Klute Page #3

EXT. KLUTE'S HOUSEYARD, HOUSE, BARN - DAY

Klute, stepping out, closes, locks and checks the

house door, then moves on to his car -- a vintage

Plymouth -- and tosses in his suitcase; and then

takes a last turn around the yard itself; props

open the cover of a beehutch, and lets down the

rail gate of a sidefield. He approaches to roll

shut his barn door -- and on this action we CUT

again TO --

INT. COMMERCIAL AUDITION - SOUNDSTAGE - DAY

DIRECTOR (O.S.)

(hastily)

Honey, no, we don't have too many.

She slaps the cup down, hurls herself forward --

SWISH PAN -- onto a MALE ACTOR, thrusting him down

to the floor, her hands at his throat. As we WIDEN

TO INCLUDE DIRECTOR AND MORE OF SCENE, and as the

Director reads from script, supplying a narrator

voice -

DIRECTOR (CONT'D)

Now before it comes to that, let's

have a look, et cetera, et cetera --

OK -

Bree and the Male Actor relax slightly, as -

ANGLE TO REVEAL ROOM, OTHERS

We reestablish the scene -- a few pieces of film

equipment -- and the congery of other ACTORS and

ACTRESSES preparing to read for parts. As the

Director approaches, counsels Bree -- all of this

quick and consecutive --

DIRECTOR (CONT'D)

-- Honey you make it look a little

real. It should have, you know,

that fun to it.

(beat)

BREE:

Strangle him to death funny?

DIRECTOR:

Well we go from this into stomach

diagrams. It can't be too -- look

let's try it again from -

-- but then he glances at his watch, and at the

others waiting their turn.

DIRECTOR (CONT'D)

No -- just give us the faces at the

end, would you?

Bree and the Male Actor set their cheeks together,

beaming half-moon smiles to camera, hold it for a

moment, as the Director reads again -

DIRECTOR (CONT'D)

(reads)

-- And another family saved by Elso

tablets. OK --

(brightly)

Thank you very much.

-- and holds out his hands for their scripts, at

the same time as he summons from a list in his

other hand --

DIRECTOR (CONT'D)

Pierce -- Danner -

BREE passes a new group of beautiful girls sitting

in line waiting their turn as she exits as brightly

as possible.

EXT. NEW YORK SIDEWALK: PEDESTRIANS - DAY

They trudge along the sidewalk -- the herd, the

late-afternoon crush. A LONG-LENS shot, the crowd

compacted. We see BREE milling along with the rest.

She maneuvers to a sidewalk PHONE BOOTH, enters. We

see her deposit, dial.

INT. PHONE BOOTH, BREE - DAY

She is connected (to her registry).

BREE:

Bree Daniel, any messages?

(waits -- none)

OK, thanks.

She waits for a moment. Then makes a curious, small

gesture of her hand -- deposits another dime, dials

again, is answered.

BREE (CONT'D)

Trina? Bree. Do I? Oh no, just a

commercial I thought I might get,

that's all.

(quickly, more brightly)

Well I'd take a quick thirty, hon.

Do you have a commuter for me?

Wait.

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