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Scripts: Strangers on a Train (18/Oct/1950) - part 5

 FADE IN
 TENNIS COURT AT WASHINGTON COUNTRY CLUB
 
 There are twenty or thirty people sitting in the bleacher
 seats opposite the umpire's chair. A game of mixed doubles
 is in progress.
 
 MED. SHOT AT THE ENTRANCE TO THE COURT
 
 Guy appears, carrying his racquets. His partner for the
 forthcoming game, and one or two other players, are close
 by.
 
 CLOSER SHOT
 
 Guy looks about him. Several people are looking at him
 awkwardly or avoiding his eyes. He moves self-consciously
 away, and the CAMERA PANS HIM around the court to the umpire's
 chair.
 
 MED. SHOT
 
 A couple of women players whisper something about Guy as he
 goes past them.
 
                         FIRST WOMAN
             I didn't think he'd show up after
             what happened.
 
                         SECOND WOMAN
             And miss all the publicity?
 
 MED. SHOT
 
 As Guy stands at the umpire's chair, the umpire glances down
 and gives him a rather embarrassed greeting.
 
 CLOSEUP GUY
 He looks across at the watching crowd.
 
 MED. SHOT FROM GUY'S VIEWPOINT
 
 The heads of the people in the bleachers move from side to
 side, to follow the play on the court. One head is not
 moving. It is staring at Guy. It is Bruno.
 
 At this moment, we hear the umpire calling, "Game, set and
 match" to the winning mixed doubles pair.
 
 CLOSEUP GUY
 
 His expression becomes set.
 
 LONG SHOT
 
 The mixed doubles couples complete their handshaking at the
 net and move off the court. We see Guy move up to the base
 line while the other player takes his position for the
 preliminary knock-up.
 
 MED. SHOT
 
 As Guy casually knocks the ball across the net, he glances
 again toward Bruno.
 
 MED. SHOT FROM GUY'S VIEWPOINT
 
 Bruno is making his way out of the small stand.
 
 CLOSEUP GUY
 
 Perplexed and apprehensive as to what Bruno may be up to.
 He hears his opponent's voice.
 
                         PLAYER'S VOICE
           Ready, Guy?
 
 Guy shakes off his abstraction and poises himself to receive
 the ball.
 
                                               LAP DISSOLVE TO:
 
 MED. SHOT PASSAGEWAY LEADING TO TERRACE
 We see Guy coming alone, having fInIshed his game. He is
 carrying his rackets, wears a towel around his neck, etcetera.
 He walks into foreground, into CLOSEUP, and suddenly stops
 short at what he sees:
 
 MED. SHOT FROM GUY'S VIEWPOINT
 
 The group at the table comprising Bruno, Anne and the two
 French people. Bruno is preening himself as the others laugh
 uproariously, obviously at something Bruno has said. Anne
 catches sight of Guy and smiles at him.
 
 CLOSE SHOT GUY
 
 CAMERA MOVES WITH HIM as he comes forward toward the table.
 
 MED. SHOT GROUP AT TABLE
 
 As Guy comes into the scene. He stands staring.
 
                       ANNE
           Guy, darling -- this is Mr. Antony --
           a friend of Monsieur and Madame
           Darville...
               (to Bruno)
           Guy Haines.
 
 CLOSEUP GUY
 
 He gives a weak acknowledgment in Bruno's direction, realizing
 that Bruno has wormed his way into the group and that he
 must accept the introduction.
 
 MEDIUM SHOT
 
 Bruno half rises, smiles affably at Guy, reaches out his
 hand. Guy is forced to shake hands with him
 
                         BRUNO
             I've been a fan of yours for a long
             time, Mr. Haines. In fact, I follow
             everything you do.
 
                         MME. DARVILLE
             Mr. Antony has been telling us such
             charming stories... Very funny.
 
 CLOSEUP GUY
 
 He gives another weak little smile.
 
 MED. SHOT
 
 In response to the Frenchwoman's attentive and eager
 expression, Bruno leans forward on the table and starts saying
 something more in extremely fluent French.
 
 CLOSEUP ANNE
 
 She is staring at Bruno with a new expression.
 
 CLOSEUP FROM ANNE'S VIEWPOINT
 
 Bruno's coat has spread open a bit, and his tie pin bearing
 the name "Bruno" is resting on the edge of the table.
 
 CLOSEUP ANNE
 
 She becomes aware that this is the man she has seen call to
 Guy in the art museum, that they have met before. Her eyes
 turn a little in Guy's direction, though she does not look
 at him.
 
 CLOSEUP GUY
 
 He is still watching Bruno talk to the French couple. Guy
 is unaware of Anne's looks. Suddenly his attention is
 arrested by the sound of Barbara's voice calling him.
 
                       BARBARA'S VOICE
           Guy!
 
 He turn his head and CAMERA PANS him to Barbara, who is
 standing a few steps from the table beckoning to him.
 
                       BARBARA
               (Sotto voce)
           I've just been talking to your shadow.
               (very impressed)
           Guy, did you know Mr. Hennessy helped
           crack that axe murder I was reading
           about? You know, the one where the
           body was cut up and hidden in the
           butcher shop? He was locked in the
           ice box with the left leg for six
           hours!
 
                       GUY
           He pulls those yarns right out of
           his hat, Babs.
 
 CLOSEUP GUY
 
 He gives a sharp look back toward Bruno. There is more
 laughter coming from the French couple at the table.
 
 CLOSE SHOT GROUP AT TABLE FROM GUY'S VIEWPOINT
 
 Bruno is occupied with his French joke, but Anne is looking
 at Guy strangely.
 
 TWO SHOT GUY AND BARBARA
 
 Guy turns back to Barbara. Barbara looks with interest toward
 Bruno.
 
                       BARBARA
           Who's the nice looking Frenchman
           with the Darvilles?
 
                       GUY
           He's not French. His name's Antony.
 
 Barbara steps toward the table.
 
 MED. SHOT AT TABLE
 
 as Barbara joins the group.
 
                       BARBARA
           How do you do, Madame Darville.
           Monsieur.
 
 They looks up.
 
 CLOSEUP BRUNO
 
 Bruno stops in the middle of some French to stare at Barbara.
 Her voice continues.
 
                          BARBARA'S VOICE
           How are you?
                       FRENCH COUPLES' VOICES
           Delightful to see you. How sweet
           you look, Miss Barbara.
 
 CLOSE SHOT BARBARA FROM BRUNO VIEWPOINT
 
                       BARBARA
           I hope you aren't forgetting our
           little party on Thursday, Madame.
 
 From Bruno's viewpoint, as Barbara speaks,CAMERA MOVES IN
 CLOSER until to faintest impression of the merry-go-round
 fills the screen with the effect of whirling around Barbara's
 head. Her glasses seem to glint until her eyes are
 obliterated by the glare.
 
 MED. SHOT THE GROUP
 
                       MME. DARVILLE
           We are planning on it?
 
                       M. DARVILLE
           But of course.
 
 All talk dies out as all eyes turn to Bruno, who is staring
 at Barbara. Except Anne's, who is saying quietly to Bruno:
 
                       ANNE
           This is my sister Barbara. Barbara,
           this is Mr. Antony.
 
 CLOSEUP BRUNO
 
 He does not acknowledge the introduction immediately. He is
 still staring at Barbara. Then he nods abstractedly.
 
 CLOSEUP ANNE
 
 She is looking at Bruno, wondering what mystery lies behind
 this strange individual and why he and Guy have disclaimed
 any previous acquaintance.
 
                                                     FADE OUT.
 
 FADE IN
 INT. GUY'S APARTMENT NIGHT
 
 CLOSEUP A LUGER PISTOL HELD IN GUY'S HANDS
 CAMERA PULLS BACK TO SHOW Guy staring down at it. He is
 partially dressed for an evening party, in black bow tie but
 without his jacket. He leans forward to take up a letter
 from among brown paper wrappings on the table.
 
 INSERT: LETTER
 
                Dear Guy --
 
                Just two more days left. We must
                get together for final details.
 
 The note, in Bruno's handwriting, is unsigned.
 
 CLOSEUP GUY
 
 He stares down at the note. At this moment there is a knock
 at the door.
 
 MED. SHOT
 
 Guy hastily gather together the gun, the note and the
 wrappings and puts them in a dresser drawer. He crosses to
 the door and opens it. Hennessy enters, carrying a topcoat.
 
                         GUY
             Hiya, Hennessy. Won't keep you out
             late tonight.
                 (getting into his
                  dinner jacket)
             With Forest Hills coming up tomorrow,
             I've got to get some sleep.
 
                       HENNESSY
               (helping himself to a
                cigarette)
           That's too bad. Hammond takes over
           in a couple of hours. I'd like to
           see him earn his salary.
 
 Guy turns to the dresser drawer in which he has put the note
 and the gun, maneuvering his body between the dresser and
 Hennessy's view. He takes out a handkerchief, closes the
 drawer, sticks the handkerchief in his pocket, speaking as
 he does so.
 
                       GUY
           Doesn't that bloodhound over relax?
           He sticks so close he's beginning to
           grow on me -- like a fungus.
 
                        HENNESSY
               (mildly)
           He thinks you're a very suspicious
           character. He doesn't trust anybody!
           Not even himself.
 
 Guy is eager to get out of the room, and Hennessy is
 maddeningly slow in his movements.
 
                       GUY
           Come on.
               (indicating at Hennessy
                overcoat)
           Don't forget your sleeping bag.
 
                        HENNESSY
               (taking his time)
           Yeah, If I have to wait too long on
           the sidewalk my feet get cold. And
           if I sit too long on those stone
           steps, my --
 
 Guy has the door open and eases Hennessy toward the haIl.
 
                        GUY
                (quickly)
           Don't worry. Since you told Barbara
           Burton about the icebox, you're her
           favorite charity. She'll send the
           butler out with something to defrost
           you.
 
                       HENNESSY
               (grinning)
           Cute kid.
 
 He's gone, and with a last glance at the dresser, Guy goes
 out and closes the door.
 
                                                LAP DISSOLVE TO:
 
 EXT. BURTON HOUSE LONG SHOT NIGHT
 
 The street outside the Burton house is lined with cars and
 limousines. Various guests are arriving.
 
 MED. SHOT
 
 On the opposite side of the street we see Hennessy, now
 wearing his topcoat. He looks bored as he glances across
 the street to the house.
 
                                                LAP DISSOLVE TO:
 
 INT. BURTON HOUSE BIG HEAD CLOSEUP OF ANNE
 
 Her face is troubled. CAMERA BEGINS TO PULL BACK. We see
 now that the reception is in progress and that Anne stands
 beside her father to greet the arriving guests. CAMERA PULLS
 BACK FURTHER to show us a full view of a very crowded
 Washington gathering Many white ties and tails and decollete
 in evidence. Many accents. Even some foreign languages are
 being spoken. Music and chatter in the b.g.
 
 CLOSE SHOT
 
 Anne and the Senator are still greeting new arrivals. Anne's
 manner is somewhat preoccupied. She glances around as she
 speaks, as though looking for someone.
 
                          ANNE
                  (to new arrival)
              Thank you so much, Mr. Lindsay.
              We'll look forward to it.
 
 PANNING SHOT FROM ANNE'S VIEWPOINT
 
 THE CAMERA PASSES various groups of guests in conversation
 including Guy and Barbara who are together. From this
 distance we cannot hear what they are saying. CAMERA
 CONTINUES TO the front door. It opens to admit a new arrival.
 It is Bruno. He wears white tie and tails, looking very
 elegant.
 
 We see Guy excuse himself from Barbara, cross to Bruno and
 speak to him angrily, obviously asking, "What are you doing
 here?" Bruno, however, greets Guy with a smile then turns
 from him, unperturbed and bland. He sees Anne and moves
 toward her, smiling.
 
 CLOSEUP ANNE
 
 As Bruno comes in her direction, Anne's expression shows her
 mystification and concern about Bruno's presence and about
 Guy's attitude toward him.
 
 MED. SHOT
 Bruno comes up to Anne and the Senator. He gives a slight
 bow to the Senator; then puts his hand out to Anne.
 
                         BRUNO
             Good evening, Miss Burton.
 
 The Senator looks inquiringly. Anne makes the introduction.
 
                         ANNE
             This is Mr. Antony, father.
 
                         SENATOR
             How do you do, sir.
 
                         BRUNO
             I'd like to talk to you sometime,
             Senator, about my idea of harnessing
             the life force. It will make atomic
             power look like the horse and buggy.
                 (the Senator and Anne
                  are beginning to
                  look at him in
                  amazement)
             I'm already developing my faculty
             for seeing millions of miles. And,
             Senator, can you imagine being able
             to smell a flower on the planet of
             Mars? I'd like to lunch with you
             some day soon and tell you more about
             it.
 
 Interrupted by new arrivals, Bruno moves away out of the
 picture, with a charming smile to Anne.
 
 The Senator greets the new guests with open mouth and simply
 shakes their hands while glancing off in direction of the
 departing Bruno.
 
                         DOWAGER
                 (to Senator)
             So nice to see you, my dear Senator.
 
                         SENATOR
             Ah yes, indeed -- I beg your pardon?
 
 She realizes he hasn't heard a word she's said and haughtily
 moves on. The Senator turns to Anne.
 
                         SENATOR
                 (still looking after
                  Bruno)
             I don't remember inviting that young
             man. Who is he?
                         ANNE
             A friend of the Darvilles.
 
                          SENATOR
             He has an unusual personality.
             Provocative.
 
 CLOSEUP ANNE
 
 She looks off in Bruno's direction extremely disturbed at
 this new aspect of the mysterious stranger.
 
 CLOSEUP GUY
 
 He is watching Bruno.
 
 MED. SHOT
 
 Guy sees Bruno join a group of several ladies who are seated
 on a settee and a couple of older men who are standing by.
 A waiter comes along with a tray of drinks. Bruno takes
 one.
 
 CLOSEUP BARBARA
 
 She comes from the same direction that Guy came. She stops
 short as she sees:
 
 MED. SHOT FROM BARBARA'S VIEWPOINT
 
 Bruno is now heartily joining in conversation with one of
 the elderly gentlemen.
 
 CLOSE SHOT BRUNO AND GROUP
 
 Bruno talking to an elderly, dignified gentlemen.
 
                       BRUNO
           But tell me, Judge, after you've
           sentenced a man to the chair, isn't
           it difficult to go and eat your dinner
           after that?
 
                       JUDGE
           Young man, when a murderer is caught,
           he must be tried. When he is
           convicted, he must be sentenced.
           When he is sentenced to death, he
           must be executed.
 
                       BRUNO
           Quite impersonal, isn't it, sir?
 
                      JUDGE
           So it is. Besides, it doesn't happen
           every day.
 
 At this moment, Anne comes into the scene. She hesitates as
 she hears Bruno's answer.
 
                       BRUNO
           So few murderers are caught.
 
 The Judge moves out of the way. Bruno smiles blandly at the
 ladies. One of them speaks to him.
 
                       MRS. CUNNINGHAM
           Well, Mr. Antony, you seem very
           interested in the subject of murder.
 
 Anne looks more troubled, then moves on out of the scene.
 
                       BRUNO
           No more than anyone else. No more
           than you, for instance.
 
                        MRS. CUNNINGHAM
           Me?   I'm not interested in murder.
 
 Bruno pulls up a chair to face the two woman on the settee,
 sits down, straddling the seat, to look at them over the
 back of the chair and settle down for a nice conversation.
 
                 BRUNO
         (his tone is teasing)
     Oh, come now, everyone's interested
     in that. Everyone would like to put
     someone out of the way. Now surely,
     Madame, you're not going to tell me
     that there hasn't been a time when
     you wanted to dispose of someone.
     Your husband, for instance.
 
                  MRS. CUNNINGHAM
         (laughs)
     Good heavens, no!
 
                 BRUNO
         (playfully)
     Ah ah!
         (shaking a finger    at
          her)
     Are you sure? Do you  mean to tell
     me there wasn't a tiny moment - when
     you'd been made really angry? And
     what did you say?
 
                 MRS. CUNNINGHAM
         (squirms, giggling)
     Well...
 
                 BRUNO
     There you are, you see! There you
     are! All right, now you're going --
     to do a murder. How are you going
     to do it? This is the fascinating
     part -- how are you going to do it...I
     didn't get your name?
 
                 MRS. CUNNINGHAM
     Mrs. Cunningham.
 
                 BRUNO
     Mrs. Cunningham, how are you going
     to do it?
 
                 MRS. CUNNINGHAM
         (entering into the
          spirit of the play)
     Well, I suppose I'll have to get a
     gun from somewhere.
 
                 BRUNO
         (shakes his head)
     Tssk, tssk. Oh no, Mrs. Cunningham.
                 (MORE)
 
                       BRUNO (CONT'D)
           Bang, bang, all over the place.
           Blood everywhere?
 
 The other woman joins in:
 
                       MRS. ANDERSON
           What about a little poison?
 
                      BRUNO
           Ah! That's better, that's better.
           Mrs.....?
 
                         MRS. ANDERSON
           Anderson.
                       BRUNO
               (he is thoroughly
                enjoying himself)
           That's better, Mrs. Anderson. But
           Mrs. Cunningham is in a dreadful
           hurry. Poison could take...let's
           see...ten to twelve weeks, if poor
           Mr. Cunningham is to die from natural
           causes.
 
                       MRS. CUNNINGHAM
           I have a wonderful Idea! I can take
           him out in the car and when I get to
           a lonely spot, knock him on the head
           with a hammer, pour gasoline over
           him and over the car and start the
           whole thing ablaze.
 
                        BRUNO
               (looks at her
                 deprecatingly)
           And then have to walk all that way
           home?
 
 Mrs. Anderson laughs.
 
                       BRUNO
           No, I have the best way, and the
           best tools.
               (he holds out his
                hands and shows them)
           Simple, silent, and quick. The silent
           part being the most important. Let
           me show you what I mean.
                       (MORE)
 
                        BRUNO (CONT'D)
               (he raises his hands
                toward Mrs.
                Cunningham's throat,
                then stops a moment
                to ask)
           You don't mind if I borrow your neck
           for a moment do you?
 
                       MRS. CUNNINGHAM
               (giggles)
           Well, it's not for long.
 
                       BRUNO
           Oh!  no.
               (he takes a drink and
                puts his glass down)
           Now, when I nod my head, just see if
           you can cry out, and I bet you can't.
               (he places his hands
                around Mrs.
                Cunningham's neck)
           Now with my two thumbs...you see
           that's where I'll be able to prevent
           any sound coming from you. Now,
           just wait for the nod of my head.
 
 CLOSEUP BRUNO
 
 As he starts to Press her neck, his eyes wander from the
 face of his "victim" to someone else off scene.
 
 MED. SHOT BARBARA
 
 She is watching this rather unorthodox demonstration. The
 CAMERA MOVES UP until her head fills the screen. Her glasses
 glint in the light.
 
 CLOSEUP BRUNO
 
 He is now transfixed. His breathing becomes heavy. A strange
 expression comes over his face. He still stares off at
 Barbara.
 
 MED. SHOT BARBARA
 
 We see the whirling merry-go-round spinning around her head.
 
 BIG HEAD CLOSEUP BRUNO
 
 He now seem to have almost gone into a trance. Over the
 shot we begin to HEAR a strangled cry, and a broken
 exclamation, then Mrs. Anderson's voice.
 
                          MRS. ANDERSON'S VOICE
           Mr. Antony! Mr. Antony!
 
                        ANOTHER VOICE
           Stop him! Stop him!
 
 CLOSEUP
 Bruno's wrists and hands and the neck of his victim. We can
 just see Mrs. Cunningham's chin at the top of the screen.
 Her head is tossing from side to side. Her hands are
 clutching at Bruno's wrists. The hands of the other two
 women, also in the picture, are pulling at Bruno's wrists.
 Mrs. Cunningham's hands begin to slide off. Her head drops
 back.
 
 Over this we HEAR cries of:
 
                       VOICES
           Stop him!
           Help, somebody!
           Pull him off!
           Mr. Antony! Mr. Antony!
 
 CLOSEUP BRUNO
 
 His body is swaying slightly at the various efforts to drag
 him away from Mrs. Cunningham. His eyes begin to close, and
 slowly he falls away from the picture in a dead faint on the
 floor.
 
 MEDIUM SHOT
 
 There is a rush of people around Mrs. Cunningham, who is
 breathing frantically, her eyes opening and closing. A couple
 of women are feebly slapping her hands, someone else is
 fanning her face.
 
 MEDIUM SHOT
 
 The Senator and Guy rush into the picture. They look at the
 fallen Bruno. They search around for an explanation. Other
 man come in ad they start to pick Bruno up.
 
                          GUY
              Bring him this way.
 
 Guy gives a quick look in direction of Mrs. Cunningham, sees
 that she is being attended to.
 
 MEDIUM SHOT
 
 Anne rushes into the picture. She sees Bruno being helped
 to his feet; then turns her attention to Mrs. Cunningham,
 who has now somewhat recovered. Mrs. Cunningham is helped
 to the settee. There is a babble of women's voices trying
 to explain what has happened.
                          ANNE
                  (thru the babble)
              Bring her upstairs.
 
 As the two groups pass off in different directions, the few
 people who ran into the scene late are asking the others
 what the disturbance is. "What's wrong?" "Did she faint?"
 "I didn't see anything." "What happened to him?" "Somebody
 hurt?" But one small figure stands in the clear. It is
 Barbara, She is still transfixed by what she has seen. Her
 hands are trembling. CAMERA MOVES SLOWLY IN ON HER. We see
 that her lips are trembling, too, and in her eyes frightened
 tears are welling. Her breath is heavy.
 
 INT. STUDY
 
 Bruno is stretched out on a settee. He is completely out.
 His collar and tie are open. Two or three of the male guests
 are just leaving the room. The Senator remains behind for a
 moment with Guy.
 
                          SENATOR
              I thought he was a bit weird when he
              arrived. Who is he?
 
                          GUY
              I hardly know him, sir.
 
                          SENATOR
              Get him out of here as soon as you
              decently can -- will you. This is a
              nice item for the gossips. First
              thing you know, they'll be talking
              about orgies. I'd better get back...
 
                          GUY
              Yes, sir.
 
 The Senator leaves. Guy stands over Bruno's outstretched
 figure.
 
 MEDIUM SHOT
 
 Bruno is now half awake. Almost without seeing Guy, he
 staggers to his feet and begins to make his way to the door.
 Guy advances, and with a sharp thrust, pushes Bruno back on
 the settee.
 
 Bruno looks and sees Guy clearly for the first time.
 
                       BRUNO
           What happened? I was on a merry-go-
           round somewhere. It made me dizzy.
 
 Guy moves forward, and thrusting his hand in Bruno's open
 shirt, pulls him to his feet. Bruno ignores Guy's violence
 and remain puzzled.
 
                       GUY
               (disgusted)
           You're a mad, crazy maniac, and you
           ought to be locked-up! Now will you
           get out of here and let me alone?
 
                         BRUNO
           But, Guy --
 
 Guy smashes Bruno in the jaw, in utter disgust, and knocks
 him back onto the settee. Bruno looks up from his sprawled
 position, a dull look in his eye.
 
                       BRUNO
           You shouldn't have done that, Guy.
 
                       GUY
               (subsiding)
           Come on -- pull yourself together.
           Do your tie up.
 
 Bruno staggers to his feet. He fumbles at his collar. As
 he crosses to him, CAMERA MOVES IN to a CLOSER SHOT.
 
                       GUY
           Here -- let me.
 
 He fixes Bruno's shirt and collar together and quickly ties
 his white bow. Bruno stands swaying like a small boy as Guy
 does this.
 
 CAMERA PANS WITH THEM as Guy starts to escort Bruno from the
 room.
 
                          GUY
              Have you got a car here?
 
                          BRUNO
                  (mumbling)
              Driver's outside.
 
 They pass trough door into the hallway.
 
 INT. HALL MEDIUM SHOT
 One or two of the guests turn their heads as Guy takes Bruno
 across to the front door.
 
 CLOSE SHOT
 
 Barbara appears in the hallway, coming from the crowded
 sitting room. She watches the two men go out the front door.
 
 MEDIUM SHOT
 
 Bruno and Guy going out the front door. The man-servant
 does not close it immediately, so we are able to HEAR the
 call for Mr. Antony's car.
 
 CLOSEUP BARBARA
 
 She turns her head and looks up the stairs. Barbara has not
 quite recovered from her ordeal. She hurries forward to
 greet Anne who is hurrying down the stairs.
 
 TWO SHOT
 
 CAMERA PANS DOWN with Anne as she descends the last few steps.
 Barbara enters the picture and the two girls meet at the
 foot of the stairs.
 
                          ANNE
              What's the matter, Barbara? Did you
              see it happen? Did you see it --
              all?
 
 CLOSEUP BARBARA
 
                        BARBARA
                (still shaken)
            He looked at me! His hands were on
            her throat, but, he was strangling
            me!
 
 CLOSEUP ANNE
 
                         ANNE
                (aghast)
            How do you mean?
 
 TWO SHOT
 
                        BARBARA
            He was looking at her first. Then
            he looked over at me. He went into
            a sort of trance
                (shudders)
            He looked horrible!
                (reflectively)
            He thought he was murdering me.
 
 CLOSEUP ANNE
 
 She looks away, with growing consciousness of the situation
 
 TWO SHOT
 
                        BARBARA
            Anne, why me? Why me?   What did I
            have to do with it?
 
 Anne is extremely concerned and thoughtful. Suddenly she
 gets an idea and with a pat on Barbara's arm, asks hurriedly:
 
                        ANNE
            Do you know where Guy is?
 
                        BARBARA
            He went out with that man!
 
 Anne hurries to the front door and passes through.
 
 EXT. HOUSE
 
 Anne comes out onto the steps and looks around. She stops
 short as she sees...


...continue to part 6