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.