Puzzle (1974) - full transcript
Luc Merenda plays a man who as a result of a car crash is suffering from amnesia and is trying to learn about his past, then a menacing individual accuses him of betrayal and is lured into Italy where he finds that he is married man, soon afterwards more pieces of his puzzling past begin to fall in place.
(anxious ensemble guitar music)
(woman singing in
foreign language)
- Look Peter, I told you.
Trying to force your
memory hour after hour
for weeks on end isn't
going to get you anywhere.
- I can't just sit around
waiting for it to happen.
Everyone that I meet,
everywhere I go,
every shop, every street, I
wonder, do I know this place?
I think, could this
man know who I am?
- You mustn't ask yourself
these questions,
forget about them.
- I can't forget them.
It's like eight months ago
I was born in that clinic,
the one where I woke up.
It's depressing.
- The human mind is a
mysterious organ, Peter
and you've got to relax
it, don't torture it.
You shouldn't try to
force it into revealing
the past to you and
in a few months or so,
you'll get total recall again.
- Sure, easier said than done.
I get up every morning
and I go to work
and I eat and I sleep
but who am I, doc?
Who, who, who?
The man who had a
bad car accident?
There must be something else.
Don't I have at least a few
friends, a family, somebody?
- Of course you have, Peter.
(siren blaring)
- Hi, doc.
Ted.
- Am I supposed to
know this man, Doctor?
- Well you should, yes.
- How do you do?
- Well it's me, Philip.
Don't you remember me?
- Before we talk of other
things, who the hell am I?
(fist thuds)
(Peter groans)
- I'll tell you who you are.
You're a dirty son
of a double-crosser.
A two-bit con artist who thinks
he can pretend that
he's lost his memory.
Well I'll get it back for you.
- No, hold it, hold on.
- Ah.
Got it back already, have you?
- No.
You may not believe
me but it's the truth.
Look, tell me everything from
the beginning, it might help.
- I don't believe you
but we'll do it your way.
- You say my name is Ted
but I've got a passport that
says my name is Peter Smith.
- So you even had yourself
a passport forged, did you?
Where were you planning to go?
- Philip, I woke up over
eight months ago in a clinic
and before that, before
that, the past is a mystery.
- All right, buddy.
Your name is Ted Walden and
you were born 30 years ago
here in jolly old England
at Brockhurst in Kent.
You lived here on the
continent and in New York.
You got married two
years ago to an American.
- Married?
You sure about that?
- Yeah.
- Where's my wife then?
- In Portofino, Italy,
where you left her.
Now then buddy boy,
you tell me where the-
(glass shatters)
(anxious flute music)
(doorbell buzzing)
- Coming.
- Telegram for you, sir.
- Thank you.
(mysterious ensemble music)
What the bloody hell's going on?
So I've got a wife called Sara
and a dead man on
my hands, Jesus.
- Mr. Smith.
There's a letter for you, sir.
- Thank you.
- Pleasure, sir.
(anxious flute, piano music)
(gunshot booms)
(water splashing)
(spectators shouting)
- Hey Sara, I won!
Did you see? I won the race!
- I'm the winner.
- No, you're not.
I saw what you did,
you should be ashamed.
You were disqualified.
- But he should have done
the breast stroke and
he was doing the crawl.
- That does not justify pushing
him under the way you did.
It's disgraceful.
- Well, he should have
done the breast stroke.
- Two wrongs don't make a right.
- He did it wrong.
- It doesn't make
any difference,
now, go and get changed.
- You do not order me
around, I'm not your son.
In fact, I am your fiance.
Wait for me outside
and I'll take you home
and next time, make sure
everyone does the breast stroke.
(relaxed guitar music)
You watch, today he won't come.
- What do you bet he will come?
Cinque.
Quattro.
Tre.
Due.
Uno.
- Sorry, late again.
- We could have done
all right without you.
- Don't start that
business again.
- Climb aboard,
Portofino next stop.
- Thanks.
Did you have a
lot of work today?
- Not really.
- Liar.
- Bone crunchers only work
in winter when there
are skiers around.
- Wish you were right, Othello.
- Luca, Luca!
I've already told you, you
mustn't call me Othello.
You always do, I am sick of it!
- He's only joking darling,
now get in the car.
- No, I'll take a
bus, I prefer it.
- Hey come on, get in.
Hurry up or you'll
get left behind.
(relaxed ensemble violin music)
You know Luca, I appreciate you
letting me give your
girl a ride home.
- She's not my girl but
she's not yours either.
- Oh Luca, you little rascal.
- Around the rugged rug-
- The ragged rascal ran.
- So one has to be rude to get
a kiss from you, Sara, huh?
- No, you have to
be 10 years old.
- How about a song, Luca?
(singing in foreign language)
(car horns blaring)
- Thank you for
the ride home, sir.
You really are an angel.
- So have I earned a drink?
Angels are incorrigible
drunks, you know.
- You meant teetotalee.
- The word is
teetotaler, professor.
(moaning)
(camera clicks)
See you tomorrow, Luca.
- I know when I'm not wanted.
- I think you'd
better gone home too.
- Why?
- Well, I've got some things
to do around the house.
- I've heard that one before.
All right, tomorrow at
10:00 but don't be late.
I have some bone crunching to
do, as your fiance calls it.
- At 10:00 then.
You're not jealous
of Luca, I hope.
- Do I have the right?
- Ciao, Reinhardt.
- Ciao, Sara.
- Sara,
if you're afraid to
be alone in the house,
I could stay with
you for awhile.
- No, I'll be all right, thanks.
You live nextdoor,
so I can scream for help
through the window if I need it.
Goodnight, Luca.
- Nana.
Nana.
- Luca, go and wash, we'll
be eating in a minute.
(Whiskey barking)
- Whiskey.
Oh, sorry baby.
I forgot all about you.
And you wanna go out, hmm?
Come on then.
Five minutes in the garden.
There you go, I'll
leave the door open.
(soft ensemble music)
(door slams)
(Whiskey growls)
(Sara humming)
(Whiskey barking)
Whiskey.
I left the door open for you.
(anxious violin, flute music)
Well, I thought I did.
Come on then.
(Whiskey whimpering)
(tense violin music)
(Whiskey growling)
Whiskey, what are you
doing under there?
What's wrong, huh?
You're behaving
very badly tonight.
You've had supper.
What is it, you
want a drink, hmm?
All right.
We'll go get a drink, hmm?
(soft anxious ensemble music)
(tense sharp violin tones)
(Whiskey whimpering)
(light switch clicks)
(Sara sighs)
(soft ominous chanting)
(soft anxious
guitar, flute music)
(light switch clicking)
Whiskey?
(window rattles)
(soft ominous chanting)
(anxious violin music)
(bell ringing)
(Sara gasps)
(glasses rattling)
(soft anxious ensemble music)
(phone beeping)
(tense guitar tones)
- Did you check all
the house, Senora?
- Yes.
- Nothing's missing,
not a thing.
It's all just thrown
around, nothing was taken.
- Like a month ago.
It seems to me somebody
just likes to mess up
your house for you.
- The only difference is
I wasn't in last time.
- But you admit, you left
the door open, Senora.
- Right, but I do that often.
- The strange thing about it,
he's obviously not a thief.
- So what do you call someone
who sneaks in, attacks me,
kicks the dog and destroys
the house, a gentlemen?
- No, not at all, my dear.
I'll have the house
watched for awhile.
(gate creaks)
(camera clicking)
(chainsaw buzzing)
- Vittorio, when you finish,
put the saw on the cupboard.
Don't leave it on the table.
- Very good, Senora.
Oh dear, sorry.
- Excuse me.
- Buongiorno.
- Buongiorno.
- Good morning.
- Ciao.
- How are you?
- Fine, only I sure
I hate this weather.
I've never known
such a rainy May.
- Would you like a coffee?
- Love one.
- How about seeing
a film tonight?
- That's a good
idea, what's showing?
- I don't know, we
can find something.
We can go to Genoa if necessary.
- All right.
- A telegram for you, Senora.
- For me?
- Here, I'll take it.
- Thank you.
(soft anxious guitar music)
- Is it bad news, Sara?
- No.
It's from my husband.
It's a bit surprising,
that's all.
- Oh, what does he say?
- He's coming back
here to join me.
He's been away nearly a year.
Disappeared in London.
And now this.
"Arriving today at 3:30,
meet train if you can, Ted."
- You want to be
there, I suppose.
(train rattling)
(train horn blares)
- I feel confused, Reinhardt.
I'm angry at him as well but
I still want to see
him and talk to him.
- You once said you hoped
you'd never see him again.
- Yes I know, you're right.
Only you know how a woman
reacts when a man's left her.
And I realize I want to see him.
Reinhardt, I'd rather be
alone for this, do you mind?
- Yeah.
It'd be better.
(both chuckling)
- Ciao.
- I get the very
distinct impression
that you're still
in love with him.
(train brakes squeaking)
(mysterious ensemble
guitar music)
- Your wife's still standing
at the top of the stairs.
(relaxed violin tones)
- Sara?
- I can't believe it, you simply
looked straight through me.
- I can explain, Sara.
- I might as well
be a total stranger.
- Please listen.
I have amnesia.
- I don't want to hear it.
- I had a car accident.
- Is this some
kind of an excuse?
- Really, I've been
ill for months.
I can explain, can we
go somewhere quiet?
- We'll go to my house.
You said a car accident?
- That's right.
It's nice to find I have
such a beautiful wife.
(Sara chuckles nervously)
And that's how they found me
in the wreckage of the car.
It was rented in the name
of Peter Smith, my name.
At least that's what it
says in the passport.
The police did a lot of research
but they couldn't
come up with anything.
Peter Smith,
stateless, no parents,
no friends and that's
all I really know.
- Well to start with,
your name's Edward Walden,
Ted to your friends.
We met in New York a year and
a half ago at the Guggenheim
and we both fell for each
other, love at first sight.
Mean anything?
- No.
- A week after we met,
we flew out to London
and got married there.
But in London,
we didn't see very
much of each other.
I spent all day
alone in the hotel
while you were off
somewhere working.
- What kind of work was I doing?
- I don't know, you never told
me about what you were doing.
It was secret.
I only know, well you appeared
to have a lot of
interest in antiques.
- Nothing more?
- Nothing more.
A month later, I came
here to Portofino,
knowing that within a
week or so, you'd join me.
We'd arranged with Peggy Cole
to rent your house
for a couple of years.
Ted, you knew Peggy.
She's an old friend
of mine, remember?
You met her in London.
You just disappeared then.
Flew into the sunset.
I never heard any more of you.
- But who am I and what am I?
- A dirty rotten bastard.
- Well, everyone seems
to agree on that.
(phone ringing)
(speaking foreign language)
- Ciao, Reinhardt.
Yes, fine, thanks.
Yes.
All right.
Goodnight.
Yes and thanks, Reinhardt.
Don't worry about him.
He's just a friend.
I teach swimming now and he's
a doctor at the sports center.
- Quite a few people have called
me a dirty rotten bastard.
Is that how I was in this photo?
- No, but that was taken only
three days after our marriage.
- Then why did you leave it out?
- Loneliness is no fun.
- Are you telling me?
You knew where I was.
Why did you take so long before
sending me this telegram?
- What telegram?
It wasn't me who sent you this.
- I should get away from
here then immediately.
- Why?
- Because this means
they've arranged our meeting
and whoever they
are, they're killers.
So you see, it's really safer
for both of us to
separate again.
- No, stay here.
I'd be frightened alone.
There's a spare room upstairs
where you could sleep,
Ted and you're welcome to
use that at least until-
- Until?
Maybe I never will
get better again.
You know what my doctor said?
That it's me who doesn't
want to remember anything.
Of course I've tried
but it's useless,
Sara and the more I
try, the worse it gets.
Or at least no better.
The doctor says I'm scared,
scared of what I'd remember.
(clock chiming)
(anxious ensemble flute music)
- You remember something,
Ted, what is it?
Does it have to
do with the clock?
- I don't know.
Could be.
I had an impression of something
but then the image just faded.
- You bought it for me in
London as a wedding gift.
It was so expensive and I
thought you were totally crazy
but you insisted on getting it.
You said that it was a
symbol of good fortune.
That it would keep our
love secure for always.
- I guess I was wrong.
- I'm not so sure.
We might try
beginning at the top.
- Really, is that what you want?
All right.
As from tomorrow, I begin
courting you and I'll sweep
you off your feet again like
I did in New York, all right?
Do you want a drink?
- Yes, give me some Port.
- Port, huh?
I should have known
what to give you, right?
- No.
Up until the time you
disappeared, I never drank.
Then the loneliness got to me
and I began to drink a little
Port every now and then.
- Here.
- Ted, listen.
I truly, truly want to, well,
believe your story.
- But
I'm a dirty rotten bastard
and I might be pretending
I've lost my memory.
Is that why you want
me to stay here?
To keep an eye on me, to
find out if I'm lying?
- My god, no, no.
I asked you to stay here because
I really want us to, well,
oh, you shouldn't have
to ask such questions.
(soft violin, piano music)
This is Whiskey and
he's my best friend.
(Whiskey barks)
- Hey fella, you've
put on a bit of weight.
All right, off you go.
The trouble is they
eat too much pasta.
- The trouble is
that I love pasta.
- Well take care.
Once it's on, it's very
difficult to take it off.
(water splashing)
- Haven't you two
met each other yet?
- Daniele.
- Nice to meet you.
Sara's talked a lot about you.
- Nothing bad, I hope.
- Be careful,
you'll catch cold.
- You came down from London?
- That's right, I-
- I know,
you arrived on the train
yesterday afternoon, right?
- That's right,
yes, who are you?
- You mean Sara hasn't
talked about me? I'm Luca.
- Oh now Sara, you didn't
tell me about Luca.
- Can I take Whiskey for a walk?
- Yes, he'd like that but
don't let him run
too much, will you?
Well now.
- Hey, aren't you
gonna get dressed?
- Yes, of course.
I won't take a minute.
(anxious ensemble music)
- Tell my wife I'll
wait for her outside.
(bird wings fluttering)
(fist thuds)
- Still the same
old violent Ted.
- Why are you following me?
- Still playing that game, huh?
I'm George.
- You can stick your
hand in your pocket
until you've
answered my question.
- We were real
good buddies once,
before you went and
lost your memory.
- That's the point,
it's the truth, George.
That's why I've got
to ask questions.
Was it you who arranged
for me to come here?
- I guess you could say that.
Look Ted, quit playing
the amnesia act.
It'll go better for both
of us if we make a deal.
- You've given me
half an answer.
Try not to be so vague about it.
- Look Ted, Philip didn't go
for this story of your amnesia.
He believed you were just a
bastard trying to screw us.
- And what do you think?
- I'm inclined to believe
you're a bastard who,
having already screwed
us, bashed his head
and can no longer remember
how it was he screwed us.
But Philip didn't agree.
- And you murdered
the man for this?
- I was saving your life, buddy.
- Thanks a million.
It's beginning to make sense.
- He could have killed you.
- You're saying-
- After he got the information.
- I was once a
part of your group.
- Yeah, you sure were.
You were the key to
the whole operation
and we ain't gonna let
you get away with it.
- Get away with what?
- $1 million, Ted.
And it's up to me to collect
it or I'm a dead duck.
- Listen, if you're
telling the truth,
then I want to know all of
it, details, everything.
The whole story.
- It is the truth and I'll
tell you the whole story soon.
Oh look, you better have this.
I'd burn the other
one if I were you.
Peter Smith left a
corpse in London.
- Ah, so it was you who
sent me that false passport?
- Oh no, you had that one
made to double-cross us.
- Ted.
Ted.
- Run along, see if your
lovely wife can help.
- I'll kill you if you even
try to bring Sara into this.
- Well, that's a good start.
You're getting back
into character again.
- Ted, what happened?
I've been waiting a
quarter of an hour.
- I'm sorry, darling.
- Where were you?
- I went for a
walk and got lost.
(waves crashing)
(camera snaps)
- Whiskey?
Whiskey?
Whiskey?
Whiskey?
Whiskey?
(relaxed violin music)
(woman singing in
foreign language)
Whiskey!
Whiskey, where are you?
(relaxed ensemble music)
- This is the most beautiful
place in the world.
- We talked about it
all the time in
London, remember?
No, of course you don't.
- Even more beautiful is
that we're here together.
Well, it wouldn't
matter where we were.
What's important
is being with you.
- Being together again is a
completely new experience.
It's difficult to explain but
well, your face is the
face of the man I loved.
You have his body, his
hands but it's only
a shell that cover someone
I don't really know,
a new personality.
- Do you like him?
- Let's say I don't dislike him.
(relaxed violin music)
No, not yet, Ted.
- I'm sorry, that
was stupid of me.
I forgot that you
probably have a romantic
attachment here and I
guess it's natural enough.
- Who are you thinking
of, Reinhardt?
Well it's nearly a year that you
haven't shown the
slightest concern for me.
- That's a bit unfair of you.
- There's no one else, Ted.
No one to worry about.
I admit I've gone around
with Reinhardt for months.
But he's a friend, that's all.
A good friend and I needed him.
- I'm glad that you
haven't been alone.
But maybe now that I'm here,
you won't need
anybody else but me.
- I want you to get well,
to start remembering again.
But I want you to
stay as you are,
as the person you are now.
- You have got to admit-
- Whiskey!
- Plays a very good game.
- Whiskey!
- And sometimes brilliant.
- Si, but he is a prima donna.
- So what?
He may be a prima donna
but he scores and
that's the main thing.
Hey Luca, where are you off to?
- I've lost Whiskey.
- Well, don't worry.
Maybe he went home by himself.
- I know but he may have
been run over by a car.
- Hey calm down Luca,
it was just an idea.
- Based on what evidence?
- Very smart.
All right Luca, let's
go look for him.
(anxious violin, flute music)
(relaxed drumbeat)
(soft guitar, violin music)
(Sara screams)
(tense violin tones)
- Sara, what is it?
- Oh Ted.
They killed Whiskey.
(tense ensemble tones)
(coughing)
(anxious guitar, piano music)
- I can't.
- My God, Ted, why
would anyone want
to murder a little
animal like Whiskey?
- I don't know
what came over me.
I expect it was all that blood.
- I don't think it was that.
What was it you
remembered, what was it?
- Nothing, I got a cramp.
I react to blood that way.
- If you don't trust me, we
shouldn't be together, Ted.
- I think I saw a killing.
- What do you mean a killing?
- I got this image
that I was watching a
man's throat being cut.
- Sara.
Sara.
- May I come in?
Senora, Luca is worried,
Whisky disappeared.
- Somebody killed him, Sergeant.
- Where is he?
- He's upstairs in the bed.
No Luca, you stay down here.
- He ran away.
It wasn't my fault.
- Don't worry.
My husband, Sergeant.
- How do you do?
- Pleasure.
- You're not to worry about it.
It wasn't your fault, Luca.
A crazy person did it.
- Call me if I can help
at all, won't you Sara?
- You're already being a help,
Luca, just by being
a good friend.
- All I can tell you
Senora is that they cut
his throat with a
very sharp instrument.
Most probably a razor.
It has to be the work of a
sadist or a madman I think.
No one in their right mind
would do a thing like that.
Do you want me to
dispose of the body?
- No.
I'd rather bury
him in the garden.
Poor Whiskey.
He was such a sweet dog.
Always trusting and friendly.
- They're getting
at me through you.
That's why they killed him.
I warned him not to do it.
Well now the bastard will pay.
(anxious violin tones)
- Ted.
Ted.
- Stay in the house.
(singing in foreign language)
- Ted.
Hello, sweetheart.
- Who the hell are you?
(door creaks)
(door slams)
- Take it easy, baby doll.
I'm a friend of your husband's.
- Get out or I'll start
screaming, I mean it.
- Why?
I just came by to visit
for awhile, that's all.
You see, I want to help Ted.
- Why?
- Well, it's like this.
If he doesn't get any help,
then he'll be dead one
week from this evening.
He and I together and if
you're gonna be killed,
a week becomes the
equivalent of half a minute.
- What do you mean?
Somebody's gonna kill Ted?
- Ah, no, no, no, no
yelling or poof, I'll go.
- No, don't go, please,
I won't yell again.
Tell me about it, will you?
- Fair enough, Ted
has to pay off a debt
directly to me
and if he doesn't pay me,
then I can't pay the others.
These others have
been very patient
and waited eight months already
and now they've run
out of patience.
- You want money.
You should have said so earlier.
How much does he owe you?
- A million dollars.
(Sara scoffs)
- Now how on earth could Ted
ever come up with
a million dollars?
- Here in his head.
It's all in his head.
Now he says he can't remember.
Whether it's true or not
isn't important at all.
What is important
is that he gives me the
cash or the merchandise
or tells me where he's
hidden it at least.
- His memories are
blank, it's true.
He really is very ill.
He didn't recognize me
even when he came here.
- Well if he's ill, he's got
seven days to get better again.
I wanted to tell you
exactly how things were
in the hope that you can help
him to get back to normal.
Help him to remember
what he's forgotten,
help him stay alive.
Because I warn you Sara,
before they kill me,
I'll cut his throat
and yours.
- The same as my dog.
- Don't tag me with
that one, honey.
I don't kill dogs, my hassle
is with two-legged animals.
- Our mutual friend
says there's at least
one thing you should
remember, New York.
- New York?
- Mm hmm.
- Ah yes, it's in
America, isn't it?
- Two names and
address in New York.
- I just can't remember.
- You've got to try, please.
- Who's this mutual friend?
- If I end up telling you
everything, what's the point?
- Nothing I guess,
but who knows?
It might be helpful to
have a few of the answers.
- My job is just to
give you a message.
Think about New York.
(gate creaks)
- I saw this man I know
but I never did find him.
- Why have you been so long?
- I chased him as
far as the court
and he disappeared,
so I searched around.
- Who was it?
- The fellow who
got me over here.
The one who was at the station.
The one who says
his name's George.
- What does he want from you?
- Beyond me.
Something to do with
my past probably.
- Why don't we go
away from here?
- To New York, for example?
- Yes, or London.
Any city with a few
million people to hide in.
(relaxed violin, piano music)
- No.
No, please Ted, I can't.
(relaxed ensemble guitar music)
(thunder booming)
(tense screeching tones)
(ominous chanting)
(door rattles)
(door squeaks)
(ominous chanting)
(glass shatters)
(anxious violin, flute music)
(thunder booming)
(tense screeching violin tones)
(glass shatters)
(Sara screams)
(wind howling)
(door slams)
(tense violin tones)
(Sara screams)
- Sara.
Sara.
- Oh, Ted.
- What's wrong?
- Ted.
- What's the matter?
- Someone was in here.
- What is it?
It's all right now, I'm here.
(ominous ensemble tones)
- Was it really
necessary to kill him?
- That's a silly question
where a million
dollars is involved.
- You had the right idea, Sara.
We've got to get out of here.
(door slams)
- Yes, good.
Try the Saldano now.
- When are you leaving?
- A couple of days.
- Why go with him?
- Ted has to leave and a woman
goes where her
husband goes, Luca.
- Bullshit.
- Hey now, let's try to
be a little pleasant, huh?
- What language, Luca.
Have you made any plans for
tomorrow in the afternoon?
- Nothing in particular,
have you Sara?
I'll go to the pool.
That way I can say
goodbye to everyone.
- Excuse me sir, there is a man
at the bar who wishes
to speak with you.
- I'll be back in
a second, I hope.
- I don't understand, he said
he was going to wait here.
- Who, the Senor
dressed in blue?
- Si.
- He went into the toilet.
- Thank you.
- My pleasure.
- You're welcome.
- What happened
to bring this up?
- Ted has to leave, that's all.
- For how long?
- I don't know.
(soft piano music)
- You should understand by now.
She's in love with
her husband, no?
- You stay out of this.
- I just thought maybe
you didn't understand.
- Where are you going?
- To America, probably New
York but we haven't decided.
- Let's quit kidding around.
The stuff,
where is it, buddy?
- What stuff?
- I don't want to hear any
more of your smart wise cracks
or I'll put a slug
in your amnesia.
My patience is stretched
as far as it'll go.
If you'd left the stuff
hidden anywhere in London,
you wouldn't have come
here, not even if you'd
received a telegram from the
President of the Republic.
- Right.
- So that means the stuff's here
and to bring it over here,
there's only one person
you would have trusted it
with, only one, your wife, Ted.
Now who gets it first,
your wife or you, buddy?
- Let's recap a minute.
You say I've hidden this
stuff worth a million dollars.
Exactly what is it, George?
- A string of sausages
full of pure heroin.
15 pounds of hard merchandise
that'll fetch us at least
a million in New York.
- That much, huh?
- So what happened?
- Oh, Senor Gomez,
they couldn't make a decision
but I guess I'll work out.
Morning.
- Morning.
- Can't you influence them?
- Influence that batch?
Not a hope and besides, it's
not that important to me.
So why should I waste my time?
- This is terrible news, Sara.
- It was a very sudden decision.
It was quite a shock
even for me, I'm sorry.
- Such a pity.
You got on so well with the
children, they all love you.
- Please, would you say
goodbye to them for me?
I hate partings.
- Sara.
- Reinhardt, hi.
- I came by as usual
to pick you up.
It could be the last
time, who knows?
- I'll be ready in a minute.
- It's fine.
- Was I very long?
- Ah.
No time at all.
The Guinness Book of
Records may even accept it.
I parked in the piazza.
Listen, I don't want to
lose contact with you.
Will you send me your
address in America?
- Sure, as soon as we're
through moving around.
- Darn it, have you got
any cigarettes with you?
- No, I hardly ever carry them.
- Why don't you
check in your bag?
Maybe we'll be lucky.
- I know I don't.
- I'll have to go get some,
do you mind waiting while I-
(Sara screams)
- Sara!
- God.
Don't move Sara, just lie still.
- My god.
- What the hell were you doing?
- I check the mirror-
- Don't touch her.
- Before I backed up
and I didn't see anyone.
- What do you mean
you didn't see anyone?
- I am so sorry.
- We're not invisible.
- Do you want me
to call a doctor?
- No, no, don't
worry, I'm a doctor.
Just help me up with her.
Give us a hand, will you?
- I'm so sorry.
If there's anything I can do.
If you want to use my car.
- Let me see your insurance.
You all right, Sarah?
- Yes.
- Open the door, please.
- Of course.
- But it's pretty
painful, I must admit.
- There you go.
All right, come on.
- Slowly.
- In you go.
- There we are.
- Thank you.
- Sit down first, there.
- And here Senora.
Here we are.
- Thank you very much.
- Well?
- Here my insurance details.
I'm sorry about all this.
- We'd better put
in a full report.
Now move your car, please.
Clean break of the tibia,
dislocated kneecap.
Well, it could have
been worse, much worse.
- Right, then on the other
hand, it could have been better.
- Oh, well it depends
on how you look at it.
I feel we're lucky,
I've seen the most
terrible fractures
caused by a simple fall.
- The main thing now is when
are we gonna be able to
think about traveling?
- Oh, I think if you give
the cast a couple of days to
harden and of course take it
easy, you'll be able to leave.
- Two more days.
- Crutches and all.
- And that American girl,
the one who was driving,
what do we do about her?
- Ah yes, well I've got all
the insurance details and
I've got friends in the business
who will take care of it.
You won't even have
to talk to her.
- I just can't imagine what
we'd have done without
you, Reinhardt.
- You would find
another bone cruncher
to plaster your leg.
- Hey, let's have a little
respect around here, young man.
You want some more, darling?
- No thank you,
it's already gone to my head.
- Well go on.
- I'd be drunk.
- You're not going anywhere.
You can get as
drunk as you like.
- Hello, Sye Insurance,
the manager, please.
- Nice shots.
- Is that what they lean to?
- Sure, it's a leg.
- No, those are
just painkillers.
Not more than three
a day, all right?
The other things are vitamins
and calcium to
help the bone heal.
- Let's hope we can
get the same bottles
in the States.
- I'll give you a ring soon.
- Can I come with you?
- Yes, sure Luca, a chemist
isn't too interesting.
- What's a chemist?
- A pharmacist.
(classical violin music)
(door rattles)
- Ted?
You didn't take any money
along, did you I bet?
- You bet wrong.
- Ted isn't here right now.
- Oh, I know.
That's a beauty, ain't it?
Tough luck, just when the two
of you were planning to run off.
If you'd made it,
you might've lived a
little longer I guess.
Now you're right back where
you were with five days left.
Just five short,
five short days spent
sitting right here.
- Look, my husband's never
stolen anything from anyone.
He's just a victim, a victim
of this whole rotten affair.
Don't you realize he'd tell you
what you want to
know if he could?
- He'll get around to it.
- Be careful.
No please, what are
you doing? You're mad.
- He better in the next five
days because if he doesn't,
as I told you, I'll
cut both your throats.
- Stop it.
No more, please.
- What I want looks like
a big string of sausages.
- Don't.
- A big string of
white sausages.
- No please, oh God, no more.
No more.
- When I said I'm gonna kill
you in five days, I meant it.
This is just the beginning.
I want you to die.
- Go away.
- Little by little.
- Please.
Please.
No more.
No more.
- Enjoyable little
game, isn't it?
I saw it in a film
once, very effective.
Oh,
tell Ted I want to
see him tomorrow
at that villa across the
bay at noon with the stuff.
(Sara weeps)
(classical violin music)
- Yeah, in rugby, you
pass it like this.
So now you know.
See you tomorrow, Luca and
thanks for the company.
- Goodnight, Ted.
Are you gonna make
dinner this evening?
- Well, I suppose
I'll have to, ciao.
- Ciao.
(Luca gasps)
You scared me for a second.
Nana.
- Sara.
- Ted.
- What's wrong?
- He was here again.
- Who was here again?
- The one who says
his name is George.
He was here the other day.
- What do you mean
he was here before?
Why didn't you tell me?
- I don't know Ted, I
don't know why I didn't.
He wanted to talk
to see if I could
find out anything, to
ask your questions.
He was quite nice that day.
Then he came back today because
he heard we were leaving.
Tomorrow he wants you to come
to the abandoned old
villa across the bay,
to be there at noon and
to bring along the stuff.
- How can I?
- Even if you can,
you mustn't go.
He'll kill you, I know
he will, he's mad, Ted.
Apart from that, the villa
can be reached only
by the one road.
So he'll be able to see you long
before you get
there to ambush you.
- Come off it, Sara,
I'll be all right.
I may have lost my memory
but I'm not stupid, darling
and I'm not as scared of George
as he is of me, you know?
It's just a bluff,
it's a put-on.
Look, if he's
convinced I know where
the stuff is, he won't
kill me, you know?
What would be the point?
- He'd enjoy it.
Besides, he's already
threatened to kill us
if you don't give him the drugs.
(coughing)
(low anxious piano music)
- How do you plan to
get the stuff out?
- Your suggestion
yesterday was perfect.
- I got all your medicines,
so you should start taking-
- You must remember
where you've hidden it.
I'm sorry but...
- Sorry for what?
I didn't want you to be
involved in this in any way.
You've already been
brought into it
and I'm sorry about that.
It's something I've
got to do alone.
- Just be careful, he's
not fooling around, Ted.
- I know.
(anxious metallic tones)
(anxious ensemble music)
(brakes screech)
(boat engine rumbling)
(anxious ensemble guitar music)
(doorbell rings)
- Who is it?
- It's me, Luca.
- Oh, just a minute,
I'll be right there.
Ciao Luca, how are you?
- I am very fine.
I am sorry I made you get up.
- Oh, don't worry.
It's good exercise
for the rest of me.
Anyway, my leg
doesn't hurt anymore.
- That's good.
- Give me that blanket,
would you Luca?
- Yeah, sure.
Here.
- Thank you.
What's that?
- My photographs.
- Your work, huh?
- Would you like to see?
- Yes, I sure would.
Let's see.
Where are they?
- It's upside down.
- Ah, here we are.
Oh, that's a very pretty one.
I'm really surprised.
You're very good, Luca.
I remember you taking those.
- It's better to make
pictures when people
don't know it.
- But why have you only
got photographs of me?
- Later on, there
are other people.
There's Reinhardt too,
so he can no longer
say I'm always jealous.
And anyway, I don't think you'll
miss your Lothario
when he will go away.
- Oh really, what
makes you think that?
- You'll see this picture,
otherwise I won't say anything.
It's a picture of feminine
girl, a blonde girl.
I'd say she looks American.
(mysterious ensemble tones)
- When did you take this?
- The other day.
Remember, we all ate
lunch in the restaurant?
(anxious violin, guitar music)
- Was it before I
had the accident?
- Yes, while you were
swimming, I took it
and then he went
along to meet you.
- I'm right on time, George.
- I don't agree, Ted,
you're eight months late.
- Put it back.
- Well, where's the stuff?
- I tried to think, George,
but all I get is a blank.
- You're never gonna
get away with it, Ted.
You ain't gonna leave
me in a pile of shit.
I think that crazy story
you told me that you
lost your memory is bull but
even if you weren't lying,
you forgot about one
thing, if I gotta die,
then first of all,
I'm gonna kill you
and that whore of
a wife of yours-
(thudding)
(grunting)
This is where I
give you yours, Ted.
- The thing is he
had to have a reason
for not letting on that
they knew each other.
It's rather strange.
I mean why'd they have
to go through that act
as if they'd never
seen each other?
It shouldn't, but
it worries me a bit.
Hello, is this Sye Insurance?
This is Sara Walden.
I was knocked down two days ago.
A car, a young lady, she
was carrying your insurance.
Mary Kane.
- Just a moment, please.
- What do you think is wrong?
- I am very sorry, Senora, but
we have no Mary Kane listed.
- But that's impossible, really.
Listen, a Dr. Langer went
to your office yesterday.
The x-rays of my
leg for verification
and a declaration signed
by the other Senora.
But he telephoned
you in front of,
he telephoned you
in front of me.
Thank you.
(waves crashing)
- You want a couple more
minutes to say a prayer, Teddy?
- I swear to you, George,
if I really knew where
I put that heroin,
It'd be here now but
I can't remember.
- Then I've got to kill you.
Back up.
Go on.
(waves crashing)
- Come on then,
kill me, go ahead.
You need help to
pull the trigger?
- Just get up on the wall.
By killing you, Ted, it's
myself that I am killing.
But before they bury me,
I'm gonna kill your wife.
(gunshot booms)
(grunting)
(thudding)
(George screams)
(water splashes)
(waves crashing)
(fist thuds)
- It's tough.
- Why not get a
doctor to get it off?
- Because Luca, I don't want
anyone else touching it.
I may be wrong but
then I may not be.
Damn.
- What's the matter?
- Nothing Luca, nothing.
(door creaks)
- Rest well, Ted.
- But who are you?
- I'm a mutual friend.
Now that you've killed George,
we can go to New York together.
I have the stuff and
you have the name
of the buyer, so we can
split 50-50 as agreed.
- All right, all right but
in that case, let me loose.
- Patience Ted, patience.
You've just killed a man
and you say you've
lost your memory.
I don't want to run any risks.
- That doesn't mean a
thing, nobody saw me.
Besides, it was
self-defense and as for
remembering, I'll
remember if I have to.
- You always were a
clever son of a bitch.
So tell me if you can
remember, who am I?
Tell me my name
and I'll untie you.
- Your name is that of a killer.
Isn't that right?
- That's right but
you don't know it.
So I'll come back
later and we'll
see how your memory
is doing then.
(Sara and Luca grunting)
(boat engine rumbling)
(tense ensemble music)
- You cut yourself.
- It's nothing, Luca.
- I'll fix it.
Where's the alcohol?
- In the kitchen I think,
the right-hand cupboard.
(fan creaking)
(ominous violin, trumpet music)
(anxious chiming tones)
- How do you plan to
get the stuff out?
- Your suggestion yesterday
was perfect and then
Sara can bring it
over via Italy.
- My leg wasn't ever broken.
(ominous violin music)
- What's that?
(tense guitar music)
(fan crashes)
- The base
of this clock is a
perfect hiding place.
The base of this clock is
a perfect hiding place.
Don't worry, I'll
make the pickup when
she arrives in Italy.
- And what happens if she
doesn't want to do it?
- That's another
very stupid question,
where a million is concerned.
(doorbell rings)
- Who is it?
- Reinhardt.
- Help me clean this up, Luca.
(Luca blowing)
Here, take this home and
hide it in one of your toys
and don't say anything
to anyone, understand?
- I won't, Sara.
- Sara, you all right?
(doorbell rings)
- Yes.
I won't be a minute.
- I'm getting cold out here.
Sara.
- Luca's coming right
away, he'll let you in.
Let Reinhardt in and
then go home, all right?
- I'll leave it open
so I can get in again.
- Ah, so you lock yourself in
with Sara when I'm not around.
- That's my business.
Ciao.
- Ciao, Luca.
Hello there, you
feeling better today?
- Much better, it
doesn't hurt at all now.
- Ha.
That's good.
Did you have your injections?
- Yes, I must say it made a
world of difference, Reinhardt.
- Fine.
You're a bit nervous today?
Where's Ted, upstairs?
- No, he's not here,
he had an appointment.
- Do you mind if I get
something to drink?
- No, please do.
It's been a tough morning
at the clinic and I need it.
- What about you?
Can I get you something?
Sara?
Sara?
Can I pour you a drink?
- Yes, thanks, a Port.
(sawing)
- It's a nice looking album.
- It's Luca's but maybe
you shouldn't look at it.
You should wait for Luca
to show you, Reinhardt.
You know how children
are about their things.
- Ah, he won't mind
if I look at it.
- Well as long as I don't tell
him, it won't matter I guess.
There is-
(clock chiming)
- A lot out of focus.
- Tell me the truth,
come on Sara, hmm?
(sawing)
(door banging)
(metallic clattering)
- I'm not sure I
really know anything.
I get the impression
that you do though.
So why don't you tell me?
- Let me ask you
something first.
Would you mind if I came
to New York with you?
I mean with you and Ted,
I'd love to take a vacation.
(engine rumbles)
(brakes screeching)
Where the hell's my glass?
- Over there.
- Ah.
There it is.
Chin chin.
All right, where'd you put it?
I'm sorry about this.
Don't make me ask again.
(ominous ensemble tones)
Tell me where the stuff is.
Or there's no alternative, Sara.
I hate to use violence
but if I have to-
- Do you have a deal with Ted?
- That's right.
Him and that girlfriend
of yours in New York.
- Peggy?
Peggy Cole.
It can't be true.
- Peggy, Peggy Cole.
Ah, I couldn't
remember her name.
(car engine roaring)
Where is it?
Ted's meeting me soon,
come on, tell me.
No, you're lying, Ted
wouldn't make a deal with you.
- Yes he did.
- You're lying,
I know you are.
- Don't make me do it, Sara.
I will if I have to, believe me.
- Sara.
- Hey.
Next time before you come
in, try knocking, eh?
- Is this all right?
- Yes, that's perfect.
Just put it down and run along.
Go on Luca, I'm
discussing something
that's rather private, so run
along now like a good boy.
- Don't be upset, Luca.
We're talking about
something that
really isn't for little
boys to listen to.
We're talking about marriage.
Hmm?
- All right, I'll tell
you where it is, damn you.
It's hidden in that truck.
(Sara weeps)
- Who were you going to call?
- I was going to
call the police!
The police, you bastard!
(Reinhardt coughs)
(tense blaring tones)
(Sara screams)
- I've got to do it
Sara, you understand me?
I can't afford to
leave a witness around.
(Sara screams)
(door thudding)
(anxious warbling
electronic music)
(chainsaw revving)
(chainsaw buzzing)
(car horns blaring)
(whistles blaring)
- Will you maniacs calm down?
Hey, where are you off to?
- Move back, move back, come on.
Come on, be a little patient
or you'll never get out of this.
Come on, come on,
move along, come on.
(whistle blaring)
(brakes screeching)
(car horns blaring)
- Hey, don't leave it there!
(chainsaw buzzing)
- I have to.
- Reinhardt.
What the hell's happening?
Have you gone completely crazy?
You kill her here,
then the police will
have us before we can get
even halfway to the airport.
- So you got your memory back.
But now,
well everything's
more complicated, Ted.
- Why, because she found it?
I guarantee you she won't
say a word, Reinhardt.
Come on Sara, up you get.
Don't sulk.
We'll plaster up your leg
again and be on our way.
To Milan and then to New York,
the three of us, all right?
Don't be like that, Sara, Sara.
(Reinhardt grunts)
(thudding)
(bottle shatters)
- I should have learned
never to trust you.
(Reinhardt screams)
(chainsaw buzzing)
- My past came back but
it's gone for good now.
(relaxed violin, piano music)
- My husband had
nothing to do with this.
He's innocent.
I'd be dead if he
hadn't got here.
Reinhardt tried to kill me.
I found out he'd hidden
drugs in the cast
he put on my leg
the other day and-
- That's true about
the drugs, I saw them.
- No, there's much more to
the story than that, Sergeant
and I think we'd better
have a long talk.
(relaxed ensemble violin music)
(singing in foreign language)
(woman singing in
foreign language)
- Look Peter, I told you.
Trying to force your
memory hour after hour
for weeks on end isn't
going to get you anywhere.
- I can't just sit around
waiting for it to happen.
Everyone that I meet,
everywhere I go,
every shop, every street, I
wonder, do I know this place?
I think, could this
man know who I am?
- You mustn't ask yourself
these questions,
forget about them.
- I can't forget them.
It's like eight months ago
I was born in that clinic,
the one where I woke up.
It's depressing.
- The human mind is a
mysterious organ, Peter
and you've got to relax
it, don't torture it.
You shouldn't try to
force it into revealing
the past to you and
in a few months or so,
you'll get total recall again.
- Sure, easier said than done.
I get up every morning
and I go to work
and I eat and I sleep
but who am I, doc?
Who, who, who?
The man who had a
bad car accident?
There must be something else.
Don't I have at least a few
friends, a family, somebody?
- Of course you have, Peter.
(siren blaring)
- Hi, doc.
Ted.
- Am I supposed to
know this man, Doctor?
- Well you should, yes.
- How do you do?
- Well it's me, Philip.
Don't you remember me?
- Before we talk of other
things, who the hell am I?
(fist thuds)
(Peter groans)
- I'll tell you who you are.
You're a dirty son
of a double-crosser.
A two-bit con artist who thinks
he can pretend that
he's lost his memory.
Well I'll get it back for you.
- No, hold it, hold on.
- Ah.
Got it back already, have you?
- No.
You may not believe
me but it's the truth.
Look, tell me everything from
the beginning, it might help.
- I don't believe you
but we'll do it your way.
- You say my name is Ted
but I've got a passport that
says my name is Peter Smith.
- So you even had yourself
a passport forged, did you?
Where were you planning to go?
- Philip, I woke up over
eight months ago in a clinic
and before that, before
that, the past is a mystery.
- All right, buddy.
Your name is Ted Walden and
you were born 30 years ago
here in jolly old England
at Brockhurst in Kent.
You lived here on the
continent and in New York.
You got married two
years ago to an American.
- Married?
You sure about that?
- Yeah.
- Where's my wife then?
- In Portofino, Italy,
where you left her.
Now then buddy boy,
you tell me where the-
(glass shatters)
(anxious flute music)
(doorbell buzzing)
- Coming.
- Telegram for you, sir.
- Thank you.
(mysterious ensemble music)
What the bloody hell's going on?
So I've got a wife called Sara
and a dead man on
my hands, Jesus.
- Mr. Smith.
There's a letter for you, sir.
- Thank you.
- Pleasure, sir.
(anxious flute, piano music)
(gunshot booms)
(water splashing)
(spectators shouting)
- Hey Sara, I won!
Did you see? I won the race!
- I'm the winner.
- No, you're not.
I saw what you did,
you should be ashamed.
You were disqualified.
- But he should have done
the breast stroke and
he was doing the crawl.
- That does not justify pushing
him under the way you did.
It's disgraceful.
- Well, he should have
done the breast stroke.
- Two wrongs don't make a right.
- He did it wrong.
- It doesn't make
any difference,
now, go and get changed.
- You do not order me
around, I'm not your son.
In fact, I am your fiance.
Wait for me outside
and I'll take you home
and next time, make sure
everyone does the breast stroke.
(relaxed guitar music)
You watch, today he won't come.
- What do you bet he will come?
Cinque.
Quattro.
Tre.
Due.
Uno.
- Sorry, late again.
- We could have done
all right without you.
- Don't start that
business again.
- Climb aboard,
Portofino next stop.
- Thanks.
Did you have a
lot of work today?
- Not really.
- Liar.
- Bone crunchers only work
in winter when there
are skiers around.
- Wish you were right, Othello.
- Luca, Luca!
I've already told you, you
mustn't call me Othello.
You always do, I am sick of it!
- He's only joking darling,
now get in the car.
- No, I'll take a
bus, I prefer it.
- Hey come on, get in.
Hurry up or you'll
get left behind.
(relaxed ensemble violin music)
You know Luca, I appreciate you
letting me give your
girl a ride home.
- She's not my girl but
she's not yours either.
- Oh Luca, you little rascal.
- Around the rugged rug-
- The ragged rascal ran.
- So one has to be rude to get
a kiss from you, Sara, huh?
- No, you have to
be 10 years old.
- How about a song, Luca?
(singing in foreign language)
(car horns blaring)
- Thank you for
the ride home, sir.
You really are an angel.
- So have I earned a drink?
Angels are incorrigible
drunks, you know.
- You meant teetotalee.
- The word is
teetotaler, professor.
(moaning)
(camera clicks)
See you tomorrow, Luca.
- I know when I'm not wanted.
- I think you'd
better gone home too.
- Why?
- Well, I've got some things
to do around the house.
- I've heard that one before.
All right, tomorrow at
10:00 but don't be late.
I have some bone crunching to
do, as your fiance calls it.
- At 10:00 then.
You're not jealous
of Luca, I hope.
- Do I have the right?
- Ciao, Reinhardt.
- Ciao, Sara.
- Sara,
if you're afraid to
be alone in the house,
I could stay with
you for awhile.
- No, I'll be all right, thanks.
You live nextdoor,
so I can scream for help
through the window if I need it.
Goodnight, Luca.
- Nana.
Nana.
- Luca, go and wash, we'll
be eating in a minute.
(Whiskey barking)
- Whiskey.
Oh, sorry baby.
I forgot all about you.
And you wanna go out, hmm?
Come on then.
Five minutes in the garden.
There you go, I'll
leave the door open.
(soft ensemble music)
(door slams)
(Whiskey growls)
(Sara humming)
(Whiskey barking)
Whiskey.
I left the door open for you.
(anxious violin, flute music)
Well, I thought I did.
Come on then.
(Whiskey whimpering)
(tense violin music)
(Whiskey growling)
Whiskey, what are you
doing under there?
What's wrong, huh?
You're behaving
very badly tonight.
You've had supper.
What is it, you
want a drink, hmm?
All right.
We'll go get a drink, hmm?
(soft anxious ensemble music)
(tense sharp violin tones)
(Whiskey whimpering)
(light switch clicks)
(Sara sighs)
(soft ominous chanting)
(soft anxious
guitar, flute music)
(light switch clicking)
Whiskey?
(window rattles)
(soft ominous chanting)
(anxious violin music)
(bell ringing)
(Sara gasps)
(glasses rattling)
(soft anxious ensemble music)
(phone beeping)
(tense guitar tones)
- Did you check all
the house, Senora?
- Yes.
- Nothing's missing,
not a thing.
It's all just thrown
around, nothing was taken.
- Like a month ago.
It seems to me somebody
just likes to mess up
your house for you.
- The only difference is
I wasn't in last time.
- But you admit, you left
the door open, Senora.
- Right, but I do that often.
- The strange thing about it,
he's obviously not a thief.
- So what do you call someone
who sneaks in, attacks me,
kicks the dog and destroys
the house, a gentlemen?
- No, not at all, my dear.
I'll have the house
watched for awhile.
(gate creaks)
(camera clicking)
(chainsaw buzzing)
- Vittorio, when you finish,
put the saw on the cupboard.
Don't leave it on the table.
- Very good, Senora.
Oh dear, sorry.
- Excuse me.
- Buongiorno.
- Buongiorno.
- Good morning.
- Ciao.
- How are you?
- Fine, only I sure
I hate this weather.
I've never known
such a rainy May.
- Would you like a coffee?
- Love one.
- How about seeing
a film tonight?
- That's a good
idea, what's showing?
- I don't know, we
can find something.
We can go to Genoa if necessary.
- All right.
- A telegram for you, Senora.
- For me?
- Here, I'll take it.
- Thank you.
(soft anxious guitar music)
- Is it bad news, Sara?
- No.
It's from my husband.
It's a bit surprising,
that's all.
- Oh, what does he say?
- He's coming back
here to join me.
He's been away nearly a year.
Disappeared in London.
And now this.
"Arriving today at 3:30,
meet train if you can, Ted."
- You want to be
there, I suppose.
(train rattling)
(train horn blares)
- I feel confused, Reinhardt.
I'm angry at him as well but
I still want to see
him and talk to him.
- You once said you hoped
you'd never see him again.
- Yes I know, you're right.
Only you know how a woman
reacts when a man's left her.
And I realize I want to see him.
Reinhardt, I'd rather be
alone for this, do you mind?
- Yeah.
It'd be better.
(both chuckling)
- Ciao.
- I get the very
distinct impression
that you're still
in love with him.
(train brakes squeaking)
(mysterious ensemble
guitar music)
- Your wife's still standing
at the top of the stairs.
(relaxed violin tones)
- Sara?
- I can't believe it, you simply
looked straight through me.
- I can explain, Sara.
- I might as well
be a total stranger.
- Please listen.
I have amnesia.
- I don't want to hear it.
- I had a car accident.
- Is this some
kind of an excuse?
- Really, I've been
ill for months.
I can explain, can we
go somewhere quiet?
- We'll go to my house.
You said a car accident?
- That's right.
It's nice to find I have
such a beautiful wife.
(Sara chuckles nervously)
And that's how they found me
in the wreckage of the car.
It was rented in the name
of Peter Smith, my name.
At least that's what it
says in the passport.
The police did a lot of research
but they couldn't
come up with anything.
Peter Smith,
stateless, no parents,
no friends and that's
all I really know.
- Well to start with,
your name's Edward Walden,
Ted to your friends.
We met in New York a year and
a half ago at the Guggenheim
and we both fell for each
other, love at first sight.
Mean anything?
- No.
- A week after we met,
we flew out to London
and got married there.
But in London,
we didn't see very
much of each other.
I spent all day
alone in the hotel
while you were off
somewhere working.
- What kind of work was I doing?
- I don't know, you never told
me about what you were doing.
It was secret.
I only know, well you appeared
to have a lot of
interest in antiques.
- Nothing more?
- Nothing more.
A month later, I came
here to Portofino,
knowing that within a
week or so, you'd join me.
We'd arranged with Peggy Cole
to rent your house
for a couple of years.
Ted, you knew Peggy.
She's an old friend
of mine, remember?
You met her in London.
You just disappeared then.
Flew into the sunset.
I never heard any more of you.
- But who am I and what am I?
- A dirty rotten bastard.
- Well, everyone seems
to agree on that.
(phone ringing)
(speaking foreign language)
- Ciao, Reinhardt.
Yes, fine, thanks.
Yes.
All right.
Goodnight.
Yes and thanks, Reinhardt.
Don't worry about him.
He's just a friend.
I teach swimming now and he's
a doctor at the sports center.
- Quite a few people have called
me a dirty rotten bastard.
Is that how I was in this photo?
- No, but that was taken only
three days after our marriage.
- Then why did you leave it out?
- Loneliness is no fun.
- Are you telling me?
You knew where I was.
Why did you take so long before
sending me this telegram?
- What telegram?
It wasn't me who sent you this.
- I should get away from
here then immediately.
- Why?
- Because this means
they've arranged our meeting
and whoever they
are, they're killers.
So you see, it's really safer
for both of us to
separate again.
- No, stay here.
I'd be frightened alone.
There's a spare room upstairs
where you could sleep,
Ted and you're welcome to
use that at least until-
- Until?
Maybe I never will
get better again.
You know what my doctor said?
That it's me who doesn't
want to remember anything.
Of course I've tried
but it's useless,
Sara and the more I
try, the worse it gets.
Or at least no better.
The doctor says I'm scared,
scared of what I'd remember.
(clock chiming)
(anxious ensemble flute music)
- You remember something,
Ted, what is it?
Does it have to
do with the clock?
- I don't know.
Could be.
I had an impression of something
but then the image just faded.
- You bought it for me in
London as a wedding gift.
It was so expensive and I
thought you were totally crazy
but you insisted on getting it.
You said that it was a
symbol of good fortune.
That it would keep our
love secure for always.
- I guess I was wrong.
- I'm not so sure.
We might try
beginning at the top.
- Really, is that what you want?
All right.
As from tomorrow, I begin
courting you and I'll sweep
you off your feet again like
I did in New York, all right?
Do you want a drink?
- Yes, give me some Port.
- Port, huh?
I should have known
what to give you, right?
- No.
Up until the time you
disappeared, I never drank.
Then the loneliness got to me
and I began to drink a little
Port every now and then.
- Here.
- Ted, listen.
I truly, truly want to, well,
believe your story.
- But
I'm a dirty rotten bastard
and I might be pretending
I've lost my memory.
Is that why you want
me to stay here?
To keep an eye on me, to
find out if I'm lying?
- My god, no, no.
I asked you to stay here because
I really want us to, well,
oh, you shouldn't have
to ask such questions.
(soft violin, piano music)
This is Whiskey and
he's my best friend.
(Whiskey barks)
- Hey fella, you've
put on a bit of weight.
All right, off you go.
The trouble is they
eat too much pasta.
- The trouble is
that I love pasta.
- Well take care.
Once it's on, it's very
difficult to take it off.
(water splashing)
- Haven't you two
met each other yet?
- Daniele.
- Nice to meet you.
Sara's talked a lot about you.
- Nothing bad, I hope.
- Be careful,
you'll catch cold.
- You came down from London?
- That's right, I-
- I know,
you arrived on the train
yesterday afternoon, right?
- That's right,
yes, who are you?
- You mean Sara hasn't
talked about me? I'm Luca.
- Oh now Sara, you didn't
tell me about Luca.
- Can I take Whiskey for a walk?
- Yes, he'd like that but
don't let him run
too much, will you?
Well now.
- Hey, aren't you
gonna get dressed?
- Yes, of course.
I won't take a minute.
(anxious ensemble music)
- Tell my wife I'll
wait for her outside.
(bird wings fluttering)
(fist thuds)
- Still the same
old violent Ted.
- Why are you following me?
- Still playing that game, huh?
I'm George.
- You can stick your
hand in your pocket
until you've
answered my question.
- We were real
good buddies once,
before you went and
lost your memory.
- That's the point,
it's the truth, George.
That's why I've got
to ask questions.
Was it you who arranged
for me to come here?
- I guess you could say that.
Look Ted, quit playing
the amnesia act.
It'll go better for both
of us if we make a deal.
- You've given me
half an answer.
Try not to be so vague about it.
- Look Ted, Philip didn't go
for this story of your amnesia.
He believed you were just a
bastard trying to screw us.
- And what do you think?
- I'm inclined to believe
you're a bastard who,
having already screwed
us, bashed his head
and can no longer remember
how it was he screwed us.
But Philip didn't agree.
- And you murdered
the man for this?
- I was saving your life, buddy.
- Thanks a million.
It's beginning to make sense.
- He could have killed you.
- You're saying-
- After he got the information.
- I was once a
part of your group.
- Yeah, you sure were.
You were the key to
the whole operation
and we ain't gonna let
you get away with it.
- Get away with what?
- $1 million, Ted.
And it's up to me to collect
it or I'm a dead duck.
- Listen, if you're
telling the truth,
then I want to know all of
it, details, everything.
The whole story.
- It is the truth and I'll
tell you the whole story soon.
Oh look, you better have this.
I'd burn the other
one if I were you.
Peter Smith left a
corpse in London.
- Ah, so it was you who
sent me that false passport?
- Oh no, you had that one
made to double-cross us.
- Ted.
Ted.
- Run along, see if your
lovely wife can help.
- I'll kill you if you even
try to bring Sara into this.
- Well, that's a good start.
You're getting back
into character again.
- Ted, what happened?
I've been waiting a
quarter of an hour.
- I'm sorry, darling.
- Where were you?
- I went for a
walk and got lost.
(waves crashing)
(camera snaps)
- Whiskey?
Whiskey?
Whiskey?
Whiskey?
Whiskey?
(relaxed violin music)
(woman singing in
foreign language)
Whiskey!
Whiskey, where are you?
(relaxed ensemble music)
- This is the most beautiful
place in the world.
- We talked about it
all the time in
London, remember?
No, of course you don't.
- Even more beautiful is
that we're here together.
Well, it wouldn't
matter where we were.
What's important
is being with you.
- Being together again is a
completely new experience.
It's difficult to explain but
well, your face is the
face of the man I loved.
You have his body, his
hands but it's only
a shell that cover someone
I don't really know,
a new personality.
- Do you like him?
- Let's say I don't dislike him.
(relaxed violin music)
No, not yet, Ted.
- I'm sorry, that
was stupid of me.
I forgot that you
probably have a romantic
attachment here and I
guess it's natural enough.
- Who are you thinking
of, Reinhardt?
Well it's nearly a year that you
haven't shown the
slightest concern for me.
- That's a bit unfair of you.
- There's no one else, Ted.
No one to worry about.
I admit I've gone around
with Reinhardt for months.
But he's a friend, that's all.
A good friend and I needed him.
- I'm glad that you
haven't been alone.
But maybe now that I'm here,
you won't need
anybody else but me.
- I want you to get well,
to start remembering again.
But I want you to
stay as you are,
as the person you are now.
- You have got to admit-
- Whiskey!
- Plays a very good game.
- Whiskey!
- And sometimes brilliant.
- Si, but he is a prima donna.
- So what?
He may be a prima donna
but he scores and
that's the main thing.
Hey Luca, where are you off to?
- I've lost Whiskey.
- Well, don't worry.
Maybe he went home by himself.
- I know but he may have
been run over by a car.
- Hey calm down Luca,
it was just an idea.
- Based on what evidence?
- Very smart.
All right Luca, let's
go look for him.
(anxious violin, flute music)
(relaxed drumbeat)
(soft guitar, violin music)
(Sara screams)
(tense violin tones)
- Sara, what is it?
- Oh Ted.
They killed Whiskey.
(tense ensemble tones)
(coughing)
(anxious guitar, piano music)
- I can't.
- My God, Ted, why
would anyone want
to murder a little
animal like Whiskey?
- I don't know
what came over me.
I expect it was all that blood.
- I don't think it was that.
What was it you
remembered, what was it?
- Nothing, I got a cramp.
I react to blood that way.
- If you don't trust me, we
shouldn't be together, Ted.
- I think I saw a killing.
- What do you mean a killing?
- I got this image
that I was watching a
man's throat being cut.
- Sara.
Sara.
- May I come in?
Senora, Luca is worried,
Whisky disappeared.
- Somebody killed him, Sergeant.
- Where is he?
- He's upstairs in the bed.
No Luca, you stay down here.
- He ran away.
It wasn't my fault.
- Don't worry.
My husband, Sergeant.
- How do you do?
- Pleasure.
- You're not to worry about it.
It wasn't your fault, Luca.
A crazy person did it.
- Call me if I can help
at all, won't you Sara?
- You're already being a help,
Luca, just by being
a good friend.
- All I can tell you
Senora is that they cut
his throat with a
very sharp instrument.
Most probably a razor.
It has to be the work of a
sadist or a madman I think.
No one in their right mind
would do a thing like that.
Do you want me to
dispose of the body?
- No.
I'd rather bury
him in the garden.
Poor Whiskey.
He was such a sweet dog.
Always trusting and friendly.
- They're getting
at me through you.
That's why they killed him.
I warned him not to do it.
Well now the bastard will pay.
(anxious violin tones)
- Ted.
Ted.
- Stay in the house.
(singing in foreign language)
- Ted.
Hello, sweetheart.
- Who the hell are you?
(door creaks)
(door slams)
- Take it easy, baby doll.
I'm a friend of your husband's.
- Get out or I'll start
screaming, I mean it.
- Why?
I just came by to visit
for awhile, that's all.
You see, I want to help Ted.
- Why?
- Well, it's like this.
If he doesn't get any help,
then he'll be dead one
week from this evening.
He and I together and if
you're gonna be killed,
a week becomes the
equivalent of half a minute.
- What do you mean?
Somebody's gonna kill Ted?
- Ah, no, no, no, no
yelling or poof, I'll go.
- No, don't go, please,
I won't yell again.
Tell me about it, will you?
- Fair enough, Ted
has to pay off a debt
directly to me
and if he doesn't pay me,
then I can't pay the others.
These others have
been very patient
and waited eight months already
and now they've run
out of patience.
- You want money.
You should have said so earlier.
How much does he owe you?
- A million dollars.
(Sara scoffs)
- Now how on earth could Ted
ever come up with
a million dollars?
- Here in his head.
It's all in his head.
Now he says he can't remember.
Whether it's true or not
isn't important at all.
What is important
is that he gives me the
cash or the merchandise
or tells me where he's
hidden it at least.
- His memories are
blank, it's true.
He really is very ill.
He didn't recognize me
even when he came here.
- Well if he's ill, he's got
seven days to get better again.
I wanted to tell you
exactly how things were
in the hope that you can help
him to get back to normal.
Help him to remember
what he's forgotten,
help him stay alive.
Because I warn you Sara,
before they kill me,
I'll cut his throat
and yours.
- The same as my dog.
- Don't tag me with
that one, honey.
I don't kill dogs, my hassle
is with two-legged animals.
- Our mutual friend
says there's at least
one thing you should
remember, New York.
- New York?
- Mm hmm.
- Ah yes, it's in
America, isn't it?
- Two names and
address in New York.
- I just can't remember.
- You've got to try, please.
- Who's this mutual friend?
- If I end up telling you
everything, what's the point?
- Nothing I guess,
but who knows?
It might be helpful to
have a few of the answers.
- My job is just to
give you a message.
Think about New York.
(gate creaks)
- I saw this man I know
but I never did find him.
- Why have you been so long?
- I chased him as
far as the court
and he disappeared,
so I searched around.
- Who was it?
- The fellow who
got me over here.
The one who was at the station.
The one who says
his name's George.
- What does he want from you?
- Beyond me.
Something to do with
my past probably.
- Why don't we go
away from here?
- To New York, for example?
- Yes, or London.
Any city with a few
million people to hide in.
(relaxed violin, piano music)
- No.
No, please Ted, I can't.
(relaxed ensemble guitar music)
(thunder booming)
(tense screeching tones)
(ominous chanting)
(door rattles)
(door squeaks)
(ominous chanting)
(glass shatters)
(anxious violin, flute music)
(thunder booming)
(tense screeching violin tones)
(glass shatters)
(Sara screams)
(wind howling)
(door slams)
(tense violin tones)
(Sara screams)
- Sara.
Sara.
- Oh, Ted.
- What's wrong?
- Ted.
- What's the matter?
- Someone was in here.
- What is it?
It's all right now, I'm here.
(ominous ensemble tones)
- Was it really
necessary to kill him?
- That's a silly question
where a million
dollars is involved.
- You had the right idea, Sara.
We've got to get out of here.
(door slams)
- Yes, good.
Try the Saldano now.
- When are you leaving?
- A couple of days.
- Why go with him?
- Ted has to leave and a woman
goes where her
husband goes, Luca.
- Bullshit.
- Hey now, let's try to
be a little pleasant, huh?
- What language, Luca.
Have you made any plans for
tomorrow in the afternoon?
- Nothing in particular,
have you Sara?
I'll go to the pool.
That way I can say
goodbye to everyone.
- Excuse me sir, there is a man
at the bar who wishes
to speak with you.
- I'll be back in
a second, I hope.
- I don't understand, he said
he was going to wait here.
- Who, the Senor
dressed in blue?
- Si.
- He went into the toilet.
- Thank you.
- My pleasure.
- You're welcome.
- What happened
to bring this up?
- Ted has to leave, that's all.
- For how long?
- I don't know.
(soft piano music)
- You should understand by now.
She's in love with
her husband, no?
- You stay out of this.
- I just thought maybe
you didn't understand.
- Where are you going?
- To America, probably New
York but we haven't decided.
- Let's quit kidding around.
The stuff,
where is it, buddy?
- What stuff?
- I don't want to hear any
more of your smart wise cracks
or I'll put a slug
in your amnesia.
My patience is stretched
as far as it'll go.
If you'd left the stuff
hidden anywhere in London,
you wouldn't have come
here, not even if you'd
received a telegram from the
President of the Republic.
- Right.
- So that means the stuff's here
and to bring it over here,
there's only one person
you would have trusted it
with, only one, your wife, Ted.
Now who gets it first,
your wife or you, buddy?
- Let's recap a minute.
You say I've hidden this
stuff worth a million dollars.
Exactly what is it, George?
- A string of sausages
full of pure heroin.
15 pounds of hard merchandise
that'll fetch us at least
a million in New York.
- That much, huh?
- So what happened?
- Oh, Senor Gomez,
they couldn't make a decision
but I guess I'll work out.
Morning.
- Morning.
- Can't you influence them?
- Influence that batch?
Not a hope and besides, it's
not that important to me.
So why should I waste my time?
- This is terrible news, Sara.
- It was a very sudden decision.
It was quite a shock
even for me, I'm sorry.
- Such a pity.
You got on so well with the
children, they all love you.
- Please, would you say
goodbye to them for me?
I hate partings.
- Sara.
- Reinhardt, hi.
- I came by as usual
to pick you up.
It could be the last
time, who knows?
- I'll be ready in a minute.
- It's fine.
- Was I very long?
- Ah.
No time at all.
The Guinness Book of
Records may even accept it.
I parked in the piazza.
Listen, I don't want to
lose contact with you.
Will you send me your
address in America?
- Sure, as soon as we're
through moving around.
- Darn it, have you got
any cigarettes with you?
- No, I hardly ever carry them.
- Why don't you
check in your bag?
Maybe we'll be lucky.
- I know I don't.
- I'll have to go get some,
do you mind waiting while I-
(Sara screams)
- Sara!
- God.
Don't move Sara, just lie still.
- My god.
- What the hell were you doing?
- I check the mirror-
- Don't touch her.
- Before I backed up
and I didn't see anyone.
- What do you mean
you didn't see anyone?
- I am so sorry.
- We're not invisible.
- Do you want me
to call a doctor?
- No, no, don't
worry, I'm a doctor.
Just help me up with her.
Give us a hand, will you?
- I'm so sorry.
If there's anything I can do.
If you want to use my car.
- Let me see your insurance.
You all right, Sarah?
- Yes.
- Open the door, please.
- Of course.
- But it's pretty
painful, I must admit.
- There you go.
All right, come on.
- Slowly.
- In you go.
- There we are.
- Thank you.
- Sit down first, there.
- And here Senora.
Here we are.
- Thank you very much.
- Well?
- Here my insurance details.
I'm sorry about all this.
- We'd better put
in a full report.
Now move your car, please.
Clean break of the tibia,
dislocated kneecap.
Well, it could have
been worse, much worse.
- Right, then on the other
hand, it could have been better.
- Oh, well it depends
on how you look at it.
I feel we're lucky,
I've seen the most
terrible fractures
caused by a simple fall.
- The main thing now is when
are we gonna be able to
think about traveling?
- Oh, I think if you give
the cast a couple of days to
harden and of course take it
easy, you'll be able to leave.
- Two more days.
- Crutches and all.
- And that American girl,
the one who was driving,
what do we do about her?
- Ah yes, well I've got all
the insurance details and
I've got friends in the business
who will take care of it.
You won't even have
to talk to her.
- I just can't imagine what
we'd have done without
you, Reinhardt.
- You would find
another bone cruncher
to plaster your leg.
- Hey, let's have a little
respect around here, young man.
You want some more, darling?
- No thank you,
it's already gone to my head.
- Well go on.
- I'd be drunk.
- You're not going anywhere.
You can get as
drunk as you like.
- Hello, Sye Insurance,
the manager, please.
- Nice shots.
- Is that what they lean to?
- Sure, it's a leg.
- No, those are
just painkillers.
Not more than three
a day, all right?
The other things are vitamins
and calcium to
help the bone heal.
- Let's hope we can
get the same bottles
in the States.
- I'll give you a ring soon.
- Can I come with you?
- Yes, sure Luca, a chemist
isn't too interesting.
- What's a chemist?
- A pharmacist.
(classical violin music)
(door rattles)
- Ted?
You didn't take any money
along, did you I bet?
- You bet wrong.
- Ted isn't here right now.
- Oh, I know.
That's a beauty, ain't it?
Tough luck, just when the two
of you were planning to run off.
If you'd made it,
you might've lived a
little longer I guess.
Now you're right back where
you were with five days left.
Just five short,
five short days spent
sitting right here.
- Look, my husband's never
stolen anything from anyone.
He's just a victim, a victim
of this whole rotten affair.
Don't you realize he'd tell you
what you want to
know if he could?
- He'll get around to it.
- Be careful.
No please, what are
you doing? You're mad.
- He better in the next five
days because if he doesn't,
as I told you, I'll
cut both your throats.
- Stop it.
No more, please.
- What I want looks like
a big string of sausages.
- Don't.
- A big string of
white sausages.
- No please, oh God, no more.
No more.
- When I said I'm gonna kill
you in five days, I meant it.
This is just the beginning.
I want you to die.
- Go away.
- Little by little.
- Please.
Please.
No more.
No more.
- Enjoyable little
game, isn't it?
I saw it in a film
once, very effective.
Oh,
tell Ted I want to
see him tomorrow
at that villa across the
bay at noon with the stuff.
(Sara weeps)
(classical violin music)
- Yeah, in rugby, you
pass it like this.
So now you know.
See you tomorrow, Luca and
thanks for the company.
- Goodnight, Ted.
Are you gonna make
dinner this evening?
- Well, I suppose
I'll have to, ciao.
- Ciao.
(Luca gasps)
You scared me for a second.
Nana.
- Sara.
- Ted.
- What's wrong?
- He was here again.
- Who was here again?
- The one who says
his name is George.
He was here the other day.
- What do you mean
he was here before?
Why didn't you tell me?
- I don't know Ted, I
don't know why I didn't.
He wanted to talk
to see if I could
find out anything, to
ask your questions.
He was quite nice that day.
Then he came back today because
he heard we were leaving.
Tomorrow he wants you to come
to the abandoned old
villa across the bay,
to be there at noon and
to bring along the stuff.
- How can I?
- Even if you can,
you mustn't go.
He'll kill you, I know
he will, he's mad, Ted.
Apart from that, the villa
can be reached only
by the one road.
So he'll be able to see you long
before you get
there to ambush you.
- Come off it, Sara,
I'll be all right.
I may have lost my memory
but I'm not stupid, darling
and I'm not as scared of George
as he is of me, you know?
It's just a bluff,
it's a put-on.
Look, if he's
convinced I know where
the stuff is, he won't
kill me, you know?
What would be the point?
- He'd enjoy it.
Besides, he's already
threatened to kill us
if you don't give him the drugs.
(coughing)
(low anxious piano music)
- How do you plan to
get the stuff out?
- Your suggestion
yesterday was perfect.
- I got all your medicines,
so you should start taking-
- You must remember
where you've hidden it.
I'm sorry but...
- Sorry for what?
I didn't want you to be
involved in this in any way.
You've already been
brought into it
and I'm sorry about that.
It's something I've
got to do alone.
- Just be careful, he's
not fooling around, Ted.
- I know.
(anxious metallic tones)
(anxious ensemble music)
(brakes screech)
(boat engine rumbling)
(anxious ensemble guitar music)
(doorbell rings)
- Who is it?
- It's me, Luca.
- Oh, just a minute,
I'll be right there.
Ciao Luca, how are you?
- I am very fine.
I am sorry I made you get up.
- Oh, don't worry.
It's good exercise
for the rest of me.
Anyway, my leg
doesn't hurt anymore.
- That's good.
- Give me that blanket,
would you Luca?
- Yeah, sure.
Here.
- Thank you.
What's that?
- My photographs.
- Your work, huh?
- Would you like to see?
- Yes, I sure would.
Let's see.
Where are they?
- It's upside down.
- Ah, here we are.
Oh, that's a very pretty one.
I'm really surprised.
You're very good, Luca.
I remember you taking those.
- It's better to make
pictures when people
don't know it.
- But why have you only
got photographs of me?
- Later on, there
are other people.
There's Reinhardt too,
so he can no longer
say I'm always jealous.
And anyway, I don't think you'll
miss your Lothario
when he will go away.
- Oh really, what
makes you think that?
- You'll see this picture,
otherwise I won't say anything.
It's a picture of feminine
girl, a blonde girl.
I'd say she looks American.
(mysterious ensemble tones)
- When did you take this?
- The other day.
Remember, we all ate
lunch in the restaurant?
(anxious violin, guitar music)
- Was it before I
had the accident?
- Yes, while you were
swimming, I took it
and then he went
along to meet you.
- I'm right on time, George.
- I don't agree, Ted,
you're eight months late.
- Put it back.
- Well, where's the stuff?
- I tried to think, George,
but all I get is a blank.
- You're never gonna
get away with it, Ted.
You ain't gonna leave
me in a pile of shit.
I think that crazy story
you told me that you
lost your memory is bull but
even if you weren't lying,
you forgot about one
thing, if I gotta die,
then first of all,
I'm gonna kill you
and that whore of
a wife of yours-
(thudding)
(grunting)
This is where I
give you yours, Ted.
- The thing is he
had to have a reason
for not letting on that
they knew each other.
It's rather strange.
I mean why'd they have
to go through that act
as if they'd never
seen each other?
It shouldn't, but
it worries me a bit.
Hello, is this Sye Insurance?
This is Sara Walden.
I was knocked down two days ago.
A car, a young lady, she
was carrying your insurance.
Mary Kane.
- Just a moment, please.
- What do you think is wrong?
- I am very sorry, Senora, but
we have no Mary Kane listed.
- But that's impossible, really.
Listen, a Dr. Langer went
to your office yesterday.
The x-rays of my
leg for verification
and a declaration signed
by the other Senora.
But he telephoned
you in front of,
he telephoned you
in front of me.
Thank you.
(waves crashing)
- You want a couple more
minutes to say a prayer, Teddy?
- I swear to you, George,
if I really knew where
I put that heroin,
It'd be here now but
I can't remember.
- Then I've got to kill you.
Back up.
Go on.
(waves crashing)
- Come on then,
kill me, go ahead.
You need help to
pull the trigger?
- Just get up on the wall.
By killing you, Ted, it's
myself that I am killing.
But before they bury me,
I'm gonna kill your wife.
(gunshot booms)
(grunting)
(thudding)
(George screams)
(water splashes)
(waves crashing)
(fist thuds)
- It's tough.
- Why not get a
doctor to get it off?
- Because Luca, I don't want
anyone else touching it.
I may be wrong but
then I may not be.
Damn.
- What's the matter?
- Nothing Luca, nothing.
(door creaks)
- Rest well, Ted.
- But who are you?
- I'm a mutual friend.
Now that you've killed George,
we can go to New York together.
I have the stuff and
you have the name
of the buyer, so we can
split 50-50 as agreed.
- All right, all right but
in that case, let me loose.
- Patience Ted, patience.
You've just killed a man
and you say you've
lost your memory.
I don't want to run any risks.
- That doesn't mean a
thing, nobody saw me.
Besides, it was
self-defense and as for
remembering, I'll
remember if I have to.
- You always were a
clever son of a bitch.
So tell me if you can
remember, who am I?
Tell me my name
and I'll untie you.
- Your name is that of a killer.
Isn't that right?
- That's right but
you don't know it.
So I'll come back
later and we'll
see how your memory
is doing then.
(Sara and Luca grunting)
(boat engine rumbling)
(tense ensemble music)
- You cut yourself.
- It's nothing, Luca.
- I'll fix it.
Where's the alcohol?
- In the kitchen I think,
the right-hand cupboard.
(fan creaking)
(ominous violin, trumpet music)
(anxious chiming tones)
- How do you plan to
get the stuff out?
- Your suggestion yesterday
was perfect and then
Sara can bring it
over via Italy.
- My leg wasn't ever broken.
(ominous violin music)
- What's that?
(tense guitar music)
(fan crashes)
- The base
of this clock is a
perfect hiding place.
The base of this clock is
a perfect hiding place.
Don't worry, I'll
make the pickup when
she arrives in Italy.
- And what happens if she
doesn't want to do it?
- That's another
very stupid question,
where a million is concerned.
(doorbell rings)
- Who is it?
- Reinhardt.
- Help me clean this up, Luca.
(Luca blowing)
Here, take this home and
hide it in one of your toys
and don't say anything
to anyone, understand?
- I won't, Sara.
- Sara, you all right?
(doorbell rings)
- Yes.
I won't be a minute.
- I'm getting cold out here.
Sara.
- Luca's coming right
away, he'll let you in.
Let Reinhardt in and
then go home, all right?
- I'll leave it open
so I can get in again.
- Ah, so you lock yourself in
with Sara when I'm not around.
- That's my business.
Ciao.
- Ciao, Luca.
Hello there, you
feeling better today?
- Much better, it
doesn't hurt at all now.
- Ha.
That's good.
Did you have your injections?
- Yes, I must say it made a
world of difference, Reinhardt.
- Fine.
You're a bit nervous today?
Where's Ted, upstairs?
- No, he's not here,
he had an appointment.
- Do you mind if I get
something to drink?
- No, please do.
It's been a tough morning
at the clinic and I need it.
- What about you?
Can I get you something?
Sara?
Sara?
Can I pour you a drink?
- Yes, thanks, a Port.
(sawing)
- It's a nice looking album.
- It's Luca's but maybe
you shouldn't look at it.
You should wait for Luca
to show you, Reinhardt.
You know how children
are about their things.
- Ah, he won't mind
if I look at it.
- Well as long as I don't tell
him, it won't matter I guess.
There is-
(clock chiming)
- A lot out of focus.
- Tell me the truth,
come on Sara, hmm?
(sawing)
(door banging)
(metallic clattering)
- I'm not sure I
really know anything.
I get the impression
that you do though.
So why don't you tell me?
- Let me ask you
something first.
Would you mind if I came
to New York with you?
I mean with you and Ted,
I'd love to take a vacation.
(engine rumbles)
(brakes screeching)
Where the hell's my glass?
- Over there.
- Ah.
There it is.
Chin chin.
All right, where'd you put it?
I'm sorry about this.
Don't make me ask again.
(ominous ensemble tones)
Tell me where the stuff is.
Or there's no alternative, Sara.
I hate to use violence
but if I have to-
- Do you have a deal with Ted?
- That's right.
Him and that girlfriend
of yours in New York.
- Peggy?
Peggy Cole.
It can't be true.
- Peggy, Peggy Cole.
Ah, I couldn't
remember her name.
(car engine roaring)
Where is it?
Ted's meeting me soon,
come on, tell me.
No, you're lying, Ted
wouldn't make a deal with you.
- Yes he did.
- You're lying,
I know you are.
- Don't make me do it, Sara.
I will if I have to, believe me.
- Sara.
- Hey.
Next time before you come
in, try knocking, eh?
- Is this all right?
- Yes, that's perfect.
Just put it down and run along.
Go on Luca, I'm
discussing something
that's rather private, so run
along now like a good boy.
- Don't be upset, Luca.
We're talking about
something that
really isn't for little
boys to listen to.
We're talking about marriage.
Hmm?
- All right, I'll tell
you where it is, damn you.
It's hidden in that truck.
(Sara weeps)
- Who were you going to call?
- I was going to
call the police!
The police, you bastard!
(Reinhardt coughs)
(tense blaring tones)
(Sara screams)
- I've got to do it
Sara, you understand me?
I can't afford to
leave a witness around.
(Sara screams)
(door thudding)
(anxious warbling
electronic music)
(chainsaw revving)
(chainsaw buzzing)
(car horns blaring)
(whistles blaring)
- Will you maniacs calm down?
Hey, where are you off to?
- Move back, move back, come on.
Come on, be a little patient
or you'll never get out of this.
Come on, come on,
move along, come on.
(whistle blaring)
(brakes screeching)
(car horns blaring)
- Hey, don't leave it there!
(chainsaw buzzing)
- I have to.
- Reinhardt.
What the hell's happening?
Have you gone completely crazy?
You kill her here,
then the police will
have us before we can get
even halfway to the airport.
- So you got your memory back.
But now,
well everything's
more complicated, Ted.
- Why, because she found it?
I guarantee you she won't
say a word, Reinhardt.
Come on Sara, up you get.
Don't sulk.
We'll plaster up your leg
again and be on our way.
To Milan and then to New York,
the three of us, all right?
Don't be like that, Sara, Sara.
(Reinhardt grunts)
(thudding)
(bottle shatters)
- I should have learned
never to trust you.
(Reinhardt screams)
(chainsaw buzzing)
- My past came back but
it's gone for good now.
(relaxed violin, piano music)
- My husband had
nothing to do with this.
He's innocent.
I'd be dead if he
hadn't got here.
Reinhardt tried to kill me.
I found out he'd hidden
drugs in the cast
he put on my leg
the other day and-
- That's true about
the drugs, I saw them.
- No, there's much more to
the story than that, Sergeant
and I think we'd better
have a long talk.
(relaxed ensemble violin music)
(singing in foreign language)