Patriot (2015) s02e01 Episode Script
American Dimes
1 Iran's program is dormant now, and this guy wants to keep it that way.
This guy does not.
TOM: We're gonna try to buy this election.
We've got the guy to do that, we just need you to get him the money, and then come and go from Iran in the fall to make sure that it gets to where we need it.
How? TOM: McMillan is an oil infrastructure engineering firm.
This project's gonna play out in two places: Iran and Luxembourg.
McMillan comes and goes both places.
All you got to do is bring a bag of money from "A" to "B," John.
It's never easy like that.
Any time you're ready, there, Lakeman.
I'm gonna have to check this bag.
Thank you.
Yeah.
TOM (OVER PHONE): Our guy? The bag? Gone.
He never landed in Iran.
He doesn't seem to have left Luxembourg.
I authorized the illegal use of American money to influence a foreign election, then I gave the money to the bad guy, and he's gonna use that money to put Iran back on the path to active.
Their weapons program.
The physicist's wife, she's going to get the money.
He doesn't have the bag.
Bag got away from him.
TOM: How? He had one transfer, "A" to "B.
" JOHN: I've been told that before, on occasion.
TOM: At this point, we had a strong expectation that we would recover the bag.
The only real impediment to recovery and reestablishing the plan was the guy with the girl's name.
LESLIE: Let's come together, then let's head off to Luxembourg a fortified unit, and get this goddamn Denon deal done.
Except for Lakeman, who's simply not going.
Ah! Jesus.
You shot me in the fucking face! - What is this? - NURSE: Morphine, for the pain.
It feels like flying on a magic carpet.
What are you worried about, hon? He's not okay.
GREGORY: Are you getting the recommended eight hours of sleep, John? - No.
- What are you getting? Much less.
GREGORY: Like, how many hours? JOHN: Like, no hours.
TOM: The girl gets out in 25 minutes, with the bag.
JOHN: Excuse me.
That's my bag.
Where's the the money? I left it back there.
In the police building.
Next to the lion.
DENNIS: Yeah, what? The police station.
Now, Dennis, go now.
Cause a distraction.
If you let me board, you can leave, here, these things you've been doing that make you sad, John.
Whatever is burdening you.
And go wherever else you'd like.
And nothing that you did here will follow.
(PHONE VIBRATING) Hello.
TOM: Something's happened, John.
Your brother, he's been taken, they want the bag.
Bring it in.
JACK: I need 18 rolls of dimes.
TELLER: Dimes? JACK: Dimes, yeah.
TELLER: What's a dime? JACK: A coin.
TELLER: Specifically? JACK: Specifically, ten cents.
A ten cent coin, ma'am.
Dimes.
These are heavier.
TELLER: Than what? Than American dimes.
They're not American dimes.
They're centimes.
They're European coins worth ten cents.
Because you're in Europe.
Fuck.
EDWARD: Dad, they want they want the money.
The money John got today.
(TRAIN RUMBLING) (PHONE VIBRATING) Hello? (MYNA CONTINUES SPEAKING INDISTINCTLY) WOMAN: Whack a lady on the head? With a sock full of dimes? What? Yeah, that was the plan.
In the event that this lady got the bag.
I was what you'd call a fail-safe, if this lady got the bag.
Then the plan changed.
In what sense? In the sense that a different lady got the bag.
Can you back up a little? Well, he came to me for help.
In Luxembourg? In Milwaukee.
The night before they departed for Luxembourg, he came to my house.
And asked for help? Yeah.
Why you? I don't know the answer to that.
What did you tell him? I told him I didn't think I could be of much help to him, in, um the state I was in then.
And his response? He asked if I was better than nothing.
Which I guess was what he had, in terms of help.
And your response to that? I thought about it for a while.
About whether you were better than nothing? Yeah.
Then I asked him if I could take a walk around the block and think about it, because I just couldn't say in those moments.
And your conclusion? Well, on my walk, I stopped wondering about that in particular.
And I started thinking about something else in particular.
Which was? Which was how the kid just really looked like he needed help, I guess.
(PANTING) ("SURE SHOT" BY BEASTIE BOYS PLAYING) 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Mike D, come and rock the sure shot I've got the brand-new doo-doo Guaranteed like Yoo-hoo I'm on like Dr.
John, yeah, Mr.
Zu Zu I'm a newlywed, I'm not a divorcée, yeah And everything I do is funky like Lee Dorsey Well, it's The Taking of the Pelham One Two Three If you want a doo-doo rhyme, then come see me I've got the savoir faire with the unique rhymin' I keep it on and on, it's never quittin' time and Strictly handheld is the style I go Never rock the mic with the pantyhose I strap on my ear goggles and I'm ready to go 'Cause at the boards is the man they call the Mario Pull up at the function and you know I Kojak To all the party people that are on my bozack I've got more action than my man John Woo And I've got mad hits like I was Rod Carew, yeah Because you can't, you won't, and you don't stop Because you can't, you won't, and you don't stop Oh, well, you can't, you won't, and you don't stop I keep my underwear up with a piece of elastic Use a bullshit mic that's made out of plastic To send my rhymes out to all the nations Like Ma Bell, I got the ill communication 'Cause you can't, you won't, and you don't stop 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Keep on and rockin' the sure shot.
(TRAIN RUMBLING) JOHN: What, man? JACK: I don't know, John.
These dimes I got this afternoon, they're not like American dimes, man.
JOHN: What're you talking about? American dimes are the smallest of all our coins.
Yet, they have greater value.
They make sense here, - I didn't know that.
- Jack, get the money.
They're bigger than pennies and nickels, so they're heavier, man.
I don't know what I'm holding here.
I've never hit anyone in the head with European dimes, man.
I don't want to kill anyone.
And fucking lay off, John.
You told me I'd be following some broad in a hijab, not a homicide detective.
I never even made detective.
(QUIETLY): Hit her less hard than you usually hit people.
Yeah, but how much? I don't want to do it too light, man.
Then she's just standing there, looking back at me, uh, says "ow," then arrests me.
I haven't done a dry run with these.
I worked up a nice touch over the years with American dimes.
I just wish I was back home, John, that's all.
And I think the lady knows I'm an American.
I'm bigger than everything here.
JOHN: Yeah, well, fuck, Birdbath.
Maybe do something besides making wishes.
That's not gonna help me.
Fucking get with it, man.
'Cause I'm gonna have to do something if you don't do something.
(PHONE VIBRATING) Hello? LUCIE (ON PHONE): You received a call late yesterday from Detective Agathe Albans? - I did, yes.
- Concerning? Concerning the mysterious young asshole, John Lakeman.
Hmm LESLIE: I would just like to know who you really are, you know? Only child.
Oh, well, okay.
Okay.
- I have two boys.
- Nice.
My son is not who you think he is, Leslie.
He's a good boy.
Maybe you could give the kid a break, from one old tugboater to another.
Nope.
LESLIE: Paris? MARCUS: Yeah.
- Wh - CHILD (ON PHONE): Mama? - Who's that? - Eric, my son.
- Son? - You woke him up, too.
(STAMMERS) Man, oh, man.
Wow, pal.
MARCUS: Yeah.
It's 5:00.
You're waking everyone up.
Can you call me later? Well, are are you sure you don't have a a minute here? It won't take long.
It's just I just need enough time, Marcus, to, uh Well, son, I I I just need enough time to say I'm sorry, son.
Can I come and see you? I want to come and see you.
Please, pal? And the boy and your wife.
Marcus, I'm clean and sober, and I have been for a long while.
And I run McMillan now, and things are almost good.
Things are almost very good.
Except I want to come and see you, son.
I'll be in your neighborhood next week.
MARCUS: Okay, Dad.
Oh, great, pal.
I'll give you a call soon, and and we'll, uh, we'll set up a timeline.
MARCUS: Okay, Dad.
- Thank you, Marcus.
- (LINE CLICKS) (CHUCKLES SOFTLY) - (GUNSHOT) - Ah! Jesus.
Fuck.
Lakeman.
You shot me in the fucking face! (MORPHINE DRIPPING) ("CODY, CODY" BY THE FLYING BURRITO BROTHERS PLAYS) (SIGHS) Cody, Cody I hear you say I hear your voice Calling me away I'm not afraid To think of what I might find I will be yours Will you be mine? We've all been young We've all been old We've all been sheltered From the cold Come by my side And say what I think I already know I'm going away, don't you want to go? (TRAIN RUMBLING) (TRAIN RUMBLING) (KISSES) - JOHN: Hello? - JACK: You should have seen - what I just did.
- Do you have the money? JACK: Not yet, but I was so inconspicuous.
It was cool, man.
Jack, get the money.
They're going to the airport.
How the fuck am I gonna do this in an airport? And I'm gonna have to do something if I don't hear from you.
Passengers prepare to disembark.
("RIVER SONG" BY DENNIS WILSON PLAYS) All passengers must disembark at the terminal.
Walkin' down by the river Transfer train arrives in 40 minutes on Platform 3.
Water running Through my knees Ah River, oh, river, moves so free Ah Oh, mighty river endlessly Oh, mighty river I would love To be like you Oh, lonely river Has not got the time to say I was born into the city life It's all that I've ever known You know it's rough getting round this place So crowded I can hardly breathe You can only see about a block or two in L.
A.
That's the truth I'm looking for Some country life Some kicking room, no more city life I want the river Rollin', rollin' Rollin' on river I got to get away, I got to get away, I got to get away Rollin', rollin', rollin' on (PANTING) It breaks my heart To see the city I wonder why it ain't pretty Oh, I want to cry Want to cry Come on You've got to do it, do it, do it.
Can I get some sweatpants or something? Shut the fuck up! Whoa.
I I don't even know what I'm doing here.
I just came in to file a report.
Right there, my man! I've been interrogated already.
Not by me.
Well, I don't know anything about that.
Yeah.
He's an industrial engineer.
(SIGHS) (GRUNTING) Urgency and haste were a feature of every ensuing event, at this stage.
Matters had escalated.
In the calmer instances, before this? Last stop before Charles de Gaulle Airport.
Mistakes and errors were made due to decisions.
Say, for two people to intersect who shouldn't.
In this new area, this heightened phase of greater danger, due to the urgent need to move around, these dangerous convergences occurred due to shared, limited conditions.
Parallel needs.
If you needed to flee the greater area of, say, Luxembourg immediately, well, there are only 40 flights a day to Luxembourg.
There are 1,300 flights a day in and out of Paris.
So, if you're in jeopardy, and need to flee, or to reach this greater area, you go to Paris.
Where you will encounter you must necessarily encounter others who are in these same states of jeopardy and haste.
And these intersections, which you can no longer control or avoid, create conditions of exponential danger.
(LINE RINGING) (PHONE RINGING) (RINGING STOPS) You can't run Halfway away from home Yeah, I know it, man So I'm going But by the way I got something else to say I'd trade my soul with anyone else on this train I know there's a line On the inside of mine I know there's a shine That goes And I know I'm long gone And I keep going I'd trade my soul with anyone else on this train.
GREGORY: Lakeman's not answering his phone.
McClaren, either.
What's going on here? Something's going on here.
ALAN: The talon-hinged hook sluice heralds the dawn of a bold new age for tensile-threaded quench tempering across all 13 grades of hex-beveled waste drains and buckle-valved lock nut ductility.
Well, that's the long and the short of it, folks.
Thank you for your time.
(APPLAUSE) DENON OFFICIAL: Thank you, Galvanized United.
Joining us next, John Lakeman, of Milwaukee's McMillan Industrial Piping.
(APPLAUSE) Hey.
How are you? Cool.
I'm not John Lakeman.
He's a, um, a no-show.
No show here.
So I'm gonna take this one.
(WHISPERS): Fuck.
We do that, too.
Duckled Nut Stuff.
Only better, and with more cost efficiency.
(CLAPS HANDS) Probably.
(SIGHS) (WHISPERS): Fuck me.
Did my speech suck? It did, right? I think so, but I don't understand the technical side of your business.
Me neither.
So, John Lakeman.
Do you know his whereabouts? I wish I did.
He was supposed to make that fucking nut speech instead of me.
I know what you do.
I know what your dad tells you to do and I know you do it.
I don't care.
I'll leave, if it makes the thing you're doing harder.
I have a ticket back in three hours.
But I wanted to find you and say I don't care.
I love you.
Just finish, then come home.
We can still do everything we said.
We can go off alone, we can be together, we can have a family.
I love you, John.
Come with me.
(DOOR OPENS) (FOOTSTEPS APPROACHING) (SELMA GRUNTS) (MYNA SCREAMING) (MYNA CRYING) JOHN: We're a family.
What? We're a family, take her, hold her.
What? JOHN: Alice.
- (CRYING) - (SHUSHING) - Who the fuck are you calling? - (LINE RINGING) WOMAN (ON PHONE): Hello? Hello? Hi, Mom.
John? Yeah.
- Hey.
- Hey.
How are you? Pretty good.
(MYNA CRYING) (ALICE SHUSHES) It's okay.
(SHUSHING) It's okay.
(CRYING) Alice, you have to cover her mouth.
John And stop crying.
It's okay if she does, it's not if you are.
It'll draw attention.
- Please stop.
- (SHUSHING) WOMAN: This was the morning, the early morning, that the Paris Plan, as you've been calling it This was the early morning that you began to form the Paris Plan? Yes.
BARACK OBAMA (OVER TV): required to meet its security needs.
Iran's leaders should understand that I do not have a policy of containment.
I have a policy to prevent Iran from obtaining a nuclear weapon.
(APPLAUSE OVER TV) I will not hesitate to use force when it is necessary to defend the United States and its interests.
For America, for the world.
- Hey, Tom? - Yeah.
Why don't you just stop? And take responsibility, and let your son go home? Has that ever occurred to you? OBAMA: such talk has only benefited the Iranian government, - by driving up the price of oil.
- TOM: You should probably stay with us.
You think I'm gonna let her go? I think you should just stay with us.
She's waking up.
I'm gonna go sit with her in the car so she doesn't draw attention.
I think you're a coward.
Stay there, just for a moment.
I know all this seems extraordinary to you.
And it's unusual.
It is unusual, yes.
But it's not extraordinary for me, to be in these circumstances.
I'm, ordinarily, Alice, subjected to scrutiny, and suspected of transgressions like these.
That's my job.
It's also my job not to get caught.
And it's imperative I do my job.
(APPLAUSE ON TV) I have said that when it comes to preventing Iran from obtaining a nuclear weapon, I will take no options off the table, and I mean what I say.
(APPLAUSE ON TV) That includes all elements of American power.
He's not talking about the Navy.
Alice, honey, it a always feels like this.
OBAMA: And as we do, rest assured that the Iranian government will know our resolve.
(APPLAUSE ON TV) (DOOR CLOSES) You still have that little "Boy Wonder" guy? What are you talking about? Your little Robin.
- The normal guy who wants - Dennis.
- Yeah? - Yeah.
Get him here.
You want me to get him involved? He's already involved.
Birdbath.
He knows, too.
I should tell you everything.
Of course he does.
- Oh.
- What? - And Mom.
- Your mother? Yeah.
- Your mother knows? - Yeah.
- How? - I called her.
I don't know why.
Tonight.
- She's coming.
- Coming where? Here.
Your mother's coming here? Yeah.
(CHUCKLING): Fuck.
You have to keep this together.
You're s starting to get out of control, son.
If you can't keep this thing together, and get her back to us, soon, with that bag You're going to get this over with right away.
If you can't keep a hold on things with your wife here, and and the kid, uh, dog Jesus.
Your mother.
Half the company knows.
That's what you'll have to do if you can't get the money back from her in the next few days.
If you can't keep this in control You're just going to get it over with.
Well, how? You're going to kill him.
I just can't believe it.
Can't believe what? Glassblower.
Puppeteer.
Yeah, whatever.
She didn't want the money? No.
She just wanted the bag? - Yeah.
- (LAUGHING): I just I just don't believe it.
Yeah, well, that's what happened.
N nobody would do that.
Who would do that? Nobody would.
I know somebody who would.
But she just left.
(SIGHS) I knew I should have asked her for the keys.
I didn't want to hurt her feelings.
Well, it's just you and me, kid.
And a dog.
He won't leave.
Good boy.
Yeah, I don't know.
I think he's just been trained.
Hmm.
TOM: He's coming to Paris.
Tomorrow.
For the OPEC summit.
He has a compound in Paris.
JOHN: Sounds janky.
TOM: What's that? JOHN: Janky.
Killing a guy in a compound by myself.
Sounds janky.
What's the success rate of that, you think? TOM: Uh, I don't know.
Five percent? I don't know.
JOHN: That plan's on the other side.
TOM: Of what? JOHN: Of the Vantasner.
TOM: The Vantasner Danger Meridian? JOHN: Yeah.
TOM: Well, you're gonna start figuring out how to do it.
You start tomorrow.
JOHN: Doing what? TOM: There are 19,000 guns in Paris.
Get one.
(PHONE RINGING) Hello? AGATHE: You have my daughter? Yes.
Keep her.
("LE CRABE" BY FRANCOISE HARDY PLAYS) (WOMAN SINGING IN FRENCH)
This guy does not.
TOM: We're gonna try to buy this election.
We've got the guy to do that, we just need you to get him the money, and then come and go from Iran in the fall to make sure that it gets to where we need it.
How? TOM: McMillan is an oil infrastructure engineering firm.
This project's gonna play out in two places: Iran and Luxembourg.
McMillan comes and goes both places.
All you got to do is bring a bag of money from "A" to "B," John.
It's never easy like that.
Any time you're ready, there, Lakeman.
I'm gonna have to check this bag.
Thank you.
Yeah.
TOM (OVER PHONE): Our guy? The bag? Gone.
He never landed in Iran.
He doesn't seem to have left Luxembourg.
I authorized the illegal use of American money to influence a foreign election, then I gave the money to the bad guy, and he's gonna use that money to put Iran back on the path to active.
Their weapons program.
The physicist's wife, she's going to get the money.
He doesn't have the bag.
Bag got away from him.
TOM: How? He had one transfer, "A" to "B.
" JOHN: I've been told that before, on occasion.
TOM: At this point, we had a strong expectation that we would recover the bag.
The only real impediment to recovery and reestablishing the plan was the guy with the girl's name.
LESLIE: Let's come together, then let's head off to Luxembourg a fortified unit, and get this goddamn Denon deal done.
Except for Lakeman, who's simply not going.
Ah! Jesus.
You shot me in the fucking face! - What is this? - NURSE: Morphine, for the pain.
It feels like flying on a magic carpet.
What are you worried about, hon? He's not okay.
GREGORY: Are you getting the recommended eight hours of sleep, John? - No.
- What are you getting? Much less.
GREGORY: Like, how many hours? JOHN: Like, no hours.
TOM: The girl gets out in 25 minutes, with the bag.
JOHN: Excuse me.
That's my bag.
Where's the the money? I left it back there.
In the police building.
Next to the lion.
DENNIS: Yeah, what? The police station.
Now, Dennis, go now.
Cause a distraction.
If you let me board, you can leave, here, these things you've been doing that make you sad, John.
Whatever is burdening you.
And go wherever else you'd like.
And nothing that you did here will follow.
(PHONE VIBRATING) Hello.
TOM: Something's happened, John.
Your brother, he's been taken, they want the bag.
Bring it in.
JACK: I need 18 rolls of dimes.
TELLER: Dimes? JACK: Dimes, yeah.
TELLER: What's a dime? JACK: A coin.
TELLER: Specifically? JACK: Specifically, ten cents.
A ten cent coin, ma'am.
Dimes.
These are heavier.
TELLER: Than what? Than American dimes.
They're not American dimes.
They're centimes.
They're European coins worth ten cents.
Because you're in Europe.
Fuck.
EDWARD: Dad, they want they want the money.
The money John got today.
(TRAIN RUMBLING) (PHONE VIBRATING) Hello? (MYNA CONTINUES SPEAKING INDISTINCTLY) WOMAN: Whack a lady on the head? With a sock full of dimes? What? Yeah, that was the plan.
In the event that this lady got the bag.
I was what you'd call a fail-safe, if this lady got the bag.
Then the plan changed.
In what sense? In the sense that a different lady got the bag.
Can you back up a little? Well, he came to me for help.
In Luxembourg? In Milwaukee.
The night before they departed for Luxembourg, he came to my house.
And asked for help? Yeah.
Why you? I don't know the answer to that.
What did you tell him? I told him I didn't think I could be of much help to him, in, um the state I was in then.
And his response? He asked if I was better than nothing.
Which I guess was what he had, in terms of help.
And your response to that? I thought about it for a while.
About whether you were better than nothing? Yeah.
Then I asked him if I could take a walk around the block and think about it, because I just couldn't say in those moments.
And your conclusion? Well, on my walk, I stopped wondering about that in particular.
And I started thinking about something else in particular.
Which was? Which was how the kid just really looked like he needed help, I guess.
(PANTING) ("SURE SHOT" BY BEASTIE BOYS PLAYING) 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Mike D, come and rock the sure shot I've got the brand-new doo-doo Guaranteed like Yoo-hoo I'm on like Dr.
John, yeah, Mr.
Zu Zu I'm a newlywed, I'm not a divorcée, yeah And everything I do is funky like Lee Dorsey Well, it's The Taking of the Pelham One Two Three If you want a doo-doo rhyme, then come see me I've got the savoir faire with the unique rhymin' I keep it on and on, it's never quittin' time and Strictly handheld is the style I go Never rock the mic with the pantyhose I strap on my ear goggles and I'm ready to go 'Cause at the boards is the man they call the Mario Pull up at the function and you know I Kojak To all the party people that are on my bozack I've got more action than my man John Woo And I've got mad hits like I was Rod Carew, yeah Because you can't, you won't, and you don't stop Because you can't, you won't, and you don't stop Oh, well, you can't, you won't, and you don't stop I keep my underwear up with a piece of elastic Use a bullshit mic that's made out of plastic To send my rhymes out to all the nations Like Ma Bell, I got the ill communication 'Cause you can't, you won't, and you don't stop 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Keep on and rockin' the sure shot.
(TRAIN RUMBLING) JOHN: What, man? JACK: I don't know, John.
These dimes I got this afternoon, they're not like American dimes, man.
JOHN: What're you talking about? American dimes are the smallest of all our coins.
Yet, they have greater value.
They make sense here, - I didn't know that.
- Jack, get the money.
They're bigger than pennies and nickels, so they're heavier, man.
I don't know what I'm holding here.
I've never hit anyone in the head with European dimes, man.
I don't want to kill anyone.
And fucking lay off, John.
You told me I'd be following some broad in a hijab, not a homicide detective.
I never even made detective.
(QUIETLY): Hit her less hard than you usually hit people.
Yeah, but how much? I don't want to do it too light, man.
Then she's just standing there, looking back at me, uh, says "ow," then arrests me.
I haven't done a dry run with these.
I worked up a nice touch over the years with American dimes.
I just wish I was back home, John, that's all.
And I think the lady knows I'm an American.
I'm bigger than everything here.
JOHN: Yeah, well, fuck, Birdbath.
Maybe do something besides making wishes.
That's not gonna help me.
Fucking get with it, man.
'Cause I'm gonna have to do something if you don't do something.
(PHONE VIBRATING) Hello? LUCIE (ON PHONE): You received a call late yesterday from Detective Agathe Albans? - I did, yes.
- Concerning? Concerning the mysterious young asshole, John Lakeman.
Hmm LESLIE: I would just like to know who you really are, you know? Only child.
Oh, well, okay.
Okay.
- I have two boys.
- Nice.
My son is not who you think he is, Leslie.
He's a good boy.
Maybe you could give the kid a break, from one old tugboater to another.
Nope.
LESLIE: Paris? MARCUS: Yeah.
- Wh - CHILD (ON PHONE): Mama? - Who's that? - Eric, my son.
- Son? - You woke him up, too.
(STAMMERS) Man, oh, man.
Wow, pal.
MARCUS: Yeah.
It's 5:00.
You're waking everyone up.
Can you call me later? Well, are are you sure you don't have a a minute here? It won't take long.
It's just I just need enough time, Marcus, to, uh Well, son, I I I just need enough time to say I'm sorry, son.
Can I come and see you? I want to come and see you.
Please, pal? And the boy and your wife.
Marcus, I'm clean and sober, and I have been for a long while.
And I run McMillan now, and things are almost good.
Things are almost very good.
Except I want to come and see you, son.
I'll be in your neighborhood next week.
MARCUS: Okay, Dad.
Oh, great, pal.
I'll give you a call soon, and and we'll, uh, we'll set up a timeline.
MARCUS: Okay, Dad.
- Thank you, Marcus.
- (LINE CLICKS) (CHUCKLES SOFTLY) - (GUNSHOT) - Ah! Jesus.
Fuck.
Lakeman.
You shot me in the fucking face! (MORPHINE DRIPPING) ("CODY, CODY" BY THE FLYING BURRITO BROTHERS PLAYS) (SIGHS) Cody, Cody I hear you say I hear your voice Calling me away I'm not afraid To think of what I might find I will be yours Will you be mine? We've all been young We've all been old We've all been sheltered From the cold Come by my side And say what I think I already know I'm going away, don't you want to go? (TRAIN RUMBLING) (TRAIN RUMBLING) (KISSES) - JOHN: Hello? - JACK: You should have seen - what I just did.
- Do you have the money? JACK: Not yet, but I was so inconspicuous.
It was cool, man.
Jack, get the money.
They're going to the airport.
How the fuck am I gonna do this in an airport? And I'm gonna have to do something if I don't hear from you.
Passengers prepare to disembark.
("RIVER SONG" BY DENNIS WILSON PLAYS) All passengers must disembark at the terminal.
Walkin' down by the river Transfer train arrives in 40 minutes on Platform 3.
Water running Through my knees Ah River, oh, river, moves so free Ah Oh, mighty river endlessly Oh, mighty river I would love To be like you Oh, lonely river Has not got the time to say I was born into the city life It's all that I've ever known You know it's rough getting round this place So crowded I can hardly breathe You can only see about a block or two in L.
A.
That's the truth I'm looking for Some country life Some kicking room, no more city life I want the river Rollin', rollin' Rollin' on river I got to get away, I got to get away, I got to get away Rollin', rollin', rollin' on (PANTING) It breaks my heart To see the city I wonder why it ain't pretty Oh, I want to cry Want to cry Come on You've got to do it, do it, do it.
Can I get some sweatpants or something? Shut the fuck up! Whoa.
I I don't even know what I'm doing here.
I just came in to file a report.
Right there, my man! I've been interrogated already.
Not by me.
Well, I don't know anything about that.
Yeah.
He's an industrial engineer.
(SIGHS) (GRUNTING) Urgency and haste were a feature of every ensuing event, at this stage.
Matters had escalated.
In the calmer instances, before this? Last stop before Charles de Gaulle Airport.
Mistakes and errors were made due to decisions.
Say, for two people to intersect who shouldn't.
In this new area, this heightened phase of greater danger, due to the urgent need to move around, these dangerous convergences occurred due to shared, limited conditions.
Parallel needs.
If you needed to flee the greater area of, say, Luxembourg immediately, well, there are only 40 flights a day to Luxembourg.
There are 1,300 flights a day in and out of Paris.
So, if you're in jeopardy, and need to flee, or to reach this greater area, you go to Paris.
Where you will encounter you must necessarily encounter others who are in these same states of jeopardy and haste.
And these intersections, which you can no longer control or avoid, create conditions of exponential danger.
(LINE RINGING) (PHONE RINGING) (RINGING STOPS) You can't run Halfway away from home Yeah, I know it, man So I'm going But by the way I got something else to say I'd trade my soul with anyone else on this train I know there's a line On the inside of mine I know there's a shine That goes And I know I'm long gone And I keep going I'd trade my soul with anyone else on this train.
GREGORY: Lakeman's not answering his phone.
McClaren, either.
What's going on here? Something's going on here.
ALAN: The talon-hinged hook sluice heralds the dawn of a bold new age for tensile-threaded quench tempering across all 13 grades of hex-beveled waste drains and buckle-valved lock nut ductility.
Well, that's the long and the short of it, folks.
Thank you for your time.
(APPLAUSE) DENON OFFICIAL: Thank you, Galvanized United.
Joining us next, John Lakeman, of Milwaukee's McMillan Industrial Piping.
(APPLAUSE) Hey.
How are you? Cool.
I'm not John Lakeman.
He's a, um, a no-show.
No show here.
So I'm gonna take this one.
(WHISPERS): Fuck.
We do that, too.
Duckled Nut Stuff.
Only better, and with more cost efficiency.
(CLAPS HANDS) Probably.
(SIGHS) (WHISPERS): Fuck me.
Did my speech suck? It did, right? I think so, but I don't understand the technical side of your business.
Me neither.
So, John Lakeman.
Do you know his whereabouts? I wish I did.
He was supposed to make that fucking nut speech instead of me.
I know what you do.
I know what your dad tells you to do and I know you do it.
I don't care.
I'll leave, if it makes the thing you're doing harder.
I have a ticket back in three hours.
But I wanted to find you and say I don't care.
I love you.
Just finish, then come home.
We can still do everything we said.
We can go off alone, we can be together, we can have a family.
I love you, John.
Come with me.
(DOOR OPENS) (FOOTSTEPS APPROACHING) (SELMA GRUNTS) (MYNA SCREAMING) (MYNA CRYING) JOHN: We're a family.
What? We're a family, take her, hold her.
What? JOHN: Alice.
- (CRYING) - (SHUSHING) - Who the fuck are you calling? - (LINE RINGING) WOMAN (ON PHONE): Hello? Hello? Hi, Mom.
John? Yeah.
- Hey.
- Hey.
How are you? Pretty good.
(MYNA CRYING) (ALICE SHUSHES) It's okay.
(SHUSHING) It's okay.
(CRYING) Alice, you have to cover her mouth.
John And stop crying.
It's okay if she does, it's not if you are.
It'll draw attention.
- Please stop.
- (SHUSHING) WOMAN: This was the morning, the early morning, that the Paris Plan, as you've been calling it This was the early morning that you began to form the Paris Plan? Yes.
BARACK OBAMA (OVER TV): required to meet its security needs.
Iran's leaders should understand that I do not have a policy of containment.
I have a policy to prevent Iran from obtaining a nuclear weapon.
(APPLAUSE OVER TV) I will not hesitate to use force when it is necessary to defend the United States and its interests.
For America, for the world.
- Hey, Tom? - Yeah.
Why don't you just stop? And take responsibility, and let your son go home? Has that ever occurred to you? OBAMA: such talk has only benefited the Iranian government, - by driving up the price of oil.
- TOM: You should probably stay with us.
You think I'm gonna let her go? I think you should just stay with us.
She's waking up.
I'm gonna go sit with her in the car so she doesn't draw attention.
I think you're a coward.
Stay there, just for a moment.
I know all this seems extraordinary to you.
And it's unusual.
It is unusual, yes.
But it's not extraordinary for me, to be in these circumstances.
I'm, ordinarily, Alice, subjected to scrutiny, and suspected of transgressions like these.
That's my job.
It's also my job not to get caught.
And it's imperative I do my job.
(APPLAUSE ON TV) I have said that when it comes to preventing Iran from obtaining a nuclear weapon, I will take no options off the table, and I mean what I say.
(APPLAUSE ON TV) That includes all elements of American power.
He's not talking about the Navy.
Alice, honey, it a always feels like this.
OBAMA: And as we do, rest assured that the Iranian government will know our resolve.
(APPLAUSE ON TV) (DOOR CLOSES) You still have that little "Boy Wonder" guy? What are you talking about? Your little Robin.
- The normal guy who wants - Dennis.
- Yeah? - Yeah.
Get him here.
You want me to get him involved? He's already involved.
Birdbath.
He knows, too.
I should tell you everything.
Of course he does.
- Oh.
- What? - And Mom.
- Your mother? Yeah.
- Your mother knows? - Yeah.
- How? - I called her.
I don't know why.
Tonight.
- She's coming.
- Coming where? Here.
Your mother's coming here? Yeah.
(CHUCKLING): Fuck.
You have to keep this together.
You're s starting to get out of control, son.
If you can't keep this thing together, and get her back to us, soon, with that bag You're going to get this over with right away.
If you can't keep a hold on things with your wife here, and and the kid, uh, dog Jesus.
Your mother.
Half the company knows.
That's what you'll have to do if you can't get the money back from her in the next few days.
If you can't keep this in control You're just going to get it over with.
Well, how? You're going to kill him.
I just can't believe it.
Can't believe what? Glassblower.
Puppeteer.
Yeah, whatever.
She didn't want the money? No.
She just wanted the bag? - Yeah.
- (LAUGHING): I just I just don't believe it.
Yeah, well, that's what happened.
N nobody would do that.
Who would do that? Nobody would.
I know somebody who would.
But she just left.
(SIGHS) I knew I should have asked her for the keys.
I didn't want to hurt her feelings.
Well, it's just you and me, kid.
And a dog.
He won't leave.
Good boy.
Yeah, I don't know.
I think he's just been trained.
Hmm.
TOM: He's coming to Paris.
Tomorrow.
For the OPEC summit.
He has a compound in Paris.
JOHN: Sounds janky.
TOM: What's that? JOHN: Janky.
Killing a guy in a compound by myself.
Sounds janky.
What's the success rate of that, you think? TOM: Uh, I don't know.
Five percent? I don't know.
JOHN: That plan's on the other side.
TOM: Of what? JOHN: Of the Vantasner.
TOM: The Vantasner Danger Meridian? JOHN: Yeah.
TOM: Well, you're gonna start figuring out how to do it.
You start tomorrow.
JOHN: Doing what? TOM: There are 19,000 guns in Paris.
Get one.
(PHONE RINGING) Hello? AGATHE: You have my daughter? Yes.
Keep her.
("LE CRABE" BY FRANCOISE HARDY PLAYS) (WOMAN SINGING IN FRENCH)