- 8 months 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...
00:04:02The center of the...
00:04:16The center of the...
00:04:18You're right.
00:04:18Well, I started...
00:04:21We don't usually have talents, you know.
00:04:24Oh, no, no, no, I tell a lie.
00:04:26We have the...
00:04:27...to me about six months.
00:04:30Six months?
00:04:31I thought it took you three, if you don't mind, eh?
00:04:33Five weeks, you know, Commander and Mrs. Burstall,
00:04:36where no one can get at them out of harm's way.
00:04:40Oh, it's so chesty, the Commander.
00:04:44So 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?
00:05:00Later.
00:05:01I was about 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.
00:05:27The champagne line.
00:05:28No, no, no, I don't have a...
00:05:42More coffee, please.
00:05:57The 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?
00:06:14Yeah, it's...
00:06:32What's happened?
00:06:32Oh, darling, where are you?
00:07:02How are you, darling? How are you? Are you all right?
00:07:08Yes, why not?
00:07:09I was worried.
00:07:10Worried?
00:07:11Yes.
00:07:12Well, don't be.
00:07:23Oh!
00:07:24It's only...
00:07:32I don't know.
00:07:53I don't have to.
00:07:59Good morning, Vox International. Can I help you?
00:08:04Leo Schumann, please.
00:08:10Hello?
00:08:11Paul Martin, Leo.
00:08:12Paul, thank goodness you rang. How's it?
00:08:16Yeah.
00:08:17Do your best for me, darling, will you?
00:08:19All right.
00:08:20Leo, where is the typist?
00:08:30I feel if I can dictate, pace up and down.
00:08:40Thanks, Leo.
00:08:48To harass.
00:08:50To worry.
00:08:52To importune.
00:08:56Rot.
00:08:57Die.
00:09:02Oh, no.
00:09:03Oh, no, no, no. Why tell a lie? We had the...
00:09:20Five weeks, you know, Commander and Mrs. Percival, where no one can get at them out of harm's way.
00:09:35Oh, it's so just...
00:09:36Oh!
00:09:37Oh!
00:09:38Oh!
00:09:40...
00:09:55gamblers.
00:09:58Oh!
00:09:59Well, when will you know?
00:10:03Later.
00:10:07Oh, me are here. Look, the agency got the thing.
00:10:11She's on her way down to you now.
00:10:13Who?
00:10:15The girl.
00:10:17The girl.
00:10:19The girl.
00:10:21The girl.
00:10:23The girl.
00:10:25Who?
00:10:29Fine.
00:10:33Thanks, Leo.
00:10:35Don't thank me, Jess. Complete the whooping number.
00:10:37If it's a good one, we're in line for a critic's pride.
00:10:39And don't you forget it.
00:10:55There we go.
00:10:57I don't know if it's a cheat.
00:10:59You're in line for me.
00:11:01I can't believe we're in trouble.
00:11:03I can't believe it.
00:11:05Let's see if we're in trouble.
00:11:07I'm in trouble.
00:11:09I'll get you down the cart, please.
00:11:11Let me take a nap.
00:11:13I'll get you in trouble.
00:11:15I'll get you in trouble.
00:11:17I'm in trouble.
00:11:19Oh, no, no.
00:11:21I'll get you in trouble.
00:11:23How about jumping on the back of my jackie, or how about that, eh?
00:11:53Mr. Martin?
00:12:11We have a lot of hard work to get through.
00:12:14Fine.
00:12:15Haven't I met you before?
00:12:16No.
00:12:23No, for a moment I thought you looked familiar.
00:12:33General freelance work.
00:12:35I once used to work for a cookery expert for a time.
00:12:37A cookery expert?
00:12:39Yes.
00:12:40She ran a weekly column in Home Lover magazine, all about cannellumni and calves brains, things
00:12:45like that.
00:12:46Calfs brains?
00:12:47Yes, that sort of thing.
00:12:49Dishes.
00:12:49Really?
00:12:51But 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.
00:12:59You'll see him one day.
00:13:16Yeah, well, she loves me, doesn't she?
00:13:17Oh, God!
00:13:43You always find that dirty.
00:13:47Poor darling, where are you?
00:13:53Someone who does.
00:13:55Does what?
00:13:57Does. Tidies up for you. Cooks.
00:14:00Oh, yes, yes. There's one of those.
00:14:03Why all these questions?
00:14:05Sorry.
00:14:09But 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.
00:14:18It's my first cup of coffee I always have in the dining room.
00:14:21The blue chart.
00:14:23The second cupboard.
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.
00:14:40Suzanne?
00:14:41What?
00:14:42A small point.
00:14:43I'd be grateful if you'd keep...
00:14:44If you'd keep...
00:14:45If you'd keep...
00:14:46If you'd keep...
00:14:48If you'd keep...
00:14:49Well, the next lens...
00:14:50You see?
00:14:52You see?
00:14:55First of all, you'll see.
00:14:57Love you.
00:14:59I'm sorry.
00:15:01The way you call it.
00:15:04I'd be on the floor.
00:15:05I've come back.
00:15:06I've got the house.
00:15:08I had these fears for you.
00:15:10Come back now.
00:15:12You can't see?
00:15:13Oh, my God.
00:15:43Your bedroom is upstairs, at the end of the corridor.
00:16:13Good morning, Vox International. Can I help you?
00:16:23Leo Schumann, please.
00:16:30How far is this place from anywhere?
00:16:32Far enough.
00:16:33They turned in at the end of the drive, comma.
00:16:41Yes, I know.
00:16:45It was lustful, point.
00:16:48Wet.
00:16:49And...
00:16:50Semicolon.
00:16:55Possessive, but with calm.
00:16:59Quotes.
00:17:01Leo, where is the typist?
00:17:04I feel if I can dictate.
00:17:06Pace up and down.
00:17:11Point.
00:17:13End paragraph.
00:17:13Good.
00:17:17Do you mind if I unpack?
00:17:19What?
00:17:20I said I'll make some coffee.
00:17:22To harass, to worry, to importune, to pursue, to persecute.
00:17:44Rot.
00:17:52Die.
00:18:02Die.
00:21:34I'm sorry.
00:21:40I promise you, Macy pode has written a живот to add up that book to his house has written
00:21:41two books.
00:21:42Are you quite sure we haven't met before?
00:21:46Quite sure.
00:21:48That's the second time you've asked me that.
00:21:56Does that upset you?
00:21:58No, not in the slightest.
00:22:00Not in the slightest.
00:22:08Yours?
00:22:10The first.
00:22:12Half a million dollars.
00:22:14Right.
00:22:15Who's the inscription to?
00:22:19A friend.
00:22:40This is Ted Cummings.
00:22:43This is Peteretz.
00:22:49Me.
00:22:51I have to die.
00:22:53I love Duke.
00:22:55My boo.
00:22:56I know.
00:22:58Van Havik.
00:23:03I'm back.
00:23:33I don't trust them, but we have a lot of hard work to get through.
00:24:01Fine.
00:24:02Haven't I met you before?
00:24:04No.
00:24:32For a moment, I thought you looked familiar.
00:24:39All these people coming and going.
00:24:41I really don't know what Commander and Mrs. Percival would say.
00:24:46I've never seen so many strange faces in all my life.
00:24:53Oh, the front of glasses and the corner cupboard.
00:25:00And I keep the small mats in the kitchen.
00:25:07And the carvers.
00:25:12Doesn't look very nice to me, but there you are.
00:25:15Is there anything else?
00:25:17No.
00:25:18But you're quite used to his strict routine, of course.
00:25:22Of course.
00:25:23Yes, that's exactly what I mean.
00:25:25I see.
00:25:26And I'm supposed to keep an eye on the house.
00:25:28I look after things for the Commander.
00:25:32Yes, I know that.
00:25:34You don't like it at all.
00:25:35The advert in the Times was very, very exact.
00:25:36My job is to run the house.
00:25:37There she is.
00:25:38Your bird.
00:25:39Yeah, let's go see how important he is.
00:25:40Why is he one day?
00:25:41Yeah, well, she loves me, doesn't she?
00:25:42Oh, I see.
00:25:43Well, I see.
00:25:44I'm supposed to keep an eye on the house.
00:25:45I look after things for the Commander.
00:25:46Yes, I know that.
00:25:47You don't like it at all.
00:25:51The advert in the Times was very, very exact.
00:25:54My job is to run the house.
00:25:56There she is.
00:25:57Your bird.
00:25:58Yeah, let's go see how important he is.
00:26:00Why is he one day?
00:26:01Yeah, well, she loves me, doesn't she?
00:26:06Maybe this is the first time in a long while that I really feel content.
00:26:28I 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.
00:26:47We did well today.
00:26:51It 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.
00:27:09Well executed.
00:27:10No snags.
00:27:11Nothing.
00:27:12Nothing unexpected to what you are.
00:27:15A bit boring, though.
00:27:17Boring?
00:27:18The exactness of-
00:27:19Your own deal?
00:27:20At the house?
00:27:21Whenever I-
00:27:22We are really getting to know each other well.
00:27:26You make me feel relaxed.
00:27:28Someone who does?
00:27:30Does what?
00:27:31Does.
00:27:32Tidies up for you.
00:27:33Cooks.
00:27:34Probably you saw a lot of the countryside on your walks this morning.
00:27:40Why all these questions?
00:27:44I don't.
00:27:45But I will give you my routine, so you know.
00:28:00I get up at eight.
00:28:03I mix up with coffee.
00:28:05Always having to escape.
00:28:08Get away from people.
00:28:11If I take in the study, I would like you to bring it.
00:28:15I tell a lie.
00:28:17I actually started it in Paris.
00:28:20Then rest of the morning.
00:28:22Lunch I like to keep simple.
00:28:24Then we work through until six.
00:28:26It is then when I have my first drink.
00:28:28Always.
00:28:29It is.
00:28:30It's the price you pay for being remarkably good at your job.
00:28:36Dinner.
00:28:37Always light.
00:28:38Some-
00:28:39Drink burgundy.
00:28:40Not parrot.
00:28:41After dinner.
00:28:42Now relax.
00:28:43It's quite a simple routine.
00:28:44With.
00:28:45With.
00:28:46With.
00:28:47With.
00:28:48With.
00:28:50With.
00:28:51With.
00:28:52With.
00:28:53With.
00:28:54With.
00:29:14That's why I'm here.
00:29:16Mr Yan.
00:29:18Straw Hill.
00:29:19The house on straw Hill.
00:29:23Straw books.
00:29:26Made by straw mix.
00:29:29by straw men.
00:29:35I'm sorry.
00:30:05I'm sorry.
00:30:35I'm sorry.
00:31:05I'm sorry.
00:31:35I'm sorry.
00:32:05I'm sorry.
00:32:35I'm sorry.
00:33:05I'm sorry.
00:33:36Where's Mrs. Aston?
00:33:38Oh, she's about someone.
00:33:41It's forming on the windscreen and the russied sky.
00:33:45Point.
00:33:46An ironical setting after all there had been.
00:33:50Point.
00:33:51End paragraph.
00:33:52Here's a paragraph.
00:33:53Once.
00:33:55Not 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...
00:34:08Well, I do.
00:34:08Well, I do.
00:34:08Perhaps later, when we're finished.
00:34:25Page after page.
00:34:34Page after page.
00:34:36Who needs sympathy and understanding?
00:34:36Mary.
00:34:41I do.
00:34:47Suzanne?
00:34:47It's me.
00:34:49Would you like to come down to the country?
00:34:53Yes.
00:34:56It's been quiet here without you.
00:35:26He.
00:35:28Why don't you use their car?
00:35:30It's much better for his secretary.
00:35:56It's much better for you.
00:36:26Let's go.
00:36:56Let's go.
00:37:26Let's go.
00:37:56You look very, very good indeed.
00:38:01Let's go.
00:38:31Let's go.
00:39:01Let's go.
00:39:08Paul?
00:39:09I don't understand.
00:39:13Perhaps she fancies you.
00:39:21Linda.
00:39:23I don't know.
00:39:33I don't know.
00:39:43I don't know.
00:39:45I don't know.
00:39:46I don't know.
00:39:55I don't know.
00:39:56I don't know.
00:40:05I don't know.
00:40:06I don't know.
00:40:15I don't know.
00:40:16I don't know.
00:40:25I don't know.
00:40:26I don't know.
00:40:27I don't know.
00:40:35I don't know.
00:40:36I don't know.
00:40:37I don't know.
00:40:45I don't know.
00:40:46I don't know.
00:40:47I don't know.
00:40:48I don't know.
00:40:49I don't know.
00:40:50I don't know.
00:40:51I don't know.
00:40:52I don't know.
00:40:53I don't know.
00:40:54I don't know.
00:40:55I don't know.
00:40:56I don't care.
00:40:58I don't know.
00:40:59I don't know.
00:41:00I don't know.
00:41:01I don't care.
00:41:03Point.
00:41:04Rest, urgently moving point.
00:41:34Come on.
00:41:50Yes, done for the minute.
00:42:04Are you sure?
00:42:07Good evening.
00:42:09Come on.
00:42:32To a deadline?
00:42:35The more successful you get, the more they want the next one.
00:42:40The more they're...
00:42:46Hello. Hello. Police.
00:43:05Are you quite sure we haven't met before? Quite sure.
00:43:20You are a very attractive girl.
00:43:41Not in the slightest. Not in the slightest.
00:43:44Scream! Your imagination.
00:43:46What do you think you're doing?
00:43:49Doing?
00:43:52Yes! Doing!
00:43:54I'm sorry, but the door to your room was open. I didn't mean...
00:43:58You didn't mean...
00:44:01The door of your room is...
00:44:03Half a million dollars.
00:44:05Right.
00:44:06Who's the inscription to?
00:44:08Say what you want. It serves a purpose.
00:44:11Believe what you like. If you will go...
00:44:14Oh, come on now, Paul.
00:44:20Calm down.
00:44:22Tell me what the matter is.
00:44:24Then I can tell you what you want to know.
00:44:32...recognize you at the station when you first met me.
00:44:35Where's Suzanne?
00:44:37Asleep.
00:44:41And 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?
00:44:53All right?
00:45:00The heat of their bodies.
00:45:02The warmth of their bodies.
00:45:08Has the plane sunk from an orange sky?
00:45:10As...
00:45:14No. Standing. Nothing.
00:45:16No. Waving goodbye.
00:45:18Try something different. It won't work.
00:45:28Done.
00:45:29Final.
00:45:30Last.
00:45:31Finished.
00:45:46No.
00:46:04I'm going to kill you, Mr. Martin.
00:46:07Kill you.
00:46:08Why?
00:46:10Because you're a...
00:46:14Full point.
00:46:16The end.
00:46:17Get it?
00:46:28Remember?
00:46:30Yes.
00:46:32I think you do.
00:46:33The first novel.
00:46:53No!
00:47:03No!
00:47:04Oh, my God!
00:47:34Oh, I don't want anyone to get into a panic while I'm away.
00:48:04Oh, I don't want anyone to get into a panic while I'm away.
00:48:34Oh, I don't want anyone to get into a panic.
00:49:04Oh, I don't want anyone to get into a panic.
00:49:34Oh, I don't want anyone to get into a panic.
00:49:36Oh, I don't want anyone to get into a panic.
00:49:41Oh, I don't want anyone to get into a panic.
00:49:48Oh, these people coming and going, I really don't...
00:49:50I say.
00:49:51Don't try anything else or I'll blow your brains out.
00:49:57Just put your hands on your head.
00:49:59That's right.
00:50:01You may...
00:50:03Oh.
00:50:04You'll find 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.
00:50:18Doesn't look very nice to me, but there you are.
00:50:29I want your guts.
00:50:31No.
00:50:32No.
00:50:33No.
00:50:34I beg you.
00:50:35I will explain.
00:50:36Please.
00:50:37Don't shoot.
00:50:38Please.
00:50:39No.
00:50:40I beg you.
00:50:41Please.
00:50:42There's so much work to be done in the book.
00:50:43I think it might be as well to keep interruptions to a minimum.
00:50:57You mean you don't want me around?
00:50:59Yes.
00:51:00That'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.
00:51:12You don't 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...
00:51:28...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.
00:51:42Good.
00:51:43I'm happy.
00:51:44Good.
00:51:45I'm glad.
00:51:46For our good work today.
00:51:47That the book may be in line for the Pulitzer.
00:51:49The Pulitzer Prize.
00:51:50We did well today.
00:51:51You must be pleased too, surely.
00:51:52Of course.
00:51:53Of course.
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.
00:52:02Of course.
00:52:03Well, I suppose it's well described by referring to it as the tranquil sequence.
00:52:10Carefully planned, well organized, well executed.
00:52:12No snags.
00:52:13Nothing.
00:52:14Nothing unexpected to put you up.
00:52:15A bit boring though.
00:52:16Boring.
00:52:17Exactly.
00:52:18Exactness in life is the whole point of our being.
00:52:21Look.
00:52:22I'm glad I'm glad you're here.
00:52:23I'm glad you're here.
00:52:24I'm glad you're here.
00:52:25I'm glad you're here.
00:52:26Good.
00:52:27What?
00:52:28You're glad you're here.
00:52:29You're good.
00:52:30You're glad you're here.
00:52:31Good.
00:52:32Good.
00:52:33Good.
00:52:34It's a little bit boring though.
00:52:35Good.
00:52:36Good.
00:52:37Good.
00:52:38Good.
00:52:39Good.
00:52:40Good.
00:52:41Good.
00:52:42Good.
00:52:43You make me feel relaxed.
00:52:46This is very reassuring for me.
00:52:50Tell me.
00:52:52Probably you saw a lot of the countryside.
00:52:55Wasn't it beautiful?
00:53:13Success can bring you problems, of course.
00:53:20You're always having to escape.
00:53:24Get away from people.
00:53:27People who want you to do them favors.
00:53:31I tell a lie.
00:53:33I moved it to New York.
00:53:35Then London.
00:53:37Now here.
00:53:39I rented this place.
00:53:43Just to get away from prying people.
00:53:49Here it is.
00:53:51It's the price you pay.
00:53:59Sometimes I feel that the home is trying to get me.
00:54:04They're always after me.
00:54:07They're tracking me down.
00:54:23You have to keep your eyes open.
00:54:25They could be anywhere.
00:54:28You've got to break the place.
00:54:29You've got to break the place.
00:54:30You've got to break the place.
00:54:31I've got to break the place.
00:54:32You've got to break the place.
00:54:33What's the name?
00:54:34That's why I'm here.
00:54:35Straw.
00:54:37Made by the straw.
00:54:38Made by straw men.
00:54:41By straw men.
00:54:56I'm sorry.
00:55:11Hey, you're the guy.
00:55:13I'm sorry.
00:55:15I'm sorry.
00:55:21No!
00:55:23No!
00:55:25No!
00:55:27No!
00:55:29No!
00:55:31No!
00:55:33No!
00:55:35No!
00:55:37No!
00:55:39Oh, my God.
00:56:09Oh, my God.
00:58:11Well?
00:58:13What's happened to the key of my bedroom door?
00:58:17Key?
00:58:19It's gone.
00:58:21And there's only one person that could have taken it.
00:58:25Who?
00:58:26You.
00:58:27Why should I take the key to your bedroom door?
00:58:29Why should I?
00:58:31Anyhow, we have a deadline, remember?
00:58:33Where's Mrs. Aston?
00:58:39Oh, she's about someone.
00:58:45Viva Miss Mayalinda.
00:58:47Of course.
00:58:48Don't we all?
00:58:49You'd be surprised.
00:58:51Do you have a boyfriend?
00:58:53Not currently.
00:58:55Married?
00:58:57Divorced?
00:58:58No.
00:58:59He was killed.
00:59:01Do you like girls?
00:59:03No.
00:59:04Surprising.
00:59:05Surprising.
00:59:07Surprising?
00:59:08Well, for a moment I thought...
00:59:11Well, I don't.
00:59:13I don't know.
00:59:30Perhaps later, when we're finished.
00:59:34Finished?
00:59:36Finished what?
00:59:37Who's writing this book?
00:59:39You or me?
00:59:42Who has all the strain?
00:59:44Creating 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.
01:00:08Yes.
01:00:0912.30 train.
01:00:1012.30 at the station.
01:00:15No.
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.
01:00:40I got her for his secretary.
01:01:10How do you do?
01:01:18How do you do?
01:01:40Sure. Tomorrow. Yes, Leo. Right there.
01:02:10I'm going to be returning Wednesday week.
01:02:40You're rushing around like nobody's business. Do I? Am I? Quite a takeover. Takeover?
01:02:55Well, Mrs. Watson, he doesn't like peppery food. Oh, really? Well, you mustn't forget I'm only the hard hand around here. The general dog's body, in fact.
01:03:07I'll... I'll remember about the better.
01:03:12You really look good, you know?
01:03:14Good.
01:03:15You look very good.
01:03:18Good.
01:03:19Good. Indeed.
01:03:26They look good.
01:03:29So good.
01:03:31Very good.
01:03:33Oh, my God.
01:04:03Linda!
01:04:04Linda!
01:04:05Linda!
01:04:33Linda!
01:04:34Linda!
01:04:35I know!
01:04:36It's my turn.
01:04:37It's my turn.
01:04:38I don't understand.
01:04:40Perhaps she wants you.
01:04:41Linda!
01:04:42Linda!
01:04:43Linda!
01:04:44Linda!
01:04:45Linda!
01:04:47Linda!
01:04:51Linda!
01:04:52What's the matter?
01:04:54I've been a director for a long time.
01:04:57Linda?
01:04:58I've been a writer for you.
01:04:59I've been a writer for you.
01:05:00I've been a writer for you.
01:05:01Linda?
01:05:03Linda?
01:05:07Linda?
01:05:11Linda?
01:05:15Linda?
01:05:32Linda?
01:05:34Linda?
01:06:02Linda?
01:06:05Suzanne?
01:06:16Suzanne?
01:06:33Linda?
01:06:36Linda?
01:06:40Linda?
01:06:48Linda?
01:07:02Oh.
01:07:32Oh.
01:07:41Oh.
01:08:02Hello! Hello! Police!
01:08:32Hello!
01:09:02What was that? What was that?
01:09:05What?
01:09:06That scream.
01:09:07Your imagination.
01:09:10What do you think you're doing?
01:09:11Doing?
01:09:14Yes!
01:09:15The door to your room was open. I didn't mean...
01:09:17You didn't mean...
01:09:20The door of your room.
01:09:22And the knife?
01:09:23Oh, you found that, did you?
01:09:26I always carry it. Self-protection.
01:09:28Oh, come on.
01:09:30Say what you want. It 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, poor Theresa.
01:09:43Then I can tell you what you want to know.
01:09:51The photograph of your agent, Leo.
01:09:53How did you think I was going to recognize you at the station when you first met me?
01:09:57Where's Suzanne?
01:09:59Asleep.
01:10:01Not to be disturbed.
01:10:02There's no one I can trust.
01:10:05Come on.
01:10:06Yes, you can.
01:10:08Page 435.
01:10:11All right?
01:10:12Comma.
01:10:13Visible.
01:10:14Sweaty, with the smell of a million people all going their different ways.
01:10:17Stop.
01:10:18The sweaty smell of many nations.
01:10:21The heat of their bodies.
01:10:23Warmth of their bodies.
01:10:24Sure.
01:10:25Orange.
01:10:26Their love.
01:10:27Their hate.
01:10:28Saying goodbye.
01:10:29No.
01:10:30Standing.
01:10:31Nothing.
01:10:32No.
01:10:33Try.
01:10:34It won't work.
01:10:35Try.
01:10:36It won't work.
01:10:37Try.
01:10:38It won't work.
01:10:39No more.
01:10:40Forever.
01:10:41Finished.
01:10:42Abandoned.
01:10:43Complete.
01:10:44Done.
01:10:45Final.
01:10:46Last.
01:10:47Finished.
01:10:48Finished.
01:10:49Finished.
01:10:50Finished.
01:10:51I finished it for you.
01:10:52Done.
01:10:53Final.
01:10:54Last.
01:10:55Finished.
01:10:56Finished.
01:10:57Finished.
01:10:58I finished it for you.
01:11:22I'm going to kill you, Mr. Martin.
01:11:32Kill you.
01:11:33A fraud.
01:11:35F-R-A-U-D spells fraud.
01:11:39Full point.
01:11:41The end.
01:11:42Get it?
01:11:48Linda Hindstadt.
01:11:52Remember?
01:11:53Yes.
01:11:54I think you do.
01:11:59The first novel.
01:12:04Half a million dollars.
01:12:13Ha!
01:12:14Ha!
01:12:15Ha!
01:12:16Ha!
01:12:17Ha!
01:12:18Ha!
01:12:19Ha!
01:12:20Ha!
01:12:21Ha!
01:12:22Ha!
01:12:23Ha!
01:12:24Ha!
01:12:25Ha!
01:12:26Ha!
01:12:27Ha!
01:12:28Ha!
01:12:29Ha!
01:12:30Ha!
01:12:31Ha!
01:12:32Ha!
01:12:33Ha!
01:12:34Ha!
01:12:35Ha!
01:12:36Ha!
01:12:37Ha!
01:12:38Ha!
01:12:39Ha!
01:12:40Ha!
01:12:41Ha!
01:12:42Oh, oh, oh, oh, oh!
01:13:12Everything's under control.
01:13:14Just keep on taking the tablet sugar
01:13:16and keep that page of energy going.
01:13:18Oh, it'll be a good one.
01:13:42Oh, oh, oh, oh, oh, oh, oh, oh.
01:14:12Oh, oh, oh.
01:14:42Oh, oh, oh, oh.
01:15:12Hold it, hold it. Hold it right there.
01:15:24Now, just do as, just put your hands on your head.
01:15:29Half a million dollars out of that book
01:15:32and you never even wrote it.
01:15:34Not one word.
01:15:36Not written by my husband.
01:15:39You stole it from him, saying you'd sell it for him.
01:15:43You even had the nerve to dedicate it to him, remember?
01:15:47And then you got rid of him.
01:15:50You drove him to suicide while you stole his work.
01:15:55Oh, I've got the lot on you, Mr. Martin.
01:16:00The lot.
01:16:02I want my fun.
01:16:06I want your guts.
01:16:11Oh, Ben.
01:16:12Please, don't shoot.
01:16:14Please.
01:16:15I beg you.
01:16:16Please.
01:16:17No.
01:16:18Oh, no.
01:16:19It can't be.
01:16:22No, no.
01:16:23Oh, no.
01:16:34It can't be.
01:16:35No.
01:16:36No.
01:16:37No.
01:16:38No.
01:16:39No.
01:16:40No.
01:16:41No.
01:16:43No.
01:16:44No.
01:16:45No.
01:16:46No.
01:16:47Oh, my God.
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