All language subtitles for Mission.Impossible.S03E09.The.Play.DVDRip.XviD-SAiNTS

Good morning, Mr. Phelps.

The man you're looking at
is Milos Kuro,

minister of culture and director
of the national theatre of the UCR.

Kuro has been
bombarding his people

with vicious
anti-American propaganda

in order to discredit
the UCR's premier, Leon Vados.

Considered a progressive
behind the Iron Curtain,

Vados is attempting
to negotiate a non-aggression pact

between his country and ours.

Your mission, Jim,
should you decide to accept it,

is to stop Kuro before
he destroys all hopes for peace

between our two countries.

As always, should you or any
of your IM Force be caught or killed,

the secretary will disavow
any knowledge of your actions.

Please dispose of this recording
in the usual manner.

Good luck, Jim.

One, two,

three,

four, five, six.

- Now, what did you hear?
- Just your counting, Jim.

- You didn't hear the shots?
- No, but why?

Radar. Creates a sound envelope.

The only thing you can hear inside
is what's piped in.

Then where the premier sits
will be critical.

Unless he's seated directly under
the disc, it's all over, Cinnamon.

How about the ads?

They start running
in tomorrow's newspapers.

I'll be doing interviews
right up until the opening.

Good. Well, keep them controversial.

I don't want Kuro to be able
to open a newspaper

or turn on a television set
without seeing you.

You all set for the mob scene,
Rollin?

Yes, Jim. We'll have enough actors
to pose as police and pickets

and probably get
some good newspaper coverage.

Also pick up some real fanatics.

Good, then we're all set
to give Mr. Kuro

the most anti-American
propaganda weapon he's ever had.

The swine.

He waits until I am out of the country
to preach his revisionist poison.

But what harm does he do?
Here in America, it is reported, yes.

But at home, not one word.

In our press, the news is still

of American imperialism
in Southeast Asia.

These pictures show
what coexistence really means.

This is the kind of creative propaganda
I can use.

Good evening.
Lee Conrad, State Department.

Yes, Mr. Conrad. Come in, please.

Thank you.

Your Excellency.

I've been assigned to arrange
an evening of entertainment for you.

I've had almost a week

of your State Department's
organised boredom.

Since tonight is my last night
in your country,

I'd prefer to spend it
without a watchdog.

I'm not a watchdog,
Your Excellency.

I'm your host.

I'm quite sure you'll enjoy the evening
I have planned for you.

I've read about this play.

Premier Vados and your president
are the only two characters.

That's correct.

I trust you have a sense of humour.

I'm curious to see
what you Americans think is funny.

What does she mean,
trying to put on a play like that?

What's this country coming to?

It's opening night and there's an angry
and almost violent crowd

here at the Delphi Theatre
where Joan Vincent's play,

At the Summit,
is to have its premiere.

- She ought to be deported.
- Traitor!

Why don't you get out?

Get out.

Let's move in a little closer
and see what's happening.

It is a violent disagreement

over the political argument
that's offered in the play.

Now here's the authoress over here,
Miss Vincent.

What do you think
of this demonstration?

- What's your reaction?
- Get a shot of that.

Look, you know as well as I do,

you cannot lock up ideas
with a padlock.

You're the one
that ought to be locked up.

- You lousy traitor! Traitor!
- Yeah!

Dissent is not treason.

It's guaranteed by the Constitution
of the United States of America.

If you don't like it here,
why don't you get out?

Yeah!

All right, back off, back off.
Everybody back.

I want everybody to clear this area.
Right now, clear the area.

Look, the police
can close up the theatre,

but they cannot stop you
from reading my play.

- Yeah, that's right.
- Here, take a copy of that.

Go on, you take that home. Read it.

Go on, you take that home.
Read it now.

Give that a good read.

You'll find out what that says
about the rights of the people.

Here, you are, sir.
Hey, aren't you Milos Kuro?

Joan, come here.

This is Milos Kuro from the UCR.

It seems that government censorship
has ruined our evening.

Government has nothing
to do with this, sir.

- This is a local matter.
- Well, it's governmental.

It's local, state, city or country.

Any way you map this,
this is censorship.

What do you call this
in your country?

In the UCR, there is no such thing
as censorship.

There, we do not fear new ideas.
We welcome them.

In that case, what are the chances
of doing the play in your country?

Well, it's not fair to ask
that without my having seen the play.

Well, if that's all that it takes,
you will see it.

Yes, all right, all right.
I agree, Mr. Premier.

An alliance.

Alliance, Mr. President.

Alliance has been defined
as two thieves,

each with his hands so entangled
in the other man's pocket

that they cannot separately plunder
a third.

It appears at this point
there may not be a third.

Still, Mr. President...

Still, it means peace.

On the darkened wall the flags
of both countries slowly materialise.

Peace. Peace was once described

as a period of cheating
between two wars.

A period of cheating?

Perhaps.

- But still a period.
- Yes, a period.

Curtain.

It's superb. You are a great talent.

And you gentlemen were perfect.

Subtle, satiric, but in no way
caricatures. Marvellous.

Does that mean you'll allow us
to do the play in the UCR?

Oh, yes. Our people must see this,
even if yours cannot.

I promise you a top production.

And even though we are not bound by
copyright laws with your country,

I promise you full royalties
and dramatist prerogatives.

Miss Vincent, you cannot do this.

If your play is produced in the UCR,

you'd be branded as a traitor
here in the United States.

Well, I hope not.

Look, I don't care.
I spent two years writing this play.

I wanna see it done.

We're ready to leave,
the sooner the better.

You, of course, must be there

to handle whatever changes
during rehearsals.

But for the actors,

I shall use the two greatest stars
of my country,

Vitol Enzor and Anton Usakos.

But you said it yourself,
Evanson and Peters are perfect.

Well, yes, but in the UCR,
they are unknown.

We need our stars
to attract the audience.

But I promised Sam and Jimmy.

I do it with Enzor and Usakos
or I don't do it at all.

Barney, this is the area
above the balcony.

What's departure time?

Confirm both reservations.
Thank you.

- Your plane leaves in an hour.
- Right.

Jim, can you get back
into the UCR on time?

Yeah, that won't be a problem.
We've got another one.

Nobody is allowed inside
that theatre at any time

without a special clearance.
Somebody planted a bomb last week.

The place is locked up
tighter than Fort Knox.

That's right, Jim.
Guards inside and out,

each one with a sentry dog.

Comrade Enzor, how do you do?
My name is...

I know. I know who you are.

Come in.

Ask your questions and get out.

Questions? No, just answers.

Answers? From the secret police?

Since when does a member
of the secret police

have an American passport?

"David Morgan. "

The Broadway producer?

Yes. I have a proposition for you.

So King Lear on Broadway.

That is what you offer me.

Well, we guarantee at $6,000 a week
in American dollars.

How often do I have
to prove my loyalty?

Haven't I performed
what I've been told,

where I've been told?

All right, for the hundredth time:

I love my country,
I love our glorious premier,

I love Propaganda Minister Kuro.

I am honoured to be a people's artist,

and I have no desire
to leave the country.

You idiot. Don't you understand?

I'm not from your secret police.
I am David Morgan.

Even if what you say is true,

you know I am not allowed
to leave the country.

That we can take care of.

Now there is a contract,

a run-of-the-play contract,
already signed.

Here's a certified cheque,
$50,000,

negotiable anywhere
in the United States.

This will get you out of the country.

But this is your passport.

Yes.

Which should be no problem
for an actor of your range.

He only bites when I tell him to.

I have a table for backstage.

You're absolutely brilliant at makeup.

In our country, actors master
every nuance of their art.

Now I'll show you the light panel.
What are you doing?

They've brought the conference table.
Thank you.

A miracle. For once, they sent exactly
what was described in the script.

It's perfect.

Oh, by the way, I have a few
little dialogue changes to suggest.

Nothing major.

You know, this could work.

Oh, yes.

Well, you'd better get started.

Well, I'll get packed.

No, no.

All you can take
is what I brought into the country.

You can't take anything along
that can identify you at the border.

But my awards, my pictures,
my mementos.

Everything you need
is in the back of my limousine.

- But to leave behind a lifetime...
- I'm sorry,

but there's no other way
if you want to start a new life.

Good luck.

One thing puzzles me.

If I have your passport,
how will you get out of the country?

I'll tell you that
when I see you in New York.

Mr. Morgan.

Ready, sir?

No, it's not the same.

That changes the entire meaning
of the scene.

It doesn't change it.
It intensifies the meaning.

Drives the point home.

Drives, yes. Like a sledgehammer.

Good. Then they'll remember.

We'll have succeeded
in making them

change their way of thinking.

Not this way. It's not theatre.

- It's dull, bald propaganda.
- The war for men's minds.

Whoever wins that war
will win everything.

Sorry to be late.

I apologise, my dear.

I was reading your lovely script
and lost all track of time.

Nonsense, each of our stars
arrives late

because neither wants to be
kept waiting by the other.

Enzor is not here?

How dare he keep me waiting.

It is not I who has kept you waiting.

It was those fool guards
with their dogs.

Well, let's not waste any more time.
Let's get to work.

All right, let's try it again.
From the start of Act 2.

Don't press.
We're just reading for understanding.

And, Enzor, a little slower,
if you please,

to give me a chance
to express some meaning.

Like Kuro, I'd be grateful

if you could just express
some understanding.

You would be grateful?

Please, gentlemen. It's a reading.

Just for comprehension.
And a little slower.

All right, where are we?

Mr. Premier, you should thank the god
you don't believe in for imperialists.

Anti-imperialism
is finished without us.

Perhaps. You know,
you sound like a clergyman:

Grateful for the existence of evil,

since without it,
he'd be out of business.

Business?

Business is simple, it's money.

Other people's money.

- Which brings us back to...
- Only the root of it.

Enzor, will you please stop
stepping on my lines?

Your line was finished.

Perhaps what Mr. Usakos means

is that there's more to a speech
than just the words.

Exactly, my dear. Thank you.

You are very understanding

to let something
of my inner feelings come out.

Is that altogether a good idea?

Enough.

Enough for this session.

Learn the lines as quickly as you can.
I want to get this play on its feet.

I want to talk to you.

I am simply trying to perform the role.
You know how I perform a role.

Don't you? Well?

- Did I provoke him?
- You provoked him,

you provoked me,
you provoked all of us all day long.

I was simply talking about the role.
That's all I'm interested in.

- I am interested in the part.
- You are behaving like a child.

All right, all right.
I'll try not to offend the old woman.

You better do more than try, Vitol.

This play has become
very important to me.

More important than your future.

- Any others?
- That's everything.

You may pass.

Wait.

The arts medal of the UCR.

Where did you get this?

Where did you get this?

"Presented to Comrade Vitol Enzor. "

Where did you get this?

Mr. Morgan is unaccustomed
to being questioned this way.

We are not unaccustomed
to dealing with thieves.

But you are mistaken.

Mr. Enzor gave this medallion
to Mr. Morgan as a memento.

Well, then why did he not declare it?
Why was it hidden?

American Customs.

Why should Mr. Morgan
have to pay import duty on it?

I'm sure you understand that.

Why don't you call Mr. Enzor
if you don't believe what he's saying?

Have it verified.
I'll pay for the call.

Call him if you don't believe me.

There is no need.

You may pass.

I was so frightened I almost forgot,
in this country there's always

one acceptable explanation
in such matters.

Anton,
why can't you be reasonable?

I cannot work with him.
It is impossible.

- I have had a long talk with him.
- He is not a professional.

Then you must be the professional.
Pay no attention to him.

When you work with a pig,

how do you not pay attention
to the smell?

Actors. Children.

All right. Let's start again
from where we left off.

Your line, Vitol.

"I think, Mr. President,
we can stop fencing, et cetera. "

I'm sure we do.

We want power. Total power.

But that we cannot quite have.
Neither of us.

Not in this era of nuclear weapons.

- Mr. Premier...
- You know, just a moment.

Instead of what is indicated here,

what if I walk away from him
after that line

as if I could see
the impending holocaust?

And while you are seeing this vision,
what do I do? Play to your back?

Don't change the blocking.

I am only thinking
of what would be best for this scene,

not the ego.

Cue, please.

Nuclear weapons.

Mr. Premier,

do we really have a choice?

It's own superiority is the one thing
each nation knows.

It need not be proved.

Apparently, it must be.
And proved again every generation.

- To this one, the next...
- How, by destroying the world?

I don't know how long

you are going to continue
stepping on my lines.

I am trying to control myself,

but I am operating
under a most difficult handicap.

Yes. Lack of talent.

I will not stand for this cheap
snide baiting any longer.

Look, look, look.
There's no reason for all this.

Gentlemen, gentlemen, please.

Mr. Usakos, I know that it's difficult
for an actor of your stature

to be doing the smaller role
of the American president.

What?

A smaller part?

You had the audacity
to knowingly cast me

in a smaller part than his?

As Stanislavsky said:

"There are no small parts,
only small actors. "

I warned you what would happen
if you goaded him.

How could I help it?
He's a pompous ass.

Besides, he's totally wrong
for the part.

You know, he has a point.

Thank you for your opinion.

Now, who would you suggest
I get to replace him?

Jim Evanson, the American actor
who was to do the role in New York.

He's perfect for the president.

You know, that's true.

The part really should be
played by an American.

At least give Jim a chance.
He's here.

Here? Why?

He's my husband.

Well, that's beside the point.

Look, I know it sounds like nepotism,
but Jim's really a fine actor.

Now, you know that
because you've seen him yourself.

All right. We'll try him,
but I promise nothing.

I'll be waiting in my dressing room.

If he makes trouble with Evanson,

it will be the last trouble
he ever makes.

Okay, let's try it once, Rollin.

Take it from here.

Not in my country.

And it comforts me to know
there is no paper like this to count.

Not in my country.

But it comforts me to know
it is safe in my Swiss bank account.

Good. Tell Jim to keep the same pace
as when we made this tape

no matter what Kuro
directs him to do.

How far out of sync can we be?

There's only so much adjustment
I can make.

You'll have to give me
all the help you can.

Mr. Evanson, good to see you again.

Mr. Kuro, thank you so much
for giving me this chance.

I'm glad you could be with us.

Allow me to introduce Vitol Enzor.
James Evanson.

- A pleasure.
- Glad to meet you, sir.

Well, shall we start right in?

I'll have to work with a script.

Joan told me
there have been changes.

Of course, of course.
You can sit here.

Thank you.

What is it, Buj?

So at last I think we have found
an area in which we are in accord.

Yes.

We've agreed we can't have
a world without war.

Apparently, no one wants that.

But we can make sure

that the wars we need
to insure our own prosperity

be little wars, little and inexpensive.

Like insurance premiums
against an unprofitable Armageddon.

Very well put, Mr. Premier.

I really feel that I could do better
if I didn't have this book in my hand.

I'm a very quick study,
would you mind a short break?

Not at all.

You both work so well together,
you've made my work simple.

We'll meet back here in one hour.

Come.

Miss Vincent. Mr. Enzor.

You have given me many
memorable hours in the theatre, sir.

Thank you, Your Excellency.

And you, Miss Vincent,
I understand now

that you have written
a small masterpiece

in which I appear
as one of the characters.

Thank you, Your Excellency.
That's why we're here.

I'm worried
that you're not gonna like my play.

Not like it?

I assure you, Miss Vincent,
I'm not thin-skinned.

I enjoy satire,
even at my own expense.

But my play is not being produced
as I wrote it.

Kuro has changed
its entire meaning.

Well, I'm sure he has his reasons.

He does.

I think he means to discredit you
so that he can seize power.

I have known Kuro for 20 years.

Fought beside him
through the worst times.

It is inconceivable to me
that he would betray me.

Then please, Your Excellency,
may I suggest

that you come to the theatre
for one rehearsal.

Hear the play for yourself.

I will come to the opening.

No. You can't wait till then.

I mean, Mr. Premier,

I am being directed to play you
as a fool and a fraud.

Forgive me for being late, Mr. Premier,
I was unavoidably detained.

I understand,

but when one
is with one's advisers,

one must keep track of time.

More and more so
as the years go by.

Yet just pressures can make
our responsibilities bearable.

- That and power.
- And money?

I would think that even in your country,
money has a certain value.

Not in my country.

And it comforts me to know

that there is no paper
like this to count.

A defence fund
is still the same thing.

Especially in these troubled times.

After all, a leader's first duty
is to resist.

Mr. Premier, if we are ever going
to resolve our differences...

You know, there's something
about this cross that bothers me.

It goes against the new words.

Well, what would be more natural?

Well, I think perhaps if I...

If I crossed to here
just before his next line.

All right. Let's try it.

Start again from your entrance.
Stage left.

Forgive me for being late,
Mr. Premier,

I was unavoidably detained.

I understand,

when one is with one's mistress,
one loses all track of time.

More and more as the years go on.

But it is such pleasures

that makes
our responsibilities bearable.

- That and power.
- And money?

I would think even in your country,

that money would have
a certain value.

Not in my country,

but it comforts me
to know that it is safe

in my Swiss bank account.

Yes, a little retirement fund
is a good thing.

Especially in these troubled times.

After all,

a leader's first duty is to himself.

Stop!

Stop this immediately!

You actually intend to present
this obscenity to our people?

Portraying me as a lecher,
as a thieving...

What are you talking about, sir?
Of course not.

Look, read for yourself.

But this isn't the play.

Your Excellency,
this is not the play we were doing.

This is some perjury.

You heard yourself the lines
that were spoken.

You have the evidence
of your own ears.

Yes, I have excellent hearing.
Also an excellent memory.

Did you not have Mr. Enzor,
who is me,

say that he had a mistress?

That he had a fund of stolen money
in a Swiss bank account

and that his first duty is to himself?

But no one said this,
Your Excellency...

It isn't... It's impossible.

I never saw or heard
those words before.

- I had nothing to do with this.
- This isn't the play.

This is a mistake.