All language subtitles for The Break (Lance Comfort, 1962).SDH

(HIGH-PITCHED TRAIN WHISTLE)

(CARRIAGES CLATTERING)

(WIND HOWLING)

(MAN GRUNTS IN PAIN)

(MAN YELLS)

(TRAIN CARRIAGES CLATTERING PAST)

(BLOWS LANDING)
(MAN GRUNTS)

(TENSE INSTRUMENTAL MUSIC)

(ENGINE REVVING)

(MUSIC CONTINUES)

(ENGINE SPUTTERING)

(BOAT ENGINE CHUGGING)

(ENGINE PUTTERING STEADILY)

(MUSIC SWELLS DRAMATICALLY)

(BRAKES SQUEAL SOFTLY)

(DRAMATIC INSTRUMENTAL MUSIC)

(BOAT ENGINE CHUGGING)

(MUSICAL INTENSITY SOFTENS)

(ENGINE CHUGGING LOUDLY)

(MUSIC SWELLS DRAMATICALLY)

(VEHICLE DOOR CLOSES)

(ENGINE SPUTTERS, DIES)

(ENGINE STRUGGLING)

(ENGINE SPUTTERS,
SETTLES TO LOW RUMBLE)

(ENGINE REVVING)

(DRAMATIC MUSIC SWELLS)

(GRAND ORCHESTRAL CRESCENDO)

(MUSIC TEMPO QUICKENS)

(MUSIC SWELLS,
CONTINUES DRAMATICALLY)

(DRAMATIC MUSICAL CRESCENDO)

(MUSIC FADES)

(ENGINE RUMBLING)

(BUS HYDRAULICS SQUEAK)

(BUS ENGINE IDLING)

(BUS ENGINE REVVING)

Tredgar's Farm?
MAN: That's right.

(BUS DEPARTS)

(CAR ENGINE STARTS)

(ENGINE REVVING)

(ENGINE RUMBLING)

(SUSPENSEFUL MUSIC)

Well, it's not exactly luxury travel.

Is it?

(GENTLE INSTRUMENTAL MUSIC)

No.

(CHUCKLES)

Oh, probably off the beaten track, eh?

Dartmoor... out of season.

(CHUCKLES)

The only way to get there
I suppose... this thing.

No proper roads, you see.

(SHIVERS)
I say, do you mind if we...

(GENTLE INSTRUMENTAL MUSIC
CONTINUES)

Any idea how long we're likely
to be in this thing?

How far is it?
About ten miles, sir.

Ten?

I shan't be able
to sit down for a week!

I should pull your collar up, miss.
We've got a long way to go yet.

(GENTLE MUSIC CONTINUES)

(ENGINE RUMBLING)

(ENGINE REVS)

Here, let me take your case.
Thanks awfully.

Thank you very much.

(BIRDS TWITTERING)

(MELLOW INSTRUMENTAL MUSIC)

(BELL DINGS)

(HEELS CLACKING)

(DOOR CLATTERS)

I'm sorry.

(MELLOW MUSIC CONTINUES)

Erm, have you seen the proprietor yet?

No.

I've rung the bell, but nobody's come.

Oh, thank you.

(FOOTSTEPS APPROACHING)

Oh, that's better!
A bit of warmth at last.

What, no reception committee?

Oh, this won't do.
Won't do at all.

(CHUCKLES)

(BELL DINGS LOUDLY)

I was looking for a place
with peace and quiet.

Looks like I've got it, eh?
(CHUCKLES)

Come on, let's have you.

Oh, had you already rung?

Oh, erm, this gentleman did.

Oh, well, it looks like
we'll have to wait, miss?

Parker!

I've got it! Greg Parker.

You're Greg Parker.
I thought I recognised you.

Well, well, well, well, well, well.

Fancy meeting you
in the back of beyond like this.

Still, it's not so strange
when you come to think of it.

It's an ideal place for a writer,
isn't it?

Yes, I suppose it is.

Yes. Real fan of yours I am,
Mr Parker. Excellent stuff.

I recommend all your novels
to all my friends.

You've no idea what
great pleasure it gives me

to meet you in the flesh.

Pearson's the name.

How do you do?

(CHUCKLES)

Er, Joseph Pearson.

Plaster kitchen accessories.
That's me on the card.

Assistant Managing Director.

I'm rapidly growing an ulcer
for me pains! (LAUGHS)

That's why I'm here.

Rest and quiet.
Doctor's orders.

I've read every single one
of your novels, Mr Parker.

Never miss.
Every single one.

Not every one, Mr Pearson.
The last one was never published.

Oh.

(DOOR OPENS)

Sorry for keeping you waiting.
I was out back when you arrived.

Won't you come inside?
It's warmer.

Miss Thomas?
Yes.

Would you step into the office?
I've a message for you.

Will you excuse me, gentlemen?

Yes, that's all right.
Mind if we have the wireless on?

Oh, certainly.

I'll have someone show you
your rooms in a few moments.

PEARSON: Just thought
we'd catch the weather forecast.

(MAN READING WEATHER FORECAST
OVER THE RADIO)

You know who I am.
Have you got the money?

Yes. All right, hand it over.

(LOCKS CLICKING OPEN)

Thank you.

(RADIO FORECAST CONTINUES
IN THE BACKGROUND)

Moses.

Evening.
Show Miss Thomas to her room.

NEWSREADER: (OVER RADIO)
Twenty-five people were killed

in a train crash
in South America today,

the third crash of its kind
in the last 12 months.

Early today, a police officer
was killed and another injured

when the prisoner they were
escorting to Dartmoor Prison

escaped.

The prisoner, Jacko Thomas,

was being taken to Dartmoor
to serve a ten-year sentence

for armed robbery with violence.

Police officer Evans
was killed by Thomas

when trying to prevent his escape.

It is believed that
the escape was organised,

and that Thomas will try
to leave the country

with the proceeds of the robbery.

(DRAMATIC MUSICAL FLOURISH)

(RADIO CONTINUES
IN THE BACKGROUND)

(MOSES MUMBLING INCOHERENTLY)

Oh, well, that's my case, sir.

This way, sir.
(GRUNTS)

(MOSES CONTINUES MUMBLING)

Service with a smile(!)

Why, Jacko. Why?

Why what?

Escape.

What good will it do?

What good?

(LAUGHS WRYLY)
You can ask me that, Sue?

Did you expect me to stay for ten years

rotting away in that place?

Is... Is that what you want?

(INHALES)

No, but...
Shh.

(MOSES MUTTERING)

(MOSES CONTINUES MUMBLING
UNDER HIS BREATH)

(KEYS JANGLE)

(DOOR CLOSES NEARBY)

Well, what happened?
How did you get away?

Well, haven't you heard the, er...?

The radio?
No.

I've been travelling ever since
I got your message.

Oh well, it was simple really.

When they weren't looking, I took off.

It was a long journey you see,
and they got bored.

Even policemen get bored.

Anyway, what does it matter?
I'm here, aren't I?

For how long?

Look, Jacko,
we can't keep running away.

No, we won't have to.
It's all arranged.

It's no good. I can't.

Look, Sue, believe me,
nothing can go wrong.

Yeah, all our lives you said that.

And all our lives
you've wanted to... belong.

Well, now you can... with this.

Don't you see?
We're still running, though.

Still running away.

Running away from what?
You can't run away from nothing.

Look, from the day he dumped us
in that institution,

we were nothing!

(LAUGHS BITTERLY)

Father recalled himself.
Just twice he came to see us.

Just twice!

I bet you can't even remember him,
can you?

No. Well, I can.

Well, not his face, just his voice.

His snivelling voice,
and three words that he said.

"For the best."

(BITTERLY) For the best.

Believe me, Sue, this is for the best.

Just for you and me, nobody else.
We don't need anybody else.

It's just you and me, Sue.

(CHUCKLES) Hey, you'll er...

You'll like the Argentine.
The Argentine?

Here. Come here. Come.

You see that?

That little lot's
going to France tomorrow

and we're going with it,
but not to France.

Couple of hours out in the Channel
we transfer to a Danish ship.

The barge carries on to France,

and we're on our way to the Argentine.

You see, it's perfect.

No one will suspect the ship.
It doesn't go near an English port.

(CHUCKLES)
Now, now, don't you worry, Sue.

I'll look after you.

I always have, haven't I?

I suppose Tredgar
has arranged all this.

That's right. This is locked.
Have you got the key?

How do you know it's safe here?
Are you sure you can trust him?

Of course I'm sure.
He's being well paid.

Come on, give me the key.

(MUFFLED CONVERSATION)

What's happened here, then?
Where's the rest of it?

Well, I gave it to Tredgar.

Tredgar?

Yes. He wanted his fee in advance.

Oh, did he?

Now, Jacko... (KNOCKING AT THE DOOR)

Oh, Miss Thomas,
I'm sorry to trouble you,

but I'm completely dry.

Could I borrow some ink or a pen?

I'm afraid I haven't one, Mr Pearson.

Well, er, you know,
my wife's a terrible worrier.

If I don't get a postcard off
right away. Well...

You know what women are.

Yes, well, I may have a ballpoint.
Would that do?

Admirably, admirably.

This room's at the back, isn't it?
Can you see the sea from here?

No, it's too misty today,
but perhaps later when it's lifted.

Oh.

Well, thank you for the pen.

I shan't keep it a minute.
There's no hurry, Mr Pearson.

You keep it just as long as you like.

Jacko-

(DOOR CLOSES IN THE BACKGROUND)

(PENSIVE MUSIC)

(PENSIVE MUSIC CONTINUES)

(MOSES MUMBLING)

Where's Tredgar?

He said where is he?

(MUSIC INTENSIFIES)

What are you doing roaming about?
I told you to stay in your room.

Where is it?
Where's what?

The money. Now, look here-
Where is it? It's mine.

It was promised to me for getting
you out of the country.

You haven't done that yet, so get it.

Who do you think you're talking to?

We do this my way.

I give the orders around here.

All right.

Go on.

Pick it up.

It's in the safe.

Get it.

Go on, get it!

Giving it away now, Judd?

Charity begins at home, remember?

Let's get it straight.
It's me that gives the orders.

You'll get this when I decide
and not before.

You're supposed to be
a member of staff.

Stay in the kitchen,
away from the guests.

By the way, see the radio breaks down.

And don't go near my sister again.

(CHUCKLES LIGHTLY)

(MOSES MUMBLES)

What is there to eat?

Hey, you.
I said what is there to eat?

Hey, answer me, will you?

She can't. She's dumb.

Is she, er, deaf, too?

No, she just doesn't like you,
that's all.

But then, she's hardly
your type either, is she?

Hardly. (SNIFFS)

Hmm. The old fool can cook anyway.

All our staff are hand-picked.

My husband prides himself
on only choosing the best.

(MOSES MUMBLING)

Sarah's brother.
Is he hand-picked, too?

Too much intermarriage.
It happens in remote places.

What were you brought in for?
To improve the stock?

(CHUCKLES)
That wasn't quite the idea.

(LOUD CLANGING)

Oh, Mr Pearson?
That call you wanted...

Moses! That'll do.

(CHUCKLES) Oh, there's a man
who loves his work.

That call you wanted, Mr Pearson,
we've got London on the line now.

Oh, good. In there?
Yes, on the desk.

Thank you.

Hello? Pearson here.

Yes, I found him.

(DRAMATIC MUSICAL FLOURISH)

No, I'm sure he doesn't suspect.

I've been rather clever about that.

Deliver it?

But that'll warn him.

We'll never find out who else
is involved. He'll cover up.

Now look, why not wait?

Why not wait and let me make
further investigations?

He can't get away from here
without me knowing it.

All right. I'm just a hired hand.
I'll do as I'm told.

But I warn you...

...you can expect trouble.

(LINE DISCONNECTS)

(BUZZING ON PHONE LINE)

Is that the dining room?

(FOOTSTEPS RECEDING)

Oh. That's the best table,
Mr Pearson.

Oh well, first come, first served.

Yes. Lovely views you have here.

If you like desolation.
Yes. That's your lime quarry?

Yes.

Yes. Dartmoor's all granite.

We're on the edge of the moors here.

Prosperous?
Not really.

Too far off the beaten track.
Difficult to get labour?

We only work in the off season.
The men are needed here otherwise.

Soup?
Yes, please.

Transport the lime by barge, 'ey?

Where to?

France.

(DOOR CLOSES)

(DOOR CLOSES IN THE BACKGROUND)
(FOOTSTEPS APPROACHING)

That's your table over there,
Miss Thomas.

Thank you.

Thank you.

Soup?
Yes, please.

(DOOR OPENS)

The dining room's in there,
Mr Parker. There's a table laid.

Do you want soup?
Thank you.

Erm, Mr Parker.

I believe this is for you.
It was on my table.

Thank you.

(FOREBODING MUSIC)

(MUSIC CONTINUES)

(DOOR OPENS)

(PENSIVE INSTRUMENTAL MUSIC
CONTINUES)

(VEHICLE ENGINE RUMBLING)

(MUSIC INTENSIFIES)

SUE: It's a wonderful view,
isn't it?

(MUSIC ENDS ABRUPTLY)

It's so isolated.

I've never been
to Dartmouth before. Have you?

(WIND GUSTING)

I was wondering. You...

You looked so worried.

Is there anything I can do?

(SIGHS) No.

No, thank... Thank you, no.

(SOMBRE MUSIC)

(MUSIC LIGHTENS)

(MELLOW INSTRUMENTAL MUSIC)

(MUSIC FADES)

So you brought the letter.

On your wife's instructions, Mr Parker.

I er...
I work for a detective agency.

And was this my wife's idea?
No, mine.

She only asked me to find you.

I was looking for evidence.
Evidence of what?

Well, if there was someone else.

Of course,
It doesn't seem that I'm right.

Divorce is never pleasant,
Mr Parker, so...

What authority have you for this?
None, Mr Parker.

I'm entirely in your hands.

I can't pretend ignorance of the law.

I'm an ex-policeman.

Then I think you'd better get out.

It's none of my business, Mr Parker,

but why don't you
give your wife a divorce?

I mean, even your writing's suffering.

Why don't you stick to
the keyhole stuff, Mr Pearson.

It's a living, Mr Parker.

(DOOR CLOSES)

Oh, I'll take that, Sarah.

Come in.

(SULTRY MUSIC)

(SIGHS DEEPLY)

(SULTRY MUSIC CONTINUES)

(OPENS BOTTLE)

JUDD: Jean?

Jean?
(MUSIC ENDS ABRUPTLY)

My boots, Sarah, please.

Where the devil is she?

Never about when she's needed.

Moses, we'd better get moving.

(MOSES MUMBLES)

You seen any sign of Jane? No.

Well?
Where have you been?

What do you want?
I called you hours ago.

Two minutes ago, to be precise.

Sarah and you will have to
manage on your own.

Moses and me, we've got an appointment.

What's unusual in that?

Anyone would think you resented
what we're doing.

Be careful, Judd.
The servants might hear you.

I've not seen any reluctance
when it comes to taking the money.

What's the good of money
in a place like this?

We're not going to stay here.
I told you that.

When we've made enough, we'll get out.

Ha!

Come on, Moses.

(WIND GUSTING)

(CAR STARTS)

(ENGINE REVVING)

(SULTRY INSTRUMENTAL MUSIC)

(DOOR CLOSES)

Come in.

Your tip's on the tray.

You haven't opened the beer yet.

Maybe I've lost my appetite.

(LAUGHS SOFTLY)

That would be a pity.

Well, do you approve?

Yeah, why not?

All part of the service.

(SULTRY MUSIC CONTINUES)

(MUSIC FADES)

(ENGINE REVVING)

(ENGINE RUMBLING)

(ENGINE OFF)

JUDD: Right. Back her up.

Come on. Whoa!

All right, Jim, help Harry.

(INDISTINCT CONVERSATION)

Amen!

Moses and me will manage here.
Go back and help the others.

Right.

He's an unbeliever, Judd.

When the day of judgment comes...

You too, Judd, you're often absent
from the Lord's house.

Sunday is my busy day, Moses.

Six days shalt thou labour.
On the seventh... Finished here.

(INDISTINCT CONVERSATION)
(DOORS CLOSE)

(ENGINE STARTS)

(ENGINE REVVING)

(TRAILER CLATTERING)

(SNIFFS)

(SIGHS)

(ENGINE RUMBLING)

DRIVER: Ah, hello.

All right. Come on.

(DOOR OPENS IN THE BACKGROUND)

(DOOR CLOSES)

Oh, Miss Thomas.

(DOOR CLOSES)

I'm afraid I offended you
this afternoon.

I had something on my mind.

Anyway, I'm sorry.
That's all right.

I shouldn't have interfered.

I'm glad you did.

Well...

May I buy you a drink?

Yes.

I'd like that.
Good.

Nobody about.

We'll help ourselves.

Now, what would you like?

Gin, martini, egg flip?

Or the lot?
I'll have gin and tonic, please.

Right.

You know,
I've never met a writer before.

Well, now you know,
they have two heads.

(LAUGHS SOFTLY)
Must be exciting though.

What, having two heads?

No, being a writer.

I mean, well, when you've finished,

hey presto, everyone's reading it.

Oh, is that what's supposed to happen?

Well, I don't really know,
but that's what I thought.

Yes, it's "hey presto" all right.

Hey presto rejection slips.

Oh, but not for you.

I mean, that is,
not until this last one.

I've had them before.

Oh, yes.

I wrote five
before I had one published.

Five? Phew!

That's some faith.

To keep going I mean.

It's not a faith, it's a disease.

Tell me, why are you so bitter?

Because of this last novel?

Why?

What's your name?
Your Christian name I mean.

Sue.

Well, Sue, you must be very naive
if you think I can answer that.

I'm sorry.
Oh, no. Don't be sorry.

It wasn't meant as a criticism,
quite the reverse in fact.

Would you like another drink?

Mmm. No, thanks.

Must feel good though...
being someone.

A celebrity.

Yeah.

It does at first.

It's a trap, you see.

You become the new white hope.

To be quite honest...

...I'd never even
heard of you before.

(CHUCKLES) Good.

Yes, I won a literary prize
with my first published novel.

Suddenly I was someone to know.

New friends, parties, high life...
excitement.

They told me I was a genius...
and I believed them.

Leader of the avant-garde,

with devotees absorbing my every word.

Blotting paper faces
with huge, staring eyes.

Eyes without innocence.

I got carried away
with my own cleverness.

I forgot that words were just
the tools of my trade.

And my last novel was...
nothing but words.

And did your new friends turn you out?

Turn me out? Oh no.

No, they don't turn you out nowadays.

They just find replacements.

PEARSON: Anybody about?

The place is like a morgue.

Oh, where is everybody?

Who knows?

(CHUCKLES)

As far as you're concerned,
who cares, eh?

(LAUGHS)

Well, er, what do we do?
Help ourselves?

Yeah.

What'll you have, Miss Thomas?
Oh, no more for me, thanks.

Mr Parker?

Well, yes thanks, I will.

I'll have a whisky.
Yes, sir.

(VEHICLE APPROACHING)

You know, I wonder what they're up to.

It must have been them
I saw earlier, up in the moors,

flashing some kind of a signal.

Headlights on, off, on, off.
Signal?

Once a policeman,
always a policeman, eh?

Well, we do develop
a nose for trouble, Mr Parker.

(CHUCKLES)

Excuse me.
I must get a handkerchief.

Water?

Oh, yes. Thanks.

(WHISPERS) Come quick.

Where's Jacko?

It's all right.
I'm his sister.

Please, you must tell me!
It's terribly urgent.

Please.

(TENSE MUSIC)

(MUSIC INTENSIFIES, FADES)

(RAPID KNOCKING AT THE DOOR)

Jacko, it's me, Sue.

What's the matter?
It's Pearson. He's a policeman.

A policeman? How do you know?

They just said so.
Jacko, what are we going to do?

Just a minute.
I've got to think.

He knows about you, Jacko.
How can he?

He pretended to be a businessman-
No, no, no.

If he knew, the whole place
would be swarming by now.

I'm frightened, Jacko.
Just take it easy, Sue.

Keep calm. Oh, and...

Where is he now?

He's in the lounge.
We were all in the lounge.

You've got to go back.
Go back? I can't!

Yes, you must.
Otherwise it'll look suspicious.

Stick with that other chap.
What's his name? Parker.

Just stick with him, and,
well behave normally.

What about Pearson?
Leave him to me.

Let me do the worrying.

But if he's from the police...
Look, Sue!

Do as I say.
Just leave things to me.

Now, you go on back.

Go on. It'll be all right.

PEARSON: They've gone down
into the quarry now.

I wonder what IS going on down there.

It's no good, Mr Parker.

I shall have to find out
what's happening.

Curiosity always got the better of me.

Remember what it did to the cat.

Yes.

Remind me to tell you another
version of that when I get back.

(CHUCKLES)

(JIM GRUNTS)

Scatter around and make sure none
of the guests are wandering about.

Pat, hurry up and get that off.

(MAN SINGING INDISTINCTLY)

(MECHANICAL WHIRRING)

(WHIRRING STOPS)

(INDISTINCT HUMMING)

(MECHANICAL WHIRRING RESUMES)

(MECHANICAL WHIRRING
IN THE BACKGROUND)

(WHIRRING STOPS)

(WHIRRING RESUMES)

(VEHICLE ENGINE REVVING)

(HANDBRAKE ENGAGES)

(MACHINERY SHUDDERS TO A HALT)

JUDD: All right?

There we are. (GRUNTS)

Mm-hm.

(MOSES MUMBLING)

(CONTINUES MUMBLING)

(LOUD MECHANICAL WHIRRING RESUMES)

(WHIRRING STOPS)

(SUSPENSEFUL MUSIC)

(MUSIC INTENSIFIES)

(DRAMATIC MUSICAL STING)

(SCREAMS) Ah!

(FAST-PACED DRAMATIC MUSIC)

(MUSIC CONTINUES)

(MUSIC FADES)

Leave him.

Leave him here?
Some of the guests might find him.

That's the idea.
He fell, didn't he?

I said leave him!

(SOMBRE MUSIC)

(MUSIC FADES)

What happened?

I asked you what happened.

I see.

So we, er...
We have sidelines, do we?

Did you push him?

Did you?

Thomas, did you push him?

Goodness. I... wondered
why you kept this dump going.

He's dead. Do you know that?
You've killed him!

Let's see, you hijack a lorry.

No.

No, not you.
You're just the middleman.

You couldn't be anything else.

Somebody else does the lorry

and you just collect the stuff
and hide it.

I want nothing to do with murder.
Nothing at all!

Then you send the sacks down river
by barge and over to France.

Not bad. Not bad at all.

Deal's off, Thomas!
The deal's off!

I want nothing to do with it!
Listen and understand!

You've got just one job to do,
and one only.

Get me and my sister aboard that ship.

Until you've done that,

there'll be nothing,
you understand, nothing!

These little sidelines of yours
have got to stop.

Because if anything goes wrong...

...you're going to answer for it.

Now do you understand?

Do you understand?!

Yes.

(BOXES AND BOTTLES CLATTER)

There'll be no more of it...
till after I've gone.

JACKO: Oi!

I told you to stop that!

Now go on, beat it.

All right, don't hang around.

Let's get the rest of the stuff in.

I think we ought to get out.
Nobody asked your opinion.

Now get on with the job.
No, I'm finished.

Finished!
What does that mean?

Murder, that's what it means.

Look, if you believe Pearson fell,
then you're crazy.

You've no right
to involve us in murder.

I've had all I can take today.
Now get on with the job!

Ha, and when Thomas goes,
what happens then?

Who carries the can?
You leave it to me.

I'll deal with it.
Like you did just now?

You're REALLY looking for trouble,
aren't you?

Anyway, what are you
gonna do with the body?

I'll report the accident when
Thomas has gone and not before.

They'll never believe it.

They'll believe it.

(GENTLE INSTRUMENTAL MUSIC)

Whatever Pearson's found
must be interesting.

He's even forgotten his dinner.

Yes.

Or perhaps, like you,
he just wasn't hungry.

Anything else?
No, nothing more, thank you.

Ever been on the moor at dawn?

No. Oh, it's the best time.

It's peaceful and tranquil.

No blacks, no whites...

...only greys.

Well, I think I'll be having
an early night.

What's the matter? Something wrong?

No. Why?

Oh, nothing.
Good night.

I was wondering...

Hmm?

Do you prefer to be alone
on your early morning walks?

No.

May I come with you?

Of course you may.

I'll call for you in the morning
at about half past seven?

Fine.

7.30 then.

Good night.

Good night.
(DOOR OPENS)

(MUSIC FADES)
(DOOR CLOSES)

(WATER THUNDERING)

(BIRDS TWITTERING)

I wonder if Pearson satisfied
his curiosity last night.

Why is he here?

I mean, why pose as a businessman
if he's from the police?

He's not from the police.
He's a private detective.

One of the keyhole brigade.

Keyhole brigade?
Mmm.

So what's he doing here?

Looking for me.

For you?

My wife hired him.

Then that letter was...

It was from my wife.

I see.

She wants a divorce.

I hadn't seen her for three months.

That was when my novel flopped.

So what happened then?

She walked out on me.

Why? Because you failed?
No, no, no.

No, it wasn't her fault.

I drove her away.

I needed a scapegoat for my failure.

Three months ago I...
I packed a bag and disappeared.

Hence Pearson.

That letter was simple.

Very simple.
(SOFT SPLASH)

She pointed out that the marriage
was over for both of us.

So we ought to get a divorce.

And... do you agree?

Well now, tell me about yourself.

I've talked about me.
Tell me about you.

I'm not very interesting.

(CHUCKLES) Never mind.
Tell me about yourself.

Well...

I was brought up in an orphanage.

Uh-huh.
Are you all on your own then?

No.

I have a brother.
Ah.

Well...

Perhaps we'd better be getting back.

(DOOR CLOSES)

Oh, sorry we're late.
Doesn't matter.

Pearson's later than we are.

Not for me, thanks.
Just coffee.

Have you seen him?

No, not yet.
He's probably overslept.

Oh. What time did he have
his dinner last night?

He hadn't arrived when I left.

Very late I think.
I didn't serve him. Sarah did.

Just coffee you say?
Yes, please.

(DOOR OPENS)

Don't you eat breakfast?
Hmm? Oh, no, no.

Just coffee and a cigarette for me,
that's all.

Oh, I've left them upstairs.

I'll give Pearson a call on the way.

(DOOR CLOSES)

(RAPS LIGHTLY)

(RAPS LIGHTLY)

(PENSIVE MUSIC)

(MUSIC INTENSIFIES, SOFTENS)

(PENSIVE MUSIC CONTINUES)

Well then, I think we ought to
organise a search.

I'll come too. That won't
be necessary, Mr Parker.

We know the moors better than you.
You go and finish your breakfast.

How soon can you be ready?
Straight away, more or less.

But I do think you're worrying
yourself unnecessarily you know.

(SOMBRE MUSIC)

(MUSIC INTENSIFIES DRAMATICALLY)

(DRAMATIC, RAPID MUSIC TEMPO)

Tredgar!

(DRAMATIC MUSIC CONTINUES)

Must have fell...
broke his neck.

(PENSIVE MUSIC)

PARKER: Sue!

Have they found Pearson?

Is he dead?
Yes.

I should have warned him.

This is no place to wander around
in the night.

Come back to the hotel.

(SOMBRE MUSIC)

JEAN: Moses.

(MUSIC FADES)

(DOOR CLOSES)

So what? As far as we're concerned,
it was an accident.

The fool fell, that's all.

Thou shalt not kill.
Oh, shut up, will you?

He should be in the Lord's house,
lie in the Lord's house.

What's he on about now?

He thinks the body ought to be
taken to the church.

Let me take him, Judd. I can.

Look, nobody leaves here
till after I've gone. Nobody!

I can go, Judd. Judd...
No.

But the Lord says...
No!

Later, Moses, later.

Go on.

Hey, you...

You get back to your work
and keep your mouth shut.

The Lord will punish you!

He will curse you
with eternal damnation!

Look, I've had just about enough-

You wouldn't have thought
an ex-policeman

would make that sort of mistake,
would you?

This must be very upsetting for you.

But try not to worry
too much about it. Hmm?

Why don't you go and have a rest?
(SIGHS) Yes.

I think I will.

The body's gone!

Moses. He must have
taken it to the church.

How would he get there?
The Land Rover.

(DRAMATIC MUSIC)

(SINISTER MUSIC)

(SUSPENSEFUL MUSIC)

(SUSPENSEFUL MUSIC CONTINUES)

(MOSES MUMBLING)

Oh, Lord.

(MUMBLING PRAYER)

(DRAMATIC MUSICAL FLOURISH)

(MUSIC FADES)

You can't stop me.
I'm doing the Lord's work.

Get out of my way.

(GRUNTS)

I told you to leave him alone!

(YELLS) Argh!

An eye for an eye, the Lord said.

(PANTS) A tooth for a tooth.

You're going to die.

You're going to answer to the Lord
for your sin.

(SHOTS RING OUT)

(PANTING)
(RECITING PRAYER INDISTINCTLY)

(CONTINUES RECITING PRAYER)

(MOSES YELLS)

(TENSE MUSIC)

(MOSES PANTING)

(DRAMATIC PERCUSSIVE BEAT)

(MOSES GRUNTS)

(TENSE PERCUSSIVE MUSIC CONTINUES)

(MOSES YELLS)

(MOSES YELLS)

(BOTH MEN GRUNTING AND STRAINING)

I, said the Lord, I will repay...

(GRUNTS AND WINCES)

(SHOT RINGS OUT)

(SECOND SHOT)

(PANTING)

(MOSES MUMBLING)

(GRUNTING AND YELLING)

(GUNSHOT BLASTS)
(MOSES EXCLAIMS)

(BIRDS TWITTERING)

Then someone came out of the barn
and he shot him.

You say this man, the one with the gun,

is one of my staff?

Yes, I saw him once.
He passed me in the corridor.

And the other one was...
What's his name?

The man who mutters to himself.

Moses?
Yes. Moses.

Are you sure?
Certain.

Right, let's get down there.

Now, Judd, be careful.
Moses is dead.

You can't help him.

Don't spoil it all now, Judd.

(SOFT, PENSIVE MUSIC)

(DRAMATIC MUSIC)

Right. You better stay here
and let us go in first.

Stay with him, Jim.

Moses?

Moses.

(OBJECT CLATTERS NEARBY)

(FOOTSTEPS APPROACHING)

Why him? A harmless simpleton.
Why Moses?

Because he left me no choice.

You better get him hidden.

And Pearson, too.

Tredgar!

What's he doing here?

He's looking for you.
He saw you kill Moses.

Oh, did he?

That's too bad.
Wait!

He doesn't know who you are.
He saw it happen, that's all.

All right, get rid of him. Quick.

What'll I say to him?
That's your problem.

All right, but stay out of sight.

Well, is he in there?
No, he's not.

What about Moses's body?

It's not in there.
You must be mistaken.

But it must be there.
I saw him being dragged inside.

You can't have.
There's nobody in there.

What's going on, Tredgar?

Why are you so anxious to keep me out?

We're not. Help yourself.

Jacko, no more killing.

"Jacko"?

Jacko Thomas?

See? He's just begging to die.

Jacko, he's harmless.

Don't make things worse.
Get out of...

(DRAMATIC MUSIC)

(RAPID-TEMPO DRAMATIC MUSIC)

(ENGINE REVVING LOUDLY)

(DRAMATIC MUSIC CONTINUES)

(ENGINE RUMBLING)

(DRAMATIC MUSIC CONTINUES)

(ENGINE ROARING)

(WIND HOWLING)

(WIND GUSTING)

(ENGINE ROARING)

(MUSICAL INTENSITY FADES)

(HANDBRAKE ENGAGES)

(TENSE MUSIC)

(YELLS) Tredgar!

Spread out!

(SPEAKING INDISTINCTLY)

(TENSE MUSIC INTENSIFIES)

(ENGINE STARTS)

(TENSE MUSIC CONTINUES)

(MUSIC INTENSIFIES DRAMATICALLY)

(MUSIC CONTINUES)

(ENGINE RUMBLING)

(WIND HOWLING)

(ENGINE REVVING)

(ENGINE REVVING LOUDLY)

(REVVING CONTINUES)

(DRAMATIC MUSIC INTENSIFIES)

(MUSIC FADES)

(HANDBRAKE ENGAGES)

(CAR DOOR SLAMS)

(BIRDS TWITTERING)

(DOOR CLOSES)

What's the weather like
in the Argentine?

The truck leaves for the coast in
ten minutes. You'll just make it.

(BIRDS TWITTERING)

(PANTING)

(LEAVES CRUNCHING)
(BREATHING HEAVILY)

(BREATHING HEAVILY)

(GRUNTS)

We're leaving now.

Where's the case?
It's in there.

Be as quick as you can, eh?
Yeah.

(LIGHT CLATTERING NEARBY)

(LIGHT TAPPING AT THE WINDOW)

Greg! What's happened?

We've got to get out of here. Why?

(DOORKNOB RATTLING)

Not much longer now, Tredgar.
We'll soon be off your hands.

I'm ready.
Where are you going?

I'm coming with you.

With me? (SCOFFS)

(CHUCKLES)
What does that mean?

It means you're not.

But you need me!
I can help you!

Don't be ridiculous.

Let's see, erm...

This was for you, wasn't it?

500. That was the deal. 500.

I don't think you've earned it,
so I reckon I'll keep it.

Be a man for once! Are you gonna
let him get away with that?

Like you...
he has no choice.

SUE: Kill someone?

He couldn't have!

He killed Moses, Sue,
and probably Pearson.

And we're on our own.
Tredgar and his men are with him.

This isn't possible!

I heard about this man
on the radio yesterday.

They gave his name.
Tredgar called him by it just now.

And he killed Moses?

Sue, please listen.
We haven't got very much time.

Yes, he shot Moses.
I saw him do it.

He couldn't have.
Jacko couldn't.

What do you mean "Jacko"?
You know about him?

Yes.

Jacko Thomas is my brother.

You'd better go, Greg.
He'll be back for me in a minute.

Do you mean he's leaving?
And you're going with him?

Well, I've got to!

Sue, you don't believe me,
but you must.

Did you know he killed a policeman
when he escaped?

And he did his best
to finish me just now. No!

It can't be true!
It IS true.

Sue, whatever you do,
don't go with him!

I've got to.
I can't let him down now.

But he's a murderer!
You may not be safe yourself.

But don't you understand?
He's my brother!

Sue, come with me.

Where will you go?

To fetch the police somehow.

(DOORKNOB RATTLES)

JACKO: Sue.
You'd better get out of here.

(RAPPING LOUDLY)

Sue, what are you doing?

Promise me you won't go with him.
(KNOCKING AT THE DOOR)

(KNOCKING AT THE DOOR)
JACKO: Come on, Sue.

Come on, Sue. What you been doing?
We've got to get going.

Come on, get your coat on.

Come on, Sue, move! Shift.

I'm not coming, Jacko.

You what?

I said I'm not coming.

Well...

What are you talking about?
Of course you're coming.

It's no good.
You have to go without me.

Go without you?

I can't run anymore.

No, you don't have to.
I told you, that's all finished.

Hey look, Sue.

Sue girl, we can't split up.
Not you and me.

(STAMMERS) It...

Now, you promised me, remember?

You...

Come here.

(GENTLE EMOTIVE MUSIC)

I bet...

I bet this takes you back,
doesn't it? Eh?

Jacko, I've always believed
everything you've ever told me.

Haven't I?
Sure, why not?

I'm your brother, aren't I?

Will you answer me
one question truthfully?

Sure, anytime, but not now.

Did you kill Moses?

Who's been talking to you?

(SOBS) Did you, Jacko?

If it's that...
Did you, Jacko?

I've got to know!

Did you?

(TENSE MUSIC)

All right, all right, I did!
Because he left me no option.

Now come on, we gotta get out of here!

(SOBS) I'm not coming.

Yes, you are coming!

You killed him and Pearson
and the policem-

That's enough!
(GASPS) Oh!

Oh, no!

(MUSIC ENDS ABRUPTLY)

Sue...

Sue, I'm sorry...

(WHISPERS) Sue...

Sue girl, I'm sorry.

Come on. Come on.
You're coming!

Here, come on.

(BIRDS CAWING)

All right. We're off.
Where's the truck?

It's at the far end
of the quarry. Why?

(BANG)

(EXPLOSION BOOMS)

(GLASS SHATTERING)

(DEBRIS CLATTERING)

That'll bring the police here
quick enough!

Yeah, we won't be here. Come on!

(GUNSHOT BLASTS)

(TENSE PERCUSSIVE MUSIC)

(MUSIC CONTINUES)

(MUSIC SWELLS DRAMATICALLY)

(MUSIC FADES, ENDS)

(BIRDS CAWING)

(DRAMATIC MUSIC)

(GRUNTING AND YELLING)

(DRAMATIC MUSIC CONTINUES)

(GRUNTS)

(CLATTERING)

(MUSIC INTENSIFIES, ENDS)

Don't, Jacko!

(GUNSHOT)

You?

No, Sarah, no!

(DRAMATIC MUSIC)

(MUSICAL INTENSITY FADES)

(SOMBRE MUSIC)

(ROUSING MOVIE SCORE PLAYS OUT)