watch now! detail...
man:19 million.it's against you, sir. 20 million pounds. twenty.here's the bid at 20 million. 21 million back in the aisle. man 2: there is a painting. it's by rembrandt. storm on the sea of galilee, it's called, and he's in it. old rembrandt, he's in the painting.
he's in there, right in the middle of the storm, looking straight out at you. but you can't see him. and the reason you can't see him is because the painting has been stolen. lots of paintings have been stolen. they're still missing. pride of lions showing here on my left. thank you. i start the biddinghere at 1,000 guineas.
and it used to be anyone could steal a painting. there was no need for a gun. (man grunts, crowd screaming) all it took... stay where you are. was a bit of muscle and some nerve. and that... was that. but not anymore. those days are gone.
a business can't function taking big hits like that, so now we have procedures and precautions and security measures. now we have a policy. we have bag searches and magnetic alarms and silent scanners and x-ray machines and cameras. right, it's there. also, we have drills.
and the first thing they tell us is... do not be a hero. man:this is a robbery. now, no piece of artis worth a human life. it's a sound piece of advice, that. no piece of art is worth a human life. but in the event of an event or situation, we are to remove the most valuable item or items and take them to a place of safety...
...i.e., the fast-drop slot in a time-delay vault. that's about allyou can do, really. (indistinct chatter) man:come and enjoythe auction. i mean, if you want to let people in, if you want them to bid. thank you. and when you're trying to flog the star of the show for 25 million sterling,
you definitely want them to bid. 650,000 pounds. sold to paddle 88. congratulations, madam. ladies and gentlemen, there will now bea brief interval. when we reconvene,our head auctioneer, francis lemaitre, will lead the auctionfor goya's witches in the air.
thank you very much. (sighs) so we notify the cops about big ticket sales, and we even keep half a dozen ukrainian ex-naval commandos in a van outside, just in case it all kicks off. or so they say. simon, are you coming? i'm about to start.
uh... yeah. simon (quietly):here we go. so, what happens, of course, is that just as we up our game, the villains up theirs. they don't just turn up on spec anymore. we have precautions; they have plans. they do research. they do recces. they learn about our cameras and scanners and ukrainian ex-naval commandos,
but some things don't change. it still takes muscle, and it still takes nerve. (gavel banging) francis: good afternoon, ladies and gentlemen, and welcome to delancy's. we are extremely honoredto be selling francisco de goya'swonderful work of witches in the air.
(card reader blips) goya, the father of modern art and the first great painterof the human mind. let's start the biddingat five million pounds. five... thank you, sir. five million pounds--an opening bid. 5,500,000. six million. in the center here,at ten million pounds...
11 million on the aisle. 12 million. 13 million. 17 million.thank you, sir. 18 million. 19 million.bad luck. twenty? 21 million pounds. take your time. 22 million. thank you. (brakes squeal)
telephone bidder now.26 million. 26 on the telephone. 27 to the lady on the aisle. small one? small one. 27,500,000, i'll take. last chance. hammer's coming down. selling for 27,500,000 pounds.
sold. paddle number 104. (crowd murmuring) get down! get down! (applause) man:gas! gas! everybody, out now! everybody,get out of the building now! come on!
everybody to the exit please! man 2:everybody out. (grunting) gas attack! gas attack! (over radio):gas attack! gas attack! ♪ ♪ (crowd screaming, murmuring) man (over p.a.):attention, please. attention, please.
(coughs) (over p.a.):please evacuate the building. please do not use the elevators. make your wayto the nearest emergency exit. simon: so, when it happens, as one day it must, it is imperative not to panic. follow the drill and let the training kick in. if circumstances allow--
if, remember, only if-- in the event of an event or situation, we are to remove, where possible, the most valuable item or items and take them to a place of safety. (gun cocks) stop right there. step back. simon: remember,
do not be a hero. put it down. simon: no piece of art is worth a human life. (click, whine) (electronic whine, zapping) (man groaning) (exhales sharply) no, no, no. no, no, no...
(grunts) don't. (yells) (man gasping) fucking idiot. (indistinct chatter, yelling) (siren wailing) (coughing) (yelling)
(sirens wailing,people yelling and coughing) (man laughing) (laughing continues) riz, let's go. (alarm whooping) (quiet, indistinct chatter) (whirring) (camera shuttersnapping rapidly) afternoon, sister.
and how are you feeling? um, fine. been up? mm-hmm. walking? uh, yeah. walking and everything. you know who you are? (laughs)uh, yeah, i think so.
how do you feelabout going home? jolly good. right. come on, troops. let's go. thanks, mate. oh, fuck off. fuck's sake. (sighs) man. (electronic trilling) hello?
hey, simon. hey, franck wants to see you,innit. (screaming) where is it? (crying):i don't know. i'm sorry, franck. you must have taken it. you must have put it somewhere. yeah.
yeah, i-i must have.i know i... well, did you or did you not? i can't remember! i got hit on the head! that you remember? yeah, i got a big fucking scar on my head to remind me,don't i? what did you expect? you assaulted me.i had a shotgun.
simon, the plan was simple. all you needed to dowas take the painting and bring it to me. i know. i... so, where is it? i don't know. i can't remember. i can't remember. i'm sorry.i can't remember. franck!
amnesia's bollocks. everyone knows amnesiais bollocks. no, it's not. (screaming continues) (engine whining) franck:it's not going to work. nate:what do you mean? he cannot remember. how'd you work that out?
look at him. any man who knewwould have told you by now. (sniffs) hey. (whistles) whoa! you know what? i ought to kill you. why don't you? finish the job and put meout of my misery. and then...
you can find your ownfucking painting. riz. give him some food. man: well, his brain is intact on a gross level. on a smaller scale, who's to say? what i'm sayingis we don't know. the memories may come back;they may not. all you can do is wait and see.
isn't there somethingyou can do? for memory? no, nothing. except time. some sort of medicine? there's no drug therapyfor amnesia. what about other sortsof therapy? franck:here. pick one. ow! (inhales sharply)
hypnosis? (laughs) he said it might work. what am i gonna tell him? i'm gonna tell him i stolea painting and now i've lost it? you know, you makesomething up. what if that doesn't work? doesn't work? simon...
doesn't work?! okay, okay. um... that one. why her? i don't know.i like the name. right. you walk acrossa wide open space. exactly the sort of place
which might oncehave made you panic. you are in cape canaveral, and you are headof mission control. (grunting softly) the rocket is ready to launch,and although you are excited, you will notprematurely release the rocket. and now you watchas the spider leaves its web and crawls slowlyacross the floor towards you. there is 30,000 feet of airbetween you and the ground,
and the sound of those perfectlyfunctioning jet engines is making you feel calm,because you know... ...that you are not hungry and that these are feelingsof stress and loneliness... ...and that you will seethe ball cross the green and disappear into the hole. (whispers):yeah! simon:um, okay, um, my nameis not simon newton. my name is david maxwell.
uh, i cannot find my car keys. (microphone thumping) please stopdoing that. stop hitting it.stop hitting it. say your name. okay. um, my name isdavid maxwell. yeah, set. seriously, what ifi say too much?
franck:we wake you up. (cell phone vibrating,ringtone playing) (door opens) mr. maxwell? (over headphones):mr. maxwell? simon:that's me. i'm sorry. i mean, that's me. something the matter? of course not.
should we...? i'm elizabeth lamb. i'm... mr. maxwell. please. (whispers):okay. elizabeth: you've come to find your car keys? simon (over headphones):yep. elizabeth: well, they're just right in here. (simon chuckles)
i wish. hang up your coat. have a seat. have you ever beenhypnotized before? uh, no. no-- um... no, at least notthat i can remember. i suppose you've spent some time trying to rememberwhere you put these car keys.
i've, uh, tried everything. i just keep coming upagainst a brick wall. of course. so, i don't want youto do the work today. i want you to sit back. and i want youto close your eyes. we're starting, right. i want you to thinkabout someone else. someone who could do it for you.
(over headphones):another man. like you but not you. i want youto focus on him. let him take over. (over headphones):is he there? simon:yes. is he under already? shh! elizabeth:do you want to give him a name?
simon. (over headphones):simon newton. get him out of there. no, no, no, no. elizabeth:right, simon. welcome to the session. thanks. it's really nice to be here. now i want you to relax, simon.
simon:i like your voice. and now your mindis starting to think. so think about those keys. and you now canfeel them in your hand. the shape. the metal. and you can seethe color. blue. they are ona blue key ring.
and your mindstarts to think about the last time you remember them. simon: i'm trying to walk. and they're in my pocket. elizabeth: and i want you to picture them in your pocket exactly as they were before you lifted them out and you placed themsomewhere. a safe place that, when the time is right,
you will be able to reachfor them and they will be there. where did you saythey were? in the wardrobe. elizabeth: what's in the wardrobe, simon? the... (knocking) i'm sorry about that. (vibrating and ringtone stop) was i hypnotized?
no, you were justfinding your car keys. (grunting, clattering) come on. (dominic and nate muttering) whoa, whoa, whoa. fuck. let me fuckingget in there. let me fucking getin through there. guys, i'm really sorry.
i kept thinkingabout the painting. she just keptsaying "keys." well, that's it then,it can't be done. she got his name in 30 seconds, and she found the car keys. whatever is in his head,she can find. what am i supposed to say,that i lost my keys again? hey, simon,you're the clever boy. you got us into this,
so now you think of somethingto get us out. and you make it work. (door closes) (conversing quietly) whoa, hey! hey! man: fucking pedestrians! hey! uh, st. pancras please. you must think i'm stalking you.
no, i just thinkyou've put yourself under a lot of pressure. uh, to be honest, i'm not hereto look for my keys. i found them, thank you. i'm looking for somethinga bit more... personal. and... i can't tellyou what it is. it's not porn,i promise. (over headphones):and i just really needto find this thing.
elizabeth:and hypnosis is the perfect toolfor what you want. i don't need to know what it is. elizabeth (over stereo):so i'd like youto close your eyes and imagineyou're in an elevator. a wide elevator with velvet wallsand thick carpets. and as the doors close, your eyelids become heavier. and as your eyes become heavier
and the elevatorbegins to go down, you realize that this isthe elevator of relaxation. and now you're onthe third floor going down,and you could get out, but you want to go on, deeper. deeper. deeper into relaxation. and you feel that perhapsyou'll never want to get out. it's so safe here.
so comfortable. so relaxed. (loudly):i don't want to talk to simon anymore. shit! i want to talk to the menwho are listening. the men who hurt him. oh, fuck. (clears throat)
(panting) franck: you feel safe? elizabeth: safe? franck: mm. (men talking quietly) elizabeth: i don't think you'll hurt me. franck: you're right. absolutely. it would be irrational. and yet we are like that, aren't we?
all of us, sometimes stupid, irrational. it's fear, i think. fear of the unknown. there are four of us, but we are frightened of you. you don't need to be. i'm so glad to hear that. simon is an unusual subject. he floats in and outof trance very easily. but he's gota lot on his mind.
mm. fear, resentment, anger. why do you thinkhe did it? greed, most likely. does he strikeyou as greedy? everyone is,sooner or later. simon wanted the painting,that's it. for himself? well, it's not like hedid it for someone else.
quite sure of that, are you? please don't. so, can you do it? hypnotherapy will work. but? only if it's a partnership. very well. the finder's feeis three percent. it's not enough.
see what i mean? it's not aboutthe money. i have to have equal statusin the group. otherwise,simon won't respect me. if you want to make progress,you really have to move beyond getting one overon people, franck. elizabeth:hypnotherapy is a meansof altering unwanted ordysfunctional behavior. the unwanted behaviorin simon's case is forgetting.
dominic:you mean he's doing itdeliberately? elizabeth:not in the sensethat you mean, dominic. we keep secretsfrom lots of people, but most of all,we keep them from ourselves. and we call thatforgetting. now... simon... i'd like youto close your eyes. (sighs)okay, okay. i'd like you to thinkabout being at home.
home is a place whereyou feel secure, in control. (whales singing over tv) you are feeling refreshed and positive. and when the doorbell rings... ...you feel a rush of enthusiasm. parcel for simonnewton, please. uh... coming. hey, mr. postman.
elizabeth: you are excited. but you stay calm, because you know that this is no ordinary package. inside this packageis the memory that you havebeen waiting for. and you know thatwhen you open it up, you will findwhat you did that day, what you didwith the painting. and now,
taking your time, you open it. now, you're not going to rush... ...because it's a big stepeven to have got this far. slowly, so as not to upset the contents, franck, may i? (door creaks) (vehicles passing,sirens wailing in distance)
you okay? uh, fine. how did you meet them? uh, riz. i used to buy drugsfrom riz. that was it, really. well, the thing is,i needed money. what for? gambling debt.
i was... i am... (laughs):addicted... ...to gambling. (chuckles) uh... i was reallygood at it, you know. i wasn't quite good enough, though. and not really good enough isn't really good at all. not at that level. tried to give it up.
i tried everything i couldto kick it. i should have tried hypnotism. you should. maybe next time. anyway, i did what all bad gamblers do. i borrowed more and played for higher and higher stakes, hoping that my luck would change. and when that didn't happen... ...i panicked.
(men muttering) to various people, in various ways, i am in for moneyi don't have. never will. this painting came in. this fucking painting. francis:are you a gambling man, simon? uh...
'cause i'll wager youanything you care to name that i can flog this in theautumn sale for over 25 million. sterling. simon: and i know it sounds ridiculous, an inside job, but it just seemed like the answer. i didn't know any criminals,so i thought riz might. he brought me here. he introduced me to franck. (sportscast playing over tv,franck speaking french)
(shouts in french) franck cleared my debt in return for the painting. i owe him a lot of money. and i don't knowwhat i'm going to do. elizabeth: he's afraid that once he's remembered, you'll kill him. dominic: that's ridiculous. elizabeth: is it?
let's talk about killing. have you everkilled anyone, dominic? no. well, yeah, in iraq. loads, obviously, butthat's artillery, isn't it? you never get to seeexactly who you've, um... nate. killed anyone? define "killed."
(snickers) that's exactly whyhe won't open up. his behaviorisn't dysfunctional, it's entirely logical. it's straightforwardself-preservation. why do you think he cheated youin the first place? so what doyou suggest? how do we make himfeel more secure? in an ideal world,he'd kill you all.
that would do it, right? dominic:ideal. elizabeth: most likely. okay, but supposing, for the sakeof argument, we don't go for that. then what? he needs to see youweak and exposed to whatever it isyou fear the most.
(clicks tongue)nonsense. look, it's notgonna happen. he needs to knowthat you're vulnerable. if you're suggestingwhat i think... i'm a professional;i'm not going to put you on the stage. the answer is definitely no. elizabeth:now, the next voice you hearwill be simon's. and he is going to say the wordthat i have prepared for you.
and when hespeaks that word, you will descend into yourvery own world of fear, from which only hecan bring you back. strawberry. (nate grunts) (chuckles softly) (men laughing) (nate grunting) elizabeth:simon.
(gasping) (nate yelling) simon, say it. simon:strawberry. (laughing) that was incredible. you all right?you all right? yeah, i'm all right. why? he doesn't know.
oh, i'm sorry, man. (clanking) (elevator bell dings) (keys jangling) (water running) franck:shall i scrub your back? how did you...? well, i... i used to... i used to, you know...
so... we got enough, i think, to make our boyfeel secure. safe to remember,all that. i think so. now we progress. i like that. it's good. soon we'll have the painting. and what about poor old nate?
does he still fall to pieces at every mentionof the little berry? no. sustained posthypnoticsuggestion is more difficult. more difficult,but you can do it, right? not to everyone, of course. five percent? is that it? correct me if i'm wrong, please. five percentof the population? yes.
can be describedas extremely suggestible. wow, five percent. mmm. who'd have thought? and, uh, what can youmake them do? well, i'm just asking. i'm interested. all right. well, let's see.
if you hadthe right person, if you get a hold of them,dig right in, if you get themunder your spell, if you work hardand take your time and do it right, you can make themwant to do almost anything. (franck whistling jaunty tune) (upbeat melody plays)
♪ chanson d'amour ♪ ♪ ra, da, da, da, da ♪ ♪ play encore ♪ elizabeth: there you are, in an open-top car, driving through the french countryside with a beautiful young woman. and the radio plays some forgotten song, and the sun burnsthe back of your heads
in the warm wind. and with every mile you travel, all your problems seem so far away and so long ago. ♪ d'amour ♪ ♪ ra, da, da, da, da... ♪ and soon, a field of sunflowers gives way to a low building of stone and tile. the girl's dress, her calves lead you through a corridor to a vast room of paintings.
caravaggio's adoration. cezanne. vermeer's concert. van gogh. modigliani. manet. degas. and rembrandt himself. (gasps, chuckles) the storm on the sea of galilee.
elizabeth: these are the lost paintings, all the stolen and destroyed, but now together, authenticated, safe. she takes your hand and leads you into a final room. and it's in here, in this magical safe place, that you feel ready.
and you reach into the package, and you lift out your memory. the memory of what happened that day. the memory of what you did. and now, safe and relaxed, you decide to watch. you decide to remember. 50,000 pounds. i remember that day.
i remember. i take the painting. i carry it in front of me. and i cut the canvas free with a razor blade. i conceal the painting. (indistinct chatterand shouting) i carry on. remember, no piece of artis worth a human life. sound advice, that,and i try to remember it.
you see if you can. i discard the razor blade. we are to takethe most valuable item or items to a place of safe and...franck? stay back. he's about to look. i can't let him do that. (groaning) (groans)
from a safe distance, you see that youhave been hit. (muffled):simon? simon! but you continue to watch. n... you continue to remember. (groans softly) i still have it.
i wake up, and i stillhave the painting. i get up, and i go outside. there's a noise. (sirens wailing on video) i have to walk away. i cannot stay here-- not with this painting. i feel my heart vibrating. (cell phone vibrating) my phone vibrating.
i look at it. (tires squealing) (exhales) the car nearly kills me. she's in the car. who is? you are. oh, my god.are you all right? elizabeth?
i'm not elizabeth. shall i call an ambulance? i remember. (snaps fingers) i remember everything. look, why don't i take you to hospital? shall i help youwith your seat belt? why did you lie to me?
what? you made me forget. he's got it on him. look, he's got it on him. okay, maybe i ought to just... get him to open his jacket. call for that ambulance. he's got it on him!open your jacket. shh, shh, shh, shh.
who called you? i'm sorry.will you let me go, please? dominic:tell him where you left it! i don't want you to go.i don't want you to go. never mind her! forget about her! what are you going to do withthe painting? open his jacket! nate: he's got it on him.
what are you gonna dowith the fucking painting? just get him to tell uswhere he put it. (simon yells) tell us where you left it! elizabeth: simon, can you hear me? yes, i can hear you. elizabeth (over speaker):good. can you see the blue screen? i'm going to show yousome images
while we scan the response generated in your brainby each one. elizabeth: the images will continue to run, but you can override that by thinking of a particular one. and every ten seconds,the least chosen image will be discardeduntil there is only one left. however, every timeyou think of this one, you will receivean electric shock.
and the more you select it, the higher the voltage. do you understand? hello. i slept on the sofa. you... i was worriedabout you. (groans, chuckles) i had this dream.
wasn't a dream. ah. i am so... so, so sorry. elizabeth: what is a person, franck? not my line of work. it's fine. being obsessedwith someone is fine? (laughs) no.
but to have feelings... yes. elizabeth:what we are is the sum of everythingwe've ever said, done and felt all wrapped upin one unique thread which is constantlybeing revised and remembered. so, to be yourself, you have to constantlyremember yourself. it's a full-time job,but that's how it works. when you hit him on the head,
you broke the thread. he's fixing it with false memories, with fantasies. there's a space to fill, so... he fills it with me. he's in love with you? we call it transference. i don't knowwhat to say... now. but where is the painting?
the same place it's always been. yes, but now you arethe problem. but i may also be the solution. when in doubt, trysomething traditional. (laughing):traditional? okay. right. how's this? uh, how would you... like to, with me,go out somewhere? franck: what?
you're going to screw him?is that it? you'll fuck him justto get him to remember? i agree it's notconventional practice, but under the circumstances... pick me up at 8:00. where wouldyou like to go? you choose. i don't care. coffee's on.
(simon laughs) okay, but you wear a wire. (laughs)don't be ridiculous. simon:you can keep the rest. thanks, man. driver: cheers. franck: i don't like the idea of you being alone with him. elizabeth: i'm not wild about it myself, franck.
so if you can see any other wayto deal with this obsession, i'd love to hear it. (beep) elizabeth:i'm glad i had youchoose the place. it's a nice place. simon:yeah, it is. i... i haven't actuallybeen here in a while. elizabeth:so, what do you recommend? uh, i...
usually have the steak,which is a lie. i don't usually havethe steak. i... i've never...i've never been here before. simon, you need therapy. i've been feelinga little confused lately. i just imagined i'dbeen here before. i could have sworn that i'dmet that waiter before. and then what happens? i give him what he wants.
he's mine. and after that, he gives me what i want. what we want. just like that? he isn't really receivingelectric shocks. (yells in pain) he only believes he is. simon: just here. if you just pull in here on the left, thank you.
this is...this is me, actually. okay? it's all right. okay. have a good night. (simon clears throat) elizabeth: there's a problem. he's jealous. franck: jealous? of me? that's so cute.
and that's why he doesn't wantto sleep with you. it's complicated,but that's what he said. i really wonderhow he gets that. ask yourself. ah, 'cause nowit's my fault? i'm not assigning blame, franck. but you are alwaysassigning blame. you can't do it because of this,because of that. there is always something,
but it's neveryour fault, right? "it's a partnership, franck." "he's got torespect me, franck." "we've got to makehim feel safe." "we've got to showhim our fear." "in an ideal world,franck, he'd kill us all." hmm. in an ideal world, elizabeth,you'd go hypnotize the guy,
you'd bring me backthe painting, and you'd stop wastingmy fucking time. wait. (moaning, heavy breathingin distance) (alarm chirps) jesus. (trilling stops) fucking hell. simon, it's nate.
we need to talk. come up. (lock buzzing open) (gentle melody plays) ♪ right beforeyou close your eyes ♪ ♪ whispering your prayers ♪ ♪ when the sandman blowsyour eyes ♪ ♪ i'll be there ♪ ♪ when you wake upin the night ♪
i must remembernever to forget that you're a criminal. ♪ that creaks underthe careless foot ♪ ♪ gather roseswhile you may... ♪ you got a boyfriend? now you ask? i'm single. how is that possible? i was in arelationship...
he was violent,so now i'm not. got his address? that's very kind... but no, thank you. you should get even. get a little angry. to be angry isto be a victim. i've moved on. that's the onlyreal victory.
so why are youdoing this, then? because it makes a change. if you had to deal with morbidobesity and panic attacks... ...you'd see the attraction. ♪ the face of a loverlong-forgot ♪ can i tell you something? i'd rather not. ♪ gather roses while you may ♪ ♪ while the bloom is full ♪
♪ for the blossomsoon will fade ♪ ♪ and the bloom grow dull ♪ ♪ right before you closeyour eyes ♪ ♪ whispering your prayers... ♪ elizabeth:♪ when the sandmanblows your eyes ♪ ♪ i'll be there. ♪ (footsteps echo) hey. listen, i, uh...
i, um... can you... can you see me again? it's not exactlywhat i wanted to say, but... i mean, you know... good. be careful. elizabeth: and as the image grows closer and clearer,
you find that you are watchingwhat he did to you. you are watching the terriblethings that he did. but with every blow that you watch rain downupon you... ...you becomeonly more determined than ever. you know that it's possible to change your life and move on. that you will notlet this define you. you will not let yourselfbe violated by the memory,
as you are violated by the act. simon? it's all partof your plan, yeah? what are youtalking about? two of you,planning it together. you were justgonna get it out of me and then dump me,weren't you? simon, will youcalm down, please. how long have you beenfucking franck?!
where did thatcome from? it's true though, isn't it? you know it isn't. nate told me. why would he lie to meabout something like that? because he wants franck out. he wants the paintingfor himself. no, no, no, no,i don't believe that. i don't fuckingbelieve you!
don't believe what? the existence of greedin human beings? grow up, simon! you fucking... for the past week, you'vemade every kind of excuse not to touch me, and nowthat the moment's come, you resort to someinsane fantasy... (both panting) wait. wait.
i know what you want. there's somethingi have to do. ♪ i tried to knowwhen to leave ♪ ♪ she sits in the bedroomand grieves ♪ (quiet mechanical buzzing) ♪ there's a sequence that startsall again ♪ ♪ she can't get up anymore ♪ ♪ with the pain ♪ ♪ the combinationof these drugs ♪
(buzzing stops) ♪ has left her hopelessand lost ♪ ♪ she wants to count the waves ♪ ♪ but she can't count again ♪ ♪ i... ♪ ♪ will be right here ♪ ♪ till all the pain ♪ ♪ just disappears ♪ (gasps)
♪ don't want to escape ♪ how did you know? you told me. close your eyes. ♪ i strangled my words ♪ ♪ once ♪ elizabeth (over headphones):simon. ♪ i tried a thousand times ♪ relax.
♪ when the silver shinesso hard ♪ ♪ i tried to poison my life ♪ ♪ always dreaming of the edgeof the knife ♪ (song continues on radio):♪ she always looked backwards ♪ ♪ and i could sit here... ♪ ♪ i... will be right here... ♪ you know whereit is now? maybe. told her yet?
you want to talk? yeah, it's about time. (sizzling) so, simon... we're all here. do you want to talkus through it? (sportscast playing quietlyover tv) (chuckles):yeah, i really do. i, uh...
(crowd cheering over tv) i'm sorry,i just feel a bit nervous. come on, it'sall right. okay. uh, do you mindif i use your...? yeah, please, please. just be a minute. (water sloshes) (announcers speaking frenchover tv) nate: so how longis this gonna take?
franck: it's all right.i told him to wait. nate: he'll lie.i bet you anything, he lies. dominic:he'd better fucking not. franck:don't worry, if it turns out he's lying, we just kill him. nate: hang on, we're gonnakill him anyway, aren't we? (laughter) franck:there's that. shh.
(laughter stops) (thumping) (cell phone ringtone playing) simon: it's me. (over phone):where are you? i'm at franck's house. jesus. what are you doing there? elizabeth, they're goingto kill me. no, they are. you were right.
this is what they alwaysplanned to do. don't you see, this... this is why i hadto hide the painting. simon, calm down. where are you now? i'm in the hallway.the doors are locked. all the doors are locked. go upstairs to franck's bedroom. there's a pool and a hallway.
do you see the bedside table? open the drawer. no, the lower one. is there a gun? do you think you can use it? i don't know. i've never used one before. do you want meto call the police? no, no, no, no, no.
no, it's better this way. yes? i have something to tell you. are you ready? i remember where i put it. you don't have to tell me. i do. i might never see you again. i need to tell you where it is.
tell me now. it's in a red alfa romeo in the underground car parkin marble arch. i love you, simon. i love you, too. (men laughing, chattering) please, simon. calm down, you'vegot it all wrong. it's not whatyou think.
she's using you, simon. she's using youlike she used us. (groaning softly) she has been using youfrom the start, simon. (gunshots echoing) (elevator humming) (quiet clatter) so where has she gone? huh? don't let herget away, simon.
not after all this. i know, franck. i know what you weregoing to do to me. she put that there. it's not real. she's not comingback, simon. once she gets it,she's gone! if i wanted to kill you,why aren't you dead? because she loves me,
and i love her. (gun clicks, simon screams) that's what she thinks of you. (chamber spins) it's my gun. it's empty. she took it frommy apartment. (elizabeth gasps) where the fuck do youthink you're going?
i got this. so, who knows? she does. you leave her alone. he found it the first time. the first time hecame to see me. remember? you thought you'd justfound your car keys. but you were right, it's in there.
it's in the car. dominic: no, it's not. i took that car to pieces.it's not in there. elizabeth: no, it's not in his car. in the other car. the red one. (fingers snap) nate:where is it?! please, please, please,i can show you.
i can show you. get him dressed. (elizabeth grunts) go and get it. and take himwith you. what is this? dominic: you're luckyyou're still in, franck. bring it back here, and we'll keepan eye on her.
promise. say something. ah, allow the mushy shit. doesn't give up, does she? (moans softly) go and get it, boss. like he says, you'relucky you're still in. drink? yeah. cheers, mate.
(screams) (pop music playing loudlyover tv) franck. you see what she gaveto me, franck? that's what she thinks of me. whoa... hey, allow me, bruv,i didn't touch her. wait, wait, wait, wait, wait. (keys jingle)
you knew. (bullets clinking) (nate continues screamingin distance) nate:help me! you knew... ...what i would like, didn't you? (nate groaning) help me. help me.
help me. (gunshot) get down the stairs.get down the stairs. elizabeth:no, no, no, no! no! no, no! he can help us. please. for me. you go. (panting softly)
elizabeth:it's really silly of me, okay. i've been out of the country. and-and i'm such an idiot. i-i... everything's a messand i can't find the ticket, but i really need the car. 1,848 pounds. not a mistake i'll make again. (car alarm chirps) (quiet squeak in distance)
not here. (keys jingling) franck knows a goodplace, don't you, franck? you can drive.on you go. you, too. you sit in the back. (engine starts) tie your handon to the wheel. tie it tight.
tighter than that. here you go. (thunder rumbling) simon:i would like to knowwhat happened. it's all inside my head,isn't it? there's something hidden... inside me. what is it? it's a memory.
a memory? suppressed? simon, maybe there aresome things it's better never to remember. franck: don't! franck, you're alivebecause i allow it, but i canchange my mind. i have free will.i have free will. don't i?
yeah, yeah. don't i?! all right, then. all right, then,let's see if i do. you take me to it. so... it's a yearand a half earlier. you want tostop gambling. that's all. here you go, mate.
400 to play. all in. elizabeth: you select a hypnotherapist at random. and so you go to meet her. simon newton. hello, there. nice to meet you. simon newton. hello.
so, what would youlike to talk about? now, i have amoderate problem, uh, with onlinegambling. i still have enoughmoney to pay for dinner and things, though. elizabeth: you get along well. there is an immediate rapport. and so treatmentbegins. but your addiction is hard to crack,
and repeated sessions are required. cheers. we should do thiswith alcohol. (both laugh) elizabeth: you grow close to the therapist. i miss youwhen i'm not here. too close. and so you beginan affair. a strongly sexual affair.
you stay there. elizabeth: she knows that it's wrong. she shouldn't do this, not with a client. but she does. simon:if you look at thesistine chapel, there's tons of flesh,but there's no hair. the hair serves to remind usof our biology, our origin. but without it, there'sa perfection, untainted. anyway, art moved on,as it must, it has to.
but, actually, no,it was goya's fault. the naked maja. after that, it'salways there, the hair. yeah, that's the lady. that's modern art. no perfection anymore. okay, i get it. elizabeth: she will do anything for you. you fall in love with a kind of perfection.
the kind you like. uh, you're an elephant? no, i'm notan elephant. no, it's the goya.it's the witches in the air that i was telling you about. oh, wait, wait, wait. elizabeth:but then you become possessive. suspicious. night and day,
you fear that you will lose her. it torments you. and you become jealous. who are you texting? sorry, work. you start to believe that you depend upon her. that without her, you will die. you start to hate her as much as you love her.
and then one evening, after you've accused her of looking at another man... you keep your mouth shut! why don't you just sit down,thank you very much. don't they makea beautiful couple, everybody? you can just look at him now. just feast your fucking eyes! elizabeth. no, i'm leaving.
i'm leaving. elizabeth: she knows she has to get out. (sobbing) she has to break it off, but you won't let her go. you persist. you apologize. you write long letters vowing never to do it again. you weep, you call.
(line ringing) she is frightened. please, i just need to talkto you for two minutes. i just need... really frightened now. please, let me come in. and she knows if this goes on, there can be only one outcome. hi.
how you doing? elizabeth, i just need youto let me apologize and see that you accept that. i need to see thatin your eyes. then i'll leave you alone,i promise. just two minutes,that's all i need. elizabeth: in the end, she knows that you will kill her. please, stop.please, don't.
please, stop. simon, you're hurting me. it's okay, it's okay. no, it's not okay. elizabeth: the police are not interested. lawyers advise her to change her name, to leave the country, but she will not do this. she will not be a victim twice over. instead, she will take control.
so she perverts the therapy you've insisted on continuing. it's not the gamblingthat you want to forget. it's me. you want to forget me. you made me forget? she makes you want to forget. you're forgetting me. you're forgetting us.
and you feel somuch more relaxed. so much more free. leave. elizabeth: and gradually, day by day, week by week, you do. you call less often. the passions subside. you're late for therapy. then one day, you don't come at all.
at last, you have suppressed the memory of me. but you knew. simon:you knew i'd come back one day. elizabeth: your memory is not destroyed. it is locked in a cage. and with enough force, enough violence, the lock can be broken. it comes back,
the memory. not completely. not entirely, but enough to drive you, to make you feel youhave been cheated. enough to makeyou angry. (tires screech) what did she look like? you. god, are you all right?
no, i-i'm not elizabeth. shall i callfor an ambulance? uh, why don't i takeyou to the hospital. as the memory comes back... okay? shall i help youput your seat belt on? okay, maybe i should justcall for that ambulance. will you let go of me, please. i don't want you to go. (sobbing):i don't want you to go.
woman: look, i'm sorry, whoever elizabeth is,she isn't me. (choking) (sobs softly) elizabeth: a few months later, you came back. that's, uh... that's me. is something the matter?
i'm elizabeth... lamb. you've come to find your car keys. well, they're just right in here. stop. (brakes squeak softly) can you give herthe keys, franck. it's in the back. (water dripping) (lock clicks)
(trunk lid crackling open) (flies buzzing) (keys clink on ground) is it there, elizabeth? elizabeth, is it there? (sobbing softly) (whispers):i'm sorry. i don't want it. don't know that i everreally did.
maybe you can tell me sometime. no! no! no! no, no, no. no, no, no, no, no, no, no,no, no, no, no, no, no... go away! elizabeth:simon, you don't have to do this. i want...
to forget that you didall this. (whispers):no. please! (car horn blares) (car alarm wailing) (mutters) (electricity crackles) (engine revving) (gun clicking)
merde! merde! merde! bring it to me. (simon screams) stop, please! ♪ it has been a thousand yearssince i gave up hoping ♪ ♪ left all my heartand all my tears ♪ ♪ at the bottom of the ocean ♪ ♪ i hit the ground,i hit the dirt ♪
♪ went cold turkey,gone to church ♪ ♪ i just kept on running,running, running ♪ ♪ running, running, running ♪ ♪ got real good at laying low ♪ ♪ got the hang of breaking ♪ ♪ today i feel a volcano ♪ ♪ today something is changing ♪ ♪ can't hold it down,it's breaking loose ♪ ♪ i could try,but there's no use ♪
♪ i'm running, running, running,running, running ♪ ♪ here it comes... ♪ (doorbell rings) there's a parcel for le pere. ♪ hold them steady,blazing guns ♪ ♪ ooh, get ready ♪ ♪ 'cause here it, here it, hereit, here it, here it comes... ♪ hello, franck. it looks good.
don't you think? hanging on the wall? i thought it might make methink too much of him, but... instead i think of you. you want me to send it back,don't you? or sell it and divide the money. but... you know i can't do that.
not when it means so much to me. not when i've worked so hardfor it. simon, you're forgetting me. even when you have forgottenthe one you love, you will gamble, lie, cheat and steal. (gavel slams) francis: sold!
steal for her a painting. simon, a paintingfor the woman you hurt. for the woman you left behind. (cell phone vibrating,siren wailing) elizabeth:now, perhaps, someday,you'll find me. i hope that you do. but if it's all too much, if you wish that we'd never met, that it had never happened,
i can make it go away, franck. all you have to dois touch the screen. press right here... ...and follow my voice. the choice is yours. do you want to remember, or... do you want to forget? (clicks tongue) ♪ had my time a time or two ♪
♪ it came unexpected ♪ ♪ i felt preyed on,i felt blue ♪ ♪ hit me like electric ♪ ♪ working on my rescue plan ♪ ♪ i'm afraid thatthere's no one ♪ ♪ for loving, loving, loving,loving, loving, loving ♪ ♪ jumping off the windowsill ♪ ♪ flying over cities ♪ ♪ i left a note,i paid my bills ♪
♪ i wonder if they'll miss me ♪ ♪ 'cause i don't knowwhen i'll return ♪ ♪ i've waited long,but here's my turn ♪ ♪ loving, loving, loving,loving, loving, loving ♪ ♪ 'cause here it, here it, hereit, here it, here it comes. ♪ (song ends) (distant):♪ when you wake upin the night ♪ ♪ sounds the second stairthat creaks ♪ ♪ under the careless foot ♪
(echoes):♪ while you may ♪ ♪ is full ♪ captioned by media access group at wgbh access.wgbh.org
