Scripts: Strangers on a Train (18/Oct/1950) - part 4
DISSOLVE TO:
LONG SHOT MAIN STREET OF METCALF DAY
with its customary mid-afternoon activity.
LAP DISSOLVE TO:
EXT. METCALF POLICE HEADQUARTERS DAY
A knot of people are hanging around the entrance, including
a few newspaper photographers. There is a rush of interest
when a taxi pulls up and Guy steps out of it. Guy pushes
his way through the people. Two or three bulbs flash. There
is a murmur from the crowd and we hear Guy's name. He passes
into the entrance.
INT. CORRIDOR OF POLICE HEADQUARTERS
Guy comes into the corridor from the street and approaches
two policemen who are standing nearby.
GUY
Captain Turley's office?
One of the policemen gestures to a door at the right. Guy
crosses and enters.
INT. RECEPTION ROOM OUTSIDE CAPTAIN TURLEY'S OFFICE
At one side of the room is a young police sergeant seated at
a typewriter. A group of people are seated in chairs lined
against the opposite wall.
Guy enters, crosses to the sergeant at the desk.
GUY
Captain Turley is expecting me. Guy
Haines.
SERGEANT
Just a moment, Mr. Haines.
He rises and goes into an adjoining room.
CLOSEUP GUY
He now has time to take stock of the waiting people. He
catches his breath when he sees:
CLOSEUP MRS. JOYCE
Miriam's mother, dressed all in black, is seated in one of
the chairs. She has been staring at the floor, but brings
her eyes up slowly to glare at Guy with a look of burning
hatred.
MRS. JOYCE
(a fierce whisper)
You'll pay for this!
CLOSEUP MR. HARGREAVES
Mr. Hargreaves from the music shop looks across at Guy,
attempts in awkward nod but is very embarrassed.
CLOSEUP GUY
Guy nods in returns.
MED. SHOT
The two boys who were with Miriam at the amusement park.
They look at Guy with interest.
MED. SHOT GUY
He looks about him uncomfortably, then turns suddenly as he
sees:
MED. SHOT
Seated behind Guy, apart from the others who are waiting, is
Professor Collins, Guy's drunken companion on the train of
the night before. The professor is completely sober now,
dignified and erect. He has removed his glasses to polish
them and does not react to Guy's presence.
CLOSEUP GUY
Guy starts with a smile of recognition to say, "How do you
do?" but at that moment he hears the door open and his name
called:
SERGEANT'S VOICE
Will you come in, please, Mr. Haines?
MED. SHOT
Guy breaks away from his uncompleted greeting to the professor
and goes through the door to Captain Turley's office, followed
by the eyes of the waiting people.
INT. CAPTAIN TURLEY'S OFFICE
CAPTAIN TURLEY is conscientious, methodical and always polite.
He puts aside photographs and records and rises from behind
his desk as Guy comes in. A detective lieutenant, CAMPBELL,
is attending a coffee maker. Their expressions are grave by
contrast with Guy's confident attitude after seeing the
professor in the waiting room.
CAPTAIN TURLEY
Good of you to be so prompt, Mr.
Haines. This is Lieutenant Campbell.
(the two nod to each other)
Won't you sit down?
GUY
Thank you, sir.
(he sits)
CAPTAIN TURLEY
I know you're a busy man, so we won't
detain you any longer than
necessary... Now you already been
good enough to tell us where you
were last evening, and we've managed
to locate the gentleman you spoke
with on the train.
Turley signals to Campbell to call the professor in.
GUY
(brightening)
Yes. I saw him outside.
CAMPBELL
(at open door)
Will you come in please, professor?
CLOSEUP GUY
He looks up eagerly.
MED. SHOT
Professor Collins comes in and sits in a chair opposite Guy.
TURLEY
Professor Collins, this is Mr. Haines.
He was with you on the train last
night.
The professor studies Guy for a moment, then awkwardly turns
to Turley.
COLLINS
I'm terribly sorry, but I really
don't remember meeting this gentleman.
CLOSEUP GUY
Surprised. His confident expression fades.
CLOSEUP PROFESSOR COLLINS
He turns from the captain to Guy.
COLLINS
(apologetically)
Unfortunately, I remember very little
about the journey from New York...You
see, there had been a little
celebration --
MED. SHOT GROUP
Guy interrupts with a slight note of impatience.
GUY
But we were sitting opposite each
other in the observation car! You
were singing a song about a goat --
COLLINS
(incredulously)
A goat?
GUY
(urgently)
And calculus. You were going over a
speech you'd made.
Turley and Campbell are watching closely.
COLLINS
I was? I'm sorry, Mr. Halnes.
(shakes his head)
I certainly must have celebrated! I
can't remember you at all.
CLOSEUP GUY
Momentarily Guy is frustrated, then he turns quietly to
Turley.
GUY
(calmly, logically)
Captain, is it so important whether
or not Professor Collins remember
me? Surely, the important thing is
that I've been able to name a man
who was on the train with me. You've
been able to find him. Isn't that
proof of where I was at nine-thirty
last night?
Guy asks this question with a look of near triumph that he
has clearly established his alibi.
DISSOLVE TO:
INT. BURTON LIVING ROOM EVENING
The Burtons are having coffee. Barbara has been glancing
through a new murder mystery with a lurid cover. As Guy
enters, Anne rises to greet him.
ANNE
Hello, darling. Have you had your
dinner?
GUY
On the train.
ANNE
You weren't in Metcalf all this time?
We expected you hours ago.
BARBARA
(flatly)
I didn't. They sometimes throw a
suspect in the can and keep him there
all night.
SENATOR
(after a disapproving
glance at Barbara)
Sit down, Guy. Sit down. Give him
some coffee, Anne.
(MORE)
SENATOR (CONT'D)
(back to Guy)
You had no trouble with the police
of course, once they verified your
alibi?
GUY
(morosely)
When an alibi is full of bourbon,
sir, it can't stand up.
BARBARA
You mean the professor was boiled?
GUY
Completely. He didn't remember me.
ANNE
But, you knew he was on the train!
Wasn't that enough to prove you were
on it, too?
GUY
Apparently not at the right time.
They suggested I could have caught
the train at Baltimore after Miriam
was murdered. They had it all worked
out --
(taps his head)
in their timetables.
ANNE
(growing indignant
and increasingly
nervous)
That's ridiculous. They're acting
as if you were guilty.
BARBARA
(somewhat subdued and
trying to be
comforting)
Everything will be all right, Anne.
The police were just being thorough --
(she's unsure of
herself, and defers
to the senator)
Weren't they, daddy?
SENATOR
I certainly hope so.
(to Guy)
What is your next step?
GUY
(wryly)
Whatever it is, the police will know
it. They gave me a present -- come
take a look.
He crosses to the window, lifts the curtain slightly, then
turns back to the others.
GUY
(continuing)
My guardian angel.
The group move to look out the window, the senator with
reluctance.
LONG SHOT EXT. STREET FROM THEIR VIEWPOINT
Through the window we see the figure of a man across the
street. He is lighting a cigarette and strolling up and
down.
BACK TO GROUP
BARBARA
(impressed)
You're being tailed!
GUY
(turning to them)
That's Leslie Hennessy. He works
sixteen hours a day. Somebody else
takes over for the next eight.
(drops the curtain,
turns back into room)
As a matter of fact, Hennessy's a
very nice fellow.
BARBARA
Shouldn't we ask him in for Coffee --
or something?
Nobody bothers to answer her. The Senator is disturbed, but
confident of his own prestige as he goes back to his coffee.
SENATOR
I'll have him called off immediately
of course.
GUY
(calmly)
I'm afraid where I go, Hennessy goes.
Even to the Senate.
SENATOR
(Pausing with his cup
hallway to his mouth)
Is he likely to -- picket my office?
GUY
Very likely.
The Senator's cup is suddenly back on its saucer and he is
on his feet, pacing nervously.
SENATOR
I would suggest, Guy, for your own
peace of mind, of course, that you
work here at the house for a few
days.
(a pause)
It would be less embarrassing for
you.
Guy has been looking at Anne and is concerned at the worry
on her face. He nods in assent to the Senator's suggestion,
but puts his hand over Anne's.
GUY
(hopelessly)
Then what about practicing? Perhaps
I'd better forget Forest Hills?
SENATOR
My dear boy, wouldn't it look rather --
awkward -- if you suddenly canceled
all your plans.
ANNE
He's right, Guy. You mustn't do
anything that would look suspicious.
You've got to carry on as though
nothing has happened.
BARBARA
(pointing out the
window)
Escorted by Mr. Hennessy.
The are crestfallen again. RANDALL, the manservant, has
entered with the telephone.
RANDALL
A call for you, Mr. Haines. They
say it is urgent.
The phone is plugged in to a connection and Guy crosses the
room and picks up the receiver. The Burtons watch him.
GUY
Hello --
INT. TELEPHONE BOOTH BIG HEAD CLOSEUP OF BRUNO
His face wears the most affable expression.
BRUNO
Hello, Guy. I tried your apartment,
but --
(pause)
Why, Guy, this is Bruno!
INT. BURTON LIVING ROOM
Guy hangs up the telephone quickly. He looks at the others,
awkwardly tries to explain:
GUY
Must be some mistake. It wasn't for
me.
His embarrassment grows as Anne looks at him with a puzzled
expression.
FADE OUT.
FADE IN
EXT. WASHINGTON STREET APPROACHING JEFFERSONS MEMORIAL DAY
Guy and HENNESSY are walking along the street together, CAMERA
MOVING WITH THEM. Their relationship is most friendly. Guy
carries a briefcase. Hennessy is an amiable but not gullible
young man in his early thirties. He knows his job, is well
groomed, well educated, and well liked.
GUY
Well, I suppose I was pretty lucky
to be seeded fifth, really.
HENNESSY
I've never seen the Forest Hillss
tournament before. I'm looking
forward to it.
GUY
(wryly)
Do you mean we'll be going there
together, Hennessy?
HENNESSY
Oh, don't worry. This thing will be
cleared up by that time.
(changes the subject)
Ever thought of turning professional,
Guy?
GUY
I won't have to do that. When I'm
through with tennis. I'll be going
into politics, I hope.
HENNESSY
(aghast)
Politics! It's a good thing for you
I don't report that to the chief.
He turns to light a cigarette. As he does, Guy gives a barely
perceptible start at what he sees offscene.
LONG SHOT JEFFERSON MEMORIAL FROM GUYS VIEWPOINT
The tiny figure of a man is standing at the base of the tall
white column. The figure lifts in arm and waves. Instinct
tells us that this is Bruno. Hennessy is still mumbling his
opinion of politics.
HENNESSY'S VOICE
If he knew you were getting into
that rat-race --
TWO SHOT GUY AND HENNESSY
Guy turns his back on Bruno's figure and looks frantically
toward to street, wanting to get away.
HENNESSY
-- He'd put ten men on your trail.
He says --
GUY
(interrupts)
Let's take this cab. It's getting
late.
He hails a taxi which is cruising by, and they start to get
in. Guy directs the driver.
GUY
Pentagon Building, please.
HENNESSY
Oh, no, not there! I always get
lost.
INT. TAXI CLOSE SHOT
Guy turns and looks out of the window.
LONG SHOT JEFFERSON MEMORIAL
from Guy's viewpoint, shot through the cab window. Again we
see the solitary figure of Bruno looking after Guy and
beginning to recede with the background as the cab starts
off.
DISSOLVE TO:
INT. GUY'S APARTMENT NIGHT
As Guy comes in from outside, there is a note on the floor
that has been pushed under the door. Guy picks it up, stares
at it for a minute before he opens it. He takes out a
handwritten note and reads it with an expression of disgust.
INSERT NOTE (IN GUY'S HANDS)
IT READS:
Dear Guy:
We have to meet and make plans.
Call me at Arlington ----.
Time's getting short.
Bruno
The handwriting is sprawling and erratic, embellished with
conceited flourishes.
MEDIUM SHOT
Guy looks off for a moment with set face, then tearing the
note into shreds, crosses to a small desk, lights a match
and holds it to the fragments, letting them burn and fall
into an ash tray.
Guy looks off for a moment with set face, then tearing the
note into shreds, crosses to a small desk, lights a match
and holds it to the fragments, letting them burn and fall
into an ash tray.
DISSOLVE TO:
LONG SHOT EXT. MELLON GALLERY LATE AFTERNOON
CAMERA is in a low setup, to take in the sign across the
doorway which identifies the gallery. Hennessy stands in
the foreground in front of the building, on duty.
LAP DISSOLVE TO:
INT. MELLON GALLERY
Guy and Anne are walking slowly through a more or less
deserted room of the gallery. Their manner is relaxed and
intimate.
ANNE
Well, we'd better be getting back.
GUY
We've actually been alone for an
hour. Seems almost indecent. You
like?
ANNE
(softly)
I like.
GUY
I was beginning to feel like a
goldfish.
ANNE
So was I. When we build our house,
darling, we won't even have glass
windows. No doorbells, no newspapers,
no telephone --
GUY
No Hennessy.
ANNE
(suddenly serious)
How long can it go on?
GUY
I don't know. I suppose until they
find out who did it.
ANNE
We'll be happier then, won't we?
GUY
I suppose so.
Anne looks it him, surprised at his lack of enthusiasm.
They walk on out of the picture.
A figure steps out from behind a pillar in the main hall of
the gallery, near the spot from which they have disappeared.
It is Bruno. He calls.
BRUNO
(softly)
Guy!
Anne stops and looks back. Guy knows who it is and would
not turn but that he is forced to by Anne's action. He takes
a few steps towards Bruno.
CLOSEUP
Anne watches Guy approach this stranger. She looks downward
at Bruno's tie pin.
CLOSEUP
Bruno's tie pin, bearing his name, gleams in the light.
CLOSEUP
Anne reads the name on the tie pin.
TWO SHOT
Guy comes up to Bruno, steps in front of him.
GUY
(muttering harshly)
Will you stop pestering me!
BRUNO
But Guy, you haven't called me. My
father's leaving for Florida the end
of this week --
GUY
(interrupts)
You crazy fool! There's a detective
outside. He'll see us together!
BRUNO
(brushing this off)
Oh, they can't have anything on you.
(looking past Guy)
Isn't that Anne Burton? Slight
improvement over Miriam -- eh, Guy?
GUY
Stay away from me, I tell you!
He leaves Bruno abruptly to rejoin Anne. Bruno looks after
him, a little hurt.
TWO SHOT
Guy rejoins Anne and they start to walk away.
ANNE
Who was it, Guy?
GUY
(unnerved)
I never saw him before. Just some
tennis fan.
Anne looks at him a little oddly. He seems unduly concerned
about a casual stranger.
CLOSEUP ANNE
Her face is troubled.
FADE OUT.
FADE IN
INT. MORTON STUDY MED. SHOT
Guy and a secretary have set up office in the Morton study.
As the scene opens the secretary is handing Guy a large
envelope.
SECRETARY
Here's a special delivery, Mr. Haines.
It's marked personal.
As Guy is opening the envelope, Barbara speaks to him from
atop a library ladder. She is getting a book from one of
the top shelves of a bookcase, which is next to a window.
BARBARA
Are you getting in any practice today,
Guy?
GUY
(as he takes out a
large folded sheet
of paper and glances
at it, mystified)
Yes, if I can get a court at the
club.
As Guy's hands unfold the paper and hold it for moment, we
see that it is a diagrammed plan of the grounds and the
Interior of the Anthony house. There are dotted lines along
the upper hall, with an arrow which points to one room and
where Bruno has indicated in his handwriting, "My father's
room." Over this we hear the voices of Barbara and the
secretary:
SECRETARY'S VOICE
Barbara, who are you waving at?
BARBARA'S VOICE
Mr. Hennessy. I think it is a shame
Daddy won't let us have him in the
house to sit down. Have you met him
yet, Louise?
SECRETARY'S VOICE
No.
BARBARA'S VOICE
He is awfully cute.
MED. SHOT
Guy frowns, quickly folds the paper up and stuffs it into
his pocket. He looks off abstractedly.
CLOSEUP SECRETARY
She looks at Guy sympathetically.
SECRETARY
Is anything wrong, Mr. Haines?
CLOSEUP GUY
Her voice breaks his reverie. He answers her with a forced
smile.
GUY
No, thank you, Louise.
FADE OUT.
...continue to part 5
