Screenplays for You - free movie scripts and screenplays About   Links  
Screenplays and movie scripts organized alphabetically:
#  A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z   PDF



Chinatown (1974) movie script

by Robert Towne.
Third draft. October 9, 1973.

More info about this movie on IMDb.com
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 blasť
	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


All movie scripts and screenplays on "Screenplays for You" site are intended for fair use only.