Original subtitles

JOE: Listen to me. Do exactly as I say.

There are people in the house. Two of them downstairs.

Get the kids. It's time to run.

- JULES: Get in the car. - (loud thud)

(children scream)

- FRANKIE: Dad! - JOE: Jules?

JULES: We're okay. We're okay.

JOE: We need to find out who hired this killer.

- We set a trap with one of us as bait. - No. That is a very bad idea.

I'll do it.

AZAR: I'll be bait.

- (grunting in pain) - JOE: It's not him. It's not the killer.

(muffled scream)

DEVIL: I have you now.

(Specialist groans)

It's time.

- (Officer yelps) - (groans)

- DEVIL: You don't know what you took. - We took money.

- You stole the key. - What key?

DEVIL: Have you asked Dianne Harewood these questions?

Dianne's dead.

DEVIL: We pulled 13 bodies from the rubble of that place.

No Dianne Harewood.

(explosion)

- How is your family? - Just tell me who you work for.

They'll be found and they'll be tortured.

- Who do you work for? - And they'll be fucking...

- AZAR: What do we do now? - Now we find Dianne.

(suspenseful music)

RIGHT HAND: I'll come back for one more bag.

DIANNE: We're out of time. Go.

RIGHT HAND: We're still good. I can make it.

DIANNE: We've got enough. Get out, Right Hand!

JOE: Right, this is my last.

DIANNE: Right behind you.

Good luck.

JOE: I'll see you at the meet.

(Dianne grunts)

(chill music)

Wait, wait, wait.

(grunts)

- (muffled chatter) - (approaching footsteps)

(car chirps)

(Officer groans)

Hurry up.

Go open his eyes.

No. I'll hold the phone, and you can puppeteer the dead guy.

Just open his eyes.

(Officer groans in disgust)

(phone clicks)

- JOE: Got it. - (Officer exclaims)

What are you looking for?

Something that leads us to Dianne.

If he knew where Dianne was,

he would have skipped us and gone right to her, no?

WOMAN VOICE: Please, please. I don't know where Dianne Harewood is.

- Please. - (baby cries)

OFFICER: Who's that?

- Doctor. - AZAR: He recorded her?

- (baby crying) - DOCTOR: No, no. Please stop!

(sobbing, screaming)

OFFICER: All right, um...

We need to move. We've been here way too long already.

OFFICER: David.

Right.

David.

David, we need to get all the bodies in the car

- and get the fuck out of here. - Just give me one second. All right?

- JOE: Fuck. - AZAR: What?

- What have you found? - Location stamps.

JOE: Doctor's house, Driver's house, where Soldier was found.

My house in America, Malek's house in Spain.

There's one more. I don't recognize it.

- Somewhere in Kent. - OFFICER: Who lives there?

Doesn't say.

Do you think it's Dianne?

It doesn't say.

But you're right.

We need to clean up and get the fuck out of here.

Right now.

(whirring)

What are you doing back here? You're supposed to be making your exit.

RIGHT HAND: Figured I had time for one more bag.

What's behind the painting, Dianne?

(Dianne grunts) We haven't got time for this.

RIGHT HAND: What's in your pocket? What did you take?

Are you sure you want to play this game?

We go back a long way, Dianne.

I think I've earned the right to be treated as an equal.

The backup security team are here. Repeat. The backup is here. They're early.

OFFICER: You got to get the fuck out.

- DIANNE: Get out of my way. - RIGHT HAND: Cut me in.

- Whatever it is, cut me in. - You already cut into the money.

I know you, Dianne. I want what's in your pocket.

I can be an ally. Bring me in.

Okay, I'll cut you in.

- How much are we talking? - Eight figures.

- Plus cash? - Fine.

Just go! I'll get the door.

I need back up ASAP. I am being threatened by men with guns.

- (gun cocks) - (metal door creaks)

(gunshots)

RIGHT HAND: That's why I like you, Dianne. You're always one step ahead.

Fixer, are you close?

FIXER: Hey. Yeah, I'm close.

DIANNE: We have a problem. Right Hand went off book.

FIXER: Shit.

He's become a threat. We have to let him go.

- FIXER: You sure? - DIANNE: Do it.

- (gunshot) - (Azar screams)

(melancholic music)

(car door opens)

Bye, Inga.

- (fire blasts) - (glass shatters)

(speaking Arabic)

(melancholic music continues)

Hey, when are you going to stop being angry at me?

I didn't spend it all.

The money, I didn't...

I didn't blow through it in six months.

Well, I spent some of it, of course. I'm not weird...

like you.

I bought myself a house. Nothing huge, nothing crazy, just...

It has an orchard.

An almond orchard.

Thinking about it makes me happy and sad at the same time.

You know?

(Malek speaks Arabic)

It's my father.

- (Devil speaks Arabic) - Azar, no.

JOE: Don't listen to that.

(Malek speaks Arabic)

- I need to hear it. - (Devil speaks Arabic)

OFFICER: He's right, Azar.

- Give me the phone. - Be quiet!

(Devil speaks Arabic)

(Malek sobs, speaks Arabic)

- (Devil speaks Arabic) - (Malek whimpers)

(Malek chokes)

(Malek speaks Arabic)

- (Devil speaks Arabic) - (gunshot over recording)

(sniffles)

(ominous music)

This our exit.

(indistinct chatter)

(light music playing)

Are you prepared?

- For the job? - DIANNE: For what comes after.

Shedding your skin and becoming something new.

Not literally, of course.

You know, you're...

not quite how I imagined.

What did you imagine?

- Well, from the stories I heard, it's... - DIANNE: Tell me then.

The stories you heard.

No.

Humor me.

You, um...

You once killed the whole crew because you thought that

one of them was maybe a rat.

Next.

You're the person who tortured those cops in Berlin last year.

Next.

JOE: Your sister betrayed you.

So you killed her by locking her in a car...

and setting it on fire.

Interesting.

- You think I'd kill my own family? - I really don't know.

It's half true.

My sister died in a burning car,

but I didn't kill her.

The defective car did that.

Killed her daughter too.

My niece.

The only family I had left.

You shouldn't believe everything you hear, Muscle.

The truth is always far crappier than fiction.

(tense music)

OFFICER: Which one is it?

It's there on my right.

(clatters)

Wait.

You don't know what you're walking into there.

- It could be a hornet's nest. - JOE: Maybe.

We've got to find anything that leads us to Dianne,

and this is all we have, so I'm going in there.

And you're coming with me.

I need you to stay here...

as lookout.

We might have to make a quick exit.

Can you do that for me?

Yeah.

Okay.

(indistinct chatter in distance)

- OFFICER: So, what's the plan here? - (car door closes)

We'll knock on the door,

and then you're going to talk us inside.

Whoever opens that door, whoever it is, whoever they are...

I need you to get them to invite us in. Okay?

Oh, so, you're actually trusting me with something?

I'm asking you to help.

Okay.

(doorbell dings)

- And it's "whomever." - What?

"Whomever" opens that door. "Whomever" they are.

- No, it's not. - Pretty sure it is.

Just try to keep up.

(door opens)

OFFICER: Oh. Hello. Is your daddy home?

Daddy's not here.

Okay, what about your mommy, then?

BOY: Mom?

Mom?

JOE: Look. It's Right Hand.

- GWEN: Can I help you? - I hope so. Are you Gwen Irving?

Who are you?

My name is Lorna Bowers. This is my colleague, George La Rochelle.

Hello.

OFFICER: We work as researchers for Elgin Lewis and Partners.

They're a firm of probate lawyers.

- Well, I don't need a lawyer. - OFFICER: No, of course not.

But did you know that two-thirds of people die

without ever making a will?

Which means, every year,

millions of pounds of inheritances go unclaimed.

- Okay. - OFFICER: Well, that's where we step in.

We try to find people like you who are owed an inheritance

and unite them with their rightful money.

- Of course, we do take a small commission. - You think I'm owed some money?

OFFICER: We do, yes.

Um, but obviously, first we need to make sure

that you are the correct Gwen Irving.

So, do you mind if we just come in and chat with you for a couple of minutes?

- No, sorry. Now's not a good time... - OFFICER: Okay, sure, but...

GWEN: Hey. Hey, what are you doing?

You need to drop that knife.

What?

Please put down the knife.

Now, give me your phone.

Phone.

Go in the living room and get the kids' phones too.

Please take whatever you want, but just don't hurt my kids.

Do as we say, and no one gets hurt.

Get their phones.

Now.

- Kelly, Jake, I need your phones. - What for?

- Just give me them now. - Hey, I was using it. Jesus.

- Who the hell are you? - I'm nobody.

No, no, no. Don't get up. Stay sat right there.

Everything's fine. Keep playing the game.

Pretend we're not here, okay?

Gwen.

Just keep playing the game. Do as he says. Right now.

Phones.

Go ahead.

Who's this?

- That's my husband. - JOE: What's his name?

Anton.

He'll be back in a minute, so take the phones...

I know he's not coming back, Gwen. Please don't lie to me.

I know that he's dead.

Keep your eyes on the game.

Your husband was a criminal, Gwen.

I know that because I'm a criminal too. We worked together.

- He wasn't a criminal. - JOE: He was a career criminal...

and a good one.

So either you're lying to me, or he hid it from you.

Which is it?

You knew he was a criminal.

JOE: Okay.

Please...

don't lie to me again.

Do you understand?

Do you know a woman called Dianne Harewood?

She hired me.

She hired your husband.

She knew him already. They worked together before.

A few times, maybe.

Do you know her?

No.

Think carefully.

Dianne Harewood.

Do you recognize the name?

No.

(indistinct chatter)

(birds chirping)

(indistinct chatter)

(ball thuds)

(sighs)

My mate Paul, he thinks you're proper fit.

Hey, I'm talking to you.

Oh, well, fuck you, then.

(ominous music)

JOE: Look at the photo.

Do you recognize this woman?

No.

Look again.

You're scaring my kids, please. Just leave.

The job we did... The job we did with your husband...

We stole from some very dangerous people.

And those people are hunting us down, hunting our families down, Gwen.

- To get back what we took. - Then give it back.

Whatever it is you stole, just give it back.

I want to.

That's why I need to find Dianne Harewood.

I told you I don't know anyone called Dianne.

She's lying.

No, I swear to you, I'm not lying. I don't know any...

- She's lying. - JOE: I know. It's okay, it's okay.

I understand. You don't want to say anything

that will get you into trouble.

I mean, you don't know us.

And I say I worked with Dianne with your husband, but...

I could be lying. I could be a cop. We could be the people Anton robbed.

We could be working with Dianne and testing your loyalty.

You don't know.

The problem is...

Gwen.

I'm telling the truth.

And I can't leave here until you tell me the truth too.

Because there's a danger coming towards us.

Towards you.

So I need you to help me to stop it.

I'm going to ask you...

one more time.

Look at the picture...

and tell me.

Do you know this woman?

- (loud knock on door) - Ignore it.

Answer my question.

- (knocking on door) - (doorbell dings)

Get rid of them. Whoever they are.

Can you hurry this up?

- Who are you? - JOE: She's with us.

Gwen, look at me, not her. Gwen, look at me.

- You were about to tell me something. - What's taking so long?

Gwen, please. Look at the photo. You know her, don't you?

- AZAR: Who's she? - OFFICER: She's Right Hand's widow.

JOE: Gwen, please.

- JOE: Gwen. - I can't.

Just calm down. Just look at me. Just talk to me.

All you have to do is tell me what you know.

Just tell him. Please. Tell him.

(sobs)

It's okay.

Oh, fuck this. Answer the question.

- JOE: No, no, no! Put the gun away. - Answer the question!

Azar, put the fucking gun down! It's okay. It's okay, she's not going to hurt you.

- Yes, I will. Oh, yes, I will. - JOE: Shut the fuck up

- and put the gun away, Azar. - Tell us where Dianne is.

Azar! Calm down. You don't want to do this right...

- Don't tell me what to do. - Okay.

Yeah, you don't tell me anything.

AZAR: Yeah?

You, talk.

- Now. - I...

- AZAR: Talk. - Please.

Talk.

(ringtone plays)

- Look, Gwen, I don't want to hurt you. - (ringtone plays)

Who the fuck is Gareth?

(ringtone playing)

It's not for me.

That call.

It's not for me.

- It's for you. - JOE: Excuse me?

He's calling for you. Answer it.

Why would he be calling for me?

Answer it.

(ringtone continues)

Hello?

GARETH: Are you the man with the gun?

- Who is this? - Look outside.

Keep the gun on her.

- What's going on? - Just keep your fucking gun on her.

Now, listen, you're gonna give your guns to the lady,

and you're gonna come out with your arms raised.

You understand me?

Who are you?

MAN: We're the consequences of your actions.

No.

Go away, or I start hurting people in here.

MAN: Now, see?

Why did you have to go and say that?

- I was being reasonable. - Back away and leave now!

- You just missed your last exit. - What the fuck does that even...

You really shouldn't have done that.

- Fuck off. - JOE: Move.

Tell me where she is now. Now!

- (banging) - (gunshots)

GWEN: Kids, run!

MAN: Come on, move it!

JOE: Down!

- OFFICER: It's locked! - Come to the door.

- Move aside. - Go! Come on!

- Move aside! - (screaming)

Get the pot.

(grunts)

(gunfire)

(yelling)

(glass shattering)

Out of the window. Go!

MAN: Go! Go now!

- OFFICER: Keys. - Here.

- (tires screeching) - (men yelling)

What did I say? A fucking hornet's nest! I knew it.

OFFICER: Jesus fucking Christ!

Fuck, Azar. I told you to stay in the car. Why did you come inside?

JOE: She was gonna talk.

If you hadn't come in and stuck a fucking gun in her face,

she would've told us.

Fuck. Now we have nothing.

Azar.

AZAR: "Corporal Robert Yates."

Who's Corporal Robert Yates?

Fuse.

This is Fuse. Corporal Robert Yates. Fuse and Right Hand knew each other.

So Fuse knew Dianne from before the job. Fuse is inner circle.

Shit.

- (gunshot) - (Azar screams)

AZAR: Right Hand?

DIANNE: Fuse, stand by. Approaching the exit.

(tense music)

- (Youssef in Arabic) - (engine starts)

(Azar in Arabic)

DIANNE: Fuse, blow it.

- (explosion) - (tires screech)

(loud rumbling)

AZAR: Oh, my God, Dianne.

DIANNE: Let's go.

- (tires screech) - (engine revving)

Hello, my name is Joanne Fullerton. I'm a researcher for the BBC.

We're doing a show about reuniting old army friends,

and I'm looking for the current details of Corporal Robert Yates?

Uh-huh.

Right. And when was the last time you spoke to your Uncle Robert?

Oh, Bob. (laughs)

Oh, yes. So sorry. Yes.

- (phone ringing) - OFFICER: Sure. Yes.

- JULES: Hello? - Jules, hello?

- Joe? The signals... - Jules.

- I can't hear... - Are you okay?

Where are you?

- Jules, hello? Jules. - Joe, are you there?

(signal crackling)

Jules, did you get to the house?

- Joe, are you there? - Did you make it to Canada? Jules!

- (line disconnected) - Fuck! Fuck.

- OFFICER: Yes, okay. Thank you so much. - OPERATOR: Hello, no one is available

- to take your call. - OFFICER: Yes. Yes, I will send you the...

Forward everything on to me. Thank you. Thank you.

David. David, I found him.

- David, let's go. I have an address. - One minute!

David, let's go!

OPERATOR (on phone): Hello, no one is available...

(mutters)

(tense music)

(birds chirping)

(doorbell dings)

Okay. You look around the house.

I'm going to go check out these buildings back there.

JOE: But be careful...

he's an explosives expert.

(metal clanking)

OFFICER: He didn't really look like a Robert.

Fuse.

He looked more like a Nigel or a Barry.

What do you think?

All right.

(clanking continues)

Fuse.

(knocks on door)

(rustling)

OFFICER: There's no one here.

(ominous music)

Fuse.

(clinks)

Robert.

(metal creaks)

(ominous music intensifies)

JOE: Fuse.

Fuse!

- GUNMAN 1: Stay where you are! - GUNMAN 2: Hands on your head!

- GUNMAN 1: Put the gun down now! - GUNMAN 3: Drop your gun now! Do it now!

- GUNMAN 2: Get down on the ground! - GUNMAN 3: Hands up!

- Up! - GUNMAN 2: Hands on your head!

- After you. - Me?

(engine roaring)

What was that?

David?

Muscle?

Are you in here?

Just go in.

OFFICER: David?

David?

David, are you in here? Can you hear me?

David.

That's his gun.

- That's the gun he had. - AZAR: That's a lot of blood.

We got to go.

(ominous music fades)

(rustles)

(loud gong)

(gasping)

(muffled grunting)

(door buzzes, opens)

Is this how we treat a guest? Take that thing out.

You okay? You want a glass of water?

Bring him some water.

I apologize.

They jump at any opportunity to show off their party tricks.

They rarely get the chance.

Thank you.

It's water.

Better?

I think perhaps we should have a talk...

David.

Don't you?

Who are you?

Me?

I'm the man you robbed.

You destroyed my building. You broke my vault.

You took what's mine.

I don't know what you're talking about.

Please, can we skip this bit? I know who you are.

I know what you did. I know where you've been hiding.

I even know all about your fiancé.

And your kids.

I know they recently crossed the Canadian border

using false passports.

- Listen... - I know everything, David.

I know.

Do you know where they are?

Don't you?

Do you have them?

Thank you.

My employees are not far behind.

Please, please, please. Please!

Please, they have...

They have nothing to do with this. Please.

I swear to fucking God, you fucking touch them, I'll kill you.

That's what I like about the family men. They've got so much to lose.

I'd offer you one,

but you can only get Corbeaus in Switzerland,

and I'm running short.

What do you want?

I want my property back.

You sent the assassin.

So he found you?

Yet here you are, still alive.

That's interesting.

Did you kill him?

Of course, you did.

Because you're David Marking, the man that kills.

I don't kill anymore.

I don't know.

I think you may have one more killing in you.

Coffee?

I'd like a coffee. Do you want a coffee?

Can I get a double espresso with a hint of sugar?

You know how I like it.

Have you seen this before?

Do you know what it means?

No.

David, you humiliated me.

You and your friends...

made me feel violated.

Vulnerable.

Made me angry, David.

Very angry.

So now, you must die.

Today.

In just a short while, actually.

And after this, I'm going to find your family,

- and I'm going to kill them too. - Please. No. Please.

- My... No. - They must be made to suffer.

JOE: No.

- Please. - (door opens, closes)

- Please. - (approaching footsteps)

Coffee.

You sure you don't want one?

Thank you.

Now, I'm assuming you don't want to die today.

Yes?

And you want your family to live too.

Now, listen, I can do that for you quite simply.

But for that to happen, you will have to do something first.

I need you to kill Dianne Harewood.

What?

I need you to kill Harewood.

Because she robbed you?

Because she's trying to destroy me.

- I don't even know where Dianne is. - VINCENT: The explosives expert, Fuse?

Before he died, he gave us a method of contacting Harewood.

Then use it. Get her yourself.

I'm not a killer. I'm a businessman.

She has something I need. She stole it from me.

The key.

- You know about it? - JOE: Your man asked me for it.

You know what it is?

- No. - VINCENT: Marian.

(heels clacking)

Thank you.

Fun fact, Marian once sang opera at La Scala.

It was just once. It was an amateur production.

It was beautiful.

Now, this.

VINCENT: This is the key. Seen this before?

Harewood has it. Don't know where.

But if she thinks that we're close, then she will destroy it.

And David, we cannot allow her to destroy it.

So we need to coax her to reveal it.

JOE: But how can I get her to give it up? She won't listen to me.

Tell her the explosive expert said something to you.

Before he died, he gave a message to tell her

he found out where Hawkes is hiding the box.

- Who's Hawkes? - I am.

- And what's the box? - The box is the thing the key opens.

What the others were saying to the contractor

was that she likes you.

She saw something in you, perhaps even trusts you.

You know, in an abattoir...

the workers always keep a cow, a cow that they never slaughter.

And they use this cow to lead the other cows

down the slope to the killing floor.

The other cows,

they follow this traitor cow because she's one of their own.

So they follow her freely, calmly, happily,

down to their deaths.

Find Dianne. Find the key.

Lead her to the killing floor.

And when you've secured the key, put a gun to her head,

pull the trigger, and bring the key to me.

I don't kill anymore.

Your fiance, those kids, do you love them? Do you want to protect them?

Do you think you deserve this family?

Deserve this life?

The man that you are pretending to be, this Joseph person, that's not you.

You're not the family man. You're the killer.

If you don't kill Harewood and return my key,

first, Jules will be killed in front of your kids.

- Then Frankie. - (chain clanging)

Then Frankie will be killed in front of Bud.

Then, only when he is broken and crying and calling for you,

the boy will be killed.

(breathes shakily)

So your choice is very simple, David.

Be a dead man and lose your family...

or be you and save them.

Who are you going to be?

Joseph, the man who lies, or David, the man who kills?

I'm gonna be me.

- I'm gonna be David. - VINCENT: Yes?

Yes.

And you will kill Harewood.

I'll kill whoever you want.

(closing theme music)