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This programme contains some strong language | 0:00:02 | 0:00:09 | |
CHANTING AND MUSIC | 0:05:14 | 0:05:16 | |
PHONE RINGS | 0:05:18 | 0:05:20 | |
Hello? | 0:05:22 | 0:05:24 | |
Ming, turn that stinking music down! | 0:05:24 | 0:05:27 | |
Oh, it's you! | 0:05:27 | 0:05:29 | |
Where's my painting? I want my painting. | 0:05:29 | 0:05:33 | |
In the mail? | 0:05:33 | 0:05:35 | |
Well, that's original. | 0:05:35 | 0:05:37 | |
I have to say, I'm astonished that you could do it. | 0:05:37 | 0:05:41 | |
The climb, all that schlepping at your tender age! | 0:05:41 | 0:05:45 | |
Anyway, bad news. The price for the goggles went up. | 0:05:45 | 0:05:49 | |
Rembrandt's not going to cover my expenses. | 0:05:49 | 0:05:52 | |
Under the circumstances, forty million would be a bargain. | 0:05:53 | 0:05:57 | |
I don't care how you get it, just make sure that you get it fast. | 0:05:57 | 0:06:03 | |
Tick-tock, tick-tock. | 0:06:03 | 0:06:06 | |
-Good morning, Mr Cruz. -Morning. | 0:06:19 | 0:06:22 | |
How does it look? First you insure the art, | 0:06:32 | 0:06:35 | |
only to watch it get clipped a month after the client buys it. | 0:06:35 | 0:06:39 | |
It could become part of our ad campaign. | 0:06:39 | 0:06:42 | |
I'll remember that when I go upstairs to hear about | 0:06:42 | 0:06:46 | |
my new position in Toledo. | 0:06:46 | 0:06:48 | |
I called you at 4.30 this morning. | 0:06:48 | 0:06:51 | |
I was home in bed. | 0:06:51 | 0:06:53 | |
You didn't pick up. | 0:06:53 | 0:06:55 | |
I didn't want to pick up. | 0:06:55 | 0:06:57 | |
You had company? | 0:06:57 | 0:06:59 | |
He came in the window. | 0:06:59 | 0:07:00 | |
How romantic. | 0:07:00 | 0:07:02 | |
I think that's how he got in. | 0:07:02 | 0:07:04 | |
70 storeys up with smart-glass windows | 0:07:04 | 0:07:07 | |
at 400lbs a pop? | 0:07:07 | 0:07:09 | |
He rigged something. | 0:07:09 | 0:07:11 | |
And I think it was... | 0:07:13 | 0:07:15 | |
..telescoping bolts. | 0:07:17 | 0:07:18 | |
And you know this how? | 0:07:18 | 0:07:20 | |
Excuse me. | 0:07:20 | 0:07:23 | |
HE SPEAKS CHINESE | 0:07:24 | 0:07:26 | |
You're showing off again. | 0:07:26 | 0:07:28 | |
Let a thousand flowers bloom... | 0:07:28 | 0:07:30 | |
-Chairman Mao. -You got it. | 0:07:30 | 0:07:33 | |
He left the window open when he came in. | 0:07:34 | 0:07:37 | |
-The flowers blew over. -You'll find fresh scratches on the bolts. | 0:07:37 | 0:07:42 | |
Who do we like for this? | 0:07:42 | 0:07:43 | |
-Guess. -Oh, gee, I wonder. | 0:07:43 | 0:07:46 | |
Indulge me. | 0:07:48 | 0:07:50 | |
Indulge you? | 0:07:50 | 0:07:52 | |
-Bob, may I? -Oh, yeah. Sure. | 0:07:52 | 0:07:55 | |
Go ahead. | 0:07:55 | 0:07:57 | |
Four weeks ago, when our client bought the Rembrandt. | 0:07:59 | 0:08:03 | |
-See anyone we know? -No. | 0:08:03 | 0:08:05 | |
No, neither did anyone else. | 0:08:05 | 0:08:07 | |
Now look again. | 0:08:12 | 0:08:13 | |
You think he marked the buyer | 0:08:13 | 0:08:16 | |
at the auction? | 0:08:16 | 0:08:18 | |
-Right. -Good work, Bob. | 0:08:18 | 0:08:19 | |
And let's not forget the calling card. | 0:08:19 | 0:08:23 | |
Elvis has not left the building. | 0:08:24 | 0:08:26 | |
This is classic Mac, Hector. | 0:08:26 | 0:08:28 | |
In the five years I have known you, you have liked | 0:08:28 | 0:08:32 | |
-MacDougal for over half our cases. -He's the best. | 0:08:32 | 0:08:35 | |
He's 60 years old. He ain't Spiderman any more. | 0:08:35 | 0:08:39 | |
He's wealthy, he doesn't have to steal. | 0:08:39 | 0:08:42 | |
You think he steals because he has to? | 0:08:42 | 0:08:44 | |
Keep working. | 0:08:44 | 0:08:47 | |
You get in at seven in the morning, | 0:09:07 | 0:09:09 | |
work till ten, have lunch by yourself, | 0:09:09 | 0:09:12 | |
you have no friends at the office. | 0:09:12 | 0:09:14 | |
You've been paying attention. | 0:09:14 | 0:09:16 | |
I'm worried about you. | 0:09:16 | 0:09:18 | |
Maybe I like being alone, | 0:09:18 | 0:09:20 | |
or I'm getting over someone. | 0:09:20 | 0:09:22 | |
Nothing gets you over the last one like the next one. | 0:09:22 | 0:09:26 | |
Is this your way of asking me out, | 0:09:28 | 0:09:30 | |
Hector, huh? | 0:09:30 | 0:09:32 | |
Not if you're going to say "no". | 0:09:32 | 0:09:35 | |
You may be right. | 0:09:37 | 0:09:40 | |
He was here this week. | 0:09:41 | 0:09:43 | |
He flew back to London this morning? | 0:09:43 | 0:09:45 | |
It might be worth our while to send someone, | 0:09:45 | 0:09:49 | |
see what he's up to. | 0:09:49 | 0:09:50 | |
SHE LAUGHS | 0:09:50 | 0:09:52 | |
-I know this guy. -Do you? | 0:09:52 | 0:09:54 | |
-Sure. -When I was at the Bureau we sent two guys after him. | 0:09:54 | 0:09:59 | |
I know, I know. They disappeared, I know the story. | 0:09:59 | 0:10:03 | |
-They were both good agents. -They were both men. | 0:10:03 | 0:10:06 | |
What do you have in mind for bait? | 0:10:06 | 0:10:08 | |
One thing I know he wants. | 0:10:12 | 0:10:14 | |
Why not the Mona Lisa? | 0:10:14 | 0:10:16 | |
Our guy likes a challenge. | 0:10:16 | 0:10:18 | |
Come on. | 0:10:18 | 0:10:20 | |
I want this back. | 0:10:20 | 0:10:23 | |
Thank you, sir. | 0:10:47 | 0:10:49 | |
ALARM | 0:11:58 | 0:12:00 | |
ALARM CONTINUES | 0:12:06 | 0:12:08 | |
SHOUTING | 0:12:10 | 0:12:12 | |
ALARM CONTINUES | 0:12:14 | 0:12:17 | |
SIRENS | 0:12:20 | 0:12:23 | |
Oh, God! | 0:12:43 | 0:12:45 | |
Shit. | 0:12:50 | 0:12:52 | |
CREAKING | 0:13:03 | 0:13:05 | |
SHE GASPS | 0:13:11 | 0:13:14 | |
Rule number one - never carry a gun. | 0:13:14 | 0:13:16 | |
You might be tempted to use it. | 0:13:16 | 0:13:18 | |
-Why are you here? -If I don't like your answers you go out the window. | 0:13:18 | 0:13:23 | |
Why are you following me? | 0:13:23 | 0:13:25 | |
I've got a proposition for you. | 0:13:25 | 0:13:28 | |
How do I know that you're not a cop? | 0:13:28 | 0:13:31 | |
You'll just have to trust me. | 0:13:31 | 0:13:33 | |
Rule two - never trust a naked woman. | 0:13:33 | 0:13:36 | |
I had nothing to sleep in, somebody stole my luggage. | 0:13:36 | 0:13:40 | |
Really? I'm shocked. | 0:13:40 | 0:13:42 | |
It's amazing what gets stolen. Your bags... | 0:13:42 | 0:13:45 | |
-That Rembrandt. -Hmm. | 0:13:45 | 0:13:47 | |
Indeed. That Rembrandt. | 0:13:47 | 0:13:49 | |
And this is your proposition? | 0:13:49 | 0:13:52 | |
Yeah. | 0:13:52 | 0:13:54 | |
I don't think it's for sale. | 0:13:54 | 0:13:56 | |
I'm going to steal it. | 0:13:56 | 0:13:58 | |
From Bedford Palace? That's rather well-guarded. | 0:13:58 | 0:14:01 | |
It has a random access security code, changed daily. I have the key. | 0:14:01 | 0:14:06 | |
Good for you. | 0:14:06 | 0:14:07 | |
But I need your help. | 0:14:07 | 0:14:09 | |
I can't get in and out. | 0:14:09 | 0:14:11 | |
I have a buyer who'll give me 40 million for it. | 0:14:11 | 0:14:15 | |
I have no reason to believe a word you say. | 0:14:15 | 0:14:18 | |
But you want to. | 0:14:18 | 0:14:19 | |
Why is that? | 0:14:19 | 0:14:21 | |
Because you want the mask. | 0:14:21 | 0:14:25 | |
Hmm. | 0:14:27 | 0:14:29 | |
First we try, then we trust. | 0:14:29 | 0:14:31 | |
Meaning what? | 0:14:31 | 0:14:32 | |
Meet me outside the hotel, 9am tomorrow. | 0:14:32 | 0:14:36 | |
How do I know you'll be there? | 0:14:36 | 0:14:38 | |
I'll be there. And I'm never late. | 0:14:38 | 0:14:40 | |
-Never? -Never. | 0:14:40 | 0:14:42 | |
If I'm late, it's because I'm dead. | 0:14:42 | 0:14:46 | |
Whose hotel? | 0:14:46 | 0:14:48 | |
Mac? | 0:14:50 | 0:14:52 | |
Mac? | 0:14:52 | 0:14:54 | |
SHE SIGHS | 0:15:00 | 0:15:02 | |
MARKET TRADER SHOUTS | 0:15:04 | 0:15:06 | |
Now, here we are. | 0:15:09 | 0:15:11 | |
You go in there and ask for Haas. | 0:15:11 | 0:15:13 | |
-Haas? -Lovely fellow, | 0:15:13 | 0:15:15 | |
low-key. Tell him you want to buy a Ching vase. | 0:15:15 | 0:15:18 | |
The price is £200,000 but you're not about to pay. | 0:15:18 | 0:15:22 | |
-Why not? -You're going to steal it. | 0:15:22 | 0:15:25 | |
You are a thief, aren't you? | 0:15:25 | 0:15:27 | |
You take this card, which is fake, as he goes through the back | 0:15:27 | 0:15:32 | |
to swipe it, you swipe the vase. | 0:15:32 | 0:15:34 | |
OK. | 0:15:34 | 0:15:37 | |
Enjoy. I'll be waiting. | 0:15:37 | 0:15:39 | |
-Ow! -Sorry! | 0:15:39 | 0:15:41 | |
SHOP BELL RINGS | 0:15:45 | 0:15:47 | |
Hello. | 0:15:57 | 0:15:59 | |
Hi. | 0:15:59 | 0:16:01 | |
I'm here for the Ching vase. | 0:16:01 | 0:16:03 | |
-I don't know you. -We never met before. Mac sent me. | 0:16:03 | 0:16:07 | |
Where's the money? | 0:16:09 | 0:16:10 | |
Where's the vase? | 0:16:10 | 0:16:12 | |
OK, show me the real one. | 0:16:24 | 0:16:27 | |
Trust me, babe, | 0:16:27 | 0:16:29 | |
this is better than the real one. 200,000. | 0:16:29 | 0:16:33 | |
-HE LAUGHS -What's that? | 0:16:34 | 0:16:36 | |
It's a credit card. | 0:16:36 | 0:16:37 | |
Yeah. And? | 0:16:37 | 0:16:39 | |
I need the miles. | 0:16:39 | 0:16:41 | |
What, exactly, do you think this is? | 0:16:42 | 0:16:46 | |
-Harrods? -No, I've never seen rats at Harrods. | 0:16:46 | 0:16:50 | |
You like a joke, don't you? | 0:16:50 | 0:16:52 | |
Sure. | 0:16:52 | 0:16:54 | |
How funny is this? | 0:16:54 | 0:16:57 | |
I think I made a terrible mistake about the vase. | 0:17:00 | 0:17:03 | |
Too right. | 0:17:03 | 0:17:05 | |
Yeah, I did. | 0:17:11 | 0:17:13 | |
PHONE KEYS BEEP | 0:17:26 | 0:17:28 | |
Time's running out. You can still escape if you're quick. | 0:17:33 | 0:17:38 | |
-Where's the vase? -I broke it. | 0:17:38 | 0:17:41 | |
-What? -I'm sorry. | 0:17:41 | 0:17:43 | |
Ah! | 0:17:43 | 0:17:45 | |
Oh, God! | 0:17:56 | 0:17:58 | |
God bless. | 0:17:58 | 0:18:00 | |
He came at me with a knife, what was I supposed to do? | 0:18:01 | 0:18:04 | |
Get the damn vase. | 0:18:04 | 0:18:06 | |
It was knock-off, you wouldn't have wanted it. | 0:18:06 | 0:18:09 | |
You missed the point of the entire exercise. | 0:18:12 | 0:18:16 | |
No, I didn't. | 0:18:16 | 0:18:19 | |
Oh. Good. | 0:18:19 | 0:18:21 | |
Good girl. Give it to me. | 0:18:21 | 0:18:23 | |
What is it? | 0:18:23 | 0:18:25 | |
Give it to me. | 0:18:25 | 0:18:26 | |
What is it? | 0:18:26 | 0:18:28 | |
Bedford Palace - the complete plans, security system, soup to nuts. | 0:18:28 | 0:18:34 | |
SHE SIGHS | 0:18:48 | 0:18:50 | |
Look what you've done to this beautiful car. | 0:18:50 | 0:18:53 | |
Thank God it's not mine. Here. | 0:18:53 | 0:18:55 | |
Where are we going? | 0:18:55 | 0:18:57 | |
These are my clothes. | 0:18:57 | 0:18:59 | |
Yes, you have some nice things. | 0:18:59 | 0:19:01 | |
It was you? You stole my luggage? | 0:19:01 | 0:19:03 | |
I'm a thief. So sue me. | 0:19:03 | 0:19:05 | |
Where are we going? | 0:19:05 | 0:19:08 | |
Up. | 0:19:06 | 0:19:08 | |
Mac, where is my suitcase? | 0:19:10 | 0:19:12 | |
It's with hotel security. | 0:19:12 | 0:19:14 | |
With what? | 0:19:14 | 0:19:16 | |
But why? | 0:19:19 | 0:19:21 | |
There was a robbery yesterday at Cryptonic and someone stole | 0:19:21 | 0:19:25 | |
five prototype superchips, worth four million dollars each. | 0:19:25 | 0:19:30 | |
One of these chips is inside your suitcase. | 0:19:30 | 0:19:33 | |
-With hotel security. -Yes. | 0:19:33 | 0:19:35 | |
And one anonymous phone call, | 0:19:35 | 0:19:38 | |
from me, plus the photos... | 0:19:38 | 0:19:40 | |
-What photos? -Oh, yes. | 0:19:40 | 0:19:43 | |
These. | 0:19:43 | 0:19:45 | |
You took... | 0:19:47 | 0:19:49 | |
Hey! This is entrapment. | 0:19:53 | 0:19:56 | |
What? | 0:19:56 | 0:19:58 | |
This is called entrapment. | 0:19:58 | 0:20:00 | |
Actually, it's called blackmail. | 0:20:00 | 0:20:02 | |
Entrapment... | 0:20:02 | 0:20:04 | |
is what cops do to thieves. | 0:20:04 | 0:20:07 | |
You coming? | 0:20:09 | 0:20:11 | |
Almost there. | 0:20:29 | 0:20:31 | |
No lock? No security? | 0:21:02 | 0:21:04 | |
You're not casing the joint already, are you? This way. | 0:21:04 | 0:21:08 | |
Oh, wow. | 0:21:11 | 0:21:13 | |
Shall we? | 0:21:15 | 0:21:17 | |
Oh, my God. | 0:21:24 | 0:21:26 | |
This is quite a collection. | 0:21:33 | 0:21:34 | |
Thank you. | 0:21:34 | 0:21:36 | |
Only contemporary art? | 0:21:36 | 0:21:38 | |
You sound surprised. | 0:21:38 | 0:21:40 | |
No, it's just not what I expected. | 0:21:40 | 0:21:42 | |
Where are the suits of armour and the crossed swords? | 0:21:42 | 0:21:46 | |
Up in the attic. Whisky? | 0:21:46 | 0:21:49 | |
Sure, I'd love one. | 0:21:49 | 0:21:51 | |
Wow. | 0:21:52 | 0:21:54 | |
Is all this... paid for? | 0:21:55 | 0:21:58 | |
With blood. Cheers. | 0:21:58 | 0:22:00 | |
To the mask. | 0:22:00 | 0:22:02 | |
I'll show you to your room. | 0:22:04 | 0:22:07 | |
Who else do you bring here? | 0:22:07 | 0:22:09 | |
No-one. | 0:22:09 | 0:22:11 | |
That's sad. | 0:22:11 | 0:22:13 | |
-Why? -To have something like this and not share it. | 0:22:13 | 0:22:17 | |
I don't need to share it with anyone. | 0:22:17 | 0:22:20 | |
Most people buy art to show it off, I collect art for me. | 0:22:20 | 0:22:24 | |
Your room's this way. | 0:22:24 | 0:22:26 | |
Good night, then. | 0:22:32 | 0:22:33 | |
But it's still early. | 0:22:33 | 0:22:35 | |
We have an early start. | 0:22:35 | 0:22:36 | |
I'm not tired. | 0:22:36 | 0:22:38 | |
Where do you sleep? | 0:22:38 | 0:22:41 | |
Why? | 0:22:45 | 0:22:49 | |
Just in case I need anything. | 0:22:46 | 0:22:49 | |
-Can I ask you something? -Sure. | 0:22:52 | 0:22:54 | |
Has there ever been anyone | 0:22:54 | 0:22:57 | |
who you couldn't manipulate, beguile, or seduce? | 0:22:57 | 0:23:01 | |
No. | 0:23:01 | 0:23:03 | |
Why? Do I make you uneasy, Mac? | 0:23:05 | 0:23:08 | |
No. Not at all. | 0:23:09 | 0:23:11 | |
In fact, I think now might be a good time | 0:23:11 | 0:23:15 | |
for you and I to discuss something. | 0:23:15 | 0:23:18 | |
What did you have in mind? | 0:23:18 | 0:23:21 | |
Er, the rules. | 0:23:21 | 0:23:24 | |
Oh. OK. | 0:23:24 | 0:23:26 | |
In order for there to be complete trust between thieves, | 0:23:27 | 0:23:31 | |
there can be nothing personal. | 0:23:31 | 0:23:34 | |
A job is a job. You do your part, I do mine. | 0:23:37 | 0:23:41 | |
If one of us is thinking of something other than the task, | 0:23:41 | 0:23:45 | |
we'll either both get caught or both get dead. | 0:23:45 | 0:23:49 | |
Good night, again. | 0:23:51 | 0:23:54 | |
No. | 0:24:10 | 0:24:11 | |
No. | 0:24:11 | 0:24:13 | |
No. No. | 0:24:13 | 0:24:15 | |
No. No. | 0:24:15 | 0:24:18 | |
-That's the way in. -That's the lake. | 0:24:18 | 0:24:21 | |
I know it's the lake, dear. | 0:24:21 | 0:24:24 | |
The first duke dug a tunnel for his mistress. | 0:24:24 | 0:24:27 | |
A hundred years later, they flooded the place. | 0:24:27 | 0:24:31 | |
OK, so we go underwater. | 0:24:31 | 0:24:32 | |
I go underwater. I steal the mask. | 0:24:32 | 0:24:35 | |
You get the finder's fee of ten per cent. | 0:24:35 | 0:24:37 | |
But I have the code to the mask case, dear. | 0:24:37 | 0:24:41 | |
Which you're now going to give to me. | 0:24:41 | 0:24:44 | |
No! | 0:24:44 | 0:24:47 | |
-Have you been wasting my time? -Have you been wasting mine? | 0:24:49 | 0:24:53 | |
I'll arrange your return | 0:24:58 | 0:25:00 | |
to London. | 0:25:00 | 0:25:02 | |
I'm not who you think I am, Mac. | 0:25:04 | 0:25:06 | |
I hope not, for your sake. | 0:25:06 | 0:25:09 | |
I'm a thief. | 0:25:10 | 0:25:12 | |
So you keep telling me. | 0:25:13 | 0:25:15 | |
I stole the Rembrandt. | 0:25:16 | 0:25:18 | |
Mac, I stole the Rembrandt. | 0:25:20 | 0:25:22 | |
And I painted the Sistine Chapel. | 0:25:22 | 0:25:25 | |
Come on, ask me how I did it. | 0:25:25 | 0:25:28 | |
-How did you do it? -I came from the roof, | 0:25:28 | 0:25:30 | |
I dropped twenty floors down on a McNeal Descender. | 0:25:30 | 0:25:34 | |
You must be a hell of a climber. | 0:25:34 | 0:25:37 | |
I am. | 0:25:37 | 0:25:39 | |
Hmm? | 0:25:40 | 0:25:42 | |
I am a hell of a climber. | 0:25:45 | 0:25:47 | |
I am... one hell of a climber. | 0:25:49 | 0:25:53 | |
But how did you get it out of there? | 0:25:54 | 0:25:57 | |
Now, that... | 0:25:58 | 0:26:00 | |
is the most... | 0:26:00 | 0:26:02 | |
beautiful part. | 0:26:02 | 0:26:04 | |
I mailed it. | 0:26:06 | 0:26:08 | |
No. | 0:26:08 | 0:26:10 | |
I put it down my own mail tube. | 0:26:10 | 0:26:13 | |
Simple... | 0:26:13 | 0:26:15 | |
..effective... safe. | 0:26:17 | 0:26:21 | |
That's very clever. | 0:26:21 | 0:26:26 | |
No. Not clever. | 0:26:23 | 0:26:26 | |
It was perfect. | 0:26:31 | 0:26:33 | |
Absolutely unbelievable. | 0:26:33 | 0:26:35 | |
You're right. | 0:26:38 | 0:26:40 | |
It is beautiful. | 0:26:40 | 0:26:42 | |
Did you know Rembrandt lived with his parents well into his 40s? | 0:26:43 | 0:26:48 | |
But of course you'd know that, you're perfect. | 0:26:48 | 0:26:52 | |
H-How did you get that? | 0:26:54 | 0:26:56 | |
Why rob the paint house when the mail room's on the ground floor? | 0:26:56 | 0:27:00 | |
SHE EXHALES | 0:27:00 | 0:27:02 | |
How did you know I took it? | 0:27:02 | 0:27:04 | |
There's only a handful of people who make the equipment you used, | 0:27:04 | 0:27:09 | |
and I know all of them. | 0:27:09 | 0:27:11 | |
Someone was expecting that. | 0:27:11 | 0:27:13 | |
Mr Conrad Greene of Kuala Lumpur. | 0:27:13 | 0:27:16 | |
Oh, God. | 0:27:16 | 0:27:18 | |
What was it? | 0:27:18 | 0:27:20 | |
A down payment for services Mr Greene is providing? | 0:27:20 | 0:27:23 | |
Yeah, something like that. | 0:27:23 | 0:27:26 | |
What could you possibly want to steal in Malaysia? | 0:27:28 | 0:27:33 | |
-Hm? -A hundred million dollars. | 0:27:33 | 0:27:35 | |
What's the job? | 0:27:38 | 0:27:40 | |
Like the wise man said... | 0:27:40 | 0:27:42 | |
.."First we try, then we trust." | 0:27:46 | 0:27:49 | |
Ah, good morning. | 0:28:03 | 0:28:05 | |
Why does my Jaguar look like you drove it off a cliff? | 0:28:05 | 0:28:09 | |
Thibadeaux, I'm awfully sorry. | 0:28:09 | 0:28:12 | |
You owe me 140 Gs. | 0:28:12 | 0:28:13 | |
How about a 40 million dollar Chinese mask instead? | 0:28:13 | 0:28:17 | |
With a turbo charger and a six CD changer? | 0:28:17 | 0:28:20 | |
Did you get everything I need? | 0:28:21 | 0:28:23 | |
-We're done, you buy me a new car. -Agreed. | 0:28:23 | 0:28:26 | |
Did you get the small pneumatics? | 0:28:26 | 0:28:28 | |
What did you ask for? | 0:28:28 | 0:28:30 | |
Yeah, gotta be a damn elf to use them. | 0:28:30 | 0:28:33 | |
-And the det cord? -It's in the bag. | 0:28:33 | 0:28:36 | |
That's some nasty shit, you don't want to mix it with nothing else. | 0:28:36 | 0:28:41 | |
What the hell's this? | 0:28:43 | 0:28:45 | |
The thermal camera you asked for. | 0:28:45 | 0:28:48 | |
I specifically said no liquid-plasma screen. | 0:28:48 | 0:28:52 | |
That was all I could get. | 0:28:52 | 0:28:53 | |
How am I supposed to do it without the right tools? | 0:28:53 | 0:28:56 | |
Give me a break. You think I go to K-Mart to get this shit? | 0:28:56 | 0:29:00 | |
You'll figure out something, | 0:29:00 | 0:29:02 | |
you always do. | 0:29:02 | 0:29:04 | |
-Where's the honey? -In the loch, training. | 0:29:04 | 0:29:09 | |
I told her I swim for an hour every day, so she'll do it for two. | 0:29:09 | 0:29:13 | |
So, when is it we do the dirty? | 0:29:17 | 0:29:20 | |
Maybe we should wait a bit. | 0:29:21 | 0:29:23 | |
She's got a bigger job after this one. | 0:29:24 | 0:29:27 | |
This is big enough, man. | 0:29:27 | 0:29:30 | |
It's never big enough. | 0:29:30 | 0:29:33 | |
You are keeping it strictly business, | 0:29:33 | 0:29:36 | |
right, Mac? | 0:29:36 | 0:29:39 | |
Strictly. | 0:29:37 | 0:29:39 | |
Have you ever bought a woman's dress? | 0:29:41 | 0:29:44 | |
It's for the job, for her. | 0:29:45 | 0:29:47 | |
I don't know her size. | 0:29:47 | 0:29:49 | |
Well, by the looks of her, | 0:29:49 | 0:29:51 | |
she's probably a six, but she'd look | 0:29:51 | 0:29:54 | |
real fine if you put her in a four. | 0:29:54 | 0:29:56 | |
I had this girl, Tina, she said the dress made the woman. | 0:29:56 | 0:30:00 | |
But I say the woman makes the dress. | 0:30:00 | 0:30:03 | |
Lovely story. | 0:30:03 | 0:30:05 | |
But can you get the dress? | 0:30:05 | 0:30:07 | |
Mac, you're too old for this shit. | 0:30:07 | 0:30:10 | |
This mask thing better be worth it. | 0:30:12 | 0:30:15 | |
Oh, it is. | 0:30:15 | 0:30:17 | |
It better be worth it for me. | 0:30:17 | 0:30:20 | |
Our gear's arrived. | 0:31:09 | 0:31:11 | |
Who brought it? | 0:31:11 | 0:31:14 | |
A delivery man. | 0:31:15 | 0:31:16 | |
You just order that stuff from a catalogue? | 0:31:16 | 0:31:19 | |
No, I just order it from someone I trust implicitly. | 0:31:19 | 0:31:23 | |
There's lots more, if you're not too tired. | 0:31:23 | 0:31:27 | |
Left a bit, left a bit. What is it? | 0:31:42 | 0:31:45 | |
It's fifteen. | 0:31:45 | 0:31:47 | |
Good. | 0:31:47 | 0:31:49 | |
Stop. | 0:31:49 | 0:31:50 | |
Straight back. Go on, take it out. Back. | 0:31:50 | 0:31:53 | |
There you go, there. | 0:31:53 | 0:31:55 | |
Keep it taut. Taut. | 0:31:55 | 0:31:58 | |
Oh, finally. | 0:31:58 | 0:32:01 | |
Well done. | 0:32:01 | 0:32:02 | |
Three... | 0:32:15 | 0:32:16 | |
two... | 0:32:16 | 0:32:18 | |
one. | 0:32:18 | 0:32:20 | |
Five decibels. | 0:32:21 | 0:32:23 | |
Still too loud. | 0:32:23 | 0:32:26 | |
Set? | 0:32:29 | 0:32:31 | |
-One, and... -Bang. | 0:32:31 | 0:32:33 | |
-Two, and... -Bang. | 0:32:33 | 0:32:36 | |
-Three, and... -Bang. | 0:32:36 | 0:32:38 | |
Four, and... | 0:32:38 | 0:32:39 | |
Oh, yeah. Bang. | 0:32:39 | 0:32:41 | |
The bangs must come when the clock chimes. | 0:32:41 | 0:32:44 | |
OK, I forgot. I forgot. | 0:32:44 | 0:32:46 | |
Right, again. | 0:32:46 | 0:32:48 | |
Knees together. | 0:32:48 | 0:32:50 | |
Down, down, tuck. | 0:32:50 | 0:32:52 | |
You keep your mind on your movement. | 0:32:52 | 0:32:55 | |
Reach. No! No! No! BELLS RING | 0:32:55 | 0:32:58 | |
These are lasers. | 0:32:58 | 0:33:00 | |
I am your eyes. | 0:33:00 | 0:33:02 | |
You keep yours closed, you can't see, | 0:33:02 | 0:33:05 | |
but I'll be watching every move on our screen. | 0:33:05 | 0:33:08 | |
Move it. You've got three minutes till the guard gets here. | 0:33:08 | 0:33:13 | |
Up. Good. | 0:33:14 | 0:33:16 | |
Better. Left leg. Left. | 0:33:16 | 0:33:19 | |
There you go. BELLS RING | 0:33:19 | 0:33:21 | |
I need a break. | 0:33:22 | 0:33:24 | |
You get a break when you get it right. | 0:33:24 | 0:33:26 | |
Number one! | 0:33:26 | 0:33:28 | |
Two, and... | 0:33:28 | 0:33:31 | |
Bang. | 0:33:31 | 0:33:32 | |
-Three, and... -Bang. | 0:33:32 | 0:33:34 | |
-Four, and... -Bang! | 0:33:34 | 0:33:35 | |
Five, and inflate. | 0:33:35 | 0:33:37 | |
Well, what's this? It's supposed to be one second. | 0:33:40 | 0:33:44 | |
You're supposed to open the valve full. | 0:33:44 | 0:33:46 | |
I did! You can see, it's open! | 0:33:46 | 0:33:49 | |
Very well. I'll rectify it later. | 0:33:49 | 0:33:51 | |
Six. Lever. | 0:33:51 | 0:33:54 | |
Seven. Drop. | 0:33:54 | 0:33:56 | |
Eight? | 0:33:56 | 0:33:57 | |
Deflate. | 0:33:57 | 0:33:59 | |
Well done. | 0:33:59 | 0:34:01 | |
I did open it full, OK? | 0:34:01 | 0:34:03 | |
You can go and check it. | 0:34:03 | 0:34:05 | |
Come on. | 0:34:10 | 0:34:12 | |
HE SIGHS | 0:34:14 | 0:34:16 | |
Here. | 0:34:17 | 0:34:18 | |
There. | 0:34:18 | 0:34:20 | |
This is where I'm going to enter. | 0:34:20 | 0:34:22 | |
Then I'll come up to the first beam, this is the hardest part. | 0:34:22 | 0:34:27 | |
Wait, I'll just... Right here. | 0:34:27 | 0:34:30 | |
Once I get under the first beam | 0:34:30 | 0:34:32 | |
I'll be fine, so don't worry about me, OK? | 0:34:32 | 0:34:35 | |
Once I have this on the computer I can visualise it. | 0:34:35 | 0:34:39 | |
-I can do this blindfolded. -Really? | 0:34:39 | 0:34:41 | |
Is this absolutely necessary? | 0:34:47 | 0:34:50 | |
Yes. Because you won't be able to see them and I will. | 0:34:50 | 0:34:53 | |
And you will. | 0:34:53 | 0:34:55 | |
-Right. -Trust me. | 0:34:55 | 0:34:57 | |
SHE EXHALES SLOWLY | 0:35:08 | 0:35:10 | |
SHE EXHALES | 0:35:33 | 0:35:35 | |
We're ready. | 0:37:06 | 0:37:08 | |
I'll tell you when we're ready. | 0:37:08 | 0:37:11 | |
You forgot the damn pressure switch, didn't you? | 0:37:11 | 0:37:15 | |
Jesus! You just can't help it, can you? | 0:37:15 | 0:37:18 | |
Help what? | 0:37:18 | 0:37:19 | |
Being such a nasty son of a bitch. | 0:37:19 | 0:37:23 | |
This is how it has to be. | 0:37:23 | 0:37:25 | |
But if you can't deal with it... | 0:37:25 | 0:37:28 | |
Hey, Mac! Bullshit. You know what? | 0:37:28 | 0:37:31 | |
I think you're just afraid to be nice to me. | 0:37:31 | 0:37:35 | |
DOOR SLAMS | 0:37:42 | 0:37:44 | |
(Bastard.) | 0:37:47 | 0:37:49 | |
SHE PLAYS PIANO | 0:37:49 | 0:37:52 | |
Merry Christmas. | 0:37:54 | 0:37:57 | |
For me? | 0:37:57 | 0:37:59 | |
It's certainly not for me. | 0:37:59 | 0:38:02 | |
Open it. | 0:38:02 | 0:38:04 | |
I thought you were probably a six but would look very nice as a four. | 0:38:08 | 0:38:14 | |
It's beautiful. | 0:38:19 | 0:38:21 | |
But...? | 0:38:21 | 0:38:23 | |
Believe it or not, no-one's ever bought me a dress before. | 0:38:25 | 0:38:29 | |
Well, it comes out of your share. | 0:38:29 | 0:38:32 | |
I didn't get you anything. | 0:38:35 | 0:38:38 | |
Not necessary. | 0:38:39 | 0:38:41 | |
No, I want to. | 0:38:41 | 0:38:43 | |
I won't be long. | 0:38:43 | 0:38:45 | |
I'll be waiting. | 0:38:45 | 0:38:47 | |
DOOR SLAMS | 0:38:47 | 0:38:49 | |
PHONE RINGS | 0:39:04 | 0:39:06 | |
'Waverly Insurance.' | 0:39:06 | 0:39:08 | |
Hi, this is Virginia Baker. | 0:39:08 | 0:39:10 | |
Hector Cruz on a secure line, please. | 0:39:10 | 0:39:13 | |
Was it my imagination or didn't I say to check in every day? | 0:39:16 | 0:39:20 | |
'Sorry, I can't just pick up my cellphone here.' | 0:39:20 | 0:39:23 | |
I've been worried about you. | 0:39:23 | 0:39:25 | |
'Where are you?' | 0:39:25 | 0:39:26 | |
I'm staying with Mac, at his castle. | 0:39:26 | 0:39:30 | |
'Spare me the details. | 0:39:30 | 0:39:32 | |
'Did he take the bait?' | 0:39:32 | 0:39:34 | |
'Oh, yeah. Big time. And he's got the Rembrandt.' | 0:39:34 | 0:39:37 | |
Whoa. Tilt, bingo, jackpot. | 0:39:37 | 0:39:40 | |
You want to pick him up? | 0:39:40 | 0:39:42 | |
'We've got him for possession...' | 0:39:42 | 0:39:44 | |
I can catch him with his hand in the till. | 0:39:44 | 0:39:47 | |
'Grand larceny, 25 years.' | 0:39:47 | 0:39:49 | |
'Think you're up to it?' | 0:39:49 | 0:39:50 | |
'I know so.' | 0:39:50 | 0:39:52 | |
Give me the how and the when. | 0:39:52 | 0:39:54 | |
'I'll call you as soon as I know.' | 0:39:54 | 0:39:56 | |
Is that a promise? | 0:39:56 | 0:39:58 | |
Of course it's a promise. | 0:39:58 | 0:40:00 | |
I gotta go. I gotta go. | 0:40:00 | 0:40:02 | |
'Wait a sec.' | 0:40:02 | 0:40:04 | |
-DIALLING TONE -Hello? | 0:40:04 | 0:40:07 | |
Mac? | 0:40:19 | 0:40:21 | |
Mac? | 0:40:25 | 0:40:27 | |
Mac? | 0:40:31 | 0:40:32 | |
Mac? | 0:40:33 | 0:40:35 | |
Mac?! | 0:41:09 | 0:41:10 | |
-CAWING -Oh, God! | 0:41:23 | 0:41:26 | |
Did you find what you were looking for? | 0:41:42 | 0:41:45 | |
God, you scared me. | 0:41:45 | 0:41:46 | |
Know what they say about fear? | 0:41:46 | 0:41:48 | |
The only remedy is to cut off the head. | 0:41:48 | 0:41:51 | |
Really? | 0:41:51 | 0:41:53 | |
Beautiful view, isn't it? | 0:41:53 | 0:41:56 | |
It helps me to see things more clearly. | 0:41:56 | 0:41:59 | |
You know, I never come up here without dropping something off. | 0:42:00 | 0:42:05 | |
Go ahead, then. | 0:42:10 | 0:42:12 | |
We'll leave in two hours. | 0:42:17 | 0:42:20 | |
QUACKING | 0:42:23 | 0:42:25 | |
Gin! | 0:42:33 | 0:42:35 | |
Well? | 0:42:46 | 0:42:48 | |
Well. | 0:42:51 | 0:42:52 | |
You're the most beautiful crook I've ever seen. | 0:42:56 | 0:43:00 | |
Why, thank you,... | 0:43:00 | 0:43:02 | |
kind sir. | 0:43:02 | 0:43:04 | |
So I'll recognise you. | 0:43:04 | 0:43:06 | |
I wouldn't want to go home with the wrong man. | 0:43:07 | 0:43:11 | |
It is a masked ball. | 0:43:11 | 0:43:13 | |
We all go as someone else. | 0:43:15 | 0:43:18 | |
DANCE MUSIC | 0:43:57 | 0:44:01 | |
Ten thirty in three, two, one... | 0:44:17 | 0:44:22 | |
now. | 0:44:23 | 0:44:25 | |
I think we should pay our respects to the guest of honour. | 0:44:25 | 0:44:29 | |
Shall we? | 0:44:29 | 0:44:31 | |
One, two, three, four, five. | 0:44:37 | 0:44:40 | |
Long. One, two, three... | 0:44:41 | 0:44:45 | |
Dum-da-dum, dum-da-dum... | 0:44:45 | 0:44:47 | |
Oh, here we are. | 0:44:47 | 0:44:49 | |
Oh. | 0:44:51 | 0:44:52 | |
BEEPING | 0:46:44 | 0:46:46 | |
BEEPING QUICKENS | 0:46:50 | 0:46:54 | |
MUSIC ON RADIO | 0:47:13 | 0:47:15 | |
-Fifteen seconds. -Going hot. | 0:47:30 | 0:47:32 | |
RADIO | 0:47:38 | 0:47:39 | |
Seven, six,... | 0:47:43 | 0:47:45 | |
five... | 0:47:45 | 0:47:46 | |
four... | 0:47:46 | 0:47:47 | |
three... | 0:47:47 | 0:47:49 | |
two... | 0:47:49 | 0:47:50 | |
one. And one. | 0:47:50 | 0:47:52 | |
CHIME AND BLAST | 0:47:52 | 0:47:54 | |
-And two. -CHIME | 0:47:56 | 0:47:58 | |
-And three. -CHIME | 0:47:58 | 0:48:02 | |
-And four. -CHIME | 0:48:02 | 0:48:04 | |
-And five. -CHIME | 0:48:05 | 0:48:07 | |
-Six. -CHIME | 0:48:07 | 0:48:09 | |
-And seven. -CHIME | 0:48:10 | 0:48:12 | |
-And eight. -CHIME | 0:48:12 | 0:48:15 | |
-More air. -Nine. | 0:48:15 | 0:48:17 | |
-More. -Ten. | 0:48:19 | 0:48:20 | |
-More! -Eleven. | 0:48:20 | 0:48:23 | |
-It's too loud. -More! | 0:48:23 | 0:48:25 | |
OK. | 0:49:05 | 0:49:07 | |
Up. | 0:49:40 | 0:49:42 | |
Hmm. | 0:50:05 | 0:50:06 | |
Good. | 0:50:14 | 0:50:15 | |
You've got three minutes on the guard. | 0:50:15 | 0:50:19 | |
Balance. | 0:50:25 | 0:50:27 | |
And point. | 0:50:27 | 0:50:29 | |
Now lift. | 0:50:29 | 0:50:32 | |
Two minutes on the guard. | 0:50:37 | 0:50:40 | |
Lift. | 0:50:48 | 0:50:50 | |
Extend. Now turn. | 0:50:50 | 0:50:53 | |
Up a little more. | 0:51:06 | 0:51:08 | |
Now bend the knee. | 0:51:11 | 0:51:13 | |
75 seconds. | 0:51:29 | 0:51:31 | |
Freeze. | 0:51:49 | 0:51:51 | |
You're blocking the beam, I can't see it. | 0:51:51 | 0:51:54 | |
I got it covered. | 0:51:54 | 0:51:56 | |
Clever girl. | 0:52:04 | 0:52:06 | |
Now, remember the damn pressure switch. | 0:52:22 | 0:52:26 | |
HE GROANS | 0:52:33 | 0:52:35 | |
Good girl. | 0:52:56 | 0:52:58 | |
35 seconds. | 0:53:01 | 0:53:03 | |
Preparing pressure switch neutralisation device. | 0:53:07 | 0:53:11 | |
Now get out of there. | 0:53:24 | 0:53:26 | |
Fast. | 0:53:26 | 0:53:28 | |
ALARM RINGS | 0:53:46 | 0:53:49 | |
SIRENS | 0:53:49 | 0:53:51 | |
Come on! Come on! | 0:53:51 | 0:53:53 | |
Move it! Move it! | 0:53:53 | 0:53:56 | |
-SHE LAUGHS -Unbelievable! | 0:53:58 | 0:54:01 | |
Let me have the mask. | 0:54:10 | 0:54:12 | |
-There she is. -Oh, shit. | 0:54:12 | 0:54:15 | |
Now, this is where we play truth or dare. | 0:54:19 | 0:54:23 | |
What? | 0:54:23 | 0:54:24 | |
First, we start with truth. | 0:54:30 | 0:54:32 | |
You work for Hector Cruz at Waverly Insurance, | 0:54:32 | 0:54:36 | |
hmm? | 0:54:36 | 0:54:38 | |
SHE GASPS | 0:54:40 | 0:54:41 | |
Now... | 0:54:41 | 0:54:43 | |
I dare you to lie to me. | 0:54:43 | 0:54:45 | |
-I don't know what you're talking about. -What? | 0:54:45 | 0:54:48 | |
SHE COUGHS | 0:54:48 | 0:54:50 | |
The job was a cover, that's how I got the code. | 0:54:51 | 0:54:55 | |
No, you're playing both sides. You're going to sell the mask | 0:54:55 | 0:54:59 | |
to Conrad Greene then turn me in. | 0:54:59 | 0:55:01 | |
No, I need you for the job. | 0:55:01 | 0:55:03 | |
-There's no other job. -There is! | 0:55:03 | 0:55:05 | |
It's worth over... | 0:55:05 | 0:55:08 | |
Don't tell me it's worth 100 million. | 0:55:08 | 0:55:11 | |
No, you're right, it's not. | 0:55:11 | 0:55:14 | |
It's worth over a billion. | 0:55:14 | 0:55:17 | |
SHE GASPS | 0:55:26 | 0:55:28 | |
And that's just your share. | 0:55:30 | 0:55:32 | |
I'm not lying. | 0:55:33 | 0:55:35 | |
I can't do this job without you, Mac. | 0:55:40 | 0:55:43 | |
Please, come with me to Kuala Lumpur. | 0:55:43 | 0:55:46 | |
Can you just decide soon, please? | 0:55:56 | 0:55:59 | |
Four, three, two, one. | 0:56:04 | 0:56:08 | |
Your time's up. | 0:56:08 | 0:56:10 | |
You said you would tell me what the next job is in 24 hours. | 0:56:10 | 0:56:15 | |
It's a bank. | 0:56:15 | 0:56:17 | |
And? | 0:56:19 | 0:56:21 | |
And I didn't say I'd tell you any more. | 0:56:21 | 0:56:24 | |
Isn't it beautiful here? | 0:56:25 | 0:56:27 | |
HORN BEEPS | 0:56:37 | 0:56:40 | |
Banks have never really been my thing. | 0:56:47 | 0:56:50 | |
Think a billion dollars will change your mind? | 0:56:50 | 0:56:53 | |
I just don't like surprises. | 0:56:53 | 0:56:56 | |
Trust me, there won't be any. | 0:56:56 | 0:56:58 | |
HE LAUGHS Trust me, there always are surprises. | 0:56:58 | 0:57:02 | |
I must say, it's... very homely. | 0:57:19 | 0:57:22 | |
Why, thank you. | 0:57:22 | 0:57:24 | |
Of course, when I said bank, | 0:57:32 | 0:57:35 | |
I didn't mean just any bank. | 0:57:35 | 0:57:37 | |
A room with a view. | 0:57:39 | 0:57:41 | |
I give you the world's tallest building. | 0:57:41 | 0:57:43 | |
And we're going to steal it? | 0:57:43 | 0:57:46 | |
And home of the International Clearance Bank, | 0:57:46 | 0:57:49 | |
which I'm sure you know controls all big money transactions | 0:57:49 | 0:57:54 | |
in Southeast Asia. | 0:57:54 | 0:57:56 | |
-Do I have your attention now? -Undivided. | 0:57:56 | 0:57:59 | |
New York headquarters of the International Clearance Bank. | 0:57:59 | 0:58:04 | |
Running from there | 0:58:04 | 0:58:06 | |
are hackproof, dedicated lines to computers | 0:58:06 | 0:58:09 | |
in its branch offices around the world. | 0:58:09 | 0:58:12 | |
The only access is from central control in New York | 0:58:12 | 0:58:16 | |
or from the secure computers in the branch offices. | 0:58:16 | 0:58:20 | |
In Kuala Lumpur, only one man has unlimited access. | 0:58:20 | 0:58:24 | |
Lee Kuan Hong, chairman of the Clearance Bank of Kuala Lumpur. | 0:58:24 | 0:58:29 | |
Vaults are accessed by two things - a key code | 0:58:29 | 0:58:33 | |
and a completely unfakeable retinal scan. | 0:58:33 | 0:58:36 | |
Morning. Nice day, huh? | 0:58:36 | 0:58:38 | |
Which we're going to fake. | 0:58:40 | 0:58:42 | |
Our chairman, | 0:58:42 | 0:58:44 | |
with a face full of Mace, is now getting his eyes checked, | 0:58:44 | 0:58:48 | |
with a little help from Conrad Greene's guys. | 0:58:48 | 0:58:52 | |
With me, so far? | 0:58:54 | 0:58:56 | |
-All the way. -Good. Because of the millennium bug, | 0:58:56 | 0:59:00 | |
International Clearance are running integrity tests | 0:59:00 | 0:59:04 | |
which they are rehearsing even as we speak. | 0:59:04 | 0:59:07 | |
Prepare test shutdown for Sydney. | 0:59:07 | 0:59:09 | |
'Just before midnight, local time, | 0:59:09 | 0:59:12 | |
'they'll shut down mainframes for 30 seconds.' | 0:59:12 | 0:59:15 | |
Sydney is down. | 0:59:15 | 0:59:16 | |
Run test program. | 0:59:16 | 0:59:18 | |
We need those 30 seconds | 0:59:18 | 0:59:20 | |
to patch into the mainframe. | 0:59:20 | 0:59:22 | |
We need ten seconds one-on-one with the computer to download the stuff. | 0:59:22 | 0:59:28 | |
-And how do we acquire those ten seconds? -We steal them. | 0:59:28 | 0:59:33 | |
The transmitter I left behind | 0:59:33 | 0:59:35 | |
overrides the signal of the atomic clock. | 0:59:35 | 0:59:38 | |
So from 11pm tomorrow night, their clocks | 0:59:38 | 0:59:41 | |
gain a fraction of a second every minute and we gain ten seconds. | 0:59:41 | 0:59:46 | |
And what is this stuff we are downloading? | 0:59:46 | 0:59:49 | |
Enya? | 0:59:59 | 1:00:00 | |
Cunningly disguised in there | 1:00:00 | 1:00:02 | |
is a disk that took me five years to make | 1:00:02 | 1:00:05 | |
in my broom closet at Waverly Insurance. | 1:00:05 | 1:00:09 | |
It tells the ICB computer to transfer small amounts of money | 1:00:10 | 1:00:15 | |
from hundreds of corporations in East Asia into my account. | 1:00:15 | 1:00:19 | |
Our account. | 1:00:19 | 1:00:21 | |
Yeah, our account. | 1:00:21 | 1:00:23 | |
Eight billion dollars in total. | 1:00:23 | 1:00:25 | |
You said one billion. | 1:00:26 | 1:00:29 | |
-Uh-uh. I said that was your share. -What can you do with seven that you can't with four? | 1:00:29 | 1:00:35 | |
Hold the record. | 1:00:37 | 1:00:39 | |
Alone. | 1:00:39 | 1:00:41 | |
Sounds rather lonely. | 1:00:42 | 1:00:44 | |
Alone? | 1:00:44 | 1:00:46 | |
No, alone is good. | 1:00:46 | 1:00:48 | |
-You want a beer? -Thank you. | 1:00:49 | 1:00:52 | |
We'll need three weeks to prepare. | 1:00:52 | 1:00:54 | |
What? | 1:00:54 | 1:00:56 | |
-Minimum. -No. It has to be tomorrow night. | 1:00:56 | 1:01:00 | |
No way. | 1:01:00 | 1:01:02 | |
You don't understand, it has to be millennium midnight or never. | 1:01:02 | 1:01:07 | |
Then, it's never. It's impossible. | 1:01:07 | 1:01:09 | |
You...! | 1:01:15 | 1:01:17 | |
OK. | 1:01:19 | 1:01:21 | |
Fifty-fifty. | 1:01:21 | 1:01:23 | |
What? | 1:01:23 | 1:01:25 | |
You heard. | 1:01:26 | 1:01:28 | |
It's impossible. | 1:01:31 | 1:01:33 | |
But doable. | 1:01:35 | 1:01:37 | |
BEEPING | 1:01:45 | 1:01:47 | |
So, ladies and gentlemen, | 1:02:03 | 1:02:05 | |
we are now standing over 700 feet above sea level. | 1:02:05 | 1:02:09 | |
Our sky bridge is the longest and highest in the world | 1:02:09 | 1:02:13 | |
and stretches over 300 feet to the opposite tower. | 1:02:13 | 1:02:17 | |
It is supported by four flexible steel pillars. | 1:02:17 | 1:02:20 | |
The lights are being hung | 1:02:20 | 1:02:22 | |
for our millennium party tomorrow. | 1:02:22 | 1:02:25 | |
Over 40,000 light bulbs will make this truly a sight to remember. | 1:02:25 | 1:02:30 | |
So, what have we here? We have the goggles | 1:04:31 | 1:04:34 | |
with the retinal scan. | 1:04:34 | 1:04:36 | |
And we have the chairman's access card to the 86th floor... | 1:04:36 | 1:04:41 | |
in the bag. | 1:04:41 | 1:04:43 | |
Is there anything else? | 1:04:43 | 1:04:45 | |
Confucius, he say, "Don't use cannon to kill mosquito." | 1:04:45 | 1:04:50 | |
Er... right. | 1:04:51 | 1:04:53 | |
Well, now that I've shown you mine, it's your turn to show me yours. | 1:04:53 | 1:04:58 | |
Well, here she is. | 1:04:58 | 1:05:00 | |
Oh, goody, goody, goody. | 1:05:00 | 1:05:02 | |
Bring it to papa. | 1:05:02 | 1:05:04 | |
Thing of beauty, huh? | 1:05:05 | 1:05:07 | |
A joy forever. Where's my mask? I want my mask. | 1:05:07 | 1:05:13 | |
Oh. So, you're working with MacDougal on this, huh? | 1:05:14 | 1:05:18 | |
Yeah. | 1:05:18 | 1:05:21 | |
Uh-huh. | 1:05:19 | 1:05:21 | |
I would suggest you have a little tete-a-tete with your partner, | 1:05:23 | 1:05:28 | |
if he's still in the country. | 1:05:28 | 1:05:31 | |
I'll hold on to the access card and the goggles. | 1:05:31 | 1:05:34 | |
You've got to believe me, | 1:05:36 | 1:05:38 | |
-I had no idea. -Oh! | 1:05:38 | 1:05:41 | |
I would never do this to you. | 1:05:41 | 1:05:42 | |
Don't pout at me, you little bitch! | 1:05:42 | 1:05:45 | |
-Come on, Conrad. -Get out! | 1:05:45 | 1:05:48 | |
Get out! | 1:05:48 | 1:05:49 | |
Just get out! Get out of here! | 1:05:49 | 1:05:52 | |
Baby, I'm glad to see you. | 1:05:58 | 1:06:00 | |
I'm calling it off. | 1:06:01 | 1:06:03 | |
You take this. I'll get the Rembrandt for you later. | 1:06:03 | 1:06:07 | |
-What you saying? -She's over her head. | 1:06:07 | 1:06:10 | |
It's not going to happen. | 1:06:10 | 1:06:12 | |
What about this other big job you were cute about? | 1:06:12 | 1:06:15 | |
You wouldn't try to cut a brother out, would you? | 1:06:15 | 1:06:18 | |
There's nothing to cut you out of. | 1:06:18 | 1:06:20 | |
Sit down, Mac. Sit down. | 1:06:20 | 1:06:24 | |
I said sit the fuck down. | 1:06:24 | 1:06:27 | |
You know, Mac, I think it's time | 1:06:36 | 1:06:38 | |
to take your girlfriend out of the equation | 1:06:38 | 1:06:41 | |
and get down to you and me. | 1:06:41 | 1:06:43 | |
She's not my girlfriend. | 1:06:43 | 1:06:45 | |
I've been getting this Yoko vibe that, all of a sudden, | 1:06:46 | 1:06:49 | |
your girlfriend's the one in control. | 1:06:49 | 1:06:52 | |
Now, you change partners, you change the rules. | 1:07:04 | 1:07:09 | |
And the rules are - | 1:07:09 | 1:07:11 | |
Mac does the job, | 1:07:11 | 1:07:13 | |
I watch Mac's back. You don't call off nothing unless I say so. | 1:07:13 | 1:07:18 | |
Gin? | 1:07:33 | 1:07:35 | |
Gin? | 1:07:42 | 1:07:43 | |
Where is it, you bastard?! | 1:07:46 | 1:07:48 | |
I trusted you! | 1:07:48 | 1:07:50 | |
Bastard! | 1:07:50 | 1:07:51 | |
I trusted you! Where is it?! | 1:07:53 | 1:07:56 | |
HE GROANS | 1:07:56 | 1:07:58 | |
Why did you take it? | 1:08:04 | 1:08:05 | |
-SHE SOBS -Get up, I know you're faking. | 1:08:05 | 1:08:08 | |
SHE SOBS | 1:08:14 | 1:08:17 | |
SHE SOBS | 1:08:22 | 1:08:24 | |
Where did you go? | 1:08:38 | 1:08:40 | |
Why did you take it? | 1:08:40 | 1:08:42 | |
I was going to sell it. | 1:08:42 | 1:08:45 | |
Then, why didn't you? | 1:08:45 | 1:08:47 | |
Because I... | 1:08:48 | 1:08:50 | |
couldn't do it. | 1:08:50 | 1:08:52 | |
Why not? | 1:08:52 | 1:08:54 | |
I knew that if I told you to forget this job, | 1:08:56 | 1:09:00 | |
get the hell out of here... | 1:09:00 | 1:09:02 | |
..you wouldn't do it, would you? | 1:09:03 | 1:09:06 | |
-No. -Hmm. Right. | 1:09:06 | 1:09:09 | |
Were you worried about me, Mac? | 1:09:14 | 1:09:16 | |
Well, yes. | 1:09:16 | 1:09:18 | |
-Were you? -I was worried about both of us. | 1:09:18 | 1:09:22 | |
Don't be. | 1:09:26 | 1:09:28 | |
Oh, right. | 1:09:28 | 1:09:30 | |
Oh, sorry, I forgot about the rules. | 1:09:30 | 1:09:34 | |
Oh. | 1:09:34 | 1:09:36 | |
You ever broken them, Mac? | 1:09:39 | 1:09:41 | |
No. | 1:09:42 | 1:09:44 | |
Not once? | 1:09:44 | 1:09:45 | |
No. | 1:09:45 | 1:09:47 | |
Never? | 1:09:49 | 1:09:51 | |
Never. | 1:09:51 | 1:09:53 | |
Alone is good, huh? | 1:09:57 | 1:09:59 | |
No. Bullshit. | 1:09:59 | 1:10:02 | |
I hate alone. Alone sucks. | 1:10:02 | 1:10:05 | |
-Really? -Yeah. | 1:10:05 | 1:10:07 | |
Hmm. | 1:10:07 | 1:10:09 | |
Gin? | 1:10:19 | 1:10:21 | |
Gin? | 1:10:21 | 1:10:22 | |
Gin? | 1:10:22 | 1:10:24 | |
Gin! | 1:10:28 | 1:10:30 | |
-Gin, Gin, Gin. -What? | 1:10:30 | 1:10:32 | |
My situation is... | 1:10:38 | 1:10:40 | |
so complicated. | 1:10:40 | 1:10:42 | |
I can't... I can't explain. | 1:10:42 | 1:10:46 | |
You're not going to try? | 1:10:49 | 1:10:51 | |
I'm sorry. | 1:11:03 | 1:11:05 | |
CAMERA SHUTTER CLICKS | 1:11:36 | 1:11:39 | |
Yeah, I love you too, guys. | 1:11:43 | 1:11:45 | |
What are you doing? Get off me! | 1:12:18 | 1:12:21 | |
Help! | 1:12:21 | 1:12:22 | |
Hector. | 1:12:30 | 1:12:32 | |
Oh, God. | 1:12:32 | 1:12:34 | |
What are you doing here? | 1:12:34 | 1:12:36 | |
I read in the papers that the mask thing's gone down, | 1:12:36 | 1:12:39 | |
I don't hear a peep from my trusty agent, so I worry. | 1:12:39 | 1:12:43 | |
I call the hospitals. | 1:12:43 | 1:12:45 | |
I call the morgues. | 1:12:45 | 1:12:48 | |
And finally, I call the airlines. | 1:12:48 | 1:12:51 | |
I'm badly in need of news here, | 1:12:52 | 1:12:55 | |
Miss Baker. Help me out. | 1:12:55 | 1:12:58 | |
You want news? The news is I don't appreciate you blowing my cover. | 1:12:58 | 1:13:03 | |
He's planning a job that's going to make the mask look like... | 1:13:03 | 1:13:08 | |
You don't believe me? | 1:13:08 | 1:13:10 | |
Fine. | 1:13:10 | 1:13:12 | |
Then, pull me in and pick him up. | 1:13:12 | 1:13:14 | |
Why would I pull you in when you seem to be getting so close to Mac? | 1:13:14 | 1:13:19 | |
Jesus. | 1:13:23 | 1:13:25 | |
-This was business, Hector! -Business? | 1:13:25 | 1:13:28 | |
Sure there's nothing else you want to tell me? | 1:13:28 | 1:13:31 | |
Look, give me until tomorrow, I promise you you'll have it all. | 1:13:31 | 1:13:36 | |
Can I go back to work now? | 1:13:39 | 1:13:41 | |
Don't lose her. | 1:13:47 | 1:13:49 | |
Guess she didn't appreciate my pictures. | 1:13:53 | 1:13:56 | |
Did I tell you or did I tell you? She's screwing you both. | 1:13:56 | 1:14:00 | |
She says it's business, I believe her. | 1:14:00 | 1:14:03 | |
Sure. She's probably on her way to see Mac to do a little business. | 1:14:03 | 1:14:08 | |
Don't do that. Do not do that! | 1:14:08 | 1:14:10 | |
Hey, Hector, baby. | 1:14:10 | 1:14:12 | |
There ain't no need to get all up and hard, my man. | 1:14:12 | 1:14:16 | |
I said I'd make this trip worth your while. | 1:14:16 | 1:14:19 | |
You better be right. | 1:14:19 | 1:14:21 | |
All you got to do is listen to old Thibadeaux. | 1:14:23 | 1:14:26 | |
I've never felt so underdressed in all my life. | 1:14:37 | 1:14:41 | |
Synchronise... now. | 1:14:43 | 1:14:46 | |
OK. | 1:14:47 | 1:14:48 | |
The dish should be on line. Every minute, up to midnight, | 1:14:48 | 1:14:53 | |
we steal a tenth of a second from the International Clearance Bank. | 1:14:53 | 1:14:58 | |
SHE SIGHS | 1:14:58 | 1:15:01 | |
They're still there. | 1:15:01 | 1:15:03 | |
So... be careful, OK? | 1:15:04 | 1:15:07 | |
Wait. | 1:15:09 | 1:15:10 | |
-Gin... -No, don't. Don't say a word. | 1:15:20 | 1:15:23 | |
BEEPING | 1:15:51 | 1:15:53 | |
Shit! | 1:15:53 | 1:15:55 | |
Have you seen a guy... blue overalls? | 1:15:57 | 1:16:00 | |
Four to base. I'm sorry, sir, I lost him. | 1:16:00 | 1:16:03 | |
I don't know, he just... Somewhere between the stairs. | 1:16:03 | 1:16:08 | |
PARTY MUSIC | 1:16:24 | 1:16:26 | |
Boys, this is Chief Inspector Yeng San | 1:16:50 | 1:16:53 | |
and Mr Cruz from New York. | 1:16:53 | 1:16:55 | |
They have a special interest in a couple of guests. | 1:16:55 | 1:16:59 | |
CHATTERING > | 1:17:16 | 1:17:18 | |
Elevator, one minute. | 1:17:35 | 1:17:37 | |
It's not working. This one's not working. I'd use that one. | 1:17:40 | 1:17:45 | |
Do try to put a smile on your face, dear. | 1:17:58 | 1:18:01 | |
So, this is your international art thief, Mr Cruz? | 1:18:02 | 1:18:06 | |
He doesn't look very dangerous, does he? | 1:18:06 | 1:18:09 | |
Not yet. | 1:18:12 | 1:18:14 | |
OK. | 1:18:20 | 1:18:22 | |
Now time stands still. | 1:18:27 | 1:18:31 | |
Hopefully. | 1:18:31 | 1:18:33 | |
Excuse me. | 1:18:40 | 1:18:42 | |
Did you see where they went? | 1:18:42 | 1:18:44 | |
Seventieth floor, sir. | 1:18:44 | 1:18:46 | |
Watching the fireworks, probably. | 1:18:46 | 1:18:48 | |
Do you have cameras up there? | 1:18:48 | 1:18:50 | |
-Of course. -Would you mind? | 1:18:50 | 1:18:52 | |
Hmm. | 1:19:00 | 1:19:02 | |
I can't find them, sir. | 1:19:06 | 1:19:08 | |
-What do you mean? -I just can't find them. | 1:19:08 | 1:19:13 | |
There are 2,000 cameras. Find them. | 1:19:13 | 1:19:15 | |
Listen, I don't mean to intrude, | 1:19:15 | 1:19:18 | |
but they are very smart. | 1:19:18 | 1:19:20 | |
If they've disappeared it's because they mean to. | 1:19:20 | 1:19:24 | |
-Is there any art in the building? -Some. | 1:19:24 | 1:19:27 | |
And the bank clearance house? | 1:19:27 | 1:19:29 | |
Nothing but a big computer. | 1:19:29 | 1:19:31 | |
Something doesn't smell right. | 1:19:32 | 1:19:34 | |
Well, Mr Cruz, on the say-so of you and your friends in the FBI, | 1:19:35 | 1:19:40 | |
I have a lot of men on stand-by here. | 1:19:40 | 1:19:43 | |
What would smell right to you? | 1:19:43 | 1:19:46 | |
You should pick them up. | 1:19:49 | 1:19:51 | |
Please make way, please make way. | 1:20:07 | 1:20:10 | |
Sonic pulse... | 1:20:11 | 1:20:14 | |
five milliseconds. | 1:20:14 | 1:20:16 | |
Now put your feet down... | 1:20:23 | 1:20:25 | |
Between the pulses, I know. | 1:20:25 | 1:20:28 | |
Three... | 1:20:28 | 1:20:30 | |
two, one. And... | 1:20:30 | 1:20:33 | |
Two... three... | 1:20:36 | 1:20:37 | |
SHE HUMS TUNE | 1:20:37 | 1:20:39 | |
four... five... | 1:20:39 | 1:20:43 | |
six... | 1:20:43 | 1:20:46 | |
seven... eight... | 1:20:46 | 1:20:49 | |
nine... ten... | 1:20:49 | 1:20:52 | |
eleven... twelve. | 1:20:52 | 1:20:55 | |
Fingerprint brush. | 1:20:57 | 1:21:00 | |
"Kill. Mosquito. Cannon?" | 1:21:05 | 1:21:07 | |
"Don't use a cannon to kill a mosquito." Confucius. | 1:21:07 | 1:21:10 | |
You are good. | 1:21:10 | 1:21:12 | |
This is it? Whatever happened to money? | 1:21:36 | 1:21:39 | |
Give me the goggles. | 1:21:39 | 1:21:40 | |
Stuff you can get your hands on? | 1:21:40 | 1:21:42 | |
This is why I don't do banks any more. | 1:21:46 | 1:21:49 | |
There used to be gold, deposit boxes. | 1:21:49 | 1:21:52 | |
Where's the good old-fashioned loot? | 1:21:52 | 1:21:55 | |
The loot, my dear... | 1:21:58 | 1:22:00 | |
is right in there. | 1:22:00 | 1:22:03 | |
-BEEP -Twenty seconds. | 1:22:10 | 1:22:13 | |
LOUD DISCO MUSIC | 1:22:18 | 1:22:20 | |
Prepare to go off line in KL. In... | 1:22:35 | 1:22:37 | |
Five, four, three... | 1:22:37 | 1:22:39 | |
This is for real. | 1:22:39 | 1:22:40 | |
..two, one, go. | 1:22:40 | 1:22:43 | |
BEEP AND DRONING | 1:22:43 | 1:22:45 | |
They are ten seconds early. | 1:22:49 | 1:22:50 | |
Why are the Americans always in such a hurry? | 1:22:50 | 1:22:54 | |
-Ten seconds. -FDC complete. | 1:23:02 | 1:23:04 | |
-Clear. -Approaching. | 1:23:04 | 1:23:06 | |
-Fifteen. -Clear. | 1:23:06 | 1:23:08 | |
Clear! | 1:23:08 | 1:23:10 | |
Ten seconds. | 1:23:10 | 1:23:12 | |
Five, four, | 1:23:16 | 1:23:17 | |
three, two, one. | 1:23:17 | 1:23:21 | |
-We're clear. -Happy New Year, Malaysia. | 1:23:22 | 1:23:26 | |
-ALL: -Ten, nine, eight, seven... -Come on. | 1:23:26 | 1:23:30 | |
six, five, four, three... | 1:23:30 | 1:23:34 | |
Two, one. | 1:23:34 | 1:23:36 | |
CHEERING | 1:23:36 | 1:23:38 | |
-We did it! -Happy New Year. | 1:23:38 | 1:23:42 | |
Happy millennium. | 1:23:48 | 1:23:50 | |
That was...perfect. | 1:23:54 | 1:23:58 | |
ALARM | 1:23:59 | 1:24:01 | |
Oh, Gin. | 1:24:11 | 1:24:13 | |
The disk! | 1:24:15 | 1:24:17 | |
-Get me the spanner. -The what? | 1:24:19 | 1:24:21 | |
The wrench! | 1:24:21 | 1:24:24 | |
If they find that disk, we're dead. | 1:24:24 | 1:24:27 | |
The door! | 1:24:27 | 1:24:28 | |
I can't stop it, Mac! | 1:24:35 | 1:24:37 | |
All response units, code red. | 1:24:43 | 1:24:46 | |
Leave it! Come on! | 1:24:53 | 1:24:55 | |
-Elevator five's on the move. -Who's in it? | 1:25:19 | 1:25:23 | |
-It's empty. -No. | 1:25:23 | 1:25:25 | |
They're still in it. They've freeze-framed the camera. | 1:25:25 | 1:25:29 | |
-See? -Shut it down. | 1:25:29 | 1:25:32 | |
There's always a surprise. | 1:25:35 | 1:25:37 | |
Here. | 1:25:40 | 1:25:42 | |
Suspects in the vicinity of floor 50. | 1:25:43 | 1:25:46 | |
OK, Mr Cruz, your friends are rats in a trap. | 1:25:46 | 1:25:51 | |
Where to? | 1:26:04 | 1:26:07 | |
Service elevators. | 1:26:05 | 1:26:07 | |
Get out! | 1:26:16 | 1:26:17 | |
BOTH COUGH | 1:26:19 | 1:26:22 | |
Try the stairs. | 1:26:23 | 1:26:25 | |
FOOTSTEPS | 1:26:28 | 1:26:30 | |
Get back in. | 1:26:34 | 1:26:36 | |
Hang on. | 1:26:40 | 1:26:42 | |
I've got a better idea. | 1:26:42 | 1:26:44 | |
Temper, temper, Mr MacDougal. | 1:26:51 | 1:26:54 | |
Confirm suspects on floor 50 heading away from the gas. | 1:26:54 | 1:26:59 | |
They'll think we're avoiding the gas. | 1:26:59 | 1:27:02 | |
Try to keep your eyes closed and take a deep breath. | 1:27:02 | 1:27:06 | |
SHE GASPS | 1:27:39 | 1:27:41 | |
Get back. | 1:27:43 | 1:27:46 | |
Here. | 1:28:16 | 1:28:18 | |
-What's this? -The plan B pack. | 1:28:18 | 1:28:21 | |
-For what? -If we need it, I'll tell you. | 1:28:21 | 1:28:24 | |
-If we can get across the vent shafts, we should be OK. -Across where? | 1:28:24 | 1:28:29 | |
There. | 1:28:31 | 1:28:33 | |
Let's go. | 1:28:38 | 1:28:41 | |
Oh! | 1:28:54 | 1:28:56 | |
HELICOPTER WHIRRS | 1:28:56 | 1:28:58 | |
OK. | 1:29:14 | 1:29:16 | |
Move it! | 1:29:28 | 1:29:30 | |
SHE SCREAMS | 1:29:34 | 1:29:36 | |
Keep moving. | 1:29:49 | 1:29:51 | |
Come on. | 1:29:51 | 1:29:53 | |
CREAKING | 1:29:54 | 1:29:59 | |
Oh, God. | 1:30:04 | 1:30:06 | |
SHE SCREAMS | 1:30:10 | 1:30:14 | |
SHE SCREAMS | 1:30:16 | 1:30:18 | |
Gin, watch out! | 1:30:19 | 1:30:22 | |
Gin! We're nearly there! | 1:30:42 | 1:30:44 | |
Move it! Come on! | 1:30:44 | 1:30:47 | |
Oh, God! | 1:31:07 | 1:31:09 | |
CHEERING | 1:31:10 | 1:31:13 | |
Next stop, vent shaft. | 1:31:19 | 1:31:22 | |
'Armed police. Hands above your heads. | 1:32:04 | 1:32:08 | |
'Do not move. | 1:32:08 | 1:32:10 | |
'I repeat, remain where you are.' | 1:32:10 | 1:32:12 | |
'SWAT team to the roof.' | 1:32:12 | 1:32:15 | |
If you can't feel alive now, you never will. | 1:32:19 | 1:32:24 | |
Go! | 1:32:25 | 1:32:28 | |
'We have a clean shot, do we take it? | 1:32:28 | 1:32:30 | |
'I repeat, do we take it?' | 1:32:30 | 1:32:32 | |
Negative, do you copy? | 1:32:32 | 1:32:34 | |
I want them alive and kicking. | 1:32:34 | 1:32:37 | |
Go! Get up into the shaft. | 1:32:39 | 1:32:42 | |
Come on! | 1:32:51 | 1:32:53 | |
-Plan B, turn around. Turn around. -What? | 1:32:58 | 1:33:01 | |
This mini-chute only works with the updraught. | 1:33:05 | 1:33:09 | |
Not without you. We go together. | 1:33:10 | 1:33:12 | |
No, we'd drop like stones. | 1:33:12 | 1:33:15 | |
So, when will I see you again? | 1:33:16 | 1:33:18 | |
6.30am at the Pudu train station. | 1:33:18 | 1:33:21 | |
-You better be there. -I'll be there. | 1:33:21 | 1:33:24 | |
I'll be there. I'm never late. | 1:33:24 | 1:33:26 | |
If I am it's because I'm dead. | 1:33:26 | 1:33:28 | |
Now... ripcord? | 1:33:28 | 1:33:31 | |
Pull. | 1:33:35 | 1:33:37 | |
SHOUTING | 1:33:44 | 1:33:46 | |
CHEERING | 1:33:49 | 1:33:51 | |
SHE SIGHS | 1:35:34 | 1:35:36 | |
Mac! | 1:35:39 | 1:35:41 | |
-Ah! -Oh, I'm sorry. | 1:35:41 | 1:35:43 | |
Sorry, sorry. | 1:35:43 | 1:35:45 | |
So, what's wrong? | 1:35:46 | 1:35:47 | |
Wrong? Nothing's wrong. | 1:35:47 | 1:35:50 | |
Everything is... the way it has to be. | 1:35:50 | 1:35:53 | |
-What? -Virginia Baker? | 1:35:53 | 1:35:55 | |
Aaron Thibadeaux, FBI. I'm arresting you for grand larceny. | 1:35:55 | 1:36:00 | |
-You have the right to remain silent. -Mac? | 1:36:00 | 1:36:04 | |
-Mac? -Anything you say can be used against you in court. | 1:36:04 | 1:36:08 | |
Thanks, Mac. You got your one minute. | 1:36:08 | 1:36:11 | |
You're a cop? | 1:36:22 | 1:36:24 | |
No. Well, not exactly. | 1:36:24 | 1:36:27 | |
Thibadeaux is FBI. Two years ago he caught me | 1:36:27 | 1:36:31 | |
and we cut a deal. | 1:36:31 | 1:36:33 | |
The deal was that I had to deliver you. | 1:36:33 | 1:36:36 | |
They've been onto you for a while. | 1:36:38 | 1:36:41 | |
Cruz knew too? | 1:36:41 | 1:36:43 | |
Oh, he's just found out. | 1:36:43 | 1:36:45 | |
-SHE SIGHS -I don't get it. | 1:36:45 | 1:36:48 | |
Why didn't you pick me up before, what were you waiting for? | 1:36:48 | 1:36:52 | |
Well, at first, I wanted to... see if you could do it. | 1:36:52 | 1:36:57 | |
Bullshit. Come on. | 1:36:57 | 1:36:58 | |
And I wanted to see if I could do it. | 1:36:58 | 1:37:03 | |
Weren't we partners? | 1:37:04 | 1:37:06 | |
I can't believe you'd do this to me. | 1:37:06 | 1:37:08 | |
Oh, you'd better believe it. It's all over. | 1:37:08 | 1:37:12 | |
I gave them Greene, the Rembrandt, the mask. | 1:37:12 | 1:37:16 | |
And a full seven billion. | 1:37:16 | 1:37:19 | |
What do you mean, "seven"? | 1:37:20 | 1:37:22 | |
So you'll just have to make do with one. | 1:37:22 | 1:37:26 | |
I thought you said one minute. | 1:37:28 | 1:37:30 | |
Relax, he knows what he's doing. | 1:37:30 | 1:37:32 | |
Now, plan C. In your pocket you'll find an envelope | 1:37:32 | 1:37:37 | |
with a passport, visa, money. | 1:37:37 | 1:37:39 | |
Where you go from here is up to you. | 1:37:39 | 1:37:42 | |
You'll still hold the record, alone. | 1:37:42 | 1:37:45 | |
Mac! | 1:37:45 | 1:37:47 | |
I-I don't understand. Why are you doing this? | 1:37:49 | 1:37:52 | |
Oh, believe me, I was prepared for everything... except you. | 1:37:52 | 1:37:58 | |
Mac! Time's up. | 1:38:03 | 1:38:06 | |
Come with me. | 1:38:06 | 1:38:08 | |
Gin... | 1:38:08 | 1:38:10 | |
your life is all ahead of you. | 1:38:10 | 1:38:14 | |
Mine? This is all I've got. | 1:38:14 | 1:38:16 | |
No, you've got me. | 1:38:16 | 1:38:18 | |
-You've got me. -TRAIN APPROACHES | 1:38:20 | 1:38:23 | |
Listen carefully. | 1:38:26 | 1:38:28 | |
In your other pocket... | 1:38:28 | 1:38:31 | |
Let's do it. | 1:38:31 | 1:38:33 | |
Move and I blow his head off! | 1:38:39 | 1:38:41 | |
Everybody, just be cool. | 1:38:41 | 1:38:44 | |
-Nobody move! -Put your weapons down. | 1:38:44 | 1:38:47 | |
You too, Hector. I swear I'll kill him. | 1:38:47 | 1:38:50 | |
We'll get her at the next stop. | 1:38:50 | 1:38:52 | |
Bye, Mac. | 1:38:52 | 1:38:54 | |
She's heading towards the next station. | 1:38:56 | 1:38:59 | |
Move it now! No guns. Move it! | 1:38:59 | 1:39:02 | |
You know, I don't know WHAT just went down here, | 1:39:26 | 1:39:31 | |
but I'm going to see that you're busted out of the Bureau for it. | 1:39:31 | 1:39:36 | |
It ain't over, Mac. | 1:39:36 | 1:39:38 | |
I believe you. | 1:39:38 | 1:39:40 | |
Well, Mac, this looks like the end of a terrible friendship. | 1:39:52 | 1:39:57 | |
But you still owe me for today. | 1:39:57 | 1:39:59 | |
I always pay my debts. | 1:40:01 | 1:40:03 | |
Four prototype superchips. Value - five million dollars each. | 1:40:04 | 1:40:10 | |
I hope she was worth it. | 1:40:18 | 1:40:20 | |
Oh, she was. | 1:40:22 | 1:40:24 | |
I'll be seeing you, Mac. | 1:40:25 | 1:40:27 | |
I don't think so. | 1:40:28 | 1:40:30 | |
OK, Bob. Let the people back on the platform. | 1:40:34 | 1:40:37 | |
Bring me a damn car. | 1:40:37 | 1:40:39 | |
How did you do it? | 1:41:48 | 1:41:50 | |
I jumped trains, mid-station. When the train slowed down I... | 1:41:50 | 1:41:55 | |
-It was perfect. -Was it, now? | 1:41:55 | 1:41:57 | |
You know what, Mac? | 1:41:59 | 1:42:01 | |
I don't want to hold the record alone. | 1:42:01 | 1:42:03 | |
-No? -I need your help on another job. | 1:42:03 | 1:42:06 | |
What? The crown jewels? | 1:42:06 | 1:42:08 | |
No, come on! Too easy. | 1:42:08 | 1:42:10 | |
I was thinking of... | 1:42:10 | 1:42:12 | |
Well, I know this guy | 1:42:12 | 1:42:15 | |
in South Africa, he has the biggest diamonds you'll ever see. | 1:42:15 | 1:42:19 | |
Have I told you how much I love diamonds? | 1:42:19 | 1:42:22 | |
Mac? | 1:42:23 | 1:42:26 | |
Mac? | 1:42:27 | 1:42:29 | |
Mac! | 1:42:31 | 1:42:33 | |
What? | 1:42:33 | 1:42:34 | |
So, what do you think? | 1:42:37 | 1:42:39 | |
-About what? -About my idea. | 1:42:40 | 1:42:43 | |
It's doable. | 1:42:45 | 1:42:48 | |
-Ow! -Oh, I'm sorry. I'm so sorry. | 1:42:50 | 1:42:53 |