All language subtitles for Mission Impossible - 9x10 - Episode 10.DVDRip.en

(horns honking)

(tearing)

-(footsteps)
-(gasps)

-(whooshing, thud)
-(groans)

Oh, hello, Judy.

WOMAN:
Hi.

Welcome to New York, Minister.

Is it done?

It's done.

(theme music playing)

WOMAN:
Okay, girls.

That's enough for today.

Same time tomorrow, all right?

-Thank you.
-See you tomorrow.

I guess it's a long, hard road

from beginner
to prima ballerina.

Long and painful.

But for those who make it,
uh, it has its rewards.

Like premiere danseuse
at Covent Garden?

Or corps de ballet
at Lincoln Center.

PHELPS:
Hmm.

Um, our season's programs
are on the piano.

GIRL:
Hey, I like that.

-GIRL 2: Do you like it?
-Uh-huh.

MALE VOICE:
Good morning, Jim.

Two nights ago,
a priceless painting

on loan to
the Manhattan Museum of Art

was stolen, and a guard murdered
in the process.

The painting taken was a
national treasure of San Marcos,

a state in Central America.

It depicts their patron saint,

and has religious
and patriotic associations

of vast importance to them.

The loss of the painting
will be seen as a catastrophe

for which the United States
will be held to blame.

The man we believe
devised the whole plan

is the minister for culture,
which really means propaganda.

His name is Rafael Ocha.

He is ambitious
to gain more power.

The theft itself
could be the work of this man,

Daniel Travers.

It seems that what Travers
can't buy, he steals.

We suspect he financed his way
into the hotel business

by stealing and dealing art
to the underground market.

Your mission, Jim,
should you decide to accept it,

is to find the stolen
Montoya painting

and thus preserve the good name
of the United States

among the people of San Marcos,

bring Daniel Travers to justice
and restore to the world

the masterpieces
he has stolen over the years.

As always, should you
or any of your IM Force

be caught or killed,

the Secretary will disavow
any knowledge of your actions.

This disc will self-destruct
in five seconds.

Good luck, Jim.

(rapid beeping)

(sizzling)

WOMAN:
Taxi!

-MAN: Move it, buddy!
-WOMAN: No, I know.

I know. I got it.

Daniel Travers
was in San Marcos last month

coordinating the exhibition

on behalf of
the Manhattan Museum of Art.

He's a member of the board.

But he's building up a private
collection of stolen art.

Well, we have the blueprints
to his hotel.

He lives in the penthouse.

Maybe he has the painting
hidden there.

Yeah, we'll try that first,

but, uh, when the coast
is clear...

Grant, how's your simulator
coming?

GRANT:
Nearly there.

Now all I'll need is a subject.

Well, Travers will have
a favorite artist.

Collectors always do.

My job: To find out.

Ready to make contact?

Yes. The auction's in an hour.

The house has reserved
a seat for Travers,

as well as me and one
of my wealthy investors.

Yes, well, I've hired Shannon
to advise me and bid for me.

Mmm, I don't intend on spending
a dollar of anyone's money.

We want to leave
Mr. Travers thinking

you're in the same game he is...
dealing in stolen art.

(gavel banging)

Good afternoon,
ladies and gentlemen.

Thank you for being here
this afternoon

at Danmeers Auction Rooms.

We begin with
this magnificent example

of Postimpressionism.

(crowd applauds)

I refer you to the catalogue

for the prominence
of this Picasso landscape,

which has been
in the owner's family

since purchased
from the artist himself.

The winning bidder
will also acquire

the original bill of sale.

MAN:
Yo, taxi!

Here comes the end of the line.

Can't get any higher
without his personal keycard.

I can bypass this.

We don't have time.

Sometimes, the old way
is the quickest.

What are you
standing around for?

GRANT:
Come on up.

GRANT:
All right, let's roll.

We're in.

Good.

Nicholas reports they've
just opened the bidding

on the painting Travers wants.

He'll head straight back,
so you'll have to move fast.

Two million, two... $2,200,000
for Mr. Rubenstein.

Going once.

Two million, three.

Two million, three
for Mr. Travers in row two.

Two million, three.

Yes, Miss Novak?

-$3 million.
-$3 million.

The bid now stands
at $3 million.

Three million, two.

Three million, two
for Mr. Travers.

Three million, two is
the current bid

for this fine example
of late Postimpressionism.

$3,500,000.

Three million, five.

The current bid
is three million, five.

Any advance
on three million, five?

Going once.

Going twice.

Three million, eight.

Three million, eight
for Mr. Travers.

Do I have any advance
on three million, eight?

Going once.

Going twice.

Sold for $3,800,000.

Thank you.

Congratulations.

Very well done, Daniel.

Is she working for you?

I just paid way too much.

Miss Novak is a genuine bidder,
I can assure you.

Showed me her letters
of credit yesterday.

She acts for a bunch
of businessmen.

Philistines,
investing purely for the money.

Fellow she's with is one.

She just cost me $600,000.

But I like those eyes.

There's nothing in his safe
that looks like a painting.

Maybe he sold it.

I'll download the memory
in his fax machine.

See who he's been
dealing with lately.

Jim, we're coming up empty.

For a guy who loves art,

he doesn't keep much
around here at all.

He'll have plenty
hidden somewhere.

Somewhere else.

Look, we bugged his office.

We'll send you whatever we have

in the memory
of his fax machine.

Standing by.

Hello, Mr. Travers.

It's a pity you were here today.

My client really wanted
that painting.

So did I.

Maybe we can
do business together.

Business?

I'd rather we talked pleasure.

The clients that I represent,

they're not just interested in
what's out there on the market.

They're also interested

in what's not out there.

I don't think I follow.

Hmm, I think you do.

I have a hunch

that you wouldn't disappoint me
on a treasure hunt.

That would all depend
on what we're looking for.

A Montoya.

Montoya doesn't interest me.

Come on, now, Mr. Travers.

You're on the board
of the Manhattan Museum of Art.

Of course, you're interested.

You just lost the most famous
Montoya of them all.

I expect that we'll meet again.

Bye for now.

Any luck?

We found a coded message
from San Marcos

in his fax machine.

And I think
we've just cracked it.

PHELPS:
From President Ybarra, no less.

"Minister Ocha returning
to New York

"for urgent meeting with you

"before launch
of media campaign tomorrow.

"Imperative you honor our deal

as originally stated."

Honor among thieves.

There never has been.

Maybe this will give us
something to work with.

It sounds like Travers
isn't content

with his end of the bargain

and he's threatening
to break it.

It sounds like he's
holding all the cards.

So far, he is, but we will be

at Minister Ocha's
press conference tomorrow.

Travers is on before Ocha.
Make sure you get it.

(camera shutters clicking,
reporters murmuring)

Ladies and gentlemen,

on behalf of
the City of New York

and indeed
the entire United States,

the board of this museum

deeply regrets the information
you are about to hear

concerning a theft
of a very valuable painting,

on loan to us
from the people of San Marcos.

I give you
their minister of culture,

the esteemed Rafael Ocha.

Ladies and gentlemen,

my country has lost
its most treasured possession

due to the arrogant disregard,
the insult...

You're not here to admire
our Impressionists, are you?

Yes, I am.

After that auction,

I'd say that we share
the same tastes.

There are only two works in here
that I truly admire.

If I had my way, this museum

would sell off
all the rest of them

to buy more like these.

The one artist
who brought every aspect

of Impressionism
under masterful control.

Daring composition,

a wonderful eye for color.

Degas.

What a genius.

I know the whereabouts
of a missing Degas.

If you're interested.

There isn't a Degas
on or off the market

that I don't know about.

I pay very qualified people to
keep me informed of such things.

I wasn't referring
to a known Degas.

I was referring
to an unknown Degas.

Obviously, your qualified people
aren't doing their homework.

That's nonsense.

If you don't believe
in my Degas,

that's your loss.

I think you're wanted.

OCHA: You said you had a deal...
one I would like.

Let's talk about it right now.

I'm all ears.

TRAVERS:
So here's what I propose.

I get five miles
of your gold coast

and exclusive rights to build
and operate a hotel-casino,

tax-free,

or the painting reappears
and you lose all your propaganda

against the United States.

This is an outrage.

No, th...

This is business.

And remember,

you can't afford to expose me

without ruining
your own reputations.

(chuckles)
Relax.

We have the perfect arrangement.

I'll have to discuss this
with President Ybarra.

Of course.

Adios, amigo.

Mmm.

What's your game, angel?

I'd like to know.

Jim, Travers has Shannon
under the knife.

I'd better jump in.

Max, no. Stay clear.

We have to hold our cover,
and Shannon knows that.

Now, who are you?

I told you,
I'm a dealer in fine art.

Some stolen, some not.

You get the picture?

You're a fence.

I'm an exceptional fence.

Well, if you are
who you say you are,

you might just get to live.

And the test will be
your missing Degas.

I want to see it.

That'll take some arranging.

I'm sure.

We'll do it together
at my place.

Travers is taking her
back to his penthouse.

Jim, he wants to see the Degas.

Shannon's done her part.
Now it's up to us.

Get back here as fast as you can
with the photographs.

Max's close-ups
will give us more fine detail...

paint, texture, brushstrokes.

We'll feed everything we've got
on Degas into the computer.

It then assimilates
all the elements

of the artist's technique...

subject, color choice,
brush stroke,

line, depth, et cetera.

From there,
the simulator takes over

and give us, hopefully,
our lost Degas.

Well, it had better.

Otherwise, we won't get any
closer to his hidden gallery.

Worse than that.

It could cost Shannon her life.

I don't think much
of your hospitality.

You haven't earned it yet.

First...

the call.

Then the drink.

(line ringing)

Hello.

This is your agent.

Uh, well, this is not
the best time.

I know. I'm sorry.

I'm here with a friend.

He's a patron of the arts.

He's particularly interested
in dancers.

I believe you
can help him find one.

One dancer does come to mind.

Could he see it today?

Well, that's
rather short notice.

It's rather urgent.

Uh, where and when?

Central Park, by the lake.

About noon.

Central Park
by the lake at noon?

Uh, no. Not noon.

Make it 5:00.

5:00?

Good.

We'll expect you then.

All right.

Well done.

Now, what may I get you?

Scotch.

Neat.

A 100-year-old canvas?

You sure that painting
we scraped off

wasn't worth anything?

Not at the price we paid.

You all set?

The making of a masterpiece.

It's now or never, guys.

(mechanical whirring)

What do you think?

I'd buy.

Remarkable.

But it's not what we think
that counts.

Daniel Travers, Phillip Grenier.

You have the Degas?

Of course.

I'd like to see it.

Right here?

I'm curious to know if there's
any point to this exercise.

And I likewise.

Are you prepared
to pay my price?

I'm not about
to show my discovery

to somebody
who's simply curious.

I'll know what it's worth
if it's genuine

and pay accordingly.

Show him the painting, Phillip.

Mr. Travers,
you are about to view

$18 million.

Satisfied?

My God.

Now, who are we trusting?

Your valuer has to be
not only expert;

he has to be discreet.

Uh, Brian Danmeer.

He's paid to keep secrets.

Your agent knows him already.

He'll be fine.

DANMEER: It certainly belongs
to the correct era.

No doubt about that.

Brush stroke, technique,
and color mix is infallible.

This is Degas' genius
at work here, Daniel.

I think your search
is finally over.

I think you're right, Brian.

Now, Mr. Grenier and I
have some negotiating to do.

Well, I've told you the price.

$18 million, nonnegotiable.

That's far ahead
of market value.

Well, then, we'll wait for
the market to catch up with it.

Good day, gentlemen.

Grant, the expert called it
the work of a genius.

You must be the reincarnation
of Degas.

Whoa, we got to give some credit
to my simulator here.

So, uh, Travers went for it, eh?

He went for it all right.

And I'm certain
he'd kill for it.

Phillip, is that you?

Phillip, are you there?

(gasps)

Daniel.

I'm afraid the Degas
is going to a new home, angel.

But trust me,
it won't go unappreciated.

You snake.

You left me no room
to negotiate.

(groaning)

Shannon?

Shannon?

(sighs)
You're okay.

Yeah.

I had myself
pretty much covered.

And with this
under the water, too.

Just in case he wasn't fooled.

Shannon's fine.

PHELPS: Is the bug
in the painting working?

Yep. He's heading
down East 54th Street.

Heading towards his hotel.

Good. Nicholas is in position.

He's going down. Repeat... down.

I'll join you
in the underground garage.

We got to be close
to the answer here.

Downstairs
to his hidden gallery.

(beeping)

(whispering):
Over there.

MAX:
We better split up.

GRANT:
Right.

(Iock clunking)

Well, where'd he go?

(beeping)

Bug's been blocked.

(classical music playing)

(liquid pouring)

To genius.

So it didn't work out
last night.

We'll try a different approach.

How is Minister Ocha
this morning?

I'd say he's looking good.

Minister Ocha's wearing
a black and white outfit today.

I'll fax you a reference shot.

I have discussed the situation
with President Ybarra,

and he agrees to your terms
and looks forward

to a new Travers resort
in San Marcos.

That's wonderful.

However, he does insist

that you now give me the Montoya
painting for disposal.

TRAVERS:
Well, I'm glad he understands

the risk of leaving it
in my hands.

I, uh, could become careless.

You continue
to threaten us, senior.

If the American government
were to recover the painting,

the people of San Marcos would
love us for it, not hate us,

and your propaganda campaign
would turn to, uh, ashes.

What I need is a document
from your president.

Right. Let's go.

Two police officers
to see you, sir.

Show them in.

Thank you for seeing us,
Minister Ocha.

I'm Captain Pierce,
New York Police.

This is Inspector Wilson,
Interpol.

Senior.

Well, what can I do for you?

We're pleased to report that we
found the Montoya painting

that was stolen
earlier this week.

You found it?

What do you mean, you found it?

Well, we've been tracking
a multinational ring

of art thieves, forgers
and smugglers for some time now.

Yes, it was included
in a shipment bound for Japan.

The Japanese mafia.

They've been buying a lot of
high-priced stolen art recently.

I see.

Well, we know how important
the painting is

to the Republic of San Marcos.

We just wanted
to let you know officially

that it's on its way back
to our Manhattan Museum of Art.

That is indeed good news.

Thank you, senior.

Thank you. Thank you.

Yes, you're welcome.

Thank you, senior.

Good day.

Get me Senior Travers.

! Andale!

You need your hot dog, Captain?

Afraid I haven't time right now.

You play me for a fool.

The Montoya painting
has been found.

Interpol is returning it
to the museum as we speak.

That's impossible.

I've got the Montoya.

You have nothing.

And, senior, consider
your land grant canceled.

Now, you hold on just a minute!

I'm telling you
that whatever you've got

coming back to the exhibition
is a forgery!

Oh, really?

You want proof?
Just get over here right now,

and I'll show you the real one.

I've had enough of your games.

Minister Ocha, wake up.

At this point, you cannot afford
to try to second-guess me!

Big dogs. Big dogs here.

-Come on. Buck and a quarter.
-(dog barking)

Hey, bark until you bite.

SHANNON:
Sasha.

-Look out, dog!
-Fluffy!

-Ow!
-Oh, oh, I'm terribly sorry.

Are you okay?

Oh, you bad girls.

Oh...

(quiet whooshing)

(groans)

GRANT:
Hey, are you all right, man?

Stupid woman.

Are you all right, sir?

You must learn to trust me.

(elevator bell dings)

TRAVERS:
You are about to become

the very first
official visitor...

to my private gallery.

(whirring, clanking)

After you, Minister.

(whirring)

(door clanking shut)

Santa Maria.

(chuckling): Yes, it's
a visual banquet, isn't it?

I built this hotel
on the site of an old bank,

retained this interesting
little hideaway.

It suits me down to the ground.

Monet.

(high-pitched whirring)

Van Gogh.

(high-pitched whirring)

My God.

Is this a Degas?

Yes, it is.

It's my most recent acquisition,

and as far as I'm concerned,
the jewel of my collection.

This way, Minister.

I designed this security system

to keep people like myself out.

There you see it.

The real Montoya.

-So I take the painting now?
-You'll blow yourself

to pieces if you do.

But you have your grant of land.

No, I don't.

I just have your word on that.

I told you, I need a document,

signed and sealed.

You give me that,
and I'll give you the Montoya

to do with as you will.

GRANT: Palm print identifier,
sensor detonation.

Quite a minefield.

Now, here are shots of every
other painting down there.

Worth millions,
but there's no sprinkler system.

No sprinkler system.
That's interesting.

And officially, his secret
basement doesn't exist.

So it's not included in the
hotel's fire control measures.

Well, I saw smoke detectors
down there,

but only handheld extinguishers.

Well, there will be
a private alarm

among the others we saw
in his penthouse.

Oh, that could be
the chink in his armor.

That could be
the Achilles' heel.

Grant, could you duplicate
those other paintings he has?

From these photos?

Yes.

Yeah, but, uh,

they won't be fit
for any close inspection.

No, that's not important.

We'll have Travers
moving too fast.

Go to it.

You got it.

Jim, how long do you want to
keep the minister under wraps?

Oh, until we need him.

We're going to force Mr. Travers
to hand over the Montoya

to the real minister this time.

(beeping)

This door is solid steel.

No wonder we lost contact
with our bug.

(whirring, door clanking shut)

(beeps)

(beeps)

All right,
time to catch Mr. Travers

on his own home ground.

(phone rings)

Yes?

Ah, this is Rafael Ocha.

Ah, yes.
I, uh, take it you've spoken

with President Ybarra
about my final proposal?

Yes, he was not pleased.

Well, he should be.
It's a bargain.

Yes, well, we agree
with the terms.

In return
for the Montoya painting.

With pleasure.

Just bring the papers
to my penthouse, and we'll sign.

Stay here and monitor the bug
in Travers' penthouse.

The moment you hear
the minister's voice,

give me a call,
then come and join us.

Who are you?

You remember me...
I'm Captain Pierce.

You had a bit of an accident.

Uh, fell down on the pavement,
hit your head.

We're taking you
to the hospital.

No, no, I've...
I've got an appointment.

An urgent appointment.

I must get to the Travers Hotel.

That was kind of
a nasty fall you had.

Do as I say!

Well, if you insist.

Okay.

Leave it to New York's finest.

Bye, Minister.

I hope you've enjoyed
New York hospitality.

Let's go underground.

All right, Jim.

We're just about ready.

Okay, Grant, Minister Ocha
is on his way.

Let's see the papers.

No, no.

First, you must show me
the real Montoya.

What?

We've been through all that.

TRAVERS (over speaker):
What are you talking about?

Jim, now.

Hit it, Grant.

(fire alarm rings)

(alarm whooping)

Fire!

There's a fire in the gallery!

My paintings!

They're on their way in.

God! My Degas!

My paintings!

Help me!

Grab something!

Don't stand there! Help me!

You get my Montoya.

Later! Help me here now!

Our deal is gone.

And so is your Degas

unless you get me
the Montoya now.

? Comprende?

We're through
negotiating, senior.

Okay! Okay! Okay.

(high-pitched whirring)

Grant, what's our status?

He's at the vault now, Jim.

Here, the Montoya.

Give me my Degas.

Such a lot of trouble
for a piece of rubbish.

What are you doing?!

I did not want the painting,
senior. I have what I wanted

to make sure its loss
is blamed on the Americans.

And now that it's destroyed,

I don't need your help.

So you can say adios
to your stretch of our beach.

Our deal is off, senior.

Adios, Minister!

(groaning)

Nobody double-crosses me.

(valve squeaks)

What?

You glad to see me, Daniel?

You...

You're dead!

(gasps)

What are you doing?
My Degas!

You're destroying the work
of a genius!

What?

My Degas, it's gone!

You should have had more respect
for a genuine work of art.

TRAVERS:
Oh, my God. You criminals.

You vandals!

This can't be happening!

No!

(siren wails)

-Let's go. Move it.
-Let's go.

You'll find Daniel Travers
in the basement.

Make certain he's booked
for murder one.

Will do, Captain.

Now, get the Montoya
back to the museum.

A masterpiece like this
is a little too hot to handle.

(theme music playing)