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Badly afraid over, the detective rises from a foldout couch in his office. He turns off the TV that has been on all night, dunks his arch in ice water, shuffles into the kitchen and prepares a beginning coffee filter, alone to apprehend he is out of grounds.

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He opens his wastebasket. Spies yesterday’s filter. Hesitates . . . and fishes it out. He gulps from his mug with an announcement of abhorrence and resignation, imparting aggregate the eyewitness needs to apperceive about his life. The rotten coffee is the atomic of his problems.

That aperture scene, from the 1966 abstruseness blur “Harper,” starring Paul Newman, is broadly advised a masterpiece of screenwriting, absolute base of appearance afterwards a distinct word.

It was the assignment of amateur biographer William Goldman, who went on to become a aerial artisan of the movies — acceptable Academy Awards for the convention-flouting western “Butch Cassidy and the Sundance Kid” (1969) and the Watergate abstruseness “All the President’s Men” (1976) and adapting his fantasy-sendup atypical “The Princess Bride” into a generational criterion in 1987. He died Nov. 16 at 87 at his home in Manhattan of complications from colon blight and pneumonia, his babe Jenny Goldman said.

In a career spanning added than bristles decades, Mr. Goldman admired himself as a biographer who aloof happened to address motion pictures. “In agreement of authority,” he wrote in “Adventures in the Awning Trade,” his 1983 account and acerbic appraisal of appearance business, “screenwriters rank about amid the man who guards the flat aboideau and the man who runs the flat (this week).”

But his blur bequest awfully overshadowed his acknowledged and genre-crossing books. He became a astounding analytical and bartering success in Hollywood, not atomic for his aptitude for constant accurate phrasemaking.

From “Butch Cassidy”: “Rules??! In a knife fight?”

From “All the President’s Men”: “Follow the money.”

From “The Princess Bride”: “Hello. My name is Inigo Montoya. You dead my father. Prepare to die.”

From “Marathon Man,” his Nazi-conspiracy atypical angry film, which contains the best alarming dental arrangement of all time: “Is it safe?”

With a attenuate barring of talents such as Billy Wilder, screenwriters had connected tended against obscurity. Mr. Goldman became one of the aboriginal authors to change that attitude back “Butch Cassidy” fetched what alike he advised an alien $400,000 in a flat behest war. It fabricated him an burning celebrity, acclaimed and vilified.

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“It got in all the papers, because cipher at this time knew annihilation about screenwriters — because all they knew is that actors fabricated up all the curve and admiral had all the beheld concepts,” he told the Writers Guild Foundation. “And the abstraction of this atrocious bulk of money activity to this [guy] who lives in New York who wrote a western collection them nuts. It was the best abandoned stuff, and, back the cine opened, the reviews were pissy.”

The account of inept coffer robbers was a able appraisal of the belief surrounding the American West. Newman played the fast-talking outlaw Butch; Robert Redford, again a about unknown, was casting as his acrimonious accomplice in crime, the Sundance Kid.

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Their tough-guy attitudes are played for activity in a memorable bluff dive into a angry river. They charge to accomplish the bound to balk a posse, but Sundance confesses he can’t swim. “Are you crazy?” Butch chortles. “The abatement will apparently annihilate ya.”

Critics were apathetic to embrace the blur — Pauline Kael’s analysis in the New Yorker ran with the banderole “The Bottom of the Pit” — but audiences responded to its comically absurdist, anti-establishment tone. An break featuring Butch and a changeable accompaniment benumbed a bike to the tune of “Raindrops Keep Fallin’ on My Head” became one of the best memorable sequences in 1960s cinema. The blur amount $6.5 actor to aftermath and generated added than $40 million, and it fabricated Redford a blemish sensation.

Mr. Goldman collaborated with Redford on several added films, best conspicuously but best awfully “All the President’s Men,” based on the book by Washington Post reporters Bob Woodward and Carl Bernstein about the Watergate break-in and coverup that led to President Richard M. Nixon’s resignation.

Redford had purchased the rights to the book and assassin Mr. Goldman to address the cine version. “It seemed, at best, a arguable project,” Mr. Goldman wrote in “Adventures in the Awning Trade.” “Politics were abomination at the box office, the actual was talky, there was no action.”

Mr. Goldman looked aloft the Watergate saga, with its inept conspirators, as article of a “comic opera.” He opened with the break-in by Nixon agents at the Democratic National Committee headquarters, presenting the burglars as bumblers with the amiss set of keys.

Redford, who like the reporters admired the activity as a afflicting abolishment of democracy, reportedly objected to the shaggy-dog approach, evocative of “Butch Cassidy.”

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Many easily began operating on the calligraphy — a antecedent of depression for Mr. Goldman. He took acclaim for the movie’s un­or­tho­dox finale, which showed Woodward and Bernstein authoritative an awkward mistake. Mr. Goldman believed that audiences, who would watch the blur for the aboriginal time two years afterwards Nixon resigned, would accept that the reporters, adamant but human, had been vindicated.

Mr. Goldman’s screenwriting career after soared beneath administrator Rob Reiner with “The Princess Bride” — a burst bogie account that winks at cliches of affair and adventurous adventitious — and again “Misery” (1990), based on Stephen King’s atypical about a accepted biographer captivated earnest and brutalized by a sociopathic fan. (Mr. Goldman helped address the 2015 Broadway comedy adjustment starring Bruce Willis and Laurie Metcalf.)

Among added films, Mr. Goldman formed on the tongue-in-cheek western “Maverick” (1994); and “Absolute Power” (1997), acclimatized from David Baldacci’s acknowledged anxiety novel; and two added King adaptations, “Hearts in Atlantis” (2001) and “Dreamcatcher” (2003). For years, Mr. Goldman was one of the best-paid calligraphy doctors in Hollywood, reportedly authoritative $1 actor for four weeks’ work.

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Mr. Goldman, who abstruse his barter from a screenwriting guidebook he bought in 1964 at an all-night bookstore in Times Square, abhorred blur schools and auteur theory. In profanity-laced interviews, he again his mantras: “Screenplays are structure,” “stories are everything.”

“It’s not like autograph a book,” he said to the advertisement Creative Screenwriting in 2015. “It’s not like a play. You’re autograph for camera and audiences. One of the things which I acquaint adolescent bodies is, back you’re starting up, go to see a cine all day long.”

“By the time the 8:00 appearance comes,” he continued, “you’ll abhorrence the cine so abundant you won’t pay abundant absorption to it. But you’ll pay absorption to the audience. The abundant affair about audiences is, I accept they acknowledge absolutely the aforementioned about the apple at the aforementioned places in movies. They laugh, and they scream, and they’re bored. And back they’re apathetic it’s the writer’s fault.”

‘Nobody knows anything’

William Weil Goldman was built-in in Chicago on Aug. 12, 1931, and grew up in the suburb of Highland Park. His accomplishments was tense, with a mother he declared as hectoring and an alcoholic agent ancestor who committed suicide by overdosing on pills back Mr. Goldman was 15.

Movies and the novels of Irwin Shaw were his escape. He entered Oberlin College in Ohio ambitious to address abbreviate belief but had absurdly bad luck accepting any published, alike while confined as an editor of a campus arcane magazine.

“I would anonymously abide my abbreviate stories,” he told the London Guardian. “When the added editors — two ablaze girls — would apprehend them, they would say, ‘We can’t possibly broadcast this [rubbish].’ And I would agree.”

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He accelerating in 1952, spent two years in the Army, again accustomed a master’s amount in English from Columbia University in 1956. While alive against a doctorate, he wrote his aboriginal atypical in a three-week ablution of pent-up abhorrence that he would wind up as a aerial academy English abecedary in Duluth, Minn. — the alone job action he had waiting.

The consistent book, “The Temple of Gold” (1957), a coming-of-age story, afflicted a celebrated publisher, Alfred A. Knopf. Added books followed at a bent clip, amid them “Boys and Girls Together,” a 1964 album about a accumulation of disturbing adolescent adults in New York, and his Boston Strangler-like abstruseness “No Way to Treat a Lady,” appear the aforementioned year and angry into a blur in 1968 starring Rod Steiger as a bananas analgesic with a affection for disguise.

Mr. Goldman acclimatized for blur several novels, including Ira Levin’s burghal abhorrence adventure “The Stepford Wives” (1975) and Cornelius Ryan’s Apple War II book “A Bridge Too Far” (1977). His cine for his 1974 atypical “Marathon Man,” about a alum apprentice who stumbles on a backup of modern-day Nazis, became a hit 1976 blur with Laurence Olivier as a dentist who drills into teeth as a adjustment of torture. He additionally wrote the aboriginal calligraphy of “The Abundant Waldo Pepper” (1975), with Redford as a barnstorming pilot.

Mr. Goldman’s after books included the Hollywood casting-couch adventure “Tinsel” (1979), the Cold War science-fiction abstruseness “Control” (1982), and “Hype and Glory” (1990), a absurd absorption on his account as a adjudicator at the Cannes Blur Festival and the Miss America Pageant.

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His 30-year alliance to columnist Ilene Jones concluded in annulment in 1991. In accession to his daughter, of Philadelphia, survivors accommodate his calm accomplice of 19 years, Susan Burden of Manhattan; and a grandson.

Another babe from his marriage, Susanna Goldman, died in 2015. His brother, James Goldman, who won an Oscar for his awning adjustment of his comedy “The Lion in Winter” and wrote the book to Stephen Sondheim’s agreeable “Follies,” died in 1998.

In “Adventures in the Awning Trade,” with its communicative behind-the-scenes attending at the caprice of art and commerce, Mr. Goldman coined an constant byword in the Hollywood lexicon: “Nobody knows anything.” Afterwards decades in the business, he had appear to see success and abortion as a amount of chance.

He had his allotment of flops, such as “The Ghost and the Darkness,” a 1996 abstruseness about the coursing for two lions who annihilate railway workers in Africa. It was a close story, starring Michael Douglas and Val Kilmer, and got able reviews but played to abandoned theaters.

“If you can accept in the actuality of evil, you can accept that story,” he told the Guardian in 2009. “Nobody capital the lions to be that successful. We alive in a Disney world. Maybe we miscast the lions.”

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