All language subtitles for Beyond Westworld s01e03 Sound of Terror.eng

[ALARM]

MAN (ON SPEAKER):
We've been hit.

Two canisters--
uranium-235, dawn.

The bomb is of the
utmost importance.

Nothing must stop its delivery.

[MUSIC PLAYING]

I've seen people
electrocuted before.

He didn't strike
me as any different

than any other human being.
- Wait a minute.

Human?

Of course he was human.

What was he supposed to be?

Stop!

[CRASHING]

We have to find out which
member of your group is a robot

and where he's hiding
a nuclear bomb.

[TICKING]

What do you
think you're doing?

He knows exactly
what he's doing.

He's the bomb.

Pam!

Pam.

Pam!

What happened?

I'm OK.

The bomb is built into him.

[WIND ROARING]

[THEME MUSIC]

NARRATOR: It began
with "Westworld."

MAN (ON SPEAKER):
Three, two, one.

Activate now.

NARRATOR: A
futuristic playground

where people could act
out their fantasies

with robots so sophisticated
it was impossible to tell them

from humans.

Your move.

[GUNSHOT]

NARRATOR: Suddenly,
the robots changed,

turned into the deadly
servants of their creator,

Simon Quaid, who took
them "Beyond Westworld."

SIMON QUAID: I have
an impregnable army of

loyal and unquestioning troops.

I've placed robots
all over the world.

He wants it all.

He has one heck of a
good chance at getting it

with those robots.

NARRATOR: Delos, builders of
Westworld, must stop Quaid.

Assigned is security
chief John Moore

and Special Agent Pam Williams.

Let's face it, John.

It's your wits against
Quaid's machines.

[MUSIC PLAYING]

(SINGING) You're [INAUDIBLE]

But you're back in
[INAUDIBLE] just the same.

Put your hand on my head.

Call my name over and over,
over and over [INAUDIBLE]..

Over and over.

[INAUDIBLE] and you belong here.

[INAUDIBLE] but you're
[INAUDIBLE] before [INAUDIBLE]

you can [INAUDIBLE].

But you're back in my
arms, just the same.

Go and give me all your charms.

Call my name over and over.

Over and over [INAUDIBLE]
over and over.

Over and over [INAUDIBLE] here.

Cause when you say my name,
I feel like a loving woman.

I feel like I've been touched.

I've been played before.

But I've never been
played so much.

[INAUDIBLE] over and over
[INAUDIBLE] over and over

[INAUDIBLE] here.

You're gone, but I can
feel you from far away.

I can [INAUDIBLE] you.

Put your back in it,
babe, [INAUDIBLE],,

throw your glasses on the chair.

Call my name over and over,
over and over in my ear.

Once again, over
and over all year.

[ALARM]

MAN (ON SPEAKER):
First-stage alert.

First-stage alert.

We've been hit.

Uranium-235.

Two canisters, gone.

Seal the plant.

MAN: All of us are here
for only one purpose.

And that is we must stop
nuclear power plants.

And I want to thank
Power and Ruben

for bringing their fantastic
musical for us here.

JOSEPH OPPENHEIMER: This
was obviously the mode

of entry into the plant.

JOHN MOORE: And the rock
group's bus was parked right

there, the perfect screen.

JOSEPH OPPENHEIMER: We
checked their schedule.

They were on a tour.

And they stopped at the
demonstration on their way

to the next engagement at
the Sagittarian Theater.

PAMELA WILLIAMS: One
of Quaid's robots.

Had to be.

Who else could have infiltrated
tight security, overcome

the armed guards, carried off
two lead bottles of uranium

that way about 400 pounds, not
to mention the fatal radiation,

had it been a human being?

How much time do you
think we have before they

can build it into a bomb?

It's hard to say.

Here's two charges of
uranium-235, one on the top,

one on the bottom.

When these two charges
are brought together

by this triggering device, boom.

Then Quaid's in business.
Why?

According to
government intelligence,

Quaid has been having
meetings with Hakim Fader.

The North African general
who wants to be president.

And with a little help
from an atomic bomb,

he just might be able to do it.

OK, but what does Quaid
get out of the deal?

Safe haven once Fader's
taken over the country,

where he'd be out of reach
of legal authorities.

Well if we know that the
group is involved in the theft,

why don't we just have them
picked up and brought in?

We can't risk tipping them
off and either losing the bomb

or having the robot explode
it to avoid capture.

Then there's a possibility
that the bomb is still there.

Well, we're not sure.

But we got to start somewhere.

We can infiltrate the group.

We can find him
before he finds us.

[MUSIC PLAYING]

(SINGING) I don't know how
to take love without abusing.

I don't know how to give
respect without losing it.

I don't know how to take the
the fall without using it.

Sometimes I think I'm driven--

driven like a piece of
snow, driven like a piston,

driven out of control.

Like a loved one that's
missing, I'm driven.

I don't know how to break
a bond without bruising it.

I don't know--

It's weird.

What?

Standing here
listening to rock music,

knowing half the state could
blow up in one big mushroom.

Now put that possibility
right out of your mind.

You really think
it's that easy to do?

No.

It sounds good.

Pam, I'm going to go try
and find that uranium

while everybody's busy.

RUTH AVERY: (SINGING)
Driven like a piece of sand.

Driven by a stranger's
hands, like a lightning bolt.

--and blink into
the early light.

I'm young enough
to think, to think.

[TICKING]

[LOUDER AND FASTER TICKING]

Driven like a piece of snow.

Driven like a piston.

Driven out of control.

Like a loved one that
I'm missing, I'm driven.

Are you Moore or Williams?

Williams.

Phone.

PAMELA WILLIAMS (ON PHONE):
John's checking their bus

for the uranium canisters now.

Look, I feel terrible
behind here with you two

sitting there right
on top of that stuff.

What's happening at your end?

Well, I got some pressure
from the Thugger boys.

They're getting antsy,
plugging up the airports

and twiddling their
thumbs, waiting

for Quaid to make his move.

They want to move in right now.

If they did, they could
blow the whole thing.

No pun intended.

JOSEPH OPPENHEIMER (ON PHONE):
Well don't worry about that.

I'll keep them at bay.

I hope we're on
the right track.

Well I'm afraid you don't
have to worry about that either.

Now, while you were en
route, the triangulation

came together at the concert.

And Quaid was
transmitting to his robot.

Opp, there are over
1,000 people here now.

JOSEPH OPPENHEIMER (ON
PHONE): Yeah, I think we

were right in the first place.

Let's concentrate on the group.

(SINGING) Driven!

[CHEERING]

[MUSIC PLAYING]

--rather lonely.

[INAUDIBLE] trust my
mother [INAUDIBLE]

I'll be sitting in the car.

[INAUDIBLE]

My brother's got his arm
around his head, hungry to be

[INAUDIBLE].

I love [INAUDIBLE]

I'm on on the road [INAUDIBLE]
forget to forget, to forget.

[BUZZING]

How'd we ever get
this way [INAUDIBLE]

stranded by the [INAUDIBLE]
his mother was mistreated.

A lot of cures to try
[INAUDIBLE] His momma,

she's got in trouble.

[INAUDIBLE] to forget,
to forget, to forget.

He's [INAUDIBLE] to forget.

But [INAUDIBLE] yet.

Right before we get [INAUDIBLE]

Cross my heart.

Take me to heaven.

Get me out of heaven for
the [INAUDIBLE] love.

Any luck?

Yes and no.

I found the canisters.

They were empty.

There's no uranium.

It's gone.

How about you?
- Opp called.

There was a triangulation.

One of them is our man, I think.

RUTH AVERY:
(SINGING) [INAUDIBLE]

on a river of no return.

The beauty.

The [INAUDIBLE]

[CHEERING]

I want to take that
number out of the show.

Why?
They love it.

I hate it.

Look, if something's bugging
you, don't lay the trip on me.

- Something is bugging me, OK?
- What?

My new toy?

Yeah, your new toy.

Power, do you have any
idea how many people

get killed racing stock cars?

POWER: Come on.

You know me.

I try something a couple of
times, I get bored, I quit.

Not this time.

I quit.

You can go out and kill
yourself if you want to.

But I'd rather be a divorced
lady than a widowed lady.

What happened to the lady who
used to go along with anything?

She grew up.

I mean, how many times do
we have to go out skydiving,

tobogganing, racing speedboats?

How many kicks do
we have to get?

What do we have to prove?

How much money?

How much success?

You're forgetting how hard
we fought to get where we are?

Well, where are we, huh?

We're at the top of the heap.

Heap of what?

If you're not out trying to kill
yourself, what are we doing?

We're out doing one nighters,
recording in a studio,

doing interviews.

We don't have any
time together anymore.

What kind of life is it, huh?

[CAMERA CLICK]

Who are you?

What are you doing?

JOHN MOORE: Name's John Moore.

Your manager sent
me down here to take

over your public relations.

Oh he did, did he?

Yes, ma'am.

I'm supposed to slow the
train down just enough

to get everybody
back onto track, kind

of turn the image around
so we all look like one

big, happy family.

One big, happy family, huh?

Well I wish you a lot of luck.

I'll go get some
shots of the group.

That's good.

Well now, that little lady
has a big talent, short fuse.

She just needs to
be handled right.

Now Mr. Power, you're in luck.

That's my specialty.

Soft music and kid gloves.

Yeah well, I handle the music
around here, loud or soft.

And as for kid gloves, you
keep your hands in your pockets

and your nose clean.

Lady's still my wife, no matter
what you read in the papers.

[CHEERING]

Settle it down.

Take 15 minutes.

I want you back on the button.

Oh, the master speaks.

- You got a problem, Lingo?
- Me?

Oh, no way, Jose.

But your wife, now
she's got the problem.

Right, Bobby Lee?
- Back off, man.

Ruth's OK.

She's just a little beat.

All right.

Slap hands with John Moore.

He's our new paperhanger.

[INTERPOSING VOICES]
- Nice to meet you.

- Good to meet you.
- Oh, oh, hey.

Catch you later, John-boy.

Them 15 is down to 12.

[INTERPOSING VOICES]

If you need anything,
give a holler.

Thank you, pal.

Howdy.
My name's Moore.

I--
- I heard.

The new PR.
I'm Ryder.

You sound jockey here?

Yeah, me and Mace there
and the people movers.

You name it, we go for it.

It's more effective
behind the ears,

especially at $50 an ounce.

Especially since it is my $50.

Come on in.

Why now that's something
I'll never understand,

how a beautiful lady like you
has to buy her own perfume.

Oh, you'd
understand if you had

a husband whose only concern
was you being on stage

and being in tune.

I guess that's why our
friendship means so much to me.

Terrific.

RUTH AVERY: Power.

Story of my life, always
being hung for a sheep.

[MUSIC PLAYING]

[CRASH]

RYDER: Mace!

What are you trying
to do, kill somebody?

Well, if he wasn't,
he could've fooled me.

I found him in the truck.

He was snooping around
like he was going to--

His name's Moore.

He's the new PR.

How was I supposed to know?

The last gig we played,
some joker made off with 10

grand worth of equipment.

Mace nearly got fired.

Hey, Moore, no hard feelings.

I mean, you're not going
to tell Power about this.

I was only trying to do my job.

No, it's all right.

Just forget it.

I won't tell anybody.

Anything on the radio scan?

We picked up this transmission
about two hours ago.

MAN (ON TAPE): [INAUDIBLE]

You know, I don't
speak gibberish,

at least not that dialect.

Can you fill me in on what
it's supposed to mean?

We weren't able to
break the scramble code,

but Oppenheimer did a
visual on the tracings.

And one of them
matched up with Quaid.

How about the other one?

Nothing in the file
we could match up with,

but it must be Quaid's robot.

Triangulation
give us anything?

Point of origin is somewhere
off the coast of North Africa.

So Quaid's on his
way to meet with Fader.

[MUSIC PLAYING]

RUTH AVERY: (SINGING) Momma said
I'd get everything I wanted.

Momma said I could
get it if I tried.

Momma said the world
would be my oyster.

But-- but I can't have you.

My momma lied.

No, I can't have you.

Momma lied.
Momma lied.

I can't have you.

My momma lied.

I can't have you.

No, I've tried and tried.

I can't have you.

My momma lied.

I can't have you.

My momma lied.

I can't have you.

My momma lied.

I can't have you.

My momma lied.

[APPLAUSE]

Thank you.
Candy!

NUN: I'm sorry, children.

We have to leave now.
[GROANING]

Oh, now Ms. Avery
will be back again.

Form a double line and
walk back to the bus.

Bye!

Bye, hon.

Oh, bye.

[INAUDIBLE] How's
school been going?

Good.

How about with you?
[CAR HORN]

Sixth grade OK?

Good.

The children, all of us--

[CAR HORN]

--enjoy your visits very much.
- Thank you, Sister.

Please come back again soon.

You know I will the
next time I'm in town.

Goodbye.

Bye-bye.

Well, that was mighty
pretty, Miss Avery.

What are you doing here?

Well, I saw you
leave the hotel.

I figured I'd tag along,
make a good story.

You breathe one word
of this and you're going

to be looking for another job.

The band doesn't have
anything to do with this.

I'm on my own gig.

Hey, that's nothing
to be ashamed of.

It's not something I want
to take any vows for either.

I learned a long time
ago, never say no to a lady.

What's the catch?

Just one.

One?

No story.

One condition.

You let me take you to lunch.
Deal?

Deal.

So how much is that?

$2 even.

OK.

Here you go.
Thank you.

Come on!

Come on around here.

Right there [INAUDIBLE]

Sure, [INAUDIBLE] (LAUGHING)
Yeah, that's a good one.

What's your name?

Beautiful name.

Yeah.

Desiree?

OK.

Got a pen?

JOHN MOORE: Excuse me.

[INAUDIBLE]

Special delivery for Ms. Avery.

Two cold dogs.

Got some food for a hungry lady.
Come on.

Let me get through here.

MAN (ON SPEAKER):
All right, Roberta.

Make your move on Moore now.

Excuse me--

[INTERPOSING VOICES]

Oh.

Excuse me, ma'am.

Personally, I
would have thought

that a knife rather than
a bug would have been

more effective planted there.

Foley, for a man
with your background,

you have all the sensitivity
of Attila the Hun.

A murder involving Ruth will
bring the police swarming

in and around the group.

My first priority is the
bomb, a safe country.

Things must progress
in their natural order.

You're not Power.

[INTERPOSING VOICES]

All right.

Boy, I sure see the advantage
of being a rock star.

Oh, tell me about it.

Where was I?

Why, you were telling me about
how you and Power got together.

Oh, yeah.

Well, Power already had the
band when I got to know him.

They were making
noise around town.

I started hanging out,
finally gave me an audition.

JOHN MOORE: So you two have
been living high in cotton

ever since, huh?
Sounds good.

What's the problem?

Seems like when
you can finally

afford to have
anything you want,

you just don't have
the time to afford it.

Plus Power's changed.

How do you figure
he's changed?

He's like a machine.

I can't get through to him.

JOHN MOORE: What
about the others?

RUTH AVERY: They've all
been together as long as I

can remember, except for Ryder.

He's new.

And Mace-- he's just muscle
all the way up to his hair.

Moore is checking out each
of the group's backgrounds.

All fine musicians.

Not if he digs too deep.

True.

Well, when he gets to
six feet, we'll stop him.

Bobby Joel-- he's
a real loner type.

Mm-hmm.

But what about you?

Oh, nothing much to tell.

I don't buy that for a second.

You don't seem like
the typical PR guy.

Yeah, and that's what
the rest of my clients

are going to say if I don't
get the cows in before sundown.

Cows?
Sundown?

Mm-hmm.
Back to work.

- Work--
- Yeah.

--work, work.
[LAUGHTER]

Thanks.
- Right.

[DOOR SHUTS]
- Bye.

Real friendly fella.

Hi.

For a while, it was Ryder.

Now it's Moore.

They're just friends,
people I can talk to.

Oh really?

I don't believe it.

You're jealous.

Look, Ruth.

This is crazy.

I mean, we had such
a great thing going.

Going, going, gone.

Is that how you want it?

We don't want the
same things anymore.

I want a husband, and
you want a playmate.

I want a partner.

You want a costar.

I want a family.

And you want fans.

So where do we go from here?

We've got a tour
to finish, remember?

Pam.

How are you doing
with that [INAUDIBLE]??

I've been through
almost every guy's room.

And you still look
as fresh as a daisy.

You have a one-track mind.

You never complained before.

Anything exciting?

Nothing, including one
of them dressed in a towel

acting like I was some groupie.

Don't worry, I handled it.

I'm sure you did.

But one of them has
got to be the robot.

Well if it's Spooner
or Lingo, Quaid's

come up with some very
unusual programming.

So you don't think
it's either one of them?

Trust me.

[INAUDIBLE RECORDING]

SIMON QUAID: Quite an impressive
array of force, General Fader.

For the ordinary
type of equipment, yes.

Probably the best in
all of North Africa.

Mr. Quaid, we've
been alerted to stand

by to receive a transmission.
- Oh, fine.

Thank you, Foley.

Yes, Ryder.

The triggering
device is completed.

All I have to do now is
insert it into the bomb.

Then you're right on schedule.

Good.

The ETA will be
12:00 noon tomorrow.

If he's ready,
why do you wait?

Well, because
of the cover I've

arranged to get the bomb out.

How else do you
think we could carry

out this plan with every
airport in the country alerted?

Now Ryder, about Mr. Moore.

The bomb is of the
utmost importance.

Nothing must stop its delivery.

I'm sure I make myself clear.

Perfectly.

Thank you, Ryder.

Within 24 hours, you
will have your bomb.

And you will be
appointing ambassadors.

I'll look forward to that.

But you have
certain reservations.

Being the intelligent
man you are,

you can't help but
wondering, why is Quaid

willing to turn over such an
awesome weapon as this to me

and not retain
control of it himself?

And rightly so.

A man could not have made such
a spectacular rise to power

as you have, General, without
possessing a logical mind,

a mind that quickly
grasps the ramifications

of having such an awesome
weapon at his disposal.

Well, the takeover of
your present government

would be instantaneous.

Overnight your nation would be
propelled into the brotherhood

of nuclear powers.

And you, General, an
international figure

to be reckoned with,
respected, feared.

And you, Mr. Quaid--

It always gets down
to it, doesn't it?

What's in it for me?

A home, General.

A place where I can
continue my work

unmolested and at the same
time, the opportunity of serving

a man of your caliber
as advisor, providing

you with counsel,
scientific knowledge,

and of course the total and
loyal support of my robots.

I am speaking of absolute power.

But what happens if--

General, you surprise me.

You're too perfect
to be replaced.

As flawless as my
robots might be,

none could serve as such a--

such a fiery leader as yourself.

- Perhaps you yourself--
- No.

--might--

I'm a man of science.

I-- I will remain
in the shadows.

And you-- you will
have the spotlight.

You will have the
power, General.

And together we will
serve each other's needs.

I am a man who believes
in living in the present.

But in this case, I can't
wait for our future.

I'll wait for that
moment with pleasure.

Thank you, sir.

[MUSIC PLAYING]

[WHISTLES]

JOHN MOORE (ON SPEAKER):
You listening, Quaid?

I assume you want to
know what I'm up to.

I'll tell you.

And I don't want you to
be disappointed after all

the trouble you went to.

I'm going to find your robot.

And then I'm going
to find your bomb.

And then I'm going to find you.

[CRACKLING]

[MUSIC PLAYING]

[TICKING]

[MUSIC PLAYING]

Stop!

[CRASHING]

[CLANGING]

[EXPLOSION]

You all right?

[SIREN]

How is she?

Broken arm.

The young man was dead
before he hit the ground.

That must have come
as quite a surprise.

Are you the father?

She's having a baby?

Well, you did know she
was pregnant, didn't you?

What about Ryder?

I've seen people
electrocuted before.

He didn't strike
me as any different

than any other human being.

[INAUDIBLE] human?

Of course he was human.

What was he supposed to be?

Uh, Doctor, I'd like to
take a look at the body.

You're right.

I didn't want to see that.

Well, I'm glad we share the
same physiological diagnosis.

You had me worried
there for a minute.

[MUSIC PLAYING]

WOMAN (ON PHONE): Professor,
red line, John Moore.

JOSEPH OPPENHEIMER
(ON PHONE): John?

What did the computer
check turn up on the group?

JOSEPH OPPENHEIMER (ON PHONE):
Only one name surfaced.

Ryder.

- How did you find out?
- The hard way.

He tried to kill me
a little while ago.

What I don't understand is why.

But I know for certain Ryder
is not one of the robots,

so he didn't steal the uranium.

But he is on Quaid's payroll.

Look, Ryder is a brilliant
nuclear scientist

with an insatiable
taste for the good life.

But universities don't
pay as well as Quaid.

Yeah, but Ryder paid more.

He's dead.
- That's too bad.

He could have led
us to the bomb.

He obviously built it.

And he's probably handed it
over to a robot for delivery

to Fader.

JOSEPH OPPENHEIMER (ON PHONE):
Well, the question is, why is

the robot in a holding pattern?

Why hasn't he moved
with it by now?

Well, he's probably
on a schedule.

And he has to wait for a
prearranged time for delivery.

Well, we can't let
that delivery take place.

Ryder is dead.

- How?
- Moore.

Humans.

They always create
such problems.

Patch me in to Roberta
at Operations, please.

Ryder was a gentle
person, sweet, kind.

I'm sure when John
gets back, he'll explain.

[PHONE RINGING]

Hello?

Yes, Power.
I'll see.

RUTH AVERY (ON PHONE): Hello?

Ruth?

Baby, you OK?

I've got my arm in a cast,
but it's a clean break.

Listen, I'm on my way
down there right away, OK?

RUTH AVERY (ON PHONE): No.

We have to make
that gig in Jamaica.

I'll see you at the plane, OK?

[PHONE CLICKS]

That's that.

So how you feeling?

OK.

I think one of you
owes me an explanation

about what's been going down.

Well, it's a
little complicated.

Give me the punchline, and
I'll figure out the rest.

All right.

We have to find out which
member of your group is a robot

and where he's hiding
a nuclear bomb.

What?

- Ready.
- Oh, good.

Please advance 514
stage 7 and alter

second stripe to minus 30.

You're moving up the schedule?

I can't chance any
further interference.

I want that bomb on
the group's plane now.

And I want it armed.

Once it's in place, no one
would dare get in the way.

[MUSIC PLAYING]

Where would the bus and
the equipment truck be?

Probably still at the hall.

Mace needs a
replacement for Ryder.

Pam, help her pack
and get to the airport.

Where are you going?

I'm going to have a
little chat with Mace.

Hey, what you doing?

[CLICKING]

[MUSIC PLAYING]

Mace?

Mace, you here?

[WHIRRING]

How do you feel?

Just like on opening
night, scared to death.

Spooner?

One hour.

SPOONER: I hear you.

Just don't let on that
you suspect anything.

Try to act normally.

I'll try, but my
heart's not in it.

It's in my throat, choking me.

Lingo, it's Ruth.

Plane leaves in an hour.
LINGO: No sweat.

I'll be there.

Bobby Lee, plane
leaves in an hour.

Bobby Lee, it's Ruth.

[MUSIC PLAYING]

What are you doing here?

Waiting for you.

We're leaving a little
ahead of schedule.

[WHIRRING]

Hey, what do you
think you're doing?

He knows exactly
what he's doing.

He's the bomb.

[MUSIC PLAYING]

Oh!

No!

Shall we go?

And quietly if you
want to stay alive.

Pam?

Pam?

What happened?
- I'm OK.

It's Bobby Lee.

What?

The bomb is built into him.

What happened to Ruth?

He knocked me out
and grabbed her.

I think they went to the plane.

That's how
they're getting out.

Hey, what's going on?

Take care of your pretty head.

Get her to a doctor.

From what you've describe,
the robot is a model J147.

- Yeah, I'm listening.
- All right.

The militarisation
re-sectioning is directly

behind the bi-visionary quad.

So those shades
Bobby Lee always wears

aren't just gone Hollywood.

It's a flaw, John.

But I don't see how
it's going to stop

that bomb once it's been armed.

Joe, I'll talk to you later.

[PHONE BUZZING]

- Yeah?
- Power, this is Moore.

Now just listen to me.

POWER (ON PHONE): Moore?

What the hell happened
to your accent?

JOHN MOORE (ON
PHONE): All right,

forget the questions
or you and Ruth

aren't going to be around to
see that baby she's carrying.

Baby?

Bab-- Ruth's--

JOHN MOORE (ON PHONE):
Yeah, congratulations.

Power, this is crucial.

Ruth and Bobby Lee are
on their way right now.

Just take off, stay in the air,
and I'll fill you in later.

Right.

Do just as the man says.

Take off now.

Your lives depend on it.

Would somebody mind
telling me what--

Power, don't argue with him.

Do just as he says.

I'll need Ruth in
the copilot seat.

She stays inside with me.

Now call the tower and
get your clearance.

[MUSIC PLAYING]

[INAUDIBLE] 6-5
Charlie ready to taxi.

MAN (ON SPEAKER):
Roger, 6-5 Charlie.

Clear to taxi.

Runway 2-5.

Roger, 6-5 Charlie.

[MUSIC PLAYING]

6-5 Charlie, ready
to go on runway 205.

MAN (ON SPEAKER): 6-5
Charlie, clear for takeoff.

There's no place to go, Moore.

SIMON QUAID: He's immobilized.

Move the robot from
visionary to sensory.

[WIND BLOWING]

[MUSIC PLAYING]

Bomb's away!

[EXPLOSION]

It's too late, Mr. Quaid.

POWER: You know, you always did
have a great sense of timing.

[MUSIC PLAYING]

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