conversations.from: human
conversations.value: a plot for a book about John, Laura, Heather entitled Don't Look Now
conversations.from: assistant
conversations.value: Don't Look Now: Some time after the drowning of their young daughter, Christine (Sharon Williams), in a tragic accident at their English country home, John Baxter (Donald Sutherland) and his grief-stricken wife, Laura (Julie Christie), take a trip to Venice after John accepts a commission from a bishop (Massimo Serato) to restore an ancient church.\nLaura encounters two elderly sisters, Heather (Hilary Mason) and Wendy (Clelia Matania), at a restaurant where she and John are dining; Heather claims to be psychic and—despite being blind—informs Laura she is able to "see" the Baxters\' deceased daughter.\nShaken, Laura returns to her table, where she faints.\nLaura is taken to the hospital, where she later tells John what Heather told her.\nJohn is sceptical but pleasantly surprised by the positive change in Laura\'s demeanour.\nLater in the evening after returning from the hospital, John and Laura engage in passionate sexual intercourse.\nAfterwards, they go out to dinner where they get lost and briefly become separated.\nJohn catches a glimpse of what appears to be a small child (Adelina Poerio) wearing a red coat similar to the one Christine was wearing when she died.\nThe next day, Laura meets with Heather and Wendy, who hold a séance to try to contact Christine.\nWhen she returns to the hotel Laura informs John that Christine has said he is in danger and must leave Venice.\nJohn loses his temper with Laura, but that night they receive a telephone call informing them that their son (Nicholas Salter) has been injured in an accident at his boarding school.\nLaura departs for England, while John stays on to complete the restoration.\nUnder the assumption that Laura is in England, John is shocked when later that day he spots her on a vaporetto that is part of a funeral cortege, accompanied by the two sisters.\nConcerned about his wife\'s mental state and with reports of a serial killer at large in Venice, he reports Laura\'s disappearance to the police.\nThe inspector (Renato Scarpa) investigating the killings is suspicious of John and has him followed.\nAfter conducting a futile search for Laura and the sisters—in which he again sees the childlike figure in the red coat—John contacts his son\'s school to enquire about his condition, only to discover Laura is already there.\nAfter speaking to her to confirm she really is in England, a bewildered John returns to the police station to inform the police he has found his wife.\nIn the meantime the police have brought Heather in for questioning, so an apologetic John offers to escort her back to the hotel.\nShortly after returning, Heather slips into a trance so John makes his excuses and quickly leaves.\nUpon coming out of it she beseeches her sister to go after John, sensing that something terrible is about to happen, but Wendy is unable to catch up with him.\nMeanwhile, John catches another glimpse of the mysterious figure in red and this time pursues it.\nHe corners the elusive figure in a deserted palazzo and approaches it, believing it to be a child.\nInstead, it is revealed to be a hideous female dwarf, and while John is frozen in terror the dwarf pulls out a meat cleaver and cuts his throat.\nAs the life drains from him, John realises too late that the strange sightings he has been experiencing were premonitions of his own murder and funeral.
conversations.from: human
conversations.value: a plot for a book about Don't, Valentine's, Day.\nCupid entitled Don't Look Now
conversations.from: assistant
conversations.value: Don't Look Now (1936 film): It portrays Valentine's Day.\nCupid is making people fall in love, while Satan is doing everything possible to undermine the relationships.
conversations.from: human
conversations.value: the first five paragraphs for this book
conversations.from: assistant
conversations.value: Don't Look Now
  Fenton sat down and swiveled his chair, swinging his knees from side to side. After a few seconds, he stopped. "Tell me truthfully," he said. "Just between you and me. If you weren't a police officer, say you were employed in a bank or a real estate agency, when you got home from work, would you go online to search out the terrified face of a woman who knows she's about to die?"
  I couldn't help myself. I should have taken more care selecting the victim, but he served a purpose. I have to keep the momentum going. My followers need to be entertained.
  The human psyche has a dark, primitive side. Most people cower in the comfort of the light. I am not most people. Don't think that those who fear their darkness are superior human beings to those who embrace it. They are not better. They are weaker.
  But they can't stop themselves from taking a sneaky peek into the shadows. I invite them into my world, and they follow. From a safe distance, of course. At least that's what they think.
  From here on, my prey must be worthy. Planning and selection are the key to satisfaction. This one pleased my public but didn't satisfy my hunger. Not like the first time.
conversations.from: human
conversations.value: another paragraph
conversations.from: assistant
conversations.value: Fenton tossed his cell phone onto the bed. There was no way he was going to sleep. He picked the phone up, went to Google, and searched for I, Killer. One point seven million results in 0.89 seconds. Fuck.
conversations.from: human
conversations.value: the last two paragraphs
conversations.from: assistant
conversations.value: He is now a full-time crime fiction writer living in the county of Essex. Max is married and has three grown-up children.
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