All language subtitles for T B S01E04 Red Horse Red Rider WEB-DL DDP2 0 H 264-squalor (1)_track3_[eng]

(triumphant music)

(mysterious music)

(thud)

(mysterious music)

- You are going somewhere, Alifa?

- No.

- You are perhaps concerned
with the ventilation?

If you think the British
police will protect you,

you are wrong.

In this embassy,

you are legally on Khakanian soil.

I can shoot you,

dispose of the body,

and no one will notice.

No one will even care.

Now, the message.

- I have no message.

- You were in the cypher room at eight.

You received two messages,

one you signed for.

It is the one you did
not sign for that I want.

It is from that traitor, Olmira?

- No.

(light mysterious music)

- Give it to me.

(dramatic music)

(crashing glass)

(loud gunshot)

- You fool.

You complete and utter idiot.

- He hit me.

I lost my head.

- Yes, and your job may be next.

- Excellency, no one noticed.

- Gunshots in London.

You're mad.

- I'm sorry.

- The message.

- Must sell four horsemen.

- It's a cover-up, obviously.

- Must sell four horsemen.

Well, The Baron.

(dramatic music)

(upbeat, disjointed music)

(loud gunshot)

(dramatic music)

(light, triumphant music)

(dramatic music)

- You know something,

you don't look like the kind of man

that knows a lot about paintings

and works of art.

- What'd you expect?

Long hair and a dirty shirt?

- Well, no.

- Just not strong.

- That's the raw meat for breakfast.

- Oh.

Why do they call you The Baron?

- Well, cattle Baron, honey.

Cattle Baron.

To tell you the truth,

it's the name of the ranch

started by my grandfather in Texas.

That's The Baron brand up there.

The nickname stuck.

- Texas, you said?

- Yeah.

(buzzing)

300 miles from Dallas

and 200,000 acres.

-[Woman] Wow!

What'd you do next?

Launch a satellite?

- Well, you never can tell.

- Where is he?

- My front door.

Excuse me.

What is it?

What do you want?

What do you want?

- Please, help me.

I want to see The Baron.

It's terribly urgent.

- All right, wait a minute.

I'll be right back.

Don't go away.

- I wouldn't dream of it.

- Press the fourth button from the end.

- Are you The Baron?

- That's right. Who are you?

- I'm a junior legal attaché
at the Khakanian Embassy.

I received a message
tonight from ---- Olmira.

- Olmira?
- Yes.

- Come in.

- Thank you.

- Saying what?

- Saying must sell four horsemen.

Contact The Baron at once.

Do you know what it means?

- Exactly.

(dramatic trumpet blasts)

- And the four horsemen,

is it some kind of a code word?

- No.

The Kronheim horsemen.

It's a statuette worth
more than a million bucks.

- I tell you, Olmira will give
the money from the horsemen

to the rebel cause.

-[Arko] Exactly.

- He should be shot.

An assassin's bullet and it's finished.

- Is there no limit to your stupidity?

- Excellency, I--
- Listen and think.

- --- Olmira is a figure
of international acclaim.

If we shot him,

world opinion would be outraged.

- Do we care about world opinion?

-[Arko] Unfortunately, we must.

- Then what do you suggest?

- I suggest that we use a little subtlety.

There is a way.

A good way.

(dramatic music)

- Call the Paris shop

and tell them I'll be gone about a week.

-[David] Right.

- And call old Babberman in Texas

and tell him he can have
the Kronheim horsemen

for a million bucks,

plus my ten percent.

-[David] But of course.
- And if he balks

at the price,

tell him I got another dozen people

pleading to buy him.

-[David] Have you?

- No.

(crash)

- Just a minute.

What'll I do about our Khakanian friend

with the bullet wound?

- Pay his hospital bill.

Give that boy anything he wants.

- Oh, John.
-[John] Yeah.

- I hear things are still
very back in Khakania.

- It's about as bad as
you can get, civil war.

- You better be careful,

you could be walking
into a lot of trouble.

- Could be.

(dramatic music)

- Get out of the way!

Get out of the way!

(many people speaking frantically)

- There he is.

- Next.

How long will you be staying in Khakania?

- Three or four days.

- You realize a state of
national emergency exists?

- That's fairly obvious.

- The point is,

we cannot be responsible for your safety.

- That's very hospitable of you.

- Next.

(dramatic music)

- Pardon, sir.

I did not realize.

- Our worthy chief of police.

- Good evening.

- Are you Mr. Mannering?

- Yes, I am.

- I've been sent to meet you.

Will you please come this way?

- Who is the girl?

- It's Horadius Olmira's granddaughter.

(crickets)

- How's your grandfather?

- Do you really care?

- Well, I asked.

- Well, he's very--

Well, you'll see for yourself.

(dramatic music)

- We're being followed.

- It's the secret police.

They've been watching us for months.

(energetic, dramatic music)

- Can I drive right up to the house?

- No, we have to be tactful.

Mr. Olmira is world figure.

His downfall has to be legal.

(intense dramatic music)

- Mr. Mannering, Mr. Verdon,

my grandfather's confidential assistant.

- How do you do?

- Very relieved that you are here.

I'll tell Mr. Olmira.

- No, I'll tell him.

- Please, sit down, Mr. Mannering.

- It's all right.

How is Mr. Olmira?

- It is bad.

Very bad.

- His health, you mean?

- Yes.

He is exhausted.

Speeches, articles,

traveling around.

Every night he works until midnight.

I don't know how much
longer we can keep it up.

- John.

John, my boy.

How are you?

- Hello, sir.

- So good of you to have come.

Verdon.
- Sir?

- The horsemen.

Bring them in, please.

- Yes, sir.

- Grandfather, come, sit down.

- Thank you.

I can manage.

- How are you, sir?

- It is extraordinary how,

when one becomes my age,

everyone seems fascinated
with your health.

I am fine.

Just fine.

- Yes, you look it.

Don't you think, Mr. Mannering?

When you look at my grandfather,

what do you see?

- I see a man I can respect.

- How very kind.

- Well, I don't.

I see a man who is
determined to kill himself.

- Please, please.

- But it's true.

The sale of the horsemen
will be front page news

all over the world.

Isn't that true?

- I'd hate to have a job of
trying to keep it secret.

- And the government already knows

he's giving money to the rebels.

If he sells the horsemen,

they will have proof.

- Savannah, we are
wasting our friend's time.

- And be arrested immediately.

There'll be some sort of fake trial

and you'll be executed.

- Is that the way it is, sir?

- I suppose it is.

- Of course it is!

- My dear child,

we have been through this before.

It is not easy in this country

to be an anti-fascist.

- But you've done enough.

You're 78 years old.

- 79.

- Grandfather, listen.

All your life you have
worked for the people.

They call him the father of the country.

One voice against the flood of apathy.

But he's never fought it.

Never looked back.

- Then why do you want me to change now?

- Because I want you to live.

- But my work is not yet finished.

- But the people of the
country aren't worth it.

They're stupid, lazy, backward.

- But why should you say these things?

- Because I love you.

Because I want to see you
live out your days in peace.

Mr. Mannering, please

don't let him do this thing.

- My father was a man who
had probably more friends

than any other man in Texas

and he used to say,

when you love somebody,

really love them,

you not only let them
do what they wanna do,

you try to help them.

- Now, the horsemen.

Put it on the table, Verdon, please.

(eerie oboe music)

Open it.

(dramatic music)

- The four horsemen of the apocalypse.

They're magnificent.

Magnificent symbols of disaster.

- Not all, John.

The white rider, some believe,

that is supposed to represent Christ.

- Red horse, red rider is war.

Black horse, black rider is famine.

Pale horse, pale rider is death.

(dramatic music)

(dramatic music)

- We can be seen from the house.

Move further down the road.

(engine starting)

- I have had them so long.

How I shall hate to part with them.

- You don't have to.

- We have been through this all before.

You know the story behind them?

How this man, Kronheim

made them for Ivan the Terrible.

When he delivered them
at the winter palace,

the Czar refused to pay for them.

Kronheim swore that he would
give life to the horsemen

and that they would destroy all Russia.

- And within weeks,

the country was swept by
war, famine, and death.

- Is that actually true?

- Probably not,

but an antique doubles it's value

if it's got a good story to go with it.

- And now, let us get down to business.

Verdon, please, pack it up again

and get the car ready.

Excuse me.

John, I want to have a word with you.

Well, John, how much?

- 300,000 pounds,

minus my usual commission.

- When?

- Within four hours after
they reach my shop in London.

- So, let us say then

at the end of the week,

you can deposit 270,000 pounds in my name?

- I can guarantee it.

- Just leave it there, please.

Thank you.

- Yes.

- Now, my dear,

I want you to help me.

- Of course.

- You must go with John.

- And leave you?

- It's gonna be a pretty rough trip.

- Without Savannah, it would be suicidal.

You will guide him, my dear.

- You will go the back road,

to the border.

Cross at Al Riba.

- But there and back would be four days.

But Verdon's here.

I can manage.

You will disguise yourself as a farmer.

Savannah is your wife.

You are in Al Riba for stores.

The clothes and the forged papers

are in my bedroom upstairs.

Savannah, would you
bring them to me, please?

(mysterious music)

- I can make it alone.

You know that.

- Yes, you can.

- You want Savannah out of the country?

- If she were here and
something went wrong,

you must understand that

she is everything I have in the world.

- She's a very determined young lady.

The trick is to keep her from coming back.

- This waiting.

If I had my way,

we should go into the house
and take the horsemen.

- In the public's eye,

this way will be better.

We confiscate the horsemen,

we arrest Olmira for subversive acts.

Then, we get The Baron to testify.

Then, we execute Horadius
Olmira for treason.

(whistling)

- Relax.

It's my man.

Well?

- The back road to Al Riba,

disguised as a farmer and his wife.

- And the device?

- I attended to it personally.

- Good. Get back into the house.

(crickets)

- Well, it's not as safe as Fort Knox,

but it'll have to do.

You have papers?

- Yes.

There is one danger point

between here and Al Riba.

- Yes, I know.

She told me, Vermansa.

- Yes.

- It's a government stronghold.

- But once you are through the town,

Miros will contact you.

- Miros?

- One of the rebel leaders.

He will be watching out for you.

He will see you to the border.

- Well, if that's everything,

I guess we better get started.

- Goodbye and good luck.

- Thank you.

- I shall not forget.

I am deeply grateful.

- Goodbye, sir.

- Bye, my child.

- You'll take care of yourself?

- Of course, of course.

- I shall not be away long.

- My dearest child.

- Four days.

Five at the most.

(crickets)

(mysterious music)

- God protect you always.

(dramatic music)

- There they go.

Come on.

Come on, hurry up.

- There's no rush.

We can't possibly lose them.

-[Salan] Very clever.

- We can pinpoint their position

no matter where they are.

(dramatic music)

- Well, it's like old times.

- What do you mean?

- During the war I was with
the fine arts subcommission,

tracking down art treasures
looted by the Nazis,

getting them back where they belong.

- Now, you're doing the reverse.

(crickets)

(car screeching)

- Vermansa, that's the danger point.

- Yes.

After that we're safe.

Miros and the rebels hold everything else

from there to Al Riba.

- Keep your fingers crossed.

(dramatic music)

You see anybody?

- Not a soul.

Everybody must be in bed.

- I wish we were.

- Now don't take this husband

and wife masquerade too seriously.

- Uh oh. We've got a road check.

When they hear my accent, we're through.

- What shall we do?

- Change places, quick.

- But they'll see you.

- They're still busy with that truck.

Now, you do as I tell you.

(dramatic music)

Now, look, we've been to a party

and I passed out.

Now, keep it light,

but make it good.

Let's go.

(apprehensive music)

- Turn off that engine!

- What's the matter?

- A road check.

And who is that?

- That, unfortunately, is my husband

with five bottles of wine in his belly.

- Your papers.

And his.

- Papers, forms,

check this, check that.

We are farmers.

We live two miles from Al Riba.

- His papers! Quick!

(quiet chuckling)

(angry sigh)

- Try it.

(man crying out)

Nice try.

- Get out!

(apprehensive music)

- Charming country.

(apprehensive music)

- Their papers.

- They are forgeries.

- Where are the horsemen?

They have a box about so big

hidden in the car.

Find it.

- You! Look in the back.

- You! Try the engine.

(apprehensive music)

I have it!

- Get it out!

Over here.

On the bonnet.

Guard them.

If they make one move, shoot them.

In the jeep.

(car horn)

- Hey, open up!

- Your papers.

- Nothing in this country but
miles and miles of papers.

- You a vegetable grower?

- Oh, you can read.

All those papers and finally

a soldier that can read.

- Watch your tongue.

- You watch my tongue.

- What you carrying?

- Cabbages.

- I'll take a look.

- You soldiers are all the same.

You would steal the bed from
under your sick mothers.

(dramatic music)

Come on, quickly.

Quickly.

Everyone, come on.

Go.

(dramatic music)

(gun shots)

- Thank you, my friend.

- Come on, let's go!

(gun shots)

- I'm Miros.

Slick on time.

You like me, yeah?

- You're the greatest.

- I'm very important.

- Look, we love ya.

- We better hurry up and get in the car

before the little lady gets a bullet, huh?

- The four horsemen are in the jeep.

Get them.
- Okay.

(gunshots)

- Hey, I shoot the tires!

(gunshots and laughing)

- Come on, Miros!

(car engine running)

- It was a good fight, huh?

- The greatest.

Now, sit tight.

(gun shots)

What about your men, Miros?

- My men?

They're like fleas on a dirty mattress.

They're advantage, hide

and then nobody can find them.

They come back and bite again.

(laughing)

- They've shot the tires.

- Sergeant!

- Yes, sir.

- We need four new tires.

Quickly!

(dramatic music)

- You see anything?

- Nothing.

They give up.

We scared the wax from
the ears, those ones.

No chase Miros.

- It looks like we'll make it.

(dramatic music)

- We're out of gas.

- But the car was full.

- Lucky bullet, huh?

(dramatic music)

- They have a good start on us.

They might be out of range.

- We will catch them.

- It's ready, sir.

(fast, anxious music)

- Now what?

- We walk.

- I know the way!

- Let's move out.

(rapid, building music)

(beeping)

- They are approximately
nine miles from here.

Moving north very slowly.

They can't possibly get away.

(dramatic music)

(apprehensive music)

(steady beeping)

(apprehensive music)

- They're out of fuel.

- The radar. Quickly.

(dramatic music)

- They are about four miles from here,

heading due east.

- Come on.

Let's go.

(dramatic music)

- Well, I wouldn't say it was easy,

but it was exciting.

(laughing)

- I can't.

Not another step.

- Come on, we'll rest for a little bit.

- So, Nazis steal pictures.

You chase.

Kill Nazis and bring
pictures back home, huh?

- That's about the side of it.

- You're a brave fella.

Not as brave as Miros, you know.

One time, I kill 11 government troupes.

All by myself.

- How far are we from Al Riba?

- From Al Riba?

We're exactly--

I don't know.

- Meaning we're lost?

(train horn)

- It's the train!

(dramatic music)

-[John] Any idea where it's going?

- To Al Riba.

- She's right.

It's headed for the border.

- So are we.

(dramatic music)

(train horn)

- I go to sleep now.

- You all right?

- I was thinking

- About what?

- About you.

I've never met anyone like you before.

- I'm that unusual?

- I don't understand you.

What are you doing riding in this boxcar

across this Godforsaken country of mine?

You own three of the most exclusive

antique shops in the world,

you are a charter member of the jet set,

you have beautiful women.

Why are you doing this?

- Money.

- No, I don't believe you.

- Look, honey.

I'm like a hundred thousand dollars

from the sale of the horsemen.

If I have to dodge a few
bullets along the way,

it's all part of the game.

- Is there no other reason?

- Maybe.

Look, Savannah.

I think I wanna tell you it's in my blood.

Most of my ancestors were cattle ranchers.

(laughing)

(beeping)

- They are definitely on this train.

Take a lamp and stop it.

- Hey, you.

These people are enemies
of the government.

They must be stopped at
all costs, understand?

Now, we'll search this side of the train.

You search the other side.

If anyone tries to get off, hold them.

- If they don't hold, shoot them.

To kill. Is that clear?

- Here it comes.

(approaching train horn)

- Savannah, we're stopping.

Miros!

- I dreamed that six beautiful ladies--

- I know, I've had that dream.

- What's the matter?

(dramatic music)

- They caught up with us again.

- It's not possible.

- They're stopping the train.

(dramatic music)

(train screeching to a stop)

(dramatic music)

- What is it?

- Soldiers.

- On both sides?

- Yeah, we're trapped.

(dramatic music)

- It's empty.

- One of them won't be.

(dramatic music)

- Don't worry.

It'll be all right.

How did this happen?

- I don't know.

(dramatic music)

- What can we do?

- We can fight.

- Two against four is not
very good odds, Miros.

(dramatic music)

Help me.

(dramatic music)

- That's the last one.

Be careful.

(dramatic music)

(gunshots)

- They must be on this train.

They must!

- But they aren't.

- You saw nothing?

- No, sir. Nothing.

- It's impossible.

-[Salan] Perhaps the equipment is faulty?

-[Shamir] It couldn't be.

-[Salan] We will start
again from the front,

but first we check the equipment.

(dramatic music)

- All right.

Let's go.

(dramatic music)

- We make it.

- It'll be light in about another hour.

- Then we don't wait.

Come on.

(descending music)

- We are utterly and hopelessly lost.

- Oh no, lady.

Over there is freedom.

That road down there is the border

between Khakania and Greece.

- Duck down!

(dramatic music)

Look at that.

They're always one step ahead of us.

-[Miros] Is big mystery.

-[John] I wonder how they do it.

- Anyway, if we try to cross
border in the daytime, bang!

So, we must wait for night.

- You mean we have to stay
here in this heat all day?

- Oh, no.

Miros has just the place.

I know this area very well,

but first we must steal chicken.

Come with me.

(triumphant music)

My mother and father,

always farmers,

three sisters and four brothers.

- All dead, huh?

(mimicking machine gun)

Firing squad. All dead.

Stinking government troupes!

- It's terrible and it's been going on

for ten years now.

- This wine is like dog piss.

Sweat.

Miros the only one who escaped.

I went up into the hills.

I fought with the rebels.

We looted

and stole some things

and we always fought.

You know, it's like,

I tell you,

is a flea

and sometimes we come out and we bite,

but someday we gonna win.

Then we're gonna have,

like you Americans say,

you know a--

A declaration!

- Declaration of independence.

- Yeah and we're gonna write it

and for the paper,

we're gonna use the skin of the president

and for the inkwell,

we're gonna us his skull

and for the ink we're gonna use blood

and for the pen

a bayonet!

(maniacal laughing)

You know, for a beautiful lady,

you're a very good cook.

(laughing)

Well, I think

I'll take a little walk across border.

See how hard it is to get across.

I'll be back soon, okay?

- Go ahead.

(laughing)

(laughing)

- That guy's got a laugh like a hyena.

They knew we were on that
trail the whole time.

I wish I knew how.

He said something about,

the equipment was faulty.

The equipment was faulty.

(mysterious music)

Hold this.

(mysterious music)

A transmitter.

That's how they did it.

Very clever.

Very clever.

(knocking)

That'll be Miros.

(dramatic music)

- Well, at last we meet face to face.

- You won't mind if we don't shake hands?

- Where are the horsemen?

- They've crossed the border.

- You lie.

- I said, they're gone.

If you don't believe me, search.

- Shamir, look for his gun.

One false move.

Just one.

Now, let's go in there.

(apprehensive music)

There it is.

- Empty?

- It's here somewhere.

Find it!

(dramatic music)

- It's here.

(dramatic music)

(gun shots)

Now, get up.

(gun shots)

Past the barn,

I saw them walking here across the field,

so I came back.

- You timed that pretty good.

- Well, you did the same for me.

So, now we're even.

Get some water.

Is it painful?

You better sit here.

- I think I'll be all right.

How long before we can cross the border?

- I think we should wait 'til dark.

- Well, go out and have a look.

- Okay.

- Here.

Let me have a look at this.

- It's bad.

You know, after you cross the border

you still have to walk
eight or ten kilometers.

I think you better rest.

- Yeah, we'll get some sleep.

(dramatic music)

(sneaky music)

Miros.

Going somewhere?

- Hey, my friend.

You nice fellow.

Miros like you.

- What's the matter?

- Our friend Miros has
suddenly turned light-fingered.

- Ever since Miros was a little boy,

he never have nothing.

Lots and lots of times,

he go to bed hungry.

You understand?

So now, he take the four horsemen.

- You pig!

- Beautiful lady.

Miros need the money, too.

- Put them down, Miros.

- No! Once in my life,

before I die,

I want wine, women,

beautiful clothes, big car, big house.

- I said put them down.

- You save my life.

I save your life.

We even.

You a nice fellow,

but if you try to stop Miros,

I gonna shoot you dead.

(yelling in a foreign language)

- Savannah.

Stay out of this.

You're a very brave gent, aren't you?

- Hey?

- Two pistols, plus a knife,

plus a big mouth.

That adds up to being all yellow.

- Hey.

You calling Miros a coward?

- Coward.

Cheat.

Yellow. Snake in the grass.

You name it.

- Nobody calls Miros a coward.

- I do.

- All right!

We're going to settle this, huh?

And have a fight fair?

- Fair fight?

I figured for you.

- One hand!

We fight one hand, huh?

And I'll tell you straight out.

If I get that knife first,

I'm gonna slit out your guts.

- Likewise.

(dramatic music)

Is that what you can do?

Is that your action?

(dramatic music)

- Hey.

You won.

Take your four horsemen.

The wine, women, beautiful
car, beautiful clothes.

Who needs it?

- I do.

- Beautiful lady, Miros is very sorry.

- You should be.

If I were him,

I'd slit your throat from ear to ear.

- Hey, maybe someday you
come back to Miros' village

and we'll fight again, huh?

- I'm willing, Miros,

but you better think it over.

Let's get started.

(mysterious music)

- You're taking me with you, aren't you?

- That's what he wanted.

(dramatic music)

I'm writing this check
on my bank in Washington

for 840,000 dollars,

minus my usual ten percent.

David, you can call Babberman in Dallas

and tell him that you'll fly to New York

with the Kronheim
horsemen anytime he likes.

- Right.

- On the extension.

(apprehensive music)

- Well, we've done it.

- Yes, we did.

- For war, for able guns,

red horse, red rider.

War.

- Savannah, there are those who believe

that white horse, white rider is hope.

(dramatic music)

(energetic, triumphant music)