MANHATTAN GHOST STORY RONALD BASS SEP. 17 / 1996 HKMISimg pg. IFMANHATTAN GHOST sTORY INT. TRAIN = pay Rattling train, aking time through New England countryside. from somevnere, a disembodied (v.0.) I remember. Is SEE him now, carrying his bags. AARON CRAY, mid-thirties, unassuming smile. Passing each full compartment, seeing the array of commuter travelers. Until the voice of his memory recall BARON (V.0.) I remember seeing the voman... <+:4 Compartment with one seat empty. Next to a middle-aged WOMAN, conservatively dressed. AARON (V.0.) ++and suddenly thinking, for sasons J couldn’t name...I don’t want to sit with her. watch him, peering through the glass. she suddenly stares STRAIGHT UP at him. An expectant look on her refined featur AARON (V.0.) x was ashamed to think athing. So, of course, And Aaron pushes through the door. He smiles at the voman, who continues to stare at Rim, unsmiling, somehow eager, He lifts his bags to the overhead rack. And when he takes his seat, he looks up inte her intense, unsettling gaze, WOMAN Hello, I’m Madelin More than abrupt. An energy to it that really takes him back. Naturally shy, Aaron manages a friendly smile... ‘AARON I’m Aaron Cray. It’s nice to meet you. She doubts that. studies him sppraisingly. WOELINE +--You're going to a new job. In the City. A book, you're... writing? Daron is stunned. He glances across at their companions. A vatery-eyed PRIEST, fixed on his paperback. An anorexic teenage2. 43 4 aagazine. 3ack to Nadel4) ‘ Been jeline, nis elstely AARON photographing, actually. Yow ADELINE sone chings nore Siaarly than others. Not an apology. . simple explanation. MADELINE Z 4o bettar on intinata Batters. Yor sxample, you/ve Deen disappointed in iove, Raven‘t you, Aaron? AARON fa/am, Teo. MADELINE 1 business, chink the bet nature has ace \aron. To the quman nature. He icesn’+ now vnat to do. Siances xelplessly back at the priest, Fning a single page Sack and forth, slightly unnerving, a deractive Loop of videotape. ‘The girl, horribly thin, CRACKS her jum more loudly than social convention permits. MADELINE They don’t care, Aaron. They never do. When ne turns back, the voman nas leaned perceptibly nearer. ‘MADELINE 2 uhink you've locked your heart avay, so you von’t de hurt, again. of course, that’s pathetic. (beat) Albeit sweet. Silenca. ARON Ifa going now. But 18 he zises to reach for his bags MADELINE Your acther is dead, isn’t ahe? She committed suicide. He stops