strangle him to death funny?
bree daniel, any messages? ok, thanks.
trina? bree. do i? oh no, just a commercial i thought i might get, that's all. well i'd take a quick thirty, hon. do you have a commuter for me? wait.
hullo.
ooh, i knew i'd like you.
lover, that's got to be a little extra. i mean it sounds very exciting, what you speak of, you've got me all excited. but something special like that, you know it's got to cost a little more, mm?
oh lover, oh it's too much -- oh you thrill me -- yes, like that, it's -- oh it's beautiful, oh --
what is it?
what about?
you said that.
who?
gee.
why?
honest?
dew yew hayuv ah-dentifikyshun?
you're not police or fbi; you're just a private investigator?
and you just want to ask me a few questions?
bree listens through the door to his departing foot steps. they fade from hearing. she hastens to assemble her properties.
-- and i take acting classes with lee tainter --
-- and i was in two of his workshop type productions, uncle vanya and the girl in five characters -- -- here -- and then of course i have the modeling and the demonstrator work, the trade-fair work -- but naturally i feel ready for something more, well you know, sustain --
thank you very much.
oh hon, i just don't know. i'm trying to stay out of it.
well try to get someone else marty and if i change my mind -- sure hon, bye.
marta --
hi. bree. hi. well i could come over tonight - if you'd like -- if there's no one else. i really want to just talk to you.
hi? -_
oh --
you scared me, mr. faber.
oh thank you.
it's good to see you. well -- could we do it first and then just talk?
well -- well i'm just back. and -- i must tell you -- something quite wonderful.
and cannes was quite fun, quite; and we played baccarat and chemindefer and there was a nice little italian marquis quite enthusiastic for me -- but a young man can be so silly --
and then one night -- at the gaming tables -- well i just saw him. a stranger -- looking at me -- and i knew suddenly that all my life i'd been --
-- may i? it's so --
not young; he wasn't young -- gray at the temples, he -- well actually he looked like you.
and nobody could tell me who he was -- an exiled prince or a mercenary or a bullfighter or -- but i felt it stirring inside me, this -- this wild, pagan feeling --
and next day at the beach -- our beach pavilion -- i saw him again, his eyes burning into me. i was helpless. without his even speaking to me, without his even touching, i knew that somehow -- somehow --
whyn't you just cut out?
oh you bastard.
is it the shakedown hon? you picked a loser, i just don't have it.
if i was taking calls full time would i be living in this kip? i'd be back on park avenue; i could support the whole national guard!
or you'll get me shoved back in the brig you mean; another month with the bull-dykes.
look, i told the police everything: i don't even remember the schlub!
they showed me that one. i understand it's grunemann, but i told them, i just don't remember.
a family sort of man.
isn't that sweet. well it could be any one of them bubi; i get to see them all.
look -- please -- will you just try to get it from my side? a year ago. i was in the life fulltime. i was living on park with leather furniture and a million dresses. then they dropped on me, the fuzz, they caged me -- they started asking me about a man, some man, i'm supposed to have seen a year before that. two years ago, two. he could be in yemen!
a name. grunemann. nothing. and they showed me pictures like this and they meant nothing. then they asked me, well had i been getting letters, from someone out there in cabbageville --
all right, yes, i had been. those sick, wild letters -- i'm watching you, gonna follow you, gonna punish you, kill you et cetera. well, they said, all right that's grunemann. so try to remember when you and he - when -- well i don't know, there was that dumper once, he sounded like that dumper -- dumpers; they get their kicks beating you up. a man hired me once, then tried to really kill me - that'd be about two years ago.
ok tommy-baby, allie-allie-in-free kid, i got the gumdrops.
you remind me of my uncle.
nothing. except he wasn't kidding. usually it's a fakeout, you probably know. they pretend to tie you up, and you wear a dress with a cloth belt and they pretend to whip you or you -- hell it's their money. i'll hang from the shower rod and whistle maytime. except this guy was really tripped out on it; he --
i can't say he was anybody!
so -- ok -- that's all?
well could i have them back now hon? -- those tape recordings you've got downstairs -- ok? -- and if you want you can have a good time and i'll have a good time and--
just phone calls, right? they ring, you answer, they don't say anything, just blank. kids getting kicks. burglars looking for an empty apartment. i mean there is nothing that proves --
look -- i'm sorry -- i've led everybody wrong. i mean yes, i get those feelings, but that's just me, that's just feelings. i'm sure this will amuse you; i'm scared of the dark. and sometimes i get shook up, i hear people or -- well, i'll come out in the morning and think someone's been prying at my mailbox, or there's a little -- trash outside my door and i wonder if someone left it there for -- do you see? -- things other people wouldn't even notice. well that's not real, it's just nerves; it's got nothing to do with --
bree daniel. oh yes, ted carlin, how is ted? oh, well, thank you very much but maybe the next time you're in town? well i just love ted and i'd love to meet you -- you have a very nice voice -- but i just -- well i'm having a chat with a very nice cop. actually not a real cop; he's a private inves --
most of them.
how would i remember?
you're very square. pimps don't get you dates, cookie; they just take the money.
look, i'm sure this'll amuse you too. ilia trying to get away from all that.
you saw that, goddamn you? you saw it? he's seventy. his wife's dead. he started cutting garments at fourteen. his whole life, he's maybe had a week's vacation, i'm all he has and he never, never touches me, and what harm in it, what --
klute, tell me, what's your bag? are you a talker, or a button man or a doubler, or maybe you like them very young -- children -- or get your chest walked around with high-heeled shoes, or have us watch you tinkle? or --
-- you want to wear women's clothes, or you get off ripping things --
-- you perverted hypocrite square bastards.
gee i hope this doesn't make my cold any worse.
mm? oh, he was my old man. we broke up.
what? this?
i thought you could trick me for those tapes. don't you get lonely in that little green room? or let me get you someone; i have terrific friends, wild.
gee. i've had men pay two hundred dollars for me -- here, you're turning down a freebie. you can get a perfectly good dishwasher for that.
you've changed your mind? you do want to play?
i go on rounds.
you go see agents -- or equity calls, open casting calls. and ad agencies -- commercials -- you don't get work, you just go around.
and they're always polite -- show people -- they say thank you very much. you lie there covered with blood, smiling, they say --
well do you think it was him?
can't you get him?
you asked me where i got that date with the dumper -- frank sent me on it.
he never told me.
what did you expect? frankie still has a good string, three girls. figure three hundred a week from each.
frank -- klute.
frank, he knows you're a pimp. he knows you were my pimp.
yeah frank, i know that.
did you like my friend frankie?
didn't he tell you what you wanted?
about the dumper, didn't he tell you that?
well -- she's dead.
i thought you were going back to the apartment.
oh golly, oh just what i've always dreamed of, dirty phone calls. how come?
is there anything more i could --
what're you gonna do next?
what do i do meanwhile? -- wait for that clown to fall through the skylight on me?
you said it was!
oh -- wait -- oh i get it. you said that just to keep me scared. so i'd tell you everything i -- oh clever; oh you smart, tricky hick.
hey, but did we get to you, klute? a little?
-- us city folks? the sin, the glitter, the wickedness?
goodbye.
what the hell do you mean, pathetic?
it got lonely upstairs. there's someone on the roof.
oh, don't be a doo-doo.
ezra, i'm lots better than you're used to. tell me -- the other night, watching me with mr. faber -- wasn't your tongue a little bit hanging out?
so you're not too different from him, or the chap on the roof, or tommy-baby --
look, if you don't use it somebody else just will. and you've done your whole bit with me, your entire duty, and so now this is my thing. so enjoy, mr. faber would say, enjoy.
oh don't be all hypocrite. or do you really like other kicks? is it more just having power over someone? -- so you don't really need to --
who the hell are you, buttoning me up?
i knew it, i knew it, a killer.
oh lover -- oh you thrill me -- oh, it's beautiful -- oh yes, yes -- oh like that, like that, yes --
what's the matter hon? you were great. terrific. a tiger.
well what're you down about? you mean because you didn't get me there? you can't expect that. i mean frank, yes, he'd get me there all the time -- but never with a john.
and i'm sorry i can't stay and learn your special little games. and i certainly don't want you to feel bad about this -- losing your virtue all of a sudden -- because i sort of knew you would. as i said, like everyone, right?
besides - you can always tell yourself you made me come downstairs. ta, luv.
-- why?
why -- please, why? -- why lose, why look? why hate and give and want and love? why get, grieve, g --
-- gug -- gug --
why? -- i want to know what.
when?
arlyn page.
frankie kept them in the same apartment: it cut his travel-time.
arlyn had a very big habit - heroin - she's the one who started frank. she's strung out now; you won't find her.
i can make that in a lunch break! look, hiram, you're sure it isn't just me? -- you decided you liked it, after all, the other night; you'll hang around for seconds?
joanie -- mike, hi -- hi pat.
a new daddy. i'n he cute?
trina this is klute. i told you about him.
uh uh.
trina honey, he just wants to find arlyn page.
she was with you after she left frank.
gil?
what the hell do you think's the matter. i could wait for you someplace.
-- then you don't need me.
you sure pull a lot of mileage out of a hundred dollars.
arlyn? honey? look, it's all right.
arlyn, it's all right.
arlyn, he just wanted to ask some questions -- something you could help us about.
honey, a couple of years ago, with jane and frankie? -- jane sent me a dumper --
arlyn, just tell me, did jane have a dumper, one of her regular johns?
did he come around often?
well hello -- come on in.
how?
thanks for the jolly news. i thought maybe you'd left town by now. you kind of just disappeared. but you boys from tuscarora have a habit of disappearing, don't you?
why?
what if i go out on tricks - you wanna come along? you could sit and read the national geographic.
i don't get you.
i told you before, you wouldn't understand.
no.
arlyn was a junkie; i'm not on junk!
you get the christ out! you dumb stupid bastard, you don't know anything, you square, you get out! i don't have to show you anything; you get out!
if i asked you something, would you not laugh? -- asked you to look at something?
i thought it was maybe changing shape or something.
look -- i hate everybody; and i'm sorry for everybody; and i'm scared all the time.
look, i don't know either. it's like the only thing i know how to do -- i feel safe.
please.
no. well all right. but you want to and i want you to and we both know it and all right.
i'm still scared. i mean different but still. look, i made it very clear from the start, you're a yokel, you don't excite me, you don't even interest me, and so i only have one question which is what the hell are you doing in my bed?
oh!
i am scared. the things i do. the things i could do to you.
no, not just 'mm'. you don't know what i --
oh boy, say, you think you're pretty good.
oh --
the son of a bitch seduced me!
i know: it's ridiculous. but it's tearing me up and i don't know why. and look, all right, i came here didn't i? and if i have to, i'll keep coming here, the works, and talk about my mummy and my daddy and i'll even pay for it, but will you kindly for god's sakes say something?
guess!
i do not love him.
all right. loneliness. well -- separated. from other people. forgotten. well, as if i can be here, i can go through the motions, right? but the truth is, i don't belong.
do you always have to repeat?
well it's more than loneliness. hate. people hating me -- and watching me and following and waiting to hurt me -- you know? i'm all screwed up.
the truth is i hate them: they must hate me. all right, the money. all right, not the money. a kind of put-on. it gets things back together. well let's say i'd go to one of these cattle-calls, a tryout. i mean before -- before i got this job -- and they'd always say thank you very much and i'd feel, you know, brought down. they didn't want me.
i said that. well, so you have a choice. you can either feel lonely -- you know, the hate -- or -- 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. 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. 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?
i saw mr. faber. you remember mr. faber, don't you?
is that all you have to say?
well, i told him i wouldn't - uh - go there any more. 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.
spangler says we have a relationship.
you and i -- a relationship.
hell there's nothing so mysterious about the square life.
oh jesus. oh jesus.
you suppose he's a married fella?
he got in my clothing!
oh. oh.
oh look what he did in them.
my god, i thought it was over. and here i am, daddy, right back at the start.
right back at the start, right?
you said it was over, right? you said not to worry any more, all over, right?
ah, schmendrick -- what's the scam?
oh zippidy-doo, they'll find my fingerprints. can i go in? i need some stuff.
with trina.
maybe i wasn't there when you called.
how do you know how bad it was?
because i didn't want to be touched! i didn't think you'd get that!
hey -- look officer -- i can explain everything. it was just -- you know, everything all of a --
oh well that shouldn't take you more than another, oh, two and a half or three years, should it?
so do i.
arlyn and jane commited suicide. he said they commited suicide.
you said someone killed them, you said you know who, you said that.
why isn't he locked up?
is that why klute didn't tell me?
what was better? i made better bait?
is that what he set me up for? everything he's told me from the beginning? -- don't worry, don't --
i don't have to look at anything. i don't have --
oh no.
grunemann? i've looked at him a --
oh! --
trask said i should move. let's not make a thing of it.
look, too much is going on here. i'm moving in with another girl, that's all. just for a while.
no!
-- until he gets back. yes i heard you, i understand that. i said i'm going to come over, i'll wait until he gets back.
no.
look -- could i use your phone?
look. i almost killed my -- i almost killed someone.
is mr. faber there? mr. faber senior.
-- i'm -- i just have to talk to someone. i'm just a little way across town --
what?
i have an appointment with mr. faber.
i have an appointment with mr. faber.
i'm sorry -- mr. faber senior.
it wasn't important.
did mr. faber leave a message for me or anything? mr. faber senior? bree daniel.
bree daniel. has he called in yet? well if he does, i'm at -- -- two seven eight, three one hundred, and i guess i can wait here five minutes; then i'll try from somewhere else. just tell him bree daniel; he knows who.
mr. faber, i just wanted to leave this for your father, and i wondered if you'd --
someone --
yes -- all right --
-- yes.
yes -- jane mckenna's book -- i could make a phone call.
yes.
will you let me go then?
if you'll let me go i could tell them what --
i'm sorry, i'm just frightened. yes.
i said yes, i see.
tell me. i'll listen. i just want you to tell me.
hi.
oh. well it wasn't us city people that did it -- your fine rosy-cheeked country boy.
you're going back?
well suppose i hadn't come downstairs. would you just have folded up and sneaked away?
you wanted to, or you are?
you could at least look at me!
look -- yes. i mean thanks, but -- don't you think we better be realistic?
look at me. i'm pretty and sort of clever and very well intentioned, and dear god i'd tear your heart out!
how can you not think so? you know the things i can do.
what?
please, i'm a city person. i'm sure it's just as good as here but i'm a city person, that's all, i am! hell i know what it's like. i was in jersey once: the frogs go bra-a p all night! what'im i supposed to do? mend your socks and sing in the church choir? ) do you not believe i love you? i'm honestly, honestly just --
look, why should it be yes or no? can't we keep it going and see? i mean we can keep in touch and visit each other and see. people do that, that's realistic.
you don't believe that either, do you? why can't you see my side?
can i carry something for you, to the car? will you kiss me?
hey.
oh heck -- oh heck --
i haven't decided yet! i haven't decided yet! i haven't decided yet! --