The Passionate Stranger

Carlo is taken on as a chauffeur at the Wynter mansion, becoming part of the household. He becomes aware of Judith and her immobilized husband Roger, who occupy the estate. Judith, a writer, uses people and situations from her life as raw material for her sensational fiction.

Judith maintains a respectable public image while working on The Passionate Stranger, a lurid tale about a bored wife and an unsatisfied husband she despises. In real life she is married to Roger, who is immobilized by polio. The boundaries between her fiction and her life begin to blur as the story takes shape.

Carlo drives Judith to London to meet her publisher. During the trip Judith leaves a copy of the manuscript in the car while she goes to lunch. Carlo discovers the manuscript and begins reading it, unwittingly merging fiction with reality.

As Carlo reads, the black-and-white film fades into a color sequence that reveals the novel's events. The scene parallels Judith's fiction with startling clarity, suggesting that her fantasies may be leaking into real life. The transition underscores the meta-narrative at play.

In Judith's novel, the chauffeur Mario drives the mistress home from London when a tyre bursts. They are forced to rent rooms in a small village pub, intensifying their illicit liaison. The events unfold with a sense of peril and entrapment.

The gossip-laden plot continues as Lady Hathaway and Mario attend a local fete, where they dance together. By the end of the evening Mario seduces her, deepening the complications of the affair. Judith's fiction mirrors a growing danger in the relationship.

Back in the real world, Lord Hathaway learns that Judith is pregnant, a shocking revelation. Judith confesses the child is Mario's, prompting Hathaway to consider dismissing Mario and raising the child himself. Tensions rise as deceit and loyalty collide.

Mario plots to kill Roger by sabotaging his wheelchair and luring him to a summerhouse with a deadly slope. He believes that removing Roger will free Judith to be with him. The plan showcases the darkest edge of jealousy and obsession in the tale.

Lady Hathaway later finds Roger floating in the lake, a grim consequence of the plot. The tragedy underscores how the fiction's danger bleeds into reality. Judith's life is framed by the consequences of desire and violence.

The film returns to black-and-white as Carlo jumps to the conclusion that Judith harbors a repressed passion for him. He misreads the signals, conflating fantasy with real emotion. The tension between truth and fabrication deepens.

Before the journey home, Carlo tamps down the petrol by adding sugar, causing the car to break down. Judith refuses to leave the car and instead accepts a lift from a passing motorist to reach the nearest village. The pursuit to reclaim her attention slows into a new phase.

Carlo finally arrives at the pub where Judith has checked in for the night, but she declines his invitation to attend a local dance and he returns to the road alone. The two remain estranged, with unspoken longing still simmering between them.

The next day, Judith tells Roger that the pub landlord spotted Carlo wandering in the garden at night. Roger defends Carlo with an innocent explanation, leaving Judith to question where reality ends and fantasy begins. The dynamic in the household remains unsettled.

Carlo persists in his pursuit, attempting to recreate scenes from Judith's novel and declaring his love. Judith, however, asserts her love for Roger and reminds him that their two sons are away at boarding school. The conflict between desire and duty comes into sharp focus.

Judith discovers Roger's wheelchair in the lake and fears a replication of her novel's plot. It is revealed that their son accidentally pushed it into the water, and Carlo has rescued him. Judith expresses gratitude, but Carlo's devotion is unrequited as he leaves, ending beside the Wynters' maid on a bus, his gaze lingering with a quiet, unresolved finality.