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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