text / (Germany) Michael Haneke
/ Translated by Cao Yi
shooting script writing / (France) Florence Lena Lv Liye, Kandel Pierre
Laurent street in front of the house, location, date
1. Fixed telephoto lens with moderate height, and there is some sound on the empty street. In the middle view, it is the two-story building of the Laurent family. The first floor has a large viewing window made of vertical glass, and the walls and windows on the second floor are covered with ivy. The middle-class buildings are sandwiched between other middle-class buildings, and the back view is filled with more common modern high-rise buildings. The street facing Laurent’s bottom floor crosses the screen from left to right, and two cars are parked on the street. The open space in front of Laurent's house looked like a small yard, which was shaded by a large green plant. The camera was captured from the foreground, facing Laurent’s house, with the two buildings at the left and right ends of the painting.
The subtitles began to appear in small white letters, typed from left to right, top to bottom, first the production company, then the two leading actors, and then the larger title. Next came the distribution and main technicians. At this time, a young man walked down the street in the lower part of the picture, carrying a bag and facing away from the camera. He walked from the right to the left of the painting, and quickly came out of the painting. The bird squeaked, and the sound of vehicles came from a distance, breaking the tranquility of the residential area. Anna came out of the house, closed the fence door that opened to the street, and walked to the left. A few seconds later, a cyclist appeared from the left of the painting, and came out of the painting from the right along the vertical street.
George (outside the painting, the next camera set): What then?
Anna (after a while, her voice is slightly nervous, outside the picture): Nothing!
George (outside the painting, pause): Where did you find this? (A car crosses the screen from right to left.)
Anna (outside the painting): A plastic bag is placed at the door... (A woman appears on the right of the painting with her back to the camera, and walks to the door of Laurent’s house That street, passing by another woman. The voice on the street is mixed with the voice outside the painting of George and Anna.) What's the matter? !
Street, exterior, night
2. The middle view of the building and the trees in front. The two cars parked in front of the building face to face. George (played by Daniel Otei) walks out and opens the door, followed by Anna (played by Juliet Binoche). Panoramic shot George crossed the road to the opposite street, which was in front of Elise's house. He stopped and looked carefully at the place outside the painting on the right, which should be the place where the videotape was taken.
George: He should be here, right!
Anna (stay behind, left outside): Come back!
George watched for a while and then hurriedly walked home. Reverse panoramic shot. Anna entered the painting, turned her back to the camera, and walked behind George who also turned her back to the camera. He turned and closed the door and walked into the room. The wind blew the large bushes on the street trembling vigorously.
Laurent's house, interior view, night
3. Fixed perspective shots of Laurent’s house and the street in front of him seen on TV.
George (outside the painting): Tomorrow I will ask Rochamp and Morpheus if they have seen anything. They should be right there.
Anna (outside the picture): I have called Antoine and he hasn't seen anything. Marina is not at home, she is an answering machine. (A young man riding a bicycle, medium shot, walking from left to right in the painting. There is a clicking sound and horizontal stripes appear on the screen. The video tape is fast-forwarding.) The video tape is more than two hours long! (Two pedestrians quickly cross the screen, followed by a third person, from right to left. Anna sighs. Two pedestrians pass by, a black car passes by, and then the other also drove past.) Click to go out?
George (outside the picture): I don't know, uh... (a black car passes by from the right of the picture) Soon after you left, it was about a quarter of an hour before 9 o'clock. Francois called... (we saw George walking out of the house)
Anna (outside the picture, interrupting him): Look, this. (George, middle shot, wearing a waterproof jacket, walks out and faces the camera to the street in front of Elise's house in the foreground.)
George (outside the picture): Wait, stop. (Fast forward ends. Pause, then rewind. Watch him crossing the street. Pause at the picture of George stopping in the middle of the road.) How could I not see this guy, it’s so strange, um.
Anna (outside the picture): Maybe the camera is in a car.
George (outside the painting): No, no, it's not like it was shot through glass.
Anna (outside the painting): Or somewhere in the house?
4. A set of shots in the living room. Anna, about 40 years old, has short brown straight hair and sits in the middle of the foreground with her back to the camera. Her husband George, who is a little older, is standing in the middle shot on the left, half-length shot from the side, with his hands in his pockets. Both of them watched the paused TV screen to the right. Huge bookshelves surround here, forming an elegant book corner. With the remote control in his hand, George stopped the video recorder and turned around. He placed the remote control on a table outside the lower picture and leaned over to Anna.
George: This is really an idiot, I don't know what to say. Do you have an idea, who is joking with this?
Anna (stands up, turns around and walks quietly to the front and walks out of the screen, seemingly cold): We should eat before the dishes cool down.
George glanced at his wife, then turned off the video recorder, and walked to the right. He walked around the couch outside the painting and walked to the left, the camera turned to the right and then followed forward.
George: Maybe it’s Piero’s friend... (We saw other furniture in the living room, there is a white leather sofa, a picture hanging on the fireplace, there are many shelves and small furniture, the walls are white.) A little fool who makes fun of his partner's parents. (George turns his back to the camera, close-up, walks to the kitchen, the camera follows.) Isn't it?
George came to the large, modern and bright kitchen, with a lot of kitchen utensils on the counter. The rectangular viewing window facing the street on the right is the window on the first floor of the building. An iron pot was placed on the fire. George walked to his wife, and she was busy by the fire in the back half-length camera. An unobtrusive rag was hung on the oven door.
Anna (outside the painting): I don't think so, it's meaningless. (She bypasses him when she comes over with the food. The camera follows the end.)
George: Yes, indeed. So where is he?
Anna: What?
George: Piero.
Anna: I don't know. He will come back.
George walked to the other lighted console on the left. The camera followed the shot. He grabbed an empty blue plastic bag, rubbed it a bit, and threw it away.
George: Is it here?
Anna (turning her head): What?
George: Video tape.
Anna: No, it's in a supermarket bag. (She puts seasonings in the dishes, and then picks up a plate in her left hand.)
George: Where?
Anna (irritated): I don't know! In the living room, in the foyer, I guess, on the table in the doorway, I don't know. What are you looking for? (She starts to serve dishes on the plate.)
George: There is nothing else in it? No letter, no paper, no?
Anna (turning to him coldly): No, if you don't believe it, you can go and see by yourself! (George is a little embarrassed and hesitates.) Can you take the salad? (She turns to face the camera, with two full plates in her hands, and draws from the left end of the foreground. George thoughtfully picks up the salad bowl and follows Anna to the restaurant, and the camera follows to the left. The couple sat down At the glass dining table, the wife turned her back to the camera, and the husband sat at the end of the dining table with her left side facing the camera and opened a bottle of wine. The third plate was reserved for his son. The tall bookshelf in the background covered the entire wall. Anna pointed to the spaghetti Said to her husband in a gentle tone): It's not terrible, tonight... (She hands him some grated cheese and a slice of Parmesan.) Take it.
He poured the wine in silence, and Anna began to eat. George put down the bottle, then took the glass to his mouth, and took a sip of the wine.
George: It's there, right? (Anna turns to the direction George is looking outside the picture on the left.)
Anna: Yes. (George puts down his glass and stands up, and the camera moves to the left. Anna is annoyed by his distrust of himself.) Why, do you treat me as an idiot or something? (George grabs an empty white plastic bag, turns it over, and puts it on the sofa.)
George: You might have missed something. (He comes back and sits down, the camera pans to the right to follow the shot.)
Anna: You forgot to take out the videotape, maybe there is something I didn't see there.
George: Okay, wait a minute. I'll look for it. Is there any... (Sound of opening the door.) Ah! The son is back. It's better not to be late. (The door rings again. Anna stands up and walks to the kitchen outside the painting on the right.)
Piero (outside the painting): Yu Yu at night.
George: Good.
He unrolled the napkin and spread it on his knees, turning over the cheese.
Anna (outside the picture): You sit down first, Piero, I will bring your plate.
Piero (Lester Makdonsky), a young man with brown curly hair, close up, he walks with his back to the camera and drags his feet. He wears a sweater with a hood and carries a backpack on his shoulders. He hugged his father's shoulders, turned around and casually threw the backpack on the ground, and then sat at the dining table. He picked up the glass of soda water.
George: Where have you been?
Piero: I went to Yves's house. What's wrong?
George (shrugs): What's wrong? Just want to know. Do I need to give a reason?
Piero (lazily): Okay...
he is drinking soda. His mother entered the painting from the right, gave him a hug, and then gave him a plate of pasta.
Anna: Good evening. (She goes around the table again and sits down again. Everyone starts to eat.)
George: Then what?
Piero: I go to Yves’s house every Tuesday because we have geometry class on Wednesday and he helps me with my homework.
George glanced at his wife and raised his eyebrows in disappointment.
Anna (to George): Maybe one of your admirers? (George looks at her for a second, then eats. The camera set ends.)
City swimming pool, interior view, day
5. For a close-up shot of the swimming pool, Piero is flipping underwater. The camera pulls up and shoots him in freestyle. A partner and then another come on the same lane. He stopped after swimming a few meters, and then came back.
Coach (outside the picture): Piero, don't breathe when you are just out of the water. (Piero turns around. The other two swimmers are still training.) Ander, you have the same problem as Piero, don't breathe when you first come out of the water. (The camera lowers to follow Piero in the foreground.) Don't breathe as soon as you get out of the water. (Piero goes back and forth in the water again, the camera follows the shot and rises slightly vertically.) Thomas, pay attention to the water. Piero, your draft is too shallow. (The camera follows Piero.) A little deeper. Yes, yes, it's too deep. It's too deep. Pay attention to breathing.
Street in front of Laurent’s house, location, late at night
6. Same as lens 1. A still long-range lens. There was a little tremor on the street pavement. A faint light came from the large windows of Laurent's kitchen. The camera lasted for 30 seconds, and was disturbed by the wind blowing through the trees in front of Laurent's house. A car drove by. The lights of another car came from the street in front of Elise's house on the right in the foreground, illuminating the scene. The car stopped outside the painting, the engine was turned off, and someone got out of the car, still outside the painting. George appeared, turned his back to the camera, walked towards the door of the building, and then opened the door. He walked in and turned on the light.
TV shooting station, interior view
7. A close-up of George, facing the TV audience, with two rows of fake books in the background. He is wearing a green T-shirt and a black jacket, doing the epilogue of his show.
George (powerful voice): The new "round table"...
8. Vertical shooting axis. Semi-panoramic lens, see other people on the shooting stage. The four guests, in a half circle, sat on a black leather sofa with a low table in the middle. In the background, a large bookshelf made of fake books is used as the background, reflected in a large mirror in the foreground.
George: ...will meet you in about 15 days... before then...
9. Same as lens 7. George's lens.
George: ...we will read it carefully. Thank you for your more and more enthusiastic attention to our program. Good night. (Pull behind the camera.)
Director (voice of the conductor, outside the picture): Please don't stand up Song during the subtitle time. (George keeps this position, then relaxes, and turns to a guest on the left. Mike is turned off. The camera stops.) Thank you everyone.
An assistant walked over from the right side of the painting and told George that someone was looking for it. He greeted the guests, stood up and followed the young woman to the backstage, the camera shifted to the right, and the technicians were busy everywhere. George was a middle shot facing the camera, he took out the phone and called Anna.
George: It's me...
Laurent's living room, interior view, day
10. A close-up shot of the glass table. In the center was a portrait of a boy who was half crumpled. It was a rough painted face with blood flowing from half of his mouth. Anna grabbed another remote.
Anna (outside the picture): The video tape is wrapped in it. (She picks up the remote control and draws by hand.)
11. Same as lens 6. Returning to the perspective of the sixth lens, on the street at night, George returned home. The videotape was rewinding. George stepped back to his car outside the picture. The car came over with the lights on, and then the picture played normally.
12. Insert the lens briefly. A close-up of three-quarters of a window, late at night. A boy of Maghreb (Note 1) descent, with his eyes wide open, wiped the blood from his mouth. The sound of this scene was received in the next scene.
13. Back to the end of lens 11. The footage of the videotape, the subjective perspective of Laurent and his wife.
Anna (outside the painting, suddenly worried): What's the matter? what happened? George?
George (outside the painting, confused voice): What does this mean? Forget it, forget it, I...I'm tired.
Anna (outside the painting): What should we do now?
George (outside the painting): I don't know what's going on!
Anna (outside the picture): Do you want to call the police?
George (outside the painting, hesitantly): Yes, no...I don't know. Show me again... that painting. (In the picture on the TV screen, George is coming home.)
14. A close-up shot of the overhead view of the glass table. Anna outside the picture on the right handed it to George outside the picture on the left.
Anna (outside the picture): Take it, it's better to call the police.
George (outside the painting, quietly): It's more like a child's painting. (He withdraws his hand.)
Anna (outside the painting): I'm confused, I can't tell.
George (after a while, outside the picture): May I ask Piero?
Anna (outside the painting): No, what's the use? ...You don't really think that any of his friends will stay in front of our house all night just to play pranks with us? This is like a stupid game.
15. Semi-panoramic view of the living room. In the background are rows of books, with a widescreen TV embedded in the middle. George and Anna are sitting on the sofa, close-up shots on the back, they look at the videotape. George stopped it and switched to a news program hosted by Beatrice Schoenberg, France 2. They use this as the background sound during conversation. The first report is about epidemic diseases in China.
Anna (surprised): How did you turn it off?
George: Why? What else do you want to see?
Anna: Very stupid, I'm a little scared...
16. Vertical lens. Anna sits with her back to the camera at the right end of the frame in the foreground. George sat sideways on the sofa in the middle shot, and the couple faced the TV outside the picture on the right. A chic table lamp shimmered in the room.
George (pauses for a while, slightly nervous): Have you told Piero?
Anna (shaking his head): No. Do you want to tell him?
George: I don't know. I still tend to think that my schoolmates
did it ... Anna: What was that for?
George (voice trembling): For what? Why... I can’t think of...
Dining room, interior view, morning
17. Panoramic view of the large bookshelf and dining table in the dining room. In the middle shot of Anna's back, she is wearing an elegant black dress, using a tray to clean up the leftover breakfast on the dinner table. She walked to the kitchen and the camera followed to the right. the phone is ringing. She put the tray in the kitchen, then went back to the dining room, came to a corner in the foreground, the camera was above the chest, and she answered the phone.
Anna: Hello, hello?
Manu (on the phone, distant voice): Has George gone?
Anna: Hello, he just walked for two minutes, sorry.
Manu (on the phone): It's okay... I just want to remind him not to forget to bring the information...
Anna (turns around and looks at the back view, interrupting the young woman): He took it, I saw of.
Manu (voice on the phone): Great...Thank you, I wish all the best, goodbye!
Anna: Goodbye, Manu, goodbye. (She hung up the phone and wanted to go back to the kitchen quickly. The phone rang again. She turned around again, and the scene of the phone call reappeared.) Hey...
man's voice (on the phone): I want to find George Laurent.
Anna: Yes...Who is looking for him?
Man's voice (on the phone, repeat): I want to find George Laurent.
Anna: Who are you? What are you looking for him for?
Man's voice (on the phone, more persistently): I want to talk to a man named George Laurent!
Anna was silent, short of breath. Obviously, she had almost collapsed and hung up the phone.
TV station, George's office, interior view,
18. Connecting shots in the morning . A close-up shot of George’s phone, a notepad, a pen on it, a computer on the right side of the screen, letters in the foreground, and a postcard in the middle of the pile of letters. The pictures on it are obviously the same Boy vomiting blood.
George (outside the painting, walks into his office): Hello.
Assistant (outside the picture): Hello, sir. I just received a call from your wife and she asked you to reply.
George (outside the picture): Okay, thank you. (He walks over to pick up the microphone and dials. We only see his right half. He takes the first letter away and looks at the picture: The boy appears all over this time. To his assistant): What's the matter, This card?
Assistant (outside the picture): It was just sent along with other letters. (George picks up the card.)
19. Move the articulation lens. George is facing the camera, close shot, the phone is in his ear---the sound of the call---holding the card in the other hand, thinking deeply. The camera quickly glanced over the back of the card. On the right was George's address on the TV station, and there was nothing on the left. Behind George is an open office.
The street in front of the police station, exterior, day
20. In the middle of the entrance of the police station, a car and a police car are parked at the left and right ends of the screen respectively. George hurriedly walked out of the police station. In the middle shot, Anna followed closely, passing between the two cars, and then crossing the street. A bicycle suddenly rushed out from the right, almost knocking George over.
twenty one. Vertical lens. The middle shot of the street. The cyclist slowed down and then stopped.
George (outside the picture on the right, shouting): What is it, idiot? !
The bike rider is a tall young black man (Diuconda Koma), who retreats and arrogantly pushes towards George.
Cyclist: What do you say? !
George (turning into the frame with his back to the camera, close-up shot above the chest): You can't look at it a bit, idiot! ?
Anna (drawing from the right): Forget it, don't make a noise.
Cyclist: You say it again.
George (manically): What? !
Cyclists (threatening in calmness): Repeat what you just said!
George (yelling): Don't you have eyes? !
Cyclist: I'm distracted! But whoever rushed out like a fool without even looking at it! ?
George (pointing to the street and turning around): It's you who went retrograde, didn't you? !
He turned back, and the man got off the bicycle and walked slowly towards him.
Cyclist (calmly): You yell at me again. Come on, yell at me again!
Anna (slightly calmly): Forget it, stop it. Stop fighting. (To the cyclist) You are not careful. (To George) We're not careful, okay?
Cyclist (to George, threateningly): Shut your mouth, okay?
George stopped and turned, Anna followed. They walked towards the car, then got on the car, the camera followed the camera along the left diagonal, and left the cyclist behind. Anna stroked her cheek with her hand, and the tense confrontation between the two men still left her lingering.
George (after a while): I'm sorry... (to mention going to the police station again) Anyway, don't expect any help... As long as "he" doesn't set fire to the house and "he" doesn't send bombs instead of videotapes, it's nothing. nothing.
Anna: Don't do that, George... (He drove the car. This set of shots ends.)
Piero school gate, Sunday
22. Panoramic shot from the sidewalk opposite the school gate steps, blocked by a fence in the middle. A group of students dispersed, and their parents waited. Piero appeared. He bid farewell to a partner and then walked to the right. The camera panned to the right and followed George's car. He sat behind the steering wheel and started the car. Piero walked towards him across the street. He avoided a Mercedes, then came to his father and sat in the front seat.
Inside George's car, interior view, Sun
23. Anti-axis lens. Mobile convergence. A close up shot of Piero above the shoulder, on the left side.
Piero: Hi, Dad. (He closes the door and buckles the seat belt.)
George (outside the picture): Hi, Piero.
Piero (incomprehensible): What happened?
Qiao Qia (outside the painting): Why do you ask?
Piero: Why did you come to pick me up? (The car starts moving, and the scenery on both sides recedes from the window.)
24. The reverse shot of George driving, close-up from the shoulder.
George: I have time, I think you will be happy.
Piero (outside the picture): Okay.
George: No, I sent my mother to the office, I want to talk to you.
25. Same as lens 23. Piero.
Piero (worriedly): What's the matter? Where is she?
George (outside the picture): We have something to solve. I was just about to talk about this with you.
Piero: Ah, good.
26. Same as lens 24. George is turning.
Piero (outside the picture): What does the card you sent mean?
George: What card?
27. Same as lens 25. Piero.
Piero (searching in the bag): That's it. (He hands him a card.)
28. Same as lens 24. George.
Piero (outside the painting): The teacher gave it to me at noon.
29. The close-up of the card is a portrait of the same child that George received in the office. While driving the car, George turned his head to look at the school address written on it. On the left is written in capital letters: "To Piero, in the name of his father".
Piero (outside the picture on the right): She told me that she could not understand this weird painting, and that she felt strange why you sent a card to my school. (The camera returns to the painting of the vomiting blood.)
Anna and George's bedroom, interior,
30-quarters of the close-up shot in the middle of the night , from the bedroom window to see the street in front of Elise’s house on the opposite side, leading to Another street behind the scene. The sound of the vehicle came. The sound of George sleeping outside the painting, the rustling of the sheets when he turns over nervously.
31. Insert the lens. The subjective lens is pushed and pulled in a dark room. Outside the painting, a boy choked in pain, trying to suppress the whimper. The camera pushes and pulls to another room. The little boy who appeared in lens 12 quietly appeared, looking extremely painful. He was sitting on the edge of a window sill, his upper body naked. He turned to the visitor, bleeding from his mouth. The camera stopped abruptly.
Street in front of Laurent’s house, interior view, day
32. Compared with the lens 1, it is slightly offset to the bottom right. George and Piero come out of the house, medium shot. The camera was lowered and pulled back, and they walked to the car parked on the street in front of Elise. George is holding a bag and his waterproof jacket in his hand. He used the remote control to unlock the car. The camera pans to the left, he puts things on the back seat, sits down in front, and the camera moves forward. Piero also sat in. George was about to close the car door with one hand when he saw a note on his wiper. He trembled in his heart, got out of the car and picked up the note. This is just an ordinary advertisement.
Laurent's restaurant, interior view, night
33. A set of lenses. Three quarters of the dining table. Those bookshelves are still in the background. Anna and George invited friends over for dinner: on the left side of the screen is a three-quarter shot of George's back. To his left is Chantal (Isa Maiga). This is an elegant young black woman. Next to her is Yvonne (Deni Podalidas), about 40 years old and slightly bald. Then there was Anna, sitting at one end of the table. Sitting on the right is Pierre (Danière Duvall), who is older and has brown hair, and finally Mathilde (Natalie Richard), who has short and straight blond hair, with his back facing the camera. Everyone listened attentively to Yvonne's story, and he was very relaxed in front of this group of listeners.
Yvonne: She is sitting inside, next to the mirror, not far from the bar, you know where it is. We can't let the ladies wait, especially the older ladies, so I walked over. I introduced myself, and then asked her why she wanted to talk to me. She was obviously embarrassed because she had sent the boss to call me. She asked me to sit down and looked very excited. So I sat beside her. She told me that this was the first time she came to this small bar. She was not used to talking to strangers, but it was unbelievable. I reminded her of someone, so she could only tell me to come. That is the person she likes very much. What can I say in this situation? She is more than 70 years old, and it is indeed very touching. Her hands are shaking... But, in short, you know that I am not sentimental... (He glances at Chantal who is pouting. Everyone laughs.) But she is. It really touched me. So I waited patiently for her to talk about the person I was excited about when she thought of it. Guess who is it? Her lover, her father, her husband?
Anna (smiling, arms crossed): I don't know.
Yvonne: It's her dog. (Laughter.) Really. How should you react if it is? I stood up and said, "Well, good, madam, you are very interesting." Then I wanted to leave. But she was still very serious, begging me to sit down, saying that she knew it might seem ridiculous, but hoped that I could patiently listen to her tell this story. She never meant to make fun of me. This Jane was so strange, her expression was so desperate, I had to sit down again. So she began to tell... her dog died in a traffic accident in 1964. "My God, this is so weird", I said to her, "I was born in 1964", ha, ha! (Laughter.) She appeared to be insulted, and obviously I didn't take it seriously. She looked at me sadly, and then said, "It was knocked over by a truck... the day was April 17, 1964, when we were about to cross the street." April 17... is my birthday. (The crowd is stunned.)
Mathilde: Lie!
Yvonne: Yes, I said the same. So she started to tell me about it in detail. She was out with her dog, a tall truck blocked her view, and the truck behind drove over and knocked the dog to the ground. The bumper hit the dog's neck, the wound was deep, and it died within a short while. (To Anna) You don’t believe...Give me your hand (he catches her stretched hand and leaning toward the back of her neck.) You see, I have a scar in the same place... (He asked her to touch him The back of his head, and then suddenly yelled. Everyone was startled and burst into laughter.)
Chantal (laughing): What, is it really? (They laugh harder.)
Anna: Not bad...
George: Where did you get this story?
Yvonne: Don't you believe it? (Everyone laughs.)
34. Close-up shot of Pierre, he is smiling, behind him is the white sofa and the candles that light up the living room.
Pierre (puts down his glass, to Mathilde from the left side of the picture): Did you know that Frederick called me?
Chantal (outside the picture on the right, to Yvonne): Why have you never told me this story?
Pierre: Simone is better. She had an operation last week.
35. Close-up above Mathilde's chest, she looks at Anna outside the picture on the left. At the same time, Chantal and Yvonne talked.
Yvonne: ... these secrets should be kept, shouldn't they? ……Do you agree?
Chantal: Yes, yes...
Mathilde (interrupting the conversation): We didn't care about her well some time ago, you know. In order to appear sincere, we contacted more frequently than ever before, and it was difficult for her to let go of her guard. It's always hard to feel close.
36. A close-up above Anna's chest, she said to Mathilde and Pierre in the reverse shot on the right.
Anna: What about Frederick?
Pierre (reverse shot): He is writing a script.
37. A close-up of George's chest above.
George: Just write this?
Pierre (outside the picture): No, but Mobel has already bought the script.
38. Same as lens 36. Anna.
Anna: Then who watched the children when Simone had the operation?
Mathilde (outside the picture): At him and his girlfriend.
Anna: How is she?
39. Same as lens 35. Mathilde.
Mathilde (turns his head from left to right): Very good. It is always sad for friends to break up, and we must choose a position. But Frederick has changed a lot. After he was with Mariana, he let go a lot.
Anna (outside the picture): Her name is Mariana?
Mathilde: Yes, Mariana.
40. The same lens 37. George.
George (to Pierre): What is his script?
Pierre (outside the picture): What script?
George: Well, I thought Frederick was writing a script...
41. Reverse the camera. Pierre turned and shot George on the right.
Pierre: Ah, uh, I don’t know. (The doorbell rang and continued.) Huh? Do you still have guests?
42. The same lens 36. Anna was meditating and suddenly looked very worried, and George was in the opposite shot.
George (outside the painting): No... (He asked Anna with anxious eyes.)
43. George.
George (stands up): I'll go take a look.
44. A close-up of Chantal's shoulders, she watched George walk out of the painting in surprise.
Mathilde (outside the picture): Who will it be this time?
Anna (outside the painting): I can't think of it at all.
Yvonne (outside the painting): An admirer of George, it must be.
45. Side close-up of Yvonne above the shoulder.
Yvonne: This is the price of being famous. As soon as he showed his face, enthusiasts flocked to him. (Cut shot.)
Laurent’s foyer, interior/exterior scene, night
46. A close-up shot of George's back, he closed the door of the living room in half light and half darkness. He walked down a few steps to the door, the camera followed to the left.
George (the door is not opened): Who is it? (No answer.) Who is there?
He opened the door and walked down the street, the light was dim. He followed the shot with a shoulder-mounted camera. He turned his back to the camera and walked a few steps on the sidewalk after opening the door. In the background is the street in front of Elise's house. George looked to the left.
47. The two-thirds subjective panoramic shot of the street on the left is dimly lit, with vehicles and buildings. No one.
48. Back to the end of lens 46. George turned his head to look at the other side.
49. Subjective panorama, the street on the right leads to a crossroad. Everything is quiet.
50. Back to the end of the lens 48.
George (breathing faster, to this invisible voyeur): What does this mean? Come out, coward! What are you going to do! ... (He turns around and returns home.) Oh, hit the ghost!
Pulling behind the camera, he closed the door, turned around, and closed the door after entering the back room. But when it closed, the door jammed, and something was left there. George found it, bent over to pick up a plastic bag, then straightened up, and the camera followed. He opened the bag after entering the door.
51. Move the articulation lens. Subjectively looking down and inserting into the lens, a video tape is wrapped in a piece of white paper. He opened the white paper and saw a rooster drawn by a child with blood on his neck.
52. Two-thirds of the above-the-knee camera. The conversation of guests outside the painting. George wrapped the video tape again with a picture and put it back in the plastic bag. He hid it in the pocket of a waterproof jacket hung on a hanger, then walked up the steps, close-up from the side, above the shoulder, and opened the restaurant door.
Laurent’s restaurant, interior view, night
53. A set of moving and connecting shots are on the anti-axis of lens 33. Anna's back half-length camera is standing in the foreground, and the guests are still at the dining table on the right. George comes in.
Chantal (stops talking, opposite Mathilde): ...It seems that it will be shown until June 15th.
Anna (asked George): What's the matter?
George (turns off the lights in the corridor and closes the door): It's okay.
Anna: How come it's okay?
George (come back and sit down): No one. (Anna returns to Yvonne, holding a plate of food in both hands.) No one is outside.
Yvonne: Well, then. (Looking at the food:) You are too rich. Isn't this killing me? I have to go on a diet for another three weeks.
Anna (stands up again, to George): Then why have you been outside for so long? (George is embarrassed and doesn't know how to answer. Anna goes around the table and distributes the food to her husband, and the camera follows the camera. Faced with the awkward silence of the guests, she smiles slightly.) It's okay, nothing unpleasant. I'm not jealous of my husband's jealous woman taking advantage of our big banquet to steal a lover.
George: Thank you, thank you.
Anna (continues to divide food around the table and waved my hand): However, I started to get a little nervous. For several days, we have been receiving anonymous packages and phone calls, uh...every time the doorbell rings, I shiver , I wonder if it will be that guy again. (She divides the food and walks to Mathilde.)
Pierre: What kind of phone?
Anna (voice a little choked): I don't know, how to say it, yes... (She puts the plate in the middle of the table.)
Mathilde: Did you call the police then?
Anna (come back and sit down): Yes, of course.
Mathilde: What about then?
Anna: There is no "then", as long as he doesn't do anything to us, the police can't do anything!
Chantal: This is too shameful!
Anna: No, this...this is a fact. (Laughs far-fetched.) Eat it quickly, it's cold. (Everyone starts to eat stuff. Anna looks up at George.) Now let’s talk about it, what is it?
George glanced at his wife, made up his mind, walked to the door calmly, followed the panorama to the right, and he disappeared into the dim light.
Mathilde (to Anna): What's the matter?
George (outside the painting, coldly): Well, since Anna decided to share our happiness with everyone... (He takes out the plastic bag and returns to the living room.) I will not hide it. (He walks to the TV in the living room, and the camera follows to the left.) Okay, are you satisfied? (He takes the videotape out of the plastic bag and puts it in the video recorder.) This is not very interesting, um... the image sent is from the building, obviously to tell us that we have been monitored, Anna, I and Piero Go in and out here.
Pierre (outside the picture on the right): Do you know who made it and how?
Anna (outside the picture on the right): I don't know so far.
Pierre (outside the picture on the right): Let it go.
George (starts to play the videotape): That's it.
But this time is not what George expected. This time it is a country road taken in the car. This set of shots ends.
Car, interior, day
54. Articulation lens. The subjective shot seen from the car. It was raining, the wiper was working, the car was driving on a country road, and there were several houses in the distance. The car stopped. The driver, still holding the camera in his hand, walked out of the car, showing a large farm in the lens.
Anna (voice coming from the living room): What is this?
George (from the living room, after a while, recognizes the place on the screen): It's the house I lived in when I was a kid.
George's mother's residence bedroom, interior view, day
55. An unmade bed, George sat at the end of the bed, flipping through a magazine carelessly. He wears glasses. The room looks a bit messy. The door opened and George stood up. His mother (Annie Giraldo) appeared in her nightdress. In the middle shot, she was supported by a nurse (Carolina Bell) who was about 40 years old. The nurse took off her nightdress and put it on the chair. Help her to lie down on the bed, and the camera moves to the right. George should be standing at the left end of the screen. She set up the quilt for her and made the bed to make her more comfortable, then she took up her nightgown. The mother smiles at the son.
Nurse: Do you need anything else?
Mother (smiling): No, thank you.
Nurse: All right, good night. (She goes out and closes the door.)
Mother: Don't stand there. (Pointing to bed) Sit down. (George enters the painting and sits on the edge of the bed, with his back to the camera, next to his mother.) There is no need to be sad. Just in case.
56. Slightly looking up, a close-up of George's two-thirds of his shoulders, he leaned to the right to hit the mother in the lens.
George: I'm sorry.
Mother (reversed the camera): Excuse me, what?
George: I don't know...
Mother (reversed camera): Stop talking ... It's funny. Tell me about your situation.
George (vaguely): Very good, good, I'm good. Nothing has changed since our last call. Piero is in adolescent rebellion, Anna has a lot of editorial work, and I also have a lot of TV station work.
57. Reverse the lens. A close-up shot of George's mother slightly above the chest, with George showing part of the back view on the left end of the foreground.
George (reverse shot): ...that's it.
Mother (looks at him for a while): Aunt Julie wrote me a letter. Sent from Marseille. She has been watching your TV show. (Proudly) She wrote to me and said that she also hopes to have... a son like you!
58. Same lens 56. George.
George: She is so nice.
Mother (reversed camera): She will come to celebrate our 80th birthday this year.
George (indifferently): Really?
Mother (reversed the camera): What's wrong?
59. Same as lens 57. Mother.
Mother: You don't seem to be happy, (laughing) What's wrong with you?
George (reverse shot): Nothing, I'm nothing. I can't laugh when you look at your health.
Mother: What makes me bad? (Looking up at the sky) For my age, it's not bad. Don't use your way of understanding...
60. Same as lens 58.
Mother George (camera reversed)... It only increases worry...
George: Wouldn't you be lonely if you can't go out?
Mother (reversed the camera): How come? Isn't that the case for a person? Is it different to sit in the park? In the subway... don't you feel so lonely? At home? What's the difference?
61. Same as lens 59. Mother.
Mother: I don't know, (pointing to the TV outside the picture.) I have friends at home. Use this remote control! When it says too many stupid things, I let it shut up. (Laughs.)
62. Same as lens 60. George smiled.
Mother (reversed the camera, after a while): It's been a long time since I heard the piano, I miss it very much. Since your father passed away...
63. Same shot 61. Mother.
Mother: Do you still play?
George (reverse shot): Stop playing. There is no time, you know.
Mother: What a pity.
George (reverse shot): Yes.
Mother: What about Piero? Is he talented?
64. The same lens 62. George.
George: He is not interested in it at the moment, he just wants to play with his friends.
Mother (reverse shot): He is 12 years old, right?
George: Well.
65. The same lens 63. Mother stared at him earnestly for a few seconds.
Mother (turning to the topic): What are you doing here?
George (reverse shot): I have to go to Aix, where we are going to do an episode of François Vergans.
66. Same as lens 64. George.
George: He wrote a new book. He hasn't worked for several years.
Mother (reversed the camera, hesitatingly): Ah, that's it...
George: Guess who I dreamed of the other day?
Mother (reversed the camera): I don't know.
George: Majid.
67. Same as lens 65. Mother.
Mother: Who? Majid?
George (reverse shot): No way! (Emphasically) Majid!
Mother: No impression.
George (reverse shot): Majid! Hashim's son. You want to adopt.
Mother: Oh!
68. The same lens 66. George.
George: Isn't it strange?
Mother (reversed camera): Why is it weird?
George: So many years have passed.
69. Same as lens 67. Mother.
Mother: It's nothing strange. I often dream about my childhood. This is how people get old.
70. Same as lens 68. George.
George: Yes, yes, uh. I'm not that old yet.
Mother (reversed the camera): Ah... it's earlier than you think.
George: Do you think of him sometimes?
Mother (reversed camera): Who do you think of?
George: Majid.
71. The same lens 69. Mother.
Mother: No.
George (reverse shot): Why?
Mother: Well, why do you ask?
George (reverse shot): How is this possible? You don't want him, never? But this matter was of great significance to Dad and you during that time.
Mother (sighs): It's been a long time. Moreover, it was a bad memory. (Somewhat coldly) You know best.
72. The same lens 70. George.
George (he turns his gaze away): Yeah...
Mother (reversed the camera): What did you dream of?
George: Oh, it's all very boring things, he just came back to my mind like this, I had completely forgotten it.
73. Same lens 71. Mother looked at him.
Mother (change topic): Where is Anna? what is she doing?
George (reversed camera): She is fine, she is still in that publishing house. She does whatever she wants, and the boss is our friend.
Mother: Very convenient.
George (reverse shot): Yes.
74. Same lens 72. George.
George: No, I know, I know that there is actually nothing to tell you. We meet too rarely, and I don't have anything special to tell you every time we meet. In short, everything is business as usual, not good, not bad, I am fine, and Anna is also fine...
75. Same lens 73. Mother looked at him.
George (reversed shot): ... Piero is also very good. This is all as far as I know. We are all too busy, that's it. As for you, you are also fine, I think.
Mother: You are strange, George. I am very worried when I listen to you. What happened?
76. Same lens 74. George.
Qiao Qia: Why do you ask?
Mother (reverse shot): Tell me, tell me...
George: It's okay, really...
77. Same as lens 75. Mother, silent.
Mother: When are you leaving?
George (reverse shot): Tomorrow morning, I have to be in Aix around 12 o'clock.
Mother: Then you have to leave earlier.
George (reverse shot): Yes.
78. The same lens 76. George.
Mother (camera reversed): Would you like me to ask Mrs. Arnault to prepare breakfast for us?
George (a bit embarrassing): Get up so early?
79. The same lens 77. Mother.
Mother (smiling): I can't sleep that long. This is one of the gifts you get when you get old! ...
George (camera reversed): I went to bed, I'm almost exhausted. Good night. (He leaned over to hug her.)
Mother: Good night. (George draws.)
George (reversed the camera): Would you like me to prepare something? What are you missing?
Mother: No, no, it's okay. I lack nothing. Good night.
George (reverse shot): Good night, mother.
Mother (looking at the son drawing to the right): What time is breakfast?
George (reverse shot): 7 o'clock.
Mother: Okay.
80. George's reverse shot, shot slightly upwards, half-length shot seen in the doorway.
George: Do you want me to tell her?
Mother (reversed lens): Okay.
George: Good night. (He closes the door.)
Mother (camera reversed): Good night.
George: Turn off the lights?
Mother (reversed camera): No need... (He goes out and closes the door. Cut shot.)
New book launch, interior scene , night
81. Half-length shot. In the background is the bookshelf. The scene was very turbulent, this was a reception. Anna is in the foreground, wearing a white suit, she is on the phone, close shot. Someone around her was talking, and someone a little further away was asking about the book. The book was placed on a low table and illuminated with a low metal lamp. We saw a bottle of champagne. Pierre stands on the left end of the foreground with his back to the camera, with a glass of champagne in his hand, discussing a philosophical issue with a guest. The two conversations are intertwined and it is difficult to hear clearly.
Anna (speaking to George on the phone): He is no longer a child, is he? Besides, I'm not sure if I have time... He is like a machismo little fool. (She laughs.) Yes, yes...When will you be back? You can go to school to find him. No, I can't, I won't be free tomorrow, we have to watch it here. This may be Drew's last book fair. (She covers her other ear to hear better.) How many people are here? (She turns to look.) It's all people. OK, OK, let me tell him. I love you too. (Cropped from the camera.)
Flash back to the 1960s, farmhouse, location, day
82. A headshot close-up of a young rooster. Someone outside the painting is trying to chop off its head with an axe. The rooster struggled in horror. Another axe fell.
83. The connecting shot of Majid (Malik Nai Judy) who appeared in the film before, his expression is firm. Wearing a short pullover, his left eye was sprayed with viscous blood. He threw the rooster out.
84. Connect the lens. A panoramic view of the farm in the back view from the barn. The headless rooster was thrown in the yard, still trying to escape. The middle shot of Majid, he stands on the left side of the picture, holding an axe in his hand, standing next to the chopping board where the rooster has been chopped off.
85. Reverse the lens. A close-up of his childhood George (Hugo Flamani), he was both scared and surprised.
86. Coaxial with lens 84. Majid's profile, he drew the axe from the chopping board.
87. Same lens 85. George looked at him nervously. The sound of the rooster flapping its wings kept ringing outside the painting. George looked at it.
88. Coaxial with lens 84. The middle shot of the headless rooster, doing the last few struggling jumps.
89. Same lens 85. George looked pale, and then looked at Majid in the reverse shot on the right in a blink of an eye.
90. Coaxial with lens 87. A little closer. Majid quietly walked towards George in the reverse shot in the half-bright and half-dark light, carrying an axe in his hand. Half-length shot.
91. Coaxial with lens 89. Majid's subjective lens moves forward. George was too scared to move, half-length camera, he retreated into the barn and stuck to the wall. The sound outside the painting is the rooster thumping hard mixed with the nervous breathing and moaning of adult George.
92. Connect the lens 90. Majid approached the backlight. The rooster's blood stained his face and clothes. He raised his axe and opened his mouth to yell. There was silence. The screen suddenly goes black.
George's bedroom in the farmhouse, interior view, late at night
93. Black articulation shot. Back to reality. George was lying on his side on the bed, his upper body naked, he woke up sweating profusely and turned on the light. He turned off the light, then turned it on again, panting. He tossed and turned on the bed, trying to recover from the nightmare, he turned over to the ceiling and settled.
Farm, stairs, interior, morning
94. George is wearing jeans and a jacket, walking down the stairs with a suitcase, the camera descends to follow the shot. Picture frames were hung everywhere on the wall. There is a row of black cast iron handrails on each side of the stairs. George, who had a close-up shot from his side chest, stopped outside his mother's room, but he turned and walked to the right, turning his back to the camera and opening the door of the living room. We can see that the room is clean and tidy, with a large chestnut leather sofa. There is no one inside. George turned and closed the door again, facing the camera and walking towards the other door.
George: Hello, mother.
Laurent’s living room, interior view,
another videotape on day 95. The camera photographed the road ahead from the driver's seat of a moving car: this is a daytime suburban town. At the end of the first street there is a low-rent housing in a residential area, and there is a gas station on the left corner. The car drove to the right, and then drove for a while. Shot cut.
96. The videotape continues. Subjective lens. The filming continues, this is a long corridor with Chang brother's modern style in a low-rent housing. The camera passed through the blue doors on the right and stopped in front of one of the doors, the house number was 047. The recording is paused. Then it quickly rewinds to the beginning shot, and then plays at normal speed. The car drove to the intersection and turned to the right...
Anna (outside the picture): There is a street sign, there.
Outside the painting, George paused the picture, and then rewinded the film to the road sign with the name of the road. Despite the pause, the words on it were still illegible. George played it frame by frame.
George (outside the painting): I can't recognize it.
Anna (outside the painting): Len...Ning...really? is it this one?
George (outside the picture): Yes.
Anna (outside the picture): Lenin Street?
George (outside the painting): Yes, yes, yes. Lenin Street, where is it? Do you... do you have a map?
97. Same as lens 15. A set of shots. Connect the lens. Anna and George looked at the new tape, and the picture stopped at the crossroads and road signs. We also saw objects around the TV: a huge bookshelf blocked the entire wall, and video tapes were placed in several spaces.
Anna (stand up and draw from the left): Wait.
George also stood up, in the middle shot, he walked around the sofa from the left to the TV. Anna turned on the headlights in the living room.
George (trying to identify the road signs): Uh...Romainville...Romainville, this may be Romainville... (He turns to his wife outside the picture.) See if there is a Lenin Avenue over there. (He turns to the TV again and puts on his glasses.)
Anna (outside the picture on the left): Wait... here! (George turns around.) On Metro Line 11, near Mairie des Lilas Station. (George walks towards Anna, Anna appears in the frame again, holding a map in her hand. The camera moves to the left.) Here it is. (A half-length shot of two people standing in front of the fireplace. Anna hands George the map. George turns and sits on the sofa and starts playing the video again.) What are you going to do next?
George: I plan to go there. It's near Guillaume, have you seen it?
Anna (nervous): Then what?
George: I don't know, I'll go there, knock on the door, and see what's going on.
Anna: It's that simple?
George: It's that simple, yes. Do you have a better idea? (He stops the tape.)
Anna: Why don't you call the police? You know this corridor and this address. You should find a policeman to accompany you. At least they can do it, right?
George: What if it's just a bluff and someone is just playing tricks on us?
Anna: Do you really think so?
George: Well, what does this tape say? One street and one corridor. Just tell you to go there and knock on the door. If someone really jumps out or wants to kill you, I'll talk about it then, that's it.
Anna (stubbornly): Does anyone know your hometown?
George (sighs): I don't know!
Anna: Don't you know this building?
George: I don't know!
Anna (distractedly): Then, we... (puts arms on the fireplace) Let's find a private detective.
George: Have you watched detective novels on TV?
Anna (walking to him, picking up the map in his hand): Okay, it's useless to tell you, just do whatever you want. (She walks sideways to the camera to the left of the living room, trying to place the map, obviously nervous, and the camera follows.)
George (outside the picture on the right, blurted out): I suspect a person.
Anna (she turns around): What?
George (outside the painting): Yes, I think I know who it is.
Anna walked back the same way and came to her husband's side, the camera moved horizontally to the right to follow the shot, and George faced the camera this time.
Anna (surprised): Do you know who it is?
George (on alert): I think I know him.
Anna (waiting to say a name): Who is that?
George: I want to check again.
Anna (stubbornly): What, are you okay? Can't you tell what you know? Anyway, this matter also has something to do with me, doesn't it?
98. Two-thirds of George's head-up close-up shot, he has been sitting on the sofa.
George (Embarrassed): I can't tell you because I'm not sure. This is just a suspicion.
Anna (reversed the camera): Can't you tell me?
George (looks at her for a while, awkwardly): No.
99. Coaxial with lens 97. A close-up of Anna's back-up shot above her chest.
Anna (confounded, collapsed, tremor): I don't know me... Do you really know what you are talking about?
George (reverse shot): Anna, I beg you, just be quiet, not what you think.
Anna: Really? What am I thinking?
100. The same lens 98. George.
George (emphasizes with a gesture): Oh, for God's sake, stop making trouble, okay? This is a very uncertain suspicion. I don't want to panic others when I don't know anything. It has nothing to do with you...
Anna (outside the picture, interrupt him): It has nothing to do with me? !
101. The same lens 99. Anna
Anna (pointing to himself, wide-eyed): These days I cranky! Why this has nothing to do with me, I was threatened by anonymous calls. And these damn videotapes! I hardly dare to go to the streets. I think this has something to do with me, because when I think of Piero, think of you, and think of these awkward things, I dare not close my eyes! If it doesn't matter to me, then there is no problem, our life is as usual, what do you want to eat? ! Or an aperitif first? !
102. Same as lens 100. George.
George: Anna, don't do that. If I...
Anna (reversed the camera, almost shouting): Then what would you do? You would never mention it, would you? ! ! !
George: Don't do that...
Anna (reversed camera): Do you know these stupid things you said? You never know what trust is, do you?
George: Didn't you realize that what you are doing now hits the arms of the guy who patted this belt? He is going to make a mess of our lives, and you just hit the trick. Can't you believe me?
103. Same as lens 101. Anna, hands on hips.
Anna (screaming): Should I believe you? Why not the other way around? What do you use to show trust in me? Who is now refusing to trust another person?
104. Same as lens 102. George.
Anna (reversed the camera, her voice trembling): Okay, think about it if it's the opposite. Imagine if I said to you, uh, I suspect that someone is intimidating us, but I can't tell you. That's great, huh?
105. Same lens 99. Anna.
Anna: Don't you think that this will keep our relationship good, right? This is called mutual trust?
106. The same lens 98. George.
Anna (reversed lens): Huh?
George: Listen to what you are saying, huh.
107. The same lens 99. With tears in her eyes, Anna turned right out of the room, slammed the door, and the camera followed.
Romanville, location, day
108. Semi-panoramic shot of the building in the videotape. In front of it are trees and sidewalks. There is a car parked in front of a building in the distance. Several cars crossed and passed through the screen. George's subjective shot.
Gas station shop, interior view, day
109. George's frontal shot from above the shoulder, he looked through the window at the building outside the painting on the left. With his arm resting on a bar counter by the window, he had just finished a cup of coffee with several plastic cups on the counter. The sound of the vending machine made him turn around and take a look, then he turned his head and looked out the window again, and decided to act.
Building corridor, interior view, day
110. Same lens as 96. This time it was George walking forward, pushing in front of the camera subjectively, and then he appeared in the picture with a close-up shot of three-quarters of the right side above the shoulder, and he rang the doorbell of room 047.
Man (outside the picture): Wait! Come! (The door opens to the right, and a short, squat, gray-haired man appears behind the door, aged between 55 and 60 years old-Maurice Benishu, this is Majid.) Sorry, I am... (He stops suddenly because he recognizes George and he has a rag in his hand.) Why are you here?
George: Who are you?
Majid: Do you want to come in? (He opens the door wide. George walks in, the camera moves to the right to follow the shot, Majid closes the door.)
Majid's apartment, interior view, day
111. Connect the lens. A half-length shot of George, standing in the foyer with blooming flowers on the wallpaper. Majid stood by the wall.
Majid (invite him in): Please come in. (George did it, and the camera followed.)
112. The anti-axis connects the camera. George walked into another room, and Majid followed and closed the door. George stood at the right end of the screen with his back to the camera, facing Majid in the close shot.
Majid: Please sit down. (George doesn't move.) I'm cooking.
George: What do you want from me?
Majid: What do you want, me?
113. Anti-axis. A close shot of George. Majid stood at the left end of the lens with his back to the mirror.
George: Do you want money?
Majid: Money?
George: What else?
114. Back to the end of lens 112. Majid.
Majid: Can you tell me how you found me?
115. Same as lens 113. George walked a few steps to the right, and we saw that the rest of the room was messy. George stopped and turned to face Majid who was now on the left side of the shot.
George (coldly): This is a game, right? I do not want to play. Time has passed, I am already an adult.
Majid (reverse shot): I can see this.
George: So, what is your purpose for doing this?
Majid (reverse shot): What did I do?
George: Are you fooling me? !
116. He is puzzled by Majid's close-up view.
Majid: You are not going to tell me why I came? And how did you find me?
117. Coaxial with lens 115. George's close-up.
He fumbled in his coat pocket, and then took out the painting of the vomiting child. He unfolded the painting, turned to Majid, and handed it to him, the camera followed to the left, and the two faced the camera face to face.
Majid: What is this?
George: Stop pretending to be garlic, eh? (Majid looks at the painting and takes a step towards the kitchen corner table. He sits down and the camera moves with it. George is outside the painting on the right.) Really don't know?
Majid (confused, he looks at the painting, then at George): Please sit down. (George walks over and sits on a Formica chair across from him. Majid smoothes the wrinkles on the paper and lays it flat on the table.) Not deliberately pretending to be surprised by your arrival, but it is true. In my opinion, you are the least likely to knock on this door.
George: I also have to cooperate with your game. I can call the police directly and report you. You didn't expect it at all. You are surprised to see me. Then you think, why am I here? Who has been terrorizing my family for weeks in a row?
Majid: I don't know. Why do you use honorifics to me (Note 2)? You didn't recognize me, did you? If we walked on the street, you would not stop.
118. A close-up above Majid's chest, he turned to the right and shot George in the lens.
Majid: Me too. At the beginning, I was not sure. Several years ago, I saw your show by chance. It was the previous show with two chairs connected together. You and the guest are sitting very close, face to face... It was at that moment, I'm not sure. I just have a very uncomfortable feeling.
119. Reverse the lens. The same George shot. Behind him is a corner of the room with a window leading to the street.
Majid (reversed lens): It's weird, isn't it? I even feel sick. I do not know why.
120. Same as lens 118. Majid.
Majid: Later, when I saw your name, I understood...and... (He stretches out his hand and smiles lightly.) This nose. (After a while, he sighs.) Why did you get into the TV business? Shouldn't you inherit those industries?
121. Same as lens 119. George.
George (he stopped using honorifics to Majid): Tell me what you want.
Majid (reverse shot): Nothing! What can I ask you for? what you mean? money?
122. The same lens 120. Majid.
Majid: You come here to think that I intend to blackmail you. (Shaking his head) You haven't changed... But what am I using to blackmail you?
123. Same as lens 121. George.
George (pause): Who sent me those videotapes?
Majid (reverse shot): Video tape?
George (short breathing): Isn't it strange, huh? I haven't had a fight since I grew up. I dislike t
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