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38 THE CINEMA
15 The van emerges from the refinery and swings out up the street.
16 Close Shot to Long Shot. Cross Roads. Pendlebury is standing near the intersection of streets marked on his map. St PauVs Cathedral is prominent behind him. He sighs with impatience, walks away from camera, and then back again. He is inclined to twitch as he gazes down the road.
1 7 Long Shot of Cross Roads. Pendlebury' s viewpoint. There is good deal of traffic about, but no sign of the van.
18 Pendlebury again turns his back on the camera and walks towards the cross roads.
19 He pauses at the cross roads, looks back up the street and away again. His eye falls on a stall just round the corner. On the pavement is a table covered with old junk and bric-a-brac. Pendlebury glances at his watch and then takes a step towards the stall.
20 Shorty is seated on the pavement, his cap in front of him. He has a lurid display of pictures on show, and is taking great pains over some seagulls which he is adding to a seascape. He glances across the street.
21 In a side turning further down the road, Lackery sits tensely at the ready on his bicycle.
22 Shooting from inside shop. Pendlebury has picked up a canvas which is displayed on the table by the stall. He is examining it intently.
23 Long Shot of Street. High angle. The refinery van comes bowling up the street, weaving its way in and out of the traffic.
24 Interior Bullion Van. Holland in the back alternately peers through the grille and glances at his watch.
25 Interior Bullion Van. Wallis and Bridger sit stolid and reliable in the front of the van.