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-You killed my father. -My future is jail or death. | 0:00:02 | 0:00:04 | |
I'm not going to jail. HARRISON: No. | 0:00:04 | 0:00:06 | |
Baker cancelled my deal. | 0:00:06 | 0:00:07 | |
-I need your help. -I'll keep my eyes and ears open, that's it. | 0:00:07 | 0:00:10 | |
I want a divorce. | 0:00:10 | 0:00:12 | |
In fact, I think it's important that we talk. | 0:00:12 | 0:00:14 | |
I am of my people. A protector. | 0:00:14 | 0:00:16 | |
Death...it is the only way. | 0:00:16 | 0:00:18 | |
ODELLE: I defied an order. | 0:00:18 | 0:00:20 | |
Not your fault. You have to die. | 0:00:20 | 0:00:22 | |
Gun full of blanks and some blood. Fools them every time. | 0:00:22 | 0:00:25 | |
We need to get going. We've got a plane to catch. | 0:00:25 | 0:00:28 | |
This programme contains some violent scenes | 0:00:28 | 0:00:32 | |
LUC: We're here. Look. | 0:00:48 | 0:00:50 | |
Just below us. | 0:00:50 | 0:00:51 | |
Beautiful, isn't it? | 0:00:53 | 0:00:54 | |
Wow. Pretty amazing, huh? | 0:01:38 | 0:01:41 | |
It's incredible. I've seen only pictures. | 0:01:41 | 0:01:44 | |
Come on, head down to the sand. Dip your toes in. | 0:01:44 | 0:01:47 | |
Whoo! | 0:01:50 | 0:01:53 | |
You made me jump. | 0:02:15 | 0:02:17 | |
You can relax now. No-one is hunting you any more. | 0:02:17 | 0:02:21 | |
What's in there, drugs? | 0:02:21 | 0:02:22 | |
No. It's a gift for the kids. Never come for a visit empty-handed. | 0:02:22 | 0:02:27 | |
So where are we? | 0:02:27 | 0:02:28 | |
We're in Algeria, about an hour from Sassel Beach. | 0:02:28 | 0:02:32 | |
It's my home away from home. | 0:02:32 | 0:02:34 | |
Only accessible by boat or plane. | 0:02:34 | 0:02:36 | |
Perfect for my purposes. | 0:02:36 | 0:02:38 | |
Last stop before Europe. | 0:02:38 | 0:02:39 | |
That's right. I have a boat. It travels to Spain every few days. | 0:02:39 | 0:02:42 | |
Full of drugs? Yeah. | 0:02:42 | 0:02:44 | |
Lucky for you, you can use it | 0:02:44 | 0:02:46 | |
and some of my cargo trucks to find your way to Barcelona. | 0:02:46 | 0:02:49 | |
It's where the woman from The New York Times told you to meet her now, yeah? | 0:02:49 | 0:02:52 | |
Yep. | 0:02:52 | 0:02:54 | |
Are you coming? | 0:02:54 | 0:02:57 | |
-Spain? -No. | 0:02:57 | 0:02:58 | |
I have, how you say, uh, unresolved issues in Spain. | 0:03:00 | 0:03:03 | |
No, my pilot friend will take me back to Mali tomorrow. | 0:03:04 | 0:03:07 | |
If you like, I can drop the little thief back in Tessalit for you. | 0:03:08 | 0:03:11 | |
Tessalit? | 0:03:11 | 0:03:12 | |
Did Aslam mention going back? | 0:03:12 | 0:03:14 | |
No, I assumed. | 0:03:14 | 0:03:15 | |
Why? Do you think you are going to smuggle him to America? | 0:03:16 | 0:03:20 | |
Are you adopting him now? | 0:03:20 | 0:03:21 | |
Yeah, if I have to. I'm not leaving him here. | 0:03:21 | 0:03:23 | |
Oh, you mean living in Africa, where he was born. | 0:03:23 | 0:03:25 | |
He doesn't have any family here. | 0:03:25 | 0:03:27 | |
He doesn't have any family in America either. | 0:03:27 | 0:03:29 | |
Aren't you going to do anything? | 0:03:34 | 0:03:36 | |
-What would you like us to do, Mr Walters? -I don't know. | 0:03:36 | 0:03:39 | |
Maybe just investigate Osela? | 0:03:39 | 0:03:41 | |
My father's murder, Ruby Sims or whatever her name is... | 0:03:42 | 0:03:45 | |
Rikki Castillo. Was. Right. | 0:03:47 | 0:03:49 | |
Her, yeah, she... | 0:03:49 | 0:03:51 | |
She killed my father. | 0:03:52 | 0:03:53 | |
What are you writing? | 0:03:56 | 0:03:57 | |
Am I a suspect? | 0:03:57 | 0:03:59 | |
You haven't been charged with anything, no. | 0:03:59 | 0:04:01 | |
Oh, great, well, I've been here for three hours. | 0:04:01 | 0:04:03 | |
-So am I free to go or what? -You are. | 0:04:03 | 0:04:06 | |
But perhaps we should talk a little bit more about what happened. | 0:04:06 | 0:04:08 | |
One last time... Look, I told you everything. | 0:04:08 | 0:04:11 | |
Maybe if you guys didn't shoot Ruby, | 0:04:11 | 0:04:13 | |
you could be talking to her right now. | 0:04:13 | 0:04:16 | |
She would tell you everything. | 0:04:16 | 0:04:18 | |
You have a bad scratch on that arm. | 0:04:19 | 0:04:21 | |
Oh, it happened when I was... | 0:04:23 | 0:04:25 | |
struggling with Ruby and... Rikki. | 0:04:26 | 0:04:28 | |
You need someone to look at that? | 0:04:29 | 0:04:30 | |
No, I need you to investigate... | 0:04:30 | 0:04:34 | |
I need someone to investigate Osela. | 0:04:38 | 0:04:42 | |
They're murdering people on US soil with impunity, | 0:04:42 | 0:04:44 | |
including my father. | 0:04:44 | 0:04:46 | |
Mr Walters, I assure you we take every lead seriously. | 0:04:46 | 0:04:51 | |
But you've been through quite a traumatic ordeal today. | 0:04:51 | 0:04:54 | |
You should go home. | 0:04:54 | 0:04:57 | |
Get some rest. | 0:04:57 | 0:04:59 | |
Anything that comes up, anything else, just call me. | 0:05:01 | 0:05:05 | |
DOOR BUZZES | 0:05:06 | 0:05:09 | |
Nice place... As long as you don't put anything in your mouth. | 0:05:12 | 0:05:15 | |
Well, you're not exactly someone I want to be seen with. | 0:05:15 | 0:05:18 | |
I'll try not to take that personally. So what do you have? | 0:05:18 | 0:05:22 | |
Baker's calling the note on Greece. | 0:05:22 | 0:05:25 | |
All of it? | 0:05:25 | 0:05:26 | |
Now that Tsaldari's Prime Minister, they've decided to hold her feet to the fire. | 0:05:26 | 0:05:31 | |
PHONE CHIMES | 0:05:31 | 0:05:33 | |
Damn it. | 0:05:38 | 0:05:39 | |
I imagine the EU's passing a brick as we speak. | 0:05:39 | 0:05:42 | |
Everyone with a spreadsheet | 0:05:42 | 0:05:44 | |
and an accent is leaning on your beautiful Greek friend. | 0:05:44 | 0:05:47 | |
Word is she's flying in today for an emergency meeting with Baker. | 0:05:47 | 0:05:50 | |
The original Maleficent herself, Jennifer Wachtel, | 0:05:50 | 0:05:53 | |
is stepping in to mediate. | 0:05:53 | 0:05:55 | |
Look, Peter, you put up a good fight, | 0:05:55 | 0:05:59 | |
but these people are just too powerful. | 0:05:59 | 0:06:01 | |
David and Goliath's a great story, but it only happened once. | 0:06:01 | 0:06:05 | |
You don't understand. | 0:06:05 | 0:06:07 | |
This fight cost me everything. | 0:06:07 | 0:06:09 | |
It must be strange being away from Mali for the first time. | 0:06:11 | 0:06:15 | |
The cars are all different. | 0:06:16 | 0:06:17 | |
And the smell. | 0:06:19 | 0:06:20 | |
That's the sea. | 0:06:21 | 0:06:23 | |
It's bigger than I thought. | 0:06:24 | 0:06:27 | |
And colder. Yeah. | 0:06:30 | 0:06:31 | |
It's warmer than the water back home, though, I tell ya. | 0:06:31 | 0:06:34 | |
See, the trick is you got to get in really, really fast, | 0:06:34 | 0:06:37 | |
get over the shock, and then your body just adjusts. | 0:06:37 | 0:06:40 | |
Odelle? Mm-hm? | 0:06:40 | 0:06:42 | |
What is the sea like where you live? | 0:06:42 | 0:06:44 | |
It's beautiful. It's like this but just different. | 0:06:44 | 0:06:47 | |
In the summer, we go to this place called Cape Cod, | 0:06:47 | 0:06:50 | |
and we dig for clams and bodysurf. | 0:06:50 | 0:06:53 | |
Swim with the waves. | 0:06:53 | 0:06:55 | |
Eat popsicles. | 0:06:55 | 0:06:58 | |
How does that sound? | 0:06:58 | 0:06:59 | |
Sounds different. | 0:07:00 | 0:07:03 | |
Different is one way to put it. It's another planet. | 0:07:03 | 0:07:06 | |
Tell you what, I'm flying back to Tessalit tomorrow. | 0:07:06 | 0:07:08 | |
I'll take you back. | 0:07:08 | 0:07:09 | |
We just talked about that. | 0:07:09 | 0:07:12 | |
He doesn't have anybody there. | 0:07:12 | 0:07:14 | |
How do you know that? Everyone's everyone's uncle. | 0:07:14 | 0:07:16 | |
They're all one big, happy family. | 0:07:16 | 0:07:18 | |
He's going back to Tessalit. | 0:07:18 | 0:07:20 | |
That is not up to you. | 0:07:22 | 0:07:24 | |
Or you. | 0:07:25 | 0:07:27 | |
It's not up to you either. | 0:07:27 | 0:07:28 | |
Aslam. | 0:07:36 | 0:07:37 | |
Just leave me alone. | 0:07:37 | 0:07:38 | |
It's this way, the house. | 0:07:40 | 0:07:43 | |
LIVELY MUSIC | 0:07:49 | 0:07:52 | |
So you found the dress. | 0:08:12 | 0:08:15 | |
You look beautiful. | 0:08:15 | 0:08:16 | |
Thanks. | 0:08:18 | 0:08:20 | |
You clean up nice too. | 0:08:20 | 0:08:22 | |
It's been a long time since I... | 0:08:23 | 0:08:24 | |
Since you've been able to relax. | 0:08:24 | 0:08:26 | |
It's the best thing about being dead. | 0:08:27 | 0:08:30 | |
Dead. | 0:08:30 | 0:08:32 | |
Where's Aslam? | 0:08:36 | 0:08:37 | |
He's down by the water. | 0:08:37 | 0:08:40 | |
I better go find him and talk to him. | 0:08:40 | 0:08:41 | |
You mean convince him. | 0:08:41 | 0:08:43 | |
Get something to eat first. | 0:08:43 | 0:08:45 | |
Come on. | 0:08:45 | 0:08:46 | |
All right. | 0:08:47 | 0:08:49 | |
So what is this, some kind of festival? | 0:08:49 | 0:08:52 | |
A welcome celebration. | 0:08:52 | 0:08:53 | |
For who? For me. | 0:08:53 | 0:08:55 | |
-Why? -I built a school. | 0:08:55 | 0:08:57 | |
You built a school?! | 0:08:57 | 0:09:00 | |
Yeah, and a few houses. | 0:09:00 | 0:09:02 | |
I like the people here. | 0:09:02 | 0:09:04 | |
They're good to me, so I'm good to them. | 0:09:05 | 0:09:07 | |
Danke. | 0:09:11 | 0:09:13 | |
Oh, Luc. Oh. | 0:09:13 | 0:09:15 | |
SPEAKS NATIVE LANGUAGE | 0:09:15 | 0:09:16 | |
Oh, hello. | 0:09:16 | 0:09:18 | |
Thanks. Who are you guys? | 0:09:21 | 0:09:23 | |
SHE SPEAKS FRENCH | 0:09:25 | 0:09:28 | |
HARRISON: Bob? In here. | 0:09:34 | 0:09:37 | |
Oh, the... the door was open. | 0:09:37 | 0:09:39 | |
It was? | 0:09:40 | 0:09:42 | |
Listen, I need your help, all right? It's Banks. He runs Osela. | 0:09:42 | 0:09:45 | |
Hired guns for those corporations. | 0:09:45 | 0:09:47 | |
GBR and SOC. | 0:09:47 | 0:09:48 | |
They... Uh, you gotta... You gotta help me. | 0:09:48 | 0:09:53 | |
Um, I... Look, we... we have them. | 0:09:53 | 0:09:55 | |
We have them. She... she told me everything. | 0:09:55 | 0:09:58 | |
Wait, w-what happened to her? The last I heard from you, you... | 0:09:58 | 0:10:01 | |
The cops shot her. | 0:10:01 | 0:10:02 | |
-They killed her? -Yes. -She's dead? -Yes. They shot her. | 0:10:02 | 0:10:05 | |
Stupid. | 0:10:07 | 0:10:08 | |
What happened to your arm? | 0:10:08 | 0:10:10 | |
Oh, it's... it's nothing. | 0:10:10 | 0:10:12 | |
It's nothing. | 0:10:12 | 0:10:13 | |
Is that...? | 0:10:16 | 0:10:17 | |
My mother. | 0:10:17 | 0:10:19 | |
She was on her chair. | 0:10:19 | 0:10:20 | |
Oh. | 0:10:20 | 0:10:21 | |
Sorry. Sorry. | 0:10:21 | 0:10:23 | |
I can't believe they shot her, she's dead. | 0:10:28 | 0:10:30 | |
All right, we have to move on this, all right, cos she told me that... | 0:10:30 | 0:10:33 | |
That her and Banks, there's something going on between them. | 0:10:33 | 0:10:36 | |
Like... they were having sex. | 0:10:36 | 0:10:39 | |
Oh. We need...we need evidence. | 0:10:39 | 0:10:40 | |
Like a text or an e-mail. They had... They had to talk to each other | 0:10:40 | 0:10:43 | |
about things like... Like how, uh, how to murder my father. They... | 0:10:43 | 0:10:47 | |
They wouldn't send an e-mail about that. | 0:10:47 | 0:10:48 | |
They might. They might. They didn't. | 0:10:48 | 0:10:50 | |
I already looked. | 0:10:50 | 0:10:51 | |
Damn it. | 0:10:51 | 0:10:53 | |
What about that Petraeus thing? | 0:10:53 | 0:10:56 | |
General Petraeus. | 0:10:56 | 0:10:57 | |
He was having an affair with some lady he shared an e-mail account with. | 0:10:57 | 0:11:01 | |
They never sent anything over the net. | 0:11:01 | 0:11:03 | |
They just read each other's drafts. | 0:11:03 | 0:11:05 | |
That way, no-one could see 'em. | 0:11:05 | 0:11:07 | |
Could Ruby and Banks have done the same thing? | 0:11:07 | 0:11:10 | |
That's it. Bob, that's genius. | 0:11:10 | 0:11:12 | |
That's genius. All right. | 0:11:12 | 0:11:13 | |
Well, maybe. | 0:11:13 | 0:11:15 | |
Oh, let... let me. | 0:11:15 | 0:11:17 | |
The operating systems on all computers have Bash software. | 0:11:19 | 0:11:23 | |
There's a security bug in it | 0:11:23 | 0:11:24 | |
that nobody's been able to make a complete patch for. | 0:11:24 | 0:11:27 | |
Yet. | 0:11:27 | 0:11:28 | |
-That may be my workaround. -OK. Good, good. This is good. | 0:11:28 | 0:11:30 | |
You focus on this and I'll... | 0:11:30 | 0:11:32 | |
I'm gonna post to my blog Ruby | 0:11:32 | 0:11:34 | |
and, uh, Osela, SOC, even my... my father's murder. | 0:11:34 | 0:11:37 | |
Why hasn't he called me back yet? | 0:11:37 | 0:11:39 | |
Who? Peter... Peter Decker. | 0:11:39 | 0:11:41 | |
He's... Um, he's Yusuf Qasim's lawyer. | 0:11:41 | 0:11:44 | |
I need a... Need a statement from him. | 0:11:44 | 0:11:46 | |
You'll be OK? Yeah. | 0:11:46 | 0:11:48 | |
Will you? | 0:11:51 | 0:11:53 | |
Luc, there's Aslam. | 0:12:08 | 0:12:10 | |
He looks fine. | 0:12:10 | 0:12:12 | |
Cute girl. He's more than fine. | 0:12:12 | 0:12:14 | |
Who is that girl? | 0:12:14 | 0:12:16 | |
Does it matter? | 0:12:16 | 0:12:18 | |
Look, I know what you're thinking. | 0:13:01 | 0:13:03 | |
You created a fantasy | 0:13:03 | 0:13:04 | |
about what life would be like for him in America. | 0:13:04 | 0:13:07 | |
It's a lie. | 0:13:07 | 0:13:09 | |
All this hell that you just escaped, | 0:13:09 | 0:13:11 | |
it starts all over again the minute you're back home. | 0:13:11 | 0:13:14 | |
They will attack you any way they can. | 0:13:15 | 0:13:17 | |
If they can't kill you, | 0:13:17 | 0:13:19 | |
they find another way to destroy you. | 0:13:19 | 0:13:21 | |
And your family. | 0:13:21 | 0:13:22 | |
Your future, it's a very complicated thing. | 0:13:25 | 0:13:27 | |
Yeah. | 0:13:27 | 0:13:29 | |
Ah, not now. | 0:13:31 | 0:13:33 | |
OK. | 0:13:35 | 0:13:36 | |
If I have to, you have to. | 0:13:36 | 0:13:37 | |
Come on. I don't... | 0:13:37 | 0:13:39 | |
I don't really feel like dancing. | 0:13:40 | 0:13:42 | |
ROMANTIC MUSIC | 0:13:43 | 0:13:46 | |
WOMAN SINGS IN NATIVE LANGUAGE | 0:13:53 | 0:13:55 | |
How'd it go? | 0:14:40 | 0:14:41 | |
What did Julia say? | 0:14:41 | 0:14:42 | |
Can I see her again? | 0:14:42 | 0:14:43 | |
I'm sorry, Dolly. | 0:14:43 | 0:14:45 | |
She didn't show. | 0:14:45 | 0:14:47 | |
Look, I got a hot chocolate. | 0:14:47 | 0:14:48 | |
Maybe she was running late. | 0:14:48 | 0:14:49 | |
I don't think so. | 0:14:49 | 0:14:51 | |
I waited for her. | 0:14:51 | 0:14:52 | |
For how long? | 0:14:52 | 0:14:54 | |
Over an hour. | 0:14:56 | 0:14:57 | |
I don't understand. Why would she do that? | 0:14:58 | 0:15:00 | |
Why do they do that? Why do they lie? | 0:15:01 | 0:15:03 | |
Who are we talking about? | 0:15:03 | 0:15:06 | |
Why would she leave for stupid Africa on some stupid mission | 0:15:06 | 0:15:09 | |
for the stupid Army and stupid Colonel Glen? | 0:15:09 | 0:15:12 | |
Why would... Why wouldn't she stay with us? | 0:15:12 | 0:15:15 | |
Oh, Dolly. | 0:15:16 | 0:15:17 | |
She promised. | 0:15:18 | 0:15:21 | |
She said she'd be back in a couple of weeks. | 0:15:21 | 0:15:23 | |
She said... She promised. | 0:15:23 | 0:15:24 | |
Dolly, your mother would never choose to leave you. | 0:15:24 | 0:15:29 | |
If there was any way for her to come back, she would. | 0:15:29 | 0:15:32 | |
She would be here. | 0:15:32 | 0:15:34 | |
With us. Right now. | 0:15:34 | 0:15:36 | |
There is no way. | 0:15:36 | 0:15:38 | |
She's not coming back, is she? | 0:15:38 | 0:15:41 | |
No. | 0:15:41 | 0:15:42 | |
She isn't. | 0:15:42 | 0:15:44 | |
SHE SOBS | 0:15:44 | 0:15:46 | |
There are very few people in the world like you, you know? | 0:15:56 | 0:16:00 | |
I just want to be a good example for my daughter. | 0:16:00 | 0:16:03 | |
You know, so she grows up strong | 0:16:03 | 0:16:06 | |
and has a big life. | 0:16:06 | 0:16:09 | |
I'm sure that she's extraordinary too. | 0:16:09 | 0:16:11 | |
Yeah. | 0:16:13 | 0:16:14 | |
She is. | 0:16:14 | 0:16:16 | |
It's getting late. | 0:16:18 | 0:16:19 | |
I think I'll just walk a little bit more. | 0:16:21 | 0:16:24 | |
HE LAUGHS | 0:16:25 | 0:16:27 | |
Goodnight, Luc. | 0:16:28 | 0:16:30 | |
Goodnight, Odelle. | 0:16:30 | 0:16:33 | |
Goodnight. | 0:16:33 | 0:16:34 | |
MELANCHOLY MUSIC PLAYS | 0:16:38 | 0:16:41 | |
Harrison Walters to see Peter Decker at Simons-Wachtel. | 0:16:53 | 0:16:55 | |
I 'm sorry. Do you have an appointment? | 0:16:55 | 0:16:57 | |
I'm with the press. Mr Decker needs to respond to allegations of corruption and murder! | 0:16:57 | 0:17:01 | |
Mr Decker doesn't work here any more, and you need to keep your voice down. | 0:17:01 | 0:17:05 | |
-I got this, Kate. Come with me. -Get your hands off me. | 0:17:05 | 0:17:07 | |
All right. Let me make it simple. I'm a colleague of Peter's. | 0:17:07 | 0:17:10 | |
You can take this outside with me, or we can let security handle it. | 0:17:10 | 0:17:13 | |
Huh? What's it gonna be? | 0:17:13 | 0:17:16 | |
Why isn't Decker returning my calls? | 0:17:16 | 0:17:17 | |
-Maybe he doesn't want to talk to you. -I guarantee he does. | 0:17:17 | 0:17:20 | |
I know everything. Your client SOC is behind all of it. | 0:17:20 | 0:17:23 | |
Do you have his home address? | 0:17:24 | 0:17:26 | |
Yeah, I do, but I'm not gonna give it to you. | 0:17:26 | 0:17:28 | |
Fine. All right, you tell him I'm writing a story on SOC, | 0:17:28 | 0:17:30 | |
their connection to murder, to Osela. | 0:17:30 | 0:17:32 | |
-He's just as guilty as the rest of them. -You're that Walters kid. | 0:17:32 | 0:17:36 | |
Peter mentioned you. | 0:17:36 | 0:17:37 | |
And if you weren't such an idiot, | 0:17:37 | 0:17:39 | |
you'd know he's been trying to expose SOC for weeks. | 0:17:39 | 0:17:41 | |
That's why he's not here. He got fired. | 0:17:41 | 0:17:43 | |
Is that true? | 0:17:45 | 0:17:46 | |
Not every guy in a suit's a jerk. | 0:17:46 | 0:17:48 | |
PHONE RINGS | 0:17:50 | 0:17:53 | |
Please tell me you found something. | 0:17:56 | 0:17:58 | |
S-sort of. Depends. Do you know if Ruby has a key generator? | 0:17:58 | 0:18:01 | |
What? What are you talking about? | 0:18:01 | 0:18:03 | |
I hacked into Banks' computer. I found an IP address | 0:18:03 | 0:18:07 | |
for an encrypted e-mail service based in Switzerland. | 0:18:07 | 0:18:09 | |
When that company gives you an account, | 0:18:09 | 0:18:11 | |
they also give you a key generator, | 0:18:11 | 0:18:13 | |
a way to randomly change your password every 15 minutes. | 0:18:13 | 0:18:16 | |
Does Ruby have one of those? | 0:18:16 | 0:18:17 | |
Uh, I don't know. What do the... What does it look like? | 0:18:17 | 0:18:21 | |
Check your phone. I just sent you a photo. | 0:18:21 | 0:18:25 | |
PHONE CHIMES | 0:18:25 | 0:18:27 | |
Crap. | 0:18:29 | 0:18:30 | |
What? Yeah. | 0:18:30 | 0:18:33 | |
I saw one. It's at King's Point. | 0:18:33 | 0:18:35 | |
-At the house. -We have to go back. | 0:18:35 | 0:18:38 | |
Stay where you are. I'll meet you there. | 0:18:38 | 0:18:41 | |
Aslam? | 0:18:46 | 0:18:47 | |
Aslam? | 0:18:59 | 0:19:01 | |
Where are you? | 0:19:01 | 0:19:03 | |
Luc? | 0:19:06 | 0:19:07 | |
Hey, have you seen Aslam? | 0:19:12 | 0:19:14 | |
I was just about to ask you the same thing. | 0:19:14 | 0:19:16 | |
Wait, he didn't stay at your place last night? | 0:19:16 | 0:19:18 | |
-You don't know where he is? -No. And I'm ready to wring his neck. | 0:19:18 | 0:19:21 | |
The little saboteur cut wires to the engine last night. | 0:19:21 | 0:19:24 | |
Look. It will take days for the parts now. | 0:19:24 | 0:19:26 | |
Son of a bitch. | 0:19:26 | 0:19:28 | |
Well, I guess that answers your question. | 0:19:28 | 0:19:29 | |
He obviously doesn't want to go back to Tessalit. | 0:19:29 | 0:19:32 | |
Doesn't mean he wants to go to America either. | 0:19:32 | 0:19:33 | |
I've got to find him and talk to him. | 0:19:33 | 0:19:35 | |
I've got to convince him to come back with me. | 0:19:35 | 0:19:37 | |
So you're just gonna bring him to America? How would you manage that? | 0:19:37 | 0:19:40 | |
The kid is 14. No passport. | 0:19:40 | 0:19:42 | |
What are you gonna do, put him in your overhead compartment? | 0:19:42 | 0:19:45 | |
No. I'll get The New York Times to help me. | 0:19:45 | 0:19:47 | |
Help you take a Malian boy out of Africa and bring him to the suburbs? | 0:19:47 | 0:19:50 | |
And what about your family? | 0:19:50 | 0:19:52 | |
What will your husband say about it? | 0:19:52 | 0:19:54 | |
Your daughter? I don't know, OK? I just... | 0:19:54 | 0:19:57 | |
What about the... the girl from last night? | 0:19:58 | 0:20:00 | |
Where... where is she at? | 0:20:00 | 0:20:02 | |
Her family lives in town. | 0:20:02 | 0:20:04 | |
Azziz. | 0:20:04 | 0:20:05 | |
THEY SPEAK FRENCH | 0:20:09 | 0:20:12 | |
DRAMATIC MUSIC | 0:20:28 | 0:20:31 | |
RUBY: My future is jail or death. | 0:20:44 | 0:20:47 | |
I'm not going to jail. | 0:20:47 | 0:20:49 | |
You OK? | 0:20:52 | 0:20:54 | |
Uh, fine. | 0:20:54 | 0:20:56 | |
Is this where she...? | 0:21:02 | 0:21:03 | |
GUNSHOTS | 0:21:03 | 0:21:05 | |
So where'd you last see that keygen? | 0:21:09 | 0:21:11 | |
It was near... It was near the armoire. | 0:21:11 | 0:21:13 | |
I can't... | 0:21:15 | 0:21:17 | |
-I can't see anything. -Let me help. | 0:21:17 | 0:21:20 | |
Trying to get... No, wait. | 0:21:20 | 0:21:21 | |
GUNSHOT | 0:21:28 | 0:21:29 | |
You have a delivery for Prime Minister Tsaldari? | 0:21:35 | 0:21:37 | |
Yes. Right here. | 0:21:37 | 0:21:39 | |
-Who are they...? -Oh, they're from Mr... -They're from me. | 0:21:39 | 0:21:42 | |
I know the Prime Minister's been avoiding my calls. | 0:21:46 | 0:21:49 | |
But I need to see her. | 0:21:49 | 0:21:51 | |
INDISTINCT CHATTER | 0:21:57 | 0:21:59 | |
Peter. | 0:21:59 | 0:22:01 | |
Um... | 0:22:01 | 0:22:03 | |
SHE SPEAKS GREEK | 0:22:03 | 0:22:04 | |
-Thank you for seeing me. -Thank you for the flowers. | 0:22:12 | 0:22:15 | |
I realise there was an ulterior motive, | 0:22:15 | 0:22:17 | |
but they are beautiful nonetheless. | 0:22:17 | 0:22:20 | |
Please, sit. Some tea? | 0:22:20 | 0:22:22 | |
No, I'm fine. Thanks. | 0:22:22 | 0:22:24 | |
I am sorry I haven't returned your calls, | 0:22:24 | 0:22:26 | |
-but you must understand, I have been very busy since taking office... -I know why you've been avoiding me. | 0:22:26 | 0:22:31 | |
You know I tried. | 0:22:37 | 0:22:40 | |
But we just didn't have enough, | 0:22:40 | 0:22:42 | |
and I cannot let Greece go into default. | 0:22:42 | 0:22:46 | |
You don't have to. | 0:22:46 | 0:22:47 | |
Everything you need to destroy SOC and Baker is on this drive. | 0:22:49 | 0:22:52 | |
Use it. | 0:22:52 | 0:22:54 | |
Peter, we both know if I use that, | 0:22:54 | 0:22:56 | |
you will be prosecuted for murder. | 0:22:56 | 0:22:58 | |
A price I'm willing to play. | 0:22:58 | 0:23:00 | |
-You're not thinking clearly. -I can't let them get away with this. | 0:23:00 | 0:23:04 | |
Peter, | 0:23:04 | 0:23:06 | |
what matters now is the love you have for your family. | 0:23:06 | 0:23:10 | |
They need you at home, not in a prison cell. | 0:23:10 | 0:23:14 | |
No. | 0:23:14 | 0:23:15 | |
No, this is a sacrifice I will not allow you to make. | 0:23:15 | 0:23:19 | |
Then I'll do it myself. I'll take it to the press. | 0:23:19 | 0:23:21 | |
And what will that accomplish? | 0:23:21 | 0:23:24 | |
You will create a scandal that will last until the next news cycle. | 0:23:24 | 0:23:27 | |
Societel and Baker will rehabilitate themselves. | 0:23:27 | 0:23:30 | |
Your life will be ruined for nothing. | 0:23:30 | 0:23:32 | |
But it'll stop you from making this deal. | 0:23:32 | 0:23:35 | |
You do this, and they get away with everything. | 0:23:35 | 0:23:39 | |
Everything! | 0:23:39 | 0:23:40 | |
For God's sakes, they killed your husband, Sophia. | 0:23:42 | 0:23:46 | |
And I will not allow them to do the same to my country. | 0:23:46 | 0:23:51 | |
Now, if you'll excuse me. | 0:23:51 | 0:23:53 | |
THEY SPEAK A FOREIGN LANGUAGE | 0:23:57 | 0:23:59 | |
Shukran. | 0:24:01 | 0:24:03 | |
I was worried. | 0:24:33 | 0:24:34 | |
What is it? I can take care of myself. | 0:24:42 | 0:24:44 | |
I've made plans. | 0:24:44 | 0:24:46 | |
What are you talking about? What plans? | 0:24:46 | 0:24:48 | |
So when are you leaving? | 0:24:59 | 0:25:03 | |
-Tonight. -What, and you weren't gonna talk to me about it or tell me? | 0:25:03 | 0:25:07 | |
No. It's my decision. | 0:25:07 | 0:25:11 | |
Can I talk to you outside for a minute, please? | 0:25:25 | 0:25:27 | |
In private? | 0:25:27 | 0:25:29 | |
A brick maker? | 0:25:31 | 0:25:33 | |
It's a good job. Yeah, I know that. | 0:25:33 | 0:25:35 | |
I'm not questioning that, but... | 0:25:35 | 0:25:37 | |
have you thought about it? | 0:25:37 | 0:25:39 | |
Are you sure that's what you want? | 0:25:39 | 0:25:41 | |
Yes. | 0:25:41 | 0:25:43 | |
Is that why you cut the wires to the plane? | 0:25:43 | 0:25:46 | |
-Because you didn't want to go back? -I didn't cut any wires. | 0:25:46 | 0:25:49 | |
Yes, you did. No, I didn't! | 0:25:49 | 0:25:50 | |
No, of course you didn't, | 0:25:52 | 0:25:53 | |
because you were making plans to go to Libya last night. | 0:25:53 | 0:25:56 | |
Look, I know that you're mad at me, but I can't | 0:26:03 | 0:26:06 | |
let you leave without saying how much you mean to me. | 0:26:06 | 0:26:09 | |
I owe you everything. | 0:26:13 | 0:26:14 | |
I owe you my life. I-I'd be dead. | 0:26:14 | 0:26:17 | |
I know. | 0:26:17 | 0:26:18 | |
You're a man now. | 0:26:20 | 0:26:22 | |
You get to make your own choices. | 0:26:22 | 0:26:23 | |
Yes. I get to choose. | 0:26:23 | 0:26:26 | |
Not you and not Luc. What do you mean? | 0:26:26 | 0:26:30 | |
On the beach, you said that I have to go to America, | 0:26:30 | 0:26:32 | |
and Luc said that I have to go to Tessalit. | 0:26:32 | 0:26:35 | |
Well, this is what I want. | 0:26:35 | 0:26:37 | |
Not you, not him. Me. | 0:26:37 | 0:26:40 | |
-No, but I didn't mean it like that... -You didn't give me a chance. | 0:26:40 | 0:26:43 | |
Digging for clams and eating popsicles may sound good for you, | 0:26:43 | 0:26:47 | |
but you didn't even ask me. | 0:26:47 | 0:26:48 | |
You're right. | 0:26:49 | 0:26:51 | |
Look at me. | 0:26:54 | 0:26:55 | |
I'm asking now. | 0:26:56 | 0:26:58 | |
I don't know. I don't like it. | 0:27:01 | 0:27:02 | |
I'll miss you. | 0:27:06 | 0:27:08 | |
When is your boat leaving? | 0:27:12 | 0:27:14 | |
Peter Decker? | 0:27:23 | 0:27:25 | |
-Ms Wachtel. -Oh, please. Jenifer. | 0:27:25 | 0:27:29 | |
I understand you're no longer working for the firm. | 0:27:29 | 0:27:31 | |
I'm sorry it didn't work out. | 0:27:31 | 0:27:34 | |
If only I'd fallen into line like a good soldier. | 0:27:34 | 0:27:37 | |
Not everyone's cut out for the world of high finance. | 0:27:37 | 0:27:40 | |
I assume you were here visiting the Prime Minister's suite? | 0:27:40 | 0:27:44 | |
Business? Pleasure? | 0:27:44 | 0:27:46 | |
I was trying to talk her out of making the deal. | 0:27:48 | 0:27:50 | |
I'm aware of your rather shocking allegations | 0:27:50 | 0:27:53 | |
against Alex and SOC. | 0:27:53 | 0:27:56 | |
But, as I understand it, you haven't shown any evidence. | 0:27:56 | 0:28:00 | |
Sounds like malicious prosecution, Counsellor. | 0:28:00 | 0:28:03 | |
Excuse me. I have a train to catch. | 0:28:03 | 0:28:05 | |
Nonsense. You'll never get a cab at this hour. | 0:28:05 | 0:28:08 | |
-My driver will drop you. -That's OK. Thank you. | 0:28:08 | 0:28:11 | |
No. No, please. I insist. | 0:28:11 | 0:28:13 | |
Consider it part of your severance package. | 0:28:13 | 0:28:16 | |
Best of luck, Peter. | 0:28:16 | 0:28:18 | |
You find the brat? | 0:28:34 | 0:28:36 | |
Yep. | 0:28:36 | 0:28:37 | |
And we worked it out. | 0:28:38 | 0:28:40 | |
Meaning? | 0:28:40 | 0:28:42 | |
Meaning... | 0:28:42 | 0:28:43 | |
..he's going to Libya to make bricks. | 0:28:46 | 0:28:49 | |
-He's what? -You heard me. | 0:28:50 | 0:28:52 | |
That's the last thing I expected you to say. | 0:28:54 | 0:28:56 | |
The kid is smart. | 0:28:59 | 0:29:00 | |
What do you mean? | 0:29:00 | 0:29:02 | |
Not to go to America, where you're a wanted woman. | 0:29:02 | 0:29:05 | |
Where they want to kill you. | 0:29:05 | 0:29:07 | |
Someone will listen to me. | 0:29:08 | 0:29:10 | |
I thought you understood. | 0:29:10 | 0:29:11 | |
Understood what? | 0:29:11 | 0:29:13 | |
That you can't go back. | 0:29:13 | 0:29:15 | |
It's not as simple as that. | 0:29:15 | 0:29:17 | |
Once they know you're alive, they will hunt you. | 0:29:18 | 0:29:21 | |
They will never stop. You know that. | 0:29:21 | 0:29:22 | |
Here, you're not Odelle Ballard. | 0:29:22 | 0:29:24 | |
You're no-one, and you are safe. | 0:29:24 | 0:29:26 | |
And your family, this little girl that you love, they're safe. | 0:29:26 | 0:29:29 | |
Does that mean nothing to you? | 0:29:29 | 0:29:31 | |
It means everything to me. | 0:29:31 | 0:29:33 | |
I'm alive. I'm safe. | 0:29:33 | 0:29:34 | |
But my little girl, she needs to know that I'm alive. | 0:29:36 | 0:29:39 | |
At least that. | 0:29:39 | 0:29:41 | |
I can't stay dead forever. | 0:29:42 | 0:29:43 | |
So that's it. | 0:29:44 | 0:29:46 | |
What more is there? | 0:29:46 | 0:29:48 | |
Do I really have to say it? | 0:29:48 | 0:29:49 | |
No, you don't. | 0:29:49 | 0:29:51 | |
And I know that it was you that broke the plane | 0:29:51 | 0:29:53 | |
and you blamed it on Aslam. | 0:29:53 | 0:29:55 | |
What? What do you want me to say, huh? | 0:29:58 | 0:30:01 | |
We've been through a lot together. Of course we're gonna... | 0:30:01 | 0:30:04 | |
..have a connection and even have feelings for each other, | 0:30:07 | 0:30:10 | |
but that doesn't mean that anything... | 0:30:10 | 0:30:13 | |
VOICES SPEAKING IN FOREIGN LANGUAGE | 0:30:50 | 0:30:52 | |
SCREAMS | 0:31:58 | 0:32:00 | |
Naima? | 0:32:07 | 0:32:08 | |
Odelle! | 0:32:18 | 0:32:19 | |
Odelle! Please, please come here! | 0:32:19 | 0:32:21 | |
Help her! Please help! | 0:32:21 | 0:32:23 | |
She's in the water! | 0:32:23 | 0:32:24 | |
Please, come here! | 0:32:24 | 0:32:26 | |
She's in the water. | 0:32:28 | 0:32:30 | |
I've got you. Hang on! | 0:32:53 | 0:32:55 | |
Here. | 0:33:01 | 0:33:02 | |
That's it. | 0:33:28 | 0:33:30 | |
It's OK. You're OK. Breathe. | 0:33:30 | 0:33:32 | |
It's OK. | 0:33:38 | 0:33:40 | |
You're OK. | 0:33:40 | 0:33:42 | |
Odelle. | 0:33:44 | 0:33:46 | |
-Odelle. You're Odelle Ballard. -No. | 0:33:46 | 0:33:49 | |
Yes, yes. I recognise you from the G8 protest. | 0:33:49 | 0:33:51 | |
You're the American woman soldier. | 0:33:51 | 0:33:53 | |
MOBILE PHONE BEEPS | 0:33:56 | 0:33:57 | |
Where did you send that? | 0:33:57 | 0:33:59 | |
Onto Twitter. Onto everywhere. | 0:33:59 | 0:34:01 | |
You're close, right? | 0:34:15 | 0:34:16 | |
-I'm not that close. -I thought all you needed was the keygen. | 0:34:16 | 0:34:19 | |
Trust me, it's like finding a needle in a haystack. | 0:34:19 | 0:34:22 | |
I could find it tomorrow, or it could take three months. | 0:34:22 | 0:34:25 | |
Maybe never. | 0:34:25 | 0:34:27 | |
PHONE BEEPS | 0:34:27 | 0:34:28 | |
Is that your phone? | 0:34:28 | 0:34:30 | |
You're bleeding through the bandages. | 0:34:30 | 0:34:33 | |
PHONE BEEPS | 0:34:33 | 0:34:34 | |
Aren't you gonna see who that is? | 0:34:34 | 0:34:37 | |
Harrison, we can't quit. | 0:34:41 | 0:34:43 | |
I'll find it. | 0:34:44 | 0:34:45 | |
Oh... Oh, my... Oh, my God. | 0:34:52 | 0:34:54 | |
What? | 0:34:54 | 0:34:56 | |
It's... | 0:34:56 | 0:34:57 | |
Is that...? | 0:35:02 | 0:35:04 | |
Odelle Ballard. | 0:35:04 | 0:35:05 | |
Odelle lives. | 0:35:07 | 0:35:09 | |
Great, now it's out, everywhere. | 0:35:11 | 0:35:14 | |
It's my fault. | 0:35:16 | 0:35:18 | |
No, honey, it is not your fault, OK? It's not your fault. | 0:35:18 | 0:35:21 | |
So now you're no longer dead. You have to be careful. | 0:35:21 | 0:35:24 | |
You must follow my instructions exactly. | 0:35:24 | 0:35:26 | |
Yeah, absolutely. Anything you say. | 0:35:26 | 0:35:27 | |
So you're going to Libya to make bricks? | 0:35:33 | 0:35:36 | |
-Yes. -Sure you don't want to go to America? | 0:35:36 | 0:35:39 | |
The land of fat children and Cronuts? | 0:35:39 | 0:35:42 | |
He's made his decision. We have to respect that. | 0:35:46 | 0:35:50 | |
OK, I guess this is it. | 0:36:05 | 0:36:07 | |
Um, I don't know what to say, | 0:36:09 | 0:36:11 | |
but, uh, thank you. | 0:36:11 | 0:36:13 | |
Take care, huh? | 0:36:13 | 0:36:14 | |
In another life. | 0:36:31 | 0:36:32 | |
In another life. | 0:36:35 | 0:36:36 | |
And you. | 0:36:40 | 0:36:42 | |
You take care, huh? | 0:36:42 | 0:36:43 | |
Gonna miss you so much. | 0:36:48 | 0:36:50 | |
You be my brave boy, OK? | 0:36:52 | 0:36:53 | |
All right. | 0:37:00 | 0:37:01 | |
Merci, et bonne chance. | 0:37:09 | 0:37:12 | |
OK, get ready to cast off. | 0:37:19 | 0:37:21 | |
-Aslam. -What are you doing? | 0:37:27 | 0:37:30 | |
I am coming. | 0:37:31 | 0:37:32 | |
Oh, you must be joking. | 0:37:36 | 0:37:38 | |
Oh, I'm so happy. | 0:37:46 | 0:37:47 | |
If you change your minds, you know where to find me. | 0:37:47 | 0:37:50 | |
Both of you. | 0:37:50 | 0:37:51 | |
OK. Au revoir. | 0:37:51 | 0:37:53 | |
You sure it's her? | 0:38:02 | 0:38:04 | |
I checked the source. A German tourist in Algeria. | 0:38:04 | 0:38:07 | |
The photo's real. It was taken a few hours ago. | 0:38:07 | 0:38:09 | |
Who are you sending it to? | 0:38:09 | 0:38:11 | |
PHONE BEEPS | 0:38:14 | 0:38:16 | |
I'll tell you what. | 0:38:38 | 0:38:39 | |
Let's make each other a promise | 0:38:39 | 0:38:41 | |
that every night we'll talk about one memory of Mom. | 0:38:41 | 0:38:44 | |
It'll be like a ritual. | 0:38:44 | 0:38:45 | |
So then, when you close your eyes, | 0:38:46 | 0:38:49 | |
try to remember what it felt like | 0:38:49 | 0:38:51 | |
when she held you and remember, | 0:38:51 | 0:38:53 | |
no matter what... | 0:38:53 | 0:38:55 | |
..that your mother loved you. | 0:38:56 | 0:38:58 | |
OK? | 0:38:58 | 0:38:59 | |
What? | 0:39:02 | 0:39:04 | |
No, I was just thinking. | 0:39:04 | 0:39:06 | |
-You remember when Mom dressed up as Santa? -Yeah. | 0:39:06 | 0:39:10 | |
-You were what? Eight? -Yeah. | 0:39:10 | 0:39:13 | |
She was way too skinny for that Santa costume. | 0:39:13 | 0:39:15 | |
Oh, and that horrible beard. | 0:39:15 | 0:39:17 | |
That was a good day. | 0:39:21 | 0:39:23 | |
Goodnight, Dolly. | 0:39:27 | 0:39:29 | |
Goodnight. | 0:39:29 | 0:39:31 | |
PHONE BEEPS | 0:39:43 | 0:39:44 | |
Are you sure it's authentic? | 0:40:12 | 0:40:15 | |
Where in Spain? | 0:40:15 | 0:40:16 | |
Yes, I'll leave immediately. | 0:40:18 | 0:40:21 |