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