Peeping Tom Page #12

HELEN:

Yes but... the money.

MARK:

There are some things... which I

photograph... for nothing.

HELEN:

I didn't mean to offend you.

MARK:

Offend?

CLOSE SHOT of Mark.

MARK:

Helen... if you knew what it

meant... for something to happen

to me... that I don't have to make

happen... it's like... you've given

me a twenty-first birthday...

CLOSE SHOT of Helen looking at him...

MARK:

What does your camera photograph?

HELEN:

Mark - I must go... I just wanted

to know... if you'd talk it over

with me.

MARK:

When please?

HELEN:

That's up to you.

MARK:

Helen ... I don't know much about...

dinner out... but would you come

with me?

HELEN:

Thank you.

MARK:

Thank you.

HELEN:

When?

MARK:

Oh...

HELEN:

What's the matter?

MARK:

It had better be soon...

HELEN:

Are you going away?

MARK:

Almost for certain! ...

HELEN:

Oh... well you suggest when.

MARK:

Are you free... tomorrow night?

HELEN:

Yes.

MARK:

I hope I am!

HELEN:

I'll understand if you're not.

MARK:

I'll try to be - I'll try my hardest

to be.

HELEN:

Thank you for listening... and for

my present.

MARK:

and for mine.

They look at each other in silence.

HELEN:

Good night, Mark...

(turning to the

door)

MARK:

Good night... Helen...

He watches her leave, standing very still.

Offstage, the time clock explodes.

CLOSE SHOT - the excited clock. Mark's hand silences it.

INT. DARK-ROOM - GREEN LIGHT

Mark opens the developing tank, lifts out the rack of film,

drops it into the fixing bath.

He switches light from green to red.

CLOSE SHOT - green to red dark-room lamp.

Mark lifts the rack of glistening film out of the fixing

bath and scans the image.

CLOSE SHOT - Mark's face and the tell-tale black and white

images.

CLOSE SHOT - the film. A pile of trunks.

In the darkness we hear a man enquire softly:

MAN'S VOICE

Looking for a trunk?

CLOSE SHOT of a Tall Man with a severe face. He is standing

in front of a familiar pile of trunks marked at 'Specially

Reduced Prices'.

CAMERA PULLS BACK SLOWLY - and WE SEE whom he is addressing.

It is Diane.

CAMERA PULLS FURTHER BACK and WE SEE that we are in a small

theatre watching rushes...

INT. THEATRE IN STUDIO - DAY

CAMERA PANS across Baden's disgruntled face... the Chief

Cameraman's bored face... the Script Girl's puzzled face...

to Diane's expression of rapture as she watches herself on

the screen.

DIANE (O.S.)

I'd like to see that one.

From Diane's POV WE WATCH the screen. We see the Tall Man

(SHOP ASSISTANT) reaching for a trunk and laying it on the

counter. He opens it with a flourish. Vivian passes across

the screen - glances casually at the trunk - and wanders

off.

BADEN:

No - no - no - we must get some

comedy into this...!

The Assistant Director nods.

BADEN:

We'll retake it this morning...

CAMERA LINGERS for a moment on the screen as Diane (on-

screen) smiles at the Assistant.

DIANE:

(she pockets a small

item)

I'll take it.

The Assistant bows and closes the trunk. We dissolve to

the set itself -

DISSOLVE TO:

INT. STUDIO - DAY

The Assistant is leaning over the counter, listening

intently. Diane stands in front of the counter, receiving

the attentions of the Make-up Man.

Baden's voice is overlaid:

BADEN:

I want some comedy in this scene...

CAMERA PULLS BACK

The unit is busy preparing for a retake. The studio camera

(and its crew) are off camera, and we concentrate on Baden

briefing his artistes.

He is clutching a script as if afraid that opening it might

be indecent exposure.

BADEN:

Instead of taking the first trunk

you see, I want you, darling... to

ask for a blue trunk - and when he

brings it to you, to ask for a red

one - and when he brings that, to

ask for a white one...

(turns to the

Assistant)

And you, Michael... get the trunks

one by one - growing more and more

fed up - and we'll end on a gag

which I'll think of in a minute -

all right?

DIANE:

I don't feel it!

BADEN:

Don't feel it! Do it!

ASSISTANT DIRECTOR

(hastily)

Positions, everyone!

Over Mark's shoulder - behind the camera - WE WATCH the

Unit taking up positions.

ASSISTANT DIRECTOR

Anyone seen Vivian?

BADEN:

Who?

ASSISTANT DIRECTOR

The red-headed bystander - Viv.

BADEN:

(impatiently)

Never mind - I'm cutting her out

of this scene... Let's run it.

ASSISTANT DIRECTOR

(shouting)

Quiet, everyone!

From Mark's POV WE WATCH the scene being rehearsed. Diane

approaches the trunk counter and the Assistant smiles at

her.

ASSISTANT:

Can I interest you in a trunk?

DIANE:

Thank you...

(pointing)

I'd like to see that one...

ASSISTANT:

Certainly, madam...

He turns away. She pockets a small item from the counter.

He heaves a trunk forward.

ASSISTANT DIRECTOR

It's beautifully fitted -

(he opens it)

She takes a perfunctory glance -

DIANE:

I'd like to see one in red.

ASSISTANT:

Certainly, madam.

She pockets another item. He turns and wrestles with

another trunk... brings it forward and opens it

DIANE:

... do you have one in white?

ASSISTANT:

Certainly, madam.

Mark walks away quietly from the back of the Camera Crew.

He hurries to the shelf where he keeps his cine-camera and

a lunch basket. He reaches for his camera.

Diane's voice is overlaid.

DIANE (O.S.)

Do you have one in blue?

ASSISTANT (O.S.)

Certainly, madam...

Mark turns towards the rehearsal and raises his cine-camera.

WE SEE the Assistant try to lift a blue trunk - and half

collapse with the weight of it.

CLOSE SHOT of Baden - beaming.

The Assistant manages to drag the trunk forward. He leans

over it - exhausted - then starts to open it.

Mark moves round until Diane's face is in the finder.

As the lid of the trunk is opened we can see only her eyes

above the rim of the lid... WE HEAR her scream.

CLOSE SHOT of Baden - freezing.

There is the sound of a body falling to the ground.

BADEN:

The silly b*tch! She's fainted in

the wrong scene...

FADE OUT:

In the darkness WE HEAR a telephone ringing... and then

another... and then another... then they all merge into

one big blast.

FADE IN:

CAMERA TRACKS quickly towards a door marked PUBLICITY

DEPARTMENT.

INT. PUBLICITY DEPARTMENT - DAY

The Head of publicity has a receiver to his ear.

HEAD OF PUBLICITY

is this a gag?... A girl in a

trunk!... Who is she?... Well,

which unit?... The walls are closing

in?... What a break for them!... I

mean what a heartbreak!

(he is already

speaking into

another telephone)

call a press conference.

(he turns to the

original telephone)

I'm on my way down!

EXT. LONDON - DAY

A police car. There are two men seated at the back.

INT. POLICE CAR - DAY

CHIEF INSPECTOR GREGG is reading a file. A plain-clothes

SERGEANT (MILLER) is seated next to him. The Sergeant

glances at his Chief apprehensively.

SERGEANT MILLER:

Excuse me, Chief.

CHIEF INSPECTOR:

Mm?

SERGEANT MILLER:

We pass my house when we reach the

bypass. Would you mind if I drop

off for a minute?

CHIEF INSPECTOR:

(without raising

his eyes)

To collect your kid's autograph

book?

SERGEANT MILLER:

Yes, Chief!... If the nipper hears

where I've been...

CHIEF INSPECTOR:

(turns to the driver)

All right, Dawson - anything to

help the Sergeant...

(stares down at the

folder)

... and it's about time the Sergeant

helped me - we're getting nowhere

with this.

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