Hollywood Art: System of sunnys

L.A. Confidential is based on what a person should or should not do. Initially, it presents three faces and concludes with three endings—that's the magic of investigations and the raw nature of the act… showing how everyone is morally reproachable, so precise that there's no reason to argue about another mistake.

The only sets built by the studio are the outdoor ones, used for the final scene where the protagonists are cornered into a shootout at the police station. The rest of the scenes would use real locations, with each setting carefully measured to ensure everything unfolds perfectly.

-Danny, I heard you're also a director,- Billy said, approaching Danny DeVito 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 interesting as what you've done, but it will be released in June… You're cordially invited to the premiere.- Danny replied.

-I'll be there, Danny… just save me a seat,- Billy responded, genuinely liking Danny DeVito’s voice work. Danny was dedicated. It was time for Billy to reform his connections and start building better social relationships. He had a very small circle—Steven, George 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 completely forget, 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 to forget the date. They exchanged 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, - Danny DeVito joked with a grin.

As the director called for the next scenes, everyone—stunt doubles and all—was in perfect form. Four large cameras were set up, along with a light mobile recording team, led by two cameramen acting as the director’s eyes. It was a route, with different long shots already planned. Everyone was on set, 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, carrying weight from the scenes, the stunts, the running, and the setup.

Scene 21, Take 1.

Bud types his report with one finger, slowly. Jack glances inside. Billy's posture was a bit ridiculous compared to Bud who fought; he wasn’t in his element.

JACK: White, you’d better get Stens a lease before he kills someone.

Scene change.

INTERIOR CELL BLOCK – NIGHT

With Jack following, Bud pushes through the crowd. The men, seeing it’s him, quickly make way. Stensland, gulping gin, works over GARCIA. Garcia's head droops, and he collapses to his knees, drooling blood. Bud grabs Stensland and pulls him off Garcia, who looks up.

GARCIA: "Go fuck yourself, asshole."

BUD/BILLY: "Yeah, yeah..."

GARCIA: "And fuck your mother too."

Bud flushes. Letting go of Stensland, Bud White grabs Garcia by the throat. There are cheers, and shouts of "Good job" and "Hell yeah" as Bud slams Garcia’s head into the ceiling.

Exley, played by Guy Pearce, young and determined, enters the scene, while everyone around them acts like complete lunatics.

EXLEY: (arriving) Stop, officer! That’s an order!

The other officers block Exley’s way. As Bud glances in his direction, Garcia kicks him in the groin. A staggering blow. Bud collapses 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 combo.

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 balance and dragging him toward…

THE HALLWAY: As Exley struggles, a cop opens the storage room door. Bud throws Exley inside and slams the door shut. Exley is locked in. As Bud walks away, we hear BANGING.

EXLEY (SHOUTING): "Let me out! That’s an order!"

CELL BLOCK: The camera stands, taking a distant shot.

The Herald reporter and photographer slip in unnoticed. Stensland sways like a madman. At that moment, the flash goes off. Everything freezes in black and white.

-Cut,- Curtis Hanson called, wrapping up the take. Curtis could almost hear Danny DeVito’s voice narrating Confidential.

...

A great take. Now we move on to the guilt scene. Billy, change your suit—it’s covered in blood. This scene will be split into three parts, and I hope we can get a clean 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 Cohen press conference, Loew is the only civilian. Bud White stands before them, here to be judged. It’s a formal room, not cluttered, the commissioner’s office, Dudley’s place.

CHIEF: Officer White, you’ve refused to cooperate with Internal Affairs. But you must understand, this is bigger than a police board. Charges may be filed. Frankly, we need police witnesses to counter the damage done to the department’s image. Will you testify?

Bud looks at the grey-tinted mirror, then at the chief, his gaze barely masking contempt—so subtle it’s nearly imperceptible but perfectly conveyed.

BUD/BILLY: No, sir. I won’t.

The chief sighs, glancing over at Loew.

CHIEF: District Attorney Loew.

Loew steps up to Bud, holding a newspaper with a photo of the cell block. The headline reads BLOODY CHRISTMAS.

LOEW: Bloody Christmas. The press loves their labels. You and Officer Stensland brought liquor into the station. Stensland was already drunk. Can you see how appearing as a voluntary witness against him might offset the damage you’ve done to 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 places them on the chief’s desk.

CHIEF: This is the new LAPD, White. You’re suspended from duty and dismissed.

Turning, White flips a stiff middle finger at the mirror as he exits. Dudley Smith hides a smile. His performance is powerful, full of subtlety, reminiscent of watching Morgan 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 glass.

...

-"Cut."-

They take a short break, and on the other side, Billy watches the scene from behind the cameras, observing the end of the scene. They make a mistake and have to redo part two of the recording up to seven times, with multiple angles and takes from behind and outside the mirror.

SECOND 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 blame the men whose pensions are secure. Force them into retirement. But someone has to pay the price. Charge, try, and convict Stensland 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: Stensland’s a disgrace. Physical fitness reports on all the officers under his command. But White’s a valuable officer.

EXLEY: White’s a brainless thug.

DUDLEY: No, Edmund. He’s a man who can answer yes to those questions I ask him from time to time.

The Chief cuts in with his concern.

CHIEF: I want to know who we’re giving the public in contrast. The department needs role models. Clean, straightforward men the public can 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 exchange glances, neither 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 laurels, we’d better have a corroborating witness.

DUDLEY: That’ll be tough. Men hate rats.

EXLEY: Jack Vincennes. He’s the technical advisor for Badge of Honor, sir. He lives for it. That’s how you trap him.

CHIEF: Very well, Ed.

(into the desk intercom)

Call Sergeant Vincennes.

As Exley starts to walk away, Dudley pulls him aside and speaks quietly.

DUDLEY: You’ll reap the benefits, but are you prepared to be despised within the department?

EXLEY: Yes, Dudley. I am.

DUDLEY: So be it.

JACK VINCENNES: Looking sharp, he strides down the hallway, entering...

THE CHIEF’S OFFICE: Second 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.

JACK: 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 can claim ignorance when questions are directed at the other men.

CHIEF: I’ll guarantee a slap 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 back on the show.

JACK: The show, sir?

CHIEF: Badge of Honor, Vincennes. We need to 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.

JACK: Alright. I’ll do it.

Smiles all around. Loew grins at both of them. A gesture not lost on Jack, who wonders who’s watching from the other side.

CHIEF: Dismissed, Vincennes.

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 clenches his fist in victory. The Chief continues.

CHIEF: Slay them tomorrow at the grand jury, son. Wear your sharpest suit and make the most of it. And, Ed? Lose the glasses.

INT. ROOM 114 (GRAND JURY WITNESS ROOM) – DAY

Exley removes his glasses, waits, and looks up as Jack enters.

JACK: Are you the star witness?

EXLEY: I am.

JACK: I should’ve known. What’s the Chief offering you?

EXLEY: Offering me?

JACK: Yeah, Exley. What’s the reward?

EXLEY: You’re the expert on rewards. I’m just doing my duty.

JACK: You’re playing second fiddle, college boy. You’re getting something out of this so you don’t have to rub shoulders with the damn beat 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 Oregon next week. Next to you, I’m clean. 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...

JACK: 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.

...