All language subtitles for T B S01E27 Roundabout WEB-DL DDP2 0 H 264-squalor (1)_track3_[eng]

(dramatic fanfare)

(suspenseful music)

(romantic music)

(door opens)

(pouring drinks)

- It's beautiful.

It's beautiful.

- Was it very expensive?

- Yes, it was.

- I like this apartment.

You know that.

(man stammers)

(record player clicks)

(romantic music)

(door opens)
(light switch clicks)

- Lisa.

There's...

There's nothing I can say, is there?

Now, please.

- Get out of my house.

- Don't make a scene, Lisa.

- Get out!

Get out, get out, get out!

- Lisa, damn it, stop!

You had better get your things.

- So, this is your wife.

-[Man] Lisa!

- She is charming.

- Lisa, I'm sorry.

- You're sorry?

You bring that, that sot into my house,

into my home, and all you
can say is you're sorry?!

- It wasn't like that--

- But you think she cares for you?

- You must be calm, you
mustn't start to shout.

- All she cares for is your money!

- Shut up!
- Agh!

You don't like that, do you?

You don't like the truth?

- Truth?!

You want the truth?

You are 38 years old, and you look it,

and show it in everything that you do!

Look!

Look in the mirror, look!

- I'll never forgive
you for that, Georges.

Never, never.

I know too much about you.

Things that will destroy you.

And that is what I intend to do.

Destroy you.

- I'll live.

I'll see you to your car.

(romantic music)

(drawer opens)
(papers crumple)

(subtle jazz music)

Lisa?

Lisa?!

(phone dialing)

Hello, this is Georges, can I speak?

There's been some trouble here.

Lisa has gone, walked out.

She has taken one of the statuettes.

She knows the whole operation,

and she will talk, I know!

Yes, there is no alternative.

Tell him to be quick.

I don't want her to suffer.

(dramatic crescendo)

("The Baron" theme music)

(loud gunshot)

(engine revs loudly)

(energetic music)

(suspenseful music)

(distant traffic sounds)

- Where to, sir?

- The Lindsey Hotel.

- Oh yes, straight on down,
first left, third right,

you'll see The Lindsey on the corner.

- Thank you.

(suspenseful music)

(stamps out cigarette)

(paper crumples)

(knocking on door)

- Monsieur Mannering?

- Uh, yes.

- Come in, Monsieur Mannering.

Thank you for coming so quickly.

- Not at all.

- Oh, I'm so sorry.

Of course, you don't know who I am.

But when I telephoned, I
spoke to your assistant.

I didn't give my real name,

because I didn't want anybody
to know that I was here,

until after I had spoken to you.

I am Madame Delair.

- Madame Delair.

- Won't you sit down?

- Thank you.

- I don't think we've
ever met before, have we?

But then, I live in the
country most of the time.

I see Georges only at weekends.

I don't think I know any

of my husband's business associates.

- I understand.

And how is your husband?

- That's what I wanted
to talk to you about.

(suspenseful music)

Now, I know what I have to
tell you will sound strange,

but I'm not just a jealous
wife trying to make trouble.

I took something from our apartment,

which will give you proof
that what I tell you is true.

- Proof, you say?

You have something with you?

- No, it's in a deposit
locker at the Gare du Nord.

I have the key here, somewhere.

- May I have it?

- Yes, but first I must tell
you the story from the very--

You're not John Mannering.

- The initials on my shirt.

You're very observant.

No, I'm not John Mannering,
you're quite right.

However, I will have that key.

The people who hired me in Paris

explained that I should
recover a small statuette.

I imagine that's what's in the locker.

- How did you find me?

- It wasn't difficult.

You see, that's my job,
and I'm very good at it.

- What're you going to do?

- Just what I'm paid for.

You see, evidently, in Paris,
somebody wants you dead.

That's the service I provide.

(Lisa gasps)
(dramatic music)

(knocking on door)

(body hits floor)

(sounds of traffic)

(dramatic music)

(John chokes)

(window breaks)
(bloodcurdling scream)

- Porter, get an ambulance, room 40.

(siren blares)
(dramatic music)

No, don't try to talk.
(Lisa groans)

- Throat's badly bruised,
sir, but she'll get over it.

Perhaps you could give me some details.

Do you know the lady's name?

- No, no I don't.

- Well, it was you who called
the ambulance, wasn't it, sir?

Could I have your name, please?

- Sure, John Mannering,
Mannering Antiques, Mayfair.

(Lisa groans)

Easy, easy now.

(suspenseful music)

(Lisa sighs and groans)

- She'd make it a lot easier on herself

if she didn't try to talk.

Still, that should make her sleep.

(wheezing cough)

You should do something about that cough.

- It's not the cough,
but it's the way of life.

(coughs and clears throat)

I'd like my sergeant to sit
with the lady, is that alright?

- I'll be in my office if
you want me, Inspector.

(wheezing cough)

- John, what've you got to tell me?

- Not a whole lot, Mac.

I got this message from a
woman who wanted to see me.

It was urgent.

She left her address, but no name.

You know the rest.

- You don't know her?

- I never saw her before.

- We found her passport.

Does that mean anything to you?

- Madame Lisa Delair.

Delair.

Well, there's a Georges Delair
that runs my Paris shop.

- And the woman in there's his wife.

- Are you sure about that?

- I just got through
talkin' to the Paris police.

- What's it all about?

- I was hoping you'd tell me.

- Well, uh...

They must've told you something.

- Your name was mentioned

as the owner of the
shop where Delair works.

I told them that it was
you that found the woman,

and they got quite excited.

- I see, what else?

- As soon as Madame Delair's recovered,

she's to be taken to the French embassy,

and kept under wraps.

- Why is that?

- Well, something pretty big's going on,

and your Paris shop and it's
manager are involved in it.

- Well, since my name's over the door,

I guess I'd better figure
out what this is all about.

You have no objections
if I leave town, I hope?

- Paris?

- Where else?

- Tread very lightly, John.

There was an attempted
murder this afternoon.

- Thanks for the tip.
(sputtering cough)

Sounds like you're getting better.

(dramatic fanfare)

(sounds of traffic)

- So why didn't you let
me know you were coming?

I have to fly to Zurich tomorrow.

I'll see nothing of you.

- Well, you know how it is, all in a rush.

I was glad you could pick me up.

- Not at all.

Where do you want to go?

The hotel, or the shop?

- I want to go to The Gare du Nord.

- Taking a train?

- No, I have to collect something.

- Ah.

- Pierre, you know all
the Paris art dealers.

You hear the gossip, right?

- Well, I keep my ears to the ground.

What do you want to know?

- What's the grapevine on
my boy, Georges Delair?

- Ah, well now.

The shop is doing okay, I
suppose you'd know about that.

That leaves his social life.

He's currently making time with
a chick called Jeanne Varda.

And I wish it was me.

- You do alright.

- Wait 'til you meet her.

She's absolutely out of this world.

- Looking forward to it.

What is she, a model or something?

- Or something.

She's running a
hairdressing salon for men.

You know, a sort of
masculine beauty parlor.

Do you want to go there?

- Later.

Yeah, I could use a trim.

(Pierre chuckles)
(upbeat music)

(suspenseful music)

- Merci.

(train whistles loudly)

- Oh, can you help me?

- Yeah, there we are.

- Thanks, very much.
- Not at all.

-[Man] Well?

- He made the pick-up.

- Then that's it, he's our man.

- Pity, he's very good-looking.

(Man clicks his tongue)

- Keep your mind on business.

Come on.

- Did you get what you wanted?

- Yeah, and if you've got
time, I'll have that haircut.

- Sure, I'll take you there.

Beware of her scissors, she
tends to cut things short.

If you come back bald,

I shan't be around to
take you to a wig-maker.

(sprightly music)
(car starts)

- Thanks, I'll keep that in mind.

(sounds of traffic)

Miss?

- Ah, good evening, monsieur.

Do you have an appointment?

- No, but I'd be grateful
if you could fix me one.

- The salon will be
closing in a few minutes.

- I don't want the complete
works, just a trim.

- Please take a seat, I'll
see what I can arrange.

A customer's just come in.

- It's too late tonight.

Try and make an appointment for--

Wait, perhaps we can do something.

You attend to him.
- I will.

(phone dialing)

If you will come this way please, sir.

- Georges, listen.

John Mannering has just
come in to the salon.

- Mannering?

No, that can't be.

- I tell you it is, I recognized him!

And, he's got the statuette with him.

Georges, he must know everything else.

Why would he be here?

- Alright.

Alright, now, don't panic.

Just keep him there,
and send the girls home.

- What are you going to do?

- I'll be there in about 15 minutes.

(dramatic music)

(energetic crescendo)

(women laughing)

- Alright, Claudine.

I'll finish off, if you'd like to go home.

You don't mind, monsieur?

- No, not at all.

- Alright, off you go.

Good night, Claudine.

Don't forget to lock the door.

- Alright, good night.
- Good night.

- You have not been here before?

- No, this is my first trip.

- You were recommended?

- Yes, by Georges Delair.

- Ah, Monsieur Delair, yes.

I know him very well.

He comes in here quite often.

- I don't blame him, it's a
nice bunch you've got here.

- Thank you, keep your head still.

- Must cost a lot of money
to set up a place like this.

- I have some good friends

who helped me with the
finance to get started.

- Delair one of them?

- You ask a lot of questions.

Put your head back, please.

Oh, I think we'll wash your hair now.

(door buzzer)
(sink running)

Excuse me.

(suspenseful music)

(perfume sprays)
(John coughs)

(perfume sprays)
(dramatic music)

(cloth tears)

(pained grunt)

- That's about the most
athletic haircut I ever had.

Now, what else do you specialize in?

I want some answers.

(blow to head)
(dramatic music)

- Georges, we must do something.

- Alright, I'll take care of it.

- Oh yes, you take care of it,

like you took care of everything else.

It was going to be so easy.

- We've got him, haven't we?

That's all I planned to do.

- Oh, we've got him,

but not before this dumb
pig wrecked the place.

How am I going to explain all this?

- Alright, we'll think of something!

First, we must deal with Mannering.

He may have spoken to somebody,

and the girls saw him come here.

- Look, if anybody comes asking questions,

I say yes, he was here,

but he left shortly
after the salon closed.

But we've still got to get rid of him.

- Well, the streets
will be clear of traffic

in a couple of hours.

We could take him to Isle la Dans.

There are gravel pits
there, filled with water.

It would be quite some time
before they found his body.

- Why wait?

While he's alive, he's a danger.

- No!

First we must learn how
much he has found out,

how he got onto us, if
he talked to anybody.

- He can't know much.

If he'd have gone to the police,

they would have been swarming
all over the place by now.

- The fact that he had this proves

that at least he's spoken to my wife.

- So?

- The man that you hired in
England to fix that matter,

has he reported?

- No.

- Well, at least we have got this back.

Apart from him, it's the only
real evidence against us.

(suspenseful music)

(water dripping)

(mannequin crashes down)

- I know how you feel, honey.

(water splashes)

(glass breaks)

- Well, that looks alright, now.

-[Jeanne] It will do.

- Well, it's nearly midnight.

You'd better go and get Mannering.

Oh, here, take this.

- I shall finish him.

- No, you fool!

He has to answer questions.

(foreboding music)
(scraping against window)

(woman shouts)

- You're not dressed for swimming.

(woman breathes heavily)

Didn't I see you at the Gare du Nord?

- Won't you let me down?

- What are you doing here?

Don't tell me you just
happened to be passing,

and dropped in?

- Oh, the joke hurts
more than the splinters.

- My comedy routines are a
little bit rusty, tonight.

- When I saw you'd been brought up here,

I thought you were dead.

- You saw that?

- I was watching from the
window across the street.

Except, the only thing I did
see was you being trundled up.

- What are you, some kind of peeping Tom?

Or do you do this for money, or what?

- I'm from the IDTC.

- IDTC?

- Illicit Drug Traffic Control.

- Well, that explains it, then.

- I'm Samantha Ballard.

- How do you do, I'm John--
- John Mannering, I know.

- What else do you know?

- Quite a lot, really.

I've had you under surveillance
since you arrived in Paris.

- You have? Why's that?

- Well, it's quite simple.

- Well, it may be very simple to you,

but would you mind explaining it to me?

- Georges Delair is using your business

for the distribution of drugs.

- What?!

- Heroin is packed into
the bases of antiques,

and packed off anywhere in the world.

And, being genuine antiques,

they can get an import or
export license without question.

- Wait a minute, wait a minute,
are you sure about that?

- Absolutely.

- How long's that been going on?

- Four of five months.

We have enough evidence on Delair

to pick him up any time we want.

- Well, in that case, why haven't you?

- We want the big fish, the supplier.

Delair is due for a big
shipment any day now.

That's when we hit.

Wanna help?

- No, not exactly.

You see, that's not my
line, I'm an antique dealer.

It looks to me like I've
been drug in by the heels.

- You know, for quite a long time,

you were our prime suspect.

- That figures.

I trusted that guy.

- Well, don't blame yourself too much.

He only went wrong in the last six months.

Big money and Jeanne Varda
are quite a tempting package.

- Well, that may be,

but I'm still in no mood for forgiveness.

- Well, here's what we're going to do--

- Look, do you mind if we
talk about it somewhere else?

Let's get outta here.

- Oh, I wasn't planning
on going out that way.

- It's much safer than
the stairs, come on!

(Samantha yelps)

- I'll go and bring the car
around to the side entrance.

- Oh, Jeanne.
- Yes?

- Must it all be quite so cold-blooded?

He is my friend, not just
an employer, my friend.

- Lisa was your wife.

- There was no alternative.

But perhaps we could make some
arrangement with Mannering.

- What arrangement?

You mean to give him half
the money, to pay him?

No, he must disappear completely.

(door unlocking)

- Get outta sight!

(pained grunt)
(mannequin limbs scatter)

- Hold it!

Get down.

(pained grunt)

(dramatic music)

(water splashing)
(man gurgling)

- Philippe!

What has happened?

You fool!

- You alright?

- For a girl that can't stand
heights, I'm doing fine.

There's my car.

(suspenseful music)

(car starts)

(engine revs)

What do you think Delair'll do, now?

- I think he'll panic.

- Exactly.

He'll think the game's up.

- Isn't it?

- Not if you play your part.

- My part?

Maybe you'd better coach me a little.

- Well, I hope you're a fast study.

There's not much time for learning lines.

- Just give me the plot, and I'll ad-lib.

- You married?

- Would that disqualify me?

Come on coach, let's get down to business.

(suspenseful music)

- We're taking such a chance, coming here.

Mannering will be with the police by now!

- But we've got to get some money.

- We've got this, it's worth something.

- Not enough.

In a couple of days, we could've
had a fortune in our hands.

But now we are running away,

like a couple of scared rabbits.

- Where will we go?

- We get in the car, and we drive.

How should I know where we're going?

- Are you just hoping to go for distance?

- Well stop asking stupid questions!

(fumbling with keys)
Oh come on, come on.

You get the money,

I'll get the clothes--
- What's your hurry?

(suspenseful music)

How are you, Georges?

- What are you doing--
- I'll take that.

Wait a minute.

We've got things to talk
about, don't rush off.

And don't you get any funny ideas,

or I'll return that rap on the
head you gave me with this.

- What do you want?

- Practical woman.

I'll tell you in five words.

A piece of the action.

- The action?

- Oh, come on, don't play games with me.

I want in!

- You're not going to the police?

- If I were, you'd be in handcuffs now.

Besides, you know me
better than that, Georges.

I'm not the sort of guy
to pass up an easy buck,

and anyway, I'd be entitled to it.

If it weren't for my shop, you wouldn't be

in the distributing business, would you?

- How much do you know?

- Enough.

I came on to it by luck,

which is your bad fortune.

I figured out the rest of it,

which was my good fortune.

- You want to come in with us?

- Oh no, you've got that wrong, Georges.

I'm not coming in with
you, I'm taking over.

- You can't do that!

- Why not?

- You don't know how we work.

- Oh, I learn fast, and you'll teach me.

Oh, you'll get a percentage.

Not as much as you were
getting, but a fair share.

What do you say, Georges?

- Do we have a choice?

- Oh, yes.

We could call the police.

- What do you want to know?

- Everything.

A to Z.

- Alright.

Alright!

(suspenseful music)

(distant traffic sounds)

It's daylight, already.

- I'll get some more coffee.

- Horse.

- That's the last of it,

until the next consignment.

- When is that?

- They contact us, tell
us the time and place.

- Well you let me know
the minute you hear.

I'll be there when you make the pick-up.

- Alright.

- You're a funny guy, Georges.

- Funny?

- Yeah, when I hired you,

I thought you were the
straightest man I ever met.

- When you hired me, I was.

- Over night, you turned
into a drug peddler?

- I never imagined it was possible.

Then I met Jeanne.

Suddenly, it was all quite simple.

Maybe I was always capable of this thing.

- Then we were both wrong.

- Why are you taking that?

- Well, don't worry.

I'm gonna leave it with a friend.

It won't get to the police,
unless something happens to me.

(door closes)

- We won't let him get away with it.

- We can't stop him.

- Oh yes, we can.

I know a way.

There's a million dollars
worth of stuff coming in.

He will be with us when we collect it.

We will kill him.

We will take the stuff,

and we will get out of the country.

- He will leave word with the police!

- But that won't matter, we won't be here.

We will be far away,
Georges, just the two of us.

Georges.

Kill him for me.

(ominous music)

(upbeat jazz music)

- When this is all over,
what're you going to do?

Go straight back to London?

- I don't know.

What do you have in mind?

- Paris is a lovely city.

There are lots of things you should see.

- Like what?

- Like me.

- You know, Sam.

You just don't look like a policeman.

- Well, what am I supposed to do?

Have flat feet, and carry a whistle?

(John chuckles)

It's gone five, already.

I shouldn't think we'll
hear from Delair now.

We could take the night off.

I know a lovely little restaurant.

Candlelight, soft music.

Terrible food, but it's so romantic.

- You say the food's bad, huh?

- But it's got atmosphere!

- Now, don't rush it, Sam.

- Well, who's rushing it?

We've known each other nearly 24 hours.

(knocking on door)

Well, that's what's known as
a classic sense of timing.

- Monsieur Mannering.
- Yes?

- Ah, hello Samantha.

- John Mannering, Jules Caron.

We work together.

- How do you do?
- How do you do?

Have you heard anything?

- No, I called Delair about an hour ago.

They had no news of the pick-up.

Sit down.

- Then I guess we just sit, and wait.

We've had one of our,
how is it that you say,

operatives watching both of them all day,

but they have not moved
from their apartment.

Oh, there's one little
thing that's just come up.

Madame Dulair.

- What about her?

- She's vanished.

- I thought they were going to keep her

in the French embassy until
this whole thing was over?

- That was the idea.

Evidently, they left her
alone to take a shower.

She found some clothes and (whistles)

through the window.

- But if she gets back here,
she'll mess the whole thing up!

- Don't worry, she won't.

They'll pick her up
before she leaves London.

- Anything else?
- No.

- Good.

I'm going to take a couple of hours off,

and take Sam to dinner.

- Oh, I accept.
- Now, hold it!

What if Delair phones?

- Well, I'll call him, and
leave the restaurant's number.

What was the name of that place?

- Oh, I've got it right here.

(telephone rings)

- Mannering.

Alright, I'll be at the
apartment in an hour.

Right.

- That was it?
- Yeah.

Sorry, Sam.

- Well, I wasn't hungry anyway.

- Laissez-faire son laissez-faire.

(revolver clicks)

-[Georges] Have you got everything?

- Passports, money.

- Ah, I shall miss this place.

- Yes, but don't get sentimental about it.

I wish I could be more
certain about Mannering.

- What do you mean?

- I don't trust him.

- I imagine it's mutual.

- I have a feeling, I don't know.

Anyway, he should be here by now.

- Let's get started.

We can wait for him downstairs.

- Not running out on
me, are you, partners?

- We were going to wait downstairs.

- Well now, you don't have to.

Here we go.

(suspenseful music)

- This is Pursuit One to all units.

We're in position, and standing by.

Please keep receivers open,
and await instructions.

- Sam.

- What is it?

- I thought I saw someone over by the car.

(footsteps)

The corner, look.

(foreboding music)

- It's Delair's wife!

I'm going to get her.

- No!

-[Radio] The subjects have just started

around to the rear of the building.

- It's too late.

They'll be here any second, now.

(suspenseful music)
(footsteps)

- Georges!
(gunshot)

- She tried to kill me!

- Well, that makes it quits.

Come on, get in the car!

(distraught weeping)

- You alright, Georges?
- Drive!

Never mind about that.

Move it!
(car starts)

(dramatic music)

- Pursuit Two, subject's car
moving into Rue de Seville.

Right, get after them, quickly.

(engine revs loudly)

- You want to take her in?

- Haven't got time, keep going.

- Okay.

That was close.

- Certainly was.

-[Radio] This is Pursuit Two.

Subject's car proceeding
north on Nationale One.

Maintaining contact.

(dramatic music)

(pained groaning)

- Here, let me take a look at that.

- It hurts!

- You'll live.

- There's a handkerchief
in my coat pocket.

(suspenseful music)

(pained groaning)

- You should be glad that
angry women are lousy marksmen.

- And you saved my life.

- I'm protecting my investment.

Nothing personal.

(tires squeal loudly)

Where are we?

- Chateau de Luc.

- Supplier live here?

- No, the chateau was
burned down many years ago.

It was famous for it's
beautiful botanical gardens.

But it's a jungle, now.

(suspenseful music)

Where is Georges?

- He's coming.

Where is this meeting place?

- It's in a meadow, about a
quarter of a mile over that way.

Well away from the road.

(foreboding music)

(suspenseful music)

- There's the car.

Drive on past, and park off the road.

This is Pursuit One to all units.

Establish blocks on all
roads around Chateau de Luc.

Allow vehicles to enter the
area, but not to leave, out.

Once our man's inside, we've got him.

- Let's look around.

What about her?

- I'll get one of the
men to stay with her.

(doors slamming)

(suspenseful music)

(leaves rustling and crunching)

- It's here.

You wait here, I'll give the signal.

- Who brings the stuff?

- The man, himself.

He trusts nobody.

- They could be hard
to find in this place.

- Sooner or later, they'll
have to break for the cars.

Let's try over that way.

- What's she doing?

- Just obeying orders.

The man is quite specific.

(foreboding music)

(lights match)

(loud sizzling)

(flare burns)

(flares burn loudly)

- Right on time.

(ominous music)
(helicopter blades)

(trees rustling)
(engine whines loudly)

(suspenseful music)

- I tell you, it was a helicopter!

- Well, get back to the car.

Tell the units to move in on foot, quick!

(leaves crunching)

(lights match)

- Hello, Mark.

- Who's this?

- John Mannering.

He's in with us, now.

Don't worry, he's alright.

- Got the stuff?

- Stuff's all here.

Where's the money?

-[Georges] Easy.

- Mark, I am sorry.

There will be no payment.

-[Georges] Easy.

- What's the meaning of this?

- I think it's obvious.

It's a multi-purpose double-cross,
we're both being taken.

- Our little set-up, Mark, is finished.

The heroin will give us the money,

and the helicopter will
get us away from here.

I can fly it well enough.

- Well, what happens to us?

- Georges.

(ominous music)

(gun clicks)

- Is this what you wanted?

(dull thud)
(pained grunt)

(dramatic music)

(men grunting)

(men struggling)

(pained grunting)

- Georges!

(dramatic music)

(engine whirring)

(trees rustling)

- Bring her down!

Bring her down!

(loud engine whine)

- Well, what now?

- Candle lights, music, and bad food?

What was that for?

- It's an old French custom.

- You know any others?

- Mhm.

- Well, I have an open mind.

(dramatic crescendo)

("The Baron" theme music)