The Extra Passenger

[segment from "Trio for Terror"]

	(TEASER)

	FADE IN

1	EXT. LONDON STREET (WEST END) - NIGHT - ESTABLISHING
	SHOT - (STOCK)
	FEATURING a public house.

				KARLOFF'S VOICE
		This is an English tavern --
		a 'pub' as they call it....

					QUICK DISSOLVE

2	INT. PUBLIC HOUSE (SALOON BAR) - AT A TABLE
	FEATURING BORIS KARLOFF, smiling toward us.
	A shapely Barmaid places a drink before him.

				KARLOFF
		Just the place for a little
		something to warm the cockles
		of your heart while I chill your
		blood.

	As CAMERA MOVES IN:

				KARLOFF (contd)
		They give you a royal negus here --
		a mulled claret guaranteed to
		fortify you against ---
			(chuckling)
		Well, against anything ....

	CAMERA PULLS OFF him to:

					CUT TO

3	INT. SALOON
	Frosted windows to the street. Carpet. Padded wall
	seats and small tables; a few chairs. Large picture of
	King Edward VII; photos of vaudeville artists, fighters.
	Theater and music-hall posters in thin frames. Several
	patrons: women in long skirts, with small waists and
	frivolous hats; their escorts are prim, mustached.

				KARLOFF'S VOICE
		If the people's clothes seem strange,
		it's because we're back in 1905 --
		when the dollar was still a dollar
		and the British pound was a beautiful
		gold coin!

4	AT KARLOFF'S TABLE
	We see Karloff close, intimate -- a well-liked friend who
	is about to astonish, delight and thrill us, and who enjoys
	the prospect of doing it.

				KARLOFF
		We are going to see three faces of
		evil - three stories, each a
		masterpiece of strangeness and
		terror.

	CAMERA ANGLES to PICK UP SIMON and his WIFE, in a corner.

				KARLOFF'S VOICE
		You see that young man? He is on
		his way to commit a murder.

5	CORNER OF SALOON - SIMON & KATIE
	SIMON is twenty-five, a dandy, dressed for travel; hard-eyed,
	bold, cool. Katie is expensive, extravagant and most
	attractive physically. She is naturally relaxed, casual,
	soft.

				SIMON
			(arguing, low)
		If I can raise a few hundred off
		my cousins in Aberdeen...

				KATIE
		Simon - how far will a few hundred
		last?
			(easy, pointed)
		What about your Uncle Julian?

				SIMON
			(drinks)
		That miserly old devil...!

				KATIE
		And Sudbury's a lot nearer than
		Aberdeen.

				SIMON
			(smooth, willfully
			misunderstanding her)
		I told you, I'll get everything
		when he kicks the bucket.

				KATIE
			(gently, watching him)
		Isn't it time he did?

	Now he meets her gaze. Their eyes lock. He knows what she
	means, but he talks around it.

				SIMON
		He can't last long, Katie...He's
		half off his head - fiddling with
		this weird hocus-pocus he goes in for...

	He drinks again, Katie watching him. She looks away before
	she speaks, her tone has bite, yet remains easy.

				KATIE
		Simon - you're backing down
		again, aren't you, dear?

				SIMON
		No, it isn't that ....

				KATIE
		Then what is it, Lovey? Surely,
		you've no doubt your plan will
		work?

				SIMON
		I'm sure it will, but ....

				KATIE
			(avoiding his eyes)
		You have the plan...What you lack
		is the courage to carry it out.

	He's stung.

				SIMON
		That's easy enough for you to
		say...It's I who'll hang if anything
		goes wrong!

				KATIE
		Well, if that's the way you feel ....

	She pulls her jacket around her and reaches for her bag.

				SIMON
		Katie...wait!

				KATIE
			(snapping the bag)
		My dear, it's as simple as this.
		If you don't go through with it,
		I'm through with you. As much as
		I like you, lovey, I can live
		without you. Money...I simply
		cannot do without.

	Simon bites his lip. He decides.

				SIMON
		All right, Katie. Leave it to me.

	He gets up. She follows, a tiny smile of triumph on her
	mouth.

				SIMON (contd)
		If you're going to see me off,
		come along! I...I can't afford
		to miss that train.

	They turn toward the door.

6	AT KARLOFF'S TABLE
	The Barmaid has just set down two filled glasses, pushing
	one toward us. CAMERA LOSES this, MOVING IN on Karloff as
	he picks up his own glass, glancing after Simon.

				KARLOFF
		She wants money...he wants her...
		to satisfy both these desirous
		young people...someone will have
		to die! Now, drink your negus --
		you're going to need it. 
			(toasting us,
			smiling)
		You're about to meet the 'extra
		passenger' in one of the eeriest
		tales ever told.

					FADE OUT

			(END OF TEASER)


	FADE IN:

7	INT. RAILROAD CORRIDOR COACH - COMPARTMENT - NIGHT
	From the corridor. First Class. SUBDUED SOUND of rolling
	train. 'Reserved' sticker on one window. Simon sits
	comfortably inside, thinking. Light baggage on both racks;
	traveling rug, newspapers, magazines; topcoat and hat off.
	The TRAIN GUARD (Conductor) comes PAST CAMERA, slides the
	door open; he is a whiskery, officious man.

8	INT. COMPARTMENT
	Simon is rocking slightly to the movement of the train. The
	Guard comes inside.

				GUARD
		You're for Aberdeen, aren't you
		sir. Change at Edinburgh.

				SIMON
		Thank you. What is that?

	He points below the opposite seat. The guard picks up a
	half-pound bar.

				GUARD
		It's a brace, sir - worked loose.
			(wedging it under
			seat)
		I'll make a note in my report.
		Be all right now.
			(moving out)
		Next stop - Sudbury. East Chemley
		after that.

				SIMON
			(reaching for rug)
		I'll doze for a while, I think.

				GUARD
		Yes, sir.

9	INT. COMPARTMENT
	The Guard slides the door shut. Simon latches it, then pulls
	down the blinds over the door and windows to the corridor.
	He tosses the rug aside and goes quickly to the other end of
	the compartment, draws the blinds over the door and windows
	there, then sits and pulls a map from his pocket, opening it
	up. He is nearing a moment of irrevocable decision. He
	looks at his watch, then at the map. He whispers to himself -
	tense, throat constricted.

				SIMON
		Sudbury - seven minutes past ten...

10	INSERT: MAP IN SIMON'S HANDS
	Four-miles-to-the-inch. Clear detail. Simon's little
 	finger rests by a town marked 'Sudbury'. He traces the
 	railroad line and we see how it makes a deep curve, like
 	one end of a narrow ellipse.

				SIMON'S VOICE
		...then Benford Junction...then
		East Chemley at nine minutes
		past eleven.                           '                            

11	CLOSE SHOT - SIMON
	at the map, whispering and strained, lips dry - reassuring
	himself.

				SIMON
		Over an hour. Plenty of time -
		plenty!... It's simple...Four
		minutes' walk to Uncle's house....

12	INSERT: MAP IN SIMON'S HANDS
	His fingertip now swiftly traces an almost dead-straight
	stretch of highway that short-cuts clear across country
	from Sudbury to East Chemley, by-passing the curve made 
	by the railroad line.

				SIMON'S VOICE
		Then a straight run to East 
		Chemley, back on the train...
		and nobody the wiser!

13	INT. COMPARTMENT - SIMON
	He laughs shortly to himself, slips the map away, then
	rubs his palms together. They are sweating. He wipes 
	them on the front edge of the plush seat.

				SIMON
		Fool proof. Perfect, if I 
		do say so myself.

	He fishes in his jacket pocket for a carriage key,
	studies it for a moment, then moves to the outside door,
	lets down the window without disturbing the blind,
	reaches past with the key.

13A	INSERT - OUTSIDE THE CARRIAGE DOOR - CLOSE
	on Simon's arm as he fishes for the lock, inserts the
	key and turns it.

14	INSIDE THE COMPARTMENT - SIMON
	as he reaches out the window. Wind and fog streams past,
	blowing his hair and burning his eyes. The door swings
	out and he catches it, smiling triumphantly. He slams
	it back, returns the key to his pocket, sits down, and
	leans back with a look of self-satisfied complacency.

					DISSOLVE

15	ESTABLISHING SHOT (STOCK) - NIGHT - EXT. RAILROAD STATION
	SHOOTING from near the end of the platform. Passenger
	train coming in; locomotive with a stubby smokestack.
	Another set of rails outside its track; bushes and
	darkness beyond them.

16	INT. COMPARTMENT
	Simon, drawing on his cap, listens to SOUND of train
	as it stops. He crosses to the corridor door and peers
	out through the curtains.

				GUARD'S VOICE
		Sudbury! Sudbury! All off for
		Sudbury!

16A	WHAT SIMON SEES
	is passengers moving in the corridor; thru the windows,
	people waiting on the platform and a sign on the depot
	wall: SUDBURY.

16B	BACK TO SIMON
	as he crosses to the outside door, unlocks it, and slips
	to the footboard.

17 	EXT. COACH
	favoring Simon's compartment from the bushes. He
	relocks the door, drops off the footboard, moves quickly
	across the tracks TOWARD and PAST CAMERA.

					DISSOLVE

18	INT. UNCLE JULIAN'S HOUSE - HALL AND FRONT DOOR - NIGHT
	Close on neglected letters and general mail scattered on a
	door mat, addressed: Julian Harrod, Esq., 3, Globe Hill,
	Sudbury, Larts. As CAMERA ANGLE WIDENS we see that this mail
	has spilled over from a wire container filled with letters
	delivered through a slot above. During this, we hear the
	SOUND of a key cautiously turning in a lock on the heavy 
	front door; this moves forward, pushed by Simon's hand. He
	slips inside, soundlessly closing the door. CAMERA PANS him
	along the hall. We see a big coat-stand with a few walking
	sticks and a couple of hats. A massive framed picture hangs
	askew. Carved hall chairs stand awry. Everything is dusty,
	neglected. Simon heads for a light coming past a door which
	stands ajar at one side.

19	CLOSE SHOT - SIMON
	peering past the edge of the door.

20	INT. UNCLE JULIAN'S STUDY
	Large. The room of a wealthy experimenter in the pseudo-
	sciences of astrology, witchcraft, spiritism and dark magical
	arts. Antique furniture. Rich drapes cover the windows.
	Above the mantelshelf is a panel enlarged from the Egyptian
	Book of the Dead. We see a wall-cloth embroidered with the
	Hermetic Cosmos; a large telescope near a refectory table,
	with curious astronomical instruments; vials and old books,
	jars of powder and a balance; several Sumerian and Egyptian 
	figurines. On the cleared surface of a plain table is a
	chalked circle with cabalistic signs around its double rim.
	Inside this is a tethered gamecock - beautiful, entirely
	black, comb cut close, wings trimmed.

21	CLOSE SHOT - GAMECOCK (BANTAM)
	Bright eyes, massive beak. He lifts a foot and we see his
	savage claw and sharp, horny spur. His gaze becomes fixed,
	staring o.s. A guttural little SOUND comes from his throat.

22	INT. STUDY - FEATURING UNCLE JULIAN

22	Gray hair, strong nose, sallow, lean - sitting at a large,
	desk, the gamecock near by. On the desk are pieces of 
	chemical apparatus, curious odds and ends; bones,
	artifacts, fossils. He has a large bell jar on a stand;
	a low flame burns beneath this. He is watching the flask.

23	SHOOTING THROUGH THE BELL JAR
	toward the door. Simon enters, silently. Julian is
	intent on the phenomenon inside the jar. Simon moves to 
	the fireplace and picks up a poker.

24	INSERT: BOOK AND FLASK
	FAVORING a worn book resting by Uncle Julian's elbow; stand
	and flask in b.g. CAMERA ANGLES CLOSE on the book until we
	read, in heavy Chaucer type, on vellum: Plants may be
	revived like ghosts: burn a rose - calcinate the ashes.
	Mix the salts with chemicals here given. Heat all gently at
	the full moon, and the spectre of the rose will appear.
	We hear the clucking SOUND of the gamecock o.s. Over this
	comes a LOW EXCLAMATION from Uncle Julian.

25	CLOSE SHOT - UNCLE JULIAN
	Amazed, delighted, staring at the flask. In b.g., Simon is
	moving in.

26	SPECIAL EFFECT - INSERT: FLASK
	The pale, steaming shape of a rose is forming out of faint
	vapor inside. It becomes clear, holds only for a moment,
	beautiful and strange, then begins to fade.

27	CLOSE SHOT - UNCLE JULIAN
	Releasing pent breath in pleasure and satisfaction. As we
	watch, his expression changes to disbelief and horror.

28	SPECIAL EFFECT - FLASK - WHAT HE SEES
	The ghost of the rose has all but vanished. Simon is
	reflected by the glass, raising the pestle to strike.

29	INT. STUDY
	The gamecock SQUAWKS wildly as Uncle Julian whirls around.
	He has a commanding, unmistakable voice.

				UNCLE JULIAN
		Simon!
			(starting to rise)
		Keep away from me! Stop, Simon -
		stop!

	QUICK CUTS - SIMON, UNCLE JULIAN, GAMECOCK

30	CLOSE ON SIMON
	teeth bared, expression murderous, starting to bring the
	pestle down.

31	FLASH - SIMON'S POV
	Uncle Julian's face, upturned, unafraid, eyes blazing and
	angered.

32	ANGLE ACROSS GAMECOCK AT BASE OF JULIAN'S CHAIR
	The gamecock is in the f.g., and Julian's knees can
	be seen in front of the casters that support the
	chair. The cock is agitated. Julian's voice,
	shouting 'Stop!...Simon, you....' is cut off by
	the SOUND of Simon's blow, which has sufficient 
	violence to spin the chair around. Julian's feet,
	limp now, are dragged with the casters.

33	SIMON
	as he raises the poker again, savage.

34	ANGLE ACROSS GAMECOCK
	fluttering, striking out with his spurs, as Simon's
	second blow drives the chair around again.

35	SIMON
	backing away, breathing wildly, looking at what he has
	done.

36	UNCLE JULIAN
	on the floor by the desk. Dead.

37	GAMECOCK
	looking down at him, It turns its head toward Simon,
	CROAKING oddly. ANGLE stresses beak.

38	SHOOTING PAST SIMON
	backing to the door, gamecock croaking. The sound infuriates
	Simon. He throws the pestle at the bird. It misses.

39	GAMECOCK - SIMON'S POV
	FEATURING the bird's spurred feet, slashing wickedly as it
	leaps on the end of its tether.

					DISSOLVE

40	INT. SHED - (EXT. STABLE)
	A nondescript 1905 car stands here; good condition; brass
	sidelamps; no headlamps, no windshield. Moonlight shows
	Simon at a faucet, rinsing his hands. He turns off the
	water, then snatches a chauffeur's cap, dustcoat and big
	gloves from nails on the wall, stuffing his own cap into
	his pocket. He slips these things on. He is quick,
	furtive as he goes to the car. He knows his way around
	it; kicks chocks clear, slips the handbrake, sets the
	gear lever, then cranks the car. It starts easily.

41	EXT. DRIVEWAY
	Simon jumps behind the wheel and rockets the car down
	the driveway and out the gate.

					DISSOLVE

42	EXT. HIGHWAY - (ROMAN ROAD) - NIGHT
	CAMERA IS ANGLED along the dead-straight, moonlit road;
	open, heath-like terrain, no hedges. The car is coming
	toward us out of the night mist, motor running now,
	rolling fast. Eerie is the gloom. It rushes past us.

43	OMITTED

44	EXT. RAILROAD TRACK - EXPRESS TRAIN (STOCK) - NIGHT
	We recognize the locomotive with the stubby smokestack
	as the train rolls steadily through the darkness; not
	fast. Its whistle SOUNDS.

					DISSOLVE

45	EXT. BESIDE HEDGEROW
	as the car barrels around the corner and drives RIGHT
	INTO CAMERA, stopping only feet away. CAMERA PULLS BACK
	and PANS with Simon as he dives out of the car and plunges
	into the bushes. O.S. is the SOUND of a train stopping.

45A	IN THE BUSHES
	as Simon fights his way thru, PAST CAMERA.

				GUARD'S VOICE
			(distant)
		All aboard! All aboard for
		Chemley, York, Edinburgh,
		Aberdeen and Inverness...
		All Aboard!

45B	FAVORING BUSHES
	as Simon breaks into the clear, hesitates a moment,
	spots his compartment (TOWARD CAMERA), then runs for
	it.

46	OMITTED
thru
48

49	REVERSE - FAVORING SIMON'S CARRIAGE DOOR
	CAMERA PANS Simon across outside tracks, PICKING UP his
	compartment; all blinds down, door window open.

	CAMERA MOVES IN as he mounts the footboard, unlocks the
	door and slips inside. The door SLAMS. His hand comes
	around the side of the blind, holding the carriage key.
	He re-locks the door.

50	INT. COMPARTMENT
	Simon slips the key into his pocket, closes the window,
	then sits where he was before. For a moment, he gloats,
	slaps his thigh, then stiffens - startled, instantly
	apprehensive - as a RAPPING sounds on the glass of the
	corridor door. He snatches the traveling rug about
	himself as if he had been dozing, then unlatches the
	door. A uniformed railway official slides it open. Simon
	yawns, rubbing his eyes.

				OFFICIAL
		Tickets please, sir.

				SIMON
			(fumbling, handing
			ticket)
		I must have dozed off...

				OFFICIAL
			(clips and returns
			ticket)
		Aberdeen. Thank you, sir.

	He goes out, sliding the door shut. Simon latches it
	again and sits, sucking in his breath. CAMERA EASES
	CLOSE as he glances toward the corner by the outer
	door. His gaze becomes fixed in complete amazement.

51	WHAT HE SEES - OPPOSITE CORNER SEAT
	A man sits here, huddled up, an old hat pulled down, its
	brim shading his face in the dim, overhead light. Hands
	relaxed in his lap. Clothes and hat are black.

52	INT. COMPARTMENT
	Simon scowls in displeasure, glancing from the man to
	the outer door, wondering why he had not noticed him
	before.

				SIMON
		Excuse me...How did you get in
		here, sir?

	No answer. Simon wets his lips uneasily. SOUND of the
	Guard's whistle shrilling, and of the train getting under
	way again.

				SIMON
		Did you get on when we came
		through East Chemley, sir?

	No movement. No response. Simon eases nearer, peers
	at him, taps his knee.

				SIMON
		Are you asleep?
			(abrupt, forceful)
		This is a reserved compartment,
		sir!

	The man's hands catch his glance. He stares.

53	INSERT: WHAT HE SEES - MAN'S HANDS
	Bent, thin - the hands of an elderly man. Dark wet stains
	on fingers and one palm.

54	INT. COMPARTMENT (MASTER SCENE)
	Simon looks from the man's hands to the outer door, then
	toward the corridor. Then back at the man.

				SIMON
			(half to himself)
		Why didn't I see you when I
		came in...?

	He is very disturbed. This is an unexpected witness of
	his absence from the train. Simon wants to know where
	he came from. The train is rocking along now, picking
	up speed, but its SOUND is unobtrusive, almost subliminal.
	Simon suddenly grasps the man's knee, shaking his leg.

				SIMON
		You've no right here! You're
		in the wrong compartment!

	The passenger slowly raises his head; his voice is
	curiously harsh and croaking.

				PASSENGER
		No, I'm not.

	Now his bead is lifted, it should be possible to see his
	face, but only a blackness is there - dark shadow, with
	the merest hint of indistinguishable features. When
	next he speaks, there seems to be no visible lip move-
	ment.

				SIMON
			(after a moment,
			more polite)
		Where did you get on the train,
		sir?

				PASSENGER
		After you got off.

				SIMON
			(jolted)
		But I haven't been off the train!

				PASSENGER
			(low, measured)
		I thought you might have gone to
		see your uncle.

	Simon sits bolt upright, appalled. He looks askance at
	the man, then makes his tone conversational, but his
	fear comes through.

				SIMON
		You know my uncle?

				PASSENGER
			(ominous)
		Pity you didn't know more about
		him.

				SIMON
		I live in town. He keeps to
		his own place in the country.
			(apprehensive)
		If there's something I ought
		to know, I'd like to hear it.

				PASSENGER
			(low, insinuating)
		Oh-h, you shall!...Your uncle's
		a mage.

				SIMON
			(mystified)
		A mage?

				PASSENGER
		A warlock then, if you like
		that better.

				SIMON
			(derisive, amused)
		A warlock!...Do you mean a sort
		of wizard - a sorcerer?

				PASSENGER
			(low, warning)
		You always did underrate him.

	The dark, terrifying figure fascinates Simon. The
	relaxed hands never move. The gravelly voice now has
	a frightening, accusing quality. Simon laughs a little,
	trying to brazen it out.

				SIMON
		If he's a warlock - what does
		he do?

				PASSENGER
		Oh-h, your uncle was a warlock -
		never doubt that! He had his
		own familiar -- on wings.

				SIMON
		On wings?

	Simon's flesh is beginning to creep. Again he peers
	toward the man's face, then glances up at the roof light,
	wishing it were not so weak. He is thoroughly alarmed
	now.

				PASSENGER
		And he could send a lich or two
		about, if he had a mind to do
		it.

				SIMON
			(mouth dry, throat
			constricted)
		A lich? What's that?

				PASSENGER
		A lich is a corpse. Your uncle
		was a great one for doing things
		like that.

	Simon's glance goes to the floor. He reaches out with
	one foot, watching the man, who does not seem to
	notice anything.

				PASSENGER
			(going on)
		He'd send a corpse about for a
		special purpose...like now!

	Simon bends forward, still reaching with his foot. He
	is beside himself with fear, but he has decided what
	he will do about this mysterious passenger.

				SIMON
		'He was a great one for doing
		things like that' - he was,
		you said. You mean he is,
		don't you?

				PASSENGER
			(deliberate)
		You know what I mean.

				SIMON
		And you - whoever you are! -
		you know a lot too much!

	Simon stares for an instant, then stoops and comes
	swiftly upright, holding the half-pound steel bar,
	loosened with his foot and snatched from under the
	opposite seat.

55	CLOSE SHOT - SIMON
	Utterly desperate, about to bring the bar down with all
	his strength - but he stops. His expression changes to
	absolute horror. He becomes frozen with dread. His
	jaw drops. From his throat SOUNDS a half-scream, choked
	by terror.

56	FLASH - WHAT HE SEES - UNCLE JULIAN (SAME ANGLE AS
	SCENE 31)
	On this, stained hand has lifted the hat away. The gray
	hair and the chalk-white face are wet with blood stains.
	The eyes alone are living - blazing and angered.

57 	INT. COMPARTMENT - FAVORING SIMON
	The bar drops from his hands. He shrinks away, pressing
	back in dread.

58	CLOSE SHOT - UNCLE JULIAN
	FEATURING his commanding eyes. His bloodied lips do not
	seem to move, yet we hear his VOICE, while all sound of
	the moving train has become faint and faraway.

				UNCLE JULIAN'S VOICE
			(commanding, clear)
		Come to me, Simon.

59	INT. COMPARTMENT
	The eyes draw Simon forward. He tries to resist and sinks
	to his knees.

				UNCLE JULIAN'S VOICE
		Bring your face closer, Simon.

	There is a HARSH SOUND in Simon's throat: a whimpering
	of terror. He lifts his head as CAMERA MOVES IN. The
	passenger raises his thin right hand, fingers bent,
	reaching toward Simon's face.

60	SPECIAL EFFECT - CLOSE SHOT - SIMON AND HAND
	SHOOTING PAST the reaching hand. In the instant that it
	clamps down on Simon's face, it becomes a dreadful,
	horny claw. Simon's scream merges with the sudden
	SHRIEK of the locomotive's whistle.

61 	(STOCK) - FLASH - EXT. LOCOMOTIVE - FEATURING WHISTLE
	SOUNDING full blast, steam coming from it.

62	(STOCK) - MOVING SHOT - LOCOMOTIVE DRIVING WHEELS
	pounding the rails. Light changes on them (NIGHT TO DAY).
	They slow, as we

					DISSOLVE

63	INT. COMPARTMENT - DAY
	All blinds up. The guard is present with a police
	inspector (Edinburgh), sergeant, and a doctor, whose
	satchel is on a seat. A constable and others are out
	in the corridor, peering through windows and door. Simon
	is on the floor, the traveling rug half across his
	body. The doctor is finishing his examination.

				GUARD
			(to Inspector)
		He was alone in here, sir.
		Both doors were locked.

				DOCTOR
			(unemotional,
			authoritative)
		Whether he was alone or not -
		locked in or not - I can tell
		you what killed him. These
		marks could only have been
		made by a fighting cock.
			(gesturing, as Inspector
			and sergeant join him)
		It raked his face with its
		spurs - punctured his throat
		with its beak.
			(awed, astounded)
		This man was pecked to death...!

					FADE OUT


This was a THRILLER!