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Scripts: Strangers on a Train (18/Oct/1950) - part 2

 EXT. MAIN STREET METCALF SHOOTING TOWARDS STATION
 
 Guy is striding along angrily. He comes to the same
 intersection and the same cop. The officer makes a friendly
 gesture, is if he'd like to talk awhile, but Guy strides
 past him without noticing.
 
 EXT. METCALF STATION (PROCESS)
 Guy comes into the scene, crosses to a row of public telephone
 booths, enters one. Inside the telephone booth, he dumps
 some loose change on the shelf, sticks a nickel in the
 telephone, speaks into it.
 
                       GUY
           Long distance.
               (a pause)
           I want Washington, D. C. The number
           is Republic 0800. Person to person.
           Miss Anne Burton.
 
 Another pause, very long. Guy is very restless. He digs a
 cigarette out of his pocket and sticks it in his mouth, then
 looks through his pockets for his lighter, doesn't find it.
 He looks puzzled, but about that time the operator speaks to
 him.
 
                       GUY
               (continuing)
           Right.
 
 Guy picks coins up off the shelf and drops them into the
 telephone, then waits. He shifts the receiver and fumbles
 in his other jacket pocket, then turns to the phone.
 
                       GUY
               (tautly, into phone)
           Anne, -- Anne darling. Yes, I'm in
           Metcalf --
               (gets a grip on himself)
           No, everything didn't go smoothly.
           She doesn't want a divorce, not
           now....
 
 INT. BURTON LIVING ROOM
 
 ANNE BURTON is a beautiful, high-spirited and well-bred young
 woman. The smile on her face his faded to anxiety as she
 listens over the telephone which is on the desk.
 
                        ANNE
               (after a pause then
                with unpleasant
                realization)
           Another man's child! But she can't
           do that to you, Guy -- it's
           unbelievable -- it's, it's evil!
               (she listens, then
                calmly)
           Yes, I know how you must feel.
               (pause)
           But you sound so savage.
 
 BACK TO GUY IN TELEPHONE BOOTH
 
                        GUY
               (furiously)
           Sure I sound savage. I feel savage.
           I'd like to break her neck!
               (a pause, then raising
                his voice)
           I said I'd like to break her foul,
           poisonous, useless little neck!
               (the connection is
                bad and he strains
                to hear)
           What's that?
 
 Meantime the noise of a through train has been HEARD, and
 the horn on a streamliner locomotive. It has come up very
 fast, it is now almost to the station. Guy rises his voice
 and yells into the telephone. His voice fights the roar of
 the train:
 
                       GUY
           I SAID I COULD STRANGLE HER!
 
 The expression on his face is frenzied and suggesting that
 he means exactly what he is saying.
 
                                                 DISSOLVE TO:
 
 INT. ANTHONY LIVING ROOM
 
 The scene opens on a CLOSEUP OF A MAN'S HANDS. One of them
 is semi-flexed and turning slowly, The other is receiving
 the 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 BACK
 FARTHER to reveal his mother, MRS. ANTHONY, sitting opposite
 him at a little table in the Anthony living room. She is
 working with scissors, file and nail buffer. Mrs. Anthony
 is a gentle, once pretty woman, whose pastel exterior harbors
 a tigress-like determination to protect her son, Bruno is in
 his robe and is unshaven.

 There is evidence of long established wealth in the heavy
 dark appointments of this room.
 
                       MRS. ANTHONY
           Since you insisted on a manicure,
           dear, I do wish you'd keep your hands
           quiet. You're so restless lately.
 
                       BRUNO
               (almost dreamily as
                he admires the free
                hand)
           I like them to look just right.
 
 Mrs. Anthony looks up, notices his moody expression.
 
                       MRS. ANTHONY
           Did I file them too short?
 
                        BRUNO
           No, Ma. They look fine. Thanks.
 
                       MRS. ANTHONY
           Then what's the matter?
 
                       BRUNO
           I'm all right, Ma. Don't worry about
           me.
 
                        MRS. ANTHONY
           You look so Pale, dear. Are you out
           of vitamins?
 
                       BRUNO
           I bought a bottle of them yesterday.
           A whole fifth.
 
                       MRS. ANTHONY
               (anxiously)
           But you have that 'look'. I can
           always tell. You haven't got into
           any more mischief, Bruno?
 
 He denies this with a slow, solemn shake of his head.
 
                       MRS. ANTHONY
           I do hope you've forgotten about
           that 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. But
           you can always make me laugh.
               (she rises)
           Now get shaved, dear, before your
           father gets home.
 
 Bruno's fist crashes down on the little table, upsetting it,
 as he gets to his feet.
 
                       BRUNO
           I'm sick and tired of bowing and
           scraping to the king.
 
                          MRS. ANTHONY
                  (placating him)
           Now, now, Let's not lose control.
           Come see my painting, dear --
                  (she leads him toward
                   an easel)
           I do wish you'd take up painting.
           It's such a soothing pastime.
 
 They look at the painting.
 
 INSERT
 
 The painting is a horrible mess. Out of the violence of the
 pattern a man's face can be discerned, wild-eyed and
 distorted. We hear laughter from Bruno.
 
 BACK TO SCENE
 
 Bruno's roar of laughter puzzles Mrs. Anthony, but she is
 pleased to hear his good humor. He puts an arm around her.
 
                       BRUNO
           You're wonderful, Ma! It's the old
           boy, all right. That's father!
                       MRS. ANTHONY
               (bewildered)
           It is? I was trying to paint Saint
           Francis.
 
 At this moment there is the sound of the front door opening.
 Then immediately the telephone bell rings in the hall. Bruno
 is instantly alert, as if he had been expecting a call. He
 goes toward the door to the hall, as the butler enters.
 
                       BUTLER
               (to Bruno)
           They are ready with your call to
           Southampton, Sir.
 
 Bruno's father MR. ANTHONY, purposefully enters the living
 room. He an impeccably dressed business man with an
 uncompromising eye. His entrance momentarily blocks Bruno's
 exit.
 
                       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 without
 speaking.
 
                       MR. ANTHONY
           Just a minute, Eunice.
               (calls after Bruno)
           Bruno! Come here! I want to talk
           to you and your mother.
 
 INT. HALL CLOSE SHOT BRUNO
 
 as he approaches the telephone.
 
                        BRUNO
               (calls back to his father)
           Sorry father. Long distance.
               (he picks up the telephone)
           Hello...
 
 CAMERA MOVES IN TO A BIG HEAD CLOSEUP OF BRUNO at the
 telephone as the Voices of his mother and father can be heard
 from the other room.

                       MR. ANTHONY'S VOICE
           Now it's hit and run driving! And
           you knew about it all the time!
 
                          BRUNO
                  (eagerly into phone)
           Guy?
               (pause)
           Bruno, Bruno Anthony.
 
                       MR. ANTHONY'S VOICE
           You're going to protect him once too
           often. After all we do have a
           responsibility to society.
 
 Bruno gives a look in his father's direction, before he speaks
 into the telephone in a low voice.
 
                       BRUNO
           I just wanted to ask how you made
           out with Miriam.
 
 INT. LOCKER ROOM OF TENNIS CLUB CLOSE SHOT GUY AT TELEPHONE
 
                       GUY
               (puzzled)
           What?
               (listens)
           Metcalf? Who'd you say you were?
 
 CLOSEUP BRUNO
 
                       BRUNO
               (sotto voce)
           Bruno, Guy. Bruno Anthony. Don't
           you remember? On the train.
 
 The voices of Mr. and Mrs. Anthony can still be heard in
 dispute as Bruno listens at phone:
 
                       MRS. ANTHONY
           I never permit it!
 
 Bruno gives a significant look in direction of the living
 room as he speaks into the phone.
                        BRUNO
               (softly)
           Are you getting your divorce?
 
                       MR. ANTHONY'S VOICE
           I tell you he should be sent somewhere
           for treatment before it's too late.
 
                       BRUNO
               (into phone, with
                satisfaction)
           So she double-crossed you!   Are you
           going to see her again?
 
 The phone clicks in Bruno's ear. He looks hurt for an
 instant, then replaces the receiver. Bruno listens to his
 father off scene and his expression becomes more enigmatic.
 
                       MR. ANTHONY'S VOICE
           I tell you, Eunice, I'm going to
           have that boy put away if it's the
           last thing I do!
 
 Bruno looks off in direction of his farther's voice with an
 expression which says, "Crow while you can, you haven't
 much time." He reaches into his pocket, brings out Guy's
 cigarette lighter and as he flicks it on and off.
 
                                                    DISSOLVE TO:
 
 EXT. METCALF STATION LONG SHOT DAY
 
 This is the same shot we saw when Guy arrived in Metcalf.
 We see the station and one of the main streets beyond the
 station.
 
 LONG SHOT A NEARER VIEW
 
 We see the train come around the curve. Again this is just
 the same angle that we used for Guy. It comes to a stop in
 the foreground and we see Bruno alight onto the platform.
 He looks about him for a moment and then strolls away in the
 direction of the town. He approaches the row of telephone
 booths.
 
 EXT. STATION CLOSE SHOT
 
 We see Bruno enter the small booth and start to glance through
 the telephone directory.
 
 INSERT TELEPHONE DIRECTORY
 
 Bruno's finger runs down the names until it stops at:
 
        Joyce, Miriam Haines. 2420 Metcalf Avenue.
 
 A RESIDENTIAL STREET IN METCALF LONG SHOT
 
 It is now much later. It is beginning to get dark, and the
 street lights are on. In the far distance we see a local
 bus approaching.
 
 MED. SHOT
 
 SHOOTING DOWN onto a small seat by a bus stop, we see Bruno
 with an open newspaper in front of him. It is held up as he
 reads it.
 
 CLOSEUP
 
 Bruno is glancing over the top of the paper.
 
 LONG SHOT
 
 From his viewpoint we see a typical frame house. The upper
 windows are lit as are the lower ones as well. A woman is
 sitting in a rocker on the front porch. This is MRS. JOYCE,
 Miriam's mother. She has white hair. A  woman comes along
 the street and pauses as she gets to Mrs. Joyce.
 
                           WOMAN
                  (calls out as she passes)
              Hello Mrs. Joyce. Warm, ain't it?
 
                            MRS. JOYCE
              That it is.
 
                          WOMAN
              I've been reading where your son-in-
              law's been coming right along at
              tennis.
 
                           MRS. JOYCE
                  (sourly)
              We don't have any interest in tennis
              any more.
 
 The neighbor passes on.
 
 CLOSE UP
 
 Bruno, still glancing over the top of his paper.
 
 LONG SHOT
 
 Again from Bruno's viewpoint, we see Miriam's house. At
 this moment the front door swings open, emitting a long streak
 ot 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 the
 bus pulls up in front of Bruno's view, cutting off the sight
 of his quarry. The bus comes to a stop.
 
 CLOSE SHOT
 
 Bruno rises in alarm and moves around toward the end of the
 bus so that he shall not lose sight of the girl coming out
 of the house.
 
 SEMI-LONG SHOT
 
 From his viewpoint, the girl, whom we now see is Miriam, is
 running followed by the two young men. They are calling for
 the bus not to go - shouting, "Hi - stop!" Mrs. Joyce calls
 from the porch:
 
                          MRS. JOYCE
              Don't you stay out too late, Miriam.
 
                          MIRIAM
                  (calling back)
              Goodnight, Mother. See you later.
 
 CLOSE UP
 
 Bruno watches Miriam.
 
 MED. SHOT
 
 Miriam comes nearer and nearer to Bruno. With her two
 companions she brushes past him and jumps onto the bus. THE
 CAMERA PANS BRUNO AFTER THEM.
 
 EXT. AMUSEMENT PARK LONG SHOT
 
 We see the bus pull up outside the Amusement Park, and the
 various passengers alight. These include Miriam nd her
 companions, and Bruno.
 
 LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK
 
 We see the usual midway with its various concessions on each
 side: in the distance the Ferris wheel, Merry-go-rounds,
 etc., and beyond that a lake. In the foreground we see people
 filling in and out.
 
                                                    DISSOLVE TO:
 
 MED. LONG SHOT A GROUP BY A FROZEN CUSTARD STAND
 
 This group comprises Miriam and her two boy-friends. They
 lick their way out of the crowd and debate between themselves
 where to go next.
 
 CLOSE SHOT
 
 Miriam's eye catches the attention of something off screen.
 
 SEMI-LONG SHOT
 
 From her viewpoint we see Bruno standing and casually watching
 her. Other people pass around and in front of him, so that
 he is the only immobile figure.
 
 SEMI-CLOSEUP
 
 Miriam, with a kind of coy consciousness, turns away with
 the others and they go on to some other concession.
 
 MED. SHOT
 
 As Bruno starts to advance in the direction of Miriam he is
 momentarily held up by a small boy in cowboy uniform carrying
 a gun and a balloon. The small boy points the gun at Bruno.
 
 SEMI-CLOSE UP
 The small boy pointing the gun fires it twice with a couple
 of 'bangs!' He then starts to move off.
 
 SEMI-CLOSE UP
 
 Bruno moves on past the boy. He casually touches the balloon
 with his cigarette end -- it goes off with a 'pop'.
 
 CLOSE UP
 
 The small boy turns and looks with dismay at his pricked
 balloon, wondering what happened.
 
 SEMI-CLOSE UP
 
 Bruno moves on, pleased with himself, returning his attention
 to Miriam who is somewhere ahead of him.
 
 MEDIUM SHOT
 
 Miriam and her two boy-friends by the sledge hammer concession
 where the aim is to swing the hammer hard enough down onto
 its target to ring the bell and register the 100 mark. Miriam
 is in the foreground of the shot. The first boy steps up to
 try his hand. As he swings, Miriam turns and glances about
 her, obviously looking for Bruno.
 
 LONG SHOT FROM MIRIAM VIEWPOINT
 
 The crowds milling, but no sign of Bruno.
 
 MEDIUM SHOT
 
 The first boy having failed to ring the bell, the second
 stops up and slams the hammer down.
 
 CLOSE SHOT
 
 The register shooting up only to the hallway mark.
 
 CLOSE SHOT MIRIAM
 
 She looks a little disdainful and again glances around for
 Bruno. Looking first to her left where she sees nothing,
 she then looks to her right, and as she does THE CAMERA PANS
 to show Bruno standing right it her shoulder. Miriam gives
 a little start. Bruno smiles at her. With a smirk he walks
 over and after paying his fee, goes to take up the hammer.
 
 CLOSE UP MIRIAM
 
 She watches Bruno.
 
 CLOSE SHOT
 
 Bruno looks down at his hands.
 
 INSERT
 
 Bruno's two strong hands - as he holds them palms tilted
 upward and fingers curled in.
 
 CLOSE UP
 
 Bruno, as he smiles faintly, glancing across at Miriam.
 
 CLOSE UP MIRIAM
 
 She gives a faint smile in return.
 
 CLOSE SHOT
 
 With a studied movement, Bruno picks up the handle of the
 hammer and swings.
 
 CLOSE SHOT
 
 The register shoots up to the 100 mark and rings the bell.
 
 MEDIUM SHOT
 
 Bruno drops the hammer and glances around at Miriam again.
 Her two boy-friends are calling for her from a little
 distance.
 
                          BOY'S VOICE
              Come On, Miriam. Come On!
 
 CLOSE SHOT MIRIAM
 
 She turns away and is lost in the crowd.
 
 MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND IN
 BACKGROUND
 
 Bruno turns to follow Miriam, his manner casual. As he takes
 a few steps, WE PAN ACROSS with him until, over his shoulder,
 we see a merry-go-round in the background. Miriam and the
 two boys are aboard and climbing onto horses. As Bruno goes
 toward the merry-go-round, the CAMERA MOVES UP A LITTLE with
 him. The merry-go-round starts to move slowly round as Bruno
 hops on.
 
 MEDIUM SHOT ON MERRY-GO-ROUND
 
 Bruno begins to look around for Miriam, who is apparently on
 the other side of the merry-go-round. He starts to thread
 his way through the horses which are beginning to move up
 and down. CAMERA FOLLOWING HIM. He passes one or two of
 the oncoming heads before he reaches Miriam. She is on an
 outside mount which is high in the air when she sees Bruno
 facing her. Her laughter dies for a moment and she smiles
 at him coyly. Bruno passes her and gets on the horse directly
 behind her, Miriam glancing at him as her horse comes down.
 
 MEDIUM SHOT BRUNO ON HORSE
 
 With horse's head in foreground, as it is coming toward us.
 
 SIDE VIEW MIRIAM
 
 Miriam on her horse, moving from left to right. Miriam,
 holding the reins, glances back with a gay laugh.
 
 SIDE VIEW BRUNO
 
 Bruno on his horse, as though he is chasing Miriam. He is a
 little more open now in his laughter.
 
 GROUP SHOT MIRIAM AND TWO BOYS
 
 Miriam and her boy friends begin to sing the song being played
 on the calliope.
 
 CLOSE UP MIRIAM
 
 As she starts to sing, she glances back.
 
 CLOSE UP BRUNO
 
 He is starting to join in the singing.
 
 MEDIUM SHOT
 
 The horses of the merry-go-round are filling the screen as
 they whizz by, and again we get the picture of Bruno chasing
 Miriam as they rush past the CAMERA, the music and tempo at
 a high speed.
 
                                               LAP DISSOLVE TO:
 
 EXTERIOR OF BOAT LANDING ON SHORE OF ARTIFICIAL LAKE
 
 Across the water may be seen a small wooded island. Between
 this and the boat landing there is an artificially constructed
 "Tunnel of Love".
 
 We see Miriam and her companions approach the boat concession
 and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA
 MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM
 IN CLOSE UP. She glances back. Her expression changes to a
 coy smile of satisfaction as she sees:
 
 MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT)
 
 Bruno is approaching the pay box.
 
 MEDIUM SHOT
 
 Miriam and her companions are escorted to a small boat with
 electric motor. Once they are seated the boat chugs away
 from the landing stage and off into the darkness.
 
 Bruno steps into the foreground and gets into the next boat
 which floats alongside. He, too, moves away into the
 darkness.
 
 ENTRANCE TO THE TUNNEL
 
 As Miriam's boat passes through, she gives another little
 glance over shoulder before her boat disappears into the
 darkness of the tunnel.
 
 After a brief moment Bruno's boat comes into the picture,
 and it, too, goes into the tunnel.
 
 INSIDE THE TUNNEL
 
 We see the silhouettes of the occupants of Miriam's boat on
 the wall of the tunnel, lit dimly from the light coming from
 the tunnel exit.
 
 The silhouette of Bruno in his boat, lit by the tunnel
 entrance, gradually approaches the other three. When the
 silhouettes are almost touching, we --
 
                                                      CUT TO:
 
 EXIT OF THE TUNNEL
 
 It is empty. There is a sudden piercing scream from inside,
 followed after a second or two by protestations and giggling
 as Miriam's boat emerges into the light. She is pushing one
 of the boys away from her.
 
                       MIRIAM
               (squealing)
           George, stop it, I tell you!
 
 Their boat moves out of the picture, toward the island.
 Presently Bruno's boat comes smilingly following and he,
 too, moves on out of the picture.
 
 MEDIUM SHOT ISLAND
 
 The group of Miriam and her companions are scrambling out of
 their boat and moving onto the island, one of the boys trying
 the boat on the shore. They disappear into the Woods of the
 island.
 
 Again Bruno's boat comes into the picture. He steps out,
 lift the prow of the boat a little onto the shore.
 
 LONG SHOT ISLAND
 
 We see the amusement park lighted beyond the lake.
 Silhouetted in the foreground, the trees and foliage of the
 island. Nearby we see the silhouetted figures of Miriam and
 her companions move across the scene, right to left. Miriam
 is pushing George away from her.
 
                       MIRIAM
               (protesting
                perfunctorily)
           George, no!
 
 She backs away from him and the boys go on picture. Miriam
 goes in another direction, around, the bushes. George
 obviously misses her, for we hear his voice call out:
 
                       GEORGE'S VOICE
           Miriam!
 
 Miriam backs out of the bushes until the back of her head is
 in CLOSEUP in the foreground of the shot. Suddenly she hears
 steps in back of her and turns her head toward CAMERA. Her
 face changes as she recognizes someone offscene.
 
                       MIRIAM
           Oh!
 
 She gives a coy smile of recognition. CAMERA PULLS BACK to
 reveal the mad and shoulders of Bruno between Miriam and the
 camera. His hand holds Guy's lighter which he flicks on as
 he raises it above Miriam's face. 0f Bruno, we see only the
 back of his head and shoulders.
 
                       BRUNO
           Is your name Miriam?
 
                       MIRIAM
               (with surprise)
           Why yes. How did you --
 
 We see Bruno's gloved hands dart quickly to Miriam's throat.
 The lighter falls down out of picture, and as Bruno's hands
 grip her throat, his head moves slightly to blot out Miriam's
 face. His head moves a bit farther until Miriam's face is
 nearly uncovered at the other side of the screen, and we see
 her glasses fall off.
 
 CLOSE SHOT
 
 Miriam's glasses hit the ground. The shadows of their
 struggling figures over the shot.
 
 CLOSE UP
 The screen is filled with one of the lenses of the glasses.
 They are of the diminishing type. Against the moonlit sky
 we see reflected, the elongated struggling figures, as though
 we were shooting up at them. Suddenly one of the figures
 falls forward.
 
 CLOSE UP
 
 Miriam's head drops into the picture by the glasses.
 
 Bruno's hand comes into the picture and picks up the glasses.
 One of the lenses has been broken by Miriam's fall.
 
 As we see Bruno's sport shoes move away, the CAMERA MOVES
 PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed
 into the earth.
 
 CLOSE UP BRUNO
 
 Bruno glances back over his shoulder. He looks down and
 goes back one or two steps.
 
 CLOSE UP BRUNO'S HAND
 
 Bruno's hands retrieve the lighter from the ground.
 
 LONG SHOT ISLAND
 
 We see a full view of the island again, with the amusement
 park beyond. The faint noise of the calliope continues in
 the distance. Bruno has been lost to view.
 
 Miriam's companions are still searching for her. We hear
 their faint voices in the distance.
 
                        VOICES
           Miriam!   Miriam! Where are you?
 
 MEDIUM SHOT
 
 Bruno comes to the shore where his boat is moored. He gets
 in and is quickly chugging away. He moves calmly, matter-of-
 fact and not furtively.
 
 LONG SHOT LAKE
 Bruno's boat throbbing its way across toward the landing
 stage.
 
 MEDIUM SHOT LANDING STAGE
 
 There are two boats unloading. Bruno's boat is approaching.
 We hear a loud call from the island. Someone has found
 Miriam.
 
                       VOICES
           Hey, here she is! What's the matter
           with her? Has she fainted?
 
 More shouts from the island cause the people at the landing
 stage to look back. The boatman's attention is also
 attracted. Suddenly,  as Bruno is getting out of boat, there
 is a loud scream from the island.
 
                        VOICE
               (crying out)
           She is dead!
 
                       OTHER VOICE
               (from island)
           Help! Help!
 
 Bruno by this time has stopped onto the landing stage, and
 in company with the other people, is looking back as if to
 see what's wrong on the island. Then he moves away, starting
 off of the landing stage. The boatman turns and glances at
 Bruno, but quickly returns his attention to the disturbance
 across on the island. He hurries forward and with a couple
 of men passengers jumps into one of the boats. He calls to
 his assistant as he gets into the boat.
 
                        BOATMAN
           Got a cop!
 
 The assistant runs off out of the pictures
 
 MEDIUM SHOT BRUNO
 
 As Bruno calmly threads his way along the midway, we hear
 above the noise of the various concessions, a shrill police
 whistle in the distance. Presently a couple of policemen
 comes running from direction of the main entrance and past
 Bruno. He glances at them over his shoulder, then strolls
 on toward the main entrance to the park.
 
 ENTRANCE TO AMUSEMENT PARK EXTERIOR
 
 As Bruno comes out through the turnstile, he stands for a
 moment on the street. At this moment a man hesitates at the
 curbstone. He is blind and tapping the sidewalk with his
 white cane. He takes one step into the roadway, then
 hesitates. Bruno steps forward and takes the blind man's
 arm. CAMERA PULLS BACK as Bruno escorts the blind man across
 the road. With a sweeping gesture he holds back a couple of
 cars to lot them pass.
 
 Once on the other side of the road, the blind man utters his
 thanks.
 
                        BLIND MAN
           Thanks.
 
 He goes off.
 
 Bruno looks back toward the park, then glances down at his
 wristwatch.
 
 INSERT BRUNO'S WRISTWATCH
 
 The time is 9.30.


...continue to part 3