Browse content similar to Bully Elliot. Check below for episodes and series from the same categories and more!
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BLEEPING | 0:00:01 | 0:00:04 | |
Nearly there. | 0:00:09 | 0:00:11 | |
Almost. | 0:00:11 | 0:00:13 | |
Bomb defused. | 0:00:13 | 0:00:15 | |
Oscar? Whoever made the bombs is still in here with us. | 0:00:19 | 0:00:22 | |
And they're coming your way. | 0:00:22 | 0:00:24 | |
Suspect heading towards you, Carrie. | 0:00:24 | 0:00:28 | |
How are they doing that? | 0:00:41 | 0:00:43 | |
I've never seen anything like it before. | 0:00:44 | 0:00:47 | |
Need back up! NEED BACK UP! | 0:00:50 | 0:00:53 | |
SHE SCREAMS | 0:00:55 | 0:00:57 | |
There was nothing I could do. | 0:01:07 | 0:01:09 | |
It all happened so quickly. | 0:01:09 | 0:01:11 | |
At least the bomb's been defused. | 0:01:11 | 0:01:13 | |
And the bomb maker lives to fight another day. | 0:01:13 | 0:01:16 | |
The 21st century faces a new kind of threat. | 0:01:17 | 0:01:20 | |
Old-school spies have had their day, | 0:01:20 | 0:01:23 | |
and MI9 must create a new breed of skilled, undercover agent. | 0:01:23 | 0:01:28 | |
Hidden in a place no villain will think to look. | 0:01:36 | 0:01:40 | |
Welcome to MI High. | 0:01:40 | 0:01:42 | |
Hey there, I'm Steve Cobbs, | 0:01:46 | 0:01:48 | |
CEO of PearNet. | 0:01:48 | 0:01:50 | |
I know a lot of you parents worry about your kids sitting at home all day | 0:01:50 | 0:01:54 | |
playing on their PearPads, listening to their PearPods, | 0:01:54 | 0:01:57 | |
and talking on their PearPhones. | 0:01:57 | 0:01:59 | |
You're concerned about their lack of exercise, | 0:01:59 | 0:02:03 | |
fearful of obesity. | 0:02:03 | 0:02:05 | |
Well, at Pear, we care, | 0:02:05 | 0:02:08 | |
which is why we're launching the Pearental Guidance Control Kit, | 0:02:08 | 0:02:12 | |
which I'd like to demonstrate now with my son, Elliot. | 0:02:12 | 0:02:15 | |
Using the Pearental controller, | 0:02:15 | 0:02:17 | |
I can make sure that Elliot gets all the exercise he needs. | 0:02:17 | 0:02:21 | |
And the best thing, Elliot doesn't even have to know, | 0:02:21 | 0:02:25 | |
because the technology puts him in a trance. | 0:02:25 | 0:02:28 | |
Four million parents have bought the kits. They're sold out. | 0:02:28 | 0:02:32 | |
Parents really are overrated, aren't they? | 0:02:32 | 0:02:34 | |
This could end childhood obesity. | 0:02:34 | 0:02:37 | |
And create parental obesity. | 0:02:37 | 0:02:38 | |
Imagine parents lying on the sofa while their kids do all the chores. | 0:02:38 | 0:02:42 | |
-Our mission is to protect Steve Cobbs, whatever we think. -That bomb at his warehouse was just the start. | 0:02:42 | 0:02:49 | |
This morning he got this. | 0:02:49 | 0:02:51 | |
"Last chance. Stop now or everything will go pear-shaped!" | 0:02:51 | 0:02:55 | |
There's going to be another attack today. We have to move fast. | 0:02:55 | 0:02:59 | |
I've got it under control. The kits won't work until the software's uploaded to the Pear network. | 0:02:59 | 0:03:04 | |
So I've arranged for the live upload to take place here at St Hope's. | 0:03:04 | 0:03:09 | |
We can be close to Steve Cobbs and intercept the attacker. | 0:03:09 | 0:03:12 | |
Um, you'll do no such thing. | 0:03:12 | 0:03:15 | |
You let the bomber go. | 0:03:15 | 0:03:16 | |
You're confined to intelligence gathering from HQ. | 0:03:16 | 0:03:19 | |
-I'll supervise the protection of Steve Cobbs. -I was trying to step up with this plan. | 0:03:19 | 0:03:24 | |
We can't execute it without field work. | 0:03:24 | 0:03:26 | |
Just stick to the back flips and handstands. | 0:03:26 | 0:03:29 | |
-What does that mean? -Work it out. Or get Agent Gupta to do it for you. | 0:03:29 | 0:03:33 | |
She's the brains to your brawn, after all. | 0:03:33 | 0:03:36 | |
I'll give you one chance to apologise. | 0:03:36 | 0:03:38 | |
Give me a thousand, you'll still be disappointed. | 0:03:38 | 0:03:42 | |
That's settled. | 0:03:42 | 0:03:43 | |
-Carrie. -You can't do this. | 0:03:43 | 0:03:45 | |
He makes me sound like an idiot. I'm not coming back till he apologises! | 0:03:45 | 0:03:50 | |
Ahh. | 0:03:50 | 0:03:52 | |
Sorry, we've just seen that film, Beat Dance 3D. | 0:03:59 | 0:04:03 | |
Oh, check out the robo moves, man! | 0:04:03 | 0:04:05 | |
Re-re-re-re-re # Rewind your body, Homie | 0:04:05 | 0:04:10 | |
# Rewind your body, Homie...# | 0:04:10 | 0:04:12 | |
Er. | 0:04:12 | 0:04:14 | |
No dancing in my corridors. | 0:04:15 | 0:04:17 | |
Ah-ah. Dance can be an expressive, positive activity, Mrs King. | 0:04:17 | 0:04:22 | |
Children don't choose positive activity, Mr Flatley. | 0:04:22 | 0:04:26 | |
Left to their own devices, they choose stupid, mindless distractions. | 0:04:26 | 0:04:32 | |
Oh, it's all gone flat! | 0:04:32 | 0:04:35 | |
Clearly the people at PearNet share my sensibility, | 0:04:35 | 0:04:38 | |
which is why they've chosen us as the launch venue | 0:04:38 | 0:04:41 | |
for their wonderful new product. | 0:04:41 | 0:04:43 | |
I've invited all of your parents to come in | 0:04:43 | 0:04:46 | |
and demonstrate the new Pearental Guidance Kit on you. GROANING | 0:04:46 | 0:04:51 | |
My mother would never take part in this. | 0:04:51 | 0:04:53 | |
My pupils are more than capable | 0:04:53 | 0:04:55 | |
of pursuing a healthy, active lifestyle without artificial assistance. | 0:04:55 | 0:05:00 | |
Nonsense. | 0:05:00 | 0:05:02 | |
Come with me, all of you. We have got a point to prove. | 0:05:02 | 0:05:06 | |
Carrie's ignoring her communicator. | 0:05:08 | 0:05:10 | |
She's just letting off steam. | 0:05:10 | 0:05:12 | |
Any luck? | 0:05:12 | 0:05:14 | |
I'm looking at Cobbs's background to see why someone might hold a grudge, | 0:05:14 | 0:05:18 | |
but he's scrubbed out all his personal information. | 0:05:18 | 0:05:21 | |
-Rose? -These are the heat signatures | 0:05:21 | 0:05:23 | |
left by the feet of everybody who was there that night. | 0:05:23 | 0:05:26 | |
-If I remove ours... -The attacker's footprints. | 0:05:26 | 0:05:30 | |
Yes. Only they're not footprints. | 0:05:30 | 0:05:33 | |
They're toe prints. | 0:05:33 | 0:05:34 | |
Whoever was in there with us was moving on point. | 0:05:34 | 0:05:37 | |
So we're after a ballerina bomber? | 0:05:37 | 0:05:39 | |
Don't underestimate this ballerina. She outwitted us. | 0:05:39 | 0:05:43 | |
ALARM | 0:06:11 | 0:06:13 | |
You'll guard Steve Cobbs with your lives, but it won't be easy. | 0:06:25 | 0:06:29 | |
Be assured, I shall test your reactions to their limits. | 0:06:29 | 0:06:35 | |
You have to be prepared for the attack to come from anywhere. | 0:06:35 | 0:06:39 | |
Anything. | 0:06:39 | 0:06:41 | |
Even me! | 0:06:41 | 0:06:43 | |
AARGH! | 0:06:43 | 0:06:45 | |
Aaargh! | 0:06:45 | 0:06:47 | |
Fantastic stuff, that! | 0:06:47 | 0:06:50 | |
By comparing the samples of dust on my jacket from the warehouse | 0:06:50 | 0:06:54 | |
with the Dust Database, | 0:06:54 | 0:06:56 | |
I've identified three different types of particle. | 0:06:56 | 0:06:58 | |
Those already in the warehouse, those we brought from HQ, | 0:06:58 | 0:07:02 | |
and a third type, from the Margaret Fontana International Ballet School. | 0:07:02 | 0:07:06 | |
-Sounds very grand. -So the attacker's a ballerina from this ballet school? | 0:07:06 | 0:07:10 | |
Is there any way of identifying who it is? | 0:07:10 | 0:07:12 | |
There's only so much dust can tell us. | 0:07:12 | 0:07:15 | |
Field work is not an option. | 0:07:15 | 0:07:17 | |
Anything else you can do from here? | 0:07:17 | 0:07:19 | |
I suppose I could programme a diagnostic algorithm | 0:07:19 | 0:07:22 | |
to extrapolate a unique identity print signature | 0:07:22 | 0:07:25 | |
through the impressions left by the ballerina's big toe. | 0:07:25 | 0:07:28 | |
That's a yes, is it? | 0:07:28 | 0:07:30 | |
It could take some time. | 0:07:30 | 0:07:31 | |
Well done. | 0:07:31 | 0:07:33 | |
Chief Agent Stock, it's Frank London. | 0:07:36 | 0:07:38 | |
You need a field team at the Margaret Fontana International Ballet School immediately. | 0:07:38 | 0:07:43 | |
Ah... Wh... Oh... | 0:07:43 | 0:07:46 | |
You want me to send my agents | 0:07:48 | 0:07:50 | |
into a BALLET school? | 0:07:50 | 0:07:52 | |
Stop wasting my time | 0:07:52 | 0:07:55 | |
with this fairy-tale nonsense | 0:07:55 | 0:07:57 | |
and get me some proper intelligence! | 0:07:57 | 0:07:59 | |
Thank you. | 0:07:59 | 0:08:01 | |
Aargh! Oh! | 0:08:01 | 0:08:03 | |
We know where the attacker is based. We need to do something quickly. | 0:08:04 | 0:08:08 | |
-I will not disobey orders. -Your orders are to find who's threatening Steve Cobbs. | 0:08:08 | 0:08:13 | |
This is the only way you can obey them. | 0:08:13 | 0:08:15 | |
Carrie was right. We can't do our jobs without field work. | 0:08:15 | 0:08:19 | |
Oh, hang this. Rose, go and get Carrie back. | 0:08:19 | 0:08:22 | |
Oscar, get yourself undercover at the ballet school. Find our ballerina before they attack again. | 0:08:22 | 0:08:28 | |
Clear. | 0:08:29 | 0:08:31 | |
Clear. | 0:08:32 | 0:08:34 | |
Keep clear, Agent Stewart! This whole floor could be mined! Idiot. | 0:08:34 | 0:08:39 | |
There's only one thing I want to hear from you. | 0:08:39 | 0:08:42 | |
How hard can it be? | 0:08:42 | 0:08:43 | |
Come on! Just say it and we can both move on. | 0:08:43 | 0:08:47 | |
Clear. | 0:08:47 | 0:08:49 | |
I'd rather do one of your stupid forward rolls than apologise to you. So if you don't mind. | 0:08:49 | 0:08:55 | |
Clear. | 0:08:55 | 0:08:56 | |
No! NO! | 0:08:56 | 0:08:58 | |
Oh. | 0:08:59 | 0:09:01 | |
Well done. Ahem. | 0:09:01 | 0:09:02 | |
Something wrong? | 0:09:17 | 0:09:19 | |
I just expected, um... | 0:09:19 | 0:09:21 | |
We had to move downtown when... | 0:09:21 | 0:09:24 | |
Well, let's just say, our old premises were more elegante. | 0:09:24 | 0:09:30 | |
What can I do for you? | 0:09:30 | 0:09:32 | |
I'd like to audition for your school. | 0:09:32 | 0:09:34 | |
You're a dancer? | 0:09:34 | 0:09:36 | |
-Er, I'm keen. Really keen. -Keen, eh? | 0:09:36 | 0:09:41 | |
Where I come from, "keen" means pain and suffering | 0:09:41 | 0:09:45 | |
on a scale most people cannot imagine. | 0:09:45 | 0:09:47 | |
Are you that keen? | 0:09:47 | 0:09:49 | |
A bit. | 0:09:49 | 0:09:51 | |
Yes. Yes. | 0:09:51 | 0:09:53 | |
Then let's see what you've got. | 0:09:53 | 0:09:55 | |
How hard can it be? | 0:10:01 | 0:10:03 | |
You're supposed to glide. | 0:10:09 | 0:10:11 | |
Not stumble. | 0:10:11 | 0:10:14 | |
-You're no dancer. -But I want to be. | 0:10:14 | 0:10:16 | |
Please, Miss Fontana. Give me this chance. | 0:10:16 | 0:10:19 | |
-I've got big dreams. I want fame. -Fame costs. | 0:10:19 | 0:10:23 | |
I'll do anything. | 0:10:23 | 0:10:25 | |
Will you wear this? | 0:10:26 | 0:10:28 | |
If I have to. | 0:10:28 | 0:10:30 | |
Then put it on, and let's get you started. | 0:10:30 | 0:10:33 | |
Mrs King would have the world believe | 0:10:34 | 0:10:36 | |
that young people like yourselves | 0:10:36 | 0:10:38 | |
are not capable of independently pursuing constructive activities. | 0:10:38 | 0:10:42 | |
I guess what Mr Flatley's trying to say is that, | 0:10:42 | 0:10:45 | |
despite what some people think, | 0:10:45 | 0:10:47 | |
we all have a positive talent, | 0:10:47 | 0:10:49 | |
something we can do | 0:10:49 | 0:10:51 | |
that proves we don't need the Pearental Guidance Kit. | 0:10:51 | 0:10:54 | |
I-I don't have nothing. | 0:10:54 | 0:10:57 | |
-Yeah, well, your robo dancing. -Ah! | 0:10:58 | 0:11:02 | |
And Donovan, you're a good footballer. | 0:11:02 | 0:11:04 | |
I'm a GREAT footballer. | 0:11:04 | 0:11:07 | |
Right. | 0:11:07 | 0:11:08 | |
And Avril, you, um... | 0:11:08 | 0:11:12 | |
Do interpretive dance. | 0:11:12 | 0:11:14 | |
Really? | 0:11:14 | 0:11:16 | |
Well, great, you know. I can't wait to see that. | 0:11:16 | 0:11:19 | |
And Davina. | 0:11:19 | 0:11:21 | |
Again, you, um... | 0:11:21 | 0:11:22 | |
I shop. | 0:11:22 | 0:11:24 | |
Now, I want all of you to practise a demonstration of your talents. | 0:11:24 | 0:11:28 | |
Break up into pairs. That's it. Good. | 0:11:28 | 0:11:31 | |
Frank's ignoring Stark's orders. Oscar's gone undercover. | 0:11:32 | 0:11:35 | |
I'm no MI9 at the moment. | 0:11:35 | 0:11:37 | |
You're always MI9. | 0:11:37 | 0:11:39 | |
I'm taking time off. | 0:11:39 | 0:11:41 | |
You should too. | 0:11:41 | 0:11:43 | |
I mean, haven't you ever thought about what you might be missing? | 0:11:43 | 0:11:47 | |
So, do you do many public performances? | 0:11:54 | 0:11:58 | |
Guess it's all theatres and opera houses. | 0:12:00 | 0:12:03 | |
Maybe the odd warehouse? | 0:12:10 | 0:12:12 | |
DOOR OPENING | 0:12:12 | 0:12:14 | |
You're not wearing your vest. | 0:12:15 | 0:12:18 | |
Do I really need to? | 0:12:19 | 0:12:20 | |
Do it now. | 0:12:20 | 0:12:22 | |
Or get out of my school. | 0:12:22 | 0:12:24 | |
Carrie refuses to come back till Stark apologises. | 0:12:27 | 0:12:31 | |
I'll speak to her when I get a chance. | 0:12:31 | 0:12:34 | |
Can you identify the ballerina? | 0:12:34 | 0:12:36 | |
I can't make any sense of the pattern. | 0:12:36 | 0:12:38 | |
They're there, just dense. | 0:12:38 | 0:12:40 | |
Confused. | 0:12:40 | 0:12:42 | |
Wait a second. | 0:12:42 | 0:12:44 | |
FAST TYPING | 0:12:44 | 0:12:46 | |
Overlapping patterns. | 0:12:47 | 0:12:49 | |
There was more than one ballerina at the warehouse, but they moved as one. | 0:12:49 | 0:12:53 | |
So Carrie wasn't under attack from a single ballerina, it was four. | 0:12:53 | 0:12:58 | |
We must warn Oscar. He's walked into the lion's den. | 0:12:58 | 0:13:01 | |
Oscar, get out of there now. It's all of them. They were all there. | 0:13:01 | 0:13:05 | |
Things aren't right here. | 0:13:05 | 0:13:07 | |
Oscar, withdraw. You're totally outnumbered. | 0:13:07 | 0:13:10 | |
-I have to look into something first. -Look, I've already lost Carrie. I can't afford... | 0:13:10 | 0:13:15 | |
SNIFFING | 0:13:18 | 0:13:21 | |
Mm. | 0:13:21 | 0:13:23 | |
Potassium deposits. | 0:13:23 | 0:13:25 | |
Could be used for biological weaponry. | 0:13:25 | 0:13:28 | |
You're from PearNet, aren't you? | 0:13:33 | 0:13:35 | |
Yes, I'm part of the operation, madam. | 0:13:35 | 0:13:37 | |
We were promised 20 Pearental Guidance Kits for our school, and none of them materialised. | 0:13:37 | 0:13:43 | |
I've got parents coming in less than an hour for this launch. | 0:13:43 | 0:13:46 | |
It's not really my department. | 0:13:46 | 0:13:49 | |
A company like PearNet should pride themselves in good customer service. | 0:13:49 | 0:13:53 | |
So whether it's your department or not, | 0:13:53 | 0:13:56 | |
you should be bending over backwards to help. | 0:13:56 | 0:13:59 | |
Now, see to it. | 0:13:59 | 0:14:02 | |
Steve Cobbs. | 0:14:32 | 0:14:34 | |
So you're behind this. | 0:14:42 | 0:14:43 | |
I'm the choreographer. | 0:14:43 | 0:14:45 | |
Do you expect me to talk? | 0:14:45 | 0:14:47 | |
No, my dear, I expect you to dance. | 0:14:47 | 0:14:51 | |
-I can't keep this up. -Oh, yes, you can. | 0:14:58 | 0:15:00 | |
That little costume of yours responds to my every command. | 0:15:00 | 0:15:04 | |
-I've seen this technology before. -Course you have. | 0:15:06 | 0:15:09 | |
Because he sent you, didn't he? | 0:15:09 | 0:15:11 | |
Well, you can come with us. | 0:15:11 | 0:15:13 | |
It'll show him I mean business this time. | 0:15:13 | 0:15:17 | |
Mind-control resistance. | 0:15:19 | 0:15:21 | |
Remember your training. | 0:15:21 | 0:15:23 | |
Remember. Uh. | 0:15:23 | 0:15:25 | |
No. | 0:15:25 | 0:15:27 | |
Focus on something. | 0:15:27 | 0:15:29 | |
Focus. | 0:15:29 | 0:15:31 | |
-Mr Cobbs, welcome. -Dad doesn't like to be disturbed when he's on an important call. | 0:15:37 | 0:15:42 | |
I think he'll talk to me. | 0:15:42 | 0:15:44 | |
He doesn't talk to anybody. | 0:15:44 | 0:15:46 | |
Now, can we please get inside? Dad's too exposed out here. | 0:15:46 | 0:15:49 | |
I'm sorry it has to be this way, but I have no choice. | 0:15:54 | 0:15:57 | |
He's cut me off. | 0:15:57 | 0:15:58 | |
You're the only way I can get to him and teach him a lesson. | 0:15:58 | 0:16:02 | |
One last practise run. | 0:16:02 | 0:16:04 | |
And then, we can embark on our mission of mercy, my darlings. | 0:16:04 | 0:16:09 | |
Oscar's communicator is still off and I can't contact him. | 0:16:19 | 0:16:22 | |
First Carrie, now this. We're supposed to be a team. | 0:16:22 | 0:16:26 | |
Get to the ballet school and retrieve him. | 0:16:26 | 0:16:28 | |
Your agents aren't supposed to be in the field, Frank. | 0:16:28 | 0:16:31 | |
-You've disobeyed! -The ballerinas' threat is real. | 0:16:31 | 0:16:34 | |
You shouldn't be here. Get out right now. | 0:16:34 | 0:16:37 | |
How dare you? | 0:16:37 | 0:16:40 | |
She keeps appearing. It's like she's had stealth training. | 0:16:40 | 0:16:43 | |
Might I remind you that you are a guest at this school? | 0:16:43 | 0:16:47 | |
You will treat my pupils with respect. | 0:16:47 | 0:16:50 | |
Rose, why don't you go to my office and look after the VIPs in there? | 0:16:50 | 0:16:54 | |
I think Rose might have something else she needs to be doing, madam. | 0:16:54 | 0:16:59 | |
I think that this is my school, | 0:16:59 | 0:17:02 | |
and what I say goes. | 0:17:02 | 0:17:04 | |
I don't know how you tolerate it. | 0:17:06 | 0:17:08 | |
Come back here! | 0:17:08 | 0:17:09 | |
I said, come back here right now! | 0:17:09 | 0:17:12 | |
-You'd better do as she says. -What about Oscar? | 0:17:13 | 0:17:16 | |
I'll speak to Carrie myself. | 0:17:16 | 0:17:18 | |
Dance, my darlings. Chaine. | 0:17:19 | 0:17:22 | |
-Remember. -Chaine. | 0:17:25 | 0:17:27 | |
Chaine! | 0:17:27 | 0:17:30 | |
Remember. | 0:17:30 | 0:17:32 | |
Faster. | 0:17:32 | 0:17:34 | |
Remember! | 0:17:39 | 0:17:41 | |
You've broken the synaptic control mechanism. How? | 0:17:45 | 0:17:48 | |
-I've been trained. -But not classically. | 0:17:48 | 0:17:50 | |
You may have got round the mind control, | 0:17:50 | 0:17:53 | |
but while you're wearing that vest, | 0:17:53 | 0:17:55 | |
your movements are at my command. | 0:17:55 | 0:17:59 | |
Chasse, girls. | 0:18:01 | 0:18:03 | |
Dance until you drop. | 0:18:08 | 0:18:10 | |
FURIOUS BALLET MUSIC | 0:18:11 | 0:18:13 | |
Er, what's it supposed to be again? | 0:18:21 | 0:18:25 | |
She said it was called...tree. | 0:18:25 | 0:18:28 | |
It's not exactly a dance, is it? | 0:18:29 | 0:18:31 | |
She's just standing there doing nothing. | 0:18:31 | 0:18:34 | |
Oh, no, no, no, no, no. | 0:18:34 | 0:18:35 | |
You can hardly call this "nothing", Davina. | 0:18:35 | 0:18:38 | |
See how Avril sculpts her form and shape | 0:18:38 | 0:18:41 | |
to capture the impression of a gentle summer breeze? | 0:18:41 | 0:18:45 | |
Now, now, now, notice how the squirrels | 0:18:47 | 0:18:50 | |
gather nuts in the upper bough. | 0:18:50 | 0:18:52 | |
The situation is becoming impossibly dangerous. | 0:18:57 | 0:19:00 | |
-Has Stark apologised? -Sometimes being in a team means putting feelings aside | 0:19:00 | 0:19:05 | |
It's also about thinking of other people's feelings. | 0:19:05 | 0:19:08 | |
Which is why I know you won't be happy to leave Oscar in mortal danger at the ballet school. | 0:19:08 | 0:19:13 | |
To be honest, you had me at "impossibly dangerous". | 0:19:14 | 0:19:17 | |
Good. Come on. | 0:19:17 | 0:19:19 | |
Are you our security? | 0:19:20 | 0:19:22 | |
Some crazy woman just hijacked us and dragged us in here. | 0:19:22 | 0:19:26 | |
Is your dad OK? | 0:19:26 | 0:19:28 | |
Er, important call. | 0:19:28 | 0:19:30 | |
Sure, I'll tell her. | 0:19:34 | 0:19:36 | |
Dad says we're fine now. You'd better go. | 0:19:36 | 0:19:39 | |
Dance. | 0:19:45 | 0:19:47 | |
Carrie, help! | 0:19:57 | 0:19:58 | |
-Get this vest off me! -Right, hold on. | 0:19:58 | 0:20:01 | |
Right. One, two... | 0:20:05 | 0:20:07 | |
Admit it. You missed me. | 0:20:15 | 0:20:18 | |
Welcome back. | 0:20:18 | 0:20:19 | |
I've got Oscar. He's fine. | 0:20:29 | 0:20:31 | |
Margaret uses her cane to control whoever's wearing the ballet vest. | 0:20:31 | 0:20:35 | |
I'm sending a Spypod scan. | 0:20:35 | 0:20:37 | |
There are nano-receptors hidden in the fabric. | 0:20:37 | 0:20:39 | |
-Nano-receptors? -The Pearental Guidance Kit. It's got the same technology. | 0:20:39 | 0:20:44 | |
Some sort of early prototype. | 0:20:44 | 0:20:46 | |
Margaret knows Steve Cobbs. | 0:20:46 | 0:20:48 | |
I saw them in a photo together with Cobbs's son Elliot. | 0:20:48 | 0:20:51 | |
I think maybe she was Elliot's ballet teacher. | 0:20:51 | 0:20:55 | |
No. Margaret Fontana is married to Steve Cobbs. | 0:20:55 | 0:20:58 | |
-She must have kept her maiden name. -They recently split up, | 0:20:58 | 0:21:02 | |
and she's going to ruin his launch with weaponised ballerinas at her command. | 0:21:03 | 0:21:07 | |
Get back to HQ now. | 0:21:07 | 0:21:09 | |
We must stop them reaching Steve Cobbs without raising suspicions. | 0:21:09 | 0:21:13 | |
Couru. | 0:21:13 | 0:21:15 | |
Couru. | 0:21:15 | 0:21:17 | |
Hello there. I'm the School Liaison. | 0:21:19 | 0:21:21 | |
If you'll come with me, I'll take you to the launch. | 0:21:21 | 0:21:24 | |
Just in there. | 0:21:32 | 0:21:34 | |
Join you in a minute. | 0:21:34 | 0:21:36 | |
That's right. | 0:21:36 | 0:21:38 | |
Ballerinas secure. | 0:21:44 | 0:21:46 | |
LOUD CRASH | 0:21:48 | 0:21:50 | |
WOOD SPLINTERING | 0:21:50 | 0:21:51 | |
Ballerinas not secure. Ballerinas really, really ANGRY! | 0:21:56 | 0:22:00 | |
Rose, I'm on my way. | 0:22:00 | 0:22:02 | |
This 3D effect is going to blow your minds. | 0:22:05 | 0:22:09 | |
Ready? | 0:22:09 | 0:22:11 | |
Hit it. | 0:22:11 | 0:22:12 | |
HUMAN BEAT BOXING | 0:22:12 | 0:22:15 | |
One, two, three. | 0:22:15 | 0:22:17 | |
One, two, three. 3D! | 0:22:17 | 0:22:19 | |
Whoo! Whoo! | 0:22:19 | 0:22:21 | |
Ah, Rose. Do you have a contribution? | 0:22:22 | 0:22:25 | |
Oh, bravo, Rose. Ballet. | 0:22:25 | 0:22:28 | |
A pique turn combination now, my dears. | 0:22:30 | 0:22:33 | |
Let's see what you can do. Express yourself. | 0:22:35 | 0:22:38 | |
Oh, a performance piece. How marvellous! | 0:22:40 | 0:22:42 | |
Changement de pieds, deux. | 0:22:42 | 0:22:45 | |
Oh, I know this ballet. | 0:22:47 | 0:22:49 | |
It's Duck Pond. And Rose is the duck that's about to get quacked. | 0:22:49 | 0:22:54 | |
And now, my dear, | 0:22:54 | 0:22:56 | |
let's finish this little dance of ours. | 0:22:56 | 0:22:59 | |
Oh! | 0:23:00 | 0:23:02 | |
Bravo! | 0:23:09 | 0:23:11 | |
Well done, team. | 0:23:12 | 0:23:14 | |
I'll tell Chief Agent Stark the attacker has been apprehended. | 0:23:14 | 0:23:18 | |
You've got this all wrong. | 0:23:18 | 0:23:19 | |
News flash. You're not the first criminal to say that to us. | 0:23:19 | 0:23:23 | |
I'm no criminal. | 0:23:23 | 0:23:25 | |
This was never about me and Steve. | 0:23:25 | 0:23:27 | |
-Who was it about? -My son. | 0:23:27 | 0:23:29 | |
Elliot? He used to do ballet, right? I saw him in the picture. | 0:23:29 | 0:23:33 | |
Steve made the prototype device and I used it to force Elliot into ballet. It's my life, you see. | 0:23:33 | 0:23:39 | |
But Elliot rebelled. | 0:23:39 | 0:23:41 | |
He found a way of reversing the technology. | 0:23:41 | 0:23:44 | |
The wearer of the T-shirt controls | 0:23:44 | 0:23:47 | |
whoever is holding the Pearental controller. | 0:23:47 | 0:23:49 | |
He's been controlling Steve for months. | 0:23:49 | 0:23:52 | |
Hurry up. Hurry up! We're seconds away. | 0:23:52 | 0:23:56 | |
You're a totalitarian techno-despot, mother. | 0:23:57 | 0:24:00 | |
It doesn't co-ordinate with anything. | 0:24:00 | 0:24:04 | |
I knew something was wrong. | 0:24:04 | 0:24:05 | |
When that launch button is pressed, | 0:24:05 | 0:24:07 | |
millions of kids will actually be controlling their parents. | 0:24:07 | 0:24:11 | |
Pearental Guidance. Think of it. | 0:24:11 | 0:24:13 | |
The chaos. Kids in charge, no offence. | 0:24:13 | 0:24:17 | |
This could be lethal in the wrong hands. Look what happened to me. | 0:24:17 | 0:24:21 | |
What I did to Elliot was wrong. | 0:24:21 | 0:24:24 | |
I'd give anything to say I'm sorry. | 0:24:24 | 0:24:26 | |
Three minutes to go. | 0:24:26 | 0:24:28 | |
We need a gadget to stop the Pearware upload. | 0:24:28 | 0:24:31 | |
Actually, we've got the perfect gadget. | 0:24:31 | 0:24:35 | |
APPLAUSE | 0:24:37 | 0:24:39 | |
30 seconds! | 0:24:45 | 0:24:47 | |
Thanks to the Pearental Guidance Kit, my life changed, | 0:24:47 | 0:24:49 | |
and now we're going to change the lives of kids all over the world. | 0:24:49 | 0:24:54 | |
Stop! Stop this, Elliot! | 0:24:54 | 0:24:56 | |
Mum? How did you get here? | 0:24:56 | 0:24:59 | |
Talk to him. Tell him how you feel. | 0:24:59 | 0:25:02 | |
You used your father's fortune and influence against me. | 0:25:03 | 0:25:06 | |
You threw me out of my ballet school and our home. | 0:25:06 | 0:25:10 | |
I know you only did that so I wouldn't hurt you again. | 0:25:10 | 0:25:14 | |
I've been trying to get to you, trying to explain. | 0:25:14 | 0:25:18 | |
You can't stop me, mum. You can't make me do anything any more. | 0:25:18 | 0:25:21 | |
In a few seconds, millions of kids will be like me. | 0:25:21 | 0:25:26 | |
They'll be able to tell their parents what to do and the world will be a better place. | 0:25:26 | 0:25:30 | |
I can't make you do anything. | 0:25:30 | 0:25:33 | |
You're right. | 0:25:33 | 0:25:35 | |
I thought you'd love the ballet, the way I do. | 0:25:37 | 0:25:41 | |
I thought it would be good for you. | 0:25:41 | 0:25:44 | |
But when you wouldn't come to lessons, when you refused... | 0:25:44 | 0:25:47 | |
-You forced me. -Yes, and I was wrong. | 0:25:47 | 0:25:51 | |
I know that now. You're free to make your own choices. | 0:25:51 | 0:25:55 | |
-I'm free to push this button and activate the software. -Then push it, hurry up. | 0:25:55 | 0:25:59 | |
Shut up, Scoop! | 0:25:59 | 0:26:01 | |
Keep talking to him. | 0:26:02 | 0:26:04 | |
You might be free to push that button, but is Dad? | 0:26:04 | 0:26:07 | |
You know what it feels like, don't you? | 0:26:09 | 0:26:12 | |
To be forced to do something against your will. | 0:26:12 | 0:26:16 | |
To be bullied. | 0:26:16 | 0:26:18 | |
Is that what you want for him? | 0:26:18 | 0:26:21 | |
APPLAUSE | 0:26:31 | 0:26:34 | |
I guess there's something to be said for parental guidance after all. | 0:26:41 | 0:26:45 | |
Hiding from someone? | 0:26:52 | 0:26:54 | |
Just checking the area's secure. | 0:26:54 | 0:26:57 | |
You'll be pleased to know we completed the mission with both desk work AND field work. | 0:26:57 | 0:27:02 | |
Your decision to bring the launch to this location was a total disaster. | 0:27:02 | 0:27:07 | |
We saved the day, and you owe me that apology. | 0:27:07 | 0:27:10 | |
Your stupidity has led to me being harassed by a neurotic mad woman | 0:27:10 | 0:27:15 | |
with some sort of dictator complex. | 0:27:15 | 0:27:17 | |
A woman so horrendous... She's standing behind me, isn't she? | 0:27:17 | 0:27:22 | |
I will NOT have people insulting my students in this school. | 0:27:22 | 0:27:28 | |
Just go back to your little corner and keep sulking. | 0:27:29 | 0:27:32 | |
Nobody puts Carrie in the corner. | 0:27:32 | 0:27:35 | |
Sorry. | 0:27:38 | 0:27:39 | |
I can't hear you. | 0:27:39 | 0:27:41 | |
Sorry. | 0:27:41 | 0:27:43 | |
To Carrie's face, please. | 0:27:43 | 0:27:45 | |
I'm sorry. | 0:27:49 | 0:27:51 | |
And now you can come with me because your men have left a right mess, | 0:27:52 | 0:27:56 | |
and I am not having my caretaker wasting his time cleaning it up. | 0:27:56 | 0:28:00 | |
Thank you, Frank. | 0:28:00 | 0:28:02 | |
Aargh! Ow! Owww! | 0:28:02 | 0:28:05 | |
Subtitles by Red Bee Media Ltd | 0:28:05 | 0:28:08 | |
E-mail [email protected] | 0:28:08 | 0:28:10 |