Peeping Tom (1960) Movie Script
It'll be two quid.
Shut the door.
No!
- What's going on here?
- Murder.
- Oh, no!
- One of the girls.
What paper are you from?
- I beg your pardon?
- I said, what paper are you from?
- Oh. The Observer.
- Oh.
Come on.
Let's take a photograph of you.
I can't help thinking
of that poor girl.
It's shocking, isn't it?
- You're late.
- Sorry, sir.
Hold on, Mark.
I've got a question for you.
Which magazine sells
the most copies?
Those with girls
on the front covers...
and no front covers
on the girls.
Exactly. It's just the same
with the work you do for me.
Look busy.
- The Times, please. Thank you.
- Yes, sir.
- Anything else, sir?
- And the Telegraph.
Anything else?
I'm told by a friend
that you have some 'views' for sale.
- What sort of views, sir?
- Hmm?
Well...
This sort, sir?
Yes, thank you.
Yes.
- Morning, Mr. Peter.
- Morning.
- Can I have a Crunch, please?
- Help yourself, my dear.
Thank you.
- How much each?
- They're five shillings each, sir.
Oh, well, I'll have
that one. Yeah.
Oh, and that.
- How much would the lot be?
- To you, five pounds, sir.
- Five pounds.
- Well, uh, I'll tell you what, sir.
I'll make it
four pounds ten.
And I'll throw in the Times
and the Telegraph. How's that?
- Thank you very much.
- You're welcome.
Let me wrap it for you, sir.
Shall I... Shall I put you
on our mailing list?
Oh, no! No, no, no.
I'lI-I'll look in again.
Very well, sir.
Thank you.
- Oh, uh, your papers, sir.
- Papers?
- Times and Telegraph.
- Oh, yes. Of course.
Silly of me.
Thank you very much, sir.
Well, he won't be doing
the crossword tonight.
Well, look who's here.
Cecil Beaton.
Her name is Lorraine.
Well, come on, sonny.
Make us famous.
Did you read about that girl
that was murdered last night?
Same thing nearly
happened to me.
- Oh? When?
- Last night.
I went out with my boyfriend.
Getting married next month.
Trouble was my fianc saw us.
Can you fix it so
the bruises don't show?
- Well, can you?
- I think so, Milly.
Be quick about it, sonny.
I'm melting.
There he goes again. What have
you got under there? A girlfriend?
I suppose you have
a girlfriend.
- No, Milly.
- Hear that, Lorraine? He's available.
Raise your head
and look at the sea, please.
What sea?
- I just wanted that puzzled look.
- Oh, did you?
Well, if you want it again,
I'll think of you.
- Hold it.
- You're a puzzle and a half.
This is a spare-time job for you,
isn't it?
Yes, Milly.
Well, what do you do
for a living?
- Take pictures.
- This sort?
No, Milly.
- On the house.
- Some house.
Hope it falls
on his ruddy ear hole.
It's your turn now, love.
It's her first time.
Come on, love.
Don't be shy.
He said you needn't
photograph my face.
I want to.
Maybe you can fix
my bruises too.
- I want to.
- What about the customers?
Don't be shy... of me.
It's my first time too.
Yours?
In front of eyes like...
Eyes as full of...
Twenty-one!
Happy birthday to you
Happy birthday to you
Happy birthday, dear Helen
Happy birthday to you
- Thank you.
- Come on, blow! One, two, three!
What's that?
You must be very proud
of your daughter, Mrs. Stephens.
Mmm.
I say. Look.
It's that chap from upstairs.
Hello. I don't know how many times
we've passed each other on the stairs,
but tonight I'm determined at least
to say hello to you, so, hello.
I'm Helen Stephens.
I'm having a party,
and the other tenants are there
and a few friends.
We'd like you to join us.
- I'm Mark.
- Pardon?
- I am Mark.
- Oh, hello, Mark.
Please come in. You'll meet
the others who live here and...
Sorry, but... work.
Oh, well, I hope to keep it
going for ages yet,
so when you finish,
why not look in...
Mark?
Come on, Helen. The cake.
Everyone's waiting.
Hap-Happy birthday.
A minute.
Oh I... I hope I'm not
disturbing you.
I knew you wouldn't
come down, so...
I brought you this.
Thank you... very much.
Well, I-I mustn't
keep you from your work.
- Oh, would you...
- Oh, thank you.
- I'd like to offer you a drink.
- Oh, thank you.
- I haven't got one.
- Oh, well, I'd adore some water.
You see, a hostess can't
drink water at her own party.
It looks like
a hint to the guests.
- There's milk if you'd like some.
- Oh, very much, if you can spare it.
- Oh, yes.
- Thank you.
- Here.
- Oh, thank you very much.
This is a nice room,
and is there another inside?
Yes.
How long have you lived here?
Nearly all my life.
I-I was born in this house.
Oh?
It's my father's.
Do you mean at last I've found out
who our landlord is?
Your father?
Well, no. He... He's dead.
I'm the landlord.
- You?
- Yes.
But you walk about as if
you haven't paid the rent.
- I haven't.
- Oh, I-I meant...
I know.
It's his house,
and I'll never sell it.
But I can't afford the upkeep,
so I let rooms.
If I charge you too much, please
tell me, and I-I'll tell the agents.
The rent's very reasonable,
but don't say anything to the others...
or you'll have no peace.
- Peace.
- Mark, what do you do?
Oh, thank you.
Most of the time,
I work in a film studio.
On the photographic side, I'll bet.
- I hope to be a director very soon.
- Oh, how exciting.
When I came in, were you
looking at some films?
- Yes.
- Of yours?
- Yes.
- I'd like to see them.
Oh, I know I'm being rude,
but I really would like to see them.
It would be a birthday present
from you to me.
- Would it?
- Mmm.
- Oh.
- But I'm-I'm sure you're too busy and...
Will you...
- Would you like to see them now?
- Oh, thank you.
I'll go first.
Oh, it's dark.
Is that better?
But it's enormous.
Oh. Terribly sorry.
- What are these?
- Chemicals.
Oh.
This is, well...
It's so many things, but...
above all,
it's so completely unexpected.
- Are these all yours?
- Yes.
I mean, did you do all this?
Mark, tell me about this room.
- It-It belonged to my father.
- Oh?
- What was he?
- A scientist.
Oh. Then this equipment was his?
No, I-I sold his to buy it.
- Sit down.
- Oh!
This all seems so,
well, terribly technical.
If this is where you work,
I can't wait to see what you work at.
Mark?
I don't know what to show you.
Well, what were you looking at
when I interrupted you?
All right.
Helen...
this is the first 21st birthday present
I'll ever have given.
And it's the first
I've ever asked for.
Thank you.
Mark, what a beautiful little boy.
- Who is he?
- Me.
Of course it is.
- Then who took this film?
- My father.
What a wonderful idea.
You'll be able to show it
to your own chil...
Oh, you must've had
a bad dream.
What was the light
in your eye?
Camera, I suppose.
Whatever are you after?
Naughty boy.
I hope you were spanked.
Mark, what a strange thing
for your father to photograph.
Switch it off?
No. No.
Again?
Mark, this isn't
some sort of a joke, is it?
No, Helen.
What's that?
- Mark, what are you doing?
- I wanted to photograph you watching.
No. No. Please help me
to understand this thing.
'That will do, Mark.
'Dry your eyes
and stop being silly.'
All right now, Mark.
What was all that about?
That was a lizard,
wasn't it, or a...
A li...
Well, how did it get there, Mark?
How did it get there?
Was it a pet?
Not mine.
Won't you try to explain?
- You'd better go.
- I'd like to understand what I'm shown.
What was your father trying to do
to you, photographing you at night?
You'd better go.
Mark, what's this?
I'm saying good-bye...
to my...
... mother.
He photographed that?
Yes.
And this - her funeral.
And this - her burial.
- And this.
- Who's that?
Her successor.
Successor?
He married her six weeks after the...
previous sequence.
She filmed what comes now.
It's out of focus.
Is that your father?
The morning he left
for his honeymoon.
But what's he doing?
Giving me a present.
What is it?
Can't you guess?
The camera.
Switch it off, Mark!
Mark, switch it off!
Let's get out of here.
Mark?
So, he was a scientist?
What kind of a scientist, Mark?
- Biologist.
- What was he trying to do to you?
Mark, what was he trying
to do to you?
Watch me grow up.
He wanted a record
of a growing child,
complete in every detail,
if such a thing were possible.
And he tried to make it possible
by training a camera on me at all times.
I never knew the whole of my childhood
one moment's privacy.
And those lights in your eyes
and that thing.
He was interested
in the reactions...
of the nervous system
to... to fear.
Fear?
Fear.
Especially fear in children
and how they react to it.
I think he learned a lot from me.
I'd wake up sometimes screaming.
He'd be there
taking notes and pictures,
and I'm sure good came of it...
for some people.
He was brilliant.
A scientist drops a lizard
onto a child's bed,
and good comes of it?
Excuse me, but...
Oh, there you are, Helen.
The party looks like breaking up,
and we were wondering if...
Oh, I'm coming.
I wish you'd join us.
Thank you.
Work.
I hope that you...
have a sweet tooth.
Thank you for my present.
Good night, Mark.
Good night, old boy.
Cut!
'Look, Mr Jarvis,
this picture's a commercial proposition.
'That's why I want you to do it -
it's your type of thing you so do well.
'I've talked to Johnnie already
and he's crazy to do it...'
These are the figures
you wanted, Mr Jarvis.
'This script is gonna...'
Still behind schedule.
'And you know
that Paramount want it.
'Yeah. Paramount want it.
MGM want it. Columbia want it.'
- But is it commercial?
- 'Anglo want it.'
Send me a memo.
We'll discuss it next week.
Now, Miss Simpson,
take a memo:
To all producers and directors.
In light of the new economy drive,
if you can see it and hear it,
the first take's OK.
Slate 99, take 49.
Clappers on end.
And darling, just this once,
will you please make an effort
to forget that you're stunning,
and just try to look stunned?
One kind word and I would be!
All right.
Positions, everybody.
Cut.
Roll once again, please.
No, no, no, dear.
Cut. Cut. Cut it.
- Slate 99, take 53.
- We'll run it once more, please.
Cut it!
Once again, please.
If I have to faint once more,
I will faint.
- Slate 99, take 57.
- All right. Quiet, everybody.
All right. Action!
No, no, no, no, no. Cut it.
Cut it. Cut it. It's hopeless.
- Oh, miss.
- Cut!
- Cut! How was it?
Phil? Sam? Mark?
Print it!
Hold take one.
- OK. Alex, that's it.
- All right, boys and girls. Wrap it up.
8:30 in the morning. You're wonderful,
darling. You were really feeling it.
- Catching the bus?
- Not tonight.
I'm meeting someone for a drink.
Oh. I wanted to discuss
that film at the Everyman.
- Tomorrow then?
- I hope so.
- How's my favourite stand-in today?
- Standing it.
8:30 in the morning.
Viv, how about having a drink
with me on the way home?
I've got a date, Mr Tate.
Good night,
Miss Vivian.
Yeah, Sergeant,
who's working late tonight then?
That Indian picture,
The Elephant with Two Tails.
- A bit crowded, aren't you?
- She'll take eight at a pinch.
- Which is what we'll probably get.
- Go on.
Well, I don't mind. Might as well get
pinched in a car as squeezed in a bus.
Mark?
Mark!
Well, are you there?
Well, where are you?
Here, Viv.
Oh, you frightened me.
Now listen.
They're working late
on the lot.
I know. They've branched off this stage.
We're using their power.
We must call it off.
They're bound to see us.
They might, but they won't
interrupt us while we're filming.
- I've put the red light on.
- You've what?
- I've put the red light on. Would you...
- But...
Would you please stand over there?
But then they'll know
someone's here.
They won't come in.
They'll wait outside.
What's the difference?
The difference is a perfect film.
I've waited a long time
for this and so have you.
- No one must interrupt it.
- We'll be caught.
- What does that matter?
- Oh, matter!
- You stand to lose a job as an extra.
- Extra? Stand-in.
I stand to lose nothing.
The result must be so perfect...
...that the risks don't count.
So perfect...
that even he...
even he would say...
- Who's he? Don Jarvis?
- Hmm?
Hmm.
Oh, he'd say,
"Sign on the dotted line, kiddies.
"You can use my pen,
but bring your own ink."
Well, if you're sure
it's worth it.
It's time to find out, Viv.
- Do you mind if I warm up?
- Go ahead.
You belong there.
Oh, I do feel alone
in front of it.
- I suppose stars never do.
- They feel alone without it.
And the great ones...
feel alone all the time.
Then I'm great, boy.
What is it you want me to act?
Being frightened to death?
You remembered?
Yes, and I have a go.
- What are you doing?
- Building us a set.
Well, why don't you pull down
the studio while you're about it?
They can only hang you once.
Exactly.
If only Don Jarvis
could see me now.
If only I could see
Don Jarvis now.
I warn you, Mark. I'm hysterical.
I'd rather act dying of laughter
if it's all the same with you.
I'll be a little lovelier each day
with fabulous pink.
- What are you doing?
- Be patient, Viv.
It's going to be worth it.
Oh, well. I've stood alone
in front of a studio camera.
That's more than most have.
Ever stood behind one?
- No.
- Help yourself.
- Oh, I can see you, Mark. Perfectly.
- Good.
Yes, sir. I bet I'm the best
camerawoman in the business.
Now what are you doing?
Photographing you photographing me.
Oh, Mark, you're brilliant.
Oh, I've lost you.
Ah, welcome, stranger.
- I've lost you again.
- Never mind.
I'm ready now, Viv.
Will you... go and stand
on your cross, please?
Yes, sir, Mr Director, sir.
Am I supposed to imagine
someone's going to put me in there?
Yes, Viv.
Oh, Mark, I...
I hope I won't let you down.
I know you're trying to create
atmosphere for me, but...
well, I just don't feel
frightened, that's all.
Oh, wouldn't it be better
if I just did my number?
Later.
The trouble is I feel so relaxed.
That's due to you.
You're so at home with that camera,
you make me feel at home too.
You have it in you, boy.
Ready, Viv?
Oh, well, I'll try.
What would frighten
me to death?
Oh, set the mood
for me, Mark.
Imagine...
someone coming towards you...
who wants to kill you...
regardless of the consequences.
- A madman?
- Yes.
But he knows it, and you don't.
And just to kill you
isn't enough for him.
- But how does that...
- Stay there, Viv.
You're just right.
But I can't imagine
what you've thought of.
Imagine...
this would be one of his weapons.
That?
Yes.
That.
Mark!
Yes, that
would be frightening.
There's something else.
Well, what is it?
That?
Mark.
Mark, no.
Take it away.
Mark!
Mark!
And that, darling,
is the end of the news -
unless you want
the football results.
Hmm.
- What are you looking at?
- The ceiling.
- Wondering if that young man is home?
- Yes.
Well, he is. I heard him come in
four paragraphs ago.
He's late tonight.
- Do you like him?
- Yes.
- Why?
- Well, he has a quality.
I wish this had.
And I think he could
help me with my book.
- Helen?
- Yes?
- Doesn't matter.
- Mother, what's worrying you?
- The price of whiskey.
- What else?
- What else matters?
- Don't you like Mark?
Haven't met him.
You don't like him.
Why not?
I don't trust a man
who walks quietly.
He's shy.
- His footsteps aren't. They're stealthy.
- Now, really, Mother.
- You going up to see him?
- May I?
We both have the key of the door.
Mine needs oiling.
- Yours needs exercise. Off you go.
- Thank you.
- Remember you lost the draw.
- Mm-hmm.
- Helen?
- Yes?
If you're back in five minutes,
I won't even finish this.
Done.
- Who is it?
- It's Helen.
Oh.
Come in, Helen.
Would you just
wait in there?
Developing.
Mother heard you come in,
so I guessed you wouldn't be in bed.
Are you sure this is convenient?
I won't be long!
'I wish to express
my gratitude to the following people...
'for their valuable contributions:
'Professor A. D. Smith
of New York University,
'Mr. Edward Paton of the Belgravia
Institute of Nervous Diseases...
'and Mark Lewis, my son...'
- Hello.
- Oh, hello, Mark.
I-I hope you don't mind.
I'm sure I'm being a nuisance,
but, Mark, I very much want to...
Happy birthday.
Mark, that's very sweet
of you, but really...
It isn't much.
I-I don't know anything about
21st birthday presents,
but I saw it this morning, so...
Please.
Oh, Mark. Thank you.
Oh, it's beautiful.
I liked it.
- More milk?
- More?
- Milk?
- Oh, no thank you.
I'm going to put it on now.
There or... or there?
- Um... the first place.
- Yes, I think so too.
- Oh, I am keeping you.
- Oh. Oh, no.
I... I promise.
Mark, I'm here for some advice.
- F-From me?
- Please.
You see, I work in a public library
in the children's section.
I'm telling you that to postpone
admitting what always embarrasses me.
- I n my spare time, I write.
- What's embarr...
I write short stories for children,
but so did Grimm,
Hans Anderson and Lewis Carroll.
- Had any published?
- Some short stories.
I'd like to read them.
I learned today that
my first book has been accepted
for publication in the spring.
- But Helen, th-that's wonderful.
- Yes.
What is it about?
A magic camera
and what it photographs.
What... Whatever made
you think of that?
I'll tell you one day.
I promise.
- W-What does it photograph?
- I'll tell you that too,
but Mark, this is the problem.
The children who read the book will want
to see the pictures the camera takes,
but the publishers say
they're impossible to photograph,
and they suggest drawings.
- But I don't agree.
- Oh, no. Nothing's impossible.
Oh, I was hoping you'd say that.
There must be photographs,
however difficult to take.
- I was wondering if...
- Oh, yes.
- You'll discuss it with me?
- I'll take them.
Well, I can't ask you
to do that.
I mean, the publishers
mightn't agree.
- I'd like to take them for you.
- But the money.
There are some things
which I photograph for nothing.
I didn't mean to offend you.
- Offend?
- Then you'll talk it over with me?
- When, please?
- That's up to you.
- Are you free tomorrow night?
- Yes.
- I hope I am.
- Well, I'll understand if you're not.
I'll try.
I'll try my hardest to be.
Thank you for listening...
and for my present.
- Good night.
- Good night.
- Looking for a trunk?
- Er, yes. I'd like to see that one.
Certainly, madam.
No. No, no,
no, no, no, no.
We must have some comedy
in this scene.
- We'll retake it today.
- Very good, sir.
The thing about this scene is
I must have some comedy in it.
Now you do understand, darling,
don't you? You see,
that instead of taking the first trunk,
I want you to ask to see a red one.
And when he brings that,
I want you to look around...
And ask... excuse me a second,
darling...
...for a white one,
then when he brings the white one.
Then you ask for a different one...
This one, the blue one.
And you, Michael, bring the trunks one
by one, getting more and more fed up.
- I'll keep it light.
- I'm sure you will.
Then we'll end up on some sort of
a gag I'll think of in a minute.
- Understand? What?
- I don't feel it.
- Don't feel it.
- Don't feel it, just DO it!
- All right. Positions, everybody.
- Anyone seen Viv?
Who?
Diane's stand-in.
I want to light the set.
- No, Phil. I want to run it first.
- All right, quiet.
All right. Ready? Action.
- Here we are, madam.
- Oh, I'd like to see one in red.
Certainly, Madam.
Carrying your bag...
Right. Ready for you,
and back you go.
- Play for a close-up there.
- Um, do you have one in white?
Certainly, Madam.
There's a white one there behind you.
Right here. Again.
Good, Michael.
Excellent.
All right.
Back again.
- Oh, um, do you have one in blue?
- Certainly, Madam.
That's it, and back you go.
That's it. Just take what you can
without overdoing it.
Play it lightly, Michael.
Right. When it's in position,
head up, and tight in to him there.
Very good.
The silly bitch.
She's fainted in the wrong scene.
- Excuse me, Chief?
- Mmm?
Um, we pass by my place. Do you mind
if I drop in for a moment?
To collect your kid's autograph book?
That's it, Chief. If the nipper finds out
where I've been...
All right, Dawson.
Anything to help the sergeant.
It's about time
the sergeant helped me.
We're not getting anywhere
with this Soho murder.
What about that chap
the landlady passed on the stairs?
She couldn't describe him, but he was
carrying something she couldn't see.
Oh, that's a help
Sergeant, I've been
on the force 30 years,
and I've never seen such fear
on anyone's face as on this girl's.
What was it she saw?
Well, surely, a man coming
at her with a sharp weapon.
Mmm. I'm familiar with
that kind of terror.
This is something new to me.
But what?
That's the one, sir.
- Chief, the expression. It's exactly...
- I know.
Don't say anything.
Well, sir, we shall probably
have to interview everyone.
So we'll try not to interfere too much
with your productions.
Oh, thank you, Chief Inspector.
If you knew what even
a single day's delay could cost.
Oh, er, we do, sir.
- Hello, Mark.
- Hello.
Hey, I don't think
you ought to do that.
- Sorry, sir.
- Do what?
Make me famous.
Some chap's giving me a screen test.
Gerry, you're next. Don't look
so scared. They can't eat you.
Looks as though it's going
to be an early night tonight.
- I've been watching you.
- Oh.
Have you been filming
those policemen?
Mmm. I have a few
quite interesting shots of them.
- It's a chance I never expected.
- Chance for what?
To photograph an investigation...
or as much of it as I can get.
What on earth for?
It will complete a documentary.
Documentary, eh? What's it about?
- Hmm?
- What's it about?
I'd rather not tell you
till it's finished...
and it will be soon.
Suppose they catch you?
Oh, they will.
They look very efficient.
- Don't you mind?
- No.
- Mark, are you crazy?
- Yes.
Do you think they'll notice?
Mark, you're next.
Don't get into trouble. I want to discuss
that film at the Everyman.
Oh, yes, I'd like that.
Come in!
Mr. Lewis?
Ah, my photographer.
I brought you the camera in case
you wanted to take the film away.
- Chief?
- That's all right, Mr. Lewis.
As long as we don't appear at the local
next week in place of the cartoon.
I'm Chief Inspector Gregg.
This is Sergeant Miller.
Grab a chair.
Well, now, have you
anything to tell us?
- I don't think so, sir.
- Did you know the girl?
- Yes, sir.
- How well?
- Mainly by sight.
- Mm-hmm.
- When did you last see her?
- Yesterday afternoon before we broke.
- Did you speak to her?
- I called out good night.
I don't know if she heard me.
- What did you do then?
- Oh, taking some shots.
I'm making a film.
Oh? Where?
Oh, all over the place.
It's a documentary.
Anyone with you?
No, sir. Just my...
Just my camera.
Sergeant Miller.
Right. I'll tell him.
The doctor's finished
his examination,
and he wants to see you.
- Right. You'd better go on first.
- All right, sir.
Gotcha!
- Nice job.
- Thank you, sir.
What time did you arrive home
last night, Mr. Lewis?
About 10:00, 10:30.
- Anyone see you?
- Yes. The people who live downstairs.
I see.
Right. That's all.
Thank you, Mr. Lewis.
- Thank you, sir.
- OK.
Wait a minute!
Direct me to that set of yours,
would you?
I'd probably end up
on location.
- Yes, sir.
- Thank you.
I warned him.
Well, I think I can find my way now.
Thanks for the escort.
No doubt at all - the wounds caused
by the same instrument.
Both women subjected
to the most violent shock.
What sort of shock?
That's up to you to find out, Inspector.
It's not my department.
- Can we move the body?
- Yes, I have finished.
Come on, fellows.
Hello.
What's this she's lying on?
- Oh, a tape recorder.
- Give me a handkerchief.
Baxter!
Get it tested for fingerprints.
- Get all the reels played back.
- Right.
Quiet, everyone.
Quiet!
I taught I heard a putty tat.
I don't want to spoil
anyone's fun,
but we do have
a maniac on our hands.
And if we don't get him quickly,
there'll be a third unsolved murder
to report to the commissioner.
So let's hurry things up.
Shall we?
"She was appearing
in Arthur Baden's new film...
"The Walls Are Closing In,
starring Pauline Shields.
"A spokesman said that her performance
showed such promise...
"that her role
was to have been built up."
- Oh, the prime minister...
- Mark is in films, isn't he?
- Yes, darling.
- I wonder if he knew her.
- I'll ask him tonight.
- Oh. Is he taking you out?
- Yes, if he's free.
- Hmm. That's very chivalrous of him.
Where is he taking you?
I have no idea,
and I don't suppose he has.
Which studio does he work at?
- I don't know. I'll ask him.
- If he's free.
Shall I bring him in
and introduce you?
- I feel as if I know him.
- Now, darling.
He's here.
Why don't we make him
a present of that window?
He practically lives there.
How did you know
he was there?
The back of my neck told me.
The part that I talk out of.
Hello.
- Free? Good. So am I.
- Yes.
I'd like you to come in
for a moment and meet my mother.
Yes, please.
Darling, this is Mark.
H-How do you do,
Mrs. Stephens?
Hello, Mark.
Have you been running, young man?
Yes. I didn't want
to be late for Helen.
Thank you.
You deserve a drink for that.
- What would you like?
- Nothing. Thank you very much.
Mother, I've left your supper...
Tell me, young man,
which studio do you work at?
Chipperfield Studio.
That poor girl,
where did she work?
- Brookwood, I think.
- Hmm.
We were wondering
if you knew her.
No.
No.
I didn't know her.
Pity.
I do like firsthand information.
Darling, may I tell you
about your supper?
No.
Go and be told about yours.
Good-bye, Mark.
I expect we shall meet again.
I hope so,
Mrs. Stephens.
Mother, we forgot to cut the cards.
Your supper's
laid out in the kitchen.
If you're not back early,
you'll find me laid out with it.
- We'll be early. Bye, darling.
- Good night.
Mark, I want to ask you
something rather personal.
How long is it since you've
gone out without that?
- Without what?
- That camera.
Oh. I... I don't think I know.
Exactly. I don't think
I've ever seen you without it.
But are you going
to need it tonight?
Well, are you?
And if so, shall I bring
some work with me too?
- I'm not going to need it tonight.
- Good, then give it to me.
I'll put it away for you.
It'll be quite safe.
No.
Then take it upstairs
if you can't trust me with it.
I trust you.
Then let's put it in here.
Come in and see for yourself.
We'll put it in there and lock it.
This was my...
my mother's room.
- Was it, Mark?
- Hmm.
I am being tactless,
aren't I?
It's just that I thought it was
growing into an extra limb, and I...
But bring it with you,
if you want to.
- You.
- Thank you.
- I feel...
- Yes?
I can't describe it.
Could only photograph it.
Shall I tell you what I feel?
Famished!
Good.
I know a small place
around the corner.
- It's awfully good on Christmas Day.
- Is it?
- Yes. There aren't too many open then.
- No.
Sounds fun.
- Helen?
- Yes?
Come on. This way.
What does your
magic camera photograph?
People.
It's owned by a little boy,
and it sees grown-ups as they were
when they were children.
I was hoping you'd...
Where is this restaurant?
- Around the corner.
- Come along then.
Thank you.
There isn't a single face in the crowd
that doesn't look like a child.
- Don't say that.
- If you catch it at the right moment...
Oh, Helen. I would like
to find those faces for you, with you.
Well, let's try.
Oh. Mother must have
gone to bed.
Mark... it was a wonderful evening.
That's what I was going to say,
what a wonderful evening.
And you made it wonderful...
without your camera.
I'll get it for you.
It's still here,
your magic camera.
I wonder how
this sees grown-ups.
- Me, for instance. Now that I am one.
- Not you.
Why not?
- It will never see you.
- Mark.
Whatever I photograph,
I always lose.
I don't understand.
Oh, he will wake Mother.
Thank you again
for my evening.
Will you go to bed now,
and not stop up watching those films?
Well, I...
I've got some work to do.
Then I'll go to bed,
and try to find your faces.
Faces which I...
Faces which...
- Good evening, Mark.
- How did you...
The young man bathing himself
brought me to your door.
I managed the rest
of the adventure alone.
This is one room
I expected to find locked.
I was never allowed keys.
I can't get used to them.
I-I brought her home early.
Thank you.
- Is there something you...
- A talk.
- N-Next door would be more...
- I...
I feel at home here.
I-I visit this room
every night.
Visit?
The blind always live
in the rooms they live under.
Every night you switch on
that film machine.
What are these films
you can't wait to look at?
What's the film
you're showing now?
Why don't you lie to me?
I'd never know.
You would know at once.
- Take me to your cinema.
- Yes.
What am I seeing, Mark?
Why don't you answer?
It's no good.
I was afraid it wouldn't be.
- What?
- The lights fade too soon.
- They always do.
- I...
I have to try again.
What do you think
you've spoiled?
Opportunity.
Now I have to find
another one.
What are you doing?
Mark?
Where are you?
Why are you putting
that light on my face?
Mark?
Please let me finish.
It's for Helen.
What do you mean,
"It's for Helen"?
She wanted to see
something I photographed.
My daughter sees enough
of my face without photographs.
Please, don't...
don't be frightened.
Not frightened. Hot.
So put that camera away!
Yes.
In rather a hurry,
aren't you?
Must be tired.
It's late. You...
You're anxious to get rid
of me all of a sudden.
I-I won't be selfish.
You can take some more pictures,
if you want to.
No, thank you.
Why not?
I ran out of film.
Can't you find some more
to please Helen?
No. No.
You... You don't
trust yourself...
to take any more,
do you?
Instinct's a wonderful thing,
isn't it, Mark?
A pity it
can't be photographed.
If I'd listened to it
years ago, I...
I might have kept my sight.
I wouldn't have let a man
operate I had no faith in.
So, I'm listening
to my instinct now.
And it says all this
filming isn't healthy,
and that you need help.
Get it, Mark.
Get it quickly.
And until you do, I don't want you
and Helen to see each other.
I will never photograph her,
I promise you...
I'd rather you don't have the chance.
I mean it, Mark.
And if you don't listen to me,
one of us will move from this house.
It would be a pity, because
we'll never find a cheaper place.
You'll never have to move
because of me. I... I promise.
Good boy.
The stairs are the difficult part.
That's far enough. Thank you.
Taking my picture?
Yes.
It's a long time since anyone did.
Mark, what's troubling you?
Good night, Mrs. Stephens.
You'll have to tell someone.
You'll have to!
Now over here.
Swing over on me. Good.
All right. First positions, everybody.
Absolute quiet.
- Ready to turn, Phil?
- Er, yeah. Yeah. OK.
Hey!
That sneezer geezer's a psychiatrist.
I heard it on the grapevine.
All right, boys and girls.
First positions, everybody.
Now, take it easy. I know you'll be
absolutely wonderful, darling.
- Do you mind standing...
- Oh, I'm sorry.
- Who is this, Alex?
- It's the detective, sir.
Oh, yes. Of course it is. Everybody's
here just to help you, darling.
Now, take it easy.
It's exactly the same as it was before,
only one or two slight changes.
This time it's hats instead of...
...of, um, of trunks.
- You will help, Michael, won't you?
- Yes, sir.
Now, darling, be very brave. You're
wonderful, and we shall all be with you.
- Oh, please!
- All right. Clear the set! Makeup.
- Now, take it easy, darling. Just relax.
- All right.
All right.
And camera!
Looking for a hat, madam?
Yes. I'd like to see that one.
Certainly, madam.
Thank you.
Oh.
Um, have you one in red?
Certainly, madam.
In red?
Have you one in blue?
In blue. In blue!
Ye gods!
- Break for half an hour, sir?
- No. Break forever!
All right, boys and girls.
Break it up. Back in half an hour.
Yes.
- Could you, uh, suggest something?
- Oh, it's jolly interesting.
No. I mean to help her...
psychologically.
Oh, uh, give her a proper rest.
Half an hour is useless.
Yes. Thanks very much.
Psst!
What's your job?
I'm... a focus puller.
Oh. So am I, in a way.
- I wonder...
- Hmm?
I wonder if you knew
my father, Professor Lewis?
- A...
- A. N. Lewis.
Oh, of course I knew him. He lectured
to me. An extraordinary man.
Brilliant!
Quite brilliant!
Do you know what he was
interested in... before he died?
No. Tell me.
Tell me.
I-I don't remember
what he called it,
but it has something
to do with what...
what causes people
to be Peeping Toms.
Scoptophilia, that would interest him.
Most fertile mind.
- Scopto...
- Philia. The morbid urge to gaze.
Coined since his day. Now tell me,
are there any of his manuscripts left?
- I thought it could be cured.
- Usually. Yeah.
- Now about his manuscripts.
- Quickly.
The cure. Oh, very quick. A couple
of years' analysis three times a week,
an hour a time
and soon it's uprooted.
Now, are there any
of his papers left?
I should be most grateful
if I could see them.
I-I'll give you my address.
Yes, Doctor.
- I wonder what all that's about?
- I don't know.
We'll find out afterwards.
Hey, Mark.
I can't wait
to show you this.
I should charge you.
You don't get that
in Sight and Sound.
Mmm, she's terrific.
I've got some more,
if you're interested.
You've given me...
an idea.
Yeah, I'll bet I have.
He asked me if I knew his father,
which I did.
- Brilliant man.
- Is that all he wanted?
I think so. Oh, we had
a little chat about scoptophilia.
About what?
- Voyeurism.
- Eh?
What makes people into
Peeping Toms,
one of his father's
subjects, and...
Peeping Tom?
Interesting boy.
He has his father's eyes.
You don't suspect him, do you?
I suspect them all.
- Action!
- What about you?
I'm interested in this fantastic
extrovert who brought the girl in.
There's something on his mind.
No wonder. He's the director.
I can't manage Saturday, sir.
But... But they're
letting us off early today.
This afternoon after work...
it might be my only chance.
Well, be here at six o'clock, Mark.
I'll have Milly waiting.
- Six o'clock.
- On the dot, Mark, or she'll go.
- I'll be there.
- You'd better be.
The last shot of the day.
Make it a good one.
- Have you got your list, Sergeant?
- Yes, sir.
I want to see how some of them
spend their spare time.
- Which ones?
- Exactly, Sergeant.
Oh, there you are.
Now, don't make a habit of this.
I won't, sir.
- Milly's upstairs.
- Thank you, sir.
Now, I've got to go out.
If you finish before I'm back,
lock up and put this
through the letter box.
What are you looking at?
Haven't you seen a key before?
The till will be empty,
if that's what you're smiling about.
Now, remember what I said.
No more of this fancy stuff.
You've spoiled my whole evening,
you have.
- I had a date with my new boyfriend.
- Sorry, Milly.
Well, what's the idea?
I may not be here tomorrow.
Why? Going on manoeuvres with the
Boy Scouts? Now what are you doing?
- I thought so.
- Come on. We haven't got all night.
There's all that nude stuff
on the bed to finish.
Well, of all the...
Have you gone completely crazy?
I'm just completing
a documentary.
You're a documentary
and a half, you are.
I didn't stand up
my gentleman friend
and come back here
and take my clothes off
for you to start filming the street!
I might as well talk to a zombie.
Is it safe to be alone
with you, I wonder?
It might be more fun
if it wasn't.
Drive straight on.
- Hello.
- Oh, hello, Tony.
- Where are you going?
- To leave something for Mark.
You haven't much time
for me these days.
- Oh, Tony, I...
- It's all right.
I'll be here if you want me.
Oh, by the way, your mother
was yelling out before you came in.
Something about Mark
photographing her.
Photographing Mother?
You must be mistaken.
- Of course. See you sometime.
- Yeah.
Mark?
Mark.
I don't know
what to make of it, sir.
He went to a public library,
and then to a newsagent's shop.
For private photography,
if you ask me.
Shall I hang around
outside the house, sir?
No. I don't think so either.
All right, sir. I'll give you
the details when I get back. Bye, sir.
Don't let me
see you are frightened.
- So, leave. Hurry up!
- No!
Leave!
Not till I know.
- Now.
- That film...
That film is...
just a film, isn't it?
It's horrible.
Horrible. But it's just a film, isn't it?
No.
I killed them.
You'll be safe, as long as I can't
see you frightened.
So stand in
the shadows, please.
Please.
Inspector Gregg.
What?
Put him on the line.
Peters here. Yes. I went upstairs
to look around, and I found her lying.
What's the address?
Newsagent's shop!
Your mother is right.
I must tell someone everything.
Sorry it has to be you.
This was his workshop.
And you know
some of what he did,
but not all.
Aged five.
Aged seven.
All the rooms
were wired for sound,
and they still are.
Your room.
Your mother's.
Tony's.
'No one will come in.'
'I don't care.'
'But, darling.'
- 'Tony, stop it! '
- 'The door is locked.'
'I don't care. I'm scared.'
Turn it off.
- Look at me, Mark.
- Not if you're frightened.
Look at me!
What did you do to those girls?
- No.
- What did you do?
If you want to torment me for the rest
of my life, then make me imagine.
What did you do
to those girls?
I... I can't.
Show me.
But if you're frightened...
Show me, or I'll remain frightened
for the rest of my life.
Show me!
Do you know what the most frightening
thing in the world is?
It's fear.
So I did something
very simple.
Very simple.
When they felt the spike...
touching their throat,
and knew I was going
to kill them,
I made them watch
their own deaths.
I made them see...
their own terror
as the spike went in.
And if death has a face,
they saw that too.
But not you.
I promised I'd never
photograph you.
Not you.
I'm frightened for you.
- Got the men all right?
- Yes, sir.
- OK, let's go.
- Look out!
- It's only a camera.
- Only?
Give yourself up, Mark!
I've been ready for this
for such a long time.
- What are you doing?
- That's all right.
All right. He's there!
All right. Come on, then!
I can beat that.
Give yourself up, Mark!
Watch them, Helen.
Watch them say good-bye.
One by one.
I've timed it so often.
I wish I could have
found your faces for you.
Helen! Helen!
I'm afraid.
No. No, Mark!
And I'm glad I'm afraid.
The girl's alive.
Go and get an ambulance.
'All right, all right. Don't be a silly boy.
'There's nothing to be afraid of.'
'Good night, Daddy. Hold my hand.
Shut the door.
No!
- What's going on here?
- Murder.
- Oh, no!
- One of the girls.
What paper are you from?
- I beg your pardon?
- I said, what paper are you from?
- Oh. The Observer.
- Oh.
Come on.
Let's take a photograph of you.
I can't help thinking
of that poor girl.
It's shocking, isn't it?
- You're late.
- Sorry, sir.
Hold on, Mark.
I've got a question for you.
Which magazine sells
the most copies?
Those with girls
on the front covers...
and no front covers
on the girls.
Exactly. It's just the same
with the work you do for me.
Look busy.
- The Times, please. Thank you.
- Yes, sir.
- Anything else, sir?
- And the Telegraph.
Anything else?
I'm told by a friend
that you have some 'views' for sale.
- What sort of views, sir?
- Hmm?
Well...
This sort, sir?
Yes, thank you.
Yes.
- Morning, Mr. Peter.
- Morning.
- Can I have a Crunch, please?
- Help yourself, my dear.
Thank you.
- How much each?
- They're five shillings each, sir.
Oh, well, I'll have
that one. Yeah.
Oh, and that.
- How much would the lot be?
- To you, five pounds, sir.
- Five pounds.
- Well, uh, I'll tell you what, sir.
I'll make it
four pounds ten.
And I'll throw in the Times
and the Telegraph. How's that?
- Thank you very much.
- You're welcome.
Let me wrap it for you, sir.
Shall I... Shall I put you
on our mailing list?
Oh, no! No, no, no.
I'lI-I'll look in again.
Very well, sir.
Thank you.
- Oh, uh, your papers, sir.
- Papers?
- Times and Telegraph.
- Oh, yes. Of course.
Silly of me.
Thank you very much, sir.
Well, he won't be doing
the crossword tonight.
Well, look who's here.
Cecil Beaton.
Her name is Lorraine.
Well, come on, sonny.
Make us famous.
Did you read about that girl
that was murdered last night?
Same thing nearly
happened to me.
- Oh? When?
- Last night.
I went out with my boyfriend.
Getting married next month.
Trouble was my fianc saw us.
Can you fix it so
the bruises don't show?
- Well, can you?
- I think so, Milly.
Be quick about it, sonny.
I'm melting.
There he goes again. What have
you got under there? A girlfriend?
I suppose you have
a girlfriend.
- No, Milly.
- Hear that, Lorraine? He's available.
Raise your head
and look at the sea, please.
What sea?
- I just wanted that puzzled look.
- Oh, did you?
Well, if you want it again,
I'll think of you.
- Hold it.
- You're a puzzle and a half.
This is a spare-time job for you,
isn't it?
Yes, Milly.
Well, what do you do
for a living?
- Take pictures.
- This sort?
No, Milly.
- On the house.
- Some house.
Hope it falls
on his ruddy ear hole.
It's your turn now, love.
It's her first time.
Come on, love.
Don't be shy.
He said you needn't
photograph my face.
I want to.
Maybe you can fix
my bruises too.
- I want to.
- What about the customers?
Don't be shy... of me.
It's my first time too.
Yours?
In front of eyes like...
Eyes as full of...
Twenty-one!
Happy birthday to you
Happy birthday to you
Happy birthday, dear Helen
Happy birthday to you
- Thank you.
- Come on, blow! One, two, three!
What's that?
You must be very proud
of your daughter, Mrs. Stephens.
Mmm.
I say. Look.
It's that chap from upstairs.
Hello. I don't know how many times
we've passed each other on the stairs,
but tonight I'm determined at least
to say hello to you, so, hello.
I'm Helen Stephens.
I'm having a party,
and the other tenants are there
and a few friends.
We'd like you to join us.
- I'm Mark.
- Pardon?
- I am Mark.
- Oh, hello, Mark.
Please come in. You'll meet
the others who live here and...
Sorry, but... work.
Oh, well, I hope to keep it
going for ages yet,
so when you finish,
why not look in...
Mark?
Come on, Helen. The cake.
Everyone's waiting.
Hap-Happy birthday.
A minute.
Oh I... I hope I'm not
disturbing you.
I knew you wouldn't
come down, so...
I brought you this.
Thank you... very much.
Well, I-I mustn't
keep you from your work.
- Oh, would you...
- Oh, thank you.
- I'd like to offer you a drink.
- Oh, thank you.
- I haven't got one.
- Oh, well, I'd adore some water.
You see, a hostess can't
drink water at her own party.
It looks like
a hint to the guests.
- There's milk if you'd like some.
- Oh, very much, if you can spare it.
- Oh, yes.
- Thank you.
- Here.
- Oh, thank you very much.
This is a nice room,
and is there another inside?
Yes.
How long have you lived here?
Nearly all my life.
I-I was born in this house.
Oh?
It's my father's.
Do you mean at last I've found out
who our landlord is?
Your father?
Well, no. He... He's dead.
I'm the landlord.
- You?
- Yes.
But you walk about as if
you haven't paid the rent.
- I haven't.
- Oh, I-I meant...
I know.
It's his house,
and I'll never sell it.
But I can't afford the upkeep,
so I let rooms.
If I charge you too much, please
tell me, and I-I'll tell the agents.
The rent's very reasonable,
but don't say anything to the others...
or you'll have no peace.
- Peace.
- Mark, what do you do?
Oh, thank you.
Most of the time,
I work in a film studio.
On the photographic side, I'll bet.
- I hope to be a director very soon.
- Oh, how exciting.
When I came in, were you
looking at some films?
- Yes.
- Of yours?
- Yes.
- I'd like to see them.
Oh, I know I'm being rude,
but I really would like to see them.
It would be a birthday present
from you to me.
- Would it?
- Mmm.
- Oh.
- But I'm-I'm sure you're too busy and...
Will you...
- Would you like to see them now?
- Oh, thank you.
I'll go first.
Oh, it's dark.
Is that better?
But it's enormous.
Oh. Terribly sorry.
- What are these?
- Chemicals.
Oh.
This is, well...
It's so many things, but...
above all,
it's so completely unexpected.
- Are these all yours?
- Yes.
I mean, did you do all this?
Mark, tell me about this room.
- It-It belonged to my father.
- Oh?
- What was he?
- A scientist.
Oh. Then this equipment was his?
No, I-I sold his to buy it.
- Sit down.
- Oh!
This all seems so,
well, terribly technical.
If this is where you work,
I can't wait to see what you work at.
Mark?
I don't know what to show you.
Well, what were you looking at
when I interrupted you?
All right.
Helen...
this is the first 21st birthday present
I'll ever have given.
And it's the first
I've ever asked for.
Thank you.
Mark, what a beautiful little boy.
- Who is he?
- Me.
Of course it is.
- Then who took this film?
- My father.
What a wonderful idea.
You'll be able to show it
to your own chil...
Oh, you must've had
a bad dream.
What was the light
in your eye?
Camera, I suppose.
Whatever are you after?
Naughty boy.
I hope you were spanked.
Mark, what a strange thing
for your father to photograph.
Switch it off?
No. No.
Again?
Mark, this isn't
some sort of a joke, is it?
No, Helen.
What's that?
- Mark, what are you doing?
- I wanted to photograph you watching.
No. No. Please help me
to understand this thing.
'That will do, Mark.
'Dry your eyes
and stop being silly.'
All right now, Mark.
What was all that about?
That was a lizard,
wasn't it, or a...
A li...
Well, how did it get there, Mark?
How did it get there?
Was it a pet?
Not mine.
Won't you try to explain?
- You'd better go.
- I'd like to understand what I'm shown.
What was your father trying to do
to you, photographing you at night?
You'd better go.
Mark, what's this?
I'm saying good-bye...
to my...
... mother.
He photographed that?
Yes.
And this - her funeral.
And this - her burial.
- And this.
- Who's that?
Her successor.
Successor?
He married her six weeks after the...
previous sequence.
She filmed what comes now.
It's out of focus.
Is that your father?
The morning he left
for his honeymoon.
But what's he doing?
Giving me a present.
What is it?
Can't you guess?
The camera.
Switch it off, Mark!
Mark, switch it off!
Let's get out of here.
Mark?
So, he was a scientist?
What kind of a scientist, Mark?
- Biologist.
- What was he trying to do to you?
Mark, what was he trying
to do to you?
Watch me grow up.
He wanted a record
of a growing child,
complete in every detail,
if such a thing were possible.
And he tried to make it possible
by training a camera on me at all times.
I never knew the whole of my childhood
one moment's privacy.
And those lights in your eyes
and that thing.
He was interested
in the reactions...
of the nervous system
to... to fear.
Fear?
Fear.
Especially fear in children
and how they react to it.
I think he learned a lot from me.
I'd wake up sometimes screaming.
He'd be there
taking notes and pictures,
and I'm sure good came of it...
for some people.
He was brilliant.
A scientist drops a lizard
onto a child's bed,
and good comes of it?
Excuse me, but...
Oh, there you are, Helen.
The party looks like breaking up,
and we were wondering if...
Oh, I'm coming.
I wish you'd join us.
Thank you.
Work.
I hope that you...
have a sweet tooth.
Thank you for my present.
Good night, Mark.
Good night, old boy.
Cut!
'Look, Mr Jarvis,
this picture's a commercial proposition.
'That's why I want you to do it -
it's your type of thing you so do well.
'I've talked to Johnnie already
and he's crazy to do it...'
These are the figures
you wanted, Mr Jarvis.
'This script is gonna...'
Still behind schedule.
'And you know
that Paramount want it.
'Yeah. Paramount want it.
MGM want it. Columbia want it.'
- But is it commercial?
- 'Anglo want it.'
Send me a memo.
We'll discuss it next week.
Now, Miss Simpson,
take a memo:
To all producers and directors.
In light of the new economy drive,
if you can see it and hear it,
the first take's OK.
Slate 99, take 49.
Clappers on end.
And darling, just this once,
will you please make an effort
to forget that you're stunning,
and just try to look stunned?
One kind word and I would be!
All right.
Positions, everybody.
Cut.
Roll once again, please.
No, no, no, dear.
Cut. Cut. Cut it.
- Slate 99, take 53.
- We'll run it once more, please.
Cut it!
Once again, please.
If I have to faint once more,
I will faint.
- Slate 99, take 57.
- All right. Quiet, everybody.
All right. Action!
No, no, no, no, no. Cut it.
Cut it. Cut it. It's hopeless.
- Oh, miss.
- Cut!
- Cut! How was it?
Phil? Sam? Mark?
Print it!
Hold take one.
- OK. Alex, that's it.
- All right, boys and girls. Wrap it up.
8:30 in the morning. You're wonderful,
darling. You were really feeling it.
- Catching the bus?
- Not tonight.
I'm meeting someone for a drink.
Oh. I wanted to discuss
that film at the Everyman.
- Tomorrow then?
- I hope so.
- How's my favourite stand-in today?
- Standing it.
8:30 in the morning.
Viv, how about having a drink
with me on the way home?
I've got a date, Mr Tate.
Good night,
Miss Vivian.
Yeah, Sergeant,
who's working late tonight then?
That Indian picture,
The Elephant with Two Tails.
- A bit crowded, aren't you?
- She'll take eight at a pinch.
- Which is what we'll probably get.
- Go on.
Well, I don't mind. Might as well get
pinched in a car as squeezed in a bus.
Mark?
Mark!
Well, are you there?
Well, where are you?
Here, Viv.
Oh, you frightened me.
Now listen.
They're working late
on the lot.
I know. They've branched off this stage.
We're using their power.
We must call it off.
They're bound to see us.
They might, but they won't
interrupt us while we're filming.
- I've put the red light on.
- You've what?
- I've put the red light on. Would you...
- But...
Would you please stand over there?
But then they'll know
someone's here.
They won't come in.
They'll wait outside.
What's the difference?
The difference is a perfect film.
I've waited a long time
for this and so have you.
- No one must interrupt it.
- We'll be caught.
- What does that matter?
- Oh, matter!
- You stand to lose a job as an extra.
- Extra? Stand-in.
I stand to lose nothing.
The result must be so perfect...
...that the risks don't count.
So perfect...
that even he...
even he would say...
- Who's he? Don Jarvis?
- Hmm?
Hmm.
Oh, he'd say,
"Sign on the dotted line, kiddies.
"You can use my pen,
but bring your own ink."
Well, if you're sure
it's worth it.
It's time to find out, Viv.
- Do you mind if I warm up?
- Go ahead.
You belong there.
Oh, I do feel alone
in front of it.
- I suppose stars never do.
- They feel alone without it.
And the great ones...
feel alone all the time.
Then I'm great, boy.
What is it you want me to act?
Being frightened to death?
You remembered?
Yes, and I have a go.
- What are you doing?
- Building us a set.
Well, why don't you pull down
the studio while you're about it?
They can only hang you once.
Exactly.
If only Don Jarvis
could see me now.
If only I could see
Don Jarvis now.
I warn you, Mark. I'm hysterical.
I'd rather act dying of laughter
if it's all the same with you.
I'll be a little lovelier each day
with fabulous pink.
- What are you doing?
- Be patient, Viv.
It's going to be worth it.
Oh, well. I've stood alone
in front of a studio camera.
That's more than most have.
Ever stood behind one?
- No.
- Help yourself.
- Oh, I can see you, Mark. Perfectly.
- Good.
Yes, sir. I bet I'm the best
camerawoman in the business.
Now what are you doing?
Photographing you photographing me.
Oh, Mark, you're brilliant.
Oh, I've lost you.
Ah, welcome, stranger.
- I've lost you again.
- Never mind.
I'm ready now, Viv.
Will you... go and stand
on your cross, please?
Yes, sir, Mr Director, sir.
Am I supposed to imagine
someone's going to put me in there?
Yes, Viv.
Oh, Mark, I...
I hope I won't let you down.
I know you're trying to create
atmosphere for me, but...
well, I just don't feel
frightened, that's all.
Oh, wouldn't it be better
if I just did my number?
Later.
The trouble is I feel so relaxed.
That's due to you.
You're so at home with that camera,
you make me feel at home too.
You have it in you, boy.
Ready, Viv?
Oh, well, I'll try.
What would frighten
me to death?
Oh, set the mood
for me, Mark.
Imagine...
someone coming towards you...
who wants to kill you...
regardless of the consequences.
- A madman?
- Yes.
But he knows it, and you don't.
And just to kill you
isn't enough for him.
- But how does that...
- Stay there, Viv.
You're just right.
But I can't imagine
what you've thought of.
Imagine...
this would be one of his weapons.
That?
Yes.
That.
Mark!
Yes, that
would be frightening.
There's something else.
Well, what is it?
That?
Mark.
Mark, no.
Take it away.
Mark!
Mark!
And that, darling,
is the end of the news -
unless you want
the football results.
Hmm.
- What are you looking at?
- The ceiling.
- Wondering if that young man is home?
- Yes.
Well, he is. I heard him come in
four paragraphs ago.
He's late tonight.
- Do you like him?
- Yes.
- Why?
- Well, he has a quality.
I wish this had.
And I think he could
help me with my book.
- Helen?
- Yes?
- Doesn't matter.
- Mother, what's worrying you?
- The price of whiskey.
- What else?
- What else matters?
- Don't you like Mark?
Haven't met him.
You don't like him.
Why not?
I don't trust a man
who walks quietly.
He's shy.
- His footsteps aren't. They're stealthy.
- Now, really, Mother.
- You going up to see him?
- May I?
We both have the key of the door.
Mine needs oiling.
- Yours needs exercise. Off you go.
- Thank you.
- Remember you lost the draw.
- Mm-hmm.
- Helen?
- Yes?
If you're back in five minutes,
I won't even finish this.
Done.
- Who is it?
- It's Helen.
Oh.
Come in, Helen.
Would you just
wait in there?
Developing.
Mother heard you come in,
so I guessed you wouldn't be in bed.
Are you sure this is convenient?
I won't be long!
'I wish to express
my gratitude to the following people...
'for their valuable contributions:
'Professor A. D. Smith
of New York University,
'Mr. Edward Paton of the Belgravia
Institute of Nervous Diseases...
'and Mark Lewis, my son...'
- Hello.
- Oh, hello, Mark.
I-I hope you don't mind.
I'm sure I'm being a nuisance,
but, Mark, I very much want to...
Happy birthday.
Mark, that's very sweet
of you, but really...
It isn't much.
I-I don't know anything about
21st birthday presents,
but I saw it this morning, so...
Please.
Oh, Mark. Thank you.
Oh, it's beautiful.
I liked it.
- More milk?
- More?
- Milk?
- Oh, no thank you.
I'm going to put it on now.
There or... or there?
- Um... the first place.
- Yes, I think so too.
- Oh, I am keeping you.
- Oh. Oh, no.
I... I promise.
Mark, I'm here for some advice.
- F-From me?
- Please.
You see, I work in a public library
in the children's section.
I'm telling you that to postpone
admitting what always embarrasses me.
- I n my spare time, I write.
- What's embarr...
I write short stories for children,
but so did Grimm,
Hans Anderson and Lewis Carroll.
- Had any published?
- Some short stories.
I'd like to read them.
I learned today that
my first book has been accepted
for publication in the spring.
- But Helen, th-that's wonderful.
- Yes.
What is it about?
A magic camera
and what it photographs.
What... Whatever made
you think of that?
I'll tell you one day.
I promise.
- W-What does it photograph?
- I'll tell you that too,
but Mark, this is the problem.
The children who read the book will want
to see the pictures the camera takes,
but the publishers say
they're impossible to photograph,
and they suggest drawings.
- But I don't agree.
- Oh, no. Nothing's impossible.
Oh, I was hoping you'd say that.
There must be photographs,
however difficult to take.
- I was wondering if...
- Oh, yes.
- You'll discuss it with me?
- I'll take them.
Well, I can't ask you
to do that.
I mean, the publishers
mightn't agree.
- I'd like to take them for you.
- But the money.
There are some things
which I photograph for nothing.
I didn't mean to offend you.
- Offend?
- Then you'll talk it over with me?
- When, please?
- That's up to you.
- Are you free tomorrow night?
- Yes.
- I hope I am.
- Well, I'll understand if you're not.
I'll try.
I'll try my hardest to be.
Thank you for listening...
and for my present.
- Good night.
- Good night.
- Looking for a trunk?
- Er, yes. I'd like to see that one.
Certainly, madam.
No. No, no,
no, no, no, no.
We must have some comedy
in this scene.
- We'll retake it today.
- Very good, sir.
The thing about this scene is
I must have some comedy in it.
Now you do understand, darling,
don't you? You see,
that instead of taking the first trunk,
I want you to ask to see a red one.
And when he brings that,
I want you to look around...
And ask... excuse me a second,
darling...
...for a white one,
then when he brings the white one.
Then you ask for a different one...
This one, the blue one.
And you, Michael, bring the trunks one
by one, getting more and more fed up.
- I'll keep it light.
- I'm sure you will.
Then we'll end up on some sort of
a gag I'll think of in a minute.
- Understand? What?
- I don't feel it.
- Don't feel it.
- Don't feel it, just DO it!
- All right. Positions, everybody.
- Anyone seen Viv?
Who?
Diane's stand-in.
I want to light the set.
- No, Phil. I want to run it first.
- All right, quiet.
All right. Ready? Action.
- Here we are, madam.
- Oh, I'd like to see one in red.
Certainly, Madam.
Carrying your bag...
Right. Ready for you,
and back you go.
- Play for a close-up there.
- Um, do you have one in white?
Certainly, Madam.
There's a white one there behind you.
Right here. Again.
Good, Michael.
Excellent.
All right.
Back again.
- Oh, um, do you have one in blue?
- Certainly, Madam.
That's it, and back you go.
That's it. Just take what you can
without overdoing it.
Play it lightly, Michael.
Right. When it's in position,
head up, and tight in to him there.
Very good.
The silly bitch.
She's fainted in the wrong scene.
- Excuse me, Chief?
- Mmm?
Um, we pass by my place. Do you mind
if I drop in for a moment?
To collect your kid's autograph book?
That's it, Chief. If the nipper finds out
where I've been...
All right, Dawson.
Anything to help the sergeant.
It's about time
the sergeant helped me.
We're not getting anywhere
with this Soho murder.
What about that chap
the landlady passed on the stairs?
She couldn't describe him, but he was
carrying something she couldn't see.
Oh, that's a help
Sergeant, I've been
on the force 30 years,
and I've never seen such fear
on anyone's face as on this girl's.
What was it she saw?
Well, surely, a man coming
at her with a sharp weapon.
Mmm. I'm familiar with
that kind of terror.
This is something new to me.
But what?
That's the one, sir.
- Chief, the expression. It's exactly...
- I know.
Don't say anything.
Well, sir, we shall probably
have to interview everyone.
So we'll try not to interfere too much
with your productions.
Oh, thank you, Chief Inspector.
If you knew what even
a single day's delay could cost.
Oh, er, we do, sir.
- Hello, Mark.
- Hello.
Hey, I don't think
you ought to do that.
- Sorry, sir.
- Do what?
Make me famous.
Some chap's giving me a screen test.
Gerry, you're next. Don't look
so scared. They can't eat you.
Looks as though it's going
to be an early night tonight.
- I've been watching you.
- Oh.
Have you been filming
those policemen?
Mmm. I have a few
quite interesting shots of them.
- It's a chance I never expected.
- Chance for what?
To photograph an investigation...
or as much of it as I can get.
What on earth for?
It will complete a documentary.
Documentary, eh? What's it about?
- Hmm?
- What's it about?
I'd rather not tell you
till it's finished...
and it will be soon.
Suppose they catch you?
Oh, they will.
They look very efficient.
- Don't you mind?
- No.
- Mark, are you crazy?
- Yes.
Do you think they'll notice?
Mark, you're next.
Don't get into trouble. I want to discuss
that film at the Everyman.
Oh, yes, I'd like that.
Come in!
Mr. Lewis?
Ah, my photographer.
I brought you the camera in case
you wanted to take the film away.
- Chief?
- That's all right, Mr. Lewis.
As long as we don't appear at the local
next week in place of the cartoon.
I'm Chief Inspector Gregg.
This is Sergeant Miller.
Grab a chair.
Well, now, have you
anything to tell us?
- I don't think so, sir.
- Did you know the girl?
- Yes, sir.
- How well?
- Mainly by sight.
- Mm-hmm.
- When did you last see her?
- Yesterday afternoon before we broke.
- Did you speak to her?
- I called out good night.
I don't know if she heard me.
- What did you do then?
- Oh, taking some shots.
I'm making a film.
Oh? Where?
Oh, all over the place.
It's a documentary.
Anyone with you?
No, sir. Just my...
Just my camera.
Sergeant Miller.
Right. I'll tell him.
The doctor's finished
his examination,
and he wants to see you.
- Right. You'd better go on first.
- All right, sir.
Gotcha!
- Nice job.
- Thank you, sir.
What time did you arrive home
last night, Mr. Lewis?
About 10:00, 10:30.
- Anyone see you?
- Yes. The people who live downstairs.
I see.
Right. That's all.
Thank you, Mr. Lewis.
- Thank you, sir.
- OK.
Wait a minute!
Direct me to that set of yours,
would you?
I'd probably end up
on location.
- Yes, sir.
- Thank you.
I warned him.
Well, I think I can find my way now.
Thanks for the escort.
No doubt at all - the wounds caused
by the same instrument.
Both women subjected
to the most violent shock.
What sort of shock?
That's up to you to find out, Inspector.
It's not my department.
- Can we move the body?
- Yes, I have finished.
Come on, fellows.
Hello.
What's this she's lying on?
- Oh, a tape recorder.
- Give me a handkerchief.
Baxter!
Get it tested for fingerprints.
- Get all the reels played back.
- Right.
Quiet, everyone.
Quiet!
I taught I heard a putty tat.
I don't want to spoil
anyone's fun,
but we do have
a maniac on our hands.
And if we don't get him quickly,
there'll be a third unsolved murder
to report to the commissioner.
So let's hurry things up.
Shall we?
"She was appearing
in Arthur Baden's new film...
"The Walls Are Closing In,
starring Pauline Shields.
"A spokesman said that her performance
showed such promise...
"that her role
was to have been built up."
- Oh, the prime minister...
- Mark is in films, isn't he?
- Yes, darling.
- I wonder if he knew her.
- I'll ask him tonight.
- Oh. Is he taking you out?
- Yes, if he's free.
- Hmm. That's very chivalrous of him.
Where is he taking you?
I have no idea,
and I don't suppose he has.
Which studio does he work at?
- I don't know. I'll ask him.
- If he's free.
Shall I bring him in
and introduce you?
- I feel as if I know him.
- Now, darling.
He's here.
Why don't we make him
a present of that window?
He practically lives there.
How did you know
he was there?
The back of my neck told me.
The part that I talk out of.
Hello.
- Free? Good. So am I.
- Yes.
I'd like you to come in
for a moment and meet my mother.
Yes, please.
Darling, this is Mark.
H-How do you do,
Mrs. Stephens?
Hello, Mark.
Have you been running, young man?
Yes. I didn't want
to be late for Helen.
Thank you.
You deserve a drink for that.
- What would you like?
- Nothing. Thank you very much.
Mother, I've left your supper...
Tell me, young man,
which studio do you work at?
Chipperfield Studio.
That poor girl,
where did she work?
- Brookwood, I think.
- Hmm.
We were wondering
if you knew her.
No.
No.
I didn't know her.
Pity.
I do like firsthand information.
Darling, may I tell you
about your supper?
No.
Go and be told about yours.
Good-bye, Mark.
I expect we shall meet again.
I hope so,
Mrs. Stephens.
Mother, we forgot to cut the cards.
Your supper's
laid out in the kitchen.
If you're not back early,
you'll find me laid out with it.
- We'll be early. Bye, darling.
- Good night.
Mark, I want to ask you
something rather personal.
How long is it since you've
gone out without that?
- Without what?
- That camera.
Oh. I... I don't think I know.
Exactly. I don't think
I've ever seen you without it.
But are you going
to need it tonight?
Well, are you?
And if so, shall I bring
some work with me too?
- I'm not going to need it tonight.
- Good, then give it to me.
I'll put it away for you.
It'll be quite safe.
No.
Then take it upstairs
if you can't trust me with it.
I trust you.
Then let's put it in here.
Come in and see for yourself.
We'll put it in there and lock it.
This was my...
my mother's room.
- Was it, Mark?
- Hmm.
I am being tactless,
aren't I?
It's just that I thought it was
growing into an extra limb, and I...
But bring it with you,
if you want to.
- You.
- Thank you.
- I feel...
- Yes?
I can't describe it.
Could only photograph it.
Shall I tell you what I feel?
Famished!
Good.
I know a small place
around the corner.
- It's awfully good on Christmas Day.
- Is it?
- Yes. There aren't too many open then.
- No.
Sounds fun.
- Helen?
- Yes?
Come on. This way.
What does your
magic camera photograph?
People.
It's owned by a little boy,
and it sees grown-ups as they were
when they were children.
I was hoping you'd...
Where is this restaurant?
- Around the corner.
- Come along then.
Thank you.
There isn't a single face in the crowd
that doesn't look like a child.
- Don't say that.
- If you catch it at the right moment...
Oh, Helen. I would like
to find those faces for you, with you.
Well, let's try.
Oh. Mother must have
gone to bed.
Mark... it was a wonderful evening.
That's what I was going to say,
what a wonderful evening.
And you made it wonderful...
without your camera.
I'll get it for you.
It's still here,
your magic camera.
I wonder how
this sees grown-ups.
- Me, for instance. Now that I am one.
- Not you.
Why not?
- It will never see you.
- Mark.
Whatever I photograph,
I always lose.
I don't understand.
Oh, he will wake Mother.
Thank you again
for my evening.
Will you go to bed now,
and not stop up watching those films?
Well, I...
I've got some work to do.
Then I'll go to bed,
and try to find your faces.
Faces which I...
Faces which...
- Good evening, Mark.
- How did you...
The young man bathing himself
brought me to your door.
I managed the rest
of the adventure alone.
This is one room
I expected to find locked.
I was never allowed keys.
I can't get used to them.
I-I brought her home early.
Thank you.
- Is there something you...
- A talk.
- N-Next door would be more...
- I...
I feel at home here.
I-I visit this room
every night.
Visit?
The blind always live
in the rooms they live under.
Every night you switch on
that film machine.
What are these films
you can't wait to look at?
What's the film
you're showing now?
Why don't you lie to me?
I'd never know.
You would know at once.
- Take me to your cinema.
- Yes.
What am I seeing, Mark?
Why don't you answer?
It's no good.
I was afraid it wouldn't be.
- What?
- The lights fade too soon.
- They always do.
- I...
I have to try again.
What do you think
you've spoiled?
Opportunity.
Now I have to find
another one.
What are you doing?
Mark?
Where are you?
Why are you putting
that light on my face?
Mark?
Please let me finish.
It's for Helen.
What do you mean,
"It's for Helen"?
She wanted to see
something I photographed.
My daughter sees enough
of my face without photographs.
Please, don't...
don't be frightened.
Not frightened. Hot.
So put that camera away!
Yes.
In rather a hurry,
aren't you?
Must be tired.
It's late. You...
You're anxious to get rid
of me all of a sudden.
I-I won't be selfish.
You can take some more pictures,
if you want to.
No, thank you.
Why not?
I ran out of film.
Can't you find some more
to please Helen?
No. No.
You... You don't
trust yourself...
to take any more,
do you?
Instinct's a wonderful thing,
isn't it, Mark?
A pity it
can't be photographed.
If I'd listened to it
years ago, I...
I might have kept my sight.
I wouldn't have let a man
operate I had no faith in.
So, I'm listening
to my instinct now.
And it says all this
filming isn't healthy,
and that you need help.
Get it, Mark.
Get it quickly.
And until you do, I don't want you
and Helen to see each other.
I will never photograph her,
I promise you...
I'd rather you don't have the chance.
I mean it, Mark.
And if you don't listen to me,
one of us will move from this house.
It would be a pity, because
we'll never find a cheaper place.
You'll never have to move
because of me. I... I promise.
Good boy.
The stairs are the difficult part.
That's far enough. Thank you.
Taking my picture?
Yes.
It's a long time since anyone did.
Mark, what's troubling you?
Good night, Mrs. Stephens.
You'll have to tell someone.
You'll have to!
Now over here.
Swing over on me. Good.
All right. First positions, everybody.
Absolute quiet.
- Ready to turn, Phil?
- Er, yeah. Yeah. OK.
Hey!
That sneezer geezer's a psychiatrist.
I heard it on the grapevine.
All right, boys and girls.
First positions, everybody.
Now, take it easy. I know you'll be
absolutely wonderful, darling.
- Do you mind standing...
- Oh, I'm sorry.
- Who is this, Alex?
- It's the detective, sir.
Oh, yes. Of course it is. Everybody's
here just to help you, darling.
Now, take it easy.
It's exactly the same as it was before,
only one or two slight changes.
This time it's hats instead of...
...of, um, of trunks.
- You will help, Michael, won't you?
- Yes, sir.
Now, darling, be very brave. You're
wonderful, and we shall all be with you.
- Oh, please!
- All right. Clear the set! Makeup.
- Now, take it easy, darling. Just relax.
- All right.
All right.
And camera!
Looking for a hat, madam?
Yes. I'd like to see that one.
Certainly, madam.
Thank you.
Oh.
Um, have you one in red?
Certainly, madam.
In red?
Have you one in blue?
In blue. In blue!
Ye gods!
- Break for half an hour, sir?
- No. Break forever!
All right, boys and girls.
Break it up. Back in half an hour.
Yes.
- Could you, uh, suggest something?
- Oh, it's jolly interesting.
No. I mean to help her...
psychologically.
Oh, uh, give her a proper rest.
Half an hour is useless.
Yes. Thanks very much.
Psst!
What's your job?
I'm... a focus puller.
Oh. So am I, in a way.
- I wonder...
- Hmm?
I wonder if you knew
my father, Professor Lewis?
- A...
- A. N. Lewis.
Oh, of course I knew him. He lectured
to me. An extraordinary man.
Brilliant!
Quite brilliant!
Do you know what he was
interested in... before he died?
No. Tell me.
Tell me.
I-I don't remember
what he called it,
but it has something
to do with what...
what causes people
to be Peeping Toms.
Scoptophilia, that would interest him.
Most fertile mind.
- Scopto...
- Philia. The morbid urge to gaze.
Coined since his day. Now tell me,
are there any of his manuscripts left?
- I thought it could be cured.
- Usually. Yeah.
- Now about his manuscripts.
- Quickly.
The cure. Oh, very quick. A couple
of years' analysis three times a week,
an hour a time
and soon it's uprooted.
Now, are there any
of his papers left?
I should be most grateful
if I could see them.
I-I'll give you my address.
Yes, Doctor.
- I wonder what all that's about?
- I don't know.
We'll find out afterwards.
Hey, Mark.
I can't wait
to show you this.
I should charge you.
You don't get that
in Sight and Sound.
Mmm, she's terrific.
I've got some more,
if you're interested.
You've given me...
an idea.
Yeah, I'll bet I have.
He asked me if I knew his father,
which I did.
- Brilliant man.
- Is that all he wanted?
I think so. Oh, we had
a little chat about scoptophilia.
About what?
- Voyeurism.
- Eh?
What makes people into
Peeping Toms,
one of his father's
subjects, and...
Peeping Tom?
Interesting boy.
He has his father's eyes.
You don't suspect him, do you?
I suspect them all.
- Action!
- What about you?
I'm interested in this fantastic
extrovert who brought the girl in.
There's something on his mind.
No wonder. He's the director.
I can't manage Saturday, sir.
But... But they're
letting us off early today.
This afternoon after work...
it might be my only chance.
Well, be here at six o'clock, Mark.
I'll have Milly waiting.
- Six o'clock.
- On the dot, Mark, or she'll go.
- I'll be there.
- You'd better be.
The last shot of the day.
Make it a good one.
- Have you got your list, Sergeant?
- Yes, sir.
I want to see how some of them
spend their spare time.
- Which ones?
- Exactly, Sergeant.
Oh, there you are.
Now, don't make a habit of this.
I won't, sir.
- Milly's upstairs.
- Thank you, sir.
Now, I've got to go out.
If you finish before I'm back,
lock up and put this
through the letter box.
What are you looking at?
Haven't you seen a key before?
The till will be empty,
if that's what you're smiling about.
Now, remember what I said.
No more of this fancy stuff.
You've spoiled my whole evening,
you have.
- I had a date with my new boyfriend.
- Sorry, Milly.
Well, what's the idea?
I may not be here tomorrow.
Why? Going on manoeuvres with the
Boy Scouts? Now what are you doing?
- I thought so.
- Come on. We haven't got all night.
There's all that nude stuff
on the bed to finish.
Well, of all the...
Have you gone completely crazy?
I'm just completing
a documentary.
You're a documentary
and a half, you are.
I didn't stand up
my gentleman friend
and come back here
and take my clothes off
for you to start filming the street!
I might as well talk to a zombie.
Is it safe to be alone
with you, I wonder?
It might be more fun
if it wasn't.
Drive straight on.
- Hello.
- Oh, hello, Tony.
- Where are you going?
- To leave something for Mark.
You haven't much time
for me these days.
- Oh, Tony, I...
- It's all right.
I'll be here if you want me.
Oh, by the way, your mother
was yelling out before you came in.
Something about Mark
photographing her.
Photographing Mother?
You must be mistaken.
- Of course. See you sometime.
- Yeah.
Mark?
Mark.
I don't know
what to make of it, sir.
He went to a public library,
and then to a newsagent's shop.
For private photography,
if you ask me.
Shall I hang around
outside the house, sir?
No. I don't think so either.
All right, sir. I'll give you
the details when I get back. Bye, sir.
Don't let me
see you are frightened.
- So, leave. Hurry up!
- No!
Leave!
Not till I know.
- Now.
- That film...
That film is...
just a film, isn't it?
It's horrible.
Horrible. But it's just a film, isn't it?
No.
I killed them.
You'll be safe, as long as I can't
see you frightened.
So stand in
the shadows, please.
Please.
Inspector Gregg.
What?
Put him on the line.
Peters here. Yes. I went upstairs
to look around, and I found her lying.
What's the address?
Newsagent's shop!
Your mother is right.
I must tell someone everything.
Sorry it has to be you.
This was his workshop.
And you know
some of what he did,
but not all.
Aged five.
Aged seven.
All the rooms
were wired for sound,
and they still are.
Your room.
Your mother's.
Tony's.
'No one will come in.'
'I don't care.'
'But, darling.'
- 'Tony, stop it! '
- 'The door is locked.'
'I don't care. I'm scared.'
Turn it off.
- Look at me, Mark.
- Not if you're frightened.
Look at me!
What did you do to those girls?
- No.
- What did you do?
If you want to torment me for the rest
of my life, then make me imagine.
What did you do
to those girls?
I... I can't.
Show me.
But if you're frightened...
Show me, or I'll remain frightened
for the rest of my life.
Show me!
Do you know what the most frightening
thing in the world is?
It's fear.
So I did something
very simple.
Very simple.
When they felt the spike...
touching their throat,
and knew I was going
to kill them,
I made them watch
their own deaths.
I made them see...
their own terror
as the spike went in.
And if death has a face,
they saw that too.
But not you.
I promised I'd never
photograph you.
Not you.
I'm frightened for you.
- Got the men all right?
- Yes, sir.
- OK, let's go.
- Look out!
- It's only a camera.
- Only?
Give yourself up, Mark!
I've been ready for this
for such a long time.
- What are you doing?
- That's all right.
All right. He's there!
All right. Come on, then!
I can beat that.
Give yourself up, Mark!
Watch them, Helen.
Watch them say good-bye.
One by one.
I've timed it so often.
I wish I could have
found your faces for you.
Helen! Helen!
I'm afraid.
No. No, Mark!
And I'm glad I'm afraid.
The girl's alive.
Go and get an ambulance.
'All right, all right. Don't be a silly boy.
'There's nothing to be afraid of.'
'Good night, Daddy. Hold my hand.