Scripts: Strangers on a Train (18/Oct/1950) - part 4
DISSOLVE TO: LONG SHOT MAIN STREET OF METCALF DAY with its customary mid-afternoon activity. LAP DISSOLVE TO: EXT. METCALF POLICE HEADQUARTERS DAY A knot of people are hanging around the entrance, including a few newspaper photographers. There is a rush of interest when a taxi pulls up and Guy steps out of it. Guy pushes his way through the people. Two or three bulbs flash. There is a murmur from the crowd and we hear Guy's name. He passes into the entrance. INT. CORRIDOR OF POLICE HEADQUARTERS Guy comes into the corridor from the street and approaches two policemen who are standing nearby. GUY Captain Turley's office? One of the policemen gestures to a door at the right. Guy crosses and enters. INT. RECEPTION ROOM OUTSIDE CAPTAIN TURLEY'S OFFICE At one side of the room is a young police sergeant seated at a typewriter. A group of people are seated in chairs lined against the opposite wall. Guy enters, crosses to the sergeant at the desk. GUY Captain Turley is expecting me. Guy Haines. SERGEANT Just a moment, Mr. Haines. He rises and goes into an adjoining room. CLOSEUP GUY He now has time to take stock of the waiting people. He catches his breath when he sees: CLOSEUP MRS. JOYCE Miriam's mother, dressed all in black, is seated in one of the chairs. She has been staring at the floor, but brings her eyes up slowly to glare at Guy with a look of burning hatred. MRS. JOYCE (a fierce whisper) You'll pay for this! CLOSEUP MR. HARGREAVES Mr. Hargreaves from the music shop looks across at Guy, attempts in awkward nod but is very embarrassed. CLOSEUP GUY Guy nods in returns. MED. SHOT The two boys who were with Miriam at the amusement park. They look at Guy with interest. MED. SHOT GUY He looks about him uncomfortably, then turns suddenly as he sees: MED. SHOT Seated behind Guy, apart from the others who are waiting, is Professor Collins, Guy's drunken companion on the train of the night before. The professor is completely sober now, dignified and erect. He has removed his glasses to polish them and does not react to Guy's presence. CLOSEUP GUY Guy starts with a smile of recognition to say, "How do you do?" but at that moment he hears the door open and his name called: SERGEANT'S VOICE Will you come in, please, Mr. Haines? MED. SHOT Guy breaks away from his uncompleted greeting to the professor and goes through the door to Captain Turley's office, followed by the eyes of the waiting people. INT. CAPTAIN TURLEY'S OFFICE CAPTAIN TURLEY is conscientious, methodical and always polite. He puts aside photographs and records and rises from behind his desk as Guy comes in. A detective lieutenant, CAMPBELL, is attending a coffee maker. Their expressions are grave by contrast with Guy's confident attitude after seeing the professor in the waiting room. CAPTAIN TURLEY Good of you to be so prompt, Mr. Haines. This is Lieutenant Campbell. (the two nod to each other) Won't you sit down? GUY Thank you, sir. (he sits) CAPTAIN TURLEY I know you're a busy man, so we won't detain you any longer than necessary... Now you already been good enough to tell us where you were last evening, and we've managed to locate the gentleman you spoke with on the train. Turley signals to Campbell to call the professor in. GUY (brightening) Yes. I saw him outside. CAMPBELL (at open door) Will you come in please, professor? CLOSEUP GUY He looks up eagerly. MED. SHOT Professor Collins comes in and sits in a chair opposite Guy. TURLEY Professor Collins, this is Mr. Haines. He was with you on the train last night. The professor studies Guy for a moment, then awkwardly turns to Turley. COLLINS I'm terribly sorry, but I really don't remember meeting this gentleman. CLOSEUP GUY Surprised. His confident expression fades. CLOSEUP PROFESSOR COLLINS He turns from the captain to Guy. COLLINS (apologetically) Unfortunately, I remember very little about the journey from New York...You see, there had been a little celebration -- MED. SHOT GROUP Guy interrupts with a slight note of impatience. GUY But we were sitting opposite each other in the observation car! You were singing a song about a goat -- COLLINS (incredulously) A goat? GUY (urgently) And calculus. You were going over a speech you'd made. Turley and Campbell are watching closely. COLLINS I was? I'm sorry, Mr. Halnes. (shakes his head) I certainly must have celebrated! I can't remember you at all. CLOSEUP GUY Momentarily Guy is frustrated, then he turns quietly to Turley. GUY (calmly, logically) Captain, is it so important whether or not Professor Collins remember me? Surely, the important thing is that I've been able to name a man who was on the train with me. You've been able to find him. Isn't that proof of where I was at nine-thirty last night? Guy asks this question with a look of near triumph that he has clearly established his alibi. DISSOLVE TO: INT. BURTON LIVING ROOM EVENING The Burtons are having coffee. Barbara has been glancing through a new murder mystery with a lurid cover. As Guy enters, Anne rises to greet him. ANNE Hello, darling. Have you had your dinner? GUY On the train. ANNE You weren't in Metcalf all this time? We expected you hours ago. BARBARA (flatly) I didn't. They sometimes throw a suspect in the can and keep him there all night. SENATOR (after a disapproving glance at Barbara) Sit down, Guy. Sit down. Give him some coffee, Anne. (MORE) SENATOR (CONT'D) (back to Guy) You had no trouble with the police of course, once they verified your alibi? GUY (morosely) When an alibi is full of bourbon, sir, it can't stand up. BARBARA You mean the professor was boiled? GUY Completely. He didn't remember me. ANNE But, you knew he was on the train! Wasn't that enough to prove you were on it, too? GUY Apparently not at the right time. They suggested I could have caught the train at Baltimore after Miriam was murdered. They had it all worked out -- (taps his head) in their timetables. ANNE (growing indignant and increasingly nervous) That's ridiculous. They're acting as if you were guilty. BARBARA (somewhat subdued and trying to be comforting) Everything will be all right, Anne. The police were just being thorough -- (she's unsure of herself, and defers to the senator) Weren't they, daddy? SENATOR I certainly hope so. (to Guy) What is your next step? GUY (wryly) Whatever it is, the police will know it. They gave me a present -- come take a look. He crosses to the window, lifts the curtain slightly, then turns back to the others. GUY (continuing) My guardian angel. The group move to look out the window, the senator with reluctance. LONG SHOT EXT. STREET FROM THEIR VIEWPOINT Through the window we see the figure of a man across the street. He is lighting a cigarette and strolling up and down. BACK TO GROUP BARBARA (impressed) You're being tailed! GUY (turning to them) That's Leslie Hennessy. He works sixteen hours a day. Somebody else takes over for the next eight. (drops the curtain, turns back into room) As a matter of fact, Hennessy's a very nice fellow. BARBARA Shouldn't we ask him in for Coffee -- or something? Nobody bothers to answer her. The Senator is disturbed, but confident of his own prestige as he goes back to his coffee. SENATOR I'll have him called off immediately of course. GUY (calmly) I'm afraid where I go, Hennessy goes. Even to the Senate. SENATOR (Pausing with his cup hallway to his mouth) Is he likely to -- picket my office? GUY Very likely. The Senator's cup is suddenly back on its saucer and he is on his feet, pacing nervously. SENATOR I would suggest, Guy, for your own peace of mind, of course, that you work here at the house for a few days. (a pause) It would be less embarrassing for you. Guy has been looking at Anne and is concerned at the worry on her face. He nods in assent to the Senator's suggestion, but puts his hand over Anne's. GUY (hopelessly) Then what about practicing? Perhaps I'd better forget Forest Hills? SENATOR My dear boy, wouldn't it look rather -- awkward -- if you suddenly canceled all your plans. ANNE He's right, Guy. You mustn't do anything that would look suspicious. You've got to carry on as though nothing has happened. BARBARA (pointing out the window) Escorted by Mr. Hennessy. The are crestfallen again. RANDALL, the manservant, has entered with the telephone. RANDALL A call for you, Mr. Haines. They say it is urgent. The phone is plugged in to a connection and Guy crosses the room and picks up the receiver. The Burtons watch him. GUY Hello -- INT. TELEPHONE BOOTH BIG HEAD CLOSEUP OF BRUNO His face wears the most affable expression. BRUNO Hello, Guy. I tried your apartment, but -- (pause) Why, Guy, this is Bruno! INT. BURTON LIVING ROOM Guy hangs up the telephone quickly. He looks at the others, awkwardly tries to explain: GUY Must be some mistake. It wasn't for me. His embarrassment grows as Anne looks at him with a puzzled expression. FADE OUT. FADE IN EXT. WASHINGTON STREET APPROACHING JEFFERSONS MEMORIAL DAY Guy and HENNESSY are walking along the street together, CAMERA MOVING WITH THEM. Their relationship is most friendly. Guy carries a briefcase. Hennessy is an amiable but not gullible young man in his early thirties. He knows his job, is well groomed, well educated, and well liked. GUY Well, I suppose I was pretty lucky to be seeded fifth, really. HENNESSY I've never seen the Forest Hillss tournament before. I'm looking forward to it. GUY (wryly) Do you mean we'll be going there together, Hennessy? HENNESSY Oh, don't worry. This thing will be cleared up by that time. (changes the subject) Ever thought of turning professional, Guy? GUY I won't have to do that. When I'm through with tennis. I'll be going into politics, I hope. HENNESSY (aghast) Politics! It's a good thing for you I don't report that to the chief. He turns to light a cigarette. As he does, Guy gives a barely perceptible start at what he sees offscene. LONG SHOT JEFFERSON MEMORIAL FROM GUYS VIEWPOINT The tiny figure of a man is standing at the base of the tall white column. The figure lifts in arm and waves. Instinct tells us that this is Bruno. Hennessy is still mumbling his opinion of politics. HENNESSY'S VOICE If he knew you were getting into that rat-race -- TWO SHOT GUY AND HENNESSY Guy turns his back on Bruno's figure and looks frantically toward to street, wanting to get away. HENNESSY -- He'd put ten men on your trail. He says -- GUY (interrupts) Let's take this cab. It's getting late. He hails a taxi which is cruising by, and they start to get in. Guy directs the driver. GUY Pentagon Building, please. HENNESSY Oh, no, not there! I always get lost. INT. TAXI CLOSE SHOT Guy turns and looks out of the window. LONG SHOT JEFFERSON MEMORIAL from Guy's viewpoint, shot through the cab window. Again we see the solitary figure of Bruno looking after Guy and beginning to recede with the background as the cab starts off. DISSOLVE TO: INT. GUY'S APARTMENT NIGHT As Guy comes in from outside, there is a note on the floor that has been pushed under the door. Guy picks it up, stares at it for a minute before he opens it. He takes out a handwritten note and reads it with an expression of disgust. INSERT NOTE (IN GUY'S HANDS) IT READS: Dear Guy: We have to meet and make plans. Call me at Arlington ----. Time's getting short. Bruno The handwriting is sprawling and erratic, embellished with conceited flourishes. MEDIUM SHOT Guy looks off for a moment with set face, then tearing the note into shreds, crosses to a small desk, lights a match and holds it to the fragments, letting them burn and fall into an ash tray. Guy looks off for a moment with set face, then tearing the note into shreds, crosses to a small desk, lights a match and holds it to the fragments, letting them burn and fall into an ash tray. DISSOLVE TO: LONG SHOT EXT. MELLON GALLERY LATE AFTERNOON CAMERA is in a low setup, to take in the sign across the doorway which identifies the gallery. Hennessy stands in the foreground in front of the building, on duty. LAP DISSOLVE TO: INT. MELLON GALLERY Guy and Anne are walking slowly through a more or less deserted room of the gallery. Their manner is relaxed and intimate. ANNE Well, we'd better be getting back. GUY We've actually been alone for an hour. Seems almost indecent. You like? ANNE (softly) I like. GUY I was beginning to feel like a goldfish. ANNE So was I. When we build our house, darling, we won't even have glass windows. No doorbells, no newspapers, no telephone -- GUY No Hennessy. ANNE (suddenly serious) How long can it go on? GUY I don't know. I suppose until they find out who did it. ANNE We'll be happier then, won't we? GUY I suppose so. Anne looks it him, surprised at his lack of enthusiasm. They walk on out of the picture. A figure steps out from behind a pillar in the main hall of the gallery, near the spot from which they have disappeared. It is Bruno. He calls. BRUNO (softly) Guy! Anne stops and looks back. Guy knows who it is and would not turn but that he is forced to by Anne's action. He takes a few steps towards Bruno. CLOSEUP Anne watches Guy approach this stranger. She looks downward at Bruno's tie pin. CLOSEUP Bruno's tie pin, bearing his name, gleams in the light. CLOSEUP Anne reads the name on the tie pin. TWO SHOT Guy comes up to Bruno, steps in front of him. GUY (muttering harshly) Will you stop pestering me! BRUNO But Guy, you haven't called me. My father's leaving for Florida the end of this week -- GUY (interrupts) You crazy fool! There's a detective outside. He'll see us together! BRUNO (brushing this off) Oh, they can't have anything on you. (looking past Guy) Isn't that Anne Burton? Slight improvement over Miriam -- eh, Guy? GUY Stay away from me, I tell you! He leaves Bruno abruptly to rejoin Anne. Bruno looks after him, a little hurt. TWO SHOT Guy rejoins Anne and they start to walk away. ANNE Who was it, Guy? GUY (unnerved) I never saw him before. Just some tennis fan. Anne looks at him a little oddly. He seems unduly concerned about a casual stranger. CLOSEUP ANNE Her face is troubled. FADE OUT. FADE IN INT. MORTON STUDY MED. SHOT Guy and a secretary have set up office in the Morton study. As the scene opens the secretary is handing Guy a large envelope. SECRETARY Here's a special delivery, Mr. Haines. It's marked personal. As Guy is opening the envelope, Barbara speaks to him from atop a library ladder. She is getting a book from one of the top shelves of a bookcase, which is next to a window. BARBARA Are you getting in any practice today, Guy? GUY (as he takes out a large folded sheet of paper and glances at it, mystified) Yes, if I can get a court at the club. As Guy's hands unfold the paper and hold it for moment, we see that it is a diagrammed plan of the grounds and the Interior of the Anthony house. There are dotted lines along the upper hall, with an arrow which points to one room and where Bruno has indicated in his handwriting, "My father's room." Over this we hear the voices of Barbara and the secretary: SECRETARY'S VOICE Barbara, who are you waving at? BARBARA'S VOICE Mr. Hennessy. I think it is a shame Daddy won't let us have him in the house to sit down. Have you met him yet, Louise? SECRETARY'S VOICE No. BARBARA'S VOICE He is awfully cute. MED. SHOT Guy frowns, quickly folds the paper up and stuffs it into his pocket. He looks off abstractedly. CLOSEUP SECRETARY She looks at Guy sympathetically. SECRETARY Is anything wrong, Mr. Haines? CLOSEUP GUY Her voice breaks his reverie. He answers her with a forced smile. GUY No, thank you, Louise. FADE OUT.
...continue to part 5