偷窥狂 Peeping Tom(EN)Subtitles
| SRT Subtitles download |
1 00:01:13 (Camera mechanism whirs)
2 00:01:35 It'll be two quid.
3 00:02:06 Shut the door.
4 00:03:14 No!
5 00:05:00 - What's going on here?- Murder.
6 00:05:03 - Oh, no!- One of the girls.
7 00:05:07 (Camera whirs)
8 00:05:21 What paper are you from?
9 00:05:26 - I beg your pardon?- I said, what paper are you from?
10 00:05:30 - Oh. The Observer.- Oh.
11 00:06:23 Come on.Let's take a photograph of you.
12 00:06:26 I can't help thinkingof that poor girl.
13 00:06:29 It's shocking, isn't it?
14 00:06:51 - You're late.- Sorry, sir.
15 00:06:53 Hold on, Mark.I've got a question for you.
16 00:06:57 Which magazine sellsthe most copies?
17 00:07:00 Those with girlson the front covers...
18 00:07:02 and no front coverson the girls.
19 00:07:05 Exactly. It's just the samewith the work you do for me.
20 00:07:08 Look busy.
21 00:07:10 - The Times, please. Thank you.- Yes, sir.
22 00:07:17 - Anything else, sir?- And the Telegraph.
23 00:07:26 Anything else?
24 00:07:28 I'm told by a friendthat you have some 'views' for sale.
25 00:07:33 - What sort of views, sir?- Hmm?
26 00:07:35 Well...
27 00:07:40 This sort, sir?
28 00:07:42 Yes, thank you.Yes.
29 00:07:52 - Morning, Mr. Peter.- Morning.
30 00:07:54 - Can I have a Crunch, please?- Help yourself, my dear.
31 00:07:57 Thank you.
32 00:08:02 - How much each?- They're five shillings each, sir.
33 00:08:04 Oh, well, I'll havethat one. Yeah.
34 00:08:07 Oh, and that.
35 00:08:13 - How much would the lot be?- To you, five pounds, sir.
36 00:08:17 - Five pounds.- Well, uh, I'll tell you what, sir.
37 00:08:20 I'll make itfour pounds ten.
38 00:08:22 And I'll throw in the Timesand the Telegraph. How's that?
39 00:08:24 - Thank you very much.- You're welcome.
40 00:08:26 Let me wrap it for you, sir.
41 00:08:30 Shall I... Shall I put youon our mailing list?
42 00:08:32 Oh, no! No, no, no.I'lI-I'll look in again.
43 00:08:35 Very well, sir.
44 00:08:41 Thank you.
45 00:08:49 - Oh, uh, your papers, sir.- Papers?
46 00:08:52 - Times and Telegraph.- Oh, yes. Of course.
47 00:08:56 Silly of me.Thank you very much, sir.
48 00:09:07 Well, he won't be doingthe crossword tonight.
49 00:09:17 Well, look who's here.Cecil Beaton.
50 00:09:32 Her name is Lorraine.
51 00:10:03 Well, come on, sonny.Make us famous.
52 00:10:09 Did you read about that girlthat was murdered last night?
53 00:10:11 Same thing nearlyhappened to me.
54 00:10:14 - Oh? When?- Last night.
55 00:10:17 I went out with my boyfriend.Getting married next month.
56 00:10:21 Trouble was my fiancé saw us.
57 00:10:27 Can you fix it sothe bruises don't show?
58 00:10:34 - Well, can you?- I think so, Milly.
59 00:10:37 Be quick about it, sonny.I'm melting.
60 00:10:49 There he goes again. What haveyou got under there? A girlfriend?
61 00:10:53 I suppose you havea girlfriend.
62 00:10:57 - No, Milly.- Hear that, Lorraine? He's available.
63 00:11:01 Raise your headand look at the sea, please.
64 00:11:05 What sea?
65 00:11:10 - I just wanted that puzzled look.- Oh, did you?
66 00:11:13 Well, if you want it again,I'll think of you.
67 00:11:16 - Hold it.- You're a puzzle and a half.
68 00:11:24 This is a spare-time job for you,isn't it?
69 00:11:28 Yes, Milly.
70 00:11:33 Well, what do you dofor a living?
71 00:11:38 - Take pictures.- This sort?
72 00:11:43 No, Milly.
73 00:11:53 - On the house.- Some house.
74 00:11:56 Hope it fallson his ruddy ear hole.
75 00:11:59 It's your turn now, love.
76 00:12:06 It's her first time.
77 00:12:10 Come on, love.Don't be shy.
78 00:12:21 He said you needn'tphotograph my face.
79 00:12:28 I want to.
80 00:12:41 Maybe you can fixmy bruises too.
81 00:12:47 - I want to.- What about the customers?
82 00:12:51 Don't be shy... of me.
83 00:12:54 It's my first time too.
84 00:12:57 Yours?
85 00:13:01 In front of eyes like...
86 00:13:05 Eyes as full of...
87 00:13:25 Twenty-one!
88 00:13:27 Happy birthday to youHappy birthday to you
89 00:13:31 Happy birthday, dear Helen
90 00:13:34 Happy birthday to you
91 00:13:37 - Thank you.- Come on, blow! One, two, three!
92 00:13:44 What's that?
93 00:13:51 You must be very proudof your daughter, Mrs. Stephens.
94 00:13:54 Mmm.
95 00:14:05 I say. Look.
96 00:14:16 It's that chap from upstairs.
97 00:14:33 Hello. I don't know how many timeswe've passed each other on the stairs,
98 00:14:37 but tonight I'm determined at leastto say hello to you, so, hello.
99 00:14:43 I'm Helen Stephens.I'm having a party,
100 00:14:45 and the other tenants are thereand a few friends.
101 00:14:47 We'd like you to join us.
102 00:14:50 - I'm Mark.- Pardon?
103 00:14:55 - I am Mark.- Oh, hello, Mark.
104 00:14:58 Please come in. You'll meetthe others who live here and...
105 00:15:00 Sorry, but... work.
106 00:15:03 Oh, well, I hope to keep itgoing for ages yet,
107 00:15:07 so when you finish,why not look in...
108 00:15:10 Mark?
109 00:15:11 Come on, Helen. The cake.Everyone's waiting.
110 00:15:18 Hap-Happy birthday.
111 00:16:04 A minute.
112 00:16:29 Oh I... I hope I'm notdisturbing you.
113 00:16:32 I knew you wouldn'tcome down, so...
114 00:16:36 I brought you this.
115 00:16:39 Thank you... very much.
116 00:16:43 Well, I-I mustn'tkeep you from your work.
117 00:16:47 - Oh, would you...- Oh, thank you.
118 00:16:56 - I'd like to offer you a drink.- Oh, thank you.
119 00:17:04 - I haven't got one.- Oh, well, I'd adore some water.
120 00:17:09 You see, a hostess can'tdrink water at her own party.
121 00:17:12 It looks likea hint to the guests.
122 00:17:15 - There's milk if you'd like some.- Oh, very much, if you can spare it.
123 00:17:18 - Oh, yes.- Thank you.
124 00:17:27 - Here.- Oh, thank you very much.
125 00:17:34 This is a nice room,and is there another inside?
126 00:17:40 Yes.
127 00:17:42 How long have you lived here?
128 00:17:45 Nearly all my life.I-I was born in this house.
129 00:17:48 Oh?
130 00:17:50 It's my father's.
131 00:17:52 Do you mean at last I've found outwho our landlord is?
132 00:17:55 Your father?
133 00:17:58 Well, no. He... He's dead.I'm the landlord.
134 00:18:02 - You?- Yes.
135 00:18:04 But you walk about as ifyou haven't paid the rent.
136 00:18:08 - I haven't.- Oh, I-I meant...
137 00:18:10 I know.
138 00:18:12 It's his house,and I'll never sell it.
139 00:18:16 But I can't afford the upkeep,so I let rooms.
140 00:18:20 If I charge you too much, pleasetell me, and I-I'll tell the agents.
141 00:18:24 The rent's very reasonable,but don't say anything to the others...
142 00:18:26 or you'll have no peace.
143 00:18:29 - Peace.- Mark, what do you do?
144 00:18:35 Oh, thank you.
145 00:18:37 Most of the time,I work in a film studio.
146 00:18:39 On the photographic side, I'll bet.
147 00:18:41 - I hope to be a director very soon.- Oh, how exciting.
148 00:18:44 When I came in, were youlooking at some films?
149 00:18:47 - Yes.- Of yours?
150 00:18:50 - Yes.- I'd like to see them.
151 00:18:52 Oh, I know I'm being rude,but I really would like to see them.
152 00:18:56 It would be a birthday presentfrom you to me.
153 00:19:00 - Would it?- Mmm.
154 00:19:02 - Oh.- But I'm-I'm sure you're too busy and...
155 00:19:07 Will you...
156 00:19:11 - Would you like to see them now?- Oh, thank you.
157 00:19:18 I'll go first.
158 00:19:28 Oh, it's dark.
159 00:19:31 Is that better?
160 00:19:35 But it's enormous.
161 00:19:38 Oh. Terribly sorry.
162 00:19:46 - What are these?- Chemicals.
163 00:19:49 Oh.
164 00:19:57 This is, well...It's so many things, but...
165 00:20:00 above all,it's so completely unexpected.
166 00:20:15 - Are these all yours?- Yes.
167 00:20:18 I mean, did you do all this?
168 00:20:22 Mark, tell me about this room.
169 00:20:25 - It-It belonged to my father.- Oh?
170 00:20:27 - What was he?- A scientist.
171 00:20:31 Oh. Then this equipment was his?
172 00:20:34 No, I-I sold his to buy it.
173 00:20:37 - Sit down.- Oh!
174 00:20:39 This all seems so,well, terribly technical.
175 00:20:42 If this is where you work,I can't wait to see what you work at.
176 00:20:48 Mark?
177 00:20:51 I don't know what to show you.
178 00:20:53 Well, what were you looking atwhen I interrupted you?
179 00:20:56 All right.
180 00:21:49 Helen...
181 00:21:51 this is the first 21st birthday presentI'll ever have given.
182 00:21:57 And it's the firstI've ever asked for.
183 00:22:07 Thank you.
184 00:22:26 Mark, what a beautiful little boy.
185 00:22:29 - Who is he?- Me.
186 00:22:32 Of course it is.
187 00:22:34 - Then who took this film?- My father.
188 00:22:39 What a wonderful idea.
189 00:22:42 You'll be able to show itto your own chil...
190 00:22:44 Oh, you must've hada bad dream.
191 00:22:47 What was the lightin your eye?
192 00:22:50 Camera, I suppose.
193 00:22:59 Whatever are you after?
194 00:23:13 Naughty boy.I hope you were spanked.
195 00:23:23 Mark, what a strange thingfor your father to photograph.
196 00:23:28 (Mark) Switch it off?(Helen) No. No.
197 00:23:38 Again?
198 00:23:42 Mark, this isn'tsome sort of a joke, is it?
199 00:23:45 No, Helen.
200 00:23:58 What's that?
201 00:24:12 - Mark, what are you doing?- I wanted to photograph you watching.
202 00:24:16 No. No. Please help meto understand this thing.
203 00:24:32 (Father) 'That will do, Mark.
204 00:24:34 'Dry your eyesand stop being silly.'
205 00:24:42 All right now, Mark.What was all that about?
206 00:24:44 That was a lizard,wasn't it, or a...
207 00:24:49 A li...
208 00:24:53 Well, how did it get there, Mark?
209 00:24:56 How did it get there?Was it a pet?
210 00:25:01 Not mine.
211 00:25:03 Won't you try to explain?
212 00:25:08 - You'd better go.- I'd like to understand what I'm shown.
213 00:25:11 What was your father trying to doto you, photographing you at night?
214 00:25:25 You'd better go.
215 00:25:43 Mark, what's this?
216 00:25:45 I'm saying good-bye...to my...
217 00:25:52 ... mother.
218 00:25:56 He photographed that?
219 00:25:58 Yes.
220 00:26:02 And this - her funeral.
221 00:26:05 And this - her burial.
222 00:26:08 - And this.- Who's that?
223 00:26:11 Her successor.
224 00:26:15 Successor?
225 00:26:26 He married her six weeks after the...previous sequence.
226 00:26:36 She filmed what comes now.
227 00:26:39 It's out of focus.
228 00:26:42 Is that your father?
229 00:26:46 The morning he leftfor his honeymoon.
230 00:26:52 But what's he doing?
231 00:26:56 Giving me a present.
232 00:26:59 What is it?
233 00:27:01 Can't you guess?
234 00:27:06 The camera.
235 00:27:29 Switch it off, Mark!
236 00:27:33 Mark, switch it off!
237 00:27:41 Let's get out of here.
238 00:27:43 Mark?
239 00:27:58 So, he was a scientist?
240 00:28:00 What kind of a scientist, Mark?
241 00:28:03 - Biologist.- What was he trying to do to you?
242 00:28:07 Mark, what was he tryingto do to you?
243 00:28:10 Watch me grow up.
244 00:28:14 He wanted a recordof a growing child,
245 00:28:17 complete in every detail,
246 00:28:21 if such a thing were possible.
247 00:28:23 And he tried to make it possibleby training a camera on me at all times.
248 00:28:28 I never knew the whole of my childhoodone moment's privacy.
249 00:28:32 And those lights in your eyesand that thing.
250 00:28:36 He was interestedin the reactions...
251 00:28:39 of the nervous systemto... to fear.
252 00:28:44 Fear?
253 00:28:46 Fear.
254 00:28:53 Especially fear in childrenand how they react to it.
255 00:28:58 I think he learned a lot from me.
256 00:29:02 I'd wake up sometimes screaming.
257 00:29:05 He'd be theretaking notes and pictures,
258 00:29:10 and I'm sure good came of it...
259 00:29:12 for some people.
260 00:29:14 He was brilliant.
261 00:29:16 A scientist drops a lizardonto a child's bed,
262 00:29:19 and good comes of it?
263 00:29:21 (Knock on door)
264 00:29:31 Excuse me, but...
265 00:29:33 Oh, there you are, Helen.
266 00:29:35 The party looks like breaking up,and we were wondering if...
267 00:29:37 Oh, I'm coming.
268 00:29:40 I wish you'd join us.
269 00:29:43 Thank you.Work.
270 00:29:46 I hope that you...
271 00:29:49 have a sweet tooth.
272 00:29:52 Thank you for my present.
273 00:29:54 Good night, Mark.
274 00:29:56 Good night, old boy.
275 00:30:14 (Director) Cut!
276 00:30:18 (Speaker-phone) 'Look, Mr Jarvis,this picture's a commercial proposition.
277 00:30:22 'That's why I want you to do it -it's your type of thing you so do well.
278 00:30:26 'I've talked to Johnnie alreadyand he's crazy to do it...'
279 00:30:30 These are the figuresyou wanted, Mr Jarvis.
280 00:30:33 (Man on speaker-phone continues)'This script is gonna...'
281 00:30:35 Still behind schedule.
282 00:30:38 'And you knowthat Paramount want it.
283 00:30:40 'Yeah. Paramount want it.MGM want it. Columbia want it.'
284 00:30:44 - But is it commercial?- 'Anglo want it.'
285 00:30:47 Send me a memo.We'll discuss it next week.
286 00:30:50 Now, Miss Simpson,take a memo:
287 00:30:53 To all producers and directors.
288 00:30:56 In light of the new economy drive,
289 00:30:58 if you can see it and hear it,the first take's OK.
290 00:31:00 Slate 99, take 49.Clappers on end.
291 00:31:05 And darling, just this once,
292 00:31:07 will you please make an effortto forget that you're stunning,
293 00:31:10 and just try to look stunned?
294 00:31:12 One kind word and I would be!
295 00:31:14 All right.Positions, everybody.
296 00:31:16 Cut.Roll once again, please.
297 00:31:20 No, no, no, dear.
298 00:31:22 Cut. Cut. Cut it.
299 00:31:24 - Slate 99, take 53.- We'll run it once more, please.
300 00:31:26 Cut it!Once again, please.
301 00:31:29 If I have to faint once more,I will faint.
302 00:31:31 - Slate 99, take 57.- All right. Quiet, everybody.
303 00:31:33 All right. Action!
304 00:31:35 No, no, no, no, no. Cut it.Cut it. Cut it. It's hopeless.
305 00:31:43 - Oh, miss.- Cut!
306 00:31:45 - Cut! How was it?Phil? Sam? Mark?
307 00:31:50 Print it!Hold take one.
308 00:31:53 - OK. Alex, that's it.- All right, boys and girls. Wrap it up.
309 00:31:56 8:30 in the morning. You're wonderful,darling. You were really feeling it.
310 00:32:03 - Catching the bus?- Not tonight.
311 00:32:06 I'm meeting someone for a drink.
312 00:32:08 Oh. I wanted to discussthat film at the Everyman.
313 00:32:11 - Tomorrow then?- I hope so.
314 00:32:13 - How's my favourite stand-in today?- Standing it.
315 00:32:18 (Assistant director) 8:30 in the morning.
316 00:32:20 Viv, how about having a drinkwith me on the way home?
317 00:32:23 I've got a date, Mr Tate.
318 00:32:35 Good night,Miss Vivian.
319 00:32:47 Yeah, Sergeant,who's working late tonight then?
320 00:32:50 That Indian picture,The Elephant with Two Tails.
321 00:32:52 - A bit crowded, aren't you?- She'll take eight at a pinch.
322 00:32:54 - Which is what we'll probably get.- Go on.
323 00:32:57 Well, I don't mind. Might as well getpinched in a car as squeezed in a bus.
324 00:35:38 Mark?
325 00:36:33 Mark!
326 00:36:44 Well, are you there?
327 00:36:50 Well, where are you?
328 00:36:52 (Distant voice) Here, Viv.
329 00:37:00 Oh, you frightened me.Now listen.
330 00:37:03 They're working lateon the lot.
331 00:37:05 I know. They've branched off this stage.We're using their power.
332 00:37:10 We must call it off.They're bound to see us.
333 00:37:13 They might, but they won'tinterrupt us while we're filming.
334 00:37:19 - I've put the red light on.- You've what?
335 00:37:23 - I've put the red light on. Would you...- But...
336 00:37:26 Would you please stand over there?
337 00:37:28 But then they'll knowsomeone's here.
338 00:37:32 They won't come in.
339 00:37:33 They'll wait outside.What's the difference?
340 00:37:36 The difference is a perfect film.
341 00:37:40 I've waited a long timefor this and so have you.
342 00:37:46 - No one must interrupt it.- We'll be caught.
343 00:37:50 - What does that matter?- Oh, matter!
344 00:37:53 - You stand to lose a job as an extra.- Extra? Stand-in.
345 00:37:58 I stand to lose nothing.
346 00:38:03 The result must be so perfect...
347 00:38:08 ...that the risks don't count.
348 00:38:10 So perfect...
349 00:38:13 that even he...
350 00:38:16 even he would say...
351 00:38:18 - Who's he? Don Jarvis?- Hmm?
352 00:38:22 Hmm.
353 00:38:24 Oh, he'd say,"Sign on the dotted line, kiddies.
354 00:38:28 "You can use my pen,but bring your own ink."
355 00:38:32 Well, if you're sureit's worth it.
356 00:38:39 It's time to find out, Viv.
357 00:38:41 - Do you mind if I warm up?- Go ahead.
358 00:38:48 (Rhythmic music plays)
359 00:39:35 You belong there.
360 00:39:51 Oh, I do feel alonein front of it.
361 00:39:53 - I suppose stars never do.- They feel alone without it.
362 00:39:57 And the great ones...feel alone all the time.
363 00:40:00 Then I'm great, boy.
364 00:40:03 What is it you want me to act?Being frightened to death?
365 00:40:06 You remembered?
366 00:40:08 Yes, and I have a go.
367 00:40:13 - What are you doing?- Building us a set.
368 00:40:17 Well, why don't you pull downthe studio while you're about it?
369 00:40:19 They can only hang you once.
370 00:40:22 Exactly.
371 00:41:13 If only Don Jarviscould see me now.
372 00:41:17 If only I could seeDon Jarvis now.
373 00:41:21 I warn you, Mark. I'm hysterical.
374 00:41:24 I'd rather act dying of laughterif it's all the same with you.
375 00:41:31 I'll be a little lovelier each daywith fabulous pink.
376 00:41:53 - What are you doing?- Be patient, Viv.
377 00:41:57 It's going to be worth it.
378 00:42:01 Oh, well. I've stood alonein front of a studio camera.
379 00:42:05 That's more than most have.
380 00:42:07 Ever stood behind one?
381 00:42:09 - No.- Help yourself.
382 00:42:20 - Oh, I can see you, Mark. Perfectly.- Good.
383 00:42:25 Yes, sir. I bet I'm the bestcamerawoman in the business.
384 00:42:29 (Camera whirrs)
385 00:42:32 Now what are you doing?
386 00:42:34 Photographing you photographing me.
387 00:42:38 Oh, Mark, you're brilliant.
388 00:42:43 Oh, I've lost you.
389 00:42:49 Ah, welcome, stranger.
390 00:42:54 - I've lost you again.- Never mind.
391 00:42:57 I'm ready now, Viv.
392 00:43:03 Will you... go and standon your cross, please?
393 00:43:07 Yes, sir, Mr Director, sir.
394 00:43:21 Am I supposed to imaginesomeone's going to put me in there?
395 00:43:24 Yes, Viv.
396 00:43:26 Oh, Mark, I...I hope I won't let you down.
397 00:43:30 I know you're trying to createatmosphere for me, but...
398 00:43:33 well, I just don't feelfrightened, that's all.
399 00:43:36 Oh, wouldn't it be betterif I just did my number?
400 00:43:39 Later.
401 00:43:42 The trouble is I feel so relaxed.That's due to you.
402 00:43:45 You're so at home with that camera,you make me feel at home too.
403 00:43:48 You have it in you, boy.
404 00:43:53 Ready, Viv?
405 00:43:58 Oh, well, I'll try.
406 00:44:09 What would frightenme to death?
407 00:44:15 Oh, set the moodfor me, Mark.
408 00:44:19 Imagine...
409 00:44:24 someone coming towards you...
410 00:44:30 who wants to kill you...
411 00:44:33 regardless of the consequences.
412 00:44:38 - A madman?- Yes.
413 00:44:41 But he knows it, and you don't.
414 00:44:45 And just to kill youisn't enough for him.
415 00:44:53 - But how does that...- Stay there, Viv.
416 00:44:56 You're just right.
417 00:45:03 But I can't imaginewhat you've thought of.
418 00:45:06 Imagine...this would be one of his weapons.
419 00:45:11 That?
420 00:45:15 Yes.
421 00:45:18 That.
422 00:45:19 Mark!
423 00:45:22 Yes, thatwould be frightening.
424 00:45:25 There's something else.
425 00:45:30 Well, what is it?
426 00:45:41 That?
427 00:45:46 Mark.
428 00:45:50 Mark, no.
429 00:45:53 Take it away.
430 00:45:59 Mark!
431 00:46:01 (Screams) Mark!
432 00:46:05 And that, darling,is the end of the news -
433 00:46:07 unless you wantthe football results.
434 00:46:09 Hmm.
435 00:46:17 - What are you looking at?- The ceiling.
436 00:46:20 - Wondering if that young man is home?- Yes.
437 00:46:24 Well, he is. I heard him come infour paragraphs ago.
438 00:46:30 He's late tonight.
439 00:46:34 - Do you like him?- Yes.
440 00:46:36 - Why?- Well, he has a quality.
441 00:46:39 I wish this had.
442 00:46:41 And I think he couldhelp me with my book.
443 00:46:47 - Helen?- Yes?
444 00:46:50 - Doesn't matter.- Mother, what's worrying you?
445 00:46:54 - The price of whiskey.- What else?
446 00:46:57 - What else matters?- Don't you like Mark?
447 00:47:00 Haven't met him.
448 00:47:03 You don't like him.Why not?
449 00:47:07 I don't trust a manwho walks quietly.
450 00:47:10 He's shy.
451 00:47:13 - His footsteps aren't. They're stealthy.- Now, really, Mother.
452 00:47:20 - You going up to see him?- May I?
453 00:47:25 We both have the key of the door.Mine needs oiling.
454 00:47:29 - Yours needs exercise. Off you go.- Thank you.
455 00:47:36 - Remember you lost the draw.- Mm-hmm.
456 00:47:40 - Helen?- Yes?
457 00:47:42 If you're back in five minutes,I won't even finish this.
458 00:47:48 Done.
459 00:48:04 (Knock on door)
460 00:48:06 - Who is it?- It's Helen.
461 00:48:08 Oh.
462 00:48:09 Come in, Helen.
463 00:48:12 Would you justwait in there?
464 00:48:15 Developing.
465 00:48:22 Mother heard you come in,so I guessed you wouldn't be in bed.
466 00:48:28 Are you sure this is convenient?
467 00:48:31 I won't be long!
468 00:48:56 (Mr Lewis) 'I wish to expressmy gratitude to the following people...
469 00:48:59 'for their valuable contributions:
470 00:49:02 'Professor A. D. Smithof New York University,
471 00:49:05 'Mr. Edward Paton of the BelgraviaInstitute of Nervous Diseases...
472 00:49:10 'and Mark Lewis, my son...'
473 00:49:15 - Hello.- Oh, hello, Mark.
474 00:49:17 I-I hope you don't mind.
475 00:49:26 I'm sure I'm being a nuisance,but, Mark, I very much want to...
476 00:49:32 Happy birthday.
477 00:49:34 Mark, that's very sweetof you, but really...
478 00:49:38 It isn't much.
479 00:49:40 I-I don't know anything about21st birthday presents,
480 00:49:44 but I saw it this morning, so...Please.
481 00:49:48 Oh, Mark. Thank you.
482 00:49:51 Oh, it's beautiful.
483 00:49:53 I liked it.
484 00:49:56 - More milk?- More?
485 00:49:58 - Milk?- Oh, no thank you.
486 00:50:00 I'm going to put it on now.
487 00:50:04 There or... or there?
488 00:50:07 - Um... the first place.- Yes, I think so too.
489 00:50:17 (Heavy ticking)
490 00:50:20 - Oh, I am keeping you.- Oh. Oh, no.
491 00:50:25 I... I promise.
492 00:50:28 Mark, I'm here for some advice.
493 00:50:31 - F-From me?- Please.
494 00:50:37 You see, I work in a public libraryin the children's section.
495 00:50:41 I'm telling you that to postponeadmitting what always embarrasses me.
496 00:50:45 - I n my spare time, I write.- What's embarr...
497 00:50:49 I write short stories for children,
498 00:50:51 but so did Grimm,Hans Anderson and Lewis Carroll.
499 00:50:53 - Had any published?- Some short stories.
500 00:50:55 I'd like to read them.
501 00:50:57 I learned today thatmy first book has been accepted
502 00:50:59 for publication in the spring.
503 00:51:01 - But Helen, th-that's wonderful.- Yes.
504 00:51:05 What is it about?
505 00:51:06 A magic cameraand what it photographs.
506 00:51:10 What... Whatever madeyou think of that?
507 00:51:15 I'll tell you one day.I promise.
508 00:51:21 - W-What does it photograph?- I'll tell you that too,
509 00:51:24 but Mark, this is the problem.
510 00:51:26 The children who read the book will wantto see the pictures the camera takes,
511 00:51:29 but the publishers saythey're impossible to photograph,
512 00:51:32 and they suggest drawings.
513 00:51:33 - But I don't agree.- Oh, no. Nothing's impossible.
514 00:51:36 Oh, I was hoping you'd say that.
515 00:51:38 There must be photographs,however difficult to take.
516 00:51:41 - I was wondering if...- Oh, yes.
517 00:51:43 - You'll discuss it with me?- I'll take them.
518 00:51:45 Well, I can't ask youto do that.
519 00:51:47 I mean, the publishersmightn't agree.
520 00:51:49 - I'd like to take them for you.- But the money.
521 00:51:52 There are some thingswhich I photograph for nothing.
522 00:51:57 I didn't mean to offend you.
523 00:52:01 - Offend?- Then you'll talk it over with me?
524 00:52:04 - When, please?- That's up to you.
525 00:52:06 - Are you free tomorrow night?- Yes.
526 00:52:09 - I hope I am.- Well, I'll understand if you're not.
527 00:52:12 I'll try.I'll try my hardest to be.
528 00:52:16 Thank you for listening...
529 00:52:19 and for my present.
530 00:52:26 - Good night.- Good night.
531 00:52:53 - Looking for a trunk?- Er, yes. I'd like to see that one.
532 00:52:57 Certainly, madam.
533 00:53:03 No. No, no,no, no, no, no.
534 00:53:09 We must have some comedyin this scene.
535 00:53:12 - We'll retake it today.- Very good, sir.
536 00:53:16 The thing about this scene isI must have some comedy in it.
537 00:53:19 Now you do understand, darling,don't you? You see,
538 00:53:21 that instead of taking the first trunk,I want you to ask to see a red one.
539 00:53:25 And when he brings that,I want you to look around...
540 00:53:27 And ask... excuse me a second,darling...
541 00:53:29 ...for a white one,then when he brings the white one.
542 00:53:32 Then you ask for a different one...This one, the blue one.
543 00:53:38 And you, Michael, bring the trunks oneby one, getting more and more fed up.
544 00:53:41 - I'll keep it light.- I'm sure you will.
545 00:53:43 Then we'll end up on some sort ofa gag I'll think of in a minute.
546 00:53:45 - Understand? What?- I don't feel it.
547 00:53:49 - Don't feel it.- Don't feel it, just DO it!
548 00:53:54 - All right. Positions, everybody.- Anyone seen Viv?
549 00:53:57 Who?
550 00:53:58 Diane's stand-in.I want to light the set.
551 00:54:00 - No, Phil. I want to run it first.- All right, quiet.
552 00:54:03 All right. Ready? Action.
553 00:54:05 - Here we are, madam.- Oh, I'd like to see one in red.
554 00:54:08 Certainly, Madam.
555 00:54:11 (Director mumbles instructions)
556 00:54:15 (Muttering continues)Carrying your bag...
557 00:54:19 Right. Ready for you,and back you go.
558 00:54:23 - Play for a close-up there.- Um, do you have one in white?
559 00:54:27 Certainly, Madam.
560 00:54:30 There's a white one there behind you.
561 00:54:32 Right here. Again.
562 00:54:37 Good, Michael.Excellent.
563 00:54:41 All right.Back again.
564 00:54:43 - Oh, um, do you have one in blue?- Certainly, Madam.
565 00:54:50 That's it, and back you go.
566 00:54:55 That's it. Just take what you canwithout overdoing it.
567 00:55:03 Play it lightly, Michael.
568 00:55:06 Right. When it's in position,head up, and tight in to him there.
569 00:55:10 Very good.
570 00:55:17 (Screams)
571 00:55:19 The silly bitch.She's fainted in the wrong scene.
572 00:55:23 (Bell rings)
573 00:55:29 - Excuse me, Chief?- Mmm?
574 00:55:32 Um, we pass by my place. Do you mindif I drop in for a moment?
575 00:55:36 To collect your kid's autograph book?
576 00:55:38 That's it, Chief. If the nipper finds outwhere I've been...
577 00:55:41 All right, Dawson.Anything to help the sergeant.
578 00:55:44 It's about timethe sergeant helped me.
579 00:55:46 We're not getting anywherewith this Soho murder.
580 00:55:49 What about that chapthe landlady passed on the stairs?
581 00:55:51 She couldn't describe him, but he wascarrying something she couldn't see.
582 00:55:55 Oh, that's a help (!)
583 00:55:56 Sergeant, I've beenon the force 30 years,
584 00:55:59 and I've never seen such fearon anyone's face as on this girl's.
585 00:56:04 What was it she saw?
586 00:56:06 Well, surely, a man comingat her with a sharp weapon.
587 00:56:10 Mmm. I'm familiar withthat kind of terror.
588 00:56:12 This is something new to me.But what?
589 00:56:19 That's the one, sir.
590 00:56:34 - Chief, the expression. It's exactly...- I know.
591 00:56:37 Don't say anything.
592 00:56:49 Well, sir, we shall probablyhave to interview everyone.
593 00:56:51 So we'll try not to interfere too muchwith your productions.
594 00:56:55 Oh, thank you, Chief Inspector.
595 00:56:57 If you knew what evena single day's delay could cost.
596 00:57:00 Oh, er, we do, sir.
597 00:57:08 - Hello, Mark.- Hello.
598 00:57:14 Hey, I don't thinkyou ought to do that.
599 00:57:16 - Sorry, sir.- Do what?
600 00:57:18 Make me famous.Some chap's giving me a screen test.
601 00:57:21 Gerry, you're next. Don't lookso scared. They can't eat you.
602 00:57:25 Looks as though it's goingto be an early night tonight.
603 00:57:29 - I've been watching you.- Oh.
604 00:57:32 Have you been filmingthose policemen?
605 00:57:34 Mmm. I have a fewquite interesting shots of them.
606 00:57:38 - It's a chance I never expected.- Chance for what?
607 00:57:43 To photograph an investigation...
608 00:57:45 or as much of it as I can get.
609 00:57:48 What on earth for?
610 00:57:50 It will complete a documentary.
611 00:57:54 Documentary, eh? What's it about?
612 00:57:56 - Hmm?- What's it about?
613 00:57:58 I'd rather not tell youtill it's finished...
614 00:58:01 and it will be soon.
615 00:58:03 Suppose they catch you?
616 00:58:05 Oh, they will.They look very efficient.
617 00:58:07 - Don't you mind?- No.
618 00:58:10 - Mark, are you crazy?- Yes.
619 00:58:13 Do you think they'll notice?
620 00:58:15 Mark, you're next.
621 00:58:18 Don't get into trouble. I want to discussthat film at the Everyman.
622 00:58:23 Oh, yes, I'd like that.
623 00:58:28 (Knocks on door)
624 00:58:30 Come in!
625 00:58:33 Mr. Lewis?Ah, my photographer.
626 00:58:38 I brought you the camera in caseyou wanted to take the film away.
627 00:58:45 - Chief?- That's all right, Mr. Lewis.
628 00:58:48 As long as we don't appear at the localnext week in place of the cartoon.
629 00:58:53 I'm Chief Inspector Gregg.This is Sergeant Miller.
630 00:58:56 Grab a chair.
631 00:59:00 Well, now, have youanything to tell us?
632 00:59:04 - I don't think so, sir.- Did you know the girl?
633 00:59:07 - Yes, sir.- How well?
634 00:59:10 - Mainly by sight.- Mm-hmm.
635 00:59:14 - When did you last see her?- Yesterday afternoon before we broke.
636 00:59:19 - Did you speak to her?- I called out good night.
637 00:59:24 I don't know if she heard me.
638 00:59:29 - What did you do then?- Oh, taking some shots.
639 00:59:34 I'm making a film.
640 00:59:37 Oh? Where?
641 00:59:39 Oh, all over the place.
642 00:59:42 It's a documentary.
643 00:59:44 Anyone with you?
644 00:59:46 No, sir. Just my...Just my camera.
645 00:59:50 (Phone rings)
646 00:59:55 Sergeant Miller.
647 00:59:58 Right. I'll tell him.
648 01:00:01 The doctor's finishedhis examination,
649 01:00:04 and he wants to see you.
650 01:00:06 - Right. You'd better go on first.- All right, sir.
651 01:00:14 Gotcha!
652 01:00:16 - Nice job.- Thank you, sir.
653 01:00:25 What time did you arrive homelast night, Mr. Lewis?
654 01:00:28 About 10:00, 10:30.
655 01:00:32 - Anyone see you?- Yes. The people who live downstairs.
656 01:00:36 I see.
657 01:00:38 Right. That's all.Thank you, Mr. Lewis.
658 01:00:42 - Thank you, sir.- OK.
659 01:00:45 Wait a minute!
660 01:00:50 Direct me to that set of yours,would you?
661 01:00:52 I'd probably end upon location.
662 01:00:55 - Yes, sir.- Thank you.
663 01:01:06 I warned him.
664 01:01:14 Well, I think I can find my way now.Thanks for the escort.
665 01:02:10 No doubt at all - the wounds causedby the same instrument.
666 01:02:13 Both women subjectedto the most violent shock.
667 01:02:16 What sort of shock?
668 01:02:18 That's up to you to find out, Inspector.It's not my department.
669 01:02:22 - Can we move the body?- Yes, I have finished.
670 01:02:26 Come on, fellows.
671 01:02:40 Hello.What's this she's lying on?
672 01:02:44 - Oh, a tape recorder.- Give me a handkerchief.
673 01:02:54 (Music plays)
674 01:03:00 Baxter!
675 01:03:07 Get it tested for fingerprints.
676 01:03:10 - Get all the reels played back.- Right.
677 01:03:18 Quiet, everyone.Quiet!
678 01:03:25 (Cartoon voice)I taught I heard a putty tat.
679 01:03:29 I don't want to spoilanyone's fun,
680 01:03:32 but we do havea maniac on our hands.
681 01:03:34 And if we don't get him quickly,
682 01:03:36 there'll be a third unsolved murderto report to the commissioner.
683 01:03:40 So let's hurry things up.Shall we?
684 01:04:03 (Helen reads) "She was appearingin Arthur Baden's new film...
685 01:04:05 "The Walls Are Closing In,starring Pauline Shields.
686 01:04:08 "A spokesman said that her performanceshowed such promise...
687 01:04:12 "that her rolewas to have been built up."
688 01:04:15 - Oh, the prime minister...- Mark is in films, isn't he?
689 01:04:18 - Yes, darling.- I wonder if he knew her.
690 01:04:22 - I'll ask him tonight.- Oh. Is he taking you out?
691 01:04:26 - Yes, if he's free.- Hmm. That's very chivalrous of him.
692 01:04:30 Where is he taking you?
693 01:04:32 I have no idea,and I don't suppose he has.
694 01:04:36 Which studio does he work at?
695 01:04:38 - I don't know. I'll ask him.- If he's free.
696 01:04:42 Shall I bring him inand introduce you?
697 01:04:45 - I feel as if I know him.- Now, darling.
698 01:04:48 He's here.
699 01:04:53 Why don't we make hima present of that window?
700 01:04:56 He practically lives there.
701 01:04:59 How did you knowhe was there?
702 01:05:01 The back of my neck told me.
703 01:05:07 The part that I talk out of.
704 01:05:09 Hello.
705 01:05:11 - Free? Good. So am I.- Yes.
706 01:05:14 I'd like you to come infor a moment and meet my mother.
707 01:05:21 Yes, please.
708 01:05:26 Darling, this is Mark.
709 01:05:31 H-How do you do,Mrs. Stephens?
710 01:05:33 Hello, Mark.
711 01:05:35 - (Pounding heartbeat)- Have you been running, young man?
712 01:05:39 Yes. I didn't wantto be late for Helen.
713 01:05:43 Thank you.You deserve a drink for that.
714 01:05:45 - What would you like?- Nothing. Thank you very much.
715 01:05:48 Mother, I've left your supper...
716 01:05:50 Tell me, young man,which studio do you work at?
717 01:05:54 Chipperfield Studio.
718 01:05:57 That poor girl,where did she work?
719 01:06:00 - Brookwood, I think.- Hmm.
720 01:06:04 We were wonderingif you knew her.
721 01:06:06 No.
722 01:06:08 No.I didn't know her.
723 01:06:11 Pity.I do like firsthand information.
724 01:06:14 Darling, may I tell youabout your supper?
725 01:06:17 No.Go and be told about yours.
726 01:06:21 Good-bye, Mark.I expect we shall meet again.
727 01:06:24 I hope so,Mrs. Stephens.
728 01:06:31 Mother, we forgot to cut the cards.
729 01:06:33 Your supper'slaid out in the kitchen.
730 01:06:36 If you're not back early,you'll find me laid out with it.
731 01:06:38 - We'll be early. Bye, darling.- Good night.
732 01:06:53 Mark, I want to ask yousomething rather personal.
733 01:06:56 How long is it since you'vegone out without that?
734 01:06:59 - Without what?- That camera.
735 01:07:02 Oh. I... I don't think I know.
736 01:07:06 Exactly. I don't thinkI've ever seen you without it.
737 01:07:10 But are you goingto need it tonight?
738 01:07:14 Well, are you?
739 01:07:16 And if so, shall I bringsome work with me too?
740 01:07:20 - I'm not going to need it tonight.- Good, then give it to me.
741 01:07:23 I'll put it away for you.It'll be quite safe.
742 01:07:25 No.
743 01:07:27 Then take it upstairsif you can't trust me with it.
744 01:07:33 I trust you.
745 01:07:39 Then let's put it in here.
746 01:07:43 Come in and see for yourself.We'll put it in there and lock it.
747 01:07:58 This was my...my mother's room.
748 01:08:01 - Was it, Mark?- Hmm.
749 01:08:06 I am being tactless,aren't I?
750 01:08:08 It's just that I thought it wasgrowing into an extra limb, and I...
751 01:08:14 But bring it with you,if you want to.
752 01:08:16 - You.- Thank you.
753 01:08:31 - I feel...- Yes?
754 01:08:35 I can't describe it.Could only photograph it.
755 01:08:39 Shall I tell you what I feel?Famished!
756 01:08:41 Good.
757 01:08:42 I know a small placearound the corner.
758 01:08:44 - It's awfully good on Christmas Day.- Is it?
759 01:08:46 - Yes. There aren't too many open then.- No.
760 01:08:48 Sounds fun.
761 01:08:55 - Helen?- Yes?
762 01:08:58 Come on. This way.
763 01:09:03 What does yourmagic camera photograph?
764 01:09:05 People.It's owned by a little boy,
765 01:09:07 and it sees grown-ups as they werewhen they were children.
766 01:09:10 I was hoping you'd...
767 01:09:22 Where is this restaurant?
768 01:09:24 - Around the corner.- Come along then.
769 01:09:28 Thank you.
770 01:09:30 (Heavy ticking)
771 01:10:12 There isn't a single face in the crowdthat doesn't look like a child.
772 01:10:15 - Don't say that.- If you catch it at the right moment...
773 01:10:26 Oh, Helen. I would liketo find those faces for you, with you.
774 01:10:30 Well, let's try.
775 01:10:36 Oh. Mother must havegone to bed.
776 01:10:41 Mark... it was a wonderful evening.
777 01:10:46 That's what I was going to say,
778 01:10:49 what a wonderful evening.
779 01:10:51 And you made it wonderful...
780 01:10:53 without your camera.
781 01:10:57 I'll get it for you.
782 01:11:05 It's still here,your magic camera.
783 01:11:09 I wonder howthis sees grown-ups.
784 01:11:12 - Me, for instance. Now that I am one.- Not you.
785 01:11:15 Why not?
786 01:11:17 - It will never see you.- Mark.
787 01:11:21 Whatever I photograph,
788 01:11:24 I always lose.
789 01:11:26 I don't understand.
790 01:11:44 - Oh, he will wake Mother.
791 01:11:49 Thank you againfor my evening.
792 01:11:53 Will you go to bed now,and not stop up watching those films?
793 01:11:58 Well, I...
794 01:12:00 I've got some work to do.
795 01:12:03 Then I'll go to bed,
796 01:12:05 and try to find your faces.
797 01:12:08 Faces which I...
798 01:12:12 Faces which...
799 01:13:01 (Clatter)
800 01:13:13 - Good evening, Mark.- How did you...
801 01:13:16 The young man bathing himselfbrought me to your door.
802 01:13:21 I managed the restof the adventure alone.
803 01:13:26 This is one roomI expected to find locked.
804 01:13:30 I was never allowed keys.
805 01:13:33 I can't get used to them.
806 01:13:35 I-I brought her home early.
807 01:13:38 Thank you.
808 01:13:40 - Is there something you...- A talk.
809 01:13:44 - N-Next door would be more...- I...
810 01:13:48 I feel at home here.
811 01:13:54 I-I visit this roomevery night.
812 01:13:57 Visit?
813 01:14:07 The blind always livein the rooms they live under.
814 01:14:27 Every night you switch onthat film machine.
815 01:14:33 What are these filmsyou can't wait to look at?
816 01:14:38 What's the filmyou're showing now?
817 01:14:42 Why don't you lie to me?I'd never know.
818 01:14:46 You would know at once.
819 01:14:48 - Take me to your cinema.- Yes.
820 01:15:02 What am I seeing, Mark?
821 01:15:09 Why don't you answer?
822 01:15:16 (Mark wails)
823 01:15:20 It's no good.
824 01:15:22 I was afraid it wouldn't be.
825 01:15:25 - What?- The lights fade too soon.
826 01:15:31 - They always do.- I...
827 01:15:35 I have to try again.
828 01:15:42 What do you thinkyou've spoiled?
829 01:15:44 Opportunity.
830 01:15:47 Now I have to findanother one.
831 01:15:57 What are you doing?
832 01:16:00 Mark?
833 01:16:04 Where are you?
834 01:16:11 Why are you puttingthat light on my face?
835 01:16:17 Mark?
836 01:16:23 (Camera whirrs)
837 01:16:25 Please let me finish.
838 01:16:28 It's for Helen.
839 01:16:31 What do you mean,"It's for Helen"?
840 01:16:35 She wanted to seesomething I photographed.
841 01:16:37 My daughter sees enoughof my face without photographs.
842 01:16:40 Please, don't...don't be frightened.
843 01:16:45 Not frightened. Hot.
844 01:16:50 So put that camera away!
845 01:17:07 Yes.
846 01:17:23 In rather a hurry,aren't you?
847 01:17:25 Must be tired.
848 01:17:28 It's late. You...
849 01:17:31 You're anxious to get ridof me all of a sudden.
850 01:17:38 I-I won't be selfish.
851 01:17:41 You can take some more pictures,if you want to.
852 01:17:43 No, thank you.
853 01:17:45 Why not?
854 01:17:49 I ran out of film.
855 01:17:51 Can't you find some moreto please Helen?
856 01:17:54 No. No.
857 01:17:58 You... You don'ttrust yourself...
858 01:18:01 to take any more,do you?
859 01:18:05 Instinct's a wonderful thing,isn't it, Mark?
860 01:18:09 A pity itcan't be photographed.
861 01:18:15 If I'd listened to ityears ago, I...
862 01:18:18 I might have kept my sight.
863 01:18:22 I wouldn't have let a manoperate I had no faith in.
864 01:18:26 So, I'm listeningto my instinct now.
865 01:18:34 And it says all thisfilming isn't healthy,
866 01:18:40 and that you need help.
867 01:18:42 Get it, Mark.
868 01:18:45 Get it quickly.
869 01:18:47 And until you do, I don't want youand Helen to see each other.
870 01:18:51 I will never photograph her,I promise you...
871 01:18:53 I'd rather you don't have the chance.I mean it, Mark.
872 01:18:59 And if you don't listen to me,
873 01:19:02 one of us will move from this house.
874 01:19:05 It would be a pity, becausewe'll never find a cheaper place.
875 01:19:08 You'll never have to movebecause of me. I... I promise.
876 01:19:24 Good boy.
877 01:19:31 The stairs are the difficult part.
878 01:19:50 That's far enough. Thank you.
879 01:20:10 Taking my picture?
880 01:20:14 Yes.
881 01:20:16 It's a long time since anyone did.
882 01:20:21 Mark, what's troubling you?
883 01:20:26 Good night, Mrs. Stephens.
884 01:20:30 You'll have to tell someone.
885 01:20:36 You'll have to!
886 01:21:06 Now over here.Swing over on me. Good.
887 01:21:09 All right. First positions, everybody.Absolute quiet.
888 01:21:12 - Ready to turn, Phil?- Er, yeah. Yeah. OK.
889 01:21:18 (Whispers) Hey!That sneezer geezer's a psychiatrist.
890 01:21:21 I heard it on the grapevine.
891 01:21:24 All right, boys and girls.First positions, everybody.
892 01:21:27 Now, take it easy. I know you'll beabsolutely wonderful, darling.
893 01:21:31 - Do you mind standing...- Oh, I'm sorry.
894 01:21:33 - Who is this, Alex?- It's the detective, sir.
895 01:21:35 Oh, yes. Of course it is. Everybody'shere just to help you, darling.
896 01:21:39 Now, take it easy.It's exactly the same as it was before,
897 01:21:43 only one or two slight changes.
898 01:21:45 This time it's hats instead of...
899 01:21:48 (Sneeze)
900 01:21:49 ...of, um, of trunks.
901 01:21:52 - You will help, Michael, won't you?- Yes, sir.
902 01:21:55 Now, darling, be very brave. You'rewonderful, and we shall all be with you.
903 01:21:59 - Oh, please!- All right. Clear the set! Makeup.
904 01:22:04 - Now, take it easy, darling. Just relax.- All right.
905 01:22:08 All right.And camera!
906 01:22:11 Looking for a hat, madam?
907 01:22:13 Yes. I'd like to see that one.
908 01:22:15 Certainly, madam.
909 01:22:22 Thank you.
910 01:22:24 Oh.
911 01:22:26 Um, have you one in red?
912 01:22:28 Certainly, madam.
913 01:22:34 (Agitated voice) In red?Have you one in blue?
914 01:22:38 (Screaming) In blue. In blue!
915 01:22:42 Ye gods!
916 01:22:45 - Break for half an hour, sir?- No. Break forever!
917 01:22:48 All right, boys and girls.Break it up. Back in half an hour.
918 01:22:54 (Indistinct)
919 01:22:58 Yes.
920 01:23:02 - Could you, uh, suggest something?- Oh, it's jolly interesting.
921 01:23:05 No. I mean to help her...psychologically.
922 01:23:07 Oh, uh, give her a proper rest.Half an hour is useless.
923 01:23:11 Yes. Thanks very much.
924 01:23:16 Psst!What's your job?
925 01:23:18 I'm... a focus puller.
926 01:23:21 Oh. So am I, in a way.
927 01:23:24 - I wonder...- Hmm?
928 01:23:32 I wonder if you knewmy father, Professor Lewis?
929 01:23:36 - A...- A. N. Lewis.
930 01:23:39 Oh, of course I knew him. He lecturedto me. An extraordinary man.
931 01:23:43 Brilliant!Quite brilliant!
932 01:23:46 Do you know what he wasinterested in... before he died?
933 01:23:50 No. Tell me.Tell me.
934 01:23:55 I-I don't rememberwhat he called it,
935 01:23:59 but it has somethingto do with what...
936 01:24:03 what causes peopleto be Peeping Toms.
937 01:24:07 Scoptophilia, that would interest him.Most fertile mind.
938 01:24:11 - Scopto...- Philia. The morbid urge to gaze.
939 01:24:16 Coined since his day. Now tell me,are there any of his manuscripts left?
940 01:24:20 - I thought it could be cured.- Usually. Yeah.
941 01:24:22 - Now about his manuscripts.- Quickly.
942 01:24:24 The cure. Oh, very quick. A coupleof years' analysis three times a week,
943 01:24:28 an hour a timeand soon it's uprooted.
944 01:24:32 Now, are there anyof his papers left?
945 01:24:35 I should be most gratefulif I could see them.
946 01:24:37 I-I'll give you my address.
947 01:24:48 Yes, Doctor.
948 01:24:51 - I wonder what all that's about?- I don't know.
949 01:24:55 We'll find out afterwards.
950 01:25:16 Hey, Mark.
951 01:25:20 I can't waitto show you this.
952 01:25:23 I should charge you.
953 01:25:25 You don't get thatin Sight and Sound.
954 01:25:28 Mmm, she's terrific.
955 01:25:31 I've got some more,if you're interested.
956 01:25:34 You've given me...an idea.
957 01:25:39 Yeah, I'll bet I have.
958 01:25:42 He asked me if I knew his father,which I did.
959 01:25:45 - Brilliant man.- Is that all he wanted?
960 01:25:47 I think so. Oh, we hada little chat about scoptophilia.
961 01:25:51 About what?
962 01:25:52 - Voyeurism.- Eh?
963 01:25:54 What makes people intoPeeping Toms,
964 01:25:57 one of his father'ssubjects, and...
965 01:26:00 Peeping Tom?
966 01:26:02 Interesting boy.He has his father's eyes.
967 01:26:05 You don't suspect him, do you?
968 01:26:08 I suspect them all.
969 01:26:10 - Action!- What about you?
970 01:26:13 I'm interested in this fantasticextrovert who brought the girl in.
971 01:26:16 There's something on his mind.
972 01:26:18 No wonder. He's the director.
973 01:26:21 I can't manage Saturday, sir.
974 01:26:24 But... But they'reletting us off early today.
975 01:26:29 This afternoon after work...it might be my only chance.
976 01:26:33 Well, be here at six o'clock, Mark.
977 01:26:35 I'll have Milly waiting.
978 01:26:37 - Six o'clock.- On the dot, Mark, or she'll go.
979 01:26:41 - I'll be there.- You'd better be.
980 01:26:43 The last shot of the day.Make it a good one.
981 01:26:46 - Have you got your list, Sergeant?- Yes, sir.
982 01:26:49 I want to see how some of themspend their spare time.
983 01:26:52 - Which ones?- Exactly, Sergeant.
984 01:27:59 Oh, there you are.Now, don't make a habit of this.
985 01:28:01 I won't, sir.
986 01:28:03 - Milly's upstairs.- Thank you, sir.
987 01:28:05 Now, I've got to go out.If you finish before I'm back,
988 01:28:07 lock up and put thisthrough the letter box.
989 01:28:09 What are you looking at?Haven't you seen a key before?
990 01:28:12 The till will be empty,if that's what you're smiling about.
991 01:28:15 Now, remember what I said.No more of this fancy stuff.
992 01:28:35 You've spoiled my whole evening,you have.
993 01:28:38 - I had a date with my new boyfriend.- Sorry, Milly.
994 01:28:42 Well, what's the idea?
995 01:28:46 I may not be here tomorrow.
996 01:28:49 Why? Going on manoeuvres with theBoy Scouts? Now what are you doing?
997 01:28:53 - I thought so.- Come on. We haven't got all night.
998 01:28:57 There's all that nude stuffon the bed to finish.
999 01:29:07 Well, of all the...
1000 01:29:10 Have you gone completely crazy?
1001 01:29:13 I'm just completinga documentary.
1002 01:29:17 You're a documentaryand a half, you are.
1003 01:29:19 I didn't stand upmy gentleman friend
1004 01:29:21 and come back hereand take my clothes off
1005 01:29:24 for you to start filming the street!
1006 01:29:32 I might as well talk to a zombie.
1007 01:29:35 Is it safe to be alonewith you, I wonder?
1008 01:29:38 It might be more funif it wasn't.
1009 01:30:38 Drive straight on.
1010 01:30:49 - Hello.- Oh, hello, Tony.
1011 01:30:52 - Where are you going?- To leave something for Mark.
1012 01:30:55 You haven't much timefor me these days.
1013 01:30:57 - Oh, Tony, I...- It's all right.
1014 01:31:00 I'll be here if you want me.
1015 01:31:01 Oh, by the way, your motherwas yelling out before you came in.
1016 01:31:04 Something about Markphotographing her.
1017 01:31:07 Photographing Mother?You must be mistaken.
1018 01:31:10 - Of course. See you sometime.- Yeah.
1019 01:31:19 Mark?
1020 01:31:27 (Whispers) Mark.
1021 01:32:30 I don't knowwhat to make of it, sir.
1022 01:32:32 He went to a public library,and then to a newsagent's shop.
1023 01:32:36 For private photography,if you ask me.
1024 01:32:39 Shall I hang aroundoutside the house, sir?
1025 01:32:41 No. I don't think so either.
1026 01:32:44 All right, sir. I'll give youthe details when I get back. Bye, sir.
1027 01:33:57 Don't let mesee you are frightened.
1028 01:34:00 - So, leave. Hurry up!- No!
1029 01:34:03 Leave!
1030 01:34:07 Not till I know.
1031 01:34:09 - Now.- That film...
1032 01:34:12 That film is...
1033 01:34:15 just a film, isn't it?
1034 01:34:17 It's horrible.
1035 01:34:19 Horrible. But it's just a film, isn't it?
1036 01:34:24 No.
1037 01:34:31 I killed them.
1038 01:34:42 You'll be safe, as long as I can'tsee you frightened.
1039 01:34:45 So stand inthe shadows, please.
1040 01:34:48 Please.
1041 01:34:51 (Phone rings)
1042 01:34:57 Inspector Gregg.What?
1043 01:35:01 Put him on the line.
1044 01:35:03 Peters here. Yes. I went upstairsto look around, and I found her lying.
1045 01:35:09 What's the address?
1046 01:35:11 Newsagent's shop!
1047 01:35:13 Your mother is right.
1048 01:35:18 I must tell someone everything.
1049 01:35:23 Sorry it has to be you.
1050 01:35:29 This was his workshop.
1051 01:35:33 And you knowsome of what he did,
1052 01:35:37 but not all.
1053 01:35:41 (Frantic screaming)
1054 01:35:46 Aged five.
1055 01:35:51 (Sobbing and wailing)
1056 01:35:54 Aged seven.
1057 01:35:59 All the roomswere wired for sound,
1058 01:36:03 and they still are.
1059 01:36:06 (Laughter and chatter)
1060 01:36:07 Your room.
1061 01:36:09 (Flicks switch)
1062 01:36:11 (Woman's slurred speech)
1063 01:36:14 Your mother's.
1064 01:36:15 (Glass breaks)
1065 01:36:17 (Flicks switch)
1066 01:36:19 Tony's.
1067 01:36:20 (Tony)'No one will come in.'
1068 01:36:22 (Helen) 'I don't care.'(Tony) 'But, darling.'
1069 01:36:24 - 'Tony, stop it! '- 'The door is locked.'
1070 01:36:27 'I don't care. I'm scared.'
1071 01:36:29 Turn it off.
1072 01:36:33 - Look at me, Mark.- Not if you're frightened.
1073 01:36:36 Look at me!What did you do to those girls?
1074 01:36:40 - No.- What did you do?
1075 01:36:43 If you want to torment me for the restof my life, then make me imagine.
1076 01:36:46 What did you doto those girls?
1077 01:36:49 I... I can't.
1078 01:36:51 Show me.
1079 01:36:54 But if you're frightened...
1080 01:36:57 Show me, or I'll remain frightenedfor the rest of my life.
1081 01:37:00 Show me!
1082 01:37:20 Do you know what the most frighteningthing in the world is?
1083 01:37:30 It's fear.
1084 01:37:33 So I did somethingvery simple.
1085 01:37:37 Very simple.
1086 01:37:41 (Echoing scream)
1087 01:37:42 When they felt the spike...
1088 01:37:45 touching their throat,
1089 01:37:48 and knew I was goingto kill them,
1090 01:37:52 I made them watchtheir own deaths.
1091 01:37:57 I made them see...
1092 01:38:00 their own terroras the spike went in.
1093 01:38:03 And if death has a face,they saw that too.
1094 01:38:10 But not you.
1095 01:38:12 I promised I'd neverphotograph you.
1096 01:38:16 Not you.
1097 01:38:18 I'm frightened for you.
1098 01:38:38 - Got the men all right?- Yes, sir.
1099 01:38:40 - OK, let's go.- Look out!
1100 01:38:44 - It's only a camera.- Only?
1101 01:38:52 Give yourself up, Mark!
1102 01:38:54 I've been ready for thisfor such a long time.
1103 01:38:58 - What are you doing?- That's all right.
1104 01:39:02 (voices outside)
1105 01:39:05 All right. He's there!All right. Come on, then!
1106 01:39:08 I can beat that.
1107 01:39:10 (Symphony of wailing)
1108 01:39:16 Give yourself up, Mark!
1109 01:39:21 Watch them, Helen.
1110 01:39:23 Watch them say good-bye.
1111 01:39:26 One by one.I've timed it so often.
1112 01:39:32 I wish I could havefound your faces for you.
1113 01:39:43 Helen! Helen!I'm afraid.
1114 01:39:47 No. No, Mark!
1115 01:39:52 And I'm glad I'm afraid.
1116 01:40:24 (Battering at door)
1117 01:40:45 The girl's alive.
1118 01:40:49 Go and get an ambulance.
1119 01:40:51 (Professor Lewis)'All right, all right. Don't be a silly boy.
1120 01:40:55 'There's nothing to be afraid of.'
1121 01:41:08 (Mark)'Good night, Daddy. Hold my hand.
