So you have lost your mind.
Just one passer-by and he saw you.
We had no choice.
You shouldn't have let yourself be caught by surprise.
I wish you had been there.
It's a miracle this hasn't happened before.
Here, his papers.
You think about everything, don't you? - Now, they'll be on the lookout.
Not so soon, they going to investigate first. We have a few days left.
Two days or three, not more.
We have to warn Julius right away.
I'll phone him and let's meet Fernández.
Finally it has been an opportune time to have killed that fellow.
That will force Julius to make up his mind and kill Schmidt.
He has barely changed in 20 years.
The same nose from 20 years ago...
Only his nose.
I don't think so.
Turn on the lights.
Here, Nils. Does this name say anything to you?
That's the man you killed this morning.
He surely is an old acquaintance of Schmidt's.
I've brought the photocopies I made in Germany.
The papers of his marital status.
You have the South America pictures.
This is in 1940, his beginning at he SS.
Porto Alegre, 1955.
This one was hard to get: An architects' congress in Rio in 1958.
Are you sure he hasn't been found yet?
Not this morning anyway. We've checked the newspapers high and low.
It's serious.
Very serious.
The police will take part in it.
We couldn't do anything else. - I know.
Julius, we have to act quickly.
They can find the body anytime.
The tape recorder.
Now there's no doubt.
I'm afraid he'll be suspicious and run away.
We have to act fast.
Yeah, Georges. But we shouldn't act without thinking.
I don't want to be wrong.
For each shot,
we've written down the exact date in this passbook. Take a look.
We've also written down...
...things that seemed to be unimportant.
The slightest detail, the slightest gesture could bring back a memory.
Let's start.
The first time we saw him was in the stadium, on September the 17th.
There he is, it's him.
At first, we didn't dare to film him at too close a distance,
Nevertheless, he's easily recognised.
Here, in front of the man in the white shirt,
the only one who doesn't move.
This is his neighbourhood.
It moves too much.
We were no experts in filming.
That's the building where we've rented a study
to guard Schmidt, on the 8th floor.
This is the view we have of his apartment.
The main entrance.
His income is average.
That's the Casa Santa Voz. There he has his architect's office.
He's entering the building.
Look, he's always turning around.
Now you're going see a normal day.
At 07:30 he pulls the blind up.
We have several spots of observation along his itinerary.
He's a man of predictable habits,
so we can reconstruct a day in his life by splicing together the films.
Half an hour later, he's dressed.
What's he doing? - Feeding an animal.
Which animal? - We don't know.
At 08:15 he goes to his office.
Sometimes he walks.
This time he changes his mind. He's going take the bus.
Now he takes a connection.
He crosses Del Liberador square.
He's like another man.
He was blonde, with a child-like face.
His hands were always very elegant.
Later on he get off at the port, near his office.
Look at his pocket. - Is he armed?
No. It's his left pocket.
When he walked past us we smelled his cologne,
so, for a long time, that smell was to me synonymous with pain.
He was the cruellest; he had no feelings.
He never insulted us. He pretended to be very polite.
Sometimes he called me "Monsieur".
He reaches his office; it's now 08:55.
He stops working at 18:00, and then he comes back home.
He's always surrounded by people, so there's no way to kidnap him.
That's why we've arranged this plan of the house.
18:40, he gets home.
Had you noticed an elegant touch in his house.
An elegant touch?
No, on the contrary. He has this coat...
Two raincoats...
Since we have had him under surveillance,
he has always worn the same clothing.
Fernández has gotten in touch with him.
He's asked him to consider the study of a project.
We've also recorded his voice on the telephone.
In this neighbourhood you can't build more than eight floors,
and the style of the building is a fixed one.
Have you set a date?
Naturally, my clients are in a hurry.
We're very busy at the moment.
Just in this city, we have three job sites.
We can't start working,
if this project gets ahead, until one or two months from now.
But we can start the project whenever you want.
Could you come see the place? - of course.
Do your clients have clear end use for the building?
They'll be offices for a graphic edition society.
It'll be enough setting a meeting with a few days in advance.
I usually pass by Tabasco quarter.
That's him, isn't it?
I don't know.
Perhaps.
I didn't find anything.
I can't.
But his voice...
It's too distorted, and he's speaking French.
You've met him in such unforgettable circumstances.
That's true.
But that was twenty-five years ago.
I remember a young man in uniform,
and now what I see is a hunched office worker, thicker,
and older than fifty.
That's him, there's no doubt. - We must be absolutely sure.
Do you know how much time is left? - I know it.
We have something more to show you.
All of this for nothing. - No, we still have this.
You're not being clever with him.
You're trying to force him to recognise Schmidt.
He knew Schmidt twenty years ago. We didn't.
He's seeing another man.
Just one detail, one gesture and...
Give him time.
One day we hid a small camera inside a little case.
At the restaurant was the first time we saw him so close.
Look at his eyes.
He never keeps his eyes on anything. He's always looking nowhere.
But that day we thought he had heard
the motor of the camera.
I was paralysed; I couldn't even move a muscle.
Then, I looked at him...
His look went towards me,
far away, as if he were looking at an usual client.
He didn't see anything.
That day I was afraid.
He's a neighbour from his floor. A musician.
Now you're going see his lover.
There she is, Olga. She's a drawing teacher.
You can see them better in this shot.
That time she went to his house. That's unusual, because
on Friday he usually goes to her place.
He never goes either to the theatre or to the cinema.
He's not really hiding, but...
He ain't got no contact with the world around him.
They've been together for three hours.
That's his only relationship, outside the organization
you're about to see.
What's the matter? - It should be the telephone.
Maybe an appointment with the organisation.
Later on, he went down and waited on the street.
Stop it.
What's wrong?
Can we see that shot again?
It's the first gesture of Schmidt's I have recognised.
He always did the same at Mauthausen.
That insistence putting out a cigarette,
in order that no one could smoke the butt.
That's not enough to make up his mind.
Come on, go on.
He's got the habits of a lonely man.
You're going see some images
that prove Schmidt belongs to an organisation.
It looks like any old taxi.
But during these months of surveillance,
we've found out something.
He waits for a taxi in front of his office. It's always the same one.
We know the driver's name is Kuntz. He works in a garage.
Kuntz usually picks him up at his place.
When Schmidt isn't waiting for him in the street, he goes up.
He's likely armed.
Once we followed him,
and overtook them in order to see better Kuntz's face.
We didn't clearly see his face. It was too risky.
They never go to a special place.
They used to go around the block.
We've seen that many times.
The taxi must be used as a post box for the organisation.
Once a month Kuntz brings it here.
Whose house?
We don't know. He only stays there a few minutes.
Look, he's the man with the raincoat.
That's the one we've killed.
Later on...
...there's a shot where you can see him much better.
That's it.
It's him.
We were waiting for Schmidt,
and this man came along.
It seems he's waiting for somebody.
Doubtlessly for Schmidt.
Then he noticed the van.
He comes closer.
He hasn't seen the camera yet.
He goes round the van.
Now he just saw the camera.
I stopped.
We were in danger.
We couldn't do anything else.
Yes, of course.
So?
Well, this is unbelievable.
He hasn't change his visage.
You know, sometimes time's the best surgeon.
Here I have slimmed him down a little.
I'm sure it's him.
Georges, your conviction has always helped me, but...
You've been face to face with him.
Face to face.
You know...
The SS...
...we avoided looking at them.
"Take off your cap."
The cap in the hand, looking down...
You don't look at death at his eyes.
Just one gesture could mean death.
You must remember.
Nils has set the exact moment
when his track was lost in Europe: June 1949.
Two months later we found a man called Fromm in Porto Alegre.
Before the war,
Schmidt had started to study architecture.
That Fromm works for a construction company.
He tramples the butts just as Schmidt did.
End of the matter.
It's clear.
We have circumstantial evidence, probabilities.
I want to be certain.
That face built up with fragments doesn't look real to me.
What's the matter?
Schmidt has gone to bed, as usual.
We have to make up our minds. - I know, Georges.
I'm the one who'll make the decision.
Now I want to be alone.
We'll have dinner together.
I will have made up my mind.
You always phone me when I'm busy.
I'm sorry. I should have thought about it.
Who's on the line? Is that you, Bernard?
No. I'm not Bernard.
Good morning anyway.
It's not morning. Who are you?
And you, who are you?
That's enough joking.
This is no joke.
Please, don't hang up.
Don't hang up.
Wait a minute.
Don't hang up. I've got a lot of things to tell you.
Is it you?
I've come to pick you up.
What were you doing? Were you sleeping?
Please, don't turn on the light.
Turn off the light.
What are you playing?
Damn, she's hung up.
Take and look. This is going calm you down.
Fourth floor, the window with light.
She's doing the same as us. - What do you mean?
She settled down a week ago.
From then on, she has spent every night looking at pictures.
Do you enjoy being a voyeur?
What do you want me to do? I'm intoxicated.
At least she's prettier than Schmidt.
Let's find out what she's doing.
This is entertaining you, isn't it? - It'll be just two minutes.
- Hello, it's me. - You're a persistent one.
I want to ask you something.
What are you doing?
And who are you?
I'm tall,
dark haired,
curly hair.
A kind of Lord Byron. My name is Georges.
You're a rude man.
You don't want to see her again, do you?
This is what I have decided.
It's fine. We'll serve ourselves.
This is what I have decided.
Tomorrow I'll go to Schmidt's place.
What for?
To check things by myself.
Everything has been checked.
I mean by myself.
I want to search his flat and try to find what I need.
It's too dangerous.
Why not? We are sure of his schedule.
But he shouldn't have left any trace of his past.
Precisely.
I'm the only one who can find any detail you've overlooked.
Maybe he has kept a trace.
Just one from his ancient skin, for any reason...
Negligence, a morbid taste.
Even superstition and self-interest.
Everything expires, even war crimes.
And that day, he might recover his real identity.
It's important.
We need evidence.
He's right.
Let's go, both of us.
I'll have to take pictures, make descriptions...
This is how you'll do it.
You come in through the service stairs, unseen.
See, this is our block.
You get off here, the van will be waiting down there.
Then you go through there.
He goes round the block and stops right in front,
in front of the service stairs.
You go up and Nils won't go away till you have entered his flat.
If you can't open the door,
get out calmly.
I'll send Nils with the van.
Take a walkie-talkie to keep in touch.
This is the short-wave transmitter. Put it inside the phone.
It should work.
They've just left.
While Nils pretends he's a deliveryman,
Julius has enough time to go up and open the door.
What a fool, he should've filled that package.
Even from here it seems to be empty.
Georges, can you hear me?
Julius has entered the building.
Yes, I saw it. Nothing remarkable.
Julius, can you hear me? - Yes, I hear you.
Everything's alright. What about you? - No problem. I've just come in.
OK, nothing remarkable.
Why is he looking at us?
There was a lady in your building watching me.
It's nothing. I'm going fix the telephone.
Raphaél? - I hear you.
Julius doesn't know how to do it. Tell me the instructions.
It's very easy.
Loosen the microphone. Repeat with me.
Move away the membrane.
Place the transmitter in the horizontal position,
with the two condensers upside down.
With the two condensers upside down.
In the side with the American trademark.
He looks like a watchmaker in his shop.
Georges, can you hear me? - I hear you.
Georges? - Yes, I hear you.
Let's check it out. Stay tuned.
Here.
Does it work?
Fantastic. The sound is terrific.
Georges, can you hear me? - Yes, I hear you.
Julius must leave. Time's almost up.
Hello, Julius?
Julius, can you hear me?
Yes, I can hear you.
What are you doing? Have you warned Julius?
Yes, I have warned him.
Is he coming down?
He's not answering.
He's not answering yet.
Try one more time.
Julius, can you hear me?
Time is up. It's already up.
Time is up. You must leave now.
Just a minute.
Schmidt has just gotten off the bus. Warn Julius.
You have three minutes. Can you hear me? Three minutes.
Don't do anything if I don't tell you so.
So, have you warned him?
What did he say?
What did Julius say?
Nice picture.
Don't move.
He might see us.
I wanted to know if you have came back.
I'm coming. Wait for me.
I called before but the line was busy.
Busy? That's impossible. I just came in here.
I called fifteen minutes ago and the line was busy.
You must've dialled the wrong number. - I'm sure I didn't.
I tell you you're wrong. See you later.
George, what's going on? Say something.
Answer.
Schmidt is waiting for somebody who has just telephoned him.
Julius is alone. Let's go.
No. We ain't got time. First of all, don't move.
He's right. We should go. - Leave me alone.
Nils, don't move.
Georges? Kuntz's taxi.
Kuntz's taxi, I was sure.
What should we do? He has just gotten out of the car.
Right now, nothing. I'll tell you when.
I don't like you to phone me at the office.
It's about Jürgen. Police have found his body.
Was he killed? - He was run over.
He was found down a slope.
Didn't he notice anything?
I have waited for you for 30 minutes.
If it was a trap, Julius would be trapped like a rat.
I wonder where he has hidden.
What does Horst say?
That we're in a damned mess.
He wants to talk with us. Should we go?
Yes, let's go.
Julius, can you hear me?
They're leaving.
Julius. Can you hear me, Julius?
They're leaving, Julius, can you hear me?
They have left.
Julius. Answer.
I'm here.
So, it's him?
I'm going keep searching.
Keep on watching.
There was only mail to a man called Fromm.
Only one picture.
Of a dog.
Well...
A dog's picture.
He has turned all of his past into a desert.
Why did you wait? Did you want to see him?
And when I heard him speaking German, I felt afraid.
He was so close to me.
Georges must've thought you were going kill him.
Really.
He thinks you don't want to recognise Schmidt.
After the war I didn't find any trace of Schmidt.
I was so ill that I only had one desire:
To live like everybody else, no more suffering.
I have instructed Georges.
I've told him how we were tortured.
The suffering was all day long.
His father died due to Schmidt's tortures.
I've been able to forget,
and that, Georges doesn't want to understand it.
And what about you?
I'm not the one to try him.
Anyway, I've learned one thing.
Bad news.
The body of the man you've killed has been found.
Schmidt and his organisation do know it.
How strange, I haven't read anything in the newspapers.
Don't you believe me?
Of course I do. Why shouldn't I?
Are you going make up your mind? - Right now?
Not at all.
See you tomorrow.
There'll be some news.
I want Schmidt, not any other.
Hello, it's me, the boring one.
Yesterday you probably thought I was an idiot.
Your voice was strange.
Have you lost your joy?
I'm asking you very little. Just one hour.
Where are you?
In a telephone booth.
So?
Tell me your address and I'll be right there.
Out of the question.
Well, at a bar. I don't know...
At a café. The Campari, you know it?
I said no.
In twenty minutes, all right?
I don't know.
Then you agree.
I tell you once more, I don't know.
See you later then.
I was sure you would come.
I've been thinking it over carefully.
Can you tell me something so I can recognise you?
Is that all?
You're sparing with words.
Secret agent.
I like your green cape.
Are you sure I'm what you were expecting?
Completely.
A brunette having fun all the time,
...big eyes,
...big feet,
...big head.
Was it enough phoning you to make you come?
Well, maybe it's that way. Here.
You're going have dinner alone.
At least take the umbrella with you.
I'm not going to leave you alone in the rain.
Don't you want to tell me who are you?
How did you get my telephone number?
Fate.
Have you cut yourself? It's not unusual.
The alcohol is in the bathroom, on the sink.
Did you find it?
Oh. My 175 francs are burning.
What's your weight?
You're an indiscreet one.
And this, is it real?
You never know.
Do you want a little more?
Have you been cooking for long?
I have great experience with canned foods.
Stop looking at me that way.
Why? I do like looking at you.
Your name is Raphaél?
Well, this is for you.
I'm coming.
Will you be back?
Yes, I'll be back.
Maybe not tonight.
But I want to come back.
How did you find me? - I made ten phone calls.
What's the matter?
I'm sure Julius has recognised him. But he prefers to wait; it's his excuse.
I'd like to think something else.
You don't care, do you?
It's more your problem than mine.
It seems you're paid for this.
Of course I'm paid. Didn't you know it?
What are you saying, Julius pays you?
That's enough, Georges.
Think what you want and leave me alone.
The police have found the body.
All of the Schmidt organisation stays alert.
That's why Julius wants to wait.
I've been waiting for years.
Anyway, he would've found another excuse.
You're being unfair.
I'm not stupid.
Nils prolongs his investigations because he's found a lode.
Perhaps, but Julius...
Also Julius.
But for different reasons.
You're completely wrong.
Think of all the money he has invested.
To have cleared his conscience, like doing charity work.
In the beginning he was sincere.
Now that he has a lot of money,
he doesn't want to ruin his life for something that happened 25 years ago.
What an actor. He recognized him a long time ago.
What are you writing down?
Don't read it for a few days.
All right.
Is it your telephone number?
Are you leaving?
Will you come back?
Maybe.
Is Nils here? - He's in the flat.
Go find him.
What's that face for?
What is this?
It's my birthday.
It's not an amateur one.
It's edible.
I'm not hungry.
No need to be hungry to eat. I'd be pleased.
Where did you buy this cake? - Over there, in the neighbourhood.
Georges, get the projector ready.
Can you tell me what you are doing?
I have an idea.
Georges, give me the notebooks, please.
We've seen that a hundred times.
Wait a moment, please. Look.
Look at that parcel.
Don't you realise?
It's a cake.
It's a birthday cake.
It's the only time Olga went to see Schmidt.
Shot 238, filmed on...
October the 16th.
Julius, do you remember the birth date of Schmidt?
October the 16th of 1911.
Fromm eats a birthday cake the day Schmidt was born.
Are you sure of the date of the shot?
I even guarantee the hour. There's no doubt about it.
I'm going phone Fernández right away.
Fernández, act as it was planned, tomorrow at 15:00.
Phone him right away from another line.
What? Has he just phoned you?
All right.
It'll be tomorrow.
Schmidt will be there at the time agreed.
You know he's punctual.
Nils, you'll welcome him.
You force him to examine the building at once.
To Schmidt, we are a state agency.
We want to demolish a building and construct another one in its place.
And what should I do?
You let him do as he wishes He's the technician.
He'll start from the top, no doubt about it,
in the direction of the demolition, to the bottom.
We'll be there waiting.
I want him to know who I am before he dies.
I want him to remember my brother.
Kuntz must stay occupied in his taxi all evening long.
At the airport, for example.
There he is.
Hans Fromm.
Pleased to meet you. Let's start if you want.
We'd like you to have a general idea of the building.
We'd like to know when you will be able to start the work,
and how long will it take.
Yes, I know.
One of your partners has sent me the dossier.
I'm informed about it.
Is the house uninhabited? - Completely.
Where do you want to start from? - I don't care.
Let's go up, if you don't mind.
Aren't you going answer?
Please...
If you set the house on fire, there'll be nothing left for me to do.
Don't you always smoke the same brand?
What do you expect?
He won't come back to his place.
He must be far away.
No news of Romain?
We should've killed him right away.
Instead of waiting for him in that basement to be recognized.
Another of Julius's ideas.
Fromm came to my work. That has never happened before.
I was with one client all day, something that had never happened.
My four tires have been pocked at the same time,
and that's also something that had never happened before.
Fromm hasn't come back. Not yet.
Nobody's answering the telephone, and that's unusual.
Any news?
I'm sorry.
Horst. - Is that you?
Horst, listen.
Tell Kuntz to come to pick me up.
They've tried to kill me.
I've killed two of them, can you hear me?
Where are you? - In my place.
Are you mad?
I've come to get my papers.
You already got them, so get lost.
Will Kuntz come to pick me up?
Not at your place.
Where?
Tell him to go to Mar Plana. It's...
He knows where it is. Tell him not to come before 16:00.
You shouldn't have phoned. - Yes, but listen...
Yes, sir.
It's for you, Mr. Kuntz.
Alright.
The papers.
I'll wait.
Mar Plana.
He has bought an apartment there to spend his holidays.
All right.
I'll wait for him.
The briefcase, quick. Only the briefcase.
Did you kill him?
No, it was Kuntz.
Just Kuntz.