[CHIRPS THEN BEEPS]
RAY: Wait a minute. He's not alone.
That's a heartbreaking piece of news.
Pull the plug, Ned. There's a kid in the car.
There's a drug lord in the car, Ray.
Kid just took a bad ride, that's all. Abort the action.
You're the rigger. I am the trigger. I make the call.
You just sit back and watch the show. Okay, sport?
Activate the fail-safe, you fucking psycho.
Here's a tip, Ray. There is no fail-safe.
Come on. Come on.
You'll never make it.
You're an arrogant man, Raymond.
I taught you everything you know and you dare to turn on me.
Are you gonna kill me too, colonel?
You're a specialist, captain. You deserve better.
Don't forget to write, partner.
You like watching her die? You like taking them down?
Now I'm taking you down. You're finished in the agency.
You're going nowhere.
You're as dead as those people... in the river.
We both are.
["SLIP AWAY" INTRO PLAYING OVER SPEAKERS]
SINGER: Ooh, ooh, ooh Well, slip away
Stuck inside this lonely place Wonderin' if I'm ever gonna See your face It can bring you down While this world goes round Time still inside my room You know it's not too late Can't be too soon To be lost and found To be up and down And though the world May close around you Won't let you slip away Can't let you slip away from me
[DIAL TONE HUMMING]
WOMAN [OVER PHONE]: Have you decided to take the job?
I saw your ad today.
I know it's late... It's never too late.
After all, you're about to give me a new life.
When you kill those three bastards.
Look, you better get somebody else.
I like your voice.
Yeah, but you don't need an explosives contractor.
Yes, I do.
You are my only hope. Go to court, use the law.
The law's been bought.
Then you gotta use a bullet. Bullets... are imprecise.
I heard that you control your explosions, that you shape your charges.
What I shape and who I shape them for is my business.
All I'm saying... word is you were the best.
If we could just meet...
I don't meet, I don't work in Miami and I don't do jobs like this.
Then why do you keep calling me back?
I like your voice.
What is it? My cologne?
MAN: So, what do you think? You guys coming?
Go ahead, please.
MAN: Right. How many are there?
Two or eight?
MAY [ON RECORDING]: These guys are killers. You'd be doing the world a favor.
RAY: I don't owe the world any favors. Why did you wait so long?
MAY: I thought...
I thought maybe it would pass.
Every day is worse.
Remembering what happened.
That's what I do instead of being alive.
My father hid me in a closet.
I could still see.
My mother suffered.
No. I don't know anything.
MAY: They tortured her to get my father to talk.
We're gonna have to kill her.
MAY: He walked by something he shouldn't have seen.
They covered his face with the pillow from my bed.
Mommy. Waste him.
MAY: But it was too small.
So they shot him.
I never thought blood would be so sticky.
Sometimes I think I can never wash it off.
The only thing I understand anymore is revenge.
I'm going in and I'm gonna do it myself.
RAY: You'll only get one of them. MAY: That's why I need you.
To do it right. RAY: I told you...
I don't do this kind of job anymore.
MAY [ON RECORDING]: I know you've been watching me, trying to decide... if I'm on the level, if you're gonna take the job.
Well, I can't wait anymore, I'm going in.
RAY: They'll make you. MAY: I have an alias.
Wish me luck.
[BAND PLAYING "EL BAILE DE LA VELA"]
So how's it coming in?
JOE: Oh, boy. You don't give up. Hmm?
It's packed in Monopoly boxes.
MAN: He's right over here. I want you to meet him.
That's great, Papa.
You get it in, I'll put it on the street. Sure, sure, sure. You do that.
Tomayo, come here.
Ahem. How you doing, Ned? This is a very nice party.
Yeah. You went all out. It's fantastic.
So let's talk numbers. Forget business tonight.
Go grab yourself a nice little mulatta.
I want my money, Tomayo.
An advance. Small token of my family's goodwill.
Now, listen to me, boy.
You know what the Dark Ages are?
The Dark Ages are what I brought the Leon family out of.
I computerized your operation.
I streamlined your security. I dragged you into the 20th century.
So don't fuck with me on this.
What is this?
A tip? I don't work for tips. She works for tips, okay?
Now, I want my money. I want it now.
Go get it.
It's always a pleasure working with you, Ned.
[TOMAS BLOWS SMOKE]
[SHIP HORN BLARING]
[BAND PLAYING SLOW MUSIC]
Is there something you want?
What I want, I take.
Thank you. You're welcome.
Welcome to our bank.
I've never seen you before.
I used to live here when I was a little girl.
A lot's happened since you've been gone.
Insecurity is a terrible thing.
It would be.
I'd like to dance.
What's wrong with keeping the conversation?
Later. Right now, I'm taking what I want.
You look beautiful tonight.
I'll have my driver to pick you up tomorrow and I'll show you my Miami.
[IN NORMAL VOICE] Right on time.
Should I do it, Timer?
MAN: Morning, sir.
[DANCE MUSIC PLAYS OVER STEREO]
Hey, let him play. Hey, baby.
Come on. THUG 1: Kind of young... to be riding this bus alone, aren't you? WOMAN 1: Stop it.
What? Not good enough for you? THUG 2: Come on, young one.
Don't move over. I wanna play.
THUG 3: Come on, baby.
[THUGS CHUCKLING AND CHATTERING]
THUG 2: Come on. WOMAN 1: Stop. Leave me alone.
THUG 1: Come on now, what's up, huh?
THUG 2: Yeah.
Come on, baby. Don't be shy.
Here, why don't you take my seat?
Whoa! Yo, check her out, man.
That seat's taken.
WOMAN 2: Quit it. Ah! Fuck you.
Excuse me? Fuck you.
THUG 1: Come on.
It's all right.
Hold these, please.
WOMAN 1: Give it back to her.
What's going on?
I hate knives.
Fuck you, you son of a... Oh!
I believe there's a vacancy.
So, what do you drink? Martini.
Martini on the rocks. Gold tequila, straight up.
No one knows Miami like I do.
You like spending the day with me?
Do you? Mm-hm.
Kiss me. Hardly know you.
Wait till you try spending the night.
[BARTENDER SPEAKS IN SPANISH]
Stay here. I gotta take care of something.
Got a light?
TOMAS: Is this that piece of shit? Hmm?
TOMAS: Where were you? I was home.
[TOMAS AND MAN GRUNTING]
MAY: Thanks, amigo.
What happened to you?
I just didn't like the show, that's all. Uh-huh.
You don't... walk away from me... ever.
Get in the car. Sure.
[SLOW MUSIC PLAYING INSIDE]
MAY [ON RECORDING]: Every time... he touches me, I...
I mean, he's the man who shot my father.
kissing me and...
RAY: You don't have to do it.
It's the only way I can get close enough to kill him.
See, I have this dream.
I'm right there when it happens.
He looks at me like I'm a stranger.
Then I say my name.
And it's the last thing he ever hears.
RAY: They don't suspect you?
MAY: I'm trusted, for the moment.
RAY: He's with you all the time. How do you live?
RAY: That's not what I mean.
How do you live... with yourself?
MAY: How do you?
[DANCE MUSIC PLAYING OVER SPEAKERS]
TOMAS: Hey, you.
Yeah, I'm talking to you.
You think you know me?
I asked you a question. You think you know me?
Because the way you're looking at me, we must be old friends.
Where did we meet?
You like the bitch? Huh?
Maybe you like me.
No, I don't like you.
Then don't stare so hard.
Somebody could... put something in your eye.
Let's move it.
Yeah. RAY [OVER PHONE]: Are you listening?
RAY: First rule:
Don't go near them again.
Don't contact me.
I'll contact you. Maybe I can help you.
Let me see... No.
They're my problem now and I'm theirs.
MAY: Are you close enough to walk over?
If this is a setup...
I kill you.
[MUSIC PLAYING IN DISTANCE]
Hey, Manny. Now what?
I'm serious. That cop was a regular. Juanita's moving in on me.
Get the hell out of here. I don't solve domestic problems.
[WOMAN SINGING IN SPANISH OVER SPEAKERS]
[SPEAKS IN SPANISH]
Don't go anywhere. I'll be right back.
[SPEAKS IN SPANISH]
[SPEAKS IN SPANISH]
The word is, Manny... you're skimming.
Somebody's lying. Hey, hey, I never took a dollar.
I hope it ain't you.
Because if you're trying to screw Joe Leon...
Charlie, you've known me, what, 10 years?
Hey, I'm clean. Good.
Then you have nothing to worry about, do you?
Let me see the books.
I can't take this anymore. That is it. What?
How about a drink? Sure.
CHARLIE: September's missing.
See you, Manny.
HOOKER: What do you feel like doing?
I'm working here.
You have two fucking hours.
[SPEAKS IN SPANISH]
Get another job, kid.
[FIRE ALARM WAILING]
They got two bodies in there. Something that used to be Charlie... and a clean hit on your brothel manager.
That was a bright move.
Something you ordered and didn't tell me about?
He was a thief.
Tell me about the bomb. NED: Very clean.
There was no damage to the left or right of the blast.
The item that was used to set it off was impacted inside the C4... so the arming device was vaporized. Brilliant, professional.
Gotta be a specialist.
This guy is good, Joe. Yeah, okay.
He could put a bomb in your crab shell you wouldn't even know it.
I'll kill the son of a bitch.
You can't kill anybody, Tomayo, until we know who he is, can you?
I'll find him.
The important thing to find out, who he works for.
Maybe he works for the CIA.
Maybe he works for the Mafia, the Italians, I don't know... but we have to find out who, okay?
We have to ask ourselves what does eliminating Charlie mean... in the overall picture? Nothing.
Less than nothing. So this target wasn't territorial.
It was personal.
How the fuck do you know so much?
He's guessing, Pop. Let me take a couple of the boys, I'll find out who this is.
Wait a minute. Give me a second here. I have to make a decision.
Little time to think here, huh?
You take over, okay?
Papa... I said, Trent will handle it, okay?
I don't hear you saying "okay." Okay, Papa.
What did you say? Okay, Papa.
That's nice. Thank you.
[MOUTHING] Fuck you.
I'm gonna need resources on this one, Joe.
And also, the place was crawling with cops.
I can't be tripping over fucking civil servants every move I make.
I need total control. Yeah, okay, well, I will...
I will take care of that, you know?
Having a good day?
Here you go. Knock yourself out.
MAY [ON RECORDING]: I saw it on the news.
You got the first one.
Thank you. RAY: Well, I'm just doing my job.
You gotta stay away from the other two. MAY: I could help you.
I could set them up for you.
RAY: No, no. You just stay away from those guys.
Their future is about to become very dark.
MAY: You're still following me. Aren't you?
It's gotten so I can feel you. RAY: It's all part of the work.
MAY: Do you think about me?
I think about you.
My own personal ghost.
Or angel maybe.
We could meet. RAY: You are a beautiful woman.
But I don't meet.
When this is over, I should leave. MAY: When are you gonna do it?
[SPEAKS IN SPANISH]
Trent, you know the chief of police.
Trent is gonna work with us on this problem.
You know, I mean, he was a former employee of the...
And he is an explosives expert and I think he can be a big help.
CHIEF: I don't know.
This has become very public, I'm sure you wanna keep a low profile.
It'd be hard for Ned to go unnoticed, if you know what I mean.
Well, you know, I think there's more involved here than keeping a low profile.
I say that I'm the one you can trust, which is the main word here, Joe. Trust.
To take him out clean. Our bomb boys are some of the best.
Really, chief? Well, I hope that's true.
They'd better be fucking magicians because this is one very impressive man.
What are you, a fucking fan?
Okay, come on now. Stop that, this is serious, right?
Don't you two start.
We're here to find a way to protect the business. Don't forget that.
Is that understood?
Okay, chief, I have tell you that this one is not negotiable.
Look, Joe, I'll do what I can. Put him on as a fed or something.
[JOE SPEAKING IN SPANISH]
Joe. Take care.
Chief, always a pleasure.
TOMAS: Hey, chief, good to see you again. CHIEF: Hey, Tomas.
TOMAS: See you, Papa.
Okay, Danny, here, help me up.
Oh, boy. I hate that deep couch.
Okay. Now, listen. Danny, you'll do me a favor.
You do your best to make this thing look official.
No, please. You do that, and I promise you...
I will not forget you.
A man's gotta eat, no? Heh.
[SPEAKS IN SPANISH]
WOMAN: Hey, Gonzales, wait up. I wanna show you those files.
Hey, sport, where's the bomb squad?
Hey, come on, boys and girls. What are we doing here? Let's look alive.
What've you got? We're into everyone at the party... doing a complete background check, okay?
Give me the next one, all right?
[NED CLEARS THROAT]
Tell you what, I'll handle the biographies. You go back to tracing C4. Okay, ace?
Chief says you're on this. Fine.
But I don't take orders from any ex-anything. All right, ace?
I gotta tell you something. I'm sorry, I thought your chief said... that the fullest cooperation would be forthcoming.
And I gotta tell you something, sport.
This doesn't feel like full cooperation to me.
I mean, look at this shit here. What is this? This is...
Shouldn't this be in the lock-up? I don't know. Maybe I'm wrong.
You guys are the experts. Maybe you don't need me.
I mean, like, what is this? This is...
This is Semtex.
Am I right? Plastique.
Plastic explosive. Am I right? I don't know, you're the expert.
This bit could blow up this whole area, and if this area goes... the whole building could go up. Am I right?
Gosh, I don't know. I mean... maybe if I put this in here...
What else do we have here? Oh.
This is a plunger detonator, am I right? And that's a little mini receiver.
This looks like American circuitry to me. And I gotta tell you, call me a patriot... but American craftsmanship it's the greatest in the world.
See? Watch this. Here we go.
Let's just see.
Yup. Perfect fit, first time, every time. Screw it on.
And one little twist.
And voilà. A perfect receiver bomb.
Which of course is... absolutely worthless without a... transmitter. Heh-heh-heh.
Twenty seconds and we're hot.
Okay. Now you deactivate it, you sanctimonious prick.
Okay, you cut that shit, Trent. Oh, yeah. Huh?
Come on. Come on. Okay, you made your point.
Have I? Huh?
COP: That's enough. NED: What do you mean?
You think I give a shit if this whole fucking block goes up? I don't.
Maybe you've had enough. Isn't that what you're saying?
Yes, that's what I'm saying. Enough is enough!
I can't do it. Twelve.
What the hell, are you crazy or something?
NED: I'm the craziest person you'll ever meet in your life.
Six, five... four, three. Please.
[BEEPS THEN STOPS]
Now, here's a tip.
You take care of the shit work.
And you leave the folks at the party to me. Okay?
We on the same page here?
How do you like it? Those go upstairs.
I like where I live.
I like you where I live.
TOMAS: Close the doors. Get out.
Better than what you're used to?
You know, the next time you order a hit... you might wanna consider taking out your decorator.
You like to live dangerously, don't you?
A little danger never killed anybody.
You know... when I look at you...
I see something I like very much.
You know what it is?
I'm breathless with anticipation.
I see me.
Let's get this shit over with.
Wait a minute.
You're the Mob's accountant, Bill.
Is that all you've got for me?
No, no. I have something else for you.
See you guys. Peace.
Don't touch that! It could be a bomb.
[ELEVATOR BELL DINGS]
Son of a bitch.
Look at the way you parked my fucking car.
Sir, I didn't park your car.
Uh... Sorry. I'll get it for you.
Here's your tip.
[CAR ALARMS WAILING]
[SIRENS WAILING] [PEOPLE CHATTERING]
MAN [OVER LOUDSPEAKER]: Keep everybody back. Everybody back, please.
Some ride that must've been. MAN: Black and white coming. Let them in.
Is this the decoy?
Who the fuck was this supposed to fool?
Any witnesses? Over there.
Here you go.
Nice one, Ray.
Ooh. MAN: Everybody back.
Well, at least he hasn't lost his sense of humor.
Who gave you permission to smile?
Quite a step up for you, isn't it?
Depends on how you look at it.
Look, Ned, Tomas is on his way... Shut up.
Who are you? Hmm?
I said, who are you?
Who are you? Huh?
I'll tell you who you are. You are nobody.
I created Adrian Hastings. I got you inside.
You work for me. And please don't you ever fucking forget it.
Now, you're supposed to have him out in the open by now.
You get your three corpses, I get Ray Quick.
That was the bargain. What happened, May?
I can't keep him on the line long enough to get a trace.
He doesn't wanna take a meeting.
What do you want me to do, Ned? Wish him out of hiding?
Maybe you're in over your head on this.
Maybe you've outlived your usefulness. Is that possible?
Listen, to me, Ned, you need me.
I studied him, I drew him out.
It was my voice, it was my ads. He trusts me.
Why do I need you, May?
Why don't I just grab him before he brings Tomas down?
Why do you even need... to live at all, May?
Because maybe he's not interested in a big-mouth, hotshot asshole like you, Ned.
You know what I've always loved about you, May?
It's not just this... poetry.
It's your heart.
It's the heart you bring to your work.
But I promise, if you don't get him to a meeting... before he drops the third target... you will pray for a lifetime of Tomas's attentions... his delicate touch.
I promise. Don't touch me, Ned.
I've always wondered, May... what was it like... after you watched your parents die.
Did you go over to the bed?
Did little May hug them?
Did you try to shake them awake?
How much blood?
I'm just curious, was there... a lot of blood, May?
Don't push me, Ned.
What the hell are you doing here? Take it easy, hotshot.
I'm just checking up on you.
I don't need you goddamn babysitting for me, Trent.
Why aren't you out looking for who's hitting us?
That's great, Tomas. What's the first move?
Huh? TOMAS: I'm sick of you.
My father thinks he needs you.
When he finds out he doesn't... you're mine.
I feel threatened. You are threatened.
[SPEAKS IN FRENCH]
TOMAS: Tommy, Miguel, you in? I'm in, boss.
Me too. TOMAS: Come on.
Get it together.
Okay, I'm out of here.
TOMAS: Just a second.
WOMAN: Come on!
MAN: Where are you going? Come on! Get up!
Go in there! Get him! Get the fuck in there!
Keep them back.
Come on, get them out!
Get them out!
Good one, Ray.
[PHONE LINE RINGING]
Joe, I am so sorry.
My son... is in a closed casket... and you are sorry.
Well, I hold you responsible.
He wouldn't lay low.
What'd you say?
I said, he wouldn't lay low.
Are you trying to tell me that was his fault now?
That's the way it was.
The way it was? You were supposed to protect his back.
His life was in your hands.
You know what you do?
You cut my heart out, you know.
And now you look, my...
My son... is lying in a box.
Joe, I... And you know... you were the one... who let it happen.
Joe, you're not thinking straight. Jesus Christ, don't you try to tell me.
I swear to God, don't say another word.
Not another word. I'll kill you here.
You understand? Hmm?
Now... you go out... you go out and you find this explosives expert... and you... bring him to me alive... before I bury Tomas.
NED: "Adrian Hastings. Miami. Services 3 p.m., Friday.
San Juan De Bosco."
Too bad, May.
Her body's in cold storage at County General.
How does this sound?
"Lonely, needy, deeply hurt. Will be discreet."
Story of my life.
Yeah. So get this on every major bulletin board service.
Put the response through a long-distance exchange... and be ready to trace. Okay? Okay.
Guys like this, they're not gonna advertise.
You gotta draw them out. So just do your best.
MAN [OVER PHONE]: Hi, baby. Are you wearing any underwear?
Could you send it to me?
Get rid of this asshole. Yeah, well, I don't think your experience... matches my needs. Get rid of him.
That's what I'm doing.
We've had 30 calls and nothing. I don't know if this makes any sense.
You know what? I'll decide if it makes any sense or not, okay?
Go on, take it. Take it.
Line five and...
Calling about the ad, right?
RAY [OVER PHONE]: Right.
I thought you were someone else.
The ad was similar to others.
Yeah, well, give me a number because I can't talk on this phone.
No. Forget it.
[WHISPERING] You have a message from May.
WOMAN: I've got a message... from May.
Who is this? She's okay.
She wants to meet you.
No, I don't think so.
Put Trent on the line.
What did you say?
Trent should be standing next to you. I wanna talk to him.
Put him on the line.
[OVER SPEAKER] Hey, Ned, can you hear me?
Come on, talk to me. Come on, talk to me, Ned.
New playmates know what kind of man... they're dealing with? Why the agency fired you? Huh?
That killing people, pulling the trigger was like jerking off?
Watching bloody bodies going though the air is what gets you off.
Come on, talk to me, Ned. I need time.
When you crawl into your hole all alone, and you are alone, aren't you, big guy?
Tell me what burns you the most.
Losing your job as a CIA attack dog... or knowing that I turned you in and I'm still alive?
Come on, talk to me.
You sell your service to the highest bidder, won't you, you stinking maggot.
[SHOUTING] Fuck you, Ray! Fuck you! You killed!
How many? Ten? Fifty? A hundred before you lost count?
It was your bombs on the bridge in Bogotá. Your bomb in the cabana.
But you're getting sloppy, Ray. You broke your famous code.
You killed an innocent bystander, Ray. It is just eating you up inside, isn't it?
Well, you were always too fucking sensitive. But guess what.
I'm coming, Ray. I'm coming to take all the pain away.
I'm gonna fucking cut it right out of you... and I'm gonna close your heart in my hand.
I'm right behind you and I know you. I know you.
You've got no mercy. You got no fucking loyalty.
And you got no code.
Listen to me, you son of a bitch... Hey, time's up, 58 seconds.
Ray. Ray. God... Wait.
Goddamn it! Son of a bitch!
I'll fucking kill you! I'll vaporize your ass!
What're you looking at?
Nobody... says a word.
Now you tell me that you got a trace.
Just tell me.
He jumped off before we locked him.
Okay. We got a partial trace.
She gave of herself... for 40 years.
She dedicated her life... generously... courageously... to all of us, Cuban orphans everywhere.
She has shown us the road.
For the wages sin pays is death.
But the gift God gives... is everlasting life... by Christ, Jesus, our Lord.
[GIRL SPEAKING IN SPANISH]
So how did I look?
Why did you do this?
I wanted to meet you.
I wanted to know if you were everything I thought you'd be.
Nobody ever is.
Open the casket.
Who are you? I said, open the fucking casket.
We shouldn't be here.
Not if we wanna stay alive.
Is it worth it?
I think so.
I hope so.
Let me see this beautiful face.
Why'd you leave me to think I killed you? It was the only way...
I could get Tomas's men off my back. Wanna give me details?
Poor lady OD'd in the emergency room.
So I dropped my wallet in her purse and here I am.
That's pretty good, especially... if you're an amateur.
You could've been killed.
I had to be there when he died.
I needed to see it.
I knew you'd pick the safest route for everybody.
I've studied your style.
I know you always focused your detonation.
RAY: Mm-hm. Mm.
So I knew... that if I was facing Tomas, right in front of him, like this...
A little bit closer, like this...
I knew I'd feel safe.
Ahem. Excuse me. Police are looking for these two people.
If you happen to see them, call the number on the back, okay?
I have seen them.
Back from the dead. Ned.
Jesus. Thank God.
You know, I was just going to call you.
About the funeral thing, look, I'm sorry, there's just...
You know, it was the only way to really draw him out.
It worked. I don't have to tell you. I used the attachment thing and I got him.
Couldn't stay away from me. So?
I just wanna get one thing straight here, May.
Yeah. You did all this to deliver him to me?
Ned, we had a deal. I hold up my end of a deal.
You're a classic, May.
Now, where is he? He's here.
Where? He's in the hotel.
I know he's in the hotel. Where? Uh-uh-uh. Well, I got a key. I think it...
This key? No, no, no.
Yeah. This key?
God, look, I mean, I do have a key.
Ned, he's on a high floor.
I think it's 10 or it's 11. Take her to the car.
Go on. I left my purse in the room, Ned.
Shut up. Take her to the car. Ned, I have a couple of things I have...
Stop yanking me around. All right, all right.
WOMAN: Oh, Harry, you've gotta be kidding.
You're so adorable. No.
He made me so nervous. Look, it'll take me one second.
Where can I go?
Harry, she'll call you back. Hey.
Give me my phone.
Yeah. Leon's men are on their way up.
You set me up.
Why? I did not.
NED: Come on, hit it. Okay, let's go, get out. Come on, there's a fire. Let's go. Rush.
Come on, come on.
Where you going? Use the stairs. This one's full. Get out of here. Get a new shirt.
AUTOMATED VOICE: We're sorry. Your call cannot be completed as dialed.
Please check the number and dial again or call your operator to help you.
If you'd like to make a call, please hang up and try again.
If you need help, hang up and then dial your operator.
If you'd like to make a call, please hang up and try again.
If you need help, hang up and then dial your operator.
Don't move. Don't touch anything.
Come on, give me your hand.
Go! Go! Go!
CHEF: Hey, what's with the lights here? MAN 1: He's in here.
Security, get him. MAN 2: Hey!
Come on, asshole. Come on.
AUTOMATED VOICE: Please remain calm.
There's no cause for alarm or panic.
There has been an accident, but there is currently no danger... and no cause for alarm.
JOE: Her who? That's the bitch that was banging Tomas.
Her ID was faked. Ray Quick is working for her.
Alice and Stan Munro.
What are you talking about?
I was the kid your little boy missed in the closet.
That was a long time ago. Not to me.
Now I understand.
Now I understand. You... Ha.
You think... that my son Tomas gave the orders for the killings. Yeah? Well, you are wrong.
If anybody in this house has power to give orders, it's me.
You understand? I give the orders.
I give the orders of who is killed... and who is not killed. Is that understood?
I need her, Joe... to get to Ray.
I have to make one more call, then you can have her. But I need her now.
Take the bitch.
MAY [OVER PHONE]: Hello? It's me.
Look, I'm sorry. I didn't know they were coming. You've gotta believe me.
RAY: I'll tell you what I believe.
I believe you're very good on the phone.
MAY: I need to see you.
What, and me set up again?
No, I'll pass.
I'm through taking risks. So that's it?
We just walk away? Forever?
It's safer for everybody.
Come on, Ray, I don't know what this relationship is about... but there's one thing I know, it's not based on safety.
You're too much of an unknown.
Adrian Hastings, May Munro. Who the hell are you?
Do you remember the Fontainebleau? I remember.
Do you remember touching me, Ray?
Do you remember my voice?
Not over the phone... but carried on breath.
Close enough to feel.
Why are you saying this to me?
Because I have to.
Come on, Ray.
You gotta see me.
Double M Seafood, right now.
All right. And Ray?
Do you remember the note our relationship ended on?
The last thing I said to you?
I remember everything.
I meant every word.
NED: You're going in alone, May.
You know, if this is a trap, I promise you, you're gonna die.
But if he's in there...
I want you to make him feel safe and secure.
And I'll be listening on this microphone.
The second I hear his voice, we move in.
Now get out of the fucking car.
This is all over, I could see us spending some time together again.
You know, you wash the stink of Tomas and Ray off you... you might clean up pretty good.
And then you can go in and get him yourself.
I don't give a shit.
If she blinks... kill her.
RAY [OVER RADIO]: Bad plan, Ned.
That's it, boys, we got him. Move in.
[MAN TALKING INDISTINCTLY]
Go! Go, you chicken shits!
What, you think he's gonna top that? Get in there!
Watch the river! Watch the river and the side streets.
Fucking crabs. Nice one, Raymond.
Assholes, watch the river. Where are you, Raymond?
MAN: All right, side one!
RAY [ON RECORDING]: What, and me set up again? No, I'll pass.
[AIR BRAKE HISSES]
Break it down.
RAY: It's safer for everybody.
Complex sound, slightly muffled.
People talking, clamping down steps.
A clapping shut.
Voices, mechanical sounds.
A hiss. People getting off a bus. Yes. Yes.
You have to have an overview. It's people getting off a bus. Are these on both tapes?
Yes. Yes, I knew it. Okay, buses.
We gotta have bus routes. What do we have? Okay.
He uses pay phones, but he gets there by bus.
Oh, Ray, you're always so precise.
Let's say, he gets on a bus wherever he lives and he... goes in both directions. Right? Good counter-surveillance technique.
He takes the bus 20 to 25 minutes in each direction. So we have...
Come on, come on. WOMAN: Four.
Four, four and four.
Here we go, triangulation.
Three routes, that's it. Bingo. Okay, we wanna have checks in five-minute intervals.
Right? How about the restaurants?
Restaurants? He's gotta eat sometime.
Try to remember. He would've gotten off the bus, bought cigarettes.
Look at that face. Come on. I told you... we have a lot of regular customers. He ain't one.
Look at that face again. Come on. Nothing.
I forgot to tell you, we deliver.
RAY: Now, there's a vision.
Good morning, stranger.
I gotta go.
Where? I think we already wore out our welcome at the Hilton.
I wanna stay with you.
But it's not over for me. Joe Leon ordered the hit.
Let me get this right.
You think that killing Joe Leon is gonna make everything all right?
Something has to.
You did the job. I'm not asking for your help. I'll take care of it. I owe him.
You owe her.
Her. A whole life. Come here.
Put all this behind you now or the past is gonna eat you alive.
I know what I'm talking about.
I have to go.
Wish me luck.
Come here. You're not going.
COMPUTER VOICE: Detonation sequence primed. Enter code.
Top of the world, Mom.
One, two, three.
MAY: I'm afraid to ask.
This is rigged for controlled explosion if the inner perimeter is breached.
Each one of these lights is a pressure-mine sequence. If one goes, they all go.
Where are they? Everywhere.
But don't worry, they're not armed yet. But if these lights turn red, worry.
NED: This is good. Nice sneak attack.
COMPUTER VOICE: Do not approach the warehouse. Perimeter is armed.
Please, cut the bullshit.
That's a good one. I taught him that.
Nice sense of irony, blowing up the Bomb Disposal unit.
Nice work, Ray.
COMPUTER VOICE: Warning.
Gunfire will automatically detonate B20s... sufficient to destroy two square miles.
Yeah, yeah, yeah.
Go, go, go! To the left!
Give me that.
Listen up. Anybody shoots, anybody shoots, and I shoot them.
This whole place is wired and I'm gonna take him alive. You got that?
MAN 1: Move back!
MAN 2: Look out.
MAN 3: Air unit, stand by.
Oh, that's new.
How's that feel, ace?
Don't shoot. Go.
Fuck this amateur hour.
MAN 3: Bravo Unit One, back up Three. MAN 4: Sorry.
All the highly trained professionals in the world...
all the hardware... all the technology and what do you got?
You gotta do everything yourself.
You can't get good help these days.
MAN 3: Side 5, report in.
Sir, we have a problem with possible booby traps...
NED: A surprise for you, Ray.
COMPUTER VOICE: Inner perimeter breech, Ray.
Right. It's set. Let's go.
Final destruction sequence initiated. Don't move.
I'll lead you through the pressure pads. COMPUTER VOICE: Evacuate.
I'm sorry. Should I have knocked?
All right, Ray.
You lose, I win.
Uh-uh. She's hot, Ray. Semtex, sprayed with nitro.
Cigarette case. Honest Injun, take a look.
Just a peek, no touch.
And May, you might ask yourself, "Why is today my time to die?"
Take it out. Slowly.
Open it up.
NED: Everybody deserves to die.
Ask God. He kills across the board.
So why shouldn't I?
And here's a tip I learned from you, Ray. It's a focused detonation. Only she blows.
It's pretty nifty, huh? Don't move it.
The mercury switch. Any change in attitude or altitude, it goes.
Anyway, Ray, she's dead already. What I need... what I need is to take you alive because, you see, my boss... he wants to look in your eyes when you die.
Okay? Sick fuck.
I'm touched, really.
NED: What happened to us, Ray?
We were good together.
You were the rigger and I was the trigger.
You shouldn't have taken me down.
Because now, you fuck.
I see you're still into the old memories, Ray.
Well, that's what always does you in, you know, memories.
It's that trying to save the innocent.
You know your problem, Ray?
You're too sentimental.
There's nothing wrong with being sentimental.
Sometimes you could save your ass.
[DEVICE BEEPS THEN NED GASPS]
NED: Fuck. Here's a tip: No fail-safe.
COMPUTER VOICE: Thirty seconds to total destruction.
All right. Now, slide it to me.
It's all right. Just do it, May.
Slide your hands out.
Now get the hell out of here. Straight down the right side.
Not without you.
Fifteen seconds. I'm right behind you.
Five seconds. RAY: Come on! Come on!
RAY: Come on!
You are a kind God.
How do you feel? Better.