Original subtitles

KATIA: The history of man is defined by war.

And war by the men who fight it.

What if we could create a better man ?

Someone did.

The Agent Program was initiated in August of 1 967,

by a man named Peter Aaron Litvenko.

Its purpose was to create the perfect killing machine.

Human beings without emotion or fear or remorse.

The resulting subjects were called Agents.

The program was a success.

But the price of creating men without

humanity was Litvenko 's conscience.

Applying his brilliant mind to his flight, he vanished.

Fearing that it would be exposed,

the government shut down the program.

And surviving Agents drifted into shadows.

Realizing its potential, many tried to restart the program.

All failed.

So they focused their efforts on finding the one man who could.

The task fell to Dr. Albert Delriego.

A ruthless and efficient man.

But Litvenko had disappeared, and even he couldn 't find him.

Then, six years into his search,

Delriego made an unexpected discovery.

A single photograph, which would

become the key to finding Litvenko.

No one had ever imagined that, in the end,

it would come down to one little girl.

MAN 1 : S i r, we have a match i n Germany.

MAN 2 : C hecki ng su rvei l lance databases now, si r.

WOMAN : Secu re the fi les and evacuate .

S i r, we need to leave now.

D E L RI EG O : What the hel l is happen i ng ?

MAN : I don 't know, si r.

(S P EAKI N G G E RMAN)

(B E E P I N G)

(B E E P I N G)

(S P EAKS G E RMAN)

(B RAKE SC RE EC H ES)

(G U N S H OT)

(TI RES SC RE EC H I N G)

(GAS PS)

(S P EAKS G E RMAN)

(TI RES SC RE EC H I N G)

(H O RN B LARES)

(E N G I N E REWI N G)

(TI RES SQ U EAL)

D E L RI EG O : I want to know who's doi ng th is . I need answers .

(P ROC ESS ES AN D B E E PS)

(P ROC ESS I N G)

(B E E PS)

(S I G H S)

G ive me an u pdate .

I said , g ive me an u pdate !

I said , status !

(TH U D)

I su ppose I shou ld be flattered .

I d id n 't th i n k I merited a contract.

You don 't.

(C H U C KL ES)

You know, I h u nted an Agent once .

Took fou r weeks .

Most reward i ng catch of my career.

You r em ployers are attem pti ng to restart the Agent P rog ram .

And you are here to stop them ?

You are too late .

We al ready have Litven ko .

H e's cu rrently worki ng on next generation u n its .

H e's not. Because you haven 't fou nd h i m .

Where is Katia van Dees?

I have a ch i p i m planted here .

If my heart stops beati ng ,

my secu rity detai l wi l l come th roug h the door.

(KN I F E RI N G S) You need me .

N o . I on ly need pieces of you .

The i nformation I req u i re is i n two places .

You r secu re database ,

and i nside you r head .

Berl i n , they fou nd her i n Berl i n .

That's al l I know.

(I N HAL ES)

O kay, okay.

F i le 5- 1 -7 , access code G21 - 1 2-57 .

Than k you .

B ut you won 't fi nd her. S he's a g host.

I wi l l .

(P RESS ES B UTTO N S)

(B E E P I N G)

(ALARM B LARI N G)

(G LASS C RAC KI N G)

(BO DY TH U D D I N G)

(G U N S H OTS)

(G U N S H OTS)

Yes?

Delriego is dead.

What happened ?

We think it may ha ve been an Agent.

Del riego was close to fi nd i ng the g i rl .

Get her before he does .

(WOMAN S P EAKI N G G E RMAN)

H e wou ld have l ived i n Berl i n between 1 989 and 1 990 .

There m ust be taxes paid or rental records or someth i ng .

(S P EAKI N G G E RMAN)

I don 't have a name .

Look, he wou ld 've been 49 , 50 , u m ...

B lond-hai red , 1 74 centi meters , 75 ki log rams .

H e's l i ke th is .

(C H U C KL ES L I G HTLY)

I ' m sorry.

Without a name or an add ress ,

there's noth i ng I can do for you .

If he is m issi ng ,

may I suggest you try the pol ice?

The pol ice won 't hel p me . Why do you th i n k I ' m here?

And al l you ' re doi ng is tel l i ng me what you can not do .

You have to real ize

that m i l l ions of people have l ived i n Berl i n

over the past 25 years .

I can 't be expected to sort th roug h every

one of them for you r mystery man , can I ?

It's 1 9 , 467 , 000 ,

62 . 2% S lavic orig i n , 49 . 2% male .

1 . 2% between the ages of 49 to 50 .

That's 71 , 291 .

That's someth i ng , isn 't it?

There's noth i ng I can do to hel p you , m iss .

O kay.

Who is he?

Th is man you have to fi nd .

Who is he to you ?

I don 't know.

(I N D I STI N CT C HATTE RI N G AN D LAU G HTE R)

(M U S I C P LAYI N G OVE R H EAD P H O N ES)

(I N D I STI N CT C HATTE RI N G CO NTI N U ES)

TO B IAS : To or from ?

Everybody who comes in here is running.

E ither to someth i ng or from it.

I see a lot l i ke you . Ru n ners .

They come to me th i n ki ng a new passport means a new l ife .

Th is is no good .

It's perfect. The data stri p's been demag netized .

The on ly place th is gets me is a hold i ng cel l .

You want better, you pay more .

O r I put word out that Tobias sel ls bad paper.

Be carefu l , l ittle g i rl .

Th is world is a dangerous place .

(I N D I STI N CT TAL KI N G)

(C H I L D LAU G H I N G)

(G RU NTI N G)

(G U N S H OTS)

(OVE RLAP P I N G VO I C ES)

(LAU G HTE R)

(S H O UTI N G I N D I STI N CTLY)

(SC REAM I N G) (G RU NTI N G)

(B E L L RI N G S)

(C RYI N G) (G RU NTI N G)

(RI N G I N G CO NTI N U ES)

(PANTI N G)

(RI N G I N G CO NTI N U ES)

(S I G H S)

(I N D I STI N CT C HATTE RI N G)

(M U F F L E D TAL KI N G AN D LAU G HTE R)

(DAN C E M U S I C P LAYI N G)

(S I G H S D E E P LY)

(P ROC ESS I N G CO NTI N U ES)

(COM P UTE R C H I M ES)

(L I N E RI N G I N G)

(B E E PS) D IANA: 4 7, it's Diana. You ha ve company.

Who is he?

A Syndicate asset.

Name, unknown.

Technical capacities, unknown.

H e fou nd her.

Means he 's good.

You ' re better.

L'm sure you can handle him.

You have 48 hou rs to term i nate both targets .

(L I N E D I SCO N N ECTS)

(VE H I C L E PASS I N G BY)

(WOMAN S P EAKI N G G E RMAN OVE R PA)

Sorry.

You do know that steal i ng is a cri me , don 't you , Katia?

That is you r name , isn 't it? Katia van Dees?

My German 's not. . . Are you some ki nd of cop?

N o . H ow do you know my name?

I ' m J oh n . J oh n S m ith .

I 'd l i ke to buy you a cu p of coffee .

I ' m not i nterested .

H ow about i n l ivi ng ?

Are you i nterested i n that?

Wal k away or I ' l l scream .

H e won 't care .

J O H N : He 's here to kill you, Katia.

And I ' m here to stop h i m .

I know you don 't have any reason to trust me but look at h i m .

Look at how he moves .

Look at the shadows u nder h is coat.

Look at h is eyes and tel l me that I ' m lyi ng .

Why wou ld anyone want to ki l l me?

For the same reason you ' re tryi ng to

look for someone you can 't fi nd .

The man I ' m looki ng for, do you know where he is?

N o , but you do .

What do I have to do?

There's a mai ntenance door, the north end of the track, one level down .

It's been unlocked for us. We 're gonna head there now.

Go through the corridor up the stairs to the back alley.

There' l l be a car waiti ng for us there .

Ru n ! (P EO P L E SC REAM I N G)

(PAN I C KE D SC REAM I N G AN D YE L L I N G)

(BOTH G RU NTI N G)

(H O RN B LARES)

(PANTI N G)

(GAS PS) Move .

F ranco , we' re com i ng you r way.

H u rry ! H u rry !

(E N G I N E STARTS)

Where's the Agent?

H e's rig ht beh i nd us ! Move ! Move ! Move !

(TI RES SC RE EC H)

Katia , are you h it?

Who the fuck are you people?

Cal m down , Katia ! You ' re safe .

We've been sent to protect. . . (G LASS B REAKS)

(GAS PS)

(WOMAN SC REAMS)

(P EO P L E C LAMO RI N G)

(G U N S H OTS)

I work for a corporation cal led Synd icate I nternational ,

and I ' m here to protect you .

F rom who?

H is name is 47 , and he's an Agent.

And rig ht now the on ly th i ng stand i ng between you and h i m , is me .

If you don 't do everyth i ng I say, everyth i ng ,

he wi l l ki l l you .

Let's go !

(TI RES SC RE EC H) (H O RN H O N KS)

We' l l be safe here .

G UARD : Can I see some I D , please?

Bags out and open , please .

(G UARDS S H O UTI N G)

G UARD 2 : D rop you r weapon !

O n the g rou nd ! H ands where I can seem 'em !

G UARD 3 : Don 't move ! G UARD 4 : Get them cuffed !

Come on with me . Let's go . G rab that bag .

Let's go !

(B REATH ES D E E P LY)

(DOO R O P E N S AN D C LOS ES)

(C L EARS TH ROAT)

M iss van Dees , is it?

You m i nd tel l i ng me why you ' re here?

'Cause you r friend i n there wou ld n 't tal k.

H e's not my friend . I don 't know who he is .

SAN D E RS : Al l rig ht. Maybe we can start with

why he d ischarged a fi rearm i n front of my em bassy.

Someone's tryi ng ...

I th i n k someone's tryi ng to ki l l me .

J oh n was tryi ng to hel p me .

Does th is someone have a name?

Is someth i ng wrong , M iss van Dees?

(EC H O I N G) M iss van Dees !

H e's com i ng .

S h it.

(B E E PS)

G UARD : F reeze !

H ands i n the ai r!

(P H O N E RI N G I N G)

Sanders .

(DOO R O P E N S AN D C LOS ES)

B laser R93 L RS2 .

C ustom config u red rig ht-hand twist.

4-24x50 sn i per scope , and ...

(G U N C LOC KS)

... hai r trigger.

Very n ice .

(S NAPS F I N G E RS) Come here .

Almost as nice as the twin . 45s,

and these very special knives you walked in here with.

You like riddles ?

Yeah, me neither.

I hate 'em , actual ly.

But you, my friend, are a riddle to me.

'Cause l've run your face and your prints

through every database we ha ve.

And you know what we fou nd ?

N oth i ng .

So

why don 't we start with your name ?

47 .

That's not a name .

N o , but it is m i ne .

O kay.

Al l rig ht, M r. 47 .

What exactly are you ?

An assassi n .

An assassi n . O kay.

You ' re here to ki l l who exactly?

You have a g i rl here .

I don 't know what you ' re tal ki ng about.

Do you love you r fam i ly?

My fam i ly?

Yes , you r wife ,

you r two smal l ch i ld ren .

Do you love them ?

We' re not tal ki ng about me , we' re tal ki ng about you .

N o , we' re tal ki ng about l ife .

And death .

Do you love them ?

Al l rig ht.

Maybe we shou ld j ust start over.

AG E NT 47 : I bel ieve you do .

That's why you shou ld let me go .

You l isten to me very carefu l ly, M r. 47 ,

or whatever the fuck you r name is .

There's a lot of ways th is th i ng can end ,

and that is enti rely u p to you .

B ut you can be goddam n certai n that th is th i ng is not gon na end

the way that you thoug ht it was .

'Cause the last ti me I checked ,

you ' re locked i n here with me ,

and I ' m the one with the g u n .

N o , M r. Sanders .

You are locked i n here with me ,

and you j ust broug ht me m i ne .

(G RU NTI N G)

(GAS P I N G)

Do you love you r ch i ld ren enoug h to d ie for them ?

(J O H N G RU NTI N G)

F reeze !

Let's go . Let me hel p you .

G UARD : (OVE R PA) Two suspects, one male, one female,

ha ve broken out of lnterrogation Rooms 1 and 2.

They are armed and dangerous. Proceed with caution.

Sergeant.

Is everyth i ng al l rig ht, si r?

S i r?

(S I RE N WAI L I N G)

H u rry ! H u rry !

(B RAKE SC RE EC H ES)

J O H N : Get out !

Move !

(ACC E L E RATI N G)

(TI RES SC RE EC H I N G)

(PANTI N G)

You want to tel l me what's happen i ng now?

(B REATH I N G H EAVI LY)

What the fuck is happen i ng ?

The man you ' re looki ng for, h is name is Peter Aaron Litven ko .

Who is he?

You r father.

KATIA: Tell me about him.

I don 't know m uch .

O n ly that he's a geneticist, an expert i n h u man biogenetics

who spearheaded a prog ram of experi mentation .

What ki nd of experi ments?

The ki nd that created ki l lers .

(SCO F FS)

They engineered human beings by targeting and enhancing specific genes.

The resu lti ng su bjects were stronger, faster,

more i ntel l igent than normal people .

They prog ram med out pai n , fear.

Even love.

They were called Agents.

And you r father was one of the prog ram 's lead scientists .

You ' re not serious .

What does any of this ha ve to do with me ?

Why do they want to kill me ?

Kryton Tech nolog ies has restarted the Agent P rog ram .

They're building Agents right now.

Like 4 7, maybe worse.

They bel ieve that you ' re the key to fi nd i ng you r father.

KATIA: l don 't understand.

J O H N : Your father knows their weakness.

H e knows how to stop them .

(G U N S H OT)

(KATIA YE L LS) J O H N : Katia !

(S H OWE R RU N N I N G)

Are you okay?

N o . (SCO F FS)

Is you r name real ly J oh n S m ith ?

It's B rian .

Wel l , at least you d id n 't say it was Agent 46 .

N o , that's someone else .

Come here . Let me hel p you .

You ' re gon na be al l rig ht.

Wi l l I ?

I ' m sorry.

For what?

For havi ng to tel l you who you r father is .

Wel l , you told me the truth .

That's more than anyone's ever done for me .

Why do they th i n k I can fi nd h i m , J oh n ?

It doesn 't matter now.

It does .

Tel l me what you know.

I know that you ' re i n danger.

The best th i ng you can do rig ht now is h ide .

I 've been h id i ng my enti re l ife .

P lease , tel l me what you know.

(S I G H S)

I ' m authorized to protect you , Katia ,

not fi nd you r father.

Don 't do th is . (KATIA PAC KI N G U P)

I have to .

J O H N : O kay.

When we were research i ng you r father, we fou nd a fi le .

It mentioned you . It said that...

Said what?

It said that he changed you .

C hanged me how?

It said that he had en hanced you r su rvival ski l ls .

It's why we th i n k you 've been h id i ng .

It's why we th i n k you 've been able to keep off the radar.

It's why we th i n k you 've been able to stay al ive for so long .

That's why I ' m always afraid .

Yes .

(C H U C KL ES L I G HTLY)

J esus !

They th i n k I know how to fi nd my father.

What is th is?

It's my father's l ife .

What else do you know about h i m ?

J O H N : J ust what I 've told you .

KATIA: You m ust have someth i ng . H ow old is he?

72 .

Where was he born ?

U krai ne .

Med ical cond itions?

H e was d iag nosed with rheu matoid arth ritis i n h is 40s .

KATIA: Somewhere warm , then .

What else?

Lu ng cancer.

O u r last confi rmed sig hti ng was a hospital i n Seou l , South Korea i n 2011 .

H e was engaged with some cl i n ical trials

for someth i ng cal led nanoparticle i n halation therapy.

H e was Stage I I I then .

So , u h , travel wou ld be d ifficu lt.

(KATI E C H U C KL ES)

Does he have money?

We th i n k so .

Somewhere warm with advanced med ical faci l ities .

A city.

H obbies?

What d id he love to do?

O rch ids .

H e was an expert on orch ids .

What lang uages d id he speak, J oh n ?

U h , E ng l ish , Russian , Mandari n and Tam i l .

Why Tam i l ?

Because you r mother was from S ri Lan ka .

(EC H O I N G) You know where he is , don 't you ?

Katia .

You told me you wanted to do th is ,

and I told you I 'd do it with you .

B ut if you want my hel p , you have to tel l me where he is .

(P H O N E RI N G S)

(J O H N G RU NTI N G)

GARAD : (OVE R S P EAKE RP H O N E) We 've lost the girl.

I thoug ht you told me that you r J oh n S m ith wou ld be adeq uate .

We underestimated this Agent.

F i nd Litven ko , whatever it takes .

And Garad ,

better the g i rl dead than th is Agent fi nd i ng Litven ko before we do .

AG E NT 47 : Katia .

Katia .

(G RU NTI N G)

Do you know why you ' re sti l l al ive?

Because I chose not to ki l l you .

B ut they wi l l .

After they use you to fi nd you r father.

What do you know about my father?

As m uch as you do .

YO U N G L ITVE N KO : lt's gonna be okay.

(EC H O I N G) No!

AG E NT 47 : Ti me to make a choice , Katia .

Them or me .

KATIA: Why shou ld I trust you ?

AG E NT 47 : You don 't have to . J ust trust you r memories .

Take my hand .

Do you remem ber the day you ran away, Katia?

KATIA'S MOTH E R: Peter, we ha ve to go!

AG E NT 47 : You r father's lab? The car rides?

L ITVE N KO : lt's okay.

AG E NT 47 : The last ti me you saw

you r mother? (G U N S H OT)

L ITVE N KO : No! No, no, no!

You were there .

AG E NT 47 : Yes.

We were part of the same program.

(G UARDS S H O UTI N G I N D I STI N CTLY)

L ITVE N KO : We need to go. Quick!

Run! Quick!

Now, get down. Get down, please!

Papa!

(EC H O I N G) You will live.

H e left me . Why?

F i nd h i m . You can ask h i m you rself.

U ntie me .

You have a lot to learn , Katia .

We don 't have a lot of ti me .

U ntie you rself.

(MAC H I N E POWE RI N G U P)

(E F FO RT G RU NTI N G)

(B REATH I N G D E E P LY)

That took you too long .

KATIA: I d id n 't know that was a test.

AG E NT 47 : Everyth i ng is a test.

Keep taki ng these , you ' l l fai l .

H ey, I need those .

What you need is a clear head .

Stop fig hti ng what you are .

And what am I ?

Keep aski ng q uestions , probably dead .

What am I ?

You ' re the same as me , on ly better.

B u l lsh it ! I ' m j ust Katia van Dees .

You speak F rench , S pan ish , Mandari n . Where d id you learn them ?

H ow d id you free you rself from the rope?

You 've been prog ram med .

And you r name isn 't Katia van Dees .

It's "Quatre-vingt-dix." F rench for "90 . "

So I ' m 43 versions better than you ?

Do they know?

If they knew, you 'd be the target.

Come on , let's go .

If you need my hel p to fi nd my father,

why d id you shoot me?

I d id n 't shoot you , I marked you .

KATIA: There are so many.

If I shoot one , the rest wi l l converge .

So what do we do , Katia?

Avoid them .

N o . S u ppress you r fear, face the th reat.

You r father prog ram med you

to see and hear everyth i ng at extremely heig htened levels .

You process that i nformation to antici pate the th reat.

So , antici pate it.

(MAC H I N E STARTI N G)

Katia .

There .

(MAN SC REAMS)

COMMAN D E R: (OVE R RAD I O) Area Four, all...

Katia .

N ow. (B E E PS)

I need you to step out there .

Why?

To d raw them toward you .

They' re goi ng to shoot me !

They' re not gon na shoot you .

Do you want to see you r father agai n ?

Trust me .

MAN 1 : (OVE R RAD I O) l ha ve a visual target, locked.

(MAN 2 RE P LYI N G) Moving in.

(AG E NT 47 G RU NTS)

(GAS P I N G)

H el lo , Katia .

(G ROAN I N G)

I ' m on ly goi ng to ask you once .

Where is you r father?

I want you to know, I ' m a big fan of you r work, 47 .

It's an honor to meet a legend .

I thoug ht you cou ld on ly be a legend after you were dead .

O h , but you are .

You j ust don 't know it yet.

I feel pretty good for a dead man , J oh n .

Al most as good as you .

Yeah ?

Wel l , the th i ng is , I ' m special .

Let's see .

(G RU NTS)

P retty crazy, h u h ?

(G RU NTS)

(GAS P I N G)

(B REATH I N G H EAVI LY)

I ' m better. Say it.

Say it !

KATIA: You ' re not.

You m issed .

N o , she d id n 't.

(ALARM WAI L I N G)

He made a mistake.

KATIA: He had a gun at your head.

And he d id n 't pu l l the trigger.

H e wanted me to know he'd beaten me .

What the fuck was he?

People don 't j ust wal k away from fou r bu l lets .

They j ust don 't.

S u bdermal titan i u m body armor.

It's i njected i nto the ski n i n l iq u id form .

It's flexi ble and extremely strong .

H e had h is nervous system heig htened . Wi red for speed .

I 've heard of these Synd icate experi ments ...

but if they can do th is with h i m ...

N ow wi l l you tel l me where Litven ko is?

Swear to me that you ' re not gon na h u rt h i m .

Swear it.

AG E NT 47 : All right, l swear it.

MAN : Diana, did you hear that?

D IANA: I d id . Send me a l i n k to the asset.

If you l ie to me , I wi l l ki l l you .

I ' m not that easy to ki l l .

H e's i n S i ngapore .

The Synd icate headq uarters are i n S i ngapore .

He 's hiding in plain sight.

(C RAC KL I N G)

(P H O N E RI N G S)

AG E NT 48 : Yes? lt's Diana.

I need you in Singapore as soon as possible.

AG E NT 48 : I ' m on my way.

(DOO R S LAMS O P E N)

(L I N E RI N G I N G)

Yes?

Litven ko's i n S i ngapore . They' re on thei r way.

They' re com i ng . Scan every entry poi nt.

MAN : Yes , si r.

(KEYBOARD C LAC KI N G)

KATIA: The Synd icate's tied to those cameras , isn 't it?

They' re tied to everyth i ng .

Can you hold th is , please? Than k you .

H ow do you fig ht agai nst that?

By playi ng the odds , doi ng the u nexpected .

Take noth i ng for g ranted .

Everyth i ng you do has a reason .

What does that mean ?

J acket. G ive me you r bag .

Rig ht now, it means avoid those cameras .

KATIA: O kay.

(ALARM RI N G I N G)

(GAS P I N G)

I know, that took me too long .

Ask you a q uestion ?

Am I goi ng to end u p l i ke you ?

Bom bs?

Moths .

It's Ital ian wool , they love it.

(KEYBOARD C LAC KI N G)

(B E E P I N G)

D id it h u rt?

AG E NT 47 : Yes .

Do you al l . . . ?

The barcode is g iven to us when we' re born .

And the n u m ber?

When we become Agents .

H e' l l be there i n the morn i ng about 9 : 00 .

It's when the orch ids are i n fu l l bloom .

You know he's dyi ng .

Lu ng cancer.

H e has to use an i n haler now to breathe .

Are you h u man ?

It's j ust that J oh n said

that you ' re not capable of fear or remorse .

They've been su ppressed . Is that true?

Yes . What about love?

I am what I need to be .

What does that mean ?

It means that, i n th is job ,

someti mes it's better not to feel anyth i ng .

I ' m not tal ki ng about the job .

I th i n k you ' re lyi ng .

I don 't bel ieve you can j ust tu rn off fear or love .

I don 't bel ieve anyone can .

I mean , you ' re either a person or you ' re someth i ng else .

Wh ich is it?

Are you aski ng me or you rself?

You can 't fig ht who you are , Katia .

You ' l l lose .

Is that what happened to you ?

You foug ht what you were and you lost?

(CO NTI N U ES SC RAP I N G)

People can change .

Don 't put you r faith i n me .

You ' l l be d isappoi nted .

I sti l l have a job to do .

Wh ich is?

Rig ht now, I need to sleep .

(B REATH ES D E E P LY)

(G U N S C LAC KI N G)

(DOO R LATC H RATTL ES)

(G RU NTI N G)

(G LASS S HATTE RI N G)

When I get anxious and I can 't sleep , I take th i ngs apart.

(B REATH I N G H EAVI LY)

I ' m sorry.

Don 't ever do that agai n .

Were they Synd icate?

N o , freelance .

F riends of you rs?

So , the Synd icate doesn 't know we' re here?

There's an open contract out on us . What do you th i n k?

H ere .

Try not to take th is apart.

S he smel ls fu n ny.

WOMAN : Robert, please !

H ow d id they fi nd us so q u ickly?

You tel l me .

N o games .

What makes you th i n k th is is a game?

The cameras i n the term i nal d id n 't see me .

B ut the one outside , near the exit, d id .

Getti ng pretty good at th is , aren 't I ?

N o , you ' re sloppy.

I ' m gon na have an attack.

Be a good boy. H ere , take you r i n haler.

It' l l be al l rig ht.

(I N HAL I N G)

(E L EVATO R B E L L D I N G S)

Excuse me . (BOY G RU NTS)

KATIA: Where d id you get that? AG E NT 47 : I traded it.

For what? You r kn ife .

(TI RES SC RE EC H)

B ri ng Litven ko and the g i rl to me .

You shou ld n 't have come .

You know who I am ?

You are you r mother's daug hter.

Why d id you leave me?

(S I G H S)

I wanted you to have no part of what I was .

I wanted you to l ive .

You had no rig ht.

To wal k away from you ?

To tu rn me i nto th is isolated , afraid th i ng that I am .

You had no rig ht.

Wal k with me , Katia .

I loved you r mother very m uch .

S he was a l ig ht i n a very dark world .

And more than anyth i ng else , she wanted a ch i ld .

B ut she was u nable .

So we broke every ru le we had , and we made you .

(I N HAL I N G)

We knew that if you were d iscovered ,

they wou ld take you from us .

So we gave you the tools to be free .

Th is isn 't freedom .

N o , perhaps not, Katia .

B ut it is necessary for you r su rvival .

N ow, I don 't expect you to u nderstand ...

but I do ask that you fi nd it i n you rself...

to forg ive an old man h is selfish ness .

And if I can 't?

You wi l l , because you are the reflection

of the woman I loved .

(GAS PS)

I ' m ready.

Get it over with .

Do it now.

H e's not goi ng to ki l l you .

Father.

Yes , he wi l l . It's i nevitable .

Ki l l i ng is what he is prog ram med to do

and who he is .

Isn 't that rig ht, 47?

KATIA: You ' re wrong .

We determ i ne who we are by what we do .

You bel ieve ...

you have a choice?

I bel ieve that's what makes us h u man .

Then it seems ...

that you and you r brother

have a lot to teach th is old man .

I g uess I gave you a fam i ly after al l .

Move ! (GAS PS)

(G U N S H OTS)

(L ITVE N KO PANTI N G)

(ACC E L E RATI N G)

(TI RES SQ U EAL)

(TI RES SC RE EC H)

(B RAKES SC RE EC H)

(G RU NTS)

Gotcha .

(TI RES SC RE EC H I N G)

Seal the bu i ld i ng .

Go !

What do they want?

More of me .

Why wou ld anyone want more of you ?

(TI RES SQ U EAL) (SC REAMS)

O ne and two , stay on h i m . Th ree and fou r, cut h i m off.

B I KE R: C ut h i m off.

(E N G I N E REVS)

(GAS P I N G)

(B RAKES SQ U EAL)

(I N HAL I N G)

B I KE R: They' re boxed i n . They've got nowhere to go .

Rig ht or left, Katia?

Straig ht ahead .

Trust me .

(ACC E L E RATI N G)

H oly sh it !

I want th is bu i ld i ng sealed !

Perhaps you shou ld consider shooti ng h i m .

S u bdermal body armor.

What, they actual ly got that to work?

Yep .

D rive the fucki ng car faster!

Faster! Faster!

We' re not gon na make it.

Trust me .

(ACC E L E RATI N G)

(PANTI N G)

I want al l u n its on station . We take them i n the city.

(GAS P I N G AN D I N HAL I N G)

(H O RN H O N KI N G)

Th is is never goi ng to end , is it?

I ' m afraid not.

H e wi l l never stop .

Who?

Antoi ne Le C lerq . The Synd icate's chai rman .

What if we ki l led th is Le C lerq ? Wou ld it end then ?

You can 't. Maybe not, but you can .

N obody ever gets close enoug h to Le C lerq to ki l l h i m .

H e never leaves h is protected office . N obody ever goes i n .

H e's su rrou nded at al l ti mes by secu rity.

1 4 .

That's how many Agents have tried .

Al l are dead .

(G RU NTS) (TI RES SQ U EAL I N G)

(G RU NTI N G)

(P EO P L E SC REAM I N G)

(E N G I N E REWI N G)

(TI RES SQ U EAL I N G)

(PANTI N G)

(P EO P L E YE L L I N G)

(P EO P L E SC REAM I N G)

(L ITVE N KO GAS P I N G)

(G RU NTS)

(L ITVE N KO G RU NTS) (GAS PS)

KATIA: H el p me ! H el p me !

Get u p ! L ITVE N KO : I can 't wal k !

(G RU NTI N G) Come on , you can do it !

Get u p .

Sorry. KATIA: I can hel p .

Take her away from me !

KATIA: You 've got to ! Come on !

L ITVE N KO : Take her! P lease !

KATIA: Come on !

P lease ! Get her out of here !

N o ! N o !

Take her!

(I NAU D I B L E)

(I N D I STI N CT C HATTE RI N G I N MAN D E RI N)

J O H N : H el lo , Doctor.

(LABO RE D B REATH I N G)

What the fuck d id you j ust do? We need to go back !

H e was al l I had .

I have to hel p h i m .

You can 't.

God , you emotion less piece of sh it !

I shou ld ki l l you . Yes , you shou ld .

B ut you won 't, because you ' re weak.

You ' re noth i ng more than a scared l ittle g i rl

whose on ly real g ift. . . is ru n n i ng .

F uck you . (S I L E N C E D G U N S H OT)

D NA seq uences , Doctor?

Adaptive m utation bacteriophages .

E pistasis rates , transfer RNA?

Come on , Doc. (S LAMS TAB L E)

I don 't want to do this.

Believe me, you don 't want me to do this either.

(TYP I N G)

So tell me what l need to know.

Tell me...

how to make an Agent.

Th is sh it's experi mental , Doc.

I 've seen it work...

and bel ieve me when I tel l you

you don 't wan na be the one it's worki ng on .

You ' re a bastard .

I know.

N o . You don 't.

You ' re a resu lt of i nferior tech nolog ies .

A fai led experi ment.

An Agent's advantage is not h is body, J oh n S m ith .

It's h is m i nd .

You wi l l never be as good as h i m .

Cook h i m .

(G RU NTS)

(P ROC ESS I N G)

(G ROAN I N G PAI N F U L LY)

For fuck's sake , Doctor, g ive me what I need .

(L ITVE N KO G RU NTS PAI N F U L LY)

L E C L E RQ : S h it.

(PANTI N G) M r. C hai rman .

Are you al l rig ht?

N o , I ' m not.

I need the C hai rman 's detai l . The C hai rman is out.

O P E RATO R: 995.

E mergency Services , please .

Can l ha ve your location, please ?

Dose h i m agai n .

It cou ld ki l l h i m .

Do it.

O h , fuck it !

(DOO R S LAMS O P E N)

L E C L E RQ : That's q u ite enoug h , J oh n .

You can wait outside . Al l of you .

It's okay, J oh n .

(GAS PS I N RE L I E F)

(LABO RE D B REATH I N G)

(DOO R C LOS ES)

Petya .

Can you hear me?

I ' m goi ng to be com pletely honest with you .

I ad m i re you .

You 've created someth i ng u n iq ue .

A better h u man bei ng , and I want it.

I 've bet my wealth , my com pany, my reputation ...

everyth i ng , on the success of th is prog ram ,

you u nderstand .

Good th i ng I sold you r stock, then .

You and I aren 't so very d ifferent. You know th is .

L ITVE N KO : O h , you ' re wrong .

People can change .

N o .

N ot people l i ke us .

What you d id ...

when you chose to play God can never be u ndone .

You can 't ru n from what you are .

So , I shou ld ...

em brace it?

Restart the prog ram with you at its head ?

Yes .

You always were a smal l man , Antoi ne .

A derivative th i n ker, at best.

Th is desperation , it su its you .

(S I G H S)

The key to everyth i ng ...

is i n you r m i nd , and you ' re goi ng to g ive it to me .

Tel l me how to bu i ld an Agent.

You don 't want an Agent.

Then what do I want?

An army.

And I won 't g ive it to you .

Then you ' re goi ng to d ie .

I ' m al ready dead .

Yes , but what about you r daug hter?

You don 't have her.

O h , but I wi l l . Eventual ly.

G ive me what I want, and I ' l l leave her i n peace .

I g ive you what you want, there wi l l be no peace .

AG E NT 47 : (OVE R S P EAKE R) Mr. Chairman.

(DOO R O P E N S)

Where is he?

H ow d id he get i nto ou r system ?

GARAD : l don 't know, Mr. Chairman.

I ' m assu m i ng by you r reaction that you know who I am .

What do you want?

To make a deal.

L E C L E RQ : You have noth i ng I need .

You 're wrong.

You want what's i nside Litven ko's head ...

but he won 't give it to you.

I can.

H ow?

Window.

You want the next generation of Agents...

but you 've been looking in the wrong place.

You thought the girl was merely a way to find Litvenko.

A means to an end.

Truth is ...

she is the end.

(GAS PS)

That's right.

Everything you need...

the strength...

the speed, the intelligence, is right there.

...locked inside her DNA.

So you want to trade h i m for her? Why?

Because I always close my contracts .

F uck you .

There's a hel i pad on the roof.

Get h i m someplace secu re .

(GAS P I N G)

(STRAI N I N G)

(H E L I CO PTE R E N G I N E REWI N G)

(C RAC KL I N G)

(MAN SC REAMS)

(G LASS S HATTE RI N G)

(E L ECTRI C ITY C RAC KL I N G)

(ALARM B LARI N G)

H ead i ng back to the safe room .

I want al l teams to floor 40 .

AG E NT 47 : lt's not gonna be enough, John.

N o . You stay with me , you protect me !

AG E NT 47 : So many choices. And only one right answer.

What's it gon na be?

Emotion or duty?

It was too q u ick. F i re was here too q u ick.

Someone cal led them before the crash .

What does that mean ?

It means he was never on that hel icopter.

(S I L E N C E D G U N S H OT)

Get them out.

(G U N S H OTS)

(B U L L ETS C LAN KI N G)

(E L ECTRI C ITY C RAC KL I N G)

(B REATH I N G H EAVI LY)

What was you r m istake?

I don 't make m istakes .

You needed me to know

you were better than me .

(G RU NTI N G)

(C H O KI N G) (E L ECTRI C ITY C RAC KL I N G)

(ALARM WAI L I N G)

Where is he?

AG E NT 47 : O n the roof.

(M U S I C P LAYI N G)

When th is is done , I wi l l ki l l you .

(L ITVE N KO B REATH I N G H EAVI LY)

(MAN G RU NTS)

(G U N S H OTS)

Ah h h !

(G RU NTS)

(B REATH I N G H EAVI LY)

(G U N S H OT)

(G U N C L I C KI N G)

(B REATH I N G H EAVI LY)

(H E L I CO PTE R B LAD ES WH I RRI N G)

You r mother wou ld be proud .

What?

N oth i ng .

I dou bt you 'd u nderstand .

L E C L E RQ : It doesn 't matter.

We' l l fi nd her.

I bel ieve you wi l l .

(GAS PS)

(C E L L P H O N E B E E PS)

D IANA: Confirm target termination.

Target: Le C lerq , Antoi ne ...

term i nated .

And the other?

Second target?

4 7?

4 7?

Le C lerq .

H e was you r target the whole ti me?

Everyth i ng you taug ht me

was j ust so you cou ld have a d iversion .

It was necessary.

What, to ki l l a si ng le man ?

N o .

To put a stop to the Agent P rog ram once and for al l .

And to set you free .

You r father loved you , Katia .

H e u nderstood that Le C lerq wou ld not rest

once he knew who you were .

That he wou ld h u nt you down .

So he d id what any parent wou ld .

H e d ied to save h is ch i ld ren .

Th is is you r m ission , isn 't it?

We determ i ne who we are by what we do .

There is a bu i ld i ng fu l l of h ig h ly trai ned operatives ...

who wi l l be on thei r way u p here , now.

You ' re wrong . There's j ust one .

D iana says hel lo .

(ROC K M U S I C P LAYI N G)

Yeah

Yeah

Yeah

(E L ECTRI C ITY C RAC KL I N G)

Well, it's too long living in the same old lives

Yeah

l feel too cold to live, too young to die

Yeah

Will you walk the line, like it's there to choose ?

Oh, Lord

Yeah

Just forget the wit, it's the best to use

Oh, Lord

l said, "Oh, Lord"

Won 't you follow me into the jungle

Yeah

Ain 't no god on my streets in the heart of the jungle

Oh, Lord, child

Won 't you follow me into the jungle

Yeah

Ain 't no god on my streets in the heart of the jungle

Oh, Lord, child

Yeah

Won 't you follow me into the jungle

l lost my mind, in the city of lights

Yeah

ln the backstreets buildings and the neon lights

Yeah

When l heard the thunder, l could feel the rain

Yeah

lt's the same to me, just a different name

Oh, Lord

l said, "Oh, Lord"

Won 't you follow me into the jungle

Yeah

Ain 't no god on my streets in the heart of the jungle

Oh, Lord, child

Yeah

Won 't you follow me into the jungle

Yeah

Ain 't no god on my streets in the heart of the jungle

Oh, Lord, child

Won 't you follow me into the jungle

Oh, Lord

Oh, Lord

Oh, Lord

Oh, Lord

l said, "Oh, Lord"

l said, "Oh, Lord"

Wont you follow me into the jungle

Ain 't no god on my streets in the heart of the jungle

Oh, Lord, child

Won 't you follow me into the jungle

Ain 't no god on my streets in the heart of the jungle

Oh, Lord, child

Won 't you follow me into the jungle