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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