Web Video / The Hire

A Web Video series produced by BMW in 2001, 2002, and 2016, starring Clive Owen. Essentially, this is a Genre Anthology where each episode only has two recurring features: The Driver, and a series of BMW automobiles. Each episode featured a different director and guest star, and usually a different model of car. Not to mention vastly different moods; the films range from being intense and dramatic to being comic slapstick.

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The videos inspired the movie The Transporter.

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The web series contain the following tropes:

All Episodes

• All-Star Cast: Both in front of the camera and behind it.
• Badass Driver: The main character, played by Clive Owen.
• Chase Scene: Most of the episodes feature some variation of this.
• Cool Car: But of course. In the first season, he gets a new car for every episode (possibly because the car gets utterly trashed during the ensuing Chase Scene in every episode except for The Follow. He keeps the same (new) car for the entire second season.
• Depending on the Writer: The tone, style, and even genre of each episode varies wildly, due to each episode having a different director.

• Genre Shift: Each film reflects the sensibilities of its director. The series has gone from high-octane action to slapstick comedy to moody character piece with The Driver and BMW being the only unifying theme.
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• Guile Hero: When sheer driving badassitude won't cut it, the Driver will resort to a variety of unorthodox tricks to get the better of his opponents.

• Mysterious Past: The Driver receives very little in the way of Backstory, indeed, he doesn't even have a name. We pick up bits and pieces about him in dialogue.
• Product Placement: Well, yeah, the whole series was sponsored by BMW, after all.
• Rule of Cool: This is the driving factor behind most of what happens in the films. The producers had to actually disable some of the features on the cars they were showing off to make the driving stunts look more impressive. For example, the cars featured are all designed to not to do hairpin turns or skids because that's dangerous.

Ambush

The Driver must protect his passenger from a van full of heavily armed jewel thieves, who want the diamonds that his passenger is smuggling. One problem: The Passenger swallowed the diamonds to get them through Customs, and these men will not hesitate to cut him open to get at them. Directed by John Frankenheimer, guest-starring Tomas Milian as the Passenger.

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• Car Fu: in addition to the usual sideswiping and trading of paint with the van, the Driver later intentionally forces other cars on the road to to spin out or swerve out of the way to create obstacles for his persuers.
• Casual Danger Dialogue: After the first round of being shot at by the jewel thieves:
  Driver: Are you still alive?
  Passenger: Yeah. *buckling his seatbelt*
• Do Not Adjust Your Set: The bad guys talk to the Driver through his Car Radio. They had to show him their walkie talkie and use hand signals to tell him what frequency to tune to, however.
• Gun Accessories: The robbers have torches mounted on a Desert Eagle pistol and a light machine gun. Justified as it's nighttime and they need to see into a dark car interior.
• Just Keep Driving: Averted. Bystander vehicles swerve out of the way or slam on the brakes to try and avoid the Driver and the van full of jewel thieves.
• MacGuffin Escort Mission
• Malevolent Masked Men
• Mineral MacGuffin: Smuggled diamonds, which the Driver's passenger swallowed to get past Customs. At least, that's what he claimed.
• Pre-Asskicking One-Liner: "Buckle up."
• Ram by Braking: How the Driver disables his pursuers' headlights.
• Road Block: At the entrance to the road construction site.
• Treasure Chest Cavity
• Van in Black
• Wronski Feint: The Driver plows through the road block after smashing the headlights of the other vehicle, and then leads them on a chase weaving through the equipment until the bad guys blindly crash into a bulldozer and explode.

Chosen

The Driver meets a boat at the pier and picks up his passenger, a young Asian boy who is considered very important by the monks entrusting him to the Driver. He must evade a group of armed men trying to capture or kill the boy, and get him to the safe house where the monks can protect him. Directed by Ang Lee, guest starring Mason Lee as the Passenger.

• Big Damn Heroes
• Bound and Gagged: The monks at the safehouse.
• Car Fu: In the alleyway between the containers on the dock.
• Chekhov's Gun: The gift the Driver receives from the boy, which the Driver is not to open until later. It's a bandage for his ear, which gets nicked by a bullet later in the film.
• The Chosen One: The boy.
• Facial Dialogue: The boy silently signalling to the Driver that the man they are addressing is not really a monk.
• Oh, Crap!: A gunman leaning out his door to shoot at The Driver gives off a good one when he realizes that they are about to be rammed.
• MacGuffin Escort Mission
• Seer: How did the boy know the Driver would require a bandaid?
• Spot the Imposter: Monks don't wear cowboy boots.

The Follow

The Driver is hired by a paranoid movie star's agent to follow the star's wife, who the star suspects is having an affair behind his back. Though hesitant, the Driver agrees to the mission, and explains via narration how to tail someone, all while he learns more about the young wife. Directed by Kar Wai Wong, guest starring Mickey Rourke as the Husband, Adriana Lima as the Wife, and Forest Whitaker in an uncredited role as the Husband's agent.

• Back Story: One of the rare bits of it for The Driver. He mentions that he is not married anymore, but no explanation is given as to why (divorce, widow, etc.), nor any details about his wife.
• Domestic Abuse: The movie star who asks the Driver to tail his wife, as the Driver learns while following the wife.
• Gilligan Cut: A dramatic variation. As the Driver watches the wife from afar at the airport café, he narrates, "Whatever you do, don't get too close." One quick nighttime establishing shot later, he's sitting right next to her.
• Incredibly Obvious Tail: It does seem odd that the wife does not notice the same black BMW right behind her the whole way to the airport, but this is somewhat acknowledged and explained away in the narration, which explains that you keep moving around, changing lanes from time to time, getting a bit closer, a bit farther, moving into their blindspot if you end up too close behind them, and most of all that the best way to avoid detection is to know their patterns, so you can predict what they will do next.
  • And also averted shortly later. Once they leave the city and get out on the highway, he drops much farther back because he can still see her car in the distance.
• In Love with the Mark: According to the narration, this should be avoided at all costs. Do not get too emotionally attached, or try to relate to the person you are tailing, no matter how sympathetic they are. Of course, he utterly fails at this step.
• Keep Circulating the Tapes: Was not included in most versions of the DVD collection, and it was removed from the website. Rumor has it that this was due to contract issues with guest star Forest Whitaker.
• Keep the Reward: Once he learns more about the woman he has been hired to tail, the Driver returns the money, claiming that she got away from him.
• Mistaken for Cheating: The movie star thinks his wife is having an affair.
• Mr. Exposition: This is one of the only episodes to have the Driver narrating, and the only one where he narrates through the entire film, explaining how tailing someone works.
• Oh, Crap!: Averted, and the narration goes on to explain that you should never react at all if the person you are tailing doubles back and sees you. As soon as the wife turns around and looks at him, the Driver casually looks up at the Departures board at the airport.
• White-Dwarf Starlet: The movie star is heavily implied to be a male version of this trope. We get to see his fast-talking agent on the phone trying to get him a role in another film, insisting that he's at the top of his game, and evidently having a hard time convincing the guy on the other end of this.

Star

The Driver has been hired to provide transportation for The Star, a massively talented, extremely famous, and intensely abusive singer. As they depart for the venue, the Driver receives a call from the Star's manager, Glen, who reminds him to take his time, and to give the Star everything the Manager has paid him for. The Driver proceeds to take the Star down a few notches as he speeds across the city. Directed by Guy Ritchie, guest starring Madonna.

• Actor Allusion: The Star, a world-famous and highly talented musician, played by Madonna.
• Adam Westing
• Amusing Injuries: The worst that the Star suffers is some smeared makeup and an embarrassing coffee spill, despite being turned into a human pinball inside a speeding car and being ejected from the vehicle hard enough to fly ten feet before hitting the ground.
• An Aesop: Always wear your seatbelt, lest your underling hire a professional driver to humiliate you via his reckless driving. Also, something about not being such a Bad Boss, but it was far too late for the Star to learn that one.
• Asshole Victim: The Star.
• Bad Boss: Oh dear lord the Star. Verbally abusive of pretty much everyone who works for her.
• Batman Gambit: The entire plan seems to hinge on the Star deciding on the spur of the moment to get in the white car instead of the black one. Of course, the black one might have simply had Jason Statham driving.
• Be Careful What You Wish For: The Star insists that the Driver drive faster. At least he asked her to put on her seatbelt first.
• Bitch Alert
• Bring My Brown Pants: When the Star gets dumped at the feet of a horde of paparazzi, she's got an embarrassing stain around her crotch. Implied to be a result of her spilled coffee, but that's Not What It Looks Like.
• Casting Gag: Madonna was married to director Guy Ritchie at the time.
• Chekhov's Gun: The Star's coffee. Piping hot.
• Curse Cut Short: The Driver explains to the Fourth Wall that the Star, in addition to her many qualities, is a "complete c--" "GLEEENNN!
• Extreme Doormat: Glen, the Star's manager. The Driver points out that Glen has no spine, but then, he gets paid enough not to have one.
• The Dog Bites Back: It is heavily implied that this was the exact reason the Star's manager called in the Driver.
• Don't Call Me "Sir": The Star irately tells the Driver not to "ma'am" her, presumably suspecting (correctly) that he was sassing her. Once he abandons all pretenses of being subservient to her, he proceeds to call her "Sir" instead.
• Drives Like Crazy: Oh dear lord the Driver. The Star really should have put on her seatbelt when he asked.
• Groupie Brigade: They drive past a bunch of screaming fans as they exit the parking garage, and the Star ducks out of the way expertly to avoid being seen by them.
• Icy Blue Eyes
  "The first thing you notice physically about this lady, are her eyes. Bright blue eyes. It's rare to actually see them because they're usually covered up but when you do...it's worth it."
• I Shall Taunt You: At one point, the Driver pulls up alongside the bodyguards and winks at them before speeding off.
• Large Ham: The Driver is obviously enjoying this job so much.
  • The Star is basically playing a hammy Jerkass version of herself.
• Must Have Caffeine: "Coffee! I want a coffee!"
• No Celebrities Were Harmed: Oddly enough, up until the last bit, the description given for the Star could be a description of Madonna, who plays the Star.
• Nominal Importance: Glen, the agent who hired the Driver, is one of only a handful of named characters in the entire series.
• Obfuscating Stupidity: The Driver claims first not to know he was hired to drive for the Star, then that he doesn't know where they are going, and then makes a point of driving infuriatingly slow to get under her skin.
• Paparazzi: The Driver, at the end of the drive, deposits the Star right in front of the gathered photographers, complete with a large stain on her pants from the coffee that she had in her lap at the start.
• Protagonist-Centered Morality: Generally speaking, driving recklessly and intentionally causing your passenger to be sent bouncing off the interior of the car because she is not wearing your seatbelt is generally considered a bad thing. But it is just so hard to remember that, considering what a Jerkass the Star is.
• Public Service Announcement: A titlecard at the end reminds you to buckle your seatbelt.
• Reality Ensues: Played for Laughs. There's a good reason you should wear your seatbelt in a car.
• Slo-Mo Big Air: Complete with the soundtrack changing abruptly to Ride of the Valkyries; the face the Driver makes has to be seen to be believed.
• Stop and Go: The music abruptly stops when the Driver backs the car into an alley... then as soon as they see the bodyguards drive by in their car, he takes off again with the music kicking back on.
• Unreliable Voiceover: The Driver describes in detail that the Star has gorgeous blue eyes, strong, feminine hands, and a billion dollar voice. Meanwhile, we see her adjust her sunglasses, then a close-up on her gloved hands cleaning said sunglasses, then a closeup on her mouth as she opens it... to cough.
• You, Get Me Coffee: The Star's first line is to scream at her assistant for a cup of coffee.

Powder Keg

Harvey Jacobs has just taken the most important photographs of his career, but is wounded in the process. The American government hires The Driver to go in and extract him, bringing him and his pictures out of Nuevo Colon so that the government's crimes will be brought to light. Directed by Alejandro González Iñárritu, guest-starring Stellan Skarsgård as Harvey Jacobs, and Lois Smith as Harvey's mother.

• Armies Are Evil
• Banana Republic: Nuevo Colon.
• Bittersweet Ending: The villains' actions are revealed, and Harvey Jacobs wins the Pulitzer Prize for his work posthumously.
• Chekhov's Gun: The dogtags.
• Diplomatic Impunity: Averted. The Driver knows they are in trouble when the guards don't care one whit that he is working for the American Embassy.
• I'm Dying, Please Take My MacGuffin: The reporter gives his film to the Driver so he can get them out of the country.
• Intrepid Reporter: Harvey Jacobs.
• I Regret Nothing: Averted. Harvey regrets that he didn't take time to play with his kids.
  Driver: So how many have you got?
  Harvey: None.
• Just a Flesh Wound: Jacobs is shot by a solder after photographing the mass execution, but is still able to make his escape. He succumbs to his wounds during the escape.
• Kick the Dog: The first thing we see the local soldiers do? Shoot a bunch of civilians.
• MacGuffin: The film.
• Nominal Importance: Harvey Jacobs is one of only two or three characters to get named at all in the series. His actions appear to have a much bigger impact than almost anyone else's in the films as well.
• Road Block: The soldiers at the roadblock are not impressed with the Driver's American Embassy credentials. When one of them tries to shoot him, he manages to deflect the gun, resulting in the other soldier being shot and giving him a chance to go off the road and cross the border that way.
• Run for the Border
• Technology Marches On: A scant few years after this film was made, Harvey probably would have been able to email his photos from a safehouse without having to smuggle the film across the border.
• Too Dumb to Live: Jacobs antagonizes a border guard by taking photos of him. Justified in that he was dying of blood loss, and probably delirious.
• Title Drop: The Driver asks Harvey what is on his film, and he is told that the film contains the Powder Keg, the story about what is going on in Nuevo Colon.

Hostage

The Driver arrives at a small house carrying a Briefcase Full of Money in order to pay the ransom for a CEO who has been kidnapped and hidden away by a deranged former employee. When the hostage taker proceeds to shoot himself to avoid arrest, the Driver must rely on the handful of clues he was given to locate and rescue the kidnapped woman. Directed by John Woo, guest starring Maury Chaykin as The Kidnapper, and Kathryn Morris as Linda Delacroix.

• Asshole Victim: The ending implies that the hostage is an amoral bitch and the hostage taker is someone she used for sex then dumped unceremoniously. She is visibly distraught when rescued, but when she confronts the hostage taker in the hospital, she smugly mocks him as if she can easily fake emotion.
• Bad Boss: The hostage taker's justification for the whole thing.
• Big Damn Heroes: One of the rare times that the Driver saves the day outside his car, jumping into the water and forcing the trunk door open to rescue the hostage.
• Bitch in Sheep's Clothing: The Driver walks out in disgust on seeing Linda taunt her dying kidnapper, who turns out to have been an ex-lover.
• Briefcase Full of Money: Turns out, the money isn't important, but the amount of it is. It's her phone number, so the Driver can contact her if he's clever enough.
• Clean Pretty Reliable: A discretion cut keeps us from seeing the inevitable vomiting up water that comes from administering CPR to a near-drowning victim.
• Driven to Suicide: The hostage taker, via Russian Roulette. He's later shown to have failed, and be in the hospital.
• Exact Words: "How does it feel to hold a person's life in your hand."
• Instant Death Bullet: Averted; but Linda's final words to him are enough to make his monitor flatline.
• Ironic Echo:
  "I was always the butterfly, and you were always the moth."
• It Doesn't Mean Anything: The kidnapper talks of just wanting a 'gesture' from the CEO he's kidnapped. At first he looks like a disgruntled employee, but afterwards Linda taunts him with, "It was just sex. You should have let it go at that. I was always the butterfly, and you were always the moth."
• Knight in Shining Armor: The Driver is referred to as this — he's dressed in a white suit and driving a silver BMW.
• Lemming Cops: The police think that the Driver is in a stolen car, based on his speeding through the city, and try to catch him, but they are nowhere near his level, and he has a woman to save.
• The Mad Hatter: "If I had known it would be this easy I would have lost my mind a long time ago." He also has a Room Full of Crazy.
• Mission Control: A pair of FBI agents helping the Driver figure out where the hostage is trapped.
• Money to Burn: The hostage taker gets a briefcase of over 5 million dollars, which he tells the driver to throw on a lit barbecue grill. Turns out this is the money he figures he was owed; taking into account his salary, bonuses, profit participation, and power lunches he had to pay for.
• Police Are Useless: Though one imagines they could have been helpful if the FBI had thought to let them know what was going on.
• Race Against the Clock: The Driver has to find the car in whose trunk the hostage is locked before high tide comes and drowns her.
• Rescue Romance: Averted; the Damsel in Distress looks quite grateful to the handsome Driver who saved her life, but after Linda taunts the dying kidnapper she turns around to find he's walked out in disgust.
• Shout-Out: "Show me the money."
• Taking You with Me: The hostage taker burns the money and shoots himself. However he does give the Driver a chance of rescuing the hostage in time.

Ticker

The Driver and his passenger must evade an attacking helicopter and get a mysterious package his passenger is carrying to its destination. The passenger refuses to explain what is in the briefcase, but insists that the case's safe arrival at the destination is more important than his life, and that an entire nation is at stake. Directed by Joe Carnahan, guest starring Don Cheadle as the Passenger.

• Acrophobic Bird: Some bad guys in a helicopter trying (and largely failing) to gun down the Driver and the Passenger, leading to the chopper's eventual demise.
• Ambiguously Evil: After the army starts attacking, the driver panics and thinks his passenger is carrying a weapon of mass destruction. Averted since it turns out he is carrying a heart for transplant and it's the army that is evil.
• Arc Words: "What is one man's life worth?"
• Armies Are Evil: Most, if not all, of the soldiers seen in this episode seem to be working for the Evil Chancellor, who is trying to keep the MacGuffin from getting to its destination.
  • The red scarves and berets the soldiers wear appear to indicate they are Elite Mooks, presumably the Chancellor's Praetorian Guard as he wears the same uniform.
• Bullet Sparks
• Car Fu: Bad guys in an SUV ram the first vehicle that was carrying the MacGuffin.
• Chained Heat: When it looks like the Driver might baulk at his mission, the man with the Handcuffed Briefcase chains it to the Driver's wrist. "Now drive!"
• Driving Question: What's in the case?
• Evil Chancellor: Evidently the unnamed nation's president is the only man keeping the country's far less fettered military commander from seizing control. While he doesn't seem to be going for a Klingon Promotion, he has no problems sending his men to interfere with attempts to keep his boss from dying of natural causes.
• Glasses Pull: The Driver yanks off his sunglasses the first time he stops and demands to know what's going on.
• A Handful for an Eye: The Driver does donuts in the dirt, kicking up a huge cloud of dust, which blinds the Acrophobic Bird, causing them to blunder into a nearby obstruction.
• Incredibly Obvious Bomb: A digital gauge on the suitcase beeps and starts to count down when the suitcase is pierced. It's actually a temperature gauge, but this trope is implied.
• In Medias Res: How the film opens.
• I Was Never Here / Treachery Cover Up: As he's failed to stop the suitcase, the president's men tell the Evil Chancellor to back off.
  "You were not here. This never happened. Tell your men to stand down."
• MacGuffin: The briefcase. If it is not delivered on time, with the contents intact, an entire nation will be at the mercy of a military dictator.
• Mood Whiplash: Between the helicopter strafing scenes and flashbacks of the courier accepting the mission.
• Pun-Based Title: The title refers to an unidentified but highly important package contained in a silver briefcase, which must be kept below a certain temperature lest something terrible happen. It sounds like it could be some kind of bomb, but it is actually a heart, ready for transplant.
• Pursued Protagonist: The episode opens with the Driver and the Passenger weaving back and forth down the road while bad guys in a helicopter try to shoot them.
• Race Against the Clock: With the car running out of fuel and the briefcase's temperature indicator rising, both due to bullet hits.
• The Reveal: What's in the briefcase? A heart transplant for a troubled nation's dying leader.
• Shoot the Fuel Tank: Averted; the tank is punctured and there's even a Vapor Trail, but nothing blows up. The Driver does make it clear he's running out of fuel though.
• Smoke Out: Improvised.
• Spent Shells Shower: The film opens with spent shells and bullet impacts raining down on an apparently empty road, before quickly panning up to the strafing helicopter, then down to a car racing ahead of the gunfire.
• Standard Hollywood Strafing Procedure: The gunner in the helicopter sprays the bullets back and forth across the road, yet the car always seems to just slip between the bursts.
• Time for Plan B: The Driver is actually the backup plan, a second driver standing by in case something happens to the first driver.
• Two Scenes, One Dialogue: After his windshield is sprayed with fluid from the mysterious suitcase, the Driver is understandably alarmed; assuming it's a WMD he shouts, "IS IT CHEMICAL? IS IT BIOLOGICAL?" The scene then cuts to the courier apparently answering the same question, put to him by a bodyguard in the first vehicle he used.
  Courier: It's neither.
  Bodyguard: So what is it then?
  Courier: Salvation.
• Vapor Trail: Seen as the car drives off after stopping momentarily on the bridge — the flames don't reach the fuel tank though.
• What Is One Man's Life in Comparison?: "What would you fall on your sword for?"

Beat the Devil

The Driver has absolutely no idea what he has gotten himself into. He accompanies his client, James Brown, for a meeting in a penthouse apartment in Las Vegas, only to learn that their host is evidently the Lord of Darkness, Satan himself. James Brown makes a wager with the Devil, a drag race down the Las Vegas strip at dawn, James Brown and his Driver versus Satan and his. If the Driver wins, James Brown gets his youth back, and if the Driver loses, Satan gets his soul. Directed by Tony Scott, guest starring Gary Oldman as the Devil, Danny Trejo as Bob, and James Brown As Himself.

• Age Without Youth: James Brown is getting too old to do his famous James Brown Split, so he uses this to argue that the Devil hasn't kept his side of the bargain, thus entitling him to a new contract.
• As Himself: James Brown
• Calling Shotgun: In a Visual Pun, the Devil (seated next to his driver) starts the race by firing a shotgun out of the sunroof.
• The Cameo: Marilyn Manson
  Can you keep it down, I'm trying to read!''
• Cool Car: In addition to the Driver's BMW, Satan and Danny Trejo race in a souped up Pontiac Trans Am. Not being made by BMW, it is doomed to be destroyed.
• Deal with the Devil: James Brown sold his soul for fame and fortune, but wants to renegotiate, based on a loophole he found in his contract.
• Fun with Subtitles: Otherwise we couldn't understand what James Brown is saying.
• Game of Chicken: As they race across the desert they find a train is approaching the intersection ahead. The Driver puts his foot down and makes it, whereas the Devil chickens out and shouts for his driver to stop, causing a spectacular crash.
• Genre Blind: The Driver doesn't seem to know what the hell is going on, staring slackjawed at the wacky hijinks until things finally move on to the driving.
• Glasses Pull: The Driver when (after throwing James Brown out of his car) he sees in his rearview mirror that the Godfather of Soul has suddenly become the Teenager of Soul.
• Got Volunteered: The Driver doesn't exactly have informed consent re risking his soul for Brown's benefit.
• Hollywood Geography: The drag race manages to take our characters past the same two hotels several times before they make it out of Vegas.
• Horrifying the Horror: Marilyn Manson freaks out even the Devil.
• Incoming Ham
• Invincible Classic Car: After getting hit by the train, Satan's Trans Am appears to be in perfect condition, the paint job not even scratched, despite being sent tumbling through the air, evidently propelled by an explosion. and then it lands upside down and is crushed like a soda can before exploding.
• Ironic Echo: Before he goes to negotiate with the Devil, Brown tells the Driver to dismiss anything he hears as "just crazy talk". At the end the Driver throws Brown out of his car, dismissing their contract as "just crazy talk."
• Large Ham: James Brown. And Satan even more so, as played by Gary Oldman.
• Letting the Air Out of the Band: When Satan learns that the Driver only likes women.
  Satan: That's terrible! You don't know what you're missing!
• Oh, Crap!: Satan gets one during the drag race when his car almost collides with a semi truck. And again when his car is about to collide with a train.
• Out-of-Genre Experience: Besides the Mood Whiplash, this episode has the Driver and James Brown in a drag race against Satan and Danny Trejo in Las Vegas, in a wager for James Brown's youth and the Driver's eternal soul. It Makes Just As Much Sense In Context.
• Stereotype Flip: In The Stinger: Marilyn Manson asks the Devil to turn his music down, because he's trying to read The Bible.

The Escape

Molecular Genetics, a research lab, has been conducting illegal cloning experiments. With authorities closing in, MolGen security forces hire The Driver to transport the head of security and a young woman who is referred to only as "Five" and "the Specimen", though she calls herself Lily. Surrounded by a group of heavily armed men and being chased by the FBI and local police, The Driver decides to take matters into his own hands and conclude the situation how he sees fit.

• Acrophobic Bird: Justified because Holt orders the helicopter down. Unfortunately Holt then attaches the cable hook to the car. As he's stopped near an overpass the Driver just puts the car in reverse, throwing Holt off the hood and pulling the helicopter down to its destruction.
• Badass Boast: The Driver is right; he may be rusty but age hasn't diminished his skills.
• Benevolent Architecture: The Driver uses the highway crash barriers to take out their Hummer escort, and the overpass to destroy the helicopter.
• Booby Trap: An FBI SWAT team opens a door, not realising there's several packets of C4 explosive rigged on the other side.
• Car Fu:
  • Hummers are used as crash cars to shoulder aside the pursuing police.
  • When Holt has trouble hitting the Driver's car, he decides to Pop the Tires on a semi-trailer ahead of him, causing it to flip onto its side and block the road.
• Counting to Three: When the Driver goes Off the Rails, Holt puts a gun to his head and starts counting down. Cue Dodge by Braking whereupon the gun ends up in the Driver's hand.
• Destroy the Evidence: As the authorities close in, MolGen employees are shown burning papers and smashing computers. Lily is apparently too valuable to be destroyed, so Holt's job is to get her through the police and FBI cordon surrounding the research lab.
• Evilutionary Biologist: Averted; Lily keeps a tattered Precious Photo of the missing Dr. Philips (the clones' creator) apparently regarding her as a Parental Substitute. It turns out she's Just Hiding, and has hired the Driver to bring Lily to her.
• Five-Second Foreshadowing: The Driver's Facial Dialogue shows his disgust at how Holt is treating Lily, his hands flex on the steering wheel...and He's Back!
• First Time in the Sun: Lily has never seen the outside world in person before.
• Getaway Driver: Given that it's the FBI they are escaping from (at least initially).
• Get Out!: The Driver to Holt after taking his gun off him. When Holt insists on taking it personally and chases after the Driver, the latter is fully prepared to run him down until Lily talks him out of it.
• Kick the Dog: Holt is unnecessarily cruel towards Lily, treating her as an object and throwing away her artwork when he wants her to shut up.
• Lampshade Hanging: The script includes a mention of the fourteen-year Sequel Gap between this short film and the preceding series.
  The Driver: I might be a little rusty right now, but I've been doing this for a long time and I'm very good at it.
• Live-Action Escort Mission: Though inverted; the 'package' isn't annoying to anyone except Holt.
• Never Tell Me the Odds!: Regarding the above Badass Boast, Lily points out that it only means his chances of failure increase every time he does this kind of work. The Driver takes it philosophically. "The odds will be what the odds will be."
• Only I Can Kill Him: When the gunman in the helicopter says they're going after the Driver, Holt makes the helicopter land and changes places because he wants to kill the Driver himself.
• Private Military Contractors: Holt's escort team are a private security force armed with military weaponry.
• Purity Personified: Lily, apparently due to being raised in a controlled environment. Even though Holt treats her with contempt, she wants his life spared. As appropriate to this trope she has blonde hair and Innocent Blue Eyes.
• Save the Villain: As the Driver prepares to run over an unarmed Holt, Lily asks for mercy. When the Driver chooses to drive away, Holt grabs his rifle but misses his shot, and is arrested by the police immediately afterwards.
• Spock Speak: Lily talks this way, giving dictionary definitions of various words she hears.
  Holt: (hustling her to the car) Goddamn abomination.
  Lily: Abomination.
  Holt: Get the door, please. (shoves her inside)
  Lily: Abomination, from the Latin word abominari. A thing that causes hatred or disgust.
• Theme Naming: The clones were named after flowers. Lily mentions "Tulip", "Daffodil", and "Rose", but never says if there was one between her and them.
• The Reveal: The Driver was working for Dr. Philips all along.
• Strange Secret Entrance: The FBI are taken by surprise when the convoy exits the warehouse through a door disguised as the wall, with retractable crash barriers.
• You Are Number 6: Or in this case, 5. When the 'specimen' insists her name is Lily, Holt chucks her paintings out the window as punishment.

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