PEEPING TOM
Screenplay by
Leo Marks
Shooting Draft, 1959
Copyright, 1959,
Michael Powell (Theatres Ltd.)
Copyright, 1959 1988 & 1998
Leo Marks
The screen remains dark for a moment.
In the darkness WE HEAR the film's THEME MUSIC - a gentle
whirring purring noise. Nothing to be alarmed about. It
might be a small contented motor.
FADE IN:
EXT. A DESERTED STREET - NIGHT
LONG SHOT of the solitary figure of a WOMAN standing
professionally alone at the end of the street.
It is a bright, still night. We can HEAR the Woman whistling
'Stardust' merrily to herself.
CAMERA TRACKS around her. A Man's footsteps are overlaid.
We HEAR the Man start to whistle 'Stardust' under his breath -
haltingly at first, then in time with the Woman.
As we approach, she glances at us over her shoulder - then
turns round for a better look.
Her whistling stops. So, at the same moment, does the man's.
CLOSE SHOT of DORA - a plump, attractive brunette - still
young enough to need two glances at the customers.
She smiles at us - and is pleased with the reception. She
hesitates for a long moment, weighing us up carefully...
and then - half defiantly, half expecting to be laughed
at.
DORA
It'll be two quid...
Evidently we have two quid.
She beams with relief - throws her fur over her shoulders,
jerks her head towards the right - and sets off.
CAMERA TRACKS after her. Overlaid is the sound of the
man's footsteps.
Dora resumes her whistling. So, under his breath, does the
man who is following her.
EXT. A DESERTED STREET - NIGHT
A wider street than the last - but just as empty.
Dora sways her way towards a small house. CAMERA FOLLOWS
at a respectful distance.
CAMERA PANS from Dora's hips to an overflowing dustbin.
CLOSE SHOT of a man's hand throwing something into the
dustbin. It is an empty packet marked Kodak Film.
CAMERA PANS to Dora's house. It stands next to a chemist
shop.
Dora climbs the few steps which lead to her front door -
glances round at us encouragingly - then unlocks the door.
INT. HALLWAY OF DORA'S HOUSE - NIGHT
She switches on a light - and hurries up a flight of stairs.
CAMERA TRACKS after her.
She changes her tune to 'Goodnight Sweetheart'... and so -
under his breath - does the Man who is following her.
A woman with hair like a two-toned car comes down the
stairs, winks at Dora - looks at us for a moment with great
curiosity... winks... then passes out of camera.
Dora reaches the landing - we are close behind her.
INT. LANDING OF DORA'S HOUSE - NIGHT
Dora unlocks the door of her room - and goes inside.
INT. DORA'S ROOM - NIGHT
She switches on the light, throws her fur onto a chair,
lights the gas fire then turns round.
CLOSE SHOT of Dora. She holds out her hand-smiling.
And suddenly. There is a gentle whirring purring sound.
CAMERA HOLDS ON Dora - she is staring at something with
great curiosity.
It turns quickly to bewilderment - and the bewilderment to
fear. She steps back from CAMERA - but CAMERA won't have
it.
Dora is now staring at something in horror - she opens her
mouth to scream - a shadow falls across her face.
The sound purrs on.
FADE OUT:
FADE IN:
BLACK AND WHITE FILM SEQUENCE
The solitary figure of Dora standing professionally alone
at the end of a street. WE SEE her turn towards CAMERA -
and smile at us.
We are watching her on a 16mm screen - projected in BLACK
AND WHITE.
CAMERA PULLS BACK to show the surround in natural colour.
INT. MARK'S ROOM - NIGHT
A darkened room in natural COLOUR. The movie screen images
are in BLACK AND WHITE.
We can SEE the back of a Man's head as he bends intently
over a projector. He is watching Dora on the screen. He is
breathing quickly.
We see Dora's hips waggling their way home.
The Man raises his head, so that we cannot see the screen.
When he lowers it again, we see the Woman with the two-
toned hair winking at Dora... then we see Dora throwing
her fur onto a chair - and turning towards us.
WE SEE her staring at something in bewilderment... then
backing away from CAMERA in fear.
WE HEAR the Man breathing as if at the end of a very long
race.
As Dora opens her mouth to scream, and a shadow falls across
her face - the title:
PEEPING TOM
Blots out what is happening to her.
OTHER CREDITS FOLLOW... behind them we can see Dora's hands
pushing something away.
Before the DIRECTOR'S CREDIT:
CUT TO:
EXT. A PARK - NIGHT
It is very dark.
CLOSE SHOT of a stack of deck chairs.
Two forms behind it - a MAN'S and a WOMAN'S.
They are intertwined and motionless... suddenly a brilliant
shaft of light is trained onto them.
Overlaid is a gentle, whirring sound.
CAMERA PANS quickly to a nearby tree.
CLOSE SHOT of the lens of a cine-camera - the motor
purring... a blinding spotlight.
CAMERA PANS to the couple - the whirring of the camera is
overlaid.
The Man leaps up - shielding his eyes against the light.
He advances towards the tree.
MAN
Hey, you peeping...
The spotlight goes out. There is the sound of footsteps
running away — and the night is at peace again.
And now WE SEE who DIRECTED the picture.
DISSOLVE TO:
LONG SHOT. AMBULANCE - DAY
It is standing in the roadway outside Dora's house.
WE SEE it through the finder of a small cine-camera.
EXT. STREETS BY DORA'S HOUSE - DAY
A crowd has gathered outside the house - and we are watching
them from a corner of the street (ALWAYS THROUGH THE FINDER-
MATTE).
WE SEE several Policemen holding back the crowd as two
Ambulance Men hurry into the house, carrying an empty
stretcher.
Gentle, whirring sound is overlaid.
WE SEE children staring curiously into the empty ambulance -
and a group of Women talking excitedly to a Reporter.
CLOSE SHOT of a SMALL MAN looking at us curiously as he
approaches (FILLING THE SCREEN WITHIN THE MATTE).
SMALL MAN
What paper are you from?
The finder is lowered.
CLOSE SHOT of a Young Man (MARK) sighting a cine-camera.
He lowers the camera - and turns politely to his
interrogator.
He seems to have slight difficulty informing his words.
MARK
I beg your pardon?
SMALL MAN
What paper are you from?
Mark smiles at him pleasantly.
MARK
The Observer.
The Ambulance Men come out of the house carrying the
stretcher... there is a body on it covered by a sheet.
Mark raises his cine-camera and photographs them. He
photographs the ambulance as it drives off. He photographs
the Policemen dispersing the crowd. He photographs his
Interrogator, who gladly poses for him.
Then he slings his camera over his shoulder, and strolls
away.
DISSOLVE TO:
CLOSE SHOT of Dora, smiling happily.
Her photograph is on the front page of a newspaper.
Above it is a caption: BRUTALLY MURDERED.
CAMERA PULLS BACK - to show sexy magazines alongside the
newspaper.
EXT. A NEWSAGENT'S SHOP - DAY
Mark is staring at a newspaper in the window of a small
newsagent's shop.
He glances distastefully at an array of film magazines -
showing actresses showing everything - then hurries into
the shop.
INT. NEWSAGENT'S SHOP - DAY
A plump, bald-headed Man stares at Mark.
MR. PETERS
You're late!
MARK
Sorry, sir.
He turns towards a small door at the end of the shop.
MR. PETERS
(quietly)
Hold on, Mark.
Mark turns round.
Mr. Peters hesitates, drumming his fingers on the counter.
CLOSE SHOT of Mark. He starts to drum his fingers on a
shelf.
MR. PETERS
Mark... I've a question for you.
He stops drumming his fingers. So, at that moment, does
Mark.
MR. PETERS
Which magazines sell the most
copies?
MARK
Those with girls on the front covers -
and no front covers on the girls.
MR. PETERS
Exactly!... And it's just the same
with the work you do for me.
Overlaid is the sound of the door opening.
MR. PETERS
Look busy.
Mark busies himself sorting some newspapers.
A whole row of Doras smile up at him.
CAMERA PANS to doorway of the shop.
An ELDERLY GENTLEMAN is standing there.
ELDERLY GENTLEMAN
The Times, please.
MR. PETERS
Certainly, sir.
ELDERLY GENTLEMAN
And The Telegraph.
MR. PETERS
Certainly, sir - anything else?
The Elderly Gentleman hesitates - glancing at Mark's back.
Then:
ELDERLY GENTLEMAN
I... er... have been told by a
friend that you... er... have some
views for sale?
MR. PETERS
What sort of views, sir?
ELDERLY GENTLEMAN
Well, er...
MR. PETERS
This sort, sir?
From under the counter he produces a thick book. Mark turns
round.
From his POV WE SEE the Elderly Gentleman open the book.
He - er- seems - er - more than a little interested.
ELDERLY GENTLEMAN
I, er... how much each?
MR. PETERS
Five shillings, sir.
ELDERLY GENTLEMAN
I'll take this one... and, er...
this one... and, er... how much
would the lot be?
MR. PETERS
To you - five pounds, sir...
The Elderly Gentleman hesitates. Mr. Peters turns over a
page... and the Elderly Gentleman almost turns over with
it.
MR. PETERS
Tell you what, sir. Four pounds
ten - and I'll throw in The Times
and Telegraph... how's that?
ELDERLY GENTLEMAN
Well, er... thank you very much.
MR. PETERS
Let me wrap it for you, sir.
He puts it in a wrapper which says 'Educational Books'.
MR. PETERS
Shall I put you on our mailing
list?
ELDERLY GENTLEMAN
Oh no! But I'll look in again...
MR. PETERS
By all means, sir.
He holds open the door for the Elderly Gentleman, and
watches him leave.
MR. PETERS
He won't be doing the crossword
tonight!
He turns triumphantly to Mark.
MR. PETERS
(counting out money
from wallet)
Those pictures he chose... were
all yours!
(handing notes)
This is yours!
Mark pockets them without counting them.
CLOSE SHOT of Mark.
MR. PETERS
(in a very different
tone)
And this is yours too...
He picks up a postcard - holds it towards Mark.
MR. PETERS
And that's what I want to talk to
you about. It's a clever picture -
because you're a clever lad...
but, Mark...
(pathetically)
It's all face.
Mark looks at the postcard in silence.
MR. PETERS
I don't want to hurt your feelings,
son - but if people want the Mona
Lisa they go to the National
Gallery.
MARK
The Louvre.
MR. PETERS
Well, wherever they go, they don't
come here... so no more of this
fancy stuff...
He pats Mark's arm.
MR. PETERS
... now get upstairs - the girls
are waiting... and so is a bonus
if you give me what I want.
MARK
Thank you, sir.
MR. PETERS
(amused)
What do you do with all your money?
MARK
Buy cameras.
He opens a door at the far end of the room. We catch a
glimpse of a winding staircase. He starts to climb it.
INT. REAR OF NEWSAGENT'S SHOP - DAY
At the top of the staircase is a door. Mark and his camera
trudge towards it. The door opens suddenly. A vivacious
young redhead - Milly - pokes her head round. She has a
towel round her shoulders.
MILLY
Well look who's here! Cecil Beaton!
From REVERSE ANGLE we see Mark venture a shy smile at Milly.
Milly opens the door impatiently.
MILLY
Come on, sonny... make us famous.
Through the half-open door we catch a glimpse of a second
Girl (LORRAINE). She is staring out of a window, her back
to camera. She is naked except for a shawl draped round
her shoulders.
Mark enters the room... the door begins to close. CAMERA
TRACKS towards the door. On the threshold of the room, a
hood is thrown over our faces... THE SCREEN BLACKS OUT.
In the darkness we hear Milly's voice.
MILLY (O.S.)
Did you read about that girl who
was murdered last night?
INT. STUDIO ABOVE NEWSAGENT'S - DAY
We are with Mark under the hood of an antiquated camera.
Through the ground-glass of the camera WE SEE a SMALL
INVERTED IMAGE of Milly...
MILLY (O.S.)
The same thing nearly happened to
me!
We hear Lorraine's voice - muffled, and very far away.
LORRAINE (O.S.)
When?
MILLY (O.S.)
Last night! I went out with my
boyfriend... We're getting married
next month... trouble was my fiance
saw us.
The SMALL INVERTED IMAGE of Milly peers anxiously into the
camera.
MILLY
can you fix it so the bruises don't
show?
The ground-glass camera begins travelling slowly down
Milly's back.
CLOSE SHOT of Milly. She is on a couch, lying on her stomach
at a slightly oblique angle. All that WE CAN SEE are her
face and naked shoulders.
From Milly's POV WE SEE Mark under the hood of an antiquated
camera.
MILLY
Well, can you?
Mark's voice is MUFFLED under the hood.
MARK
...think so, Milly.
MILLY
Then be quick about it, sonny! I'm
freezing.
CLOSE SHOT of her naked toes. They start to wriggle.
CLOSE SHOT of Mark's toes - in sandals, next to the tripod
of the camera. They start to wriggle.
CLOSE SHOT of Lorraine. We watch her in profile as she
stares out of the window - clutching her shawl. She has
outstandingly beautiful features.
CLOSE SHOT of Mark. He is standing by the side of the
camera, studying us thoughtfully. He is holding a remote-
control switch panel in his hand. He clicks off several
lights and then switches several others on... then he ducks
back under the hood.
MILLY
There he goes again! What have you
got under there? A girlfriend?
We join Mark under the hood.
WE SEE a small INVERTED IMAGE of Milly on the ground-glass.
Her shoulders are now white and glistening, her spine
caressed by shadows. She is staring into the camera.
MILLY
I suppose you have a girlfriend?
He adjusts the focus. We can see more clearly the contempt
on Milly's face.
MARK
No, Milly.
MILLY
Hear that, Lorraine? He's available.
From Milly's POV WE SEE Mark come round to the front of
the camera, and insert a dark slide.
MARK
Raise your head, please - and look
at the sea.
MILLY (O.S.)
What sea?
Mark presses a rubber bulb - the shutter clicks.
MILLY
What sea?
Mark inserts another dark slide.
MARK
I just wanted that puzzled look.
MILLY (O.S.)
Oh, did you? Well if you want it
again, I'll think of you!
CAMERA PULLS BACK.
from Milly's viewpoint, WE SEE Mark holding the rubber
bulb. cine-camera is on a ledge behind him.
MILLY
You're a puzzle and a half.
Mark presses the rubber bulb - the shutters click.
MILLY
This is a spare time job for you,
isn't it?
MARK
Yes, Milly.
He inserts another slide.
MILLY
Well, what do you do for a living?
MARK
Take pictures.
He presses the bulb - the shutters click.
MILLY
This sort?
MARK
No, Milly.
He inserts another slide.
MILLY
Don't you like this sort?
MARK
No, Milly.
He presses the bulb - the shutters click.
MILLY
Well what sort do you like?
Mark looks at her thoughtfully for a long moment.
MARK
I may show you - one day.
MILLY
That'll be a treat, I'm sure.
Mark smiles at her shyly.
MARK
That's all, Milly.
MILLY
Oh no, sonny! Now take one I can
show my mother.
Mark inserts another slide.
MARK
Think of her then.
There is a gentle KNOCK at the door, and Mr. Peters enters.
He carries a tray of coffee. He keeps his eyes modestly
lowered.
MR. PETERS
On the house.
He lays the tray on a table, still keeping his eyes lowered,
and goes out.
MILLY
Some house! Hope it falls on his
ruddy earhole!
She glances over her shoulder.
MILLY
It's your turn now, love...
CLOSE SHOT of Lorraine staring out of the window. She
stiffens. Milly's voice is overlaid.
MILLY (O.S.)
(in a whisper)
... it's her first time.
Lorraine clutches her shawl tightly.
MILLY
Come on, love. Don't be shy.
Lorraine turns round.
The left side of her face is classical in its beauty. She
has a hare lip, which twists and distorts the whole of the
right side. Her eyes are large - and beautiful - and
defiant.
CLOSE SHOT of Mark looking at her.
CLOSE SHOT of Lorraine.
LORRAINE
He said... you needn't photograph
my face!
CLOSE SHOT of Mark.
MARK
I want to.
CLOSE SHOT of Lorraine. Beautiful in profile.
LORRAINE
I suppose you'll fix my bruises
too?
MARK
I want to...
MILLY
What about the customers?
CLOSE SHOT of the shawl round Lorraine's shoulders.
CLOSE SHOT of Mark.
MARK
You needn't be shy... of me...
it's my first time too.
CLOSE SHOT of Lorraine's eyes - puzzled.
LORRAINE
Yours?
MARK
In front of eyes... like...
He tries to go on - but words are a foreign language to
him.
MARK
...eyes... as full of...
In a sudden rush:
MARK
Lorraine - let my camera tell you.
CLOSE SHOT of Lorraine standing very still — looking at
him in silence.
Milly shrugs and reaches for the coffee pot.
Overlaid is the gentle purring of a cine-camera.
CAMERA LINGERS on the dark liquid being poured into a cup.
DISSOLVE TO:
Whisky being poured into a glass.
CAMERA PULLS BACK
INT. HELEN'S SITTING ROOM - EVENING - TOWARDS SUNSET
The hand filling the glass is a woman's (MRS. STEPHENS).
She is sitting in a high-backed chair, and we cannot see
her face. Over her shoulder we watch a party in progress.
A group of Young people have surrounded someone to whom
they are singing:
YOUNG PEOPLE
(singing)
Happy birthday to you,
Happy birthday to you,
CAMERA TRACKS towards them.
CLOSE SHOT of TONY HUNTER, a well-built youngster in his
middle twenties.
TONY
Happy birthday... dear Helen
He obviously means it.
TONY
happy birthday to you.
CLOSE SHOT of 'dear HELEN'. A sensitive, intelligent, and
extremely attractive girl, who — as the encircling
youngsters now inform us in song - is:
YOUNG PEOPLE
Twenty-one today,
She's twenty-one today,
She's got the key of the door,
She's never been twenty-one before.
CLOSE SHOT of the glass by Mrs. Stephens' side. It is half
empty. An elderly lady leans across to her. She is Mrs.
Partridge, slightly high on a glass of sherry.
MRS. PARTRIDGE
You must be very proud of your
daughter, Mrs. Stephens.
Mrs. Stephens grunts. Someone switches on a gramophone and
the young couples start dancing at once. Tony hurries up
to Helen.
TONY
May I?
Helen goes towards him. A YOUNG MAN calls out sharply:
YOUNG MAN
Look!
He is pointing at something out of camera. All heads -
except Mrs. Stephens' - follow the direction of his gaze.
Mrs. Stephens continues to sit motionless in the high-backed
chair.
CAMERA PANS to the window. Mark is standing there.
CLOSE SHOT of Helen looking at Mark. We watch him over her
shoulder - Tony's arm encircling it.
TONY (O.S.)
It's that chap from upstairs.
EXT. MARK'S HOUSE - EVENING - LOW SUN
The chap from upstairs presses his face to the window.
From his POV WE SEE Helen's eyes looking at him - the key
of the door in them - looking at him, not staring. Suddenly
the rest comes into focus - Tony's arm around Helen's
shoulder... the high-backed chair in the foreground with
the back of that motionless head... a young couple giggling
as they stare at him. Mark steps away, and the CAMERA PULLS
BACK with him.
We catch a glimpse of the house - large, sprawling, but
with a touch of quality about it, in a quiet, unpretentious
street.
Mark hurries towards a side entrance.
INT. HELEN'S SITTING ROOM - EVENING
CLOSE SHOT of Helen looking at the empty window.
HELEN
I'll ask him in...
CLOSE SHOT of Tony - frowning.
CAMERA PANS to Mrs. Stephens' glass... the hand which
refills it has begun to tremble.
INT. REAR OF HOUSE - NIGHT
The lights are on.
WE FOLLOW Mark (and his camera) along a small passage which
leads to the hall. The sound of a dance record can be heard.
Mark starts to whistle it under his breath.
INT. HALL - NIGHT
Over his shoulder we see a staircase, and beyond it the
door of Helen's sitting room. The sound of Helen's party
fills the hall.
Mark reaches the staircase. There is the sound of a door
opening. Helen's voice is overlaid:
HELEN (O.S.)
Excuse me!
Mark hesitates, then turns round.
CLOSE SHOT of Helen - smiling at him.
HELEN
I don't know how many times we've
passed each other on the stairs?
Mark looks at her as if he does.
HELEN
... but tonight I'm determined at
least to say hello to you! So hello!
Her directness is natural, consistent and very hard to
resist.
CLOSE SHOT of Mark - smiling.
HELEN
I'm Helen Stephens.
She glances with unconcealed interest at the camera over
his shoulder.
HELEN
I'm having a party - and the other
tenants are there... And a few
friends. We'd like you to join us.
MARK
Mark...
HELEN
Pardon?
MARK
I'm Mark...
HELEN
Hallo, Mark.
She holds out her hand... he takes it gently.
HELEN
Please come in... you'll meet the
others who live here, and...
MARK
Thank you, but... work.
HELEN
Oh...
She glances again at his camera.
HELEN
Well, I hope to keep it going for
hours yet... so when you've finished
why not look in?
She realizes that this is not the happiest of phrases.
HELEN
...Mark?
He hesitates.
CAMERA PANS to Helen's door. Tony stands there.
TONY
Darling, your cake - everyone's
waiting.
CLOSE SHOT of Mark. Looking at her.
MARK
Thank you.
He turns away.
MARK
Happy Birthday.
He hurries up the stairs.
CLOSE SHOT of Helen. She stares after him for a moment.
Then returns thoughtfully to her party.
FADE OUT:
The screen remains dark for a moment. We are with Mark in
a darkened room. He is giving a film show - and we are the
screen.
INT. MARK'S DARK-ROOM - NIGHT
His cine-projector points straight at us. A flickering
light shines in our eyes. We can see him crouching behind
the projector.
Mark leans forward, watching the screen intently...
Perspiration trickles down his forehead. He is breathing
very quickly. The sounds of the party seep up from
downstairs - music, laughter, and a Girl's yelp.
There is a knock on the door. Mark does not hear it.
CAMERA PANS to the door of the room. It is blacked-out
like a photographic dark-room. The knock is repeated.
CLOSE SHOT of Mark. He switches off the projector instantly.
CAMERA PANS to an open cupboard in the corner.
CLOSE SHOT of the shelves. They are stacked with spools of
film.
CAMERA travels slowly over these spools. WE SEE Mark's
hand add two more to the collection; his Voice is overlaid.
MARK (O.S.)
...minute...
He closes the cupboard door.
INT. MARK'S SITTING ROOM - NIGHT
Mark comes out of the dark-room behind him - the light is
kept out by a baffle and a curtain. He has a pleasant,
normally untidy bedsitting room.
He wipes his handkerchief across his forehead - then hurries
to the door. He opens it - Helen is standing there.
HELEN
I hope I'm not disturbing you?
CLOSE SHOT of Mark - shaking his head, smiling shyly.
CLOSE SHOT of Helen.
HELEN
I knew you wouldn't come down...
so I've brought you this.
She holds out a plate on which is a piece of birthday cake.
MARK
Thank you...
He takes the plate.
MARK
... very much...
HELEN
I mustn't keep you from your work
She turns to go.
MARK
I'd like to offer you a drink.
She turns round.
HELEN
Thank you, Mark.
MARK
I haven't one.
HELEN
I'd adore some water.
She smiles.
HELEN
a hostess can't drink water at her
own party, it looks like a hint to
the guests.
MARK
Will you... would you... like to
come in?
HELEN
Yes, Mark...
She steps over the threshold. The door closes behind her.
INT. MARK'S SITTING ROOM - NIGHT
CLOSE SHOT of Helen looking round the room.
Mark's voice is overlaid.
MARK (O.S.)
There's milk... if you'd like some?
HELEN
Very much... if you can spare it?
MARK (O.S.)
Yes.
Helen glances towards the inner room. He holds out a glass
of milk to her.
HELEN
Thank you, Mark...
She drinks it with relish. He watches her in silence.
HELEN
This is a pleasant room... and
you've another inside?
MARK
Yes.
HELEN
How long have you lived here?
MARK
All my life.
She looks at him in surprise.
MARK
I was born in this house Oh?
CLOSE SHOT of Mark.
MARK
It's my father's.
HELEN
Do you mean I've at last found out
who our landlord is? Your father?
MARK
Well - no... he's dead!
He hesitates.
MARK
I'm the landlord.
She looks at him in astonishment.
HELEN
YOU?
MARK
Yes.
HELEN
But you walk about as if you haven't
paid the rent.
MARK
I haven't.
HELEN
I meant...
MARK
I know.
CLOSE SHOT of Mark.
MARK
It's his house - and I'll never
sell it... but I can't afford the
upkeep, so I let rooms.
He looks at her anxiously.
MARK
... if I charge too much, tell me
and I'll tell the agents.
HELEN
The rent's very reasonable, but
don't say anything to the others
or you'll have no peace.
MARK
Peace...?
CLOSE SHOT of Helen.
HELEN
Mark, what do you do?
MARK
(slowly)
Most of the time, I work in a film
studio.
HELEN
On the photographic side, I'll
bet.
MARK
I hope to be a film director...
very soon.
HELEN
How exciting.
MARK
I have some spare time jobs... as
well.
HELEN
To do with photography?
MARK
More milk?
HELEN
No thank you... to do with
photography?
MARK
Yes... to do with photography...
HELEN
When I came in were you looking at
some films?
MARK
Yes.
HELEN
Of yours?
MARK
Yes.
HELEN
I'd like to see them...
He looks at her in silence.
HELEN
Know I'm being rude... but I really
would like to see them...
(she smiles.)
...it would be a birthday present...
from you to me.
MARK
Would it?
HELEN
Yes, Mark.
MARK
Oh...
HELEN
But I suppose you're too busy?
She puts down the glass, turns to the door.
MARK
Will you... would you... like to
see them now?
She turns round. He is standing by the entrance to the
inner room.
HELEN
Thank you...
MARK
I'll... go first.
He leads the way - she follows. For a moment the screen is
in darkness. A dark-room darkness.
INT. THE INNER ROOM - NIGHT
We can HEAR - faintly — the dance music from downstairs.
There is a click - and the walls are suddenly bathed in
diffused light, throwing the room into delicate shadow.
CLOSE SHOT of Helen looking round in amazement.
As certain events of possible interest are to take place
in this room, here, in detail, is what amazes Helen.
The room is the product of three rooms which have been
knocked into one. It is very large and extremely well
constructed (as we are soon to learn, it was originally a
laboratory). One half of the room is used for processing,
and the other half for filming - and for trade shows. The
two halves are lined by long shelves upon which are perched
all shapes and sizes of cameras, their spectacles glinting
in the light.
In the processing half two benches (a 'dry' bench and a
'wet' bench) face each other against opposite walls. There
are three sinks above the 'wet' bench and an outburst of
equipment above the 'dry'.
This part of the room is lit by two dark-room lamps frowning
in the ceiling above the benches.
The other part of the room has a window at the far end of
it. Heavy drapes are putted across it.
Mark's projector rests on a small table in front of the
16mm screen. Two banks of floods and a variety of spots
light this part of the room. There is a small control panel
on the wall.
Some of the equipment is ancient - but none of it is old.
All of it glistens with the affection of its owner.
There is absolutely nothing in the room to alarm anyone
except an adult... the kind who starts to wonder who paid
for it all.
CLOSE SHOT of Mark. He stands by the lighting panel,
watching Helen.
From his POV WE SEE her brushing the hair out of her eyes
as she looks slowly round. He brushes the hair out of his.
For a moment she turns her back to him. He presses a switch
on the wall. A gentle light ripples through the back of
Helen's hair.
SHOT of Helen. She turns to him. She is very nearly at a
loss for words.
HELEN
This is so... well - so many
things... but above all - it's
so...
She takes a final look round.
HELEN
...completely unexpected!
She looks at him searchingly.
HELEN
Is all of it yours?
MARK
Yes.
HELEN
I mean... is it designed by you?
Furnished by you? Tell me about
this room.
CLOSE SHOT of Mark.
MARK
It belonged to my father
HELEN
What was he?
MARK
Scientist...
HELEN
Then this equipment was his?
MARK
No...
He hesitates.
MARK
Sold his to buy it...
HELEN
But it seems to be so... technical.
She looks at him with renewed interest.
HELEN
If this is where you work, I can't
wait to see what you work at.
CLOSE SHOT of Mark - in difficulties.
MARK
Don't know what to show you?
HELEN
Well... what were you looking at
when I interrupted you?
He looks at her thoughtfully.
MARK
All right!
He crosses to the corner cupboard - opens the door.
CLOSE SHOT of the cupboard. We see Mark's hand reach for
a spool of film... then hesitate, poised above another
spool.
CLOSE SHOT of Helen - watching with interest.
REVERSE ANGLE SHOT of Mark. He closes the cupboard, and
turns round... there is a spool of film in his hand.
He walks slowly towards his projector... he seems — for
the moment — to have forgotten she is there.
CLOSE SHOT of Helen - watching him thread the film into
the projector.
MARK
This is the first... twenty-first
birthday present... I'll ever have
given.
HELEN
It's the first I've ever asked
for...
He places a chair a few feet away from the screen - and,
with an oddly courteous bow, beckons her into it. She sits
down.
CLOSE SHOT of Mark. He looks at her intently for a moment -
then turns off the lights. Over Helen's shoulder We can
just make out the empty screen. Mark switches on the
projector.
CLOSE SHOT of Helen - the light flickering on her face.
CLOSE SHOT of Mark staring at Helen's face.
CLOSE SHOT of Helen. WE SEE her expression of surprise.
Over Mark's shoulder WE SEE the surprise growing. Over
Helen's shoulder we see the screen. We are looking at a
small boy. He is lying in his bed asleep. Although the
print is old, we can see that he is a remarkably handsome
boy.
HELEN
Mark, what a beautiful child.
The boy turns restlessly in his sleep... one of his pillows
falls to the floor.
HELEN
Who is he?
MARK
Me
HELEN
Of course it is! Then who took
this film?
MARK
(quietly)
My Father.
A light - as if from a small torch — starts to shine on
the child's eyes. He moves restlessly.
HELEN
What a wonderful idea...
The light plays on the child's left eye, then on his right.
It is growing brighter.
HELEN
You'll be able to show it to your
own chi...
The child wakes up suddenly. He stares at something...
then starts to scream.
HELEN
You must have had a bad dream...
CLOSE SHOT of Mark watching her in silence.
HELEN
...but what was that light? ...The
camera, I suppose?
Mark does not answer. The small screen is filled with the
face of the screaming, terrified child.
(Mark's father now tries a not altogether successful
dissolve:)
WE NOW SEE the little boy standing in front of a garden
wall. He tries hard to climb to the top of the wall, but
falls over. Helen laughs. Mark watches her in silence.
Small Mark tries again - and again - to scale the wall...
at last he succeeds.
HELEN
Whatever are you after?
WE SEE the little boy lying flat on the wall staring at
something... rapt, motionless.
The cine-camera which is taking this picture now tracks
rather clumsily towards the wall.
HIGH ANGLE SHOT over the wall of what is fascinating young
Mark - A man and woman are lying on the ground, kissing.
The CINE-CAMERA PANS - again rather clumsily - to young
Mark... staring intently.
HELEN
Naughty boy I hope you were spanked!
CLOSE SHOT of Helen. It suddenly occurs to her.
HELEN
... but, Mark... what a strange
thing for your father to photograph.
MARK
Switch off?
HELEN
No.
She stares again at that lonely figure perched on the wall.
HELEN
No.
The small screen begins to dissolve ...so does the large
one.
DISSOLVE TO:
INT. HELEN'S SITTING ROOM - NIGHT
Over Mrs. Stephens' shoulder WE SEE the party in progress.
The glass by her side is full again. Tony is dancing with
an attractive blonde.
MRS. STEPHENS
Tony!
He turns round.
TONY
Me, Mrs. Stephens?
The head nods.
Tony advances reluctantly towards her.
REVERSE ANGLE SHOT of Mrs. Stephens.
Over Tony's shoulder WE SEE a powerfully built and once
lovely woman.
She is so perpetually drunk as almost to be sober. The few
movements she makes are slow - deliberate - and give nothing
away. The voice articulates so carefully that the slur
scarcely shows.
The fact that she is blind almost helps to conceal the
fact that she is drunk. Her sightless eyes stare out the
camera as Tony reaches her.
MRS. STEPHENS
I want a word with you.
DISSOLVE TO:
CLOSE SHOT of Helen's eyes. The light from the projector
flickering into them.
HELEN
I hate people who chatter in films -
but there's so much I want to ask.
CAMERA PULLS BACK.
INT. THE INNER ROOM - NIGHT
She is leaning forward, her face cupped in her hand,
watching the small screen intently.
CLOSE SHOT of Mark. His face is cupped in his hand as he
watches her intently.
Over Helen's shoulder WE SEE Mark in the making.
The child is again asleep... this time he is being
photographed from the head of the bed - the CAMERA POINTING
STRAIGHT DOWN AT HIS FACE.
A beam of light starts to shine onto his eyes, first onto
the left, then onto the right.
HELEN
(in a whisper)
Again?
Mark looks at her in silence.
The boy moves restlessly, then turns over onto his face,
pulling the bedclothes round him. His right hand is limp
on the pillow. The light shines for a moment on this hand,
then goes out. Helen half turns towards Mark.
HELEN
Mark, this isn't some kind of jo...
Her attention is suddenly riveted on the screen.
MARK
(in a whisper)
No, Helen.
Over Helen's shoulder WE SEE something drop onto the child's
bed... something which stays quite still for a moment,
then starts crawling towards the counterpane. It is a small
lizard.
HELEN
Mark, whatever is that?
Her voice trails away. She stares - repelled and fascinated -
at the screen.
WE SEE Mark reach for his cine-camera.
Over Helen's shoulder WE SEE the lizard reach the
counterpane. It stretches itself out on the floral design -
its body is pointed towards the child's hand.
WE HEAR a CLICK - and suddenly a spotlight falls onto
Helen's face.
OVERLAID is the GENTLE PURRING of Mark's cine-camera. She
wheels towards him - blotting out the small screen.
HELEN
What are you...
MARK
wanted to photograph you...
watching...
HELEN
No, Mark!
The camera purrs on.
HELEN
No!
He switches off the spot... the purring of the camera dies
away. She turns towards the small screen.
HELEN
help me to understand this... this
nightmare...
The small boy is sitting upright... screaming with terror...
there is no sign of the lizard.
A handkerchief is thrown onto the boy's bed. He continues
crying - looking up into someone's face.
CLOSE SHOT of Mark watching the screen.
We hear a man's deep voice overlaid.
MAN'S DEEP VOICE (O.S.)
That'll do Mark... dry your eyes
and stop being silly.
Small Mark reaches for the handkerchief and wipes his
eyes... his hands are trembling.
The small screen trembles with them into a clumsy dissolve.
Helen turns to Mark.
HELEN
All right... now look... Mark -
what was all that about?
He looks at her helplessly.
HELEN
... that was a lizard, wasn't it?
Or a...
MARK
Liz...
HELEN
Well how did it get there?... How
did it get there Mark?... Was it
a pet?
MARK
Not mine...
HELEN
Won't you try to explain?
CLOSE SHOT of Mark staring at the screen.
MARK
You'd better go!
HELEN
I like to understand what I'm shown!
She turns to the screen.
HELEN
What was your father trying to
do?... Photographing you at nigh...
Her voice trails away.
MARK
better go...
From Helen's POV we see the screen.
Small Mark is wearing a dark suit and a black tie.
He is standing at the foot of a four-poster bed, staring
at something in horror and disbelief... his hands clasp
the bedrail tightly.
Slowly - very slowly - he walks towards the head of the
bed, staring.
His lips begin to quiver. He bends forward over the bed.
WE CAN SEE the back of his bowed head.
HELEN
Mark... what is this?
MARK
I am saying... goodbye... my
mother...
We catch a glimpse of a woman's hands folded in front of
her.
CLOSE SHOT of Helen.
HELEN
(in a whisper)
He... photographed... that...?
CLOSE SHOT of Mark.
MARK
Yes.
Suddenly - and healthily - his temper snaps.
MARK
...and this!
He pushes a lever on his projector as far forward as it
will go.
The film is now shown at tremendous speed - We catch a
glimpse of a long line of cars.
MARK
...her funeral!
It speeds by.
MARK
...and this!
A confused picture of earth and flowers.
MARK
...her burial!
The briefest glimpse of a little boy with a spade.
MARK
...and this!
WE SEE a girl in a bikini by sand-dunes. Mark offers no
comment.
HELEN
Mark, who is that?
MARK
Her successor.
CLOSE SHOT of Helen.
HELEN
Suc-?
MARK
He married her... six weeks after...
the previous sequence.
He pulls back the lever of his projector... the film returns
to its normal speed.
WE SEE the same attractive young woman standing in a garden.
She is holding a bewildered and defiant Mark by the hand.
Suddenly the girl runs towards camera - leaving Mark
standing alone.
MARK
She filmed... what comes now.
CLOSE SHOT of Helen watching intently. It's out of focus!
From Helen's POV WE SEE a tall man in a black coat walking
away from camera. He hurries towards small Mark - who
watches him anxiously.
HELEN
Is that your father?
MARK
The morning that he left for his
honeymoon.
The back of Mark's father suddenly obscures our view of
small Mark... all we can see is that tall figure looking
downwards standing very still.
Camera wobbles - as if the person holding it is laughing.
HELEN
What is he doing?
MARK
Giving me a present...
HELEN
What was it?
Mark stares at the blurred screen, perspiration trickling
down his forehead.
MARK
Can't you guess?
The small screen comes back into focus - and suddenly our
camera rushes towards it.
WE SEE a CLOSE SHOT of a CLOSE SHOT - and at the moment we
see it, Mark's Voice is overlaid... A whisper which echoes
round the room.
MARK (O.S.)
A camera...
We are looking at a close shot of a camera in a small boy's
hands.
There is a single shrill chord of music on the sound track.
CLOSE SHOT of the shelf which encircles Mark's room.
We are looking at the very same camera which the small boy
is holding.
CLOSE SHOT of the camera in small Mark's hands.
His father's finger points lo the view-finder.
Small Mark stares into it. Small Mark begins to smile.
CLOSE SHOT of Mark watching himself being born.
CLOSE SHOT of Helen watching Mark.
HELEN
Switch it off!
He continues to stare at the screen.
HELEN
Switch it off, Mark!
She turns to the projector - touches the wrong switch.
Small Mark and his father go rapidly backwards.
Mark turns off the projector abruptly.
The room is in darkness.
WE CAN HEAR both of them breathing quickly.
The light goes on. Mark is standing by the exit - he keeps
his face averted.
Helen walks slowly towards the exit. She glances round
once, over her shoulder, then goes into the other room.
Mark stares after her.
INT. MARK'S SITTING ROOM - NIGHT
She walks towards the door... turns round suddenly - almost
in anger.
HELEN
So he was a scientist?
He keeps his face averted.
HELEN
What kind of scientist, Mark?
MARK
Biologist.
HELEN
What was he trying to do to you?
He doesn't answer.
HELEN
Mark!...
He turns round slowly. From his POV WE SEE the willingness
to understand on her face.
HELEN
What was he trying to do to you?
MARK
Watch me... grow up...
She walks towards him... takes his handkerchief from his
jacket pocket and wipes his forehead.
MARK
He wanted a record of a growing
child... complete in every detail -
if such a thing were possible -
and he tried to make it possible
by training a camera on me... at
all times...
CLOSE SHOT of Mark.
MARK
I never knew... the whole of my
childhood... one moment's privacy...
HELEN
And those lights in your eyes?...
and that - thing?
MARK
He was interested ... in the
reactions of the nervous system...
to fear... Fear?
HELEN
Fear?
MARK
Fear.
CLOSE SHOT of the word 'fear'.
CAMERA PULLS BACK.
We are looking at the spine of a book on Mark's shelf. The
full title reads: The Physiology of Fear by Professor A.
N. Lewis.
MARK'S VOICE IS OVERLAID:
MARK (O.S.)
Especially fear in children - and
how they react to it.
CLOSE SHOT of the word 'fear' on the next book.
CAMERA PULLS BACK.
The full title reads: FEAR AND THE NERVOUS SYSTEM, PART I.
PROFESSOR A. N. LEWIS. There is a row of such books all
by Professor Lewis.
CLOSE SHOT of Mark.
MARK
I think he learned a lot... from
me... I'd wake up... screaming...
sometimes... and he'd be there...
taking notes... and pictures...
and I'm sure good came of it...
for some people... He was brilliant.
HELEN
A scientist drops a lizard onto a
child's bed - and good comes of
it?
MARK
I don't know... if he did... but
if he did... he'll have learned
something of value...
HELEN
If only about lizards! Mark - it
sounds to me as if your father
was...
MARK
He founded clinics.
HELEN
He sounds completely...
MARK
He was famous! Professor A. N.
Lewis... three clinics.
HELEN
Why do you still live in his
house... and watch his films?
MARK
They helped make me... what I am.
HELEN
A photographer? It's no wonder, is
it? But you still haven't shown me
anything you've photographed!
He looks at her in silence.
HELEN
Will you?
There is a knock on the door.
MARK
One day...
He hurries to the door, and opens it.
Tony is standing there.
TONY
Excuse me, but...
From Tony's POV WE SEE Helen looking at the door of the
dark room.
TONY
Oh, there you are, Helen.
She turns towards him.
TONY
The party looks like breaking up,
and we were wondering if...
HELEN
I'm coming.
She turns to Mark.
HELEN
I wish you'd join us.
Mark shakes his head.
MARK
Thanks... work.
HELEN
I hope that you...
She is suddenly aware of Tony watching her. She glances at
the birthday cake on the table.
HELEN
... have a sweet tooth!
She smiles at him.
HELEN
Thank you... for my present.
She goes into the passage.
TONY
Good night, old boy.
He puts his arm round Helen, and closes the door.
Mark stares after them, motionless.
The CAMERA LINGERS on the birthday cake.
As the light fades, a voice yells: Cut!
CUT TO:
INT. FILM STUDIO - DAY
HIGH ANGLE SHOT of a set showing part of a large West End
store.
A blonde is lying unconscious in front of a lift - and a
crowd of extras surround her.
As the word 'cut' dies away, the extras relax - and the
blonde (DIANE ASHLEY) props herself onto her elbow, looking
towards the Director.
CLOSE SHOT of the Director (ARTHUR BADEN) standing beside
the camera.
BADEN
OK. Print that one!
He glances at the CHIEF CAMERAMAN (PHILIP TALE), who nods
his head in agreement.
CLOSE SHOT of Mark standing at the back of the camera crew.
He shakes his head in disagreement.
The Chief Cameraman spots Mark's small mutiny and wags his
finger at him. As the Chief Cameraman turns away, Mark's
finger automatically wags back.
CLOSE SHOT of Baden looking at his watch. He sighs, then
nods to the Assistant Director who stands beside him.
ASSISTANT DIRECTOR
All right, everyone! Back at two!
Baden walks out without a word to anyone. A hubbub of
chatter breaks out. The unit downs tools and begins to
disperse.
CLOSE SHOT of one of the extras (VIVIAN) - a small,
vivacious, brunette with delicate, attractive features.
She edges towards the camera crew.
CLOSE SHOT of Mark watching her.
Over his shoulder WE SEE Vivian glance towards him. He
nods almost imperceptibly.
Vivian hurries towards the exit.
Mark turns to a shelf behind him - picks up his cine-camera
and a little full string bag containing his lunch.
DISSOLVE TO:
EXT. STUDIO GROUNDS - DAY
CLOSE SHOT of Vivian munching a sandwich.
CAMERA PULLS BACK.
She is leaning against a wall in a corner of an exterior
set - a Chinese temple or a medieval castle (or a
combination of each like a Pinewood drawing-room).
Beside her she has a small tape-recorder, or record-player.
We hear music - modem rhythms.
There are several people strolling about - but no one in
the immediate vicinity. No one... except Mark.
CLOSE SHOT of Mark - settling down on the other side of
the wall (where they can talk without being seen together).
VIVIAN
Mark?
MARK
Hallo...
VIVIAN
Were you spotted?
MARK
Don't think so.
VIVIAN
(switches off music)
Is it tonight?
CLOSE SHOT of Mark.
MARK
Yes.
CLOSE SHOT of Vivian.
VIVIAN
Mark...
MARK
Yes?
VIVIAN
You're sure we won't be caught?
MARK
Not if you do as I tell you.
VIVIAN
I will, I promise.
MARK
You haven't... said anything... to
anyone?
VIVIAN
Of course not.
MARK
Good... like some cake?
VIVIAN
Thank you.
We see him break off a piece of birthday cake, and pass it
over to her.
VIVIAN
Mark... I want to be quite clear
about this...
CLOSE SHOT of Mark staring at his cake.
VIVIAN
Tonight, when the studio's empty...
I'm to come back-and you're going
to give me a film test... right?
MARK
Right.
VIVIAN
You'll then print the film - so I
can show it to my agent and anyone
else who matters - right?
MARK
Right.
VIVIAN
Mark...
She hesitates.
VIVIAN
I've been offered film tests
before... but I haven't liked the
terms.
MARK
There aren't any.
VIVIAN
Then why are you doing this? Risking
your job and...
MARK
Not just for you... Viv... I have
an agent too - and I want to show
him what I can do... I want to
direct...
VIVIAN
(switching on music
again)
There's someone coming.
Mark lies motionless behind the wall. A young male EXTRA
comes towards Vivian.
EXTRA
Hallo - lousy morning's work, wasn't
it?
VIVIAN
Yes.
EXTRA
Thought I saw you talking to
somebody...
VIVIAN
I was learning my lines.
EXTRA
Didn't know you had any...
He glances at his watch.
EXTRA
Want a drink? Dutch?
VIVIAN
Later... perhaps.
EXTRA
Be seeing you
He wanders off.
VIVIAN
Mark...
MARK
Yes?
VIVIAN
(switching off music
again)
You didn't mind me asking?
MARK
No, more cake?
VIVIAN
No... you want to direct... more
badly than anything don't you?
Mark is silent, staring at the sky.
VIVIAN
Don't you, Mark?
MARK
I want... to photograph... the
impossible...
VIVIAN
What is impossible?
MARK
Something... that has never been
photographed before.
VIVIAN
What?
MARK
You really want to know...?
VIVIAN
Very much, especially if there's a
part for me.
MARK
I want... to photograph a murder...
while it's being committed.
VIVIAN
No part for me then.
MARK
But that... isn't enough.
VIVIAN
Is this a new script?
MARK
I want... to frighten... someone...
to death... and photograph... their
expression of fear...
VIVIAN
Mark! What's this story called?
MARK
That is something... he never
photographed...
VIVIAN
Who?
Mark is silent.
VIVIAN
Who is he, Mark?
MARK
Anyone.
VIVIAN
No one could... they'd be caught!
MARK
I wouldn't care... if I had my
picture.
VIVIAN
Besides, how would you frighten
anyone to death?
MARK
There's a way.
VIVIAN
Well, what?
MARK
There's a way.
VIVIAN
You'd better not tell me! I'll be
scared to death tonight as it is!
A hooter.
VIVIAN
Back on the set - shall I go first?
MARK
Please.
She rises to her feet. From behind the wall comes a gentle
whirring purring sound.
VIVIAN
What are you doing?
MARK
Getting into practice.
She smiles down at him.
VIVIAN
See you tonight!
MARK
See you tonight!
She walks away. And the gentle purring continues. CAMERA
PANS to the sun beating down on the lot.
DISSOLVE TO:
An arc lamp beating down on the set.
INT. STUDIO - DAY
Baden bears down on the Assistant Director.
BADEN
Would you enquire if our leading
lady is ready to start leading.
A cry goes up,
ASSISTANT (O.S.)
Miss Diane Ashley, please!...
Miss Diane Ashley, please!...
CLOSE SHOT of Baden turning towards the entrance.
CLOSE SHOT of Mark turning towards the entrance.
CLOSE SHOT of entrance.
INT. STUDIO - DAY
Miss. DIANE ASHLEY appears... among the many qualities
she radiates is goodwill - especially towards Miss Diane
Ashley.
DIANE
How are you, Sparks? Chippy? Bob?
VOICES
Hallo, Diane...
DIANE
How are you, Tom? Roger?
VOICES
Hallo, Diane...
And so on, until:
DIANE
How are you, Phil?... Mark?
CLOSE SHOT of Mark.
MARK
Hallo, Miss Ashley.
DIANE
(to a figure high
in the scaffolding)
How are you, Pete...?
VOICE
Hi, Di!
She reaches Baden - and completely ignores him.
BADEN
Darling, you've only been playing
this part for three weeks, so in
case you haven't yet had a chance
to read the script...
She ignores this.
BADEN
... may I remind you that you're a
girl with an irresistible impulse!
She looks at him - then at her hand - and nods.
BADEN
a kleptomaniac! Who cannot help
stealing... Get inside her,
Diane!... What - in all the world -
do you most want to steal?
DIANE
The limelight!
Baden sighs.
BADEN
We'll run the scene where you catch
sight of the store detective and
faint... Where's the girl who plays
the bystander?
Vivian steps forward.
BADEN
How are you?
VIVIAN
Hallo, Diane...
1ST ASSISTANT
Positions, everyone!
CLOSE SHOT of Vivian taking her position in front of the
lift. She glances at her watch.
CLOSE SHOT of Mark standing by the side of the studio
camera. He glances at his watch.
CAMERA TRACKS towards the lift.
From Mark's POV WE SEE Diane catch sight of the Store
Detective - and crumple in a faint.
BADEN
Hit that floor with a thud!
CLOSE SHOT of door marked: DON JARVIS - MANAGING DIRECTOR.
BADEN (O.S.)
D.J. insists on realism!
A timid knock is overlaid before we dare enter.
INT. EXECUTIVE OFFICE - AFTERNOON
CLOSE SHOT of a pile of scripts on a great man's desk.
CAMERA PULLS BACK
MR. JARVIS is immersed in reading a script... his eyes
race across the page.
Over his shoulder WE SEE what he is reading... a sheet of
figures attached to the script.
At the same time Mr. Jarvis is holding a telephone receiver
to his ear - and we hear an enthusiastic VOICE FILTERED
THROUGH IT: VOICE (OFF-SCREEN)
VOICE (O.S. FILTERED)
...it's a wonderful subject, D.J....
Paramount wants it, M.G.M. wants
it, Columbia wants it.
JARVIS
But is it commercial?
VOICE (O.S. FILTERED)
Danny Angel wants it!
Still reading the script, Mr. Jarvis lays the receiver on
his desk and picks up another.
JARVIS
Are those budgets ready? Well bring
'em in.
He replaces this receiver and picks up the original.
The voice is still talking - something about 'a wonderful
part for Kenny or Alec'...
VOICE (O.S. FILTERED)
Send me a memo - we'll discuss it
next week.
He replaces the receiver. MISS SIMPSON enters. She hands
him some folders... her smile curtsies.
CLOSE SHOT of Mr. Jarvis opening a folder.
Over his shoulder WE SEE a page covered with row upon row
of figures.
The great man's finger skims along the figures like a tailor
feeling cloth.
JARVIS
There's an error! The total should
be a hundred and fifty thousand
pounds fourteen shillings and
sixpence - not thirteen and
ninepence... That could mean the
difference between profit and loss
on a first feature!
MISS SIMPSON
Sorry, D.J.
He glowers at her - but his day is made.
JARVIS
Any units working late tonight?
MISS SIMPSON
Only one, sir. Night exteriors on
the lot. The Elephant with two...
JARVIS
That animal needs a stick of
dynamite!
CLOSE SHOT of Jarvis.
JARVIS
Remind me to pay them a visit
tonight.
MISS SIMPSON
Yes, D.J.
She makes a note in her little book.
JARVIS
Now, Miss Simpson... take a memo
to all department heads...
Over his shoulder WE SEE an open window. CAMERA TRACKS
towards it.
JARVIS (O.S.)
In light of the new economy drive...
DISSOLVE TO:
CLOSE SHOT of Clapper Boy's board. It reads: Take 49.
THE CAMERA PULLS BACK.
INT. STUDIO - LATE AFTERNOON
BADEN
Again, please... and, darling...
He turns to Diane, who is wearily picking herself up off
the floor.
BADEN
... just this once... will you
please make an effort to forget
that you're stunning, and try to
look as if you're stunned...?
DIANE
Say one kind word - and I would
be!
ASSISTANT
(hastily)
Positions, everyone!
DISSOLVE TO:
MONTAGE SEQUENCE:
Camera crew on a tracking shot. Mark is operating the Selsen
motor.
Baden - shaking his head.
Diane - picking herself up off the floor.
Clapper Boy's board — reading: Take 57.
Vivian - glancing at her watch.
Mark - glancing at his.
Diane - picking herself up off the floor.
DIANE
If I have to faint once more I
shall faint!
DISSOLVE TO:
CLOSE SHOT of Baden - triumphant at last.
BADEN
Cut! How was that?...
(thumbs up all round -
with one exception)
Mark?
Mark nods perfunctorily.
BADEN
Print it!
He glances at his watch - then nods to the Assistant
Director.
ASSISTANT
That's it, boys and girls . . .
wrap it up! Night-night everyone!
Baden puts his arm round Diane's
shoulder.
BADEN
How are you, darling?
She makes a hobbling exit.
CLOSE SHOT of Vivian hurrying towards the exit carrying
her little recorder.
In a burst of chatter, the unit starts to disperse.
CLOSE SHOT of Mark picking up his cine-camera and his lunch
bag.
The CLAPPER BOY comes up to him.
CLAPPER BOY
Catching the bus?
MARK
Not tonight... meeting someone...
for a drink.
CLAPPER BOY
Wanted to discuss the film at the
Everyman... Tomorrow then?
MARK
I hope so.
CLAPPER BOY
Good night, Mark.
MARK
Good night.
DISSOLVE TO:
CLOSE SHOT of Vivian. She is sitting at a dressing-room
table... making-up with care.
INT. DRESSING ROOM - LATE AFTERNOON
Three other girls share the dressing room with her.
There is a knock at the door - and the Young Extra who
spoke to Vivian in the grounds pokes his head round.
EXTRA
Greetings... lousy afternoon's
work, wasn't it? Who wants a lift
to town?
1ST GIRL
In what?
EXTRA
colleague's car... there's room
for two on my lap - three at a
pinch.
1ST GIRL
Which is what we'd get.
2ND GIRL
You, Viv?
VIVIAN
No, thanks... I've a date... at
the Local.
1ST GIRL
Us two then?
2ND GIRL
I'm game... might as well get
pinched in a car as squeezed in a
tube.
EXT. THE CAR PARK - LATE AFTERNOON
The cars are streaming towards the gate.
CLOSE SHOT of Baden driving a small new car.
CLOSE SHOT of the Chief Cameraman driving a large old one.
INT. DON JARVIS' OFFICE - LATE AFTERNOON
He is still immersed in his figures.
Miss Simpson is walking to the door. She glances at her
little book.
MISS SIMPSON
I'm to remind you to pay a surprise
visit tonight to The Elephant
with...
He grunts.
MISS SIMPSON
Good night, D.J.
Jarvis goes on reading...
DISSOLVE TO:
CLOSE SHOT of Vivian.
INT. DRESSING ROOM
Music playing. Vivian moves about nervously in front of a
mirror in the deserted dressing room. She wears slacks and
a shirt. She glances at her watch - her hands are trembling -
looks at watch, hears the fireman coming, then switches
off the music and hides in the big cupboard -
INT. CORRIDOR
Fireman making his rounds, turning off lights.
EXT. THE CAR PARK - EARLY EVENING
Only a few cars now remain. It is beginning to grow dark.
INT. STUDIO CORRIDORS - EARLY EVENING
The long corridors are dim and deserted.
INT. PASSAGE - EARLY EVENING
The fireman is making his rounds.
INT. DRESSING ROOM - EARLY EVENING
Vivian is standing in the cupboard - the lights are on.
INT. CORRIDOR - EARLY EVENING
Fireman opening the dressing-room doors - and glancing
inside.
INT. POWER HOUSE - EARLY EVENING
Two electricians are smoking.
INT. CORRIDOR - EARLY EVENING
Fireman opens the door of Vivian's dressing room.
INT. DRESSING ROOM - EARLY EVENING
From Vivian's POV WE SEE the lights go out.
WE HEAR the sound of the door closing - and the Fireman's
footsteps disappearing down the corridor.
INT. DON JARVIS' OFFICE - EARLY EVENING
The great man closing up his folder... glancing at his
watch... turning out the light.
DISSOLVE TO:
INT. CORRIDOR - EARLY EVENING
Vivian is hurrying along a deserted corridor... and the
little recorder.
She pauses - and glances out of a door.
She carries her case Over her shoulder WE SEE the studio
lot - in a blaze of light we can see a crowd of people
hanging about in solar topees and tropical kit.
REVERSE SHOT of Vivian watching anxiously.
She turns away - and hurries down the corridor.
EXT. THE COURTYARD. EARLY EVENING
Don Jarvis strides across the courtyard. We can almost
hear - and perhaps we do - a cash register ringing up.
One of the white-clad figures lounging indolently in the
doorway glances round, sees the Inquisition approaching
and freezes. His degree of terror might satisfy Mark.
The great man strides on.
DISSOLVE TO:
INT. ENTRANCE TO STAGE E. - EARLY EVENING
Vivian pauses in front of the entrance to the set.
Above the note is a notice: 'NO ADMITTANCE WHILE RED LIGHT
IS ON'.
The light is out.
Vivian looks round - there is no one in sight.
Vivian slips in quietly, and closes the door behind her.
INT. STUDIO - EARLY EVENING
The set is in darkness.
CLOSE SHOT of Vivian looking round.
VIVIAN
(in a whisper)
Mark...?
No reply. Vivian hesitates... then edges slowly forward.
Ahead of her are shadowy counters full of merchandise.
Beyond them is the door of the lift.
CLOSE SHOT of the studio camera and the Director's empty
chair beside it.
CLOSE SHOT of Vivian edging forward.
VIVIAN
Mark...?
She reaches one of the counters - and leans against it,
looking around.
REVERSE ANGLE shot of Vivian. She is leaning against the
counter of the trunk department. Trunks and suitcases at
'greatly reduced prices' are piled behind her.
CLOSE SHOT of Vivian. She starts whistling nervously under
her breath.
Very faintly overlaid is the sound of Mark whistling under
his.
Vivian stops whistling - and so does Mark.
She listens intently for a moment - then peers at her watch.
CLOSE SHOT of the watch on Mark's wrist.
CLOSE SHOT of Vivian. She shivers suddenly... then looks
at her watch again. She hesitates... then turns towards
the exit, and starts to edge back. She trips over a cable
and almost falls.
Suddenly she is bathed in light.
She wheels round. One of the big spots is beating down on
her.
VIVIAN
Mark...?
No sign of him. Overlaid is a gentle purring sound. Where
are another light comes on, shining through her hair.
VIVIAN
Mark!
The sound of his steps is overlaid.
VIVIAN
Listen... we must...
His footsteps stop... she looks round.
VIVIAN
Where are you?
His voice is quietly overlaid.
MARK (O.S.)
Here, Viv...
She wheels round.
CLOSE SHOT of Mark sitting in the Director's chair. He is
holding in his lap his cine-camera, and a black bag.
CLOSE SHOT of Vivian breathing quickly.
VIVIAN
You frightened me!
He looks at her in silence.
VIVIAN
Now listen... they're working late
on the lot.
MARK
I know. They're branched off this
stage - I'm using their juice.
He nods, staring at her intently.
VIVIAN
We must call it off... someone's
bound to see us.
MARK
They might...
(rising slowly)
... but they won't interrupt us
while we're filming... I've put
the red light on.
INT. ENTRANCE TO SET - EARLY EVENING
CLOSE SHOT of the red light - burning.
CLOSE SHOT of Vivian.
INT. STUDIO - EARLY EVENING
VIVIAN
You've what?...
MARK
Put the...
VIVIAN
Then they'll know someone's here.
MARK
They won't come in.
VIVIAN
They'll wait outside... what's the
difference?
MARK
The difference is... a perfect
film...
Over his shoulder WE SEE the studio camera.
MARK
... have waited... a long time...
for this... and so have you ... no
one... must interrupt it.
She glances round at the brazenly burning lights; shakes
her head despairingly.
VIVIAN
We'll be caught.
MARK
What does that matter?
VIVIAN
Matter!
MARK
You stand to lose... a job as an
extra... I stand to lose... nothing.
She looks at him in silence.
MARK
...the results must be so perfect...
that the risks don't count...
CLOSE SHOT of Mark.
MARK
So perfect... that even he ...
(he hesitates))
... even he... would say...
VIVIAN
Who Don Jarvis!?
He looks at her, then nods.
VIVIAN
Oh! He'd say:
(imitating the great
man's voice)
Sign on the dotted line, kiddies!
You can use my pen, but bring your
own ink!
(her excitement is
growing)
Mark... if you're sure it's worth
it?
MARK
It's time to find out, Viv...
He walks slowly towards the studio camera.
She prepares for the test by switching on music and warming
up with dance movements.
VIVIAN
Come on! Get hot!
(she accents the
rhythm)
Mark puts the cine-camera and the black cloth bag on the
dolly, slowly mounts the platform, closes the blimp - and
swings the camera.
We watch him from the top of the studio, from the door of
the studio, from the Director's chair. And finally WE WATCH
HIM from Vivian's POV. She stops dancing but the music
continues.
MARK
You belong there...
He stares ahead of him, his mind far, far away... then
bends and looks into the finder.
There is a single harsh chord of music - and the screen
goes dark. It remains dark for a moment.
Suddenly the darkness parts like curtains - and in the
centre WE SEE Vivian's face in the finder of the studio
camera. (Unlike the ground-glass of the newsagent's camera,
we see everything the right way up and in perfect
perspective.)
Mark hooks a filler-light below the camera and switches it
on. He adjusts the finder until he has made of Vivian's
delicate features a radiant miniature.
The miniature smiles shyly at him. She has stopped dancing
and is looking directly at the camera. Music continues.
VIVIAN
I do feel alone in front of it...
(she hesitates)
I suppose stars never do?
MARK
They feel alone without it...
(he looks in the
eyepiece)
Through the film, we can see only her eyes - large and
wistful.
MARK
... and the great ones... feel
alone... all the time...
She becomes the uninhibited Vivian again.
VIVIAN
Then I'm great, boy! What is it
you want me to act?
(she strikes an
attitude a, la
Rabbins)
He looks up from the camera; she smiles and starts keeping
time to the rhythm again.
VIVIAN
Being frightened to death?
MARK
You remembered?
VIVIAN
Yes - and I'll have a go!
We hear his quick breathing.
VIVIAN
I've been wondering all the
afternoon how you'd do it! I'll
bet you've thought of a wonderful
twist!
(she does a wonderful
twist)
CLOSE SHOT of Mark. He looks down - a little sadly - and
peers into the finder. (The camera dolly is on tracks - he
tracks forward.)
Music continues - piano.
In the finder WE SEE a large trunk - 'at greatly reduced
prices' — on the shelf behind Vivian.
From Vivian's POV WE SEE Mark leave the studio camera —
and hurry towards the trunks. She watches him wide-eyed.
VIVIAN
What are you doing?
MARK
Building us a set.
He reaches for the largest trunk.
VIVIAN
Why not pull the studio down while
you're about it? They can only
hang you once.
MARK
Exactly.
He carries the trunk towards the studio camera, and lays
it carefully on the floor.
Music continues.
Vivian peers into the front-glass of the studio camera —
as if it were a mirror. The rhythm of the music changes.
VIVIAN
If only Don Jarvis could see me
now!
She jumps onto the trunk and taps.
VIVIAN
If only I could see Don Jarvis
now!
She giggles again.
VIVIAN
I warn you, Mark - I'm hysterical...
I'd rather act dying of laughter,
if it's all the same to you...
She jumps off the trunk onto the floor.
He opens the trunk. she jumps into it. Her laughter echoes
round the deserted studio.
DISSOLVE TO:
INT. POWER HOUSE - EARLY EVENING
The two electricians are roaring with laughter. One of
them is making tea.
1ST ELECTRICIAN
So he did it again! Now you tell
one.
CAMERA PANS to a dial on the wall... one of the needles
flickers slightly.
2ND ELECTRICIAN
Half a mo...
1ST ELECTRICIAN (O.S.)
One lump or two?
2ND ELECTRICIAN
As the starlet said to the casting
director...
He turns away from the dials, and grasps at the outstretched
mug.
DISSOLVE TO:
CLOSE SHOT of Vivian recording - her little recorder is
twittering back at great speed.
VIVIAN
(to Mark, over her
shoulder)
What are you doing?
She restarts music.
INT. STUDIO - EARLY EVENING
She is watching Mark curiously as he arranges the lighting.
MARK
Be patient, Viv... it's going to
be worth it.
CLOSE SHOT of the studio camera. In front of it - fixed on
a small hook - is a tape measure.
Mark reaches for it... then carefully measures the distance
between the trunk and the camera... then he takes apiece
of chalk from his pocket and makes a small cross on the
floor.
The music continues.
VIVIAN
Oh well! I've stood alone in front
of a studio camera! That's more
than most have.
MARK
Ever stood... behind one?
He glances at a nearby dial - only a few feet away from
the one which is flickering.
VIVIAN
No.
MARK
Help yourself.
She goes around the camera out of sight - and he is out of
hers. He glances into the trunk - it is deep, and very
empty.
VIVIAN
(accenting the rhythm)
I can see you, Mark... perfectly!
MARK
Good...
VIVIAN
Yes, sir! I'll bet I'm the best
camerawoman in the business! . . .
(beating time with
her feet)
Mark hurries to the side of the studio camera and picks up
his cine-camera.
VIVIAN (O.S.)
I've lost you!
MARK
I'll be back.
Suddenly Mark's face appears in the finder.
VIVIAN
Welcome, stranger!
We see Mark raise his cine-camera. He seems to be pointing
it straight at us. We hear a gentle purring.
VIVIAN
What are you doing?
MARK
Photographing you photographing
me...
High angle shot of Mark standing in front of the studio
camera - photographing her photographing him.
VIVIAN
(in mock awe)
Mark, you're brilliant...
He walks slowly towards her, holding his cine-camera to
his eyes. In the finder of Mark's cine-camera WE SEE Vivian
at the studio camera. She comes closer and closer.
VIVIAN
Lost you again!
MARK (O.S.)
Never mind.
We see him standing almost on top of her - his cine-camera
trained on her.
MARK
I'm ready now, Viv...
She looks up slowly - and a little hesitantly. Music, all
drums.
MARK
Go and stand on that cross, will
you?
VIVIAN
(solemnly)
Yes, sir, Mr. Director, sir.
He watches her in silence as she walks to the front of the
studio camera and takes up her position. while the drum-
beat continues.
DISSOLVE TO:
EXT. COURTYARD - EARLY EVENING
Don Jarvis is leaving the unit working on the lot. It is
now bustling with activity.
A girl comes up to him... She raises her cigarette for a
light - and looks into his eyes.
He hands her a box of matches... and walks away. Over his
shoulder we see the other stages - apparently empty. Don
Jarvis hesitates, then strides towards one.
INT. POWER HOUSE - EARLY EVENING
CLOSE SHOT of a dial - the needle flickering slightly.
Overlaid is the voice of the 1st Electrician.
1ST ELECTRICIAN (O.S.)
...and here's one of the wife and
nipper...
DISSOLVE TO:
INT. STUDIO - EARLY EVENING
CLOSE SHOT of Vivian staring at the trunk on the floor
behind her. The recorded rhythm continues.
VIVIAN
Am I supposed to imagine someone
is going to put me in there?
Mark is watching her over the top of the studio camera.
MARK
Yes, Viv...
He peers into the viewfinder. In the finder we see Vivian
looking rather pathetically into camera.
VIVIAN
Mark - I hope I won't let you
down... I know you're trying to
create atmosphere for me - but...
I just don't feel frightened!
Wouldn't it be better if I just
did my number?
MARK
(shaking head)
Later.
VIVIAN
Oh all right! I could do anything -
I feel so relaxed - and that's due
to you... You're so at home with
that camera you make me feel at
home too... you have it in you,
boy!
From her POV WE SEE see him raise his head slightly.
MARK
Ready, Viv?
MARK VIVIAN
(great effort)
Well-I'll try -
In the finder we see her wrinkling her brow.
MARK VIVIAN
But what... would... frighten me
to death?
(looking appealingly
into camera)
Set the mood for me, Mark...
MARK
Well...
He goes and switches off the recorder. The sudden silence
is startling.
MARK
Imagine someone... coming towards
you... who's going to kill you -
regardless of consequences...
VIVIAN
A madman?
MARK
Yes - but he knows it... and you
don't... and just to kill you...
isn't enough for him.
VIVIAN
But how would he frighten me to?
She stares into focusing screen - intrigued, but not
frightened, not even by the silence and shadowy vastness
around her.
MARK
Stay there, Viv... you're... just
right.
She stands motionless - staring into camera.
INT. CORRIDOR IN STUDIO - EARLY EVENING
CLOSE SHOT of Don Jarvis. He is standing motionless, staring
down a corridor.
What he is staring at is out of camera - and it is puzzling
the great man.
He walks quietly along the corridor.
CLOSE SHOT of Vivian.
VIVIAN
I can't imagine what you've thought
of!
INT. STUDIO - EARLY EVENING
CLOSE SHOT of Mark. He raises his head slowly - and locks
the studio camera off. Then he walks slowly towards her.
HIGH ANGLE SHOT of Mark walking towards Vivian.
CAMERA ZOOMS DOWN to the trunk behind her. Mark's voice is
overlaid:
MARK (O.S.)
Suppose this... were one of his
weapons...
CLOSE SHOT of Don Jarvis.
INT. CORRIDOR - EARLY EVENING
The great man is poised for the kill. He is moving forward
stealthily... and suddenly breaks into a run.
CAMERA PANS - and WE SEE the object of his attentions. A
wisp of smoke is coming from behind an alcove.
CLOSE SHOT of a Fireman - smoking a cigarette.
CLOSE SHOT of Don Jarvis - smoking!
CLOSE SHOT of the Fireman's terror as he sees Don Jarvis.
JARVIS
Smoking on duty!
The Fireman opens his mouth to explain — and smoke exudes.
JARVIS
Come with me!
The Fireman follows him meekly.
CAMERA PANS.
So near - yet a lifetime away - a red light is burning
above a closed door.
CLOSE SHOT of Vivian - puzzled.
VIVIAN
That..?
INT. STUDIO E. - EARLY EVENING
CLOSE SHOT of Mark.
He is holding his cine-camera; fixed to it is a collapsible
tripod.
Suddenly he pulls one leg of the tripod out. WE SEE that a
very sharp spike protrudes from the end of it.
From Mark's POV WE SEE Vivian looking at the spike.
He raises it towards her - until the spike is only inches
from her throat.
VIVIAN
Yes... that would be frightening!
MARK
But... there's something else...
We can hear his heart pounding as if it will burst - and
gradually Vivian, too, becomes aware of it.
VIVIAN
Well? What is it?
Just for a moment Mark's arm moves. His back hides what he
is doing. Suddenly WE SEE Vivian turn her head sharply -
she is looking at something out of camera.
VIVIAN
(in a whisper)
That...?
The spike is very close to her throat - but Vivian ignores
it, staring out of camera.
Over Mark's shoulder we concentrate on Vivian's face.
VIVIAN
(in a whisper)
Mark... take it...
The fear on her face is rapidly growing...
VIVIAN
... away!
She tries to move back - but the trunk prevents her.
VIVIAN
MARK - YOU!
It is almost a scream.
We can hear Mark breathing quickly.
Vivian raises her hands to push something away from her.
Suddenly the screen is filled with her eyes. WE SEE them
dilating with terror. There is a sudden crash as the big
power switches go out in the roof.
The lights go out.
There is a scream in the darkness.
Then silence.
The darkness acquires a grey, opaque quality as if one is
seeing the world through a curtain - it is the world of
Mrs. Stephens.
A bright light is felt, rather than seen, beating against
our eyelids. It looms closer and stronger.
HELEN'S VOICE (O.S.)
And that, darling, is the end of
the news! Unless you want the
football results?
CLOSE SHOT of Mrs. Stephens, a large glass of whisky - and
the bottle - beside her. It is night.
MRS. STEPHENS
No thank you.
CLOSE SHOT of Helen. 'She's Got the Key of the Door' is
overlaid.