Original subtitles

(upbeat orchestral music)

(group chattering joyfully)

- Oh boy, what a ride.

Hey, did you see my parallels all the way

down from the top?

- Honey, I didn't see a thing.

I came down on my back.

(laughing)

- Me, too, but I saw you.

You came down like an eggbeater.

- Aww, ya wise guy.

- Come on, kids.

After all, isn't it wonderful to get out like this

and discover all kinds of new muscles?

- Okay, ain't it the truth? - Oh boy.

- Hey, kids.

Maybe we should go back up and look for her.

- For Shirley?

Ah, she'd love that.

- We shouldn't let Shirley ski out alone to Olympic Creek

without checking with the Ski Patrol first.

- [Woman in White sweater] Aw, come on,

let's go have a hot toddy.

- Yeah, now look.

Isn't it kinda silly to worry about Shirley?

I mean after all, she's only won

a couple dozen medals in the giant slalom.

- All right, Janie, we'll go buy our own.

Unless the, uh, boys from Stanford are around the bar.

(chuckling)

(upbeat orchestral music)

(upbeat orchestral music) (skis scraping the snow)

(dramatic orchestral music)

(dramatic orchestral music) (skis scraping the snow)

(dramatic orchestral music)

(suspenseful orchestral music)

(screaming)

(suspenseful orchestral music)

(ominous orchestral music)

(upbeat orchestral music)

- Hey Tod, listen to this.

"By November 1846, the Donner Party was forced

"to make camp by the lake which now bears their name.

"The snow had fallen to a depth of 23 feet."

Wow.

"And here they endured the worst storm to have raged

"through the Sierra Nevadas in half a century.

"The few who did survive who finally reached California

"did so according to historians

"only by resorting to cannibalism."

You believe that?

- I don't know, they say there's an animal

hidden in each one of us.

An animal more savage than a saber tooth tiger,

lurking just behind the bars put up by society.

- Well, if you gotta lurk, might as well

lurk at a bar, right?

(chuckling)

- And speaking of bars in Squaw Valley,

we've got our choice.

There's the Lodge, the Inn, Olympic Village,

the Bear Pin, pick your stool and make your sitzmark.

- Sitzmark?

- Hey, remember what a bad time you gave me in Malibu

with all that jazz talk?

Remember, Sticky Mark?

- Oh yeah, Sticky Mark.

- Yeah, well now you're in my kinda country.

- Uh-Oh.

- Where they speak my kinda talk, the kind I learned

on spring vacations in Vermont, ski talk.

Love, if you ever hope to be cannoney,

not just a shush-boomer, you gotta learn how to wedel.

- Ya, coach, (purrs) lead on.

(jazzy orchestral music)

(upbeat orchestral music) (people chattering)

- Where are all the homely women in Squaw Valley?

- Here, take another look.

- Hey, oh boy, I like it.

You know, this reminds me, you know, when I was a kid

I used to go to these flicks on 42nd Street, you know?

And I used to sit there bug-eyed watchin' these pictures,

you know, on the ski resorts.

You know, the ones where the guy can't pay the mortgage,

you know, and all the waiters play musical instruments,

you know, and the head waiter looks like maybe, uh--

- Nelson Riddle.

- Yeah, that's it, ya know.

And they throw a big musical show and there's

a rich guy there that has a daughter.

You see, and she ice skates, but she's pretty,

real pretty, you know, and she gets him

to pick up the tab on the mortgage

and then they both go away to, uh,

what was that word?

Shush?

- You thought that was only in the movies?

- Yeah. - Oh, no.

- Like, here I am makin' a scene and like, uh,

where are all the homely women?

- Hi.

(soft orchestral music)

- Well, hello there.

(soft orchestral music)

- Oh, she's probably sitting around a fire right now.

- No, I've checked and nobody's seen her.

- Well, she isn't up in the snow.

All the lifts closed an hour ago.

I just came down myself, last man off the mountain.

All our evening sweeps are in.

Nobody's on KT-22, nobody's on Squaw, nobody's on Papoose.

- I told ya, she said she might

ski up towards Olympic Creek.

- Mr. Wellers?

- [Mr. Wellers] Yes.

- Tod Stiles, Buz Murdock.

- [Mr. Wellers] Oh yes, how are you?

- Fine, thanks.

- Now, maybe she had an accident.

- Reynolds has been in Tower 12 all day.

He'd have seen her if she'd crossed into Olympic Creek.

You heard him yourself, nobody's skied in backcountry today.

- Well, I'm tellin' ya she's missin'.

Now, I can feel it.

- Well, I don't know how to put it, but...

Shirley Hughes has a reputation in Squaw Valley.

And not just for how well she can ski.

Maybe she stood you up, hm?

Lots of private homes around here, she could be anywhere.

- Yeah, I guess you're right.

- Look, I'll be at the sports desk any time after seven

if you're still worried about her then, drop in.

I'll put your mind at ease.

But I don't promise to tell you

exactly where you can find her.

Ski Patrol only keeps people out of trouble in the snow.

Once they're off the mountain,

once they take off their skis,

they're on their own, now is that clear?

- Yes, sir.

- (chuckles) Still want to sign on?

- Why not?

- Well, you've gotta be a diplomat,

a public relations expert, a father symbol,

a ski instructor, St. Bernard all rolled into one.

- You got my letter.

- Ya, and I checked it out thoroughly.

You're okay.

What about you?

- Oh, I carry the brandy.

- Un-huh. (chuckles)

Did he come to Squaw Valley to work or just to play?

- To work.

- Unh-unh, a little of both.

- The reason I ask, Penny, the girl who runs

our ski shop, needs some help.

Pays $50 a week, interested?

- Well, like I say, a little work and, um...

Play.

- [Skier] Penny, these weren't as good

as the ones I had yesterday.

- [Penny] Miss Hastings, what did I tell you this morning?

(squealing and shouting)

You don't pick skis by their color

that match your stretch pants.

Now, tomorrow morning I'll choose them for you.

Skis with the right camber for you, all right?

Any other complaints?

- Yeah, just one.

What do you do for bruises?

- [Penny] More lessons.

(group laughs) - [Skier] Oh, smart aleck.

- [Woman] Let's go back (mumbles) some more.

- [Man] Not me, I've had it for today.

- Hello. (suspenseful music)

- Can I help you, Mr. Fontaine?

- Mm-hm.

What do you have in jumping skis?

- Do you jump?

- Yes, I learned in Norway.

- Well, come back and see for yourself.

- Thank you.

These will do.

- All right.

- I understand the 60 meter hill is open until sunset.

Wish me luck?

You can put those on my room charges, please.

- Fine.

All right, sign here.

- All right.

Here.

- Why are you jumping?

- Well, (chuckles) they say the man who can better

the 60 meter record is the man to take you

to the dance tonight.

- Oh, well, that's just a little game they play around here.

- Oh?

- Actually, I don't care that much about the dances,

and nobody's about to break the record,

so I just catch up with my reading.

- Well, we'll see.

- Anyway, why do you wanna take me?

There's not a shortage of girls in Squaw Valley.

You haven't been here very long.

I don't even know you.

- Well, look around the valley, Mrs. Foster.

Does anybody really know anybody or care about anybody?

My father knew your husband.

- Harv?

- Yes.

He said that Harvey Foster was one of the first

to try the extreme forward lean.

Almost lying on his skis as he soared through the air.

It would be my pleasure to take his widow anywhere.

And, (chuckles) to save her

from some of the men around here.

Well, this isn't going to better my record, is it?

(orchestral music)

- Well, that eliminates Grives.

He did the same thing I did.

- Looks like Penny's never gonna make

a Saturday night dance.

- You don't actually think she'd go if someone

did better Harv's record, do you?

- Sure, she's a good sport, she'd go.

Course all she'd do is talk about Harv.

- [Man With Megaphone] All right, Fontaine,

start your run.

(suspenseful orchestral music)

- Beautiful.

If that had been in competition I'd have given him

a full 60 for distance and 50 for form.

That was close to perfect!

- I'll go along with that, but it's still short

of Harv's record.

- You don't actually think he was trying

to beat Harv's record, do you?

- I got the feeling that he thought he could.

(ominous orchestral music)

- [Penny] Otto.

- Brought you some help, Penny.

- Buz Murdock...

- How do you do? - And Tod Stiles.

- Hello. - Hi.

- But I just need one.

- Well, that's me.

He'll be out patrolling.

- Wouldn't ya know it?

- Yeah, wouldn't ya know it?

- I told him $50 a week.

- (chuckles) It's just waiting on the guests, actually.

Renting them equipment, checking it out, checking it in.

It's more than I can handle by myself.

I never seem to get out of this place.

- Well, why don't I start right now?

- Fine.

- Why don't you check in or somethin'?

- Mm-hm, yeah, okay.

See ya later. - Yeah.

- No more excuses, Penny.

I want to see you out and around now.

- (chuckles) All right, Otto, thanks.

- Well, um, where do we start?

- Otto neglected to tell you my last name.

It's Foster, Mrs. Foster.

- Oh.

- I thought we ought to start out even.

- Even?

Well, that's not even, that's three strikes and you're out.

But, I can still work hard, deal?

- Deal.

(ominous music)

- Well, do I go to the dance tonight

or do I stay home with my books?

- Your husband must've run with eagles, Mrs. Foster.

I jumped my best jump but it wasn't...

It wasn't good enough.

(ominous orchestral music)

Well, maybe next Saturday.

Is the offer still open?

- Still open, Mr. Fontaine.

(ominous orchestral music)

- Well, goodnight.

- Goodnight.

(ominous orchestral music)

- Well, um, where would you like me to start?

Shall I mop the floors or, uh...

rearrange the skis?

- Walk me home.

(suspenseful orchestral music)

Let's just close up now and get out of here, huh?

I feel kind of...

kind of cold.

(suspenseful orchestral music)

(Penny screams)

(suspenseful orchestral music)

- Come on, let me buy ya a drink.

- Oh, Buz, I don't think I better, no.

- Oh, come on, your husband won't mind.

- [Penny] But I...

- Come on.

(soft orchestral music)

(ominous orchestral music)

(somber orchestral music)

(ominous orchestral music)

- Tell me I'm wrong about her?

Please, tell me she's everything I want her to be.

(ominous orchestral music)

(hands smacking flesh) (dramatic orchestral music)

(suspenseful orchestral music)

Transportation desk.

This is Armand Fontaine, uh, Room two, 218.

How soon can you get me a reservation

on the next plane out?

(stutters) Any plane to anywhere, just so I can leave now.

What do you mean all the planes are grounded?

Don't tell me you can't fly through snow,

I've flown all over the world through snow.

(groans)

All right then, train.

There's a train out of Reno, isn't there?

The roads to Reno are what?

Well, then get a snow plow and clear them!

No, I'm not kidding!

No, I...

I wanna leave today.

No, I can't wait...

(phone dings)

(dramatic orchestral music) (glass shattering)

(ominous orchestral music)

Oh, Mama.

Mama.

Help me, Mama.

Help me, Mama.

(crying) Mama.

(dramatic orchestral music)

(suspenseful orchestral music)

- Freddy?

Otto.

Say, is Shirley there?

Okay, thanks.

(rotary dial clicking)

(exhales loudly)

Hans? Otto.

(speaking in foreign language)

Five will get you 10, she met that Chilean champ, um...

- Jose Raley?

- Yeah. (chuckles)

(clapping and singing)

♪ Oh when the saints go marchin' in

♪ Oh when the saints go marchin' in

♪ Oh how I want to be in that number

♪ When the saints go marching in

♪ Oh when the saints

♪ Go marchin' in

♪ Oh when the saints go marchin' in

♪ Oh lord I want to be in that number

♪ When the saints go marching in

♪ Oh when the saints

♪ Yeah those saints

♪ Go marchin' in

♪ Oh when the saints go marchin' in

♪ Lord, I want to be in that number

♪ When the saints go marchin' in

(patrons cheer and applaud)

(soft orchestral music)

- Goodbye, Buz.

- [Buz] Oh listen, what time do I show up tomorrow morning?

- 7:30?

- Well, I tried. (chuckles)

Hi.

How'd ya find me?

- Just asked for her address.

Oh well, she's married.

- Her husband died last year.

- She never mentioned.

- You asked?

- Yeah, I kept mentioning him, but...

- Maybe she doesn't like to talk about it.

- How do ya like that?

It must be destiny or somethin'.

I always get involved with girls whose husbands...

I learned my lesson.

- Yeah, well, just to make sure I've laid out

our schedule for tonight.

- Oh?

- We start at the Olympic Village, big dance.

Gonna show you how the ski people live at night.

(upbeat orchestral music)

Hey, I thought you said you learned your lesson?

- How, do ski people live at night?

- Now, that's my boy!

(engine revs)

(group chattering)

- May I have your attention, please?

Members of the Ski Patrol who are here,

please report to KT.

That means you, Collins, Forlano, Johnson.

(jazz piano music) (group chattering)

Stiles.

I warned you, remember?

24 hour alert.

- How we gonna shoot an avalanche in the dark?

- Come on.

- You won't need that.

Bye.

- Thanks a lot.

What's up?

- A hunter just came down from Olympic Creek

and claims he found a girl's body up there.

He's marked the place for us.

- A body?

- Uh-huh.

She's sitting up in the snow, he said.

With wild flowers in her hair.

(dramatic orchestral music)

(orchestral music)

(doorbell buzzes)

(ominous orchestral music)

- Yes?

- May I come in?

- Come in? Why?

- Because I'm alone, I guess.

- Well now, there's no reason for you to be alone.

There's a dance over at the village, remember?

And I hear there's a party at the Inn.

Now really, Mr. Fontaine, I'm freezing.

- No, I...

- Please!

- I wouldn't be any good at the party.

I don't know anybody, I mean, you know, except you.

- Well now, at the risk of being old-fashioned,

I don't know you.

And even if I did would you expect me

to let ya in at this hour of the night

and dressed the way I am?

- (chuckles) I can...

I can show you her picture tomorrow.

- Picture? What picture?

(wind howling)

You're a very lucky man.

You should've brought her with you.

- She's dead.

She's dead.

- Look, it's really very cold standing here.

I have some hot coffee, would ya like some?

- You know something?

You really look a good deal like her.

- Mr. Fontaine, if you're coming in, please come in.

It's terribly cold.

(fire crackling)

- You know, that's how I first came to notice you.

The resemblance is really quite remarkable.

(glass clinking)

I saw another girl in Squaw Valley

that looked like her, too.

Shirley.

- Shirley Hughes?

- But in her case, the resemblance was only physical.

But you not only have the same eyes and...

the same cheekbones, the same kind of...

purity, I guess.

Same spirit.

- I'm flattered.

Shirley doesn't mean any harm.

As a matter of fact, I envy her a little.

- Oh, don't say that!

You only cheapen yourself when you say things like that.

- Well, I'm sorry.

There really isn't any point

in my fighting Shirley's battles,

especially when she doesn't bother to herself.

You know, I have a confession to make.

- What?

- I was a little afraid of you today in the ski shop

when you came back from jumping?

You seemed different then.

I don't know, taller and stronger.

Right now...

Right now you're just a little boy.

(chuckles)

Come on, (chuckles) drink your coffee.

See, that's how we women trap ourselves, mother instinct.

We let ourselves help a boy, thinking to protect him

and we end up loving him.

When we do, the boy turns into a man and...

and we have to ask him to help us.

You know, there's something...

You're the first person I've been alone with

here in this house since...

since I lost Harv.

(fire crackling) (wind howling)

Somehow, somehow with you it seems all right.

(soft orchestral music)

(laughs) What's the matter, do I shock you?

(laughs) You're even more of a Puritan

than I'm supposed to be.

(suspenseful orchestral music)

I've stopped counting the nights I've sat here by myself,

listening to that wind out there.

Listening to just nothing at all.

You know why I don't go to the dances?

Because here in Squaw Valley I'm still Mrs. Foster.

Nobody seems to wanna let me forget that.

Least of all myself.

This afternoon, listening to a boy sing,

reminded me of the world I'm missing.

You know why I don't go to any of the other parties?

I'm frightened.

I'm afraid the protective reflexes are gonna fall off and...

show me for what I really am.

(orchestral music)

Just another lonely widow,

reaching out like all the rest.

Like the ones who are divorced,

the ones who wish they were divorced.

We're all the same.

We've all got our arms out.

(dramatic orchestral music)

She was lucky, Mr. Fontaine.

She wasn't left behind.

(soft orchestral music)

Do you think if you were to try,

I would let you kiss me?

- You don't even know me.

- That's why it's possible.

That's why it can happen.

Because it doesn't matter.

Because nobody will remember, nobody'll be hurt.

(dramatic orchestral music)

(ominous orchestral music) (Armand moans)

(door slams)

(dramatic orchestral music)

(somber orchestral music)

(truck breaks squeak)

(somber orchestral music)

- We should've flown in by helicopter.

- Into last night's storm, Mr. Fontaine?

- It's really been too swift a week, sheriff.

The most enduring nightmare of my life.

I never dreamed there were so many Fontaines.

I telephoned every ski resort

and do you know there were Fontaines in Aspen,

Sun Valley, Mount Hood, here.

But only one Armand Fontaine

and only here, Squaw Valley.

I was fearful he might be using an assumed name.

But he never thought that I'd follow him so far

and so fast.

- Well, there's one thing for certain,

he can't get out of Squaw Valley.

All the passes are blocked.

- I taught him how to ski, sheriff,

and to climb.

Before most boys can walk, he was crawling

over the bowls at Fontainebleau.

Before his ninth year he would follow me

up the rock needles above the meadows,

(speaks foreign language).

And for his 16th birthday he came with me

up the north face of Cima Grande, Switzerland.

To my boy, sheriff, snow is no obstacle.

It's a high road, it calls him.

- Well, there's no real harm done,

otherwise we'd have had an alarm by now.

You found him this time, anyway.

It must be rough on you, Mr. Fontaine,

living with a situation like this.

(somber orchestral music)

(skis scraping on the snow)

- [Armand] Good morning.

- Morning.

- Come here, let me show you something.

You should see the other side of KT-22.

Not on the 1st or the 7th day of creation

was the world any more beautiful.

- Listen, about last night, I--

- No, I...

I'm sorry, I don't know what came over me.

You see, I...

I feel I acted very badly and I didn't mean to.

Believe me, I didn't mean to.

- I don't know what you must think, I...

- Well, ya see, it wasn't what I really wanted to do.

I mean, to run away like that.

I really wanted to come back inside.

Anyway, let's just start again.

Can we?

- I'm not sure.

Last night was, something I just can't explain.

I don't really understand it, do you?

- Let's not try.

I have a wonderful idea. (chuckles)

You get your skis and let me show you

a brand new world with a two way view.

10,000 light years if you want, as far as your eye can see.

Or right at your feet there's another kind of universe,

with lichens

and snow flowers,

stone flies.

- You make it sound like Harv used to.

- Up there are secret places.

Yes.

There are mirrors in the snow and you can find truth

and you can find a...

a pure reflection.

- I haven't been up for too long a time.

- Please?

Please.

- All right, Mr. Fontaine.

I'll get my skis.

Be right back.

(suspenseful orchestral music)

- The Olympic kid, king of the dry run, that's me.

One shoulda figured, you don't ski around here

you get arrested.

- A man in the dining room said he saw Armand Fontaine

and Miss Penny go skiing, is that right?

- Yeah, they're up on the hill.

- Where's your phone?

- Right there.

- Ski Patrol.

- Oh, they're not there.

- Never mind.

- They haven't come back yet.

- Back? Back from where?

- Oh, some girl up at Olympic Creek, dead.

They went up there last night,

but I guess with the snow they haven't come back.

- I'll find him, sheriff.

I've always found him.

- [Sheriff] This time you're too late.

- But what makes you think this dead girl is his dead girl?

- The look on your face tells me you think so.

- But maybe I'm not too late for the second girl.

- Is this guy Fontaine, is he dangerous?

- He escaped from an asylum back east.

- You mean he's insane?

- No, no, just angry.

He's consumed with wrath, tortured with memories,

doing the killing I didn't do, doing it for me.

And for himself.

(ominous music)

Where do you keep your ski boots?

- Well, I'll get you a pair.

What size?

- 10, thank you.

(dramatic orchestral music)

(suspenseful orchestral music)

(dramatic orchestral music)

- [Buz] Gimme one of those.

- It's been a night.

- I know.

- Somebody killed her.

- I know that, too.

- You know?

- Somebody by the name of Fontaine.

He's out there somewhere now, with Penny.

- Stiles?

We've got to go out again, Penny's--

- I know, Buz just told me.

Let's go.

- Well, you've got to be more beat than any of us.

Your ankles aren't quite used to it yet, hm?

- No, no, I'm all right.

- You better go back on down with Collins and Johnson.

- I'm all right.

- Go and get some brandy, there's some inside.

Then strike out towards KT-22.

You and Forlano.

(suspenseful orchestral music)

- It's a lovely world, isn't it?

- From up here it is.

- I used to ask Harv why he liked the climb.

He used to say, "It's a way to measure yourself,

"to test your limits, to exceed them if ya can."

He was a perfectionist.

Most mountain people are.

I think you are, too.

There is so little perfection in this world today.

With ordinary people, what difference does it make?

But with one so nearly perfect, a blemish...

A blemish is intolerable. (chuckles)

(chuckles) Stay here.

I won't be long.

- Where are you going?

- Remember I said I would bring you some flowers?

I'll got get some.

You stay here and breathe the pure air.

And you think good thoughts.

(suspenseful orchestral music)

(dramatic orchestral music)

(suspenseful orchestral music)

(dramatic orchestral music)

- [Penny] Come on, I'll race ya home!

- No, wait!

(suspenseful orchestral music) (skis scraping the snow)

(dramatic orchestral music)

(suspenseful orchestral music)

- Hand charges, dynamite, be careful!

(suspenseful orchestral music)

(fuse sizzles)

- Now, I said go away!

(suspenseful orchestral music)

Go away!

All right, I warned you!

- Hit the ground!

(dynamite booms)

(wind howls)

- [Mr. Fontaine] Armand.

Armand.

(suspenseful orchestral music)

- Father?

Oh Father, please make them go away.

(suspenseful orchestral music)

- We must go, Armand, not they.

You and I, we must go home.

- No, I want Penny.

Please, send Penny to me.

I promise I'll be gentle.

I won't hurt her, I won't hurt her the way you hurt Mother.

- I've told you 10,000 times, Armand,

I did not kill your mother.

That's only something in your mind, a fantasy.

It never happened.

- I was with you, I saw it.

She was there and the other man.

(suspenseful orchestral music)

And she laughed at you.

And she laughed at me.

She didn't even care.

And then...

Then I saw you go to her.

I saw you push her face down into the pillow.

I saw you smother her in the white pillow.

(suspenseful orchestral music)

Until she was dead.

- No, Armand, she is not dead.

Your mother is not dead.

Try and remember how it really happened.

We came home that night, unexpected.

We surprised her, that part is true, Armand.

But then I took you away.

I took you out of there that very second

because you were too young to know about such things.

I never said a word to her, Armand.

I never touched her, I did not harm her, Armand.

- That's not true.

We punished her!

We made her perfect again.

- Only in your own mind

because that's what you want it to be.

God knows I was tempted, but you wanted revenge.

Don't you see what's happened to you, Armand?

By killing her over and over again in your mind,

it's made a cripple of you.

- Don't lie to me!

(suspenseful orchestral music)

- I'm going after him now.

- He'll kill you!

- Perhaps.

(suspenseful orchestral music)

- No, you stay back.

Father, please stay back, I don't wanna hurt you.

(suspenseful orchestral music) Stay back!

(ominous orchestral music)

(laughs) Oh, Mama, you've come back.

Turn around, tell them you've come back, Mama.

Oh please, Mama, turn around and tell them.

(somber orchestral music)

(dramatic orchestral music)

(crying)

(dramatic orchestral music)

(upbeat orchestral music)

- [Announcer] This has been a Screen Gems film presentation

from Columbia Pictures,

Herbert B. Leonard, executive producer.

(dramatic orchestral music)