Klute Page #14

SPANGLER (V.O.)

Didn't want you.

BREE (V.O.)

(snaps)

I said that.

(resumes)

Well, so you have a choice. You can

either feel lonely -- you know, the

hate -- or --

(then more rapidly,

plunging)

So you take a call and go to a

hotel room and there's some John

you've never seen before, but he

wants you. He must, he's paying for

it.

(beat)

And usually they're nervous and

that's all right, too, because

you're not; you know this thing.

And then for a while, boy, they

really pay attention, you're all

there is.

(beat)

And it's not real and you don't

have to even like them -- you can

even hate them, it's all right, it

safe -- you know?

INT. PROJECTION ROOM - MISSING PERSONS BUREAU

On the left a portion of the original obscene

letter. On the right a series of comparison

documents -- beginning with a portion of a personal

letter. We hear TRASK'S, KLUTE'S VOICES OVER, and

occasionally cut to them as --

TRASK'S VOICE

(skipping, summarizing)

All right, there's Tom Grunemann,

you're right, different margins,

different spacing absolutely,

sloppy, right.

KLUTE'S VOICE

Mm.

TRASK'S VOICE

All right, try this next guy.

The right-hand document is switched.

KLUTE, TRASK

Klute reacts.

TRASK:

Think this is our guy?

KLUTE:

I don't know. It looks familiar to

me.

TRASK:

Thought it might. It's off an

arrest report you typed two years

ago. Man you wanted samples of

everybody.

Then -- with subdued satisfaction, switching the

projector again.

TRASK (CONT'D)

Now the next cat. Mm?

SCREEN; DOCUMENTS

TRASK'S VOICE

Same margins top and sides. He does

best with his middle fingers; you

get fainter registration from

outside keys like Q, A, L, P and

like that. Next thing look around

apostrophes, how he hits the space

bar before --

KLUTE & TRASK - STARING AT PROJECTIONS

KLUTE:

But what reason could he have? What

possible reason?

TRASK:

Unless he was involved with

Grunemann's disappearance.

KLUTE:

I knew Tom never wrote that letter.

TRASK:

What else do you know?

KLUTE:

I never could believe that Tom was

a split personality. I never

believed he was a Dumper; and I

don't believe he disappeared of his

own volition; and I don't believe

he's alive.

TRASK:

We have some very tentative

circumstantial evidence of freeky

behavior, but there's no evidence

of murder - there's not even a

body.

KLUTE:

I don't believe Tom's alive.

As Klute talks he paces back and forth in the

darkness. He crosses in front of the lighted

screen; the letters projected on the screen ripple

over his face.

KLUTE (CONT'D)

But why? Why?

INT. MISSING PERSONS BUREAU

Klute and Trask are seen entering from the

Projection Room. In the background we see an old

black woman sitting in front of the picture file of

unidentified dead, carefully studying each picture.

In the foreground Klute sits down at a phone and

dials.

KLUTE:

Yes, Mr. Cable's office, please.

CAMERA goes in close on Klute.

CABLE'S VOICE

(through telephone)

John, how are you?

KLUTE:

I'll be sending you on a report

tonight.

CABLE'S VOICE

It's a beautiful day in Tuscarora -

I don't envy you that humidity in

the city.

KLUTE:

It's not so bad.

There is a silence. Both Klute and Cable seem to be

waiting for one or the other to make the next move.

KLUTE (CONT'D)

Would you like to know what's in

it? The report.

CABLE'S VOICE

(obligingly)

What's in it?

KLUTE:

I think Tom Grunemann's dead. I've

been a lot of places - I've asked a

lot of people. I've found no proof

he's around. I've found no proof he

was ever around.

CABLE VOICE:

How do you go from that to the idea

Tom's dead? Suicide you're

suggesting? He killed himself?

KLUTE:

(plodding, unemphatic)

He could've been murdered.

CABLE'S VOICE

I'm sure the FBI and the Police

explored that possibility.

KLUTE:

No. They never did, really. But

that's what I'm going to recommend.

The next step. Unless something --

CABLE'S VOICE

Have you discussed this with them?

KLUTE:

It's in the report.

CABLE'S VOICE

Do they have the report? Have you

discussed it with them?

KLUTE:

I wanted to give it to you first.

CABLE'S VOICE

All right. All right --

(then)

John, just sit tight will you? I'll

read your report, I'll discuss it

with the others. I'll be back next

Thursday, we'll talk the whole

thing over then. Nothing til

Thursday, all right?

KLUTE:

All right.

CABLE'S VOICE

Thank you. Goodbye, John.

KLUTE:

Goodbye, Pete.

Klute hangs up.

KLUTE (CONT'D)

He was always at their house on

holidays. Tom and Holly always had

him, over on holidays. Tom felt

sorry for him - his whole life was

work. Tom felt sorry for him.

The old black lady motions to Trask who crosses to

her. She points to a picture in the file. She has

obviously found her missing person among the

photographs of the unidentified dead. She starts to

stand but then sits again, obviously shaken.

Klute crosses to her and gently helps her out of

the chair. He sees in her face the same sense of

loss he feels for his friend.

EXT. OUTDOOR MARKETS - EIGHT AVENUE - NIGHT

KLUTE & BREE

Bree examining and feeling fruit in some imitation

of a very shrewd and experienced housewife shopper.

She is obviously enjoying her sense of domesticity,

and Klute is amused by her enjoyment.

OUTDOOR NURSERY - EIGHT AVENUE - NEXT TO MARKET

The nursery is an absurdly cheerful spot of

greenery in the midst of the dirty chaos of the

avenue.

Klute and Bree wander through the plants.

BREE:

I saw Mr. Faber.

(beat)

You remember Mr. Faber, don't you?

KLUTE:

(controlledly)

Yeah.

BREE:

Is that all you have to say?

KLUTE:

What am I supposed to say?

BREE:

Well, I told him I wouldn't - uh -

go there any more.

(pause)

I know it's tough to understand,

but it wasn't easy. You see, he was

nice to me. I mean, it wasn't just

him. I got something out of it too

I guess. Anyway, I told him I

wouldn't go there anymore.

She is like a child awaiting praise from her

teacher. Klute says nothing. They continue walking

among the plants and he picks up a few that she had

admired.

KLUTE:

Well, here's your gold star.

Considering his contempt for all the dead plant

life he has seen in her apartment in the past, she

is pleased by this act of belief in her.

BREE:

Spangler says we have a

relationship.

KLUTE:

What?

BREE:

You and I -- a relationship.

KLUTE:

I was wondering what that was.

BREE:

(beat)

Hell there's nothing so mysterious

about the square life.

EXT. BROWNSTONE ENTRYWAY - NIGHT

Bree, Klute approach unhurriedly along the

sidewalk. She is holding his arm, HUMS to herself,

enjoys the evening.

INT. STAIRWALL - NIGHT

We follow them up.

INT. ANGLE INTO BREE APARTMENT - NIGHT

The apartment is a shambles -- furniture

overturned, decorations ripped from the wall,

bedding scattered and ripped.

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