02x07 - Loaded

[bunniefuu]

WOMAN: Okay, how did this detective,

how did this detective gain proof

that you had been in Luxembourg
City during the problematic...

during that highly problematic period?

Proof?

Due to a colossal...

... a catastrophic breach
of departmental regulations.

WOMAN: Describe in detail the
circumstances of this breach.

Pop.

What?

Pint?

So?

You?

Never seen you ever
with a pint, Pop, ever.

I love it.

Pop.

What?

What's up?

I love it.

You look like you're eight
and taking cough medicine.

What's wrong?

Listen, there's nothing like a cold one

for a guy who likes a cold
one, but you're not that sort.

What sort am I?

You're a tea man, man.

What's wrong?

Tomorrow, when you're
taking back the bag,

try not to harm this young
lady, this puppet young lady.

Yeah.

- But...
- What?

... if you must, then, son, you must.

Do you understand?

Yeah, simple as a biscuit.

Be safe.

And take care of
yourself, Kkyman, please.

Um, y... you okay?

Yes.

- Sure?
- I am.

'Cause it's my car.

Oh. I'm sorry.

I've a rental car.

I'm unaccustomed to it.

No problem.

I'm a tea man, man.

What's that?

I should remain with tea.

(WHISTLING)

Why did you bicycle through the light?

Your light was red.

Don't go to sleep.

Talk with me.

What?

Did you strike your head, dear?

Did you strike your
head on the street, dear?

Yeah.

WALLACE: You can't go to sleep.

Please.

Why are you calling me "dear"?

WALLACE: Is that, uh, strange?

Yeah.

Well, not for a mom or someone to say,

but from one guy to another guy...

kind of, yeah.

It's how we call our children.

Hold on.

You'll break your father
if you don't hold on.

TOM: Hit by a car?

You're the next of kin for John?

You're the next of kin?

- For John?
- For John.

- Yeah.
- May I speak with you a moment?

He's with the doctor.

I'm sorry, sir.

He rode his bicycle into my car.

- I'm sorry.
- TOM: Okay.

What... what happened?

WALLACE: He rode...

(WHISPERING): knowingly,
through his traffic stop,

in order, I'm afraid, to hurt himself.

DOCTOR: Family of John Lakeman?

Family of John Lakeman?

Yes.

DOCTOR: I'd like to
discuss with you his scans.

CLERK: Uh, is it completed?

TOM: Yes.

CLERK: Thanks.

("SURE sh*t" BY BEASTIE BOYS PLAYING)

♪ 'Cause you can't, you
won't, and you don't stop ♪

♪ Well, you can't, you
won't, and you don't stop ♪

♪ Mike D, come and
rock the sure sh*t ♪

♪ I've got the brand-new doo-doo ♪

♪ Guaranteed like Yoo-hoo ♪

♪ I'm on like Dr.
John, yeah, Mr. Zu Zu ♪

♪ I'm a newlywed, I'm
not a divorcée, yeah ♪

♪ And everything I do is
funky like Lee Dorsey ♪

♪ Well, it's The Taking of
the Pelham One Two Three ♪

♪ If you want a doo-doo
rhyme, then come see me ♪

♪ I've got the savoir faire
with the unique rhymin' ♪

♪ I keep it on and on, it's
never quittin' time and ♪

♪ Strictly handheld is the style I go ♪

♪ Never rock the mic
with the pantyhose ♪

♪ I strap on my ear goggles
and I'm ready to go ♪

♪ 'Cause at the boards is
the man they call the Mario ♪

♪ Pull up at the function
and you know I Kojak ♪

♪ To all the party people
that are on my bozack ♪

♪ I've got more action
than my man John Woo ♪

♪ And I've got mad hits
like I was Rod Carew, yeah ♪

♪ Because you can't, you
won't, and you don't stop ♪

♪ Because you can't, you
won't, and you don't stop ♪

♪ Oh, well, you can't, you
won't, and you don't stop ♪

♪ I keep my underwear up
with a piece of elastic ♪

♪ Use a bullshit mic
that's made out of plastic ♪

♪ To send my rhymes
out to all the nations ♪

♪ Like Ma Bell, I got
the ill communication ♪

♪ 'Cause you can't, you
won't, and you don't stop ♪

♪ 'Cause you can't, you
won't, and you don't stop ♪

♪ Well, you can't, you
won't, and you don't stop ♪

♪ Keep on and rockin' the sure sh*t. ♪

Freeze, m*therf*cker.

Freeze, m*therf*cker.

Freeze, m*therf*cker.

Freeze, m*therf*cker.

Why is it so tiny?

Tiny, little vest.

(GIGGLES)

- Hey.
- Hey.

She's having trouble sleeping.

She wants you to sing to her.

Okay.

She said she and her mom
used to listen to your record

at bedtime.

It would help her sleep.

I'm not gonna lie to her.

What do you mean?

You'll overhear if you want to.

I just think you should know
that I'm not gonna lie to her.

What do you mean?

I told her that I'd never hurt her.

So everything I ever say to
her after that is gonna be true.

So, if you overhear, Alice...

you're gonna hear the
truth about any of it.

- Hi.
- Hi.

Alice said you couldn't sleep.

I miss my bed.

Yeah, me, too.

But you know what?

What?

Songs help, sometimes.

Alice and Bernice will
take me to see Chip.

In Disneyland, tomorrow.

- Who's Chip?
- A cup.

- Cool.
- A brave cup.

Cool.

From Beauty and the Beast.

Sounds like a cool day.

- Do you want to know about Chip?
- Sure.

What do you want to know?

Well, why do you like him?

Why do you like a cup?

He wasn't always a cup.

He was a boy before.
Then he became a cup.

- A broken cup.
- Broken how?

MYNA: He's still a good cup.

He's just broken 'cause
he has some chips.

Which is why he's called "Chip."

Oh, okay. Cool.

Where are you going tonight?

I'm gonna climb a bunch
of electric fences.

MYNA: What is an electric fence?

JOHN: It's, like, invisible, um...

like, a safety feature
of rods of electricity,

that you can't really touch,
but that I have to touch.

Oh, you know what you should do?

What?

Get a sexy girl to
maneuver around those rays

in a sexy and successful
way. (WOLF WHISTLES)

(LAUGHS SOFTLY) It's
not the same as that.

Electric things are not that cool.

They just hurt.

But you can go through it.

It just hurts.

I've done it before.

You don't have to go
all the way, anyway.

Why not?

Well, you just have to go halfway.

- And one more step.
- Why?

If you can make it
halfway and one more step,

it's longer to go back,
and shorter to just finish,

so you just finish.

And you think, "I don't
have to go all the way,

I just have to go halfway,
and one more step."

And then, you can do it.

I'm excited to meet Chip.

Before you meet Chip,
you need some sleep,

so I'm gonna sing you a song.

What song should I sing you?

I know lots.

Sing me a song about going
through electric fences.

I don't really know any of those.

Make one up. Can you do that?

Yeah.

I do that sometimes.

Okay.

♪ ♪

This one's called "You Can't
Keep a Good Man Down, Chip,

Even if Someone Turns You into a Cup."

It's mostly about
climbing electric fences,

and some other stuff.

♪ You can't keep a
good man down, Chip ♪

♪ Even if you're a cup ♪

♪ No, even if you're a messed up cup ♪

♪ And your best cup days
are far behind you... ♪

(SOPHIE SCREAMING)

Sit.

Stay.

Glenn?

Glenn Purdue?

Milwaukee Police Department.

GLENN: Nope.

JOHN: That's you, man.

GLENN: All wrong.

JOHN: Charlie's on the train tracks.

Three blocks east.

And there's a train coming, Glenn.

TOM: I want to tell you
something concerning John.

He's smoking on the weed again.

I know.

You know?

You know he was smoking on it again?

Yeah.

He was smoking on it today.

How many times can we talk
to him about it, you know?

Yeah.

What are we gonna do?

We can't live his life for him, right?

Ultimately, he has to
make his own choices.

How do you know he was
smoking on it today?

Because he's different
when he's smoking on it.

"Different" how?

Happy.

Look, how is he?

Not good.

Whatever you're doing,

can you at least tell
me if it's nearly over?

It's nearly over.

So he's stoned tonight?

- Yeah.
- He's high? Tonight.

Yeah, he's high as sh*t.

Well, he thought he had today off, so...

(BELLS TOLLING)

WOMAN: How did the resource plan
to gain entry to this compound?

(EXHALES)

We assumed there was a
greater than % chance

that the exterior gate
would simply be unlocked.

WOMAN: Due to... ?

TOM: Due to what laid beyond.

We assumed that a human
being, even a Dutch boy,

while walking past the
five electric fences

toward the exterior gate
might simply say "Oh, f*ck it.

No one's f*cked up enough
to climb over these things."

(BELLS CONTINUE TOLLING)

♪ ♪

(GATE CREAKING)

(ELECTRICITY BUZZING)

Tom said you interacted with
this detective in Milwaukee.

ALICE: Yeah.

Why hasn't she come
for her? For her girl?

I don't know.

Who would do that?

I... I don't know,
she's... f*cking weird.

I don't know.

I haven't talked to John in months.

Part of the arrangement. I can't.

Because I'm not supposed to
know a detail of what they do.

Not a detail, so we separate.

It's the worst thing.

But I handle it by recognizing

that they're doing, like I'm doing,

like... you're doing,
what they think is best.

He's not a good father-in-law, Alice,

but he's a good man.

And it's time for us to leave.

This kid's here. I can't leave.

Is that why Myna's still here?

Does she want you to be
here with Tom and John?

Does she want you to do
something for her here?

John's disappearing.

When you were kids...

who was the one that
would jump off the roof

at a party, into the pool?

John.

He's... he's inclined this way, Alice.

Is he...

inclined this way?

Or did Tom raise him this way?

Well, you shouldn't
be around here asking.

Leave.

I'll take care of Myna.

Leave, before something
really bad happens.

This kid should be long gone.

She's not.

So her mother must be hanging around.

How do you know that?

Because her kid's in jeopardy.

Mine is, too.

That's why I'm here, even
though I shouldn't be.

She's a mother.

She's nearby.

So, go home, Alice.

I'll stay.

♪ ♪

♪ You can't be halfway gone ♪

♪ You can't be halfway alone ♪

♪ You can't be half a mother ♪

♪ Half a father, half a son ♪

♪ You have to be the one ♪

♪ You have to be the one ♪

♪ You have to be the one ♪

♪ You can't be halfway home ♪

♪ You can't be halfway done ♪

♪ You can't be half a mother ♪

♪ Half a father, half a son ♪

♪ You have to be the one ♪

♪ You have to be the one ♪

♪ You have to be the one ♪

AGATHE (OVER PHONE): Hello?

It's Alice.

I want to talk to you.

AGATHE: Concerning?

Concerning?

Concerning Tom.

♪ You have to be the one ♪

♪ You have to be the one ♪

♪ You have to be the one. ♪

(DOG GROWLING)

♪ ♪

(GROWLING CONTINUES)

(DOG BARKING)

(DOG WHIMPERS)

(SILENCED g*nshots)

♪ ♪

(g*ns CLICKING)

(RINGTONE PLAYING)

♪ ♪

♪ ♪

♪ If I needed you ♪

♪ Would you come to me? ♪

(SILENCED g*nsh*t)

♪ Would you come to me ♪

♪ And ease my pain? ♪

♪ If you needed me ♪

♪ I would come to you ♪

♪ I would swim the seas ♪

♪ For to ease your pain ♪

♪ In the night forlorn ♪

♪ The morning's born ♪

♪ And the morning shines
with the lights of love ♪

♪ You will miss sunrise ♪

♪ If you close your eyes ♪

BERNICE: You should take Myna and leave.

It's best.

Take her back to Luxembourg
where no one ever hurts anyone.

If you stay here,
you're going to get hurt,

I imagine.

Would you rather there were
no place where m*rder was rare?

You and Tom, it's odd.

What's odd?

Both of you use your children

to fulfill the obligation of your job.

I noticed.

Because it's imperative.

You're like him in that regard, I guess.

But you've never had to be
brave or be hurt for your work,

I imagine.

So you're less like John.

So probably, you can't
anticipate him entirely.

So the outcome may be
terrible, Agathe, for you.

♪ ♪

(LAUGHTER)

(INDISTINCT CHATTER)

♪ ♪

(HORN HONKING)

Yeah. I'm okay.

Hard night?

- What?
- Hard night?

Yes.

Okay.

♪ ♪

(KNOCKING AT DOOR)

Come in.

(MAN SPEAKS FRENCH)

Merci.

(DOOR CLOSES)

LESLIE (OVER PHONE): Leslie Claret.

Hey, Leslie, it's John.

Lakeman, but you know, not really.

Yeah. Hey, John. How you faring?

- Pretty good.
- Good to hear.

- Leslie...
- Yeah?

My dad said you've been in prison.

Yeah, John.

I'm sorry for mentioning that

if you didn't want me to mention that.

I don't mind. I was guilty.

Did my time and that was that, hey.

And you were a dentist? In there?

Dental assistant, yes.

- Cool.
- It was not cool.

But, uh, okay. Why are you asking?

Can you pull some of my teeth?

- Can I what?
- Can you pull some of my teeth?

I don't care which ones.

Yeah, I can, I guess.

Any particular reason?

Yeah, I have to get out of Paris.

I think things are about
to... get pretty f*cked up.

Is now okay?

Yeah. Thank you.

♪ There was a light ♪

♪ So dear to me ♪

♪ I wanted to live ♪

♪ There was a time ♪

♪ So near to me ♪

♪ I've asked you to
give your life to me ♪

♪ If it's a sign ♪

♪ Sent down to me ♪

♪ I'm asking you why ♪

♪ It had to be ♪

♪ Spending all my time ♪

♪ Waiting to die... ♪

♪ What's the use? ♪