All language subtitles for Revizor 2

(Átirat készítője: TurboScribe.ai. Frissítés Korlátlanra az üzenet eltávolításához.) What's this?

This is Harlow, Clack, D'Souza.

What are you doing here?

We're here to do what ought to be

done.

So eyes do not see and ears do

not hear.

As it stands, the director and his wife

are asleep in the next room.

And we've got to keep this...

Harlow, do you mind if I lead?

Please.

D'Souza?

Go with it.

Here's the real situation.

The dark truth.

Increasingly, it's become harder to...

speak...

openly...

speak at all.

Spit it out.

We're here to finish the director.

He's got to be replaced.

I don't see what this has to do

with me.

You're our last chance.

And you can count on us to give

him to you tonight.

Listen carefully.

I'm all ears.

There's a hidden way.

An unofficial way.

And it starts and ends with Whelan.

Who's he?

The Postmaster.

The Postmaster is the one you must...

He's the one you must undo.

He has eyes on everything.

He's seen too much.

He can barely contain.

To finish the director, undo Whelan, and you'll

get everything you need.

All right.

The problem is, you can't get to Whelan

without Bush.

Who's Bush?

He's down in regulations.

But Bush without Jeffcott is like Bosch without

Beets.

To get to Bush, you need Jeffcott.

There's no question.

But to get to Jeffcott, by gum, you'll

have to crack the tooth.

The tooth?

Captain Tussman.

Who's he?

Let's just say, anything that goes from the

director to his wife ends up in Tussman.

And what ends up in Tussman?

Ends up in the end of Whelan.

Ah, but Captain Tussman will be a hard

nut to crack.

You'll never get Tussman talking.

No, sir, not unless...

You get some dirt from Furman.

Yes, there's Furman.

But how to get to him?

There's only one thing in your way, and

that's Teranski.

Yes, you're going to need Teranski.

And who has a meeting on him?

No one.

No, I'm afraid Teranski is...

...a dead end.

So let me put this straight.

Furman gives me Tussman, but without Teranski, no

Furman, no Tuss, and thus Jeffcott is lost,

and I can't find my way to Bush.

But forget Bush.

It starts and ends with...

What's his name?

Whelan.

If I can't even find my way to

Bush, how on earth do I get to

Whelan?

You can't.

It's endless.

But there's another way.

A shortcut.

Us.

I have dirt on Whelan.

But...

but...

I'm tethered to Harlow.

That's right.

Clack and I are tied.

And as for D'Souza, well...

I sit on top of him.

No, no, no.

Well, it's not...

No, it's just that her work relies on

unsupervised access to the sick room and some

free treatments, so...

What we're effectively saying here is we can

help you finish the director as long as...

as long as you...

keep us out of your report.

Keep you out of my report?

Keep you out of my report?

I'm going to have to think about this.

Yeah, why?

Here goes.

Oh, oh.

It's not a bribe.

Thank you.

Thank you.

It's nothing at all.

I'm in.

We'll give you all the evidence you need.

I, for one, have tapes.

Tapes?

Hand them over.

I'll go get them.

We can give you Clack.

You don't need D'Souza and I.

We're not essential.

What have you got on Clack?

I've got documents in a safe.

I'll be right back.

I can give you Harlow.

I can give you Clack.

And I can finish the director.

Is that so?

Yes.

I have evidence.

Why don't you go get that evidence?

I have it with me.

Let's have a read.

There's nothing to read.

Let's have a listen.

There's nothing to hear.

I have only physical evidence.

Ah, so it's concrete.

Concrete?

No.

The truth has a shape that cannot be

contained.

But that doesn't mean it isn't there.

Oh, man.

To release it, you just have to go

deeper and deeper and deeper and deeper and

deeper and deeper.

The Minister

of Ceremonies, Cultural Affairs, Religion, and Special Events

gives extensive, abstract, physical evidence of rampant incompetence,

deceit, embezzlement, violence, corruption, and fraud.

Will it light our way or lead us

into darkness?

Oh, that's the question.

The Minister of Ceremonies, Cultural Affairs, Religion, and

Special Events Will it light our way or

lead

us into darkness?

Oh, that's the question.

Will it light our way or lead us

into darkness?

Oh, that's the question.

Will it light our way or lead us

into darkness?

Will it light our way or lead us

into darkness?

Out, and out, and out, and out, and

out.

No, the truth has a shape that cannot

be contained.

No, the truth has a shape.

Shhhh There

is a darkness Keep

running Keeeeep running Ha

ha ha ha Keeep running

Let's drop the charade and get down to

business.

I am within the complex,

and my inspection is well underway.

My subject is...

The subject of my inspection is...

The subject is not what I thought.

Let me put it plainly.

I have located the subject, and here is

my report.

Section 1-1, a vast and unknowable region,

a rumour of change, word of an imminent

arrival.

Figure 1, coiled over desk, head in hands,

reading letter.

Figure 2 stands at attention beside door.

Figure 1 lifts head, elbows, shifts to right.

What does it mean?

Looks at letter, looks to door, again to

letter, moves hands right, left, moves feet right,

left, adjusts head as if listening, turns to

figure 2, moves head as if speaking.

Evidence of hidden agenda.

Two adjusts right foot, leaning, then slides to

right and returns to standing position.

One steps towards two, glancing back over left

shoulder.

Word replaced.

Figure 2 steps away.

Figure 1 points, steps left, right, figure 2

turns to the right, figure 1 takes two

strides away from two, and two follows.

Figure 1 crosses desk and stops.

Figure 2 turns, indicates, and elaborates.

Yes, sir.

A withhold.

Content is internalised.

Evidence of overload.

Figure is besieged.

Hold.

Mark figure 2 as potential leak.

Okay.

Breaking point, then knee to elbow, forward crawl,

hand to surface, drawing figure to feet, left

hand, then right foot, compression, breaks down.

Raises question.

Are you all right?

Why?

What's wrong?

Nothing's wrong.

Just a little overworked.

Weeland, you're running on now.

Figure 1 gets two by the head in

attempt to contain.

Well, keep it tight.

You might spill something.

I'll do my best to keep a lid

on it and will endeavour to bring you

whatever evidence I have.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Weeland.

Lack of navigation, excessive use of, disregard for.

The sentences pile up.

The excessive use of evidence of rising action.

The movement is dead.

Word movement, word dead.

I want talk, talk, talk, talk!

Evidence of language barrier.

Section 1-3, misinformation enters in the form

of figure 7.

Connection to figure 1 is established, but 7

pulls out of it, takes one by the

neck and is bent over backward by peripheral

content.

Digression, blurring effect.

Figure 7 jumps to conclusion, is given spin

by 2, takes hold of 6, slides left,

right, adds detail, around again to right, folds,

unfolds, slides elbow to high position, strikes.

This fellow has no uniform, no papers.

He's refusing to pay for a thing and

says he's here for the head office.

All are taken in by the diversion.

The misinformation spreads.

Mark!

No!

Just...

Mark as turning point.

Impossible.

What are we to do?

I don't see any way out of it.

Not this time.

Huh?

What are we to do?

I don't see any way out of it.

How do we get home?

How do we get home?

Huh?

Impossible.

Impossible.

I don't need to do it.

Impossible.

Impossible.

In section

2-1, the images I enclose should speak

for themselves.

Hand me my pouch of tobacco.

Hand it over.

Look, I'm not, I don't have any, how

would I have, I don't have any pouch,

I'm not lying.

Look, do you see anything that resembles a

cap or a cane or a pouch, anything

of that sort on my person?

Where's my trunk?

Confiscated, yeah.

You can kiss your trunk goodbye.

And you let them take it, I suppose?

You invited them in, did you?

Didn't even bother to wait for me, you

measly suckling pig.

Go and order breakfast.

It's locked.

Why?

They're holding us!

On what grounds?

On the grounds of the big mess you

made of the anti-route.

This business is going to get us thrown

into isolation for at least a week.

To hell with isolation, let them try.

Please, excuse my sudden intrusion.

Section two, dash two.

Figure one meets figure nine.

Figure 9 takes a high position, figure 1

approaches, figure 9 hinges backward, extends, right, left,

figure 1 avoids, reverses, connects throat to ankle,

descends.

Manipulation from both sides.

Head of figure 9 initiates descending curve, attempt

to disengage.

Figures 1 and 9 attach at neck, rotate,

flip, and unwind, three steps toward bed, figure

1 at low position.

Increasing tension.

Knees are pulled, shoulders are lifted, elbows tunnel

through, spiral action, right, left, exchange of weight,

change of direction.

Holding the neck, a question.

Why are you here?

Figures are briefly aligned.

Figure 9 moves right, outlining position in detail.

Word, reform.

Error.

Within.

Heart.

Heart.

Then 9 realigns with figure 1, both look

down, shift feet.

Two-part slicing gesture by figure 9.

Figure 1 takes control, lands in high position,

both look right.

Word, comma.

Word, comma.

High after high and never trips.

Fuck it!

The following statements are noted here.

There are no missing dissidents.

There are no mass graves.

There has been no use of torture to

extract confession.

And as for the girl, was she beaten?

Yes, I beat her, but I beat her

with a sense of duty and discipline.

There is no wrongdoing admitted here.

Or here.

Or here.

Or here.

Or here.

Or here.

No wrongdoing is expressed.

Word must get out.

Section 3-1.

A warm welcome to our esteemed and guestly

Right Honourable I.

Hello, Jacqueline.

Why don't you tell us about yourself?

Imposter.

Deceiver.

Stand-in.

Cheat.

And that's the sort I am.

Feigning, dissembling, and posturing for effect.

I don't spare anybody.

I don't even spare myself.

Takes no position.

Cares for no one.

Stands for nothing.

I'm everywhere.

Everywhere.

Mark as hopeless.

Mark as irredeemable.

Now here's where I come in.

This complex is my doing.

And undoing.

I am present here.

And here.

I have given shape to this.

And this.

And I am within this.

Just as I contain it.

In these figures, I am unified.

And divided.

This complex is my doing.

And undoing.

I am present here.

And here.

I have given shape to this.

And this.

And I am within this.

Just as I contain it.

In these figures, I am unified.

And divided.

I am present here.

And here.

This complex is my doing.

And undoing.

I am present here.

I am present here.

I have given shape to this.

And this.

And I am within this.

And I am in this.

In these figures, I am unified.

I am present here.

I am present here.

And I am within this, just as I

contained it.