0:01:50 > 0:01:52LOUD BANG
0:01:52 > 0:01:54ALARM BLARES
0:01:55 > 0:01:57SHOUTING
0:01:59 > 0:02:02I sincerely apologise for disturbing your afternoon.
0:02:02 > 0:02:08If you relax and stay calm, you will all leave here alive.
0:02:08 > 0:02:11We have come only for the girl.
0:02:29 > 0:02:32Drop your weapons, Roger Barlow.
0:02:36 > 0:02:38Today...
0:02:38 > 0:02:40she will be mine.
0:02:40 > 0:02:44I'm talking to a dead man. You know that, don't you?
0:02:46 > 0:02:48If I cannot have her...
0:02:48 > 0:02:49No!
0:03:02 > 0:03:04ALL IS CALM AND QUIET
0:03:06 > 0:03:08OK, we're gonna see some old paintings now
0:03:08 > 0:03:11that I think you all will really like. The Lonely Maiden
0:03:11 > 0:03:16The Lonely Maiden was painted by Marcel de Robert in 1873.
0:03:16 > 0:03:18The girl in the painting is the artist's own daughter.
0:03:18 > 0:03:22Now, marked by assured brush strokes and the use of fractured light
0:03:22 > 0:03:25makes this painting a wonderful example of a very brief
0:03:25 > 0:03:30but influential time period known as the Northern French naturalist movement.
0:03:30 > 0:03:34- Northern French...- Ma'am. I don't mean to interrupt,
0:03:34 > 0:03:37but there are some things I could clear up for the group.
0:03:37 > 0:03:38- May I?- Oh, no, I think...
0:03:38 > 0:03:41Well, first, The Lonely Maiden
0:03:41 > 0:03:44was painted in 1875, not 1873.
0:03:44 > 0:03:47And the girl in the painting is not the artist's daughter,
0:03:47 > 0:03:49but in fact a niece from his wife's side.
0:03:49 > 0:03:52Also, the painting technically belongs to an offshoot
0:03:52 > 0:03:56of the Northern French naturalist movement. The post-naturalist movement.
0:03:56 > 0:04:00- One of only three works completed. - Yeah. I knew that.
0:04:00 > 0:04:04The Lonely Maiden is marked by the subtle use of tone and mood
0:04:04 > 0:04:07to create a striking image of desperate longing
0:04:07 > 0:04:09and overwhelming passion.
0:04:11 > 0:04:16Sometimes, when you look at her, the way the light glows on her face,
0:04:16 > 0:04:19the eyes so full of sorrow,
0:04:19 > 0:04:23you cannot help but ask, "What is she searching for?
0:04:26 > 0:04:29"Is there anything I can do for her?
0:04:33 > 0:04:35"Is there anything I can do for her?"
0:04:39 > 0:04:41- OK. Thank you, sir.- Thank you.
0:04:41 > 0:04:44- That was a nice treat, wasn't it? That was neat.- Good to see you.
0:04:45 > 0:04:47She looks kind of fat.
0:04:49 > 0:04:53- So, Roger, how was your day? - It was good. How was yours?
0:04:53 > 0:04:56Mine? Mine was better than good.
0:04:56 > 0:05:00You know how I've been doing Mondays and Wednesdays down in Margie's shop?
0:05:00 > 0:05:04Well, Margie decided they needed another person on Thursdays.
0:05:04 > 0:05:05And who do you think she called?
0:05:05 > 0:05:08Is this the same soup we usually have?
0:05:08 > 0:05:10- Chicken noodle.- Same brand?
0:05:10 > 0:05:13No, they didn't have your brand. Why? Is it bad?
0:05:13 > 0:05:16No, it's just different.
0:05:16 > 0:05:20Anyway, today alone I did seven colourings and six perms.
0:05:20 > 0:05:24- It's the most I have ever done.- The noodles stick together in this kind.
0:05:26 > 0:05:28I don't know what it is about Thursdays,
0:05:28 > 0:05:32but I made more money in tips today than I ever have on any Wednesday.
0:05:32 > 0:05:38- I was so nervous walking home. - You know, criminals can sense fear.
0:05:38 > 0:05:42Well, I hope no-one sensed me today. I was nervous.
0:05:43 > 0:05:46Every little bit gets us closer to Florida.
0:05:50 > 0:05:53Our vacation, Roger. Our vacation.
0:05:53 > 0:05:56- Who? - I know you take your job seriously,
0:05:56 > 0:06:00and that's great, but I really think you need a break.
0:06:00 > 0:06:03Someplace warm where you could relax, take your mind off the museum.
0:06:03 > 0:06:06You know what happens when a security guard relaxes?
0:06:06 > 0:06:08I think I have some idea.
0:06:10 > 0:06:11Rose.
0:06:16 > 0:06:17MUSIC PLAYS
0:06:48 > 0:06:51Monsieur Barlow, you're supposed to be on break...
0:06:51 > 0:06:52MUSIC STOPS ABRUPTLY
0:06:52 > 0:06:57Yo, Mr Barlow, you're supposed to be on break, man. Go, get out of here!
0:06:57 > 0:06:58Go grab a soda or something, huh?
0:06:58 > 0:07:02OK, but watch out for children. They like to touch things.
0:07:02 > 0:07:06- They get too close, you have to be...- Yeah, yeah, trust me.
0:07:06 > 0:07:08It's under control.
0:07:10 > 0:07:13Look sharp, now. Looks like The Man just walked in.
0:07:17 > 0:07:20- I wonder what they're doing. - You didn't hear?
0:07:22 > 0:07:25Man, don't you ever read the bulletin board?
0:07:25 > 0:07:29The display should be bold, in your face, grab people by their throats
0:07:29 > 0:07:33and say, "I don't care what you think, I am beautiful.
0:07:33 > 0:07:37"Do not turn away." This middle area...
0:07:39 > 0:07:41..wonderful for the dung sculptures.
0:07:41 > 0:07:44The upstairs, perfect for the series of animal genitalia.
0:07:44 > 0:07:48Now, for the northern end of the hall...
0:07:48 > 0:07:50- Can I help you with something? - Yes, sir.
0:07:50 > 0:07:53I was wondering, someone told me just now,
0:07:53 > 0:07:56you're thinking of moving The Lonely Maiden. Is that true?
0:07:58 > 0:08:01- Who is this? - That would be Barlow, sir.
0:08:01 > 0:08:05- Security guard, sir.- Mr Barlow, I don't know what you've heard,
0:08:05 > 0:08:07but we are not thinking of moving the exhibit.
0:08:07 > 0:08:09We ARE moving the exhibit.
0:08:10 > 0:08:13A gallery in Copenhagen made an offer and we accepted.
0:08:13 > 0:08:18- Let's go, gentlemen. - Sir! Sir! Why Denmark? Why so far?
0:08:19 > 0:08:22I'm sorry we didn't consult you.
0:08:24 > 0:08:26The visitor will be greeted by a series of spirals here
0:08:26 > 0:08:29in the northern end of the gallery.
0:08:30 > 0:08:34It's that damned new curator. We've had that exhibit 30 years.
0:08:34 > 0:08:36People... It needs to be there.
0:08:37 > 0:08:41- Roger, were you wearing a beret again?- No.
0:08:43 > 0:08:45But it leaves a big mark on your forehead,
0:08:45 > 0:08:47and it pushes your hair up in the back.
0:08:48 > 0:08:52I know you like to wear it when you read your art books.
0:08:53 > 0:08:56It doesn't make sense. People love those paintings.
0:08:56 > 0:08:59Maybe they'll like the new exhibit.
0:09:02 > 0:09:05Roger, maybe you should retire.
0:09:05 > 0:09:08You've been at the museum an awfully long time.
0:09:08 > 0:09:12I can't retire, Rose. What would I do with myself all day?
0:09:12 > 0:09:16Roger, you wouldn't do it with yourself. You would do it with me.
0:09:16 > 0:09:19We could move out of the city, someplace warm.
0:09:21 > 0:09:22I don't know.
0:09:32 > 0:09:33- Bob. - Hey, Roger.
0:10:32 > 0:10:34You thought about moving to Denmark?
0:10:34 > 0:10:38A little bit, but I don't think my wife would go for it.
0:10:38 > 0:10:39How about you?
0:10:42 > 0:10:44Looked into it.
0:10:45 > 0:10:48- It just doesn't seem right.- No.
0:10:48 > 0:10:51I mean, you stand there, day after day, year after year...
0:10:53 > 0:10:54..and then...
0:10:55 > 0:10:58..they say she's going to be gone. Just like that.
0:11:10 > 0:11:12You know...
0:11:13 > 0:11:16..we don't have to let them leave.
0:11:16 > 0:11:20I mean, if we're serious, we can just make them ours.
0:11:22 > 0:11:26- What are you saying? - What do you think I'm saying?
0:11:26 > 0:11:28I'm not sure.
0:11:28 > 0:11:33For a second, I thought you were suggesting we steal the paintings.
0:11:33 > 0:11:34And if I am?
0:11:34 > 0:11:37We're security guards. We're supposed to stop crime.
0:11:37 > 0:11:41You don't think this is a crime? Do you know how far Denmark is?
0:11:41 > 0:11:43I don't know, Charlie.
0:11:44 > 0:11:48We're not thieves. And besides, you and me...
0:11:52 > 0:11:54..I don't see how we could do it.
0:12:03 > 0:12:06It's a silly idea. I shouldn't have brought it up.
0:12:06 > 0:12:09- Wait, wait.- I have to go. I have things to do.
0:12:09 > 0:12:13- I have responsibilities. Thanks for the milk.- Sure.
0:12:15 > 0:12:16Paintings.
0:12:20 > 0:12:21Steal paintings.
0:13:20 > 0:13:22- Hi.- Charles.
0:13:24 > 0:13:27- Have you thought about what we talked about yesterday?- No.
0:13:29 > 0:13:32OK, maybe a little bit. Why?
0:13:32 > 0:13:33Can I show you something?
0:13:36 > 0:13:39About nine months ago they started this new programme
0:13:39 > 0:13:42of looking at the security tape from the night before,
0:13:42 > 0:13:45to make sure that the guards on duty aren't slacking off.
0:13:45 > 0:13:48So I volunteered, thinking a few hours of overtime would help.
0:13:53 > 0:13:55- Hey, Tony.- Hey, fellows.
0:14:12 > 0:14:17His name is George McLendon. He's been a guard for 12 years.
0:14:19 > 0:14:21Works nights twice a week.
0:14:23 > 0:14:27The statue he's looking at is called The Bronze Warrior
0:14:27 > 0:14:29Artist unknown.
0:14:29 > 0:14:33A vivid and exquisite celebration of the male form.
0:14:35 > 0:14:37The naked male form.
0:15:01 > 0:15:03That's him.
0:15:05 > 0:15:09- Excuse me. Hello, how are you? - Good, good. What can I do for you fellows?
0:15:09 > 0:15:13My name is Roger Barlow. This is Charles Peterson.
0:15:13 > 0:15:15- Hi.- We work at the museum.
0:15:15 > 0:15:18- Right, I know, I've seen you around. - OK, well...
0:15:20 > 0:15:22Well...
0:15:24 > 0:15:25What?
0:15:28 > 0:15:30You're on the security tapes.
0:15:32 > 0:15:33So?
0:15:34 > 0:15:36- Well...- Oh, Jesus.
0:15:36 > 0:15:40- Where's...? Taxi! Taxi! Taxi! - George, it's not what you think.
0:15:40 > 0:15:43George, George, George, please.
0:15:43 > 0:15:47Listen, I don't know what you think you saw, but I'm a happily married man.
0:15:47 > 0:15:52- We're not here to judge you.- No, we just want to talk about your statue.
0:15:52 > 0:15:54We just want to talk.
0:15:59 > 0:16:02You know they're moving the exhibit, don't you?
0:16:02 > 0:16:04That's why we're here.
0:16:05 > 0:16:07Can we go somewhere?
0:16:10 > 0:16:12The coffee shop?
0:16:15 > 0:16:19- Do you know how far Denmark is? - Yes, it's so far away.
0:16:19 > 0:16:22- It's too far. - It's a really hard language.
0:16:33 > 0:16:36Hope you don't mind the mess.
0:16:38 > 0:16:40We don't get very many guests.
0:16:40 > 0:16:43That's fine. Did you do all these yourself?
0:16:43 > 0:16:47I can pretty much do it from memory now.
0:16:47 > 0:16:51The hand sketch on the yellow envelope over there is my latest.
0:16:51 > 0:16:53- I finished it this morning. - These are amazing.
0:16:53 > 0:16:54Thank you.
0:16:54 > 0:16:56KNOCK AT DOOR
0:16:58 > 0:17:00That must be George.
0:17:03 > 0:17:05- Hi, George.- Charles.
0:17:05 > 0:17:10- Roger.- Hi, George.- I hope you didn't have any trouble finding the place.
0:17:10 > 0:17:13- No.- Well, if you can just watch your step.
0:17:13 > 0:17:15- Cats, see. - Yeah. Where's the model?
0:17:17 > 0:17:19It's over here.
0:17:19 > 0:17:21Matisse! Come on, darling.
0:17:22 > 0:17:23Bad kitty.
0:17:25 > 0:17:28So this is about the best I could do,
0:17:28 > 0:17:31in terms of setting up a model for us.
0:17:31 > 0:17:33You know, this is the main entrance,
0:17:33 > 0:17:36this is the north entrance, this is the south entrance.
0:17:36 > 0:17:38Well, you know the layout.
0:17:38 > 0:17:41I thought the north entrance would be our best chance.
0:17:41 > 0:17:44It's quiet and secluded, so we won't be spotted from the street.
0:17:44 > 0:17:47The door has a triple action security lock,
0:17:47 > 0:17:49controlled electronically,
0:17:49 > 0:17:51and there's only one posted guard.
0:17:51 > 0:17:55The guard on duty is permitted two five minute bathroom breaks
0:17:55 > 0:17:57every three hours.
0:17:59 > 0:18:03We preset the electronic locks at a specified time
0:18:03 > 0:18:07Make our way down the corridor to the main exhibit hall.
0:18:08 > 0:18:11What about the two interior guards?
0:18:21 > 0:18:23I don't know.
0:18:23 > 0:18:26Well, we could always use the south entrance.
0:18:26 > 0:18:29There's only a guard posted there on the weekends.
0:18:29 > 0:18:31The door is an electronically controlled bolt lock
0:18:31 > 0:18:35with a magnetic tripwire that is triggered by opening the door.
0:18:35 > 0:18:37There's a three second delay.
0:18:37 > 0:18:43So, if we hurry, we could get inside, reset it before it activates.
0:18:43 > 0:18:46What about the motion sensors?
0:18:50 > 0:18:54- Well, I hadn't quite worked that out yet.- No, I guess you hadn't.
0:18:56 > 0:18:58Gentlemen, I have a question for you.
0:19:07 > 0:19:09Are you ready to get serious?
0:19:09 > 0:19:12Watch your step. You hit me in the face!
0:19:12 > 0:19:14Easy, easy. Use your goggles. Be careful.
0:19:14 > 0:19:16All right, here we are.
0:19:16 > 0:19:18This is something else.
0:19:18 > 0:19:20- What a lovely evening.- Yeah.
0:19:20 > 0:19:22Wow! Look at that! Yeah.
0:19:23 > 0:19:26Perfect. This is good. This will work.
0:19:26 > 0:19:30- Are you sure nobody's gonna come up here?- No. Nobody else has a key.
0:19:31 > 0:19:34Good. All right, gentlemen.
0:19:34 > 0:19:36I'll go first. When I get down,
0:19:36 > 0:19:40I'll call for one of you to follow me. And don't worry.
0:19:40 > 0:19:44Once you've attached the rope, you won't fall.
0:19:44 > 0:19:47You do, however, have to control your speed.
0:19:48 > 0:19:52Remember, left hand is the gas, right hand is the brake.
0:19:52 > 0:19:54George, where'd you learn how to do this?
0:19:54 > 0:19:59Marines. I was in Wave 3 of the Grenada Invasion.
0:19:59 > 0:20:01Viva Grenada libre!
0:20:01 > 0:20:03Wait, wait, wait.
0:20:03 > 0:20:05CRASHING
0:20:07 > 0:20:09I'm OK. I'm OK.
0:20:10 > 0:20:13Charles, you don't care about these flowerpots, do you?
0:20:13 > 0:20:15My flowers? Oh, dear.
0:20:17 > 0:20:20- Well, I guess not. - OK, who's next?
0:20:22 > 0:20:25- Roger. Roger, you're next, OK? - I don't want to do this.
0:20:25 > 0:20:29- No, Roger, you've got to. You gotta do it.- Well, why do I have to go first?
0:20:29 > 0:20:31Well, cos I don't want to go first.
0:20:31 > 0:20:34- Why not?- Well, because I'm scared.
0:20:34 > 0:20:36- I'm not going.- Yes, you are.
0:20:36 > 0:20:37Ladies, can we please get a move on?
0:20:37 > 0:20:40He's coming. He's coming. He's coming. He's coming.
0:20:42 > 0:20:43You're doing fine.
0:20:51 > 0:20:53- You sure about this? - Of course I'm sure.
0:20:53 > 0:20:54Let her rip, soldier!
0:20:57 > 0:20:59- Good luck, Roger. - OK, here goes.
0:21:09 > 0:21:11Roger, you OK?
0:21:11 > 0:21:12I'm not sure.
0:21:12 > 0:21:15You're doing fine, Private. The hard part's behind you.
0:21:15 > 0:21:18Just remember, left hand gas, right hand brake.
0:21:18 > 0:21:22- I think my hand is slipping. - Which one?- Both.
0:21:25 > 0:21:28Roger, are you OK?
0:21:29 > 0:21:32I can't believe it. I'm alive.
0:21:40 > 0:21:43Rose, I've been thinking about what you said, you know,
0:21:43 > 0:21:46about me retiring and us moving somewhere.
0:21:47 > 0:21:49Maybe it's not such a bad idea.
0:21:49 > 0:21:51Roger, really?
0:21:54 > 0:21:58Roger, that's wonderful. I knew, once you wrapped your mind around it,
0:21:58 > 0:22:00that Florida would be the place for us.
0:22:00 > 0:22:04All of those beaches and sunshine.
0:22:04 > 0:22:07As nice as Florida is, I was thinking Denmark.
0:22:09 > 0:22:11- Denmark?- Yeah.- Are you kidding?
0:22:11 > 0:22:16I realise it's not a conventional choice, but I've heard nice things.
0:22:17 > 0:22:21Are there beaches in Denmark? Does it even get warm there?
0:22:21 > 0:22:25Not like Florida, no, but probably there's a few weeks a year
0:22:25 > 0:22:29that are very pleasant. I'm not sure about a beach.
0:22:30 > 0:22:33Roger, that sounds like a great place to retire.
0:22:36 > 0:22:38I can't wait.
0:22:38 > 0:22:42Yeah, well, I thought it might be something different.
0:22:42 > 0:22:44- It's different.- Yeah.
0:23:48 > 0:23:51- Where's Charles? - He said he'd be here.
0:23:56 > 0:23:58Sorry I'm late. I went to the wrong bench.
0:23:58 > 0:24:02- The gentleman over there... - Ssh. Turn around, turn around.
0:24:02 > 0:24:06We have to be extra careful now. No telling who might be watching.
0:24:06 > 0:24:09There's a new plan.
0:24:09 > 0:24:11We're going to take the pieces during the move.
0:24:14 > 0:24:19- But won't there be guards? - We are the guards. Tell him, Roger.
0:24:19 > 0:24:22Needlebaum's taking volunteers to work security.
0:24:22 > 0:24:26If we volunteer, we'll have perfect access to the pieces.
0:24:28 > 0:24:31- How do you know that?- I snuck into his office and read the file.
0:24:32 > 0:24:34- You did?- Yeah.
0:24:35 > 0:24:38- Roger, I'm impressed. - Thank you, Charlie.
0:24:38 > 0:24:42All right. We should move on. This is starting to look suspicious.
0:24:42 > 0:24:45I'll keep you men informed on a need-to-know basis.
0:24:45 > 0:24:47George, George, wait! Wait!
0:24:49 > 0:24:52- What is it?- You said we're gonna steal the pieces during the move.
0:24:52 > 0:24:57- What happens when the crates are opened in Denmark and three pieces are missing?- That's a good point.
0:24:57 > 0:24:58Would you please turn around? They're gonna see us.
0:24:58 > 0:25:01- Who's "they"? We're at the park. - Gentlemen...
0:25:09 > 0:25:11Gentlemen, let me ask you a question.
0:25:11 > 0:25:13Do the Communists control Grenada?
0:25:15 > 0:25:18I am not that familiar with Grenada. Do they?
0:25:18 > 0:25:21Hell no, they don't, and do you know why?
0:25:21 > 0:25:24- Because you invaded?- Exactly.
0:25:25 > 0:25:30Operation Urgent Fury was a shining beacon of military preparedness.
0:25:30 > 0:25:34So when you ask me what happens when three pieces are missing in Denmark,
0:25:34 > 0:25:37it offends me. It's like you discount my training.
0:25:37 > 0:25:40I'm sorry, George. I didn't mean to doubt your training.
0:25:40 > 0:25:43- Thank you, I appreciate that. - But seriously, what happens
0:25:43 > 0:25:46- when three pieces are found missing in Denmark?- All right.
0:25:47 > 0:25:49Since the phrase "on a need-to-know basis"
0:25:49 > 0:25:51clearly means nothing to you...
0:25:55 > 0:25:59..we are going to have three perfect fakes made.
0:26:04 > 0:26:07But that's not the same, is it?
0:26:07 > 0:26:11- I thought the whole point was to get the real pieces.- Yes.- No.
0:26:11 > 0:26:15No, we're gonna get... We're going to get the real pieces,
0:26:15 > 0:26:19but we'll exchange the fakes for the originals during the move.
0:26:19 > 0:26:23That way, when they open the crates in Denmark, no-one's the wiser.
0:26:26 > 0:26:28Charles. Can you handle the paintings?
0:26:28 > 0:26:31Well, sure, but what about your statue?
0:26:31 > 0:26:33I'm not a sculptor. I don't do sculpture.
0:26:33 > 0:26:36I've had something in the works for quite some time.
0:26:36 > 0:26:39A few more adjustments, and it'll be just fine.
0:26:41 > 0:26:44You really got this figured out, George.
0:26:44 > 0:26:47Operation Urgent Fury, gentlemen.
0:26:48 > 0:26:50Operation Urgent Fury.
0:26:51 > 0:26:55We sign up to work the move on Friday. I trust you'll be there.
0:27:15 > 0:27:18- Charles, that's really good. - Thank you.
0:27:20 > 0:27:22- Would you like to see yours? - Is it done?
0:27:22 > 0:27:24Well, just a few finishing touches.
0:27:24 > 0:27:25- Of course.- Come on.
0:27:31 > 0:27:33What do you think?
0:27:40 > 0:27:41You don't like it.
0:27:43 > 0:27:47I think it's a pretty good likeness, Roger. Maybe if it had a frame.
0:27:47 > 0:27:49- You could see it a little better... - No, no, it's all wrong.
0:27:49 > 0:27:52- The face, the body, Charles. She looks like a pear.- A pear?
0:27:52 > 0:27:54- Look at the size of her face, it's huge.- What are you talking about?
0:27:54 > 0:27:56It's called "voluptuous."
0:27:56 > 0:27:59And the hair, it's supposed to be long, flowing, windswept.
0:27:59 > 0:28:03- What about the glow? Charlie, this girl has no glow!- Roger...
0:28:03 > 0:28:05Look at the size of her jaw!
0:28:05 > 0:28:08I can only paint what I see, and that's the way I see it!
0:28:08 > 0:28:10The jaw, with the hips, what is that?
0:28:10 > 0:28:14- I'm not a Xerox machine, Roger! - She looks like a Neanderthal!
0:28:14 > 0:28:16- Got a jaw like a Cro Magnon!- Roger. - I'm sorry.
0:28:16 > 0:28:20I paint the way I feel, and that's the way your woman makes me feel!
0:28:20 > 0:28:22But then how come yours is perfect?
0:28:22 > 0:28:26Because I've had a lot of practice, that's why. Almost 30 years.
0:28:27 > 0:28:31And it's not perfect. It's not perfect at all.
0:28:31 > 0:28:33There's a... There's an aura...
0:28:35 > 0:28:38..I can't seem to capture.
0:28:38 > 0:28:41I mean, I've tried. I've tried over and over and over,
0:28:41 > 0:28:42and I just can't...
0:28:44 > 0:28:46It just eludes me.
0:28:50 > 0:28:53Roger, I'm sorry.
0:29:03 > 0:29:05- RINGTONE PLAYS:- Halls Of Montezuma
0:29:07 > 0:29:09That...
0:29:10 > 0:29:13Probably my wife. Could we take two?
0:29:19 > 0:29:21- George here.- It's Roger.
0:29:21 > 0:29:24I thought I said we'd only use this number for emergencies.
0:29:24 > 0:29:28This is an emergency. Charlie couldn't do the painting.
0:29:28 > 0:29:30What do you mean he couldn't do it?
0:29:30 > 0:29:32Roger, this is a vital part of the plan. Without this,
0:29:32 > 0:29:35- everything falls to pieces! - Trust me, George, it was terrible.
0:29:37 > 0:29:39- How did his look? - His looked great.
0:29:39 > 0:29:42What am I gonna do, George? I don't know anybody else who paints.
0:29:42 > 0:29:45All right, relax, soldier, relax.
0:29:45 > 0:29:49Look, the art world has a long tradition of young painters doing forgeries to make ends meet.
0:29:49 > 0:29:52Some of our greatest artists got their start that way.
0:29:52 > 0:29:56And if there's one thing that this city has, it's lots of starving artists.
0:29:56 > 0:29:58- It'll cost you some coin, though. - How much coin?
0:29:58 > 0:30:01I don't know. A couple of hundred, probably.
0:30:02 > 0:30:05- That's a lot of money. - Roger, listen.
0:30:05 > 0:30:08You've got to get something done. Otherwise...
0:30:08 > 0:30:12Well, the whole mission is fubared.
0:30:12 > 0:30:13OK, George.
0:31:07 > 0:31:10Something I can help you with?
0:31:10 > 0:31:13Hi. I'm admiring your work. It's good, I like it.
0:31:14 > 0:31:15Thanks.
0:31:15 > 0:31:19How would you feel about doing some work on a kind of commission basis?
0:31:19 > 0:31:22It's for my wife. It's a gift, and it needs to be identical,
0:31:22 > 0:31:26actual size, with the artist's signature in the exact same place.
0:31:26 > 0:31:30- My wife's a stickler for details. - Yeah, I'll bet.
0:31:30 > 0:31:32- When do you need it? - Five days.
0:31:33 > 0:31:35This mean you'll do it?
0:31:35 > 0:31:38Yeah, sure. For 1,000 bucks.
0:31:38 > 0:31:42- 500 now, the rest when you pick it up.- But that's expensive.
0:31:42 > 0:31:43OK.
0:31:45 > 0:31:46500.
0:31:48 > 0:31:50Got it right here.
0:31:57 > 0:31:59Quiet down, please.
0:31:59 > 0:32:01Ssh!
0:32:01 > 0:32:06Sector 3 will be the first to be moved, starting from the north wall moving south.
0:32:06 > 0:32:09The museum has been divided into colour coded sectors,
0:32:09 > 0:32:12and each painting assigned a number.
0:32:12 > 0:32:16Each piece is to be placed in the crate and slot
0:32:16 > 0:32:19designated by its colour code and number,
0:32:19 > 0:32:21then marked off of a checklist,
0:32:21 > 0:32:24then double checked off of a master list.
0:32:25 > 0:32:30The rest of the week will be dedicated to the installation of the new exhibit.
0:32:30 > 0:32:32Now, the curator has written a few words...
0:32:37 > 0:32:39Hello, Rose?
0:32:55 > 0:32:57There you are.
0:32:59 > 0:33:01I didn't think you were here.
0:33:01 > 0:33:04I yelled when I came in, but you didn't answer.
0:33:08 > 0:33:10There's 800 missing.
0:33:15 > 0:33:17Think we've been robbed?
0:33:19 > 0:33:22What about the stereo? Did you check the rest of the apartment?
0:33:22 > 0:33:25- Is the TV still here? - We weren't robbed, Roger.
0:33:25 > 0:33:28That's all that was missing. No more, no less.
0:33:29 > 0:33:33I came home, I opened the jar to put in my tips from the store
0:33:33 > 0:33:37- and do my weekly count. - I thought you did a monthly count.
0:33:37 > 0:33:40No, Roger, I do a weekly count. I've always done a weekly count,
0:33:40 > 0:33:45and this week we're 800 lower than last week.
0:33:45 > 0:33:46That's weird.
0:33:46 > 0:33:49- I should check the stereo, just in case.- Roger.
0:33:49 > 0:33:52If you wanted money, why wouldn't you just ask me?
0:33:52 > 0:33:55We would've worked something out. But to steal?
0:33:55 > 0:33:59- Why would I take it? - That's what I'd like to know.
0:33:59 > 0:34:01You don't gamble.
0:34:01 > 0:34:04You don't go to bars. You're not seeing another woman.
0:34:04 > 0:34:07- How do you know?- All right, Roger, are you seeing another woman?
0:34:07 > 0:34:11No, of course not, but how do you know I don't gamble, go to bars?
0:34:11 > 0:34:14Maybe I drink and gamble. Maybe that's my thing.
0:34:14 > 0:34:16Hey, why am I the one to blame?
0:34:16 > 0:34:20Money gets stolen and you automatically accuse me!
0:34:20 > 0:34:23- How do I know you didn't take the money?- Me?- Yeah.
0:34:23 > 0:34:26How could you, Roger? I'm your wife! Your wife!
0:34:26 > 0:34:29- You accused me! - Well, this money, Roger,
0:34:29 > 0:34:33this money was for us! Together!
0:34:33 > 0:34:37- To think that I would steal from my own cookie jar!- OK.
0:34:39 > 0:34:40Rose.
0:34:40 > 0:34:42- Beast! - Rose!
0:34:46 > 0:34:47I'm sorry!
0:34:47 > 0:34:48SHE SOBS
0:34:48 > 0:34:50I didn't mean it.
0:35:24 > 0:35:25Rose.
0:35:27 > 0:35:29Come on, Rose.
0:35:29 > 0:35:31You know I don't like it when you're mad at me.
0:35:31 > 0:35:33Go away, Roger.
0:35:35 > 0:35:37OK, I admit I took the money.
0:35:38 > 0:35:41Look, I wasn't gonna say anything, cos...
0:35:43 > 0:35:47It was supposed to be a surprise, but you kind of forced my hand here.
0:35:49 > 0:35:52I'm listening.
0:35:52 > 0:35:56Remember how we talked about maybe taking that trip to Florida?
0:36:03 > 0:36:04Yes.
0:36:07 > 0:36:10Well, again, it was supposed to be a surprise,
0:36:10 > 0:36:13but I went to a travel agent and I booked us a trip.
0:36:13 > 0:36:15I needed the money for a deposit.
0:36:15 > 0:36:18We're going to Florida? When?
0:36:18 > 0:36:20Well, that's where it gets complicated.
0:36:20 > 0:36:22I was thinking next week, but...
0:36:22 > 0:36:24Our anniversary? Roger, you remembered?
0:36:27 > 0:36:28You remembered.
0:36:30 > 0:36:32I thought you had forgotten.
0:36:32 > 0:36:36I didn't forget. I was all over it, but then it got complicated.
0:36:36 > 0:36:37How complicated?
0:36:39 > 0:36:44Remember I told you they're moving the exhibit next week?
0:36:45 > 0:36:48- Yes.- They put together a special security crew,
0:36:48 > 0:36:52and my supervisor says they need me. It's an important assignment, and...
0:36:52 > 0:36:57The whole thing's out of my hands now, but it looks like we have to postpone Florida for another time.
0:36:57 > 0:37:00Wait a minute. So we're not going to Florida?
0:37:00 > 0:37:03One minute you tell me we're going to Florida,
0:37:03 > 0:37:05then you tell me we're not going to Florida?
0:37:05 > 0:37:07I hate to disappoint you. Rose!
0:37:07 > 0:37:10I wasn't going to say anything, cos I know how you get your hopes up,
0:37:10 > 0:37:13but then you noticed the money and...
0:37:13 > 0:37:16I should talk to that travel agent, get our deposit back.
0:37:16 > 0:37:18We're going, we're not going. We're going, we're not going.
0:37:18 > 0:37:20We're going, we're going.
0:37:42 > 0:37:44Come in.
0:37:46 > 0:37:50- You wanted to see me, sir? - Yes. Come in, Roger. Have a seat.
0:37:52 > 0:37:54Hi, Roger.
0:37:54 > 0:37:57Rose, what are you doing here?
0:37:57 > 0:38:02Your lovely wife was just telling me that you're planning on taking a trip next week.
0:38:02 > 0:38:05- Is that right?- Well, there was something I had been planning.
0:38:05 > 0:38:07It was supposed to be a surprise.
0:38:07 > 0:38:09Well, I was just explaining... Sit down.
0:38:09 > 0:38:14I was just explaining to the lovely Mr Needlebaum about the surprise.
0:38:14 > 0:38:18You know, Roger, working this move isn't mandatory.
0:38:19 > 0:38:22You didn't have to volunteer.
0:38:22 > 0:38:24- Volunteer? - I understand, Mr Needlebaum.
0:38:24 > 0:38:26I guess I got confused.
0:38:26 > 0:38:30I wasn't quite sure what you meant by "voluntary."
0:38:30 > 0:38:34Sometimes when people say "voluntary", they mean "mandatory."
0:38:34 > 0:38:35Really?
0:38:35 > 0:38:39No, I actually meant voluntary.
0:38:39 > 0:38:41If you two are planning a vacation,
0:38:41 > 0:38:45I'll find somebody to take your place. Consider it done.
0:38:47 > 0:38:49- That's good.- Roger!
0:38:51 > 0:38:52So where are you two going?
0:38:52 > 0:38:56Roger is taking me to Florida for our anniversary.
0:38:56 > 0:38:59You old dog, you. I didn't know you were that romantic.
0:39:01 > 0:39:04Florida? What's this thing about Florida?
0:39:04 > 0:39:07- I can't help it. Rose thinks we're going.- Who's Rose? Your wife?- Yeah.
0:39:07 > 0:39:09- Why does she think that? - I told her we were.
0:39:09 > 0:39:12- You told her you were going?- It's a long story!- Did you know about this?
0:39:12 > 0:39:16No, I didn't know about it. I just found out. Why are we having this emergency meeting?
0:39:16 > 0:39:18Well, Roger, we can't have you going AWOL. Not now.
0:39:18 > 0:39:21We've done too much planning. You're gonna go to Needlebaum,
0:39:21 > 0:39:23you tell him there's been a big misunderstanding.
0:39:23 > 0:39:25You're not going on any trip.
0:39:25 > 0:39:27You tell him to put you back on the list. He'll understand.
0:39:27 > 0:39:32- Well, what about Rose? What am I going to tell her?- Hey, man.
0:39:38 > 0:39:40Hey, who's working the move?
0:39:43 > 0:39:46Kind of sick of looking at the same old junk around here, huh?
0:39:46 > 0:39:48Yeah, it'll be a relief.
0:39:50 > 0:39:52Well, take care, fellows.
0:39:52 > 0:39:53- OK, man.- See you.
0:39:57 > 0:40:00- Roger, we can't do it without you. - Let me ask you something. Who calls the shots in your house?
0:40:00 > 0:40:03- I do, but she's not going to like this.- She doesn't have to like it.
0:40:03 > 0:40:05Women respond to authority and leadership.
0:40:05 > 0:40:08They may say they don't, but they do.
0:40:08 > 0:40:10- Your wife responds to that? - Who?- Yours.
0:40:10 > 0:40:14My wife has nothing to do with this. We are talking about his wife.
0:40:14 > 0:40:16Come on, man.
0:40:16 > 0:40:18- Stand up! Be a man.- I do!
0:40:19 > 0:40:22Charlie, what's with him? I don't...
0:40:28 > 0:40:31Rose, that's the way it's gonna be. We're not going.
0:40:31 > 0:40:36That's the way it's gonna be. What? You want to argue with me? OK.
0:40:36 > 0:40:39That's it. That's the way it's going to be. It's final.
0:40:43 > 0:40:44That's it.
0:40:57 > 0:41:01Hey, Roger, your guy did a great job. That looks exactly the same.
0:41:01 > 0:41:04There's something missing. The glow.
0:41:04 > 0:41:07And she's clearly not as lonely in this one.
0:41:07 > 0:41:11- Yeah, mine's missing something, too. - No, no, no, no, no, guys. Of course they don't look perfect for us.
0:41:11 > 0:41:15We've stood in front of the real pieces for months! Years!
0:41:15 > 0:41:18We've come to know them in ways that the average person will never understand.
0:41:18 > 0:41:21Look at the... Look at the Bronze Warrior.
0:41:21 > 0:41:26Look at the sense of power, the feeling of potency.
0:41:26 > 0:41:31The abs. And yet, this is no substitute for the original.
0:41:31 > 0:41:35It's not important how they make us feel. What's important
0:41:35 > 0:41:39is whether some guy in Denmark is going to recognise them as fakes!
0:41:39 > 0:41:40Yeah.
0:41:42 > 0:41:43- We go?- We go.
0:41:53 > 0:41:57'It's 6.40am, and you're tuned to Boston's All Talk Radio
0:41:57 > 0:42:01'It's a brisk 44 degrees out there, with lots of sunshine...'
0:42:14 > 0:42:17- Hi, Bob. - A little early, aren't you?
0:42:17 > 0:42:18Got a big day.
0:44:19 > 0:44:22You know, there's only so much I can say...
0:44:25 > 0:44:29Yeah, so... Hey! I thought you were... I was looking at...
0:44:29 > 0:44:32Never mind, never mind. I'm losing my mind!
0:44:40 > 0:44:42Woman Reading C 21.
0:44:53 > 0:44:54This one's fine.
0:45:25 > 0:45:27Let's carry Mother and Child over...
0:45:45 > 0:45:47Got it. It's good.
0:45:47 > 0:45:49Watch it.
0:46:08 > 0:46:09We're good.
0:47:01 > 0:47:02Damn it!
0:47:04 > 0:47:08Phil, would you mind finishing these last few for me?
0:47:08 > 0:47:11I've been at it all day. I need a break.
0:47:13 > 0:47:14Sure thing, Roger.
0:47:28 > 0:47:32- I'm here. - Charlie. I'm glad to see you.
0:47:52 > 0:47:53(George?)
0:47:59 > 0:48:02- What took you so long? - I'm sorry, I couldn't get away.
0:48:02 > 0:48:04- How you doing in there? - I'm all right.
0:48:04 > 0:48:06I bought this for you at the vending machine.
0:48:06 > 0:48:11- I thought you might get hungry later.- Roger, I've been trained to endure hardship.
0:48:11 > 0:48:15In 'Nam, soldiers would go for days in the jungle without food.
0:48:15 > 0:48:19- I thought you said you were in the Grenada invasion?- No, I'm...
0:48:22 > 0:48:25- How's the paintings?- They're right here. Everything's fine.
0:48:25 > 0:48:28Let's try this one more time.
0:48:30 > 0:48:34Blue Dragon, this is Red Dragon. Come in, Blue Dragon.
0:48:34 > 0:48:37- George, about these code names... - Roger!
0:48:37 > 0:48:40- If we're gonna do this thing, let's do it right.- Yeah.
0:48:41 > 0:48:44Blue Dragon, this is Red Dragon. Come in, Blue Dragon.
0:48:44 > 0:48:47Copy, Red Dragon. This is Blue Dragon.
0:48:47 > 0:48:50- Affirmative. - Don't forget these.
0:48:52 > 0:48:54- Thanks. - Good luck.
0:48:56 > 0:48:59- I'll see you tomorrow.- Roger.
0:48:59 > 0:49:00What?
0:49:02 > 0:49:03What?
0:49:03 > 0:49:08- I'll see you tomorrow.- Yeah, yeah. Get this lid on, but be quiet.
0:49:08 > 0:49:10Keep it quiet!
0:49:27 > 0:49:30Red Dragon. Come in, Red Dragon.
0:49:31 > 0:49:33What is it, Blue Dragon?
0:49:33 > 0:49:35Red Dragon, it just occurred to me.
0:49:35 > 0:49:38I don't think I can get you onto the cart.
0:49:38 > 0:49:40It's too heavy with you in there.
0:49:51 > 0:49:54I'm sorry, it just occurred to me.
0:49:55 > 0:49:57- Here, let me... - I've got it.
0:50:01 > 0:50:02Quiet.
0:50:07 > 0:50:08Come on.
0:50:11 > 0:50:14We need somebody... We need somebody else to help.
0:50:14 > 0:50:16There's nobody else. Come on.
0:50:16 > 0:50:19Now, wait, wait, wait a second.
0:50:20 > 0:50:22- OK...- No, this is no good.
0:50:22 > 0:50:25What if we maybe get... Well, we have to get over here.
0:50:28 > 0:50:30- What do we do now? - OK, just push it.
0:50:30 > 0:50:32OK, OK... Put it down. Put it down.
0:50:35 > 0:50:37With the arthritis, it's very hard.
0:50:37 > 0:50:39It's all right. What we need to do...
0:50:39 > 0:50:42Leverage. We need some sort of a lever.
0:50:42 > 0:50:44OK, OK, OK.
0:50:46 > 0:50:47Right. Push.
0:50:50 > 0:50:52LOUD CRASHING
0:51:01 > 0:51:03Just push it.
0:51:03 > 0:51:05All right, bring over A 19.
0:51:08 > 0:51:11Whoa, whoa, whoa. What? You guys still got more?
0:51:11 > 0:51:14Yes. This one is part of a special collection.
0:51:14 > 0:51:17A couple of pieces had to be wrapped separately. It took a little longer.
0:51:17 > 0:51:20- OK, pops, we'll get it from here. - It's kind of heavy.
0:51:20 > 0:51:24- Hey, Pauly!- Yo!- Come here a minute. Give me a hand with this, would you?
0:51:24 > 0:51:26Come on, get over on the end here.
0:51:27 > 0:51:29- I can help. - No, no, no, you're all right.
0:51:29 > 0:51:33- You just take it easy, pops.- Thanks. - Me and Pauly's got it. Get it.
0:51:33 > 0:51:36- Yeah, it's really heavy. - Jesus Christ!
0:51:36 > 0:51:39Here, put it down! Put it down! Put it down! Yeah!
0:51:39 > 0:51:41Wow! Yeah. Get the pallet jack.
0:51:43 > 0:51:45- What'd you say was in this? - It's a special collection.
0:51:45 > 0:51:48It's a few different pieces, actually.
0:51:49 > 0:51:52- That'll do it. - Thank you. Get somebody else...
0:51:52 > 0:51:54- I can help. - No, no, not you! I mean, no offence.
0:51:54 > 0:51:56I'm sure you could lift it, but we got guys who do this.
0:51:56 > 0:51:59- We're professionals.- I'm not as old as I look.- I'm not calling you old.
0:51:59 > 0:52:02I know I said "old man". I didn't mean "old man"!
0:52:02 > 0:52:04- All right, thank you. Thank you very much.- Sure thing.
0:52:04 > 0:52:07Are you going to put it here in this room?
0:52:07 > 0:52:10- It's a warehouse, right? That's where we're gonna put it.- But this room?
0:52:10 > 0:52:13- Yeah.- Over here someplace. Good. - Yeah, right in the room.
0:52:13 > 0:52:16- With the other stuff.- We're all set. Thank you very much.- All set.
0:52:16 > 0:52:19- OK. Good, good, good. Bye.- Thank you.- Thank you.
0:52:21 > 0:52:23Down this end.
0:53:30 > 0:53:32This is Red Dragon. Start your watches.
0:53:32 > 0:53:34All clear. I'm coming out now.
0:53:40 > 0:53:41Blue Dragon, check.
0:53:46 > 0:53:47Yellow Dragon, check.
0:54:02 > 0:54:04I'm starting with Yellow Dragon's.
0:54:04 > 0:54:08Young Girl With Cats C 09.
0:54:20 > 0:54:21Got it.
0:54:56 > 0:54:58- I've got her.- That's good.
0:54:59 > 0:55:03- How does she look?- She looks fine. I'm making the switch now.
0:55:05 > 0:55:08And the cats? What about the cats? Do they look good?
0:55:10 > 0:55:14They look fine. Now, will you please shut up and let me work?
0:55:14 > 0:55:18Sorry, but be careful, OK? She's very delicate.
0:55:41 > 0:55:46One painting down. Seven minutes, 27 seconds.
0:55:46 > 0:55:48Blue Dragon, you're up.
0:55:48 > 0:55:50The Lonely Maiden B-12.
0:55:51 > 0:55:53B-12. Roger.
0:55:53 > 0:55:56- What?- What?
0:55:56 > 0:55:59The Lonely Maiden, B-12.
0:55:59 > 0:56:00B-12, I got it.
0:56:24 > 0:56:29OK, Dragons, 21 minutes down. T minus 34 until the next patrol.
0:56:31 > 0:56:35Next up, Bronze Warrior C-22.
0:56:35 > 0:56:40C-22. Roger. I mean, I understand. I've got it.
0:58:02 > 0:58:04George? George?
0:58:04 > 0:58:08George, where are you? George, come in, please
0:58:11 > 0:58:14George? George? George!
0:58:16 > 0:58:18What's going on? I'm trying to concentrate down here.
0:58:18 > 0:58:22- And why aren't you calling me Red Dragon?- I'm sorry. Red Dragon.
0:58:22 > 0:58:23We have a Code 3.
0:58:25 > 0:58:29Code 3? No, no, no. That guard isn't due for another 12 minutes!
0:58:29 > 0:58:32I know it! I know! I am looking right at him!
0:58:32 > 0:58:35- It's a definite Code 3! - Oh, my God! Where is he?
0:58:35 > 0:58:38Sector 3, north hallway!
0:58:38 > 0:58:40Hurry, George, hurry! He'll be there in a minute!
0:58:40 > 0:58:43Charles, George, what's happening?
0:58:43 > 0:58:47It's the patrol guard. He's come back early.
0:58:47 > 0:58:51- What guy? The big guy with the hair? - That new guy. He's really mean!
0:58:51 > 0:58:55George, he's in the northeast gallery now. Hurry up, George!
0:59:02 > 0:59:04He's on his way down, George.
0:59:05 > 0:59:08George, he's getting into the elevator!
0:59:23 > 0:59:26George, where are you? He's coming your way! He's off the elevator!
0:59:26 > 0:59:29He's coming your way!
0:59:38 > 0:59:40Hurry! Hurry!
0:59:45 > 0:59:47He's 20 feet away, George! He's 20 feet away!
0:59:53 > 0:59:56Hide, George! Hide! Hide! Hide!
1:01:00 > 1:01:02George, are you there? George?
1:01:05 > 1:01:07George?
1:01:09 > 1:01:12Yeah, I'm still here. Everything's OK. He didn't see me.
1:01:14 > 1:01:17Oh, my God. Oh, my God.
1:01:26 > 1:01:29OK, Dragons, that's it. I'll see you tomorrow morning.
1:01:29 > 1:01:32- And Yellow Dragon?- Yes, George?
1:01:32 > 1:01:33Don't be late.
1:01:34 > 1:01:37Don't worry, George. I won't.
1:01:37 > 1:01:39- Goodnight, Roger. - Goodnight, Charles.
1:02:11 > 1:02:14Back, back, back, back, back. A little more.
1:02:19 > 1:02:21- Hey, Roger.- Bob.
1:03:05 > 1:03:07Sir.
1:03:18 > 1:03:20I just want to keep on top of this guy...
1:03:20 > 1:03:24Red Dragon, Red Dragon. Come in, Red Dragon.
1:03:24 > 1:03:27Blue Dragon, what are you doing? We're supposed to suspend
1:03:27 > 1:03:30communications. It's too risky. Someone could hear you.
1:03:30 > 1:03:33Listen to me. We have a problem. I don't know which crate you're in.
1:03:33 > 1:03:37They took the inventory list, and all the crates look the same.
1:03:37 > 1:03:42Relax, Blue Dragon, there's nothing to worry about I noticed it last night.
1:03:42 > 1:03:43What's your current position?
1:03:43 > 1:03:47North end of the storeroom. I'm looking at the crates right now.
1:03:47 > 1:03:51Good. I'm facing north. You're looking right at me.
1:03:51 > 1:03:55There's a row of four crates, and then a second row of four crates.
1:03:55 > 1:03:58I'm in the first row, third box from the left.
1:03:58 > 1:04:01OK, OK, third box from the left. I got you.
1:04:08 > 1:04:11Not horses! Oh, dear.
1:04:12 > 1:04:14Hey, that looks like B-07.
1:04:21 > 1:04:22Right here.
1:04:23 > 1:04:26- You sure you got it? - I got it.
1:04:29 > 1:04:33- Barlow, what do you got there? - Special collection, sir.
1:04:34 > 1:04:36Van 3, Barlow. Van 3.
1:04:40 > 1:04:42Oh, no. Come on, horsey. Giddyup. Giddyup!
1:05:01 > 1:05:03Hey, Mr Barlow!
1:05:04 > 1:05:06Ain't you supposed to be on vacation?
1:05:06 > 1:05:09That got changed.
1:05:10 > 1:05:13- You need some help? - No. I'm good, thank you. Fine.
1:05:13 > 1:05:16- Hey, Carlos!- No, I'm good.- How about giving my man a hand over here?
1:05:16 > 1:05:20- Everything's fine.- We got it, Mr Barlow. Don't worry about it.
1:05:20 > 1:05:23See you later, Donny. I'm good. See you later, Donny.
1:05:24 > 1:05:27- Keep it real, Mr Barlow. - You know it.
1:05:35 > 1:05:39- What took you so long? - I couldn't help it. Traffic.
1:05:39 > 1:05:42Roger, this looks awfully heavy. Can we get some help?
1:05:42 > 1:05:46No help. We have to do this ourselves. All we have to do is push.
1:05:46 > 1:05:49On the count of three. One, two, three, push.
1:05:50 > 1:05:51In you go!
1:05:56 > 1:05:59- Let's get out of here!- OK.
1:06:04 > 1:06:08This is Renoir. He likes to ride in the car sometimes.
1:06:08 > 1:06:10- Stay behind them.- OK.
1:06:36 > 1:06:39Sorry about banging you around like that, George.
1:06:39 > 1:06:43I didn't know how else to get you into the van.
1:06:43 > 1:06:47- Is that you, Blue Dragon? - It's me. Yellow Dragon's here, too.
1:06:48 > 1:06:49Hi, Red Dragon.
1:06:52 > 1:06:55Forget the code names, gentlemen. We did it. We beat them.
1:06:55 > 1:07:00We took everything they had to throw at us and we threw it right back at them.
1:07:00 > 1:07:03I'm really proud to have served with you men. Semper fi.
1:07:03 > 1:07:05Semper fi.
1:07:05 > 1:07:08It does feel pretty good, doesn't it, Roger?
1:07:08 > 1:07:10You know, it does. It really does.
1:07:10 > 1:07:14- You can get out now, George. - I am out.- What?
1:07:22 > 1:07:23Look! Look!
1:07:25 > 1:07:30Guys! Guys! Get me out! Get me out of here!
1:07:30 > 1:07:34Get me out of here! Guys! Guys!
1:07:34 > 1:07:38- Guys! Wait, wait! Where are you going?- Oh, dear. Oh, dear.
1:07:38 > 1:07:41- Don't leave me!- You're leaving me! - Where are you going, guys?
1:07:41 > 1:07:43George, get back in the crate. Get back in the crate!
1:07:44 > 1:07:48How could this have happened? I thought we had it all worked out!
1:07:48 > 1:07:51I don't know. George, quick question.
1:07:51 > 1:07:54When we were back at the warehouse and you said third crate from the left,
1:07:54 > 1:07:59- was that your left or my left?- My left! My left! Why would it be your left?
1:07:59 > 1:08:02- Because it's my left. - Oh, my God! This is a disaster!
1:08:02 > 1:08:07This is a disaster! The mission's in jeopardy! We don't have a battle plan!
1:08:07 > 1:08:09Don't panic! If you panic, I'll panic.
1:08:09 > 1:08:13This is a soldier's worst nightmare, gentlemen! Chaos!
1:08:13 > 1:08:15Calm down, George, we're gonna get you out of there.
1:08:15 > 1:08:19- We just have to make one quick stop first.- Stop?- A stop?
1:08:19 > 1:08:23- We have to stop at my house. - A stop? What are you talking about?
1:08:23 > 1:08:26You can't leave me here! I'm down behind enemy lines! They'll make me talk!
1:08:26 > 1:08:29- I don't think I can take torture, guys.- I'm sorry about this.
1:08:29 > 1:08:32- I'll only be a minute.- I'm sorry, but I'm not the man you think I am.
1:08:32 > 1:08:34Keep him company. Make sure he doesn't panic.
1:08:34 > 1:08:36I think he's already panicked.
1:08:36 > 1:08:38Good point. Make sure he stays in the crate.
1:08:38 > 1:08:40You gotta get me out of here!
1:08:40 > 1:08:44- Hi, it's me, Charles. - Charles? Where's Roger?
1:08:44 > 1:08:48- Well, he had to go and get his wife. - Wait, wait, wait, wait, wait, wait!
1:08:48 > 1:08:52I don't understand. What's his wife have to do with this? I thought I told him to stand up to her!
1:08:53 > 1:08:56Rose? Where are you, Rose?
1:08:56 > 1:08:59I'm in the bedroom, Roger. Where do you think I am?
1:08:59 > 1:09:02- I can't stand it when you're late. - What? You're not packed yet?
1:09:02 > 1:09:04You were supposed to be here a half an hour ago.
1:09:04 > 1:09:05I know, I got hung up at work.
1:09:05 > 1:09:09But, look, we have to go right now, I'm telling you. Get your things.
1:09:09 > 1:09:11- Roger, wait a minute. - Is this everything?
1:09:11 > 1:09:13No, it's not... Wait. Roger, don't zip it.
1:09:13 > 1:09:15- I'm not finished.- I'm zipping!
1:09:15 > 1:09:19Roger, what is going on? Why...? Roger, you're making me very nervous.
1:09:19 > 1:09:22- Why are you acting like this?- Acting like what? I can't wait to get going.
1:09:22 > 1:09:25Is there something wrong with that?
1:09:25 > 1:09:26Well, how are we getting to the airport?
1:09:26 > 1:09:29- I have a friend to drive us. - A friend?
1:09:29 > 1:09:32- What friend, Roger? Here. - He's somebody I work with.
1:09:32 > 1:09:35He's got a van he likes to drive. Beyond that, it gets complicated,
1:09:35 > 1:09:39but he's waiting downstairs, so can we go now, please?
1:09:39 > 1:09:43- Roger, you're acting very strange. - I'm not strange. You're strange.
1:09:43 > 1:09:45Come on! Roger, wait!
1:09:47 > 1:09:48What?
1:09:50 > 1:09:52Say "beach".
1:09:52 > 1:09:53OK, take the picture. Take the...
1:09:53 > 1:09:56- Please, take the picture! - All right, all right, all right!
1:09:56 > 1:09:59Roger, do you have some sort of surprise planned for me?
1:09:59 > 1:10:02Yes, that's a good way to put it. Let's go.
1:10:04 > 1:10:07Roger, Roger! Wait, wait, wait, wait, wait!
1:10:08 > 1:10:12Are you sure you want to go to Florida dressed like that?
1:10:12 > 1:10:16I'm not panicked I'm a little panicked, but God!
1:10:16 > 1:10:21- We're gonna get you out, George. Don't worry.- What would you do? I have to think like you.
1:10:22 > 1:10:26What would you do? You gotta get me out of here! Oh, no!
1:10:26 > 1:10:29Sorry, I gotta go, George. Bye.
1:10:29 > 1:10:31- No, Charles, don't...- Over.
1:10:31 > 1:10:33I'm going, Roger, I'm going! All right.
1:10:42 > 1:10:44Roger, careful!
1:10:44 > 1:10:46- Roger! - Everything's fine.
1:10:48 > 1:10:52- I want you to meet Charles. My wife, Rose.- Hello.
1:10:52 > 1:10:54It's a pleasure to meet you.
1:10:54 > 1:10:58Roger said that you volunteered to take us to the airport. That's very nice of you.
1:10:58 > 1:11:01- Well, I think the plan is... - No, no, no.
1:11:01 > 1:11:05Don't explain anything. I know that Roger has a little surprise planned for us.
1:11:05 > 1:11:08- I don't want you to ruin it. - OK, I won't.
1:11:08 > 1:11:10- Step on it, Charles. - Yeah, yeah, yes.
1:11:37 > 1:11:41Wait, wait. Why are we stopping here, guys? The airport's over there.
1:11:41 > 1:11:42We have to drop the crate off...
1:11:42 > 1:11:43- This is cargo.- ..and pick up George.
1:11:43 > 1:11:46- George?- He's another friend of mine. I told him we'd pick him up.
1:11:46 > 1:11:50- Who are all these friends of yours? - I'll be right back. Charles will stay with you.
1:11:50 > 1:11:52- We have a plane to catch.- I am? - I'll be right back.
1:11:52 > 1:11:55- Is this part of the surprise? - In a way.
1:11:57 > 1:11:59I've never even heard of George.
1:11:59 > 1:12:0332 years, and all of a sudden he's got all these friends.
1:12:03 > 1:12:05- Do you know George?- Yes.
1:12:05 > 1:12:08I mean, yes. Yes, he's a friend, like Roger said.
1:12:10 > 1:12:15A nice guy. A little tense, but then who isn't, right?
1:12:15 > 1:12:18- How's it going? You two getting along?- Roger!
1:12:18 > 1:12:21I hope you realise we are going to miss our plane!
1:12:21 > 1:12:23We're fine, Rose. Plenty of time.
1:12:25 > 1:12:28We're going to miss our plane.
1:12:30 > 1:12:32SHE BEEPS HORN
1:12:52 > 1:12:55- George, is that you?- Yes!
1:12:55 > 1:12:58Yes, yes, it's me! Get me out of here, Roger!
1:12:58 > 1:13:00My legs are falling asleep! I can't feel my toes!
1:13:00 > 1:13:04- OK. OK, George.- Get me out of here as fast as you can!
1:13:04 > 1:13:06Can I help you with something, mister?
1:13:06 > 1:13:08Yes, as a matter of fact, you can.
1:13:08 > 1:13:13You see, I need to get this crate into that van ASAP.
1:13:13 > 1:13:16- And you are? - I work for the museum.
1:13:16 > 1:13:21I'm a security guard. Some items got sent off when they shouldn't have,
1:13:21 > 1:13:25- and they sent me to work it out. - Do you have paperwork?
1:13:27 > 1:13:29Nobody said anything about paperwork.
1:13:29 > 1:13:33Well, then, you don't get no crate. That's how that works.
1:13:35 > 1:13:38You see, maybe we can talk about this.
1:13:38 > 1:13:42Because I've been sent to pick up this crate.
1:13:42 > 1:13:45I had a cat when I was a little girl. A white cat.
1:13:47 > 1:13:49Her name was Snuggles.
1:13:52 > 1:13:55Well, this is Renoir.
1:13:57 > 1:13:58Like the painter.
1:14:02 > 1:14:05- Roger loves paintings. - I know.
1:14:08 > 1:14:10This is ridiculous.
1:14:20 > 1:14:22Roger!
1:14:22 > 1:14:26Roger! Roger! What are you doing up here?
1:14:26 > 1:14:29What are you doing? I told you to wait in the van!
1:14:31 > 1:14:34- It is 10:20! We need to go right now!- Excuse me, miss...- We're going,
1:14:34 > 1:14:37we're going. We need to go. Where's your friend George?
1:14:37 > 1:14:40You said you were coming up here to get your friend George.
1:14:40 > 1:14:42- Are you George?- Who is George?- Sir, please.
1:14:42 > 1:14:45Rose, I've got things under control.
1:14:45 > 1:14:47Give me one more minute, I promise you.
1:14:47 > 1:14:53- Roger, I love surprises, I do. I'm very touched. But we need to...- I can't leave here without this crate!
1:14:53 > 1:14:55I already told you, you're not getting the crate...
1:14:55 > 1:14:59One second, please. ..Rose, I know how much this trip means to you,
1:14:59 > 1:15:03and I know I've been acting crazy lately, but it's all going to end soon.
1:15:03 > 1:15:08We're gonna make that plane. I just need you to please, please, wait in the van.
1:15:09 > 1:15:10Roger.
1:15:10 > 1:15:14We're going to Florida. We're gonna make that plane.
1:15:22 > 1:15:24Here's the deal. That's my wife, Rose.
1:15:24 > 1:15:27In less than 20 minutes, I promised her we'd be on a plane to Florida.
1:15:27 > 1:15:30It's our anniversary. It'll break her heart if we don't go,
1:15:30 > 1:15:34but I cannot leave here until I get this crate into that van.
1:15:34 > 1:15:36Are you a married man, Leo?
1:15:38 > 1:15:41Then you know what I'm talking about. Give me a break.
1:15:41 > 1:15:45I really do work for the museum. That's my wife. That's my crazy wife.
1:15:45 > 1:15:46What a guy!
1:15:48 > 1:15:52Why are we turning off here? We need to go to Departures! Is this a short cut, Roger?
1:15:52 > 1:15:55We are never going to make it. We are gonna have to go all the way.
1:15:55 > 1:15:58- Pull over here. Right over here. - No, no, don't stop!
1:15:58 > 1:16:00- Pull over. - Roger, why are we stopping?
1:16:00 > 1:16:03- Hang on, George!- What are we doing? - You're almost free.
1:16:04 > 1:16:06Hang on, George!
1:16:06 > 1:16:10- What are you doing? - I'm free at last! I'm free!
1:16:13 > 1:16:15Why are you naked?
1:16:17 > 1:16:22- Hi.- Roger, is this the surprise?
1:16:22 > 1:16:27- Turn away! That's my wife. - This is our friend George.
1:16:27 > 1:16:28- You must be Rose.- Put your pants on!
1:16:28 > 1:16:31- Are we going to Florida?- Guys!
1:16:31 > 1:16:33- We did it! We did it! - I cannot believe we did it!
1:16:33 > 1:16:36Yes! We did it!
1:16:36 > 1:16:37We did it!
1:16:37 > 1:16:41'Ladies and gentlemen, welcome to sunny Miami, Florida,
1:16:41 > 1:16:44'where the local temperature is 86 degrees.
1:16:44 > 1:16:47'Please be careful when opening your overhead compartments...'
1:17:02 > 1:17:04Roger?
1:17:07 > 1:17:08Roger?
1:17:15 > 1:17:17Roger?
1:17:21 > 1:17:22Roger...
1:18:13 > 1:18:16Just a minute. Stay there.
1:18:23 > 1:18:26Stay right... What?
1:18:26 > 1:18:28Are you feeling OK?
1:18:31 > 1:18:33Are you all right, Roger?
1:18:57 > 1:18:58Roger.
1:19:10 > 1:19:11George? Roger's here.
1:19:11 > 1:19:14Roger! Welcome home, man.
1:19:14 > 1:19:16I think you'll find we've made some improvements.
1:19:16 > 1:19:20George and I thought they deserved a more appropriate setting.
1:19:22 > 1:19:24She's all yours, Roger.
1:19:24 > 1:19:28- Charles, I'm gonna put these on down in your apartment.- Sure.
1:19:34 > 1:19:36What the hell?
1:19:37 > 1:19:39OK. All right. Bye. OK.
1:19:41 > 1:19:43- Hey, George?- Yeah?
1:19:44 > 1:19:45We did good.
1:19:47 > 1:19:48Roger.
1:19:54 > 1:19:56- We did good.- We sure did.
1:19:57 > 1:19:59See you tomorrow.