"Dialogue" movie script
Text/[U.S.] Fu Coppola
Translated by Zhang Fengkui, Laurie
In 1974, following the Golden Statue Award for "Barton" and "The Godfather", the 35-year-old Coppola completed two important works: One was "Dialogue" which won the Palme d'Or at the Cannes Film Festival in France; It is the film "The Godfather Episode Two", which won seven American Golden Awards. Coppola used "two hands" to make the film. One hand made a sensational film like "The Godfather" and the other made a film with personal characteristics like "Dialogue". Of course, Coppola's expectation is to make the two poles of his creative activities become more and more consistent: the film "Apocalypse Now" (the predecessor of the journal "The Film Art Translation Series" published the script in the third issue of 1980) has this tendency. reflect. In order to have a more comprehensive understanding of Coppola’s creation, we completed the introduction of the film "Dialogue" based on the film literature and referenced the film. All significant differences between the two are noted so as to understand the author’s shooting The spirit of repeated scrutiny.
In order to understand the different comments made by American film critics on the film "The Dialogue", we published Coppola's own conversation and at the same time published an analysis article ""Private Dialogue" written by the author of "Francis Ford Coppola" ", for readers' reference.
--editor
[化入] Location. Unity Square, during the day.
Medium shot. A group of street musicians set up a space in the park, preparing to perform. The musical instruments are clarinet, drawpipe, banjo, saxophone and trumpet. They wore old-fashioned military uniforms made of velvet and silk and wore strange hats. At this moment, it has not attracted many onlookers. A musician took off the top hat on his head, put it upside down on the ground, and threw a handful of coins and several banknotes into the hat. Then they played a piece of jazz, which was an instrumental piece based on the popular song "The Red Robin".
Panoramic view. San Francisco in December. Unity Square and the surrounding business districts. The lanterns to celebrate Christmas have been hung up, and they will contrast with each other at three or four o'clock in the afternoon. It is lunch time, and the streets are bustling with people. In addition to shopping people, there are also a large number of office workers who go to the street for lunch.
The title of the film and the subtitles of the credits are superimposed on this panoramic scene. Begin to zoom very slowly towards the park with the zoom lens. The zoom is complete, the subtitles are over at the same time, and the shot approaches a close-up shot of a mime actor. This man is still young, the drummer dressed like a military band. He was gesturing, learning the gait and behavior of some pedestrians in the park. The learner didn't notice it, and his imitation attracted the attention of several people around him. He learned so well, and often won applause from the onlookers.
Close shot. The musicians are playing. One of them put down his instrument and started a tap dance.
Great close shot. The tap dancing feet stepped on sharp ideas near the hat.
Mime actor. At this time, he was imitating a trembling middle-aged man who was slowly pacing, learned to move accurately and had a clear goal. He made a gesture of drinking coffee with a cup in his hand.
The camera moves to the person being imitated: this person has a normal appearance, is forty-five or sixteen years old, has a small moustache on the upper lip, and is cleanly dressed. The style is obviously outdated, and his walking is slow and bumpy. He was holding a steaming paper cup with a paper pocket outside, drinking coffee one by one. This person is called Harry Kaul.
The musicians were playing, and the saxophone played a stern melody, and the listeners were all moved, especially Harry, who stopped to appreciate, and the music was transferred to the ensemble of the last paragraph of "The Red Robin".
A pair of young men and women passed by Harry, blocking Harry for a while. The woman is in her early twenties, she is still childish and very cute. She wrapped her coat tightly to withstand the intrusion of the winter mist in the afternoon. Her name was Ann, and she held a young man's arm tightly. The man was elegantly dressed and neatly combed. He was about twenty-six years old and amiable in appearance. His name was Mark. The two of them walked among the onlookers.
Ann (humming the lyrics of "The Red Robin"): "Wake up, wake up, you sleepworm, get up, get up, get up quickly..."
The camera pans around the crowd: some people are listening to the singing and some people are walking by. Harry Kaul, with an indifferent expression, also entered the screen many times. If we notice some of them, we can hear their words:
An (singing): "Cheer up, cheer up..."
A young man: You are going to see...
A woman: Really, both of them are coming, I think, I have to tell...
The camera returned to Ann's.
Ann (asked to Mark): Do you have any change?
Mark threw a coin into the musician's hat, and the two of them moved on again. The camera left Harry and the musicians, following the two young men.
Ann: ...what are your thoughts? I don't know what gifts to buy him for Christmas, he has everything.
Mark: He doesn't need anything, he doesn't need anything.
Ann: I can't make up my mind.
Several people passed by, blocking our view; at this moment, Ann's voice suddenly stopped. When we saw them again, although we saw them still talking, we only heard static interference, and then there was no sound, as if something went wrong with the vocal cords of the film. Later, someone made adjustments and we heard the sound again.
Ann: ...what about me?
Mark: Let's take a look first.
Ann: You are too serious. You should suffocate my appetite, give me some air, let me guess.
Ann slowed down before a green bench. An elderly beggar was lying on a bench wrapped in a coat, and saw that he was wearing no socks on his feet, and a pair of black leather shoes were much bigger than his feet.
Ann: Look, how terrible!
Mark: He doesn't hurt others.
Ann: Let's not hurt others either.
The two of them continued to walk, farther and farther away from us. But strangely speaking, their voices have always been very clear. We also noticed that they passed by Harry, who was already sitting on another bench. After they passed, Harry hurriedly got up, crossed the road, walked down the park steps, and walked towards a small truck. There was a mirror on one side of the car. The words "Pioneer Glass Mirror Company" were on the mirror. When Harry walked towards the minivan, we heard the following dialogue:
Ann (outside the painting): When I see this person, I can't help but have the same thoughts.
Mark (outside the painting): What do you think?
Ann (outside the painting): I think he was also the baby son of his parents. Don't laugh, I really think so.
The camera moves to a building, and then from the front of the building to the roof. On the top, there is a pattern of the Eiffel Tower composed of neon lights, as well as several large characters dotted with lights such as "Paris Department Store". We saw a man wearing a down jacket operating a microphone that stretched out a full five feet long, with a sight mounted on the head of the microphone. The man wears headphones on his head.
Ann (outside the painting): I think he was also the baby son of his parents at the beginning. Father loved him and mother loved him... But now, he fell into this field and fell half-dead on the bench in the park.
Aerial view: Looking down from the roof, the people on Unity Square are as small as ants, hard to recognize.
Ann (outside the painting): ...Where are his parents and uncles?
Through the sight, we see the intersection of the crosshairs in the mirror, aiming at Ann's mouth.
Ann: Anyway, I always think so. (Look at Mark)
interior. Small truck, during the day.
There is a young technician in the car, wearing headphones, sitting in a swivel chair, operating a professional tape recorder. His spectacle frame was wrapped with tape, apparently to remedy the broken spectacle frame. His name is Stanley.
Mark (outside the painting): I guess, I think, once a New York newspaper goes on strike, this old drunkard will freeze to death a lot overnight (Note 1)...
Someone knocked on the car door and Stanley took off his headphones. Mark's voice stopped abruptly. Stanley reached out and opened the car door, and Harry Kaul got into the car like a gust of wind, and walked to the opposite side of the tinted glass window. From there, we can see the scene outside the car window. Harry picked up a telescope and looked towards the park. Mark and Ann were walking and chatting.
Location. Small truck, during the day.
The minivan of the Glass Mirror Company is parked in the commercial area, without any intention of harming others.
Two well-dressed female secretaries went to the restaurant for lunch, crossed the road, and walked to the mirror of the pickup truck to put on makeup.
interior. Inside the small truck, during the day.
Harry's look was interrupted by these two girls. They put on makeup on the mirror, blocking his vision. He stood aside with the telescope impatiently. Stanley laughed out loud, turned around in the swivel chair, picked up an automatic camera, and pointed it at the two girls snapping pictures.
Stanley: Come on, be careful! Come, lick your lips. (Kacha) Moisturize and moisturize your lips. (Click, click, click)
close up. Two female secretaries applying lipstick were shot through the single-sided transparent car window.
Stanley (outside the picture): Stick out your tongue. (Click, click)
Medium shot: Harry is holding the telescope and standing patiently. Stanley is taking a snapshot.
Stanley: Put your tongue out and take a sip... (Kacha, Kacha)
Harry: Please pay attention to the recording, okay?
Stanley (putting on the headphones again): Now, the voice is loud and clear.
Harry motioned to Stanley to pass him the headset, and he put on the headset and listened carefully.
Ann (outside the painting): It's terrible.
Mark (outside the painting): After all, who started this conversation?
Ann (outside the picture): It's you.
Mark (outside the painting): Not me.
Ann (outside the picture): It's you. Don’t forget.
Stanley: Who is interested in these two guys?
Harry: Not sure.
Stanley: It's the Department of Justice.
Harry: No.
Stanley: I think it must be the anti-smuggling authority. These recordings made me fall asleep.
Harry (smiling): Are you still planning to use this to relieve your boredom?
Stanley: Sometimes, it's interesting to hear people whispering.
Harry (almost to himself): I don't care about what people talk about. What I care about is the quality of the recording, which should be clear and full. (Refers to headphones) How was the recording?
Stanley: About half of them recorded better.
Harry: What is the effect on the other point?
Stanley: Not great.
Stanley turned on another tape recorder. The content of the conversation was repeated on the machine.
Location. The roof of the Paris department store during the day.
The camera pans from the person under the Eiffel Tower pattern to the park, to an open window of an office building, and a person in the window is also operating a long microphone, the model is exactly the same as the one we just saw . It is clear that the two young men and women are being followed by two machines on the left and right.
We heard the laughter of young men.
The camera is aimed at young men and women.
Mark: Where did you hear about it?
Ann (also said with a smile): This is my secret.
The camera is aimed at the mime actor, he is also laughing, imitating the gait of young men and women funny, making everyone around him very happy and applauding him.
The camera followed Mark and Ann. They didn't know that the mime actors were learning their movements and continued to walk.
Mark: How do you feel?
Ann: Oh, you know it in your heart.
The camera moves from these two to the other. He is very close to them, carrying a shopping bag in his hand, walking and reading the newspaper.
close up. This person is wearing a hearing aid.
Mark: The weather is really nice today; it was cold and foggy yesterday.
Ann: Are you... (sound cut off suddenly)
We noticed that many pedestrians intervened between the person holding the shopping bag and the young men and women. So, the person with the shopping bag quickened his pace to catch up. At this time, we heard other people's words: "Wait for you..." "This can't work, but..." "I was really...", etc. Wait.
He finally pushed them, and we heard the voice again.
Mark: I'm tired of drinking anyway. I'm tired of almost everything.
Ann: Are you tired of me too?
Mark: (Static interference)...you. But not today.
She smiled affectionately at Mark, and when she looked at Mark, she suddenly noticed that the person carrying the shopping bag glanced at them. A frightened expression suddenly appeared on her face. The person with the shopping bag felt it too, pretending to be nothing, walked in front of them.
Location. Office building, daytime.
The person operating the long-arm microphone pokes the microphone out of the window and uses the sight on the microphone to search for and track the target.
The telescope lens in the sight. The camera focused on Ann's face, and saw her close to Mark, whispering--
Ann: Look, have you seen that person? Wearing a hearing aid...it seems...
Mark: I didn't see it, where is it?
Ann: He has been following us all the time. Right next to us just now. (Speaking, grabbing Mark's arm and squeezing tightly)
Mark: It's okay. no need to worry.
For a while, Ann almost shouted, but she was held back.
Ann: Oh my goodness, it would be nice to finish this matter earlier!
They turned their backs to the telescope lens, and their voices began to blur, and they couldn't hear them anymore.
Location. The roof marked by the Eiffel Tower, during the day.
The man on the roof glanced with the telescopic sight, searching for the target.
Telescope lens. The crosshairs on the sight lens fell on the moving picture that was not in focus, swept over some pedestrians and buildings, and finally stayed on the two targets. The intersection of the crosshairs finally aimed at their mouths. We heard their voices again.
They are standing next to a group of people playing Bangu drums. The vocal cords are mixed with the sound of drums.
Mark: He will... (drums disturb the voice)... luck...
Ann: You know, he secretly recorded the phone.
Mark: Let's go back, it's almost two o'clock.
Ann (on the one hand, while leaving the group of beaters with Mark): Please don’t go back there, wait until...
Mark: Okay. I won't go back yet.
interior. Inside the minivan with mirror, during the day.
Stanley operated the tape recorder. Harry listened to headphones while drinking coffee from a steaming paper cup. Someone knocked on the car door, and Stanley opened the door to let the man with the shopping bag in. The man was tall, middle-aged, and his name was Paul Meyers. Paul took off his hearing aid and took out a small semiconductor radio and a directional microphone from his shopping bag. Obviously, he had been outside for a while, and it was a bit cold now.
Paul: I showed my stuff, Harry. She glanced at me, what a pity.
Harry: I heard it. How was the recording?
Paul: Not bad. I have recorded several paragraphs, some of which are well recorded. About 20%, or 25%.
Harry: Good. Would you like some coffee?
Paul: No, thank you, (look in the car) Maybe, I want to drink something else, is there any?
Harry leaned over and picked up a small bottle of whiskey and handed it to him. Paul took a sip.
Paul: Good!
Harry: You have worked hard. If there are other things in the future, I will definitely call you.
Harry took the cash and paid Paul. Paul quickly put in his wallet.
Paul: I have to take over in an hour. Goodbye, guys.
Paul got out of the van, Harry picked up the headset and listened to the conversation again.
Stanley: This Paul is really a good guy... You know, it's rare for the police to have this.
Looking out of the transparent car windows on both sides, we saw people coming and going on the street.
Mark (outside the painting): I'll stay here for a while.
Ann (outside the picture): Goodbye. Wait a minute, there is something on your eyelids.
Location. Unity Square, during the day.
By this time lunch time has passed, and the pedestrians on the street are gradually sparse. The young couple just broke up. Anna hurried to Powell Street and looked back at Mark. Mark turned and sat on the bench, watching her go. Beside him, the drunken beggar woke up and looked around. Ann has gone without a trace. Mark stood up, threw away his lunch bag, and walked in the opposite direction.
interior. Inside the small truck, during the day.
Stanley quickly reversed the tape, taking off his headphones. Harry leaned over the car window without saying a word.
Stanley: What's the matter, Harry? You are very abnormal today and you are in a bad mood. What annoys you?
Harry (impatiently): Leave it alone, Stanley. (No one said a word for a while, suddenly Harry laughed and talked to himself) Leave it alone.
Stanley (looks at Harry inexplicably, then if he understands): Leave it alone! ! Oh Harry! Harry! (He also laughs nervously)
Location. Small truck, during the day.
The car stopped properly at the edge of the road. We heard a very light and vague laughter coming from the car.
Location. The roof of the Paris department store during the day.
The people on the roof began to disassemble the microphone, cut it into sections, and put it into a nylon bag with a strap.
Location. Office building, daytime.
The man in front of the window disassembled the equipment and put it into two boxes, dry while whistling.
Location. Unity Square, during the day.
The street musicians put the instruments in the felt sleeves and then in the instrument cases. A musician took the top hat from the ground and poured out the change in the hat tube. [Chemical Out]
[化入] Location. Tram, during the day.
Move the lens. The trolleybus drove quietly along the street, with two “braids” on the roof against the high-voltage wires above it.
interior. Inside the tram, during the day.
Harry sat in the tram, like many people in the tram, a tired-faced passenger returning home from get off work. The tram made a bang when it turned and stopped suddenly. The passengers seemed to understand what was going on and waited calmly. The helpless driver jumped off the tram and walked back to the car in strides, skillfully trying to reconnect the "braid" to the high-voltage power line. Harry lost his breath and hurriedly jumped off the tram.
Location. Street scene nearby, during the day.
Two thick, black "braids" squeezed around the high-voltage power lines, and the sparks that burst out fell on the street, when Harry had reached the corner of the street not far from his house.
Harry walked towards the other side of the street step by step, and the reconnected tram quietly moved behind him and passed him. He is crossing the road.
interior. The nearby market, during the day.
Harry walked into the small market shed, picked a tomato, a piece of pork wrapped in cellophane, a can of beer, and then took all these things to the counter to settle the account.
interior. Laundry room during the day.
A woman was busy at the counter at the pick-up desk. Her boy was surprised to watch Harry put a glass full of water under a dishcloth, and then the cup disappeared, not swiftly.
Woman (looking in the ironed bag of clothes): Harry Kaul... Harry Kaul.
Boy: Tell me.
Harry: Jugglers never say their own tricks.
Boy: Can you tell me.
Harry: The secret is no longer a secret when it's said through, and it's worthless.
Woman: Harry Kaul, five shirts, six underwear hakama, five pairs of socks.
Harry smiled, picked up his clothes and bags, and left.
Boy: Goodbye, Harry.
interior. Inside the apartment building, during the day.
Harry walked into the hall, which was all brown and yellow. He took out the key to the letter box, opened his letter box, and took out several advertisements, several bills and a congratulatory postcard. He started to go upstairs, and the same female neighbor with a dog passed by on the stairs.
Harry: Hello.
Female neighbor: Hello, Mr. Kaul.
He went up a few steps, and suddenly heard the female neighbor turn around and said, "Happy birthday to you!" Harry smiled and nodded, but he was puzzled.
interior. Outside Harry's door, during the day.
Harry walked to the door and opened the door. There were two locks on the door. Only after opening a seam, I suddenly heard something falling on the ground with a very quiet voice. Harry looked through the crack in the door and found a brightly packed bottle of wine lying on the ground. He closed the door and picked up the card tied to the ribbon. The card read: "Harry, happy birthday to you-Maria Evangelista."
Harry (muttering to himself): Happy birthday to you, Harry, happy birthday to you... (on the phone)...Happy birthday to you...Hey! Mrs. Evangelista? Yes, this is Harry Kaul. Yes, yes, thank you very much. I saw it. Yes. You are so kind. Thank you, Mrs. Evangelista. But how did you put it in my room, please? (Listening to the other person's answer) I thought I was the only one with a key. Know it now. But what kind of emergency can happen? ...No problem, even if all my personal things are burned out, I will still be happy. Anyway, I have nothing personal. Nothing is valuable, not a personal thing. Except for my keys, I wish I had only one in hand.
He said, flipping through the letter. He saw the congratulatory postcard with a ready-made congratulatory message on it, and there were handwritten handwriting in several blanks: "Happy birthday to our respected customer (handwritten) Harry, and wish him (handwritten) forty-four years old all the best. Be safe. Peace Bank."
Harry (continue to call): How do you know that today is my birthday? (Listening to the other party's answer) I don't remember telling you. Can you guess how old I am this year? Forty-four years old? You guessed it right, Mrs. Evangelista. By the way, from today, my letters are left in the post office box. The post office box does not need a key, it is locked with a code! goodbye. (Hangs up the phone) Happy birthday, Harry!
interior. Kitchen, night.
Two lean pork chops were being fried in a frying pan, and Harry was slicing tomatoes. He heard a few buzzing noises from the house next door, followed by a loud roar.
Harry (talking to himself): What is this? It has become the Central Railway Station!
He picked up the pork chop from the frying pan. The noise continued, but he could not hear the conversation clearly. He ignored it, and after a while, he walked to the root of the wall and listened closely. He walked to the cabinet again, took a glass, stuck the bottom of the glass to the wall, and put his ear on the mouth of the glass to listen, but still nothing. He walked away, moved a chair, put it in the small closet, took another broom, stood on the chair, and used the broomstick to open the transom on the ceiling of the closet. We can hear more clearly at this time, someone is arguing.
Man (outside the picture): Damn! Damn landlord!
Woman (outside the painting): Stop yelling! Otherwise, I will close the window.
Someone knocked on Harry's door, and he quickly moved the chair out of the closet.
Harry: Wait a minute.
He eliminated all signs of eavesdropping and went to open the door. An angry young man stood at the door, staring at him. This person is Ron Keller.
Lang: Sorry, let's meet for the first time. Do you have water here?
Harry: I... don't know.
Lang: I am a new resident here, and there is no water in my place. I wonder if you can go and see if there is water in your place.
Mr. Galcido (outside the picture): What's wrong with the water again?
Another tenant poked his head out of the door.
Mr. Galcido: There was no hot water last week. Today, there is no hot or cold water.
Lang: This is the last straw.
As the argument continued along the corridor, Harry closed the door ably, trying not to intervene. Unexpectedly, as soon as he closed the door, someone knocked on the door again. He opened the door. This was another guest named Bob, and he was smiling very nicely, and he seemed to be a close friend. Lang was still arguing with Mr. Golcido angrily.
Bob: Hi, Harry, you too, eh?
Harry: Yeah, this is...
Bob: Let's just say it, the hot water pipe is screwed to death. We could have reported to the Ministry of Health about the sewer pipe problem.
Bob said, and kept glances into Harry's room, making Harry very uncomfortable. So he simply walked out of the door and closed the door.
Bob's wife (outside the picture): Bob, where are you?
Bob (calling): On top, here is Harry Kaul.
Bob's wife (outside the picture): Is there no water in his place?
Ron Keller walked into Harry's room uninvited, opened the water pipe to try, and cried out, "There is water here!"
When Harry saw Lang broke into his room, he had a big accident and went back into the room. Bob followed up immediately.
Bob: Ah! This is Ron Keller, the new tenant. This is Harry Kaul.
Lang: Nice to meet you, Harry. We have a lot of money for the house here. What if we refuse to pay the rent? By the way, happy birthday to you, Harry.
Harry: Thank you.
Bob (try the water pipe too): Why is there only one family with water?
Bob's wife and Mr. Galcido also came in.
Harry: Why don't we all go downstairs to Mrs. Evangelista? We can go and advise her...
Bob's wife: It's no use mentioning her.
Lang: I advocate not paying the rent.
Bob: I can't blame the old lady. She will not offend him.
Harry: Who offends?
Bob: We're not sure.
Lang: Of course it is the landlord!
In the distance, we heard the voice of a woman.
Mrs. Gottner (outside the picture): Happy birthday to you! ……happy Birthday!
Harry closed his eyes and couldn't believe it.
Bob: Today is Harry's birthday!
Bob's wife: Yes, I heard, Mrs. Gottner. happy Birthday! happy Birthday!
Harry opened his eyes when Mrs. Gottner had already taken the dog and came up with a half-pound cake, and even put together a few candles.
Mrs. Gottner: I think I just heard a party upstairs, a birthday party!
Harry: No, we are here to discuss the problem right now...
Bob's wife: Blow out the candle, Mr. Kaul, for good luck.
Lang: Yeah! It seems we can get some water here.
Everyone laughed. Harry blew out the candle reluctantly. Everyone booed. Mr. Galcido has returned, and he has taken a package of gifts for the occasion.
Mr. Galcido: This... this is a trivial matter.
Harry (who was disturbed by so many people in the room, said casually): Thank you...really...
Mr. Golcido motioned to Harry to open the gift, and Harry complied. This is a plastic statue of the Virgin.
Mr. Golcido: On Sunday, I noticed you during Mass, Mr. Kaul. This is for you to hang on the car.
Harry: Actually I don't have a car, but I must put this statue of the Virgin in the room. Thank you very much.
Bob (leaning over to look at a tenor sachs on the shelf): Are you a musician, Harry?
Harry: No... I...
Lang: I think we can choose a tenant representative...
Harry: ... can blow a little.
Lang: ...send a representative to negotiate directly with the landlord.
Mr. Galcido: I would rather go. However, you all know that I can't speak well, and you know that the language is not good enough.
Bob's wife: Mr. Kaul is the one who has lived here the longest.
Harry (realizing the meaning of their conversation): I can't...
Bob: By the way, good idea, Harry.
Lang: How is it?
Quiet field. Everyone looked at Harry. He really can't justify it.
Harry: Okay... Okay. As a tenant representative, I just need to tell me where the landlord lives.
Lang: Find a law firm and everything will be resolved. Let me take care of this.
It seems that everyone is very satisfied. Harry managed to get them all out, instinctively blocking people from looking here and looking there.
Harry: I really have to go. I have to get to a place in half an hour.
Bob's wife: I must go to the birthday party, right?
Harry: Yes, reunite with my family.
Golcido: Do you have a home in the city, Mr. Kaul? very good.
Harry managed to send these people out one by one. Before the neighbors left, they said: "Goodbye", "Happy birthday to you", "How nice, he still has a home", and so on.
Location. Tram, night.
Harry was sitting in an empty tram. The tram drove quietly in the night fog. When the tram arrived, Harry got off, crossed an empty street, and walked into an apartment building. We noticed that he was holding a bottle of wine-it was the birthday present he had just received.
interior. Apartment building, night.
Harry looked up under the stairs. He just waited for a moment as if hiding aside and scouting. Then quietly went upstairs, walked to the door of a room, took out the key, inserted the key into the keyhole very lightly, opened the door quickly, and peeped into the room. A woman's voice came from inside: "Harry".
interior. In the room, night.
We followed Harry into the room. The room is half-lit and half-dark, and the area is small. Some personal items were placed around; there was a small stereo cassette recorder on the ground and a few pictures on the wall, but the whole room only made people feel that it was a temporary shelter. On the bed in the corner, there was a young girl half leaning against her body; the girl was fair-skinned, twenty-four or five-year-old, with curly hair, and she was very cute. She just fell asleep wearing a faded Eastern silk pajamas. Her name is Amy.
Amy: I didn't expect you to come.
Harry closed the door.
Harry: I'll stay for a while.
Amy: Oh!
Harry: I brought a bottle of wine, a birthday present from someone.
Amy: I didn't know that today is your birthday.
Amy was obviously not drowsy, but she felt happy about Harry's arrival.
Harry: I'll just make a call first.
Amy got into the bed again. She seemed a little scared, something touched her sore spot.
Amy (no condemnation): You would never do this.
Harry: Just go out and walk more.
Amy: You don't want me to go out and walk around.
Harry: I don't care.
Amy: In that case, you won't be able to touch me anymore.
Harry: Would you like some wine?
Amy (nods. Smiles): Harry, how old are you this year?
Harry walked to the small kitchen and managed to open the wine bottle.
Harry: Forty-four years old.
Amy: You are almost twice as big as me. This is really interesting. I was born when you were my age. interesting.
Harry handed her a glass of wine. She clinked glasses with Harry, and they each took a sip of wine.
Amy: Today is your birthday. Is there something unusual between us?
Harry: In what way?
Amy: In terms of personal life.
Harry: For example?
Amy: For example, talk to me about your affairs, your secrets.
Harry (smiling): I have no secrets.
Amy (gazing at him deliberately): Am I not your secret, Harry? (Clearly) Where do you live? Why can't I call where you live?
Harry (lie down): I... I don't have a phone installed there.
Amy: But, I know, Harry, you have a secret. You come to me sometimes, but you never let me know in advance. Once, I saw you hiding under the stairs and snooping for an hour.
This sentence embarrassed Harry, but Amy continued to embarrass him.
Amy: I think you are a jealous jar. What shortcoming do you think you can catch me. Dear. (She takes a sip of wine) You can't catch me, you can only find that I'm waiting for you. (Laughs) Every time you come, the way you open the door is also very special. You are always sneaky, tiptoe, like a rat. The door opened very fast, as if you were going to catch me by surprise and catch me on the spot. At first, I always thought it was a firefighter who came in and reported that my building was on fire. (Sincerely) Ah, Harry, don't you ever trust me, love jealousy?
Harry: I'm not jealous.
Amy: Sometimes, I even feel that you are eavesdropping. When I call, I always feel that you are eavesdropping.
Harry (uncomfortable): What are you talking about?
Amy: What are you doing during the day, Harry?
Harry: Work.
Amy: Where do you work?
Harry: I have my own business to do.
Amy: What kind of business?
Harry: I don't like people asking questions.
Harry got angry, he got up, walked into the bathroom, closed the door, and leaned against the door for a while.
Amy (outside the painting, sing): "Quickly wake up, quickly wake up, you sleepy bug, get up, get up, get up quickly..."
Harry opened the bathroom door, came out, and stared at her.
Harry: Why do you want to sing this song?
Amy: This song is nice.
Harry: Why do you think this song is good?
Amy: What's the matter, Harry?
Harry: Today, one person also sang this song.
Amy: A girl?
Harry: Yes.
Amy (pretending to be): Well, I'm going to be jealous. who is she?
Harry: I don't know her...I...this matter has nothing to do with us.
Amy: You never told me where you work.
Harry: I work in several places, and I do several jobs. I am a musical instrument player, a freelance player.
Amy: Do you live a single life?
Harry: Why do you suddenly ask me these questions?
Amy: Because today is your birthday, I want to get to know you.
Harry: Yes, I am single. As for other questions, I don't want to answer.
After all, he walked in the direction of the small kitchen; we could feel that he didn't want to stay anymore.
Harry: It's time for you to pay for the house this week. (Amy does not speak) Here you are. (Harry takes out the banknotes and puts the money in a plate on the cutlery rack) Living expenses are also in the court. (Amy remains silent) I have to go now.
He walked a few steps towards the door, then stopped and looked at Amy. Ailai looked very pale, very fragile, and could not help but feel weak.
Harry: You have never turned to me before.
Amy: Harry, I was very happy to see you here tonight. I was so happy that my toes were trembling under the covers. But now, I don't think I will wait for you.
Harry looked at her and left. Amy's eyes widened and stared at where Harry had just stood; then, he lay back on the bed. (Note 2)
interior. Harry's little sit-up room, night. (Note 3)
The most eye-catching thing in the room is a homemade large speaker, the kind of early "high-fidelity" single-speaker speaker. We heard a recording of jazz music. This recording is very old but very well preserved.
The camera moved to Harry. He was sitting on a wooden chair with a straight back in the center of the room, playing the saxophone excitedly to the melody of the recording.
The saxophone solo was over, and we heard warm applause in the recording. Harry was sweating on his face, panting, and closed his eyes. He took the applause as an admiration for him. [Chemical Out]
[化入] Location. Outside the apartment building where Harry lives, during the day.
A row of old buildings waiting to be demolished. The workers who demolished the house have started work. We heard the sound of trucks moving and hammers.
Harry calmly walked out of the building, walked across the construction site, and sat down at the tram stop, waiting for the tram.
Location. Around the warehouse, during the day.
Harry walked along a road parallel to the railway. This is an industrial area in San Francisco. Trucks stopped along the street, some were loading and some were unloading. Sometimes a train passes by. Harry walked into a warehouse building, pressed a button, and climbed up the ladder.
interior. Harry's warehouse, during the day.
Harry took the elevator to the warehouse. We noticed that there are a few benches with electrical equipment, a few cabinets and shelves, and a curtain right as a partition. Stanley leaned back lazily on an old sofa reading a magazine.
Harry: Good morning.
Stanley: Here is an article about trade fairs. I also ordered your name.
Harry: Really?
Stanley: Say you are one of the famous people who will be playing tonight. Don't you know?
Harry took off his coat and, out of habit, walked towards a workbench; there were three professional tape recorders side by side on it.
Harry: Yes, I said I was going.
Stanley (reading the article in the magazine): "... Among the top figures in this field, the promising ones are Hal Ribxett and Harry Kaul of San Francisco. Kenneth Sperry will Delivered a speech on the subject of'Surveillance and the Law'. The participant also included William P. Moran of Detroit, Michigan."
Harry: When did William P. Moran become a top man in this area?
Stanley: Do you have coffee?
Stanley got up and poured a cup of coffee for Harry.
Stanley: This public is amazing in Detroit. At the beginning, the news of the layoffs at Cadlerk Motors was revealed to Chrysler Motors.
Harry yawned and started to work at the desk. He operated the tape recorder quickly and swiftly, which shows that he is a veteran in this area. The thin audio tapes were all installed after he played three or two times. Stanley brought him a cup of steaming coffee. He winked and motioned to Stanley to put the coffee on the table.
The tape recorders were all ready for Shu Qi, and Harry calibrated the third machine, and he knew it was made by himself at first glance.
Stanley: The acoustics of these microphones are really great.
Stanley leaned on a workbench and drank coffee. Harry turned on a large speaker. At this time, a beep was heard, the relay was unimpeded, and the three tape recorders started rotating at the same time. The oscilloscope screen on the synchronizer indicates that the electronic cycle is in good condition.
close up. Big speakers. The appearance shows that this speaker was made by the same craftsman as the speaker in Harry's residence. We first heard a hiss, a static interference, and then Stanley's voice:
Stanley (outside the picture): Tuesday, December 2, at one o'clock in the afternoon. First group. Tuesday, December 2, one o'clock in the afternoon. Second Group. Tuesday, December 2, one o'clock in the afternoon. The third group.
Then, we heard the dialogue between Ann and Mark. However, the sound seemed to be coming from several tape recorders that were placed in several locations at the same time. Harry adjusted the three-in-one mixing switch to adjust the sound to the strongest and clearest speaker.
An (outside the painting, sing): "Wake up, wake up, you sleepy bug, get up, get up, get up quickly... Live happily, laugh and love."
Close-up, Harry listened intently.
Ann (outside the picture): Do you have any change?
Location. Unity Square, during the day.
We see Ann and Mark, just like the scene at the beginning of the film, including Harry Kaul glancing at them from time to time. Between their words, we feel there is an implication. It seems that they are not used to speaking freely among the public. It seems that their thoughts are not really focused on the things they are talking about, but on the fear and unbearable relationship between them. Love. This feeling is so subtle that we didn't even notice it at first, but as this scene was repeated over and over again, things became obvious.
Ann (outside the painting): I don't know what gifts to buy for him for Christmas, he has everything.
Mark (outside the painting): He doesn't need anything, he doesn't need anything.
Ann (outside the painting): I can't make up my mind...
The picture was blocked by pedestrians, and the sound suddenly stopped.
interior. Harry's warehouse, during the day.
Close-up, black ALTECA 500 speakers. We only heard the hissing of the tape.
Close shot, Harry hurriedly pressed the button, and the three machines stopped at the same time. He adjusted the three tapes to synchronization, and then flipped the adjustment switch to turn the tapes again.
Close-up, Harry's hand, first set the first adjustment switch to the back and then the second adjustment switch to the front. We heard two recordings of the same conversation being broadcast over and over.
Mark (outside the painting): He doesn't need anything, he doesn't need anything.
Location. Unity Square, during the day.
Scenes that have already appeared at the beginning of the film.
Ann: I can't make up my mind... (static noise) what to give you.
Mark: Let's take a look first.
Ann: All right. (There is a trace of sadness on her face, but she immediately grasps herself and becomes cheerful again) Good. what about me?
Mark: You will see it.
interior. Harry's warehouse, during the day.
Panning. panoramic. Harry sat motionless and listened to the speakers. Stanley operated the machine silently. A white light came from outside the window.
An (outside the picture): You are too serious (Note 4). You should suffocate my appetite, give me some air, let me guess.
Mark (outside the picture): Are you annoying?
Ann (outside the painting): What?
Mark (outside the painting): Always wandering like this.
Ann (outside the picture): Look, how terrible!
Location. Unity Square, during the day.
Close shot. Beggar, lying on the bench, with shoes but no socks.
interior. Treasury, during the day.
speaker.
Mark (outside the painting): He doesn't hurt others.
An (outside the painting): Let's not hurt others either. Oh my!
Harry paused the tape recorder; rewinded the tape for a while and replayed the recording.
Location. Unity Square, during the day.
Close shot. Ann and Mark passed by the beggar.
Ann: Let's not hurt anyone... Oh my God!
She sighed, with a very disturbed look on her face. Then, her goal of attention returned to the beggar.
Ann: When I see this number, I can't help but have the same thoughts...
interior. Harry's warehouse, during the day.
Close shot. Stanley was operating the machine.
Mark (outside the painting): What do you think?
Stanley (muttering to himself): Yeah, what do you think?
Ann (outside the painting): I think he was also the baby son of his parents at the beginning, his father loved him, and his mother loved him...
(Below, the recording sound and the dialogue are carried out at the same time)
Ann (outside the painting): But now, he has landed in this field, half-dead on the bench in the park. Where are his parents and uncles? Anyway, I always think so.
Mark (outside the picture): I guess, I think, once a New York newspaper goes on strike... this old alcoholic... will freeze to death a lot overnight.
An (outside the picture): Just because there is no newspaper?
Mark (outside the picture): Indeed, the newspaper makes them...
Stanley: Are you going to have lunch?
Harry: I'm not eating lunch anymore.
Stanley: Let's go, let's go to the Als Bay Hotel.
Harry: I want to finish listening to this recording.
Stanley: How boring this conversation sounds!
Harry: I want to do work.
Stanley: Listen to what they are talking about!
Harry pressed the stop button of the tape recorder angrily, and the three tape recorders stopped abruptly. Mark did not finish his sentence.
Harry: Listen, I want to finish this work.
Stanley: Don't get excited!
Harry: I'm so tired of it.
Stanley: What is the taste.
Harry: Tired of you! Asking me questions endlessly all day long.
Stanley: Oh my God!
Harry: Don't come to this set.
Stanley: God knows!
Harry: Don't talk nonsense as soon as possible. I heard disgusting.
Stanley: What's the matter with you, Harry?
Harry pressed the start button of the recorder. Below, their dialogue and recording sound simultaneously:
Mark (outside the painting): Warm...
Ann (outside the painting): It's terrible.
Mark (outside the picture): Who started this conversation?
Ann: It's you.
Mark: Not me.
Ann: It's you. Don’t forget. (Pause) Mark... It doesn't matter, let's talk about it.
Mark (outside the painting): I can't stand it...
Ann (outside the painting): You just made me cry.
Mark (outside the picture): I know, honey, I know. (Pause) I too...
Harry: Your job is a mess. If you pay more attention to the quality of the recording, and pay less attention to the content of their conversation, you should have recorded better.
Stanley: I just asked what was going on, you were so angry, why?
Harry: Because I can't answer my customers' personal questions out of thin air.
Stanley: Cough! Even if you reveal a little bit occasionally.
Harry: This matter has nothing to do with me, and it has nothing to do with you.
Stanley: You always keep me in the dark.
Harry: Why am I here? Could this be the Polytechnic Institute and asked me to give lectures?
Stanley: This happens to involve humanity issues.
Harry stopped the tape recorder again.
Harry: There is a rule that must be strictly followed. I learned to do this business...this is...I don't care what human nature is, I only know the rules for doing this business.
Stanley: I went for lunch. goodbye.
Stanley put on his coat angrily and walked into the elevator. Only heard the elevator hum for a while, Harry seemed to froze and sat motionless in front of the workbench. After the sound of the elevator stopped, Harry breathed a sigh of relief, worked at the desk again, and started the tape recorder.
Ann (outside the picture): No...no.
Mark (outside the painting): Oh my God.
Location, Tuanjie Square, daytime.
Ann was very excited. Mark put his arms around her and stroked her, passing his affectionate hand across her neck, and Ann gently pushed his hand away. Both of them looked special, especially fearful.
Ann (seriously): Eat your sandwich. What I told you just now, you just treat me as a joke.
Mark moved his hand.
Ann: Go ahead.
Mark laughed.
Mark: Where did you hear about it?
Ann (said with a smile): This is my secret.
Although she laughed too, it was a fake smile, and she smiled reluctantly. They continued to walk, and we noticed the mime actors following them, imitating their movements. They did not find out.
Mark: How do you feel?
Ann: Oh, you know it in your heart.
Mark: The weather is really nice today; it was cold and foggy yesterday.
Ann: Are you... (sound cut off suddenly)
interior. Harry's warehouse, during the day.
Harry stopped all three tape recorders, and then rewinded all three tapes. Then stop the third tape and let this tape go forward again.
Mark (outside the painting): ...cold and foggy.
Ann (outside the painting): Do you think we can do it?
Mark (the noise of static electricity is very loud, outside the picture): This weekend, it may also be Sunday.
close up. Harry was adjusting the filter, and the static noise gradually decreased.
Ann (outside the painting): That's OK, Sunday...
Mark (outside the picture): ... three o'clock. Jakhtar Hotel, Room 773.
Location. Unity Square, during the day.
Close-up, Ann. There was an expression of fear on her face. She stared at the person with the shopping bag, watching him pass by them casually.
Ann: Look, have you seen that person? Wearing a hearing aid...it seems...
Mark: I didn't see it. Where?
Ann: He has been following us all the time. Right next to us just now.
Mark: It's okay. no need to worry.
interior. Harry's warehouse, during the day.
Close-up, Harry.
Ann (outside the painting, sing): "The red and red robins jump forward..."
(Pauses for a moment) Oh my god, it would be nice to finish this matter sooner!
close up. Harry's hand. Stop the other tape; the same voice repeats and overlaps for a while, then becomes clear.
Ann (outside the picture): I love you.
Panoramic view of warehouse. We heard the sound of tambourine begin to mingled into the dialogue recording.
Mark (outside the picture): We have been delayed here for too long.
Ann (outside the painting): Stay a while.
The tambourine sounded louder and louder, and we could barely hear them.
Mark (outside the painting): He may...maybe... (sharp drums)...a chance.
close up. Workbench. The three tape recorders stopped at the same time. fall back.
close up. Harry. This is precisely the recording that he couldn't find in the past.
close up. Harry's hand stopped the second tape. Press the start switch again.
close up. The tape was spinning forward.
Mark (outside the picture): He might...maybe... (the sound of the tambourine is blurred by a few words)... chance.
close up. Harry. Rewind the tape again.
close up. Harry touched a small box with his hand. It was a very inconspicuous, obviously self-made part. It was a kind of filter. He connected this part with a tape recorder that interfered with drums with a needle-nose clip; press the forward switch , The tape recorder with the filter turned on.
Location. Unity Square, during the day.
Ann and Mark passed by the tambourine players. They are talking, but we cannot hear what they are talking about. The sound quality of this speaker is very special and dull. Every beat of the drum sounds like some kind of electronic sound. Mark was speaking, and a few syllables were revealed from the drums:
Mark (outside the picture): ...kill us.
interior. Treasury, during the day.
Close shot. Harry heard the word "kill" and hurriedly shut down. He stared at the workbench blankly, and after a moment, quickly started the machine.
close up. Harry's hand unplugged the homemade filter, pushed it aside, and then connected it to the recorder as before.
With a panoramic view of the warehouse, the tapes were returned to the place where he had just stopped.
Ann (outside the painting): Stay a while.
The tambourine is still very loud, covering their voices.
Mark (outside the painting): He might...maybe (voice interrupted)...opportunity.
An (outside the painting. Revealed from the sound of the tambourine): As you know, he secretly recorded the phone.
Close-up, Harry was listening intently.
Mark (outside the picture): Let's go back, it's almost two o'clock.
Close-up, all three tape recorders are turning.
An (outside the painting): Please don't go back there, wait until...
Mark (outside the picture): Okay. I won't go back yet.
Location. Unity Square, during the day.
Ann and Mark walked silently, neither looking at each other nor holding hands. In the distance, we noticed the pickup truck of the "Mirror Company" parked by the roadside.
Mark: You go... I'll stay here for a while.
Ann: Goodbye... Wait a minute, there is something on your eyelids.
She faced him and wiped something from his eyes.
Ann (whispering): You really don't want to go, I want to kiss you.
She took the opportunity to kiss him quickly, then turned and ran away.
interior. Harry's warehouse, during the day.
panoramic. Harry got up from his chair and pressed the master switch to rewind the tape.
close up. The tape on the big tape recorder is rewinding.
close up. Harry stared at the tape. We know that from now on, he decided to deny that he had heard those words. [Into]
Location. Public telephone, during the day.
Harry called in the phone room.
Harry: Ext 746.
Operator (outside the picture): Please wait a moment.
Assistant (outside the picture): Manager's office.
Harry: I'm sorry, this is Mr. Kaul.
Harry glanced outside the phone booth. Someone passed by, but no one noticed him. He carried a blue vinylon bag.
Assistant (outside the picture): I'm sorry, the manager is in a meeting.
Harry: I got the materials. I called to make an appointment.
Assistant (outside the picture): We will call you back this afternoon. Can you tell me your phone number?
Harry: I made a public phone call. I don't have a private phone.
Assistant (outside the picture): Then don't hang up.
Harry waited. More pedestrians pass by.
Assistant (outside the picture): Hello. It's arranged at 2:30 this afternoon.
Harry: 2:30 this afternoon? good. The money is paid in one lump sum.
Assistant (outside the painting): It's all arranged.
Harry hung up the phone and walked out of the phone room.
Location. Tram, during the day.
The pulley on the top of the tram slid against the high-voltage wires on Fermo Avenue, occasionally spattering sparks.
Harry was sitting in the tram. Put the blue bag on the body.
interior. Securities brokerage house, daytime.
In the middle shot, a tall and thin man sits in a row of comfortable chairs. Opposite the chairs is a big sign that announces the price. There are many people sitting around, and the atmosphere is very lively. I hear the phone ringing from time to time.
The thin and tall man is named McNaw. He saw Harry and waved to him, Harry walked over and sat down in the chair next to him. This is where McNau used his leather bag to preempt him.
McNau: Harry.
He gave Harry a brown paper pocket, he also had a bag, and the two had lunch in the pocket together.
Harry: How is Edith?
McNau: It's better, thank you, Harry. She made this lunch.
Harry pulled out a piece of paper and handed it to McNau without saying a word.
McNay: What is this?
Harry: A petition signed by all the residents of 700 Ragnar Street. They nominate me as a spokesperson.
McNau: What are you doing?
Harry: I want to talk to the landlord.
McNau: What landlord?
Harry: The landlord of 700 Ragner Street.
McNau: Do you agree with contemporary speakers?
Harry: Of course.
Close-up, Harry obviously did not consider this trivial matter. He is paying attention to the price list on the card.
McNau (reading the petition, outside the picture): "Add pipes, underground water pipes, and electric wires."
What Harry sees: The price list is marked with the day's turnover.
McNau: What do you want me to do?
Harry (outside the picture): How much does it cost to install underground pipes?
close up. Mcnow.
McNau: We have done this business before...
Harry: I know.
McNau: I introduced this kind of business, and we installed it last fall. I think it was about three thousand five hundred dollars at that time...
Harry: Three thousand eight hundred dollars... even three thousand five hundred dollars is beyond the limit. There is still a commission.
McNaw: But the rainy season is coming soon, Harry.
Harry: I don't want to hear about the rainy season and the rainy season. I also don’t want to hear about the installation of underground pipes that cost three thousand five hundred dollars. I plan to sell t
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