The Comfort of Strangers Page #5

Synopsis: An English couple holiday in Venice to sort out their relationship. There is some friction and distance between them, and we also sense they are being watched. One evening, they lose their way looking for a restaurant, and a stranger invites them to accompany him. He plies them with wine and grotesque stories from his childhood. They leave disoriented, physically ill, and morally repelled. But, next day, when the stranger sees them in the piazza, they accept an invitation to his sumptuous flat. After this visit, the pair find the depth to face questions about each other, only to be drawn back into the mysterious and menacing fantasies of the stranger and his mate.
Genre: Drama, Thriller
Director(s): Paul Schrader
Production: Madacy Home Video
  1 win.
 
IMDB:
6.4
Metacritic:
61
Rotten Tomatoes:
50%
R
Year:
1990
107 min
758 Views


- Do you want to go up?

- She's seen us. Can't very well be rude.

- Just across the canal, please. Over there.

- Grazie.

- Hello.

- Hello.

How delightful to see you.

The boat brought us round this side from

the beach, so we thought we'd say hello.

We were expecting you sooner.

- You got my message?

- No. When?

I left a message at your hotel today.

We're going away, you see.

- We didn't want to miss you.

- No, we didn't get it.

But you came anyway. How wonderful.

Going away?

To Canada.

To see my family, so we wanted

to say goodbye. Have a farewell drink.

Give Mary some refreshment.

I have to go to my bar.

I have business. Very quick.

Will you come with me?

- I'll just...

- We won't be long.

- Colin, I...

- Have you been swimming?

Yes.

Good God.

- I thought you were going on holiday.

- We're selling up.

We are going on holiday, but when we get

back we'll buy a ground-floor apartment.

- That's what I need.

- Oh.

- Would you like some herb tea?

- I'd love some.

- Ciao, Robert.

- Dove andate? Venite con noi.

- Somebody just pinched me.

- Venetians are very friendly people.

This way.

Robert said he told you

about his childhood.

He exaggerates, you know. He turns

his past into stories to tell at the bar.

- No sugar for me.

- I'm just stirring in the lemon.

- Shall we take it out onto the terrace?

- May I?

What happened to your back?

S, certo. come hanno detto.

Esattamente. S, s, ho capito.

Grazie. Allora posso stare tranquillo.

Arrivederci.

L'avvocato dice che il contratto perfetto.

Did you understand what I was

telling people as we walked here?

No.

I was telling them that...

you're my lover, and that Caroline

is jealous because she likes you too.

- Why did you tell them that?

- Why "why"?

We knew you would come back.

Now, look here, Robert.

Hang on a minute.

Why did you take that picture of me?

The one you showed Mary?

- She's very quick.

- What was the point?

I'm selling the bar.

To him.

I've never told anyone this - never -

but I want to tell you.

Soon after we were married, Robert

started to hurt me when we made love.

I tried to stop him, but he went on doing it.

And after a time, I found I liked it.

Not the pain itself, but somehow...

the fact of being helpless before it.

Being reduced to nothing by it.

And of being punished,

therefore being guilty.

I felt it was right that I should be punished.

I thrilled to it.

It took us over totally.

It grew and grew. It seemed never-ending.

But there was an end to it.

We both knew what it was.

That waiter was once a fisherman.

But pollution has ruined the fish.

So fishermen become waiters.

Why did you take my picture?

What does it mean?

You see that barbershop? My grandfather

and my father used that barbershop.

And I use that barbershop.

That's Cemetery Island.

My back happened suddenly one night.

It was very bad indeed.

And there was an incompetent surgeon.

So I'm like this.

He's terribly strong, you see.

When he bent my head backwards

I blacked out with the pain,

but I remember thinking

"It's going to happen. Now."

"There's no going back on it.

It's going to happen now."

"This is it. This is the end."

I'm boring you.

No, not at all. It's the...

It's the sun, I think. The long swim.

Do you and Colin do strange things?

Oh, no, I don't think so. No.

Oh, I'm sure Colin does.

In fact, I'm certain he does.

I want to show you something.

- A bit dizzy.

- I must show you something.

You haven't been in our bedroom,

have you?

My legs ache.

God!

He's so beautiful.

Robert saw you both

the first day you arrived.

That was the first picture I saw of him.

I'll never forget it.

Robert came home so excited.

And then he brought

more and more photographs home.

We became so close.

Incredibly close.

Colin brought us together.

It was my idea to put him on the wall

so we could see him as we made love.

I took that one myself. Isn't it brilliant?

- Why?

- And then Robert brought you home.

It was as if God was in on our dream.

I knew fantasy was passing into reality.

Have you ever experienced that?

It's like stepping into a mirror.

Colin.

Colin.

- Wake up. Wake up.

-

Colin and Robert are back.

Do you know where we are now?

Shall I tell you?

We are on the other side of the mirror.

Mary, what is it?

Mary?

What is it?

What's the matter?

Mary. What's the matter?

Cheers.

- It's just a mild touch of sunstroke.

- She's not hot.

What is it? Is it sunstroke?

Tell me. Try to tell me.

Tell me!

- She's just tired.

- C...

Are trying to say my name?

- Co...

- What are you trying to say?

- Co...

- Cold.

- She's cold.

- We shouldn't crowd her.

She needs a doctor.

Where's the telephone?

It's been disconnected.

- Disconnected?

- We're going away.

You must know a doctor.

Go and fetch a f***ing doctor.

She's very ill!

- No need to shout.

- She'll be fine.

Mary understands.

You understand too, don't you?

You understand.

You do understand, don't you?

Don't you know where you are? Get up!

Don't move.

You've cut my lip.

Shh!

What have you done to Mary?

I'll do anything you want.

Just get a doctor for her.

- What do you want?

- Want?

I'll show you what we want.

I'll show you.

We'll show you.

Carolina.

Roberto.

What did you want

from these people? I ask you again.

What did you want from these people?

Nothing. They were friends.

Friends?

We had dinner there.

Why did you go back with your boyfriend

to these people?

What did you want from them?

Did your boyfriend like the woman?

I liked her. I don't think that he...

Did your boyfriend like the man?

No. No, he didn't.

And you?

You liked the man?

- Did you like the man?

- No.

So, why did you go to dinner?

And why did you go back?

Why did you come to Venice?

What were you looking for?

- Nothing, we ju...

- Were you looking for... some fun?

We were...

We were going to get married.

Is this the body of Colin Mayhew?

Sign here.

- Combed his hair the wrong way.

- Sorry?

It doesn't go this way.

It goes this way.

...a tourist, but now

you plan everything in advance.

You sell your bar, you sell your apartment,

you buy drug, and so on and so on.

And then on the other hand you leave

your razor with your fingerprints,

you book a ticket under your own name

and you travel with your own passport.

We don't get it.

Listen. Let me tell you something.

My father was a very big man.

All his life he wore a black moustache.

When it turned grey

he used a little brush to keep it black,

such as ladies use for their eyes.

Mascara.

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Harold Pinter

Harold Pinter (; 10 October 1930 – 24 December 2008) was a Nobel Prize-winning British playwright, screenwriter, director and actor. One of the most influential modern British dramatists, his writing career spanned more than 50 years. His best-known plays include The Birthday Party (1957), The Homecoming (1964), and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1971), The French Lieutenant's Woman (1981), The Trial (1993), and Sleuth (2007). He also directed or acted in radio, stage, television, and film productions of his own and others' works. Pinter was born and raised in Hackney, east London, and educated at Hackney Downs School. He was a sprinter and a keen cricket player, acting in school plays and writing poetry. He attended the Royal Academy of Dramatic Art but did not complete the course. He was fined for refusing National service as a conscientious objector. Subsequently, he continued training at the Central School of Speech and Drama and worked in repertory theatre in Ireland and England. In 1956 he married actress Vivien Merchant and had a son, Daniel, born in 1958. He left Merchant in 1975 and married author Lady Antonia Fraser in 1980. Pinter's career as a playwright began with a production of The Room in 1957. His second play, The Birthday Party, closed after eight performances, but was enthusiastically reviewed by critic Harold Hobson. His early works were described by critics as "comedy of menace". Later plays such as No Man's Land (1975) and Betrayal (1978) became known as "memory plays". He appeared as an actor in productions of his own work on radio and film. He also undertook a number of roles in works by other writers. He directed nearly 50 productions for stage, theatre and screen. Pinter received over 50 awards, prizes, and other honours, including the Nobel Prize in Literature in 2005 and the French Légion d'honneur in 2007. Despite frail health after being diagnosed with oesophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett's one-act monologue Krapp's Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006. He died from liver cancer on 24 December 2008. more…

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Submitted on August 05, 2018

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