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
