Peeping Tom

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! PEEPING TOM
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! Screenplayby
! LeoMarks
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! ShootingDraft,1959
!
! Copyright,1959,
! MichaelPowell(TheatresLtd.)
!
! Copyright,1959 1988 & 1998
! LeoMarks
!
!
!
! The screenremainsdarkforamoment.
!
! In thedarknessWE HEAR thefilm'sTHEME MUSIC - agentle
! whirringpurringnoise. Nothingtobealarmedabout.It
! mightbeasmallcontentedmotor.
!
! FADE IN:
!
! EXT. A DESERTED STREET - NIGHT
!
! LONG SHOT ofthesolitaryfigureofaWOMAN standing
! professionall
yaloneattheendofthestreet.
!
! Itisabright,stillnight.WecanHEAR theWomanwhistling
! 'Stardust'merrilytoherself.
!
! CAMERA TRACKS aroundher. A Man'sfootstepsareoverlaid.
!
! WeHEAR theManstarttowhistle'Stardust'underhisbreath-
! hal
tinglyatfirst,thenin time withtheWoman.
!
! As weapproach, sheglancesatusoverhershoulder- then
! turnsroundforabetterlook.
!
! Her whistlingstops- so,atthesamemoment,doesthe
! man's.
!
! CLOSE SHOT ofDORA - aplump, attractivebrunette- still
! youngenoughtoneedtwoglancesatthecustomers.
!
! Shesmilesatus- andispleasedwiththereception.She
! hesitatesforalongmoment,weighingusupcarefull y...
! andthen- halfdefiantl
y,halfexpectingtobelaughed
! at.
!
! DORA
! It'llbetwoquid...
!
! Evidentlywehavetwoquid.
!
! Shebeamswithrelief- throwsherfuroverhershoulders,
! jerksherheadtowardstheright- andsetsoff.
!
! CAMERA TRACKS afterher. Overlaidisthesoundofthe
! man'sfootsteps.
!
! Doraresumesherwhistling. So,underhisbreath,doesthe
! manwhoisfollowingher.
!
! EXT. A DESERTED STREET - NIGHT
!
! A widerstreetthanthelast- butjustasempty.
!
! Doraswaysherwaytow ardsasmallhouse. CAMERA FOLLOWS
! atarespectfuldistance.
!
! CAMERA PANS fromDora'shipstoanoverflowingdustbin.
!
! CLOSE SHOT ofaman'shandthrowingsomethingintothe
! dustbin. ItisanemptypacketmarkedKodakFilm. CAMERA
! PANS toDora'shouse. Itstandsnexttoachemistshop.
!
! Doraclimbsthefewstepswhichleadtoherfrontdoor-
! glancesroundatusencouragingly- thenunlocksthedoor.
!
! INT. HALLWAY OF DORA'S HOUSE - NIGHT
!
! Sheswitchesonalight- andhurriesup aflightofstairs.
!
! CAMERA TRACKS afterher.
!
! Shechangeshertuneto'GoodnightSweetheart'... andso-
! underhisbreath- doestheMan whoisfollowingher.
!
! A womanwithhairlikeatwo-tonedcarcomesdownthe
! stairs,winksatDora- looksatusforamomentwithgreat
! curiosity... winks... thenpassesoutofcamera.
!
! Dorareachesthelanding- weareclosebehindher.
!
! INT. LANDING OF DORA'S HOUSE - NIGHT
!
! Doraunlocksthedoorofherroom- andgoesinside.
!
! INT. DORA'S ROOM - NIGHT
!
! Sheswitchesonthelight,throwsherfurontoachair,
! lightsthegasfire thenturnsround.
!
! CLOSE SHOT ofDora.Sheholdsoutherhand-smiling.
!
! Andsuddenl
y. Thereisagentlewhirringpurringsound.
!
! CAMERA HOLDS ON Dora- sheisstaringatsomethingwith
! greatcuriosity.
!
! Itturnsquicklytobewilderment- andthebewildermentto
! fear.ShestepsbackfromCAMERA - butCAMERA won'thave
! it.
!
! Doraisnowstaringatsomethingin horror- sheopensher
! mouthtoscream - ashadowfallsacrossherface.
!
! The soundpurrson.
!
! FADE OUT:
!
! FADE IN:
!
! BLACK AND WHITE FILM SEQUENCE
!
! The solitaryfigureofDorastandingprofessionall
yalone
! attheendofastreet.WE SEE herturntow ardsCAMERA -
! andsmileatus.
!
! Wearewatchingherona16mm screen- projectedin BLACK
! AND WHITE.
!
! CAMERA PULLS BACK toshowthesurroundin naturalcolour.
!
! INT. MARK'S ROOM - NIGHT
!
! A darkenedroomin naturalCOLOUR. The moviescreenimages
! arein BLACK AND WHITE.
!
! WecanSEE thebackofaMan'sheadashebendsintently
! overaprojector.He iswatchingDoraonthescreen. He is
! breathingquickl
y.
!
! WeseeDora'shipswagglingtheirwayhome.
!
! The Manraiseshishead,sotha
twecannotseethescreen.
!
! Whenhelowersitagain, weseetheWomanwiththetwo-
! tonedhairwinkingatDora... thenweseeDorathrowing
! herfurontoachair- andturningtowardsus.
!
! WE SEE herstaringatsomethingin bewilderment... then
! backingawayfromCAMERA in fear.
!
! WE HEAR theManbreathingasifattheendofaverylong
! race.
!
! As Doraopenshermouthtoscream, andashadowfallsacross
! herface- thetitle:
!
! PEEPING TOM
!
! Blotsoutwhatishappeningtoher.
!
! OTHER CREDITS FOLLOW... behindthem wecanseeDora'shands
! pushingsomethingaway.
!
! BeforetheDIRECTOR'S CREDIT:
!
! CUT TO:
!
! EXT. A PARK - NIGHT
!
! Itisverydark.
!
! CLOSE SHOT ofastackofdeckchairs.
!
! Twoformsbehindit- aMAN'S andaWOMAN'S.
!
! Theyareintertwinedandmotionless... suddenlyabrilliant
! shaftoflightistrainedontothem.
!
! Overlaidisagentle,whirringsound.
!
! CAMERA PANS quicklytoanearbytree.
!
! CLOSE SHOT ofthelensofacine-camera- themotor
! purring... ablindingspotlight.
!
! CAMERA PANS tothecouple- thewhirringofthecamerais
! overlaid.
!
! The Manleapsup - shieldinghiseyesagainstthelight.
!
! He advancestowardsthetree.
!
! MAN
! Hey, youpeeping...
!
! The spotlightgoesout.Thereisthesoundoffootsteps
! runningawayóandthenightisatpeaceagain.
!
! AndnowWE SEE whoDIRECTED thepicture.
!
! DISSOLVE TO:
!
! LONG SHOT. AMBULANCE - DAY
!
! Itisstandingin theroadwayoutsideDora'shouse.
!
! WE SEE itthroughthefinderofasmallcine-camera.
!
! EXT. STREETS BY DORA'S HOUSE - DAY
!
! A crowdhasgatheredoutsidethehouse- andwearewatching
! them fromacornerofthestreet(ALWAYS THROUGH THE FINDER-
! MATTE).
!
! WE SEE severalPolicemenholdingbackthecrowdastwo
! AmbulanceMen hurryintothehouse,carryinganempty
! stretcher.
!
! Gentle,whirringsoundisoverlaid.
!
! WE SEE childrenstaringcuriouslyintotheemptyambulance-
! andagroupofWomentalkingexcitedlytoaReporter.
!
! CLOSE SHOT ofaSMALL MAN lookingatuscuriouslyashe
! approaches(FILLING THE SCREEN WITHIN THE MATTE).
!
! SMALL MAN
! Whatpaperareyoufrom?
!
! The finderislowered.
!
! CLOSE SHOT ofaYoungMan (MARK) sightingacine-camera.
!
! He lowersthecamera- andturnspolitelytohis
! interrogator.
!
! He seemstohaveslightdifficul
tyinforminghiswords.
!
! MARK
! I begyourpardon?
!
! SMALL MAN
! Whatpaperareyoufrom?
!
! Marksmilesathim pleasantl
y.
!
! MARK
! The Observer.
!
! The AmbulanceMen comeoutofthehousecarryingthe
! stretcher... thereisabodyonitcoveredbyasheet.
! Markraiseshiscine-cameraandphotographsthem. He
! photographstheambulanceasitdrivesoff.He photographs
! thePolicemendispersingthecrowd.He photographshis
! Interrogator,whogladl yposesforhim.
!
! Thenheslingshiscameraoverhisshoulder,andstrolls
! away.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofDora,smilinghappily.
!
! Her photographisonthefrontpageofanewspaper.
!
! Aboveitisacaption: BRUTALLY MURDERED.
!
! CAMERA PULLS BACK - toshowsexymagazinesalongsidethe
! newspaper.
!
! EXT. A NEWSAGENT'S SHOP - DAY
!
! Markisstaringatanewspaperin thewindowofasmall
! newsagent'sshop.
!
! He glancesdistastefull
yatanarrayoffilm magazines-
! showingactressesshowingeverything- thenhurriesinto
! theshop.
!
! INT. NEWSAGENT'S SHOP - DAY
!
! A plump, bald-headedManstaresatMark.
!
! MR. PETERS
! You'rela
te!
!
! MARK
! Sorry,sir.
!
! He turnstowardsasmalldoorattheendoftheshop.
!
! MR. PETERS
! (quietly)
! Holdon,Mark.
!
! Markturnsround.
!
! Mr. Petershesitates,drumminghisfingersonthecounter.
!
! CLOSE SHOT ofMark. He startstodrum hisfingersona
! shelf.
!
! MR. PETERS
! Mark... I'veaquestionforyou.
!
! He stopsdrumminghisfingers.So,atthatmoment,does
! Mark.
!
! MR. PETERS
! Whichmagazinessellthemost
! copies?
!
! MARK
! Thosewithgirlsonthefrontcovers-
! andnofrontcoversonthegirls.
!
! MR. PETERS
! Exactly!... Andit'sjustthesame
! withtheworkyoudoforme.
!
! Overlaidisthesoundofthedooropening.
!
! MR. PETERS
! Lookbusy.
!
! Markbusieshimselfsortingsomenewspapers.
!
! A wholerowofDorassmileupathim.
!
! CAMERA PANS todoorwayoftheshop.
!
! An ELDERLY GENTLEMAN isstandingthere.
!
! ELDERLY GENTLEMAN
! The Times, please.
!
! MR. PETERS
! Certainl
y,sir.
!
! ELDERLY GENTLEMAN
! AndThe Telegraph.
!
! MR. PETERS
! Certainl
y,sir- anythingelse?
!
! The ElderlyGentlemanhesitates- glancingatMark'sback.
! Then:
!
! ELDERLY GENTLEMAN
! I... er... havebeentoldbya
! friendthatyou... er... havesome
! viewsforsale?
!
! MR. PETERS
! Whatsortofviews,sir?
!
! ELDERLY GENTLEMAN
! Well,er...
!
! MR. PETERS
! Thissort,sir?
!
! From underthecounterheproducesathickbook.Markturns
! round.
!
! From hisPOV WE SEE theElderlyGentlemanopenthebook.
! He - er-seems- er- morethanalittleinterested.
!
! ELDERLY GENTLEMAN
! I, er... howmucheach?
!
! MR. PETERS
! Fiveshillings,sir.
!
! ELDERLY GENTLEMAN
! I'lltakethisone... and,er...
! thisone... and,er... howmuch
! wouldthelotbe?
!
! MR. PETERS
! Toyou- fivepounds,sir...
!
! The ElderlyGentlemanhesitates. Mr. Petersturnsovera
! page... andtheElderlyGentlemanalmostturnsoverwith
! it.
!
! MR. PETERS
! Tellyouwhat,sir. Fourpounds
! ten- andI'llthrowin TheTimes
! andTelegraph... how'sthat?
!
! ELDERLY GENTLEMAN
! Well,er... thankyouverymuch.
!
! MR. PETERS
! Letme wrap itforyou,sir.
!
! He putsitin awrapperwhichsays'EducationalBooks'.
!
! MR. PETERS
! ShallI putyouonourmailing
! list?
!
! ELDERLY GENTLEMAN
! Ohno! ButI'lllookin again...
!
! MR. PETERS
! By allmeans,sir.
!
! He holdsopenthedoorfortheElderlyGentleman, and
! watcheshim leave.
!
! MR. PETERS
! He won'tbedoingthecrossword
! tonight!
!
! He turnstriumphantlytoMark.
!
! MR. PETERS
! (countingoutmoney
! fromwallet)
! Thosepictureshechose... were
! allyours!
! (handingnotes)
! Thisisyours!
!
! Markpocketsthem withoutcountingthem.
!
! CLOSE SHOT ofMark.
!
! MR. PETERS
! (in averydifferent
! tone)
! Andthisisyourstoo...
!
! He picksupapostcard- holdsittowardsMark.
!
! MR. PETERS
! Andthat'swhatI wanttotalkto
! youabout.It'sacleverpicture-
! becauseyou'reacleverlad...
! but,Mark...
! (patheticall
y)
! It'sallface.
!
! Marklooksatthepostcardin silence.
!
! MR. PETERS
! I don'twanttohurtyourfeelings,
! son- butifpeoplewanttheMona
! LisatheygototheNational
! Gallery.
!
! MARK
! The Louvre.
!
! MR. PETERS
! Well,wherevertheygo,theydon't
! comehere... sonomoreofthis
! fancystuff...
!
! He patsMark'sarm.
!
! MR. PETERS
! ... nowgetupstairs- thegirls
! arewaiting... andsoisabonus
! ifyougiveme whatI want.
!
! MARK
! Thankyou,sir.
!
! MR. PETERS
! (amused)
! Whatdoyoudowithallyourmoney?
!
! MARK
! Buy cameras.
!
! He opensadooratthefarendoftheroom. Wecatcha
! glimpseofawindingstaircase. He startstoclimb it.
!
! INT. REAR OF NEWSAGENT'S SHOP - DAY
!
! At thetopofthestaircaseis adoor.Markandhiscamera
! trudgetowardsit. The dooropenssuddenl
y. A vivacious
! youngredhead- Milly- pokesherheadround. Shehasa
! towelroundhershoulders.
!
! MILLY
! Welllookwho'shere! CecilBeaton!
!
! From REVERSE ANGLE WE SEE MarkventureashysmileatMill
y.
! Millyopensthedoorimpatientl
y.
!
! MILLY
! Come on,sonny... makeusfamous.
!
! Throughthehalf-opendoorwecatchaglimpseofasecond
! Girl(LORRAINE). Sheisstaringoutofawindow,herback
! tocamera. Sheisnakedexceptforashawldrapedround
! hershoulders.
!
! Markenterstheroom... thedoorbeginstoclose. CAMERA
! TRACKS tow ardsthedoor.Onthethresholdoftheroom, a
! hoodisthrownoverourfaces.THE SCREEN BLACKS OUT.
!
! In thedarknessWE HEAR Milly'svoice.
!
! MILLY (O.S.)
! Did youreadaboutthatgirlwho
! wasmurderedlastnight?
!
! INT. STUDIO ABOVE NEWSAGENT'S - DAY
!
! WearewithMarkunderthehoodofanantiquatedcamera.
! Throughtheground-glassofthecameraWE SEE aSMALL
! INVERTED IMAGE ofMilly.
!
! MILLY (O.S.)
! The samethingnearlyhappenedto
! me!
!
! WehearLorraine'svoice- muffled,andveryfaraway.
!
! LORRAINE (O.S.)
! When?
!
! MILLY (O.S.)
! Lastnight! I wentoutwithmy
! boyfriend... We'regettingmarried
! nextmonth... troublewasmy fiance
! sawus.
!
! The SMALL INVERTED IMAGE ofMillypeersanxiousl
yintothe
! camera.
!
! MILLY
! canyoufixitsothebruisesdon't
! show?
!
! The ground-glasscamerabeginstravellingslowl
ydown
! Milly'sback.
!
! CLOSE SHOT ofMill y. Sheisonacouch, lyingonherstomach
! ataslightlyoblq
i ueangle.AllthatWE CAN SEE areher
! faceandnakedshoulders.
!
! From Milly'sPOV WE SEE Markunderthehoodofanantq
i uated
! camera.
!
! MILLY
! Well,canyou?
!
! Mark'svoiceisMUFFLED underthehood.
!
! MARK
! ...thinkso,Mill
y.
!
! MILLY
! Thenbequickaboutit, sonny! I'm
! freezing.
!
! CLOSE SHOT ofhernakedtoes.Theystarttowriggle.
!
! CLOSE SHOT ofMark'stoes- in sandals,nexttothetripod
! ofthecamera. Theystarttowriggle.
!
! CLOSE SHOT ofLorraine. Wewatchherin profileasshe
! staresoutofthewindow- clutchinghershawl.Shehas
! outstandinglybeautifulfeatures.
!
! CLOSE SHOT ofMark. He isstandingbythesideofthe
! camera,studyingusthoughtfully.He isholdingaremote-
! controlswitchpanelin hishand. He clicksoffseveral
! lightsandthenswitchesseveralotherson... thenheducks
! backunderthehood.
!
! MILLY
! Therehegoesagain! Whathaveyou
! gotunderthere?A girlfriend?
!
! WejoinMarkunderthehood.
!
! WE SEE asmallINVERTED IMAGE ofMillyontheground-glass.
! Her shouldersarenowwhiteandglistening,herspine
! caressedbyshadows.Sheisstaringintothecamera.
!
! MILLY
! I supposeyouhaveagirlfriend?
!
! He adjuststhefocus.Wecanseemoreclearlythecontempt
! onMilly'sface.
!
! MARK
! No,Mill
y.
!
! MILLY
! Hearthat,Lorraine? He'savailable.
!
! From Milly'sPOV WE SEE Markcomeroundtothefrontof
! thecamera,andinsertadarkslide.
!
! MARK
! Raiseyourhead,please- andlook
! atthesea.
!
! MILLY (O.S.)
! Whatsea?
!
! Markpressesarubberbulb- theshutterclicks.
!
! MILLY
! Whatsea?
!
! Markinsertsanotherdarkslide.
!
! MARK
! I justwantedthatpuzzledlook.
!
! MILLY (O.S.)
! Oh, didyou?Wellifyouwantit
! again, I'llthinkofyou!
!
! CAMERA PULLS BACK
!
! fromMilly'sviewpoint,WE SEE Markholdingtherubber
! bulb. cine-cameraisonaledgebehindhim.
!
! MILLY
! You'reapuzzleandahalf.
!
! Markpressestherubberbulb- theshuttersclick.
!
! MILLY
! Thisisasparetime jobforyou,
! isn'tit?
!
! MARK
! Yes, Mill
y.
!
! He insertsanotherslide.
!
! MILLY
! Well,whatdoyoudoforaliving?
!
! MARK
! Takepictures.
!
! He pressesthebulb- theshuttersclick.
!
! MILLY
! Thissort?
!
! MARK
! No,Mill
y.
!
! He insertsanotherslide.
!
! MILLY
! Don'tyoulikethissort?
!
! MARK
! No,Mill
y.
!
! He pressesthebulb- theshuttersclick.
!
! MILLY
! Wellwhatsortdoyoulike?
!
! Marklooksatherthoughtfull
yforalongmoment.
!
! MARK
! I may showyou- oneday.
!
! MILLY
! That'llbe atreat,I'm sure.
!
! Marksmilesathershyl
y.
!
! MARK
! That'sall,Mill
y.
!
! MILLY
! Ohno,sonny! NowtakeoneI can
! showmy mother.
!
! Markinsertsanotherslide.
!
! MARK
! Thinkofherthen.
!
! ThereisagentleKNOCK atthedoor,andMr. Petersenters.
! He carriesatrayofcoffee. He keepshiseyesmodestl
y
! lowered.
!
! MR. PETERS
! Onthehouse.
!
! He laysthetrayonatable,stillkeepinghiseyeslowered,
! andgoesout.
!
! MILLY
! Somehouse! Hopeitfallsonhis
! ruddyearhole!
!
! Sheglancesoverhershoulder.
!
! MILLY
! It'syourturnnow,love...
!
! CLOSE SHOT ofLorrainestaringoutofthewindow.She
! stiffens.Milly'svoiceisoverlaid.
!
! MILLY (O.S.)
! (in awhisper)
! ... it'sherfirsttime.
!
! Lorraineclutcheshershawltightl
y.
!
! MILLY
! Come on,love.Don'tbe shy.
!
! Lorraineturnsround.
!
! The leftsideofherfaceis classicalin itsbeauty.She
! hasaharelip, whichtwistsanddistortsthewholeofthe
! rightside. Her eyesarelarge- andbeautiful- and
! defiant.
!
! CLOSE SHOT ofMarklookingather.
!
! CLOSE SHOT ofLorraine.
!
! LORRAINE
! He said... youneedn'tphotograph
! my face!
!
!
! MARK
! I wantto.
!
! CLOSE SHOT ofLorraine. Beautifulin profile.
!
! LORRAINE
! I supposeyou'llfixmy bruises
! too?
!
! MARK
! I wantto...
!
! MILLY
! Whataboutthecustomers?
!
! CLOSE SHOT oftheshawlroundLorraine'sshoulders.
!
!
! MARK
! Youneedn'tbeshy... ofme...
! it'smy firsttime too.
!
! CLOSE SHOT ofLorraine'seyes- puzzled.
!
! LORRAINE
! Yours?
!
! MARK
! In frontofeyes... like...
!
! He triestogoon- butwordsareaforeignlanguageto
! him.
!
! MARK
! ...eyes... asfullof...
!
! In asuddenrush:
!
! MARK
! Lorraine- letmy cameratellyou.
!
! CLOSE SHOT ofLorrainestandingverystillólookingat
! him in silence.
!
! Millyshrugsandreachesforthecoffeepot.
!
! Overlaidisthegentlepurringofacine-camera.
!
! CAMERA LINGERS onthedarklq
i uidbeingpouredintoacup.
!
! DISSOLVE TO:
!
! Whiskybeingpouredintoaglass.
!
! CAMERA PULLS BACK
!
! INT. HELEN'S SITTING ROOM - EVENING - TOWARDS SUNSET
!
! The handfillingtheglassisawoman's(MRS. STEPHENS).
! Sheissittingin ahigh-backedchair, andwecannotsee
! herface. Overhershoulderwewatchapartyin progress.
! A groupofYoungpeoplehavesurroundedsomeonetowhom
! theyaresinging:
!
! YOUNG PEOPLE
! (singing)
! Happy birthdaytoyou,
! Happy birthdaytoyou,
!
! CAMERA TRACKS towardsthem.
!
! CLOSE SHOT ofTONY HUNTER, awell-buil
tyoungsterin his
! middletwenties.
!
! TONY
! Happy birthday... dearHelen
!
! He obviousl
ymeansit.
!
! TONY
! happy birthdaytoyou.
!
! CLOSE SHOT of'dearHELEN'. A sensitive, intelligent,and
! extremelyattractivegirl,whoóastheencircling
! youngstersnowinform usin song- is:
!
! YOUNG PEOPLE
! Twenty-onetoday,
! She'stwenty-onetoday,
! She'sgotthekeyofthedoor,
! She'sneverbeentwenty-onebefore.
!
! CLOSE SHOT oftheglassbyMrs. Stephens'side. Itishalf
! empty. An elderlyladyleansacrosstoher. SheisMrs.
! Partridge,slightl
yhighonaglassofsherry.
!
! MRS. PARTRIDGE
! Youmustbeveryproudofyour
! daughter,Mrs. Stephens.
!
! Mrs. Stephensgrunts.Someoneswitchesonagramophoneand
! theyoungcouplesstartdancingatonce. Tonyhurriesup
! toHelen.
!
! TONY
! May I?
!
! Helengoestowardshim. A YOUNG MAN callsoutsharply:
!
! YOUNG MAN
! Look!
!
! He ispointingatsomethingoutofcamera.Allheads-
! exceptMrs. Stephens'- followthedirectionofhisgaze.
! Mrs. Stephenscontinuestositmotionlessin thehigh-backed
! chair.
!
! CAMERA PANS tothewindow.Markisstandingthere.
!
! CLOSE SHOT ofHelenlookingatMark. Wewatchhim overher
! shoulder- Tony'sarm encirclingit.
!
! TONY (O.S.)
! It'sthatchap fromupstairs.
!
! EXT. MARK'S HOUSE - EVENING - LOW SUN
!
! The chap fromupstairspresseshisfacetothewindow.
! From hisPOV WE SEE Helen'seyeslookingathim - thekey
! ofthedoorin them - lookingathim, notstaring. Suddenly
! therestcomesintofocus- Tony'sarm aroundHelen's
! shoulder... thehigh-backedchairin theforegroundwith
! thebackofthatmotionlesshead... ayoungcouplegiggling
! astheystareathim. Markstepsaway, andtheCAMERA PULLS
! BACK withhim.
!
! Wecatchaglimpseofthehouse- large,sprawling,but
! withatouchofqualityaboutit, in aquiet,unpretentious
! street.
!
! Markhurriestowardsasideentrance.
!
! INT. HELEN'S SITTING ROOM - EVENING
!
! CLOSE SHOT ofHelenlookingattheemptywindow.
!
! HELEN
! I'llaskhim in...
!
! CLOSE SHOT ofTony- frowning.
!
! CAMERA PANS toMrs. Stephens'glass... thehandwhich
! refillsithasbeguntotremble.
!
! INT. REAR OF HOUSE - NIGHT
!
! The lightsareon.
!
! WE FOLLOW Mark(andhiscamera) alongasmallpassagewhich
! leadstothehall.The soundofadancerecordcanbe heard.
! Markstartstowhistleitunderhisbreath.
!
! INT. HALL - NIGHT
!
! Overhisshoulderweseeastaircase,andbeyonditthe
! doorofHelen'ssittingroom. The soundofHelen'sparty
! fillsthehall.
!
! Markreachesthestaircase. Thereisthesoundofadoor
! opening. Helen'svoiceisoverlaid:
!
! HELEN (O.S.)
! Excuseme!
!
! Markhesitates,thenturnsround.
!
! CLOSE SHOT ofHelen- smilingathim.
!
! HELEN
! I don'tknowhowmanytimeswe've
! passedeachotheronthestairs?
!
! Marklooksatherasif hedoes.
!
! HELEN
! ... buttonightI'm determinedat
! leasttosayhellotoyou! Sohello!
!
! Her directnessisnatural,consistentandveryhardto
! resist.
!
! CLOSE SHOT ofMark- smiling.
!
! HELEN
! I'm HelenStephens.
!
! Sheglanceswithunconcealedinterestatthecameraover
! hisshoulder.
!
! HELEN
! I'm havingaparty- andtheother
! tenantsarethere... Andafew
! friends. We'dlikeyoutojoinus.
!
! MARK
! Mark...
!
! HELEN
! Pardon?
!
! MARK
! I'm Mark...
!
! HELEN
! Hallo,Mark.
!
! Sheholdsoutherhand... hetakesitgentl
y.
!
! HELEN
! Pleasecomein... you'llmeetthe
! otherswholivehere, and...
!
! MARK
! Thankyou,but... work.
!
! HELEN
! Oh...
!
! Sheglancesagainathiscamera.
!
! HELEN
! Well,I hopetokeep itgoingfor
! hoursyet... sowhenyou'vefinished
! whynotlookin?
!
! Sherealizesthatthisisnotthehappiestofphrases.
!
! HELEN
! ...Mark?
!
! He hesitates.
!
! CAMERA PANS toHelen'sdoor.Tonystandsthere.
!
! TONY
! Darling,yourcake- everyone's
! waiting.
!
! CLOSE SHOT ofMark- lookingather.
!
! MARK
! Thankyou.
!
! He turnsaway.
!
! MARK
! Happy Birthday.
!
! He hurriesupthestairs.
!
! CLOSE SHOT ofHelen. Shestaresafterhim foramoment.
! Thenreturnsthoughtfull
ytoherparty.
!
! FADE OUT:
!
! The screenremainsdarkforamoment.WearewithMarkin
! adarkenedroom. He is givingafilm show- andwearethe
! screen.
!
! INT. MARK'S DARK-ROOM - NIGHT
!
! His cine-projectorpointsstraightatus. A flickering
! lightshinesin oureyes. Wecanseehim crouchingbehind
! theprojector.
!
! Markleansforward,watchingthescreenintentl y...
! Perspirationtricklesdownhisforehead. He isbreathing
! veryquickl y. The soundsofthepartyseep up from
! downstairs- music, laughter,andaGirl'syelp.
!
! Thereisaknockonthedoor.Markdoesnothearit.
!
! CAMERA PANS tothedooroftheroom. Itisblacked-out
! likeaphotographicdark-room. The knockisrepeated.
!
! CLOSE SHOT ofMark. He switchesofftheprojectorinstantl
y.
!
! CAMERA PANS toanopencupboardin thecorner.
!
! CLOSE SHOT oftheshelves.Theyarestackedwithspoolsof
! film.
!
! CAMERA travelsslowl
yoverthesespools.WE SEE Mark's
! handaddtwomoretothecollection; hisVoiceis overlaid.
!
! MARK (O.S.)
! ...minute...
!
! He closesthecupboarddoor.
!
! INT. MARK'S SITTING ROOM - NIGHT
!
! Markcomesoutofthedark-roombehindhim - thelightis
! keptoutbyabaffleandacurtain. He hasapleasant,
! normall
yuntidybedsittingroom.
!
! He wipeshishandkerchiefacrosshisforehead- thenhurries
! tothedoor.He opensit- Helenisstandingthere.
!
! HELEN
! I hopeI'm notdisturbingyou?
!
! CLOSE SHOT ofMark- shakinghishead,smilingshyl
y.
!
! CLOSE SHOT ofHelen.
!
! HELEN
! I knewyouwouldn'tcomedown...
! soI'vebroughtyouthis.
!
! Sheholdsoutaplateonwhichisapieceofbirthdaycake.
!
! MARK
! Thankyou...
!
! He takestheplate.
!
! MARK
! ... verymuch...
!
! HELEN
! I mustn'tkeep youfromyourwork
!
! Sheturnstogo.
!
! MARK
! I'd liketoofferyouadrink.
!
! Sheturnsround.
!
! HELEN
! Thankyou,Mark.
!
! MARK
! I haven'tone.
!
! HELEN
! I'd adoresomewater.
!
! Shesmiles.
!
! HELEN
! ahostesscan'tdrinkwaterather
! ownparty,itlookslikeahintto
! theguests.
!
! MARK
! Willyou... wouldyou... liketo
! comein?
!
! HELEN
! Yes, Mark...
!
! Shestepsoverthethreshold.Thedoorclosesbehindher.
!
!
! CLOSE SHOT ofHelenlookingroundtheroom.
!
! Mark'svoiceisoverlaid.
!
! MARK (O.S.)
! There'smilk... if you'dlikesome?
!
! HELEN
! Verymuch... ifyoucanspareit?
!
! MARK (O.S.)
! Yes.
!
! Helenglancestowardstheinnerroom. He holdsoutaglass
! ofmilktoher.
!
! HELEN
! Thankyou,Mark...
!
! Shedrinksitwithrelish. He watchesherin silence.
!
! HELEN
! Thisisapleasantroom... and
! you'veanotherinside?
!
! MARK
! Yes.
!
! HELEN
! Howlonghaveyoulivedhere?
!
! MARK
! Allmy life.
!
! Shelooksathim in surprise.
!
! MARK
! I wasbornin thishouseOh?
!
!
! MARK
! It'smy father's.
!
! HELEN
! DoyoumeanI'veatlastfoundout
! whoourlandlordis? Yourfather?
!
! MARK
! Well- no... he'sdead!
!
! He hesitates.
!
! MARK
! I'm thelandlord.
!
! Shelooksathim in astonishment.
!
! HELEN
! YOU?
!
! MARK
! Yes.
!
! HELEN
! Butyouwalkaboutasif youhaven't
! paidtherent.
!
! MARK
! I haven't.
!
! HELEN
! I meant...
!
! MARK
! I know.
!
!
! MARK
! It'shishouse- andI'llnever
! sellit... butI can'taffordthe
! upkeep, soI letrooms.
!
! He looksatheranxiousl
y.
!
! MARK
! ... if I chargetoomuch, tellme
! andI'lltelltheagents.
!
! HELEN
! The rent'sveryreasonable,but
! don'tsayanythingtotheothers
! oryou'llhavenopeace.
!
! MARK
! Peace...?
!
!
! HELEN
! Mark, whatdoyoudo?
!
! MARK
! (slowly)
! Mostofthetime, I workin afilm
! studio.
!
! HELEN
! Onthephotographicside, I'll
! bet.
!
! MARK
! I hopetobeafilm director...
! verysoon.
!
! HELEN
! Howexciting.
!
! MARK
! I havesomesparetime jobs... as
! well.
!
! HELEN
! Todowithphotography?
!
! MARK
! Moremilk?
!
! HELEN
! Nothankyou... todowith
! photography?
!
! MARK
! Yes... todowithphotography...
!
! HELEN
! WhenI camein wereyoulookingat
! somefilms?
!
! MARK
! Yes.
!
! HELEN
! Ofyours?
!
! MARK
! Yes.
!
! HELEN
! I'd liketoseethem...
!
! He looksatherin silence.
!
! HELEN
! KnowI'm beingrude... butI reall
y
! wouldliketoseethem...
! (shesmiles.)
! ...itwouldbeabirthdaypresent...
! fromyoutome.
!
! MARK
! Wouldit?
!
! HELEN
! Yes, Mark.
!
! MARK
! Oh...
!
! HELEN
! ButI supposeyou'retoobusy?
!
! Sheputsdowntheglass,turnstothedoor.
!
! MARK
! Willyou... wouldyou... liketo
! seethem now?
!
! Sheturnsround.He isstandingbytheentrancetothe
! innerroom.
!
! HELEN
! Thankyou...
!
! MARK
! I'll... gofirst.
!
! He leadstheway- shefollows.Foramomentthescreenis
! in darkness.A dark-roomdarkness.
!
! INT. THE INNER ROOM - NIGHT
!
! WecanHEAR - faintlyóthedancemusicfromdownstairs.
! Thereisaclick- andthewallsaresuddenlybathedin
! diffusedlight,throwingtheroomintodelicateshadow.
!
! CLOSE SHOT ofHelenlookingroundin amazement.
!
! As certaineventsofpossibleinterestaretotakeplace
! in thisroom, here, in detail,iswhatamazesHelen.
!
! The roomis theproductofthreeroomswhichhavebeen
! knockedintoone.Itisverylargeandextremelywell
! constructed(aswearesoontolearn,itwasoriginallya
! laboratory). Onehalfoftheroomisusedforprocessing,
! andtheotherhalfforfilming- andfortradeshows.The
! twohalvesarelinedbylongshelvesuponwhichareperched
! allshapesandsizesofcameras,theirspectaclesglinting
! in thelight.
!
! In theprocessinghalftwobenches(a 'dry' benchanda
! 'wet'bench) faceeachotheragainstoppositewalls.There
! arethreesinksabovethe'wet'benchandanoutburstof
! equipmentabovethe'dry'.
!
! Thispartoftheroomislitbytwodark-roomlampsfrowning
! in theceilingabovethebenches.
!
! The otherpartoftheroomhasawindowatthefarendof
! it. Heavydrapesareputtedacrossit.
!
! Mark'sprojectorrestsonasmalltablein frontofthe
! 16mm screen. Twobanksoffloodsandavarietyofspots
! lightthispartoftheroom. Thereisasmallcontrolpanel
! onthewall.
!
! Someoftheequipmentisancient- butnoneofitisold.
! Allofitglistenswiththeaffectionofitsowner.
!
! Thereisabsolutelynothingin theroomtoalarm anyone
! exceptanadult... thekindwhostartstowonderwhopaid
! foritall.
!
! CLOSE SHOT ofMark. He standsbythelightingpanel,
! watchingHelen.
!
! From hisPOV WE SEE herbrushingthehairoutofhereyes
! asshelooksslowlyround. He brushesthehairoutofhis.
! Foramomentsheturnsherbacktohim. He pressesaswitch
! onthewall.A gentlelightripplesthroughthebackof
! Helen'shair.
!
! SHOT ofHelen. Sheturnstohim. Sheisverynearlyata
! lossforwords.
!
! HELEN
! Thisisso... well- somany
! things... butaboveall- it's
! so...
!
! Shetakesafinallookround.
!
! HELEN
! ...completelyunexpected!
!
! Shelooksathim searchingl
y.
!
! HELEN
! Is allofityours?
!
! MARK
! Yes.
!
! HELEN
! I mean... isitdesignedby you?
! Furnishedbyyou?Tellme about
! thisroom.
!
!
! MARK
! Itbelongedtomy father
!
! HELEN
! Whatwashe?
!
! MARK
! Scientist...
!
! HELEN
! Thenthisequipmentwashis?
!
! MARK
! No...
!
! He hesitates.
!
! MARK
! Soldhistobuyit...
!
! HELEN
! Butitseemstobeso... technical.
!
! Shelooksathim withrenewedinterest.
!
! HELEN
! If thisiswhereyouwork,I can't
! waittoseewhatyouworkat.
!
! CLOSE SHOT ofMark- in difficul
ties.
!
! MARK
! Don'tknowwhattoshowyou?
!
! HELEN
! Well... whatwereyoulookingat
! whenI interruptedyou?
!
! He looksatherthoughtfull
y.
!
! MARK
! Allright!
!
! He crossestothecornercupboard- opensthedoor.
!
! CLOSE SHOT ofthecupboard. WE SEE Mark'shandreachfor
! aspooloffilm... thenhesitate,poisedaboveanother
! spool.
!
! CLOSE SHOT ofHelen- watchingwithinterest.
!
! REVERSE ANGLE SHOT ofMark. He closesthecupboard,and
! turnsround... thereisaspooloffilm in hishand.
!
! He walksslowl
ytowardshisprojector... heseemsófor
! themomentótohaveforgottensheis there.
!
! CLOSE SHOT ofHelen- watchinghim threadthefilm into
! theprojector.
!
! MARK
! Thisisthefirst... twenty-first
! birthdaypresent... I'lleverhave
! given.
!
! HELEN
! It'sthefirstI'veeverasked
! for...
!
! He placesachairafewfeetawayfromthescreen- and,
! withanoddlycourteousbow,beckonsherintoit. Shesits
! down.
!
! CLOSE SHOT ofMark. He looksatherintentl yforamoment-
! thenturnsoffthelights.OverHelen'sshoulderWecan
! justmakeouttheemptyscreen. Markswitchesonthe
! projector.
!
! CLOSE SHOT ofHelen- thelightflickeringonherface.
!
! CLOSE SHOT ofMarkstaringatHelen'sface.
!
! CLOSE SHOT ofHelen. WE SEE herexpressionofsurprise.
! OverMark'sshoulderWE SEE thesurprisegrowing. Over
! Helen'sshoulderweseethescreen. Wearelookingata
! smallboy.He islyingin hisbedasleep. Althoughthe
! printisold,wecanseethatheisaremarkablyhandsome
! boy.
!
! HELEN
! Mark, whatabeautifulchild.
!
! The boyturnsrestlessl
yin hissleep... oneofhispillows
! fallstothefloor.
!
! HELEN
! Whoishe?
!
! MARK
! Me
!
! HELEN
! Ofcourseitis! Thenwhotook
! thisfilm?
!
! MARK
! (quietly)
! My Father.
!
! A light- asif fromasmalltorchóstartstoshineon
! thechild'seyes. He movesrestlessl
y.
!
! HELEN
! Whatawonderfulidea...
!
! The lightplaysonthechild'slefteye, thenonhisright.
! Itisgrowingbrighter.
!
! HELEN
! You'llbeabletoshowittoyour
! ownchi...
!
! The childwakesup suddenl
y. He staresatsomething...
! thenstartstoscream.
!
! HELEN
! Youmusthavehadabaddream...
!
! CLOSE SHOT ofMarkwatchingherin silence.
!
! HELEN
! ...butwhatwasthatlight? ...The
! camera,I suppose?
!
! Markdoesnotanswer.The smallscreenisfilledwiththe
! faceofthescreaming,terrifiedchild.
!
! (Mark'sfathernowtriesanotal
togethersuccessful
! dissolve:)
!
! WE NOW SEE thelittleboystandingin frontofagarden
! wall.He trieshardtoclimb tothetopofthewall,but
! fallsover.Helenlaughs. Markwatchesherin silence.
! SmallMarktriesagain- andagain- toscalethewall...
! At lasthesucceeds.
!
! HELEN
! Whateverareyouafter?
!
! WE SEE thelittleboylyingfla tonthewallstaringat
! something... rapt,motionless.
!
! The cine-camerawhichistakingthispicturenowtracks
! ratherclumsily towardsthewall.
!
! HIGH ANGLE SHOT overthewallofwhatisfascinatingyoung
! Mark- A manandwomanarelyingontheground,kissing.
!
! The CINE-CAMERA PANS - againratherclumsily- toyoung
! Mark... staringintentl
y.
!
! HELEN
! NaughtyboyI hopeyouwerespanked!
!
! CLOSE SHOT ofHelen. Itsuddenlyoccurstoher.
!
! HELEN
! ... but,Mark... whatastrange
! thingforyourfathertophotograph.
!
! MARK
! Switchoff?
!
! HELEN
! No.
!
! Shestaresagainatthatlonelyfigureperchedonthewall.
!
! HELEN
! No.
!
! The smallscreenbeginstodissolve...sodoesthelarge
! one.
!
! DISSOLVE TO:
!
! INT. HELEN'S SITTING ROOM - NIGHT
!
! OverMrs. Stephens'shoulderWE SEE thepartyin progress.
! The glassbyhersideisfullagain. Tonyisdancingwith
! anattractiveblonde.
!
! MRS. STEPHENS
! Tony!
!
! He turnsround.
!
! TONY
! Me, Mrs. Stephens?
!
! The headnods.
!
! Tonyadvancesreluctantl
ytowardsher.
!
! REVERSE ANGLE SHOT ofMrs. Stephens.
!
! OverTony'sshoulderWE SEE apowerfull
ybuil
tandonce
! lovelywoman.
!
! Sheissoperpetuall ydrunkasalmosttobesober. The few
! movementsshemakesareslow- deliberate- andgivenothing
! away. The voicearticulatessocarefull
ythattheslur
! scarcelyshows.
!
! The factthatsheisblindalmosthelpstoconcealthe
! factthatsheisdrunk. Her sightlesseyesstareoutthe
! cameraasTonyreachesher.
!
! MRS. STEPHENS
! I wantawordwithyou.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofHelen'seyes. The lightfromtheprojector
! flickeringintothem.
!
! HELEN
! I hatepeoplewhochatterin films-
! butthere'ssomuchI wanttoask.
!
! CAMERA PULLS BACK
!
! INT. THE INNER ROOM - NIGHT
!
! Sheisleaningforward,herfacecuppedin herhand,
! watchingthesmallscreenintentl
y.
!
! CLOSE SHOT ofMark. His faceiscuppedin hishandashe
! watchesherintentl
y.
!
! OverHelen'sshoulderWE SEE Markin themaking.
!
! The childisagainasleep... thistime heisbeing
! photographedfromtheheadofthebed- theCAMERA POINTING
! STRAIGHT DOWN AT HIS FACE.
!
! A beam oflightstartstoshineontohiseyes,firstonto
! theleft,thenontotheright.
!
! HELEN
! (in awhisper)
! Again?
!
! Marklooksatherin silence.
!
! The boymovesrestlessly,thenturnsoverontohisface,
! pullingthebedclothesroundhim. His righthandislimp
! onthepillow.The lightshinesforamomentonthishand,
! thengoesout. Helenhalfturnstow ardsMark.
!
! HELEN
! Mark, thisisn'tsomekindofjo...
!
! Her attentionissuddenlyrivetedonthescreen.
!
! MARK
! (in awhisper)
! No,Helen.
!
! OverHelen'sshoulderWE SEE somethingdropontothechild's
! bed... somethingwhichstaysquitestillforamoment,
! thenstartscrawlingtowardsthecounterpane. Itisasmall
! lizard.
!
! HELEN
! Mark, whateveristhat?
!
! Her voicetrailsaway. Shestares- repelledandfascinated-
! atthescreen.
!
! WE SEE Markreachforhiscine-camera.
!
! OverHelen'sshoulderWE SEE thelizardreachthe
! counterpane. Itstretchesitselfoutonthefloraldesign-
! itsbodyispointedtow ardsthechild'shand.
!
! WE HEAR aclick- andsuddenlyaspotlightfallsonto
! Helen'sface.
!
! OVERLAID istheGENTLE PURRING ofMark'scine-camera. She
! wheelstowardshim - blottingoutthesmallscreen.
!
! HELEN
! Whatareyou...
!
! MARK
! wantedtophotographyou...
! watching...
!
! HELEN
! No,Mark!
!
! The camerapurrson.
!
! HELEN
! No!
!
! He switchesoffthespot... thepurringofthecameradies
! away. Sheturnstowardsthesmallscreen.
!
! HELEN
! help me tounderstandthis... this
! nightmare...
!
! The smallboyissittingupright... screamingwithterror...
! thereis nosignofthelizard.
!
! A handkerchiefisthrownontotheboy'sbed. He continues
! crying- lookingupintosomeone'sface.
!
! CLOSE SHOT ofMarkwatchingthescreen.
!
! Wehearaman'sdeep voiceoverlaid.
!
! MAN'S DEEP VOICE (O.S.)
! That'lldoMark... dryyoureyes
! andstopbeingsill y.
!
! SmallMarkreachesforthehandkerchiefandwipeshis
! eyes... hishandsaretrembling.
!
! The smallscreentrembleswiththem intoaclumsydissolve.
!
! HelenturnstoMark.
!
! HELEN
! Allright... nowlook... Mark-
! whatwasallthatabout?
!
! He looksatherhelplessl
y.
!
! HELEN
! ... tha
twasalizard,wasn'tit?
! Ora...
!
! MARK
! Liz...
!
! HELEN
! Wellhowdiditgetthere?... How
! diditgetthereMark?... Wasit
! apet?
!
! MARK
! Notmine...
!
! HELEN
! Won'tyoutrytoexplain?
!
! CLOSE SHOT ofMarkstaringatthescreen.
!
! MARK
! You'dbettergo!
!
! HELEN
! I liketounderstandwhatI'm shown!
!
! Sheturnstothescreen.
!
! HELEN
! Whatwasyourfathertryingto
! do?... Photographingyouatnigh...
!
! Her voicetrailsaway.
!
! MARK
! bettergo...
!
! From Helen'sPOV WE SEE thescreen.
!
! SmallMarkiswearingadarksuitandablacktie.
!
! He isstandingatthefootofafour-posterbed, staring
! atsomethingin horroranddisbelief... hishandsclasp
! thebedrailtightl
y.
!
! Slowl y- veryslowl
y- hewalkstowardstheheadofthe
! bed, staring.
!
! His lipsbegintoquiver.He bendsforwardoverthebed.
! WE CAN SEE thebackofhisbowedhead.
!
! HELEN
! Mark... whatisthis?
!
! MARK
! I am saying... goodbye... my
! mother...
!
! Wecatchaglimpseofawoman'shandsfoldedin frontof
! her.
!
!
! HELEN
! (in awhisper)
! He... photographed... that...?
!
!
! MARK
! Yes.
!
! Suddenly- andheal
thily - histempersnaps.
!
! MARK
! ...andthis!
!
! He pushesaleveronhisprojectorasfarforwardasit
! willgo.
!
! The film isnowshownattremendousspeed- Wecatcha
! glimpseofalonglineofcars.
!
! MARK
! ...herfuneral!
!
! Itspeedsby.
!
! MARK
! ...andthis!
!
! A confusedpictureofearthandflowers.
!
! MARK
! ...herburial!
!
! The briefestglimpseofalittleboywithaspade.
!
! MARK
! ...andthis!
!
! WE SEE agirlin abikini bysand-dunes.Markoffersno
! comment.
!
! HELEN
! Mark, whois that?
!
! MARK
! Her successor.
!
!
! HELEN
! Suc-?
!
! MARK
! He marriedher... sixweeksafter...
! theprevioussequence.
!
! He pullsbacktheleverofhisprojector... thefilm returns
! toitsnormalspeed.
!
! WE SEE thesameattractiveyoungwomanstandingin agarden.
! SheisholdingabewilderedanddefiantMarkbythehand.
!
! Suddenlythegirlrunstowardscamera- leavingMark
! standingalone.
!
! MARK
! Shefilmed... whatcomesnow.
!
! CLOSE SHOT ofHelenwatchingintentl
y. It'soutoffocus!
!
! From Helen'sPOV WE SEE atallmanin ablackcoatwalking
! awayfromcamera.He hurriestowardssmallMark- who
! watcheshim anxiousl
y.
!
! HELEN
! Is thatyourfather?
!
! MARK
! The morningthatheleftforhis
! honeymoon.
!
! The backofMark'sfathersuddenlyobscuresourviewof
! smallMark... allwecanseeisthattallfigurelooking
! downwardsstandingverystill.
!
! Camerawobbles- asifthepersonholdingitis laughing.
!
! HELEN
! Whatis hedoing?
!
! MARK
! Givingme apresent...
!
! HELEN
! Whatwasit?
!
! Markstaresattheblurredscreen,perspirationtrickling
! downhisforehead.
!
! MARK
! Can'tyouguess?
!
! The smallscreencomesbackintofocus- andsuddenlyour
! camerarushestow ardsit.
!
! WE SEE aCLOSE SHOT ofaCLOSE SHOT - andatthemomentwe
! seeit, Mark'sVoiceisoverlaid... A whisperwhichechoes
! roundtheroom.
!
! MARK (O.S.)
! A camera...
!
! Wearelookingatacloseshotofacamerain asmallboy's
! hands.
!
! Thereisasingleshrillchordofmusiconthesoundtrack.
!
! CLOSE SHOT oftheshelfwhichencirclesMark'sroom.
!
! Wearelookingattheverysamecamerawhichthesmallboy
! isholding.
!
! CLOSE SHOT ofthecamerain smallMark'shands.
!
! His father'sfingerpointslotheview-finder.
!
! SmallMarkstaresintoit. SmallMarkbeginstosmile.
!
! CLOSE SHOT ofMarkwatchinghimselfbeingborn.
!
! CLOSE SHOT ofHelenwatchingMark.
!
! HELEN
! Switchitoff!
!
! He continuestostareatthescreen.
!
! HELEN
! Switchitoff,Mark!
!
! Sheturnstotheprojector- touchesthewrongswitch.
!
! SmallMarkandhisfa
thergorapidlybackwards.
!
! Markturnsofftheprojectorabruptl
y.
!
! The roomis in darkness.
!
! WE CAN HEAR bothofthem breathingquickl
y.
!
! The lightgoeson.Markisstandingby theexit- hekeeps
! hisfaceaverted.
!
! Helenwalksslowlytow ardstheexit.Sheglancesround
! once,overhershoulder,thengoesintotheotherroom.
!
! Markstaresafterher.
!
!
! Shewalkstowardsthedoor... turnsroundsuddenly- almost
! in anger.
!
! HELEN
! Sohewasascientist?
!
! He keepshisfaceaverted.
!
! HELEN
! Whatkindofscientist,Mark?
!
! MARK
! Biologist.
!
! HELEN
! Whatwashetryingtodotoyou?
!
! He doesn'tanswer.
!
! HELEN
! Mark!...
!
! He turnsroundslowl
y.From hisPOV WE SEE thewillingness
! tounderstandonherface.
!
! HELEN
! Whatwashetryingtodotoyou?
!
! MARK
! Watchme... growup...
!
! Shewalkstow ardshim... takeshishandkerchieffromhis
! jacketpocketandwipeshisforehead.
!
! MARK
! He wantedarecordofagrowing
! child... completein everydetail-
! ifsuchathingwerepossible-
! andhetriedtomakeitpossible
! bytrainingacameraonme... at
! alltimes...
!
!
! MARK
! I neverknew... thewholeofmy
! childhood... onemoment'sprivacy...
!
! HELEN
! Andthoselightsin youreyes?...
! andthat- thing?
!
! MARK
! He wasinterested... in the
! reactionsofthenervoussystem...
! tofear... Fear?
!
! HELEN
! Fear?
!
! MARK
! Fear.
!
! CLOSE SHOT oftheword'fear'.
!
! CAMERA PULLS BACK
!
! WearelookingatthespineofabookonMark'sshelf.The
! fulltitlereads:ThePhysiologyofFearbyProfessorA.
! N. Lewis.
!
! MARK'S VOICE IS OVERLAID:
!
! MARK (O.S.)
! Especiallyfearin children- and
! howtheyreacttoit.
!
! CLOSE SHOT oftheword'fear'onthenextbook.
!
! CAMERA PULLS BACK
!
! The fulltitlereads:FEAR AND THE NERVOUS SYSTEM, PART I.
! PROFESSOR A. N. LEWIS. Thereis arowofsuchbooksall
! byProfessorLewis.
!
!
! MARK
! I thinkhelearnedalot... from
! me... I'd wakeup... screaming...
! sometimes... andhe'dbethere...
! takingnotes... andpictures...
! andI'm suregoodcameofit...
! forsomepeople... He wasbrilliant.
!
! HELEN
! A scientistdropsalizardontoa
! child'sbed- andgoodcomesof
! it?
!
! MARK
! I don'tknow... if hedid... but
! ifhedid... he'llhavelearned
! somethingofvalue...
!
! HELEN
! If onl
yaboutlizards! Mark- it
! soundstome asif yourfather
! was...
!
! MARK
! He foundedclinics.
!
! HELEN
! He soundscompletel
y...
!
! MARK
! He wasfamous! ProfessorA. N.
! Lewis... threeclinics.
!
! HELEN
! Whydoyoustilllivein his
! house... andwatchhisfilms?
!
! MARK
! Theyhelpedmakeme... whatI am.
!
! HELEN
! A photographer?It'snowonder,is
! it? Butyoustillhaven'tshownme
! anythingyou'vephotographed!
!
!
! HELEN
! Willyou?
!
! Thereisaknockonthedoor.
!
! MARK
! Oneday...
!
! He hurriestothedoor,andopensit.
!
! Tonyisstandingthere.
!
! TONY
! Excuseme, but...
!
! From Tony'sPOV WE SEE Helenlookingatthedoorofthe
! darkroom.
!
! TONY
! Oh, thereyouare,Helen.
!
! Sheturnstowardshim.
!
! TONY
! The partylookslikebreakingup,
! andwewerewonderingif...
!
! HELEN
! I'm coming.
!
! SheturnstoMark.
!
! HELEN
! I wishyou'djoinus.
!
! Markshakeshishead.
!
! MARK
! Thanks... work.
!
! HELEN
! I hopethatyou...
!
! SheissuddenlyawareofTonywatchingher. Sheglancesat
! thebirthdaycakeonthetable.
!
! HELEN
! ... haveasweettooth!
!
! Shesmilesathim.
!
! HELEN
! Thankyou... formy present.
!
! Shegoesintothepassage.
!
! TONY
! Goodnight,oldboy.
!
! He putshisarm roundHelen,andclosesthedoor.
!
! Markstaresafterthem, motionless.
!
! The CAMERA LINGERS onthebirthdaycake.
!
! As thelightfades,avoiceyells:Cut!
!
! CUT TO:
!
! INT. FILM STUDIO - DAY
!
! HIGH ANGLE SHOT ofasetshowingpartofalargeWestEnd
! store.
!
! A blondeislyingunconsciousin frontofalift- anda
! crowdofextrassurroundher.
!
! As theword'cut'diesaway,theextrasrelax- andthe
! blonde(DIANE ASHLEY) propsherselfontoherelbow,looking
! towardstheDirector.
!
! CLOSE SHOT oftheDirector(ARTHUR BADEN) standingbeside
! thecamera.
!
! BADEN
! OK. Printthatone!
!
! He glancesattheCHIEF CAMERAMAN (PHILIP TALE), whonods
! hisheadin agreement.
!
! CLOSE SHOT ofMarkstandingatthebackofthecameracrew.
! He shakeshisheadin disagreement.
!
! The ChiefCameramanspotsMark'ssmallmutinyandwagshis
! fingerathim. As theChiefCameramanturnsaway,Mark's
! fingerautomaticall
ywagsback.
!
! CLOSE SHOT ofBadenlookingathiswatch. He sighs,then
! nodstotheAssistantDirectorwhostandsbesidehim.
!
! ASSISTANT DIRECTOR
! Allright,everyone! Backattwo!
!
! Badenwalksoutwithoutawordtoanyone. A hubbubof
! chatterbreaksout.The unitdownstoolsandbeginsto
! disperse.
!
! CLOSE SHOT ofoneoftheextras(VIVIAN) - asmall,
! vivacious,brunettewithdelicate,attractivefeatures.
!
! Sheedgestowardsthecameracrew.
!
! CLOSE SHOT ofMarkwatchingher.
!
! OverhisshoulderWE SEE Vivianglancetowardshim. He
! nodsalmostimperceptibly.
!
! Vivianhurriestowardstheexit.
!
! Markturnstoashelfbehindhim - picksup hiscine-camera
! andalittlefullstringbagcontaininghislunch.
!
! DISSOLVE TO:
!
! EXT. STUDIO GROUNDS - DAY
!
! CLOSE SHOT ofVivianmunchingasandwich.
!
! CAMERA PULLS BACK
!
! Sheisleaningagainstawallin acornerofanexterior
! set- aChinesetempleoramedievalcastle(ora
! combinationofeachlikeaPinewooddrawing-room).
!
! Besidehershehasasmalltape-recorder,orrecord-player.
! Wehearmusic- modem rhythms.
!
! Thereareseveralpeoplestrollingabout- butnoonein
! theimmediatevicinity.Noone... exceptMark.
!
! CLOSE SHOT ofMark- settlingdownontheothersideof
! thewall(wheretheycantalkwithoutbeingseentogether).
!
! VIVIAN
! Mark?
!
! MARK
! Hallo...
!
! VIVIAN
! Wereyouspotted?
!
! MARK
! Don'tthinkso.
!
! VIVIAN
! (switchesoffmusic)
! Is ittonight?
!
!
! MARK
! Yes.
!
! CLOSE SHOT ofVivian.
!
! VIVIAN
! Mark...
!
! MARK
! Yes?
!
! VIVIAN
! You'resurewewon'tbecaught?
!
! MARK
! Notif youdoasI tellyou.
!
! VIVIAN
! I will,I promise.
!
! MARK
! Youhaven't... saidanything... to
! anyone?
!
! VIVIAN
! Ofcoursenot.
!
! MARK
! Good... likesomecake?
!
! VIVIAN
! Thankyou.
!
! Weseehim breakoffapieceofbirthdaycake, andpassit
! overtoher.
!
! VIVIAN
! Mark... I wanttobequiteclear
! aboutthis...
!
! CLOSE SHOT ofMarkstaringathiscake.
!
! VIVIAN
! Tonight,whenthestudio'sempty...
! I'm tocomeback-andyou'regoing
! togiveme afilm test... right?
!
! MARK
! Right.
!
! VIVIAN
! You'llthenprintthefilm - soI
! canshowittomy agentandanyone
! elsewhomatters- right?
!
! MARK
! Right.
!
! VIVIAN
! Mark...
!
! Shehesitates.
!
! VIVIAN
! I'vebeenofferedfilm tests
! before... butI haven'tlikedthe
! terms.
!
! MARK
! Therearen'tany.
!
! VIVIAN
! Thenwhyareyoudoingthis?Risking
! yourjoband...
!
! MARK
! Notjustforyou... Viv... I have
! anagenttoo- andI wanttoshow
! him whatI cando... I wantto
! direct...
!
! VIVIAN
! (switchingonmusic
! again)
! There'ssomeonecoming.
!
! Markliesmotionlessbehindthewall.A youngmaleEXTRA
! comestowardsVivian.
!
! EXTRA
! Hallo- lousymorning'swork,wasn't
! it?
!
! VIVIAN
! Yes.
!
! EXTRA
! ThoughtI sawyoutalkingto
! somebody...
!
! VIVIAN
! I waslearningmy lines.
!
! EXTRA
! Didn'tknowyouhadany...
!
! He glancesathiswatch.
!
! EXTRA
! Wantadrink? Dutch?
!
! VIVIAN
! Later... perhaps.
!
! EXTRA
! Be seeingyou
!
! He wandersoff.
!
! VIVIAN
! Mark...
!
! MARK
! Yes?
!
! VIVIAN
! (switchingoffmusic
! again)
! Youdidn'tmindme asking?
!
! MARK
! No,morecake?
!
! VIVIAN
! No... youwanttodirect... more
! badlythananythingdon'tyou?
!
! Markissilent,staringatthesky.
!
! VIVIAN
! Don'tyou,Mark?
!
! MARK
! I want... tophotograph... the
! impossible...
!
! VIVIAN
! Whatis impossible?
!
! MARK
! Something... thathasneverbeen
! photographedbefore.
!
! VIVIAN
! What?
!
! MARK
! Youreall
ywanttoknow...?
!
! VIVIAN
! Verymuch, especiall
yifthere'sa
! partforme.
!
! MARK
! I want... tophotographamurder...
! whileit'sbeingcommitted.
!
! VIVIAN
! Nopartforme then.
!
! MARK
! Butthat... isn'tenough.
!
! VIVIAN
! Is thisanewscript?
!
! MARK
! I want... tofrighten... someone...
! todeath... andphotograph... their
! expressionoffear...
!
! VIVIAN
! Mark! What'sthisstorycalled?
!
! MARK
! Thatissomething... henever
! photographed...
!
! VIVIAN
! Who?
!
! Markissilent.
!
! VIVIAN
! Whoishe, Mark?
!
! MARK
! Anyone.
!
! VIVIAN
! Noonecould... they'dbecaught!
!
! MARK
! I wouldn'tcare... ifI hadmy
! picture.
!
! VIVIAN
! Besides,howwouldyoufrighten
! anyonetodeath?
!
! MARK
! There'saway.
!
! VIVIAN
! Well,what?
!
! MARK
! There'saway.
!
! VIVIAN
! You'dbetternottellme! I'llbe
! scaredtodeathtonightasitis!
!
! A hooter.
!
! VIVIAN
! Backontheset- shallI gofirst?
!
! MARK
! Please.
!
! Sherisestoherfeet.From behindthewallcomesagentle
! whirringpurringsound.
!
! VIVIAN
! Whatareyoudoing?
!
! MARK
! Gettingintopractice.
!
! Shesmilesdownathim.
!
! VIVIAN
! Seeyoutonight!
!
! MARK
! Seeyoutonight!
!
! Shewalksaway. Andthegentlepurringcontinues.CAMERA
! PANS tothesunbeatingdownonthelot.
!
! DISSOLVE TO:
!
! An arclamp beatingdownontheset.
!
! INT. STUDIO - DAY
!
! BadenbearsdownontheAssistantDirector.
!
! BADEN
! Wouldyouenquireif ourleading
! ladyisreadytostartleading.
!
! A crygoesup,
!
! ASSISTANT (O.S.)
! MissDianeAshley,please!...
! MissDianeAshley,please!...
!
! CLOSE SHOT ofBadenturningtowardstheentrance.
!
! CLOSE SHOT ofMarkturningtowardstheentrance.
!
! CLOSE SHOT ofentrance.
!
! INT. STUDIO - DAY
!
! Miss. DIANE ASHLEY appears... amongthemanyqualities
! sheradiatesisgoodwill- especiall
ytowardsMissDiane
! Ashley.
!
! DIANE
! Howareyou,Sparks?Chippy? Bob?
!
! VOICES
! Hallo,Diane...
!
! DIANE
! Howareyou,Tom? Roger?
!
! VOICES
! Hallo,Diane...
!
! Andsoon,until:
!
! DIANE
! Howareyou,Phil?... Mark?
!
!
! MARK
! Hallo,MissAshley.
!
! DIANE
! (toafigurehigh
! in thescaffolding)
! Howareyou,Pete...?
!
! VOICE
! Hi, Di!
!
! ShereachesBaden- andcompletelyignoreshim.
!
! BADEN
! Darling,you'veonl ybeenplaying
! thispartforthreeweeks,soin
! caseyouhaven'tyethadachance
! toreadthescript...
!
! Sheignoresthis.
!
! BADEN
! ... may I remindyouthatyou'rea
! girlwithanirresistibleimpulse!
!
! Shelooksathim - thenatherhand- andnods.
!
! BADEN
! akleptomaniac! Whocannothelp
! stealing... Getinsideher,
! Diane!... What- in alltheworld-
! doyoumostwanttosteal?
!
! DIANE
! The limelight!
!
! Badensighs.
!
! BADEN
! We'llrunthescenewhereyoucatch
! sightofthestoredetectiveand
! faint... Where'sthegirlwhoplays
! thebystander?
!
! Vivianstepsforward.
!
! BADEN
! Howareyou?
!
! VIVIAN
! Hallo,Diane...
!
! 1ST ASSISTANT
! Positions,everyone!
!
! CLOSE SHOT ofViviantakingherpositionin frontofthe
! lift.Sheglancesatherwatch.
!
! CLOSE SHOT ofMarkstandingbythesideofthestudio
! camera. He glancesathiswatch.
!
! CAMERA TRACKS towardsthelift.
!
! From Mark'sPOV WE SEE DianecatchsightoftheStore
! Detective- andcrumplein afaint.
!
! BADEN
! Hitthatfloorwithathud!
!
! CLOSE SHOT ofdoormarked: DON JARVIS - MANAGING DIRECTOR.
!
! BADEN (O.S.)
! D.J. insistsonrealism!
!
! A timid knockisoverlaidbeforewedareenter.
!
! INT. EXECUTIVE OFFICE - AFTERNOON
!
! CLOSE SHOT ofapileofscriptsonagreatman'sdesk.
!
! CAMERA PULLS BACK
!
! MR. JARVIS isimmersedin readingascript... hiseyes
! raceacrossthepage.
!
! OverhisshoulderWE SEE whatheisreading... asheetof
! figuresattachedtothescript.
!
! At thesametime Mr. Jarvisisholdingatelephonereceiver
! tohisear- andwehearanenthusiasticVOICE FILTERED
! THROUGH IT: VOICE (OFF-SCREEN)
!
! VOICE (O.S. FILTERED)
! ...it'sawonderfulsubject,D.J....
! Paramountwantsit, M.G.M. wants
! it, Columbiawantsit.
!
! JARVIS
! Butisitcommercial?
!
! DannyAngelwantsit!
!
! Stillreadingthescript,Mr. Jarvislaysthereceiveron
! hisdeskandpicksupanother.
!
! JARVIS
! Arethosebudgetsready?Wellbring
! 'em in.
!
! He replacesthisreceiverandpicksuptheoriginal.
!
! The voiceisstilltalking- somethingabout'awonderful
! partforKennyorAlec'...
!
! Sendme amemo- we'lldiscussit
! nextweek.
!
! He replacesthereceiver. MISS SIMPSON enters.Shehands
! him somefolders... hersmilecurtsies.
!
! CLOSE SHOT ofMr. Jarvisopeningafolder.
!
! OverhisshoulderWE SEE apagecoveredwithrowuponrow
! offigures.
!
! The greatman'sfingerskimsalongthefigureslikeatailor
! feelingcloth.
!
! JARVIS
! There'sanerror! The totalshould
! be ahundredandfiftythousand
! poundsfourteenshillingsand
! sixpence- notthirteenand
! ninepence... Thatcouldmeanthe
! differencebetweenprofitandloss
! onafirstfeature!
!
! MISS SIMPSON
! Sorry,D.J.
!
! He glowersather- buthisdayismade.
!
! JARVIS
! Any unitsworkingla
tetonight?
!
! MISS SIMPSON
! Onlyone,sir. Nightexteriorson
! thelot.The Elephantwithtwo...
!
! JARVIS
! Thatanimalneedsastickof
! dynamite!
!
! CLOSE SHOT ofJarvis.
!
! JARVIS
! Remindme topay them avisit
! tonight.
!
! MISS SIMPSON
! Yes, D.J.
!
! Shemakesanotein herlittlebook.
!
! JARVIS
! Now,MissSimpson... takeamemo
! toalldepartmentheads...
!
! OverhisshoulderWE SEE anopenwindow.CAMERA TRACKS
! towardsit.
!
! JARVIS (O.S.)
! In lightoftheneweconomydrive...
!
! DISSOLVE TO:
!
! CLOSE SHOT ofClapperBoy'sboard. Itreads: Take49.
!
! THE CAMERA PULLS BACK
!
! INT. STUDIO - LATE AFTERNOON
!
! BADEN
! Again, please... and,darling...
!
! He turnstoDiane, whoiswearilypickingherselfupoff
! thefloor.
!
! BADEN
! ... justthisonce... willyou
! pleasemakeanefforttoforget
! thatyou'restunning,andtryto
! lookasifyou'restunned...?
!
! DIANE
! Sayonekindword- andI would
! be!
!
! ASSISTANT
! (hastily)
!
! DISSOLVE TO:
!
! MONTAGE SEQUENCE:
!
! Cameracrewonatrackingshot.MarkisoperatingtheSelsen
! motor.
!
! Baden- shakinghishead.
!
! Diane- pickingherselfup offthefloor.
!
! ClapperBoy'sboardóreading: Take57.
!
! Vivian- glancingatherwatch.
!
! Mark- glancingathis.
!
! Diane- pickingherselfup offthefloor.
!
! DIANE
! If I havetofaintoncemoreI
! shallfaint!
!
! DISSOLVE TO:
!
! CLOSE SHOT ofBaden- triumphantatlast.
!
! BADEN
! Cut! Howwasthat?...
! (thumbsupallround-
! withoneexception)
! Mark?
!
! Marknodsperfunctoril
y.
!
! BADEN
! Printit!
!
! He glancesathiswatch- thennodstotheAssistant
! Director.
!
! ASSISTANT
! That'sit, boysandgirls. . .
! wrapitup! Night-nighteveryone!
! Badenputshisarm roundDiane's
! shoulder.
!
! BADEN
! Howareyou,darling?
!
! Shemakesahobblingexit.
!
! CLOSE SHOT ofVivianhurryingtowardstheexitcarrying
! herlittlerecorder.
!
! In aburstofchatter,theunitstartstodisperse.
!
! CLOSE SHOT ofMarkpickinguphiscine-cameraandhislunch
! bag.
!
! The CLAPPER BOY comesuptohim.
!
! CLAPPER BOY
! Catchingthebus?
!
! MARK
! Nottonight... meetingsomeone...
! foradrink.
!
! CLAPPER BOY
! Wantedtodiscussthefilm atthe
! Everyman... Tomorrowthen?
!
! MARK
! I hopeso.
!
! CLAPPER BOY
! Goodnight,Mark.
!
! MARK
! Goodnight.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofVivian. Sheissittingatadressing-room
! table... making-upwithcare.
!
! INT. DRESSING ROOM - LATE AFTERNOON
!
! Threeothergirlssharethedressingroomwithher.
!
! Thereisaknockatthedoor- andtheYoungExtrawho
! spoketoVivianin thegroundspokeshisheadround.
!
! EXTRA
! Greetings... lousyafternoon's
! work,wasn'tit? Whowantsalift
! totown?
!
! 1ST GIRL
! In what?
!
! EXTRA
! colleague'scar... there'sroom
! fortwoonmy lap- threeata
! pinch.
!
! 1ST GIRL
! Whichiswhatwe'dget.
!
! 2ND GIRL
! You,Viv?
!
! VIVIAN
! No,thanks... I'veadate... at
! theLocal.
!
! 1ST GIRL
! Ustwothen?
!
! 2ND GIRL
! I'm game... mightaswellget
! pinchedin acarassqueezedin a
! tube.
!
! EXT. THE CAR PARK - LATE AFTERNOON
!
! The carsarestreamingtowardsthegate.
!
! CLOSE SHOT ofBadendrivingasmallnewcar.
!
! CLOSE SHOT oftheChiefCameramandrivingalargeoldone.
!
! INT. DON JARVIS' OFFICE - LATE AFTERNOON
!
! He isstillimmersedin hisfigures.
!
! MissSimpsoniswalkingtothedoor.Sheglancesather
! littlebook.
!
! MISS SIMPSON
! I'm toremindyoutopayasurprise
! visittonighttoThe Elephant
! with...
!
! He grunts.
!
! MISS SIMPSON
! Goodnight,D.J.
!
! Jarvisgoesonreading...
!
! DISSOLVE TO:
!
!
! INT. DRESSING ROOM
!
! Musicplaying. Vivianmovesaboutnervousl yin frontofa
! mirrorin thedeserteddressingroom. Shewearsslacksand
! ashirt.Sheglancesatherwatch- herhandsaretrembling-
! looksatwatch, hearsthefiremancoming,thenswitches
! offthemusicandhidesin thebigcupboard-
!
! INT. CORRIDOR
!
! Firemanmakinghisrounds,turningofflights.
!
! EXT. THE CAR PARK - EARLY EVENING
!
! Onlyafewcarsnowremain. Itisbeginningtogrowdark.
!
! INT. STUDIO CORRIDORS - EARLY EVENING
!
! The longcorridorsaredim anddeserted.
!
! INT. PASSAGE - EARLY EVENING
!
! The firemanismakinghisrounds.
!
! INT. DRESSING ROOM - EARLY EVENING
!
! Vivianisstandingin thecupboard- thelightsareon.
!
! INT. CORRIDOR - EARLY EVENING
!
! Firemanopeningthedressing-roomdoors- andglancing
! inside.
!
! INT. POWER HOUSE - EARLY EVENING
!
! Twoelectriciansaresmoking.
!
!
! FiremanopensthedoorofVivian'sdressingroom.
!
! INT. DRESSING ROOM - EARLY EVENING
!
! From Vivian'sPOV WE SEE thelightsgoout.
!
! WE HEAR thesoundofthedoorclosing- andtheFireman's
! footstepsdisappearingdownthecorridor.
!
! INT. DON JARVIS' OFFICE - EARLY EVENING
!
! The greatmanclosingup hisfolder... glancingathis
! watch... turningoutthelight.
!
! DISSOLVE TO:
!
!
! Vivianishurryingalongadesertedcorridor... andthe
! littlerecorder.
!
! Shepauses- andglancesoutofadoor.
!
! ShecarrieshercaseOverhershoulderWE SEE thestudio
! lot- in ablazeoflightwecanseeacrowdofpeople
! hangingaboutin solartopeesandtropicalkit.
!
! REVERSE SHOT ofVivianwatchinganxiousl
y.
!
! Sheturnsaway- andhurriesdownthecorridor.
!
! EXT. THE COURTYARD. EARLY EVENING
!
! DonJarvisstridesacrossthecourtyard. Wecanalmost
! hear- andperhapswedo- acashregisterringingup.
!
! Oneofthewhite-cladfiguresloungingindolentlyin the
! doorwayglancesround,seestheInquisitionapproaching
! andfreezes. His degreeofterrormightsa
tisfyMark.
!
! The greatmanstrideson.
!
! DISSOLVE TO:
!
! INT. ENTRANCE TO STAGE E. - EARLY EVENING
!
! Vivianpausesin frontoftheentrancetotheset.
!
! Abovethenoteisanotice: 'NO ADMITTANCE WHILE RED LIGHT
! IS ON'.
!
! The lightisout.
!
! Vivianlooksround- thereisnoonein sight.
!
! Vivianslipsin quietl
y,andclosesthedoorbehindher.
!
! INT. STUDIO - EARLY EVENING
!
! The setisin darkness.
!
! CLOSE SHOT ofVivianlookinground.
!
! VIVIAN
! (in awhisper)
! Mark...?
!
! Noreply. Vivianhesitates... thenedgesslowl
yforward.
!
! Aheadofherareshadowycountersfullofmerchandise.
! Beyondthem isthedoorofthelift.
!
! CLOSE SHOT ofthestudiocameraandtheDirector'sempty
! chairbesideit.
!
! CLOSE SHOT ofVivianedgingforward.
!
! VIVIAN
! Mark...?
!
! Shereachesoneofthecounters- andleansagainstit,
! lookingaround.
!
! REVERSE ANGLE shotofVivian. Sheisleaningagainstthe
! counterofthetrunkdepartment.Trunksandsuitcasesat
! 'greatlyreducedprices'arepiledbehindher.
!
! CLOSE SHOT ofVivian. Shestartswhistlingnervouslyunder
! herbreath.
!
! VeryfaintlyoverlaidisthesoundofMarkwhistlingunder
! his.
!
! Vivianstopswhistling- andsodoesMark.
!
! Shelistensintentl
yforamoment- thenpeersatherwatch.
!
! CLOSE SHOT ofthewatchonMark'swrist.
!
! CLOSE SHOT ofVivian. Sheshiverssuddenl y... thenlooks
! atherwatchagain. Shehesitates... thenturnstow ards
! theexit,andstartstoedgeback. Shetripsoveracable
! andalmostfalls.
!
! Suddenlysheisbathedin light.
!
! Shewheelsround. Oneofthebigspotsisbeatingdownon
! her.
!
! VIVIAN
! Mark...?
!
! Nosignofhim. Overlaidisagentlepurringsound. Where
! areanotherlightcomeson,shiningthroughherhair.
!
! VIVIAN
! Mark!
!
! The soundofhisstepsisoverlaid.
!
! VIVIAN
! Listen... wemust...
!
! His footstepsstop... shelooksround.
!
! VIVIAN
! Whereareyou?
!
! His voiceisquietlyoverlaid.
!
! MARK (O.S.)
! Here, Viv...
!
! Shewheelsround.
!
! CLOSE SHOT ofMarksittingin theDirector'schair. He is
! holdingin hislaphiscine-camera,andablackbag.
!
! CLOSE SHOT ofVivianbreathingquickl
y.
!
! VIVIAN
! Youfrightenedme!
!
!
! VIVIAN
! Nowlisten... they'reworkingla
te
! onthelot.
!
! MARK
! I know.They'rebranchedoffthis
! stage- I'm usingtheirjuice.
!
! He nods,staringatherintentl
y.
!
! VIVIAN
! Wemustcallitoff... someone's
! boundtoseeus.
!
! MARK
! Theymight...
! (risingslowl
y)
! ... buttheywon'tinterruptus
! whilewe'refilming... I'veput
! theredlighton.
!
! INT. ENTRANCE TO SET - EARLY EVENING
!
! CLOSE SHOT oftheredlight- burning.
!
!
!
! VIVIAN
! You'vewhat?...
!
! MARK
! Putthe...
!
! VIVIAN
! Thenthey'llknowsomeone'shere.
!
! MARK
! Theywon'tcomein.
!
! VIVIAN
! They'llwaitoutside... what'sthe
! difference?
!
! MARK
! The differenceis... aperfect
! film...
!
! OverhisshoulderWE SEE thestudiocamera.
!
! MARK
! ... havewaited... alongtime...
! forthis... andsohaveyou... no
! one... mustinterruptit.
!
! Sheglancesroundatthebrazenlyburninglights;shakes
! herheaddespairingl
y.
!
! VIVIAN
! We'llbecaught.
!
! MARK
! Whatdoesthatmatter?
!
! VIVIAN
! Matter!
!
! MARK
! Youstandtolose... ajobasan
! extra... I standtolose... nothing.
!
! Shelooksathim in silence.
!
! MARK
! ...theresul
tsmustbesoperfect...
! thattherisksdon'tcount...
!
!
! MARK
! Soperfect... thatevenhe...
! (he hesitates)
! ... evenhe... wouldsay...
!
! VIVIAN
! WhoDonJarvis!?
!
! He looksather, thennods.
!
! VIVIAN
! Oh! He'dsay:
! (imitatingthegreat
! man'svoice)
! Signonthedottedline,kiddies!
! Youcanusemy pen, butbringyour
! ownink!
! (herexcitementis
! growing)
! Mark... ifyou'resureit'sworth
! it?
!
! MARK
! It'stime tofindout,Viv...
!
! He walksslowl
ytowardsthestudiocamera.
!
! Shepreparesforthetestby switchingonmusicandwarming
! upwithdancemovements.
!
! VIVIAN
! Come on! Gethot!
! (sheaccentsthe
! rhythm)
!
! Markputsthecine-cameraandtheblackclothbagonthe
! doll
y,slowl
ymountstheplatform, closestheblimp - and
! swingsthecamera.
!
! Wewatchhim fromthetopofthestudio,fromthedoorof
! thestudio,fromtheDirector'schair. AndfinallyWE WATCH
! HIM fromVivian'sPOV. Shestopsdancingbutthemusic
! continues.
!
! MARK
! Youbelongthere...
!
! He staresaheadofhim, hismindfar,faraway... then
! bendsandlooksintothefinder.
!
! Thereisasingleharshchordofmusic- andthescreen
! goesdark. Itremainsdarkforamoment.
!
! Suddenlythedarknesspartslikecurtains- andin the
! centreWE SEE Vivian'sfacein thefinderofthestudio
! camera. (Unliketheground-glassofthenewsagent'scamera,
! weseeeverythingtherightwayupandin perfect
! perspective.)
!
! Markhooksafiller-lightbelowthecameraandswitchesit
! on.He adjuststhefinderuntilhehasmadeofVivian's
! delicatefeaturesaradiantminiature.
!
! The miniaturesmilesshylyathim. Shehasstoppeddancing
! andislookingdirectlyatthecamera. Musiccontinues.
!
! VIVIAN
! I dofeelalonein frontofit...
! (shehesitates)
! I supposestarsneverdo?
!
! MARK
! Theyfeelalonewithoutit...
! (he looksin the
! eyepiece)
!
! Throughthefilm, wecanseeonl
yhereyes- largeand
! wistful.
!
! MARK
! ... andthegreatones... feel
! alone... allthetime...
!
! ShebecomestheuninhibitedVivianagain.
!
! VIVIAN
! ThenI'm great,boy! Whatisit
! youwantme toact?
! (shestrikesan
! attitudea,la
! Rabbins)
!
! He looksup fromthecamera; shesmilesandstartskeeping
! time totherhythm again.
!
! VIVIAN
! Beingfrightenedtodeath?
!
! MARK
! Youremembered?
!
! VIVIAN
! Yes- andI'llhaveago!
!
! Wehearhisquickbreathing.
!
! VIVIAN
! I'vebeenwonderingallthe
! afternoonhowyou'ddoit! I'll
! betyou'vethoughtofawonderful
! twist!
! (shedoesawonderful
! twist)
!
! CLOSE SHOT ofMark. He looksdown- alittlesadl y- and
! peersintothefinder.(The cameradoll
yisontracks- he
! tracksforward.)
!
! Musiccontinues- piano.
!
! In thefinderWE SEE alargetrunk- 'atgreatlyreduced
! prices'óontheshelfbehindVivian.
!
! From Vivian'sPOV WE SEE Markleavethestudiocameraó
! andhurrytow ardsthetrunks.Shewatcheshim wide-eyed.
!
! VIVIAN
! Whatareyoudoing?
!
! MARK
! Buildingusaset.
!
! He reachesforthelargesttrunk.
!
! VIVIAN
! Whynotpullthestudiodownwhile
! you'reaboutit? Theycanonl
y
! hangyouonce.
!
! MARK
! Exactl
y.
!
! He carriesthetrunktowardsthestudiocamera,andlays
! itcarefull
yonthefloor.
!
! Musiccontinues.
!
! Vivianpeersintothefront-glassofthestudiocameraó
! asifitwereamirror.The rhythm ofthemusicchanges.
!
! VIVIAN
! If onl
yDonJarviscouldseeme
! now!
!
! Shejumpsontothetrunkandtaps.
!
! VIVIAN
! If onl
yI couldseeDonJarvis
! now!
!
! Shegigglesagain.
!
! VIVIAN
! I warnyou,Mark- I'm hysterical...
! I'd ratheractdyingoflaughter,
! ifit'sallthesametoyou...
!
! Shejumpsoffthetrunkontothefloor.
!
! He opensthetrunk. shejumpsintoit. Her laughterechoes
! roundthedesertedstudio.
!
! DISSOLVE TO:
!
!
! The twoelectriciansareroaringwithlaughter.Oneof
! them ismakingtea.
!
! 1ST ELECTRICIAN
! Sohediditagain! Nowyoutell
! one.
!
! CAMERA PANS toadialonthewall... oneoftheneedles
! flickersslightl
y.
!
! 2ND ELECTRICIAN
! Halfamo...
!
! 1ST ELECTRICIAN (O.S.)
! Onelump ortwo?
!
! 2ND ELECTRICIAN
! As thestarletsaidtothecasting
! director...
!
! He turnsawayfromthedials,andgraspsattheoutstretched
! mug.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofVivianrecording- herlittlerecorderis
! twitteringbackatgreatspeed.
!
! VIVIAN
! (toMark, overher
! shoulder)
! Whatareyoudoing?
!
! Sherestartsmusic.
!
!
! SheiswatchingMarkcuriousl
yashearrangesthelighting.
!
! MARK
! Be patient,Viv... it'sgoingto
! be worthit.
!
! CLOSE SHOT ofthestudiocamera. In frontofit- fixedon
! asmallhook- isatapemeasure.
!
! Markreachesforit... thencarefull
ymeasuresthedistance
! betweenthetrunkandthecamera... thenhetakesapiece
! ofchalkfromhispocketandmakesasmallcrossonthe
! floor.
!
! The musiccontinues.
!
! VIVIAN
! Ohwell! I'vestoodalonein front
! ofastudiocamera! That'smore
! thanmosthave.
!
! MARK
! Everstood... behindone?
!
! He glancesatanearbydial- onl
yafewfeetawayfrom
! theonewhichisflickering.
!
! VIVIAN
! No.
!
! MARK
! Help yourself.
!
! Shegoesaroundthecameraoutofsight- andheisoutof
! hers.He glancesintothetrunk- itisdeep, andvery
! empty.
!
! VIVIAN
! (accentingtherhythm)
! I canseeyou,Mark... perfectly!
!
! MARK
! Good...
!
! VIVIAN
! Yes, sir! I'llbetI'm thebest
! camerawomanin thebusiness! . . .
! (beatingtime with
! herfeet)
!
! Markhurriestothesideofthestudiocameraandpicksup
! hiscine-camera.
!
! VIVIAN (O.S.)
! I'velostyou!
!
! MARK
! I'llbe back.
!
! SuddenlyMark'sfaceappearsin thefinder.
!
! VIVIAN
! Welcome, stranger!
!
! WeseeMarkraisehiscine-camera. He seemstobepointing
! itstraightatus. Wehearagentlepurring.
!
! VIVIAN
! Whatareyoudoing?
!
! MARK
! Photographingyouphotographing
! me...
!
! HighangleshotofMarkstandingin frontofthestudio
! camera- photographingherphotographinghim.
!
! VIVIAN
! (in mockawe)
! Mark, you'rebrilliant...
!
! He walksslowl ytow ardsher,holdinghiscine-camerato
! hiseyes. In thefinderofMark'scine-cameraWE SEE Vivian
! atthestudiocamera. Shecomescloserandcloser.
!
! VIVIAN
! Lostyouagain!
!
! MARK (O.S.)
! Nevermind.
!
! Weseehim standingalmostontopofher- hiscine-camera
! trainedonher.
!
! MARK
! I'm readynow,Viv...
!
! Shelooksupslowl
y- andalittlehesitantl
y. Music, all
! drums.
!
! MARK
! Goandstandonthatcross,will
! you?
!
! VIVIAN
! (solemnly)
! Yes, sir, Mr. Director,sir.
!
! He watchesherin silenceasshewalkstothefrontofthe
! studiocameraandtakesupherposition.whilethedrum-
! beatcontinues.
!
! DISSOLVE TO:
!
! EXT. COURTYARD - EARLY EVENING
!
! DonJarvisis leavingtheunitworkingonthelot.Itis
! nowbustlingwithactivity.
!
! A girlcomesuptohim... Sheraiseshercigarettefora
! light- andlooksintohiseyes.
!
! He handsheraboxofmatches... andwalksaway. Overhis
! shoulderweseetheotherstages- apparentlyempty. Don
! Jarvishesitates,thenstridestowardsone.
!
!
! CLOSE SHOT ofadial- theneedleflickeringslightl
y.
! Overlaidisthevoiceofthe1stElectrician.
!
! 1ST ELECTRICIAN (O.S.)
! ...andhere'soneofthewifeand
! nipper...
!
! DISSOLVE TO:
!
!
! CLOSE SHOT ofVivianstaringatthetrunkonthefloor
! behindher. The recordedrhythm continues.
!
! VIVIAN
! Am I supposedtoimaginesomeone
! isgoingtoputme in there?
!
! Markiswatchingheroverthetopofthestudiocamera.
!
! MARK
! Yes, Viv...
!
! He peersintotheviewfinder.In thefinderweseeVivian
! lookingratherpatheticall
yintocamera.
!
! VIVIAN
! Mark- I hopeI won'tletyou
! down... I knowyou'retryingto
! createatmosphereforme - but...
! I justdon'tfeelfrightened!
! Wouldn'titbebetterif I just
! didmy number?
!
! MARK
! (shakinghead)
! Later.
!
! VIVIAN
! Ohallright! I coulddoanything-
! I feelsorelaxed- andthat'sdue
! toyou... You'resoathomewith
! thatcamerayoumakeme feelat
! hometoo... youhaveitin you,
! boy!
!
! From herPOV WE SEE seehim raisehisheadslightl
y.
!
! MARK
! Ready,Viv?
!
! MARK VIVIAN
! (greateffort)
! Well-I'lltry-
!
! In thefinderweseeherwrinklingherbrow.
!
! MARK VIVIAN
! Butwhat... would... frightenme
! todeath?
! (lookingappealingly
! intocamera)
! Setthemoodforme, Mark...
!
! MARK
! Well...
!
! He goesandswitchesofftherecorder.The suddensilence
! isstartling.
!
! MARK
! Imaginesomeone... comingtow ards
! you... who'sgoingtokillyou-
! regardlessofconsequences...
!
! VIVIAN
! A madman?
!
! MARK
! Yes- butheknowsit... andyou
! don't... andjusttokillyou...
! isn'tenoughforhim.
!
! VIVIAN
! Buthowwouldhefrightenme to?
!
! Shestaresintofocusingscreen- intrigued,butnot
! frightened,notevenbythesilenceandshadowyvastness
! aroundher.
!
! MARK
! Staythere, Viv... you're... just
! right.
!
! Shestandsmotionless- staringintocamera.
!
! INT. CORRIDOR IN STUDIO - EARLY EVENING
!
! CLOSE SHOT ofDonJarvis. He isstandingmotionless,staring
! downacorridor.
!
! Whatheisstaringatisoutofcamera- anditispuzzling
! thegreatman.
!
! He walksquietlyalongthecorridor.
!
!
! VIVIAN
! I can'timaginewhatyou'vethought
! of!
!
!
! CLOSE SHOT ofMark. He raiseshisheadslowly- andlocks
! thestudiocameraoff.Thenhewalksslowlytowardsher.
!
! HIGH ANGLE SHOT ofMarkwalkingtowardsVivian.
!
! CAMERA ZOOMS DOWN tothetrunkbehindher. Mark'svoiceis
! overlaid:
!
! MARK (O.S.)
! Supposethis... wereoneofhis
! weapons...
!
! CLOSE SHOT ofDonJarvis.
!
!
! The greatmanis poisedforthekill.He ismovingforward
! steal
thily... andsuddenlybreaksintoarun.
!
! CAMERA PANS - andWE SEE theobjectofhisattentions.A
! wisp ofsmokeiscomingfrombehindanalcove.
!
! CLOSE SHOT ofaFireman- smokingacigarette.
!
! CLOSE SHOT ofDonJarvis- smoking!
!
! CLOSE SHOT oftheFireman'sterrorasheseesDonJarvis.
!
! JARVIS
! Smokingonduty!
!
! The Firemanopenshismouthtoexplainóandsmokeexudes.
!
! JARVIS
! Come withme!
!
! The Firemanfollowshim meekly.
!
! CAMERA PANS.
!
! Sonear- yetalifetime away- aredlightisburning
! aboveacloseddoor.
!
! CLOSE SHOT ofVivian- puzzled.
!
! VIVIAN
! That..?
!
! INT. STUDIO E. - EARLY EVENING
!
!
! He isholdinghiscine-camera; fixedtoitisacollapsible
! tripod.
!
! Suddenlyhepullsonelegofthetripodout.WE SEE thata
! verysharp spikeprotrudesfromtheendofit.
!
! From Mark'sPOV WE SEE Vivianlookingatthespike.
!
! He raisesittowardsher- untilthespikeisonl
yinches
! fromherthroa t.
!
! VIVIAN
! Yes... thatwouldbefrightening!
!
! MARK
! But... there'ssomethingelse...
!
! Wecanhearhisheartpoundingasif itwillburst- and
! graduall
yVivian, too,becomesawareofit.
!
! VIVIAN
! Well?Whatisit?
!
! JustforamomentMark'sarm moves. His backhideswhathe
! isdoing. SuddenlyWE SEE Vivianturnherheadsharply-
! sheislookingatsomethingoutofcamera.
!
! VIVIAN
! (in awhisper)
! That...?
!
! The spikeis veryclosetoherthroa
t- butVivianignores
! it, staringoutofcamera.
!
! OverMark'sshoulderweconcentrateonVivian'sface.
!
! VIVIAN
! (in awhisper)
! Mark... takeit...
!
! The fearonherfaceisrapidlygrowing...
!
! VIVIAN
! ... away!
!
! Shetriestomoveback- butthetrunkpreventsher.
!
! VIVIAN
! MARK - YOU!
!
! Itisalmostascream.
!
! WecanhearMarkbreathingquickl
y.
!
! Vivianraisesherhandstopushsomethingawayfromher.
!
! Suddenlythescreenisfilledwithhereyes. WE SEE them
! dilatingwithterror.Thereisasuddencrashasthebig
! powerswitchesgooutin theroof.
!
! The lightsgoout.
!
! Thereisascream in thedarkness.
!
! Thensilence.
!
! The darknessacquiresagrey,opaquequalityasifoneis
! seeingtheworldthroughacurtain- itistheworldof
! Mrs. Stephens.
!
! A brightlightis fel
t,ratherthanseen,beatingagainst
! oureyelids. Itloomscloserandstronger.
!
! HELEN'S VOICE (O.S.)
! Andthat,darling,istheendof
! thenews! Unlessyouwantthe
! footballresul
ts?
!
! CLOSE SHOT ofMrs. Stephens,alargeglassofwhisky- and
! thebottle- besideher. Itisnight.
!
! MRS. STEPHENS
! Nothankyou.
!
! CLOSE SHOT ofHelen. 'She'sGottheKey oftheDoor'is
! overlaid.
!
! HELEN
! WhatelsecanI readyou?
!
! MRS. STEPHENS
! The labelonthiswhiskybottle!
! Areyousureitsaysseventyper
! centproof?
!
! HELEN
! Certain.
!
! MRS. STEPHENS
! They'rebiggerliarsthanthepress!
!
! From Helen'sPOV WE SEE herreachforherglasswitha
! steadyhand.
!
! HELEN
! Is thatyourlasttonight?
!
! MRS. STEPHENS
! I doubtit.
!
! HELEN
! Yourlastbutone?
!
! MRS. STEPHENS
! Don'thaggle.
!
! HELEN
! (producingacoin)
! Tossme doubleornothing?
!
! MRS. STEPHENS
! Done!
!
! HelenspinsthecoinonthetableMrs. Stephenslistens
! intentl
y... thecoinstopsspinning.
!
! MRS. STEPHENS
! Heads.
!
! Her fingersshootoutandfeelthesurfaceofthecoin.
!
! HELEN
! Badluck, darling.
!
! MRS. STEPHENS
! Huh.
!
! Sheturnsthecoinoverandcarefull
yfeelstheotherside.
! Helenwatchesherwithasmile- thenlooksthoughtfull
y
! attheceiling.
!
! MRS. STEPHENS
! Whatareyoulookingat?
!
! HELEN
! The ceiling!
!
! MRS. STEPHENS
! Wonderingiftha
tyoungmanis
! home?
!
! HELEN
! Yes.
!
! MRS. STEPHENS
! Wellheis... I heardhim come
! in... fourparagraphsago.
!
! From Helen'sPOV WE SEE thesightlesseyesstaringather.
!
! MRS. STEPHENS
! Doyoulikehim?
!
!
! HELEN
! Yes, darling.
!
! MRS. STEPHENS
! Why?
!
! HELEN
! He hasaquality...
!
! MRS. STEPHENS
! (sippingherglass)
! Wishthishad.
!
! HELEN
! ... andI thinkhecouldhelpme.
!
! MRS. STEPHENS
! Withyourphotographs?
!
! HELEN
! Yes...
!
! CLOSE SHOT ofMrs. Stephens.
!
! MRS. STEPHENS
! Helen...
!
! HELEN
! Yes?
!
! Mrs. Stephenshesitates- whichisrare.
!
! MRS. STEPHENS
! (abruptly)
! Itdoesn'tmatter.
!
! HELEN
! (quickly)
! Mummy, what'sworryingyou?
!
! MRS. STEPHENS
! The priceofwhisky.
!
! HELEN
! Whatelse?
!
! MRS. STEPHENS
! Whatelsematters?
!
! HELEN
! Don'tyoulikeMark?
!
! MRS. STEPHENS
! Haven'tmethim.
!
! HELEN
! Youdon'tlikehim! Nowwhynot?
!
! CLOSE SHOT ofMrs. Stephens. Againshehesitates.
!
! MRS. STEPHENS
! I distrustamanwhowalksquietl
y.
!
! HELEN
! He'sshy!
!
! MRS. STEPHENS
! His footstepsaren't! They're
! steal
thy...
!
! HELEN
! Nowdarling.
!
! MRS. STEPHENS
! Areyougoinguptohim?
!
! HELEN
! May I?
!
! MRS. STEPHENS
! Webothhavethekeyofthedoor...
! Mine needsoiling- andyoursneeds
! exercise... Offyougo.
!
! HELEN
! Thankyou.
!
! Shekissesher- andglancesatthewhiskyglass.
!
! HELEN
! rememberthatyoulostthetoss.
!
! Shewalkstothedoor.
!
! MRS. STEPHENS
! Helen...
!
! HELEN
! Yes, darling?
!
! MRS. STEPHENS
! If you'rebackin fiveminutes...
! I won'tevenfinishthis.
!
! HELEN
! Done!
!
! Shehurriesout.Mrs. Stephensinstantlyrefillsherglass.
! CLOSE SHOT ofherhand. Ithasbeguntotremble.
!
! MARK'S DARK-ROOM
!
! CLOSE SHOT ofMark'shands,in thegreenlightofthedark-
! room. He isbusyunloadingandwindingfilm ontoa
! developingrack.
!
! He putstherackofexposedfilm intothetankandstarts
! thetime clock.
!
! CLOSE SHOT ofthetime clockticking.
!
! A knockisheardoff.
!
! Marklooksup.
!
! MARK
! Whoisit?
!
! HELEN (O.S.)
! Helen...
!
! CLOSE SHOT ofMark. Faintlyoverlaidis'She'sGotthe
! Key oftheDoor'. He looksdownattheclock.
!
! MARK
! (calling)
! Come in, Helen!
!
! INT. PASSAGE - EVENING
!
! HelenopensthedoorofMark'ssittingroom. WehearMark
! calloutfromtheinnerroom:
!
! MARK (O.S.)
! Wouldyou... please... waitin
! there?... Developing.
!
! Helengoesin, closingthedoorbehindher.
!
! INT. MARK'S SITTING ROOM - EVENING
!
! Helenenters.Shespeaksloudlytobeheardin thedark-
! room.
!
! HELEN
! Motherheardyoucomein - soI
! guessedyouwouldn'tbein bed...
!
! Noreplyfromtheinnerroom.
!
! HELEN
! Areyousurethisisconven...
!
! MARK (O.S.)
! Won'tbelong!
!
! Helenglancesatherwatch... thenlookscuriouslyround
! theroom.
!
! CLOSE SHOT ofVivian'srecorder,placedonachair.
!
! CLOSE SHOT ofHelen. Shepicksitupandlooksatit,
! curiousl
y,fingeringthestops.
!
! MARK (O.S.)
! Hallo.
!
! Helenturnsround. Markis standingonthethresholdof
! thedark-room.
!
! HELEN
! Hallo,Mark...
!
! He walkstow ardsher... hestopssuddenl
y. He isstaring
! attherecorderin herhand.
!
! HELEN
! I hopeyoudon'tmind- isita
! tape-recorder?
!
! MARK
! Yes.
!
! Gentlyhetakesitfromher- asifitisacup withwhich
! shehasfinished- andreplacesitontheshelf.
!
!
! HELEN
! I'm sureI'm beinganuisance...
! but,Mark, I verymuchwantto...
!
! Her voicetrailsaway.
!
! CLOSE SHOT ofMark. He isholdingoutasmallpackage.
!
! MARK
! Happy birthday.
!
! HELEN
! Mark! That'sverysweetofyou-
! butreall
y.
!
! MARK
! Itisn'tmuch... I don'tknow
! anythingabout... presentsfor
! twenty-one... butI sawitthis
! morning... so... please.
!
! HELEN
! (gently)
! Thankyou...
!
! Shetakesthepackage, andunwrapsit. Insideis aslender
! brooch
!
! HELEN
! It'sbeautiful...
!
! MARK
! I likethedesign... Moremilk?
!
! HELEN
! More?... No, thankyou,Mark...
! andI reallyappreciatethis...
! I'm goingtoputitonnow.
!
! He watchesherholditagainstherdress.
!
! HELEN
! There?... Orthere?...
!
! MARK
! The firstplace...
!
! HELEN
! I thinksotoo!...
!
! CLOSE SHOT ofHelenpinningiton.
!
! CLOSE SHOT ofMarktouchinghislapel.
!
! CLOSE SHOT ofHelenglancingatherwatch.
!
! CLOSE SHOT ofMarkglancingathis. He thinksoftheticking
! clockin thedark-room.
!
! Helenlooksup, andseeshim.
!
! HELEN
! I am keepingyou.
!
! MARK
! No... I promise.
!
! HELEN
! Mark, I'm hereforsomeadvice.
!
! MARK
! From me? Please...
!
! He looksasifhehasjustbeenvotedthebestcameraman
! oftheyear(unanimously) - andthetwofilmshedirected
! havebothwonOscars(thoughDonJarvisunderstoodthem).
!
! His delightedastonishmentissuchthatshehastosmile.
!
! HELEN
! ... I workin apubliclibrary-
! in thechildren'ssection... I'm
! tellingyouthattopostpone
! admittingwhatalwaysembarrasses
! me...
!
! Shetakesadeep breath.
!
! HELEN
! In my sparetime... I write.
!
! MARK
! What'sembar...
!
! HELEN
! I writestoriesforchildren...
! butsodidGrimm... HansAndersen...
! LewisCarroll...
!
! MARK
! Hadanypublished?
!
! HELEN
! Someshortstories.
!
! MARK
! I'd liketoread...
!
! HELEN
! I learnedtoday... thatmy first
! book... hasbeenaccepted! ... For
! publicationin thespring...
!
! MARK
! Butthat'swonderful... what'sit
! about?
!
! HELEN
! A magiccamera- andwhatit
! photographs...
!
!
! MARK
! Whatevermadeyou... thinkofthat?
!
! HELEN
! I'lltellyouoneday- I promise...
!
! MARK
! Wellwhatdoesitphotograph?
!
! HELEN
! I'lltellyouthattoo- but,
! Mark... thisistheproblem... The
! childrenwhoreadthebookwill
! wanttoseethepicturesthecamera
! takes- butthepublisherssay
! they'reimpossibletophotograph,
! andsuggestdrawings... butI don't
! agree.
!
! MARK
! No- nothing'simpossible.
!
! HELEN
! washopingyou'dsaythat! There
! mustbephotographs- however
! difficul
ttotake- andI was
! wondering,Mark- if you'd...
!
! MARK
! Ohyes.
!
! HELEN
! discussitwithme.
!
! MARK
! takethem.
!
! HELEN
! Mark- I can'taskyoutodotha
t...
!
! TheyhavecancelledhisOscar.
!
! HELEN
! I mean... thepublisher'smightn't
! agree.
!
! MARK
! I'd takethem... foryou.
!
! HELEN
! Yesbut... themoney.
!
! MARK
! Therearesomethings... whichI
! photograph... fornothing.
!
! HELEN
! I didn'tmeantooffendyou.
!
! MARK
! Offend?
!
!
! MARK
! Helen... ifyouknewwhatit
! meant... forsomethingtohappen
! tome... thatI don'thavetomake
! happen... it'slike... you'vegiven
! me atwenty-firstbirthday...
!
! CLOSE SHOT ofHelenlookingathim...
!
! MARK
! Whatdoesyourcameraphotograph?
!
! HELEN
! Mark- I mustgo... I justwanted
! toknow... if you'dtalkitover
! withme.
!
! MARK
! Whenplease?
!
! HELEN
! That'suptoyou.
!
! MARK
! Helen... I don'tknowmuchabout...
! dinnerout... butwouldyoucome
! withme?
!
! HELEN
! Thankyou.
!
! MARK
! Thankyou.
!
! HELEN
! When?
!
! MARK
! Oh...
!
! HELEN
! What'sthematter?
!
! MARK
! Ithadbetterbesoon...
!
! HELEN
! Areyougoingaway?
!
! MARK
! Almostforcertain! ...
!
! HELEN
! Oh... wellyousuggestwhen.
!
! MARK
! Areyoufree... tomorrownight?
!
! HELEN
! Yes.
!
! MARK
! I hopeI am!
!
! HELEN
! I'llunderstandifyou'renot.
!
! MARK
! I'lltrytobe- I'lltrymy hardest
! tobe.
!
! HELEN
! Thankyouforlistening... andfor
! my present.
!
! MARK
! andformine.
!
! Theylookateachotherin silence.
!
! HELEN
! Goodnight,Mark...
! (turningtothe
! door)
!
! MARK
! Goodnight... Helen...
!
! He watchesherleave,standingverystill.
!
! Offstage,thetime clockexplodes.
!
! CLOSE SHOT - theexcitedclock. Mark'shandsilencesit.
!
! INT. DARK-ROOM - GREEN LIGHT
!
! Markopensthedevelopingtank, liftsouttherackoffilm,
! dropsitintothefixingbath.
!
! He switcheslightfromgreentored.
!
! CLOSE SHOT - greentoreddark-roomlamp.
!
! Markliftstherackofglisteningfilm outofthefixing
! bathandscanstheimage.
!
! CLOSE SHOT - Mark'sfaceandthetell-taleblackandwhite
! images.
!
! CLOSE SHOT - thefilm. A pileoftrunks.
!
! In thedarknesswehearamanenquiresoftl
y:
!
! MAN'S VOICE
! Lookingforatrunk?
!
! CLOSE SHOT ofaTallManwithasevereface. He isstanding
! in frontofafamiliarpileoftrunksmarkedat'Specially
! ReducedPrices'.
!
! CAMERA PULLS BACK SLOWLY - andWE SEE whomheisaddressing.
! ItisDiane.
!
! CAMERA PULLS FURTHER BACK andWE SEE tha
twearein asmall
! theatrewatchingrushes...
!
! INT. THEATRE IN STUDIO - DAY
!
! CAMERA PANS acrossBaden'sdisgruntledface... theChief
! Cameraman'sboredface... theScriptGirl'spuzzledface...
! toDiane'sexpressionofraptureasshewatchesherselfon
! thescreen.
!
! DIANE (O.S.)
! I'd liketoseethatone.
!
! From Diane'sPOV WE WATCH thescreen. WeseetheTallMan
! (SHOP ASSISTANT) reachingforatrunkandlayingitonthe
! counter.He opensitwithaflourish. Vivianpassesacross
! thescreen- glancescasuall
yatthetrunk- andwanders
! off.
!
! BADEN
! No- no- no- wemustgetsome
! comedyintothis...!
!
! The AssistantDirectornods.
!
! BADEN
! We'llretakeitthismorning...
!
! CAMERA LINGERS foramomentonthescreenasDiane(on-
! screen) smilesattheAssistant.
!
! DIANE
! (shepocketsasmall
! item)
! I'lltakeit.
!
! The Assistantbowsandclosesthetrunk. Wedissolveto
! thesetitself-
!
! DISSOLVE TO:
!
! INT. STUDIO - DAY
!
! The Assistantisleaningoverthecounter,listening
! intentl
y. Dianestandsin frontofthecounter,receiving
! theattentionsoftheMake-upMan.
!
! Baden'svoiceisoverlaid:
!
! BADEN
! I wantsomecomedyin thisscene...
!
! CAMERA PULLS BACK
!
! The unitisbusypreparingforaretake. The studiocamera
! (anditscrew) areoffcamera,andweconcentrateonBaden
! briefinghisartistes.
!
! He isclutchingascriptasif afraidtha
topeningitmight
! beindecentexposure.
!
! BADEN
! Insteadoftakingthefirsttrunk
! yousee,I wantyou,darling... to
! askforabluetrunk- andwhenhe
! bringsittoyou,toaskforared
! one- andwhenhebringsthat,to
! askforawhiteone...
! (turnstothe
! Assistant)
! Andyou,Michael... getthetrunks
! onebyone- growingmoreandmore
! fedup- andwe'llendonagag
! whichI'llthinkofin aminute-
! allright?
!
! DIANE
! I don'tfeelit!
!
! BADEN
! Don'tfeelit! Doit!
!
! (hastily)
!
! OverMark'sshoulder- behindthecamera- WE WATCH the
! Unittakinguppositions.
!
! AnyoneseenVivian?
!
! BADEN
! Who?
!
! The red-headedbystander- Viv.
!
! BADEN
! (impatiently)
! Nevermind- I'm cuttingherout
! ofthisscene... Let'srunit.
!
! (shouting)
! Quiet,everyone!
!
! From Mark'sPOV WE WATCH thescenebeingrehearsed. Diane
! approachesthetrunkcounterandtheAssistantsmilesat
! her.
!
! ASSISTANT
! CanI interestyouin atrunk?
!
! DIANE
! Thankyou...
! (pointing)
! I'd liketoseethatone...
!
! ASSISTANT
! Certainl
y,madam...
!
! He turnsaway. Shepocketsasmallitem fromthecounter.
! He heavesatrunkforward.
!
! It'sbeautifull
yfitted-
! (he opensit)
!
! Shetakesaperfunctoryglance-
!
! DIANE
! I'd liketoseeonein red.
!
! ASSISTANT
! Certainl
y,madam.
!
! Shepocketsanotheritem. He turnsandwrestleswith
! anothertrunk... bringsitforwardandopensit
!
! DIANE
! ... doyouhaveonein white?
!
! ASSISTANT
! Certainl
y,madam.
!
! MarkwalksawayquietlyfromthebackoftheCameraCrew.
! He hurriestotheshelfwherehekeepshiscine-cameraand
! alunchbasket.He reachesforhiscamera.
!
! Diane'svoiceisoverlaid.
!
! DIANE (O.S.)
! Doyouhaveonein blue?
!
! ASSISTANT (O.S.)
! Certainl
y,madam...
!
! Markturnstow ardstherehearsalandraiseshiscine-camera.
! WE SEE theAssistanttrytoliftabluetrunk- andhalf
! collapsewiththeweightofit.
!
! CLOSE SHOT ofBaden- beaming.
!
! The Assistantmanagestodragthetrunkforward. He leans
! overit- exhausted- thenstartstoopenit.
!
! MarkmovesrounduntilDiane'sfaceisin thefinder.
!
! As thelidofthetrunkisopenedwecanseeonl yhereyes
! abovetherim ofthelid... WE HEAR herscream.
!
! CLOSE SHOT ofBaden- freezing.
!
! Thereisthesoundofabodyfallingtotheground.
!
! BADEN
! The sillybitch! She'sfaintedin
! thewrongscene...
!
! FADE OUT:
!
! In thedarknessWE HEAR atelephoneringing... andthen
! another... andthenanother... thentheyallmergeinto
! onebigblast.
!
! FADE IN:
!
! CAMERA TRACKS quicklytowardsadoormarkedPUBLICITY
! DEPARTMENT.
!
! INT. PUBLICITY DEPARTMENT - DAY
!
! The Headofpublicityhasareceivertohisear.
!
! HEAD OF PUBLICITY
! isthisagag?... A girlin a
! trunk!... Whoisshe?... Well,
! whichunit?... The wallsareclosing
! in?... Whatabreakforthem!... I
! meanwhataheartbreak!
! (he is already
! speakinginto
! anothertelephone)
! callapressconference.
! (he turnstothe
! originaltelephone)
! I'm onmy waydown!
!
! EXT. LONDON - DAY
!
! A policecar.Therearetwomenseatedattheback.
!
! INT. POLICE CAR - DAY
!
! CHIEF INSPECTOR GREGG isreadingafile. A plain-clothes
! SERGEANT (MILLER) isseatednexttohim. The Sergeant
! glancesathisChiefapprehensivel
y.
!
! SERGEANT MILLER
! Excuseme, Chief.
!
! CHIEF INSPECTOR
! Mm?
!
! SERGEANT MILLER
! Wepassmy housewhenwereachthe
! bypass.WouldyoumindifI drop
! offforaminute?
!
! CHIEF INSPECTOR
! (withoutraising
! hiseyes)
! Tocollectyourkid'sautograph
! book?
!
! SERGEANT MILLER
! Yes, Chief!... If thenipperhears
! whereI'vebeen...
!
! CHIEF INSPECTOR
! (turnstothedriver)
! Allright,Dawson- anythingto
! help theSergeant...
! (staresdownatthe
! folder)
! ... andit'sabouttime theSergeant
! helpedme - we'regettingnowhere
! withthis.
!
! OverhisshoulderWE SEE whatheislookingat- itisa
! photographofDorain herfursandfinery.
!
! SERGEANT
! Whataboutthatmanthelandlady
! passed?
!
! CHIEF INSPECTOR
! Shecouldn'tdescribehim - except
! tosaythathewascarrying
! somethingthatshecouldn'tsee.
!
! SERGEANT
! That'sahelp.
!
! CLOSE SHOT oftheInspectorstaringatthefolder.
!
! CHIEF INSPECTOR
! Sergeant,I'vebeenontheforce
! thirtyoddyears... andI have
! neverseensuchfearonanyone's
! faceasonthisgirl's...
! (almosttohimself)
! Whatwasitshesaw?
!
! SERGEANT
! Surel
y,Chief... amancomingat
! her- withasharp weapon.
!
! CHIEF INSPECTOR
! I'm familiarwiththatkindof
! terror.Thisissomethingnewto
! me... butwhat?
!
! The SergeantglancesatDora'sphotograph.
!
! CHIEF INSPECTOR
! ...nowtakealookathowwefound
! her.
!
! He startstoturnthepage
!
! DISSOLVE TO:
!
! A doorwithasignonit: CANTEEN CLOSED TODAY.
!
! CAMERA TRACKS TOWARDS it.
!
! INT. CANTEEN - DAY
!
! Markissittingbyanopenwindowatthefarendofthe
! canteen. His cine-cameraandlunchbasketarebyhisside.
!
! From Mark'sPOV WE SEE thattheunit(withtheexception
! ofDianeandBaden) iscrowdedintothecanteen.
!
! Theyhaveformedthemselvesintosmallgroupsandare
! talkingin whispers. The AssistantDirectorisstanding
! withhisbacktothedoor.A GIRL callsout:
!
! GIRL (O.S.)
! Howmuchlongermustwewaitin
! here?
!
! Tillthepolicearrive... D.J.'s
! orders.
!
! Markglancesatagroupin thecomer. The TrunkAssistant
! isencircledbyeagerlisteners.
!
! ASSISTANT
! andwhensheopenedthattrunk...
! andI sawwhatwasinside... my
! dears- I nearlyfaintedwithher-
! (he runsadelicate
! handacrossa
! delicateforehead)
! anddoyouknowwhathorrifiedme
! most?
!
! D.J. saysnottodiscussit.
!
! ASSISTANT
! Any moresaucefromD.J. andI
! shallrefusetosignforseven
! years! My dears... thatpoorgirl's
! expression.
!
! Markglancesoutofthewindow.
!
! From hisPOV WE SEE apolicecardrivingacrossthe
! courtyard. Markwatcheswithgreatinterest- thenreaches
! forhiscine-camera.
!
! He photographsthepolice, thenputshiscine-cameraonto
! thetableandsitsback... waiting. CAMERA LINGERS fora
! momentonthefoldedtripod.
!
! DISSOLVE TO:
!
! INT. SET - DAY
!
! The setiscompletelydeserted. Itis litbyasinglelamp.
! A solitarytrunkstandsonthecounter,itslidclosed.
!
! WE SEE DonJarvisenter,followedby thetwoPolicemen.
! BadenandthePublicitymanbringuptherear.
!
! DonJarvispointstow ardsthetrunksdepartment.The Chief
! Inspectornods,thenheandtheSergeantapproachthe
! counter.
!
! Carefull
ytheInspectorraisesthelidofthetrunk- he
! looksinside.
!
! CLOSE SHOT oftheInspector- overthetopofthelid. His
! expressionismainlyoneofsurprise.
!
! CLOSE SHOT oftheSergeantstaringintothetrunk. He is
! alsosurprised- butthereis nauseain hisface.
!
! Theylookup atalmostthesamemoment... theireyesmeet.
!
! SERGEANT
! (in awhisper)
! Chief, it'sexactlythe...
!
! INSPECTOR
! I know...
! (he closesthetrunk
! quickl y. Quietly)
! ... don'tsayanything.
! (he facesDonJarvis)
! Well,sir... weshallprobably
! havetointervieweveryoneatthe
! studio,sowe'dbetterplana
! campaignthatwon'tinterferetoo
! muchwithyourproductions.
!
! JARVIS
! (warmingtohim at
! once)
! Thankyou,ChiefInspector... if
! youknewwhatevenasingleday's
! delaycouldcost.
!
! INSPECTOR
! Oh, wedosir.
! (hiseyesareon
! thetrunk)
!
! DISSOLVE TO:
!
!
! INT. CANTEEN - DAY
!
! He islookingoutofthewindow- hiscameraattheready.
! Overlaidisthesoundofadooropening... thebuzzof
! conversationdiesaway. WehearDonJarvis'voice.
!
! JARVIS (O.S.)
! If I may haveyourattention,
! please.
!
! A handtugsatMark'selbow.He turnsround. The Clapper
! Boylooksathim waringly.
!
! From Mark'sPOV WE SEE DonJarvisstandingin thedoorway-
! facingasuddenlyhushedroom. The greatman'shandsare
! foldedin frontofhim -
!
! JARVIS
! The policewishtointervieweach
! ofyouindividuall
y... afterwhich
! youwillbeatlibertytoleave.
!
! From D.J.'sPOV WE SEE theupturnedfaces- thelightfrom
! thewindowfallsuponMark, listeningtohim withrapt
! attention.Mark'shandsarefoldedin frontofhim.
!
! JARVIS
! Therewill,ofcourse,beno
! shootingtoday... butworkwillbe
! resumed, asusual,tomorrow...
! with, I hope, allofyoupresent.
!
! CLOSE SHOT ofDonJarvis.
!
! JARVIS
! I looktoyoutogivethepolice
! yourfullestcooperation.
! (he turnsabruptly
! andleaves')
!
! SergeantMillerenterswithasmile.
!
! SERGEANT MILLER
! Wellnow... let'sgetourselves
! organized...
! (takingapieceof
! paperfromhis
! pocket)
! Wedon'twanttokeep youcooped
! upin here, sowe'veworkedouta
! timetable... We'lltalktothe
! artistsfirst,thenthetechnicians
! in thisorder...
!
! Markreachesforhiscine-camera...
!
! DISSOLVE TO:
!
! A SERIES OF BRIEF SHOTS oftheunitbeinginterviewedby
! thepolice.
!
! EXT. STUDIO GROUNDS - DAY
!
! The YoungExtrawhospoketoVivianin theexteriorset
! pointsexcitedlytothewallwhereVivianandMarklay.
!
! The InspectorandSergeantcarefullyexaminebothsidesof
! thewall.The Inspectorstoops,picksupsomethingwitha
! pairoftweezersandputsitin anenvelope.
!
! CAMERA PANS.
!
! A fewpassers-bylookonfromadistance. Oneofthem is
! watchingthroughhiscine-camera.
!
! DISSOLVE TO:
!
! INT. SMALL OFFICE - DAY
!
! The YoungExtrawhosharedVivian'sdressingroomistalking
! totheChiefInspectorandSergeant.
!
! EXTRA
! ...shesaidshedidn'twantalift-
! becauseshehadacalltomake
! locally.
!
! CHIEF INSPECTOR
! Did shesaywhere?
!
! EXTRA
! No,sir... andwhenI left,she
! wasstillin thedressingroom.
!
! CHIEF INSPECTOR
! I see... let'shavealookatthis
! dressingroom, shallwe?
!
! EXTRA
! Yes, sir...
!
! INT. PASSAGE IN STUDIO - DAY
!
! The PolicemenandtheExtraarewalkingawayfromcamera
! downapassage. A fewmembersofotherunitspassthem by
! withoutaglance. Oneofthese(A GIRL) smilesintocamera.
!
! GIRL
! Hallo,Mark...
!
! MARK (O.S.)
! Hallo.
!
! The girlwalksoutofpicture. THE CAMERA (andMark) TRACK
! afterthePolicemen.
!
! INT. ENTRANCE TO DRESSING ROOM - DAY
!
! As theInspectoropensthedoorofthedressingroom, Mark
! hurriespast.He raiseshiscine-cameraandphotographs
! theSergeant.The Sergeantturnstoclosethedoor.He
! seesMark. straightenshistieandlooksassevereashe
! can.
!
! SERGEANT
! Hey, I don'tthinkyououghttodo
! that!
!
! MARK
! Sorry,sir.
!
! He hurriesdownthepassage.
!
! INSPECTOR
! (turninground)
! Dowhat?
!
! SERGEANT
! Makeme famous.Somechap wasgiving
! me ascreentest
!
! The Extra'svoiceisoverlaid- ahintofhysteriain it.
!
! EXTRA (O.S.)
! That'swhereshesa
t. Inspector.
!
! The Inspectorturnsaway,andtheSergeantclosesthedoor.
!
! DISSOLVE TO:
!
!
! The doorofthesmallofficeopens- andtheChiefCameraman
! comesout.
!
! CAMERA PANS -
!
! OnabenchattheendofthepassageMark, theClapper
! Boy, andamemberofthecamera-crewarewaiting.
!
! VOICE
! Andwhoeverdiditmustbe...
!
! CHIEF CAMERAMAN
! You'renext.
!
! The Crew-memberhurriesintotheoffice, andclosesthe
! door.The ChiefCameramanwandersoffthoughtfull y.
!
! MarkandtheClapperBoyareleftsittingsidebyside.
!
! CLAPPER BOY
! I'vebeenwatchingyou...
!
! MARK
! Oh?
!
! CLAPPER BOY
! Haveyoubeenfilmingthose
! policemen?
!
! MARK
! Yes, I'veafewquiteinteresting
! shotsofthem - it'sachanceI
! neverexpected!
!
! CLAPPER BOY
! A chanceforwhat?
!
! MARK
! Tophotograph... aninvestigation...
! orasmuchofitasI can.
!
! CLAPPER BOY
! Whatonearthfor?
!
! MARK
! ItwillcompleteadocumentaryI'm
! making.
!
! CLAPPER BOY
! documentary?
!
! Marknods.
!
! CLAPPER BOY
! What'sitabout?
!
! MARK
! I'd rathernottellyoutillit's
! finished. Anditsoonwillbe...
!
! CLAPPER BOY
! Butsupposetheycatchyou?
!
! MARK
! Ohtheywill- theylookvery
! efficient.
!
! CLAPPER BOY
! Don'tyoumind?
!
! MARK
! No.
!
! CLAPPER BOY
! Buttheymightconfiscateyour
! camera.
!
! MARK
! I'm afraidtheywill! Butbythen...
! I'llhavefinishedwithit.
!
! CLAPPER BOY
! I don't...
!
! The doorofthesmallroomopens,andtheCrew-membercomes
! out.
!
! CREW-MEMBER
! You,Mark?
!
! MARK
! Thanks...
!
! He risesslowl
y... thecine-cameraisoverhisshoulder.
!
! CLAPPER BOY
! Mark, hadn'tyoubetterleavethat
! withme?
!
! MARK
! No,John.
!
! CLAPPER BOY
! I'd lookafterit.
!
! MARK
! I'm sureoftha
t- butI'd liketo
! photographthem whilethey're
! questioningme.
!
! The ClapperBoylooksathim in amazement.
!
! MARK
! I don'tsupposethey'llletme.
!
! CLAPPER BOY
! Mark, areyoupotty?
!
! MARK
! Yes, doyouthinkthey'llnotice?
!
! The ClapperBoylaughs.
!
! CLAPPER BOY
! Don'tgetintoanytroublefor
! heaven'ssakeóI wanttodiscuss
! thatfilm attheEveryman...
!
! MARK
! Yes... I'd liketha
t...
!
! He walksslowl
ytowardsthedoor.
!
! The ClapperBoytakesoutacopyofSightandSoundand
! startstoreadit.
!
!
! The Inspectorisseatedatadesk, readingsomenotes.The
! Sergeantisseatedbythesideofthedesk, apileofpapers
! in frontofhim.
!
! Thereisagentleknockonthedoor.The Sergeantglances
! atalist.
!
! SERGEANT
! MarkLewis- focus-puller...
! Whateverthatmay be?
!
! The Inspectornods.
!
! SERGEANT
! Come in.
!
! He putsatickonthelist.Thereisthesoundofadoor
! opening. The Inspectorlooksup...
!
! From hisPOV WE SEE ayoungmanwithacameraoverhis
! shoulderadvancingshylytowardshim.
!
! INSPECTOR
! Mr. Lewis?
!
! MARK
! Yes, sir...
!
! INSPECTOR
! I'm ChiefInspectorGreggandthis
! isSergeantMiller.Grabachair.
!
! The Sergeantglancesup.
!
! SERGEANT
! Ah! My photographer.
!
! MARK
! I'vebroughtthecamerain case
! youwanttotakethefilm away.
!
! He holdsouthiscamera. The Sergeantglancesenquiringly
! attheInspector.
!
! INSPECTOR
! That'sallright,Mr. Lewis- as
! longaswedon'tappearatthe
! Odeonnextweekin placeofthe
! cartoon.
!
! Marksmiles.
!
! MARK
! Thankyou,sir.
!
! INSPECTOR
! Wellnow;haveyouanythingto
! tellus?
!
! MARK
! Don'tthinkso,sir.
!
! INSPECTOR
! Did youknowthegirl?
!
! MARK
! Yes, sir...
!
! INSPECTOR
! Howwell?
!
! MARK
! Mainlybysight.
!
! INSPECTOR
! Whendidyouseeherlast?
!
! He picksupapencilótapsitidlyonthedesk.
!
! MARK
! Yesterdayafternoon- whenwe
! broke...
!
! INSPECTOR
! Speaktoher?
!
! MARK
! Calledoutgoodnight- don'tknow
! ifsheheard?
!
! CLOSE SHOT ofMark'sfingers... tappingonhiskneein
! time tothepencil.
!
! INSPECTOR
! Whatdidyoudothen?
!
! MARK
! Tooksqmeshots,sir- forafilm
! I'm making.
!
! INSPECTOR
! Oh... where?
!
! MARK
! Allovertheplace,sir... it'sa
! documentary.
!
! INSPECTOR
! Anyonewithyou?
!
! MARK
! No,sir. Justmy camera.
!
! INSPECTOR
! Whattime didyouarrivehome, Mr.
! Lewis?
!
! MARK
! Aboutten... ten-thirty...
!
! INSPECTOR
! Anyoneseeyou?
!
! MARK
! Yes... thepeopledownstairs.
!
! INSPECTOR
! I see.
!
! The telephonerings. The Sergeantpromptlyanswersit.
!
! SERGEANT
! SergeantMiller- Right,I'lltell
! him...
!
! He replacesthereceiver,turnstotheInspector.
!
! SERGEANT
! The doctor'sfinishedhisexamin...
!
! The Inspectorrisesatonce.
!
! SERGEANT
! ...wantstoseeyou-
!
! INSPECTOR
! Right.
! (he glancesatMark)
! That'llbe allforthemoment,Mr.
! Lewis- thankyou.
!
! MARK
! (he turnstothe
! door)
! Thankyou,sir...
!
! INSPECTOR
! Waitaminute.
!
! Markstandsverystill.
!
! INSPECTOR
! directme tothatsetofyours,
! willyou?I'd probablyendon
! location.
!
! MARK
! I'lltakeyouthere,sir.
! (he opensthedoor)
!
! INSPECTOR
! Thanks.
! (he glancesatthe
! Sergeant)
! Carryonwiththeinterviews,
! Sergeant.
!
! SERGEANT
! Yes, sir.
!
! From theSergeant'sPOV WE SEE Markturntogointothe
! passage.
!
! The Sergeantstaresatthecameraonhisshoulder... then
! thedoorcloses.
!
! The Sergeantmakesanoteonapieceofpaper.
!
! INT. PASSAGE - DAY
!
! The InspectorandMarkwalksidebysidealongthepassage.
! The ClapperBoycomesintoview- stillreadingSightand
! Sound.
!
! The ClapperBoyglancesup- justin time toseethe
! InspectorandMarkwalksidebysidetotheendofthe
! corridor.
!
! CLAPPER BOY
! (staringafterthem)
! I warnedhim tobecareful!
!
! DISSOLVE TO:
!
! INT. ENTRANCE TO SET - DAY
!
! A Constableisstandingoutsidetheentrancetotheset.
! From hisPOV WE SEE theInspectorandMarkapproach. The
! Constablestiffens... From Mark'sPOV WE SEE theConstable
! barringtheentrance.
!
! INSPECTOR
! I thinkI canfindmy waynow...
!
! Marksmiles.
!
! INSPECTOR
! ...thanksfortheescort
!
! The Inspectorhurriestowardsthedooroftheset.
!
! The Constableopensit- andtheInspectorgoesinside.
!
! The Constableclosesthedoor- andstandsin frontofit.
!
! Markturnsawayquickl
y.
!
! DISSOLVE TO:
!
! EXT. COURTYARD - DAY
!
! The carparkisjammedwithcars- butthereishardlyanyone
! in sight.Markhurriestow ardsthelargeslidingdoorsof
! StageE - theyareafewfeetapart.He looksround
! carefully,thenslipsinside.
!
! INT. STAGE E. - DAY
!
! FacingMarkisthedarkenedsetofanhotelbedroom. Beyond
! thisisanotherset- alsoin darkness- andbeyondthis
! yetanother.Onlyin thefarcomerofthestudio- in the
! furthermostset- istherealightburning. Voicescan
! faintlybe heardcomingfromthisset.
!
! Markwalksquietlytow ardsalongladderwhichleadsup to
! thegantry.Carefully- rungbyrung- hestartstoclimb
! theladder.At thetopoftheladderisagallery.Mark
! movesalongthemazeofbridgesuntilheisnearlyabove
! thePolicemen.
!
! Markraiseshisheadcautiousl
y- andlooksdown.
!
! FarbelowWE CAN SEE theInspectorstandingnexttothe
! Doctor- atall,silverhairedman- whoispeeringinto
! anopentrunk. Detectivesarephotographingtheset.Mark
! raiseshiscine-camera... itsgentlepurringseemstoecho
! roundthestudio.
!
! CLOSE SHOT ofMark'sjacketpocket.A rowofpencilsis
! stickingout.As heleansforwardthepencilstil
t.
!
! Throughthefinder-matteofMark'scameraWE SEE the
! Inspector- veryfaraway- peeringintothetrunkand
! nodding.
!
! A faintechoofconversationisoverlaid.
!
! DOCTOR (O.S.)
! Nodoubtatall... woundswere
! causedby thesameinstrument...
!
! Markchangeslens(andal tersthefindertoa75mm lens).
! The Doctor'sface- thinandimpersonal- appearsin the
! finderoverthelidofthetrunk.
!
! DOCTOR (O.S.)
! ... bothwomen... subjectedtothe
! mostviolentshock...
!
! INSPECTOR (O.S.)
! Whatsortofshock?
!
! DOCTOR
! ...stillcannotdetermine- but
! look!
!
! He pointstosomethingin thetrunk- outofthecamera's
! eye-line.
!
!
! He balancescarefull
y- thenraisesthecameraabovehis
! head. Asheleansforward,thepencilsfall.WE SEE them
! shootinglikesmalltorpedoesintothedarknessbelow.
! Theymakethreeseparatelandings.
!
! CLOSE SHOT oftheInspector.Lookingup.
!
! From hisPOV WE SEE tiersofscaffoldingdeep in shadow...
!
! INSPECTOR
! Quiet,everyone. Please...
!
! The Detectivesmakeasmuchnoisetobecomequietasthe
! normaloccupantsofthestudio- andthenthereis complete
! silence.
!
! Complete,exceptfortheDoctor'sasthmaticbreathing...
! Andthen- sogentlytha titmightalmostbein ourown
! minds- WE HEAR apurringsoundfromtheshadowsabove.
! The Inspectorlistensintentl
y.
!
! DETECTIVE
! I thoughtI heardaputtycat!
!
! Thereisaburstoflaughter- theInspectorfrowns.
!
! INSPECTOR
! I don'twanttospoilanyone's
! fun,butwedohaveamaniacon
! ourhands,andifwedon'tgethim
! quicklythere'llbeathirdunsolved
! murdertoreporttothe
! Commissioner. Solet'shurrythings
! up, shallwe?
!
! DETECTIVE
! Sorry,Chief!
!
! The 'puttycat'Detectiveraiseshisflashlamp tow ardsthe
! trunkcounter.In thebrilliantflashoflightthatensues,
! weglimpseashadowyfiguremovingtow ardsaladderhigh
! in thescaffolding... Butthenwearelookingforit- no
! oneelseis. The flashlightdiesaway.
!
! The scenefadeswithit.
!
! CLOSE SHOT ofaknitting-needleheldupwards.
!
! Anotherknitting-needlescalesdownitlikeafireman
! descendingaladder.
!
! CAMERA PULLS BACK
!
! INT. HELEN S SITTING ROOM - DAY
!
! Mrs. Stephensisdoingherknitting. The inevitableglass
! standsonthetablebesideher. Helenisseatedopposite,
! readingfromanewspaper.
!
! HELEN
! shewasappearingin ArthurBaden's
! newfilm The WallsAreClosingIn,
! starringDianeAshley.
!
! CLOSE SHOT ofMrs. Stephenslisteningintentl
y.
!
! HELEN
! aspokesmanatthestudiosaid
! thatherperformancein thefilm
! showedsuchpromise, thatherrole
! wastohavebeenbuil tup... All
! workatthestudioceasedtodayas
! atributetohermemory!
!
! Mrs. Stephenssipsfromherglass. The Prime Ministerto
! visitAthens.
!
! MRS. STEPHENS
! Markis in films,isn'the?
!
! HELEN
! Yes, darling... Itisreliabl
y...
!
! MRS. STEPHENS
! I wonderifheknewher?
!
! CLOSE SHOT ofHelenlookingup.
!
! HELEN
! I'llaskhim tonight...
!
! MRS. STEPHENS
! Is hetakingyouout?
!
! HELEN
! If he'sfree.
!
! MRS. STEPHENS
! That'sverychivalrousofhim.
! Where'shetakingyou?
!
! HELEN
! I'venoidea- andI don'tsuppose
! hehas...
!
! MRS. STEPHENS
! Whichstudiodoesheworkat?
!
! HELEN
! I'llaskhim.
!
! MRS. STEPHENS
! If he'sfree.
!
! Behindherbackweseethatherfingersarecrossed.
!
! HELEN
! I'llbringhim in andintroduce
! youif...
!
! MRS. STEPHENS
! I feelI knowhim.
!
! HELEN
! Nowhowcanyou?
!
! Mrs. Stephensstiffenssuddenl
y.
!
! MRS. STEPHENS
! He'shere.
!
! CLOSE SHOT ofthewindow.
!
! Markisstandingoutside- lookingin.
!
! MRS. STEPHENS
! Whydon'twemakehim apresentof
! thewindow?He practicall
ylives
! there!
!
! HelenbeckonstoMarktocomein. Weseehim nodeagerly-
! andleavethewindow.
!
! HELEN
! Howdidyouknowwherehewas
! standing?
!
! MRS. STEPHENS
! The backofmy necktoldme... the
! partthatI talkoutof!
!
! Helenhurriestothedoorofthesittingroom.
!
! INT. HALL - DAY
!
! Markclosesthefrontdoorbehindhim.
!
! From hisPOV WE SEE thedoorofHelen'ssittingroomopen-
! andshestandsonthethreshold.
!
! HELEN
! Hallo...
!
! MARK
! Free?
!
! HELEN
! Yes.
!
! MARK
! Good! Soam I...
!
! HELEN
! I'd likeyoutocomein foramoment-
! andmeetmy mother.
!
! MARK
! Yes, please...
!
! Sheholdsopenthedoor.He goesinside. The screen
! suddenlygreysoutintotheveiledimagesofMrs. Stephens'
! world.WehearHelen'svoice.
!
! HELEN (O.S.)
! Darling,thisisMark... Mark, my
! mother.
!
! WE HEAR thesoundoffootstepsshufflingshylyforward-
! andthenMark'svoice, everyintakeofbreathmagnified.
!
! MARK (O.S.)
! Howdoyoudo... Mrs. Stephens...
!
! WE HEAR thepoundingofsomeone'sheart- andthenMrs.
! Stephens'voice.
!
! MRS. STEPHENS (O.S.)
! Hallo,Mark.
!
! As hervoicediesaway.
!
! FADE IN:
!
! INT. HELEN'S SITTING ROOM
!
! CLOSE SHOT ofMark'shandclaspingMrs. Stephens'.
!
! CLOSE SHOT ofMarklookingather,fascinated.
!
! From Mark'sPOV WE SEE thesightlesseyesturnedtow ards
! his. Mrs. Stephens'otherhandgentlyfeelsthesurfaceof
! his.
!
! MRS. STEPHENS
! Haveyoubeenrunning,youngman?
!
! MARK
! Yes...
! (he hesitates)
! ... didn'twanttobela
tefor
! Helen.
!
! HELEN
! Thankyou,Mark- Youdeservea
! drinkforthat! Whatwouldyou
! like?
!
! MARK
! Nothing- thankyou... verymuch...
!
! Mrs. Stephensgrunts,andreachesforherglass.
!
! HELEN
! Darling,I'veleftyoursupperin
! the...
!
! MRS. STEPHENS
! Tellme youngman... Whichstudio
! doyouworkat?
!
! The screengreysout.WE HEAR Mark'stinyintakeofbreath.
!
! MARK (O.S.)
! ChipperfieldStudio. . .
!
! MRS. STEPHENS
! Andthatpoorgirl... wheredid
! shework?
!
! Someone'sheartispoundingfast.
!
! HELEN (O.S.)
! At Brookwood.
!
! MRS. STEPHENS
! Wewerewonderingifyouknewher?
!
! MARK
! No- No, I didn't...
!
! MRS. STEPHENS
! A pity. I dolikefirst-hand
! information.
!
! WehearMark'ssmallattemptatalaugh.
!
! MRS. STEPHENS
! Oh, well- I mustn'tkeep you
! gossipingafteryou'verunallthe
! wayfrom- Where?
!
! Againthatlittleintakeofbreath.
!
! MARK
! The station.
!
! FADE OUT:
!
! FADE IN:
!
! Mrs. StephensandMarkarestaringateachotherasifshe
! hassightandhehasn't.From Helen'sPOV WE CAN SEE onl
y
! Mark'sbackandhermother'supturnedface.
!
! HELEN
! Darling,may I tellyouaboutyour
! supper?
!
! MRS. STEPHENS
! No... goandbetoldaboutyours!
! (shetakesMark's
! hand)
! Goodbye, Mark... I expectweshall
! meetagain.
!
! MARK
! I hopeso- Goodbye...
! (He turnstothe
! door)
!
! CLOSE SHOT ofHelenkissinghermotherandwhisperinginto
! herear.
!
! HELEN
! Darling,weforgottotoss.
!
! Mrs. Stephensgrunts.
!
! HELEN
! Supper'slaidoutin thekitchen.
!
! MRS. STEPHENS
! If you'renotbackearl
y, you'll
! findme laidoutwithit!
!
! HELEN
! We'llbeearly! Goodnight,darling.
!
! MRS. STEPHENS
! Goodnight...
!
! MarkholdsthedooropenforHelenandshegoesintothe
! passage. MarkturnsandtakesalonglookatMrs. Stephens.
! Sheisin themiddleofraisingherglass.Shestops
! suddenly,theglasspoisedmid-air. He goesout- closing
! thedoor.Shefinishesherdrinkasifitisherlast.
!
! INT. PASSAGE - DAY
!
! Helenis waitingbythedoor.
!
! From herPOV WE SEE Markcomingeagerlytowardsher,his
! cameraoverhisshoulder.
!
! HELEN
! Mark...
!
! MARK
! Yes, Helen?
!
! HELEN
! I wanttoaskyousomethingrather
! personal...
!
! He looksatheranxiousl
y.
!
! HELEN
! Howlongisitsinceyou'vegone
! outwithoutthat?
!
! MARK
! Withoutwhat?
!
! HELEN
! Yourcamera...
!
! MARK
! Oh...
!
!
! MARK
! I... don'tthinkI know?
!
! HELEN
! Exactl y. I'veneverseenyouwithout
! it... butareyougoingtoneedit
! tonight?
!
!
! HELEN
! Wellareyou?Andif so... shallI
! bringsomeworkwithme too?
!
! MARK
! I'm notgoingtoneedittonight!
!
! HELEN
! Good- thengiveittome!
!
! Sheholdsoutherhand. He looksather,appalled.
!
! HELEN
! ...It'llbequitesafe- I'llput
! itawayforyou.
!
! MARK
! (in awhisper)
! No!
!
! HELEN
! Thentakeitupstairs- ifyou
! can'ttrustme withit...
!
!
! MARK
! I trustyou.
!
! HELEN
! Thenlook...
!
! Sheopensthedoorofherbedroom- andturnsonthelight.
!
! HELEN
! ...let'sputitin here.
!
! INT. HELEN'S BEDROOM
!
! Shecrossestoacupboardandunlocksit, thenturnsround.
! He isstandinghesitantlyonthethreshold.
!
! HELEN
! Come in - andseeforyourself.
!
! He looksslowl yroundtheroom, staresforamomentatthe
! bedin thecomer,buthewon'tcrossthethreshold.He
! staysoutside.
!
! HELEN
! We'llputitin here- andlock
! it.
!
! MARK
! This... wasmy mother'sroom.
!
! HELEN
! Wasit, Mark?...
!
! Againhestaresatthebed.
!
! HELEN
! I am beingtactless,aren'tI?
! ... It'sjustthat... I thoughtit
! wasgrowingintoanextralimb,
! and- butyoubringitwithyouif
! youwantto.
!
! He takesoffhiscamera- andholdsitouttoher.
!
! HELEN
! Thankyou...
!
! Shetakesitfromhim, putsitintothecupboard,andlocks
! it. Thenoffershim thekey.
!
! MARK
! You...
!
! HELEN
! Thankyou.
!
!
! MARK
! I feel...
!
! HELEN
! Yes?
!
! MARK
! Can'tdescribeit! Couldonl
y
! photographit-
!
! Shelaughs.
!
! HELEN
! ShallI tellyouwhatI feel?
!
! MARK
! Yes.
!
! HELEN
! Famished!
!
! MARK
! Good!
!
! Theyhurrytowardsthedoor.
!
! DISSOLVE TO:
!
! EXT. MARK'S HOUSE - DAY
!
! Theywalkdownthestepsofthehouse.
!
! MARK
! There'sasmallplaceroundthe
! corner... It'sawfull
ygoodon
! ChristmasDay.
!
! HELEN
! Is it?
!
! MARK
! Yes... therearen'ttoomanyopen
! then.
!
! HELEN
! No- itsoundsfun.
!
! MARK
! Thisway.
!
! CLOSE SHOT ofMarkandHelenwalkingalongbythesideof
! thehouse.
!
! HELEN
! I adorenewrestaurants...
!
! SuddenlyMarkstandsmotionless.He isstaringatsomething
! offcamera.
!
! Especiall
ywhen-
!
! Her voicetrailsaway... sheisstaringatMarkstaringat
! something.
!
! In theshadows,atthemouthofanalley,ayoungcouple
! arekissing.
!
! Markstandsmotionless,staringatthem. Automaticall
yhis
! handreachesforhiscamera. Helenstartstospeak- then
! looksathim in silence. Themanglancesround.Markhurries
! awayandHelenstaresafterhim.
!
!
! He turnsback- waitingforHelen.
!
! From hisPOV WE SEE Helencomeslowl ytowardshim. She
! looksathim searchinglyforalongmoment.
!
! He manages- butonl
yjust- tomeethereyes.
!
! HELEN
! Whereisthisrestaurant?
!
! MARK
! Roundthecorner...
!
! MRS. STEPHENS
! Knowmuchaboutfilms?
!
! HELEN
! Come onthen...
!
!
! MARK
! Thankyou.
!
! Theywalkslowl
ydownthestreet.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofMrs. Stephens.
!
! MRS. STEPHENS
! Sorry,youngman, Helen'sout.
!
! CAMERA PULLS BACK
!
! INT. SITTING ROOM - EVENING
!
! TonyisstandingunhappilyoppositeMrs. Stephens.
!
! TONY
! Oh!
!
! MRS. STEPHENS
! WithMark- fromupstairs.
!
! TONY
! Oh!
!
! MRS. STEPHENS
! Youcanstayandtalktome - if
! youlike?
!
! TONY
! WellI...
!
! MRS. STEPHENS
! Knowmuchaboutfilms?
!
! TONY
! Well...
!
! MRS. STEPHENS
! Orfilm studios?
!
! TONY
! No,I...
!
! MRS. STEPHENS
! Where'sChipperfieldStudios?
!
! TONY
! Chipperfield,I suppose...
!
! MRS. STEPHENS
! There'saphonebookoutside...
! Lookupthenumber,willyou?And
! seeifyoucangetit.
!
! TONY
! Certainl
y... andthenI mustgoto
! my room.
!
! MRS. STEPHENS
! Granted.
!
! Sheliftsherglass,andsits,waitingashecrossesthe
! room.
!
! DISSOLVE TO:
!
! INT. RESTAURANT - NIGHT
!
! A smallandverypleasantrestaurant,almostfull.Helen
! andMarkhaveacornertable. Theyarediningby
! candlelight,andthereisabottleofwinein themiddle
! ofthetable.
!
! As CAMERA TRACKS TOWARDS them, Helenislaughing.
!
! HELEN
! I likethisplace! Andthisdinner!
!
!
! He hasagainwontheAcademy Award.
!
! HELEN
! ...thankyou,Mark...
!
! MARK
! Areyoureadytotalkaboutyour
! book?
!
! HELEN
! I'm readytotalkaboutyou...
!
! His facefalls.
!
! HELEN
! Itwon'ttakeasecond- andit's
! besttohaveitsaid.
!
! Marklooks.
!
! HELEN
! Carryingacamerais onl yoneof
! yourhabits,isn'tit, Mark?
!
!
!
! HELEN
! ... whenyoustaredatthatcouple,
! youwerelikethelittleboyon
! thatfilm youshowedme... looking
! overthewallatsomethinghe
! shouldn'tsee. ButMark- you're
! strongenoughnowtolifttha t
! childoffthewall... aren'tyou?
!
! He hesitates.
!
! HELEN
! ... aren'tyou?
!
! MARK
! I'lltrytobe.
!
! HELEN
! Willyou,Mark?... Willyoureall
y?
!
! MARK
! Yes...
!
! HELEN
! Lecturefinished...
!
! A pause.
!
! MARK
! Whenyourbook'spublished- will
! yougoonworkingin alibrary?
!
! HELEN
! Yes, Mark... in case,oneday,a
! childcomesin andasksforit!
!
! MARK
! I'llcomein.
!
! HELEN
! I'm notpopularwithmy customers!
! Theyaskme forhorrorcomics-
! andI taketheirstickyhandsand
! dragthem towheretherearebooks!
!
!
! HELEN
! ... anddoyouknow,Mark, waiting
! forthem tocomein nexttime and
! askforbooks... isasexciting...
! asahorrorcomic...
!
! MARK
! Whatdoesyourmagiccamera
! photograph?
!
! HELEN
! People...
!
! MARK
! Yes?...
!
! HELEN
! It'sownedbyalittleboywhois
! terrifiedofgrown-ups... butwhen
! helooksin hismagiccamerahe
! seesgrown-upsastheywerewhen
! theywerechildren... andheisn't
! frightenedanylonger.
!
! CLOSE SHOT ofMarklistening,engrossed.
!
! HELEN
! ... andonedayhegiveshiscamera
! awaytoalittleboywhois even
! morefrightenedofgrown-upsthan
! hewas- anddoyouknowwhathe
! finds?
!
! The littleboyoppositehershakeshishead.
!
! HELEN
! ... tha
twhenhelooksatgrown-
! upswithouthiscamerahecanstill
! seethem astheywerewhenthey
! werechildren! Andthatmeans
! thathe'sgrownuphimself...
!
! A moment'spause. Shedrinksherwine- shy,awaitinghis
! reaction.
!
! MARK
! Whatmadeyouthinkofthisstory?
!
! HELEN
! Youdid!
!
!
! HELEN
! ... I lookedoutofmy window-
! andsawyougoingofftowork
! carryingthatcameralikealittle
! boywithasatchel... andanidea
! came... sothankyou...
!
! MARK
! I'd liketothink... I was
! responsible... in someway...
!
! HELEN
! NowwhatdoI doaboutthe
! photographs?
!
! MARK
! Take'em!
!
! He slamsthetablesoviolentlythataladynearbylooks
! around... thenreachesforhiscamera.
!
! MARK
! Oh!
!
! Helensmiles.
!
! MARK
! Thereisn'tasinglefacethat
! doesn'tlooklikeachild's- not
! asingleone- ifyoucatchitat
! therightmoment.
!
! He turnsaroundexcitedlyandseesherwatchinghim.
!
! MARK
! Itwouldbeachallenge!... Unlike
! anythingI'vephotographed!
!
! HELEN
! Whathaveyouphotographed, Mark?
!
! MARK
! Everything. ButnothingI'd want
! childrentosee.
!
! Shelooksathim curiousl
y.
!
! MARK
! Butthiswouldbelongtothem -
! andthey'dknowif itwasn't
! right... Oh, Helen... I wouldlike
! tofindthosefacesforyou...
! withyou...
!
! HELEN
! Verywell! Let'stry!
!
! He laughsexcitedl
y... Shelooksregretfull
yatherwatch.
! At oncehelooksathis.
!
! MARK
! Youmadeapromisetoyourmother-
!
! HELEN
! (gently)
! Yes, Mark...
!
! MARK
! You'dbetterkeep it.
!
! HELEN
! Thankyou...
!
! He signalstotheheadwaiter... andpayshisfirstbill
! fortwo.
!
! DISSOLVE TO:
!
! EXT.STREET - NIGHT
!
! Theywalkalongthestreetveryclosetogether,butnot
! quitetouching. Abovethem alightisshiningonablind
! revealingashadowofawomanundressing.
!
! Markglancesattheblind- thenlooksawayquickl
y.
!
! He staresaheadofhim... andcontinuestostareaheadof
! him.
!
! SuddenlyHelentucksherarm throughhis, andsmilesup at
! him... theywalkonin silence.
!
! DISSOLVE TO:
!
! INT. HALL OF MARK'S HOUSE - NIGHT
!
! HelenandMarkcomein quietl
y,andclosethedoor.
!
! Sheglancesroundthedimly lithall.Thereisnolight
! underanyofthedoors,exceptoneattheendofthe
! passage.
!
! HELEN
! Mothermusthavegonetobed.
! (sheturnstofind
! him lookingather)
! Mark, itwasawonderfulevening...
!
! MARK
! That'swhatI wasgoingtosay...
! awonderfulevening...
!
! HELEN
! (gently)
! Andyoumadeitwonderful... without
! yourcamera.
!
! A shadowpassesoverhisface.
!
! HELEN
! (gently)
! I'llgetitforyou.
!
! He standsmotionlessasshegoesintoherroom...
!
! From hisPOV WE SEE thehalf-openeddoor- andthebedin
! thecomer.
!
! CLOSE SHOT ofMarkforcinghimselftolookaway.
!
! Helenreappearsonthethreshold- thecamerain herhand.
! He looksdownatit- thenslowlystretchesouthishand.
!
! HELEN
! wonderhowthisseesgrown-ups?
! (sheturnsthecamera
! round)
! ...me, forinstance... nowthatI
! am one.
! (shelooksatherselfin thelens)
!
! MARK
! Notyou!
! (he takesthecamera
! fromher)
!
! HELEN
! Mark.
!
! MARK
! Itneverwill... seeyou!
!
! HELEN
! Whynot?
!
! He hesitates.
!
! MARK
! WhateverI photograph-
!
! HELEN
! Yes?
!
! MARK
! I always- lose...
!
! HELEN
! I don'tunderstand.
!
! The doorattheendofthepassageopensandTonyemerges
! in hisdressing-gown,carryingatowel.He avoidslooking
! atthem - goesintothebathroomopposite, andslamsthe
! door.
!
! HELEN
! He'llwakeMother!
!
! Thereisthesoundofrunningwater.
!
! HELEN
! ... thankyou,again, formy
! evening.
! (sheisstanding
! veryclosetohim,
! smilingupinto
! hisface)
! Willyougotobednow- andnot
! stopupwatchingthosefilms?
!
! MARK
! Well... I'vealittleworktodo...
! thenI'llgotobed... andthink
! ofhowtofindfacesforyou...
!
! He looksdownatthefacewhichhehasfoundforhimself.
! Sheraisesherheadslowl
y.
!
! MARK
! ...faceswhich- arefaceswhich...
!
! Shekisseshim verygentlyonthemouth. The bathroombegins
! tosoundlikeasmallwaterfall.
!
! HELEN
! Goodnight,Mark...
!
! He watchesherasshegoesintotheroom, anddosesthe
! door.A lightgoesonbeneaththedoor.
!
! He standsverystillforamoment... thenturnsthecamera
! roundandpointsthelenstow ardshislips.
!
! Thenheturnsabruptl
y, andhurriesup thestairs.
!
! The waterfallcascadeson. The screengrowsdark- and
! thedark-roomgrowsoutofit.
!
! INT. DARK-ROOM - NIGHT
!
! The bigdryingdrum isturning,feedingthedryprintinto
! abox.A smallmotordrivesit. CLOSE SHOT ofthebox.
! Markisspoolingupthefilm asitcomesoffthedrier.
! Onceortwicehecan'thelpglancingatanimage.
!
! CLOSE UP ofVivian'sface,in theimage.
!
! Markstopsthemotorandthedrum, loosenstheendofthe
! film, spoolsup withasnap, slidesthespooloffand
! hurriesoutwithit.
!
! Markhurriestohisprojector,threadsthefilm andstarts
! theprojector.He flicksiton,asif itwereagramophone,
! thenlookseagerlyatthe16mm screen.
!
! Behindhim somethingmovesin theshadows
!
! REVERSE SHOT ofMark.
!
! Overtheshoulderofsomeonewhoisstandingdeep in the
! shadowsWE SEE Mark. His headobscureswhatheiswatching
! onthescreen.
!
! HE TURNS ROUND SUDDENLY -
!
! From Mark'sPOV WE SEE theprocessingsinksdeep in shadow.
! He startstomovetowardsthem, thensuddenlystaresat
! theshadowsatthebackoftheroom.
!
! Silence- exceptforthewhirringofthe16mm projector.
!
! CLOSE SHOT ofMark'shand- switchingonthelight. Mark
! turnsround... heis asastonishedatwhatheseesashe
! canbe.
!
! CAMERA PANS in itsowngoodtime tothebackoftheroom.
!
! Mrs. Stephensisstandingin theshadows... aheavyhand
! restsonaheavystick... thesightlesseyesstare
! unerringlytowardsthelightswitch.
!
! MRS. STEPHENS
! Goodevening,Mark...
!
! MARK
! ...howdidyou?
!
! MRS. STEPHENS
! The youngmanbathinghimself
! broughtme toyourdoor... I managed
! therestoftheadventurealone...
!
! He standsmotionless,staringatherstandingmotionless.
! Aboveherheadanancient,half-blindcameraalsostares
! ather. The onl
ymovementin theroomishersmile.
!
! MRS. STEPHENS
! ThisisoneroomI expectedto
! findlocked.
!
! MARK
! I wasneverallowedakey..., can't
! getusedtothem.
!
! Mrs. Stephens'sightlesseyesstareathim.
!
! MARK
! I broughtherhomeearl
y.
!
! CLOSE SHOT ofherhand- tighteningontheheavystick.
!
! MRS. STEPHENS
! Thankyou...
!
! MARK
! Is theresomethingyou...
!
! MRS. STEPHENS
! ... atalk.
!
! MARK
! Nextdoorwouldbemore...
!
! MRS. STEPHENS
! I'm athomehere... I visitthis
! roomeverynight.
!
! MARK
! Visit?
!
! MRS. STEPHENS
! The blindalwayslivein therooms
! theyliveunder...
!
! Marknods.
!
! MRS. STEPHENS
! Everynightyoupaceforhours
! abovemy head! Why?
!
! MARK
! I'venoonetotalkto... in the
! roomsI liveover...
!
! Mrs. Stephensnods.Her handtouchestheblackclothloading
! bag,lyingonthetable.
!
! MRS. STEPHENS
! I'm toldthatyoustaretoomuch...
! sodoI.
!
! CLOSE SHOT ofherhand- touchingtheblackclothbag.
!
! CLOSE SHOT ofMark- walkingslowl
ytowardsher.
!
! At oncesheraisestheheavystick- pointingittowards
! him.
!
! CLOSE SHOT ofthestick. Itisashootingstick- witha
! sharp spikeontheendofit, similartothetripodon
! Mark'scamera.
!
! Markstaresatthestick, fascinated.
!
! CLOSE SHOT ofMrs. Stephens- exploringtheinsideofthe
! blackclothbagwithherfreehand.
!
! MRS. STEPHENS
! Cloth... withsomethinghardinside
! it...
!
! MARK
! It'sachangingbag... weputfilms
! in it- sothatthelightwon't
! spoilthem...
!
! MRS. STEPHENS
! Howodd- thatthelightcanspoil
! anything...
!
! The screengreysout.
!
! In Mrs. Stephens'owndark-roomwehearthehum ofMark's
! projector- andthepoundingofMark'sheart- and,very
! faintl
y,thesoundsofTonybathinghimself.
!
! MRS. STEPHENS
! Everynightyouswitchonthat
! film machine.
!
! Wehearhistinyintakeofbreath.
!
! MRS. STEPHENS
! Whatarethesefilmsyoucan't
! waittolookat?
!
! The soundofhisfootstepssoftl
yapproaching. Like a
! chair?
!
! MARK (O.S.)
! Like achair?
!
! Whatis thefilm you'reshowing
! now?
!
! VeryfaintlywehearTonysingingin hisbath.
!
! FADE IN:
!
! The singingdiesaway,andthesoundreturnstonormal.
!
! OverMark'sshoulderWE SEE Mrs. Stephensholdingherstick
! in frontofher.
!
! MRS. STEPHENS
! Whydon'tyoulietome? I'd never
! know...
!
! MARK
! You'dknowatonce-
!
! Mrs. Stephenssmiles- thenturnsherheadtowardsthe
! 16mm screen.
!
! MRS. STEPHENS
! Takeme toyourcinema.
!
! MARK
! Yes.
!
! He takesherarm gentl
yandguideshertowardsus.
!
! Bothofthem stareatthe16mm screen... Sheleansforward-
! herfaceonl yinchesfromthescreen- thelightfromthe
! projectorflickeringontoher.
!
! REVERSE ANGLE SHOT ofMrs. Stephens. Slowl
yshestretches
! outherhandsandtouchesthescreen.
!
! MRS. STEPHENS
! Whatam I seeing, Mark?
!
! Her headandshouldersblotoutmostofthescreen- but
! betweenheroutspreadfingersWE CATCH A GLIMPSE ofagirl's
! terrifiedeyes.
!
! MRS. STEPHENS
! Whydon'tyouanswer?
!
! CLOSE SHOT ofMarkandMrs. Stephens.
!
! MARK
! (staringatthe
! screen)
! It'snogood- I wasafraidit
! wouldn'tbe.
!
! MRS. STEPHENS
! What?
!
! MARK
! The lightsfailedtoosoon.
!
! MRS. STEPHENS
! (pause)
! Theyalwaysdo.
!
! MARK
! I'llhavetotryagain.
!
! He hurriestohiscine-camera.
!
! MRS. STEPHENS
! I'veyettomeetanartistwho
! couldjudgehisownwork...
!
! Markslipsanewspooloffilm intohiscine-camera.
!
! MRS. STEPHENS
! Whatdoyouthinkyou'vespoiled?
!
! MARK
! An opportunity... nowI mustfind
! another.
!
! He looksatherthoughtfull y,thenpressesalightswitch.
! A spotlightfallsblindinglyontohereyes. He presses
! anotherswitch,andthenanother,untilthewholeofher
! faceis shiningwithlight.
!
! MRS. STEPHENS
! Whyareyouputtingthoselights
! onmy face?
!
! He walkstowardsher. Shestartstobackaway.
!
! The shadowofMark'sheadappearsonthe16mm screen. WE
! SEE him raisehiscamera- thenpulldownthetripod.
!
! BlackoutintothegreydarknessofMrs. Stephens'world.
!
! WE HEAR thepurringofMark'scamera- moreclearlythan
! wehaveyetheardit. (Thereisthefaintraspofacog
! whichneedsoiling.) The soundoffootstepsapproaching...
! thepurringchangesdirection.
!
! Mark...
!
! MARK (O.S.)
! It'salmostover...
!
! The purringisontopofher. Thereisasuddenthud.
!
! FADE IN:
!
! Mrs. Stephensisleaningagainstthewall... shehasdropped
! herheavystick. Itliesonthefloorafewfeetawayfrom
! her. Markis kneelingin frontofher- thetripodfirmly
! onthefloor.The cine-cameraispointingupwardsintoher
! face. He peersexcitedlyintotheviewfinder.
!
! MARK
! Pleaseletme finish! It'sfor
! Helen!
!
! Sheedgestow ardsherstick. He hurriesforwardandpicks
! itup. He looksatthespikeontheendofit- then
! carefullygivesittoherby thehandle.Shegraspsit
! tightl
y.
!
! MRS. STEPHENS
! Whatdoyoumean? It'sforHelen?
!
! MARK
! ShewantstoseesomethingI've
! photographed!
!
! He returnsexcitedlytohiscamera.
!
! MRS. STEPHENS
! My daughterseesenoughofmy face
! withoutphotographs...
!
! OnMark'sfocusingscreenWE SEE thefearonherface. Her
! handtremblesasshewipesawaytheperspiration.
!
! MARK (O.S.)
! Please... don'tbefrightened.
!
! MRS. STEPHENS
! Notfrightened! Hot!
!
! Butitisfearthatwearelookingat.
!
! MRS. STEPHENS
! Soputthatcameraaway...
!
! Onthefocusingscreenweseehermoistenherlips
! nervousl
y.
!
! MARK
! Yes!
!
! He switchesoffthecameraabruptly, andfoldsup the
! tripod.He turnsawaywithoutlookingather- andhurries
! tothedoor.
!
! CLOSE SHOT ofMrs. Stephenslisteningtohismovements-
! puzzled.
!
! MRS. STEPHENS
! In ratherahurry,aren'tyou?
!
! He glancestowardsher.
!
! From hisPOV WE SEE thefearin hereyes. He looksawayat
! once,staringintothedarkenedroom.
!
! MARK
! It'sla
te.
!
! From herPOV (shootingoverhershoulderwithalargeCLOSE
! SHOT ofherearin theforeground) WE SEE Markstandingin
! thedoorway- andhear,veryclearl
y,hisquick, uneasy
! breathing.
!
! MARK
! Youmustbetired...
!
! MRS. STEPHENS
! You'reanxioustogetridofme
! allofasudden.
!
! Wehearhisquickintakeofbreath.
!
! MRS. STEPHENS
! I won'tbeselfish... Youcantake
! somemorepictures- ifyouwant
! to...
!
! MARK
! No... thankyou.
!
! MRS. STEPHENS
! (quietly)
! Whynot,Mark?
!
! MARK
! Run outoffilm.
!
! MRS. STEPHENS
! Can'tyoufindsome- toplease
! Helen?
!
! He glancestowardsher- thenhurriesintothenextroom.
!
! MRS. STEPHENS
! Youdon'ttrustyourselftotake
! anymore, doyou?
!
!
! The tappingofherstickisoverlaid. Markhurriestothe
! doorandopensit- staringintothedimly litpassage.
! OverhisshoulderWE SEE hertappingherwaytow ardshim
! fromthedark-room.
!
! MRS. STEPHENS
! Instinct'sawonderfulthing,isn't
! itMark? A pityitcan'tbe
! photographed.
!
! Overhershoulderwefollowthesticktowardshim.
!
! MRS. STEPHENS
! ifI'd listenedtoityearsago,I
! mighthavekeptmy sight.
! (sheapproachesthe
! door)
! I wouldn'thaveletamanoperate
! I hadnofaithin... soI'm
! listeningtoitnow...
! (sheputsherface
! closetohim)
! Itsaysallthisfilmingisn't
! heal thy- andtha tyouneedhelp...
!
! His faceisaverted... hiseyesareclosed.
!
! MRS. STEPHENS
! ... getit, Mark... getit
! quickl y... anduntilyou'vegot
! it... I don'twantyouandHelen
! toseeeach...
!
! MARK
! I'llneverphotographher... I
! promiseyouthat.
!
! MRS. STEPHENS
! I'd ratheryoudon'thavethe
! chance.
!
! He turnstowardsher- asmallboywhosuddenlyunderstands
! whatcontagiousmeans...
!
! MRS. STEPHENS
! I meanit, Mark. Andifyoudon't
! listentome... oneofuswill
! movefromthishouse- whichwould
! be apity,becausewe'dneverfind
! acheaper...
!
! MARK
! You'llneverhavetomove... because
! ofme... I promiseyou.
!
! MRS. STEPHENS
! Goodboy.
! (shetakeshishand)
! The stairsarethedifficul
tpart...
!
! Theygointothepassage.
!
! INT. PASSAGE - NIGHT
!
! He guideshergentlydownthestairs. Overtheirshoulders
! WE CAN SEE thedoorofHelen'sroom.
!
! MRS. STEPHENS
! Farenough,Mark...
!
! He staresatHelen'sroom- thenlooksquicklyaway.
! Suddenlysheraisesherhands- andrunsthem gentlyover
! hisface...
!
! MARK
! takingmy picture?
!
! MRS. STEPHENS
! Yes...
!
! Wecanseehiseyesthroughheroutstretchedfingers.
!
! MARK
! It'sbeenalongtime... since
! anyonedid...
!
! MRS. STEPHENS
! Mark... what'stroublingyou?
!
! MARK
! Goodnight,Mrs. Stephens.
!
! He turnsawayabruptlyandhurriesup thestairs.
!
! MRS. STEPHENS
! ...you'llhaveto!
!
! ShelookstowardsHelen'sroom- thenturnsslowl
ytowards
! herown.
!
! HIGH ANGLE SHOT ofMrs. Stephensopeningthedoorofher
! room- andMarkopeningthedoorofhis.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofabottleofwhiskystandingbyabedside.
!
! INT. MRS. STEPHENS' BEDROOM - NIGHT
!
! Sheislyingin bed, staringattheceiling. WE HEAR
! footstepsmovingoverhead.
!
! CAMERA PANS tothewindow.Itisdark.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofthesamebottleofwhisky- nowalmostempty.
! Mrs. Stephens'heavybreathingisoverlaid.
!
! CAMERA PANS tothewindow.Itisdaybreak.
!
! The footstepsarestillmovingaboutabove;thingsare
! beingdraggedacrossthefloor.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofHelenin adressing-gownlookingoutofa
! window.
!
! INT. HELEN'S ROOM - MORNING
!
! From Helen'sPOV WE SEE Markhurryingdownthestreet,his
! cameraoverhisshoulder.
!
! DISSOLVE TO:
!
! CLOSE SHOT oftheInspectorlookingoutofawindow.
!
! INT. DON JARVIS' OFFICE. MORNING
!
! From hisPOV WE SEE Markhurryingalongthestudio
! quadrangle,hiscameraoverhisshoulder.He isoneofa
! crowdofpeoplescurryingtow ardstheirjobs.Camerapulls
! back- DonJarvisisseatedathisdesk.
!
! ArthurBadenandtheChiefPublicityManareseatedin
! frontofhim. The Sergeantstandsbythedoor.
!
! JARVIS
! Haveyouanysuspicions,Chief
! Inspector?
!
! INSPECTOR
! Itcouldbeanyofthem...
!
! SERGEANT
! That'sthetroublewithfilm people-
! they'reallpeculiar...
! (hastily)
! ... presentcompanyexcepted.
!
! He catchesaglarefromthegreatman.
!
! PUBLICITY MAN
! Speakingofpeculiarpeople.
!
! The Inspectorturnsround.
!
! PUBLICITY MAN
! We'veapsychiatristcomingdown
! today.Dr Rosen-
!
! INSPECTOR
! I knowhim.
!
! PUBLICITY MAN
! It'spurepublicity- andI promise
! hewon'tdoanywork.
!
! INSPECTOR
! Whatwillhedo?
!
! PUBLICITY MAN
! Gethimselfphotographed... We're
! tellingthepresshe'shereto
! help thecase- andtoseeifhe
! canspotthemurderer.
!
! SERGEANT
! Andthebestofluck!
!
! JARVIS
! Doyouobject.ChiefInspector?
!
! INSPECTOR
! No...
!
! The PublicityMansighswithrelief.
!
! INSPECTOR
! I'llbe frank. I'd welcomeanyone's
! help... I don'tknowhowthismaniac
! kills- orwhyhekills- orwho
! he'llkillnext,butif heisn't
! caughtquickl y...
! (he shrugs')
!
! BADEN
! Inspector,haveyouconvinced
! yourselfhe'samemberofmy unit?
!
! INSPECTOR
! No,sir... butafewthingsseem
! topointtoit... Nooneoutside
! yourunitadmitstoknowingthe
! girl... Therewasatrunkallready
! forher... andwiththeriskshe
! wasrunning,I thinkhe'dhaveto
! usesurroundingshewasfamiliar
! with... Whereisyourunitnow?
!
! BADEN
! Waitingforme ontheset.
!
! INSPECTOR
! I'd liketowatchthem attheir
! jobs,sir. Itmay tellme more
! thanahundredinterviews.
!
! BADEN
! But,Inspector,thestrainonthem
! isalready...
!
! JARVIS
! Come now,Arthur,if that'swhat
! theInspectorwants.
!
! INSPECTOR
! I'm afraiditis, sir... nowwhere
! couldI getthebestview?
!
! BADEN
! (sulkily)
! Onthedoll y... thecamera... You
! canwatcheveryoneandeverything
! fromthere... includingme!
!
! INSPECTOR
! Verywell,sir... I'llbecomea
! memberofyourcameracrew...
!
! BADEN
! (toDonJarvis)
! ... if theunionsdon'tobject!
!
! DISSOLVE TO:
!
! INT. STAGE
!
! A memberofthecameracrewplaceshiscine-cameraand
! lunchbagonashelf.Snatchesofwhisperedconversations
! areoverlaid.
!
! VOICE 1
! I hearthey'remakinganarrest
! today.
!
! VOICE 2
! hopeit'sD.J. It'sabouttime
! theycaughtupwithhim!
!
! Markturnsroundandwalkstow ardsthesmallgroupofpeople
! assembledroundthestudiocamera-
!
! DISSOLVE TO:
!
! CLOSE SHOT ofabookentitledThe ArtofFly Fishing.
!
! INT. CAR - DAY
!
! ThroughthewindscreenWE SEE theentrancetothestudio.
! The driverglancesroundathispassengerwhosefaceis
! completelyobscuredbythebook.AllWE CAN SEE isashock
! ofwhitehairprotrudingabove
!
! DRIVER
! We'rethere, Doctor.
!
! DOCTOR
! (toSergeanton
! gate)
! Dr Rosen! Whatapity.
!
! He continuesreading. The carentersthestudio.
!
! DISSOLVE TO:
!
! INT. STAGE E. - DAY
!
! The (studio) cameraisreadyforatrackingshot.The set
! isredressedastheHatDepartmentofthestore.The
! Inspectorstandsonthedoll y,lookingroundwithinterest.
!
! The Doctorissittingin achairwatchingeverythinglike
! anexcitedschoolboy.The Sergeanthaspositionedhimself
! nearthesoundcrew.
!
! Badenwalksontotheset,hisarm roundDiane'sshoulder.
! He istalkingtohersoftl
y. Shekeepshereyesonthe
! floor;heleadshertothefrontofthestudiocamera.
!
! BADEN
! Tryit, darling... We'llallbe
! withyou.
!
! He patsherarm reassuringl
y. The ChiefCameramannodsto
! Mark.
!
! From theInspector'sPOV WE SEE Markpullatapemeasure
! fromthefrontofthecameraandholdittoDiane's
! forehead. From Mark'sPOV WE SEE theInspectorwatching
! him overthetopofthestudiocamera. A manwithashock
! ofwhitehairisalsowatchinghim... andtheSergeant
! staresathim fromtheothersideoftheset.The tape
! measurein Mark'shandremainssteady.
!
! From theInspector'sPOV WE SEE Markreplacethetape
! measureandtakeuphispositiononasmallstoolbythe
! sideofthecamera.
!
! (shouting)
! Quiet,everyone. Let'srunit!
!
! The Doctorsneezesviolently- andallheadsturntowards
! him.
!
! DOCTOR
! Terriblysorry.
!
! In thenervouslaughtertha
tfollows,theAssistant
! CameramanwhisperstotheChiefCameraman.
!
! ASSISTANT CAMERAMAN
! Thatsneezergeezer'sa
! psychiatrist!... Hearditonthe
! grapevine.
!
! CLOSE SHOT ofMarkturningroundtolookattheDoctor- a
! hintofhopein hisface.
!
! CLOSE SHOT oftheInspectorfollowingMark'sglance.
!
! (shouting)
! Allright,everyone- let'srun
! it...
!
! OvertheInspector'sshoulderWE TRACK tow ardsthe
! rehearsal.WE SEE Markswingoutintospaceonhisstool,
! turningthehandleofthefocus-puller.Dianeapproaches
! thehatcounter.The Assistantsmilesather.
!
! DIANE
! I'd liketosee... thatone...
!
! The Assistanthandsherahat.Dianetriesiton.
!
! DIANE
! ... haveyouit... in red...?
!
! ASSISTANT
! Certainl
y,madam.
!
! DIANE
! ... in... red
! (suddenlyshecovers
! herfacein her
! hands')
! I can't! I can't,Arthur!
!
! Sheburstsintotearsandrunsofftheset.From the
! Inspector'sPOV WE SEE BadenwhispertotheAssistant
! Director- thenhurryafterDiane.
!
! Tenminutesbreak,everyone!
!
! The unitdissolvesintosmall,chatteringgroups. The
! AssistantDirectorhurriesuptotheDoctor.
!
! Canyousuggestanything,Doctor?
!
! DOCTOR
! No. Itlookedjoll
yinterestingto
! me.
!
! I meantohelpher
! psychologicall
y...
!
! DOCTOR
! Yes. Givethegirlaproperrest...
! Tenminutesisuseless!
!
! (hastily)
! Thankyou,Doctor.
!
! He bustlesoffandtheDoctorisleftalone.He glances
! roundthoughtfull
y.
!
! From theDoctor'sPOV WE SEE thesmall,chatteringgroups.
! ThenweseeMarkstandingafewyardsaway,watchinghim.
! The Doctorsmilesathim pleasantl
y.
!
! DOCTOR
! What'syourjob?
!
! MARK
! I'm afocus-puller...
!
! DOCTOR
! Oh... soam I, in away.
!
! MARK
! I waswonderingifyouknewmy
! father- ProfessorLewis...
!
! DOCTOR
! Professor... butofcourseI knew
! him. He lecturedtome.
!
! He looksatMarkwithrenewedinterest.Sodoesthe
! Inspector.
!
! From hisPOV WE SEE MarkandtheDoctortalking. The Doctor
! isfidgetingwithhiswatchchain. Markfidgetswithhis
! jacketbutton.The InspectorthenglancestowardstheHat
! Salesman, whoisholdingcourtin thecomer. Wereturnto
! MarkandtheDoctor.
!
! DOCTOR
! He wasanextraordinaryman- quite
! brilliant!
!
! MARK
! Youknowwhathewasinterestedin
! beforehedied?
!
! DOCTOR
! No? Tellme...
!
! Markputshishandsbehindhisback.
!
! MARK
! I don'trememberwhathecalled
! it... Itwassomethingtodowith
! whatcausespeopletobe... peeping
! Toms...
!
! DOCTOR
! Scoptophilia!... Thatwouldinterest
! him! A mostfertilemind.
!
! MARK
! Scopto...?
!
! DOCTOR
! philia... Themorbidurgetogaze...
! Coinedsincehisday... Haveyou
! anymanuscriptsofhiswhichI
! could...?
!
! MARK
! He thought... itcouldbecured...
!
! DOCTOR
! Usuall
y. Nowabouthismanuscripts-
!
! MARK
! Quickly?
!
! DOCTOR
! The cure?Veryquick... A couple
! ofyearsanalysis- threetimesa
! week- anhouratime - andit's
! soonup-rooted...
!
! CLOSE SHOT ofMark- hislasthopegone.
!
! DOCTOR
! ... if you'veanyofhispaperson
! thesubject?
!
! MARK
! Yes, Doctor...
!
! DOCTOR
! I'd liketoseethem - I'llgive
! youmy address,youngman.
!
! From theSergeant'sPOV WE SEE theDoctorhandMarkacard,
! andpathim joviallyontheshoulder.The Sergeantedges
! uptotheInspector.
!
! SERGEANT
! Wonderwhatallthat'sabout?
!
! INSPECTOR
! We'llfindoutafterwards... Now,
! listen... I wantyoutowatchwho
! bringstheirownlunches... Someone
! atehomemadecakesandsandwiches
! bythesideofthosebushes- and
! wemay getalead.
!
! SERGEANT
! Right,sir.
!
! CAMERA PANS toashelfin thecomer. A lunchbasketstands
! nexttoacine-camera.
!
! DISSOLVE TO:
!
! WE HEAR theAssistantDirectorcallout:
!
! We'restoppingatfourtoday- so
! haveaquicklunch,everyone! Back
! attwosharp!
!
! FADE IN onthelunchbasket.
!
! Overlaidisthenoiseoftheunitdispersing. Markpicks
! uphiscamera- thenreachesforthelunchbasket.An urgent
! voicewhispersbehindhim.
!
! VOICE
! Hey, Mark!
!
! He turnsround. TheClapperBoyisstandingthere. The
! ClapperBoyglancesroundcarefully. The Inspectorand
! Sergeantarewanderingcasuall
ytow ardsthedoor.
!
! CLAPPER BOY
! Can'twaittoshowyouthis!
! (bringingouta
! smallpostcard)
! I oughttochargeyou!
!
! He winksatMark, giveshim thepostcard.
!
! CLOSE SHOT ofthepostcard. WeseeMilly'sfaceandnaked
! shouldersframedbetweenMark'shands.
!
! CLAPPER BOY (O.S.)
! Youdon'tgetthatin Sightand
! Sound- Isn'tsheterrific? Got
! somemore- ifyou'reinterested?
!
! Markhandsitback.
!
! MARK
! You'vegivenme... anidea...
!
! CLAPPER BOY
! I'llbetI have!
!
! Markturnstowardstheexit.
!
! CLAPPER BOY
! Hey! Whereareyougoing?
!
! MARK
! Phone- may bemy lastchance-
! and... thanks.
!
! CLAPPER BOY
! Butyourlunch?
!
! MARK
! Youhaveit!
!
! He hurriesexcitedlytowardstheexit...
!
! CLOSE SHOT oftheClapperBoystaringathisphotograph.
!
! CLAPPER BOY
! ... somephotograph! Welllittoo!
!
! He reachesforthelunchbasket,thenwalkstowardsthe
! exitwheretheSergeantiswaitingcasuall
y.
!
! CUT TO:
!
! INT. CAMERA ROOM
!
! Markistalkingatacoin-boxtelephone.
!
! MARK
! Can'tmanageSaturday,sir, but
! they'relettingusoffearlytoday!
! Thisafternoon- afterwork- may
! be my lastchance!
!
! WhileMarkistalkingheisscribblingonaform. He has
! somemorepenniesreadyforthecoin-box.
!
! CROSS CUT TO:
!
! INT. NEWSAGENT'S SHOP - DAY
!
! MR. PETERS
! ... behereatsixo'clock. Milly'll
! be waiting.
!
! MARK
! Sixo'clock...
!
! MR. PETERS
! Onthedot,Mark, orshe'llgo.
!
! MARK
! I'llbe there, sir.
!
! MR. PETERS
! You'dbetterbe!
!
! INT. CAMERA ROOM
!
! Markringsoff.He issmiling. He putsin another4d(Four
! Pence) anddialsanumber. His penispoisedovertheform
! heisfillingin.
!
! MARK
! Hallo?Is thatthePublicLibrary?
! ... YouhaveaMissHelenStephens
! employedthere? Yes... canyou
! tellme ifhernameisspel twith
! aV oraPH, I wanttosendhera
! tic-PH? ... Thankyou.
!
! Weseetheform isalastwillandtestament. I, Mark
! Lewis, etc., etc., leave,etc., etc., toMissHelenSte-
! ensallmy worldl ygoods,etc. He fillsin PH.
!
! INT. CAMERA ROOM
!
! The doorburstsopenandtheClapperBoyappears.
!
! CLAPPER BOY
! They'rewaiting!
!
! CUT TO:
!
! THE SET - DAY
!
! CLOSE SHOT ofDr. Rosensmiling.
!
! DOCTOR ROSEN
! He askedif I knewhisfather...
! whichI did... abrilliantman!
!
! EXT. GROUNDS OF STUDIO - DAY
!
! The InspectorandDoctorarestandingbythebusheswhere
! MarkandVivianmet.
!
! INSPECTOR
! Is thatallhewanted?
!
! DOCTOR
! thinkso... wehadalittlechat
! aboutscoptophilia- andhe'sgoing
! toshowme...
!
! INSPECTOR
! Aboutwhat?
!
! DOCTOR
! Voyeurism.
!
! INSPECTOR
! Eh?
!
! DOCTOR
! WhatmakespeopleintoPeeping
! Toms, oneofhisfather'ssubjects,
! apparentl
y.
!
! INSPECTOR
! (slowly)
! PeepingToms...
!
! DOCTOR
! An interestingboy... hehashis
! fa
ther'seyes... youdon'tsuspect
! him, doyou?
!
! INSPECTOR
! I suspect'em all- whatabout
! you?
!
! DOCTOR
! I'm interestedin thatchap with
! thebaldheadandhatchetface...
! there'ssomethingonhismind!
!
! INSPECTOR
! Nowonder... he'sthedirector!
!
! He turnsawaythoughtfull
y.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofMarkglancingimpatientlyathiswatch.
!
! INT. STUDIO - DAY
!
! CLOSE SHOT ofBadenglancingathiswatch... He whispers
! totheAssistantDirector.
!
! Allright,everyone. Thisisthe
! lastshot... Make itagoodone!
!
! CAMERA PANS toacomerofthestudio. The Inspectorand
! Sergeantstandin theshadows.
!
! INSPECTOR
! (quietly)
! Gotyourlist,Sergeant?
!
! SERGEANT
! (he producesif)
! YES, SIR.
!
! INSPECTOR
! I wanttoseehowsomeofthem
! spendtheirsparetime...
!
! SERGEANT
! Whichones,sir?
!
! INSPECTOR
! Exactl y,Sergeant...
! (he looksround
! thoughtfull
y)
! ... whichones?
!
! DISSOLVE TO:
!
! CLOSE SHOT ofsign: PUBLIC LIBRARY.
!
! EXT. PUBLIC LIBRARY - DAY
!
! LONG SHOT ofverymodern,glass-walledbuilding. Helen
! comesoutwithamanuscriptin aparcelunderherarm.
!
! EXT. PUBLIC LIBRARY - DAY
!
! Markwatchesher. Beyondhim standsaninsignificant-looking
! manin araincoat.
!
! EXT. LIBRARY
!
! Helenlooksatherwatch.
!
! EXT. LIBRARY
!
! Marklooksathis.
!
! INSERT: 5.45.
!
! EXT. LIBRARY
!
! Helenhurrieshomeward.
!
! EXT. LIBRARY
!
! Markslowl yturnshisbackandwalksaway,graduall y
! gatheringspeed. The manin theraincoatfollowshim.
!
! EXT. NEWSAGENT'S SHOP. LATE AFTERNOON
!
! Markhurriestow ardstheshop... aheadofhim astreet
! clockstandsatjustonsix. Markunslingshiscine-camera
! andphotographsthisclock... thenhehurriesintothe
! shop.
!
! The manin theraincoatwalksintocamera. He looksatthe
! clock,puzzled,thenglancesatthenewsagent'swindow.He
! gazeswithinterestatMark'sphotographofMill y, then
! walksthoughtfullydownthestreet.
!
! Alltheclocksin thekingdomchime thehourofsix.
!
! INT. NEWSAGENT'S SHOP - LATE AFTERNOON
!
! Mr. Petersisbehindthecounter.
!
! MR. PETERS
! Don'tmakeahabitofthis!
!
! MARK
! I won't,sir.
!
! MR. PETERS
! Milly'supstairs.
!
! MARK
! Right,sir.
!
! He turnstothedoor.
!
! MR. PETERS
! I'vegottogoout... If youfinish
! beforeI'm back, lockup andput
! thisthroughtheletter-box...
! (he holdsoutakey)
!
! CLOSE SHOT ofMarkstaringatthekey.
!
! MR. PETERS
! What'sthematter?Haven'tyou
! everseenakeybefore?
!
! Marktakesthekey. He startstosmile.
!
! MR. PETERS
! The tillwillbeempty- iftha
t's
! whatyou'resmilingabout.
!
! Markturnstothedoor.
!
! MR. PETERS
! YouknowwhatI wantnow! Nofancy
! stuff...
!
! Markgoesintotheinnerroom; heisstillsmiling.
!
! DISSOLVE TO:
!
! EXT. NEWSAGENT'S SHOP - LATE AFTERNOON
!
! From theoppositesideofthestreet,weseeMr. Peters
! lockingthedooroftheshop, andhurryingdowntheroad.
! The manin theraincoatwatcheshim, puzzled.
!
! CLOSE SHOT ofMilly- veryangry,in adressing-gown.
!
! MILLY
! You'vespoiledmy wholeevening,
! youhave!
!
! INT. NEWSAGENT'S STUDIO - LATE AFTERNOON
!
! Markclosesthedoorbehindhim.
!
! MARK
! Sorry,Mill
y.
!
! MILLY
! What'stheidea?
!
! MARK
! I shan'tbeheretomorrow.
! (he hurriestothe
! window)
!
! MILLY
! Why? Goingonmanoeuvreswiththe
! boyscouts?
!
! He startstodrawthecurtains- andstopssuddenl
y. Over
! hisshoulderWE SEE themanin theraincoatstandingon
! theoppositesideofthestreet.
!
! MARK
! I thoughtso!
!
! Markraiseshiscine-cameraandcarefull yphotographsthe
! Detectivethroughachinkin thecurtains.
!
! MILLY
! Haveyougoneabsolutel
y...
!
! MARK
! I'm just... completinga
! documentary.
!
! MILLY
! You'readocumentandahalf,you
! are. Is itsafetobe alonewith
! you?
!
! He drawsthecurtains- andturnsround.
!
! MILLY
! ... mightbemorefunifit
! wasn't...
!
! He turnsroundandwalksslowl
y- andalittlesadly-
! towardsher
!
! BLACK OUT: The screenremainsdarkforamoment.
!
! FADE TO:
!
! AN HOUR LATER - EARLY EVENING
!
! From theDetective'sPOV, WE SEE thechinkoflightbetween
! thecurtainsofawindowabovethenewsagent'sshopgo
! out.CAMERA TRACKS TOWARDS thedooroftheshop. Markcomes
! out,hiscine-cameraoverhisshoulder.He hasakeyin
! hishand. He closesthedooroftheshop... thenlooksat
! thekey. He fitsitintothelock- thenslipsitthrough
! theletter-box.He turnsandhailsataxi.
!
! CLOSE SHOT oftheDetective. He looksattheshop,
! hesitates,decidestofollowMark- hailsanothercab.
!
! EXT.STREET
!
! Markgetsintohistaxi. As thedriverpullsdownthe
! flag...
!
! CUT TO:
!
! Mrs. Stephens'headfallingontoherchest.
!
! INT. MRS. STEPHENS' BEDROOM - EARLY EVENING
!
! Sheislyingin bed- completelydrunk- snoringlustil
y.
! A handsmoothsherforehead.
!
! CAMERA PULLS BACK
!
! Helenis leaningoverthebed. Shehashercoa
ton.
!
! HELEN
! Darling...
!
! Sheshakeshermother'sshoulders.Mrs. Stephenssnores
! on.
!
! HELEN
! Darling.
!
! Sheshakesheragainóbutitishopeless.Helenpullsthe
! bedclothesroundhermother,thenturnsaway. Shepicksup
! alargeenvelopeandherhandbag,andhurriestothedoor.
!
! INT. PASSAGE. MARK'S HOUSE - EARLY EVENING
!
! Helenwalkstowardsthestairs. The doorofTony'sroom
! opens,andhepokeshisheadround.
!
! TONY
! Hallo.
!
! HELEN
! Hallo,Tony...
!
! TONY
! Whereareyougoing?
!
! HELEN
! ToleavesomethingforMark...
!
! TONY
! Youhaven'tmuchtime forme these
! days.
!
! HELEN
! Tony...
!
! TONY
! It'sallright- I'llbe here- if
! youwantme.
! (he turnstohis
! room)
! ... bytheway... yourmotherwas
! yellingoutsomethingbeforeyou
! camein... aboutMarkphotographing
! her.
!
! HELEN
! PhotographingMother?Youmustbe
! mistaken!
!
! TONY
! Ofcourse. Seeyousometime.
!
! He goesintohisroom, closingthedoor.Shestaresafter
! him foramoment,thenhurriesupthestairs.
!
! INT. PASSAGE BY MARK'S ROOM - DAY
!
! Helenknocksonthedoor.
!
! HELEN
! Mark...?
!
! Noanswer.Sheknocksagain, thenopensthedoorandgoes
! inside.
!
! INT. MARK'S SITTING ROOM - EARLY EVENING
!
! Helenentersandglancestowardsthedoorofthedark-room.
!
! HELEN
! Mark? Noanswer.Shelooks
! thoughtfull
yattheenvelopein
! herhand- thengoesin tothe
! dark-room.
!
! INT. MARK'S DARK-ROOM
!
! Helenfumblesforaswitch... shefindsoneandpresses
! it. A spotlightfallsonMark'sprojector,throwingits
! shadowontothedazzlingwhitescreen. Helensmiles,and
! walkstow ardstheprojector.
!
! EXT. HOUSE - DAY
!
! Taxi arrivesandMarkgetsout.
!
! INT. POLICE PHONE BOOTH - EARLY EVENING
!
! DETECTIVE
! ... don'tknowwhattomakeofit,
! sir... He wenttoalibrary,a
! solicitor'soffice, anda
! newsagent'sshop- private
! photographythere, if youaskme.
! ShallI hangaroundoutsidethe
! house,sir? Don'tthinkso,
! either... Allright,sir,I'll
! giveyouthedetailswhenI get
! back... Bye, sir.
! (he replacesthe
! receiver)
!
! CLOSE SHOT ofHelen. Sheisstandingbytheprojector,
! holdingherenvelopethoughtfull
y.
!
! INT. MARK'S DARK-ROOM
!
! Shesmilessuddenlyandopensherenvelope. Shetakesout
! aboundmanuscript. Weseealabelonthemanuscript: The
! MagicCameraby HelenStephens. Shetakesapencilfrom
! herpocket,andopensthemanuscript. Thenshesitsat
! Mark'stableandwritesanoteonthefl yleaf.The projector
! isatherelbow.
!
! DISSOLVE TO:
!
! A telephoneby aman'selbow.Itrings.
!
! INT. SCOTLAND YARD - EVENING
!
! The ChiefInspectorsnatchesupthetelephone.
!
! CHIEF INSPECTOR
! ChiefInspectorGregg! What? Put
! him ontheline...
!
! CROSS CUT TO:
!
! Mr. Peters- lookingverysick- onthetelephone.
!
! MR. PETERS
! wentup tolookaround- found
! her.
!
! CLOSE SHOT oftheChiefInspector.
!
! CHIEF INSPECTOR
! Yes, yes... What'stheaddress?
! ... Newsagent'sshop? ... Did you
! saynews...?
!
! He slamsdownthereceiver,andjumpstohisfeet.
!
! DISSOLVE TO:
!
! EXT. ROAD - EVENING
!
! An emptytaxicruisingdownthestreet.Itpassesthe
! Detectivein theraincoa
twalkingawayfromMark'shouse.
!
! DISSOLVE TO:
!
! CLOSE SHOT ofanoteonafl yleafwhichreads'From one
! MagicCamera- whichneedsthehelpofAnother'.
!
! INT. MARK'S DARK-ROOM - NIGHT
!
! Helenclosesthemanuscriptandlaysitcarefullyby the
! sideoftheprojector.Sheturnstoleave- thenlooks
! curiouslyattheprojector.
!
! CLOSE SHOT ofHelen- hesitating. Likeasmallgirlin
! frontofhermother'smake-upbox,shetouchestheprojector
! tentativel
y, hesitatesagain, thenpressesaswitch. A
! beam oflightshootsout.WewatchHelen'sfaceasshe
! looksatthescreen. Nothingseemswrongforafewseconds-
! thensomethingstartstohappentothecomersofher
! mouth... andthenhereyesbecomelocked... andcannot
! stopwatching. Somekindofsoundcomesfromthebackof
! herthroa t.Her handsdigintothetableandshetriesto
! standup. Shecannotmanageitthefirsttime - andkeeps
! onwatching,then,likeachildwakingfromanightmare,
! shejerksherselfawayfromthetable,andstumblestow ards
! thedoor.
!
! CLOSE SHOT ofMarkstandingthere- watchingher.
!
! CLOSE SHOT ofHelenstaringathim... againwehearthat
! soundfromthebackofherthroa
t.He looksawayfromher
! atonce.
!
! MARK
! Don'tletme seeyou...
! frightened...
! (he pushesthedoor
! wideopen...)
! Leave!
! (he looksather-
! thenlooksquickly
! away)
! Hurry,Helen!
!
! HELEN
! Not...
!
! MARK
! Leave!
!
! HELEN
! Not...
! (sheturnsaway
! fromhim andforces
! thewordsout)
! ... tillI know...
!
! MARK
! Now!
!
! Shestandswithherbacktohim. From REVERSE ANGLE wesee
! herstrugglingforbreath. OverhershoulderWE SEE him
! staringatthe16mm screen.
!
! HELEN
! Thatfilm...
!
! Overhershoulderweseehim hurrytowardstheprojector.
!
! HELEN
! Thatfilm...
!
! The soundofhim switchingitoff.
!
! HELEN
! ... is... justafilm...
!
! Shewheelsroundtowardshim.
!
! HELEN
! ... isn'tit?
!
! From REVERSE ANGLE weseeherlookingathim.
!
! HELEN
! ... horrible... horrible... but...
! justafilm... isn'tit?
!
!
! MARK
! No...
! (he walkstow ards
! thedoor)
! I killedthem...
! (he locksthedoor
! withahintof
! sadness)
! Andnowthatyouknow... I want
! youwithme... awhile.
!
! CLOSE SHOT ofHelenónotenoughbreathtoscream... hardly
! enoughtobreathe.
!
! MARK
! You'llbesafe- aslongasI can't
! seeyoufrightened- sostandin
! theshadows,Helen... please...
!
! Shestandsmotionless.
!
! MARK
! ... please...
!
! From herPOV WE SEE him standingin frontofthedoor,
! lookingaheadofhim. Shebacksslowl
yawayintotheshadows
! atthebackoftheroom.
!
! HELEN
! She'sright... yourmother... must
! tellsomeoneeverything... sorry...
! hastobe you!
!
! CLOSE SHOT ofHelenstandingin theshadowswherehermother
! stood.
!
! HELEN
! Thiswashislaboratory... andyou
! knowsomeofwhathedid... but
! notall.
!
! The roomis suddenlyfilledwiththeterrifiedscreaming
! ofasmallboy.Helenwheelsround. Thescreamingseemsto
! becomingfromthewalls.Mark'shandisonaswitch- one
! ofanumberonapanel.
!
! MARK
! ... agedfive...
!
! He pressesanotherswitch. Thereisaclick, andthe
! screamingstops,tobereplacedbyalowsobbing.
!
! MARK
! ... agedseven...
!
! He pressesanotherswitch. Thereisamoment'ssilence.
!
! MARK
! Alltheroomswerewiredfor
! sound... and... stillare.
!
! WE SUDDENLY HEAR thetickingofaclock.
!
! MARK
! Yourroom.
!
! CLOSE SHOT ofHelen- listening.
!
! MARK
! Yourmother's.
!
! The clickofaswitch- andwehearaloudsnoring.
!
! MARK
! Tony's.
!
! The clickofaswitch- andwehearTony'svoice.
!
! TONY (O.S.)
! Noonewillcomein... honestl
y,
! darling...
!
! GIRL'S VOICE (O.S.)
! I don'tcare!
!
! TONY
! Butdarling...
!
! GIRL'S VOICE (O.S.)
! Stopit, Tony!
!
! Marklistenswithinterest.
!
! HELEN
! (quietly)
! Turnitoff!
!
! He doesso- atonce. Shewalkstowardshim. He turnsaway
! fromher.
!
! HELEN
! Lookatme, Mark!
!
! MARK
! Notif you'refrightened...
!
! HELEN
! Lookatme!
!
! Slowl
yhefacesher.
!
! HELEN
! Whatdidyoudo... tothosegirls?
!
! MARK
! No.
!
! HELEN
! Whatdidyoudo,Mark...?
!
! He triestoturnaway- butshefollowshim.
!
! HELEN
! If youwanttotormentme... for
! therestofmy life... thenmake
! me imagine!
!
! CLOSE SHOT ofMark- hiseyesclosed.
!
! HELEN
! Whatdidyoudo... tothosegirls?
!
! MARK
! Can't...
!
! HELEN
! Showme, Mark...
!
! MARK
! Butif you'refrightened...
!
! HELEN
! Showme - orI'llremain
! frightened... fortherestofmy
! life. Showme!
!
! He turnstohiscine-camera,andpicksitup. He releases
! thetripod.
!
! CAMERA HOLDS onHelen. Shestandsverystillagainstthe
! wall.Mark'svoiceisoverlaid.
!
! MARK (O.S.)
! Doyouknow... whatthemost
! frighteningthingin theworld
! is?...
!
! Sheislookingatsomething,puzzled.
!
! MARK
! It'sfear.
!
! The soundofhisfootstepsapproaching...
!
! MARK
! SoI didsomething... verysimple...
!
! WE SEE alookoffearspringintohereyes.
!
! MARK
! Verysimple.
!
! WE SEE thespikeapproachingherthroa
t... butsheis
! lookingatsomethingelse.
!
! MARK
! Whentheyfel tthespike... touching
! theirthroa
ts... andknewI was
! goingtokillthem...
!
! The spikeis touchingherthroa
t.
!
! MARK
! ... I madethem - watchtheirown
! deaths!
!
! CLOSE SHOT ofHelen'sfaceseveraltimesitsnaturalsize.
! Sheislookingatherselfin alargecircularmagnifying
! mirrorwhichhasbeenfittedoverthecamera'sface. The
! mirrorentirelyobscuresbothMarkandthecamera.There
! isasmallholein themirrorthroughwhichthelensof
! thecamerawinks. AsHelenlooksatherterrifieddistorted
! facethissmallholegivesheranextraeyein themiddle
! ofherforehead.
!
! MARK
! Madethem seetheirownterroras
! thespikewentin... andifdeath
! hasaface,theysawthattoo!
!
! CLOSE SHOT ofMark- crouchingbehindthemirror,sweat
! pouringdownhisforehead... hisfingeronthetriggerof
! thecamera.
!
! MARK
! Notyou! Notyou! I'llnever
! photographyou! I promised- I
! promised- Notyou!
!
! Helen'seyesareclosed. The spikeisstilltouchingher
! throa
t.
!
! CLOSE SHOT ofMarkóhisfaceturnedawayfromthe
! viewfinder.
!
! HELEN
! ... frightened... foryou...
!
! There'sthesoundofacarpullingup. He hurriestothe
! otherroom.
!
! EXT. HOUSE - NIGHT
!
! The Policearrive: threecars. Markappearsatanupstairs
! windowwithhiscamera.
!
! SERGEANT
! Lookout!
!
! He thinksMarkhasagun. Theyallduck. Markraiseshis
! cameraandphotographsthem. The Policerecoverandcharge
! forthehouse. Markdisappears.
!
! INT. DARK-ROOM - NIGHT
!
! Markhurriesbackintotheroomcarryinghiscamera. He
! knowsexactlywhathehastodo.
!
! HELEN
! Mark! Mark! Giveyourselfup!
!
! MARK
! I'vebeenreadyforthis... for
! suchalongtime...
!
! Rapidlyhefixeshiscameraontoahookonthewall.Then
! headjuststhetripodsothatthespikesprotrudetowards
! him...
!
! HELEN
! Whatareyou...
!
! MARK
! It'llbeallright.
!
! He makeschalkmarksonthefloorin frontofthecamera,
! thenswitchesonallthefloodlights.WE CAN HEAR the
! Policemenpoundingonthedoor.
!
! MARK
! I canbeatthat!
!
! He crossestoaswitch- pressesit. The roomisfilled
! withasmallboy'sscreaming.
!
! HELEN
! Giveyourselfup... Mark!
!
! He standsnexttoher,andlooksathislongarrayof
! cameras.WE SEE thateachoneofthem hasbeenfittedwith
! asmallmetaldisc(a delayedrelease), andthatsomeof
! theoldercamerashaveflashlightsattached.
!
! MARK
! Watchthem, Helen... Watchthem
! saygoodbye- onebyone-
! (he pressesamaster
! switchonthewait)
! I'vetimedthis... sooften...
!
! Slowl yhewalkspasthiscameras.As hedoes,themetallic
! disconeachoneexplodeswithalittleplop- andtheeye
! ofeachcamerawinksonceasif in salute.Somegooff
! withflashlightsoneithersideoftheroom. The soundof
! footstepshurryingupthestairs.
!
! AheadofMark- comingsteadilycloseróarethespikesof
! thetripod.The mirroronthecine-camerareflectsthe
! approach- andHelen'sterrifiedface.
!
! HELEN
! No- No!
!
! The child'sscreamingreachesitspeakasMarkapproaches
! thespikes... Aheadofhim, onthesmalltablewherehis
! projectorstands,isHelen'sbookThe MagicCamera.
!
! MARK
! I wish... I couldhavefoundyour
! facesforyou...
!
! The Policemenarenowrattlingonthedark-roomdoor.
!
! MARK
! Helen- I'm afraid!
!
! Weseehisface, terrified, in themagnifyingmirror.The
! spikesareagainsthisthroa t.The eyeofthecamerais
! winkingrapidly.
!
! MARK
! I'm gladI'm afraid!
!
! Heavyshouldersarepressingagainstthedark-roomdoor...
! asitbreaksin, Marklungesforwardagainstthespikes.
! The cine-cameraiswrenchedawayfromthewallashefalls
! back. He crashesagainstthesmalltable,whichfallsover.
! He isnotpartedfromhiscamera- itisfixedtohim by
! thetripod,andfallsbackwithhim, coveringhisface
! likeacanopy. WE SEE hisfacein thelensofthecine-
! camera. andWE SEE hishand- lyinglimp onthecoverof
! The MagicCamera.
!
! The Policemenhurryintotheroom. Theystaremotionless
! atwhattheysee.
!
! CLOSE SHOT ofHelen- herfaceburiedin herhands.
!
! The child'sscreamingstopssuddenl
y... andin theabsolute
! silencewhichfollowsWE HEAR thevoiceofMark'sfather:
!
! FATHER'S VOICE (O.S.)
! Don'tbe asillyboy... there's
! nothingtobeafraidof...
!
! Andasmallvoiceanswers.
!
! CHILD'S VOICE (O.S.)
! Goodnight,Daddy...
!
! The spotlightsbegintodim... The dazzlingwhiteofthe
! 16mm screenfadesslowl yintogreyness...
!
! The roomis filledwiththegentlebreathingofasmall
! child.
!
! FADE OUT:
!
! THE END

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