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Table Of Contents

INT. MARK'S ROOM -NIGHT
OTHER CREDITS FOLLOW... behindthemwecanseeDora'shands
BeforetheDIRECTOR'SCREDIT:
LONG SHOT. AMBULANCE -DAY
EXT. STREETS BY DORA'SHOUSE -DAY
CLOSE SHOT ofaSMALL MAN lookingatuscuriouslyashe
Aboveitisacaption:BRUTALLY MURDERED
EXT. A NEWSAGENT'SSHOP -DAY
INT. NEWSAGENT'SSHOP -DAY
AnELDERLY GENTLEMAN isstandingthere
ELDERLY GENTLEMAN
I... er...havebeentoldbya
INT. REAR OFNEWSAGENT'SSHOP -DAY
FromREVERSE ANGLE WE SEE MarkventureashysmileatMilly
INT. STUDIOABOVE NEWSAGENT'S-DAY
TheSMALL INVERTED IMAGE ofMillypeersanxiouslyintothe
WE SEE asmallINVERTED IMAGE ofMillyontheground-glass
INT. HELEN'SSITTING ROOM -EVENING -TOWARDS SUNSET
EXT. MARK'S HOUSE -EVENING -LOW SUN
INT. HELEN'SSITTING ROOM -EVENING
INT. REAR OFHOUSE -NIGHT
INT. MARK'S DARK-ROOM -NIGHT
INT. MARK'S SITTING ROOM -NIGHT
INT. THE INNER ROOM -NIGHT
INT. HELEN'SSITTING ROOM -NIGHT
REVERSE ANGLE SHOT ofMrs.Stephens
STRAIGHT DOWN AT HIS FACE
OVERLAID istheGENTLE PURRING ofMark'scine-camera.She
WE SEE aCLOSE SHOT ofaCLOSE SHOT -andatthemomentwe
N. Lewis
MARK'S VOICE IS OVERLAID:
PROFESSOR A. N. LEWIS. Thereisarowofsuchbooksall
EXT. STUDIOGROUNDS -DAY
CLOSE SHOT ofdoormarked:DON JARVIS -MANAGING DIRECTOR
INT. EXECUTIVE OFFICE -AFTERNOON
THROUGH IT: VOICE (OFF-SCREEN)
OverhisshoulderWE SEE anopenwindow.CAMERA TRACKS
THE CAMERA PULLS BACK
INT. STUDIO-LATE AFTERNOON
INT. DRESSING ROOM -LATE AFTERNOON
EXT. THE CAR PARK -LATE AFTERNOON
INT. DON JARVIS' OFFICE -LATE AFTERNOON
EXT. THE CAR PARK -EARLY EVENING
INT. STUDIOCORRIDORS -EARLY EVENING
INT. PASSAGE -EARLY EVENING
INT. DRESSING ROOM -EARLY EVENING
INT. CORRIDOR -EARLY EVENING
INT. POWER HOUSE -EARLY EVENING
INT. DON JARVIS' OFFICE -EARLY EVENING
EXT. THE COURTYARD. EARLY EVENING
INT. ENTRANCE TOSTAGE E. -EARLY EVENING
Abovethenoteisanotice:'NOADMITTANCE WHILE RED LIGHT
INT. STUDIO-EARLY EVENING
INT. ENTRANCE TOSET -EARLY EVENING
EXT. COURTYARD -EARLY EVENING
INT. CORRIDOR IN STUDIO -EARLY EVENING
CAMERA ZOOMS DOWN tothetrunkbehindher.Mark'svoiceis
CAMERA PANS -andWE SEE theobjectofhisattentions.A
INT. STUDIOE. -EARLY EVENING
INT. PASSAGE -EVENING
INT. MARK'S SITTING ROOM -EVENING
INT. DARK-ROOM -GREEN LIGHT
CAMERA PULLS BACK SLOWLY -andWE SEE whomheisaddressing
CAMERA PULLS FURTHER BACK andWE SEE thatweareinasmall
INT. THEATRE IN STUDIO-DAY
CAMERA TRACKS quicklytowardsadoormarkedPUBLICITY
INT. PUBLICITY DEPARTMENT -DAY
CHIEF INSPECTOR GREGG isreadingafile.A plain-clothes
SERGEANT (MILLER) isseatednexttohim. TheSergeant
A doorwithasignonit:CANTEEN CLOSED TODAY
CAMERA TRACKS TOWARDS it
INT. SMALL OFFICE -DAY
INT. PASSAGE IN STUDIO-DAY
Thegirlwalksoutofpicture.THE CAMERA (andMark) TRACK
INT. ENTRANCE TODRESSING ROOM -DAY
INT. ENTRANCE TOSET -DAY
INT. HELEN SSITTING ROOM -DAY
INT. HELEN'SSITTING ROOM
I... don'tthinkI know?
INT. HELEN'SBEDROOM
EXT. MARK'S HOUSE -DAY
INT. SITTING ROOM -EVENING
INT. RESTAURANT -NIGHT
INT. HALL OFMARK'S HOUSE -NIGHT
INT. DARK-ROOM -NIGHT
HE TURNS ROUND SUDDENLY -
REVERSE ANGLE SHOT ofMrs.Stephens.Slowlyshestretches
INT. MRS. STEPHENS' BEDROOM -NIGHT
INT. HELEN'SROOM -MORNING
INT. DON JARVIS' OFFICE. MORNING
ASSISTANT CAMERAMAN
EXT. GROUNDS OFSTUDIO-DAY
CLOSE SHOT ofsign:PUBLIC LIBRARY
EXT. PUBLIC LIBRARY -DAY
EXT. NEWSAGENT'SSHOP. LATE AFTERNOON
INT. NEWSAGENT'SSHOP -LATE AFTERNOON
EXT. NEWSAGENT'SSHOP -LATE AFTERNOON
INT. NEWSAGENT'SSTUDIO-LATE AFTERNOON
AN HOUR LATER -EARLY EVENING
INT. MRS. STEPHENS' BEDROOM -EARLY EVENING
INT. PASSAGE. MARK'S HOUSE -EARLY EVENING
INT. PASSAGE BY MARK'S ROOM -DAY
INT. MARK'S SITTING ROOM -EARLY EVENING
INT. MARK'S DARK-ROOM
INT. POLICE PHONE BOOTH -EARLY EVENING
INT. SCOTLAND YARD -EVENING
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Peeping Tom

Peeping Tom

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Published by Kevin Powers

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Published by: Kevin Powers on Sep 16, 2010
Copyright:Attribution Non-commercial

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10/31/2011

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