Original subtitles

[ALARM]

MAN (ON SPEAKER): We've been hit.

Two canisters-- uranium-235, dawn.

The bomb is of the utmost importance.

Nothing must stop its delivery.

[MUSIC PLAYING]

I've seen people electrocuted before.

He didn't strike me as any different

than any other human being. - Wait a minute.

Human?

Of course he was human.

What was he supposed to be?

Stop!

[CRASHING]

We have to find out which member of your group is a robot

and where he's hiding a nuclear bomb.

[TICKING]

What do you think you're doing?

He knows exactly what he's doing.

He's the bomb.

Pam!

Pam.

Pam!

What happened?

I'm OK.

The bomb is built into him.

[WIND ROARING]

[THEME MUSIC]

NARRATOR: It began with "Westworld."

MAN (ON SPEAKER): Three, two, one.

Activate now.

NARRATOR: A futuristic playground

where people could act out their fantasies

with robots so sophisticated it was impossible to tell them

from humans.

Your move.

[GUNSHOT]

NARRATOR: Suddenly, the robots changed,

turned into the deadly servants of their creator,

Simon Quaid, who took them "Beyond Westworld."

SIMON QUAID: I have an impregnable army of

loyal and unquestioning troops.

I've placed robots all over the world.

He wants it all.

He has one heck of a good chance at getting it

with those robots.

NARRATOR: Delos, builders of Westworld, must stop Quaid.

Assigned is security chief John Moore

and Special Agent Pam Williams.

Let's face it, John.

It's your wits against Quaid's machines.

[MUSIC PLAYING]

(SINGING) You're [INAUDIBLE]

But you're back in [INAUDIBLE] just the same.

Put your hand on my head.

Call my name over and over, over and over [INAUDIBLE]..

Over and over.

[INAUDIBLE] and you belong here.

[INAUDIBLE] but you're [INAUDIBLE] before [INAUDIBLE]

you can [INAUDIBLE].

But you're back in my arms, just the same.

Go and give me all your charms.

Call my name over and over.

Over and over [INAUDIBLE] over and over.

Over and over [INAUDIBLE] here.

Cause when you say my name, I feel like a loving woman.

I feel like I've been touched.

I've been played before.

But I've never been played so much.

[INAUDIBLE] over and over [INAUDIBLE] over and over

[INAUDIBLE] here.

You're gone, but I can feel you from far away.

I can [INAUDIBLE] you.

Put your back in it, babe, [INAUDIBLE],,

throw your glasses on the chair.

Call my name over and over, over and over in my ear.

Once again, over and over all year.

[ALARM]

MAN (ON SPEAKER): First-stage alert.

First-stage alert.

We've been hit.

Uranium-235.

Two canisters, gone.

Seal the plant.

MAN: All of us are here for only one purpose.

And that is we must stop nuclear power plants.

And I want to thank Power and Ruben

for bringing their fantastic musical for us here.

JOSEPH OPPENHEIMER: This was obviously the mode

of entry into the plant.

JOHN MOORE: And the rock group's bus was parked right

there, the perfect screen.

JOSEPH OPPENHEIMER: We checked their schedule.

They were on a tour.

And they stopped at the demonstration on their way

to the next engagement at the Sagittarian Theater.

PAMELA WILLIAMS: One of Quaid's robots.

Had to be.

Who else could have infiltrated tight security, overcome

the armed guards, carried off two lead bottles of uranium

that way about 400 pounds, not to mention the fatal radiation,

had it been a human being?

How much time do you think we have before they

can build it into a bomb?

It's hard to say.

Here's two charges of uranium-235, one on the top,

one on the bottom.

When these two charges are brought together

by this triggering device, boom.

Then Quaid's in business. Why?

According to government intelligence,

Quaid has been having meetings with Hakim Fader.

The North African general who wants to be president.

And with a little help from an atomic bomb,

he just might be able to do it.

OK, but what does Quaid get out of the deal?

Safe haven once Fader's taken over the country,

where he'd be out of reach of legal authorities.

Well if we know that the group is involved in the theft,

why don't we just have them picked up and brought in?

We can't risk tipping them off and either losing the bomb

or having the robot explode it to avoid capture.

Then there's a possibility that the bomb is still there.

Well, we're not sure.

But we got to start somewhere.

We can infiltrate the group.

We can find him before he finds us.

[MUSIC PLAYING]

(SINGING) I don't know how to take love without abusing.

I don't know how to give respect without losing it.

I don't know how to take the the fall without using it.

Sometimes I think I'm driven--

driven like a piece of snow, driven like a piston,

driven out of control.

Like a loved one that's missing, I'm driven.

I don't know how to break a bond without bruising it.

I don't know--

It's weird.

What?

Standing here listening to rock music,

knowing half the state could blow up in one big mushroom.

Now put that possibility right out of your mind.

You really think it's that easy to do?

No.

It sounds good.

Pam, I'm going to go try and find that uranium

while everybody's busy.

RUTH AVERY: (SINGING) Driven like a piece of sand.

Driven by a stranger's hands, like a lightning bolt.

--and blink into the early light.

I'm young enough to think, to think.

[TICKING]

[LOUDER AND FASTER TICKING]

Driven like a piece of snow.

Driven like a piston.

Driven out of control.

Like a loved one that I'm missing, I'm driven.

Are you Moore or Williams?

Williams.

Phone.

PAMELA WILLIAMS (ON PHONE): John's checking their bus

for the uranium canisters now.

Look, I feel terrible behind here with you two

sitting there right on top of that stuff.

What's happening at your end?

Well, I got some pressure from the Thugger boys.

They're getting antsy, plugging up the airports

and twiddling their thumbs, waiting

for Quaid to make his move.

They want to move in right now.

If they did, they could blow the whole thing.

No pun intended.

JOSEPH OPPENHEIMER (ON PHONE): Well don't worry about that.

I'll keep them at bay.

I hope we're on the right track.

Well I'm afraid you don't have to worry about that either.

Now, while you were en route, the triangulation

came together at the concert.

And Quaid was transmitting to his robot.

Opp, there are over 1,000 people here now.

JOSEPH OPPENHEIMER (ON PHONE): Yeah, I think we

were right in the first place.

Let's concentrate on the group.

(SINGING) Driven!

[CHEERING]

[MUSIC PLAYING]

--rather lonely.

[INAUDIBLE] trust my mother [INAUDIBLE]

I'll be sitting in the car.

[INAUDIBLE]

My brother's got his arm around his head, hungry to be

[INAUDIBLE].

I love [INAUDIBLE]

I'm on on the road [INAUDIBLE] forget to forget, to forget.

[BUZZING]

How'd we ever get this way [INAUDIBLE]

stranded by the [INAUDIBLE] his mother was mistreated.

A lot of cures to try [INAUDIBLE] His momma,

she's got in trouble.

[INAUDIBLE] to forget, to forget, to forget.

He's [INAUDIBLE] to forget.

But [INAUDIBLE] yet.

Right before we get [INAUDIBLE]

Cross my heart.

Take me to heaven.

Get me out of heaven for the [INAUDIBLE] love.

Any luck?

Yes and no.

I found the canisters.

They were empty.

There's no uranium.

It's gone.

How about you? - Opp called.

There was a triangulation.

One of them is our man, I think.

RUTH AVERY: (SINGING) [INAUDIBLE]

on a river of no return.

The beauty.

The [INAUDIBLE]

[CHEERING]

I want to take that number out of the show.

Why? They love it.

I hate it.

Look, if something's bugging you, don't lay the trip on me.

- Something is bugging me, OK? - What?

My new toy?

Yeah, your new toy.

Power, do you have any idea how many people

get killed racing stock cars?

POWER: Come on.

You know me.

I try something a couple of times, I get bored, I quit.

Not this time.

I quit.

You can go out and kill yourself if you want to.

But I'd rather be a divorced lady than a widowed lady.

What happened to the lady who used to go along with anything?

She grew up.

I mean, how many times do we have to go out skydiving,

tobogganing, racing speedboats?

How many kicks do we have to get?

What do we have to prove?

How much money?

How much success?

You're forgetting how hard we fought to get where we are?

Well, where are we, huh?

We're at the top of the heap.

Heap of what?

If you're not out trying to kill yourself, what are we doing?

We're out doing one nighters, recording in a studio,

doing interviews.

We don't have any time together anymore.

What kind of life is it, huh?

[CAMERA CLICK]

Who are you?

What are you doing?

JOHN MOORE: Name's John Moore.

Your manager sent me down here to take

over your public relations.

Oh he did, did he?

Yes, ma'am.

I'm supposed to slow the train down just enough

to get everybody back onto track, kind

of turn the image around so we all look like one

big, happy family.

One big, happy family, huh?

Well I wish you a lot of luck.

I'll go get some shots of the group.

That's good.

Well now, that little lady has a big talent, short fuse.

She just needs to be handled right.

Now Mr. Power, you're in luck.

That's my specialty.

Soft music and kid gloves.

Yeah well, I handle the music around here, loud or soft.

And as for kid gloves, you keep your hands in your pockets

and your nose clean.

Lady's still my wife, no matter what you read in the papers.

[CHEERING]

Settle it down.

Take 15 minutes.

I want you back on the button.

Oh, the master speaks.

- You got a problem, Lingo? - Me?

Oh, no way, Jose.

But your wife, now she's got the problem.

Right, Bobby Lee? - Back off, man.

Ruth's OK.

She's just a little beat.

All right.

Slap hands with John Moore.

He's our new paperhanger.

[INTERPOSING VOICES] - Nice to meet you.

- Good to meet you. - Oh, oh, hey.

Catch you later, John-boy.

Them 15 is down to 12.

[INTERPOSING VOICES]

If you need anything, give a holler.

Thank you, pal.

Howdy. My name's Moore.

I-- - I heard.

The new PR. I'm Ryder.

You sound jockey here?

Yeah, me and Mace there and the people movers.

You name it, we go for it.

It's more effective behind the ears,

especially at $50 an ounce.

Especially since it is my $50.

Come on in.

Why now that's something I'll never understand,

how a beautiful lady like you has to buy her own perfume.

Oh, you'd understand if you had

a husband whose only concern was you being on stage

and being in tune.

I guess that's why our friendship means so much to me.

Terrific.

RUTH AVERY: Power.

Story of my life, always being hung for a sheep.

[MUSIC PLAYING]

[CRASH]

RYDER: Mace!

What are you trying to do, kill somebody?

Well, if he wasn't, he could've fooled me.

I found him in the truck.

He was snooping around like he was going to--

His name's Moore.

He's the new PR.

How was I supposed to know?

The last gig we played, some joker made off with 10

grand worth of equipment.

Mace nearly got fired.

Hey, Moore, no hard feelings.

I mean, you're not going to tell Power about this.

I was only trying to do my job.

No, it's all right.

Just forget it.

I won't tell anybody.

Anything on the radio scan?

We picked up this transmission about two hours ago.

MAN (ON TAPE): [INAUDIBLE]

You know, I don't speak gibberish,

at least not that dialect.

Can you fill me in on what it's supposed to mean?

We weren't able to break the scramble code,

but Oppenheimer did a visual on the tracings.

And one of them matched up with Quaid.

How about the other one?

Nothing in the file we could match up with,

but it must be Quaid's robot.

Triangulation give us anything?

Point of origin is somewhere off the coast of North Africa.

So Quaid's on his way to meet with Fader.

[MUSIC PLAYING]

RUTH AVERY: (SINGING) Momma said I'd get everything I wanted.

Momma said I could get it if I tried.

Momma said the world would be my oyster.

But-- but I can't have you.

My momma lied.

No, I can't have you.

Momma lied. Momma lied.

I can't have you.

My momma lied.

I can't have you.

No, I've tried and tried.

I can't have you.

My momma lied.

I can't have you.

My momma lied.

I can't have you.

My momma lied.

I can't have you.

My momma lied.

[APPLAUSE]

Thank you. Candy!

NUN: I'm sorry, children.

We have to leave now. [GROANING]

Oh, now Ms. Avery will be back again.

Form a double line and walk back to the bus.

Bye!

Bye, hon.

Oh, bye.

[INAUDIBLE] How's school been going?

Good.

How about with you? [CAR HORN]

Sixth grade OK?

Good.

The children, all of us--

[CAR HORN]

--enjoy your visits very much. - Thank you, Sister.

Please come back again soon.

You know I will the next time I'm in town.

Goodbye.

Bye-bye.

Well, that was mighty pretty, Miss Avery.

What are you doing here?

Well, I saw you leave the hotel.

I figured I'd tag along, make a good story.

You breathe one word of this and you're going

to be looking for another job.

The band doesn't have anything to do with this.

I'm on my own gig.

Hey, that's nothing to be ashamed of.

It's not something I want to take any vows for either.

I learned a long time ago, never say no to a lady.

What's the catch?

Just one.

One?

No story.

One condition.

You let me take you to lunch. Deal?

Deal.

So how much is that?

$2 even.

OK.

Here you go. Thank you.

Come on!

Come on around here.

Right there [INAUDIBLE]

Sure, [INAUDIBLE] (LAUGHING) Yeah, that's a good one.

What's your name?

Beautiful name.

Yeah.

Desiree?

OK.

Got a pen?

JOHN MOORE: Excuse me.

[INAUDIBLE]

Special delivery for Ms. Avery.

Two cold dogs.

Got some food for a hungry lady. Come on.

Let me get through here.

MAN (ON SPEAKER): All right, Roberta.

Make your move on Moore now.

Excuse me--

[INTERPOSING VOICES]

Oh.

Excuse me, ma'am.

Personally, I would have thought

that a knife rather than a bug would have been

more effective planted there.

Foley, for a man with your background,

you have all the sensitivity of Attila the Hun.

A murder involving Ruth will bring the police swarming

in and around the group.

My first priority is the bomb, a safe country.

Things must progress in their natural order.

You're not Power.

[INTERPOSING VOICES]

All right.

Boy, I sure see the advantage of being a rock star.

Oh, tell me about it.

Where was I?

Why, you were telling me about how you and Power got together.

Oh, yeah.

Well, Power already had the band when I got to know him.

They were making noise around town.

I started hanging out, finally gave me an audition.

JOHN MOORE: So you two have been living high in cotton

ever since, huh? Sounds good.

What's the problem?

Seems like when you can finally

afford to have anything you want,

you just don't have the time to afford it.

Plus Power's changed.

How do you figure he's changed?

He's like a machine.

I can't get through to him.

JOHN MOORE: What about the others?

RUTH AVERY: They've all been together as long as I

can remember, except for Ryder.

He's new.

And Mace-- he's just muscle all the way up to his hair.

Moore is checking out each of the group's backgrounds.

All fine musicians.

Not if he digs too deep.

True.

Well, when he gets to six feet, we'll stop him.

Bobby Joel-- he's a real loner type.

Mm-hmm.

But what about you?

Oh, nothing much to tell.

I don't buy that for a second.

You don't seem like the typical PR guy.

Yeah, and that's what the rest of my clients

are going to say if I don't get the cows in before sundown.

Cows? Sundown?

Mm-hmm. Back to work.

- Work-- - Yeah.

--work, work. [LAUGHTER]

Thanks. - Right.

[DOOR SHUTS] - Bye.

Real friendly fella.

Hi.

For a while, it was Ryder.

Now it's Moore.

They're just friends, people I can talk to.

Oh really?

I don't believe it.

You're jealous.

Look, Ruth.

This is crazy.

I mean, we had such a great thing going.

Going, going, gone.

Is that how you want it?

We don't want the same things anymore.

I want a husband, and you want a playmate.

I want a partner.

You want a costar.

I want a family.

And you want fans.

So where do we go from here?

We've got a tour to finish, remember?

Pam.

How are you doing with that [INAUDIBLE]??

I've been through almost every guy's room.

And you still look as fresh as a daisy.

You have a one-track mind.

You never complained before.

Anything exciting?

Nothing, including one of them dressed in a towel

acting like I was some groupie.

Don't worry, I handled it.

I'm sure you did.

But one of them has got to be the robot.

Well if it's Spooner or Lingo, Quaid's

come up with some very unusual programming.

So you don't think it's either one of them?

Trust me.

[INAUDIBLE RECORDING]

SIMON QUAID: Quite an impressive array of force, General Fader.

For the ordinary type of equipment, yes.

Probably the best in all of North Africa.

Mr. Quaid, we've been alerted to stand

by to receive a transmission. - Oh, fine.

Thank you, Foley.

Yes, Ryder.

The triggering device is completed.

All I have to do now is insert it into the bomb.

Then you're right on schedule.

Good.

The ETA will be 12:00 noon tomorrow.

If he's ready, why do you wait?

Well, because of the cover I've

arranged to get the bomb out.

How else do you think we could carry

out this plan with every airport in the country alerted?

Now Ryder, about Mr. Moore.

The bomb is of the utmost importance.

Nothing must stop its delivery.

I'm sure I make myself clear.

Perfectly.

Thank you, Ryder.

Within 24 hours, you will have your bomb.

And you will be appointing ambassadors.

I'll look forward to that.

But you have certain reservations.

Being the intelligent man you are,

you can't help but wondering, why is Quaid

willing to turn over such an awesome weapon as this to me

and not retain control of it himself?

And rightly so.

A man could not have made such a spectacular rise to power

as you have, General, without possessing a logical mind,

a mind that quickly grasps the ramifications

of having such an awesome weapon at his disposal.

Well, the takeover of your present government

would be instantaneous.

Overnight your nation would be propelled into the brotherhood

of nuclear powers.

And you, General, an international figure

to be reckoned with, respected, feared.

And you, Mr. Quaid--

It always gets down to it, doesn't it?

What's in it for me?

A home, General.

A place where I can continue my work

unmolested and at the same time, the opportunity of serving

a man of your caliber as advisor, providing

you with counsel, scientific knowledge,

and of course the total and loyal support of my robots.

I am speaking of absolute power.

But what happens if--

General, you surprise me.

You're too perfect to be replaced.

As flawless as my robots might be,

none could serve as such a--

such a fiery leader as yourself.

- Perhaps you yourself-- - No.

--might--

I'm a man of science.

I-- I will remain in the shadows.

And you-- you will have the spotlight.

You will have the power, General.

And together we will serve each other's needs.

I am a man who believes in living in the present.

But in this case, I can't wait for our future.

I'll wait for that moment with pleasure.

Thank you, sir.

[MUSIC PLAYING]

[WHISTLES]

JOHN MOORE (ON SPEAKER): You listening, Quaid?

I assume you want to know what I'm up to.

I'll tell you.

And I don't want you to be disappointed after all

the trouble you went to.

I'm going to find your robot.

And then I'm going to find your bomb.

And then I'm going to find you.

[CRACKLING]

[MUSIC PLAYING]

[TICKING]

[MUSIC PLAYING]

Stop!

[CRASHING]

[CLANGING]

[EXPLOSION]

You all right?

[SIREN]

How is she?

Broken arm.

The young man was dead before he hit the ground.

That must have come as quite a surprise.

Are you the father?

She's having a baby?

Well, you did know she was pregnant, didn't you?

What about Ryder?

I've seen people electrocuted before.

He didn't strike me as any different

than any other human being.

[INAUDIBLE] human?

Of course he was human.

What was he supposed to be?

Uh, Doctor, I'd like to take a look at the body.

You're right.

I didn't want to see that.

Well, I'm glad we share the same physiological diagnosis.

You had me worried there for a minute.

[MUSIC PLAYING]

WOMAN (ON PHONE): Professor, red line, John Moore.

JOSEPH OPPENHEIMER (ON PHONE): John?

What did the computer check turn up on the group?

JOSEPH OPPENHEIMER (ON PHONE): Only one name surfaced.

Ryder.

- How did you find out? - The hard way.

He tried to kill me a little while ago.

What I don't understand is why.

But I know for certain Ryder is not one of the robots,

so he didn't steal the uranium.

But he is on Quaid's payroll.

Look, Ryder is a brilliant nuclear scientist

with an insatiable taste for the good life.

But universities don't pay as well as Quaid.

Yeah, but Ryder paid more.

He's dead. - That's too bad.

He could have led us to the bomb.

He obviously built it.

And he's probably handed it over to a robot for delivery

to Fader.

JOSEPH OPPENHEIMER (ON PHONE): Well, the question is, why is

the robot in a holding pattern?

Why hasn't he moved with it by now?

Well, he's probably on a schedule.

And he has to wait for a prearranged time for delivery.

Well, we can't let that delivery take place.

Ryder is dead.

- How? - Moore.

Humans.

They always create such problems.

Patch me in to Roberta at Operations, please.

Ryder was a gentle person, sweet, kind.

I'm sure when John gets back, he'll explain.

[PHONE RINGING]

Hello?

Yes, Power. I'll see.

RUTH AVERY (ON PHONE): Hello?

Ruth?

Baby, you OK?

I've got my arm in a cast, but it's a clean break.

Listen, I'm on my way down there right away, OK?

RUTH AVERY (ON PHONE): No.

We have to make that gig in Jamaica.

I'll see you at the plane, OK?

[PHONE CLICKS]

That's that.

So how you feeling?

OK.

I think one of you owes me an explanation

about what's been going down.

Well, it's a little complicated.

Give me the punchline, and I'll figure out the rest.

All right.

We have to find out which member of your group is a robot

and where he's hiding a nuclear bomb.

What?

- Ready. - Oh, good.

Please advance 514 stage 7 and alter

second stripe to minus 30.

You're moving up the schedule?

I can't chance any further interference.

I want that bomb on the group's plane now.

And I want it armed.

Once it's in place, no one would dare get in the way.

[MUSIC PLAYING]

Where would the bus and the equipment truck be?

Probably still at the hall.

Mace needs a replacement for Ryder.

Pam, help her pack and get to the airport.

Where are you going?

I'm going to have a little chat with Mace.

Hey, what you doing?

[CLICKING]

[MUSIC PLAYING]

Mace?

Mace, you here?

[WHIRRING]

How do you feel?

Just like on opening night, scared to death.

Spooner?

One hour.

SPOONER: I hear you.

Just don't let on that you suspect anything.

Try to act normally.

I'll try, but my heart's not in it.

It's in my throat, choking me.

Lingo, it's Ruth.

Plane leaves in an hour. LINGO: No sweat.

I'll be there.

Bobby Lee, plane leaves in an hour.

Bobby Lee, it's Ruth.

[MUSIC PLAYING]

What are you doing here?

Waiting for you.

We're leaving a little ahead of schedule.

[WHIRRING]

Hey, what do you think you're doing?

He knows exactly what he's doing.

He's the bomb.

[MUSIC PLAYING]

Oh!

No!

Shall we go?

And quietly if you want to stay alive.

Pam?

Pam?

What happened? - I'm OK.

It's Bobby Lee.

What?

The bomb is built into him.

What happened to Ruth?

He knocked me out and grabbed her.

I think they went to the plane.

That's how they're getting out.

Hey, what's going on?

Take care of your pretty head.

Get her to a doctor.

From what you've describe, the robot is a model J147.

- Yeah, I'm listening. - All right.

The militarisation re-sectioning is directly

behind the bi-visionary quad.

So those shades Bobby Lee always wears

aren't just gone Hollywood.

It's a flaw, John.

But I don't see how it's going to stop

that bomb once it's been armed.

Joe, I'll talk to you later.

[PHONE BUZZING]

- Yeah? - Power, this is Moore.

Now just listen to me.

POWER (ON PHONE): Moore?

What the hell happened to your accent?

JOHN MOORE (ON PHONE): All right,

forget the questions or you and Ruth

aren't going to be around to see that baby she's carrying.

Baby?

Bab-- Ruth's--

JOHN MOORE (ON PHONE): Yeah, congratulations.

Power, this is crucial.

Ruth and Bobby Lee are on their way right now.

Just take off, stay in the air, and I'll fill you in later.

Right.

Do just as the man says.

Take off now.

Your lives depend on it.

Would somebody mind telling me what--

Power, don't argue with him.

Do just as he says.

I'll need Ruth in the copilot seat.

She stays inside with me.

Now call the tower and get your clearance.

[MUSIC PLAYING]

[INAUDIBLE] 6-5 Charlie ready to taxi.

MAN (ON SPEAKER): Roger, 6-5 Charlie.

Clear to taxi.

Runway 2-5.

Roger, 6-5 Charlie.

[MUSIC PLAYING]

6-5 Charlie, ready to go on runway 205.

MAN (ON SPEAKER): 6-5 Charlie, clear for takeoff.

There's no place to go, Moore.

SIMON QUAID: He's immobilized.

Move the robot from visionary to sensory.

[WIND BLOWING]

[MUSIC PLAYING]

Bomb's away!

[EXPLOSION]

It's too late, Mr. Quaid.

POWER: You know, you always did have a great sense of timing.

[MUSIC PLAYING]