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!