JOE: Listen to me. Do exactly as I say.
There are people in the
house. Two of them downstairs.
Get the kids. It's time to run.
- JULES: Get in the car.
- (LOUD THUD)
(CHILDREN SCREAM)
- FRANKIE: Dad!
- JOE: Jules?
JULES: We're okay. We're okay.
JOE: We need to find out
who hired this k*ller.
- We set a trap with one of us as bait.
- No. That is a very bad idea.
- I'll do it.
- AZAR: I'll be bait.
- (GRUNTING IN PAIN)
- JOE: It's not him. It's not the k*ller.
(MUFFLED SCREAM)
DEVIL: I have you now.
- (SPECIALIST GROANS)
- It's time.
- (OFFICER YELPS)
- (GROANS)
- DEVIL: You don't know what you took.
- We took money.
- You stole the key.
- What key?
DEVIL: Have you asked Dianne
Harewood these questions?
Dianne's dead.
DEVIL: We pulled 13 bodies
from the rubble of that place.
No Dianne Harewood.
(expl*si*n)
- How is your family?
- Just tell me who you work for.
They'll be found and
they'll be tortured.
- Who do you work for?
- And they'll be f*cking
- AZAR: What do we do now?
- Now we find Dianne.
(SUSPENSEFUL MUSIC)
RIGHT HAND: I'll come
back for one more bag.
DIANNE: We're out of time. Go.
- RIGHT HAND: We're still good. I can make it.
- DIANNE: We've got enough.
Get out, Right Hand!
JOE: Right, this is my last.
DIANNE: Right behind you.
Good luck.
JOE: I'll see you at the meet.
(DIANNE GRUNTS)
(CHILL MUSIC)
Wait, wait, wait.
(GRUNTS)
- (MUFFLED CHATTER)
- (APPROACHING FOOTSTEPS)
(CAR CHIRPS)
(OFFICER GROANS)
Hurry up.
Go open his eyes.
No. I'll hold the phone, and
you can puppeteer the dead guy.
Just open his eyes.
(OFFICER GROANS IN DISGUST)
(PHONE CLICKS)
- JOE: Got it.
- (OFFICER EXCLAIMS)
What are you looking for?
Something that leads us to Dianne.
If he knew where Dianne was,
he would have skipped us
and gone right to her, no?
WOMAN VOICE: Please, please. I
don't know where Dianne Harewood is.
- Please.
- (BABY CRIES)
OFFICER: Who's that?
- Doctor.
- AZAR: He recorded her?
- (BABY CRYING)
- DOCTOR: No, no. Please stop!
(SOBBING, SCREAMING)
OFFICER: All right, um
We need to move. We've been
here way too long already.
OFFICER: David.
Right.
David.
David, we need to get
all the bodies in the car
- and get the f*ck out of here.
- Just give me one second. All right?
- JOE: f*ck.
- AZAR: What?
- What have you found?
- Location stamps.
JOE: Doctor's house, Driver's
house, where Soldier was found.
My house in America,
Malek's house in Spain.
There's one more. I don't recognize it.
- Somewhere in Kent.
- OFFICER: Who lives there?
Doesn't say.
Do you think it's Dianne?
It doesn't say.
But you're right.
We need to clean up and
get the f*ck out of here.
Right now.
(WHIRRING)
What are you doing back here? You're
supposed to be making your exit.
RIGHT HAND: Figured I
had time for one more bag.
What's behind the painting, Dianne?
(DIANNE GRUNTS) We
haven't got time for this.
RIGHT HAND: What's in your
pocket? What did you take?
Are you sure you want to play this game?
We go back a long way, Dianne.
I think I've earned the right
to be treated as an equal.
The backup security
team are here. Repeat.
The backup is here. They're early.
OFFICER: You got to get the f*ck out.
- DIANNE: Get out of my way.
- RIGHT HAND: Cut me in.
- Whatever it is, cut me in.
- You already cut into the money.
I know you, Dianne. I
want what's in your pocket.
I can be an ally. Bring me in.
Okay, I'll cut you in.
- How much are we talking?
- Eight figures.
- Plus cash?
- Fine.
Just go! I'll get the door.
I need back up ASAP. I am being
threatened by men with g*ns.
- (g*n COCKS)
- (METAL DOOR CREAKS)
(g*nshots)
RIGHT HAND: That's
why I like you, Dianne.
You're always one step ahead.
Fixer, are you close?
FIXER: Hey. Yeah, I'm close.
DIANNE: We have a problem.
Right Hand went off book.
FIXER: sh*t.
He's become a thr*at.
We have to let him go.
- FIXER: You sure?
- DIANNE: Do it.
- (g*nsh*t)
- (AZAR SCREAMS)
(MELANCHOLIC MUSIC)
(CAR DOOR OPENS)
Bye, Inga.
- (FIRE BLASTS)
- (GLASS SHATTERS)
(SPEAKING ARABIC)
(MELANCHOLIC MUSIC CONTINUES)
Hey, when are you going
to stop being angry at me?
I didn't spend it all.
The money, I didn't
I didn't blow through it in six months.
Well, I spent some of it,
of course. I'm not weird
like you.
I bought myself a house. Nothing
huge, nothing crazy, just
It has an orchard.
An almond orchard.
Thinking about it makes me
happy and sad at the same time.
You know?
(MALEK SPEAKS ARABIC)
It's my father.
- (DEVIL SPEAKS ARABIC)
- Azar, no.
JOE: Don't listen to that.
(MALEK SPEAKS ARABIC)
- I need to hear it.
- (DEVIL SPEAKS ARABIC)
OFFICER: He's right, Azar.
- Give me the phone.
- Be quiet!
(DEVIL SPEAKS ARABIC)
(MALEK SOBS, SPEAKS ARABIC)
- (DEVIL SPEAKS ARABIC)
- (MALEK WHIMPERS)
(MALEK CHOKES)
(MALEK SPEAKS ARABIC)
- (DEVIL SPEAKS ARABIC)
- (g*nsh*t OVER RECORDING)
(SNIFFLES)
(OMINOUS MUSIC)
This our exit.
(INDISTINCT CHATTER)
(LIGHT MUSIC PLAYING)
Are you prepared?
- For the job?
- DIANNE: For what comes after.
Shedding your skin and
becoming something new.
Not literally, of course.
You know, you're
not quite how I imagined.
What did you imagine?
- Well, from the stories I heard, it's
- DIANNE: Tell me then.
The stories you heard.
No.
Humor me.
You, um
You once k*lled the whole
crew because you thought that
one of them was maybe a rat.
Next.
You're the person who tortured
those cops in Berlin last year.
Next.
JOE: Your sister betrayed you.
So you k*lled her by
locking her in a car
and setting it on fire.
Interesting.
- You think I'd k*ll my own family?
- I really don't know.
It's half true.
My sister d*ed in a burning car,
but I didn't k*ll her.
The defective car did that.
k*lled her daughter too.
My niece.
The only family I had left.
You shouldn't believe
everything you hear, Muscle.
The truth is always far
crappier than fiction.
(TENSE MUSIC)
OFFICER: Which one is it?
It's there on my right.
(CLATTERS)
Wait.
You don't know what
you're walking into there.
- It could be a hornet's nest.
- JOE: Maybe.
We've got to find anything
that leads us to Dianne,
and this is all we have,
so I'm going in there.
And you're coming with me.
I need you to stay here
as lookout.
We might have to make a quick exit.
Can you do that for me?
Yeah.
Okay.
(INDISTINCT CHATTER IN DISTANCE)
- OFFICER: So, what's the plan here?
- (CAR DOOR CLOSES)
We'll knock on the door,
and then you're going to talk us inside.
Whoever opens that door, whoever
it is, whoever they are
I need you to get them
to invite us in. Okay?
Oh, so, you're actually
trusting me with something?
I'm asking you to help.
Okay.
(DOORBELL DINGS)
- And it's "whomever."
- What?
"Whomever" opens that
door. "Whomever" they are.
- No, it's not.
- Pretty sure it is.
Just try to keep up.
(DOOR OPENS)
OFFICER: Oh. Hello. Is your daddy home?
Daddy's not here.
Okay, what about your mommy, then?
BOY: Mom?
Mom?
JOE: Look. It's Right Hand.
- GWEN: Can I help you?
- I hope so. Are you Gwen Irving?
- Who are you?
- My name is Lorna Bowers.
This is my colleague,
George La Rochelle.
Hello.
OFFICER: We work as researchers
for Elgin Lewis and Partners.
They're a firm of probate lawyers.
- Well, I don't need a lawyer.
- OFFICER: No, of course not.
But did you know that
two-thirds of people die
without ever making a will?
Which means, every year,
millions of pounds of
inheritances go unclaimed.
- Okay.
- OFFICER: Well, that's where we step in.
We try to find people like
you who are owed an inheritance
and unite them with
their rightful money.
- Of course, we do take a small commission.
- You think I'm owed some money?
OFFICER: We do, yes.
Um, but obviously, first
we need to make sure
that you are the correct Gwen Irving.
So, do you mind if we just
come in and chat with you
for a couple of minutes?
- No, sorry. Now's not a good time
- OFFICER: Okay, sure, but
GWEN: Hey. Hey, what are you doing?
You need to drop that Kn*fe.
What?
Please put down the Kn*fe.
Now, give me your phone.
Phone.
Go in the living room and
get the kids' phones too.
Please take whatever you want,
but just don't hurt my kids.
Do as we say, and no one gets hurt.
Get their phones.
Now.
- Kelly, Jake, I need your phones.
- What for?
- Just give me them now.
- Hey, I was using it. Jesus.
- Who the hell are you?
- I'm nobody.
No, no, no. Don't get
up. Stay sat right there.
Everything's fine.
Keep playing the game.
Pretend we're not here, okay?
Gwen.
Just keep playing the game.
Do as he says. Right now.
Phones.
Go ahead.
Who's this?
- That's my husband.
- JOE: What's his name?
Anton.
He'll be back in a minute,
so take the phones
I know he's not coming back,
Gwen. Please don't lie to me.
I know that he's dead.
Keep your eyes on the game.
Your husband was a criminal, Gwen.
I know that because I'm a
criminal too. We worked together.
- He wasn't a criminal.
- JOE: He was a career criminal
and a good one.
So either you're lying to
me, or he hid it from you.
Which is it?
You knew he was a criminal.
JOE: Okay.
Please
don't lie to me again.
Do you understand?
Do you know a woman
called Dianne Harewood?
She hired me.
She hired your husband.
She knew him already. They
worked together before.
A few times, maybe.
Do you know her?
No.
Think carefully.
Dianne Harewood.
Do you recognize the name?
No.
(INDISTINCT CHATTER)
(BIRDS CHIRPING)
(INDISTINCT CHATTER)
(BALL THUDS)
(SIGHS)
My mate Paul, he thinks
you're proper fit.
Hey, I'm talking to you.
Oh, well, f*ck you, then.
(OMINOUS MUSIC)
JOE: Look at the photo.
Do you recognize this woman?
No.
Look again.
You're scaring my kids,
please. Just leave.
The job we did The job
we did with your husband
We stole from some
very dangerous people.
And those people are hunting us
down, hunting our families down, Gwen.
- To get back what we took.
- Then give it back.
Whatever it is you
stole, just give it back.
I want to.
That's why I need to
find Dianne Harewood.
I told you I don't know
anyone called Dianne.
She's lying.
No, I swear to you, I'm not
lying. I don't know any
- She's lying.
- JOE: I know. It's okay, it's okay.
I understand. You don't
want to say anything
that will get you into trouble.
I mean, you don't know us.
And I say I worked with Dianne
with your husband, but
I could be lying. I could be a cop.
We could be the people Anton robbed.
We could be working with
Dianne and testing your loyalty.
You don't know.
The problem is
Gwen.
I'm telling the truth.
And I can't leave here until
you tell me the truth too.
Because there's a
danger coming towards us.
Towards you.
So I need you to help me to stop it.
I'm going to ask you
one more time.
Look at the picture
and tell me.
Do you know this woman?
- (LOUD KNOCK ON DOOR)
- Ignore it.
Answer my question.
- (KNOCKING ON DOOR)
- (DOORBELL DINGS)
Get rid of them. Whoever they are.
Can you hurry this up?
- Who are you?
- JOE: She's with us.
Gwen, look at me, not
her. Gwen, look at me.
- You were about to tell me something.
- What's taking so long?
Gwen, please. Look at the
photo. You know her, don't you?
- AZAR: Who's she?
- OFFICER: She's Right Hand's widow.
JOE: Gwen, please.
- JOE: Gwen.
- I can't.
Just calm down. Just look
at me. Just talk to me.
All you have to do is
tell me what you know.
Just tell him. Please. Tell him.
(SOBS)
It's okay.
Oh, f*ck this. Answer the question.
- JOE: No, no, no! Put the g*n away.
- Answer the question!
Azar, put the f*cking
g*n down! It's okay.
It's okay, she's not going to hurt you.
- Yes, I will. Oh, yes, I will.
- JOE: Shut the f*ck up
- and put the g*n away, Azar.
- Tell us where Dianne is.
Azar! Calm down. You don't
want to do this right
- Don't tell me what to do.
- Okay.
Yeah, you don't tell me anything.
AZAR: Yeah?
You, talk.
- Now.
- I
- AZAR: Talk.
- Please.
Talk.
(RINGTONE PLAYS)
- Look, Gwen, I don't want to hurt you.
- (RINGTONE PLAYS)
Who the f*ck is Gareth?
(RINGTONE PLAYING)
It's not for me.
That call.
It's not for me.
- It's for you.
- JOE: Excuse me?
He's calling for you. Answer it.
Why would he be calling for me?
Answer it.
(RINGTONE CONTINUES)
Hello?
GARETH: Are you the man with the g*n?
- Who is this?
- Look outside.
Keep the g*n on her.
- What's going on?
- Just keep your f*cking g*n on her.
Now, listen, you're gonna
give your g*ns to the lady,
and you're gonna come
out with your arms raised.
You understand me?
Who are you?
MAN: We're the consequences
of your actions.
No.
Go away, or I start
hurting people in here.
MAN: Now, see?
Why did you have to go and say that?
- I was being reasonable.
- Back away and leave now!
- You just missed your last exit.
- What the f*ck does that even
You really shouldn't have done that.
- f*ck off.
- JOE: Move.
Tell me where she is now. Now!
- (BANGING)
- (g*nshots)
GWEN: Kids, run!
MAN: Come on, move it!
JOE: Down!
- OFFICER: It's locked!
- Come to the door.
- Move aside.
- Go! Come on!
- Move aside!
- (SCREAMING)
Get the pot.
(GRUNTS)
(g*nf*re)
(YELLING)
(GLASS SHATTERING)
Out of the window. Go!
MAN: Go! Go now!
- OFFICER: Keys.
- Here.
- (TIRES SCREECHING)
- (MEN YELLING)
What did I say? A f*cking
hornet's nest! I knew it.
OFFICER: Jesus f*cking Christ!
f*ck, Azar. I told you to stay in
the car. Why did you come inside?
JOE: She was gonna talk.
If you hadn't come in and
stuck a f*cking g*n in her face,
she would've told us.
f*ck. Now we have nothing.
Azar.
AZAR: "Corporal Robert Yates."
Who's Corporal Robert Yates?
Fuse.
This is Fuse. Corporal Robert Yates.
Fuse and Right Hand knew each other.
So Fuse knew Dianne from before
the job. Fuse is inner circle.
sh*t.
- (g*nsh*t)
- (AZAR SCREAMS)
AZAR: Right Hand?
DIANNE: Fuse, stand by.
Approaching the exit.
(TENSE MUSIC)
- (YOUSSEF IN ARABIC)
- (ENGINE STARTS)
(AZAR IN ARABIC)
DIANNE: Fuse, blow it.
- (expl*si*n)
- (TIRES SCREECH)
(LOUD RUMBLING)
AZAR: Oh, my God, Dianne.
DIANNE: Let's go.
- (TIRES SCREECH)
- (ENGINE REVVING)
Hello, my name is Joanne Fullerton.
I'm a researcher for the BBC.
We're doing a show about
reuniting old army friends,
and I'm looking for the current
details of Corporal Robert Yates?
Uh-huh.
Right. And when was the last time
you spoke to your Uncle Robert?
Oh, Bob. (LAUGHS)
Oh, yes. So sorry. Yes.
- (PHONE RINGING)
- OFFICER: Sure. Yes.
- JULES: Hello?
- Jules, hello?
- Joe? The signals
- Jules.
- I can't hear
- Are you okay?
Where are you?
- Jules, hello? Jules.
- Joe, are you there?
(SIGNAL CRACKLING)
Jules, did you get to the house?
- Joe, are you there?
- Did you make it to Canada? Jules!
- (LINE DISCONNECTED)
- f*ck! f*ck.
- OFFICER: Yes, okay. Thank you so much.
- OPERATOR: Hello, no one is available
- to take your call.
- OFFICER: Yes. Yes, I will send you the
Forward everything on to
me. Thank you. Thank you.
David. David, I found him.
- David, let's go. I have an address.
- One minute!
David, let's go!
OPERATOR (ON PHONE): Hello,
no one is available
(MUTTERS)
(TENSE MUSIC)
(BIRDS CHIRPING)
(DOORBELL DINGS)
Okay. You look around the house.
I'm going to go check out
these buildings back there.
JOE: But be careful
he's an expl*sives expert.
(METAL CLANKING)
OFFICER: He didn't
really look like a Robert.
Fuse.
He looked more like a Nigel or a Barry.
What do you think?
All right.
(CLANKING CONTINUES)
Fuse.
(KNOCKS ON DOOR)
(RUSTLING)
OFFICER: There's no one here.
(OMINOUS MUSIC)
Fuse.
(CLINKS)
Robert.
(METAL CREAKS)
(OMINOUS MUSIC INTENSIFIES)
JOE: Fuse.
Fuse!
- GUNMAN 1: Stay where you are!
- GUNMAN 2: Hands on your head!
- GUNMAN 1: Put the g*n down now!
- GUNMAN 3: Drop your g*n now! Do it now!
- GUNMAN 2: Get down on the ground!
- GUNMAN 3: Hands up!
- Up!
- GUNMAN 2: Hands on your head!
- After you.
- Me?
(ENGINE ROARING)
What was that?
David?
Muscle?
Are you in here?
Just go in.
OFFICER: David?
David?
David, are you in here? Can you hear me?
David.
That's his g*n.
- That's the g*n he had.
- AZAR: That's a lot of blood.
We got to go.
(OMINOUS MUSIC FADES)
(RUSTLES)
(LOUD GONG)
(GASPING)
(MUFFLED GRUNTING)
(DOOR BUZZES, OPENS)
Is this how we treat a
guest? Take that thing out.
You okay? You want a glass of water?
Bring him some water.
I apologize.
They jump at any opportunity
to show off their party tricks.
They rarely get the chance.
Thank you.
It's water.
Better?
I think perhaps we should have a talk
David.
Don't you?
Who are you?
Me?
I'm the man you robbed.
You destroyed my building.
You broke my vault.
You took what's mine.
I don't know what you're talking about.
Please, can we skip this
bit? I know who you are.
I know what you did. I know
where you've been hiding.
I even know all about your fiancé.
And your kids.
I know they recently
crossed the Canadian border
using false passports.
- Listen
- I know everything, David.
I know.
Do you know where they are?
Don't you?
Do you have them?
Thank you.
My employees are not far behind.
Please, please, please. Please!
Please, they have
They have nothing to
do with this. Please.
I swear to f*cking God, you
f*cking touch them, I'll k*ll you.
That's what I like about the family
men. They've got so much to lose.
I'd offer you one,
but you can only get
Corbeaus in Switzerland,
and I'm running short.
What do you want?
I want my property back.
You sent the assassin.
So he found you?
Yet here you are, still alive.
That's interesting.
Did you k*ll him?
Of course, you did.
Because you're David
Marking, the man that kills.
I don't k*ll anymore.
I don't know.
I think you may have
one more k*lling in you.
Coffee?
I'd like a coffee. Do you want a coffee?
Can I get a double espresso
with a hint of sugar?
You know how I like it.
Have you seen this before?
Do you know what it means?
No.
David, you humiliated me.
You and your friends
made me feel violated.
Vulnerable.
Made me angry, David.
Very angry.
So now, you must die.
Today.
In just a short while, actually.
And after this, I'm
going to find your family,
- and I'm going to k*ll them too.
- Please. No. Please.
- My No.
- They must be made to suffer.
JOE: No.
- Please.
- (DOOR OPENS, CLOSES)
- Please.
- (APPROACHING FOOTSTEPS)
Coffee.
You sure you don't want one?
Thank you.
Now, I'm assuming you
don't want to die today.
Yes?
And you want your family to live too.
Now, listen, I can do
that for you quite simply.
But for that to happen, you
will have to do something first.
I need you to k*ll Dianne Harewood.
What?
I need you to k*ll Harewood.
Because she robbed you?
Because she's trying to destroy me.
- I don't even know where Dianne is.
- VINCENT: The expl*sives expert, Fuse?
Before he d*ed, he gave us a
method of contacting Harewood.
Then use it. Get her yourself.
I'm not a k*ller. I'm a businessman.
She has something I need.
She stole it from me.
The key.
- You know about it?
- JOE: Your man asked me for it.
You know what it is?
- No.
- VINCENT: Marian.
(HEELS CLACKING)
Thank you.
Fun fact, Marian once
sang opera at La Scala.
It was just once. It was
an amateur production.
It was beautiful.
Now, this.
VINCENT: This is the
key. Seen this before?
Harewood has it. Don't know where.
But if she thinks that we're
close, then she will destroy it.
And David, we cannot
allow her to destroy it.
So we need to coax her to reveal it.
JOE: But how can I get her to
give it up? She won't listen to me.
Tell her the expl*sive
expert said something to you.
Before he d*ed, he gave
a message to tell her
he found out where
Hawkes is hiding the box.
- Who's Hawkes?
- I am.
- And what's the box?
- The box is the thing the key opens.
What the others were
saying to the contractor
was that she likes you.
She saw something in you,
perhaps even trusts you.
You know, in an abattoir
the workers always keep a cow,
a cow that they never slaughter.
And they use this cow
to lead the other cows
down the slope to the k*lling floor.
The other cows,
they follow this traitor cow
because she's one of their own.
So they follow her
freely, calmly, happily,
down to their deaths.
Find Dianne. Find the key.
Lead her to the k*lling floor.
And when you've secured the
key, put a g*n to her head,
pull the trigger, and
bring the key to me.
I don't k*ll anymore.
Your fiance, those kids, do you love
them? Do you want to protect them?
Do you think you deserve this family?
Deserve this life?
The man that you are pretending to be,
this Joseph person, that's not you.
You're not the family
man. You're the k*ller.
If you don't k*ll
Harewood and return my key,
first, Jules will be k*lled
in front of your kids.
- Then Frankie.
- (CHAIN CLANGING)
Then Frankie will be
k*lled in front of Bud.
Then, only when he is broken
and crying and calling for you,
the boy will be k*lled.
(BREATHES SHAKILY)
So your choice is very simple, David.
Be a dead man and lose your family
or be you and save them.
Who are you going to be?
Joseph, the man who lies,
or David, the man who kills?
I'm gonna be me.
- I'm gonna be David.
- VINCENT: Yes?
Yes.
And you will k*ll Harewood.
I'll k*ll whoever you want.
(CLOSING THEME MUSIC)