Original subtitles

MAN NARRATING: How is it that we know who we are?

We might wake up in the night, disoriented, and wonder where we are.

We may have forgotten where the window...

or the door or the bathroom is,

or who was sleeping beside us.

We may think perhaps that we have lived through what we just dreamed of.

Or we may wonder if we are now still dreaming.

But we never wonder who we are.

However confused we might be about every other particular of our existence,

we always know that it is us,

that we are now who we have always been.

(GUNSHOTS)

We never wake up and wonder, "Who am I?"

Because our knowledge of who we are...

is mediated by what we doctors of the mind call our self-schemata.

The richest, most stable and most complex memory structures we have.

They are the structures which connect us to our pasts...

and allow us to imagine our futures.

To lose those connections would be a sign of pathology...

A pathology called amnesia.

But it makes no sense to begin this story here...

Without its history... its past.

So, let me take you back to a proper beginning.

To a time before identity has been confused.

(GUNFIRE)

- Let me take that. - No, thanks. I've got it.

- Please, I insist. - Really, Vincent, I've got it.

Happy to see you, Clay.

It wasn't the driver's fault.

He said the thing just froze in his headlights.

You should have seen what it did to the front end.

Incredible mess, blood everywhere.

Headlights smashed, the grill crushed...

We had to wait a hour and a half for another bus.

- Fascinating. - What?

We don't have deer in the city.

(ALARM BEEPS)

- Yeah, I guess you got your own problems. - Yes.

But if by that you mean thieves and vandals,

I'm afraid you don't completely understand.

Crime isn't so much a problem here.

As a fact, each man has his own jungle.

It's just a matter of understanding it and knowing where one fits in...

Knowing who are the scavengers, who are the predators.

Take me, for example, Vincent Towers.

I'm a very wealthy man with expensive things all around me...

And I'm forced to protect what's mine against the people who might feed off my privilege,

Feed off what doesn't belong to them.

It's the most simple and basic of lessons.

It's the law our father lived by.

It's a shame you never knew him.

- (WAGNER - TANNHÄUSER) - Look, don't take this the wrong way,

but I'm not exactly sure why you brought me here.

And I get the feeling that you've got the wrong idea about why I even contacted you.

I hope I haven't.

I just don't want you to think that I'm after anything.

Nobody knows we're brothers...

Not my friends, not my girlfriend, no one.

And I have no plans to tell anyone. That's completely up to you.

Thank you for honoring my wishes.

It's just when I saw you at the funeral...

To see how much we look alike.

It just didn't seem right not to, at least, say hello and to meet you,

at least once. I just felt I had to do it. You know, common blood.

Yes, yes, common blood. I think I understand, Clay.

Our physical similarity is disarming, isn't it?

Look,

the fact that we're brothers, I just don't want you to misunderstand.

Your restraint is admirable.

Yeah, thanks.

So, this is where you lived with our father?

Our father?

No, I only just moved here.

I chose this place for aesthetic reasons.

I'm afraid there's been a slight change of plans for the weekend...

I haven't told you about.

Can you hear me?

Yeah.

I have to take care of some business in Los Angeles.

It came up suddenly. I'll be back tomorrow.

But you know I gotta go back to work. I'm only gonna be here through Sunday.

We'll have plenty of time to talk when I return.

I'm sorry this is so sudden.

But business...

Well, business.

All right. I guess I can meet you back here tomorrow.

Clay, you don't seem to understand.

I'm only going for the night.

You'll stay here. I insist.

My flight leaves in an hour. It can't be helped.

I'll be back in the morning.

I apologize.

I hope you won't mind driving me to the airport.

It'll give you a chance to see the city.

Well, then.

These clothes are for you.

I hope you won't be offended by a small gift. A token of brotherhood.

I'm sure you're my size.

As you pointed out, our physical resemblance is striking.

I put your dirty clothes in the hamper.

This was our father's watch.

Now that you're a member of the Towers family,

I thought it appropriate that it be yours.

Vincent, I can't take this from you, or these other things.

I meant what I said, I don't want your money.

I didn't come here to take things from you.

But I assume you didn't come here to be rude to me.

- That's not the point. - Clay. This is a gift, a gesture.

It's given, not taken.

Yeah, but you're doing the giving, I'm doing the taking.

These things are meant simply as a gift.

Nothing more.

If your pride demands that you refuse a gift, so be it.

I only thought you'd like to feel a part of all this.

I'll be finishing up downstairs. We haven't much time.

Clay, we've got to go. It's getting late.

- What are you looking for? - My Saint Christopher medal.

I found the chain, but the medallion is gone.

It was my mother's. I don't want to lose it.

We'll find it later. Come on. We've got to go.

Clay.

All right. All right.

I think the clothes are a marked improvement.

I guess you would. Now I look just like you.

(WAGNER - HOHO! HOHO! HOHEI!)

Have you ever used a car phone?

I don't even know anyone here.

I often get calls in the car and I'd appreciate it if you'd answer them.

And I may need to reach you.

All right, sure.

I hope you understand though that this couldn't be helped.

Sure. I'll see you tomorrow.

Let me know if I can pick you up.

I don't know what time. I'll call you tonight.

See you.

- Clay. - Yeah.

You won't forget about the car phone?

I got it, really.

Would you prefer smoking or non-smoking?

Smoking.

And can we book your return for you, Mr. Noland?

No, it won't be necessary.

Your seat is 3A.

Muchas gracias.

(WAGNER - HOHO! HOHO! HOHEI!)

WOMAN: They say any motive is pure speculation at this point.

- The only known witness... - (CHANGING CHANNELS)

P.A.: While on the moving sidewalk, please stand to the right.

Allowing those who wish to walk to safely pass on the left.

(SALSA PICANTE - MUCHAS GRACIAS)

(JOHNNY CASH - RING OF FIRE)

# And it makes #

- # Bound by wild desire # - (PHONE RINGING)

- (CONTINUES RINGING) - # I fell into a ring of fire #

- Hello. - Hi.

Vincent?

Clay, I'm sorry.

- What? - I was trapped.

There was no other way out.

What are you talking about?

I didn't know what else to do.

I'm sorry, Clay.

Vincent?

(STEADY TONE)

(SIRENS)

(TOM JONES - RING OF FIRE)

# Love is a burning thing #

# And it makes a fiery ring #

# Bound by wild desire #

# I fell into a ring of fire #

# I fell into a burning ring of fire #

# I went down, down, down #

# And the flame went higher #

# And it burns, burns, burns #

# The ring of fire #

(SONG FADES)

(CRASHING)

MAN: The patient is 37 years old.

He was in a car accident three days ago

and was admitted to county hospital semiconscious with oral bleeding.

Emergency care consisted of a tracheostomy,

an exploration of the right upper extremity

with fixation of fractures of the right radius and ulna.

Surgery explored his mouth, and the bleeding

from lacerations at the base of his tongue and cheek was controlled.

His left eye was enucleated.

There were also complex lacerations of the chest and right foot.

The foot was explored and found to have extensive damage to extensor tendons.

You can see from the plain film that the forehead is okay.

But we have some irregularity in both orbits

and a crushed comminuted fracture of the ethmoid sinuses.

We have a le forte three fracture here with an unstable mid-face.

Both maxillary sinuses are occluded with blood

and the posterior wall is difficult to see.

The mandible has multiple complex fractures

and is displaced to the left side.

Most of the pieces seem to be there.

Basically, he needs an open reduction and plate fixation of an unstable mid-face.

Great, he looks like a mess. Do we know what he's supposed to look like?

We have one photo on that driver's license that was in his wallet.

Of course, Vincent Towers. I thought I knew the name.

There's no family. But a Mrs. Jameson has made herself available.

Mm-hmm. She seemed to be an old family friend

as well as his accountant.

She wants to help with more photographic material.

Her number is in the file.

Has there been any clear drainage from the nose?

No.

And the C.T. Scan showed no subdural bleeding?

Inconclusive. We've ordered another set.

- So, is he fully conscious? - No, not fully.

He's on this corridor if you'd like to see him now.

Yes, let's go.

It's a very well put together little popper. Standard wares, but not crude.

If the guy in the car had been wearing a seat belt and hadn't been thrown,

he'd be toast for sure.

This is either a pro, or somebody who really did his homework.

- Can you trace any of this stuff? - No.

I can build you one like it at any five and dime.

Can you tell how it was activated?

No, but it wasn't on a timer.

Might have had a remote trigger. Could have even been activated from inside the car.

It's all in here.

So, what's this gonna do to your investigation?

I don't know. Damn.

Put a little pressure on this guy and, "Boom."

Somebody tries to whack him.

I just never figured it this way.

I never figured him for being mixed-up with somebody else.

Are you sure it was a hit?

What?

I mean, you think the guy's a little twisted, right?

So, he scraps with his father. It gets out of hand, he grabs a gun and shoots him.

Then, he's all torn up inside about it and tries to kill himself.

- Suicide? - Sure, why not?

I know you haven't been a cop long, Joe, but suicide?

I've seen a lot of suicides.

Poisons, gas, narcotics, leaping suicides,

suicides with guns... handguns, rifles, shotguns...

Not to mention suicides with automobiles.

But, uh, never, Joe,

never have I ever seen a suicide with a self-activated, remote-controlled car bomb.

- Is he gonna live? - Yeah, so they tell me.

But now his face is a mess and that's all I've really got to go on.

- So your witness came through? - Yeah, the bullet just grazed a nerve.

Her sight's coming back. But now I'm not sure his face will.

And it's kind of tough to do a lineup without a face.

(HONKING)

Hello.

Thank you for waiting. I'm Renée Descartes.

Hello. Alice Jameson.

Uh, the entrance is right this way.

I brought the videotape of Vincent's father's birthday party for you.

The one we spoke about.

- I hope it will be useful. - Thank you.

What a lovely dress. I do hope we haven't ruined your evening with this.

Oh, no, not at all. I'm meeting friends at the opera later.

How nice. I love the opera.

That's Vincent.

I'm afraid it's a little large and unwieldy for your purposes though

Yes, a little.

Uh, the bedroom is up there.

You will find his personal things there.

- Outside of that, you'll have to rummage. - Oh, that's fine.

I'm afraid this is all that's left.

Vincent insisted that the remainder of the estate be sold.

It was simply too much of a burden.

He's been tormented by his father's murder.

You mentioned the investigation. I read that...

Yes. The police have been incredibly difficult about it.

It's just another instance of Vincent being misunderstood.

He's a very sensitive person

and people tend to react negatively.

To his sensitivity?

No, to him.

He's had a... a very difficult life.

Few people have taken the trouble to really know him.

- Are these recent? - No, I don't think so.

The police were thinking of doing a lineup eventually with Vincent.

And as you of course know, that's going to be a little more difficult now.

- Here we go. This must be fairly recent. - Yes. He won that trophy last year.

(PEOPLE ON TV CHATTERING)

WOMAN ON TV: Vincent. Vincent. Vincent.

Vincent.

Vincent.

Hey, cheers.

(BARKS)

Hello, Dr. Fuller, this is Nurse Stevens.

You might want to come down. I think we may have a problem with Mr. Towers in 3334.

No, he regained consciousness, sort of. That's the problem.

You'd better come down.

No, no. I'm sure if it were just the matter of the bomb,

this policeman would not be quite this aggressive.

I thought I told you that the patient is the suspect in the murder case.

Yes, you did. I guess I didn't realize it was this urgent.

May I refer him to you the next time he calls?

That's fine. But I'd like to get some idea of the extent of Vincent's amnesia

before we start the police badgering,

Regardless of what he may have done.

Hi. I'm, uh, Lt. Weismann.

I'm here to see Mrs. Lucerne.

- Come in. Mrs. Lucerne is expecting you. - Thanks.

I had two birds before, Hugin and Munin.

But Hugin died when I was in the hospital.

I'm sure it was Hugin.

Everyone said they looked exactly alike.

But I always knew which was which.

I'm very good at that sort of thing.

Nothing wrong with my memory... Never has been.

That's wonderful, Mrs. Lucerne.

Now, if you wouldn't mind taking a look at some of the stuff I brought over.

This is a police video. It might make the course of events that night

a little more clear for you.

Do you mind? I've been anxious for you to see this.

Oh, not at all. The machines are over there. But I've already told you,

I remember everything that night just as though it were yesterday.

I've always had a very good memory. I'm very good at that sort of thing.

CLAY: I don't get it. I want to remember.

Of course you do, on a conscious level,

But it is your unconscious that won't allow you to.

And it is your unconscious

that has taken control over your memory for whatever reason...

The trauma of the accident or some other repressed anxiety

it doesn't want you to remember.

And thus it has created this barrier to your past.

And of course that it, your unconscious, is you.

There's nothing wrong organically with your brain.

That is what I mean when I say

you have created your own amnesia.

We can take this a bit further.

Research suggests that your own understanding

of how and what an amnesiac forgets...

Whatever you've seen in movies or TV...

has created a pattern by which you yourself have forgotten.

If you thought you could forget how to talk, for example,

We might not be having this conversation right now.

(CHUCKLES) Such as it is.

WEISMANN: This is the scene of the crime.

It's a few hours after you were taken to the hospital.

If this makes you uncomfortable, you let me know.

This first part isn't gonna mean much to you. This is the inside of the house.

That's where they found Arthur Towers' body. Now we're going outside.

That's the door he would have been coming out of when he saw you.

Yes, I heard a window breaking, like breaking glass.

Uh-huh.

Now, you said you were standing next to a car.

It was probably that Ford.

Yes, that's it.

CLAY: Not sure I have been dreaming.

To sleep is to dream, Vincent.

You know, in Spanish it's the same word.

Sueno.

- I have been sleeping a lot. - Fine.

You know, the poet Auden said,

"Learn from your dreams what you lack."

I think he had something other than amnesia in mind, but nonetheless,

you lack memories and your dreams will help us enormously.

Try and view this as an opportunity to explore your past.

Now, relax.

And I'll be back to see you tomorrow.

I'll be here.

WEISMANN: What I'd mostly like to talk to you about today,

is identifying the man you saw.

As I said, if you can identify someone,

We'd like to schedule a lineup as soon as possible.

I was hoping

that you could look at some of these photographs I brought for you.

Mm-hmm.

Hmm.

All of these men look so similar.

We chose the photographs based on the description you gave us.

I don't think I recognize any sort of distinction.

Photographs are so different from real people, you know.

I once met Elizabeth Taylor in person.

Just try and relax, Mrs. Lucerne.

Any help you can give us would be appreciated.

Well, if any of them looks right...

Yes. If any of them looks right, it's this one. But I wouldn't say for sure.

People look different in a photograph, you know.

It makes such a different kind of impression.

You wouldn't want me to pretend I'm sure if I'm not, would you?

Of course not.

Like I said, we'll, uh...

We'll be scheduling a lineup as soon as possible.

(MONITOR BEEPING)

(BEEPING CONTINUES)

(BRAHMS - ALTO RHAPSODY)

(CONTINUES)

WOMAN: Vincent. Vincent.

Hey, cheers.

Salt of the earth, wouldn't you say? My secretary told me that you borrowed the tape.

- Yes, I hope you didn't miss it. - No, no. Not at all.

I stopped by to see if you'd like to look over some of the materials I've been using.

Uh, mainly photographs.

I would, thank you. Do you have a minute?

Well, sure, Max. What's up?

- How much have you spoken with Vincent? - Oh, not much.

Two pre-op consultations, one post-op.

- Any opinions? - Only medical ones.

I'd be happy to let you see his chart if you'd like.

Really, I'd like you to try and speculate about his personality.

You've spent enough time with him to venture an opinion.

(CHUCKLES) Max, I'm no psychiatrist. I can fix the body,

but when it comes to the electrical system, it's beyond me.

Well, uh,

would you say he's a congenial young man?

I wouldn't say.

Come now.

Do you have no thought about this at all? Nothing unusual?

This is a very peculiar case.

Look, I would have to say that my impression so far hasn't been that positive.

But all I know about him is his background.

He has no job, he has very expensive tastes,

he has no friends or relatives who care to see him

and people seem to think he killed his father.

And yet, he seems quite pleasant to me, underneath it all.

There's a genuineness there that's surprising.

You watched that videotape, didn't you?

Yes.

But he's not behaving as he is known to.

His personality seems to have shifted ground.

Max, I grew up with boys like this.

They should have a complex named after them.

And it seems to me in this case that what you see,

is what you get.

SHINODA: Is this a recent photograph?

Yes. Vincent won this competition last year.

You're a champion marksman.

So I like to hunt?

No, not that I'm aware of.

This is all about target shooting.

I'm not sure when this one was taken. You've been traveling so much lately.

You try to make it to Paris at least once a year to shop.

We went together this year. Do you remember?

You took me to Maxim's.

This was made from a news photo. It was at your father's funeral.

The stroke was pretty hard on your father.

But it didn't seem to thwart his compulsion for social outings.

In fact, he thought that this was the most productive, politically,

of all his birthday parties.

My father was very popular, wasn't he?

He was very powerful, Vincent.

People treated him with great respect.

I don't look like I'm having such a great time.

You're a very rich man, Vincent.

I'm not sure if you already know that.

Look,

Dr. Shinoda wants me to be very direct and honest with you.

He feels that you need a fair perspective. One that will help you heal.

You've had a very tumultuous life.

I think you already know that your father was murdered.

He was shot

in what appeared to be an attempted robbery.

You, however, are a suspect.

- I'm gonna have to go... - No.

No, at this moment you are only a suspect.

Sidney Callahan, your lawyer, will fill you in with the details.

But we thought it was best if you heard this from me.

How was he shot? I mean, where?

He was shot in the head.

Once?

No. Actually, he was shot three times.

All in the head?

Yes, Vincent. All in the head.

You identified the body.

Did he die right away?

The coroner thought so.

He was already weak from the stroke.

I'm sorry.

This must be very unsettling.

Vincent, you have the opportunity

to see your past in whatever light you choose,

but for your future to begin,

you need to understand the past you've created.

I'll... I'll be here, Vincent.

I'll be here to help you through this.

- I shot him in the head three times. - Vincent.

You haven't even been charged with the crime.

It won't be productive for you to dwell on something we don't know yet.

Maybe this can be a new beginning for you.

Maybe even for you and me.

Three times.

I think maybe you should rest now.

Yes. You rest now.

DESCARTES: It's not something you're going to have to live with forever.

We'll need a second surgery

to get you really looking like yourself again.

We may have to do some contouring changes

and there will be some scar revision.

Does that mean don't be shocked?

Oh, you won't be shocked. You still have a very handsome face.

I think you'll be happy with the way things are turning out.

Alice told me... Alice Jameson... You met her, right?

Yes, I have.

Alice tells me you come from a long line of plastic surgeons,

Something about your father and his father.

Well, my father wrote a book.

He wasn't actually a plastic surgeon, but my grandfather was.

What was your father's book about?

A 15th century plastic surgeon.

My father is an art historian.

It's really not very interesting. I'm sure it would bore you.

(CHUCKLES) It might.

Why would an art historian be interested in plastic surgery?

Well, he was pursuing a theory

about Renaissance ideals of beauty,

And he came across Gaspare Tagliacozzi,

the father of rhinoplasty... nose jobs.

Well, actually, he's the father of modern plastic surgery.

And he codified a procedure for using a skin flap from the arm...

right about here...

to reconstruct the nose.

Do you still do skin grafts that way?

No, it was a little bit different back then.

The arm had to stay attached to the nose until the skin graft took.

For how long?

(CHUCKLING) Ten to fourteen days. Awkward, isn't it?

You're all unwrapped. You can take a look.

You look troubled. Remember, we're only halfway done.

Oh, no, it's... it's not that.

I just haven't...

I guess it's been a long time since I've looked at my face in the mirror.

It's okay, really.

I guess I never expected to...

I never expected to be...

(SIGHS)

Thanks, Dr. Descartes.

It looks great.

I'm glad you're pleased, Vincent.

Why don't you call me Renée? I think we'll both like that better.

Okay, Renée.

MAN 1: The gun that killed Arthur Towers

was the same gun that wounded the old lady.

It's a pretty rare German number that you don't see around much.

And guess who owned one. Bingo. Vincent Towers.

MAN 2: The entire staff has always had Wednesday evenings off

during opera season.

It's a tradition in the Towers household.

WOMAN 1: And it has been for years.

Vincent insisted that things not change after Mr. Towers' stroke.

Whoever did this must have known that Vincent wouldn't have been there...

MAN 3: I must have seen him go in because I take all the tickets.

We have very strict rules about that sort of thing

and I keep a close watch to make sure that...

JAMESON: Vincent never had friends.

He's just the sort that doesn't mix well.

I don't see why that makes him diabolical.

He just doesn't like to socialize and people don't take to him.

Those who know him understand that. He's a loner.

(PUCCINI - TU QUE DI GEL)

Wonderful!

We're awfully glad you're still here to celebrate.

Here's to a patient that's only been a pleasure to treat. A true gemini.

Hear, hear.

It's veuve clicquot, your favorite champagne. Taste familiar?

Thank you.

I guess it's my turn. Here you go. It's a little heavy.

It's beautiful.

It'll need some watching, but I thought you'd like some spring in your room.

Thank you.

Well,

I guess I'm last.

Happy birthday, Vincent.

It belonged to Grandmother Towers.

I was planning on keeping it, but after your accident and all I...

Well, you can use it now.

CLAY: I'm working the controls of the crane again.

But I'm wearing these funny glasses and nose, like a disguise.

I just keep working faster and faster, like it's a race.

I can't operate the crane fast enough.

But for some reason, I stop, jump down from the machine

and start to run fast.

But I don't know where I'm running.

But just like with the crane, I think I'm late,

Like something's starting without me.

And then, almost to go faster, my feet start turning into tires

and then I just turn into a car.

I don't know how I know I'm a car, I just know it.

- And no one's driving. - (PHONE RINGING)

- SHINODA: Hmm, a car. - (CONTINUES RINGING)

Yeah, a really fancy car.

Then before you know it, I run over a nail

and one of the tires blow and I skid into this huge wall.

Then I wake up.

Did the car seem familiar?

No. Well, maybe.

Can you talk about what that transformation to a car felt like?

I don't know. I just turned into a car.

Vincent,

it's important for you to try and remember every little fact or detail...

All the minutiae of your dreams.

For example, what color was the car?

How fast was the car going?

What make and model was the car?

The make and model of the car?

Let me give you an example of how this might work.

We all know names like Chevrolet, Chrysler, Buick, Dodge, Ford or Oldsmobile

to be names of car companies.

But think about, say, Oldsmobile.

Olds... mobile.

Old mobile... an old person's car, an antique car.

If, for instance, the car in your dream were an Oldsmobile...

Now, remember, Vincent, this is a very simple example...

Could that car in some way connect with your deep past?

A car of your father's? Your first car?

Dodge... dodging, moving quickly, getting away.

All from the make of the car?

I don't mean to say that the manifest content of your dreams

would necessarily have such a one-to-one correspondence to the events of your life,

but nonetheless, it almost always points the way.

As Freud said,

"Dreams appear like a coded puzzle."

I do remember wearing heavy boots,

like work boots, before I turned into a car.

But there was a needle sticking in the side of one of them

and a little trail of blood coming out.

Hmm, boots.

Good. That's very good.

- Emblem. - Scout.

- Hide. - Seek.

- Flower. - Seed.

- Wall. - White.

- Tower. - Babel.

- Eye. - Tooth.

Telephone.

Answer.

Ten.

Nine.

Eight.

Seven.

Six.

Five.

Four.

Three.

Two.

Wander around a little.

Try and feel what it's like to be here.

Let your body help you remember.

Don't push it if you feel fatigued.

You want a free association with body and memory.

These rooms may very well hold clues for us.

Just try and regard everything here as a kind of "fodder for remembrance,"

as Shakespeare said.

I think I remember. What?

I was gonna fix the place up.

VINCENT: We'll have plenty of time to talk when I return.

Clay, what are you looking for?

(THUDS)

Where am I?

SHINODA: In your home. You passed out. Do you know why?

I don't even remember coming here.

Your mind is frightened to remember.

Something here has caused it to be.

There are triggers here in your home, memory triggers.

What memory?

Your memory, Vincent, it's here.

I promise you.

(BRAHMS - GERMAN REQUIEM)

(CONTINUES)

JAMESON: Your face looks wonderful, really. It's remarkable.

But you haven't even got the sutures out yet.

Renée said that shouldn't make any difference.

Well, Renée's not thinking about your safety.

The police still haven't got a clue about that car bomb.

All the police wanna do is put a noose around my neck.

Maybe at home I can figure out who I am...

And figure out whether or not they're right.

Are you prepared to figure that out?

What's that supposed to mean?

Just what I said.

Maybe it's time for you to go home.

But you're going home unequipped.

You don't know what you need to know.

I don't know anything, Alice.

No. You simply can't remember.

You can't remember the man you were,

the way you were,

the actions you took, the things you did,

the things you said to me.

The way you were, Vincent,

the way you need to be.

Like you said, I can't remember anything.

But you will remember.

You will remember everything.

Did that happen in the accident?

No.

It's an old scar then?

I don't know.

It's another one of those things I can't remember.

(PHONE RINGING)

(RINGING)

Hello?

Hi, Vincent. It's Renée. Is anything wrong?

No, no. I just wanted to thank you for the flowers.

Oh, that. You're welcome. It was nothing.

It just seemed like such a cavernous and lonely place to be going home to.

It's all right. It's not bad.

Well, it's getting better.

Hey, uh, I was thinking.

Maybe we should go out to dinner or something.

Uh, maybe Saturday night.

I'd like that. Oh, I'm sorry.

I already have plans for Saturday night,

but we could get together earlier.

Are you free in the afternoon?

Saturday? Yeah, great.

(CHUCKLES)

You'll probably have better luck thinking up something for us to do.

Okay. I'll come up with something. Good luck settling in.

Thanks.

Renée, by the way, there was a medal on the night stand.

A medallion.

Did you see it when you brought the flowers?

No. I don't remember anything.

Hmm.

Well, I'm sure it'll turn up.

Thanks.

I'll see you Saturday.

- Okay, bye. - Bye-bye.

(CAR ALARM CHIRPS)

(GUNSHOT)

What a way to start the day, huh? One barrel, two kills.

You're up, darling.

Pull!

(GUNSHOT)

I don't really think of it as a game. More like a meditation.

You know, there's something about letting your instincts take over from your mind,

Letting everything flow in one easy motion.

It's a nice break from the technical precision of surgery. Pull!

(GUNSHOT)

But it can be a little noisy.

- Do you ever miss? - More than I do in surgery, but not often.

My grandfather used to say you could divide the world into people who could read,

people who could think,

people who could write and fox hunters.

He tried his best to make me into a fox hunter.

I don't think he ever imagined me in Phoenix.

Pull!

(GUNSHOT)

(DROPS RIFLE)

Not shooting much like a champion, am I?

- Every day? - Yeah, and in the afternoons.

And there's another guy out there in the morning sometimes.

And the patrol cars keep cruising by.

Vincent, I know it's annoying, but it's for your own good also.

Someone did try to kill you.

Weismann's not there for my protection.

He's there to hunt me, to hound me...

Because he thinks I'm a murderer...

And he thinks I'm gonna take off before the lineup.

Still, it can't hurt to have a little extra police surveillance.

- At least for a while. - A while?

Yeah, well,

you don't have the police department camped outside your doorstep.

Everything will turn out fine. I know it.

Yeah.

Hey.

I had a great time today.

It was fun being with you.

I had fun too.

CLAY: I'm all dressed up.

I'm wearing evening clothes, but it's like I wish I wasn't.

I feel silly, almost as if I was naked.

A car drives by and mud comes splashing up all over my clothes.

I know I'm supposed to meet someone at home, and I'm worried.

The mud is so sticky and thick.

Then a car stops, and I get in.

It's the same car I've dreamed about before.

I remember thinking, "What kind of car is this?"

That could be very important.

But before I could get out and check,

it wasn't a car anymore anyway...

It's a hospital gurney.

There are these little needles like they use in acupuncture sticking into me.

I can't feel anything. It's like my arm isn't my arm...

Or my leg isn't my leg.

And then it's really strange, but I wake up.

But I'm still dreaming.

It was a dream in my dream.

But I didn't know I was still dreaming.

- The alarm clock was ringing. - (RINGING)

But it wouldn't turn off. I kept hitting the button, but it wouldn't shut off.

Then out of nowhere, a huge needle, a syringe,

just smashes down and stabs me in my hand.

Then I wake up and I realize where I am.

And it's my alarm clock that's ringing.

What do you think might be important in this dream?

I don't know.

It all seems so disconnected and unimportant.

But it all does have meaning and it can help us.

As Freud said, "Nothing is insignificant."

You say it has meaning, but you're not showing me anything.

Pointed objects and medical things.

That's as far as we've gotten.

Everything else is... Dirt, junk, just run-down.

It seems like I have this fantasy life about being poor.

It's not an altogether improbable interpretation.

Given your near-death experience and the pressures of the investigation against you,

you may very well unconsciously wish to be someone else.

Maybe.

I never heard of anyone wishing to be poor.

Hmm. I'm just suggesting one interpretation.

It may have to do with the potential consequences of your predicament.

Losing everything. A prison term, for example.

I'm sorry.

Certainly, a lot of this revolves around general anxiety,

and needles may lead us in that direction also.

Being pointed out at a lineup, for example.

Or the old expression, you know, "pins and needles."

Oh, it's not about sewing, is it?

No.

It's not about sewing.

I didn't tell Dr. Shinoda this,

but I had a dream last night that I killed my father.

All I kept feeling was hate and anger,

and I just shot him.

Vincent, it's just a dream.

You have far too elegant a nose to have shot someone.

You have what they call a Greco-Roman or American nose,

sleek with a small prominence at the bridge and point.

Physiognomists were sure that people with Greco-Roman noses

were inclined towards music and literature and the arts.

Definitely not deviant behavior like killing people.

- Is that supposed to make me feel better? - Yes. And there's more.

I'm not just making this up.

I collect books on characterology and physiognomy.

It used to be a complete science.

You have a crisp, angular jaw.

A sign of patience and refinement.

And your fine straight hair,

almost always a sign of good mental temperament,

not to mention digestion.

And your mouth.

Thin, smooth lips, slightly open.

Lips that are a sign of an affectionate,

kindhearted and generous person.

Is there a feature for forgetfulness?

No, but you will get warts if you don't stop worrying about it.

Vincent, you're a kind and gentle person.

You'd like to think that, but...

I know that.

I know you.

Yeah.

You know me.

WEISMANN: Gentlemen, please do not speak unless you're spoken to,

and with your cooperation, this will be over quickly.

Oh, and please keep your hands at your sides and look straight ahead.

All right, Mrs. Lucerne, you just take your time and look at each of these men carefully.

- We're in no hurry. - Try and be clear about what you remember,

not what Lt. Weismann would like you to.

I'm always clear about what I remember.

Number two, keep your hands at your sides.

Who looks familiar to you, Mrs. Lucerne?

I think what the lieutenant means to ask is,

"Do any of these men look familiar?"

Isn't that right, Lieutenant?

Well, I don't remember anything about an eye patch.

Number two, please remove your eye patch.

I must say, it's uncanny how much this man looks like the man who shot me.

Number two, please step forward and turn to the right.

Face the opposite wall now.

Turn back toward us.

Is this man who shot you, Mrs. Lucerne?

As I told you, Lieutenant, you cannot tell from pictures.

Looking at the photograph, I would've thought I knew.

But now I'm not so sure. Hmm.

But you thought the picture looked familiar, didn't you?

Yes. Yes, I did.

And there's a striking similarity there, but he's different.

Could this possibly be the man?

- Lieutenant, this is getting... - Mr. Callahan,

you're either going to shut up or you're going to get the hell out of here.

The man who shot me had very different eyes.

They were farther apart.

And his nose was different.

His ears... Were lower.

His look was just different. I don't think this is him.

This particular man has had extensive plastic surgery, due to an accident.

His face is going to seem...

Might seem a little unfamiliar.

Well, then how do you expect me to identify him?

Precisely. It boggles the mind.

(SIREN WAILING)

(TYPING)

(VEHICLES PASSING)

(TRUCK HORN BLARING)

(BELLS CLANGING)

RENÉE: Look, there's your sign... "Needles." Just like you said.

That's it. That's the sign.

I still don't get it. You've been dreaming about every kind of needle known to man.

Why isn't Needles, California, just another mysterious symbol?

I don't know.

(BRAHMS - ALTO RHAPSODY)

But I didn't dream this. I remembered it.

Doesn't look like much, does it?

Uh-uh.

I don't know why, but I thought it would be bigger.

(OPERA CONTINUES)

- You all right? - Yeah.

I'm sorry.

Maybe it wasn't such a good idea coming here.

- Go on. - (BARKS)

This place is beginning to bug me.

I like it. It's got that sort of quaint,

desert backwater charm.

(CHUCKLES)

It's run-down and dirty, poor and pathetic.

You might be overreacting just a little.

Maybe.

I mean, relax. Enjoy the air. It's so warm.

The crickets are singing for us. Listen.

It's like a death knell.

Vincent, please. You didn't do it.

But I don't want to be told that anymore.

I want to remember not doing it.

(RUSTLING)

(WHINES)

(ENGINE STARTS)

I'm gonna go to my room now.

(BRAHMS - ALTO RHAPSODY)

So the needles in my dream

are the needles, this town.

I guess this is just another

meaningless code.

They are codes, yes, but not meaningless.

I cannot explain it all to you. No one can.

I can only help you find the connection.

Lead you in a more fruitful direction.

Yeah.

It's a dirty, run-down little town in the middle of nowhere.

I know this must be frustrating and disturbing,

but these memories, however confusing, are a very healthy sign.

At least your mind is struggling with your past.

Remember, Rome wasn't built in a day.

I gotta go, Doc.

I'll see you next week.

Why don't you come back and see me again tomorrow?

(CAR ALARM CHIRPS)

(ENGINE STARTS)

(ENGINE STARTS)

This is Captain Sparks. What can I do for you?

- I wanna know what's going on with Weismann. - Excuse me?

Well, am I wrong, or is your investigation over?

You're no longer under investigation, Mr. Towers.

Lt. Weismann has been reassigned to another case.

Well, maybe you'll ask him what the hell he was doing in Scottsdale yesterday...

And why he's been on my ass all morning.

Lt. Weismann is here in the office this morning.

Maybe you'd like to speak with him yourself.

Mr. Towers, Lt. Weismann is working at his desk.

- Maybe you'd like to speak with him. - (HORN HONKING)

Mr. Towers? Mr. Towers?

Uh, no.

No. Thank you.

(PHONE RINGING)

(RINGING CONTINUES)

Hello. Dr. Descartes.

- Hi. Renée? - Vincent, where are you?

Over by the Valley View Parkway.

I'm a little confused. I think something's going on.

- What's wrong? Are you all right? - Yeah, I'm fine.

But I think I'm being followed, and I guess it's not...

Sorry, Vincent. I dropped the phone.

- (TONE HUMMING) - I'm sorry, Vincent.

- I'm sorry. - VINCENT: I'm sorry, Clay.

- I'm sorry, Clay. - (HUMMING CONTINUES)

I'm sorry, Clay.

Vincent? Vincent, are you okay?

Renée,

I'm gonna go now.

I'll call you back later.

Are you sure you're all right?

Yeah. I'm fine.

I'll call you back later.

Try and relax, honey.

Yeah.

Bye.

WOMAN: Vincent! Vincent! Vincent! Vincent!

Vincent! Vincent!

(BRAHMS - GERMAN REQUIEM)

(GUNSHOTS)

(DIAL TONE HUMMING)

(PHONE BEEPING)

What are you looking for?

(PHONE CONTINUES BEEPING)

(STOPS)

WOMAN: This is 911.

I'd like to report a...

- Someone's been shot. - What is your name and address?

I'm at 134 Crest.

Is that the location of the incident?

Yes. That's where I am.

And your name, sir?

Sir, your name?

I am Vincent Towers.

You just got finished telling me you're Clay Arlington.

No. I told you I remember another past...

When I was Clay Arlington.

If your memory has returned,

don't you think it might be useful to integrate that past into your life?

- Which past? - The past you know to be your own.

It's all my past.

Who was hounded by the police?

- Who was dragged through a lineup? - That was a terrible mistake.

When I look in the mirror, I see Vincent Towers.

When I go to the club, people call me Vincent Towers.

Renée's in love with Vincent Towers.

Clay, we're talking about two distinct lives.

And one is gone.

There's a dead body that can't be identified.

And in a most real way, it's not the body of Vincent Towers.

I am Vincent Towers.

Clay...

You're burying the wrong life.

The one that isn't dead.

This is a very dangerous game.

You've made up your mind, haven't you?

You're not going back.

No, I'm not.

(HAYDN - STRING QUARTET 82)

(CHATTERING)

Vincent, Renée. Closer together.

Come on, Vincent. Let me see that handsome mug of yours.

Perfect. Perfect. Cheese!

(SHUTTER CLICKS)

SHINODA: I held out a small hope for a while...

that Lt. Weismann would put things together.

He tried for some time.

To this day, I do not think he believes the story that the events finally did produce.

Too many loose ends.

But they have all been forgotten now,

and in a sense, it has all worked out just as Clay said.

He was right.

But of course, he is ultimately wrong.

For he is not Vincent Towers.

He is Clay Arlington.

He may dress in Vincent's fine clothes,

drive Vincent's expensive car,

play golf at Vincent's country club...

Or use Vincent's box at the opera.

But this will not make him Vincent Towers.

He can never be Vincent Towers...

Simply because he is not.

Nothing can change this.

Not the material comforts his life may afford him,

nor the love Renée may provide.

And if, by some chance, over the cries of his true ego,

he is able to achieve happiness,

it will be false, empty.

For he has buried the wrong life, the wrong past.

Buried his soul.

He has lost all that makes life worth living.

Of this, we can be completely certain.

(TOM JONES - RING OF FIRE)

# Love is a burnin' thing #

# And it makes a fiery ring #

# Bound by wild desire #

# I fell into a ring of fire #

# I fell into a burnin' ring of fire #

# I went down, down, down #

# And the flame went higher #

# And it burns, burns, burns #

# The ring of fire #

# Yeah, yeah, yeah #

# Huh #

# All right #

# Come on with me #

# Oh, I fell into a burnin' ring of fire #

# I went down, down, down #

# And the flame went higher #

# And it burns, burns, burns #

# The ring of fire #

# The taste of love is sweet #

# When hearts like ours meet #

# I fell for you like a child #

# And, oh, the fire went wild #

# Mmm, I fell into a burnin' ring of fire #

# I went down, down, down #

# And the flame went higher #

# And it burns, burns, burns #

# That ring of fire #

# The ring of fire #

# Oh, I fell into a burnin' ring of fire #

# I went down, down, down #

# And the flame went higher #

# And it burns, burns, burns #

# The little ring of fire #

# That ring of fire #

# Yes, it burns, burns, burns #

# The ring of fire #

# The little ring of fire #

# It burns, burns, burns, the ring of fire #

(CELLO)