[Quick Summary: A young focus puller/ photographer/ director wannabe is an underground serial killer who is trying to capture the moment of death from fear.]
THREE THINGS TO KNOW ABOUT THIS SCRIPT:
1) It's one of the best psychological horror/thriller scripts that I've read. It is 60 y.o., yet still relevant, still could be made today, still has something to say.
2) It's risky. The critics' and public's response to this film essentially ended director Michael Powell's career in England.* **
3) It does not let you off the hook. I liked that the script does not try to explain away Mark's murdering instinct or soften the blow of his decisions.
Yes, Mark is a loner, socially awkward, driven, and probably was harmed by his scientific father's psychological experiments.
However, he does not make excuses for himself and takes responsibility for his actions. What a dilemma! Do I root for or against him?
In the scene below, note:
- Helen is a neighbor and possibly the first girl to show interest in Mark.
- Their rapport makes me hope that Mark could change, but his "better be soon" tells me that he knows that he will be facing consequences soon.
- This scene is so bittersweet and tragic, yet does not veer from Mark's goal.
ex. "INT. MARK'S SITTING ROOM - EVENING
...HELEN: 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 suggest drawings...but I don't agree.
MARK: No - nothing's impossible.
HELEN: was hoping you'd say that! There must be photographs - however difficult to take - and I was wondering, Mark - if you'd...
MARK: Oh yes.
HELEN: discuss it with me.
MARK: take them.
HELEN: Mark - I can't ask you to do that...
They have cancelled his Oscar.
HELEN (cont'd): I mean...the publisher's mightn't agree.
MARK: I'd take them...for you.
HELEN: Yes but...the money.
MARK: There are some things...which I photograph...for nothing.
HELEN: I didn't mean to offend you.
MARK: Offend?
CLOSE SHOT of Mark.
MARK (cont'd): Helen...if you knew what it meant...for something to happen to me...that I don't have to make happen...it's like...you've given me a twenty-first birthday...
CLOSE SHOT of Helen looking at him...
MARK (cont'd): What does your camera photograph?
HELEN: Mark - I must go...I just wanted to know...if you'd talk it over with me.
MARK: When please?
HELEN: That's up to you.
MARK: Helen...I don't know much about...dinner out...but would you come with me?
HELEN: Thank you.
MARK: Thank you.
HELEN: When?
MARK: Oh...
HELEN: What's the matter?
MARK: It had better be soon...
HELEN: Are you going away?
MARK: Almost for certain!...
HELEN: Oh...well you suggest when.
MARK: Are you free...tomorrow night?
HELEN: Yes."
WHAT I'VE LEARNED: I admire this script for having something to say and sticking with it.
Peeping Tom (1960)(shooting draft, 1959)
by Leo Marks
*Why did critics and the public hate it so? I think because it didn't allow the audience to lurk anonymously in the dark, but implicated us in the voyeurism of the title character.
**Powell was the well regarded director of The Red Shoes (1948), Tales of Hoffman (1951), etc. He was the husband of Thelma Schoonmaker, Martin Scorsese's editor.
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