Klute Page #2

He shakes his head, gestures doubtingly. Ross caps

it.

ROSS:

The subject got emotionallv

disturbed; he just dropped out.

There's thousands.

STREIGER:

Inspector we understand your

position; ours is a little

different. We have an investment in

Tom Grunemann. The Company has an

investment, and we feel entitled to

investigate for ourselves.

ROSS:

Private investigation, you mean.

Yes sir, of course you're entitled,

and there's some very competent --

STREIGER:

Klute offered us his services;

we've accepted.

Pause. Ross and Trask look at Klute - more than a

bit startled - then at each other. Klute just looks

uneasy.

STREIGER (CONT'D)

Klute knew Tom. He has a great many

ideas about the case --

ROSS:

(sourly)

Yes sir, we know he --

STREIGER:

We'd expect him to work in

cooperation with you. He'd report

to each of you and to our Company's

New York office, to Pete -- Pete

goes there on a regular schedule

back and forth, and --

ROSS:

(tactfully)

Mr. Streiger, speaking frankly --

we've appreciated the Sergeant's

interest you know, all along. Here,

locally. But New York, that's -

well --

TRASK:

(to Klute, leniently)

Ever done any missing person's

work?

ROSS:

Spent much time in the city?

(to others)

You see, I have to wonder --

speaking frankly; the Sergeant

knows I'm only speaking frankly -

CABLE:

You wonder why we thought of Klute?

Frankly? He's interested.

INT/EXT. WIDE SHOT: PENNSYLVANIA COUNTRYSIDE - DAY

Verdant Pennsylvania farmland. Early morning. Near

at hand an open field set about with bee hutches

and patched with mist.

A FIGURE, a shadow (Klute's actually) moves across

frame from the left, blanking in. We reorient to -

INT. BEDROOM - KLUTES HOUSE - DAY

We see that we've been looking out from the bedroom

window of this house. Klute turns to rolltop desk

in bedroom and picture of Tom Grunemann, picture of

Bree Daniel, and other material he has collected on

the case. He puts them in his suitcase and closes

the suitcase. He shuts rolltop desk.

INT. KLUTE'S HOUSE - DAY

We follow Klute through the house with suitcase. He

puts away a last dish, shutting off water, gas, and

electricity, and so on -- takes a last look around

- reaches for the door handle. WE CUT TO --

INT. COMMERCIAL AUDITION - SOUND STAGE - DAY

A section of wall, a door coming open -- and the

FIGURE of BREE entering and standing. We have gone

from the warm sunlight of the country to mustv

darkness.

She appears chic, poised, and perfect as a magazine

picture.

But as she gets used to the darkness and her eyes

focus on a line of equally beautiful girls sitting

and waiting in folding chairs along a wall, we see

that she is a great deal less certain of demeanor.

Assailable. WE CUT TO -

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