Scripts: Strangers on a Train (18/Oct/1950) - part 6
LONG SHOT EXT. STREET FROM ANNE'S VIEWPOINT There are cars lined up outside on the street. One limousine is pulling up in the center, two figures at the passenger door. One is climbing in. The other is Guy. CLOSEUP ANNE She calls out urgently: ANNE Guy! CLOSE SHOT Guy turns and closes the door. MEDIUM SHOT FROM ANNE'S VIEWPOINT The limousine moves off and Guy comes toward her. MEDIUM SHOT Anne comes down the steps and intercepts Guy on the sidewalk. She leads him along a few paces and then stops and faces him. CLOSE TWO SHOT Anne nods off in the direction of the departed Bruno and speaks in a desperate, low voice. ANNE You didn't meet him for the first time the other day, did you, Guy? Guy stares at her for a moment. GUY You mean when you introduced us at the club? ANNE Yes. Did you notice how he stared at Barbara that day? GUY (awkwardly) Well, I didn't -- particularly -- ANNE (breaks in) He stared at her again tonight -- while his hands were around Mrs. Cunningham's throat. Guy looks at Anne with an expression of growing fear and alarm. She goes on inexorably: ANNE What did Miriam look like, Guy. GUY (awkwardly) Well, why do you ask me? You've seen her pictures in the paper. ANNE Go on, I want you to tell me. GUY (haltingly) Well, she was dark, not too tall, rather pretty -- ANNE What else? GUY What else is there? ANNE She wore glasses, didn't she? GUY Yes. ANNE She looked a lot like Barbara, didn't she? Guy suddenly begins to realize what Anne is getting at. Anne lowers her head, deliberately avoids looking at Guy, as she asks: ANNE How did you get him to do it, Guy. GUY I get him to do it? ANNE He killed Miriam, didn't he? Tell me, Guy! GUY Yes. (suddenly bursting out) He's a maniac. I met him on the train going to Metcalf. He had a crazy scheme about exchanging murders. I do his murder and he do mine. ANNE (quietly) What do you mean -- your murder, Guy? GUY Well, he'd read about me in the paper. He knew about Miriam -- and about you. He suggested that if he got rid of Miriam for me, I should kill his father. ANNE You must have realized he was talking a lot of nonsense! GUY Of course! I didn't give it another thought. And now a lunatic wants me to kill his father. ANNE (beginning to believe) It's too fantastic! GUY (grimly) Yes, isn't it? ANNE You mean you've known about Miriam all this time? GUY Since the first night. He gave me her glasses. ANNE Why didn't you call the police? GUY (bitterly) And have them say what you did -- "Mr. Haines, how did you get him to do it?" And Bruno would say we'd planed it together. ANNE Oh, Guy -- what can we do? GUY I don't know, Anne...I don't know. ANNE (With an anxious look across the street) Guy, hadn't we better go inside? Your friend Hennessy's watching us. (she Shudders) GUY (sadly) You see, Anne, that's why I didn't want you to know anything about this. I wanted to protect all of you -- your father, Barbara. And now that you know, you're acting guilty, too. ANNE (desperately) Oh, if we could only talk to father or someone about it. GUY No, that's no good, Anne. I mustn't drag anyone else into this mess. Come on. Let's go in. They go toward the house. CUT TO: TWO SHOT ACROSS THE STREET As Hennessy watches Anne and Guy go toward the house, his relief, HAMMOND, comes up. Hammond's a zealous, hard-eyed sleuth. HENNESSY (a little glum) Hello, Hammond. HAMMOND You look worried. What's the matter? HENNESSY You'd better keep on your toes. Something funny's going on. DISSOLVE TO: INT. GUY'S APARTMENT LATER THAT NIGHT Still in his dinner clothes, Guy is seated in deep thought near the telephone, wrestling with his problem. There is an open telephone directory in front of him. He comes to a decision, picks up the telephone and dials a number. He waits for the answer, then: GUY Bruno? Yes, yes, it's Guy...I've decided to do what you want. I'll make that little visit to father.... (listens a moment) Tonight. (listens another moment) Yes, I want to get this thing over with, can you leave the house again, Bruno? (pause) You'd better stay out till daylight. Guy hangs up, rises and starts to move with purpose for his night's activities. DISSOLVE TO: INT. GUY'S APARTMENT NIGHT Guy is sitting at the table. He is dressed differently, having changed from his dinner clothes to a sack suit. There is only one lamp lighted in the room. Guy presents a grim picture. He is studying the plan of Bruno's house, and he picks up the key Bruno sent along with it. Finally he looks at his watch, then folds the plan and puts it in his pocket with the key. He rises, crosses to the chest of drawers, opens the top drawer. INSERT: THE OPEN DRAWER Guy's hands take out the Luger. His hand then picks up Miriam's glasses from the drawer, holds them a moment. He is about to put them back, then decides to take them along, puts them into his pocket. MED. SHOT CAMERA PANS GUY across to the window. He parts the curtains slightly and looks out. MED. SHOT ON STREET (FROM GUY'S VIEWPOINT) Hammond is lighting a cigarette as he strolls in front of the house. INT. GUY'S APARTMENT Guy crosses to his door, which he opens surreptitiously. MED. SHOT CORRIDOR Guy glances down the stairs, then closes the door behind him quietly and moves away to a window at the turn of the stairs. EXT. FIRE ESCAPE Guy comes out of the window onto the second floor fire escape. He creeps stealthily down and emerges into a narrow alleyway. He steps back into the shadows for a moment when he sees: LONG SHOT FROM GUY'S VIEWPOINT (PROCESS) The strolling figure of Hammond on the far side of the street. MED. SHOT Guy turns away and is soon lost in the darkness of the street. LAP DISSOLVE TO: EXT. A TALL PAIR OF ELABORATE IRON GATES NIGHT We are on the inside of the gates. We see them swing open slightly and the figure of Guy edges through them. CLOSE SHOT Guy leaves the gates ajar and then, taking the plan of Bruno's house from his pocket, and the key, he looks toward the house. EXT. STEPS LONG SHOT NIGHT This is a long flight of steps. Moonlit. They are lined with tall black cypress trees which throw their shadows across the steps. Guy moves out of one shadow, into another and carefully starts up the stairs. AT THE DOOR He pauses, looks about for a moment and listens. Then he puts the key into the lock, finding it with his flashlight. The door opens a few inches. He turns off the flash, and enters. INT. ANTONY HOME ENTRANCE HALL As Guy moves in soundlessly and closes the door. He looks toward the stairs which are in shadow. MED. SHOT Guy starts up the stairs slowly. He carries his flashlight and the plan. AT THE TOP OF THE STAIRS THE DOG A huge shadow lies it the head of the stairs. As Guy comes slowly up the stairs, the Great Dane looks down at him. GUY ON THE STAIRS He reacts to the sight of the dog, stops an instant, and turn on his flashlight. The heavy massive face of the dog looks straight down at him. Guy turns off the flashlight and after a moment of indecision starts slowly up the stairs once more, the dog watching every step he takes. UPPER HALLWAY Guy comes up the last few stairs and still the dog hasn't moved. Guy slowly edges past him and the Great Dane's head turns to watch him. GUY moving quietly along the hallway, approaches two doors. He takes out his flash and identifies the door with his plan. INSERT: The plan shows two doors in relation to the stairway. The first one is clearly marked: "MY room." The adjoining door is marked: "My FATHER'S room." CLOSE SHOT GUY He pauses at the first door, then passes it quietly, walking on to the next one. He turns the knob soundlessly and passes through into the room. INT. ANTONY BEDROOM LONG SHOT The room is in darkness except for the dim outline of the recumbent figure in the bed. We hear Guy's voice, in a loud whisper: GUY Mr. Antony! The figure stirs. ANOTHER ANGLE Guy takes a stop closer to the bed. GUY (urgently) Mr. Antony! Don't be alarmed -- but I must talk to you about your son. About Bruno. Mr. Antony! The figure on the bed turns and a hand stretches out toward a bedside light. The light goes on with a sudden glare. CLOSEUP FACE OF BRUNO IN THE LIGHT (LOW CAMERA) The low CAMERA throws a vast shadow up on the wall behind him, creating a grimace of his smile. BRUNO Yes, Mr. Haines? CLOSEUP GUY His face is dead. MED. SHOT Bruno rises from the bed and sits on the and of it. He is fully dressed, just as he was at the party, in white tie and tails. BRUNO (politely) My father isn't home tonight, Mr. Haines. (smiles grimly at Guy's surprise) I was about to tell you that over the phone. But you came to such a sudden decision. I wondered why. GUY (recovering quickly) Since you sent me a key to your house, I decided to use it -- to make a little social call on your father. I thought he'd be Interested to know he his a lunatic son. The faintest flicker of Bruno's eyes indicates the intensity of his reaction. He stares hard at Guy. BRUNO Then a I correct, Mr. Haines, in assuming that you have no intention of going ahead with our arrangement? GUY No intention whatsoever. I never had. BRUNO I see. You won't have any further use for the key, then, Mr. Haines. (he holds out his hand and Guy gives him the key) Thank you very such. As Bruno continues to stare at him, Guy takes out the Luger. For a moment a look of fear comes into Bruno's face as he thinks Guy will probably shoot him. After a pause, Guy tosses the gun on the bed. GUY Or this. Bruno's relief turns again to menace. He picks up the gun and fingers it nervously. GUY (kindly) Look, Bruno. You're terribly sick. (haltingly) I don't know whether it's possible for you to realize it or not. I don't know much about these things, Bruno. But why don't you go someplace where you can get some treatment? Not only for your own sake, Bruno, but you can't go on causing more and more destruction to anyone you happen to meet. Bruno pays no attention. He rises. TWO SHOT Guy's arguments have made no impression on Bruno whatsoever. He fingers the gun. BRUNO I don't like to be doublecrossed. (MORE) BRUNO (CONT'D) I have a murder on my conscience, but it's not my murder, Mr. Haines -- it's yours. And as you're the one to profit, I think you should be the one to pay for it. For an instant his nervous hands seem to be struggling with the urge to kill Guy. GUY (gives up) Well, I guess it's no use, Bruno. We sees to have nothing further to discuss. Bruno goes to the door in silent acquiescence and opens it for Guy to pass through. INT. HALLWAY MED. SHOT Guy walks toward the stairs, tense and apprehensive. Bruno is following him, still holding the gun. When the Great Dane sees Bruno it gets to its feet, as if waiting for a command. Guy starts down the stairs but Bruno stays where he is, the dog beside him. Gay turns and looks back it this tableaux of menace. BRUNO Don't worry. I'm not going to shoot you, Mr. Haines. It might disturb mother. (with a feeling of power) I'm a very clever follow. I'll think of something better than that. Much better. LONG SHOT Bruno remains in the foreground of the scene as Guy proceeds on down the stairs. We see him open the front door and pass through. LAP DISSOLVE TO: EXT. STREET ACROSS GUY'S APARTMENT EARLY CLOSE SHOT HENNESSY AND HAMMOND MORNING Hennessy is relieving Hammond who has kept watch on Guy's apartment night. HAMMOND (in the middle of his story) He came back at three twenty-five. I didn't even know he'd given me the slip until his 'phone kept ringing for about half an hour. Nobody sleeps that sound. So I got the janitor to let me in. No Haines. HENNESSY (to himself) Wonder where he went? HAMMOND We'll probably hear of another dame murdered. HENNESSY (puzzled) Shut up. I'd better contact Metcalf. I should think this calls for more questioning of Mr. Haines. HAMMOND Questioning? Nuts! Let's take him in. HENNESSY My dear Mr. Hamond, how many times do I have to tell you that we have nothing conclusive on Haines? There's no evidence that he was ever at the scene of the crime. Can't you get that into your thick head? (quietly) Now stay put till I get back. As he starts away -- FADE OUT. FADE IN INT. ANTONY LIVING ROOM LATE MORNING Anne and Mrs. Antony are in the middle of a conversation. Anne's manner is tense and purposeful, Mrs. Antony's much less serious. MRS. ANTONY Oh, now, Miss Burton, really! I know Bruno's been in some very awkward scrapes, but nothing so ridiculous as a murder. (she gives a short little laugh) ANNE (desperately) But, Mrs. Antony, you've got to make him do something about this. Don't you see that just one word from him would extricate Guy from this dreadful situation? MRS. ANTONY (lightly) Oh, but Miss Burton, I'm sure this thing must be some practical joke. You know, Bruno sometimes goes too far. (girl to girl) Of course I shouldn't be saying this to an outsider, but sometimes he's terribly irresponsible and gets into all kinds of escapades. ANNE But don't you understand, Mrs. Antony -- your son is responsible for a woman's death. MRS. ANTONY (drawing herself up with some hauteur) Did Bruno tell you this? ANNE Of course not, Mrs. Antony. MRS. ANTONY (that settles it) Well, there you are. (MORE) MRS. ANTONY (CONT'D) (she sighs and rises, winding it up) Well, Miss Burton, it was very nice of you to call. You must excuse me now. I must get back to my painting. Do you care for painting, Miss Burton? I find it so soothing. (shakes Anne's hand) You must come again sometime. She goes out. Anne is left helpless, standing in the middle of the room. She picks up her purse and is about to go when she hears a voice: BRUNO'S VOICE Oh, Miss Burton! Anne turns back in direction of the voice. CAMERA PULLS BACK until we can see the feet of Bruno protruding from behind a chair in which he is sitting. He has obviously heard the entire conversation between Anne and his mother. Bruno rises. He is in dressing gown and pajamas. BRUNO I'm afraid mother wasn't very helpful, was she? (he strolls toward Anne) You know she hasn't been well for a long time. She's a little -- how shall I say -- confused. (shakes his head commiseratingly) Poor mother. Anne is too stunned to speak. BRUNO You know, I'm very upset with Guy. He shouldn't have sent you on an errand like this. ANNE Guy doesn't know I'm here, Mr. Antony. BRUNO He's been leading you up the garden path, I'm afraid. He must be very desperate to try to involve me. I've been protecting him ever since we had that conversation on the train and he told me how he hated his wife. Bruno is now standing near the window a little apart from Anne, with his back to him. He takes something out of the pocket of his dressing gown and looks down at it in his hand. It is Guy's lighter. Suddenly he stuffs it back his pocket and turn back to Anne. BRUNO Why, do you know, Miss Burton, he tried to get me to go back to the island one night after dark and pick up his lighter so the police wouldn't find it? He dropped it there, you know, when -- well, that night. Anne's horror is growing. BRUNO The whole thing's been worrying me so much. But of course I couldn't do it, Miss Burton. It would have been too risky. And besides, it would have made me an accessory. Anne stares at this insane man and sinks on the settee. She starts to cry in sheer frustration. Bruno goes to her sympathetically. BRUNO Miss Burton, I know how you feel. He puts his hand on her shoulder. Anne flings it off. There is an awkward pause as Bruno looks down at her. Then he begins to look around restlessly. BRUNO Miss Burton, you must excuse me. I have an urgent appointment. (looks it his watch) I must go up and change. Now, I really must go...if you'll excuse me... He turns, starts out of the room and up the stairs in the hall. Anne watches him. STAIRWAY FROM ANNE'S VIEWPOINT Bruno turns and waves to Anne from the landing, then goes on up the stairs. INT. LIVING ROOM MED. SHOT Anne slowly rises, a lonely figure in the large room, and makes her way out.
...continue to part 7