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深受幕学大师兼养父戴有恭(刘家辉)的提携，足智多谋的周炳(马国明)因利成便加入官场的幕僚行列，不过他择善固执，不屑幕僚间的种种陋习，终日投闲置散，更不时上酒馆打发时间风花雪月，迷上善解人意的酒馆老板庄小娴(唐宁)，惹起醋坛子正妻赵玉卿(徐子珊)日夜发飊，对他穷追猛打。 有恭顾念周炳，推荐他为新官沉君博(高钧贤)作幕僚，二人经过磨合，由心生猜忌而渐成患难兄弟，但周炳却无意间发现了恩师有恭正是君博的亲生父亲，见利忘义的君博为保仕途，竟利用玉卿的秘密身份借刀杀人，周炳始发现日夕共寝多年的发妻原是朝廷派来监视自己的密探。。。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。小哥哥在院子里和小狗、乌龟玩皮球时，妹妹正在边哼歌边晾晒洗净的衣服，小哥哥招呼她过来后，她虽然觉得有趣，但不一会还是回到房间和她的布娃娃玩起来。 小哥哥进了妹妹的房间，玩兴未尽继续和乌龟、猫咪玩耍，一个不小心，他打碎了妹妹心爱的贝壳，妹妹大哭起来。小哥哥拿皮球赔礼道歉，不顶用，生气的妹妹把光着一只脚的他赶出了房间。妹妹想和布娃娃、乌龟等玩耍时，发现大伙都不理她，原来它们在怪她把小哥哥赶出家门。妹妹走出家门找寻起小哥哥来。。