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This film contains some strong language. | 0:00:02 | 0:00:09 | |
Your friend is late. | 0:01:54 | 0:01:57 | |
He'll be here. | 0:02:00 | 0:02:01 | |
Oh, yeah? I do have other bidders. | 0:02:03 | 0:02:06 | |
I personally vouch for this man. | 0:02:06 | 0:02:08 | |
Oh, well, I trust you, Michael, but... | 0:02:08 | 0:02:11 | |
you see, with each degree of separation | 0:02:11 | 0:02:14 | |
comes a degree of uncertainty. | 0:02:14 | 0:02:17 | |
Mr Turner. | 0:02:27 | 0:02:29 | |
Mr Vas. | 0:02:32 | 0:02:33 | |
The KGB once tried | 0:02:35 | 0:02:37 | |
to set me up, | 0:02:37 | 0:02:39 | |
so I had to kill three of their agents, | 0:02:39 | 0:02:41 | |
and then I hunted down their families. | 0:02:41 | 0:02:44 | |
The point is, | 0:02:46 | 0:02:47 | |
if I sense anything out of the ordinary... | 0:02:47 | 0:02:49 | |
No, the point is, | 0:02:49 | 0:02:50 | |
I haven't seen anything from you yet | 0:02:50 | 0:02:52 | |
to justify a payment of 20 million. | 0:02:52 | 0:02:54 | |
So, before I hand over a small fortune | 0:02:54 | 0:02:57 | |
and risk my life, | 0:02:57 | 0:02:59 | |
I want to know 100% that you can, in fact, | 0:02:59 | 0:03:01 | |
deliver the device. | 0:03:01 | 0:03:04 | |
That's the point. | 0:03:04 | 0:03:05 | |
Very well. | 0:03:05 | 0:03:07 | |
Michelle... | 0:03:07 | 0:03:10 | |
owner's manual. | 0:03:10 | 0:03:12 | |
This is your show of good faith? | 0:03:16 | 0:03:18 | |
Well, you're still alive. | 0:03:18 | 0:03:19 | |
You consider that a show of good faith. | 0:03:19 | 0:03:22 | |
Now, what do you have for me? | 0:03:22 | 0:03:24 | |
Down payment... | 0:03:24 | 0:03:26 | |
1 million. | 0:03:26 | 0:03:27 | |
So, when do I get the device? | 0:03:30 | 0:03:32 | |
Let's say ten days. | 0:03:34 | 0:03:35 | |
Michael, | 0:03:37 | 0:03:38 | |
you take that telephone, and I will call you | 0:03:38 | 0:03:40 | |
and tell you how to proceed. | 0:03:40 | 0:03:42 | |
You keep it on you all the time. | 0:03:42 | 0:03:44 | |
As for you, sir, the next time we meet, | 0:03:44 | 0:03:47 | |
I suggest you be on time. | 0:03:47 | 0:03:51 | |
Nice coat. | 0:03:56 | 0:03:57 | |
Well done. | 0:04:09 | 0:04:11 | |
See you around. | 0:04:11 | 0:04:13 | |
So far, so good? | 0:04:38 | 0:04:40 | |
Yeah, so far. | 0:04:40 | 0:04:41 | |
-Kevin's got a tail. -Is it Vas? | 0:05:05 | 0:05:07 | |
No, they don't look Russian. | 0:05:07 | 0:05:08 | |
'But they don't look friendly.' | 0:05:08 | 0:05:09 | |
We'd better go back for him. | 0:05:09 | 0:05:11 | |
You ordered us not to jeopardise our cover, sir. | 0:05:11 | 0:05:13 | |
Hey, turn left. | 0:05:13 | 0:05:15 | |
Turn left! | 0:05:15 | 0:05:17 | |
TYRES SCREECH | 0:05:55 | 0:05:57 | |
Kill him! | 0:05:57 | 0:05:58 | |
Ambush on the castle steps, sir. | 0:06:02 | 0:06:03 | |
Come on, faster. | 0:06:03 | 0:06:04 | |
Let's go! | 0:06:07 | 0:06:08 | |
GRUNTING AND SHOUTING | 0:06:09 | 0:06:11 | |
ALL SCREAMING | 0:06:12 | 0:06:14 | |
Get down! Get down! | 0:06:16 | 0:06:18 | |
Get down! | 0:06:20 | 0:06:23 | |
There he is! Pull over! | 0:06:39 | 0:06:41 | |
You're jeopardising the mission. | 0:06:46 | 0:06:48 | |
Uhh! | 0:06:48 | 0:06:49 | |
You are the mission. | 0:06:49 | 0:06:50 | |
Uhh! | 0:06:52 | 0:06:53 | |
God, that was close. | 0:07:02 | 0:07:03 | |
Did you see who they were? | 0:07:03 | 0:07:05 | |
Kevin? | 0:07:08 | 0:07:09 | |
Doesn't this all smack of extreme desperation? | 0:07:22 | 0:07:24 | |
A nuclear bomb | 0:07:24 | 0:07:25 | |
that fits neatly into a carry-on suitcase? | 0:07:25 | 0:07:27 | |
Kevin spends two years | 0:07:27 | 0:07:28 | |
getting close to these people | 0:07:28 | 0:07:29 | |
in order to position you as the buyer. | 0:07:29 | 0:07:31 | |
Vas won't deal with anyone else, | 0:07:31 | 0:07:32 | |
and we have nine days to make this work. | 0:07:32 | 0:07:34 | |
I'd say desperation was the order of the day. | 0:07:34 | 0:07:36 | |
Maybe Vas set Kevin up. | 0:07:36 | 0:07:38 | |
My guess is, it's a rival buyer. | 0:07:38 | 0:07:40 | |
Could be Pakistanis, Chechnyans, North Koreans. | 0:07:40 | 0:07:43 | |
Libyans. | 0:07:43 | 0:07:44 | |
Try the entire Middle East. | 0:07:44 | 0:07:45 | |
Adrik Vas is a businessman. He'll take anyone's money. | 0:07:45 | 0:07:48 | |
So, why kill Kevin if they could just outbid him? | 0:07:48 | 0:07:50 | |
Cos we have deeper pockets, that's why. | 0:07:50 | 0:07:52 | |
He priced them out of the game. | 0:07:52 | 0:07:53 | |
Who do you think it is? | 0:07:53 | 0:07:54 | |
Well, the Cold War is over. | 0:07:54 | 0:07:56 | |
These guys don't wave flags any more, | 0:07:56 | 0:07:57 | |
and fanaticism, terrorism is global. | 0:07:57 | 0:08:00 | |
Well, whoever it is decided to eliminate the competition | 0:08:00 | 0:08:03 | |
and force Vas to deal with them. | 0:08:03 | 0:08:05 | |
So, the future of the so-called free world | 0:08:05 | 0:08:08 | |
may rest in this young man's hands. | 0:08:08 | 0:08:10 | |
Jake Hayes here - Big-Time Tickets. | 0:08:11 | 0:08:13 | |
Whatever you want, I'll get you. | 0:08:13 | 0:08:15 | |
Yankees, third base line. | 0:08:15 | 0:08:16 | |
Knicks, courtside. Rangers, on the ice. | 0:08:16 | 0:08:18 | |
Masters, I'll put you on Tiger's tee, right? | 0:08:18 | 0:08:22 | |
No matter what you want, I got it for you. | 0:08:22 | 0:08:24 | |
Big-Time Tickets. What you need? | 0:08:24 | 0:08:26 | |
Oh, come on, man. | 0:08:26 | 0:08:27 | |
You're gonna call me three hours before tip-off | 0:08:27 | 0:08:30 | |
against the Lakers? | 0:08:30 | 0:08:31 | |
The Knicks sell out every game, money. | 0:08:31 | 0:08:33 | |
Since I like you, for 850, I'll get you section 24, | 0:08:33 | 0:08:36 | |
row 9. 12 back from the bench. | 0:08:36 | 0:08:38 | |
Right behind Woody with a good view of Spike, | 0:08:38 | 0:08:41 | |
unless he's got that turban thing on his head, | 0:08:41 | 0:08:42 | |
lookin' like Yasser Araneck. | 0:08:42 | 0:08:43 | |
Check. | 0:08:45 | 0:08:47 | |
Hold on a second. | 0:08:47 | 0:08:48 | |
What's up? Big-Time Tickets. | 0:08:48 | 0:08:50 | |
Jake Hayes. What you want? | 0:08:50 | 0:08:52 | |
Checkmate. | 0:08:52 | 0:08:53 | |
Lion King? I can't do that. | 0:08:53 | 0:08:55 | |
Jake Hayes here. | 0:08:55 | 0:08:56 | |
Big-Time Tickets. | 0:08:56 | 0:08:57 | |
Mr Johnson, you gonna go to the game tonight, | 0:08:57 | 0:08:59 | |
or you want to do some business? | 0:08:59 | 0:09:00 | |
He's kickin' your ass! | 0:09:00 | 0:09:02 | |
Hey, don't look at me. | 0:09:02 | 0:09:03 | |
You need to watch that castle, | 0:09:03 | 0:09:04 | |
'bout to bitch-slap your bishop. | 0:09:04 | 0:09:07 | |
Ehhhh! You lose, opie. | 0:09:07 | 0:09:08 | |
Damn! | 0:09:08 | 0:09:09 | |
OK, so I'll give you 400 for the two. | 0:09:09 | 0:09:13 | |
Yo, Jake, let's get a slice. | 0:09:13 | 0:09:14 | |
Hold on one second. | 0:09:14 | 0:09:15 | |
Hello? Big-Time Tickets. | 0:09:15 | 0:09:19 | |
Hey. | 0:09:19 | 0:09:20 | |
Hey, man. I can't... I can't go. | 0:09:20 | 0:09:21 | |
You always workin'. | 0:09:21 | 0:09:23 | |
Hey, honey. What's up? | 0:09:23 | 0:09:25 | |
OK, I'm gonna pick you up from work. | 0:09:26 | 0:09:28 | |
Then we'll talk all about it. | 0:09:28 | 0:09:30 | |
OK, love you, too. Bye. | 0:09:30 | 0:09:32 | |
I gotta pick up my girl, man. | 0:09:32 | 0:09:34 | |
So check this out... | 0:09:34 | 0:09:35 | |
you're gonna do this, right? | 0:09:35 | 0:09:36 | |
Then I'm gonna do this. | 0:09:36 | 0:09:37 | |
Then you're gonna do this. | 0:09:37 | 0:09:39 | |
Then I'm gonna do this. | 0:09:39 | 0:09:40 | |
Then you're gonna want to do this. | 0:09:40 | 0:09:42 | |
But I'm gonna do this, | 0:09:42 | 0:09:43 | |
and when you're thinkin' about doing this, | 0:09:43 | 0:09:44 | |
I'm gonna do this. Then the game's over. | 0:09:44 | 0:09:46 | |
So why don't you give me 20 right now, | 0:09:46 | 0:09:48 | |
and we'll save 20 minutes? | 0:09:48 | 0:09:49 | |
Screw you. | 0:09:49 | 0:09:50 | |
You didn't know chess was a contact sport, | 0:09:50 | 0:09:52 | |
did you? | 0:09:52 | 0:09:53 | |
INDISTINCT CHATTERING | 0:09:53 | 0:09:55 | |
Hey, honey. | 0:09:55 | 0:09:56 | |
Julia Benson. She's a nurse's aide. | 0:09:56 | 0:09:58 | |
They've been together three years. | 0:09:58 | 0:10:00 | |
She lives with her sister and brother-in-law | 0:10:00 | 0:10:02 | |
in Jersey City. | 0:10:02 | 0:10:04 | |
Amazing resemblance to Kevin, sir. | 0:10:04 | 0:10:06 | |
-Yeah. -TAPE WINDING BACK | 0:10:06 | 0:10:07 | |
Like seeing a ghost. | 0:10:09 | 0:10:11 | |
I don't know | 0:10:11 | 0:10:13 | |
how you're gonna react. | 0:10:13 | 0:10:14 | |
Heh. | 0:10:14 | 0:10:16 | |
Come on. Wait a minute. | 0:10:16 | 0:10:18 | |
I should've known. | 0:10:18 | 0:10:20 | |
The mood swings, | 0:10:20 | 0:10:22 | |
the weight gain. | 0:10:22 | 0:10:23 | |
What weight gain? | 0:10:23 | 0:10:25 | |
You're pregnant. You're pregnant. | 0:10:25 | 0:10:27 | |
I want everybody to know. Hey, everybody! | 0:10:27 | 0:10:29 | |
My woman's havin' a baby, | 0:10:29 | 0:10:31 | |
and we're gettin' married! | 0:10:31 | 0:10:33 | |
ALL CHEER AND APPLAUD | 0:10:33 | 0:10:34 | |
I'm not pregnant. | 0:10:34 | 0:10:37 | |
You know, we don't have to get married. | 0:10:37 | 0:10:39 | |
I mean, marriage is a big step. | 0:10:39 | 0:10:40 | |
We should wait a while. We're young. | 0:10:40 | 0:10:42 | |
I'm moving to Seattle. | 0:10:42 | 0:10:44 | |
Seattle, like, | 0:10:46 | 0:10:48 | |
Seattle Supersonics, Seattle? | 0:10:48 | 0:10:50 | |
Wait a minute. That's... That's pretty far. | 0:10:50 | 0:10:53 | |
I got offered a job there. | 0:10:53 | 0:10:55 | |
What kind of job are you gonna get in Seattle | 0:10:55 | 0:10:58 | |
that you can't get in New York? | 0:10:58 | 0:10:59 | |
A friend of mine from junior college called. | 0:10:59 | 0:11:03 | |
-Who? -Kenneth. | 0:11:03 | 0:11:05 | |
Your ex-man Ken? | 0:11:05 | 0:11:07 | |
Look, he's managing a company out there, | 0:11:07 | 0:11:09 | |
and he offered. | 0:11:09 | 0:11:11 | |
So, you're leaving me and going back to Ken. | 0:11:11 | 0:11:13 | |
No. | 0:11:13 | 0:11:14 | |
Are you leaving me? | 0:11:14 | 0:11:15 | |
Sort of, but it's not... | 0:11:15 | 0:11:16 | |
So, you're leaving me and going back to Kenneth? | 0:11:16 | 0:11:18 | |
That's what I asked you. | 0:11:18 | 0:11:19 | |
The Ken part is just business. | 0:11:19 | 0:11:22 | |
And what's the leaving me part? | 0:11:22 | 0:11:24 | |
Pleasure? | 0:11:24 | 0:11:25 | |
Pain. | 0:11:25 | 0:11:27 | |
Your sister put you up to this. She never liked me. | 0:11:27 | 0:11:29 | |
It's been three years, Jake. | 0:11:29 | 0:11:31 | |
I know it's been three years. | 0:11:31 | 0:11:33 | |
And we're in the same situation | 0:11:33 | 0:11:34 | |
that we were in when we met. | 0:11:34 | 0:11:36 | |
Meaning, we're not married. | 0:11:36 | 0:11:38 | |
We're not married, | 0:11:38 | 0:11:39 | |
we can't afford to get married. | 0:11:39 | 0:11:41 | |
And it doesn't look like it's ever gonna change. | 0:11:41 | 0:11:44 | |
You know, poor people do get married. | 0:11:44 | 0:11:46 | |
I know, but I don't feel like fighting with you | 0:11:46 | 0:11:49 | |
every day because we're broke. | 0:11:49 | 0:11:51 | |
I mean, marriage is hard enough | 0:11:51 | 0:11:53 | |
without being poor. | 0:11:53 | 0:11:55 | |
Hey, what happened to the love? | 0:11:55 | 0:11:56 | |
What happened to all that romance? | 0:11:56 | 0:11:58 | |
You know I love you. | 0:11:58 | 0:12:00 | |
But you are living in this fantasy. | 0:12:00 | 0:12:02 | |
It's like you're waiting for some kind of miracle. | 0:12:02 | 0:12:04 | |
I gotta live in reality. | 0:12:04 | 0:12:06 | |
I am not gonna be young forever. | 0:12:06 | 0:12:07 | |
Oh, I see, so you gotta put yourself | 0:12:07 | 0:12:09 | |
back on the market while the merchandise is still fresh. | 0:12:09 | 0:12:12 | |
You act like there's a damn expiration date | 0:12:12 | 0:12:14 | |
on your forehead! | 0:12:14 | 0:12:15 | |
Come on, come on. | 0:12:19 | 0:12:21 | |
I'm sorry. I'm sorry. | 0:12:21 | 0:12:23 | |
You think I like living like this? | 0:12:23 | 0:12:25 | |
Movin' tickets, hustlin' checks, | 0:12:25 | 0:12:27 | |
DJ'ing at these little clubs? | 0:12:27 | 0:12:29 | |
I know, I should've stayed in college. | 0:12:29 | 0:12:31 | |
I messed up. I messed up. | 0:12:31 | 0:12:32 | |
I'll go back to college. | 0:12:32 | 0:12:34 | |
I love you, Jake. | 0:12:35 | 0:12:38 | |
I love you, too. | 0:12:38 | 0:12:40 | |
But I... | 0:12:40 | 0:12:42 | |
So, when are you leaving? | 0:12:45 | 0:12:47 | |
Couple weeks. | 0:12:48 | 0:12:50 | |
But we'll talk before then. | 0:12:50 | 0:12:53 | |
Why? | 0:12:56 | 0:12:58 | |
Jake... | 0:13:06 | 0:13:07 | |
RAP MUSIC PLAYING | 0:13:14 | 0:13:17 | |
What's up, man? | 0:13:30 | 0:13:31 | |
Hey, what's up? What's wrong? | 0:13:31 | 0:13:32 | |
Julie left me. | 0:13:32 | 0:13:33 | |
Sorry. Um, I gotta go. | 0:13:33 | 0:13:35 | |
But I'll catch you tomorrow. | 0:13:35 | 0:13:37 | |
# I'm all out of love | 0:13:50 | 0:13:53 | |
# I'm so lost without you | 0:13:53 | 0:13:55 | |
# I know you were right | 0:13:55 | 0:13:57 | |
# Believing for so long | 0:13:57 | 0:14:00 | |
# I'm all out of love | 0:14:00 | 0:14:02 | |
# What am I without you? | 0:14:02 | 0:14:04 | |
# I can't be too late... # | 0:14:04 | 0:14:05 | |
Hey, you get your shit together, | 0:14:05 | 0:14:08 | |
or I'm gonna have to fire your ass! | 0:14:08 | 0:14:10 | |
That's right! | 0:14:10 | 0:14:11 | |
# I want you to come back and carry me home | 0:14:11 | 0:14:16 | |
# Away from these long, lonely nights | 0:14:16 | 0:14:20 | |
# There's no easy way | 0:14:20 | 0:14:22 | |
# It gets harder each day | 0:14:22 | 0:14:24 | |
# Please love me or I'll be gone | 0:14:24 | 0:14:28 | |
# I'll be gone | 0:14:28 | 0:14:31 | |
# I'm all out of love | 0:14:31 | 0:14:33 | |
# I'm so lost without you | 0:14:33 | 0:14:35 | |
# I know you were right | 0:14:35 | 0:14:37 | |
# Believing for so long | 0:14:37 | 0:14:40 | |
# I'm all out of love | 0:14:40 | 0:14:42 | |
# What am I without you? | 0:14:42 | 0:14:44 | |
# It can't be too late | 0:14:44 | 0:14:46 | |
# To say that I was so wrong... # | 0:14:46 | 0:14:49 | |
MOBILE PHONE RINGS | 0:14:49 | 0:14:52 | |
Julie, Julie, I'm sorry. | 0:14:52 | 0:14:54 | |
Oh, I'm sorry. Uh, Big-Time Tickets. | 0:14:54 | 0:14:58 | |
Yeah, for what game? | 0:14:58 | 0:15:00 | |
Well, how much you want to spend? | 0:15:00 | 0:15:04 | |
Yeah, I can get it. | 0:15:04 | 0:15:05 | |
'So, where you at? | 0:15:07 | 0:15:08 | |
'Where the hell's that?' | 0:15:08 | 0:15:10 | |
Thank you very much. Now, er, take off. | 0:15:15 | 0:15:18 | |
Whatever. | 0:15:18 | 0:15:19 | |
-Hop out. -Hey, what's up? | 0:15:20 | 0:15:22 | |
-Give me your phone. -What's up? | 0:15:22 | 0:15:23 | |
Hey, hey! Come on, now! What y'all want? | 0:15:23 | 0:15:25 | |
-Hey, hey, come on! -Relax. | 0:15:25 | 0:15:27 | |
You know how hard it was for me to get a cab | 0:15:27 | 0:15:29 | |
to come up here? | 0:15:29 | 0:15:30 | |
I hope y'all givin' me a ride back. | 0:15:30 | 0:15:32 | |
Come on, I know you're cops, man. | 0:15:32 | 0:15:33 | |
What do you want, money? Oh, yeah, I understand. | 0:15:33 | 0:15:35 | |
Y'all shot somebody, and now y'all need a suspect. | 0:15:35 | 0:15:38 | |
Mr Hayes? | 0:15:38 | 0:15:40 | |
Jacob Hayes? | 0:15:40 | 0:15:42 | |
I'm Officer Oakes, | 0:15:44 | 0:15:46 | |
that's Officer Seale, | 0:15:46 | 0:15:48 | |
Officer Swanson, Officer Carew. | 0:15:48 | 0:15:51 | |
What, CIA? What's that for? "Crackers in my ass"? | 0:15:51 | 0:15:54 | |
You're gonna arrest me for scalpin' tickets? | 0:15:54 | 0:15:57 | |
We just want to talk to you about something. | 0:15:57 | 0:15:59 | |
About what? | 0:15:59 | 0:16:01 | |
About your brother. | 0:16:01 | 0:16:02 | |
You got the wrong guy. I don't even have a brother. | 0:16:02 | 0:16:05 | |
That's just a picture of me in a suit. | 0:16:08 | 0:16:10 | |
You could've got that off the internet. | 0:16:10 | 0:16:11 | |
I saw a picture of Bill Gates | 0:16:11 | 0:16:13 | |
with three titties on the net. | 0:16:13 | 0:16:14 | |
OK, September 8th, 1970, | 0:16:14 | 0:16:17 | |
Bellevue Hospital, New York City, | 0:16:17 | 0:16:18 | |
a woman registered as Mary Jeffries | 0:16:18 | 0:16:20 | |
gives birth to identical twins, | 0:16:20 | 0:16:23 | |
but suffers complications | 0:16:23 | 0:16:24 | |
during labour, | 0:16:24 | 0:16:25 | |
and dies the next day. | 0:16:25 | 0:16:26 | |
What about the father? | 0:16:26 | 0:16:28 | |
Thomas B Jeffries. | 0:16:28 | 0:16:29 | |
Presumed alive. Whereabouts unknown. | 0:16:29 | 0:16:32 | |
The state rarely separates twins, | 0:16:32 | 0:16:33 | |
but one of the infants, Jacob, that's you, | 0:16:33 | 0:16:36 | |
was diagnosed with severe lung infection. | 0:16:36 | 0:16:38 | |
You still have the scar from the chest tube, | 0:16:38 | 0:16:41 | |
the incision mark. | 0:16:41 | 0:16:42 | |
An administrator at the hospital | 0:16:42 | 0:16:44 | |
altered the birth record | 0:16:44 | 0:16:45 | |
to give the healthy child | 0:16:45 | 0:16:47 | |
a better chance at adoption. | 0:16:47 | 0:16:48 | |
A week later, Roger and Glenda Pope | 0:16:48 | 0:16:51 | |
took in Kevin Jeffries. | 0:16:51 | 0:16:53 | |
The Popes never knew. Kevin never knew. | 0:16:53 | 0:16:56 | |
So, I have a twin brother. Big deal. | 0:16:56 | 0:16:58 | |
What's the CIA have to do with this? | 0:16:58 | 0:17:00 | |
What, what, he couldn't send me a letter? | 0:17:00 | 0:17:02 | |
Your brother's dead. | 0:17:02 | 0:17:03 | |
How? | 0:17:05 | 0:17:06 | |
A helicopter crash. | 0:17:06 | 0:17:08 | |
We need your help, Mr Hayes. | 0:17:10 | 0:17:13 | |
Your brother was working on something with us. | 0:17:13 | 0:17:15 | |
My twin brother was CIA? | 0:17:15 | 0:17:17 | |
Yeah, a clandestine operative. | 0:17:17 | 0:17:20 | |
And just before he was killed, | 0:17:20 | 0:17:21 | |
he set up a deal. | 0:17:21 | 0:17:23 | |
What kind of deal? | 0:17:23 | 0:17:25 | |
A very important one. | 0:17:25 | 0:17:26 | |
So, we need you to stand in for him, | 0:17:26 | 0:17:29 | |
um, just briefly. | 0:17:29 | 0:17:31 | |
Pretend I'm him? | 0:17:31 | 0:17:33 | |
-Yeah. -For how long? | 0:17:33 | 0:17:35 | |
Nine days. | 0:17:35 | 0:17:36 | |
Nine days, that's not standin' in. | 0:17:36 | 0:17:38 | |
Standin' in is like an hour. | 0:17:38 | 0:17:39 | |
Nine days, that's like goin' on tour. | 0:17:39 | 0:17:41 | |
Is this shit dangerous? | 0:17:41 | 0:17:42 | |
Yeah, there's some risk. | 0:17:42 | 0:17:44 | |
Well, what kind of risk? We talkin' bad credit risk, | 0:17:44 | 0:17:46 | |
or a bullet in the ass risk? | 0:17:46 | 0:17:47 | |
You'd be well compensated. | 0:17:47 | 0:17:49 | |
For a bullet in the ass risk? | 0:17:49 | 0:17:51 | |
I hope that's a lot of compensation. How much? | 0:17:51 | 0:17:53 | |
Throw out a number. | 0:17:53 | 0:17:55 | |
A billion dollars. | 0:17:55 | 0:17:56 | |
You've overshot. | 0:17:56 | 0:17:57 | |
Well, I don't know what kind of budget you're working with. | 0:17:57 | 0:17:59 | |
Well, we were thinking somewhere | 0:17:59 | 0:18:01 | |
in the region of, let's say, er, 25,000. | 0:18:01 | 0:18:05 | |
50. Yeah, 50. I figure you started with 25, | 0:18:05 | 0:18:08 | |
so I know you got more. | 0:18:08 | 0:18:10 | |
You ain't gonna give me all your money. 50,000. | 0:18:10 | 0:18:12 | |
This is what I'm thinking, Mr Hayes. | 0:18:12 | 0:18:14 | |
With 25,000, your girlfriend Julie | 0:18:14 | 0:18:17 | |
could go to college. | 0:18:17 | 0:18:18 | |
She wouldn't have to go to Seattle. | 0:18:18 | 0:18:20 | |
Or work with Ken. | 0:18:20 | 0:18:21 | |
OK, here's what I'm thinkin'. | 0:18:22 | 0:18:24 | |
You're gonna give me 50,000 tax-free. | 0:18:24 | 0:18:27 | |
OK, 50,000 after tax, | 0:18:27 | 0:18:30 | |
after the job is done. | 0:18:30 | 0:18:31 | |
Half now, half after. | 0:18:31 | 0:18:34 | |
Ten now, 40 after. | 0:18:34 | 0:18:36 | |
Unless my mother had triplets, | 0:18:36 | 0:18:38 | |
you're gonna give me ten now, 90 after. | 0:18:38 | 0:18:42 | |
OK, you got a deal. | 0:18:43 | 0:18:45 | |
So, when do we start? | 0:18:46 | 0:18:47 | |
Now. | 0:18:47 | 0:18:48 | |
This is your brother's file. | 0:18:48 | 0:18:50 | |
Study it. | 0:18:50 | 0:18:51 | |
So there's homework. | 0:18:51 | 0:18:52 | |
-Preparation. -OK. | 0:18:52 | 0:18:53 | |
Let's see, Dad sits on the board | 0:18:53 | 0:18:55 | |
of the New York Stock Exchange. | 0:18:55 | 0:18:57 | |
Mom, co-artistic director | 0:18:57 | 0:18:59 | |
at Lincoln Centre. Must've been nice. | 0:18:59 | 0:19:01 | |
In my foster house, we were so poor, | 0:19:01 | 0:19:03 | |
we used to lick stamps for dinner. | 0:19:03 | 0:19:05 | |
Let's see. Prep... | 0:19:05 | 0:19:06 | |
Prep school at Exeter. | 0:19:06 | 0:19:08 | |
Then college at Dartmouth. | 0:19:08 | 0:19:09 | |
Served in the naval academy. | 0:19:09 | 0:19:11 | |
That's right. | 0:19:11 | 0:19:12 | |
What'd he serve, lunch? | 0:19:12 | 0:19:15 | |
Oh, man. "Rhodes scholar". | 0:19:15 | 0:19:17 | |
So my brother was real smart, huh? | 0:19:17 | 0:19:19 | |
Yeah. | 0:19:19 | 0:19:20 | |
Damn, the CIA is cheap. | 0:19:23 | 0:19:25 | |
Y'all could've at least got me a queen size. | 0:19:25 | 0:19:28 | |
What's this, Jack size? | 0:19:28 | 0:19:29 | |
Hey, er, what's that "zachod" mean? | 0:19:31 | 0:19:33 | |
It's Czech for "bathroom". | 0:19:33 | 0:19:36 | |
You'll find the room labelled | 0:19:36 | 0:19:37 | |
with phonetic translations. | 0:19:37 | 0:19:38 | |
Why? | 0:19:38 | 0:19:40 | |
Because the deal goes down in the Czech Republic. | 0:19:40 | 0:19:42 | |
Czech Republic? | 0:19:42 | 0:19:43 | |
Here's a dictionary. | 0:19:43 | 0:19:45 | |
Hey, how do I get an outside line? | 0:19:45 | 0:19:47 | |
I need somebody to feed my cat. | 0:19:47 | 0:19:48 | |
You don't have an outside line, | 0:19:48 | 0:19:50 | |
and you don't have a cat. | 0:19:50 | 0:19:51 | |
OK, so what am I supposed to be doing here? | 0:19:51 | 0:19:54 | |
There's a tape in the VCR. It's a video of your brother. | 0:19:54 | 0:19:56 | |
Watch it. The way he talks | 0:19:56 | 0:19:58 | |
and the way he moves. | 0:19:58 | 0:19:59 | |
I know there's a lot to deal with here, | 0:19:59 | 0:20:00 | |
but we're all behind you. | 0:20:00 | 0:20:02 | |
We'll start in the morning. You got any questions? | 0:20:02 | 0:20:04 | |
Yeah, if my brother was such a genius, | 0:20:04 | 0:20:07 | |
then how come he's dead? | 0:20:07 | 0:20:09 | |
5am. | 0:20:12 | 0:20:14 | |
Hey, I don't do 5am. | 0:20:14 | 0:20:16 | |
So, bottom line, what are our chances? | 0:20:16 | 0:20:17 | |
Well, I'd say anywhere between, er, nil and zero. | 0:20:17 | 0:20:21 | |
Why do you say that? | 0:20:21 | 0:20:22 | |
Well, I grant you, he's got potential. | 0:20:22 | 0:20:24 | |
He's pretty street-smart. | 0:20:24 | 0:20:26 | |
In six months, he could probably | 0:20:26 | 0:20:27 | |
fool his brother's own parents. | 0:20:27 | 0:20:29 | |
But eight days? Come on, you gotta be kidding. | 0:20:29 | 0:20:31 | |
Probably get himself killed on this mission | 0:20:31 | 0:20:33 | |
and anyone else who goes along with him. | 0:20:33 | 0:20:35 | |
Would you like to be replaced on the mission? | 0:20:35 | 0:20:37 | |
Why, you're saying you're going ahead | 0:20:37 | 0:20:40 | |
with or without me? | 0:20:40 | 0:20:41 | |
Yeah, that's precisely what I'm saying. | 0:20:41 | 0:20:43 | |
Well, sir, | 0:20:44 | 0:20:46 | |
when do I tell him what this mission involves? | 0:20:46 | 0:20:48 | |
Well, if I were you, | 0:20:48 | 0:20:50 | |
I would tell him as little as possible. | 0:20:50 | 0:20:52 | |
Don't put anything into his head he can't use, | 0:20:52 | 0:20:54 | |
and certainly nothing that could pop out at the wrong time. | 0:20:54 | 0:20:56 | |
OK. | 0:20:56 | 0:20:57 | |
What's he doing now? | 0:20:57 | 0:20:58 | |
He's studying. We told him to learn | 0:20:58 | 0:21:00 | |
a few key phrases in Czech. | 0:21:00 | 0:21:02 | |
RECITING CZECH WORDS | 0:21:02 | 0:21:04 | |
Well, he seems dedicated. | 0:21:04 | 0:21:06 | |
RECITING CZECH WORDS | 0:21:06 | 0:21:10 | |
What's he saying? | 0:21:13 | 0:21:14 | |
He said, "I haven't had my period in three months." | 0:21:14 | 0:21:18 | |
JAKE CONTINUES RECITING | 0:21:18 | 0:21:23 | |
Now what? | 0:21:29 | 0:21:31 | |
"Where's the hospital? | 0:21:31 | 0:21:33 | |
"I have a vaginal infection." | 0:21:33 | 0:21:35 | |
Yeah, this is gonna be really interesting. | 0:21:35 | 0:21:38 | |
Can't wait to get started. | 0:21:38 | 0:21:40 | |
Rise and shine, Mr Hayes! 5am, and all is well. | 0:21:41 | 0:21:45 | |
How about three more hours of sleep | 0:21:45 | 0:21:48 | |
and some breakfast? | 0:21:48 | 0:21:50 | |
How about a nice shower? | 0:21:50 | 0:21:52 | |
Aah! Aah! Hey, hey! What's wrong with you?! | 0:21:52 | 0:21:56 | |
Good morning. | 0:21:56 | 0:21:57 | |
Today we'll be covering basic operations protocol | 0:21:57 | 0:22:01 | |
for the acquisition of foreign assets, | 0:22:01 | 0:22:03 | |
a procedure we like to call "the three I's" - | 0:22:03 | 0:22:07 | |
identifying the target, | 0:22:07 | 0:22:09 | |
initiating the contact, | 0:22:09 | 0:22:11 | |
and infiltrating the network... | 0:22:11 | 0:22:13 | |
Now you do it like him. | 0:22:13 | 0:22:15 | |
Man, this is buggin' me out. I feel like Michael Jackson | 0:22:15 | 0:22:17 | |
lookin' at old album covers. | 0:22:17 | 0:22:18 | |
I mean, look at this guy. He looks like me. | 0:22:18 | 0:22:21 | |
But it's not me. | 0:22:21 | 0:22:22 | |
Yeah. | 0:22:22 | 0:22:23 | |
So, what did he like to do? | 0:22:23 | 0:22:25 | |
I mean, what kind of sports was he into? | 0:22:25 | 0:22:26 | |
What kind of music did he listen to? | 0:22:26 | 0:22:27 | |
He liked music. He liked jazz and classical. | 0:22:27 | 0:22:30 | |
Classical, like... like Run-DMC? | 0:22:30 | 0:22:31 | |
He didn't like rap. | 0:22:31 | 0:22:33 | |
Oh, come on, man. What 29-year-old brother | 0:22:33 | 0:22:34 | |
don't like a little bit of rap? | 0:22:34 | 0:22:36 | |
He didn't listen to rap. | 0:22:36 | 0:22:38 | |
So, what kind of sports was he into? | 0:22:38 | 0:22:39 | |
Skiing. | 0:22:39 | 0:22:41 | |
OK, so you got skiing, the navy, no rap. | 0:22:41 | 0:22:44 | |
Yeah, we'd have had a lot in common. | 0:22:44 | 0:22:46 | |
-Sir. -Hmm? | 0:22:46 | 0:22:48 | |
THEY WHISPER | 0:22:48 | 0:22:49 | |
What time? | 0:22:49 | 0:22:51 | |
THEY WHISPER | 0:22:51 | 0:22:53 | |
OK. All right. | 0:22:53 | 0:22:54 | |
Thanks. | 0:22:54 | 0:22:57 | |
So, what's up with you and Swanson? | 0:22:57 | 0:22:59 | |
Hmm? | 0:22:59 | 0:23:00 | |
Aw, come on, man. I see there's something goin' on there. | 0:23:00 | 0:23:02 | |
Y'all got a little something goin' on. | 0:23:02 | 0:23:04 | |
Come on, now. Look at you. You're blushing. | 0:23:04 | 0:23:06 | |
Do you mind if I say something to you, Mr Hayes? | 0:23:06 | 0:23:09 | |
My friends, Officer Seale, Officer Swanson, | 0:23:09 | 0:23:13 | |
they have faith in you. | 0:23:13 | 0:23:15 | |
I don't. | 0:23:15 | 0:23:16 | |
And that creates a problem | 0:23:16 | 0:23:18 | |
because you're in so deep with us now | 0:23:18 | 0:23:20 | |
we can never let you go. | 0:23:20 | 0:23:24 | |
So you'd better learn this stuff | 0:23:24 | 0:23:26 | |
stone cold by 0500 hours tomorrow morning. | 0:23:26 | 0:23:29 | |
Or what? | 0:23:29 | 0:23:30 | |
I'll kill you. | 0:23:30 | 0:23:32 | |
Hey, could we start a few hours later tomorrow? | 0:23:36 | 0:23:38 | |
Aah! Aah! | 0:23:38 | 0:23:40 | |
Aaah! | 0:23:40 | 0:23:43 | |
Get dressed. | 0:23:43 | 0:23:44 | |
It's 4:59! | 0:23:44 | 0:23:46 | |
# The new terrors of rock | 0:23:46 | 0:23:49 | |
# On every block | 0:23:49 | 0:23:50 | |
# Late for school, late for work | 0:23:50 | 0:23:51 | |
# But ahead of these cops | 0:23:51 | 0:23:53 | |
# My credit is shot End up dead in a box | 0:23:53 | 0:23:56 | |
# But so my life ain't as pathetic as Pac's | 0:23:56 | 0:24:00 | |
# Right away Blow your life away | 0:24:00 | 0:24:01 | |
# So light your haze | 0:24:01 | 0:24:03 | |
# Hold tight grenades | 0:24:03 | 0:24:04 | |
# So when it blows I'm slightly grazed | 0:24:04 | 0:24:06 | |
# Kuniva might be crazed Unleashin' unlikely rage | 0:24:06 | 0:24:09 | |
# The next time you hear a verse from me | 0:24:09 | 0:24:11 | |
# I might be caged... # | 0:24:11 | 0:24:12 | |
Swirl. Checking for sediment. | 0:24:12 | 0:24:15 | |
Sniff... | 0:24:15 | 0:24:16 | |
HE INHALES | 0:24:16 | 0:24:18 | |
..and taste. | 0:24:18 | 0:24:19 | |
-Morning, Mr Hayes. 5am. -No, 5:01. | 0:24:37 | 0:24:41 | |
# I believe in people tryin' | 0:24:46 | 0:24:48 | |
# I believe in people cryin' | 0:24:48 | 0:24:51 | |
# I believe in people breathin' | 0:24:51 | 0:24:53 | |
# I believe in people bein'... # | 0:24:53 | 0:24:55 | |
Pope. Kevin Pope. | 0:24:55 | 0:24:58 | |
Ha, ha, ha! Look at this suit. | 0:25:00 | 0:25:04 | |
Man, I got initials on my cuffs. | 0:25:04 | 0:25:06 | |
Normally, the only thing I ever have on my cuffs is steak sauce. | 0:25:06 | 0:25:09 | |
They say "MT". What's that for? | 0:25:09 | 0:25:12 | |
Michael Turner. | 0:25:12 | 0:25:13 | |
But I thought I was Kevin Pope. | 0:25:13 | 0:25:16 | |
Kevin Pope IS Michael Turner. | 0:25:16 | 0:25:18 | |
Michael Turner is Kevin Pope's cover identity. | 0:25:18 | 0:25:21 | |
He is a very successful, very knowledgeable, | 0:25:21 | 0:25:23 | |
very sophisticated international dealer | 0:25:23 | 0:25:26 | |
in fine antiquities. | 0:25:26 | 0:25:27 | |
Well, if I'm Jake Hayes playing Kevin Pope | 0:25:27 | 0:25:29 | |
playing Michael Turner, then I should get two cheques. | 0:25:29 | 0:25:33 | |
Cheers. | 0:25:33 | 0:25:34 | |
This is a very rare expensive cognac. | 0:25:34 | 0:25:36 | |
What do you think? | 0:25:36 | 0:25:37 | |
Dry. But never precocious. | 0:25:43 | 0:25:47 | |
I love your shirt. Egyptian broadcloth? | 0:25:47 | 0:25:50 | |
Three days. Pretty impressive. | 0:25:50 | 0:25:53 | |
Yeah, he's bright. | 0:25:53 | 0:25:55 | |
I think he can do it. | 0:25:55 | 0:25:57 | |
He's got my vote. | 0:25:57 | 0:25:58 | |
I said he was bright. | 0:25:58 | 0:25:59 | |
I didn't say he was capable of saving the world. | 0:25:59 | 0:26:01 | |
Let's run a real test. | 0:26:01 | 0:26:02 | |
Like what? | 0:26:02 | 0:26:03 | |
Send him up to New York. | 0:26:03 | 0:26:04 | |
Put him in Kevin's apartment. | 0:26:04 | 0:26:06 | |
Let the neighbours, the doorman, | 0:26:06 | 0:26:07 | |
everybody get a look at him. | 0:26:07 | 0:26:08 | |
See if they buy him as Michael Turner. | 0:26:08 | 0:26:10 | |
Might even serve a double purpose. | 0:26:10 | 0:26:12 | |
Whoever tried to kill Kevin as Michael Turner | 0:26:12 | 0:26:14 | |
probably doesn't know he's dead. | 0:26:14 | 0:26:15 | |
Might still be looking for him. | 0:26:15 | 0:26:17 | |
So we dangle him, use him as bait, | 0:26:17 | 0:26:18 | |
keep him in the dark. | 0:26:18 | 0:26:19 | |
He'll be protected. | 0:26:19 | 0:26:21 | |
What do we tell him? | 0:26:21 | 0:26:23 | |
You're giving him a chance to practise being Kevin. | 0:26:23 | 0:26:24 | |
That's all you need to tell him. | 0:26:24 | 0:26:26 | |
You're the boss. | 0:26:26 | 0:26:28 | |
You see the van in front of us? | 0:26:35 | 0:26:37 | |
The one behind us? Those are our guys. | 0:26:38 | 0:26:41 | |
Here's my cell phone number. | 0:26:41 | 0:26:43 | |
Use it if you get into any kind of trouble. | 0:26:43 | 0:26:45 | |
What kind of trouble? | 0:26:45 | 0:26:46 | |
Any kind. | 0:26:46 | 0:26:48 | |
Shark attack? Call you. All right. | 0:26:48 | 0:26:50 | |
Could you pop the trunk? | 0:26:50 | 0:26:51 | |
Take this. Get yourself some shoes. | 0:26:51 | 0:26:54 | |
Little punk. | 0:26:54 | 0:26:56 | |
Mr Turner, welcome back, sir. | 0:26:57 | 0:26:58 | |
Thanks, Tim. | 0:26:58 | 0:27:00 | |
Mmm, mmm, mmm. | 0:27:02 | 0:27:05 | |
How was Europe? | 0:27:07 | 0:27:08 | |
Like another country. | 0:27:08 | 0:27:09 | |
Ha, ha, ha! | 0:27:17 | 0:27:19 | |
Whoo! | 0:27:22 | 0:27:24 | |
You could put this on MTV Cribs. | 0:27:25 | 0:27:28 | |
Man, this is dope! | 0:27:31 | 0:27:34 | |
God... | 0:27:34 | 0:27:36 | |
'So if I paid taxes, | 0:27:36 | 0:27:38 | |
'this is where the money would go, huh?' | 0:27:38 | 0:27:41 | |
Could have a Puffy party in here. | 0:27:41 | 0:27:43 | |
Let's get some music in here. | 0:28:10 | 0:28:13 | |
CLASSICAL MUSIC PLAYS | 0:28:13 | 0:28:14 | |
Whoa-oh-oh! | 0:28:14 | 0:28:17 | |
HIP-HOP MUSIC PLAYS | 0:28:17 | 0:28:20 | |
What's that music? | 0:28:23 | 0:28:25 | |
Just hip-hop stuff. | 0:28:25 | 0:28:27 | |
It's terrible. | 0:28:27 | 0:28:28 | |
Jake, it's your downstairs neighbour, Mrs Patterson. | 0:28:28 | 0:28:30 | |
DOORBELL RINGS | 0:28:30 | 0:28:32 | |
Don't forget the radio. | 0:28:32 | 0:28:33 | |
OK. | 0:28:33 | 0:28:35 | |
CLASSICAL MUSIC PLAYS | 0:28:36 | 0:28:38 | |
Hi, Michael! Welcome back. | 0:28:40 | 0:28:44 | |
Mwah. Mwah. | 0:28:44 | 0:28:45 | |
Vera, how are you? | 0:28:45 | 0:28:47 | |
Fine. Fine, thank you. | 0:28:47 | 0:28:48 | |
Hi, Annabella. | 0:28:48 | 0:28:50 | |
We just came in and the doorman said you were back. | 0:28:50 | 0:28:52 | |
Annabella missed you. | 0:28:52 | 0:28:54 | |
Oh, you're far too kind. | 0:28:54 | 0:28:56 | |
I've been waiting desperately | 0:28:56 | 0:28:57 | |
for you to come back. | 0:28:57 | 0:28:58 | |
Oh? Why? | 0:28:58 | 0:29:00 | |
I bought a little treasure. | 0:29:00 | 0:29:01 | |
Come on down and tell me if I got a good buy. | 0:29:01 | 0:29:03 | |
-Oh, OK. -Hold your baby. | 0:29:03 | 0:29:04 | |
-Yes, my baby. -How was your trip? | 0:29:04 | 0:29:07 | |
This is gonna be a disaster. | 0:29:07 | 0:29:10 | |
Hello! Go see your nanny, baby. | 0:29:10 | 0:29:13 | |
What do you think? Is it a good piece? | 0:29:13 | 0:29:16 | |
Uh... | 0:29:16 | 0:29:18 | |
It's exquisite. | 0:29:20 | 0:29:21 | |
Ooh! Do you think? | 0:29:21 | 0:29:22 | |
Go ahead, pick it up. Feel it. | 0:29:22 | 0:29:24 | |
Just see how delicate it is. | 0:29:24 | 0:29:26 | |
Uh, pick it up, right? | 0:29:26 | 0:29:29 | |
Yes. Just grab it and pick it up. | 0:29:29 | 0:29:32 | |
Michael... | 0:29:34 | 0:29:37 | |
that's what we keep the doggy treats in. | 0:29:37 | 0:29:39 | |
Of course, I knew that. | 0:29:39 | 0:29:41 | |
I was just getting it out of the way | 0:29:41 | 0:29:43 | |
-so I could see... -The vase. | 0:29:43 | 0:29:46 | |
Of course, the vase! Yes! | 0:29:46 | 0:29:48 | |
May I ask, how much did you pay for this? | 0:29:48 | 0:29:50 | |
150,000. | 0:29:50 | 0:29:52 | |
Good lord! What you gonna put in it, cocaine?! | 0:29:52 | 0:29:54 | |
He fooled the doorman, he fooled the neighbour, | 0:29:58 | 0:30:01 | |
and the neighbour's dog. What more do you want? | 0:30:01 | 0:30:03 | |
Oakes, we need to know who's after that bomb. | 0:30:03 | 0:30:06 | |
You're willing to sacrifice him to find out? | 0:30:06 | 0:30:08 | |
Don't be dramatic. He's got plenty of protection. | 0:30:08 | 0:30:11 | |
I'll tell you when to pull him. | 0:30:11 | 0:30:12 | |
HIP-HOP MUSIC PLAYS | 0:30:31 | 0:30:34 | |
# Never safe, you're never sure | 0:30:36 | 0:30:41 | |
# Something's all wrong... # | 0:30:41 | 0:30:43 | |
Hope y'all not watching this. | 0:30:43 | 0:30:46 | |
I don't have to watch this, do I, sir? | 0:30:46 | 0:30:50 | |
-Oh, no. Holy shit! -Code red. | 0:30:58 | 0:31:00 | |
Code red! Code red! | 0:31:00 | 0:31:02 | |
YELLING | 0:31:06 | 0:31:07 | |
Aah! | 0:31:07 | 0:31:10 | |
Parish, McCain, cover the exits! | 0:31:13 | 0:31:16 | |
Help! Help! Help! | 0:31:16 | 0:31:18 | |
God. | 0:31:27 | 0:31:28 | |
Whoa! | 0:31:28 | 0:31:30 | |
Aah! | 0:31:38 | 0:31:40 | |
Sir, he's headed for the roof. | 0:32:59 | 0:33:01 | |
-We need him alive. -Yes, sir. | 0:33:01 | 0:33:02 | |
-Whoa! -Oh! | 0:33:17 | 0:33:19 | |
WOMAN YELLS | 0:33:25 | 0:33:27 | |
Drop the knife. | 0:33:40 | 0:33:42 | |
Hey, Elvis, if you drop the knife and step down, | 0:33:50 | 0:33:54 | |
no-one is going to hurt you. | 0:33:54 | 0:33:56 | |
HE PANTS | 0:33:56 | 0:33:58 | |
HE YELLS | 0:34:07 | 0:34:09 | |
So... | 0:34:20 | 0:34:22 | |
who's got Jake? | 0:34:22 | 0:34:23 | |
Well, these last ten minutes will be used | 0:34:29 | 0:34:32 | |
as a teaching aid on how an operation can get totally... | 0:34:32 | 0:34:35 | |
-Screwed up, sir? -Thank you. | 0:34:35 | 0:34:37 | |
We'll find him, sir. | 0:34:37 | 0:34:38 | |
CELL PHONE RINGS | 0:34:38 | 0:34:39 | |
Yeah? Where are you? | 0:34:39 | 0:34:41 | |
At the corner of "eat shit" and "fuck you"! | 0:34:41 | 0:34:44 | |
I'm not gonna let you trace me! I'll call you back! | 0:34:44 | 0:34:47 | |
I'm stuck in traffic. I ask you to do one simple... | 0:34:49 | 0:34:51 | |
Give me that! | 0:34:51 | 0:34:52 | |
Yo! | 0:34:52 | 0:34:54 | |
Run fingerprints, DNA, anything we can get | 0:34:54 | 0:34:56 | |
on the guy who jumped off the roof. | 0:34:56 | 0:34:57 | |
Yes, sir. | 0:34:57 | 0:34:58 | |
He looks Afghani, sir. | 0:34:58 | 0:34:59 | |
Don't assume anything. Just find Jake. | 0:34:59 | 0:35:01 | |
-Yes, sir. -Jake... | 0:35:01 | 0:35:02 | |
Kevin was murdered! And now they're gonna murder me, right?! | 0:35:02 | 0:35:04 | |
Let's meet some place and I'll... | 0:35:04 | 0:35:05 | |
No more bullshit! | 0:35:05 | 0:35:07 | |
We lost him because we lied to him. | 0:35:08 | 0:35:11 | |
No, you lost him because you lost him. | 0:35:11 | 0:35:13 | |
We treated him like an idiot. | 0:35:13 | 0:35:14 | |
He had a right to know what we were doing with him. | 0:35:14 | 0:35:16 | |
We're wasting time! Find him and bring him back | 0:35:16 | 0:35:19 | |
and spare me your conscience. | 0:35:19 | 0:35:21 | |
Spare my conscience! | 0:35:21 | 0:35:24 | |
Take it easy, buddy. | 0:35:24 | 0:35:25 | |
Bye-bye. | 0:35:25 | 0:35:27 | |
# It's called chillin' | 0:35:27 | 0:35:29 | |
# Six million ways to live | 0:35:29 | 0:35:32 | |
# Six million ways to live life...# | 0:35:32 | 0:35:35 | |
Yeah? | 0:35:36 | 0:35:38 | |
Hello? Pam, it's Jake. Can I talk to Julie? | 0:35:38 | 0:35:40 | |
She don't want to talk to you. | 0:35:40 | 0:35:42 | |
Who's on the phone? | 0:35:42 | 0:35:43 | |
Pam, I need to talk to Julie. Please. This is serious. | 0:35:43 | 0:35:46 | |
It is Jake? Wait, let me talk to him! | 0:35:46 | 0:35:48 | |
She's moving on. | 0:35:48 | 0:35:50 | |
Give me the phone. | 0:35:50 | 0:35:51 | |
We don't need no more trouble, Jake, | 0:35:51 | 0:35:52 | |
and you ain't nothing but trouble. | 0:35:52 | 0:35:53 | |
Pam... | 0:35:53 | 0:35:54 | |
Two suits came around today looking for you. | 0:35:54 | 0:35:56 | |
POLICE SIREN WAILS | 0:35:56 | 0:35:57 | |
'Give me the phone!' | 0:35:57 | 0:35:58 | |
Hey, hey, hey. Shit! Your phone's tapped. | 0:35:58 | 0:36:01 | |
If Julie's there, tell her I love her, | 0:36:01 | 0:36:04 | |
and, Oakes, if you're listening, kiss my ass! | 0:36:04 | 0:36:06 | |
-You get a trace? -No. | 0:36:10 | 0:36:12 | |
Tch. He hung up. | 0:36:12 | 0:36:14 | |
# It's called chillin' | 0:36:15 | 0:36:17 | |
# Six million ways to live | 0:36:17 | 0:36:20 | |
# Six million ways to live life... # | 0:36:20 | 0:36:22 | |
Mr Hayes, where are you? | 0:36:22 | 0:36:24 | |
Where in the hell are you? | 0:36:24 | 0:36:28 | |
# Six million ways to live lavish | 0:36:28 | 0:36:30 | |
# Beyond all the misery And mathematics | 0:36:30 | 0:36:32 | |
# Six million ways to live | 0:36:32 | 0:36:34 | |
# Six million ways to live | 0:36:34 | 0:36:36 | |
# Six million ways to live lavish | 0:36:36 | 0:36:39 | |
# Yawn for the misery of mathematic | 0:36:39 | 0:36:41 | |
# From the six million ways to live | 0:36:41 | 0:36:44 | |
# Six million ways to live... # | 0:36:44 | 0:36:46 | |
Ma! | 0:36:50 | 0:36:51 | |
-Help! Help! -Ma! | 0:36:51 | 0:36:52 | |
-Ma! Ma! Ma! -Somebody help! | 0:36:52 | 0:36:55 | |
Ma, please! It's me! Ma, it's me! It's me! | 0:36:55 | 0:36:58 | |
Jakey? | 0:36:58 | 0:37:00 | |
Yeah, yeah. You gonna break my arm. | 0:37:00 | 0:37:02 | |
Well, what are you doing in the dark? | 0:37:03 | 0:37:05 | |
Some people are looking for me. | 0:37:05 | 0:37:07 | |
What did you do? | 0:37:07 | 0:37:09 | |
What did you do?! | 0:37:09 | 0:37:10 | |
I didn't do nothin'! I didn't do nothin'! | 0:37:10 | 0:37:12 | |
It's not what you think. It's not the police. | 0:37:12 | 0:37:15 | |
It's way too hard to explain. | 0:37:15 | 0:37:17 | |
Look at this. | 0:37:17 | 0:37:20 | |
Eight foster kids I've taken into my house over the years, | 0:37:21 | 0:37:24 | |
and all of them made something of themselves, | 0:37:24 | 0:37:27 | |
and not one of them had your potential! | 0:37:27 | 0:37:29 | |
Oh, come on, Ma! | 0:37:29 | 0:37:30 | |
Sellin', scramblin' and hustlin'. | 0:37:30 | 0:37:33 | |
Ma, did you know I had a brother? | 0:37:33 | 0:37:36 | |
Oh, stop talking crazy. You had lots of brothers. | 0:37:36 | 0:37:40 | |
How's that nice girl I met last Christmas? | 0:37:40 | 0:37:44 | |
She left me. | 0:37:44 | 0:37:46 | |
Hand me that umbrella so I can hit you again. | 0:37:46 | 0:37:48 | |
You know, Ma, maybe it wasn't my fault. | 0:37:48 | 0:37:50 | |
You need money? | 0:37:50 | 0:37:52 | |
No. | 0:37:52 | 0:37:54 | |
Yeah. Yeah. | 0:37:54 | 0:37:55 | |
Yeah, I need money. | 0:37:55 | 0:37:57 | |
How much do you need? | 0:37:57 | 0:38:00 | |
I won 250 at bingo. | 0:38:00 | 0:38:02 | |
It's just for a little while. I'll pay you back. | 0:38:08 | 0:38:11 | |
I know. | 0:38:11 | 0:38:13 | |
Want something to eat? | 0:38:13 | 0:38:15 | |
You know what? I really gotta go. | 0:38:15 | 0:38:18 | |
I'm never giving up on you, Jakey. | 0:38:21 | 0:38:24 | |
You're going to do something to make me very proud one day. | 0:38:24 | 0:38:29 | |
I know it. | 0:38:29 | 0:38:33 | |
I owe you an apology. | 0:38:46 | 0:38:49 | |
You hear me? | 0:38:49 | 0:38:52 | |
I was just wondering | 0:38:52 | 0:38:54 | |
how many of your people are listening in. | 0:38:54 | 0:38:55 | |
No, we're alone. No cameras, no wires. | 0:38:55 | 0:38:59 | |
Just me. | 0:38:59 | 0:39:00 | |
You got the floor. | 0:39:00 | 0:39:02 | |
Your brother was assassinated. | 0:39:02 | 0:39:04 | |
By the same guys who came after me, right? | 0:39:04 | 0:39:07 | |
I guess so. Doing the same job as you. | 0:39:07 | 0:39:09 | |
Which is what? | 0:39:09 | 0:39:11 | |
Your brother, as Michael Turner, | 0:39:11 | 0:39:13 | |
was helping me buy something off the black market. | 0:39:13 | 0:39:16 | |
What? Cuban cigars? PlayStation 3? What? | 0:39:16 | 0:39:19 | |
I can't tell you if you're not coming back in with us. | 0:39:19 | 0:39:21 | |
I'm not comin' back in if you ain't telling me. | 0:39:21 | 0:39:23 | |
Your brother died saving my life. Did you know that? | 0:39:23 | 0:39:26 | |
Wish it had been otherwise, but that's the way it is. | 0:39:26 | 0:39:29 | |
How are his parents taking it? | 0:39:29 | 0:39:31 | |
You didn't tell his parents? | 0:39:37 | 0:39:38 | |
No. That's the way we want it. | 0:39:38 | 0:39:40 | |
How would you feel if you died, and nobody told your wife? | 0:39:40 | 0:39:44 | |
I'm not married. | 0:39:44 | 0:39:46 | |
What, there's no Mrs Spy? | 0:39:46 | 0:39:48 | |
Not any more. | 0:39:48 | 0:39:49 | |
Relationships and attachments are useless in this business. | 0:39:49 | 0:39:51 | |
So that's how this job is. | 0:39:51 | 0:39:53 | |
Even if they don't shoot you, they take your life. | 0:39:53 | 0:39:54 | |
I know it sounds hokey, but I honestly believe | 0:39:54 | 0:39:57 | |
our lives are about something bigger than ourselves, | 0:39:57 | 0:39:59 | |
and I'm offering you a chance to commit yourself to something. | 0:39:59 | 0:40:02 | |
You ain't offering me nothin' | 0:40:02 | 0:40:03 | |
but a chance at getting a bullet in my ass. | 0:40:03 | 0:40:05 | |
I don't see the higher meaning in that. | 0:40:05 | 0:40:07 | |
Tell you what I'm gonna do. | 0:40:07 | 0:40:10 | |
-Thank you. -No problem. | 0:40:10 | 0:40:11 | |
I'll go outside and sit in the car | 0:40:11 | 0:40:12 | |
and I'll count to 10. If you want to join me, fine. | 0:40:12 | 0:40:14 | |
If not, I'll tell the agency I couldn't find you. | 0:40:14 | 0:40:17 | |
We can't pull this job off without you. | 0:40:17 | 0:40:20 | |
We need you. | 0:40:20 | 0:40:22 | |
Think about it. | 0:40:25 | 0:40:27 | |
HE SIGHS | 0:40:38 | 0:40:41 | |
Oh, well. | 0:40:45 | 0:40:47 | |
That didn't work, did it? | 0:40:47 | 0:40:49 | |
No. "I'm gonna go outside and count to ten"? | 0:40:49 | 0:40:53 | |
Who the hell are you? | 0:40:53 | 0:40:55 | |
You'd have done better with, "Bitch, get in the car." | 0:40:55 | 0:40:58 | |
HE MUTTERS TO HIMSELF | 0:40:58 | 0:41:01 | |
OK. Get in the car... | 0:41:01 | 0:41:04 | |
bitch. | 0:41:04 | 0:41:05 | |
This is the man who tried to kill you. | 0:41:07 | 0:41:09 | |
We now know that he's a member of a multi-national terrorist organisation led by this man. | 0:41:09 | 0:41:13 | |
Meet the man who killed your brother - | 0:41:13 | 0:41:15 | |
Dragan Adjanic. | 0:41:15 | 0:41:16 | |
He's wanted by the Hague for terrorist crimes | 0:41:16 | 0:41:19 | |
against humanity, so he's a fugitive | 0:41:19 | 0:41:21 | |
everywhere in the world, including his own country. | 0:41:21 | 0:41:24 | |
He calls his movement "The Black Hand." | 0:41:24 | 0:41:26 | |
His members take a death pledge, | 0:41:26 | 0:41:28 | |
becoming suicide soldiers to further their cause. | 0:41:28 | 0:41:30 | |
Last year, the FBI caught four of his men | 0:41:30 | 0:41:33 | |
in a Washington DC motel | 0:41:33 | 0:41:35 | |
with enough urea nitrate to level the Capitol building. | 0:41:35 | 0:41:39 | |
He doesn't like America, and he doesn't like you. | 0:41:39 | 0:41:41 | |
Wait a minute. What did I do? | 0:41:41 | 0:41:42 | |
He's your rival buyer. | 0:41:42 | 0:41:44 | |
For the item that this man has to sell. | 0:41:44 | 0:41:45 | |
Now, this is Adrik Vas. | 0:41:45 | 0:41:47 | |
He's a Russian ex-army colonel, kingpin in the Russian mafia. | 0:41:47 | 0:41:50 | |
He's up to his neck in prostitution, drugs and extortion. | 0:41:50 | 0:41:54 | |
Sounds like anybody I went to high school with! | 0:41:54 | 0:41:56 | |
This is Vas's right-hand man. | 0:41:56 | 0:41:58 | |
His name is Michelle Petrov, | 0:41:58 | 0:41:59 | |
otherwise known as "The Hammer." | 0:41:59 | 0:42:01 | |
Remember these faces, because you're going to be seeing them soon. | 0:42:01 | 0:42:04 | |
Why do they call this guy "The Hammer?" | 0:42:04 | 0:42:06 | |
Whoa! Ooh. | 0:42:07 | 0:42:09 | |
MUFFLED YELLING | 0:42:10 | 0:42:12 | |
MUFFLED YELLING | 0:42:18 | 0:42:19 | |
Aah! | 0:42:19 | 0:42:20 | |
What?! | 0:42:21 | 0:42:23 | |
Good evening. Isn't this fun? | 0:42:23 | 0:42:25 | |
This is an exercise known as King's Game. | 0:42:25 | 0:42:27 | |
It's meant to test your awareness. | 0:42:27 | 0:42:29 | |
What can you tell me about your attackers? | 0:42:29 | 0:42:31 | |
They woke me up. Look, man, | 0:42:31 | 0:42:32 | |
if you want me to spy, I'm gonna need my rest. | 0:42:32 | 0:42:34 | |
How many were there? | 0:42:34 | 0:42:35 | |
Didn't I just say they woke me up?! | 0:42:35 | 0:42:37 | |
That's the weird thing about an ambush. | 0:42:37 | 0:42:38 | |
Next time we'll try and warn you(!) | 0:42:38 | 0:42:40 | |
Do you understand what happened to you just now? | 0:42:40 | 0:42:42 | |
Yeah. I was jacked! | 0:42:42 | 0:42:43 | |
No, you panicked. When you thought you were in danger, | 0:42:43 | 0:42:46 | |
your brain shut down. | 0:42:46 | 0:42:47 | |
So what's the point of having a good brain | 0:42:47 | 0:42:49 | |
if you can't keep it operating? | 0:42:49 | 0:42:50 | |
My brain didn't shut down. | 0:42:50 | 0:42:52 | |
I knew it was Swanson cos I could feel her tits on my back. | 0:42:52 | 0:42:55 | |
I knew it was Carew cos his breath smelled like shit. | 0:42:55 | 0:42:59 | |
Probably from kissing your ass so much. | 0:42:59 | 0:43:01 | |
I knew it was Seale because I took his wallet. | 0:43:01 | 0:43:04 | |
Hey, Seale, why's a married man need a condom? Your wife know? | 0:43:04 | 0:43:07 | |
You want to know how I knew it was you? | 0:43:09 | 0:43:10 | |
OK, thank you. Game's over. Good night. | 0:43:10 | 0:43:12 | |
Oh, where you going? You gonna leave like that? Come back! | 0:43:12 | 0:43:16 | |
Y'all got me up! Let's do something! | 0:43:16 | 0:43:19 | |
Let's hit a club or something. | 0:43:19 | 0:43:21 | |
Based on our intelligence projections, | 0:43:28 | 0:43:30 | |
and the text manual provided by agent Pope, | 0:43:30 | 0:43:33 | |
this is a mock-up of what you'll be buying. | 0:43:33 | 0:43:35 | |
Does it play DVDs? | 0:43:35 | 0:43:36 | |
It's a portable thermonuclear weapon. | 0:43:36 | 0:43:37 | |
So that's a bomb? | 0:43:37 | 0:43:39 | |
It's a reproduction. | 0:43:39 | 0:43:40 | |
Last year, a Russian suitcase bomb | 0:43:40 | 0:43:42 | |
was stolen from a dismantling facility in the Ural mountains. | 0:43:42 | 0:43:44 | |
Your brother tracked it down, we need you to recover it. | 0:43:44 | 0:43:47 | |
Two things you're gonna have to do... | 0:43:47 | 0:43:48 | |
Would one of them be shittin' in my pants? | 0:43:48 | 0:43:51 | |
Welcome to Prague. | 0:44:15 | 0:44:16 | |
Looks like Newark. | 0:44:16 | 0:44:18 | |
Welcome back to the hotel, Mr Turner. | 0:44:38 | 0:44:39 | |
Thank you. | 0:44:39 | 0:44:40 | |
Mr Turner. So glad to have you back, sir. | 0:44:40 | 0:44:43 | |
Thank you, Lepenka. | 0:44:43 | 0:44:44 | |
Hope you haven't given out my room. | 0:44:44 | 0:44:46 | |
Certainly not, sir. | 0:44:46 | 0:44:48 | |
This is beautiful. | 0:44:49 | 0:44:51 | |
Her name is Lenka. | 0:44:51 | 0:44:52 | |
You just called her "Lepenka," | 0:44:52 | 0:44:55 | |
which means "cardboard." | 0:44:55 | 0:44:58 | |
Whoa, whoa, whoa. Oh, ho-ho, ho! | 0:45:22 | 0:45:27 | |
Man, it's gonna be hard to go back to Jersey. | 0:45:27 | 0:45:29 | |
We'll be in the suite across the hall | 0:45:29 | 0:45:31 | |
with full video and audio surveillance of this room. | 0:45:31 | 0:45:35 | |
All right, now, when I go to the bathroom, | 0:45:35 | 0:45:36 | |
press the pause button. | 0:45:36 | 0:45:38 | |
Just stay in the room. You've got nothing to worry about. | 0:45:38 | 0:45:40 | |
Except for my little date with a nuclear bomb. | 0:45:40 | 0:45:44 | |
OK, this is our lifeline. Our only link to Adrik Vas. | 0:45:44 | 0:45:47 | |
Nothing happens till he calls, | 0:45:47 | 0:45:48 | |
don't let it out of your sight, | 0:45:48 | 0:45:50 | |
and remember, from now on, there's no Jake, there's no Kevin, | 0:45:50 | 0:45:54 | |
only Michael Turner. | 0:45:54 | 0:45:56 | |
Well... | 0:45:56 | 0:45:58 | |
I think I'm gonna like being Michael Turner. | 0:45:58 | 0:46:01 | |
# Pretty woman... # | 0:46:04 | 0:46:07 | |
Think maybe you want to take a look at this. | 0:46:07 | 0:46:09 | |
OK, what the hell's he up to now? | 0:46:09 | 0:46:12 | |
# Pretty woman... # | 0:46:12 | 0:46:14 | |
WOMEN GIGGLING | 0:46:14 | 0:46:16 | |
SONG CONTINUES IN CZECH | 0:46:16 | 0:46:18 | |
Hey! | 0:46:23 | 0:46:24 | |
Fish egg? | 0:46:24 | 0:46:26 | |
WOMEN LAUGH | 0:46:26 | 0:46:27 | |
Beluga, sir. It's 12,000 crowns an ounce. | 0:46:27 | 0:46:31 | |
Party's over. | 0:46:31 | 0:46:32 | |
Naw, the party just started. | 0:46:32 | 0:46:34 | |
Soon as y'all leave, I'm gonna have my ass buffed. | 0:46:34 | 0:46:37 | |
WOMEN LAUGH | 0:46:37 | 0:46:38 | |
Hey! This little piggy go to market... | 0:46:38 | 0:46:42 | |
Put my initials on the big toe. | 0:46:42 | 0:46:43 | |
People need to know whose feet this is. | 0:46:43 | 0:46:45 | |
MOBILE PHONE RINGS | 0:46:45 | 0:46:47 | |
-That's Vas. Where's the cell phone? -Phone, phone, phone... | 0:46:47 | 0:46:50 | |
RINGING | 0:46:50 | 0:46:53 | |
Thank you. | 0:46:53 | 0:46:54 | |
GIGGLING | 0:46:54 | 0:46:55 | |
Shhh! | 0:46:55 | 0:46:58 | |
Hello? | 0:46:58 | 0:47:00 | |
Yeah, we'll be there. | 0:47:01 | 0:47:03 | |
It's Vas. The deal's on in an hour. | 0:47:05 | 0:47:08 | |
Now your eye. | 0:47:08 | 0:47:09 | |
Look right into the computer screen. | 0:47:10 | 0:47:12 | |
Blink for confirmation. | 0:47:12 | 0:47:15 | |
OK, that's it. | 0:47:15 | 0:47:16 | |
All right. From this point on, | 0:47:16 | 0:47:17 | |
only you will be able to access your computer. | 0:47:17 | 0:47:20 | |
It won't operate without your retinal signature, | 0:47:20 | 0:47:23 | |
your eyes, so when they show you the bomb, | 0:47:23 | 0:47:26 | |
connect your laptop, determine if the bomb is the real thing, | 0:47:26 | 0:47:29 | |
and take enough time doing it | 0:47:29 | 0:47:31 | |
so Wells can download their arming codes, | 0:47:31 | 0:47:33 | |
and hopefully, their disarming codes, into our computer. | 0:47:33 | 0:47:38 | |
Good luck, Mr Hayes. | 0:47:38 | 0:47:40 | |
We have visual. | 0:47:44 | 0:47:45 | |
You'll do fine. | 0:47:49 | 0:47:50 | |
Everyone's nervous the first day of school. | 0:47:50 | 0:47:53 | |
I always cut the first day of school. | 0:47:53 | 0:47:55 | |
Don't worry. | 0:47:55 | 0:47:57 | |
You're covered from every angle. | 0:47:57 | 0:47:58 | |
I can't wait to meet "The Hammer." | 0:48:06 | 0:48:07 | |
Oh, these guys must be "The Toolbox." | 0:48:14 | 0:48:17 | |
Should we move in, sir? | 0:48:18 | 0:48:19 | |
No. Not until we're sure they brought the bomb. | 0:48:19 | 0:48:21 | |
There's too much at stake. | 0:48:21 | 0:48:22 | |
Nice coat. | 0:48:24 | 0:48:27 | |
Gentlemen, are we going to do business or aren't we? | 0:48:43 | 0:48:46 | |
Depends, Michael. | 0:48:46 | 0:48:48 | |
Where have you been for the last nine days? | 0:48:48 | 0:48:51 | |
I don't believe that concerns you. | 0:48:51 | 0:48:52 | |
On the contrary. It concerns me very much. | 0:48:52 | 0:48:54 | |
We make a deal, you disappear. Doesn't look good, my friend. | 0:48:54 | 0:48:59 | |
Heads up, McCain. Be advised targets are armed. | 0:48:59 | 0:49:02 | |
Maintain your positions. | 0:49:02 | 0:49:04 | |
Everyone maintain your position. | 0:49:04 | 0:49:06 | |
Copy that, sir. | 0:49:06 | 0:49:08 | |
Do we have a problem? | 0:49:12 | 0:49:13 | |
I don't know. You tell me. Do we have a problem? | 0:49:13 | 0:49:17 | |
Do we? | 0:49:21 | 0:49:23 | |
Give me the cell phone I gave you earlier. | 0:49:27 | 0:49:31 | |
Don't worry. I only made collect calls. | 0:49:31 | 0:49:34 | |
Look, I don't know what this is about, but.. | 0:49:34 | 0:49:36 | |
No, you don't, so shut up. Neither does Mr Turner. | 0:49:36 | 0:49:40 | |
You see, this cell phone has a global positioning system. | 0:49:40 | 0:49:44 | |
It'll tell me exactly where you've been the last nine days. Fantastic, eh? | 0:49:44 | 0:49:49 | |
Well, haven't you been busy? | 0:49:50 | 0:49:53 | |
You get around. Berlin, Rome, Zurich. | 0:49:53 | 0:50:01 | |
And not one decent treasure to show for it. | 0:50:01 | 0:50:03 | |
Now, where's the money? | 0:50:06 | 0:50:07 | |
Where's the product? | 0:50:07 | 0:50:09 | |
Nearby. | 0:50:09 | 0:50:10 | |
So, how do we do this? | 0:50:10 | 0:50:12 | |
I'm gonna call you on this cell phone, | 0:50:12 | 0:50:16 | |
then you have one hour to get the money, Michael. | 0:50:16 | 0:50:18 | |
Then I'll call you again | 0:50:18 | 0:50:20 | |
and tell you where to bring it to. | 0:50:20 | 0:50:21 | |
You understand? | 0:50:21 | 0:50:22 | |
I'm gonna have to run some tests, | 0:50:22 | 0:50:24 | |
so make sure you bring authentic merchandise. | 0:50:24 | 0:50:26 | |
Fair enough. | 0:50:26 | 0:50:28 | |
I wouldn't buy a car without checking under the hood. Ha! | 0:50:28 | 0:50:31 | |
Are we agreed? | 0:50:31 | 0:50:33 | |
Yes. | 0:50:33 | 0:50:34 | |
No. | 0:50:34 | 0:50:36 | |
We're not bringing money anywhere. | 0:50:36 | 0:50:38 | |
No? | 0:50:39 | 0:50:40 | |
I'll have someone transfer the remaining 19 million | 0:50:40 | 0:50:42 | |
when Mr Turner tells us we have a viable device. | 0:50:42 | 0:50:45 | |
It'll be done by computer. | 0:50:45 | 0:50:47 | |
One of my men will be standing by at this address. | 0:50:47 | 0:50:49 | |
You will send one of your brain trusts | 0:50:49 | 0:50:52 | |
to verify the money's in your account, and that's it. | 0:50:52 | 0:50:55 | |
Give you a hostage? | 0:50:55 | 0:50:56 | |
Yeah, and you get one. | 0:50:56 | 0:50:57 | |
We'll call it a security deposit which neither of us will get back | 0:50:57 | 0:51:00 | |
if we screw up, or if we leave a mess. | 0:51:00 | 0:51:02 | |
It's that simple. | 0:51:02 | 0:51:03 | |
Now we have an agreement, I think. | 0:51:03 | 0:51:05 | |
Agreed. | 0:51:05 | 0:51:09 | |
Don't you go disappearing on me again, Michael. | 0:51:10 | 0:51:13 | |
Hey, you did real well, Mr Hayes. | 0:51:22 | 0:51:25 | |
You knew they wouldn't bring it, right? | 0:51:25 | 0:51:27 | |
Uh-huh. | 0:51:27 | 0:51:28 | |
Standard procedure. | 0:51:28 | 0:51:29 | |
Guys like him won't risk getting screwed on the first date. | 0:51:29 | 0:51:33 | |
What if you hadn't changed the chip in the phone? | 0:51:33 | 0:51:35 | |
Well, it would have told him that the phone had already | 0:51:35 | 0:51:38 | |
travelled to CIA headquarters in Langley, | 0:51:38 | 0:51:40 | |
and they'd have shot both of us in the heads. | 0:51:40 | 0:51:42 | |
I'm hungry. How about you? | 0:51:42 | 0:51:44 | |
I think I'm gonna pass. | 0:51:44 | 0:51:45 | |
Then good night. | 0:51:45 | 0:51:47 | |
SHOWER RUNS | 0:51:54 | 0:51:56 | |
# Even if I | 0:52:01 | 0:52:04 | |
# Forget why | 0:52:04 | 0:52:08 | |
# You'll always give me | 0:52:08 | 0:52:10 | |
# Another reason | 0:52:10 | 0:52:13 | |
# This is no empty promise | 0:52:13 | 0:52:17 | |
# I can depend upon it | 0:52:17 | 0:52:21 | |
# You'll always love me like that... # | 0:52:21 | 0:52:25 | |
Oh! Michael! | 0:52:25 | 0:52:27 | |
Hi! | 0:52:28 | 0:52:31 | |
This place comes with everything, huh? | 0:52:31 | 0:52:33 | |
Could you, er, get me a towel? | 0:52:33 | 0:52:36 | |
Very funny. Ahem. | 0:52:41 | 0:52:44 | |
I knew you'd be surprised. | 0:52:45 | 0:52:48 | |
I didn't think you'd be shocked. | 0:52:48 | 0:52:50 | |
Aw! | 0:52:50 | 0:52:52 | |
Hey, you want some room service? | 0:52:52 | 0:52:53 | |
No. I'd like a good stiff drink. | 0:52:53 | 0:52:56 | |
Oh, shit, it's Nicole. | 0:52:56 | 0:52:59 | |
What? | 0:52:59 | 0:53:00 | |
This isn't exactly the welcome I expected. | 0:53:02 | 0:53:04 | |
Wassup? | 0:53:04 | 0:53:05 | |
Honey, I made dinner reservations | 0:53:05 | 0:53:07 | |
at our favourite place. | 0:53:07 | 0:53:09 | |
I love that place. | 0:53:09 | 0:53:11 | |
Honey, aren't you happy to see me? | 0:53:11 | 0:53:12 | |
-Yeah. -Good. -Aah. -Mm. | 0:53:12 | 0:53:15 | |
KNOCK ON DOOR Uh, I gotta get that. | 0:53:15 | 0:53:18 | |
I'll be right back. | 0:53:18 | 0:53:20 | |
How are you doing? | 0:53:25 | 0:53:26 | |
Well, you see how I'm doing! | 0:53:26 | 0:53:27 | |
Yeah. We have a problem. | 0:53:27 | 0:53:29 | |
Yeah. You know, where I'm from | 0:53:29 | 0:53:30 | |
people pay a lot of money for problems like that. | 0:53:30 | 0:53:32 | |
That's Nicole. That's, er, Kevin's... | 0:53:32 | 0:53:33 | |
I mean Michael's girlfriend. | 0:53:33 | 0:53:35 | |
She works for CNN in Europe. | 0:53:35 | 0:53:36 | |
So how come didn't you tell me Michael had a girlfriend? | 0:53:36 | 0:53:38 | |
Well, they broke up several weeks ago. | 0:53:38 | 0:53:40 | |
They had a fight, and she walked out. | 0:53:40 | 0:53:42 | |
Well, it looks like she forgave him. | 0:53:42 | 0:53:43 | |
What the hell did he fight with her fine ass for? | 0:53:43 | 0:53:45 | |
Well, apparently he had intimacy problems. | 0:53:45 | 0:53:49 | |
He was distant, some kind of psychotherapy crap. | 0:53:49 | 0:53:52 | |
Anyway, she went off to cover the Balkans. | 0:53:52 | 0:53:54 | |
OK, so what do you want me to do? | 0:53:54 | 0:53:55 | |
Take her to dinner. | 0:53:55 | 0:53:56 | |
She's CNN. | 0:53:56 | 0:53:58 | |
If you handle this badly, she could blow your cover. OK? | 0:53:58 | 0:54:01 | |
-OK. -Good. | 0:54:01 | 0:54:03 | |
...cheat. Just... | 0:54:03 | 0:54:04 | |
don't cheat... | 0:54:04 | 0:54:06 | |
just...don't cheat... | 0:54:06 | 0:54:07 | |
just...don't cheat... | 0:54:07 | 0:54:09 | |
just say... | 0:54:09 | 0:54:10 | |
That was Jehovah's witnesses! | 0:54:10 | 0:54:12 | |
Just... | 0:54:12 | 0:54:13 | |
Michael... | 0:54:13 | 0:54:14 | |
I hope you're hungry, baby. | 0:54:14 | 0:54:16 | |
# She's willin' to share | 0:54:16 | 0:54:18 | |
# We hoppin' in the whip and we leavin' here so | 0:54:18 | 0:54:20 | |
# Somebody turn the music up...# | 0:54:20 | 0:54:22 | |
Yeah, I just gotta go brush my teeth. | 0:54:22 | 0:54:25 | |
# Everybody come on knock it up tonight | 0:54:25 | 0:54:28 | |
# One of these ladies... # | 0:54:28 | 0:54:29 | |
Ohhh! | 0:54:29 | 0:54:31 | |
-ANSWER MACHINE: -'Hey! You've reached the residence | 0:54:35 | 0:54:37 | |
'of Pam, Marvin, Julie, and the kids. Leave a message.' | 0:54:37 | 0:54:41 | |
'Julie, it's Jake. Are you there?' | 0:54:41 | 0:54:43 | |
OK, if you haven't left yet, please wait for me. | 0:54:43 | 0:54:46 | |
Please, please. | 0:54:46 | 0:54:48 | |
I got a new job. | 0:54:48 | 0:54:49 | |
'It's totally legit. | 0:54:49 | 0:54:51 | |
'And I've changed. | 0:54:51 | 0:54:53 | |
'I've totally changed. | 0:54:53 | 0:54:54 | |
'I'm a new man.' | 0:54:54 | 0:54:56 | |
I'm the man who loves you. | 0:54:56 | 0:54:57 | |
I love you. I love you so much. | 0:54:57 | 0:54:59 | |
I didn't even know how much I loved you till two minutes ago. | 0:54:59 | 0:55:02 | |
-It's Jake. -'Honey, I am ready to do anything...' | 0:55:02 | 0:55:04 | |
-Julie! -I love him! | 0:55:04 | 0:55:05 | |
-No, you don't! -'...big sacrifices.' | 0:55:05 | 0:55:07 | |
Honey, what's taking you so long? | 0:55:07 | 0:55:09 | |
Big sacrifices. | 0:55:09 | 0:55:12 | |
'Please wait for me. Please wait for me.' | 0:55:12 | 0:55:15 | |
Jake, I heard you. I heard every word, baby. | 0:55:17 | 0:55:19 | |
I'm not going anywhere. I'll be right here. | 0:55:19 | 0:55:21 | |
I love you so much! | 0:55:21 | 0:55:23 | |
-RECORDED TONE -Jake? | 0:55:23 | 0:55:25 | |
-RECORDING: -'If you'd like to make a call... -Jake? Hello! Jake! | 0:55:25 | 0:55:27 | |
'..and try again. | 0:55:27 | 0:55:29 | |
'If you'd like to make a call...' | 0:55:29 | 0:55:31 | |
# I need to find a place | 0:55:37 | 0:55:40 | |
# A higher space... # | 0:55:40 | 0:55:42 | |
Thank you. | 0:55:42 | 0:55:43 | |
# ..Where I can get over you | 0:55:43 | 0:55:46 | |
# Cos you were so far away...# | 0:55:46 | 0:55:48 | |
So are you gonna make me grovel? | 0:55:48 | 0:55:49 | |
No, not unless you want to. | 0:55:49 | 0:55:52 | |
Is this fish? | 0:55:54 | 0:55:55 | |
Yeah, of course. You love fish. | 0:55:55 | 0:55:57 | |
Uh, that's right. I love fish, | 0:55:57 | 0:55:58 | |
but that's before I became a vegetarian. | 0:55:58 | 0:56:00 | |
Oh, waiter, waiter. | 0:56:00 | 0:56:02 | |
Uh, I can't eat this. | 0:56:02 | 0:56:04 | |
Can you get me something else? | 0:56:04 | 0:56:05 | |
How about a steak, medium well? | 0:56:05 | 0:56:07 | |
-Please? -Of course, sir. | 0:56:07 | 0:56:08 | |
Ah, thanks a lot. | 0:56:08 | 0:56:09 | |
I thought you were a vegetarian. | 0:56:09 | 0:56:11 | |
Vegetarian? I'll eat a pig's ass if they cook it right! | 0:56:11 | 0:56:14 | |
But enough about me. How about those Balkans? | 0:56:15 | 0:56:19 | |
I missed you, Michael. | 0:56:21 | 0:56:23 | |
I'm sorry I left. | 0:56:25 | 0:56:27 | |
# I feel alone | 0:56:27 | 0:56:30 | |
# Gone, run from me | 0:56:30 | 0:56:32 | |
# I tried to tell myself... # | 0:56:32 | 0:56:35 | |
What's the matter? | 0:56:35 | 0:56:36 | |
There's somebody else. | 0:56:36 | 0:56:39 | |
There is? Hmm. When did that happen? | 0:56:39 | 0:56:43 | |
Right after you left. | 0:56:43 | 0:56:45 | |
I left you two weeks ago. | 0:56:45 | 0:56:46 | |
I mean, er... | 0:56:49 | 0:56:51 | |
Did you meet her here in Prague? | 0:56:51 | 0:56:54 | |
No, in Jersey. | 0:56:54 | 0:56:57 | |
New Jersey? | 0:56:57 | 0:56:58 | |
Yeah, I was in New York, | 0:56:58 | 0:57:00 | |
and Jersey's right next to New York, | 0:57:00 | 0:57:01 | |
and I just took a little day trip. | 0:57:01 | 0:57:03 | |
Who is she? What does she do? | 0:57:03 | 0:57:05 | |
Well, she's a nurse's aide at, er, Saint Sebastian's hospital. | 0:57:05 | 0:57:11 | |
Her name's Julie. She's got curly hair. | 0:57:11 | 0:57:12 | |
-LAUGHING: -I get it. | 0:57:12 | 0:57:14 | |
You want me to jump through a couple of hoops | 0:57:14 | 0:57:17 | |
before you take me back. OK. I have it comin'. | 0:57:17 | 0:57:21 | |
# It's killing me... # | 0:57:24 | 0:57:26 | |
But I'm willing to work for it. | 0:57:26 | 0:57:29 | |
# Oh-oh-oh | 0:57:29 | 0:57:31 | |
# You're not here with me | 0:57:31 | 0:57:35 | |
# Ooh-ooh-ooh, so far away | 0:57:35 | 0:57:40 | |
# Baby | 0:57:40 | 0:57:42 | |
# I-I-I... # | 0:57:42 | 0:57:44 | |
Ah-ah-ah! | 0:57:44 | 0:57:47 | |
Nicole! | 0:57:47 | 0:57:48 | |
You hurt me really bad. | 0:57:48 | 0:57:50 | |
And I can't just let you yo-yo with my heart, OK? | 0:57:50 | 0:57:53 | |
You hurt me, and I'm never gonna let it happen again! | 0:57:53 | 0:57:56 | |
Love don't live here any more! | 0:57:56 | 0:57:58 | |
Michael, I've never seen you like this. | 0:57:58 | 0:58:01 | |
So...open. | 0:58:01 | 0:58:05 | |
So... | 0:58:05 | 0:58:08 | |
So in touch with your feelings. | 0:58:08 | 0:58:10 | |
Like you could really be in love | 0:58:15 | 0:58:17 | |
with a nurse from New Jersey! | 0:58:17 | 0:58:19 | |
You're just much more... | 0:58:25 | 0:58:27 | |
Mmm...warm and, and, and vulnerable, and... and funny! | 0:58:27 | 0:58:32 | |
Is that like... | 0:58:32 | 0:58:33 | |
You didn't used to be funny before. | 0:58:33 | 0:58:35 | |
That's funny "ha ha" funny | 0:58:35 | 0:58:37 | |
or funny "This milk tastes funny" funny? | 0:58:37 | 0:58:39 | |
See? That's funny! | 0:58:39 | 0:58:41 | |
Mmm... | 0:58:41 | 0:58:43 | |
You're not Michael Turner. | 0:58:47 | 0:58:49 | |
Uh-oh. | 0:58:49 | 0:58:50 | |
Jake and Nicole are back. | 0:58:57 | 0:58:58 | |
Yeah, and they've got company. | 0:58:58 | 0:59:00 | |
OK, let's join the party. | 0:59:00 | 0:59:04 | |
I'm Michael. | 0:59:04 | 0:59:05 | |
I don't know who you think you are, but you're not Michael Turner. | 0:59:05 | 0:59:08 | |
You gotta believe me. I'm Michael. | 0:59:08 | 0:59:09 | |
-You're not Michael. -I'm Michael. | 0:59:09 | 0:59:12 | |
Aah! | 0:59:12 | 0:59:13 | |
-Aah! -Come on! | 0:59:13 | 0:59:15 | |
Who's shooting at us? | 0:59:17 | 0:59:19 | |
Rival antique dealers! | 0:59:19 | 0:59:20 | |
Oh! | 0:59:27 | 0:59:28 | |
Ah! Ah! | 0:59:28 | 0:59:29 | |
Down here. | 0:59:45 | 0:59:47 | |
I'm sorry I haven't been totally honest with you. | 0:59:47 | 0:59:49 | |
So you're not Michael! | 0:59:49 | 0:59:50 | |
Well, we have the same DNA, | 0:59:50 | 0:59:52 | |
which makes us kinda the same person. | 0:59:52 | 0:59:54 | |
Come on. In here! | 1:00:03 | 1:00:06 | |
-Come on, get down. -What is this? | 1:00:08 | 1:00:10 | |
Come on, come on. | 1:00:10 | 1:00:11 | |
This a laundry chute? Eww, it smells in here. | 1:00:11 | 1:00:14 | |
It's just dirty drawers. Shh. | 1:00:14 | 1:00:17 | |
Quiet. Shh. | 1:00:17 | 1:00:19 | |
Don't you try to play footsie with me. | 1:00:19 | 1:00:21 | |
Shh. | 1:00:21 | 1:00:22 | |
MOBILE PHONE RINGS | 1:01:16 | 1:01:20 | |
Will you shut that off? | 1:01:22 | 1:01:23 | |
With what? My ass? Reach in my pants. | 1:01:23 | 1:01:26 | |
Hell, no! | 1:01:26 | 1:01:28 | |
You've reached in my brother's pants! | 1:01:28 | 1:01:29 | |
PHONE CONTINUES TO RING | 1:01:29 | 1:01:31 | |
God! | 1:01:31 | 1:01:33 | |
Uh...hello? | 1:01:34 | 1:01:37 | |
-VAS: -'Mr Turner.' | 1:01:37 | 1:01:38 | |
Vas. You caught me at a real bad time. | 1:01:38 | 1:01:41 | |
What are you doing? Just hang up. | 1:01:46 | 1:01:48 | |
Would you shut the hell up? | 1:01:48 | 1:01:50 | |
-No, you shut up! -Don't start! | 1:01:50 | 1:01:52 | |
-Can I call you back? VAS: -'Don't bother. | 1:01:52 | 1:01:54 | |
'The Olsany cemetery. Two hours.' | 1:01:54 | 1:01:57 | |
Shit! | 1:01:57 | 1:01:58 | |
(There's people comin'. (There's people comin'.) | 1:02:08 | 1:02:10 | |
(Quiet.) | 1:02:16 | 1:02:18 | |
Aah! | 1:02:27 | 1:02:29 | |
Ah-oh! | 1:02:29 | 1:02:30 | |
Aah! Aah! | 1:02:32 | 1:02:33 | |
GUNSHOT | 1:02:33 | 1:02:35 | |
JAKE AND NICOLE SCREAM | 1:02:35 | 1:02:38 | |
-Aah! -Aah! | 1:02:40 | 1:02:42 | |
-Aah! -Aah! | 1:02:49 | 1:02:56 | |
-Ah-ah-ah! -Ah! -Oh! | 1:02:56 | 1:03:00 | |
I knew I couldn't trust Michael! | 1:03:03 | 1:03:05 | |
Always so secretive. Just downright sneaky. | 1:03:05 | 1:03:08 | |
Never even told me that he had a brother. | 1:03:08 | 1:03:10 | |
Some investigative reporter I am, huh? | 1:03:10 | 1:03:13 | |
This antique dealing stuff, this is just a front, right? | 1:03:13 | 1:03:16 | |
You're drug dealers. | 1:03:16 | 1:03:18 | |
You're not even denying it. | 1:03:18 | 1:03:20 | |
I'm going back to the Balkans where I'm safe. | 1:03:20 | 1:03:23 | |
-See, I told you I'd handle it. -Very smooth. | 1:03:23 | 1:03:26 | |
Sir, those were Dragan Adjanic's men. All dead. | 1:03:30 | 1:03:33 | |
Well, obviously, HE thinks you're still alive. | 1:03:33 | 1:03:37 | |
Uh, by the way... | 1:03:38 | 1:03:40 | |
Vas called. We're on in two hours. | 1:03:40 | 1:03:43 | |
Olsany Cemetery. | 1:03:45 | 1:03:47 | |
As we speak, our field operatives | 1:03:47 | 1:03:49 | |
are staking out their perimeter positions. | 1:03:49 | 1:03:51 | |
They'll be with you all the way. | 1:03:51 | 1:03:52 | |
So will we. Officer Wells has installed | 1:03:52 | 1:03:55 | |
a G4 satellite tracking device to your vehicle. | 1:03:55 | 1:03:57 | |
Unfortunately, that's all we can manage safely. | 1:03:57 | 1:03:58 | |
Vas'll be more worried about wire taps than weapons. | 1:03:58 | 1:04:01 | |
You can expect him to check both your car and you. | 1:04:01 | 1:04:04 | |
Seale is on his way to the money transfer site. | 1:04:04 | 1:04:06 | |
We want you to connect the bomb to the computer | 1:04:06 | 1:04:08 | |
and begin the verification process as soon as possible. | 1:04:08 | 1:04:11 | |
Most importantly, once you've connected the bomb, | 1:04:11 | 1:04:14 | |
a signal will be established via satellite | 1:04:14 | 1:04:15 | |
between your computer and Wells's here, | 1:04:15 | 1:04:17 | |
who'll steal the arming codes while you check the bomb. | 1:04:17 | 1:04:20 | |
So if they don't have the codes, they can't detonate the bomb. | 1:04:20 | 1:04:22 | |
Right, but you may have to stall. | 1:04:22 | 1:04:23 | |
You may need to buy them some time. | 1:04:23 | 1:04:25 | |
You'll hear three short tones when the process is completed. | 1:04:25 | 1:04:27 | |
BEEP-BEEP-BEEP | 1:04:27 | 1:04:30 | |
Once you've heard the tones, you're satisfied the bomb is real, | 1:04:30 | 1:04:32 | |
Vas will give me the account number, | 1:04:32 | 1:04:34 | |
I call Seale and authorise the transfer of money. | 1:04:34 | 1:04:37 | |
As soon as I get the word from Seale, | 1:04:37 | 1:04:38 | |
I'll provide confirmation of the transfer | 1:04:38 | 1:04:40 | |
of the 19 million from the Midlands National Bank | 1:04:40 | 1:04:43 | |
in Grand Cayman. | 1:04:43 | 1:04:44 | |
You're gonna give this guy 19 million?! | 1:04:44 | 1:04:46 | |
I thought you was my man! 19 million?! | 1:04:46 | 1:04:49 | |
It's all digital dollars. Ones and zeros, man. | 1:04:49 | 1:04:51 | |
See, we issue a wire transfer, | 1:04:51 | 1:04:53 | |
the receiving bank syncs out a GFX authorisation sequence, | 1:04:53 | 1:04:56 | |
verifying the funds are available. | 1:04:56 | 1:04:58 | |
It'll take his bank 48 hours to realise the money doesn't exist. | 1:04:58 | 1:05:01 | |
If the shit hits the fan, you got that watch. | 1:05:01 | 1:05:03 | |
Ooh! Then I'll know what time it is when the shit hits the fan! | 1:05:03 | 1:05:07 | |
Oh, what's this? | 1:05:07 | 1:05:08 | |
SIREN BLARES | 1:05:08 | 1:05:09 | |
Hey, hey! Somebody just walked out with a sweater! | 1:05:09 | 1:05:12 | |
That's a panic button. | 1:05:12 | 1:05:13 | |
You press that, and the cavalry comes in. | 1:05:13 | 1:05:16 | |
There are a lot of people counting on you, Mr Hayes. | 1:05:16 | 1:05:18 | |
-OAKES: -This is Olsany Cemetery. | 1:05:20 | 1:05:22 | |
Almost two million people are buried here. | 1:05:22 | 1:05:25 | |
JAKE: You think Vas is trying to tell us something? | 1:05:25 | 1:05:27 | |
-Mm-hmm. -MOBILE PHONE RINGS | 1:05:27 | 1:05:30 | |
Yes. (It's Vas.) | 1:05:30 | 1:05:33 | |
Yes, he's with me. | 1:05:33 | 1:05:35 | |
Grafika Road East. | 1:05:35 | 1:05:38 | |
Grafika Road East, people. | 1:05:38 | 1:05:40 | |
-Is that one of ours? -It's one of theirs. | 1:05:52 | 1:05:54 | |
Why does he have someone following us if he's the one who's telling us where we're going? | 1:05:54 | 1:05:58 | |
He's following us to make sure no-one else is following us. | 1:05:58 | 1:06:01 | |
But someone is. | 1:06:01 | 1:06:02 | |
That's what makes it so much fun! | 1:06:02 | 1:06:04 | |
They're headed for open country. Make sure they don't get too close. | 1:06:05 | 1:06:08 | |
Dog one, this is Carolina. | 1:06:08 | 1:06:09 | |
Be advised we're on a loose leash. | 1:06:09 | 1:06:11 | |
SWANSON: Roger that, Carolina. | 1:06:11 | 1:06:13 | |
Here's Mr Smiley. | 1:06:19 | 1:06:21 | |
Get out of the car. Your coats, please. | 1:06:22 | 1:06:27 | |
Thank you. | 1:06:27 | 1:06:28 | |
BEEPING | 1:06:28 | 1:06:30 | |
BEEPING | 1:06:34 | 1:06:36 | |
Hmm. You must be very trusting people | 1:06:36 | 1:06:38 | |
to come out here all alone, unarmed. | 1:06:38 | 1:06:41 | |
What makes you think we're alone? | 1:06:41 | 1:06:43 | |
Ah. Straight ahead. | 1:06:43 | 1:06:45 | |
Parish, McCain, come in. | 1:07:08 | 1:07:10 | |
OK. We're in position. | 1:07:10 | 1:07:12 | |
SWANSON: Sir, we're in place outside Chotesov monastery. | 1:07:12 | 1:07:15 | |
Ah, here they are. My good friend Michael. | 1:07:33 | 1:07:37 | |
Welcome to my church, where we worship money. | 1:07:37 | 1:07:43 | |
OK, let's get started. | 1:07:43 | 1:07:44 | |
You wanted to look under the hood, so look under the hood. | 1:07:44 | 1:07:49 | |
-We're online. -Let's go to work, people. | 1:08:12 | 1:08:16 | |
Casing unit, apex mirror. | 1:08:19 | 1:08:24 | |
Detonating block. | 1:08:25 | 1:08:28 | |
ALARM SOUNDS | 1:08:28 | 1:08:30 | |
This is insanity. | 1:08:33 | 1:08:35 | |
Just one electrical surge, and you'll blow us all to hell. | 1:08:35 | 1:08:39 | |
Chill, Michelle. I mean, relax. Relax, Michelle. | 1:08:39 | 1:08:43 | |
Downloading new authentication code. | 1:08:43 | 1:08:45 | |
MAN REPEATS COMMAND IN CZECH | 1:08:45 | 1:08:47 | |
117 seconds to completion. | 1:08:47 | 1:08:48 | |
Now, as soon as I verify | 1:08:48 | 1:08:50 | |
the uranium deflector is of weapons-grade, | 1:08:50 | 1:08:54 | |
we can all be on our merry way. | 1:08:54 | 1:08:56 | |
Uranium deflector? | 1:08:56 | 1:08:58 | |
This is plutonium reflector. | 1:08:58 | 1:09:01 | |
Plutonium. That's what I meant. Plutonium. | 1:09:01 | 1:09:04 | |
60 seconds! | 1:09:31 | 1:09:32 | |
Sedesat sekund! | 1:09:32 | 1:09:35 | |
Michael, why is this taking so long time? | 1:09:35 | 1:09:37 | |
I'm running one last diagnostic test. | 1:09:37 | 1:09:40 | |
If you stayed on top of things, | 1:09:40 | 1:09:41 | |
you'd understand that the traditional checks are not 100% fool-proof. | 1:09:41 | 1:09:45 | |
This last test was designed by the head of nuclear science at Caltech, a...Dr Dre. | 1:09:45 | 1:09:50 | |
-30 seconds. -Tricet sekund! | 1:09:50 | 1:09:53 | |
Dr Dre, along with Dr Irving and Professor Griffin, | 1:09:53 | 1:09:56 | |
the rest of the Wu Tang Clan, know that it is best, | 1:09:56 | 1:10:00 | |
when you have a baseline screen situation, | 1:10:00 | 1:10:03 | |
to achieve a pulsopular cataclysmic calibration | 1:10:03 | 1:10:07 | |
or something we like to call the Shaq attack. | 1:10:07 | 1:10:11 | |
Shaq attack? | 1:10:11 | 1:10:12 | |
Yes, named after Dr O'Neal of Los Angeles, formerly of Orlando. | 1:10:12 | 1:10:17 | |
All we need are the arming and disarming codes. | 1:10:17 | 1:10:19 | |
I know, but it's a mess. I'm looking at it and I don't know what's what. | 1:10:19 | 1:10:22 | |
We'll have to dump it all just to get the two codes. | 1:10:22 | 1:10:24 | |
I hope he can stall long enough cos there's so much information. | 1:10:24 | 1:10:27 | |
What we're doing right now, | 1:10:27 | 1:10:28 | |
can help not only in nuclear energy, | 1:10:28 | 1:10:31 | |
but also medicine, food... | 1:10:31 | 1:10:32 | |
BEEP-BEEP-BEEP | 1:10:32 | 1:10:35 | |
I believe everything is in order. | 1:10:37 | 1:10:41 | |
Sorry, sir. | 1:10:45 | 1:10:46 | |
Have the codes been moved to Jake's computer? | 1:10:54 | 1:10:56 | |
-Yeah. -Let's get him, the bomb, and the computer back here on the double. | 1:10:56 | 1:10:59 | |
You got the bomb. Now, where is my remaining 19 million? | 1:10:59 | 1:11:03 | |
Yes, sir. | 1:11:07 | 1:11:08 | |
Show them the money. | 1:11:08 | 1:11:10 | |
Copy that. | 1:11:10 | 1:11:11 | |
Vas's account number received. | 1:11:20 | 1:11:22 | |
Initiating wire transfer from Midlands National Bank of bullshit. | 1:11:22 | 1:11:28 | |
Man, is Vas gonna be pissed when he goes to an ATM! | 1:11:33 | 1:11:36 | |
Fantastic! It's working! | 1:11:37 | 1:11:40 | |
Ha! Mmm! | 1:11:40 | 1:11:42 | |
I love it. American and Russians work together again | 1:11:42 | 1:11:45 | |
with Swiss bank accounts. | 1:11:45 | 1:11:46 | |
Gentlemen, I hope to see you never again. | 1:11:46 | 1:11:51 | |
-VAS: -Heh. Dragan Adjanic. | 1:11:55 | 1:11:59 | |
Know any good prayers? | 1:11:59 | 1:12:00 | |
You got a lot of nerve, showing your face in my church. | 1:12:00 | 1:12:04 | |
That's the guy who killed my brother, isn't it? | 1:12:04 | 1:12:06 | |
Uh-huh. | 1:12:06 | 1:12:07 | |
Michelle, what the hell is he doing here? | 1:12:07 | 1:12:11 | |
Michelle, I told you not to deal with him! | 1:12:11 | 1:12:17 | |
What's happening? | 1:12:17 | 1:12:19 | |
Very interesting. | 1:12:19 | 1:12:21 | |
Vas has been double-crossed by his own men. | 1:12:21 | 1:12:23 | |
Come on, shoot him! | 1:12:23 | 1:12:26 | |
What time is it, Mr Hayes? | 1:12:31 | 1:12:34 | |
PANIC ALARM SOUNDS | 1:12:35 | 1:12:37 | |
Code red. Code red. Everybody move. | 1:12:37 | 1:12:40 | |
Kill him. | 1:12:46 | 1:12:47 | |
Here's the computer. | 1:13:19 | 1:13:22 | |
There's your bloody bomb. Where's my money? | 1:13:22 | 1:13:26 | |
Triple-cross. Come on! | 1:13:26 | 1:13:28 | |
Aah! | 1:13:38 | 1:13:40 | |
Having fun, Mr Hayes? | 1:13:55 | 1:13:57 | |
Don't shoot the bomb, you fool! | 1:14:19 | 1:14:22 | |
Don't shoot me, either! | 1:14:22 | 1:14:23 | |
-Go! Go! Take the bomb! -I'm going! I'm going! | 1:14:23 | 1:14:26 | |
Unh! | 1:14:27 | 1:14:28 | |
Yaah! | 1:14:38 | 1:14:40 | |
You drive! | 1:14:54 | 1:14:56 | |
Go on! | 1:14:56 | 1:14:57 | |
Hey, wait for me! | 1:15:00 | 1:15:02 | |
BEEP-BEEP | 1:15:08 | 1:15:10 | |
Go on! Go! | 1:15:13 | 1:15:14 | |
-Faster. -I'm going, I'm going! | 1:15:17 | 1:15:19 | |
It's a bloodbath, sir. Vas and his men are dead. | 1:15:45 | 1:15:47 | |
Come on, man! You're James Bond! Shoot the tyres out or something! | 1:15:47 | 1:15:51 | |
-Can't get close enough! -Well, do something! Throw out some tacks! | 1:15:51 | 1:15:54 | |
-Well, you've got your wish. -I wish for Jennifer Lopez naked! | 1:16:09 | 1:16:13 | |
We've looked everywhere. They're just not here. | 1:16:13 | 1:16:15 | |
I have satellite position on them! I can assure you they're there! | 1:16:15 | 1:16:19 | |
Wait a minute. Hold on, sir. | 1:16:19 | 1:16:20 | |
BEEPING | 1:16:20 | 1:16:21 | |
They lost their tracking device. | 1:16:21 | 1:16:24 | |
BEEPING | 1:16:24 | 1:16:26 | |
-Whoa! -What the hell are you doing? -Not smooth enough for your ass?! | 1:16:32 | 1:16:36 | |
It's not my ass I'm worried about. It's the bomb in the back seat. | 1:16:36 | 1:16:39 | |
There's a bomb in the back seat! | 1:16:39 | 1:16:40 | |
-Yeah. -We're gonna die! -Have a little faith, Mr Hayes. | 1:16:40 | 1:16:46 | |
I'll have a little faith if you give me a little gun! | 1:16:46 | 1:16:48 | |
GUN CLICKS | 1:16:48 | 1:16:49 | |
Damn! | 1:16:50 | 1:16:52 | |
MACHINE GUN FIRES | 1:16:52 | 1:16:55 | |
Oh! Ohh! | 1:16:55 | 1:16:57 | |
Whoa! | 1:17:00 | 1:17:02 | |
Aah! | 1:17:02 | 1:17:04 | |
Unh! Aah! | 1:17:06 | 1:17:07 | |
-You OK? -Here they come! | 1:17:07 | 1:17:09 | |
-Pull back! -Shoot them! | 1:17:09 | 1:17:12 | |
-I'm out! -Shoot the gun! -Don't have any bullets! -Pull back! | 1:17:12 | 1:17:14 | |
-What do you mean, you got no bullets?! -Pull back! | 1:17:14 | 1:17:17 | |
Hit it! | 1:17:23 | 1:17:25 | |
Hit the son of a bitch! | 1:17:25 | 1:17:26 | |
Unh! | 1:17:26 | 1:17:27 | |
Aah! | 1:17:27 | 1:17:29 | |
Oh! Oh! Unh! | 1:17:29 | 1:17:32 | |
Get off! Off! Take a bus! | 1:17:33 | 1:17:36 | |
Aah! | 1:17:38 | 1:17:39 | |
Whoa! | 1:17:41 | 1:17:43 | |
-No! -Unh! -Oh! Oh! | 1:17:47 | 1:17:50 | |
Whup his ass! | 1:17:53 | 1:17:55 | |
Yeah! | 1:17:57 | 1:17:59 | |
Oh! | 1:18:05 | 1:18:06 | |
THUMPING: Aah! Get off! | 1:18:07 | 1:18:10 | |
THEY YELL | 1:18:12 | 1:18:15 | |
No! No! Get him! Kill him! | 1:18:18 | 1:18:20 | |
Shoot him! Do something! | 1:18:20 | 1:18:22 | |
I got glass in my ass! | 1:18:22 | 1:18:24 | |
I want to go to Jersey! I want to see my girl! | 1:18:26 | 1:18:31 | |
I want to watch Oprah! | 1:18:31 | 1:18:33 | |
Put your head in the car! Put your head in the damn car! | 1:18:39 | 1:18:43 | |
He's whupping your ass! | 1:19:05 | 1:19:08 | |
No! No! | 1:19:10 | 1:19:11 | |
Take it! | 1:19:19 | 1:19:21 | |
Back up! Come on! Back up! | 1:19:27 | 1:19:30 | |
OK, OK, I'm backin' up! | 1:19:30 | 1:19:32 | |
Get the bomb! Get the bomb! | 1:19:37 | 1:19:39 | |
-Faster! -Oh, yeah! | 1:19:39 | 1:19:42 | |
Oh! | 1:19:42 | 1:19:43 | |
No! No! Do something! I want my money! | 1:19:45 | 1:19:49 | |
Aah! Aah! | 1:19:49 | 1:19:51 | |
Aah! I hate you! | 1:19:51 | 1:19:55 | |
I hate you! | 1:19:55 | 1:19:57 | |
Urgh! | 1:19:57 | 1:20:00 | |
Oh. | 1:20:00 | 1:20:01 | |
I don't know about you... | 1:20:08 | 1:20:11 | |
..but I'm hungry. | 1:20:11 | 1:20:12 | |
-YATES: -Someone give me some good news. | 1:20:12 | 1:20:15 | |
Yeah. He successfully downloaded the arming codes into the computer. | 1:20:15 | 1:20:18 | |
They still have the computer. | 1:20:18 | 1:20:20 | |
True. But he's put his retinal signature in. | 1:20:20 | 1:20:22 | |
"Welcome, Michael Turner." | 1:20:23 | 1:20:26 | |
Try again. | 1:20:29 | 1:20:32 | |
-YATES: -So obviously they can't access it without Jake. | 1:20:38 | 1:20:41 | |
-And when they figure that out? -What do we do now, sir? | 1:20:41 | 1:20:43 | |
Have to make sure that Jake's eyes don't meet that computer screen. | 1:20:43 | 1:20:46 | |
-Wrong. -Wrong? | 1:20:46 | 1:20:47 | |
Sir, eventually someone will break the lock and access the code with or without Jake. | 1:20:47 | 1:20:51 | |
So, basically... | 1:20:51 | 1:20:52 | |
We must find them before that happens. | 1:20:52 | 1:20:54 | |
Well...there is the obvious way to flush them out. | 1:20:54 | 1:20:58 | |
-We dangle him? -No. We give him a wire, they pick him up, he gives us the signal, we seize the nuke. | 1:20:58 | 1:21:02 | |
Look, if his eyes get anywhere near that computer, | 1:21:02 | 1:21:04 | |
we take everyone out, including him. | 1:21:04 | 1:21:06 | |
I need an executive finding from the President immediately. | 1:21:06 | 1:21:09 | |
So, he's expendable, is that it? | 1:21:09 | 1:21:11 | |
You need to get the subject onboard. You tell him whatever you want. | 1:21:11 | 1:21:14 | |
"Subject." | 1:21:14 | 1:21:15 | |
Oakes, we both know this is the only way. | 1:21:15 | 1:21:18 | |
Yeah. | 1:21:18 | 1:21:20 | |
No! No! It ain't happenin'! | 1:21:20 | 1:21:22 | |
No! | 1:21:22 | 1:21:24 | |
You want me to be your little worm on a hook! | 1:21:24 | 1:21:27 | |
They never heard of Jake Hayes! | 1:21:27 | 1:21:29 | |
They don't even know I exist! | 1:21:29 | 1:21:31 | |
Just let me go back to Jersey, get my girl, and disappear! | 1:21:31 | 1:21:34 | |
Hey, man, I'm sorry I'm not Kevin, | 1:21:35 | 1:21:40 | |
but even Kevin didn't make it out of this alive. | 1:21:40 | 1:21:43 | |
Will you let me show you something? | 1:21:43 | 1:21:45 | |
No! | 1:21:45 | 1:21:47 | |
That's Jersey. So what? | 1:21:48 | 1:21:51 | |
OK, let's look at where you live, for example. | 1:21:53 | 1:21:55 | |
Where Julie lives, your foster mother. | 1:21:55 | 1:21:57 | |
These people have a nuclear bomb, Jake. | 1:21:57 | 1:22:01 | |
The blast alone will kill thousands. | 1:22:02 | 1:22:04 | |
Then comes the shock wave, | 1:22:04 | 1:22:06 | |
blowing away buildings, tunnels, bridges, | 1:22:06 | 1:22:09 | |
and then comes our old friend, radiation, | 1:22:09 | 1:22:11 | |
spread by wind and water, | 1:22:11 | 1:22:12 | |
infecting the living and the unborn. | 1:22:12 | 1:22:15 | |
I think we - just you and me - might have a chance to stop it. | 1:22:17 | 1:22:21 | |
That's all I'm saying. | 1:22:21 | 1:22:23 | |
They've got us in check, Mr Hayes, and... | 1:22:23 | 1:22:27 | |
we can't let them get checkmate, can we? | 1:22:27 | 1:22:30 | |
Look... | 1:22:31 | 1:22:33 | |
The way I see it, you only got three moves. | 1:22:33 | 1:22:38 | |
Attack... | 1:22:38 | 1:22:40 | |
retreat... | 1:22:40 | 1:22:42 | |
or block. | 1:22:42 | 1:22:45 | |
You can't attack, cos you don't know where they are. | 1:22:45 | 1:22:48 | |
Retreat? Boom. | 1:22:48 | 1:22:51 | |
Then we block. | 1:22:51 | 1:22:53 | |
You could block... | 1:22:53 | 1:22:56 | |
but you only got one piece left... | 1:22:56 | 1:23:00 | |
and that's a pawn. | 1:23:00 | 1:23:03 | |
Sir, these gentlemen wish to see Mr Turner's phone records. | 1:23:03 | 1:23:07 | |
Mr Turner's phone records are sealed. | 1:23:07 | 1:23:11 | |
Unh! | 1:23:12 | 1:23:14 | |
Mr Turner made one phone call to the United States, | 1:23:18 | 1:23:21 | |
to Jersey City, New Jersey. | 1:23:21 | 1:23:24 | |
Hey! What? No! Ow! Help! | 1:23:28 | 1:23:31 | |
-Go, go, go! -Help! | 1:23:31 | 1:23:33 | |
What do you want? Just take whatever you want! | 1:23:33 | 1:23:36 | |
Shush, shush, shush. | 1:23:36 | 1:23:39 | |
What is your connection to Michael Turner? | 1:23:39 | 1:23:41 | |
I-I don't know a Michael Turner! | 1:23:41 | 1:23:43 | |
I don't... Who? | 1:23:43 | 1:23:45 | |
Him. | 1:23:45 | 1:23:46 | |
That's my boyfriend. That's Jake. | 1:23:46 | 1:23:50 | |
Did he sell you bad tickets? | 1:23:50 | 1:23:52 | |
JAKE: Y'all still there, right? | 1:23:58 | 1:24:00 | |
Yes, we're still here, Mr Hayes. | 1:24:00 | 1:24:02 | |
Y'all got guns, right? | 1:24:02 | 1:24:04 | |
Yes, we have guns, Mr Hayes. | 1:24:04 | 1:24:06 | |
OK. Make sure you got bullets in 'em. | 1:24:06 | 1:24:10 | |
Mm-hmm. Lots of bullets. | 1:24:10 | 1:24:12 | |
TELEPHONE RINGS | 1:24:14 | 1:24:19 | |
Answer the phone, Mr Hayes. | 1:24:22 | 1:24:24 | |
Michael Turner Antiques. | 1:24:26 | 1:24:28 | |
-JULIE: -'Jake?' | 1:24:28 | 1:24:30 | |
Julie! How d'you find me? | 1:24:30 | 1:24:32 | |
Michael Turner? | 1:24:32 | 1:24:33 | |
'Who's this?' | 1:24:33 | 1:24:35 | |
Or should I call you Jake, Mr Hayes? | 1:24:35 | 1:24:38 | |
You have one chance of seeing this woman alive. | 1:24:38 | 1:24:41 | |
Take the next plane to New York. | 1:24:41 | 1:24:43 | |
Return to your apartment in New Jersey | 1:24:43 | 1:24:45 | |
and wait till I call you. | 1:24:45 | 1:24:47 | |
If you are followed, she will die. | 1:24:47 | 1:24:49 | |
If you attempt to involve any authorities, she will die. | 1:24:49 | 1:24:52 | |
Just let me talk to her! | 1:24:52 | 1:24:54 | |
Hello? Hello?! | 1:24:54 | 1:24:56 | |
-Sorry. -You used Julie! She was your pawn, right? | 1:24:59 | 1:25:03 | |
-No. -So all this bullshit about being something bigger than you and me | 1:25:03 | 1:25:06 | |
-meant something bigger than me and Julie, right? -Will you let me explain? | 1:25:06 | 1:25:09 | |
Just get me on the goddamn plane. | 1:25:09 | 1:25:11 | |
MAN: Go! Let's go! Set up in that corner! | 1:25:25 | 1:25:28 | |
It's gotta come up now. Now! | 1:25:37 | 1:25:40 | |
Notify all units... All right. | 1:25:40 | 1:25:42 | |
Yeah. | 1:25:42 | 1:25:44 | |
I'm injecting a spread-spectrum transceiver behind your ear. | 1:25:44 | 1:25:48 | |
So we'll hear what you hear, | 1:25:48 | 1:25:50 | |
and if they take you to the bomb, we'll know it. | 1:25:50 | 1:25:52 | |
-Hold still, please. -Aah! Come on, man! You can't put that in a flower? | 1:25:52 | 1:25:56 | |
It'd be too obvious. | 1:25:56 | 1:25:58 | |
STATIC CRACKLES | 1:25:58 | 1:26:01 | |
Now, I'll be linked to you the whole time. | 1:26:01 | 1:26:03 | |
-That's it. Good luck. -There's something I ought to tell you. | 1:26:03 | 1:26:07 | |
I know. If the situation gets out of hand, | 1:26:07 | 1:26:09 | |
they can take me and Julie out. | 1:26:09 | 1:26:11 | |
Don't worry, son. | 1:26:11 | 1:26:13 | |
There'll be extra money in this mission. | 1:26:13 | 1:26:15 | |
Now, first of all, I'm not your son. Second of all, did it ever occur to you that I might want to do something | 1:26:15 | 1:26:19 | |
cos it's the right thing? Hey, I'm the one with the dead brother, I'm the one who misses his girl, | 1:26:19 | 1:26:24 | |
and I'm supposed to put up with your shit cos you're a spy? Big deal! Every woman on the planet's a spy! | 1:26:24 | 1:26:28 | |
Man, you guys can't even find Saddam Hussein. If you told a woman, right now, at eight in the morning, | 1:26:28 | 1:26:33 | |
that her husband was sleeping with Saddam Hussein, she'd be able to find Saddam by eight that night, and say, | 1:26:33 | 1:26:37 | |
"Saddam, don't you ever come around my house no more!" Hey, I did you a favour, OK? | 1:26:37 | 1:26:42 | |
YOU called ME! | 1:26:42 | 1:26:44 | |
Now, if you ever talk down to me again, | 1:26:44 | 1:26:46 | |
I will beat your ass so bad, you'll be the only guy in heaven with a wheelchair. | 1:26:46 | 1:26:49 | |
You'd better act right before you get smacked right, bitch. | 1:26:49 | 1:26:53 | |
SIREN WAILS | 1:26:53 | 1:26:55 | |
All right, the show's over. Go back to work. | 1:26:57 | 1:27:00 | |
Bomb on American soil. That's a nightmare we've always talked about. | 1:27:09 | 1:27:12 | |
How do you think they got it here? | 1:27:12 | 1:27:14 | |
You'd be surprised what you can send by air freight. | 1:27:14 | 1:27:16 | |
Did we? | 1:27:21 | 1:27:22 | |
Did we use his girlfriend, huh? | 1:27:22 | 1:27:26 | |
No, but I'm sure Yates would, if he thought of it. | 1:27:26 | 1:27:28 | |
TELEPHONE RINGS | 1:27:30 | 1:27:33 | |
Hello? | 1:27:33 | 1:27:34 | |
Listen closely. | 1:27:34 | 1:27:36 | |
No, no, YOU listen closely! I gotta hear her voice! | 1:27:36 | 1:27:40 | |
-I want to hear her voice right now. -You are in no position to make demands, Mr Hayes. | 1:27:40 | 1:27:45 | |
But if it gives you pleasure... | 1:27:45 | 1:27:48 | |
Aah! | 1:27:48 | 1:27:50 | |
No, no! Don't hurt her! Tell me what you want! | 1:27:50 | 1:27:54 | |
They want him to wait outside his apartment for a car to pick him up. | 1:27:54 | 1:27:57 | |
We've initiated positions to set up a tail. | 1:27:57 | 1:27:59 | |
-How do they shake us? -We can assume they think we're shadowing him. | 1:27:59 | 1:28:02 | |
Right. So they may move him ten, 20 times | 1:28:02 | 1:28:04 | |
before they think they've lost us. | 1:28:04 | 1:28:06 | |
OK, we got the grey Ford van. | 1:28:20 | 1:28:22 | |
-Grey Ford van. -I wish we didn't have to do it this way. | 1:28:22 | 1:28:26 | |
Well, I'm sorry if my plan lacks the perfect precision with which you've handled the case so far. | 1:28:26 | 1:28:30 | |
HE STARTS CAR ENGINE | 1:28:32 | 1:28:34 | |
Radiation detection units are scouring the city, | 1:28:44 | 1:28:47 | |
and we've issued portable AVG spectrometers | 1:28:47 | 1:28:49 | |
to all surveillance teams. | 1:28:49 | 1:28:51 | |
We need to talk worst-case scenario. | 1:28:53 | 1:28:56 | |
Evacuation readiness. Let's have the national guard standing by. | 1:28:56 | 1:28:59 | |
National guard, this is com centre 4. | 1:29:00 | 1:29:02 | |
'Stand by for instruction. | 1:29:02 | 1:29:04 | |
'Roger that, com centre 4. Standing by.' | 1:29:04 | 1:29:06 | |
They're pulling into the abandoned St Francis hospital, sir. | 1:29:38 | 1:29:41 | |
Take positions. | 1:29:43 | 1:29:44 | |
We have six viable entry points. | 1:29:46 | 1:29:48 | |
Move. | 1:29:52 | 1:29:53 | |
Where's Julie? | 1:30:01 | 1:30:02 | |
Quiet. Do as you're told. | 1:30:02 | 1:30:05 | |
Where's Julie? | 1:30:20 | 1:30:22 | |
-I hope you're going to play ball with us. -That's Dragan. | 1:30:22 | 1:30:25 | |
Hey, man, I ain't doing shit till I find Julie. | 1:30:29 | 1:30:31 | |
Oh. | 1:30:31 | 1:30:32 | |
-Aah! -What the hell was that? | 1:30:34 | 1:30:37 | |
Unh. Ohh... | 1:30:37 | 1:30:40 | |
We've lost the audio with Hayes, sir. | 1:30:43 | 1:30:44 | |
-All right, we move to the contingency plan. -Yes, sir. | 1:30:44 | 1:30:47 | |
We can't afford to take any chances here. Hit your entry points hard on my command. | 1:30:47 | 1:30:51 | |
If it breathes, it dies. | 1:30:51 | 1:30:52 | |
Hold it. I think we've got something. | 1:30:59 | 1:31:01 | |
Entry teams, pull back, pull back. | 1:31:01 | 1:31:02 | |
-'Entry teams, pull back.' -Here he comes. | 1:31:02 | 1:31:05 | |
Get in. | 1:31:06 | 1:31:08 | |
OK, they're moving him. Everything's going according to plan. | 1:31:13 | 1:31:16 | |
Back on plan, people! | 1:31:16 | 1:31:18 | |
Keep your distance, folks. | 1:31:21 | 1:31:23 | |
They may do this dance all day long. | 1:31:23 | 1:31:26 | |
Get up! | 1:31:26 | 1:31:27 | |
Well, you're on your own now, Mr Hayes. | 1:31:29 | 1:31:32 | |
Sir, I'm getting a signal back with Hayes. | 1:31:33 | 1:31:36 | |
-See if you can clean it up. -Will do, sir. I'm heading down to communications central. | 1:31:36 | 1:31:41 | |
Looks like they're heading back to Jersey. | 1:31:53 | 1:31:55 | |
Wonder what the hell they're doing. | 1:31:55 | 1:31:57 | |
Sir, what are you doing? | 1:32:06 | 1:32:08 | |
Your eyes are going to activate this computer. | 1:32:12 | 1:32:15 | |
The only question is, will they still be in your head? | 1:32:15 | 1:32:21 | |
Where's Julie? | 1:32:21 | 1:32:23 | |
Oh, she's lovely. | 1:32:23 | 1:32:25 | |
And she will stay that way if you cooperate. | 1:32:25 | 1:32:29 | |
Open your eyes, Mr Hayes, and look into the computer. | 1:32:32 | 1:32:35 | |
-'Open your damn eyes.' -'No!' | 1:32:35 | 1:32:38 | |
They're trying to scan his eyes. Jesus Christ, the bomb is in the van. | 1:32:38 | 1:32:42 | |
Entry teams, the van is hot. Move now! | 1:32:42 | 1:32:44 | |
Cut away his eyelids. | 1:32:44 | 1:32:45 | |
Aaah! | 1:32:52 | 1:32:53 | |
Sir, they're gonna take out Jake. What are we doing? | 1:33:09 | 1:33:12 | |
-It isn't Jake. -How do you know? -They had to have a decoy. | 1:33:12 | 1:33:14 | |
Bring the subject out with a bag over his head, you do the math. | 1:33:14 | 1:33:18 | |
Faster! Go! | 1:33:20 | 1:33:22 | |
Hold your fire! | 1:33:40 | 1:33:42 | |
Subject is down. | 1:33:50 | 1:33:52 | |
'Repeat, Jake Hayes is down.' | 1:33:52 | 1:33:54 | |
It's not him. | 1:34:01 | 1:34:02 | |
'The bomb's not here.' | 1:34:02 | 1:34:04 | |
RECITES NUMBERS IN GREEK | 1:34:16 | 1:34:20 | |
It's done. | 1:34:35 | 1:34:36 | |
Thank you. | 1:34:45 | 1:34:47 | |
I'll see you on the other side. | 1:34:47 | 1:34:49 | |
Did you use the password? | 1:34:58 | 1:35:00 | |
Password? | 1:35:00 | 1:35:01 | |
Hey, I don't speak terrorist, | 1:35:01 | 1:35:03 | |
but I only counted eight numbered sequences, | 1:35:03 | 1:35:07 | |
and you're gonna need the seven-letter password to activate the mechanism. | 1:35:07 | 1:35:11 | |
HE SPEAKS NATIVE LANGUAGE | 1:35:15 | 1:35:18 | |
Bullshit. | 1:35:26 | 1:35:27 | |
No, see, that's... that's eight letters. | 1:35:27 | 1:35:30 | |
There's no password. The bomb is already armed. | 1:35:30 | 1:35:35 | |
-Hi. -What took you so long? I almost killed somebody. -Did they arm the bomb? | 1:35:47 | 1:35:51 | |
Yeah. This one just called in the enabling codes. I gotta find Julie. | 1:35:51 | 1:35:54 | |
OK, the bomb is hot. | 1:35:56 | 1:35:58 | |
There's a fail-safe master built into the detonator. Should give us a short countdown period. | 1:35:58 | 1:36:02 | |
-How short? -On the outside, 20 minutes. | 1:36:02 | 1:36:04 | |
-What's the inside? -Five to ten. | 1:36:04 | 1:36:06 | |
-Did they say where the bomb was? -No. She's not here. | 1:36:07 | 1:36:10 | |
-When we find the bomb, we'll find her. -Did they say anything? Just think. | 1:36:10 | 1:36:15 | |
Try and remember. Come on. | 1:36:15 | 1:36:17 | |
-Think. -Redial! | 1:36:17 | 1:36:19 | |
They called in the codes. They called in the codes! | 1:36:19 | 1:36:22 | |
OK, hold on. Gimme the address to this number... | 1:36:22 | 1:36:24 | |
-431-974. -I need this address. Listen, listen. | 1:36:24 | 1:36:28 | |
Take me that address. I need it now, not later. Now! | 1:36:28 | 1:36:33 | |
OK, it's coming up. It's coming, yeah. | 1:36:33 | 1:36:35 | |
Listen up, folks. 89 East 42nd Street. | 1:36:35 | 1:36:39 | |
89 East 42nd. | 1:36:39 | 1:36:40 | |
Wait a minute. That's Grand Central Station! | 1:36:40 | 1:36:42 | |
That's three blocks from here. Come on! | 1:36:42 | 1:36:44 | |
Support can move out and be there in 20 minutes. | 1:36:44 | 1:36:47 | |
Get out of the way! | 1:36:47 | 1:36:48 | |
SEALE: CIA. Coming through. Out of the way. | 1:36:48 | 1:36:51 | |
Move, move. | 1:36:51 | 1:36:53 | |
Get out of the way! Go! Get out of the way! | 1:36:55 | 1:36:58 | |
Get out of the way! Get out of the way! | 1:36:58 | 1:37:02 | |
Move it! Move it! Get out of the way! | 1:37:02 | 1:37:04 | |
Move it, move it! Out of the way! Move it! Move it! Out of the way! | 1:37:04 | 1:37:07 | |
All right, the call originated from over there. | 1:37:07 | 1:37:09 | |
Could be anywhere. This is one hell of a place to blow up. | 1:37:09 | 1:37:12 | |
Times Square is a few blocks away. Power grids... | 1:37:12 | 1:37:14 | |
The whole infrastructure of the city could collapse. | 1:37:14 | 1:37:16 | |
-I'm getting something here. -What's that? -This is a low-energy gamma scintillation probe. | 1:37:16 | 1:37:20 | |
-Yeah, I left mines at home. -The case is lined with lead. | 1:37:20 | 1:37:23 | |
We'd only get a hit if we're within 100 square yards. | 1:37:23 | 1:37:25 | |
-But we got a hit, right? -Yeah, well, the autorange indicates it's here. | 1:37:25 | 1:37:29 | |
-In here? Where? Here where? -It's right here. The signal is constant. | 1:37:29 | 1:37:33 | |
It's under us! Come on, let's go, let's go! | 1:37:33 | 1:37:35 | |
TANNOY: Please evacuate the building. | 1:37:35 | 1:37:36 | |
JAKE: Get out of the way! Move! | 1:37:36 | 1:37:38 | |
-Signal's getting stronger. -CIA. Need your help. | 1:37:38 | 1:37:41 | |
Out of the way! Out of the way! | 1:37:41 | 1:37:43 | |
Out of the way! | 1:37:43 | 1:37:45 | |
Move, move, move! Move! This way! | 1:37:50 | 1:37:52 | |
This way! | 1:37:52 | 1:37:54 | |
-HAYES: Out of the way! -Come on! | 1:37:54 | 1:37:57 | |
-We're real close! -What's in there? -Lost luggage. -Open it. | 1:37:57 | 1:38:01 | |
This lock's been tampered with. | 1:38:06 | 1:38:08 | |
-Get away from the door! -Aah! | 1:38:08 | 1:38:10 | |
Aah! | 1:38:40 | 1:38:42 | |
Jake, get the bomb. I'll cover you. | 1:38:51 | 1:38:54 | |
Why don't you get the bomb, and I'll cover you? | 1:38:55 | 1:38:57 | |
OK, I'll get the bomb. | 1:38:59 | 1:39:01 | |
Jake, go, go! | 1:39:10 | 1:39:12 | |
Aah! | 1:39:19 | 1:39:22 | |
Julie! | 1:39:22 | 1:39:23 | |
No, no, hold on, hold on. | 1:39:25 | 1:39:26 | |
Aah. | 1:39:26 | 1:39:28 | |
Jake... | 1:39:31 | 1:39:33 | |
-Jake, where are you? -I'm coming! | 1:39:36 | 1:39:38 | |
It's in the final phase. Three minutes, then goodbye to Manhattan. | 1:39:38 | 1:39:41 | |
I need you here for the enabling codes. | 1:39:41 | 1:39:43 | |
You said if we found the bomb, we'd find Julie. | 1:39:43 | 1:39:45 | |
-I need you here now! Come on! -Jake, I'll find her. | 1:39:45 | 1:39:47 | |
-Ohh... -You're bleeding, man! | 1:39:47 | 1:39:50 | |
-You're bleeding! -Now listen to me. | 1:39:50 | 1:39:53 | |
When they scanned your eyes, you saw the codes. | 1:39:53 | 1:39:55 | |
Try and remember them. | 1:39:55 | 1:39:57 | |
Whenever I hear numbers, my head converts them into chess moves | 1:39:57 | 1:39:59 | |
or seats at the garden. | 1:39:59 | 1:40:01 | |
That's the only way I can remember. | 1:40:01 | 1:40:02 | |
Take your time. Just relax. | 1:40:02 | 1:40:05 | |
You know the codes. You can do it. I know you can. | 1:40:05 | 1:40:07 | |
OK, queen's bishop 3. | 1:40:07 | 1:40:09 | |
Across from mezzanine section... | 1:40:11 | 1:40:14 | |
3...0...4! | 1:40:14 | 1:40:18 | |
OK, let's see... | 1:40:18 | 1:40:20 | |
I saw a queen's bishop 3, aisle seat in section... | 1:40:20 | 1:40:24 | |
142. 142. | 1:40:24 | 1:40:26 | |
-Two more to go. -OK, I think I got it. DOOR OPENS | 1:40:26 | 1:40:30 | |
Did you find her? GUNSHOT | 1:40:32 | 1:40:34 | |
JULIE WHIMPERS | 1:40:34 | 1:40:36 | |
Touch that bomb, she dies. | 1:40:40 | 1:40:43 | |
Keep going, Jake. The bomb goes off, everybody dies. | 1:40:43 | 1:40:46 | |
Two more numbers. | 1:40:46 | 1:40:48 | |
You'll learn what death is. | 1:40:48 | 1:40:50 | |
Your country grows fat while people all over the world starve. | 1:40:50 | 1:40:54 | |
'You stay at home, | 1:40:54 | 1:40:55 | |
'you watch our blood spilled on television...' | 1:40:55 | 1:40:58 | |
..war reduced to video games. | 1:40:59 | 1:41:01 | |
He's stalling, Jake. Enter the codes. Now! | 1:41:01 | 1:41:05 | |
'You take sides in conflicts you know nothing about,' | 1:41:05 | 1:41:08 | |
dictating to other people how they should live. | 1:41:08 | 1:41:11 | |
'You're so keen on playing God,' | 1:41:11 | 1:41:13 | |
well, now's your chance to meet him. | 1:41:13 | 1:41:16 | |
I'll give you three seconds, then I'll kill her. | 1:41:16 | 1:41:18 | |
Go ahead. | 1:41:18 | 1:41:19 | |
1... | 1:41:24 | 1:41:26 | |
..2... | 1:41:26 | 1:41:28 | |
No. I'll kill you. | 1:41:29 | 1:41:30 | |
Three! | 1:41:38 | 1:41:39 | |
SCREAMING Move, move, move! | 1:41:57 | 1:42:00 | |
-JULIE: -Jake... | 1:42:00 | 1:42:01 | |
Honey, I love you. Let me do this. | 1:42:01 | 1:42:03 | |
Rook 643. | 1:42:03 | 1:42:06 | |
OK, OK. One more, one more! | 1:42:06 | 1:42:09 | |
WOMEN SCREAM | 1:42:09 | 1:42:10 | |
One more. | 1:42:14 | 1:42:15 | |
A, B, C, D, E, F, G. HE MUTTERS | 1:42:19 | 1:42:22 | |
Move, move! | 1:42:24 | 1:42:25 | |
BEEP | 1:42:35 | 1:42:36 | |
BEEP | 1:42:37 | 1:42:38 | |
Well, that's done. | 1:42:43 | 1:42:44 | |
That's it? That's all it does, beep beep beep? | 1:42:44 | 1:42:49 | |
That's all we wanted it to do. | 1:42:49 | 1:42:51 | |
-EXPLOSION -Aah! | 1:42:52 | 1:42:54 | |
JAKE: It's all good. It's OK. | 1:42:54 | 1:42:56 | |
Clear, sir. Go ahead. Go! Go! | 1:42:56 | 1:42:58 | |
WOMAN: Once we seal this down, we'll need a medic. | 1:42:58 | 1:43:00 | |
-It's OK. It's OK. -Where's the bomb? | 1:43:00 | 1:43:02 | |
-Right here. -How much time do we got? | 1:43:02 | 1:43:04 | |
-Mr Hayes defused the bomb. -Don't worry. I've got you. | 1:43:04 | 1:43:07 | |
MAN: Oakes has been hit. | 1:43:07 | 1:43:08 | |
Stay with me. I love you. | 1:43:08 | 1:43:10 | |
-JULIE: -I missed you. -I missed you, too. | 1:43:10 | 1:43:12 | |
-People, we did it. -THEY CHEER | 1:43:12 | 1:43:15 | |
But which star is your brother's? | 1:43:23 | 1:43:25 | |
There are no names, Ma. Agent identities are never revealed, | 1:43:25 | 1:43:29 | |
even after they die. But they're all honoured right here. | 1:43:29 | 1:43:32 | |
Their names are written in this book, | 1:43:32 | 1:43:34 | |
their families sign it, | 1:43:34 | 1:43:36 | |
and then the pages are sealed forever. | 1:43:36 | 1:43:39 | |
-It's a book of forgotten heroes. -Nah, they're not forgotten. | 1:43:39 | 1:43:43 | |
Jake. | 1:43:43 | 1:43:45 | |
Hey. | 1:43:46 | 1:43:48 | |
Thanks for keeping me off that wall. | 1:43:48 | 1:43:49 | |
-Well, stay off of it. -All right. | 1:43:50 | 1:43:53 | |
Ma, this is from me and Julie. | 1:43:53 | 1:43:56 | |
I just hope it brings a little joy in your life. | 1:43:56 | 1:44:00 | |
-Oh, I knew you'd make me proud. -SHE LAUGHS | 1:44:01 | 1:44:04 | |
Oh, this is just such... | 1:44:04 | 1:44:07 | |
Oh, good Lord! | 1:44:08 | 1:44:10 | |
90,000... | 1:44:10 | 1:44:12 | |
No, that's the wrong one, ma. Here, this is yours. | 1:44:12 | 1:44:14 | |
This is for when we get married. | 1:44:14 | 1:44:16 | |
Ah... | 1:44:18 | 1:44:19 | |
Oh, 10,000 is much more than I need. | 1:44:19 | 1:44:23 | |
Then give some back. | 1:44:23 | 1:44:24 | |
Hey, honey, can you walk Ma to the car? | 1:44:25 | 1:44:28 | |
-I gotta talk to Oakes. -Yeah. | 1:44:28 | 1:44:29 | |
Congratulations on your engagement. | 1:44:38 | 1:44:40 | |
So I'll see you at the wedding, right? | 1:44:40 | 1:44:42 | |
Goodbye, Mr Hayes. | 1:44:44 | 1:44:46 | |
Oh, I see. | 1:44:49 | 1:44:50 | |
No personal attachments. | 1:44:50 | 1:44:52 | |
GUESTS CHEER AND SHOUT GOOD WISHES | 1:45:00 | 1:45:04 | |
-Jake, get this. -I got it. Oh, ho ho ho. | 1:45:06 | 1:45:11 | |
Hey! What's up? | 1:45:14 | 1:45:16 | |
Congratulations, Mr Hayes. | 1:45:19 | 1:45:22 | |
Oakes, you didn't RSVP. I figured weddings weren't your thing. | 1:45:22 | 1:45:26 | |
I'm on a new assignment. | 1:45:26 | 1:45:28 | |
Well, if you're supposed to be undercover at a black wedding, | 1:45:28 | 1:45:30 | |
I think you the wrong guy for the job. | 1:45:30 | 1:45:32 | |
An old friend of Kevin's escaped from Ryker's Island. | 1:45:32 | 1:45:34 | |
I don't care if he escaped from temptation island, | 1:45:34 | 1:45:37 | |
I'm not going nowhere. I just got married. Can't a brother get a piece of cake? | 1:45:37 | 1:45:40 | |
The guy who escaped is Carlos Palmeros, the world's foremost assassin. | 1:45:40 | 1:45:44 | |
I don't care if it's Carlos Santana, the world's foremost guitarist. | 1:45:44 | 1:45:47 | |
The world's foremost assassin. | 1:45:47 | 1:45:48 | |
That's like the Tiger Woods of murder! | 1:45:48 | 1:45:50 | |
Well, Kevin was responsible for putting him away. | 1:45:50 | 1:45:52 | |
The problem is, he thinks you're Kevin, | 1:45:52 | 1:45:54 | |
so he's coming after you to kill you. | 1:45:54 | 1:45:56 | |
Ohh! No, no, that's not happening. | 1:45:56 | 1:45:58 | |
That's not happening. I just got married, | 1:45:58 | 1:46:00 | |
I'm gonna go off with my wife, I'm gonna be happy for two years, | 1:46:00 | 1:46:03 | |
and I'm gonna be miserable for 90, just like everybody else. | 1:46:03 | 1:46:06 | |
I got you. I got you. | 1:46:08 | 1:46:10 | |
So there's no killer? | 1:46:11 | 1:46:12 | |
No. Not yet. | 1:46:12 | 1:46:14 | |
So you just came here for my wedding? | 1:46:14 | 1:46:17 | |
I wouldn't have missed it, not for the world. | 1:46:17 | 1:46:20 | |
Oh, I get it. So you and Swanson are next. | 1:46:20 | 1:46:22 | |
Me, no. I'm never getting married, not again. | 1:46:22 | 1:46:24 | |
Never gonna get married again. First thing you gotta learn is, | 1:46:24 | 1:46:27 | |
don't take your girlfriend to a wedding. | 1:46:27 | 1:46:28 | |
We may need to call on you in the future. | 1:46:28 | 1:46:31 | |
It's your wedding present. From us at the agency. | 1:46:31 | 1:46:34 | |
Two tickets to Hawaii! | 1:46:36 | 1:46:38 | |
I can't take this, Oakes. | 1:46:40 | 1:46:41 | |
Jake, sweetie, come on! | 1:46:41 | 1:46:44 | |
Your wife is calling you, Mr Hayes. | 1:46:45 | 1:46:47 | |
Husband. | 1:46:47 | 1:46:48 | |
Get in the car...bitch. | 1:46:48 | 1:46:51 | |
Hey, Oakes! | 1:46:57 | 1:46:59 | |
Never say never. | 1:46:59 | 1:47:01 | |
# I'm all out of love | 1:47:01 | 1:47:03 | |
# I'm so lost without you | 1:47:03 | 1:47:05 | |
# I know you were right | 1:47:05 | 1:47:07 | |
# believing for so long | 1:47:07 | 1:47:10 | |
# I'm all out of love what am I without you? | 1:47:10 | 1:47:14 | |
# I can't be too late to say that I was so wrong... # | 1:47:14 | 1:47:18 | |
MUSIC: "Breathe In, Breathe Out" By Ali, featuring St Lunatics | 1:47:22 | 1:47:30 |