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
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
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.
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.
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.
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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.
(smiling with sudden
I beg your pardon, but aren't you
Guy nods with a polite half smile. Being a well known
tournament tennis player, he has had this sort of experience
(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.
(with open admiration)
I certainly admire people who do
I'm Bruno Anthony. Bruno. See Guy
looks up. Bruno indicates his gold
tie pin which bears his name in cutout
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.
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How do you do.
(with an apologetic
I don't usually talk so much. Go
Ahead and read.
Guy tries to read but is uneasily aware of Bruno's open