Original subtitles

(upbeat music)

‐ [Narrator] The Mexican Riviera.

An exotic paradise of beauty, money, and danger.

(gun fires)

‐ Mike! ‐ Michael's been shot.

‐ [Narrator] Now the team's deadliest enemy is back.

‐ Your old partner's a little bit pale these days.

‐ [Narrator] And while Mike fights for his life.

‐ Are you having us disciplined?

‐ [Narrator] Ashley faces Strake

in a fight only one can survive.

‐ One flick of my finger and you'll all tackle me.

‐ [Narrator] The heat is on on the next Acapulco H. E. A. T.

(upbeat pop music)

♪ I feel the heat

♪ Hey

♪ I feel the heat

♪ Burning inside me

♪ Burning hot

♪ I feel the heat

♪ Hot, hot, hot

♪ Sweat dripping down my spine

♪ Making me crazy

♪ Wet fingers touching mine

♪ Making me hazy

♪ Out on the street

♪ I feel the heat

♪ Burning inside me

♪ Burning hot

♪ I feel the heat

♪ Burning inside me

♪ Burning hot

♪ I feel the

♪ Oh

♪ Can you feel it

♪ Oh

♪ It's deep, deep in your soul

♪ Oh

♪ Woah, woah, woah, feel the

♪ Oh

♪ I feel the heat

♪ Burning inside me

♪ Burning hot

♪ I feel the heat

♪ Burning inside me

♪ Burning hot

♪ I feel the heat

♪ Burning inside me

♪ Burning, burning hot

♪ I feel the heat

♪ Burning inside me

♪ Burning hot

♪ I feel the heat

‐ [Ashley] It was Mike's birthday

and since it was one of those rare occasions

when the H. E. A. T. team was not on an assignment,

I decided to surprise him with a picnic lunch.

It was a calculated risk

because Mike hates surprises of any kind,

but he is my partner and though I would never

admit it to him, he means a lot to me.

Besides, how angry can he get

at the perfect reminder of being a whole year older?

‐ Well, I think we oughta throw him

a surprise birthday party.

‐ Mike won't be surprised.

‐ Why?

‐ 'Cause he is Mike and he has been trained

to expect the unexpected.

‐ Then let's not give him a party then.

That oughta surprise him.

‐ We can pretend we don't even know it's his birthday.

‐ Works for me.

‐ We can't do that because Ashley has a picnic planned

and they are going to the mountains.

‐ Just the two of them?

Alone up in the mountains?

They're having a party up there and we're not invited?

Of course we're not invited.

What could I have been thinking?

(laughs)

‐ What a crazy chick.

(slow suspenseful music)

(gun fires)

‐ Mike!

(dramatic action music)

(gun firing)

‐ Do we just have a little get together, light candles,

sing Happy birthday, give him presents?

‐ That sounds pretty cool. ‐ Listen.

Michael's been shot.

‐ What? ‐ Oh my god.

‐ He's on his way to the hospital with Ashley.

Brett, Marcos, Cat, Tommy, I want you to search the beach

and the rocks at that end of the beach.

‐ What are we looking for?

‐ Spent magazines, cartridges, clips,

anything you can find that might help us.

Krissie, the H. E. A. T. lead.

Contact Mr. Smith, hire security.

Tell him what's happened.

I'm on my way to the hospital, I'll keep you informed.

(siren blaring)

‐ Sorry, you have to wait here.

(voices chattering)

(slow music)

(siren blaring)

‐ Check there.

‐ Brett, Cat.

Pay dirt.

‐ Happy birthday.

Somebody's been planning this for a long time.

‐ What kind of sick mind would do something like this?

‐ I can think of a few we've met along the way.

‐ How's Mike?

‐ We don't know.

He's at the hospital now.

‐ That's gonna be my next stop.

What have you found?

‐ A few footprints, nondescript.

‐ This .223 Nitro Express custom clip.

‐ I know only one man that makes this cartridge.

‐ Stavros.

‐ But he's in the Encinitas Hospital

For The Criminally Insane.

‐ He was.

Not until three months ago.

Doctors decided he was well enough

to be returned to society.

‐ Stavros is totally and dangerously demented.

‐ And he's rich.

Doctors that work in institutions are poor.

I'm gonna find him.

I'm gonna put my men to work on it immediately.

Audios.

‐ Why would Stavros wanna shoot Mike?

‐ Stavros wouldn't have the guts to do something like this,

but I bet he knows who did.

‐ Yeah, and I bet we can find him

before Officer Rodriguez does.

Come on.

(slow ominous music)

‐ [Doctor] I have a crosspatch stat.

What's his BP? ‐ 80 over 60.

‐ [Doctor] All right, good.

Let's see if I can fit a 2D.

Now pull up on that. ‐ Respiration, 15.

‐ Right. ‐ Pulse, 80.

‐ [Doctor] Great.

‐ Ashley.

Don't give up.

I wouldn't.

‐ [Doctor] 300. (machine beeping)

All right, clear.

‐ [Doctor] Clear.

‐ Find anything? ‐ No, it's black.

‐ All right, do it again.

Clear.

All right, give me ten of these.

All right, here we go.

(crowd cheering and clapping)

(bell dings)

He's tough and strong.

He made it this far.

The next 24 hours will be critical.

I thought you might want to see this.

There is something written on it.

‐ Mike?

‐ Happy birthday was written on the cartridge.

(slow ominous music)

‐ There's only one person I know who would do that,

but he's out of circulation.

‐ I got all my men working on it.

Whoever did it, we're gonna get him.

Thank you, Doc.

(machine beeping)

‐ I'll take it for now, Ashley.

‐ I'd prefer to stay.

‐ Mr. Smith needs to talk to you in the H. E. A. T. room.

‐ Mr. Smith can wait.

‐ I think that you need some time.

I'll let you know if there are any changes.

Look, Ashley, all you're doing is occupying space here.

I can do that just as well as you.

Come on.

Come on.

‐ Have you started compiling a list of possibilities?

‐ Krissie is working on it.

We're assuming it's someone from our past.

‐ At this point, that may be a dangerous assumption.

There could be many others who predate

the formation of the H. E. A. T. team

who might want one or both of you dead.

The CIA and MI6 are each doing a search.

‐ Good, thank you, Mr. Smith.

‐ Well, I'll put out a top priority inquiry.

If there's the smallest hint,

one of my contacts will know about it.

Let me know if there's any change.

‐ Ashley, you okay?

‐ Krissie, see if you can get me a present day

up to this minute location on Strake.

‐ I can patch us in with the prion security system.

It'll only take moments.

(slow ominous music)

Neil Strake.

Live on television.

There's no way this could be faked.

‐ Don't be lonely.

‐ Why can't you ask for something reasonable?

That team is business.

What we've got is personal.

You listen to me.

If you can't learn to separate your personal life

from your professional life,

you're gonna end up a bitter, lonely old woman.

(person knocking)

‐ I've come to pick up the clothes

for Mr. and Mrs. Savage's funeral.

‐ Mr. and Mrs. Savage?

‐ Michael and Ashley Savage.

‐ Who sent you?

Who do you work for?

‐ Santos Mortuary.

The funeral will be day after tomorrow

at Los Eleva Cemetery.

‐ Who made the arrangements?

‐ There was a phone call.

‐ A man or a woman?

‐ A woman.

‐ What was her name?

How were you paid?

‐ In cash by a messenger.

She did say she was an old friend of the Savages.

‐ All right.

You may proceed with the arrangements,

but only up to a point.

(slow ominous music)

There's only one person I know who'd do this.

Neil Strake.

I'm gonna go see him for myself.

(upbeat action music)

‐ Did you get that cartridge back from Colonel Rodriguez?

‐ Got it right in my pocket.

‐ Beautiful.

‐ Stavros in there?

‐ He just went in about five minutes ago

with three other guys.

That's why I called you for backup.

‐ Okay, now remember.

Stavros is a loony toon.

He's nutty as a fruitcake.

‐ That's all right.

I like fruitcake.

‐ Mr. Stavros.

Can we talk to you for a minute?

‐ Certainly, about anything in particular

or just to pass the time of day?

‐ About this.

‐ Just put it down please.

Step back.

‐ You recognize that?

‐ Of course.

It's a .223 Nitro Express.

It's my specialty.

‐ Oh, so you admit that that's your cartridge?

‐ Why would I deny it?

I'm proud of my work.

‐ That's nice.

That cartridge was used in an attempted murder.

‐ What a shame.

‐ We'd like to know what you can tell us about it.

‐ Is this the normal police procedure?

Do the police go to Winchester or Remington

every time a shot is fired

and question the manufacturer of the bullet?

No, why?

Because we don't put serial numbers on the bullet.

How do I know who purchased that bullet?

Don't touch me.

I hate to be touched. (slow ominous music)

‐ I'm gonna do a lot more than touch you if you don't‐‐

(grunts)

‐ I told you not to touch me.

I can't stand people that touch me.

Boys!

(upbeat action music)

(men grunting)

(slow ominous music)

‐ Boys, they weren't so tough.

‐ Well, well, well.

I haven't had a visitor in weeks and look who it is.

I knew you couldn't resist the urge to see me again, Ashley.

I knew it.

‐ Chess can't be much of a challenge playing alone.

Where are the surprises?

‐ I cheat for both sides.

I'm so good, I actually surprise myself.

‐ Nice room.

Not much of a view.

‐ Around here, I am the view.

Can you imagine anything more interesting

than me playing chess?

‐ Watching your execution comes to mind.

‐ That's cruel, but you always were the clever one.

Now, does this visit have a purpose?

‐ Just had this uncanny desire to see your face.

‐ I knew you felt the same way as I do.

I knew it, Ashley, I knew it.

‐ You've changed.

‐ I have, how?

‐ You've lost your tan.

‐ Your old partner's a little bit pale

these days himself, isn't he?

‐ He's getting a lot better, thank you.

‐ That's too bad.

‐ Might I suggest a move?

‐ Please.

I'm black of course.

‐ Of course.

‐ [Neil] Take your time.

I'm in no great rush.

‐ Queen to king's knight two.

Checkmate.

‐ Congratulations.

‐ This man is not Neil Strake.

It won't take long for Strake

to find out that we're onto him.

I'm convinced he's gonna make

another attempt on Mike's life.

I want the security at the hospital doubled

and I want to arrange to have

something special waiting for him.

‐ Marcos, Tommy, come in.

‐ How did you know?

‐ Strake is a grand master.

I can play, but I could never beat him

and the way that the board was set up

so that white could win,

even if Strake was playing both sides,

he would never let white win.

‐ Prison checked his fingerprints.

The man in the cell is definitely not Strake.

‐ Then who is it?

‐ Surgically altered double.

‐ Two Strakes?

‐ Let's hope not.

‐ An isolation cell in a maximum security prison.

How did he do it?

‐ I'm assuming that he escaped during the riot.

‐ Then he's been on the loose for weeks.

‐ [Arthur] Which puts him way ahead of us.

‐ [Ashley] Exactly.

(slow ominous music) (siren blaring)

(machine beeping steadily)

(machine beeping rapidly)

‐ What's happening?

‐ Not good, I'll get the doctor.

‐ I have no place to run.

I have no place to hide.

I'm a hunted man in every country

in the world except for this one.

What am I going to do?

‐ Have you tried meditation?

‐ You may have just destroyed me, Neil.

‐ How have I destroyed you, Stavros?

‐ [Stavros] You left the cartridge

at the scene of the crime.

‐ Well, of course I did.

‐ My cartridge.

‐ It's not your cartridge.

It's my cartridge.

I paid for it and I could choose to dispose of it

any way I saw fit and I saw fit to leave it where it fell.

‐ Not very professional, Neil.

‐ I had to send a message to Miss Ashley Hunter‐Coddington.

That was the means I choose.

Do you understand?

‐ Don't you dare touch me.

(Neil laughs)

‐ What's this silly little fetish about being touched?

‐ What is your silly little obsession

about Miss Ashley Hunter‐Coddington?

‐ No, it's not an obsession.

It's respect for her mind.

Appreciation of her finesse.

Admiration for her talents.

‐ Desire for her body?

‐ Absolutely not.

Do you think I'm driven by these base animal instincts?

‐ In a word, yes.

(both laugh)

‐ Go home, Stavros.

Stop flattering yourself.

No one wants you.

You're utterly inconsequential in this matter.

‐ Do you want me to kill him?

(slow ominous music)

‐ It's me they want.

It's me they're going to get.

Like it or not.

‐ [Assistant] Si, senor.

‐ Where is he?

‐ Damaged artery ruptured.

He's lost a lot of blood, but everything appears to be okay.

‐ Can I see him?

‐ Not at the moment, nobody can see him actually.

He's in intensive care.

Tommy and Marcos are right outside.

(slow melancholy music)

‐ Strake's double went into prison wearing a false beard.

During the writer, he made contact with Strake.

He changed clothes and the beard

and Strake just walked out.

The guards were too busy stopping the fighting

to pay attention to a visitor leaving the prison.

Now, Strake could not have escaped

without help from the outside.

‐ Obviously.

‐ This takes us to Stavros.

Stavros found a man that looked like Strake,

paid him a lot of money to have plastic surgery.

This made the resemblance uncanny.

‐ Strake's double must have been desperate for money.

‐ No, he just wanted to continue living.

You see, Stavros made him an offer he couldn't refuse.

‐ Why don't you arrest him?

‐ Because Stavros has an immense fortune

and has a lot of people working for him.

He never does anything for himself.

He has other people do the jobs for him.

‐ Why would a man like Stavros need Strake?

‐ I don't know, maybe Stavros is about to start an operation

that requires the services of a trained killer,

which brings me to the question why would Stavros and Strake

want him to shoot a man like Mike?

‐ I have no idea.

‐ I think you do.

But listen, I don't know what you guys are doing here,

but when you're doing it,

you're doing at a level above my head,

but not altogether out of my view.

‐ I don't know what you mean, Colonel.

(Rodriguez laughs)

‐ I'm not asking you to explain me.

It is not my business.

Well, it's just not my business.

I just wanted you to understand

if you need any help, don't hesitate.

Call us.

‐ Thank you very much.

‐ It is my pleasure and take care of Senor Savage.

‐ I will.

(machine beeping)

How's he doing?

‐ We should know by tomorrow.

‐ I'll be outside.

‐ Thanks, Arthur.

Seems so strange not to be arguing with you.

(romantic piano music)

You can't.

You can't die.

You can't do this to me.

‐ Guess we pulled that one out of the hat, didn't we?

‐ And we can do it again, Michael.

‐ Think so?

‐ Do you remember Frankfurt was the first place

you asked me for a kiss for luck?

‐ What did you say?

‐ I said no.

‐ But that's what you always say.

‐ Come along, partner.

Let's go back to work.

I haven't, I haven't decided.

It's not...

I don't know how I feel about you, it's not finished.

It's not settled between us.

And

if you die,

I hope you can hear me.

I hate to admit this, but I care about you

more than I've ever cared about any man.

Now, I'm not saying that I'm in love with you,

but you can't die.

This thing between us isn't settled yet.

I haven't decided.

I don't know how I feel about you.

If you die, I'll never know.

Neither will you.

Mike.

Don't give up please.

(crowd cheering and yelling)

(bell dings)

(Mike grunting)

(bell dings)

‐ Don't be angry with me please.

I don't know what to do when you're angry with me.

‐ I'm not angry with you, I'm just bitterly disappointed.

‐ I know and I understand,

but I couldn't.

I haven't.

‐ Couldn't what, you haven't what?

‐ Kill the man.

‐ You're not killing the man.

You are releasing him from the pain

and the anguish he's suffering this very moment

and if he were conscious, he would probably thank you.

‐ I don't know.

‐ [Neil] I thought you said you loved me.

‐ I do love you.

‐ Thought you wanted me to be happy.

‐ [Nurse Ramos] Yes.

‐ You want us to be together?

‐ Oh, more than anything.

‐ Then will you do what I ask you to do?

Will you?

‐ Yes.

(Neil laughs)

‐ Oh my sweet, my dearest.

Greater love hath no woman.

(slow suspenseful music)

(upbeat disco music)

♪ Out on the street

♪ The doctors know your name

♪ You face the unemployment

♪ And the drugs again

♪ The world will start deceiving

♪ To put you to the test

♪ The violence of the killing

♪ Fill the Candy Land Express

♪ Hope is a lost expression

♪ Truth, I wanna know the meaning of the word

♪ Love, need an act that's seldom seen but often heard

♪ War, I feel it all around me

♪ Fight, what I'm gonna do

♪ I leave all ignorance behind

♪ I'm breaking out of the darkness and into the light

♪ Lose all the violence of everyday life

♪ Out of the darkness

♪ I want you

♪ Life is a victory and I've got proof

♪ And then I step in and take a look around

♪ A city cries for justice

♪ But there's no voice to be found

♪ A lack of young girls playing

♪ Rip the shotgun blasts

♪ Seems just like there's nothing

♪ As the car goes speeding past

♪ Change, I can make it happen

♪ Voice, raise it loud and clear

♪ Truth, cries of tens of millions ringing in my ear

♪ Time to make the world a difference

♪ Now it's up to me and you

♪ We'll have to raise a little hell

♪ Before we're out of the darkness and into the light

♪ Hope on the conscience of everyday life

♪ Out of the darkness

♪ I want you

♪ But life is a victory for me and you

♪ Out of the darkness and into the light

(eerie suspenseful music)

‐ Ashley.

Here I am, ready or not.

Looking for this?

‐ How did you get in?

‐ Piece of cake for a man of my talents.

‐ You have me at a disadvantage.

‐ I wouldn't have you any other way.

Did you miss me?

‐ Of course.

‐ [Neil] Are you pleased to see me?

‐ Delighted.

‐ You're very agreeable tonight.

‐ You have the gun.

‐ You mean this old thing?

There.

All gone.

‐ (laughs) You are the strangest man.

‐ I have many different facets of my personality.

‐ Don't they call that schizophrenia?

‐ Only those people who get paid to put a name on it

and get paid even more to try and cure it.

No, I prefer to think of myself

as unpredictable and capricious.

‐ I prefer to think of you as gone, history,

out of here, locked up somewhere secure.

‐ You're angry at me.

‐ You shot Mike.

‐ I did, didn't I?

‐ You may have killed him.

‐ Oh, I did my best.

My very best, but I did it for us,

so we could be together.

The man is a clot.

He's a muscle‐bound cretin.

He's not worthy of a woman like you.

I did what I had to do to set you free.

‐ Did I ever ask you to set me free?

‐ Not in so many words.

A woman asks for what she needs in subtle diverse ways.

‐ You're demented.

Deranged.

Psychotic.

Insane.

‐ That doesn't make me a bad person.

‐ I never asked you for anything in any way, shape, or form.

Now get out.

(suspenseful music)

‐ You be warned.

I have a hard time dealing with rejection.

‐ Well, you'll have to get used to it.

‐ Do you realize

this could be the end of a beautiful relationship?

‐ We never had a relationship.

‐ Ashley.

‐ Get out.

(dramatic suspenseful music)

Get out.

‐ Good morning.

Isn't it a beautiful sunrise?

‐ [Krissie] Brett, come in.

(suspenseful music)

Brett, Arthur, are you there?

Brett, come in please.

(machine beeping)

Cat, I need you to head to the hospital.

‐ I can see a definite improvement.

‐ That's excellent, excellent.

‐ Oh, let him rest.

He'll wake up when he's ready.

‐ Ashley, you're needed.

Brett, come in, Brett.

There's a problem at the hospital.

I can't get ahold of Arthur or Brett.

‐ [Ashley] I'm on my way.

(upbeat music) ‐ Doctors removed the IV.

He was poisoned all right.

Don't worry, Mike's gonna be okay.

As a matter of fact, he's making a miraculous recovery.

(slow ominous music)

I think we should have a talk with Nurse Ramos.

‐ She won't know where Strake is.

He would never tell her more than absolutely necessary.

‐ When Strake realizes that this didn't work,

he's bound to try again sooner or later.

‐ That's why we're gonna make him think it did work.

(upbeat music)

(slow melancholy music)

‐ What happened?

I'm really sorry.

(upbeat music)

‐ Is he dead?

‐ Yes.

‐ Now, are you absolutely sure?

‐ He's gone.

‐ (chuckles) Oh, what a shame.

Still young, still strong.

The prime of his life.

‐ I feel horrible.

‐ Yes, I do know how you must feel, my love,

but if it's any comfort to you,

none of this gets out of here alive.

‐ Can you see me tonight?

‐ No, I can't see you tonight.

A man has just died.

We should observe a proper period of mourning.

Bring me champagne.

‐ [Assistant] There is no more champagne, senor.

‐ [Neil] Then bring me white wine.

‐ There is no more white wine either.

‐ Then give me a light.

(slow trumpet music)

(upbeat music)

‐ [Brett] There she is, stop.

(tires squealing)

(Nurse Ramos screaming)

‐ [Nurse Ramos] Help!

‐ Calm down. ‐ We'll talk to you

back at the ranch. ‐ Great.

(tires squealing)

(slow ominous music)

‐ Oh, I love the smell of C‐4 in the morning.

(slow organ music)

‐ To Mike, the best friend I ever had.

‐ I've prayed a long time for this day.

A long time.

Burn in hell, Micks.

‐ You first.

(people gasp) (suspenseful music)

‐ One flick. (bomb beeping)

One flick of my finger and you're all taco meat.

‐ Including you.

‐ I end you.

I'll take you with me.

(explosion booms) (people scream)

‐ Looking for this?

‐ Back off or I'll kill him.

I'll kill him.

All right, tell them to back off, tell them to back off.

Tell them to back off! (Mike grunts)

‐ Everybody back off, listen to him.

‐ Come on, out.

Get out of here.

Get out!

‐ Ashley, I'll shoot him.

‐ Shoot me.

‐ I can't.

I can't, but I can kill him.

‐ If you kill him, you kill me.

‐ Then you'll have to kill me.

‐ Neil, I don't want to hurt you.

I just want to put you away somewhere safe

where you can't hurt anybody else.

‐ No, no, I'll never go back there ever, Ashley, ever.

They're all crazy there.

I go mad.

No one there plays chess.

(upbeat action music) (men grunting)

I should've killed you when I had the chance.

(grunts)

‐ Do you like the shirt?

‐ Well, it's a little colorful.

‐ I wanted to get you something

that you didn't already have.

‐ I don't want you to think

that I do not appreciate it, but‐‐

‐ But the reason that you don't have any colored shirts

is because you don't like very colored shirts, however.

‐ Let me ask you a question.

Do you like men that wear colorful shirts?

‐ Yes, I do.

I just happen to.

‐ Well, then I love this shirt.

I'm crazy about this shirt.

As a matter of fact, I think it's one of the most

wonderful shirts that I ever had to wear.

Against my better judgment.

(Ashley laughs)

Now, was that the picnic basket you made for my birthday?

‐ Mm‐hmm.

The sandwiches are stale, but the champagne's cold I think.

‐ You know, Ash.

Some of those things you said to me in the hospital

were some of the nicest things I ever heard.

‐ What things?

‐ You know, the things you told me

when you thought I was unconscious.

‐ You were unconscious.

‐ Was I?

‐ If you weren't, you are about to be.

‐ Take it easy, tiger, I'm just kidding.

I was unconscious.

‐ That's a good thing.

You know, sometimes in the heat of the moment,

we say things that we don't really mean.

I mean, we say things that we don't mean to say out loud.

I mean, we say things that we don't mean

to be caught saying, I mean.

‐ I think I know what you mean.

‐ I'm glad one of us does.

‐ I think.

(Ashley laughs)

(slow romantic music)

(upbeat music)

‐ [Narrator] The Mexican Riviera.

‐ Paradise.

‐ [Narrator] A world where natural beauty.

‐ [Man] Faster!

‐ Oh my god, we're stranded.

‐ [Narrator] Can hide sudden danger.

‐ Trespassers will be killed.

‐ [Narrator] Now the team is stopped by a madman.

‐ You're on your way to meet your maker.

‐ [Narrator] And an island paradise

becomes a deadly battleground.

(explosion booms)

The heat is always on and the action is always hot

on the next Acapulco H. E. A. T.

(upbeat pop music)