I am lured back to the Londinium set with promises of Barbeque from the Smoke Joint for lunch and the once in a lifetime opportunity to see Thom as Inspector McNeely die onscreen. I’m not sure how it will all play out as Whit and Ed only hinted at what is on tap for the day. Absolutely intrigued, I show up early. Thom’s other scenes were shot three weeks prior (see The Inspector Calls entry). Pat shows me the shooting schedule and the whole day is finishing up Thom’s scenes for the movie. EXCELLENT! His character is quite unlikable and being something of a villain in this film I relish at the how, what and where of his demise. Ed and the other crewmembers begin laying down the dolly track. Technically it is a tough move since the whole contraption has to move smoothly over the tracks/threshold of the pocket doors in the house. Patrick is trying to keep it as fluid as possible and a last minute adjustment is made. The guys try and make a ramp out of some plywood to create a low grade. The few extras are on their way I am told. Whit is in make-up and Thom is in costume. Ashley, the wardrobe mistress looks pale and anxious.
“What’s up?” I ask concerned.
“We’ve got a problem.” She says.
“Will it prevent us from shooting today?” I ask.
“I hope not,” She says on the verge of tears,
“Jesus, it can’t be that bad. What’s going on?”
“The vest he wore three weeks ago? Well, it got messed up at the cleaners so I ordered another one like it from the ebay store I found it on, but they sent a small and he wears a large.” She says growing evermore gray. The only thing I can do is laugh.
“Don’t tell him.” I say trying to contain my amusement.
“This isn’t funny, Sean!” She admonishes.
“Is there a continuity issue? If not, find another vest.” I say.
“It has to be the same vest.” Ashley says and then she disappears onto the set looking for the director. I watch as Thom slips the said vest on and his face contorts in confusion. I jab Ed in the ribs and point. Ed smiles, stops and watches. Thom looks up and says, “This can’t be the same vest.”
“There’s only one of them like it.” Ed says trying very hard not to giggle. “Just like you.”
“This is definitely not the same vest. It fit fine three weeks ago. Ashley!” He yells.
Whit exits wardrobe. I tell him what’s happened.
“No way, dude. This is going to be fun!” He says. One of the extras has arrived. It happens to be Patrick’s mother, Mary. She looks perfect as a café patron in a Victorian restaurant. The other extra calls and talks to Patrick. He’s stuck on a stalled train coming in from Long Island.
“Ed! It’s your debut. Get into costume.” The director says. I fill in again as the dolly grip.
Whit is on his first mark trying hard to concentrate and not break into laughter. Thom is seated at the café table still trying to button the vest.
“So, should I set the plate down and nod to you? Or should I nod first and say something like, ‘Guv’nah’ in, like a Cockney? or an Irish accent?” Ed asks. Thom is still fumbling with the buttons trying to close the vest.
“Ed, I cannot think about that right now. I’m having a wardrobe malfunction.” He says growing more frustrated. Patrick is manning the dolly. Mary is seated at another table with Ed’s back to camera. Thom motions for the director to come over. Together they finally get the vest closed. ACTION! Whit saunters in and begins a dialogue with the Inspector. A few threats are exchanged. Whit leans in close and says, ‘bon appetite’ and exits. The dolly slowly moves in as the Inspector realizes something is very, very wrong. He begins to cough and choke and gasp for air and finally dives face first into his food. PING, PING, PING! It sounds like a pocketful of change had hit the floor. Every button on the vest pops off the fabric as if hurled from a slingshot. Everyone falls over themselves in laughter. Including Thom. He is a good sport and laughs, too. How could he not? We move the dolly back to its first mark. Ashley comes in and quickly tacks the buttons on and then pins and double pins the vest shut. It looks great. ACTION! The director calls. Whit enters again and they do the scene. Then as Whit exits the dolly hits a bump and stops. Suddenly Mary looks at Patrick and says, “Are you comin’ or not, Honey?”
“Ma! Do not stop what you’re doing until the director yells ‘cut’.” He explains.
“Well I’m doing my best work and I can see out of the corner of my eye that you’ve stopped, honey.”
“Ma! Did you hear what I said.” Patrick instructs. Once again, the dolly is set. ACTION! Whit and Thom do their scene. Whit exits as Thom times his death by poison according to the speed of the dolly. He chokes and dies at the table. Suddenly Mary jumps up and waves a white handkerchief moving quickly to Thom’s body. She motions for Ed to come to his aid never saying a word.
“CUT!” The director yells. “What are you doing?” Patrick asks his mother. “This isn’t The Great Train Robbery. What’s with the handkerchief?”
“You told me not to talk until she yells cut, honey.” She explains. The director takes Mary aside and gives her a few notes. Something clicks and Mary is excited. “I’m ready.” She says. We reset the dolly. ACTION! Whit enters and does the scene with Thom. Thom dies at his table. The dolly move is a success and Mary is engaged in conversation with Ed at their table. Perfect! PRINT!
We stop for lunch and gorge ourselves on Barbeque. Outside in the backyard the crew has built three quarters of a jail cell out of wooden flats. It is incredibly impressive. The director informs me that the sound design will be crucial in making the scene work. The walls made of faux stone make me think of the Tower of London. Ed and a few other crewmembers wet down the stonewalls so that they glisten on camera and evoke that dank feeling. We have to wait until it gets dark before the scene can be shot. As the afternoon wears on it gets increasingly hot and extremely humid. Luckily there are no wardrobe malfunctions for the actors. Whit has been a bit roughed up and has blood on his cheek, hands and cuffs. He has been arrested in Saint James Park for the murder of another prostitute. The Metropolitan police believe they have their ‘Ripper’. And it is a coup for Inspector McNeely who has been gathering clues throughout the film. McNeely has sadistic tendencies so his malevolence matches the viciousness of the crime. It seems he has something against Richard---some sort of personal vendetta. Whit and Thom take their places. Thom’s hair has been blown straight as continuity-wise that is how it has appeared before in prior scenes. This time the jib arm is employed and Patrick is trying to get the move down. As we shoot take after take, Thom’s hair starts curling up in the high humidity. “Where’s make-up!” Thom shouts as his Shirley Temple curls sprout. “Oh God! This isn’t happening.” The director says. Stephanie runs onto set with a brush and some product. A spritz, spritz here, a squirt, squirt there and his hair is straight again. The camera starts to move and slowly Thom’s hair starts curling as the scene progresses. CUT! “We have to do something with his hair.” The director says. She’s been even keeled through the shoot so far but now I can see some cracks in her calm veneer. Everyone is sweating. It is 9:00PM, eighty-six degrees with, no joke, ninety-five percent humidity. Stephanie tries to plaster the curls straight with extra hold hairspray. You know, the kind your mom or grama used to keep the beehive doo intact. Aqua Net, I believe. A fog of chemicals surrounds Thom. ACTION! Whit and Thom get through the scene with Stephanie only feet away to tame the wild hair. Round about midnight we finish much to the appreciation of the neighbors.
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