STRANGERS ON A TRAINbyRaymond Chandler and Czenzi OrmondeFINAL DRAFTOctober 18, 1950Converted to PDF by SCREENTALKwww.screentalk.orgFOR EDUCATIONAL PURPOSES ONLY
FADE IN:EXT. UNION STATION, WASHINGTON, D.C. DAYLONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILEENTRANCE TO THE STATION IN THE F.G. LOW CAMERAActivity of cars and taxis arriving and discharging passengerswith luggage, busy redcaps, etcetera.We FOCUS on a taxi pulling up and stopping, The driver handsout modest looking luggage, including a bunch of tennisrackets in cases to a redcap. CAMERA PANS DOWN as thepassenger gets out of the taxi so that we see only his shoesand the lower part of his trousers. He is wearing darkcolored brogues and a conservative suit apparently. Thefeet move toward, the entrance to the station and out ofscene. Immediately a chauffeur-driven limousine drives upand an expensive place of airplane luggage is handed out ofthis, and the passenger alighting from the back is seen tobe wearing black and white sport shoes which, as before, areall we see of him. The sport shoes start off in the wake ofthe brogues.INT. STATION LOBBYCAMERA FOLLOWS the sport shoes and the brogues across thelobby into a passenger tunnel. There is the usual activityof passengers walking to and from, a loud-speaker announcingtrains, etc.EXT. PASSENGER TUNNELAs the brogues and the sport shoes emerge to the trainplatform, CAMERA PANS them over to the steps of the train.INT. TRAINThe brogues and the sport shoes pass separately down theaisle, the sport shoes turning in at a compartment door andthe brogues continuing toward the parlor car.DISSOLVE TO:INT. PARLOR CAR (PROCESS)The brogues come to rest before a chair as the owner sitsdown. A moment later the sport shoes come to rest. beforein adjoining chair.
Converted to PDF by www.screentalk.org2.The legs belonging to the sport shoes stretch out, and oneof 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 twoparlor car chairs. BRUN0 ANTHONY, the wearer of the sportshoes, is about twenty-five. He wears his expensive clotheswith the tweedy nonchalance of a young man who has alwayshad the best. The wearer of the brogues is a fine lookingbut, at the moment, a somewhat troubled young man. This isGUY HAINES. He, too, is in his middle twenties and is welldressed because he can now afford to be. He nods politely,acknowledging Bruno's apology, then turns away with thegesture implying he wants privacy.BRUNO(smiling with suddenrecognition)I beg your pardon, but aren't youGuy Haines.Guy nods with a polite half smile. Being a well knowntournament tennis player, he has had this sort of experiencebefore.BRUNO(snapping his finger)Sure! I saw you blast Faraday rightoff the court in South Orange lastseason. What a backhand! Made thesemi-finals, didn't you?Guy acknowledges this with a modest nod and turns to hismagazine rolled up in is fist.BRUNO(with open admiration)I certainly admire people who dothings.(smiling andintroducing himself)I'm Bruno Anthony. Bruno. See Guylooks up. Bruno indicates his goldtie pin which bears his name in cutout letters. Guy looks at it withthe faintest expression of disdain.I suppose you think it's corny. Butmy mother gave it to me so of courseI wear it to please her.
Converted to PDF by www.screentalk.orgGUY(patiently)(a faintsmile)How do you do.BRUNO(with an apologeticgrin)I don't usually talk so much.Ahead and read.GoGUY(wryly)Thanks.Guy tries to read but is uneasily aware of Bruno's openappraisal.BRUNOIt must be pretty exciting to be soimportant.GUY(fidgeting slightly)A tennis player isn't so important.BRUNOPeople who do things are important.I never seem to do anything.Not knowing how to answer this, Guy looks a littleembarrassed.BRUNO(still insistent onbeing 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.BRUNOWish I could see you play. But I'vegot to be back in Washington tomorrow.I live in Arlington, you know.He has taken out a cigarette case.Holds it out to Guy.3.
Converted to PDF by www.screentalk.org4.BRUNOCigarette?GUYNot now, thanks.I don't smoke much.BRUNOI smoke too much.He fumbles for a match.it to Bruno.Guy brings out a lighter and handsBRUNOThanks.(he stares at thelighter, impressed)Elegant.CLOSE SHOT OF THE LIGHTERShowing that it has the insignia of crossed rackets embossedon it, and underneath is engraved the inscription: "To Gfrom A".BRUNO'S VOICE(reading)To G from A. Bet I can guess who Ais.WIDER SHOTGuy reacts sharply.GUY(coldly)Yes?BRUNOAnne Burton. Sometimes I turn thesport page and look at the societynews. And the pictures. She's verybeautiful, Senator Burton's daughter.GUYYou're quite a reader, Mr. Anthony.BRUNOYes, I am. Ask me anything, fromtoday's stock reports to Li'l Abner,and I got the answer.(MORE)
Converted to PDF by www.screentalk.orgBRUNO (CONT'D)Even news about people I don't know.Like who'd like to marry whom whenhis wife gets her divorce.GUY(sharply)Perhaps you read too much.BRUNO(contritely)There I go again. Too friendly. Imeet someone I' like and open my yaptoo wide. I'm sorry.At the appeal on Bruno's face, Guy slowly relents.GUYThat's all right. Forget it.guess I'm pretty jumpy.IBruno smiles with and signals a waiter.BRUNOThere'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.GUYYou'll have to drink both of them.BRUNO(grinning)And I can do it.(moving in)When's the wedding?GUYWhat?BRUNOThe wedding. You and Anne Burton.(a gesture ofexplanation)It was in the papers.GUYIt shouldn't have been. Unlessthey've legalized bigamy overnight.5.
Converted to PDF by www.screentalk.org6.BRUNOI have a theory about that. I'dlike to tell you about it some time.But right now I suppose divorce Isstill the simplest operation.The waiter has brought the drinks. Bruno slips the lighterinto hip pocket to free his hands for the bills which hegives to the waiter, waving away the change. He offers aglass to Guy. Guy takes it.GUY(as if he needs it)I guess I will.BRUNO(happily)This is wonderful -- having yourcompany all the way to New York.GUY(forced to explain)As a matter of fact, I'm not goingdirect. I'm stopping off. AtMetcalf.BRUNOMetcalf? What would anybody want togo there for?GUYIt's my home town.BRUNOOh, I get it! A little talk withyour wife to about the divorce! Isuppose she was the girl next door.Held her hand in high school andbefore you knew it -- hooked!(proud of hisperspicacity)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 tomy compartment.
Converted to PDF by www.screentalk.org7.GUYThanks very much. But I think I'llgo to the dining car.(he hails a waiterwho is passing throughwith a food-ladentray)Do you know if there are any vacantseats in the dining car now?WAITERNot for about twenty minutes I'mafraid, Sir.BRUNO(pleased)See? You'll have to lunch with me.(motions the waiterback)Say, waiter, bring me some lamb chopsand French fries and chocolate icecream, Compartment D, Car 121.(turns to Guy)What'll you have, Guy?GUYThanks just the same, but I reallydon't think -BRUNOOh, go on and order.The waiter is hovering impatiently.embarrassment.Guy gives in out ofGUYWell, I'll Just have a hamburger anda cup of coffee.BRUNO(delighted, lifts hisglass in anothertoast)To the next Mrs. Haines.Guy nods curtly.DISSOLVE TO:
Converted to PDF by www.screentalk.org8.INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS)Bruno and Guy are finishing lunch. Bruno has been drinkingand his eyes are bright and feverish. An almost empty liquorbottle is near a couple of detective novels covered withgaudily Illustrated dust jackets. Bruno has in unlightedcigarette in his mouth. Guy's lighter is on the table.Bruno snaps it a couple of times, as though fascinated, lightshis cigarette and puts the lighter on the table again.BRUNOSure, I went to college. Three ofthem. Every time they kicked me outmy father threw me back in.(bitterly)He finally gave up. He thinks I'mawfully small fry, not worth thebait.(wistfully)You my friend, Guy?Sure.GUYI'm your friend, Bruno.BRUNO(a little woozy)No, you're not, nobody thinks I'manything special. Only my mother.(empties the bottleinto his glass)My father hates me.Guy smiles this off as nonsense.GUYYou must be imagining things.BRUNO(hitting the bottomof the bottle forthe last drop)And I hate him. He thinks I oughtto catch the eight-five bus everymorning, punch a timeclock and workmy way up selling paint or something.Him -- with all his money!GUY(amused by Bruno)Well, what do you want to do?BRUNOYou mean before or after I kill him?
Converted to PDF by www.screentalk.orgGUY(chuckling)Before, of course.BRUNO(leaning forwardeagerly)I want to do everything. I got atheory you're supposed to doeverything before you die. Have youever driven a car, blindfolded, at ahundred and fifty miles an hour?GUYNot lately.BRUNOI did. I flew in a jet plans too.(his hand traces aswift streak throughthe air, and he addssound effects)Zzzzzzzp! Man, that's a thrill!Almost blow the sawdust out of myhead. I'm going to make a reservationon the first rocket to the moon.GUY(amused and curious)What are you trying prove?BRUNOI'm not like you, Guy. You're lucky.You're smart. Marrying the boss'sdaughter is a nice short cut to acareer, isn't it?GUY(quickly)Marrying the senator's daughter hasnothing to do with it. Can't a fellowlook past a tennis not without beinga goldbricker?BRUNOTake it easy, boy. I'm your friend,remember? I'd do anything for you.GUY(humoring Bruno)Sure, Bruno, sure.(MORE)9.
Converted to PDF by www.screentalk.orgGUY (CONT'D)(glancing at his watch)We'll be pulling in soon. I've gotto change trains.BRUNOWhat'd you say her name was -- yourwife's?GUYMiriam.BRUNOThat's it. Miriam Joyce Haines.Played around a lot, I suppose?GUYLet's not talk about it any more.BRUNO(almost hopefully)Maybe she'll make more trouble foryou.GUYI don't think so.BRUNOYou mean you got enough on her toget your divorce no matter what?GUYLet's change subject, Bruno, can'twe?BRUNOOkay, Guy. Want me to tell you oneof my ideas for murdering my father?GUY(indicating thedetective novels)You've been reading too many of these.BRUNO(going right on)You want to hear about the bustedlight socket in the bathroom, or thecarbon monoxide in the garage?GUYNo. I may be old fashioned, but Ithought murder was against the law.10.
Converted to PDF by www.screentalk.orgBRUNOBut not against the law of nature.My theory is that everybody is apotential murderer. Didn't you everwant to kill somebody? Say one ofthose useless fellows Miriam wasrunning around with?GUYYou can't go around killing peoplejust because you think they'reuseless.BRUNOOh, what's a life or two? Some peopleare bitter off dead, Guy. Take your -wife and my father, for instance.It reminds me of a wonderful ideahad once. I used to put myself tosleep at night -- figuring it out.Now, let's say you want to get ridof your wife.GUYWhy?BRUNOLet's say she refuses to give you adivorce -(raises a finger andstops Guy's protest)Let's say. You'd be afraid to killher because you'd get caught. Andwhat would trip you up? Motive.Now here's the plan.GUYI'm afraid I haven't time to listen.BRUNO(ignoring the remark)It's so simple, too. A couple offellows meet accidentally, like youand me. No connection between themat all. Never saw each other before.Each of them has somebody he'd liketo get rid of, but he can't murderthe person he wants to get rid of.He'll get caught. So they swapmurders.GUYSwap murders?11.
Converted to PDF by www.screentalk.org12.BRUNOEach fellow does the other fellow'smurder. Then there is nothing toconnect them. The one who had themotive isn't there. Each fellowmurders a total stranger. Like youdo my murder and I do yours.GUY(with relief)We're coming into my station.BRUNOFor example, your wife, my father.Criss-cross.GUY(sharply)What?BRUNO(with a smile)We do talk the same language -- don'twe, Guy?GUY(preparing to leave)Sure, we talk the same language.Thanks for the lunch.BRUNO(beaming)I'm glad you enjoyed it. I thoughtthe lamb chops were a little overdonemyself.He holds out his hand.Guy is in a hurry but he shakes hands.GUYNice meeting you, Bruno.BRUNO(detaining him at thedoor)You think my theory is okay, Guy?You like it?GUYSure, sure, Bruno. They're all okay.(he salutes a quickgoodbye and hurriesaway)
Converted to PDF by www.screentalk.org13.Left alone, Bruno picks up Guy's lighter from the table,starts to call Guy back to hand It to him.Then he looks closerat the insignia of crossed tennis rackets.BRUNO(smiling)Criss-cross.DISSOLVE TO:A WIDE VIEW OF THE TOWN OF METCALFMETCALF RAILROAD STATIONas the train comes in.THE TRAIN STATION PLATFORM MED. SHOTAs Guy gets off the with his suitcase and tennis rackets.baggage man with baggage truck is passing.AGUYHi, Bill.BAGGAGE MAN(smiling)Guy Haines! Good to too you, boy.You be sure to win at Southamptontomorrow, hear me? I've got twodollars on your nose.GUY(indicating hissuitcase and rackets)Then park these in a lucky spot fora few hours, will you?BAGGAGE MANSure thing.He loads them onto a truck.DISSOLVE TO:INT. METCALF STREET LONG SHOTGuy is walking up the main street.
Converted to PDF by www.screentalk.org14.EXT. MUSIC SHOPTypical music shop of a small town, with plate glass windowsand displays of radios, records, sheet music, etc. Activityof a couple of customers and salespeople inside. Guy comesalong the street and goes into the shop.INT. MUSIC SHOPAs Guy enters. There are the usual counters and shelves,pianos and radios on display, and the sound of a piano beingtuned in the back of the store. MIRIAM is finishing with acustomer at a counter. MR. HARGREAVES, the manager, is busyat the shelves. Another girl clerk is serving a customer.In one of the glass cubicles where records are tried out, acustomer is playing symphonic music; in a second glass cubicleanother customer is listening to a record of popular music.A third cubicle is empty. Activity of the street is seenthrough the plate glass front.Guy walks straight to Miriam, just as she is finishing withher woman customer, handing over a small package.MIRIAM(taking money fromcustomer)Even change. Thank you, Madam.(she looks up at Guyas the woman movesoff)Well -- hello, Guy.GUYYou're looking well, Miriam.Miriam's face is pretty because it is still young. She isself-centered and inclined to be vindictive. She wearsharlequin glasses with myopic lenses which tend to make hereyes look small.MIRIAMSo are you. You've got a nice tan,playing tennis with all your richfriends.GUY(ignoring the remark)What time do we meet your lawyer?MIRIAM(sly little smile)What's your hurry?
Converted to PDF by www.screentalk.org15.GUYMy hurry? That's funny, coming fromyou! You're the one who's in a hurry,aren't you?MIRIAM(coyly)When you wouldn't give me the divorceright away, I sort of hoped it wasbecause you were a little bit jealous.GUY(biting)I got over being jealous, a longtime ago Miriam.Miriam's eyes slide toward the other girl clerk who has movedcloser, within listening range.MIRIAM(indicating emptyglass cubicle)Let's talk in there.Guy follows Miriam across to the empty room.brought her purse along.Miriam hasThey enter.INT. CUBICLEOnce inside, the sounds of the music playing from other partsof the shop are heard but very faintly. The piano tuningstill goes on, but less stridently. Miriam and Guy are coopedtogether in the close quarters.MIRIAM(intimately)Now this is cosier. Sort of likeold times, isn't it, Guy?GUY(coldly)Oh, skip it, Miriam. It's prettylate to start flirting with adiscarded husband. Especially whenyou're going to have another man'sbaby.MIRIAMDo you know, I think you're handsomerthan ever?
Converted to PDF by www.screentalk.orgGUYLet's see your lawyer and get thisover with.MIRIAMDid you bring the money, Guy?are expensive.LawyersGUY(taking money fromhis wallet)Here it is.MIRIAM(taking the moneygreedily)If I'd known what all that tennisnonsense of yours was going to leadto, I wouldn't have run out on you.GUYWhat are you trying to say, Miriam?Come out with it.MIRIAM(tucking the billsaway)I'm not getting a divorce.GUY(tense and angry)Why, you little doublecrosser. Ididn't want this divorce, you did.That's what you've been harping aboutfor the past year.MIRIAMIt's a woman's privilege to changeher mind. Now I can shop for somepretty clothes. I wouldn't want youto be ashamed of me in Washingtonwhen we go to all those dinners andswanky parties.GUYAnd what do you mean by that?MIRIAM(Coyly)Don't look so mad, Guy. You alwayssmile when your picture is beingtaken for the papers.(MORE)16.
Converted to PDF by www.screentalk.orgMIRIAM (CONT'D)Especially when you have Anne Burtonhanging on your arm.GUYLet's not talk about Anne Burton.MIRIAMSo, it's really serious between youtwo? Well, you can throw your dreamsabout her into the ashcan. Guy, I'mcoming to Washington.GUYWhat for?MIRIAMTo have my baby and be with you.Why me?GUYIt's not my baby.MIRIAMBut people don't know that, Guy, dothey? It would make a pretty story,wouldn't it -- the senator's daughterinvolved with a married man who'sabout to become a father.GUY(furiously)You black conniving little liar!A few people in the shop look around as Guy's voice risesabove the sound of the record playing.MIRIAMKeep your voice down.GUYWhat happened? Did he run out onyou?MIRIAMNo man runs out on me.you.Not evenGUYYou're a liar and a cheat, Miriam.You've wanted to get rid of me longenough and now I'll go you one better -I never want to see or hear of youagain.17.
Converted to PDF by www.screentalk.org18.MIRIAM(demurely)I could be very pathetic as thedeserted little mother in a courtroom,Guy. Think it over. Who wouldbelieve you?Guy seizes her angrily and in so doing, knocks the tone armacross the record with a loud screech. From outside we cansee heads turn. Mr. Hargreaves, the manager, is verydisturbed.MED. SHOT THROUGH GLASS PARTITION FROM HARGREAVES' VIEWPOINTWe see Guy gripping Miriam's arms and apparently addressingher in a threatening manner, although we do not hear hiswords. The smile has faded from Miriam's face and somethinglike cringing fear has taken its place. She is drawn andtense and seems to cower beneath Guy's rage.Mr. Hargreaves moves forward and opens Guy's tirade.GUY.That's what should happen to peoplelike you. And if I.HARGREAVES(interrupts)Break it up, folks. This isn't theplace for a family quarrel.GUY(his eyes blazing)Sorry. I'm leaving.He starts to exit from the booth.screams at him:Miriam grabs his arm andMIRIAM(yelling like afishwife)You heard what I said, Guy Haines.You can't throw me away like an oldshoe. I'm coming to Washington tohave my baby. Tell that to thesenate!Guy strides out of the store, the manager and a few customersturning around in surprise.
Converted to PDF by www.screentalk.org19.The two customers in other booths, seeing the quarrel, opentheir doors simultaneously and Miriam's tirade is climaxedby a cacophony of noise, a big symphony, loud hot music, andthe apparently unaware piano tuner.EXT. MAIN STREET METCALF SHOOTING TOWARDS STATIONGuy is striding along angrily. He comes to the sameintersection and the same cop. The officer makes a friendlygesture, is if he'd like to talk awhile, but Guy stridespast him without noticing.EXT. METCALF STATION (PROCESS)Guy comes into the scene, crosses to a row of public telephonebooths, enters one. Inside the telephone booth, he dumpssome loose change on the shelf, sticks a nickel in thetelephone, speaks into it.GUYLong distance.(a pause)I want Washington, D. C. The numberis Republic 0800. Person to person.Miss Anne Burton.Another pause, very long. Guy is very restless. He digs acigarette out of his pocket and sticks it in his mouth, thenlooks through his pockets for his lighter, doesn't find it.He looks puzzled, but about that time the operator speaks tohim.GUY(continuing)Right.Guy picks coins up off the shelf and drops them into thetelephone, then waits. He shifts the receiver and fumblesin his other jacket pocket, then turns to the phone.GUY(tautly, into phone)Anne, -- Anne darling. Yes, I'm inMetcalf -(gets a grip on himself)No, everything didn't go smoothly.She doesn't want a divorce, notnow.
Converted to PDF by www.screentalk.org20.INT. BURTON LIVING ROOMANNE BURTON is a beautiful, high-spirited and well-bred youngwoman. The smile on her face his faded to anxiety as shelistens over the telephone which is on the desk.ANNE(after a pause thenwith unpleasantrealization)Another man's child! But she can'tdo that to you, Guy -- it'sunbelievable -- it's, it's evil!(she listens, thencalmly)Yes, I know how you must feel.(pause)But you sound so savage.BACK TO GUY IN TELEPHONE BOOTHGUY(furiously)Sure I sound savage. I feel savage.I'd like to break her neck!(a pause, then raisinghis voice)I said I'd like to break her foul,poisonous, useless little neck!(the connection isbad and he strainsto hear)What's that?Meantime the noise of a through train has been HEARD, andthe horn on a streamliner locomotive. It has come up veryfast, it is now almost to the station. Guy rises his voiceand yells into the telephone. His voice fights the roar ofthe train:GUYI SAID I COULD STRANGLE HER!The expression on his face is frenzied and suggesting thathe means exactly what he is saying.DISSOLVE TO:
Converted to PDF by www.screentalk.org21.INT. ANTHONY LIVING ROOMThe scene opens on a CLOSEUP OF A MAN'S HANDS. One of themis semi-flexed and turning slowly, The other is receivingthe 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 BACKFARTHER to reveal his mother, MRS. ANTHONY, sitting oppositehim at a little table in the Anthony living room. She isworking with scissors, file and nail buffer. Mrs. Anthonyis a gentle, once pretty woman, whose pastel exterior harborsa tigress-like determination to protect her son, Bruno is inhis robe and is unshaven.There is evidence of long established wealth in the heavydark appointments of this room.MRS. ANTHONYSince you insisted on a manicure,dear, I do wish you'd keep your handsquiet. You're so restless lately.BRUNO(almost dreamily ashe admires the freehand)I like them to look just right.Mrs. Anthony looks up, notices his moody expression.MRS. ANTHONYDid I file them too short?No, Ma.BRUNOThey look fine.Thanks.MRS. ANTHONYThen what's the matter?BRUNOI'm all right, Ma.me.Don't worry aboutMRS. ANTHONYYou look so Pale, dear. Are you outof vitamins?BRUNOI bought a bottle of them yesterday.A whole fifth.
Converted to PDF by www.screentalk.org22.MRS. ANTHONY(anxiously)But you have that 'look'. I canalways tell. You haven't got intoany more mischief, Bruno?He denies this with a slow, solemn shake of his head.MRS. ANTHONYI do hope you've forgotten aboutthat 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. Butyou can always make me laugh.(she rises)Now get shaved, dear, before yourfather gets home.Bruno's fist crashes down on the little table, upsetting it,as he gets to his feet.BRUNOI'm sick and tired of bowing andscraping to the king.MRS. ANTHONY(placating him)Now, now, Let's not lose control.Come see my painting, dear -(she leads him towardan easel)I do wish you'd take up painting.It's such a soothing pastime.They look at the painting.
Converted to PDF by www.screentalk.org23.INSERTThe painting is a horrible mess. Out of the violence of thepattern a man's face can be discerned, wild-eyed anddistorted. We hear laughter from Bruno.BACK TO SCENEBruno's roar of laughter puzzles Mrs. Anthony, but she ispleased to hear his good humor. He puts an arm around her.BRUNOYou're wonderful, Ma! It's the oldboy, all right. That's father!MRS. ANTHONY(bewildered)It is? I was trying to paint SaintFrancis.At this moment there is the sound of the front door opening.Then immediately the telephone bell rings in the hall. Brunois instantly alert, as if he had been expecting a call. Hegoes toward the door to the hall, as the butler enters.BUTLER(to Bruno)They are ready with your call toSouthampton, Sir.Bruno's father MR. ANTHONY, purposefully enters the livingroom. He an impeccably dressed business man with anuncompromising eye. His entrance momentarily blocks Bruno'sexit.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 withoutspeaking.MR. ANTHONYJust a minute, Eunice.(calls after Bruno)Bruno! Come here! I want to talkto you and your mother.
Converted to PDF by www.screentalk.org24.INT. HALL CLOSE SHOT BRUNOas he approaches the telephone.BRUNO(calls back to hisfather)Sorry father. Long distance.(he picks up thetelephone)Hello.CAMERA MOVES IN TO A BIG HEAD CLOSEUP OF BRUNO at thetelephone as the Voices of his mother and father can be heardfrom the other room.MR. ANTHONY'S VOICENow it's hit and run driving! Andyou knew about it all the time!BRUNO(eagerly into phone)Guy?(pause)Bruno, Bruno Anthony.MR. ANTHONY'S VOICEYou're going to protect him once toooften. After all we do have aresponsibility to society.Bruno gives a look in his father's direction, before he speaksinto the telephone in a low voice.BRUNOI just wanted to ask how you madeout with Miriam.INT. LOCKER ROOM OF TENNIS CLUB CLOSE SHOT GUY AT TELEPHONEGUY(puzzled)What?(listens)Metcalf? Who'd you say you were?
Converted to PDF by www.screentalk.org25.CLOSEUP BRUNOBRUNO(sotto voce)Bruno, Guy. Bruno Anthony. Don'tyou remember? On the train.The voices of Mr. and Mrs. Anthony can still be heard indispute as Bruno listens at phone:MRS. ANTHONYI never permit it!Bruno gives a significant look in direction of the livingroom as he speaks into the phone.BRUNO(softly)Are you getting your divorce?MR. ANTHONY'S VOICEI tell you he should be sent somewherefor treatment before it's too late.BRUNO(into phone, withsatisfaction)So she double-crossed you!going to see her again?Are youThe phone clicks in Bruno's ear. He looks hurt for aninstant, then replaces the receiver. Bruno listens to hisfather off scene and his expression becomes more enigmatic.MR. ANTHONY'S VOICEI tell you, Eunice, I'm going tohave that boy put away if it's thelast thing I do!Bruno looks off in direction of his farther's voice with anexpression which says, "Crow while you can, you haven'tmuch time." He reaches into his pocket, brings out Guy'scigarette lighter and as he flicks it on and off.DISSOLVE TO:EXT. METCALF STATION LONG SHOT DAYThis is the same shot we saw when Guy arrived in Metcalf.We see the station and one of the main streets beyond thestation.
Converted to PDF by www.screentalk.org26.LONG SHOT A NEARER VIEWWe see the train come around the curve. Again this is justthe same angle that we used for Guy. It comes to a stop inthe foreground and we see Bruno alight onto the platform.He looks about him for a moment and then strolls away in thedirection of the town. He approaches the row of telephonebooths.EXT. STATION CLOSE SHOTWe see Bruno enter the small booth and start to glance throughthe telephone directory.INSERT TELEPHONE DIRECTORYBruno's finger runs down the names until it stops at:Joyce, Miriam Haines. 2420 Metcalf Avenue.A RESIDENTIAL STREET IN METCALF LONG SHOTIt is now much later.street lights are on.bus approaching.It is beginning to get dark, and theIn the far distance we see a localMED. SHOTSHOOTING DOWN onto a small seat by a bus stop, we see Brunowith an open newspaper in front of him. It is held up as hereads it.CLOSEUPBruno is glancing over the top of the paper.LONG SHOTFrom his viewpoint we see a typical frame house. The upperwindows are lit as are the lower ones as well. A woman issitting in a rocker on the front porch. This is MRS. JOYCE,Miriam's mother. She has white hair. A woman comes alongthe street and pauses as she gets to Mrs. Joyce.
Converted to PDF by www.screentalk.org27.WOMAN(calls out as shepasses)Hello Mrs. Joyce. Warm, ain't it?MRS. JOYCEThat it is.WOMANI've been reading where your son-inlaw's been coming right along attennis.MRS. JOYCE(sourly)We don't have any interest in tennisany more.The neighbor passes on.CLOSE UPBruno, still glancing over the top of his paper.LONG SHOTAgain from Bruno's viewpoint, we see Miriam's house. Atthis moment the front door swings open, emitting a long streakot 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 thebus pulls up in front of Bruno's view, cutting off the sightof his quarry. The bus comes to a stop.CLOSE SHOTBruno rises in alarm and moves around toward the end of thebus so that he shall not lose sight of the girl coming outof the house.SEMI-LONG SHOTFrom his viewpoint, the girl, whom we now see is Miriam, isrunning followed by the two young men. They are calling forthe bus not to go - shouting, "Hi - stop!" Mrs. Joyce callsfrom the porch:MRS. JOYCEDon't you stay out too late, Miriam.
Converted to PDF by www.screentalk.orgMIRIAM(calling back)Goodnight, Mother.28.See you later.CLOSE UPBruno watches Miriam.MED. SHOTMiriam comes nearer and nearer to Bruno. With her twocompanions she brushes past him and jumps onto the bus.CAMERA PANS BRUNO AFTER THEM.THEEXT. AMUSEMENT PARK LONG SHOTWe see the bus pull up outside the Amusement Park, and thevarious passengers alight. These include Miriam nd hercompanions, and Bruno.LONG SHOT NEARER VIEW OF THE AMUSEMENT PARKWe see the usual midway with its various concessions on eachside: in the distance the Ferris wheel, Merry-go-rounds,etc., and beyond that a lake
Converted to PDF by www.screentalk.org 8. 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 dus