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