Peeping Tom Page #8

JARVIS:

Are those budgets ready? Well bring

'em in.

He replaces this receiver and picks up the original.

The voice is still talking - something about 'a wonderful

part for Kenny or Alec'...

VOICE (O.S. FILTERED)

Send me a memo - we'll discuss it

next week.

He replaces the receiver. MISS SIMPSON enters. She hands

him some folders... her smile curtsies.

CLOSE SHOT of Mr. Jarvis opening a folder.

Over his shoulder WE SEE a page covered with row upon row

of figures.

The great man's finger skims along the figures like a tailor

feeling cloth.

JARVIS:

There's an error! The total should

be a hundred and fifty thousand

pounds fourteen shillings and

sixpence - not thirteen and

ninepence... That could mean the

difference between profit and loss

on a first feature!

MISS SIMPSON:

Sorry, D.J.

He glowers at her - but his day is made.

JARVIS:

Any units working late tonight?

MISS SIMPSON:

Only one, sir. Night exteriors on

the lot. The Elephant with two...

JARVIS:

That animal needs a stick of

dynamite!

CLOSE SHOT of Jarvis.

JARVIS:

Remind me to pay them a visit

tonight.

MISS SIMPSON:

Yes, D.J.

She makes a note in her little book.

JARVIS:

Now, Miss Simpson... take a memo

to all department heads...

Over his shoulder WE SEE an open window. CAMERA TRACKS

towards it.

JARVIS (O.S.)

In light of the new economy drive...

DISSOLVE TO:

CLOSE SHOT of Clapper Boy's board. It reads: Take 49.

THE CAMERA PULLS BACK

INT. STUDIO - LATE AFTERNOON

BADEN:

Again, please... and, darling...

He turns to Diane, who is wearily picking herself up off

the floor.

BADEN:

... just this once... will you

please make an effort to forget

that you're stunning, and try to

look as if you're stunned...?

DIANE:

Say one kind word - and I would

be!

ASSISTANT:

(hastily)

Positions, everyone!

DISSOLVE TO:

MONTAGE SEQUENCE:

Camera crew on a tracking shot. Mark is operating the Selsen

motor.

Baden - shaking his head.

Diane - picking herself up off the floor.

Clapper Boy's board � reading: Take 57.

Vivian - glancing at her watch.

Mark - glancing at his.

Diane - picking herself up off the floor.

DIANE:

If I have to faint once more I

shall faint!

DISSOLVE TO:

CLOSE SHOT of Baden - triumphant at last.

BADEN:

Cut! How was that?...

(thumbs up all round -

with one exception)

Mark?

Mark nods perfunctorily.

BADEN:

Print it!

He glances at his watch - then nods to the Assistant

Director.

ASSISTANT:

That's it, boys and girls . . .

wrap it up! Night-night everyone!

Baden puts his arm round Diane's

shoulder.

BADEN:

How are you, darling?

She makes a hobbling exit.

CLOSE SHOT of Vivian hurrying towards the exit carrying

her little recorder.

In a burst of chatter, the unit starts to disperse.

CLOSE SHOT of Mark picking up his cine-camera and his lunch

bag.

The CLAPPER BOY comes up to him.

CLAPPER BOY:

Catching the bus?

MARK:

Not tonight... meeting someone...

for a drink.

CLAPPER BOY:

Wanted to discuss the film at the

Everyman... Tomorrow then?

MARK:

I hope so.

CLAPPER BOY:

Good night, Mark.

MARK:

Good night.

DISSOLVE TO:

CLOSE SHOT of Vivian. She is sitting at a dressing-room

table... making-up with care.

INT. DRESSING ROOM - LATE AFTERNOON

Three other girls share the dressing room with her.

There is a knock at the door - and the Young Extra who

spoke to Vivian in the grounds pokes his head round.

EXTRA:

Greetings... lousy afternoon's

work, wasn't it? Who wants a lift

to town?

1ST GIRL

In what?

EXTRA:

colleague's car... there's room

for two on my lap - three at a

pinch.

1ST GIRL

Which is what we'd get.

2ND GIRL

You, Viv?

VIVIAN:

No, thanks... I've a date... at

the Local.

1ST GIRL

Us two then?

2ND GIRL

I'm game... might as well get

pinched in a car as squeezed in a

tube.

EXT. THE CAR PARK - LATE AFTERNOON

The cars are streaming towards the gate.

CLOSE SHOT of Baden driving a small new car.

CLOSE SHOT of the Chief Cameraman driving a large old one.

INT. DON JARVIS' OFFICE - LATE AFTERNOON

He is still immersed in his figures.

Miss Simpson is walking to the door. She glances at her

little book.

MISS SIMPSON:

I'm to remind you to pay a surprise

visit tonight to The Elephant

with...

He grunts.

MISS SIMPSON:

Good night, D.J.

Jarvis goes on reading...

DISSOLVE TO:

CLOSE SHOT of Vivian.

INT. DRESSING ROOM

Music playing. Vivian moves about nervously in front of a

mirror in the deserted dressing room. She wears slacks and

a shirt. She glances at her watch - her hands are trembling -

looks at watch, hears the fireman coming, then switches

off the music and hides in the big cupboard -

INT. CORRIDOR

Fireman making his rounds, turning off lights.

EXT. THE CAR PARK - EARLY EVENING

Only a few cars now remain. It is beginning to grow dark.

INT. STUDIO CORRIDORS - EARLY EVENING

The long corridors are dim and deserted.

INT. PASSAGE - EARLY EVENING

The fireman is making his rounds.

INT. DRESSING ROOM - EARLY EVENING

Vivian is standing in the cupboard - the lights are on.

INT. CORRIDOR - EARLY EVENING

Fireman opening the dressing-room doors - and glancing

inside.

INT. POWER HOUSE - EARLY EVENING

Two electricians are smoking.

INT. CORRIDOR - EARLY EVENING

Fireman opens the door of Vivian's dressing room.

INT. DRESSING ROOM - EARLY EVENING

From Vivian's POV WE SEE the lights go out.

WE HEAR the sound of the door closing - and the Fireman's

footsteps disappearing down the corridor.

INT. DON JARVIS' OFFICE - EARLY EVENING

The great man closing up his folder... glancing at his

watch... turning out the light.

DISSOLVE TO:

INT. CORRIDOR - EARLY EVENING

Vivian is hurrying along a deserted corridor... and the

little recorder.

She pauses - and glances out of a door.

She carries her case Over her shoulder WE SEE the studio

lot - in a blaze of light we can see a crowd of people

hanging about in solar topees and tropical kit.

REVERSE SHOT of Vivian watching anxiously.

She turns away - and hurries down the corridor.

EXT. THE COURTYARD. EARLY EVENING

Don Jarvis strides across the courtyard. We can almost

hear - and perhaps we do - a cash register ringing up.

One of the white-clad figures lounging indolently in the

doorway glances round, sees the Inquisition approaching

and freezes. His degree of terror might satisfy Mark.

The great man strides on.

DISSOLVE TO:

INT. ENTRANCE TO STAGE E. - EARLY EVENING

Vivian pauses in front of the entrance to the set.

Above the note is a notice: 'NO ADMITTANCE WHILE RED LIGHT

IS ON'.

The light is out.

Vivian looks round - there is no one in sight.

Vivian slips in quietly, and closes the door behind her.

INT. STUDIO - EARLY EVENING

The set is in darkness.

CLOSE SHOT of Vivian looking round.

VIVIAN:

(in a whisper)

Mark...?

No reply. Vivian hesitates... then edges slowly forward.

Ahead of her are shadowy counters full of merchandise.

Beyond them is the door of the lift.

CLOSE SHOT of the studio camera and the Director's empty

chair beside it.

CLOSE SHOT of Vivian edging forward.

VIVIAN:

Mark...?

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