Scripts: Strangers on a Train (18/Oct/1950) - part 1
STRANGERS ON A TRAIN
by
Raymond Chandler and Czenzi Ormonde
FINAL DRAFT
October 18, 1950
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.
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.
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.
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)
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.
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.
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:
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?
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.
(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.
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?
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)
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.
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?
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?
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.
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.
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.
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.
...continue to part 2
