Original subtitles

This is the nightmail

Crossing the border.

Do you know that poeme?

Do you have any idea what's on the other side of that border?

Cause that's what we're waiting

till you need to fix.

And we'll come after you.

And after you.

■ I like London ■

■ in the rain ■

■ With my boots on ■

■ In the rain ■

■ Feel the coolness ■

■ In the air ■

■ Let the rain fall in my hair ■

■ I like London ■

■ In the rain ■

■ Wet umbrella ■ Rhys

■ In the rain ■

■ The other couples arm in arm ■ Scarlet

■ London drizzle ■

■ has it's charm ■ Eva

■ Winds are blowing ■ Mark

■ lights are glowing ■ Andrew

■ Falling rain ■ Emma, very English

Tom

Assad

Assad

So I said, Sure, if you love someone, let them go.

But don't be surprised

if they come back with chlamydia.

Jeremy?

Yeah.

Oh!

- I thought. - Just with an eye.

He's got himself a what?

A leather darty?

I don't know what a leather darty is.

Is it one of those TV recliners?

Every month when I get my period,

I buy myself an extravagant gift

to remind me why I've givven up if I ever get pregnant.

A girl playing Harry Potter.

I mean, Christ, I'm so done with this gender swap shit.

If Harry Potter had been a girl,

she would have just put fire oil on the sky

and forgot about the whole thing.

Wake up, sir.

Waking up.

I love the Queen.

Victoria, Elizabeth, all of the queens.

You got quite the accent there.

Where are you from?

Iceland.

Iceland. Wow!

Like Abba.

They got black people in Iceland?

Answer him, buddy.

You come far?

Korea.

North or South?

Take a wild guess.

[Foreign language]

Where are you from?

Friesia.

Ah, you're Friesian?

Yeah. I like the fucking cows. Funny, right?

You know, there are rules about what you can ask your ride.

No personal information.

Just drive me where the fuck I want to go

and keep your personal fucking questions to yourself.

Creep.

What with these curtain, bro?

Trying to hight sigh back here.

With all secrecy keeping.

Is it misdeeds in the stranger's backseat?

Alright, new plan.

That's not a good place.

I take you to Gates, very close.

No, bro, you take me all the way.

All the fucking way.

You gotta think about them stars.

If I give you one star,

that's really going to hurt you, bro.

I mean really fucking hurt you.

So, my life,

she comes out from beauty powder.

Big eyes, red mouth.

Like Coco Chanel she says.

more like Coco the clown.

Those were my words.

And now I live in England.

- You got a charger? - Sure.

Android, Apple, whatever you want.

Water in the door.

So, how's your day so far?

I don't want to talk.

Sure whatever you want.

■ Some people good ■

■ And some people look bad ■

■ Some people will help you ■

■ Some people been helped ■

■ And if God made them slow ■

■ ■

■ Who hi is sweet Jesus ■

■ made him such a prick ■

■ moving on ■

■ with my soul ■

■ I've got to get past that you're such a dumb ass ■

■ moving on, rolling strong ■

■ It's okay, I assume to shoot you and raccoons ■

■ Moving on ■

■ People let's all gather arround ■

Some people are bad.

Some people are good.

Some like my music, some mess with my food.

This job is my life.

Who gets in?

Who knows?

Crazy people.

Excuse you.

Excuse you.

Okay.

Naughty Mr. Fruity

Fresh air, I think.

you know, perhaps---

John Donne, likenes of the purity of love

to the freshness of the hair

and old comparison.

And one wonders what he meant by this.

Perhaps that a bad marriage sticks.

Those would be my words.

I don't see you.

You can see me?

I'm here.

I do my lights.

Oh

They don't have no signs on the buildings.

It's a rehab center.

Discreet and that.

I don't care about, some people it's their first time.

Not yours.

Fuck, no.

I got a season ticket.

It's my thought park, man.

Chosen to world's fucking misadventure.

Today's delicious substitute.

Tomorrow is milk But I guess me out.

See that kind of crack gets you killed

Got for a baggy, get a bullet.

I got Harry yesterday.

Harry. Okay.

A rider.

He changed destination

Takes me to this spooky place.

I know it gets, you know, the valleys.

Oh, yeah.

Very big valleys.

I think for sure he means to hurt me.

Hi. Change of plan.

Okay, right here.

Here?

here is

Way better.

This is the night man.

■ I never knew world ■

■ calling me ■

We found the boss messed up.

Just walking through the streets

Any signe of Mr. Mercury?

We followed her, up house the Kings Cross.

fucking back and beyond.

Nothing there.

Just a phone box but no phone.

She was talking to someone though, mad stuff.

This is the ninghtmail crossing the border.

Do you know that poem?

Do you have any idea what's on the other side of that border?

Because that's where we're waiting

till you need a fix.

And we'll come after you and--

[Ryder] And after you.

Alrigh Honey, I get that, but why the nightmail?

What does it mean?

Why this box?

It's like nowhere. So who found it first?

I mean, how many people know about this?

What if I get it wrong?

What if... what if they don't leave?

I mean, how the fuck does this all work, man?

When you were given a bag of monkey dust,

did you ever ask what was in it?

No.

You just wanted to have, right?

So don't ask now.

Just step inside and say "This is the night mail"

And then you wait.

This, this is a nightmail.

Babe, you might not even get a ride the first time.

So. So who told you about this?

I mean, how did you find---

Oh, okay.

Christ,

it's a bit hard to believe, right?

Yeah, the hard stuff all right.

What's this?

You'll need it later.

And if I do get a rider.

Jesus, look,

they have until sunrize.

Some might take their time, choose the long way around

All of us want to get straight to it.

No conversation, nothing.

Every ride's different.

Well, when they leave,

that's when--

Yeah, baby, that's when.

And then,

we come back and we do it all again.

We call it the rise.

And I promise you ain't never been higher.

You'll be here when I get back.

Always and forever.

This is the nightmail.

[Ryder] At last!

[Ryder] The London stone.

[Ryder] Thank you.

[Ryder] Hope to and to your wheels.

Sorry, Ryder.

I'm new to this.

You said London Stone.

[Ryder] 111 Cannon Street.

It's that like a bar?

[Ryder] Good God! A bar!

[Ryder] It is, as the name strenuously suggests, a stone.

Hmm.

Okay.

Canon street

- [Lot] 111. - [Ryder] 1 1 1

[Lot] I can count, you know.

[Ryder] One wonders.

■ I' wanna be your lemonade ■

■ In a tall, clean, glass ■

■ sipping in the shade, I wanna be ■

■ I wanna be your Lemonade ■

[Ryder] To the left.

[Lot] Just a guess, you know, but you a teacher?

[Ryder] There are rules, you know,

[Ryder] on what you can ask your ride.

[Ryder] Now, hold here.

[Lot] Why?

[Ryder] The coming storm.

[Lot] But it isn't going to rain.

[Lot] Clear skies, it says.

[Ryder] No shelter, boy.

[Lot] I'm cold.

[Ryder] Out stretch your hand.

[Lot] Is this how it works? I get like

high marks if I do a good job, if I do what you ask.

[Ryder] If you didn't ask questions.

[Ryder] Oh!

You can feel it?

[Ryder] Mighty came the rain upon us all.

[Ryder] Numb by his right name Thunder Corps.

[Ryder] Lightning was a light

[Ryder] and it rained more than if the sun

[Ryder] have drunk the sea before.

[Ryder] You knew Boy, there is a word

[Ryder] for the smell of the world after the rain.

[Ryder] It is Petrichor.

[Ryder] Means stone blood of the gods.

[Lot] Stone blood, that's cool.

[Ryder] Of the gods.

[Ryder] And I had imagined fireworks

[Ryder] sign, celebration,

[Ryder] some sense to one significance

finds form in this The last.

[Ryder] And here I am with you, some youthful dolt

[Ryder] for whom I mean no more than one archaic word.

[Ryder] Come, come

[Ryder] Though you may ask no questions on our life before,

[Ryder] I shall answer one.

[Ryder] Why do I choose the London Stone?

[Ryder] It is the last of London's City Hall.

[Ryder] A once mighty border, now a single wretched rock.

[Ryder] Ground down by time

[Ryder] How act, I say.

[Ryder] How sorrowfully fitting to mark the last of me.

[Ryder] A cold soul and unfeeling without joy.

[Ryder] I ground away the years

[Ryder] imprisoned by walls of my own making.

[Ryder] And so you see, the stone is me, my place to rest.

[Ryder] Not against the gas, boy. To the left

[Ryder] That is perfect for the sigil.

[Lot] A sigil? What?

[Ryder] No, I hardly dare ask.

[Ryder] But do you have some means to make the mark?

[Lot] Yes right, she-- she she gave us this,

[Lot] the chalk.

[Ryder] Ground down by time, appropriate at least.

[Ryder] No, this is my last lesson

[Ryder] So sit and attend.

[Lot] Right. And this-- And this mark you say---

[Ryder] Pay attention.

[Ryder] Now, are you right handed?

[Lot] Yeah.

[Ryder] Do you see?

[Ryder] And N and M conjoin.

[Ryder] But look again, it is a whip

[Ryder] What might say between two worlds,

[Ryder] a border broken.

[Ryder] I cross into your realm and for a moment,

[Ryder] you cross into mine.

[Lot] So now, I just-- just wait

[Lot] and you get out.

- [Ryder] Prepare. - [Lot] How long does it--

[Ryder] Live by and laugh.

[The Mother] Hamsy Market, please.

[Honey] Yes. Finally

[Honey] and happy days is close.

[Honey] I say we walk.

[Honey] The day is sweet. The air is fresh.

[Honey] It is somewhat bloody glorious to be alive.

[The Mother] By foot is fine. It's no rush.

[The Mother] It's near.

[Honey] You want to talk

[Honey] or do you prefer quiet contemplation?

[Honey] I don't care either way.

[Honey] I mean that's a bit of my fault too.

[Honey] And this all mixed up in there, right?

[Honey] Well, so I've been told.

[Honey] And about my complaints, you know, about my thoughts.

[Honey] Apparently they're fucking heinous.

[The Mother] What ever is good for you.

[The Mother] Honestly, I don't mind.

[Honey] Actually, I'm pretty fucked right now.

[Honey] You're my second round of the day.

[Honey] I say we have some music.

[The Mother] Music is absolutely lovely.

[Honey] Any special requests?

[Honey] I'm supposed to ask?

[The Mother] It's been a while too long really.

[The Mother] Perhaps something with a little sass.

[Honey] Sass? You do surprise.

[The Mother] You know, I was a singer once without success.

[Honey] Yeah, I know you did. Sucks.

[Honey] Oh, sweet.

[Honey] I'd say you were a suicide for certs.

[Honey] Yes, I know the rules.

[Honey] We're not meant to ask how you pass and that.

[Honey] so I don't ask.

[Honey] I just take a guess and I'd say pills.

[Honey] Always it fumes.

[Honey] Did you suck it up?

[Honey] The old 69 with an eight inch exhaust?

[The mother] I jumped

[The mother] from my bedroom window.

[The mother] 20th floor.

[Honey] Jeez, lady

[Honey] I've I had my share of snuff

[Honey] is almost a cock up cries for help.

[Honey] But 20 floors! Ta-Ta!

[Honey] You really wanted out.

[Honey] Okay.

[Honey] So here we are, Hamsey market.

[Honey] Not exactly the covent Garden, the market I mean.

[Honey] But hey, at least you got the blody out.

[Honey] So anywhere in particular?

- [Honey] Or do you want me to-- - [The Mother] Just listen.

[The Mother] Please, please, just, just listen.

[Honey] So she's what?

[Honey] Your daughter?

[The Mother] She comes here every day.

[The Mother] Just to sing to strangers.

[The Mother] I'm afraid of judgment.

[The Mother] Just a joy.

[The Mother] Failure haunted me.

[The Mother] My spirit gone the rebel that I was the firebrand

[The Mother] so dimmed and daunted in the end.

[The Mother] How did I fall so far?

■ Go ahead and find yourself ■

■ cause you don't need noone else ■

-■ He taught me to love ■ -[The Mother] He tought me to love

-■ He taught me to fly ■ -[The Mother] He taught me to fly

- ■ Without you here, I don't--■ - [The Mother] without you here

[The Mother] God, what have I done?

[Honey] The tragedy of suicide is not death.

[Honey] It's what dies within us while we live.

[Honey] Alright, it's enought you told me now,

[Honey] you work for Vodafone.

[Honey] Come on, let's make the mark and get this done.

[the Mother] The sigil. Yes.

[The Mother] What is that?

[ The Mother] What does it mean?

[Honey] It's like you'll go there.

[Honey] She leaves a sign to know it her spot.

[Honey] The sigil shows a home is taken.

[the Motehr ] And when she's here, she'll know I'm with her.

[The Mother] She'll feel me

[The Mother] and my love

[Honey] Always and forever.

This is the nightmail

- [Perry] The Trocadero. - [Duke] You got it.

[Perry] I've been waiting a while.

[Perry] I'm glad I've got you.

[Perry] Now, what's your name?

[Juke] No names. You know the rules.

[Perry] Oh that's so silly.

[Perry] Wind through my hair.

[Perry] Ooh. Oh, look at--

[Perry] Whoa!

[Perry] Hello, donkey.

[Perry] Oh, he feels the breeze.

[Perry] So, how about I tell you my name?

[Perry] It's Perry, but I always pronounced it Perry.

[Perry] As in Gay Perry.

[Perry] So come on, give me yours.

[Juke] It's Duke.

- [Perry] As in York? - [Juke] No, as in box.

[Perry] How to musical. I like it.

[Perry] Now, the Trocadero, That name has some history.

[Perry] It's from the Palais de Trocadero in Gay Perry.

[Perry] An infamous pleasure delm for the bold and beautiful

[Perry] The wanten and the wild.

[Juke] Hello.

[Perry] Oh, it's fine. There's no one here till three.

[Perry] Now, this is the John Betjeman bar.

[Perry] You know, poet laureate.

[Perry] He came here all the time, called it the Tronc.

[Perry] Easier to find around, I guess.

[Perry] Like Rome or Sean or Conck.

[Perry] But stop me there.

[Perry] Oh, yes, I've made my choice.

[Perry] This is my place to rest.

[Perry] Yes, yes.

[Perry] The memories, the high times and the hoopla.

[Perry] How rude! How me, me, me?

[Perry] Tell me something about you.

[Perry] Now , I shall guess.

[Perry] A boy with a bike and a blade

[Perry] Where doesn't come from?

[Perry] A criminal of sorts.

[Perry] A cad, a crook.

[Juke] I'm a courier. I'm a courier.

[Juke] Sometimes we have to open up suspected packages.

[Juke] That's what we do.

[Perry] I see.

[Perry] But I suspect there's something more

[Perry] concealed inside of you.

[Perry] Delivery is not your choice of destiny.

[Perry] So what truly lies within?

[Juke] I'm a poet.

[Perry] Apoet! Oh I love that. Is that how you got into this?

[Perry] Well, a lot of you are extatics, right?

[Perry] Looking for a different kind of high.

[Perry] And poets, they all need their inspiration.

[Perry] Chewing the poppings.

[Perry] Was is H like Coloridge?

[Perry] He was high the whole time.

[Perry] You must know Kublai Khan.

[Perry] Or was it Kay?

[Perry] That stuff will kill you.

[Perry] That's heroin for horses.

[Perry] Do you like John Benjamin?

[Juke] No.

[Juke] I don't.

[Juke] It's John Donne.

[Juke] He's my addiction.

[Juke] There's this one sonnet that he wrote

[Juke] Arrow and angels

[Juke] Twice or thrice have I lov'd thee,

[Juke] Before I knew thy face or name;

[Juke] Anyway,

[Juke] it's a poem about the spirit

[Juke] entering the body of a woman that he loved

[Juke] to feel her from the inside.

[Perry] Oh, like a metaphor for fucking.

[Juke] Yeah.

[Juke] It's a great fucking metaphor.

[Perry] So Juke tell me, how did you get into the night mail?

[Juke] I met a girl at this AA meeting.

[Juke] After I spouted it out,

[Juke] she told me about--

[Juke] Well, you can guess what she told me.

[Juke] 'Cause that's why I'm here. So...

[Juke] So where's your spot? Is it behind the bar?

[Juke] Or under the chandelier, perhaps.

[Juke] Or on one of the tables? Just tell where we'll be;

[Perry] Everywhere.

[Perry] Just for a moment,

[Perry] can you dance?

[Juke] What? No!

[Perry] No, how weak

[Perry] Night after night, I want that feeling one last time.

[Perry] This strain, the pick of--

[Juke] Look, the prick part, I can do.

[Juke] I have no skills.

[Juke] Honestly, this is not how you want to go out.

[Perry] If you do this for me, I'll leave straight after

[Perry] It gives you the rest of the day to get another ride.

[Perry] Or if you prefer, I can stay and talk and talk and talk.

- [Perry] And talk and talk. - [Juke] Okay, fine.

[Juke] Is there any particular music in mind?

[Perry] Well, let's look, shall we?

[Perry] There's not much of a jukebox.

[Perry] But, darling. Yes, yes, This is the one right here.

[Juke] Let's take this slow, okay? Yeah?

[Perry] Come on. Let me in.

[Perry] Just enjoy it.

■ A summer evening on Les Champs-■lysées ■

[Perry] I cannot believe you have this song.

[Juke] Yeah. I don't know how that got on there.

[Perry] Yes, sure you don't.

[Perry] Woah!

[Perry] Oh-hoo

■ Jean-Claude was a student at the University ■

■ Louise-Marie is just a world away ■

■ He recall the night they met was warm with laughter ■

■ The words were music as she turned away ■

■ I■ll meet you at midnight ■ [Perry] I'll meet you at midnight

■ Under the moonlight ■ [Perry] Under the moonlight.

■ I'll meet you at midnight ■ [Perry] I'll meet you at midnight

■ But Jean-Claude, Louise-Marie will never be ■

[Perry] Oh, thank you.

[Perry] You were wonderful.

[Juke] It was all you.

[Perry] I'm ready now.

[Perry] And here's just fine.

Find Serenity.

Find Serenity.

The number for Serenity.

I know exactly what you're looking for.

Rehab, right?

Yeah. What I need is some numbers.

I run it. They call it Serenity.

Everyone goes crazy looking for the bloody door.

Discreet.

That's what I say.

So when you come in, no one outside may interrupt.

Messed up junkie.

I'm Elias.

Messed up junkie.

Let's get in.

You want to see a bunch of addicts?

So clever, all those fine words.

I think that's why it took me a while to get it through my head.

This isn't love.

This is control

Your body is his body,

to do as he wants.

And he's going to believe me?

That's how it started.

That was the deal.

I provided a service and gave me pretty gifts.

But then it became something more.

A possession.

I'm his, his possession.

So I started taking Peroxide

to take away the pain of a broken nose, fractured wrist,

shattered fucking life.

And it worked.

But it didn't help.

He was still there

every night waiting for me.

Hey. Hey.

Sorry.

Hey. If you want someone to take care of that freak

You just gotta say.

I gotta get my train.

I'm serious.

If that fucker is still troubling you, I'll see to him.

No, he's--

He's not a problem.

Not anymore.

Just the pills now, isn't it?

There is another way

better than the shitty service they give us there.

No cans, no side effects, nothing.

Just the high, the greatest high you've ever known.

You get lifted it up.

There's nothing to it, right?

We take them to their last resting place in this world.

And when they leave us,

we get to see their world just for a moment.

And it's...

kind of wonderful and easy.

All we've got to do is have our body for a while.

You're right, too soon.

Tic Tac?

I know what you're wondering.

Oh, many things, sir.

Who you got in your back seats, ain't that right?

A musician, sir?

Rock star.

Very big, famous.

Might I ask how you began, sir?

Carelessness.

I lost my one true love.

I started drinking.

And the first thing I know, I wake up in a pool in Luton.

Then this bulley lady drags me off the table,

takes me all.

She leaves me alone in her house and it burns down.

I wind up in Lewisham with some junkie bird,

he tells me about the nightmail.

Better than crack, she said, like snow in the dead.

She offers me in, which was kindly.

But I run.

I find myself in jail weak son.

To move in with the delivery boy, who always fakes a limp.

Then that junkie bird show up,

Eyes like a budgie, not quite herself

and she burns the house down.

I move in with an highschool teacher,

who I am most to look up. But there's a man on the sides.

Everything's going good until the delivery boy shows up

and tries to night with me.

Needless to say, he burns the house down and I are off.

First guy that picks me, asked me if I want to be famous.

What can I say?

And that's how you became a rock star.

No, no.

That's how I got tuberculosis.

[The Mother] You can fly, my darling. You can fly.

Mom!

■ I'd like to walk arround in your lonesome day ■

■ I'd to walk alone to the things you say to me ■

■ I'd like to run and jump on your solitude ■

■ I'd like to re-arange your atitude ■

■ You say you just want peace ■

■ You see the end before the biginning ■

Hey

Hey! Anyone!

Yes.

You need to sign.

Not for me.

It doesn't matter.

This is the Night mail.

[Ryder] Dalston Yard.

[Juke] W-what are you doing? Hey!

[Ryder] Look, kid, I don■t have time.

(motorcycle revs) (heavy breathing)

[Juke] What■re you doing?

[Juke] Hey, whoa, whoa, please.

[Juke] Hey, please, please stop.

[Ryder] Let me in.

(motorcycle revs) (heavy breathing)

[Ryder] This bike is my living!

[Ryder] nothing's gonna happen to your fucking bike.

[Juke] (yelling)

[Ryder] Stop resisting.

[Ryder] Stop resisting!

[Juke] Oh no, no, no.

(heavy breathing and crying)

[Ryder] Do as I say.

[Juke] (groaning)

[Ryder] You won■t get hurt.

[Juke] (yelling)

[Ryder] Get ready. Get ready!

[Ryder] Break! Clutch! Stop!

(motorcycle crashing) (metal crunching)

[Juke] (heavy breathing)

(helmet clatters)

[Juke] (painful breathing)

[Juke] God.

[Juke] Get out.

[Ryder] Just say what I say word for word.

[Juke] Oh, shit.

[Juke] Tell me what the fucks going on.

[Ryder] Tell ■em Ryder■s coming, here, tonight.

[Juke] Ryder■s coming here.

[Juke] Tonight.

[Ryder] The man in that kid■s ear

[Ryder] He■s miles away in Mayfair,

[Ryder] but he still runs these streets.

[Ryder] These corner boys - his eyes watching through the wires.

[Ryder] So he's never seen.

[Ryder] Keep the fuck calm.

[Red Triker] Get Walker.

Get Walker.

[Red Triker] Your face is unfamiliar.

Your face is unfamiliar.

[Ryder] Hold it. Hold it.

Mister Mercury

in myth he was more than a messenger.

Mercury was also the god of tricksters.

You say Ryder■s coming?

[Ryder] Say nothing.

[Red Triker] That would be quite an illusion.

Would be quite an illusion.

Ryder■s dead.

(engine revs)

[Red Triker] Mr. Walker.

Mr. Walker.

[Ryder] Nice and easy. Let me do the talking.

What was tonight?

Lab away.

Ah, sweet Mimi. Yes.

She dies at the end.

But you knew that.

Who's this?

A winged messenger.

And he brings fresh news of Ryder■s imminent return.

Imminent?

[Red Triker] Imminent.

imminent.

It means--

Immediate.

I'm not the one that needs

a lesson, boss.

But any manner of return should be impossible. Correct?

Ryder■s dead.

The girl he took, the girl.

(gun shot)

Ah!

- [Red Triker] Walker! - Walker!

[Red Triker] What girl?

What girl?

[Ryder] Get up kid! Get on your fucking feet!

[Ryder] and repeat after me.

[Ryder] Ryder■s daughter

[Ryder] He took her.

Ryder■s daughter

you took her.

You kidnaped Ryder's daughter.

You wanted her gone.

She's gone.

But you needed...

[Ryder] My Aimee

[Ryder] What has he done?

Following your orders.

Do you perhaps recall another order?

At the very outset.

We never touch the family.

[Ryder] It■s working, he■s caving

[Ryder] We got the bastard.

Now you■ve brought them to our door.

Armed with idiots and best informed by strangers.

And the girl is here, I assume?

A temporary arrangement.

Until you're sure of Ryder's death.

Perhaps he's right.

I have everything to lose by being here.

Why would I be here?

The better question is what you want?

The girl.

[Red Tricker] And if we comply?

And if we comply?

Then Ryder won■t show up.

But if you don't,

it won't just be Ryder showin up.

He'll come with enough blues and twos

to light this whole place up, like Vegas.

I see.

One last question.

Out of curiosity, why send you?

One might expect a vanguard of more fret.

Yeah, well all the little boys were taken.

[Red Tricket] (sarcastic laughing)

Ha.

Touche, good man.

Walker.

Get the girl.

What■s her name?

Aimee.

Aimee.

Like Mimi.

But unlike Mimi,

she shall live.

She shall be carefully unbound and placed

into the hands of Mr. Mercury here.

Who will escort her to the freedom of London.

[Ryder] Yes!

[Ryder] Stay with me, stay with me.

[Red Tiker] That■s what I want.

We fucking clear?

Yes, boss.

Now, excuse me.

Yo fools, we off, yeah?

Who are you?

Ryder.

Wasn't big on trust.

He would never breathe a word of what we did.

So why would he tell you?

How could he tell you

he can't even breathe.

You know he's watching.

Are you gonna risk it?

What now?

[Ryder] We bring him close.

[Ryder] Get down. Look good.

[Juke] Tell me what's going on. I don't understand.

[Ryder] Going. I got this

[Ryder] Get the gun.

[Ryder] Okay. Quite good.

[Ryder] So now we go in and I'm taking control.

[Ryder] Let go, Juke.

[Ryder] Stop resisting, son.

[Ryder] Go with it. Just let me take control.

[Juke] Oh, I can't do this.

[Ryder] Fuck you

[Juke] It's alright for you, you're dead.

[Juke] I'm got a fucking bullet through my leg.

[Ryder] That bullet was a through and through.

[Juke] This is suicide. If I go in, I die.

[Juke] My life, you chose my fucking sacrifice.

[Ryder] You're not going to die.

[Juke] I'm a poet.

[Ryder] And that's nothing, right?

[Ryder] How many times people told you to get a fucking life?

[Ryder] Well, you've got one, mine.

[Ryder] Right now, you're me.

[Ryder] Everything I have, everything I know,

[Ryder] so you're going to go down, get my little girl.

[Ryder] The only reason that I live.

[Ryder] This is your chance, kid.

[Ryder] I want to know how it feels

[Ryder] to really be alive.

[Juke] Okay. What do we have to do?

■ Lost like a thief in the night ■

■ it just comes and it goes ■

■ But you need it ■

■ for the rest of your life ■

■ What is a life without love ■

■ It's so empty and lonely ■

■ What is this thing that is known to the rest of the world ■

[Ryder] Perhaps I was mistaken about you.

[Ryder] It seems you were always right.

Not this time.

[Ryder] I might look a little bit different.

[Ryder] So you need some proof, a secret shade.

[Ryder] You got fear of clowns.

[Ryder] We laugh about it, right?

It's just a guy in a silly fucking suit.

You're dead.

[Ryder] That ain't what I used to be.

Fuck you.

I'm all right.

But you're bleeding

Really bleeding.

Okay, okay; We've got to get you out.

Leane on me. Come on.

I've got you.

Do you trust me?

Do you trust me?

Yeah.

Okay. There could be impact fragments in the wound

without adrenaline, that could hurt.

So I must be fast. you got a phone?

No, there's no hospitals.

I got eyes everywhere.

I know that.

Are you a nurse?

Doctor.

Jesus Christ.

Not quite senior.

... but I need a light to work.

- you got that phoe? - No, they took it.

Okay.

So what's your name?

Wasn't that the small talk, is it?

Maybe. I just want to know who you are?

- Juke. - [Ryder] No names.

As in York.

People get it wrong.

Yeah. Sometimes it's not like Juice or--- (Juke screaming)

So Duke.

why did they send you in alone?

I wasn't alone.

I had 10,000 men.

Well, that was a one man suicide mission.

A half inch to the left

and it really would've hit your interior tibia artery.

I'm saying is, you should be dead.

Deep breath.

Death, be not proud thou

art slave to fate, chance, kings, and desperate men

Do you know John Donne the poet?

No.

Death shall be no more; Death, thou shalt die.

Alright. Odd fact,

to live,

unless there's more poetry.

Death is just a doorway, it's not the end.

That's what the poem's about.

I know it's true.

Oh, John Donne just fighting that shift in agony

Last week, we had a woman jumped from 20 floors.

Her moter too.

Had to pick up the body up the bucket of sand.

That's pretty fucking final.

Okay.

So now we stop that flow.

You should start talking,

telling me the truth.

- Are you a cop? - [Ryder] Not a word.

How did you know they bring me here?

- Did you know my father? - [Ryder] Say nothing.

His name was John Ryder.

I heard that he had quite the reputation.

Yeah. My mom said he wasn't a good man.

She hated him.

First the army, the police,

she said you took any job that made him got away from us,

and its responsibilities.

I don't know when I last saw him

But somehow, in a strange way,

I used to feel that he saw me,

you know, watching from distant.

And then they came and they took me.

And I know why, as bait.

He didn't come to me.

My father didn't come to me.

Just you.

[Ryder] She mustn't know the truth

[Ryder] badly she hates me.

[Ryder] In my death, I know her.

- [Ryder] No. - [Juke] He never left you.

[Ryder] No, no, stop.

He sent me here to set you free.

[Ryder] God forgive me.

Since he's dead.

- [Juke] Your mother - [Ryder] Your mother

- [Juke] is the love of his life - [Ryder] is the love of my life

- [Ryder] From the day we met, - [Juke] From the day they met,

- [Ryder] You were my angel. - [Juke] You were his angel.

[Ryder] We had to pretend to live separate lives

[Ryder] so that you wouldn't be a target

[Juke] so that you wouldn't be a target.

- [Ryder] And now, - [Juke] And now,

- [Ryder] I messed up this time. - [Juke] He messed up this time.

Now, he's gone, isn't he.

Oh no, no, he's not gone, he'll never leave you again.

If you come here to this place,

he'll be waiting for you.

You'll feel his love, you'll feel his presence.

Just trust me.

Yeah I trust you.

[Ryder] Take care of her, kid.

■ When you left ■

■ Why'd you go? ■

■ Was it just a whimp ■

■ Can't you see ■

■ Don't you know ■

■ Can't you tell ■

■ I'm living in ■

■ a self-make hell ■

■ It feels much too much ■

■ for her man to ■

■ Can't you see ■

-- Her fucking eyebrows though.

Her eyebrows, for 2 hours.

Why did she do it?

Who is she doing it for?

Has one man ever turned around to another and said,

Look at the eyebrows on that.

- Jeromy? - Yes.

Yesterday I had the woman passenger.

Her name was Jeremi with an I.

Yeah? Well, I'm with a Y.

Why?

Why the hell are you going this way?

Take the bloody underpass, man.

Those foot mats special order.

Very lovely.

It's okay.

He's, he's not drunk.

He's okay.

5 minutes. Very close.

What happened? You just passed out.

I guess you lost a lot of blood.

Yeah, something like that.

Where are we going?

St. Mary's, get you some stitches and you'll be okay.

No names.

Trust me.

I trust you.

You're a doctor.

You're a good doctor.

Not qualified. Not yet.

I wanted you to feel safe because you were really bleeding

No blood, lady. Thank you.

It's okay.

There's nothing.

So I lied.

But I wanted to thank you for telling me the truth.

I didn't tell you the whole truth as well.

There is more

Oh Christ, where do I start?

There's a poem.

No, no, no, hear me out.

Because it will explain everything.

Twice or thrice

had I lov'd you, Before I knew your face

or name;

So in a voice, so in a shapeless flame

Angels affect us oft, and worshipp'd be;

Still when, to where thou wert, I came,

Some lovely glorious nothing I did see.

But since my soul, whose child love is,

Takes limbs of flesh, and else could nothing do,

More subtle than the parent is Love must not be,

but take a body too;

And therefore what thou wert,

and who, I bid love ask, and now

That it assume thy body, I allow,

in your lip,

your eye, and your brow.

That's beautiful. But I don't--

It's about the spirit of love.

Entering the human body, occupying the form.

I know it sounds crazy, but

it's sometimes a day and sometimes a moment.

And when your father--

What are you trying to tell me?

There's a kiosk, it's not a kiosk, it's...

a border.

It's like a portal.

It allows the spirit to enter our bodies

and we take them to the place where they want to rest

Audrey

Ah Serenity.

I know this place.

We drop you first.

Rehab? Yes?

Very discreet and that.

my own music, if I may.

Very big, lovely

cage leader my Nina

The cold little hand, from la boem.

Rodolfo is a poet and something of a fox.

He pretends to call me me that he has no candle,

so she must work in dark,

with all along his ploys to make her feel fearful,

vulnerable, so she gives him her hand.

Never trust a poet,

never trust anybody.

Even your shadow leaves you in darkness.

But I say whatever leaves

always comes back again and again

and again.

Do you mind?

I have a thing of clowns. Foolish. I know.

[Red Tricker] It's just a man in a fucking silly suit.

Stop the car.

Why?

We need to get out. Stop the car, stop the fucking car.

In case you're wondering,

Mimi dies in the end.

I see.

I see you.

Come out. Come out.

Whoever you are.

It was fun at the zoo?

I saw the Pander chickens.

Pander chickens?

Oh, you make the...

I don't eat them.

Black whites.

I have the name, they're called...

Penguins.

Bloody penguins.

Pander chickens.

Very fun.

Margaret. Yes?

Gordon.

Gordon At the home Office.

You must know him.

So I told him, I said, Gordon,

if we go any more to the right,

I'll have to take zumba so I can leg lift a goose step.

We need to go left.

Left, I said we need to go left.

Oh, the minister says he's on board,

but I wouldn't trust that man

to sit the right way round on the lavatory.

I mean, sure, you got to come back from the dead.

But my real issue with becoming a zombie is all the walking.

I just so want to punch her.

But, you know, it was a funeral.

No, I don't want to wait.

I can't wait.

I'm getting old.

There's no L'Oreal for ovaries, darling.

Marty's pushing 60. He can barely get it up.

And I swear, when that man comes, it's just white spiders.

So hot from Steve dying.

What's his name?

Roadworks.

Sorry.

Oh, very messy.

But left here.

Oh, you mean you want to be left here?

You're on phone, not talk to me, yeah?

It's okay.

I can't understand what you're saying.

That's the thing, I did everything right.

I asked her why she wanted to go, but she wouldn't say.

Well, she couldn't. She didn't speak English.

Anyway, she told me not to get into this car with this driver.

It's like, it's like she knew him.

And then it started their eyes

right there on the backseat.

So what else could I do?

I mean the mark and...

I left her there.

No, I do, but fuck.

It's not your fault.

What does it mean, though?

That she stuck there in the back of that car forever?

Because she sounded mad, like, crazy mad.

I mean, I think I couldn't really tell what she was saying.

Now, it's not your fault, right?

Not your fucking problem.

Not any more.

It's like this guy I knew.

He's walking home late from the pub,

he's been on the Guinness all night and his balls are rattling

He's not going to make it home in time.

So he looks arround, all quiet like.

And nips over Garden Moon, he takes a dump.

And he's about to do the right thing, you know, bury it.

When he looks down, it's gone.

All of it completely disappeared like a fucking miracle.

Anyway, he's bothering what happened so he goes back

and he's looking over the Garden Moon

when the owner comes out red face and shouting,

What the fuck are you doing there?

And my friend just stand there and there's like,

Oh, nothing. You know, I'm just lovely flowers and that.

And the owner calms down.

and he apologizes and he goes,

sorry, mate, been a bit of a weird one.

Last night someone took a shit on the Tortoises

And that's the flint.

You did your best, but the car's gone,

so it's like our problem took itself away.

Gees, late.

So you don't think I'm going to, you know,

get you come back, retribution like revenge.

Who knows?

This is all some very mysterious shit.

"After the death of his wife--"

"I mean, sure you got to come back from the dead."

"Take the bloody under path."

Strange.

Naughty coco

Mr. Tricky.

This is night mail.

[Pruitt] Hackney Wick, please.

That's fancy. Are you sure?

[Pruitt] Why doubt my choice?

Well, your voice for one. You sound a little hoity toity.

[Pruitt] Hoity toity?

Yeah, manners and that.

Like you're the kind of guy that knows which knife to use

[Pruitt] That is barely my concern.

Yeah, I'm still flesh and blood.

[Pruitt] Then We can cancel if you wish.

[Pruitt] I'll get another.

No, I'll do it. It's fine.

[Pruitt] And could you try to be a little more enthusiastic?

Oh, so you're that guy too.

The type that wants his girl to smile.

[Pruitt] I'm merely suggesting that we both try to enjoy this.

Taliho

[Honey] So what exactly are we waiting for?

[Pruitt] A particular train.

[Honey] Let me guess, you jumped.

[Honey]and now you want to haunt the very train that hit you.

[Honey] Is that it?

[Pruitt] No, I did not jump

[Pruitt] That lacks imagination.

[Pruitt] and I would never fall to such a cliche.

[Pruitt] Come, come.

[Pruitt] It's merly nine.

[Pruitt] That's good.

[Honey] So if it's not the train,

then you're waiting for a passenger.

[Honey] A woman. Did she break your heart?

[Pruitt] Yes, my right atria.

[Pruitt] Left, here.

[Honey] Hey, get out of them boots.

[Pruitt] The temptation to enter your body.

[Honey] Yeah, well you're dead.

[Honey] That the stiffest you're going to get on my watch, right?

[Pruitt] I want you here.

[Honey] What? In this armpit?

[Pruitt] This Keystone Arch

[Pruitt] belongs to the Hackney Wick viaduct.

[Pruitt] London's first to be constructed on a marsh

[Pruitt] and thus a triumph of Victorian architecture.

[Pruitt] An exemplar of true Gothic.

[Honey] And it's fucking miserable.

[Honey] How much longer we thinking?

[Honey] Smel's ranking, like cats I mean.

[Pruitt] We shall make a catch of sorts and soon.

[Pruitt] This would be more special if I knew your name.

[Honey] No specials on this menu, Mister.

[Pruitt] Ah, do you hear the 922 arrive?

[Honey] How fabulous.

[Honey] Well, this has been fun but bon voyage.

[Pruitt] Oh fuck the rules, I'm inside you now.

"Was a John Donne sonnet to his wife,"

"which contains the disturbing phrase"

(Dog barking)

You little bitch.

[Pruitt] You won't ever get away from me.

[Pruitt] You broke my heart when with a carving knife.

It's you.

It was a mistake, baybe, a bad mistake.

How many times did you hurt me then say you're sorry?

I always forgave you.

I always came back.

And now you're back, right?

You're back, baby.

- [Honey] So we can start again. - [Pruitt] So we can start again

Hey baby

Wanna go for a ride?

Please.

Do you miss me?

- My love, forgive me. - You killed

It was an accident.

It was an accident.

And I'm telling you, they don't care what's in this shit.

Her first day, her first time on the sides, and off she goes.

Trip involves, running wild.

That's what I heard.

Then straight into the road, bam!

This shit.

We don't even know what the fuck we're putting inside us.

You should have told her about nightmail.

I tried.

but it's too early, you know,

she wasn't ready.

How aften you're doing it now?

twice a week, sometimes three.

- Good lad. - Yes.

Who's that inside?

Who's inside?

That is the question.

We just never know what we're putting inside us.

Hey, Honey, are you okay?

Come on, babe.

Don't Go by the books.

We all gotta get our ties of the good stuff.

All right.

Good stuff.

Hey, Honey, where's your coat?

It was here.

Her blood.

got another batch, babe.

Her blood.

Liste, Honey,

you...

WE saw the accident and it messed you up.

We get that.

But there's nothing you could have done.

It's not your fault.

I know what I did.

What he made me do.

And he's still here.

He won't leave.

It's your mind, babe,

playing tricks.

So go on, get straight.

Get well.

It will come after you.

And after you.

After you.

After you.

You'll live, she said

she meant that I'd survive.

Now, Aimee wonders, wondering if I'm alive.

Haunted by the haunted. Did I yield? Who knows.

For other fates must be revealed.

Magnus drives no more, now driven mad,

addictions, the demon on his back.

Elias offers him a sweet high.

But he shall ride unseen.

inside.

For those we kill twice, thrice come back afresh,

those spirits riding free and others flesh.

So she's my quest.

Or else if is, she's lost,

she knows

the nightmail comes

a border crossed

■ Love's like a thief in the night ■

■ It just comes and it goes ■

■ But you need it ■

■ for the rest of your life ■

■ What is a life without love ■

■ It's so empty and lonely ■

■ What is this thing that is known to the rest of the world ■

■ Don't you ever let her go ■

■ If you do ■

■ It could break your heart to two ■

■ Look in her eyes, you can tell ■

■ Ring out like a bell ■

■ That she loves you ■

■ And your heads in the will ■

■ Now that you know ■

■ You must love her for ever and ever ■

■ Locks in your heart is a love ■

■ that's unknown to the world ■

■

■ To other people it's alone ■

■ Your secret ■

■ Locked away when memory ■

■ that a thing I love ■

■ A thing I love ■

■ A thing I love ■