Strangers on a Train Page #11

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.

Converted to PDF by www.screentalk.org 61.

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.

Converted to PDF by www.screentalk.org 62.

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.

Converted to PDF by www.screentalk.org 63.

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 -

Converted to PDF by www.screentalk.org 64.

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.

Converted to PDF by www.screentalk.org 65.

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 -

Converted to PDF by www.screentalk.org 66.

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.

Rate this script:0.0 / 0 votes