Strangers on a Train Page #4

EXT. MAIN STREET METCALF SHOOTING TOWARDS STATION

Guy is striding along angrily. He comes to the same

intersection and the same cop. The officer makes a friendly

gesture, is if he'd like to talk awhile, but Guy strides

past him without noticing.

EXT. METCALF STATION (PROCESS)

Guy comes into the scene, crosses to a row of public telephone

booths, enters one. Inside the telephone booth, he dumps

some loose change on the shelf, sticks a nickel in the

telephone, speaks into it.

GUY:

Long distance.

(a pause)

I want Washington, D. C. The number

is Republic 0800. Person to person.

Miss Anne Burton.

Another pause, very long. Guy is very restless. He digs a

cigarette out of his pocket and sticks it in his mouth, then

looks through his pockets for his lighter, doesn't find it.

He looks puzzled, but about that time the operator speaks to

him.

GUY:

(continuing)

Right.

Guy picks coins up off the shelf and drops them into the

telephone, then waits. He shifts the receiver and fumbles

in his other jacket pocket, then turns to the phone.

GUY:

(tautly, into phone)

Anne, -- Anne darling. Yes, I'm in

Metcalf -

(gets a grip on himself)

No, everything didn't go smoothly.

She doesn't want a divorce, not

now....

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INT. BURTON LIVING ROOM

ANNE BURTON is a beautiful, high-spirited and well-bred young

woman. The smile on her face his faded to anxiety as she

listens over the telephone which is on the desk.

ANNE:

(after a pause then

with unpleasant

realization)

Another man's child! But she can't

do that to you, Guy -- it's

unbelievable -- it's, it's evil!

(she listens, then

calmly)

Yes, I know how you must feel.

(pause)

But you sound so savage.

BACK TO GUY IN TELEPHONE BOOTH

GUY:

(furiously)

Sure I sound savage. I feel savage.

I'd like to break her neck!

(a pause, then raising

his voice)

I said I'd like to break her foul,

poisonous, useless little neck!

(the connection is

bad and he strains

to hear)

What's that?

Meantime the noise of a through train has been HEARD, and

the horn on a streamliner locomotive. It has come up very

fast, it is now almost to the station. Guy rises his voice

and yells into the telephone. His voice fights the roar of

the train:

GUY:

I SAID I COULD STRANGLE HER!

The expression on his face is frenzied and suggesting that

he means exactly what he is saying.

DISSOLVE TO:

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INT. ANTHONY LIVING ROOM

The scene opens on a CLOSEUP OF A MAN'S HANDS. One of them

is semi-flexed and turning slowly, The other is receiving

the final touches of a manicure.

CAMERA PULLS BACK to reveal that these are Bruno's hands,

and that, he is studying them moodily, CAMERA PULLS BACK

FARTHER to reveal his mother, MRS. ANTHONY, sitting opposite

him at a little table in the Anthony living room. She is

working with scissors, file and nail buffer. Mrs. Anthony

is a gentle, once pretty woman, whose pastel exterior harbors

a tigress-like determination to protect her son, Bruno is in

his robe and is unshaven.

There is evidence of long established wealth in the heavy

dark appointments of this room.

MRS. ANTHONY

Since you insisted on a manicure,

dear, I do wish you'd keep your hands

quiet. You're so restless lately.

BRUNO:

(almost dreamily as

he admires the free

hand)

I like them to look just right.

Mrs. Anthony looks up, notices his moody expression.

MRS. ANTHONY

Did I file them too short?

BRUNO:

No, Ma. They look fine. Thanks.

MRS. ANTHONY

Then what's the matter?

BRUNO:

I'm all right, Ma. Don't worry about

me.

MRS. ANTHONY

You look so Pale, dear. Are you out

of vitamins?

BRUNO:

I bought a bottle of them yesterday.

A whole fifth.

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MRS. ANTHONY

(anxiously)

But you have that 'look'. I can

always tell. You haven't got into

any more mischief, Bruno?

He denies this with a slow, solemn shake of his head.

MRS. ANTHONY

I do hope you've forgotten about

that silly little plan of yours?

BRUNO:

(sharply)

Which one?

MRS. ANTHONY

(smiling)

About blowing up the White House?

BRUNO:

(his eyes dancing)

I was only kidding, Ma. Besides,

what would the president say?

MRS. ANTHONY

(laughing gaily)

You're a naughty boy, Bruno. But

you can always make me laugh.

(she rises)

Now get shaved, dear, before your

father gets home.

Bruno's fist crashes down on the little table, upsetting it,

as he gets to his feet.

BRUNO:

I'm sick and tired of bowing and

scraping to the king.

MRS. ANTHONY

(placating him)

Now, now, Let's not lose control.

Come see my painting, dear -

(she leads him toward

an easel)

I do wish you'd take up painting.

It's such a soothing pastime.

They look at the painting.

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INSERT:

The painting is a horrible mess. Out of the violence of the

pattern a man's face can be discerned, wild-eyed and

distorted. We hear laughter from Bruno.

BACK TO SCENE:

Bruno's roar of laughter puzzles Mrs. Anthony, but she is

pleased to hear his good humor. He puts an arm around her.

BRUNO:

You're wonderful, Ma! It's the old

boy, all right. That's father!

MRS. ANTHONY

(bewildered)

It is? I was trying to paint Saint

Francis.

At this moment there is the sound of the front door opening.

Then immediately the telephone bell rings in the hall. Bruno

is instantly alert, as if he had been expecting a call. He

goes toward the door to the hall, as the butler enters.

BUTLER:

(to Bruno)

They are ready with your call to

Southampton, Sir.

Bruno's father MR. ANTHONY, purposefully enters the living

room. He an impeccably dressed business man with an

uncompromising eye. His entrance momentarily blocks Bruno's

exit.

MRS. ANTHONY

(to her husband)

How nice that you're early, Charles.

I'll tell cook....

Bruno now exits into the hall, passing his father without

speaking.

MR. ANTHONY

Just a minute, Eunice.

(calls after Bruno)

Bruno! Come here! I want to talk

to you and your mother.

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INT. HALL CLOSE SHOT BRUNO

as he approaches the telephone.

BRUNO:

(calls back to his

father)

Sorry father. Long distance.

(he picks up the

telephone)

Hello...

CAMERA MOVES IN TO A BIG HEAD CLOSEUP OF BRUNO at the

telephone as the Voices of his mother and father can be heard

from the other room.

MR. ANTHONY'S VOICE

Now it's hit and run driving! And

you knew about it all the time!

BRUNO:

(eagerly into phone)

Guy?

(pause)

Bruno, Bruno Anthony.

MR. ANTHONY'S VOICE

You're going to protect him once too

often. After all we do have a

responsibility to society.

Bruno gives a look in his father's direction, before he speaks

into the telephone in a low voice.

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