This is one of those scenes that appeared in Premiere magazine's "Classic Scenes" feature, but for the text version, I went to Coppola's script (dated Nov. 22, 1972) in what was dubbed "THE FILM SCHEDULING/FILM BUDGETING WORKBOOK" which is a good insight into Coppola's writing and directing methods by comparing what's here to what's on the screen.
There's quite a bit of dialog missing (it's crossed out) and any changes to the words post-script are marked as green. Additions may be due to actors saying essentially the same thing their own way and there are little tweaks here and there. But, there was obviously an awful lot of work done "blocking" the actors—telling them where to be on-set for the shot—and bits of business that aren't even alluded to in the script—the "kissing" scene, Harry removing his arm from behind Amy's head and it "clunks" on the bed's headboard.
The excisions are interesting. Some of it may be that Coppola was just repeating information and subjects and rather than emphasize it, just leaving it there once. For example, that provides a nice link in the "secrets" section—editor Walter Murch may have just cut out that one section for clarity.
If the script was followed as written, it might have cast Terri Garr's Amy in a different light. In the film, she asks her questions once. In the script, she asks them twice, which could be too much. Gene Hackman's Harry Caul is a suspicious, paranoid man and her asking just the one time would already make him wary; twice would make him think she's part of some possible conspiracy to "get the goods" on Harry. Asking once could just be genuine curiosity about the man who pays her bed and board. Harry's mind is already made up, but the audience's isn't.
But, her singing the song ("When the Red, Red, Robin Goes Bob, Bob, Bobbin' Along") that he heard his surveillance target earlier singing really lights up his antennae. It couldn't be a magical coincidence, could it? (But, why would she drop so blatant a hint that she knows what he's doing?) It's just another question...and Harry doesn't like those.
Whatever Amy's past, she decides her future isn't with Harry. And that's the final, definitive answer to whether she's working for one of Harry's enemies, or competitors. She quits. And good for her.
The Set-Up: Surveillance expert Harry Caul (Gene Hackman) has spent the noon-time of his 50th birthday recording the conversation between two young executives (Frederic Forrest, Cindy Williams) for their company's CEO (Robert Duvall). A solitary man, Caul is constantly looking over his shoulder to see if he's being watched or surveilled. Some would think he's protective, cautious, but Harry just might be paranoid, as when he visits a woman he keeps (Teri Garr).
Action...roll tape.
He waits there a moment, almost hiding,
HARRY Hello, Amy.
CUT TO:
47 INT. THE ROOM - NIGHT 47
We can see through the open door. The room is semi lit, and small. There are a few personal things around in it; a small stereo on the floor, some photographs on the walls, but there is a feeling of impermanence about the room. A girl half-rises from a bed in the corner of the room; she has pale skin, perhaps 24 or 25 with curly hair, sort of pretty. She has fallen asleep in a faded silk Oriental robe. Her name is AMY.
AMY
Oh.
AMY Yeah.
HARRY
I should have called.
HARRY
You should go out more.
AMY
You don't like me to.
HARRY
I don't mind.
AMY
Then I wouldn't be here if you
came over.
HARRY
Want some wine?
He moves to the kitchenette, starts to open the wine
bottle.
Harry gives her a glass of wine. She clinks it to his and they each take a sip.
AMY
Like....um
HARRY I don't have any secrets.
HARRY
(lying)
I don't...have a telephone.
AMY(sincerely)
Oh, Harry, how could you ever be
jealous of me?
HARRY
I'm not jealous.
AMY Sometimes I even think that you're listening to me. When I'm talking on the telephone. I just feel that you're listening to me.
HARRY(uncomfortable)
What are you talking about?
HARRY
I work.
AMY Where?
HARRY
I have my own business.
AMY
What kind of business?
HARRY
I don't like people to ask me
a lot of questions.
The door opens. Harry steps out, staring at her.
HARRY
Why are you singing that?
HARRY Nobody.
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AMY
...I want to know about you.
She doesn't answer. 
HARRY Here's the money for it.
HARRY Food money, too.
Words by Francis Ford Coppola
Pictures by Bill Butler and Francis Ford Coppola
The Conversation is available on DVD and Blu-Ray from Paramount Home Video.
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