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Royal Cinema House
  • 2 days ago
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Transcript
00:00:26You're
00:00:30Imagine my body, your eyes
00:00:33Watching every move I make your heart
00:00:38Is beating with the fire of love
00:00:43How much passion can you take?
00:00:48We're getting closer and closer
00:00:53I'll take you higher than the stars above
00:00:57This is an open invitation to love
00:01:10My mouth is burning with desire
00:01:15My body is hungry before you touch my hands
00:01:22I'm trembling and my heart is aching
00:01:26From wanting you so much
00:01:30I just can't wait any longer
00:01:36You are exactly what I'm dreaming of
00:01:41This is an open invitation to love
00:01:57I'm here to invite you
00:02:01I'm here to invite you
00:02:08The wheels were set in motion the night before I arrived in Yugoslavia
00:02:12At a warehouse on the bad side of town
00:02:15A sleazy American with a John Wayne complex
00:02:18And a suitcase full of forged immigration papers
00:02:20Was about to trade with some black marketeers
00:02:24You see, a group of Poles were desperate to immigrate to America
00:02:28And John Wayne had the papers to facilitate it
00:02:31But he traded in flesh, in life, and in death
00:02:37I hear there's an old saying in Belgrade
00:02:39Roughly translated as
00:02:41Why fear death that is the most beautiful adventure in life
00:02:45More prophetic words were never spoken
00:02:47And as John Wayne arrives to conduct business
00:02:50The evening events would foreshadow my arrival
00:02:58Jesus Christ, ill busky
00:02:59Room after room filled full of merchandise
00:03:02You must be raking in millions
00:03:07I am not
00:03:08I hear that the underground economy in this country
00:03:11Turns a tidy little profit
00:03:14Look here
00:03:16You help the common man settle his stomach
00:03:18With a little bit of booze
00:03:21Then you give him something to wipe his ass with
00:03:24I am not Cybulski
00:03:26You're not?
00:03:27No
00:03:29Cybulski is not here
00:03:30He is late
00:03:32Mr. Cybulski, please
00:03:46Shh
00:03:46Tonight you will not leave for America as planned
00:03:49Go
00:03:50And report to Office of Immigration
00:03:52I will meet you there
00:03:57It's not too late
00:03:59It's not too late
00:04:03They want to know why they can't go to America
00:04:06The papers
00:04:07I need to get immigration papers before anyone can leave
00:04:19The papers in exchange for what you want here
00:04:22That is the deal, is it not?
00:04:24That's what Jivkovic told me, yes
00:04:27Take a peek
00:04:29These are the finest goods on the black market
00:04:31Shoes
00:04:32Paintings
00:04:33Carpets
00:04:34TVs
00:04:35VCRs
00:04:36Plenty of
00:04:37A Nescafe
00:04:38Huh?
00:04:40Movies
00:04:40You like movies?
00:04:42Have you seen one mad cop?
00:04:46Very popular film in your country, I believe
00:04:50Here
00:04:52You see
00:04:53You see
00:04:54I don't want your B-movies
00:04:59I want something I can't get back home
00:05:04I'm not exactly, uh, Romeo, if you catch my drift
00:05:13Oh
00:05:14I catch your drift
00:05:15You have come to the wrong place, my friend
00:05:20Zybulski would not approve
00:05:22Fuck him
00:05:25That big shot film producer, Jivkovic, told me
00:05:29I brought these immigration papers
00:05:32I could have whatever I want
00:05:35I'm sticking my ass out for you
00:05:39We are not in the prostitution business
00:05:43Well, you are now
00:05:45You just try to get your people into America without these, huh?
00:06:25Zybulski
00:06:26Zybulski!
00:06:27You must help me
00:06:29I need to go to America
00:06:33No!
00:06:35If you want to leave this country tomorrow's plan,
00:06:38you will make this gentleman very happy.
00:06:41Do everything he wants.
00:06:56You've got yourself a deal.
00:07:14No!
00:07:16No!
00:07:17No!
00:07:17Get off!
00:07:20I do what's about this and I've given him everything!
00:07:24No, please!
00:07:26No!
00:07:28No!
00:07:29No!
00:07:30I do what's about this and I've given him everything!
00:07:30No!
00:07:30No!
00:07:33No!
00:07:40No!
00:07:43No!
00:07:46No!
00:07:48No!
00:07:55No!
00:07:57No!
00:08:01No!
00:08:02No!
00:08:03No!
00:08:12No!
00:08:15No!
00:08:17No!
00:08:17No!
00:08:30No!
00:08:31No!
00:08:31No!
00:08:33No!
00:08:43No!
00:09:08I told you before, you are the one person I cannot get into America.
00:09:12It is much too risky.
00:09:14Fulski, you are dead wrong!
00:09:37Help me!
00:09:54Well, now that you are all warmed up and blowing off some of that spit, piss and vinegar, maybe you
00:10:06and I can just pick up where we left off?
00:10:14I don't take rejection very well.
00:10:17Now, you got a choice.
00:10:19Me, or your maker.
00:11:02The guy who thinks that you can have to hear is right.
00:11:04He's a good guy and I am a good guy, but she won the guy.
00:11:04What do you mean?
00:11:05I can do it.
00:11:13You never know.
00:11:13You never know.
00:11:14He's a good guy.
00:11:18I've never heard of that.
00:11:19I don't know.
00:11:55I do want so busky breathing down your ass about the mess.
00:12:04It takes a certain kind of talent to do what I did.
00:12:07Not everybody can pull the trigger.
00:12:10It ain't like it is in the movies.
00:12:19It ain't like it is in the movies.
00:12:21You can say that again.
00:12:24By this time in the morning, John Wayne's probably sitting comfortably on a plane,
00:12:29sipping champagne in first class and whistling Dixie,
00:12:33while the poor Poles, whose immigration papers he most pleasantly provided,
00:12:38are no closer to their dream of freedom than they were before.
00:12:42Sure, a select few may escape their country,
00:12:45but they'll be sold into indentured servitude upon arriving in America.
00:12:50Well, I could have told them not much in America is free.
00:12:53You can pay for it with your life.
00:13:23You can pay for it with your life.
00:13:37You can pay for it with your life.
00:13:59Death never takes a wise man by surprise.
00:14:03I never claim to have extraordinary brains, but I always seem to get by.
00:14:08My name is Oliver Wright. I'm an actor, star of One Mad Cop.
00:14:13Oliver, wake up. We landed.
00:14:19At this point, I had never even set foot in Europe before, much less Yugoslavia.
00:14:23But I understood I was popular there.
00:14:27Apparently, One Mad Cop was a big head on the black market.
00:14:31Little did I know I'd be an even bigger head.
00:14:43We're supposed to be raging for you.
00:14:45You got any idea? The director, I guess.
00:14:49Do you know what he looks like?
00:14:51I haven't fainted.
00:14:52Carly!
00:14:54Oh!
00:14:58What happened?
00:15:00I didn't know, we had to wait for Charter from Singapore.
00:15:03Oh, let me introduce you.
00:15:05My new American friend, Oliver Wright.
00:15:09Filming, huh?
00:15:10Nice to meet you.
00:15:11Is that you they're filming?
00:15:13No, uh, me they're supposed to be waiting for, and it looks like they can't even do that.
00:15:18Oh, maybe they came and left when they saw that the plane was late?
00:15:21Maybe.
00:15:22Oh, have you got some phone number when you can call and tell them you arrived?
00:15:25No.
00:15:26A name, at least?
00:15:27Uh, all I know is the director's name is, uh, Kolia Serb... Serbich.
00:15:33Darling, Oliver must come to our engagement party.
00:15:37Lots of movie people will be there.
00:15:40I telephoned information.
00:15:44I found your director's address.
00:15:51Are you a famous actor?
00:15:53Yes.
00:15:54To my family.
00:15:57I was traveling to Belgrade because I was offered the role of a lifetime.
00:16:01Working for Kolia Serbich, the world-renowned writer and director.
00:16:06Academy Award nominee.
00:16:08True auteur.
00:16:10The same Kolia Serbich who was exiled from America wanted, no less, a murder after the
00:16:16on-set death of his lead actor.
00:16:18Kolia claimed it was poor planning on the stunt coordinator's part, but the DA insisted it
00:16:23was Kolia Serbich who loaded the gun with real bullets.
00:16:27Kolia was exiled from the U.S., and he wore that like a badge of honor, putting him in the
00:16:32company of directors like Charlie Chaplin, Roman Polanski, but Kolia Serbich wanted desperately
00:16:39to return to America.
00:16:40Kolia would do anything for his art.
00:16:43So would I.
00:16:44For one mad cop, I gained 20 pounds and shaved part of my head.
00:16:48I was intensely devoted to my craft.
00:16:51As I would soon learn, I was like Kolia in more ways than one.
00:16:55Is everything all right, Oliver?
00:16:57Don't forget, our engagement party is tonight, 7 o'clock at the hotel.
00:17:02Bye.
00:17:03I was about to walk into a thick, tangled mess.
00:17:06The groundwork had been laid.
00:17:08The beginning of the story already told.
00:17:11A dead body had been found in the zoo, eaten by wolves.
00:17:15That's where I make my entrance.
00:17:17Into a twisted world where art begins when life ends.
00:17:21This was the last day of the rest of my life.
00:17:31Excuse me.
00:17:33Kolia Serbich?
00:17:35Come in.
00:18:13What time was it?
00:18:15What time was it?
00:18:20You're American.
00:18:23And who are you?
00:18:25Police Inspector Petrovich.
00:18:36Where's Kolia Serbich?
00:18:41Excuse me.
00:18:46What's this?
00:18:48Kolia Serbich?
00:18:51He was found dead this morning at the zoo.
00:18:53Apparently eaten by wolves.
00:18:59Dobro.
00:19:11Dobro.
00:19:20Disvinete, doctor.
00:19:22Govorite li ingleski.
00:19:24Oh, yeah.
00:19:25I speak a little English, yes.
00:19:30Speak with me, will you?
00:19:32I'm trying to make mine better.
00:19:35Don't even think about it.
00:19:39I'm not speaking with you.
00:19:41I'm just practicing.
00:19:45You sound like Clint Acewood.
00:19:49Good.
00:19:50I'm trying to.
00:19:55You got rid of the scar.
00:19:59No, we must wait for that.
00:20:02We need some healing first.
00:20:05But other than that, it's perfect.
00:20:10Perhaps I also will go to America, too.
00:20:16Do you know someone who is going to America?
00:20:18No.
00:20:19No.
00:20:20No one.
00:20:23You must be very careful over the next few weeks.
00:20:29Your eyes will be very sensitive to the light.
00:20:35You must wear these glasses for the next 24 hours, at least.
00:20:45And the implants can be easily moved.
00:20:49So be very careful about what you're doing and what you eat.
00:20:55I don't eat.
00:20:56I only drink.
00:20:58And just as soon as we're finished here, I'm going out for my meal.
00:21:12I don't even think about it.
00:21:28Hello?
00:21:30Mr. Djibkovic is waiting.
00:21:33Who?
00:21:34Mr. Djibkovic, your producer.
00:21:35He is in the cafe.
00:21:39Djibkovic?
00:21:40Shall I tell him you're coming?
00:21:42All right.
00:21:43All right, I'll be down in five minutes.
00:21:51Tell me, how did Konya end up in a wolf then?
00:21:53He used to walk drunk on the wall above the cage.
00:21:5817 times, I pulled him off the cage.
00:22:0217 times I pulled him off that wall.
00:22:04Last night I wasn't.
00:22:07To tell you the truth, I knew it.
00:22:11I was sitting in a meeting, working on the budget.
00:22:16And all the time there was something here, nagging at me, nagging, as if I could see him.
00:22:22Why did he walk the wall?
00:22:24I don't know.
00:22:27He had something in him.
00:22:29Something that was crazy.
00:22:32Tempted fate.
00:22:34You want another whiskey?
00:22:36No, thanks.
00:22:41You're right.
00:22:43I've read your work.
00:22:47It's not even.
00:22:49Why don't you take over the movie?
00:22:54What?
00:22:56A lot of money has already been put into it.
00:23:01Konya, he would have wanted it that way.
00:23:04So what do you say?
00:23:12I met this so-called Englishman.
00:23:15Yeah.
00:23:16You said he'd worked on the screenplay with Konya.
00:23:20Konya, you told me about you.
00:23:24I work with Konya on the screenplay.
00:23:27I provided him with a few interesting facts.
00:23:32What kind of facts?
00:23:33About the white slave trader.
00:23:38I don't know what you're talking about.
00:23:40About the film Konya was supposed to make.
00:23:42And you were supposed to star in.
00:23:44I don't think we're talking about the same screenplay.
00:24:15Uh, something about, um, white, uh, slave trade?
00:24:17No, it wasn't in the screenplay sent to me.
00:24:19No, it wasn't, of course.
00:24:23Uh, okay, so, uh, what do you really want?
00:24:28For you to direct the movie.
00:24:33You mean make my own movie?
00:24:35Your own, of course.
00:24:39If the movie's mine, uh, I have to write a new script.
00:24:44Okay, take a couple of days, go to Dubrovnik Belvedere Hotel.
00:24:49What do you say?
00:24:54Hey, who's that girl over there?
00:24:55That is Nina.
00:24:57She was to be your co-star in Korea's film.
00:25:01Easy to deal.
00:25:02Huh?
00:25:08I have to think about it.
00:25:10How long?
00:25:12I don't know, uh...
00:25:16Until tonight, I'll, uh, see you at the engagement party.
00:25:21Okay.
00:25:24So that was my first encounter with Zhivkovich, the producer.
00:25:29I didn't exactly trust him.
00:25:30I thought he lied when he said the screenplay was not about the white slave trade.
00:25:35But, more importantly, I thought he lied about the death of Koya Serbich.
00:25:41Oh, Mr. Wright.
00:25:43His room satisfactory.
00:25:49Mr. Wright.
00:25:49Your passport.
00:25:56Why are you looking at me like that?
00:25:59Sorry.
00:26:04It's incredible how much you look like him.
00:26:07Who?
00:26:09Koya.
00:26:11Koya Serbich.
00:26:13Koya Serbich.
00:26:14Koya Serbich.
00:26:15Koya Serbich.
00:26:24Koya Serbich.
00:26:27Koya Serbich.
00:26:27Koya Serbich.
00:26:28Koya Serbich.
00:26:28Koya Serbich.
00:26:28Koya Serbich.
00:26:29Koya Serbich.
00:26:30Koya Serbich.
00:26:30Koya Serbich.
00:26:30Koya Serbich.
00:26:30Koya Serbich.
00:26:32Koya Serbich.
00:26:33Koya Serbich.
00:26:35Koya Serbich.
00:26:50Excuse me.
00:26:54Can someone get me some service?
00:26:57Hi.
00:26:59Fill her up, please.
00:27:01Now.
00:27:25Holy mother of God!
00:27:29He's killed her.
00:27:31He's killed her in gold blood.
00:27:35Help!
00:27:36Somebody, please!
00:27:42I want to nail that son of a bitch.
00:27:51Shut it down Shadow Road.
00:27:53Now I need backup.
00:27:54Shut it down Shadow Road.
00:27:56I want backup.
00:27:57That's not your trick, Mr. Jace.
00:27:59Fuck your trick.
00:28:00I want mad cops.
00:28:08Fuck you!
00:28:14Fuck you!
00:28:21Fuck you!
00:28:24No one fucks with those Shane lives.
00:28:29Fuck you!
00:28:31Fuck you!
00:28:33Fuck!
00:29:02Fuck!
00:29:59Don't even think about it.
00:30:00Don't even think about it.
00:30:21Fred Baldwin, LAPD.
00:30:39Her name was Nina, and she was to be my leading lady.
00:30:44I didn't know much about her, but I suspected she knew more than she was letting on.
00:30:51I am hungry.
00:30:56You always go to a church when you're hungry?
00:30:59No, I go to church when I want to surround myself with beauty.
00:31:07Come, I want to show you something.
00:31:10They asked me to do Collier's film.
00:31:12Your film, Collier's Dead.
00:31:19What kind of film did Collier want to make?
00:31:22In Collier's movie, I was supposed to play your mistress.
00:31:25And in real life, you played Collier's mistress.
00:31:37Yeah, they were lovers all right, but she didn't seem too broken up that Collier Serbich became wolf kibble.
00:31:46I used to come here often.
00:31:49He adored the wolves.
00:31:51We'd walk on this wall, sometimes drunk.
00:31:54We'd watch the wolves and talk about the movie.
00:32:01And as he was describing the scenes, I couldn't help myself to try to visualize the man I was supposed
00:32:09to kiss in the movie.
00:32:14I wanted him to look like Collier.
00:32:31meet officer Fritti from the precinct of the lust.
00:32:40She's got a regular beat
00:32:43She makes a regular bust
00:32:46Oh yeah
00:32:58She's good with a stick
00:33:00Give you the third degree
00:33:06To put your hands up on a wall
00:33:09Put you in custody
00:33:15Don't need a public defender
00:33:18Don't wanna go free
00:33:20Won't you be my apprehender
00:33:22Won't you please arrest me
00:33:28Knee, knee
00:33:31I am going to play it up
00:33:36Tomoslav
00:33:46You speak English, don't you?
00:33:48No, I do
00:33:49I learned because I thought you were sending me to America
00:34:04I am not the only one you are misnading
00:34:07Never misled anyone
00:34:09Zhivkovich
00:34:10He's another star
00:34:12And Zybulski
00:34:13I do not think you would have to bury about Zybulski anymore
00:34:24Don't need a public defender
00:34:27Don't wanna go free
00:34:29Won't you be my apprehender
00:34:32Won't you please arrest me
00:34:38Come here
00:34:50Very funny
00:34:51I think so
00:34:52I come here from Poland
00:34:54That is also funny
00:34:55And I work every day for nothing
00:34:57Very funny
00:34:59You owe me that money
00:35:02She can rip you with her buns
00:35:05Not the face
00:35:07Don't need a public defender
00:35:10Don't wanna go free
00:35:15Won't you be my apprehender
00:35:20Won't you please arrest me
00:35:20Save me, baby
00:35:25Don't need a public defender
00:35:27Don't wanna go free
00:35:29Won't you be my apprehender
00:35:32Won't you please arrest me
00:35:38Come here
00:35:39The money is yours
00:35:52But I'm afraid you'll have to work for it
00:35:56Zhivkovich is working for me also
00:35:59But she don't need her pistol
00:36:02She can whip you with her buns
00:36:05You will need someone to clean up after you
00:36:07You
00:36:08Don't need a public defender
00:36:11Don't wanna go free
00:36:13Won't you be my apprehender
00:36:16Won't you please arrest me
00:36:20Save me, baby
00:36:32She's a top cop on the force
00:36:34She got a body head gun
00:36:40But she don't need her pistol
00:36:43She can whip you with her buns
00:36:49Don't need a public defender
00:36:51Don't wanna go free
00:36:54Won't you be my friend?
00:36:57Won't you please arrest me?
00:37:01Sing the end, baby!
00:37:08You know, Kolya and I saw one mad cop.
00:37:12He loved you in that film.
00:37:14And I sensed someone very innocent.
00:37:21Don't you think it's time you told me everything?
00:37:24I told you everything that is important.
00:37:27Or do you want me to tell you details about my lovemaking and Kolya?
00:37:31I prefer to hear something about what you and Kolya do with the polls.
00:37:34Oh, Pozzo!
00:37:35Oh, dear Pozzo!
00:37:37Hello, dear Pozzo!
00:37:38Oh, Pozzo!
00:37:40Hello, Nina.
00:37:41I'm so sorry she was frightened of by the runners.
00:37:46Do we know each other?
00:37:47Certainly.
00:37:49Only this morning we were talking about the script I did with Kolya.
00:37:54I hear you preparing a new version.
00:37:59News travels fast in this town.
00:38:01Only some news.
00:38:06This is truly fantastic, Porter.
00:38:10I knew we had the same taste.
00:38:14Kolya liked my little hideaway, too.
00:38:29Kolya was not alone at the cafe last night.
00:38:33The story about wall and walk and zoo is true.
00:38:41But last night, when he left the cafe,
00:38:54he wasn't drunk.
00:38:59How do you know?
00:39:01I was there.
00:39:04And I know what is of interest to me.
00:39:07For instance,
00:39:10Sibulski.
00:39:16No, Sibulski is a guide for Polish tour groups.
00:39:26Do you mind the smell of tobacco?
00:39:30What was Kolya's connection with this guy?
00:39:32I knew you were going to ask that.
00:39:41What's this?
00:39:43The Eastern Channel.
00:39:47Sorry.
00:39:51The Eastern Channel.
00:39:55That's going to be the title of my article appearing on the front page of the Guardian.
00:40:01Why are you showing me all this?
00:40:04Because of our screenplay, dear Oliver.
00:40:14Our screenplay?
00:40:15Mm-hmm.
00:40:17The same one Kolya and I wrote.
00:40:27Thanks for the drink.
00:40:30You got it all wrong.
00:40:32I write my own screenplays.
00:40:45You can't do it alone in this country.
00:40:51If you think that Russian Hall can help you in Yugoslavia,
00:40:56you're sorely mistaken.
00:41:11You're right.
00:41:12She probably is a Russian whore.
00:41:15That woman is with me right now, so...
00:41:21I knew I'd run into that screenwriter again.
00:41:24Like most acts,
00:41:25Porter was obsessed with his original script
00:41:27about white slavery and trading identities.
00:41:31It wasn't in the draft I'd read,
00:41:33and it wasn't going to be in my rewrite either.
00:41:36The chance to write my own script was tempting.
00:41:38Almost as tempting as Nina.
00:41:41There I was,
00:41:42writing Kolya's script,
00:41:43directing Kolya's movie.
00:41:45And if I played my cards right,
00:41:47I'd end up with Kolya's mistress to boot.
00:41:56So?
00:42:01Stop that.
00:42:04Sandra,
00:42:06why do you even have to ask me
00:42:08who I love more?
00:42:10Nina is yesterday,
00:42:12you are today.
00:42:14And who is tomorrow?
00:42:17You.
00:42:19No matter where I am
00:42:21or what I'm doing,
00:42:23you gotta always be you.
00:42:30Sandra.
00:42:32Sandra.
00:42:34You have the contact lens I ask you for?
00:42:49I don't know what you ever saw in her
00:42:52in the first place.
00:42:54She's just a Russian war.
00:42:58He's whore.
00:43:00She's a damn good one,
00:43:01as a matter of fact.
00:43:03The moment of truth is at hand.
00:43:08Nervous?
00:43:11Nervous.
00:43:12No.
00:43:14I was thinking about
00:43:15what that screenwriter had said to me.
00:43:17According to Porter,
00:43:19Kolya wasn't drunk when he left the bar,
00:43:21at least not enough
00:43:22to fall into a wolf's den on his own.
00:43:24What was more likely,
00:43:26it seemed,
00:43:26was that Kolya had been pushed.
00:43:28From what Porter had said,
00:43:29this guy,
00:43:30Cebulski,
00:43:31a Polish tour guide I'd never met,
00:43:33was the prime suspect.
00:43:35Do you know somebody
00:43:36named Skupulski?
00:43:37Yes,
00:43:38he's a guy for Polish tourist groups.
00:43:40Officially,
00:43:40unofficially,
00:43:41he's a black marketeer.
00:43:44He keeps me regularly supplied
00:43:45with Neskitan perfumes.
00:43:48Why?
00:43:54I think he killed Kolya.
00:43:58Unless Porter's lying.
00:44:00And it looks to me
00:44:02as though everybody lies here.
00:44:07I promised you
00:44:09scrambled eggs and onions
00:44:10and that's what you're going to get.
00:44:13Come.
00:44:28Oh, Mr. Wright.
00:44:34I thought I might find you here.
00:44:41What's this all about,
00:44:42Petrovich?
00:44:44Petrovich.
00:44:45I'm a Serb,
00:44:46not a Russian.
00:44:48And you as an American citizen,
00:44:49right,
00:44:50should not get mixed up
00:44:51in something
00:44:51that's strictly
00:44:53Yugoslav-Soviet
00:44:55speciality.
00:44:56That being?
00:44:59The black market.
00:45:01Oh.
00:45:02I see you've been promoted,
00:45:04Petrovich.
00:45:05Now you've been put in charge
00:45:07investigating the, uh,
00:45:08great mystery
00:45:09of the five Nescafé jars.
00:45:11Ha.
00:45:12Shouldn't you be working
00:45:13on the murder,
00:45:15Petrovich?
00:45:16What murder?
00:45:18Still the same one,
00:45:19Kolya Serbich's.
00:45:23Stop playing detective,
00:45:24Wright.
00:45:25Leave it to the professionals.
00:45:27This isn't one of your
00:45:28Hollywood melodramas.
00:45:31What does really
00:45:32happen here?
00:45:32I know who was with
00:45:33Kolya Serbich
00:45:34at the café last night.
00:45:36Good God, man,
00:45:37I'm telling you,
00:45:37Sapolsky killed
00:45:38Kolya Serbich!
00:45:43Listen, fella.
00:45:45I don't think that
00:45:47an English stringer
00:45:48in Belgrade
00:45:48knows more
00:45:49than the Belgrade police
00:45:50about what happens
00:45:51in this city.
00:45:55The operation
00:45:56works like this.
00:45:58That money you serve
00:45:59is just peanuts.
00:46:01The big money is in America
00:46:02where a certain
00:46:03Mr. Dayan
00:46:04is known
00:46:04for being able
00:46:05to arrange
00:46:06long-awaited reunions
00:46:07between Americans
00:46:09of Polish origin
00:46:10and their relatives
00:46:11in Poland.
00:46:12According to Smith
00:46:13from the FBI,
00:46:15he charges
00:46:15$25,000 per head.
00:46:18Come in, Bobana.
00:46:21The key man
00:46:21is Tsubulski,
00:46:22our Polish tour guide.
00:46:24Paadusho.
00:46:27Dajan sends him
00:46:28a list of both
00:46:29whose American relatives
00:46:31want to bring over.
00:46:32The rest of the operation
00:46:33is tightly organized.
00:46:37Try this one,
00:46:38but I take it.
00:46:46Zhivković.
00:46:48Zhivković,
00:46:49international film producer,
00:46:51a man of the world,
00:46:52is the Yugoslav connection
00:46:53to whom Tsubulski
00:46:54delivers the poles
00:46:55when he brings them
00:46:56into Yugoslavia
00:46:57as tourists.
00:47:01What does Zhivković
00:47:03actually do
00:47:04with these poles?
00:47:05What?
00:47:07I mean,
00:47:07what's the scam?
00:47:12That Slav Zhivković
00:47:13hides the wretches
00:47:15into various holes,
00:47:17takes everything
00:47:18they've got
00:47:20and then
00:47:21runs them out
00:47:22as cheap labor
00:47:23to do heavy manual jobs
00:47:25by deluding them
00:47:26that one day
00:47:27their dream
00:47:28will come true.
00:47:30Poor wretches
00:47:31don't know
00:47:32that their dream
00:47:32is going to be
00:47:33an unending nightmare
00:47:35because
00:47:38when they are finished
00:47:39with here,
00:47:41they are given
00:47:42fake papers,
00:47:44then transported
00:47:45to America
00:47:46where there is
00:47:48another Zhivković
00:47:49waiting for them.
00:47:51What's Koya's
00:47:52connection
00:47:53with all this?
00:47:54I don't know.
00:47:55I know when I find him.
00:47:59Bobanak!
00:48:01Give me file on
00:48:02Serwicz.
00:48:04The lab report.
00:48:07The Wolves
00:48:08didn't eat
00:48:08Koya Serwicz.
00:48:10take this
00:48:11to the archive.
00:48:12The Wolves
00:48:13ate
00:48:13Cebulski.
00:48:19Well,
00:48:19my detective friend,
00:48:21that's it.
00:48:23If Cebulski
00:48:24is dead,
00:48:24then who is alive,
00:48:25Bobanak?
00:48:27Koya Serwicz
00:48:28is alive,
00:48:29Bobanak.
00:48:30Bravo,
00:48:31now all we have
00:48:32to find out
00:48:32is what
00:48:33Koya Serwicz
00:48:33is up to.
00:48:34And where
00:48:35he is hiding.
00:49:01You're playing with my heart,
00:49:03twisting my emotions.
00:49:09Tearing me apart,
00:49:11killing the devotion.
00:49:14I want to feel
00:49:15for you both.
00:49:17Don't turn my head
00:49:19just to prove
00:49:20you can fit it.
00:49:21Don't break my heart
00:49:22just to prove
00:49:23you're winning.
00:49:25What the hell
00:49:26do you think
00:49:27you're doing?
00:49:28Enjoying the view,
00:49:29what else?
00:49:30Enjoying the view,
00:49:31what else?
00:49:33Where's Fred?
00:49:35Fred who?
00:49:35I don't know
00:49:36what else?
00:49:36Let's not care
00:49:37ourselves.
00:49:37You both know
00:49:37he's running around
00:49:38with my uniform
00:49:39and my badge.
00:49:40I'm on every shit list
00:49:41in town
00:49:41because of that guy.
00:49:42Since you're LAPD,
00:49:43I guess you know
00:49:44this is illegal.
00:49:45I'm going to call
00:49:46your superiors.
00:49:47Tell him what?
00:49:49That you're a hooker?
00:49:50That Fred Baldwin
00:49:51has been peddling
00:49:52your ass
00:49:52and making a bundle
00:49:53doing it?
00:49:53don't leave me on
00:49:56because you've got
00:49:57to make a choice
00:49:58there's no time
00:49:59I was supposed to
00:50:00meet him at the
00:50:00circle bar.
00:50:03Tonight at 10.
00:50:07Have a nice day.
00:50:09Have a nice day.
00:50:13Sandra!
00:50:15Sandra!
00:50:35Your hands
00:50:37Imagine my body
00:50:41Your eyes
00:50:43Watching everyone
00:50:45Make your heart
00:50:47Is beating
00:50:49With the fire of love
00:50:52How much passion
00:50:54Can you take
00:50:57We're getting closer
00:50:59And closer
00:51:02I'll take you higher
00:51:04Than the stars above
00:51:06This is an open invitation
00:51:10Tonight
00:51:21I'll take you higher
00:51:22Last time
00:51:23No
00:51:24We'll be together again
00:51:27This third
00:51:28Touch my hands
00:51:30This is a
00:51:31I'll take you higher
00:51:31I'll take you higher
00:51:38To the next
00:51:42The next
00:51:44The next
00:51:58You're going to be
00:52:18The package I'd received was a series of screenplay pages it told the story
00:52:23Porter had wanted about the white slave traders switching identities for their
00:52:28trip to the West I figured Porter had sent the pages to me and since he was the one
00:52:33who got me started on this mystery in the first place I decided it was time to pay
00:52:37him a visit when I got there I could see I wasn't the only one with that idea
00:53:07so
00:53:11so
00:53:19I don't know.
00:53:45I don't know.
00:54:37I don't know.
00:54:54I don't know.
00:54:54I don't know.
00:54:54I don't know.
00:55:04I don't know.
00:55:15I don't know.
00:55:18I don't know.
00:55:38I don't know.
00:55:44I don't know.
00:55:58I don't know.
00:56:20I don't know.
00:56:51I don't know.
00:56:52I don't know.
00:57:19I don't know.
00:57:22I don't know.
00:57:23I don't know.
00:57:52I don't know.
00:58:07I don't know.
00:58:10I don't know.
00:58:35I don't know.
00:58:40I don't know.
00:58:40I don't know.
00:58:41I don't know.
00:58:42I don't know.
00:58:44I don't know.
00:58:45I don't know.
00:58:53I don't know.
00:59:15I don't know.
00:59:24I don't know.
00:59:26I don't know.
00:59:41I don't know.
00:59:42I don't know.
00:59:44I don't know.
00:59:45I don't know.
01:00:01I don't know.
01:00:12Oliver, I'm really glad you could make it.
01:00:22Did you manage to catch up on your sleep?
01:00:53I've thought of a great story for a movie, Zipkovic. It's full of twists and turns. The dead are living
01:00:59and the living die.
01:01:02Oliver, do you know Mrs. Christina Dorr?
01:01:05It's you I'm going to get to know, Zipkovic. We're going outside for a little chat.
01:01:12Nice to see you again, Oliver. Get to you later.
01:01:20Terrific. Very good, Oliver.
01:01:35Try this nationality, Kajmark. Try it. Just a minute. And this is how I'm doing.
01:01:46I beg your pardon.
01:01:54Nice to meet you. See you again.
01:02:07Good night.
01:02:17Listen, Oliver. We're rounding them up tonight. Not just here, but in Munich and in New York.
01:02:24Their local Zipkovic have been caught too.
01:02:28We exposed a monstrous international chain in white slave trade.
01:02:33You helped us a lot.
01:02:38What about Koya?
01:02:39Don't worry. We are looking for him.
01:02:42His picture is at every Yugoslav frontier crossing.
01:02:45Koya Srbic may be a wolf, but sooner or later he's going to come out of his slayer.
01:02:50You know, the key to the whole thing was in the script, Petrovich.
01:02:55What script?
01:02:56The one Porter and Koya wrote.
01:02:58Koya described it all in the script.
01:03:00He even foretold my death, but that was his mistake.
01:03:03He doesn't know. I wasn't blown up on the barge.
01:03:08Please, Oliver.
01:03:10Go back to the party. Have a nice time.
01:03:13And don't do anything on your own.
01:03:16Promise me.
01:03:18You won't be alone for a single second.
01:03:20Stay close to people, Oliver. Please.
01:03:25All right.
01:03:48You'll see.
01:03:50You'll see Marcos.
01:03:51You'll see Marcos.
01:03:52I'll see you.
01:03:53Come on.
01:03:54Oliver, you cut your hand.
01:03:55When? What happened?
01:03:57When was the last time you spoke with Koya?
01:04:01Oliver, please, let's not talk about Koya at night.
01:04:03We have to.
01:04:04When was the last time you spoke to Koya?
01:04:09What is it? What do you want from me?
01:04:11When?
01:04:12Last night.
01:04:14He called to break up with me.
01:04:16What time did he call you?
01:04:22For God's sake, Oliver.
01:04:26What time did he call?
01:04:31I don't know.
01:04:33It was late.
01:04:35It must have been after three.
01:04:38There, don't you see?
01:04:39He called you after his own death.
01:04:44Oliver, what's happening?
01:04:46Where did he call you from?
01:04:49What is it?
01:04:51Why do you all keep asking me the same stupid questions?
01:04:54Who else asked you that?
01:04:57That idiot Petrovich was at me for an hour.
01:05:00I would like to see him.
01:05:02Leave me alone.
01:05:08Whenever he had a problem and had nobody to drink with,
01:05:15he would usually go to his stripper girlfriend.
01:05:18That's it.
01:05:33Her name is Sandra.
01:05:35I will give you her address, but please, Oliver, be careful.
01:05:40Kolya!
01:05:42Kolya, I know you're in there.
01:05:45Kolya!
01:05:47Amazing.
01:05:49Kolya!
01:05:50He's gone, isn't he?
01:05:51You think of my passport and gone.
01:05:54Please sit down.
01:05:55Let me fix you a drink.
01:05:58I could use one.
01:06:09Well, Oliver, I promise you a film.
01:06:14This is it.
01:06:15I'm glad you're still alive so you can see it.
01:06:17I had this idea for a long time,
01:06:20this story of two men who switched identity,
01:06:23and I was telling someone about this idea one day,
01:06:26and they mentioned your film.
01:06:28So, naturally, I got one mad cop,
01:06:33and that gave me a whole new idea.
01:06:37As you can see, we look very much alike.
01:06:42So, I threw away my spit and wrote myself a plan.
01:06:47And I guess I should tell you the truth now.
01:06:50Nina was in those plans.
01:06:53She was told to lead you here tonight,
01:06:54and if you're watching, I know she has done her job.
01:06:58You know, Oliver, I've had a difficult life in some ways,
01:07:02but in one respect, I've been very lucky.
01:07:07Women.
01:07:08Women have always loved me, Oliver.
01:07:11Sandra, there beside you now,
01:07:13she has loved me, most of us.
01:07:16With such love,
01:07:17how can I not believe in happy endings?
01:07:21I do, but in the script,
01:07:24there is room for only one,
01:07:26and I'm afraid it's mine.
01:07:29Goodbye, Oliver.
01:07:31As they say in Hollywood,
01:07:33you'll never eat lunch in this town again.
01:07:52You burned the film he made.
01:07:59You're a dead man, Marvin!
01:08:16Well, what do you know?
01:08:18Boys in blue bleed red.
01:08:21You know what I think, O'Shea?
01:08:23The way you've been acting lately,
01:08:24there ain't a hell of a lot of difference between us.
01:08:26You were as big a crook as I ever was.
01:08:29And me?
01:08:31I'm a regular hero.
01:08:34So does it really matter if you're the one that eats lead?
01:08:37You think about that for a sec.
01:08:52Sandra?
01:08:54Yes?
01:08:56Sorry.
01:09:17I understand it's unusual for an immigration official
01:09:20to call in an international traveler for questioning,
01:09:23but this is a special case.
01:09:27Please, sit down.
01:09:34You just arrived from Yugoslavia?
01:09:38Yes.
01:09:39You were working?
01:09:41Yes.
01:09:50On a film?
01:09:53Yes.
01:09:57Interesting.
01:10:00You look really different.
01:10:08In person.
01:10:11You're even cuter.
01:10:14Look at me.
01:10:15I'm gushing.
01:10:17I loved one mad cop.
01:10:19You were fantastic.
01:10:22Can I have an autograph?
01:10:26There you have it.
01:10:27A little mystery, some action,
01:10:29a dash of romance.
01:10:31My best role yet.
01:10:34Have a nice day.
01:10:38Is there a lesson to be learned?
01:10:40Don't take life too seriously.
01:10:43You'll never get out of it alive.
01:10:44Ha, ha, ha, ha, ha, ha, ha.
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