Iran's program is dormant now,
and this guy wants to keep it that way. This guy does not.
TOM: We're gonna try to buy this election.
We've got the guy to do that, we just need you
to get him the money, and then come and go from Iran
in the fall to make sure that it gets to where we need it.
How?
TOM: McMillan is an oil infrastructure
engineering firm.
This project's gonna play out
in two places: Iran and Luxembourg.
McMillan comes and goes both places.
All you got to do is bring a bag of money from "A" to "B," John.
It's never easy like that.
Any time you're ready, there, Lakeman.
I'm gonna have to check this bag.
Thank you.
Detective Agathe Albans. Homicide.
Yeah.
TOM (over phone): Our guy? The bag? Gone.
He never landed in Iran.
He doesn't seem to have left Luxembourg.
I authorized the illegal use of American money
to influence a foreign election,
then I gave the money to the bad guy,
and he's gonna use that money
to put Iran back on the path to active.
Their weapons program.
The physicist's wife, she's going to get the money.
He doesn't have the bag.
Bag got away from him.
TOM: How? He had one transfer, "A" to "B."
JOHN: I've been told that before, on occasion.
TOM: At this point, we had a strong expectation
that we would recover the bag.
The only real impediment to recovery and reestablishing
the plan was the guy with the girl's name.
LESLIE: Let's come together,
then let's head off to Luxembourg a fortified unit,
and get this goddamn Denon deal done.
Except for Lakeman, who's simply not going.
Ah! Jesus.
You shot me in the fucking face!
-What is this? -NURSE: Morphine, for the pain.
It feels like flying on a magic carpet.
What are you worried about, hon?
He's not okay.
GREGORY: Are you getting the recommended
eight hours of sleep, John?
-No. -What are you getting?
Much less.
GREGORY: Like, how many hours?
JOHN: Like, no hours.
TOM: The girl gets out in 25 minutes,
with the bag.
JOHN: Excuse me.
That's my bag.
Where's the... the money?
I left it back there.
In the police building.
Next to the lion.
DENNIS: Yeah, what? The police station.
Now, Dennis, go now.
Cause a distraction.
If you let me board, you can leave, here,
these things you've been doing that make you sad, John.
Whatever is burdening you.
And go wherever else you'd like.
And nothing that you did here will follow.
(phone vibrating)
Hello.
TOM: Something's happened, John. Your brother,
he's been taken, they want the bag.
Bring it in.
JACK: I need 18 rolls of dimes.
TELLER: Dimes?
JACK: Dimes, yeah.
TELLER: What's a dime?
JACK: A coin.
TELLER: Specifically?
JACK: Specifically, ten cents.
A ten cent coin, ma'am.
Dimes.
These are heavier.
TELLER: Than what?
Than American dimes.
They're not American dimes.
They're centimes.
They're European coins worth ten cents.
Because... you're in Europe.
Fuck.
EDWARD: Dad, they want... they want the money.
The money John got today.
(train rumbling)
Step away from the doors, please.
The train is leaving the station.
(phone vibrating)
Hello?
Mama, Aunt Selma says we'll see each other from our trains.
(Myna continues speaking indistinctly)
All passengers must be aboard. Doors closing.
Train is departing.
Next stop, Hollerich.
♪ ♪
Next stop, Hollerich.
WOMAN: Whack a lady on the head?
With a sock full of dimes?
What?
Yeah, that was the plan.
In the event that this lady got the bag.
I was what you'd call a fail-safe,
if this lady got the bag.
Then the plan changed.
In what sense?
In the sense that a different lady got the bag.
Can you back up a little?
Well, he came to me for help.
In Luxembourg?
In Milwaukee.
The night before they departed for Luxembourg,
he came to my house.
And asked for help?
Yeah.
Why you?
I don't know the answer to that.
What did you tell him?
I told him I didn't think I could be of much help to him,
in, um... the state I was in then.
And his response?
He asked if I was better than nothing.
Which I guess was what he had, in terms of help.
And your response to that?
I thought about it for a while.
About whether you were better than nothing?
Yeah.
Then I asked him if I could take a walk around the block
and think about it,
because I just couldn't say in those moments.
And your conclusion?
Well, on my walk,
I stopped wondering about that in particular.
And I started thinking about something else in particular.
Which was?
Which was how the kid just really looked
like he needed help, I guess.
♪ ♪
(panting)
("Sure Shot" 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 shot ♪
♪ 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 ♪
♪ 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 ♪
♪ Well, you can't, you won't, and you don't stop ♪
♪ Keep on and rockin' the sure shot. ♪
John Lakeman.
Who's John Lakeman?
John Lakeman was the subject of the murder investigation.
In Skirts and Stockings.
Right. He was removed. As a subject.
Yes. But Agathe came to me today.
About him. Again. About John Lakeman.
He's a suspect once more?
Apparently. He was connected to the second dead man
via a garment bag.
Agathe will be all over it--
But no, Agathe went on emergency leave.
This afternoon. For some undisclosed reason.
And the other ladies in Skirts and Stockings don't know.
It seems. About John Lakeman.
And two new cases came in this afternoon,
Sergeant, to our department.
Assaults. They're connected to the two murders.
Hey, that means it's the perfect opportunity
for the Department of Tough Cool Guys
to solve the murders.
Even though Homicide isn't our department.
Which will show how cool we are.
Totally. That's why I called you in from your date.
Because of this opportunity.
Yeah, and all we have to do really
is use the evidence the Homicide girls collected
through their long lady investigation.
Right.
But we'd just get the last detail.
The last piece on John Lakeman.
Right.
That would be awesome and hilarious.
And thus we'll prove to them
that girls should mostly be baking.
Cool.
(train rumbling)
JOHN: What, man?
JACK: I don't know, John. These dimes I got
this afternoon, they're not like American dimes, man.
JOHN: What're you talking about?
American dimes are the smallest of all our coins.
Yet, they have greater value. They make sense here,
-I didn't know that. -Jack, get the money.
They're bigger than pennies and nickels,
so they're heavier, man.
I don't know what I'm holding here.
I've never hit anyone in the head
with European dimes, man.
I don't want to kill anyone. And fucking lay off, John.
You told me I'd be following some broad in a hijab,
not a homicide detective. I never even made detective.
(quietly): Hit her less hard than you usually hit people.
Yeah, but how much?
I don't want to do it too light, man.
Then she's just standing there, looking back at me,
uh, says "ow," then arrests me.
I haven't... done a... dry run with these.
I worked up a nice touch over the years with American dimes.
I just wish I was back home, John, that's all.
And I think the lady knows I'm an American.
I'm bigger than everything here.
JOHN: Yeah, well, fuck, Birdbath.
Maybe do something besides making wishes.
That's not gonna help me. Fucking get with it, man.
'Cause I'm gonna have to do something
if you don't do something.
(phone vibrating)
Hello?
LUCIE (on phone): You received a call late yesterday
from Detective Agathe Albans?
-I did, yes. -Concerning?
Concerning the mysterious young asshole,
John Lakeman.
Have we heard from Agathe?
I just dialed the last number she called. From her desk.
It concerned John Lakeman.
I thought she dismissed John Lakeman from the case.
Apparently she hasn't.
Do you have any idea where she's gone?
Gone without a word.
Do you think it involves Lakeman?
Hmm...
LESLIE: I would just like to know
who you really are, you know?
Only child.
Oh, well, okay. Okay.
-I have two boys. -Nice.
My son is not who you think he is, Leslie.
He's a good boy.
Maybe you could give the kid a break,
from one old tugboater to another.
Nope.
LESLIE: Paris?
MARCUS: Yeah.
-Wh... -CHILD (on phone): Mama?
-Who's that? -Eric, my son.
-Son? -You woke him up, too.
(stammers)
Man, oh, man. Wow, pal.
MARCUS: Yeah. It's 5:00.
You're waking everyone up. Can you call me later?
Well, are-are you sure you don't have a-a minute here?
It won't take long. It's just...
I just need enough time,
Marcus, to, uh...
Well, son, I-I...
I just need enough time to say
I'm sorry, son.
Can I come and see you?
I want to come and see you.
Please, pal?
And the boy and your wife.
Marcus, I'm clean and sober,
and I have been for a long while.
And I run McMillan now, and things are...
almost good.
Things are almost very good.
Except...
I want to come and see you, son.
I'll be in your neighborhood next week.
MARCUS: Okay, Dad.
Oh, great, pal.
I'll give you a call soon,
and-and we'll, uh, we'll set up a timeline.
MARCUS: Okay, Dad.
-Thank you, Marcus. -(line clicks)
(chuckles softly)
-(gunshot) -Ah! Jesus.
Fuck.
Lakeman. You shot me in the fucking face!
(morphine dripping)
("Cody, Cody" by The Flying Burrito Brothers plays)
(sighs)
♪ Cody, Cody ♪
♪ I hear you say ♪
♪ I hear your voice ♪
♪ Calling me away ♪
♪ I'm not afraid ♪
♪ To think of what I might find ♪
♪ I will be yours ♪
♪ Will you be mine? ♪
♪ We've all been young ♪
♪ We've all been old ♪
♪ We've all been sheltered ♪
♪ From the cold ♪
♪ Come by my side ♪
♪ And say what I think I already know ♪
♪ I'm going away, don't you want to go? ♪
(train rumbling)
(kisses)
-JOHN: Hello? -JACK: You should have seen
-what I just did. -Do you have the money?
JACK: Not yet, but I was so inconspicuous.
It was cool, man.
Jack, get the money. They're going to the airport.
How the fuck am I gonna do this in an airport?
And I'm gonna have to do something
if I don't hear from you.
Passengers prepare to disembark.
("River Song" by Dennis Wilson plays)
All passengers must disembark at the terminal.
♪ Walkin' down by the river ♪
Transfer train arrives in 40 minutes on Platform 3.
♪ Water running ♪
♪ Through my knees ♪
♪ Ah ♪
♪ River, oh, river, moves so free ♪
♪ Ah ♪
♪ Oh, mighty river endlessly ♪
♪ Oh, mighty river ♪
♪ I would love ♪
♪ To be like you ♪
♪ Oh, lonely river ♪
♪ Has not got the time to say ♪
♪ I was born into the city life ♪
♪ It's all that I've ever known ♪
♪ You know it's rough getting round this place ♪
♪ So crowded I can hardly breathe ♪
♪ You can only see about a block or two in L.A. ♪
♪ That's the truth ♪
♪ I'm looking for ♪
♪ Some country life ♪
♪ Some kicking room, no more city life ♪
♪ I want the river ♪
♪ Rollin', rollin' ♪
♪ Rollin' on river ♪
♪ I got to get away, I got to get away, I got to get away ♪
♪ Rollin', rollin', rollin' on... ♪
(panting)
♪ It breaks my heart ♪
♪ To see the city ♪
♪ I wonder why it ain't pretty ♪
♪ Oh, I want to cry ♪
♪ Want to cry ♪
♪ Come on ♪
♪ You've got to do it, do it, do it. ♪
There were two murders in the last three weeks.
In Luxembourg City.
You're the brother of one murder victim.
You're the brother of the other murder victim.
And you're saying your assaults this afternoon
weren't related to these killings?
You think I'm an imbecile?
It was a random assault.
Can I get some sweatpants or something?
Shut the fuck up!
Whoa.
I-I don't even know what I'm doing here.
I just came in to file a report.
You're a person of interest concerning two homicides
in Luxembourg City.
You're not in Skirts and Stockings anymore.
Let me see it.
I don't want the girls to see that we copied
their whole entire evidence board.
Don't be a pussy. Let me see it.
Right there, my man!
And you wander in the same hour as these assaults?
I've been interrogated already.
Not by me.
Well, I don't know anything about that.
You're an associate of John Lakeman?
Yeah.
So who's John Lakeman?
He's an industrial engineer.
We'll see.
We'll see after he spends the night
in the detaining room. Nude.
That's not permissible.
According to conventions.
We're require to supply articles of clothing.
Then let's get him only a belt or something.
Something small that will still leave him mostly exposed.
Smarten up. A belt isn't an article of clothing.
A belt is an accessory.
Are you sure?
About what?
Are you sure that a belt is an accessory?
Yes. Do you shop online? Like at Zappos for example?
Yeah.
Yeah, belts are under accessories. Like handkerchiefs.
Right, but it doesn't say it has to be men's clothing.
We could get him a lady's crop top or something.
I don't know. That's pretty good. But I don't know.
If someone were making a film about this later,
which they probably will, that might seem cruel
and unprofessional.
Let's get him only an extra large men's dress shirt.
No pants.
Then he can wear the large shirt like a woman does
in your apartment the morning after you've slept with her.
That would probably throw him off psychologically
and it would be funny then for us to look at him
and think about how we did that on purpose.
Yeah, it would.
We have to return these two to the hospital.
The American stays.
(sighs)
(grunting)
Urgency and haste were a feature
of every ensuing event, at this stage.
Matters had escalated.
In the calmer instances, before this?
Last stop before Charles de Gaulle Airport.
Mistakes and errors were made
due to decisions.
Say, for two people to intersect who shouldn't.
In this new area,
this heightened phase of greater danger,
due to the urgent need to move around,
these dangerous convergences occurred...
due to shared, limited conditions.
Parallel needs.
Five minutes to Charles de Gaulle Airport.
If you needed to flee
the greater area of, say, Luxembourg immediately,
well, there are only 40 flights a day to Luxembourg.
There are 1,300 flights a day
in and out of Paris.
All passengers prepare to disembark
at Charles de Gaulle Airport.
So, if you're in jeopardy, and need to flee,
or to reach this greater area, you go to Paris.
Where you will encounter--
you must necessarily encounter others
who are in these same states of jeopardy and haste.
And these intersections,
which you can no longer control
or avoid, create conditions
of exponential danger.
(line ringing)
(phone ringing)
(ringing stops)
♪ ♪
♪ You can't run ♪
♪ Halfway away from home ♪
♪ Yeah, I know it, man ♪
The train has arrived at Charles de Gaulle Airport.
♪ So I'm going ♪
♪ But by the way ♪
♪ I got something else to say ♪
♪ I'd trade my soul with anyone else on this train ♪
♪ I know there's a line ♪
♪ On the inside of mine ♪
♪ I know there's a shine ♪
♪ That goes ♪
♪ And I know I'm long gone ♪
♪ And I keep going ♪
♪ I'd trade my soul with anyone else on this train. ♪
Lakeman's missing?
Yes.
And Agathe's missing. That's not a coincidence.
No. If we find him... maybe we find her. Right?
GREGORY: Lakeman's not answering his phone.
McClaren, either.
What's going on here?
Something's going on here.
ALAN: The talon-hinged hook sluice heralds the dawn
of a bold new age for tensile- threaded quench tempering
across all 13 grades of hex-beveled waste drains
and buckle-valved lock nut ductility.
Well, that's the long and the short of it, folks.
Thank you for your time.
(applause)
DENON OFFICIAL: Thank you, Galvanized United.
Joining us next, John Lakeman,
of Milwaukee's McMillan Industrial Piping.
(applause)
Hey.
How are you?
Cool.
I'm not John Lakeman.
He's a, um, a no-show.
No show here.
So...
I'm gonna take this one.
(whispers): Fuck.
We do that, too.
Duckled Nut Stuff.
Only better, and with more cost efficiency.
(claps hands)
Probably.
(sighs)
(whispers): Fuck me.
Did my speech suck? It did, right?
I think so, but I don't understand
the technical side of your business.
Me neither.
So, John Lakeman.
Do you know his whereabouts?
I wish I did.
He was supposed to make that fucking nut speech
instead of me.
Air France Flight 210 to London begins boarding in ten minutes.
♪ ♪
I know what you do.
I know what your dad tells you to do and I know you do it.
I don't care.
I'll leave, if it makes the thing you're doing harder.
I have a ticket back in three hours.
But I wanted to find you and say I don't care.
I love you.
Just finish, then come home.
We can still do everything we said.
We can go off alone, we can be together, we can have a family.
I love you, John.
Come with me.
He's a man, right?
The Sad Man?
Yeah.
Good, then he can't come in here.
Why?
It's the ladies room.
Have you seem him at the airport? Since we've been here?
Yeah.
And once on the train?
Yes, I saw him on the train.
Well, he's a man. Sad or not. So he can't come in here.
Are you excited to see your sister?
Yeah.
Tell me the things you'll do. In London.
(door opens)
It's the ladies room, remember?
(footsteps approaching)
♪ ♪
(Selma grunts)
(Myna screaming)
(Myna crying)
JOHN: We're a family.
What?
We're a family, take her, hold her.
What?
JOHN: Alice.
-(crying) -(shushing)
-Who the fuck are you calling? -(line ringing)
WOMAN (on phone): Hello? Hello?
Hi, Mom.
John?
Yeah.
-Hey. -Hey.
How are you?
Pretty good.
(Myna crying)
(Alice shushes)
It's okay.
(shushing) It's okay.
(crying)
Alice, you have to cover her mouth.
John...
And stop crying.
It's okay if she does, it's not if you are.
It'll draw attention.
-Please stop. -(shushing)
WOMAN: This was the morning, the early morning,
that the Paris Plan, as you've been calling it...
This was the early morning
that you began to form the Paris Plan?
Yes.
BARACK OBAMA (over TV): ...required to meet
its security needs.
Iran's leaders should understand
that I do not have a policy of containment.
I have a policy to prevent Iran from obtaining a nuclear weapon.
(applause over TV)
I will not hesitate to use force when it is necessary
to defend the United States and its interests.
For America, for the world.
-Hey, Tom? -Yeah.
Why don't you just stop?
And take responsibility, and let your son go home?
Has that ever occurred to you?
OBAMA: ...such talk has only benefited
the Iranian government,
-by driving up the price of oil. TOM: You should...
probably stay with us.
You think I'm gonna let her go?
I think you should just stay with us.
She's waking up.
I'm gonna go sit with her in the car
so she doesn't draw attention.
I think you're a coward.
Stay there, just for a moment.
I know all this seems extraordinary to you.
And it's unusual.
It is unusual, yes.
But it's not extraordinary for me,
to be in these circumstances.
I'm, ordinarily, Alice, subjected to scrutiny,
and suspected of transgressions like these.
That's my job.
It's also my job not to get caught.
And it's imperative I do my job.
(applause on TV)
I have said that when it comes to preventing Iran
from obtaining a nuclear weapon,
I will take no options off the table, and I mean what I say.
(applause on TV)
That includes all elements of American power.
He's not talking about the Navy.
Alice, honey, it a-always feels like this.
OBAMA: And as we do, rest assured
that the Iranian government will know our resolve.
(applause on TV)
(door closes)
You still have that little "Boy Wonder" guy?
What are you talking about?
Your little Robin.
-The normal guy who wants... -Dennis.
-Yeah? -Yeah.
Get him here.
You want me to get him involved?
He's already involved.
Birdbath.
He knows, too.
I should tell you everything.
Of course he does.
-Oh. -What?
-And Mom. -Your mother?
Yeah.
-Your mother knows? -Yeah.
-How? -I called her.
I don't know why. Tonight.
-She's coming. -Coming where?
Here.
Your mother's coming here?
Yeah.
(chuckling): Fuck.
You have to keep this together.
You're s-starting to get out of control, son.
If you can't keep this thing together,
and get her back to us, soon, with that bag...
You're going to get this over with right away.
If you can't keep a hold on things with your wife here,
and-and the kid, uh, dog-- Jesus.
Your mother. Half the company knows.
That's what you'll have to do if you can't get the money
back from her in the next few days.
If you can't keep this in control...
You're just going to get it over with.
Well, how?
You're going to kill him.
I just can't believe it.
Can't believe what?
Glassblower.
Puppeteer.
Yeah, whatever.
She didn't want the money?
No.
She just wanted the bag?
-Yeah. -(laughing): I just...
I just don't believe it.
Yeah, well, that's what happened.
N-Nobody would do that.
Who would do that? Nobody would.
I know somebody who would.
But she just left.
(sighs)
I knew I should have asked her for the keys.
I didn't want to hurt her feelings.
Well, it's just you and me, kid.
And a dog.
He won't leave.
Good boy.
Yeah, I don't know.
I think he's just been trained.
Hmm.
TOM: He's coming to Paris.
Tomorrow.
For the OPEC summit.
He has a compound in Paris.
JOHN: Sounds janky.
TOM: What's that?
JOHN: Janky.
Killing a guy in a compound by myself.
Sounds janky.
What's the success rate of that, you think?
TOM: Uh, I don't know.
Five percent?
I don't know.
JOHN: That plan's on the other side.
TOM: Of what?
JOHN: Of the Vantasner.
TOM: The Vantasner Danger Meridian?
JOHN: Yeah.
TOM: Well, you're gonna start figuring out how to do it.
You start tomorrow.
JOHN: Doing what?
TOM: There are 19,000 guns in Paris.
Get one.
♪ ♪
(phone ringing)
Hello?
Are you okay?
Yes.
Who have you been with?
A nice lady.
And...
The Sad Man in a Suit.
Who else?
And an old sad man in a suit.
Put the lady on.
Hello?
AGATHE: You have my daughter?
Yes.
Keep her.
("Le Crabe" by Francoise Hardy plays)
(woman singing in French)
♪ ♪
inging in French)