Original subtitles

[♪♪♪]

[S I RE N S WAI L I N G]

[♪♪♪]

Panama .

Panama?

Best I cou ld do , And rew...

i n the ci rcu mstances , g iven you r si ns .

They were bayi ng for blood .

I arg ued you r case .

" For h is long service , h is fi ne brai n i n the balance

agai nst the gam bl i ng debts ,

the blown cover and the wives . "

The wives .

So , a last chance .

Panama .

Keep the head down ?

Serve out my ti me?

N ot q u ite , And rew. We do have i nterests :

The canal , vital artery. There is work to be done .

H m m .

B ut for God 's sake , be carefu l out there , man .

There's a nasty web of money-lau nderi ng ,

d rug trafficki ng and corru ption .

Real ly?

MAN : There are only 200 resident Brits in Panama.

But you can surely ferret out one or two

who can gain you access to the corridors of power.

[♪♪♪]

Look, look ! The B ridge of the Americas .

You know, ever si nce the canal cut them i n half

th is bridge is now the on ly l i n k

between N orth and South America .

Th i n k about it !

[♪♪♪]

HARRY: The way l see it, we all ha ve a dream of ourselves

that we cou ld be more than we are .

Wel l , Pendel and B raithwaite are here to hel p you real ize that d ream

i n the Savi le Row trad ition .

Let's try th is one now.

O h , yeah , I g uess th is is ki nd of...

I thoug ht you 'd l i ke that one , si r. M r. Con nery's choice .

Matter of fact, as soon as you came i n , I thoug ht, "Who does he rem i nd me of?"

And that's it. I n the bu i ld too . Golfer's shou lders .

[♪♪♪]

H ow about that, U ncle Ben ny?

B E N NY: You 've got the fluence, Harry. l've always said it, and you ha ve.

You 're the outright best tailor in the world. Bar none.

HARRY: Steady on, Uncle Benny, steady on.

[♪♪♪]

H arry, come on .

HARRY: I ' m com i ng . Al l rig ht.

Al l rig ht, you get i n fi rst, Sarah . Don 't forget you r belt.

Sarah . I ' m tryi ng !

Mark.

O kay. Bye-bye .

[ H O RN H O N KI N G]

[S P EAKI N G S PAN I S H ]

George , George , I saw you yesterday.

Al l rig ht, here you go , then . H ow's you r old lady?

[S P EAKS S PAN I S H ]

[C HATT E RI N G I N S PAN I S H ]

Sarah , Sarah !

H i , Bel la .

Dad , g ive me a q uarter.

HARRY: H ave you learnt you r poem , Sarah ?

Tyger, tyger, burning bright ln the forest of the night

[♪♪♪]

See you , Dad . Shalom.

Shalom.

[♪♪♪]

[ P EO P L E C HATT E RI N G I N S PAN I S H ]

Look at you r hai r!

Oh, what immortal hand or eye Could frame thy fearful cemetery

N o , "sym metry. " Sym metry.

I sti l l don 't know what it means .

[S P EAKI N G S PAN I S H ]

D id you see the news last n ig ht? Yes , I d id .

You r people want thei r canal back.

N ot my people , E rnesto . They' re rabid , rig ht-wi ng senators .

Do you know what they are? Say it.

LO U I SA: Assholes .

[ E RN ESTO C H U C KL ES]

[♪♪♪]

[ KN OC KI N G]

[S P EAKI N G S PAN I S H ]

You see?

Tu rn arou nd .

It's on ly a tad , Ramon .

If you want to look good i n my su it, lose weig ht and g row a foot.

Come to the shop . We can ease it a l ittle .

O kay.

So , what are we gon na do about the overd raft, H arry?

You tel l me , Ramon .

You have to th i n k about sel l i ng the farm , H arry.

Sel l it?

It's a gold m i ne , Ramon .

Angelo 's turning it around. He 's a very good man, Ramon. Dedicated.

I hear you got a water problem .

HARRY: Did ha ve, Ramon, did ha ve. l put that right.

Now, it flows like...

Water.

Exactly, Ramon .

Maybe you shou ld n 't have boug ht it, eh ?

O n you r advice , Ramon . Fai r's fai r.

The ban k wishes to see a su bstantial red uction

on the outstand i ng su m by the end of next month .

Otherwise ,

we have to cal l it i n .

What?

The whole lot?

B ut of cou rse the whole lot.

You are my friend . I hate to do th is , but my hands are tied .

What can I say?

What am I goi ng to tel l Lou isa? I boug ht it with her i n heritance .

Wel l , you ' re the storytel ler, H arry.

[T H U N D E R RU M B L I N G]

You ' re an angel .

Someone to see you .

O h , yes? Who?

N ew customer, he say.

H i . N ame's Osnard .

I phoned .

M r. Osnard . H arry Pendel .

Very happy to meet you , si r.

N o offense , but I was hopi ng to see M r. B raithwaite .

N o chance of that, I ' m sorry to say, si r.

My late partner has been dead and gone these many years .

Thoug h h is exacti ng standards are very m uch al ive and wel l .

G lad to hear that.

H e d ressed my father, you know.

Back i n h is Savi le Row days .

Wel l , I never! N ow that's a fi rst, I don 't m i nd ad m itti ng .

Father to son , Savi le Row to Panama C ity.

D id you hear that? I thoug ht you 'd be su rprised .

S u rprised , si r, and del ig hted .

Marta , put M r. Osnard down as an old customer.

Arth u r B raithwaite made for h is father.

N ow, if you 'd care to come th is way, M r. Osnard .

What i n hel l happened to her? S h h .

I n the bad old days , wou ld that be? N oriega's ti me?

Roug h j ustice meted out?

If you 'd care to take a seat, si r. Than k you .

We cal l th is The C l u b Room . Many of ou r gentlemen spend ti me here

i n the l u nch hou r and at the day's end .

And why not?

What d id you have i n m i nd , si r, exactly?

I thoug ht I 'd start with a few lou nge su its . See how they go .

After that, wel l , the "fu l l monty, " as old B raithwaite used to say.

I see . Very good , si r.

P ity the expression 's been h ijacked . Means q u ite the other th i ng now.

So they tel l me , si r. Bol lock naked , i n fact.

Q u ite so , si r. Money's no problem .

Take a look at these , si r. See what takes you r fancy.

M m-h m .

They' re al l the rig ht weig ht for th is d iabol ical cl i mate .

M m-h m .

Seven ou nces of n icely breath i ng , fi nest worsted .

About al l a man cou ld or shou ld put u p with .

H ow about th is one? Al paca , am I rig ht?

Very good , si r. Perfect.

And exactly what I shou ld 've picked .

G iven that money's no object?

So , what's next? The su n !

Vital statistics . P lease step th is way.

Certai n ly.

If I cou ld ask you to sl i p off you r jacket.

Than k you , si r. Of cou rse .

You were N oriega's tai lor, weren 't you , i n h is ti me?

I ' m sorry, si r, is that a problem ?

N ot necessari ly. S mel ly l ittle bugger, was he?

If I may, si r.

Forty.

And the waist...

What's the damage?

A very cred itable 34-pl us .

P l us what?

P l us l u nch , put it that way, si r.

[C H U C KL ES] Very good .

Do you ever m iss it? The old cou ntry? Savi le Row?

Ah , the Row. Wel l , now...

I do and I don 't.

N oth i ng beats it, but when I was there ,

I always felt very m uch i n old Arth u r B raithwaite's shadow.

Thoug h it was Arth u r B raithwaite who encou raged me to spread my wi ngs .

Good old boy, Arth u r, was he? O ne of the old school , si r.

N ow, if I m ig ht...

Very good , si r.

Do we d ress rig ht or left?

Most gentlemen favor left these days . Don 't th i n k it's pol itical .

N ever know where the bloody th i ng is . Bobs about l i ke a wi ndsock.

You were sayi ng ? Sayi ng , si r?

B raithwaite . Tel l i ng you to spread you r wi ngs .

Yes , of cou rse . I remem ber it l i ke yesterday.

I was cutti ng a n ice m uted check hacki ng jacket for Lord B raebu rn .

F i nest mohai r, dash of cash mere .

I looked u p and he was looki ng at me from the doorway.

Arth u r B raithwaite , that is .

H e was a big man , i m posi ng .

H e had a presence . It's hard to put it i nto words .

It was the m ustache . M ustache?

B loody g reat bushy job , sou p al l over it.

[♪♪♪]

There was no m ustache i n my day. I can see it now. B rig ht brown .

I th i n k we' re bei ng ru m bled , H arry. Ad m it noth i ng . Deny al l .

I th i n k you r memory's playi ng tricks .

You ' re th i n ki ng of a d ifferent man and award i ng h is m ustache to B raithwaite .

Go on .

" H arry, " he says to me , " I th i n k you 've earned you r spu rs .

H ow wou ld you feel about taki ng my name

and trad ition to the N ew World ?

I ' m tal ki ng about a fu l l partnersh i p . "

I don 't m i nd tel l i ng you , there were tears i n my eyes .

You 've practical ly got tears i n m i ne .

Than k you , si r.

I 've never heard such a load of bu l lsh it i n my l ife .

Come and sit down , H arry.

It's al l rig ht.

I ' m you r fai ry god mother.

The th i ng is , H arry, I know who you are .

More accu rately, I know who you aren 't.

I don 't know what you ' re tal ki ng about, si r.

It's al l rig ht. Relax.

Because I know. You ' re 90601 7 Pendel .

S ix years for arson , served two and a half.

Learnt you r tai lori ng i n the slam mer. I nsu rance scam , wasn 't it?

Set fi re to a warehouse for you r U ncle Ben ny.

They caug ht you with the matches i n you r hand .

You 've never been near Savi le Row.

And Arth u r B raithwaite is you r U ncle Ben ny,

raised from the dead , born agai n and g iven a size-n i ne halo .

U pon release , you d id a ru n ner to Panama with you r U ncle Ben ny's hel p .

B u i lt u p a fi ne busi ness .

Married the daug hter of an American canal eng i neer. Wel l-respected man .

B ut you owe the ban k 50 , 000 , than ks to that farm .

You 've put i n the shop and the house as col lateral .

N ot wise , H arry. N ot wise at al l .

I can practical ly hear the cred itors bang i ng on the door.

Who are you ?

I ' m Andy Osnard .

N ew boy at the B ritish E m bassy, fi nd i ng my way arou nd town .

[WH I S P E RS] Strictly between us .

I ' m M I . 6's man i n Panama .

It's dark and lonely work, l i ke oral sex.

B ut someone has to do it, H arry.

I ' m open i ng u p a l ittle network. Keepi ng an eye on the canal .

So , what's that got to do with me?

What g ives you the rig ht to come here ,

sand bag me with my past after I 've paid my debt to society?

Cool down . I ' m bon us .

O kay.

What do you want?

You r memory.

You r " rock of eye . "

I sn 't that the expression ? Th i ngs you know and don 't even know you know.

H ig hest prices paid .

Get out. N ow.

Off.

Don 't be a cu nt, H arry. We' re made for each other.

You have debts , I have money. Where's you r patriotism ?

I had it out i n prison , without an anesthetic.

Ah .

There's five g rand there . Say it's on accou nt of the su its .

Cal l it "entertai n ment expenses , " anyth i ng you l i ke , real ly.

I want us to get on , H arry.

Go on .

S how me arou nd , is al l .

Do I have a choice?

O h , don 't put it l i ke that.

It's a game . Let's have some fu n , eh ?

[S P EAKS S PAN I S H ]

[C E L L P H O N E RI N G I N G]

H i .

N o , noth i ng m uch .

Wel l , su re , if you feel you have to .

Why not j ust bri ng h i m home? I th i n k I ' l l take h i m to the cl u b .

N ot su re . H e's an odd chap .

N o , noth i ng 's wrong .

You r voice sou nds fu n ny.

[ LAU G H I N G]

H e cal led it a wi ndsock?

Señor. Good even i ng , M r. Pendel .

[♪♪♪]

M ust have cost a lot to get i n here . H ad to be done .

H ey, H arry, what about my blazer?

D rop by on Tuesday, Lu is . It' l l be ready to try on .

B lazers , they al l want blazers .

AN DY: You d ress everyone here?

J ust about, Andy.

So who are "they"?

Who gets to joi n ?

HARRY: Basical ly, 30 ru l i ng fam i l ies , thei r lawyers and thei r ban kers .

And thei r tai lors , I take it.

When the Americans took out N oriega , I said to myself:

" H arry, they got Al i Baba , but they m issed the 40 th ieves . "

Wel l , here they are .

AN DY: So fi l l me i n .

N obody ever loses thei r reputation i n Panama .

They hang it i n the closet for a few months to get its shape back.

When they put it on agai n , it's as good as new.

O n the dance floor, Rafi Dom i ngo .

S h i ppi ng and d rugs .

I cou ld fuck that very easi ly.

Wou ld n 't be any pai n at al l . A lot have , Andy.

A lot wish they had , who haven 't,

and one or two have , who wish they had n 't.

[ LAU G H I N G]

Who are those charmers j ust come i n ?

HARRY: Govern ment m i n isters and the money boys who own them .

At the table , bu nch of gentlemen from the loyal opposition .

They come m uch cheaper, natu ral ly.

[C HATT E RI N G I N S PAN I S H ]

Welcome to Panama .

A Casablanca without heroes .

You are pu re gold , H arry.

H ey !

H arry !

M ickie .

H arry.

M ickie , I th i n k you ' re a touch refreshed !

P lease , come and sit down .

"A man shou ld stand on h is feet. "

[S P EAKS S PAN I S H ]

Anyone remem ber that? !

[S P EAKS S PAN I S H ]

I sn 't that the next bit?

" N ever on ou r knees . " Rig ht. O r on ou r asses .

So who the fuck are you , my friend ? I 'd l i ke you to meet Andy Osnard .

B ritish E m bassy.

M ickie real ly is a gen u i ne hero , Andy.

O ne of the few with the g uts to stand u p to you-know-who .

M ickie , please sit down . People are stari ng .

I don 't g ive a fuck about these fucks .

These are the fucks who kept that fuck N oriega i n power.

You know what I wou ld do-- M r. Andy, rig ht?

You know what I wou ld do if I was president?

What? I 'd ki l l every fuck i n th is room .

Al l of us .

Look at us . Look at us !

We got everyth i ng God needed to make parad ise .

And what do we do?

We sel l each other.

We sel l ou r cou ntry. We sel l it al l away !

H arry, you take h i m for a wal k.

M ickie-- Look at these people , eh !

Look at these people .

You sold you r sou ls , you don 't even know it. Stu pid !

M ickie ! [S P EAKS S PAN I S H ]

If you make any more trou ble , I wi l l never cut you another su it.

Come on . I ' l l take you home .

Sorry. H e's an old friend , you know.

H el lo , H arry.

Señor Delgado .

Canal Com m issioner?

U h-h u h . H e as clean as they say?

Wel l , my wife th i n ks so .

MAN : Come on , M ickie , what is th is?

M I C KI E : H ey, hey, hey !

[♪♪♪]

[M I C KI E S I N G I N G I N S PAN I S H ]

[S H O U T I N G I N S PAN I S H ]

Come on , M ickie .

You ' re a good man , H arry.

The on ly good men left i n Panama C ity are you and me .

That's al l . You and me . O kay, i n you go . Come on .

H e has heart, M r. Cool .

H eart.

Come on , now. Cal l it a n ig ht.

[S P EAKI N G S PAN I S H ]

So , what's the story with h i m ?

M ickie?

H e was my fi rst customer.

Best-looki ng man i n Panama . A god .

Ti l l N oriega th rew h i m i nto prison to sh ut h i m u p .

D id n 't bloody wel l work, d id it?

There's more to M ickie Abraxas than meets the eye .

O h , I ' m su re there is .

My people don 't care about the g lorious past exploits

of some shagged-out old wi no .

They want the real stuff. Today's men .

Tomorrow's , not yesterday's .

We' re not a fucki ng charity for losers .

I hope I haven 't made a m istake with you .

Don 't u nderesti mate M ickie Abraxas .

So?

What if I was to tel l you he's sti l l at it?

[♪♪♪]

At what, exactly?

H e's sti l l i n there .

The S i lent O pposition .

The "S i lent O pposition"?

H e's never lost touch with ord i nary, decent people .

Deprived people .

People who are ti red of the corru ption , the g reed .

Do you know what the poor cal l those?

"The Cocai ne Towers . "

And ou r 85 ban ks?

"The lau nderettes . "

Can we buy h i m ?

M ickie? N ever.

B ut he m ig ht al low you to contri bute to the cause .

U ncle Ben ny, I fi l l u p . I can 't stop . I get the wi nd i n my ears .

You 've got the fl uence i n fu l l flow and the rock of eye .

B ut it's a cu rse as wel l as a blessi ng .

H ow'd it go?

[WH I S P E RS] F i ne . I th i n k.

H ey...

get i n here .

[ P U RRS]

H i .

I m issed you .

Wait, I ' l l take my socks off.

[ LAU G H I N G]

I may be some ti me .

[S P EAKI N G S PAN I S H ]

M r. Osnard .

And rew Osnard .

N igel Stormont. F rancesca Deane .

H el lo . Welcome to Panama .

Than k you , am bassador.

P lease .

I gather you 've been havi ng a look rou nd al ready...

q u ite extensively.

Yes , i ndeed . G reat spot.

Rig ht u p my street.

And how shou ld we descri be you r street, And rew,

to the cu rious?

I usual ly say I ' m i n i nformation tech nology.

O h , you ' re one of them .

"A friend . "

That's rig ht. I ' m a friend .

O h , my dear, but it's a h uge secret.

O r it was , u nti l Osnard bl u bbed it.

I mean , I ' m barely al lowed to know it.

N ot the Osnard got d ru m med out of Mad rid ?

Foreig n m i n ister's wife , wasn 't it?

N ot h is wife . M istress .

There are some th i ngs I won 't do for E ng land .

Got you r pictu re i n the paper, d id n 't it?

H ence my posti ng to Panama . What was you r cri me?

Coffee?

Than k you .

H el p you rself.

I s it j ust exi le , or do you have a pu rpose here?

S u re .

The boys at home are concerned that the world 's biggest trade gateway

doesn 't fal l i nto the wrong hands ...

now that it's i n the wrong hands .

Forg ive me . Don 't want to seem presu m ptuous

but I dou bt you ' l l fi nd anyth i ng they don 't know

from ou r reg u lar em bassy briefi ngs .

Know about the S i lent O pposition ?

There you go .

You ' re a fast worker.

See someth i ng worth havi ng , go after it.

May I ask at what poi nt we here at the em bassy

wi l l get sig ht of you r prod uct?

My boss says no local shari ng u n less he g ives the nod

but I ' m not real ly bothered about that.

Say, the fou r of us i n th is room ?

I 'd have no problem with that.

Wel l , al l that seems very satisfactory. N igel ?

F rancesca?

Good to have you with us , And rew.

Good to be here .

F rancesca wi l l show you to you r office .

Yes .

It's a bit on the poky side , I ' m afraid .

B it on the poky side's fi ne with me .

We thoug ht you 'd be out and about a lot.

H ere we are .

[♪♪♪]

What are you l isten i ng to?

[C L I C KI N G]

The sea .

O h .

B loody th i ng 's been sitti ng i n the warehouse al l its l ife .

Stuck on one com bo .

Tu m blers al l shot.

[ LO U D C L I C K]

Gotcha !

Are you q u ite su re that it was locked i n the fi rst place?

I ' m stayi ng at the Gam boa Rai n Forest Resort ti l l the apartment's ready.

Come out on S u nday.

S pot of l u nch . Swi m i n the lake .

See how it goes .

I th i n k I ' m busy on S u nday.

You ' re rig ht.

It was open .

J ust tig ht from lack of use .

H a !

The am bassador's asked me to brief you ...

i n case there's anyth i ng you don 't al ready know.

[S H O U T I N G O N TV]

N I G E L : N oriega formed these so-cal led " D ig n ity Battal ions . "

D i ng bats .

They were to beat the d ig n ity out of anyone remotely critical of N oriega .

It was D r. F ran kenstei n , George B ush

who created th is monster

when he was head of the C IA.

And when N oriega's

d rug ru n n i ng and brutal ity got too m uch , even for the C IA

it was George , now P resident B ush , who decided to take h i m out.

And j ust to make su re ,

they fi rebom bed a big ch u n k of the old city.

Sad ly, that's where the anti- N oriega rebels were .

The handfu l that N oriega had n 't banged u p al ready.

So no more opposition , si lent or otherwise .

B u rnt...

scattered ...

fled .

[S I G H S]

O r risen agai n from the ashes .

[MAN S P EAKI N G S PAN I S H ]

[C H I L D RE N C HATT E RI N G I N S PAN I S H ]

O kay, okay, okay. Everybody, here we go .

Sorry.

[S P EAKS S PAN I S H ]

M ickie !

Come i n .

[ P LAYI N G P IAN O]

[CO U G H I N G]

[♪♪♪]

Sorry about the other n ig ht. I ' m goi ng th roug h a bad patch .

I s it money, M ickie? I s it? Maybe I can hel p .

You ?

You got worse debts than me .

M r. Farmer, h u h ?

[CO U G H S]

Do you sti l l keep i n touch , you know,

with any of the students , the fig hters , from the old days?

N o , they' re al l lawyers now. Ban kers .

H aven 't you heard ? We got a democracy.

There's sti l l a lot to fig ht for, M ickie .

I haven 't got the stomach for it.

I get the shakes when I see a cop .

U n less I ' m d ru n k, and then I want to h it h i m .

E ither way...

What about Marta's people?

They loved you .

They looked u p to you .

You shou ld g ive u p on me , H arry.

I ' m a lost cause .

H ow m uch do you owe , M ickie?

Owe to the casi no? To you ?

Al l of it. Al l i n . Come on .

N ot m uch change out of 20 g rand .

I ' l l get it for you , M ickie .

And I ' m gon na make you a new su it.

A lovely si l k and mohai r herri ng bone .

O kay?

O kay. O kay.

[S P EAKS S PAN I S H ]

Señor Pendel ? What have I done wrong , Marta?

N oth i ng . That's the problem . Look at these accou nts .

You r friend Rafi Dom i ngo . Two months overd ue .

Carry it ti l l next month . H e's a good customer.

H e's a sh it. H e made al l h is money u nder N oriega .

I ' m goi ng to charge h i m i nterest.

You can 't do that. Yes , I can .

You ' re worried they won 't l i ke you if you make them pay.

It's a trad ition .

Gentlemen keep tai lors waiti ng for money.

Gentlemen ? F i nd me one .

You r M r. Osnard isn 't one , that's for su re .

What does he want? A su it.

Th is is me , H arry.

H e's looki ng for i nformation .

Be n ice to h i m . N o su l ks . P rom ise?

H e's a devi l .

Who says? H is eyes say.

I ' m j ust havi ng a bit of a natter with h i m .

Don 't look at me l i ke that, Marta . I ' m j ust a tai lor.

N o , H arry, not j ust a tai lor. You are a d reamer.

Wh ich is why I have to watch over you .

[♪♪♪] [ DOO R O P E N S]

O h , speak of the devi l . M r. Osnard !

H ow's my su it com i ng along then ?

When I put the shears i nto that al paca , I said :

" H arry, th is is gon na be someth i ng special . "

A poem , is it?

G reat body.

As long as her face is tu rned away when you ' re fucki ng her.

Marta's decent. S he's been i n some very bad places .

O h , yeah ? S uch as?

H ere . U nder N oriega .

S he stood u p when the rest of us were lyi ng down .

That's why they d id her face for her.

Are her sacred causes sti l l i ntact?

S he'd never budge .

N ot Marta .

So she's one of them .

O ne of who? The S i lent O pposition .

[WH I S P E RS] Absol utely.

H arry, stop . I can 't.

What is she?

[♪♪♪]

H m m ? Thei r ch ief of ops?

H ead spook?

S he's more . M uch more . H ow m uch ?

You press me too hard , Andy.

Sweetheart, you haven 't even felt me yet.

Th i n k "farm . "

S he's thei r J oan of Arc. Thei r spi ritual leader, bar none .

You ' re too m uch , H arry.

Can I have her?

Every pen ny you g ive her goes to the cause

without com m ission or ded uction of any ki nd .

H ow m uch ?

For the pu lse and sou l of the S i lent O pposition ?

For Marta?

M ickie needs 20 g rand to activate h is u n its .

Marta shou ld get the same .

Yeah , I th i n k we can swi ng that. Than k you , M r. Osnard .

London 's tickled pi n k with th is S i lent O pposition of you rs .

H ow is the farm , by the way?

Don 't ask. Know who you r neig h bor is?

The g uy who's cutti ng off access to you r water?

H e's not a person , he's an absentee land lord

and a corporation i n M iam i . And a prick.

You know where he ban ks?

With you r ch u m Ramon .

N ot to put too fi ne a poi nt on it, he is you r ch u m Ramon .

Wel l , Ramon owns two th i rds .

M r. X owns the other th i rd .

You know who M r. X is?

N o , I don 't know who M r. X is .

H ow about you r farm-manager chap?

Angelo , isn 't it?

[♪♪♪]

[G RU N T I N G]

[MARTA SC REAM I N G]

N o !

HARRY: Marta !

O h , for the love of God !

[C RYI N G]

M ickie !

O h , God ! It's okay.

What ti me is it?

It's 7 : 00 .

I ' l l make breakfast.

What happened to you r d iet, Mom ?

I ' m i n den ial .

What's den ial ?

A very big river i n Africa .

Boom , boom . Than k you .

Go . Mom ,

th is g i rl i n school told me mothers who work

feel g u i lty about thei r ch i ld ren . Why don 't you ?

Maybe because you r father is such a good mother.

Listen , it's bal let today.

Do not forget you r bag . O kay.

Let's go . O kay, come on .

Are you seei ng the president today, Dad ?

I ndeed . So we'd better get ou r skates on .

Cool .

[♪♪♪]

H arold Pendel .

[S P EAKI N G S PAN I S H ]

Th is way, M r. Pendel .

[S P EAKI N G S PAN I S H ]

Worki ng . Always worki ng . H e th i n ks on ly of Panama .

Señor Pendel .

S how me you r pass , please .

Marco , you know me .

I made you that dou ble-breasted mohai r.

I ' m sti l l waiti ng for you to pay me for it.

Th roug h here . H e's gon na g ive you on ly five m i n utes , okay?

[♪♪♪]

You r Excel lency. Welcome back, i ndeed .

F ive capitals i n one week, I th i n k I read .

Paris to Tokyo i n seven days .

That m ust be record even for a world-class statesman .

Pants .

They' l l know where Panama is then , won 't they?

We won 't be j ust a wrigg ly l ittle worm on the map with a canal , wi l l we?

Vest.

I d ispense with the rear buckle as a ru le

with you r hand made waistcoat, Excel lency.

Too many of my gentlemen report a d iscomfort to the lower vertebrae

when lean i ng backward , rel ish i ng a postprand ial cigar.

J acket.

D id we d iscuss the canal 's futu re on ou r travels

if I may be so bold ?

[TS KS]

So you want to know someth i ng about the canal ?

If it pleases You r Excel lency.

You ' re haltway u p it.

I stand u prig ht.

O kay, j ust.

I bend down ...

my bal ls are i n my ears . Very good , si r.

You make you r pants too tig ht, M r. B raithwaite .

[S P EAKI N G S PAN I S H ]

[♪♪♪]

[S P EAKI N G S PAN I S H ]

T E D DY: H arry !

[WH I S P E RS] I 've got a job .

S h it, sh it, sh it !

[S P EAKI N G S PAN I S H ]

It's u pstai rs .

N o . Than k you .

HARRY: " H arry, " he says to me , "you make beautifu l pants .

When I was a boy, I d reamed of weari ng pants l i ke these . "

H is very words , Andy.

To be q u ite fran k, do we have to meet here?

It's not very sal u brious .

Good cover, H arry.

They rent the rooms by the hou r. Cash . N o q uestions asked .

N o paper trai l .

Anyone sees you goi ng i n , you ' re here to get you r end away. Same as me .

So that's it, is it?

H alf hou r's téte-á-téte about kn ickers .

What about the canal ?

D id he say anyth i ng about h is tri p?

H e had tal ks , yes .

"Constructive d iscussions , " was h is ph rase , I bel ieve .

You ' re not gon na pay off the farm at th is rate .

[ B E D RATT L I N G]

Andy, th is is hard for me .

H e confides . A tai lor's l i ke a priest i n these situations .

For me , the chang i ng room is as sacred as the confessional .

Li ps are sealed , eh ?

H ave you had a chance to make arrangements about the farm , Andy?

Wel l , the money's there , as long as you del iver.

H e's sel l i ng it, Andy. What?

[M O U T H S] N o .

The canal .

H e's sel l i ng it?

H as to . N eeds the money. Rel ieve the poverty. I nfrastructu re .

Who's buyi ng ?

Who's buyi ng ?

Various i nterested parties , I bel ieve .

Come on .

H e mentioned the F rench , the J apanese .

And ?

O h , yeah . And the C h i nese .

H arry.

Andy.

Are you pu l l i ng my pisser?

N ot u n less the president's pu l l i ng m i ne .

Th is is fucki ng dynam ite . Does he always tal k to you l i ke th is?

N ot always ...

but mostly.

N ow th is is for the record . Ti mes , names , places .

H is actual words , if you remem ber them .

Goose it u p a bit. It's goi ng straig ht to the top .

H ere we go . What ki nd of C h i nese , by the way?

You know, C h i nese , l i ke C h i nese .

O h , fuck's sake . I mean , mai n land ? Taiwan ?

[♪♪♪]

The both , Andy. The two together.

U h-h u h . H and i n hand .

It's someth i ng the president's very proud of,

bri ng i ng them together, at the same table .

" H arry, " he says to me , " if it's al l I ' m remem bered for, then so be it.

I broug ht reconci l iation to the g reat C h i nese people

for the betterment of al l man ki nd . "

You 've excel led . Th is is a better yarn than Arth u r B raithwaite .

Are you i m plyi ng--?

Doesn 't matter what I th i n k. It plays .

F i rst i nstal l ments : Abraxas and Marta .

I nstal l ments? Payment on resu lts , H arry.

And the farm as such , Andy?

Looki ng good .

O h , look at those tits .

Yu m-yu m .

You want to pay off the debt? With what?

Let's say I won the lottery, Ramon .

And I want to buy you r farm from you .

What do you mean , you want to buy my farm ?

I don 't have no farm .

O h , yes , you do , Ramon . I know al l about it.

O kay.

You won the lottery, you can pay me $3000 an acre .

Two . You ' l l be paid d i rect from E u rope .

I 've made the necessary arrangements .

You won 't m i nd if I ded uct you r tai lori ng bi l l ?

It has a bad smel l .

That wou ld be the fish .

I ' l l pay you back. I ' m goi ng to straig hten out.

J ust don 't resent me for doi ng you a favor.

H arry, th is is Panama , where no good deed goes u n pu n ished .

[ LAU G H I N G]

[ST EAM WH I ST L E B LOWS]

[♪♪♪]

Rig ht.

There's two ways we can deal with th is one , old g i rl .

Sweat it out for six months , then fal l i nto each other's arms :

" Darl i ng , why d id n 't we ever do th is before?"

Method B , the preferred one :

F u l l-on affai r now. O bservi ng tig ht secu rity al l rou nd .

See how we l i ke it. If we don 't, no one's the wiser.

I don 't su ppose it's occu rred to you that I m ig ht prefer someone else?

I s that a no?

N o .

Come and dance .

O h , God , you don 't dance as wel l , do you ?

As wel l as what?

[♪♪♪]

[S I N G I N G I N S PAN I S H ]

My chaps i n London are i n a bit of a spi n about it.

I u nderstand they' re tal ki ng to Wash i ngton .

If the canal 's bei ng sold out, how come we never got a wh isper of it?

I ' m su re the q uestion is bei ng asked

and not to you r cred it, N igel , as pol itical officer.

What about the Americans?

They've got bi l l ions i n su rvei l lance . They don 't know?

Perhaps they do know about it, but they' re not tel l i ng us .

You ' re very q u iet, F rancesca .

What are you r feel i ngs about And rew's amazi ng d iscoveries?

Wel l , I cou ld n 't possi bly com ment.

N o i nsig ht i nto the Osnard methods , I ' m afraid .

[G RU N T I N G]

[ST EAM WH I ST L E B LOWS]

[S I RE N S WAI L I N G]

Try not to look so fu rtive , H arry.

I ' m feel i ng a l ittle anxious . H ow do you th i n k I feel ?

Someth i ng wrong ? Yes .

We bom bed i n Wash i ngton . S it down .

The Yan ks say we' re tal ki ng th roug h ou r asses . N o S i lent O pposition .

N o conspi racy to sel l off the canal . N o fuck-al l .

They can 't say that. They j ust said it.

[S P EAKI N G S PAN I S H ]

The B uchan material holds no cred i bi l ity.

N o cred i bi l ity eq uals no cash .

Without the Yan ks , London wi l l pu l l the enti re project.

Why? Because i n matters of i ntel l igence ,

as i n most other matters ,

merry E ng land sucks on the American h i nd tit.

It's cal led , "The special relationsh i p . "

M ickie wi l l be very downcast, Andy. So wi l l Marta .

What about us? We both had a good th i ng goi ng here .

I was cou nti ng on maki ng a pension .

You th i n ki ng of reti ri ng ?

Scrap heap at 45 i n th is game .

It was bl ue ch i p material . You said so you rself.

London needs someth i ng sol id . Docu ments , evidence .

Does you r wife bri ng home papers , canal stuff?

What's that got to do with anyth i ng ?

Does she? That's al l .

It happens .

Take a look u p its ski rt.

[♪♪♪]

Come here . Come here . G ive it back.

It's a camera .

O ne pictu re's worth a thousand words . O r a thousand bucks .

Tel l her that.

Tel l her? Why not?

P ut her on the payrol l . Dou ble you r money.

I want someth i ng i n writi ng on Delgado's deal i ngs with the C h i nese .

N o more bu l lsh it.

Lou isa wou ld never betray Delgado .

S he worsh i ps the man .

Does she know where you ' re at?

N ot an i n kl i ng .

Ever tel l her about you r prison days?

N ot as such .

H au l her i n , H arry,

or I m ig ht have to tel l her about H arry Pendel , the cri m i nal .

You stay away from her.

O kay, I ' l l hand le it.

You ' re rather tense ton ig ht, Lou .

Maybe because you ' re peeri ng over my shou lder agai n .

O r maybe because I had a cal l from Don na .

Don na?

Teddy's wife .

S he said you were seen com i ng out of the H otel Paraiso .

I said , " H arry's a tai lor. H e has cl ients from al l wal ks of l ife . "

True .

You 'd never meet them at the H otel Paraiso .

I had a fitti ng with Andy. Andy Osnard .

H e's a bit eccentric.

Are you seei ng someone?

Me?

You stay out late and you don 't say where .

[♪♪♪]

You come at me l i ke a lover and then you don 't touch me for weeks .

What's goi ng on , H arry?

Who's getti ng the rest of you ?

U ncle Ben ny, I ' m cornered .

There's noth i ng for it but to tel l her the truth .

S he deserves the truth .

H arry-boy, I 've told you ti me and agai n :

A man who tel ls the truth is bou nd to be fou nd out sooner or later.

Try si ncerity, that's a vi rtue .

B ut truth , it's an affl iction .

I swear to you on my l ife ...

there's no other woman .

N ever has been . N ever wi l l be .

O kay.

Lou isa?

I ' m a th ief i n my own home .

B E N NY: But with best intentions. With a good heart.

For the family. Like you did for me.

That's true .

B E N NY: You 're the apple of my eye, Harry.

Stay shtu m , and l'll always be there for you.

H arry. H arry !

I cou ld n 't sleep .

What do you mean you cou ld n 't sleep? You were j ust out cold .

B usy ti mes at the shop , Lou .

So who is th is Andy Osnard ?

Tel l me about h i m . H e's become a bit of a pal ...

as such .

I used to be you r pal ...

"as such . "

I 'd l i ke to meet h i m .

Why don 't you i nvite h i m on S u nday?

That's Sarah 's bi rthday.

M m-h m . Why not?

I cou ld look i nto it.

If you don 't want to cal l h i m , I ' l l cal l h i m .

Good .

[♪♪♪]

--And th is season 's su its are very th i n

and it's l i ned with Panama's best fabric.

B uchan .

Lady J ane's . Twenty m i n utes . That's two-zero m i n utes .

Over and out.

H e's been waiti ng and com plai n i ng .

Sorry, Teddy. J acket's ready. J ust pop i nto the fitti ng room .

Sorry, J ai me , I need th is .

I n you go , Teddy.

Wow! Even better than I thoug ht.

You look l i ke Bobby De N i ro i n th is jacket.

Don 't sch mooze me , H arry. What's goi ng on ?

Little bi rd tel ls me you paid off you r overd raft.

B usi ness is good , Teddy.

I smel l a story.

There's no story.

You want me to make one u p?

Don 't. Lou isa reads you r gossi p col u m n .

I don 't want her to know I owed money.

Come clean .

P robably won 't ru n it.

I ' m l i ke that. The more I know, the less I pri nt.

You know I ' l l fi nd out what you ' re u p to ...

don 't you ?

[♪♪♪]

Wel l , I had absol utely no idea

how del ig htfu l Panama was gon na be .

LO U I SA: Yes , it's a beautifu l cou ntry.

I was th i n ki ng about the people .

Meant a lot to me , bei ng able to tag along today.

It's been a real pleasu re to have you along , Andy.

H asn 't it, darl i ng ?

Can we go and see the mon keys , Dad ?

There's a mon key island .

We bri ng bananas for them . Wonderfu l .

What's my bi rthday g i rl say? Can Andy come too?

N o , Andy needs to stay here and keep Mom my com pany.

You go with Dad .

I n you go .

Cast off, captai n .

LO U I SA: So , Andy,

maybe you wou ld n 't m i nd tel l i ng me what you ' re u p to .

Sorry?

There's someth i ng between you and my h usband , I know it. I can feel it.

Ever si nce he's met you , he's a changed man . S neaky and secretive .

Al l of a sudden , I ' m h is enemy and you ' re h is friend .

If I d id n 't know h i m better, I 'd say you two were gay.

[C H U C KL I N G]

Do you want it straig ht?

Always .

You ' l l keep it secret?

If I have to .

And he's told you noth i ng ? Absol utely noth i ng ?

Zero .

I nformation is my busi ness . Gossi p .

H arry's ki nd of gossi p .

H e's smart, he's down-to-earth .

H e's got g reat contacts and no agenda .

Are you tal ki ng about spyi ng ?

O h , that's m uch too heavy a word for what H arry's doi ng .

Are you payi ng h i m ? N o money, I ' m afraid .

J ust the honor and privi lege of service .

I s that why he's been looki ng at al l my private papers?

O h , no . H arry.

O h , bless h i m .

That real ly is goi ng too far.

S pyi ng on h is own wife .

I ' m terri bly sorry.

Sti l l , you are the canal , aren 't you ?

You sit at E rn ie Delgado's rig ht hand .

And H arry's on ly too aware that we' re desperate to know what's gon na become of it.

The canal is always gon na ru n the way it's ru n .

E rn ie Delgado wi l l make su re of it.

That's as may be ,

but the canal is ou r mai n artery.

You can 't blame us if we need constant reassu rance .

H arry's on ly tryi ng to hel p .

Don 't...

use h i m .

I love h i m .

As we both do .

I ' m goi ng for a swi m .

[SC RE EC H I N G]

HARRY: There's one . MARK: Where?

HARRY: J ust u p there . MARK: O h , yeah !

SARAH : O h , he's lovely !

So ...

Tel l me , how d id H arry wi n you r heart? H m ?

I was raised i n the canal

arou nd m i l itary types and eng i neers l i ke my father

and I had never met anyone l i ke H arry.

H e treated me l i ke a pri ncess .

Sent me flowers every day.

Wrote me love letters .

D id he have to get Arth u r B raithwaite's perm ission ?

H e cal led h i m i n London .

H e was on h is death bed , the poor man .

O h , God .

D id he fly over for the fu neral ?

Arth u r forbade it.

H arry was com pletely wi ped out.

I ' m su re he was .

So the two of you have l ived happi ly ever after ever si nce?

Yeah , u nti l you came along .

Don 't you ever feel l i ke

breaki ng out? H u h ?

Ru n n i ng wi ld

j ust for the bad ness?

N ever.

H arry is my vi rtue .

Without h i m ...

I 'd be ...

You 'd be ...

l i ke H arry without Arth u r B raithwaite .

Wel l , she's fi nal ly asleep .

I th i n k she enjoyed her day.

Yeah , I th i n k so too .

And d id you ?

Yeah . Ki nd of.

What d id you and Andy fi nd to tal k about?

H m .

You , mostly.

B it of a bori ng topic, wasn 't it?

You ' re a very su rprisi ng person , H arry Pendel .

After al l these years?

J ust don 't come between me and E rn ie Delgado .

My work is off-l i m its . Do you u nderstand ?

O kay, Lou . Absol utely.

Done .

H arry.

What?

Make me laug h .

[G RU N T I N G]

[M OAN I N G]

[♪♪♪]

You 've got a g ift for it. What?

Letti ng go .

Few people can . You can 't, or won 't.

N o .

I 've been read i ng you r fi les . O h , those fucki ng fi les .

We know too m uch about each other.

Ki l ls the romance .

What romance?

[ P H O N E RI N G S]

O h , sh it ! S h it.

Yes?

Yeah . What?

It's a bit of a bad ti me , actual ly.

Yes , wel l , I d id n 't know what she knew, d id I ?

Wel l , I ' m su re you hand led it l i ke a master.

Look-- H ey, hey, hey, I had to th i n k on my feet, d id n 't I ?

Al l rig ht.

Al l rig ht, if you m ust.

Rendezvous n u m ber th ree .

You know where that is , don 't you ? O h , good .

Twenty-th ree h u nd red hou rs . Good .

So , what's th is crisis that warrants d ragg i ng me out of the sadd le on a S u nday n ig ht, eh ?

Look, about Lou isa .

Some woman , H arry. I envy you . The way she looks u p to you .

You ' re her moral vi rtue , her center, she tel ls me .

J ust l i ke Arth u r B raithwaite was to you , is what she said .

I enjoyed the com parison .

You d id n 't say anyth i ng ? N ow, wou ld I ever?

What d id you expect me to tel l her, that I was broug ht u p by an old J ew i n the rag trade?

B u rned h is frocks as a favor?

H ated the old fel low, d id you ?

I know th is place . We can tal k i n there .

I loved h i m . I revere h i m .

D ressed h i m u p as Arth u r B raithwaite . Gave h i m a good su it.

"C lothes maketh the man , " and al l that.

[ DAN C E M U S I C P LAYI N G]

[C ROWD C H E E RI N G]

Come on , let's dance . Cam p it u p a bit.

[" L ET'S FAC E T H E M U S I C & DAN C E" P LAYI N G]

Come on . I ' l l lead .

So I gather you 've made no attem pt to recru it her so far.

As of now, that is correct.

S he seemed perfectly approachable to me . Thoug ht I m ig ht have a go at her myself.

N o , don 't do that.

I s th is what you came to tel l me? Lay off her?

I came to tel l you I 've had enoug h .

I want out.

I don 't th i n k so , H arry. You 've taken the money, I want someth i ng for it.

Those docu ments .

Those ones that you snapped . D id you read them ?

I was pushed for ti me , Andy. Pension scheme for lockkeepers .

D redg i ng contract. Water analysis . Zi lch .

Ti me to del iver, H arry.

I ' m sick and ti red of you r fucki ng bu l lsh it.

I can 't go on with it !

You want me to tel l Lou isa about H arry the convict?

Wi l l you tel l me what you want?

Come here , H arry.

Keep movi ng . Stop acti ng so butch .

If Delgado's flogg i ng off the canal on the i nstructions of the president, what's the price?

Wh ich end buys names on the contract?

When are they gon na sig n it? Ti me and place?

And how m uch are Delgado and the prez cream i ng off for themselves?

Rig ht. Can 't hear you , H arry.

Rig ht. Then there's you r end of the bargai n .

Abraxas , the S i lent O pposition . I want the same clear sig nals . Are they goi ng for d i rect action or not?

D i rect action bei ng i n th is case? S hooti bangs , for fuck's sake .

Raisi ng the level of proletarian consciousness .

P utti ng bom bs i n ban ks , g u n n i ng down a cou ple of m i l l ionai res .

I don 't th i n k so , Andy. N ot M ickie , not Marta .

So , what the fuck are they doi ng ?

They' re buyi ng arms , who from ? Where? When ? Who gets them ? What are they gon na do with them ?

Th is ti me , they've gotta do a bit more than fucki ng tou r arou nd i n wh ite sh i rts

and get the sh it beaten out of them by the d i ng bats ! E h ?

Come on . I 've gotta get out of here .

I can 't th i n k.

I can 't breathe . Go , H arry. Go , go , go .

So get me some answers . You r ass is on the l i ne .

London 's com i ng u p to the wi re . You come th roug h with the stuff, we make you rich .

You don 't, we may feel obl iged to tel l the Pans that you 've been spyi ng for the Yan ks .

You and Lou isa both . H arry, do you u nderstand what I ' m sayi ng ?

[♪♪♪]

I haven 't come clean with you , you know.

I 've been d ragg i ng my feet.

At M ickie's behest, I m ig ht add .

H e has a h uge arms sh i pment on the way.

B ut he plans to pay for it from another sou rce .

O h , yeah ? Who the fuck wou ld that be?

Won 't say.

N o , he wou ld n 't, wou ld he?

H ow m uch ? It's big money, Andy.

" H arry, " he says to me , "you r g uys pay pean uts .

Th is is out of thei r leag ue . "

Wel l ...

th is is an i nteresti ng development, H arry.

G ive me a bal l park fig u re . Ten .

We' re tal ki ng 1 0 m i l l ion dol lars , Andy.

Ten m i l l ion dol lars?

Yeah .

Ten m i l l ion dol lars .

[C H U C KL ES]

Yeah .

[C H U C KL ES]

And rew. S i r.

The wi nds of fortu ne blew me to Caracas yesterday,

al lowi ng me th is brief stopover. I ' m on my way to Wash i ngton .

O u r revered leader, H en ry Cavend ish , is com i ng too . P ick u p the telephone .

There's prestige at stake , you see . O h , And rew,

I 've come al l th is way to look you i n the eye and ask you th is :

Can you back it u p? Are we copper-bottomed ?

Yes .

H ow m uch are they aski ng for? F ifteen m i l l ion .

F ifteen .

If I get it for you , can you g uarantee action ?

O h , absol utely.

Go after them , And rew.

P ush . The i ron is hot. Stri ke !

[♪♪♪]

ST EWARD ESS : S i r, excuse me , can I have you r g lass? We are ready for land i ng .

Than k you .

O h , H arry. I hear that Delgado

is setti ng u p a canal pol ice force

with powers to search the sh i ps .

It' l l never happen . It wou ld ki l l the d rug trade , the arms trade ,

everyth i ng we hold dear.

The way it is now, you pay you r d ues

you don 't piss i n the locks , they don 't fuck with you .

Does Lou isa know anyth i ng about th is l ittle plan , H arry?

Leave Lou isa out of th is , Teddy.

Take it easy, H arry. Ti me you took some hol iday.

You look fucked out.

Maybe if you paid you r bi l l I m ig ht be able to take a hol iday.

Maybe you 'd be health ier if you stuck to tai lori ng .

Listen , Teddy-- H ey, H arry.

It doesn 't look rig ht.

Th is is not a su it, it's a piece of sh it.

[AL L LAU G H I N G]

Come on , M ickie , it's on ly the fi rst fitti ng . Everyth i ng can be fixed .

I don 't know. I th i n k I ' m gon na go down the road to Arman i .

Get myself a proper su it.

M m-m m !

H e doesn 't l i ke it when I mention Arman i .

H arry, why you make me th is sh it?

Why can 't you make a su it l i ke Arman i ?

Why can 't I make a su it l i ke Arman i ?

You th i n k Arman i can make a su it l i ke H arry Pendel ?

Why not?

O kay, get out, fuck off. Go down the road , buy an Arman i !

Save you rself $ 1 000 , see if I care !

At Pendel and B raithwaite you get Savi le Row bespoke tai lori ng

with 400 years of trad ition beh i nd it.

Down the road you get an Ital ian gents' outfitter.

And if you don 't u nderstand the d ifference , then save you r money.

H ey, hey, H arry, come on .

The whole cou ntry's goi ng down the pl ug hole !

N obody cares !

Someone's got to stand u p and be cou nted !

Someone has to say, " H ere I am . Th is is what I stand for! "

I m peccable standards

and old-fash ioned i nteg rity !

And if you don 't l i ke it, you can go down the road !

Let me tel l you someth i ng , gentlemen , when you 've gone down that road

you can never come back.

When you 've gone down that road it's over, it's cu rtai ns .

And I ' m not j ust tal ki ng about Panama !

I ' m tal ki ng about the whole h u man race .

[♪♪♪]

MARTA: You too . Get out.

H arry, I was on ly kidd i ng , I swear.

It's j ust a sleeve . I swear to God .

[ DOO R C LOS ES]

Teddy came to see M ickie .

H e broug ht two goons with h i m . H e said they were M i n istry of I nterior.

Teddy?

Of cou rse Teddy, he's the worst of them .

They pay h i m , the ru l i ng fam i l ies .

H e takes money to i nform on h is friends .

They were aski ng arou nd about us .

They came to me too .

Teddy th i n ks we m ig ht be i nvolved i n some pol itical th i ng agai nst the system .

You know, l i ke the old ti mes .

You and Marta? You and M ickie .

Why wou ld they th i n k that?

Maybe you know, H arry.

I cou ld n 't do it agai n .

N o more prison . They break you i n there .

You got so m uch cou rage i n l ife . When it's gone , it's spent.

I got none left.

I know what you mean . I 've been there , I know.

And they came to you ?

B ig C h i nese g uy. The man who beat her before .

What d id they do to you ? N oth i ng . They wanted i nformation .

They said if I d id not g ive it to them , they wou ld make su re I look the same , both sides .

What i nformation ? About the two of you .

H ow often you meet, what you tal k about.

I want you both to get out of town . Take a hol iday.

There's a fi reworks festival i n G uarare .

You love fi reworks , M ickie , you know you do . H ere , the add ress is on the label .

Pete Abu lei ra lent it to me wh i le he's i n M iam i .

What are you goi ng to do?

Sort it out.

Tal k to people I know.

Better we go i n separate cars .

I fol low you later.

N o more d ri n ki ng now.

Than ks , H arry.

Take care .

I never l ied to you , Marta . You know that.

I may not have told you everyth i ng , but what I told you was true .

There's on ly so many people you can do that to . Tel l the truth .

Other people , you know, they' re d ifferent. They need to be ...

Tai lored .

H el ped . Yes .

You flatter them . You make th i ngs u p .

They start bel ievi ng you , H arry.

Thei r lead i ng man is one M ichelangelo Abraxas .

Known to many, l am sure, as the elusive Pimpernel

of the popular movement against General Manuel Noriega.

Abraxas is a man of proven integrity,

skilled in clandestine warfare.

H is second i n com mand ,

but I su bm it h is eq ual i n ski l l and resol ution ,

is code name " Marta . "

Another veteran of the anti- N oriega resistance .

For cover pu rposes , she is em ployed as accou ntant reception ist

by ou r own Panaman ian head agent,

the redou btable B uchan .

If I may say so , E l l iot, a "S i lent O pposition"

doesn 't send rad io messages .

H alf of them don 't even possess telephones .

Why else wou ld they cal l themselves si lent, h m ?

They' re a l ife force , not an em bassy.

F ishermen ...

smal l farmers , peasants , have-nots , pen n i less students .

People we wou ld n 't entertai n i n the woodshed .

So why shou ld we su pport them , H en ry?

Because if we don 't, someone else wi l l .

Because the S i lent O pposition is the new Panama i n the new m i l len n i u m .

And getti ng i n on the g rou nd floor with these chaps

is the sweetest, cheapest way of savi ng the canal .

Do you th i n k personal ly th is Abraxas is presidential material ?

O h . . . Scotty.

Abraxas is world-class . Cou rageous ,

unsullied, incorruptible.

A man to dream of when you 're shaping nations.

B ut Abraxas can 't go it alone . H e needs ou r su pport now.

If U . S . m i l itary assistance is g uaranteed ,

Señor Abraxas and h is forces wi l l lau nch an armed attack on the govern ment.

They wi l l com mandeer the rad io stations and the Canal Ad m i n istration Office .

S u bject, of cou rse , to advance payment

for arms , eq u i pment and med ical su ppl ies .

H ow m uch ?

The sort of money you boys leave u nder the plate , E l l iot.

H ow m uch ? Twenty m i l l ion dol lars .

E l l iot, may I say a cou ple of words , please?

I ' m on ly a rookie at heart.

I don 't know too m uch about the i ns and outs of pol itics , but I know th is :

I was the last American com mander i n Panama .

I had the task of taki ng ou r men out of there .

O n ly retreat of my career.

B roke my heart.

There is a m issi ng star on ou r flag , gentlemen .

Looks to me that God has g iven us a second chance here .

[ P H O N E RI N G S]

Yes?

S i r.

E ncrypted .

It went over l i ke n i nepi ns .

Asked for 20 and g uess what.

They beat me down to 1 5 .

I ' m on my way.

P ress play, Andy.

Teddy ! Teddy !

Why are you hassl i ng M ickie and Marta?

What are they u p to th is ti me , H arry?

What are you u p to? S pi n me one of you r stories .

You stay away from them or else .

H ow cou ld you fuck that faceless half-breed ?

N o , no , no . Relax.

You ' re a d isg race to that su it, Teddy.

H ey. Lou isa .

There's someth i ng I 've gotta tel l you . O kay.

Lou .

I need to tal k to you . O kay.

[ P H O N E RI N G S]

[ B L E N D E R WH I RRI N G]

H el lo?

Marta?

Yeah , it's Lou isa . I can 't hear you .

[ B L E N D E R STO PS]

U m , I ' l l get-- O kay.

U m , it's for you .

[♪♪♪]

It's me .

MARTA [OVE R S P EAKE R] : Oh, Harry. l need you. Please come.

[OVE R P H O N E] lt's Mickie. He--

[ D IAL TO N E]

Marta?

I 've gotta go . So it's Marta?

Al l th is ti me , rig ht u nder my nose . N o , Lou , you don 't u nderstand .

O h , come on , H arry. P lease .

Be a man .

Wel l , if you love her, go . Yes , I do love her.

B ut I 've never made love to her.

Get out.

Get out !

H arry.

H arry !

HARRY: O h , sh it !

[S P EAKS I N S PAN I S H ]

Wash i ngton has ag reed that as we have the contacts

that we shou ld u ndertake the fi nanci ng and arm i ng

of the S i lent O pposition .

And it's been ag reed that that task be u ndertaken by an older hand .

By myself, i n fact. And on a more formal basis than h itherto .

I dare say that' l l come as a bit of a rel ief to you , And rew.

Eq u i ppi ng an army, ted ious busi ness .

N ot the sort of task for you r mercu rial brai n .

Best left to us h u m ble plan ners and plodders , eh ?

It's fi ne i n pri nci ple , Scotty. J ust one snag .

They won 't tal k to anyone but me .

I th i n k you ' l l fi nd , Andy, that however shy they are

they' l l see thei r way to tal ki ng to a cand id friend

who has $ 1 5 m i l l ion to spend on them .

Wou ld n 't you say, am bassador?

You know, for q u ite a wh i le I was skeptical

about th is extraord i nari ly si lent opposition .

And I always thoug ht that M ickie Abraxas was j ust a harm less d ru n k.

F u n ny how wrong you can be .

I th i n k Andy m ig ht have a gen u i ne problem

i n conj u ri ng u p one of these people for you .

Afraid so , Scotty. You cou ld put it l i ke th is :

If you don 't go th roug h me , there is no S i lent O pposition .

It doesn 't do to be too possessive , And rew.

We m ust be brave and wean them off the Osnard teat, my boy.

M ig ht I offer myself as a go-between , so to speak,

to verify Andy's d ispersal of these fu nds?

Ki nd of you to offer, am bassador. Perhaps so .

Meanwh i le , And rew can brief me on the detai ls .

We have a lot to catch u p on , eh ?

Wh iskey ti l l the smal l hou rs i n the privacy of you r abode

is i nd icated for Osnard and Luxmore , I bel ieve .

S u re . Excel lent, gentlemen .

And rew, I take it you have a secu re safe i n you r apartment?

Absol utely, si r.

Fort Knox.

Am bassador.

I ' l l get my fi les .

You are getti ng out, aren 't you ? Possi bly.

Too early to say.

Why, you ' l l have to , won 't you ?

I mean , there is no S i lent O pposition , is there?

Who told you that? You d id , j ust now i n the meeti ng .

You made it al l u p , d id n 't you ?

I don 't know what you ' re tal ki ng about.

Do you know, I th i n k you ' re the wickedest h u man bei ng I 've ever met.

That was the attraction , wasn 't it?

H ow about a farewel l fuck?

H ere i n the office .

A knee-trem bler.

You know, I th i n k I ' m cu red .

Excuse me , F rancesca . A private word with And rew.

H e's al l you rs .

My d uty is to i nform the Foreig n Office of th is ...

travesty. M m-h m .

H ow m uch is you r d uty worth ?

Two m i l l ion . O ne .

O ne and a half. O ne and a q uarter.

Done .

And rew.

Good n ig ht.

[♪♪♪]

You got a lovely l ittle fam i ly, H arry. O n ly one th i ng can spoi l it.

What's that, U ncle Ben ny? The truth , H arry.

And that's the honest truth .

Esmeralda?

Esmeralda .

I ' m goi ng out. Watch the ch i ld ren .

Marta !

Marta !

Marta !

Marta !

[S P EAKI N G I N D I ST I N CT LY]

O h , God !

L UXM O RE : I ' m not i m posi ng on you , am I ?

You ' re not i m posi ng on me i n the least.

[ KN OC KI N G]

Who the devi l 's that?

[ PO U N D I N G]

[♪♪♪]

[WH I S P E RI N G] It's B uchan 2 . We got a situation .

I ' l l get her i nto the other room . When you hear the door sh ut, get out.

Take the l ift to the lobby, g ive the concierge a dol lar,

and he' l l get you a taxi to the E l Panama H otel . They' l l g ive you a room .

[WH I S P E RI N G] A taxi ? At th is ti me of n ig ht?

I don 't speak S pan ish , Andy. I ' m u narmed .

Life is cheap here .

You can hand le it. You ' re a field man , aren 't you ?

What about the bags?

I ' l l g uard them with my l ife . Bel ieve me .

S h h .

[ DOO R C LOS ES]

Lou isa .

Someth i ng on you r m i nd ? What the fuck have you done?

What is al l th is bu l lsh it about Abraxas and Delgado?

S h h . Don 't worry about it. It's noth i ng .

It's crap . It's al l a game . Where's H arry?

Where's H arry? H arry's okay.

I ' m gon na take care of H arry, j ust l i ke I ' m gon na take care of you .

Get you r fucki ng hands off me !

Get off me .

Relax.

We both know why you ' re here . M m m ?

Ah . Yeah .

S h it ! You ...

What have you gotten H arry i nto?

H arry got h i mself i nto th is with h is own l ud icrous stories .

When the Americans take back thei r canal , it' l l be down to h i m , not me .

When ?

When ?

Get out of my way !

HARRY: I ki l led h i m , Marta .

I ki l led h i m with my bu l lsh it.

MARTA: H e said the pol ice were after h i m .

H e said ,

"Tel l H arry I ' m sorry. "

And I d id n 't fi n ish h is su it.

It wou ld 've g iven h i m back h is d ig n ity.

H e wou ld n 't have shot h i mself i n that su it.

H e was always goi ng to do it.

H e was j ust looki ng for a good enoug h excuse .

S hal l I close h is eyes?

You m ust go now, H arry.

Go , H arry.

[ P H O N E RI N G I N G]

Yep .

H arry, my man , where have you been ?

Lou isa was here . I th i n k she thoug ht I was lead i ng you astray or someth i ng .

J esus .

I see . Go on .

So we have to stop al l th is , you hear?

M ickie knew noth i ng about it. You know and I know I made it al l u p .

It's too late for that, old boy. Out of our hands.

A case of l ife i m itati ng art.

Andy.

[ P H O N E RI N G I N G]

Yes?

B it of a setback, si r.

It's M ickie Abraxas .

B u l let th roug h the head .

S u icide .

Setback? Setback? O n the contrary.

N o , they' l l probably clai m he ki l led h i mself i n pol ice custody.

That's standard eu phem ism for assassi nations i n reg i mes of th is i l k.

N o , no one's goi ng to swal low that one .

No.

"Leader of the Democratic Rebel Movement murdered."

Yes. l think we could ha ve the peg we 're looking for, Andy.

L'll inform our American cousins. Now, tell me,

did you manage to resolve that Buchan 2 situation ?

I got the distinct impression she was in a state of high anxiety.

You must impress on your operatives the importance of remaining in control at all times.

Andrew? Andrew.

[♪♪♪]

[S H O U T I N G I N S PAN I S H ]

H el lo , is anybody there? I 've gotta tal k to the am bassador.

I ' m E ng l ish .

It's a matter of g rave i m portance .

[S H O U T I N G I N S PAN I S H ]

M ickie Abraxas d ied th ree hou rs ago .

Executed by a govern ment death sq uad .

I have i nformed the president.

H e has authorized us to go on i n .

We have that rig ht u nder the treaty if the canal is th reatened .

O peration Straig ht Arrow is al l you rs , general .

H ow soon can you be operational ?

G ive me fou r hou rs , si r. That fast?

My rapid response u n its are on fu l l alert, si r.

Carrier Alaska is off the coast of Panama .

E ig ht F-22 Raptors are on alert.

Twelve g u nsh i ps . A battal ion of mari nes .

I 've got to speak to the am bassador. The am bassador is busy.

You ' l l have to come back tomorrow.

Am bassador.

I am B uchan .

I made it al l u p . You 've got to stop it. You see , I ' m B uchan .

I ' m sorry, but aren 't you that tai lor fel low?

I ' m afraid you ' re rather u pset.

N igel , cou ld you show the gentleman out?

Yes . There is no S i lent O pposition !

Someone's gotta blow the wh istle , and it m ig ht as wel l be me .

You ' re a d i plomat, my dear. Be d i plomatic. Can 't i nterfere at th is stage .

It wou ld reflect very, very bad ly. And what cou ld we say?

That some deranged tai lor J oh n ny told us it was al l a joke?

N evertheless .

[ BOT H S P EAKI N G I N S PAN I S H ]

Darl i ng , what--? I need to tal k to E rnesto .

Andy.

Andy !

Wait !

O h , H arry.

[CAR ALARM WAI L I N G]

Wel l , if the am bassador's been recal led

g ive me somebody who hasn 't been recal led .

H is secretary, h is butler, h is--

Come with me , Lou isa .

We' re goi ng to see the president.

[CAR H O RN H O N KI N G]

[ H O RN H O N KI N G]

S h it !

O h , no , no , no .

Come on , come on , come on .

[CAR H O RN S H O N KI N G]

What the fuck do you want?

I want you to come back to the em bassy with me

and tel l them it's al l a m istake !

H arry, I 've got ou r money here . You rs and m i ne .

I ' m tryi ng to get out of here before they close the ai rport.

I ' m goi ng straig ht to Switzerland .

O pen n u m bered accou nts for both of us .

You ' re gon na be a rich man , H arry. J ust g ive me a l ift.

N o ! We' re goi ng back. Get out of my way, H arry !

Are you not l isten i ng to me? Don 't be bloody an noyi ng , H arry !

S h it ! They' re here .

[AL L YE L L I N G]

Am bassador!

Wi l l you vouch for me , my credentials?

I need to get on a plane .

You wish for th is man to be i ncl uded ?

I 've never seen h i m before .

Am bassador.

As you can see , the ai rport is closed , but pal ms have been g reased .

And once ou r arrangement has been concl uded ,

you ' l l be free to go .

It is a fabrication , M r. P resident. A pack of l ies , a travesty.

The canal is safe , secu re . U nth reatened .

Cal l off you r dogs , si r.

Cal l them off.

[S P EAKS I N S PAN I S H ]

I ' l l wal k you to you r plane .

Cou ld th is be the beg i n n i ng of a beautifu l friendsh i p?

I th i n k it desperately u n l i kely.

MAN [OVE R RAD I O] : Mission aborted. Return to base.

Why?

I don 't know.

I thoug ht it was a game .

And beh i nd my back?

Al l those l ies about the president and Delgado?

O h , yes , the l ies .

I ' m very, very sorry about the l ies .

Lou isa ...

I never d id work i n Savi le Row, d id I ?

N ot as such .

I learned the tai lori ng i n prison .

I bu rnt down my U ncle Ben ny's warehouse to hel p h i m out.

And then , when I 'd done my ti me ,

U ncle Ben ny, he g ives me my portion ,

sends me out here so I can 't get i nto trou ble .

I pretended he was Arth u r B raithwaite .

[♪♪♪]

You see , lyi ng 's what you do i n prison , Lou .

It's i nstead of love , real ly.

You tel l a th i ng the way it oug ht to be , because that's so m uch better than how it is

when it's that bad .

If you fol low me .

Why d id n 't you j ust tel l me from the start?

Because I fel l i n love with you , my pri ncess .

And I knew that I wasn 't good enoug h for you .

N ot as I stood .

H arry, you are such a fool .

Dad , you prom ised to tel l me a story. Where were you ?

O h , Sarah .

I ' m so sorry.

N o need to cry about it, Dad .

H i , Dad .

H i , M u m .

So , what do you want me to do?

What do I want you to do?

What you always do .

Make breakfast.

Can we have pancakes?

Yeah . You want pancakes?

B reakfast?

Wel l , there's two ways we can deal with th is one , my dear.

[SARAH LAU G H S]

BOT H : Yay !

BOT H : Yay !

[♪♪♪]