All language subtitles for Nowhere Man s01e06 The Spider Webb

My name is Thomas Vail, or at least it
was.

I'm a photographer.

I had it all. A wife, a husband, a
friend, a career.

And in one moment, it was taken away.

All because of a single photograph.

I have it.

They want it.

And they will do anything to get the
negative.

I am keeping this diary as proof that
these events are real.

I know they are.

They have to be.

When my life was taken, I was
incarcerated at Callaway Psychiatric

There was one person who seemed to know
something about the nightmare that

awaited me. His name was Dave Powers.

Called himself Eddie.

For the last two months, I've been
trying to find some connection to him,

is, where he came from, family and
friends.

And what I've come up with is an old
military record and phone book listings

more than 100 Dave Powers in two dozen
cities.

The first 14 have been dead ends.

This is the fifth city in the 15th name.

I'm hoping, I'm always hoping, that my
luck's about to change.

Excuse me.

Excuse me.

20 bucks for an overnighter. 10 if you
can finish your business in under an

hour.

Yeah?

What about it?

Do you know this man?

I know a lot of people.

Don't know that I know what I know,
though.

Well, maybe this will help.

I know him. He's a head case.

Always walking around with two eyes
behind his head and looking over his

shoulders as if maybe somebody's about
to jump on him.

Were they?

You ever see anybody following him?

I mean, anyone asking questions?

Not until you showed up.

This is almost getting to be more of a
problem to keep him than to throw him

on his ear.

So why didn't you?

How many people you know pay a year's
tab in advance?

And he paid you a year in advance?

Only thing kept him out of the hatch, as
far as I'm concerned.

How long ago was this?

About nine months.

I want the key to his room.

Raul, did Nancy change tables?

Excuse me?

Nancy, as in my wife?

Good smile, great legs, lousy tipper.

She's not at our table.

I'm sorry, sir.

I don't know who you're talking about.

Sir? What, are you kidding?

We were at that table over there.

Two of the people there.

Mr. and Mrs. Charney have said that
booth's reserved.

Every Thursday.

For the last ten years.

So where is she? Sir, perhaps if you'd
come to the front desk?

The joke's over.

So where is she? The joke's over, Raoul.
Where is she?

I'm afraid I'm going to have to ask you
to leave the restaurant.

I'm not leaving the restaurant, Raoul,
until I find my wife, Nancy.

Nancy, it's me.

Open up.

Conversation's over, friend. You either
turn and leave, or we'll carry you out

of here.

We have speed.

Rolling.

Take two. Marker.

B mark.

And action.

All right.

Talk to me.

I don't know what you want me to say.

Come on, Nancy.

What are the rules of the game here?

Who put you up to this?

I don't know what you're talking about.
Cut the crap, okay?

It's about the photograph, isn't it?

There's no way you could have gotten
into my bank account and changed the

all by yourself.

Who are they, Allison?

All right.

They told me that if I said anything,
they'd kill you.

But who?

Who are they?

I don't know. Some men.

But who?

Government? Military? What did they say?
I didn't want to put you in this

situation. Them.

I'm sorry. Did he have to grab me like
that? Because I spent a long time on my

hair, and that just totally ruins it.

Angie, this scene is crucial to the
plot, okay?

No, no, no, no. Just think about it.

The night before, Lenny's just seen you
with another man posing as your husband.

He's got to get you alone to try to get
some answers. He's desperate.

I don't think he's worrying about your
hair.

Okay, fine. I will just look like crap
for the rest of the show.

And look, forget about her hair.

I got a problem with this whole damn
scene.

Popping up out of the backseat of a car.

How predictable can you get?

You got a problem with predictable, is
that it? Yeah. Yeah, I do.

Oh, to hell with you, Robert. You're
fired.

Get off of my set. Get out of the
building.

Hey, you don't have the power to fire
me.

This isn't even your show.

You get this straight, Phil.

I am Lenny Little.

You toss me, you toss the whole series.
Okay, okay, that's it.

That's it. That's predictable.

You know why? Because it's real.

Because when something somebody wants
very much is suddenly taken away,

going to fight like hell to get it back.

Even to the point of popping up in the
backseat of a car.

You got it?

Yeah. Yeah, okay.

Maybe you have a point.

Thank you.

Now, you think we can do this scene?

Maybe make our air date?

Actors.

All right, take five, everybody.

Back to one.

Was that a line Lee Strasberg had in The
Godfather? This is a profession we have

chosen.

You're one of Angie's guys, right?

How do you know all this? You all look
alike. You're about that tall, good

-looking. No, no, I mean about the show.

How do you know about all this?

Who are you people?

Look, buddy, this is a closed set. If
you're not with... Listen, I asked you a

question. What the hell are you people
doing here? How do you know all this?

I mean, Allison in the car, the scene in
the restaurant.

It's called a script.

Lots of pages full of little words to
tell the actors what to say. Look, pal,

I'm just a director. I just interpret.

You got a problem with the script, you
take it up with Max Webb.

Who's Max Webb?

He's the writer -producer of this
extravaganza.

Are we through with the emotion here? I
got a future to dream about again.

Hey, that's my script.

So, Lenny is sitting there in a
straightjacket opposite Dr.

Landers. Now, Landers is one of those
friendly, benign types.

I've got a buzzer.

I used it.

Look, this is a really bad time. If this
is about my ex... Who do you work for?

Who the hell are you? I said, who do you
work for?

I work for the government.

Two ex -wives and the bank. It's the
American dream.

What are you, a fan?

You know damn well who I am.

Just what point do you think you're
trying to make? I don't know.

Okay, I think it has something to do
with identity.

You know, the individual against the
oppressive, faceless society. But I

know whether I'm making my point very
well.

Cut the crap, Webb.

You're replaying scenes from my life. I
want to know why.

I suppose I'll take that as a
compliment.

Wasn't that his one?

Well, I've obviously struck a nerve
somewhere.

I mean, if you identify with Lenny, I've
done a good job.

If you identify with Lenny enough to
find out where I live, break into my

well, hell, I'm a writer. Sue me, I'm
flattered.

I just want to know what you think
you're trying to prove.

See, I don't know.

I don't know. Okay.

I think that what I'm trying to prove is
that Lenny doesn't have a choice.

You sure about that?

Hey, I'm the writer.

Okay, okay.

Take this week's episode, for example.

Lenny actually thinks that he's going to
find all of the answers to all of his

questions. You know, I mean, he's
traveled 1 ,200 miles actually believing

he's going to get to the bottom of
things. And then, by the time that he

there, whammo!

You know, they're already one step ahead
of him.

I'm telling you, he's becoming
predictable.

Maybe he's doing it on purpose.

To give the opposition a false sense of
confidence.

Hey, hey, ooh, ooh, ooh, that's a good
idea. Ooh, that's good.

Ooh, that's good. Okay, note.

Idea for a way around Lenny's
predictability.

Maybe he's doing this on purpose.

No.

No, because, you see, okay, the thing
is, you see, I've made the heavies too

good.

Downright brilliant, actually.

They're just not that easily fooled.

Neither is he.

Yeah, but Lenny is Lenny's one guy. He's
one guy. The opposition, they've got

the means, they've got the money.

Well, maybe you underestimate your
leading man.

No, I know exactly who Lenny is and what
he's capable of.

Lenny's in hell until he gives them what
they want.

And there's nothing he can do about it.

Yeah, okay, sure.

Yeah, okay, yeah, I will.

Mmm.

Oh, this stuff's got legs.

I'm gonna go get a fresh batch.

with a thousand questions.

Who are you? What do you want?

You know, he gets answers, but none of
them are satisfying.

So the writer gets up, he walks into the
kitchen, and he takes a beat, thinks

over his alternatives, but he can't
resist.

He's got to know what the guy is up to,
so he crosses to the dictaphone, and he

plays back a section of the tape.

This is over.

Not that I don't appreciate the
occasional interruption, but I've got

do.

I wrote the scene, my friend. I know how
it ends.

Oh, and don't overestimate your value. I
will use this.

Now, get up.

Hey, enjoy the show.

You might learn something.

Simmons?

It's Max.

Yeah, he was just here.

No, no, no, no. Everything went
according to plan.

Yeah.

All Springwood residents, there's been
an unauthorized entry in building one.

Lock the door. Stay inside.

Security has been dispatched.

Come on, come on.

Allegra International. Good morning. Can
I help you? Where are you located?

Who's calling, please?

Max Webb.

Please hold, sir.

Attention all Springwood residents.

There's been an unauthorized movement in
building one.

Lock your doors and stay silent.

Yes.

Okay, I can have him return your call.

Can I help you?

Yeah, I'm here to see Mr. Simmons.

Do you have an appointment?

No. It's going to take a minute. I'm
sorry, but Mr. Simmons can only be seen

appointment.

Right there. Mr. Simmons. All right,
well, how do I make it?

Mr. Simmons? Yeah.

If you'd like to leave your name and
number, I can have someone get back to

All right, okay.

Thank you.

You're at 3 o 'clock tomorrow. You have
to be moving.

I want to get this all ramped up. I want
every project on my desk by six. I

won't be back, but I want it back.

Got a four o 'clock haircut.

Somebody tell Sally to confirm with
Oscar.

I'll take care of it, Mr. Simmons.

Oh, my God.

Hey,

mister, are you... Are you okay, man? I
didn't even...

Frank!

What the... Who are you? What do you

want? Who are you, what is Allegra, and
what is your connection to Max Webb?

That's a lot of questions.

Talk to me, Simmons.

Or watch you kill me.

You don't have it in you.

I didn't have it in me. Things happen.
People change.

Who are you?

You know I can't tell you that.

We'll see.

You think if you kill me, it'll stop?

I don't know.

Maybe not.

Maybe it'll just give me some pleasure
knowing I've taken one of you bastards

out.

Isn't that funny?

How do you know that killing me isn't
exactly the move they want you to make?

You're in over your head.

Not for you, Pally.

What can I get you?

Oh, uh, some cold would be great.

Beer, iced tea, lemonade?

Lemonade's fine.

You okay, buddy?

Yeah, I'm fine.

What do you work for? What's your
connection to Max Webb?

That's a lot of questions.

Talk to me, Reichardt. For what?

You gonna kill me?

You don't have it in you.

Yeah, I didn't have it in me.

Things happen. People change.

This thing again?

Where the hell did it come from? Some
kind of a pirate broadcast.

I heard a rumor they do it down in
Mexico.

Hey, leave it.

It's good.

Who are you?

You know I can't tell you that.

You think if you kill me it'll stop?

You're in over here. Just what they'd
expect you to do.

I just don't get why he does what they
expect him to do all the time. You ask

me, when he keeps up like this, he's one
dead puppy.

I don't know what I expected to find
when I came looking for pieces of

life.

What I found was as mysterious as the
man himself.

I know those heartfelt lips.

I've been misdeaf -caught by these
psychic groups.

Running from myself and the race is
nipping tough. If love's a lady and love

is blind, for argument, what's blind
love?

Can't wait for a plan to align.

Can't wait for me to reign.

I need someone to tell me.

Luck's about to change.

What the hell is this place, Eddie?

Sort of a shame, don't you think?

At one time or another, all this seemed
really important.

Everyone here meant enough to someone to
justify all this paperwork.

You take Dave Powers, for instance.

He put up a good fight.

He lost.

And now, he's done so much useless
paper.

What do you want from me?

I thought we'd already been over that.

Well, I'm a slow learner.

I doubt that.

Where are the negatives?

Why are they so important?

They're not.

You are.

Maybe you can refresh my memory.

You see, it's an attitude like that that
keeps getting you into trouble.

Don't you realize there's no future in
running?

Well, I've done okay so far.

Oh, is that so?

What makes you so sure of that?

Well, uh...

I'm here where I want to be, not back in
Calloway where you want me to be.

Then what am I doing here?

Did you really think we didn't know
about Mr. Powers?

That we didn't know you'd come looking
for him?

Like I said, predictable.

Unless I just walk away.

It doesn't matter now.

You've seen to that.

Yeah, but you can't walk away.

You never could.

You just gotta dig till you get all the
answers, don't you?

No, sir.

No. I'm afraid what I said before was
the truth.

When a person is driven, when something
is so desperately important to him,

he becomes predictable.

And that's your basic problem.

And your basic problem is thinking you
can get everybody to play your game.

Well, most people.

Well, we all make our choices.

So if I were to tell you that right now,
right at your feet, was the last

episode of The Lenny Little Show, you're
telling me you could just walk away,

huh?

What difference does it make to me?

You're my biggest fan.

No one else watches with your
enthusiasm.

See, this is the episode where Lenny
finds out all the answers to all of his

questions.

The where.

The why.

The who.

It's the moment of truth.

Hey!

Hey, hi!

Come here.

You're the guy I saw the other day on
the set. Come on over.

Come on, sit down.

Hi.

Hey,

have you read this?

Uh, no, no, not yet.

It's a total bummer, trust me. They got
Lenny with this gas that, like, makes

him docile and helpless.

It's like a chemical lobotomy. I mean,
just read the end. I just can't believe

that Lenny fell for it.

What happened?

Okay, he breaks into this big corporate
place, a leg or electric something.

Allegra? Yes.

That's it. That's it.

Wait, I thought you said you didn't read
it.

Okay. Well, anyway. Okay, so there's
Lenny with all these ropes, and he's,

scaling up the outside of this building,
which is totally out of character

because he's a photographer.

He's a photojournalist. He's seen a lot
of military action, and it's completely

out of character.

Wow, you totally, like, know this show.

I don't know. I just thought Lenny was a
little smarter than that. I mean, he

just walked right into their trap.

Maybe he had no choice.

Everyone has a choice.

Maybe what's in that building is too
important to him.

Yeah, maybe. Would you like something?

No, thank you.

You know what? I'm kind of glad it's
over because that Nancy character is a

backbuster.

Yeah, she's complex.

Her emotions are never very easy to
understand.

Yes, exactly.

I mean, I could never figure out whether
or not she was on Lenny's side.

One day I'm convinced that she's doing
it just to protect him, and then the

I'm, like, convinced that she's in on
it.

It's so hard to play a scene, you know,
when you don't know where you're coming

from. Does that make sense?

Yeah.

Maybe she just loves him.

I mean, maybe you just have to assume
that from the beginning, and then things

fall into place from there.

Yeah, maybe.

Do you work for Mac?

In a way, yeah.

Don't tell him what I said about, like,
the rope and climbing the building and

everything because Max has a fit if we
don't just bow down to everything that

writes. I won't say a word.

I still don't buy it, though. I mean, I
never would have gone into that

building. It was just such an obvious
setup.

That's good, Robert. Keep looking.

Robert, anybody could be coming.

Can't afford to get caught now.

That's good.

That's good. A little more.

Keep going.

So much for being predictable.

I made it up the rope.

Hey, I was doing fine.

Sorry, Phil.

Last minute changes.

Oh, by the way, we're going live.

You're in it, guys.

Max, you gotta be kidding.

The name of the game, Phil.

I had a better idea at the last minute.
Even if it gives me apoplexy. Hey, I

don't want to spend any more time on
that rope than I have to.

I look like a clod.

Rope's gone, kiddo.

I like the rope.

With Lenny's background, he can do this
kind of stuff.

Where can the man upstairs go? No more
rope. How the hell does he get inside,

then? He uses the card key he got from
the Allegra executive. Walks right

through the front door.

And right up to room 302.

The rope is so much better.

I think she's right, Max.

Trust me.

It needed a new ending.

Come on, Lenny, it's a trap. What are
you doing?

That's a bonehead. He shouldn't even be
up there.

Well, he's got to get the file.

Ten bucks says the file's not even in
there. Yeah?

You're on.

I can't see a thing.

Turn on the damned light, Bale.

Switch to the infrared channel.

Check his body.

Be sure the gas will be clear. After 60
seconds, the exhaust fans will pull out

the residual gas, no problem.

All clear.

Where the hell is he?

He got out. What about the file?

Son of a bitch, it's Tokyo.

Ah, no!

Move it or lose it.