Peeping Tom Page #14

VOICE:

And whoever did it must be...

CHIEF CAMERAMAN:

You're next.

The Crew-member hurries into the office, and closes the

door. The Chief Cameraman wanders off thoughtfully.

Mark and the Clapper Boy are left sitting side by side.

CLAPPER BOY:

I've been watching you...

MARK:

Oh?

CLAPPER BOY:

Have you been filming those

policemen?

MARK:

Yes, I've a few quite interesting

shots of them - it's a chance I

never expected!

CLAPPER BOY:

A chance for what?

MARK:

To photograph... an investigation...

or as much of it as I can.

CLAPPER BOY:

What on earth for?

MARK:

It will complete a documentary I'm

making.

CLAPPER BOY:

documentary?

Mark nods.

CLAPPER BOY:

What's it about?

MARK:

I'd rather not tell you till it's

finished. And it soon will be ...

CLAPPER BOY:

But suppose they catch you?

MARK:

Oh they will - they look very

efficient.

CLAPPER BOY:

Don't you mind?

MARK:

No.

CLAPPER BOY:

But they might confiscate your

camera.

MARK:

I'm afraid they will! But by then...

I'll have finished with it.

CLAPPER BOY:

I don't...

The door of the small room opens, and the Crew-member comes

out.

CREW-MEMBER

You, Mark?

MARK:

Thanks...

He rises slowly... the cine-camera is over his shoulder.

CLAPPER BOY:

Mark, hadn't you better leave that

with me?

MARK:

No, John.

CLAPPER BOY:

I'd look after it.

MARK:

I'm sure of that - but I'd like to

photograph them while they're

questioning me.

The Clapper Boy looks at him in amazement.

MARK:

I don't suppose they'll let me.

CLAPPER BOY:

Mark, are you potty?

MARK:

Yes, do you think they'll notice?

The Clapper Boy laughs.

CLAPPER BOY:

Don't get into any trouble for

heaven's sake � I want to discuss

that film at the Everyman...

MARK:

Yes... I'd like that...

He walks slowly towards the door.

The Clapper Boy takes out a copy of Sight and Sound and

starts to read it.

INT. SMALL OFFICE - DAY

The Inspector is seated at a desk, reading some notes. The

Sergeant is seated by the side of the desk, a pile of papers

in front of him.

There is a gentle knock on the door. The Sergeant glances

at a list.

SERGEANT:

Mark Lewis - focus-puller...

Whatever that may be?

The Inspector nods.

SERGEANT:

Come in.

He puts a tick on the list. There is the sound of a door

opening. The Inspector looks up...

From his POV WE SEE a young man with a camera over his

shoulder advancing shyly towards him.

INSPECTOR:

Mr. Lewis?

MARK:

Yes, sir...

INSPECTOR:

I'm Chief Inspector Gregg and this

is Sergeant Miller. Grab a chair.

The Sergeant glances up.

SERGEANT:

Ah! My photographer.

MARK:

I've brought the camera in case

you want to take the film away.

He holds out his camera. The Sergeant glances enquiringly

at the Inspector.

INSPECTOR:

That's all right, Mr. Lewis - as

long as we don't appear at the

Odeon next week in place of the

cartoon.

Mark smiles.

MARK:

Thank you, sir.

INSPECTOR:

Well now; have you anything to

tell us?

MARK:

Don't think so, sir.

INSPECTOR:

Did you know the girl?

MARK:

Yes, sir...

INSPECTOR:

How well?

MARK:

Mainly by sight.

INSPECTOR:

When did you see her last?

He picks up a pencil � taps it idly on the desk.

MARK:

Yesterday afternoon - when we

broke...

INSPECTOR:

Speak to her?

MARK:

Called out good night - don't know

if she heard?

CLOSE SHOT of Mark's fingers... tapping on his knee in

time to the pencil.

INSPECTOR:

What did you do then?

MARK:

Took sqme shots, sir - for a film

I'm making.

INSPECTOR:

Oh... where?

MARK:

All over the place, sir... it's a

documentary.

INSPECTOR:

Anyone with you?

MARK:

No, sir. Just my camera.

INSPECTOR:

What time did you arrive home, Mr.

Lewis?

MARK:

About ten... ten-thirty...

INSPECTOR:

Anyone see you?

MARK:

Yes... the people downstairs.

INSPECTOR:

I see.

The telephone rings. The Sergeant promptly answers it.

SERGEANT:

Sergeant Miller - Right, I'll tell

him...

He replaces the receiver, turns to the Inspector.

SERGEANT:

The doctor's finished his examin...

The Inspector rises at once.

SERGEANT:

...wants to see you -

INSPECTOR:

Right.

(he glances at Mark)

That'll be all for the moment, Mr.

Lewis - thank you.

MARK:

(he turns to the

door)

Thank you, sir ...

INSPECTOR:

Wait a minute.

Mark stands very still.

INSPECTOR:

direct me to that set of yours,

will you? I'd probably end on

location.

MARK:

I'll take you there, sir.

(he opens the door)

INSPECTOR:

Thanks.

(he glances at the

Sergeant)

Carry on with the interviews,

Sergeant.

SERGEANT:

Yes, sir.

From the Sergeant's POV WE SEE Mark turn to go into the

passage.

The Sergeant stares at the camera on his shoulder... then

the door closes.

The Sergeant makes a note on a piece of paper.

INT. PASSAGE - DAY

The Inspector and Mark walk side by side along the passage.

The Clapper Boy comes into view - still reading Sight and

Sound.

The Clapper Boy glances up - just in time to see the

Inspector and Mark walk side by side to the end of the

corridor.

CLAPPER BOY:

(staring after them)

I warned him to be careful!

DISSOLVE TO:

INT. ENTRANCE TO SET - DAY

A Constable is standing outside the entrance to the set.

From his POV WE SEE the Inspector and Mark approach. The

Constable stiffens... From Mark's POV WE SEE the Constable

barring the entrance.

INSPECTOR:

I think I can find my way now...

Mark smiles.

INSPECTOR:

...thanks for the escort

The Inspector hurries towards the door of the set.

The Constable opens it - and the Inspector goes inside.

The Constable closes the door - and stands in front of it.

Mark turns away quickly.

DISSOLVE TO:

EXT. COURTYARD - DAY

The carpark is jammed with cars - but there is hardly anyone

in sight. Mark hurries towards the large sliding doors of

Stage E - they are a few feet apart. He looks round

carefully, then slips inside.

INT. STAGE E. - DAY

Facing Mark is the darkened set of an hotel bedroom. Beyond

this is another set - also in darkness - and beyond this

yet another. Only in the far comer of the studio - in the

furthermost set - is there a light burning. Voices can

faintly be heard coming from this set.

Mark walks quietly towards a long ladder which leads up to

the gantry. Carefully - rung by rung - he starts to climb

the ladder. At the top of the ladder is a gallery. Mark

moves along the maze of bridges until he is nearly above

the Policemen.

Mark raises his head cautiously - and looks down.

Far below WE CAN SEE the Inspector standing next to the

Doctor - a tall, silver haired man - who is peering into

an open trunk. Detectives are photographing the set. Mark

raises his cine-camera... its gentle purring seems to echo

round the studio.

CLOSE SHOT of Mark's jacket pocket. A row of pencils is

sticking out. As he leans forward the pencils tilt.

Through the finder-matte of Mark's camera WE SEE the

Inspector - very far away - peering into the trunk and

nodding.

A faint echo of conversation is overlaid.

DOCTOR (O.S.)

No doubt at all... wounds were

caused by the same instrument...

Mark changes lens (and alters the finder to a 75mm lens).

The Doctor's face - thin and impersonal - appears in the

finder over the lid of the trunk.

DOCTOR (O.S.)

... both women... subjected to the

most violent shock...

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