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Scripts: Strangers on a Train (18/Oct/1950) - part 8

 INT. LIMOUSINE TWO SHOT
 
 Hennessy finds himself seated by an old dowager about seventy-
 five years of age. She looks startled for a moment and almost
 recoils from him. He shows her his badge.
 
                          HENNESSY
              If you'll pardon us, madam, we need
              your help. We're chasing a man.
 
 The old lady's eyes light up.
 
                          DOWAGER
              How exciting.
                          (MORE)
 
                          DOWAGER (CONT'D)
                  (she leans forward
                   and calls to the
                   chauffeur)
              Hurry, O'Toole! Hurry!
 
 She leans back and maintains her air of excitement as she
 looks across at Hennessy.
 
 CLOSE SHOT INSIDE THE TAXI
 
 Guy is busy changing his pants. He glances over his shoulder.
 
 INT. CAR
 
 The two men looking ahead toward Guy.
 
 EXT. METCALF STATION
 
 CLOSEUP BRUN0'S FACE - ANGLE SHOOTING UP to get the peering
 faces behind him. Bruno still frantically trying to reach
 the lighter.
 
 CLOSEUP
 
 Under the grating Bruno's fingers slowly closing in on the
 lighter. They barely manage to grasp it.
 
 CLOSEUP
 
 BRUN0'S FACE -- triumphant.
 
 CLOSEUP
 
 Bruno's fist, holding the lighter, comes through the grating.
 
 CLOSE SHOT
 
 Bruno straightens up. CAMERA BACK as all the onlookers turn
 their heads in his direction.
 
                          ONLOOKER
              You sure must think a lot of that --
              Whatever it is.
 
 Bruno doesn't answer. With the lighter in his closed fist,
 he darts through the crowd, the people looking after him.
 
 LONG SHOT
 
 The sun is much lower.
 
 INT. CLUB CAR
 
 Guy is now glancing at his watch. The sun is behind him and
 very much lower.
 
 EXT. AMUSEMENT PARK
 
 Bruno is looking at his watch and then across at the sky.
 
 LONG SHOT FROM HIS VIEWPOINT
 
 The last trace of the setting sun has gone.
 
 EXT. METCALF STATION MED. SHOT
 
 Guy is stepping off the train. He crosses to a waiting taxi,
 CAMERA FOLLOWING him.
 
 CLOSE SHOT
 
                          GUY
                  (to the driver)
              The amusement park, quick.
 
 As he gets in the Cab, we go to --
 
 CLOSE SHOT MAN
 
 watching Guy get into taxi. As we hear the taxi drive away,
 the man hurries across to a waiting police car.
 
 CLOSE SHOT
 
 He puts his head in the side window and tells the two waiting
 detectives where Guy has gone.
 
                          MAN
              Amusement park.
 
 We see one of the detectives take up a microphone as the car
 drives off.
 
 EXT. AMUSEMENT PARK
 
 It is now getting dark.
 
 MED. SHOT
 
 Bruno leaves his spot at the side of the tent and ambles
 over toward the queue of people waiting for boats.
 
 CLOSE SHOT BRUNO
 
 joining the queue. He glances ahead of him.
 
 MED. SHOT FROM HIS VIEWPOINT
 
 We see the light above the pay booth go on, shedding a
 downward glare.
 
 CLOSE SHOT BRUNO
 
 pulls his hat a little further over his, eyes. Some new
 arrivals join the queue behind him.
 
 INT. TAXI
 
 Guy looking anxiously ahead on his way to the amusement park.
 
 AMUSEMENT PARK ENTRANCE
 
 We see a police car arrive. One uniformed man and two
 detectives get out of the car and make their way toward the
 entrance. One of to detectives stands at the entrance while
 the other two hurry into the grounds.
 
 MED. SHOT
 
 Guy's taxi arrives.
 
 MED. SHOT
 
 Across the street, another police car arrives.
 
 MED. SHOT
 
 At Guy is paying his cab fare, he glances around him.
 
 MED. SHOT FROM HIS VIEWPOINT
 
 He sees one police car.
 
 CLOSE SHOT GUY
 
 gives a furtive glance around while waiting for his change.
 
 MED. SHOT ANOTHER POLICE CAR
 
 MED. SHOT
 
 Guy cautiously makes his way toward the entrance to the
 Amusement Park.
 
 MED. SHOT
 
 Guy passes the waiting detective and looks off. From his
 viewpoint we see:
 
 MED. SHOT THE TWO DETECTIVES
 
 who were at the station indicate Guy is the man.
 
 MED. SHOT
 
 One detective turns away and starts to follow Guy.
 
 CLOSE SHOT BRUNO
 
 in the queue of people. He is edging slowly along. He is
 about ten people away from the entrance. He suddenly looks
 ahead and sees.
 
 FROM HIS VIEWPOINT
 
 The uniformed man and the detective are talking casually to
 the boat men in charge of the concession.
 
                          DETECTIVE
                  (to boatman)
              The killer is here tonight. So keep
              your eyes open and the minute you
              see him, let us know.
 
 CLOSE SHOT
 
 The boatman looks at them with an expression of alarm.
 
 CLOSE SHOT BRUNO
 
 begins to look a little uneasy. We see him begin to mentally
 deliberate.
 
 MED. SHOT
 
 Guy, threading his way through the crowds, conscious that he
 is being followed, but nevertheless, on the lookout for Bruno.
 
 CLOSE SHOT BRUNO
 
 moving along the line. CAMERA MOVES IN until his head and
 shoulders fill the screen. He is now coming within range of
 the flood-lit pay-box. The light seems to creep up across
 his chest and slowly reveal his face. He lowers his head.
 
 MED. SHOT
 
 The boatman begins to look along the queue. There is an
 expression of growing recognition on his face.
 
 MED. SHOT
 
 Bruno sees this, makes a decision and casually deserts the
 queue of people.
 
 MED. SHOT
 
 The boatman hurries across to the uniformed man and begins
 to talk to him excitedly, looking in Bruno's direction.
 
 MED. SHOT GUY
 
 Coming along and looking for Bruno. His eyes light up.
 
 SEMI-LONG SHOT FROM HIS VIEWPOINT
 
 We see Bruno making his way from the queue of people.
 
 CLOSE SHOT GUY
 
 calls to Bruno.
 
                            GUY
              Hey, Bruno.
 
 CLOSE SHOT BRUNO
 gives a quick glance back, sees Guy then he turns and looks
 off in another direction.
 
 SEMI-LONG SHOT
 
 The uniformed man and the boatman approaching him.
 
 CLOSE SHOT
 
 Bruno hurries on. He stop short as he sees.
 
 SEMI-LONG SHOT FROM HIS VIEWPOINT
 
 Another uniformed man.
 
 MED. SHOT
 
 Bruno starts to run.
 
 MED. SHOT
 
 Guy starts to run after him.
 
 MED. SHOT
 
 Bruno is seen to jump on a merry-go-round, which is just
 starting. Its pace is already pretty fast.
 
 MED. SHOT
 
 Guy runs toward Bruno.
 
 CLOSE SHOT
 
                           DETECTIVE
              Haines!   Hold it! Hold it!
 
 The detective pulls out his gun and starts to run after Guy.
 
 SEMI-LONG SHOT
 
 Guy jumps on the merry-go-round after Bruno. Its speed is
 so great that he nearly gets flung off.
 
 CLOSE SHOT
 The detective fires at Guy.
 
 CLOSE SHOT
 
 The man running the machine in the center of the merry-go-
 round is suddenly hit in the shoulder.
 
 CLOSE SHOT
 
 His hand, which is on the starting lever, jerks it down.
 
 MED. SHOT
 
 The detective, after Guy, jumps on the machine but is flung
 off on his back.
 
 FULL SHOT
 
 The merry-go-round has now started to increase the speed.
 
 CLOSE SHOT
 
 Bruno at the far side is trying to jump off, but it's going
 too fast.
 
 LONG SHOT FROM HIS VIEWPOINT
 
 We see the hard ground whizzing past him. Everything seems
 to be a blur. We get a glimpse of screaming women and the
 crowds rushing up from the midway.
 
 CLOSE SHOT BRUNO
 
 He turns and glances over his shoulder.
 
 MED. SHOT FROM HIS VIEWPOINT
 
 Guy is threading his way between the rising and falling
 horses. Guy gets right up close to him.
 
 TWO SHOT
 
 As Guy comes near to Bruno, the latter turns on him and starts
 to attack him.
                        BRUNO
            I want to get off of here! Let me
            off of here! It makes me dizzy.
 
                        GUY
            Stop it, Bruno. Give me my lighter,
            Bruno!
 
 MED.SHOT
 
 Against the whirling background of the merry-go-round, Turley
 and Campbell rush up as the detective struggles to his feet,
 slightly hurt. The noise from the calliope is very loud.
 
                        CAMPBELL
                (to Turley, puzzled;
                 indicating the merry-
                 go-round)
            Who's the man he's fighting with on
            there?
 
 At this moment the boatman rushes up.
 
                        BOATMAN
                (excited)
            There he is! That's the one!    That's
            the one who killed her!
 
                        TURLEY
            Of course he is. We know that.
 
 CLOSE SHOT ON MERRY-GO-ROUND
 
 Guy and Bruno in a struggle. Guy has to protect himself
 from a madman whose hands attempt to reach his throat.
 
 They are staggering across between the rising and falling
 horses.
 
 MED. SHOT OUTSIDE MERRY-GO-ROUND
 
 A detective turns to the group around hIm.
 
                       DETECTIVE
           Get somebody to come and stop that
           thing!
 
 An elderly man in soiled work clothes speaks up.
 
                       WORKMAN
           I'll handle it.
 
 Immediately the workman heads straight for the merry-go-round
 and starts to crawl under it on his stomach.
 
                       DETECTIVE
               (calls after him)
           Hey! Be careful! Stop!
 
 A second detective speaks to him quizzically.
 
                       2ND DETECTIVE
           Well, do you want to do it yourself?
 
 The first detective leans over and looks off toward the
 workman who is continuing his slithering way under the
 machine, then straightens up.
 
                       1ST DETECTIVE
               (changing his mind)
           No. I think he'll make it all right.
 
 MED. SHOT GUY AND BRUNO
 
 Bruno swings around till his back is to us. He pushes Guy
 toward the edge, but Guy manages to grab the rein of the
 nearest horse. The momentum of the machine swings Guy around
 against the horse, whose big head towers in the f.g. Bruno,
 on this side of the horse pushes forward and tries to grab
 the reins from Guy's hand. He tries to slash at Guy's face.
 The back of Bruno's head is toward us during this. Guy
 suddenly leans out across the horse and smashes his fist
 against Bruno's face. Bruno's head goes back until it is in
 the f.g. in a upside-down position.
 
 MED. SHOT
 
 THE CAMERA IS LOW so that we get the effect of Bruno falling
 into the CAMERA from Guy's blow!
 
 MED. SHOT
 
 In the f.g. is a young boy of four years. He is excited by
 the speed of the ride and laughs at the fight with great
 enjoyment. He sees this by suddenly glancing over his
 shoulder. In the b.g. Guy and Bruno are continuing their
 fight. Bruno rises. Guy staggers after him. Bruno again
 leaps upon Guy. The two men sway toward the CAMERA until
 Bruno gets alongside the little boy. The boy now shows some
 anxiety. The three figures now fill the screen with the
 horses' heads in the f.g. Bruno is forced against the little
 boy, who now, alarmed, beats Bruno on the cheek with one
 hand, the other holding onto the brass rail in front. Bruno
 stops and with a sweep of his arm, knocks the little boy off
 the horse onto the floor below. The little boy, in falling,
 grabs the horse's rein or stirrup.
 
 CLOSE SHOT
 
 Guy breaks away from Bruno and dives around the back of the
 horse to grab the little boy.
 
 CLOSE SHOT
 
 As Guy grabs the boy, he staggers forward with him to a small
 gondola. Bruno leaps onto his back but Guy manages to put
 the boy in the gondola.
 
 CLOSE SHOT UNDERNEATH THE WHIRLING MERRY-GO-ROUND
 
 The boat man is making slow progress.
 
 FROM HIS VIEW POINT
 
 We see his goal. It is the wounded mechanic in the center,
 who is slightly stirring. All during this the base of the
 merry-go-round is skimming above the back and head of the
 boat man.
 
 BACK ON MERRY-GO-ROUND
 
 The two men are now in a clinch. Guy tries to fight off the
 maddened Bruno. They are flung between the horses, bouncing
 one against the other, almost half way around the merry-go-
 round.
 
 CLOSE SHOT BRUNO AND GUY
 
 Again they struggles between two horses. On each side of
 them are two young screaming girls. The two bounce from one
 horse to the other.
 
 CLOSE SHOT
 
 The calliope has little figures and these boat away on their
 cymbals almost as though they are applauding what's going
 on.
 
 CLOSE SHOT
 
 Underneath the merry-go-round, the boat man has made further
 progress. He is creeping inch by inch. His nose starts to
 run. He starts to fumble for a dirty piece of handkerchief.
 He blows his nose and then moves on.
 
 CLOSE SHOT
 
 Back above the two men swinging past the two girls on their
 horse and they both crash to the floor underneath another
 horse, upon which is riding side-saddle, a mother and her
 three-year-old little girl.
 
 CLOSEUP
 
 The two big heads of the men, battling. The two men roll
 underneath the horse's hoofs, which are seen rising and
 falling. They get right underneath one horse.
 
 CLOSEUP
 
 Guy has turned over on his back and his eyes look up.
 
 CLOSEUP FROM HIS VIEWPOINT
 
 We see the big horse's head above and its hoofs coming down
 toward the CAMERA and filling the screen. We get a faint
 impression of the screaming mother hugging her child to her
 breast, above.
 
 BIG CLOSEUP THE HORSE'S HOOFS
 
 striking Guy's head.
 
 CLOSE SHOT
 Guy wrenches himself out of this position. He rolls away
 from the CAMERA right to the edge of the merry-go-round. He
 manages to grab a rail.
 
 MED. SHOT
 
 Guy's body is flung out horizontally. We see the crowd behind
 back-up for fear of being knocked over. The screw of tension
 increase. Over this comes the sound of an approaching
 ambulance siren.
 
 CLOSE SHOT
 
 Bruno edges himself toward Guy. He is hanging on to the
 reins of a horse. His feet manage to roach Guy's knuckles.
 
 CLOSEUP BRUNO'S VICIOUS EXPRESSION
 
 CLOSEUP BRUNO'S FEET
 
 kicking at Guy's knuckles.
 
 CLOSEUP GUY'S AGONIZED EXPRESSION
 
 MED. SHOT
 
 A flash of the horror-stricken faces of the spectators seen
 through the whirling machine.
 
 CLOSEUP
 
 Machinery and the lever that was pulled on too fast. The
 Boatman's hand comes up into the picture and pulls the lever
 over.
 
 LONG SHOT
 
 The sudden braking causes the whole merry-go-round to topple
 over with a grinding roar.
 
 LONG SHOT FROM HIGH ANGLE
 The merry-go-round his keeled over. For a moment we don't
 know who has survived. There is a surge of people milling
 and shouting. Those who have jumped back out of the way
 when the merry-go-round toppled, now rush forward again as
 the cloud of dust settles. From the midway in the background
 others are running forward.
 
 MED. LONG SHOT
 
 Distraught parents try to force their way to their children
 who were on the merry-go-round, but are hold back from the
 wreckage by police.
 
 MED. CLOSE SHOT
 
 Guy is somewhat stunned from his fall. He is helped to his
 feet by some men in the crowd. His knuckles are bleeding.
 
 In the background people are rushing about. The crowd is in
 uproar as women and children are helped from the wreckage.
 Officials and uniformed policemen pushing back the surge of
 the crowd.
 
                        AD LIBS
             Get back. Get back there. Give us
             room here.
 
 Turley and Campbell rush in to Guy.
 
                         TURLEY
             Are you all right, Haines?
 
                         GUY
             Yes, I think so.
 
 Guy is surrounded by police and Campbell stands at his elbow.
 At this moment the boatman runs in. One of the detectives
 is with him.
 
                       DETECTIVE
           Mr. Turley! Mr. Turley!
               (indicating boatman)
           He says this isn't the man we want.
               (with a nod in Guy's
                direction)
           It's the other one -- the one he was
           fighting with.
 
                         TURLEY
                 (stops to give his
                  full attention to
                  this unexpected bit
                  of information)
           What   do you mean, this isn't the --
                 (turns to Guy, not
                  quite taking it in)
           Not   Haines?
                 (back to boatman)
           But   you said he was. You pointed
           him   out.
 
                       BOATMAN
           No, I didn't, sir. I've never seen
           this man before in my life. I meant
           the other one.
 
 The detective who was holding Guy instinctively relax his
 hold on Guy's arm. Turley turns to Guy, puzzled.
 
                       TURLEY
           What is this all about, Haines? Did
           you know he killed your wife?
 
                       GUY
               (nods)
           He has my cigarette lighter and wanted
           to plant it there on the island to
           pin the whole thing on me.
               (urgently)
           Let me talk to him. Let me show
           you. Where is he?
 
                         ANOTHER DETECTIVE
           Over here.
 
 He leads the way. They follow.
 
 MED. CLOSE SHOT
 
 as Guy and Turley enter to the spot where Bruno is pinned
 under the overturned machine. He is caught between two of
 the horses, the head of one of them across his chest. Bruno's
 head sags back somewhat, but is resting on pieces of debris.
 A uniformed policeman looks up from Bruno to Turley:
 
                       POLICEMAN
           This one's in a pretty bad way, Mr.
           Turley.
 
 Guy is shocked at the sight of Bruno.
 
                       GUY
               (looking down at Bruno)
           Can't you get that stuff off him?
 
                       POLICEMAN
           No, they've done everything they can
           until the crane comes.
 
 Bruno opens his eyes and sees Guy.
 
                         BRUNO
           Hello, Guy.
 
 Turley has leaned forward to look at the helpless Bruno.
 
                        BRUNO
               (weakly nodding at
                Turley)
           Who's that?
 
                       GUY
           This is Mr. Turley, Chief of Police.
 
                       BRUNO
               (with a half smile)
           So they got you at last, eh, Guy?
 
 Guy looks around desperately, frustrated for a moment as
 Turley eyes him stonily. Then he turns again to Bruno.
 
                       GUY
               (rather gently)
           Can you talk a little? Can you tell
           the chief you have my lighter?
 
                       BRUNO
               (with a faint,
                quizzical smile)
           I haven't got it. It's still on the
           island where you left it.
 
 Guy looks around helplessly to Turley, who looks back at him
 suspiciously.
 
                       DETECTIVE
               (looking down at Bruno)
           I think he's going.
 
 Turley leans over to look.
 
 CLOSE SHOT BRUNO'S FIST FROM TURLEY'S VIEWPOINT
 
 As Bruno is dying, his closed fist slowly starts to open.
 
                       DETECTIVE'S VOICE
           He's finished.
 
 Guy's lighter is now revealed in Bruno's open hand.
 
 MED. SHOT GROUP
 
 Turley takes the lighter from the dead Bruno's hand. Guy is
 watching him. Turley straightens up and holds the lighter
 out to him.
 
                       TURLEY
           Is this your lighter, Haines?
 
 Guy nods without speaking, and with a half look in Bruno's
 direction.
 
                       TURLEY
           Well, you were right.
               (sticks the lighter
                into his own pocket)
           I'd better keep this for the time
           being.
               (in a friendly tone)
           We can clear the whole thing out the
           morning. How about staying in town
           over night, Haines? I imagine you
           have a lot to tell me. Nine o'clock,
           all right?
 
                       GUY
               (nods)
           Okay, Mr. Turley. Thanks.
 
 Turley turns back to the group around Bruno. Guy looks down
 for a moment at Bruno, then speaks to the boatman, who is
 standing nearby.
 
                       GUY
           Can you tell me where there's a
           telephone?
 
                       BOATMAN
               (indicating)
           There's one up near the entrance.
               (with a look back to
                the dead Bruno)
           Who was he, Bud?
 
 Guy looks back sympathetically in Bruno's direction, speaks
 without looking at the boatman.
 
                       GUY
           Bruno. Bruno Antony.
               (reminiscently and a
                little compassionately,
                remembering what
                Bruno had said of
                himself)
           A very clever fellow.
 
 He moves off through the crowd.
 
                                                 DISSOLVE TO:
 
 INT. BURTON STUDY NIGHT
 
 Anne, Barbara and the Senator are sitting silently in the
 attitudes of waiting. The telephone rings. Anne is instantly
 on her feet. Barbara and the Senator watch her anxiously as
 she goes to answer it.
 
                        ANNE
                (into phone)
           Hello...
                (impatiently)
           Yes, operator, yes!
                (waits a moment, then
                 eagerly:)
           Guy?
                        (MORE)
 
                       ANNE (CONT'D)
               (a pause, then she
                closes her eyes with
                heartfelt relief.
                Another pause, then:)
           Yes, darling, yes. Of course I'll
           be there...Goodbye.
 
 She hangs up, turns slowly, to face Barbara and her father.
 Her expression is one of intense relief.
 
                       ANNE
           Guy'll be back tomorrow.
               (overcome with emotion
                she has difficulty
                in speaking)
           He wants me to take him some things.
 
 With a sob, Barbara flings herself into Anne's arms. As she
 cries, Anne strokes her head comfortingly. Then with a half-
 choked sobs Anne, too, begins to cry. She speaks through
 her tears, looking over Barbara's shoulder at her father.
 
                       ANNE
           He says he looks silly in his tennis
           clothes.
 
 The Senator eyes them a moment, then speaks a little wryly:
 
                       SENATOR
           I presume from all those tears that
           you have had good news.
 
                                                  DISSOLVE TO:
 
 INT. PARLOR OF TRAIN NEXT DAY
 
 Anne and Guy are sitting quietly together. Opposite them is
 a man in a clerical collar who is reading a sports magazine.
 On the cover is a picture of a tennis player in action. The
 man looks over the top of his magazine at Guy, with
 recognition. He leans forward.
 
                       CLERIC
           I beg your pardon, but aren't you
           Guy Haines?
 
                          GUY
                  (uncomfortably)
           Yes.
 
 Guy and Anne exchange a  brief look, rise hurriedly and start
 to walk away before the  conversation can go any farther.
 The cleric looks after  them with a frown and a puzzled shrug
 of his shoulders, as if  to say, "Did I  say something wrong?"
 
                                                     FADE OUT.
 
                             THE END