Original subtitles

- Synced and corrected by chamallow - - www.addic7ed.com -

♪ ♪

♪ ♪

(EXHALES)

(BIRDS CAWING IN DISTANCE)

♪ ♪

(GRUNTS)

Shit.

MANNION: Mannion here.

This is Vesuvius.

I'm listening.

I've been trying to sort out a problem on my own,

but it didn't work.

It concerns Utrax.

But Utrax is long dead.

No, it's not.

It's very much alive.

(PHONE BEEPS)

Okay.

I'll call you back.

MARISSA: Hi.

Where are you?

I'm in Northern France.

Looking for Hanna.

So far, no sign.

That's 'cause she's here.

We caught her yesterday.

Where's here?

Where are you, John?

♪ ♪

WOMAN: Ready?

- Begin! - (WHISTLE BLOWS)

(BOTH GRUNTING)

GIRL: She got her good.

JESSIE: It was definitely someone.

I saw a figure being taken into the staff buildings.

HELEN: Maybe it was, like,

a foreign government agent.

Or a spy or something.

Don't be stupid, Helen.

HELEN: All I'm saying is we know we're being kept apart

for a reason, we're in the middle of nowhere,

surrounded by guards and what, someone just breaks in?

WOMAN: Ready position.

(WHISTLE BLOWS)

(GRUNTING)

(ENGINE WHIRRING)

("HA HOWA HA HOWA" BY SEXWITCH PLAYING)

(PHONE RINGING)

(SINGER VOCALIZING)

- (MUSIC STOPS) - Hi.

CARMICHAEL: How you doing?

Less than an hour away

- from the pickup point. - Good.

One of my men'll be there to meet you.

He'll drive you the rest of the way.

Why can't you just give me the address?

You know why.

You'll need to give him your phone

and you'll be hooded for the last part of the journey.

How is she?

She's still not talking.

Does she know I'm coming?

Not yet.

Okay, best keep it that way.

♪ Oh, my night life, oh, my, oh, yeah ♪

♪ Oh, my night life ♪

♪ Oh, my night, oh, my, oh, my night ♪

♪ Oh, my, oh, my night life ♪

♪ Oh, my night life ♪

(VOCALIZING)

(BIRDS CHIRPING)

(CLICKS TONGUE)

♪ Ooh, he ♪

♪ Addicted me ♪

♪ Ooh, he addicted me ♪

♪ Ooh, he addicted me ♪

♪ And I addicted him ♪

♪ And I addicted him ♪

♪ And I addicted, he addicted me ♪

♪ And I, oh, and he addicted me ♪

♪ And I, oh, and he addicted me ♪

♪ And I addicted him and I addicted him ♪

♪ And I, oh, my night life ♪

♪ And, oh, my night life, oh, my night life ♪

♪ And oh, my night life ♪

♪ Oh, our night life and, oh, our night life ♪

♪ And oh, our, he ♪

(VOCALIZING)

(ENGINE REVS)

♪ ♪

(CRUSHING IMPACT)

(INDISTINCT RADIO CHATTER)

(GIRLS CHATTERING NEARBY)

Clemency.

It's her, isn't it?

Hanna.

It was her that broke in.

JULES: Hey, you guys, listen.

I need your help with something.

I got to get to class.

I'll see you later.

Sandy?

What?

I want to have a party tonight.

After curfew.

Why do you want to have a party?

Because that's what young people in the real world do.

Like, get drunk and have fun.

How are we gonna get drunk?

We don't have anything to get drunk with.

(WHISPERS): Not yet we don't.

♪ ♪

It was a bad one, car's a write-off.

We towed it, cleared the scene.

Did you search her?

And the car... both clean.

♪ ♪

The English countryside.

There always was something lawless about it.

My fault.

I fell asleep at the wheel.

Well, you look exhausted.

Yeah, I've not been sleeping as well as I should.

When you told me that she was alive.

I don't know why.

This stuff from the past, just comes back.

I understand.

Can I see her?

Well, I have something I want to show you first.

Come.

(INDISTINCT RADIO CHATTER)

Ma'am.

(DOOR CLOSES)

How long do you need, Larry?

I'm just completing the protocol.

Yeah, all right, go ahead and finish up.

And the rest of you, will you clear out,

please, give us the space?

(INDISTINCT CHATTER)

Uh, pull up that file first,

if you don't mind.

Yeah, thanks.

(INDISTINCT CHATTER)

(DOOR OPENS)

(DOOR CLOSES)

Look at this.

When, way back, we first conceived

of what they might be...

... this was exactly it.

You want her back in.

She's still not communicating.

And we've tried everything.

Or almost everything.

Okay.

Take me to her.

(CAMERA WHIRRING)

(THUD ECHOES)

(FOOTSTEPS APPROACHING)

(INDISTINCT CHATTER)

(BEEPING, DOOR OPENS)

Hello, Hanna. Wait.

You don't understand what's happening here.

You think you do.

But you don't.

Hear me out, please.

It's been a while since I last saw you.

You look different.

I like your hair.

Did you dye it yourself?

I'm sorry about all this.

I crashed my car.

Stupid mistake.

♪ ♪

When I got the call, saying they'd found you,

I didn't know what to expect.

They say you came through Northern France,

tracing your way back to Clara.

You were following a shipment.

Is that right?

Hanna?

Yes.

Do you recognize that woman?

Her name is Sonia Richter.

She's a CIA operative.

She was sent to track your movements and bring you in.

We found her body at a diner in Belgium.

You don't have to say anything.

We know you killed her.

And we understand why.

She was a threat to you.

To what you were moving towards, saving your friend.

A threat to what you love.

If it was me,

I would've done the same.

They tell me you've not been cooperating

since you've been here.

I want you to do something for me.

I want you to try and work with me.

And if you do,

I might be able to help you.

Help you see Clara, help you be with her again.

Do you understand?

You have to trust me, though.

Do you trust me?

Maybe.

Believe me, you won't regret it.

(BEEPING, DOOR OPENS)

♪ ♪

♪ ♪

(KNIFE CLICKS)

♪ ♪

♪ ♪

(FOOTSTEPS APPROACHING)

(BEEPING, DOOR OPENS)

(DOOR CLOSES)

Hi.

Why did you come here?

I wanted to see if you were okay.

I'm fine.

I came to get you out.

But now I know that was a mistake.

Yeah, it was. Can I go?

(BEEPING, DOOR OPENS)

They said if you were okay with it,

they could get you to show me around.

Help me get to know the place.

Why?

Because maybe I want to stay here, too.

- WOMAN: Reach. - This is where we do indoor training.

WOMAN: Six, seven, eight.

One, two, three, four,

five, six, seven, eight.

(ECHOING): One, two, three, four,

five, six, seven, eight.

One, two...

This is the main building,

where we have our classes and dorm rooms.

Hi, Clemency.

Why did she call you that?

Clemency's my name now.

NARRATOR (OVER VIDEO): Hip-hop is a musical and artistic movement

characterized by the four main pillars of hip-hop culture:

rapping, deejaying, break dancing and graffiti.

Originating from the South Bronx...

My room's this way.

This is where you sleep?

Mm-hmm.

Who are these people?

They're my family.

My parents.

Your family?

Yes.

We should go.

Clara...

Clemency.

But your name isn't Clemency.

I should show you around the place.

(INDISTINCT CHATTER)

(INDISTINCT RADIO CHATTER)

Where are they?

- Call security. - Code red, all units.

Code red, all units. Trainees out-of-bounds.

I tried to find you.

But when I came to the hotel in Bucharest, you weren't there,

and I thought you were dead.

No, I'm fine.

It's my fault.

I didn't listen to you about your mother.

- I'm sorry. - My mother's dead.

I know.

What are you doing?

We don't have long.

You can't take it out. They'll notice.

But you don't need it. They just want to keep you numb.

I can't take it out, Hanna. They'll notice.

You don't want me to cut it out.

What are you talking about?

You don't, do you?

They fill you with drugs and you let them.

Look at yourself. What is this?

What about it?

They do it to everyone. They'll do it to you, too.

No, they won't. I didn't come here to join you.

I came here to get you out.

How the hell are you gonna do that?

(WHISPERS): There's a place in Canada, it's beautiful.

Passports, new names,

tickets for both of us. A new life.

It's all been arranged.

We just have to get out of here.

- Arranged by who? - Marissa Wiegler.

She's here. She's going to help us.

(EXHALES)

You know none of this is real.

These clothes are fake.

The photos in your room are fake.

They're training you to kill people.

That's all they want.

Isn't that why you tried to leave in the first place?

I wanted to leave because I wasn't free.

- (WHISPERS): You're not free. - You don't know that.

Try to leave. See how free you are.

- (MEN SHOUTING) - (FOOTSTEPS APPROACHING)

This isn't your home.

I don't have a home. So what difference does it make?

Yes, you do. With me.

- (SHOUTING CONTINUES) - (POUNDING)

Come with me, Clara.

(INDISTINCT SHOUTING)

MAN: This way! Move it!

Please.

- MAN: Behind this door, come on! - Okay.

MAN: Door is locked.

- (POUNDING) - Open up!

(POUNDING CONTINUES)

Stand back.

What are you doing here?

Just having a smoke.

For old time's sake.

(SIGHS)

- Get out of here. - (INDISTINCT RADIO CHATTER)

Come on!

What is it?

Booze for the staff, so they can unwind

after all the stress we cause them.

Who told you about this?

Leo accidentally let slip

that a delivery was arriving today.

- Okay. Let's go. - Are you sure?

Move.

(OVER RADIO): ♪ I want to go home... ♪

What are you doing here? This is staff only.

Sorry, is this out-of-bounds?

You know it is.

♪ Live with it every single day... ♪

I just saw that you had chocolate milkshake,

- in the delivery. - MAN: So... what?

SANDY: So, I...

was just wondering

if you could spare me one?

- You want a chocolate milkshake? - SANDY: Yeah.

MAN: You can just get it in the cafeteria, you know.

I know, but you have to pay.

And it tastes better when it's not from the cafeteria.

Does it now?

(STIFLED LAUGH)

SANDY: Yeah.

♪ Nah, nah, nah, nah, nah, nah ♪

♪ Nah, nah, nah, nah, nah, nah ♪

♪ Nah, nah, nah, nah... ♪

I'm Sandy, by the way.

Oh, I know.

I'm from Bentleyville, Ohio.

Where are you from?

You know I can't tell you that.

Yeah, I know.

You can't even tell me your real name.

Well, thanks, anyways.

Whoever you are.

♪ Got my shoes on... ♪

Anytime.

♪ I want to go home ♪

♪ I've got my shoes on ♪

♪ I've got to go home, home ♪

♪ I want to go home ♪

♪ I've got my shoes on ♪

♪ I've got to go home, home ♪

♪ I want to go home... ♪

♪ ♪

All done here.

Thanks, man.

MAN: What's this all about, Leo?

Just teaching the young

a little disobedience.

Otherwise, how are they going to convince anyone?

(BEEPING, LATCH CLICKS)

(DOOR OPENS)

Hanna, this is John Carmichael,

- the director of the Meadows. - (DOOR CLOSES)

Hi, Hanna.

It's so nice to finally meet you.

Uh, you went a little out-of-bounds there.

The staff laundry room is just for staff.

It's okay, but please don't do it again.

How are you feeling after this morning?

I'm okay.

CARMICHAEL: How was the facility?

Did you like it?

It was different to what I expected.

Different to what you saw before, right?

Very different.

CARMICHAEL: Better?

Well, that's good,

because we'd like

to talk about next steps.

We'd like you to consider staying here.

What do you think, Hanna?

You willing to give it a try?

Um...

I know it's hard to trust us.

You've been fighting us a long time.

I... it's in your blood to break the rules.

It's what Erik taught me.

CARMICHAEL: I know.

But sometimes,

it's okay to stop fighting.

(SIGHS)

Hey. It's okay.

It's okay.

I'm just so tired.

Yeah.

CARMICHAEL: So, um,

we'll go and set everything up for you.

You'll need a new identity, a new name.

It's what we do for everybody.

Thank you.

(DOOR OPENS)

- You've got chocolate on your lip. - (CHUCKLES)

- Where have you two been? - (GASPS)

All trainees to the main hall now.

(EXCITED CHATTER)

They know. They fucking know.

- Jules, what have you done? - Shut up.

McCOY: Okay. Sit down, everyone.

This won't take long.

There's something I need to tell you all.

We have a visitor.

CARMICHAEL: I want to introduce you to our latest recruit.

Some of you may remember her from a previous occasion,

but I want you to erase that from your mind.

This is a fresh start.

Her name now is Mia Wolff.

She's from Germany.

Given Mia's arrival, I would also like to take

this opportunity to talk to you about your futures.

Pretty soon, there'll be a period of service in your life,

in service of your country, of the free world.

That period of service won't come without risk.

You're soldiers, you know that.

And with risk comes reward.

When you're finished with your years with us,

you'll be given a new life.

Fully paid for, fully supported.

Same name, same family, the same person you are now.

In my heart, I hope and believe

that you will find love and happiness,

maybe even have children of your own

who will live in a safer world thanks to what you did

in your period of service.

You are a bunch of very remarkable young women.

And I want to thank you from my heart

for what you're doing here.

And I want to welcome Mia to the Meadows.

(APPLAUSE)

♪ ♪

(LAUGHTER, INDISTINCT CHATTER)

Hi, Clemency.

- Hey. - We wondered where you were.

You weren't in class.

Oh, no, I got called out.

This is my friend.

Yeah. We remember her.

Mia, right? So it was you who broke in yesterday.

Apparently, you took out, like, 50 guards.

Jules.

I didn't take out 50 guards.

Then your standards are slipping.

I'm Sandy.

- Hi. - JULES: Sandy just stole,

like, a whole crate of vodka.

- Actually, you stole it. - You should've seen her.

She was talking to this guy, who, like, totally

- had the hots for her. - He did not.

- We should go. - See you later, Clem.

SANDY: See you around, Mia.

(SCOFFS)

SANDY: "Hi, Mom. Big news today.

"A new arrival has changed everything.

"She's lonely,

"and some people don't like her because of her past,

"but I think people should be given the chance to change.

Don't you?"

LEO: Today we're looking at a classic

two-operative mission.

We call it Face and Trigger.

McCOY: In this scenario,

Operative A is the face.

The objective of the face is to befriend the target,

make social contact,

discover the target's routines and vulnerabilities.

Your age and your gender will protect you from suspicion,

and your support team will make sure

that your identity checks out,

- should the target choose to dig into that. - LEO: Operative B is the trigger.

I guess that one explains itself, right?

- (SOFT LAUGHTER) - Here's the key.

The face creates the space for the trigger to do her work.

The two operatives may decide to meet in public,

but no one must suspect you know each other.

That's your secret.

That's the power you have.

CARMICHAEL: She fits right in.

She has a home.

It's what she always wanted.

But it means my work is done here.

You're sure you want to leave?

I'm not a part of this, John.

You only brought me in because you had no other options.

You put a hood on my head to drive me here.

I'm aware this whole operation began in the shadows.

I kn... I know what it cost you.

And I know we froze you out for a while.

15 years.

We are so close, Marissa.

Any day now, these girls will be ready to go out into the world.

- They're gonna need support. - Meaning?

I'd love to welcome you back with open arms.

Mm-hmm.

And are you gonna tell me the truth?

Are you gonna tell me who's behind this operation?

Who's paying for it? Who's giving the orders?

As I thought.

- Could I ask you to arrange a car? - Sure.

I'll have someone take you back first thing in the morning.

- Uh, don't want you crashing again. - (CHUCKLES)

Right?

Well, I would rather go tonight if that's possible.

I'll see what I can do.

HANNA: We leave tonight.

- 10:00. - There's a curfew at 9:00.

How do we get there?

Hi, Mia. I'm Helen.

- You want one? - Thanks.

- Uh, you want one, Clem? - Sure.

- Sandy? - JULES: Sandy's not thirsty.

- She had one earlier. - Shut up.

(JULES LAUGHS)

SANDY: Ignore them.

They're just voyeurs.

JULES: Guys.

Party tonight, our dorm common room, 9:00.

With special ingredients.

- She means beer. - I so do not mean beer.

What if somebody finds out that we're out after curfew?

- JULES: Like who? - Like Leo, for example.

(JULES LAUGHS): You scared of Leo?

I've got Leo wrapped around my little finger.

(LAUGHTER)

Will you come, Mia?

Sure. I'd like that.

- Great. - JULES: This is gonna be so much fun, right?

I'll tell you about it tomorrow.

(MUSIC PLAYING FAINTLY)

Jesus, that is strong.

You're supposed to have a mixer with that.

Don't you know anything?

- How do you know? - Because I do my homework

and watch what they tell me to watch.

Unlike you. Have you even bothered

to watch this, for example?

No. So you'll know nothing

about the catwalks this year.

(STIFLED LAUGH)

Uh, so I'll get some mixers later.

You want to try some?

Did you see Hanna's eyes?

When she broke in the time before,

she was wild.

Like an animal or something.

This time she looked different.

I didn't notice.

She just looked kind of sad.

Like she'd lost everything she loved.

(SIGHS SOFTLY) Shut up and drink.

INSTRUCTOR: Stand by! Engage!

(INSTRUCTOR SHOUTS)

- GIRL: Just can't get it on target. - GIRL 2: Yeah, seriously...

How does the curfew work?

Everyone in their rooms at 9:00.

- No one's allowed out of the accommodation block after that. - INSTRUCTOR: Engage!

Doors are alarmed, camera switches off.

But Jules is having a party.

It's still in the accommodation area.

(GUNFIRE)

I'll find a way.

(INDISTINCT CHATTER)

Mia. My name's Leo.

Hi.

Can I show you your room?

(CHATTER CONTINUES)

I see Clemency has been taking you under her wing?

She's been very kind.

Well, we all want you to feel at home.

It's a little bare, but that'll change.

We'll get it made up for you, I'll get you some things,

- make you more comfortable. - Thank you.

No problem. And tomorrow we'll get to work

on building up your new life.

It's gonna be a lot of fun.

I look forward to it.

I'll, uh, I'll leave you to get settled.

You know, I saw you, on the cameras.

The break-in yesterday.

Impressive.

- What'd you get in business? - I got an A.

- No, you didn't. - I did.

- Really? - What did you get?

- I got a B. - Well, that's still good.

- No, it's not. - Yes, it is.

Charlie, what did you get in business?

In business? I got an F.

Hey, I'll catch you guys later.

See you later.

- Hey. - Hey.

You okay?

You want some of this? I can't eat it.

I'm good.

What's up?

Clem, talk to me.

Did something happen?

Like what?

I don't know.

Something with Mia, maybe?

Clem, you know you can talk to me.

I'm your friend. That's what friends do.

She wants me to leave.

With her.

Leave?

When?

Tonight.

We have a way out.

♪ ♪

Your driver's on the way.

No farewell drink?

I stopped that a while ago.

Didn't do me any good.

Thanks.

We... we couldn't have done it without you.

My pleasure.

Um...

can I see Mia one more time? Before I go?

Why not?

♪ ♪

("UP ALL NIGHT" BY SAULT PLAYING)

♪ Up all night... ♪

It was so easy.

I still think they're gonna catch us.

JULES: Shut up, Helen.

- (DOOR OPENS) - About time.

Take a seat.

Everyone has to try some of this.

It's called a screwdriver and it's delicious.

Sandy lost her virginity getting it,

so it was quite a sacrifice.

- I did not. - You wanted to.

HELEN: Why do you always have to be so gross, Jules?

Uh, watch out. It's pretty strong.

♪ ♪

You don't like it?

No, I love it.

(JULES AND HELEN LAUGHING)

JULES: All right, all right...

- ♪ ♪ - (INDISTINCT CHATTER)

I'm not saying it's... (LAUGHS)

S... sorry, I'm... (MUMBLES)

(LAUGHTER)

(CHATTER CONTINUES)

You've had vodka before, haven't you?

Once, at a party.

A real party?

Like, you mean, with boys and stuff?

It was nothing special.

Did you kiss one?

Yes.

Oh, my God.

Did you have sex with him?

No.

I've had sex a thousand times.

In my dreams. (LAUGHS)

(LAUGHING)

Mia?

Is it true you were taken away from us

when you were very young?

Yes.

Well...

you're one of us now.

- What? - (ANXIOUS CHATTER)

Sorry to interrupt.

I just wanted to say goodbye to Mia.

There's a car collecting me in 30 minutes.

Good to see you so settled.

You seem happy, and it's nice that you're all together.

I wish you all the best for the future

in your new home.

Thank you.

Okay. See you when I see you.

Be careful.

The doors are alarmed after 9:00.

LEO: It's all right, I've got it.

Oh.

Good job getting the booze.

Face and Trigger.

- Sandy was terrific. - JULES: Oh...

- He set us up! - HELEN: Oh, thank goodness.

He knew all along we were gonna do this.

Ugh. Face and fucking Trigger.

HELEN: Get over yourself, Jules.

- (GROANS) - Let's just watch the movie.

JULES: It's not as fun if they know.

HELEN: It seems like you're the one

wrapped around Leo's little finger.

- Your car's waiting for you outside. - Thank you.

Safe journey.

(DOOR CLOSES, LATCH CLICKS)

(BEEPING, LATCH CLICKS)

(LAUGHING)

JULES: Oh, that's gotta hurt.

(EXCITED CHATTER)

Engage!

(HEART POUNDING)

♪ ♪

MAN: Evening, ma'am.

Night. Larry?

- Yeah? - Carmichael wants you at the southeast perimeter.

There's a problem with the external cordon.

Okay.

I'm on it.

Thank you.

(BEEPING, DOOR OPENS)

(DOOR CLOSES)

(KEYS CLACKING)

JULES: Oh, my God, he's getting away.

(HORNS HONKING, TIRES SCREECHING OVER TV)

♪ ♪

(TIMER BEEPING STEADILY)

- (GUNFIRE, SCREAMING OVER TV) - HELEN: Oh!

This is so awesome.

(DOOR OPENS, CLOSES)

Put this on, please.

Is that necessary?

Standard protocol, I'm afraid.

Can we wait till we're through the gates, at least?

Sure.

- Thanks. - (ENGINE STARTS)

♪ ♪

♪ ♪

(TIRES SCREECH)

- What? - What?

Okay.

Now we need the hood on.

(GRUNTING)

What the... Hey,

give me the... (GRUNTS)

What? Where are they?

Sandy?

(PANTING)

This way.

(TIRES SCREECHING)

(PANTING)

Come on, Hanna.

Oh, fuck. Come on.

(PANTING)

Finally.

(DOOR CLOSES)

Hello, Marissa.

MAN: There she is! Go, go, go!

(GRUNTING)

- Hands up! - I'm on her!

HANNA: Where are we?

(PANTING)

Clara?

(PANTING)

I'm sorry.

What's going on?

(WHISPERS): What have you done?

Don't.

What have you done?!

(EXHALES)

Mia,

listen to me.

What if you could be happy here?

What if you could?

This is where you belong, Mia.

You can trust us.

(ECHOES): We're your family.

♪ ♪

("FOREVER ON YOUR MIND" BY MAMMÚT PLAYING)

♪ Warhead ♪

♪ Going out for a sleepwalk ♪

♪ When the streets grew into a riot ♪

♪ Riot ♪

♪ Keep away from the choir ♪

♪ When the beat turns to fire ♪

♪ Fire ♪

♪ Why would you ever ♪

♪ Come for me with your mind ♪

♪ Upside down ♪

♪ Too polite to let me know ♪

♪ What stays forever on your mind ♪

♪ So hollow ♪

♪ When are you gonna conquer the comedown ♪

♪ Then wait for war inside your head ♪

♪ Come down ♪

♪ When you gonna come down? ♪

- ♪ And I am gonna ♪ - ♪ War inside ♪

♪ Your head ♪

♪ And I am gonna ♪

♪ War inside your head ♪

- ♪ And I am gonna ♪ - ♪ War ♪

♪ Inside your head ♪

- ♪ And I am gonna ♪ - ♪ When you gonna come down? ♪

♪ And I am gonna ♪

♪ Slowly move on. ♪

- Synced and corrected by chamallow - - www.addic7ed.com -