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ALL SCRIPTS


                   STRANGERS ON A TRAIN

                             by

             Raymond Chandler and Czenzi Ormonde




FINAL DRAFT
October 18, 1950



Converted to PDF by SCREENTALK
                                       FOR EDUCATIONAL PURPOSES ONLY
www.screentalk.org

FADE IN:


EXT. UNION STATION, WASHINGTON, D.C. DAY
LONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILE
ENTRANCE TO THE STATION IN THE F.G. LOW CAMERA

Activity of cars and taxis arriving and discharging passengers
with luggage, busy redcaps, etcetera.

We FOCUS on a taxi pulling up and stopping, The driver hands
out modest looking luggage, including a bunch of tennis
rackets in cases to a redcap. CAMERA PANS DOWN as the
passenger gets out of the taxi so that we see only his shoes
and the lower part of his trousers. He is wearing dark
colored brogues and a conservative suit apparently. The
feet move toward, the entrance to the station and out of
scene. Immediately a chauffeur-driven limousine drives up
and an expensive place of airplane luggage is handed out of
this, and the passenger alighting from the back is seen to
be wearing black and white sport shoes which, as before, are
all we see of him. The sport shoes start off in the wake of
the brogues.


INT. STATION LOBBY

CAMERA FOLLOWS the sport shoes and the brogues across the
lobby into a passenger tunnel. There is the usual activity
of passengers walking to and from, a loud-speaker announcing
trains, etc.


EXT. PASSENGER TUNNEL

As the brogues and the sport shoes emerge to the train
platform, CAMERA PANS them over to the steps of the train.


INT. TRAIN

The brogues and the sport shoes pass separately down the
aisle, the sport shoes turning in at a compartment door and
the brogues continuing toward the parlor car.

                                                DISSOLVE TO:


INT. PARLOR CAR (PROCESS)

The brogues come to rest before a chair as the owner sits
down. A moment later the sport shoes come to rest. before
in adjoining chair.

      Converted to PDF by www.screentalk.org                 2.



The legs belonging to the sport shoes stretch out, and one
of the shoes touches one of the brogues.

                      MAN'S VOICE (over scene)
          Oh, excuse Me!

CAMERA PULLS BACK AND UP to SHOW two young men seated in two
parlor car chairs. BRUN0 ANTHONY, the wearer of the sport
shoes, is about twenty-five. He wears his expensive clothes
with the tweedy nonchalance of a young man who has always
had the best. The wearer of the brogues is a fine looking
but, at the moment, a somewhat troubled young man. This is
GUY HAINES. He, too, is in his middle twenties and is well
dressed because he can now afford to be. He nods politely,
acknowledging Bruno's apology, then turns away with the
gesture implying he wants privacy.

                      BRUNO
              (smiling with sudden
               recognition)
          I beg your pardon, but aren't you
          Guy Haines.

Guy nods with a polite half smile. Being a well known
tournament tennis player, he has had this sort of experience
before.

                      BRUNO
              (snapping his finger)
          Sure! I saw you blast Faraday right
          off the court in South Orange last
          season. What a backhand! Made the
          semi-finals, didn't you?

Guy acknowledges this with a modest nod and turns to his
magazine rolled up in is fist.

                      BRUNO
              (with open admiration)
          I certainly admire people who do
          things.
              (smiling and
               introducing himself)
          I'm Bruno Anthony. Bruno. See Guy
          looks up. Bruno indicates his gold
          tie pin which bears his name in cut-
          out letters. Guy looks at it with
          the faintest expression of disdain.
          I suppose you think it's corny. But
          my mother gave it to me so of course
          I wear it to please her.

      Converted to PDF by www.screentalk.org                3.



                      GUY
              (patiently)(a faint
               smile)
          How do you do.

                      BRUNO
              (with an apologetic
               grin)
          I don't usually talk so much.   Go
          Ahead and read.

                        GUY
              (wryly)
          Thanks.
Guy tries to read but is uneasily aware of Bruno's open
appraisal.

                      BRUNO
          It must be pretty exciting to be so
          important.

                      GUY
              (fidgeting slightly)
          A tennis player isn't so important.

                      BRUNO
          People who do things are important.
          I never seem to do anything.

Not knowing how to answer this, Guy looks a little
embarrassed.

                      BRUNO
              (still insistent on
               being friendly)
          I suppose you're going to Southampton --
          for the doubles.

                      GUY
              (politely)
          You are a tennis fan.

Bruno is inordinately pleased by this small tribute.

                      BRUNO
          Wish I could see you play. But I've
          got to be back in Washington tomorrow.
          I live in Arlington, you know.

He has taken out a cigarette case.   Holds it out to Guy.

      Converted to PDF by www.screentalk.org                      4.



                               BRUNO
             Cigarette?

                         GUY
             Not now, thanks.          I don't smoke much.

                         BRUNO
             I smoke too much.

He fumbles for a match.          Guy brings out a lighter and hands
it to Bruno.

                         BRUNO
             Thanks.
                 (he stares at the
                  lighter, impressed)
             Elegant.


CLOSE SHOT OF THE LIGHTER

Showing that it has the insignia of crossed rackets embossed
on it, and underneath is engraved the inscription: "To G
from A".

                         BRUNO'S VOICE
                 (reading)
             To G from A. Bet I can guess who A
             is.


WIDER SHOT

Guy reacts sharply.

                               GUY
                    (coldly)
             Yes?

                         BRUNO
             Anne Burton. Sometimes I turn the
             sport page and look at the society
             news. And the pictures. She's very
             beautiful, Senator Burton's daughter.

                         GUY
             You're quite a reader, Mr. Anthony.

                         BRUNO
             Yes, I am. Ask me anything, from
             today's stock reports to Li'l Abner,
             and I got the answer.
                         (MORE)

      Converted to PDF by www.screentalk.org         5.



                      BRUNO (CONT'D)
          Even news about people I don't know.
          Like who'd like to marry whom when
          his wife gets her divorce.

                      GUY
              (sharply)
          Perhaps you read too much.

                      BRUNO
              (contritely)
          There I go again. Too friendly. I
          meet someone I' like and open my yap
          too wide. I'm sorry...
At the appeal on Bruno's face, Guy slowly relents.

                      GUY
          That's all right. Forget it.    I
          guess I'm pretty jumpy.

Bruno smiles with and signals a waiter.

                      BRUNO
          There's a new cure for that.
              (to waiter)
          Scotch and plain water. A pair.
          Double.
              (to Guy with a chuckle)
          Only kind of doubles I play.

                      GUY
          You'll have to drink both of them.

                      BRUNO
              (grinning)
          And I can do it.
              (moving in)
          When's the wedding?

                      GUY
          What?

                      BRUNO
          The wedding. You and Anne Burton.
              (a gesture of
               explanation)
          It was in the papers.

                      GUY
          It shouldn't have been. Unless
          they've legalized bigamy overnight.

      Converted to PDF by www.screentalk.org             6.



                     BRUNO
         I have a theory about that. I'd
         like to tell you about it some time.
         But right now I suppose divorce Is
         still the simplest operation.

The waiter has brought the drinks. Bruno slips the lighter
into hip pocket to free his hands for the bills which he
gives to the waiter, waving away the change. He offers a
glass to Guy. Guy takes it.

                     GUY
             (as if he needs it)
         I guess I will.
                     BRUNO
             (happily)
         This is wonderful -- having your
         company all the way to New York.

                     GUY
             (forced to explain)
         As a matter of fact, I'm not going
         direct. I'm stopping off. At
         Metcalf.

                     BRUNO
         Metcalf? What would anybody want to
         go there for?

                     GUY
         It's my home town.

                     BRUNO
         Oh, I get it! A little talk with
         your wife to about the divorce! I
         suppose she was the girl next door.
         Held her hand in high school and
         before you knew it -- hooked!
             (proud of his
              perspicacity)
         Am I right?

                     GUY
             (laconically)
         Close enough.

                     BRUNO
             (raises his glass)
         Well, here's luck, Guy. Drink up --
         then we'll have some lunch sent to
         my compartment.

      Converted to PDF by www.screentalk.org                7.



                      GUY
          Thanks very much. But I think I'll
          go to the dining car.
              (he hails a waiter
               who is passing through
               with a food-laden
               tray)
          Do you know if there are any vacant
          seats in the dining car now?

                       WAITER
          Not for about twenty minutes I'm
          afraid, Sir.

                      BRUNO
              (pleased)
          See? You'll have to lunch with me.
              (motions the waiter
               back)
          Say, waiter, bring me some lamb chops
          and French fries and chocolate ice
          cream, Compartment D, Car 121.
              (turns to Guy)
          What'll you have, Guy?

                      GUY
          Thanks just the same, but I really
          don't think --

                      BRUNO
          Oh, go on and order.

The waiter is hovering impatiently.   Guy gives in out of
embarrassment.

                      GUY
          Well, I'll Just have a hamburger and
          a cup of coffee.

                      BRUNO
              (delighted, lifts his
               glass in another
               toast)
          To the next Mrs. Haines.

Guy nods curtly.

                                                  DISSOLVE TO:

      Converted to PDF by www.screentalk.org              8.



INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS)

Bruno and Guy are finishing lunch. Bruno has been drinking
and his eyes are bright and feverish. An almost empty liquor
bottle is near a couple of detective novels covered with
gaudily Illustrated dust jackets. Bruno has in unlighted
cigarette in his mouth. Guy's lighter is on the table.
Bruno snaps it a couple of times, as though fascinated, lights
his cigarette and puts the lighter on the table again.

                      BRUNO
          Sure, I went to college. Three of
          them. Every time they kicked me out
          my father threw me back in.
              (bitterly)
          He finally gave up. He thinks I'm
          awfully small fry, not worth the
          bait.
              (wistfully)
          You my friend, Guy?

                       GUY
          Sure.   I'm your friend, Bruno.

                      BRUNO
              (a little woozy)
          No, you're not, nobody thinks I'm
          anything special. Only my mother.
              (empties the bottle
               into his glass)
          My father hates me.

Guy smiles this off as nonsense.

                      GUY
          You must be imagining things.

                      BRUNO
              (hitting the bottom
               of the bottle for
               the last drop)
          And I hate him. He thinks   I ought
          to catch the eight-five bus  every
          morning, punch a timeclock  and work
          my way up selling paint or  something.
          Him -- with all his money!

                      GUY
              (amused by Bruno)
          Well, what do you want to do?

                      BRUNO
          You mean before or after I kill him?

Converted to PDF by www.screentalk.org     9.



               GUY
       (chuckling)
   Before, of course.

               BRUNO
       (leaning forward
        eagerly)
   I want to do everything. I got a
   theory you're supposed to do
   everything before you die. Have you
   ever driven a car, blindfolded, at a
   hundred and fifty miles an hour?

                 GUY
   Not lately.
               BRUNO
   I did. I flew in a jet plans too.
       (his hand traces a
        swift streak through
        the air, and he adds
        sound effects)
   Zzzzzzzp! Man, that's a thrill!
   Almost blow the sawdust out of my
   head. I'm going to make a reservation
   on the first rocket to the moon...

               GUY
       (amused and curious)
   What are you trying prove?

               BRUNO
   I'm not like you, Guy. You're lucky.
   You're smart. Marrying the boss's
   daughter is a nice short cut to a
   career, isn't it?

               GUY
       (quickly)
   Marrying the senator's daughter has
   nothing to do with it. Can't a fellow
   look past a tennis not without being
   a goldbricker?

               BRUNO
   Take it easy, boy. I'm your friend,
   remember? I'd do anything for you.

               GUY
       (humoring Bruno)
   Sure, Bruno, sure.
               (MORE)

Converted to PDF by www.screentalk.org       10.



                GUY (CONT'D)
        (glancing at his watch)
    We'll be pulling in soon. I've got
    to change trains.

                BRUNO
    What'd you say her name was -- your
    wife's?

                GUY
    Miriam.

                BRUNO
    That's it. Miriam Joyce Haines.
    Played around a lot, I suppose?
                GUY
    Let's not talk about it any more.

                 BRUNO
         (almost hopefully)
    Maybe she'll make more trouble for
    you.

                GUY
    I don't think so.

                BRUNO
    You mean you got enough on her to
    get your divorce no matter what?

                GUY
    Let's change subject, Bruno, can't
    we?

                BRUNO
    Okay, Guy. Want me to tell you one
    of my ideas for murdering my father?

                GUY
        (indicating the
         detective novels)
    You've been reading too many of these.

                BRUNO
        (going right on)
    You want to hear about the busted
    light socket in the bathroom, or the
    carbon monoxide in the garage?

                GUY
    No. I may be old fashioned, but I
    thought murder was against the law.

Converted to PDF by www.screentalk.org       11.



                BRUNO
    But not against the law of nature.
    My theory is that everybody is a
    potential murderer. Didn't you ever
    want to kill somebody? Say one of
    those useless fellows Miriam was
    running around with?

                GUY
    You can't go around killing people
    just because you think they're
    useless.

                BRUNO
    Oh, what's a life or two? Some people
    are bitter off dead, Guy. Take your --
    wife and my father, for instance.
    It reminds me of a wonderful idea
    had once. I used to put myself to
    sleep at night -- figuring it out.
    Now, let's say you want to get rid
    of your wife.

                GUY
    Why?

                BRUNO
    Let's say she refuses to give you a
    divorce --
        (raises a finger and
         stops Guy's protest)
    Let's say. You'd be afraid to kill
    her because you'd get caught. And
    what would trip you up? Motive.
    Now here's the plan...

                GUY
    I'm afraid I haven't time to listen.

                BRUNO
        (ignoring the remark)
    It's so simple, too. A couple of
    fellows meet accidentally, like you
    and me. No connection between them
    at all. Never saw each other before.
    Each of them has somebody he'd like
    to get rid of, but he can't murder
    the person he wants to get rid of.
    He'll get caught. So they swap
    murders.

                GUY
    Swap murders?

     Converted to PDF by www.screentalk.org               12.



                      BRUNO
          Each fellow does the other fellow's
          murder. Then there is nothing to
          connect them. The one who had the
          motive isn't there. Each fellow
          murders a total stranger. Like you
          do my murder and I do yours.

                      GUY
              (with relief)
          We're coming into my station.

                       BRUNO
          For example, your wife, my father.
          Criss-cross.
                      GUY
              (sharply)
          What?

                      BRUNO
              (with a smile)
          We do talk the same language -- don't
          we, Guy?

                      GUY
              (preparing to leave)
          Sure, we talk the same language.
          Thanks for the lunch.

                      BRUNO
              (beaming)
          I'm glad you enjoyed it. I thought
          the lamb chops were a little overdone
          myself.

He holds out his hand.   Guy is in a hurry but he shakes hands.

                      GUY
          Nice meeting you, Bruno.

                       BRUNO
              (detaining him at the
               door)
          You think my theory is okay, Guy?
          You like it?

                      GUY
          Sure, sure, Bruno. They're all okay.
              (he salutes a quick
               goodbye and hurries
               away)

     Converted to PDF by www.screentalk.org                 13.



Left alone, Bruno picks up Guy's lighter from the table,
starts to call Guy back to hand It to him.Then he looks closer
at the insignia of crossed tennis rackets.

                       BRUNO
              (smiling)
          Criss-cross.

                                                DISSOLVE TO:


A WIDE VIEW OF THE TOWN OF METCALF


METCALF RAILROAD STATION
as the train comes in.


THE TRAIN STATION PLATFORM MED. SHOT

As Guy gets off the with his suitcase and tennis rackets.    A
baggage man with baggage truck is passing.

                         GUY
          Hi, Bill.

                      BAGGAGE MAN
              (smiling)
          Guy Haines! Good to too you, boy.
          You be sure to win at Southampton
          tomorrow, hear me? I've got two
          dollars on your nose.

                      GUY
              (indicating his
               suitcase and rackets)
          Then park these in a lucky spot for
          a few hours, will you?

                         BAGGAGE MAN
          Sure thing.

He loads them onto a truck.

                                                DISSOLVE TO:


INT. METCALF STREET LONG SHOT

Guy is walking up the main street.

     Converted to PDF by www.screentalk.org              14.



EXT. MUSIC SHOP

Typical music shop of a small town, with plate glass windows
and displays of radios, records, sheet music, etc. Activity
of a couple of customers and salespeople inside. Guy comes
along the street and goes into the shop.


INT. MUSIC SHOP

As Guy enters. There are the usual counters and shelves,
pianos and radios on display, and the sound of a piano being
tuned in the back of the store. MIRIAM is finishing with a
customer at a counter. MR. HARGREAVES, the manager, is busy
at the shelves. Another girl clerk is serving a customer.
In one of the glass cubicles where records are tried out, a
customer is playing symphonic music; in a second glass cubicle
another customer is listening to a record of popular music.
A third cubicle is empty. Activity of the street is seen
through the plate glass front.

Guy walks straight to Miriam, just as she is finishing with
her woman customer, handing over a small package.

                      MIRIAM
              (taking money from
               customer)
          Even change. Thank you, Madam.
              (she looks up at Guy
               as the woman moves
               off)
          Well -- hello, Guy.

                      GUY
          You're looking well, Miriam.

Miriam's face is pretty because it is still young. She is
self-centered and inclined to be vindictive. She wears
harlequin glasses with myopic lenses which tend to make her
eyes look small.

                      MIRIAM
          So are you. You've got a nice tan,
          playing tennis with all your rich
          friends.

                      GUY
              (ignoring the remark)
          What time do we meet your lawyer?

                      MIRIAM
              (sly little smile)
          What's your hurry?

     Converted to PDF by www.screentalk.org                 15.



                      GUY
          My hurry? That's funny, coming from
          you! You're the one who's in a hurry,
          aren't you?

                      MIRIAM
              (coyly)
          When you wouldn't give me the divorce
          right away, I sort of hoped it was
          because you were a little bit jealous.

                       GUY
              (biting)
          I got over being jealous, a long
          time ago Miriam.
Miriam's eyes slide toward the other girl clerk who has moved
closer, within listening range.

                      MIRIAM
              (indicating empty
               glass cubicle)
          Let's talk in there.

Guy follows Miriam across to the empty room.   Miriam has
brought her purse along.

They enter.


INT. CUBICLE

Once inside, the sounds of the music playing from other parts
of the shop are heard but very faintly. The piano tuning
still goes on, but less stridently. Miriam and Guy are cooped
together in the close quarters.

                      MIRIAM
              (intimately)
          Now this is cosier. Sort of like
          old times, isn't it, Guy?

                       GUY
              (coldly)
          Oh, skip it, Miriam. It's pretty
          late to start flirting with a
          discarded husband. Especially when
          you're going to have another man's
          baby.

                      MIRIAM
          Do you know, I think you're handsomer
          than ever?

Converted to PDF by www.screentalk.org        16.



                GUY
    Let's see your lawyer and get this
    over with.

                MIRIAM
    Did you bring the money, Guy?   Lawyers
    are expensive.

                GUY
        (taking money from
         his wallet)
    Here it is.

                MIRIAM
        (taking the money
         greedily)
    If I'd known what all that tennis
    nonsense of yours was going to lead
    to, I wouldn't have run out on you.

                GUY
    What are you trying to say, Miriam?
    Come out with it.

                MIRIAM
        (tucking the bills
         away)
    I'm not getting a divorce.

                GUY
        (tense and angry)
    Why, you little doublecrosser. I
    didn't want this divorce, you did.
    That's what you've been harping about
    for the past year.

                MIRIAM
    It's a woman's privilege to change
    her mind... Now I can shop for some
    pretty clothes. I wouldn't want you
    to be ashamed of me in Washington
    when we go to all those dinners and
    swanky parties.

                GUY
    And what do you mean by that?

                MIRIAM
        (Coyly)
    Don't look so mad, Guy. You always
    smile when your picture is being
    taken for the papers.
                (MORE)

     Converted to PDF by www.screentalk.org                 17.



                      MIRIAM (CONT'D)
          Especially when you have Anne Burton
          hanging on your arm.

                      GUY
          Let's not talk about Anne Burton.

                      MIRIAM
          So, it's really serious between you
          two? Well, you can throw your dreams
          about her into the ashcan. Guy, I'm
          coming to Washington.

                       GUY
          What for?
                      MIRIAM
          To have my baby and be with you.

                       GUY
          Why me?   It's not my baby.

                      MIRIAM
          But people don't know that, Guy, do
          they? It would make a pretty story,
          wouldn't it -- the senator's daughter
          involved with a married man who's
          about to become a father.

                      GUY
              (furiously)
          You black conniving little liar!

A few people in the shop look around as Guy's voice rises
above the sound of the record playing.

                      MIRIAM
          Keep your voice down.

                      GUY
          What happened? Did he run out on
          you?

                      MIRIAM
          No man runs out on me.   Not even
          you.

                      GUY
          You're a liar and a  cheat,   Miriam.
          You've wanted to get  rid of   me long
          enough and now I'll  go you   one better --
          I never want to see  or hear   of you
          again.

     Converted to PDF by www.screentalk.org               18.



                       MIRIAM
              (demurely)
          I could be very pathetic as the
          deserted little mother in a courtroom,
          Guy. Think it over. Who would
          believe you?

Guy seizes her angrily and in so doing, knocks the tone arm
across the record with a loud screech. From outside we can
see heads turn. Mr. Hargreaves, the manager, is very
disturbed.


MED. SHOT THROUGH GLASS PARTITION FROM HARGREAVES' VIEWPOINT
We see Guy gripping Miriam's arms and apparently addressing
her in a threatening manner, although we do not hear his
words. The smile has faded from Miriam's face and something
like cringing fear has taken its place. She is drawn and
tense and seems to cower beneath Guy's rage.

Mr. Hargreaves moves forward and opens Guy's tirade.

                      GUY
          ...That's what should happen to people
          like you. And if I...

                      HARGREAVES
              (interrupts)
          Break it up, folks. This isn't the
          place for a family quarrel.

                      GUY
              (his eyes blazing)
          Sorry. I'm leaving.

He starts to exit from the booth.   Miriam grabs his arm and
screams at him:

                      MIRIAM
              (yelling like a
               fishwife)
          You heard what I said, Guy Haines.
          You can't throw me away like an old
          shoe. I'm coming to Washington to
          have my baby. Tell that to the
          senate!

Guy strides out of the store, the manager and a few customers
turning around in surprise.

     Converted to PDF by www.screentalk.org              19.



The two customers in other booths, seeing the quarrel, open
their doors simultaneously and Miriam's tirade is climaxed
by a cacophony of noise, a big symphony, loud hot music, and
the apparently unaware piano tuner.


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.

                      BRUNO
          I just wanted to ask how you made
          out with Miriam.


INT. LOCKER ROOM OF TENNIS CLUB CLOSE SHOT GUY AT TELEPHONE

                      GUY
              (puzzled)
          What?
              (listens)
          Metcalf? Who'd you say you were?

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CLOSEUP BRUNO

                      BRUNO
              (sotto voce)
          Bruno, Guy. Bruno Anthony. Don't
          you remember? On the train.

The voices of Mr. and Mrs. Anthony can still be heard in
dispute as Bruno listens at phone:

                      MRS. ANTHONY
          I never permit it!

Bruno gives a significant look in direction of the living
room as he speaks into the phone.
                       BRUNO
              (softly)
          Are you getting your divorce?

                      MR. ANTHONY'S VOICE
          I tell you he should be sent somewhere
          for treatment before it's too late.

                      BRUNO
              (into phone, with
               satisfaction)
          So she double-crossed you!   Are you
          going to see her again?

The phone clicks in Bruno's ear. He looks hurt for an
instant, then replaces the receiver. Bruno listens to his
father off scene and his expression becomes more enigmatic.

                      MR. ANTHONY'S VOICE
          I tell you, Eunice, I'm going to
          have that boy put away if it's the
          last thing I do!

Bruno looks off in direction of his farther's voice with an
expression which says, "Crow while you can, you haven't
much time." He reaches into his pocket, brings out Guy's
cigarette lighter and as he flicks it on and off.

                                                   DISSOLVE TO:


EXT. METCALF STATION LONG SHOT DAY

This is the same shot we saw when Guy arrived in Metcalf.
We see the station and one of the main streets beyond the
station.

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LONG SHOT A NEARER VIEW

We see the train come   around the curve. Again this is just
the same angle that we   used for Guy. It comes to a stop in
the foreground and we   see Bruno alight onto the platform.
He looks about him for   a moment and then strolls away in the
direction of the town.    He approaches the row of telephone
booths.


EXT. STATION CLOSE SHOT

We see Bruno enter the small booth and start to glance through
the telephone directory.

INSERT TELEPHONE DIRECTORY

Bruno's finger runs down the names until it stops at:

       Joyce, Miriam Haines. 2420 Metcalf Avenue.


A RESIDENTIAL STREET IN METCALF LONG SHOT

It is now much later.    It is beginning to get dark, and the
street lights are on.    In the far distance we see a local
bus approaching.


MED. SHOT

SHOOTING DOWN onto a small seat by a bus stop, we see Bruno
with an open newspaper in front of him. It is held up as he
reads it.


CLOSEUP

Bruno is glancing over the top of the paper.


LONG SHOT

From his viewpoint we   see a typical frame house. The upper
windows are lit as are   the lower ones as well. A woman is
sitting in a rocker on   the front porch.  This is MRS. JOYCE,
Miriam's mother. She    has white hair. A  woman comes along
the street and pauses   as she gets to Mrs. Joyce.

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                          WOMAN
                 (calls out as she
                  passes)
             Hello Mrs. Joyce. Warm, ain't it?

                           MRS. JOYCE
             That it is.

                         WOMAN
             I've been reading where your son-in-
             law's been coming right along at
             tennis.

                          MRS. JOYCE
                 (sourly)
             We don't have any interest in tennis
             any more.

The neighbor passes on.


CLOSE UP

Bruno, still glancing over the top of his paper.


LONG SHOT

Again from Bruno's viewpoint, we see Miriam's house. At
this moment the front door swings open, emitting a long streak
ot bright light. We see the silhouette of a woman emerge,
followed by two other men. They're laughing and joking.
Suddenly they look up the street. At this very moment the
bus pulls up in front of Bruno's view, cutting off the sight
of his quarry. The bus comes to a stop.


CLOSE SHOT

Bruno rises in alarm and moves around toward the end of the
bus so that he shall not lose sight of the girl coming out
of the house.


SEMI-LONG SHOT

From his viewpoint, the girl, whom we now see is Miriam, is
running followed by the two young men. They are calling for
the bus not to go - shouting, "Hi - stop!" Mrs. Joyce calls
from the porch:

                         MRS. JOYCE
             Don't you stay out too late, Miriam.

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                         MIRIAM
                 (calling back)
             Goodnight, Mother.   See you later.


CLOSE UP

Bruno watches Miriam.


MED. SHOT

Miriam comes nearer and nearer to Bruno. With her two
companions she brushes past him and jumps onto the bus.    THE
CAMERA PANS BRUNO AFTER THEM.

EXT. AMUSEMENT PARK LONG SHOT

We see the bus pull up outside the Amusement Park, and the
various passengers alight. These include Miriam nd her
companions, and Bruno.


LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK

We see the usual midway with its various concessions on each
side: in the distance the Ferris wheel, Merry-go-rounds,
etc., and beyond that a lake. In the foreground we see people
filling in and out.

                                                   DISSOLVE TO:


MED.   LONG SHOT A GROUP BY A FROZEN CUSTARD STAND

This group comprises Miriam and her two boy-friends. They
lick their way out of the crowd and debate between themselves
where to go next.


CLOSE SHOT

Miriam's eye catches the attention of something off screen.


SEMI-LONG SHOT

From her viewpoint we see Bruno standing and casually watching
her. Other people pass around and in front of him, so that
he is the only immobile figure.

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SEMI-CLOSEUP

Miriam, with a kind of coy consciousness, turns away with
the others and they go on to some other concession.


MED. SHOT

As Bruno starts to advance in the direction of Miriam he is
momentarily held up by a small boy in cowboy uniform carrying
a gun and a balloon. The small boy points the gun at Bruno.


SEMI-CLOSE UP
The small boy pointing the gun fires it twice with a couple
of 'bangs!' He then starts to move off.


SEMI-CLOSE UP

Bruno moves on past the boy. He casually touches the balloon
with his cigarette end -- it goes off with a 'pop'.


CLOSE UP

The small boy turns and looks with dismay at his pricked
balloon, wondering what happened.


SEMI-CLOSE UP

Bruno moves on, pleased with himself, returning his attention
to Miriam who is somewhere ahead of him.


MEDIUM SHOT

Miriam and her two boy-friends by the sledge hammer concession
where the aim is to swing the hammer hard enough down onto
its target to ring the bell and register the 100 mark. Miriam
is in the foreground of the shot. The first boy steps up to
try his hand. As he swings, Miriam turns and glances about
her, obviously looking for Bruno.


LONG SHOT FROM MIRIAM VIEWPOINT

The crowds milling, but no sign of Bruno.

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MEDIUM SHOT

The first boy having failed to ring the bell, the second
stops up and slams the hammer down.


CLOSE SHOT

The register shooting up only to the hallway mark.


CLOSE SHOT MIRIAM

She looks a little disdainful and again glances around for
Bruno. Looking first to her left where she sees nothing,
she then looks to her right, and as she does THE CAMERA PANS
to show Bruno standing right it her shoulder. Miriam gives
a little start. Bruno smiles at her. With a smirk he walks
over and after paying his fee, goes to take up the hammer.


CLOSE UP MIRIAM

She watches Bruno.


CLOSE SHOT

Bruno looks down at his hands.


INSERT

Bruno's two strong hands - as he holds them palms tilted
upward and fingers curled in.


CLOSE UP

Bruno, as he smiles faintly, glancing across at Miriam.


CLOSE UP MIRIAM

She gives a faint smile in return.


CLOSE SHOT

With a studied movement, Bruno picks up the handle of the
hammer and swings.

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CLOSE SHOT

The register shoots up to the 100 mark and rings the bell.


MEDIUM SHOT

Bruno drops the hammer and glances around at Miriam again.
Her two boy-friends are calling for her from a little
distance.

                         BOY'S VOICE
             Come On, Miriam. Come On!

CLOSE SHOT MIRIAM

She turns away and is lost in the crowd.


MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND IN
BACKGROUND

Bruno turns to follow Miriam, his manner casual. As he takes
a few steps, WE PAN ACROSS with him until, over his shoulder,
we see a merry-go-round in the background. Miriam and the
two boys are aboard and climbing onto horses. As Bruno goes
toward the merry-go-round, the CAMERA MOVES UP A LITTLE with
him. The merry-go-round starts to move slowly round as Bruno
hops on.


MEDIUM SHOT ON MERRY-GO-ROUND

Bruno begins to look around for Miriam, who is apparently on
the other side of the merry-go-round. He starts to thread
his way through the horses which are beginning to move up
and down. CAMERA FOLLOWING HIM. He passes one or two of
the oncoming heads before he reaches Miriam. She is on an
outside mount which is high in the air when she sees Bruno
facing her. Her laughter dies for a moment and she smiles
at him coyly. Bruno passes her and gets on the horse directly
behind her, Miriam glancing at him as her horse comes down.


MEDIUM SHOT BRUNO ON HORSE

With horse's head in foreground, as it is coming toward us.

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SIDE VIEW MIRIAM

Miriam on her horse, moving from left to right. Miriam,
holding the reins, glances back with a gay laugh.


SIDE VIEW BRUNO

Bruno on his horse, as though he is chasing Miriam.    He is a
little more open now in his laughter.


GROUP SHOT MIRIAM AND TWO BOYS

Miriam and her boy friends begin to sing the song being played
on the calliope.


CLOSE UP MIRIAM

As she starts to sing, she glances back.


CLOSE UP BRUNO

He is starting to join in the singing.


MEDIUM SHOT

The horses of the merry-go-round are filling the screen as
they whizz by, and again we get the picture of Bruno chasing
Miriam as they rush past the CAMERA, the music and tempo at
a high speed.

                                              LAP DISSOLVE TO:


EXTERIOR OF BOAT LANDING ON SHORE OF ARTIFICIAL LAKE

Across the water may be seen a small wooded island. Between
this and the boat landing there is an artificially constructed
"Tunnel of Love".

We see Miriam and her companions approach the boat concession
and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA
MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM
IN CLOSE UP. She glances back. Her expression changes to a
coy smile of satisfaction as she sees:

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MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT)

Bruno is approaching the pay box.


MEDIUM SHOT

Miriam and her companions are escorted to a small boat with
electric motor. Once they are seated the boat chugs away
from the landing stage and off into the darkness.

Bruno steps into the foreground and gets into the next boat
which floats alongside. He, too, moves away into the
darkness.

ENTRANCE TO THE TUNNEL

As Miriam's boat passes through, she gives another little
glance over shoulder before her boat disappears into the
darkness of the tunnel.

After a brief moment Bruno's boat comes into the picture,
and it, too, goes into the tunnel.


INSIDE THE TUNNEL

We see the silhouettes of the occupants of Miriam's boat on
the wall of the tunnel, lit dimly from the light coming from
the tunnel exit.

The silhouette of Bruno in his boat, lit by the tunnel
entrance, gradually approaches the other three. When the
silhouettes are almost touching, we --

                                                     CUT TO:


EXIT OF THE TUNNEL

It is empty. There is a sudden piercing scream from inside,
followed after a second or two by protestations and giggling
as Miriam's boat emerges into the light. She is pushing one
of the boys away from her.

                      MIRIAM
              (squealing)
          George, stop it, I tell you!

Their boat moves out of the picture, toward the island.
Presently Bruno's boat comes smilingly following and he,
too, moves on out of the picture.

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MEDIUM SHOT ISLAND

The group of Miriam and her companions are scrambling out of
their boat and moving onto the island, one of the boys trying
the boat on the shore. They disappear into the Woods of the
island.

Again Bruno's boat comes into the picture. He steps out,
lift the prow of the boat a little onto the shore.


LONG SHOT ISLAND

We see the amusement park lighted beyond the lake.
Silhouetted in the foreground, the trees and foliage of the
island. Nearby we see the silhouetted figures of Miriam and
her companions move across the scene, right to left. Miriam
is pushing George away from her.

                      MIRIAM
              (protesting
               perfunctorily)
          George, no!

She backs away from him and the boys go on picture. Miriam
goes in another direction, around, the bushes. George
obviously misses her, for we hear his voice call out:

                      GEORGE'S VOICE
          Miriam!

Miriam backs out of the bushes   until the back of her head is
in CLOSEUP in the foreground of   the shot. Suddenly she hears
steps in back of her and turns   her head toward CAMERA. Her
face changes as she recognizes   someone offscene.

                      MIRIAM
          Oh!

She gives a coy smile of recognition. CAMERA   PULLS BACK to
reveal the mad and shoulders of Bruno between  Miriam and the
camera. His hand holds Guy's lighter which he   flicks on as
he raises it above Miriam's face. 0f Bruno, we  see only the
back of his head and shoulders.

                      BRUNO
          Is your name Miriam?

                      MIRIAM
              (with surprise)
          Why yes. How did you --

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We see Bruno's gloved hands dart quickly to Miriam's throat.
The lighter falls down out of picture, and as Bruno's hands
grip her throat, his head moves slightly to blot out Miriam's
face. His head moves a bit farther until Miriam's face is
nearly uncovered at the other side of the screen, and we see
her glasses fall off.


CLOSE SHOT

Miriam's glasses hit the ground. The shadows of their
struggling figures over the shot.


CLOSE UP
The screen is filled with one of the lenses  of the glasses.
They are of the diminishing type. Against   the moonlit sky
we see reflected, the elongated struggling  figures, as though
we were shooting up at them. Suddenly one   of the figures
falls forward.


CLOSE UP

Miriam's head drops into the picture by the glasses.

Bruno's hand comes into the picture and picks up the glasses.
One of the lenses has been broken by Miriam's fall.

As we see Bruno's sport shoes move away, the CAMERA MOVES
PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed
into the earth.


CLOSE UP BRUNO

Bruno glances back over his shoulder.   He looks down and
goes back one or two steps.


CLOSE UP BRUNO'S HAND

Bruno's hands retrieve the lighter from the ground.


LONG SHOT ISLAND

We see a full view of the island again, with the amusement
park beyond. The faint noise of the calliope continues in
the distance. Bruno has been lost to view.

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Miriam's companions are still searching for her.   We hear
their faint voices in the distance.

                       VOICES
          Miriam!   Miriam! Where are you?


MEDIUM SHOT

Bruno comes to the shore where his boat is moored. He gets
in and is quickly chugging away. He moves calmly, matter-of-
fact and not furtively.


LONG SHOT LAKE
Bruno's boat throbbing its way across toward the landing
stage.


MEDIUM SHOT LANDING STAGE

There are two boats unloading. Bruno's boat is approaching.
We hear a loud call from the island. Someone has found
Miriam.

                      VOICES
          Hey, here she is! What's the matter
          with her? Has she fainted?

More shouts from the island cause the people at the landing
stage to look back.  The boatman's attention is also
attracted. Suddenly,  as Bruno is getting out of boat, there
is a loud scream from the island.

                       VOICE
              (crying out)
          She is dead!

                      OTHER VOICE
              (from island)
          Help! Help!

Bruno by this time has stopped onto the landing stage, and
in company with the other people, is looking back as if to
see what's wrong on the island. Then he moves away, starting
off of the landing stage. The boatman turns and glances at
Bruno, but quickly returns his attention to the disturbance
across on the island. He hurries forward and with a couple
of men passengers jumps into one of the boats. He calls to
his assistant as he gets into the boat.

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                       BOATMAN
          Got a cop!

The assistant runs off out of the pictures


MEDIUM SHOT BRUNO

As Bruno calmly threads his way along the midway, we hear
above the noise of the various concessions, a shrill police
whistle in the distance. Presently a couple of policemen
comes running from direction of the main entrance and past
Bruno. He glances at them over his shoulder, then strolls
on toward the main entrance to the park.

ENTRANCE TO AMUSEMENT PARK EXTERIOR

As Bruno comes out through the turnstile, he stands for a
moment on the street. At this moment a man hesitates at the
curbstone. He is blind and tapping the sidewalk with his
white cane. He takes one step into the roadway, then
hesitates. Bruno steps forward and takes the blind man's
arm. CAMERA PULLS BACK as Bruno escorts the blind man across
the road. With a sweeping gesture he holds back a couple of
cars to lot them pass.

Once on the other side of the road, the blind man utters his
thanks.

                       BLIND MAN
          Thanks.

He goes off.

Bruno looks back toward the park, then glances down at his
wristwatch.


INSERT BRUNO'S WRISTWATCH

The time is 9.30.

                                              LAP DISSOLVE TO:


INT. OBSERVATION CAR OF A TRAIN NIGHT

Through the rear window we see the tracks rushing away from
us. Seated in the foreground are Guy Haines and a rather
professorial type opposite him, a bespectacled man around
forty-five or fifty who is extremely drunk.

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MEDIUM SHOT GUY

He is reading an evening newspaper.


CLOSE SHOT

The feet opposite Guy stretch out and touch Guy's feet.


CLOSEUP GUY

He lowers his paper and looks across.

MED. SHOT

The drunk opposite   Guy looks down at his feet and then up to
Guy resentfully as   though Guy had kicked him. He eyes Guy
up and down, then   suddenly, without warning, bursts into
song, to the tune   of the Barber Shop Chord.

                         COLLINS
             There was a man, now please take
             note. There was a man who had a
             goat. He loved that goat, Indeed he
             did. He loved that goat, just like
             a kid.
                 (He stops singing
                  abruptly and addresses
                  Guy)
             What is your opinion?

                          GUY
                 (amused)
             You'll never make the Metropolitan.

                         COLLINS
                 (fuzzily -- pumping
                  Guy's hand)
             Name's Collins. On sabbatical -
             Delaware Tech. Glad to meet you. I
             jus' gave a speech in New York. On
             integration. In the differential
             calculus a function is given and its
             differential is obtained. Understand?

                         GUY
                 (solemnly)
             Sure, I understand.

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                         COLLINS
                 (resentfully)
             Y'do?

Again he bursts into loud song.

                                              LAP DISSOLVE TO:


LONG SHOT WASHINGTON EXTERIOR ABOUT 1 A.M. MOONLIGHT

A solitary taxi is seen driving past the Capitol Building.

                                              LAP DISSOLVE TO:
The taxi comes to a side street and stops outside a small
apartment house.


MED. SHOT

Guy gets out of the taxi with his rackets and bag, pays the
driver and goes up the steps to the front door of his
apartment.


CLOSE SHOT

As Guy is about to enter the front door and we see his name
posted on a small card as one of the several tenants, he
hears a soft call from across the street.

                               VOICE
                    (softly)
             Guy!

Guy turns his head and looks across the street.


MED. LONG SHOT (FROM GUY'S VIEWPOINT)

We see a small space between two houses across the street.
Out of the darkness the voice repeats.

                         VOICE
             Over here, Guy.


MED. SHOT GUY

He turns, and with a slightly bewildered and wary expression,
goes out of the picture to cross the street.

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MED. SHOT

Guy reaches the other side of the street and still puzzled
and cautious, approaches the dark alleyway.


MED. SHOT

After a moment a figure steps out of the darkness. It is
Bruno. He steps back into the darkness again as Guy comes
up to him.


TWO SHOT
Guy frowning in puzzlement as he looks at Bruno.

                        BRUNO
                (cheerfully)
            Hello, Guy.

                        GUY
                (recognizes Bruno --
                 not pleased)
            What are you doing here?   At this
            time of night?

                        BRUNO
                (a little sadly)
            You don't seem very pleased to see
            me, Guy.

Guy stands without answering.

                        BRUNO
                (pleased again)
            I brought you a little present.

                        GUY
            What do you mean?

Bruno's hand comes out of his pocket and he hands Miriam's
glasses to Guy.


INSERT

Guy's hands taking Miriam's glasses from Bruno.    One of the
lenses is broken.

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TWO SHOT

As Guy takes the glasses he looks at Bruno in bewilderment.

                       GUY
           What's this all about?

                       BRUNO
           Recognize them?


CLOSEUP GUY

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!

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                      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.

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                       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.

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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.

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                      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)

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                       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.

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                        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.


CLOSEUP GUY

He steels himself for the long walk across the hall and the
living room.


CLOSEUP ANNE

Watching Guy closely.


MED. SHOT

As Guy starts to make the long trek across the living room,
with Anne behind him --

                        GUY
                (stiffly)
            Good evening, sir.   Hello, Babs.

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Barbara has been squirming in her seat, then as if jet
propelled she catapults out of it and runs to Guy, giving
him a big hug and a smack on the cheek.

                      BARBARA
          Something awful has happened, Guy.

                       SENATOR
              (firmly)
          Sit down, Barbara.

Subdued, she sits down.   But Guy remains standing.

                      SENATOR
              (finding it difficult
               to begin)
          There seems to be no way of
          diplomatically breaking tragic news.
          I'm sorry, Guy, to be the one to
          tell you. It concerns your wife.
          She's been murdered.

Guy stares woodenly at the Senator, is if hypnotized.

                      BARBARA
          The police have been using everything
          but radar to locate you.

                      SENATOR
          You're to call Headquarters at
          Metcalf.

The full impact of what has happened hits Guy once more.

                      GUY
          Miriam...murdered.

                      ANNE
              (with inner tension)
          She was...strangled.

Slowly Guy's eyes meet hers. They are remembering what he
said on the phone: "I could strangle her." He sinks into a
chair. The Senator is quite distressed.

During the following scene Barbara quietly goes about the
business of pouring drinks and serving them. She knows
everyone's preference.

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                SENATOR
        (wrylt, to Guy)
    It happened on an island in an
    amusement park. It was sort of a
    lovers lane, I believe. A rather
    sordid atmosphere.

                BARBARA
        (quickly, to Guy)
    Miriam went there with two boys.
    They were the ones who found her.
    So they're not suspects. But you
    probably will be.

                 SENATOR
    Young lady, we can't overlook the
    fact that murder is at our doorsteps.
    But I forbid you to drag it into the
    living room!

                BARBARA
        (wide-eyed)
    Let's not fool ourselves. The police
    will say Guy wanted Miriam out of
    the way so he could marry Anne. In
    a crime of this sort the police first
    go after the husband, and Guy had
    every motive.

                   SENATOR
        (aghast)
    Motive?

                GUY
        (quietly)
    She's right. Whichever way you look
    at it...I'm in a spot.

                SENATOR
        (disconcerted but
         whistling in dark)
    Oh come now, my boy. I'm sure you
    have nothing to worry about.

                 BARBARA
        (flatly)
    If he hasn't an alibi for nine-thirty
    tonight he has plenty to worry about.

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                      ANNE
              (who hasn't taken
               anxious eyes off Guy)
          You can tell them where you were,
          can't you, Guy?

                      GUY
              (wearily)
          At nine-thirty I was on the train
          from New York to Washington.

                      SENATOR
              (relieved)
          There you are.
                      BARBARA
          Who saw you? Did you speak to anyone?
          You'll need a Witness, you know.

                      GUY
              (as if it didn't matter)
          Yes, I spoke to someone.

                      SENATOR
              (hopefully)
          Anyone you know?

                     GUY
          No. His name was Collins.   He is a
          professor.

                      SENATOR
              (brightening)
          Harvard.

                      GUY
          University of Virginia.

The Senator's expression says: "Well, that's not too bad."


CLOSEUP ANNE

Her face shows her relief that Guy can account for his time.

                      ANNE
          Then everything's's all right.

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BACK TO SCENE

                      BARBARA
          Not quite. Detectives play a game
          called Motive, Motive, Who'd got the
          Motive.

                      ANNE
              (near the breaking
               point)
          I'm sick of hearing that word!

                      BARBARA
          He'll still have to answer questions.
                       SENATOR
          Routine.   Pure routine.

                      GUY
          I'm afraid there'll be a lot of
          reporters at your front door in the
          morning.

                      BARBARA
          Daddy doesn't mind a little scandal.
          He's a senator.

                      ANNE
              (answering Guy's look)
          It can't be helped, darling. It is
          not your fault. It's not as though
          anyone can say you had something to
          do with it.

                      GUY
          Someone might say it...I'd do anything
          to keep you all out of this mess.

                      SENATOR
          Profit by my experience, Guy. Never
          lose any sleep over accusations.
              (an afterthought)
          Unless they can be proved, of course.
          We'll help all we can. Dreadful
          business, dreadful. That poor
          unfortunate girl.

                       BARBARA
              (flatly)
          She was a tramp.

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                      SENATOR
              (pontificially)
          She was a human being. let me remind
          you that even the most unworthy of
          us has the right to life and the
          pursuit of happiness.

                      BARBARA
              (unimpressed)
          From what I hear, she pursued it in
          all directions.

                         SENATOR
          Barbara!
                      ANNE
          Father, it's getting terribly late,
          and Guy looks so tired...

                      SENATOR
              (quickly)
          Of course, of course.    Back to bed,
          Barbara.

                       BARBARA
              (ignoring this - to
                Anne and Guy)
          Well, you two. Nothing stands in
          your way now. You can be married
          right away. Think of it -- you're
          free!


CLOSE TWO ANNE AND GUY

look at one another with a growing realization of what
Miriam's death actually means to their happiness -- they are
free.


BACK TO SCENE

The Senator firmly urges Barbara to the door.

                      SENATOR
              (to Barbara)
          One doesn't always have to say what
          one thinks!

                      BARBARA
              (sweetly)
          Father, I'm not a politician.

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The Senator gives her a gentle but firm push out of sight.

                       SENATOR
           You won't forget that call, Guy?
           Captain Turley.

                        GUY
           Yes sir.   Goodnight.

Barbara pokes her head quickly around the door.

                       BARBARA
           I still think it would be wonderful
           to have a man love you so much he'd
           kill for you.
               (she ducks out)


TWO SHOT

Left alone, Guy and Anne embrace. Anne's nervous tension
comes to the surface in a flood of relief.

                       ANNE
           I told myself over and over I was
           being silly, but there was one
           horrible moment tonight when the
           news came through. I kept remembering
           what you shouted telephone from
           Metcalf.

                       GUY
           That I could strang...

Anne quickly puts her fingers over his mouth.

                       ANNE
           Don't even say it.   Forget you ever
           said it. Even more   terrifying than
           the murder itself,  Guy, was the awful
           thought that if you  had anything to
           do with it we'd be  separated, -perhaps
           forever. I'd never   see you again.
           I couldn't bear it.

                                                     DISSOLVE TO:


LONG SHOT MAIN STREET OF METCALF DAY

with its customary mid-afternoon activity.

                                              LAP DISSOLVE TO:

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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.

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                        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.

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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.

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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.

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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)

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                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?

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                       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.

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                       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.

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                      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.

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                      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 --

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                        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.

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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 --

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                             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.

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                       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.

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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.

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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.


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.

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                        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.

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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.

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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.

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                      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.

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                      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.

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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.

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                      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.

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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.

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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.

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                        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.

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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.

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                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)

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                      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)

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                       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.

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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.

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                         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.

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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.

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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?

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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.

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EXT. HOUSE

Anne comes out onto the steps and looks around.   She stops
short as she sees:


LONG SHOT EXT. STREET FROM ANNE'S VIEWPOINT

There are cars lined up outside on the street. One limousine
is pulling up in the center, two figures at the passenger
door. One is climbing in. The other is Guy.


CLOSEUP ANNE
She calls out urgently:

                         ANNE
             Guy!


CLOSE SHOT

Guy turns and closes the door.


MEDIUM SHOT FROM ANNE'S VIEWPOINT

The limousine moves off and Guy comes toward her.


MEDIUM SHOT

Anne comes down the steps and intercepts Guy on the sidewalk.
She leads him along a few paces and then stops and faces
him.


CLOSE TWO SHOT

Anne nods off in the direction of the departed Bruno and
speaks in a desperate, low voice.

                         ANNE
             You didn't meet him for the first
             time the other day, did you, Guy?

Guy stares at her for a moment.

                         GUY
             You mean when you introduced us at
             the club?

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                      ANNE
          Yes. Did you notice how he stared
          at Barbara that day?

                      GUY
              (awkwardly)
          Well, I didn't -- particularly --

                      ANNE
              (breaks in)
          He stared at her again tonight --
          while his hands were around Mrs.
          Cunningham's throat.

Guy looks at Anne with an expression of growing fear and
alarm. She goes on inexorably:

                      ANNE
          What did Miriam look like, Guy.

                      GUY
              (awkwardly)
          Well, why do you ask me? You've
          seen her pictures in the paper.

                      ANNE
          Go on, I want you to tell me.

                      GUY
              (haltingly)
          Well, she was dark, not too tall,
          rather pretty --

                       ANNE
          What else?

                      GUY
          What else is there?

                      ANNE
          She wore glasses, didn't she?

                       GUY
          Yes.

                      ANNE
          She looked a lot like Barbara, didn't
          she?

Guy suddenly begins to realize what Anne is getting at.

Anne lowers her head, deliberately avoids looking at Guy, as
she asks:

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                ANNE
    How did you get him to do it, Guy.

                GUY
    I get him to do it?

                ANNE
    He killed Miriam, didn't he?   Tell
    me, Guy!

                GUY
    Yes.
        (suddenly bursting
         out)
    He's a maniac. I met him on the
    train going to Metcalf. He had a
    crazy scheme about exchanging murders.
    I do his murder and he do mine.

                 ANNE
         (quietly)
    What do you mean -- your murder,
    Guy?

                GUY
    Well, he'd read about me in the paper.
    He knew about Miriam -- and about
    you. He suggested that  if he got
    rid of Miriam for me, I should kill
    his father.

                ANNE
    You must have realized he was talking
    a lot of nonsense!

                GUY
    Of course! I didn't give it another
    thought. And now a lunatic wants me
    to kill his father.

                ANNE
        (beginning to believe)
    It's too fantastic!

                 GUY
        (grimly)
    Yes, isn't it?

                ANNE
    You mean you've known about Miriam
    all this time?

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                       GUY
          Since the first night.   He gave me
          her glasses.

                      ANNE
          Why didn't you call the police?

                      GUY
              (bitterly)
          And have them say what you did --
          "Mr. Haines, how did you get him to
          do it?" And Bruno would say we'd
          planed it together.

                      ANNE
          Oh, Guy -- what can we do?

                      GUY
          I don't know, Anne...I don't know.

                      ANNE
              (With an anxious look
               across the street)
          Guy, hadn't we better go inside?
          Your friend Hennessy's watching us.
              (she Shudders)

                      GUY
              (sadly)
          You see, Anne, that's why I didn't
          want you to know anything about this.
          I wanted to protect all of you --
          your father, Barbara. And now that
          you know, you're acting guilty, too.

                      ANNE
              (desperately)
          Oh, if we could only talk to father
          or someone about it.

                      GUY
          No, that's no good, Anne. I mustn't
          drag anyone else into this mess.
          Come on. Let's go in.

They go toward the house.

                                                  CUT TO:

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TWO SHOT ACROSS THE STREET

As Hennessy watches Anne and Guy go toward the house, his
relief, HAMMOND, comes up. Hammond's a zealous, hard-eyed
sleuth.

                      HENNESSY
              (a little glum)
          Hello, Hammond.

                      HAMMOND
          You look worried. What's the matter?

                      HENNESSY
          You'd better keep on your toes.
          Something funny's going on.

                                                 DISSOLVE TO:


INT. GUY'S APARTMENT LATER THAT NIGHT

Still in his dinner clothes, Guy is seated in deep thought
near the telephone, wrestling with his problem. There is an
open telephone directory in front of him. He comes to a
decision, picks up the telephone and dials a number. He
waits for the answer, then:

                      GUY
          Bruno? Yes, yes, it's Guy...I've
          decided to do what you want. I'll
          make that little visit to father....
              (listens a moment)
          Tonight.
              (listens another moment)
          Yes, I want to get this thing over
          with, can you leave the house again,
          Bruno?
              (pause)
          You'd better stay out till daylight.

Guy hangs up, rises and starts to move with purpose for his
night's activities.

                                                 DISSOLVE TO:


INT. GUY'S APARTMENT NIGHT

Guy is sitting at the table. He is dressed differently,
having changed from his dinner clothes to a sack suit. There
is only one lamp lighted in the room. Guy presents a grim
picture.

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He is studying the plan of Bruno's house, and he picks up
the key Bruno sent along with it.  Finally he looks at his
watch, then folds the plan and puts it in his pocket with
the key. He rises, crosses to the  chest of drawers, opens
the top drawer.


INSERT: THE OPEN DRAWER

Guy's hands take out the Luger. His hand then picks up
Miriam's glasses from the drawer, holds them a moment. He
is about to put them back, then decides to take them along,
puts them into his pocket.

MED. SHOT

CAMERA PANS GUY across to the window.   He parts the curtains
slightly and looks out.


MED. SHOT ON STREET (FROM GUY'S VIEWPOINT)

Hammond is lighting a cigarette as he strolls in front of
the house.


INT. GUY'S APARTMENT

Guy crosses to his door, which he opens surreptitiously.


MED. SHOT CORRIDOR

Guy glances down the stairs, then closes the door behind him
quietly and moves away to a window at the turn of the stairs.


EXT. FIRE ESCAPE

Guy comes out of the window onto the second floor fire escape.
He creeps stealthily down and emerges into a narrow alleyway.
He steps back into the shadows for a moment when he sees:


LONG SHOT FROM GUY'S VIEWPOINT (PROCESS)

The strolling figure of Hammond on the far side of the street.

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MED. SHOT

Guy turns away and is soon lost in the darkness of the street.

                                              LAP DISSOLVE TO:


EXT. A TALL PAIR OF ELABORATE IRON GATES NIGHT

We are on the inside of the gates. We see them swing open
slightly and the figure of Guy edges through them.


CLOSE SHOT
Guy leaves the gates ajar and then, taking the plan of Bruno's
house from his pocket, and the key, he looks toward the house.


EXT. STEPS LONG SHOT NIGHT

This is a long flight of steps. Moonlit. They are lined
with tall black cypress trees which throw their shadows across
the steps. Guy moves out of one shadow, into another and
carefully starts up the stairs.


AT THE DOOR

He pauses, looks about for a moment and listens. Then he
puts the key into the lock, finding it with his flashlight.
The door opens a few inches. He turns off the flash, and
enters.


INT. ANTONY HOME ENTRANCE HALL

As Guy moves in soundlessly and closes the door.   He looks
toward the stairs which are in shadow.


MED. SHOT

Guy starts up the stairs slowly.   He carries his flashlight
and the plan.


AT THE TOP OF THE STAIRS THE DOG

A huge shadow lies it the head of the stairs. As Guy comes
slowly up the stairs, the Great Dane looks down at him.

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GUY ON THE STAIRS

He reacts to the sight of the dog, stops an instant, and
turn on his flashlight. The heavy massive face of the dog
looks straight down at him. Guy turns off the flashlight
and after a moment of indecision starts slowly up the stairs
once more, the dog watching every step he takes.


UPPER HALLWAY

Guy comes up the last few stairs and still the dog hasn't
moved. Guy slowly edges past him and the Great Dane's head
turns to watch him.

GUY

moving quietly along the hallway, approaches two doors. He
takes out his flash and identifies the door with his plan.


INSERT:

The plan shows two doors in relation to the stairway. The
first one is clearly marked: "MY room." The adjoining door
is marked: "My FATHER'S room."


CLOSE SHOT GUY

He pauses at the first door, then passes it quietly, walking
on to the next one. He turns the knob soundlessly and passes
through into the room.


INT. ANTONY BEDROOM LONG SHOT

The room is in darkness except for the dim outline of the
recumbent figure in the bed. We hear Guy's voice, in a loud
whisper:

                        GUY
          Mr. Antony!

The figure stirs.


ANOTHER ANGLE

Guy takes a stop closer to the bed.

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                        GUY
                (urgently)
            Mr. Antony! Don't be alarmed -- but
            I must talk to you about your son.
            About Bruno. Mr. Antony!

The figure on the bed turns and a hand stretches out toward
a bedside light. The light goes on with a sudden glare.


CLOSEUP FACE OF BRUNO IN THE LIGHT (LOW CAMERA)

The low CAMERA throws a vast shadow up on the wall behind
him, creating a grimace of his smile.
                        BRUNO
            Yes, Mr. Haines?


CLOSEUP GUY

His face is dead.


MED. SHOT

Bruno rises from the bed and sits on the and of it. He is
fully dressed, just as he was at the party, in white tie and
tails.

                        BRUNO
                (politely)
            My father isn't home tonight, Mr.
            Haines.
                (smiles grimly at
                 Guy's surprise)
            I was about to tell you that over
            the phone. But you came to such a
            sudden decision. I wondered why.

                        GUY
                (recovering quickly)
            Since you sent me a key to your house,
            I decided to use it -- to make a
            little social call on your father.
            I thought he'd be Interested to know
            he his a lunatic son.

The faintest flicker of Bruno's eyes indicates the intensity
of his reaction. He stares hard at Guy.

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                       BRUNO
           Then a I correct, Mr. Haines, in
           assuming that you have no intention
           of going ahead with our arrangement?

                       GUY
           No intention whatsoever.      I never
           had.

                       BRUNO
           I see. You won't have any further
           use for the key, then, Mr. Haines.
               (he holds out his
                hand and Guy gives
                him the key)
           Thank you very such.

As Bruno continues to stare at him, Guy takes out the Luger.
For a moment a look of fear comes into Bruno's face as he
thinks Guy will probably shoot him. After a pause, Guy tosses
the gun on the bed.

                       GUY
           Or this.

Bruno's relief turns again to menace.      He picks up the gun
and fingers it nervously.

                        GUY
               (kindly)
           Look, Bruno. You're terribly sick.
               (haltingly)
           I don't know whether it's possible
           for you to realize it or not. I
           don't know much about these things,
           Bruno. But why don't you go someplace
           where you can get some treatment?
           Not only for your own sake, Bruno,
           but you can't go on causing more and
           more destruction to anyone you happen
           to meet.

Bruno pays no attention.     He rises.


TWO SHOT

Guy's arguments have made no impression on Bruno whatsoever.
He fingers the gun.

                       BRUNO
           I don't like to be doublecrossed.
                       (MORE)

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                        BRUNO (CONT'D)
            I have a murder on my conscience,
            but it's not my murder, Mr. Haines --
            it's yours. And as you're the one
            to profit, I think you should be the
            one to pay for it.

For an instant his nervous hands seem to be struggling with
the urge to kill Guy.

                        GUY
                (gives up)
            Well, I guess it's no use, Bruno.
            We sees to have nothing further to
            discuss.
Bruno goes to the door in silent acquiescence and opens it
for Guy to pass through.


INT. HALLWAY MED. SHOT

Guy walks toward the stairs, tense and apprehensive. Bruno
is following him, still holding the gun. When the Great
Dane sees Bruno it gets to its feet, as if waiting for a
command.

Guy starts down the stairs but Bruno stays where he is, the
dog beside him. Gay turns and looks back it this tableaux
of menace.

                        BRUNO
            Don't worry. I'm not going to shoot
            you, Mr. Haines. It might disturb
            mother.
                (with a feeling of
                 power)
            I'm a very clever follow. I'll think
            of something better than that. Much
            better.


LONG SHOT

Bruno remains in the foreground of the scene as Guy proceeds
on down the stairs. We see him open the front door and pass
through.

                                                 LAP DISSOLVE TO:

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EXT. STREET ACROSS GUY'S APARTMENT EARLY
CLOSE SHOT HENNESSY AND HAMMOND MORNING

Hennessy is relieving Hammond who has kept watch on Guy's
apartment night.

                      HAMMOND
              (in the middle of his
               story)
          He came back at three twenty-five.
          I didn't even know he'd given me the
          slip until his 'phone kept ringing
          for about half an hour. Nobody sleeps
          that sound. So I got the janitor to
          let me in. No Haines.
                      HENNESSY
              (to himself)
          Wonder where he went?

                      HAMMOND
          We'll probably hear of another dame
          murdered.

                      HENNESSY
              (puzzled)
          Shut up. I'd better contact Metcalf.
          I should think this calls for more
          questioning of Mr. Haines.

                         HAMMOND
          Questioning?     Nuts!   Let's take him
          in.

                      HENNESSY
          My dear Mr. Hamond, how many times
          do I have to tell you that we have
          nothing conclusive on Haines? There's
          no evidence that he was ever at the
          scene of the crime. Can't you get
          that into your thick head?
              (quietly)
          Now stay put till I get back.

As he starts away --

                                                    FADE OUT.

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FADE IN
INT. ANTONY LIVING ROOM LATE MORNING

Anne and Mrs. Antony are in the middle of a conversation.
Anne's manner is tense and purposeful, Mrs. Antony's much
less serious.

                       MRS. ANTONY
          Oh, now, Miss Burton, really! I
          know Bruno's been in some very awkward
          scrapes, but nothing so ridiculous
          as a murder.
              (she gives a short
               little laugh)
                      ANNE
              (desperately)
          But, Mrs. Antony, you've got to make
          him do something about this. Don't
          you see that just one word from him
          would extricate Guy from this dreadful
          situation?

                       MRS. ANTONY
               (lightly)
          Oh, but Miss Burton, I'm sure this
          thing must be some practical joke.
          You know, Bruno sometimes goes too
          far.
               (girl to girl)
          Of course I shouldn't be saying this
          to an outsider, but sometimes he's
          terribly irresponsible and gets into
          all kinds of escapades.

                      ANNE
          But don't you understand, Mrs. Antony --
          your son is responsible for a woman's
          death.

                      MRS. ANTONY
              (drawing herself up
               with some hauteur)
          Did Bruno tell you this?

                      ANNE
          Of course not, Mrs. Antony.

                      MRS. ANTONY
              (that settles it)
          Well, there you are.
                      (MORE)

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                      MRS. ANTONY (CONT'D)
              (she sighs and rises,
               winding it up)
          Well, Miss Burton, it was very nice
          of you to call. You must excuse me
          now. I must get back to my painting.
          Do you care for painting, Miss Burton?
          I find it so soothing.
              (shakes Anne's hand)
          You must come again sometime.

She goes out. Anne is left helpless, standing in the middle
of the room. She picks up her purse and is about to go when
she hears a voice:
                      BRUNO'S VOICE
          Oh, Miss Burton!

Anne turns back in direction of the voice. CAMERA   PULLS
BACK until we can see the feet of Bruno protruding  from behind
a chair in which he is sitting. He has obviously   heard the
entire conversation between Anne and his mother.   Bruno rises.
He is in dressing gown and pajamas.

                       BRUNO
          I'm afraid mother wasn't very helpful,
          was she?
              (he strolls toward
               Anne)
          You know she hasn't been well for a
          long time. She's a little -- how
          shall I say -- confused.
              (shakes his head
               commiseratingly)
          Poor mother.

Anne is too stunned to speak.

                      BRUNO
          You know, I'm very upset with Guy.
          He shouldn't have sent you on an
          errand like this.

                      ANNE
          Guy doesn't know I'm here, Mr. Antony.

                      BRUNO
          He's been leading you up the garden
          path, I'm afraid. He must be very
          desperate to try to involve me.
          I've been protecting him ever since
          we had that conversation on the train
          and he told me how he hated his wife.

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Bruno is now standing near the   window a little apart from
Anne, with his back to him. He    takes something out of the
pocket of his dressing gown and   looks down at it in his hand.
It is Guy's lighter.  Suddenly   he stuffs it back his pocket
and turn back to Anne.

                      BRUNO
          Why, do you know, Miss Burton, he
          tried to get me to go back to the
          island one night after dark and pick
          up his lighter so the police wouldn't
          find it? He dropped it there, you
          know, when -- well, that night.

Anne's horror is growing.
                      BRUNO
          The whole thing's been worrying me
          so much. But of course I couldn't
          do it, Miss Burton. It would have
          been too risky. And besides, it
          would have made me an accessory.

Anne stares at this insane man and sinks on the settee.   She
starts to cry in sheer frustration. Bruno goes to her
sympathetically.

                      BRUNO
          Miss Burton, I know how you feel.

He puts his hand on her shoulder. Anne flings it off. There
is an awkward pause as Bruno looks down at her. Then he
begins to look around restlessly.

                      BRUNO
          Miss Burton, you must excuse me. I
          have an urgent appointment.
              (looks it his watch)
          I must go up and change. Now, I
          really must go...if you'll excuse
          me...

He turns, starts out of the room and up the stairs in the
hall. Anne watches him.


STAIRWAY FROM ANNE'S VIEWPOINT

Bruno turns and waves to Anne from the landing, then goes on
up the stairs.

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INT. LIVING ROOM MED. SHOT

Anne slowly rises, a lonely figure in the large room, and
makes her way out.

                                                    DISSOLVE TO:


LONG SHOT FOREST HILL STADIUM

Grouped.   A game is in progress.


MED. SHOT A TERRACE NEAR THE MAIN STADIUM (PROCESS)
where people get refreshments.   There are various table with
umbrellas.


MED. SHOT AT ONE OF TABLE (PROCESS)

Anne and Guy are seated at the table.

                       ANNE
           ...And he said that if the police
           found your lighter there, that's all
           they'd need -- something to prove
           you were at the scene of the murder.

                        GUY
               (grimly)
           That big lie about my wanting him to
           get it back means he's going to put
           my lighter on that island!

                       ANNE
               (urgently)
           Guy, you'll have to get there before
           he does. You won't have time to
           play, You'd better tell them.
               (she nods her head in
                the direction of the
                center court)

                       GUY
           Darling, if that loudspeaker announces
           that I'm not going to play, Hennessy
           bound to be suspicious He'd keep me
           from ever getting near Metcalf.

                       ANNE
           Then I'll go.

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                       GUY
              (quickly)
          No, darling.
              (he puts his hand on
               hers and speaks
               firmly, with concern
               for her safety as
               well as for his own
               situation)
          You stay right here and help me give
          Hennessy the slip after the match.

                      ANNE
          But, Guy, that'll be too late!
                      GUY
              (getting a thought)
          Didn't Bruno say that I wanted him
          together there one night after dark?

                       ANNE
          Yes.

                      GUY
          Well, that's what's in his mind now.
          He's not going to expose himself in
          broad daylight, If I can finish off
          this match in three sets, I'll still
          get there in time.

REYNOLDS, Guy's opponent, enters scene behind Guy's chair.

                      REYNOLDS
          We're on in a few minutes, Guy.
              (to Anne)
          How are you, Miss Morton.

Anne acknowledges his greeting with a nod.

                       GUY
          Okay, Tim.   Be right with you.

Reynolds leaves Anne and Guy rise, and as they walk toward
the stadium, we can see Guy start to speak to Anne in a
whisper.


ENTRANCE TO COVERED STAND ALREADY SHOT

Hennessy and Hammond are standing by.

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                        HAMMOND
            Well, if Turley said to pick him up
            for questioning, let's pick him up!

                        HENNESSY
            Let him have his game first, Hammond.

                         HAMMOND
                (sourly)
            This is the first time I ever waited
            for a murder suspect to play tennis
            before I pulled him in. When the
            boys it headquarters heir about this
            they'll send me orchids.
Guy and Anne come into the scene just as the players from
the previous match emerge. They pass through, nodding to
Hennessy.

                        HENNESSY
            Good luck, Guy.

Guy is so preoccupied with his grim doesn't nod to Hennessy
until Anne nudges him.


INSIDE THE STAND MED. SHOT

Anne is reluctant to leave Guy who must now join his opponent,
Reynolds.

                        GUY
            You got it straight?
                (ANNE nods)
            Just make sure Barbara has everything
            ready as soon as the third set starts.

He goes on to the court, and Anna goes to her box.


MED. SHOT

Anne joins Barbara in the box.     She starts to whisper
something to her.


LONG SHOT

Guy and Reynolds complete their warm-up as the umpire
announces that Guy is to serve. The game starts.

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EXT. ANTONY HOME

A taxi is at the front door. Bruno is descending the steps.
He gets into the cab, which moves off.


FOREST HILLS MED. SHOT ANNOUNCER'S BOOTH (PROCESS)

Over the shoulder of the announcer WE SEE the game in progress
through the window of his booth.

                      ANNOUNCER
          --It looks like an interesting match
          with Haines constantly charging the
          net -- not like Haines at all -- to
          press so early in the game...


MED. SHOT TEN COURT

Guy and his opponent, Reynolds, in play.   Guy scores a point.

CLOSEUP THE UMPIRE

He announces game to Haines.


MED. LONG SHOT

We see the two men change ends and come toward the Umpiri's
chair. Reynolds stops to take a drink of water. Guy, with
an impatient glance at him, moves over to the passing line
and waits, the CAMERA going with him.


EXT. WASHINGTON STREET

A taxicab is seen coming along.


MED. SHOT INSIDE CAB (PROCESS)

Bruno is sitting with in unlighted cigarette in his mouth.
CAMERA MOVES IN until he is in big CLOSEUP. His eyes look
down.  There is the SOUND of a click, then, Guy's lighter
comes up into the picture held against the cigarette.

                                             LAP DISSOLVE TO:

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FADE IN
LONG SHOT FOREST HILLS STADIUM

Grouped.    A game is in progress.


MED. SHOT

A terrace where people get refreshments.       There are various
tables with umbrellas.


MED. SHOT AT ONE OF TABLE (PROCESS)

Guy is seated. He has his rackets with him and is waiting
his turn to start his match. An official is talking to him
but Guy keeps looking around as if expecting someone.

                        OFFICIAL
            Well, at least there'd be a trip to
            Australia, if you made it.

                        GUY
                (absently)
            We'll know more about that by the
            end of the week...
                (his face brightens
                 as he sees Anne)

Anne hurries in, nods briefly to the official who has started
to leave, and sits down.

                        OFFICIAL
            They're close to the finish, Guy

                        GUY
            Be right there.
                (turns to Anne)
            I was afraid you wouldn't get here.
            Wish me luck, darling.

He makes a move as if to follow official toward the stadium,
but Anne puts hand on his arm.

                        ANNE
                (quickly and urgently)
            Guy, listen to me, If I sound all
            mixed up I can't help it. I -- I'm
            scared.

                          GUY
            What about?

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                      ANNE
          That's just it. I don't know. It's
          Bruno. I talked to him, Guy --

Guy stares at her, takes a quick look toward the stadium,
then gives Anne his full attention.

                      ANNE
          He acted peculiar -- as if he could
          put the murder right in your lap,
          and not involve himself at all.

                      GUY
              (shaking his head)
          He'd drag himself into it, -- and
          Bruno loves Bruno. I'm all right so
          long as he thinks I have an alibi
          for that night.
              (noticing the stricken
               look on Anne is face)
          He knows?

Anne nods slowly.

                       GUY
              (grimly)
          Then he'll think of something.   He
          said he would.

                      ANNE
          Guy, has he anything that the police
          could trace to you --
              (quoting Bruno)
          Any little thing.

                      GUY
          My cigarette lighter. He said once
          he could have left it on the islands
          as evidence
              (a pause)
          But he wouldn't do that. Not in
          broad day light.

                      ANNE
              (trying to think)
          But he's going somewhere, Guy.   He
          told his mother --

                      GUY
              (tensely)
          Metcalf -- did he say Metcalf?

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                      ANNE
          No, -- I don't think so. Oh, why
          can't I remember -- he said such
          crazy things!

                      GUY
              (tensely)
          Try to think, Anne!

                      VOICE
              (OFFSCENE)
          Guy Haines! -- Reynolds!

While Anne is frantically trying to remember, Guy turns
toward, the stadium and gives a signal of "Be right there."
                      ANNE
          Something about the moon -- he said
          he had an appointment with the moon.

Guy's shoulders droop with disappointment.

                      GUY
          That's no help. But I can't take
          any chances. I've got to get that
          lighter -- somehow.

REYNOLDS, Guy's opponent, ENTERS SCENE behind Guy's chair.

                       REYNOLDS
          Okay, Guy.   We're on.

He walks away.   Anne and Guy rise, following him.

                      GUY
          I'll have to default.

                      ANNE
          And have Hennessy and that other one
          right at your heels?

Guy's expression says she's right, as they walk toward the
stadium.


ENTRANCE TO COVERED STAND

Hennessy and Hammond, the two detectives, are standing by.

                      HAMMOND
          First time I ever waited for a killer
          to play tennis before I nabbed him!
                      (MORE)

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                      HAMMOND (CONT'D)
          When the boys at headquarters hear
          about this they'll send me an orchid!

                      HENNESSY
          We got our orders. We take him in --
          after the match.

Guy and Anne come INTO THE SCENE just as the players from
the previous match emerge. They pass through, nodding to
Hennessy.

                      HENNESSY
              (a little sadly)
          Good luck, Guy!
Guy gives him a thank-you nod. Hammond rolls his eyes in
disgust at Hennessy's politeness.


INSIDE THE STAND MED. SHOT

Anne is about to turn to her box but she is reluctant to
leave Guy, who must now join his opponent, Reynolds. As
their eyes hold, in mutual helplessness, Guy suddenly stares
at her with realization.

                      GUY
          The moon! You said he had an
          appointment --

Anne looks puzzled as Guy looks up at the sun, then at his
watch.

                      GUY
          Then he is going to Metcalf. But he
          has to wait until it gets dark --
              (with frantic haste,
               he thinks quickly,
               then murmurs to Anne)
          Listen, Anne, as soon as the third
          set starts, tell Barbara --


MED. CLOSE SHOT REYNOLDS

waiting at the bottom of steps to the stand. Guy joins his
opponent, and Anne goes to her box. Guy and Reynolds move
onto the court amid the rounds of applause that greet them.

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MEDIUM SHOT ANNE JOINS BARBARA

In the box.   She starts to whisper something to her.


LONG SHOT

Guy and Reynolds complete their warm-up as the umpire
announces that Guy is to serve. The game starts.


EXT. ANTONY HOME

A taxi is at the front door. Bruno is descending the steps.
He gets into the cab, which moves off.

FOREST HILLS MED. SHOT ANNOUNCER'S BOOTH

Over the shoulder of the announcer WE SEE the game in progress
through the window of his booth.

                        ANNOUNCER
            It looks like an interesting match --
            with Haines out to blast Reynolds
            into a fast fight, -- not like Haines
            at all -- to press so early in the
            game...


MED. SHOT THE COURT

Guy and his opponent, Reynolds, in play.   Guy scores a point.


CLOSEUP THE UMPIRE

He announces game to Haines.


MED. LONG SHOT

We see the two men change ends and come toward the Umpire's
chair. Reynolds stops to take a drink of Water. Guy, with
an impatient glance it him, moves over to the passing line
and waits, the CAMERA going with him.


EXT. WASHINGTON STREET

A taxicab is seen coming along.

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MED. SHOT INSIDE TAXI CAB

Bruno is sitting with an  unlighted cigarette in his mouth.
CAMERA MOVES IN until he  is in big CLOSEUP. His eyes look
down.  There is the SOUND  of a click, then Guy's lighter
comes up into the picture  held against the cigarette.

                                              LAP DISSOLVE TO:


INT. ANNOUNCER'S BOOTH FOREST HILL

The announcer is broadcasting the progress of the match and
we learn from him that this first set is nearly finished.

LONG SHOT THE COURT

Guy and Reynolds in play.


MED. SHOT

Anne and Barbara sitting in their box watching the play
anxiously.


MED. SHOT

At the entrance to the covered stand. The two detectives
Hennessy and Hammond, are watching. Hammond is bored by
this game.

                        HAMMOND
            Stupid game. You'd never get me
            into them short pants. I'd feel
            naked.

                        HENNESSY
                (his eyes intent on
                 the game)
            You'd feel naked in an Eskimo suit --
            if you weren't wearing your badge.


MED. SHOT

Guy playing hard but holding his own.


MED. SHOT

Reynolds, his opponent, playing back.

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LONG SHOT

The big crowd watching.


MED. SHOT

Guy scores point over Reynolds.


MED. SHOT

There is general applause from the crowd in the covered stand
as we HEAR the Umpire's announcement.
                         UMPIRE'S VOICE
                 (O.S.)
             Mr. Haines wins the first set.


EXT. UNION STATION WASHINGTON D.C.

We see Bruno get out of a cab and pass into the depot.


LONG SHOT FOREST HILLS

The game in process.


MED. SHOT

A nearer view of the game.


CLOSE SHOT GUY IN PLAY

volleying with Reynolds.


CLOSE SHOT

Reynolds playing the covered stand people are concentrating.


MED. SHOT

Guy misses a point and the game. He and Reynolds make for
the Umpire's chair. We HEAR the Umpire announce.

                         UMPIRE'S VOICE
             Game to Mr. Reynolds. Games are two
             all...Second set.

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INT. UNION STATION WASHINGTON, D.C.

Bruno is casually waiting for the train.   He stands near a
news-stand reading a paper.


INSERT:

We see that the paper is open at the sports page. There is
a picture of Guy among other tennis players. WITH A DISSOLVE
the whole character of this page changes with the exception
of Guy's picture, which becomes surrounded with large type,
announcing the arrest of Guy Haines for the murder of his
wife Miriam. A sub-heading tells of Guy's cigarette lighter
found at the scene of the crime. All this DISSOLVES AWAY
and the page becomes once more the sports section.


CLOSEUP

Bruno looks up with satisfaction.


LONG SHOT FOREST HILLS

The crowd watching.


MED. SHOT

Guy and Reynolds in play.


MED. SHOT

Guy playing hard.


MED. SHOT

Reynolds playing back.


CLOSEUP

The Umpire watching the game.   Suddenly he announces:

                        UMPIRE
            Game to Mr. Reynolds. Games are
            three all... second set.

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INT. CLUB CAR ON TRAIN

Bruno is now seated in his accustomed place in the club car.
His gloved fingers are quietly toying with Guy's lighter. A
passenger next to him asks:

                         PASSENGER
             May I have a light, please?

Bruno looks at him for a moment and then at the lighter.
With great deliberation he puts the lighter away in his pocket
and takes out book-matches. Lighting a match, he holds it
to his fellow passenger's cigarette.

LONG SHOT FOREST HILLS

The game as seen from under the covered stand.


MED. SHOT

Anne and Barbara very tense.


CLOSEUP GUY

about to serve, looks anxiously across the court.


CLOSEUP THE CLOCK


CLOSEUP GUY

as he serves.


CLOSEUP REYNOLDS

returns.


CLOSEUP BALL

hits the net.


CLOSEUP UMPIRE

announces.

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                        UMPIRE
            Second set to Haines.   Haines leads
            two sets to love.

There is a round of applause. We see the heads of the two
players reach the Umpire's chair. Guy, very anxious still,
as he wipes his neck with a towel.


INT. COVERED STAND CLOSE SHOT ANNE BARBARA

Anne is speaking.

                        ANNE
            If he wins this next set -- you'd
            better have everything ready.
                (takes bill from her
                 purse and hands it
                 to Barbara)
            Here -- give the driver this ten
            dollars.

                        BARBARA
                (puzzled)
            I wish understood what this is all
            about!

                        ANNE
                (urgently)
            You don't have to understand, just
            do it. And for heaven's sake, act
            natural.

Barbara nods and goes along.


ENTRANCE TO COVERED STAND

Barbara smiles winningly at Hennessy as she goes through.
Her interpretation of "acting natural" is exaggerated and
rather comical. Hammond's eyes narrow as he looks after her
suspiciously.


LONG SHOT

The game in progress.   Guy starts the next set.   He serves.


MED. SHOT

Reynolds returns.

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MED. SHOT

Guy volleys.


MED. SHOT

Reynolds puts the ball in the air.


CLOSE SHOT

Guy smashes.

CLOSE SHOT

The ball hits the net.


CLOSEUP UMPIRE

                         UMPIRE
             Love fifteen.


LONG SHOT THE CROWD

We HEAR the smash of the ball and the voice of the Umpire.

                            UMPIRE'S VOICE
                 (O.S.)
             Love thirty.


CLOSEUP ANNE

looking very worried.       Again the call of the Umpire.

                         UMPIRE'S VOICE
                 (O.S.)
             Double fault. Love forty.


INT. THE ANNOUNCER'S BOOTH

The announcer telling his listeners that Guy Haines seems to
be a little reckless.

                         ANNOUNCER
             -- Haines hasn't let up his terrific
             pace for an instant, smashing every
                         (MORE)

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                         ANNOUNCER (CONT'D)
             ball with a recklessness we've never
             seen in his playing. It's beginning
             to look as if he doesn't care whether
             he wins or loses because he's in a
             hurry - an awfully big hurry ---

                                               LAP DISSOLVE TO:


EXT. METCALF STATION

We see Bruno alight from the train.    He makes his way in the
direction of the town.

MED. SHOT METCALF STATION

As Bruno comes toward us, he stands on   the sidewalk and then
takes the lighter from his pocket once   more. At this moment
a hurrying passenger on his way to the   depot accidentally
jogs Bruno's elbow. The lighter flies    from his hand.


CLOSE SHOT

We see it fall through the bars of a grating by the sidewalk.


CLOSEUP BRUNO

looks down in dismay.


FOREST HILLS MED. SHOT

The game in progress. Guy and his opponent playing hard.
Guy misses a point. We HEAR the Umpire's call.

                         UMPIRE'S VOICE
                 (O.S)
             Game to Mr. Reynolds. Mr. Reynolds
             leads five games to three in the
             third set.


EXT. METCALF STATION

Bruno is leading a porter toward the grating, pulling him by
the arm. They reach the drain.

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                      BRUNO
          Down there -- my -- my cigarette --
              (catches himself --
               not wanting to say
               "cigarette lighter")
          case. It's very valuable.

                      PORTER
              (peering down)
          Down here?

                      BRUNO
          You've got to get this grating up
          right away.
Two passersby enter.

                      FIRST PASSERBY
          What's the trouble?

                      BRUNO
              (yelling)
          Can't we do something...!
              (to passerby)
          I dropped my cigarette case.

                      PORTER
              (looking down)
          Mightn't be any good, mister.
          Probably gone down the storm drain.

                       BRUNO
              (horrified)
          Storm drain?

                      FIRST PASSERBY
          On the other hand, it might have
          lodged on the edge.

                      SECOND PASSERBY
          Don't they have a trap down there --
          like under a sink?

                      BRUNO
              (excited)
          Don't just stand here -- do something!

                       PORTER
              (calmly)
          Guess we could phone the city
          engineer, all right.
                       (MORE)

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                         PORTER (CONT'D)
             Worst he could do would be to tell
             me to take a running jump and --
                 (Bruno grabs his arm.
                  Porter shakes Bruno
                  off)
             Relax, mister.

                         BRUNO
             I don't want to relax.

He goes on his knees and forces his arm down the drain.


INT. THE ANNOUNCER'S BOOTH FOREST HILLS
                         ANNOUNCER
                 (with great excitement)
             This is more than a tennis game,
             ladies and gentlemen -- it's a
             desperate fight with Guy Haines
             playing as if his life depended on
             it!


MED. SHOT

Guy is volleying.


MED. SHOT

Reynolds lobs.


CLOSEUP

Guy smashes.


CLOSE SHOT

Reynolds lobs again.


CLOSE SHOT

Guy smashes.


CLOSE SHOT

Reynolds misses and the ball hits inside the line.

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CLOSEUP

The Umpire calling.

                         UMPIRE
             Game to Mr. Haines. Mr. Reynolds
             leads five games to four...third
             set.


EXT. METCALF STATION MED. SHOT

A few more passersby have stopped to watch Bruno, whose arm
is pushed through the grating.

CLOSEUP

Bruno's face -- straining.


CLOSEUP

Under the grating Bruno's hand is groping.   His fingers are
a long way from the lighter.


LONG SHOT FOREST HILLS

with the game in progress.


MED. SHOT EXT. CLUB

A taxi has pulled up.    Barbara gets out.


CLOSE SHOT

She takes the ten dollar bill from her purse and passes it
to the driver. She gives a final look inside the cab.


CLOSEUP

On the seat are Guy's everyday pants, laid out.


MED. SHOT

Barbara hurries out of the picture toward the club.

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LONG SHOT

The crowd watching.


CLOSEUP

The tense face of Anne.


CLOSEUP

The Umpire is somewhat impressed.

INT. THE ANNOUNCER'S BOOTH CLOSEUP

The announcer is telling his listeners that the score is now
six-five in favor of Haines. That he has pulled up
wonderfully and only needs one more game to win the match.


EXT. COVERED STAND ENTRANCE

Barbara, very nervous but trying to "act natural", passes
Hennessy and Hammond. Hammond's eyes again follow her, but
Hennessy is intent on the game.


MED. SHOT FEATURING BOX

As Barbara joins Anne, she gives her a surreptitious signal
by ringing her thumb and forefinger, indicating everything
is set.


CLOSE SHOT

Guy now playing hard.


CLOSEUP

His racket smashing at the ball.


CLOSEUP

Reynolds and his racket hitting the ball back.

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CLOSEUP THE UMPIRE CALLING

                      UMPIRE
          Advantages, Mr. Haines.


CLOSEUP

Guy serving.


CLOSEUP

His ball hitting the racket.

CLOSEUP

The ball in the net.


CLOSEUP

A second ball hitting the net.    The Umpire's voice calling:

                         UMPIRE'S VOICE
              (O.S)
          Duece!


EXT. METCALF STATION

A LOW SHOT ON Bruno bent over the grating and the onlookers
behind him.


BIG HEAD CLOSEUP BRUNO

straining and panicky.


CLOSEUP

Under the grating, Bruno's fingers get near the lighter, and
in their groping, they knock the lighter off the ledge, onto
the ledge below.


CLOSEUP

Bruno's horror-stricken face.

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FOREST HILLS MED. SHOT

Guy still playing.


CLOSE SHOT

Barbara standing with Hennessy, watching.    We HEAR the score.

                         UMPIRE'S VOICE
                 (O.S)
             Advantage, Mr. Reynolds.


CLOSEUP ANNE
unable to bear the suspense.    She glances O.S.


MED. SHOT

The waiting cab.


CLOSE SHOT

Guy and Reynolds in play.

                         UMPIRE'S VOICE
                 (O.S)
             Score is deuce.


CLOSE SHOT

Reynolds serves.


CLOSE SHOT

Guy volleys.    He waits for the return ball.   He misses it.

                         UMPIRE'S VOICE
                 (O.S)
             Advantage, Mr. Reynolds.


EXT. METCALF STATION

ANGLE SHOOTING THROUGH the grating at CLOSEUP BRUNO'S HEAD
AND SHOULDERS staining.

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CLOSEUP

Under the grating, Bruno's fingers go lower and lower,
straining to reach the lighter, which is still a few inches
out of reach.


FOREST HILLS MED. SHOT

Guy is volleying with Reynolds.


INT. ANNOUNCER'S BOOTH

He is very excited.
                         ANNOUNCER
            -- Haines hasn't let up for a moment.
            If he wins this set, he wins the
            whole match!


CLOSEUP ANNE AND BARBARA

in their box.   They are extremely tense.


MED. SHOT

Guy slams hard a shot that wins him the game.


LONG SHOT CROWD

applauding and shouting.


CLOSE SHOT ANNE AND BARBARA

At an urgent signal from Anne, Barbara hurries out as if she
knew what she had to do.


LONG SHOT

Guy shakes hands with his opponent, and then hurries across
to Anne in the stand. He leans over the front of the box.
While congratulating him outwardly, she whispers something
to him. He leaves his racket with her and hurries away.

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MED. SHOT STAND ENTRANCE

A block of people leaving cut off Hennessy's view.    Barbara
tries desperately to keep his attention off Guy.

                          BARBARA
                  (breathlessly)
             Isn't it wonderful, Mr. Hennessy?
             He won! It calls for a celebration.
             Anne says you must have dinner with
             us. Just the family, and you, and
             Guy.

                         HENNESSY
                 (awkwardly)
             Sorry I can't make it.   Business.

                         BARBARA
             But Guy is your business.   You'll be
             with him, won't you?

                         HENNESSY
                 (a little grimly)
             Yeah -- I'll be with Guy.


MED. SHOT

Guy moving along the front of the stand making for another
exit.


CLOSE SHOT

Barbara takes it for granted that Hennessy will accept her
invitation.

                         BARBARA
             Guy says you love steak -- rare,
             Medium, or well-done?

                         HENNESSY
             I sure wish I could --


SEMI CLOSEUP

Hammond is looking off.    He calls into the stand.

                         HAMMOND
             Hennessy!

He points off toward Guy.

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MED. SHOT

Guy is hurrying toward the public entrance of the stand.


SEMI CLOSEUP

Hennessy and Hammond move off, leaving a dismayed Barbara.


SEMI LONG SHOT

Guy hurrying under the stand toward the waiting cab.

MED. SHOT

The two men hurrying after him.


EXT. CLUB

Guy goes to the waiting cab and gets in.    The cab moves off.


MED. SHOT

The two men hurry out of the club and stand helplessly looking
after the departing cab. They hurry out of the picture.


CLOSE SHOT

We see them grab another car. It is a chauffeur-driven
limousine. Hammond jumps in front and seats himself beside
the driver. Hennessy hops in the back. The car moves off.


INT. LIMOUSINE TWO SHOT

Hennessy finds himself seated by an old dowager about seventy-
five years of age. She looks startled for a moment and almost
recoils from him. He shows her his badge.

                         HENNESSY
             If you'll pardon us, madam, we need
             your help. We're chasing a man.

The old lady's eyes light up.

                         DOWAGER
             How exciting.
                         (MORE)

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                         DOWAGER (CONT'D)
                 (she leans forward
                  and calls to the
                  chauffeur)
             Hurry, O'Toole! Hurry!

She leans back and maintains her air of excitement as she
looks across at Hennessy.


CLOSE SHOT INSIDE THE TAXI

Guy is busy changing his pants.    He glances over his shoulder.

INT. CAR

The two men looking ahead toward Guy.


EXT. METCALF STATION

CLOSEUP BRUN0'S FACE - ANGLE SHOOTING UP to get the peering
faces behind him. Bruno still frantically trying to reach
the lighter.


CLOSEUP

Under the grating Bruno's fingers slowly closing in on the
lighter. They barely manage to grasp it.


CLOSEUP

BRUN0'S FACE -- triumphant.


CLOSEUP

Bruno's fist, holding the lighter, comes through the grating.


CLOSE SHOT

Bruno straightens up. CAMERA BACK as all the onlookers turn
their heads in his direction.

                         ONLOOKER
             You sure must think a lot of that --
             Whatever it is.

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Bruno doesn't answer. With the lighter in his closed fist,
he darts through the crowd, the people looking after him.


LONG SHOT

The sun is much lower.


INT. CLUB CAR

Guy is now glancing at his watch.    The sun is behind him and
very much lower.

EXT. AMUSEMENT PARK

Bruno is looking at his watch and then across at the sky.


LONG SHOT FROM HIS VIEWPOINT

The last trace of the setting sun has gone.


EXT. METCALF STATION MED. SHOT

Guy is stepping off the train.    He crosses to a waiting taxi,
CAMERA FOLLOWING him.


CLOSE SHOT

                         GUY
                 (to the driver)
             The amusement park, quick.

As he gets in the Cab, we go to --


CLOSE SHOT MAN

watching Guy get into taxi. As we hear the taxi drive away,
the man hurries across to a waiting police car.


CLOSE SHOT

He puts his head in the side window and tells the two waiting
detectives where Guy has gone.

                         MAN
             Amusement park.

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We see one of the detectives take up a microphone as the car
drives off.


EXT. AMUSEMENT PARK

It is now getting dark.


MED. SHOT

Bruno leaves his spot at the side of the tent and ambles
over toward the queue of people waiting for boats.

CLOSE SHOT BRUNO

joining the queue.    He glances ahead of him.


MED. SHOT FROM HIS VIEWPOINT

We see the light above the pay booth go on, shedding a
downward glare.


CLOSE SHOT BRUNO

pulls his hat a little further over his, eyes.   Some new
arrivals join the queue behind him.


INT. TAXI

Guy looking anxiously ahead on his way to the amusement park.


AMUSEMENT PARK ENTRANCE

We see a police car arrive. One uniformed man and two
detectives get out of the car and make their way toward the
entrance. One of to detectives stands at the entrance while
the other two hurry into the grounds.


MED. SHOT

Guy's taxi arrives.


MED. SHOT

Across the street, another police car arrives.

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MED. SHOT

At Guy is paying his cab fare, he glances around him.


MED. SHOT FROM HIS VIEWPOINT

He sees one police car.


CLOSE SHOT GUY

gives a furtive glance around while waiting for his change.

MED. SHOT ANOTHER POLICE CAR


MED. SHOT

Guy cautiously makes his way toward the entrance to the
Amusement Park.


MED. SHOT

Guy passes the waiting detective and looks off.    From his
viewpoint we see:


MED. SHOT THE TWO DETECTIVES

who were at the station indicate Guy is the man.


MED. SHOT

One detective turns away and starts to follow Guy.


CLOSE SHOT BRUNO

in the queue of people. He is edging slowly along. He is
about ten people away from the entrance. He suddenly looks
ahead and sees.


FROM HIS VIEWPOINT

The uniformed man and the detective are talking casually to
the boat men in charge of the concession.

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                         DETECTIVE
                 (to boatman)
             The killer is here tonight. So keep
             your eyes open and the minute you
             see him, let us know.


CLOSE SHOT

The boatman looks at them with an expression of alarm.


CLOSE SHOT BRUNO

begins to look a little uneasy.    We see him begin to mentally
deliberate.


MED. SHOT

Guy, threading his way through the crowds, conscious that he
is being followed, but nevertheless, on the lookout for Bruno.


CLOSE SHOT BRUNO

moving along the line. CAMERA MOVES IN until his head and
shoulders fill the screen. He is now coming within range of
the flood-lit pay-box. The light seems to creep up across
his chest and slowly reveal his face. He lowers his head.


MED. SHOT

The boatman begins to look along the queue. There is an
expression of growing recognition on his face.


MED. SHOT

Bruno sees this, makes a decision and casually deserts the
queue of people.


MED. SHOT

The boatman hurries across to the uniformed man and begins
to talk to him excitedly, looking in Bruno's direction.


MED. SHOT GUY

Coming along and looking for Bruno.    His eyes light up.

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SEMI-LONG SHOT FROM HIS VIEWPOINT

We see Bruno making his way from the queue of people.


CLOSE SHOT GUY

calls to Bruno.

                           GUY
             Hey, Bruno.


CLOSE SHOT BRUNO
gives a quick glance back, sees Guy then he turns and looks
off in another direction.


SEMI-LONG SHOT

The uniformed man and the boatman approaching him.


CLOSE SHOT

Bruno hurries on.    He stop short as he sees.


SEMI-LONG SHOT FROM HIS VIEWPOINT

Another uniformed man.


MED. SHOT

Bruno starts to run.


MED. SHOT

Guy starts to run after him.


MED. SHOT

Bruno is seen to jump on a merry-go-round, which is just
starting. Its pace is already pretty fast.


MED. SHOT

Guy runs toward Bruno.

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CLOSE SHOT

                          DETECTIVE
             Haines!   Hold it! Hold it!

The detective pulls out his gun and starts to run after Guy.


SEMI-LONG SHOT

Guy jumps on the merry-go-round after Bruno.   Its speed is
so great that he nearly gets flung off.


CLOSE SHOT
The detective fires at Guy.


CLOSE SHOT

The man running the machine in the center of the merry-go-
round is suddenly hit in the shoulder.


CLOSE SHOT

His hand, which is on the starting lever, jerks it down.


MED. SHOT

The detective, after Guy, jumps on the machine but is flung
off on his back.


FULL SHOT

The merry-go-round has now started to increase the speed.


CLOSE SHOT

Bruno at the far side is trying to jump off, but it's going
too fast.


LONG SHOT FROM HIS VIEWPOINT

We see the hard ground whizzing past him. Everything seems
to be a blur. We get a glimpse of screaming women and the
crowds rushing up from the midway.

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CLOSE SHOT BRUNO

He turns and glances over his shoulder.


MED. SHOT FROM HIS VIEWPOINT

Guy is threading his way between the rising and falling
horses. Guy gets right up close to him.


TWO SHOT

As Guy comes near to Bruno, the latter turns on him and starts
to attack him.
                       BRUNO
           I want to get off of here! Let me
           off of here! It makes me dizzy.

                       GUY
           Stop it, Bruno.   Give me my lighter,
           Bruno!


MED.SHOT

Against the whirling background of the merry-go-round, Turley
and Campbell rush up as the detective struggles to his feet,
slightly hurt. The noise from the calliope is very loud.

                       CAMPBELL
               (to Turley, puzzled;
                indicating the merry-
                go-round)
           Who's the man he's fighting with on
           there?

At this moment the boatman rushes up.

                       BOATMAN
               (excited)
           There he is! That's the one!    That's
           the one who killed her!

                       TURLEY
           Of course he is. We know that.


CLOSE SHOT ON MERRY-GO-ROUND

Guy and Bruno in a struggle. Guy has to protect himself
from a madman whose hands attempt to reach his throat.

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They are staggering across between the rising and falling
horses.


MED. SHOT OUTSIDE MERRY-GO-ROUND

A detective turns to the group around hIm.

                      DETECTIVE
          Get somebody to come and stop that
          thing!

An elderly man in soiled work clothes speaks up.

                      WORKMAN
          I'll handle it.

Immediately the workman heads straight for the merry-go-round
and starts to crawl under it on his stomach.

                      DETECTIVE
              (calls after him)
          Hey! Be careful! Stop!

A second detective speaks to him quizzically.

                      2ND DETECTIVE
          Well, do you want to do it yourself?

The first detective leans over and looks off toward the
workman who is continuing his slithering way under the
machine, then straightens up.

                      1ST DETECTIVE
              (changing his mind)
          No. I think he'll make it all right.


MED. SHOT GUY AND BRUNO

Bruno swings around till his back is to us. He pushes Guy
toward the edge, but Guy manages to grab the rein of the
nearest horse. The momentum of the machine swings Guy around
against the horse, whose big head towers in the f.g. Bruno,
on this side of the horse pushes forward and tries to grab
the reins from Guy's hand. He tries to slash at Guy's face.
The back of Bruno's head is toward us during this. Guy
suddenly leans out across the horse and smashes his fist
against Bruno's face. Bruno's head goes back until it is in
the f.g. in a upside-down position.

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MED. SHOT

THE CAMERA IS LOW so that we get the effect of Bruno falling
into the CAMERA from Guy's blow!


MED. SHOT

In the f.g. is a young boy of four years. He is excited by
the speed of the ride and laughs at the fight with great
enjoyment. He sees this by suddenly glancing over his
shoulder. In the b.g. Guy and Bruno are continuing their
fight. Bruno rises. Guy staggers after him. Bruno again
leaps upon Guy. The two men sway toward the CAMERA until
Bruno gets alongside the little boy. The boy now shows some
anxiety. The three figures now fill the screen with the
horses' heads in the f.g. Bruno is forced against the little
boy, who now, alarmed, beats Bruno on the cheek with one
hand, the other holding onto the brass rail in front. Bruno
stops and with a sweep of his arm, knocks the little boy off
the horse onto the floor below. The little boy, in falling,
grabs the horse's rein or stirrup.


CLOSE SHOT

Guy breaks away from Bruno and dives around the back of the
horse to grab the little boy.


CLOSE SHOT

As Guy grabs the boy, he staggers forward with him to a small
gondola. Bruno leaps onto his back but Guy manages to put
the boy in the gondola.


CLOSE SHOT UNDERNEATH THE WHIRLING MERRY-GO-ROUND

The boat man is making slow progress.


FROM HIS VIEW POINT

We see his goal. It is the wounded mechanic in the center,
who is slightly stirring. All during this the base of the
merry-go-round is skimming above the back and head of the
boat man.

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BACK ON MERRY-GO-ROUND

The two men are now in a clinch. Guy tries to fight off the
maddened Bruno. They are flung between the horses, bouncing
one against the other, almost half way around the merry-go-
round.


CLOSE SHOT BRUNO AND GUY

Again they struggles between two horses. On each side of
them are two young screaming girls. The two bounce from one
horse to the other.

CLOSE SHOT

The calliope has little figures and these boat away on their
cymbals almost as though they are applauding what's going
on.


CLOSE SHOT

Underneath the merry-go-round, the boat man has made further
progress. He is creeping inch by inch. His nose starts to
run. He starts to fumble for a dirty piece of handkerchief.
He blows his nose and then moves on.


CLOSE SHOT

Back above the two men swinging past the two girls on their
horse and they both crash to the floor underneath another
horse, upon which is riding side-saddle, a mother and her
three-year-old little girl.


CLOSEUP

The two big heads of the men, battling. The two men roll
underneath the horse's hoofs, which are seen rising and
falling. They get right underneath one horse.


CLOSEUP

Guy has turned over on his back and his eyes look up.

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CLOSEUP FROM HIS VIEWPOINT

We see the big horse's head above and its hoofs coming down
toward the CAMERA and filling the screen. We get a faint
impression of the screaming mother hugging her child to her
breast, above.


BIG CLOSEUP THE HORSE'S HOOFS

striking Guy's head.


CLOSE SHOT
Guy wrenches himself out of this position. He rolls away
from the CAMERA right to the edge of the merry-go-round. He
manages to grab a rail.


MED. SHOT

Guy's body is flung out horizontally. We see the crowd behind
back-up for fear of being knocked over. The screw of tension
increase. Over this comes the sound of an approaching
ambulance siren.


CLOSE SHOT

Bruno edges himself toward Guy. He is hanging on to the
reins of a horse. His feet manage to roach Guy's knuckles.


CLOSEUP BRUNO'S VICIOUS EXPRESSION


CLOSEUP BRUNO'S FEET

kicking at Guy's knuckles.


CLOSEUP GUY'S AGONIZED EXPRESSION


MED. SHOT

A flash of the horror-stricken faces of the spectators seen
through the whirling machine.

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CLOSEUP

Machinery and the lever that was pulled on too fast. The
Boatman's hand comes up into the picture and pulls the lever
over.


LONG SHOT

The sudden braking causes the whole merry-go-round to topple
over with a grinding roar.


LONG SHOT FROM HIGH ANGLE
The merry-go-round his keeled over. For a moment we don't
know who has survived. There is a surge of people milling
and shouting. Those who have jumped back out of the way
when the merry-go-round toppled, now rush forward again as
the cloud of dust settles. From the midway in the background
others are running forward.


MED. LONG SHOT

Distraught parents try to force their way to their children
who were on the merry-go-round, but are hold back from the
wreckage by police.


MED. CLOSE SHOT

Guy is somewhat stunned from his fall. He is helped to his
feet by some men in the crowd. His knuckles are bleeding.

In the background people are rushing about. The crowd is in
uproar as women and children are helped from the wreckage.
Officials and uniformed policemen pushing back the surge of
the crowd.

                       AD LIBS
            Get back. Get back there.    Give us
            room here.

Turley and Campbell rush in to Guy.

                        TURLEY
            Are you all right, Haines?

                        GUY
            Yes, I think so.

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Guy is surrounded by police and Campbell stands at his elbow.
At this moment the boatman runs in. One of the detectives
is with him.

                      DETECTIVE
          Mr. Turley! Mr. Turley!
              (indicating boatman)
          He says this isn't the man we want.
              (with a nod in Guy's
               direction)
          It's the other one -- the one he was
          fighting with.

                        TURLEY
                (stops to give his
                 full attention to
                 this unexpected bit
                 of information)
          What   do you mean, this isn't the --
                (turns to Guy, not
                 quite taking it in)
          Not   Haines?
                (back to boatman)
          But   you said he was. You pointed
          him   out.

                      BOATMAN
          No, I didn't, sir. I've never seen
          this man before in my life. I meant
          the other one.

The detective who was holding Guy instinctively relax his
hold on Guy's arm. Turley turns to Guy, puzzled.

                      TURLEY
          What is this all about, Haines?        Did
          you know he killed your wife?

                      GUY
              (nods)
          He has my cigarette   lighter and wanted
          to plant it there on   the island to
          pin the whole thing   on me.
              (urgently)
          Let me talk to him.      Let me show
          you. Where is he?

                        ANOTHER DETECTIVE
          Over here.

He leads the way.   They follow.

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MED. CLOSE SHOT

as Guy and Turley enter to the  spot where Bruno is pinned
under the overturned machine.   He is caught between two of
the horses, the head of one of  them across his chest. Bruno's
head sags back somewhat, but is  resting on pieces of debris.
A uniformed policeman looks up  from Bruno to Turley:

                      POLICEMAN
          This one's in a pretty bad way, Mr.
          Turley.

Guy is shocked at the sight of Bruno.

                      GUY
              (looking down at Bruno)
          Can't you get that stuff off him?

                      POLICEMAN
          No, they've done everything they can
          until the crane comes.

Bruno opens his eyes and sees Guy.

                        BRUNO
          Hello, Guy.

Turley has leaned forward to look at the helpless Bruno.

                       BRUNO
              (weakly nodding at
               Turley)
          Who's that?

                      GUY
          This is Mr. Turley, Chief of Police.

                      BRUNO
              (with a half smile)
          So they got you at last, eh, Guy?

Guy looks around desperately, frustrated for a moment as
Turley eyes him stonily. Then he turns again to Bruno.

                      GUY
              (rather gently)
          Can you talk a little? Can you tell
          the chief you have my lighter?

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                      BRUNO
              (with a faint,
               quizzical smile)
          I haven't got it. It's still on the
          island where you left it.

Guy looks around helplessly to Turley, who looks back at him
suspiciously.

                      DETECTIVE
              (looking down at Bruno)
          I think he's going.

Turley leans over to look.

CLOSE SHOT BRUNO'S FIST FROM TURLEY'S VIEWPOINT

As Bruno is dying, his closed fist slowly starts to open.

                      DETECTIVE'S VOICE
          He's finished.

Guy's lighter is now revealed in Bruno's open hand.


MED. SHOT GROUP

Turley takes the lighter from the dead Bruno's hand. Guy is
watching him. Turley straightens up and holds the lighter
out to him.

                      TURLEY
          Is this your lighter, Haines?

Guy nods without speaking, and with a half look in Bruno's
direction.

                      TURLEY
          Well, you were right.
              (sticks the lighter
               into his own pocket)
          I'd better keep this for the time
          being.
              (in a friendly tone)
          We can clear the whole thing out the
          morning. How about staying in town
          over night, Haines? I imagine you
          have a lot to tell me. Nine o'clock,
          all right?

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                      GUY
              (nods)
          Okay, Mr. Turley.   Thanks.

Turley turns back to the group around Bruno. Guy looks down
for a moment at Bruno, then speaks to the boatman, who is
standing nearby.

                      GUY
          Can you tell me where there's a
          telephone?

                      BOATMAN
              (indicating)
          There's one up near the entrance.
              (with a look back to
               the dead Bruno)
          Who was he, Bud?

Guy looks back sympathetically in Bruno's direction, speaks
without looking at the boatman.

                      GUY
          Bruno. Bruno Antony.
              (reminiscently and a
               little
               compassionately,
               remembering what
               Bruno had said of
               himself)
          A very clever fellow.

He moves off through the crowd.

                                                DISSOLVE TO:


INT. BURTON STUDY NIGHT

Anne, Barbara and the Senator are sitting silently in the
attitudes of waiting. The telephone rings. Anne is instantly
on her feet. Barbara and the Senator watch her anxiously as
she goes to answer it.

                       ANNE
               (into phone)
          Hello...
               (impatiently)
          Yes, operator, yes!
               (waits a moment, then
                eagerly:)
          Guy?
                       (MORE)

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                      ANNE (CONT'D)
              (a pause, then she
               closes her eyes with
               heartfelt relief.
               Another pause, then:)
          Yes, darling, yes. Of course I'll
          be there...Goodbye.

She hangs up, turns slowly, to face Barbara and her father.
Her expression is one of intense relief.

                      ANNE
          Guy'll be back tomorrow.
              (overcome with emotion
               she has difficulty
               in speaking)
          He wants me to take him some things.

With a sob, Barbara flings herself into Anne's arms. As she
cries, Anne strokes her head comfortingly. Then with a half-
choked sobs Anne, too, begins to cry. She speaks through
her tears, looking over Barbara's shoulder at her father.

                      ANNE
          He says he looks silly in his tennis
          clothes.

The Senator eyes them a moment, then speaks a little wryly:

                      SENATOR
          I presume from all those tears that
          you have had good news.

                                                 DISSOLVE TO:


INT. PARLOR OF TRAIN NEXT DAY

Anne and Guy are sitting quietly together. Opposite them is
a man in a clerical collar who is reading a sports magazine.
On the cover is a picture of a tennis player in action. The
man looks over the top of his magazine at Guy, with
recognition. He leans forward.

                      CLERIC
          I beg your pardon, but aren't you
          Guy Haines?

                         GUY
                 (uncomfortably)
          Yes.

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Guy and Anne exchange a  brief look, rise hurriedly and start
to walk away before the  conversation can go any farther.
The cleric looks after  them with a frown and a puzzled shrug
of his shoulders, as if  to say, "Did I  say something wrong?"

                                                    FADE OUT.

                            THE END


Strangers on a Train



Writers :   Raymond Chandler  Czenzi Ormonde
Genres :   Drama  Film-Noir  Thriller


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