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. HELEN What else can I read you? MRS. STEPHENS The label on this whisky bottle! Are you sure it says seventy per cent proof? HELEN Certain. MRS. STEPHENS They're bigger liars than the press! From Helen's POV WE SEE her reach for her glass with a steady hand. HELEN Is that your last tonight? MRS. STEPHENS I doubt it. HELEN Your last but one? MRS. STEPHENS Don't haggle. HELEN (producing a coin) Toss me double or nothing? MRS. STEPHENS Done! Helen spins the coin on the table Mrs. Stephens listens intently... the coin stops spinning. MRS. STEPHENS Heads. Her fingers shoot out and feel the surface of the coin. HELEN Bad luck, darling. MRS. STEPHENS Huh. She turns the coin over and carefully feels the other side. Helen watches her with a smile - then looks thoughtfully at the ceiling. MRS. STEPHENS What are you looking at? HELEN The ceiling! MRS. STEPHENS Wondering if that young man is home? HELEN Yes. MRS. STEPHENS Well he is... I heard him come in... four paragraphs ago. From Helen's POV WE SEE the sightless eyes staring at her. MRS. STEPHENS Do you like him? CLOSE SHOT of Helen. HELEN Yes, darling. MRS. STEPHENS Why? HELEN He has a quality... MRS. STEPHENS (sipping her glass) Wish this had. HELEN ... and I think he could help me. MRS. STEPHENS With your photographs? HELEN Yes... CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Helen... HELEN Yes? Mrs. Stephens hesitates - which is rare. MRS. STEPHENS (abruptly) It doesn't matter. HELEN (quickly) Mummy, what's worrying you? MRS. STEPHENS The price of whisky. HELEN What else? MRS. STEPHENS What else matters? HELEN Don't you like Mark? MRS. STEPHENS Haven't met him. HELEN You don't like him! Now why not? CLOSE SHOT of Mrs. Stephens. Again she hesitates. MRS. STEPHENS I distrust a man who walks quietly. HELEN He's shy! MRS. STEPHENS His footsteps aren't! They're stealthy... HELEN Now darling. MRS. STEPHENS Are you going up to him? HELEN May I? MRS. STEPHENS We both have the key of the door... Mine needs oiling - and yours needs exercise... Off you go. HELEN Thank you. She kisses her - and glances at the whisky glass. HELEN remember that you lost the toss. She walks to the door. MRS. STEPHENS Helen... HELEN Yes, darling? MRS. STEPHENS If you're back in five minutes... I won't even finish this. HELEN Done! She hurries out. Mrs. Stephens instantly refills her glass. CLOSE SHOT of her hand. It has begun to tremble. MARK'S DARK-ROOM CLOSE SHOT of Mark's hands, in the green light of the dark- room. He is busy unloading and winding film onto a developing rack. He puts the rack of exposed film into the tank and starts the time clock. CLOSE SHOT of the time clock ticking. A knock is heard off. Mark looks up. MARK Who is it? HELEN (O.S.) Helen... CLOSE SHOT of Mark. Faintly overlaid is 'She's Got the Key of the Door'. He looks down at the clock. MARK (calling) Come in, Helen! INT. PASSAGE - EVENING Helen opens the door of Mark's sitting room. We hear Mark call out from the inner room: MARK (O.S.) Would you... please... wait in there?... Developing. Helen goes in, closing the door behind her. INT. MARK'S SITTING ROOM - EVENING Helen enters. She speaks loudly to be heard in the dark- room. HELEN Mother heard you come in - so I guessed you wouldn't be in bed ... No reply from the inner room. HELEN Are you sure this is conven... MARK (O.S.) Won't be long! Helen glances at her watch... then looks curiously round the room. CLOSE SHOT of Vivian's recorder, placed on a chair. CLOSE SHOT of Helen. She picks it up and looks at it, curiously, fingering the stops. MARK (O.S.) Hallo. Helen turns round. Mark is standing on the threshold of the dark-room. HELEN Hallo, Mark... He walks towards her... he stops suddenly. He is staring at the recorder in her hand. HELEN I hope you don't mind - is it a tape-recorder? MARK Yes. Gently he takes it from her - as if it is a cup with which she has finished - and replaces it on the shelf. CLOSE SHOT of Helen. HELEN I'm sure I'm being a nuisance... but, Mark, I very much want to... Her voice trails away. CLOSE SHOT of Mark. He is holding out a small package. MARK Happy birthday. HELEN Mark! That's very sweet of you - but really. MARK It isn't much... I don't know anything about... presents for twenty-one... but I saw it this morning... so... please. HELEN (gently) Thank you... She takes the package, and unwraps it. Inside is a slender brooch HELEN It's beautiful... MARK I like the design... More milk? HELEN More?... No, thank you, Mark... and I really appreciate this... I'm going to put it on now. He watches her hold it against her dress. HELEN There?... Or there?... MARK The first place... HELEN I think so too!... CLOSE SHOT of Helen pinning it on. CLOSE SHOT of Mark touching his lapel. CLOSE SHOT of Helen glancing at her watch. CLOSE SHOT of Mark glancing at his. He thinks of the ticking clock in the dark-room. Helen looks up, and sees him. HELEN I am keeping you. MARK No... I promise. HELEN Mark, I'm here for some advice. MARK From me? Please... He looks as if he has just been voted the best cameraman of the year (unanimously) - and the two films he directed have both won Oscars (though Don Jarvis understood them). His delighted astonishment is such that she has to smile. HELEN ... I work in a public library - in the children's section... I'm telling you that to postpone admitting what always embarrasses me... She takes a deep breath. HELEN In my spare time... I write. MARK What's embar... HELEN I write stories for children... but so did Grimm... Hans Andersen... Lewis Carroll... MARK Had any published? HELEN Some short stories. MARK I'd like to read... HELEN I learned today... that my first book... has been accepted! ... For publication in the spring... MARK But that's wonderful... what's it about? HELEN A magic camera - and what it photographs... CLOSE SHOT of Mark. MARK Whatever made you... think of that? HELEN I'll tell you one day - I promise... MARK Well what does it photograph? HELEN I'll tell you that too - but, Mark... this is the problem... The children who read the book will want to see the pictures the camera takes - but the publishers say they're impossible to photograph, and suggest drawings... but I don't agree. MARK No - nothing's impossible. HELEN was hoping you'd say that! There must be photographs - however difficult to take - and I was wondering, Mark - if you'd... MARK Oh yes. HELEN discuss it with me. MARK take them. HELEN Mark - I can't ask you to do that... They have cancelled his Oscar. HELEN I mean... the publisher's mightn't agree. MARK I'd take them... for you. HELEN Yes but... the money. MARK There are some things... which I photograph... for nothing. HELEN I didn't mean to offend you. MARK Offend? CLOSE SHOT of Mark. MARK Helen... if you knew what it meant... for something to happen to me... that I don't have to make happen... it's like... you've given me a twenty-first birthday... CLOSE SHOT of Helen looking at him... MARK What does your camera photograph? HELEN Mark - I must go... I just wanted to know... if you'd talk it over with me. MARK When please? HELEN That's up to you. MARK Helen ... I don't know much about... dinner out... but would you come with me? HELEN Thank you. MARK Thank you. HELEN When? MARK Oh... HELEN What's the matter? MARK It had better be soon... HELEN Are you going away? MARK Almost for certain! ... HELEN Oh... well you suggest when. MARK Are you free... tomorrow night? HELEN Yes. MARK I hope I am! HELEN I'll understand if you're not. MARK I'll try to be - I'll try my hardest to be. HELEN Thank you for listening... and for my present. MARK and for mine. They look at each other in silence. HELEN Good night, Mark... (turning to the door) MARK Good night... Helen... He watches her leave, standing very still. Offstage, the time clock explodes. CLOSE SHOT - the excited clock. Mark's hand silences it. INT. DARK-ROOM - GREEN LIGHT Mark opens the developing tank, lifts out the rack of film, drops it into the fixing bath. He switches light from green to red. CLOSE SHOT - green to red dark-room lamp. Mark lifts the rack of glistening film out of the fixing bath and scans the image. CLOSE SHOT - Mark's face and the tell-tale black and white images. CLOSE SHOT - the film. A pile of trunks. In the darkness we hear a man enquire softly: MAN'S VOICE Looking for a trunk? CLOSE SHOT of a Tall Man with a severe face. He is standing in front of a familiar pile of trunks marked at 'Specially Reduced Prices'. CAMERA PULLS BACK SLOWLY - and WE SEE whom he is addressing. It is Diane. CAMERA PULLS FURTHER BACK and WE SEE that we are in a small theatre watching rushes... INT. THEATRE IN STUDIO - DAY CAMERA PANS across Baden's disgruntled face... the Chief Cameraman's bored face... the Script Girl's puzzled face... to Diane's expression of rapture as she watches herself on the screen. DIANE (O.S.) I'd like to see that one. From Diane's POV WE WATCH the screen. We see the Tall Man (SHOP ASSISTANT) reaching for a trunk and laying it on the counter. He opens it with a flourish. Vivian passes across the screen - glances casually at the trunk - and wanders off. BADEN No - no - no - we must get some comedy into this...! The Assistant Director nods. BADEN We'll retake it this morning... CAMERA LINGERS for a moment on the screen as Diane (on- screen) smiles at the Assistant. DIANE (she pockets a small item) I'll take it. The Assistant bows and closes the trunk. We dissolve to the set itself - DISSOLVE TO: INT. STUDIO - DAY The Assistant is leaning over the counter, listening intently. Diane stands in front of the counter, receiving the attentions of the Make-up Man. Baden's voice is overlaid: BADEN I want some comedy in this scene... CAMERA PULLS BACK The unit is busy preparing for a retake. The studio camera (and its crew) are off camera, and we concentrate on Baden briefing his artistes. He is clutching a script as if afraid that opening it might be indecent exposure. BADEN Instead of taking the first trunk you see, I want you, darling... to ask for a blue trunk - and when he brings it to you, to ask for a red one - and when he brings that, to ask for a white one... (turns to the Assistant) And you, Michael... get the trunks one by one - growing more and more fed up - and we'll end on a gag which I'll think of in a minute - all right? DIANE I don't feel it! BADEN Don't feel it! Do it! ASSISTANT DIRECTOR (hastily) Positions, everyone! Over Mark's shoulder - behind the camera - WE WATCH the Unit taking up positions. ASSISTANT DIRECTOR Anyone seen Vivian? BADEN Who? ASSISTANT DIRECTOR The red-headed bystander - Viv. BADEN (impatiently) Never mind - I'm cutting her out of this scene... Let's run it. ASSISTANT DIRECTOR (shouting) Quiet, everyone! From Mark's POV WE WATCH the scene being rehearsed. Diane approaches the trunk counter and the Assistant smiles at her. ASSISTANT Can I interest you in a trunk? DIANE Thank you... (pointing) I'd like to see that one... ASSISTANT Certainly, madam... He turns away. She pockets a small item from the counter. He heaves a trunk forward. ASSISTANT DIRECTOR It's beautifully fitted - (he opens it) She takes a perfunctory glance - DIANE I'd like to see one in red. ASSISTANT Certainly, madam. She pockets another item. He turns and wrestles with another trunk... brings it forward and opens it DIANE ... do you have one in white? ASSISTANT Certainly, madam. Mark walks away quietly from the back of the Camera Crew. He hurries to the shelf where he keeps his cine-camera and a lunch basket. He reaches for his camera. Diane's voice is overlaid. DIANE (O.S.) Do you have one in blue? ASSISTANT (O.S.) Certainly, madam... Mark turns towards the rehearsal and raises his cine-camera. WE SEE the Assistant try to lift a blue trunk - and half collapse with the weight of it. CLOSE SHOT of Baden - beaming. The Assistant manages to drag the trunk forward. He leans over it - exhausted - then starts to open it. Mark moves round until Diane's face is in the finder. As the lid of the trunk is opened we can see only her eyes above the rim of the lid... WE HEAR her scream. CLOSE SHOT of Baden - freezing. There is the sound of a body falling to the ground. BADEN The silly bitch! She's fainted in the wrong scene... FADE OUT: In the darkness WE HEAR a telephone ringing... and then another... and then another... then they all merge into one big blast. FADE IN: CAMERA TRACKS quickly towards a door marked PUBLICITY DEPARTMENT. INT. PUBLICITY DEPARTMENT - DAY The Head of publicity has a receiver to his ear. HEAD OF PUBLICITY is this a gag?... A girl in a trunk!... Who is she?... Well, which unit?... The walls are closing in?... What a break for them!... I mean what a heartbreak! (he is already speaking into another telephone) call a press conference. (he turns to the original telephone) I'm on my way down! EXT. LONDON - DAY A police car. There are two men seated at the back. INT. POLICE CAR - DAY CHIEF INSPECTOR GREGG is reading a file. A plain-clothes SERGEANT (MILLER) is seated next to him. The Sergeant glances at his Chief apprehensively. SERGEANT MILLER Excuse me, Chief. CHIEF INSPECTOR Mm? SERGEANT MILLER We pass my house when we reach the bypass. Would you mind if I drop off for a minute? CHIEF INSPECTOR (without raising his eyes) To collect your kid's autograph book? SERGEANT MILLER Yes, Chief!... If the nipper hears where I've been... CHIEF INSPECTOR (turns to the driver) All right, Dawson - anything to help the Sergeant... (stares down at the folder) ... and it's about time the Sergeant helped me - we're getting nowhere with this. Over his shoulder WE SEE what he is looking at - it is a photograph of Dora in her furs and finery. SERGEANT What about that man the landlady passed? CHIEF INSPECTOR She couldn't describe him - except to say that he was carrying something that she couldn't see. SERGEANT That's a help. CLOSE SHOT of the Inspector staring at the folder. CHIEF INSPECTOR Sergeant, I've been on the force thirty odd years... and I have never seen such fear on anyone's face as on this girl's... (almost to himself) What was it she saw? SERGEANT Surely, Chief... a man coming at her - with a sharp weapon. CHIEF INSPECTOR I'm familiar with that kind of terror. This is something new to me... but what? The Sergeant glances at Dora's photograph. CHIEF INSPECTOR ...now take a look at how we found her. He starts to turn the page DISSOLVE TO: A door with a sign on it: CANTEEN CLOSED TODAY. CAMERA TRACKS TOWARDS it. INT. CANTEEN - DAY Mark is sitting by an open window at the far end of the canteen. His cine-camera and lunch basket are by his side. From Mark's POV WE SEE that the unit (with the exception of Diane and Baden) is crowded into the canteen. They have formed themselves into small groups and are talking in whispers. The Assistant Director is standing with his back to the door. A GIRL calls out: GIRL (O.S.) How much longer must we wait in here? ASSISTANT DIRECTOR Till the police arrive... D.J.'s orders. Mark glances at a group in the comer. The Trunk Assistant is encircled by eager listeners. ASSISTANT and when she opened that trunk... and I saw what was inside... my dears - I nearly fainted with her - (he runs a delicate hand across a delicate forehead) and do you know what horrified me most? ASSISTANT DIRECTOR D.J. says not to discuss it. ASSISTANT Any more sauce from D.J. and I shall refuse to sign for seven years! My dears... that poor girl's expression. Mark glances out of the window. From his POV WE SEE a police car driving across the courtyard. Mark watches with great interest - then reaches for his cine-camera. He photographs the police, then puts his cine-camera on to the table and sits back... waiting. CAMERA LINGERS for a moment on the folded tripod. DISSOLVE TO: INT. SET - DAY The set is completely deserted. It is lit by a single lamp. A solitary trunk stands on the counter, its lid closed. WE SEE Don Jarvis enter, followed by the two Policemen. Baden and the Publicity man bring up the rear. Don Jarvis points towards the trunks department. The Chief Inspector nods, then he and the Sergeant approach the counter. Carefully the Inspector raises the lid of the trunk - he looks inside. CLOSE SHOT of the Inspector - over the top of the lid. His expression is mainly one of surprise. CLOSE SHOT of the Sergeant staring into the trunk. He is also surprised - but there is nausea in his face. They look up at almost the same moment... their eyes meet. SERGEANT (in a whisper) Chief, it's exactly the... INSPECTOR I know... (he closes the trunk quickly. Quietly) ... don't say anything. (he faces Don Jarvis) Well, sir... we shall probably have to interview everyone at the studio, so we'd better plan a campaign that won't interfere too much with your productions. JARVIS (warming to him at once) Thank you, Chief Inspector... if you knew what even a single day's delay could cost. INSPECTOR Oh, we do sir. (his eyes are on the trunk) DISSOLVE TO: CLOSE SHOT of Mark. INT. CANTEEN - DAY He is looking out of the window - his camera at the ready. Overlaid is the sound of a door opening... the buzz of conversation dies away. We hear Don Jarvis' voice. JARVIS (O.S.) If I may have your attention, please. A hand tugs at Mark's elbow. He turns round. The Clapper Boy looks at him waringly. From Mark's POV WE SEE Don Jarvis standing in the doorway - facing a suddenly hushed room. The great man's hands are folded in front of him - JARVIS The police wish to interview each of you individually... after which you will be at liberty to leave. From D.J.'s POV WE SEE the upturned faces - the light from the window falls upon Mark, listening to him with rapt attention. Mark's hands are folded in front of him. JARVIS There will, of course, be no shooting today... but work will be resumed, as usual, tomorrow... with, I hope, all of you present. CLOSE SHOT of Don Jarvis. JARVIS I look to you to give the police your fullest cooperation. (he turns abruptly and leaves') Sergeant Miller enters with a smile. SERGEANT MILLER Well now... let's get ourselves organized... (taking a piece of paper from his pocket) We don't want to keep you cooped up in here, so we've worked out a timetable... We'll talk to the artists first, then the technicians in this order... Mark reaches for his cine-camera... DISSOLVE TO: A SERIES OF BRIEF SHOTS of the unit being interviewed by the police. EXT. STUDIO GROUNDS - DAY The Young Extra who spoke to Vivian in the exterior set points excitedly to the wall where Vivian and Mark lay. The Inspector and Sergeant carefully examine both sides of the wall. The Inspector stoops, picks up something with a pair of tweezers and puts it in an envelope. CAMERA PANS. A few passers-by look on from a distance. One of them is watching through his cine-camera. DISSOLVE TO: INT. SMALL OFFICE - DAY The Young Extra who shared Vivian's dressing room is talking to the Chief Inspector and Sergeant. EXTRA ...she said she didn't want a lift - because she had a call to make locally. CHIEF INSPECTOR Did she say where? EXTRA No, sir... and when I left, she was still in the dressing room. CHIEF INSPECTOR I see... let's have a look at this dressing room, shall we? EXTRA Yes, sir ... INT. PASSAGE IN STUDIO - DAY The Policemen and the Extra are walking away from camera down a passage. A few members of other units pass them by without a glance. One of these (A GIRL) smiles into camera. GIRL Hallo, Mark... MARK (O.S.) Hallo. The girl walks out of picture. THE CAMERA (and Mark) TRACK after the Policemen. INT. ENTRANCE TO DRESSING ROOM - DAY As the Inspector opens the door of the dressing room, Mark hurries past. He raises his cine-camera and photographs the Sergeant. The Sergeant turns to close the door. He sees Mark. straightens his tie and looks as severe as he can. SERGEANT Hey, I don't think you ought to do that! MARK Sorry, sir. He hurries down the passage. INSPECTOR (turning round) Do what? SERGEANT Make me famous. Some chap was giving me a screen test The Extra's voice is overlaid - a hint of hysteria in it. EXTRA (O.S.) That's where she sat. Inspector. The Inspector turns away, and the Sergeant closes the door. DISSOLVE TO: INT. SMALL OFFICE - DAY The door of the small office opens - and the Chief Cameraman comes out. CAMERA PANS - On a bench at the end of the passage Mark, the Clapper Boy, and a member of the camera-crew are waiting. VOICE And whoever did it must be... CHIEF CAMERAMAN You're next. The Crew-member hurries into the office, and closes the door. The Chief Cameraman wanders off thoughtfully. Mark and the Clapper Boy are left sitting side by side. CLAPPER BOY I've been watching you... MARK Oh? CLAPPER BOY Have you been filming those policemen? MARK Yes, I've a few quite interesting shots of them - it's a chance I never expected! CLAPPER BOY A chance for what? MARK To photograph... an investigation... or as much of it as I can. CLAPPER BOY What on earth for? MARK It will complete a documentary I'm making. CLAPPER BOY documentary? Mark nods. CLAPPER BOY What's it about? MARK I'd rather not tell you till it's finished. And it soon will be ... CLAPPER BOY But suppose they catch you? MARK Oh they will - they look very efficient. CLAPPER BOY Don't you mind? MARK No. CLAPPER BOY But they might confiscate your camera. MARK I'm afraid they will! But by then... I'll have finished with it. CLAPPER BOY I don't... The door of the small room opens, and the Crew-member comes out. CREW-MEMBER You, Mark? MARK Thanks... He rises slowly... the cine-camera is over his shoulder. CLAPPER BOY Mark, hadn't you better leave that with me? MARK No, John. CLAPPER BOY I'd look after it. MARK I'm sure of that - but I'd like to photograph them while they're questioning me. The Clapper Boy looks at him in amazement. MARK I don't suppose they'll let me. CLAPPER BOY Mark, are you potty? MARK Yes, do you think they'll notice? The Clapper Boy laughs. CLAPPER BOY Don't get into any trouble for heaven's sake � I want to discuss that film at the Everyman... MARK Yes... I'd like that... He walks slowly towards the door. The Clapper Boy takes out a copy of Sight and Sound and starts to read it. INT. SMALL OFFICE - DAY The Inspector is seated at a desk, reading some notes. The Sergeant is seated by the side of the desk, a pile of papers in front of him. There is a gentle knock on the door. The Sergeant glances at a list. SERGEANT Mark Lewis - focus-puller... Whatever that may be? The Inspector nods. SERGEANT Come in. He puts a tick on the list. There is the sound of a door opening. The Inspector looks up... From his POV WE SEE a young man with a camera over his shoulder advancing shyly towards him. INSPECTOR Mr. Lewis? MARK Yes, sir... INSPECTOR I'm Chief Inspector Gregg and this is Sergeant Miller. Grab a chair. The Sergeant glances up. SERGEANT Ah! My photographer. MARK I've brought the camera in case you want to take the film away. He holds out his camera. The Sergeant glances enquiringly at the Inspector. INSPECTOR That's all right, Mr. Lewis - as long as we don't appear at the Odeon next week in place of the cartoon. Mark smiles. MARK Thank you, sir. INSPECTOR Well now; have you anything to tell us? MARK Don't think so, sir. INSPECTOR Did you know the girl? MARK Yes, sir... INSPECTOR How well? MARK Mainly by sight. INSPECTOR When did you see her last? He picks up a pencil � taps it idly on the desk. MARK Yesterday afternoon - when we broke... INSPECTOR Speak to her? MARK Called out good night - don't know if she heard? CLOSE SHOT of Mark's fingers... tapping on his knee in time to the pencil. INSPECTOR What did you do then? MARK Took sqme shots, sir - for a film I'm making. INSPECTOR Oh... where? MARK All over the place, sir... it's a documentary. INSPECTOR Anyone with you? MARK No, sir. Just my camera. INSPECTOR What time did you arrive home, Mr. Lewis? MARK About ten... ten-thirty... INSPECTOR Anyone see you? MARK Yes... the people downstairs. INSPECTOR I see. The telephone rings. The Sergeant promptly answers it. SERGEANT Sergeant Miller - Right, I'll tell him... He replaces the receiver, turns to the Inspector. SERGEANT The doctor's finished his examin... The Inspector rises at once. SERGEANT ...wants to see you - INSPECTOR Right. (he glances at Mark) That'll be all for the moment, Mr. Lewis - thank you. MARK (he turns to the door) Thank you, sir ... INSPECTOR Wait a minute. Mark stands very still. INSPECTOR direct me to that set of yours, will you? I'd probably end on location. MARK I'll take you there, sir. (he opens the door) INSPECTOR Thanks. (he glances at the Sergeant) Carry on with the interviews, Sergeant. SERGEANT Yes, sir. From the Sergeant's POV WE SEE Mark turn to go into the passage. The Sergeant stares at the camera on his shoulder... then the door closes. The Sergeant makes a note on a piece of paper. INT. PASSAGE - DAY The Inspector and Mark walk side by side along the passage. The Clapper Boy comes into view - still reading Sight and Sound. The Clapper Boy glances up - just in time to see the Inspector and Mark walk side by side to the end of the corridor. CLAPPER BOY (staring after them) I warned him to be careful! DISSOLVE TO: INT. ENTRANCE TO SET - DAY A Constable is standing outside the entrance to the set. From his POV WE SEE the Inspector and Mark approach. The Constable stiffens... From Mark's POV WE SEE the Constable barring the entrance. INSPECTOR I think I can find my way now... Mark smiles. INSPECTOR ...thanks for the escort The Inspector hurries towards the door of the set. The Constable opens it - and the Inspector goes inside. The Constable closes the door - and stands in front of it. Mark turns away quickly. DISSOLVE TO: EXT. COURTYARD - DAY The carpark is jammed with cars - but there is hardly anyone in sight. Mark hurries towards the large sliding doors of Stage E - they are a few feet apart. He looks round carefully, then slips inside. INT. STAGE E. - DAY Facing Mark is the darkened set of an hotel bedroom. Beyond this is another set - also in darkness - and beyond this yet another. Only in the far comer of the studio - in the furthermost set - is there a light burning. Voices can faintly be heard coming from this set. Mark walks quietly towards a long ladder which leads up to the gantry. Carefully - rung by rung - he starts to climb the ladder. At the top of the ladder is a gallery. Mark moves along the maze of bridges until he is nearly above the Policemen. Mark raises his head cautiously - and looks down. Far below WE CAN SEE the Inspector standing next to the Doctor - a tall, silver haired man - who is peering into an open trunk. Detectives are photographing the set. Mark raises his cine-camera... its gentle purring seems to echo round the studio. CLOSE SHOT of Mark's jacket pocket. A row of pencils is sticking out. As he leans forward the pencils tilt. Through the finder-matte of Mark's camera WE SEE the Inspector - very far away - peering into the trunk and nodding. A faint echo of conversation is overlaid. DOCTOR (O.S.) No doubt at all... wounds were caused by the same instrument... Mark changes lens (and alters the finder to a 75mm lens). The Doctor's face - thin and impersonal - appears in the finder over the lid of the trunk. DOCTOR (O.S.) ... both women... subjected to the most violent shock... INSPECTOR (O.S.) What sort of shock? DOCTOR ...still cannot determine - but look! He points to something in the trunk - out of the camera's eye-line. CLOSE SHOT of Mark. He balances carefully - then raises the camera above his head. As he leans forward, the pencils fall. WE SEE them shooting like small torpedoes into the darkness below. They make three separate landings. CLOSE SHOT of the Inspector. Looking up. From his POV WE SEE tiers of scaffolding deep in shadow... INSPECTOR Quiet, everyone. Please... The Detectives make as much noise to become quiet as the normal occupants of the studio - and then there is complete silence. Complete, except for the Doctor's asthmatic breathing... And then - so gently that it might almost be in our own minds - WE HEAR a purring sound from the shadows above. The Inspector listens intently. DETECTIVE I thought I heard a putty cat! There is a burst of laughter - the Inspector frowns. INSPECTOR I don't want to spoil anyone's fun, but we do have a maniac on our hands, and if we don't get him quickly there'll be a third unsolved murder to report to the Commissioner. So let's hurry things up, shall we? DETECTIVE Sorry, Chief! The 'putty cat' Detective raises his flashlamp towards the trunk counter. In the brilliant flash of light that ensues, we glimpse a shadowy figure moving towards a ladder high in the scaffolding... But then we are looking for it - no one else is. The flashlight dies away. The scene fades with it. CLOSE SHOT of a knitting-needle held upwards. Another knitting-needle scales down it like a fireman descending a ladder. CAMERA PULLS BACK INT. HELEN S SITTING ROOM - DAY Mrs. Stephens is doing her knitting. The inevitable glass stands on the table beside her. Helen is seated opposite, reading from a newspaper. HELEN she was appearing in Arthur Baden's new film The Walls Are Closing In, starring Diane Ashley. CLOSE SHOT of Mrs. Stephens listening intently. HELEN a spokesman at the studio said that her performance in the film showed such promise, that her role was to have been built up... All work at the studio ceased today as a tribute to her memory! Mrs. Stephens sips from her glass. The Prime Minister to visit Athens. MRS. STEPHENS Mark is in films, isn't he? HELEN Yes, darling... It is reliably... MRS. STEPHENS I wonder if he knew her? CLOSE SHOT of Helen looking up. HELEN I'll ask him tonight... MRS. STEPHENS Is he taking you out? HELEN If he's free. MRS. STEPHENS That's very chivalrous of him. Where's he taking you? HELEN I've no idea - and I don't suppose he has... MRS. STEPHENS Which studio does he work at? HELEN I'll ask him. MRS. STEPHENS If he's free. Behind her back we see that her fingers are crossed. HELEN I'll bring him in and introduce you if... MRS. STEPHENS I feel I know him. HELEN Now how can you? Mrs. Stephens stiffens suddenly. MRS. STEPHENS He's here. CLOSE SHOT of the window. Mark is standing outside - looking in. MRS. STEPHENS Why don't we make him a present of the window? He practically lives there! Helen beckons to Mark to come in. We see him nod eagerly - and leave the window. HELEN How did you know where he was standing? MRS. STEPHENS The back of my neck told me... the part that I talk out of! Helen hurries to the door of the sitting room. INT. HALL - DAY Mark closes the front door behind him. From his POV WE SEE the door of Helen's sitting room open - and she stands on the threshold. HELEN Hallo... MARK Free? HELEN Yes. MARK Good! So am I... HELEN I'd like you to come in for a moment - and meet my mother. MARK Yes, please... She holds open the door. He goes inside. The screen suddenly greys out into the veiled images of Mrs. Stephens' world. We hear Helen's voice. HELEN (O.S.) Darling, this is Mark... Mark, my mother. WE HEAR the sound of footsteps shuffling shyly forward - and then Mark's voice, every intake of breath magnified. MARK (O.S.) How do you do... Mrs. Stephens... WE HEAR the pounding of someone's heart - and then Mrs. Stephens' voice. MRS. STEPHENS (O.S.) Hallo, Mark. As her voice dies away. FADE IN: INT. HELEN'S SITTING ROOM CLOSE SHOT of Mark's hand clasping Mrs. Stephens'. CLOSE SHOT of Mark looking at her, fascinated. From Mark's POV WE SEE the sightless eyes turned towards his. Mrs. Stephens' other hand gently feels the surface of his. MRS. STEPHENS Have you been running, young man? MARK Yes... (he hesitates) ... didn't want to be late for Helen. HELEN Thank you, Mark - You deserve a drink for that! What would you like? MARK Nothing - thank you... very much... Mrs. Stephens grunts, and reaches for her glass. HELEN Darling, I've left your supper in the... MRS. STEPHENS Tell me young man... Which studio do you work at? The screen greys out. WE HEAR Mark's tiny intake of breath. MARK (O.S.) Chipperfield Studio . . . MRS. STEPHENS And that poor girl... where did she work? Someone's heart is pounding fast. HELEN (O.S.) At Brookwood. MRS. STEPHENS We were wondering if you knew her? MARK No - No, I didn't... MRS. STEPHENS A pity. I do like first-hand information. We hear Mark's small attempt at a laugh. MRS. STEPHENS Oh, well - I mustn't keep you gossiping after you've run all the way from - Where? Again that little intake of breath. MARK The station. FADE OUT: FADE IN: Mrs. Stephens and Mark are staring at each other as if she has sight and he hasn't. From Helen's POV WE CAN SEE only Mark's back and her mother's upturned face. HELEN Darling, may I tell you about your supper? MRS. STEPHENS No... go and be told about yours! (she takes Mark's hand) Goodbye, Mark... I expect we shall meet again. MARK I hope so - Goodbye... (He turns to the door) CLOSE SHOT of Helen kissing her mother and whispering into her ear. HELEN Darling, we forgot to toss. Mrs. Stephens grunts. HELEN Supper's laid out in the kitchen. MRS. STEPHENS If you're not back early, you'll find me laid out with it! HELEN We'll be early! Good night, darling. MRS. STEPHENS Good night... Mark holds the door open for Helen and she goes into the passage. Mark turns and takes a long look at Mrs. Stephens. She is in the middle of raising her glass. She stops suddenly, the glass poised mid-air. He goes out - closing the door. She finishes her drink as if it is her last. INT. PASSAGE - DAY Helen is waiting by the door. From her POV WE SEE Mark coming eagerly towards her, his camera over his shoulder. HELEN Mark... MARK Yes, Helen? HELEN I want to ask you something rather personal... He looks at her anxiously. HELEN How long is it since you've gone out without that? MARK Without what? HELEN Your camera... MARK Oh... CLOSE SHOT of Mark. MARK I... don't think I know? HELEN Exactly. I've never seen you without it... but are you going to need it tonight? He looks at her in silence. HELEN Well are you? And if so... shall I bring some work with me too? MARK I'm not going to need it tonight! HELEN Good - then give it to me! She holds out her hand. He looks at her, appalled. HELEN ...It'll be quite safe - I'll put it away for you. MARK (in a whisper) No! HELEN Then take it upstairs - if you can't trust me with it... CLOSE SHOT of Mark. MARK I trust you. HELEN Then look... She opens the door of her bedroom - and turns on the light. HELEN ...let's put it in here. INT. HELEN'S BEDROOM She crosses to a cupboard and unlocks it, then turns round. He is standing hesitantly on the threshold. HELEN Come in - and see for yourself. He looks slowly round the room, stares for a moment at the bed in the comer, but he won't cross the threshold. He stays outside. HELEN We'll put it in here - and lock it. MARK This... was my mother's room. HELEN Was it, Mark?... Again he stares at the bed. HELEN I am being tactless, aren't I? ... It's just that... I thought it was growing into an extra limb, and - but you bring it with you if you want to. He takes off his camera - and holds it out to her. HELEN Thank you... She takes it from him, puts it into the cupboard, and locks it. Then offers him the key. MARK You... HELEN Thank you. CLOSE SHOT of Mark. MARK I feel... HELEN Yes? MARK Can't describe it! Could only photograph it - She laughs. HELEN Shall I tell you what I feel? MARK Yes. HELEN Famished! MARK Good! They hurry towards the door. DISSOLVE TO: EXT. MARK'S HOUSE - DAY They walk down the steps of the house. MARK There's a small place round the corner... It's awfully good on Christmas Day. HELEN Is it? MARK Yes... there aren't too many open then. HELEN No - it sounds fun. MARK This way. CLOSE SHOT of Mark and Helen walking along by the side of the house. HELEN I adore new restaurants... Suddenly Mark stands motionless. He is staring at something off camera. Especially when - Her voice trails away... she is staring at Mark staring at something. In the shadows, at the mouth of an alley, a young couple are kissing. Mark stands motionless, staring at them. Automatically his hand reaches for his camera. Helen starts to speak - then looks at him in silence. The man glances round. Mark hurries away and Helen stares after him. CLOSE SHOT of Mark. He turns back - waiting for Helen. From his POV WE SEE Helen come slowly towards him. She looks at him searchingly for a long moment. He manages - but only just - to meet her eyes. HELEN Where is this restaurant? MARK Round the corner... MRS. STEPHENS Know much about films? HELEN Come on then... CLOSE SHOT of Mark. MARK Thank you. They walk slowly down the street. DISSOLVE TO: CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Sorry, young man, Helen's out. CAMERA PULLS BACK INT. SITTING ROOM - EVENING Tony is standing unhappily opposite Mrs. Stephens. TONY Oh! MRS. STEPHENS With Mark - from upstairs. TONY Oh! MRS. STEPHENS You can stay and talk to me - if you like? TONY Well I... MRS. STEPHENS Know much about films? TONY Well... MRS. STEPHENS Or film studios? TONY No, I... MRS. STEPHENS Where's Chipperfield Studios? TONY Chipperfield, I suppose... MRS. STEPHENS There's a phone book outside... Look up the number, will you? And see if you can get it. TONY Certainly... and then I must go to my room. MRS. STEPHENS Granted. She lifts her glass, and sits, waiting as he crosses the room. DISSOLVE TO: INT. RESTAURANT - NIGHT A small and very pleasant restaurant, almost full. Helen and Mark have a corner table. They are dining by candlelight, and there is a bottle of wine in the middle of the table. As CAMERA TRACKS TOWARDS them, Helen is laughing. HELEN I like this place! And this dinner! CLOSE SHOT of Mark. He has again won the Academy Award. HELEN ...thank you, Mark... MARK Are you ready to talk about your book? HELEN I'm ready to talk about you... His face falls. HELEN It won't take a second - and it's best to have it said. Mark looks. HELEN Carrying a camera is only one of your habits, isn't it, Mark? He looks at her in silence. CLOSE SHOT of Helen. HELEN ... when you stared at that couple, you were like the little boy on that film you showed me... looking over the wall at something he shouldn't see. But Mark - you're strong enough now to lift that child off the wall... aren't you? He hesitates. HELEN ... aren't you? MARK I'll try to be. HELEN Will you, Mark?... Will you really? MARK Yes... HELEN Lecture finished... A pause. MARK When your book's published - will you go on working in a library? HELEN Yes, Mark... in case, one day, a child comes in and asks for it! MARK I'll come in. HELEN I'm not popular with my customers! They ask me for horror comics - and I take their sticky hands and drag them to where there are books! CLOSE SHOT of Helen. HELEN ... and do you know, Mark, waiting for them to come in next time and ask for books... is as exciting... as a horror comic... MARK What does your magic camera photograph? HELEN People... MARK Yes?... HELEN It's owned by a little boy who is terrified of grown-ups... but when he looks in his magic camera he sees grown-ups as they were when they were children... and he isn't frightened any longer. CLOSE SHOT of Mark listening, engrossed. HELEN ... and one day he gives his camera away to a little boy who is even more frightened of grown-ups than he was - and do you know what he finds? The little boy opposite her shakes his head. HELEN ... that when he looks at grown- ups without his camera he can still see them as they were when they were children! And that means that he's grown up himself... A moment's pause. She drinks her wine - shy, awaiting his reaction. MARK What made you think of this story? HELEN You did! CLOSE SHOT of Mark. HELEN ... I looked out of my window - and saw you going off to work carrying that camera like a little boy with a satchel... and an idea came... so thank you... MARK I'd like to think... I was responsible... in some way... HELEN Now what do I do about the photographs? MARK Take 'em! He slams the table so violently that a lady nearby looks around... then reaches for his camera. MARK Oh! Helen smiles. MARK There isn't a single face that doesn't look like a child's - not a single one - if you catch it at the right moment. He turns around excitedly and sees her watching him. MARK It would be a challenge!... Unlike anything I've photographed! HELEN What have you photographed, Mark? MARK Everything. But nothing I'd want children to see. She looks at him curiously. MARK But this would belong to them - and they'd know if it wasn't right... Oh, Helen... I would like to find those faces for you... with you... HELEN Very well! Let's try! He laughs excitedly... She looks regretfully at her watch. At once he looks at his. MARK You made a promise to your mother - HELEN (gently) Yes, Mark... MARK You'd better keep it. HELEN Thank you... He signals to the head waiter... and pays his first bill for two. DISSOLVE TO: EXT.STREET - NIGHT They walk along the street very close together, but not quite touching. Above them a light is shining on a blind revealing a shadow of a woman undressing. Mark glances at the blind - then looks away quickly. He stares ahead of him... and continues to stare ahead of him. Suddenly Helen tucks her arm through his, and smiles up at him... they walk on in silence. DISSOLVE TO: INT. HALL OF MARK'S HOUSE - NIGHT Helen and Mark come in quietly, and close the door. She glances round the dimly lit hall. There is no light under any of the doors, except one at the end of the passage. HELEN Mother must have gone to bed. (she turns to find him looking at her) Mark, it was a wonderful evening... MARK That's what I was going to say... a wonderful evening... HELEN (gently) And you made it wonderful... without your camera. A shadow passes over his face. HELEN (gently) I'll get it for you. He stands motionless as she goes into her room... From his POV WE SEE the half-opened door - and the bed in the comer. CLOSE SHOT of Mark forcing himself to look away. Helen reappears on the threshold - the camera in her hand. He looks down at it - then slowly stretches out his hand. HELEN wonder how this sees grown-ups? (she turns the camera round) ...me, for instance... now that I am one. (she looks at herself in the lens) MARK Not you! (he takes the camera from her) HELEN Mark. MARK It never will... see you! HELEN Why not? He hesitates. MARK Whatever I photograph - HELEN Yes? MARK I always - lose... HELEN I don't understand. The door at the end of the passage opens and Tony emerges in his dressing-gown, carrying a towel. He avoids looking at them - goes into the bathroom opposite, and slams the door. HELEN He'll wake Mother! There is the sound of running water. HELEN ... thank you, again, for my evening. (she is standing very close to him, smiling up into his face) Will you go to bed now - and not stop up watching those films? MARK Well... I've a little work to do... then I'll go to bed... and think of how to find faces for you... He looks down at the face which he has found for himself. She raises her head slowly. MARK ...faces which - are faces which... She kisses him very gently on the mouth. The bathroom begins to sound like a small waterfall. HELEN Good night, Mark... He watches her as she goes into the room, and doses the door. A light goes on beneath the door. He stands very still for a moment... then turns the camera round and points the lens towards his lips. Then he turns abruptly, and hurries up the stairs. The waterfall cascades on. The screen grows dark - and the dark-room grows out of it. INT. DARK-ROOM - NIGHT The big drying drum is turning, feeding the dry print into a box. A small motor drives it. CLOSE SHOT of the box. Mark is spooling up the film as it comes off the drier. Once or twice he can't help glancing at an image. CLOSE UP of Vivian's face, in the image. Mark stops the motor and the drum, loosens the end of the film, spools up with a snap, slides the spool off and hurries out with it. Mark hurries to his projector, threads the film and starts the projector. He flicks it on, as if it were a gramophone, then looks eagerly at the 16mm screen. Behind him something moves in the shadows REVERSE SHOT of Mark. Over the shoulder of someone who is standing deep in the shadows WE SEE Mark. His head obscures what he is watching on the screen. HE TURNS ROUND SUDDENLY - From Mark's POV WE SEE the processing sinks deep in shadow. He starts to move towards them, then suddenly stares at the shadows at the back of the room. Silence - except for the whirring of the 16mm projector. CLOSE SHOT of Mark's hand - switching on the light. Mark turns round... he is as astonished at what he sees as he can be. CAMERA PANS in its own good time to the back of the room. Mrs. Stephens is standing in the shadows... a heavy hand rests on a heavy stick... the sightless eyes stare unerringly towards the light switch. MRS. STEPHENS Good evening, Mark... MARK ...how did you? MRS. STEPHENS The young man bathing himself brought me to your door... I managed the rest of the adventure alone... He stands motionless, staring at her standing motionless. Above her head an ancient, half-blind camera also stares at her. The only movement in the room is her smile. MRS. STEPHENS This is one room I expected to find locked. MARK I was never allowed a key..., can't get used to them. Mrs. Stephens' sightless eyes stare at him. MARK I brought her home early. CLOSE SHOT of her hand - tightening on the heavy stick. MRS. STEPHENS Thank you... MARK Is there something you... MRS. STEPHENS ... a talk. MARK Next door would be more... MRS. STEPHENS I'm at home here... I visit this room every night. MARK Visit? MRS. STEPHENS The blind always live in the rooms they live under... Mark nods. MRS. STEPHENS Every night you pace for hours above my head! Why? MARK I've no one to talk to... in the rooms I live over... Mrs. Stephens nods. Her hand touches the black cloth loading bag, lying on the table. MRS. STEPHENS I'm told that you stare too much... so do I. CLOSE SHOT of her hand - touching the black cloth bag. CLOSE SHOT of Mark - walking slowly towards her. At once she raises the heavy stick - pointing it towards him. CLOSE SHOT of the stick. It is a shooting stick - with a sharp spike on the end of it, similar to the tripod on Mark's camera. Mark stares at the stick, fascinated. CLOSE SHOT of Mrs. Stephens - exploring the inside of the black cloth bag with her free hand. MRS. STEPHENS Cloth... with something hard inside it... MARK It's a changing bag... we put films in it - so that the light won't spoil them... MRS. STEPHENS How odd - that the light can spoil anything... The screen greys out. In Mrs. Stephens' own dark-room we hear the hum of Mark's projector - and the pounding of Mark's heart - and, very faintly, the sounds of Tony bathing himself. MRS. STEPHENS Every night you switch on that film machine. We hear his tiny intake of breath. MRS. STEPHENS What are these films you can't wait to look at? The sound of his footsteps softly approaching. Like a chair? MARK (O.S.) Like a chair? MRS. STEPHENS (O.S.) What is the film you're showing now? Very faintly we hear Tony singing in his bath. FADE IN: The singing dies away, and the sound returns to normal. Over Mark's shoulder WE SEE Mrs. Stephens holding her stick in front of her. MRS. STEPHENS Why don't you lie to me? I'd never know... MARK You'd know at once - Mrs. Stephens smiles - then turns her head towards the 16mm screen. MRS. STEPHENS Take me to your cinema. MARK Yes. He takes her arm gently and guides her towards us. Both of them stare at the 16mm screen... She leans forward - her face only inches from the screen - the light from the projector flickering on to her. REVERSE ANGLE SHOT of Mrs. Stephens. Slowly she stretches out her hands and touches the screen. MRS. STEPHENS What am I seeing, Mark? Her head and shoulders blot out most of the screen - but between her outspread fingers WE CATCH A GLIMPSE of a girl's terrified eyes. MRS. STEPHENS Why don't you answer? CLOSE SHOT of Mark and Mrs. Stephens. MARK (staring at the screen) It's no good - I was afraid it wouldn't be. MRS. STEPHENS What? MARK The lights failed too soon. MRS. STEPHENS (pause) They always do. MARK I'll have to try again. He hurries to his cine-camera. MRS. STEPHENS I've yet to meet an artist who could judge his own work... Mark slips a new spool of film into his cine-camera. MRS. STEPHENS What do you think you've spoiled? MARK An opportunity... now I must find another. He looks at her thoughtfully, then presses a light switch. A spotlight falls blindingly on to her eyes. He presses another switch, and then another, until the whole of her face is shining with light. MRS. STEPHENS Why are you putting those lights on my face? He walks towards her. She starts to back away. The shadow of Mark's head appears on the 16mm screen. WE SEE him raise his camera - then pull down the tripod. Black out into the grey darkness of Mrs. Stephens' world. WE HEAR the purring of Mark's camera - more clearly than we have yet heard it. (There is the faint rasp of a cog which needs oiling.) The sound of footsteps approaching... the purring changes direction. MRS. STEPHENS (O.S.) Mark... MARK (O.S.) It's almost over... The purring is on top of her. There is a sudden thud. FADE IN: Mrs. Stephens is leaning against the wall... she has dropped her heavy stick. It lies on the floor a few feet away from her. Mark is kneeling in front of her - the tripod firmly on the floor. The cine-camera is pointing upwards into her face. He peers excitedly into the viewfinder. MARK Please let me finish! It's for Helen! She edges towards her stick. He hurries forward and picks it up. He looks at the spike on the end of it - then carefully gives it to her by the handle. She grasps it tightly. MRS. STEPHENS What do you mean? It's for Helen? MARK She wants to see something I've photographed! He returns excitedly to his camera. MRS. STEPHENS My daughter sees enough of my face without photographs... On Mark's focusing screen WE SEE the fear on her face. Her hand trembles as she wipes away the perspiration. MARK (O.S.) Please... don't be frightened. MRS. STEPHENS Not frightened! Hot! But it is fear that we are looking at. MRS. STEPHENS So put that camera away... On the focusing screen we see her moisten her lips nervously. MARK Yes! He switches off the camera abruptly, and folds up the tripod. He turns away without looking at her - and hurries to the door. CLOSE SHOT of Mrs. Stephens listening to his movements - puzzled. MRS. STEPHENS In rather a hurry, aren't you? He glances towards her. From his POV WE SEE the fear in her eyes. He looks away at once, staring into the darkened room. MARK It's late. From her POV (shooting over her shoulder with a large CLOSE SHOT of her ear in the foreground) WE SEE Mark standing in the doorway - and hear, very clearly, his quick, uneasy breathing. MARK You must be tired... MRS. STEPHENS You're anxious to get rid of me all of a sudden. We hear his quick intake of breath. MRS. STEPHENS I won't be selfish... You can take some more pictures - if you want to... MARK No... thank you. MRS. STEPHENS (quietly) Why not, Mark? MARK Run out of film. MRS. STEPHENS Can't you find some - to please Helen? He glances towards her - then hurries into the next room. MRS. STEPHENS You don't trust yourself to take any more, do you? INT. MARK'S SITTING ROOM - NIGHT The tapping of her stick is overlaid. Mark hurries to the door and opens it - staring into the dimly lit passage. Over his shoulder WE SEE her tapping her way towards him from the dark-room. MRS. STEPHENS Instinct's a wonderful thing, isn't it Mark? A pity it can't be photographed. Over her shoulder we follow the stick towards him. MRS. STEPHENS if I'd listened to it years ago, I might have kept my sight. (she approaches the door) I wouldn't have let a man operate I had no faith in... so I'm listening to it now... (she puts her face close to him) It says all this filming isn't healthy - and that you need help... His face is averted... his eyes are closed. MRS. STEPHENS ... get it, Mark... get it quickly... and until you've got it... I don't want you and Helen to see each... MARK I'll never photograph her... I promise you that. MRS. STEPHENS I'd rather you don't have the chance. He turns towards her - a small boy who suddenly understands what contagious means... MRS. STEPHENS I mean it, Mark. And if you don't listen to me... one of us will move from this house - which would be a pity, because we'd never find a cheaper... MARK You'll never have to move... because of me... I promise you. MRS. STEPHENS Good boy. (she takes his hand) The stairs are the difficult part... They go into the passage. INT. PASSAGE - NIGHT He guides her gently down the stairs. Over their shoulders WE CAN SEE the door of Helen's room. MRS. STEPHENS Far enough, Mark... He stares at Helen's room - then looks quickly away. Suddenly she raises her hands - and runs them gently over his face... MARK taking my picture? MRS. STEPHENS Yes ... We can see his eyes through her outstretched fingers. MARK It's been a long time... since anyone did... MRS. STEPHENS Mark... what's troubling you? MARK Good night, Mrs. Stephens. He turns away abruptly and hurries up the stairs. MRS. STEPHENS ...you'll have to! She looks towards Helen's room - then turns slowly towards her own. HIGH ANGLE SHOT of Mrs. Stephens opening the door of her room - and Mark opening the door of his. DISSOLVE TO: CLOSE SHOT of a bottle of whisky standing by a bedside. INT. MRS. STEPHENS' BEDROOM - NIGHT She is lying in bed, staring at the ceiling. WE HEAR footsteps moving overhead. CAMERA PANS to the window. It is dark. DISSOLVE TO: CLOSE SHOT of the same bottle of whisky - now almost empty. Mrs. Stephens' heavy breathing is overlaid. CAMERA PANS to the window. It is daybreak. The footsteps are still moving about above; things are being dragged across the floor. DISSOLVE TO: CLOSE SHOT of Helen in a dressing-gown looking out of a window. INT. HELEN'S ROOM - MORNING From Helen's POV WE SEE Mark hurrying down the street, his camera over his shoulder. DISSOLVE TO: CLOSE SHOT of the Inspector looking out of a window. INT. DON JARVIS' OFFICE. MORNING From his POV WE SEE Mark hurrying along the studio quadrangle, his camera over his shoulder. He is one of a crowd of people scurrying towards their jobs. Camera pulls back - Don Jarvis is seated at his desk. Arthur Baden and the Chief Publicity Man are seated in front of him. The Sergeant stands by the door. JARVIS Have you any suspicions, Chief Inspector? INSPECTOR It could be any of them... SERGEANT That's the trouble with film people - they're all peculiar... (hastily) ... present company excepted. He catches a glare from the great man. PUBLICITY MAN Speaking of peculiar people. The Inspector turns round. PUBLICITY MAN We've a psychiatrist coming down today. Dr Rosen - INSPECTOR I know him. PUBLICITY MAN It's pure publicity - and I promise he won't do any work. INSPECTOR What will he do? PUBLICITY MAN Get himself photographed... We're telling the press he's here to help the case - and to see if he can spot the murderer. SERGEANT And the best of luck! JARVIS Do you object. Chief Inspector? INSPECTOR No... The Publicity Man sighs with relief. INSPECTOR I'll be frank. I'd welcome anyone's help... I don't know how this maniac kills - or why he kills - or who he'll kill next, but if he isn't caught quickly... (he shrugs') BADEN Inspector, have you convinced yourself he's a member of my unit? INSPECTOR No, sir ... but a few things seem to point to it... No one outside your unit admits to knowing the girl... There was a trunk all ready for her... and with the risks he was running, I think he'd have to use surroundings he was familiar with... Where is your unit now? BADEN Waiting for me on the set. INSPECTOR I'd like to watch them at their jobs, sir. It may tell me more than a hundred interviews. BADEN But, Inspector, the strain on them is already... JARVIS Come now, Arthur, if that's what the Inspector wants. INSPECTOR I'm afraid it is, sir... now where could I get the best view? BADEN (sulkily) On the dolly... the camera... You can watch everyone and everything from there... including me! INSPECTOR Very well, sir ... I'll become a member of your camera crew... BADEN (to Don Jarvis) ... if the unions don't object! DISSOLVE TO: INT. STAGE A member of the camera crew places his cine-camera and lunch bag on a shelf. Snatches of whispered conversations are overlaid. VOICE 1 I hear they're making an arrest today. VOICE 2 hope it's D.J. It's about time they caught up with him! Mark turns round and walks towards the small group of people assembled round the studio camera - DISSOLVE TO: CLOSE SHOT of a book entitled The Art of Fly Fishing. INT. CAR - DAY Through the windscreen WE SEE the entrance to the studio. The driver glances round at his passenger whose face is completely obscured by the book. All WE CAN SEE is a shock of white hair protruding above DRIVER We're there, Doctor. DOCTOR (to Sergeant on gate) Dr Rosen! What a pity. He continues reading. The car enters the studio. DISSOLVE TO: INT. STAGE E. - DAY The (studio) camera is ready for a tracking shot. The set is redressed as the Hat Department of the store. The Inspector stands on the dolly, looking round with interest. The Doctor is sitting in a chair watching everything like an excited schoolboy. The Sergeant has positioned himself near the sound crew. Baden walks on to the set, his arm round Diane's shoulder. He is talking to her softly. She keeps her eyes on the floor; he leads her to the front of the studio camera. BADEN Try it, darling... We'll all be with you. He pats her arm reassuringly. The Chief Cameraman nods to Mark. From the Inspector's POV WE SEE Mark pull a tape measure from the front of the camera and hold it to Diane's forehead. From Mark's POV WE SEE the Inspector watching him over the top of the studio camera. A man with a shock of white hair is also watching him... and the Sergeant stares at him from the other side of the set. The tape measure in Mark's hand remains steady. From the Inspector's POV WE SEE Mark replace the tape measure and take up his position on a small stool by the side of the camera. ASSISTANT DIRECTOR (shouting) Quiet, everyone. Let's run it! The Doctor sneezes violently - and all heads turn towards him. DOCTOR Terribly sorry. In the nervous laughter that follows, the Assistant Cameraman whispers to the Chief Cameraman. ASSISTANT CAMERAMAN That sneezer geezer's a psychiatrist!... Heard it on the grapevine. CLOSE SHOT of Mark turning round to look at the Doctor - a hint of hope in his face. CLOSE SHOT of the Inspector following Mark's glance. ASSISTANT DIRECTOR (shouting) All right, everyone - let's run it... Over the Inspector's shoulder WE TRACK towards the rehearsal. WE SEE Mark swing out into space on his stool, turning the handle of the focus-puller. Diane approaches the hat counter. The Assistant smiles at her. DIANE I'd like to see... that one... The Assistant hands her a hat. Diane tries it on. DIANE ... have you it... in red...? ASSISTANT Certainly, madam. DIANE ... in... red (suddenly she covers her face in her hands') I can't! I can't, Arthur! She bursts into tears and runs off the set. From the Inspector's POV WE SEE Baden whisper to the Assistant Director - then hurry after Diane. ASSISTANT DIRECTOR Ten minutes break, everyone! The unit dissolves into small, chattering groups. The Assistant Director hurries up to the Doctor. ASSISTANT DIRECTOR Can you suggest anything, Doctor? DOCTOR No. It looked jolly interesting to me. ASSISTANT DIRECTOR I mean to help her psychologically... DOCTOR Yes. Give the girl a proper rest... Ten minutes is useless! ASSISTANT DIRECTOR (hastily) Thank you, Doctor. He bustles off and the Doctor is left alone. He glances round thoughtfully. From the Doctor's POV WE SEE the small, chattering groups. Then we see Mark standing a few yards away, watching him. The Doctor smiles at him pleasantly. DOCTOR What's your job? MARK I'm a focus-puller... DOCTOR Oh... so am I, in a way. MARK I was wondering if you knew my father - Professor Lewis... DOCTOR Professor... but of course I knew him. He lectured to me. He looks at Mark with renewed interest. So does the Inspector. From his POV WE SEE Mark and the Doctor talking. The Doctor is fidgeting with his watch chain. Mark fidgets with his jacket button. The Inspector then glances towards the Hat Salesman, who is holding court in the comer. We return to Mark and the Doctor. DOCTOR He was an extraordinary man - quite brilliant! MARK You know what he was interested in before he died? DOCTOR No? Tell me... Mark puts his hands behind his back. MARK I don't remember what he called it... It was something to do with what causes people to be... peeping Toms... DOCTOR Scoptophilia!... That would interest him! A most fertile mind. MARK Scopto...? DOCTOR philia... The morbid urge to gaze... Coined since his day... Have you any manuscripts of his which I could...? MARK He thought... it could be cured... DOCTOR Usually. Now about his manuscripts - MARK Quickly? DOCTOR The cure? Very quick... A couple of years analysis - three times a week - an hour a time - and it's soon up-rooted... CLOSE SHOT of Mark - his last hope gone. DOCTOR ... if you've any of his papers on the subject? MARK Yes, Doctor... DOCTOR I'd like to see them - I'll give you my address, young man. From the Sergeant's POV WE SEE the Doctor hand Mark a card, and pat him jovially on the shoulder. The Sergeant edges up to the Inspector. SERGEANT Wonder what all that's about? INSPECTOR We'll find out afterwards... Now, listen... I want you to watch who brings their own lunches... Someone ate homemade cakes and sandwiches by the side of those bushes - and we may get a lead. SERGEANT Right, sir. CAMERA PANS to a shelf in the comer. A lunch basket stands next to a cine-camera. DISSOLVE TO: WE HEAR the Assistant Director call out: ASSISTANT DIRECTOR We're stopping at four today - so have a quick lunch, everyone! Back at two sharp! FADE IN on the lunch basket. Overlaid is the noise of the unit dispersing. Mark picks up his camera - then reaches for the lunch basket. An urgent voice whispers behind him. VOICE Hey, Mark! He turns round. The Clapper Boy is standing there. The Clapper Boy glances round carefully. The Inspector and Sergeant are wandering casually towards the door. CLAPPER BOY Can't wait to show you this! (bringing out a small postcard) I ought to charge you! He winks at Mark, gives him the postcard. CLOSE SHOT of the postcard. We see Milly's face and naked shoulders framed between Mark's hands. CLAPPER BOY (O.S.) You don't get that in Sight and Sound - Isn't she terrific? Got some more - if you're interested? Mark hands it back. MARK You've given me... an idea... CLAPPER BOY I'll bet I have! Mark turns towards the exit. CLAPPER BOY Hey! Where are you going? MARK Phone - may be my last chance - and... thanks. CLAPPER BOY But your lunch? MARK You have it! He hurries excitedly towards the exit... CLOSE SHOT of the Clapper Boy staring at his photograph. CLAPPER BOY ... some photograph! Well lit too! He reaches for the lunch basket, then walks towards the exit where the Sergeant is waiting casually. CUT TO: INT. CAMERA ROOM Mark is talking at a coin-box telephone. MARK Can't manage Saturday, sir, but they're letting us off early today! This afternoon - after work - may be my last chance! While Mark is talking he is scribbling on a form. He has some more pennies ready for the coin-box. CROSS CUT TO: INT. NEWSAGENT'S SHOP - DAY MR. PETERS ... be here at six o'clock. Milly'll be waiting. MARK Six o'clock... MR. PETERS On the dot, Mark, or she'll go. MARK I'll be there, sir. MR. PETERS You'd better be! INT. CAMERA ROOM Mark rings off. He is smiling. He puts in another 4d (Four Pence) and dials a number. His pen is poised over the form he is filling in. MARK Hallo? Is that the Public Library? ... You have a Miss Helen Stephens employed there? Yes... can you tell me if her name is spelt with a V or a PH, I want to send her a tic-PH? ... Thank you. We see the form is a last will and testament. I, Mark Lewis, etc., etc., leave, etc., etc., to Miss Helen Ste- ens all my worldly goods, etc. He fills in PH. INT. CAMERA ROOM The door bursts open and the Clapper Boy appears. CLAPPER BOY They're waiting! CUT TO: THE SET - DAY CLOSE SHOT of Dr. Rosen smiling. DOCTOR ROSEN He asked if I knew his father... which I did... a brilliant man! EXT. GROUNDS OF STUDIO - DAY The Inspector and Doctor are standing by the bushes where Mark and Vivian met. INSPECTOR Is that all he wanted? DOCTOR think so... we had a little chat about scoptophilia - and he's going to show me... INSPECTOR About what? DOCTOR Voyeurism. INSPECTOR Eh? DOCTOR What makes people into Peeping Toms, one of his father's subjects, apparently. INSPECTOR (slowly) Peeping Toms... DOCTOR An interesting boy... he has his father's eyes... you don't suspect him, do you? INSPECTOR I suspect 'em all - what about you? DOCTOR I'm interested in that chap with the bald head and hatchet face... there's something on his mind! INSPECTOR No wonder... he's the director! He turns away thoughtfully. DISSOLVE TO: CLOSE SHOT of Mark glancing impatiently at his watch. INT. STUDIO - DAY CLOSE SHOT of Baden glancing at his watch... He whispers to the Assistant Director. ASSISTANT DIRECTOR All right, everyone. This is the last shot... Make it a good one! CAMERA PANS to a comer of the studio. The Inspector and Sergeant stand in the shadows. INSPECTOR (quietly) Got your list, Sergeant? SERGEANT (he produces if) YES, SIR. INSPECTOR I want to see how some of them spend their spare time... SERGEANT Which ones, sir? INSPECTOR Exactly, Sergeant... (he looks round thoughtfully) ... which ones? DISSOLVE TO: CLOSE SHOT of sign: PUBLIC LIBRARY. EXT. PUBLIC LIBRARY - DAY LONG SHOT of very modern, glass-walled building. Helen comes out with a manuscript in a parcel under her arm. EXT. PUBLIC LIBRARY - DAY Mark watches her. Beyond him stands an insignificant-looking man in a raincoat. EXT. LIBRARY Helen looks at her watch. EXT. LIBRARY Mark looks at his. INSERT: 5.45. EXT. LIBRARY Helen hurries homeward. EXT. LIBRARY Mark slowly turns his back and walks away, gradually gathering speed. The man in the raincoat follows him. EXT. NEWSAGENT'S SHOP. LATE AFTERNOON Mark hurries towards the shop... ahead of him a street clock stands at just on six. Mark unslings his cine-camera and photographs this clock... then he hurries into the shop. The man in the raincoat walks into camera. He looks at the clock, puzzled, then glances at the newsagent's window. He gazes with interest at Mark's photograph of Milly, then walks thoughtfully down the street. All the clocks in the kingdom chime the hour of six. INT. NEWSAGENT'S SHOP - LATE AFTERNOON Mr. Peters is behind the counter. MR. PETERS Don't make a habit of this! MARK I won't, sir. MR. PETERS Milly's upstairs. MARK Right, sir. He turns to the door. MR. PETERS I've got to go out... If you finish before I'm back, lock up and put this through the letter-box... (he holds out a key) CLOSE SHOT of Mark staring at the key. MR. PETERS What's the matter? Haven't you ever seen a key before? Mark takes the key. He starts to smile. MR. PETERS The till will be empty - if that's what you're smiling about. Mark turns to the door. MR. PETERS You know what I want now! No fancy stuff... Mark goes into the inner room; he is still smiling. DISSOLVE TO: EXT. NEWSAGENT'S SHOP - LATE AFTERNOON From the opposite side of the street, we see Mr. Peters locking the door of the shop, and hurrying down the road. The man in the raincoat watches him, puzzled. CLOSE SHOT of Milly - very angry, in a dressing-gown. MILLY You've spoiled my whole evening, you have! INT. NEWSAGENT'S STUDIO - LATE AFTERNOON Mark closes the door behind him. MARK Sorry, Milly. MILLY What's the idea? MARK I shan't be here tomorrow. (he hurries to the window) MILLY Why? Going on manoeuvres with the boy scouts? He starts to draw the curtains - and stops suddenly. Over his shoulder WE SEE the man in the raincoat standing on the opposite side of the street. MARK I thought so! Mark raises his cine-camera and carefully photographs the Detective through a chink in the curtains. MILLY Have you gone absolutely... MARK I'm just... completing a documentary. MILLY You're a document and a half, you are. Is it safe to be alone with you? He draws the curtains - and turns round. MILLY ... might be more fun if it wasn't... He turns round and walks slowly - and a little sadly - towards her BLACK OUT: The screen remains dark for a moment. FADE TO: AN HOUR LATER - EARLY EVENING From the Detective's POV, WE SEE the chink of light between the curtains of a window above the newsagent's shop go out. CAMERA TRACKS TOWARDS the door of the shop. Mark comes out, his cine-camera over his shoulder. He has a key in his hand. He closes the door of the shop... then looks at the key. He fits it into the lock - then slips it through the letter-box. He turns and hails a taxi. CLOSE SHOT of the Detective. He looks at the shop, hesitates, decides to follow Mark - hails another cab. EXT.STREET Mark gets into his taxi. As the driver pulls down the flag... CUT TO: Mrs. Stephens' head falling on to her chest. INT. MRS. STEPHENS' BEDROOM - EARLY EVENING She is lying in bed - completely drunk - snoring lustily. A hand smooths her forehead. CAMERA PULLS BACK Helen is leaning over the bed. She has her coat on. HELEN Darling... She shakes her mother's shoulders. Mrs. Stephens snores on. HELEN Darling. She shakes her again � but it is hopeless. Helen pulls the bedclothes round her mother, then turns away. She picks up a large envelope and her handbag, and hurries to the door. INT. PASSAGE. MARK'S HOUSE - EARLY EVENING Helen walks towards the stairs. The door of Tony's room opens, and he pokes his head round. TONY Hallo. HELEN Hallo, Tony... TONY Where are you going? HELEN To leave something for Mark... TONY You haven't much time for me these days. HELEN Tony... TONY It's all right - I'll be here - if you want me. (he turns to his room) ... by the way... your mother was yelling out something before you came in... about Mark photographing her. HELEN Photographing Mother? You must be mistaken! TONY Of course. See you sometime. He goes into his room, closing the door. She stares after him for a moment, then hurries up the stairs. INT. PASSAGE BY MARK'S ROOM - DAY Helen knocks on the door. HELEN Mark...? No answer. She knocks again, then opens the door and goes inside. INT. MARK'S SITTING ROOM - EARLY EVENING Helen enters and glances towards the door of the dark-room. HELEN Mark? No answer. She looks thoughtfully at the envelope in her hand - then goes in to the dark-room. INT. MARK'S DARK-ROOM Helen fumbles for a switch... she finds one and presses it. A spotlight falls on Mark's projector, throwing its shadow on to the dazzling white screen. Helen smiles, and walks towards the projector. EXT. HOUSE - DAY Taxi arrives and Mark gets out. INT. POLICE PHONE BOOTH - EARLY EVENING DETECTIVE ... don't know what to make of it, sir ... He went to a library, a solicitor's office, and a newsagent's shop - private photography there, if you ask me. Shall I hang around outside the house, sir? Don't think so, either... All right, sir, I'll give you the details when I get back... Bye, sir. (he replaces the receiver) CLOSE SHOT of Helen. She is standing by the projector, holding her envelope thoughtfully. INT. MARK'S DARK-ROOM She smiles suddenly and opens her envelope. She takes out a bound manuscript. We see a label on the manuscript: The Magic Camera by Helen Stephens. She takes a pencil from her pocket, and opens the manuscript. Then she sits at Mark's table and writes a note on the flyleaf. The projector is at her elbow. DISSOLVE TO: A telephone by a man's elbow. It rings. INT. SCOTLAND YARD - EVENING The Chief Inspector snatches up the telephone. CHIEF INSPECTOR Chief Inspector Gregg! What? Put him on the line... CROSS CUT TO: Mr. Peters - looking very sick - on the telephone. MR. PETERS went up to look around - found her. CLOSE SHOT of the Chief Inspector. CHIEF INSPECTOR Yes, yes... What's the address? ... Newsagent's shop? ... Did you say news...? He slams down the receiver, and jumps to his feet. DISSOLVE TO: EXT. ROAD - EVENING An empty taxi cruising down the street. It passes the Detective in the raincoat walking away from Mark's house. DISSOLVE TO: CLOSE SHOT of a note on a flyleaf which reads 'From one Magic Camera - which needs the help of Another'. INT. MARK'S DARK-ROOM - NIGHT Helen closes the manuscript and lays it carefully by the side of the projector. She turns to leave - then looks curiously at the projector. CLOSE SHOT of Helen - hesitating. Like a small girl in front of her mother's make-up box, she touches the projector tentatively, hesitates again, then presses a switch. A beam of light shoots out. We watch Helen's face as she looks at the screen. Nothing seems wrong for a few seconds - then something starts to happen to the comers of her mouth... and then her eyes become locked... and cannot stop watching. Some kind of sound comes from the back of her throat. Her hands dig into the table and she tries to stand up. She cannot manage it the first time - and keeps on watching, then, like a child waking from a nightmare, she jerks herself away from the table, and stumbles towards the door. CLOSE SHOT of Mark standing there - watching her. CLOSE SHOT of Helen staring at him... again we hear that sound from the back of her throat. He looks away from her at once. MARK Don't let me see you... frightened... (he pushes the door wide open...) Leave! (he looks at her - then looks quickly away) Hurry, Helen! HELEN Not... MARK Leave! HELEN Not... (she turns away from him and forces the words out) ... till I know... MARK Now! She stands with her back to him. From REVERSE ANGLE we see her struggling for breath. Over her shoulder WE SEE him staring at the 16mm screen. HELEN That film... Over her shoulder we see him hurry towards the projector. HELEN That film... The sound of him switching it off. HELEN ... is ... just a film... She wheels round towards him. HELEN ... isn't it? From REVERSE ANGLE we see her looking at him. HELEN ... horrible ... horrible... but... just a film... isn't it? CLOSE SHOT of Mark. MARK No... (he walks towards the door) I killed them... (he locks the door with a hint of sadness) And now that you know... I want you with me... a while. CLOSE SHOT of Helen � not enough breath to scream... hardly enough to breathe. MARK You'll be safe - as long as I can't see you frightened - so stand in the shadows, Helen... please... She stands motionless. MARK ... please... From her POV WE SEE him standing in front of the door, looking ahead of him. She backs slowly away into the shadows at the back of the room. HELEN She's right... your mother... must tell someone everything... sorry... has to be you! CLOSE SHOT of Helen standing in the shadows where her mother stood. HELEN This was his laboratory... and you know some of what he did... but not all. The room is suddenly filled with the terrified screaming of a small boy. Helen wheels round. The screaming seems to be coming from the walls. Mark's hand is on a switch - one of a number on a panel. MARK ... aged five... He presses another switch. There is a click, and the screaming stops, to be replaced by a low sobbing. MARK ... aged seven... He presses another switch. There is a moment's silence. MARK All the rooms were wired for sound... and... still are. WE SUDDENLY HEAR the ticking of a clock. MARK Your room. CLOSE SHOT of Helen - listening. MARK Your mother's . The click of a switch - and we hear a loud snoring. MARK Tony's. The click of a switch - and we hear Tony's voice. TONY (O.S.) No one will come in... honestly, darling... GIRL'S VOICE (O.S.) I don't care! TONY But darling... GIRL'S VOICE (O.S.) Stop it, Tony! Mark listens with interest. HELEN (quietly) Turn it off! He does so - at once. She walks towards him. He turns away from her. HELEN Look at me, Mark! MARK Not if you're frightened... HELEN Look at me! Slowly he faces her. HELEN What did you do... to those girls? MARK No. HELEN What did you do, Mark...? He tries to turn away - but she follows him. HELEN If you want to torment me... for the rest of my life... then make me imagine! CLOSE SHOT of Mark - his eyes closed. HELEN What did you do ... to those girls? MARK Can't... HELEN Show me, Mark... MARK But if you're frightened... HELEN Show me - or I'll remain frightened... for the rest of my life. Show me! He turns to his cine-camera, and picks it up. He releases the tripod. CAMERA HOLDS on Helen. She stands very still against the wall. Mark's voice is overlaid. MARK (O.S.) Do you know... what the most frightening thing in the world is?... She is looking at something, puzzled. MARK It's fear. The sound of his footsteps approaching... MARK So I did something... very simple... WE SEE a look of fear spring into her eyes. MARK Very simple. WE SEE the spike approaching her throat... but she is looking at something else. MARK When they felt the spike... touching their throats... and knew I was going to kill them... The spike is touching her throat. MARK ... I made them - watch their own deaths! CLOSE SHOT of Helen's face several times its natural size. She is looking at herself in a large circular magnifying mirror which has been fitted over the camera's face. The mirror entirely obscures both Mark and the camera. There is a small hole in the mirror through which the lens of the camera winks. As Helen looks at her terrified distorted face this small hole gives her an extra eye in the middle of her forehead. MARK Made them see their own terror as the spike went in... and if death has a face, they saw that too! CLOSE SHOT of Mark - crouching behind the mirror, sweat pouring down his forehead... his finger on the trigger of the camera. MARK Not you! Not you! I'll never photograph you! I promised - I promised - Not you! Helen's eyes are closed. The spike is still touching her throat. CLOSE SHOT of Mark � his face turned away from the viewfinder. HELEN ... frightened ... for you... There's the sound of a car pulling up. He hurries to the other room. EXT. HOUSE - NIGHT The Police arrive: three cars. Mark appears at an upstairs window with his camera. SERGEANT Look out! He thinks Mark has a gun. They all duck. Mark raises his camera and photographs them. The Police recover and charge for the house. Mark disappears. INT. DARK-ROOM - NIGHT Mark hurries back into the room carrying his camera. He knows exactly what he has to do. HELEN Mark! Mark! Give yourself up! MARK I've been ready for this... for such a long time... Rapidly he fixes his camera on to a hook on the wall. Then he adjusts the tripod so that the spikes protrude towards him... HELEN What are you... MARK It'll be all right. He makes chalk marks on the floor in front of the camera, then switches on all the floodlights. WE CAN HEAR the Policemen pounding on the door. MARK I can beat that! He crosses to a switch - presses it. The room is filled with a small boy's screaming. HELEN Give yourself up... Mark! He stands next to her, and looks at his long array of cameras. WE SEE that each one of them has been fitted with a small metal disc (a delayed release), and that some of the older cameras have flashlights attached. MARK Watch them, Helen... Watch them say goodbye - one by one - (he presses a master switch on the wait) I've timed this... so often... Slowly he walks past his cameras. As he does, the metallic disc on each one explodes with a little plop - and the eye of each camera winks once as if in salute. Some go off with flashlights on either side of the room. The sound of footsteps hurrying up the stairs. Ahead of Mark - coming steadily closer � are the spikes of the tripod. The mirror on the cine-camera reflects the approach - and Helen's terrified face. HELEN No - No! The child's screaming reaches its peak as Mark approaches the spikes... Ahead of him, on the small table where his projector stands, is Helen's book The Magic Camera. MARK I wish... I could have found your faces for you... The Policemen are now rattling on the dark-room door. MARK Helen - I'm afraid! We see his face, terrified, in the magnifying mirror. The spikes are against his throat. The eye of the camera is winking rapidly. MARK I'm glad I'm afraid! Heavy shoulders are pressing against the dark-room door... as it breaks in, Mark lunges forward against the spikes. The cine-camera is wrenched away from the wall as he falls back. He crashes against the small table, which falls over. He is not parted from his camera - it is fixed to him by the tripod, and falls back with him, covering his face like a canopy. WE SEE his face in the lens of the cine- camera. and WE SEE his hand - lying limp on the cover of The Magic Camera. The Policemen hurry into the room. They stare motionless at what they see. CLOSE SHOT of Helen - her face buried in her hands. The child's screaming stops suddenly... and in the absolute silence which follows WE HEAR the voice of Mark's father: FATHER'S VOICE (O.S.) Don't be a silly boy... there's nothing to be afraid of... And a small voice answers. CHILD'S VOICE (O.S.) Good night, Daddy... The spotlights begin to dim... The dazzling white of the 16mm screen fades slowly into greyness... The room is filled with the gentle breathing of a small child. FADE OUT: THE END