Peeping Tom Page #13

Over his shoulder WE SEE what he is looking at - it is a

photograph of Dora in her furs and finery.

SERGEANT:

What about that man the landlady

passed?

CHIEF INSPECTOR:

She couldn't describe him - except

to say that he was carrying

something that she couldn't see.

SERGEANT:

That's a help.

CLOSE SHOT of the Inspector staring at the folder.

CHIEF INSPECTOR:

Sergeant, I've been on the force

thirty odd years... and I have

never seen such fear on anyone's

face as on this girl's...

(almost to himself)

What was it she saw?

SERGEANT:

Surely, Chief... a man coming at

her - with a sharp weapon.

CHIEF INSPECTOR:

I'm familiar with that kind of

terror. This is something new to

me... but what?

The Sergeant glances at Dora's photograph.

CHIEF INSPECTOR:

...now take a look at how we found

her.

He starts to turn the page

DISSOLVE TO:

A door with a sign on it: CANTEEN CLOSED TODAY.

CAMERA TRACKS TOWARDS it.

INT. CANTEEN - DAY

Mark is sitting by an open window at the far end of the

canteen. His cine-camera and lunch basket are by his side.

From Mark's POV WE SEE that the unit (with the exception

of Diane and Baden) is crowded into the canteen.

They have formed themselves into small groups and are

talking in whispers. The Assistant Director is standing

with his back to the door. A GIRL calls out:

GIRL (O.S.)

How much longer must we wait in

here?

ASSISTANT DIRECTOR

Till the police arrive... D.J.'s

orders.

Mark glances at a group in the comer. The Trunk Assistant

is encircled by eager listeners.

ASSISTANT:

and when she opened that trunk...

and I saw what was inside... my

dears - I nearly fainted with her -

(he runs a delicate

hand across a

delicate forehead)

and do you know what horrified me

most?

ASSISTANT DIRECTOR

D.J. says not to discuss it.

ASSISTANT:

Any more sauce from D.J. and I

shall refuse to sign for seven

years! My dears... that poor girl's

expression.

Mark glances out of the window.

From his POV WE SEE a police car driving across the

courtyard. Mark watches with great interest - then reaches

for his cine-camera.

He photographs the police, then puts his cine-camera on to

the table and sits back... waiting. CAMERA LINGERS for a

moment on the folded tripod.

DISSOLVE TO:

INT. SET - DAY

The set is completely deserted. It is lit by a single lamp.

A solitary trunk stands on the counter, its lid closed.

WE SEE Don Jarvis enter, followed by the two Policemen.

Baden and the Publicity man bring up the rear.

Don Jarvis points towards the trunks department. The Chief

Inspector nods, then he and the Sergeant approach the

counter.

Carefully the Inspector raises the lid of the trunk - he

looks inside.

CLOSE SHOT of the Inspector - over the top of the lid. His

expression is mainly one of surprise.

CLOSE SHOT of the Sergeant staring into the trunk. He is

also surprised - but there is nausea in his face.

They look up at almost the same moment... their eyes meet.

SERGEANT:

(in a whisper)

Chief, it's exactly the...

INSPECTOR:

I know...

(he closes the trunk

quickly. Quietly)

... don't say anything.

(he faces Don Jarvis)

Well, sir... we shall probably

have to interview everyone at the

studio, so we'd better plan a

campaign that won't interfere too

much with your productions.

JARVIS:

(warming to him at

once)

Thank you, Chief Inspector... if

you knew what even a single day's

delay could cost.

INSPECTOR:

Oh, we do sir.

(his eyes are on

the trunk)

DISSOLVE TO:

CLOSE SHOT of Mark.

INT. CANTEEN - DAY

He is looking out of the window - his camera at the ready.

Overlaid is the sound of a door opening... the buzz of

conversation dies away. We hear Don Jarvis' voice.

JARVIS (O.S.)

If I may have your attention,

please.

A hand tugs at Mark's elbow. He turns round. The Clapper

Boy looks at him waringly.

From Mark's POV WE SEE Don Jarvis standing in the doorway -

facing a suddenly hushed room. The great man's hands are

folded in front of him -

JARVIS:

The police wish to interview each

of you individually... after which

you will be at liberty to leave.

From D.J.'s POV WE SEE the upturned faces - the light from

the window falls upon Mark, listening to him with rapt

attention. Mark's hands are folded in front of him.

JARVIS:

There will, of course, be no

shooting today... but work will be

resumed, as usual, tomorrow...

with, I hope, all of you present.

CLOSE SHOT of Don Jarvis.

JARVIS:

I look to you to give the police

your fullest cooperation.

(he turns abruptly

and leaves')

Sergeant Miller enters with a smile.

SERGEANT MILLER:

Well now... let's get ourselves

organized...

(taking a piece of

paper from his

pocket)

We don't want to keep you cooped

up in here, so we've worked out a

timetable... We'll talk to the

artists first, then the technicians

in this order...

Mark reaches for his cine-camera...

DISSOLVE TO:

A SERIES OF BRIEF SHOTS of the unit being interviewed by

the police.

EXT. STUDIO GROUNDS - DAY

The Young Extra who spoke to Vivian in the exterior set

points excitedly to the wall where Vivian and Mark lay.

The Inspector and Sergeant carefully examine both sides of

the wall. The Inspector stoops, picks up something with a

pair of tweezers and puts it in an envelope.

CAMERA PANS.

A few passers-by look on from a distance. One of them is

watching through his cine-camera.

DISSOLVE TO:

INT. SMALL OFFICE - DAY

The Young Extra who shared Vivian's dressing room is talking

to the Chief Inspector and Sergeant.

EXTRA:

...she said she didn't want a lift -

because she had a call to make

locally.

CHIEF INSPECTOR:

Did she say where?

EXTRA:

No, sir... and when I left, she

was still in the dressing room.

CHIEF INSPECTOR:

I see... let's have a look at this

dressing room, shall we?

EXTRA:

Yes, sir ...

INT. PASSAGE IN STUDIO - DAY

The Policemen and the Extra are walking away from camera

down a passage. A few members of other units pass them by

without a glance. One of these (A GIRL) smiles into camera.

GIRL:

Hallo, Mark...

MARK (O.S.)

Hallo.

The girl walks out of picture. THE CAMERA (and Mark) TRACK

after the Policemen.

INT. ENTRANCE TO DRESSING ROOM - DAY

As the Inspector opens the door of the dressing room, Mark

hurries past. He raises his cine-camera and photographs

the Sergeant. The Sergeant turns to close the door. He

sees Mark. straightens his tie and looks as severe as he

can.

SERGEANT:

Hey, I don't think you ought to do

that!

MARK:

Sorry, sir.

He hurries down the passage.

INSPECTOR:

(turning round)

Do what?

SERGEANT:

Make me famous. Some chap was giving

me a screen test

The Extra's voice is overlaid - a hint of hysteria in it.

EXTRA (O.S.)

That's where she sat. Inspector.

The Inspector turns away, and the Sergeant closes the door.

DISSOLVE TO:

INT. SMALL OFFICE - DAY

The door of the small office opens - and the Chief Cameraman

comes out.

CAMERA PANS -

On a bench at the end of the passage Mark, the Clapper

Boy, and a member of the camera-crew are waiting.

Rate this script:0.0 / 0 votes