"The Painter's Contract" movie script
Text/(UK) Peter Greenaway
Translation/Zhang Shan
Outside the screen is a Baroque-style song sung by the eunuch singer (Note 1): "The shining goddess of the night finally killed and killed the day with her black kiss..."
The singing voice accompanies the following scenes in a low voice, only slightly intensified when subtitles appear between the shots.
The mansion of Mr. Herbert. evening.
The story happened around 1690. A reception is being held in the mansion. The guests and the hostess wore white evening gowns, with gorgeous red tapes on their shoulders or waists, and strangely high snow-white hair sets. They walked around in the flickering candlelight and the fire of the fireplace, chatting, While drinking red wine, eating fruit. All the halls are filled with high and low fruit bowls full of fruit. The postures of the characters are reminiscent of the magnificent portraits that were popular at the time, especially the works of Naylor (Note 2) and Riley (Note 3). The first scene as the prologue of the film has a heavy and suffocating atmosphere, which forms a strong contrast with the later outdoor scenes. The first few shots were darker than the other, quite like the dark shadows in Caravaggio's (Note 4) paintings.
The guests were in groups, at the right time, until all those present had a few words of conversation. The topic revolved around gardening, which was a fashion that had just emerged at the time. But against the background of this chat, the dramatic entanglement between a mediocre painter and a stubborn hostess gradually became prominent.
A close-up shot of a person taking up the entire screen. He put powder on his cheeks, his cheeks were red, he wore a shining snow-white hair cover, and his eyes flashed with unpredictable gazes. This is Mr. Noyce, the notary and general manager of the Herbert estate. He was eating plums, his teeth gleaming in the candlelight in front of him.
Mr. Noyce: Mr. Chandos is such a person. He spends more time with the gardener than with his wife. Talking about plum tree endlessly. Thanks to this gentleman's grace, the whole family is looking forward to September coming soon, because they have eaten plums and thunder in their stomachs, (looks obliquely) their buttocks are tight. He built a small church in the Fuvent Manor, and the benches inside were all made of plum wood. The family still often talk about Mr. Chandos because of the stabbing on their buttocks.
Flashing red letters appeared on a black background: the name of the protagonist of the film; the name of the actor is written in white letters below. The singing of the eunuch singer outside the painting is strengthened:
"The shining night goddess finally killed and killed Shiraki with her black kiss."
Four people like. Everyone held red wine in their hands and held fans, forming a semicircle. Other guests can be seen behind.
Mrs. Clement (widow of a manor owner, second from left): A few years ago, two Dutch people returned to Amsterdam from England. They said that Alhammingway Manor is very much like their hometown: there are so many water surfaces, and there are lakes, canals, pools and fountains everywhere. There is even a windmill drawing water. They would never have thought that my old man had made pools all over the manor just because he was afraid of fire.
The listener was expressionless, taking a sip or two from the glass from time to time. Mrs. Clement waved her fan and said:
——There is even a small house built in front of the main building’s main entrance, with 200 kegs full of water inside. I remember nothing wrong, because whenever I was impatient, I ran there with my brother to play. (She laughs; the others sip the wine in embarrassment.) These kegs were always filled with water until the mother died, maybe they are still there, containing water from thirty years ago... (She speaks It was so big that all the other guests behind this group turned their heads to look at her.)...Of course, there was a small part of me in it. I used to urinate with my legs open, and it’s still the case until now. (She makes a smirk and covers her face with a folding fan.)
The subtitles continue to appear. This time it’s the date:
August 1694 (Note 5)
Singer (outside the painting, the singing voice is enhanced): "Those who wander and wander in the garden are eager to find love..."
Two thin faces with thick white powder, completely symmetrical on the cheekbones-the person on the right is on the right cheek, and the person on the left is on the left cheek-each with a little bit of playful ointment, the eye circles are very thick, and the lips are painted. Blood red. This is the twin Prunk brothers. Two candles were placed symmetrically on the left and right sides of them, reflecting their snow-white collars and hair sets. The two brothers were so close, the curls on the hair sleeves almost touched each other.
Mr. Prunk (the one on the left): There is a house in Southampton. I have always liked it very much. It looks very flat from the side. The Isshiki white Portland stone looks like a painting on the sky background in the gloomy weather. Especially in the evening.
Mr. Prunk (the one on the right): The owner is Miss Antrim, a woman without a husband.
Mr. Prunk: If you look from the side, Miss Antrim's face is also...
The camera shows a young man with black hair and a black dress, which forms a weird contrast with the white hair suits and white clothes of other guests. He is Mr. Neville.
Mr. Prunk (his voice continues from outside the picture): ...Plain.
Mr. Neville: Maybe because of this, unlike her house, this lady has no foundation.
Mr. Prunk turned his head to the left, apparently saying to Mr. Neville outside the screen:
——The house is flat or the face is flat, for you, Mr. Neville, a painter...
Mr. Prunk: ...maybe all are very interesting.
Mr. Prunk turned his head, the faces of the two brothers were almost joined together, and said in the same voice:
——Especially in the evening... (Looking at each other a bit)... Seen from the side.
Subtitles continue to appear-at this time, it is white on a black background.
The voice of the singer off the screen continued to sing:
——"...Those who wander and wander in the garden..."
Five or six people gathered around a table, playing cards and watching games by candlelight. There is a person standing on each side of the picture, wearing a waist-length wig, as if forming the frame of this picture. The lady in the depth of field is carefully looking at the card in her hand, not knowing which card to play.
Mr. Seymour (the one standing on the right): ...It is said that Duke de Corsi asked his fountain designer to build a small mountain and flowing water scene, and then took him to the top of the sprinkler and asked him to return Can you recreate this kind of scenery for other people's homes? After the craftsman said a lot of grateful compliments, he couldn't help saying that as long as someone could afford to pay, he could fix another one. So, Duke De Corsi only slightly pushed him on his back, and the poor fellow fell into the water and drowned.
The listener laughed. Only the wife sitting in the depth of field is still watching the cards intently, unmoved.
The credits continue.
Singer (continues to sing): "...eager to find love, they will succeed..."
Four people stood by the table piled with fruits. The candlelight was brilliant. We couldn't hear the conversation between the two on the right. A man and a woman were talking to us side by side, their expressions cautious and extremely unnatural.
Mrs. Pier Point (a blond woman with an unusually tall tiara braided with silver threads): What, Mr. Noyce, do you have any flavorful stories to tell me?
Mr. Noyce: Madam, my responsibility here is to make the guests happy, so I'm sure I can find interesting things for you sooner or later.
Mrs. Pier Point: So, your role here is different (Noyce takes a sip of red wine from the glass). People are here just to confess their trust in money.
Mr. Noyce: Madam, you are also a member of this circle.
Mrs. Pier Point: I was invited only because I was impeccable in getting along with Mr. Seymour. (There is a burst of female laughter. Mr. Noyce looks at the laughing woman.) Strictly speaking, I am not so much a member of this circle as a foil (will be folded The fan was waved twice).
Mr. Noyce: Since people gather here just to talk about money and are so happy, then you are eligible for rewards. If it were me, I would give you two flower gardens and an orange grove without hesitation.
Mrs. Pier Point: You are not so generous, Mr. Noyce.
Mr. Noyce: I am not rich for the time being and cannot give you more dedication, but things will change soon. (Changing a serious tone, barely looking at her) Right now, among the thirteen rich people who own large tracts of land in England, you can completely regard two flower gardens and an orange grove as just the beginning. Like you...a person with Italian taste (the two looked at each other), madam, you must be able to fully understand the value of oranges. It is so fragrant and appetizing.
A woman standing on the right waved a fan gracefully.
The credits are over. Director Peter Greenaway's name appeared at the end of the music...At the same time, there was a round of unkind applause.
Singer: "...the stone statue is also full of life."
Two ladies, this is a mother and a daughter. One stands slightly forward and one stands a little behind. The two seldom looked at each other during conversation. The tall snow-white headdress almost completely covered their dark hair. In front of me was a lot of melons and fruits that were very elegantly placed.
Mrs. Herbert (the older one, she is the mother of the latter): Your father invited Mr. Neville to paint our manor. What do you think?
Mrs. Tellman: Maybe you personally invite him, which would be better for Mr. Neville, and even for you?
Mrs. Herbert: Ah, I'm afraid it would be inconvenient for me to do this. I have never been so bold. This will surprise your father.
Mrs. Tellman (slightly smiling): Then you will surprise him once, and perhaps also surprise Mr. Neville a little. If you are worried about what will be wrong, mother, we can put the blame on Mr. Neville.
Mr. Neville stood between Mr. Clement and Mr. Tellman, carrying a plate of plums. Two candles illuminate their faces.
Mr. Neville: I can make the painter happy or sad. I only need to paint his house in a dark... (Raises right hand, the wide white cuff casts a shadow on his face)... Or sunny . Even to some extent I can make a husband feel jealous or proud... (pick a plum from the plate and hold it in my hand)...just take his wife... (slow the plum Slowly to the mouth)...painted as clothed or naked.
The two people who watched him talk immediately looked away, showing unabashedly contemptuous expressions.
Mrs. Tellman was talking with her father, Mr. Herbert, and they hardly looked at each other. Next to him is a mirror rimmed with gold leaves with five candles burning in front of the mirror. A low harpsichord came from outside the painting. The two of them were shrouded in soft candlelight, and their skin showed a textured luster against the candlelight, and the hair sleeves and lace flashed with dazzling light.
Mr. Herbert: Mrs. Clement actually asked me if I had a wife. This question sounds really stupid to me. (Pretending to be indignant) She knows I have such a nice garden, how can she not know if I have a wife?
Mrs. Tellman (try to restrain yourself): Maybe it's because you always talk about your garden, but you never mention your wife. However, in my opinion, it would be a bit stupid to expect someone like Mrs. Clement to know how to take measures and restraint.
Mr. Herbert: But your mother has restrained herself too much. She should go out to socialize more. It's boring to keep yourself locked in a corner.
Mrs. Tellman (speaking stiffly): It's not that she wants this, Dad. Even if she wants to, you know why-because you are completely indifferent to her. (She glances at her father, then looks away) In your mind, the first is the property, the second is the garden, the third is your horse, and the last is your wife.
Mr. Herbert: Nonsense!
Mr. Neville and Mrs. Herbert looked at each other in the dim candlelight. On the table in front is a silver fruit plate, with a window in the depth of field.
Mrs. Herbert: Mr. Neville, I very much hope that you will paint my husband’s manor.
Mr. Neville (surprised): Why, ma'am?
Mrs. Herbert: My husband is arrogant by nature and embarrassed to ask for help, but he loves every tree, brick and stone in his manor very much. He has always been like this throughout his life, whether in daylight or in sleep, but I am no longer I know what he dreamed of in his dream, since a long time...
Mr. Neville: Madam, your husband loves his manor so much, so since you have the real thing, I am afraid you may not need its graphics.
Two men with unusually tall hair sets-Mr. Herbert and Mr. Seymour. Between them is a candle, and behind the wall is the mirror lined with five candles. The music of the Harpsichord came from outside the painting.
Mr. Herbert: I do not approve of these pretentious young people now. (Take a bite of plums) Vanity is great, but real skills are very few.
Mr. Seymour: This Mr. Neville has a lot of skills, he doesn't paint very well, but he has charming tricks. Many wives of wealthy people are fascinated by him.
Mr. Herbert: This kind of thing is not uncommon now, Mr. Seymour.
The two approached their heads in front of the candle, and Seymour lifted his hair sleeve and listened. Mr. Herbert continued with an intimate tone: "Come on, you come with me to Southampton. I will show you how to win the heart of a lady."
Mrs. Tellman and Neville. Neville stood slightly back, the candlelight illuminating only his profile. Two candles, and the mirror at the back right is still.
Mrs. Tellman (enthusiastically and loudly): My father's manor may not be magnificent, Mr. Neville. (Neville turns his face to face Mrs. Tellman) However, since you don't dislike this, I think... (Looking up at Neville)... Would you agree to paint this house?
Mr. Neville (looks up to the sky, sighs sarcastically): Ah! Someone has already mentioned this to me today. I am really flattered by this tacit understanding. But I feel that under the current circumstances—please allow me to speak out—neither you nor your mother can reward me accordingly.
Mrs. Herbert was sitting at the dining table, and Neville was on her right. He grabbed something to eat with his hands, and he didn't look very gentle. In the foreground is a large candle, and another one is slightly behind on the left.
Mrs. Herbert played with the wine glass in her hand and did not look at Neville: "But why don't you accept our hospitality? Tomorrow you can take a walk in Mr. Herbert's garden."
Outside the painting is still low music.
Mr. Neville (holding a plate): Madam, I do not deny that I am willing to do so, but despite your repeated stay, I am afraid I still have to decline your kindness, because I have a contract and must be in Apple Finish before the picking season, and then go to Lord Charlborough's House to work, to finish the cider in the coming year.
Mr. Herbert was also sitting at the dining table. In front of me is a large plate of fruit. He turned to watch the conversation between the two.
Neville and Mrs. Tellman were sitting side by side at the dining table. The camera shoots the back of the two persons three-quarters side from the back. There is a candle on each side, and there are two other candles deep in the foreground. The sound of the music is sarcastic and ridiculous.
Mr. Neville: Madam, your mother insists on painting this mansion. I think maybe this is your wish. Your mother is just showing up for you?
Mrs. Tellman: Frankly speaking, Mr. Neville, I beg you on behalf of my mother. But she is not for herself, but for my father.
Mr. Neville: So, this request has been turned around several times. I'm so honored. But why doesn't Mr. Herbert order the paintings from me himself?
Mrs. Thielman: We did this precisely to avoid letting my father come forward. We hope that you, Mr. Neville, can bring about a settlement.
Neville and Mrs. Herbert. There are flowers on a small table in the depth of field.
Mrs. Herbert carried a glass of red wine and said in a very restrained tone:
——Mr. Neville, how can I keep you (and then look away)?
—No way, ma'am.
Mrs. Herbert lowered her eyes to look at the wine glass:
——Can’t your time be bought with money, Mr. Neville. How much does it cost?
——I'm afraid you can't bear it, ma'am. However, frankly speaking, the main reason I refused to stay is because I like to be at ease.
After the harpsichord was played, there was sparse applause. Neville picked up a glass of wine from the small table behind Mrs. Herbert, and said to Mrs. Herbert in a very impudent manner:
——The remuneration I propose depends on the happiness I can enjoy. I'm afraid there is no happiness to get here, ma'am.
He turned and walked away. Mrs. Herbert watched him go in astonishment. A babysitter in a black and white dress came with a baby in her arms. The child also wears a huge hair set on his head. Mrs. Herbert kissed the child's little hand and stroked his cheek. There was a low laugh. She turned her head and looked at the direction of laughter. The nanny held the baby and withdrew. Mrs. Herbert lowered her eyes and raised the wine glass to her lips. At this time, her husband appeared from the left.
Mr. Herbert (in a harsh tone): Madam, I am going to Southampton early tomorrow morning... (He takes the wine glass from her, she stares at her empty hand in a daze, and then lowers her eyes)...I'm here Say goodbye to you. (Raises voice, fiercely) Until I come back, don't use a sickle to mow the grass, don't leave the manor, and don't drink my red wine.
He put the wine glass on the small table between the two of them. He raised his voice even more and said:
——I won’t come back if things are not done over there, that is, it will take at least two weeks. Good night, ma'am.
She lowered her eyes. He picked up his wine glass.
Neville was behind a chest-height screen with a glass of red wine in his hand. Mrs. Herbert came. Baroque singing came again.
Mrs. Herbert (in a low voice): I have decided that you must stay and make twelve paintings for my husband's manor. It takes at least twelve days for my husband to go to Southampton. Is this time enough for you?
Neville raised his voice and said in a weird, utterly unsophisticated tone:
——First, madam, you make a request like this, as if this matter has never been discussed today. Second, you raised the request for a painting twelve times at once. Third, you also set a strict deadline for me. Fourth, you are saying you want me to start working right away.
Mrs. Herbert also raised her voice:
——Mr. Neville, we are convinced that you can accept these four items.
She turned and walked behind the screen. The outside music continues.
Mr. Neville: Your request is too excessive. (She stands opposite him. The two look at each other) My conditions will be equally harsh.
At this time, the title of the film with red letters on a black background was finally reflected. The baroque-style singing continued.
library. night.
Mr. Noyce sat between Mr. Neville and Mrs. Herbert. There is a piece of paper on the table in front of them. The light in the whole scene came from only one candle.
Mr. Neville (playing with the ring with a seal on his right hand): Mr. Noyce, the conditions of the contract are as follows: I undertake to paint Mr. Herbert’s house, gardens and buildings within twelve days. Width. The choice of the scene in the painting is up to me, but Mrs. Herbert must agree.
Mrs. Herbert (putting a hand on her chest): My obligation here is, Thomas, to pay eight pounds for each painting, to provide accommodation for Mr. Neville and his servants, and...
Mr. Neville leaned his head towards her and waited for her to speak.
Mr. Noyce (voice is almost inaudible): ...what else, ma'am?
Mrs. Herbert: ...I agree to meet with Mr. Neville alone and meet all the requirements he thinks will make him happy.
Neville raised his eyes to the sky with satisfaction. Noyce stared at Mrs. Herbert blankly.
On the first day of the contract, from 7 am to 9 am. The first painting.
Panoramic view of the main building. The music became more and more powerful. On a small piece of bright green grass, there is an ebony table and an ebony chair, next to which is a framing frame for painting. Neville walked quickly. He was wearing a black suit, showing a white pleated collar, white cuffs and white stockings. The servant Philip wore a tall white hair set behind him, holding a small black suitcase and a picture clip with a black backing board in his hand. Neville looked at the main building for a while, then sat down in a high-back chair. Philip put the small suitcase on the table and handed Neville the picture clip.
Commentary outside the picture:
——According to the schedule for painting at the Herbert House, the first painting requires that the entire lot behind the main building, from the stables to the laundry room, is not allowed to move around from 7 am to 9 am.
The servant stretched out beside Neville, then he opened the folding chair and sat down beside the master.
On a piece of drawing paper with a grid-a grid that exactly corresponds to the grid in the viewfinder-Neville's black gloved hand with white cuffs drew the first horizontal line. This is the roof, and then another diagonal line is drawn.
Neville wears a black wide-brimmed hat with a large white ostrich feather. He sat on the chair and bowed and stared at the scene in the viewfinder. The servant was sharpening a pencil.
The panoramic view of the main building, the roof, the windows... There is a window with people walking around.
The commentary outside the picture continues:
——The front entrance of the racecourse...
Pencil drawings on paper have made great progress. Draw the window carefully with one hand, and then retouch the details.
The explanation continues:
...No one is allowed to walk around the back door of the main building...
A window opened, revealing the figure of a maid.
The explanation continues:
…Do not open windows, and do not move furniture in the back rooms of the main building.
Neville bowed forward furiously, staring at the window intently.
The maid in the window was shaking a sheet.
Neville straightened up, folded his hands on the picture clip on his knees.
The lens shoots the face of the artist through the viewfinder used for painting. Vigorous and powerful music strikes the ending chord.
On the first day, from 9 am to 11 am. The second painting. The courtyard in front of the building.
Panoramic view of verdant garden. Lines of neatly trimmed boxwoods and yews form a low fence, several marble obelisks, and several busts of figures placed on high pedestals, forming the typical scenery of British mansions at that time. A row of potted orange trees can be seen on the left, and on the right are several obelisks and neatly trimmed bushes. In the depth of field, the babysitter in black and white dress takes the child for a walk. The child is dressed in white, wearing a huge hair sleeve, and curling up to the child's knees. The two slowly walked towards the camera.
Babysitter (German): "A" is the "A" in the word "Apricot". "M" is the "M" in the word "Li".
patio. The main building can be seen in the distance. There is a majestic cedar against the main building.
Neville walked quickly, followed by his servant, pushing the drawing tools in a cart.
A servant leaned the ladder against the tree and climbed up to pick the fruit-maybe plums? ——A maid followed underneath with her apron, then poured into the big basket beside her feet.
Babysitter (voice-over): "C" is the "C" in "Lemon"...
On the left side of the screen is a bush of ferns, and on the right side is a neatly trimmed hedge. The white pleated collar on Neville's chest was blowing in the wind, with a picture clip under his arm, and strode away.
Babysitter: "A" is the "A" in "Pineapple"...
The babysitter walked slowly along a row of orange trees with the child in hand. The tall grass has no knees and the lilacs are in full bloom. Neville walked past the screen and walked into a small door on a stone wall.
Babysitter: "P" is the "P" in "Pineapple"...
A farmer bent down to work in front of a flowerbed. In the depth of field is Philip pushing the cart.
The commentary outside the picture continues:
——The requirement for the second painting is...
On the left is a lilac flower, and on the right is a stone columbarium embedded in the wall. Neville walked into the screen, stopped, and took off his hat.
The explanation continues:
...9 am to 11 am...
Through the viewfinder, you can see Neville's servant Philip, and two gardeners, one standing next to Philip and the other between a row of obelisks. There are two gardeners a little further away. The nanny led the child slowly from the right. On the left is a gardener pushing a cart.
...No one is allowed to walk in the grass and courtyard in front of the building. No windows can be opened or closed on the upper floors of the building.
Neville walked into the frame and stood in front of the viewfinder, covering the entire viewfinder. He tapped the viewfinder with his cane and motioned the servant to go away quickly. The music is getting stronger. All the people walked away in a hurry. Neville also came out of the picture. Now it is a completely unmanned landscape: neatly manicured hedges, solemn obelisks, green grass. You can hear the birdsong.
The picture folder opens. Neville's black gloved hand flicked the black ribbon of the picture clip away from the grid paper and began to paint.
Mr. Tellman’s voice came from outside the painting:
——Sarah, you Mr. Neville is really capable of creating a deserted landscape all at once.
The Telmans, both of them are dressed in white. As usual, Mr. Tillman wore a huge hair cover, and his white curly hair resembled that of a sheep; he held a large white hat with a wide brim in his hand. Mrs. Tellman was wearing a wide-brimmed hat, holding a parasol in one hand, and holding her husband in the other hand. Behind them is a bush of bushes. You can hear the birdsong.
Mr. Telman: It's strange that there are still birds calling.
Mrs. Tellman: Even if the birds don’t bark, Mr. Neville won’t feel any difference...
Mr. Neville sits on an easy chair with a deep rose-colored flower forging, with a picture clip on his lap, and his drawing tool box by his feet. He bowed and looked through the viewfinder. His servant was sitting next to him in the shade of the tree.
Mrs. Tellman (voice-over): His attitude towards nature is absolutely pragmatic.
Main building. daytime.
Mrs. Herbert stood in front of the open window looking out over the courtyard. Mr. Noyce stood beside her. There are flowers on the windowsill.
Mrs. Herbert: Thomas, why do you think this Mr. Neville is so interested in my sheets?
On the first day, from 11:00 to 13:00. The third painting. laundry room. daytime.
A tree-lined road between two rows of tall trees. On the left, a viewfinder is supported by the stone retaining wall facing the water. In the left corner of the main building can be seen in the depth of field. A maid—apparently a washerwoman, is watering the sheets hanging on the hedge with a bucket; some other sheets are hanging on the rope behind her. Neville came from the boulevard and leaned on the stone parapet next to the viewfinder to watch the washerwoman's behavior. The music started.
Mr. Noyce (voice-over): Madam, he is going to draw a wet sheet next to the laundry room on the drawing.
Mrs. Herbert (voice-over): Wet? Why is it wet?
Mr. Noyce (voice-over): Madam, I don't know that. Maybe he retains the warm memories of his childhood.
Neville sat down with his back to the camera and looked into the viewfinder. His long black hair covers the viewfinder.
Commentary outside the picture:
——The third painting stipulates that from 11 o'clock to 1 o'clock in the afternoon, no one will be allowed to move around in the back and north part of the main building.
The picture folder opened, showing a blank gridded line. Neville's black gloved hand began to draw on the paper, drawing a vertical line first, and then a shorter diagonal line to the left.
The commentary outside the picture continues:
——The clothes drying place must be kept as it is, according to the painter...
Frontal shot of Neville, his servant behind him.
...The agreement with the washerwoman is the responsibility of the washerwoman...
The view from the perspective of the main building: sheets hanging on the hedge, several small buckets on the grass, Neville and Philip in the depth of field. There are a few butterflies flying up and down. You can hear the birdsong. The music is getting stronger.
... put the clothes you need.
Mrs. Herbert's study. daytime.
The outside music continues.
Mrs. Herbert and Neville's first private meeting. Neville lay reclining on the easy chair with one hand on the back of the chair. In the depth of field is a glass door with a dense sash of shutters in front of the glass. The light in the room was dim, and the outward-facing shutters had obviously been pulled down. Mrs. Herbert stepped into the picture and hurriedly pulled down the sash on the glass door. She turned her back to the camera, and we saw that the ribbon on the back of her dress was untied. The music stopped.
Mr. Neville (pretentiously): Madam, I'm glad you untied your clothes as required.
He stood up, hugged her rudely and fell to the sofa, began to tear the ribbon on her clothes, took off her clothes rudely, and tugged her sleeves. Mrs. Herbert gasped hastily. She was leaning against the sofa, half-lying and half-sitting, still wearing a tiara made of white lace on her head. Neville pulled her clothes down, revealing her breasts. On the right side of the depth of field is a potted orange tree. The window sash on the glass door was not completely tightened by Mrs. Herbert, and a faint light penetrated.
Mr. Neville: Did you know that your husband probably never asked the gardener Mr. Seymour for advice when he grafted pear trees?
Mrs. Herbert (almost crying): We...
Mr. Neville: I'm sorry, ma'am, your voice is too low, I can't hear you clearly.
Mrs. Herbert leaned on the back of the sofa, gasping and coughing, and said:
——We don’t know Mr. Seymour the gardener...
Neville stretched her naked arm rudely, and continued to say in a teasing tone:
--like this……
Mrs. Herbert:...Mr. Neville...
Mr. Neville (raising her right arm above her head): The shape of the tree is too bad-the angle between the branches and the trunk is too small... (He stretched her arms together and compared them to branches Look like. She gasps quickly)...but the branches themselves are pretty pretty. How about pear, ma'am? (He pulls aside the lace covering her chest, supports her breasts with both hands, and kisses on it. She bends her arms behind her head to cover Neville) When the pears are ripe, can they be eaten?
patio. daytime.
Through the viewfinder, you can see the sunny courtyard. The brightness of the courtyard is in sharp contrast with the previous shot. The little boy with a tall white hair set sits on a chair, squinting one eye and looking at us through the viewfinder.
The nanny stood beside him telling the mythical story of Parsephone in German:
——A long, long time ago, in ancient Greece...
The child's hand is shown in the camera, with a large ring on his finger that is too heavy for this immature little hand, and wide lace cuffs can be seen on the wrist. This hand imitates Neville's appearance and also draws a picture of the main building, but instead of drawing on paper, it uses a stone pen to paint on a green slate.
Nanny: ...There is a beautiful princess named Parsephone.
The child's two dangling legs: He is sitting in Neville's chair, his feet can't reach the ground. In the background are some trees and sheep grazing.
Babysitter: Once, a fierce Hades, Pluto, came and robbed Parsephone to the kingdom of Hades...
There were two bells ringing in the distance. The nanny and the child are still in the camera, frontal shots. There is an ominous dark shadow on their right. The nanny continues to tell the story:
Babysitter: But Parsephone’s mother, she was also a goddess, she cried very, very sad, and finally moved Pluto and sent her daughter back to her.
The child's hand with the ring wiped off a poorly drawn line from the stone slab, and re-drew another line. Because of too much force, the stone pen made a harsh sound on the stone slab.
bathroom. daytime.
This is a bathroom attached to the living room. The room is dark. Several burning candles can be seen in the mirror. There is a washbasin on the dressing table. Mrs. Herbert walked in through the open door. The blue light penetrating through the closed shutters in the living room and the yellow candlelight in the bathroom constitute a clear contrast. Mrs. Herbert was untidy and ran towards the basin with her hand over her mouth, vomiting a mouthful of white stuff into the basin. Her lace headdress also fell into the basin. She hiccups, coughs and chokes...
On the first day, from 2 pm to 4 pm. The fourth painting. South of the main building. daytime.
Once again, the sunny courtyard is in sharp contrast with the suffocating breath of the previous shot, and the main building is in the background. This time it was the south side of the building. The windows of Mrs. Herbert's bedroom and Mrs. Tellman's piano room were on this side. Mrs. Tillman is playing the harpsichord, and the sound of the piano accompanies this and the next few. A servant turned his back to supervise the four gardeners leveling the gravel on the boulevard. The four moved from right to left, raising a piece of dust behind them. Neville came and Philip stood on his left.
Commentary outside the picture:
——From 2 pm to 4 pm. The requirement for the fourth painting is that no one can walk around in the western half of the main building and the surrounding area. Horses, carriages and other vehicles are not allowed to stay here. The sand and gravel on the pavement should be kept intact.
Neville handed the hat to the servant and sat down at the table. Philip waited for him to sit down.
——All stoves are not allowed to use, so as not to see smoke from the chimney from the front of the building.
Neville clapped his hands and motioned to the gardeners to stop working. Those people walked away obediently.
A blank sheet of gridded drawing paper. Neville brushed off the drawing paper with the white cuff of his right hand, and then drew a vertical line... the music gradually stopped. You can hear the birdsong.
On the first day, 4 pm to 6 pm. The fifth painting. Back garden and hills. daytime.
The music is majestic and powerful. A corner next to the pool in the back garden. From a small door opened in the stone wall, Neville and two servants walked out, and they walked to a small bridge over the canal.
Philip, wearing a white hair cover, followed his master to an ebony low table on the grass. There is a viewfinder next to it. The music continued. Several servants passed by, and one of them was pushing a cart full of potted flowers. Neville looked into the viewfinder for a while, then followed the servants to the fence gate opened on the back wall. They walked through a meadow with a hedge on one side and a row of bushes with flowers in full bloom on the other side. A marble obelisk and a spherical stone decoration on the gatepost of the fence can be seen in the lens. Philip opened the fence door and was about to go out, but then handed what was in his hand to a servant in black jacket, turned and walked back.
Neville walked out of the fence and urged:
-Hurry up!
Philip ran in small steps, and the others disappeared outside the wall.
The sight of the hills. The main building of the house can be seen behind the trees in the distance. On the grass at the top of the hill, there is an ebony high-back chair, a folding chair, a viewfinder, a shelf for picture clips, and Neville's drawing tool box. Neville walked up the hill, taking off his coat and black hair as he walked. The servant in black jacket took his clothes and hair jacket and followed behind. Music, birdsong.
Commentary outside the picture:
——Requirements for the fifth painting: 4 pm to 6 pm...
Neville untied the white gauze scarf tied around his neck, threw it on the easel, then sat down on the chair, shaking his hair away with his hands. The servant put his clothes and hair cover on the easel. A man in white appeared in the depth of the lens, and soon we could see that it was Mr. Tillman.
…On the north side of the main building, no family members, servants or farmers are allowed to move around within the sights visible from the hills. The herd grazing on the grass can stay in place.
Neville unbuttoned the pleated collar on his chest.
Mr. Tillman walked towards Neville from the right, and Philip walked from the left.
When Tellman walked closer, he began to speak:
——Hello, Mr. Neville.
Mr. Neville: Ah, Mr. Tellman!
The servant in black jackets walked away.
Mr. Tellman stopped beside Neville:
——Um... It seems that you have chosen a good view from the manor that my son will inherit.
The two turned their backs to the camera, with Talman on the left and Neville in the middle. Tillman held a long cane with a gold handle in his hand.
Mr. Neville (displeased): I think, at least for now, this landscape belongs to Mr. Herbert's property.
living room. daytime.
The gloomy interior. On the right is Mr. Noyce in a white long dress with wide sleeves. On the left is Mrs. Herbert, also dressed in white, sitting in front of a white marble fireplace with dark green marble trimming her nails. The firewood was burning in the fireplace.
Mrs. Herbert: Thomas, you tell Clarice not to go to the laundry room around noon...
hill. daytime.
Mrs. Herbert (voice-over): You come to my study this afternoon and bring ink. I want to write a letter to Mr. Herbert, asking him which way he intends to return.
Neville took Philip's sharpened pencil. Philip walked away. Mr. Tillman came and stood on the right side in front of the viewfinder. Neville was holding the clothes rack with one hand and bowed and looked into the viewfinder. His hair cover hung on the back of the chair. He raised his head. Mr. Tellman looked at him for a while, and then stood directly in front of the viewfinder.
Mr. Neville (straight up): Are you going to stay there forever, Mr. Tellman?
Mr. Tellman turned his face to Neville and said in a completely serious tone:
——I can see the surrounding terrain just right here, Mr. Neville. Thank you (then turn around again).
Neville's pencil hand flicked the white veil away from the drawing paper and began to draw two straight lines.
Neville (voice-over): Will you still wear this suit tomorrow?
Tellman's head appears in the frame of the viewfinder.
Mr. Tellman: What? Haven't considered yet. (Whistle) It depends on how the servant prepares. Does it matter? (Neville's hand draws Thalman's figure on the drawing paper) But maybe I still wear this body.
On the first day, from 6 to 8 in the evening. The sixth painting. Lower grass. daytime.
On the grass, there are painting utensils, tables, chairs, and a tea tray with Chinese-style tea sets on it. On the right is Philip wearing a white hair cover, sitting in a folding chair looking through the drawings that have been drawn.
Commentary outside the picture:
——Requirements for the sixth painting: 6:00 to 8:00 in the evening. There shall be no family members, servants, horses and other livestock around the statue of Hermes on the grass in the lower part of the garden.
Neville appeared in the picture, put a leg on the low table, and looked at the picture clip triumphantly. The music is soft. Philip stood up, poured a cup of tea, and handed it to Neville. Neville took the teacup without looking, and watched the scenery intently. Some people were walking in front of the main building in the distance.
Mr. Neville: Philip, let those people go in the past. But be polite and smile. (Philip hurries to execute the order) Don't run!
Philip gradually walked away, and Neville began to drink tea.
More than a dozen people in white clothes—only the nanny and a few maids in black and white clothes—walked in front of the main building, talking and laughing. On the right are Mrs. Herbert, the nanny and the little boy; on the left, a little further, beside the obelisk, are the others. You can hear their laughter. Philip walked to the group of people and bowed...
Neville's face was set against the background of the blue sky. He wore a long black hair jacket with a mocking smile at the corner of his mouth, and took a sip of tea. A part of the viewfinder is exposed on the right.
The camera returned to the group of uninvited guests. Philip respectfully asked them to go away with a gesture. Several people walked aside.
The music is soft. Neville continued to drink tea and chew biscuits, but his expression became serious. It seems that things are not going well.
Philip walked towards a group of guests farther away.
Mr. Seymour laughed and gestured to Philip and said:
——Go away (laughing again)?
Philip explained mutteringly.
Mr. Seymour: Let's go away? Where are you going? (Turning to Mr. Thallmann who approached from the left) What are you doing? (Mr. Tellmann is obviously explaining the painting requirements to him)-Ah, I don't know! Oh, oh!
The rest of the people walked into the picture again. The question has probably been explained clearly, so all of them bowed or curtseyed in a mocking gesture from a distance in Neville's direction. Neville poured out the tea in the cup angrily, but immediately smiled and nodded in thanks. There was a burst of laughter.
A group of people walked away from the place in the way, talking and laughing towards the main building. They walked over a small stone bridge over the pool, but it was covered by a low wall, and the stone bridge was not visible on the screen. They drifted away along the front of the building, when Philip walked back towards his master.
Mr. Noyce (voice-over):-The two favorite things of Mr. Lucas's life are his orchard and his children. Every time his wife became pregnant, he planted a fruit tree. It's a pity that his wife's childbirth is always unsatisfactory, and the children God has given them all die soon. Mr. Lucas vowed to saw off all the fruit trees, but finally did not do that...
The first day's dinner. 8:30. In front of the main building. evening.
Under the light of the soft golden candle, the utensils on the table, the skin of women, the snow-white hair covers on people's heads, clothes and tablecloths flashed with soft reflections from time to time. The food on the table is plentiful, with flowers dotted in the middle, and there are large pots of fruit.
Noyce and Tellman ate side by side.
Mr. Noyce continued the topic just now: - There are now eleven trees in Mr. Lucas’s orchard, and each tree has a name, which he remembers clearly.
Mr. Tillman said in his German accented English: Today's British people are not very fertile. There are more and more colonies, and fewer and fewer heirs to the throne (Note 6).
Neville, dressed in black as usual, looked extraordinary. And he didn't wear a hair cover. He cut the meat on the plate and put it in his mouth.
Mr. Neville: It depends on the colonies, Mr. Tellman. Some ancient British colonies have many heirs.
The camera pans the faces of those present in sequence. Mrs. Tellman's face was slightly pale.
Mrs. Tellman (puts down the glass): So, Mr. Neville, you mean that you sympathize with the Scots (note 7)?
Mr. Neville: Madam, I'm just telling a fact, please don't rush to a conclusion.
Mr. Tellman: If we say that the outstanding figures in Britain are all foreigners, then we say that the outstanding British painters are also foreigners. In my opinion, this is just a fact. (Neville stops chewing, and the hand holding the fork stops in the air) In Britain, there is no one who can be called a painter... Do you agree with this, Mr. Neville? "British painter"-these two concepts are simply not linked together.
Mrs. Herbert: So it makes perfect sense for Mr. Herbert to take special care of Mr. Neville.
Mr. Tellman: As everyone knows, Madam, Mr. Herbert is a person with contradictory personality.
Mrs. Herbert (deeply displeased by the conversation, her face is a little pale): It is precisely because of a contradictory personality that you are invited into your own home, even though he is a frank and frank person.
Mr. Thaelmann: But he didn't know who his wife left in her home to treat him warmly in his absence, madam.
Mrs. Tellman: Louis, my father is not at home, of course my mother has the right to handle the housework as she thinks necessary. The retention of Mr. Neville is exactly what my mother thinks is necessary.
Mr. Neville: Thank you for your words, Mrs. Tellman.
Mr. Telman: ...because these words conceal a lot of inconvenience.
Mr. Neville (arrogantly): What do you mean, sir?
Mr. Tellman (slapped the table and said): Don’t you understand that after we met today, your arrogant demands not only dared to send our family (foaming in desperation) like livestock? Go, and it's up to you to decide whether we can wear a vest, hold a cane, and whistle.
Mr. Neville (pick up a piece of food with a fork and hold it in front of you): But when I saw you in the garden today, you happened to have done all three things, sir. If you go to the garden tomorrow, then I hope you will dress and behave like this. It's just that I can't paint the whistle in the painting, whether it is blown by the British or by a German dressed as an Englishman.
Behind the two stood a servant who was waiting for them to eat.
Mrs. Tellman: So what about the birds' calls, Mr. Neville? You can ignore their calls, you can't help but let them fly in your field of vision.
Mr. Neville: Madam, if there are twelve days of good weather, clear sky and plenty of sunshine, of course it would be great (pinch both ends of the fork with your hands), but the contract cannot guarantee this, so I naturally don’t want to A waste of time. Therefore, Madam...
The front of the main building was brightly lit, and until then did we know that the scene was not in the interior. Several servants in black uniforms melted into the night.
Mr. Neville: ...I would be very grateful if all the requirements I carefully specified could be fulfilled. I am very concerned about any subtle changes in the scenery. I have always pursued consistency, no matter how much effort it takes, you can probably guess that only doing this one thing can make me great satisfaction and some kind of happiness.
On the second day of the contract, from 7 am to 9 am, the first painting is at the back of the main building. daytime.
Sheep were grazing quietly on the sunny, bright green grass. The music is lively and lively.
Two rams lie down under a tree and chew.
Neville flicked his wide white sleeves and tried his best to drive away the sheep with his cane, running around screaming. The Taelmans returned with zero steps and walked through the garden. They passed behind a row of neatly manicured bushes and greeted Mrs. Herbert and Mr. Noyce on the way.
Mrs. Herbert watched the Thaelmans walk, and whispered inadvertently: Thomas, do you remember, did Mr. Herbert put on his riding boots when he was packing up?
The next day, from 9 am to 11 am. The second painting. patio. daytime.
The second picture shows a row of obelisks in front of the main building. The whole picture has made great progress. Neville's hands with wide white cuffs are tracing a detail on the picture. The music is fast and the rhythm is clear. The hand stopped suddenly.
Neville sits in the rose-colored satin easy chair by the viewfinder under the tree. Not far behind stood the Thalmans, who were still wearing white clothes as usual, standing there watching Neville's paintings.
Mr. Tellman: Mr. Neville, why did you paint the courtyard so empty?
Mr. Neville (without looking up at him): Mr. Tellman, the painting was ordered by Mrs. Herbert. Do you think she would like to see a large group of people running around here, making it all right?
Through the frame of the viewfinder, an empty courtyard can be seen, just like on the drawing paper: rows of neatly trimmed trees and some obelisks.
Neville went on to say: I always think that the garden should be quiet and comfortable, and noisy and noisy are only suitable for carnivals.
Mrs. Tellman (looks attentively): Carnival... So, Mr. Neville, do you mean that you can indulge in joy only during religious ceremonies? What do you think the Garden of Gethsemane (Note 8) should look like?
Mr. Telman: I think it must be very desolate.
Mr. Neville: Of course, Mr. Tellmann, there must be no such neat trails there, and there are no Dutch tulips.
Mrs. Tellman: Oh, we have both Lebanese cedar and Judas bauhinia here. We can also plant some paradise.
Mr. Tillman: Now the gardens of the British have become primitive jungles. (Neville follows the painting calmly) Such exotic scenery is worthless at all. If God intends to build the Garden of Eden in England, he will make arrangements for it.
Neville turned his head to look at the Thalmans behind him.
Mr. Neville: Mr. Tellman, the Garden of Eden was originally to be built in Ireland, because St. Patrick (Note 9) drove the snake into the sea from Ireland.
Mr. Tellman: The only time that the Catholic Church has effectively freed Ireland from its control was William III of the Royal Family of Orange. It was four years ago, which happened to be my birthday (Note 10).
Mr. Neville: Happy birthday, Mr. Tellman. If you are still at the age of accepting birthday gifts, we can ask the gardener to catch a snake and send it to your flower room (Note 11).
The music played again. Telman was embarrassed for a while.
Mr. Tellman: What?
Mrs. Tellman (takes her husband's hand, pulls him away and Neville): Goodbye, Mr. Neville.
Mr. Neville (waves to greet): Goodbye, madam.
Music sound enhancement. Mrs. Tellman took her husband away.
The music is getting stronger. The hand holding the pencil returned to the unfinished picture. The music stopped.
The next day, from 11:00 to 13:00. The third painting. laundry room. daytime.
A pen holder placed on the ground, with some iron wires wrapped around it. The viewfinder cast a small shadow. At the same time it is accompanied by another piece of music.
Mr. Neville (voice-over, angrily): Philip!
Neville sat behind the viewfinder in the shade. Philip was bored, playing with a wire around the pen holder. In the distance is a pond and a low wall near the water on the side of the road. On the right are the trees along the boulevard. Philip stopped playing by the low wall.
Neville continued to paint, looking in the viewfinder from time to time.
You can see the sheets hanging on the hedge through the grid of the viewfinder.
The scenery is the same as above, but it is already on the drawing paper! The painting has progressed greatly. The music continued.
The next day, from 4 pm to 6 pm. The fifth painting. hill. daytime.
In the distance, the main building can be seen vaguely under the hill. The Tahlmans sat at a low table full of food under a Japanese parasol. They watched Neville (worn only in shirts) climbing up the hill. Behind them was a maid, holding a black and white spaniel, whose coat was exactly the same as the black and white clothes on the maid. Philip stood beside his master's painting tools.
Mr. Neville (hands on hips when walking closer): It seems that everyone is gathered, madam. What new trick is this today?
Mrs. Tellman (in a soothing tone): You shouldn't be surprised, Mr. Neville. We came here according to your request.
Mr. Neville: I didn't say I wanted to invite people to watch, and I didn't want to have a picnic on the grass. However, perhaps we should applaud and welcome this scene. (Raise your hands above your head and applaud)
Mr. Thielmann: Our painter is really hard to serve. There are always dissatisfaction...
The hound screamed low, and it seemed impatient.
Mrs. Thielmann: You said that Mr. Thielmann should... (Neville walks towards his position strenuously. You can see the white socks on his legs)...put on your clothes and carry a cane as you require. (Neville sits down, prepares to work, picks up the picture clip) We have caught your call. But there is one more requirement, but unfortunately I forgot.
Mr. Tellman: It's whistling, Sarah.
Mrs. Tellman: Oh, yes, it's a blessing.
Mr. Tillman: Today, Mr. Neville, I’m not in a good mood because I have to wear the clothes I wore yesterday... I can only give you twenty minutes, and then I have to ride a horse (he stands up, takes Lift up the cane and hat and walk out of the screen).
Mr. Neville (voice-over): Well, sir, please stand at your place.
Mrs. Tellman: I'm going for a walk. Mary, let's go. Let's walk the dog.
Standing up, the maid picked up the dog. The sound of music. Tellman walked to the original position in front of Neville.
The two women drifted away.
Mr. Neville (voice-over): Sir, please stay a little to the left. Please puff up your mouth.
Neville was drawing Tellman with his back facing him, standing in front of the scene.
Mr. Tellman: What are you doing?
Mr. Neville: Because you were whistling yesterday, sir. The tune you played may not even be heard by the composer.
Tillman turned his head and looked at the lace on the hem of his waistcoat. It gave the impression that the hem of his coat was supported by a skeleton. In any case, he is a plain white as usual.
With the ending chords of the music, we see that this painting with Mr. Tellmann has made great progress.
Mr. Neville (voice-over): Madam, you see, this man has no head. This is very typical for Germans!
Mrs. Herbert's room. daytime.
This is the second "separate meeting" between Neville and Mrs. Herbert.
Mrs. Herbert was lying prone on the bed, her untied clothes showing her back. The hair was draped loosely on his shoulders. There is a bird cage on the window sill. Neville, wearing only a shirt and black hair, was showing Mrs. Herbert the paintings lying on the bed.
Mrs. Herbert (sullenly): Mr. Neville, you mean my son-in-law.
She didn't want to look at the painting anymore, turned her head, tears hanging on her cheeks.
Mr. Neville (playing with the picture triumphantly): Madam, I hope he can give you a grandson one day. Maybe we should talk about this issue?
Mrs. Herbert (holds her head, sadly): You are like a cartoon, and you are happy with me and my money.
Mr. Neville (walks to the window, then comes back with a slipper in his hand): Based on my memory, plus the three portraits hanging in the house, and your understanding, I think I can be in this body On... (The picture with Tellman's figure. Neville points his slippers at the place of Tellman's head. The shadow of the slippers is dangling on the frame)... Draw Mr. Herbert's head, This would be more appropriate, because only Mr. Herbert is the only real owner of the manor (take the slippers off the picture frame and walk towards the window with a dagger in his hand).
Mrs. Herbert: I hope he can come back.
Mr. Neville: Madam, your words are really weird.
Mrs. Herbert: I hope he can come back to me.
The next day, from 6 to 8 in the evening. The sixth painting. Lower grass. daytime.
Music outside the picture.
In the foreground is the viewfinder, and in the background is the statue of Hermes. On the left, a white shirt hangs from the lower branch of a tree. In the distance is the front of the main building.
In the garden, there is a table under a light blue parasol with painting tools on the table. In the depth of field are rows of neatly manicured bushes.
Philip sat in a folding chair. Seeing Neville coming here from the main building, Philip stood up.
A figure of a maid flashed behind the tree in the distance.
Neville threw his thick black hair behind his shoulders and took a seat under the parasol. Philip handed him the picture clip. The chirping of birds can be heard.
Frame. The trees and the statue of Hermes in front of the main building have been drawn above.
Lower grass. Statue of Hermes and trees.
A detail of the frame: nothing is hanging on the low branches!
Neville was angrily trying to pull the shirt off the branch, but it was pulled and couldn't pull it off. Neville tugged hard, and then looked straight into the camera, as if to show us how the family did not comply with his request. Neville hung his shirt back in despair, then spread his hands helplessly, walked back to the viewfinder, and kicked a stone with his foot midway.
After dinner the next day. night view.
Mrs. Herbert was sitting at the small table covered with white tablecloths, weeping silently. Mrs. Tellman sat opposite her and put her hand on hers. The candlelight is soft.
Mrs. Tellman said lowly: Mom...
Mrs. Herbert put the hand covering her face on her daughter's hand, sobbed and said: What makes me sad is that Mr. Herbert is not at home.
Mrs. Tellman was silent for a moment, and solemnly said: Yes, mother.
She removed her hand from her mother's.
On the second day of the contract, from 7 am
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