screenwriter: Tonino Gellar
Director: Michelangelo Antonioni
Starring: Vanessa Redgrave, Sarah Miles, David Hemings
Photography: Carlo Di Palma
Awards: 1967 20th Cannes film Festival Award
translation: Kang Dong
insert title figure: Zhou Zheng
morning in London. A jeep drove into a courtyard surrounded by tall buildings and paved with stones. In the car sat a group of students dressed in fancy clothes with white powder on their faces. They yelled and waved their hands. The jeep made a circle and stopped at the entrance of the square. The students jumped out of the car, they were still arguing loudly and laughing.
St. James Street. The students clamored and ran down the steps and toward the street. They screamed and ran to the middle of the street. Several people stopped and stared at something.
Outside the courtyard of the Camberwell Reception Center, an inn for the poor and devastated. A group of people in rags appeared by the gate. There are old people and young people among them. A shaggy, disheveled young man in his 20s, holding a shabby kraft paper pocket. The young man walked towards a railway bridge with everyone. In the distance, a train rumbling past. When the group of people reached the other gate leading to the street, the young man turned to the right.
The students intercepted passing vehicles on the street, and the noise was deafening. They stopped a white car, asked the people in the car to donate, and then surrounded a black car.
The group of people in rags scattered in different directions under the railway bridge.
The 20-something young man carried the paper bag under his arm and stood with three other people under the arch near the hotel. For a moment, they vaguely said goodbye to each other: "Then, see you later, if you come back tonight..." After that, the three people walked away. The young man looked around carefully, turned the corner, and left without incident. At first, he walked hurriedly, then ran towards a car parked in the distance.
The two nuns passed through the gate, turned around the corner, and stood in front of St. James's palace. The students screamed and ran over, almost knocking them down. The nuns hurried past a guard soldier in a red uniform and a black leather top hat. The soldier was on the right foot, patrolling outside the gate of the palace.
The young man suddenly drove a Rolls-Royce Silver Cloud convertible from the direction of the reception center. The students turned the corner and surrounded the cars. The three students shook the tin box towards the young man. The young man smiled.
A male student: Your money... the
young man is digging through the stacks of newspapers and paper bags in the back seat of the car. An expensive camera lens came out of the paper bag. He found a pound note and handed it to the student.
A female student: Thank you!
The students ran away. The Rolls-Royce car drove in the other direction and slowed down at the intersection. It passed through crowded vehicles and drove into a dark underpass.
From the exit of the underpass, the young man could be seen speaking into the radiotelephone under the instrument board.
Young man: Bru 439. Bru 439. It's over.
Operator (voice): Bru 439. Please keep talking. It's over.
Young man: Call Weston 0219. Please tell them that I am on the road, okay?
Operator (voice): I understand. Follow. keep in touch.
On a street in Kensington, a Rolls-Royce car parked in front of a black garage. A big 39 is written on the garage. This is a photography workshop for young people.
The young man—he is a photographer named Thomas—takes out a camera from the kraft paper bag, puts it in a groove on the car instrument panel, and locks it. Then he picked up the paper bag, got out of the car, and walked into the brown front door of the garage.
Photographer's workshop. The lobby is arranged as an office. The receptionist—a beautiful oriental girl—is repairing the photo under the lamp. Thomas walked into the workshop.
Thomas: Hello, lover.
Receptionist: Hello.
Thomas walked into the next room, then he went up the stairs, through a narrow aisle, and into the kitchen. A young man is drinking coffee here. He is one of Thomas' two assistants. Through the kitchen door, two female models can be seen changing clothes and putting on makeup.
Thomas took out several rolls of film from the paper bag and gave them to his assistant.
Thomas: Punch out these scrolls.
Assistant: Okay.
Thomas: Go right away.
Thomas opened the door of the bedroom and work room and looked carefully. He quietly entered the door and walked towards a table. The thick glass plate standing in the workshop reflects the figure of another female model. Thomas put down the camera and poured a glass of wine. The assistant walked through the workshop with the film to be developed. Hearing the movement of the female model, Thomas turned around.
Female model: I am here.
Thomas: Are you ready?
A female mannequin in a black shawl sits on a bench. She came forward and stopped under a low beam.
Female model: I'm ready for almost an hour!
Toros (outside the picture): Good!
Thomas is setting up the workshop. The female model walked towards him.
Female model: I want to catch a plane to Paris at 11 o'clock, so I can't...
Thomas (simultaneously): What can't?
Thomas picked up some colorful ostrich feathers.
Female model: It's okay.
Thomas approached the model and looked at her. She was a little tired.
Thomas: Which beast did you stay with last night?
The female model smiled and walked away.
Thomas: Legge!
He stretched his thumb towards the sky shed. Cai Ge hurried over and opened the curtains on the skylight.
The light came in from the skylight and hit the female model who was taking off the shawl.
Thomas put down his feathers, took off his shoes, and looked at the female model carefully. He slowly approached her, placing feathers beside her.
A female mannequin is standing in front of a backing paper. Her black coat is loose, the neckline is very low, and the hem is very high. She was standing there without wearing underwear. Ostrich feathers dangled around her.
Thomas stood behind the tripod and Legge stood beside him.
Thomas: Legge, let's have some music.
Legge walked over to play music. Thomas adjusted the focus.
There was lewd jazz in the room. The female model stood in front of the backing paper, posing in various poses—some flexible and soft, some relaxed and elegant—giving people the feeling of a rubber doll.
Thomas (outside the painting): That's it.
He took one or two shots.
Thomas: Yes, very good, very good, don't move.
The female model stretched out an arm and tilted her body slightly downward.
Thomas took pictures of her. The camera shutter clicked and rang.
The female model continued to change her posture, pulling her hair back. Click sound. She leaned forward again. Click sound. She straightened her body and twisted to the beat of the music. Click sound.
The assistant handed Thomas another camera. Thomas is still looking at the model carefully. He took a sip of wine, then knelt on the ground, approached the model, and pressed the shutter continuously.
Legg loaded film into the first camera.
Thomas (outside the painting): Legge!
Legg raised his head and passed another camera. Thomas took off the camera strap from his neck, still staring at the female model. He leaned on her and pressed the shutter continuously.
Thomas: Smile. Keep laughing, that's it, yes.
Then Thomas leaned close to her and held the camera close to her chest, as if holding a machine gun, shooting one by one. He got closer and closer to her. Both men knelt on the ground. At this time, another piece of music with a faster speed sounded.
Thomas: Shrug, shrug again...that's it...that's it...very good.
Female mannequin standing on the floor. Thomas jumped around her, becoming more and more excited. He lifted her hair back.
Thomas: Now put your hair back and put your hair back.
He whispered to her in a low voice, and she smiled.
Thomas: Come on, it's great. That's great! very good. good. Come, go back, go back. Now, do it like I said, do it more realistically. Come on now!
Thomas took a few steps forward, bent down, and took more pictures.
Over Thomas's shoulder, the female model's face can be seen.
Thomas: As much as possible...
he got up to take another angle.
Thomas (outside the painting): ...faster, as fast as possible. Do as I said! Go ahead and keep going. (Thomas appears) Good. That's fine. Now, turn to this side, this side. Lean forward, lean forward.
Thomas raised the female model's hand to her mouth. He started taking pictures again.
Thomas: Raise your hand, raise your hand. Very good. I just touched my face. very good. Do it this way again. Just like this. (He turns to another angle to take the picture) Take another side view, side view. OK, now pat the hair, pat the hair. (He gestures, the female model looses her hair) Great. Very good. good. Yes, hair...More, more. Good, great. Yes, that's great. very good. very good. right! Come on. Do it again, do it again, just do it again.
The female mannequin tilted her head back and wiggled her hair. Thomas is taking pictures.
Thomas: Hey, grab the hair and move it to the left. Again. good.
He stood up, took off the camera, and handed it to the assistant.
Thomas: Okay, Legge.
Legge handed Thomas another camera. Thomas hung it on his shoulders and turned to face the female model.
Thomas: You can relax and lie down. Come on, yes. Now, do it as it really is.
The female model lay on the floor and began to twist her body slowly and deliberately. Thomas took pictures of her.
Thomas (outside the painting): Come on, come on. Twist, twist, twist. very good. Let's do it again, come on. Back, back-Raise your arms, raise your arms, stretch...
Thomas stood up, straddled her, and slowly squatted down, still taking pictures one by one. He whispered to her again, and the female model smiled again. She stretched out her hands as if to hug him.
Thomas also became very excited. His movements are a bit crazy.
Thomas: ...your body, little woman. Very good. Again. Do it energetically, do it, do it, great. That's it, don't move. So cute. Yes, let it come, great. Don't give up, yes. Think about what I said to you. No, no, raise your head, raise your head.
The female model sat up slowly.
Thomas: Honey, do it for me. Honey, do it for me. Now, now...
Thomas kneels and straddles the female model. His voice grew louder, reaching a climax.
Thomas: Yes, yes, yes...
Thomas stopped. The female model's energy diminished, and she looked a little tired and lay down.
Thomas stood up and sat on the couch abruptly. The female model was still stretched out and lying on the floor. The phone rang. The assistant walked over to answer the phone. The female model sat up and walked away, revealing her long, naked legs.
Assistant (outside the picture): Hello,...Yes. Please don't hang up.
The assistant came over and handed the microphone to Thomas.
Assistant: He called.
Thomas took the microphone.
Thomas: Hello! Um? Yeah. I already got it. I know I got it. Ah? Yes, don't hang up.
Thomas put the microphone on the table.
Thomas: Legge, would you please write down the address of that damn antique shop, okay?
The assistant came over and took the microphone.
Thomas shaved in the bathroom. He is wearing a clean blue shirt and a pair of white pants. While he was washing his face, the first assistant suddenly walked in with the developed photos. Thomas wiped his face while looking at the photo. The photos were taken at the reception center: there are portraits of homeless people, dirty surroundings, and scenes of them being startled from their sleep.
Thomas (outside the painting): Oh, it's incredible! Let's wash it now. Yes, yes, great.
Thomas picked up the changed dirty clothes from a small bench and handed it to his assistant.
Thomas: Yes, you can burn it all.
Thomas walked out of the bathroom, followed by his assistant, and he showed a surprised expression. Thomas walked down the stairs, buckling the belt of his watch, and walked into a spacious hall leading to the workshop on the first floor. Jazz music echoed in the hall. The assistant threw the dirty clothes on a box. Thomas walked into the workshop, raised his head, and looked at a floor-to-ceiling window. A transparent plastic sheet hung on the window, and a female model was dancing behind it. Thomas put two fingers in his mouth and whistled.
Thomas (calling): Legge!
Legge walked out of a door by the floor-to-ceiling window.
Thomas (outside the painting): Can you calm these people down?
Assistant: Okay.
The assistant turned away. Five female mannequins looked down from behind the plastic sheet.
In the workplace. Thomas was standing below, with a white canvas lining with a false ceiling hanging behind him. Several thick glass panels as high as the ceiling have been erected under the backdrop. Thomas took off his shoes and walked between the glass panes.
A female dresser is finishing the clothes for the last female model, using clothes clips to clamp the back. Thomas came over, stood behind the camera, and set up a tripod with his assistant. The female costumer came over to help.
Two female mannequins posing. One was wearing a long black and white short coat and chewing gum; the other was wearing a silver costume and a hat decorated with metal pieces, and she raised an arm.
Thomas: Oh eh! Don't chew gum. Threw it away. Don't throw it on the floor. (The female model sticks gum behind her ears) You, put your arms down. (The other female model puts down her arm) It's all right.
The assistant told Thomas the reading of the exposure meter. Thomas stood between the two glass plates, took a picture, and then looked up.
Thomas: It's terrible... The
female models are standing and posing in front of the scene. Thomas walked to one of them and grabbed one of her legs.
Thomas: Can you move this leg forward a little bit?
He maliciously pulled the girl's leg forward.
Thomas: Look up.
The female model did as he asked. He walked behind a glass plate. The models took various poses. Thomas walked back to the camera and took a few more pictures. The blonde model stood in front. Another model is reflected in the glass panel. The model kept changing positions.
Thomas: Then do...open your mouth. Yes, good, good.
A model did as required. The model with the metal ornament on the hat next to her looked to the right playfully. The fourth model standing next to her wiggled gently to the music.
The female model wearing a short coat scratched her head, made a surprised expression, and fell backward.
Thomas took a few photos.
The acting model squatted down and stretched out her arms. She leaned her head on one hand and stretched out another leg.
Thomas waved.
Thomas: No, you didn't do it right. restart. restart. Think again about what to do.
The female models adjusted their poses.
Thomas (outside the painting): Think again about what to do.
The blonde model stood, pulling away the thin white cloak with black stripes on her shoulders. Thomas walked up to her, Legge and the costumer looked at them disinterestedly.
Thomas: The belt, just let the cloak hang down. (The model releases her hand) It all hangs down. Fasten the straps. It is important to keep the straps still. ... Raise your arm, ... put it down again.
Thomas acted for her and walked back behind the camera.
Thomas: Yes, very beautiful. Yes, I like this. Go ahead. Ah, good, change posture.
Thomas moved the tripod a few feet to the right. He looked at the models and found that they were distracted. He gave a sharp whistle.
Thomas (calling): Wake up!
The glass plates have been moved to different positions, arranged in a diagonal line. The female models changed their clothes and posed. Their figures are a little blurry, only their feet can be seen clearly. The camera moved towards them.
Thomas (outside the picture): Now-you can work with me, you should thank your lucky stars, right? Okay, one more pose. Smile now. Go ahead. Laugh! Laugh!
The camera shook each model in turn. Thomas took the picture frantically. He walked to the models angrily.
Thomas: God!
He walked slowly in front of the models, dressing them up.
Thomas: I make you laugh. What's wrong? Have you forgotten what laughter is all about? (Shouts to the last model) Huh? (She winces)
Thomas returned to the camera and glanced back at the models. They were tired and showed it.
Thomas: Well, you are all tired. Go, take a break.
The female models relaxed, they left the glass panel. Two of them twisted to the music.
Thomas (outside the painting): I can no longer look at your eyes, they are all squinted. Go ahead, close your eyes.
The female models closed their eyes.
Thomas (outside the painting): Close your eyes. Just leave it alone. This is good for you.
All five girls closed their eyes.
Chorus in the player:
...Sometimes you really need a girl,
but you are panicked by her sister again.
Her father came over and
took you to...
Thomas turned around, put on his shoes, got up and took his jacket. He walked to the female costumer.
Thomas: Close your eyes!
Thomas walked from the workshop to the hall leading to the garage, picked up the pile of dirty clothes from the box, walked to the backyard, and threw them in the trash can. Then, waving his jacket, he walked towards another house in the courtyard. This is the house of his friend, the painter Bill.
The door is open. Thomas walked in, he closed the door and threw his jacket on a chair. Bill's house is a modern building with a patio in the middle, and almost all four walls are decorated with thick glass panels. In the hall and living room, Thomas hooked his neck with his hands and curled up in a chair.
Through the door of Bill's workshop, he could be seen staring at a painting hanging on the easel. Bill noticed his friend and nodded to him. The painting on the easel is different from the painting on the wall. It is based on an unfinished painting placed on the floor. These faces are abstract paintings composed of small colored dots. However, they do have a dramatic tension. The one hanging on the easel is more symbolic. That is to say, there is a metaphor in the painting. And the painter focused his attention on this point.
Bill is explaining his painting.
Bill: It must be five or six years.
Bill walked forward. Thomas stood up and walked across the patio. He stood beside Bill and leaned against the door frame. Both of them are holding that picture.
Bill: When I drew these dots, they didn't really refer to them—it was just a mess. Then I found something worth pondering—like...like...
Bill pointed to the painting.
Bill: ...that leg.
Bill glanced at Thomas.
Bill: Then, it has a clue, and it makes sense. It's like finding clues in a detective story.
Bill moved, his gaze fell on the surface of the floor. Both of them looked at the painting.
Bill: Ha... don't ask me this one. I do not know yet.
Thomas: Can I buy it?
Bill: No way.
Bill and Thomas stand between the two paintings. Thomas held up the door frame with his hands.
Thomas: Will you give it to me?
Bill shook his head. Thomas knelt down, pondering the poster on the ground. He stood up and walked towards the chair where he had been sitting. Bill's young wife, Patricia, walked down the stairs leading to the workshop, and she saw Thomas. She went into the kitchen and turned on the refrigerator. She can be seen through the thick glass. She took a bottle of beer and a glass from the refrigerator, walked over to Thomas, and handed him the beer.
Patricia: Here you are.
Thomas: Yes. thanks.
Patricia walked behind Thomas and stroked his hair.
Thomas: Despicable guy. (He raises his voice, looks in Bill's direction, grinning) He refuses to sell me that disgusting painting. Well, I would sneak in and steal it one night.
Thomas leaned back and Patricia smiled. She became serious again and stopped stroking his hair.
Thomas: Don't stop, it's comfortable.
Patricia: Looks like you are tired...
Thomas (outside the picture): Yes.
Thomas was drinking beer.
Thomas: I stood at the inferior inn all night.
Thomas stood up, walked in front of Patricia, consciously flicked his hair with his hand, and left Bill's house.
Patricia closed the door, turned around, looked at her husband, and sighed.
Thomas walked into the hall at the back of his workshop and walked through the door of the workshop. He opened the door of the receptionist's office and saw two teenage girls waiting there, one was a blonde and the other was a brunette. They jumped up and smiled at him. The receptionist stood up and approached Thomas.
Receptionist: They said someone asked them to come here.
Thomas: I didn't ask for it.
The blonde walked over to Thomas.
Blonde girl: It's not that someone forced us to come... The
receptionist looked at the two girls.
Thomas (annoyed): Sorry, I'm very busy.
Then he turned around and faced the receptionist.
Thomas: They are taking photos of me upstairs; go get them.
The receptionist is gone. Thomas sat down behind the table.
Blonde: Can't you give us a few minutes?
Thomas fiddled with a few coins on the table.
Thomas: A few minutes? I haven't even had my cecum removed for a few minutes.
Thomas turned a coin with his fingers. He put his feet on the table. He threw away the coin and wriggled to the song of the radio.
The singing on the radio:
...to plunge you into the pit of misfortune.
Don’t you know you’re in trouble?
And it implicated me.
You come to his daughter's side,
but you are embarrassed and troubled... The
two girls are standing, looking at him. The receptionist came back with the photo, and the girls flashed aside.
Singing on the radio:
...entanglement.
Wow,
carnival!
When the receptionist handed the photo to Thomas, the two girls were still watching him. Thomas stood up and flipped through the photos.
Blonde girl: When shall we come?
Thomas: Don't come.
Thomas picked up his coat and prepared to go out. He turned to face the receptionist.
Thomas: Are those people still waiting with their eyes closed?
Receptionist: Yes, they are waiting, but their eyes are open.
Thomas: Good.
He walked towards the door and turned around again.
Thomas: Tell them to close their eyes again.
Thomas walked out from the front of Room 39 and walked towards his Rolls-Royce car. He threw the camera on the back seat and jumped into the car. The two girls also ran out and leaned against the car. Thomas quickly took off his coat and glanced at the brunette's handbag.
Thomas: You should throw away that bag, it's too ugly.
The brunette hurriedly hid the bag. Thomas started the engine and drove away. The two girls ran with the car a few steps.
Blonde: Can we come again this afternoon?
But Thomas drove away quickly. He turned on the radio, and there was the sound of jazz music. The girls were pulled behind and stood on the side of the street. Thomas tapped his mouth.
Another street. Various vehicles shuttle back and forth. All the houses on the street are red.
Thomas drove the car in a weird way. Suddenly, he rushed into the congested traffic. Obviously, he had to coast a distance to stop the car. At the last moment before turning, the car swayed violently from side to side, and it seemed that he didn't decide which direction to turn until then. He drove through another street with a blue house on the side of the road.
The car drove past the building under construction. There is a huge unlit neon sign in the distance. The car passed some new buildings and drove down the street.
In a quiet side street, Thomas saw a pair of intersexuals walking with a poodle. He turned the front of the car.
The gay couple looked into the window of an antique shop. The Rolls-Royce car turned the corner and stopped in front of the store.
Thomas got out of the car and walked across the street towards the store. He watched the two homosexuals twist their bodies, drifted away, then walked into the store and closed the door.
This is a small shop with no decorations, and all kinds of things are placed in a mess. Thomas looked around, examined, and valued, as if looking for something. He is walking in the shop.
An old man's face suddenly flashed from behind an iron partition. Thomas watched curiously and excitedly.
Old man: What do you want to do?
Thomas (outside the painting): Just look around.
Old man: There are no bargains here. You are wasting time.
Thomas and the old man looked at each other.
Thomas: I just look at it.
The old man walked forward, Thomas stepped away and walked towards a bookshelf.
Old man: What are you looking for?
Thomas (hesitating): Draw.
The old man took a pack of dusty paper from under the pile of paintings on the shelf.
Old man: No painting.
He blew the dust from the paper bag onto Thomas's face and walked back to the back of the partition. Thomas followed him, waving a hand to drive away the dust.
Old man: What kind of painting?
The old man put these papers together with other papers. Thomas walked over to him.
Thomas: Landscape painting.
Old man: Sorry, there are no landscape paintings.
Thomas held him and smiled. Right in front of them, above the writing desk behind some small busts of plaster statues, hung an old landscape painting. Thomas removed the bust of Abraham Lincoln. The old man was a little embarrassed, picking up the dust on his coat.
Old man: They are all sold.
The old man walked a few steps to the side, and Thomas followed.
Thomas: Is the painting yours?
Old man: The painter is out.
Thomas: Waiting for him to come back?
The old man did not answer. He blew off the dust from a lamp, grunting in a low voice. Thomas walked towards the door.
Outside the antique shop. Thomas was standing by the side of the road, examining the taller house behind the store. Then he crossed the street and walked towards his car. At this time, we saw a path inside a gate, with velvety green grass growing on both sides, and tall trees swaying in the wind.
Thomas took the camera out of the groove on the instrument panel of the car, walked back to the middle of the road, and took a few photos of the antique shop from different angles.
From between the two tree trunks in the park, you can see Thomas standing farther outside the gate. He turned around and stared at the trees. He walked towards the gate. A little bird is singing, and in a quiet park, the chirping of the bird is very echoing.
A cleaner picked up waste from the grass. Thomas walked in front of him, stopped, looked back, and went on again. That man keeps on working.
The park is bathed in pleasant soft light. Except for the black rectangular ground of the two tennis courts enclosed by high barbed wire and two borders of white roses, the surrounding area is green. In the middle of this green patch, a small patch of white in the distance is very conspicuous. It is a row of houses hidden by green trees. Thomas walked by with a camera, and two boys were playing tennis on one of the tennis courts. The sound of the racket hitting the ball, the chirping of birds and the sound of the wind add to the sense of tranquility and peace in the park.
Thomas adjusted the lens while framing the shot. He walked into an open field under the white house and photographed a group of pigeons on the grass. He ran around, patted the doves flapping their wings. A pigeon flew from a big tree, and Thomas took a few photos. A man and a girl can be seen near the big tree.
Thomas took a few steps forward, stopped in the middle of the open ground, and looked up.
The man and girl held hands and climbed up the densely wooded slope with a smile. They slipped and fell and laughed at each other. The girl seemed to be trying to persuade the man to climb with her to the top of the slope. The man seemed reluctant.
There are some paths in the forest, with short and wide stone steps, leading to the hills. Thomas walked along a path, and then ran up. While jumping, he kicked his feet like a Cossack dancer, jumped from one stone step to another, and reached the top of the slope in a blink of an eye.
The slight friction between the two strangers aroused Thomas' curiosity. He followed them quietly, concealed by the branches, and pointed the camera at the two people.
A small piece of grass surrounded by trees is very quiet, only leaves rustling in the wind. On the other side of the grass, the two people didn't notice Thomas at all. They stood face to face. The girl smiled while pulling the man's arm. She is beautiful and elegant, and looks very charming. Thomas jumped over the wooden fence, ran around the grass, and pointed the camera at them. He took photos from all angles behind the fence. But he was too far away from those two people. He moved along the fence, came closer to them, hid under the branches, and took a few more pictures.
Thomas climbed the fence again, hid behind a tree, and took a few more pictures. However, he was still too far away from them. He took a few pictures of them kissing from a distance. Unfortunately, he didn't wear a zoom lens. He moved carefully behind the other tree, and got closer to the two people.
The girl took the man to the middle of the grass. She kissed him and walked away. It seems that she wants to watch the scenery, breathe and breathe the calm and tranquil air.
Thomas has taken enough shots. He retreated to the edge of the open ground and walked sideways to another tree.
At the same time, the girl took the man to the other side of the open field. She embraced him again and kissed him.
Thomas left the hiding place on this side of the open ground. For some reason, he stopped again and took a few photos. Then, he returned along the same route.
The girl and the man noticed him suddenly. Appears very anxious. Thomas disappeared under the slope. The girl chased over and stopped on the path.
Thomas heard her running, stopped and turned around. He saw the girl, picked up the camera instinctively, and took a few more pictures.
Girl (outside the painting): What are you doing?
The girl stood on the top of the stone step, holding out her hand defensively. She rushed towards Thomas with implicit anger, and ran to several stone steps below him.
Girl: Stop taking pictures! Stop shooting! Give me those pictures. You can't take pictures of people like that.
Thomas put down the camera and looked at her with a friendly smile.
Thomas: Who said I can't? I am just doing my job. Some people are... bullfighters, some are politicians, and I am a photographer.
They stared at each other.
Girl: This is a public place, and everyone has the right to peace.
Thomas walked over and leaned against the fence. He pondered the girl seriously. She stood there sternly, her lips tight.
Thomas: If there is no peace, it is not my responsibility. You know, most girls even pay me to let me take pictures of them.
Thomas looked down at the girl.
Girl: I will also give you money.
Thomas: I want a high price. There are other things I want on the film.
He turned around, looked up at the grass, and then hurriedly walked up the stone steps to the edge of the open ground and looked at the place where the man had stood just now. The girl followed him up the stone stairs anxiously.
Girl (somewhat hopelessly): So, what are we doing?
The girl was very excited.
Thomas: I will send you the photos.
Girl: No, I want it now.
The girl suddenly went to grab the camera, trying to snatch it from Thomas. But he moved faster, he grabbed the camera strap and didn't let go. The girl was pulled to her knees. She took a vicious bite in his hand. Thomas pushed her away angrily.
Thomas (yells): No! What are you up to?
The girl looked up at him. Thomas regained his calm.
Thomas (in a strange and ironic tone): Don't let us ruin everything. We just met...
Thomas looked down at her. She stood up tired and desperate. She stepped back, staring at the young man's face. She kept stepping back, panting anxiously.
Girl: No, we haven't met each other. You have never seen me.
Thomas bent down and picked up the lens cap. He closed the lens cap while looking at something on the open ground. The girl turned around and looked in the same direction: the man was gone. She looked very annoyed, turned and ran across the grass to chase the man. She stopped near a bush, stood for a while, and ran away.
Thomas took a few more pictures of the girl.
The girl disappeared on the other side of the hill.
Through the window of the antique shop, you can see Thomas is walking across the street towards this side. A girl pushed a baby carriage and walked towards the gate of the park. Outside the shop window, Thomas ran into the old man whom he had met last time, and he beckoned Thomas in. Thomas walked towards the door. You can hear the sound of ancient Hawaiian music playing in the store.
At the back of the shop, the owner—a girl—is sitting on a table, listening to the old Hawaiian music. She has black hair and is very young. Thomas approached her. She barely glanced at him.
Thomas: Hello.
Girl: Hello.
She didn't turn around and changed a record.
Thomas: Oh... my agent saw you near the shop.
Girl (without expression): Really?
Thomas: He is a cigar smoker, flicking soot everywhere.
Girl: I think I remember him. I may ask for too high a price. Money is always a problem, right? Tell him to come again.
She started playing with the gramophone again.
Thomas walked up to her, grabbed her by the shoulders, turned her around, and made her face him.
Thomas: Why did you sell it?
The girl turned off the phonograph, stood up, and walked past Thomas.
Girl: I want to try something else and go somewhere else. Oh, I'm tired of antiques.
Thomas (outside the picture): Where to go?
Girl: Go to Nepal.
Thomas looked at the store.
Thomas: Nepal is all antiques.
Girl (outside the painting): Really?
Thomas nodded.
Girl: Oh, yes. Maybe I want to try in Morocco.
Thomas grinned. He walked around, looking at the pressing objects in the store, some of them were pretty good. Something in the back room of the shop suddenly attracted his attention.
Thomas: How much is it?
Girl: What?
Thomas: Propeller.
Thomas walked into the back room, and the girl followed, leaning against the wall.
Girl: You can buy it for 8 pounds.
Thomas walked towards a huge, fine-textured wooden airplane propeller, hidden under a mess of little things. Thomas began to clean up the waste on the propeller.
Thomas: Okay. You are doing business. Do you have a delivery truck?
Girl (outside the painting): You can't take it now.
Thomas cleared a place around the propeller in order to move it.
Thomas: I must take it away. Must be taken away. I can't live without it.
The girl smiled and walked over to help him clean up the waste.
Girl: It's too unfortunate. There is no delivery on Saturday, so you have to deal with this sinking guy yourself.
Thomas removed an armchair from the propeller. Chairs fill the screen.
Thomas and Ku Niang walked out of the store with a huge propeller and crossed the street.
Girl: Is it that one?
Thomas: Yes.
They walked to the Rolls-Royce car. Thomas put the propeller on the back seat, trying to stabilize it.
Girl: You can't do that. This is not a delivery truck.
Thomas: Leave him alone!
Girl (shrugs): Let me do it. Let me see if there is any way.
Thomas: Okay. But it's best to deliver it today. goodbye.
Thomas returned the propeller to the girl. The thing was too heavy, she couldn't carry it alone, and the propeller fell to the ground with a "bang" sound. Thomas turned around abruptly.
Thomas: Oh eh!
He got into the car and started the engine. A Rolls-Royce car drove out of an alley and merged into the traffic, followed by a bus. Thomas drove away. The car passed through Hyde Park and passed between two skyscrapers, overtaking a bus. The bus stopped, and Thomas' car went on.
Thomas relaxes while driving. He picked up the microphone.
Thomas: Bru 439, Bru 439, it's over.
Operator (outside the picture): Bru 126, please continue.
Thomas: Hello, I'm...oh...please pick me up Flexman 6177, Mr. Walker, Peter Walker, tell him I have been to the antique shop. The thing is a bit expensive, but the girl will reduce the price, telling him to call her directly, and others will not be able to buy it.
Operator (outside the picture): I heard it, follow it. keep in touch.
Thomas put down the microphone. The car turned to another street. There was another voice from the microphone.
Operator (outside the picture): Bru 439, Bru 439, speaking.
Thomas picked up the microphone again.
Thomas (to the microphone). Bru 439, Bru 439, please go on.
Operator (outside the picture): Bru 439, the information has been passed to Volcker in the workshop. He doesn't like the game, it's over.
Thomas: Tell him to prepare the meal. ...Isn't there a building being built nearby? There are already homosexuals and poodles in that area, and I saw a few there just now, and that would cause an uproar.
Operator (outside the picture): Blue 439, what's in that area? It's over.
Thomas: Forget it. It's over.
Operator (outside the picture): I heard it, follow it. keep in touch.
Thomas put down the microphone.
The Rolls-Royce car turned a corner and stopped on the side of the road opposite a restaurant. Thomas got out of the car. He picked up the photo from the back seat of the car, crossed the street, and walked towards the restaurant.
The restaurant was full of voices, people were eating, drinking, and talking. Thomas walked into the hotel and walked directly to a table by the window. Ron is waiting for him. Ron is a writer, thirty-five or six years old, with a beard. Thomas sat down and gave him the photo. Ron looked over.
Ron: Do you want to use them all?
Thomas picked up Ron's glass and drank it in one fell swoop. Ron continued to look at the photos.
Ron put the pictures on the table: a picture of a man dressing in the reception center, a picture of a man waiting behind a broken window; a picture of a man sitting by the bed in a dormitory, a picture of a naked man taking it Pick up photos of clothes. Ron squared the last photo.
Thomas (outside the picture): Don't you like it?
Ron (outside the picture): Great.
Thomas: We want to use three or four.
Ron: Is it interspersed in the whole book?
Thomas leaned back. Ron looked at one of the pictures.
Thomas: No, all together.
Ron: Okay.
The waiter walked towards another table with his plate. Thomas stopped the waiter and looked at what was on the plate. He gestured to the waiter to give him a copy.
Thomas (to the waiter): Another pint.
Waiter: Yes, sir.
Ron picked up the big picture of the photo he had brought.
Ron: Which one is last?
Thomas leaned forward.
Thomas: Nothing here. I already have something to match the ending, it's in the park, I just shot this morning. I'll leave it to you later today. Very quiet, very quiet,...well, the rest of the book is full of violence, so...
Roth continued to look at the big picture full of photos. The following pictures appear in sequence: poor people, homeless people, alcoholics, weird people, and funny people.
Thomas (outside the painting): I think it's better to end like that, eh?
Ron (outside the painting): Yes, that's the best, and that's more real.
Thomas stared out of the window, separating the shutters with his hands.
Thomas: I plan to leave London this week.
Ron: Why?
Thomas still stared out the window.
Thomas: Nothing great.
Following Thomas' gaze, Ron saw a girl standing across the street.
Roth (laughing): Yes-Yeah!
They went on to look at the photos.
Ron: I have drafted a few titles in a hurry.
Thomas: Really?
Thomas was distracted by another blonde, who was walking past the restaurant. She wore a loose dress and walked like a model. The two men watched her. Thomas turned around and faced Ron.
Thomas (swiftly swinging his head in her direction): I'm so tired of those lowly bitches. I wish I had a few tons of money, then I would be free.
Ron: What if you are free? Like him?
Ron pointed to a picture of an old man: he was standing on a wasteland, dirty and stupid, looking shabby.
The attention of the two of them was attracted by someone outside the window again.
Ron: Is it someone we know?
Through the blinds beside them, Ron and Thomas found a man watching them secretly. This is a slender, blond young man in black clothes. Seeing that he was discovered, he was a little annoyed, turned around, and hurried across the street.
Ron and Thomas leaned closer to the blinds, and their vision widened. Thomas hurried to the door. He came outside the hotel and saw that the stranger was searching his car, seeming to pry open the suitcase.
The stranger found Thomas and left immediately, mixing into a group of Americans in national costumes on the sidewalk. He passed between them and got into a car parked in an alley.
Thomas stared at the stranger, then crossed the street: toward his Rolls-Royce car. He checked the suitcase and found that it was still locked. He got into the car, started the engine, and yelled at the group of Americans. They have already got off the sidewalk and walked into the street.
A group of demonstrators were crossing the road, and a policeman was walking in front of them. The shouting crowd held placards that read: Go back, want peace, don’t war, our children don’t participate in war, no! Do not! Do not!
The demonstrators crossed the street. A policeman walked onto the sidewalk. The demonstrators wandered in the street. Thomas' car was blocked. When he waved to nearby demonstrators, the blocked car behind honked impatiently.
The moment Thomas started the car, a girl walked to the car and slipped a placard into the folded hood at the back of the car. The placard read: Go back. Cars honked their horns and passed in front of Thomas.
Thomas turned around, saw the slogan, and smiled at the girl.
Thomas: It's okay.
He drove away. A blue-gray Lowa 2000 followed him for a few seconds.
The placard on the car flew down, but Thomas did not notice. Another car drove past the placard and crushed it.
It was just after noon. Rolls-Royce drove onto the street outside Thomas’ workshop, but the roadside was full of cars, so he had to drive the car to the end of the street and find a place to stop. Thomas got out of the car with the camera and slammed the door shut. No one was seen nearby. It was Saturday afternoon, and the small street was almost shrouded in deathly silence. The noise of the TV broke the silence. A male commentator is reporting on a game.
Thomas stood on the quiet street, looked around for a while, then walked over and honked the car horn vigorously.
Thomas's hand was on the horn. The harsh horns reverberated in the street, but nothing happened. Thomas let go and left.
A man appeared by the door of his garden, only he showed a look of consternation. Thomas waved at him and hurriedly turned and walked towards the workplace. As he walked, he looked around.
He walked straight to the main entrance of No. 39, then changed his mind and crossed the street. There is a telephone booth on the sidewalk opposite his workshop. Thomas walked into the phone booth and dialed the phone.
Thomas: Hello, please pick me Frobisher 3229. I only have 6 pence. ...Parker 1296.
He waited for a while and heard the other party's reply.
Thomas: Hey, it's me. ... don't you plan to leave, to... uh... to Pali? Um? Listen... wait and don't move. Hang up the phone at my home immediately. ……Um.
Thomas hung up the phone and walked out of the phone booth. When he reached the door, he took out the key and planned to open the door. At this time, there was a woman's hurried footsteps, he turned around, and a girl ran towards him. This is the girl in the park. She ran out of breath, and could barely speak for a while. Thomas looked at her in surprise. Finally the girl finally spoke.
Girl: I...I'll...I'll get the photos.
Thomas looked at her curiously.
Thomas: Hey, how did you find me?
The girl avoided his gaze.
Girl: Do you live here?
Thomas: Yeah.
Thomas opened the door, let the girl in, and then went in too. The two went through the second door, past the reception office, and entered the largest workshop. Thomas closed the door at the other end of the workshop. The girl walked forward and looked around with interest, looking a little anxious. Thomas walked to her, and the two came together behind the gray glass panel, and along the stairs at the back of the workshop, they came to the upper workshop. The girl bowed and walked under the camera and ostrich feathers. Thomas turned on a few lights, motioned her to sit down, then turned on the phonograph, and a slow guitar melody played.
Thomas: Anything to drink?
The girl walked around, as if looking for something.
Before the girl could answer, Thomas poured two glasses of whiskey, picked up the glass, and turned to her.
Thomas: Are those damn pictures that important?
The girl sits on the couch. Thomas approached her and handed her a glass of wine. She didn't take the cup, just stared at him.
Girl: That's my business.
Thomas put down the cup. The girl stood up and stood in front of him with a strong attitude. The beam of light on the head made the figures of the two people hazy. Thomas drank, as if recalling a happy past.
Thomas: The light in the park is beautiful this morning. These photos must be very good. Anyway, I need these photos.
The girl leaned on a beam. She was a little flustered, but still insisted...
Girl: My private life has been a mess. If... it would be a disaster.
Thomas walked to the beam and stared at her.
Thomas: It doesn't matter, it won't be worse than it is now.
The girl was stunned for a moment. She paced back and forth in front of the long window with plastic sheeting, increasingly annoyed.
Thomas looked at her with expert eyes through the beam, and then approached the girl.
Thomas (outside the picture): Have you ever been a model? I'm talking about fashion shows.
The girl shrugged and sighed impatiently.
Thomas: You can come to work with me.
The girl started walking around again. Thomas looked at her from head to toe, and then walked towards the window with plastic sheeting. (Also motioning her to come closer) He pulled down a lavender lining cloth in front of the window and asked her to stand in front of the lining.
Thomas: Don't move.
He left quickly. The girl stood there in confusion. Thomas watched her.
Thomas: There are not many girls with such a good stance... the
girl walked towards him.
Girl: No, thank you. I'm busy.
Thomas took off his coat and walked towards the couch.
Thomas: You will get your picture. I promise. I have always said what counts.
He fell on the couch.
Thomas: Come here, let me see your sitting posture.
The girl sighed, but did so. She walked over and sat beside him. Thomas stared at her intently. They are sitting next to each other. He was relaxed and confident, and he seemed satisfied, because he at least let her sit down.
The phone rang. Thomas looked around, but didn't move. The phone is still ringing.
Thomas sat on the sofa and ignored the call. Suddenly, he rushed towards the phone behind the armchair and hit his head on the corner of the chair. He held the microphone with one hand and rubbed his head with the other.
Thomas: Who is that? (Thinking of the phone I hung up just now) Oh, yes. Yep. Don't hang up.
He straightened up and handed out the microphone from behind the chair. A glass plate reflected the girl's figure, and she looked a little shocked.
Girl: My phone?
She walked up to Thomas, sat in the armchair, and took the microphone hesitantly.
Thomas: My wife called.
The girl immediately put down the microphone and stood up.
Girl: Why should I talk to her?
When the girl passed in front of him, Thomas took the microphone and wrote down the address of the other person.
Thomas: I'm sorry, my dear, the people with me won't talk to you.
He hung up the phone. The girl stood with her back to him and looked out the window. Thomas walked over, but she walked away again and got under a beam. She turned around and tapped her knuckles on the beam impatiently. Thomas walked to a picture, touched it with his finger, then turned to the girl.
Thomas: She is not really my wife. We just have a few children,...no,...no children. There are not even children yet. Sometimes, though, it feels... as if we had children. She is not beautiful, she... easy to get along with.
He sat down and lit a cigarette.
Thomas: No, she is not easy to get along with. So I didn't live with her.
He stopped suddenly and threw the match on the lace millinery on the marble statue to his right. That is the head of a girl. He stared at it, patted it thoughtfully, as if that was the woman he was talking about.
The girl stood behind the photographic equipment and began to become interested in him. Quiet for a moment. The girl went to the sofa and sat down again.
Thomas stood up and turned to face the girl.
Thomas: But even with pretty girls, you...look at them, and...that's how it is. So they always end up... (he sighs)... Well, I mix with them all day.
Thomas looked down at the girl sitting on the sofa.
Girl: It's the same with men.
Thomas shrugged.
Thomas: Listen to this!
Thomas walked to the phonograph and turned up the volume. He straightened up and twisted to the music.
The girl listened too. She instinctively twisted to the rhythm. Thomas came over, sat next to her, and motioned for her to listen to music.
Thomas: Don't move, keep quiet. keep quiet! Listen, keep quiet.
The two were silent for a moment. Thomas passed his cigarette to the girl.
Thomas: Smoke if you want.
The girl took the cigarette, held it in her mouth, and continued to twist with the music.
Thomas: Slow down, slow down, it's not in time.
The girl was smoking and twisting slowly, with a graceful posture.
Thomas (outside the painting): That's right this time.
The girl continued to twist for several minutes. She even amused, and smiled and passed the cigarette back to Thomas. Thomas smoked the cigarette slowly, his eyes fixed on the girl, and then he passed the cigarette to her.
The girl wanted to pick it up, but she immediately changed her mind. She jumped up suddenly. Thomas also stood up.
Girl: Oh,...I can't take it anymore. I'm nervous enough.
She sat down again and turned over in her handbag.
Girl (in a strange tone): Can I drink some water?
Thomas: Of course.
He walked to the kitchen. The girl watched him enter the kitchen, her eyes immediately fell on the camera in the film cabinet. She glanced at the kitchen door, stood up, picked up her handbag, walked tiptoe to the film cabinet, and picked up the camera. Then, tiptoed past the ostrich feather, rushed down the stairs, and ran into the main hall.
The door downstairs was slammed open, and the girl suddenly ran in. But she immediately stopped her feet as if pinned. Thomas stood before her. He leaned against the wall, smiling slyly. He walked to the girl and held out his hand.
Thomas: I'm not a fool, lover.
The girl returned the camera to him. She leaned on the workbench at one end of the workshop. Next to it is a big picture of a girl parachuting.
Girl: Can I get those photos?
They stood face to face, silent for a moment.
Thomas: Of course you can, in the future.
They went to the stairs again. She was in front, and he followed.
Thomas: Your boyfriend is a bit too old.
The girl continued to go upstairs without responding. The two quickly returned to the workshop upstairs. The girl turned around and stared at Thomas with resentment in her eyes.
Girl: Why don't you say what you want to do?
The two stood, eyes facing each other. A shelf for ostrich feathers stood between the two of them. Thomas avoided her question. The girl put down her handbag and began to untie her blouse. She stood behind the ostrich feather and took off her blouse. She was not wearing a bra, standing there with her upper body naked, with a black scarf around her neck.
Thomas looked at her intently, admiring praise in his eyes. The girl put down her blouse and stood there waiting. They stared at each other and suddenly became serious. Thomas drilled under the feather frame, walked to the girl's side, held her shoulders with his hands, and looked at her silently. The two looked at each other. Thomas walked away, and the girl turned around and looked at him.
Thomas: Put on your clothes. I cut the negatives you want.
He walked down the corridor leading to the dark room and opened the purple door of the first dark room. In the dark room, Thomas walked to the table and took out the film from the camera. He shakes the film, hesitating whether to give it to her. Finally, he put the film aside, picked up another film, turned and walked towards the door.
Thomas went back to the workshop and looked around, still fiddling with the film. The girl did not know where to go. The soothing and quiet sound of jazz echoed in the workplace.
Under the purple backdrop, the girl's legs were exposed. Thomas walked to the wall, pulled back the scene, and looked behind. The girl stood half naked, her arms crossed on her chest. Thomas pulled back the scene again, blocking the two of them. He came to the girl and threw the film to her. She took the film and walked away. After taking a step or two, he stopped and turned around. She looked at Thomas almost tenderly, gave him a kiss, blow a kiss, and walked away. Thomas followed her. In front of the purple backdrop, he pulled her into his arms, hugged her tightly, and kissed her. Then he put an arm around her shoulder and walked towards the bedroom. The girl threw the film on the blouse.
They reached the door of the bedroom, and the girl put her arms around Thomas' neck... At this moment the doorbell rang and the two stood there for a moment.
Thomas (takes off their shirts): They will go.
He threw the shirt into the bedroom and stood with his chest naked. The doorbell rang again.
Girl: But they didn't leave.
Thomas is going to open the door. The girl stretched out her hand to hold him.
Girl: Don't go.
Thomas kissed her hand and went downstairs. He walked through the reception room and opened the front door. A young deliveryman stood outside the door.
Deliveryman: Have you bought a propeller?
Thomas: What?
Deliveryman: You bought a propeller this morning, right?
Thomas: Oh, yes.
Deliveryman: Come and take us.
Thomas went out and took a look, then went back into the house, took out the key to the garage door from the chest of drawers, and walked outside.
On the street, the deliveryman unloaded the propeller from the car. Thomas opened the garage door, and the two walked into the garage with the propeller, and placed it on the floor near the thick glass panel.
Deliveryman: Are you ready?
Thomas: Alright.
The deliveryman walked out of the garage. Thomas was reflected in the mirror. He went back upstairs to find the girl.
Girl (outside the painting): What's the matter?
Thomas hurried up the narrow stairs. The girl stood on the platform, still half naked, with her arms crossed on her chest. She leaned down and looked at the propeller.
Thomas: Nothing. So lovely.
Girl: If I have such a big room, I will hang it on the ceiling like an electric fan.
Thomas led her back to the workplace.
Thomas: Do you live by yourself?
Girl (outside the painting): No.
She followed him up the steps, drilled under the ostrich feathers, and then walked towards the end of the room.
Thomas (gesturing): Maybe I will put it there, like a sculpture.
Girl: It’s better to put it there. It will break those straight lines.
Thomas took out two cigarettes from the cigarette case and handed one to the girl. Her hands lightly pressed the beam on her head. The girl took the cigarette, and Thomas helped her light it.
The girl sat in the armchair, still wearing no blouse. She smiled and leaned against the handrail. When she leaned forward, she saw the watch on her wrist and her expression suddenly became serious. She stood up and hurried out.
Thomas (outside the picture): Are you leaving?
Girl: It's too late.
Thomas walked towards her.
Thomas: Can I see you again?
The girl shrugged. She put on her blouse and became nervous again.
Thomas: Hey, at least you should tell me your name...your phone number.
The girl put the film in her handbag, took the paper and pencil from Thomas, wrote a few words, and walked towards the door. She tucked the blouse into her skirt as she walked.
Girl: Thank you.
Thomas is the only one left at work. He stood at the top of the stairs, folded the paper, and put it in his pocket. He walked over, turned off the phonograph, poured a glass of wine, and sat down, slapping his knees idly. He took a sip of wine, suddenly put down the glass, got up and ran out.
In the aisle, Thomas tucked his shirt and rolled up his sleeves as he walked. He walked into the first dark room, picked up the roll of film taken in the park in the morning, and prepared to develop it. He closed the door. The red light outside the door turned on.
Thomas took the film out of the washing tank. The red light went out. Thomas walked out of the first dark room and walked into the green door of the second dark room. The red light outside the door turned on.
The negatives are placed on the lighting workbench, and the five are connected together. Thomas looked at these negatives through a magnifying glass, and one of them caught his attention. He made a mark on it with a pencil, then put the film into the magnifier, turned off the main light and desk lamp, and lit the yellow "safety" light.
There is a photo paper hanging on the wall. Thomas stood by the magnifying machine and pressed the button: on the grass on the hillside, the image of the two people appeared on the photographic paper. Thomas took off the photo paper and dipped it in the photofinish tank.
Thomas walked out of the dark room with the still dripping enlarged photo, walked through the aisle, ran up the stairs, and returned to the workshop. He sat on the sofa and looked at two enlarged photos hanging from the beam. He lit a cigarette, knelt in front of the photo, and stared.
A close-up of one of the photos. In the photo, the girl can be seen clutching the man's arm. In another photo, they are kissing. Both photos gave people a complete sense of peace, but the girl's expression was very unnatural: she dragged the man to the other side of the grass, and when she hugged the man, it seemed that there was something outside the picture. Make her look nervous.
Thomas stood up. The lens is back on the first picture. He pondered as he walked, and his figure was cast on the photo.
Thomas looked at the picture. After a while, he turned and walked away, the sound of footsteps echoing in the empty work room.
He walked over with another enlarged photo and hung it beside the two. He stepped back, pondering carefully.
Partial enlarged photo of the two embracing: It can be clearly seen that the girl looked at something over the man's shoulder, her face solidified with an anxious expression.
Thomas walked over and looked at the original photo of the two hugging each other, trying to find out what attracted the girl's attention. He traced his finger along the girl's line of sight. The whole grass was surrounded by bushes, and the girl's sight was exactly in the middle of the trees. Presumably, there is nothing abnormal in that place. He shrugged and walked away.
Thomas changed a record and poured another glass of wine. He walked back and sat in front of the enlarged photo hanging on the beam, drinking and staring at the photos. He put down the cup and picked up a magnifying glass from the glass coffee table. He peered through the magnifying glass at the picture of the two hugging. The girl's eyes fell directly on a certain point in the bush. Thomas focused, as if to find something or at least find a suspicious point. He used a white wax pencil to draw a box around the bush. Then, holding the photo, walked to the dark room.
Thomas looked at a new magnified photo hanging on the wall—a magnified photo of the area he marked.
The lens moved from the picture of the girl and the man hugging to the new magnified picture. In the bushes, you can see a white place-it may be a man's face, staring at something through the bushes, looking at the two people, maybe just looking at the girl. And she is probably looking at him too. The camera moved back to the photo of the two hugging, and moved closer to the face in the bushes.
Thomas stared at the photo. He stepped back and looked at the picture from a distance. Then he went back to the dark room and put all the photos taken that morning on the workbench. The photos are enlarged from No. 18 to No. 24. He also circled other doubts in the photo.
Thomas returned to the workshop and hung the newly enlarged photo on the wall. Beside the picture of the man hiding in the bushes, Thomas hung up the picture of the girl holding out his hand.
The other is a picture of the girl who just realized Thomas appeared, showing an anxious look, and gently breaking free from the man's embrace. In the third picture, the girl bit her nails thoughtfully, as if she wanted to follow Thomas on the other side of the grass. The man also looked at Thomas attentively. In the last photo, the man was still watching where the girl ran towards Thomas. Thomas stood in front of this photo and thought carefully, comparing the different expressions, sight lines and positions of the people in the photos.
Thomas leaned on the arm of the sofa, remembering the piece of paper the girl had left with her name and floor. He picked up the phone from under the armchair and sat down to dial the number.
Thomas: Hello? Knightsbridge 1239? ……what? ……Not sorry.
Obviously, the number the girl gave him is fake. Thomas put down the microphone and threw the note away angrily. He walked back and continued to magnify the picture.
He came to two pictures: one was a picture of a girl standing on the steps, and the other was a picture of a man in the bushes. He hovered for a long time in front of the latter photo, carefully examining every subtlety. He is sitting in front of the picture. Something in the photo attracted his attention. He hurriedly walked towards the dark room again.
In the dark room, Thomas took a newly enlarged photo from the punch plate and looked at it carefully.
Thomas returned to the workshop and hung the photo on the wall. This is a magnified photo of the man hiding in the bushes. He is holding a pistol. Thomas took away the picture of the girl standing on the steps.
Thomas stood on the sofa and pinned the girl's picture to the beam on the other side of the room. He arranged the photos in order along the wall and rearra
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