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Short filmTranscript
00:00:00 [music]
00:00:10 [music]
00:00:20 [music]
00:00:30 [music]
00:00:40 [music]
00:00:50 [music]
00:01:08 It'll be two quid.
00:01:10 [music]
00:01:39 Shut the door.
00:01:41 [footsteps]
00:01:55 [footsteps]
00:02:10 [footsteps]
00:02:33 [music]
00:02:47 [scream]
00:02:51 [music]
00:03:06 [music]
00:03:34 [music]
00:03:44 [music]
00:03:54 [music]
00:04:04 [music]
00:04:14 [music]
00:04:34 What's going on here?
00:04:35 Murder.
00:04:37 One of the girls.
00:04:55 What paper are you from?
00:04:59 I beg your pardon?
00:05:01 I said, what paper are you from?
00:05:03 Oh, the Observer.
00:05:06 Oh.
00:05:07 [footsteps]
00:05:17 [footsteps]
00:05:27 [footsteps]
00:05:47 [footsteps]
00:05:57 Come on, let's take a photograph of you.
00:05:59 I can't help thinking of that poor girl.
00:06:01 Shocking, isn't it?
00:06:03 [car engine]
00:06:24 You're late.
00:06:25 Sorry, sir.
00:06:26 All done, Mark.
00:06:28 I've got a question for you.
00:06:30 Which magazine sells the most copies?
00:06:33 Those with girls on the front covers and no front covers on the girls.
00:06:38 Exactly.
00:06:39 It's just the same with the work you do for me.
00:06:41 Look busy.
00:06:44 The Times, please.
00:06:45 Yes, sir.
00:06:46 Thank you.
00:06:51 Anything else, sir?
00:06:52 And the telegraph.
00:06:59 Anything else?
00:07:01 I'm told by a friend that you have some views for sale.
00:07:06 What sort of views, sir?
00:07:07 Hmm?
00:07:08 Well...
00:07:13 This sort, sir?
00:07:15 Yes, thank you.
00:07:16 Yes.
00:07:26 Morning, Mr. Peter.
00:07:27 Morning.
00:07:28 Have a crunch, please.
00:07:29 Help yourself, my dear.
00:07:30 Thank you.
00:07:35 How much each?
00:07:36 Five shillings each, sir.
00:07:38 Oh, well, I'll have that one.
00:07:39 Yes.
00:07:40 Oh, and that.
00:07:46 How much would the lot be?
00:07:48 To you, five pounds, sir.
00:07:50 Five pounds.
00:07:51 Well, I'll tell you what, sir.
00:07:53 I'll make it four pounds ten...
00:07:55 and I'll throw in the Times and the telegraph.
00:07:57 How's that?
00:07:58 Thank you very much, sir.
00:07:59 Let me wrap it for you, sir.
00:08:01 Thank you.
00:08:02 Shall I put you on our mailing list?
00:08:05 Oh, no.
00:08:06 No, no, no.
00:08:07 I'll look it again.
00:08:09 Very well, sir.
00:08:22 Oh, your papers, sir.
00:08:25 My papers?
00:08:26 Times and telegraph.
00:08:27 Oh, yes, of course.
00:08:29 Silly of me.
00:08:30 Thank you very much, sir.
00:08:41 Well, he won't be doing the crossword tonight.
00:08:50 Well, look who's here.
00:08:52 Cecil Baton.
00:09:06 The name is Lorraine.
00:09:34 Come on, Sonny.
00:09:38 Make us famous.
00:09:39 Did you read about that girl that was murdered last night?
00:09:46 Same thing nearly happened to me.
00:09:48 Oh, when?
00:09:49 Last night.
00:09:50 I went out with my boyfriend.
00:09:52 Getting married next month.
00:09:54 Trouble wasn't my fiancé's source.
00:09:57 Can you fix it so the bruises don't show?
00:10:03 Well, can you?
00:10:05 I think so, Minnie.
00:10:07 Be quick about it, Sonny.
00:10:09 I'm melting.
00:10:15 There he goes again.
00:10:17 What have you got under there, a girlfriend?
00:10:20 I suppose you have a girlfriend.
00:10:22 No, Minnie.
00:10:24 Hear that, Lorraine?
00:10:25 He's available.
00:10:26 Raise your head.
00:10:27 And look at the sea, please.
00:10:29 What sea?
00:10:31 What sea?
00:10:33 I just wanted a past look.
00:10:36 Oh, did you?
00:10:37 If you want it again, I'll think of you.
00:10:39 I'm not going to look at the sea.
00:10:41 I'm going to look at you.
00:10:43 I'm going to look at you.
00:10:45 I'm going to look at you.
00:10:47 If you want it again, I'll think of you.
00:10:50 Hold it.
00:10:52 You're a puzzle and a half.
00:10:58 This is a spare time job for you, isn't it?
00:11:01 Yes, Minnie.
00:11:07 Well, what do you do for a living?
00:11:12 Take pictures.
00:11:13 This sort?
00:11:17 No, Minnie.
00:11:26 On the house.
00:11:28 Some house.
00:11:30 Hope it falls on his ruddy ear, old.
00:11:34 It's your turn now, love.
00:11:40 It's her first time.
00:11:43 Come on, love, don't be shy.
00:11:54 He said you needn't photograph my face.
00:12:01 I want to.
00:12:14 Maybe you can fix my bruises, too.
00:12:20 I want to.
00:12:22 What about the customers?
00:12:24 Don't be shy.
00:12:27 It's my first time, too.
00:12:31 Yours?
00:12:34 In front of eyes like...
00:12:38 Eyes as full of...
00:12:54 Happy birthday to you.
00:12:57 Happy birthday to you.
00:13:00 Happy birthday, dear Helen.
00:13:03 Happy birthday to you.
00:13:06 Come on, blow.
00:13:08 One, two, three.
00:13:13 You must be very proud of your daughter, Mrs. Stevens.
00:13:39 Here's that chap from upstairs.
00:13:59 Hello.
00:14:08 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.
00:14:13 So, hello.
00:14:16 I'm Helen Stevens. I'm having a party and the other tenants are there and a few friends.
00:14:20 We'd like you to join us.
00:14:24 Mark.
00:14:25 Pardon?
00:14:28 I am Mark.
00:14:29 Oh, hello, Mark.
00:14:31 Please come in. You'll meet the others who live here.
00:14:34 Sorry, but...
00:14:36 Work.
00:14:38 Oh, well, I hope to keep it going for ages yet, so when you finish, why not look in?
00:14:43 What?
00:14:45 Helen, the cake. Everyone's waiting.
00:14:52 Happy birthday.
00:15:21 A minute.
00:15:50 I hope I'm not disturbing you.
00:16:05 I knew you wouldn't come down, so I bought you this.
00:16:11 Thank you very much.
00:16:15 Well, I... I mustn't keep you from your work.
00:16:20 Would you?
00:16:21 Oh, thank you.
00:16:28 I'd like to offer you a drink.
00:16:30 Oh, thank you.
00:16:36 I haven't got one.
00:16:38 Well, I'd adore some water.
00:16:41 You see, hostess can't drink water at her own party. It looks like a hint to the guests.
00:16:47 There's milk, if you'd like some.
00:16:49 Oh, very much, if you can spare it.
00:16:51 Oh, yes.
00:16:52 Thank you.
00:17:00 Here.
00:17:01 Oh, thank you very much.
00:17:07 This is a nice room. And is there another inside?
00:17:14 Yes.
00:17:16 How long have you lived here?
00:17:19 Nearly all my life. I was born in this house.
00:17:22 Oh?
00:17:24 It's my father's.
00:17:26 Do you mean at last I found out who our landlord is? Your father?
00:17:31 Well, no, he's dead. I'm the landlord.
00:17:36 You?
00:17:37 Yes.
00:17:38 But you walk about as if you haven't paid the rent.
00:17:41 I haven't.
00:17:43 Oh, I meant...
00:17:44 I know.
00:17:46 It's his house and I'll never sell it.
00:17:49 But I can't afford the upkeep, so I let rooms.
00:17:53 If I charge you too much, please tell me and I... I'll tell the agents.
00:17:57 The rent's very reasonable, but don't say anything to the others or you'll have no peace.
00:18:02 Peace.
00:18:05 What do you do?
00:18:11 Most of the time I work in a film studio.
00:18:13 On the photographic side, I'll bet.
00:18:15 I hope to be a director very soon.
00:18:17 How exciting.
00:18:18 When I came in, were you looking at some films?
00:18:21 Yes.
00:18:22 Of yours?
00:18:23 Yes.
00:18:24 I'd like to see them.
00:18:26 Oh, I know I'm being rude, but I really would like to see them.
00:18:30 It would be a birthday present from you to me.
00:18:33 Would it?
00:18:35 Oh.
00:18:37 But I'm sure you're too busy and...
00:18:40 Will you...
00:18:43 Would you like to see them now?
00:18:46 Oh, thank you.
00:18:51 I'll go first.
00:19:01 Oh, it's dark.
00:19:04 Is that better?
00:19:08 But it's enormous.
00:19:13 Terribly sorry.
00:19:19 What are these?
00:19:21 Chemicals.
00:19:22 Oh.
00:19:30 This is...
00:19:31 So many things, but...
00:19:34 Above all, it's so completely unexpected.
00:19:48 These all yours?
00:19:50 Yes.
00:19:51 I mean, did you do all this?
00:19:55 Now, tell me about this room.
00:19:57 It belonged to my father.
00:20:00 What was he?
00:20:02 Scientist.
00:20:03 Oh.
00:20:04 Then this equipment was his.
00:20:07 No, I sold his to buy it.
00:20:10 Sit down.
00:20:11 Oh, this all seems so terribly technical.
00:20:15 If this is where you work, I can't wait to see what you work at.
00:20:21 Mark?
00:20:24 Don't know what to show you.
00:20:26 Well, what were you looking at when I interrupted you?
00:20:29 All right.
00:20:55 Helen.
00:21:24 This is the first 21st birthday present I'll ever have given.
00:21:31 And it's the first I've ever asked for.
00:21:40 Thank you.
00:22:00 Mark, what a beautiful little boy.
00:22:02 Who is he?
00:22:04 Me?
00:22:06 Of course it is.
00:22:08 Then who took this film?
00:22:11 My father.
00:22:13 What a wonderful idea.
00:22:15 You'll be able to show it to your own children.
00:22:18 You must have had a bad dream.
00:22:21 What was the light in your eye?
00:22:24 A camera, I suppose.
00:22:33 Whenever you're after.
00:22:46 Naughty boy.
00:22:47 I hope you were spanked.
00:22:57 Mark, what a strange thing for your father to photograph.
00:23:01 Switch it off?
00:23:02 No.
00:23:04 No.
00:23:11 Again?
00:23:15 Mark, this isn't some sort of a joke, is it?
00:23:18 No, Helen.
00:23:30 Ah, what's that?
00:23:46 Mark, what are you doing?
00:23:48 Wanted to photograph you watching.
00:23:50 No, no.
00:23:52 Please help me to understand this thing.
00:24:05 That will do, Mark.
00:24:08 Dry your eyes and stop being silly.
00:24:16 All right now, Mark, what was all that about?
00:24:18 That was a lizard, wasn't it?
00:24:19 Or a...
00:24:22 A li...
00:24:26 Well, how did it get there, Mark?
00:24:29 How did it get there?
00:24:31 Was it a pet?
00:24:34 Not mine.
00:24:36 Won't you try to explain?
00:24:40 You'd better go.
00:24:42 I like to understand what I'm shown.
00:24:44 What was your father trying to do to you, photographing you at night?
00:24:59 You'd better go.
00:25:16 Mark, what's this?
00:25:19 Saying goodbye.
00:25:22 My...
00:25:25 Mother.
00:25:29 You photographed that?
00:25:31 Yes.
00:25:35 And this, her funeral.
00:25:38 And this, her burial.
00:25:41 And this.
00:25:43 Who's that?
00:25:45 Her successor.
00:25:47 Successor?
00:25:59 He married her six weeks after the previous sequence.
00:26:09 She filmed what comes now.
00:26:13 It's out of focus.
00:26:15 Is that your father?
00:26:19 The morning he left for his honeymoon.
00:26:25 Look, what's he doing?
00:26:29 Giving me a present.
00:26:32 What is it?
00:26:35 Can't you guess?
00:26:39 A camera.
00:27:02 Switch it off, Mark.
00:27:06 Mark, switch it off!
00:27:14 Let's get out of here.
00:27:16 Mark?
00:27:31 So he was a scientist.
00:27:33 What kind of a scientist, Mark?
00:27:36 Biologist.
00:27:37 What was he trying to do to you?
00:27:40 Mark, what was he trying to do to you?
00:27:43 Watch me grow up.
00:27:47 He wanted a record of a growing child.
00:27:50 Complete.
00:27:51 In every detail.
00:27:54 Such a thing were possible.
00:27:56 And he tried to make it possible by training a camera on me.
00:27:59 At all times.
00:28:01 I never knew that all of my childhood, one moment's privacy.
00:28:05 And those lights in your eyes and that thing?
00:28:09 He was interested in the reactions of the nervous system to fear.
00:28:17 Fear?
00:28:20 Fear.
00:28:26 Especially fear in children and how they react to it.
00:28:32 I think he learned a lot from me.
00:28:36 I'd wake up sometimes screaming.
00:28:38 He'd be there, taking notes and pictures.
00:28:43 And I'm sure good came of it.
00:28:46 For some people.
00:28:48 He was brilliant.
00:28:50 A scientist drops a lizard onto a child's bed and good comes of it.
00:29:05 Excuse me, but...
00:29:07 Oh, there you are, Helen.
00:29:09 The party looks like breaking up.
00:29:10 We were wondering if you...
00:29:11 Oh, I'm coming.
00:29:14 I wish you'd join us.
00:29:16 Thank you.
00:29:18 I hope that you...
00:29:22 Have a sweet tooth.
00:29:24 Thank you for my present.
00:29:27 Good night, Mark.
00:29:29 Good night, old boy.
00:29:47 Cut!
00:29:51 Look, I tell you, Mr. Jarvis, this picture is a commercial proposition.
00:29:55 And that's why I want you to do it.
00:29:56 Because I know it's the type of thing that you people do so well.
00:29:59 Look, you know, I talked to Johnny already.
00:30:01 Yeah, I talked to him.
00:30:02 It was crazy to do it.
00:30:03 These are the figures you wanted, Mr. Jarvis.
00:30:05 Oh, it's terrific, Mr. Jarvis.
00:30:07 This script is going to put...
00:30:08 Still behind schedule.
00:30:09 Way back where it belongs.
00:30:11 And you know that Paramount want it.
00:30:13 Yeah, Paramount want it.
00:30:15 MGM want it.
00:30:16 Columbia want it.
00:30:17 But is it a commercial?
00:30:18 Anglo want it.
00:30:20 Send me a memo.
00:30:21 We'll discuss it next week.
00:30:23 Now, Miss Simpson, take a memo to all producers and directors.
00:30:28 In light of the new economy drive, if you can see it and hear it, the first take's okay.
00:30:33 Slate 99, take 49, clappers on end.
00:30:37 And, darling, just this once, will you please make an effort to forget that you're stunning...
00:30:43 ...and just try to look stunned?
00:30:45 One kind word and I would be.
00:30:47 All right, positions, everybody.
00:30:49 Cut.
00:30:51 Oh, once again, please.
00:30:53 No, no, no, dear.
00:30:55 Cut, cut, cut it.
00:30:56 Slate 99, take 53.
00:30:57 Once more, please.
00:30:59 Cut it.
00:31:00 Once again, please.
00:31:02 I have to faint once more. I will faint.
00:31:04 Slate 99, take 57.
00:31:06 All right, quiet, everybody.
00:31:07 All right, action.
00:31:09 No, no, no, no, no.
00:31:11 Cut it, cut it, cut it.
00:31:12 It's hopeless.
00:31:14 Oh, oh.
00:31:16 Oh, miss.
00:31:17 And cut.
00:31:19 How was it?
00:31:20 Fill, sound, mark, print it.
00:31:25 I'll take one.
00:31:26 Okay, Alex, that's it.
00:31:28 All right, boys and girls, wrap it up.
00:31:29 8.30 in the morning.
00:31:30 You're wonderful, darling.
00:31:31 You're really feeling it that time.
00:31:36 Touching the bus?
00:31:38 Not tonight.
00:31:39 Meeting someone.
00:31:40 Or drink.
00:31:42 No, I want to discuss that film with the everyman.
00:31:44 Tomorrow then?
00:31:45 I hope so.
00:31:47 How's my favorite stand-in today, huh?
00:31:50 Standing it.
00:31:51 8.30 in the morning.
00:31:53 Viv, how about having a drink with me on the way home?
00:31:57 I've got a date, Mr. Tate.
00:32:08 Good night, Mr. Vance.
00:32:20 Yes, Sergeant, who's working late tonight then?
00:32:22 That Indian picture, the elephant with two tails.
00:32:24 Crowded, aren't you?
00:32:26 She'll take age at the pinch.
00:32:27 Which is what we'll probably get.
00:32:29 I don't mind.
00:32:43 I'll be back.
00:33:11 I'll be back.
00:33:35 I'll be back.
00:34:03 I'll be back.
00:34:18 Come to us.
00:34:24 We are ready now.
00:34:53 Mark?
00:35:17 Mark?
00:35:45 Mark?
00:35:56 Mark?
00:36:07 Mark?
00:36:17 Are you there?
00:36:23 Where are you?
00:36:25 Here, Viv.
00:36:33 Oh, you frighten me.
00:36:35 Now listen, they're working late on the lot.
00:36:38 I know.
00:36:39 They branched off the stage.
00:36:41 We're using their power.
00:36:43 We must call it off.
00:36:44 They'll bind us in.
00:36:46 They might, but they won't interrupt us while we're filming.
00:36:52 I've put the red light on.
00:36:54 You what?
00:36:56 I've put the red light on.
00:36:57 But they...
00:36:58 Would you...
00:36:59 Would you please stand over there?
00:37:02 Then they'll know someone's here.
00:37:05 They won't come in.
00:37:06 They'll wait outside.
00:37:07 What's the difference?
00:37:09 The difference is a perfect film.
00:37:13 I've waited a long time for this, and so have you.
00:37:19 No one must interrupt it.
00:37:22 We'll be caught.
00:37:24 What does that matter?
00:37:25 Oh, that.
00:37:27 You stand to lose a job as an extra.
00:37:29 Extra?
00:37:30 Stand in.
00:37:32 I stand to lose nothing.
00:37:36 The result must be so perfect...
00:37:41 That the risks don't count.
00:37:43 So perfect...
00:37:46 That even he...
00:37:49 Even he would say...
00:37:51 Who's he? Don Jarvis?
00:37:54 Hmm? Hmm.
00:37:57 Oh, he'd say, "Sign on the rotted line, kiddies.
00:38:01 "You can use my pen, but bring your own ink."
00:38:05 Well, if you're sure it's worth it.
00:38:12 It's time to find out, Fith.
00:38:14 Do you mind if I warm up?
00:38:16 Go ahead.
00:38:18 [sizzling]
00:38:21 [snoring]
00:38:23 [drumming]
00:38:25 [snoring]
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00:38:59 [snoring]
00:39:01 [drumming]
00:39:03 [snoring]
00:39:05 [drumming]
00:39:07 [snoring]
00:39:09 You belong there.
00:39:11 [drumming]
00:39:13 [snoring]
00:39:15 [drumming]
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00:41:17 [snoring]
00:41:19 [snoring]
00:41:21 [snoring]
00:41:23 [snoring]
00:41:25 [drumming]
00:41:27 What are you doing?
00:41:29 Be patient, Viv.
00:41:31 It's going to be worth it.
00:41:33 [snoring]
00:41:35 Oh, well.
00:41:37 I've stood alone in front of a studio camera.
00:41:39 At more than most have.
00:41:41 Have you ever stood behind one?
00:41:43 No.
00:41:45 Help yourself.
00:41:47 [snoring]
00:41:49 [snoring]
00:41:51 [snoring]
00:41:53 Oh, I can see you, Mark.
00:41:55 Perfectly.
00:41:57 Good.
00:41:59 Yes, sir.
00:42:01 I bet I'm the best camera woman in the business.
00:42:03 [camera shutter clicks]
00:42:05 Now what are you doing?
00:42:07 Photographing you.
00:42:09 And you?
00:42:11 Photographing me.
00:42:13 Oh, Mark, you're brilliant.
00:42:15 [camera shutter clicks]
00:42:17 Oh, I've lost you.
00:42:19 [camera shutter clicks]
00:42:21 [camera shutter clicks]
00:42:23 Oh, welcome, stranger.
00:42:25 [camera shutter clicks]
00:42:27 I've lost you again.
00:42:29 Never mind.
00:42:31 I'm ready now, Viv.
00:42:33 [camera shutter clicks]
00:42:35 [camera shutter clicks]
00:42:37 Oh, go and stand on your cross, please.
00:42:41 Yes, sir. Mr. Director, sir.
00:42:43 [camera shutter clicks]
00:42:45 [camera shutter clicks]
00:42:47 [camera shutter clicks]
00:42:49 [camera shutter clicks]
00:42:51 [camera shutter clicks]
00:42:53 [camera shutter clicks]
00:42:55 Am I supposed to imagine something to put me in there?
00:42:57 Yes, Viv.
00:42:59 Oh, Mark, I hope I won't let you down.
00:43:01 I know you're trying to create atmosphere for me, but...
00:43:03 [sighs]
00:43:05 Well, I just don't feel frightened, that's all.
00:43:07 Oh, wouldn't it be better if I just did my number?
00:43:09 [camera shutter clicks]
00:43:11 Later.
00:43:13 The trouble is, I feel so relaxed.
00:43:15 That's due to you.
00:43:17 You were so at home with that camera,
00:43:19 you made me feel at home, too.
00:43:21 Have it in, you boy.
00:43:23 [camera shutter clicks]
00:43:25 Ready, Viv?
00:43:27 [camera shutter clicks]
00:43:29 Oh, well, I'll try.
00:43:31 [camera shutter clicks]
00:43:33 [sighs]
00:43:35 [percussive music]
00:43:37 ♪ ♪
00:43:43 What would frighten me to death?
00:43:45 ♪ ♪
00:43:48 Was that the mood for me, Mark?
00:43:50 ♪ ♪
00:43:53 Imagine...
00:43:55 ♪ ♪
00:43:57 Someone...
00:43:59 [camera shutter clicks]
00:44:00 Coming towards you.
00:44:02 ♪ ♪
00:44:04 Who wants to kill you.
00:44:06 ♪ ♪
00:44:07 Regardless of consequences.
00:44:10 ♪ ♪
00:44:12 A madman?
00:44:13 Yes.
00:44:15 But he knows it, and you don't.
00:44:18 ♪ ♪
00:44:19 And just to kill you...
00:44:21 ♪ ♪
00:44:23 Isn't enough for him.
00:44:25 ♪ ♪
00:44:27 But how would he frighten me?
00:44:28 Stay there, Viv.
00:44:30 Just try it.
00:44:32 ♪ ♪
00:44:36 But I can't imagine what you've thought of.
00:44:39 Imagine...
00:44:41 this would be one of his weapons.
00:44:45 That?
00:44:48 Yes.
00:44:50 [camera shutter clicks]
00:44:51 That.
00:44:52 Mark!
00:44:54 ♪ ♪
00:44:56 Yes, that would be frightening.
00:44:59 There's something else.
00:45:02 ♪ ♪
00:45:03 Well, what is it?
00:45:05 [camera shutter clicks]
00:45:06 ♪ ♪
00:45:14 That.
00:45:16 ♪ ♪
00:45:19 Mark.
00:45:21 ♪ ♪
00:45:23 Mark, no.
00:45:25 ♪ ♪
00:45:27 Take it away.
00:45:29 Take it away.
00:45:31 ♪ ♪
00:45:32 Mark!
00:45:34 Mark!
00:45:36 ♪ ♪
00:45:38 And that, darling, is the end of the news.
00:45:40 Oh, unless you want the football result.
00:45:43 [chuckles]
00:45:45 [sighs]
00:45:48 ♪ ♪
00:45:50 What are you looking at?
00:45:52 The ceiling.
00:45:54 I'm thinking of that young man who's home.
00:45:57 Yes?
00:45:58 Well, he is.
00:45:59 I heard him come in four paragraphs ago.
00:46:02 [clinking]
00:46:04 He's late tonight.
00:46:07 You like him?
00:46:09 Yes.
00:46:10 Why?
00:46:11 Well, he has a quality.
00:46:13 [chuckles]
00:46:14 I wish this had--
00:46:15 And I think he could help me with my book.
00:46:20 Helen.
00:46:21 Yes?
00:46:23 Doesn't matter.
00:46:25 Mother, what's worrying you?
00:46:27 The price of whiskey.
00:46:29 What else?
00:46:30 What else matters?
00:46:32 Don't you like Mark?
00:46:34 I've met him.
00:46:36 You don't like him.
00:46:38 Why not?
00:46:40 I don't trust a man who walks quietly.
00:46:44 Well, he's shy.
00:46:46 His footsteps aren't.
00:46:47 They're stealthy.
00:46:48 Now, really, Mother.
00:46:52 You're going up to see him?
00:46:54 May I?
00:46:57 We both have the key of the door.
00:47:00 Mine needs oiling.
00:47:02 Yours needs exercise.
00:47:04 Off you go.
00:47:05 Thank you.
00:47:08 Remember, you lost the drawer.
00:47:10 Mm-hmm.
00:47:12 Helen.
00:47:13 Yes?
00:47:14 If you're back in five minutes,
00:47:16 I won't even finish this.
00:47:20 Done.
00:47:38 Who is it?
00:47:39 It's Helen.
00:47:41 Oh.
00:47:42 Come in, Helen.
00:47:45 Would you just wait in there?
00:47:48 Developing.
00:47:55 Mother heard you come in,
00:47:56 so I guessed you wouldn't be in bed.
00:48:01 Are you sure this is convenient?
00:48:04 Won't be long.
00:48:29 I wish to express my gratitude
00:48:31 to the following people for their valuable contributions.
00:48:35 Professor A.D. Smith of York University,
00:48:38 Mr. Edward Payton,
00:48:40 the Belgravia Institute of Nervous Diseases,
00:48:43 and Mark Lewis, my son.
00:48:47 Hello.
00:48:48 Hello, Mark.
00:48:50 I hope you don't mind.
00:48:59 I'm sure I'm being a nuisance,
00:49:01 but Mark, I very much want to...
00:49:06 Happy birthday.
00:49:08 Mark, that's very sweet of you, but really...
00:49:11 It isn't much.
00:49:13 I don't know anything about 21st birthday presents,
00:49:17 but I saw it this morning, so please.
00:49:22 Mark, thank you.
00:49:24 Oh, it's beautiful.
00:49:27 I liked it.
00:49:29 More milk?
00:49:30 More.
00:49:31 Milk?
00:49:32 Oh, no, thank you.
00:49:34 I'm going to put it on now.
00:49:37 There or...
00:49:39 Or there?
00:49:41 First place.
00:49:42 Yes, I think so, too.
00:49:54 Oh, I am keeping you.
00:49:56 Oh, no.
00:49:58 I promise.
00:50:01 Mark, I'm here for some advice.
00:50:05 From me?
00:50:06 Please.
00:50:11 You see, I work in a public library in the children's section.
00:50:15 I'm telling you that to postpone admitting what always embarrasses me.
00:50:19 In my spare time, I write.
00:50:21 What's it, Barry?
00:50:22 I write short stories for children, but so did Grim, Hans Anderson and Lewis Carroll.
00:50:26 Had any published?
00:50:27 Some short stories.
00:50:28 I'd like to read them.
00:50:29 I learned today that my first book has been accepted for publication in the spring.
00:50:33 But, Helen, that's wonderful.
00:50:37 What is it about?
00:50:39 A magic camera and what it photographs.
00:50:43 What...
00:50:45 Whatever made you think of that?
00:50:48 I'll tell you one day, I promise.
00:50:54 What... What does it photograph?
00:50:56 I'll tell you that, too.
00:50:57 But, Mark, this is the problem.
00:50:59 The children who read the book will want to see the pictures that the camera takes.
00:51:02 But the publishers say they're impossible to photograph and they suggest drawings.
00:51:05 You see, I don't agree.
00:51:07 Oh, no.
00:51:08 Nothing's impossible.
00:51:10 Oh, I was hoping you'd say that.
00:51:11 There must be photographs, however difficult to take.
00:51:14 Mark, I was wondering if...
00:51:16 Oh, yes.
00:51:17 Would you like to discuss it with me?
00:51:18 Take them.
00:51:19 Oh, I can't ask you to do that.
00:51:20 I mean, the publishers mightn't agree.
00:51:23 I'd like to take them for you.
00:51:25 But the money.
00:51:26 There are some things which I photograph for nothing.
00:51:32 I didn't mean to offend you.
00:51:35 Offend?
00:51:37 Then you'll talk it over with me?
00:51:38 When? Please.
00:51:39 It's up to you.
00:51:40 Are you free tomorrow night?
00:51:41 Yes.
00:51:42 I hope I am.
00:51:43 Well, I'll understand if you're not.
00:51:46 I'll try my hardest to be.
00:51:49 Thank you for listening.
00:51:52 And for my present.
00:51:59 Good night.
00:52:00 Good night.
00:52:11 Looking for a trunk?
00:52:28 Yes, I'd like to see that one.
00:52:31 Certainly, madam.
00:52:36 No.
00:52:39 No, no, no, no, no, no.
00:52:42 Must have some comedy in this scene.
00:52:46 We'll retake it today.
00:52:48 Very good, sir.
00:52:49 The thing about this scene is I must have some comedy in it.
00:52:52 Now, you do understand, darling, don't you, you see...
00:52:54 that instead of taking the first trunk, I want you to ask to see a red one.
00:52:58 Then when he brings that, I want you to look around and ask...
00:53:01 Excuse me a second, darling.
00:53:02 Sorry.
00:53:03 ...for a white one.
00:53:04 And then when he brings the white one, then you ask for a different one.
00:53:08 Well, this one.
00:53:09 The blue one.
00:53:11 And you, Michael, bring the trunks one by one, getting more and more fed up all the time.
00:53:14 Of course, I'll keep it light.
00:53:15 Yes, I'm sure you will.
00:53:16 Then we'll end up on some sort of a gag I'll think of in a minute.
00:53:19 Understand?
00:53:20 I don't feel it.
00:53:21 What?
00:53:22 Don't feel it.
00:53:24 Don't feel it.
00:53:25 Just do it.
00:53:26 All right, positions, everybody.
00:53:28 Anyone seen Viv?
00:53:30 Who?
00:53:31 Uh, Deanne Standen.
00:53:32 I wonder if you'd like the set.
00:53:33 No, no, no, Phil, I want to run it first.
00:53:35 All right, quiet, everybody.
00:53:36 All right, ready?
00:53:37 Action.
00:53:38 Here we are, madam.
00:53:39 Oh, I'd like to see one in red.
00:53:41 Certainly, madam.
00:53:43 Would you mind steadying?
00:53:45 Right, now, here, now.
00:53:47 Come.
00:53:48 You carry it in your bag.
00:53:50 I'll bet we're doing it.
00:53:52 Right.
00:53:54 Ready for you, and back you go.
00:53:56 Play for a close-up there.
00:53:58 Um, do you have one in white?
00:54:00 Certainly, madam.
00:54:03 There's a white one there behind you.
00:54:05 Righto.
00:54:06 Back again.
00:54:08 Good.
00:54:10 Good, Michael.
00:54:12 Excellent.
00:54:14 Right, back again.
00:54:16 Oh, um, do you have one in blue?
00:54:20 Certainly, madam.
00:54:23 That's it.
00:54:24 And back you go, the old handsome.
00:54:26 Here we are.
00:54:29 That's it, just take what you can without overdoing it.
00:54:33 Oh, play it lightly, Michael.
00:54:35 Right, when it's in position,
00:54:37 up tight into him there.
00:54:39 Very good, and...
00:54:41 (SCREAMING)
00:54:49 The silly bitch!
00:54:51 She's fainted in the wrong scene.
00:54:53 (ALARM RINGING)
00:54:56 Excuse me, Chief.
00:54:58 Hmm?
00:54:59 Um, we passed my place at the end of the bypass.
00:55:01 Do you mind if I drop in for a moment?
00:55:03 To collect your kid's autograph book?
00:55:05 That's it, Chief.
00:55:06 If the nipper finds out where I've been...
00:55:08 All right, Dawson, anything to help the sergeant.
00:55:11 It's about time the sergeant helped me.
00:55:13 I'm not getting anywhere with this Soho murder.
00:55:15 Well, what about that chap, the landlady, passed on the stairs?
00:55:18 She was a bit late, but she's all right.
00:55:20 I'll get her.
00:55:22 Well, what about that chap, the landlady, passed on the stairs?
00:55:25 She couldn't describe him,
00:55:26 except to say that he was carrying something she couldn't see.
00:55:28 Oh, that's a help.
00:55:29 Sergeant, I've been on the force 30-odd years,
00:55:32 and I've never seen such fear on anyone's face as on this girl's.
00:55:36 What was it she saw?
00:55:39 Well, surely, Chief, a man coming at her with a sharp weapon.
00:55:43 Hmm, I'm familiar with that kind of terror.
00:55:45 This is something new to me.
00:55:47 But what?
00:55:51 That's the one, sir.
00:55:53 Chief, the expression is exactly...
00:56:09 I know. Don't say anything.
00:56:11 Don't say anything.
00:56:13 Well, sir, we shall probably have to interview everyone,
00:56:25 so we'd better plan a campaign that won't interfere too much with your productions.
00:56:28 Oh, thank you, Chief Inspector,
00:56:30 if you knew what even a single day's delay could cost.
00:56:33 Oh, we do, sir.
00:56:37 Hello, Mark.
00:56:39 Hello.
00:56:41 Hey, I don't think you ought to do that.
00:56:46 Sorry, sir.
00:56:47 Do what?
00:56:48 Make me famous.
00:56:49 Some chap's giving me a screen test.
00:56:51 Inspector.
00:56:52 Jerry, you're next.
00:56:53 The lads are scared. They can't eat you.
00:56:55 Looks as though it's going to be an early night tonight.
00:56:58 I've been watching you.
00:57:01 Oh.
00:57:02 Could you please tell me what's going on?
00:57:04 Oh.
00:57:05 Have you been filming those policemen?
00:57:07 Hmm.
00:57:08 I've a few quite interesting shots of them.
00:57:11 It's a chance I never expected.
00:57:13 Chance for what?
00:57:15 To photograph an investigation,
00:57:18 or as much of it as I can get.
00:57:21 What on earth for?
00:57:23 It will complete a documentary.
00:57:26 Documentary?
00:57:28 What's it about?
00:57:29 Hmm?
00:57:30 What's it about?
00:57:31 I'd rather not tell you till it's finished.
00:57:34 And it will be soon.
00:57:36 Suppose they catch you.
00:57:38 Oh, they will.
00:57:39 They look very efficient.
00:57:40 Don't you mind?
00:57:41 No.
00:57:42 Mark, are you crazy?
00:57:44 Yes.
00:57:45 You think they'll notice?
00:57:48 Mark, you're next.
00:57:50 Don't get into trouble.
00:57:52 For heaven's sake, I want to discuss that film with the everyman.
00:57:55 Oh, yes, I'd like that.
00:57:59 Come in.
00:58:01 Mr. Lewis.
00:58:03 Ah, my photographer.
00:58:05 I brought you the camera in case you wanted to take the film away.
00:58:11 Did you?
00:58:13 That's all right, Mr. Lewis.
00:58:15 As long as we don't appear at the local next week in place of the cartoon.
00:58:20 I'm Chief Inspector Gregg.
00:58:22 I'm here to report a case of a man who was arrested
00:58:26 I'm Chief Inspector Gregg.
00:58:28 This is Sergeant Miller.
00:58:30 Grab a chair.
00:58:32 Bono, anything to tell us?
00:58:37 I don't think so, sir.
00:58:39 Do you know the girl?
00:58:40 Yes, sir.
00:58:41 How well?
00:58:43 Mainly by sight.
00:58:45 When did you last see her?
00:58:49 Yesterday afternoon before we broke.
00:58:52 Did you speak to her?
00:58:54 I called out good night.
00:58:57 I don't know if she heard me.
00:59:00 What did you do then?
00:59:04 I'm taking some shots.
00:59:07 I'm making a film.
00:59:09 Oh? Where?
00:59:12 Oh, all over the place.
00:59:15 It's a documentary.
00:59:17 Anyone with you?
00:59:19 No, sir.
00:59:20 Just my... just my camera.
00:59:23 (phone rings)
00:59:26 Sergeant Miller?
00:59:30 Right, I'll tell him.
00:59:34 The doctor's finished his examination.
00:59:37 He wants to see you.
00:59:39 Right, you better go on first.
00:59:41 Right, sir.
00:59:43 Gotcha.
00:59:49 Nice job.
00:59:50 Thank you, sir.
00:59:53 (door opens)
00:59:55 What time did you arrive home last night, Mr. Lewis?
01:00:01 About 10. 10.30.
01:00:04 Anyone see you?
01:00:06 Yes, people who live downstairs.
01:00:09 I see.
01:00:11 Right.
01:00:13 That's all, thank you, Mr. Lewis.
01:00:15 Thank you, sir.
01:00:16 Okay.
01:00:18 Wait a minute.
01:00:21 Direct me to that set of yours, would you?
01:00:24 I'd probably end up on location.
01:00:27 Yes, sir.
01:00:28 Thank you.
01:00:30 I warned him.
01:00:41 Well, I think I can find my way down.
01:00:48 Thanks for the escort.
01:00:51 (door closes)
01:00:53 (whistling)
01:00:57 (whistling)
01:01:00 (door closes)
01:01:03 (footsteps)
01:01:07 (footsteps)
01:01:10 (footsteps)
01:01:13 (footsteps)
01:01:17 (footsteps)
01:01:21 (footsteps)
01:01:25 (footsteps)
01:01:29 (footsteps)
01:01:33 (footsteps)
01:01:38 (footsteps)
01:01:41 No doubt at all. Wounds caused by the same instrument.
01:01:46 Both women subjected to the most violent shock.
01:01:49 What sort of shock?
01:01:51 Up to you to find out, Inspector.
01:01:53 Not my department.
01:01:55 Can we move the body?
01:01:57 Yes, I have permission.
01:01:59 Come on, fellas.
01:02:01 (footsteps)
01:02:04 (door opens)
01:02:06 (footsteps)
01:02:09 Hello?
01:02:15 What's this she's lying on?
01:02:17 Oh, a tape recorder.
01:02:19 Let me help you.
01:02:21 (tape recorder clatters)
01:02:29 (tape recorder clatters)
01:02:31 (tape recorder clatters)
01:02:33 Baxter.
01:02:35 (tape recorder clatters)
01:02:38 (tape recorder clatters)
01:02:41 Get a test of the fingerprints.
01:02:43 Get the real playback.
01:02:45 Right.
01:02:47 Quiet, everyone, quiet!
01:02:54 I thought I heard a putty tat.
01:03:00 (laughs)
01:03:02 I don't want to spoil anyone's fun,
01:03:05 but we do have a maniac on our hands.
01:03:08 If we don't get him quickly,
01:03:10 there'll be a third unsolved murder to report to the Commissioner.
01:03:13 So let's hurry things up, shall we?
01:03:16 (footsteps)
01:03:20 (footsteps)
01:03:23 She was appearing in Arthur Baden's new film,
01:03:38 The Walls Are Closing In, starring Pauline Shields.
01:03:41 A spokesman at the studio said that her performance in the film
01:03:44 showed such promise that her role was to have been built up.
01:03:47 Oh, the Prime Minister.
01:03:49 Mark is in films, isn't he?
01:03:51 Yes, darling. It's reliably...
01:03:53 I wonder if he knew her.
01:03:55 I'll ask him tonight.
01:03:57 Oh. Is he taking you out?
01:03:59 Yes, if he's free.
01:04:01 That's very chivalrous of him.
01:04:03 Where's he taking you?
01:04:05 I've no idea, and I don't suppose he has.
01:04:07 Which studio does he work at?
01:04:10 I don't know. I'll ask him.
01:04:13 If he's free.
01:04:15 Shall I bring him in and introduce you?
01:04:18 I feel as if I know him.
01:04:20 Now, darling. He's here.
01:04:23 Why don't we make him a present of that window?
01:04:30 He practically lives there.
01:04:32 How did you know he was there?
01:04:34 The back of my neck told me.
01:04:36 (laughs)
01:04:38 The part that I talk out of.
01:04:43 Hello.
01:04:45 Free?
01:04:47 Yes.
01:04:48 Good. So am I.
01:04:50 I'd like you to come in for a moment and meet my mother.
01:04:53 Yes, please.
01:04:57 Darling, this is Mark.
01:05:02 How do you do, Mrs. Stevens?
01:05:08 Hello, Mark.
01:05:10 You're running, young man?
01:05:12 Yes.
01:05:14 Didn't want to be late for Helen.
01:05:16 Thank you. You deserve a drink for that.
01:05:18 What would you like?
01:05:20 Nothing, thank you very much.
01:05:22 Mother, I've let your son...
01:05:24 Tell me, young man.
01:05:26 Which studio do you work at?
01:05:28 Chipperfield Studio.
01:05:30 That poor girl, where did she work?
01:05:33 Brookwood, I think.
01:05:35 We were wondering if you knew her.
01:05:39 No.
01:05:41 No, I didn't know her.
01:05:43 Pity.
01:05:45 I do like first-hand information.
01:05:47 Darling, may I tell you about your supper?
01:05:49 No.
01:05:51 Go and be told about yours.
01:05:53 Goodbye, Mark.
01:05:55 I expect we shall meet again.
01:05:57 I hope so, Mrs. Stevens.
01:05:59 Mother, we forgot to cut the carbs.
01:06:06 Your supper's laid out in the kitchen.
01:06:08 If you're not back early, you'll find me laid out with it.
01:06:11 We'll be early.
01:06:13 Bye, darling.
01:06:15 Good night.
01:06:17 Mark, I want to ask you something rather personal.
01:06:29 How long is it since you've gone out without that?
01:06:32 Without what?
01:06:34 That camera.
01:06:37 I don't think I know.
01:06:39 Exactly. I don't think I've ever seen you without it.
01:06:42 But are you going to need it tonight?
01:06:45 Well, are you?
01:06:48 And if so, shall I bring some work with me, too?
01:06:52 I'm not going to need it tonight.
01:06:54 Good, then give it to me.
01:06:56 Well, I'll put it away for you. It'll be quite safe.
01:06:59 No.
01:07:01 Then take it upstairs if you can't trust me with it.
01:07:05 I trust you.
01:07:07 Then let's put it in here.
01:07:14 Come in and see for yourself.
01:07:16 We'll put it in there and lock it.
01:07:19 This was my... my mother's room.
01:07:33 Was it, Mark?
01:07:35 Hmm.
01:07:37 I am being tactless, aren't I?
01:07:40 It's just that I thought it was going into an extra limb, and I...
01:07:44 But bring it with you if you want to.
01:07:48 You.
01:07:50 Thank you.
01:07:53 I feel...
01:07:55 Yes?
01:07:57 I can't describe it.
01:07:59 Could only photograph it.
01:08:01 Shall I tell you what I feel? Famished!
01:08:03 Good.
01:08:05 I know a small place around the corner that's awfully good on Christmas Day.
01:08:08 Is it?
01:08:09 Yes. There aren't too many open, then.
01:08:11 No. It's answerable.
01:08:13 I'll go and get some more.
01:08:15 I'll be back.
01:08:17 I'll be back.
01:08:19 Yes. There aren't too many open, then.
01:08:21 No. Sounds fun.
01:08:23 Helen!
01:08:29 Yes?
01:08:31 Come on.
01:08:33 This way.
01:08:35 What does your magic camera photograph?
01:08:38 People. It's owned by a little boy.
01:08:40 And it sees grown-ups as they were when they were children.
01:08:42 I was hoping that you'd be able to when you were...
01:08:46 Where is this restaurant?
01:08:48 Around the corner.
01:08:50 Come along, then.
01:08:52 Thank you.
01:08:55 Where is this restaurant?
01:08:57 Around the corner.
01:08:59 Come along, then.
01:09:01 Thank you.
01:09:03 [clock ticking]
01:09:05 [clock ticking]
01:09:07 [clock ticking]
01:09:09 [clock ticking]
01:09:11 [clock ticking]
01:09:13 (clock ticking)
01:09:15 (suspenseful music)
01:09:18 (clock ticking)
01:09:21 - There's not a single face in the crowd
01:09:47 that doesn't look like a child.
01:09:48 There's not a single one. - Don't say that.
01:09:49 - If you catch it at the right moment.
01:09:51 Oh, Helen, I would like to find those faces for you,
01:10:02 would you? - Well, let's try.
01:10:03 Oh, Mother must have gone to bed.
01:10:12 Oh, Mother, it was a wonderful evening.
01:10:18 - (scoffs) That's what I was going to say.
01:10:21 It was a wonderful evening.
01:10:23 - And you made it wonderful.
01:10:25 Without your camera.
01:10:28 I'll get it for you.
01:10:31 It's still here.
01:10:39 Your magic camera.
01:10:42 I wonder how this sees grownups.
01:10:45 Me, for instance, now that I am--
01:10:47 - Not you! - Why not?
01:10:49 - It will never see you. - Mark.
01:10:52 - Whatever I photograph, I always lose.
01:10:58 - I don't understand.
01:10:59 (door closes)
01:11:02 (door closes)
01:11:17 - Oh, you awake, Mother?
01:11:19 (water running)
01:11:22 Thank you again for my evening.
01:11:23 Will you go to bed now
01:11:27 and not stop up watching those films?
01:11:29 - Well, I've got some work to do.
01:11:34 Then I go to bed and try to find your faces.
01:11:40 Faces which are...
01:11:42 Faces which...
01:11:46 (water running)
01:12:13 (water running)
01:12:17 (water running)
01:12:34 (thump)
01:12:36 (clattering)
01:12:37 (water running)
01:12:46 - Good evening, Mark.
01:12:48 - How did you-- - The young man
01:12:50 bathing himself brought me to your door.
01:12:54 I managed the rest of the adventure alone.
01:12:58 This is one room I expected to find locked.
01:13:03 - I was never allowed keys.
01:13:06 Can't get used to them.
01:13:08 I brought her home early.
01:13:12 - Thank you.
01:13:13 - Is there something you-- - Talk!
01:13:17 - Next door would be more-- - I...
01:13:20 (clattering)
01:13:21 I feel at home here.
01:13:24 (clattering)
01:13:26 I visit this room every night.
01:13:30 - Visit?
01:13:32 (door opens)
01:13:40 - The blind always live in the rooms they live under.
01:13:45 (door closes)
01:13:47 (door opens)
01:13:49 (footsteps)
01:13:52 (doorbell rings)
01:13:55 (water running)
01:14:00 - Every night you switch on that film machine.
01:14:05 What are these films you can't wait to look at?
01:14:11 What's the film you're showing now?
01:14:15 Why don't you lie to me?
01:14:17 I'd never know.
01:14:19 - You would know at once.
01:14:21 - Take me to your cinema.
01:14:24 - Yes.
01:14:26 ♪ (piano plays)
01:14:35 - What am I seeing, Mark?
01:14:38 ♪ (piano plays)
01:14:41 Why don't you answer?
01:14:45 (loud bang)
01:14:49 - Oh!
01:14:51 (sobs)
01:14:53 It's no good.
01:14:55 I was afraid it wouldn't be.
01:14:57 - What?
01:14:59 - The lights fade too soon.
01:15:01 (sobs)
01:15:03 - They always do.
01:15:05 - I...
01:15:07 I have to cry.
01:15:09 (sobs)
01:15:11 (sobs)
01:15:15 - What do you think you've spoiled?
01:15:17 - An opportunity.
01:15:20 Now I have to find another one.
01:15:24 (footsteps)
01:15:29 ♪ (ominous music)
01:15:30 - What are you doing?
01:15:32 ♪ (ominous music)
01:15:33 Mark?
01:15:35 ♪ (ominous music)
01:15:37 Where are you?
01:15:39 ♪ (ominous music)
01:15:40 Where are you?
01:15:42 ♪ (ominous music)
01:15:44 Why are you putting that light on my face?
01:15:47 ♪ (ominous music)
01:15:49 Mark?
01:15:51 ♪ (ominous music)
01:15:58 - Please let me finish.
01:16:00 It's for Helen.
01:16:03 - What do you mean?
01:16:05 It's for Helen.
01:16:07 - She wanted to see something I photographed.
01:16:10 - My daughter sees enough of my face without photographs.
01:16:13 - Please...
01:16:16 don't be frightened.
01:16:18 - How frightened?
01:16:20 - Hot!
01:16:23 So put that camera away!
01:16:25 ♪ (ominous music)
01:16:37 - Darling...
01:16:40 Yes.
01:16:41 ♪ (ominous music)
01:16:48 (panting)
01:16:56 - In rather a hurry, aren't you?
01:16:58 - Must be tired.
01:17:01 It's late.
01:17:02 You?
01:17:03 - You're...anxious to get rid of me all of a sudden?
01:17:08 (door closes)
01:17:11 - I won't be selfish.
01:17:13 You can take some more pictures if you want to.
01:17:16 - No thank you.
01:17:18 - Why not?
01:17:20 (door closes)
01:17:21 - I'm right out of film.
01:17:24 - Can't you find some more to please Helen?
01:17:27 - No...no!
01:17:29 (door closes)
01:17:32 - You don't trust yourself to take any more, do you?
01:17:37 Instinct's a wonderful thing, isn't it Mark?
01:17:42 A pity it can't be photographed.
01:17:45 (sighs)
01:17:47 If I'd listened to it years ago...
01:17:50 I might have kept my sight.
01:17:55 I wouldn't have let a man operate I had no faith in.
01:17:59 So I'm listening to my instinct now.
01:18:02 (door closes)
01:18:04 (crickets chirping)
01:18:07 And it says...all this filming isn't...healthy...
01:18:13 and that you need help.
01:18:15 Get it Mark.
01:18:18 Get it quickly...
01:18:20 and until you do, I don't want you and Helen to see each other.
01:18:24 - I will never photograph her, I promise you that.
01:18:26 - I'd rather you don't have the chance.
01:18:28 I mean it Mark.
01:18:31 And, if you don't listen to me...
01:18:34 one of us will move from this house.
01:18:38 It would be a pity, because we'd never find a cheaper place.
01:18:41 - You'll never have to move...
01:18:43 because of me, I...I promise.
01:18:48 - Good boy.
01:19:00 (footsteps)
01:19:04 The stairs are the difficult part.
01:19:08 (footsteps)
01:19:21 (thump)
01:19:23 That's far enough, thank you.
01:19:27 (clock ticking)
01:19:30 ♪ (soft music)
01:19:43 - Taking my picture?
01:19:46 - Yes.
01:19:48 - It's a long time since anyone did.
01:19:52 - Mark...
01:19:55 what's troubling you?
01:19:59 - Good night Mrs. Stevenson.
01:20:02 - You'll have to tell someone.
01:20:06 (footsteps)
01:20:09 You'll have to!
01:20:12 (footsteps)
01:20:15 (door closes)
01:20:18 (clock ticking)
01:20:26 (birds chirping)
01:20:39 - Now over here, swing over, on me, good.
01:20:41 - All right, here we go boys and girls.
01:20:43 First position everybody. - Wait a little, I'll be...
01:20:44 - Have some quiet, Bert. - Yeah.
01:20:45 - Regin, turn still. - Uh, yeah, yeah, okay.
01:20:47 (sneezes)
01:20:49 (indistinct chatter)
01:20:51 - Hi...that sneezer-keezer's a psychiatrist!
01:20:54 Hold it on the grapevine.
01:20:57 All right boys and girls, first positions everybody!
01:21:00 And take it easy, and I know you'll be absolutely wonderful darling.
01:21:03 It's simply just...do you mind standing? - I'm sorry.
01:21:06 - Who is this, Alex? - The detective, sir.
01:21:08 - Oh, yes of course you did.
01:21:09 Everybody's here just to help you, darling.
01:21:12 Now take it easy, it's exactly the same as it was before,
01:21:16 only one or two slight changes.
01:21:18 This time, it's hats instead of...
01:21:20 - The chair!
01:21:22 - Of, um...of trunks.
01:21:24 You will help Michael, won't you? - Yes sir.
01:21:26 - You will. Now darling, be very brave.
01:21:30 You're wonderful, and we shall all be with you.
01:21:32 Just a second...oh, please do me!
01:21:33 - All right, I'm sorry I'm late. - Clear the set everybody!
01:21:35 Please, make up!
01:21:36 - Now take it easy darling. - Just relax.
01:21:39 - Hold it.
01:21:40 All right.
01:21:41 - And...camera!
01:21:44 Looking for a hat, madam?
01:21:46 - Yes, I'd like to see that one.
01:21:48 - Certainly madam.
01:21:50 - Have you one in red?
01:22:01 - Certainly madam.
01:22:03 - In red!
01:22:08 In red!
01:22:09 Have you one in blue?
01:22:11 (woman screams)
01:22:14 - Gee gods!
01:22:16 I...
01:22:18 - Break for half an hour, sir.
01:22:20 - Break forever!
01:22:21 - All right boys and girls, break it up!
01:22:23 Hack it half an hour!
01:22:25 (indistinct chatter)
01:22:29 - Hmm?
01:22:30 (indistinct chatter)
01:22:31 Yes...
01:22:33 - Could you suggest something?
01:22:36 - No, it's sure interesting!
01:22:38 - No, I mean to help her, psychologically.
01:22:40 - Oh, give her a proper rest.
01:22:42 Half an hour is useless.
01:22:43 - Yes, thanks very much.
01:22:45 (indistinct chatter)
01:22:49 - Psst!
01:22:50 What's your job?
01:22:51 - I'm...
01:22:53 focus puller.
01:22:54 - Oh, so am I in a way.
01:22:57 - I wonder...
01:22:58 - Hmm?
01:23:00 - I wonder if you knew my father...
01:23:07 Professor Lewis?
01:23:09 - A.N. Lewis.
01:23:11 - Of course I knew him.
01:23:14 He lectured to me in extraordinary,
01:23:16 brilliant, quite brilliant!
01:23:19 - Do you know what he was interested in
01:23:21 before he died?
01:23:22 - No, tell me, tell me!
01:23:24 - I...
01:23:29 I don't remember what he called it,
01:23:32 but it has something to do with what...
01:23:36 what causes people to be...
01:23:39 peeping toms?
01:23:40 - Scoptophilia, that was interesting.
01:23:42 Most fertile mind.
01:23:44 - Scopto?
01:23:45 - Philia, the morbid urge to gaze.
01:23:49 Coins in his day.
01:23:50 Now tell me, are there any of his manuscripts left?
01:23:53 - I should... - He thought it could be cured.
01:23:54 - Usually, yeah.
01:23:55 Now about his manuscripts.
01:23:56 - Quickly.
01:23:57 - The cure? Oh, very quick.
01:23:58 A couple of years analysis,
01:24:00 three times a week, an hour a time,
01:24:02 and soon it's uprooted.
01:24:05 Now, are there any of his papers left?
01:24:07 I should be most grateful if I could see them.
01:24:10 I... I give you my address.
01:24:12 - Yes, sir.
01:24:22 - I wonder what all that's about.
01:24:26 - I don't know.
01:24:28 We'll find out afterwards.
01:24:30 (dramatic music)
01:24:32 - Hey, Mark.
01:24:50 Can't wait to show you this.
01:24:56 I should charge you.
01:24:58 - You don't get that in sight and sound.
01:25:01 She's terrific.
01:25:02 I've got some more if you're interested.
01:25:07 - You've given me an idea.
01:25:09 - Yeah, I'll bet I have.
01:25:14 - He asked me if I knew his father,
01:25:17 which I did, brilliant man.
01:25:19 - Is that all he wanted?
01:25:20 - I think so.
01:25:21 Oh, we had a little chat about Scopto Philia,
01:25:24 and he's going...
01:25:25 - About what?
01:25:26 - Voyeurism.
01:25:27 - Eh?
01:25:27 - He makes people into peeping Toms,
01:25:30 one of his father's subjects, and...
01:25:33 - Peeping Tom?
01:25:34 - Interesting boy.
01:25:36 He has his father's eyes.
01:25:38 You don't suspect him, do you?
01:25:41 - I suspect them all.
01:25:42 (laughing)
01:25:44 What about you?
01:25:46 - I'm interested in this fantastic extrovert
01:25:48 who brought the girl in.
01:25:49 There's something on his mind.
01:25:51 - No wonder.
01:25:52 He's the director.
01:25:55 Can't manage Saturday, sir.
01:25:57 - But they're letting us off early today.
01:26:02 This afternoon, after work, might be my only chance.
01:26:06 - Well, be here at six o'clock, Mark.
01:26:08 I'll have Millie waiting.
01:26:10 - Six o'clock.
01:26:11 - On the dot, Mark, or she'll go.
01:26:14 - I'll be there.
01:26:15 - You better be.
01:26:17 - Come on, some of the day, make it a good one.
01:26:19 - You got your list, Sergeant?
01:26:20 - Yes, sir.
01:26:22 - I want to see how some of them spend their spare time.
01:26:25 - Which ones?
01:26:26 - Zach and Sergeant.
01:26:28 (somber music)
01:26:31 (snoring)
01:26:34 (somber music)
01:26:36 (somber music)
01:26:39 (somber music)
01:26:41 (somber music)
01:26:44 (somber music)
01:26:46 (somber music)
01:26:49 (dramatic music)
01:27:00 (dramatic music)
01:27:03 (dramatic music)
01:27:05 (dramatic music)
01:27:08 - Oh, there you are.
01:27:33 Now don't make a habit of this.
01:27:34 - Where are you going, sir?
01:27:35 - Millie's upstairs.
01:27:37 - Thank you, sir.
01:27:37 - Now, I've got to go out.
01:27:38 If you're finished before I'm back,
01:27:40 lock up and put this through the letterbox.
01:27:42 But what are you looking at?
01:27:42 Haven't you seen a key before?
01:27:45 The till will be empty
01:27:46 if that's what you're smiling about.
01:27:48 Now remember what I said,
01:27:49 no more of this fancy stuff.
01:27:50 (somber music)
01:27:53 (door slams)
01:28:00 (car engine rumbles)
01:28:04 You've spoiled my whole evening, you have.
01:28:10 And I had a date with my new boyfriend.
01:28:14 - Sorry, Millie.
01:28:15 - Well, what's the idea?
01:28:16 - I may not be here tomorrow.
01:28:22 - Why, going on maneuvers with the Boy Scouts?
01:28:25 Now what are you doing?
01:28:26 - I thought so.
01:28:28 - Come on, we haven't got all night.
01:28:30 There's all that nude stuff from the bed to finish.
01:28:33 Well, of all the...
01:28:41 Have you gone completely crazy?
01:28:46 - I'm just completing a documentary.
01:28:49 - You're a documentary to half, you are.
01:28:52 I didn't stand up my gentleman friend
01:28:54 and come back here and take my clothes off
01:28:56 for you to start filming the street.
01:28:59 (car engine rumbles)
01:29:02 I might as well talk to a zombie.
01:29:08 Is it safe to be alone with you, I wonder?
01:29:11 Might be more fun if it wasn't.
01:29:13 (somber music)
01:29:15 (car engine rumbles)
01:29:18 (doorbell rings)
01:29:37 (door slams)
01:29:41 (car engine rumbles)
01:29:45 (car engine rumbles)
01:29:48 - Drive straight on.
01:30:12 (car engine rumbles)
01:30:15 - Hello.
01:30:24 - Oh, hello, Tony.
01:30:25 - Where are you going?
01:30:25 - To leave something for Mark.
01:30:26 - You...
01:30:27 You haven't much time for me these days.
01:30:30 - Tony, I...
01:30:31 - It's all right.
01:30:32 I'll be here if you want me.
01:30:34 Oh, by the way, your mother was yelling out
01:30:36 before you came in something about Mark photographing her.
01:30:40 - Photographing mother?
01:30:41 - You must be mistaken.
01:30:43 - Of course.
01:30:44 I'll see you sometime.
01:30:45 - Yeah.
01:30:46 (knocking)
01:30:48 Mark?
01:30:53 Mark?
01:30:57 Mark?
01:31:01 (eerie music)
01:31:07 (eerie music)
01:31:10 (eerie music)
01:31:12 (eerie music)
01:31:14 (eerie music)
01:31:17 (eerie music)
01:31:19 (eerie music)
01:31:22 (eerie music)
01:31:24 (eerie music)
01:31:27 (eerie music)
01:31:30 (eerie music)
01:31:33 (eerie music)
01:32:03 - I don't know what to make of it, sir.
01:32:04 You went to a public library,
01:32:06 then to a newsagent shop.
01:32:09 Private photography, if you ask me.
01:32:11 Shall I hang around outside the house, sir?
01:32:14 No, I don't think so either.
01:32:16 All right, sir.
01:32:18 I'll give you the details when I get back.
01:32:20 Bye, sir.
01:32:20 (eerie music)
01:32:30 (eerie music)
01:32:33 (eerie music)
01:32:35 (eerie music)
01:32:58 (eerie music)
01:33:00 (gasps)
01:33:20 (eerie music)
01:33:23 (screams)
01:33:31 - Don't let me see you frightened.
01:33:33 So, leave.
01:33:35 Hurry, Anne.
01:33:36 - No!
01:33:36 - Leave!
01:33:37 - Not till I know.
01:33:41 - Now.
01:33:44 - That film.
01:33:44 That film is just a film, isn't it?
01:33:50 Horrible.
01:33:51 Horrible, but it's just a film, isn't it?
01:33:55 - No.
01:33:57 No.
01:34:03 I killed him.
01:34:05 - Be safe as long as I can't see you frightened.
01:34:18 So, stand in the shadows, please.
01:34:21 Please.
01:34:22 (phone rings)
01:34:26 - Chief Inspector Gregg.
01:34:31 What?
01:34:33 Put him on the line.
01:34:35 - Peter's here, sir.
01:34:37 Yes, I went upstairs to look around
01:34:39 and I found her lying there.
01:34:41 - What's the address?
01:34:42 Newsagent shop?
01:34:46 - Your mother.
01:34:47 That's right.
01:34:49 I must tell someone everything.
01:34:52 Sorry it has to be you.
01:34:55 This was his workshop.
01:35:02 And you know some of what he did.
01:35:06 But not all.
01:35:09 (screams)
01:35:14 (screams)
01:35:17 Aged five.
01:35:20 Aged seven.
01:35:28 All the rooms were wired for sound.
01:35:35 They still are.
01:35:37 Your room.
01:35:44 - Ernestine.
01:35:45 - Your mother's.
01:35:47 - Mark.
01:35:49 - Tony's.
01:35:53 - No one will come in, honestly, darling.
01:35:55 - I don't care.
01:35:56 - But darling.
01:35:57 - Tony, stop it.
01:35:58 - The door was locked.
01:35:59 - I don't care, I'm scared.
01:36:01 Turn it off.
01:36:03 Look at me, Mark.
01:36:07 - Not if you're frightened.
01:36:09 - Look at me.
01:36:10 What did you do to those girls?
01:36:12 - No.
01:36:14 - What did you do?
01:36:16 If you wanted to torment me for the rest of my life,
01:36:17 then make me a madman.
01:36:19 What did you do to those girls?
01:36:20 - I can't.
01:36:23 - Show me.
01:36:24 - But if you're frightened.
01:36:30 - Show me or I'll remain frightened
01:36:32 for the rest of my life.
01:36:33 Show me.
01:36:34 (breathing heavily)
01:36:37 - Do you know what the most frightening thing
01:36:54 in the world is?
01:37:03 It's fear.
01:37:03 So I did something very simple.
01:37:08 Very simple.
01:37:11 (eerie music)
01:37:15 When they felt the spike
01:37:17 touching their throat
01:37:20 and knew I was going to kill them,
01:37:24 I made them watch their own deaths.
01:37:30 I made them see their own terror as the spike went in.
01:37:35 And if death has a face,
01:37:38 they saw that too.
01:37:41 But not you.
01:37:44 I promised I'd never photograph you.
01:37:47 Not you.
01:37:50 - I know you.
01:37:52 (bells ringing)
01:37:58 (tires screeching)
01:38:01 - Got some men all right?
01:38:12 - Yes, sir.
01:38:13 - Okay, let's go.
01:38:14 (gun firing)
01:38:15 - Look out!
01:38:16 (glass shattering)
01:38:17 - It's only a camera.
01:38:19 - Only?
01:38:19 - Give yourself up, Mark!
01:38:27 - I've been ready for this for such a long time.
01:38:30 - What are you doing?
01:38:32 - It's all right.
01:38:33 I can beat that.
01:38:42 (children screaming)
01:38:47 - Give yourself up, Mark!
01:38:51 - Watch them, Helen.
01:38:57 Watch them say goodbye, one by one.
01:39:00 I've timed it so often.
01:39:02 - I wish I could have found your faces for you.
01:39:07 - Helen, Helen, I'm afraid.
01:39:20 - No, no, Mark!
01:39:25 - And I'm glad.
01:39:26 I'm afraid.
01:39:28 (Mark groaning)
01:39:32 (Mark coughing)
01:39:38 (dramatic music)
01:39:50 (Helen crying)
01:39:53 - The girl's alive.
01:40:19 (Helen crying)
01:40:22 - Go get an ambulance.
01:40:23 - All right, all right.
01:40:26 - Don't be a silly boy.
01:40:28 There's nothing to be afraid of.
01:40:30 (dramatic music)
01:40:34 - Good night, Daddy.
01:40:43 Hold my hand.
01:40:44 (dramatic music)
01:40:48 (dramatic music)
01:40:51 (dramatic music)
01:40:54 (dramatic music)
01:40:56 (dramatic music)
01:40:59 (dramatic music)
01:41:02 (dramatic music)
01:41:05 (dramatic music)
01:41:07 [BLANK_AUDIO]