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Chandler, Raymond
Ormonde, Czenzi
Strangers On The Train (1950)
Bruno Anthony (Robert Walker) is a mamma's boy a couple cans short of a six-pack who meets tennis star Guy Haines (Farley Granger) on a train. Bruno desperately wants his rich father dead; Guy wants a divorce from his shrewish wife so he can marry a senator's daughter and mount a career in politics. Guy laughs off Bruno's suggestion that they "trade" murders. But Bruno remains undeterred!
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This moviescript available in following formats:
Chandler, Raymond. Strangers On The Train
Strangers on a Train Script
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.
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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.
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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.
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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)
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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.
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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.
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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:
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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?
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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)
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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.
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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?
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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)
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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.
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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?
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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?
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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)
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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.
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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.
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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.
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