Peeping Tom (1960)
It'll be two quid.
Shut the door.
- What's going on here? - Murder.
- [Whispers] 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. - 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]
- 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?
This sort, sir?
Yes, thank you. Yes.
- 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.
- 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 l... 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]
- [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.
- [Music] [Ragtime] - [Knock On Door]
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 fiance 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.
- 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?
[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.
In front of eyes like...
Eyes as full of...
[All Cheering] Twenty-one!
[Music] Happy birthday to you Happy birthday to you [Music]
[Music] Happy birthday, dear Helen [Music]
[Music] Happy birthday to you [Music]
- Thank you. - Come on, blow! One, two, three!
- 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.
[Knock On Door]
[Knock On Door]
- [Knocking Continues] - A minute.
Oh l... I hope I'm not disturbing you.
I knew you wouldn't come down, so...
I brought you this.
Thank you... very much.
Well, l-I musn'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. l-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?
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, l-I meant...
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 l-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...
- 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.
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-lt belonged to my father. - Oh?
- What was he? - A scientist.
Oh. Then this equipment was his?
No, l-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.
- Don't know what to show you. - Well, what were you looking at when I interrupted you?
this is the first 21st birthday present I'll ever have given.
And it's the first I've ever asked for.
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.
Mark, this isn't some sort of a joke, is it?
[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...
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?
And this: her funeral.
And this: her burial.
- And this. - Who's that?
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?
Switch it off, Mark!
Mark, switch it off!
Let's get out of here.
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.
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 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.
- 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.
[Music] [Volume Decreases]
- [Door Closing] - [Footsteps Approaching]
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.
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?
[Music] [Snare Drum]
[Music] [Kettle Drum Joins In]
[Music] [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?
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.
[Music] [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.
[Music] [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, l...
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?
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.
Oh, well, I'll try.
What would frighten me to death?
Oh, set the mood for me, Mark.
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.
would be one of his weapons.
- That. - Mark.
Yes, that would be frightening.
There's something else.
Well, what is it?
Take it away.
[Crying] Take it away.
[Helen] And that, darling, is the end of the news.
- Oh, unless you want the football results. - Hm.
- 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.
- [Knock On Door] - Who is it?
- It's Helen. - Oh.
Come in, Helen.
Would you just wait in there?
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.
l-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. l-I don't know anything about...
21st birthday presents,
but I saw it this morning, so...
- Please. - Mark.
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.
l... 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,
- And Mark, I was wondering if... - Oh, yes.
- You'll discuss it with me? - 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? - Uh, yes. I'd like to see that one.
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... - [Woman] Sorry.
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.
- [Michael] 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. - [Man] Anyone seen Viv?
- [Director] Who? - Oh, Diane's stand-in. I want to light the set.
- [Director] No, Phil. I want to run it first. - [Man] All right, quiet.
[Director] All right. Ready? Action.
- [Michael] Here we are, Madam. - [Diane] Oh, I'd like to see one in red.
Do you remember doing it?
Right. Ready for you, and back you go.
- Play for a close-up there. - Um, do you have one in white?
[Director] 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.
[Director] 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, keep it tight, enter him there.
The silly bitch. She's fainted in the wrong scene.
- Excuse me, Chief? - Mmm?
Um, we pass my place at the end of the bypass.
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.
Well, what about that chap the landlady passed on the stairs?
She couldn't describe him except to say that 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 better plan a campaign that won't interfere too much with your productions.
Oh, thank you, Chief Inspector. If you knew what even a single day's delay could cost.
Oh, uh, we do, sir.
- Hello, Mark. - [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? - Hmm.
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, huh? What's it about? - Mmm.
- 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?
- [Woman] Mark, you're next. - Don't get into trouble for heaven's sake.
I want to discuss that film at the Everyman.
Oh, yes, I'd like that.
- [Knock On Door] - 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.
Don't know if she heard me.
- What'd you do then? - Oh, taking some shots.
I'm making a film.
- Oh? Where? - Oh, all over the place.
It's a documentary.
Mm-hmm. Anyone with you?
No, sir. Just my... Just my camera.
Right. I'll tell 'im.
The doctor's finished his examination,
and he wants to see you.
- Right. You'd better go on first. - Right, sir.
- 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.
Right. That's all. Thank you, Mr. Lewis.
- Thank you, sir. - Okay.
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 'im.
Well, I think I can find my way now. Thanks for the escort.
- No doubt at all. Wounds caused by the same instrument. - Mm-hmm.
Both women subjected to the most violent shock.
- What sort of shock? - Up to you to find out, Inspector.
Not my department.
- Can we move the body? - Yes. L-I have finished.
That's all fellows.
Hello. What's this she's lying on?
- Oh, a tape recorder. - Give me a handkerchief.
- [Clicks] - Get it tested for fingerprints.
- Get all the reels played back. - [Miller] Right.
[Pens, Pencils Landing]
Quiet, everyone. Quiet!
[lmitating Tweety Bird] 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 'im quickly,
there'll be a third unsolved murder to report to the commissioner.
So let's hurry things up. Shall we?
[Helen] "She was appearing in Arthur Baden's new film...
The Walls Are Closing In, starring Pauline Shields.
A spokesman at the studio said that her performance in the film 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. "Sir Lav..." - 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 'im.
- 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.
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. - [Chuckles]
The part that I talk out of.
- Free? Good. So am I. - Yes.
I'd like you to come in for a moment and meet my mother.
Darling, this is Mark.
H-How do you do, Mrs. Stephens?
- Have you been running, young man? - [Sound Of Pulse Pounding]
Yes. Didn't want to be late for Helen.
Thank you. You deserve a drink for that.
- What would you like? - Uh, nothing. Thank you very much.
- Hmm. Tell me, young man, - Mother, I've left your supper...
which studio do you work at?
That poor girl, where did she work?
- [Helen] Brookwood, I think. - [Mrs. Stephens] Hmm.
We were wondering if you knew her.
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. - [Chuckles]
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. - Night.
- Mark, I want to ask you something rather personal. - Yes?
- How long is it since you've gone out without that? - Without what?
Oh. L... 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.
- Well, 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 l...
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! - Hmm. 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. - [Vehicle Departing]
- 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 be able to when you were...
Where is this restaurant?
- Around the corner. - Come along then.
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.
[Laughing] Oh, Helen. I would like to find those faces for you, with you.
Well, let's try.
Oh. Mother must have gone to bed.
- Oh, Mark... it was a wonderful evening. - Eh...
That's what I was going to say.
It was a wonderful evening.
And you made it wonderful...
without your camera.
I'll get it for you.
It's still here,
you're magic camera.
I wonder how this sees grown-ups.
- Me, for instance. Now that I am one. - Not you.
- It will never see you. - Mark.
Whatever I photograph,
I always lose.
I don't understand.
- [Door Slams] - Oh, he'll wake Mother.
Thank you again for my evening.
Will you go to bed now, and not stop up watching those films?
I've got some work to do.
Then I'll go to bed,
and try to find your faces.
Faces which l...
- 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.
Can't get used to them.
[Stammers] I brought her home early.
- Is there something you... - A talk.
- Next door would be more... - L...
I feel at home here.
l-I visit this room every night.
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. - L...
I have to try again.
What do you think you've spoiled?
Now I have to find another one.
What are you doing?
Where are you?
Where are you?
Why are you putting that light on my face?
- [Film Rolling] - 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!
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.
l-I won't be selfish.
You-You can take some more pictures, if you want to.
No, thank you.
I ran out of film.
Can't you find some more to please Helen?
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, l...
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. l... I promise.
The stairs are the difficult part.
That's far enough. Thank you.
Taking my picture?
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!
- [Birds Chirping] - [Children Chattering]
Now over here. Swing over on me. Good.
All right. Here we go. First positions, everybody. Absolute quiet.
- Ready to turn, Phil? - [Phil] Uh, yeah. Yeah. Okay.
Hey! That sneezer geezer's a psychiatrist.
Heard it on the grapevine.
[Man] All right, boys and girls. First positions, everybody.
Now, take it easy, and I know you'll be absolutely wonderful, darling.
- It's simply just... Do you mind standing... - Oh, I'm sorry.
- Who is this, Alex? - It's the detective, sir.
Oh-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? You know. - [Michael] Yes, sir.
Now, darling, be very brave. You're wonderful, and we shall all be with you.
- Just as... Oh, please! - All right. Clear the set! Please, makeup.
- Now, take it easy, darling. Just relax. - All right.
All right. And camera!
Yes. L-I'd like to see that one.
Uh, have you one in red?
In red? In red? Have you one in blue?
In blue. In blue. [Screaming, Crying]
- Break for half an hour, sir? - No. Break forever!
All right, boys and girls. Break it up. Back in half an hour.
- [Indistinct] - Hmm?
- 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. - [Music] [Man Whistling]
Oh. So am l, 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.
l-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.
l-I'll give you my address.
- I wonder what all that's about? - I don't know.
We'll find out afterwards.
[Man] Hey, Mark.
Can't wait to show you this.
I should charge ya.
You don't get that in Sight and Sound.
Oh, she's terrific.
I got some more, if you're interested.
You've given me... an idea.
Hey, 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.
- And he's going to... Voyeurism. - About what?
- Eh? - What makes people into Peeping Toms,
one of his father's subjects, and...
Interesting boy. He has his father's eyes.
You don't suspect him, do you?
I suspect them all.
- [Director] 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.
Can't manage Saturday, sir.
But... But they're letting us off early today.
This afternoon after work... might be my only chance.
Well, uh, be here at 6:00, Mark.
I'll have Milly waiting.
- 6:00? - 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. - Okay.
- 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,
Iock 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.
- And I had a date with my new boyfriend. - Sorry, Milly.
Well, what's the idea?
I may not be here tomorrow.
Why? Going on maneuvers 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... [Sighs]
- [Clicks] - 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... - [Clicks]
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?
Might be more fun if it wasn't.
Drive straight on.
- Hello. - Oh, hello, Tony.
- Where are you going? You... - To leave something for Mark.
- You haven't much time for me these days. - Oh, Tony, l...
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. Uh, see you sometime. - Yeah.
- [Birds Chirping] - [Children Shouting]
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!
Not till I know.
- Now. - That film...
That film is...
just a film, isn't it?
Horrible. But it's just a film, isn't it?
I killed them.
You'll be safe, as long as I can't see you frightened.
So stand in the shadows, please.
- [TV: Indistinct] - [Ringing]
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?
[Mark, Breathing Heavily] Your mother is right.
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. - [Screaming Continues]
All the rooms were wired for sound,
and they still are.
- [Woman Laughing] - Your room.
- Happy birthday. - [Man] Here. Open this one.
- [Mrs. Stephens, Indistinct] - Your mother's.
- Tony's. - [Tony] No one will come in, honestly, darling.
- [Woman] I don't care. - [Tony] But, darling.
- [Woman] Tony, stop it! - [Tony] The door is locked.
[Woman] I don't care. I'm scared.
- Turn it off. - [Clicks]
- 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?
l... I can't.
Show me. [Sobbing]
But if you're frightened...
Show me, or I'll remain frightened for the rest of my life.
Do you know what the most frightening thing in the world is?
So I did something very simple.
- [Woman Screaming] - 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.
[Whimpering] Frightened for you.
- Got the men all right? - Yes, sir.
- Okay, let's go. - [Glass Breaking] - 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.
[Miller] All right. He's there! All right. Come on, then!
I can beat that.
[Cries, Screams Overlapping]
Give yourself up, Mark! [Crying]
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. [Sobbing Hysterically]
And I'm glad I'm afraid.
Go get an ambulance.
[Dr. Lewis] All right. All right. Don't be a silly boy.
There's nothing to be afraid of.
[Young Mark] Good night, Daddy. Hold my hand.
P S 2004
P T U
Pact of Silence The
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD1
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