Alan J. Pakula's "Klute" is widely known in the music industry for its unusual use of musical instruments in non-diegetic music during mysterious parts of the thrilling film. At the same time, the creepy melody, a low-key lighting motif mixed with the non-revealing of the identity of the man Bree is afraid of and Klute is searching for, is evident every time the music begins. The combination of the two models with the non-diegetic music gives the audience a sense of mystery, thrill, and fear as they cognitively respond by trying to figure out who is after Bree. Michael Small was the musical mastermind behind the eerie soundtrack to “Klute,” his first Hollywood film. Small chose to make his impression by moving away from previous uses of symphony and jazz, commonly used in exciting film soundtracks, and resorting to a chamber orchestra. In doing so, he combined the spooky sounds of piano, percussion instruments, and female vocals to create what some would say is the best soundtrack of the 1970s.1 The very first time we hear this spooky music is at 3 :36 while a man sets up a tape recorder and plays it. Meanwhile, discreet side lighting is used to illuminate actions performed on a black table. In order to reinforce the scary side of the soundtrack, the director only allows the audience to see what they want. In this case, a close-up of a man's hand and a tape recorder are allowed. By combining the black surface, low-key lighting and a hand but not a face, the director created the mysterious and frightening atmosphere of eerie music for the rest of the film. The presentation of the music alongside the motifs evokes a cognitive game for the audience as they want to know who is behind the recorder. It's ass... middle of paper ... the audience finally feels relieved that Bree's troubles are finally over and the mystery is solved. The use of non-diegetic music alongside low-key lighting and whatnot was chosen to remain off-screen and enticed the audience to experience the thrill that Klute and Bree felt throughout the investigation. Although it was eventually revealed that Cable was the culprit, an early viewer couldn't be sure that Cable was the man they were looking for. By not revealing Cable as the man behind everything, whenever the music played, the intensity was still present. Additionally, occasional high-pitched lighting did not diminish the power of the music because other reasons to feel suspense were shown. Klute is a great example of how combining non-diegetic music and other elements can help the audience feel what the director wants them to feel..