All language subtitles for T B S01E26 The Long Long Day WEB-DL DDP2 0 H 264-squalor (1)_track3_[eng]

(dramatic music)

(dramatic music)

(piano jazz music)
(overlapping conversations)

(speaks in Italian)

- Maria!

Bruno's going to show me
the rest of the house.

- That's right, the
full escorted tour, eh?

We see everything, baby, eh, everything.

Nothing overlooked, eh?

- Hey.

Come on, what's wrong.

- The kid.

- I like her.

She's good.

- That's what I told
that brother of yours.

- Bruno?

He's good too.

- Pia is just a child, she
hasn't been anywhere before.

- No.

No, Bruno, please.

No, Bruno, no.

No, Bruno, please!
- Shut up, shut up.

- Shut up! (shouts)

You little wild cat, you.

- No.

No!

(slap thuds)

(dramatic music)

(gun fires)

(dramatic music)

- Come on, baby, let's go a little, eh?

You should worry about me
the way you worry about her.

I need a drink.

- I feel responsible, that's all.

- Responsible?

For what?

It's a party.

A party.

You brought her along.

- Yes, it's a party.

- So?

- Well, I brought her here.

To this.

She's a child, Marco, only 17.

(laughs)

- Only 17?

Only 17.

How old were you when you started, huh?

- That is why I worry.

- Then, worry someplace else.

If you want to set
yourself up as a moral...

- She's no breathing, Marco.

Why she no breathing, eh?

- 'Cause she's dead, that's why.

She's dead.

- But I only hit her a couple
of times, just a few times.

- Once would've been enough.

(tense music)

You've seen nothing, understand?

Nothing.

You're lucky.

It isn't quite daylight.

But we have to move.

Maria, get my car, bring
it around the back.

Maria, my car, bring it
around the back quickly.

Take the legs.

- That's it then, hey?

- Is it?

We could never be sure, could we?

Never.

There is room for two down there.

(tense music)

(tense music)

(engine revs)

(guns fire)

I want her dead before nightfall.

(knocks on door)

(speaks in Italian)

- Cordelia, how good to see you again.

- And you.

- Hello, John.

- Vittoria.

-[Cordelia] You're looking well.

- Oh, now you are being kind.

I am sick, weary, and old.

But, mostly old, I think.

Come, come, please be seated.

Breathe deep, tell me what you smell.

Corruption.

It hangs on the air

like the scent of lilies around a coffin.

It was good of you to come so quickly.

- Well, the Sistine Manuscript
is a very powerful lure.

- Yes, yes. The Sistine Manuscript.

There.

- Beautiful.

- And expensive.

Before we start on negotiations, Vittoria,

what finally made you decide to sell it?

- I am not selling it,
I am giving it to you.

In return for your services.

No doubt you have seen this.

- Oh yes, I heard about this.

- Do sit down, John.

This girl's death has
unlocked the door for me.

Organized vice, drugs, extortion, women,

and, when necessary, murder.

All under the darkening
cloak of the mafia.

Yes, she has unlocked the door.

But, now it is for me to push it wider.

Let the light fall on the dirt inside.

- I see where the grand
jury has been convened.

- They begin their
investigations tomorrow.

Heads will fall, but small heads.

Unimportant ones.

But, if I could put a witness

before that grand jury tomorrow,

someone to testify to dates,
places, names, then, perhaps,

I could get some of the
important people behind all this.

There is such a witness.

A woman.

She is willing to testify.

The women is frightened, hiding.

But she will come back to give evidence

if I can guarantee her a safe conduct.

- Why don't you do it?

- This corruption I spoke
of, it is all around us.

Even here.

I think, at this moment,

there is only one man I
know I can surely trust.

It is you.

I want you to fetch her back for me.

- I see.

- In return for the manuscript.

I must warn you,

there may be danger.

I would go myself, but, as I
said before, I am an old man.

Also, there is not much time.

- Where would I find her?

- The girl's name is Maria Pullerno.

She is hiding here.

(jazzy music)

Now, you and I are the only ones who know.

- I'd like it to stay that way.

-[Vittoria] Goodbye.

-[John] Well, with luck,
I'll be back here tonight.

- Are we going now?

-[John] I'm going right away.

You have a date with a
clothier as I remember.

- You never know, I might need some help.

-[John] No.

(phone rings)

(speaks in Italian)

- One moment.

What was that again?

When was this?

- A few seconds ago.

He's left the building.

- Alright, stay with him.

Alright, it's tough, I don't care.

But stay with him and keep in touch.

Bruno, quick, get the car.

Bruno.
- What?

Get the car, quick. I
think we can find Maria.

(tense music)

- Operator, please.

(buzzing)

(speaks in Italian)

- He's now heading south
on the (speaks in Italian).

(tense music)

(horn blares)

We got him. Keep close.

Now we stay here.

- Shouldn't we stay on his tail?

- There is no need.

We have him and the girl.

She will be hiding up there,
Bruno, in Santa Montena.

You see, this road leads nowhere.

It ends up there in a village.

There is only one way in, one way out.

He has walked straight into a trap.

And now we spring it.

- You don't like it, senorita?

- No, no, it's lovely.

I think I'll try the other one.

- Are you open for business?

- Si, senor, anything you like.

Pino?

- Yeah, pino.

This the main street?

- Yeah, this is the main street.

You Americano?

- Yeah, Americano.

- You're a long way from home.

- Yes, indeed, a long way from home.

- I got many cousins in America.

I got many cousins everywhere.

You on vacation?

- Sort of, I'm looking
for a friend of mine.

Name of the house is a Casa
Montini, you know where that is?

- Turning off the main
street, very easy to find.

- Thank you.

-[Bartender] Mind the
traffic on your way out.

This is the busy time of the day.

- It's a nice day, huh?

- When we are finished,
it will be even better.

- Man and the girl, you said.

- That's right.

- The girl, she's beautiful?

- Get in the car.

(knocks on door)

- Maria?

Maria?

- Stop.

- Maria Pullerno?

- Get over to the wall.

- Look, I'm here to help.

You can put away that gun.

I was sent here by Senor Vittoria Guardy.

- How do I know what you say is true?

- You don't.

Read this.

- This prove nothing.

It could be a forgery.

You might've been sent here to kill me.

- I might've been.

But I wasn't.

Here.

Go ahead, take it.

(horn blares)

- Hugo, you fix the car.

Vee, inside.

Bruno, you take that side.

I will take this.
- Si.

(speaks in Italian)

- Looking for an Americano,
have you seen him?

- Si, si, a few minutes ago.

An Americano, he want across the street.

- Yeah?

Across the street, eh?

Good.

You like a drink, vino?

- You can't sell me drink,
pop, the bar is closed.

- Closed, I no closed.

- You are closed, pop.

You know why?

(bottles shatter)

You got nothing to sell.

Keep yourself busy.

Clean up that mess.

Stay off the street and lock the door.

Stay off the street, understand?

- Si.

- Si.

Ciao.

(dramatic music)

- You must be tired of running.

Look, Maria, I'm supposed
to take you back.

- No, no, I'm not going.

- But you promised Senor Guardy.

He's counting on you.

- And what do I count on?

You tell me that.

So I go back to the city,

what do you think will happen then?

- Well, you stand up in
front of the grand jury

and you tell them what you know.

- No, no, I'm staying here.

I'm safe here.

- For how long?

I found you, didn't I?

-[Marco] Hey, Bruno.

Over here.

-[John] You no longer have a choice.

-[Maria] Marco.

- Maria!

You'll run right into them.

Is there a back way out of here?

- No!

(kick thuds)

(gun fires)

-[John] Maria, jump!

-[Marco] Break it down!

-[John] Jump!

- Hugo, get to the car and stay there!

They can't get away without a car.

- It is bad for me that you come here.

- What happened?

- The mafioso, senor.

- I'm sorry.

- I'm alive, that is enough.

They do what they wish.

- We'll be walking.

- Then we are finished.

We can't get out of here without a car.

- We'll get one.

- Where?

- From the police.

Unless they get there first.

♫ Come back to Erin

♫ Mavourneen, Mavourneen

♫ Come back again

♫ To the land of thy birth

♫ Come with the shamrocks

♫ The springtime of Mavourneen

♫ And its Kilarney will join in thy birth

- I have talent, sir.

Could I have a little taste of
that just to moisten me lips.

I could make it bad for you, you know.

You promised the wife
to give up that stuff.

- I promised my wife not another
glass would touch my lips.

(laughs)

- Clever, very clever.

No, it's more than
that, it's very cunning.

But it's a fine pint,

if it ever had to be
argued in a court of law.

I tell you what, lieutenant.

I'll play a little hand of
poker for a pull at the bottle.

- No, Murphy, I play
poker with you yesterday.

Never again.

- Ah, but that was yesterday.

When lady luck was
shining on me every hand.

- No, your fingers are a little too swift.

Your palm, sticky.

- You do me a grave injustice.

Go on, one little drink, heh?

- Are you in charge here?

(speaks in Italian)

- Area Five, Santa Montena
and surrounding districts.

Yes, I'm in charge.

- Look, I need a car, right away.

- Eh...

- Well, you do have a car, don't you?

- Oh, of course we have a
beautiful British made car.

It was built in 1954.

Reconditioned, of course, many time.

However, this car, this is
the property of the polizia.

- I see, well, take a look
at this letter I have here

from the Ministry of Justice.

- This very important letter, senor, eh?

Very good paper.

Exquisitely printed.

But it make no mention of car.

- Yes, well I...

I have some other papers too.
- Oh?

Beautiful papers.

Also exquisitely printed.

- I think you're beginning to
get through to him, mister.

- Quiet, you.

This is vagabond, this, he's
nothing, he's no important.

He doesn't understand the
niceties of such transactions.

- Do we get the car or don't we?

- The car, well, it's, at
the moment, being repaired.

- Oh, I see.

- Minor repairs of course.

I'm sure if I go to the garage now,

I see it's already fixed.
- Oh, that's fine.

- You go there and get it
and bring it to us, will you?

- You want I should bring it to you.

- You got it in one.

- Very nice watch you're wearing, eh?

Swiss made, many jewels?

- Very, very nice.

- Look, I'm sure you won't be offended

if I offer you this as a
token of my appreciation.

- Well, I'm deeply touched and flattered.

You're most gracious.

- Get the car, eh?
(speaks in Italian)

(speaks in Italian)

- What do you think?

- I wouldn't choose him for a buddy,

but we're in no position
to pick and choose.

-[Maria] What do we do now?

- We wait.

We just wait.

-[Woman] Luigi!

(speaks in Italian)

- Anything?

They are hiding somewhere,
but we will find them.

- Where's Bruno, huh?

- He's checking the
houses on the north side.

Cigarette.

- Hey.

(laughs)

- Borzo.

- Ah, Senor Navini.

I did not know you were in Santa Montena.

It's a great pleasure.

- We are looking for a man.

- And a woman.

- He is a big man, American.

- Si, eh, Senor Mannering.

I am assisting him.

- Assisting him?

- Yes, he is at the station now.

- And the woman?

-[Borzo] She is with him.

- So, you are assisting him, eh?

How?

- Well, he has a need of a
car, I am on my way to get it.

This American, he's a friend of yours?

- Si, a very good friend.

- He has a very important letter
from the Minister himself.

Something is wrong?

- There's been an accident
out on highway 19.

We heard it on the radio.

- No, you must be mistaken,
highway 19 is not finished yet.

It's not open to traffic.

- Then obviously the report is false.

But you must check it out,
lieutenant, it's your duty.

- You leave the American to us, eh?

- But I made a bargain with him.

I took his money.

- Then you are very lucky.

You will make a profit.

We will keep the bargain.

This American, he needs a car, hmm?

We will see that he gets it.

Now, you are a civilian, like us.

Understand?

Don't worry.

We will look after Senor Mannering.

(tense music)

- You know, after due consideration,

I'd say you two are runnin'
away from somethin'.

You're edgy.

Herself is scared, very scared.

I only shoot of my mouth,
mister, when it's dry.

There's a bottle there in the
desk in the right hand drawer.

It'll be a merciful thing if you got it.

I can see you have all the
inclinations of a gentleman.

A true gentleman.

- What are you in for, Murphy?

- I threw a man's hat into the river.

Unfortunately, the poor man
was wearing it at the time.

That's never a very good joke.

And, I suppose, it's better than admittin'

I was roarin' drunk
and broke up the place.

- Wonder what happened to that guy.

- Oh, well, a new rear axle

can take a bit of time, you know.

- A rear axle?

He said it was a minor repair.

- Now there are so many
things wrong with that car,

a rear axle is a minor repair.

Why don't you sit down

and take the weight off your new shoes.

(engine revs)

- Taking my uniform.

It's not right.

They should not have done that.

Impersonating an officer of the law.

- Law?

- What about you, you so brave?

You doing anything different to me?

It has nothing to do with us.

A man and woman we don't even know.

(clock ticks)

- The town usually gets
noisy at this time,

but today it's quiet.

Very quiet.

- Yes, like it was dead out there.

- And fear had locked
every door and portal.

You must be pretty important, mister.

- I deal in antiques.

- Oh, then its herself that's important.

And only you to help her.

- How'd you get stranded so
far away from home, Murphy?

- Oh, I'm not stranded. I like it here.

At least as well as I
like any other place.

I came out here to build
bridges, I used to be good at it.

Didn't work out, so I just rub along,

minding me own business.

And try to stay out of trouble, yeah.

- There is a car coming.

(tense music)

- It's Borzo.

-[Maria] Why doesn't
he bring it any nearer?

- I don't know.

Maybe the car has stalled.

Get back!

(guns fire)

(gun fires)

(guns fire)

(glass shatters)

- Get the boys.

(guns fire)

- Get down.

- Hey, what are you, mister?

Fifth cavalry, US marines,
all rolled into one?

(gun fires)

- Can you load one of these?

- Look, why don't you try
and get a nice, easy job?

Like lion tamin' or walkin' on hot coals?

- They've gone to earth.

- They can afford to.

It'll be dark soon.

That's when they'll come back.

In the dark.

- Once I did a brave act.

Once.

- Hey, you not going to try anything.

Not against them.

(laughs)

- It's funny.

A little time ago, when it
looked like we could get away,

I didn't want to go.

I didn't care.

It's funny, isn't it?

Funny.

- Hey, I've been thinkin'.

Those boyos out there.

They must've come in my car.

In that case, the car
must be still around.

- Yeah, it's around.

Across the street, around the corner.

Just a short walk.

With luck and bad shooting on their part,

I'd get about halfway.

- I wasn't thinkin' of you.

It's not me they're after.

This isn't my fight.

The key is in the top left hand drawer.

- Like you said, Murphy,
it isn't your fight.

- And well you should know it.

That's the great thing about the Irish,

they're terrible for gettin'
into other people's wars.

I suppose it saves them the expense

of stagin' one of their own.

Anyway, I get claustrophobia,

been cooped up in here, you know?

It's in the top left hand drawer.

Ah, that's better.

The air breathes fresher out here.

Have you by any chance heard
the Ballad of Reading Jail.

- Yeah, Oscar Wilde.

- Oh, pity, I was going to
quote it and claim it as me own.

Nevermind.

You better let me to the talkin'.

Hey, out there, hello.

It's me, Murphy.

- That is the man that
Borzo told us about.

- This is not my fight.

It's nothin' to do with me.

I'm a peace lovin' man.

I want none of this.

- What do you want?

- I wanna get out of here.

It's no trick.

The yank has agreed to let me go.

I come out with my hands held high.

I'll give you no trouble.

Only don't start
shootin', what do you say?

- What's it matter?

- He can tell us what's
happening in there, huh?

- Alright.

You can come out.

Slowly.

We won't shoot you.

- Careful, he may kill you
for the pleasure of it.

- Murphy, you're taking quite a gamble.

- Gambling is a sin I've
indulged in many times.

I don't know whether
it's just brute courage

or salt in a dull mind.

Anyway, if things go well,
I'll be back with the car.

(tense music)

Alright, I'm comin' out.

Hold your fire.

You see I'm alone with my
hands touchin' the sky.

-[Marco] Okay, over here.

- Ah, there you are, gentlemen.

What a pleasure it is to meet ya.

Would it be askin' too much
for me to lower my arms?

- Alright.

Come on over, I want to talk to you.

- Pleasure, gentlemen, pleasure.

- Look at him, he's talking with them.

Making friends.

He won't be back.

- He might.

He took a chance stepping out that door.

Now we wait and see.

- And this is the last we see of him.

(dramatic music)

He's gone nearly 15 minutes.

He isn't coming back.

- Maybe the keys weren't there.

Maybe he had to cross the ignition wires.

That all takes time.

- Won't be long now.

- This wire crossing.

How long will it take Murphy?

- That depends on how expert he is.

- How long?

- Should be done by now.

- In half an hour it will be dark.

It's finished.

- No, it's not finished.

Not yet.

- It's good that you should feel that way.

But you don't convince me.

- They expect us just to sit here.

Well, they can try anything
they want, but it'll cost them.

- What are you going to do?

- There's an old army expression,

when you can't retreat
any further, attack.

That's what I'm gonna do.

- And me?

- You'll be running.

The minute I step outside
that door, you'll be running.

And you won't stop for anything.

Nothing at all.

- Perhaps I've lived too long
with the wrong sort of people.

Why do you want to do it?

It's not easy for me to understand.

- Sometimes I don't understand it myself.

- It's been a long time.

What are we both, old women and children?

Do we only pretended we are men, huh?

- Hey, we could very easily be dead men.

- Maybe that would've been better.

I wish I knew what was
happening out there.

Perhaps I could go have a look, huh?

- They say we should
stay off of the streets.

- We do no harm just to have a look.

- You mean,

just have a look, hey?
- Yeah, that's all.

Well, it can do no harm.

Just see what's happening.

- Nothing more.

- Can do no harm.

Well, you're right.

We just take a look.

- Well, how do you want to do it?

Straight dash?

- No, we pour everything
we've got through that window.

Make Mannering keep his head down.

That way, Hugo can get
close up to the door.

- That shouldn't be too tough.

Want me to spread the word?
- Mm.

Hey.

- Ready to try it?

- What have I got to lose?

They'll find me.

Sooner or later they'll come.

I was dead when I saw Bruno
standing over Pia's body.

That's when my luck ran out.

- Well, from now on we make our own luck.

As soon as I start firing,
you move and move fast.

Try to get behind the building.

And, as soon as you get
outside the village,

stay off the main roads.

I'll be right behind you.

But, don't wait around.

- One thing.

Thank you.

Murphy?

- Yeah.

It's Murphy.

(guns fire)

The rifle.

(guns fire)

(gun fires)

(gun fires)
(bullet ricochets)

(guns fire)

Here.

Reload this pistol.

- If only we could get to the car.

- They'd cut us down
before we went 10 feet.

(gun fires)

Keep an eye on 'em.

(gun fires)

Here, hold this.

(gun fires)

- Alright, Bruno, you know what to do.

As soon as I give the word.

- Get over to the door.

Be ready to go.

(gun fires)

(thunderous explosion)

Head for the car.

(guns fire)

(guns fire)

(guns fire)

It's alright now, it's all over.

- I can't tell you what
a terrible day I've had.

But the clothes were fabulous.

Honestly, I didn't know which way to turn.

Anyway, how was your day?

- Well, it wasn't dull.

- I told you heads would roll.

That was only the beginning.

Maria told us everything
we wanted to know.

- All part of John Mannering's service.

Go ahead, you wanted it for
a long time, it's yours.

- I owe you a great deal, more than this.

- No, Vittoria.

If you ever decide you want
to sell it, let me know.

Until then, you can look after it for me.

Now, let's go pick up some of
those dresses you didn't buy.

(dramatic music)

(dramatic music)