THE CARILLON MAN

by Andrew Jamieson

ANDREW JAMIESON was born in Derby in December 1977, just in time for breakfast. He discovered a love for storytelling and writing from a young age and read and read and still reads. He is educated to degree level. His favourite colour is midnight-blue. His favourite fruit is the Fuji apple. His favourite author is Barry Gifford. He has written two feature-length screenplays. The first, terrible. The second, slightly less terrible. He is now concentrating on his first novel. It might be terrible.

 

BLACK SCREEN

TITLE CARD: MIDNIGHT, TONIGHT

OPEN TO:

CU: a sudden spark, the ignition of a naked flame from an open SILVER ZIPPO LIGHTER.

CUT TO REVEAL:

CU: the face of MORGAN PEOPLES is illuminated in the darkness as he cups his hands and lights a CIGARETTE. He retracts his hands and snaps the LIGHTER shut.

MORGAN is a weathered middle-aged man, with clear eyes and dark hair. He drags on the CIGARETTE and exhales.

CUT TO REVEAL:

THE SKYLINE. Multi-coloured city lights fleck the horizon.

CUT TO REVEAL:

01. EXT. ABANDONED WORKSITE, CHARLOTTE STREET – TONIGHT

A field of concrete, situated off a main road, just outside Carlisle City Centre. Weeds sprout through cracks in the concrete. The street lamps lining the nearby road provide a dim golden glow.

MORGAN stands in the middle of the worksite. He is dressed smartly (trousers, shoes) and wears an olive-coloured loden overcoat, his neck wrapped in a black scarf.

MORGAN scratches his cheek and then absent-mindedly rubs his thumbnail over his top lip. His eyes, fixed on the horizon towards town, narrow.

MORGAN

    Christy.

CHRISTY HARRISON steps into shot alongside MORGAN and looks directly at him. She is a shade shorter than MORGAN, and a lot prettier.

CHRISTY

    What?

CHRISTY is in her early twenties. She has deep blue eyes and mousy brown hair, swept back into a ponytail. Her slender figure is dressed in a black leather biker jacket (fastened to the neck), jeans and trainers.

CUT TO:

CHRISTY follows his gaze.

MORGAN

    Look.

CHRISTY

    Is it her?

MORGAN, eyes to the horizon, doesn’t answer.

CHRISTY

    Morgan?

MORGAN takes a slow drag of his CIGARETTE. He drops it to the ground and stubs it out with his foot.

MORGAN
(to CHRISTY)

    Stay here.

MORGAN wanders off. CHRISTY watches him for a moment, smiles, then follows.

FADE THROUGH TO:

02. INT. MORGAN’S BEDROOM – DAY

MORGAN is reclining in an ARMCHAIR, stained and tattered from years of wear and tear. MORGAN’S chin bears a few days worth of stubble. Barefoot, he is dressed in a pair of crumpled, fuzzed-up navy trousers and a light blue polo shirt.

CUT TO:

MORGAN’S HANDS. In his left he holds an EMPTY GLASS, in his right a HALF-FULL BOTTLE of last night’s CHAMPAGNE. He fills the GLASS. He drinks slowly until the GLASS is empty. He coughs and looks out the window, a few feet to his left.

CUT TO:

THE WINDOW. The curtains are parted slightly, allowing a sliver of light into the square room. A WIND CHIME hangs in front of the window and chimes intermittently throughout the scene.

TITLE CARD: YESTERDAY 

CUT TO:

THE BEDROOM. CLOTHES (MALE AND FEMALE) and EMPTY CHAMPAGNE BOTTLES litter the bare floorboards. The room is decorated in faded colours, and the walls are painted dirty orange. The door to the room is opposite the window. Near the doorway is a SET OF DRAWERS.

CUT TO:

SET OF DRAWERS. On top of these DRAWERS sit a RECORD PLAYER, some VINYL LPs, a FOLDED, WHITE MEN’S SHIRT and a pair of FOLDED, MIDNIGHT-BLACK MEN’S TROUSERS. The SHIRT and TROUSERS rest on a bed of TORN BLUE WRAPPING PAPER.

CUT TO:

CU: Near the WRAPPING PAPER stands a BIRTHDAY CARD.

CUT TO:

THE BEDROOM. Behind the ARMCHAIR, several SMALL CARDBOARD BOXES are stacked on top of a MIRRORED WARDROBE. Opposite the ARMCHAIR is a LARGE DOUBLE BED. A LAMP and an ALARM CLOCK are placed on a SMALL TABLE next to the BED. 

CUT TO:

THE BED. Curled up is MORGAN’S LOVER, CATHERINE CHAMBERS. As MORGAN refills his drink (off-screen), she stirs.

CUT TO:

The DOORBELL rings. MORGAN slowly rises, leaving the BOTTLE OF CHAMPAGNE by the side of the ARMCHAIR. Unsteadily, he slips his feet into a pair of UNLACED TENNIS SHOES. He finishes his drink, and sets THE GLASS on top of the SET OF DRAWERS.

CUT TO:

CU: CATHERINE opens her eyes. She sees MORGAN and smiles.

CUT TO:

MORGAN walks over to the side of the BED.

MORGAN
(smiles)

    Good morning.

CUT TO:

CU: MORGAN leans over CATHERINE and stares into her blue eyes. He kisses her forehead. She sniffs and looks at the ALARM CLOCK.

CUT TO:

ALARM CLOCK. It is 10 am.

CUT TO:

MORGAN sits on the BED.

CATHERINE
(croaky morning voice)

    Ten am and you’re drinking.

MORGAN

    But at least I’m up, you lazy wench.

He smiles impishly at her. She smiles back and throws a PILLOW at him. The DOORBELL rings again.

CATHERINE

    Answer the door, you old sod.

He winks and throws the PILLOW back at her.

CUT TO:

03. INT. HALLWAY – DAY

The DOORBELL rings louder now. It echoes in the hallway. The walls are dusty white and, like the bedroom, the floorboards are bare. Random piles of CARDBOARD BOXES are dotted throughout the upstairs hall. Two doors lead off the landing, an open one at the far end leads to a bathroom and the other (closed) at the opposite end leads to a spare room. At the top of the stairs is a CHEVAL MIRROR.

MORGAN strolls down the hallway, past the BOXES and the bathroom. He glances at his reflection as he passes the MIRROR.

CUT TO:

MORGAN’S PASSING REFLECTION.

CUT TO:

MORGAN trudges down the bare wooden stairs to the front door.

CUT TO:

THE FRONT DOOR. By the door is a SMALL TELEPHONE STAND. On the STAND is a NUMBER’S DIRECTORY, on top of which is a TELEPHONE. MORGAN’S OLIVE-GREEN LODEN OVERCOAT hangs on A COAT TREE. MORGAN opens the front door.

CUT TO REVEAL:

PETER KELLY, a vibrant, smart middle-aged man with sky-blue eyes and neatly cropped fair hair. He is dressed immaculately in a tailored black suit, under which he wears a white shirt and a two-tone purple tie. His shoes are black and shiny.

PETER gives MORGAN a relaxed smile. He is carrying a BROWN PAPER PARCEL under one arm.

PETER

    Avon calling.

MORGAN

    Just in time for a coffee. Come on in.

PETER steps inside. MORGAN shuts the door after him.

CUT TO:

04. INT. KITCHEN – DAY

A couple of EMPTY CHAMPAGNE BOTTLES stand near the sink.

Along the single empty wall sits a FOLD-OUT TABLE with a couple of CHAIRS.A window above the sink (opposite the entrance) looks out over an overgrown garden. PETER puts the PARCEL down on the nearest work surface.

CUT TO:

PETER. He wanders over to the sink, peers out the window at the backyard forest and turns to MORGAN.

PETER
(smiles)

    You’ve been taking your gardening quite seriously, I see.

MORGAN

    No fooling you.

PETER picks up one of the EMPTY CHAMPAGNE BOTTLES and examines the label before putting the BOTTLE back down on the work surface.

PETER

    Good birthday?

MORGAN

    As birthdays go... same old, same old.

PETER
(looks to the PARCEL)

    Parcel’s for you, old man.

CUT TO:

MORGAN picks up the PARCEL and tears it open, revealing a small, folded PAPER BAG from an upmarket gentleman’s clothing store and a BLACK LEATHER-BOUND BOX. Inside the BAG is a BROWN SILK TIE and inside the BOX is a CHROME-FINISHED GENTLEMAN’S SHAVING KIT.

MORGAN
(smiles)

    Nice. Thank you.

PETER

    My pleasure. Now, how about that drink?

FADE THROUGH TO:

CU: A smoking DARK-LEAF CIGAR.

CUT TO REVEAL:

05. INT. LOUNGE – DAY

The two men sit in the front room, sipping MUGS of HOT COFFEE. PETER is smoking the CIGAR.

CUT TO:

THE LOUNGE. The floorboards are again bare. Along the door-side wall a LINEN THROW covers a SOFA, where MORGAN now sits facing an ornate, stained fireplace. A similar THROW covers a second SOFA, on the other side of the door, where PETER sits. PETER’S JACKET is draped over the back of a CHAIR. The walls of the lounge are white. A GLASS COFFEE TABLE is in front of MORGAN. On the TABLE are some MAGAZINES/NEWSPAPERS and a SMALL GLASS ASHTRAY.

Opposite PETER a bay window looks out over the front garden. In the far corner of the room, near the window, is a WOODEN STAND supporting a LARGE TELEVISION and a VIDEO PLAYER.

PETER

    Cast your mind back a couple of weeks.

MORGAN

    Yesterday’s proving difficult enough.

PETER

    You remember I mentioned a trip to London?

MORGAN gives him a cold glare.

MORGAN

    Hmm, let me think. No, I don’t.

PETER
(frowns)

    That’s funny, I thought I mentioned it.

MORGAN

    And I’m sure you thought you mentioned it.

PETER shrugs and smiles innocently.

MORGAN

    You were saying.

PETER

    Conference. Too important to miss. Good opportunity to do some networking for us, get some contacts established down south.

MORGAN

    And there was me thinking this was a birthday visit.

PETER

    My apologies old boy, but there we have it.

MORGAN

    I suppose you’re all packed and ready to go.

PETER
(smiles)

    You know me too well.

MORGAN

    And you want me to cover your case while you’re away.

PETER

    The thought had crossed my mind.

MORGAN

    What about my Banbury case?

PETER

    Mister Banbury and his wandering wife can wait.

MORGAN

    Well, I'll leave it to you to tell that to Mister Banbury.

PETER

    Certainly.

MORGAN
(surprised)

    Good. So, what do you want me to take on then?

PETER

    Do you remember the Worthington case?

MORGAN

    Remind me.

PETER

    Rich socialite wife, out Lancaster way. Poor dear had a large amount of jewellery stolen.

PETER waits for some acknowledgment from MORGAN.

MORGAN

    And?

PETER

    Mrs Worthington has deposited a particularly large down payment into our company account.

MORGAN

    How large?

PETER

    Two thousand. With the same upon delivery.

MORGAN

    She’s either incredibly desperate or incredibly rich.

PETER
(smiles)

    Or both.

MORGAN
(smiles)

    Which would make her the perfect client.

PETER chuckles and looks at his watch before standing up. He stubs out his CIGAR in the ASHTRAY on the TABLE.

PETER

    Now that’s settled you’d better get ready.

MORGAN

    For what?

PETER
(puts on JACKET)

    To meet Mrs Worthington.

MORGAN

    Some notice would have been nice. A bit of courtesy, Peter.

PETER
(smiles)

    Courtesy? Sounds like a French dish.

MORGAN
(stands slowly)

    If only your humour was as polished as your shoes.

PETER
(smiles, glances at watch)

    You’ve got half an hour, so get up the stairs and get ready.
                                        (a beat)
    And put the tie on. And please, don’t forget to shave.

MORGAN

    Alright, alright, I’m going.
                                                                              (a beat)
    Just hope this lady is worth the hassle.

PETER

    Trust me, I don’t think you’ll be disappointed.

CUT TO:

06. INT. BATHROOM – DAY

MORGAN, bare-chested, clean-shaven and with a TOWEL around his neck is standing in front of a MIRROR, above a wash basin. The bathroom is white tiled.

MORGAN is rubbing aftershave lotion into his cheeks, jaw line, neck and chin.

When he is done, he pauses for a moment to look at his reflection. He leans towards the MIRROR. He examines his hairline. He scrapes his hair back and looks closer. He sighs and smiles, letting his hair drop back into place. Satisfied, he steps away from the MIRROR.

CUT TO:

07. INT. MORGAN’S BEDROOM – DAY

MORGAN is wearing the black trousers and the white shirt that were previously on top of the SET OF DRAWERS.

CUT TO:

CU: Still tucked up in BED, CATHERINE is watching him dress.

CUT TO:

MORGAN. He watches himself carefully in the WARDROBE MIRROR as he slowly ties a knot in the BROWN TIE PETER bought him. CATHERINE eyes him up.

CATHERINE

    You know, when you actually make the effort, you look quite attractive.
                                                                                 (coy)
    You’re not a bad looking man, really.

MORGAN

    Thank you.

CATHERINE

    Do you know what you’ll be doing for Peter while he’s away?

MORGAN takes a BLACK LEATHER BELT out of the WARDROBE and puts it on.

MORGAN

    Dealing with some woman who sounds like she has more money than sense.

CATHERINE

    Hope she has enough sense to keep her hands off you.

MORGAN
(turns)

    I’ve told you before. Business and pleasure don’t mix.

CATHERINE

    Good. I hope it stays that way.
                                                                     (shifts uneasily)
    So what’s happening about Banbury?

MORGAN

    Peter’s taking care of it.

CUT TO:

MORGAN sits on the end of the BED and puts on a pair of BLACK LEATHER BROGUES. He wanders over to CATHERINE’S side of the BED.

CUT TO:

MORGAN. He leans over to kiss CATHERINE. She puts a finger to his lips.

CATHERINE

    Mister Peoples, promise you’ll be careful.

MORGAN

    Miss Chambers, I promise I’ll be careful.

They kiss.

CATHERINE

    Go on, get out of here.
                                                     (calls out to him as he leaves)
    Call me later.

CUT TO:

08. INT. HALLWAY – DAY

MORGAN walks downstairs. PETER is waiting. He looks MORGAN up and down, nods, pleased.

PETER

    Now we can do business.

MORGAN

    Closest shave I’ve had for a long time.

MORGAN pulls on his OVERCOAT. PETER hands him a SMALL NOTEPAD.

PETER

    Some notes on the Worthington case.

MORGAN opens up the NOTEPAD and flicks through the pages. PETER opens the front door.

PETER

    After you.

MORGAN
(absent-mindedly)

    Thank you.

MORGAN steps out as an after thought, as he examines PETER’S notes. PETER follows.

FADE THROUGH TO:

09. EXT. STANWIX BANK – DAY

The two men turn the corner on Stanwix Bank and head towards the Eden Bridge. They take the first stairway leading down into Rickerby Park.

CUT TO:

10. EXT. STAIRWAY – DAY

MORGAN and PETER descend the steps to the park.

CUT TO:

11. EXT. PATHWAY, RICKERBY PARK - DAY

The stairway leads to a pathway surrounded by trees and shrubbery. Ahead is a garden entrance; to the left a pathway leads to a raised water garden and to the right a pathway leads to Rickerby Park.

The two men step straight ahead into the through the garden entrance. A public toilet building bisects a further two pathways. The path on the right leads into a two-tier garden. The path on the left leads into a sheltered enclave, which in turn leads past the toilets and back into the tiered garden.

CUT TO:

12. EXT. ENCLAVE - DAY

The two men step into the enclave. Plant life clings to the wooden frame that serves as a ceiling. Threads of mossy stalactites droop into the sheltered area. The back wall of the enclave is in the shadows. Sunlight breaks through the frame ceiling, cascading onto the BENCHES along the back wall.

A BEAUTIFUL WOMAN sits on the BENCH nearest the two men. MRS HELENE WORTHINGTON stands as PETER and MORGAN approach. She is tall and her hair is smartly kept, side-parted and swept back into a ponytail. Large, blue-tinted sunglasses hide her eyes.

She has fine features and a healthy complexion. A string of small pearls adorns her slender neck and she wears a matching pair of pearl drop earrings. She is dressed in camel coloured wide-cuffed trousers, with a matching tailored blazer, a crisp white shirt, and a pair of black stiletto ankle boots. A black leather shoulder bag is slung over her shoulder.

CUT TO:

PETER approaches her.

PETER
(smiles)

    Hello Helene, good to see you again.

CUT TO:

HELENE. She takes off her SUNGLASSES to reveal her clear, crystal-keen eyes.

HELENE

    Hello Mister Kelly.

PETER and HELENE shake hands politely. PETER stands aside, allowing MORGAN to become her main focus of attention.

PETER

    Helene, allow me to introduce you to my partner, Mister Morgan Peoples. He’ll be dealing with your case while I’m out of town.

CUT TO:

HELENE smiles at MORGAN and offers him her hand. He smiles back and shakes.

MORGAN

    Pleased to meet you, Mrs Worthington.

HELENE

    Likewise, Mister Peoples.

FADE THROUGH TO:

LATER. In the garden, PETER is talking on his MOBILE PHONE.

CUT TO:

HELENE and MORGAN are seated, and he has the NOTEPAD and a PEN to hand.

MORGAN

    And this P.A. of yours, what’s her name?

 HELENE

    Christy Harrison.
                                                                 (reaches into her BAG)
    I have a photograph of her, somewhere.

HELENE takes out a PHOTOGRAPH from her BAG and passes it to MORGAN.

CUT TO:

CU: PHOTOGRAPH OF CHRISTY HARRISON, smiling (she is recognisable from the opening scene).

CUT TO:

MORGAN studies the PHOTOGRAPH.

MORGAN

    Pretty.
                                                                             (a beat)
    How old is she?

HELENE

    She turned twenty-four last month.

MORGAN

    Do you mind if I hold onto this?
                                                         (holds up the PHOTOGRAPH)
    For reference.

HELENE

    Please do.

MORGAN tucks the PHOTOGRAPH into an inside pocket.

MORGAN

    How long had she worked for you before the theft?

HELENE
(thinks for a moment)

    For about eight... no, nine months.

MORGAN

    And when did the theft take place?

HELENE

    About five days ago.

MORGAN

    How many pieces did she get away with?

HELENE

    Fifteen.

MORGAN

    Pardon me for asking, but how did she manage to get away with so much?

HELENE

    I was foolish enough to have trusted her.

MORGAN
(smiles sympathetically)

    Not a mistake you’ll make twice, I’m sure.

HELENE looks away for a brief moment.

HELENE

    Morgan – Sorry, may I call you Morgan?
                                                                         (MORGAN nods)
    Morgan, you must understand that contacting the police is out of the question. If I wanted Christy prosecuted for the theft, then yes, I would involve the law. But, as I said to Mister Kelly when I first spoke to him, for the benefit of both my husband and myself, I wish to keep this a private and confidential matter. We would be quite happy to forgive an forget in exchange for the return of the jewellery.
                                                                            (a beat)
    I’m hoping that the matter can be resolved with a minimum of fuss.

MORGAN
(nods)

    As you wish.
                                                                             (a beat)
    I assume there is an inventory of all the missing items.

HELENE

    Back at the hotel.

MORGAN
(checks page in NOTEPAD)

    The Crown and Mitre.

HELENE

    Yes.

MORGAN

    I’m going to need a copy of that inventory.

HELENE

    Of course.

MORGAN
(hesitates)

    Please allow me to be presumptuous for a moment.

HELENE

    Be my guest.

MORGAN

    I’m going to take it as given that you’ve already tried to find the girl.

HELENE

    All I managed to find out is that she came here, to Carlisle.

MORGAN

    And Christy would have travelled from Lancaster, yes?

HELENE
(nods)

    She lived in rented accommodation about fifteen minutes from where my husband and I live.

MORGAN

    And you’re sure she came to Carlisle?

HELENE

    A worker at the train station ticket office recognised her from the photo.

MORGAN
(curious)

    Why do you think she would come to Carlisle?

HELENE

    She has a cousin who lives in the city centre.

MORGAN

    Do you have the name and address of this cousin?

HELENE

    I have Christy’s address book.

MORGAN
(surprised)

    Well, that helps.

HELENE
(smiles at his surprise)

    Don’t worry, I didn’t steal it. I found it at her residence, soon after she’d gone. Her landlord, such a sweet man, was kind enough to let me have a look around her place.
                                                                              (laughs)
    He was as surprised as I was that she’d gone missing, and twice as angry.
                                                                         (MORGAN smiles)
    All I can think is that in the rush to leave, she must’ve forgotten the book.

MORGAN

    And this address book is safely stored somewhere?

HELENE

    Both the inventory and the book are in the hotel safe.

MORGAN

    I’ll need to see them as soon as possible.

HELENE
(stands)

    Over lunch?

MORGAN
(stands, smiles)

    That would be fine, yes.

HELENE

    One o’clock?

MORGAN nods.

HELENE

    Wait for me in the reception area.

MORGAN

    I’ll be there, one o’clock sharp.

 

Copyright© 2003 Andrew Jamieson

***

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