Overview
To view this page in your preferred language, please use the language drop-down in the lower left of the screen. This article features descriptive audio for the movie, along with the movie audio and an audio transcript.
Length 107 minutes.
Released: 5th June 2003
Rating: 6.5 out of 10 from 7544 users
MPAA Rating: PG-13 – Some material may be inappropriate for children under 13. Parents are urged to be cautious.
Language: English
Director: John Singleton
Creator: Michael Brandt|Derek Haas|Gary Scott Thompson|Gary Scott Thompson|Michael Brandt|Derek Haas
Actors: Paul Walker, Tyrese Gibson, Eva Mendes, Cole Hauser, Ludacris
TagLine: How fast do you like it?
2 Fast 2 Furious (2003) Trailer
2 Fast 2 Furious (2003) Trailer
All right, all right, all right, fire them
up!
How you like that?
Keep your eyes on the road, playboy.
He did the steering drive on you, didn't
he?
He got that from me.
You ready for this?
Come on, man.
Guns, murderers, and crooked cops?
I was made for this, bro.
Holy shit!
Woo!
You're not going to do what I think
you're going to do.
Yeah, I think so.
All right, you play!
up!
How you like that?
Keep your eyes on the road, playboy.
He did the steering drive on you, didn't
he?
He got that from me.
You ready for this?
Come on, man.
Guns, murderers, and crooked cops?
I was made for this, bro.
Holy shit!
Woo!
You're not going to do what I think
you're going to do.
Yeah, I think so.
All right, you play!
Review for 2 Fast 2 Furious (2003)
Suppose you’re looking for a movie that’s all about speed, neon lights, and ridiculous car stunts, 2 Fast 2 Furious delivers. It’s not deep or exceptionally well-written, but it knows precisely what it is—pure adrenaline-fueled fun.
The Good ✅
- Action-Packed Racing Sequences – The car chases and races are the film’s heart. High-speed street races, nitrous-fueled boosts, and gravity-defying stunts keep the energy high.
- Miami Vibes – Unlike the darker, grittier streets of L.A. in the first film, Miami’s neon-soaked atmosphere gives this sequel a unique look and feel. The tropical setting adds a flashy, colourful backdrop that makes everything pop.
- Tyrese Gibson as Roman Pearce – Easily the best part of the movie. Roman is hilarious, cocky, and full of personality. His chemistry with Paul Walker keeps the movie from feeling too flat.
- Fun, Turn-Off-Your-Brain Entertainment – This is a “grab some popcorn and enjoy the ride” kind of film. You’ll have a great time if you don’t think too hard about the plot (or physics).
The Not-So-Good ❌
- Missing Vin Diesel – No shade to Paul Walker, but the absence of Dominic Toretto is definitely felt. The first film worked so well because of the tension between Dom and Brian. Without that dynamic, the story feels a little hollow.
- Weak Villain – Carter Verone (Cole Hauser) is your generic, rich bad guy with a drug empire. He’s intimidating, but he’s no match for the larger-than-life villains the series would introduce later.
- Cheesy Dialogue – Some lines are so bad they’re funny. “We hungry!” has become a meme, but that pretty much sums up the level of writing in this movie.
- Plot? What Plot? – The story is barely there. It’s an excuse for car races and explosions, and that’s fine—but don’t expect much in terms of depth or character development.
The Cast & Their Performances 🎭
- Paul Walker (Brian O’Conner) – He’s cool, smooth, and fits the street racer role well. But without Vin Diesel to play off of, he struggles to carry the movie. Before this, he was known for Varsity Blues (1999) and She’s All That (1999).
- Tyrese Gibson (Roman Pearce) – Steals the show. He brings comic relief and a much-needed boost of energy. Before this, he starred in Baby Boy (2001).
- Eva Mendes (Monica Fuentes) – Plays the undercover agent role well, but isn’t given much to do. She had already made waves in Training Day (2001).
- Cole Hauser (Carter Verone) – Tries to be menacing but comes off as forgettable. He was great in Pitch Black (2000) and Good Will Hunting (1997), but this isn’t his strongest role.
The Look & Feel of the Movie 🎥
- Cinematography – The neon-lit streets of Miami give the film a slick, music-video aesthetic. Lots of sweeping city shots, close-ups on speedometers, and fast-cut editing to keep the adrenaline pumping.
- Direction (John Singleton) – A big shift from Boyz n the Hood (1991), Singleton leans into the fun, action-packed nature of the film. He knows he’s making a popcorn flick, and he runs with it.
- Script – It’s basic. Lots of one-liners, a predictable story, and dialogue that feels like it was written by someone who really wanted to sound cool.
Final Verdict 🚗💨
2 Fast 2 Furious is a flashy, fun sequel that prioritizes style over substance. If you love fast cars, big stunts, and don’t mind some corny dialogue, you’ll have a blast. It’s not as good as the first film, but it’s still a wild ride.
Audio for 2 Fast 2 Furious (2003)
Audio and Transcript
Below is the audio for the movie, accompanied by subtitles and a transcript. The subtitles and transcript are to assist people who may have difficulty hearing the movie. To change the subtitle and transcript language, please use the language drop-down menu at the bottom left of the page.
2 Fast 2 Furious (2003) - Audio
Beautiful.
It's going to be in all...
It's Joaquin, man, but he had to work the graveyard shift. What? Graveyard shift, man?
Yes. Hell no, I'm not running with y'all, man. And I tell you what, either you find him...
It's Kurt here. Un carro rosita.
Why don't I just find y'all a fourth and we settle this on the streets, huh? Bring him on. Anybody I want. Traelo. No matter who it is.
Yeah, man, you want to race tonight? Yeah, you know I could use the money. You got four minutes, man. All right, I'll be there.
Oh! How long have you been in South Florida? A while. Before that?
We know you're Brian O'Connor, formerly of the LAPD.
Really?
How you doing, O'Connor?
Let's take a walk.
Carter Verone. Born in Argentina, but he's lived most of his life in Miami. Now he owns the biggest import-export business in the state. You see, unfortunately, the cartels have been successful getting drugs into Miami, but they've had a hard time getting the cash out. We've been surveilling him for a year, but we've never been able to put him and the money together. We swept his house, his warehouses... Nothing. Customs here has done a great job of getting us this far. I'm just here to help get them over the top. I was able to get an agent in undercover, working travel and logistics for him. Recently, Verone put her in charge of finding some new drivers. Right. Although we can't confirm her status right now. You think she's flipped? She's one of mine. She's all right. She's been in with Verone nearly a year. Even lives with the compound with him now. Look, it was the FBI's idea to bring you in here. I'm against it. But we need some good drivers that can put this arsehole and his money together. You're going to roll with Agent Dunn here. And if I don't? Here's a list of the laws you broke in L.A. Obstruction of justice, aiding and abetting, you know the rap sheet. We can make this all go away in the interest of justice. If you're willing to play ball.
So what's the idea here? Dunn and I are supposed to be street racers? That's right.
So, Dunn, looks like we're going to be partners, bro. Could you tell me right quick what would be a better motor for my Skyline? A Gallo 12 or a Gallo 24?
Um, a 24. I didn't know pizza places made motors.
See, man, come on, I can't do this. I mean, seriously, if this is what you're going to give me, I may as well take my chances in Chino.
And we'll get someone else. No way, man.
The only way I'll do this is if I get to pick the driver.
All right, O'Connor. Who you got in mind? This dude I grew up with in Barstow. Who's that?
Roman Pearce.
And he's crazy as hell, I'm telling you. In a good way, though, he's the man for the job.
Yo, whatever happens next, just let it go. I ain't in it.
Only my homeboys call me.
He's not a cop anymore, bro. That true?
Blondie Head's not a cop anymore? That's true. No badge.
What the hell are you doing here? I'm going to choke you. I told you to stay away from me.
You should have told me. I've been here three years, Brian. I told you it wasn't my fault.
Why did you come here, O'Connor?
I got a deal for you.
When I needed your ass, you were nowhere to be found.
Hand out deals? I need you to come to Miami and drive with me. If you do, they'll take off that inklet and they'll clear your entire record. I did three years in jail. Three years in jail over you, Brian. I know you better than you think. Maybe you don't. Maybe you don't. You guys finished? This deal legit? That's right. If you do this job for us. Told you. Shut up, punk. So you're going to clean my record and get this thing off my... That's right. I thought you couldn't wander more than 100 yards from your home. Why do you think I'm parked so close to the derby? Man, quit playing like you're going to pass this up.
Wait, hold up.
Hey, bro, what's going on? I don't know if I should be trusting you, man.
Just think of it this way. It's an opportunity for a fresh start. Now, let's just go do this, alright? I wouldn't need a fresh start if it wasn't for you. Man, you've been using that since the day you got busted. Now, let's just chill out and go do this. I don't need to chill out. Yes, you do. And you need to stop blaming me for your every mistake. And Roman Pierce needs to start taking responsibility for his own actions. You need to go to hell. And you need to go back to Barstow.
I'm not going back to Barstow.
I need Monica Fuentes. Do they have background on Burrell? They've been briefed. Good. Alright, here's the deal. Verone's looking for drivers. I've arranged for both of you to join up. I've also hired some thugs, you know, to make it legit. When do we start? Right now. What are we driving?
Don't even think about taking the convertible. It might loosen your moose. That's cool. That's too much chrome for me anyways. Hey. Where y'all confiscate these rims from, man? Check in with us after you leave.
Do you think you're going to have any problems with these two Mechel Henson? I can handle them. If they give you any trouble at all, you let me know. Thanks, Michael.
I'll ride with you, cowboy. Why she got to ride with you? You get the convertible. Let's go.
He got that from me.
Who you know put Chevy's like this?
Hey, where'd you get them cars at the bottom of a cereal box? Hey. Real funny, Fonzie.
Ass. Roberto. Enrique. I need pictures of the drivers, their licence plates, their cars, and anything else you can find. ¿Entiendes? Sí. ¿Entiendes? Inmediatamente. Gracias.
Vamos.
Handle your business, I'll handle mine. ¡Vuélvanse!
Go in line. Let's go.
Drivers are here. Good. Come on.
Stay. Esperen aquí.
Thank you for coming on such short notice.
My red Ferrari was confiscated yesterday and it sits in an impound lot in Little Haiti. It's about 20 miles from here. The car isn't important. What is important is the package I left in the glove box. The first team back here with the package will have an opportunity to work for me. What do you say, we got an audition? Nobody's got a gun to their head.
That's it. Drivers' licences. Pass them up.
Before Christmas, guys. ¡Vuélvanse! Go! ¡Vamos! ¡Vamos! ¡Vamos! ¡Vamos! ¡Vamos!
Agent Markham, I've got him heading south on I-95. Yeah, I got it.
Show me his car.
Cha-ching. Now put your blouse back on. Hater. In cars, two years in J.D., then another year for aiding and abetting an armed robbery. He's clean. Dirty, but...
Hey, man. You got something to eat up in there? We hungry.
Nice. Come on.
I'm not checking her out.
I've seen you checking her out, man. Okay, I wasn't. Shut up. You shut up. Both you girlies shut up.
No, no, no. Sit down. Nice Ferrari you got in the driveway.
We did all that for a damn cigar.
You do that for a job.
Do you really think that I would let somebody impound my car?
The boatyard's mine. Oh, by the way, you two owe me a gig. Just take it off your cut.
Off our cut, yeah. I like that. Good. What's this job you got for us, anyway? Come with me. The house has ears in it.
I have something I want you to carry. From North Beach to the Keys. What is it? Just put in the car what I tell you to, drive it to me, and don't let anybody stop you. You understand? Yeah. Any chance of car trouble? Nah, I'm buying you a window at a time, but it's not going to be open very long.
You make it, and I'll personally hand you 100 G's at the finish line. Make it 100 G's apiece, poppy.
Look, man. Obviously, your pockets ain't nervous. Hey, hey. Don't ever touch me. Ours are empty.
Like I said, we hungry.
I got an idea. Why don't you two boys join us at the club a little later tonight? Yeah. Pearl at midnight? We'll get to know each other a little bit better. Alright, sounds good. We'll see you tonight. See ya.
Hey, you!
Your pockets aren't empty.
I'll take my cutter back.
Hey, man. I figured you had like 12 or 13 of these.
Say no wrong with you, say no stupid shit to me. What, running your mouth? Insulting people? Stealing for ownership? Think I'm going to let somebody stare me down? I ain't let nobody stare me down in jail, homeboy. Think I'm going to let it fly on the beach? And you, I'll take my cutter back. Rich ass. And you pack it like you ain't.
Exactly. From here on out, I do the talking. Like to me, you want to do a little more than that. Oh, what's that supposed to mean? It means you're always getting in trouble over female, Brian.
She's got the best of everything. Snap-on tools. All these lifts are brand new. They're only maybe a couple months old. Hey, yo, Jimmy. What's up, man? What up, Bullet? Hey, that's Rome right there. Do me a favour. When you get a second, I want you to check out the Evo and the Spider and make sure everything's copacetic. Evo? Where'd you get an Evo from? Well, it's a long story. I got you, man. All right, thanks, Jimmy. You want to come check this out? Man, it's so hot and humid out here. I can't even wear no drawers. Man, tell me about it.
Potentializer.
What's this? What's the latest?
This new shit. You got talent, girl. Yeah, she's good. She's a star.
I hit a wall doing like-a-fuck
since Dan and I just been organising and collecting, man. Hey, Tess. Check it out.
What's wrong with your place, man?
What's up, Jimmy? So what's up? You ever seen anything like this before? Nah. Both of them are wired up like I never seen before.
Yeah, man. They got us wired with GPS. That's why Markham knew we were going to be at that impound lot. Yo, you the master mechanic. Why don't you just yank that shit up out of there, then? I'll try, but this ain't LoJack. The DIS box, the engine management system, hell, the main harness, the GPS is splited into all of that. Hey, tell me something, man. Do I even want to know where the skyline is, dog? Or where you been the past couple of days? Or where the hell you got these rides from? They're hot. Yeah, they hot. They wired so hot that whoever's tracking these things will know every time you don't wear your seatbelt.
All right, Jimmy. We'll just do what you can do, bro. I got you. Thanks, man. Man, we need to get these on the street ASAP. Hey, bro, check it out. You see that Cadillac across the street over there?
He used to put them up there.
I found it for them. Que pasa, horta? Hey, man. Gotta clean your windshield, buddy? What are you doing, man? You wanna trash-squatch a bunch of tacos? Every day, I'm a static homie, man. Me gusta chucha! Kiss my ass, crudonch.
Hey, Bilgus, could you tell me one more, Veroni?
What's this about, man? Hey, wait, what's going on? Bilgus, you think you can shoot at me? I'm a goddamn federal agent! What are you talking about?
You shouldn't have shown up like you did. What, you didn't know Veroni was testing us? No, I thought you punks were running. Running? That's real great. Oh, and if Veroni wanted to shoot you, you wouldn't be here right now all right we're gonna get this under control hey that's mine so well Roman I'll be making a run for bro I'm not sure what or where but he did say that he bought us a window I'm assuming from the local cops I can talk to some of the guys at the local PD no no good drones got some of them on the payroll then we can't let them know our operation exactly in addition Verone told us that he himself would be waiting at the drop it's good news if you're going to be delivering drug money to him then we can get him for laundry not as only one problem what's that point is mm-hmm Verone's Tappan happen that is crap and what you're talking about homeboy we know what we see so what do you think O'Connor you think she's compromised you should know what's that supposed to mean what your old pal O'Connor didn't tell you he flipped on Pilken's in LA gave his mark his car keys and let him disappear that's why he's not a cop anymore so what do you think expert all right we'll keep an eye on her
let your man go huh drop it I don't talk about it drop it hell I want to hear about this homie I said forget about it cuz got one chance in with the wrong mark I'm trying to blow our cover and we got two wide cars that are no better than that damn ankle brace to the mind I'm gonna tell you breath you let your man mark him do that shit again in front of her own that's gonna be our ass I know man I know it's getting thick real quick and we may need a way out we got to come up with some kind of exit strategy exit strategy huh yeah I like the way that sound what you got mom I don't know man but we need two more cars yeah here they come Fonzie and Fabio glad you can join us we heard you boys wanted to get rid of those crackerjack toys no actually we just figured those cars you got deserve better drivers which is why we're gonna take them off your hands you know why don't we settle this now wait wait wait wait how about we settle this on the blacktop huh each car does a down-and-back tag-team style slips loser walks home we came to race well load them up then let's get these cars I check it out there's no way we're gonna beat these guys straight up the Hemi's putting out about 425 and the Yanko snap a speed on about five seconds flat so I mean we're gonna have to pull something out of our ass the only thing I could think of to save the spray for the way back the return trip I'm there let's do this bro I'm getting that art it's tight to your partner crosses this line right here first team to go down and back twice wins the race at which point there's will hand over them keys your
engine is big as your mouth sets of wheels and it's possessed you see the blog for me
what's all that I'm gonna have a little fun hey Carter meet detective Whitworth one of Miami's fine thank you sweetheart you enjoying yourself detective yeah what I mean you know me you've been on my payroll shut your mouth the bucket gets hot enough detective the rat it's gonna want out the only direction it can go
did you know that your average rat can chew through a steel drink like you see you have nothing to worry about when he's screaming detective that's when he goes quiet you're in charge the units that are watching my properties huh what I want is I want a 15-minute window where everybody and I mean everybody disappears you hear me you betray
me and my rat here it's gonna visit your wife Lynn yeah your son clay and your daughter Lexi you hear me understand me huh now you can go boys enjoy the show 15 minutes and then every cop in Florida is gonna be on you beer for side cafe 6 a.m. day after tomorrow ready to drive understand yeah don't play games with me but you'll be next all right help yourself to a little champagne let's go that was a damn rat man you hear me she was into it man what's that about and you seen the way she grabbed dudes head she had to man he was testing her you gotta remember her ass is on the line just like ours are you feeling this girl way too much she just like that crazy ass trailer wrapped back in the day Tanya Tanya man you went out with her after I did attach your kitchen tomorrow I heard him telling Enrique and Roberto once you finish the run they're putting a bullet in your head you sure you heard him right Barones boys is us oh I see what they're looking for little girlfriend here they don't know I'm here I snuck out what the father was looking for hi guys how you doing oh man y'all still mad about y 'all car don't even trip homie come on man can't take a joke this isn't about being a good cop anymore or doing your job and they're gonna kill you guys gotta pull up Barone pay y'all to keep a straight face like that cuz if I was making money shit I get that mole removed off my damn nose how much you pay y'all anyway every time I see y'all man y'all got the silk shirts on jewellery you know looking real Miami and I'll cost you walking up in the club you got the hamburger beat all hanging out don't make that right be careful don't
be a star kid stay right here with us buddy don't even think about it stay your ass off my homeboy shut up shut up it's over come on let's go sour gun come on let's go I'm glad to see you boys are getting along so well because tomorrow Roberto and Enrique are gonna be riding along with you this is we don't have any problems see you guys in a bit what the hell was she doing in I do have friends Carter I'll see you later nice shirt Billkins it's my day off well anyhow this is the deal last night Barone threatened a cop and he given us a window we're driving to an airstrip in the keys off an Allwood Avenue Barone has a plane there and he's taking off forget wait a minute how do you know this Monica she's doing her job she warned us she warned you about what Barone plans to kill us after we give him the money driving into an ambush was never part of the deal I'm calling this like hell you are this is a customs case Billkins no one's calling this off unless I do look this is real simple you make the run you get Barone his cash together so I can move in for the bus all right you don't I don't find enough charges on both of you to make you disappear take these we're gonna have GPS on you the whole time just to make sure you don't get any cute ideas and it makes sure nothing happens to him right yeah right guys dick yeah let me get this right if we don't do this then we go to jail but if we do it then Barone's gonna kill us it's a hell of a deal huh yeah maybe it is but I know this guy's got an ass full of loot that he's ready to dump on our cars and I could think of two reasons Barone doesn't need that money anymore now here we go you and me just like the old days what do you think I think they messed with the wrong two guys that's what I think yo Ted what's up bro hey man how quickly can you organise look oh if y'all really want to carry out this plan it's definitely the best place to do it so what do y'all think man I think it's perfect so what did they store here pump it up you came to get it broke with a day much in it broke you came to get it on 45 over your bank to get it on roll up like that spank you get it on hey dude yo what up hey man do we have any half empty bottles of nitrous laying around sure but I already loaded you for spray no I'm thinking we may need it for something else cuz our cars may get a little crowded you know then when you start eating so much I was in jail breath I know how shitty the grub is on the inside with the way things are shaping up out here right now it'd be a matter of time before I'm back in there or dead so I'm trying to eat all I can while I can plus the doctor tell me I got a high metabolist man you remember us growing up you know playing football in the dirt you know getting in trouble all the stupid things we did when you got busted you know whether I was a cop or not you know if there's anything I could have done you know I would have done it that's once you know that so why you let that dude go in LA yeah I think they had a lot to do with it
when I got busted it wasn't your fault it was all on me mr. Roman Pierce wiling out crazy man no one can tell me nothing riding solo yeah well not anymore not anymore bro
I got burrows navigator leaving the residence copy sir we've got her own on the move to the airstrip good let's get a bird in the air tell him to keep his distance report
team one checking in team two checking in team three checking in guns murderers and crooked cops come
on I
got activity and do not move an inch until I tell you to all units move on the trailer property right now move local PD is moving in on our guys three bags of one car so what is he doing you got it Lima to five follow GPS specs around it you really do us Suki says you owe us hi we're gonna take him down a new plan beds are in the wrong place Brian's woman is on the wrong with Barone so so Brian's not coming up the choke oh yeah okay hurry up so you know nothing about the agents that a funny thing is I only told one person about that get on the boat buy the cars and get rid of him you know I like you it's my job you
slip once you okay yeah I'm great we're three bags total huh the three from the boat so we good right a wreck is clean you held up your end so maybe there was six bags I guess we can call it even agent done sir we
found some more evidence don't drop the soap big homie I hope you know that when he gets out he's gonna kill your ass hey get now I'll see you soon you think you're gonna get out you'll be out no for real you think you're getting out though and we took care of your decoys they're free and clear there's a sedan out on the road for you try to bring it back in one piece yeah thanks a lot Belkins you're right thanks thanks for looking out man you trust me now yeah oh sorry nice working with you O'Connor see me yeah I'm at the stay out here in Miami man keep you out of trouble breath you know what I'm talking about it's gonna kick in Miami bro open a garage together how we gonna do that breath pockets ain't empty cuz birthday so we blowing them candles most speakers in the trunk then my ride can handle got my name in the headrest read it and we've not tank in the back camel hair on the seat and when I pull up to the club I get all the affection cuz the women love the painting they can see their reflection I'm about to take off so f what you heard because my side mirrors flap like a fucking bird and for the fools we gonna clock one it was one cuz my folk riding shotgun with us you just got hustle for a wider cash man my truck wide open the doughnuts last week in the street still smoking see I'm off the antifreeze in my car is tipsy on the off-ramp doing about a hundred and fifty rolling through Eastburn on my way to Ben Hill slide a five to the junkie to clean my windshield got the whole crew riding and we starting I even got a trailer hitch with a barbecue pit and now all you want to do is get drunk and pouch look your new name is fire cuz we out and yeah we treat food traffic I kick the fifth gear and set a road apart you'll be like a little John Q and get a change the heart it's one mission two clips and some triple beam I'm about to blow this whole stuff to smithereens I just came home from doing a bid tell me when them county blues boy what you gonna do
It's Joaquin, man, but he had to work the graveyard shift. What? Graveyard shift, man?
Yes. Hell no, I'm not running with y'all, man. And I tell you what, either you find him...
It's Kurt here. Un carro rosita.
Why don't I just find y'all a fourth and we settle this on the streets, huh? Bring him on. Anybody I want. Traelo. No matter who it is.
Yeah, man, you want to race tonight? Yeah, you know I could use the money. You got four minutes, man. All right, I'll be there.
Oh! How long have you been in South Florida? A while. Before that?
We know you're Brian O'Connor, formerly of the LAPD.
Really?
How you doing, O'Connor?
Let's take a walk.
Carter Verone. Born in Argentina, but he's lived most of his life in Miami. Now he owns the biggest import-export business in the state. You see, unfortunately, the cartels have been successful getting drugs into Miami, but they've had a hard time getting the cash out. We've been surveilling him for a year, but we've never been able to put him and the money together. We swept his house, his warehouses... Nothing. Customs here has done a great job of getting us this far. I'm just here to help get them over the top. I was able to get an agent in undercover, working travel and logistics for him. Recently, Verone put her in charge of finding some new drivers. Right. Although we can't confirm her status right now. You think she's flipped? She's one of mine. She's all right. She's been in with Verone nearly a year. Even lives with the compound with him now. Look, it was the FBI's idea to bring you in here. I'm against it. But we need some good drivers that can put this arsehole and his money together. You're going to roll with Agent Dunn here. And if I don't? Here's a list of the laws you broke in L.A. Obstruction of justice, aiding and abetting, you know the rap sheet. We can make this all go away in the interest of justice. If you're willing to play ball.
So what's the idea here? Dunn and I are supposed to be street racers? That's right.
So, Dunn, looks like we're going to be partners, bro. Could you tell me right quick what would be a better motor for my Skyline? A Gallo 12 or a Gallo 24?
Um, a 24. I didn't know pizza places made motors.
See, man, come on, I can't do this. I mean, seriously, if this is what you're going to give me, I may as well take my chances in Chino.
And we'll get someone else. No way, man.
The only way I'll do this is if I get to pick the driver.
All right, O'Connor. Who you got in mind? This dude I grew up with in Barstow. Who's that?
Roman Pearce.
And he's crazy as hell, I'm telling you. In a good way, though, he's the man for the job.
Yo, whatever happens next, just let it go. I ain't in it.
Only my homeboys call me.
He's not a cop anymore, bro. That true?
Blondie Head's not a cop anymore? That's true. No badge.
What the hell are you doing here? I'm going to choke you. I told you to stay away from me.
You should have told me. I've been here three years, Brian. I told you it wasn't my fault.
Why did you come here, O'Connor?
I got a deal for you.
When I needed your ass, you were nowhere to be found.
Hand out deals? I need you to come to Miami and drive with me. If you do, they'll take off that inklet and they'll clear your entire record. I did three years in jail. Three years in jail over you, Brian. I know you better than you think. Maybe you don't. Maybe you don't. You guys finished? This deal legit? That's right. If you do this job for us. Told you. Shut up, punk. So you're going to clean my record and get this thing off my... That's right. I thought you couldn't wander more than 100 yards from your home. Why do you think I'm parked so close to the derby? Man, quit playing like you're going to pass this up.
Wait, hold up.
Hey, bro, what's going on? I don't know if I should be trusting you, man.
Just think of it this way. It's an opportunity for a fresh start. Now, let's just go do this, alright? I wouldn't need a fresh start if it wasn't for you. Man, you've been using that since the day you got busted. Now, let's just chill out and go do this. I don't need to chill out. Yes, you do. And you need to stop blaming me for your every mistake. And Roman Pierce needs to start taking responsibility for his own actions. You need to go to hell. And you need to go back to Barstow.
I'm not going back to Barstow.
I need Monica Fuentes. Do they have background on Burrell? They've been briefed. Good. Alright, here's the deal. Verone's looking for drivers. I've arranged for both of you to join up. I've also hired some thugs, you know, to make it legit. When do we start? Right now. What are we driving?
Don't even think about taking the convertible. It might loosen your moose. That's cool. That's too much chrome for me anyways. Hey. Where y'all confiscate these rims from, man? Check in with us after you leave.
Do you think you're going to have any problems with these two Mechel Henson? I can handle them. If they give you any trouble at all, you let me know. Thanks, Michael.
I'll ride with you, cowboy. Why she got to ride with you? You get the convertible. Let's go.
He got that from me.
Who you know put Chevy's like this?
Hey, where'd you get them cars at the bottom of a cereal box? Hey. Real funny, Fonzie.
Ass. Roberto. Enrique. I need pictures of the drivers, their licence plates, their cars, and anything else you can find. ¿Entiendes? Sí. ¿Entiendes? Inmediatamente. Gracias.
Vamos.
Handle your business, I'll handle mine. ¡Vuélvanse!
Go in line. Let's go.
Drivers are here. Good. Come on.
Stay. Esperen aquí.
Thank you for coming on such short notice.
My red Ferrari was confiscated yesterday and it sits in an impound lot in Little Haiti. It's about 20 miles from here. The car isn't important. What is important is the package I left in the glove box. The first team back here with the package will have an opportunity to work for me. What do you say, we got an audition? Nobody's got a gun to their head.
That's it. Drivers' licences. Pass them up.
Before Christmas, guys. ¡Vuélvanse! Go! ¡Vamos! ¡Vamos! ¡Vamos! ¡Vamos! ¡Vamos!
Agent Markham, I've got him heading south on I-95. Yeah, I got it.
Show me his car.
Cha-ching. Now put your blouse back on. Hater. In cars, two years in J.D., then another year for aiding and abetting an armed robbery. He's clean. Dirty, but...
Hey, man. You got something to eat up in there? We hungry.
Nice. Come on.
I'm not checking her out.
I've seen you checking her out, man. Okay, I wasn't. Shut up. You shut up. Both you girlies shut up.
No, no, no. Sit down. Nice Ferrari you got in the driveway.
We did all that for a damn cigar.
You do that for a job.
Do you really think that I would let somebody impound my car?
The boatyard's mine. Oh, by the way, you two owe me a gig. Just take it off your cut.
Off our cut, yeah. I like that. Good. What's this job you got for us, anyway? Come with me. The house has ears in it.
I have something I want you to carry. From North Beach to the Keys. What is it? Just put in the car what I tell you to, drive it to me, and don't let anybody stop you. You understand? Yeah. Any chance of car trouble? Nah, I'm buying you a window at a time, but it's not going to be open very long.
You make it, and I'll personally hand you 100 G's at the finish line. Make it 100 G's apiece, poppy.
Look, man. Obviously, your pockets ain't nervous. Hey, hey. Don't ever touch me. Ours are empty.
Like I said, we hungry.
I got an idea. Why don't you two boys join us at the club a little later tonight? Yeah. Pearl at midnight? We'll get to know each other a little bit better. Alright, sounds good. We'll see you tonight. See ya.
Hey, you!
Your pockets aren't empty.
I'll take my cutter back.
Hey, man. I figured you had like 12 or 13 of these.
Say no wrong with you, say no stupid shit to me. What, running your mouth? Insulting people? Stealing for ownership? Think I'm going to let somebody stare me down? I ain't let nobody stare me down in jail, homeboy. Think I'm going to let it fly on the beach? And you, I'll take my cutter back. Rich ass. And you pack it like you ain't.
Exactly. From here on out, I do the talking. Like to me, you want to do a little more than that. Oh, what's that supposed to mean? It means you're always getting in trouble over female, Brian.
She's got the best of everything. Snap-on tools. All these lifts are brand new. They're only maybe a couple months old. Hey, yo, Jimmy. What's up, man? What up, Bullet? Hey, that's Rome right there. Do me a favour. When you get a second, I want you to check out the Evo and the Spider and make sure everything's copacetic. Evo? Where'd you get an Evo from? Well, it's a long story. I got you, man. All right, thanks, Jimmy. You want to come check this out? Man, it's so hot and humid out here. I can't even wear no drawers. Man, tell me about it.
Potentializer.
What's this? What's the latest?
This new shit. You got talent, girl. Yeah, she's good. She's a star.
I hit a wall doing like-a-fuck
since Dan and I just been organising and collecting, man. Hey, Tess. Check it out.
What's wrong with your place, man?
What's up, Jimmy? So what's up? You ever seen anything like this before? Nah. Both of them are wired up like I never seen before.
Yeah, man. They got us wired with GPS. That's why Markham knew we were going to be at that impound lot. Yo, you the master mechanic. Why don't you just yank that shit up out of there, then? I'll try, but this ain't LoJack. The DIS box, the engine management system, hell, the main harness, the GPS is splited into all of that. Hey, tell me something, man. Do I even want to know where the skyline is, dog? Or where you been the past couple of days? Or where the hell you got these rides from? They're hot. Yeah, they hot. They wired so hot that whoever's tracking these things will know every time you don't wear your seatbelt.
All right, Jimmy. We'll just do what you can do, bro. I got you. Thanks, man. Man, we need to get these on the street ASAP. Hey, bro, check it out. You see that Cadillac across the street over there?
He used to put them up there.
I found it for them. Que pasa, horta? Hey, man. Gotta clean your windshield, buddy? What are you doing, man? You wanna trash-squatch a bunch of tacos? Every day, I'm a static homie, man. Me gusta chucha! Kiss my ass, crudonch.
Hey, Bilgus, could you tell me one more, Veroni?
What's this about, man? Hey, wait, what's going on? Bilgus, you think you can shoot at me? I'm a goddamn federal agent! What are you talking about?
You shouldn't have shown up like you did. What, you didn't know Veroni was testing us? No, I thought you punks were running. Running? That's real great. Oh, and if Veroni wanted to shoot you, you wouldn't be here right now all right we're gonna get this under control hey that's mine so well Roman I'll be making a run for bro I'm not sure what or where but he did say that he bought us a window I'm assuming from the local cops I can talk to some of the guys at the local PD no no good drones got some of them on the payroll then we can't let them know our operation exactly in addition Verone told us that he himself would be waiting at the drop it's good news if you're going to be delivering drug money to him then we can get him for laundry not as only one problem what's that point is mm-hmm Verone's Tappan happen that is crap and what you're talking about homeboy we know what we see so what do you think O'Connor you think she's compromised you should know what's that supposed to mean what your old pal O'Connor didn't tell you he flipped on Pilken's in LA gave his mark his car keys and let him disappear that's why he's not a cop anymore so what do you think expert all right we'll keep an eye on her
let your man go huh drop it I don't talk about it drop it hell I want to hear about this homie I said forget about it cuz got one chance in with the wrong mark I'm trying to blow our cover and we got two wide cars that are no better than that damn ankle brace to the mind I'm gonna tell you breath you let your man mark him do that shit again in front of her own that's gonna be our ass I know man I know it's getting thick real quick and we may need a way out we got to come up with some kind of exit strategy exit strategy huh yeah I like the way that sound what you got mom I don't know man but we need two more cars yeah here they come Fonzie and Fabio glad you can join us we heard you boys wanted to get rid of those crackerjack toys no actually we just figured those cars you got deserve better drivers which is why we're gonna take them off your hands you know why don't we settle this now wait wait wait wait how about we settle this on the blacktop huh each car does a down-and-back tag-team style slips loser walks home we came to race well load them up then let's get these cars I check it out there's no way we're gonna beat these guys straight up the Hemi's putting out about 425 and the Yanko snap a speed on about five seconds flat so I mean we're gonna have to pull something out of our ass the only thing I could think of to save the spray for the way back the return trip I'm there let's do this bro I'm getting that art it's tight to your partner crosses this line right here first team to go down and back twice wins the race at which point there's will hand over them keys your
engine is big as your mouth sets of wheels and it's possessed you see the blog for me
what's all that I'm gonna have a little fun hey Carter meet detective Whitworth one of Miami's fine thank you sweetheart you enjoying yourself detective yeah what I mean you know me you've been on my payroll shut your mouth the bucket gets hot enough detective the rat it's gonna want out the only direction it can go
did you know that your average rat can chew through a steel drink like you see you have nothing to worry about when he's screaming detective that's when he goes quiet you're in charge the units that are watching my properties huh what I want is I want a 15-minute window where everybody and I mean everybody disappears you hear me you betray
me and my rat here it's gonna visit your wife Lynn yeah your son clay and your daughter Lexi you hear me understand me huh now you can go boys enjoy the show 15 minutes and then every cop in Florida is gonna be on you beer for side cafe 6 a.m. day after tomorrow ready to drive understand yeah don't play games with me but you'll be next all right help yourself to a little champagne let's go that was a damn rat man you hear me she was into it man what's that about and you seen the way she grabbed dudes head she had to man he was testing her you gotta remember her ass is on the line just like ours are you feeling this girl way too much she just like that crazy ass trailer wrapped back in the day Tanya Tanya man you went out with her after I did attach your kitchen tomorrow I heard him telling Enrique and Roberto once you finish the run they're putting a bullet in your head you sure you heard him right Barones boys is us oh I see what they're looking for little girlfriend here they don't know I'm here I snuck out what the father was looking for hi guys how you doing oh man y'all still mad about y 'all car don't even trip homie come on man can't take a joke this isn't about being a good cop anymore or doing your job and they're gonna kill you guys gotta pull up Barone pay y'all to keep a straight face like that cuz if I was making money shit I get that mole removed off my damn nose how much you pay y'all anyway every time I see y'all man y'all got the silk shirts on jewellery you know looking real Miami and I'll cost you walking up in the club you got the hamburger beat all hanging out don't make that right be careful don't
be a star kid stay right here with us buddy don't even think about it stay your ass off my homeboy shut up shut up it's over come on let's go sour gun come on let's go I'm glad to see you boys are getting along so well because tomorrow Roberto and Enrique are gonna be riding along with you this is we don't have any problems see you guys in a bit what the hell was she doing in I do have friends Carter I'll see you later nice shirt Billkins it's my day off well anyhow this is the deal last night Barone threatened a cop and he given us a window we're driving to an airstrip in the keys off an Allwood Avenue Barone has a plane there and he's taking off forget wait a minute how do you know this Monica she's doing her job she warned us she warned you about what Barone plans to kill us after we give him the money driving into an ambush was never part of the deal I'm calling this like hell you are this is a customs case Billkins no one's calling this off unless I do look this is real simple you make the run you get Barone his cash together so I can move in for the bus all right you don't I don't find enough charges on both of you to make you disappear take these we're gonna have GPS on you the whole time just to make sure you don't get any cute ideas and it makes sure nothing happens to him right yeah right guys dick yeah let me get this right if we don't do this then we go to jail but if we do it then Barone's gonna kill us it's a hell of a deal huh yeah maybe it is but I know this guy's got an ass full of loot that he's ready to dump on our cars and I could think of two reasons Barone doesn't need that money anymore now here we go you and me just like the old days what do you think I think they messed with the wrong two guys that's what I think yo Ted what's up bro hey man how quickly can you organise look oh if y'all really want to carry out this plan it's definitely the best place to do it so what do y'all think man I think it's perfect so what did they store here pump it up you came to get it broke with a day much in it broke you came to get it on 45 over your bank to get it on roll up like that spank you get it on hey dude yo what up hey man do we have any half empty bottles of nitrous laying around sure but I already loaded you for spray no I'm thinking we may need it for something else cuz our cars may get a little crowded you know then when you start eating so much I was in jail breath I know how shitty the grub is on the inside with the way things are shaping up out here right now it'd be a matter of time before I'm back in there or dead so I'm trying to eat all I can while I can plus the doctor tell me I got a high metabolist man you remember us growing up you know playing football in the dirt you know getting in trouble all the stupid things we did when you got busted you know whether I was a cop or not you know if there's anything I could have done you know I would have done it that's once you know that so why you let that dude go in LA yeah I think they had a lot to do with it
when I got busted it wasn't your fault it was all on me mr. Roman Pierce wiling out crazy man no one can tell me nothing riding solo yeah well not anymore not anymore bro
I got burrows navigator leaving the residence copy sir we've got her own on the move to the airstrip good let's get a bird in the air tell him to keep his distance report
team one checking in team two checking in team three checking in guns murderers and crooked cops come
on I
got activity and do not move an inch until I tell you to all units move on the trailer property right now move local PD is moving in on our guys three bags of one car so what is he doing you got it Lima to five follow GPS specs around it you really do us Suki says you owe us hi we're gonna take him down a new plan beds are in the wrong place Brian's woman is on the wrong with Barone so so Brian's not coming up the choke oh yeah okay hurry up so you know nothing about the agents that a funny thing is I only told one person about that get on the boat buy the cars and get rid of him you know I like you it's my job you
slip once you okay yeah I'm great we're three bags total huh the three from the boat so we good right a wreck is clean you held up your end so maybe there was six bags I guess we can call it even agent done sir we
found some more evidence don't drop the soap big homie I hope you know that when he gets out he's gonna kill your ass hey get now I'll see you soon you think you're gonna get out you'll be out no for real you think you're getting out though and we took care of your decoys they're free and clear there's a sedan out on the road for you try to bring it back in one piece yeah thanks a lot Belkins you're right thanks thanks for looking out man you trust me now yeah oh sorry nice working with you O'Connor see me yeah I'm at the stay out here in Miami man keep you out of trouble breath you know what I'm talking about it's gonna kick in Miami bro open a garage together how we gonna do that breath pockets ain't empty cuz birthday so we blowing them candles most speakers in the trunk then my ride can handle got my name in the headrest read it and we've not tank in the back camel hair on the seat and when I pull up to the club I get all the affection cuz the women love the painting they can see their reflection I'm about to take off so f what you heard because my side mirrors flap like a fucking bird and for the fools we gonna clock one it was one cuz my folk riding shotgun with us you just got hustle for a wider cash man my truck wide open the doughnuts last week in the street still smoking see I'm off the antifreeze in my car is tipsy on the off-ramp doing about a hundred and fifty rolling through Eastburn on my way to Ben Hill slide a five to the junkie to clean my windshield got the whole crew riding and we starting I even got a trailer hitch with a barbecue pit and now all you want to do is get drunk and pouch look your new name is fire cuz we out and yeah we treat food traffic I kick the fifth gear and set a road apart you'll be like a little John Q and get a change the heart it's one mission two clips and some triple beam I'm about to blow this whole stuff to smithereens I just came home from doing a bid tell me when them county blues boy what you gonna do
Descriptive Audio and Transcript
Below is the complete audio description with transcript for “1 Night” (2016). Audio descriptions provide narration of visual elements, actions, and scene details to make films accessible to people who are blind or have low vision.
Audio description benefits more than just visually impaired users. It can help people who are multitasking, those in environments where they can’t watch the screen closely, or anyone who wants a richer understanding of visual storytelling elements.
2 Fast 2 Furious (2003) - Descriptive Audio
From space, sunlight starts to illuminate the darkened
Earth.
Shafts of bright light shoot up from the
surface of the globe and pulsate as it
spins in space.
Land and blue sea become visible.
In white lettering, the name Universal encircles the
centre of the spinning globe, fringed with flickering
white light.
The globe in lettering turns silver as if
made of chrome.
More chrome with five small circles set in
it appears.
The circles are revealed to be the nuts
in the chrome wheel of a bright purple
pick-up truck.
On a dark street, the truck reverses up
to a stop line and a group of
funkily dressed young men and women climb off
the back and set up a metal sign
between two traffic cones.
The crowd get back in the truck and
drive off down the street.
On the sign, black letters on a white
background read, ROAD CLOSED.
Two motorcycles wheelie past crowds of young dudes
milling around souped-up modified cars parked by
a blue building with yellow lettering on it.
The team in the pick-up position another
ROAD CLOSED sign.
In a garage, a guy with big, wild
afro hair answers a cell phone.
Yo, Jimmy, man, give me the status.
Tell me we good.
Beautiful.
It's gonna be an odd time of the
night.
Dressed in overalls, he steps out to the
street where the hot rods are lined up.
All right, all right, all right, fire em
up!
We gon' line and fire!
It's time for ignition and straight automobile pimp!
Brightly coloured lines flash like fireflies streaking back
and forth then converge and explode in a
single glowing light that reveals yellow lettering, TOO
FAST, TOO FURIOUS.
The yellow caption speeds off like a rocket.
Girls in hot pants and crop tops hang
out by the open hoods of the gleaming
cars.
At the front of a gold Toyota Supra,
a slender woman takes the coat of a
guy with a goatee who's sitting on the
wing.
She pulls a comb through his thick afro
hair.
Oh, girl, sorry, my bad.
By a pink convertible Honda S2000, an Asian
girl yells to her female crew.
All right, ladies, we're good.
We're good.
A dude in a beanie hat.
That's it, baby, sigan brillando.
Esto es mio!
Come on, Tess, let's get this race going.
Whoa, whoa, man, wait a second, man.
You cats are first wave, man.
Where's your fourth at?
Yo, yo, it was Joaquin, man, but he
had to work the graveyard shift.
What?
Graveyard shift, man?
Yo, why don't you run with us, Tess?
Hell no, I'm not running with y'all,
man.
And I tell you what, either you find
a fourth or you don't race.
How about that, huh?
We should find two so we don't have
to roll with skirt hair.
To the Asian girl.
Un carro rosita.
Idiota.
Whoa, whoa, wait a second, wait a second.
Why don't I just find y'all a
fourth and we settle this on the streets,
huh?
Bring him on.
Anybody I want.
Traelo.
No matter who it is.
Tej, the guy with big afro hair, moustachioed
and wearing overalls, dials his cell phone.
Yo.
Yeah, man.
You want to race tonight?
Yeah, you know I could use the money.
You got four minutes, man.
All right, I'll be there.
A short-haired young guy with boyish features
runs out of an apartment, gets in a
silver Nissan Skyline with blue slashes down the
sides and starts it up.
He drives out of the garage.
At the race site, spectators look at speaker
systems and open car boots.
Tej stands in front of the Asian girl
by her pink Honda, the goateed guy slapjacked
by his gold Toyota, and the beanie-hatted
dude by his orange Mazda RX-7, which
has orange Julius painted on the bonnet.
Two girls spray a starting line on the
road.
The race starts in four minutes.
The Asian girl stands by her crew of
four.
All right, girls, let's do this.
They touch knuckles and clap.
The Nissan Skyline speeds along a freeway, shifting
lanes past traffic.
At the race meeting, slapjack is canoodling with
his woman.
You think you're going to win, baby?
What you think?
You better.
We got rent to pay.
I know this.
The Nissan Skyline speeds under tall arches lit
with blue floodlights.
At the race site, a photographer takes a
shot of a woman in a low-cut
dress.
A crowd gathers around the guy brake-pouncing.
The silver Nissan, with a spoiler, side skirts
and an aerofoil at the back, swerves round
a corner.
At the race site, the crowd starts to
dance, slapjack sitting on the hood of his
gold Toyota Supra, deep in thought, the beanie
-hatted dude, orange Julius.
I'll get you when you get a car
worth racing.
The silver Nissan rolls in.
Spurts of gas shoot up from vents at
the front of the gleaming machine.
Tej smiles appreciatively.
Yeah, there's our boy right there.
Shit, it's Brian.
The Asian girl watches as more jets of
gas shoot out of the car.
Orange Julius smiles and shakes his head as
the silver machine pulls up next to him.
The crowd raise their fists in the air.
Wearing a white T-shirt, Brian with short,
light brown wavy hair and boyish yet rugged
looks gets out of his car smiling confidently.
He clenches hands with a couple of spectators,
then wanders over to Tej.
They touch fists.
What's up, Tej?
Pat, man.
Thanks for the invite.
No problem at all, man.
Just remember me when you wax, aight?
Brian glances at the other drivers.
They got deep pockets?
Real deep.
Brian turns to the long-haired Asian girl.
What's up, Suki?
What's up, Bullet?
What do you say we kick it in
Echo?
Pérate, pérate, Cano.
Nobody said nothing about racing the stakes.
Brian saunters over to Orange Julius, who's sitting
on the hood of his Orange Mazda RX
-7.
Brian looks at the crowd.
If that's the case, why don't you ask
these nice people here to back off the
line so you can go home?
Orange Julius turns to the crowd and gestures
for them to stop.
Tej walks over and stands with his arms
folded, looking sternly at Julius, who looks up
at Brian.
OK.
35 large.
Tres, cinco.
He hands over the cash.
No más de 8.
Seguido.
Tej walks up to Slapjack.
35 large, huh?
Either that or you can go home, bro.
Without looking at Slapjack, Tej holds out his
hand.
Slapjack thrusts the cash into it.
What's all that?
Red and white.
Damn, Suki.
When you gonna pop my clutch, huh?
As soon as you get the right set
of tools.
Yeah.
She slaps cash into Tej's hand.
Brian looks around with a confident smile.
His smile drops when he sees a sultry
woman watching him coolly.
She has elegant features and wears her dark
brown hair pinned up in tight curls.
Looking unnerved, Brian gets in his car.
The girl walks off.
The four racers are lined up and ready
to go.
All right, back up, back up.
Let's go, let's go.
Flames shoot out of Brian's exhaust.
Back up, back up.
Before you turn into barbecue around here.
It's not a game.
It's serious.
All right, back up, back up.
Get off the street, off the street.
Let's go.
Back it up, back it up.
Everybody keep their hands real, real clear, all
right?
Because I got a surprise for y'all
this evening.
Suki waves her fist in the air.
Slapjack adjusts his rearview mirror.
I got this, I got this.
And Adam, and Adam.
Orange Julius kisses a pendant and looks at
Brian, who's staring straight ahead.
Tej points at the driver one by one,
Suki first.
Ready, ready, ready.
Tej lifts his right arm and then drops
it.
Go!
Chrome wheels spin and rubber burns.
The four modified cars shoot off down the
street.
The crowd surges forward, jumping and flaming their
arms in the air.
Lights blazing, the cars race under a freeway
bridge.
Brian shifts gears and looks down at the
speedo, which reads 60 and rising.
Orange Julius shifts gears and speeds ahead.
Purple flames shoot out of the orange RX
-7's exhaust.
Suki's brow is pinched.
The gold, silver, orange, then pink cars speed
along a deserted street.
Brian motors up behind the gold Toyota, nudging
against the gleaming backside.
Slapjack looks nervously in his mirror.
Brian and Suki overtake Orange Julius.
Brian speeds up next to the gold Toyota.
Brian and Slapjack are head to head as
they reach a bend, with trucks parked on
the corner.
Slapjack and Brian exchange a look.
Oh, hell no!
The gold Toyota rockets around the corner ahead
of Brian.
Slapjack yells in exhilaration as he leads the
pack under a freeway.
Third in line, Orange Julius grins.
The gold Toyota weaves from side to side.
You ain't passing me, dog.
You ain't passing me.
Come on!
In second place, Brian swerves to try to
get ahead.
What you got, man?
The gold Toyota shoots blue flames from its
exhaust as it roars ahead of the pack.
I told you you weren't gonna pass me!
Brian's face is set in concentration as he
creeps up on Slapjack.
In last place, Suki speeds up behind Orange
Julius.
On her dashboard is a flat computer screen.
Orange Julius looks in his rear-view mirror.
Move, bitch!
As Suki sneaks behind Orange Julius, Slapjack shifts
down and swerves around the corner.
The other three follow close behind.
Suki grits her teeth.
Orange Julius screams.
Brian thumps up behind the gold Toyota.
Flames shoot out of Brian's exhaust as the
full race is speed past a parade of
shops.
Slapjack, Brian, Orange Julius, then Suki speed down
the deserted street.
At the control room of a canal bridge,
a lock is pried open, and three guys
go inside.
In the race, Orange Julius looks in his
mirror.
You ain't passing me tonight, bitch.
Uh-uh.
Not tonight, baby.
Bend over, boy.
With a confident smirk, Suki drives up and
rams the RX-7 in the rear.
Orange Julius is thrown around in his seat,
as he tries to get ahead.
As he and Suki battle for position, Brian
rolls up behind Slapjack, who shifts gears and
swerves into a bend.
Last time, last time.
Too wide.
The Toyota spins wide, and Brian gains enough
tarmac to drive up next to it.
Slapjack anxiously looks across at Brian, who smiles,
then shifts gears and speeds ahead.
Watch your legs, baby.
Slapjack presses a button.
Blue flames shimmer from the exhaust, as the
car surges forwards.
Way to go, girl!
Like a rocket, the gold Toyota races past
Brian in his silver Nissan.
Brian puts his sneaker to the pedal.
Orange Julius' dark brows are arched, as he
keeps ahead of Suki.
The Mazda RX-7 and the Honda swerve
precariously round a bend.
Suki races ahead.
Holy abunda!
Yes!
The nose of Brian's silver Nissan stays close
to the back of the gold Toyota.
Orange Julius races up behind Suki.
Estoy comiendo el culo!
Suki flashes a look in her mirror.
I can smell you!
Yo, Jimmy, hit it, baby.
Hit it!
In the control room, Jimmy, a guy with
short black hair, shifts a lever and the
road bridge rises.
Y'all see that?
Told y'all I had a surprise.
How do you like that for a finale?
They watch the road bridge rise up.
Slapjack and Brian look in horror at the
giant ramp rising up in front of them.
Bridge!
Slapjack presses the button on his steering wheel
and races ahead towards the bridge, which is
raised about 45 degrees in the air.
Brian puts his foot down.
Slapjack's Speedo creeps towards 120.
On the centre of the steering wheel of
Brian's Nissan are buttons similar to those on
the gold Toyota.
They have N20 written beside them.
Brian presses the buttons.
Needles spin round on dials as Brian races
up the ramp behind the gold Toyota.
The cars careen off the ramp.
Oh!
The drivers' mouths drop open as they fly
through the air.
Brian lands first.
Sparks fly as the Toyota lands.
Brian green.
Give up!
Slapjack holds on for dear life as the
Toyota swerves off the road and crashes beneath
an enormous taxi sign.
Approaching the bridge, Suki presses her N20 button
and she's thrust forwards.
Seeing the raised bridge, Orange Julius' eyes widen.
Orange Julius swerves to a halt.
Suki flies off the bridge.
Woo!
Smack that ass!
And is smashed as it lands, sending the
front grille and spoiler flying off.
Grinning, Brian effortlessly slides his unscathed Silver Nissan
up to the crowds waiting at the finishing
line.
Tej smiles and nods at Brian, who enthusiastically
slaps the nitrous oxide tanks to his side.
Slapjack trawls out of his wrecked Toyota.
Suki rolls up and helps him conder, minus
front grille.
Tej looks around at the excited crowd nodding
coolly.
Brian gets out of his car, shares a
smile with Suki and grins at Tej, who
walks forwards with the crowd.
Tell me y'all saw that, man!
Pulling in Suki straight at the bridge.
I need to start making y'all pay
to even see this shit.
I got over ten stacks for my man
right here, alright?
That's what I'm talking about, man.
Play with it.
Smells good, don't it?
Yeah, how about that right there?
Right, right, right.
Y'all see this?
Everybody take a real good look.
This is what you call mutual respect.
Alright, let's clear out.
Anybody down for another race?
Shit.
Suki in a purple crop top straightens up
as Tej mows his over.
Hey, make sure you bring that body by
the garage later, alright?
So, you know, we can work on that
front end of yours.
Watch out.
Maybe I will.
She kisses his cheek and walks off.
Yeah.
Brian walks over to the sultry woman who's
smiling at him.
She turns and walks off.
Hey, where you going?
It's time to get out of here.
Why's that?
A black sedan with red and blue lights
flashing rolls up.
The crowd disperses.
Suki drives off.
Brian leaves the sultry woman and runs to
his car.
Two more sedans with lights flashing block the
car that's about to leave.
Brian gets in his Nissan Skyline and drives
off.
The black sedan chases after him.
A blue light flashing on the dashboard and
a blue and red light flashing on top
of the rim screen.
Brian speeds past an oncoming blue sedan that
turns and gives chase.
Driving the blue sedan is an agent who
talks into a radio.
Nissan Skyline, got him.
Brian speeds round a bend closely followed by
the blue sedan.
Brian takes a tight bend and the sedan
smashes into a parked car.
Shit!
Shit!
Brian looks back at the smashed car.
Up ahead, a hard-faced agent stands by
a pale blue sedan, aiming a weapon that
looks like a rocket launcher.
Shit!
As Brian speeds past, the agent fires the
weapon.
A pronged device embeds itself on the side
of the car and sends out electrical pulses.
Brian presses the accelerator, but the car loses
speed and crashes into a parking metre.
Brian wraps the dashboard.
The front of the Nissan is a mangled
wreck.
Several cars roll up.
Four agents run over and point guns in
the window at Brian.
Let me see your hands!
Brian puts up his hands.
What's up?
Markham faces Brian.
How long have you been in South Florida?
A while.
Before that?
We know you're Brian O'Connor, formerly of
the LAPD.
Man, you got the wrong guy.
Really?
Brian nods.
A heavy-set, bald-headed agent enters.
How you doing, O'Connor?
Let's take a walk.
In the control room, Markham shows Brian slides.
Carter Verone.
Born in Argentina, but he lived most of
his life in Miami.
Now he owns the biggest import-export business
in the state.
You see, unfortunately, the cartels have been successful
getting drugs into Miami, but they've had a
hard time getting the cash out.
We've been surveilling him for a year, but
we've never been able to put him and
the money together.
We swept his house, his warehouses...
Nothing.
Customs here has done a great job of
getting us this far.
I'm just here to help get them over
the top.
I was able to get an agent in
undercover, work in travel and logistics for him.
Recently, Verone put her in charge of finding
some new drivers.
Right, although we can't confirm her status right
now.
You think she's flipped?
She's one of mine.
She's all right.
She's been in with Verone nearly a year.
Even lives at the compound with him now.
Look, it was the FBI's idea to bring
you in here.
I'm against it, but we need some good
drivers that can put this arsehole and his
money together.
You're going to roll with Agent Dunn here.
And if I don't?
Here's a list of the laws you broke
in L.A. Obstruction of justice, aiding and
abetting, you know the rap sheet.
We can make this all go away in
the interest of justice.
If you're willing to play ball.
Yeah.
Brian flips through the several-paged list.
So what's the idea here?
Dunn and I are supposed to be street
racers?
That's right.
Brian eyeballs dark-haired, chisel-jawed Dunn, who
sips a soda with Gallo's Pizza written on
the cup.
So, Dunn?
Brian gets to his feet, walks over to
Dunn.
Looks like we're going to be partners, bro.
Could you tell me right quick what would
be a better motor for my Skyline, a
Gallo 12 or a Gallo 24?
Dunn glances at Markham, who nods to him.
Um...
The 24.
Brian looks at the cup.
I didn't know pizza places made motors.
Dunn looks at the cup, frowning.
Brian smiles at the agents.
See, man, come on, I can't do this.
I mean, seriously, if this is what you're
going to give me, I may as well
take my chances in Chino.
And we'll get someone else.
No way, man.
Markham grabs the cup off Dunn.
The only way I'll do this is if
I get to pick the driver.
All right, O'Connor.
Who you got in mind?
This dude I grew up with in Barstow.
Who's that?
Roman Pierce.
A sign reads, Welcome to Barstow Speedway.
Out in the Nevada desert, a demolition derby's
in full swing.
A driver watches from inside a black, white
and red Chevrolet Monte Carlo with spikes in
the front grille.
He puts his foot down and barges another
vehicle into the fence.
Sitting in the stand are Brian and Dalton,
the bald-headed agent.
The Monte Carlo driver has an electronic tag,
an anklet strapped around his ankle.
That your boy in the Monte Carlo?
Yeah, that's him.
Yeah, you've got some skills.
Mm-hmm.
And he's crazy as hell, I'm telling you.
In a good way, though, he's the man
for the job.
A station waggon hits the Monte Carlo head
-on, popping up the bonnet and smashing the
windscreen which the driver kicks out.
He's got quite a record, including three years
upstate.
Says here he's on house arrest now.
Can't go more than 100 yards from his
home.
The Monte Carlo charges at the station waggon
and rams it, flipping it over.
Oh!
Crowds in the stands get up and cheer.
The Monte Carlo stops and the driver, wearing
T-shirt and jeans, hauls himself out of
the glassless window frame.
A taut, muscular man with narrow eyes, he
smiles at the appreciative crowd.
He sees Brian and his expression changes, hardening
to a cold stare.
He glows at Brian and walks away across
the dirt-floored arena.
Brian looks at Bilkins.
You always said he'd be famous.
Brian walks up behind the driver.
Lights glow on the electronic anklet.
Pierce!
Roman Pierce!
Brian turns to Bilkins.
Yo, whatever happens next, just let it go.
I ain't in it.
Bilkins, wearing glasses, holds up his hands.
Rome!
Agitated, Pierce moves his head from side to
side, turns to Brian and glares.
Only my homeboys call me Rome.
Pig.
Pierce spits in the dirt.
Brian stands his ground.
I'm not a cop anymore, bro.
Is that true?
Pierce walks towards Brian.
Blind in the head, not a cop anymore?
That's true.
No badge.
Round-faced, moustachioed Bilkins smiles.
Brian stares at Pierce as he steps up
to him.
Pierce clenches his fist and swings at Brian,
cracking him on the jaw.
Here we go!
Pierce takes another swing.
Brian ducks and throws Pierce onto his back.
Pierce gets on top of Brian and punches
his face.
Bilkins wanders off and sits next to a
mobile home.
On his back, Brian has his legs wrapped
around Pierce.
You still fight like shit?
You still fight like shit?
You better chill.
What the hell are you doing here?
I'm gonna choke you!
I told you to stay away from me.
Pierce punches Brian in the face.
Brian gets Pierce in the headlock.
You should have told me!
I did three years, Brian!
I told you it wasn't my fault!
Brian restrains Pierce, then lets him go.
Pierce gets up on his knees, then sits
on the dusty ground.
Why did you come here, O'Connor?
Covered in dust, Brian sits up.
I got a deal for you.
Brian flings a handful of dust at Pierce.
When I needed your ass, you were nowhere
to be found.
Now you trying to hand out deals?
They get to their feet.
Brian slaps Pierce's chest and stands face to
face with him.
I need you to come to Miami and
drive with me.
If you do, they'll take off that anklet
and clear your entire record.
I did three years in jail.
Three years in jail over you, Brian.
I know you better than you think.
Maybe you don't.
Maybe you don't.
You guys finished?
This deal legit?
That's right.
You should do this job for us.
Told you.
Shut up, punk.
So you gonna clean my record and get
this thing off my ankle?
That's right.
I thought you couldn't wander more than a
hundred yards from your home.
Why you think I'm parked so close to
the derby?
Man, quit playing like you're gonna pass this
up.
Pierce looks Brian up and down and goes
to the door of the mobile home.
In Miami, Bilkins drives Brian and Pierce across
a bridge, then heads into the car park
at the Miami customs office.
Brian, Pierce and Bilkins all get out of
the car.
As Pierce, wearing a sleeveless blue shirt, jeans
and boots, gets out of the car, he
feels his right ankle, now free of the
anklet, then follows the other two towards the
entrance of the customs building.
Agitated, Pierce stops in his tracks.
Wait, hold up.
Brian walks up behind Pierce.
Hey, bro, what's going on?
I don't know if I should be trusting
you.
Pierce avoids Brian's gaze.
Just think of it this way.
It's an opportunity for a fresh start.
Now let's just go do this, alright?
I wouldn't need a fresh start if it
wasn't for you.
Man, you've been using that since the day
you got busted.
Now let's just chill out and go do
this.
I don't need to chill out.
Yes, you do.
And you need to stop blaming me for
your every mistake.
And Roman Pierce needs to start taking responsibility
for his own actions.
You need to go to hell.
And you need to go back to Barstow.
Brian walks to the door where Bilkins is
waiting.
I'm not going back to Barstow.
Pierce follows them in.
In a hangar, a panel truck's rear shutter
slides up to reveal the sultry woman from
the race meeting.
She looks down at Bilkins, Brian Pierce and
Markham.
Brian O'Connor, Roman Pierce.
Meet Monica Fuentes.
Do they have background on Verone?
They've been briefed.
Good.
Alright, here's the deal.
Verone's looking for drivers.
I've arranged for both of you to join
up.
I've also hired some thugs, you know, to
make it legit.
When do we start?
Right now.
What are we driving?
Customs officers pull covers off two modified cars.
A purple convertible Mitsubishi Spyder and a lime
green Mitsubishi Evo.
Don't even think about taking the convertible.
It might loosen your moose.
Nah, that's cool.
That's too much chrome for me anyways.
Hey.
Where y'all confiscate these rims from, man?
Check in with us after you leave.
Markham confers with Monica.
Think you're going to have any problems with
these two knuckleheads?
I can handle them.
If they give you any trouble at all,
you let me know.
Thanks, Markham.
She shakes hands with Markham then goes to
Brian.
I'll ride with you, cowboy.
Why she gotta ride with you?
You get the convertible.
Let's go.
A helicopter flies overhead as Brian drives the
Mitsubishi Evo and Pierce drives the Mitsubishi Spyder
across the airfield.
The sleek modified cars, both with aerofoils at
the back, cruise along a city street.
Turn right here.
Brian hangs a right.
Pierce is close behind.
Monica.
So you used to be a cop?
Yeah.
How long you been under?
I lost track.
You alright?
You might want to keep your eyes on
the road, playboy.
What, you think we're gonna crash?
I haven't decided yet.
Without taking his eyes off Monica, Brian shifts
gears and puts his foot down in the
Spyder.
What are you doing, Brian?
Pierce tries to keep up as Brian, still
gazing at Monica, hits 80 miles per hour
and stops sharp at a junction.
Pierce pulls up next to Brian.
He did the staring drive on you, didn't
he?
He got that from me.
Monica's taken aback.
Later, Brian and Pierce drive along a bayside
highway.
On a gated estate on Miami's North Beach,
a number of supercharged cars roll up and
park.
A yellow Dodge Viper, a metallic coloured Corvette,
a red Ford Mustang.
Brian and Pierce are on their way up
the drive, which is flanked by a neat
lawn and lush palm trees.
A black BMW, a blue Chevy Yenco Camaro
and an orange Dodge Hemi Challenger have joined
the other cars.
The tough-looking drivers get out and stand
by their vehicles.
Brian and Pierce pull up at the end
of the line of cars.
Once we get in here, you're on your
own.
Monica smiles flirtatiously at Brian and they get
out of the Evo.
Pierce gets out of the Spyder.
A guy in a black sleeveless T-shirt
nudges a long-haired guy and they look
over at Pierce and Brian and their cars.
Look at that one.
Hey, where'd you get them cars up out
of a cereal box?
Hey, real funny, Fonzie.
Pierce sneers.
Ass.
Roberto, Enrique, I need pictures of the drivers,
their licence plates, their cars and anything else
you can find.
¿Entiendes?
¿Entiendes?
Gracias.
The two heavies walk through a gateway.
Bald Enrique and dark-haired Roberto walk towards
the drivers and gesture for them to come
in.
Brian turns to Pierce.
The drivers walk towards a mansion house.
Keep your mouth shut and follow my lead,
all right?
I got this.
I'm serious now.
Handle your business, I'll handle mine.
¡Vuélvanse!
A heavy frisks Pierce.
Watch your hands, bro.
¿Y por qué?
He frisks Brian.
Go in line.
Let's go.
In the mansion, a painting transforms into a
surveillance monitor.
A dark-haired man is watching it.
Monica walks down the hall.
Carter.
The man, Carter Barone, handsome and in his
thirties, walks over to Monica, who's looking through
a tall French window.
The drivers are here.
Good.
Come on.
He slaps her behind.
They meet the drivers outside.
Stay.
¡Esperen aquí!
Thank you for coming on such short notice.
My red Ferrari was confiscated yesterday and it
sits in an impound lot in Little Haiti.
It's about 20 miles from here.
The car isn't important.
What is important is the package I left
in the glove box.
The first team back here with the package
will have an opportunity to work for me.
What do you say we got an audition?
Nobody's got a gun to your head.
Barone backs away.
That's it.
Driver's licences.
Pass them up.
Monica steps towards the drivers.
Before Christmas, guys.
¡Muévanse!
¡Go!
The motley collection of thugs run to their
cars.
Later, Brian and his Evo and Pierce and
his Spider lead the pack.
The Corvette and the Mustang are close behind
followed by the Dodge Viper, the Dodge Challenger
and the BMW.
The blue Camaro with a white stripe down
the side brings up the rear.
Brian rapidly shifts gears.
Pierce is right behind him.
¡Vamos, car!
As the cars change positions, Brian smiles confidently.
Let's see what this thing can do.
He shifts gears and weaves past a long
white truck and looks at a computer screen
on his dashboard.
In the engine is a tracking device that
flashes the Evo's location on a computer map
at the customs offices.
A female technician watches the screen and phones
Agent Markham.
Agent Markham, I've got him heading south on
I-95.
Yeah, I got it.
They're running.
What a surprise.
Markham's walking along a corridor with Dunn.
On Interstate 95, Brian races ahead of the
pack.
He looks in his mirror at Pierce, trying
to keep up.
Come on, stick him through, bro.
What's he got?
Roman Pierce's brow is pinched as he watches
Brian's every move.
The rest of the race is strained to
keep up.
Brian checks his wing mirror.
Why must I chase the cat?
Pierce grins wickedly.
Brian frowns.
Ahead, blocking the three lanes, are a boat
on a trailer and two trucks with barely
a car's width between them.
The spider wobbles like a toy as Pierce
guns the motor and drives up next to
Brian.
He turns to Brian and gives him the
finger.
Smart-ass.
Pierce shoots ahead and through the narrow gap
between the trucks.
Brian follows close behind.
Pierce looks back at him.
Oh, yeah, you can hear the bob-omb?
The Mustang driver wearing shades drives up between
the trucks.
The side of the Mustang touches one of
the truck's wheels and the car is thrown
from side to side like a toy.
The driver grits his teeth as the Mustang
is battered relentlessly then flipped under the wheels
of one of the trucks which drives over
the top of it.
The Corvette heads straight for the wreckage.
The Corvette flips over.
A white sedan skids out the way as
the BMW, the Dodge Viper, the Dodge Challenger
and the Chevy Camaro weave around the remains.
The grizzled Camaro driver Pierce called Fonzie frowns
disconcertedly.
Pierce keeps ahead of Brian.
Let's see if you still got it, Brian.
Brian gains on Pierce.
Alright, Rome, I got something for your ass.
Brian effortlessly weaves past the slower traffic and
ahead of Pierce.
Watch this, bro.
He yanks on the parking brake and the
Evo does a 180 degree turn burning up
rubble as it goes.
Brian remains ahead of Pierce, driving in reverse.
Shit!
Yeah, bro, man, he like them apples!
Show off!
That's the Brian O'Connor school driving right
there, baby!
Glancing in his mirror, Brian speeds past the
other cars in reverse.
Crazy ass white boy!
Bullshit!
Seeing a slip road, Brian slams on the
brake, spins round to face front and drives
down it.
Pierce is right behind him.
On the corner of the slip road are
a number of plastic drums.
The Challenger, Camaro and BMW approach three abreast.
The BMW rams into the drums, sending out
an explosion of water as the other two
cars drive down the slip road.
The now soaked Dodge Viper brings up the
rear.
A dopey dreadlocked man saunters across a quiet
street.
Pierce and Brian zoom past, either side of
him.
He looks bemused as the Challenger, Camaro and
Viper speed past.
At the car lot, Brian smashes through a
stop barrier.
At the mansion, Verone looks at Pierce's details
on a screen.
What do we got?
He looks at Pierce's criminal record as the
cars are driving through the car lot.
That's good.
Show me his bike.
Brian drives past rows of boats on racks.
Pierce is behind him.
Cars, cars, where are the cars?
Brian and Pierce skid round the corner past
more racks of boats.
Stinking boats, where are the cars?
Ahead, a forklift truck is lowering a boat.
Brian just squeezes the Evo under it.
Pierce passes on the other side.
They round another corner and the dune stretches
out to one side.
Come on, I need the cars.
Where are the cars at?
Brian and Pierce's eyes dart around and widen
as they enter an enclosure with cars parked
around the edge and a red Ferrari 360
Spyder parked in the centre.
Brian and Pierce stop and get out of
their cars.
The pair walk to the Ferrari.
Pierce pulls open his shirt revealing his muscular
torso.
He takes off the shirt, wraps it around
his right fist and punches the window of
the driver's door.
The window shatters.
Brian pulls the door catch.
The door opens.
Brian frowns at Pierce, dives into the car
and opens the glove compartment.
Brian feels between the seats and pulls out
an envelope.
Brian gets out of the Ferrari with the
envelope and goes to the Evo.
Pierce puts on his shirt and heads to
the Spyder.
The three remaining cars roll up.
Brian holds up the envelope.
The Camaro driver turns to the Challenger driver
who's holding a gun.
A police car arrives.
What the hell are they doing here?
Pierce picks up a gun and peppers the
windscreen and tyres with bullets.
The drivers get in their cars and speed
off.
Agent Malcolm is crouched by the police car.
Juby record for popping cars.
Two years in JD, then another year for
aiding and abetting an armed robbery.
He's clean.
Dirty, but clean.
Alright.
Brian and Pierce roll up on the lush
grounds of Verone's estate.
Verone walks down the drive to meet them
with Monica behind him.
Brian gets out of the Evo, walks over
to Verone and hands him the envelope, eyeing
him inscrutably.
Pierce is propped on the wing of the
Spyder.
Hey man, you got something to eat up
in there?
We hungry.
A sly smile crosses Verone's sharp features and
he turns to Monica.
Sitting by the pool?
Verone walks off.
Nice.
Come on.
Brian, with a white cross with West Coast
choppers printed on the back of his black
t-shirt, smiles and follows Monica with Pierce
past a Ferrari and through the grounds.
What you checking her out for?
I'm not checking her out.
Pierce and Brian stand in front of a
lavish spread laid out on a table at
the poolside.
Yes you were.
No I wasn't.
I seen you checking her out, man.
Okay, I was, now shut up.
You shut up.
Tell me to shut up.
Both you girlies shut up.
Unbelievable.
They sit at the glass top table which
is laid out with a platter of exotic
fruit.
Pierce and Brian stare across at Monica, who,
wearing white trousers and a v-necked top,
sips a glass of water.
You sure are cosy in this big old
mansion.
Sucking on a grape, Monica looks round.
Sleeping with the enemy.
Monica smiles at Verone, who, wearing grey trousers
and a brown shirt, walks over.
Brian starts to get up.
No, no, no.
Sit down.
Nice Ferrari you got in the driveway.
Verone throws the envelope on the table and
sits smiling.
I'm glad you like it.
Verone tips a silver tube, a lighter and
a cigar cutter out of the envelope and
hands the envelope to Monica.
Darling, will you hold that?
Verone pulls the silver tube apart, revealing a
fat cigar which he puts in his mouth,
and pulls the other end of the tube
off of.
Brian looks away in disbelief.
Pierce frowns.
We did all that for a damn cigar?
No.
We did that for a job.
Verone points at the pair sternly, picks up
the cutter and clips the end off the
cigar.
Do you really think that I would let
somebody impound my car?
He puts the cigar in his mouth briefly,
then spits.
The boatyard's mine.
Oh, by the way, you two owe me
a gig.
Why don't you just take it off your
cut?
Ha, ha, ha, ha, ha.
Off our cut, yeah.
I like that.
Good.
What's this job you got for us anyway?
Come with me.
The house has ears in it.
As they walk along, Verone passes the cigar
away.
I have something I want you to carry.
From North Beach to the Keys.
What is it?
Just put in the car what I tell
you to, drive it to me and don't
let anybody stop you, understand?
Yeah.
Any chance of car trouble?
Nah, I'm buying you a window in time,
but it's not going to be open very
long.
You make it, and I'll personally hand you
100 Gs at the finish line.
Make it 100 Gs apiece, poppy.
Verone casts a smile at Pierce.
Look, man, obviously, your pockets ain't nervous.
Hey, hey, hey.
Don't ever touch me.
Eyes are empty.
Like I said, we hungry.
Pierce chews with relish.
A jetty and the glistening ocean stretch out
behind Verone.
He turns to Pierce and Brian, smiling.
I got an idea.
Why don't you two boys join us at
the club a little later tonight?
Yeah.
Pearl at midnight?
We get to know each other a little
bit better.
That sounds good.
We'll see you tonight.
Pierce eyes Verone malevolently as he saunters off
down the path with Brian.
Hey, you.
Brian turns back.
Pierce shifts uncomfortably.
Pockets aren't empty.
Damn.
I'll take my cutter back.
Frowning, Brian throws out his hands as Pierce
wanders over to Verone.
He fishes the cigar cutter out of his
pocket.
Stupid ass.
Pierce hands it back.
Hey, man, I figured you had like 12
or 13 of these.
Just get out of here.
Get out of here.
Same old road, same old stupid shit.
What, running your mouth?
Insulting people?
Stealing Verone shit?
Think I'm going to let somebody stare me
down?
I ain't letting nobody stare me down in
jail, homeboy.
Think I'm going to let it fly on
the beach?
And you, I'll take my cutter back.
Rich ass.
And you pack it like you ain't.
They eyeball each other.
Brian walks ahead.
Exactly.
From here on out, I do the talking.
Like to me, you want to do a
little more than that.
What's that supposed to mean?
It means you're always getting in trouble over
a female, Brian.
Indignant, Brian gets in his car.
Later, the pair drive along a boulevard and
turn onto a forecourt lined with souped-up
cars.
They park and get out.
A sign above a kiosk reads, Tej's Garage.
Man, Tej's Garage is ridiculous.
He's got the best of everything.
Snap-on tools.
All these lifts are brand new.
They're only maybe a couple months old.
Hey, yo, Jimmy.
What's up, man?
What up, Bullet?
Hey, that's Rome right there.
Do me a favour.
When you get a second, I want you
to check out the eagle and the spider
and make sure everything's copacetic.
Evo?
Where'd you get an Evo from?
Well, it's a long story.
I got you, man.
All right, thanks, Jim.
Man, it's so hot and humid out here,
I can't even wear no drawers.
Yeah, tell me about it.
Look at all this potential I have.
Ray, don't do that, man.
You're making me look funny.
Ray, come on, baby.
Don't do that.
Pierce and Brian walk to the other side
of the garage and look out across the
docks where people are frolicking in the water.
Many of them are women in skimpy bikinis.
Tej is moderating a jet ski race.
Pierce and Brian step onto the boardwalk.
Pierce admires the behinds of three girls in
bikinis as they walk past.
Girl, you know your boy can help you
put that vibe.
Look at the bubble on that.
Oh, that's serious right there.
Come on, Ray.
You're making me look funny.
Don't do that.
Don't do that to me right now.
I cannot take that right now.
Come on, Ray.
Do it.
Hey, Tej Parker.
Roman Pierce.
Pierce and Tej touch knuckles.
Basically, he's the man you know in Miami.
He's got his finger in absolutely everything.
It's just the way it is.
What's going on, Suki?
What's up, baby?
How you doing?
I'm good.
How you doing?
What's this?
What's the latest?
Suki's sketching a paint job for a car.
It's a work in progress.
It's not finished yet.
That's some artistic shit.
You got talent, girl.
Yeah, she's good.
She's the best.
Ray, do a job right now.
Do a job.
Bring it on, Ray.
Ray, a guy on a red jet ski,
zooms past.
Pay up.
Pay up.
Pay up.
Pay up, everybody.
That's how they do it out here, man.
Every day.
That's crazy.
Tej takes his winnings.
Don't look too happy, guys.
Guys, expeditiously, man.
I need a quick writing.
What's up?
Thank you.
Thank you.
How you feeling, man?
Brian and Pierce sidle over to Tej.
Not too bad.
Tej is holding a handful of notes.
I see you're about your money, homie.
You race, too?
Nah, man.
I hit a wall doing, like, a buck
-twenty a couple years ago, you know?
Ever since then, I've just been organising and
collecting, man.
Hey, Tej, check it out.
He's gonna be in town for a while.
Is there any way he could use that
car?
What's wrong with your place, man?
No.
I don't want to stay with him.
He got bad habits.
All right, man, whatever, man.
Show him around real quick, all right?
All right.
I'll be up there in a minute.
Thanks a lot, y'all.
All right, who want a chance to win
their money back?
What's up, Jimmy?
So, what's up?
You ever seen anything like this before?
Nah.
Both of them are wired up like I
never seen before.
What?
Yeah, man, they got us wired with GPS.
That's why Markham knew we were gonna be
at that impound lot.
Yo, you the master mechanic.
Why don't you just yank that shit up
out of there, then?
I'll try, but this ain't lojack.
The DIS box, the engine management system, hell,
the main harness, the GPS has spied it
into all of that.
Hey, tell me something, man.
Do I even want to know where the
skyline is, dawg?
Or where you been the past couple of
days?
Or where the hell you got these rides
from?
They're hot.
Yeah, they hot.
They wired so hot that whoever's tracking these
things will know every time you don't wear
your seatbelt.
Tej and Suki look at Brian, who thinks
for a moment.
All right, Jimmy, we'll just do what you
can do, bro.
I got you.
Thanks, man.
Man, we need to get these on the
street ASAP.
Hey, bro, check it out.
You see that Cadillac across the street over
there?
Sitting in the brown Cadillac parked by the
sidewalk are Enrique and Roberto.
Yeah.
Yeah, well, they've been on us ever since
we left the room service.
Pierce nods.
Brian wanders off.
In the Cadillac, Enrique and Roberto look out
for Pierce and Brian.
Pierce pops up, grinning at the driver's window.
Hey, man, can I clean your windshield for
you?
What are you doing, man?
Pierce sprays liquid onto the windscreen and smears
it around with a cloth.
In a scent, Roberto and Enrique get out
of the car.
Kiss my ass, puto.
Pierce tosses a flaming lighter on the screen,
and it bursts into flames.
Brian whisks Pierce off in the Evo.
Later, Brian and Pierce walk into the empty
East Coast Fisheries restaurant to meet Bill Kim's
Markham and Dunn.
Don't blow our cover before we even get
started.
Hey, Bill, could you tell me when we're
drawing?
That's what I want to know.
Show me your hands.
Come on, keep them up.
What's this about, man?
Hey, wait, what's going on?
Hold this.
You think you can shoot at me?
I'm a goddamn federal agent!
What are you talking about?
Get your damn hands off me!
Get him away from me!
Just because you wear a mask don't mean
you can come in and mess shit up
for us.
What are you doing?
Get your hands off of me!
You like the idea of shooting?
Shut up!
Don't tell me to shut up, Brian!
You almost blew our cover, old man!
You shouldn't have shown up like you did.
What, you didn't know Verona was testing us?
No, I thought you punks were running.
Running?
That's real great.
Oh, and if Rome wanted to shoot you,
you wouldn't be here right now.
All right, we've got to get this under
control.
Pierce paces around agitated, then picks up a
fast food bag.
Hey, that's mine.
So?
Tell me what you know.
Well, Rome and I will be making a
run for Verona.
I'm not sure when or where, but he
did say that he bought us a window,
I'm assuming from the local cops.
I can talk to some of the guys
at the local PD.
No, no good.
If Verona's got some of them on the
payroll, then we can't let them know our
operation.
Exactly.
In addition, Verona told us that he himself
would be waiting at the drop.
That's good news.
If you're going to be delivering drug money
to him, then we can get him for
laundering.
No, there's only one problem.
What's that?
Fuentes?
Mm-hmm.
Verona's tapping her.
Tapping her?
Tapping her how?
That is crap.
Now, what you talking about, homeboy?
We know what we see.
So what do you think, O'Connor?
You think she's compromised?
You should know.
What's that supposed to mean?
What, you mean your old pal O'Connor
didn't tell you?
He flipped on Bilkins in L.A. Gave
his mark, his car keys, and let him
disappear.
That's why he's not a cop anymore.
So what do you think, expert?
Man, I don't know.
All right.
We'll keep an eye on her.
We're outta here.
Pierce takes a bite of Markham's sandwich and
walks out with Brian, who's deep in thought.
They head for the Evo.
Let your man go, huh?
Drop it.
I don't wanna talk about it.
Drop it, hell?
I wanna hear about this, homie.
I said forget about it, cuz.
We got Fuentes in with Verona, Markham trying
to blow our cover, and we got two
wide cars that are no better than that
damn ankle bracelet of mine.
I'mma tell you, bruh, you let your man
Markham do that shit again in front of
Verona, that's gonna be our ass.
I know, man, I know.
It's getting thick real quick, and we may
need a way out.
We gotta come up with some kind of
exit strategy.
Exit strategy, huh?
Yeah.
Pierce munches on the sandwich.
I like the way that sounds.
What you got in mind?
I don't know, man.
We need two more cars.
That night, Tej, Jimmy, Suki, Brian, and Pierce
are on a deserted street.
The Dodge Challenger and Chevy Camaro roll up.
Yeah.
Here they come.
The Camaro and Pechanga park beside the Evo
and the Spyder.
The Ponytailed Challenger driver wearing dark glasses gets
out with a blonde woman.
The Camaro driver, that Pierce called Fonzie, gets
out of his car with a brunette.
Brian in a short-sleeved shirt and Pierce
wearing a baseball cap backwards step up to
the foursome.
Fonzie and Fabio.
Glad you can join us.
We heard you boys wanted to get rid
of those Crackerjack toys.
No, actually, we just figured those cars you
got deserve better drivers, which is why we're
gonna take them off your hands.
You know, why don't we settle this now?
Wait, wait, wait, wait.
How about we settle this on the blacktop,
huh?
Each car does a down-and-back tag
-team style.
For slips.
Loser walks home.
We came to race you.
Well, load them up then.
Tej, his hair braided, gives the drivers the
nod.
Brian pats Pierce's chest.
Come on, bro, let's get these cars.
All right, check it out.
There's no way we're gonna beat these guys
straight up.
That Hemi's putting out about 425 and that
Yank'll snap a speed on in about five
seconds flat, so...
I mean, we're gonna have to pull something
out of our ass.
The only thing I can think of is
save the spray for the way back, the
return trip.
Done deal.
All right, let's do this, bro.
I'm getting that orange one.
Pierce yells at Fabio.
You ain't ready, Fabio!
Pierce gets in the Spider and pulls up
next to the Challenger.
Tej paces between them.
All right, you each got a barrel to
go around down at the end of the
road here.
Second wave gotta sit tight till your partner
crosses this line right here.
First team to go down and back twice
wins the race, at which point...
the losers will...
hand over them keys.
Otherwise, you'll be eating breakfast through straws from
now on.
Caprende?
He peers into the Challenger.
I get it.
Tej turns to Pierce.
Oh, this means you, too.
I got it.
All right.
Let's race.
Wearing a white tracksuit, Tej straightens up and
steps backwards.
Come on, baby!
You got this, bro!
Let's do this, Jimmy!
Yeah, you gone, homie.
I got this.
This is done.
You about to lose your car, partner.
Do it, bro!
Come on, Pierce.
You got it, man.
You think I'm worried about this fool, man?
This is nothing.
Pierce's face falls when the Challenger's throbbing engine
makes the chassis vibrate.
The ponytail driver grins at Pierce.
Suki and Jimmy frown.
Oh, no.
American muscle.
The Camaro driver smiles.
Your engine ain't as big as your mouth.
The Challenger driver that Pierce called Fabio stares
straight ahead.
Pierce glances at him.
Gotta smoke him.
Gotta smoke him.
Gotta smoke him.
All right.
Here we go.
It's all right, baby.
I'm gonna handle this.
Handle it.
Ready?
And...
Go!
She drops her arms.
Brian watches the Challenger shoot off down the
street.
Pierce follows a car's length behind.
You ain't ready.
I've run these streets.
Ponytailed Fabio presses the accelerator and races ahead.
Go!
Go!
Run me round!
You ain't heard me!
Pierce shifts gears and speeds like a rocket
down the street.
A blue light glows under the Spider.
The Challenger reaches the metal barrels at the
end of the circuit, brakes hard and swerves
around them.
The Challenger's orange body with black roof speeds
back up the street, passing Pierce as he
approaches the barrels.
Pierce shifts gears, brakes, and swerves around the
barrels.
Oh, yeah!
The Spider's tyres smoke as Pierce chases after
the Challenger.
I'm gonna get you.
Oh, I'm gonna get you.
We should be back now, boy!
That car's going home with me, homie.
Pierce presses the nitrous oxide button on the
steering wheel and he's thrown back in his
seat.
The Speedo reaches 100 as he roars right
up behind the Challenger.
Fabio looks in his mirror.
Shit!
He veers over and hits a sign that
spins out onto Pierce's path.
Pierce swerves to avoid the sign and skids
onto a dirt verge.
The Spider swerves wildly from side to side.
Shit!
Brian revs the Evo as the Challenger speeds
home.
Dear Lord!
The Camaro speeds off.
Sorry, Blondie.
How does that dust taste?
The Camaro driver, Corky, grins.
Tish.
Oh, no.
Come on, Roy.
Pierce flashes past.
Brian speeds away.
As Pierce slows, he throws at his arm
angrily.
The grizzled Camaro driver, Pierce called Fonzie, real
name Corky, accelerates down the road.
Hot on Corky's tail, Brian shifts gears forcefully.
The Camaro reaches the barrels.
The Camaro's rear flails sideways, then straightens up.
Corky shoots back up the road.
Heading down the road, Brian switches into the
same lane as the Camaro and heads straight
for it.
What the...
Good move, kid.
Let's see if you've got the balls.
Brian steers ahead steadily as he races the
Evo head-on towards the Camaro.
Corky's eyes widen wildly and at the last
minute, he pulls to one side.
The Camaro skids onto the dirt verge and
merges to a halt.
Brian smiles elated as he zips round the
barrels and heads back up the circuit.
Corky desperately tries to get the Camaro back
on the road.
Brian shifts gears forcefully as he speeds up
towards Pierce, Jimmy, Tej and Suki.
Come on, Brian.
Bring it on, man.
Brian changes gear and presses the nitrous oxide
button.
Streetlights blur past Brian as he rockets up
behind Corky.
Brow-furrowed Corky keeps an eye on his
mirror.
His mouth slightly ajar, Brian's face is fixed
in concentration as he edges his way past
the Camaro.
Corky jams his foot down on the accelerator
pedal and keeps half a car's length ahead.
The needle on Brian's speedo hits 120.
Corky clenches his lips tightly.
The Camaro and the Evo nose to nose.
Brian shifts gears and hits 8,000 rpm.
Corky grits his teeth determinedly as the mind
-green Evo edges ahead and just beats him
at the line.
Brian grins and pulls up.
Pierce marches over to the two losers whose
girlfriends have their arms draped around them.
Y'all ain't ready, homeboy.
Get to walkin', Fabio.
Use them bus tongues, Paco.
Hey, how you doin'?
Good, what you need?
We got some Mr. Barones.
Casually dressed, Brian and Pierce stroll into the
nightclub.
The club is packed with attractive young people
drinking and dancing.
Many are pretty young women.
Brian and Pierce smile.
It's the whole aces in here, bro.
Yeah.
Lots of potential.
Damn.
You got a pen?
The pair grin toothily.
It's about to get serious, bro.
Look at that girl on the swing right
there, though.
Hey, you guys did something right.
Barone never socialises with hired help.
Then what's that make you?
Where's he at?
He's on his way.
You and Barone don't go everywhere together?
What's that supposed to mean?
Nothing.
Huh.
I'm gonna go take a piss.
You go do that.
With a sneer, Pierce strolls off.
Brian and Monica watch him go, then walk
together.
What is his deal?
He doesn't trust people who carry badges.
So you talk like you know.
Yeah.
I'd been a cop about two months, when
Roman was busted in a garage raid.
He had eight sets of wheels in his
possession.
Each and every one of them were hot.
So you busted him?
No, I didn't even know it was going
down.
But, uh, that doesn't really matter now.
Basically, once I became a cop, Roman started
seeing me as a friend that became the
enemy.
A waitress walks over to Barone, who's watching
Brian and Monica from the sidelines.
Is there anything I can get for you,
Mr. Barone?
Just tell him to come join me.
Monica and Brian sit on tall-backed chairs.
She looks at a bracelet Brian's wearing.
Oh, yeah.
Because it rhymes.
Seeing Monica hold up Brian's wrist, Pierce throws
up his hands.
He narrows his eyes and looks around the
club, then walks over to them.
That wasn't bad.
Good.
What's up?
He's here.
Where's he at?
He's over there.
Don't look.
Barone waves at them and takes a drink.
The waitress walks over.
Excuse me.
Mr. Barone would like for you to join
him.
Let's do it.
This is what I'm talking about.
They go to an area with three couches,
guided by Enrique and Roberto.
It's all right, let him in.
Enrique unhooks a rope and lets Pierce and
Brian in.
Go sit down.
I'll talk to you in a second.
How you doing?
Good.
Enjoying your night?
Yeah, I'm having a good time.
Good, good.
Barone and Brian stand inches apart.
She's beautiful, isn't she?
Pierce and Monica watch from separate couches.
As Brian stares into Barone's eyes, Barone raises
his brows.
Yeah.
She's gorgeous.
Brian smiles and nods confidently.
The two men stare steadily at each other.
Barone grins.
You got balls, kid.
I appreciate that.
Women are a very powerful force.
You see the blonde sitting with the gentleman
right here?
A glamorous woman talks to a stout man
with long curly hair.
Five minutes of her time, and she can
get anything she wants from him.
I love you.
What?
She runs her hands over the man's hair.
They stand up together and walk off.
Grinning, Barone turns to Brian.
I wonder where they're going.
Sit down.
Brian sits opposite Pierce.
So you lit my man's car on fire,
is that right?
Yeah.
I did.
You see, I got a problem with authority.
Barone smiles at Pierce.
I have that same problem.
For me, it's cops in particular.
Barone turns and stares at Brian, as does
Monica.
Brian looks unnerved.
Barone smiles at Pierce.
Pierce nods at Barone.
Let's take a walk.
Come on.
We just got here.
Now we're leaving.
He gets up with Monica.
Let's go.
Pierce and Brian stand.
Barone picks up a small silver box, a
lighter and a cigar from a low table
and starts to go.
Pierce reaches down for Barone's cigar cutter.
Hey, come on.
Pierce leaves the cutter.
Barone puts the cigar in his mouth and
leads Monica, Pierce, Brian, Enrique and Roberto down
a corridor with white and red walls.
They go into a room with a Buddha
in the corner and a red square box
-like table in the centre.
On the table is a tin bucket with
a cloth draped over it and a settling
torch and some lengths of cord.
Brian stares down at the strange collection on
the table.
What's all that?
Barone prizes the cork out of a bottle
of champagne.
We're going to have a little fun.
He pours two glasses of champagne.
Pierce and Brian look at Roberto, who smiles
creepily.
Monica takes a glass of champagne.
Thank you.
The blonde woman and long-haired man from
the club wonder in.
This is just wonderful.
Grinning, Barone raises his glass.
Hey, Carter.
Meet Detective Whitworth.
One of Miami's finest.
Thank you, sweetheart.
You enjoying yourself, Detective?
Yeah, I was.
I mean, you know me.
Yeah.
I do know you.
You've been on my payroll a long time.
Barone, that ain't right.
Shut up.
I got one last job for you, Detective.
You hear me?
Look, we've been all through this.
Yeah?
Yeah, and I said I can't do it.
That's the wrong answer.
The table.
Roberto and Enrique grab Whitworth, slam him onto
the table, tie the cords to his feet
and hands and hold them splayed out.
I'm a detective, Barone!
The whole force is going to be on
your ass in a minute!
Shut your mouth!
He slits Whitworth's shirt open, revealing his belly.
Stop right now!
Brian, Pierce and Monica watch uneasily as Barone
takes the cloth off the bucket and lifts
a large brown and white rat out by
its tail.
What the hell is it?
Sit down.
I regret this.
Stop right now!
Once the bucket gets hot enough, Detective, the
rat is going to want out.
The only direction it can go is south.
He places the rat on Whitworth's belly and
covers it with the bucket, which Roberto holds
still.
Hold that.
Get it off me!
I'll forget it ever happened!
Shut up.
Did you know that your average rat can
chew through a steel drain pipe?
You see, you have nothing to worry about
when he's screaming, Detective.
It's when he goes quiet that it goes
to work.
Barone warms the bucket with the acetylene torch.
Do it!
Stop it now!
You're in charge of the units that are
watching my properties.
Huh?
What I want is I want a 15
-minute window where everybody, and I mean everybody,
disappears.
You hear me?
What?
I can't do it!
Barone regards the audience with a carefree smile,
then turns to Monica.
Okay.
I can't do it!
Monica, come here.
Monica reluctantly walks over.
Shut him up.
As Roberto and Enrique keep Whitworth's arms splayed
and Barone warms the bucket with the torch,
Monica clamps her hands over Whitworth's mouth.
What?
Got something you want to say?
Monica takes her hands off his mouth.
Let me get it.
Okay, I'll do it.
Do what?
Say it.
Give me the window.
Just get it off me.
Get it off!
Barone turns off the torch.
You betray me.
And my rat here is going to visit
your wife, Lynn.
Yeah.
Your son, Clay.
And your daughter, Lexi.
Do you hear me?
Do you understand me?
Huh?
Do you hear me?
I'll burn you!
Don't worry, child.
I'll burn him up.
Barone steps back from Whitworth, who lies quivering.
Good.
Now, you can go.
Get rid of him.
Let's go.
Roberto lifts the bucket and takes the rat
away, revealing Whitworth's scratched and bloody belly.
Roberto and Enrique bundle Whitworth out.
Barone finishes his champagne and turns to Pierce
and Brian with a boyish grin.
Boys, enjoy the show.
Fifteen minutes, and then every cop in Florida's
going to be on you.
Beer for Sy Cafe, 6am, day after tomorrow,
ready to drive.
You understand?
Yeah.
Don't play games with me, or you'll be
next.
All right?
Help yourself to a little champagne.
Let's go.
Barone walks out with Monica.
Pierce turns to Brian.
That was a damn rat, man.
On the corridor, Barone pushes Monica against the
wall.
He places his palms against the sides of
her face then kisses her ferociously.
Barone pulls away and points at her.
If you ever touch another man again, then
I'll kill you.
You hear me?
He holds her chin.
Look at me.
You hear me?
Brian and Pierce roll up at Tej's garage
in the Evo.
She was into it, man.
What's that about?
You've seen the way she grabbed dude's head.
She had to, man.
He was testing her.
You've got to remember, her ass is on
the line, just like yours.
You're feeling this girl way too much.
She's just like that crazy-ass trailer rat
from back in the day, Tonya.
Tonya?
Man, you went out with her after I
did.
I mean, I couldn't let her go to
waste.
Tej, Jimmy, Suki and another girl are sitting
playing poker.
We can race for cash, but when I
step on the gas My nitrous go blast,
leave your ass in the past And Tej,
you about to lose your garage Whatever, man.
I'm a low-budget mechanic, but I overcharge
Kamey, let's go, man.
Give me my money.
I told you, man.
What's that about?
I'm so glad you just think it's my
garage, boy.
Royal flesh.
Give me that cash.
If y'all talk to him, talk to
him, man.
Damn, you can't play a player for long.
Put that money back on the table.
You know it's my next hand.
Jimmy, how you ever going to pay me
back if you keep losing to Tej like
that?
How you doing, bro?
I'm a crash, Tej.
I'll catch you tomorrow.
Skyscrapers tower above the Miami skyline.
A golden sun rises.
In his apartment, which is a houseboat moored
along the quay near Tej's garage, Brian is
asleep on his dishevelled bed.
Brian opens his eyes and leans up on
his elbow to find Monica wearing jeans and
a T-shirt sitting beside him.
What are you doing here?
Brian, they're going to kill you.
I heard them telling Enrique and Roberto.
Once you finish the run, they're putting a
bullet in your head.
You sure you heard them right?
I'm sure.
I'm sure.
Enrique and Roberto are looking around outside.
Pierce, wearing a bandana, bursts in.
The Rolls Boys' house.
Oh, I see what they're looking for.
Your little girlfriend, then.
Their silhouettes appear at a window with a
blind over it.
Monica peers through as Brian gets dressed.
They don't know I'm here.
I snuck out.
What the hell are they doing here, then?
I don't know.
Maybe they're guessing.
Hey, go stall.
Go stall.
Check her, homie.
Check her.
Pierce walks out onto the deck and peers
up at Enrique and Roberto standing on the
key.
Find what you were looking for?
The hard-faced pair wander along to Pierce,
who, grinning, holds out his right hand.
Hey, buddy.
Hey, guys.
How you doing?
Their hands remain at their sides.
Aw, man, y'all still mad about y
'all car?
Don't even trip, homie.
Come on, man.
Can't you take a joke?
Brian, this isn't about being a good cop
anymore or doing your job.
I mean, they're gonna kill you.
You guys gotta pull out.
Verone pay y'all to keep a straight
face like that?
Because if I was making money, shit, I'd
get that mole removed off my damn nose.
Okay.
Yeah.
Okay.
How much he pay y'all anyway?
Every time I see y'all, man, y
'all got the silk shirts on, jewellery, you
know, looking real Miami.
You know?
Of course, you're walking up in the club.
You got the hamburger meat all hanging out.
You know?
Don't make that run, Brian.
Don't make that run.
Be careful.
¿Dónde está?
Here.
Check it out, baby.
Ain't coming no more.
Hey, hey, hey, where you going?
You stay right here with us, buddy.
Don't even think about it.
Inside.
Stay your ass off my homeboy's butt.
Put the gun down!
Put the gun down now!
You first, arsehole, you first!
I'll shoot the shit out of him if
I put the gun down!
Bájalo ahora!
Bájalo ahora!
Bájalo!
Tú primero!
Bájalo!
Tú primero!
Put down the gun now!
Put down the gun!
Enough.
Enough.
Shut up.
Shut up.
It's over.
Come on.
It's our gun.
Come on.
Let's go.
Let's go.
I'm glad to see you boys are getting
along so well.
Because tomorrow, Roberto and Enrique are going to
be riding along with you.
Just so we don't have any problems.
See you guys in a bit.
What the hell was she doing in there?
Where'd you go this morning?
Went to breakfast with some friends.
He reaches down and pulls her sunglasses off.
She squints.
With friends.
I do have friends, Carter.
He starts to smile and drops the sunglasses
onto her chest.
Okay.
He turns to go.
I'll see you later.
Nice shirt, Billkins.
It's my day off.
Yeah.
Well, anyhow, this is the deal.
Last night, Barone threatened a cop into giving
us a window.
We're driving to an airstrip.
In the Keys, off of Knalwood Avenue.
Barone has a plane there and he's taking
off for you.
Wait a minute.
How do you know this?
Monica.
She's doing her job.
She warned us.
She warned you about what?
Barone plans to kill us after we give
him the money.
Driving into an ambush was never part of
the deal.
I'm calling this off.
Like hell you are.
This is a customs case, Billkins.
No one's calling this off unless I do.
Look, this is real simple.
You make the run, you get Barone and
his cash together so I can move in
for the bust.
Alright?
You don't, I won't find enough charges on
both of you to make you disappear.
Take these.
We're going to have GPS on you the
whole time just to make sure you don't
get any cute ideas.
And to make sure nothing happens to him.
Right?
Yeah, right.
Markham walks out the back door.
Pierce and Brian follow him outside to a
derelict yard beside a river.
You guys are dicks, man.
Yep.
The pair walk to the river's edge.
Let me get this right.
If we don't do this, then we go
to jail.
But if we do it, then Barone's going
to kill us.
That's a hell of a deal, huh?
Yeah.
Maybe it is.
But I know this guy's got an ass
full of loot that he's ready to dump
in our cars.
And I can think of two reasons why
Barone doesn't need that money anymore.
Nah, here we go.
You and me.
Just like the old days.
What do you think?
I think they messed with the wrong two
guys.
That's what I think.
They knock their fists together.
Brian delves his cell phone.
Yo, Tej, what's up, bro?
What up, shawty?
Hey, man, how quick can you organise?
Look, folks.
If y'all really want to carry out
this plan, it's definitely the best place to
do it.
So what do y'all think, man?
I think it's perfect.
So what do they store here?
At Tej's garage, the blue Chevy Yenco Camaro
is up on a ramp for Barone Inspector's
pristine, gleaming underside.
Man, this is clean.
Pierce lifts the distributor cap out of the
engine of the orange Dodge Hemi Challenger.
Suki's doing a paint job on a street
racer.
As Brian inspects under the Camaro, Pierce and
Jimmy work on the Challenger.
Brian smiles.
Hey, Jimmy.
Yo, what up?
Hey, man.
Do you have any half-empty bottles of
nitrous laying around?
Sure, but I already loaded you for spray.
No, I'm thinking we may need it for
something else.
Our cars may get a little crowded, you
know?
Pierce smiles knowingly.
That evening, a golden sun sets over the
ocean.
Brian and Pierce are standing out on a
boardwalk.
Pierce is eating a chocolate bar.
Man, when did you start eating so much?
I was in jail, bro.
I know how shitty the grub is on
the inside.
With the way things are shaping up out
here right now, it'll be a matter of
time before I'm back in there or dead.
So I'm trying to eat all I can
while I can.
Plus, the doctor tell me I got a
high metabolism.
Man, you remember us growing up?
You know, playing football in the dirt.
You know, getting in trouble, all the stupid
things we did.
When you got busted, you know, whether I
was a cop or not, you know, if
there was anything I could have done, you
know, I would have done it.
And I just want you to know that.
So why you let that dude go in
LA?
Brian shifts on his feet.
Yeah, I think that had a lot to
do with it.
When I got busted, it wasn't your fault.
It was all on me.
Mr Roman Pierce.
Wild and out crazy, man.
No one can tell me nothing.
Riding solo.
Yeah, well, not anymore.
They smile heartily and grasp each other's hands.
Not anymore, bro.
The twinkling lights of Miami skyscrapers go out.
On his estate, Verone walks with Monica away
from the carport where his Ferrari and Rolls
Royce are parked.
A casually dressed heavy opens the rear door
of a black Lincoln Navigator SUV.
Verone and Monica get in.
The Navigator with dark tinted windows motors up
the drive.
On the verge, a man wearing a straw
hat is raking leaves.
He talks into his collar.
I got Verone's Navigator leaving the residence.
Copy.
In the control room...
Sir, we've got Verone on the move to
the airstrip.
Good.
Let's get a bird in the air and
tell him to keep his distance.
In a vacant lot, Markham's with a large
group of armed customs agents.
He checks an agent's flak jacket.
You're all set.
All set?
Yep.
Let's do it.
In a safe house, Whitworth talks into a
walkie-talkie.
Report.
A brunette woman sits outside a trailer.
What's going on out there?
Thorman takes a walkie-talkie from under a
paper.
Team 1, checking in.
Team 2, checking in.
Team 3, checking in.
Team 4, all clear here too.
Team 5, checking in.
Team 6, all clear.
Whitworth studies a photograph of his wife, then
looks down mournfully.
Brian and Pierce drive up to the Versailles
restaurant.
Here we go.
Yeah, so you know what to do.
Stay cool, keep focused.
Remember, the airstrip's up in Allwood Avenue.
It's the third exit after the bridge.
Pierce is parked beside Brian.
Got it.
What's going on, man?
You ready for this?
Come on, man.
Guns, murderers, and crooked cops?
I was made for this, bro.
They share a warm smile.
Their faces harden when they see Enrique and
Roberto drive up in a Dodge SUV.
Seeing Pierce and Brian, Roberto nods to Enrique.
Brian stares ahead.
Enrique and Roberto drive their silver Dodge SUV
through a trailer park.
Pierce and the Spider and Brian and the
Evo are close behind.
The Brunette, the Team One detective, watches as
she hangs out some washing.
Roberto and Enrique get out of the SUV
and open the boot.
They take out two sledgehammers and close the
boot.
A grey sky hangs overhead as Roberto and
Enrique stare malevolently at Pierce and Brian.
Come on.
Enrique and Roberto, sledgehammers in hand, walk up
to the front door of a trailer home.
Brian and Pierce join them.
Enrique taps on the front door of the
trailer home with the handle of his sledgehammer.
A shaven-headed man answers.
The man walks off with the hold-all.
Enrique and Roberto go inside.
The Brunette radios Whitworth.
I got activity at Verone's trailer property.
Do not move an inch until I tell
you to.
In the trailer, Roberto is about to swing
his sledgehammer at a painting.
Enrique takes the painting down.
What the hell?
Roberto then and Enrique swing their sledgehammers at
the wall, smashing through the plasterboard skin.
In the gap behind the wall, stacked up
to the ceiling, are wads of banknotes.
The pair grab handfuls.
Enrique loads a bag with notes and throws
it to Brian.
Load up.
At his safe house, Whitworth speaks into his
walkie-talkie.
All units, move onto trailer property.
Right now.
Move!
A helicopter flies overhead, and a fleet of
squad cars speed down a street in a
control room Wilkins slams down a phone.
Shit!
Local PD is moving in on our guys.
Three bags and one car, huh?
Guess so.
Enrique and Brian have loaded the back of
the Evo with bags of cash.
Pierce and Roberto have loaded the Spider.
The four men straighten up and listen, trying
to locate the source of the sirens.
His brow pinched, Brian looks around.
Cops.
Enrique gets in the Evo with Brian.
Roberto's in the Spider.
I'm not going back to jail.
Where are you going, man?
Let's go!
Let's go!
What is he doing?
Pierce places a rock on the accelerator pedal
of the silver SUV, starts up the engine,
puts it in gear, and sends it speeding
down the track towards the squad cars.
The SUV crumples the first squad car, and
the rest ran into the back of it.
Pierce and Brian drive off.
In the control room, Wilkins and Dunner sit
in front of surveillance monitors.
Okay, now let's get the chopper over them.
I want eyes right on top.
You got it.
Lima, two-five, follow GPS.
A helicopter bangs to its right.
Brian races the Evo and Pierce races the
Spider along a highway weaving him out of
traffic.
Enrique looks nervous.
Don't you know what you're doing, man?
Brian ignores Enrique and keeps an eye on
his mirror.
Stay with me, Ro.
Stay with me.
Come on, man.
The Evo hits a hundred as Brian swings
across the lanes, Pierce is a few cars
behind.
The police helicopter gets the two cars in
its sights.
I've got them heading south on I-95.
Bring in the aerial EMPs.
A fleet of white squad cars, their red
and blue roof lights flashing, race up the
interstate behind Brian and Pierce.
Pierce looks around and does a double-take.
Oh, shit!
Enrique looks frantically out of the back of
the Evo.
That's enough, man!
Shut up, man!
Brian aggressively shifts gears and wheezes past the
other traffic.
Enrique checks his seatbelt.
Pierce speeds up next to Brian.
The white squad cars with blue stripes down
their sides keep on their tails.
Nice driving, Ro.
Nice driving.
I got you, Brian.
The police helicopter flies overhead.
Sitting on the open side panel are two
agents holding rocket-launcher-type weapons.
Check it out, man!
The helicopter flies sideways, and the agents aim
their weapons at the Spider and the Evo.
Brian and Pierce jam their brakes on sending
up clouds of smoke.
The agents fire their weapons.
What was that?
Squad cars shoot off in all directions.
Brian looks along the side of the Evo
to see a pronged electrostatic discharging device stuck
in the rear door emitting sparks.
Oh, shit!
The helicopter flies ahead of the cars.
One of the agents looks at a computer
-screen-headed ESD, electrostatic discharge.
It shows a diagram of the pronged device.
Two prongs light up engaged.
The third reads error, connection unstable.
The Evo loses power.
Come on, man.
Take the wheel.
No, no, no, no, man.
I can't drive.
Just hold the wheel straight, Brian.
Hold it right there.
Just hold it steady, just like that.
Brian plants Enrique's hand on the steering wheel.
What are you doing, man?
Enrique holds onto Brian's shirt as he leans
out the window and grabs the top of
the device stuck in the side.
¿Qué pasa?
Holding a red rack, Brian pulls at the
device while keeping his foot on the accelerator
pedal.
The needles on the Evo's dials creep around
anticlockwise as the electrical system is disabled and
the car loses power.
With Pierce and the Spider a couple of
lanes away, the Evo heads along a glass
verge.
The fleet of squad cars race up behind
and the agents in the helicopter keep an
eye on Brian, who grimaces as he tries
to pull out the device.
Brian yanks out the device and flings it
into the grill of the leading squad car.
Sparks fly and the car skids all over
the road.
A number of squad cars career into it
and each other, Brian and Pierce grin.
¿Por qué tú estás haciendo yo puro manejo?
¿Estás loco?
Brian's controls come back to life and he
and Pierce speed on with the remaining squad
cars on their tail.
Enrique crosses himself.
A small jet lands on a deserted airstrip,
watched by Markham with his agents, armed, helmeted
and wearing black combat gear.
They crouch in tall grass to the side
of the airstrip.
Wilkins, the bird's in place.
Verone's black Lincoln Navigator SUV rumbles along the
tarmac and up to the jet.
Markham looks through binoculars.
We've got Verone's Navigator.
All right, money's in transit.
Sit tight.
As Brian races along in the Evo, he
glances at the helicopter, frowns, then shoots down
a slip road.
Pierce and Roberto are right behind in the
spider.
Overshooting the exit, a squad car spins and
another smashes into it.
Squad cars pass either side of the wrecked
pair and chase down the slip road.
The helicopter pilot looks down at the action.
Pierce drives the spider up alongside the Evo,
so the cider inches apart.
Brian and Pierce share a confident nod.
The squad cars race along behind as Brian
and Pierce squeal round a bend.
They slip round another bend onto a straight
stretch of road.
Enrique narrows his eyes and looks at Brian.
You're a good driver, man.
Thanks, bro.
In the police helicopter...
We've got the area blocked ahead.
They've got nowhere to go.
Bilkins studies the Global Positioning System monitors.
The black Customs helicopter flies above the police
helicopter.
What was that?
The Customs helicopter.
I've got a visual.
Video should be coming through.
Got it.
Looks good.
Bilkins watches the chase on screen.
Where are they going?
Brian and Pierce swerve onto a narrow street.
Squad cars are everywhere as the Evo and
the spider skip across to the other side
of the street.
Brian swerves out onto a straight stretch of
road, smiling gleefully.
All right, man.
Let's see what you've got.
The cops are right behind.
Come on.
Stay with me, boys.
Enrique looks nervous as Brian checks the helicopter
then gets on his cell phone to Pierce.
Hey, man.
Everyone's here.
Time for the show.
Let's give it to them.
Brian and Pierce swerve into the warehouse area
that Tej took them to see.
All right.
Let the party begin.
Let's go.
Brian and Pierce drive under a glass-walled
walkway into the large warehouse lot.
Two of the warehouse doors are open and
they drive into them.
Then the doors shut.
The dozens of pursuing police cars pull up
in front of the warehouse.
The cops get out of the cars and
stand shielded by their open doors with their
guns poised.
A tough-looking moustachioed cop speaks into his
radio.
This is unit 2599.
We have the suspects surrounded.
The customs and police helicopters hover overhead.
Bilkins watches wide-eyed on three large monitors.
The squad cars are parked side by side
in front of the row of shuttered warehouse
doors.
Suddenly the line of warehouse doors slides open
and a group of large gleaming pickup trucks
with bull bars on the front drive out
rolling over the police cars and shoving them
out of the way.
One of the trucks drives straight at the
squad car melts the bonnet and smashes into
the windscreen.
The trucks push the squad cars around like
dodgems.
Another line of warehouse doors slides up.
Dozens of street racers zoom out of the
warehouse in their customised cars passing the police
cars then driving in circles around them in
the police helicopter.
More souped-up cars emerge.
Amongst them is Orange Julius in his Mazda
RX-7.
It's a scramble, baby!
A big one!
Slapjack drives out winning in his gold Toyota
Supra.
Let's do this!
Watching the monitors showing the mass of vehicles,
Bilkins smiles.
Soup is in her Honda S2000 with a
friend.
The squad cars appear lost and dowdy amongst
the sea of metallic paint and chrome.
Bilkins gets on his radio.
We're not tracking them on video.
Must have lost them in the scramble.
Y'all, let's break.
The mass of extravagantly painted modified cars speed
out at the warehouse lot through an open
mesh fence.
Even more cars emerge from the warehouse leaving
the squad cars standing.
The Evo and the Spyder are amongst the
fleeing hordes.
A squad car joins them.
The squad car spins around overwhelmed.
Its front stove in.
Orange Julius races out.
Woo-hoo!
The battered, smoking squad car limps away.
As the cars race out onto streets, squad
cars swerve into their paths.
The racers adeptly weave around them.
The Evo and the Spyder make their getaway.
In the control room, Bilkins keeps his eye
on the monitors and talks into his radio.
All right, we got them going west on
Beech.
Roger that.
I've got them.
The helmeted pilot banks the black customs helicopter
sharply down on its right.
The Evo and the Spyder race along a
Miami city street with a line of squad
cars pursuing them.
In the police helicopter...
Customs has a fix on two cars going
west on Beech.
Roger.
Follow those cars.
Roger that.
The blue and white police helicopter hovers above
Miami's urban sprawl.
The Evo and the Spyder race along the
boulevard.
The cops keep on their tail.
At a junction, the lanes ahead are blocked
by more squad cars.
The Evo and Spyder take a sharp left
turn onto a single track road flanked by
tall palm trees.
The squad cars follow the Evo and Spyder
down to the beachfront.
Where they surround them, Bilkins is watching on
the screens.
Shit.
They're cornered.
The driver's door of the Spyder opens and
white knee-length boots step out.
It's Suki.
Tej steps out of the Evo with his
hands up.
Whoa, fellas, fellas.
I know my tags are out of date,
but damn.
The Customs helicopter flies overhead.
Tej and Suki smile and wave.
Tej gives the peace sign.
Watching on the monitor, Bilkins frowns.
What the hell?
Where are they?
The street racers speed off in all directions.
Brian, who is now driving the blue Chevy
Yenko Camaro, and Pierce, who is now driving
the Dodge Hemi Challenger, are cruising unhindered along
a quiet highway with the loot in their
boots.
Roberto is beside Pierce, and Enrique is with
Brian.
They glance back and smile.
Whoo-hoo-hoo!
Man, that's a good one.
How about them apples, man?
Yeah!
That's some driving for your ass, baby.
That's some driving for your ass.
Good job, man.
You supposed to be a stone-faced killer.
You over there grabbing your seatbelt.
Hey, Tej, thanks a lot, bro.
Man, you're clutch.
I owe you one big time.
Yeah, Brian, you really do owe me, man.
You really do.
Us.
Suki says you owe us.
A cop writes them a ticket.
Brian calls Pierce.
Yo, Rome, you there, man?
Come in.
What's up, man?
Looks like we got just one more trick
left, huh?
My pleasure, buddy.
Let's do it, baby.
Hey, we should grab Rome while we still
can.
No!
Not yet!
Beside the airstrip, Malcolm gets a call.
What?
You lost him?
Shit!
Those little pricks are running!
It's your call.
What do you want to do?
We're going to take him down.
He is not leaving here.
Enjoying the ride?
On a road in the Florida Keys.
Man, it's a fast car, huh?
Man, it's a classic.
Old school.
American muscle.
Man, this car can do all kind of
things, man.
Want to see?
Pierce grins wickedly at Roberto.
Check this out right here, homie.
Yo, what are you doing, man?
Pierce undoes Roberto's seatbelt, slams his head onto
the dashboard, then presses a button releasing nitrous
oxide that detaches the door and throws Roberto
out in his seat.
Ejectocito, cuz!
It worked!
I love this part!
Stay on your toes, puto!
Mr. O'Connor, it worked, baby.
Blow and go.
I'm all clear.
Meet me at the point.
Hurry up, man.
It's on, baby.
All right, 10-4, man.
Are you ready?
Let's go!
Guns poised, Malcolm and his men run out
of the grass and surround the Lincoln Navigator.
They are joined by three SUVs from which
more armed men emerge.
Watch your head!
Watch your head!
They drag a casually dressed man wearing shades
from the Navigator and lay him on the
ground.
Malcolm stares at the empty backseat of the
vehicle and calls Bilkins, who's in a helicopter.
It's not Verona, Fuentes.
What do you mean, not Verona, Fuentes?
Then where the hell are they?
In the Camaro, Brian, with his eyes narrowed,
glances at Enrique, then down at a similar
button to the one Pierce pressed to eject
Roberto.
Get off at Tarpon Point.
Tarpon Point?
There's no airstrip at Tarpon Point.
You said anything about an airstrip?
Brian frowns and gingerly lowers the button which
is on the end of a cable.
Pierce drives the Challenger, minus passenger door, over
a slatted wooden bridge and onto a patch
of gravel where Jimmy is waiting by a
grey SUV.
Pierce parks and calls Brian.
Brian!
Brian, man, what's the hold up, bro?
Yo, bro, there's a new plan.
What the hell?
We're meeting him at the Tarpon Point exit,
not the airstrip.
So what are you saying?
Like I said, there's a new plan.
Brian glances anxiously at Enrique, who is smiling.
Brian.
Brian, hello, you there?
He snarls at his cell phone then walks
up to Jimmy.
Damn!
Yo, what the hell is he doing?
The feds are in the wrong place.
Brian's woman is on the road with Verona.
So?
So Brian's not coming.
Brian and Enrique drive along a track to
a boat docking area where another Lincoln Navigator
is parked.
As Brian parks and Enrique gets out, a
heavy runs up and points an M16 at
Brian.
Verona, holding a heavy-duty shotgun, gets out
of the Navigator with Monica.
Verona gestures to the heavy.
That's all right, let him out.
Get out.
The heavy keeps his M16 aimed at Brian
as he gets out of the Camaro and
walks round to the back where Enrique is
standing.
Pop the trunk.
Hurry up.
Another heavy stands by the Navigator.
Enrique hands the bags of cash to a
third heavy.
Brian watches Verona, who scrutinises Monica for a
moment, then walks towards Brian.
Moored behind them is a large white yacht.
Enrique pushes Brian towards Verona.
Where's the rest of it?
The other car.
Another car.
Where's the other car?
On its way.
On the way, huh?
Yeah.
Here's your money.
So you know nothing about the agents that
storm my jet.
Brian barely perceptibly shakes his head.
Half-smiling, Verona knowingly nods.
The funny thing is I only told one
person about the airstrip.
Watching Brian, Monica blinks.
Brian swallows.
Verona looks at his watch, then turns and
steps over to Monica.
She frowns as he regards her and gently
caresses her cheek.
Custom agents sure are getting pretty.
Aren't they?
Enrique points a pistol at Brian's head.
Verona points at the yacht.
Verona's first man grabs Monica's arm.
She pulls away.
Get on the boat.
Verona points his shotgun at Monica, the end
of the barrel only a couple of inches
away from her face.
She looks at Brian, who breathes deeply.
The heavy attempts to grab Monica again.
She pulls away, reluctantly turns and walks to
the yacht.
Verona turns to his men.
Hide the cars and get rid of him.
Back in the car.
Enrique pokes the side of Brian's head with
his gun.
Brian watches Monica, a heavy, then Verona walk
along a wooden walkway and get on the
yacht.
Verona rests his shotgun on his shoulder.
Enrique and Brian get in the Camaro and
drive off.
Brian drives a little way along a bumpy
track.
The navigator follows.
The Camaro lollops to a halt and Enrique
points his gun at the side of Brian's
head.
End of the road.
Brian's frozen in his seat.
You know I like you, but I still
gotta kill you.
It's my job.
Brian presses the ejector seat button.
What's that?
What's that?
It's Barstow, baby!
He's about to get on me!
Pierce rams the Challenger into the navigator.
Brian grabs Enrique's gun arm and slams it
against the dashboard, sending a hail of bullets
through the windscreen.
On the yacht.
Let's go, let's go!
Verona stands on the top deck as the
yacht moves off.
Pierce leaps out at the Challenger, drags a
heavy from the navigator and lays into him.
In the Camaro, Enrique bites Brian's shoulder.
Brian elbows Enrique in the face.
Pierce opens the car door, pulls both of
them out and boots Enrique in the head.
Brian grabs his gun and leaps to his
feet as Pierce punches Enrique on the jaw,
knocking him out cold.
Come on, then!
Pierce and Brian run to the water's edge.
Verona's yacht with Verona, Monica and a heavy
up on the deck cruises past.
Brian and Pierce run to the Camaro and
get in.
Brian starts the engine as Pierce kicks out
the windscreen, which is peppered with bullet holes.
The windscreen drops onto the bonnet and slides
off as Brian reverses the Camaro down the
track.
On the yacht, Verona smiles at Monica, who's
sitting with her head resting on her hand.
You had me.
You slipped.
Eleven and a half months and you slipped
once.
Put her downstairs.
Monica stands up and the thick-set, bearded
heavy, wearing shades, escorts her downstairs.
I'll see you in a second.
Monica regards Verona and then goes into the
cabin.
Brian speeds the Camaro along a road by
the water with the yacht in his sights.
I thought she was dead, man.
Yeah, me too.
That's what saved my ass, bro.
What are you doing, Brian?
I don't know, but if Verona sees a
helicopter or a customs boat, she's dead.
Boat?
Car?
Boat?
You're not going to do what I think
you're going to do.
Yeah, I think so.
You got my back, bro?
Yeah.
All right, man, put her on the seatbelt.
She's on some real Dukes of Hadley shit.
We're going to do this big.
Hold on, Rome.
Hold on.
Brian races alongside the yacht.
The Camaro's speedo hits 90.
Oh, God, are you crazy, man?
What the hell are you doing, Rome?
Whoa!
The speedo hits 120.
Brian veers onto a boat ramp next to
a pier, launching the Camaro into the air
towards the yacht.
Verona looks up.
The heavy jumps in the water as the
Camaro plummets.
The Camaro lands in the middle of the
yacht, crashing through the deck.
Brian and Pierce are thrown forward in their
seats as wreckage showers down around them.
Brian drops his head into his hands, holding
his arm.
Pierce winces.
I think I broke my arm, man.
Brian holds onto his forehead.
Bits of wreckage are wedged under the bonnet
of the Camaro.
Smoke wafts around.
Brian looks up.
Verona appears in front of the car, aiming
his shotgun at Pierce and Brian.
Get the gun.
As Verona advances, Brian grabs Enrique's pistol and
shoots Verona.
Brian hits Verona in the shoulder.
Verona's shotgun goes off.
He drops it and flies backwards onto the
wreckage.
Brian keeps his gun trained on Verona.
As he leans round to grab the shotgun,
Monica kicks his arm away.
Monica picks up the shotgun and aims at
Verona.
It's over, Carter.
With a manic grin across his face, Verona
heaves himself forwards, sits upright and spits.
Monica keeps the shotgun aimed at him.
You okay?
Yeah.
I'm great.
She stares at Verona.
Brian lowers his gun and leans back in
his seat.
He looks across at Pierce.
We got him, man.
We got him.
Stay down here.
Brian leans forwards and unclips his seatbelt.
Pierce reaches up to the doorframe with his
good arm and hoists himself out of the
car.
Brian gets out of his side.
Monica keeps the barrel of the shotgun pointing
down at Verona.
Later, the battered yacht has returned to its
docking area.
The customs helicopter flies above.
Agents run along the jetty towards the yacht.
On the shore, agents, police and paramedics mill
around.
Brian and Pierce are perched on a crate.
A female paramedic has put Pierce's arm in
a sling.
Markham walks over.
That ought to do it.
So, there were three bags total, huh?
The three from the boat.
So we're good, right?
Our record's clean?
You held up your end.
Your records are clean.
Pierce and Brian share a look.
Pierce gets off the crate and wanders wearily
to the back of the Dodge Challenger.
Pierce opens the boot.
He takes the remaining three bags and drops
them at Markham's feet.
So maybe there were six bags.
I guess we can call it even.
Agent Dunn.
Yes, sir.
Markham smiles and shakes hands with Pierce and
Brian.
We found some more evidence.
Dunn and a colleague pick up the bags.
Come on, let's take it to the truck.
Brian and Pierce smile at Verona, whose shoulder's
being bandaged.
Don't drop the soap, big homie.
Verona gives Pierce a sardonic smile.
I hope you know that when he gets
out, he's going to kill your ass.
He ain't getting out.
Pierce keeps grinning as Verona stands.
I'll see you soon.
You think he's going to get out?
He'll be out.
No, for real, you think he's getting out,
though?
We took care of your decoys.
They're free and clear.
There's a sedan out on the road for
you.
Try to bring it back in one piece.
Thanks a lot, Bilkins.
You all right?
Thanks.
Thanks for looking out, man.
Monica smiles at the pair.
So you trust me now?
Yeah.
Oh, sorry.
She shakes Brian's hand.
Nice working with you, O'Connor.
Same here.
Brian casts a lingering smile at Monica, who
frowns and walks off with Bilkins.
Brian doesn't take his eyes off Monica as
she walks away.
Monica turns and grins coyly at Brian.
Pierce turns to him.
Yeah, I'm out to stay out here in
Miami, man.
Keep you out of trouble, bro.
They look back at Monica, smirk, and walk
on.
You know what I'm talking about.
You going to kick it in Miami, bro?
Oh, man, I love Miami.
Miami's on the hook.
They knock fists.
Open a garage together?
Garage?
How we going to do that, bro?
Pierce frowns at Brian, who, grinning cheekily, leans
to him.
Pockets ain't empty, cuz.
Pierce pulls up his shirt to reveal wads
of cash crammed into his jeans.
And we ain't hungry no more either, bruh.
Ha ha!
Ha ha!
Beaming toothily, the pair bash their fists together
and walk off.
ITFC audio description by Matthew Vickers.
Whoo!
Whoo!
Pump it up!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Whoo!
Whoo!
Too fast for y'all, man Try, too
fast, try From doing a bid, tell me
what you gon' do Act a fool Somebody
broke in and cleaned out your crib Boy,
what you gon' do?
Act a fool Just bought a new pair
and they scuffed your shoes Tell me what
you gon' do Act a fool Now them
cops trying to throw you in them county
blues Boy, what you gon' do?
Act a fool Hold up Traps, cops, and
robbers It's 911, please call the doctor Evacuate
the building and trick the pigs Since everybody
want a piece, we gon' split your wings
See some fools slipped up and overstepped they
boundaries You about to catch a cold, stay
the f*** around me Your peeps talking about
what kind of s*** he on You'll disappear
like poof Be gone
Earth.
Shafts of bright light shoot up from the
surface of the globe and pulsate as it
spins in space.
Land and blue sea become visible.
In white lettering, the name Universal encircles the
centre of the spinning globe, fringed with flickering
white light.
The globe in lettering turns silver as if
made of chrome.
More chrome with five small circles set in
it appears.
The circles are revealed to be the nuts
in the chrome wheel of a bright purple
pick-up truck.
On a dark street, the truck reverses up
to a stop line and a group of
funkily dressed young men and women climb off
the back and set up a metal sign
between two traffic cones.
The crowd get back in the truck and
drive off down the street.
On the sign, black letters on a white
background read, ROAD CLOSED.
Two motorcycles wheelie past crowds of young dudes
milling around souped-up modified cars parked by
a blue building with yellow lettering on it.
The team in the pick-up position another
ROAD CLOSED sign.
In a garage, a guy with big, wild
afro hair answers a cell phone.
Yo, Jimmy, man, give me the status.
Tell me we good.
Beautiful.
It's gonna be an odd time of the
night.
Dressed in overalls, he steps out to the
street where the hot rods are lined up.
All right, all right, all right, fire em
up!
We gon' line and fire!
It's time for ignition and straight automobile pimp!
Brightly coloured lines flash like fireflies streaking back
and forth then converge and explode in a
single glowing light that reveals yellow lettering, TOO
FAST, TOO FURIOUS.
The yellow caption speeds off like a rocket.
Girls in hot pants and crop tops hang
out by the open hoods of the gleaming
cars.
At the front of a gold Toyota Supra,
a slender woman takes the coat of a
guy with a goatee who's sitting on the
wing.
She pulls a comb through his thick afro
hair.
Oh, girl, sorry, my bad.
By a pink convertible Honda S2000, an Asian
girl yells to her female crew.
All right, ladies, we're good.
We're good.
A dude in a beanie hat.
That's it, baby, sigan brillando.
Esto es mio!
Come on, Tess, let's get this race going.
Whoa, whoa, man, wait a second, man.
You cats are first wave, man.
Where's your fourth at?
Yo, yo, it was Joaquin, man, but he
had to work the graveyard shift.
What?
Graveyard shift, man?
Yo, why don't you run with us, Tess?
Hell no, I'm not running with y'all,
man.
And I tell you what, either you find
a fourth or you don't race.
How about that, huh?
We should find two so we don't have
to roll with skirt hair.
To the Asian girl.
Un carro rosita.
Idiota.
Whoa, whoa, wait a second, wait a second.
Why don't I just find y'all a
fourth and we settle this on the streets,
huh?
Bring him on.
Anybody I want.
Traelo.
No matter who it is.
Tej, the guy with big afro hair, moustachioed
and wearing overalls, dials his cell phone.
Yo.
Yeah, man.
You want to race tonight?
Yeah, you know I could use the money.
You got four minutes, man.
All right, I'll be there.
A short-haired young guy with boyish features
runs out of an apartment, gets in a
silver Nissan Skyline with blue slashes down the
sides and starts it up.
He drives out of the garage.
At the race site, spectators look at speaker
systems and open car boots.
Tej stands in front of the Asian girl
by her pink Honda, the goateed guy slapjacked
by his gold Toyota, and the beanie-hatted
dude by his orange Mazda RX-7, which
has orange Julius painted on the bonnet.
Two girls spray a starting line on the
road.
The race starts in four minutes.
The Asian girl stands by her crew of
four.
All right, girls, let's do this.
They touch knuckles and clap.
The Nissan Skyline speeds along a freeway, shifting
lanes past traffic.
At the race meeting, slapjack is canoodling with
his woman.
You think you're going to win, baby?
What you think?
You better.
We got rent to pay.
I know this.
The Nissan Skyline speeds under tall arches lit
with blue floodlights.
At the race site, a photographer takes a
shot of a woman in a low-cut
dress.
A crowd gathers around the guy brake-pouncing.
The silver Nissan, with a spoiler, side skirts
and an aerofoil at the back, swerves round
a corner.
At the race site, the crowd starts to
dance, slapjack sitting on the hood of his
gold Toyota Supra, deep in thought, the beanie
-hatted dude, orange Julius.
I'll get you when you get a car
worth racing.
The silver Nissan rolls in.
Spurts of gas shoot up from vents at
the front of the gleaming machine.
Tej smiles appreciatively.
Yeah, there's our boy right there.
Shit, it's Brian.
The Asian girl watches as more jets of
gas shoot out of the car.
Orange Julius smiles and shakes his head as
the silver machine pulls up next to him.
The crowd raise their fists in the air.
Wearing a white T-shirt, Brian with short,
light brown wavy hair and boyish yet rugged
looks gets out of his car smiling confidently.
He clenches hands with a couple of spectators,
then wanders over to Tej.
They touch fists.
What's up, Tej?
Pat, man.
Thanks for the invite.
No problem at all, man.
Just remember me when you wax, aight?
Brian glances at the other drivers.
They got deep pockets?
Real deep.
Brian turns to the long-haired Asian girl.
What's up, Suki?
What's up, Bullet?
What do you say we kick it in
Echo?
Pérate, pérate, Cano.
Nobody said nothing about racing the stakes.
Brian saunters over to Orange Julius, who's sitting
on the hood of his Orange Mazda RX
-7.
Brian looks at the crowd.
If that's the case, why don't you ask
these nice people here to back off the
line so you can go home?
Orange Julius turns to the crowd and gestures
for them to stop.
Tej walks over and stands with his arms
folded, looking sternly at Julius, who looks up
at Brian.
OK.
35 large.
Tres, cinco.
He hands over the cash.
No más de 8.
Seguido.
Tej walks up to Slapjack.
35 large, huh?
Either that or you can go home, bro.
Without looking at Slapjack, Tej holds out his
hand.
Slapjack thrusts the cash into it.
What's all that?
Red and white.
Damn, Suki.
When you gonna pop my clutch, huh?
As soon as you get the right set
of tools.
Yeah.
She slaps cash into Tej's hand.
Brian looks around with a confident smile.
His smile drops when he sees a sultry
woman watching him coolly.
She has elegant features and wears her dark
brown hair pinned up in tight curls.
Looking unnerved, Brian gets in his car.
The girl walks off.
The four racers are lined up and ready
to go.
All right, back up, back up.
Let's go, let's go.
Flames shoot out of Brian's exhaust.
Back up, back up.
Before you turn into barbecue around here.
It's not a game.
It's serious.
All right, back up, back up.
Get off the street, off the street.
Let's go.
Back it up, back it up.
Everybody keep their hands real, real clear, all
right?
Because I got a surprise for y'all
this evening.
Suki waves her fist in the air.
Slapjack adjusts his rearview mirror.
I got this, I got this.
And Adam, and Adam.
Orange Julius kisses a pendant and looks at
Brian, who's staring straight ahead.
Tej points at the driver one by one,
Suki first.
Ready, ready, ready.
Tej lifts his right arm and then drops
it.
Go!
Chrome wheels spin and rubber burns.
The four modified cars shoot off down the
street.
The crowd surges forward, jumping and flaming their
arms in the air.
Lights blazing, the cars race under a freeway
bridge.
Brian shifts gears and looks down at the
speedo, which reads 60 and rising.
Orange Julius shifts gears and speeds ahead.
Purple flames shoot out of the orange RX
-7's exhaust.
Suki's brow is pinched.
The gold, silver, orange, then pink cars speed
along a deserted street.
Brian motors up behind the gold Toyota, nudging
against the gleaming backside.
Slapjack looks nervously in his mirror.
Brian and Suki overtake Orange Julius.
Brian speeds up next to the gold Toyota.
Brian and Slapjack are head to head as
they reach a bend, with trucks parked on
the corner.
Slapjack and Brian exchange a look.
Oh, hell no!
The gold Toyota rockets around the corner ahead
of Brian.
Slapjack yells in exhilaration as he leads the
pack under a freeway.
Third in line, Orange Julius grins.
The gold Toyota weaves from side to side.
You ain't passing me, dog.
You ain't passing me.
Come on!
In second place, Brian swerves to try to
get ahead.
What you got, man?
The gold Toyota shoots blue flames from its
exhaust as it roars ahead of the pack.
I told you you weren't gonna pass me!
Brian's face is set in concentration as he
creeps up on Slapjack.
In last place, Suki speeds up behind Orange
Julius.
On her dashboard is a flat computer screen.
Orange Julius looks in his rear-view mirror.
Move, bitch!
As Suki sneaks behind Orange Julius, Slapjack shifts
down and swerves around the corner.
The other three follow close behind.
Suki grits her teeth.
Orange Julius screams.
Brian thumps up behind the gold Toyota.
Flames shoot out of Brian's exhaust as the
full race is speed past a parade of
shops.
Slapjack, Brian, Orange Julius, then Suki speed down
the deserted street.
At the control room of a canal bridge,
a lock is pried open, and three guys
go inside.
In the race, Orange Julius looks in his
mirror.
You ain't passing me tonight, bitch.
Uh-uh.
Not tonight, baby.
Bend over, boy.
With a confident smirk, Suki drives up and
rams the RX-7 in the rear.
Orange Julius is thrown around in his seat,
as he tries to get ahead.
As he and Suki battle for position, Brian
rolls up behind Slapjack, who shifts gears and
swerves into a bend.
Last time, last time.
Too wide.
The Toyota spins wide, and Brian gains enough
tarmac to drive up next to it.
Slapjack anxiously looks across at Brian, who smiles,
then shifts gears and speeds ahead.
Watch your legs, baby.
Slapjack presses a button.
Blue flames shimmer from the exhaust, as the
car surges forwards.
Way to go, girl!
Like a rocket, the gold Toyota races past
Brian in his silver Nissan.
Brian puts his sneaker to the pedal.
Orange Julius' dark brows are arched, as he
keeps ahead of Suki.
The Mazda RX-7 and the Honda swerve
precariously round a bend.
Suki races ahead.
Holy abunda!
Yes!
The nose of Brian's silver Nissan stays close
to the back of the gold Toyota.
Orange Julius races up behind Suki.
Estoy comiendo el culo!
Suki flashes a look in her mirror.
I can smell you!
Yo, Jimmy, hit it, baby.
Hit it!
In the control room, Jimmy, a guy with
short black hair, shifts a lever and the
road bridge rises.
Y'all see that?
Told y'all I had a surprise.
How do you like that for a finale?
They watch the road bridge rise up.
Slapjack and Brian look in horror at the
giant ramp rising up in front of them.
Bridge!
Slapjack presses the button on his steering wheel
and races ahead towards the bridge, which is
raised about 45 degrees in the air.
Brian puts his foot down.
Slapjack's Speedo creeps towards 120.
On the centre of the steering wheel of
Brian's Nissan are buttons similar to those on
the gold Toyota.
They have N20 written beside them.
Brian presses the buttons.
Needles spin round on dials as Brian races
up the ramp behind the gold Toyota.
The cars careen off the ramp.
Oh!
The drivers' mouths drop open as they fly
through the air.
Brian lands first.
Sparks fly as the Toyota lands.
Brian green.
Give up!
Slapjack holds on for dear life as the
Toyota swerves off the road and crashes beneath
an enormous taxi sign.
Approaching the bridge, Suki presses her N20 button
and she's thrust forwards.
Seeing the raised bridge, Orange Julius' eyes widen.
Orange Julius swerves to a halt.
Suki flies off the bridge.
Woo!
Smack that ass!
And is smashed as it lands, sending the
front grille and spoiler flying off.
Grinning, Brian effortlessly slides his unscathed Silver Nissan
up to the crowds waiting at the finishing
line.
Tej smiles and nods at Brian, who enthusiastically
slaps the nitrous oxide tanks to his side.
Slapjack trawls out of his wrecked Toyota.
Suki rolls up and helps him conder, minus
front grille.
Tej looks around at the excited crowd nodding
coolly.
Brian gets out of his car, shares a
smile with Suki and grins at Tej, who
walks forwards with the crowd.
Tell me y'all saw that, man!
Pulling in Suki straight at the bridge.
I need to start making y'all pay
to even see this shit.
I got over ten stacks for my man
right here, alright?
That's what I'm talking about, man.
Play with it.
Smells good, don't it?
Yeah, how about that right there?
Right, right, right.
Y'all see this?
Everybody take a real good look.
This is what you call mutual respect.
Alright, let's clear out.
Anybody down for another race?
Shit.
Suki in a purple crop top straightens up
as Tej mows his over.
Hey, make sure you bring that body by
the garage later, alright?
So, you know, we can work on that
front end of yours.
Watch out.
Maybe I will.
She kisses his cheek and walks off.
Yeah.
Brian walks over to the sultry woman who's
smiling at him.
She turns and walks off.
Hey, where you going?
It's time to get out of here.
Why's that?
A black sedan with red and blue lights
flashing rolls up.
The crowd disperses.
Suki drives off.
Brian leaves the sultry woman and runs to
his car.
Two more sedans with lights flashing block the
car that's about to leave.
Brian gets in his Nissan Skyline and drives
off.
The black sedan chases after him.
A blue light flashing on the dashboard and
a blue and red light flashing on top
of the rim screen.
Brian speeds past an oncoming blue sedan that
turns and gives chase.
Driving the blue sedan is an agent who
talks into a radio.
Nissan Skyline, got him.
Brian speeds round a bend closely followed by
the blue sedan.
Brian takes a tight bend and the sedan
smashes into a parked car.
Shit!
Shit!
Brian looks back at the smashed car.
Up ahead, a hard-faced agent stands by
a pale blue sedan, aiming a weapon that
looks like a rocket launcher.
Shit!
As Brian speeds past, the agent fires the
weapon.
A pronged device embeds itself on the side
of the car and sends out electrical pulses.
Brian presses the accelerator, but the car loses
speed and crashes into a parking metre.
Brian wraps the dashboard.
The front of the Nissan is a mangled
wreck.
Several cars roll up.
Four agents run over and point guns in
the window at Brian.
Let me see your hands!
Brian puts up his hands.
What's up?
Markham faces Brian.
How long have you been in South Florida?
A while.
Before that?
We know you're Brian O'Connor, formerly of
the LAPD.
Man, you got the wrong guy.
Really?
Brian nods.
A heavy-set, bald-headed agent enters.
How you doing, O'Connor?
Let's take a walk.
In the control room, Markham shows Brian slides.
Carter Verone.
Born in Argentina, but he lived most of
his life in Miami.
Now he owns the biggest import-export business
in the state.
You see, unfortunately, the cartels have been successful
getting drugs into Miami, but they've had a
hard time getting the cash out.
We've been surveilling him for a year, but
we've never been able to put him and
the money together.
We swept his house, his warehouses...
Nothing.
Customs here has done a great job of
getting us this far.
I'm just here to help get them over
the top.
I was able to get an agent in
undercover, work in travel and logistics for him.
Recently, Verone put her in charge of finding
some new drivers.
Right, although we can't confirm her status right
now.
You think she's flipped?
She's one of mine.
She's all right.
She's been in with Verone nearly a year.
Even lives at the compound with him now.
Look, it was the FBI's idea to bring
you in here.
I'm against it, but we need some good
drivers that can put this arsehole and his
money together.
You're going to roll with Agent Dunn here.
And if I don't?
Here's a list of the laws you broke
in L.A. Obstruction of justice, aiding and
abetting, you know the rap sheet.
We can make this all go away in
the interest of justice.
If you're willing to play ball.
Yeah.
Brian flips through the several-paged list.
So what's the idea here?
Dunn and I are supposed to be street
racers?
That's right.
Brian eyeballs dark-haired, chisel-jawed Dunn, who
sips a soda with Gallo's Pizza written on
the cup.
So, Dunn?
Brian gets to his feet, walks over to
Dunn.
Looks like we're going to be partners, bro.
Could you tell me right quick what would
be a better motor for my Skyline, a
Gallo 12 or a Gallo 24?
Dunn glances at Markham, who nods to him.
Um...
The 24.
Brian looks at the cup.
I didn't know pizza places made motors.
Dunn looks at the cup, frowning.
Brian smiles at the agents.
See, man, come on, I can't do this.
I mean, seriously, if this is what you're
going to give me, I may as well
take my chances in Chino.
And we'll get someone else.
No way, man.
Markham grabs the cup off Dunn.
The only way I'll do this is if
I get to pick the driver.
All right, O'Connor.
Who you got in mind?
This dude I grew up with in Barstow.
Who's that?
Roman Pierce.
A sign reads, Welcome to Barstow Speedway.
Out in the Nevada desert, a demolition derby's
in full swing.
A driver watches from inside a black, white
and red Chevrolet Monte Carlo with spikes in
the front grille.
He puts his foot down and barges another
vehicle into the fence.
Sitting in the stand are Brian and Dalton,
the bald-headed agent.
The Monte Carlo driver has an electronic tag,
an anklet strapped around his ankle.
That your boy in the Monte Carlo?
Yeah, that's him.
Yeah, you've got some skills.
Mm-hmm.
And he's crazy as hell, I'm telling you.
In a good way, though, he's the man
for the job.
A station waggon hits the Monte Carlo head
-on, popping up the bonnet and smashing the
windscreen which the driver kicks out.
He's got quite a record, including three years
upstate.
Says here he's on house arrest now.
Can't go more than 100 yards from his
home.
The Monte Carlo charges at the station waggon
and rams it, flipping it over.
Oh!
Crowds in the stands get up and cheer.
The Monte Carlo stops and the driver, wearing
T-shirt and jeans, hauls himself out of
the glassless window frame.
A taut, muscular man with narrow eyes, he
smiles at the appreciative crowd.
He sees Brian and his expression changes, hardening
to a cold stare.
He glows at Brian and walks away across
the dirt-floored arena.
Brian looks at Bilkins.
You always said he'd be famous.
Brian walks up behind the driver.
Lights glow on the electronic anklet.
Pierce!
Roman Pierce!
Brian turns to Bilkins.
Yo, whatever happens next, just let it go.
I ain't in it.
Bilkins, wearing glasses, holds up his hands.
Rome!
Agitated, Pierce moves his head from side to
side, turns to Brian and glares.
Only my homeboys call me Rome.
Pig.
Pierce spits in the dirt.
Brian stands his ground.
I'm not a cop anymore, bro.
Is that true?
Pierce walks towards Brian.
Blind in the head, not a cop anymore?
That's true.
No badge.
Round-faced, moustachioed Bilkins smiles.
Brian stares at Pierce as he steps up
to him.
Pierce clenches his fist and swings at Brian,
cracking him on the jaw.
Here we go!
Pierce takes another swing.
Brian ducks and throws Pierce onto his back.
Pierce gets on top of Brian and punches
his face.
Bilkins wanders off and sits next to a
mobile home.
On his back, Brian has his legs wrapped
around Pierce.
You still fight like shit?
You still fight like shit?
You better chill.
What the hell are you doing here?
I'm gonna choke you!
I told you to stay away from me.
Pierce punches Brian in the face.
Brian gets Pierce in the headlock.
You should have told me!
I did three years, Brian!
I told you it wasn't my fault!
Brian restrains Pierce, then lets him go.
Pierce gets up on his knees, then sits
on the dusty ground.
Why did you come here, O'Connor?
Covered in dust, Brian sits up.
I got a deal for you.
Brian flings a handful of dust at Pierce.
When I needed your ass, you were nowhere
to be found.
Now you trying to hand out deals?
They get to their feet.
Brian slaps Pierce's chest and stands face to
face with him.
I need you to come to Miami and
drive with me.
If you do, they'll take off that anklet
and clear your entire record.
I did three years in jail.
Three years in jail over you, Brian.
I know you better than you think.
Maybe you don't.
Maybe you don't.
You guys finished?
This deal legit?
That's right.
You should do this job for us.
Told you.
Shut up, punk.
So you gonna clean my record and get
this thing off my ankle?
That's right.
I thought you couldn't wander more than a
hundred yards from your home.
Why you think I'm parked so close to
the derby?
Man, quit playing like you're gonna pass this
up.
Pierce looks Brian up and down and goes
to the door of the mobile home.
In Miami, Bilkins drives Brian and Pierce across
a bridge, then heads into the car park
at the Miami customs office.
Brian, Pierce and Bilkins all get out of
the car.
As Pierce, wearing a sleeveless blue shirt, jeans
and boots, gets out of the car, he
feels his right ankle, now free of the
anklet, then follows the other two towards the
entrance of the customs building.
Agitated, Pierce stops in his tracks.
Wait, hold up.
Brian walks up behind Pierce.
Hey, bro, what's going on?
I don't know if I should be trusting
you.
Pierce avoids Brian's gaze.
Just think of it this way.
It's an opportunity for a fresh start.
Now let's just go do this, alright?
I wouldn't need a fresh start if it
wasn't for you.
Man, you've been using that since the day
you got busted.
Now let's just chill out and go do
this.
I don't need to chill out.
Yes, you do.
And you need to stop blaming me for
your every mistake.
And Roman Pierce needs to start taking responsibility
for his own actions.
You need to go to hell.
And you need to go back to Barstow.
Brian walks to the door where Bilkins is
waiting.
I'm not going back to Barstow.
Pierce follows them in.
In a hangar, a panel truck's rear shutter
slides up to reveal the sultry woman from
the race meeting.
She looks down at Bilkins, Brian Pierce and
Markham.
Brian O'Connor, Roman Pierce.
Meet Monica Fuentes.
Do they have background on Verone?
They've been briefed.
Good.
Alright, here's the deal.
Verone's looking for drivers.
I've arranged for both of you to join
up.
I've also hired some thugs, you know, to
make it legit.
When do we start?
Right now.
What are we driving?
Customs officers pull covers off two modified cars.
A purple convertible Mitsubishi Spyder and a lime
green Mitsubishi Evo.
Don't even think about taking the convertible.
It might loosen your moose.
Nah, that's cool.
That's too much chrome for me anyways.
Hey.
Where y'all confiscate these rims from, man?
Check in with us after you leave.
Markham confers with Monica.
Think you're going to have any problems with
these two knuckleheads?
I can handle them.
If they give you any trouble at all,
you let me know.
Thanks, Markham.
She shakes hands with Markham then goes to
Brian.
I'll ride with you, cowboy.
Why she gotta ride with you?
You get the convertible.
Let's go.
A helicopter flies overhead as Brian drives the
Mitsubishi Evo and Pierce drives the Mitsubishi Spyder
across the airfield.
The sleek modified cars, both with aerofoils at
the back, cruise along a city street.
Turn right here.
Brian hangs a right.
Pierce is close behind.
Monica.
So you used to be a cop?
Yeah.
How long you been under?
I lost track.
You alright?
You might want to keep your eyes on
the road, playboy.
What, you think we're gonna crash?
I haven't decided yet.
Without taking his eyes off Monica, Brian shifts
gears and puts his foot down in the
Spyder.
What are you doing, Brian?
Pierce tries to keep up as Brian, still
gazing at Monica, hits 80 miles per hour
and stops sharp at a junction.
Pierce pulls up next to Brian.
He did the staring drive on you, didn't
he?
He got that from me.
Monica's taken aback.
Later, Brian and Pierce drive along a bayside
highway.
On a gated estate on Miami's North Beach,
a number of supercharged cars roll up and
park.
A yellow Dodge Viper, a metallic coloured Corvette,
a red Ford Mustang.
Brian and Pierce are on their way up
the drive, which is flanked by a neat
lawn and lush palm trees.
A black BMW, a blue Chevy Yenco Camaro
and an orange Dodge Hemi Challenger have joined
the other cars.
The tough-looking drivers get out and stand
by their vehicles.
Brian and Pierce pull up at the end
of the line of cars.
Once we get in here, you're on your
own.
Monica smiles flirtatiously at Brian and they get
out of the Evo.
Pierce gets out of the Spyder.
A guy in a black sleeveless T-shirt
nudges a long-haired guy and they look
over at Pierce and Brian and their cars.
Look at that one.
Hey, where'd you get them cars up out
of a cereal box?
Hey, real funny, Fonzie.
Pierce sneers.
Ass.
Roberto, Enrique, I need pictures of the drivers,
their licence plates, their cars and anything else
you can find.
¿Entiendes?
¿Entiendes?
Gracias.
The two heavies walk through a gateway.
Bald Enrique and dark-haired Roberto walk towards
the drivers and gesture for them to come
in.
Brian turns to Pierce.
The drivers walk towards a mansion house.
Keep your mouth shut and follow my lead,
all right?
I got this.
I'm serious now.
Handle your business, I'll handle mine.
¡Vuélvanse!
A heavy frisks Pierce.
Watch your hands, bro.
¿Y por qué?
He frisks Brian.
Go in line.
Let's go.
In the mansion, a painting transforms into a
surveillance monitor.
A dark-haired man is watching it.
Monica walks down the hall.
Carter.
The man, Carter Barone, handsome and in his
thirties, walks over to Monica, who's looking through
a tall French window.
The drivers are here.
Good.
Come on.
He slaps her behind.
They meet the drivers outside.
Stay.
¡Esperen aquí!
Thank you for coming on such short notice.
My red Ferrari was confiscated yesterday and it
sits in an impound lot in Little Haiti.
It's about 20 miles from here.
The car isn't important.
What is important is the package I left
in the glove box.
The first team back here with the package
will have an opportunity to work for me.
What do you say we got an audition?
Nobody's got a gun to your head.
Barone backs away.
That's it.
Driver's licences.
Pass them up.
Monica steps towards the drivers.
Before Christmas, guys.
¡Muévanse!
¡Go!
The motley collection of thugs run to their
cars.
Later, Brian and his Evo and Pierce and
his Spider lead the pack.
The Corvette and the Mustang are close behind
followed by the Dodge Viper, the Dodge Challenger
and the BMW.
The blue Camaro with a white stripe down
the side brings up the rear.
Brian rapidly shifts gears.
Pierce is right behind him.
¡Vamos, car!
As the cars change positions, Brian smiles confidently.
Let's see what this thing can do.
He shifts gears and weaves past a long
white truck and looks at a computer screen
on his dashboard.
In the engine is a tracking device that
flashes the Evo's location on a computer map
at the customs offices.
A female technician watches the screen and phones
Agent Markham.
Agent Markham, I've got him heading south on
I-95.
Yeah, I got it.
They're running.
What a surprise.
Markham's walking along a corridor with Dunn.
On Interstate 95, Brian races ahead of the
pack.
He looks in his mirror at Pierce, trying
to keep up.
Come on, stick him through, bro.
What's he got?
Roman Pierce's brow is pinched as he watches
Brian's every move.
The rest of the race is strained to
keep up.
Brian checks his wing mirror.
Why must I chase the cat?
Pierce grins wickedly.
Brian frowns.
Ahead, blocking the three lanes, are a boat
on a trailer and two trucks with barely
a car's width between them.
The spider wobbles like a toy as Pierce
guns the motor and drives up next to
Brian.
He turns to Brian and gives him the
finger.
Smart-ass.
Pierce shoots ahead and through the narrow gap
between the trucks.
Brian follows close behind.
Pierce looks back at him.
Oh, yeah, you can hear the bob-omb?
The Mustang driver wearing shades drives up between
the trucks.
The side of the Mustang touches one of
the truck's wheels and the car is thrown
from side to side like a toy.
The driver grits his teeth as the Mustang
is battered relentlessly then flipped under the wheels
of one of the trucks which drives over
the top of it.
The Corvette heads straight for the wreckage.
The Corvette flips over.
A white sedan skids out the way as
the BMW, the Dodge Viper, the Dodge Challenger
and the Chevy Camaro weave around the remains.
The grizzled Camaro driver Pierce called Fonzie frowns
disconcertedly.
Pierce keeps ahead of Brian.
Let's see if you still got it, Brian.
Brian gains on Pierce.
Alright, Rome, I got something for your ass.
Brian effortlessly weaves past the slower traffic and
ahead of Pierce.
Watch this, bro.
He yanks on the parking brake and the
Evo does a 180 degree turn burning up
rubble as it goes.
Brian remains ahead of Pierce, driving in reverse.
Shit!
Yeah, bro, man, he like them apples!
Show off!
That's the Brian O'Connor school driving right
there, baby!
Glancing in his mirror, Brian speeds past the
other cars in reverse.
Crazy ass white boy!
Bullshit!
Seeing a slip road, Brian slams on the
brake, spins round to face front and drives
down it.
Pierce is right behind him.
On the corner of the slip road are
a number of plastic drums.
The Challenger, Camaro and BMW approach three abreast.
The BMW rams into the drums, sending out
an explosion of water as the other two
cars drive down the slip road.
The now soaked Dodge Viper brings up the
rear.
A dopey dreadlocked man saunters across a quiet
street.
Pierce and Brian zoom past, either side of
him.
He looks bemused as the Challenger, Camaro and
Viper speed past.
At the car lot, Brian smashes through a
stop barrier.
At the mansion, Verone looks at Pierce's details
on a screen.
What do we got?
He looks at Pierce's criminal record as the
cars are driving through the car lot.
That's good.
Show me his bike.
Brian drives past rows of boats on racks.
Pierce is behind him.
Cars, cars, where are the cars?
Brian and Pierce skid round the corner past
more racks of boats.
Stinking boats, where are the cars?
Ahead, a forklift truck is lowering a boat.
Brian just squeezes the Evo under it.
Pierce passes on the other side.
They round another corner and the dune stretches
out to one side.
Come on, I need the cars.
Where are the cars at?
Brian and Pierce's eyes dart around and widen
as they enter an enclosure with cars parked
around the edge and a red Ferrari 360
Spyder parked in the centre.
Brian and Pierce stop and get out of
their cars.
The pair walk to the Ferrari.
Pierce pulls open his shirt revealing his muscular
torso.
He takes off the shirt, wraps it around
his right fist and punches the window of
the driver's door.
The window shatters.
Brian pulls the door catch.
The door opens.
Brian frowns at Pierce, dives into the car
and opens the glove compartment.
Brian feels between the seats and pulls out
an envelope.
Brian gets out of the Ferrari with the
envelope and goes to the Evo.
Pierce puts on his shirt and heads to
the Spyder.
The three remaining cars roll up.
Brian holds up the envelope.
The Camaro driver turns to the Challenger driver
who's holding a gun.
A police car arrives.
What the hell are they doing here?
Pierce picks up a gun and peppers the
windscreen and tyres with bullets.
The drivers get in their cars and speed
off.
Agent Malcolm is crouched by the police car.
Juby record for popping cars.
Two years in JD, then another year for
aiding and abetting an armed robbery.
He's clean.
Dirty, but clean.
Alright.
Brian and Pierce roll up on the lush
grounds of Verone's estate.
Verone walks down the drive to meet them
with Monica behind him.
Brian gets out of the Evo, walks over
to Verone and hands him the envelope, eyeing
him inscrutably.
Pierce is propped on the wing of the
Spyder.
Hey man, you got something to eat up
in there?
We hungry.
A sly smile crosses Verone's sharp features and
he turns to Monica.
Sitting by the pool?
Verone walks off.
Nice.
Come on.
Brian, with a white cross with West Coast
choppers printed on the back of his black
t-shirt, smiles and follows Monica with Pierce
past a Ferrari and through the grounds.
What you checking her out for?
I'm not checking her out.
Pierce and Brian stand in front of a
lavish spread laid out on a table at
the poolside.
Yes you were.
No I wasn't.
I seen you checking her out, man.
Okay, I was, now shut up.
You shut up.
Tell me to shut up.
Both you girlies shut up.
Unbelievable.
They sit at the glass top table which
is laid out with a platter of exotic
fruit.
Pierce and Brian stare across at Monica, who,
wearing white trousers and a v-necked top,
sips a glass of water.
You sure are cosy in this big old
mansion.
Sucking on a grape, Monica looks round.
Sleeping with the enemy.
Monica smiles at Verone, who, wearing grey trousers
and a brown shirt, walks over.
Brian starts to get up.
No, no, no.
Sit down.
Nice Ferrari you got in the driveway.
Verone throws the envelope on the table and
sits smiling.
I'm glad you like it.
Verone tips a silver tube, a lighter and
a cigar cutter out of the envelope and
hands the envelope to Monica.
Darling, will you hold that?
Verone pulls the silver tube apart, revealing a
fat cigar which he puts in his mouth,
and pulls the other end of the tube
off of.
Brian looks away in disbelief.
Pierce frowns.
We did all that for a damn cigar?
No.
We did that for a job.
Verone points at the pair sternly, picks up
the cutter and clips the end off the
cigar.
Do you really think that I would let
somebody impound my car?
He puts the cigar in his mouth briefly,
then spits.
The boatyard's mine.
Oh, by the way, you two owe me
a gig.
Why don't you just take it off your
cut?
Ha, ha, ha, ha, ha.
Off our cut, yeah.
I like that.
Good.
What's this job you got for us anyway?
Come with me.
The house has ears in it.
As they walk along, Verone passes the cigar
away.
I have something I want you to carry.
From North Beach to the Keys.
What is it?
Just put in the car what I tell
you to, drive it to me and don't
let anybody stop you, understand?
Yeah.
Any chance of car trouble?
Nah, I'm buying you a window in time,
but it's not going to be open very
long.
You make it, and I'll personally hand you
100 Gs at the finish line.
Make it 100 Gs apiece, poppy.
Verone casts a smile at Pierce.
Look, man, obviously, your pockets ain't nervous.
Hey, hey, hey.
Don't ever touch me.
Eyes are empty.
Like I said, we hungry.
Pierce chews with relish.
A jetty and the glistening ocean stretch out
behind Verone.
He turns to Pierce and Brian, smiling.
I got an idea.
Why don't you two boys join us at
the club a little later tonight?
Yeah.
Pearl at midnight?
We get to know each other a little
bit better.
That sounds good.
We'll see you tonight.
Pierce eyes Verone malevolently as he saunters off
down the path with Brian.
Hey, you.
Brian turns back.
Pierce shifts uncomfortably.
Pockets aren't empty.
Damn.
I'll take my cutter back.
Frowning, Brian throws out his hands as Pierce
wanders over to Verone.
He fishes the cigar cutter out of his
pocket.
Stupid ass.
Pierce hands it back.
Hey, man, I figured you had like 12
or 13 of these.
Just get out of here.
Get out of here.
Same old road, same old stupid shit.
What, running your mouth?
Insulting people?
Stealing Verone shit?
Think I'm going to let somebody stare me
down?
I ain't letting nobody stare me down in
jail, homeboy.
Think I'm going to let it fly on
the beach?
And you, I'll take my cutter back.
Rich ass.
And you pack it like you ain't.
They eyeball each other.
Brian walks ahead.
Exactly.
From here on out, I do the talking.
Like to me, you want to do a
little more than that.
What's that supposed to mean?
It means you're always getting in trouble over
a female, Brian.
Indignant, Brian gets in his car.
Later, the pair drive along a boulevard and
turn onto a forecourt lined with souped-up
cars.
They park and get out.
A sign above a kiosk reads, Tej's Garage.
Man, Tej's Garage is ridiculous.
He's got the best of everything.
Snap-on tools.
All these lifts are brand new.
They're only maybe a couple months old.
Hey, yo, Jimmy.
What's up, man?
What up, Bullet?
Hey, that's Rome right there.
Do me a favour.
When you get a second, I want you
to check out the eagle and the spider
and make sure everything's copacetic.
Evo?
Where'd you get an Evo from?
Well, it's a long story.
I got you, man.
All right, thanks, Jim.
Man, it's so hot and humid out here,
I can't even wear no drawers.
Yeah, tell me about it.
Look at all this potential I have.
Ray, don't do that, man.
You're making me look funny.
Ray, come on, baby.
Don't do that.
Pierce and Brian walk to the other side
of the garage and look out across the
docks where people are frolicking in the water.
Many of them are women in skimpy bikinis.
Tej is moderating a jet ski race.
Pierce and Brian step onto the boardwalk.
Pierce admires the behinds of three girls in
bikinis as they walk past.
Girl, you know your boy can help you
put that vibe.
Look at the bubble on that.
Oh, that's serious right there.
Come on, Ray.
You're making me look funny.
Don't do that.
Don't do that to me right now.
I cannot take that right now.
Come on, Ray.
Do it.
Hey, Tej Parker.
Roman Pierce.
Pierce and Tej touch knuckles.
Basically, he's the man you know in Miami.
He's got his finger in absolutely everything.
It's just the way it is.
What's going on, Suki?
What's up, baby?
How you doing?
I'm good.
How you doing?
What's this?
What's the latest?
Suki's sketching a paint job for a car.
It's a work in progress.
It's not finished yet.
That's some artistic shit.
You got talent, girl.
Yeah, she's good.
She's the best.
Ray, do a job right now.
Do a job.
Bring it on, Ray.
Ray, a guy on a red jet ski,
zooms past.
Pay up.
Pay up.
Pay up.
Pay up, everybody.
That's how they do it out here, man.
Every day.
That's crazy.
Tej takes his winnings.
Don't look too happy, guys.
Guys, expeditiously, man.
I need a quick writing.
What's up?
Thank you.
Thank you.
How you feeling, man?
Brian and Pierce sidle over to Tej.
Not too bad.
Tej is holding a handful of notes.
I see you're about your money, homie.
You race, too?
Nah, man.
I hit a wall doing, like, a buck
-twenty a couple years ago, you know?
Ever since then, I've just been organising and
collecting, man.
Hey, Tej, check it out.
He's gonna be in town for a while.
Is there any way he could use that
car?
What's wrong with your place, man?
No.
I don't want to stay with him.
He got bad habits.
All right, man, whatever, man.
Show him around real quick, all right?
All right.
I'll be up there in a minute.
Thanks a lot, y'all.
All right, who want a chance to win
their money back?
What's up, Jimmy?
So, what's up?
You ever seen anything like this before?
Nah.
Both of them are wired up like I
never seen before.
What?
Yeah, man, they got us wired with GPS.
That's why Markham knew we were gonna be
at that impound lot.
Yo, you the master mechanic.
Why don't you just yank that shit up
out of there, then?
I'll try, but this ain't lojack.
The DIS box, the engine management system, hell,
the main harness, the GPS has spied it
into all of that.
Hey, tell me something, man.
Do I even want to know where the
skyline is, dawg?
Or where you been the past couple of
days?
Or where the hell you got these rides
from?
They're hot.
Yeah, they hot.
They wired so hot that whoever's tracking these
things will know every time you don't wear
your seatbelt.
Tej and Suki look at Brian, who thinks
for a moment.
All right, Jimmy, we'll just do what you
can do, bro.
I got you.
Thanks, man.
Man, we need to get these on the
street ASAP.
Hey, bro, check it out.
You see that Cadillac across the street over
there?
Sitting in the brown Cadillac parked by the
sidewalk are Enrique and Roberto.
Yeah.
Yeah, well, they've been on us ever since
we left the room service.
Pierce nods.
Brian wanders off.
In the Cadillac, Enrique and Roberto look out
for Pierce and Brian.
Pierce pops up, grinning at the driver's window.
Hey, man, can I clean your windshield for
you?
What are you doing, man?
Pierce sprays liquid onto the windscreen and smears
it around with a cloth.
In a scent, Roberto and Enrique get out
of the car.
Kiss my ass, puto.
Pierce tosses a flaming lighter on the screen,
and it bursts into flames.
Brian whisks Pierce off in the Evo.
Later, Brian and Pierce walk into the empty
East Coast Fisheries restaurant to meet Bill Kim's
Markham and Dunn.
Don't blow our cover before we even get
started.
Hey, Bill, could you tell me when we're
drawing?
That's what I want to know.
Show me your hands.
Come on, keep them up.
What's this about, man?
Hey, wait, what's going on?
Hold this.
You think you can shoot at me?
I'm a goddamn federal agent!
What are you talking about?
Get your damn hands off me!
Get him away from me!
Just because you wear a mask don't mean
you can come in and mess shit up
for us.
What are you doing?
Get your hands off of me!
You like the idea of shooting?
Shut up!
Don't tell me to shut up, Brian!
You almost blew our cover, old man!
You shouldn't have shown up like you did.
What, you didn't know Verona was testing us?
No, I thought you punks were running.
Running?
That's real great.
Oh, and if Rome wanted to shoot you,
you wouldn't be here right now.
All right, we've got to get this under
control.
Pierce paces around agitated, then picks up a
fast food bag.
Hey, that's mine.
So?
Tell me what you know.
Well, Rome and I will be making a
run for Verona.
I'm not sure when or where, but he
did say that he bought us a window,
I'm assuming from the local cops.
I can talk to some of the guys
at the local PD.
No, no good.
If Verona's got some of them on the
payroll, then we can't let them know our
operation.
Exactly.
In addition, Verona told us that he himself
would be waiting at the drop.
That's good news.
If you're going to be delivering drug money
to him, then we can get him for
laundering.
No, there's only one problem.
What's that?
Fuentes?
Mm-hmm.
Verona's tapping her.
Tapping her?
Tapping her how?
That is crap.
Now, what you talking about, homeboy?
We know what we see.
So what do you think, O'Connor?
You think she's compromised?
You should know.
What's that supposed to mean?
What, you mean your old pal O'Connor
didn't tell you?
He flipped on Bilkins in L.A. Gave
his mark, his car keys, and let him
disappear.
That's why he's not a cop anymore.
So what do you think, expert?
Man, I don't know.
All right.
We'll keep an eye on her.
We're outta here.
Pierce takes a bite of Markham's sandwich and
walks out with Brian, who's deep in thought.
They head for the Evo.
Let your man go, huh?
Drop it.
I don't wanna talk about it.
Drop it, hell?
I wanna hear about this, homie.
I said forget about it, cuz.
We got Fuentes in with Verona, Markham trying
to blow our cover, and we got two
wide cars that are no better than that
damn ankle bracelet of mine.
I'mma tell you, bruh, you let your man
Markham do that shit again in front of
Verona, that's gonna be our ass.
I know, man, I know.
It's getting thick real quick, and we may
need a way out.
We gotta come up with some kind of
exit strategy.
Exit strategy, huh?
Yeah.
Pierce munches on the sandwich.
I like the way that sounds.
What you got in mind?
I don't know, man.
We need two more cars.
That night, Tej, Jimmy, Suki, Brian, and Pierce
are on a deserted street.
The Dodge Challenger and Chevy Camaro roll up.
Yeah.
Here they come.
The Camaro and Pechanga park beside the Evo
and the Spyder.
The Ponytailed Challenger driver wearing dark glasses gets
out with a blonde woman.
The Camaro driver, that Pierce called Fonzie, gets
out of his car with a brunette.
Brian in a short-sleeved shirt and Pierce
wearing a baseball cap backwards step up to
the foursome.
Fonzie and Fabio.
Glad you can join us.
We heard you boys wanted to get rid
of those Crackerjack toys.
No, actually, we just figured those cars you
got deserve better drivers, which is why we're
gonna take them off your hands.
You know, why don't we settle this now?
Wait, wait, wait, wait.
How about we settle this on the blacktop,
huh?
Each car does a down-and-back tag
-team style.
For slips.
Loser walks home.
We came to race you.
Well, load them up then.
Tej, his hair braided, gives the drivers the
nod.
Brian pats Pierce's chest.
Come on, bro, let's get these cars.
All right, check it out.
There's no way we're gonna beat these guys
straight up.
That Hemi's putting out about 425 and that
Yank'll snap a speed on in about five
seconds flat, so...
I mean, we're gonna have to pull something
out of our ass.
The only thing I can think of is
save the spray for the way back, the
return trip.
Done deal.
All right, let's do this, bro.
I'm getting that orange one.
Pierce yells at Fabio.
You ain't ready, Fabio!
Pierce gets in the Spider and pulls up
next to the Challenger.
Tej paces between them.
All right, you each got a barrel to
go around down at the end of the
road here.
Second wave gotta sit tight till your partner
crosses this line right here.
First team to go down and back twice
wins the race, at which point...
the losers will...
hand over them keys.
Otherwise, you'll be eating breakfast through straws from
now on.
Caprende?
He peers into the Challenger.
I get it.
Tej turns to Pierce.
Oh, this means you, too.
I got it.
All right.
Let's race.
Wearing a white tracksuit, Tej straightens up and
steps backwards.
Come on, baby!
You got this, bro!
Let's do this, Jimmy!
Yeah, you gone, homie.
I got this.
This is done.
You about to lose your car, partner.
Do it, bro!
Come on, Pierce.
You got it, man.
You think I'm worried about this fool, man?
This is nothing.
Pierce's face falls when the Challenger's throbbing engine
makes the chassis vibrate.
The ponytail driver grins at Pierce.
Suki and Jimmy frown.
Oh, no.
American muscle.
The Camaro driver smiles.
Your engine ain't as big as your mouth.
The Challenger driver that Pierce called Fabio stares
straight ahead.
Pierce glances at him.
Gotta smoke him.
Gotta smoke him.
Gotta smoke him.
All right.
Here we go.
It's all right, baby.
I'm gonna handle this.
Handle it.
Ready?
And...
Go!
She drops her arms.
Brian watches the Challenger shoot off down the
street.
Pierce follows a car's length behind.
You ain't ready.
I've run these streets.
Ponytailed Fabio presses the accelerator and races ahead.
Go!
Go!
Run me round!
You ain't heard me!
Pierce shifts gears and speeds like a rocket
down the street.
A blue light glows under the Spider.
The Challenger reaches the metal barrels at the
end of the circuit, brakes hard and swerves
around them.
The Challenger's orange body with black roof speeds
back up the street, passing Pierce as he
approaches the barrels.
Pierce shifts gears, brakes, and swerves around the
barrels.
Oh, yeah!
The Spider's tyres smoke as Pierce chases after
the Challenger.
I'm gonna get you.
Oh, I'm gonna get you.
We should be back now, boy!
That car's going home with me, homie.
Pierce presses the nitrous oxide button on the
steering wheel and he's thrown back in his
seat.
The Speedo reaches 100 as he roars right
up behind the Challenger.
Fabio looks in his mirror.
Shit!
He veers over and hits a sign that
spins out onto Pierce's path.
Pierce swerves to avoid the sign and skids
onto a dirt verge.
The Spider swerves wildly from side to side.
Shit!
Brian revs the Evo as the Challenger speeds
home.
Dear Lord!
The Camaro speeds off.
Sorry, Blondie.
How does that dust taste?
The Camaro driver, Corky, grins.
Tish.
Oh, no.
Come on, Roy.
Pierce flashes past.
Brian speeds away.
As Pierce slows, he throws at his arm
angrily.
The grizzled Camaro driver, Pierce called Fonzie, real
name Corky, accelerates down the road.
Hot on Corky's tail, Brian shifts gears forcefully.
The Camaro reaches the barrels.
The Camaro's rear flails sideways, then straightens up.
Corky shoots back up the road.
Heading down the road, Brian switches into the
same lane as the Camaro and heads straight
for it.
What the...
Good move, kid.
Let's see if you've got the balls.
Brian steers ahead steadily as he races the
Evo head-on towards the Camaro.
Corky's eyes widen wildly and at the last
minute, he pulls to one side.
The Camaro skids onto the dirt verge and
merges to a halt.
Brian smiles elated as he zips round the
barrels and heads back up the circuit.
Corky desperately tries to get the Camaro back
on the road.
Brian shifts gears forcefully as he speeds up
towards Pierce, Jimmy, Tej and Suki.
Come on, Brian.
Bring it on, man.
Brian changes gear and presses the nitrous oxide
button.
Streetlights blur past Brian as he rockets up
behind Corky.
Brow-furrowed Corky keeps an eye on his
mirror.
His mouth slightly ajar, Brian's face is fixed
in concentration as he edges his way past
the Camaro.
Corky jams his foot down on the accelerator
pedal and keeps half a car's length ahead.
The needle on Brian's speedo hits 120.
Corky clenches his lips tightly.
The Camaro and the Evo nose to nose.
Brian shifts gears and hits 8,000 rpm.
Corky grits his teeth determinedly as the mind
-green Evo edges ahead and just beats him
at the line.
Brian grins and pulls up.
Pierce marches over to the two losers whose
girlfriends have their arms draped around them.
Y'all ain't ready, homeboy.
Get to walkin', Fabio.
Use them bus tongues, Paco.
Hey, how you doin'?
Good, what you need?
We got some Mr. Barones.
Casually dressed, Brian and Pierce stroll into the
nightclub.
The club is packed with attractive young people
drinking and dancing.
Many are pretty young women.
Brian and Pierce smile.
It's the whole aces in here, bro.
Yeah.
Lots of potential.
Damn.
You got a pen?
The pair grin toothily.
It's about to get serious, bro.
Look at that girl on the swing right
there, though.
Hey, you guys did something right.
Barone never socialises with hired help.
Then what's that make you?
Where's he at?
He's on his way.
You and Barone don't go everywhere together?
What's that supposed to mean?
Nothing.
Huh.
I'm gonna go take a piss.
You go do that.
With a sneer, Pierce strolls off.
Brian and Monica watch him go, then walk
together.
What is his deal?
He doesn't trust people who carry badges.
So you talk like you know.
Yeah.
I'd been a cop about two months, when
Roman was busted in a garage raid.
He had eight sets of wheels in his
possession.
Each and every one of them were hot.
So you busted him?
No, I didn't even know it was going
down.
But, uh, that doesn't really matter now.
Basically, once I became a cop, Roman started
seeing me as a friend that became the
enemy.
A waitress walks over to Barone, who's watching
Brian and Monica from the sidelines.
Is there anything I can get for you,
Mr. Barone?
Just tell him to come join me.
Monica and Brian sit on tall-backed chairs.
She looks at a bracelet Brian's wearing.
Oh, yeah.
Because it rhymes.
Seeing Monica hold up Brian's wrist, Pierce throws
up his hands.
He narrows his eyes and looks around the
club, then walks over to them.
That wasn't bad.
Good.
What's up?
He's here.
Where's he at?
He's over there.
Don't look.
Barone waves at them and takes a drink.
The waitress walks over.
Excuse me.
Mr. Barone would like for you to join
him.
Let's do it.
This is what I'm talking about.
They go to an area with three couches,
guided by Enrique and Roberto.
It's all right, let him in.
Enrique unhooks a rope and lets Pierce and
Brian in.
Go sit down.
I'll talk to you in a second.
How you doing?
Good.
Enjoying your night?
Yeah, I'm having a good time.
Good, good.
Barone and Brian stand inches apart.
She's beautiful, isn't she?
Pierce and Monica watch from separate couches.
As Brian stares into Barone's eyes, Barone raises
his brows.
Yeah.
She's gorgeous.
Brian smiles and nods confidently.
The two men stare steadily at each other.
Barone grins.
You got balls, kid.
I appreciate that.
Women are a very powerful force.
You see the blonde sitting with the gentleman
right here?
A glamorous woman talks to a stout man
with long curly hair.
Five minutes of her time, and she can
get anything she wants from him.
I love you.
What?
She runs her hands over the man's hair.
They stand up together and walk off.
Grinning, Barone turns to Brian.
I wonder where they're going.
Sit down.
Brian sits opposite Pierce.
So you lit my man's car on fire,
is that right?
Yeah.
I did.
You see, I got a problem with authority.
Barone smiles at Pierce.
I have that same problem.
For me, it's cops in particular.
Barone turns and stares at Brian, as does
Monica.
Brian looks unnerved.
Barone smiles at Pierce.
Pierce nods at Barone.
Let's take a walk.
Come on.
We just got here.
Now we're leaving.
He gets up with Monica.
Let's go.
Pierce and Brian stand.
Barone picks up a small silver box, a
lighter and a cigar from a low table
and starts to go.
Pierce reaches down for Barone's cigar cutter.
Hey, come on.
Pierce leaves the cutter.
Barone puts the cigar in his mouth and
leads Monica, Pierce, Brian, Enrique and Roberto down
a corridor with white and red walls.
They go into a room with a Buddha
in the corner and a red square box
-like table in the centre.
On the table is a tin bucket with
a cloth draped over it and a settling
torch and some lengths of cord.
Brian stares down at the strange collection on
the table.
What's all that?
Barone prizes the cork out of a bottle
of champagne.
We're going to have a little fun.
He pours two glasses of champagne.
Pierce and Brian look at Roberto, who smiles
creepily.
Monica takes a glass of champagne.
Thank you.
The blonde woman and long-haired man from
the club wonder in.
This is just wonderful.
Grinning, Barone raises his glass.
Hey, Carter.
Meet Detective Whitworth.
One of Miami's finest.
Thank you, sweetheart.
You enjoying yourself, Detective?
Yeah, I was.
I mean, you know me.
Yeah.
I do know you.
You've been on my payroll a long time.
Barone, that ain't right.
Shut up.
I got one last job for you, Detective.
You hear me?
Look, we've been all through this.
Yeah?
Yeah, and I said I can't do it.
That's the wrong answer.
The table.
Roberto and Enrique grab Whitworth, slam him onto
the table, tie the cords to his feet
and hands and hold them splayed out.
I'm a detective, Barone!
The whole force is going to be on
your ass in a minute!
Shut your mouth!
He slits Whitworth's shirt open, revealing his belly.
Stop right now!
Brian, Pierce and Monica watch uneasily as Barone
takes the cloth off the bucket and lifts
a large brown and white rat out by
its tail.
What the hell is it?
Sit down.
I regret this.
Stop right now!
Once the bucket gets hot enough, Detective, the
rat is going to want out.
The only direction it can go is south.
He places the rat on Whitworth's belly and
covers it with the bucket, which Roberto holds
still.
Hold that.
Get it off me!
I'll forget it ever happened!
Shut up.
Did you know that your average rat can
chew through a steel drain pipe?
You see, you have nothing to worry about
when he's screaming, Detective.
It's when he goes quiet that it goes
to work.
Barone warms the bucket with the acetylene torch.
Do it!
Stop it now!
You're in charge of the units that are
watching my properties.
Huh?
What I want is I want a 15
-minute window where everybody, and I mean everybody,
disappears.
You hear me?
What?
I can't do it!
Barone regards the audience with a carefree smile,
then turns to Monica.
Okay.
I can't do it!
Monica, come here.
Monica reluctantly walks over.
Shut him up.
As Roberto and Enrique keep Whitworth's arms splayed
and Barone warms the bucket with the torch,
Monica clamps her hands over Whitworth's mouth.
What?
Got something you want to say?
Monica takes her hands off his mouth.
Let me get it.
Okay, I'll do it.
Do what?
Say it.
Give me the window.
Just get it off me.
Get it off!
Barone turns off the torch.
You betray me.
And my rat here is going to visit
your wife, Lynn.
Yeah.
Your son, Clay.
And your daughter, Lexi.
Do you hear me?
Do you understand me?
Huh?
Do you hear me?
I'll burn you!
Don't worry, child.
I'll burn him up.
Barone steps back from Whitworth, who lies quivering.
Good.
Now, you can go.
Get rid of him.
Let's go.
Roberto lifts the bucket and takes the rat
away, revealing Whitworth's scratched and bloody belly.
Roberto and Enrique bundle Whitworth out.
Barone finishes his champagne and turns to Pierce
and Brian with a boyish grin.
Boys, enjoy the show.
Fifteen minutes, and then every cop in Florida's
going to be on you.
Beer for Sy Cafe, 6am, day after tomorrow,
ready to drive.
You understand?
Yeah.
Don't play games with me, or you'll be
next.
All right?
Help yourself to a little champagne.
Let's go.
Barone walks out with Monica.
Pierce turns to Brian.
That was a damn rat, man.
On the corridor, Barone pushes Monica against the
wall.
He places his palms against the sides of
her face then kisses her ferociously.
Barone pulls away and points at her.
If you ever touch another man again, then
I'll kill you.
You hear me?
He holds her chin.
Look at me.
You hear me?
Brian and Pierce roll up at Tej's garage
in the Evo.
She was into it, man.
What's that about?
You've seen the way she grabbed dude's head.
She had to, man.
He was testing her.
You've got to remember, her ass is on
the line, just like yours.
You're feeling this girl way too much.
She's just like that crazy-ass trailer rat
from back in the day, Tonya.
Tonya?
Man, you went out with her after I
did.
I mean, I couldn't let her go to
waste.
Tej, Jimmy, Suki and another girl are sitting
playing poker.
We can race for cash, but when I
step on the gas My nitrous go blast,
leave your ass in the past And Tej,
you about to lose your garage Whatever, man.
I'm a low-budget mechanic, but I overcharge
Kamey, let's go, man.
Give me my money.
I told you, man.
What's that about?
I'm so glad you just think it's my
garage, boy.
Royal flesh.
Give me that cash.
If y'all talk to him, talk to
him, man.
Damn, you can't play a player for long.
Put that money back on the table.
You know it's my next hand.
Jimmy, how you ever going to pay me
back if you keep losing to Tej like
that?
How you doing, bro?
I'm a crash, Tej.
I'll catch you tomorrow.
Skyscrapers tower above the Miami skyline.
A golden sun rises.
In his apartment, which is a houseboat moored
along the quay near Tej's garage, Brian is
asleep on his dishevelled bed.
Brian opens his eyes and leans up on
his elbow to find Monica wearing jeans and
a T-shirt sitting beside him.
What are you doing here?
Brian, they're going to kill you.
I heard them telling Enrique and Roberto.
Once you finish the run, they're putting a
bullet in your head.
You sure you heard them right?
I'm sure.
I'm sure.
Enrique and Roberto are looking around outside.
Pierce, wearing a bandana, bursts in.
The Rolls Boys' house.
Oh, I see what they're looking for.
Your little girlfriend, then.
Their silhouettes appear at a window with a
blind over it.
Monica peers through as Brian gets dressed.
They don't know I'm here.
I snuck out.
What the hell are they doing here, then?
I don't know.
Maybe they're guessing.
Hey, go stall.
Go stall.
Check her, homie.
Check her.
Pierce walks out onto the deck and peers
up at Enrique and Roberto standing on the
key.
Find what you were looking for?
The hard-faced pair wander along to Pierce,
who, grinning, holds out his right hand.
Hey, buddy.
Hey, guys.
How you doing?
Their hands remain at their sides.
Aw, man, y'all still mad about y
'all car?
Don't even trip, homie.
Come on, man.
Can't you take a joke?
Brian, this isn't about being a good cop
anymore or doing your job.
I mean, they're gonna kill you.
You guys gotta pull out.
Verone pay y'all to keep a straight
face like that?
Because if I was making money, shit, I'd
get that mole removed off my damn nose.
Okay.
Yeah.
Okay.
How much he pay y'all anyway?
Every time I see y'all, man, y
'all got the silk shirts on, jewellery, you
know, looking real Miami.
You know?
Of course, you're walking up in the club.
You got the hamburger meat all hanging out.
You know?
Don't make that run, Brian.
Don't make that run.
Be careful.
¿Dónde está?
Here.
Check it out, baby.
Ain't coming no more.
Hey, hey, hey, where you going?
You stay right here with us, buddy.
Don't even think about it.
Inside.
Stay your ass off my homeboy's butt.
Put the gun down!
Put the gun down now!
You first, arsehole, you first!
I'll shoot the shit out of him if
I put the gun down!
Bájalo ahora!
Bájalo ahora!
Bájalo!
Tú primero!
Bájalo!
Tú primero!
Put down the gun now!
Put down the gun!
Enough.
Enough.
Shut up.
Shut up.
It's over.
Come on.
It's our gun.
Come on.
Let's go.
Let's go.
I'm glad to see you boys are getting
along so well.
Because tomorrow, Roberto and Enrique are going to
be riding along with you.
Just so we don't have any problems.
See you guys in a bit.
What the hell was she doing in there?
Where'd you go this morning?
Went to breakfast with some friends.
He reaches down and pulls her sunglasses off.
She squints.
With friends.
I do have friends, Carter.
He starts to smile and drops the sunglasses
onto her chest.
Okay.
He turns to go.
I'll see you later.
Nice shirt, Billkins.
It's my day off.
Yeah.
Well, anyhow, this is the deal.
Last night, Barone threatened a cop into giving
us a window.
We're driving to an airstrip.
In the Keys, off of Knalwood Avenue.
Barone has a plane there and he's taking
off for you.
Wait a minute.
How do you know this?
Monica.
She's doing her job.
She warned us.
She warned you about what?
Barone plans to kill us after we give
him the money.
Driving into an ambush was never part of
the deal.
I'm calling this off.
Like hell you are.
This is a customs case, Billkins.
No one's calling this off unless I do.
Look, this is real simple.
You make the run, you get Barone and
his cash together so I can move in
for the bust.
Alright?
You don't, I won't find enough charges on
both of you to make you disappear.
Take these.
We're going to have GPS on you the
whole time just to make sure you don't
get any cute ideas.
And to make sure nothing happens to him.
Right?
Yeah, right.
Markham walks out the back door.
Pierce and Brian follow him outside to a
derelict yard beside a river.
You guys are dicks, man.
Yep.
The pair walk to the river's edge.
Let me get this right.
If we don't do this, then we go
to jail.
But if we do it, then Barone's going
to kill us.
That's a hell of a deal, huh?
Yeah.
Maybe it is.
But I know this guy's got an ass
full of loot that he's ready to dump
in our cars.
And I can think of two reasons why
Barone doesn't need that money anymore.
Nah, here we go.
You and me.
Just like the old days.
What do you think?
I think they messed with the wrong two
guys.
That's what I think.
They knock their fists together.
Brian delves his cell phone.
Yo, Tej, what's up, bro?
What up, shawty?
Hey, man, how quick can you organise?
Look, folks.
If y'all really want to carry out
this plan, it's definitely the best place to
do it.
So what do y'all think, man?
I think it's perfect.
So what do they store here?
At Tej's garage, the blue Chevy Yenco Camaro
is up on a ramp for Barone Inspector's
pristine, gleaming underside.
Man, this is clean.
Pierce lifts the distributor cap out of the
engine of the orange Dodge Hemi Challenger.
Suki's doing a paint job on a street
racer.
As Brian inspects under the Camaro, Pierce and
Jimmy work on the Challenger.
Brian smiles.
Hey, Jimmy.
Yo, what up?
Hey, man.
Do you have any half-empty bottles of
nitrous laying around?
Sure, but I already loaded you for spray.
No, I'm thinking we may need it for
something else.
Our cars may get a little crowded, you
know?
Pierce smiles knowingly.
That evening, a golden sun sets over the
ocean.
Brian and Pierce are standing out on a
boardwalk.
Pierce is eating a chocolate bar.
Man, when did you start eating so much?
I was in jail, bro.
I know how shitty the grub is on
the inside.
With the way things are shaping up out
here right now, it'll be a matter of
time before I'm back in there or dead.
So I'm trying to eat all I can
while I can.
Plus, the doctor tell me I got a
high metabolism.
Man, you remember us growing up?
You know, playing football in the dirt.
You know, getting in trouble, all the stupid
things we did.
When you got busted, you know, whether I
was a cop or not, you know, if
there was anything I could have done, you
know, I would have done it.
And I just want you to know that.
So why you let that dude go in
LA?
Brian shifts on his feet.
Yeah, I think that had a lot to
do with it.
When I got busted, it wasn't your fault.
It was all on me.
Mr Roman Pierce.
Wild and out crazy, man.
No one can tell me nothing.
Riding solo.
Yeah, well, not anymore.
They smile heartily and grasp each other's hands.
Not anymore, bro.
The twinkling lights of Miami skyscrapers go out.
On his estate, Verone walks with Monica away
from the carport where his Ferrari and Rolls
Royce are parked.
A casually dressed heavy opens the rear door
of a black Lincoln Navigator SUV.
Verone and Monica get in.
The Navigator with dark tinted windows motors up
the drive.
On the verge, a man wearing a straw
hat is raking leaves.
He talks into his collar.
I got Verone's Navigator leaving the residence.
Copy.
In the control room...
Sir, we've got Verone on the move to
the airstrip.
Good.
Let's get a bird in the air and
tell him to keep his distance.
In a vacant lot, Markham's with a large
group of armed customs agents.
He checks an agent's flak jacket.
You're all set.
All set?
Yep.
Let's do it.
In a safe house, Whitworth talks into a
walkie-talkie.
Report.
A brunette woman sits outside a trailer.
What's going on out there?
Thorman takes a walkie-talkie from under a
paper.
Team 1, checking in.
Team 2, checking in.
Team 3, checking in.
Team 4, all clear here too.
Team 5, checking in.
Team 6, all clear.
Whitworth studies a photograph of his wife, then
looks down mournfully.
Brian and Pierce drive up to the Versailles
restaurant.
Here we go.
Yeah, so you know what to do.
Stay cool, keep focused.
Remember, the airstrip's up in Allwood Avenue.
It's the third exit after the bridge.
Pierce is parked beside Brian.
Got it.
What's going on, man?
You ready for this?
Come on, man.
Guns, murderers, and crooked cops?
I was made for this, bro.
They share a warm smile.
Their faces harden when they see Enrique and
Roberto drive up in a Dodge SUV.
Seeing Pierce and Brian, Roberto nods to Enrique.
Brian stares ahead.
Enrique and Roberto drive their silver Dodge SUV
through a trailer park.
Pierce and the Spider and Brian and the
Evo are close behind.
The Brunette, the Team One detective, watches as
she hangs out some washing.
Roberto and Enrique get out of the SUV
and open the boot.
They take out two sledgehammers and close the
boot.
A grey sky hangs overhead as Roberto and
Enrique stare malevolently at Pierce and Brian.
Come on.
Enrique and Roberto, sledgehammers in hand, walk up
to the front door of a trailer home.
Brian and Pierce join them.
Enrique taps on the front door of the
trailer home with the handle of his sledgehammer.
A shaven-headed man answers.
The man walks off with the hold-all.
Enrique and Roberto go inside.
The Brunette radios Whitworth.
I got activity at Verone's trailer property.
Do not move an inch until I tell
you to.
In the trailer, Roberto is about to swing
his sledgehammer at a painting.
Enrique takes the painting down.
What the hell?
Roberto then and Enrique swing their sledgehammers at
the wall, smashing through the plasterboard skin.
In the gap behind the wall, stacked up
to the ceiling, are wads of banknotes.
The pair grab handfuls.
Enrique loads a bag with notes and throws
it to Brian.
Load up.
At his safe house, Whitworth speaks into his
walkie-talkie.
All units, move onto trailer property.
Right now.
Move!
A helicopter flies overhead, and a fleet of
squad cars speed down a street in a
control room Wilkins slams down a phone.
Shit!
Local PD is moving in on our guys.
Three bags and one car, huh?
Guess so.
Enrique and Brian have loaded the back of
the Evo with bags of cash.
Pierce and Roberto have loaded the Spider.
The four men straighten up and listen, trying
to locate the source of the sirens.
His brow pinched, Brian looks around.
Cops.
Enrique gets in the Evo with Brian.
Roberto's in the Spider.
I'm not going back to jail.
Where are you going, man?
Let's go!
Let's go!
What is he doing?
Pierce places a rock on the accelerator pedal
of the silver SUV, starts up the engine,
puts it in gear, and sends it speeding
down the track towards the squad cars.
The SUV crumples the first squad car, and
the rest ran into the back of it.
Pierce and Brian drive off.
In the control room, Wilkins and Dunner sit
in front of surveillance monitors.
Okay, now let's get the chopper over them.
I want eyes right on top.
You got it.
Lima, two-five, follow GPS.
A helicopter bangs to its right.
Brian races the Evo and Pierce races the
Spider along a highway weaving him out of
traffic.
Enrique looks nervous.
Don't you know what you're doing, man?
Brian ignores Enrique and keeps an eye on
his mirror.
Stay with me, Ro.
Stay with me.
Come on, man.
The Evo hits a hundred as Brian swings
across the lanes, Pierce is a few cars
behind.
The police helicopter gets the two cars in
its sights.
I've got them heading south on I-95.
Bring in the aerial EMPs.
A fleet of white squad cars, their red
and blue roof lights flashing, race up the
interstate behind Brian and Pierce.
Pierce looks around and does a double-take.
Oh, shit!
Enrique looks frantically out of the back of
the Evo.
That's enough, man!
Shut up, man!
Brian aggressively shifts gears and wheezes past the
other traffic.
Enrique checks his seatbelt.
Pierce speeds up next to Brian.
The white squad cars with blue stripes down
their sides keep on their tails.
Nice driving, Ro.
Nice driving.
I got you, Brian.
The police helicopter flies overhead.
Sitting on the open side panel are two
agents holding rocket-launcher-type weapons.
Check it out, man!
The helicopter flies sideways, and the agents aim
their weapons at the Spider and the Evo.
Brian and Pierce jam their brakes on sending
up clouds of smoke.
The agents fire their weapons.
What was that?
Squad cars shoot off in all directions.
Brian looks along the side of the Evo
to see a pronged electrostatic discharging device stuck
in the rear door emitting sparks.
Oh, shit!
The helicopter flies ahead of the cars.
One of the agents looks at a computer
-screen-headed ESD, electrostatic discharge.
It shows a diagram of the pronged device.
Two prongs light up engaged.
The third reads error, connection unstable.
The Evo loses power.
Come on, man.
Take the wheel.
No, no, no, no, man.
I can't drive.
Just hold the wheel straight, Brian.
Hold it right there.
Just hold it steady, just like that.
Brian plants Enrique's hand on the steering wheel.
What are you doing, man?
Enrique holds onto Brian's shirt as he leans
out the window and grabs the top of
the device stuck in the side.
¿Qué pasa?
Holding a red rack, Brian pulls at the
device while keeping his foot on the accelerator
pedal.
The needles on the Evo's dials creep around
anticlockwise as the electrical system is disabled and
the car loses power.
With Pierce and the Spider a couple of
lanes away, the Evo heads along a glass
verge.
The fleet of squad cars race up behind
and the agents in the helicopter keep an
eye on Brian, who grimaces as he tries
to pull out the device.
Brian yanks out the device and flings it
into the grill of the leading squad car.
Sparks fly and the car skids all over
the road.
A number of squad cars career into it
and each other, Brian and Pierce grin.
¿Por qué tú estás haciendo yo puro manejo?
¿Estás loco?
Brian's controls come back to life and he
and Pierce speed on with the remaining squad
cars on their tail.
Enrique crosses himself.
A small jet lands on a deserted airstrip,
watched by Markham with his agents, armed, helmeted
and wearing black combat gear.
They crouch in tall grass to the side
of the airstrip.
Wilkins, the bird's in place.
Verone's black Lincoln Navigator SUV rumbles along the
tarmac and up to the jet.
Markham looks through binoculars.
We've got Verone's Navigator.
All right, money's in transit.
Sit tight.
As Brian races along in the Evo, he
glances at the helicopter, frowns, then shoots down
a slip road.
Pierce and Roberto are right behind in the
spider.
Overshooting the exit, a squad car spins and
another smashes into it.
Squad cars pass either side of the wrecked
pair and chase down the slip road.
The helicopter pilot looks down at the action.
Pierce drives the spider up alongside the Evo,
so the cider inches apart.
Brian and Pierce share a confident nod.
The squad cars race along behind as Brian
and Pierce squeal round a bend.
They slip round another bend onto a straight
stretch of road.
Enrique narrows his eyes and looks at Brian.
You're a good driver, man.
Thanks, bro.
In the police helicopter...
We've got the area blocked ahead.
They've got nowhere to go.
Bilkins studies the Global Positioning System monitors.
The black Customs helicopter flies above the police
helicopter.
What was that?
The Customs helicopter.
I've got a visual.
Video should be coming through.
Got it.
Looks good.
Bilkins watches the chase on screen.
Where are they going?
Brian and Pierce swerve onto a narrow street.
Squad cars are everywhere as the Evo and
the spider skip across to the other side
of the street.
Brian swerves out onto a straight stretch of
road, smiling gleefully.
All right, man.
Let's see what you've got.
The cops are right behind.
Come on.
Stay with me, boys.
Enrique looks nervous as Brian checks the helicopter
then gets on his cell phone to Pierce.
Hey, man.
Everyone's here.
Time for the show.
Let's give it to them.
Brian and Pierce swerve into the warehouse area
that Tej took them to see.
All right.
Let the party begin.
Let's go.
Brian and Pierce drive under a glass-walled
walkway into the large warehouse lot.
Two of the warehouse doors are open and
they drive into them.
Then the doors shut.
The dozens of pursuing police cars pull up
in front of the warehouse.
The cops get out of the cars and
stand shielded by their open doors with their
guns poised.
A tough-looking moustachioed cop speaks into his
radio.
This is unit 2599.
We have the suspects surrounded.
The customs and police helicopters hover overhead.
Bilkins watches wide-eyed on three large monitors.
The squad cars are parked side by side
in front of the row of shuttered warehouse
doors.
Suddenly the line of warehouse doors slides open
and a group of large gleaming pickup trucks
with bull bars on the front drive out
rolling over the police cars and shoving them
out of the way.
One of the trucks drives straight at the
squad car melts the bonnet and smashes into
the windscreen.
The trucks push the squad cars around like
dodgems.
Another line of warehouse doors slides up.
Dozens of street racers zoom out of the
warehouse in their customised cars passing the police
cars then driving in circles around them in
the police helicopter.
More souped-up cars emerge.
Amongst them is Orange Julius in his Mazda
RX-7.
It's a scramble, baby!
A big one!
Slapjack drives out winning in his gold Toyota
Supra.
Let's do this!
Watching the monitors showing the mass of vehicles,
Bilkins smiles.
Soup is in her Honda S2000 with a
friend.
The squad cars appear lost and dowdy amongst
the sea of metallic paint and chrome.
Bilkins gets on his radio.
We're not tracking them on video.
Must have lost them in the scramble.
Y'all, let's break.
The mass of extravagantly painted modified cars speed
out at the warehouse lot through an open
mesh fence.
Even more cars emerge from the warehouse leaving
the squad cars standing.
The Evo and the Spyder are amongst the
fleeing hordes.
A squad car joins them.
The squad car spins around overwhelmed.
Its front stove in.
Orange Julius races out.
Woo-hoo!
The battered, smoking squad car limps away.
As the cars race out onto streets, squad
cars swerve into their paths.
The racers adeptly weave around them.
The Evo and the Spyder make their getaway.
In the control room, Bilkins keeps his eye
on the monitors and talks into his radio.
All right, we got them going west on
Beech.
Roger that.
I've got them.
The helmeted pilot banks the black customs helicopter
sharply down on its right.
The Evo and the Spyder race along a
Miami city street with a line of squad
cars pursuing them.
In the police helicopter...
Customs has a fix on two cars going
west on Beech.
Roger.
Follow those cars.
Roger that.
The blue and white police helicopter hovers above
Miami's urban sprawl.
The Evo and the Spyder race along the
boulevard.
The cops keep on their tail.
At a junction, the lanes ahead are blocked
by more squad cars.
The Evo and Spyder take a sharp left
turn onto a single track road flanked by
tall palm trees.
The squad cars follow the Evo and Spyder
down to the beachfront.
Where they surround them, Bilkins is watching on
the screens.
Shit.
They're cornered.
The driver's door of the Spyder opens and
white knee-length boots step out.
It's Suki.
Tej steps out of the Evo with his
hands up.
Whoa, fellas, fellas.
I know my tags are out of date,
but damn.
The Customs helicopter flies overhead.
Tej and Suki smile and wave.
Tej gives the peace sign.
Watching on the monitor, Bilkins frowns.
What the hell?
Where are they?
The street racers speed off in all directions.
Brian, who is now driving the blue Chevy
Yenko Camaro, and Pierce, who is now driving
the Dodge Hemi Challenger, are cruising unhindered along
a quiet highway with the loot in their
boots.
Roberto is beside Pierce, and Enrique is with
Brian.
They glance back and smile.
Whoo-hoo-hoo!
Man, that's a good one.
How about them apples, man?
Yeah!
That's some driving for your ass, baby.
That's some driving for your ass.
Good job, man.
You supposed to be a stone-faced killer.
You over there grabbing your seatbelt.
Hey, Tej, thanks a lot, bro.
Man, you're clutch.
I owe you one big time.
Yeah, Brian, you really do owe me, man.
You really do.
Us.
Suki says you owe us.
A cop writes them a ticket.
Brian calls Pierce.
Yo, Rome, you there, man?
Come in.
What's up, man?
Looks like we got just one more trick
left, huh?
My pleasure, buddy.
Let's do it, baby.
Hey, we should grab Rome while we still
can.
No!
Not yet!
Beside the airstrip, Malcolm gets a call.
What?
You lost him?
Shit!
Those little pricks are running!
It's your call.
What do you want to do?
We're going to take him down.
He is not leaving here.
Enjoying the ride?
On a road in the Florida Keys.
Man, it's a fast car, huh?
Man, it's a classic.
Old school.
American muscle.
Man, this car can do all kind of
things, man.
Want to see?
Pierce grins wickedly at Roberto.
Check this out right here, homie.
Yo, what are you doing, man?
Pierce undoes Roberto's seatbelt, slams his head onto
the dashboard, then presses a button releasing nitrous
oxide that detaches the door and throws Roberto
out in his seat.
Ejectocito, cuz!
It worked!
I love this part!
Stay on your toes, puto!
Mr. O'Connor, it worked, baby.
Blow and go.
I'm all clear.
Meet me at the point.
Hurry up, man.
It's on, baby.
All right, 10-4, man.
Are you ready?
Let's go!
Guns poised, Malcolm and his men run out
of the grass and surround the Lincoln Navigator.
They are joined by three SUVs from which
more armed men emerge.
Watch your head!
Watch your head!
They drag a casually dressed man wearing shades
from the Navigator and lay him on the
ground.
Malcolm stares at the empty backseat of the
vehicle and calls Bilkins, who's in a helicopter.
It's not Verona, Fuentes.
What do you mean, not Verona, Fuentes?
Then where the hell are they?
In the Camaro, Brian, with his eyes narrowed,
glances at Enrique, then down at a similar
button to the one Pierce pressed to eject
Roberto.
Get off at Tarpon Point.
Tarpon Point?
There's no airstrip at Tarpon Point.
You said anything about an airstrip?
Brian frowns and gingerly lowers the button which
is on the end of a cable.
Pierce drives the Challenger, minus passenger door, over
a slatted wooden bridge and onto a patch
of gravel where Jimmy is waiting by a
grey SUV.
Pierce parks and calls Brian.
Brian!
Brian, man, what's the hold up, bro?
Yo, bro, there's a new plan.
What the hell?
We're meeting him at the Tarpon Point exit,
not the airstrip.
So what are you saying?
Like I said, there's a new plan.
Brian glances anxiously at Enrique, who is smiling.
Brian.
Brian, hello, you there?
He snarls at his cell phone then walks
up to Jimmy.
Damn!
Yo, what the hell is he doing?
The feds are in the wrong place.
Brian's woman is on the road with Verona.
So?
So Brian's not coming.
Brian and Enrique drive along a track to
a boat docking area where another Lincoln Navigator
is parked.
As Brian parks and Enrique gets out, a
heavy runs up and points an M16 at
Brian.
Verona, holding a heavy-duty shotgun, gets out
of the Navigator with Monica.
Verona gestures to the heavy.
That's all right, let him out.
Get out.
The heavy keeps his M16 aimed at Brian
as he gets out of the Camaro and
walks round to the back where Enrique is
standing.
Pop the trunk.
Hurry up.
Another heavy stands by the Navigator.
Enrique hands the bags of cash to a
third heavy.
Brian watches Verona, who scrutinises Monica for a
moment, then walks towards Brian.
Moored behind them is a large white yacht.
Enrique pushes Brian towards Verona.
Where's the rest of it?
The other car.
Another car.
Where's the other car?
On its way.
On the way, huh?
Yeah.
Here's your money.
So you know nothing about the agents that
storm my jet.
Brian barely perceptibly shakes his head.
Half-smiling, Verona knowingly nods.
The funny thing is I only told one
person about the airstrip.
Watching Brian, Monica blinks.
Brian swallows.
Verona looks at his watch, then turns and
steps over to Monica.
She frowns as he regards her and gently
caresses her cheek.
Custom agents sure are getting pretty.
Aren't they?
Enrique points a pistol at Brian's head.
Verona points at the yacht.
Verona's first man grabs Monica's arm.
She pulls away.
Get on the boat.
Verona points his shotgun at Monica, the end
of the barrel only a couple of inches
away from her face.
She looks at Brian, who breathes deeply.
The heavy attempts to grab Monica again.
She pulls away, reluctantly turns and walks to
the yacht.
Verona turns to his men.
Hide the cars and get rid of him.
Back in the car.
Enrique pokes the side of Brian's head with
his gun.
Brian watches Monica, a heavy, then Verona walk
along a wooden walkway and get on the
yacht.
Verona rests his shotgun on his shoulder.
Enrique and Brian get in the Camaro and
drive off.
Brian drives a little way along a bumpy
track.
The navigator follows.
The Camaro lollops to a halt and Enrique
points his gun at the side of Brian's
head.
End of the road.
Brian's frozen in his seat.
You know I like you, but I still
gotta kill you.
It's my job.
Brian presses the ejector seat button.
What's that?
What's that?
It's Barstow, baby!
He's about to get on me!
Pierce rams the Challenger into the navigator.
Brian grabs Enrique's gun arm and slams it
against the dashboard, sending a hail of bullets
through the windscreen.
On the yacht.
Let's go, let's go!
Verona stands on the top deck as the
yacht moves off.
Pierce leaps out at the Challenger, drags a
heavy from the navigator and lays into him.
In the Camaro, Enrique bites Brian's shoulder.
Brian elbows Enrique in the face.
Pierce opens the car door, pulls both of
them out and boots Enrique in the head.
Brian grabs his gun and leaps to his
feet as Pierce punches Enrique on the jaw,
knocking him out cold.
Come on, then!
Pierce and Brian run to the water's edge.
Verona's yacht with Verona, Monica and a heavy
up on the deck cruises past.
Brian and Pierce run to the Camaro and
get in.
Brian starts the engine as Pierce kicks out
the windscreen, which is peppered with bullet holes.
The windscreen drops onto the bonnet and slides
off as Brian reverses the Camaro down the
track.
On the yacht, Verona smiles at Monica, who's
sitting with her head resting on her hand.
You had me.
You slipped.
Eleven and a half months and you slipped
once.
Put her downstairs.
Monica stands up and the thick-set, bearded
heavy, wearing shades, escorts her downstairs.
I'll see you in a second.
Monica regards Verona and then goes into the
cabin.
Brian speeds the Camaro along a road by
the water with the yacht in his sights.
I thought she was dead, man.
Yeah, me too.
That's what saved my ass, bro.
What are you doing, Brian?
I don't know, but if Verona sees a
helicopter or a customs boat, she's dead.
Boat?
Car?
Boat?
You're not going to do what I think
you're going to do.
Yeah, I think so.
You got my back, bro?
Yeah.
All right, man, put her on the seatbelt.
She's on some real Dukes of Hadley shit.
We're going to do this big.
Hold on, Rome.
Hold on.
Brian races alongside the yacht.
The Camaro's speedo hits 90.
Oh, God, are you crazy, man?
What the hell are you doing, Rome?
Whoa!
The speedo hits 120.
Brian veers onto a boat ramp next to
a pier, launching the Camaro into the air
towards the yacht.
Verona looks up.
The heavy jumps in the water as the
Camaro plummets.
The Camaro lands in the middle of the
yacht, crashing through the deck.
Brian and Pierce are thrown forward in their
seats as wreckage showers down around them.
Brian drops his head into his hands, holding
his arm.
Pierce winces.
I think I broke my arm, man.
Brian holds onto his forehead.
Bits of wreckage are wedged under the bonnet
of the Camaro.
Smoke wafts around.
Brian looks up.
Verona appears in front of the car, aiming
his shotgun at Pierce and Brian.
Get the gun.
As Verona advances, Brian grabs Enrique's pistol and
shoots Verona.
Brian hits Verona in the shoulder.
Verona's shotgun goes off.
He drops it and flies backwards onto the
wreckage.
Brian keeps his gun trained on Verona.
As he leans round to grab the shotgun,
Monica kicks his arm away.
Monica picks up the shotgun and aims at
Verona.
It's over, Carter.
With a manic grin across his face, Verona
heaves himself forwards, sits upright and spits.
Monica keeps the shotgun aimed at him.
You okay?
Yeah.
I'm great.
She stares at Verona.
Brian lowers his gun and leans back in
his seat.
He looks across at Pierce.
We got him, man.
We got him.
Stay down here.
Brian leans forwards and unclips his seatbelt.
Pierce reaches up to the doorframe with his
good arm and hoists himself out of the
car.
Brian gets out of his side.
Monica keeps the barrel of the shotgun pointing
down at Verona.
Later, the battered yacht has returned to its
docking area.
The customs helicopter flies above.
Agents run along the jetty towards the yacht.
On the shore, agents, police and paramedics mill
around.
Brian and Pierce are perched on a crate.
A female paramedic has put Pierce's arm in
a sling.
Markham walks over.
That ought to do it.
So, there were three bags total, huh?
The three from the boat.
So we're good, right?
Our record's clean?
You held up your end.
Your records are clean.
Pierce and Brian share a look.
Pierce gets off the crate and wanders wearily
to the back of the Dodge Challenger.
Pierce opens the boot.
He takes the remaining three bags and drops
them at Markham's feet.
So maybe there were six bags.
I guess we can call it even.
Agent Dunn.
Yes, sir.
Markham smiles and shakes hands with Pierce and
Brian.
We found some more evidence.
Dunn and a colleague pick up the bags.
Come on, let's take it to the truck.
Brian and Pierce smile at Verona, whose shoulder's
being bandaged.
Don't drop the soap, big homie.
Verona gives Pierce a sardonic smile.
I hope you know that when he gets
out, he's going to kill your ass.
He ain't getting out.
Pierce keeps grinning as Verona stands.
I'll see you soon.
You think he's going to get out?
He'll be out.
No, for real, you think he's getting out,
though?
We took care of your decoys.
They're free and clear.
There's a sedan out on the road for
you.
Try to bring it back in one piece.
Thanks a lot, Bilkins.
You all right?
Thanks.
Thanks for looking out, man.
Monica smiles at the pair.
So you trust me now?
Yeah.
Oh, sorry.
She shakes Brian's hand.
Nice working with you, O'Connor.
Same here.
Brian casts a lingering smile at Monica, who
frowns and walks off with Bilkins.
Brian doesn't take his eyes off Monica as
she walks away.
Monica turns and grins coyly at Brian.
Pierce turns to him.
Yeah, I'm out to stay out here in
Miami, man.
Keep you out of trouble, bro.
They look back at Monica, smirk, and walk
on.
You know what I'm talking about.
You going to kick it in Miami, bro?
Oh, man, I love Miami.
Miami's on the hook.
They knock fists.
Open a garage together?
Garage?
How we going to do that, bro?
Pierce frowns at Brian, who, grinning cheekily, leans
to him.
Pockets ain't empty, cuz.
Pierce pulls up his shirt to reveal wads
of cash crammed into his jeans.
And we ain't hungry no more either, bruh.
Ha ha!
Ha ha!
Beaming toothily, the pair bash their fists together
and walk off.
ITFC audio description by Matthew Vickers.
Whoo!
Whoo!
Pump it up!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Ha ha!
Whoo!
Whoo!
Too fast for y'all, man Try, too
fast, try From doing a bid, tell me
what you gon' do Act a fool Somebody
broke in and cleaned out your crib Boy,
what you gon' do?
Act a fool Just bought a new pair
and they scuffed your shoes Tell me what
you gon' do Act a fool Now them
cops trying to throw you in them county
blues Boy, what you gon' do?
Act a fool Hold up Traps, cops, and
robbers It's 911, please call the doctor Evacuate
the building and trick the pigs Since everybody
want a piece, we gon' split your wings
See some fools slipped up and overstepped they
boundaries You about to catch a cold, stay
the f*** around me Your peeps talking about
what kind of s*** he on You'll disappear
like poof Be gone
Director’s Commentary and Transcript
Below is the audio for the director’s commentary, accompanied by subtitles and a transcript to assist those with hearing difficulties.
2 Fast 2 Furious (2003)- Commentary with director John Singleton
Hello, my name is John Singleton.
I'm the director of the film you are
watching, Too Fast, Too Furious, and welcome to
the audio commentary for this DVD presentation of
the picture.
I'm going to be talking about some of
my ideas on making this film, such as
why I did them and, you know, what
my reasoning behind it was in directing this
film, such as right now changing the Universal
logo into chrome.
Whenever I'm doing a film, I always think
in terms of first image of the film
and actually the first image of this film
is that tyre and the second is of
these kids jumping out of the back of
his truck.
I wanted to get right into the film
and show these kids on a Saturday race
night, you know, just jumping into it.
I hate long credit sequences and stuff.
This is just all the setup for the
night, you know, the race night, sexy girls,
hot cars, you know, getting the audience into
the world of Saturday night in Miami race
night.
Here we go with Ludacris Tej setting up
the race.
This is a really fun movie to do,
man.
I had so much fun, you know, setting
up this stuff.
This shot right here, uh, the first time
we see Ludacris, little angle, wide angle lens,
he fires it up, announces himself and boom,
here we are with the opening title.
Zooming onto the screen and you see first
big wide shot.
You see everything that we've just set up
to Fast and Furious.
And then we go from here, cars and
girls, cars and girls, cars and girls.
That's what it's all about.
One of the things I want to do
with this picture was make the cars totally
different than the first movies.
The cars would be kind of like thematic
of the characters, like Slapjack, he's like got
an Afro pick on the side of his
car, it's cool Afro.
And then here's Suki, she's, you know, like
a almost live action anime girl, you know,
see the designs on her car.
And then here's OJ, you know, he's the
Cuban Papi Chulo racer of Miami.
We really took pains to make sure that
these cars in this film were like totally
miles above and ahead what they did in
the first movie.
We went out to the kids and talked
to them about what they would be interested
in seeing on the cars.
And then we just went for broke and
got some of the people involved in this
actual car culture world to help design the
cars.
Some of the designs were done, there's a
guy named Noah, he did that Suki car.
And a friend of mine, Brent Rollins, gave
me some graphics for some of the other
cars in the picture.
It's all about creating a specific look, you
know, the look of a film denotes the
difference.
And I really want this film to have
a whole different look than the first film
and just, you know, now it's my presence
and put my stink on the whole thing.
You got four minutes, man.
Now here's the first time we get a
glimpse of Paul Walker, a little tease, introducing
Brian O'Connor.
I wanted Paul to have a really fly
introduction in this picture to show that he's
a different kind of guy than he was
in the first film.
Here's a speaker battle.
It's a, you know, race night, they have
little speaker battles to everybody's in the audio,
the sound systems and stuff.
And then here we have a montage of
people waiting for the race to begin and
the hypness of it and putting down the
finishing line.
And here we see Paul.
We know it's Brian, we just got a
glimpse of him racing towards the race.
I really wanted Paul to have a really
great introduction because, you know, he's the main
character of the picture and I wanted him
to, you know, have a whole other edge
and flavour that he didn't really get a
chance to have in the first film because
he had to be the good guy in
the film, a really goody-goody cop in
the first picture.
And here he's like, you know, he's not
the novice racer anymore.
He's a veteran racer.
He's a, you know, he's the king of
the streets and the king of the streets
needs a good intro.
So the Nissan Skyline comes out of the
crowd like a mad bull, you know, and
it's all about him being the alpha male
racer on the streets.
Coming out to the crowds and all the
girls are impressed and the racers are kind
of nervous and everything and stuff.
You go from this high shot to Nas
in our face and you track past all
of the racers, you see their faces and
up to the car, another burst of Nas
and out comes the movie star of the
moment, Mr. Paul Walker, Madden A.
Idol.
All this stuff is really cool to set
up, man.
You know, audiences watch it and they don't
really understand how they're being manipulated to feel
or a certain way and that's the fun
of it for me to set up the
rhythm and pace of a film and set
up shots and, you know, pay off, you
know, certain scenes and keep the rhythm of
it going.
Paul and I met just before we started
this movie and the cool thing was we
got a chance to really get close during
the making of this movie and get each
other's rhythms down.
He's much more than just a good-looking
kid.
I mean, he told me that very few
directors have really asked him to act before,
you know, they just wanted him to smile
and look good and I was like, you
know, no, in this movie you're gonna, you
know, you're gonna act and you're gonna have
to improv too.
A lot of what I do is I
like to set up situations and then have
the actors just go for broke and give
me something, surprise me and Paul really stepped
to the table with that, you know, in
the rehearsal process and then when we were
shooting the film I would just change up
lines on a moment's notice.
So a lot of the reason that this
film felt spontaneous is because we were just
coming up with things on the fly.
Introduction to Eva Mendes right here.
The sequence that's about to come up right
now, the first race sequence, is I was
very much influenced by three things.
By Japanese anime, you know, the new Japanese
anime films that come out of the action
movies and by the Speed Racer cartoons of
old and then the video games Gran Turismo.
I knew that my references, since there's been
so many car movies, my references could not
be from other car movies because it will
look like every other car movie and you
should notice that a lot of car movies
they only shoot stuff from the hood, hood
mount shots.
I like to do stuff from different angles
here and I try to move in and
around the cars at fast speeds, boom, off
the finish line, boom, and up in the
car.
So basically each leg of the race would
have a theme like this first part of
the race was about acceleration.
We would go, we'd be tight on their
eyes and we see them trying to get
up to speed tight so that when you
go wide, when you're tight on their eyes
and go wide, it makes everything else seem
more powerful, like here, boom, you know, and
it's the juxtaposition.
It's like Shoji Onii did that really well
where you would juxtapose close shots with like
wide shots and then, you know, it's kind
of a jolting thing.
It creates kind of a jolting gestalt in
the viewer.
So that's the first leg, acceleration, and then
you go from acceleration to the first turn
and this is all about setting up.
Everybody's thinking this film is still a 10
-second race, it's a drag race, but no,
here, surprise, it's the first turn and turn,
turn, turn, turn, you know.
I love that.
I shout at Michael Ealy.
And then here, the second leg is all
about jockeying for position.
Everybody's trying to pass the next person, trying
to jockey, trying to get ahead.
You know, it's just the whole competition of
who can get ahead and stuff, right?
And you're going in, going in, and then
you have a whole lot of shit talking,
you know, between the characters.
That always makes it really interesting.
So it's just not straight ahead action.
It's just like, you know, it helps competition
for them to talk shit.
Masuki right here.
And then you go from that to the
second turn and wound, and the second turn
comes in right over our heads.
And what we did with, I love that
pan right there.
What we did with this sequence was, it
was a mixture of CG shots, practical shots
on the street like that, and motion control
shots.
So it's kind of like, you know, A,
B, and C.
This shot right here, I love this shot.
This is called our Gonzo shot.
This shot is right out of a video
game like Gran Turismo.
You know, you could not have done this
shot 10 years ago.
What we did is an amalgamation of different
things like, you know, from shooting on stage
to shooting on the street to shooting in
the studio, shooting with motion controls.
This is an actual real shot.
That wasn't a special effect.
This is all real right here.
That's real.
That was real, believe it or not.
This is an effect right here.
That's an effect.
Those two cars aren't real.
As you put it in the editing process
and you juxtapose these images, it gives it
to the viewer that not being aware of
how it's all put together, it makes it
even more exciting because you're getting a melange
of imagery right here.
Here when we first hit the knots, it
goes kind of surreal.
You know, let's take the camera, but it's
called camera shake in the computer, and it
creates even more of a simulation of speed,
and we kind of like warp out the
background.
It's very cinematic.
It's not based totally in reality to how
fast they're going.
They may be going like 85, 90 miles
an hour, but in a film it just
basically takes it to a whole other level.
That's a real shot right there.
And here, I'll show you what I mean
again right here between the juxtaposition of what's
real and what's not.
You can do a whole lot just editorially
with a picture with the juxtaposition of images.
I always call it like basic film techniques
using the basic film techniques that have been
around from the history of cinema in a
very creative way.
You can get a whole lot done.
How do you like that?
See, look, I see the warping right there,
the warping and the camera shake in the
computer.
That's on a stage.
That's real.
It's on a stage.
That's stage.
Here, basic things like, you know, using sound,
you know.
There's a big thump when he hits that
nice there.
And we know we have a whole lot
of noise, a lot of noise.
And then, look, drop out the sound for
the for the lead.
And that just it creates a in the
audience that in every screening I've been to,
they all cheer.
You know, you drop the sound out when
it's going over and then everybody cheers and
they go crazy and then boom, bring the
sound back up and four cars hit the
pavement again.
It's phenomenal.
Here, we hear Asuki going over the bridge.
Audrey to wide and she goes over.
She says, smack that ass.
Punctuation.
Brian crosses the finish line.
This shot right here, Paul Walker really did
it for real.
It's not a fact right here.
He did that.
He skid and went right up into his
face, the steady cam.
It's big insurance issues on that shot because
they didn't want us to have Paul do
a lot of his stunts for real.
But Paul is a really accomplished driver.
And we felt that he would be able
to do it.
So we did it a couple of times
and he hit it.
So here we have Tash going over and
paying uh Brian the spoils of the race.
We had the first action scene they had
to set up for the rest of the
film.
Whereas the agent right here, Monica, she's there
to check him out so then she can
set up the whole thing.
Hey, make sure you bring that body by
the garage later.
This is really good, the design of this
street.
We took the whole street.
It was like basically painted all those buildings
and designed all the stuff on the buildings
and really made it even more colourful because
it was a really drab that area of
downtown Miami.
We changed it up.
It's time to get out of here.
Cops are about to come in a second.
Have a scramble.
Everybody's scrambling for their cars.
I felt like the film had to have
like a rhythm to it where like the
action scenes wouldn't just be arbitrary action scenes
like oh now we have an action scene.
You know they would have to come organically
and just like anything in life.
He's on skyline.
Got him.
Most action films I see in modern action
films they stop for the action beat and
then they have a couple of people talking
and then they stop for more action beats.
The action scenes in this film just come
out organically.
They just end up happening because of consequence
of character.
He has to get away you know.
Right here this is the thing I came
up with.
This ESD thing and shuts down the electrical
system of the car.
We shut it out like a rocket.
They don't have this yet but I'm sure
they'll come up with it.
I don't think it'll be a rocket.
They only made it a rocket because it
was real visual.
It lends itself to a film.
It's so funny how people believe it's real.
I love this shot right here.
This is like Paul's badass shot like criminal
shot.
The bright light in his eyes.
One of the things that really excited me
about this film in terms of working with
Paul was that he was in Too Fast
Too Furious a criminal as opposed to being
a cop you know.
He's still essentially a good kid but since
he let the character go in the first
film he's got warrants against him so he
has more at stake.
If he doesn't do exactly what the feds
in here want him to do then his
life is in jeopardy.
This right here in the customs office is
what we call like an informational scene.
These scenes are never very exciting to shoot
so I was trying to find a way
in which to put certain elements in here
that would make it if not exciting interesting
to watch so that the audience would get
the information that moves the movie forward but
at the same time they wouldn't just stop
and be bored.
Recently Verone put her in charge of finding
some new drivers.
Right although we can't confirm her status right
now.
Well you think she's flipped?
She's one of mine.
She's all right.
She's been in with Verone nearly a year
even lives at the compound with him now.
Look it was the FBI's idea to bring
you in here.
I'm against it but we need some good
drivers that can put this arsehole and his
money together.
You're going to roll with agent Dunn here.
And if I don't?
Now here's a list of the laws you
broke in LA.
This is all set up.
Justice aiding and abetting you know the rap
sheet.
Now we can make this all go.
Information look at all the charges against him.
He knows he's got to do he's really
looking at all that surprise at all these
charges.
And you're watching as he looks up you
know he set it up for the funny
thing with Dunn.
You're going to remember Dunn and Dunn slurps
the soda.
It always gets a good laugh with the
audience.
And it just sets up for how Paul's
going to going to get the drop on
him.
Could you tell me right quick what would
be better motor for my skyline a gallo
12 or a gallo 24?
Yeah Matt Leonetti who was a dp of
this film.
He really shot this movie really well.
The race scene and you know this scene
here.
I mean he gives us so much texture
in terms of lighting.
You know he's just like he's phenomenal guy
man.
Veteran cameraman.
I mean seriously this is what you're gonna
give me.
I may as well take my chances in
Chino.
And we'll get you.
I love when it takes a soda right
there.
James Remar.
The only way I'll do this is if
I get to pick the driver.
And this is the setup right here for
the other lead.
Mr Tyrese Gibson who plays Roman Pierce.
Paul sets it up.
It says his name character Roman Pierce which
is transition shot and boom we see the
cars crash close and then we go to
wide and we see where we are in
Barstow.
And then come in.
This is the first time I do this
shot in the movie right here.
Down to the wheels to the steering wheel
and the fingers.
I come back to that shot later on.
Boom.
The reaction.
This scene was actually supposed to be longer
than this but we cut it down because
you know the film was getting a little
too long.
We wanted to make sure just got what
we got and then get out.
He's the man for the job.
This scene is the service to introduce Tyrese's
character Roman Pierce to the audience.
Show how badass he is and you know
he's in this down and dirty Barstow demolition
derby where he's the star of the whole
thing.
What we wanted to really do was show
that these two guys have a past history
and I think it really accomplished that in
a very very cool way.
You know the audience really would believe that
these guys know each other from childhood.
You know it's just all in the little
things like you know Paul saying he always
said he's going to be famous and you
know and right here when he calls out
to him obviously Roman is seeing Brian but
he doesn't answer him.
And I love these shots right here.
We come around swing around and he calls
him Whistle Storm.
Rome come back counter move with Tyrese and
he says only my homeboys call me wrong.
And he spits like in a cowboy movie.
This is all western influence.
You know most of my films are western
influence and westerns are really big with me.
I love westerns.
Westerns were some of the first films I
watched as a child.
So it's like the whole macho mantle shit.
I love this.
I did this with Paul.
Paul gives him what's known as the brother
nod.
You know that brother nod right there and
he doesn't give him the nod back.
That's going to come back later on in
the film.
You'll see.
All these little subtle touches of things that
are just there that end up in an
organic way getting the texture of the characters.
There's a lot of ways to do things
in films without dialogue you know with gestures
and looks and everything and stuff and those
things like you know like him giving them
nod and him not nodding back you know
those later on in the film you'll see
when he does nod back at them they're
partners now you know.
So those are just little things that I
do as a filmmaker to keep things interesting.
So they're playing in the dirt and everything
and stuff.
These guys were so silly on this day.
It was hard to get them both to
concentrate you know.
They were like two big kids on the
set.
I love what Paul feels are saying right
there.
It's such a little boy moment.
It's great because you know right there we've
shown that they have a past history just
you know within the whole physicality of that
thing man.
You don't even have to say anything.
I mean with that whole fight you just
said it all about where they've come from
and their past.
I know you better than you think.
Maybe you don't.
Maybe you don't.
You guys finished?
This deal legit?
And here Paul says I told you.
Roman replies to him.
Shut up Paul.
It's all about setting up these two guys
as partnership that people hopefully believe and follow
for the rest of this picture.
I thought you couldn't wander more than 100
yards from your They make a real good
team and they became really good friends during
the course of this movie.
Not in a bullshit Hollywood way.
They really vibe with each other on multiple
levels.
Now we have the two guys at the
customs and you see he's no longer under
house arrest.
He itches his ankle right there.
In this scene right here in front of
customs, man I shit you not we had
30 minutes to shoot this scene.
We got like three takes out of it
and you know it was like one of
those kind of days where we had to
like shoot like three pages and stuff.
I hate those kind of days but sometimes
great stuff comes out of them because it
was so spontaneous.
We rewrote the dialogue on the fly while
we were trying to set up the lighting
and everything.
Paul and Tyrese were in that room right
back there with the green on.
I had them going over it.
You know I try to make it like
we're like a football team a competition like
you know no bullshit we got to do
this right.
You know they run lines and then change
it up and then stick it right to
it and then you know that's how we
got that scene right there man.
We did a lot of the movie like
that where we just like we would sit
with the script and you know some of
the stuff was working really well but then
when you're on the set certain things come
out and that we wanted to change up
and so it worked out like that.
Roman Pierce and Monica Fuentes.
Do they have background on Verone?
They've been briefed.
Good.
All right here's the deal.
Verone's looking for drivers.
I've arranged for both of you to join
up.
I love this reveal.
This right here is all about the reveal.
The hero cars as we call them for
the rest of the movie.
The hero cars.
Back of the Mitsubishi, the Evo 7 and
the Spider and wide shot come up above
and that's all about the way that the
cars are the stars the true stars of
this movie and you know this movie is
really about the street racing scene and the
people who are into this whole car culture
world so you'll have a lot of like
what I call beauty shots you know sexy
shots of the cars you know.
These cars are like they're so beautiful to
watch in action so you know we end
up going from here into the car zooming
away and then zoom up in and around
having the characters in the cars.
I have a problem with this tracking shot.
I never got it just when I hit
that bump right there.
That's my only thing I don't like in
the whole movie.
That one bump in the study cam right
there.
So this right here is all about Paul
being you know as we've said before the
alpha male street racer who can drive really
fast without looking at the road and this
is cool.
I hope nobody tries this on the street
staring drive and everything it's it's kind of
like you know the big dick date thing
you know.
Tyrese comes and punctuated into the scene.
He got that from me.
Everybody always gets a laugh.
I love this shot.
Look at the race boats in the back
and that was a MacArthur Causeway in Miami.
Beautiful Miami Beach.
This right here is a montage of the
other racers that are going to take part
in the next big action scene and they're
like kind of like the goons that Verona's
assembled all together for what's to be the
race for the cigar as we find out
the race for the gold.
We added these muscle cars because we felt
that there there's a huge contingent of people
who are in American cars and we want
to satisfy that audience too.
As I said before in every scene we
have to have a chuckle you know and
we had to have you know a little
chuckle right there.
I love that he does look like Fonzie.
That's my homie Johnny C.
He's a stuntman.
He ended up getting bumped up to an
actor and right here we have Enrique and
Roberto.
They're the chief goons Verona's goons played by
Matt and Roberto.
These guys are really really good.
I had to cast these guys totally apart
from each other on both sides of the
coast without seeing them together and it was
phenomenal to see them together for the first
time and just know that they worked as
the bad guys.
They complement each other really well with the
suits impeccably dressed.
They look totally different from our heroes right
there.
Right here we have the introduction to the
bad guy of the film Carter Verona as
played by Cole Hauser.
Cole is a good buddy of mine.
Cole did a picture with me earlier on
called Higher Learning when he was like 18
years old.
Now he's like 27.
He's really a phenomenal young actor who's got
a great career ahead of him.
He has a really interesting look and you
know interesting vibe and his voice is very
very indelible.
I can't really do him right now.
Thank you for coming on such short notice
and this is cool for him because Cole
usually does these hard military movies and all
this stuff and now to see him all
dressed up in these cool suits and looking
you know really dapper is uh it's still
strong.
It's really good for him.
We'll have an opportunity to work for me.
What do you say we got an audition?
Nobody's got a gun to your head.
That's it.
Driver's licences.
Pass them up.
Right here we have the next big action
beat of the film where the cars are
going they're going on a race.
What I wanted with this action scene was
I wanted to have the funkiness funky funky
funky music over it right so we have
this rap song Ride Ride that we got
from this unknown rapper out of Florida and
then it turns into another music cue but
it's all about you know just the cars
going really really fast and the manoeuvring of
Brian and Pierce who are now partners again
but they're still like they have this beef
with each other so what I wanted to
do is kind of like use this race
as kind of like a thing to pull
them together like in the beginning of the
race they're not partners but by the end
of the race they will be partners so
it's kind of a one-upsmanship that they
have throughout the beginning of this race where
you know Brian is out in the lead
and basically Pierce is trying to stick with
him and then Pierce is going to come
up alongside of them and kind of like
fuck with Brian and give him you know
give him the finger and this kind of
calls back like old times you know like
when they were in the streets in the
west coast doing what they do.
Why must I chase the cat?
It says a whole lot without saying anything
you know for him to come up alongside
of him look at his homie like that
and then give him a finger you know
and then roll it around like that and
then zoom ahead you know it's just that
they're buddies so they can do that kind
of shit and then they cut through the
two semis and then one of the other
guys in the back tries to do it
and he ends up getting crunched and the
famous shot with the saline mustang getting crunched
under the under the semi that we use
so prominently in advertising and every commercial people
love that.
I think the reason people love that shot
and they love this shot this shot right
here with Corvette that that wasn't supposed to
happen that was an accident like that was
a real accident um that people love seeing
cars get messed up like that is because
the cars are so expensive so when you
see like an expensive car get messed up
you just you cringe even more you know
you're like damn you know it'd be one
thing to have some some cheap car but
to see an expensive car like that get
totalled you like trip out.
All right Rome I got something for your
ass.
So here we go one upsmanship again you
know uh Brian gets up here on Pierce
and uh is showing off and everything you
know I love this Paul did that 180
for real on the freeway and then uh
he gives him the finger when you see
you see him smiling now you see Pierce
smiling you know he's asking him you know
he's still got it you know you see
by the end of they're both kind of
smiling and everything and they're both really back
into the kind of rhythm of their past
relationship.
All that's done without saying anything you know
it's done just within the context of the
action scene and that's the coolest thing about
it.
This right here was a short transition of
neighbourhoods within southern Florida right here this is
a little Haiti I think a lot of
Haitians and Jamaicans in the neighbourhood and just
went to Sean Paul saw him over it
and just to give it a little bit
of texture to show the different parts of
like Miami.
Here we go from there into the boatyard
with our guys and we get a little
bit of information you know Marone's checking out
where they're from and whether or not they're
really legit in terms of being criminals they're
criminals for him that means they're legit.
As I said before the purpose of this
action scene is not only for them to
get to the goal of the mission that
Marone has set forth for them in competition
with these other drivers but it's also see
you look at the cross-cutting with their
eyes and then boom together it's also to
show that these two guys are partners now
so like when they get out of the
car now at the end of the sequence
right here these are our two heroes you
know and it's plain and simple these are
the two guys these are our two heroes
and now they're partners you know it's been
done visually it hasn't been done with a
whole lot of dialogue and everything and stuff
you know they're on the mission they're joking
they're laughing and stuff and the audience is
along for the ride with them now put
your blouse back on it took time just
like four or five times before he broke
that glass he hurt his hand a couple
times he he wanted to take off his
shirt somewhere in the movie because he said
if i'm gonna do an action movie action
stars do two things they run across the
hoods of cars and they take off their
shirts so i said all right you get
a chance to take off his shirt in
the movie he worked out a whole lot
get ready just for that one moment what
the hell they doing here son
of a bitch juby record for popping cars
two years in jd then another year for
aiding and abetting an armed robbery here we
have the guys uh come back to the
mansion the mansion that we've shot this scene
in is an exclusive area of miami and
uh it used to be sylvester sloan's mansion
now it's owned by a friend of mine
who's a prominent banker in southern florida area
uh it's really beautiful you look at the
trees there it's kind of a real tropical
it has a salt water pond and great
access to the water and stuff hey man
here we go another chuckle within a scene
keeps the audience's interest going you have one
little laugh in a scene and so these
guys have accomplished their goal you'll notice in
the picture that there's a lot of uh
shots where i'm like close on people's faces
but it's like kind of distorted you know
like the image kind of curves and that's
because i started using a lot of really
wide lenses wide and close on people's faces
and it gives it a kind of a
different kind of look to it shut up
tell me to shut up both you girly
shut up unbelievable i love
setting up shots of composition with a foreground
middle ground background you know like here you
know the background is the two guys and
now the foreground is her where our interest
goes from the background into the foreground it's
beautiful to do those kind of things you
know and just and just have them pay
off and move the story forward it makes
the film interesting to watch in this subtle
kind of way i'm trying not to shoot
the film it's just the way any other
film is shot here's a
payoff look they find out what they went
after there's a cigar that's all in their
looks all in their faces it always gets
a good laugh from the audience you do
that for a job this right here is
this scene is kind of western influence too
you know like i told cole that i
wanted you to look like lee van cleef
and for a few dollars more and for
a fistful of dollars you know uh do
it you know work the cigar and work
your eyes and everything and stuff and you
know the way he just looks at them
off our cut yeah you know it's almost
like cowboy you know if you put a
cowboy hat on them you'd be the same
thing you know he's the cool bad guy
the bad guy is always one of the
most interesting characters in a picture and i
i feel like this is no exception what
is it just put in the car so
here he tells them what they're in he
tells them what he expects of them and
what he wants of them and of course
roman pierce uh tries to uh up the
ante right here and uh puts this thing
in you 100 g's at the finish line
make it 100 g's a piece poppy look
man obviously your pockets ain't nervous there's a
whole lot of subtle things going on here
i told the cast i said this may
seem like an easy movie to do but
it will really fuck it up if we
treat it like it's an easy movie to
do so we tried to put a lot
of nuances in here that people don't know
and really wouldn't appreciate unless they knew about
them like for example at the end of
this thing you have a punctuation he cut
the stuff with his uh cigar cutter and
everything and it makes this emphasis on them
getting the cigar and then at the end
of the whole thing uh pierce ends up
pocketing the cigar look at that i love
that shot you see the clouds moving and
then pierce doesn't even shake his hand and
then you know they're leaving here's a payoff
pockets aren't empty he's smart enough know that
pierce pocketed his expensive cigar cutter you know
because he's just that kind of cat that's
kind of like the chuckle of the scene
you know that's like it's an informational scene
but then people laugh at the end of
it they feel entertained you know it's not
just a bunch of people just sitting there
talking what running your mouth insulting people stealing
balloon shit think i'm gonna let somebody stare
me down i love this scene right here
you know uh he admonishes pierce for being
who pierce is and then pierce gets on
brian's case for being who brian is because
brian is obviously checking out uh monica and
he tells him off like he's always getting
into it over some chick and they're both
speaking from a very truthful standpoint so the
audience is on the ride and the audience
believes it right here we have the introduction
to tez's garage tez is played by ludacris
man tez's garage is ridiculous he's got the
best of everything snap-on tools all these
lifts are brand new they're only maybe a
couple months old hey yo jimmy what's up
man what up bullet hey that's rome right
there do me a favour when you get
a second i want you to check out
the evil as we have in most of
the film it's all about juxtaposition of the
cars and the sexy girls and stuff and
um my theme for this scene was lake
habasu uh which is i think is in
arizona where they always have the girls going
wild girls by the water and you know
and lots of sexy bikinis and stuff and
all that i love that shot emerging from
the water and really having the guys react
the way that a guy would in this
environment you know all these beautiful girls walking
all around you know i can't imagine some
guy walking all that and trying to be
all cool about it this is just to
set up tez as played by ludacris and
how he's like the man of like miami
i love this shot right here it's like
you know you got ludacris in the extreme
foreground and them in the close background you're
listening to them in the background and him
in the foreground at the same time it's
called using the whole frame how you doing
i'm good how you doing what's this what's
the latest it's a work in progress one
of my favourite contemporary filmmakers uh is steven
spielberg and he you know in casual conversations
with him he's always talking about you know
let the audience decide where to look in
the frame give them places to look in
the frame but you you're kind of dictating
where they're looking at the same time by
a composition so i'm always playing with kind
of creative blocking within the scene how the
characters are sitting or where they end up
right here we
you know we have our characters basically trying
to figure out where pierce is going to
sleep for the night and the cool thing
about this is is like i said before
there's a relationship between these two guys you
know uh paul that's his houseboat in the
background and he's friends with ted and ted
looks back and says how come you can't
stay with your place and pierce is like
you know i don't want to stay with
him he's got bad habits and look at
paul laugh paul kind of laughs he smirks
i was hoping paul didn't blow the take
you know it's just like that stuff is
just improv man it's like you know and
then right here back to ludacris who wants
to so jimmy so what's up the cool
thing about this setup this is more information
about why they were tracked and stuff the
gps is you have the car in the
foreground and you have there in the middle
ground in the background you have the other
cars you see the truck in the background
and you see the acura in the back
there's those attachments and they're like kind of
louis vitton kind of code it you know
but it's like it says tj on them
you know so you have the audience listening
to the information of the scene but they're
also the other half of the audience is
all of these cars and they're looking at
the designs on the cars and everything and
they're looking at suki in this hot bikini
uh devon's a model by profession originally and
she was walking around that bikini for most
of the day i was like you know
it's because she's used to walking around halfway
dressed and i took a robe and put
it on her and stuff she's like why
it's hot you know and i said yeah
you may be used to being this way
but you got half the crew looking at
you right now she's like a little sister
to me yeah yeah well they've been honest
ever since we left the room to us
this is a cool thing right here with
um brian telling pierce about the two guys
have been telling them and then a little
comedic moment here he sneaks up on him
from behind you know and he he's kind
of speaking broken spanish he doesn't know how
to speak spanish at all so he's like
basically making up whatever spanish he's you make
kiss my ass you find out he wasn't
putting water on there after all it was
put it was lighter fluid that he was
spraying on there a little smaller moment yeah
pisses off the bad guys that's always good
don't blow our cup before we even get
started hey bill can you tell me what
went wrong that's what i want and here
we're back to the scene where they have
to check in with the customs agents what's
going on hold this you think you can
shoot at me james remar's character markham gets
pissed up because pierce shot at him you
know and i felt like we needed some
kind of thing to like divide them and
the feds you know to really state forward
that they're like on a mission and that
they're criminals you know and they're not cops
or feds and everything and stuff like you
did well you didn't you didn't know and
so you have a really good tense right
here but with the two sides of them
tension tension tension i love kind of build
up tension to these two guys you find
out brian had a gun too all right
we're gonna get this under control and then
you have the release with a little bit
of humour right here with the food that
always gets a laugh with the audience so
tell me what you know towards the course
of this informational scene as we're getting the
information out got piercing the background eating this
sandwich the audience is into the information they're
listening to the information they're taking in the
information of what's moving the story forward but
you're holding their attention by certain things in
terms of like having the humour right here
you know it's good news if you're going
to be delivering drug money to him then
we can get him for laundry not there's
only one problem what's that quintess for ron's
tapping her you know and that leads into
into another pertinent thing in the story that
markham brings up here is that that brian
who pierce doesn't know brian let go his
other man in the past and as you
see right here in this shot we have
a little thing between him and bilkins there's
a connection between the two of them because
you know they were in the first movie
together and i think expert man i don't
know all right we'll keep an eye on
her we're out of here and so it's
really funny as these guys walking out together
pierce is asking them about what happened and
everything and then brian's response is uh i
said forget about it cuz you know and
it's so funny like and within like within
like uh kind of urban communities and everything
and stuff that kind of gets a big
laugh but paul came up with that himself
he just said it out the blue it's
so so funny people been saying cuz as
like man or whatever whatever but in some
connotations is it's like a kind of gang
thing to in little la some places in
la but most of it's just like man
or what's up bro or something but it's
some people like laugh when he says that
because it's so funny seeing paul saying it
so here we go with the next leg
of action scene is when they're faced with
the thing of having to get two cars
and then this scene is probably one of
my favourite uh action scenes in the film
because it's like it's so simple but at
the same time complex at the same time
it's like you know they basically have to
go from point a point b with two
cars and it's like the one upsmanship of
the rice rockets versus the american muscle cars
and so you have a whole huge contingent
of people that are are into import cars
and then you have a contingent of people
who are into just american cars wait wait
wait how about we settle this on the
blacktop huh each car does a down and
back tag team style slips loser walks home
we came to race well load them up
then come on let's get these cars all
right check it out there's no way we're
gonna beat these guys straight up the hemi's
putting out about 425 and the yanko snap
a speed on about five seconds flat so
this is really a really cool scene because
it basically divides a huge swath of people's
interests and um i really love the way
it lays out because you know it's not
just about the action scene itself it's about
the setup to the action scene like here
you know you know we're low here pierce
drives up and then tej comes in and
he explains the rules of the whole thing
and you know you see him full frame
with both cars straight reverse and then you
move back in to tej and he goes
in and bends over and then you cut
to his face breakfast through straws from now
on and he panned from his face over
to our guy right here eric eric bardi
and then over back over to tyrese you
know and they know the rules of the
whole game and here you have the setup
you know and you have a little bit
of humour here and it helps you know
just pierce doing all his shit talking and
everything and our guy's all cool and and
collected and everything and stuff you know darden's
all cool and collected because he knows he's
got all that power under the machine he's
got all motor and then pan and then
right here boom down and that smile comes
off of his face i mean that's great
that always that's like one of the hugest
laughs in the picture you know because it's
like people just know he's got a whole
lot of power under that engine and they
feel the whole jeopardy of the race right
then and there before the race has even
begun gotta smoke gotta smoke so here we
go again the setup to the race and
we change it up by having suki and
classic rebel without a cause fashion start the
race and zoom and we're off and as
we have before we have a mixture of
real shots and then stuff on stage that's
real right there you know that's real you
know that's real this is most of this
is actually uh that's that's on stage right
there some most of this is actually right
there on location um some of it was
done on stage i love this shot where
the camera tilts down upside down boom like
that another car coming in low angle past
us we juxtapose the race with the partners
waiting to begin their leg of the race
light and that's what creates even more tension
like to go into brian waiting for his
leg of the race oh i'm gonna get
you oh i'm gonna get you that car's
going home with me homie nice he nices
that's the cg shot warping again it goes
to kind of surreal surreal surreal you know
and then he gets him and you're kind
of nervous for pierce's prospects right here oh
and he's trying to play catch up right
now and boom he comes to the finish
line and automatically there's there's even more jeopardy
there's more tension you know you're like oh
what's gonna happen with our heroes i don't
know i love this shot here come on
wrong and he takes off and now brian
has got to be the clutch player and
pull it through but how can he when
uh corpy has obviously such a huge lead
on him this guy right here who's playing
corporate his name is johnny c he's a
real stuntman he ended up getting bumped up
into a small part because he did such
a good job he has such an interesting
look with his eyes johnny c let's see
if you got the ball so it goes
into a game of chicken that's on stage
the wheels are only computer generated and here
like juxtaposition of the eyes and then he
runs him off the road for half a
second i just tell paul this is luke
skywalk i love the shot right here right
there right there paul making the turn this
is just some real good stuff and and
once again a lot of this is really
just basic juxtaposition of images there's nothing here
except for just you know um really cool
editing i mean somebody there's a little bit
of cg in here you know there's a
little bit of a green screen in here
but most of this is really done right
then and there on the location those cars
right there the side of the car right
there those are cg cars that's not real
i only used that kind of stuff with
to kind of punctuate the scene like right
here these are cg it's kind of like
right out of the computer video games like
gran turismo and stuff but when you're watching
it in the context of the film you
don't notice that you know it's just so
quick two new cars that's on my mama
i love that line that was all improv
he just did it go get ready homeboy
get to walking fabio cool thing punctuation leave
them standing and they have the cars zoom
away our heroes win the race that scene
is known as the barrel race hey how
you doing good but you need to get
some right here we have a club pearl
club pearl is right next to nicky beach
and south beach miami florida it's a really
sexy sexy spot we we changed up some
of the decor here but we still have
the same atmosphere that is very very much
miami great background there tyrese actually shopped for
that shirt himself it's not a bad shirt
look at that girl on the swing right
there y'all hey you guys did something
right bro never socialises with hired help and
what's that make you where's he at he's
on his way and the scene we had
pierce kind of being kind of an arsehole
to monica throughout the picture because he basically
uh tyrese's reasoning was well if i'm not
gonna get a chance to screw the girl
i'm just gonna be an arsehole to her
so that was his reasoning for his character's
motivation for his attitude towards the girl so
it kind of worked you know i've been
a cop about two months when roman was
busted in the garage raid he had eight
sets of wheels in his possession each and
every one of them were hot we have
the guys right here uh brian and monica
kind of bonding talking and everything and the
sexy stuff in the background kind of drawing
them together started seeing me as a friend
that became the other she's undercover he's been
undercover so he understands and then we have
right here and she kind of touches her
shirt his shirt in a kind of simple
gesture then revealing varone and that was there
to just soak the seeds of jealousy within
varone with it being an innocent gesture and
then here's pierce pierce peeps out that is
there before they see him what's up he's
here man and then it's all about the
reveal they look across the room and there
he is he's been watching them all the
time excuse me mr varone would like for
you to join him let's do it see
what i'm talking about it's all right let
him in this is a cool uh little
scene right here where they're just basically in
the club with this guy it's obviously his
club it's his atmosphere she's beautiful isn't she
i love how he asked brian right here
you know if she's good looking or whatever
and brian has the guts and the balls
to just be like yeah she is you
know what's he gonna say you know no
he's not gonna wuss out just say not
so and he looks him right in the
eye doesn't break eye contact with him and
he gets the respect of the bad guy
for it i can appreciate that i always
joke with uh paul and cole that paul
is steve mcqueen to cole's paul newman they
look like younger versions of two older movie
stars five minutes of her time and she
can get anything she wants from him i
love that girl right there tara she she
was a dolphin's cheerleader she started as an
extra and she's actually if you want to
play world's waldo she's actually in the film
like three times she's in the opening scene
with the blue shorts uh getting out of
the truck and she's uh also right there
playing a little little part right there as
the the girl that lures him in tara
was so beautiful we never wanted her to
leave the set so we found another place
to put her in the picture she's a
real sweet girl for me it's cops in
particular as i said before i really i
looks and gestures he looks like he's checking
them out you know asking them about cops
and they hope they stand their ground and
he's still non-aware but it's it's also
setting up what happens with the cop in
the next scene let's go hey
this right here is the beginning of what's
known as the rat scene i wanted to
do this cool tracking shot slow motion with
the guys it's almost like out out of
one of those early rap videos but the
whole thing is about the tension of them
going down a corridor led by maroon so
you had the items on the table and
then pan over i'm gonna have a little
fun and i like this right here it's
like you know just setting up a little
tension here and they look over i love
this look for tyrese because i'm like well
you're looking at it you know and they
think that they're in jeopardy and then they
find out that they're not the ones that
are in jeopardy that this guy is and
he's been lured by tar right here one
of miami's finest thank you sweetheart you enjoying
yourself detective yeah i was and that right
there is uh my friend mark boone jr
uh mark boone was in a film i
did called rosewood and uh as well as
seven and momento he's a really good actor
really good actor i got one last job
for you detective he's playing a cop right
here who's basically been in pot with rome
for many years and brome wants to get
him to do something for him but he
doesn't want to do it so ron's going
to torture him this right here call it
the rat scene because it's the scene where
rome basically uses a rat to torture this
detective stop right now this scene came about
because the writers asked a kind of grim
grey colonel what was the worst form of
torture that they'd ever he'd ever heard of
and he heard of putting a rat in
a bucket on a person's stomach and then
heating up the bucket until the rat kind
of like gets so agitated that the rat
starts to bore his way into a person's
stomach hold that get it off me i'll
forget it did you know that your average
rat can chew through a steel drain pipe
but it's kind of cool because you know
for me the bad guy's got to do
bad things in a movie and you know
since the film had to be pg-13
we had to skirt a lot of what
we could do violently or whatever to really
show how despicable this guy is so i
had to do a whole lot with innuendo
and just implied violence and so you notice
you don't see the rat ever biting him
or anything you just i think in some
ways it's scarier because you have the sense
that something could happen you know i mean
the fear that like the sense that something
is happening off screen so the audience whatever
the audience is making up in their minds
is probably 10 times worse than anything that
we could show on film it's just like
reading a book and hearing or describing violence
in a book you know whatever the person
makes up in their head is always worse
than what can be shown okay i'll do
it do what say it give me the
window i love cole's face man look at
red and the bucket was really heating up
that red spot right there you betray me
am i right here this is cool for
cole as an actor because he he gets
a chance to really be the despicable guy
and he has this intense look you know
there's a shot right here i love of
cole right here like here where he puts
the thing right there like that i love
it i'll burn your eyes out he almost
said fucking eyes out i'll burn your fucking
eyes out but he stopped himself i would
have to tell cole every other minute not
to say fuck or or this or whatever
or any other swear words because uh it
had to keep it to a minimum of
how much swearing was in the movie to
get the rating boys enjoy the show 15
this is my first pg-13 movie i've
made several different films and you know this
is my first uh with the pg-13
rating and i think that we were able
to get a lot of cool stuff in
the movie at the same time really get
a you know a rating that the broadest
possible audience would be able to see the
film that was a damn rat man and
right here we have ron hemming up monica
in the corner it's kind of that dysfunctional
relationship thing where she's got to play like
she's really interested in him and he's basically
feels like he's in a relationship with her
not knowing that she's actually a customs agent
it adds a whole other level to it
and this scene right here at tez's garage
i felt this scene was really important and
it was just really made up because i
wanted to show these racers in the whole
car culture mechanic world these cats in a
real casual setting where they weren't just in
and around the race stuff you know they're
just playing cards hanging out there's just kids
hanging out on a regular week night just
kicking it right here we have jimmy
played by jen um and he's uh he's
basically he's a rapper by trade that chinese
kid was on bt 106 and park shutting
down brothers for like eight weeks so he's
a he's a top rapper his album's probably
out right now by the time this dvd
comes out it's so funny having wrapping up
on his ludicrous and uh as tash you
know the ludicrous of a test shuts him
down on the car table jimmy how you
ever gonna pay me back if you keep
using the tez like that and it's just
you know really to get the kids just
being kids you know just really being casual
man you know and i think that adds
a whole lot of kind of flavour to
the film and back to the story you
had mr paul walker uh sleep eye candy
for the teenage girls and peers when paul
sits up in bed with torso you're getting
all the little 13 year old girls hot
once you finish the run they're putting a
bullet in your head the cool thing about
this scene is it's innocent enough she's there
to tell them information and it's just between
the two of them and then the bad
guys arrive and that starts right out of
like one of the westerns man and then
here's pierce comes in sees the two of
them in bed together and he's like oh
okay yeah i ain't getting none of you
out here doing this with her and putting
us in danger so anyway they're getting dressed
and you know it's so funny looks so
suspicious and everything and then he's telling him
go out stall these guys this scene right
here was just all improv between myself and
tyrese just talking over what kind of funny
stuff we could do in the movie tyrese
uh we did a film together before called
baby boy um this is his only second
film and what i wanted to do with
him in this picture was i wanted him
to you know do some action and everything
but i wanted people to know how funny
he could be and so he's just funny
he can come up with lines man this
line right here he came up with about
the mould on the nose it gets a
really big laugh and you know he came
up with that himself man it's just like
he's hilarious when he wants to be and
he's not even a comedian he's just you
know a real amicable light-hearted funny guy
and so that makes him interesting to watch
yeah this scene uh you know the kiss
right there the little kiss right there one
of my only things with this whole movie
that i felt is that i felt that
um brian should have been able to sleep
with the girl but we went i don't
know from whatever reason he had it in
there we didn't we didn't end up doing
it i guess we were kind of over
analyse it i think but it turned up
pretty good innocently enough and we have the
jeopardy of her trying to get out don't
even think about it obviously boom she's out
of there this is cool because you know
these two sets of guys are gonna end
up very soon going on the rest of
the adventure together so it's good to really
solidify the adversarial vibe between the four of
them and you have like as cool as
i has to have them shouting at each
other in spanish there's a lot of places
in this movie where i have a lot
of spanish being spoken just really casually and
i did that because the universal hit me
to the fact that the first audience for
the first fast and furious was over 40
percent spanish speaking because there's a huge contingent
of people that speak spanish that are that
are car enthusiasts and that were really into
the first film so i knew it was
very important for me to really address that
plus being in miami you know you have
a lot of cubans in there anyway so
they're not going to just be speaking english
maybe we see spanish and spanglish and amalgamation
of both what the hell was she doing
in there rebecca verone's mansion ava very sexy
hot body look at whoa look at that
eye candy we basically rewrote the
scene to show the differences between them like
he kind of catches her in her lie
she's like i do have friends and he
looks at her like you know i know
you're fucking lying to me you know he's
just saying everything like you're lying you lying
bitch you're lying to me and he just
throws the glasses on her he's all dressed
out looking all cool and she looks over
and she has none to wear she doesn't
know that she's been got but he's going
to set her up really soon now right
here we have another what we call informational
scene where the guys go back to the
feds well anyhow this is the deal last
night barone threatened a cop and he given
us a window we're driving to an airstrip
in the keys off of nullwood avenue on
bilkins and his shirt uh the costume designer
sonja hayes i told her i wanted bilkins
to have like the worst looking tropical search
she could find so she went to downtown
la in one of those back alleys and
she found that yellow shirt i just knew
that you know like i said before even
within these informational scenes you had to have
a couple chuckles so that's just there to
break up the tension like you get a
little laugh and then people listen to the
rest of the scene it keeps their attention
together so i can move in for the
bus and then uh here we have james
reamer as markham being the resident dick of
the movie he's like he's got to be
the arsehole of the movie to the guys
and to make sure nothing happens there's that
shirt again yeah right so basically you know
our heroes are faced with a little jeopardy
they're on a mission that they can't get
off of it's almost a suicide mission and
so they come out and they formulate a
plan if we don't do this then we
go to jail but if we do it
then baron's gonna kill us this scene right
here while we were shooting this it was
a hard scene to do because the bridge
in the background was going up the boats
were going back through that that's the miami
river right there and you see how it
looks right here it looks all right but
it doesn't look as the way it really
looks we kind of like used uh digital
processing to make it look a little bit
more blue than it was it's kind of
like a dredge uh just ships come in
and out of there yo what's up bro
what's up and here we go with the
plan in the warehouse district we set it
up our guys have a plan to kind
of like make this mission work and that'll
come back and right here we have a
montage of of our guys in the garage
doing what they do over music suki and
her crew love that little swerve on that
you know our guys are just doing their
thing and kind of processing how they're gonna
make this plan work and brian gets an
idea and he calls out to jimmy and
the wheels are in motion for what they're
going to do and so right here this
scene right here that's the that's in the
florida keys that's the seven mile bridge to
the florida keys which will come up later
on because marone sent them on a mission
where they had to meet him the keys
with the cargo that they have to carry
with the way things are shaping up out
here right now it'll be a matter of
time this scene right here it was a
really difficult scene to try to come up
with where we could solidify the relationship between
brian and pierce in a not so schmaltzy
way you know it's like the scene serves
different purposes it serves a purpose to to
call back to why brian's character does what
he does at the end of the first
fast and furious and then at the same
time solidify the nature of the relationship between
these two characters who at this film is
successful will see other pictures with that's once
you know that so why you let that
dude go in la it's a really great
scene you know it's almost like if done
wrongly it wouldn't have been the right place
in a movie like this because it has
so much weight to it between these two
guys it's all on me mr i shot
it in such a way where you know
how guys are when they do some of
the emotion the guys don't look at each
other so i had the guys not even
look at each other when one guy's talking
the other guy doesn't look at him and
then when the other guy's talking the other
guy doesn't look at him so it's really
you know it's really a cool little scene
not anymore bro the time lapse
and now the wheels are in motion for
the climax of the movie the bad guy
is making his getaway and the custom agents
are all waiting for something to happen you
know our guys have been instructed to meet
him and stuff and so forth i got
verona's navigator leaving the residence copy sir we've
got verona on the move to the earth
strip good let's get a bird in the
air tell him keep his distance all these
guys right here they're all real customs agents
these guys are in charge of making sure
that no drugs get in the country through
the miami ports it's a hard job report
and here we have a character i call
flow it's like a surprise that she's an
agent she's in the trailer yard and then
he has to make a decision he doesn't
know what he's gonna do whether or not
he's gonna help her own or not and
right here our guys pull up to versailles
cafe that's that's in little havana it's a
prominent cuban cafe in havana and that's where
they've been instructed to meet the two guys
roberto and enrique come on man this is
tyrese's first shot of the movie right here
i was made for this bro here are
guys more cowboy moments like a western and
then we have paul with the eyes of
the tiger then they go to the trailer
park and you know the interesting thing about
doing a picture like this is to use
different motifs from different films to serve a
purpose like i could say in western before
look at these guys are essentially you know
they're the bad guys look at that the
attitude the stance and they look and they
look like you know they could bash them
with those sledgehammers and our guys are reluctant
to follow i love this uh this guy
that opens it up jose that's jose he
was one of the people working the extra
casting i put that jacket on him the
jacket is so funny i got activity and
her own trailer property do not move an
inch until i tell you to and then
right here they're bashing to find the money
and they tell us in spanish you know
watch out for the picture he bashes it
out and then they find maroon's dash a
lot larger money that needs to go back
to the drug dealers and he tells them
to load up load up all units move
on the trailer now coming up is a
shot that uh i really like it's a
upside down shot of it i love that
shot it turns around like that local pd
is moving in on our guys three bags
in one car this shot right here it
starts here paul looks up then enrique looks
up and then they look around and then
boom and then brian walks right into frame
and turns around as he hears cops i
love that shot man it's so cool i'm
not going back to jail pierce has a
little hero moment what is he doing when
he sets car uses the car as a
battle room ram and then as he wins
and triumphs he comes out to the car
popping his collar on both sides that's so
like hoodish okay now let's get the chopper
over them i want eyes right on top
you got it nema 25 follow gps we're
really into it right now you know our
guys are being chased and what we do
in this scene is we call this like
the esd aerial kind of scene on the
news and media everything you always see cars
chased by the cops and you know it's
kind of futile you know it's futile that
they'll never get away in real life but
the phenomenal thing is movies are reflection of
real life you can use the tension of
reality to help the interest in film so
it's like they're being chased by all the
cops in southern florida right now inadvertently so
that adds tension to the whole thing oh
shit they're catching up man shut up man
man i love the bad guys the bad
guys are checking their seat belts throughout this
whole thing you know that shot was neil
moretz he's the producer of the movie you
know just keeping it going man and then
all of a sudden another element comes helicopters
come you know overhead and the helicopters have
those devices that shut down the electrical system
of the cars and brian sees that and
this was set up to have the hero
kind of triumph against something that has defeated
him earlier on in the movie so
the whole mission would be jeopardised if brian's
car goes out look at that that's like
the bad guy is afraid to drive he
turns into a scared little girl and a
fast car that's great and so brian has
to get out of the car while the
car is going fast and he's and pull
this thing out it's really cool you know
it's like it's a real cool hero moment
for him the tension of the police car
is getting closer the car about to shut
down an electrical system he's trying to pull
it out it's losing speed the police are
getting there the car is going to go
off and then all of a sudden he
triumphs he gets it out and he throws
it at the police and then they crash
it's a great hero moment and then look
at neil again i
love how it gives him a hell no
right here uh enrique right here at the
end of it it's like it's great man
it's good stuff it's real good stuff i
really love that sequence this scene was shot
in the everglades we were in everglades with
alligators and everything all around us and snakes
up in the grass i like shooting exotic
locations we got verona's navigator all right money's
in transit sit tight and right here okay
i love this sequence only because i wanted
to try to find a way to make
it unique that they had to get to
the end of it and it's all about
a montage of our guys racing and it
gets more and more intense right here look
at this and then look at the knot
the knot comes back and right look brian
nods to him and he looks back and
it's on you see our guys skills and
in just a montage form you just see
them turning corners hitting them corners hard you
know just seeing them drive a car's rack
and the bad guys complimenting him on being
a good driver like they're buds now video
should be coming through i got it looks
good where are they going i love this
one enrique like switches in his seat right
here living with pierce in the car like
he's scared it's like right here but i
love seeing these bad guys scared come on
stay with me boys watch this he's looking
up and then look from it and then
two and then back in the car look
at that it's all by design they set
up everybody they set up the cops they
set up the feds all right let the
party begin let's go they're in the warehouse
and then go in now you just know
they're caught you know there's no way out
of this that guy's bob minor he's a
stunt coordinator he's worked on a lot of
my films all the way back to boys
in the hood it's a veteran stunt man
the idea behind this is the trucks that
come out here they're kind of like blockers
like you know in a football game you
know you need your blockers and they come
out and they disperse the cops kids love
this you know over the track you have
david arnold's score it's kind of latin tinge
you have a friend of mine who's a
local cuban rapper in miami named pet bull
he's rapping over the score and everything and
it gives it a whole other texture too
i love it man it's just like it's
phenomenal and you got the biggest scramble of
rice rockets ever and all that had to
be choreographed and we had not one crash
of cars we had a mixture of stunt
drivers and local miami people race enthusiasts rice
rockets enthusiasts car enthusiasts that were using their
cars and doing the driving and you know
they all worked together in unison to make
the scramble work man and make sure nobody
got hurt nobody's car got damaged and stuff
it worked out really well man we're
not tracking them on video must have lost
them in the scramble y'all let's break
i love this shot right here where our
hero cars end up coming out of the
garage and i kind of zoom towards them
on the lens as our hero cars come
out it's all fun man it's all good
fun man it's like the big thing about
this movie that i really love and what
i really wanted to do the film was
that it's just a fun movie it's just
there's nothing pretentious about it there's nothing particularly
deep about it it's just a really fun
what we call a popcorn movie a great
saturday night movie to go see and there's
a little bit in here for everybody all
right we got him going west on beats
roger that i've got him i love these
cars look at these beauty shots of the
cars again man these cars in action these
cars are everybody wants constance has a fix
on two cars going west on beach roger
follow those cars roger that more
beauty shots of the cars in these turns
it's almost like watching the news you're like
you know they're not going to get away
you know and they come to a dead
end and your heart kind of drops just
like bilkins right here and then we have
set up and then we're real and whoop
you know that's not pierce that's not tyrese
that's suki and it's tash i know my
tags are out of date but dang i
love this this payoff so where are they
where are they and they are on the
freeway in the american muscle cars so all
the american muscle car enthusiasts are going crazy
and then we have a reveal of the
money that's in the back of uh both
cars that's obviously a cg shot this
is good because you see the good guys
and the bad guys bonding together those they're
just laughing and you know it's cheesing together
and everything and joking you know and then
as we get back on the road they
end up going back into their roles again
you really do owe me man you really
do was the last time you see ludacris
and devon in the movie right here and
then now our guys are like back in
the business ahead of it the bad guys
are relaxed right here smiling they've kind of
relaxed the bad guys enough and they're about
to set them up what you lost them
shit those little pricks are running we're gonna
take him down he is not leaving here
and here we go this is one of
my favourite scenes right here where uh i
call this so tyrese is one of his
hero moments you know where he basically uses
humour and action and everything you know man
this car can do all kind of things
man look at that look look at look
you know he's been about to get him
check this out right here he uses all
the different elements that he has to to
make a really interesting scene cool you know
human reaction everything you know and then he
gets him pops him out of the car
it's so great because it's like you know
this kid is basically playing a whole lot
of kids in the country you know it's
like they're watching it at the same time
and living vicariously through that character man i
think that that's what really one of the
things that makes the film so accessible is
that the kids in america are watching the
film and seeing themselves as different people in
the film one of the main powers of
this movie is that the cast is so
multi-ethnic there's somebody in in this film
that everybody can identify with in terms of
the young people in america what do you
mean not verona's witness then where the hell
are they let his pa told him to
terminator look you know he's about to pop
him out himself but then he gets some
news and then he inadvertently gives himself away
by saying there's no airstrip and it's like
oops he said the wrong thing but he
knows that if he doesn't go he won't
be able to save monica so he goes
along with it all these scenes right here
were shot in and around the florida keys
that's why it has the look that it
has like with the beautiful skies and the
blue water right here look at in the
background while we were shooting this in between
shots here i was like fishing me tyrese
and paul would just fish every day damn
yo what the hell is he doing this
is a really good shot right here he
walks past and they have counter movement and
brian's not coming it was really good to
shoot in the keys because it was so
relaxing and you know like i said you
would fish you would swim in between shots
i had so much fun making this movie
and the cast was young no big egos
or nothing on the set and everything everybody's
having a good time we're all laughing every
day uh the worst of it was the
mosquito sometime and sunburn but you know hey
if you could get paid to be in
florida and hang out with paul walker and
tyrese and and ava mendez wouldn't you do
it where's the rest this is great
this right here is uh kind of again
mano mano between brian and varone here's your
money so you know nothing about the agents
that's throwing my jet i wish i could
add more scenes with these two guys together
because their faces are so chiselled so different
they're they're young actors but they have the
kind of like the soul of the movie
stars of the past and even ava here
like with her eyes a lot of this
in this scene right here in terms of
like the jeopardy of it is done with
gestures there's hardly any words here we're on
a boat let's go get on the boat
and look at this and then look at
the eye that she cuts over to brian
she's hard it was a cool chick i
call her like a fine ass tomboy because
she's like she's always doing this really intense
stuff man hide the cars and get rid
of him back in the car another
he breaks the fourth wall right here that
was right in the camera matt who plays
enrique right here uh came up with this
thing where he wanted to be able to
tell uh brian's character that he liked him
but you know he had to kill him
you know i was against it at first
but it really works you know i like
you but i still gotta kill you it's
my job what's that what's that it's barstow
baby it's about to get ugly let's
go let's go now this right here this
is one of the cooler parts of the
film that really really hammers home the whole
thing that that at this point of the
film brian and pierce are partners look at
that he's like he's just dirty fighting bites
him and everything you know i love that
and then you know he pulls him out
to help his homie pierce kicks him and
brian gets up he's gonna shoot him but
then he decides not to shoot him decides
to kick him himself and they rat pack
him ghetto style they just bop him ghetto
style like that man it's just the audience
goes crazy when they see that because it's
like you know it's just it's so street
you had me you slept this boat i
don't think i've ever seen this done in
a movie before where like a four million
dollar yacht has been destroyed by a hundred
some thousand dollar car you know it's a
really expensive stunt we were all kind of
like shitting in our pants that it would
work because if it didn't work and be
a disaster i thought you was dead man
yeah me too that's the same my ass
bro what are you doing brian i don't
know but if the road sees a helicopter
a customs boat she's dead boat chasing the
boat either there's jeopardy here you don't know
what they're gonna do they don't know what
they're gonna do you know it's cool because
it helps in the film the audiences along
with kind of the spontaneity of what the
characters are gonna do and within this thing
and it it kind of adds the last
action beat for the whole film then he
ends up jumping this american muscle car dukes
of hazard style into this uh four million
dollar yacht that would piss off any bad
guy boom right there and that was that
right there was a minor miracle once we
got the composite back together when we saw
the pieces of that i was like breathing
a little bit i think i broke my
arm and
then the bad guy comes along and it
ends up back to the western thing cowboy
moment and uh brian ends up getting them
down and he's about to shoot him again
right there raises a gun about shoot him
again but then monica comes along it's over
carter i mean as i said before you
know the film is pg-13 there's only
so much that we could get away with
in terms of violence and you know so
and there's a lot of us this stuff
is implied you know a lot of restrictions
of pg-13 but it does allow you
to to make a film that would be
shown in every theatre in the country and
as broadly as possible which is good look
at the back of that boat here it
is you know this is almost the denominator
of the film and you know our guys
go to mark them three bags total huh
the three from the boat this is really
a good place in the film to see
how these two guys brian and pierce have
really bonded this nod here look at that
subtle nod that paul gives them just enough
you know they're both in on this you
know like he's basically good but not that
it's all right to give markham the rest
of the money and then pulls it out
falls in so maybe there was six bags
i guess we can call it even agent
done sir all this that comes after this
is all improvisation man between uh the two
guys and the bad guy we're just playing
around on the set man just coming up
with stuff don't drop the so big homie
i hope you know that when he gets
out he's gonna kill your ass that's tyrese
doing his thing that's paul doing his thing
you know and cole doing his thing he
said he's gonna get out you know that
wasn't all this wasn't scripted it was all
like stuff these guys came up with it
works there's a sedan out on the road
for you try to bring it back in
one piece thanks a lot bilkins you all
right thanks thanks for looking out man yeah
this is cool right here it's just like
you know kind of like the end of
the film there's still a little bit unresolved
sexual tension between brian and monica and it's
kind of like you know she gives him
that look like yeah i'm gonna see you
again he gives her that look like yeah
i know i'm gonna see you again she
doesn't look he doesn't look they know something's
gonna happen later on yeah i'm gonna have
to stay out here in miami man keep
you out of trouble bro you know what
i'm talking about you're gonna kick it in
miami bro this right here this is one
of the last scenes that we did in
the film in florida open the garage together
it was really cool because we didn't end
it with a whole big stunt or nothing
like that and everything we just ended it
with the two guys i felt it was
real important to end it with just the
two guys it's so funny to see paul
say that because he's such a cool white
boy from the beach and then it just
ends on these two guys man boom you
know partners fast and furious too fast too
furious the end title sequence right here is
is very much influenced by the video games
that gave me inspiration for some of the
races like the gran turismo games and uh
tokyo racer games and stuff right a little
dash of anime here and there they're really
interesting to watch the this title sequence because
it's like you have to understand there's a
whole generation of movie goers that have grown
up on other visual mediums other than television
and films and motion pictures there's a music
video world there is the video game world
you know and then there's animation world so
they have a whole generation that's growing up
on music videos video games and then uh
watching animation so a lot of the things
that were done in this picture are an
amalgamation of those influences and i think that
that's what makes the film look a little
different you know at the same time you
know i've grown up with those stimulants but
i try to make sure that my primary
focus or that any film is on telling
the story you know no matter how flimsy
the script or maybe how deep the movie
is or whatever that the focus is always
on a story and moving the picture forward
another big influence on my stylistic in this
picture was playing with hot wheels i would
play with hot wheels on my desk all
day and just you know making them go
across the desk you know hot wheels so
that's that too fast too furious i hope
you enjoyed my audio commentary and feel free
to look at the rest of the features
on this dvd put a lot of interesting
things on here a little extra things for
people that are really interested in the behind
the scenes of the how and why we
made this film enjoy peace out broken
and cleaned out your crib boy what you
gonna do just got a new pair and
then scuffed your shoes tell me what you
gonna do act a fool now them cops
trying to throw you in them county blues
boy what you gonna do traps cops and
robbers it's 9-1-1 please call the
doctor evacuate the building and trick the pig
since everybody want a piece we gonna split
your wig see some fool slips up and
overstep you're about to catch a cold you
think 12 gonna catch me give me a
break i'm supercharged with a hideaway licence plate
it seems they want to fingerprint me and
give me some years they'll only get one
finger while i'm shifting gears i got suede
on my roof wood grain on the dash
sheepskin on the rug golden grain in the
stash hydraulics all around so i shake the
ride we go front back and side to
side just tripped up and made you spill
your drink tell me what you gonna do
act a fool now your car just stopped
on an empty tank boy what you gonna
do act a fool if you got late
bills and you lost your job tell me
what you gonna do act a fool if
you're about to get drunk and you ready
to mob boy what you gonna do act
a fool let's take it to the streets
because i'm ready to cruise just bought me
and my cars all some brand new shoes
and the people's just there so i love
to park it and i just put a
computer in the glove compartment with my pedals
to the floor radar on the grill tv
in the middle of my steering wheel it's
my car's birthday so we blowing them candles
most speakers in the trunk that my ride
can handle got my name in the headrest
read it and weep nice tank in the
back camel hair on the seat and when
i pull up to the club i get
all the affection because the women love the
painting they can see their reflection i'm about
to take off so f what you heard
because my side mirrors flap like a bird
and for the fools we gonna clock one
then we'll one because my folk riding shotgun
with us you just got hustled for a
while to cash man what you gonna do
act a fool nigga prince just smoked up
your brand new stash say what you gonna
do act a fool and them girls up
the block still running their mouth boy what
you gonna do act a fool if anybody
talk bad about the dirty sound tell me
what i'm gonna do act a fool i
got my eyes wide shut and my trunk
wide open did doughnuts last week in the
street still smoking see i'm off the antifreeze
and my car is tipsy on the off
ramp doing about 150 rolling through learn on
my way to bend heels slide a five
to the junkie to clean my windshield got
the whole crew riding and we started i
even got a trailer hitch with a barbecue
pit and now all you want to do
is get drunk and pouch look your new
name is five because we stomped you out
and yeah we trees and bees that's fantastic
so girls hold your weed while i'm weaving
through traffic i kick the fifth gear and
tear the road apart you'll be like little
john q and get a change of heart
it's one mission two clips and some triple
beans i'm about to blow this whole stuff
to snivelling oh you just came home from
doing a bid tell me what you gonna
do act a fool somebody broke it and
cleaned out your crib boy what you gonna
do act a fool just bought a new
pair and they scuffed your shoes tell me
what you gonna do act a fool now
them cops trying to throw you in them
county blues boy what you gonna do act
a fool all my potholes in the street
just pinch your ribs tell me what you
gonna do act a fool man that ain't
sticky that sticks and stems boy what you
gonna do act a fool catch a man
with another chump in your bed ladies what
you gonna do act a fool if the
bottle's all gone and your eyes are red
boy what you gonna do act a fool
I'm the director of the film you are
watching, Too Fast, Too Furious, and welcome to
the audio commentary for this DVD presentation of
the picture.
I'm going to be talking about some of
my ideas on making this film, such as
why I did them and, you know, what
my reasoning behind it was in directing this
film, such as right now changing the Universal
logo into chrome.
Whenever I'm doing a film, I always think
in terms of first image of the film
and actually the first image of this film
is that tyre and the second is of
these kids jumping out of the back of
his truck.
I wanted to get right into the film
and show these kids on a Saturday race
night, you know, just jumping into it.
I hate long credit sequences and stuff.
This is just all the setup for the
night, you know, the race night, sexy girls,
hot cars, you know, getting the audience into
the world of Saturday night in Miami race
night.
Here we go with Ludacris Tej setting up
the race.
This is a really fun movie to do,
man.
I had so much fun, you know, setting
up this stuff.
This shot right here, uh, the first time
we see Ludacris, little angle, wide angle lens,
he fires it up, announces himself and boom,
here we are with the opening title.
Zooming onto the screen and you see first
big wide shot.
You see everything that we've just set up
to Fast and Furious.
And then we go from here, cars and
girls, cars and girls, cars and girls.
That's what it's all about.
One of the things I want to do
with this picture was make the cars totally
different than the first movies.
The cars would be kind of like thematic
of the characters, like Slapjack, he's like got
an Afro pick on the side of his
car, it's cool Afro.
And then here's Suki, she's, you know, like
a almost live action anime girl, you know,
see the designs on her car.
And then here's OJ, you know, he's the
Cuban Papi Chulo racer of Miami.
We really took pains to make sure that
these cars in this film were like totally
miles above and ahead what they did in
the first movie.
We went out to the kids and talked
to them about what they would be interested
in seeing on the cars.
And then we just went for broke and
got some of the people involved in this
actual car culture world to help design the
cars.
Some of the designs were done, there's a
guy named Noah, he did that Suki car.
And a friend of mine, Brent Rollins, gave
me some graphics for some of the other
cars in the picture.
It's all about creating a specific look, you
know, the look of a film denotes the
difference.
And I really want this film to have
a whole different look than the first film
and just, you know, now it's my presence
and put my stink on the whole thing.
You got four minutes, man.
Now here's the first time we get a
glimpse of Paul Walker, a little tease, introducing
Brian O'Connor.
I wanted Paul to have a really fly
introduction in this picture to show that he's
a different kind of guy than he was
in the first film.
Here's a speaker battle.
It's a, you know, race night, they have
little speaker battles to everybody's in the audio,
the sound systems and stuff.
And then here we have a montage of
people waiting for the race to begin and
the hypness of it and putting down the
finishing line.
And here we see Paul.
We know it's Brian, we just got a
glimpse of him racing towards the race.
I really wanted Paul to have a really
great introduction because, you know, he's the main
character of the picture and I wanted him
to, you know, have a whole other edge
and flavour that he didn't really get a
chance to have in the first film because
he had to be the good guy in
the film, a really goody-goody cop in
the first picture.
And here he's like, you know, he's not
the novice racer anymore.
He's a veteran racer.
He's a, you know, he's the king of
the streets and the king of the streets
needs a good intro.
So the Nissan Skyline comes out of the
crowd like a mad bull, you know, and
it's all about him being the alpha male
racer on the streets.
Coming out to the crowds and all the
girls are impressed and the racers are kind
of nervous and everything and stuff.
You go from this high shot to Nas
in our face and you track past all
of the racers, you see their faces and
up to the car, another burst of Nas
and out comes the movie star of the
moment, Mr. Paul Walker, Madden A.
Idol.
All this stuff is really cool to set
up, man.
You know, audiences watch it and they don't
really understand how they're being manipulated to feel
or a certain way and that's the fun
of it for me to set up the
rhythm and pace of a film and set
up shots and, you know, pay off, you
know, certain scenes and keep the rhythm of
it going.
Paul and I met just before we started
this movie and the cool thing was we
got a chance to really get close during
the making of this movie and get each
other's rhythms down.
He's much more than just a good-looking
kid.
I mean, he told me that very few
directors have really asked him to act before,
you know, they just wanted him to smile
and look good and I was like, you
know, no, in this movie you're gonna, you
know, you're gonna act and you're gonna have
to improv too.
A lot of what I do is I
like to set up situations and then have
the actors just go for broke and give
me something, surprise me and Paul really stepped
to the table with that, you know, in
the rehearsal process and then when we were
shooting the film I would just change up
lines on a moment's notice.
So a lot of the reason that this
film felt spontaneous is because we were just
coming up with things on the fly.
Introduction to Eva Mendes right here.
The sequence that's about to come up right
now, the first race sequence, is I was
very much influenced by three things.
By Japanese anime, you know, the new Japanese
anime films that come out of the action
movies and by the Speed Racer cartoons of
old and then the video games Gran Turismo.
I knew that my references, since there's been
so many car movies, my references could not
be from other car movies because it will
look like every other car movie and you
should notice that a lot of car movies
they only shoot stuff from the hood, hood
mount shots.
I like to do stuff from different angles
here and I try to move in and
around the cars at fast speeds, boom, off
the finish line, boom, and up in the
car.
So basically each leg of the race would
have a theme like this first part of
the race was about acceleration.
We would go, we'd be tight on their
eyes and we see them trying to get
up to speed tight so that when you
go wide, when you're tight on their eyes
and go wide, it makes everything else seem
more powerful, like here, boom, you know, and
it's the juxtaposition.
It's like Shoji Onii did that really well
where you would juxtapose close shots with like
wide shots and then, you know, it's kind
of a jolting thing.
It creates kind of a jolting gestalt in
the viewer.
So that's the first leg, acceleration, and then
you go from acceleration to the first turn
and this is all about setting up.
Everybody's thinking this film is still a 10
-second race, it's a drag race, but no,
here, surprise, it's the first turn and turn,
turn, turn, turn, you know.
I love that.
I shout at Michael Ealy.
And then here, the second leg is all
about jockeying for position.
Everybody's trying to pass the next person, trying
to jockey, trying to get ahead.
You know, it's just the whole competition of
who can get ahead and stuff, right?
And you're going in, going in, and then
you have a whole lot of shit talking,
you know, between the characters.
That always makes it really interesting.
So it's just not straight ahead action.
It's just like, you know, it helps competition
for them to talk shit.
Masuki right here.
And then you go from that to the
second turn and wound, and the second turn
comes in right over our heads.
And what we did with, I love that
pan right there.
What we did with this sequence was, it
was a mixture of CG shots, practical shots
on the street like that, and motion control
shots.
So it's kind of like, you know, A,
B, and C.
This shot right here, I love this shot.
This is called our Gonzo shot.
This shot is right out of a video
game like Gran Turismo.
You know, you could not have done this
shot 10 years ago.
What we did is an amalgamation of different
things like, you know, from shooting on stage
to shooting on the street to shooting in
the studio, shooting with motion controls.
This is an actual real shot.
That wasn't a special effect.
This is all real right here.
That's real.
That was real, believe it or not.
This is an effect right here.
That's an effect.
Those two cars aren't real.
As you put it in the editing process
and you juxtapose these images, it gives it
to the viewer that not being aware of
how it's all put together, it makes it
even more exciting because you're getting a melange
of imagery right here.
Here when we first hit the knots, it
goes kind of surreal.
You know, let's take the camera, but it's
called camera shake in the computer, and it
creates even more of a simulation of speed,
and we kind of like warp out the
background.
It's very cinematic.
It's not based totally in reality to how
fast they're going.
They may be going like 85, 90 miles
an hour, but in a film it just
basically takes it to a whole other level.
That's a real shot right there.
And here, I'll show you what I mean
again right here between the juxtaposition of what's
real and what's not.
You can do a whole lot just editorially
with a picture with the juxtaposition of images.
I always call it like basic film techniques
using the basic film techniques that have been
around from the history of cinema in a
very creative way.
You can get a whole lot done.
How do you like that?
See, look, I see the warping right there,
the warping and the camera shake in the
computer.
That's on a stage.
That's real.
It's on a stage.
That's stage.
Here, basic things like, you know, using sound,
you know.
There's a big thump when he hits that
nice there.
And we know we have a whole lot
of noise, a lot of noise.
And then, look, drop out the sound for
the for the lead.
And that just it creates a in the
audience that in every screening I've been to,
they all cheer.
You know, you drop the sound out when
it's going over and then everybody cheers and
they go crazy and then boom, bring the
sound back up and four cars hit the
pavement again.
It's phenomenal.
Here, we hear Asuki going over the bridge.
Audrey to wide and she goes over.
She says, smack that ass.
Punctuation.
Brian crosses the finish line.
This shot right here, Paul Walker really did
it for real.
It's not a fact right here.
He did that.
He skid and went right up into his
face, the steady cam.
It's big insurance issues on that shot because
they didn't want us to have Paul do
a lot of his stunts for real.
But Paul is a really accomplished driver.
And we felt that he would be able
to do it.
So we did it a couple of times
and he hit it.
So here we have Tash going over and
paying uh Brian the spoils of the race.
We had the first action scene they had
to set up for the rest of the
film.
Whereas the agent right here, Monica, she's there
to check him out so then she can
set up the whole thing.
Hey, make sure you bring that body by
the garage later.
This is really good, the design of this
street.
We took the whole street.
It was like basically painted all those buildings
and designed all the stuff on the buildings
and really made it even more colourful because
it was a really drab that area of
downtown Miami.
We changed it up.
It's time to get out of here.
Cops are about to come in a second.
Have a scramble.
Everybody's scrambling for their cars.
I felt like the film had to have
like a rhythm to it where like the
action scenes wouldn't just be arbitrary action scenes
like oh now we have an action scene.
You know they would have to come organically
and just like anything in life.
He's on skyline.
Got him.
Most action films I see in modern action
films they stop for the action beat and
then they have a couple of people talking
and then they stop for more action beats.
The action scenes in this film just come
out organically.
They just end up happening because of consequence
of character.
He has to get away you know.
Right here this is the thing I came
up with.
This ESD thing and shuts down the electrical
system of the car.
We shut it out like a rocket.
They don't have this yet but I'm sure
they'll come up with it.
I don't think it'll be a rocket.
They only made it a rocket because it
was real visual.
It lends itself to a film.
It's so funny how people believe it's real.
I love this shot right here.
This is like Paul's badass shot like criminal
shot.
The bright light in his eyes.
One of the things that really excited me
about this film in terms of working with
Paul was that he was in Too Fast
Too Furious a criminal as opposed to being
a cop you know.
He's still essentially a good kid but since
he let the character go in the first
film he's got warrants against him so he
has more at stake.
If he doesn't do exactly what the feds
in here want him to do then his
life is in jeopardy.
This right here in the customs office is
what we call like an informational scene.
These scenes are never very exciting to shoot
so I was trying to find a way
in which to put certain elements in here
that would make it if not exciting interesting
to watch so that the audience would get
the information that moves the movie forward but
at the same time they wouldn't just stop
and be bored.
Recently Verone put her in charge of finding
some new drivers.
Right although we can't confirm her status right
now.
Well you think she's flipped?
She's one of mine.
She's all right.
She's been in with Verone nearly a year
even lives at the compound with him now.
Look it was the FBI's idea to bring
you in here.
I'm against it but we need some good
drivers that can put this arsehole and his
money together.
You're going to roll with agent Dunn here.
And if I don't?
Now here's a list of the laws you
broke in LA.
This is all set up.
Justice aiding and abetting you know the rap
sheet.
Now we can make this all go.
Information look at all the charges against him.
He knows he's got to do he's really
looking at all that surprise at all these
charges.
And you're watching as he looks up you
know he set it up for the funny
thing with Dunn.
You're going to remember Dunn and Dunn slurps
the soda.
It always gets a good laugh with the
audience.
And it just sets up for how Paul's
going to going to get the drop on
him.
Could you tell me right quick what would
be better motor for my skyline a gallo
12 or a gallo 24?
Yeah Matt Leonetti who was a dp of
this film.
He really shot this movie really well.
The race scene and you know this scene
here.
I mean he gives us so much texture
in terms of lighting.
You know he's just like he's phenomenal guy
man.
Veteran cameraman.
I mean seriously this is what you're gonna
give me.
I may as well take my chances in
Chino.
And we'll get you.
I love when it takes a soda right
there.
James Remar.
The only way I'll do this is if
I get to pick the driver.
And this is the setup right here for
the other lead.
Mr Tyrese Gibson who plays Roman Pierce.
Paul sets it up.
It says his name character Roman Pierce which
is transition shot and boom we see the
cars crash close and then we go to
wide and we see where we are in
Barstow.
And then come in.
This is the first time I do this
shot in the movie right here.
Down to the wheels to the steering wheel
and the fingers.
I come back to that shot later on.
Boom.
The reaction.
This scene was actually supposed to be longer
than this but we cut it down because
you know the film was getting a little
too long.
We wanted to make sure just got what
we got and then get out.
He's the man for the job.
This scene is the service to introduce Tyrese's
character Roman Pierce to the audience.
Show how badass he is and you know
he's in this down and dirty Barstow demolition
derby where he's the star of the whole
thing.
What we wanted to really do was show
that these two guys have a past history
and I think it really accomplished that in
a very very cool way.
You know the audience really would believe that
these guys know each other from childhood.
You know it's just all in the little
things like you know Paul saying he always
said he's going to be famous and you
know and right here when he calls out
to him obviously Roman is seeing Brian but
he doesn't answer him.
And I love these shots right here.
We come around swing around and he calls
him Whistle Storm.
Rome come back counter move with Tyrese and
he says only my homeboys call me wrong.
And he spits like in a cowboy movie.
This is all western influence.
You know most of my films are western
influence and westerns are really big with me.
I love westerns.
Westerns were some of the first films I
watched as a child.
So it's like the whole macho mantle shit.
I love this.
I did this with Paul.
Paul gives him what's known as the brother
nod.
You know that brother nod right there and
he doesn't give him the nod back.
That's going to come back later on in
the film.
You'll see.
All these little subtle touches of things that
are just there that end up in an
organic way getting the texture of the characters.
There's a lot of ways to do things
in films without dialogue you know with gestures
and looks and everything and stuff and those
things like you know like him giving them
nod and him not nodding back you know
those later on in the film you'll see
when he does nod back at them they're
partners now you know.
So those are just little things that I
do as a filmmaker to keep things interesting.
So they're playing in the dirt and everything
and stuff.
These guys were so silly on this day.
It was hard to get them both to
concentrate you know.
They were like two big kids on the
set.
I love what Paul feels are saying right
there.
It's such a little boy moment.
It's great because you know right there we've
shown that they have a past history just
you know within the whole physicality of that
thing man.
You don't even have to say anything.
I mean with that whole fight you just
said it all about where they've come from
and their past.
I know you better than you think.
Maybe you don't.
Maybe you don't.
You guys finished?
This deal legit?
And here Paul says I told you.
Roman replies to him.
Shut up Paul.
It's all about setting up these two guys
as partnership that people hopefully believe and follow
for the rest of this picture.
I thought you couldn't wander more than 100
yards from your They make a real good
team and they became really good friends during
the course of this movie.
Not in a bullshit Hollywood way.
They really vibe with each other on multiple
levels.
Now we have the two guys at the
customs and you see he's no longer under
house arrest.
He itches his ankle right there.
In this scene right here in front of
customs, man I shit you not we had
30 minutes to shoot this scene.
We got like three takes out of it
and you know it was like one of
those kind of days where we had to
like shoot like three pages and stuff.
I hate those kind of days but sometimes
great stuff comes out of them because it
was so spontaneous.
We rewrote the dialogue on the fly while
we were trying to set up the lighting
and everything.
Paul and Tyrese were in that room right
back there with the green on.
I had them going over it.
You know I try to make it like
we're like a football team a competition like
you know no bullshit we got to do
this right.
You know they run lines and then change
it up and then stick it right to
it and then you know that's how we
got that scene right there man.
We did a lot of the movie like
that where we just like we would sit
with the script and you know some of
the stuff was working really well but then
when you're on the set certain things come
out and that we wanted to change up
and so it worked out like that.
Roman Pierce and Monica Fuentes.
Do they have background on Verone?
They've been briefed.
Good.
All right here's the deal.
Verone's looking for drivers.
I've arranged for both of you to join
up.
I love this reveal.
This right here is all about the reveal.
The hero cars as we call them for
the rest of the movie.
The hero cars.
Back of the Mitsubishi, the Evo 7 and
the Spider and wide shot come up above
and that's all about the way that the
cars are the stars the true stars of
this movie and you know this movie is
really about the street racing scene and the
people who are into this whole car culture
world so you'll have a lot of like
what I call beauty shots you know sexy
shots of the cars you know.
These cars are like they're so beautiful to
watch in action so you know we end
up going from here into the car zooming
away and then zoom up in and around
having the characters in the cars.
I have a problem with this tracking shot.
I never got it just when I hit
that bump right there.
That's my only thing I don't like in
the whole movie.
That one bump in the study cam right
there.
So this right here is all about Paul
being you know as we've said before the
alpha male street racer who can drive really
fast without looking at the road and this
is cool.
I hope nobody tries this on the street
staring drive and everything it's it's kind of
like you know the big dick date thing
you know.
Tyrese comes and punctuated into the scene.
He got that from me.
Everybody always gets a laugh.
I love this shot.
Look at the race boats in the back
and that was a MacArthur Causeway in Miami.
Beautiful Miami Beach.
This right here is a montage of the
other racers that are going to take part
in the next big action scene and they're
like kind of like the goons that Verona's
assembled all together for what's to be the
race for the cigar as we find out
the race for the gold.
We added these muscle cars because we felt
that there there's a huge contingent of people
who are in American cars and we want
to satisfy that audience too.
As I said before in every scene we
have to have a chuckle you know and
we had to have you know a little
chuckle right there.
I love that he does look like Fonzie.
That's my homie Johnny C.
He's a stuntman.
He ended up getting bumped up to an
actor and right here we have Enrique and
Roberto.
They're the chief goons Verona's goons played by
Matt and Roberto.
These guys are really really good.
I had to cast these guys totally apart
from each other on both sides of the
coast without seeing them together and it was
phenomenal to see them together for the first
time and just know that they worked as
the bad guys.
They complement each other really well with the
suits impeccably dressed.
They look totally different from our heroes right
there.
Right here we have the introduction to the
bad guy of the film Carter Verona as
played by Cole Hauser.
Cole is a good buddy of mine.
Cole did a picture with me earlier on
called Higher Learning when he was like 18
years old.
Now he's like 27.
He's really a phenomenal young actor who's got
a great career ahead of him.
He has a really interesting look and you
know interesting vibe and his voice is very
very indelible.
I can't really do him right now.
Thank you for coming on such short notice
and this is cool for him because Cole
usually does these hard military movies and all
this stuff and now to see him all
dressed up in these cool suits and looking
you know really dapper is uh it's still
strong.
It's really good for him.
We'll have an opportunity to work for me.
What do you say we got an audition?
Nobody's got a gun to your head.
That's it.
Driver's licences.
Pass them up.
Right here we have the next big action
beat of the film where the cars are
going they're going on a race.
What I wanted with this action scene was
I wanted to have the funkiness funky funky
funky music over it right so we have
this rap song Ride Ride that we got
from this unknown rapper out of Florida and
then it turns into another music cue but
it's all about you know just the cars
going really really fast and the manoeuvring of
Brian and Pierce who are now partners again
but they're still like they have this beef
with each other so what I wanted to
do is kind of like use this race
as kind of like a thing to pull
them together like in the beginning of the
race they're not partners but by the end
of the race they will be partners so
it's kind of a one-upsmanship that they
have throughout the beginning of this race where
you know Brian is out in the lead
and basically Pierce is trying to stick with
him and then Pierce is going to come
up alongside of them and kind of like
fuck with Brian and give him you know
give him the finger and this kind of
calls back like old times you know like
when they were in the streets in the
west coast doing what they do.
Why must I chase the cat?
It says a whole lot without saying anything
you know for him to come up alongside
of him look at his homie like that
and then give him a finger you know
and then roll it around like that and
then zoom ahead you know it's just that
they're buddies so they can do that kind
of shit and then they cut through the
two semis and then one of the other
guys in the back tries to do it
and he ends up getting crunched and the
famous shot with the saline mustang getting crunched
under the under the semi that we use
so prominently in advertising and every commercial people
love that.
I think the reason people love that shot
and they love this shot this shot right
here with Corvette that that wasn't supposed to
happen that was an accident like that was
a real accident um that people love seeing
cars get messed up like that is because
the cars are so expensive so when you
see like an expensive car get messed up
you just you cringe even more you know
you're like damn you know it'd be one
thing to have some some cheap car but
to see an expensive car like that get
totalled you like trip out.
All right Rome I got something for your
ass.
So here we go one upsmanship again you
know uh Brian gets up here on Pierce
and uh is showing off and everything you
know I love this Paul did that 180
for real on the freeway and then uh
he gives him the finger when you see
you see him smiling now you see Pierce
smiling you know he's asking him you know
he's still got it you know you see
by the end of they're both kind of
smiling and everything and they're both really back
into the kind of rhythm of their past
relationship.
All that's done without saying anything you know
it's done just within the context of the
action scene and that's the coolest thing about
it.
This right here was a short transition of
neighbourhoods within southern Florida right here this is
a little Haiti I think a lot of
Haitians and Jamaicans in the neighbourhood and just
went to Sean Paul saw him over it
and just to give it a little bit
of texture to show the different parts of
like Miami.
Here we go from there into the boatyard
with our guys and we get a little
bit of information you know Marone's checking out
where they're from and whether or not they're
really legit in terms of being criminals they're
criminals for him that means they're legit.
As I said before the purpose of this
action scene is not only for them to
get to the goal of the mission that
Marone has set forth for them in competition
with these other drivers but it's also see
you look at the cross-cutting with their
eyes and then boom together it's also to
show that these two guys are partners now
so like when they get out of the
car now at the end of the sequence
right here these are our two heroes you
know and it's plain and simple these are
the two guys these are our two heroes
and now they're partners you know it's been
done visually it hasn't been done with a
whole lot of dialogue and everything and stuff
you know they're on the mission they're joking
they're laughing and stuff and the audience is
along for the ride with them now put
your blouse back on it took time just
like four or five times before he broke
that glass he hurt his hand a couple
times he he wanted to take off his
shirt somewhere in the movie because he said
if i'm gonna do an action movie action
stars do two things they run across the
hoods of cars and they take off their
shirts so i said all right you get
a chance to take off his shirt in
the movie he worked out a whole lot
get ready just for that one moment what
the hell they doing here son
of a bitch juby record for popping cars
two years in jd then another year for
aiding and abetting an armed robbery here we
have the guys uh come back to the
mansion the mansion that we've shot this scene
in is an exclusive area of miami and
uh it used to be sylvester sloan's mansion
now it's owned by a friend of mine
who's a prominent banker in southern florida area
uh it's really beautiful you look at the
trees there it's kind of a real tropical
it has a salt water pond and great
access to the water and stuff hey man
here we go another chuckle within a scene
keeps the audience's interest going you have one
little laugh in a scene and so these
guys have accomplished their goal you'll notice in
the picture that there's a lot of uh
shots where i'm like close on people's faces
but it's like kind of distorted you know
like the image kind of curves and that's
because i started using a lot of really
wide lenses wide and close on people's faces
and it gives it a kind of a
different kind of look to it shut up
tell me to shut up both you girly
shut up unbelievable i love
setting up shots of composition with a foreground
middle ground background you know like here you
know the background is the two guys and
now the foreground is her where our interest
goes from the background into the foreground it's
beautiful to do those kind of things you
know and just and just have them pay
off and move the story forward it makes
the film interesting to watch in this subtle
kind of way i'm trying not to shoot
the film it's just the way any other
film is shot here's a
payoff look they find out what they went
after there's a cigar that's all in their
looks all in their faces it always gets
a good laugh from the audience you do
that for a job this right here is
this scene is kind of western influence too
you know like i told cole that i
wanted you to look like lee van cleef
and for a few dollars more and for
a fistful of dollars you know uh do
it you know work the cigar and work
your eyes and everything and stuff and you
know the way he just looks at them
off our cut yeah you know it's almost
like cowboy you know if you put a
cowboy hat on them you'd be the same
thing you know he's the cool bad guy
the bad guy is always one of the
most interesting characters in a picture and i
i feel like this is no exception what
is it just put in the car so
here he tells them what they're in he
tells them what he expects of them and
what he wants of them and of course
roman pierce uh tries to uh up the
ante right here and uh puts this thing
in you 100 g's at the finish line
make it 100 g's a piece poppy look
man obviously your pockets ain't nervous there's a
whole lot of subtle things going on here
i told the cast i said this may
seem like an easy movie to do but
it will really fuck it up if we
treat it like it's an easy movie to
do so we tried to put a lot
of nuances in here that people don't know
and really wouldn't appreciate unless they knew about
them like for example at the end of
this thing you have a punctuation he cut
the stuff with his uh cigar cutter and
everything and it makes this emphasis on them
getting the cigar and then at the end
of the whole thing uh pierce ends up
pocketing the cigar look at that i love
that shot you see the clouds moving and
then pierce doesn't even shake his hand and
then you know they're leaving here's a payoff
pockets aren't empty he's smart enough know that
pierce pocketed his expensive cigar cutter you know
because he's just that kind of cat that's
kind of like the chuckle of the scene
you know that's like it's an informational scene
but then people laugh at the end of
it they feel entertained you know it's not
just a bunch of people just sitting there
talking what running your mouth insulting people stealing
balloon shit think i'm gonna let somebody stare
me down i love this scene right here
you know uh he admonishes pierce for being
who pierce is and then pierce gets on
brian's case for being who brian is because
brian is obviously checking out uh monica and
he tells him off like he's always getting
into it over some chick and they're both
speaking from a very truthful standpoint so the
audience is on the ride and the audience
believes it right here we have the introduction
to tez's garage tez is played by ludacris
man tez's garage is ridiculous he's got the
best of everything snap-on tools all these
lifts are brand new they're only maybe a
couple months old hey yo jimmy what's up
man what up bullet hey that's rome right
there do me a favour when you get
a second i want you to check out
the evil as we have in most of
the film it's all about juxtaposition of the
cars and the sexy girls and stuff and
um my theme for this scene was lake
habasu uh which is i think is in
arizona where they always have the girls going
wild girls by the water and you know
and lots of sexy bikinis and stuff and
all that i love that shot emerging from
the water and really having the guys react
the way that a guy would in this
environment you know all these beautiful girls walking
all around you know i can't imagine some
guy walking all that and trying to be
all cool about it this is just to
set up tez as played by ludacris and
how he's like the man of like miami
i love this shot right here it's like
you know you got ludacris in the extreme
foreground and them in the close background you're
listening to them in the background and him
in the foreground at the same time it's
called using the whole frame how you doing
i'm good how you doing what's this what's
the latest it's a work in progress one
of my favourite contemporary filmmakers uh is steven
spielberg and he you know in casual conversations
with him he's always talking about you know
let the audience decide where to look in
the frame give them places to look in
the frame but you you're kind of dictating
where they're looking at the same time by
a composition so i'm always playing with kind
of creative blocking within the scene how the
characters are sitting or where they end up
right here we
you know we have our characters basically trying
to figure out where pierce is going to
sleep for the night and the cool thing
about this is is like i said before
there's a relationship between these two guys you
know uh paul that's his houseboat in the
background and he's friends with ted and ted
looks back and says how come you can't
stay with your place and pierce is like
you know i don't want to stay with
him he's got bad habits and look at
paul laugh paul kind of laughs he smirks
i was hoping paul didn't blow the take
you know it's just like that stuff is
just improv man it's like you know and
then right here back to ludacris who wants
to so jimmy so what's up the cool
thing about this setup this is more information
about why they were tracked and stuff the
gps is you have the car in the
foreground and you have there in the middle
ground in the background you have the other
cars you see the truck in the background
and you see the acura in the back
there's those attachments and they're like kind of
louis vitton kind of code it you know
but it's like it says tj on them
you know so you have the audience listening
to the information of the scene but they're
also the other half of the audience is
all of these cars and they're looking at
the designs on the cars and everything and
they're looking at suki in this hot bikini
uh devon's a model by profession originally and
she was walking around that bikini for most
of the day i was like you know
it's because she's used to walking around halfway
dressed and i took a robe and put
it on her and stuff she's like why
it's hot you know and i said yeah
you may be used to being this way
but you got half the crew looking at
you right now she's like a little sister
to me yeah yeah well they've been honest
ever since we left the room to us
this is a cool thing right here with
um brian telling pierce about the two guys
have been telling them and then a little
comedic moment here he sneaks up on him
from behind you know and he he's kind
of speaking broken spanish he doesn't know how
to speak spanish at all so he's like
basically making up whatever spanish he's you make
kiss my ass you find out he wasn't
putting water on there after all it was
put it was lighter fluid that he was
spraying on there a little smaller moment yeah
pisses off the bad guys that's always good
don't blow our cup before we even get
started hey bill can you tell me what
went wrong that's what i want and here
we're back to the scene where they have
to check in with the customs agents what's
going on hold this you think you can
shoot at me james remar's character markham gets
pissed up because pierce shot at him you
know and i felt like we needed some
kind of thing to like divide them and
the feds you know to really state forward
that they're like on a mission and that
they're criminals you know and they're not cops
or feds and everything and stuff like you
did well you didn't you didn't know and
so you have a really good tense right
here but with the two sides of them
tension tension tension i love kind of build
up tension to these two guys you find
out brian had a gun too all right
we're gonna get this under control and then
you have the release with a little bit
of humour right here with the food that
always gets a laugh with the audience so
tell me what you know towards the course
of this informational scene as we're getting the
information out got piercing the background eating this
sandwich the audience is into the information they're
listening to the information they're taking in the
information of what's moving the story forward but
you're holding their attention by certain things in
terms of like having the humour right here
you know it's good news if you're going
to be delivering drug money to him then
we can get him for laundry not there's
only one problem what's that quintess for ron's
tapping her you know and that leads into
into another pertinent thing in the story that
markham brings up here is that that brian
who pierce doesn't know brian let go his
other man in the past and as you
see right here in this shot we have
a little thing between him and bilkins there's
a connection between the two of them because
you know they were in the first movie
together and i think expert man i don't
know all right we'll keep an eye on
her we're out of here and so it's
really funny as these guys walking out together
pierce is asking them about what happened and
everything and then brian's response is uh i
said forget about it cuz you know and
it's so funny like and within like within
like uh kind of urban communities and everything
and stuff that kind of gets a big
laugh but paul came up with that himself
he just said it out the blue it's
so so funny people been saying cuz as
like man or whatever whatever but in some
connotations is it's like a kind of gang
thing to in little la some places in
la but most of it's just like man
or what's up bro or something but it's
some people like laugh when he says that
because it's so funny seeing paul saying it
so here we go with the next leg
of action scene is when they're faced with
the thing of having to get two cars
and then this scene is probably one of
my favourite uh action scenes in the film
because it's like it's so simple but at
the same time complex at the same time
it's like you know they basically have to
go from point a point b with two
cars and it's like the one upsmanship of
the rice rockets versus the american muscle cars
and so you have a whole huge contingent
of people that are are into import cars
and then you have a contingent of people
who are into just american cars wait wait
wait how about we settle this on the
blacktop huh each car does a down and
back tag team style slips loser walks home
we came to race well load them up
then come on let's get these cars all
right check it out there's no way we're
gonna beat these guys straight up the hemi's
putting out about 425 and the yanko snap
a speed on about five seconds flat so
this is really a really cool scene because
it basically divides a huge swath of people's
interests and um i really love the way
it lays out because you know it's not
just about the action scene itself it's about
the setup to the action scene like here
you know you know we're low here pierce
drives up and then tej comes in and
he explains the rules of the whole thing
and you know you see him full frame
with both cars straight reverse and then you
move back in to tej and he goes
in and bends over and then you cut
to his face breakfast through straws from now
on and he panned from his face over
to our guy right here eric eric bardi
and then over back over to tyrese you
know and they know the rules of the
whole game and here you have the setup
you know and you have a little bit
of humour here and it helps you know
just pierce doing all his shit talking and
everything and our guy's all cool and and
collected and everything and stuff you know darden's
all cool and collected because he knows he's
got all that power under the machine he's
got all motor and then pan and then
right here boom down and that smile comes
off of his face i mean that's great
that always that's like one of the hugest
laughs in the picture you know because it's
like people just know he's got a whole
lot of power under that engine and they
feel the whole jeopardy of the race right
then and there before the race has even
begun gotta smoke gotta smoke so here we
go again the setup to the race and
we change it up by having suki and
classic rebel without a cause fashion start the
race and zoom and we're off and as
we have before we have a mixture of
real shots and then stuff on stage that's
real right there you know that's real you
know that's real this is most of this
is actually uh that's that's on stage right
there some most of this is actually right
there on location um some of it was
done on stage i love this shot where
the camera tilts down upside down boom like
that another car coming in low angle past
us we juxtapose the race with the partners
waiting to begin their leg of the race
light and that's what creates even more tension
like to go into brian waiting for his
leg of the race oh i'm gonna get
you oh i'm gonna get you that car's
going home with me homie nice he nices
that's the cg shot warping again it goes
to kind of surreal surreal surreal you know
and then he gets him and you're kind
of nervous for pierce's prospects right here oh
and he's trying to play catch up right
now and boom he comes to the finish
line and automatically there's there's even more jeopardy
there's more tension you know you're like oh
what's gonna happen with our heroes i don't
know i love this shot here come on
wrong and he takes off and now brian
has got to be the clutch player and
pull it through but how can he when
uh corpy has obviously such a huge lead
on him this guy right here who's playing
corporate his name is johnny c he's a
real stuntman he ended up getting bumped up
into a small part because he did such
a good job he has such an interesting
look with his eyes johnny c let's see
if you got the ball so it goes
into a game of chicken that's on stage
the wheels are only computer generated and here
like juxtaposition of the eyes and then he
runs him off the road for half a
second i just tell paul this is luke
skywalk i love the shot right here right
there right there paul making the turn this
is just some real good stuff and and
once again a lot of this is really
just basic juxtaposition of images there's nothing here
except for just you know um really cool
editing i mean somebody there's a little bit
of cg in here you know there's a
little bit of a green screen in here
but most of this is really done right
then and there on the location those cars
right there the side of the car right
there those are cg cars that's not real
i only used that kind of stuff with
to kind of punctuate the scene like right
here these are cg it's kind of like
right out of the computer video games like
gran turismo and stuff but when you're watching
it in the context of the film you
don't notice that you know it's just so
quick two new cars that's on my mama
i love that line that was all improv
he just did it go get ready homeboy
get to walking fabio cool thing punctuation leave
them standing and they have the cars zoom
away our heroes win the race that scene
is known as the barrel race hey how
you doing good but you need to get
some right here we have a club pearl
club pearl is right next to nicky beach
and south beach miami florida it's a really
sexy sexy spot we we changed up some
of the decor here but we still have
the same atmosphere that is very very much
miami great background there tyrese actually shopped for
that shirt himself it's not a bad shirt
look at that girl on the swing right
there y'all hey you guys did something
right bro never socialises with hired help and
what's that make you where's he at he's
on his way and the scene we had
pierce kind of being kind of an arsehole
to monica throughout the picture because he basically
uh tyrese's reasoning was well if i'm not
gonna get a chance to screw the girl
i'm just gonna be an arsehole to her
so that was his reasoning for his character's
motivation for his attitude towards the girl so
it kind of worked you know i've been
a cop about two months when roman was
busted in the garage raid he had eight
sets of wheels in his possession each and
every one of them were hot we have
the guys right here uh brian and monica
kind of bonding talking and everything and the
sexy stuff in the background kind of drawing
them together started seeing me as a friend
that became the other she's undercover he's been
undercover so he understands and then we have
right here and she kind of touches her
shirt his shirt in a kind of simple
gesture then revealing varone and that was there
to just soak the seeds of jealousy within
varone with it being an innocent gesture and
then here's pierce pierce peeps out that is
there before they see him what's up he's
here man and then it's all about the
reveal they look across the room and there
he is he's been watching them all the
time excuse me mr varone would like for
you to join him let's do it see
what i'm talking about it's all right let
him in this is a cool uh little
scene right here where they're just basically in
the club with this guy it's obviously his
club it's his atmosphere she's beautiful isn't she
i love how he asked brian right here
you know if she's good looking or whatever
and brian has the guts and the balls
to just be like yeah she is you
know what's he gonna say you know no
he's not gonna wuss out just say not
so and he looks him right in the
eye doesn't break eye contact with him and
he gets the respect of the bad guy
for it i can appreciate that i always
joke with uh paul and cole that paul
is steve mcqueen to cole's paul newman they
look like younger versions of two older movie
stars five minutes of her time and she
can get anything she wants from him i
love that girl right there tara she she
was a dolphin's cheerleader she started as an
extra and she's actually if you want to
play world's waldo she's actually in the film
like three times she's in the opening scene
with the blue shorts uh getting out of
the truck and she's uh also right there
playing a little little part right there as
the the girl that lures him in tara
was so beautiful we never wanted her to
leave the set so we found another place
to put her in the picture she's a
real sweet girl for me it's cops in
particular as i said before i really i
looks and gestures he looks like he's checking
them out you know asking them about cops
and they hope they stand their ground and
he's still non-aware but it's it's also
setting up what happens with the cop in
the next scene let's go hey
this right here is the beginning of what's
known as the rat scene i wanted to
do this cool tracking shot slow motion with
the guys it's almost like out out of
one of those early rap videos but the
whole thing is about the tension of them
going down a corridor led by maroon so
you had the items on the table and
then pan over i'm gonna have a little
fun and i like this right here it's
like you know just setting up a little
tension here and they look over i love
this look for tyrese because i'm like well
you're looking at it you know and they
think that they're in jeopardy and then they
find out that they're not the ones that
are in jeopardy that this guy is and
he's been lured by tar right here one
of miami's finest thank you sweetheart you enjoying
yourself detective yeah i was and that right
there is uh my friend mark boone jr
uh mark boone was in a film i
did called rosewood and uh as well as
seven and momento he's a really good actor
really good actor i got one last job
for you detective he's playing a cop right
here who's basically been in pot with rome
for many years and brome wants to get
him to do something for him but he
doesn't want to do it so ron's going
to torture him this right here call it
the rat scene because it's the scene where
rome basically uses a rat to torture this
detective stop right now this scene came about
because the writers asked a kind of grim
grey colonel what was the worst form of
torture that they'd ever he'd ever heard of
and he heard of putting a rat in
a bucket on a person's stomach and then
heating up the bucket until the rat kind
of like gets so agitated that the rat
starts to bore his way into a person's
stomach hold that get it off me i'll
forget it did you know that your average
rat can chew through a steel drain pipe
but it's kind of cool because you know
for me the bad guy's got to do
bad things in a movie and you know
since the film had to be pg-13
we had to skirt a lot of what
we could do violently or whatever to really
show how despicable this guy is so i
had to do a whole lot with innuendo
and just implied violence and so you notice
you don't see the rat ever biting him
or anything you just i think in some
ways it's scarier because you have the sense
that something could happen you know i mean
the fear that like the sense that something
is happening off screen so the audience whatever
the audience is making up in their minds
is probably 10 times worse than anything that
we could show on film it's just like
reading a book and hearing or describing violence
in a book you know whatever the person
makes up in their head is always worse
than what can be shown okay i'll do
it do what say it give me the
window i love cole's face man look at
red and the bucket was really heating up
that red spot right there you betray me
am i right here this is cool for
cole as an actor because he he gets
a chance to really be the despicable guy
and he has this intense look you know
there's a shot right here i love of
cole right here like here where he puts
the thing right there like that i love
it i'll burn your eyes out he almost
said fucking eyes out i'll burn your fucking
eyes out but he stopped himself i would
have to tell cole every other minute not
to say fuck or or this or whatever
or any other swear words because uh it
had to keep it to a minimum of
how much swearing was in the movie to
get the rating boys enjoy the show 15
this is my first pg-13 movie i've
made several different films and you know this
is my first uh with the pg-13
rating and i think that we were able
to get a lot of cool stuff in
the movie at the same time really get
a you know a rating that the broadest
possible audience would be able to see the
film that was a damn rat man and
right here we have ron hemming up monica
in the corner it's kind of that dysfunctional
relationship thing where she's got to play like
she's really interested in him and he's basically
feels like he's in a relationship with her
not knowing that she's actually a customs agent
it adds a whole other level to it
and this scene right here at tez's garage
i felt this scene was really important and
it was just really made up because i
wanted to show these racers in the whole
car culture mechanic world these cats in a
real casual setting where they weren't just in
and around the race stuff you know they're
just playing cards hanging out there's just kids
hanging out on a regular week night just
kicking it right here we have jimmy
played by jen um and he's uh he's
basically he's a rapper by trade that chinese
kid was on bt 106 and park shutting
down brothers for like eight weeks so he's
a he's a top rapper his album's probably
out right now by the time this dvd
comes out it's so funny having wrapping up
on his ludicrous and uh as tash you
know the ludicrous of a test shuts him
down on the car table jimmy how you
ever gonna pay me back if you keep
using the tez like that and it's just
you know really to get the kids just
being kids you know just really being casual
man you know and i think that adds
a whole lot of kind of flavour to
the film and back to the story you
had mr paul walker uh sleep eye candy
for the teenage girls and peers when paul
sits up in bed with torso you're getting
all the little 13 year old girls hot
once you finish the run they're putting a
bullet in your head the cool thing about
this scene is it's innocent enough she's there
to tell them information and it's just between
the two of them and then the bad
guys arrive and that starts right out of
like one of the westerns man and then
here's pierce comes in sees the two of
them in bed together and he's like oh
okay yeah i ain't getting none of you
out here doing this with her and putting
us in danger so anyway they're getting dressed
and you know it's so funny looks so
suspicious and everything and then he's telling him
go out stall these guys this scene right
here was just all improv between myself and
tyrese just talking over what kind of funny
stuff we could do in the movie tyrese
uh we did a film together before called
baby boy um this is his only second
film and what i wanted to do with
him in this picture was i wanted him
to you know do some action and everything
but i wanted people to know how funny
he could be and so he's just funny
he can come up with lines man this
line right here he came up with about
the mould on the nose it gets a
really big laugh and you know he came
up with that himself man it's just like
he's hilarious when he wants to be and
he's not even a comedian he's just you
know a real amicable light-hearted funny guy
and so that makes him interesting to watch
yeah this scene uh you know the kiss
right there the little kiss right there one
of my only things with this whole movie
that i felt is that i felt that
um brian should have been able to sleep
with the girl but we went i don't
know from whatever reason he had it in
there we didn't we didn't end up doing
it i guess we were kind of over
analyse it i think but it turned up
pretty good innocently enough and we have the
jeopardy of her trying to get out don't
even think about it obviously boom she's out
of there this is cool because you know
these two sets of guys are gonna end
up very soon going on the rest of
the adventure together so it's good to really
solidify the adversarial vibe between the four of
them and you have like as cool as
i has to have them shouting at each
other in spanish there's a lot of places
in this movie where i have a lot
of spanish being spoken just really casually and
i did that because the universal hit me
to the fact that the first audience for
the first fast and furious was over 40
percent spanish speaking because there's a huge contingent
of people that speak spanish that are that
are car enthusiasts and that were really into
the first film so i knew it was
very important for me to really address that
plus being in miami you know you have
a lot of cubans in there anyway so
they're not going to just be speaking english
maybe we see spanish and spanglish and amalgamation
of both what the hell was she doing
in there rebecca verone's mansion ava very sexy
hot body look at whoa look at that
eye candy we basically rewrote the
scene to show the differences between them like
he kind of catches her in her lie
she's like i do have friends and he
looks at her like you know i know
you're fucking lying to me you know he's
just saying everything like you're lying you lying
bitch you're lying to me and he just
throws the glasses on her he's all dressed
out looking all cool and she looks over
and she has none to wear she doesn't
know that she's been got but he's going
to set her up really soon now right
here we have another what we call informational
scene where the guys go back to the
feds well anyhow this is the deal last
night barone threatened a cop and he given
us a window we're driving to an airstrip
in the keys off of nullwood avenue on
bilkins and his shirt uh the costume designer
sonja hayes i told her i wanted bilkins
to have like the worst looking tropical search
she could find so she went to downtown
la in one of those back alleys and
she found that yellow shirt i just knew
that you know like i said before even
within these informational scenes you had to have
a couple chuckles so that's just there to
break up the tension like you get a
little laugh and then people listen to the
rest of the scene it keeps their attention
together so i can move in for the
bus and then uh here we have james
reamer as markham being the resident dick of
the movie he's like he's got to be
the arsehole of the movie to the guys
and to make sure nothing happens there's that
shirt again yeah right so basically you know
our heroes are faced with a little jeopardy
they're on a mission that they can't get
off of it's almost a suicide mission and
so they come out and they formulate a
plan if we don't do this then we
go to jail but if we do it
then baron's gonna kill us this scene right
here while we were shooting this it was
a hard scene to do because the bridge
in the background was going up the boats
were going back through that that's the miami
river right there and you see how it
looks right here it looks all right but
it doesn't look as the way it really
looks we kind of like used uh digital
processing to make it look a little bit
more blue than it was it's kind of
like a dredge uh just ships come in
and out of there yo what's up bro
what's up and here we go with the
plan in the warehouse district we set it
up our guys have a plan to kind
of like make this mission work and that'll
come back and right here we have a
montage of of our guys in the garage
doing what they do over music suki and
her crew love that little swerve on that
you know our guys are just doing their
thing and kind of processing how they're gonna
make this plan work and brian gets an
idea and he calls out to jimmy and
the wheels are in motion for what they're
going to do and so right here this
scene right here that's the that's in the
florida keys that's the seven mile bridge to
the florida keys which will come up later
on because marone sent them on a mission
where they had to meet him the keys
with the cargo that they have to carry
with the way things are shaping up out
here right now it'll be a matter of
time this scene right here it was a
really difficult scene to try to come up
with where we could solidify the relationship between
brian and pierce in a not so schmaltzy
way you know it's like the scene serves
different purposes it serves a purpose to to
call back to why brian's character does what
he does at the end of the first
fast and furious and then at the same
time solidify the nature of the relationship between
these two characters who at this film is
successful will see other pictures with that's once
you know that so why you let that
dude go in la it's a really great
scene you know it's almost like if done
wrongly it wouldn't have been the right place
in a movie like this because it has
so much weight to it between these two
guys it's all on me mr i shot
it in such a way where you know
how guys are when they do some of
the emotion the guys don't look at each
other so i had the guys not even
look at each other when one guy's talking
the other guy doesn't look at him and
then when the other guy's talking the other
guy doesn't look at him so it's really
you know it's really a cool little scene
not anymore bro the time lapse
and now the wheels are in motion for
the climax of the movie the bad guy
is making his getaway and the custom agents
are all waiting for something to happen you
know our guys have been instructed to meet
him and stuff and so forth i got
verona's navigator leaving the residence copy sir we've
got verona on the move to the earth
strip good let's get a bird in the
air tell him keep his distance all these
guys right here they're all real customs agents
these guys are in charge of making sure
that no drugs get in the country through
the miami ports it's a hard job report
and here we have a character i call
flow it's like a surprise that she's an
agent she's in the trailer yard and then
he has to make a decision he doesn't
know what he's gonna do whether or not
he's gonna help her own or not and
right here our guys pull up to versailles
cafe that's that's in little havana it's a
prominent cuban cafe in havana and that's where
they've been instructed to meet the two guys
roberto and enrique come on man this is
tyrese's first shot of the movie right here
i was made for this bro here are
guys more cowboy moments like a western and
then we have paul with the eyes of
the tiger then they go to the trailer
park and you know the interesting thing about
doing a picture like this is to use
different motifs from different films to serve a
purpose like i could say in western before
look at these guys are essentially you know
they're the bad guys look at that the
attitude the stance and they look and they
look like you know they could bash them
with those sledgehammers and our guys are reluctant
to follow i love this uh this guy
that opens it up jose that's jose he
was one of the people working the extra
casting i put that jacket on him the
jacket is so funny i got activity and
her own trailer property do not move an
inch until i tell you to and then
right here they're bashing to find the money
and they tell us in spanish you know
watch out for the picture he bashes it
out and then they find maroon's dash a
lot larger money that needs to go back
to the drug dealers and he tells them
to load up load up all units move
on the trailer now coming up is a
shot that uh i really like it's a
upside down shot of it i love that
shot it turns around like that local pd
is moving in on our guys three bags
in one car this shot right here it
starts here paul looks up then enrique looks
up and then they look around and then
boom and then brian walks right into frame
and turns around as he hears cops i
love that shot man it's so cool i'm
not going back to jail pierce has a
little hero moment what is he doing when
he sets car uses the car as a
battle room ram and then as he wins
and triumphs he comes out to the car
popping his collar on both sides that's so
like hoodish okay now let's get the chopper
over them i want eyes right on top
you got it nema 25 follow gps we're
really into it right now you know our
guys are being chased and what we do
in this scene is we call this like
the esd aerial kind of scene on the
news and media everything you always see cars
chased by the cops and you know it's
kind of futile you know it's futile that
they'll never get away in real life but
the phenomenal thing is movies are reflection of
real life you can use the tension of
reality to help the interest in film so
it's like they're being chased by all the
cops in southern florida right now inadvertently so
that adds tension to the whole thing oh
shit they're catching up man shut up man
man i love the bad guys the bad
guys are checking their seat belts throughout this
whole thing you know that shot was neil
moretz he's the producer of the movie you
know just keeping it going man and then
all of a sudden another element comes helicopters
come you know overhead and the helicopters have
those devices that shut down the electrical system
of the cars and brian sees that and
this was set up to have the hero
kind of triumph against something that has defeated
him earlier on in the movie so
the whole mission would be jeopardised if brian's
car goes out look at that that's like
the bad guy is afraid to drive he
turns into a scared little girl and a
fast car that's great and so brian has
to get out of the car while the
car is going fast and he's and pull
this thing out it's really cool you know
it's like it's a real cool hero moment
for him the tension of the police car
is getting closer the car about to shut
down an electrical system he's trying to pull
it out it's losing speed the police are
getting there the car is going to go
off and then all of a sudden he
triumphs he gets it out and he throws
it at the police and then they crash
it's a great hero moment and then look
at neil again i
love how it gives him a hell no
right here uh enrique right here at the
end of it it's like it's great man
it's good stuff it's real good stuff i
really love that sequence this scene was shot
in the everglades we were in everglades with
alligators and everything all around us and snakes
up in the grass i like shooting exotic
locations we got verona's navigator all right money's
in transit sit tight and right here okay
i love this sequence only because i wanted
to try to find a way to make
it unique that they had to get to
the end of it and it's all about
a montage of our guys racing and it
gets more and more intense right here look
at this and then look at the knot
the knot comes back and right look brian
nods to him and he looks back and
it's on you see our guys skills and
in just a montage form you just see
them turning corners hitting them corners hard you
know just seeing them drive a car's rack
and the bad guys complimenting him on being
a good driver like they're buds now video
should be coming through i got it looks
good where are they going i love this
one enrique like switches in his seat right
here living with pierce in the car like
he's scared it's like right here but i
love seeing these bad guys scared come on
stay with me boys watch this he's looking
up and then look from it and then
two and then back in the car look
at that it's all by design they set
up everybody they set up the cops they
set up the feds all right let the
party begin let's go they're in the warehouse
and then go in now you just know
they're caught you know there's no way out
of this that guy's bob minor he's a
stunt coordinator he's worked on a lot of
my films all the way back to boys
in the hood it's a veteran stunt man
the idea behind this is the trucks that
come out here they're kind of like blockers
like you know in a football game you
know you need your blockers and they come
out and they disperse the cops kids love
this you know over the track you have
david arnold's score it's kind of latin tinge
you have a friend of mine who's a
local cuban rapper in miami named pet bull
he's rapping over the score and everything and
it gives it a whole other texture too
i love it man it's just like it's
phenomenal and you got the biggest scramble of
rice rockets ever and all that had to
be choreographed and we had not one crash
of cars we had a mixture of stunt
drivers and local miami people race enthusiasts rice
rockets enthusiasts car enthusiasts that were using their
cars and doing the driving and you know
they all worked together in unison to make
the scramble work man and make sure nobody
got hurt nobody's car got damaged and stuff
it worked out really well man we're
not tracking them on video must have lost
them in the scramble y'all let's break
i love this shot right here where our
hero cars end up coming out of the
garage and i kind of zoom towards them
on the lens as our hero cars come
out it's all fun man it's all good
fun man it's like the big thing about
this movie that i really love and what
i really wanted to do the film was
that it's just a fun movie it's just
there's nothing pretentious about it there's nothing particularly
deep about it it's just a really fun
what we call a popcorn movie a great
saturday night movie to go see and there's
a little bit in here for everybody all
right we got him going west on beats
roger that i've got him i love these
cars look at these beauty shots of the
cars again man these cars in action these
cars are everybody wants constance has a fix
on two cars going west on beach roger
follow those cars roger that more
beauty shots of the cars in these turns
it's almost like watching the news you're like
you know they're not going to get away
you know and they come to a dead
end and your heart kind of drops just
like bilkins right here and then we have
set up and then we're real and whoop
you know that's not pierce that's not tyrese
that's suki and it's tash i know my
tags are out of date but dang i
love this this payoff so where are they
where are they and they are on the
freeway in the american muscle cars so all
the american muscle car enthusiasts are going crazy
and then we have a reveal of the
money that's in the back of uh both
cars that's obviously a cg shot this
is good because you see the good guys
and the bad guys bonding together those they're
just laughing and you know it's cheesing together
and everything and joking you know and then
as we get back on the road they
end up going back into their roles again
you really do owe me man you really
do was the last time you see ludacris
and devon in the movie right here and
then now our guys are like back in
the business ahead of it the bad guys
are relaxed right here smiling they've kind of
relaxed the bad guys enough and they're about
to set them up what you lost them
shit those little pricks are running we're gonna
take him down he is not leaving here
and here we go this is one of
my favourite scenes right here where uh i
call this so tyrese is one of his
hero moments you know where he basically uses
humour and action and everything you know man
this car can do all kind of things
man look at that look look at look
you know he's been about to get him
check this out right here he uses all
the different elements that he has to to
make a really interesting scene cool you know
human reaction everything you know and then he
gets him pops him out of the car
it's so great because it's like you know
this kid is basically playing a whole lot
of kids in the country you know it's
like they're watching it at the same time
and living vicariously through that character man i
think that that's what really one of the
things that makes the film so accessible is
that the kids in america are watching the
film and seeing themselves as different people in
the film one of the main powers of
this movie is that the cast is so
multi-ethnic there's somebody in in this film
that everybody can identify with in terms of
the young people in america what do you
mean not verona's witness then where the hell
are they let his pa told him to
terminator look you know he's about to pop
him out himself but then he gets some
news and then he inadvertently gives himself away
by saying there's no airstrip and it's like
oops he said the wrong thing but he
knows that if he doesn't go he won't
be able to save monica so he goes
along with it all these scenes right here
were shot in and around the florida keys
that's why it has the look that it
has like with the beautiful skies and the
blue water right here look at in the
background while we were shooting this in between
shots here i was like fishing me tyrese
and paul would just fish every day damn
yo what the hell is he doing this
is a really good shot right here he
walks past and they have counter movement and
brian's not coming it was really good to
shoot in the keys because it was so
relaxing and you know like i said you
would fish you would swim in between shots
i had so much fun making this movie
and the cast was young no big egos
or nothing on the set and everything everybody's
having a good time we're all laughing every
day uh the worst of it was the
mosquito sometime and sunburn but you know hey
if you could get paid to be in
florida and hang out with paul walker and
tyrese and and ava mendez wouldn't you do
it where's the rest this is great
this right here is uh kind of again
mano mano between brian and varone here's your
money so you know nothing about the agents
that's throwing my jet i wish i could
add more scenes with these two guys together
because their faces are so chiselled so different
they're they're young actors but they have the
kind of like the soul of the movie
stars of the past and even ava here
like with her eyes a lot of this
in this scene right here in terms of
like the jeopardy of it is done with
gestures there's hardly any words here we're on
a boat let's go get on the boat
and look at this and then look at
the eye that she cuts over to brian
she's hard it was a cool chick i
call her like a fine ass tomboy because
she's like she's always doing this really intense
stuff man hide the cars and get rid
of him back in the car another
he breaks the fourth wall right here that
was right in the camera matt who plays
enrique right here uh came up with this
thing where he wanted to be able to
tell uh brian's character that he liked him
but you know he had to kill him
you know i was against it at first
but it really works you know i like
you but i still gotta kill you it's
my job what's that what's that it's barstow
baby it's about to get ugly let's
go let's go now this right here this
is one of the cooler parts of the
film that really really hammers home the whole
thing that that at this point of the
film brian and pierce are partners look at
that he's like he's just dirty fighting bites
him and everything you know i love that
and then you know he pulls him out
to help his homie pierce kicks him and
brian gets up he's gonna shoot him but
then he decides not to shoot him decides
to kick him himself and they rat pack
him ghetto style they just bop him ghetto
style like that man it's just the audience
goes crazy when they see that because it's
like you know it's just it's so street
you had me you slept this boat i
don't think i've ever seen this done in
a movie before where like a four million
dollar yacht has been destroyed by a hundred
some thousand dollar car you know it's a
really expensive stunt we were all kind of
like shitting in our pants that it would
work because if it didn't work and be
a disaster i thought you was dead man
yeah me too that's the same my ass
bro what are you doing brian i don't
know but if the road sees a helicopter
a customs boat she's dead boat chasing the
boat either there's jeopardy here you don't know
what they're gonna do they don't know what
they're gonna do you know it's cool because
it helps in the film the audiences along
with kind of the spontaneity of what the
characters are gonna do and within this thing
and it it kind of adds the last
action beat for the whole film then he
ends up jumping this american muscle car dukes
of hazard style into this uh four million
dollar yacht that would piss off any bad
guy boom right there and that was that
right there was a minor miracle once we
got the composite back together when we saw
the pieces of that i was like breathing
a little bit i think i broke my
arm and
then the bad guy comes along and it
ends up back to the western thing cowboy
moment and uh brian ends up getting them
down and he's about to shoot him again
right there raises a gun about shoot him
again but then monica comes along it's over
carter i mean as i said before you
know the film is pg-13 there's only
so much that we could get away with
in terms of violence and you know so
and there's a lot of us this stuff
is implied you know a lot of restrictions
of pg-13 but it does allow you
to to make a film that would be
shown in every theatre in the country and
as broadly as possible which is good look
at the back of that boat here it
is you know this is almost the denominator
of the film and you know our guys
go to mark them three bags total huh
the three from the boat this is really
a good place in the film to see
how these two guys brian and pierce have
really bonded this nod here look at that
subtle nod that paul gives them just enough
you know they're both in on this you
know like he's basically good but not that
it's all right to give markham the rest
of the money and then pulls it out
falls in so maybe there was six bags
i guess we can call it even agent
done sir all this that comes after this
is all improvisation man between uh the two
guys and the bad guy we're just playing
around on the set man just coming up
with stuff don't drop the so big homie
i hope you know that when he gets
out he's gonna kill your ass that's tyrese
doing his thing that's paul doing his thing
you know and cole doing his thing he
said he's gonna get out you know that
wasn't all this wasn't scripted it was all
like stuff these guys came up with it
works there's a sedan out on the road
for you try to bring it back in
one piece thanks a lot bilkins you all
right thanks thanks for looking out man yeah
this is cool right here it's just like
you know kind of like the end of
the film there's still a little bit unresolved
sexual tension between brian and monica and it's
kind of like you know she gives him
that look like yeah i'm gonna see you
again he gives her that look like yeah
i know i'm gonna see you again she
doesn't look he doesn't look they know something's
gonna happen later on yeah i'm gonna have
to stay out here in miami man keep
you out of trouble bro you know what
i'm talking about you're gonna kick it in
miami bro this right here this is one
of the last scenes that we did in
the film in florida open the garage together
it was really cool because we didn't end
it with a whole big stunt or nothing
like that and everything we just ended it
with the two guys i felt it was
real important to end it with just the
two guys it's so funny to see paul
say that because he's such a cool white
boy from the beach and then it just
ends on these two guys man boom you
know partners fast and furious too fast too
furious the end title sequence right here is
is very much influenced by the video games
that gave me inspiration for some of the
races like the gran turismo games and uh
tokyo racer games and stuff right a little
dash of anime here and there they're really
interesting to watch the this title sequence because
it's like you have to understand there's a
whole generation of movie goers that have grown
up on other visual mediums other than television
and films and motion pictures there's a music
video world there is the video game world
you know and then there's animation world so
they have a whole generation that's growing up
on music videos video games and then uh
watching animation so a lot of the things
that were done in this picture are an
amalgamation of those influences and i think that
that's what makes the film look a little
different you know at the same time you
know i've grown up with those stimulants but
i try to make sure that my primary
focus or that any film is on telling
the story you know no matter how flimsy
the script or maybe how deep the movie
is or whatever that the focus is always
on a story and moving the picture forward
another big influence on my stylistic in this
picture was playing with hot wheels i would
play with hot wheels on my desk all
day and just you know making them go
across the desk you know hot wheels so
that's that too fast too furious i hope
you enjoyed my audio commentary and feel free
to look at the rest of the features
on this dvd put a lot of interesting
things on here a little extra things for
people that are really interested in the behind
the scenes of the how and why we
made this film enjoy peace out broken
and cleaned out your crib boy what you
gonna do just got a new pair and
then scuffed your shoes tell me what you
gonna do act a fool now them cops
trying to throw you in them county blues
boy what you gonna do traps cops and
robbers it's 9-1-1 please call the
doctor evacuate the building and trick the pig
since everybody want a piece we gonna split
your wig see some fool slips up and
overstep you're about to catch a cold you
think 12 gonna catch me give me a
break i'm supercharged with a hideaway licence plate
it seems they want to fingerprint me and
give me some years they'll only get one
finger while i'm shifting gears i got suede
on my roof wood grain on the dash
sheepskin on the rug golden grain in the
stash hydraulics all around so i shake the
ride we go front back and side to
side just tripped up and made you spill
your drink tell me what you gonna do
act a fool now your car just stopped
on an empty tank boy what you gonna
do act a fool if you got late
bills and you lost your job tell me
what you gonna do act a fool if
you're about to get drunk and you ready
to mob boy what you gonna do act
a fool let's take it to the streets
because i'm ready to cruise just bought me
and my cars all some brand new shoes
and the people's just there so i love
to park it and i just put a
computer in the glove compartment with my pedals
to the floor radar on the grill tv
in the middle of my steering wheel it's
my car's birthday so we blowing them candles
most speakers in the trunk that my ride
can handle got my name in the headrest
read it and weep nice tank in the
back camel hair on the seat and when
i pull up to the club i get
all the affection because the women love the
painting they can see their reflection i'm about
to take off so f what you heard
because my side mirrors flap like a bird
and for the fools we gonna clock one
then we'll one because my folk riding shotgun
with us you just got hustled for a
while to cash man what you gonna do
act a fool nigga prince just smoked up
your brand new stash say what you gonna
do act a fool and them girls up
the block still running their mouth boy what
you gonna do act a fool if anybody
talk bad about the dirty sound tell me
what i'm gonna do act a fool i
got my eyes wide shut and my trunk
wide open did doughnuts last week in the
street still smoking see i'm off the antifreeze
and my car is tipsy on the off
ramp doing about 150 rolling through learn on
my way to bend heels slide a five
to the junkie to clean my windshield got
the whole crew riding and we started i
even got a trailer hitch with a barbecue
pit and now all you want to do
is get drunk and pouch look your new
name is five because we stomped you out
and yeah we trees and bees that's fantastic
so girls hold your weed while i'm weaving
through traffic i kick the fifth gear and
tear the road apart you'll be like little
john q and get a change of heart
it's one mission two clips and some triple
beans i'm about to blow this whole stuff
to snivelling oh you just came home from
doing a bid tell me what you gonna
do act a fool somebody broke it and
cleaned out your crib boy what you gonna
do act a fool just bought a new
pair and they scuffed your shoes tell me
what you gonna do act a fool now
them cops trying to throw you in them
county blues boy what you gonna do act
a fool all my potholes in the street
just pinch your ribs tell me what you
gonna do act a fool man that ain't
sticky that sticks and stems boy what you
gonna do act a fool catch a man
with another chump in your bed ladies what
you gonna do act a fool if the
bottle's all gone and your eyes are red
boy what you gonna do act a fool
More From 2 Fast 2 Furious (2003)
2 Bi 2 Furious – Video Essay – Ben From Canada
I found this very amusing video on YouTube by “Ben from Canada” discussing the relationship between Brian, Roman and Monica. It is provided here with subtitles and a transcript for your convenience.
2 Bi 2 Furious - Video Essay - Ben From Canada
Too Fast, Too Furious is the sequel to
The Fast and the Furious, and it's also
super gay.
It's super gay.
It's so gay it made me gay, and
it can for you too.
I've seen this interpretation before online, but I've
always been sceptical of this interpretation.
Despite never having seen the film, I'd seen
the sequels and I know that these characters
are just friends, so it must be just
some shippers writing desperate headcanon, right?
Well...
So in One Fast One Furious, Brian O
'Connor is an undercover cop who infiltrates Dominic
Toretto's gang, but he ends up becoming close
friends with him, and at the very end,
he lets Dom go.
Because of this, Brian is discharged from the
FBI.
Too Fast, Too Furious is again about Brian,
now an ex-cop, partnering up with a
new character, his old criminal friend, Roman Pierce.
They're recruited by the FBI and a double
agent named Monica to infiltrate another gang led
by a guy named Verone.
If they complete the mission, Brian will get
reinstated and Roman will be released from his
parole.
Roman hates Brian at first because he blames
him for getting arrested for some reason, and
over the course of the movie, they will
need to reconcile with each other.
Monica is also Brian's love interest throughout the
film.
With the help of Monica, Brian and Roman
get a meeting with the gang.
They have to win an initiation by racing
to collect a package for Verone.
They win and Verone gives them the job.
Brian and Roman find out that Monica isn't
just undercover, she's also Verone's mistress.
So there's a bit of, ooh, can we
trust her?
And then there's a bit of messing around,
Brian and Roman have to do a drag
race to win some cars to help them
with the job, yada yada.
Verone threatens Brian over flirting with Monica, Monica
sleeps with Brian and almost blows everyone's cover,
and then the big heist happens.
Roman and Brian are friends again, they pick
up a whole bunch of cash for the
gang, the FBI almost messes everything up so
they pull a switcheroo on them, and in
the end, they catch Verone by driving a
car into his yacht.
The FBI catches the bad guy, our boys
get their lives back, the end.
It's pretty simple.
But let's talk about subtext.
Text is any content of the piece of
media that you're consuming.
Words in books, lyrics in songs, but also
things like illustrations in a comic book.
And in film, it's everything that's in the
film.
Script, camera angles, lighting, acting.
Now whatever is being said to the audience
by the text can be subverted by what
other elements of the text are implying.
Note, for example, the Kuleshov effect, where a
performance can both heavily influence and be heavily
influenced by the editing.
The results of a certain performance matched with
a certain cut can create unintentional results on
an audience.
So when you watch this film and any
part of you thinks to yourself, are they
gay?
Even for a second, that's your brain taking
in all the information given by the dialogue,
performances, camera, and choreography, and deducing that there's
a romantic connection here.
And that's a beautiful thing.
But our characters never kiss.
It's never said out loud.
So is this just some repressed tension within
viewers who want to see them as boyfriends?
Or is there something in the subtext that
honestly leads people to that conclusion?
So let's investigate the queer movie inside of
this heist movie.
I've gathered all the evidence.
I'm going to make my case.
This is two by two furious.
Brian O'Connor is back and better than
ever.
Just kidding, he's in the bad books of
the FBI for letting Dom Toretto go at
the end of One Fast One Furious.
He's recruited from another job by Monica and
Raiden from Moral Combat Annihilation, who uses his
lightning powers to make him crash through parking
taxes.
But Brian is feeling really lonely.
Things ended weirdly in his last relationship, and
he doesn't want to get partnered up with
someone just new.
Having reinvigorated his romantic side, he feels inspired
to try and reconcile with his ex-boyfriend,
Roman Pearce.
We meet Roman, who's participating in muscle car
derby.
He sees Brian and gets extremely pissed off.
He even bites his lip as he walks
away, reminded immediately of the deep sexual relationship
they had.
The camera shows his house arrest tracker.
This is a very important symbol of the
weight shackled onto him of the heartbreak that
he's been feeling.
Brian whistles at him to get his attention,
kind of like a cat caller.
We get an extremely dynamic whip pan around
as Roman finally faces his ex-boyfriend.
Roman bites his lip again as he walks
towards him, the sexual tension building as he
approaches this beautiful blonde man.
And Roman punches him.
They get into a fierce scrap.
They grapple on the dirt, and Roman ends
up on top of him.
Brian wraps his legs around Roman before receiving
another blow.
It's so hot that even the police captain
goes, Whoo!
They continue their homoerotic grapple, and we cut
to a shot showing Brian's ankle before comparing
it to Roman's, who is the only one
shackled.
What this symbolism is telling us is that
Brian does not have as much baggage as
Roman.
Roman was the one most hurt by the
breakup.
Brian insults him by saying he fights like
shit before saying straight up, out loud, I'm
gonna choke you.
I'm gonna choke you.
And then he puts his hand on his
throat.
Like, come on, guys.
This is not only gay, it's extremely erotic.
And I don't even need to elaborate on
this.
This is straight up a clothed sex position.
We get some hints as to why Roman
is so mad at Brian, and he says,
Up to your three ears, Brian!
I told you it wasn't my fault!
But he finally relents under Brian's chokehold, and
they get up in a very extended shot.
He kneels in front of him in like
a domineering position before sitting back.
They lie with their legs apart in front
of each other, which kind of looks like
two lovers who are exhausted after a climax.
And then Roman says, When I needed your
ass, you were nowhere to be found.
And at this point, I'm genuinely worried about
getting demonetised.
They stand up and have a face-off.
Their faces so close together.
Brian says, I need you to come to
Miami and drive with me.
So romantic.
And then Roman clarifies what he meant by
three years.
I did three years in jail.
Three years in jail over you, Brian.
Guess what, ladies and gentlemen?
We got a metaphor.
While Brian broke off the relationship and headed
for new ground, for Roman, the breakup rocked
his world.
He spent three years alone and lost, both
literally and emotionally.
Trapped in isolation, shackled by heartbreak, betrayed by
the man he loved.
It's a metaphor.
I know it's a metaphor.
I really relate to this.
When you're grieving a relationship, you feel trapped
in yourself.
Brian gets even more in his face, and
they get this close to kissing, and Roman
pushes him off, naturally.
An interesting thing here is the captain doesn't
even look at them.
He just can't.
It's not his conflict.
He's simply there facilitating.
I ain't in it.
Almost like a couple's counsellor.
Brian and the captain drive Roman to the
police station.
Roman's a little unsure about this whole thing,
but Brian licks his lips again as he
comforts Roman, trying to get him to trust
him again.
And then we get to the third wheel
of this love triangle.
That's right.
It's a love triangle movie.
Monica.
Both of our bisexual heroes are immediately attracted
to her.
At this point, where their cars are revealed,
Roman gives a very suggestive touch to Brian,
saying, Don't even think about taking the convertible.
It might loosen your moose.
Monica decides to get in the car with
Brian, and Roman immediately objects.
Why she gotta ride with you?
This is a very important element of the
love story.
This is my favourite part of this reading.
This part blew my mind when I was
looking back at it.
Monica flirts with Brian for a bit, and
Brian pulls the stare and drive on her.
What are you doing, Brian?
Which is really dangerous.
Do not do this.
Roman calls him out and then says to
Monica, You got that from me.
Oh, hang on.
Very poignantly, he never says how exactly he
got it from him.
So under this reading, based on all this
evidence, it's not too much of a leap
to realise that Roman did this move on
Brian early on in their relationship.
And Monica even acknowledges this, looking back at
Brian with like a, Holy shit, really?
face.
She knows, guys.
She knows.
What we're really looking at here is a
love triangle between a woman and two bi
men.
Roman and Brian have to race to collect
a package, working together for the first time
in three years.
And the flirting really kicks up a notch.
Roman drives up alongside Brian and holds up
his middle finger.
Brian grins at him, and then Roman swirls
his finger around in the air.
Now, for the sake of children in the
audience, I'm not going to elaborate any further.
But for us adults, we know what this
is.
This is one of Roman's moves.
Brian laughs and says, Oh yeah, you think
he's the bomb, Roman?
Yeah, he's probably the bomb.
You might even say the top bomb.
This entire sequence is full of these moments.
The references to driving skills are so explicitly
analogous to sex, it's almost impossible to not
notice it.
Our two boys are clearly having a lot
of fun driving together for the first time.
Racing was clearly a huge part of their
relationship.
And this is the first moment of the
rekindling of that romance.
It was their favourite thing to do together.
The sparks are flying again.
They're flirting and working together effectively.
Friendly competition with a sexual charge.
They find the car they're looking for, and
Roman takes off his shirt to reveal a
beautiful sweaty, muscly body using his shirt to
punch a window open.
Brian gets what they're looking for and says,
Now put your blouse back on, hater.
Which, oof, is just such a spicy dig
at his ex.
I've literally seen gay men talk to each
other this way.
They arrive back and Monica greets the boys.
As she's walking away, Roman snaps at Brian,
asking, What you checking her out for?
With the exact same jealousy someone would have
for their partner's wandering eyes.
And then we cut to a whole scene
later and they're still talking about it.
Yes, you were.
No, I wasn't.
Like a good two minutes have passed and
they're still not done talking about it.
Kind of like a couple.
Brian finally admits he was checking her out
and says to Roman, Shut up.
And Roman just says, Shut up.
I don't know what to tell y'all.
This is clearly a bitter jealousy.
Not of Monica, but of Brian's eye.
And then Monica says, Both you girlies shut
up.
The crazy thing about this is it's not
a secret.
I think Monica knows exactly what's going on
between them, which makes it a really interesting
dynamic.
Rather than keeping their sexuality a secret, everyone
here knows what's going on.
All the bickering is coming from an honest
place in the characters.
And Monica is just trying not to get
involved, but really wants to get with Brian.
Everyone has their own motivations for doing what
they're doing.
And Brian's caught between these two really attractive
people, knowing that if he pursues Monica, he's
going to hurt Roman.
It's just a good romantic comedy setup.
Oh, then we get to some really fun
stuff.
So the boss comes in and gives the
terms of the job, and Roman tries to
get more money out of him.
He teases Verone with a little poke, and
Verone reacts extremely aggressively.
Don't ever touch me.
It's almost like he's reacting homophobically to a
gay man touching him.
So not only is their sexuality extremely present,
it's also influencing their relationship to the villain?
That's mmm.
Wait, is this a good queer movie?
And then we get a big reveal.
They walk away and Brian gives an extremely
flirtatious neck grab before demanding that he will
do the talking.
From here on out, I do the talking.
Like me, you want to do a little
more than that.
Brian goes, Oh, what's that supposed to mean?
Which is a really important line that's actually
going to come up later.
It means you're always getting in trouble over
female, Brian.
Oh, shit!
Wait, maybe they didn't just break up over
this police squabble.
Maybe Brian cheated on Roman with a woman.
That would explain so much.
The over-hostility from Roman over Brian flirting
with Monica.
The over-the-top pain that he feels
over the betrayal.
Brian looks genuinely called out by this.
Roman stares at him with this knowing look,
and Brian sinks back into the car, feeling
personally attacked.
What these looks tell us is that they've
had a history with Brian's behaviour towards women
in their relationship.
This makes it not just bi, but genuinely
interesting.
The breakup wasn't just some hack conflict related
to their job.
It may have stemmed from some heavy commitment
failings on Brian's part.
This is compelling.
So they go to Ludacris's garage to suit
up their cars, and Brian starts telling Roman
everything cool that's there.
It was their favourite hobby together, so he's
eager to please Rome by showing him around.
Rome then says, Man, it's so hot and
humid out here, I can't even wear no
drawers.
Tell me about it.
Oh, guys, you're killing me here.
Then he says, Look at all this potential
out here.
Before we cut to a tonne of hot
babes, Roman immediately turns on his attraction to
these women, and Brian grabs him to pull
him away with a smirk on his face.
Roman's trying to get back at Brian by
flirting openly with all these women, and Brian
knows it, dragging him away with a, Ah,
you.
This interaction continues when they meet up with
Suki, who shows off her new drawing.
Roman says, That's some autistic shit.
Got talent, girl.
She's good, she's the best.
Brian brushes it off in a hilariously dismissive
way.
Yeah, yeah, yeah, she's good, she's the best.
It feels sarcastic.
Got talent, girl.
She's good, she's the best.
It's like he's trying to end the interaction
immediately so that Rome won't hit on her.
There's this really cool back and forth going
on throughout this scene.
They're taking their sexual tension out on other
women around them.
They're trying to one-up each other.
If I can't have you, then I'm going
to get everyone else.
Brian then introduces Rome to Tej, and asks
if he could let Rome sleep in Tej's
cot.
Tej then asks, What's wrong with your place,
man?
Like, in a very obvious way, like he'd
assume that he'd be sleeping with Brian.
Rome then says, I don't want to stay
with him, you got bad habits.
Gay!
Tej looks at them and chortles, like you
would seeing a bickering couple.
God, it's so obvious by this point.
I'm starting to fully believe that this is
the real meaning of the movie, but I'm
going to keep going because it gets even
better.
As if this love triangle is not enough,
we've got to bring Dom Toretto into it.
The boys catch up with Raiden and their
boss, and Rome tells Bilkens that Monica, Eva
Mendes, is sleeping with the bad guy.
And then Raiden goes, What do you think,
O'Connor?
You think she's compromised?
You should know.
And we all know what this is.
In the last movie, Brian made some new
friends and had a pseudo-romance with Mia
Toretto, and potentially her brother.
Roman then finds out that he let Dom
go in the last film, and angrily tears
away at his sandwich from his mouth, completely
furious.
He demands an explanation, saying, Let your man
go, huh?
At this point, Roman is hurt at Brian's
betrayal, jealous of his pursuit of a woman
in front of him, and now he's hearing
that he stayed loyal to another man?
You couldn't be loyal to me, but you
could to some other guy?
Am I a joke to you?
Did our love mean nothing?
Brian doesn't want to talk about it, and
says the best line reading of the film.
I said forget about it, kid.
So beautiful.
Brian ends up saving their butts in a
car race, and Roman kind of gets over
it, grateful that Brian came through when it
counted.
As we'll find out later, it's not entirely
Brian's fault that Roman got arrested, so Brian
not wanting to talk about Dom isn't an
admission of guilt.
It's more of a conflict of two different
emotional states, which is something that they easily
pass over.
If you're having a fight with someone, and
you know that it's just an overreaction, once
you calm down, you can actually have a
real conversation about it.
Or if we're using this car racing as
sex metaphor, maybe they kind of, you know,
deal with it in another way.
And because they've calmed down, when they go
to a club to meet with the bad
guy, they both take a moment to admire
the women around them together, not out of
a competition, but out of solidarity and their
sexuality.
Lots of potential.
It's a moment of them enjoying their biness
together.
But you know, Roman and Brian are cool,
but not necessarily Roman and Monica.
Roman insinuates that she might be loyal to
Barone because she's sleeping with him, and then
she says, What's that supposed to mean?
Nothing.
Perfectly echoing what Roman said earlier about Brian's
involvement with Dom.
You should know.
What's that supposed to mean?
See, whether it's intentional or not, the text
of this line is informing the subtext of
the exact phrase that was used earlier.
But after he comes back from the bathroom,
he has a similarly over-the-top reaction
to seeing Brian flirting with Monica again.
I can't believe this guy.
I leave him alone for a second, and
he's already schmoozing with someone other than me.
But I think that this is the first
time that he's not personally insulted by it.
I think more so he's scared for Brian
because he knows that Monica is Barone's mistress.
Roman has kind of forgiven Brian by this
point.
So this reaction is a mixture of just
not this again, and you're being an idiot,
Brian.
And sure enough, Barone pulls a hyper-masculine
intimidation on Brian for flirting with Monica, which
leads to another Kuleshov effect...
Women are a very powerful force.
...as we cut to Roman with an intense
stare at Brian.
And then we finally get an acknowledgement of
the woman who got between Brian and Roman,
Tanya.
Now, I know you're thinking, who the fuck
is Tanya?
Who?
Well, it's a name that's kind of thrown
out there at one point.
This is after they've kind of cooled their
heads so they can kind of start to
have a conversation about what happened.
He compares what's happened with Monica to what
happened to a girl named Tanya back in
the day.
Just like that crazy-ass trailer ref from
back in the day, Tanya.
Tanya?
It's just a very quick conversation about the
first time that they've really talked about a
woman getting between them.
But then Roman reveals that he also went
and dated Tanya after it was all over.
Man, you went out with her after I
did.
I mean, I couldn't let it go to
waste.
And they both kind of laugh it off.
When you're involved with people, a bunch of
mismatches of friends and partners can happen.
And it's kind of funny to look back
on, especially when you've calmed down after the
drama is all over.
This comes across to me as very realistic
and also very bi.
We then reach the climax of the love
triangle arc.
Monica sleeps with Brian, and the next day
they wake up together.
And Roman catches them.
But now he entirely drops the jealousy act.
He's still wary about whether he can trust
her, but decides to actively help her escape.
A real step of growth for him.
He's accepted that Brian and Monica are into
each other and acknowledges that Brian doesn't owe
him anything, so he gets to move on.
And they stage a big diversion so that
Monica can escape.
And now, at this point, they're a team.
They've put aside their past and are now
totally focused on the mission at hand and
looking out for each other.
Here we go, you and me.
Just like the old days.
Which then leads us to a beautiful scene
on the beach in the sunset.
Perfect romantic setting for them to say goodbye
to each other.
Brian and Roman talk about their childhood friendship.
Brian actually apologises and explains why he couldn't
be there for him.
They actually talk about Dom Toretto, and they
realise that the reason Brian let him go
was for guilt on how he felt about
how he treated Roman.
When you got busted, you know, whether I
was a cop or not, you know, if
there was anything I could have done, you
know, I would have done it.
So why you let that dude go in
LA?
Yeah, I think that had a lot to
do with it.
Roman admits that being busted was entirely his
fault and had nothing to do with Brian.
They have a real emotional chat for the
first time that isn't just bickering.
When I got busted, it wasn't your fault.
It was all on me.
Mr. Roman Pierce, riding solo.
Yeah, well, not anymore.
They've rekindled their relationship, and while it's no
longer romantic, they're together.
It's genuinely really sweet.
Not anymore, bro.
I'm not saying what Brian and Dom had
was romantic, but there was maybe some sexual
tension there for Brian, something that reminded him
of his ex, and being confronted with that
again made him decide to try and redeem
himself.
Regardless if it was actually his fault that
Roman got busted, Brian felt the need to
maybe atone for that.
So not only is this scene wrapping up
the wonderful rom-com plot, it's also recontextualising
the end of the first movie, something that
I always love.
It's deep in itself and also makes the
first film deeper.
And now that the relationship arc is complete,
the rest of the film's heist plot plays
out, with the two ex-lovers working together
to best for Roan, coming up with crazy
ideas and driving together and really getting along.
We get sweet lines like- Nice driving,
Roan, nice driving.
I got you, Brian.
My two beautiful boys.
Oh, I love it.
It's no longer bickering.
It's just like really wholesome, really sweet partnership
where they're gassing each other up all the
time, complimenting each other, motivating each other to
keep going because we got this, kuh.
So this whole like crazy like Ocean's 11
kind of heist moment happens, which I thought
was pretty fun when I first watched it.
They work together to beat the crap out
of this man in the most hilariously extended
set of kicks.
Like it just keeps going.
Blah, blah, blah.
Some cool action stuff happens.
The car dives onto the boat.
Woo!
And Roan breaks his arm.
Now, I'm of the opinion that any like
injury that happens to a character is extremely
metaphorical.
It always reveals something about what's going on
in their mental state.
So Roan now being in a sling after
this ending is a clear metaphor for how
Roan is now in a state of healing
and after reconciling with his ex-boyfriend.
Healing from a relationship takes a lot of
time, but now he's in the right place
to heal.
Monica asks, You trust me now?
Which is a clear plea to her new
boyfriend's ex.
And Roan says, You're all right.
With a grin.
Not only is Roan over Brian, he's accepted
Brian's new girlfriend.
But then she shakes his broken hand and
he goes, Because no matter how much we
accept things in front of us, they can
still be extremely painful.
Even if someone is in the wrong, we
need to be sensitive to others' feelings.
And if we're not careful, we can still
accidentally hurt them.
This is something that we all need to
learn.
And Roan then decides to stay in Miami
with Brian, this time as friends.
They're gonna start a business together with money
they frisked from the FBI.
And oh my god.
Too Fast Too Furious is not just a
heist story.
It's the story of two estranged lovers who
rekindle their friendship and realise that they function
better as friends.
They get to move on from the past
and allow their heartbreak to grow into a
more faithful, more honest friendship.
Looking at like a real gay movie, coincidentally
the best movie ever, we can see very
similar visual language in the way that the
romantic leads stare at each other.
The performances have this hyper-masculine intensity, which
you think would inform a straight male relationship.
The moments that are rife with tension are
so big that we realise it can't just
be about a friendship.
Things like Roman licking his lips right after
seeing Brian.
Brian whistling like a cat caller after Roman.
The extremely dynamic camera turns when Roman turns
to speak to him for the first time.
The body language of the wrestle with Roman's
waist in between Brian's legs in an explicit
sexual position.
Throwing sand right at his junk.
See, it's not just a romance film.
It's a good one.
The main characters have a really dynamic relationship
and it isn't just about getting the guy.
It's an interrogation of a previously failed relationship
full of humour and vibrance that ends with
reconciliation, not getting back together.
They resolve their toxic breakup and reaffirm their
love for each other, deciding to pursue the
more healthy avenue for their connection, friendship.
And that is a sincerely beautiful story.
Let us collectively flag this movie as an
official iconic bi love story of the ages.
Unintentional or not, it represents all of us
and should be held up in the canonical
LGBT landscape.
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The Fast and the Furious, and it's also
super gay.
It's super gay.
It's so gay it made me gay, and
it can for you too.
I've seen this interpretation before online, but I've
always been sceptical of this interpretation.
Despite never having seen the film, I'd seen
the sequels and I know that these characters
are just friends, so it must be just
some shippers writing desperate headcanon, right?
Well...
So in One Fast One Furious, Brian O
'Connor is an undercover cop who infiltrates Dominic
Toretto's gang, but he ends up becoming close
friends with him, and at the very end,
he lets Dom go.
Because of this, Brian is discharged from the
FBI.
Too Fast, Too Furious is again about Brian,
now an ex-cop, partnering up with a
new character, his old criminal friend, Roman Pierce.
They're recruited by the FBI and a double
agent named Monica to infiltrate another gang led
by a guy named Verone.
If they complete the mission, Brian will get
reinstated and Roman will be released from his
parole.
Roman hates Brian at first because he blames
him for getting arrested for some reason, and
over the course of the movie, they will
need to reconcile with each other.
Monica is also Brian's love interest throughout the
film.
With the help of Monica, Brian and Roman
get a meeting with the gang.
They have to win an initiation by racing
to collect a package for Verone.
They win and Verone gives them the job.
Brian and Roman find out that Monica isn't
just undercover, she's also Verone's mistress.
So there's a bit of, ooh, can we
trust her?
And then there's a bit of messing around,
Brian and Roman have to do a drag
race to win some cars to help them
with the job, yada yada.
Verone threatens Brian over flirting with Monica, Monica
sleeps with Brian and almost blows everyone's cover,
and then the big heist happens.
Roman and Brian are friends again, they pick
up a whole bunch of cash for the
gang, the FBI almost messes everything up so
they pull a switcheroo on them, and in
the end, they catch Verone by driving a
car into his yacht.
The FBI catches the bad guy, our boys
get their lives back, the end.
It's pretty simple.
But let's talk about subtext.
Text is any content of the piece of
media that you're consuming.
Words in books, lyrics in songs, but also
things like illustrations in a comic book.
And in film, it's everything that's in the
film.
Script, camera angles, lighting, acting.
Now whatever is being said to the audience
by the text can be subverted by what
other elements of the text are implying.
Note, for example, the Kuleshov effect, where a
performance can both heavily influence and be heavily
influenced by the editing.
The results of a certain performance matched with
a certain cut can create unintentional results on
an audience.
So when you watch this film and any
part of you thinks to yourself, are they
gay?
Even for a second, that's your brain taking
in all the information given by the dialogue,
performances, camera, and choreography, and deducing that there's
a romantic connection here.
And that's a beautiful thing.
But our characters never kiss.
It's never said out loud.
So is this just some repressed tension within
viewers who want to see them as boyfriends?
Or is there something in the subtext that
honestly leads people to that conclusion?
So let's investigate the queer movie inside of
this heist movie.
I've gathered all the evidence.
I'm going to make my case.
This is two by two furious.
Brian O'Connor is back and better than
ever.
Just kidding, he's in the bad books of
the FBI for letting Dom Toretto go at
the end of One Fast One Furious.
He's recruited from another job by Monica and
Raiden from Moral Combat Annihilation, who uses his
lightning powers to make him crash through parking
taxes.
But Brian is feeling really lonely.
Things ended weirdly in his last relationship, and
he doesn't want to get partnered up with
someone just new.
Having reinvigorated his romantic side, he feels inspired
to try and reconcile with his ex-boyfriend,
Roman Pearce.
We meet Roman, who's participating in muscle car
derby.
He sees Brian and gets extremely pissed off.
He even bites his lip as he walks
away, reminded immediately of the deep sexual relationship
they had.
The camera shows his house arrest tracker.
This is a very important symbol of the
weight shackled onto him of the heartbreak that
he's been feeling.
Brian whistles at him to get his attention,
kind of like a cat caller.
We get an extremely dynamic whip pan around
as Roman finally faces his ex-boyfriend.
Roman bites his lip again as he walks
towards him, the sexual tension building as he
approaches this beautiful blonde man.
And Roman punches him.
They get into a fierce scrap.
They grapple on the dirt, and Roman ends
up on top of him.
Brian wraps his legs around Roman before receiving
another blow.
It's so hot that even the police captain
goes, Whoo!
They continue their homoerotic grapple, and we cut
to a shot showing Brian's ankle before comparing
it to Roman's, who is the only one
shackled.
What this symbolism is telling us is that
Brian does not have as much baggage as
Roman.
Roman was the one most hurt by the
breakup.
Brian insults him by saying he fights like
shit before saying straight up, out loud, I'm
gonna choke you.
I'm gonna choke you.
And then he puts his hand on his
throat.
Like, come on, guys.
This is not only gay, it's extremely erotic.
And I don't even need to elaborate on
this.
This is straight up a clothed sex position.
We get some hints as to why Roman
is so mad at Brian, and he says,
Up to your three ears, Brian!
I told you it wasn't my fault!
But he finally relents under Brian's chokehold, and
they get up in a very extended shot.
He kneels in front of him in like
a domineering position before sitting back.
They lie with their legs apart in front
of each other, which kind of looks like
two lovers who are exhausted after a climax.
And then Roman says, When I needed your
ass, you were nowhere to be found.
And at this point, I'm genuinely worried about
getting demonetised.
They stand up and have a face-off.
Their faces so close together.
Brian says, I need you to come to
Miami and drive with me.
So romantic.
And then Roman clarifies what he meant by
three years.
I did three years in jail.
Three years in jail over you, Brian.
Guess what, ladies and gentlemen?
We got a metaphor.
While Brian broke off the relationship and headed
for new ground, for Roman, the breakup rocked
his world.
He spent three years alone and lost, both
literally and emotionally.
Trapped in isolation, shackled by heartbreak, betrayed by
the man he loved.
It's a metaphor.
I know it's a metaphor.
I really relate to this.
When you're grieving a relationship, you feel trapped
in yourself.
Brian gets even more in his face, and
they get this close to kissing, and Roman
pushes him off, naturally.
An interesting thing here is the captain doesn't
even look at them.
He just can't.
It's not his conflict.
He's simply there facilitating.
I ain't in it.
Almost like a couple's counsellor.
Brian and the captain drive Roman to the
police station.
Roman's a little unsure about this whole thing,
but Brian licks his lips again as he
comforts Roman, trying to get him to trust
him again.
And then we get to the third wheel
of this love triangle.
That's right.
It's a love triangle movie.
Monica.
Both of our bisexual heroes are immediately attracted
to her.
At this point, where their cars are revealed,
Roman gives a very suggestive touch to Brian,
saying, Don't even think about taking the convertible.
It might loosen your moose.
Monica decides to get in the car with
Brian, and Roman immediately objects.
Why she gotta ride with you?
This is a very important element of the
love story.
This is my favourite part of this reading.
This part blew my mind when I was
looking back at it.
Monica flirts with Brian for a bit, and
Brian pulls the stare and drive on her.
What are you doing, Brian?
Which is really dangerous.
Do not do this.
Roman calls him out and then says to
Monica, You got that from me.
Oh, hang on.
Very poignantly, he never says how exactly he
got it from him.
So under this reading, based on all this
evidence, it's not too much of a leap
to realise that Roman did this move on
Brian early on in their relationship.
And Monica even acknowledges this, looking back at
Brian with like a, Holy shit, really?
face.
She knows, guys.
She knows.
What we're really looking at here is a
love triangle between a woman and two bi
men.
Roman and Brian have to race to collect
a package, working together for the first time
in three years.
And the flirting really kicks up a notch.
Roman drives up alongside Brian and holds up
his middle finger.
Brian grins at him, and then Roman swirls
his finger around in the air.
Now, for the sake of children in the
audience, I'm not going to elaborate any further.
But for us adults, we know what this
is.
This is one of Roman's moves.
Brian laughs and says, Oh yeah, you think
he's the bomb, Roman?
Yeah, he's probably the bomb.
You might even say the top bomb.
This entire sequence is full of these moments.
The references to driving skills are so explicitly
analogous to sex, it's almost impossible to not
notice it.
Our two boys are clearly having a lot
of fun driving together for the first time.
Racing was clearly a huge part of their
relationship.
And this is the first moment of the
rekindling of that romance.
It was their favourite thing to do together.
The sparks are flying again.
They're flirting and working together effectively.
Friendly competition with a sexual charge.
They find the car they're looking for, and
Roman takes off his shirt to reveal a
beautiful sweaty, muscly body using his shirt to
punch a window open.
Brian gets what they're looking for and says,
Now put your blouse back on, hater.
Which, oof, is just such a spicy dig
at his ex.
I've literally seen gay men talk to each
other this way.
They arrive back and Monica greets the boys.
As she's walking away, Roman snaps at Brian,
asking, What you checking her out for?
With the exact same jealousy someone would have
for their partner's wandering eyes.
And then we cut to a whole scene
later and they're still talking about it.
Yes, you were.
No, I wasn't.
Like a good two minutes have passed and
they're still not done talking about it.
Kind of like a couple.
Brian finally admits he was checking her out
and says to Roman, Shut up.
And Roman just says, Shut up.
I don't know what to tell y'all.
This is clearly a bitter jealousy.
Not of Monica, but of Brian's eye.
And then Monica says, Both you girlies shut
up.
The crazy thing about this is it's not
a secret.
I think Monica knows exactly what's going on
between them, which makes it a really interesting
dynamic.
Rather than keeping their sexuality a secret, everyone
here knows what's going on.
All the bickering is coming from an honest
place in the characters.
And Monica is just trying not to get
involved, but really wants to get with Brian.
Everyone has their own motivations for doing what
they're doing.
And Brian's caught between these two really attractive
people, knowing that if he pursues Monica, he's
going to hurt Roman.
It's just a good romantic comedy setup.
Oh, then we get to some really fun
stuff.
So the boss comes in and gives the
terms of the job, and Roman tries to
get more money out of him.
He teases Verone with a little poke, and
Verone reacts extremely aggressively.
Don't ever touch me.
It's almost like he's reacting homophobically to a
gay man touching him.
So not only is their sexuality extremely present,
it's also influencing their relationship to the villain?
That's mmm.
Wait, is this a good queer movie?
And then we get a big reveal.
They walk away and Brian gives an extremely
flirtatious neck grab before demanding that he will
do the talking.
From here on out, I do the talking.
Like me, you want to do a little
more than that.
Brian goes, Oh, what's that supposed to mean?
Which is a really important line that's actually
going to come up later.
It means you're always getting in trouble over
female, Brian.
Oh, shit!
Wait, maybe they didn't just break up over
this police squabble.
Maybe Brian cheated on Roman with a woman.
That would explain so much.
The over-hostility from Roman over Brian flirting
with Monica.
The over-the-top pain that he feels
over the betrayal.
Brian looks genuinely called out by this.
Roman stares at him with this knowing look,
and Brian sinks back into the car, feeling
personally attacked.
What these looks tell us is that they've
had a history with Brian's behaviour towards women
in their relationship.
This makes it not just bi, but genuinely
interesting.
The breakup wasn't just some hack conflict related
to their job.
It may have stemmed from some heavy commitment
failings on Brian's part.
This is compelling.
So they go to Ludacris's garage to suit
up their cars, and Brian starts telling Roman
everything cool that's there.
It was their favourite hobby together, so he's
eager to please Rome by showing him around.
Rome then says, Man, it's so hot and
humid out here, I can't even wear no
drawers.
Tell me about it.
Oh, guys, you're killing me here.
Then he says, Look at all this potential
out here.
Before we cut to a tonne of hot
babes, Roman immediately turns on his attraction to
these women, and Brian grabs him to pull
him away with a smirk on his face.
Roman's trying to get back at Brian by
flirting openly with all these women, and Brian
knows it, dragging him away with a, Ah,
you.
This interaction continues when they meet up with
Suki, who shows off her new drawing.
Roman says, That's some autistic shit.
Got talent, girl.
She's good, she's the best.
Brian brushes it off in a hilariously dismissive
way.
Yeah, yeah, yeah, she's good, she's the best.
It feels sarcastic.
Got talent, girl.
She's good, she's the best.
It's like he's trying to end the interaction
immediately so that Rome won't hit on her.
There's this really cool back and forth going
on throughout this scene.
They're taking their sexual tension out on other
women around them.
They're trying to one-up each other.
If I can't have you, then I'm going
to get everyone else.
Brian then introduces Rome to Tej, and asks
if he could let Rome sleep in Tej's
cot.
Tej then asks, What's wrong with your place,
man?
Like, in a very obvious way, like he'd
assume that he'd be sleeping with Brian.
Rome then says, I don't want to stay
with him, you got bad habits.
Gay!
Tej looks at them and chortles, like you
would seeing a bickering couple.
God, it's so obvious by this point.
I'm starting to fully believe that this is
the real meaning of the movie, but I'm
going to keep going because it gets even
better.
As if this love triangle is not enough,
we've got to bring Dom Toretto into it.
The boys catch up with Raiden and their
boss, and Rome tells Bilkens that Monica, Eva
Mendes, is sleeping with the bad guy.
And then Raiden goes, What do you think,
O'Connor?
You think she's compromised?
You should know.
And we all know what this is.
In the last movie, Brian made some new
friends and had a pseudo-romance with Mia
Toretto, and potentially her brother.
Roman then finds out that he let Dom
go in the last film, and angrily tears
away at his sandwich from his mouth, completely
furious.
He demands an explanation, saying, Let your man
go, huh?
At this point, Roman is hurt at Brian's
betrayal, jealous of his pursuit of a woman
in front of him, and now he's hearing
that he stayed loyal to another man?
You couldn't be loyal to me, but you
could to some other guy?
Am I a joke to you?
Did our love mean nothing?
Brian doesn't want to talk about it, and
says the best line reading of the film.
I said forget about it, kid.
So beautiful.
Brian ends up saving their butts in a
car race, and Roman kind of gets over
it, grateful that Brian came through when it
counted.
As we'll find out later, it's not entirely
Brian's fault that Roman got arrested, so Brian
not wanting to talk about Dom isn't an
admission of guilt.
It's more of a conflict of two different
emotional states, which is something that they easily
pass over.
If you're having a fight with someone, and
you know that it's just an overreaction, once
you calm down, you can actually have a
real conversation about it.
Or if we're using this car racing as
sex metaphor, maybe they kind of, you know,
deal with it in another way.
And because they've calmed down, when they go
to a club to meet with the bad
guy, they both take a moment to admire
the women around them together, not out of
a competition, but out of solidarity and their
sexuality.
Lots of potential.
It's a moment of them enjoying their biness
together.
But you know, Roman and Brian are cool,
but not necessarily Roman and Monica.
Roman insinuates that she might be loyal to
Barone because she's sleeping with him, and then
she says, What's that supposed to mean?
Nothing.
Perfectly echoing what Roman said earlier about Brian's
involvement with Dom.
You should know.
What's that supposed to mean?
See, whether it's intentional or not, the text
of this line is informing the subtext of
the exact phrase that was used earlier.
But after he comes back from the bathroom,
he has a similarly over-the-top reaction
to seeing Brian flirting with Monica again.
I can't believe this guy.
I leave him alone for a second, and
he's already schmoozing with someone other than me.
But I think that this is the first
time that he's not personally insulted by it.
I think more so he's scared for Brian
because he knows that Monica is Barone's mistress.
Roman has kind of forgiven Brian by this
point.
So this reaction is a mixture of just
not this again, and you're being an idiot,
Brian.
And sure enough, Barone pulls a hyper-masculine
intimidation on Brian for flirting with Monica, which
leads to another Kuleshov effect...
Women are a very powerful force.
...as we cut to Roman with an intense
stare at Brian.
And then we finally get an acknowledgement of
the woman who got between Brian and Roman,
Tanya.
Now, I know you're thinking, who the fuck
is Tanya?
Who?
Well, it's a name that's kind of thrown
out there at one point.
This is after they've kind of cooled their
heads so they can kind of start to
have a conversation about what happened.
He compares what's happened with Monica to what
happened to a girl named Tanya back in
the day.
Just like that crazy-ass trailer ref from
back in the day, Tanya.
Tanya?
It's just a very quick conversation about the
first time that they've really talked about a
woman getting between them.
But then Roman reveals that he also went
and dated Tanya after it was all over.
Man, you went out with her after I
did.
I mean, I couldn't let it go to
waste.
And they both kind of laugh it off.
When you're involved with people, a bunch of
mismatches of friends and partners can happen.
And it's kind of funny to look back
on, especially when you've calmed down after the
drama is all over.
This comes across to me as very realistic
and also very bi.
We then reach the climax of the love
triangle arc.
Monica sleeps with Brian, and the next day
they wake up together.
And Roman catches them.
But now he entirely drops the jealousy act.
He's still wary about whether he can trust
her, but decides to actively help her escape.
A real step of growth for him.
He's accepted that Brian and Monica are into
each other and acknowledges that Brian doesn't owe
him anything, so he gets to move on.
And they stage a big diversion so that
Monica can escape.
And now, at this point, they're a team.
They've put aside their past and are now
totally focused on the mission at hand and
looking out for each other.
Here we go, you and me.
Just like the old days.
Which then leads us to a beautiful scene
on the beach in the sunset.
Perfect romantic setting for them to say goodbye
to each other.
Brian and Roman talk about their childhood friendship.
Brian actually apologises and explains why he couldn't
be there for him.
They actually talk about Dom Toretto, and they
realise that the reason Brian let him go
was for guilt on how he felt about
how he treated Roman.
When you got busted, you know, whether I
was a cop or not, you know, if
there was anything I could have done, you
know, I would have done it.
So why you let that dude go in
LA?
Yeah, I think that had a lot to
do with it.
Roman admits that being busted was entirely his
fault and had nothing to do with Brian.
They have a real emotional chat for the
first time that isn't just bickering.
When I got busted, it wasn't your fault.
It was all on me.
Mr. Roman Pierce, riding solo.
Yeah, well, not anymore.
They've rekindled their relationship, and while it's no
longer romantic, they're together.
It's genuinely really sweet.
Not anymore, bro.
I'm not saying what Brian and Dom had
was romantic, but there was maybe some sexual
tension there for Brian, something that reminded him
of his ex, and being confronted with that
again made him decide to try and redeem
himself.
Regardless if it was actually his fault that
Roman got busted, Brian felt the need to
maybe atone for that.
So not only is this scene wrapping up
the wonderful rom-com plot, it's also recontextualising
the end of the first movie, something that
I always love.
It's deep in itself and also makes the
first film deeper.
And now that the relationship arc is complete,
the rest of the film's heist plot plays
out, with the two ex-lovers working together
to best for Roan, coming up with crazy
ideas and driving together and really getting along.
We get sweet lines like- Nice driving,
Roan, nice driving.
I got you, Brian.
My two beautiful boys.
Oh, I love it.
It's no longer bickering.
It's just like really wholesome, really sweet partnership
where they're gassing each other up all the
time, complimenting each other, motivating each other to
keep going because we got this, kuh.
So this whole like crazy like Ocean's 11
kind of heist moment happens, which I thought
was pretty fun when I first watched it.
They work together to beat the crap out
of this man in the most hilariously extended
set of kicks.
Like it just keeps going.
Blah, blah, blah.
Some cool action stuff happens.
The car dives onto the boat.
Woo!
And Roan breaks his arm.
Now, I'm of the opinion that any like
injury that happens to a character is extremely
metaphorical.
It always reveals something about what's going on
in their mental state.
So Roan now being in a sling after
this ending is a clear metaphor for how
Roan is now in a state of healing
and after reconciling with his ex-boyfriend.
Healing from a relationship takes a lot of
time, but now he's in the right place
to heal.
Monica asks, You trust me now?
Which is a clear plea to her new
boyfriend's ex.
And Roan says, You're all right.
With a grin.
Not only is Roan over Brian, he's accepted
Brian's new girlfriend.
But then she shakes his broken hand and
he goes, Because no matter how much we
accept things in front of us, they can
still be extremely painful.
Even if someone is in the wrong, we
need to be sensitive to others' feelings.
And if we're not careful, we can still
accidentally hurt them.
This is something that we all need to
learn.
And Roan then decides to stay in Miami
with Brian, this time as friends.
They're gonna start a business together with money
they frisked from the FBI.
And oh my god.
Too Fast Too Furious is not just a
heist story.
It's the story of two estranged lovers who
rekindle their friendship and realise that they function
better as friends.
They get to move on from the past
and allow their heartbreak to grow into a
more faithful, more honest friendship.
Looking at like a real gay movie, coincidentally
the best movie ever, we can see very
similar visual language in the way that the
romantic leads stare at each other.
The performances have this hyper-masculine intensity, which
you think would inform a straight male relationship.
The moments that are rife with tension are
so big that we realise it can't just
be about a friendship.
Things like Roman licking his lips right after
seeing Brian.
Brian whistling like a cat caller after Roman.
The extremely dynamic camera turns when Roman turns
to speak to him for the first time.
The body language of the wrestle with Roman's
waist in between Brian's legs in an explicit
sexual position.
Throwing sand right at his junk.
See, it's not just a romance film.
It's a good one.
The main characters have a really dynamic relationship
and it isn't just about getting the guy.
It's an interrogation of a previously failed relationship
full of humour and vibrance that ends with
reconciliation, not getting back together.
They resolve their toxic breakup and reaffirm their
love for each other, deciding to pursue the
more healthy avenue for their connection, friendship.
And that is a sincerely beautiful story.
Let us collectively flag this movie as an
official iconic bi love story of the ages.
Unintentional or not, it represents all of us
and should be held up in the canonical
LGBT landscape.
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2 Fast 2 Furious Behind The Scenes – Blooper Reel
A movie blooper reel is a compilation of outtakes and behind-the-scenes moments that feature actors forgetting lines, laughing during serious scenes, missing their cues, or making unexpected mistakes. These clips show the lighter side of filmmaking and often reveal the real personalities of the cast and crew. This blooper reel is provided with English subtitles and transcript.
2 Fast 2 Furious Behind The Scenes - Blooper Reel
Hey, Fast and Furious 2, we're doing a
road B.I.G., let's go!
Oh, hey, that's the American way.
That is a blooper right there, that is
for you, people.
Pay attention.
Focus, focus, focus!
Wait, no, you said it was too dark!
You said it was too dark!
I'm driving with no hands!
That was a blooper.
I know!
No, we can't.
We don't know which cops are bought off
and which ones aren't.
We tell them I work as a driver,
so we're on the low, faster and so
fast.
S***, fire.
Lima 2-5, subject Heather Pathé.
I'll get it down here.
That's it right there.
Hey, fellas, nah, that sucked.
What do you think is underneath the hood?
He's making me laugh.
Hey, Leon and Fidel, what's up?
What the hell was that, polter?
What the hell is polter, man?
Give me, give me.
Ready?
I'm sorry.
Come on, we got it.
Action!
Come on, man.
What?
How long are we in the air for?
That's good, just do that again.
Just do that again, it's fine.
Just do that again, guys.
This is so ridiculous!
I like the way that sounds.
That's a damn good turkey sound.
Man, you need to get out of my
way, homeboy.
I'm a little pissed right now, because I'm
not as mad as I was earlier.
Whoa!
Bye-bye.
road B.I.G., let's go!
Oh, hey, that's the American way.
That is a blooper right there, that is
for you, people.
Pay attention.
Focus, focus, focus!
Wait, no, you said it was too dark!
You said it was too dark!
I'm driving with no hands!
That was a blooper.
I know!
No, we can't.
We don't know which cops are bought off
and which ones aren't.
We tell them I work as a driver,
so we're on the low, faster and so
fast.
S***, fire.
Lima 2-5, subject Heather Pathé.
I'll get it down here.
That's it right there.
Hey, fellas, nah, that sucked.
What do you think is underneath the hood?
He's making me laugh.
Hey, Leon and Fidel, what's up?
What the hell was that, polter?
What the hell is polter, man?
Give me, give me.
Ready?
I'm sorry.
Come on, we got it.
Action!
Come on, man.
What?
How long are we in the air for?
That's good, just do that again.
Just do that again, it's fine.
Just do that again, guys.
This is so ridiculous!
I like the way that sounds.
That's a damn good turkey sound.
Man, you need to get out of my
way, homeboy.
I'm a little pissed right now, because I'm
not as mad as I was earlier.
Whoa!
Bye-bye.
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