- 11 years ago
Category
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Short filmTranscript
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00:01:30How are you doing here?
00:01:31Neil Blair.
00:01:32Neil Blair, 42.
00:01:33Yes.
00:01:34Forty-three.
00:01:35Forty-three.
00:01:36Forty-three.
00:01:37Forty-four.
00:01:38Forty-four.
00:01:39Forty-four.
00:01:40Good night, Neil.
00:01:41Good night.
00:01:42Morning, men.
00:01:44Stage five in ten minutes.
00:01:47Come on.
00:01:49Well, why don't you take it back?
00:02:03Come on.
00:02:04C'mon.
00:02:05Settle down.
00:02:06Quiet!
00:02:07I want you all to pay attention to the director.
00:02:12I'll have a revoice, please.
00:02:14Now, will you all pay attention to the director?
00:02:21Now then, I want you all to listen very, very carefully to what I'm going to say.
00:02:25The scene we're about to shoot takes place in a cafe owned by the mayor of a little village in Austria.
00:02:31The mayor is a pompous political type and he's just made a speech in which he's insulted the honour of the regiment.
00:02:38The regiment gentlemen that you are supposed to represent.
00:02:41Well now, as a sort of retaliation, you force your way into his cafe and smash the place up.
00:02:46Now, is that clear?
00:02:47Yes.
00:02:48Good. And when I say smash, I mean smash.
00:02:52Now, I don't want to take this scene twice.
00:02:54And if you do it properly the first time, well, there won't be anything left to take it with again, will there?
00:02:58But one thing I must impress upon you, this has got to be tough.
00:03:02And when I say tough, I mean tough.
00:03:05Now look, I want six of you chaps as section leaders just to start the ball, really.
00:03:09I'll take you and, yes, you'll do.
00:03:15Here, you, come over here a minute.
00:03:21Well, it isn't young Blair. How are you?
00:03:24I'm all right, sir.
00:03:25Good to see you again.
00:03:27Tell me, are you doing this for Olivia?
00:03:29Yes.
00:03:30Look, I want to talk to you. You go down to my office.
00:03:32I know, but I've just signed on.
00:03:33Never mind what you've signed.
00:03:34Ron.
00:03:35Sir.
00:03:36Show Mr. Blair down to my office.
00:03:37Yes, sir.
00:03:38Yes, and change out of that ruddy, awful uniform.
00:03:41Come this way, please.
00:03:42Right. We'll take four more of you and then we'll have a crack.
00:03:46Right.
00:03:47Come on, stations, please.
00:03:56Good to see you again, Neil.
00:04:01When did you get out?
00:04:02Five months ago.
00:04:03Have you spent your good charity?
00:04:06Yes.
00:04:08Take yourself to a drink.
00:04:14Have you been doing any writing?
00:04:16A little.
00:04:17Sold anything?
00:04:18No.
00:04:23Tell me, would you care for a job?
00:04:27It all depends. As what?
00:04:31Script writer.
00:04:32Three months contract starting tomorrow.
00:04:34You work at a place called Bell Crotchy up in the Dolomites.
00:04:3730 quid a week on all your expenses.
00:04:39Whether you want it or not.
00:04:41What makes you think I can write a script?
00:04:43I don't.
00:04:44Then why?
00:04:45Well, you're not supposed to be writing one.
00:04:46You see, what you're really doing is holding a sort of watching brief for me and keeping an eye on certain people.
00:04:52I'd go myself only I've got to finish this epic first.
00:04:55What makes you think I'm the man for the job?
00:04:56Nobody else.
00:04:57Oh, I see.
00:04:59I know I can trust you and that helps.
00:05:01You're supposed to be a writer so that gives me an excuse for sending you.
00:05:04The rest, it's in the lap of the gods.
00:05:07Well, if you'll risk it, I will.
00:05:08Fine.
00:05:09Watch the drill.
00:05:10Now look, you go to this place Bell Crotchy and snoop around.
00:05:13You live in a little ski hut up in the mountains and I want you to watch everyone who comes there carefully.
00:05:19And keep me posted about everything that goes on.
00:05:21Everything.
00:05:22And look out for her.
00:05:25She used to call herself Carla Rometa but I should think she's changed that by now.
00:05:28All right.
00:05:29What else?
00:05:30Nothing else.
00:05:31Blimey.
00:05:32Is that all I get to go on?
00:05:33Yes.
00:05:34The less you know about this the better.
00:05:35You see, I'm following a lead I picked up when I was in intelligence in Italy.
00:05:38Maybe there's something in it, maybe not.
00:05:40But I'm going to find out.
00:05:41At least you're going to find out for me.
00:05:43All right.
00:05:44When do I start?
00:05:45Tomorrow morning.
00:05:46My secretary will give you all the dope about the plane and everything.
00:05:49And I'm sending a cameraman with you.
00:05:51A chap called Wesson.
00:05:52What on earth for?
00:05:53Apparently he can take a few exteriors while he's there.
00:05:55And in case anyone doubts your story.
00:05:57Does he know about...
00:05:58No, no.
00:05:59As far as he's concerned, you really are a script writer and there's really going to be a film.
00:06:03Well, good luck, old chap.
00:06:08Oh yes, there's one other little thing.
00:06:10This chap Wesson, he's bound to try and talk you into staying at the hotel down below instead of at the hut.
00:06:15If he does, the answer's there.
00:06:23I'm sorry, old boy, but the answer is no.
00:06:36Well, I don't get it.
00:06:37What possible difference can it make to your script if we stay here in comfort in the hotel
00:06:41instead of living in a blinking hut halfway up a perishing isle?
00:06:44Go next?
00:06:45I'll do okay next.
00:06:46Well, I imagine that Engles thinks we can get better stuff up at the hut.
00:06:49All but well for you, of course.
00:06:50You can sit around the fire all day long and kid yourself you're working.
00:06:53I'm the one who's going to go prancing about in the snow like a bloody mountain goat.
00:06:56What's the film about, anyway?
00:06:58Where's the script?
00:06:59I'm supposed to be going to write the script.
00:07:00Well, what's the storyline?
00:07:01There isn't one yet.
00:07:02Well, Engles must be up the pole.
00:07:04You've known him long?
00:07:05Yeah, he used to be my CO.
00:07:07He didn't get shell-shocked or anything like that, did he?
00:07:09Not that I know of.
00:07:10He left us to go into intelligence.
00:07:11He was perfectly all right then.
00:07:12Intelligence, eh?
00:07:13Yes, I knew a fellow in that lark once.
00:07:15Of course, everybody was a spy.
00:07:16Spent thousands of pounds having perfectly innocent people watch.
00:07:20Scusati, signor.
00:07:23Scusati.
00:07:24All is arranged.
00:07:25The rooms at the refugio, they are booked and the passage, you leave in five minutes.
00:07:28One more, please.
00:07:29If the signori wish to stay here, I can arrange.
00:07:31Yes?
00:07:32No.
00:07:33The signori can sleep here and go to the call every day.
00:07:35It's very healthy at the refugio.
00:07:36But it's not like hotel.
00:07:37It's badly managed, too.
00:07:38Well, doesn't the hut belong to the hotel?
00:07:40No, no.
00:07:41We arranged the bookings, that is all.
00:07:42It's not comfortable there.
00:07:43I met Aldo.
00:07:44He's no good.
00:07:45Dirty, lazy.
00:07:46And his wife.
00:07:48Very soon, two, three days, I'll sack them both.
00:07:50I thought you told me it didn't belong to you.
00:07:53Not yet.
00:07:54But in two days' time, there will be an auction here in this very room.
00:07:57I will buy it then for 250,000 lire.
00:07:59Nice trade auction.
00:08:01Formality, signor.
00:08:03We arranged things well here in Valcroce.
00:08:05There will be one bid only, mine.
00:08:07You will see.
00:08:08It is all arranged.
00:08:09Well, I have an auction.
00:08:10That is the government.
00:08:11The government sell it, but they do not know in Rome how it is here in Valcroce.
00:08:14I see you have a nice government, too.
00:08:15Well, how comes the government to own a scheme?
00:08:17Last week, they arrested the man who buy it at the end of the war.
00:08:21We think he's Italian, but now we find it is Stelban.
00:08:24A German Gestapo man who hide it there.
00:08:27He's a dirty dog.
00:08:28Well, I might come down and have a look at that auction.
00:08:30Good that you come.
00:08:31And after we have celebration, eh?
00:08:32When you have seen a Valcroce auction,
00:08:35you have seen something, I tell you.
00:08:37First class, take a look.
00:08:38Scusate, signore.
00:08:39Scusate.
00:08:40L'autobus è arrivato.
00:08:41Gli altri genti hanno già preposto.
00:08:43Non posso aspettare lungo tempo per questi genti qui.
00:08:46Dovete partare immediatamente.
00:08:48Subito, subito, subito.
00:08:49Grazie.
00:08:50Grazie.
00:08:51Grazie.
00:08:52What did you say?
00:08:53Oh, I say the bus is here.
00:08:54Well, I hope you will be very comfortable and refusal.
00:08:57But I know you will not.
00:09:00Right there.
00:09:01Oh, scusami.
00:09:02Scusate.
00:09:03Another formality.
00:09:05Arrivederci, signore.
00:09:07Arrivederci.
00:09:13Arrivederci.
00:09:43Arrivederci.
00:10:14...
00:10:27Come on, get a move on.
00:10:30Come on, get out of the way.
00:10:35What do you think?
00:10:36We're getting out as fast as we can.
00:10:43So many people want to see me face-to-face.
00:10:46Well, here we are.
00:10:50Back to West. Not much.
00:10:54Um, anybody home?
00:10:58Shop?
00:11:00Come on, come on.
00:11:03Um, we have booked two rooms, Mr. Blair and Mr. Wesson.
00:11:10That went well.
00:11:14Even the darn bell doesn't work.
00:11:16No, it doesn't.
00:11:17Signore!
00:11:18Oh, uh, good morning.
00:11:20We are from the alberga, Mancini, and we have booked two rooms.
00:11:23Non ci sono camera.
00:11:25What?
00:11:26But, uh, Mr. Mancini said that the rooms were booked.
00:11:28No rooms, no rooms.
00:11:29Now, look here, you bald-headed old barf bun.
00:11:31Don't think that we want to stay at your little old log cabin, but we have booked two rooms!
00:11:35No rooms, no rooms, no rooms.
00:11:37Oh, God, don't take it into this. Come on.
00:11:39Hey, hey, hey, hey, hey!
00:11:40Non ci sono camera!
00:11:42Inutile!
00:11:43Inutile!
00:11:44Inutile!
00:11:45Non ci crediamo a fare!
00:11:47Non ci crediamo a fare!
00:11:48Too busy, too busy.
00:11:49Venga su, subito!
00:11:50Venga su, subito!
00:11:51Too busy, too busy.
00:11:52Let's have this one.
00:11:53No, no.
00:11:54My room, my room.
00:11:55No, no, no.
00:11:56Oh, pardon me.
00:11:57All right, what's in this one?
00:11:58Oh, sorry.
00:12:00I'm so sorry.
00:12:02You are looking for me?
00:12:04No, we are looking for a room.
00:12:06Ah.
00:12:07We have booked, but he says there are no rooms.
00:12:09My name is Valdini.
00:12:10Stefano Valdini.
00:12:12This man is a fool.
00:12:14Un momento.
00:12:27He's lazy, that's all.
00:12:29The fewer people, the fewer work.
00:12:31He thinks you're right.
00:12:32Thank you so much.
00:12:33It is a pleasure.
00:12:37Si, subito, signore.
00:12:38Now, over to the other side.
00:12:39I'll do it for you.
00:12:41Thank you to you.
00:12:42Bene.
00:12:43Bene, bene.
00:12:44Molto bene to you.
00:12:55You get this one, Neil.
00:12:56All right.
00:13:01I'm next door.
00:13:02What?
00:13:03I'm next door.
00:13:04Oh, good.
00:13:06Bring the bags up, will you?
00:13:07Huh?
00:13:08Bags, bagagio.
00:13:09Ah, i bagagli.
00:13:10Bagagio, three bags.
00:13:11Tre coli.
00:13:12Tre coli, that's it.
00:13:13Yeah.
00:13:14Yeah, tre coli.
00:13:15Bring them up, will you?
00:13:16Hey.
00:13:17Hey, hey, hey.
00:13:18Questi stranieri, eh?
00:13:19Non mi piacciono questi signori.
00:13:23Emilia!
00:13:24Emilia!
00:13:25Emilia!
00:13:26Eh!
00:13:27Eh!
00:13:28I bagagli, eh?
00:13:29Eh!
00:13:30Cosa ci stai a fare, pezzo di imbicirre, eh?
00:13:33Prendi le valigie e portale sopra, subito!
00:13:36Figra indolente che non sei altro, eh?
00:13:39Prendi tutta, tutta sta roba e dilla!
00:13:41E sprigati, sprigati, sprigati!
00:13:43Presto, eh!
00:13:57Do you speak English?
00:13:58Yeah.
00:13:59Well, don't waste your time banging that thing.
00:14:01How do?
00:14:03Aldo!
00:14:05Aldo!
00:14:06It's like that, is it?
00:14:07Seems like it.
00:14:08Been here long?
00:14:09Quite half an hour.
00:14:10Half an hour's too long.
00:14:11And if Aldo thinks I'm going to wait for him every time I want a drink, he's had it.
00:14:15Grappa, try anything once.
00:14:17Ah, lei il direttore?
00:14:19Si, signore.
00:14:20Ho prenotato una camera.
00:14:22Il nome è Main.
00:14:23Non ci sono camera, signore, non ci sono camera.
00:14:25No rooms?
00:14:26No rooms.
00:14:27Have you booked?
00:14:28Yes.
00:14:29Well, go on up.
00:14:30There's an empty one at the end.
00:14:31Have you tried that with us too?
00:14:32Curious.
00:14:33He's lazy, that's all.
00:14:34Huh?
00:14:35Oh, don't keep saying huh.
00:14:37Look here, my fine Italian friend.
00:14:38If you expect me to pay for this red biddy, go and get me a slate so I can chalk it up.
00:14:42I'm not waiting for you every time I get thirsty, see?
00:14:45Thanks for the tip.
00:14:46We'll see you later.
00:14:47Prendi la valigie e seguimi.
00:14:48Ai, ai, ai.
00:14:52Emilia!
00:14:53Emilia!
00:14:54Oh.
00:14:55Would you like to stroll around, see what the place looks like?
00:14:57I know what the place looks like.
00:14:58Cold as charity and miserable as sin.
00:14:59You have a stroll.
00:15:00As a man, finish business here.
00:15:01All right.
00:15:02All right.
00:15:32Joe.
00:15:33Joe, come over here, will you?
00:15:34Hmm?
00:15:35Joe, you see that girl sitting over there talking to the little Italian from upstairs?
00:15:36Ah, yeah.
00:15:37I know.
00:15:38Wait a minute.
00:15:39Wait a minute.
00:15:40Don't stand there.
00:15:41Is that the same girl, isn't it?
00:15:42Hmm, could be.
00:15:43She's overexposed.
00:15:44Where'd you get this?
00:15:45Oh, that's a picture of an Italian actress I met outside.
00:15:46Oh.
00:15:47Oh.
00:15:48Oh.
00:15:49Oh.
00:15:50Oh.
00:15:51Oh.
00:15:52Oh.
00:15:53Oh.
00:15:54Oh.
00:15:55Oh.
00:15:56Oh.
00:15:57Oh.
00:15:58Oh.
00:15:59Oh.
00:16:00Oh.
00:16:01Ah.
00:16:02Oh.
00:16:03I guess I met her outside Naples just before ANSIO.
00:16:04Ah.
00:16:05So the point is, Joe, is that the same woman?
00:16:06Well, why don't you go and ask her?
00:16:07Yes, I do.
00:16:08I say, if you've got a knife stuck in your back, go and ask me to come and pull it out,
00:16:12will you?
00:16:13Excuse me.
00:16:14Good morning.
00:16:15Do you remember me, signorina?
00:16:19I don't think so.
00:16:22Well, I was in Italy with the British army.
00:16:24Excuse me if I'm being rude, but I meet so many people.
00:16:27Why don't you sit down and tell me all about it?
00:16:30Thank you, I will.
00:16:32Now, where was it that we met?
00:16:35In Naples. Your name is Carla Rometa, isn't it?
00:16:39I'm afraid you're mistaken, my friend.
00:16:42Allow me to make introduction. This is Countess Aforelli.
00:16:45Mr...
00:16:46Blair.
00:16:47Oh, Mr Blair, of course.
00:16:49I'm sorry to disappoint you, Mr Blair.
00:16:51Yes, but this is your photograph, isn't it?
00:16:54Where did you get this?
00:16:58No, you can see for yourself that this is not me.
00:17:02Although there is a certain likeness.
00:17:04Very strange.
00:17:05Yes, it's a remarkable likeness.
00:17:07Well, please excuse me.
00:17:08Oh, don't go, Mr Blair.
00:17:10Stefan, order a drink for Mr Blair.
00:17:12No, no, no, I've been quite rude enough for one day.
00:17:15Please forgive me.
00:17:17You are forgiven. We must meet again.
00:17:19Stefan tells me you are here to prepare a picture with your friend.
00:17:23You must tell me all about it. I'm always very interested in films.
00:17:37Well, was it her?
00:17:39I think so, but I don't think she wanted to admit it.
00:17:41Well, it's hard to blame her, can't you, with that little guy in tow?
00:17:44Take my advice, you'll lay off, unless you're looking for trouble.
00:17:46Perhaps I am.
00:17:48Oh?
00:17:49Count me out of it.
00:17:51Help yourself to a drink. Give me one.
00:17:53It's the only trouble I want.
00:18:04Grazie.
00:18:07Not bad, eh?
00:18:08Tea?
00:18:09No, no, you can drink.
00:18:12Oh, dear, dear, whoever called this muck tea?
00:18:15What's it look like?
00:18:16Don't tell me.
00:18:17You ought to know better than to order tea in a place like this.
00:18:19Oh, he thinks I'm going to crawl in there and die.
00:18:23What do you suppose that is?
00:18:24That's the tea, signore. You permit?
00:18:26Here, you and your partner make a big film up here.
00:18:29That should be most interesting.
00:18:31Cigarette?
00:18:33Cigarette?
00:18:34No, I have a pipe.
00:18:35You smoke the pipe.
00:18:36But it's so much more comfortable down in the hotel.
00:18:39I do not understand why you should live in a place like this.
00:18:42Why do you?
00:18:43You see, I must live high up for my health.
00:18:46Oh, too bad.
00:18:47Oh, no, it was much better now.
00:18:49Oh, thank you, my friend, thank you.
00:18:54Mind if I join you?
00:18:55No, come in.
00:18:56I should have introduced myself before.
00:18:58I'm Gilbert Maine.
00:18:59Joe Wesson.
00:19:00Neil Blair.
00:19:01I am Baldini.
00:19:02Ah, yes.
00:19:03You're here for your health, I understand.
00:19:05That is so.
00:19:06Why do you ask?
00:19:07Well, I was wondering if this was the ideal spot for your complaint.
00:19:11I think I do not understand.
00:19:13No, I think you do, but it doesn't matter.
00:19:15Ah, that will be my call.
00:19:16And you, senor, you're here for your health also?
00:19:19That's right.
00:19:20Quite a coincidence, isn't it?
00:19:21Two of us here for the same reason.
00:19:23Yes.
00:19:26Yes, she's here, all right.
00:19:27She calls herself the Contessa Farrelly.
00:19:30Farrelly.
00:19:31F-O-R-E-L-L-I.
00:19:34Yes, that sounds like her.
00:19:37Who was the chap with her?
00:19:42Go on.
00:19:44An auction.
00:19:45When?
00:19:48Now, look.
00:19:49You get down there and keep your eyes open.
00:19:51I want to know exactly what happened.
00:19:54Right.
00:19:56Cheerio, boy.
00:20:13All right?
00:20:14Yeah.
00:20:18Something coming up?
00:20:19Sounds like it.
00:20:20It's a bit late for new visitors, isn't it?
00:20:22It must be the new guest I'll do is expecting.
00:20:24He told me of him today.
00:20:25He's a Greek called Keramikos.
00:20:28He also has come here for his health, Mr. Maine.
00:20:43Good evening, gentlemen.
00:21:09Hello, Joe.
00:21:10Doing all right?
00:21:11What do you think you're doing?
00:21:12I'm going down to the auction.
00:21:13Oh? What about the script?
00:21:15Oh, I can wait till later.
00:21:16Engels won't care for that.
00:21:18Don't you be so sure.
00:21:19I may get a very good scene out of that auction.
00:21:21I suppose it is the auction you're going to.
00:21:23What do you mean?
00:21:24Not an assignation with the Contessa.
00:21:26Slot that under my arm, will you?
00:21:27Sure.
00:21:29You sure you haven't forgotten anything?
00:21:30Quite sure.
00:21:31Ah, you have.
00:21:32What?
00:21:33Dancing shoes.
00:21:34Oh, yes.
00:21:35I say, if I'm not back for tea time,
00:21:36send out a couple of St. Bernard dogs to look for me.
00:21:38And don't forget those little barrels of brandy
00:21:40they hang around their necks.
00:22:10Magnificent. Beautiful, huh?
00:22:32What's he getting so excited about?
00:22:34Oh, he's telling the story of how the notorious
00:22:35Henri Stelben was arrested in the refugio last week.
00:22:38Stelben?
00:22:39Yes, he was arrested at that very place.
00:22:42Ah, he begins to end it.
00:23:02I will bid 250,000 lira.
00:23:04The government's reserved the price.
00:23:06A mere formality.
00:23:07You will see.
00:23:37Four million!
00:23:38Four million!
00:23:39Four million!
00:23:40Four million!
00:23:41Four million!
00:23:42Four million!
00:23:43Four million!
00:23:44Four million!
00:23:45Four million!
00:23:46Four million!
00:23:47Four million!
00:23:48Four million!
00:23:49Four million!
00:23:50Four million!
00:23:51Four million!
00:23:52Four million!
00:23:53Four million!
00:23:54Four million!
00:23:55Four million!
00:23:56Four million!
00:23:57Four million!
00:23:58Four million!
00:23:59Four million!
00:24:00Four million!
00:24:01Four million!
00:24:02Four million!
00:24:03Four million!
00:24:04Four million!
00:24:05Four million!
00:24:06Four million!
00:24:07Four million!
00:24:10Four million!
00:24:15Four million!
00:24:16Four million!
00:24:27For a million, 400,000 lira for a hut?
00:24:31That is insane.
00:24:32Here's something behind this, my friend.
00:24:34Come with me.
00:24:47Good morning, Mr Blair.
00:24:49Oh, hello. Good morning.
00:24:51Good morning. Going back to the hut?
00:24:53Yeah.
00:24:54The bus doesn't leave for nearly half an hour.
00:24:56Will you have some coffee with me? Out on the terrace.
00:24:58All right, thank you.
00:24:59You just come down on the run?
00:25:01Yes, my exercise for the day, and I fell only once. Good, isn't it?
00:25:06You've just missed the fan. They've been selling our hut.
00:25:09To a cafe.
00:25:10Somebody bought it for four and a half million lire.
00:25:13Four and a half million?
00:25:15Yes.
00:25:17Who bought it?
00:25:18No receipts, no.
00:25:20A lawyer from Milan did the bidding.
00:25:22It's all a bit odd, don't you think?
00:25:24Well, I don't know.
00:25:26Nothing is really odd if you know the reason behind it.
00:25:32For instance, yourself.
00:25:34What about me?
00:25:36Well, some people might think it's strange that you live in a place like the hut.
00:25:40Yes, but I'm a...
00:25:41I know you are writing a film story.
00:25:44But you could be so much more comfortable down here and do the same thing.
00:25:48I'm not the only person living up at the hut.
00:25:50Of course not, of course not.
00:25:52There's your friend Wesson.
00:25:54Takes his pictures and he's happy.
00:25:57But what about Valdini? Why does he live there?
00:26:00Wouldn't you say he was more at home at a nightclub than a skiing hut?
00:26:03Yes, certainly.
00:26:05Then Maine.
00:26:06Where does he fit in?
00:26:08And then yourself.
00:26:09Where do you fit in?
00:26:11Me?
00:26:12I like the solitude, Mr. Blair.
00:26:15And it pains me a little to see that I haven't got it.
00:26:23Shall I tell you something else?
00:26:25Yes, please do.
00:26:27I know that you're not really writing a film story.
00:26:30Well, if I haven't written much yet, it's only because I'm absorbing the background.
00:26:34Ah, the background.
00:26:36A very good explanation, Mr. Blair.
00:26:38A writer can always explain anything he does, however strange,
00:26:41by saying that he is absorbing the background for his characters.
00:26:44And yet it seems to me that you are more interested in what happens around you
00:26:48than you are in your story. Is that not so?
00:26:50To an extent, yes.
00:26:52I'm certainly interested in you.
00:26:55You flatter me, Mr. Blair.
00:26:57You knew Maine before you met him last night, didn't you?
00:27:01You noticed that?
00:27:03You're very observant.
00:27:05I wonder why.
00:27:07What else do you know about Mr. Maine?
00:27:09Absolutely nothing.
00:27:12Let me help you.
00:27:13He was useful to me in Greece.
00:27:16It was after he had deserted from the British army.
00:27:19He was the leader of a deserted gang in Naples
00:27:22until your military police cleared them up.
00:27:24Then he came to me, to Athens,
00:27:27and, uh...
00:27:29I think you should go now, Mr. Blair.
00:27:31You'll miss your bus.
00:27:33Oh, yes, I must do that.
00:27:35Thank you for a most interesting chat.
00:27:37Well, uh, what did Maine do for you in Greece?
00:27:40I think that'll keep till another time.
00:27:43Goodbye.
00:27:44Goodbye.
00:27:45Goodbye.
00:27:46Would you mind telling Aldo that I shan't be back for dinner?
00:27:48Yes, certainly. Goodbye.
00:27:50Goodbye.
00:27:52Goodbye.
00:28:03Carla.
00:28:05Carla.
00:28:06My child.
00:28:07Carla, don't do that.
00:28:09My love, Carla.
00:28:11I beg you.
00:28:12Please, Carla.
00:28:14My dear.
00:28:15I'm sorry.
00:28:21Carla.
00:28:29Hello, there.
00:28:32Oh, hello.
00:28:34Are you working?
00:28:35I go.
00:28:37You are very easily distracted.
00:28:39Well, only when I have good reasons.
00:28:41Oh, me?
00:28:43Then I must go or there will be no picture.
00:28:45Just a minute.
00:28:46Where are you going?
00:28:47Back to the hotel.
00:28:49I'll come with you.
00:28:51But your work.
00:28:52Never mind about that.
00:28:53I'll be down in just one minute.
00:29:03It's very nice of you to come with me.
00:29:04But what about your work?
00:29:05Don't worry about that.
00:29:06Of course we must hurry.
00:29:08Listen, you come halfway only and then you'll be back in an hour.
00:29:11All right.
00:30:15Have you hurt yourself?
00:30:16No, no, no.
00:30:17That's just my way of stopping, that's all.
00:30:20It's very convenient.
00:30:21It happened at the right moment.
00:30:22Oh, I can usually guarantee you to do that, all right.
00:30:24Oh, but you must turn the right way and stop on the turn.
00:30:27Now, don't tell me I saw.
00:30:28But it's so easy.
00:30:29Look, just swing and let your edges grip.
00:30:31And there you are.
00:30:32There you are, you mean?
00:30:33Not me.
00:30:41Oh.
00:30:42I might get there turned better one day.
00:30:46I can smoke?
00:30:47Please.
00:30:49We shall become great friends, you and I, yes?
00:30:52I shall call you Neil.
00:30:55It's such a nice name.
00:30:59And I shall call you Carla.
00:31:06Why do you call me Carla?
00:31:08Well, it is your name, isn't it?
00:31:09No.
00:31:10It was once.
00:31:11I recognized you immediately from that photograph.
00:31:14Did I sign it?
00:31:16Uh-huh.
00:31:17Who for?
00:31:18Don't you remember?
00:31:19Please tell me.
00:31:21It read on the back, to Heinrich.
00:31:23Oh.
00:31:24Heinrich von Stelben.
00:31:25Von Stelben, wasn't it?
00:31:28Yes.
00:31:30Such a long time ago.
00:31:32I had almost forgotten.
00:31:34You wanted to forget it.
00:31:36What's the good of talking about it?
00:31:38What's the good of torturing oneself with memories?
00:31:42It's so easy for you, English.
00:31:44You live on your island until there's a war.
00:31:47Come to the continent and fight,
00:31:49and then you go back to your island.
00:31:51But here things are different.
00:31:53There's always intrigue, suspicion and fear.
00:31:59One does things one doesn't want to do.
00:32:02I understand.
00:32:03No, you don't understand.
00:32:06You're intrigued, you're fascinated,
00:32:08but you don't understand.
00:32:10I am an adventure for you.
00:32:12Something beyond the normal routine of your life.
00:32:15You don't see that I'm like any other girls.
00:32:19Only sometimes life has been too difficult.
00:32:23Carla.
00:32:27Why are you so serious?
00:32:29Look at the sun, the trees and the snow.
00:32:31It's beautiful, isn't it?
00:32:33Why don't you smile, my friend?
00:32:35Tonight we shall dance.
00:32:37We shall dance all night, and then...
00:32:40Carla, this isn't the real you.
00:32:43Do you know what is the real me?
00:32:45Do you?
00:32:47No, I don't.
00:32:49I wish I knew, but I don't.
00:33:05THE END
00:33:27Neil!
00:33:29Neil!
00:33:31Neil!
00:33:35What's so funny?
00:33:36You ought to be up here.
00:33:38All right, I'll come down.
00:33:40I'm frozen. Hurry up.
00:34:05THE END
00:34:30I found a cubbyhatch down here.
00:34:32It's a dark room.
00:34:33I thought I was right. It's warmer near the bar.
00:34:35I'll be up in a moment.
00:34:54What would I give to be a writer?
00:34:57It's got a cure for frostbite.
00:34:59You might try whiskey.
00:35:00Yes, would I?
00:35:01If we had any.
00:35:02This Italian hooch is no good for my liver.
00:35:04Don't let that stop you.
00:35:05I won't.
00:35:07Skin off your nose.
00:35:09How's the script coming on?
00:35:10Just sorting out the characters.
00:35:12How do you get on?
00:35:13Get any pictures?
00:35:15What do you think I was doing out there in the snow all afternoon?
00:35:17Yes, lovely stuff. Ski shots.
00:35:18Down at the bottom of the first slope there, there's a sharp turn.
00:35:21I got them coming right up into camera.
00:35:23If you'd seen...
00:35:25Are you listening?
00:35:26Yes, I am.
00:35:27What is it?
00:35:28Nothing.
00:35:31I myself was with the underground.
00:35:33You?
00:35:34Yes, in Rome.
00:35:35We fight the Germans all night.
00:35:37The next day the Americans arrive.
00:35:40I don't like the Germans.
00:35:42They are beastly people.
00:35:44You speak as if the underground were a resistance to the British and Americans.
00:35:48Peasants, that's all they were.
00:35:49Peasants worth no more than a platoon of infantry.
00:35:54What happened in the towns?
00:35:55Not until it was all over and the Germans were in full retreat.
00:35:57Did they come out with their radar bands?
00:35:59Now that's your underground.
00:36:01You knew them well, I suppose.
00:36:04Yes, I knew them.
00:36:07Were you in the army?
00:36:09For my sins?
00:36:11Italy?
00:36:12Yes.
00:36:13What were you in?
00:36:15I was in the...
00:36:17The 201 Leitach X.
00:36:20They were near Bruxy.
00:36:21I remember them quite well.
00:36:23Especially Tommy Cross.
00:36:25One of their battery commanders.
00:36:27Grandfather, do you remember him?
00:36:29Tommy Cross?
00:36:30Yes, a big chap.
00:36:32Light blue eyes, large ginger moustache.
00:36:35Yes, of course.
00:36:36Grazie, gentlemen.
00:36:39Blast you, Wesson.
00:36:40Why, what's the matter?
00:36:41You might have warned us you were going to do that.
00:36:43Oh, no.
00:36:44Much better to take you by surprise.
00:36:46I like my pictures.
00:36:47Natural.
00:36:48You two go on drinking.
00:36:49Don't take any notice of me.
00:36:51I suppose I don't want my picture taken.
00:36:54You don't really mind, do you?
00:36:55If it happens, I do.
00:36:57A superstition, perhaps.
00:36:59Yes, a superstition.
00:37:00And one I think you share, Mr. Karamikos.
00:37:03Oh, this is a madhouse.
00:37:06Give me a drink, somebody.
00:37:08I am surprised, Mr. Wesson, that people are superstitious.
00:37:11Have you ever tried to photograph native peoples?
00:37:14I was a news photographer once.
00:37:15Well, then you'll know that some native peoples
00:37:16do not like their pictures taken.
00:37:18Why?
00:37:20Because they are afraid.
00:37:22Afraid of what they don't understand.
00:37:24A little black box which takes away their face.
00:37:27The strangest to gaze at.
00:37:28Perhaps it's the same with our friend here.
00:37:30He doesn't want his face exposed for strangers to see.
00:37:58Oh.
00:37:59Oh.
00:38:00Oh.
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00:40:51Oh.
00:40:52The door was open. Very careless.
00:40:54Do you mind pouring me another drink?
00:40:56It's been very cold waiting for you.
00:41:05Your health, my friend.
00:41:08Where's the other fellow?
00:41:10The other fellow?
00:41:12Oh, the other fellow.
00:41:14You didn't see him, did you?
00:41:16No.
00:41:17He's, uh... He's gone.
00:41:20I've waited for you because there are some questions I want to ask you.
00:41:23Quite a few I'd like to ask you, too.
00:41:25I have no doubt about that. Tell me, do you speak German?
00:41:28Yes. Enough.
00:41:30So you heard what I said just before I closed the door?
00:41:33You said,
00:41:35it is necessary to get rid of Valdini and his counties.
00:41:39Then, you said to the other fellow,
00:41:42you're good at that sort of thing.
00:41:44Uh-huh.
00:41:46Well, what's the game, Keramikos?
00:41:49Mr Blair, I have something to say to you, and you'd do well to remember it.
00:41:52This is not your law-abiding, neat little island of England.
00:41:56This is Europe.
00:41:58Europe after seven years of war,
00:42:00where people starve and hate and go on fighting.
00:42:03It's a jungle.
00:42:05Here it is no good to meddle into matters which do not concern you.
00:42:08Murder is a matter that concerns everybody.
00:42:10Murder.
00:42:12You didn't hear the whole of the conversation, only a scrap.
00:42:15Hold on to that, Mr Blair.
00:42:18Go to bed.
00:42:20Tomorrow, you'll concentrate on your film story.
00:42:23How can I concentrate in this place?
00:42:26Everyone here is here for a particular reason.
00:42:29I want to know what that reason is.
00:42:31It is none of your business.
00:42:33You're young, you've got your life in front of you.
00:42:36I hope.
00:42:38Cultivate a little, uh...
00:42:41a little less curiosity.
00:42:43Is that a threat?
00:42:45Take it as you wish, Mr Blair.
00:42:47Good night.
00:42:51Good night.
00:43:17Morning, Blair.
00:43:19Oh, hello.
00:43:21Lovely day, isn't it?
00:43:23Yeah, lovely.
00:43:25How about going for a run?
00:43:27I'm here to work, you know.
00:43:29You can't work all the time.
00:43:31I'm not much good on skis, anyway.
00:43:33I can't believe that.
00:43:35How about the Corvo Alto run?
00:43:37It's not very difficult.
00:43:39We'll start right away after breakfast.
00:43:41Yeah.
00:43:43Good.
00:43:47Good.
00:44:17© BF-WATCH TV 2021
00:44:47© BF-WATCH TV 2021
00:45:05When do we start going down?
00:45:07Just as soon as you've eaten these.
00:45:09About time, too.
00:45:12Just look at it.
00:45:14It's even grander than the view from the hut.
00:45:17We'll see three countries from here.
00:45:19Three?
00:45:21Counting this one.
00:45:23The Swiss border's a mile or two over there.
00:45:25France is just over that peak.
00:45:27I had no idea we were so near the border.
00:45:29Name?
00:45:31Yep.
00:45:33Tommy Cross was small and clean-shaven.
00:45:35So what?
00:45:37Last night you agreed
00:45:39that he was a big fellow with a ginger moustache.
00:45:41You're quite a little detective, aren't you?
00:45:43That first night when Kerem Mikas arrived,
00:45:46you recognised him, didn't you?
00:45:48And I believe you already knew Valdini and the Countess.
00:45:50You're observant. I'll say that for you.
00:45:52I've been very open with you.
00:45:54Will you tell me something?
00:45:56What?
00:45:58You and all the others are here searching for something, aren't you?
00:46:00Now, what is it?
00:46:02Better eat these up.
00:46:04We'll discuss that later.
00:46:06All right.
00:46:08Hmm.
00:46:10That reminds me.
00:46:12A friend of mine once went to a cinema.
00:46:14When he got inside, he found himself sitting behind
00:46:16a very large man in a fur coat.
00:46:18When he got accustomed to the darkness,
00:46:20he realised it wasn't a man at all.
00:46:22It was a large bear.
00:46:24Bear?
00:46:26Well, he said to the man sitting next to the bear,
00:46:28he said, excuse me, is that bear with you?
00:46:30The man said, yes.
00:46:32So he said, well, do you mind taking him out?
00:46:34The man said, take him out?
00:46:37He'd pay for his seat. He's enjoying himself, behaving himself.
00:46:39Why should I?
00:46:41So at the end of the performance, my friend said to the man,
00:46:43I hope you didn't think I was very rude asking you to take the bear out.
00:46:45The man said, no, it's all right.
00:46:47My friend said,
00:46:49all I would like to ask you is,
00:46:51why bring a bear to a cinema?
00:46:53And the man said, well,
00:46:55matter of fact, I felt I had to bring him.
00:46:57He was very keen to see this film.
00:46:59You see, he enjoyed the book so much.
00:47:02Ha, ha, ha.
00:47:04Ha, ha, ha.
00:47:06Ha, ha, ha.
00:47:08Ha, ha, ha.
00:47:18Can you take it a bit faster? We're getting late.
00:47:20I'd die, dear, for such a long run.
00:47:22It's absolutely straightforward from now on, no difficult turns.
00:47:24Just a straight run down through the woods.
00:47:26All right, let's get going.
00:47:28Keep close behind me, won't you?
00:47:30You shouldn't lose your way.
00:48:30In the name of the Father, the Son, and the Holy Spirit. Amen.
00:49:00Is this seat taken?
00:49:21Do you speak French?
00:49:22No, I don't speak French.
00:49:24Never mind, I speak.
00:49:27I speak slow.
00:49:30You and me.
00:49:35Telephone.
00:49:36Telephone.
00:49:37Telephone, me? For me?
00:49:39Telephone, telephone, telephone.
00:49:41For me.
00:49:42Of course.
00:49:43Telephone for me.
00:49:45I go. I go, telephone.
00:49:49You stay, you wait. I come back quick.
00:49:51Steve?
00:49:52I come back.
00:49:54I telephone.
00:50:01Hello. Wesson?
00:50:03Has Blair turned up at the hut yet?
00:50:05No, I don't know.
00:50:07No, he's not here.
00:50:08I thought he was behind me.
00:50:10Do you know how it is when you get in the rut?
00:50:12No.
00:50:14No, I've been back about halfway looking for him.
00:50:16You've been back halfway looking for him?
00:50:19What do you mean?
00:50:20What's happened?
00:50:22Been an accident or something?
00:50:24What?
00:50:25He's lost?
00:50:26He's lost?
00:50:28Of course I realize it's serious, but what's to be done?
00:50:32A rescue party?
00:50:33What's happened, Mr. Wesson? Who's lost?
00:50:35Blair's lost out there in the snow.
00:50:37Who is that on the telephone?
00:50:39Maine. He says he's been back to look for him.
00:50:41Let me speak to him. Quick.
00:50:42Gilbert.
00:50:43Yes, yes, that is Carla.
00:50:45What's happened?
00:50:49What have you done with that boy?
00:50:50Now listen, Carla, you keep out of this.
00:50:52It was an accident, I tell you.
00:50:55What?
00:50:57Now leave Wesson to organize the search party.
00:51:01Necessary?
00:51:02Of course it was. He knew too much.
00:51:05Now keep out of it, you hear?
00:51:06And don't contact Mancini.
00:51:08Leave it to Wesson, I tell you.
00:51:12Hello.
00:51:13Hello.
00:51:14Hello.
00:51:16Hello.
00:51:18Hello.
00:51:25Hello, Mancini?
00:51:27An accident.
00:51:29Yes, at Blair's.
00:51:31Yes, on the Alta Corva.
00:51:34Yes.
00:51:35Yes, very well.
00:51:38Thank you. Thank you, Mancini.
00:51:51What's happened?
00:51:52Mancini is sending a search party.
00:51:54They'll go straight up from Albergo Mancini.
00:51:57Don't worry, they'll find him.
00:51:59They're used to those things.
00:54:22THE END
00:54:52THE END
00:55:22So you burst into tears. You hunt for him everywhere, no?
00:55:26What's all the fuss about? He's safe in his bed, isn't he?
00:55:28No, thanks to you.
00:55:31I think our little Carla's falling in love with the boy.
00:55:33Eh, Valdini?
00:55:36She plays with him, that's all.
00:55:38Just as she played with you.
00:55:39What do you mean?
00:55:41Last month I was in Venice.
00:55:45But I thought...
00:55:47You thought I was in Rome, Carla.
00:55:49No, I was in Venice.
00:55:52Watch out, Mr. Gilbert Maine.
00:55:54I'm a man of business, see?
00:55:56I don't like double-cross.
00:55:59As we have seen today, accidents can happen.
00:56:02It's very secluded here.
00:56:04Sit down here, Neil.
00:56:09Neil, I'm so glad you're all right.
00:56:12Me too. You've got me rattled for a while.
00:56:13What exactly happened?
00:56:15Don't you remember?
00:56:16You tried to kill me, that's all.
00:56:18I don't understand.
00:56:19I say, Neil, keep out of this show.
00:56:20You knew perfectly well that I couldn't stop in that time.
00:56:23You meant me to break my neck.
00:56:25I'm sorry to disappoint you.
00:56:26I haven't the foggiest idea what you're talking about.
00:56:28Haven't you?
00:56:29Then I'll make myself very clear.
00:56:31Today, for some reason best known to yourself,
00:56:32you tried to murder me.
00:56:34And I don't like that at all.
00:56:35I don't care.
00:56:36Ah, no, no, no.
00:56:37Boys, boys, break it up, break it up.
00:56:39My friend, you should be careful what you say.
00:56:42Neil, come and have your drink with me.
00:56:45All right.
00:56:51Was it true what you said just now to Gilbert?
00:56:54Why do you ask?
00:56:57Yes.
00:56:58Why do I ask?
00:57:00You know him pretty well, don't you?
00:57:06Why are you up here so late tonight?
00:57:09I wanted to make sure that you were all right.
00:57:12I'm sorry.
00:57:13I'm sorry.
00:57:15I'm sorry.
00:57:16I'm sorry.
00:57:17I'm sorry.
00:57:18I'm sorry.
00:57:19I'm sorry.
00:57:22I'm very nice of you.
00:57:25Neil, come down to the hotel with me.
00:57:29Tonight?
00:57:30Yes.
00:57:31You should see a doctor.
00:57:33No, I'm all right.
00:57:34No, no, you're not at all all right.
00:57:35Your nerves are...
00:57:36Oh, how do you say it?
00:57:37Overstrained.
00:57:38I'm perfectly all right, I promise you.
00:57:40Please, Neil.
00:57:41It's so much better.
00:57:42So much better.
00:57:50Well, I'll be...
00:57:51Blimey, old Raleigh, look who's here.
00:57:53Hello, Joe.
00:57:54How's it going?
00:57:55All right.
00:57:56Oh, gosh, I'm glad to see you.
00:57:57Yes, good to see you, too.
00:57:59Goodbye, Neil.
00:58:00They're not going?
00:58:01Yes, it's getting late.
00:58:02Well, let me introduce you.
00:58:03This is Mr. Engle, the Contessa Ferrelli.
00:58:05How do you do?
00:58:06How do you do?
00:58:07Did you say Contessa?
00:58:09Why not?
00:58:11After all, Contessas are to a penny nowadays.
00:58:13Yes, I expect they are.
00:58:15And, uh...
00:58:16Sometimes three, eh?
00:58:18And this is Mr. Karamikos.
00:58:20Karamikos.
00:58:21That is right.
00:58:22That sounds like a very good old Greek name.
00:58:24Uh, and this is Mr. Gilbert May.
00:58:26How do you do?
00:58:27He tried to kill me this afternoon.
00:58:29Oh, cut it out.
00:58:30Well, you couldn't have been trying very hard, could you?
00:58:32He didn't try hard enough.
00:58:33At least I can still laugh.
00:58:35And I'm Signora Valdini, Stefano Valdini.
00:58:37Oh, and who do you belong to?
00:58:39I'm Contessa Ferrelli's man of affairs.
00:58:41Ah, that must keep you pretty busy.
00:58:43Oh, yes.
00:58:44Ah, and that must keep you pretty busy.
00:58:46Stefano.
00:58:47Run along, little man, run along.
00:58:48Grazie.
00:58:50You know, gentlemen, there's a time in a man's life
00:58:52when he feels he wants to do something big,
00:58:54something daring, dangerous.
00:58:56And this is one of those times,
00:58:58and I now propose to do it.
00:59:00So, with your permission,
00:59:02I'd like to buy you all a little drink.
00:59:07Where do you keep the barmen around here?
00:59:09We don't. I sacked him long ago.
00:59:11Just grab what you want and chalk it up.
00:59:12Oh, don't.
00:59:13I have this one on me.
00:59:15What's that which you want?
00:59:16Yes, thank you. That and a cable car.
00:59:18Well...
00:59:19Cara mia, they will not come.
00:59:20What?
00:59:21The Tempest. They fear for the cable.
00:59:23That means you're stuck here for the night.
00:59:24Oh, no. I go down on ski.
00:59:26Not tonight, you won't. You'll never manage it.
00:59:27But I can't stay here.
00:59:28Oh, yes, we'll fit you in somehow.
00:59:30I think perhaps if I...
00:59:32Mr. Maine, I think, was going to suggest
00:59:34he move in with Mr. Valdini,
00:59:36but there is no need for that.
00:59:38I shall be delighted for Olive to fix me up with a mattress
00:59:40down here near the stove.
00:59:41No, no, I'll sleep down here.
00:59:42I'll sleep this way.
00:59:43But I'm the younger man.
00:59:44Now, now, gentlemen,
00:59:45I hate to see all this chivalry wasted.
00:59:47The contestants will have my room
00:59:49and then the sheets will be clean, won't they?
00:59:52And the mattress can go on the floor in Blair's room.
00:59:54Thank you. You're very kind.
00:59:56Not at all. We've got a lot to discuss anyway.
00:59:58And actually, I'm not very fond of sleeping alone.
01:00:01I mean, that is, in the strange house.
01:00:12All right.
01:00:38What did he say?
01:00:39Something has happened to the cable.
01:00:40It can't do a thing about the lights.
01:00:41How long is this going on for?
01:00:43Maybe hours, maybe days.
01:00:46Another day like this.
01:00:49Why are you afraid?
01:00:52Afraid?
01:00:53Yes.
01:00:54You're afraid of something.
01:00:55What is it?
01:00:59Your friend will tell you.
01:01:07What does she mean by that?
01:01:09Play me a game of gin rummy.
01:01:11Gin rummy? Here.
01:01:12What?
01:01:17Give him another eye on that old boiler effort.
01:01:19What are you talking about?
01:01:21You'll see presently.
01:01:30No, you can't have been concentrating.
01:01:31That'll be £1.30.
01:01:33I'll have to alert you.
01:01:34Okay. Ah, here comes dinner.
01:01:35Here comes dinner.
01:01:46Ah, the Countess.
01:01:47A lamp.
01:01:54Will you share the joke with us, Mr. Engles?
01:01:57No, I can't help thinking how amusing it is
01:01:59to see us all grouped up here together.
01:02:02This is where your story is about to begin.
01:02:06Mr. Engles is pleased to talk in riddles.
01:02:08Riddles by foot, Mr. Kerameikos.
01:02:11The Mr. Smith of Greece.
01:02:13Greek since when, Herr von Kellerman?
01:02:23What, after all, is there in a name, huh?
01:02:25You mean a rose by any other name?
01:02:29The celebrated British humour.
01:02:31Where would the world be without it?
01:02:32Well, Mr. Engles, as you say in your wonderful language,
01:02:35so what?
01:02:37You've been puzzling me, Kellerman.
01:02:39Why? Because I don't look German, huh?
01:02:41Well, I tell you, my mother was Greek.
01:02:43That was brought up in Berlin, Paris,
01:02:45and your Oxford.
01:02:46Yes, well, I'll take your word for that.
01:02:48I knew you'd come here.
01:02:50But how exactly did you find out about the gold?
01:02:52What gold?
01:02:53All in good time, I wonder.
01:02:55I'll tell you.
01:02:57Why not?
01:02:58That should be very interesting.
01:03:00No, no, very ordinary.
01:03:02There was a certain Corporal Holtz.
01:03:05That's right, I remember.
01:03:07He was one of Steldon's party.
01:03:09But didn't he die with the others?
01:03:11No, he didn't die. He managed to get away.
01:03:13But my colleagues and myself were fortunate enough to meet him,
01:03:16and we persuaded him to tell us his story.
01:03:21I see.
01:03:22And now you will share it with us.
01:03:26Why not?
01:03:28Will you drink with me?
01:03:30Why not?
01:03:33Strange, isn't it,
01:03:35that we should be drinking together?
01:03:37Colonel Engles of the British Intelligence,
01:03:40and Special Agent Kellerman of the Gestapo.
01:03:43Yes, only one can't always choose one's company, can one?
01:03:46That is life.
01:03:48You serve your country and I serve mine.
01:03:51Yes, only you haven't got one left to serve, have you?
01:03:54For the moment it is true.
01:03:56There are many like me working all over the world, you know.
01:03:59We need funds.
01:04:00That's why I'm here.
01:04:02Germany is destroyed now, but one day she will be rebuilt.
01:04:05Her industry will again be the best in the world,
01:04:08and it will be the same with our armed forces.
01:04:10One day, you can be sure,
01:04:12fascism will triumph again, we'll see to that.
01:04:15There'll be a new generation, thank heavens,
01:04:17who will have forgotten that war is horrible.
01:04:20You're very frank.
01:04:22I only hope you'll be equally honest with your story.
01:04:25Why not?
01:04:27You know, of course,
01:04:29that I was in charge of the Gestapo in Venice.
01:04:32It was there that Heinrich Stelven reported to me
01:04:35when Italy capitulated.
01:04:37My instructions were
01:04:39to remove the entire gold reserves
01:04:41of the Bank of Italy to the fatherland.
01:04:44Stelven was the one man I could trust
01:04:46with such an important mission,
01:04:48so I gave him the necessary orders
01:04:50for its transfer to Germany.
01:04:52Had I known then that he was an admirer
01:04:54of Carla Rometa,
01:04:56or should I say the Contessa Aurelia,
01:04:59I might have acted differently.
01:05:01I found out afterwards that they were in the habit
01:05:04of meeting at Valdini's restaurant.
01:05:06Naturally, Carla was surprised to hear
01:05:09that Stelven was suddenly leaving Venice,
01:05:11especially when he refused to say where he was going.
01:05:14This intrigued her very much.
01:05:17She finally got out of him
01:05:19our plans for transferring the gold,
01:05:21and at once,
01:05:22ceased on the chance of grabbing some of it for herself.
01:05:25The war was nearly over, she told him.
01:05:28If he took the gold back to Germany,
01:05:30it would only fall into the hands of the enemy.
01:05:32Why risk that,
01:05:34when with a little ingenuity
01:05:36they could keep it for themselves?
01:05:39The temptation was too great.
01:05:42Stelven eventually gave in
01:05:44and agreed to do as she suggested.
01:05:46What he did not know was
01:05:48that Carla had fallen for the charms
01:05:49of Gilbert Maine.
01:05:51And Heinrich Stelven was now
01:05:53simply a means to an end.
01:05:55And that end was gold.
01:05:57Two days later,
01:05:59Stelven ordered the convoy to stop
01:06:01at a lonely hut up in the mountains.
01:06:03As Mr. Blair must have guessed by now,
01:06:06that lonely hut was here.
01:06:09And that, my friend,
01:06:11is the story of how the gold
01:06:13came to the Col de la Vista.
01:06:15All of it?
01:06:16All of it.
01:06:18Enough for the moment, Colonel.
01:06:21Tell me, why didn't you come here before?
01:06:24Because, unfortunately,
01:06:26the good corporal never knew
01:06:28the name of the village
01:06:30to which he drove that night.
01:06:32I see. And I'm not the slightest doubt
01:06:34that your persuasion of the corporal
01:06:36was sufficient to provide the end of the story.
01:06:38We have our methods.
01:06:40You see, Neil, here is your story forming
01:06:42as I promised you it would.
01:06:44And here are your characters
01:06:46in the film.
01:06:48Now, Maine, for instance.
01:06:51Yes.
01:06:53Englishman, public school, charming.
01:06:55Didn't like having his photograph taken.
01:06:57No, I've no doubt you didn't.
01:06:59When I left the war office
01:07:01before coming here,
01:07:03I was informed that there was a certain Gilbert Maine
01:07:05who'd been reported missing
01:07:07but believed killed.
01:07:09But he was short and dark.
01:07:11Identity papers are easy to come by, aren't they,
01:07:13when you find them on corpses?
01:07:14You two clever film people
01:07:16decided why I should want to kill Blair.
01:07:18The perfect murder, that was your plot, wasn't it?
01:07:20Well, no murder's perfect without a motive, is it?
01:07:22The perfect murder never fails.
01:07:24But your motive was obvious.
01:07:26Blair knew too much, that's easy.
01:07:28But what interests us is
01:07:30why you wanted to kill Valdivia
01:07:32and the Countess...
01:07:34Why do you want to kill me, Gilbert?
01:07:37Ask him. His idea.
01:07:39I don't have to ask him.
01:07:42You double-crossed me
01:07:44and now you want to get rid of me.
01:07:47I'm not used to you anymore.
01:07:50And now I know too much about you.
01:07:54I know, for example,
01:07:56it's you that informed against Heinrich.
01:07:58You had him arrested.
01:08:00You killed my Heinrich.
01:08:02You hated him and he despised you.
01:08:04It's not true. He loved me always.
01:08:06He loved you. He was a fugitive
01:08:08and you were able to hide him, that's all.
01:08:09You stayed with him because your dirty, greedy little soul
01:08:11was in love with a million in gold.
01:08:13I seem to remember you weren't entirely
01:08:15disinterested in yourself.
01:08:17You paid four million lire for this hut.
01:08:20So that's the scheme, you...
01:08:22Keep your hands still, Mr. Maine!
01:08:40I'm sorry.
01:08:42What are you doing with that?
01:08:44You silly little man, it might be...
01:08:46It is!
01:08:48You know, you might have hurt somebody.
01:08:50Bob!
01:08:54Oh, there you are, Maine.
01:08:57Cut your finger, madame.
01:08:59Oh, sorry.
01:09:01Any food left?
01:09:03What's the matter?
01:09:05You know, Joe, you'll be the death of me.
01:09:07Well, the gun was loaded. You might have hurt somebody.
01:09:09Hello, phone?
01:09:11What's the matter?
01:09:13Drop that glass, you...
01:09:24Keep your hands on the table, all of you.
01:09:36I say, look...
01:09:37Shut up!
01:09:40In my pocket.
01:09:45And now, my impulsive friend,
01:09:47what do you propose to do next?
01:09:49You're gonna dig.
01:09:51All of you.
01:09:53And where are we going to dig?
01:09:55That's what you better tell me.
01:09:57Stop that playing!
01:09:59Stop that blasting!
01:10:03It was out of tune, you know.
01:10:06What makes you think I'm going to tell you
01:10:07where the gold is?
01:10:09These?
01:10:11You really think I'm afraid of these guns?
01:10:13Shoot.
01:10:15Shoot, and when I'm dead, what then?
01:10:17Will you know where the gold is?
01:10:19You know what to do with it, even if you find it.
01:10:21Forty cases of gold in bars.
01:10:23You think you can dispose of it just like that?
01:10:25You... you bore me.
01:10:27How do I know I can trust you?
01:10:29You still have your guns.
01:10:32Pick up that...
01:10:34That is the girl over there.
01:10:35Do with her what you like, as long as she's quiet.
01:10:37And then,
01:10:39our friends shall dig for us.
01:10:49Pick her up, Blair.
01:10:51Hurry up!
01:10:54Take her in there.
01:11:06Close the door.
01:11:09Lock it.
01:11:12Throw it at my feet.
01:11:36It's also very simple if one uses one's brains.
01:11:40The story's progressing nicely.
01:11:42Aldo,
01:11:44and now, my friends, we are going to dig.
01:11:46I'm glad to see the maestro hasn't lost his touch.
01:11:49A little thought, that's the formula.
01:11:51But as you are also a maestro, you will know about that.
01:11:54My dear Kellerman, that coming from you
01:11:56is a very great compliment.
01:11:58Get up. Aldo,
01:12:00this way out, gentlemen, please.
01:12:05Let's go.
01:12:35It's me.
01:12:48Madonna, Benedetta,
01:12:50I'm so happy for you.
01:12:52Virgin of mine,
01:12:54holy paradise!
01:13:01Aldo, Aldo!
01:13:03Help, help!
01:13:06Help!
01:13:16I apologize, gentlemen, for the difficulty of your task.
01:13:20The concrete may be a little thick.
01:13:23So this is where Stelben hid the gold, eh?
01:13:26Yes.
01:13:28And this may be the time to tell you the end of Corporal Hulse's story.
01:13:31It will amuse you while you dig.
01:13:32According to Hulse, the captain's position
01:13:34as a member of the Gestapo was quite sufficient
01:13:36to over all the men.
01:13:38Go on digging.
01:13:40But I'd like to picture him standing here,
01:13:43as I am now.
01:13:45Complete master of the situation.
01:13:47He had everything worked out quite clearly.
01:13:50He would say that the convoy had been attacked
01:13:52by enemy forces and wiped out,
01:13:54that he was the only survivor.
01:13:56Then arrived the moment for him to make his story come true.
01:13:59He reached out his hand and felt the light switch.
01:14:30Help!
01:14:32Help!
01:15:00It took Stelben three hours to bury the gold.
01:15:03He never knew that during every minute of that time,
01:15:06Corporal Hulse, badly wounded but still alive,
01:15:09was crouching behind the machinery, watching him.
01:15:12If he had known, it might have saved his life.
01:15:16And I would have never found out the truth.
01:15:19Hulse kept his mouth shut for obvious reasons.
01:15:22He knew that the gold would not be found.
01:15:25He knew that the gold would not be found.
01:15:27Hulse kept his mouth shut for obvious reasons.
01:15:30Until I found him and then it was open.
01:15:33Let's start something. Carry on digging.
01:15:37Carry on digging, old boy.
01:15:40That's very good advice, Colonel Engels.
01:15:43You should be getting near now.
01:15:49Jose! Jose!
01:15:51Who is it?
01:15:53Who is it?
01:15:55Who is it?
01:15:57The key!
01:15:59The key! The key is gone!
01:16:02Go get it, you idiot!
01:16:04I can't find it! It's been a long time!
01:16:07I have to go!
01:16:09Jose Maria, where are you?
01:16:14Emilia! Emilia!
01:16:17You know how much I love you!
01:16:20I love you so much!
01:16:22Emilia!
01:16:23Let me out!
01:16:26Let me out! Let me out!
01:16:30Let me out!
01:16:43Let me out!
01:16:45It's all right, Carla. I'm coming.
01:16:48Gilbert, please let me out.
01:16:53Please.
01:17:09Is there a fire or something?
01:17:12Hey, leave the door open. There's a bit of a smell here.
01:17:14Yeah, that's what I made for the Third Reich.
01:17:17Here it is.
01:17:19Go on digging!
01:17:20And underneath the remains, as you call it, of the Third Reich,
01:17:23you will find the gold which will help to found its successor.
01:17:27You find that funny, Colonel Engels, do you? Well, so do I.
01:17:30It is very funny that the enemies of the Third Reich
01:17:33should be so helpful in founding the Fourth.
01:17:35Make no mistake, my British friends,
01:17:38there will be another Reich, only this time it will spread all over the world,
01:17:41and then people like...
01:17:43Stay here!
01:17:45And let's go, let's go! Hurry, hurry!
01:17:47Carla!
01:17:48Who's the mother?
01:17:50Who's the mother?
01:17:52Please answer!
01:17:54Answer!
01:17:56Gilbert, what are you saying?
01:17:58Please answer to me, Gilbert!
01:18:00Please don't!
01:18:02Oh, dear me!
01:18:19Go on digging!
01:18:23Go on digging!
01:18:25Ah, I see the maestro is beginning to crack at last.
01:18:29Dig!
01:18:32What's this?
01:18:34What's this?
01:18:36God, it's here, all right. Here, give me a hand.
01:18:39There you are, there's a ruddy girl.
01:18:46Where is it?
01:18:47How should I know?
01:18:48Where is it?
01:18:49Your guess is as good as mine.
01:18:51I'll give you ten seconds to tell me.
01:18:52And if I don't?
01:18:54Five seconds.
01:18:55I said your guess is as good as mine.
01:18:57You want your friends to die?
01:18:59I'll give you ten seconds to tell me.
01:19:00And if I don't?
01:19:02Five seconds.
01:19:03I said your guess is as good as mine.
01:19:05You want your friends to die?
01:19:06I'll give you ten seconds to tell me.
01:19:07And if I don't?
01:19:08Five seconds.
01:19:09I said your guess is as good as mine.
01:19:10You want your friends to die?
01:19:11I'll give you ten seconds to tell me.
01:19:12Well?
01:19:13I'll let them go.
01:19:14Stay where you are!
01:19:15Give them a chance!
01:19:16After all, if they stay here, they're bound to get killed anyway.
01:19:18Get back and loose!
01:19:36Edward!
01:19:37You must get in!
01:19:38No, it's too late!
01:19:39Neil!
01:19:40Oh, is he badly hurt?
01:19:41No, he'll be all right.
01:19:42But what happened?
01:19:43We got trapped in there.
01:19:44And we just got out in time.
01:19:45And the others?
01:19:46Too late.
01:19:47Too late for everything.
01:19:49Never even found the ruddy gold.
01:19:51Now we'll never know where it is.
01:19:53I know.
01:19:55You know?
01:19:56Yes.
01:19:58Oh, come on, let's get out of here.
01:20:00Help me.
01:20:01But the gold!
01:20:02We must forget it.
01:20:03Oh, no.
01:20:04No, my friend.
01:20:05I will never tell anyone where the gold is.
01:20:08Never.
01:20:10Already too many people died trying to find it.
01:20:14I will never say.
01:20:15Never where it is.
01:20:16Never.
01:20:18Oh, come on.
01:20:19Help me with it.
01:20:20Go to the hotel.
01:20:35THE END
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