All language subtitles for The Big Switch - Strip Poker - 1968 - Policier_track3_eng-fra

NARRATOR: This, as you may
or may not know, is London.

Headquarters of devaluation, soctalism

and the permissive society.

The people who live here are quite ordinary.

Clean living, unostentatious human beings.

And this is where
the would-be non-conformists shop.

This, on the other hand is where
the more knowledgeable shop.

Clearly.

The more knowledgeable dine,

the uninitiated eat.

Relaxation is a multitude of these,

and even more of these,

for the older
and more respectable members

of our permissive society.

Mr John Carter,

the central character of the epic
you're about to see,

could, under the circumstances
be described as a misfit,

having reached his prime
in the days of rock'n'roll.

Now nearing the ripe old age of 30,

he's kind of old for Carnaby Street

and not quite hard up enough for this.

A small chapter in his quiet mundane life

starts... here,

on a warm evening, for December,

and in the early hours of Tuesday morning.

(MUSIC PLAYING)

Leaving already?

MAN: Are you kidding? It's bloody 2:00.

Scotch, cock.

Hi! You're too late. Everybody's gone.

Yeah, I know. Bit of a dull party.

Never mind. l'm available.

Oh, sure. Any new talent?

Yeah. Flashbeat.

Your type, called Samantha.
She's on the floor. Have a look-see.

l'Il do that.

-AII right?
-Not bad.

What's the strength?

Been around for a couple of weeks.

Mendez has shown some interest.

-Mendez?
-Yeah, the boss, right.

-Want an introduction?
-Introduction?

No, thanks.

May I cut in?

Dance is finished.

Who's dancing.

(LAUGHING)

Do you want a drink here

or do you want a drink in my pad?

No, I don't want a drink here.

Then let's go back to my pad.

No.

Let's go to mine.

You certainly are an accommodating girl.

All right, John?

What do you think?

Don't look at me, sweetheart.

(MUSIC PLAYING ON RADIO)

Is this it?

Looks cosy.

You'll find out.

Looks as if l'm set for the night.

Dont think l'm that easy, boyo.

But you're very attractive, you know.

I don't usually make a habit of picking up
strange men in discotheques.

Anyway, you're not strange really.

Yeah. I know, I know.

Hey, have we any cigarettes?

No, I don't smoke �em. It's fadsome.

-Where can I get some?
-Oh, just around the corner.

There's a supermarket.

(MUSIC STOPS)

-Oh, thank you.
-My pleasure.

Where did you say
I could get some cigarettes?

Oh, sorry. It's just around the corner,
the supermarket.

Okay. Back in a minute.

Second floor. l'Il leave the door open.

(SLOW MUSIC PLAYING)

(COINS CLANKING)

Sam?

Sam?

(PHONE RINGING)

OPERATOR: Emergency.
Which service, please?

Emergency. Which service, please?

Pass.

This I can do without.

JOHN: All right, Ken.
That's the sort of shot I want.

KEN: All right, fine. Jump a bit, love, huh?

Super. Super, great.

Here, arch the eyebrows up, will you?

Yeah, yeah. Great now.
Open your eyes. Just a bit more.

Look, try Janet more.
Try from here.

KEN: No, it won't work there.
l'm trying to tell you.

JOHN: But you've got to. I mean,
otherwise the product doesn't show.

KEN: All right, all right. You're the Art Director.

Super.

JOHN: Come. Move around like that.
Try a little here.

KEN: Come on. No, arch those eyebrows, hon.
� bit more sex.

Yeah. Great, great.

Open up a bit more,
so you can see those lovely lashes.

JOHN: Girls, turn around now, will ya?

KEN: Let's see your face, love.

All right.

Janet, show us the spray, will you?

We're selling deodorant, not girls.

Gotta reload now, loves.

Think we'll have to drape
you a little more next time, girls.

(SIGHS) You got your bikini tops?

Hi

How's it going?
You get all the best jobs, don't you?

(CHUCKLING) That's the way it goes.

-Seen Hornsby-Smith, yet?
-No, not this morning.

Why, is the old man looking for me?

Yes. I saw him about an hour ago
tearing around like a blue-arsed fly

and he told me he wanted to see you.

Oh, we're just wrapping up here.

l'H go out and see him now.

Okay, Ken. I think that one shot will do it.

See you, girls.

(TYPEWRITER CLACKING)

Come in, John, old love.
Grab a chair.

-How are you doing with the B.O. job, eh?
-Okay.

Just finished the final session. � bit worried
about the client trying to sex it up, though.

But I think l've managed it pretty tastefully.

l'm sure you have.

They were happy enough

about the shaving cream job
you did for them.

Between ourselves, we got this account
virtually on the strength of it.

-Cigarette?
-l'm on, thanks.

John.

(STAMMERING) I don't know
quite how to put this,

but I wanted to put it to you face to face
as it were,

without sending one of those
stupid inter-office memos.

(LAUGHS) You know what I mean.

No. What do you mean?

Have you crossed one of
the big white chiefs lately?

Might have pulled one
of the shareholders' birds. Why?

Well...

(EXHALES) l've got to fire you.

lt came up this morning
in the board meeting.

Right out of the blue.

No reason?

Well...

-No.
-Well, maybe they think l'm too wild.

Maybe they object to their personnel
keeping late nights.

I have no idea what it is, old love.

But there it is.

But l've always said this place
gets more like the Kremlin everyday.

You never know
whose head's gonna roll next.

l'm sorry.

I do want you to know I did my best for you.

But I was completely outvoted.

l'm only the managing director here.

But frankly, John, you do know

that you've always been my blue-eyed boy.

I always said it and I still maintain it.

You're worth three of those
chinless wonders downstairs.

(CHUCKLES) Even though
I would prefer my staff to wear a tie.

Well, that's it, then.

Do I leave now?

No point in keeping you.

I expect you'll be wanting to look around.

I suppose l'Il have to put Justin
on the deodorant job.

Oh, I have arranged
a month's pay with Personnel.

-Well, good luck and l'm sorry.
-Thanks.

Oh, John. Don't forget, if you want a reference,
just get them to call me personally.

l' make out.

(INDISTINCT CHATTERING)

MIKE: I really pity all of you.
For nothing. He's been bluffing all the time.

-Now, what's happening, fellows?
-It's up to you with two pairs.

Uh-huh.

l'H have a little fiver on that lot.

-� fiver, Mike?
-That's right.

Put your money where your mouth is, mate.

It's too strong for me.

I didn't know I was throwing a party.

Who are you lot?

Well, this is worth a tenner.

MIKE: That's my girl.

-No, l'm out.
-I see.

l'Il just have to see you, my darling,
won't 1?

Full house. Tens and twos.

Ah.

Ah, l'm sorry. Look at that. Four little sevens.

Looks like I am gonna get you tonight,
dont it, darling?

(CHUCKLING)

Do you dress like this at Crockfords?

Well, you see, she hasn't got any money.

Have you?

What do you mean?

You sat in on a party at Pete Fenton's
last Saturday night.

And you left owing �385.

Who's Pete Fenton? Look, pick up
this scrubber and get out of here, will you?

You musn't talk like that, Carter.

You see, Sally's my girl.

Are we gonna get this money?

Look, I don't know who put you up to this

but I don't know anything about this guy
Fenton or a poker game last Saturday

and I don't know anything about you.

So now, gentlemen, gag's over.
Let's go, shall we?

Then we don't get the loot, eh?

You know, I think he needs
a little lesson, fellas.

Would you mind taking him
into the other room?

I don't want anything
to happen in front of Sally.

You know how squeamish she is.

Oh, and keep the blows low, fellas.

He's got such a nice-looking face.

(JOHN GRUNTING)

(JOHN GROANING)

We'll be back tomorrow for that loot, Carter.
All right?

(PHONE RINGING)

Yeah.

(EXHALES DEEPLY) You must be joking.

I don't feel like dancing tonight.

Okay. What have I got to lose?

MAN: �43.12 for two bloody steak and chips!

Well, you can tell your manager for me
l'm not paying it. It's bloody mad.

Well, you did have two hostesses
with you, sir.

I didn't want them, either.

Six guineas each
for two blooming nightdresses.

Well, I have spoken to the manager about it
and l'm afraid there's nothing we can do.

We're not gonna get any change here, Jeff.

Okay, let's go to the bar
and drown our sorrows.

Whittle away another fiver.

Hi, John. What's happened to you?

Shaving trouble. Think mine's on the house.

Well, Mr Mendez is expecting you.

If you'd like to go into the bar
l'IHtell him you're here.

Scotch, please.

Hi. How's Samantha?

Oh, hi, Bunny. What did you say?

I said, how's Samantha?

Well, you left Lulu's with her, didn't you?

No, no. She went after I left.

Oh, a tease, huh?

Hmm. I seem to get �em, don't 1?

I seem to arrive too late always too.

This place closes earlier than a discotheque.

We cater for the older men here.

Charming.

John, Mr Mendez will see you now.

Great.

MENDEZ: Yeah. Charming.

-She's got a good bust.
-Oh, yes.

It's important really to any model
nude dancing, we can teach you that.

Can we use her in the show?

Yes, l'm sure we can.
She's a very good dancer.

(CHUCKLING) AII right, my dear.
You can start on Monday.

What's this?

Setting me up for another fight?

Make yourself comfortable, Carter.

l'Il stand.

Just as you please.

-Drink?
-No, thanks.

I understand, Carter,
that you are in a bit of trouble.

Really?

Mike tells me that you owe a man
called Fenton quite a lot of money.

Do I?

I also heard
that currently you're unemployed.

So?

Well, I can't do very much about the former,

but I might be able to offer you something
that would be of interest to you.

I don't think l'm in your line of business.

We're starting a new project.
It's gonna be quite big.

�5,000. Short term engagement.

�2,000 in advance.

Doing what?

Well, to start with,
we're going to give you a holiday.

Where? Winter in the Bahamas?

No. Actually,
I thought of winter in Brighton.

l�ve got quite a nice flat there.
I think you'll enjoy yourself.

Listen, l've had enough gags for one night.
Do you mind if I turn in?

Carter. One minute.

Do you know this girl?

(SNICKERS) Yeah.
Some bird I met last night.

(CHUCKLING) The police should be finding
her body just about now.

Listen, dont try to implicate me in that.

No.

I might not be trying to implicate you.

But perhaps this will.

Uh-uh.

You don't want to put
some more fingerprints on it, do you?

I think we understand each other.

Here's the two thousand advance.
You'll find the Brighton address on the back.

I can expect to see you down there
by luncheon tomorrow, hmm?

What happens in Brighton?

You'll be told.

Oh, by the way,
I want you to give a lift to a friend of mine.

Karen!

Yes?

Oh, Karen, this is John Carter.

He'Il be taking you down
to Brighton tomorrow.

Where would you like him to pick you up?

Kensington High Street.

Outside that big hotel will do.

I don't want to appear forward
but what am I gonna do?

Workwise, I mean.

You'll be told.
Oh, don't worry, we'll keep you fully occupied.

Glad to have you with us.

JOHN: I don't seem to have
much alternative, do I?

Yeah, we are very glad
to have you with us, Carter.

(GROANS)

You. You animal!

Sorry to spoil your evening.

Welcome to the fold.
Glad to have you with us.

The last person who said that
regrets it somewhat.

Look, why don't you do yourself a favour?

Join a monastery.

Wring out wash leathers
for a one-armed window cleaner.

You don't look the sort of guy
that needs someone like Mendez.

Are you kidding?

l'm broke, jobless
and number one murder suspect.

lfthe law doesn't get me, the boys will.

-Murder suspect?
-Sure. Ask your boyfriend.

Haven't you heard,
l'm swinging London's ace lady-killer?

Who knows, somewhere between
London and Brighton, you may be the next.

I hope everything will be all right.

I hope so, too.

You haven't said a word since we left London.

What do you do? Are you a model?

(SCOFFS) Yeah. For toby jugs.

Just my luck.

I always saw Brighton as a place
where the filthy rich went for dirty weekends.

Pity you're not rich.

I wonder what all that was about.

He's been following us since London.

-Come on, Karen, what's happening?
-I don't know.

Sure you dont.

-Then why the maternal advice last night?
-Oh, forget it.

No, l'm serious. What did you mean?

I just thought that, perhaps...
Oh, it doesn't matter.

Look, if we're gonna share a pad together,
you can't expect me to do all the talking.

l'Iltry better next time.

You can see it's Mendez's place.
I{ooks like a nightelub.

Right on time.

Come on in, won't you.

Yeah. That's our roof garden up there.

It's another open plan entrance
through the lounge.

This is your room, John.

And this is yours through here.
Karen, isn't it?

(WOMEN LAUGHING)

Come along, John.
Let's go into the lounge, have a drink.

Sit down. Make yourself comfortable.

There isn't much in the way of drink,
had a bit of a session last night.

-Scotch and rye?
-KAREN: With soda please.

-Me too.
-GERRY: Karen.

I remember Mendez raving about you
when he picked you up.

He didn't pick me up.

Sorry, Karen, just figure of speech.

Yeah, kind of flipped.

How touching.

You were a model, weren't you?

Surely you remember, John.
Swimwear your speciality, wasn't it?

What happened?

Maxi skirts came in.

-What's the setup down here?
-l'm sorry.

Well, I assume you all work for Mendez.
So, what's the deal down here?

I don't know, John.
We just act on instructions.

We?
-Yeah.

Cathy, Jane, Al, and myself.

And what instructions
are we acting on at present?

Just keep you here
and make you comfortable.

(WOMEN LAUGHING)

(SIGHS)

-Get us a Coke.
-No, you get one.

Hey, Gerry, get us a...

Hello!

So this is John Carter.

Not bad.

Maybe we could make
a new scene down here.

Lay off, Cathy.

Crazy acid heads.
Some can take the stuff, they can't.

-Acid heads.
-They used to have nightly trips.

Now it seems permanent.

(KNOCKING ON DOOR)

That'I be AL

ls he yours?

How about another drink, huh?

(EXCLAIMS) Bloody panic stations.

Oh! They're here, good. Hi.

Listen, the heat's on.

We"ve got to take those pictures
as soon as possible, right?

Right, we're taking you first.

Karen, would you mind coming with us
for a moment?

-What is this?
-All right, John.

We're just going to take some pictures.
Won't be a moment.

KAREN: Sounds fun.

Come on, buck up, love.

Bye.

Right. Bring her in.

Okay, sit her down.

AL: Okay. Like this. That's it.

Let's see you smile there.

Turn your face to the left-hand side.

Smile darling. What's the matter with you?

That's lovely. That's. Yes, lovely.

AL: Lift up higher.
GERRY: Chin up. Lift your chin up.

AL: Right girls, get her gear off.

(GERRY CHATTERING)

AL: Come on, darling!
� bit more, a bit more!

Do we have to do something to you?
So come on.

-Any noticeable birthmarks, AI?
-AL: Smile.

GERRY: What's the matter with you?

AL: I think that will do fine.

Better get that geezer.
What's his name?

-John Carter.
-Yeah.

-He's going to be a lot tougher.
-Is he?

Oh, you better take this then.

Come on.

This should be great.

Okay, John, your turn.

Like hell. Look.

Come on, John.

If you put it that way...

You'll need that.

Okay, sit down there.

Come on, sit down.
We haven't got all day.

Once more, let's see you around here.

Right, that'Il do.
Now take your shirt off.

You must be joking.

Come on, John.

l�ve checked.

Leads to a roof garden and the door is locked.

-Any idea what this is all about?
-(SIGHS) No.

What's the setup?

-How come you got involved with Mendez?
-I work for him.

(CHUCKLES)

Yeah. So do I, as from this morning.

He treats his employees well, doesn't he?

-How long have you known him?
-About nine months.

You worked in one of his clubs?

-Are you kidding?
-Oh, yes, I forgot. You modelled.

-What happened?
-Just one of my many mistakes.

I moved in with a photographer.
He was doing well at the time. So was I.

-Sounds groovy.
-It was.

Then he hit a bad patch.

Seems his clients only used him
because they wanted me.

I guess he got kind of jealous.

Anyway, he moved out,
went back to his wife.

She had all the bread, of course.
Oh, it's the usual story.

Sounds as if it's happened before.

Two or three times.

So, out of the frying pan into the fire
with Karl Mendez. Too dependent.

I figured this time
l'd choose a really notorious bloke.

At least l'A know where I stood.

Any idea what this pantomime's all about?

No.

I just thought it was his way
of blowing me out.

He's petting a new bird at the moment,
Samantha.

-Samantha?
-Oh, you know the piece.

Sure!

Mendez has taken a lot of trouble
framing me for her murder.

Murder?

-That's strange.
Why?

(PHONE RINGING)

Who is it?

Yeah, exactly what time does Miglio arrive?

Well, we've got to start the operation for...

Well, it's too hot!

We"ve got to do it within an hour
of him landing.

Okay.

Miglio. Miglio.

-What was all that about?
-Something about an operation.

Bruno Miglio, of course.

He and his wife were deported,
don't you remember?

About four years ago. Property deals.

-No.
-He was in clubs.

That call was something about him arriving.

They're trying to get him
back into the country illegally,

but where do we figure in?

Well, we won't get anything out of Gerry or AI.

l�ve seen them around in London.
They do all of Karl's dirty work.

Protection and things like that.

No, but we will out of those two hippies.

-Hippies?
-Those two birds.

Let's hope I get a suitable opportunity.

All right. That's it then? About 1:00 tomorrow.

-When are the others coming?
-Oh, various times.

You can't be too careful.

We're picking them up from odd spots
all over Brighton.

Great.

It'Il be good to have some organisation
around here again.

(SIGHS) Yeah.

l'm scared.

I think we've got good reason to.

Still the iron hard man, huh?

Why the chip on your shoulder?
What's life done to you?

What's life done for me?

When I was a kid... Oh, you know how it is.

I always used to dream
that I would meet someone like you.

Look what I got myself involved in.

Don't worry, honey.

You'll be all right.

l'Il see to that.

Everything all right, doctor?

(SPEAKING IN RUSSIAN)

I understand. Don't worry.

You're going to have a fully equipped
operating theatre,

and a properly trained staff.

I hope so.

What time do we leave tomorrow, Karl?

Sammy...

I don't think that there's going to be
any room in the car for you.

But anyway, we'll see about that, won't we?

-Fresh tea. Anybody want some more?
-Yeah, will have another cup.

Not hungry, love?

-You'll need it.
-Why?

-When do we start working?
-Soon, Johnny boy, soon.

-AIL set then, Gerry?
-Right with you.

Forget the tea, love.

Have you given her the thing?

No.

-Come here a moment, Cathy.
-Okay.

-We're just going out, John.
-We're going shopping.

Won't be long. Right, let's go then.

Do you know,
I don't like leaving her here on her own.

She'll be all right
as long as she locks the lounge door.

Yeah. Come on, let's go.

AL: Keep that lounge door shut.
CATHY: All right. It'I1 be all right.

AL: Don't forget.

You sure you know how to use that thing?

I wouldn't need a gun to keep you here.

l'm sure you wouldn't.

Uh-huh.

-You don't mind if I get some cigarettes.
l'd better come too.

Al told me to lock the door.

You wouldn't really use that, would you?

The day I have to use a gun on a man
is the day l'Il give up.

I do hope Bruno Miglio
is going to make love like you, too.

-What do you mean?
-Nothing.

I shouldn't say anything, should 1?

Are we going to get bumped off?

I hope they're not serious about that
but I think they are.

How about filling me in, eh?

A condemned man has a right to know.

Maybe we could have a long scene together.

-What about the girl?
Well, we'll have to take her with us.

Then we'll dump her in London
when we're away.

Come on. What's the setup?

-Well, there's this man Bruno Miglio.
-Mmm-hmm.

And he wants to come back into the country
but they won't let him.

Yeah.

So they're going to smuggle him

and his wife back into England

and make them look like you and the girl
by plastic surgery.

And then dispose of us.

It all figures.

What about the murder?

Murder? Oh, that? That was on a joke.

KARL: The joke, dear boy, l'm afraid is on you.

You better make the most
of your last moments, hadn't you, Carter?

Stupid bitch.

Come on. We're behind schedule.

The final link.

-He knows the setup.
-That doesn't matter.

Just keep him under closer guard.

Now hurry up. Get him dressed.

Fine time for this sort of caper.

Go on. Get on with it.

Go on, Carter.

HORNSBY-SMITH: Get the girl.

Hello, friend.

Hi, sucker.

You stay here love.

Come on.

Let's go.

Shoreham Airport.

(BIDS FAREWELL IN FRENCH)

But it must be here in a moment.

Gerry and Mendez are late as well.

-What about the Customs?
-Oh, they should be okay.

There's only been two on spasmodic duty.

Nothing happens at this place
at this time of the year.

They'll be another hour for lunch yet.

Look, I think you'd better get
off to the nursing home. AII right?

Okay.

-GERRY: Any sign yet?
-What kept you?

One of your stupid birds blew the gaff.

Here it is.

Not a word. Just do as you're told
and you'll be all right.

Just a minute.

You like your new face, huh?

Mendez, to the nursing home.

Sorry, Al.

JOHN: Run for it, Karen.

Come on. The pier.

-What the hell's happening?
-KARL: My God! They're getting away.

BRUNO: It's snowing.

(SCOFFS) Don't worry.
They won't get far in this weather.

We might as well kill them now as later.

-You have the photographs, yes?
-Of course. Come on.

JOHN: Through the gate.

(WIND HOWLING)

Look, there they are.

Quick.

JOHN: Quick.

This way, Cathy.

They've got her!

JOHN: Behind here.

(GUN FIRES)

(GRUNTS)

JOHN: Come on.

JOHN: Go straight. Karen, this way.

(WHISPERING) Come on, this way.

(GUN FIRING)

(GUN FIRING CONTINUES)

(SIREN WAILING)

JOHN: Come on. This way Karen.
KAREN: Wait.

(GUN FIRING)

(SCREAMING)

JOHN: Duck!

Come on.

HORNSBY-SMITH: Get after him!

Follow him!

Kill him!

(GUN FIRING)

Damn!

Shoot him down!

(GROANING)

Come on, you, out of there quick.

Well, this one's dead.

-We'd better call an ambulance.
-Come on, get that car.

Get him out of there quickly. Grab him.

Come on, you.

There are two others.

The patrol cars have got them, sir.

We'd like you
to come down to the station though.

Give us a statement, if you'll be so kind?

-To get your side of it straight.
-Sure.

Get you cleaned up down there, too.

Give you a cup of tea.
Perhaps something a bit stronger, eh?

Lovely.