The Conversation Page #5

Synopsis: Harry Caul is a devout Catholic and a lover of jazz music who plays his saxophone while listening to his jazz records. He is a San Francisco-based electronic surveillance expert who owns and operates his own small surveillance business. He is renowned within the profession as being the best, one who designs and constructs his own surveillance equipment. He is an intensely private and solitary man in both his personal and professional life, which especially irks Stan, his business associate who often feels shut out of what is happening with their work. This privacy, which includes not letting anyone into his apartment and always telephoning his clients from pay phones is, in part, intended to control what happens around him. His and Stan's latest job (a difficult one) is to record the private discussion of a young couple meeting in crowded and noisy Union Square. The arrangement with his client, known only to him as "the director", is to provide the audio recording of the discussion and
Production: Paramount Pictures
  Nominated for 3 Oscars. Another 14 wins & 13 nominations.
 
IMDB:
7.9
Metacritic:
86
Rotten Tomatoes:
98%
PG
Year:
1974
113 min
2,929 Views


Okay. Two people are constantly

moving in circles...

in and out of the crowd.

We don't know whether

they'll sit down or what.

They're convinced

they can't be recorded...

because they're in a crowd

and constantly moving.

Yet, they're the target.

The assignment is

to get everything they say.

How would you do it?

One system won't do it.

I could've told you that.

Why didn't you?

Go on, figure it out.

You get to their clothes first.

You pre-rig their clothes.

There's no way of telling...

what they're

going to be wearing.

Get somebody to bump into them.

Get a drunk to plant

a pin mike on them.

They've been bugged before.

It's too risky.

I got it.

You hire a lip-reader

with binoculars.

No. The client wants

their actual voice.

Why?

So he can believe it.

All right. I'll figure it out.

I don't know.

It must've been an expensive show.

Who was so interested?

Yeah, was it us?

Who's us?

Federal government.

Private party.

It would take

at least four passes.

I did it in three.

Three? That's very nice.

What did you use?

Three-stage directional

microphones...

with Mosfet amplifier

of my own design.

We got another 20% conventionally

just tailing them.

Paul did.

It was beautiful.

It really was.

It was a work of art.

You should have

seen it, though.

These new microphones

are just incredible.

I couldn't believe it myself.

We were 200 yards away.

It was absolutely readable.

I broke in a couple

of newsreel cameramen.

You should have

been there, Bernie.

What did they do?

They took the cross hairs

of the telescope...

and lined it up on the mouths...

No. The boy and the girl.

What did they do?

Oh, I don't know.

But it was beautiful,

something to see.

Yeah. Sounds very pretty.

I'd like to take

a look at that mike, too.

There it is.

Oh.

I always said

we should be partners, Harry.

You're the best, but you

and me together, that'd be tops.

I need a quick look at

your plans and devices.

I got all the

manufacturing plants.

We could make a fortune

selling to Uncle Sam.

Did you hear about

the fag wiretapper...

who could only tap

a Princess phone?

No.

Made that up yourself, huh?

It's pretty funny.

Can I cut in?

He's got a hell

of a sense of humour.

I'm talking about

making millions...

he's making with the jokes.

Come on!

Thanks a lot.

What do you say, Harry?

How about going

into a partnership?

I could use a partner,

so could you.

I don't need anyone.

That's all right.

I do pretty good

on my own, anyway.

You got to give credit

where credit's due, right?

Abracadabra, Harry.

See, I'm number two, Harry.

I have to try harder.

Would you, um...

If you were a girl...

who'd waited for someone...

You can trust me.

Harry, that's you and me

when we were out there.

What? No sh*t. Ha ha ha.

It's the Moran Super P-7

pen mike and transmitter.

That's terrific!

The bugger got bugged, huh?

He got you, Harry.

And if you loved him

and were patient with him...

and even though

he didn't dare ever...

tell you anything about

himself personally...

Hey, touch, Harry.

That's wild.

When did you do that?

How do you like it?

What do you think?

Would you...

Would you go back to him?

I think you better

turn it off and get out.

Are you kidding? It's just

a joke, for Christ's sakes.

Bernie, Harry don't like you

to say "Christ's sakes."

Well, I'm sorry, Harry.

Are you crazy, too, Stanley?

What's wrong?

Let's have a party here.

Paul, it's getting late.

Come on, take it easy.

Come on.

Hey, Millard.

Know what these things cost?

This cost 1.500 beans.

On the house, from me to you.

Very nice to meet you.

It's only a joke.

Meredith?

He's got no sense of humour.

No. I'm going to stay here.

Paul!

Okay.

I forgot my bag.

Harry, I'm really sorry.

I didn't mean anything.

Come on, Stan.

See you Monday, Harry.

You want us to

put the lights out?

Night, Harry!

Yeah. Goodnight, Harry.

What do you think?

I don't know what

I'm going to get him...

for Christmas yet.

He's already got everything.

Harry, are you going to give me

a hard time tonight?

# When the red,

red robin #

Harry!

Harry!

Come on. Come back.

Turn it off.

# Goes bob, bob, bobbin' along #

# When the red, red robin #

# Goes bob, bob, bobbin' along #

# Wake up, wake up,

you sleepyhead #

She's frightened.

This is where she's frightened.

I don't know what

I'm going to get him...

for Christmas yet.

This is no ordinary conversation.

He doesn't need anything any more.

It makes me feel...

I haven't decided

what I'm going to get you yet.

Something.

Forget it, Harry.

It's only a trick.

What?

A job.

You're not supposed

to feel anything.

You're just supposed to do it.

That's all.

Relax, honey.

A lot of fun you are.

You're supposed to tease me...

give me hints, make me guess.

You know.

Does it bother you?

What?

Walking around in circles.

Oh, look, that's terrible.

He's not hurting anyone.

Neither are we.

Oh, God.

"Oh, God."

Listen to the way

she says "Oh, God."

Come here.

Every time I see

one of those old guys...

I always think the same thing.

What do you think?

I always think...

that he was once

somebody's baby boy.

Really. I... I do.

I think he was once

somebody's baby boy...

and he had a mother

and a father who loved him.

And now there he is,

half dead on a park bench...

and where are his

mother or his father...

all his uncles now?

Anyway, that's what

I always think.

I always think...

how, when they had

the newspaper strike...

in New York...

more of those old guys died.

to death in one night.

Just because there were

no newspapers?

Really. Keeps them warm.

Well, that's terrible.

Who started this

conversation, anyhow?

You did.

Did not.

Yes, you did.

You just don't remember it.

Pretend like I just

told you a joke.

Where did you hear that?

That's my secret.

Later in the week.

Sunday, maybe.

Sunday, definitely.

The Jack Tar Hotel.

Look, Mark. Do you see him?

The man with the hearing aid

like Charles.

No. Where?

Right there,

with the shopping bag.

He's been following us

all around...

and he's following us close.

It's nothing.

Don't worry about it.

# When the red, red robin #

# Goes bob, bob, bobbin' along #

# Along #

Angel...

God, it will be so good...

to be finished with all this.

I love you.

It's all right, baby.

It's all right.

We're spending too much

time together here.

No. Let's stay

just a little longer.

"Kill us."

He'd kill them

if he had a chance.

He'd kill us if he got the chance.

Oh, God. What have I done?

I have to destroy the tapes.

I can't let it happen again.

I better get back.

It's almost 2:
00.

Oh, please, don't go.

A family was murdered

because of me.

I know.

I know, Harry.

Everything will turn out.

Oh, God. There's no protection.

I follow them

wherever they're going.

And I can hear them.

Bye-bye.

Oh, wait, you have

something in your eye.

Yeah?

You really don't.

I just wanted to kiss you.

Rate this script:0.0 / 0 votes

Francis Ford Coppola

Francis Ford Coppola is an American film director, producer and screenwriter. He was part of the New Hollywood wave of filmmaking. more…

All Francis Ford Coppola scripts | Francis Ford Coppola Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Conversation" Scripts.com. STANDS4 LLC, 2024. Web. 7 Nov. 2024. <https://www.scripts.com/script/the_conversation_5906>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Conversation

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "EXT." stand for in a screenplay?
    A Extension
    B Extra
    C Exterior
    D Exit