...she's having a bath now... why
     do you want to see her?

   Gittes continues to look around. He sees clothes laid out
   for packing in a bedroom off the living room.

       GITTES
     Going somewhere?

       EVELYN
     Yes, we've got a 4:30 train to
     catch. Why?

   Gittes doesn't answer. He goes to the phone and dials.

       GITTES
     J. J. Gittes for Lieutenant
     Escobar

       EVELYN
     What are you doing? What's wrong?
     I told you we've got a 4:30 --

       GITTES
      (cutting her off)
     You're going to miss your train!
      (then, into phone)
     Lou, meet me at 1412 Adelaide
     -- it's above Santa Monica
     Canyon... yeah, soon as you can.

       EVELYN
     What did you do that for?

       GITTES
      (a moment, then)
     You know any good criminal lawyers?

       EVELYN
      (puzzled)
     -- no...

       GITTES
     Don't worry -- I can recommend a
     couple. They're expensive but you
     can afford it.

       EVELYN
      (evenly but with
      great anger)
     What the hell is this all about?

   Gittes looks at her -- then takes the handkerchief out
   Of his breast pocket -- unfolds it on a coffee table,
   revealing the bifocal glasses, one lens still intact.
   Evelyn stares dumbly at them.

       GITTES
     I found these in your backyard --
     in your fish pond. They belonged to
     your husband, didn't they?... didn't
     they?

       EVELYN
     I don't know. I mean yes, probably.

       GITTES
     -- yes positively. That's where
     he was drowned...

       EVELYN
     What are you saying?

       GITTES
     There's no time for you to be
     shocked by the truth, Mrs. Mulwray.
     The coroner's report proves he was
     killed in salt water. Just take my
     word for it. Now I want to know
     how it happened and why. I want
     to know before Escobar gets here
     because I want to hang onto my
     license.

       EVELYN
     -- I don't know what you're talking
     about. This is the most insane...
     the craziest thing I ever...

   Gittes has been in a state of near frenzy himself.
   gets up, shakes her.

       GITTES
     Stop it! - I'll make it easy. --
     You were jealous, you fought, he
     fell, hit his head -- it was an
     accident -- but his girl is a
     witness. You've had to pay her
     off. You don't have the stomach
     to harm her, but you've got the
     money to shut her up. Yes or no?

       EVELYN
     ... no...

       GITTES
     Who is she? And don't give me that
     crap about it being your sister.
     You don't have a sister.

   Evelyn is trembling.

       EVELYN
     I'll tell you the truth...

   Gittes smiles.

       GITTES
     That's good. Now what's her name?

       EVELYN
     -- Katherine.

       GITTES
     Katherine?... Katherine who?

       EVELYN
     -- she's my daughter.

  226  Gittes stares at her. He's been charged with anger and
   when Evelyn says this it explodes. He hits her full in
   the face. Evelyn stares back at him. The blow has forced
   tears from her eyes, but she makes no move, not even to
   defend herself.

       GITTES
     I said the truth!

       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 Chinese
   vase which shatters and she collapses on the sofa,
   sobbing.

       GITTES
     I said I want the truth.

       EVELYN
      (almost screaming it)
     She's my sister and my daughter!

   Kyo comes running down the stairs.

       EVELYN
      (continuing;
      in Chinese)
     For God's sake, Kyo, keep her
     upstairs, go back!

   Kyo turns after staring at Gittes for a moment then
   goes back upstairs.

       EVELYN
      (continuing)
     -- my father and I, understand,
     or is it too tough for you?

   Gittes doesn't answer.

       EVELYN
      (continuing)
     ... he had a breakdown... the
     dam broke... my mother died...
     he became a little boy... I was
     fifteen... he'd ask me what to
     eat for breakfast, what clothes
     to wear!... It happened... then
     I ran away...

       GITTES
     to Mexico...

   She nods.

       EVELYN
     Hollis came and took... care
     of me... after she was born...
     he said... he took care of her...
     I couldn't see her... I wanted to
     but I couldn't... I just want to
     see her once in a while... take care
     of her... that's all... but I don't
     want her to know... I don't want
     her to know...

       GITTES.
     ... so that's why you hate him...

   Evelyn looks slowly up at Gittes.

       EVELYN
     -- no... for turning his back on
     me after it happened! He couldn't
     face it...
      (weeping)
     I hate him.

   Gittes suddenly feels the need to loosen his tie.

       GITTES
     -- yeah... where are you taking her
     now?

       EVELYN
     Back to Mexico.

       GITTES
     You can't go by train. Escobar'll
     be looking for you everywhere.

       EVELYN
     How about a plane?

       GITTES
     That's worse... Just get out of
     here -- walk out, leave everything.

       EVELYN
     I have to go home and get my things --

       GITTES
     -- I'll take care of it.

       EVELYN
     Where can we go?

       GITTES
     ...where does Kyo live?

       EVELYN
     -- with us.

       GITTES
     On his day off. Get the exact
     address.

       EVELYN
     -- okay...

   She stops suddenly.

       EVELYN
     Those didn't belong to Hollis.

   For a moment Gittes doesn't know what she's talking
   about. Then he follows her gaze to the glasses lying on
   his handkerchief.

       GITTES
     How do you know?

       EVELYN
     He didn't wear bifocals.

   Gittes picks up the glasses, stares at the lens, is
   momentarily lost in them.

  227  EVELYN
  
   from the stairs. She has her arm around Katherine.

       EVELYN
     Say hello to Mr. Gittes, sweetheart.

       KATHERINE
      (from the stairs)
     Hello.

  228  GITTES

   rises a little shakily from the arm of the sofa.


       GITTES
     Hello.

   With her arm around the girl, talking in Spanish,
   Evelyn hurries her toward the bedroom. In a moment she
   re-emerges.

       EVELYN
      (calling down)
     -- he lives at 1712 Alameda... do
     you know where that is?

  229  REACTION - GITTES

   He nods slowly.

       GITTES
     -- sure. It's Chinatown.

  230  THRU WINDOW

   of bungalow Gittes watches Evelyn, the girl and Kyo head
   for Kyo's black dusty sedan.

   Gittes drops the curtain, heads swiftly to the phone. He
   dials.

       GITTES
     Sophie... is Walsh there?... yeah,
     listen, pal, Escobar's going to try
     and book me in about five minutes...
     relax, I'll tell you. Wait in the
     office for two hours. If you don't
     hear from me, you and Duffy meet me
     at 1712 Alameda.

       WALSH'S VOICE
     -- Jesus, that's in Chinatown, ain't
     it?

  231  The front BELL RINGS.

       GITTES
     I know where it is! Just do it.

   Gittes hangs up and goes to the door. He opens it. No
   one is there.

       GITTES
      (not even bothering
      to look around the
      sides)
     Come on in, Lou -- we're both too
     late.

   Escobar and his minions appear from either side of the
   door.

       GITTES
      (continuing)
     Looks like she flew the coop.

   Escobar nods.

       ESCOBAR
     I don't suppose you got any idea
  W   here she went?

       GITTES
     Matter of fact I do.

       ESCOBAR
     Where?

       GITTES
     Her maid's house. I think she
     knows something's up.

       ESCOBAR
     What's the maid's address?

       GITTES
     She lives in Pedro -- I'll write it
     down for you --

       ESCOBAR
     No, Gittes, you'll show us.

       GITTES
     What for?

       ESCOBAR
     If she's not there, you're going
     downtown, and you're staying there
     til she shows up.

       GITTES
      (deliberately
      petulant)
     Gee, Lou, I'm doing the best I can.

       ESCOBAR
      (shoving him toward
      the door)
     Tell us about it on the way to
     Pedro.

  232  EXT. SAN PEDRO - 29TH STREET - DAY

   A steep hill overlooks part of the harbor. Escobar's
   unmarked car pulls up to a stop in front of a Spanish
   duplex perched on the steep hillside.

       ESCOBAR
     That's it?

       GITTES
     -- yeah.

       ESCOBAR
     Well, let's go.

       GITTES
     Do me a favor, will you, Lou?

   Escobar waits.

       GITTES
      (continuing)
     Let me bring her down myself...
     she's not armed or nothing... she
     won't be any problem... I'd just
     like a minute alone with her...
     It would mean something... to...
     her... and to me.

   Escobar shakes his head. For a moment it looks like it
   means no.

       ESCOBAR
     You never learn, do you,
     Gittes?

       GITTES
      (a little
      chagrined)
     I guess not.

       ESCOBAR
     -- Give you three minutes.

       GITTES
     Gee, thanks, Lou.

   Gittes gets out of the car, glances around, goes up the
   stairs. He looks back down at Escobar. Gittes rings the
   bell. He waits. It opens. It's a WOMAN who's not
   recognizable. She's got the remnants of a black eye.

       WOMAN
     Yes?...

   Gittes looks past her to Curly, the fisherman from the
   first scene. He's seated at the dinner table with his
   father, his mother, and his children. Curly looks up in
   surprise.

       CURLY
      (happily)
     Mr. Gittes! Come in, come in.

  233  Gittes enters and closes the door. Curly rises and comes
   over to him, greets him happily.

       CURLY
     Gee, this is a surprise, Mr. Gittes.

       GITTES
     Call me Jake. How is everything?

       CURLY
     Just sitting down to supper, Jake.
     Care to join us?

       GITTES
     No thanks --

       CURLY
     How about a glass of wine? Honey,
     this is --

       WIFE
      (coolly)
     Yes, I know.

       GITTES
     Thanks just the same, Curly. I
     could use a glass of water, though --
     come out with me to the kitchen
     for a second.

       CURLY
      (puzzled)
     Sure thing.

  234  INT. KITCHEN - GITTES AND CURLY

       GITTES
     Curly, where's your car?

       CURLY
     In the garage.

       GITTES
     Where's that?

       CURLY
     Off the alley.

       GITTES
     Could you drive me somewhere?

       CURLY
     Sure, as soon as we eat --

       GITTES
     Right now, Curly. It can't wait.

       CURLY
     I'll just tell my wife.

       GITTES
      (pulling him out
      the back door)
     -- tell her later.

   They head out the back door and down the steps toward
   The garage.

  235  EXT. ALLEY AND GARAGE

   Curly pulls open the garage door. Gets in, starts the
   car, backs it out. It's an old, late twenties Plymouth
   sedan. Gittes hops in. They take off. At the edge of
   the alley Gittes looks back.

  POV FROM CURLY'S CAR

   Escobar is getting out of his car, moving towards the
   duplex. Gittes slips down in the seat.

       GITTES' VOICE
   Just drive slow for a block or two,
   will you, Curly?

       CURLY'S VOICE
     What's this all about?

       GITTES' VOICE
     Tell you in a couple of blocks.

  236  INT. SEDAN - GITTES AND CURLY

       GITTES
     How much do you owe me, Curly?

       CURLY
      (embarrassed)
     Oh, gee, Mr. Gittes -- we're going
     out tomorrow. I know you been real
     good about it but my cousin Auggie's
     sick.

       GITTES
     Forget it. How would you like to
     pay me off by taking a couple of
     passengers to Ensenada... you'd
     have to leave tonight.

       CURLY
     -- I don't know...

       GITTES
     -- I might be able to squeeze an
     extra seventy-five bucks out of it
     for you -- maybe an even hundred.

       CURLY
     -- plus what I owe you?

       GITTES
     I'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 for
   the Maid. She gets in. He turns to Gittes.

       GITTES
     Tell Mrs. Mulwray to wait for half
     an hour after you get there -- then
     if I don't show, take her down to
     the boat.

       CURLY
      (a little worried)
     -- you sure this is okay?

       GITTES
      (mildly indignant)
     Curly, you know how long I been in
     business.

   Curly nods, reassured. He gets in and takes off.

  238  EXT. MULWRAY HOME - DUSK

   by the pond, cigarette smoke drifts INTO SHOT. A car
   pulls up. In a moment Cross can be SEEN, looking TOWARD
   CAMERA.

       CROSS
     There you are.

   He walks toward Gittes who stands by the pond, smoking.

       CROSS
      (continuing)
     Well, you don't look any the worse
     for wear, Mr. Gittes, I must say...
     where's the girl?...

       GITTES
     I've got her.

       CROSS
     Is she all right?

       GITTES
     She's fine.

       CROSS
     Where is she?

       GITTES
     With her mother.

   Cross' tone alters here.

      CROSS
     ... with her mother?

   Gittes pulls something out of his pocket and unfolds it.

       GITTES
     I'd like you to look at something,
     Mr. Cross --

       CROSS
      (taking it)
     What is it?

       GITTES
     An obituary column... can you read
     in this light?

       CROSS
     Yes... I think I can manage...

   Cross dips into his coat pocket and pulls out a pair of
   rimless glasses.. He puts them on, reads.

  239  GITTES

   stares at the bifocal lenses as Cross continues to look
   through the obituary column. He looks up.

       CROSS
     What does this mean?

       GITTES
     -- that you killed Hollis Mulwray --

   Gittes is holding the bifocals with the broken lens now.

       GITTES
      (continuing)
    -- right here, in this pond. You
    drowned him... and you left these.

   Cross looks at the glasses.

       GITTES
     ...the coroner's report showed
     Mulwray had salt water in his
     lungs.

       CROSS
      (finally)
     Hollie was always fond of tide-pools.
     You know what he used to say about
     them?

       GITTES
     Haven't the faintest idea.

       CROSS
     -- that's where life begins...
     marshes, sloughs, tide-pools... he
     was fascinated by them... you know
     when we first came out here .he
     figured that if you dumped water
     onto desert sand it would percolate
     down into the bedrock and stay
     there, instead of evaporating the
     way it does in most reservoirs.
     You'd lose only twenty percent
     instead of seventy or eighty. He
     made this city.

       GITTES
     -- and that's what you were going
     to do in the Valley?

  240  EXT. POND - CROSS AND GITTES

       CROSS
      (after a long moment)
     -- no, Mr. Gittes. That's what
     I am doing with the Valley. The
     bond issue passes Tuesday -
     there'll be ten million to build
     an aqueduct and reservoir. I'm
     doing it.

       GITTES
     There's going to be some irate
     citizens when they find out they're
     paying for water they're not getting.

       CROSS
     That's all taken care of. You see,
     Mr. Gittes. Either you bring the
     water to L.A. -- or you bring L.A.
     to the water.

       GITTES
     How do you do that?

       CROSS
     -- just incorporate the Valley into
     the city so the water goes to L.A.
     after all. It's very simple.

   Gittes nods.

       GITTES
      (then)
     How much are you worth?

       CROSS
      (shrugs, then)
     I have no idea. How much do you
     want?

       GITTES
     I want to know what you're worth --
     over ten million?

       CROSS
     Oh, my, yes.

     GITTES
     Then why are you doing it? How
     much better can you eat? What can
     you buy that you can't already
     afford?

       CROSS
      (a long moment,
      then:)
     The future, Mr. Gittes -- the
     future. Now where's the girl?...
     I want the only daughter I have
     left... as you found out, Evelyn
     was lost to me a long time ago.

       GITTES
      (with sarcasm)
     Who do you blame for that? Her?

   Cross makes a funny little cock of his head.

       CROSS
     I don't blame myself. You see,
     Mr. Gittes, most people never
     have to face the fact that at
     the right time and right place,
     they're capable of anything. Take
     those glasses from him, will you,
     Claude?

   Mulvihill moves INTO VIEW. Extends his hand for the
   glasses. Gittes doesn't move.

       CROSS
      (continuing)
     It's not worth it, Mr. Gittes.
     It's really not worth it.

   Gittes hands over the glasses.

       CROSS
      (continuing)
     Take us to the girl. Either
     Evelyn allows me to see her, or
     I'm not averse to seeing Evelyn
     in jail -- if I have to buy the
     jail -- Hollis and Evelyn kept
     her from me for fifteen years --
     it's been too long, I'm too old.

  241  EXT. CHINATOWN STREET - NIGHT

   The streets are crowded. Here and there one can see
   Chinese in traditional dress.

  242  GITTES

   driving slowly -- spots Katherine with Ramon and luggage,
   nearly lost in the crowd. They are walking toward a car
   parked 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 out of the car shouting:

       CROSS
     Katherine! Katherine! Wait!

   Gittes is after him, grabbing him. Cross tries to swing
   at Gittes with his cane. Mulvihill comes up behind Gittes
   and the three of them begin an awkward wrestling match,
   --the crowd scattering, Mulvihill pulling his revolver,
   trying to hit Gittes on the side of the head. The three
   men crash to the pavement.

  244  CURLY

   starts out of the car toward Gittes. Gittes sees him.

       GITTES
     No, Curly, get 'em out of here!
     Get 'em out of here:

   He bites Mulvihill's hand and furiously pounds it into
   the sidewalk, shaking gun loose. Mulvihill and Gittes
   Try for it but someone else has it.

  245  EVELYN

   Holds the gun. She's shaking but apparently in control
   of herself.

  246  GITTES

   rises to his feet. Mulvihill starts to help Cross up.

       EVELYN
     No, don't help him. Don't do
     anything.

   Mulvihill doesn't move. Cross rises on his own. Evelyn
   holds the revolver on him.

       EVELYN
      (continuing)
     -- she's gone. It's no good.

       CROSS
     Where?

       GITTES
      (moving to Evelyn)
     Let me handle that.

       EVELYN
      (to Gittes)
     I'm all right.
  
       GITTES
      (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 me
     where she is.

   Evelyn is backing up. Cross moving on her. Evelyn cocks
   the 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.

   Duffy and Walsh are elbowing through the crowd.
   Gittes sees them.

       GITTES
     Duffy -- go over and sit on Mulvihill.
      (to Walsh)
     Jesus Christ, I didn't tell you
     to bring the police department
     with you.

       WALSH
     Jake -- it's Chinatown. They're
     all over-the place. You oughta
     know better.

       GITTES
      (to Walsh, meaning
      Cross)
     Gimme your keys. Watch this old
     fart, will you?
      (moving to Evelyn)
     Take Duffy's car. Curly's boat's
     in Pedro, near the Starkist
     cannery. It's the Evening Star.
     He'll be waiting. I'll take
     care of this.

  247  She looks to Gittes. He looks at her. She turns and
   He looks at her. She turns and Escobar is standing
   between her Escobar is standing between her and it.

       ESCOBAR
     Mrs. Mulwray, you don't want to
     run around like that.

       GITTES
     Oh, Christ. Escobar, you don't
     know what's going on. Let her go.
     I'll explain it later.

       ESCOBAR.
     Mrs. Mulwray, it's a very serious
     offense -- pointing that at an
     officer of the law. It's a felony.

       GITTES
     Let her go. She didn't kill anybody.

       ESCOBAR
      (starting toward her)
     I'm sorry, Mrs. Mulwray --

       GITTES
     Lou, she will kill you -- let her
     go for now. You don't know.

       ESCOBAR
     Gittes, stay outta this.

   Escobar continues to move toward her. Gittes grabs him.

       GITTES
      (to Evelyn)
     Now take off.

   Evelyn gets in the car. She starts it. Gittes lets
   Escobar go.

       ESCOBAR
     I'll just have her followed --
     she's not going anywhere --

   There's a single GUNSHOT. Both men look surprised. Down
   the block a uniformed officer has fired, standing beside
   his double-parked car. Duffy's sedan slows to a stop in
   the middle of the street. It jerks a couple of times,
   still in gear, then comes to a halt.

   Gittes rushes to the car. He opens it. Evelyn falls out,
   inert. Blood is pouring from her right eye.

      GITTES
      (yelling)
     No!

   He holds onto Evelyn as Escobar and others hurry up.
   Cross himself elbows through.

       GITTES
      (continuing)
     Where is he? I'll kill him, I'll
     kill the son of a bitch --

   Several officers contain Gittes.

       GITTES
      (continuing;
      to Escobar)
     Who is he, get his name? I'll kill
     him --

       ESCOBAR
      (badly shaken)
     Take it easy, take it easy, it was
     an accident --

       GITTES
     An accident --

   Gittes looks down. What he sees horrifies him. Cross is
   on the ground, holding Evelyn's body, crying.

       GITTES
     Get him away from her. He's
     responsible for everything. Get
     him away from her!

       ESCOBAR
      (stunned)
     Jake -- you're very disturbed.
     You're crazy. That's her father.

   Walsh and Duffy elbow through the crowd.

       ESCOBAR
      (continuing;
      to them)
     You wanna do your partner the
     biggest favor of his life? Take
     him home. Just get him the hell
     out of here!

   Duffy bear hugs the protesting Gittes, along with Walsh,
   literally dragging him away from the scene, with Gittes
   trying to shake free. Through the crowd noises, Walsh can
   be heard saying, "Forget it, Jake -- it's Chinatown."

       THE END


 






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