L.A. fidential is based on what a person should or should not do. Initially, it presents three faces and cludes with three endings—that's the magic of iigations and the raw nature of the act… showing how everyone is morally reproachable, so precise that there's no reason tue about another mistake.
The only sets built by the studio are the outdoor ones, used for the final se where the protagonists are ered into a shootout at the police station. The rest of the ses would use real locations, with each setting carefully measured to ensure everything unfolds perfectly.
-Danny, I heard you're also a director,- Billy said, approag Dano just before the big shoot.
-I do. I worked on a project with TriStar Pictures, still unfinished… It's a great piece called Matilda, set to premiere this summer. It's a children's movie, nothing as iing as what you've done, but it will be released in June… You're cordially io the premiere.- Danny replied.
-I'll be there, Danny… just save me a seat,- Billy responded, genuinely liking Dano’s voice work. Danny was dedicated. It was time for Billy to reform his es and start buildier social retionships. He had a very small circle—Steven, Gee Lucas, and of course, Winona, along with a few people he worked with on Jerry Maguire and The English Patient, nothing too extraordinary.
Danny’s eyes widened in surprise, engrossed in his many projects. He had thought Billy would turn him down; after all, not many actors would work for free, especially the younger ones.
-I'll send you the address,- Danny said.
-To me and my agent. Six months from now, I might pletely fet, but if I get your call, I’ll be there. I’ll pencil it into my schedule… Thanks for the invitation.- Billy smiled, trying hard not tet the date. They exged numbers, and the phone became an incredibly useful tool.
-Ohhhhh hohoho, I’ve got your number now. I won’t be as polite as your feathered friends. I’ll be calling you, kid, - Dano joked with a grin.
As the director called for the ses, everyount doubles and all—was in perfe. Fe cameras were set up, along with a light mobile rec team, led by two cameramen ag as the director’s eyes. It was a route, with different long shots already pnned. Everyone was o, and this time it was going to be a fight. Billy excused himself and got into character as the tough, brute, no-nonsense cop. The atmosphere grew tense, distinct from the usual, carryi from the ses, the stunts, the running, and the setup.
Se 21, Take 1.
Bud types his report with one finger, slowly. Jaces inside. Billy's posture was a bit ridiculous pared to Bud who fought; he wasn’t in his element.
JAbsp;White, you’d better get Stens a lease before he kills someone.
Se ge.
INTERIOR CELL BLOCK – NIGHT
With Jack following, Bud pushes through the crowd. The men, seeing it’s him, quickly make way. Stensnd, gulping gin, works ARCIA. Garcia's head droops, and he colpses to his knees, drooling blood. Bud grabs Stensnd and pulls him off Garcia, who looks up.
GARCIA: "Go fuck yourself, asshole."
BUD/BILLY: "Yeah, yeah..."
GARCIA: "And fuother too."
Bud flushes. Letting go of Stensnd, Bud White grabs Garcia by the throat. There are cheers, and shouts of "Good job" and "Hell yeah" as Bud sms Garcia’s head into the ceiling.
Exley, pyed by Guy Pearce, young aermined, ehe se, while everyone around them acts like plete lunatics.
EXLEY: (arriving) Stop, officer! That’s an order!
The other officers block Exley’s way. As Bud gnces in his dire, Garcia kicks him in the groin. A staggering blow. Bud colpses against the bars, and Garcia stumbles out of the cell, bumping into Jack.
Jack looks down, horrified to see blood on his cashmere coat, then knocks Garcia out with a left-right bo.
Exley pulls out a notepad and pen from his pocket.
EXLEY: You’re all going in my report! All of you!
Exley barely starts taking names when Bud grabs him by the neck, yanking him off band dragging him toward…
THE HALLWAY: As Exley struggles, a cop opens the ste room door. Bud throws Exley inside and sms the door shut. Exley is locked in. As Bud walks away, we hear BANGING.
EXLEY (SHOUTING): "Let me out! That’s an order!"
CELL BLObsp;The camera stands, taking a distant shot.
The Herald reporter and photographer slip in unnoticed. Stensnd sways like a madman. At that moment, the fsh goes off. Everything freezes in bd white.
-Cut,- Curtis Hanson called, ing up the take. Curtis could almost hear Dano’s voiarrating fidential.
...
A great take. Now we move on to the guilt se. Billy, ge your suit—it’s covered in blood. This se will be split into three parts, and I hope we get a take. The pace is good.- Curtis Hanson remarked.
INTERNAL CHIEF’S OFFICE – DAY
The CHIEF sits behind a desk, wearing a four-star uniform. Dudley Smith is seated to his left, and District Attorney Ellis Loew to his right. Previously seen at the Mickey press ference, Loew is the only civilian. Bud White stands before them, here to be judged. It’s a formal room, not cluttered, the issioner’s office, Dudley’s pce.
CHIEF: Officer White, you’ve refused to cooperate with Internal Affairs. But you must uand, this is bigger than a police board. Charges may be filed. Frankly, we need police wito ter the damage doo the department’s image. Will you testify?
Bud looks at the grey-tinted mirror, then at the chief, his gaze barely masking pt—so subtle it’s nearly imperceptible but perfectly veyed.
BUD/BILLY: No, sir. I won’t.
The chief sighs, gng over at Loew.
CHIEF: District Attorney Loew.
Loew steps up to Bud, holding a neer with a photo of the cell block. The headline reads BLOODY CHRISTMAS.
LOEW: Bloody Christmas. The press loves their bels. You and Officer Stensnd brought liquor into the station. Stensnd was already drunk. you see hoearing as a voluntary witness against him might offset the damage you’ve doo yourself?
BUD: I won’t. (looking in the mirror) I won’t testify against my partner or anyone else.
LOEW: This man is a disgrace.
CHIEF: Your badge and gun, Officer.
Bud pces them on the chief’s desk.
CHIEF: This is the neD, White. You’re suspended from duty and dismissed.
Turning, White flips a stiff middle fi the mirror as he exits. Dudley Smith hides a smile. His performance is powerful, full of subtlety, remi of watg Man Freeman act with effortless naturalness, making the character perfect.
THE OTHER SIDE OF THE GLASS
Exley watches, involuntarily leaning back as Bud passes by the other side of the gss.
...
-"Cut."-
They take a short break, and oher side, Billy watches the se from behind the cameras, the end of the se. They make a mistake and have to redo part two of the rec up to seven times, with multiple angles and takes from behind and outside the mirror.
SED TAKE – PART TWO
THE CHIEF’S OFFICE
Dudley, Loew, and the Chief wait for Exley to enter.
CHIEF: Ed, your observations have been sharp. What’s your assessment of the situation?
EXLEY: The public demands justice, sir. This was a full-on police riot. Let’s bme the men whose pensions are secure. Force them into retirement. But someone has to pay the price. Charge, try, and vict Stensnd and Bud White. Get the time in prison. Throw them to the sharks, sir. Protect yourself; protect the department.
Dudley looks at Exley, clearly angry.
DUDLEY: Stensnd’s a disgrace. Physical fitness reports on all the officers under his and. But White’s a valuable officer.
EXLEY: White’s a braihug.
DUDLEY: No, Edmund. He’s a man who answer yes to those questions I ask him from time to time.
The Chief cuts in with his .
CHIEF: I want to knoe’re giving the publi trast. The department needs role models. , straightforward men the publi admire.
EXLEY: I’ll testify, sir. I’m not afraid to do what’s right.
CHIEF: And I’ll promote you. You’ll be lieutenant immediately.
Exley seizes the moment, stepping past Dudley.
EXLEY: Detective lieutenant.
The Chief and Dudley exge gnces, her approving.
CHIEF: Ed, you’re 30 years old. Your father wasn’t named lieutenant until he was 33.
EXLEY: I know, sir. I also know that when he was made lieutenant, it was as a detective.
LOEW: (interrupting) Before we start polishing our urels, we’d better have a corroborating witness.
DUDLEY: That’ll be tough. Men hate rats.
EXLEY: Jack Vines. He’s the teical advisor for Badge of Honor, sir. He lives for it. That’s how you trap him.
CHIEF: Very well, Ed.
(into the desk inter)
Call Sergeant Vines.
As Exley starts to walk away, Dudley pulls him aside and speaks quietly.
DUDLEY: You’ll reap the bes, but are you prepared to be despised within the department?
EXLEY: Yes, Dudley. I am.
DUDLEY: So be it.
JACK VINES: Looking sharp, he strides down the hallway, entering...
THE CHIEF’S OFFIbsp;Sed round. Focused on Jack. Exley is gone.
DUDLEY: Sergeant, we’ll get straight to the point. Nine civilian witnesses have identified you as the one who struck Ezekiel Garcia.
LOEW: But my office has a star witness who’ll tell the grand jury you only hit back after being hit first.
JAbsp;What do I have to do?
LOEW: Testify against the three officers whose pensions are already secured. Our key witness will testify decisively, but you cim ignorance wheions are directed at the other men.
CHIEF: I’ll guarantee a sp on the wrist. A short suspension followed by a temporary transfer from Narcotics to Vice. (pause) When you’re transferred from Vice, you’ll be ba the show.
JACK: The show, sir?
CHIEF: Badge of Honor, Vines. We o tone down your profile for a while.
The Chief has led Jack exactly where he lives.
DUDLEY: John, I doubt you’ve ever taken a stupid breath. Don’t start now.
JAbsp;Alright. I’ll do it.
Smiles all around. Loew grins at both of them. A gesture not lost on Jack, who wonders who’s watg from the other side.
CHIEF: Dismissed, Vines.
Jack leaves. The Chief walks up to the mirror and looks at himself.
CHIEF: So be it. Detective lieutenant.
THE OTHER SIDE OF THE GLASS
Exley ches his fist in victory. The Chief tinues.
CHIEF: Sy them tomorrow at the grand jury, son. Wear your sharpest suit and make the most of it. And, Ed? Lose the gsses.
INT. ROOM 114 (GRAND JURY WITNESS ROOM) – DAY
Exley removes his gsses, waits, and looks up as Jaters.
JACK: Are you the star witness?
EXLEY: I am.
JAbsp;I should’ve known. What’s the Chief you?
EXLEY: me?
JAbsp;Yeah, Exley. What’s the reward?
EXLEY: You’re the expert on rewards. I’m just doing my duty.
JACK: You’re pying sed fiddle, college boy. Yetting something out of this so you don’t have to rub shoulders with the dam cops who’ll hate you for ratting. If they’re making you a detective, be careful. Some FBI guys are gonna storm this and you’ll have to work with their friends.
EXLEY: What about you?
JACK: I’m ratting out three veterans who’ll be fishing in o week. o you, I’m . And I’m smart.
At that moment, a CLERK enters from the hallway.
CLERK: Edmund J. Exley to the office.
As Exley is about to leave...
JAbsp;Just remember, Bud White will screw you for this even if it takes him the rest of his life. He’s already been suspended. Just pray he gets a deal and stays in the department because that’s one civilian you don’t want on your case.
-Cut.- Curtis called.
The Regency filming crew moved quickly.
...
