♪ ♪
♪ Such a remarkable day ♪
♪ All for me ♪
♪ Thanks to you ♪
♪ A violent blow on its way ♪
♪ Every prediction coming true ♪
♪ There's blood on your hands ♪
♪ Either way ♪
♪ How can we ever pay your due? ♪
(buzzes)
♪ Our deepest sympathy ♪
♪ To the family ♪
♪ All our compassion ♪
♪ May know misery... ♪
(line ringing)
MARISSA: Vesuvius. 2468. Control.
I'm back in town. I'll be returning to the company.
And I'd like a full domestic clean.
♪ Ecstasy ♪
♪ Calmly defiant ♪
♪ May she rest in peace ♪
♪ Such a remarkable day ♪
(high-pitched beep)
♪ How did you choose this Wednesday? ♪
♪ The bird by your side, he flew ♪
♪ Such a remarkable day... ♪
(bicycle bell dings)
-(whistle blows) -(shouting, cheering)
-Nice, Kelly! -Yes, go, go, go! Come on!
-That's it! -Go, go, go!
All right, let's do this, come on!
(panting)
♪ ♪
That's $5.91.
HELEN: What are you reading?
-JULES: This. -W-What is it?
Just, like, the most important book ever.
-What's it about? -The death of youth.
-Doesn't matter. -What do you read, Sandy?
Oh, you know. Mainly magazines, I guess.
HELEN: Oh, did you see this?
She's an actress.
She looks amazing.
God, I love her skin.
-Oh, come on, Helen. -What?
They're fake. Look at them all.
Phony smiles, phony tans.
You can talk about fake.
JULES: Fuck that.
I'm way more real than they'll ever be.
HELEN: Well, I'm getting a coffee.
Anyone?
Did you see that car earlier?
-What car? -It came in this morning.
They're always coming in with deliveries.
This was no delivery.
I think someone's back.
(siren wailing in distance)
(elevator bell chimes)
-Welcome back. -Thanks, Kim.
Everything okay?
Yes. It was a challenging mission.
But it's done?
Not quite, but we're getting there.
Well, we had good cover while you were gone.
Langley sent her.
She has full authorization. I assumed you knew.
Yes, of course.
Marissa Wiegler, head of section.
Sonia Richter. Pleasure to meet you, ma'am.
-Thanks, Kim. -Mm-hmm.
LEO: Okay, so, the first thing I want to do is lose the muscle.
But I have to be sure you're not gonna try to rip my head off.
Are you gonna try to rip my head off?
I'll take that as a no.
Guys, you can go. Wait outside.
Just go. We're gonna be fine here.
So,
what that lady told you in the hotel in Bucharest
is the truth.
Your mother is dead.
I'm really sorry.
It hurts, right?
That's why none of the girls here
have been told about any of that.
About parents or any kind of previous life.
See, the truth is, without us, none of you would be alive.
I'm not gonna sugarcoat that for you. Okay?
If you want any life at all,
it has to be here.
What happened to Hanna?
Hanna tried to kill the people we sent to pick her up.
There was a lot of firepower. We were forced to respond.
I'm afraid she didn't make it.
It's not your fault.
Hanna chose to break into the facility.
Her decision, not yours.
(grunting)
It's okay.
I'm okay.
We're good.
Can I show you something?
This way.
This is Larry. Say hi, Larry.
Hi.
LEO: Recognize them?
Where are they?
They're right here.
-(laughter) -Oh, my God!
Oh, my God...
SONIA: She arrived back in Paris
at 1500 hours, flew into Orly Airport.
She returned to the offices this morning.
I've sent over all visuals.
CARMICHAEL: Did anyone come see her?
No one. I think her boyfriend's left.
Other than that, everything seems normal.
Let me tell you something, Sonia.
When I taught Marissa Wiegler at the training college,
no one noticed her for two years.
She was just average, slept with a couple guys,
smoked a little dope, did the bare minimum.
Final exams, she was top of her class.
No one saw it coming.
So you stay on her.
Watch her very carefully, please.
Anything strange, you call me.
(engine whirring)
Fuck.
Find it okay?
-I brought food. -I'm not hungry.
Okay, then. Shall we do this?
(table legs scraping)
♪ ♪
(laughs softly)
Arms straight.
(camera shutter sound effect)
Good.
(water splashes)
(phone ringing)
Hello, Mary. Is that you?
-MARISSA: Hi, Mr. Kaladski. -(chuckles)
Please don't call me that.
I haven't been your teacher for 20 years.
I just wondered if you'd thought about
what I asking you a few days ago.
Because the girl I was telling you about
is with me now.
Her name is Beatrice.
Say hi, Beatrice.
Hi.
Uh, hi there, Beatrice.
Uh, Tom, Beatrice is in danger.
She needs somewhere that she can go.
Somewhere that's remote and safe.
You know the line of work I'm in.
You know what it involves.
You know that I wouldn't make a call like this
unless I really needed your help.
Did you speak to Jean?
Yeah, I-I spoke to her.
And?
She wants to know how long it would be for.
A long time.
And-and I-I suppose we can't ask who she is.
It's better if you don't.
Just think of her as a girl
who deserves a fresh start.
(crowd shouting and clamoring)
NARRATOR (on video): The dangers facing mankind
in the 21st century
require radical action.
Sometimes pre-emptive action that will guarantee
all our security.
That's why Utrax was created.
To be the preventive force that the world needs.
♪ ♪
-(birds chirping) -(children clamoring)
(knocking at door)
Hi.
Can I come in?
I can come back later.
No, it's okay.
Did you have a long journey?
I think I saw you arrive in the car.
Where are we?
The Meadows.
But where is that?
SANDY: Oh, cool, they gave you these.
They're really cool.
Cooler than mine.
My name's Sandy now, by the way.
Sandy?
Like a beach?
I guess, if the beach is sandy.
Do you have a name?
"Clemency."
That's so sweet.
They're so beautiful.
Have you written to them?
You should.
I write every day to my family.
Almost.
Well, you should only do it if you feel ready.
I have to go to piano now.
So, I'll see you later.
It's good to have you back.
♪ ♪
(children clamoring outside)
("Anti-Lullaby" by Karen O playing)
♪ Do not sleep ♪
♪ My starling ♪
♪ Sleep, my doe ♪
♪ She is wrapped ♪
♪ In curtains ♪
♪ Laid in snow ♪
♪ She will bury ♪
♪ You inside ♪
♪ Her fur ♪
♪ Do not sleep ♪
♪ She waits for you to sleep ♪
♪ Do not sleep ♪
♪ She waits for you ♪
♪ To sleep ♪
♪ Do not sleep ♪
♪ My starling ♪
♪ Do not sleep. ♪
(indistinct radio transmission)
Sonia?
Have a look at this.
Okay, let me guess the routine.
You call John Carmichael once a day.
Maybe when you go to get coffee for the team.
I've noticed you like to do that.
You call and you report on my movements.
You include in your report my domestic routine,
as catalogued by those two clowns outside my apartment.
You think maybe I'm about to meet a journalist
or police even.
Maybe I'm about to betray Utrax.
Tell Carmichael this.
I'm not betraying anyone.
I'm tired and lonely.
My boyfriend left me while I was chasing Erik Heller
across half of Eastern Europe,
and I am now trying to get him back.
During which time I would very much appreciate
some fucking privacy.
I have Carmichael's number on this card.
I will call him if I want.
And in the meantime, if I see your face again
around my private life,
I'll rip it off and mail it to him.
(indistinct chatter)
(clanging, dinging)
Agency or, uh...
personal?
I need a few more days to organize this.
Keep away from the windows at all times.
Don't answer the phone or the doors, okay?
Hanna?
They think you're dead.
You have to stay that way.
It's a whole new life I'm offering you.
No one will know where you've gone.
He's an old teacher of mine, no other connection.
No one will trace you.
I know Erik offered you this.
But he couldn't deliver it, and I can.
Where did they take Clara?
No idea, but I know there's nothing
that you can do for her now.
♪ ♪
Oh.
Just thought I'd say hi.
-Sorry. -Oh, please.
Don't bother.
My mother said I was always
the messiest pup in the litter.
-(laughs) -I'm John Carmichael.
Terri Miller, sir.
You come very highly recommended.
Well, I hope to not disappoint.
I see you're watching our latest arrival.
Yeah.
Who is she?
Just someone we lost for a while.
"Lost"?
She's a rebel, I guess, but like God,
we value our rebels highly.
You did really good work on her material.
Big family-- generous, but not holier than thou.
-Just what she needs. -It's the kind of the family
I would've dreamed of as a kid.
Brothers and sisters everywhere.
Ah, you're an only child?
Yeah.
Loved but lonely.
(Carmichael chuckles)
We just need to give her more time.
♪ Standing at the corner ♪
♪ She is living in and out of tune... ♪
So, I think I did something
that was maybe a bit stupid.
What did you do?
JULES: I split up with Aaron.
Oh, my God.
Why?
I-I thought you liked him.
I changed my mind.
♪ You're losing your vitamin... ♪
Wow.
What?
How did you do it?
I messaged him, obviously.
Well, what did he say?
He was really upset.
And then Mom tried to change my mind.
Whoever Mom is.
I can't believe you did that.
I thought Aaron was so hot.
You like him so much,
you fucking go out with him.
You curse too much.
I what?
I don't understand you, Jules.
I mean, why make everything so difficult?
Now they have to find you another guy.
What if I don't want another guy?
What do you mean?
Why does it always have to be about guys?
Haven't you read anything, Sandy?
Like... in here they have
this absurd hetero-normal notion
about who we should be.
It's, like, totally 1950s.
What?
How do you know anything about the 1950s?
-Forget it. -No...
Sandy, leave it.
Go back to your dead-eyed magazine world.
Leave me to expand my mind.
I expand my mind.
All the time.
Sure you do.
(huffs)
(engine hums outside)
(chimes)
(exhales)
(distant horn honks)
(clicks tongue)
♪ ♪
(muffled music playing)
(footsteps approaching)
Uh, le café, le café...
(door closes)
Chloe?
(indistinct chatter)
MAN: Stand by! Engage!
(gunshots)
-Engage! -(gunshots)
You seen Sandy?
I think she's at music now.
But she'll be in the cafe later.
MAN: Group! Clear your weapons!
WOMAN: That'll be two dollars, please.
-Thank you. -Thanks.
-Hi. -Hi.
You want a juice? I could get you one.
I'm okay.
You could try mine. It's apple.
No, thanks.
You could try the clothes, you know.
I could help you. With your makeup and all.
I mean, if you want to.
-There's no rush. -You know the girl who broke in?
The one I left with?
In Romania.
What about her?
She's dead.
Oh. I'm sorry.
We were in the forest together.
But then I left.
Why did you leave?
I thought I could find my mother.
But they guessed that I'd look for her
and they tricked me.
Actually, I was trying to work out how they knew...
that I discovered about my mother.
I figure someone must have told them.
Oh, yeah?
Yeah.
Someone must have seen me
looking at my mother's name on the computer system that day.
And then told on me.
And then I realized
that your door was the only one open.
Because I opened it.
Did you help them find me... 242?
My name's not 242, it's Sandy.
-Did you help them? -Course not.
I didn't mean to. They asked me questions.
-And you answered the questions? -What was I supposed to do?
They said they could bring you back here and make you safe.
And you decided that that is what I wanted?
I just wanted to help.
I mean, look around here.
It's beautiful.
You think you know what's best for me? 242?
My name is not 242.
-You think you know? -Get the hell off me.
(grunting)
♪ You can't take me ♪
♪ You want me, pay me ♪
♪ You can't 2Pac me ♪
♪ You can't Biggie me ♪
♪ I've got a pikini with a bikini in Bequia ♪
♪ They wanna stop me, Galliano sack me ♪
♪ I'll keep on coming back like your freaking acne ♪
♪ I am proactive, brand new perspective ♪
♪ Back on a mac tip with matching red lipstick ♪
♪ Baby got back back, I got front ♪
♪ You got a stack stack, I got a trunk ♪
♪ You got some junk junk, throw it in the bank bank ♪
♪ You think you get this but this ain't what you think ♪
-♪ All my people say ♪ -(grunting)
-(screaming) -♪ All my people say... ♪
(panting)
(indistinct chatter)
It's me.
Hanna?
(door opens and closes)
Hanna?
Fuck.
(door closes)
MALE VOICE (over loudspeaker): Welcome, trialists, to the Passway facility.
Please proceed to Area C for trial induction.
(male voice speaking French)
(indistinct chatter)
Lucy? Lucy Wiegler.
Uh, you're not on the list.
Did you apply for this trial?
I think so.
Do you have your consent form?
Welcome, trialists, to the Passway facility.
Please proceed to Area C for trial induction.
(male voice speaking French)
Excuse me. Are you doing the trial?
Maybe.
If I give you this money, will you let me take your place?
-Please? -No, thanks.
I'm getting five times that.
Give me your bag. And your jacket.
Take off your hoodie.
Go home, and don't ever come back.
Monica Gastner.
-(Sandy exhales) -Does that hurt?
A little.
-She's crazy. -They should put her down.
-Don't say that. -What? It's true.
She just causes trouble.
Thanks.
For helping me.
No sweat.
(chuckles)
What?
It's just a funny phrase.
What is?
"No sweat." Kind of 1950s.
Ow!
Be more careful next time.
WOMAN: Do you have everything you need for your stay?
As you know, this is a three-night trial.
The first night, you will be given the drug,
and in some cases a placebo.
And you will be placed under observation.
The second night you will receive nothing,
and you will be free to hang out, play games,
get to know each other.
The third night,
you will receive another treatment.
At all times, you will be observed,
and we want you to know
that your safety is our paramount concern.
(woman speaks French over loudspeaker)
♪ ♪
This way.
(door closes)
-Please swallow this. -What is it?
It's just a small relaxant. Nothing to worry about.
I don't want to.
Then you'll have to leave.
Okay, good.
We'll call you soon.
No eating from now on.
Are there any other people staying here?
-People? -Young women, staying here?
This is just a trial center.
Only trialists stay here.
(door opens)
(door closes)
(door opens)
-MALE NURSE: Okay. -(door closes)
How we doing?
(steady beeping)
Take your arm out of your sweater.
Hold it like this.
(rapid beeping)
(beeps)
Leave your belongings here, come with me.
(door opens)
HANNA: I'm looking for a girl.
Her name's Clara.
MALE NURSE: I don't know her.
I need to find her.
MALE NURSE: I told you, I don't know her.
This way.
(loud whirring)
(clicking)
(panting)
(electrical buzzing)
Take a seat.
What is that?
Just a screen.
You'll be observed at all times for your own safety.
Okay, we'll fix you up to this line.
You'll feel a small pinch.
(Hanna grunts softly)
Who are these drugs for?
Now the music will play.
Just watch the image.
Sit back, relax, but try to keep your eyes open, okay?
If you need assistance, you press this emergency button.
-You understand? -(soft music playing)
(panting)
(birds chirping)
MAN: Please raise your hand to indicate you're okay.
Okay, that's good.
(high-pitched buzzing)
Just look at the trees.
(breaths echoing)
LEO: I think we underestimated the problems she's experiencing.
CARMICHAEL: I don't get it.
30 trainees, happy, smiling,
following absolutely every predicted pathway.
And this one.
-LEO: Mind of her own. -Don't be flippant.
Any flaw to the program this early does none of us any good.
-So what do you suggest? -(door opens)
Oh, sorry. I didn't realize...
I just came to see how she was.
LEO: Terri, this is John Carmichael.
We've met.
You think you can tell me why she's failing?
Oh, I-I don't know.
My hunch is that she feels different,
on some fundamental level.
Well, maybe you should work with her,
-see if you can make some progress. -Sure.
Because if this fails, I have to cut her loose.
There's a personal and financial cost to that.
One I'd like to avoid.
(music playing, birds chirping)
(insects buzzing)
MAN: If your reactions are significant in the test cases,
then we can explore effects also on the Utrax recipients.
-WOMAN: Agreed. -MAN: We anticipate more extreme reactions
in those cases and can vary dosage accordingly.
WOMAN: What's the final operational remit?
MAN: Removal of all inhibitions towards the achievement
of maximum violence.
To be used in extreme situations only.
WOMAN: Of course.
(birds chirping)
ERIK: And human beings are?
HANNA: Dangerous and not to be trusted.
ERIK: If you see one?
HANNA: Come and find you.
-ERIK: If there's no time? -Hide.
-HANNA: If I can't hide... -(helicopter whirring)
...attack.
(dogs barking, growling)
(gunfire)
(moans, panting)
MAN: What the hell are you doing?!
(helicopter whirring, gunfire continues)
Let me out of here!
Please let me out!
(screams)
-Stay back. No, no, no-- No! -Stay calm.
(screams)
(door opens)
(alarm blaring)
(rapid footsteps)
(opera music playing faintly)
(birds singing)
(keyboard keys clacking)
Where is the Meadows?
Who are you?
Tell me where they are.
(guard shouts)
(gunshots)
(tires screeching)
Get in.
(door opens)
Hi.
Can I come in?
You're already here.
What do you want?
I work here.
Can I sit down?
I don't want to talk to anyone.
-That's fine. -(door closes)
You don't have to talk.
I'll just sit here.
I just don't want you to be alone tonight.
-♪ You ain't no friend of mine ♪ -♪ Ain't no friend of ♪
♪ Ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ No, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ No, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ No, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ I know, ain't no, no ♪
♪ Ooh, I know, I know ♪
♪ You ain't no, ain't no, ooh, I know ♪
♪ Every morning I feel so summertime ♪
♪ Then my haters got to work, like, overtime ♪
♪ And baby, don't act no nonchalant ♪
♪ Or you'll find yourself beat just like a drum ♪
♪ No, no, not me, not the one ♪
♪ You hate and you're so overdone ♪
♪ All the petty ... we shall overcome ♪
♪ Hey, yeah, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ No, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ No, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ No, ooh, I know ♪
♪ You ain't no friend of mine ♪
♪ I know, ain't no, no ♪
-♪ Ooh, I know ♪ -♪ Ain't no friend of mine ♪
♪ I know, you ain't no, ain't no ♪
-♪ Ooh, I know ♪ -♪ Ain't no friend of mine ♪
♪ Every morning I feel so summertime ♪
♪ Ha ♪
♪ Every morning I feel so summertime ♪
♪ Ha ♪
♪ Every morning I feel so summertime ♪
♪ Why you want to throw shade when I'm trying to shine? ♪
♪ Why you want to throw shade ♪
♪ When I'm trying to shine? Ha ♪
♪ Ooh, I know ♪
-♪ You ain't no friend of mine ♪ -♪ Ain't no friend ♪
-♪ No, ooh, I know ♪ -♪ Ain't no friend ♪
-♪ No ♪ ♪ You ain't no friend of mine. ♪