Original subtitles

(door opening)

(dramatic music)

- [Smith] Do not dwell on the past.

Do not dream of the future.

Concentrate the mind on the present moment.

My name is Smith.

Welcome to Flatland.

(dramatic music)

- When I first met the devil, his name was Khan.

Mine, St. Michael.

The war for the soul of mankind has raged for 3,000 years.

The battleground today is Shanghai.

I have forced three young Americans to work for me.

J.T., a gang banger.

Mr. Mitchell, a failed mob lawyer.

And Amy Li, a beautiful young woman.

They will ultimately discover the history

when present and past collide

and where one misstep on either side

of the fourth dimension

is fatal.

In the world of Flatland,

where nothing is as it appears to be.

My name is Smith, welcome to Flatland.

(upbeat music)

- Hope that champagne isn't too heavy.

(laughing)

See you girls later.

What's up, Bobby?

Mademoiselle, fancy some champagne.

- No, no, no, thank you.

Hate to leave the freebies, but

I think I'll take off.

Bye.

- Hey hey, hey, you all right?

(upbeat music)

- Not really.

- You want some company?

- No.

Thanks, though.

Why don't you go back and enjoy the party?

It's not every night Mitchell's buying.

- For real, huh?

I'll see you.

- Bye.

(upbeat music)

- No more empty glasses tonight.

(glasses clinking)

- You gonna tell me or what?

- Caribbean Blackjack dot.com, mon.

- Online gambling?

- I got on a couple of nights ago.

By six a.m. this morning, I busted the bank.

God loves an idiot, and this idiot

loves the ladies.

(upbeat music)

- Have fun blowing your hundred G's.

(upbeat music)

- Are you alone?

- Not anymore?

- Nicole.

- Nicole.

Enchante.

You can call me Mitchell.

- I've been watching you all night, Mitchell.

You excite me.

- Well the feeling's mutual.

- Mm.

Can we be alone?

(speaking French)

- Oh, you speak French.

(speaking French)

- Just enough to get me by.

(upbeat electronic music)

(dramatic music)

(upbeat dramatic music)

- Easy, easy, tiger.

Sweetheart, you know what?

Maybe we should just go back to my place.

- Why?

- Huh?

- Why, you don't like the excitement of public places?

(dramatic music)

(choking)

(grunting)

(dramatic music)

(horn honking)

(brakes squealing)

(soft dramatic music)

- You gotta start dating a better class of women.

- I'm glad you find this so funny.

- So you picked her up at Uncle's

and you wound up here, right?

- Yeah.

- She didn't call anyone or talk to anybody

before she got here?

- We were pretty busy.

- Well, during this busy period,

she just what, attacks you outta the blue?

- Yeah, real fast.

- It was a pro job, Mitchell.

I'll have Fish check this girl out.

Meanwhile, you make a list

of all the people that want you dead.

(dramatic music)

(hard breathing)

(dramatic music)

(soft dramatic music)

- Noel?

Are you here?

(upbeat dramatic music)

- [Tang] Nicole's good.

Your enemy should be dead by now.

- He should have been dead five years ago,

what he did to me.

Sure couldn't resist a little offshore gambling,

at a casino I own.

(laughing)

I got you, Mitchell, you son of a bitch.

- [Tang] Look around, this city will control Asia one day.

- [Anthony] Hell of a place.

- [Tang] It's a gold mine.

- Nice to have a piece of it like you do.

- I have a piece, there's another player, though.

- This other player, an enemy?

- Power is shifting lately.

- [Anthony] Yeah, that happens.

(cellphone ringing)

- French girl's dead, Mitchell's alive.

(dramatic music)

- Son of a bitch.

- I'll get someone else.

- No.

I'll take care of it myself.

(dramatic music)

- You did good.

Linda says she was a pro.

You're lucky to beat her.

- Yeah.

It was one hell of a fight.

- How, um,

how did you beat her?

- Luck, I guess.

- Is that all?

- What do you mean?

- I mean, did you feel anything

unusual, anything different at all?

You can tell me, man.

- I know who sent her.

Tonelli.

I've been running from him for years.

(soft dramatic music)

- [Tang] The men up there and I worked for the last owner.

- [Anthony] He's American.

- His name is Leon Jessup.

- Oh, this might go better than I thought.

- You must be Mr. Tonelli.

- Thanks for taking the time to see me.

- Have a seat.

Can we just get to the point, Mr. Tonelli?

- That's fine with me.

- Do you know who I am?

- I do.

I still have some interests in the States myself.

- That's good.

Working here, keeping a hand in back home.

That's very much what I have in mind.

- Just what exactly are you proposing?

- Exactly

one-third.

(chuckling)

- I already have more than that now.

- Mr. Tonelli, wants in, and I want him in.

That makes two of us.

- So I'd be outnumbered.

Unless, of course, I had someone else.

- Who's this?

- Mr. Cross, meet Anthony Tonelli from America.

And of course Mr. Tang.

- Welcome.

- What is this, Tang?

You said there was only one guy.

He work for you?

- Yeah, something like that.

- Didn't mean to interrupt your meeting.

Then again, it doesn't look like it's going very well.

- Matter of fact,

it's not.

- Then maybe it's over.

- We have to leave.

- Leave, why, because of this guy?

- Finish your business in Shanghai,

then go back home.

- You threatening me, Cross?

- Advising you.

- If you have trouble finding a way out,

I'm sure that Tsao Min can help.

- We are leaving now.

- Maybe we'll meet again.

- I look forward to it.

- [Anthony] What are you trying to pull, Tang.

I've been around long enough to know Cross

is the real player, why didn't you tell me about him?

- [Tang] I didn't know he was here.

- What do you mean, where's he been?

- Away, okay, just away.

The point is, he's a really very powerful and dangerous man

and he's got Jessup and a lot of others on his side.

- And who was with him?

- You don't want to know her.

(dramatic music)

- Whew.

- Tsk, tsk, such language.

- Amy, darling, care for a game?

- No, thanks, I play pool, not this.

- Yeah, I know what you mean.

- Can you play and talk at the saem time?

- What's the subject?

- Noel Jagger.

He's gone, Smith.

Disappeared without a word.

- Wouldn't be the first time a guy did that.

- I'm trying to accept that he's gone.

But it's like he's still around me.

I can't let go.

But why him?

Why does he have such a hold on me?

- Snappy dresser.

Good dancer, great kisser, you tell me.

- He was an evil man, Smith.

- It's the evil in you that loved him.

You have an evil place in you, Amy.

It's dark as night.

And it's reaching out for more of the same.

(rhythmic dramatic music)

- What the hell are you doing?

- Having me some potassium.

- Yeah? I told you I don't need a baby sitter.

- You don't need gangster sneaking up

on your ass, either, do you?

- It's none of your business.

Stay out of it.

(rhythmic dramatic music)

(soft dramatic music)

- Oh.

(deep breathing)

(door sliding)

Get outta here, JT?

- [Shooter] Who's JT?

- Sorry, I thought you were someone else.

- [Shooter] Forget it.

- You American?

- [Shooter] Yeah.

- Where you from?

- [Shooter] Joisey.

- Jersey, get outta here, where in Jersey?

- [Shooter] Trenton.

- Trenton?

Got some clients in Trenton.

- Yeah, I know, Quentin.

Anthony Tonelli sends his regards.

(gun firing)

(groaning)

- You all right?

- Yeah.

- Let's get outta here.

- What about him?

- I think he got his towel wrapped around his neck

too tight, come on, let's go.

(dramatic music)

(horn honking)

(soft dramatic music)

- Uncle, JT said I should see you.

- I'm glad you've come.

You're overdue.

- Overdue? For what?

- I understand something happened to you.

- Like what?

(dramatic music)

- Neat trick, huh?

- What are you doing, man?

- I want you to show Uncle what you did in the steam room.

- I got shot in the steam room, you freak,

now put the gun away.

- About to get shot here, too, if you don't move.

- Will you tell him to put the gun away please?

(dramatic music)

Are you crazy?

(gun firing)

(glass breaking)

- Looks like he's ready?

- Ready, ready for what?

- Your powers.

- Powers?

- You're a warrior, Mitchell.

Like me.

Like Amy.

- You guys are both nuts.

- Then why don't you do me a favor and explain to me

what happened to you on the street?

Or what happened to you in the steam room?

Or what happened right now, just now?

- I don't know, man, you tell me.

Someone spiked my drink, a weird accident or something.

I don't know.

- There's more.

- No there's not.

- There's more.

- I don't have special powers, I'm Quentin Mitchell.

I can't fly or leap tall buildings.

You cut me, I bleed.

You punch me, it hurts.

I'm just me.

- Listen to yourself, man.

You're not a one-man show.

I know it's hard for you to understand.

It was hard for me, too.

- You are reawakening, Mitchell.

Fear of your death is bringing it back.

What made you lose your powers is close, very close.

- You're gonna have to relearn what you lost.

- Yeah? And you oughta start looking for what

you've lost, your frickin' mind.

- It's time, Mitchell.

- Yeah, time to go, so you guys stick around,

shoot each other for a little while.

I've got a mob guy who wants to kill me,

and I'm not hanging around.

I'll see you boys later.

(dramatic music)

- You're a coward, you always have been, man.

You're afraid of Tonelli,

you're afraid of your own damn life.

- Do me a favor, go to hell.

- He's right.

Keep running now, and you will never stop.

You will never find out who you really are.

(dramatic music)

(chattering)

(upbeat piano music)

- God, I knew you'd be back.

- You did?

- I've missed you so.

- You have?

- I've decided I'm leaving him.

I should never have married him.

Oh thank God I've got you in my life.

I want it to go on and on, and on.

- You're married?

- Shh, let's not talk about that.

We agreed when we began all this,

there would be no doubt, no guilt.

Let's just run away from Paris, from him,

from everything.

(upbeat piano music)

(dramatic music and operatic singing)

(dramatic music)

- What do you want?

- Satisfaction.

Tomorrow morning, with pistols.

I'll leave you weeping for a dead man.

(dramatic music)

(upbeat dramatic music)

- It's very good, you want a drink?

Who did you see?

- Tonelli.

He's the man who's trying to kill me.

Because I had an affair with his wife 150 years ago.

- Some fights are endless.

- Where was I?

- A place called Flatland.

- But how?

So many years ago.

- In Flatland, time doesn't run in a straight line.

There, things that once were, still are.

- It seemed like a dream to me.

- Perhaps, this is a dream

and Flatland is a reality.

- Is it?

- Both are your reality.

That you must learn.

Are you ready?

- I don't know.

- What's stopping you?

- Maybe JT's right.

It scares me.

- Ahh.

The root of it all for you.

(dial tone)

(upbeat dramatic music)

(dramatic music)

- [Uncle] Take off your shirt.

And your shoes, and your socks.

- What are we doing here?

- Teaching.

And learning.

(soft dramatic music)

(sighing)

- All right then, so, what do I have to learn?

- How to fight and survive?

- Right, my special powers.

- That's right.

- I suppose you got these powers too.

- I'm learning.

So is Amy.

- And they're both ahead of you.

You havefear, and it is a doorway with both

opens you to skills and closes you from them.

(upbeat dramatic music)

- What's this?

- It's a blindfold.

(upbeat dramatic music)

I'm gonna attack you.

- I can't see.

(upbeat dramatic music)

- Dammit, JT!

- Why don't you fight back?

- Because I can't see him.

- Then look closer.

Again.

- What just happened?

- You didn't wanna get hit.

JT!

(upbeat dramatic music)

- This is incredible.

- It's only the beginning.

- Come on, show me more.

Let's go, come on.

- We're creating a monster.

(upbeat dramatic music)

- Have fun, gentlemen.

I have to go to the club.

Stop by later, for a drink.

On the house.

(upbeat dramatic music)

- Come on.

- I said enough.

- Show me that thing you did again.

- Maybe tomorrow.

- No, now.

- What's wrong with you?

You musta got your ass kicked a lot as a child.

This is no collection of tricks

you can show off with at a party.

This stuff is serious, and it's deadly.

- All right, all right, but I'm just starting to get it.

- Exactly, you're just starting.

You think you're ready to take on Tonelli now?

- Are you kidding me?

I'll kick his ass.

- With him holding a loaded gun?

And I ain't talking about no sad-ass flintlock.

I mean a nine millimeter, with a fully loaded mag.

Now I ain't saying you ain't ready.

But you need to be sure.

You need to know.

Think about it.

(soft dramatic music)

(upbeat dramatic music)

- I find out where he hangs out.

At the club where we send Nicole.

- Good.

- What about our deal?

- Sounds like we don't have one.

- We have to.

There'll be trouble now.

- For you.

Look, I came here to do one thing,

to kill Mitchell for what he's done.

Now my brother's dead, I'm gonna do Mitchell myself,

and go home.

- You can't just leave me here.

- Yeah, watch me.

- Cross will come after both of us.

- Let him, I'll be back home.

After I do one thing.

(soft dramatic music)

(upbeat music)

- Going somewhere?

- Yeah, anywhere.

And don't try and stop me,

and don't give me a song and dance about how I work for you

and I do what you tell me.

- I didn't say a word, counselor, you do what you want.

- Good, because I'm leaving.

I'm gone.

I'm sick of all of this.

I'm sick of some mob boss gunning for me.

I'm sick of people telling me I'm some ancient warrior

with special powers.

- Whoa, we're having a little Prozac moment, are we?

- I'm not kidding.

JT and his buddy boy Uncle,

saying that I'm some crusader who can travel through time.

- With powers, huh?

- Yeah.

I know it sounds nuts,

but I actually do have some.

- Cool, special powers.

They can come in handy sometimes.

- Not against a pissed off husband with a gun.

- Well maybe that would come in handy.

- Where'd you get it?

- I borrowed it from Uncle.

- That's good.

- Wait, I'm not finished yet.

This might be useful, it's a ticket

to anywhere you wanna go.

- Thanks.

I mean really,

what choice do I have anyway?

- Yeah, you gotta go.

You can't stay around here and fight it out,

finish what you started, right?

- I don't wanna die, Smith.

- Happy trails, partner.

Drop me a line from Jupiter or Pluto,

or wherever your special powers take you.

One thing, Mitchell.

Death is highly overrated.

(upbeat dramatic music)

- Who's there?

(soft dramatic music)

(gun firing)

(gun firing)

(gun firing)

(soft dramatic music)

(upbeat dramatic music)

(soft dramatic music)

- [Anthony] I'm looking for a guy named Mitchell.

- You just missed him.

- You think this is funny, old man?

You can be sure that I won't miss him next time.

I'll wait.

(soft dramatic music)

(church bell ringing)

(piano music)

(church bell ringing)

(piano music)

(church bell ringing)

(soft dramatic music)

- Beautiful morning to die.

There's some who said you wouldn't come.

Someone force you?

No man can tolerate disgrace.

This is a matter of honor.

You may have taken the woman, but you'll answer for it.

Are you ready?

Ten paces, turn and fire.

One!

Two!

Three!

Four!

Five!

Six!

Seven!

Eight!

Nine!

10!

(gun clicking)

(dramatic music)

It's an advantage in a gunfight

to cock your gun.

(gun firing)

(dramatic music)

- I came on my own.

(soft dramatic music)

- I see you came armed.

(soft dramatic music)

You got some things to answer for, Mitchell.

You dare to come into my home

and try and take my wife.

- She was willing.

- Well if she were here, I wonder if she'd be willing

to watch you die.

You don't look so good, Quentin.

Then again, you never were long on guts.

(soft dramatic music)

(church bell ringing)

You gonna use that thing?

- That depends on you.

(dramatic music)

- You hurt, counselor?

I know what I'm gonna go, you better decide.

(church bell ringing)

(dramatic music)

This is for her.

And for Dominic.

(dramatic music)

Goodbye, Mitchell.

(dramatic music)

(gun firing)

(glass breaking)

(gun firing)

How in God's name did you do that?

- I guess I'm not the man you used to know.

- Yeah, you are.

You're a coward.

And a lucky son of a bitch.

(gun firing)

(soft dramatic music)

- Finish what you started.

- This is all a mistake.

I was setting Tonelli up.

I didn't know he was back.

I'm loyal.

You've got to tell him that.

(soft dramatic music)

Please help me.

(groaning)

(groaning)

- You know, often it's about a woman.

Two empires fight over Helen.

And Anthony takes on Rome for that snappy

little number from Egypt.

And Romeo.

(dramatic music)

- The woman, Amy, she has a good heart.

She cares about things.

That's a piece of cake.

(dramatic music)

And JT, he's all guts.

You pick a fight and he's in it.

Well, I think we can arrange that.

(balls striking)

The other one, Mitchell?

He's smart.

What's worse, he's cautious.

However, when he drops his guard.

- And then there's Mitchell.

Figures a woman would get him into a fight.

Of course, the thing about a fight is somebody's

gotta lose and somebody's gotta win.

And we won one today, Khan.

Getting stronger.

Yeah.

(laughing)

- Well what the hell.

It's all about Smith, anyway.

And soon,

(dramatic music)

the game will be over.

(dramatic electronic music)