Scripts: Strangers on a Train (18/Oct/1950) - part 3
LAP DISSOLVE TO:
INT. OBSERVATION CAR OF A TRAIN NIGHT
Through the rear window we see the tracks rushing away from
us. Seated in the foreground are Guy Haines and a rather
professorial type opposite him, a bespectacled man around
forty-five or fifty who is extremely drunk.
MEDIUM SHOT GUY
He is reading an evening newspaper.
CLOSE SHOT
The feet opposite Guy stretch out and touch Guy's feet.
CLOSEUP GUY
He lowers his paper and looks across.
MED. SHOT
The drunk opposite Guy looks down at his feet and then up to
Guy resentfully as though Guy had kicked him. He eyes Guy
up and down, then suddenly, without warning, bursts into
song, to the tune of the Barber Shop Chord.
COLLINS
There was a man, now please take
note. There was a man who had a
goat. He loved that goat, Indeed he
did. He loved that goat, just like
a kid.
(He stops singing
abruptly and addresses
Guy)
What is your opinion?
GUY
(amused)
You'll never make the Metropolitan.
COLLINS
(fuzzily -- pumping
Guy's hand)
Name's Collins. On sabbatical -
Delaware Tech. Glad to meet you. I
jus' gave a speech in New York. On
integration. In the differential
calculus a function is given and its
differential is obtained. Understand?
GUY
(solemnly)
Sure, I understand.
COLLINS
(resentfully)
Y'do?
Again he bursts into loud song.
LAP DISSOLVE TO:
LONG SHOT WASHINGTON EXTERIOR ABOUT 1 A.M. MOONLIGHT
A solitary taxi is seen driving past the Capitol Building.
LAP DISSOLVE TO:
The taxi comes to a side street and stops outside a small
apartment house.
MED. SHOT
Guy gets out of the taxi with his rackets and bag, pays the
driver and goes up the steps to the front door of his
apartment.
CLOSE SHOT
As Guy is about to enter the front door and we see his name
posted on a small card as one of the several tenants, he
hears a soft call from across the street.
VOICE
(softly)
Guy!
Guy turns his head and looks across the street.
MED. LONG SHOT (FROM GUY'S VIEWPOINT)
We see a small space between two houses across the street.
Out of the darkness the voice repeats.
VOICE
Over here, Guy.
MED. SHOT GUY
He turns, and with a slightly bewildered and wary expression,
goes out of the picture to cross the street.
MED. SHOT
Guy reaches the other side of the street and still puzzled
and cautious, approaches the dark alleyway.
MED. SHOT
After a moment a figure steps out of the darkness. It is
Bruno. He steps back into the darkness again as Guy comes
up to him.
TWO SHOT
Guy frowning in puzzlement as he looks at Bruno.
BRUNO
(cheerfully)
Hello, Guy.
GUY
(recognizes Bruno --
not pleased)
What are you doing here? At this
time of night?
BRUNO
(a little sadly)
You don't seem very pleased to see
me, Guy.
Guy stands without answering.
BRUNO
(pleased again)
I brought you a little present.
GUY
What do you mean?
Bruno's hand comes out of his pocket and he hands Miriam's
glasses to Guy.
INSERT
Guy's hands taking Miriam's glasses from Bruno. One of the
lenses is broken.
TWO SHOT
As Guy takes the glasses he looks at Bruno in bewilderment.
GUY
What's this all about?
BRUNO
Recognize them?
CLOSEUP GUY
He looks down at the glasses, mystified. He looks up again
to Bruno.
CLOSEUP BRUNO
BRUNO
It was very quick, Guy. She wasn't
hurt in any way. It was all over in
no time.
CLOSEUP GUY
He is horrified. He looks swiftly down at the glasses in
his hand, then back to Bruno.
BRUNO'S VOICE
(bragging)
I know you'd be surprised. Nothing
for us to worry about. Nobody saw
me, only Miriam.
TWO SHOT
Guy can hardly believe what he is hearing.
BRUNO
I was very careful. Even when I
dropped your lighter there, I went
right back to it up. If It'd been
found, it would have ruined our whole
scheme, wouldn't it?
GUY
Are you trying to tell me you've --
Why, you maniac!
BRUNO
(looks at Guy with
astonishment)
But, Guy, you wanted it! We planned
it on the train together, remember?
Guy suddenly starts to go. Bruno grabs his arm.
BRUNO
Where are you going?
GUY
Where do you think I'm going? I'm
going to call the police, of course.
BRUNO
But you can't, Guy. We'd both be
arrested for murder.
Guy turns back slowly and faces him.
GUY
We'd both be arrested for murder?
BRUNO
You're is much in it as I am. We
planned it together. Criss-cross.
I do your murder --
GUY
(suddenly angry)
You crazy fool! You think you can
get away with that?
BRUNO
(a little hurt)
Oh, come now, Guy. Why should I go
to Metcalf and kill a total stranger,
unless it was part of the plan and
you were in on it? You're the one
that benefits, Guy. You're a free
man. I didn't even know the girl.
Guy makes a move to leave, but Bruno holds on tight.
GUY
Let me go, Bruno. I had nothing to
do with this and the police will
believe me.
BRUNO
(concerned)
If you go to the police now, you'll
just be turning yourself in as in
accessory. You see, you have the
motive.
At this moment both turn at a sound across the street.
LONG SHOT (FROM THEIR VIEWPOINT)
We hear the sound of a telephone ringing in Guy's apartment.
The top of one of his windows is open.
BRUNO
What is it?
GUY
My telephone.
BRUNO
(amused)
Someone has some news for you, Guy.
Guy still stares across the street.
LONG SHOT (FROM HIS VIEWPOINT)
We see a police car pull up outside Guy's apartment.
TWO SHOT
Bruno pulls Guy back further into the shadows. Guy
instinctively flattens himself against the wall. He looks
across the street again.
LONG SHOT (FROM HIS VIEWPOINT)
We see the two policemen go into his apartment building.
TWO SHOT
Guy is still flattened against the wall to keep out of light.
BRUNO
Tell them you know about it already,
Guy.
CLOSEUP GUY
He looks across at the police, then down at himself with
some surprise and disgust, then over at Bruno, suddenly
conscious he is behaving like a criminal and that Bruno is
responsible for his predicament.
GUY
(muttering)
You've got me acting, like a criminal,
you crazy fool!
Bruno for a moment looks menacingly at Guy.
BRUNO
Don't you call me that.
Bruno's flare of anger dies. They both look again across
the street.
LONG SHOT (FROM THEIR VIEWPOINT)
The two policemen come out of the house, get into their car
and drive off.
Guy's telephone is still ringing.
TWO SHOT
BRUNO
You must be tired, Guy. I know I
am. I've sure had a strenuous
evening.
Guy looks at him, almost numb.
BRUNO
Now look, Guy, about my father. I
have the plans made. Two plans. A
plan of the grounds and a plan of
the house. I have in old Luger I
bought at a pawn shop in San
Francisco. My father --
Guy turns and starts to move in across the street.
TWO SHOT
Bruno follows Guy and we FOLLOW them across the street.
CAMERA ON THEIR BACKS. Guy strides ahead to the house.
BRUNO
Wait a minute, Guy. To have to talk.
We have to arrange things.
Guy turns at the door to his apartment building.
GUY
(furiously)
Get away before I give you what you
gave Miriam.
BRUNO
(sadly)
You're not yourself, Guy. You're
tired. When you think things over,
you'll see I'm right. Tomorrow --
Guy opens his door, turns on Bruno.
GUY
(with finality)
I don't know you. I never saw you
before. I never want to see you
again.
He goes in and slams the door in Bruno's face.
BRUNO
(to the closed door)
But we have to --
He realizes there is no use in trying to talk to Guy any
further. He turns and faces the CAMERA IN CLOSE UP as he
moves away, looking sad almost to the point of tears.
INT. GUY'S APARTMENT
Guy is standing at the telephone which is still ringing. He
has Miriam's glasses in his hand. He looks down at them for
a moment, then picks up the receiver. He hesitates, then
speaks into the phone.
GUY
(hoarsely, into phone)
Yes?
(Pause)
Yes, Anne. I'm sorry, darling. I
just got in.
(pause)
Of course I'm all right.
(MORE)
GUY (CONT'D)
(forcing his voice to
sound normal)
But you sound upset. Is anything
wrong?
(Pause)
All right. I'll come over. Right
away.
He hangs up but keeps his hand on the telephone, deliberating.
He starts to dial, then suddenly hangs up and starts out.
DISSOLVE TO:
EXT. A RESIDENTIAL STREET, WASHINGTON LONG SHOT NIGHT
A taxi drives up and stops in front of a handsome residence.
It is the Burton home. Guy gets out of the taxi and goes up
the steps.
MED. SHOT OVER GUY'S SHOULDER
His figure tense, he rings the bell. After a moment's wait,
the door is opened from inside and Anne Burton stands in the
lighted hallway. She looks at Guy with an anxious, taut
expression, searches his face hastily, then as he takes a
step inside she is suddenly in his arms. They embrace with
wordless fervor.
GUY
(holding her close)
Anne darling, you're trembling.
Anne draws back and looks into his face as if searching for
an answer to some question in her mind.
ANNE
Guy --
(her fingers gently
touch his face)
I wonder if you know how much I love
you.
Guy takes her hand from hIs face, caresses it with his lips.
GUY
(forcing a smile)
Brazen woman. I'm the one to say
that.
ANNE
(tensely)
But I wanted you to know, before...
(forcing herself to
be calm)
Before we go into the living room.
Father wants to see you.
CLOSEUP GUY
He looks apprehensively in direction of the living room,
conscious of what the news is to be, but covering up.
LONG SHOT LIVING ROOM FROM GUY'S VIEWPOINT
SENATOR BURTON and BARBARA BURTON are seated near a desk on
the farthest side of the room. Senator Burton is a
distinguished fifty, a man with great pride in tradition,
his family and his career. Barbara, Anne's younger sister,
is a lively seventeen who loves excitement, says exactly
what she thinks and rarely thinks before she says it.
Superficially, in height and figure, she resembles Miriam.
She also weirs glasses. By her gestures we gather she is
speaking urgently, but softly, to her father, who lifts a
weary hand to quiet her as she looks toward Guy in the
hallway, Barbara keeps quiet and also looks toward Guy.
They both wait for him to enter.
CLOSEUP GUY
He steels himself for the long walk across the hall and the
living room.
CLOSEUP ANNE
Watching Guy closely.
MED. SHOT
As Guy starts to make the long trek across the living room,
with Anne behind him --
GUY
(stiffly)
Good evening, sir. Hello, Babs.
Barbara has been squirming in her seat, then as if jet
propelled she catapults out of it and runs to Guy, giving
him a big hug and a smack on the cheek.
BARBARA
Something awful has happened, Guy.
SENATOR
(firmly)
Sit down, Barbara.
Subdued, she sits down. But Guy remains standing.
SENATOR
(finding it difficult
to begin)
There seems to be no way of
diplomatically breaking tragic news.
I'm sorry, Guy, to be the one to
tell you. It concerns your wife.
She's been murdered.
Guy stares woodenly at the Senator, is if hypnotized.
BARBARA
The police have been using everything
but radar to locate you.
SENATOR
You're to call Headquarters at
Metcalf.
The full impact of what has happened hits Guy once more.
GUY
Miriam...murdered.
ANNE
(with inner tension)
She was...strangled.
Slowly Guy's eyes meet hers. They are remembering what he
said on the phone: "I could strangle her." He sinks into a
chair. The Senator is quite distressed.
During the following scene Barbara quietly goes about the
business of pouring drinks and serving them. She knows
everyone's preference.
SENATOR
(wrylt, to Guy)
It happened on an island in an
amusement park. It was sort of a
lovers lane, I believe. A rather
sordid atmosphere.
BARBARA
(quickly, to Guy)
Miriam went there with two boys.
They were the ones who found her.
So they're not suspects. But you
probably will be.
SENATOR
Young lady, we can't overlook the
fact that murder is at our doorsteps.
But I forbid you to drag it into the
living room!
BARBARA
(wide-eyed)
Let's not fool ourselves. The police
will say Guy wanted Miriam out of
the way so he could marry Anne. In
a crime of this sort the police first
go after the husband, and Guy had
every motive.
SENATOR
(aghast)
Motive?
GUY
(quietly)
She's right. Whichever way you look
at it...I'm in a spot.
SENATOR
(disconcerted but
whistling in dark)
Oh come now, my boy. I'm sure you
have nothing to worry about.
BARBARA
(flatly)
If he hasn't an alibi for nine-thirty
tonight he has plenty to worry about.
ANNE
(who hasn't taken
anxious eyes off Guy)
You can tell them where you were,
can't you, Guy?
GUY
(wearily)
At nine-thirty I was on the train
from New York to Washington.
SENATOR
(relieved)
There you are.
BARBARA
Who saw you? Did you speak to anyone?
You'll need a Witness, you know.
GUY
(as if it didn't matter)
Yes, I spoke to someone.
SENATOR
(hopefully)
Anyone you know?
GUY
No. His name was Collins. He is a
professor.
SENATOR
(brightening)
Harvard.
GUY
University of Virginia.
The Senator's expression says: "Well, that's not too bad."
CLOSEUP ANNE
Her face shows her relief that Guy can account for his time.
ANNE
Then everything's's all right.
BACK TO SCENE
BARBARA
Not quite. Detectives play a game
called Motive, Motive, Who'd got the
Motive.
ANNE
(near the breaking
point)
I'm sick of hearing that word!
BARBARA
He'll still have to answer questions.
SENATOR
Routine. Pure routine.
GUY
I'm afraid there'll be a lot of
reporters at your front door in the
morning.
BARBARA
Daddy doesn't mind a little scandal.
He's a senator.
ANNE
(answering Guy's look)
It can't be helped, darling. It is
not your fault. It's not as though
anyone can say you had something to
do with it.
GUY
Someone might say it...I'd do anything
to keep you all out of this mess.
SENATOR
Profit by my experience, Guy. Never
lose any sleep over accusations.
(an afterthought)
Unless they can be proved, of course.
We'll help all we can. Dreadful
business, dreadful. That poor
unfortunate girl.
BARBARA
(flatly)
She was a tramp.
SENATOR
(pontificially)
She was a human being. let me remind
you that even the most unworthy of
us has the right to life and the
pursuit of happiness.
BARBARA
(unimpressed)
From what I hear, she pursued it in
all directions.
SENATOR
Barbara!
ANNE
Father, it's getting terribly late,
and Guy looks so tired...
SENATOR
(quickly)
Of course, of course. Back to bed,
Barbara.
BARBARA
(ignoring this - to
Anne and Guy)
Well, you two. Nothing stands in
your way now. You can be married
right away. Think of it -- you're
free!
CLOSE TWO ANNE AND GUY
look at one another with a growing realization of what
Miriam's death actually means to their happiness -- they are
free.
BACK TO SCENE
The Senator firmly urges Barbara to the door.
SENATOR
(to Barbara)
One doesn't always have to say what
one thinks!
BARBARA
(sweetly)
Father, I'm not a politician.
The Senator gives her a gentle but firm push out of sight.
SENATOR
You won't forget that call, Guy?
Captain Turley.
GUY
Yes sir. Goodnight.
Barbara pokes her head quickly around the door.
BARBARA
I still think it would be wonderful
to have a man love you so much he'd
kill for you.
(she ducks out)
TWO SHOT
Left alone, Guy and Anne embrace. Anne's nervous tension
comes to the surface in a flood of relief.
ANNE
I told myself over and over I was
being silly, but there was one
horrible moment tonight when the
news came through. I kept remembering
what you shouted telephone from
Metcalf.
GUY
That I could strang...
Anne quickly puts her fingers over his mouth.
ANNE
Don't even say it. Forget you ever
said it. Even more terrifying than
the murder itself, Guy, was the awful
thought that if you had anything to
do with it we'd be separated, - perhaps
forever. I'd never see you again.
I couldn't bear it.
...continue to part 4
