Strangers on a Train Page #8

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!

Converted to PDF by www.screentalk.org 42.

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.

Converted to PDF by www.screentalk.org 43.

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.

Converted to PDF by www.screentalk.org 44.

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.

Converted to PDF by www.screentalk.org 45.

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)

Converted to PDF by www.screentalk.org 46.

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.

Converted to PDF by www.screentalk.org 47.

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.

Rate this script:0.0 / 0 votes