tony!
i want a word with you.
no thank you.
the label on this whisky bottle! are you sure it says seventy per cent proof?
they're bigger liars than the press!
i doubt it.
don't haggle.
done!
heads.
huh.
what are you looking at?
wondering if that young man is home?
well he is.  i heard him come in.  four paragraphs ago.
do you like him?
why?
wish this had.
with your photographs?
helen.
it doesn't matter.
the price of whisky.
what else matters?
haven't met him.
i distrust a man who walks quietly.
his footsteps aren't! they're stealthy.
are you going up to him?
we both have the key of the door.  mine needs oiling - and yours needs exercise.  off you go.
helen.
if you're back in five minutes.  i won't even finish this.
mark is in films, isn't he?
i wonder if he knew her?
is he taking you out?
that's very chivalrous of him. where's he taking you?
which studio does he work at?
if he's free.
i feel i know him.
he's here.
why don't we make him a present of the window? he practically lives there!
the back of my neck told me.  the part that i talk out of!
hallo, mark.
have you been running, young man?
tell me young man.  which studio do you work at?
and that poor girl.  where did she work?
we were wondering if you knew her?
a pity. i do like first-hand information.
oh, well - i mustn't keep you gossiping after you've run all the way from - where?
no.  go and be told about yours! goodbye, mark.  i expect we shall meet again.
if you're not back early, you'll find me laid out with it!
good night.
know much about films?
sorry, young man, helen's out.
with mark - from upstairs.
you can stay and talk to me - if you like?
know much about films?
or film studios?
where's chipperfield studios?
there's a phone book outside.  look up the number, will you? and see if you can get it.
granted.
good evening, mark.
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.
thank you.
 a talk.
i'm at home here.  i visit this room every night.
the blind always live in the rooms they live under.
every night you pace for hours above my head! why?
i'm told that you stare too much.  so do i.
cloth.  with something hard inside it.
how odd - that the light can spoil anything.
every night you switch on that film machine.
what are these films you can't wait to look at?
what is the film you're showing now?
why don't you lie to me? i'd never know.
take me to your cinema.
what am i seeing, mark?
why don't you answer?
what?
they always do.
i've yet to meet an artist who could judge his own work.
what do you think you've spoiled?
why are you putting those lights on my face?
mark.
what do you mean? it's for helen?
my daughter sees enough of my face without photographs.
not frightened! hot!
so put that camera away.
in rather a hurry, aren't you?
you're anxious to get rid of me all of a sudden.
i won't be selfish.  you can take some more pictures - if you want to.
why not, mark?
can't you find some - to please helen?
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, i might have kept my sight. i wouldn't have let a man operate i had no faith in.  so i'm listening to it now.  it says all this filming isn't healthy - and that you need help.
 get it, mark.  get it quickly.  and until you've got it.  i don't want you and helen to see each.
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 - which would be a pity, because we'd never find a cheaper.
good boy. the stairs are the difficult part.
far enough, mark.
yes .
mark.  what's troubling you?
you'll have to!