Scripts: Strangers on a Train (18/Oct/1950) - part 3
LAP DISSOLVE TO: INT. OBSERVATION CAR OF A TRAIN NIGHT Through the rear window we see the tracks rushing away from us. Seated in the foreground are Guy Haines and a rather professorial type opposite him, a bespectacled man around forty-five or fifty who is extremely drunk. MEDIUM SHOT GUY He is reading an evening newspaper. CLOSE SHOT The feet opposite Guy stretch out and touch Guy's feet. CLOSEUP GUY He lowers his paper and looks across. MED. SHOT The drunk opposite Guy looks down at his feet and then up to Guy resentfully as though Guy had kicked him. He eyes Guy up and down, then suddenly, without warning, bursts into song, to the tune of the Barber Shop Chord. COLLINS There was a man, now please take note. There was a man who had a goat. He loved that goat, Indeed he did. He loved that goat, just like a kid. (He stops singing abruptly and addresses Guy) What is your opinion? GUY (amused) You'll never make the Metropolitan. COLLINS (fuzzily -- pumping Guy's hand) Name's Collins. On sabbatical - Delaware Tech. Glad to meet you. I jus' gave a speech in New York. On integration. In the differential calculus a function is given and its differential is obtained. Understand? GUY (solemnly) Sure, I understand. COLLINS (resentfully) Y'do? Again he bursts into loud song. LAP DISSOLVE TO: LONG SHOT WASHINGTON EXTERIOR ABOUT 1 A.M. MOONLIGHT A solitary taxi is seen driving past the Capitol Building. LAP DISSOLVE TO: The taxi comes to a side street and stops outside a small apartment house. MED. SHOT Guy gets out of the taxi with his rackets and bag, pays the driver and goes up the steps to the front door of his apartment. CLOSE SHOT As Guy is about to enter the front door and we see his name posted on a small card as one of the several tenants, he hears a soft call from across the street. VOICE (softly) Guy! Guy turns his head and looks across the street. MED. LONG SHOT (FROM GUY'S VIEWPOINT) We see a small space between two houses across the street. Out of the darkness the voice repeats. VOICE Over here, Guy. MED. SHOT GUY He turns, and with a slightly bewildered and wary expression, goes out of the picture to cross the street. MED. SHOT Guy reaches the other side of the street and still puzzled and cautious, approaches the dark alleyway. MED. SHOT After a moment a figure steps out of the darkness. It is Bruno. He steps back into the darkness again as Guy comes up to him. TWO SHOT Guy frowning in puzzlement as he looks at Bruno. BRUNO (cheerfully) Hello, Guy. GUY (recognizes Bruno -- not pleased) What are you doing here? At this time of night? BRUNO (a little sadly) You don't seem very pleased to see me, Guy. Guy stands without answering. BRUNO (pleased again) I brought you a little present. GUY What do you mean? Bruno's hand comes out of his pocket and he hands Miriam's glasses to Guy. INSERT Guy's hands taking Miriam's glasses from Bruno. One of the lenses is broken. TWO SHOT As Guy takes the glasses he looks at Bruno in bewilderment. GUY What's this all about? BRUNO Recognize them? CLOSEUP GUY He looks down at the glasses, mystified. He looks up again to Bruno. CLOSEUP BRUNO BRUNO It was very quick, Guy. She wasn't hurt in any way. It was all over in no time. CLOSEUP GUY He is horrified. He looks swiftly down at the glasses in his hand, then back to Bruno. BRUNO'S VOICE (bragging) I know you'd be surprised. Nothing for us to worry about. Nobody saw me, only Miriam. TWO SHOT Guy can hardly believe what he is hearing. BRUNO I was very careful. Even when I dropped your lighter there, I went right back to it up. If It'd been found, it would have ruined our whole scheme, wouldn't it? GUY Are you trying to tell me you've -- Why, you maniac! BRUNO (looks at Guy with astonishment) But, Guy, you wanted it! We planned it on the train together, remember? Guy suddenly starts to go. Bruno grabs his arm. BRUNO Where are you going? GUY Where do you think I'm going? I'm going to call the police, of course. BRUNO But you can't, Guy. We'd both be arrested for murder. Guy turns back slowly and faces him. GUY We'd both be arrested for murder? BRUNO You're is much in it as I am. We planned it together. Criss-cross. I do your murder -- GUY (suddenly angry) You crazy fool! You think you can get away with that? BRUNO (a little hurt) Oh, come now, Guy. Why should I go to Metcalf and kill a total stranger, unless it was part of the plan and you were in on it? You're the one that benefits, Guy. You're a free man. I didn't even know the girl. Guy makes a move to leave, but Bruno holds on tight. GUY Let me go, Bruno. I had nothing to do with this and the police will believe me. BRUNO (concerned) If you go to the police now, you'll just be turning yourself in as in accessory. You see, you have the motive. At this moment both turn at a sound across the street. LONG SHOT (FROM THEIR VIEWPOINT) We hear the sound of a telephone ringing in Guy's apartment. The top of one of his windows is open. BRUNO What is it? GUY My telephone. BRUNO (amused) Someone has some news for you, Guy. Guy still stares across the street. LONG SHOT (FROM HIS VIEWPOINT) We see a police car pull up outside Guy's apartment. TWO SHOT Bruno pulls Guy back further into the shadows. Guy instinctively flattens himself against the wall. He looks across the street again. LONG SHOT (FROM HIS VIEWPOINT) We see the two policemen go into his apartment building. TWO SHOT Guy is still flattened against the wall to keep out of light. BRUNO Tell them you know about it already, Guy. CLOSEUP GUY He looks across at the police, then down at himself with some surprise and disgust, then over at Bruno, suddenly conscious he is behaving like a criminal and that Bruno is responsible for his predicament. GUY (muttering) You've got me acting, like a criminal, you crazy fool! Bruno for a moment looks menacingly at Guy. BRUNO Don't you call me that. Bruno's flare of anger dies. They both look again across the street. LONG SHOT (FROM THEIR VIEWPOINT) The two policemen come out of the house, get into their car and drive off. Guy's telephone is still ringing. TWO SHOT BRUNO You must be tired, Guy. I know I am. I've sure had a strenuous evening. Guy looks at him, almost numb. BRUNO Now look, Guy, about my father. I have the plans made. Two plans. A plan of the grounds and a plan of the house. I have in old Luger I bought at a pawn shop in San Francisco. My father -- Guy turns and starts to move in across the street. TWO SHOT Bruno follows Guy and we FOLLOW them across the street. CAMERA ON THEIR BACKS. Guy strides ahead to the house. BRUNO Wait a minute, Guy. To have to talk. We have to arrange things. Guy turns at the door to his apartment building. GUY (furiously) Get away before I give you what you gave Miriam. BRUNO (sadly) You're not yourself, Guy. You're tired. When you think things over, you'll see I'm right. Tomorrow -- Guy opens his door, turns on Bruno. GUY (with finality) I don't know you. I never saw you before. I never want to see you again. He goes in and slams the door in Bruno's face. BRUNO (to the closed door) But we have to -- He realizes there is no use in trying to talk to Guy any further. He turns and faces the CAMERA IN CLOSE UP as he moves away, looking sad almost to the point of tears. INT. GUY'S APARTMENT Guy is standing at the telephone which is still ringing. He has Miriam's glasses in his hand. He looks down at them for a moment, then picks up the receiver. He hesitates, then speaks into the phone. GUY (hoarsely, into phone) Yes? (Pause) Yes, Anne. I'm sorry, darling. I just got in. (pause) Of course I'm all right. (MORE) GUY (CONT'D) (forcing his voice to sound normal) But you sound upset. Is anything wrong? (Pause) All right. I'll come over. Right away. He hangs up but keeps his hand on the telephone, deliberating. He starts to dial, then suddenly hangs up and starts out. DISSOLVE TO: EXT. A RESIDENTIAL STREET, WASHINGTON LONG SHOT NIGHT A taxi drives up and stops in front of a handsome residence. It is the Burton home. Guy gets out of the taxi and goes up the steps. MED. SHOT OVER GUY'S SHOULDER His figure tense, he rings the bell. After a moment's wait, the door is opened from inside and Anne Burton stands in the lighted hallway. She looks at Guy with an anxious, taut expression, searches his face hastily, then as he takes a step inside she is suddenly in his arms. They embrace with wordless fervor. GUY (holding her close) Anne darling, you're trembling. Anne draws back and looks into his face as if searching for an answer to some question in her mind. ANNE Guy -- (her fingers gently touch his face) I wonder if you know how much I love you. Guy takes her hand from hIs face, caresses it with his lips. GUY (forcing a smile) Brazen woman. I'm the one to say that. ANNE (tensely) But I wanted you to know, before... (forcing herself to be calm) Before we go into the living room. Father wants to see you. CLOSEUP GUY He looks apprehensively in direction of the living room, conscious of what the news is to be, but covering up. LONG SHOT LIVING ROOM FROM GUY'S VIEWPOINT SENATOR BURTON and BARBARA BURTON are seated near a desk on the farthest side of the room. Senator Burton is a distinguished fifty, a man with great pride in tradition, his family and his career. Barbara, Anne's younger sister, is a lively seventeen who loves excitement, says exactly what she thinks and rarely thinks before she says it. Superficially, in height and figure, she resembles Miriam. She also weirs glasses. By her gestures we gather she is speaking urgently, but softly, to her father, who lifts a weary hand to quiet her as she looks toward Guy in the hallway, Barbara keeps quiet and also looks toward Guy. They both wait for him to enter. CLOSEUP GUY He steels himself for the long walk across the hall and the living room. CLOSEUP ANNE Watching Guy closely. MED. SHOT As Guy starts to make the long trek across the living room, with Anne behind him -- GUY (stiffly) Good evening, sir. Hello, Babs. Barbara has been squirming in her seat, then as if jet propelled she catapults out of it and runs to Guy, giving him a big hug and a smack on the cheek. BARBARA Something awful has happened, Guy. SENATOR (firmly) Sit down, Barbara. Subdued, she sits down. But Guy remains standing. SENATOR (finding it difficult to begin) There seems to be no way of diplomatically breaking tragic news. I'm sorry, Guy, to be the one to tell you. It concerns your wife. She's been murdered. Guy stares woodenly at the Senator, is if hypnotized. BARBARA The police have been using everything but radar to locate you. SENATOR You're to call Headquarters at Metcalf. The full impact of what has happened hits Guy once more. GUY Miriam...murdered. ANNE (with inner tension) She was...strangled. Slowly Guy's eyes meet hers. They are remembering what he said on the phone: "I could strangle her." He sinks into a chair. The Senator is quite distressed. During the following scene Barbara quietly goes about the business of pouring drinks and serving them. She knows everyone's preference. SENATOR (wrylt, to Guy) It happened on an island in an amusement park. It was sort of a lovers lane, I believe. A rather sordid atmosphere. BARBARA (quickly, to Guy) Miriam went there with two boys. They were the ones who found her. So they're not suspects. But you probably will be. SENATOR Young lady, we can't overlook the fact that murder is at our doorsteps. But I forbid you to drag it into the living room! BARBARA (wide-eyed) Let's not fool ourselves. The police will say Guy wanted Miriam out of the way so he could marry Anne. In a crime of this sort the police first go after the husband, and Guy had every motive. SENATOR (aghast) Motive? GUY (quietly) She's right. Whichever way you look at it...I'm in a spot. SENATOR (disconcerted but whistling in dark) Oh come now, my boy. I'm sure you have nothing to worry about. BARBARA (flatly) If he hasn't an alibi for nine-thirty tonight he has plenty to worry about. ANNE (who hasn't taken anxious eyes off Guy) You can tell them where you were, can't you, Guy? GUY (wearily) At nine-thirty I was on the train from New York to Washington. SENATOR (relieved) There you are. BARBARA Who saw you? Did you speak to anyone? You'll need a Witness, you know. GUY (as if it didn't matter) Yes, I spoke to someone. SENATOR (hopefully) Anyone you know? GUY No. His name was Collins. He is a professor. SENATOR (brightening) Harvard. GUY University of Virginia. The Senator's expression says: "Well, that's not too bad." CLOSEUP ANNE Her face shows her relief that Guy can account for his time. ANNE Then everything's's all right. BACK TO SCENE BARBARA Not quite. Detectives play a game called Motive, Motive, Who'd got the Motive. ANNE (near the breaking point) I'm sick of hearing that word! BARBARA He'll still have to answer questions. SENATOR Routine. Pure routine. GUY I'm afraid there'll be a lot of reporters at your front door in the morning. BARBARA Daddy doesn't mind a little scandal. He's a senator. ANNE (answering Guy's look) It can't be helped, darling. It is not your fault. It's not as though anyone can say you had something to do with it. GUY Someone might say it...I'd do anything to keep you all out of this mess. SENATOR Profit by my experience, Guy. Never lose any sleep over accusations. (an afterthought) Unless they can be proved, of course. We'll help all we can. Dreadful business, dreadful. That poor unfortunate girl. BARBARA (flatly) She was a tramp. SENATOR (pontificially) She was a human being. let me remind you that even the most unworthy of us has the right to life and the pursuit of happiness. BARBARA (unimpressed) From what I hear, she pursued it in all directions. SENATOR Barbara! ANNE Father, it's getting terribly late, and Guy looks so tired... SENATOR (quickly) Of course, of course. Back to bed, Barbara. BARBARA (ignoring this - to Anne and Guy) Well, you two. Nothing stands in your way now. You can be married right away. Think of it -- you're free! CLOSE TWO ANNE AND GUY look at one another with a growing realization of what Miriam's death actually means to their happiness -- they are free. BACK TO SCENE The Senator firmly urges Barbara to the door. SENATOR (to Barbara) One doesn't always have to say what one thinks! BARBARA (sweetly) Father, I'm not a politician. The Senator gives her a gentle but firm push out of sight. SENATOR You won't forget that call, Guy? Captain Turley. GUY Yes sir. Goodnight. Barbara pokes her head quickly around the door. BARBARA I still think it would be wonderful to have a man love you so much he'd kill for you. (she ducks out) TWO SHOT Left alone, Guy and Anne embrace. Anne's nervous tension comes to the surface in a flood of relief. ANNE I told myself over and over I was being silly, but there was one horrible moment tonight when the news came through. I kept remembering what you shouted telephone from Metcalf. GUY That I could strang... Anne quickly puts her fingers over his mouth. ANNE Don't even say it. Forget you ever said it. Even more terrifying than the murder itself, Guy, was the awful thought that if you had anything to do with it we'd be separated, - perhaps forever. I'd never see you again. I couldn't bear it.
...continue to part 4