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)
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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?
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)
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.
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
