- 5 days ago
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Short filmTranscript
00:00:00The End
00:00:30Okay, bye.
00:00:37Bye.
00:00:43Hello.
00:02:00The center of the plot, i.e. when the main characters come together, basically it's about human chemistry.
00:02:12Well, Martin, Deadly Silence was the most successful novel that was...
00:02:16When I get inspired, the writing tempo inevitably accelerates.
00:02:29In fact, I know normally writers take about nine months, some two, three years.
00:02:34Tell me, why particularly a story about diplomats?
00:02:38Because when I was, oh, about 19, I used to travel a lot to...
00:02:42You're a Rolls Royce driver.
00:02:51No, other people drinking champagne and driving Rolls Royces.
00:02:56You seem to have an obsession with lifestyle.
00:02:58No, no, no, I don't have an obsession.
00:03:00I simply feel that it's part of my job to write...
00:03:03The catharsis of human endeavor that you concentrate on so basically in your writing.
00:03:10Yeah.
00:03:10It's obviously a favorite theme of yours, isn't it?
00:03:11Yes.
00:03:12Perfect evening.
00:03:33The center of the...
00:03:54The center of the...
00:04:02That...
00:04:12You're right.
00:04:18Well, I started...
00:04:21We don't usually are tellers, you know.
00:04:25Oh, no, no, no, I tell a lie.
00:04:26We had them...
00:04:28Six months.
00:04:30Six months, I thought it took you three.
00:04:32Five weeks, you know, Commander and Mrs. Burstall,
00:04:35where no one can get at them out of harm's way.
00:04:39Oh, it's so chesty, the Commander.
00:04:43So chesty.
00:04:46Now, what shall I do about lunch?
00:04:50I could do a nice steak and kidney.
00:04:53No, I haven't decided yet.
00:04:55I don't know anything.
00:04:57Well, when will you know?
00:04:59Later.
00:05:09About 19, I used to travel a lot to southern France
00:05:12and to Rome, you know, and Paris also.
00:05:15And I actually got to know a lot of people
00:05:18and it always interested me very much.
00:05:21The champagne light.
00:05:34It's a session with lifestyle.
00:05:49No, no, no, I don't have a...
00:05:51More coffee, please.
00:05:56The catharsis of human endeavor that you concentrate on so basically in your writing.
00:06:12Yeah.
00:06:13It's obviously a favorite theme of yours, isn't it?
00:06:14Yes.
00:06:15The piano is coming.
00:06:16I don't know.
00:06:17I can't do it, but I would say.
00:06:19I can't do it.
00:06:20It's like it's just a whole new style of ritual.
00:06:22I can't do it.
00:06:23Now, we have some.
00:06:24Right?
00:06:25Let's go.
00:06:26You're welcome.
00:06:27Let's go.
00:06:28After I get your first speech.
00:06:29Let's go.
00:06:30Oh, that's better.
00:06:31Oh, that's better.
00:06:32I can't do it.
00:06:33I can do it.
00:06:34I can do it.
00:06:35Oh, my God.
00:06:36You're welcome.
00:06:37You're welcome.
00:06:38I'm sorry.
00:06:39You're welcome.
00:06:40Paul, darling, where are you?
00:07:03How are you, darling?
00:07:05How are you?
00:07:08Are you all right?
00:07:09Yes, why not?
00:07:10I was worried.
00:07:11Worried?
00:07:12Yes.
00:07:13Well, don't be.
00:07:24Oh!
00:07:25It's only...
00:07:26Bye-bye.
00:07:27Bye-bye.
00:07:31Bye-bye.
00:07:32Bye-bye.
00:07:37Bye-bye.
00:07:42Bye.
00:07:43Good morning, Vox International. Can I help you?
00:08:05Leo Schuman, please.
00:08:08Hello?
00:08:10Paul Martin, Leo.
00:08:12Paul, thank goodness you rang.
00:08:14How's it you?
00:08:16Yeah.
00:08:18Do your best for me, darling, will you?
00:08:20All right.
00:08:22I've brought a few people out from New York,
00:08:24and I want them to read it.
00:08:26Come on.
00:08:28Leo, where is the typist?
00:08:32I feel if I can dictate.
00:08:34Pace up and down.
00:08:36Look, I'll call you right there.
00:08:38I'll put a rocket up that bloody agency.
00:08:40Thanks, Leo.
00:08:48To harass.
00:08:50To worry.
00:08:52To importune.
00:08:56Rot.
00:08:58Die.
00:09:02Oh, no.
00:09:04No, no, no.
00:09:05I tell a lie.
00:09:06We had them...
00:09:08Five weeks, you know, Commander and Mrs. Percival,
00:09:10where no one can get at them out of harm's way.
00:09:14Oh, it's so just...
00:09:16Five weeks, you know, Commander and Mrs. Percival,
00:09:18where no one can get at them out of harm's way.
00:09:20Oh, it's so just...
00:09:22Oh, it's so just...
00:09:32Ow!
00:09:34I've got it.
00:09:35You know, Commander and Mrs. Percival,
00:09:36and the beat...
00:09:37You know, Commander and Mrs. Percival,
00:09:38where no one can get at them out of harm's way.
00:09:40Oh, it's so just...
00:09:42Oh, no!
00:10:10Well, when will you know?
00:10:12Later.
00:10:21Oh, Leo here. Look, the agency got the thing. She's on her way down here now.
00:10:25Who?
00:10:30Fine.
00:10:34Thanks, Leo.
00:10:42Let's go.
00:11:12Let's go.
00:11:42Let's go.
00:11:47How about jumping on the back of my jackie? How about that, eh?
00:11:51Mr. Martin?
00:11:59Mr. Martin?
00:12:00We have a lot of hard work to get through.
00:12:14Fine.
00:12:15Haven't I met you before?
00:12:16No.
00:12:17No, for a moment I thought you looked familiar.
00:12:33General freelance work. I once used to work for a cookery expert for a time.
00:12:37A cookery expert?
00:12:38Yes. She ran a weekly column in Home Lover magazine.
00:12:42All about cannellouni and carved brains, things like that.
00:12:46Caves brains?
00:12:47Yes, that sort of thing. Dishes.
00:12:50Really? But you've never worked on a novel before.
00:12:53No, I haven't.
00:12:55But you're quite used to a strict routine, of course.
00:12:58Of course.
00:13:12The one day.
00:13:13We're going to die.
00:13:14Yeah, well, she loves me, doesn't she?
00:13:15She loves me, doesn't she?
00:13:27Oh, God!
00:13:31Come on!
00:13:43You always fight that dirty.
00:13:47Paul, darling, where are you?
00:13:53Someone who does.
00:13:56Does what?
00:13:57Does. Tidies up for you. Cooks.
00:14:01Oh, yes, yes. There's one of those.
00:14:04Why all these questions?
00:14:06Sorry.
00:14:07But I will give you my routine, so you know.
00:14:12It never alters while I'm writing.
00:14:15I get up at eight.
00:14:18My first cup of coffee I always have in the dining room.
00:14:21The blue, darling.
00:14:22The second cup of coffee?
00:14:24Yes.
00:14:25Well, don't be.
00:14:26Rest of the morning.
00:14:28Lunch I like to keep simple.
00:14:30Then we work through until six.
00:14:32It's a period of intense concentration for me.
00:14:35Intense concentration.
00:14:37You see?
00:14:38If you say so.
00:14:41Suzanne?
00:14:42A small point.
00:14:43I'd be grateful if you'd keep...
00:15:05Of course I can get you any money.
00:15:07I'd be appreciate you.
00:15:12You spawn your estonition.
00:15:14A small point.
00:15:16오늘도 racing.
00:15:18Oh, my God.
00:15:48Your bedroom is upstairs, at the end of the corridor.
00:16:18Good morning, Books International. Can I help you?
00:16:23Leo Schumann, please.
00:16:30How far is this place from anywhere?
00:16:32Far enough.
00:16:36They turned in at the end of the drive, comma.
00:16:38Yes, I know.
00:16:44Point. It was lustful, point.
00:16:48Wet, and...
00:16:50Semicolon.
00:16:55Possessive, but with calm.
00:16:59Quotes.
00:16:59Leo, where is the typist?
00:17:04I feel if I can dictate. Pace up and down.
00:17:11I'll call you a point. End paragraph.
00:17:15Good.
00:17:17Do you mind if I unpack?
00:17:19What?
00:17:20I said I'd make some coffee.
00:17:22To harass, to worry, to importune, to pursue, to persecute.
00:17:44Rot.
00:18:04Die.
00:18:08Let's go.
00:18:38Let's go.
00:19:08Let's go.
00:19:38Let's go.
00:20:08Let's go.
00:20:38Let's go.
00:21:09This will be my second book.
00:21:17The more successful you get, the more they want the next one.
00:21:22The more they're prepared to pay, and the longer it takes you to write.
00:21:28The more impatient this whole lot of idiots are come.
00:21:33But you've only written two books.
00:21:35It's still the same.
00:21:44Are you quite sure we haven't met before?
00:21:47Quite sure.
00:21:48Well, that's the second time you've asked me that.
00:21:50Does that upset you?
00:21:58No, not in the slightest.
00:22:01Not in the slightest.
00:22:03Yours?
00:22:08The first.
00:22:12Half a million dollars.
00:22:15Right.
00:22:15Right.
00:22:16Who's the inscription to?
00:22:17A friend.
00:22:20He's a woman.
00:22:24He's a man.
00:22:26He's a man.
00:22:27He'll be right.
00:22:27He'll be right.
00:22:28He'll be right.
00:22:29Oh, my God.
00:22:59Oh, my God.
00:23:01Oh, my God.
00:23:17Come back.
00:23:29Let's go.
00:23:57People about.
00:23:58I don't trust them, but we have a lot of hard work to get through.
00:24:01Fine.
00:24:03Haven't I met you before?
00:24:04No.
00:24:28No, for a moment I thought you looked familiar.
00:24:35General Freelance Worker.
00:24:37I once used to work for a...
00:24:38All these people coming and going.
00:24:39I really don't know what Commander and Mrs. Percival would say.
00:24:41I've never seen so many strange faces in all my life.
00:24:48Oh, the front of glasses and the corner cupboard.
00:24:49And I keep the small mats in the kitchen.
00:24:51And the carvers.
00:24:52Yes.
00:24:53Doesn't look very nice to me.
00:24:54But there you are.
00:24:55Well, is there anything else in the carvers?
00:24:56Yes.
00:24:57No.
00:24:58No.
00:24:59No.
00:25:00No.
00:25:01No.
00:25:02But you're quite used to a strict routine, of course.
00:25:03No.
00:25:04No.
00:25:05No.
00:25:06But you're quite used to a strict routine, of course.
00:25:07Of course.
00:25:08Yes.
00:25:09That's exactly what I'm saying.
00:25:10Yes.
00:25:11That's exactly what I'm saying.
00:25:12Yes.
00:25:13Yes.
00:25:14That's exactly what I'm saying.
00:25:15Yes.
00:25:16Yes.
00:25:17Yes.
00:25:18And I keep the small mats in the kitchen.
00:25:20And the carvers.
00:25:21It doesn't look very nice to me.
00:25:23But there you are.
00:25:24Is there anything else?
00:25:25No.
00:25:26But you're quite used to a strict routine, of course.
00:25:31Of course.
00:25:33Yes.
00:25:36Yes.
00:25:37That's exactly what I mean.
00:25:39I see.
00:25:40And I'm supposed to keep an eye on the house.
00:25:42I look after things for the commander.
00:25:45Yes.
00:25:46I know that.
00:25:47You don't like it at all.
00:25:52The advert in the Times was very, very exact.
00:25:55My job is to run the house.
00:25:57There she is.
00:25:58Your bird.
00:25:59Yeah.
00:26:00Let's go and see how potty is.
00:26:02Fight me one day.
00:26:03Yeah, well, she loves me, doesn't she?
00:26:05Me, don't she?
00:26:24Perhaps this is the first time in a long while that I really feel content.
00:26:29I actually feel happy this evening.
00:26:36Good.
00:26:37I'm glad.
00:26:38I don't know.
00:26:39Perhaps it's the weather.
00:26:41That the book may be in line for the Pulitzer Prize.
00:26:46We did well today.
00:26:50It is what I call the immaculate pattern of life.
00:26:57What's that?
00:26:58Well, I suppose it's well described by referring to it as the Tranquil.
00:27:05The Tranquil.
00:27:09Well executed.
00:27:10No snags.
00:27:12Nothing.
00:27:13Nothing unexpected to what you are.
00:27:16A bit boring, though.
00:27:19Boring.
00:27:20The exactness of-
00:27:21Your own deal?
00:27:22At the house?
00:27:23Whenever I-
00:27:24We are really getting to know each other well.
00:27:26You make me feel relaxed.
00:27:27Someone who does.
00:27:28Does what?
00:27:29Does.
00:27:30Tidies up for you.
00:27:31Cooks.
00:27:32Probably you saw a lot of the countryside on your walks this morning.
00:27:36Why all these questions?
00:27:37But I will give you my routine.
00:27:38So you know.
00:27:39I get up at eight.
00:27:43My first cup of coffee.
00:27:44I always have a-
00:27:45I always have a-
00:27:46Always having to escape.
00:27:50Get away from people.
00:27:52People.
00:27:53I take in the study.
00:27:54I would like you to bring it.
00:27:55I have a drink.
00:27:56Not-
00:27:57No.
00:27:58No.
00:27:59No.
00:28:00No.
00:28:01No.
00:28:02No.
00:28:03No.
00:28:04No.
00:28:05No.
00:28:06No.
00:28:07No.
00:28:08No.
00:28:09No.
00:28:10No.
00:28:11No.
00:28:12No.
00:28:13No.
00:28:14No.
00:28:15I tell a lie. I actually started it in Paris.
00:28:20Then rest of the morning. Lunch I like to keep simple.
00:28:24Then we work through until six.
00:28:26It is then when I have my first drink.
00:28:29Always for it is.
00:28:31It's the price you pay for being remarkably good at your job.
00:28:36Dinner, always light.
00:28:45Drink Burgundy, not Paris.
00:28:48After dinner, relax.
00:28:52It's quite a simple routine.
00:28:54That's why I'm here.
00:29:00Straw Hill.
00:29:03The house on Straw Hill.
00:29:07Straw books.
00:29:09The house on Straw Hill.
00:29:11Straw books.
00:29:14The house on Straw Hill.
00:29:17Straw books.
00:29:20The house on Straw Hill.
00:29:22Straw books.
00:29:26Made by Straw Bricks.
00:29:30By Straw Men.
00:29:45Oh.
00:29:46Sorry.
00:29:49Sorry.
00:29:50What?
00:30:06What?
00:30:08What?
00:30:09What?
00:30:11What?
00:30:14How?
00:30:16Let's go.
00:30:46Let's go.
00:31:16Your bedroom is upstairs.
00:31:29At the end.
00:31:30Let's go.
00:31:35Let's go.
00:31:40Let's go.
00:31:41Let's go.
00:31:45Let's go.
00:31:46Let's go.
00:31:50Let's go.
00:31:51Let's go.
00:31:55Let's go.
00:31:56Let's go.
00:32:00Let's go.
00:32:01Let's go.
00:32:03Let's go.
00:32:04Let's go.
00:32:05Let's go.
00:32:06Let's go.
00:32:07Let's go.
00:32:08Let's go.
00:32:09Let's go.
00:32:10Let's go.
00:32:11Let's go.
00:32:13Let's go.
00:32:14Let's go.
00:32:15Let's go.
00:32:16Let's go.
00:32:17Let's go.
00:32:18Let's go.
00:32:19Let's go.
00:32:20Let's go.
00:32:21Let's go.
00:32:22Let's go.
00:32:23Let's go.
00:32:26They turned in at the end of the drive, comma.
00:32:45Neither tender nor affectionate.
00:32:48It was lustful point. Wet and...
00:33:11Semi-colon. Possessive?
00:33:14What?
00:33:15The key?
00:33:16Yes. It's gone.
00:33:20And there's only one person that could have taken it.
00:33:23Who?
00:33:24You.
00:33:26Why should I take the key to your bedroom door? Why should I?
00:33:29Anyhow, we have a deadline, remember?
00:33:36Where's Mrs. Aston?
00:33:38Oh, she's about someone.
00:33:41It's forming on the windscreen and the russed sky.
00:33:45Point.
00:33:46An ironical setting after all there had been.
00:33:50Point. End paragraph.
00:33:54Once. Not now.
00:33:57Divorced?
00:33:59No.
00:34:00Do you mind if I unpack?
00:34:01What?
00:34:03Surprising.
00:34:04Surprising?
00:34:06Well, for a moment I thought...
00:34:07Well, I do.
00:34:24Perhaps later, when we're finished.
00:34:26Page after page.
00:34:33Who needs sympathy and understanding?
00:34:47Suzanne?
00:34:49It's me.
00:34:52Would you like to come down to the country?
00:34:54Yes.
00:34:57It's been quiet here without you.
00:35:24Who needs help?
00:35:25The deadbolt.
00:35:26He?
00:35:28Why don't you use their car?
00:35:30It's much better for his secretary.
00:35:54Oh, my God.
00:36:24Oh, my God.
00:36:54Oh, my God.
00:36:56Yes?
00:36:58I think.
00:37:00That's what I thought.
00:37:02And you'll be returning Wednesday week.
00:37:04Oh, my God.
00:37:06Oh, my God.
00:37:08Oh, my God.
00:37:10Oh, my God.
00:37:18Oh, my God.
00:37:22Oh, my God.
00:37:26You look very good.
00:37:56You look very, very good indeed.
00:38:26You look very good.
00:38:56Linda!
00:38:58Linda!
00:39:03Paul?
00:39:08I don't understand.
00:39:13Perhaps she fancies you.
00:39:17Linda!
00:39:23I don't know.
00:39:31Linda!
00:39:35I don't know.
00:39:43Linda!
00:39:45I don't know.
00:39:46I don't know.
00:39:47I don't know.
00:39:49I don't know.
00:39:51I don't know.
00:40:01I don't know.
00:40:03I don't know.
00:40:04I don't know.
00:40:05I don't know.
00:40:06I don't know.
00:40:07I don't know.
00:40:08I don't know.
00:40:09I don't know.
00:40:10I don't know.
00:40:11I don't know.
00:40:15Then, Angus's tongue darting here, a rousing bear.
00:40:40Where? Suzanne? Suzanne?
00:40:47The Stradivarius, or...
00:40:54Suzanne?
00:41:02Point.
00:41:10Rest. Urgently moving point.
00:41:26Yes, done for the minute.
00:41:56You sure?
00:42:06Good evening.
00:42:26No!
00:42:33To a deadline?
00:42:35The more successful you get, the more they want the next one.
00:42:41The more they're...
00:42:47Hello. Hello. Police!
00:42:50My Sheep people who give her a kiss!
00:43:01Thanks!
00:43:03I'm not sure what we're funding.
00:43:10Are you sure we haven't answered the question yet?
00:43:14Are you quite sure we haven't met before quite sure
00:43:33You are a very attractive girl
00:43:35Not in the slightest not in the slightest scream your imagination
00:43:48What do you think you're doing?
00:43:53Yes, do it. I'm sorry, but the door to your room was open. I didn't mean you didn't mean
00:44:01The door of your roast
00:44:03Half a million dollars, right?
00:44:07Who's the inscription to say what you want it serves a purpose
00:44:12Believe what you like if you will go poke
00:44:17Oh
00:44:19Come on
00:44:21Calm down tell me what the matter is and I can tell you what you want to know
00:44:27I'll recognize you at the station when you first met me
00:44:35Where's Suzanne?
00:44:37Asleep
00:44:38And then let's finish
00:44:42Not now
00:44:43You've only got a few pages to go
00:44:45I can't
00:44:47Yes, you can
00:44:49Page 435
00:44:52All right
00:44:54The heat of their bodies
00:45:02Warp of their bodies
00:45:03Has the plane sunk from an orange sky
00:45:11As
00:45:11No
00:45:15Standing
00:45:16Nothing
00:45:17No
00:45:17Waving goodbye
00:45:18Try something different
00:45:20It won't work
00:45:20All right
00:45:21Turn
00:45:23Was there before you?
00:45:24Even waiting
00:45:25On the roughly
00:45:26Out
00:45:26The
00:45:27�ction
00:45:27the
00:45:28On the
00:45:29In fact
00:45:30The
00:45:30Sa
00:45:33All right
00:45:33Staff
00:45:35The
00:45:37Sniff
00:45:38At
00:45:38The
00:45:39Flim
00:45:39What
00:45:40we
00:45:40had
00:45:41The
00:45:42We
00:45:44Let's
00:45:45The
00:45:45Find
00:45:46For
00:45:46To
00:45:47To
00:45:48for
00:45:49The
00:45:49I'm going to kill you, Mr. Martin.
00:46:07Kill you.
00:46:09Why?
00:46:10Because you're a...
00:46:14Full point.
00:46:16The end.
00:46:18Get it?
00:46:19Get it?
00:46:20Get it?
00:46:21Get it?
00:46:22Get it?
00:46:27Remember?
00:46:29Yes.
00:46:32I think you do.
00:46:36The first novel.
00:46:37Don't!
00:46:39Don't!
00:46:43Don't!
00:46:47Don't!
00:46:49Don't!
00:46:51Don't!
00:46:56Don't!
00:46:58Don't!
00:47:01Don't!
00:47:03Don't!
00:47:07Oh!
00:47:34Oh, Mr. Sherlock.
00:47:36I don't want anyone to get into a panic while I'm over here.
00:48:06I don't want anyone to get into a panic while I'm over here.
00:48:36I don't want anyone to get into a panic while I'm over here.
00:49:06I don't want anyone to get into a panic while I'm over here.
00:49:36I don't want anyone to get into a panic while I'm over here.
00:49:46I don't want anyone to get into a panic while I'm over here.
00:49:48I don't want anyone to get into a panic while I'm over here.
00:49:50I don't want anyone to get into a panic while I'm over here.
00:49:52Don't try anything else or I'll blow your brains out.
00:49:56Just put your hands on your head.
00:50:00That's right.
00:50:02You made...
00:50:03Oh.
00:50:04You found the glasses in the corner cupboard.
00:50:09You stole it from him, saying you'd sell it for him.
00:50:13You even had the nerves in the kitchen.
00:50:17And the carvers.
00:50:20Doesn't look very nice to me, but there you are.
00:50:26I want your guts.
00:50:31No.
00:50:32No.
00:50:33I beg you.
00:50:34I will explain.
00:50:35Please.
00:50:36Don't shoot.
00:50:37Please.
00:50:38I beg you.
00:50:39I beg you.
00:50:40I beg you.
00:50:41I beg you.
00:50:42I beg you.
00:50:43I beg you.
00:50:44I beg you.
00:50:45I beg you.
00:50:46There's so much work to be done in the book.
00:50:47I think it might as well to keep interruptions to a minimum.
00:50:49Oh no.
00:50:50You...
00:50:51You mean you don't want me around?
00:50:52Yes.
00:50:53That's exactly what I mean.
00:50:54I see.
00:50:55And I'm supposed to keep an eye on the house.
00:50:57I look after things for the commander.
00:50:59You want me around?
00:51:00Yes.
00:51:01That's exactly what I mean.
00:51:02I see.
00:51:03And I'm supposed to keep an eye on the house.
00:51:06I look after things for the commander.
00:51:14You want me around?
00:51:16No.
00:51:17Well, I must say this.
00:51:18I'm very unhappy about it.
00:51:19The commander wouldn't...
00:51:20The house and see that everything is under control.
00:51:30Now, all this is very upsetting.
00:51:32I'm very unhappy about it.
00:51:34Very unhappy indeed.
00:51:50Good.
00:51:51I'm happy.
00:51:52Good.
00:51:53I'm happy.
00:51:54For our good work today.
00:51:56That the book may be in line for the Pulitzer Prize.
00:51:59We did well today.
00:52:00You must be pleased too, surely.
00:52:01Of course.
00:52:02Well.
00:52:03Well.
00:52:04I suppose it's well described by referring to it as the tranquil sequence.
00:52:16Carefully planned, well organized, well executed.
00:52:19No snags.
00:52:20Nothing.
00:52:21Nothing unexpected.
00:52:22I'm sorry.
00:52:23I'm sorry.
00:52:24I'm sorry.
00:52:25I'm sorry.
00:52:26I'm sorry.
00:52:27I'm sorry.
00:52:28I'm sorry.
00:52:29I'm sorry.
00:52:30I'm sorry.
00:52:31I'm sorry.
00:52:32Nothing.
00:52:33Nothing unexpected to put you off.
00:52:36It'd be boring though.
00:52:38Boring.
00:52:39Exactness in life is the whole point of our being.
00:52:43You make me feel relaxed.
00:52:46This is very reassuring for me.
00:52:50Tell me.
00:52:53Probably you saw a lot of the countryside.
00:52:55Wasn't it beautiful?
00:53:02처� Hier
00:53:22but I killed twos.
00:53:23He died of death.
00:53:28He died of death.
00:53:30I tell a lie. I moved it to New York, then London, now here.
00:53:40I've rented this place just to get away from prying people.
00:53:48There it is. It's the price you pay.
00:53:51It's the price you pay.
00:53:59Sometimes I feel that the home is trying to get me.
00:54:05They're always after me, tracking me down.
00:54:22You have to keep your eyes open.
00:54:25They could be anywhere.
00:54:33That's why I'm here.
00:54:36Straw...
00:54:39...made by...
00:54:41...by straw men.
00:54:52Oh.
00:54:57Sorry.
00:55:21No!
00:55:27No!
00:55:31No!
00:55:34No!
00:55:51No!
00:55:55No!
00:55:57No!
00:55:59No!
00:56:01No!
00:56:03No!
00:56:05No!
00:56:11No!
00:56:13No!
00:56:16No, no!
00:58:17The key?
00:58:18Yes.
00:58:20It's gone.
00:58:22And there's only one person that could have taken it.
00:58:25Who?
00:58:26You.
00:58:28Why should I take the key to your bedroom door?
00:58:30Why should I?
00:58:32Anyhow, we have a deadline, remember?
00:58:38Where's Mrs. Aston?
00:58:40Oh, she's about someone.
00:58:41Why should I take the key to your door?
00:58:42Oh, I'm sorry.
00:58:44Why should I take the key to your door?
00:58:47Of course.
00:58:48Don't we all?
00:58:49You'd be surprised.
00:58:52Do you have a boyfriend?
00:58:54Not currently.
00:58:56Married?
00:58:58Divorced?
00:58:59No.
00:59:00He was killed.
00:59:03Do you like girls?
00:59:05No.
00:59:07Surprising.
00:59:08Surprising?
00:59:09Well, for a moment, I thought...
00:59:11Well, I didn't.
00:59:12Perhaps later, when we're finished.
00:59:34Finished?
00:59:35Finished what?
00:59:37Who's writing this book?
00:59:39You or me?
00:59:42Who has all the strain?
00:59:45Creating an understanding.
00:59:56Suzanne?
00:59:58It's me.
01:00:02Yes.
01:00:04It's been quiet here without you.
01:00:07All right.
01:00:09Yes.
01:00:0912.30 train.
01:00:1012.30 at the station.
01:00:14No.
01:00:16You're the secretary.
01:00:17You're the secretary.
01:00:36Stop making that noise, please.
01:00:38Where's the key?
01:00:39It's much better for his secretary.
01:00:41You're the secretary.
01:01:024.30.
01:01:045.30.
01:01:055.30.
01:01:056.30.
01:01:066.30.
01:01:076.30.
01:01:077.30.
01:01:077.30.
01:01:087.30.
01:01:097.30.
01:01:107.30.
01:01:10How do you do?
01:01:18How do you do?
01:01:40Sure. Tomorrow. Yes, Leo. Right there.
01:02:10Okay. Yes, I think.
01:02:17I'm going to be returning Wednesday week.
01:02:40You're rushing around like nobody's business.
01:02:47Do I? Am I?
01:02:50Quite a takeover.
01:02:52Takeover?
01:02:54Hmm.
01:02:56But Mrs. Watson, he doesn't like peppery food.
01:02:59Oh, really?
01:03:01Well, you mustn't forget I'm only the hard hand around here.
01:03:04The general dog's body, in fact.
01:03:06Um, I'll remember about the pepper.
01:03:11Really look good, you know?
01:03:13Good.
01:03:14Good.
01:03:15Oh, you look very good.
01:03:17Good.
01:03:18Indeed.
01:03:27You look good.
01:03:29Oh, really.
01:03:31Really good.
01:03:33Here I can.
01:03:34Ah.
01:03:55Oh, I can.
01:03:56Oh, I can.
01:03:57Oh, my God.
01:04:24Linda!
01:04:27I don't understand.
01:04:29Perhaps she fancies you.
01:04:33Linda!
01:04:35I don't understand.
01:04:37I don't understand.
01:04:39I don't understand.
01:04:41Perhaps she fancies you.
01:04:43Linda!
01:04:45Linda?
01:05:01Linda?
01:05:03Linda?
01:05:07Linda?
01:05:11Linda?
01:05:15Linda?
01:05:45Linda?
01:05:49Linda?
01:05:51Linda?
01:05:53Suzanne?
01:05:54Suzanne?
01:05:55Suzanne?
01:05:56Suzanne?
01:06:01Suzanne?
01:06:03Suzanne?
01:06:05Suzanne?
01:06:08Suzanne?
01:06:11Suzanne?
01:06:31Suzanne?
01:06:46Suzanne?
01:06:48Suzanne?
01:06:53Oh.
01:07:23Oh, my God.
01:07:53Oh.
01:08:05Hello. Hello.
01:08:07Police.
01:08:23Oh, my God.
01:08:53Oh, my God.
01:09:01What was that?
01:09:03What was that?
01:09:05What?
01:09:06That's cream.
01:09:07Your imagination.
01:09:09What do you think you're doing?
01:09:11Doing?
01:09:13Yes.
01:09:15The door to your room was open. I didn't mean...
01:09:17You didn't mean...
01:09:19The door of your room.
01:09:21And the knife?
01:09:23Oh, you found that, did you?
01:09:25I always carry it.
01:09:27Self-protection.
01:09:28Oh, come on.
01:09:29Say what you want.
01:09:31It serves a purpose.
01:09:33Believe what you like.
01:09:35If you will go...
01:09:36And the photograph?
01:09:37The photograph of me?
01:09:39Oh, come on, now.
01:09:41Poor Theresa.
01:09:43Then I can tell you what you want to know.
01:09:45The photograph of your agent, Leo.
01:09:47How did you think I was going to recognize you at the station when you first met me?
01:09:51Where's Suzanne?
01:09:53Asleep.
01:09:55Not to be disturbed.
01:09:57There's no one I can trust.
01:09:59Come on.
01:10:00Yes, you can.
01:10:01Page 435.
01:10:02All right?
01:10:03Come on.
01:10:04Busy.
01:10:05Sweaty.
01:10:06With the smell of a million people all going their different ways.
01:10:07Stop.
01:10:08The sweaty smell of many nations.
01:10:09The heat of their bodies.
01:10:10The warmth of their bodies.
01:10:12Sure.
01:10:13Orange.
01:10:14Their love.
01:10:15Their hate.
01:10:16Say goodbye.
01:10:17No.
01:10:18Standing.
01:10:19Nothing.
01:10:20No.
01:10:21Try.
01:10:22Won't work.
01:10:23Try.
01:10:24Try.
01:10:25Try.
01:10:26Try.
01:10:27Try.
01:10:28Try.
01:10:29You want.
01:10:30Try.
01:10:31You want.
01:10:32You want.
01:10:33You want.
01:10:34You want.
01:10:35You want.
01:10:36You want.
01:10:37You want.
01:10:38You want.
01:10:39Try.
01:10:40It won't work.
01:10:41Try!
01:10:42It won't work.
01:10:45No more.
01:10:46Forever.
01:10:47Finished.
01:10:48Abandoned.
01:10:49Complete.
01:10:52Done.
01:10:53Final.
01:10:55Last.
01:10:56Finished.
01:10:57Finished.
01:10:59I finished it for you.
01:11:09I'm going to kill you, Mr. Martin.
01:11:30Kill you.
01:11:32A fraud.
01:11:34F-R-A-U-D spells fraud.
01:11:38Full point.
01:11:41The end.
01:11:42Get it?
01:11:48Linda Hindstadt.
01:11:56Remember?
01:11:57Yes.
01:12:00I think you do.
01:12:04The first novel.
01:12:08Half a million dollars.
01:12:13Half a million dollars.
01:12:18Whoa.
01:12:19Ah!
01:12:24Whee vaak
01:12:28Ha!
01:12:30Ho!
01:12:34Ha!
01:12:36Ha!
01:12:39Shhh!
01:12:40No!
01:12:42Allah!
01:12:43All right, let's go.
01:12:45Come on, let's go.
01:13:09Everything's under control.
01:13:11Just keep on taking the tempo.
01:13:12Everything's under control. Just keep on taking the tablet, sugar, and keep that page of energy going, or it'll be a good one.
01:13:42Oh, my God.
01:14:12Oh, my God.
01:14:42Oh, my God.
01:15:12Hold it. Hold it. Hold it right there.
01:15:24Now, just do as... just put your hands on your head.
01:15:30Half a million dollars out of that book, and you never even wrote it. Not one word. Not written by my husband.
01:15:38You stole it from him, saying you'd sell it for him. You even had the nerve to dedicate it to him, remember? And then you got rid of him.
01:15:50You drove him to suicide while you stole his work. I've got the lot on you, Mr. Martin. The lot.
01:16:02I want my fun. I want your guts.
01:16:11Oh, Ed. Please. Don't shoot. Please.
01:16:15No. I'll take it.
01:16:17Ed!
01:16:18Ed!
01:16:18Ed!
01:16:19Ed!
01:16:19Ed!
01:16:20Ed!
01:16:20Oh, no. It can't be.
01:16:50Oh, no.
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