Peeping Tom Page #20

INSPECTOR:

We'll find out afterwards... Now,

listen... I want you to watch who

brings their own lunches... Someone

ate homemade cakes and sandwiches

by the side of those bushes - and

we may get a lead.

SERGEANT:

Right, sir.

CAMERA PANS to a shelf in the comer. A lunch basket stands

next to a cine-camera.

DISSOLVE TO:

WE HEAR the Assistant Director call out:

ASSISTANT DIRECTOR

We're stopping at four today - so

have a quick lunch, everyone! Back

at two sharp!

FADE IN on the lunch basket.

Overlaid is the noise of the unit dispersing. Mark picks

up his camera - then reaches for the lunch basket. An urgent

voice whispers behind him.

VOICE:

Hey, Mark!

He turns round. The Clapper Boy is standing there. The

Clapper Boy glances round carefully. The Inspector and

Sergeant are wandering casually towards the door.

CLAPPER BOY:

Can't wait to show you this!

(bringing out a

small postcard)

I ought to charge you!

He winks at Mark, gives him the postcard.

CLOSE SHOT of the postcard. We see Milly's face and naked

shoulders framed between Mark's hands.

CLAPPER BOY (O.S.)

You don't get that in Sight and

Sound - Isn't she terrific? Got

some more - if you're interested?

Mark hands it back.

MARK:

You've given me... an idea...

CLAPPER BOY:

I'll bet I have!

Mark turns towards the exit.

CLAPPER BOY:

Hey! Where are you going?

MARK:

Phone - may be my last chance -

and... thanks.

CLAPPER BOY:

But your lunch?

MARK:

You have it!

He hurries excitedly towards the exit...

CLOSE SHOT of the Clapper Boy staring at his photograph.

CLAPPER BOY:

... some photograph! Well lit too!

He reaches for the lunch basket, then walks towards the

exit where the Sergeant is waiting casually.

CUT TO:

INT. CAMERA ROOM

Mark is talking at a coin-box telephone.

MARK:

Can't manage Saturday, sir, but

they're letting us off early today!

This afternoon - after work - may

be my last chance!

While Mark is talking he is scribbling on a form. He has

some more pennies ready for the coin-box.

CROSS CUT TO:

INT. NEWSAGENT'S SHOP - DAY

MR. PETERS

... be here at six o'clock. Milly'll

be waiting.

MARK:

Six o'clock...

MR. PETERS

On the dot, Mark, or she'll go.

MARK:

I'll be there, sir.

MR. PETERS

You'd better be!

INT. CAMERA ROOM

Mark rings off. He is smiling. He puts in another 4d (Four

Pence) and dials a number. His pen is poised over the form

he is filling in.

MARK:

Hallo? Is that the Public Library?

... You have a Miss Helen Stephens

employed there? Yes... can you

tell me if her name is spelt with

a V or a PH, I want to send her a

tic-PH? ... Thank you.

We see the form is a last will and testament. I, Mark

Lewis, etc., etc., leave, etc., etc., to Miss Helen Ste-

ens all my worldly goods, etc. He fills in PH.

INT. CAMERA ROOM

The door bursts open and the Clapper Boy appears.

CLAPPER BOY:

They're waiting!

CUT TO:

THE SET - DAY

CLOSE SHOT of Dr. Rosen smiling.

DOCTOR ROSEN:

He asked if I knew his father...

which I did... a brilliant man!

EXT. GROUNDS OF STUDIO - DAY

The Inspector and Doctor are standing by the bushes where

Mark and Vivian met.

INSPECTOR:

Is that all he wanted?

DOCTOR:

think so... we had a little chat

about scoptophilia - and he's going

to show me...

INSPECTOR:

About what?

DOCTOR:

Voyeurism.

INSPECTOR:

Eh?

DOCTOR:

What makes people into Peeping

Toms, one of his father's subjects,

apparently.

INSPECTOR:

(slowly)

Peeping Toms...

DOCTOR:

An interesting boy... he has his

father's eyes... you don't suspect

him, do you?

INSPECTOR:

I suspect 'em all - what about

you?

DOCTOR:

I'm interested in that chap with

the bald head and hatchet face...

there's something on his mind!

INSPECTOR:

No wonder... he's the director!

He turns away thoughtfully.

DISSOLVE TO:

CLOSE SHOT of Mark glancing impatiently at his watch.

INT. STUDIO - DAY

CLOSE SHOT of Baden glancing at his watch... He whispers

to the Assistant Director.

ASSISTANT DIRECTOR

All right, everyone. This is the

last shot... Make it a good one!

CAMERA PANS to a comer of the studio. The Inspector and

Sergeant stand in the shadows.

INSPECTOR:

(quietly)

Got your list, Sergeant?

SERGEANT:

(he produces if)

YES, SIR.

INSPECTOR:

I want to see how some of them

spend their spare time...

SERGEANT:

Which ones, sir?

INSPECTOR:

Exactly, Sergeant...

(he looks round

thoughtfully)

... which ones?

DISSOLVE TO:

CLOSE SHOT of sign: PUBLIC LIBRARY.

EXT. PUBLIC LIBRARY - DAY

LONG SHOT of very modern, glass-walled building. Helen

comes out with a manuscript in a parcel under her arm.

EXT. PUBLIC LIBRARY - DAY

Mark watches her. Beyond him stands an insignificant-looking

man in a raincoat.

EXT. LIBRARY

Helen looks at her watch.

EXT. LIBRARY

Mark looks at his.

INSERT:
5.45.

EXT. LIBRARY

Helen hurries homeward.

EXT. LIBRARY

Mark slowly turns his back and walks away, gradually

gathering speed. The man in the raincoat follows him.

EXT. NEWSAGENT'S SHOP. LATE AFTERNOON

Mark hurries towards the shop... ahead of him a street

clock stands at just on six. Mark unslings his cine-camera

and photographs this clock... then he hurries into the

shop.

The man in the raincoat walks into camera. He looks at the

clock, puzzled, then glances at the newsagent's window. He

gazes with interest at Mark's photograph of Milly, then

walks thoughtfully down the street.

All the clocks in the kingdom chime the hour of six.

INT. NEWSAGENT'S SHOP - LATE AFTERNOON

Mr. Peters is behind the counter.

MR. PETERS

Don't make a habit of this!

MARK:

I won't, sir.

MR. PETERS

Milly's upstairs.

MARK:

Right, sir.

He turns to the door.

MR. PETERS

I've got to go out... If you finish

before I'm back, lock up and put

this through the letter-box...

(he holds out a key)

CLOSE SHOT of Mark staring at the key.

MR. PETERS

What's the matter? Haven't you

ever seen a key before?

Mark takes the key. He starts to smile.

MR. PETERS

The till will be empty - if that's

what you're smiling about.

Mark turns to the door.

MR. PETERS

You know what I want now! No fancy

stuff...

Mark goes into the inner room; he is still smiling.

DISSOLVE TO:

EXT. NEWSAGENT'S SHOP - LATE AFTERNOON

From the opposite side of the street, we see Mr. Peters

locking the door of the shop, and hurrying down the road.

The man in the raincoat watches him, puzzled.

CLOSE SHOT of Milly - very angry, in a dressing-gown.

MILLY:

You've spoiled my whole evening,

you have!

INT. NEWSAGENT'S STUDIO - LATE AFTERNOON

Mark closes the door behind him.

MARK:

Sorry, Milly.

MILLY:

What's the idea?

MARK:

I shan't be here tomorrow.

(he hurries to the

window)

MILLY:

Why? Going on manoeuvres with the

boy scouts?

He starts to draw the curtains - and stops suddenly. Over

his shoulder WE SEE the man in the raincoat standing on

the opposite side of the street.

MARK:

I thought so!

Mark raises his cine-camera and carefully photographs the

Detective through a chink in the curtains.

MILLY:

Have you gone absolutely...

MARK:

I'm just... completing a

documentary.

MILLY:

You're a document and a half, you

are. Is it safe to be alone with

you?

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