Klute Page #19

-- as we immediately, even as she's turning, CUT TO

--

INT. KLUTE'S APARTMENT: KLUTE - DAY (NIGHT)

Klute speaks quietly but with terrible urgency into

the phone (dealing evidently with an ethically

skittish message service at the other end).

KLUTE:

Did she leave a number?

(beat)

This is a police call; don't make

me take time to prove it. Did she

leave a number? What is the number?

(beat)

What is the number? --

INT. GARMENT BUILDING - DAY (NIGHT)

Cable and Bree. They are at some remove from the

site of Cable's first appearance; there are other

evidences of time-lapse. Cable's manner is that of

slightly-strained patience -- a civility -- an

attempt now and then to smile. Bree watches his

every slight gesture, quivers to make a break for

it, tries throughout to buy time.

CABLE:

Can't we talk together reasonably,

just -- ordinarily?

(beat)

I know you're expecting some kind

of -- extravagant behavior, but

believe me -- do you believe me? --

BREE:

Yes -- all right --

CABLE:

-- We can talk --

BREE:

-- Yes.

CABLE:

All right, then, an ordinary

matter. I'm a quite well off man, I

have a -- position to respect. I

would feel personally uncomfortable

to be connected with a -- certain

kind of woman, I'm sure you

understand. Do you? Well I'd like

to buy Jane McKenna's book.

He looks at her discerningly. She seems not to have

followed his exposition. He tries patiently to

clarify it.

CABLE (CONT'D)

Her black book, Jane McKenna's, her

list of -- of persons. I was told

you're negotiating for it on behalf

of --

The PHONE RINGS, an explosive noise. Bree startles.

It has been put on night-ring, to sound all over

the loft, and the noise is deafening. But -- the

most bizarre element is Cable's absolute lack of

response to it. It rings and rings as he talks and

talks -- in the same expository tone as before,

without raising his voice. It drowns out most of

his words -- at most we catch only odd phrases of

all the following -- but he seems not to hear it

any more than the clamor of other things torturing

his soul.

CABLE (CONT'D)

That was what Klute told me -- you

were negotiating for him to buy

that list. And I'm in a position to

pay a good deal more for it than he

can. Do you understand? I'd like

you to acquire it on my --

(beat)

Miss Daniel, do you not understand?

(beat)

Miss Daniel, I can't tell whether

you understand me.

(beat - still reasonably)

Is this something Klute just

invented? Is this a trap for me,

Miss Daniel; does Klute know about

me?

He turns and lifts a phone (one of the extension

phones situated around the loft) -- though up to

now he's given no evidence of even hearing the

ringing. He just stands holding the phone for a

time, then lowers it back on the receiver. With a

sort of absolute quiet --

CABLE (CONT'D)

You have no idea what I'm talking

about.

BREE:

Yes -- Jane McKenna's book -- I

could make a phone call.

CABLE:

No, you're frightened, you're

pretending. Well -- Klute knows

about me then. Does everybody know,

can you tell me?

BREE:

Yes.

CABLE:

Then it doesn't matter what I do

any more, does it?

Pause. Then he shudders slightly.

CABLE (CONT'D)

You people know nothing about pain.

We CUT TO --

EXT. STREETS - DAY (NIGHT)

We see Klute -- probably in MLS -- running along

street. He tries for a cab -- misses it -- halts

the next by expedient of cutting bodily in front of

it. The Driver starts to lean out to object. Klute

mashes him back inside, enters the cab. We CUT BACK

TO --

INT. GARMENT BUILDING - DAY (NIGHT)

MLS, the two FIGURES: CABLE, BREE. They are

somewhat separated -- Cable has gone to look down

from one of the arched windows of the loft, while

Bree remains in place. She is a prisoner, we can

suppose -- when we cut closer we'll see her eyes

continually shifting, her mind calculating her

chances -- but he hasn't molested her. He bears her

no animus at this point. His manner is rather

quiet, undetermined. He feels some relief that the

thing is, in effect, over -- and some puzzlement

about what to do (with either her or himself) now.

He returns toward her.

CLOSER:
BREE, CABLE

Nearing her again, he gestures several times,

apologetically, seeking words.

CABLE:

I've got no idea what I shall do.

He happens too close; she can't avoid shrinking.

CABLE (CONT'D)

I'm not going to hurt you,

absolutely, I'm not.

BREE:

Will you let me go then?

He seems not to have heard the request. He sits for

a moment. An intellectual interest, a curiosity.

(Meanwhile, perhaps, we see her starting to slip

her shoes off, in hopes of running.)

CABLE:

It puzzles me so badly. I've done

terrible things but I can't

consider myself a terrible man.

I've killed three people and I'd

still want to say it was accident,

do you see?

BREE:

(tries again, slowly)

If you'll let me go I could tell

them what --

CABLE:

(unhearing, resumes)

Tom Grunemann discovered me -- we

were here on business together, he

discovered me with Jane McKenna.

Then I suppose it was the -- the

contempt I saw in his face and the

certainty that sooner or later he'd

use it against me. Within the

Company. I endured that as long as

I could, do you see?

BREE:

I'm sorry, I'm just frightened.

Yes.

CABLE:

Excuse me Miss Daniel?

BREE:

I said yes, I see.

CABLE:

(doubtingly)

Oh no, I don't think --

BREE:

Tell me. I'll listen.

(pause)

I just want you to tell me.

He rises, approaches her -- apparently taken in,

credulous, grateful, wondering --

CABLE:

You're willing to listen? You want

me just to keep talking?

He hits her.

CABLE (CONT'D)

That's what you do, isn't it; you

make a man feel accepted.

That's what you all do. Your stock

in trade a man's weakness.

He hits her again.

CABLE (CONT'D)

Why don't you ask for mercy? My

God, what mercy has anyone given

me?

INT. ELEVATOR - KLUTE ASCENDING - DAY (NIGHT)

EXT. GARMENT BUILDING ROOF (DIRECTLY ABOVE FABER

LOFT) - DAY (NIGHT)

Klute has gun out - as he carefully makes his way

across the roof. Man in hotel window across street

holding drink - watches him with amused curiosity.

Klute spots entrance to stairway.

INT. GARMENT BUILDING: KLUTE - DAY (NIGHT)

Klute goes downstairs to back entrance of Faber

loft. He slips inside. He hears THE SOUNDS OF THE

BEATING -- a stirring of feet and indistinct impact

sounds, a murmur of voices (but all quite muted,

undramatic). He maneuvers through lanes of

garments, trying to gain a line of sight. He

understands what's going on, strains to intervene,

but can't disclose himself. At a point, he drops to

hands and knees, slides underneath the garment

racks, drawing closer to Cable, trying to gain

position. We intersperse his progress with further

Bree-Cable fragments, as for instance --

FRAGMENT:
CABLE, BREE

CABLE:

You're a person of no value, you

have no value --

KLUTE, SHIFTING CLOSER

Klute works his way steadily closer -- under

steadily increasing pressure, as the pursuit and

beating continue as SOUNDS, O.S. Even close at hand

the noises are ambiguous -- the clatter of

footsteps, grunts, a slap of flesh -- rather than

distinct. Once or twice we hear CABLE'S VOICE

clearly enough to make out words --

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