Marty Page #18

Angie has nothing better to do than give his attention to

the last lines of the story. Perturbed, he turns and leaves.

NEAR ELEVATED SUBWAY. NIGHT.

With street NOISES over the scene, Marty and Clara walk along

through the intricate understructure of the elevated subway

toward Webster Avenue.

STREET.

Marty and Clara walk slowly along a side street in Marty's

neighborhood. The streets are almost empty; perhaps an

occasional PEDESTRIAN on the other side of the street. The

cars are parked bumper-to-bumper in lines along the curb.

The five-story apartment buildings are mostly dark, an

occasional window lit.

Marty suddenly stops and bends down; his shoe lace has become

untied. Clara sits back against the fender of the nearest

car and continues talking.

CLARA:

...It's really a fine opportunity

for me. But I'm not sure I want to

be a department head. It's mostly

executive and administrative work.

Well, anyway, I told you about my

father, and he depends on me a great

deal, and...

MARTY:

(still concentrating

on his shoelace)

Why don't you just move out to

Portchester?

CLARA:

Well, that's what I was saying. My

father is getting old. And we're

very close. He's a wonderful man,

really...

She pauses as he straightens. He looks at her a moment.

MARTY:

I think you're kidding yourself,

Clara. I used to think about moving

out, you know? And that's what I

used to say. "My mother needs me."

But when you really get down to it,

that ain't it at all. Actually, you

need your father. You know what I

mean? You're living at home, and you

got your father and mother there,

and you can go on like that -- being

a little girl all your life.

CLARA:

I'm afraid of being lonely.

MARTY:

Oh, you won't be so lonely. You'll

make friends right away.

CLARA:

Actually, I don't make friends easily.

MARTY:

What're you talking about? You're a

real likeable person. You'll make

friends out there in Portchester

one, two, three. You'll have people

visiting you alla time. I'll come

visit you. I'll borrow my brother

Freddie's car, or you can call me up

when you feel blue, or I'll call you

up. And it's gonna be nice. Don't be

so afraid.

They have only gone a few paces farther when Marty's shoelace

comes loose again. He fidgets self-consciously, bends down

and begins to retie it. The VOICE of Ralph, the well-dressed

man, established previously, is heard.

RALPH'S VOICE

(off-screen)

Hey, Marty!

Marty and Clara both look off...

STREET. CAR WINDOW.

Ralph is leaning out the car window twisting to look back up

the street.

RALPH:

(yelling)

Hey, Marty!

Marty and Clara look around to find the source of the voice.

RALPH:

Marty! Over here!

Marty and Clara again look around trying to find Ralph. Marty

spots him leaning out of the window of a '47 Chevy parked in

the background.

MARTY:

Hello, Ralph.

RALPH:

(yelling)

Hey, Marty, come over here a minute.

Marty and Clara start walking toward the Chevy.

INSIDE THE CHEVY.

Ralph and MABEL, a young woman in her early thirties, are

seated in front. In the rear seat of the car, LEO is

sandwiched in between a MISS LOUISE KELLY and a MISS ELAINE

RITCHIE.

RALPH:

(explaining to girls)

You'll like this guy. This guy's a

nice guy.

LEO:

Who's this? Marty?

RALPH:

Yeah.

LEO:

(confirming Ralph's

statement)

Oh, this guy's a nice guy.

STREET.

Marty stops and excuses himself from Clara to walk slowly

toward the Chevy. It's about five cars down from him. The

camera pans with him.

OUTSIDE THE CHEVY.

Ralph is leaning out of the window again, watching Marty

approach.

MARTY:

(approaching the car)

Hello, Ralph, what's new?

(looks through the

back window,

recognizes Leo)

Hiya, Leo.

LEO:

Hiya, Marty.

RALPH:

(indicates with his

head that he wishes

to hold a whispered

conference with Marty)

Hey, Marty, come here a minute.

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