Peeping Tom Page #7

Baden walks out without a word to anyone. A hubbub of

chatter breaks out. The unit downs tools and begins to

disperse.

CLOSE SHOT of one of the extras (VIVIAN) - a small,

vivacious, brunette with delicate, attractive features.

She edges towards the camera crew.

CLOSE SHOT of Mark watching her.

Over his shoulder WE SEE Vivian glance towards him. He

nods almost imperceptibly.

Vivian hurries towards the exit.

Mark turns to a shelf behind him - picks up his cine-camera

and a little full string bag containing his lunch.

DISSOLVE TO:

EXT. STUDIO GROUNDS - DAY

CLOSE SHOT of Vivian munching a sandwich.

CAMERA PULLS BACK

She is leaning against a wall in a corner of an exterior

set - a Chinese temple or a medieval castle (or a

combination of each like a Pinewood drawing-room).

Beside her she has a small tape-recorder, or record-player.

We hear music - modem rhythms.

There are several people strolling about - but no one in

the immediate vicinity. No one... except Mark.

CLOSE SHOT of Mark - settling down on the other side of

the wall (where they can talk without being seen together).

VIVIAN:

Mark?

MARK:

Hallo...

VIVIAN:

Were you spotted?

MARK:

Don't think so.

VIVIAN:

(switches off music)

Is it tonight?

CLOSE SHOT of Mark.

MARK:

Yes.

CLOSE SHOT of Vivian.

VIVIAN:

Mark...

MARK:

Yes?

VIVIAN:

You're sure we won't be caught?

MARK:

Not if you do as I tell you.

VIVIAN:

I will, I promise.

MARK:

You haven't... said anything... to

anyone?

VIVIAN:

Of course not.

MARK:

Good... like some cake?

VIVIAN:

Thank you.

We see him break off a piece of birthday cake, and pass it

over to her.

VIVIAN:

Mark... I want to be quite clear

about this...

CLOSE SHOT of Mark staring at his cake.

VIVIAN:

Tonight, when the studio's empty...

I'm to come back-and you're going

to give me a film test... right?

MARK:

Right.

VIVIAN:

You'll then print the film - so I

can show it to my agent and anyone

else who matters - right?

MARK:

Right.

VIVIAN:

Mark...

She hesitates.

VIVIAN:

I've been offered film tests

before... but I haven't liked the

terms.

MARK:

There aren't any.

VIVIAN:

Then why are you doing this? Risking

your job and...

MARK:

Not just for you... Viv... I have

an agent too - and I want to show

him what I can do... I want to

direct...

VIVIAN:

(switching on music

again)

There's someone coming.

Mark lies motionless behind the wall. A young male EXTRA

comes towards Vivian.

EXTRA:

Hallo - lousy morning's work, wasn't

it?

VIVIAN:

Yes.

EXTRA:

Thought I saw you talking to

somebody...

VIVIAN:

I was learning my lines.

EXTRA:

Didn't know you had any...

He glances at his watch.

EXTRA:

Want a drink? Dutch?

VIVIAN:

Later... perhaps.

EXTRA:

Be seeing you

He wanders off.

VIVIAN:

Mark...

MARK:

Yes?

VIVIAN:

(switching off music

again)

You didn't mind me asking?

MARK:

No, more cake?

VIVIAN:

No... you want to direct... more

badly than anything don't you?

Mark is silent, staring at the sky.

VIVIAN:

Don't you, Mark?

MARK:

I want... to photograph... the

impossible...

VIVIAN:

What is impossible?

MARK:

Something... that has never been

photographed before.

VIVIAN:

What?

MARK:

You really want to know...?

VIVIAN:

Very much, especially if there's a

part for me.

MARK:

I want... to photograph a murder...

while it's being committed.

VIVIAN:

No part for me then.

MARK:

But that... isn't enough.

VIVIAN:

Is this a new script?

MARK:

I want... to frighten... someone...

to death... and photograph... their

expression of fear...

VIVIAN:

Mark! What's this story called?

MARK:

That is something... he never

photographed...

VIVIAN:

Who?

Mark is silent.

VIVIAN:

Who is he, Mark?

MARK:

Anyone.

VIVIAN:

No one could... they'd be caught!

MARK:

I wouldn't care... if I had my

picture.

VIVIAN:

Besides, how would you frighten

anyone to death?

MARK:

There's a way.

VIVIAN:

Well, what?

MARK:

There's a way.

VIVIAN:

You'd better not tell me! I'll be

scared to death tonight as it is!

A hooter.

VIVIAN:

Back on the set - shall I go first?

MARK:

Please.

She rises to her feet. From behind the wall comes a gentle

whirring purring sound.

VIVIAN:

What are you doing?

MARK:

Getting into practice.

She smiles down at him.

VIVIAN:

See you tonight!

MARK:

See you tonight!

She walks away. And the gentle purring continues. CAMERA

PANS to the sun beating down on the lot.

DISSOLVE TO:

An arc lamp beating down on the set.

INT. STUDIO - DAY

Baden bears down on the Assistant Director.

BADEN:

Would you enquire if our leading

lady is ready to start leading.

A cry goes up,

ASSISTANT (O.S.)

Miss Diane Ashley, please!...

Miss Diane Ashley, please!...

CLOSE SHOT of Baden turning towards the entrance.

CLOSE SHOT of Mark turning towards the entrance.

CLOSE SHOT of entrance.

INT. STUDIO - DAY

Miss. DIANE ASHLEY appears... among the many qualities

she radiates is goodwill - especially towards Miss Diane

Ashley.

DIANE:

How are you, Sparks? Chippy? Bob?

VOICES:

Hallo, Diane...

DIANE:

How are you, Tom? Roger?

VOICES:

Hallo, Diane...

And so on, until:

DIANE:

How are you, Phil?... Mark?

CLOSE SHOT of Mark.

MARK:

Hallo, Miss Ashley.

DIANE:

(to a figure high

in the scaffolding)

How are you, Pete...?

VOICE:

Hi, Di!

She reaches Baden - and completely ignores him.

BADEN:

Darling, you've only been playing

this part for three weeks, so in

case you haven't yet had a chance

to read the script...

She ignores this.

BADEN:

... may I remind you that you're a

girl with an irresistible impulse!

She looks at him - then at her hand - and nods.

BADEN:

a kleptomaniac! Who cannot help

stealing... Get inside her,

Diane!... What - in all the world -

do you most want to steal?

DIANE:

The limelight!

Baden sighs.

BADEN:

We'll run the scene where you catch

sight of the store detective and

faint... Where's the girl who plays

the bystander?

Vivian steps forward.

BADEN:

How are you?

VIVIAN:

Hallo, Diane...

1ST ASSISTANT

Positions, everyone!

CLOSE SHOT of Vivian taking her position in front of the

lift. She glances at her watch.

CLOSE SHOT of Mark standing by the side of the studio

camera. He glances at his watch.

CAMERA TRACKS towards the lift.

From Mark's POV WE SEE Diane catch sight of the Store

Detective - and crumple in a faint.

BADEN:

Hit that floor with a thud!

CLOSE SHOT of door marked: DON JARVIS - MANAGING DIRECTOR.

BADEN (O.S.)

D.J. insists on realism!

A timid knock is overlaid before we dare enter.

INT. EXECUTIVE OFFICE - AFTERNOON

CLOSE SHOT of a pile of scripts on a great man's desk.

CAMERA PULLS BACK

MR. JARVIS is immersed in reading a script... his eyes

race across the page.

Over his shoulder WE SEE what he is reading... a sheet of

figures attached to the script.

At the same time Mr. Jarvis is holding a telephone receiver

to his ear - and we hear an enthusiastic VOICE FILTERED

THROUGH IT:
VOICE (OFF-SCREEN)

VOICE (O.S. FILTERED)

...it's a wonderful subject, D.J....

Paramount wants it, M.G.M. wants

it, Columbia wants it.

JARVIS:

But is it commercial?

VOICE (O.S. FILTERED)

Danny Angel wants it!

Still reading the script, Mr. Jarvis lays the receiver on

his desk and picks up another.

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