Post by pansy on Apr 25, 2009 7:38:37 GMT -5
I was doing this for script-frenzy, and then my motivation? Yeah. It died.
-----
Clockwatching
by
Jessica Fountain
INT. PARLOUR – NIGHT
The screen starts off black, and the faint ticking of a clock is heard. As a picture slowly starts to fade in, the ticking gets louder. Eventually the full picture is seen – the camera is zoomed in on the face of an old grandfather clock. The second hand is about to strike midnight. Camera starts to pan out as the second hand keeps ticking. Finally the whole face of the clock is seen and the camera stops panning just as the clock strikes twelve. With the toll of a clock comes an O.S. blood-curdling scream.
INT. OFFICE BUILDING – LATE AFTERNOON
There is a lot of commotion – a phone is ringing, people are talking. The camera pans around the office, taking in various workers who are slightly blurred, obviously not the main focus on the screen. There is no music playing as the camera falls on our main character, JENNIFER, aged 25. She is bent over her desk, working on something.
The phone rings. JENNIFER picks it up. Her expression changes from irritated to stunned horror.
JENNIFER
(Disbelieving)
What?
EXT. LARGE MANOR HOUSE – EARLY MORNING
The manor house is big and obviously old. Probably has ivy growing on the bricks and a wrought iron gate. A car pulls into the driveway and stops on the gravel, and JENNIFER gets out, looking troubled. She runs up the rest of the drive and goes up to the front door, rapping on it with her knuckles. Impatiently she does it again and the door is opened by the BUTLER, aged around fifty.
BUTLER
(gripping her shoulder)
Miss Jennifer! Do come in, do.
(JENNIFER walks in and JAMES closes the door)
INT. MANOR HOUSE – KITCHEN
The kitchen is large and extensive. There aren't any tools or plates lying around. There's a small, round table on the left side, near a wood fireplace that the servants use in the wintertime to keep warm. JENNIFER is seated here as JAMES pours her a mug of tea from a steaming kettle.
JENNIFER
(Brings the cup to her lips, not looking at JAMES but staring straight ahead at the wall)
How did it happen?
JAMES
(setting the kettle down)
We're not sure.
JENNIFER
(snappy)
What do you mean, you're not sure? What happened to my mother, James?
JAMES
Calm down, Miss Jennifer. We just don't know what happened to her. She was fine last night when I checked in with her before bed, and then this morning Milly-
JENNIFER
(Cutting him off)
Milly?
JAMES
Her ladyship's personal maid. She found her this morning when she went to bring her the usual bout of morning tea.
JENNIFER
(nods and goes quiet again, her hands wrapped around the cup as she thinks)
(momentary pause)
Does Avery know?
JAMES
I contacted your brother just after I called you. His flight is due in this afternoon.
JENNIFER
(quietly)
Thank you, James.
JAMES
(Nods, remaining silent)
JENNIFER
Are we allowed into her room?
JAMES
Yes, miss. The police have given the all clear, but they would ask that you didn't touch anything. I expect there will be an officer around to question you at some point during the day.
JENNIFER
(Frowning)
Why would they need to question anyone at all?
JAMES
(shifting uncomfortably)
I'm not at liberty to say, Miss. They'll explain everything when they arrive, I expect. Would you like to go upstairs? I'll make a spot of breakfast.
JENNIFER
(nods)
INT. MANOR HOUSE – STAIRWELL
The stairwell is, like the rest of the house, ornate and winds up onto the second floor gracefully. Possibly has red carpet on the stairs. Family portraits line the walls.
JENNIFER walks up the stairs slowly, running her fingertips over the would. She looks pensive.
INT. MANOR HOUSE - CORRIDOR
This corridor is dimly lit, only by a lone window with red curtains at the very end of the hall and several lights on the walls in between doors. JENNIFER walks down to the third door and pauses with her hand on the handle. She seems to take a deep breath and prepare herself before opening it.
INT. MANOR HOUSE – THE LATE LADY WATSON'S BEDROOM
Wide shot of the bedroom. There is a large bed on one wall, several large windows with open curtains. The whole room is lavishly decorated and the wallpaper is ornate and detailed. Fireplace on another wall. JENNIFER walks in and looks around, taking another deep breath. She closes her eyes.
FLASHBACK TO:
INT. MANOR HOUSE – STAIRWELL - DAY
The house is the same, but brighter. It's raining outside, as we see through the window, but it seems happy. A little girl runs up the stairs – young JENNIFER, age six.
INT. MANOR HOUSE – CORRIDOR – DAY
JENNIFER runs down the corridor, a smile on her face until she reaches the door to her mother's bedroom. She doesn't hesitate to open it and push inside.
INT. LADY WATSON'S BEDROOM – DAY
The room looks the same as well, but lighter, like the rest of the flashback. JENNIFER comes inside and finds her mother, VICTORIA sitting at the vanity in the corner. VICTORIA turns and smiles at JENNIFER, holding out her arms. JENNIFER climbs into her lap and VICTORIA shows her makeup and plays with her, holding up various pieces of jewelry. JENNIFER is delighted.
BACK TO PRESENT:
JENNIFER opens her eyes, a smile on her face. It fades as she looks to the vanity. She walks forward and runs her fingertips along it lightly. She jumps as JAMES knocks on the door, and turns.
JAMES
Pardon, Miss, but your breakfast is ready in the kitchen.
JENNIFER
(nodding)
Yes, thank you, James. I'll be down in a moment.
JAMES
(nods and bows)
Very well, Miss.
(He exits)
JENNIFER turns back to the vanity and sits down at the stool. She pretends to play with the jewelry like in the flashback, when her eyes fall on something sticking out of a drawer. She pulls it out, looking curious. She almost opens it, but is interrupted.
JAMES (O.S.)
Miss Jennifer! Your breakfast will get cold!
JENNIFER
(calls back)
I'm coming!
(slides the envelope into her purse and stands, moving to exit the room)
INT. MANOR HOUSE – LIVING ROOM – MIDDAY
JAMES and JENNIFER are seated around a small coffee table, having afternoon tea. The room is very large and ornate like the rest of the house, a whole wall of bookshelves on the back wall.
JENNIFER
(laughing)
...Yes, I remember that! Mother took us on a picnic and you were fretting about our Sunday frocks getting messy!
JAMES
(laughing)
With perfectly good reason! They were white frocks, and I knew you – you were sure to run straight to the river and get them muddy!
JENNIFER
And that's exactly what I did.
(smiles in a smug way)
There is a ring of a doorbell, and JAMES excuses himself to go and answer it. JENNIFER continues to sip her tea and smile at their conversation. JAMES returns.
JAMES
Officer William Knight.
(he steps aside to reveal WILLIAM, aged 44, the officer in charge of LADY WATSON'S case)
WILLIAM
(steps in the door and takes off his hat, nodding his head to her)
William Knight, at your service, ma'am. I'm sorry for your loss.
JENNIFER
Thank you. Won't you sit down and have a cup of tea? James has just made some.
WILLIAM
Yes, that would be brilliant, thank you.
(he sits down across from JENNIFER and JAMES fixes him a cup of tea)
JENNIFER
(after a slight pause)
So, Officer Knight, what is it that I can help you with this afternoon? You'll forgive me if we make this rather short – my brother is due in from Glasgow in an hour.
(she looks at the clock)
WILLIAM
Of course, ma'am, no trouble.
(he pulls out a notebook and a pen, flipping through until he finds a clean page)
First, your name?
JENNIFER
Jennifer Watson.
WILLIAM
Age?
JENNIFER
Twenty-four.
WILIAM
Relation to the deceased?
JENNIFER
(pauses)
Lady Watson is – was – my mother.
WILLIAM
(nods as he writes)
And your current employment?
JENNIFER
Accountant at the Royal Bank of Scotland.
(she sips her tea, settling back in her chair slightly)
WILLIAM
Alright...
(Scribbles something else)
Now. When was the last time you talked to Mrs. Watson?
JENNIFER
(frowns, thinking)
I talked to her yesterday evening... She said she was getting ready to have her usual tea before bed.
WILLIAM
(nods)
The last time you saw your mother – did she seem like she was in good health?
JENNIFER
Oh yes, Mother has always been very health-conscious. I saw her two days ago and she seemed fit as a whistle! Why do you ask? Was it because of her health?
WILLIAM
(looks up sharply)
We're not entirely sure, ma'am. It seems as though there was nothing wrong with her at all. We were... unable to determine the cause of death, but our chief coroner is still trying. Did your mother have any history of heart problems?
JENNIFER
(looks taken back for a moment before she responds)
No sir. She never had any significant health problems that I know about... That is very peculiar, though. You don't thi-
(She is cut off as the phone rings. James excuses himself to answer it.)
Forgive me, you don't believe she could have been murdered, do you?
WILLIAM
(laughs jovially)
No, no, miss, nothing of that sort. There wasn't any sort of evidence to point to that at all. No marks or anything of the sort.
JENNIFER
(relaxes)
Oh, that's music to my ears, then. It puts my mind at ease, at least.
JAMES
(comes back in, clearing his throat)
Pardon me, Miss, but your brother just called. He's arrived at the airport.
JENNIFER
(stands, setting her teacup and saucer down on the coffee table. She turns to WILLIAM)
Well, if that's all...?
WILLIAM
(stands as well, replacing his cap)
Oh, of course! I'll be in touch, though. I've left my number with him -
(nods to James)
so call me if you need anything at all. We'll get to the bottom of this, ma'am, I promise. Thank you for your time.
JENNIFER
No, Officer- thank you.
WILLIAM
Just doing my job, ma'am. Good day.
(he tips his hat and exits the room)
EXT. MANOR HOUSE – DRIVEWAY – MIDDAY
JAMES and JENNIFER exit the house and go over to a black car, not the same one that JENNIFER arrived in. JAMES opens the back door for her and JENNIFER gets in. JAMES goes around to the driver's side and gets in. The car cranks and backs up, pulling out of the drive.
INT. WATSON FAMILY CAR – MIDDAY
JENNIFER
Did Avery mention how long he's staying for?
JAMES
(looking at her through the rearview mirror)
No, Miss. I expect he'll stay with you though, not to worry.
JENNIFER
(nods and looks out the window, going silent as she watches the buildings and cars pass by)
INT. AIRPORT – AFTERNOON
The airport in London is large and busy. Everyone is going about their own business and hurrying around, jostling people as they try to get to their own flights. JENNIFER and JAMES are seen walking to the terminal stating that the flight from GLASGOW, due to arrive at 3:15, has landed.
JENNIFER is scanning the crowd coming into the terminal, looking anxiously for her brother AVERY. Suddenly her face lifts and she rushes forward to crush a taller boy in her arms. He's around twenty.
AVERY
Jen!
(he drops his things to wrap his arms around her tightly)
JENNIFER
(just holds onto him, her face pressed into his shoulder)
AVERY
(gently strokes her hair with one hand)
I know, Jen. I know.
JAMES
(while they are hugging, he steps forward to retrieve Avery's things from the floor, then steps back)
Shall we let Master Avery get settled, then?
JENNIFER
(pulling away from Avery and wiping her face)
Yes, yes. Sorry.
(she smiles as Avery wraps a protective arm around her shoulder and they exit the terminal)
-----
Clockwatching
by
Jessica Fountain
INT. PARLOUR – NIGHT
The screen starts off black, and the faint ticking of a clock is heard. As a picture slowly starts to fade in, the ticking gets louder. Eventually the full picture is seen – the camera is zoomed in on the face of an old grandfather clock. The second hand is about to strike midnight. Camera starts to pan out as the second hand keeps ticking. Finally the whole face of the clock is seen and the camera stops panning just as the clock strikes twelve. With the toll of a clock comes an O.S. blood-curdling scream.
INT. OFFICE BUILDING – LATE AFTERNOON
There is a lot of commotion – a phone is ringing, people are talking. The camera pans around the office, taking in various workers who are slightly blurred, obviously not the main focus on the screen. There is no music playing as the camera falls on our main character, JENNIFER, aged 25. She is bent over her desk, working on something.
The phone rings. JENNIFER picks it up. Her expression changes from irritated to stunned horror.
JENNIFER
(Disbelieving)
What?
EXT. LARGE MANOR HOUSE – EARLY MORNING
The manor house is big and obviously old. Probably has ivy growing on the bricks and a wrought iron gate. A car pulls into the driveway and stops on the gravel, and JENNIFER gets out, looking troubled. She runs up the rest of the drive and goes up to the front door, rapping on it with her knuckles. Impatiently she does it again and the door is opened by the BUTLER, aged around fifty.
BUTLER
(gripping her shoulder)
Miss Jennifer! Do come in, do.
(JENNIFER walks in and JAMES closes the door)
INT. MANOR HOUSE – KITCHEN
The kitchen is large and extensive. There aren't any tools or plates lying around. There's a small, round table on the left side, near a wood fireplace that the servants use in the wintertime to keep warm. JENNIFER is seated here as JAMES pours her a mug of tea from a steaming kettle.
JENNIFER
(Brings the cup to her lips, not looking at JAMES but staring straight ahead at the wall)
How did it happen?
JAMES
(setting the kettle down)
We're not sure.
JENNIFER
(snappy)
What do you mean, you're not sure? What happened to my mother, James?
JAMES
Calm down, Miss Jennifer. We just don't know what happened to her. She was fine last night when I checked in with her before bed, and then this morning Milly-
JENNIFER
(Cutting him off)
Milly?
JAMES
Her ladyship's personal maid. She found her this morning when she went to bring her the usual bout of morning tea.
JENNIFER
(nods and goes quiet again, her hands wrapped around the cup as she thinks)
(momentary pause)
Does Avery know?
JAMES
I contacted your brother just after I called you. His flight is due in this afternoon.
JENNIFER
(quietly)
Thank you, James.
JAMES
(Nods, remaining silent)
JENNIFER
Are we allowed into her room?
JAMES
Yes, miss. The police have given the all clear, but they would ask that you didn't touch anything. I expect there will be an officer around to question you at some point during the day.
JENNIFER
(Frowning)
Why would they need to question anyone at all?
JAMES
(shifting uncomfortably)
I'm not at liberty to say, Miss. They'll explain everything when they arrive, I expect. Would you like to go upstairs? I'll make a spot of breakfast.
JENNIFER
(nods)
INT. MANOR HOUSE – STAIRWELL
The stairwell is, like the rest of the house, ornate and winds up onto the second floor gracefully. Possibly has red carpet on the stairs. Family portraits line the walls.
JENNIFER walks up the stairs slowly, running her fingertips over the would. She looks pensive.
INT. MANOR HOUSE - CORRIDOR
This corridor is dimly lit, only by a lone window with red curtains at the very end of the hall and several lights on the walls in between doors. JENNIFER walks down to the third door and pauses with her hand on the handle. She seems to take a deep breath and prepare herself before opening it.
INT. MANOR HOUSE – THE LATE LADY WATSON'S BEDROOM
Wide shot of the bedroom. There is a large bed on one wall, several large windows with open curtains. The whole room is lavishly decorated and the wallpaper is ornate and detailed. Fireplace on another wall. JENNIFER walks in and looks around, taking another deep breath. She closes her eyes.
FLASHBACK TO:
INT. MANOR HOUSE – STAIRWELL - DAY
The house is the same, but brighter. It's raining outside, as we see through the window, but it seems happy. A little girl runs up the stairs – young JENNIFER, age six.
INT. MANOR HOUSE – CORRIDOR – DAY
JENNIFER runs down the corridor, a smile on her face until she reaches the door to her mother's bedroom. She doesn't hesitate to open it and push inside.
INT. LADY WATSON'S BEDROOM – DAY
The room looks the same as well, but lighter, like the rest of the flashback. JENNIFER comes inside and finds her mother, VICTORIA sitting at the vanity in the corner. VICTORIA turns and smiles at JENNIFER, holding out her arms. JENNIFER climbs into her lap and VICTORIA shows her makeup and plays with her, holding up various pieces of jewelry. JENNIFER is delighted.
BACK TO PRESENT:
JENNIFER opens her eyes, a smile on her face. It fades as she looks to the vanity. She walks forward and runs her fingertips along it lightly. She jumps as JAMES knocks on the door, and turns.
JAMES
Pardon, Miss, but your breakfast is ready in the kitchen.
JENNIFER
(nodding)
Yes, thank you, James. I'll be down in a moment.
JAMES
(nods and bows)
Very well, Miss.
(He exits)
JENNIFER turns back to the vanity and sits down at the stool. She pretends to play with the jewelry like in the flashback, when her eyes fall on something sticking out of a drawer. She pulls it out, looking curious. She almost opens it, but is interrupted.
JAMES (O.S.)
Miss Jennifer! Your breakfast will get cold!
JENNIFER
(calls back)
I'm coming!
(slides the envelope into her purse and stands, moving to exit the room)
INT. MANOR HOUSE – LIVING ROOM – MIDDAY
JAMES and JENNIFER are seated around a small coffee table, having afternoon tea. The room is very large and ornate like the rest of the house, a whole wall of bookshelves on the back wall.
JENNIFER
(laughing)
...Yes, I remember that! Mother took us on a picnic and you were fretting about our Sunday frocks getting messy!
JAMES
(laughing)
With perfectly good reason! They were white frocks, and I knew you – you were sure to run straight to the river and get them muddy!
JENNIFER
And that's exactly what I did.
(smiles in a smug way)
There is a ring of a doorbell, and JAMES excuses himself to go and answer it. JENNIFER continues to sip her tea and smile at their conversation. JAMES returns.
JAMES
Officer William Knight.
(he steps aside to reveal WILLIAM, aged 44, the officer in charge of LADY WATSON'S case)
WILLIAM
(steps in the door and takes off his hat, nodding his head to her)
William Knight, at your service, ma'am. I'm sorry for your loss.
JENNIFER
Thank you. Won't you sit down and have a cup of tea? James has just made some.
WILLIAM
Yes, that would be brilliant, thank you.
(he sits down across from JENNIFER and JAMES fixes him a cup of tea)
JENNIFER
(after a slight pause)
So, Officer Knight, what is it that I can help you with this afternoon? You'll forgive me if we make this rather short – my brother is due in from Glasgow in an hour.
(she looks at the clock)
WILLIAM
Of course, ma'am, no trouble.
(he pulls out a notebook and a pen, flipping through until he finds a clean page)
First, your name?
JENNIFER
Jennifer Watson.
WILLIAM
Age?
JENNIFER
Twenty-four.
WILIAM
Relation to the deceased?
JENNIFER
(pauses)
Lady Watson is – was – my mother.
WILLIAM
(nods as he writes)
And your current employment?
JENNIFER
Accountant at the Royal Bank of Scotland.
(she sips her tea, settling back in her chair slightly)
WILLIAM
Alright...
(Scribbles something else)
Now. When was the last time you talked to Mrs. Watson?
JENNIFER
(frowns, thinking)
I talked to her yesterday evening... She said she was getting ready to have her usual tea before bed.
WILLIAM
(nods)
The last time you saw your mother – did she seem like she was in good health?
JENNIFER
Oh yes, Mother has always been very health-conscious. I saw her two days ago and she seemed fit as a whistle! Why do you ask? Was it because of her health?
WILLIAM
(looks up sharply)
We're not entirely sure, ma'am. It seems as though there was nothing wrong with her at all. We were... unable to determine the cause of death, but our chief coroner is still trying. Did your mother have any history of heart problems?
JENNIFER
(looks taken back for a moment before she responds)
No sir. She never had any significant health problems that I know about... That is very peculiar, though. You don't thi-
(She is cut off as the phone rings. James excuses himself to answer it.)
Forgive me, you don't believe she could have been murdered, do you?
WILLIAM
(laughs jovially)
No, no, miss, nothing of that sort. There wasn't any sort of evidence to point to that at all. No marks or anything of the sort.
JENNIFER
(relaxes)
Oh, that's music to my ears, then. It puts my mind at ease, at least.
JAMES
(comes back in, clearing his throat)
Pardon me, Miss, but your brother just called. He's arrived at the airport.
JENNIFER
(stands, setting her teacup and saucer down on the coffee table. She turns to WILLIAM)
Well, if that's all...?
WILLIAM
(stands as well, replacing his cap)
Oh, of course! I'll be in touch, though. I've left my number with him -
(nods to James)
so call me if you need anything at all. We'll get to the bottom of this, ma'am, I promise. Thank you for your time.
JENNIFER
No, Officer- thank you.
WILLIAM
Just doing my job, ma'am. Good day.
(he tips his hat and exits the room)
EXT. MANOR HOUSE – DRIVEWAY – MIDDAY
JAMES and JENNIFER exit the house and go over to a black car, not the same one that JENNIFER arrived in. JAMES opens the back door for her and JENNIFER gets in. JAMES goes around to the driver's side and gets in. The car cranks and backs up, pulling out of the drive.
INT. WATSON FAMILY CAR – MIDDAY
JENNIFER
Did Avery mention how long he's staying for?
JAMES
(looking at her through the rearview mirror)
No, Miss. I expect he'll stay with you though, not to worry.
JENNIFER
(nods and looks out the window, going silent as she watches the buildings and cars pass by)
INT. AIRPORT – AFTERNOON
The airport in London is large and busy. Everyone is going about their own business and hurrying around, jostling people as they try to get to their own flights. JENNIFER and JAMES are seen walking to the terminal stating that the flight from GLASGOW, due to arrive at 3:15, has landed.
JENNIFER is scanning the crowd coming into the terminal, looking anxiously for her brother AVERY. Suddenly her face lifts and she rushes forward to crush a taller boy in her arms. He's around twenty.
AVERY
Jen!
(he drops his things to wrap his arms around her tightly)
JENNIFER
(just holds onto him, her face pressed into his shoulder)
AVERY
(gently strokes her hair with one hand)
I know, Jen. I know.
JAMES
(while they are hugging, he steps forward to retrieve Avery's things from the floor, then steps back)
Shall we let Master Avery get settled, then?
JENNIFER
(pulling away from Avery and wiping her face)
Yes, yes. Sorry.
(she smiles as Avery wraps a protective arm around her shoulder and they exit the terminal)
