## [Whistling]
[Clicking]
It'll be two quid.
Shut the door.
[Clock Ticking]
[Snapping]
No! [Screams]
- What's going on here? - Murder.
- [Whispers] No. - One of the girls.
[Horn Honks]
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. - Shocking, isn't it?
- [Door Closes] - 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. - [Door Opening]
Look busy.
- The Times, please. Thank you. - Yes, sir.
- Anything else, sir? - And the Telegraph.
[Man] 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.
[Clears Throat]
- Morning, Mr. Peter. - Morning.
- Can I have a Crunch, please? - Help yourself, my dear.
- Thank you. - [Register Bell Rings]
- How much each? - They're five shillings each, sir.
Oh, well, I'll have that one. Yeah.
Oh, and that.
[Chuckling Nervously]
- 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'll-I'll look in again.
Very well, sir.
[Register Bell Rings]
Thank you.
- [Peter] Oh, uh, your papers, sir. - Papers?
- Times and Telegraph. - Oh, yes. Of course.
Silly of me. Thank you very much, sir.
[Door Bell Rings]
- [Door Closes] - Well, he won't be doing the crossword tonight.
- ## [Ragtime] - [Knock On Door]
Well, look who's here. Cecil Beaton.
Her name is Lorraine.
## [Continues]
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 fiancé 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.
[Knock On Door]
- On the house. - [Milly] Some house.
Hope it falls on his ruddy earhole.
- [Door Closes] - 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.
[Lorraine] Yours?
In front of eyes like...
Eyes as full of...
[Chattering]
[All Cheering] 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.
[Chattering Continues]
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.
[Knock On Door]
- [Knocking Continues] - A minute.
[Knocking Continues]
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.
- 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?
- 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? - [Mark] 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.
- [Mark] Switch it off? - [Helen] No.
No.
Again?
Mark, this isn't some sort of a joke, is it?
No, Helen.
[Screams] What's that?
- Mark, what are you doing? - Wanted to photograph you watching.
No. No. Please help me to understand this thing.
[Man's Voice] 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'd it get there, Mark?
How did it get there? Was it a pet?
- Not mine. - Won't you try to explain?
- You 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 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?
[Knock On Door]
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.
[Man] Cut!
[Man On Phone] Look, I tell you, Mr. Jarvis, this picture is a commercial proposition,
and that's why I want you to do it because I know it's the type of thing you handle.
Look, you know I've talked to Johnnie already. I've talked to him, and he's crazy to do it.
These are the figures you wanted, Mr. Jarvis.
Oh, it's terrific, Mr. Jarvis. This script is gonna...
- Still behind schedule. ...way back where it belongs.
And you know that Paramount want it.
Yeah. Paramount want it. MGM want it. Columbia want it.
- [Jarvis] But is it commercial? - [Man] Anglo want it.
[Jarvis] 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 okay.
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. - [Director] 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. - [Director] All right. Quiet, everybody.
All right. Action!
No, no, no, no, no. Cut it. Cut it. Cut it. It's hopeless.
[Gasps]
- Oh, miss. - [Director] Cut!
- Cut! How was it? Phil? Sam? Mark?
Print it! Hold take one.
- Okay. 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. Meeting someone for a drink.
Oh. I wanted to discuss that film at the Everyman.
- Tomorrow then? - I hope so.
- How's my favorite stand-in today, huh? - Standing it.
[Director] 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.
## [Jazz]
## [Volume Decreases]
- [Door Closing] - [Footsteps Approaching]
[Door Closing]
[Man, Indistinct]
## [Whistling]
[Buzzing Noise]
Mark?
[Clicking]
## [Whistling]
Mark?
Mark!
Well, are you there?
- Well, where are you? - [Mark] 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. - Well, 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.
## [Snare Drum]
## [Kettle Drum Joins In]
## [Bongos Join In]
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.
## [Other Instruments Join In]
If only Don Jarvis could see me now.
If only I could see Don Jarvis now.
[Giggling] 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.
[Laughing]
[Tape Rewinding]
## [Starts Again]
- 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 gonna 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.
[Crying] Take it away.
Mark!
[Screams] Mark!
[Helen] And that, darling, is the end of the news.
- Oh, unless you want the football results. - Hm.
[Exhales]
- 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.
[Scoffs] 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.
Well, 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.
[Door Closes]
- [Knock On Door] - 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?
- Won't be long! - [Timer Ticking]
[Man's Voice] 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. - Mark.
Thank you.
Oh, it's beautiful.
I liked it.
- More milk? - More?
- Milk? - Oh, no thank you.
I'm gonna put it on now.
There or... or there?
- Uh... 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.
- In 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? I'd like to read them. - Some short stories.
I learned today that my first book has been accepted for publication in the spring.
- But... 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 you see, 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,