- 7/12/2025
A paranoid writer's (Udo Kier) troubles begin after he hires a secretary (Linda Hayden) to help with his second novel.
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Short filmTranscript
00:00:00The End
00:00:30Southern Secretaux, can I help you?
00:00:32Yes. You were advertising a temporary typist for an author.
00:00:35Yes, the author. You do know where this is, don't you?
00:00:38As a matter of fact, I do.
00:00:40It's right out in the sticks. I know.
00:00:42Ah. Have you any experience?
00:00:44Yes. I've worked with a novelist before.
00:00:47You'd better come and see it.
00:00:48Okay, bye. Bye.
00:01:00Bye.
00:01:30Bye.
00:02:00Bye.
00:02:30The centre of the plot, i.e., when the main characters come together,
00:02:42basically, it's about human chemistry.
00:02:45Well, Martin, Deadly Silence was the most successful novel
00:02:48that was written or published last year,
00:02:50and I was wondering how long it would take me to write.
00:02:53Well, I started the book in Paris, then I moved into New York,
00:02:57and it took me about six months.
00:03:00Six months? I thought it took you three, is what my notes say.
00:03:04Well, it must be wrong information.
00:03:06When I get inspired, the writing tempo inevitably accelerates.
00:03:11In fact, I know, normally, writers take about nine months,
00:03:15some two, three years.
00:03:17Tell me, why particularly a story about diplomats?
00:03:20Because when I was, oh, about 19,
00:03:22I used to travel a lot to southern France and to Rome, you know,
00:03:25and Paris also, and I actually got to know a lot of people,
00:03:30and it always interested me very much,
00:03:33so that's why I wrote my first book all about it.
00:03:36The Champagne Life.
00:03:39Well, not The Champagne Life.
00:03:41Shall we say The Rolls-Royce Life, then?
00:03:43No, other people drinking champagne and driving Rolls-Royces.
00:03:47You seem to have an obsession with lifestyle.
00:03:49No, no, no, I don't have an obsession.
00:03:51I simply feel that it's part of my job to write about people that I meet,
00:03:55and people who qualify for the pages of my book.
00:03:59Now, this talk of the catharsis of human development,
00:04:01that you concentrate on so basically in your writing,
00:04:03it's obviously a favorite theme of yours, isn't it?
00:04:05Yes, yes, yes, it is.
00:04:07I'm very strong on this subject,
00:04:08and it's always crept into what I write about, always will.
00:04:19I'm very strong on this subject.
00:04:38Perfect evening.
00:04:39I'm very strong on this subject.
00:04:48Oh!
00:04:49It's only up there.
00:05:09It's in my
00:05:28God.
00:05:29The First Night
00:05:49We don't usually have tenants, you know.
00:05:51Oh no, no, no, I tell a lie. We had them last year.
00:05:54Now, I come to think of it.
00:05:56The dentist, two of them.
00:05:59Very strange they were.
00:06:01Oh, Commander and Mrs. Percival always go to the south of France for five weeks,
00:06:06you know, Commander and Mrs. Percival,
00:06:08where no one can get at them out of harm's way.
00:06:12Oh, it's so chesty, the Commander.
00:06:16So chesty.
00:06:19Now, what shall I do about lunch?
00:06:23I could do a nice steak in kidney.
00:06:26No, I haven't decided yet.
00:06:28I don't know anything.
00:06:30Well, when will you know?
00:06:32Later.
00:06:58I'll see you later.
00:07:00Come here!
00:07:02Come here!
00:07:04Come here!
00:07:06Come here!
00:07:07Come here!
00:07:08Come here!
00:07:09Come here!
00:07:10Let's go.
00:07:40More coffee, please.
00:08:40Oh, darling.
00:08:54Where are you?
00:08:55How are you, darling?
00:09:07How are you?
00:09:09Are you all right?
00:09:11Yes.
00:09:12Why not?
00:09:13I was worried.
00:09:14Worried?
00:09:15Yes.
00:09:16Well, don't be.
00:09:18You realize, I suppose, that this is a period of intense concentration for me.
00:09:23Intense concentration.
00:09:24You see?
00:09:25If you say so.
00:09:28Suzanne?
00:09:29What?
00:09:30A small point.
00:09:31I'd be grateful if you'd keep my whereabouts a secret for the time being, yes?
00:09:35I know.
00:09:36I know.
00:09:37I know.
00:09:38I know.
00:09:39I know.
00:09:40I know.
00:09:41I know.
00:09:42You're looking.
00:09:44I don't know.
00:10:14Good morning, Vox International. Can I help you?
00:10:32Leo Schumann, please.
00:10:39Paul Martin, Leo.
00:10:42Yes, I know.
00:10:47Yeah.
00:10:48Do your best for me, will you?
00:10:50All right.
00:10:58Leo, where is the typist?
00:11:01I feel if I can dictate, pace up and down.
00:11:07Thanks, Leo.
00:11:11To harass, to worry, to importune, to pursue, to persecute, decay, crumble, rot, die.
00:11:32Oh.
00:11:41Oh.
00:11:42Oh.
00:11:45Oh.
00:11:47Oh.
00:12:01Let's go.
00:12:31Let's go.
00:13:01Oh, Leo here. Look, the agency got the thing. She's on her way down to you now.
00:13:22Who?
00:13:23The girl, Linda. The typist.
00:13:25Thanks, Leo.
00:13:27The train is still at 11.30. Have seen several.
00:13:29Fine.
00:13:31Thanks, Leo.
00:13:33Don't thank me, Jess. Compete the book. Remember, if it's a good one, we're in line for a critic's pride.
00:13:37And don't you forget it.
00:13:39And don't you forget it.
00:14:09Bye.
00:14:11Oh, my God.
00:14:41Oh, my God.
00:15:11Oh, my God.
00:15:13Oh, my God.
00:15:15Oh, my God.
00:15:16Oh, my God.
00:15:18Oh, my God.
00:15:20How about jumping on the back of my Jaguar?
00:15:22How about that, eh?
00:15:24Mr. Wild Cow.
00:15:26Mr. Martin?
00:15:33As a rule, I don't like people about.
00:15:45I don't trust them.
00:15:47But we have a lot of hard work to get through.
00:15:49Fine.
00:15:50Haven't I met you before?
00:15:52No.
00:15:53No.
00:15:54For a moment, I thought you looked familiar.
00:15:59Did you?
00:16:00Yes.
00:16:01Have you ever worked for a writer before?
00:16:03No, not really.
00:16:04Just a general freelance work.
00:16:05I once used to work for a cookery expert for a time.
00:16:06A cookery expert?
00:16:07Yes.
00:16:08Yes.
00:16:09She ran a weekly column in Home Lover magazine, all about cannellumni and carved brains,
00:16:13things like that.
00:16:14Carved brains?
00:16:15Yes, that sort of thing.
00:16:16Issues.
00:16:17Really?
00:16:18But you've never worked on a novel before.
00:16:19No, I haven't.
00:16:20But you're quite used to a strict routine, of course.
00:16:21Of course.
00:16:22Of course.
00:16:23Of course.
00:16:24Of course.
00:16:37But you're quite used to strict routine, of course.
00:16:39Of course.
00:16:48There she is.
00:17:01Your bird.
00:17:02Yeah.
00:17:03Let's go and see how her body is.
00:17:05Fries me one day?
00:17:06Yeah.
00:17:07Well, she loves me, doesn't she?
00:17:08It's him.
00:17:24I've got him.
00:17:38Do you always find that dirty?
00:17:41They were after me.
00:17:43Going for me.
00:17:52I suppose you live on your own, do you?
00:17:54At the house?
00:17:55Whenever I can help it, yes.
00:17:57Don't you have a housekeeper or someone who does?
00:18:00Does what?
00:18:02Does.
00:18:03Tidies up for you.
00:18:05Cooks.
00:18:06Oh, yes, yes.
00:18:07There's one of those.
00:18:09Why all these questions?
00:18:11Sorry.
00:18:15But I will give you my routine, so you know.
00:18:18It never alters while I'm writing.
00:18:20I get up at eight.
00:18:24My first cup of coffee I always have in the dining room.
00:18:27The blue channel.
00:18:28The second cup I take in the study.
00:18:31I would like you to bring me that.
00:18:33Then dictation starts for the rest of the morning.
00:18:36Lunch I like to keep simple.
00:18:38Then we work through until six.
00:18:40It is then when I have my first drink.
00:18:43Always a glass of well-chilled teal pepper.
00:18:48Dinner, always light.
00:18:50Some fish or a quiche.
00:18:52I drink burgundy, not parrot.
00:18:55After dinner, I relax.
00:18:58It's quite a simple routine which works.
00:19:02It doesn't mean that it's not what it works.
00:19:03It's just a little bit better.
00:19:04And when I look at the swerve and the swerve and the swerve and the mud.
00:19:05That's what I do.
00:19:06But I'm thinking about that, which works?
00:20:37Your bedroom is upstairs at the end of the corridor.
00:21:15How far is this place from anywhere?
00:21:17Far enough.
00:21:21They turned in at the end of the drive, comma, and Angus stopped the car quietly.
00:21:26Stop.
00:21:27New paragraph.
00:21:27Their kiss was neither tender nor affectionate.
00:21:33Point.
00:21:34It was carnal point.
00:21:37It was lustful point.
00:21:39Wet and greedy point.
00:21:43Lingering, passionate, but with warmth.
00:21:48Semicolon.
00:21:49Possessive, but with calm.
00:21:53Quotes.
00:21:54I love you.
00:21:56End quotes.
00:21:58Angus's voice soft in the interior.
00:22:00Sorry, Angus's voice soft in the what?
00:22:02Angus's voice soft in the interior.
00:22:05Yes.
00:22:06Full stop.
00:22:08Ice crystals forming on the windscreen and the russet sky.
00:22:12Point.
00:22:13Point.
00:22:14An ironical setting after all there had been.
00:22:17Point.
00:22:19End paragraph.
00:22:21Good.
00:22:23Do you mind if I unpack?
00:22:25What?
00:22:26I said I'll make some coffee.
00:22:56Why?
00:23:03So.
00:23:06Wait.
00:23:06So.
00:23:07videos.
00:23:07And.
00:23:07See?
00:23:09So.
00:23:11So.
00:23:14Okay.
00:23:19Let me touch.
00:23:21Okay.
00:23:22Let me touch.
00:23:23Oh, my God.
00:23:53Oh, my God.
00:24:23Oh, my God.
00:24:53Oh, my God.
00:25:23Oh, my God.
00:25:53Oh, my God.
00:26:23Oh, my God.
00:26:53Oh, my God.
00:27:23Oh, my God.
00:27:53Oh, my God.
00:28:23Oh, my God.
00:28:53Oh, my God.
00:29:23Oh, my God.
00:29:53Oh, my God.
00:30:23Oh, my God.
00:30:53Oh, my God.
00:31:23Oh, my God.
00:31:53Oh, my God.
00:32:23Oh, my God.
00:32:53Oh, my God.
00:33:23Oh, my God.
00:33:53Oh, my God.
00:34:23Oh, my God.
00:34:53Oh, my God.
00:35:23Oh, my God.
00:35:53Oh, my God.
00:36:23Oh, my God.
00:36:53Oh, my God.
00:37:23Oh, my God.
00:37:53Oh, my God.
00:38:23Oh, my God.
00:38:53Oh, my God.
00:39:23Oh, my God.
00:39:53Oh, my God.
00:40:23Oh, my God.
00:40:53Oh, my God.
00:41:23Oh, my God.
00:41:53Oh, my God.
00:42:23Oh, my God.
00:42:53Oh, my God.
00:43:23Oh, my God.
00:43:53Oh, my God.
00:44:23Oh, my God.
00:44:53Oh, my God.
00:45:23Oh, my God.
00:45:53Oh, my God.
00:46:23Oh, my God.
00:46:53Oh, my God.
00:47:23Oh, my God.
00:47:53Oh, my God.
00:48:23Oh, my God.
00:48:53Oh, my God.
00:49:23Oh, my God.
00:49:53Oh, my God.
00:50:23Oh, my God.
00:50:53Oh, my God.
00:51:23Oh, my God.
00:51:25Oh, my God.
00:51:53Oh, my God.
00:52:23Oh, my God.
00:52:53Oh, my God.
00:53:23Oh, my God.
00:53:53Oh, my God.
00:54:22Oh, my God.
00:54:52Oh, my God.
00:55:22Oh, my God.
00:55:52Oh, my God.
00:55:54Oh, my God.
00:56:22Oh, my God.
00:56:24Oh, my God.
00:56:26Oh, my God.
00:56:28Oh, my God.
00:56:32Hello! Hello! Police!
00:57:02Hello!
00:57:32Hello!
00:57:34Hello!
00:57:35Hello!
00:57:36Hello!
00:57:37Hello!
00:57:38Hello!
00:57:39Hello!
00:57:40Hello!
00:57:41Hello!
00:57:42Hello!
00:57:43Hello!
00:57:44Hello!
00:57:45Hello!
00:57:46Hello!
00:57:47Hello!
00:57:48Hello!
00:57:49What was that?
00:57:50What was that?
00:57:51What?
00:57:52That's cream!
00:57:53Your imagination!
00:57:55What do you think you're doing?
00:57:58Doing?
00:57:59Yes!
00:58:00Yes!
00:58:02Do we?
00:58:03I'm sorry, but the door to your room was open. I didn't mean...
00:58:07You didn't mean...
00:58:09The door of your room was open. I saw you making love to Suzanne. I'm sorry.
00:58:15And the knife?
00:58:16Oh, you found that, did you?
00:58:18I always carry it. Self-protection.
00:58:21Oh, come on.
00:58:23Say what you want. It serves a purpose.
00:58:26Believe what you like.
00:58:28If you will go poking around in people's luggage, you must believe what you like.
00:58:32And the photograph? The photograph of me?
00:58:35Oh, come on now, Paul.
00:58:38Calm down.
00:58:40Tell me what the matter is.
00:58:42Then I can tell you what you want to know.
00:58:49The photograph of your agent, Leo.
00:58:52How did you think I was going to recognize you at the station when you first met me?
00:58:56Where's Suzanne?
00:58:58Asleep.
00:59:00Not to be disturbed.
00:59:02There's no one I can trust.
00:59:04Come on, then. Let's finish.
00:59:06Not now.
00:59:07You've only got a few pages to go.
00:59:09I can't.
00:59:11Yes, you can.
00:59:13Page 435.
00:59:16All right?
00:59:18The airport.
00:59:20Comma.
00:59:21Visit.
00:59:22Sweaty, with the smell of a million people all going their different ways.
00:59:25Stop.
00:59:26The sweaty smell of many nations.
00:59:29The heat of their bodies.
00:59:31Warmth of their bodies.
00:59:32Has the plane sunk from an orange sky?
00:59:36Azur.
00:59:37Orange.
00:59:38Their love.
00:59:39Their hate.
00:59:40Saying goodbye.
00:59:41No.
00:59:42Standing.
00:59:43Nothing.
00:59:44No.
00:59:45Waving goodbye.
00:59:46Try something different.
00:59:47It won't work.
00:59:48Try.
00:59:49Won't work.
00:59:50Try.
00:59:51It won't work.
00:59:52Try.
00:59:53It won't work.
00:59:54Try.
00:59:55It won't work.
00:59:56Try.
00:59:57It won't work.
00:59:58No more.
01:00:00Forever.
01:00:01Finished.
01:00:02Abandoned.
01:00:03Complete.
01:00:06Done.
01:00:07Final.
01:00:08Last.
01:00:09Finished.
01:00:10Finished.
01:00:11Finished.
01:00:13I finished it for you.
01:00:28I'm going to kill you, Mr. Martin.
01:00:43Kill you.
01:00:44Why?
01:00:45Because you're a fraud.
01:00:46F-R-A-U-D spells fraud.
01:00:47Full point.
01:00:48The end.
01:00:49Get it?
01:00:50My name's Hindstatt.
01:00:51Linda Hindstatt.
01:00:52Linda Hindstatt.
01:00:53I'm going to kill you, Mr. Martin.
01:00:55Kill you.
01:00:56I'm going to kill you, Mr. Martin.
01:00:57Kill you.
01:00:58Why?
01:00:59Because you're a fraud.
01:01:00F-R-A-U-D spells fraud.
01:01:05Full point.
01:01:06The end.
01:01:07The end.
01:01:08Get it?
01:01:14My name's Hindstatt.
01:01:17Linda Hindstatt.
01:01:25Remember?
01:01:26Yes.
01:01:29I think you do.
01:01:33The first novel.
01:01:42Half a million dollars.
01:01:44Yes.
01:01:55No!
01:02:14No!
01:02:15No!
01:02:16Come on, I'll be back.
01:02:22I'm sorry.
01:02:25Go, go, go off!
01:02:27Let's go!
01:02:32Come on, son.
01:02:35Then, in the first half, I have to kill you.
01:02:40Then I'll turn you down.
01:02:41Then, in the first half, I have to kill you, Bill.
01:02:45I don't want anyone to get into a panic while I'm away.
01:02:48Everything's under control.
01:02:49Just keep on taking the tablet, sugar, and keep that page and energy going.
01:02:54Oh, it'll be a good one.
01:03:15It'll be a good one.
01:03:45It'll be a good one.
01:04:15It'll be a good one.
01:04:45It'll be a good one.
01:05:15It'll be a good one.
01:05:45It'll be a good one.
01:05:47It'll be a good one.
01:05:49It'll be a good one.
01:05:51It'll be a good one.
01:05:53It'll be a good one.
01:05:55It'll be a good one.
01:05:57It'll be a good one.
01:05:59It'll be a good one.
01:06:01It'll be a good one.
01:06:03It'll be a good one.
01:06:05It'll be a good one.
01:06:07It'll be a good one.
01:06:09It'll be a good one.
01:06:11It'll be a good one.
01:06:13It'll be a good one.
01:06:17You drove him to suicide while you stole his work.
01:06:24I've got the lot on you, Mr. Martin.
01:06:27The lot.
01:06:29And now, I want my bit.
01:06:33I want my fun.
01:06:38I want your guts.
01:06:41No. No. I beg you. I will explain.
01:06:45Please, don't shoot.
01:06:47Please. No. I beg you. Please.
01:06:54What?
01:07:10Oh, no. It can't be.
01:07:14No. No.
01:07:16No. No.
01:07:17No. No.
01:07:18No. No.
01:07:19No.
01:07:20No. No.
01:07:21The End
01:07:51The End
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