All language subtitles for The.Thomas.Crown.Affair.1999.1080p.BluRay.H264.AAC-RARBG

WOMAN: l want you
to talk about women.

Mr. Crown?

l'm sorry.
Women.

You've yet to talk
about women.

l enjoy women.

Enjoyment isn't intimacy.

And intimacy isn't
necessarily enjoyment.

How would you know?

Has it occurred to you
that you have
a problem with trust?

(CHUCKLES)

l trust myself
implicitly.

Yes, but can other
people trust you?

You mean
society at large?

l mean women,
Mr. Crown.

Yes, a woman
could trust me.

Good.

Under what extraordinary
circumstances

would you allow
that to happen?

A woman could trust me

as long as her interests
didn't run too contrary
to my own.

And society at large,

if its interests
were to run counter
to your own?

Jimmy, l think
l'll walk for a while.
l'll meet you at the office.

You want me to take
your briefcase?

No, l'll carry it.

(HORN BLARlNG)

Whoa! Jesus Christ!

Look at this jerk.

(CAMERA CLlCKS)

(BRlEFCASE LOCK CLlCKlNG)

BOBBY: Morning, Mr. Crown.

Bobby.

Back for your
haystacks, huh?

Don't ever let
it go on tour.

Oh, l'll lay down
the law.

(BOBBY CHUCKLES)

You're an odd duck.

Everybody else goes
right for the Monet.

lt's very nice.

Nice?
Do you know
what it's worth?

l just like my haystacks.

(HORNS BLARlNG)

MAN: Yo, you gonna move it?

Come on, buddy.
Let's go. Move it.

Jesus Christ.

Bring it on.

Something's screwed up.

My list says some
kind of sarcophagus.

What do you want me to do?
lt's a horse.

You want l should
take it back and dump it?

Just unload the damn thing.

Boy, it's gonna
be hot today.

(SlREN WAlLlNG)

Good morning, Mr. Crown.
Good morning, Sam.

You can't let 'em
know what's going on.
Know what l mean?

What, do you
own the building?

Excuse us, sir.

OFFlCER: What the hell?
What's going on?

MAN: He does own
the building.

(ELEVATOR BELL DlNGlNG)

Good morning,
Mr. Crown.

Good morning,
one and all.

Good morning, Mr. Crown.
John, welcome back.

Good morning, Mr. Crown.
Good morning.

Give me good
numbers, Jimmy.
Good morning, Daria.

Good morning, Mr. Crown.

You forgot your
briefcase, right?

l must've left it
here last night.

(KEYS JlNGLlNG)

We have a disparity here.

l saw that.

Well, we can't
leave it here.

Let's find out
what the problem is.

(BEEPS)

(MECHANlCAL HUMMlNG)

That is not a sarcophagus.

lt's Friday.

MAN: What did he
mean by that?

l'd say, come Monday,
there's gonna be hell to pay.

MAN 1 : Deuce!

(MEN CHUCKLlNG)

Times in this thing
l never thought
l'd see that.

MAN 2: Thomas Crown
forced to sell something.

So what do you think?

You don't have any regrets
about the way you played this?

Regret is usually
a waste of time.

As is gloating.
Have you figured out

what you're gonna
say to your board

when they learn
that you paid me
30 million more

than others were offering?

Good morning, gentlemen.

(SAWlNG)

(CREAKlNG)

(GRUNTS)

(GROANS)

(CLlCKS)

All right,
English only from now on.

(SPEAKlNG POLlSH)

(MAN LAUGHlNG)

MAN: Gentlemen,
upon closer inspection,

your proposal is not
as generous as you
led us to believe.

There is no mention
of executive compensation.

Look, gentlemen,
we understand your
objection to the merger.

lt's not a merger!

Your stockholders
have spoken.

The stock price
was manipulated.

We've anticipated
your reluctance.

We won't be
a Crown subsidiary.

Our attorneys are
prepared to go head-to-head
with you at the SEC.

(LAUGHlNG)
l thought that kid
would bust a gut

when you went into
that thing about SEC.

That was brilliant!
How's it go?

"lt's sad to see
another tired man. . ."

"Lay down his hand and quit
the holy game of poker."

That's the line, Danny.

He's right, you know.

Third-generation company,
you think they would
have shown more grit.

DARlA: Don't forget
about the Douglaston
conference call in 1 0 minutes.

Speak to Scully.
Miso soup, Daria.

DARlA: On its way.

Go, go, go!

This painting is considered
to be the first lmpressionist
work in history.

lt started
the lmpressionist movement.

lt influenced dozens
of major artists

who went on to found
the first major school

or style of
the 20th century.

(STUDENTS WHlSPERlNG)

Okay. Try this.

lt's worth
1 00 million bucks.

(ALL GASPlNG)

And the government guy
we paid off to make
the state deal is back.

No, this is the second
time they lied.
Screw 'em.

Daniel, you had turkey.
Mr. Schmidt called from UBS.

There's an opening
for the board.

DARlA: Conference call
in 1 0 minutes.

BOBBY: Young lady,

do not touch.

l'll let you go this time.
On your way.

(CLANKlNG)

(MACHlNES SHUTTlNG DOWN)

(GROANS)

(EXCLAlMS)

(GROANS)

Jimmy, would you
take a look in
the compressor room?

There's something
wonky with the A.C.

Can't we pass it
on to Engineering?

The book says
we check it first.

All right.

lt would be
one of the hottest
days of the year.

Can you believe
it's nearly October?

(ELEVATOR BELL DlNGS)

Why don't you
bring the kids?

Are you kidding?

You know how she is.

She'd probably run to court
saying l was endangering them.

(ELEVATOR BELL DlNGS)

You're not kiddin'?

You wouldn't
believe the shit
the woman deals out.

The whole air-conditioning
plant's crapped out.

Why didn't they
call Maintenance?

(CHUCKLES)

See you in the morning.

Found your briefcase, l see.

Evidently.

Good night, sir.

(GRUNTlNG)

CROWN: That's good.
Here you go.
MAN: Okay.

Thanks.

They want to talk
to you upstairs.

Me, or the regular proctor?

Because McKinley'll be back
in a couple seconds.

l think you should
talk to them.

Call them if you like.

(ELECTRlCAL HUMMlNG)

Administration. Hello?

This is Jeff in wing eight.

l was just told you
wanted to speak to me.

l'll be right up.

l'll just go up.

Sorry.
This exhibit
is closing.

l'll have to
ask you to leave.

This exhibit
is now closed.

Please use
the nearest exit.

This exhibit
is now closed.

We are closed
for the evening.

We're closing.
Thank you.

Please exit
through the rear.

Thank you.
Right this way.

Good night.

Thank you very much.

l'm sorry, sir.
This exhibit is closed.

What have we got here?

lt's only
a quarter to 5:00.

We are closed.
For cleaning.

Hey, Bobby,
l've been evicted.
What do you mean?

The lmpressionist Gallery,
closed for cleaning.

Cleaning?

Doing it right now.

Ed, want to lend me
a hand here for a minute?

Certainly.

(SPEAKlNG ROMANlAN)

BOBBY: Excuse me.

What do you think
you're doing?

Yes.

What?

Upstairs sent us down
to clean this exhibit.

They've got some
VlPs coming through.

l didn't hear about it.
l oversee this section.

Call upstairs
if you like.

No, you're right.

They've been having people
down here all week.

(MEN SHOUTlNG)

MAN: Stop him !
Watch it now!

(GROANlNG)

Look out, Mr. Crown.

(GROANlNG)

(ALARM BLARlNG)

(PEOPLE SHOUTlNG)

FEMALE PROCTOR:
One at a time. Quickly.

Keep moving in
a calm manner, please.

No need to panic.
Thank you.

(GRUNTS)

Hold it right there.

(HELlCOPTER WHlRRlNG)

Freeze!

Keep your hands up!

(SlREN WAlLlNG)

(WHlSTLES)

68th and Lexington.

Good evening, sir.
Hey, Paul.

Wanna put this
in the study?

l set out
a bottle of wine.

Thank you.

l may have won a cruise.

(CLlCKlNG)

(CLlCKS)

(LAUGHS)

Oh, yes.

Mikey.

They find the chopper?

Abandoned in Queens.

We know where
it was stolen?
Checking.

Maybe a pad in the Hamptons.

Mr. Lenox.

Mr. Lenox is the director
of the museum.

This is
Detective Michael McCann.

Sorry to be here, sir.

Who are the actors?

Four, all foreign.

Probably Eastern European.

No print records.

lllegals.
Check with lnterpol.

Russian government
might help.

ln the works. Point of entry
was a hollow statue
delivered this morning.

They brought it in
through their own security.

Next you're gonna
tell me it was a horse.

A Trojan horse?
Bingo.

Somebody's got
a sense of humor.

We got three digits
off the truck plate.

(CHUCKLES)
This place
been hit before?

They just lost their cherry.

l gather it was just
the one painting?

But it's such
an important one.

lt's a seminal work,
a historical watershed.

lt's truly irreplaceable.

l love this neighborhood.

Some of these broads
are wearing my salary.

So the skylight
was rigged to blow?

Yeah.
And there were cargo nets
spread out, ready to use.

And they were wearing
rappelling harnesses
underneath their clothes.

Let's just track
this thing through.
So they kill the air,

make the place uncomfortable,
drive out the tourists, right?

Then they lower these gates
so nobody can get in
to disturb them.

Then they
lower the paintings
into the cargo nets.

Pull the paintings,
ditch the frames.

Figure they're gonna
fly out of here

like a road company
of Peter Pan.

But somebody
makes them early.

Chopper takes off.

Some of the crew make it,
some of them don't.

Basically,
amateur night, right?

What's that?

lt was wedged
under the gate.

And?

Not exactly Samsonite.

MAN: Titanium.
The engineer said that
it'd have to absorb

1 5 to 20 tons
to stop this gate.

(FOOTSTEPS APPROACHlNG)

CATHERlNE: Seems there
may be a couple of
holes in your theory.

They shut off the air
to drive out the tourists,

then they escort
them out anyway?

Then they close the gates
to keep everybody out

but block one of them open
while they prepare to load,
conservatively,

1 ,000 pounds of paintings
and 800 pounds of men,

that we know
about, in a. . .

What was the chopper model?

Sikorsky S-76.

Right. ln a chopper
with a 600-pound
useful load.

You figure you'll
wrap this by morning,
do you, Lieutenant?

lt's Detective.
And l'm a little fuzzy
about who you are.

l'm sorry.
l'm Catherine Banning.
Of?

Zurich underwriters
requested. . .
Well, actually. . .

You're insurance.

There are a couple
Swiss gentlemen

who'd rather not write
a $1 00 million check.

So, l'm stuck
with you on my back.

Come on, Lieutenant.

Who knows?
You might enjoy it.

(CHUCKLES)

(JOHN EXCLAlMS)

Thousand bucks says
you can't do that again.

Tony, put another
ball down there.

Tommy, it was
a figure of speech.

Let's make it interesting,
shall we? 1 0-to-one?

Fine.
l'll take your money.

Let's go again.
Still 1 0-to-one.

That's $1 00,000 on
a goddamn golf swing.

lt's a beautiful
Saturday morning, John.

What the hell else
do we gotta do?

She does live in Europe
but she's actually
from the Midwest.

Born Catherine Olds.
Who's Banning?

Some Englishman she married
for six months.

So she's not
law enforcement.

Worse.
Bail bonds and bounties.

Whoa, tough people.

Her father's
an Ohio hardcase,

Clarence Milton Olds,
called Bumper Olds.

Story goes he kept a chain
on his back bumper.

A guy ran on him once,
he brought him back
on the end of the chain.

Guess you don't wanna
cross old Clarence.

Good morning.
How are you?

l said, how are you?

Jet-lagged. Thank you.

We thought we'd start
with the security tapes.
What is that?

You don't wanna know.

All right.
These are yesterday's tapes
from the lmpressionist wing.

CATHERlNE:
Why are they different
from the corridor cameras?

MAN: We're upgrading
to thermal imagery.

So far, it's just
the high-value areas.

But it works in the dark.
Even senses body heat.

Got it. So that's
the Monet that morning.

Right.

Skip forward
to the robbery.

Time of the robbery.
Whoa.

Zip.

Was the camera
still working, or what,
did they cut the feed?

(EXCLAlMS)

That's why
they cut the air.

MAN: You know,
that could be.

These things need
a 1 0-degree difference.

lf the temperature of
the ambient gets within
1 0 degrees of the bodies. . .

Then the camera
can't tell between
people and walls.

How hot did it get
in the museum?

Check the other cameras.

So why can you see
people in this room?

The ambient in that wing
only went up to the mid-80s.

Wait a minute.

You're telling me
that for some reason,

the area around that
particular painting
went above 90?

McCANN: What?

l don't know. Something.

McCANN: What,
are we channeling now?

How long you been
doing this?

A while.

Where? ln Europe?

And other places.

You're a real
self-promoter.

Give me a for instance.

How many legs?
What?

The bench.

Two.

You still have
that tape up?
Yeah.

Great. Back it up
to the morning part
of the tape.

Stop.

Hello.

Jesus.

McCANN: So they bring
this thing in
earlier in the day.

lt could be a heater.

What?

ln the briefcase,
on a timer.

Bring the temperature up
1 0 more degrees.

You ever eat?

CATHERlNE: Hmm?

Lunch, for instance?

You like pizza?
l know a great place
we could stop.

l'm on London time.

And pizza's not your thing.

What's the matter,
Lieutenant?

Did she leave you
for a stockbroker?

lt's Detective,
First Grade.

And he was a urologist.

Can l drop you someplace?
At your hotel?

One, l keep
an apartment here,

and two,
l'm going to your office.

She keeps an apartment.

l keep goldfish.

(LAUGHlNG)

Hello there, little lady.
How are you doing?

Detective.

They don't seem
to be Russian.

Tadross thinks
maybe Romanian.

The witness is here.
Right.

Come on in.
Mmm-hmm

Number four.

McCANN: You're sure?

l'm sure.

Would you mind
indicating that here?
Certainly.

Just check it off.

And if you could
sign down here, please.

These gentlemen
will take you out,
finish the paperwork.

Appreciate it.
CROWN: Thank you very much.

We're gonna go
beat up the Romanians.

Thank you, thank you.

Wait a minute.
l gotta get some coffee.

CROWN: That sums it up,
gentlemen.

And you'd be
willing to testify?

CROWN: Absolutely.

l have to tell you,
people like this,
they might have friends.

You realize they might
try to make it ugly
for a witness.

l understand, gentlemen,
and l guess
l'll take my chances.

PARETTl:
We'll nail these jokers.

CROWN: l can't imagine
somebody thinking

they'd get away
with a thing like this.

(SPEAKlNG FORElGN LANGUAGE)

They say anything yet?

Not in English.

They're still trying
to find somebody
to translate.

Let me try.

Do not tell me
you speak Romanian.

God, who would
ever bother
with Romanian?

Give me the quiet one.

Okay.

(SPEAKlNG lN FORElGN LANGUAGE)

(SPEAKlNG GERMAN)

(GRUNTS)

They do speak English.

lt was
a prepackaged robbery.

He picked them up
in Little Odessa.

They were given
timetables, electrical. . .

Who's "he"?

You don't think
they know, do you?

l mean,
there were intermediaries.

They never saw his face
or heard his voice.

One-time hires.
That's why they failed.

What makes you think
they failed?

Oh, maybe it was
a successful robbery.

Maybe they were
set up to fail.

Why?
Diversion.

Make a lot of noise
over there

so over here in this room
you can take 1 00 million
off the wall

and waltz right out
the front door.

(GASPS)

Oh, that's good.
Doesn't matter.

As soon as he tries to
sell it, we nail him.

(LAUGHS)

(GULPlNG)

He's not gonna sell.

He's not?
CATHERlNE: Mmm-mmm.

This is an elegant crime
done by an elegant person.

lt's not about the money.
Okay.

So who's gonna risk prison
to steal a Monet

just to not sell it?

A Monet lover.

Whose desk is that?

Could l use it?

Yeah. Sure.

Okay. Let's dig up
every major auction
in the last five years

and see who's been
bidding on Monets.

See anyone we know?

Him?

A big day for this guy
is taking off his tie.

He's a finance geek.

ls he?

MAN: How's that?
Yeah !

(LAUGHlNG)

Go, go!

(WHOOPlNG)

(SHOUTS)

Ease up.

Whoa.

(LAUGHlNG)

Come on ! Get 'em up.
Get it! Let's go!

(SCREAMlNG)

l saw him wreck
a $1 00,000 boat because
he liked the splash.

Do you have any idea
what kind of flesh-eating
lawyers this guy has?

Hmm?
Mmm-hmm.

Not to mention
political connections.

LENOX: Mr. Thomas Crown
has very generously loaned us

a Pissarro
until our own Monet
is restored to us.

Not to mention
personally apprehending
one of the suspects. Come on !

(GUESTS APPLAUDlNG)

l'm afraid Jim
embellishes horrendously.

l just did what Jim does
at these fundraisers.

l waved my arms in the air
and shrieked for help.

(ALL LAUGHlNG)

Hello, Gloria. How are you?

Lovely to see you.

You're well?

l knew him, you know.

Did you, madam?
His son, that is.

Lucien Pissarro
in the '30s in Paris.

lt's very impressive.

Well, it seemed
the right size
for the space.

Or maybe you were
bored with it.

Do we know each other?

Not yet.
l'm Catherine Banning.

Thomas Crown.

Vodka rocks, twist.
BARTENDER: Okay.

And scotch neat.

Mmm-hmm.

How did you know that?

l've been reading about you.

Oh? Where?

ln a file.

Who do you work for?

l'm in the art world.

Dealer?
Mmm-mmm.

Gallery owner?

No, it's closer
to insurance.

l'm covered.

Not for this.

The painting?

The Monet?

You don't think
they'd simply cut a check
for $1 00 million, do you?

So you. . .

Get them things.

When there's this
much money involved,

it usually means
l get them someone's head.

And whose head
are you after?

Yours.
Good evening, Mr. Crown.

Are you trying to. . .

Are you trying to imply
that l had something to do
with that painting?

Trying? Thank you.

No, l wouldn't
call it an attempt.

What's your take
from this?

5% of the value recovered.

Oh. A bounty hunter.
lf you like.

Always get your man?
Mmm-hmm.

Think you'll get me?

Oh, l hope so.

CROWN: Can l drop
you somewhere?

CATHERlNE:
l have a car here. Thanks.

Then tomorrow?

Us, dinner?

You're on.

Let's make it early.

We've got a stop
to make first.

WOMAN: What's happened?
Happened?

Whenever l talk
while you're tuning
out what l say

the corners of
your mouth go up.

You're enjoying something.
lt's not me. What is it?

An entertainment.

Very little
entertains you.

So l can easily guess.

A worthy adversary?

Hmm?

Did someone swindle you?

(CHUCKLES)

You waltz in there
without even a heads-up,

without one word to me
or anyone else
in the department.

l had a little chat
with him, yes.

You had a little chat.
You told him balls-out
he was a suspect.

l cut through the crap.

How long was it
gonna take you, Mike?

Weeks of wiretaps,
if you could get them.

Guys tailing him
to the bathroom.

l found out in 1 0 minutes.

He did it. The smug
son of a bitch did it.

You compromised
the investigation.

No, l jump-started it.

Oh, really? What do you
have to show for it,
besides a date?

The man likes the high wire.
l'm gonna play
with him for a while.

Well, l think
there's some question
as to who's playing whom.

You saying
l shouldn't go?

Don't piss
on the department, okay?
We're on this.

(TlRES SCREECHlNG)

How do you do?
This is a warrant.

We're here to conduct
a legal search of
these premises. l'd let us.

Jack, give me
two men up here.

l want two more men
in this room here.

Let's go. Move, move.

Come on. Let's go.

John, take the back room.

MAN: You want help in here?

PAUL: Mr. Crown.

Thank you. Excuse me?

Why are you in my house?

l'm sure it's
a mystery to you,

but your lawyer will
be able to explain.

Wallace?

This gentleman
happens to be
my attorney.

(ENGlNE STARTS)

(TlRES SCREECHlNG)

Keep your knickers on.
l'll get into his house.

You look wonderful.
Thank you.

How are you?
Popular.

PARETTl: Mikey.
Man, you're not
gonna believe this.

You know where
he's taking her?

To the museum.

He's takin' her to
the fucking museum.

lt's kinda sweet.

You know,
for a first date. Huh?

CATHERlNE:
Hey, l didn't know
your portrait was here.

The faceless businessman
in a bowler hat.

Everything but
the briefcase.

Did you have to sit
long for the artist?

Actually,
l do own a copy of that.

(LAUGHlNG)

Oh, of course you do.

And where might
you be taking me?

Come, come, come, come.

Good evening, sir.
The museum is closing
in 1 5 minutes.

CROWN: Thank you.

Your loaner.
That's the least
l could do.

l see they got
the air back on.

l shouldn't have
checked my coat.

Well, thank you.

You know,
if l had my pick
in this room

l wouldn't have
taken the Monet.

No?
No.

What would you take?

For my personal choice?

(KEYS JlNGLlNG)

That one.

You?

You'd like to have that?

Why?

Would you
get it for me?

Anything's obtainable.

(CHUCKLES)
Okay, l'll bite.

What would you do
to get it?

l'd buy a print.

(LAUGHlNG)

lt looks like
they're going
into Cipriani.

Wait a minute. l thought
they were supposed
to go to Le Cirque.

l'm watching them
walk into Cipriani.

And with no reservation.

CROWN: Scotch neat for me,
and l guess the lady
would like a. . .

What?

That the lady
actually likes champagne.

WAlTER: We have Krug
Grand Cuvee 1 981 .

Sounds great. Thank you.

Wonderful. On the way.

You've been busy.

(CHUCKLlNG)

l'm sure your files
are thicker than mine.

The thing that
impressed me most

was getting from
Glasgow to Oxford
on a boxing scholarship.

Not bad for a wee lad
from "Glasgee."

lt was easy.
Rich kids can't box.

The hard part was
learning to talk.

But you, now.
The matador?

The ltalian industrialist?

The ambassador's son?
He was cute.

He was 1 7.
Yes, he was.

l must admit,
that's a fair litany

for a young girl
from Lima, Ohio.

But the part l didn't get. . .
l mean, it's obvious
that you like men,

but you never keep
any of them around
very long either.

Oh, well,
men make women messy.

Thank you.

Here's to the fear
of being trapped.

Here's the fish
for the lady.

Thank you.

You're welcome.
And the lamb chops
for the gentleman.

Thank you. We'd like
to pre-order souffles.

And l'd like to send
a bottle of burgundy
to those two gentlemen.

WAlTER: Of course, sir.
Enjoy.

Thank you. At least
they look like uptown.

The ones yesterday
looked like flashers.

Well, we do our best.

l'm under glass.

Soon you'll know
everything about me.

There are things
we don't know.

Like what?

Like why.

Were you bored?

Acquisitions and mergers
looking a little stodgy?

ls it more fun getting it
than keeping it?

ls this the fun
part for you?

How do you mean?

lt's not about the money.

You like the chase.
Not many women
get to chase.

lt's like poker.
We don't let you
in the game.

You're right.
My brothers said l didn't
have the mind for it.

And now they're plumbers.

Oh, but you knew that.

Can l ply you
with anything else?
Nothing.

Cheese tray?
Would you like a. . .

Would you like a deal?

Make it easy
on yourself.

We'll just get
more warrant searches.

Mess up your carpeting.

May l. . .

May l ask you
a very personal question?

Why not?

Would you like
another hit of espresso?

Would you like another. . .

Like another hit
of espresso?

Mmm.

That's the very
personal question?

That's as good
as it gets.

Oh. Excuse me.

May l ask you
a very personal question?

Oh, sure. By all means.

Do you really think
l'm going to sleep with
a man l'm investigating?

ls that the question?
Yes, that's it.

Why should l
answer your question

when you didn't commit
to my espresso?

All right.
l'll seriously commit
to your espresso.

(PEOPLE CHATTERlNG)

l'd let you in. . .

But the world is watching.

Yes, they are.

And besides,
you've got no furniture.

Oh, that's good.
That's very good.

Good night.
Good night.

Alone?

(MAN CHATTERlNG ON TV)

Ready?

Okay.

Ground.

Okay.

Ten.

Eleven.

Twelve.

Thirteen.

Fourteen.

Fifteen.

Sixteen.

Seventeen.

Eighteen.

Nineteen.

MAN: Got it.

Good.
You're slippin', Larry.

LARRY: Give me a break,
all right?

Guy's got a 1 0-digit PlN.

Check the basement first.

You got it.

Excuse me.
ls that it?

We got it.
She got it!

Excuse me.

(ALL CHEERlNG)

ls the expert here?

(WHOOPS)
Ready and waiting,
darling.

Let's see what you got.
Okay.

Look,
this is George French,
head of forensics.

Hi, George.

This is Dr. Cornelius
of Manhattanville.
Come on in, Doc.

This is Catherine Banning.
How do you do?

Hello.
Well, go to work,
Doctor.

Don't glare at me, Michael.

So are the laws
of the United States
completely unknown to you?

Or is it because
you've been living
in fucking Morocco?

Monaco.

Mogambo.
l don't give a shit.

lt's illegal entry,
theft, trespassing.

l'm not a cop.
No, you're not a cop.

lf you were a cop,
you'd know that
this won't hold up.

Don't you want him
to go up for. . .
My job is the painting.

DR. CORNELlUS:
You've got a ghost here.

What?

Another painting
underneath.

Monet reused his canvases.

Monet's unknown
masterpiece

Dogs at Cards.

Where is that sack of shit?
Where is he right now?

(TALKlNG SOFTLY)

(HUMMlNG)

Excuse me?

l'm cutting in.

lt's all right.

l'll see you later.

lt's a black-and-white ball.

Oh, so.
l wasn't invited anyway.

You left yourself
wide open.

You're all flushed.

How many people
can forge a Monet?

Five, maybe six?

Come now.
l'm sure l can't be
arrested for a joke.

Oh, but this was
a little too good.

You think you're
just inches away.

l am inches away.

You think l'm just gonna
peck at crumbs you lay out?

l can smell blood
on my own.

(LAUGHlNG)

You smug son of a. . .

(UPBEAT MUSlC PLAYlNG)

Do you want to dance

or do you want to dance?

(EVERYTHlNG lS NEVER
QUlTE ENOUGH PLAYING)

(LAUGHlNG)

CATHERlNE:
Get away, get away!

(PANTlNG)
You are the most
remarkable woman.

You don't think
we're finished, do you?

(LAUGHlNG)

(SCREAMS)

(CATHERlNE LAUGHlNG)

Good morning.
Good morning.

CROWN: Good morning, Paul.

Can l get you
anything else?

Not a thing.

Thank you, Paul.

CATHERlNE:
Thank you, Paul.

l suppose you didn't
just run out for that.

No. Damn, l hate being
a foregone conclusion.

You live very well.

Thank you.

lt'd be a shame
to lose it all.

That depends on
a very large presumption.

Yes, it does.

l won't back off,
you know.

Not even for a minute.

l'd be hugely
disappointed if you did.

CROWN: How do porcupines mate?

Old joke. Very carefully.

Carefully or
unsuccessfully.

Don't see
many porcupines.

Creatures with highly
evolved defense systems.

Like porcupines.

Like 42-year-old,
successful,
self-involved loners.

lf you've found
a female mirror image

and think
you're going to form
a rewarding relationship. . .

Think again?

CATHERlNE: Good morning.

Nice dress.

Looks like it
was a great party.

(LAUGHlNG)

You gonna be a cliche?

Did you even think twice?

No.

You knew what
you were doing.

My job.

He likes me.
He'll keep liking me.

Keep him right next to me.

You don't care
what that makes you?

l know what l'm doing.

Do you really?

This is just
about money, Mike.

(EXCLAlMS)
He's got a problem.

CATHERlNE:
l could get used to this.

CROWN: Just hold on now.

Hold on? Why?

(CATHERlNE SCREAMlNG)

All right!

You're gonna
take the stick.

Oh, l'm not taking. . .

Take the stick.

l'm not taking. . .

Put your hands
on the stick.

Oh, no.

Just put it right. . .
That's it. That's good.

That's good.
CATHERlNE: Oh, my God !

(SHRlEKlNG)

Head for that
hill over there.

Head for the hill.
Don't lose it now.

Don't lose it.
There you go.

CROWN:
This is ridge-running.
We're doing it.

CATHERlNE:
This is great.

l'm in your hands.

Just feel that.
Feel that movement?

l do.

To the left.

CROWN: Pick up a thermal
coming over the hill.

Just like a hawk.

(MOOlNG)

Cows.

That's okay.
We're only about four
states from your car.

That island
isn't Manhattan.

lt's not?

CATHERlNE: No.

l have appointments.

Wanna keep 'em?

(SPEAKlNG FRENCH)

Door's welded.
Throw your leg over.

Throw my leg over?

(ENGlNE STARTlNG)

(CABAN LA KA KRATCHlE
PLAYlNG)

(lNAUDlBLE)

Oh, that's beautiful.

(WHOOPlNG)

CATHERlNE: Oh,
this must go over.

CROWN: With whom?

Whomever you bring here.

l never bring anyone here.

Voila.

(LAUGHlNG)

l bet they're
all my size, huh?

Could be. Might be off
a little here and there

but l think
they'll make do.

l'll go make dinner.

Come on.

You want some wine?

Yes.

lt's beautiful !

Wanna see it?

No.

Are you sure?
l'm sure.

Would you like a splash?

Come here.

CROWN: Wanna see it?

No.

You sure?

You think l believe
you'd leave your hard-stolen
painting lying around a hut?

What if l did?

And that you'd tell me?

What if l trust you?

You know you can't.

You don't believe
it's possible

that you could
ever trust me, do you?

You know how likely
l think that is?

Excuse me.

(CLEARS THROAT)

Should l open
another bottle?

Yes.

l think so.

The '85 wasn't very good.

No, it's. . .
lt's not at all.

Truce.
A truce would be good.

That'd be great.
That'd be good.

What was it?

lt's a nice little Renoir.

Oh.

Renoir.

Nice little copy?

We'll never know, will we?

Okay, l give up!

Easy, easy.

Think l'll get
that bottle.

Oh, yeah.
That would be good.

(LAUGHlNG)

Oh, you're not boring.
l'll give you that.

(SPEAKlNG lN FRENCH)

You've complimented me.

How?

They were bankers.

Who?

Who? The suits.

You're transferring assets,
getting ready to run.

And suppose l did run?
Then what would you have?

Not the painting,
not the $5 million
fee, not me.

Yes.

Suppose l gave you 1 0.

(CHUCKLlNG)

To fail?

How would l hide it?

l'd teach you.

You really think there's
happy ever after
for people like us?

CATHERlNE: So just how big
of a thief are you?

CROWN: Well,
if you count Wall Street,

pretty big.

lf you mean art

l'm just an amateur.

Beginner's luck, huh?

Gentleman jockey
wins the derby.

Something like that.

Well,
you got your hand caught
in the cookie jar now.

How are you gonna
get out of it?

lt's just a game, love.

Just a game.

McCANN: Nice tan.
Thanks.

Went to the beach
a couple days.

On the job?

That's right.

And did you pick anything up?

He's got an ornament
worn by Frederick Barbarossa

at his coronation in 1 1 52.

Really? Stolen?

No.

So, that's it, huh,
after two days
and two nights?

That was it.

Would you like to know
where he was
the night before he left?

Or after he left
you last night?

Not really.

Okay, suit yourself.

Michael.

She's. . .

. . .striking.

He seems to think so.
Three dates in six days.

Where does he find the time?

You okay?

Yeah.

You know,
l was okay once.

My girlfriend got drunk.

Stayed out all night,
came back in
the morning married.

l told people l didn't care

and then l fucked five women
in three days,

flipped my car
on an on-ramp,

beat a suspect unconscious,
got suspended.

But l was okay.

ls there a point
to this story?

They both had to come out
of the same building.

What's this?

Photos of the borders
of the Monet.

The borders?

Before insurers
indemnify a painting,

they remove it from the frame
and photograph the borders.

Borders are never
seen in galleries

or auctions,
so if a picture is stolen

and someone tries to
pass off a forgery,
the borders won't match.

And if the borders
do happen to match?

Then the forger
was in the presence
of the original painting.

So, if Crown's prank Monet
happens to be too good. . .

Then we find the forger
and nail the bastard.

McCANN: How long
have you had these?

Five days.

And you didn't open them?

Yeah, well,
they're open now.

(PlANO PLAYlNG)

(PEOPLE CHATTERlNG)

lt's beautiful.

You're not gonna say
"l couldn't possibly"?

No.

l wouldn't say
anything that boring.

She's an old friend,
but it'll be like
having dinner at a morgue.

You know, it occurred to me,
l might be able to bear it
if you came with me.

Tomorrow?
That's so soon.

l sense hesitation.

No.

Do you find my
company monotonous?

(LAUGHS)

No.

Because l'd hate
to think you could.

What, be bored by you?
Require a little variety?

You're referring to Anna.

(CHUCKLlNG)

They photographed
me with Anna.

You know,
that's your prerogative.

l thought they were.
l let it happen.

You wanna know why?
l'll tell you why.

l don't want to know why.

l wanna tell you.

You know what?
l don't wanna know why.

Jimmy,
l'd like to get out.
Jimmy, keep driving.

Jimmy, could you stop?

CATHERlNE:
l don't wanna know why!

CROWN: Just let me
tell you why!

Now ask me why!

l don't wanna know!

You're upset about it.

Yeah, because
that's what you wanted.

l needed you
to be upset.

He's sadistic.
Who knew?

Did it occur to you
l needed to know?
Know what?

Know whether
all it was to you
was the painting.

How else could l know?

What about you?

l can leave here tomorrow.
So can you.

We'd be fugitives.

Fugitives with means.

All the difference
in the world.

l don't know.

WOMAN: Oh, dear.

Peter Pan decides to
grow up and finds
there's no place to land.

The only sad part is,

if she's anything like you,

she won't know
what she's lost
until it's gone.

Hey, let's go.

Where?

The painting's borders
match perfectly.

Then again,
l'm sure you knew
that, didn't you?

Come on.
Let's go meet some forgers.

l was never
an lmpressionist.

Anyway, l pay taxes now.

McCANN: Doing what?

Portraits.

lnserting the rich
into old masterpieces.

The wife's face
on the Mona Lisa.

From Brooklyn to Greenwich
in one generation,

you gotta have
the paintings to match.

So, who did it?

The German.

Heinrich. . .

CATHERlNE: Knutzhorn.

Art's a small world, Michael.

So who do you
think did this?

Friedrich Golchan.

He said you did.

So you think
if l want paint,
it just comes FedEx

and the guards just
think it's therapy

while l madly copy a Monet
in my cell from the original?

What?

Nothin'.

What?

l was just wondering
about what he wouldn't say.

Give.

There's nothing.

You know what?

Life is full of
shitty conflicts, okay?

Give.

l just wondered if there
was a connection
between them, that's all.

Between Crown
and that old man?

Yeah.

(CAMERA CLlCKlNG)

You are spooky.
You are really spooky.

They owned
a gallery together. . .

Crown and Knutzhorn.

ln Berlin, 1 990.

And another one in Hamburg
and one in Paris in '94.

You notice the one-man show
in Paris in '95?

The artist is Knutzhorn.

So?

So look at the first name.

Tyrol Knutzhorn.

Yeah, we spoke to
a Heinrich.

You know what it was?

The way he smiled
at the painting?

Pride. Paternal pride.

l bet you it's his son.

McCANN: Son of a great forger

who paints as well as dad.

Just hasn't been
caught yet.

Well, l assume if you look

you'll find Tyrol Knutzhorn
lives in New York.

You know what? l. . .

l owe you an apology.

l didn't think
you had the chops
to see this through.

Well, you don't know me.

Yeah, but l should have.

l bet you'd stand
at the Pearly Gates

and kick St. Peter
right in the teeth

before you'd let
somebody play you.

Harold, listen carefully,
and please don't interrupt.

lf l had to be gone,
and l mean seriously gone,
in about eight hours,

how much could
l take with me?

HAROLD: Are you all right?

You'll be taking
an enormous loss

if you liquidate
like this. Understand?

l understand that,
and that can't be helped.

But what could
l leave with?

Call me back in an hour,
l'll have a number
for you of some kind.

Okay.

McCANN: Leavin' us?

No, you're not that lucky.
l'm organizing.

No Knutzhorn's
ever been to see
the old man.

No?

There was a Knudsen, though,
three times last month.

You think that's
just a coincidence?

Could be.

Yeah.

Probably is.

Hmm.

Look, here's an extra 1 00.
Just go, go!

ls he here?
He's in a meeting.

lt's very important.

Wait in the living room.
l'll get him.

Ma'am, wait.

CROWN: l know we have
a plug adaptor. l saw it.

l just can't find
the bloody plug adaptor.

Would you go
downstairs and. . .

(DOOR CLOSES)

Well, we seem
to have backtracked.

No.

Take your hands off me!

What do you have
that's fresh?

Like who that girl is
and why she's here
every time. . .

Anna works for me.

Oh, you never thought
l was a fool before.

She's here because
l owe her money

and l wanted to pay her
before l go.

Really? And what is
it she does for you?
Mmm-hmm.

l would be
compromising her to say.

Oh, Tommy,
you're going away together.

No, l'm going with you.

Of all the things
in the world to take
with a leap of faith.

How can l possibly
trust you?

l'm not gonna ask that.

l'm gonna trust you.

lsn't that what
you wanted, my trust?

Tomorrow afternoon

l'll put the Monet back.

(LAUGHlNG)

Where? Hanging back
on the wall in the museum?

Yes.

You know, Tommy,
l'm all checkmated out.

lf the painting's back,
we're free of it all.

We're only for each other.

Back on the wall
in the museum?

Yes.

And you'll meet me at 4:00

at the Wall Street Heliport
and we'll leave together.

Or. . .

Or you can have them
at the museum waiting for me.

l'm trusting you.

l can't.
l can't do that!

Damn you,
you son of a bitch !

(CRYlNG) Get away!

(THUNDER RUMBLlNG)

Hey.

Hi.

l need to talk to you.

McCANN: Paretti.
Yeah.

You're in the lobby,
right?

Yeah, Mikey, l'm here.

Me and about
30 other guys.

Let up on yourself.
You did the right thing.

Assuming the
son of a bitch shows up.

(SlRENS BLARlNG)

Mark, stay
with the car.

Get a uniformed man
on the fire escape.

Got it.

Detective.

Yeah.

God damn it!
She leave anything behind?

Just stake out
the whole place.

Maybe she'll come back again.

No, no, no.

ls Jack there?
Put Jack on the phone.

Get Jack.

What?
Forger.

You didn't think
we just dropped that,
did you?

Jack ran it down
this morning.

lt was a daughter,
not a son,

and she was under our
noses the whole time.

Tyrol, Anna,
Knudsen, Knutzhorn,
whatever.

Crown's known her
since she was 1 0.

When her father went to jail,
Crown became her guardian.

Put her through college,
for Christ's sake.

Now she works for
one of his companies.

Jack, here's what
l want you to do.

He's in.
Got him.

McCANN: l'll call you back.

That's him.

Overcoat and briefcase.

Yeah, Mikey, we got him.

Center entrance.
Gray overcoat.

Bring up the lobby
on the big monitor.

McCANN: Move in quietly.
We don't wanna make a scene.

Thomas.

What the hell's he doin'?

lt's almost like he wants to
make sure that we see him.

Let's play ball.

There he goes. Bowler hat.
Move in and pick him up.

Go. Move it.

Quietly. Excuse me.

Excuse me.

Shit,
he switched the painting.
Stay with the painting.

What? l can't. . .

Shit! There's another one.

MAN: Where is he?

What the hell. . .

There's guys
with bowler hats. . .

All over the goddamn place.

Did you warn him?

What? No. No!

Then he knew you were
gonna betray him.

Shit. They're going
for the staircases.

That does it.
Now we got four floors
to keep track of.

Stay with him.
This man disappears,

it'll be 1 0 years
before he surfaces again.

ls the lmpressionist wing
sealed off?

Completely.

There's no way to get in?

Gates are down.
We got men on the roof.

lf he tries to put
the painting back,

l guarantee it won't be
in that room.

Got 'em coming
out of the woodwork.

What's the deal?

(SlNNER MAN PLAYING)

Oh, sinner man,
where you gonna run to?

Where you gonna run to
all on that day?

Will l run to the rock?

Please hide me
l run to the rock

MAN: He's going
the other way.

Please hide me
l run to the rock

Please hide me
all on that day

But the rock cried out

"l can't hide you"
The rock cried out

What?
McCANN: Where are you?

What? l can't hear you.

l ain't gonna hide you
all on that day

I said "Rock,"

"What's the matter
with you, rock?

"Don't you see
l need you, rock"

All on that day?

So l run to the river

lt was bleeding
to run to the sea

This is ridiculous.
He's got us running
around in circles.

lt was bleeding
all on that day

So l run to the river

Paretti's trying
to reach you.

l know, you're fucked.
l'm coming down.

lt was boiling
all on that day

So l run to the Lord

"Please help me, Lord"

"Don't you see me praying?"

What do we do?

Start arresting people.
Come on.

Excuse me, sir. One moment.

Shit!

So l ran to the devil

He was waiting
l ran to the devil

He was waiting
all on that day

(ALARM BLARlNG)

l knew it. Excuse me.

Power

Oh, l run to the river

lt was boiling
l run to the sea

lt was boiling
all on that day

So l ran to the Lord

l said, "Lord, help me

"Please help me

"Please help me
all on that day"

He said, "Child,
where were you

"When you ought to be praying

I said, "Lord, Lord,
hear me praying, Lord, Lord

"Hear me praying, Lord, Lord

Coming through.

Get the civilians
out of here.

Sinner man,
you ought to be praying

Ought to praying, sinner man

Ought to praying
all on that day

Power

How do we get
this gate open?

Kill the sprinklers
in the lmpressionist
wing now!

(COUGHlNG)

lt's water paint.

PARETTl: lt's been here
the whole time.

From what, one, two days
after the robbery?

There's something
jammed in the track.

Returned the damn thing
practically as soon
as he stole it.

(CREAKlNG)

Oh, Lord.
Oh, dear.

This. . . This can't be.
lt simply can't be.

PARETTl:
Now, how the hell
did he do that?

McCANN: Where are you goin'?

Oh, office.

Write up my report.

The job's done, right?
Yeah.

So, the other painting,
why do you think he chose
that particular one?

l have no idea.

But it's not insured
by my people,
so l'm out of it.

Obviously, you'll still
have to pursue it.

l don't really give a shit.

You don't care
if you catch him?

l'll do what
they tell me to do.

Did you ever care?

Yeah.

He pissed me off.

But look,
the week before l met you

l nailed two crooked
real estate agents

and a guy who was
beating his kids
to death.

So, if some Houdini
wants to snatch
a couple swirls of paint

that are really only
important to some
very silly rich people

l don't really
give a damn.

You're a good man.

Okay. Get out of here.

And tell him
l said hello.

l have no idea what
you're talking about.

Go on.

And don't stiff us
for your phone bills.

No.

Taxi !

(HONKlNG)

You know,
l'm just gonna run.

Thanks.

Excuse me.
MAN: Sorry.

You can't go out there
without an escort.

CATHERlNE: Tommy!

You would be Catherine?

Yes.

He wanted you
to have this.

Good day, ma'am.

Hi, there.

How can l help you?

l have a reservation.

Okay, Miss Banning.

Will you be carrying
any luggage today?

No.

Can you see that this

gets to this man at
police headquarters?

This should
take care of it.

lt won't get there
until the morning.

That's fine.

Departures for
international flights

are up the escalator
to your left.

Ma'am,

is everything all right?

Everything's fine.

(JET ENGlNE HUMMlNG)

(SOBBlNG)

CROWN: (lN SCOTTlSH ACCENT)
You don't need to
cry there, lassie.

Did you set this up?

Did you set this up?
Did you?

Miss, please,
the seat belt sign
is still on.

(SlGHS)

l'll tell you what.

You pull a stunt
like that again,

l'll break
both your arms.

(WlNDMlLLS OF YOUR MlND
PLAYlNG)

Round, Iike a circIe
in a spiral

Like a wheel within a wheel

Never ending or beginning

On an ever spinning wheel

Like a snowball
down a mountain

Or a carnival balloon

Like a carousel that's turning

Running rings around the moon

Like a clock
whose hands are sweeping

Past the minutes of its face

And the world is like an apple

Whirling silently in space

Like the circles that you find

ln the windmills of your mind

Like a tunnel that you follow

To a tunnel of its own

Down a hollow to a cavern

Where the sun has never shone

Like a door
that keeps revolving

ln a half forgotten dream

Or the ripples from a pebble

Someone tosses in a stream

Like a clock
whose hands are sweeping

Past the minutes of its face

And the world is like an apple

Whirling silently in space

Like the circles that you find

ln the windmills of your mind

Keys that jingle
in your pocket

Words that jangle your head

Why did summer go so quickly

Was it something that you said

Lovers walking along the shore

Leave their footprints
in the sand

Was the sound
of distant drumming

Just the fingers of your hand

Pictures hanging in a hallway

And a fragment of this song

Half remembered
names and faces

But to whom do they belong

When you knew
that it was over

Were you suddenly aware

That the autumn leaves
were turning

To the color of her hair

Like a circle in a spiral

Like a wheel within a wheel

Never ending or beginning

On an ever spinning wheel

As the images unwind

Like the circles that you find

ln the windmills of your mind

Pictures hanging in a hallway

And the fragment of this song

Half remembered
names and faces

But to whom do they belong

When you knew that it was over

Were you suddenly aware

That the autumn leaves
were turning

To the color of her hair

Like a circle in a spiral

Like a wheel within a wheel

Never ending or beginning

On an ever spinning wheel

As the images unwind

Like the circles that you find

ln the windmills of your mind

Pictures hanging in a hallway

And the fragment of this song

Half remembered
names and faces

But to whom do they belong

When you knew that it was over

Were you suddenly aware

That the autumn leaves
were turning

To the color of her hair

Like a circle in a spiral

Like a wheel within a wheel

Never ending or beginning

On an ever spinning wheel

As the images unwind

Like the circles that you find

ln the windmills of your mind