106
MANNEQUIN MAKERS
by Tom Noble
FADE IN:
1 EXT. ROAD - LONG SHOT - LIMOUSINE - NIGHT
A large black limousine is travelling toward us on a desolate country road. It runs
past us. (MUSIC - mystery - suspense)
2 SAME
Again the limo goes by us. We PAN to follow it. Its tail lights fade in the distance.
3 SAME - CLOSER - LOWER ANGLE
We hear whirling wheels and rushing air as it passes by. (MUSIC - builds)
4 EXT. - FRONT HALF OF LIMO
Fender and hood pitch and yawl; wheels bounce and spin furiously.
5 LONG SHOT - LIMO - NIGHT
Limo approaches outskirts of small town, slows down and turns down
a side street in a residential area.
6 EXT. - DRIVEWAY - NIGHT
Limo pulls into a semi-circular driveway.
7 EXT. - LONG SHOT - MANSION
Car creeps to a stop; engine and lights are turned off. We hear car door
open and close, and footsteps. (MUSIC more suspenseful). Darkness,
trees and shrubbery hinder our view. Three figures struggle with heavy
footsteps toward the front entrance.
MUSIC - crescendos and continues in mystery.
PROCESS - FADE IN:
warped letters gel on screen:
the
MANNEQUIN MAKERS
b.g. figures enter mansion and close door. In 5 beats, light appears in a window.
Credits roll against the dark ominous outline of the mansion.
(Final rise in music)
FADE OUT:
FADE IN:
8 EXT. - SMALL WESTERN TOWN - DAY
A young woman is going to work in a small town newspaper office. She is
KAREN McCARTHY, attractive clerk secretary, more than attractive, voluptuous.
She enters the office building, passing a sign: MARYVILLE GLOBE.
9 INT. - OFFICE CORRIDOR
Karen passes an open door marked EDITOR and waves in to Mr. PETERSON,
the editor of the paper.
PETERSON
Karen, did you get your vacation notice in?
KAREN
I sure did. It’ll be nice to go back home and visit for a couple of weeks.
PETERSON
You certainly deserve it. But meanwhile, we have a new assignment. The
Space Administration in Washington has set up an observation post here
in Maryville. You’ll work with Louise until you go on vacation; she’ll finish up
after you leave. See Louise for the details... you’ll represent the Maryville
Globe...
HENRY, the young copyboy, a likable bungler, passes by the door.
...Henry, take those circulars down to Higgins.
HENRY
Right, Mr. P.
10 SAME CORRIDOR - TRAVELLING
HENRY (flirts)
Hi Karen.
KAREN (rather likes the attention)
Hi there, Henry. How are you doing?
HENRY
Well... already this morning I upset a stack of proofs, broke old lady
McKeefer’s flower vase, and dropped a tray of type... and it’s only
ten o’clock. Mr. Peterson says if I have another accident today, he’ll
demote me to floor sweeper.
KAREN
I think you’ll get through the day all right.
The hall ends at the large staff room. The two go in different directions.
HENRY
I sure hope so.
11 INT. - STAFF ROOM - DESK
LOUISE HART is at her desk, working on paperwork, her name on desk plaque.
Karen approaches and sits. Louise is in her mid/late 20s and very pretty.
LOUISE
Anything interesting at the women’s auxiliary?
KAREN
Not really. Just some policy making; good for a short paragraph...
Oh, and before I left the apartment this morning, a repairman came
and checked your TV. Said there was nothing wrong with it, just
some unusual static condition out there recently; said a number of
people have complained.
LOUISE
Fine. Now we’ve got some work to do. Our federal government has
sent an observation team to set up here in Maryville, scientists...
technicians. You know the relay station, just outside of town. They’ll
be using part of the new building. We’ll be covering the story as it
goes along. Mr. Peterson arranged for us to interview their personnel
in... about 45 minutes. So... we better get going.
12 SAME - WIDER ANGLE
Busy newsroom, clicking of keyboards, pencil sharpener whine. Henry is
staggering through with an armload of papers and boxes. His shirt is crinkled,
and his tie dishevelled. People pile things on him as he passes their desks.
He mumbles in confusion.
CLERK
Henry, please take these carbons back to the store room.
ANOTHER CLERK
Henry, how about taking this cover to Charlie, when you get
a chance.
GIRL
Henry, sweetie, please take these ribbons and this tray back for... me.
Henry is loaded down, his chin straining over the top of the heap. He mumbles.
HENRY (ad libs)
Plates to Charlie...sweetie to tray...carbons, supply room...
13 SAME - ENTRANCE TO CORRIDOR - LOUISE AND KAREN
They enjoyed watching this, and continue on their way down the hall.
14 EXT. - STREET - DAY
The girls get in a car and pull away from the news building.
15 EXT. - COUNTRY ROAD - CAR
They pull off the road and into the parking area of the relay station, a modern
office building, one story, landscaping, antennae on roof.
DISSOLVE:
16 EXT. - BUILDING ENTRANCE - DAY
They enter through a glass door on which is printed: CENTRAL RELAY.
17 INT. - RECEPTION AREA
A gentleman in his 50’s with white hair is standing, waiting. He is
DR. WILSON. The girls approach him.
WILSON
Miss Hart? Are you from the Globe?
LOUISE
Yes, and this is my partner, Miss McCarthy. You’re Dr. Wilson?
WILSON
Yes, I am. Please come with me to our center.
18 INT. - HALL - TRAVELLING
They follow him down a hall and through a door with a temporary sign
tacked to it: Dr. B. Wilson, Tracking Team Chief. They sign the visitor’s
log and gaze around the room at the impressive layout of instruments and
equipment. A few pieces have sheets over them marked ‘CONFIDENTIAL’.
Two assistants are at work with the gear. One of them is REED SANDERS,
a handsome young scientist.
WILSON
This is our tracking room, where we conduct all our work. I think I’ll
let Mr. Sanders explain the details of what we’re doing...
Sanders gets up and greets them with a smile.
This is Miss Hart and Miss McCarthy from the globe press. These
young ladies would like to tour our room full of radios.
Wilson resumes his walk around, making checks on a clipboard.
SANDERS
As Dr. Wilson probably told you, Washington has us out here on
the space program. We’ve been operational about a week now,
phasing in for the current and future projects... We follow the
course of missiles and satellites and send such data back to
Washington for analysis, along with other stations. We’re part
of a whole network. The equipment is quite complex, but briefly...
They walk over to a large console in the rack of components that stack across
the wall and nearly to the ceiling, flashing lights, meters, etc. Sanders points
to an oscilloscope.
SANDERS
This tracker detects objects at atmospheric levels.
KAREN
You mean like radar?
SANDERS
Well, not exactly. These systems are more advanced, but sill
use basic concepts of radar technology.
LOUISE (humored)
If you say so, but what does it do?
SANDERS
While we track satellites in orbit, we coordinate their positions
with known aircraft and areas of high density, like rain clouds, so
we can “erase” their interfering signals for a clean reading...
They move over to another instrument. In b.g. Dr. Wilson is staring and
frowning at one of the machines.
...and a more accurate analysis... Incidentally, we’ll be getting photos
of the last cast-off tank form the recent launch, and an old nose cone
only recently recovered. Could you use that in a Globe edition?
LOUISE
Wonderful. A real scoop.
SANDERS
I’ll be coming into town early; so, when we receive...
WILSON
There it is again! Reed, look at this... It’s there again.
Sanders hurries over. The girls remain.
19 CLOSE ON WILSON AND SANDERS
The scientists strain as they watch instruments.
WILSON (not to be heard by the girls)
Will you look at that.
20 CLOSE ON INSTRUMENT PANEL
The scope beam is fluttering irradically.
WILSON v.o.
I’ve never seen a disturbance quite like this
SANDERS v.o.
Yeah, like last night. And the other day.
21 MEDIUM SHOT - WILSON AND SANDERS
SANDERS
I’ll do a preliminary
WILSON
Look, it’s fading off now.
22 INSTRUMENT PANEL
The beam is smoothing out to a regular pattern.
SANDERS v.o.
If this happens again, I’m going to check the entire circuit...
23 WILSON AND SANDERS
SANDERS
I can’t imagine any natural cause, any known cause.
24 MED SHOT
Sanders rejoins the newspaper girls. They sense trouble.
KAREN
Maybe we better get back to the office.
LOUISE
Right Karen. And thank you for your time, Mr. Sanders, we’ll
have a write-up in the morning edition.
SANDERS
Awfully sorry to cut our visit short, I’m glad you understand.
I’ll keep you posted on any interesting development... Oh, and
I’ll drop those photos off later at your office.
LOUISE
We would appreciate that. I hope it’s no trouble.
SANDERS
No trouble.
25 FULL SHOT - ROOM
Dr. Wilson, farther away, rises from his desk.
LOUISE
Thank you, Dr. Wilson.
WILSON
You’re quite welcome. Good bye now.
LOUISE AND KAREN
Good bye.
SANDERS
I’ll see you later.
DISSOLVE:
26 EXT. - PARKING AREA - DAY
Karen and Louise walk to their car.
KAREN
We’ll just have to give them more interviews
LOUISE (a little dreamy)
Yeah. But don’t cancel your vacation.
They get into the car and pull out onto the highway toward town.
FADE OUT:
FADE IN:
27 INT. - MED SHOT - POLICE STATION - DAY
Desk Sergeant and his officer clerk are doing paperwork at their counter.
The counter is elevated slightly on a platform; PHONE RINGS, he
answers the phone.
SERGEANT (taking notes)
Maryville Police department...yes...(a few beats)...
and you are the man’s foreman?..yes, we a had a few...
let’s see. ( to clerk) last nights drunk tank...
(reads from clerk’s paper)...No, I don’t see a ‘Regan’,
but I’ll post it... (a couple of beats)... you’re welcome.
28 FULL SHOT
CHIEF BROWN enters and crosses to counter, gives the sergeant an
inquiring look.
SERGEANT
Chief, we got a call from the foreman of that oil outfit, says
a man didn’t show up for work this morning, it’s not like him.
He checked the bus station and the man’s hotel... nobody’s
seen him. Nothing on our list.
BROWN
What’s his name?
Sergeant tears off the note from the pad, hands it to him.
SERGEANT
Regan, Philip Regan.
Brown looks at the note and walks into his office.
29 INT. - MED SHOT - BROWN’S OFFICE
Brown sits at his desk, dials the phone, waits.
BROWN
Globe? Mr. Peterson, please... Hello Pete, Lawman Brown.
We’ve got a missing just in, man named ‘Regan’, Philip Regan,
some oil worker out at the camp. Gone since last night... Fine,
thank you, Pete. (hangs up)
DISSOLVE:
30 INT. - FULL SHOT - NEWSPAPER OFFICE - DAY
Office is rather quiet. Wall clock reads 4:52. Many desks are empty.
Henry sits on Karen’s desk. Louise works at desk in b.g.
HENRY
...yeah, I wrote another one last night. Here, I’ll read it, listen.
(pulls out folded paper)
KAREN
That’s sweet of you, Henry, but if you want to write, you should
spend time studying those journalism books.
HENRY
Aw, come on, Karen.
KAREN
All right...
HENRY
Like this: “My eyes look only upon the stars.
Your eyes are the stars,
Shimmering as the dew of morn.
With lips fair only to match
With sweet cherry blossoms”...
Mr. Peterson crosses behind Henry, does one take, and continues o.s.
Now get this, “Piggies have sows to enjoy,
They know what to do. Oh boy!
A rooster’s design is on his hen,
Won’t you be mine, fair Kar-en?”
(enjoying his own work) That was for you, Karen.
KAREN
I thought so. Thank you, Henry.
HENRY
I’m working on another one. I’ll bring it in tomorrow.
Karen struggles to conceal her agony
KAREN
Oh Henry, you shouldn’t.
HENRY
Oh, but I want to... eh, Karen, it’s payday; would you like to go
out to dinner with me? I mean if you’re not busy tonight.
KAREN
That sounds wonderful, Henry. I’d be delighted, but this grocery
layout will take a while.
HENRY (little over-excited)
Well, if you’re dried up...er, tied up, we’ll go when you’re you’re
done laying out... eh, done lay... done grow... ad, DONE! I’LL
PICK YOU UP AT HOME!
KAREN (nothing new here)
Fine, Henry.
31 MED SHOT - LOUISE - PAN
Louise comes from her desk and passes by.
LOUISE (to eh, Henry)
You’re going to be a great poet.
HENRY
Really? Think so?
KAREN (dead pans)
Someday.
HENRY
Huh?
KAREN
... nothing.
32 INT. MED SHOT - LOUISE
Louise stops at coffee station near hall entrance, pours a cup.
33 INT. MED SHOT - BUILDING ENTRANCE - DAY
Sanders walks in with manila envelope, and into corridor.
34 AS IN 32 - LOUISE
Sanders comes in, sees Louise.
LOUISE
Mr. Sanders.
SANDERS
Ah, Miss Hart... here’s your photos from Washington.
LOUISE
Please have some coffee.
SANDERS
Thank you.
Sanders pulls picture out of envelope as Louise pours coffee. They exchange
items.
LOUISE
And this is the old nose cone?
SANDERS
Yes, it was taken right after its recovery. I’m sure the New York
papers have it already.
LOUISE
Looks like a flower pot... I guess we’re in competition with New York.
SANDERS
“Reed”... and, have dinner with me, tonight.
LOUISE
Well...
SANDERS
Didn’t I see a little Italian place on the edge of town?
LOUISE
I’d love to go... and my name’s ‘Louise’.
SANDERS
Fine...
35 INT. FULL SHOT - HENRY
Henry enters.
HENRY
Lou, you finished with the women’s column?
LOUISE
Yes, ready. Henry, this is Reed Sanders, from our tracking station.
HENRY
Hi.
SANDERS
Hi, Henry.
LOUISE
And take this down to copy. It’s that nose cone they picked up
this morning; we should get it out right away.
HENRY (hurrying out)
You bet.
36 INT. MED TWO SHOT - FOLLOWING
Louise and Sanders step over to the window and look out.
LOUISE
Maryville... one of America’s little towns... a throwback, defying time
and change. You’ll see several generations of look alikes.
SANDERS
Sounds like you’re from here.
LOUISE
No, but I came from a small town, in Missouri, both Karen and I.
We studied journalism in school, and then got an assignment from
the Globe, and came on out. We’ve been here a couple of years.
SANDERS
It must get lonely for you sometimes. Ever want to try the big city lights?
LOUISE
No, some of us are too busy with our work to take notice of such a
difference, or even care.
SANDERS
Well, you’re happy here. That’s the important thing. I’m a city boy
myself.
They gaze out the window.
LOUISE
What are you thinking about?
SANDERS
Lasagna, bread sticks, red wine.
LOUISE
I can hardly wait.
SANDERS (squeezes her hand)
See you at 8:00.
Sanders walks to hallway, glances back and smiles on his way out.
37 INT. MED SHOT - LOUISE
Louise sighs and walks to her desk.
LOUISE
I’m ready to go home. How about you?
KAREN
Yeh, I sure am, let’s go.
They pick up their purses and head to the hallway. Karen remembers something
and calls back to Henry.
KAREN
Henry, all those decorations from the office party are still here; I keep
forgetting...
HENRY
Don’t worry, I’ll bring them when I come over tonight.
KAREN
Oh, would you? You’re sweet.
HENRY
That’s okay. Just remember my knock.
Henry raps his knock on a desk top, “Shave and a haircut, two bits.”
KAREN
Okay, see you at eight.
The girls exit through hallway.
38 INT. CLOSE SHOT - HENRY
Henry dopes off at an empty desk. He folds a piece of paper into a glider
and sails it into a waste basket. He dreams aimlessly, then raps his knock
again. He gets up and moves out of frame.
DISSOLVE:
39 INT. LOOSE TWO - DUSK
Wilson and Sanders are working controls on an instrument panel. Lights
and patterns on the indicators change as they adjust knobs.
WILSON
Now let’s try it with A.F.C on the primary... watch your gain..
Sanders manipulates controls accordingly.
SANDERS
No, that’s not it.
More fiddling; more squeaking and beeping sounds from the equipment .
WILSON
Perplexing... we’re still on primary, try your BFO at the low end.
Sanders does so.
SANDERS
Still the same... nothing. Let me try phasing in the secondary.
Another attempt.
Nope. No effect there either.
WILSON
Switch back to auxiliary. We’ll just have to wait for it to settle out.
SANDERS
I don’t understand it. The latest equipment; the stuff does its own
trouble-shooting... The pulse keeps fading and returning, theoretically
not possible.
WILSON
But the big problem is... if we’re tracking a missile, friend or foe,
we won’t be able to depend on a continuous ability to monitor...
we could be the missing link in the network, a critical link. This
hidden force could cripple the integrity of the system.
SANDERS
There’s no pattern to it. Different times, different intensities and
durations.
WILSON
I’m going to wait this out tonight. This might be a new chapter
in physics.
SANDERS
Fine, doctor.
40 INT. ANGLE ON EXIT
Sanders straightens his tie, picks up his jacket and heads toward the door.
WILSON
Have a nice evening Reed, don’t worry.
SANDERS
Okay. I’ll call you in a few hours.
Sanders walks out.
41 EXT. LONG SHOT - LOUISE AND KAREN - DUSK
From b.g. they walk toward us and finally to their apartment door.
42 INT. MED SHOT - APARTMENT
Louise and Karen enter their clean modest apartment.
LOUISE
What a day that was.
KAREN
You say that every day.
They settle into their evening routine; loosening garments, kicking shoes off.
Karen flops on easy chair, turns on the radio, and picks up a magazine.
Louise disappears into the back, raking fingers through her hair.
LOUISE
You only have another week to go.
Karen tunes the radio.
SFX- lots of static, soon a shower can be heard running.
More interference on the radio. She settles on a station.
ANNOUNCER v.o.
...made only from the richest blends of fine western grains.
So, kids, ask Mom...[ static]... store today.
She picks another station.
SECOND ANNOUNCER v.o.
…that’s the wind-up on regional weather. Maryville has
reported continued reception trouble...[fade]...local
broadcasters haven’t found anything wrong with their equipment.
The opinion is an abnormal stratospheric conditions probably
caused by the abundance of radio electronics in today’s modern
world...
SFX - The shower sound ends o.s.
…[static]...news in the brief...[fades away]...
Karen tunes to a music station with no interference. Louise enters wearing
a bathrobe, towelling her hair.
LOUISE
Was that something about our radio trouble?
Louise goes into bedroom to dress.
KAREN
Only that they haven’t figured it out yet.
SFX - Karen goes into the bathroom and turns on the shower.
43 INT. BEDROOM - LOUISE
Louise is dressing, sits at a vanity and does makeup.
SFX- The shower noise ends.
LOUISE
...and Henry’s going to bring over the decorations. They’ve
been cluttering Mr. Peterson’s office for weeks.
44 SAME - TO INCLUDE KAREN
Karen enters in a housecoat. Louise gets up, looks at her watch, continues
doing her hair. Karen sits at the vanity and starts her makeup.
LOUISE
Where you going with Henry?
KAREN
That little diner he always likes. He adores that old jukebox
they have. So is Reed Sanders the new item? He looks like
quite a charmer.
LOUISE
We just met him. We’re going to go to that little Italian villa
restaurant.
KAREN
Hmm. I’ve heard about young scientists in Italian villas.
LOUISE
Hmm. What have you heard?
SFX: Knock at door.
That must be Reed now, that’s not Henry’s knock.
45 INT. FULL SHOT - APARTMENT
Louise shows Sanders in, and goes to find her purse.
LOUISE
Hi Reed... with you in a sec.
SANDERS
That’s all right. Hi Karen.
KAREN
Hi there.
LOUISE
There we are, ready. Have a nice time, Karen.
KAREN
I will. You too. Henry’ll be by shortly.
Louise and Sanders leave.
DISSOLVE:
46 EXT. WIDE ANGLE - MANSION - NIGHT
The old mansion seen before [suspenseful MUSIC begins and builds].
The lights of the black limousine flash on; it creeps out of the driveway.
47 EXT. ELEVATED SHOT - STREET - NIGHT
The limo passes under us, rushing down the sparse residential street.
48 EXT. FULL SHOT - LIMOUSINE - NIGHT
The big car turns onto the highway, rounding the corner tilted, its tires
squealing. It speeds down the highway, and out of sight.
49 SAME
The limo surges on at high speed. [music peaks, and then fades]
DISSOLVE:
50 INT. CLOSE SHOT - APARTMENT - KAREN
Karen is changing out of her housecoat. [music starts building again]
CAMERA pulls around to reveal the room and Karen in underwear folding
housecoat over back of chair, fastening garters to stockings. Slips on blouse
and skirt.
SFX - Wind has come up outside, shutters bang, trees rustle. The radio from
the living room sounds tinny with distortion.
Karen finishes her hair and makeup and walks toward bedroom doorway.
51 INT. LIVING ROOM
Karen enters. The radio interference gets worse, Karen snaps it off with
annoyance.
[MUSIC and wind howling to a tingling pitch] Karen looks at her watch and
sorts items in her purse.
DOORBELL rings. Music and wind SFX tell us something isn’t quite right.
Karen goes to the door but hesitates just as she gets there. She reaches out
for the knob. The doorbell rings again just as she opens the door.
Henry is standing, overloaded with bundles. He could barely push the
doorbell with an extended finger hidden from his own view - comic. A corner
of one package is snagged in his sweater.
HENRY
Dog gone... lot of stuff...
He pushes his way in.
Where do you want me to put it?
KAREN (catches her breath, laughs with relief)
Anywhere... just anywhere.
She unsnags his sweater.
HENRY (slightly puzzled)
Well okay...
Sets things on coffee table.
...you all right?
KAREN (reclaiming composure)
I’m just wonderful!..
and throws her arms around a bewildered Henry.
I guess I was listening for that silly knock... and then the wind...the radio...
Henry disengages her
HENRY
Well, it’s over now, everything’s just fine. Now let’s go to dinner.
They head out the door.
DISSOLVE:
52 INT. TWO SHOT - RESTAURANT TABLE - LOUISE AND SANDERS
[sentimental MUSIC] A quiet evening, few patrons. Modest European decor,
red and white checked table clothes, napkin-lined baskets of breadsticks, candles
stuck into wicker basket bottles, gondolier wall posters. Louise and Sanders
sip aperitifs while waiting for dinner.
SANDERS
You certainly don’t look like the newspaper woman I saw
this afternoon.
LOUISE
Why thank you.
SANDERS
The pleasure’s mine... So how does it feel covering our space
program?
LOUISE
I know it’s going to be fascinating, especially if I’m going to keep
coming out for interviews.
SANDERS
That’s even better.
LOUISE
Science is on the threshold of something really big. I know you must
love your work.
SANDERS
It’s very satisfying, and a real privilege to work under Dr. Wilson.
He’s one of the leading physicists in the field.
LOUISE
He must be a fine person. You must have gone through a lot
of training.
SANDERS
I was always interested in science and discovering the ‘whys’ of
nature. We learn facts... we try to. And your job is to report facts.
LOUISE
We try to.